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"[Allen] Klein came to London with the sole objective of closing the deal, and having had an unsuccessful meeting with Paul in the morning, he left for Heathrow to return home to New York. Paul and I were working together in Olympic that afternoon, and there was a noticeable sense of relief when he heard that Klein had left for the airport. However, Klein had second thoughts about leaving and decided to have one more attempt at changing Paul’s mind face-to-face. Unannounced, Klein walked into the studio, and very quickly it became apparent that as voices were raised a private conversation was taking place. I turned off all the mics in the room and left them to it. The control room of a studio is isolated from the recording room where the musicians play, but even all that acoustic treatment was not enough to prevent me hearing Paul McCartney defend himself against Allen Klein’s attempt at bullying him into submission. It was extremely unpleasant to witness."
This just occurred to me, is it necessary to use identical mics with Glyn Johns? Could I use, say, an LDC over the snare and ribbon over the floor tom? Is there a reason not to try this?
I'd not heard the bootlegs before, so the official bonus disc release was a revelation to me. One After 909 cooks harder than ever—the guitars are higher in the mix—and having John's and Paul's vocals panned left and right makes eminent sense. The take of Don't Let Me Down, with John's raw, edgy vocal, is without a doubt superior to the single, and is mixed better than the single to boot. In fact, that Don't Let Me Down > I Dig a Pony > I Got a Feeling suite (for lack of a better word) is absolutely killer. Plus the generous use of reverb, particularly on Long and Winding Road, shows just how unnecessary the shmaltzy strings added by Spector was.
I get why the Beatles rejected it. While it was totally in line with their initial concept—raw, live takes w/o overdubbing, false starts, lots of chatter—no doubt, they had second thoughts and felt studio craftsmanship was the better way for them to go (hence, Abbey Road). But as a penultimate Beatles LP released in the spring of '69, in retrospect it would have made total sense. It's fun, loose, sounds great, and has let me hear these songs again with new ears.
Title says it all
Do you prefer his production to Spector? Would people think differently of the original album if he produced it?
I for one like it. It seems to be exactly what The Beatles wanted with a raw live sounding album. I specifically like the takes of Dig It and I've Got A Feeling. I will say that the softer songs seem to suffer with his production though.
Has anyone ever seen the movie... Beyond the Valley of the Dolls.
The music producer and sword swings Z-man looks so much like Glyn Johns did in Get Back.. I loved it!
Also Beyond the Valley of the Dolls is a must for any swinging 60's crazy movie fans... It was actually the only film written by Roger Ebert!
https://preview.redd.it/00lzad1n1k281.jpg?width=2048&format=pjpg&auto=webp&s=056c54c2e4305680cf7e2dcb6370a40b11203323
Holy moly, I just finally listened to the “lost” Glyn Johns mix of Across The Universe that was included in the Let It Be Deluxe.
I think we finally have a well produced version of this song (which is one of Lennon’s best IMHO). I only wish Glyn had fully removed the female fan voices rather than push them down in the mix, but that’s a small gripe. Otherwise it’s perfect!
Anyone else miss this first time around listening to the new album?
What are everyone's thoughts?
I can see why they rejected it - sounds like a live album in terms of performance. This was obviously their original intention, but I can see why they had second thoughts.
Some unusual mixing choices too - drums are separated across channels with the snare and hi-hat being in the right and bass drum and other percussion being in the left. Guitars are very heavily separated in the channels. Vocals are quiet.
I actually do really like the mix of Let it Be and Long and Winding Road though. I think the reverb on the vocals works well, as well as the more simple production.
Oh, and the single of Let it Be 2021 mix is great and definitely my favorite version now. Always loved the single mix, but they've cleaned it up nicely for this. I never noticed that Ringo's tom tom roll overdubs in the final verse were in this mix, always thought it was a Spector overdub. Very quiet in the right channel.
What do you think is the best overall album (and we’ll include the 2021 mixes as the 1970 Spector cut since it’s the same style of the songs)? Listening to them all back-to-back-to-back makes me think maybe Glyn Johns had it right back in ‘69…
Honestly, outside some poor tape quality on “I Me Mine” and “For You Blue”, I’ve come to really like what Glyn Johns was going for; it’s cheery and feels like you’re in the studio with the Beatles. That being said, there is something about the stripped-down version of “I’ve Got a Feeling” on Naked that ranks it among the group’s best work for me. But interested to hear other thoughts!
Japan was lucky to receive the 1969 mix transfer before they did all the shoddy editing to it where they spliced in the 1970 mix tape at various points.
I have since been provided with a rip of the Japanese Get Back disc. It's the complete, unaltered, unedited 1969 mix. Hiss, original "For You Blue" Vocals and all.
Talk about "too many cooks" or "remastering". Thanks Apple, LMAO
Now it only begs to question why they couldn't also replace the 2 bootleg sourced tracks on the EP with the 1970 tape transfer. *g*
Original post:
>As some of you might be aware, what is listed as the 1969 mix of "For You Blue" on the new Let It Be Set is actually the 1970 mix.
>
>There has been discussions if this inaccuracy was deliberate or by mistake.
>
>Well, it looks like the latter.
>
>->>The Japanese SHM-CD issue of the Boxset has received the actual 1969 mix now<<-
>
>Source: lennonology magazine. The quoted article can be found on the Steve Hoffman Forums as well: https://forums.stevehoffman.tv/threads/a-lennonology-exclusive-for-you-blues-exclusive-content-on-the-japanese-let-it-be-sde.1113990/
>
>On streaming services and stores online the flawed mix remains for now. Universal/Apple has not addressed this mistake and fix to anyone. Looks like they are trying to sweep this flub under the rug.
>
>I've now contacted HDtracks, Qobuz & Tidal to make them aware of this error and the fixed track being available.
>
>Normally I wouldn't go out this far, but I'm really sick and tired of record companies pulling crap like this and trying to sweep it under the rug.
>
>I thought I'd share this here to make more people aware, that their 100$ purchase has a flaw that the folks in charge are aware of but won't acknowledge for now.
Long post incoming soz
Here's my thought for each song:
One After 909: The studio babble at the start of this was cool for the start of an album. Vocals aren't balanced. John needs to be louder, and the vocals being panned to each side sounds really strange. The instrumental track sound good and bright, it just doesn't match the vocals. They sound like the treble and bass has been scooped out, left with a flat, dull version of John and Paul's vocal line. Drums clip before the chorus a bit. Lead guitar in the verses sounds unpolished. Guitar solo is very polished. Rest of the track is much the same as the start. The vocal line just gets lost.
Don't Let me Down: Despite the weird panning of things like the drums, I loved this. Tempo was actually really refreshing and John's vocals sound more emotional rather than 'screechy'
Dig a Pony: Backing Vocals sounded awful. Distant and flat. John's vocal also seemed lifeless. There's a nasty white buzz through this whole track that washes out the bass and drums. Again, weird panning in this song too
I've Got a Feeling: Instrumental track seemed messy in this. The rhythm guitar and Preston's keyboard sounded like they were unsure of their parts. The rest of the time, the guitars were way too quiet to the point of barely being able to hear them. Paul's vocals were excellent, if a bit quiet. John's vocals seemed to clip a bit in his section of the song. Not sure what's going on there.
Get Back: The backing track here is tight in terms of timing. Weird panning issues aren't as obvious here. Paul's vocals are a bit quiet though. John's lead guitar lines seem to lack some of the treble "oomph" that they have on the original record. Preston's keyboard really sticks out in this, it's quite loud and well eq'd, but the guitars are just too quiet again.
For You Blue: I really like this version. But, George's vocal sounds like it's clipping in a few spots. The lead acoustic guitar is often way too loud and stomps out all the other instruments in the mix. Would be cool to hear more bass instead of acoustic strums the whole time.
Teddy Boy: This is a bit of a nothing song for me because it's obviously a rehearsal take. Paul's vocals are too quiet regardless.
Two of Us: Vocals are badly balanced, the harmony line doesn't sound confident, plus they aren't both singing the same lyrics lol. Rhythm line is too quiet, bass is at a good level. Tempo is nice, it's definitely slower than the original but I think it w
... keep reading on reddit ➡Hi, Lovely People!
I have been looking for this bootleg by Tarantura. The best quality of this wonderful performance. Not to be confused by the Eric Burdon tape. Taken from his multi-track reels. I have searched everywhere and only 4 people have it on Discogs. It's sold out on most marketplaces. I hope we can uncover it for the Jimi Hendrix fans.
I got great remasters coming up from the SBD of Red House.
The CD has the full show, unedited. From the unheard MC talking and Mitch dedicating the set to his mother. Wish i could hear this!
More info
EDIT: I have ordered it.
//Thank you for reading!
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I know this is controversial because many people don't like Phil Spectors production, most notably Paul, but I think he brought life to these recordings that feels missing in the Glyn Johns versions. Yes, he could've toned down the orchestration on Long and Winding Road, and Dont Let me Down Shouldve been on the album, but overall I think he did a great job.
I found out this morning by watching Parlogram Auctions' unboxing/review of the new LIB sets that the Glyn Johns mix on the Japanese SHM release is different than what the rest of the world got, and is in fact the correct 1969 Glyn Johns mix.
I made a comparison mix of For You Blue, in which the first verse is an example of the different mixes, and I think it's true: left channel is the worldwide release and right channel is the Japanese SHM mix.
Does anyone have the newly released CD or Vinyl album cover so they can share it? I can't seem to find one let alone in high quality.
Did anyone else find the audio quality on this song not only bad, but painful on the ears? How did they allow this to be released? Sad too because the song is so beautiful.
Hi all, I posted a while back about doing some recording of drums with some old bandmates. I ended up picking up a Zoom R24 multitrack, as it can be a stand alone production station and also act as a control interface for a DAW if we want to go that route.
So now, I am looking at mics for the drums. I have some good Sennheiser mics I think will take care of the snare, and am leaning towards the Audix D6 for the kick. However, every now and then I will find a drum mic package that has a kick mic and then two of those pencil-type condenser mics for a decent price. Would those style mics work for the Glyn Johns method for recording, or are the mic diaphragms too small for them to work for that? I am trying to keep it simple and cost-effective, but I am NOT looking at no-name brands. But if a bundle has what I need then that would be a simple approach! Appreciate your advice!
Now that the Super Deluxe version of “Let It Be” is out, the aspect I was most interested in, the famed Glyn Johns 1969 edit, is also here. What are your thoughts on it? I think the full take of “Dig It” is actually kinda fun, while “Teddy Boy” is just a slightly more polished version of what we got on Anthology (it works better as a short tune than 4-minute song imo).
Interested how people react to the album. Hope y’all are enjoying it! Not every day we get new Beatles material!
Part 2: https://i.redd.it/uf6yvizjgc781.png
Part 3: https://i.redd.it/1gyle55tgc781.png
Part 4: https://i.redd.it/06rub1p1hc781.png
https://i.redd.it/13wh1edo7u481.png (not sure if the auto mod issue is fixed so link to image for now)
Hey, I’ve got some tracks that were recorded Glyn Johns style with one overhead centered above the snare and the other equidistant to the snare, placed next to the floor Tom and angled towards the snare.
I’ve read that Traditional GJ Panning was:
Center Overhead Panned Half (50%) RIGHT.
Tom side Overhead Panned Hard (100%) LEFT.
But... I’m seeing on message boards that many have preferred a 3oclock / 9oclock split. Having the center mic panned half RIGHT; and Tom side panned half LEFT.
Which do you prefer, and Why?
Also, does traditional Glyn Johns technique give you Drummer Perspective or Audience Perspective?
Thanks!
Where can i get the better version? This mix freaks me out
Japan was lucky to receive the 1969 mix transfer before they did all the shoddy editing to it where they spliced in the 1970 mix tape at various points.
I have since been provided with a rip of the Japanese Get Back disc. It's the complete, unaltered, unedited 1969 mix. Hiss, original "For You Blue" Vocals and all.
Talk about "too many cooks" or "remastering". Thanks Apple, LMAO
Now it only begs to question why they couldn't also replace the 2 bootleg sourced tracks on the EP with the 1970 tape transfer. *g*
Original post:
>As some of you might be aware, what is listed as the 1969 mix of "For You Blue" on the new Let It Be Set is actually the 1970 mix.
>
>There has been discussions if this inaccuracy was deliberate or by mistake.
>
>Well, it looks like the latter.
>
>->>The Japanese SHM-CD issue of the Boxset has received the actual 1969 mix now<<-
>
>Source: lennonology magazine. The quoted article can be found on the Steve Hoffman Forums as well: https://forums.stevehoffman.tv/threads/a-lennonology-exclusive-for-you-blues-exclusive-content-on-the-japanese-let-it-be-sde.1113990/
>
>On streaming services and stores online the flawed mix remains for now. Universal/Apple has not addressed this mistake and fix to anyone. Looks like they are trying to sweep this flub under the rug.
>
>I've now contacted HDtracks, Qobuz & Tidal to make them aware of this error and the fixed track being available.
>
>Normally I wouldn't go out this far, but I'm really sick and tired of record companies pulling crap like this and trying to sweep it under the rug.
>
>I thought I'd share this here to make more people aware, that their 100$ purchase has a flaw that the folks in charge are aware of but won't acknowledge for now.
