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Let It Be Original recording remastered


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Vinyl, Original recording remastered, November 13, 2012
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The Beatles - CDs, Vinyls, and T-shirts The Beatles - CDs, Vinyls, and T-shirts

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"The story began in Harold Macmillan’s “never had it so good” ’50s Britain. It should be fiction: four teenagers with no more than eight O’Levels between them, running and biking and busing and busking all over Liverpool in search of new chords and old guitars and half-decent drum kit and any gig at all.
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Let It Be + Abbey Road + The White Album
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Product Details

  • Vinyl (November 13, 2012)
  • Original Release Date: 2014
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Capitol
  • ASIN: B0041KVZ1S
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (544 customer reviews)
  • Amazon Best Sellers Rank: #1,202 in Music (See Top 100 in Music)

1. Two Of Us
2. Dig A Pony
3. Across The Universe
4. I Me Mine
5. Dig It
6. Let It Be
7. Maggie Mae
8. I've Got A Feeling
9. One After 909
10. The Long And Winding Road
11. For You Blue
12. Get Back

Editorial Reviews

The Beatles' acclaimed original studio album remasters, released on CD in 2009, make their long-awaited stereo vinyl debut

Manufactured on 180-gram, audiophile quality vinyl with replicated artwork, the 14 albums return to their original glory with details including the poster in The Beatles (The White Album), the Sgt. Pepper's Lonely Heart Club Band's cut-outs, and special inner bags for some of the titles

The titles include The Beatles' 12 original UK albums, first released between 1963 and 1970, the US-originated Magical Mystery Tour, now part of the group's core catalogue, and Past Masters, Volumes One & Two, first released individually in 1988, featuring non-album A-sides and B-sides, EP tracks and rarities. With this release, The Beatles' first four albums make their North American stereo vinyl debuts

There has always been demand for The Beatles' albums on vinyl. Indeed, 2011's best-selling vinyl LP in the United States was Abbey Road. Following the success of The Beatles' acclaimed, GRAMMY Award-winning 2009 CD remasters, it was decided that the sound experts at EMI's Abbey Road Studios should create new versions of The Beatles' vinyl LPs. The project demanded the same meticulous approach taken for the CD releases, and the brief was a simple one: cut the digital remasters to vinyl with an absolute minimum of compromise to the sound. However, the process involved to do that was far from simple

The first stage in transferring the sound of a master recording to vinyl is the creation of a disc to be used during vinyl manufacture. There were two options to consider. A Direct Metal Master (DMM), developed in the late seventies, allows sound to be cut directly into a stainless steel disc coated with a hard copper alloy. The older, alternative method is to cut the sound into the soft lacquer coating on a nickel disc - the first of several steps leading to the production of a stamper to press the vinyl

A 'blind' listening test was arranged to choose between a 'lacquer' or 'copper' cut. Using both methods, A Hard Day's Night was pressed with ten seconds of silence at the beginning and end of each side. This allowed not only the reproduction of the music to be assessed, but also the noise made by the vinyl itself. After much discussion, two factors swung the decision towards using the lacquer process. First, it was judged to create a warmer sound than a DMM. Secondly, there was a practical advantage of having 'blank' discs of a consistent quality when cutting lacquers

The next step was to use the Neumann VMS80 cutting lathe at Abbey Road. Following thorough mechanical and electrical tests to ensure it was operating in peak condition, engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was also decided to use the remasters that had not undergone 'limiting' - a procedure to increase the sound level, which is deemed necessary for most current pop CDs

Having made initial test cuts, Magee pinpointed any sound problems that can occur during playback of vinyl records. To rectify them, changes were made to the remasters with a Digital Audio Workstation. For example, each vinyl album was listened to for any 'sibilant episodes' - vocal distortion that can occur on consonant sounds such as S and T. These were corrected by reducing the level in the very small portion of sound causing the undesired effect. Similarly, any likelihood of 'inner-groove distortion' was addressed. As the stylus approaches the centre of the record, it is liable to track the groove less accurately. This can affect the high-middle frequencies, producing a 'mushy' sound particularly noticeable on vocals. Using what Magee has described as 'surgical EQ,' problem frequencies were identified and reduced in level to compensate for this

The last phase of the vinyl mastering process began with the arrival of the first batches of test pressings made from master lacquers that had been sent to the two pressing plant factories. Stringent quality tests identified any noise or click appearing on more than one test pressing in the same place. If this happened, it was clear that the undesired sounds had been introduced either during the cutting or the pressing stage and so the test records were rejected. In the quest to achieve the highest quality possible, the Abbey Road team worked closely with the pressing factories and the manufacturers of the lacquer and cutting styli

An additional and unusual challenge was to ensure the proper playback of the sounds embedded in the 'lock-groove' at the end of side two of Sgt. Pepper's Lonely Hearts Club Band. Requiring a combination of good timing and luck, it had always been a lengthy and costly process to make it work properly. In fact, it was so tricky, it had never been attempted for American pressings of the LP. Naturally, Sean Magee and the team perfected this and the garbled message is heard as originally intended on the remastered Sgt. Pepper LP.

Customer Reviews

The music does sound very good.
Pete Darling
The album (here on CD, of course) contains some very special songs such as "Across The Universe," "I Me Mine," "The Long and Winding Road," and "Get Back."
Matthew G. Sherwin
If you are a Beatle fan (and I'm assuming you are) buy this album and get Let It Be Naked and compare and contrast.
Chappy Quasar

Most Helpful Customer Reviews

374 of 396 people found the following review helpful By MurrayTheCat on August 24, 2004
Format: Audio CD
For those who don't know the story, the tension and frustration experienced by The Beatles during the "White Album" sessions reached new heights during the GET BACK sessions. In an attempt to bring spirit to the band, Paul was pushing to have The Beatles play live again. Perhaps his thinking was that playing together (as they used to do) would reunite them (as they used to be). Instead, there was much talk of breaking up. It was decided that the group should at least rehearse together while being filmed, but George Harrison actually walked out and quit the group for a few days. Apparently what John said regarding The Beatles at this time was indeed a group reality: "It had become a job."

Excluding the filming that took place at Twickenham Studios (brought to a close by tension within the band and George's walkout), the GET BACK sessions began on January 22, 1969, and ended just nine days later, all of it taking place at the band's Apple headquarters rather than Abbey Road studios. Although The Beatles behaved a little better when keyboardist Billy Preston was brought in, the sessions did not go well, being mostly jamming--meandering from song to song. As George Martin appropriately pointed out, "they were rudderless at this time." Martin was not on hand for much of this, and even when he was present, it is unclear how involved he was. Engineer Glyn Johns was asked to compile the album--not George Martin. Though Johns complied, the ill-fated GET BACK was never given the group's stamp of approval and was left unreleased for over a year.
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102 of 113 people found the following review helpful By D. J. GIAMMARINO on November 15, 2003
Format: Audio CD
Finally, after more than 33 years, the non orchestral arrangement of Let it Be has been released! On Nov 14, I purchased highly advertised Let it Be...Naked 2-CD set here in Japan. There was a long line to get the new set, so I knew it must be good. I must say, I was quite impressed with the sound quality, and the removal of Phil Spector's various orchestral and choir arrangements.
Now for the comparisons of the two albums. First of all, as many people expected, the sound quality is much better, and there is virtually none of the original tape hiss (The only exception is disk 2, which is mostly studio chatter)
Now for the songs:
"Two of Us" the song starts immediately, without the short intro that is on the original. The song itself is the same.
"Dig a Pony" is also the same, but it does not have the false start that was included on the original.
"Across the Universe" is now a beautiful Acoustic song, without the orchestra or choir. This is one of the best songs on the Naked release.
"I Me Mine" is nearly the same. The only difference I noticed was that the stereo separation was slightly modified.
"Dig It" is not on the Naked Album.
"Let it Be" is a different take. A little shorter, by maybe about 15 seconds. Paul's voice has more life to it. The organ is much more defined and louder. The backing voices of the other Beatles sound much better. The guitar solo is different, but better I think. The drums toward the end are somewhat different, but only serious Beatle fans will notice it. There is none of the orchestral arrangement from the original. This is a great song, and I think this new version is better.
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69 of 76 people found the following review helpful By Dean Martin Dent on March 24, 2000
Format: Audio CD
This may not be The Beatles greatest recording moment,but it holds up very well despite all the bashing its gotten over the years.Started January 1969 as Get Back,the original idea was to record an album aux natural with as little of the production values that has graced their latter albums(Sgt Pepper,MMT,the white album).Unfortunatly the tedious task of sifting through the many hours of tape,along with the recording of Abbey Road,left this project on the shelf.Nearly a year later,it was unshelved and attempted to be mixed by Glyns Johns,which proved unsucessful.Enter Phil Spector who went against the "live in the studio" concept and made a presentable product.Retitled Let It Be,it proved to be a fitting title as The Beatles disbanded a month before its release date.As for the album itself,Spector's touches gaves these recording a much needed polish.In light of the outtakes which surfaced on Anthology 3,the aux natural concept would not go easy on record buyers ears.A great song even in its raw form,The Long And Winding Road,although a bit overproduced,is very stirring.while Across The Universe in Spectors hands,is transformed into the albums highlight.The title track works better in its single mix,due to the Spector overdub seem to stiffle the track.George Harrison's two compositions,I Me Mine and For You Blue,are strong indications of his later work on Abbey Road and his own All Things Must Pass.Dig A Pony,I've Got a Feeling and One After 909,although rough rockers,shows the group in fine form.Two Of Us shows for one last time,the classic chemestry between Lennon And McCartney.The rooftop performance of Get Back ends the album with Lennon stating "I hope we passed the audition".Although many criticized this album for what its not(especially coming after Abbey Road)it shows the group as they are at the time,fragmenting all the while still making great music.
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