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Producer Giles Martin and sound engineer Sam Okell remixed the album Let It Be in stereo, 5.1 surround DTS and Dolby Atmos. The comprehensive new Special Edition follows in the footsteps of the globally acclaimed remixed and expanded Anniversary Editions of Sgt. Pepper’s Lonely Hearts Club Band (2017), The BEATLES (‘White Album’) (2018) and Abbey Road (2019). Each of the new versions of Let It Be features the album’s new stereo mix, which is based on Phil Spector’s “reproduced for disc” version and the original 8-track tapes of the studio sessions and Rooftop performance. The physical Super Deluxe editions also include 27 previously unreleased studio recordings, a four-track Let It Be EP, and the previously unreleased 14-track stereo LP mix compiled by recording engineer Glyn Johns in May 1969.
On January 2, 1969, John Lennon, Paul McCartney, George Harrison and Ringo Starr kicked off the new year on a big sound stage at London’s Twickenham Film Studios. The Beatles plunged into rehearsals for a project that would take them back to their old destination: the live stage. For 21 days, cameras and tape recorders captured almost every minute: first at Twickenham and then at their own Apple Studio, where Billy Preston joined them on keyboards. They rehearsed new original compositions and jammed some older songs, all captured live and unadorned for posterity.
The cameras were also rolling on Jan. 30, when the Beatles joined Preston for their very last concert on the rooftop of the Apple Corps office on Savile Row in front of a small audience of friends, family members and anyone else within earshot. The midday performance brought London’s entire West End to a standstill as passersby craned their necks and windows were ripped open in the entire neighborhood to get a better look. A wave of noise complaints also called the police to the scene – and to the roof, where they finally ended the concert after 42 minutes.
In April and May, Glyn Johns worked on putting together an album that would one day be called “Get Back.” To realize his particular vision, Johns used failed starts and chats between songs rather than later, more polished recordings, and even the version of “I’ve Got A Feeling” that completely falls apart after a certain point, ending with John Lennon’s apology, “I cocked it up trying to get loud.” However, the band decided to put the extensive material of tapes, film reels and photos on hold to focus on recording and releasing their masterpiece Abbey Road. The final Beatles album, Let It Be, was based on the January 1969 tapes as well as some earlier and later sessions. It was released on May 8, 1970 (May 18 in the U.S.) alongside the release of the film Let It Be.
The studio sessions that produced the album and the film Let It Be were the only occasion in the Beatles’ history when they were accompanied in such detail as they worked in the studio. More than 60 hours of unreleased footage, more than 150 hours of unreleased sound recordings and hundreds of unpublished photographs have been sifted through and lovingly restored for this fall’s three cohesive ultimate Beatles releases. It is a feast for the senses and a great treasure that has been unearthed in the Beatles’ archive. The new Let It Be Special Edition is complemented by the highly anticipated documentary “The Beatles: Get Back” by three-time Academy Award winner Peter Jackson and a beautiful new hardcover book also titled The Beatles: Get Back. The material brought in for these new projects shows a much happier and more positive atmosphere than the 80-minute 1970 film Let It Be suggested.
The beautiful Super Deluxe Collection book includes a foreword by Paul McCartney; an introduction by Giles Martin; a text by Glyn Johns; insightful chapters and detailed track info by Beatles historian, author, and radio producer Kevin Howlett; and an essay by journalist and author John Harris that explores the myths surrounding the sessions and balances them with reality. The book is illustrated in notebook style and includes rare and previously unpublished photos of Ethan A. Russell and Linda McCartney, as well as previously unpublished photos of handwritten song lyrics, notes, sketches, correspondence, tape boxes, film clips, and more.
105-page hardcover book in a 10 “x12” die-cut slipcase