Wrong Masters for the ‘Glyn Johns 1969 Mix’, and Japan came to rescue.

[Kwai Chang]

Perhaps I was a bit judgmental in thinking the marketing strategy think tank had fumbled the ball on this super deluxe edition.
The situation might seem tenuous but the confusion deserves to be addressed. Perhaps the best way to navigate this labyrinth would be some concision from Mr. Glyn Johns, himself...OR, (fanfare, please)...can the story of the Get Back LP really ONLY BE TOLD by the various different versions created by Johns? Does the Get Back album really need to be understood in any capacity? If it does, then a proper box set could never be more perfectly timed...
nor, serve a greater function than one for Glyn John's Get Back. To think that the insults aren't over after 50 years. Glyn John's name is now attached to newly cobbled disc 4. Does this fiasco have a good ending? The end of The Beatles was already confusing enough...but, now, disc 4 can give the finger to the entire notion of 'getting back' to the days of yore...and twin-track BTR's(British Tape Recorders).
Somebody, (like, Giles) needs to step forward and admit that this product's integrity has suffered and is on the verge of being completely lost.
But, WAIT! Peter Jackson might be that safety net. I had originally thought that the 3-part Get Back Disney Channel series would be arranged so that
Part 1 is completely Twickenham.
Part 2 is completely Apple.
Part 3 is completely Savile Row Rooftop Concert.
However, that arrangement would not tell the complete Get Back story.
So, hopefully, Jackson will let Part 1 document Twickenham AND the first day at Apple.
Part 2 could be the rest of APPLE/Rooftop discussions.
Part 3 would be the Rooftop concert AND the subsequent assemblages of the album by Glyn Johns. This would illustrate the group's objective and why all of Glyn's work could not bring it to realization. The ending wouldn't be very biopic either. Perhaps, an unidentified voice would say "Get Phil!"...
(Roll credits)
The beginning...
Or, is this how all fairy tales end?
(You can never get back, again...EVER!)
Of course, the story is not the shambles that [ROW]Disc 4 would seem to indicate.
Giles has failed...Glyn Johns has not!
If Alex Mardas gets honorable mention for no magic...
then, it's Glyn's turn.
So, who took the acetate to the U.S.?
I guess it could be worse.
(At least we know where bootlegs come from!)
KC

[powerPC]

Well said KC

[LFSDoc]

Thanks for this, LR, but isn't the recent Japanese release/Wizardo boot actually the May 1969 variant rather than the newly-identified "late 1969?" variant?

No, the 1975 Wizardo boot is exactly the same as the Japanese cd.

I wonder if the Wizardo/Japan and Thirty days are in fact both from May 1969, and only separated by a few days. He was doing a lot of mixing then. He could have prepared the Thirty Days version of the album, then listened to it and realised some of the vocals needed bumping up and cut in new mixes of DAP and IGAF.

That could very well be, me and fellow collector AB were discussing exactly this yesterday evening. Compilation 3 could be the 28th May assembly, soon corrected by Glyn, OR comp #3 comes before that and #4 is indeed the documented late May tape, which could justify its use by Apple for the Japanese set.

[Kwai Chang]

Well said KC

Thank you, Keith!
It is incredible that the Let It Be album has fulfilled its destiny as the final album by The Beatles.
I guess the real difference between Glyn Johns and Phil Spector was a song called Teddy Boy. It doesn't matter that Let It Be
was cobbled from the same miserable tapes as the Get Back album(s). Any music would have been good or bad enough...
as long as it was called Let It Be.
Get Back was a gimmick that might have succeeded if The White Album sessions hadn't ruined their production skills.
But to attempt it at Twickenham with Michael Lindsey-Hogg, made it much like a larger version of Magical Mystery Tour.
So, that was the end of the gimmick...all we need is a choir, an orchestra, and a new title(LIB).
So, all was not lost. The final Beatles album was so good...that the movie couldn't even hurt it.
Glyn Johns' work was completely competent. He deserves better than chaos...
I'm thinking that the Peter Jackson series could establish the Get Back album(ALL versions) in its intended state of Grace.
The super deluxe confusion could be part of the script.
KC

[Beatles4you]

.

[maul]

Thanks for this, LR, but isn't the recent Japanese release/Wizardo boot actually the May 1969 variant rather than the newly-identified "late 1969?" variant?

I wonder if the Wizardo/Japan and Thirty days are in fact both from May 1969, and only separated by a few days. He was doing a lot of mixing then. He could have prepared the Thirty Days version of the album, then listened to it and realised some of the vocals needed bumping up and cut in new mixes of DAP and IGAF.

That could very well be, me and fellow collector AB were discussing exactly this yesterday evening. Compilation 3 could be the 28th May assembly, soon corrected by Glyn, OR comp #3 comes before that and #4 is indeed the documented late May tape, which could justify its use by Apple for the Japanese set.

I agree, I've long thought of the probable existence of a 'prototype' of '(OLD)compilation 4', a 'lost' compilation without the new Remix of For You Blue, surely prepared before 8 January 70, but not too far from this date
but JAPAN CD reshufffles the cards, and now I'm more inclined to consider JAPAN CD a 'perfected' version of "(OLD) Compilation 3" since the tracklist is the same, so it makes more sense that the JAP compilation is nearer to May 69 than Dec 69
----------------------------------------------------------
and again: the simplistic interpretation
JAPAN CD4 = OLD Comp 3
ROW CD4 = Bulk of OLD Comp 4 + dialogues/intros of OLD Comp 3
doesn’t explain the presence of a 'double' Teddy Boy, infact this suggests that, in compiling ROW CD, more 'compilation 3(?)' mastertapes were used...(and I wouldn't exclude it also for the JAPAN CD )

[kolive]

I wonder if we shouldn't refer to the Tonto/30days as 3a and Wizardo/Japanese as 3b and
leave 4 (Geroitol) as 4.

Its going to be very confusing in we say 4, is it the new 4 or old 4.

ROW is 5 in this case.

[tulirepo]

I have never heard the Wizardo bootleg. Is it really EXACTLY the same mix as the Japanese GB from 2021? What puzzles me among other things is the question as to when the feedback squeal in Teddy Boy was masked by the faint "swoosh" that we hear on both new releases. Was this done in 1969 or recently for the Anniversary Set? Anybody knows? Educated guesses?

[maul]

I wonder if we shouldn't refer to the Tonto/30days as 3a and Wizardo/Japanese as 3b and
leave 4 (Geroitol) as 4.

Its going to be very confusing in we say 4, is it the new 4 or old 4.

ROW is 5 in this case.

I agree, sure: it's going to be VERY confusing, this could be the optimal choice, since...
1) it leaves intact ALL references (around the world) to Compilation 4 (and that is saying a lot )
2) ''3a'' e ''3b'' fit better, refering to the tracklist and remixes sameness (apart two songs) and perhaps temporal proximity

[kolive]

Yes, I was mostly worried about 4. "Glyn Johns' final"
(3 and 4 are also sometimes referred to as 1 and 2 - ie 69 and 70 mixes).

It would be great if you can repost your table with
1 2 3a, 3b, 4 and 5 (for ROW).