Thirty Days

The Beatles

Number

Year

Format

VT-218-234

2000

CD / CDR


   Special Features

Comes with a 40 page booklet and slipcase-style box.
  
Packaging:

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Box front  

Booklet front  

Box back  


Disc Variations:

CD (Japan Only)
 

"Silver" CDR
 

The Booklet:

The booklet included with this title features the following information:

- Introduction by the folks at Vigotone (reproduced below)
- Complete track information (reproduced on each separate page)
- Recording information (reproduced below)

- An Apple Records ad for the "Get Back" single (not reproduced)
- "The Beatles Get Back" article by Mal Evans from the July 1969 Beatles Monthly (not reproduced)

- "World's first in-depth preview of Get Back"; from the August 1969 Beatles Monthly (not reproduced)
- "Daddy Has Gone Away Now: Let It Be" article from July 9, 1970's Rolling Stone (not reproduced)

- "Up on the roof" - a review of the Apple-top concert. (not reproduced)
- "(Why Couldn't They Just) Let It Be" article by Ken Mansfield (not reproduced)

- "The Last Picture Show" article on the movie; from the Fall 1999 Q Magazine Special (not reproduced)

 

Note:  Due to the size and scope of this collection, I've decided to present it a bit differently.  Below is the text from the back of the box, introduction from the liner notes, and recording information.  At the bottom of this page are links to individual pages that include track listings and liner notes for each of the disks in the collection.

 

Box Back Text:

So what makes this collection "ultimate"?  First off, everything on these 17 discs has been digitally transferred with great care from master tapes.  So they sound better than they have ever before!  More than 500 rolls of tape were sifted through, and only the best and most interesting performances were chosen for inclusion.  In some cases, performances have even been painstakingly reconstructed from as many as three tape sources.   Secondly, the dialogue and stop-and-go rehearsals that sometimes made listening to "Get Back" sessions a chore have been bypassed, with only "takes", serious run-throughs, oldies, and the more interesting and structured jams being presented.  All the performances that made up the "Let It Be" album (except for those recorded outside the time frame of the "Get Back" sessions) can be heard in their original, unadulterated form. And for the very first time the January 30th rooftop concert has been meticulously reconstructed from ALL existing source material, while the January 31st session that produced "Two of Us", "The Long and Winding Road", and "Let It Be" is presented in a form more complete (and enjoyable!) form than ever before.  Most importantly, there's tons of new material heard here for the first time.  So, hit play and enjoy the Get Back sessions like you never have before.

 

Liner Notes:

"Thirty Days" – The Ultimate Get Back Collection

The Beatles’ Get Back session have been written about to death so we’ll keep it brief.  The Beatles gathered on January 2, 1969 at Twickenham Studios with the intention of rehearsing brand new songs for a concert that would be televised live throughout the world.   They also agreed to have the entire process filmed for an accompanying documentary.   When the sessions drew to a close thirty days later, the spectacular live show had been downgraded to an impromptu concert on the roof of the Apple building, and the live television broadcast and documentary had been combined and reconfigured into a single feature film.  The Beatles left behind them a half–finished album and boxes upon boxes of taped rehearsals, performances, arguments and jams. It is from those boxes that this set is culled. 

So what makes this collection ‘ultimate’?  First off, everything on these 17 discs has been digitally transferred with great care from master tapes.  So they sound better than they ever have before!   More than 500 rolls of tape were sifted through, and only the very best and most interesting performances were chosen for inclusion.  In some cases performances have been painstakingly reconstructed from as many as three original tape sources.  Secondly, the dialogue and lengthy stop–and–go rehearsals that sometimes made listening to Get Back sessions a chore have been bypassed, with only "takes", serious run–throughs, oldies and the more interesting structured jams being presented.  All the performances that made up the Let It Be album (except for those recorded outside the time frame of the Get Back sessions) can be heard in their original, unadulterated form.  And for the very first time the January 30th rooftop concert has been meticulously reconstructed from ALL existing source material, while the January 31st session that produced "Two of Us", "The Long and Winding Road", and "Let It Be" is presented in a form more complete (and enjoyable!) form than ever before.

In the track listings that follow, each song is cross–referenced to its entry in Get Back: The Unauthorized Chronicle of The Beatles’ Let It Be Disaster, the authoritative work on these sessions. The prefix of each number represents the day in January 1969 on which the song was performed, while the suffix places the song in chronological order within that day. All tracks that weren’t covered in that book have only a day prefix followed by the word "NEW".   Even a cursory glance at the track listings (especially those from January 22nd to 31st Apple sessions) reveals that an avalanche of new and exciting material is waiting for the listener!  And even if the song is "old", it is most often in better quality or more complete than it was on any previous issue.  You can also see that in some places the authors of Get Back were incorrect with their datings and performance placement, so the correct information is presented here. So hit "play" and enjoy the Get Back sessions like you never have before.

Humphey Lestouq, M.B.E.

 

Recording Information

The majority of the audio found on this set was recorded by the Let It Be film crew.  Two Nagra mono reel-to-reel tape recorders were utilized to capture nearly every moment of the sessions.  One tape recorder was assigned to each camera and, each time that camera began filming a beep would be heard on the tape to allow for later synchronization with the picture.  Short reels running at a very fast speed were utilized capturing only 16 minutes per roll.   Since two tape recorders were running nearly all the time, the time it took to thread up a new reel would theoretically be captured on the other machine.  At Twickenham, the rolls for each recorder were simply numbered consecutively, and these numbers were announced (when the soundman remembered) at the start of the roll with the appropriate camera designation (A or B) added on.  A total of 223 rolls were recorded in this fashion at Twickenham.  When filming moved to Apple the recording process remained the same, but the numbering system differed slightly.  The sound rolls that corresponded with each camera were still numbered consecutively, but the A rolls were arbitrarily restarted at #400, and the B rolls at #1014.  307 rolls were recorded at Apple, making for a total of approximately 530 rolls (about 141 hours, though only 80 or so it if is unique).  The material on the final disc of this set was recorded on E.M.I.'s mobile unit which Apple borrowed when Magic Alex's equipment failed to function.   Those were the days indeed.

 

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Note: All of the disks in the Thirty Days collection come in double jewel boxes, except disk 17 (VT-234) which comes in a cardboard sleeve that resembles a vinyl record jacket.

     

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