Up until now, we have been releasing new best sound sources related to the Beatles' elusive album "GET BACK", but we will be releasing "GET BACK" again. However, it is not the Beatles. This time it is Paul's "GET BACK". Eh? You may think so, of course. Yes, "GET BACK" is a movie that captures the world tour from 1989 to 1990. "Isn't that something unusual?" You are right. Although the movie software itself is currently out of print, it is easy to watch (obtain). However, this movie had a major latent flaw. The speed of the performance...in other words, the pitch was released in a low state. In music movies, the pitch often goes out of sync due to problems with the film speed during shooting or technical problems when transferring from film to video. For example, the Beatles' "A HARD DAY'S NIGHT" had a low pitch and was uncomfortable when the performance scene was happening, and the Rolling Stones' live movie "LET'S SPEND THE NIGHT TOGETHER" was also recorded on video with the pitch raised. In this way, the pitch deviation in film footage was quite perfunctory in the days of movie screenings and VHS, but in fact, some have been released recently without being corrected, such as Blind Faith's Hyde Park DVD and David Bowie's "Life On Mars?" MV, both of which were released with the pitch lowered by nearly a semitone. Among these phenomena, Paul's film "GET BACK" has also continued to be released with the pitch lowered, and it has remained perfunctory even in this Blu-ray era. Because of the accompanying video, you may not notice it in, for example, "Put It There," but in the up-tempo "Coming Up," the low pitch makes it feel strange. Although the image quality of the 1990 tour is rough, the full-length live professional shots can be seen at the Rio concert and the leaked footage of the Japanese concert, and the unnaturalness of the pitch problem makes it seem like a film that is often overlooked among enthusiasts. The bold cut of songs such as "Figure Of Eight" and "My Brave Face", which symbolized this world tour, and the recording time was about 70% of the actual live performance, may be a big factor. The low pitch problem occurred due to the technical circumstances of shooting at 25 frames per second in this work, instead of the usual 24 frames per second. This time, the pitch, which had dropped by a semitone, was adjusted based on the 2012 HD remaster version, which is the best image quality at the moment. Of course, the adjustment was not made by force, but by using software specialized in adjusting the pitch of the video, so there is no stress such as the video being choppy. The release of the video-related pitch adjustment is groundbreaking, but the movie "GET BACK" can be seen at the correct pitch, which makes it overwhelmingly enjoyable. It goes without saying, but as this is a feature-length film, you want to see and hear the performance at accurate pitch. Accurate pitch is so shocking that it even seems fresh in itself. And now, when I watch the film "GET BACK" again, I am surprised that all the know-how cultivated in "THE BRUCE MCMOUSE SHOW," the unreleased live film of Wings released last year, was used in "GET BACK." The editing, in which multiple stage footage intersects in one song, close-ups of the performance and members were additionally recorded in the studio, and audio overdubbing, have been put together as a film better than "THE BRUCE." When this film was released at the time, pure live footage of the Rio and Tokyo Dome were already available, so I got the impression that this one was, for better or worse, more like a film... but it's interesting to see it now. Editing that combines multiple stage footage in one song is incorporated into most of the performance scenes, but in particular, in "Got To Get You Into My Life," the overlapping performance scenes of the 1989 arena tour and the 1990 stadium tour, in which the fashions are completely different, remind me of "THE BRUCE~" and at the same time, the incongruity makes me laugh. Basically, it seems that footage from the US tour is used most often, but unlike the live album "TRIPPING THE LIVE FANTASTIC," which was compiled without any tricks for release, this one had additional audio and video recordings like a movie. Throughout the film, there are scenes and expressions of the members that are clearly conscious of the camera, but most of these were filmed at Elstree Studios. This is a measure to capture close-ups that cannot be achieved during a live performance, and this is also an evolution of the technique used in "THE BRUCE MCMOUSE SHOW." In particular, Paul's frolicking during the jam part of "Sgt. Pepper's Lonely Hearts Club Band" is an action that would never happen in a live performance, and the sound of that scene also smells fake (lol). Or Linda's singing in the finale, where she harmonizes with Paul, also has a sense of overdubbing and filming mode. And the sense of inserting historical footage from the past in some songs seems to have developed the editing cultivated in "Wild Life" from "THE BRUCE~". In the actual live performance, it was essential that Martin Luther King's speech was played at the end of "The Fool On The Hill," and his footage appeared, and in "The Long And Winding Road," the entire film was filled with footage of the Vietnam War. This seems to be the result of an exchange of ideas with director Richard Lester. By the way, the additional filming of the stage footage was done at Elstree Studios, which Paul had been fond of since his Wings days, and the audio overdubs were done at Twickenham Studios (the same studio where the Get Back session took place in 1969). There are also plenty of things to point out and see, such as the miracle edit in which Robbie McIntosh's guitar suddenly switches from a Gibson 335 to a Stratocaster during the interlude of "Back In The U.S.S.R.", or the encore "Yesterday" played with a higher key arrangement unique to 1989 (i.e. the same as the Beatles era). This week marks nearly 30 years since the 1990 Japan performance, and many Japanese people are seen in the audience shots. Including such fun, we can finally enjoy it with accurate pitch. It goes without saying that the quality is the best because it is the original, but even enthusiasts would never have expected that the best version of the movie "GET BACK" would be released now? From the time of the original release to the present, all "GET BACK" versions in the world have been recorded at a semitone lower pitch (4%). This work is a must-see version for fans, recorded at the correct pitch for the first time in history. Naturally, the impression of the performance and work will change completely if you watch it at the correct speed and pitch. PAUL McCARTNEY - GET BACK: SPEED CORRECTED EDITION (85:35) 1. Intro. 2. Band On The Run 3. Got To Get You Into My Life 4. Rough Ride 5. The Long And Winding Road 6. The Fool On The Hill 7. Sgt. Pepper's Lonely Hearts Club Band 8. Good Day Sunshine 9. I Saw Her Standing There 10. Put It There 11. Eleanor Rigby 12. Back In The U.S.S.R. 13. This One 14. Can't Buy Me Love 15. Coming Up 16. Let It Be 17. Live And Let Die 18. Hey Jude 19. Yesterday 20. Get Back 21. Golden Slumbers 22. Carry That Weight 23. The End 24. Birthday (End Credits) PRO-SHOT COLOUR NTSC Approx.86min.
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