Let It Be (Legacy)

UK 4th pressing (1976)

PCS 7096

Discogs | TheBeatlesCollection

Matrix:
Side A: YEX 773-3U
Side B: YEX 774-4   HTM

This 4th UK pressing comes in my copy of the BC13 box. Basically, this pressing was in production between 1976 and 1980.

My copy (as per date code on inner sleeve) is from 1978 and uses the 3U matrix which was cut in 1970 for Side A. Side B, however, contains a newer -4 matrix with HTM signature. There is also -4 Side A in existence, however, I don’t have it.

Let’s listen to Side A now. “Two of Us” is starting out fine, with very good details on the acoustic guitars and nice low end on the bass drums. The singing is embedded harmonically into the soundscape. “Dig a Pony”: some sibilance is audible on the first “you can celebrate”. Other than that, the bass and the drums are a tad weak, the guitars being most prominent on the outliers of the stereo panorama. “Across the Universe” is of course heavily treated, the first part sounding rather compressed. The Phil Spector orchestra augmentation sounds fine, though. Now “I Me Mine” is probably the most dynamic song on Side A, and though the bass feels a bit weak, the song sounds splendidly detailed on the guitars wide on the stereo panorama. “Dig It” is okay. Now, the closing track, “Let it Be” just shines. The grand piano, the bass, the drums, everything is just in place. The trebles are fine and detailed. The voice is harmonically embedded, it sounds just right: not buried, not standing out. “Maggie Mae”, has some good trebles, though it lacks a bit of definition, being cut close to the center label and all that.

Side B. “I’ve Got a Feeling”: The bass is quite alright here; the trebles are quite pronounced. Good instrument separation, the vocals are spot-on. “One after 909”: nice, punchy bass, fine instrument separation (organ and solo guitar on the stereo channels!), the vocals are once again quite harmonically embedded into the stage. “The Long and Winding Road”: very pleasant, very detailed. There is both power in the bass and detail in the treble. Paul’s voice has a nice presence. The orchestra, while not everyone’s cup of tea, sounds very fine. “For You Blue” is acoustically a pleasure: good bass, vocal presence, fine trebles and a great intricate instrument separation. “Get Back” sounds intentionally muted (solo guitar, organ, vocals), however, the rhythm guitar, the bass and Ringo’s cymbalos reveal that there is nothing wrong with the mix itself. Bass is fine, the midrange is detailed, trebles are nice and clear.

Overall: the UK is just great. While some of the songs are not necessarily audiophile stuff, the album still profits from a good instrument separation and vocal / instrumental presence. Side A cut in 1970 is slightly weak in the bass area. Side B, being cut later, is less affected by it. A splendid version.