To the horror of their most obsessive fans, the surviving Beatles have proven more than willing to tamper with their pop legacy, as witnessed by the various facets of their massive, occasionally myopic mid-1990s Anthology projects (and the suspect notion of its faux techno-marvel “reunions”). In boldly revamping the soundtrack to their 1968 Heinz Edelmann-designed animated fable Yellow Submarine, the Fabs have shown they’re not immune to the irony of the age either: their origin [Read More...]
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I’ve read some of the carping found in other reviews, and had to respond. I’m an ex-studio owner and recording engineer, and with one exception, I think the remixes of Beatles classics found on this CD are wonderful. Several songs, including “Nowhere Man” are heard in true stereo (instead of the original instruments / vocals pan) for the first time, and they are glorious indeed. On “Yellow Submarine,” you hear the thunderous foghorn which is buried in the original mix, and the tinkling glasses of the “partygoers” are crystal clear. On “When I’m Sixty-Four,” the high background “aaahs” are a revelation, as they were again deeply buried in the original version. George Harrison’s songs fare particularly well, especially the underappreciated gem “Think For Yourself” from “Rubber Soul” and “Love You To,” his best and most accessible Indian-style number. One wishes he and the other fabs had spent more time rehearsing and arranging “It’s All Too Much,” which could have been an all-time classic, but comes across as a rather loose and happy semi-jam. John’s “Hey Bulldog” ROCKS, with one of the most propulsive piano/bass riffs in history, dispelling any thought of it as a throwaway.
Other songs that benefit from the remix include “Lucy in the Sky with Diamonds,” which has a new crystaline purity; “Baby You’re A Rich Man,” in which the slightly annoying speeded-up trumpet is potted down slightly and the vocals boosted; “Sgt. Pepper / With A Little Help From My Friends,” which has a bit more clarity in the instrumental mix and a tighter bottom; and “Only A Northern Song,” where all the psychedelic horn fills and chimes are given a nice swirling feel.
The only minor problem I could detect was in “Eleanor Rigby.” One reviewer here claims the remix reveals Paul is singing flat. That’s not the case– he’s right on pitch, and his voice has been given a bit more “top,” an improvement over the original muffled quality of the original. But his vocal also seems to be a fraction of a beat BEHIND the backing “string octet.” This is not at all apparent on the original mix. I wonder if this is because one of the tape heads on the Studer 4-track was slightly misaligned on the original recording and mixdown? If so, I can appreciate the problem in trying to remix it.
One can only marvel at the musicianship, vocal ability, songwriting genius, and craft displayed in these recordings. It’s enough to make you believe Timothy Leary was right when he proclaimed John, Paul, George and Ringo were four superhuman angels sent to enlighten the human race. I’m quite sure we’ll never see their like again, but fortunately, thanks to modern recording technology, we will always have their music to enjoy.