Beatles CD to go 'back to basics'

RIGHT ON! This is very exciting to me … I had a bootleg of this in 1972; my college freshman dorm roommate stole it and I've always wanted it back.

I've always agreed with Paul (not that he ever asked), Spector mucked it up. I can't wait. RIGHT ON!

You can't remove Dig It! It's got such a cool feel to it. I wonder if Macca is re-editing the film too... I reckon if you take off Phil Spector's camp hollywood arrangement from Long and Winding Road, you've got to replace it with something, as the basic band version (on the film) sounds a bit unfinished. Maybe George Martin should have a go, the arrangements on Abbey Road are cringe free and don't get in the way of the band. As long as Jeff Lynne is kept a million miles away from it I'll probably buy it!

I can't wait to hear it!

It sounds like it will be interesting if nothing else.

Regarding songs sounding "unfinished" on the film, I guess it's a case of what you've got used to - a bit like hearing a re-mix or cover version of a song..... In most cases, one tends to prefer the "original" version - whichever that may be to an individual.....

Computers are supposed to work on 1's and 0's - in other words "Yes" or "No" - why does mine frequently say "Maybe"?......

I have a CD bootleg of 'Get Back' (obviously made from vinyl, probably one of the promotion copies made for American radio?). I like to put it like this: It's like being at a jam session with the Beatles, a bit ruff, uneven and unfinished. As a Beatles fan this, of course, is like being in heaven!

It also contains the famous "roof top" performance, also a must for the fan.

When in London this summer i attended a "Beatles walk" (http://www.fabfour.addr.com/walks.htm. The guy who held it, Richard Porter, obviously knew what he was talking about. We visited Paul M:s office, very discrete at Soho Square, Trident Studios, also very discrete, 3 Saville Row, the place where Lennon met Yoko, some other places I have forgotten, and finally, of course, Abbey Road! Also a must for the fan.

JohanR

Michael - Lets see what it sounds like first. You may be pleasantly surprised. I agree about Jeff Lynne though!

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Originally posted by Michael Dale:
As long as Jeff Lynne is kept a million miles away from it I'll probably buy it!

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Was Jeff Lynne the original recording engineer for Let It Be and what was his crime?
Also, anyone know if there will be a release of a remastered complete Beatles studio catalogue. Though the early albums are such great, raw music, it's hard to listen to because the sound quality is so awful on CD.

Regards

Max

As this is going to be a remix rather than a remaster, I wonder if EMI will succumb to putting it out on DVD-A? A high-res stereo mix might be interesting, and given that there was so much talk of people holding off buying into CD until The Beatles graced the medium [probably rubbish, but you used to hear it a lot at one time]it might prove tempting for them.

JohanR - when I lived in St John's Wood [home of Abbey Road, and prone to Japanese tourists who are so intent on being photographed on The Crossing that they are seriously irritating when you're trying to drive home - even sadder are the ones who pose on the next crossing down... should one tell them?] I used to drink in The Heroes Of Alma [nearest pub to the studios], at the end of Hall Road, which was where the moptops used to quench their thirst between takes. You would imagine that it would be a shrine, with snaps etc., but not at all - just a wannabe drag queen landlady, engravings of the Crimean Heroes and far too much Shirley Bassey on the P.A. In spite of this it was a lovely pub, and is sadly now flats.

Max - in what way awful? Apart from the White Album [which I think is a victim of 70's recording techniques rather than remastering] they all sound good to me. I can't see another attempt, unless for DVD-A. Jeff Lynne produced the posthumous Beatles singles, George Martin having decided he was now too deaf to attempt it. I suppose he would be the obvious choice for Let It Be, except that I think he was more a friend of George than Paul.

throb

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George Martin having decided he was now too deaf to attempt it.

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George Martin's deafness seems to have been similar to Ernest Saunders' Altzheimer's and recovered sufficiently to produce the Anthology series .

duncan

Email: djcritchley at hotmail.com

I don´t see the meaning of this release. (except making money of it)
As it´s called: Let it be

Gunnar

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Was Jeff Lynne the original recording engineer for Let It Be and what was his crime?

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As mentioned earlier, he had nothing to do with the Beatles back then. Just listen to any Electric Light Orchestra song, then you can hear what he's accused of.

There has never been a more horribly bloated and messy sound than Lynne's - I just can't understand the hype made around him back in the '70s. At least Daniel Lanois would have done the job a little better.

Cheese

seriously though, I know Pink Floyd milk stuff for all its worth, but Surely the Beetles take the biscuit?

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Originally posted by garyi:
seriously though, I know Pink Floyd milk stuff for all its worth, but Surely the Beetles take the biscuit?

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Bowie´s not bad at that either

Gunnar

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Originally posted by GUNNAR JANSSON:
I don´t see the meaning of this release. (except making money of it)
As it´s called: Let it be

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But, you see, it's exactly the opposite ... they're doing it because they have the opportunity to release the music as they, the artists, intended, not filtered through Spector's skewed vision (great on some acts he produced, but not The Beatles). They don't *need* money, it's for their own artistic satisfaction.

By the way, if you haven't heard it, it's wonderful in its simple elegance.

Fred
I´ts just me guessing but it might be that Mc Cartney never forgave Lennon what he made out of "Long and winding road". One of Mc Cartney´s most beautiful songs.
But if you remove the tasteless orchestration that Spector put on it you just have a demo with McC. on piano and where Lennon is missing notes on the bass trying to learn the song.
I still think that it´s better left alone as it is.
And sadly I do think it´s money before artistic satisfaction.

Gunnar

Throb-Sorry for being so late in responding to your question.
The early Beatles albums (on CD), Please, Please Me thru Help to my ears, sound compressed, with little dynamics. The bass guitar, and especially the drums are way back in the mix, and I really don't remember it having such little presence on vinyl. If you compare this with say Sgt. Peppers which I believe is one of the best examples of recorded albums, and also sounds great on CD, I remain certain that there could be a much improved sound if ever there was a proper remastering of their catalogue.

Regards

Max

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Originally posted by Patrick Dixon:

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it's for their own artistic satisfaction.

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If Paul McCartney was interested in 'artistic satisfaction' he would have given up long ago. The rich just want to get richer - money justifies everything.

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This is too black and white for my taste. I know it's fashionable to think otherwise, but the wealthy are not monolithic -- Paul McCartney does not equal Ken Lay (Enron). While I agree that McCartney's best work is behind him, to extrapolate that McCartney is therefore insincere in his efforts and not interested in artistic satisfaction is cynical hyperbole. I don't believe that his creative drive is primarily motivated by further wealth.

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Originally posted by GUNNAR JANSSON:
Fred
I´ts just me guessing but it might be that Mc Cartney never forgave Lennon what he made out of "Long and winding road". One of Mc Cartney´s most beautiful songs.

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One of his best, I agree. And, yes, Lennon brought Spector in on the project but it was Spector's tasteless, heavy hand that mucked it up, not Lennon's.

And given that it's one of McCartney's best, and given that he himself has always felt so as well, why is it so hard to imagine that he's realizing a long held dream to release it as he intended? As a recording musician myself, I know there are many problems in recordings past which I'd love to correct and re-release, if for no other reason than my own artistic satisfaction.

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But if you remove the tasteless orchestration that Spector put on it you just have a demo

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It's not a demo, it's a basic track. It may have started as a demo (I don't know for sure; maybe you know better than I) -- many basic tracks do start that way. But it's a solid, heartfelt performance and stands up very well on its own, missed bass notes and all.

Again, I have to wonder, Gunnar, whether you've heard the pre-Spector album? I can't help but feel that the music itself would convince you otherwise.

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I still think that it´s better left alone as it is.

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I think it's better left alone as it was ... before Spector. Happily for the sake of the music, now it can be.

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And sadly I do think it´s money before artistic satisfaction.

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Why?

With all due respect, Gunnar, are you a musician or composer, or involved in an all-consuming lifetime's pursuit of some creative endeavor? If you are, how often is your work primarily motivated by money rather than artistic satisfaction? If you aren't, perhaps if you were you would know that it's actually not that common for a dedicated artist to do so. I know that to think otherwise is a fashionable myth that many readily believe (and, of course, that's always easier than to use one's power of discernment), but in an artist of the conviction, creativity, and depth of McCartney it's a very rare occurrence.

That his best work is behind him is a separate issue, and doesn't automatically mean that he no longer cares, that he's doing it only for the money. There are legions of artists whose best work is behind them; the well of inspiration and genius can easily dry up, it happens all the time. But should those artists feel obligated to stop trying, if their drive continues, for fear of being cynically suspected of doing it for the money?

Fred, your perspective is invaluable.

Most any of us who love music and audio equipment have some idea what "all consuming" is about, maybe to lesser degrees.

Just as some purchasers of Naim equipment and Naim/other label/independent music might be motivated by "biggest" (be it more money spent = more expensive equipment or larger collections for the sheer sake of cost/numbers) vs. others might be motivated by supposedly "purer" reasons (fidelity, RE-creation, "artistic value", etc). Both perspectives have validity to the individual.

I have never been a big Beatles fan, as my personal journey slanted toward Haight/Ashbury around that time, albeit that genre having been influenced by the British invasion. But, as a lover of "bootleg" (non-commercialnot for sale) recordings, I look forward to hearing this "back to the basics" release, regardless of what motivated it.

good listenin'

Jeff A

Well batted Fred.
So maybe it's not usual to re-visit an album once something has been released, but why the hell not?
Let It Be was recorded at a very delicate time with regard to relationships inside and outside The Beatles, and the opportunity to hear a stripped back session revealing (hopefully) more of the atmosphere here, that is now well documented history, is too good to pass up. I am not a particular fan of The Beatles or McCartney, but I shall definitely be getting this.

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Originally posted by Jeff Anderson:
Fred, your perspective is invaluable.

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Thanks, Jeff.

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I have never been a big Beatles fan, as my personal journey slanted toward Haight/Ashbury around that time, albeit that genre having been influenced by the British invasion.

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I was into just about everything (and still am) -- Beatles, San Francisco, Hendrix, Stevie Wonder, Marvin Gaye, Stones, Joni, Aretha, James Taylor, CSN&Y, Miles, Coltrane, Charles Lloyd, Satie, Ravel, Brahms, Ravi Shankar, and on and on ...

But focusing on the San Francisco scene, I favored mostly Jefferson Airplane, and to a lesser degree Grateful Dead. But the Airplane was really it for me, at least until later stuff, after Volunteers. How about you, Jeff?

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Originally posted by Patrick Dixon:
Fred

I'm happy to agree to disagree about McCartney's motives - but if you enjoy the recording who cares? - enjoy it!

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I'm happy to agree to disagree, too, Patrick, but you're still wrong.

For the sake of friendly discussion, I've tried to back up why I think this reissue is motivated by art, not commerce. Why not try your hand at backing up your claim to the contrary?

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Originally posted by Rasher:
Well batted Fred.

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Thanks, Rasher.

Fred
I do respect your point of view. It might be his intentions after all.

But to me it appears that he´s pulling that same old trick that´s been done before; Go and buy the same album once more. Like:
" contains rare and previously unreleased material" sticker on.

This one should perhaps have this sticker:
"contains previously released material wich have been altered a bit so that you can by the same record once again"

Because I´m sick and tired of all those reissues, remasters, limited editions, anniversary editions wich comes with double layer cd´s or what have you etc, etc just to tempt the true fan to buy the record that he´s already got one or more copies of once more.

So I won´t buy it. It´s as simple as that.

regards
Gunnar

The Airplane for me as well ... fond memories of mid-teens, laying on the dining room floor with one ear stuck against one speaker of the Zenith console stereo, listening at low volume to "Volunteers" (today, that album would have had "content" stickers all over it). Favorite albums would be "After Bathing ...." and "Bless It's Pointed Little Head".

Loved the original Blood Sweat and Tears with Al Kooper and Steve Katz, Quicksilver, Big Brother, Electric Flag, Buffalo Springfield, Peanut Butter Conspirecy (honest, and it holds up quite well by todays standards - Too Many Do is a stoned cold - pardon the expression -classic), It's A Beautiful Day, a classic album by a band called The Loading Zone, etc etc etc., plus all the subsequent off-shoots of the great musicians. A fertile era for some wonderful listening.

If it is a purely artistic endeavour, then I dare say it will be offered at cost price?

The idyllic view of the artist starving in his garret does not wash these days. And was it not Lennon and McCartney who saw early on the commercial benefits of music copyright and publishing?

Anyway, if he can make a few quid from the punters from this fair enough.

cheers

Nigel