Sgt. Pepper's Lonely Hearts Club Band ORIGINAL MASTER RECORDING Review

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(More customer reviews)One of three LP/CDs by the Beatles among my all-time top ten, along with "Rubber Soul" and "Revolver". Though not my personal favorite, this recording is essential in any collection of pop/rock recordings. It has been, since its release, a standard by which others are measured. It also marks the high-water mark of the Beatles creativity as a band. After "Sgt. Pepper..." came a directionless time during which the "Magical Mystery Tour" and "Yellow Submarine" records were released, followed by the period the band's breakdown, as chronicled in the "White Album", "Let It Be" and "Abbey Road". Though these latter efforts contained plenty of great music, it was clear that the Beatles were increasingly unable to function together as a unit. Individual tracks almost always spotlighted one of the band members while the others worked essentially as a backing group.
During a recent TV special, it wa said that, during the time the Beatles were in the studio making "Sgt. Pepper...", there was a lot of doubt about what they would come out with and many fans were giving up on them. As someone who was around at the time, I certainly don't remember much of that. Of course, the Beatles always had a few doubters and detractors, but most of us were looking forward to their next record. Stories of how much time and effort were going into it only fueled our anticipation. It was like the release of the fourth Harry Potter book when "Sgt. Pepper..." finally came out. Some stores opened early and huge numbers were sold the first day of it's release. I bought a copy that day like many others. Nor was I disappointed. Since then, I have spent many hours listening to "Sgt. Pepper..." and I expect I'll spend many more.
To appreciate the significance of "Sgt. Pepper..." you have to understand the pivotal place of the Beatles in the culture of the time. Quite simply, they changed everything. Before the Beatles, the primary medium of pop/rock music was the 45 rpm single. The Beatles released a flood of good quality songs, many original, so that "albums" became more than just a couple of hit singles packaged with a bunch of throwaway tracks. All of the tracks were good and people began to buy albums because it was the best way to get all the music. "Sgt. Pepper..." took this a step further by making the album a more unified whole. It elevated pop/rock music to the level of art, implying an expressiveness and timelessness beyond anything rock had previously aspired to. But the impact of the Beatles went far beyond music. It entered into fashion, modes of behavior, and popular attitudes in a variety of areas. We were even fed a constant stream of news reports about what the Beatles were doing from day to day or week to week. London became, for a time, THE cultural center of the world.
"Sgt. Pepper..." itself has a timeless quality. Songs such as With A Little Help From My Friends, Getting Better, Within You Without You, When I'm Sixty-four and others have themes that people can relate to just as well today as when they were first released. Lucy In The Sky With Diamonds and A Day In The Life, while perhaps mored dated lyrically, are among the most interesting pieces in other respects.
For those of us who were around and listening when "Sgt. Pepper..." came out, it is more than just a record or CD. It marks the peak of a time of incredible energy and change. The decline and dissolution of the Beatles is something many of us still feel in a very personal way. Even today, we mourn the end of the Beatles and the death of John Lennon. Those events represent the passing and final end of something we treasured.
"Sgt. Pepper..." is a great record by a great band. Even more, it is a central landmark of its period and of its genre. If you think you like rock music, but you don't have a copy of "Sgt. Pepper...", sorry but you've missed it. Get a copy. You can't really appreciate the Beatles without it. Definitely a favorite of mine, and I expect it will be a favorite of yours, too.

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In 1985 Mobile Fidelity Sound Labs (MFSL) under a license from EMI issued a special, limited edition pressing of the legendary 'St. Pepper's Lonely Hearts Club Band' Beatles album. This release was in anticipation of the 20th anniversary of the original release date. All MSFL reissues were unique for the following reasons: 1) The vinyl was the highest quality 'virgin' vinyl that was manufactured to exacting standards of purity; 2) The cardboard and printing paper for the cover was of significantly higher quality than the standard 'run of the mill' LP cover of the time; 3) The inner sleeve was a high quality anti-static polyester protective sleeve; 4) The LP Disc was pressed on ultra-high quality record presses in Japan resulting in the highest quality vinyl pressing possible given the technology of the time; 5) Quality assurance standard were exacting and uncompromising - the discs are without question the best discs on the planet. 6) Last, but certainly not least, the LP mastering was done from the original master tapes not second (or beyond) generation dupes. In the end these discs were the finest mass market pressings available - which explains why they are so in demand by record collectors around the world.

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Flowers in the Dirt Review

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(More customer reviews)While all of the Beatles had successful solo careers following the breakup of the band, it was Paul McCartney's career that would prove to be the most successful. With the bar set high, McCartney often found himself trying to measure up from a critical standpoint to what the Beatles had done. In the 1970s, McCartney's band Wings - while not the apple of the critics eyes, continued to sell records. Things would change in the 1980s when McCartney would dissolve Wings. Although McCartney would start the decade out with two successful solo albums in "Tug of War" and "Pipes of Peace". In 1984, things would drastically change - "Give My Regards to Broad Street" would be the soundtrack for a film he would write. That film would prove to be a box office bust and the album would have moderate success. In 1986, things would get worse as his album "Press to Play" was for all practical purposes a flop. As the 1980s would close, McCartney would turn to an unlikely source to try to revive his legendary career - and he would succeed with the 1989 release "Flowers in the Dirt". This would prove that McCartney was back.
Many attribute McCartney's problems in the 80s because he would often have trouble focusing. While McCartney is a great musician, it was obvious that he would often require that "voice of reason" to push him when it came to songwriting or producing. John Lennon and George Martin would fill these roles, but even Martin couldn't stop the train wreck that occurred with "Give My Regards to Broad Street".Following the disaster of "Press to Play", McCartney would start a long songwriting partnership with one of the most unlikely musicians - Elvis Costello. No doubt, Costello is a different artist than McCartney, but he would also provide the stimulus needed to recharge McCartney's creative juices. The duo would begin to write songs for "Flowers of the Dirt" and Costello's album "Spike". Costello would use his real name Declan MacManus to credit the songwriting on four songs included "Flowers in the Dirt".Costello would also participate on three of the four tracks from a musician standpoint - including the duet "You Want Her Too".
At the same time, McCartney brings in a team to help out with the production duties. This team includes longtime Beatles producer George Martin, Elvis Costello, acclaimed producers Chris Hughes and Neil Dorfsman, and former Yes member and producer in his own right Trevor Horn. These producers would work on producing McCartney's efforts on a track by track basis. Combining this approach with his new alliance with Costello would result in some of the freshest material by McCartney since his Beatles days. It found McCartney exploring new avenues as well as revisiting old ones.
Here is a track by track breakdown:
"My Brave Face": This is a McCartney/Costello collaboration and is a very well written song. You can hear sounds of the old McCartney sound as well as the new Costello influence. This is a song that talks about someone putting on a "brave face" after losing a love. (Kind of takes a new spin when McCartney's wife Linda would pass away almost a decade after this song).
"Rough Ride": This song was co-produced with Trevor Horn. It features synthesizers and drum programming as well as trademark Linda McCartney background vocals. Not a bad song - but it's average when you compare it to the remaining tracks.
"You Want her Too": This is the McCartney - Costello duet. Once again, McCartney and Costello bring the best of both worlds. The song opens with an East Indian-influenced melody - going back to the days of the Beatles. McCartney and Costello then trade vocals - and Costello's unique sound really works in the vocal exchange. Great track.
"Distractions": This song has a classic Beatles feel. The Orchestral feel to the song really gives it a good dimension. McCartney's vocals are right on target.
"We Got Married": This song also has a classic Beatles feel, but also you can hear some of the classic McCartney solo sound. No doubt, McCartney's own relationship with his wife played into this song's story. This song features David Gilmour on guitar.
"Put it There": This is McCartney's tribute to Fathers and Sons. I assume this song is a tribute to his own father Jim as well as his own son James.
"Figure of Eight": This song really blew me away. This has a slight Blues influence to it at times. McCartney's vocals a right on the money as well. This is one track where I wouldn't change a thing.
"This Time": Another great sounding song. This one is a very catchy song, but well-written as well.
"Don't Be Careless Love": Another McCartney-Costello collaboration. Once again this is a terrific way of the bridging between McCartney and Costello. There are some terrific harmonies in the chorus.
"That Day is Done": This is the final McCartney-Costello collaboration on this album. Same message as for all of these collaborations as you hear the best of both of these musicians. This song sounds very different than anything McCartney has done before - good stuff.
"How Many People": McCartney's creativity is in high gear as he assembles a reggae influenced track. Paul pulls this off beautifully.
"Motor of Love": I heard almost a (very light) R&B influence at the beginning of this track. Although it's not one of the stronger tracks, I give McCartney credit for trying something new.
"Ou est le Soleil": What a great wrap-up song. McCartney always liked to have fun in his music and this song wraps it up perfectly. The lyrics are basically three lines in French (Where is the Sun?) and has a terrific Euro-Pop beat.
The liner notes contain all of the lyrics as well as songwriting and musician credits. This album proved that McCartney was not washed up in the 1980s. It brings the best of old and new together. Highly recommended.

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Digitally Remastered Reissue of the Original Album with My Brave Face / Put it There / this One / Ou Est Le Soleil / Rough Ride / Figure of Eight and More, plus Three Bonus Tracks Added:Back on My Feet / Flying to My Home / Loveliest Thing.--This text refers to an out of print or unavailable edition of this title.

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The Beatles: A Hard Day's Night (1964) Review

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(More customer reviews)Hard to believe that Miramax Entertainment could mess up this DVD so horribly. An anniversary release of one of the most important films of the 20th century no less. Shame on them.
There are a lot of raves here about the fact that the film is being presented "letterboxed" for the first time. Actually, it's just the first time the top and bottom of the picture have been chopped off for no reason! "A Hard Day's Night" was filmed in Academy standard 1.37:1. Slightly wider than your average TV tube, but not anything close to the 1.66:1 chop job on the new DVD. Full-frame would have been the proper presentation.
As for the audio...they DID clean up the dialog portions of the movie, so for perhaps the first time EVER, you can actually HEAR what everyone is saying - and it no longer sounds like they are speaking into an Edison cylinder recorder.
But oh, the music. They replaced the original mono soundtrack with the standard mono AHDN CD to replace the overmodulated music on the original film. Never mind that there were a couple of different mixes in there that they should have left alone ("Tell Me Why", "And I Love Her", "If I Fell") - BUT...they went and added microdelay and phasing to create some kind of a half-assed 5.1 mix that through a standard stereo or mono downmixed output makes the audio sound phase-y and hollow. This is worse than the original mono mix (available on the original Beta & VHS release from 1982 or the print aired on AMC several years ago) and the fact that the standard mono mix was NOT made available as alternate audio on the disc (as it was on the "Yellow Submarine" DVD) is an oversight punishable by public stoning.
As for all the bonus material...not ONE interview with an actual Beatle? Not even McCartney? The closest we get is George Martin?
The person behind this mess is none other than Martin Lewis, self-proclaimed Beatle "expert" and all around media whore. Lewis' involvement explains why no-one at Apple would have anything to do with the project. With some two-hours of useless interviews as "bonus" material, here's what you DON'T get:
The original theatrical trailers
The reissue theatrical trailers
The original theatrical "making-of" featurette
The surviving outtake footage ("You Can't Do That") [which, as a sidenote was left off the MPI DVD, making having the VHS & Laserdisc necessary]
The aforementioned MPI documentary DVD
Any surviving still photos of the other missing sequences
Running commentary on an alternate audio track
The promised (but not included) Richard Lester's "Running Jumping Standing Still Movie"
Anything of any relevance.
What makes this all the worse is that the image looks terrific. However, it's been so horribly trashed that the only proper place for this DVD is the trash can or as a trade in at the used DVD store.
Anyone who owns the original MPI DVD should hold on to it and save thier tewnty bucks.
Thanks to my friend Steve for enlightening me on this...

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Available for the first time on Blu-ray, A Hard Day's Night includes new footage, enhanced picture, digitally restored soundtrack, and a 12 page collectible photo insert. Special features includes hours of rare and new material. Video is in 1080i 16x9 high definition with 5.1 DTS-HD Master Audio and 5.1 Dolby Digital audio.
Amazon.com essential video
The Fab Four from Liverpool--John Lennon, Paul McCartney, George Harrison, and Ringo Starr--in their first movie. Nobody expected A Hard Day's Night to be much more than a quick exploitation of a passing musical fad, but when the film opened it immediately seduced the world--even the stuffiest critics fell over themselves in praise (highbrow Dwight Macdonald called it "not only a gay, spontaneous, inventive comedy but it is also as good cinema as I have seen for a long time"). Wisely, screenwriter Alun Owen based his script on the Beatles' actual celebrity at the time, catching them in the delirious early rush of Beatlemania: eluding rampaging fans, killing time on trains and in hotels, appearing on a TV broadcast. American director Richard Lester, influenced by the freestyle French New Wave and British Goon Show humor, whips up a delightfully upbeat circus of perpetual motion. From the opening scene of the mop tops rushing through a train station mobbed by fans, the movie rarely stops for air. Some of the songs are straightforwardly presented, but others ("Can't Buy Me Love," set to the foursome gamboling around an empty field) soar with ingenuity. Above all, the Beatles express their irresistible personalities: droll, deadpan, infectiously cheeky. Better examples of pure cinematic joy are few and far between. --Robert Horton

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Under The Covers: Vol. 2 Review

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(More customer reviews)As in the first volume of this series, which focused on the 60s, Sweet and Hoffs pay tribute to the 70s with more of their perfectly selected, arranged, and performed covers. While faithful to the originals, these tracks vary in many ways, both in the colors their voices bring to the harmonies and in the styles of guitar work on display.
Both performers clearly love the era and the radio singles they sang along to when they were young. Their emotional fidelity is as remarkable as their technical proficiency, and the fact that both have retained their youthful attitudes and voices in middle age (Hoffs is 50!) amazes this aging baby-boomer.
Both CDs are a joy to listen to, and we can only hope that the two will give us further volumes devoted to the 80s, when Hoffs' group The Bangles had their heyday, and to the 90s, when Sweet made his commercial breakthrough.
I also recommend the bonus tracks that you can download for this album, which include ten more interesting and adventuresome cuts:
Dreaming (3:07)
Marquee Moon (11:40) (even longer than the original!)
I Wanna Be Sedated (2:23)
Baby Blue (4:00)
You Say You Don't Love Me (3:07)
(What's So Funny 'Bout) Peace, Love and Understanding (4:22)
You Can Close Your Eyes (2:47)
Melissa (4:34)
Killer Queen (3:08)
A Song For You (5:07)

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Matthew Sweet and Susanna Hoffs delighted rock and pop fans when they teamed up as Sid 'n Susie to record an album's worth of '60s classics called Under the Covers Vol. 1. Now, three years later, Under the Covers Vol. 2 finds our heroes moving forward through rock's back pages to take on another decade: the '70s. From power-pop like The Raspberries and Big Star to the soft-rock of Carly Simon and Bread, and from the classic-rock of John Lennon and Derek and the Dominos to the prog-rock of Yes, Sid 'n Susie offer a pretty thorough survey of the state of rock, just before the Sex Pistols. Features guest appearances by Lindsey Buckingham of Fleetwood Mac, Steve Howe of Yes, and George Harrison's son, Dhani Harrison.

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Double Fantasy Review

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(More customer reviews)Note: The Lennon songs alone deserve a five star rating.
While "Double Fantasy" was meant to be Lennon's comeback album, it ultimately served as his sweet farewell.
John Lennon was a very proficient artist throughout most of the 60s and throughout the first half of the 70s. Between 1963 and 1975, a year didn't pass by in which Lennon didn't release an album, first with the Beatles and then as a solo artist. The second half of the 70s, however, saw no new music from Lennon. Indeed, he virtually disappeared from the limelight.
In the early-to-mid 70s, before his musical hiatus, Lennon indulged in his infamous "lost weekend." During this time Lennon was separated from Yoko and indulged in drugs, alcohol and general excess. After this dark phase, Lennon took the second half of the 70s off to find himself. In that time he reconciled with Yoko, became a father, and worked on new music.
November of 1980 saw the release of "Double Fantasy." It was Lennon's first album of original material since 1974's "Wall and Bridges." Although it initially received mixed reviews from critics, it was a hit, achieving gold status within a few weeks. The album's first single "(Just Like) Starting Over" also proved to be a hit single. With a new world tour planned for 1981, Lennon was poised to make a strong comeback and take the 1980s head-on.
But then came December 8, 1980, a night in which the world was robbed of one of its biggest talents.
After Lennon's death, fans went to the record stores in droves to pick up "Double Fantasy." It became one of 1981's top sellers and earned a Grammy. Although it had initially received mixed reviews from critics, it is now regarded by fans and critics alike as one of his finest solo offerings. The album proved to be a sad-but-sweet farewell.
Because "Double Fantasy" was released so close to Lennon's death, it's hard to listen to it and take it out of that context. It's a rather paradoxical listen. The nature of the album is celebratory and positive, yet it was released in the wake of such a tragedy. It's so unfair that a man who was so gifted, so optimistic about the future, should have it all taken away. All this makes "Double Fantasy" a very bittersweet album.
John Lennon's music has always been autobiographical. After the demise of the Beatles, when Lennon was coming to terms with his life and fame, he released his brutally honest masterpiece "Plastic Ono Band" (1970). It was an album of letting go, a total catharsis, a release of all his pent up demons. In 1974, when he was separated from Yoko, lost, and didn't know what to do with his life, he released the confessional "Walls and Bridges," which was a diary of that dark time in his life.
In 1980, Lennon was as happy and fulfilled as he had ever been, and "Double Fantasy" is a testament to that. He was happily married, had a young child, and was eager to get back into world affairs, tour, and make a statement.
"Double Fantasy" sees a joint John Lennon/Yoko Ono collaboration. Both sing and pen every other song, so each artist is surrounded by a song of the other. Often the songs are a response to one another, like a dialogue.
Lennon's last few albums before his hiatus had been brilliant, if unfocused. "Double Fantasy" sees Lennon's best work in years. With Jack Douglas producing and backed by top-notch studio musicians, Lennon came up with a stellar collection of mature and polished, yet rocking songs.
The Fats Domino-esque "Just like Starting Over" gets the album off to a great start. The mid-tempo "Cleanup Time," with its infectious horns has a great hook and keeps the momentum going. The downdraught insecure "I'm loosing you" is reminiscent of Lennon's work from "Walls and Bridges." Lennon's tribute to his son Sean, the new age sounding lullaby-like "Beautiful Boy" is both sincere and gorgeous, without sounding corny. The album's big hit, the mid-tempo "Watching the Wheels" offers an explanation as to Lennon's absence from the music world for the preceding few years. Lennon shows his masterful pop-sensibility for the stunning "Woman." The up-tempo "Dear Yoko" is a good, if not spectacular pop song. The horns add a nice touch. The 2000 remaster addition includes a rough demo of the hymn-like "Help me to help myself," which shows Lennon's desire to keep on the straight-and-narrow path.
Although the format of the alternating John/Yoko songs is an interesting idea for a middle-aged love story concept album, in all honesty, it would have been better if John and Yoko each released their own songs on separate albums. Yoko Ono is creative and a gifted songwriter, but her songs just seem out of place next to John's. That said, there are some good Yoko songs to be found on "Double Fantasy," like the disco-esque "Kiss, Kiss, Kiss," the cabaret-like "Yes I'm your Angel," and the infectious club-beat of "Every man has a Woman who love him."
I never actually listen to "Double Fantasy" as is, per-se. Rather; I have a CDR of all the Lennon songs from "Double Fantasy," and all the Lennon songs from the posthumous follow-up, "Milk and Honey," (1984) which was done in the same John/Yoko alternating format. This makes for a far more consistent and enjoyable listen.
While Lennon's early death is the biggest loss rock n' roll ever faced, it is of some comfort to know that Lennon spent the last few years of his life in high spirits. "Double Fantasy" ultimately serves as an acknowledgment of that, bittersweet as it may be.

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Beatles Diary Review

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(More customer reviews)Alf was the Beatles chauffeur, and so experienced the Beatles day-to-day as few did. But his stories are VERY minor stories, generally, and they often don't have much of a pay-off. But if you're a Beatles freak, as I am, even the most incidental anecdotes are of interest. He tells of trivial moments, and he is a rather shy man, which is actually rather refreshing, because most people you see on camera are overly slick. There aren't any great Beatles clips...a few here and there. It shows a clip of Paul at a solo-show, mentioning to the audience that Alf is in the audience, that is fun to see. And Alf relates when the Beatles once stole four bottles of milk! Also he gives details about when the Beatles met Elvis (Alf was there). And while most Beatles fans have seen the Beatles homes/hang outs in photos, to see them on video gives you a better sense of what they look like. This is a modest effort, but its modesty is part of its charm.

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The Lost Magical Mystery Tour Review

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(More customer reviews)THE BEATLES MAGICAL MYSTERY MONO TOUR EP'S,SINGLES AND SESSIONS - THIS IS A GREAT COLLECTION OF RARITIES AND OUTTAKES , INCLUDING AN 8 PAGE BOOKLET WITH THE COMPLETE DETAILS. UK IMPORT TRACKLIST
DISC ONE
MAGICAL MYSTERY TOUR era sessions
01. Magical mystery tour-take 9, RM5 or RM7
02. The fool on the Hill-take 1, RM'95
03. The fool on the Hill-take 4, RS'95
04. Flying-take 8, RM4
05. Flying-take 8, RM6 unedited
06. I am the walrus-take 7, monitor mix
07. I am the walrus-take 8, monitor mix
08. I am the walrus-taken 9, monitor mix
09. I am the walrus-take 17, RM4
10. I am the walrus-take 7, RS'95
11. Blue jay way-take 3, RM1
12. Your mother should know-take 9, rough mono mix
13. Your mother should know-take 27, RS'95
14. Hello goodbye-take 1, RS'82
15. Hello goodbye-take 16, RS'92
16. Hello goodbye-take 22, RS '82
The "Fool on the Hill" rehearsal tape
17. Part one
18. Part two
19. Part three
20. Part four
21. Part five
DISC TWO
THE MONO MAGICAL MYSTERY TOUR EP AND SINGLES
01. Magical mystery tour-take 9, RM10
02. The fool on the Hill-take 6, RM12
03. Flying-take 8, RM6 edited
04. I am the walrus-take 17, RM 23, UK version
05. Blue jay way-take 3, RM27
06. Your mother should know-take 52, RM25
07. Hello goodbye-take 22, RM6
08. I am the walrus-take 17, RM23, US version
The 1988 stereo video soundtrack
09. Magical mystery tour
10. The fool on the Hill
11. Flying
12. The magicians
13. I am the walrus/Five little Dickie birds singing on your head
14. Jessie's dream/Song of the Volga boatmen
15. Blue jay way
16. I wonder what the magicians are cooking up now?
17. I've got a lovely bunch of coconuts/Toot, toot, tootsie/
Happy wanderer/When Irish eyes are smiling/When the red,
red Robin comes Bob, Bob Bobbin' along/Never on Sunday/
Orpheus in the underworld
18. Your mother should know
19. Magical mystery tour/Hello goodbye
The BBC radio interviews
20. George on"Scene and heard"
21. John on "Where it's at"
A TIDY COLLECTION OF THE ORIGINAL MONO MIXES , THE FILM REMIXES AND INSIGHTS INTO BEATLES CREATIVE PROCESS VIA THE DEMOS.THE TOP NOTCH OUTAKES INCLUDED IN THIS SET BRINGS THEM FROM THE SOUL/REVOLVER PERIOD INTO THEIR NEXT PHASE/METAMORPHISIS,LITERALLY ON THE CUSP OF PEPPER. CERTAIN OF THESE TRACKS WERE ACTUALLY TO BE PLACED ON THE SGT PEPPER ALBUM , HOWEVER PER THE BEATLES USUAL STANCE THEY DIDN'T WANT THE PUBLIC TO FEEL RIPPED OFF BY HAVING TO BUY AN ALBUM OF MATERIAL ,THAT HAD BEEN ALREADY RELEASED AS SINGLES. I HAVE USED THIS PHRASE A LOT ABOUT THESE GUYS AND AT THE RISK OF REPETITION - THINK ROCK 101 - THROUGH GRADUATE!

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1967-1970 (The Blue Album) Review

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(More customer reviews)The "Red" and "Blue" Beatles CDs are testament to the genius of the band's music and are an excellent overview and a great place to start for those uninitiated (if there are such people) with the greatest band in history.
1962-1966 ("Red") covers the Beatles' Merseybeat era, a time when the Beatles were considered a singles "teenybopper" band. Among the best cuts on the first CD are "Please Please Me", "She Loves You", "Eight Days a Week", and "Ticket to Ride".
Their progression from teenyboppers to "serious band" begins to show in the songs from 1965's Rubber Soul, including "Norwegian Wood", featuring George Harrison on the sitar, and John Lennon's introspective "In My Life", which hints at the band's glorious and more complex studio work that was to follow.
The Red CD collection ends with two songs from 1966's Revolver, a record that placed the band on even higher creative ground: Paul McCartney's masterpiece "Eleanor Rigby" is the first time a string quartet accompanied a rock and roll record, and "Yellow Submarine" was one in a line of catchy, childlike songs written for resident jester and drummer extrodinaire Ringo Starr.
The first disc of 1967-1970 ("Blue") has the far more unenviable task of selecting four representative tracks from 1967's Sgt. Pepper's Lonely Hearts Club Band, still considered to be the most ground-breaking and influential album in the history of rock. "A Day in the Life" is the standout -- Sgt. Pepper's closer and emotional peak.
The CD closes with the two songs that best demonstrate the eventual clash in Lennon and McCartney's songwriting styles: McCartney's "Hey Jude" and Lennon's "Revolution" were sides A and B respectively of the Beatles' greatest-selling (and perhaps just "greatest") single. Where Lennon's song is a snarling, self-righteous rocker, McCartney's is a sing-song orchestral ballad. The one you like best probably depends on whether you're a "John" or "Paul" person -- truth is they're both great.
The final CD spans from 1968's The Beatles ("The White Album") to the end of the band's career. McCartney's best moments "Let it Be", "Get Back", and "The Long and Winding Road" (Despite that over-the-top Phil Spector production) are here, as are Lennon's "Don't Let Me Down" and "Come Together". The closer is "Long and Winding Road", though it's perhaps a weaker conclusion than "Two of Us" might have been.
The Red and Blue collections are awesome reminders of the Beatles' past accomplishments and their continued vitality even today.

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"The Long and Winding Road" continues with this classic 28-song retrospective of the Beatles' greatest hits.No Track Information AvailableMedia Type: CDArtist: BEATLESTitle: 1967-70Street Release Date: 10/05/1993

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Magical Mystery Tour Canadian Pressing Review

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(More customer reviews)MAGICAL MYSTERY TOUR was a dismal failure as a BBC television special, and justly so. In fact, it was so awful the program was never aired in the United States. Unscriptedly ad-lib and haphazard, the film's occasional musical performance highlights couldn't redeem what was a silly exercise in group personal excess.
Conversely, the American record album of MMT (ironically unavailable in Britain) was a wondrous thing indeed. The entirety and order of its songlist are included on this CD release. Inside the record's foldout cover are several pages of 12" stills taken directly from that strange movie. The LP also contain the complete song lyrics. Best of all, several Top 40 records that weren't a part of that original TV show were used to flesh out this set.
The majority of the songs on this Xmas '67 release received a great deal of American AM radio airplay at the time. No other US Beatles album contain as many chart topping hits as MAGICAL MYSTERY TOUR. Pretty good for what at the time was considered a letdown for all involved and their fans.
In many ways, MMT holds up better than SGT. PEPPER'S. Musically, if not cinematically, this was the Beatles at their height as a cohesive group.
PROGRAM--
SIDE ONE:
[2:51] Magical Mystery Tour
[3:00] The Fool on the Hill
[2:16] Flying (Instrumental)
[3:56] Blue Jay Way
[2:29] Your Mother Should Know
[4:36] I Am the Walrus
SIDE TWO:
[3:30] Hello, Goodbye
[4:10] Strawberry Fields Forever
[3:03] Penny Lane
[3:03] Baby, You're a Rich Man
[3:48] All You Need Is Love
TOTAL TIME: 36:48

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The Imagine Project Review

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(More customer reviews)It's not always projects studded with superstars are artistically frugal and satisfying. But here Herbie Hancock and producer/bassist Larry Klein have collected a host of renowned singers and musicians for a truly creative and impressive album. And a CD with an uplifting message of love, peace and understanding. In many ways refelecting Hancock's years long immersion in Buddhism.
In the vein of Joe Zawinul or Santana this is really a melting pot of world music influences, putting an African spin on the title track, while Dylan's "The Times They Are A changing" is presented as a fascinating mix of Irish - vocalist Lisa Hannigan and The Chieftains - with a surprise African finish by the intricate guitarist Lionel Loueke.
There is pure Brazilian jazz-pop with Céu, a surprisingly psychedelic "Tommorow Never Knows" with Dave Matthews. A grooving take on the old Joe Cocker hit "Space Captain" with Susan Tedeschi and her husband guitar star Derek Trucks . While the closing track "The Song Goes On", recorded in Mumbai, is in a beautiful Indian space, Hancock and old friend Wayne Shorter teaming up with sitar goddess Anoushka Shankar while Chaka Khan and K. S. Chitra shares the vocals.
Pink, Seal, Jeff Beck, Alex Acunã, India.Arie, Marcus Miller, Los Lobos and a host of others contribute to the fun. And lots of praise for Klein's once again superb production: multi layered and crystal clear and yet with a certain warmth and 'live feeling'. And ofc over and around it all the impressive piano and keyboard work of the man himself.

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Herbie Hancock's Imagine Project is an unprecedented international recording and film project featuring collaborations between music legend Herbie Hancock and a dozen superstars from every region of the planet. It utilizes the universal language of music to express its central themes of peace and global responsibility. The album combines Herbie s genre defying musical vision with the local musical identities of cultures from around the world.Herbie's last two efforts, 2008's Grammy Album of the Year River: The Joni Letters sold over 750,000 units worldwide and 2005's Possibilities sold over one million units INTERNATIONALLY.

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The Rolling Stones - Rock and Roll Circus Review

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(More customer reviews)The Rolling Stones Rock And Roll Circus was released Oct 15, 1996. It is the long suppressed made-for-TV special recorded 28 years earlier on Dec 11-12, 1968 with The Who, John Lennon, Taj Mahal, Jethro Tull, Marianne Faithful, and Eric Clapton. The packaging is beautiful with a great 42 page glossy color booklet that has all the rare behind the scenes photos and a full account of things leading up to the event. The Who were red hot at the time and easily upstaged the Stones who were still struggling through their first major crisis after the removal of Brian (and his subsequent death) and attempting to figure out how to hold on to their status as the premier band. The Stones refused to release the recordings because their performances were not spectacular. Most reviewers agreed when they finally got to see the film themselves. However, what the film lacks in production (which was obviously amateurish) it makes up for in history. The Stones lackluster set of Jumpin' Jack Flash, Parachute Woman, No Expectations, You Can't Always Get What You Want, Sympathy For the Devil, and Salt Of The Earth are easily compensated by The Who's mini opera A Quick One While He's Away and Lennon and Clapton's Yer Blues. There are also dated period piece interviews with Mick and John and very amateurish introductions by the individual Stones, which when combined with the extremely amateurish set, acting, and cinematography amply demonstrate why this is one for Stones and rock history collectors. The Stones were right, it didn't work for them, and it is good that the release was delayed until it appealed to collectors and would not reflect on the reputation of the band.
Most people know the music, so in my reviews I try to give you data on the sessions and interesting facts connected with the songs and the album. Here we go:
Interesting notes include:
.....this CD and the companion DVD and VHS releases were the last time Brian Jones performed with the Stones
.....Brigitte Bardot was Mick's original choice for the ringmaster, when she declined, he did it himself
.....Keith wanted Johnny Cash, but he declined too
.....Mick refused to consider Jimmy Page's new band "The New Yardbirds" without hearing their tapes (which were released on their first album "Led Zeppelin")
.....Ivry Gitlis was a great classical violin virtuoso.....he accepted an invitation to perform because he respected Brian Jones
.....John Lennon's temporary supergroup (Clapton, Mitch Mitchel, and Keith) was named Dirty Mac in response to the hottest band of the day....Peter Green's Fleetwood Mac
.....the taping started around noon on Dec 11 and ran for 18 hours...when the specially chosen fan audience left at 6AM, Mick and Keith shook hands with most of them and thanked them for coming
Other songs from the same show that were recorded for the Circus but which have not yet been released are:
.....Route 66
.....Confessin' The Blues
.....Yonder Wall
.....Walkin' Blues
...

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The Beatles Mono Box Set Review

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(More customer reviews)Introduction: The following is pretty much a full review of both the mono and stereo reissues largely written in real time as a series of e-mails to an old friend who once owned a legendary record store here in Chicago. The story of the reissues really comes down to the technical limitations of two-track, four-track, eight-track, etc. recordings and the relative complexity of the music of the Beatles. Listening occurred on what would be considered an audiophile system with Quad 988's as the speakers. If following reading this review, you wish to read an expanded essay by me on the box sets, please visit The Beatles Wiki site by Hyperarts.
Please Please Me: The sound on the mono is just amazing. You can hear the echo in the room as John sings Anna. The vocals just soar. Ringo was just so good, even at this early stage and so was Paul. They supported and framed the songs so perfectly. And just think, in twenty-one minutes, or so, Twist And Shout! Stereo can't hold a candle to this, if for no other reason than the left/right "stereo" found later in With The Beatles, Rubber Soul and Revolver.
With The Beatles: As with Please Please Me, the mono sounds so, so, nice. As the stereo has that annoying left/right "stereo," no contest: mono hands down.
A Hard Day's Night: Seems better and more enjoyable in stereo. I think the reason is that they now had four tracks so George Martin could do proper stereo mixes and still have a mostly fresh first generationish sound. Remember, there were only two track available for Please Please Me. However, when they got to Rubber Soul and Revolver, four tracks weren't enough, which required, in some instances, numerous dubs of the four tracks to another four track tape, merging the four tracks to one track, thereby opening up three new tracks. While this degraded the sound somewhat it also made it difficult to back-track and do the after-thought stereo mixes, which is why we have the atrocious "stereo" of Rubber Soul and Revolver. Consequently, the reason the monos of these albums rule has mostly to do with technical limitations. While the mixes on A Hard Day's Night are true stereo mixes, they carry George Martin's idiosyncratic, but really right, decision to put the vocals in the center, the rhythm section to the left and the other instruments to the right. I always have loved how Martin took care to isolate the brilliant work of Ringo and Paul so many times instead of just following the convention of placing the drums in the center. This is why one of Martin's memoirs is entitled: "All You Need Is Ears."
The Beatles For Sale: Comments, preference and reasons for preference similar to A Hard Day's Night.
Help: Well, thank God we have three different versions to compare to make life ever so easy. First, mono is the definitive mix, that's a plus. As a minus, while it sounds richer, it is also a bit muddy compared to the stereo mixes. As for the stereo mixes, the remaster of George Martin's '87 remix does show some limiting in this new incarnation. A bit a hard to dial in the right volume. Sounds fuller, but that's the limiting. Not sure I care for this version too much. As for the `65 stereo version, that comes on the same disc as the mono version, as this album is somewhat acoustic, the absence of the limiting that was done to the new stereo remix/remaster is a plus. The delicacy is there in I Need You. Overall, the "old" stereo is prettier than the "new" stereo. One can argue over whether the "new" stereo or the ""old" stereo is better, I come down on the side of the "old" stereo, I like pretty. But as you get both the mono and the "old" stereo on the single mono disc, the cheapskate in me screams if you had a pistol to your head and only had to purchase one version of Help, it would be the "mono" disc.
Rubber Soul: Mono over stereo, if for no other reason than the left/rt channel mix that plagued Please, Please Me, With The Beatles and Revlover.
Revolver: There is a section of I Want To Tell You where Ringo is just so muscular and explosive in the mono that is missing in stereo and this is before we get to the issue of the left/right "stereo" of the stereo mix. Plus, there is just this overall richness of sound to the mono that is missing in the stereo. That said, it is a bit cooler to hear Tomorrow Never Knows in stereo. But, overall, mono.
Sgt. Pepper's Lonely Hearts Club Band: The things you have heard are correct about the mono mix, the clarity and control over the notes, instruments and vocals is all there. Overall, it just sounds better, fuller and richer than the stereo, plus it is what the boys intended. Oddly, the thing that was most breathtaking was She's Leaving Home; just a full, gorgeous, sound. In stereo, it just sounds relatively wrong; thin compared to the mono. That said, because Day In The Life is such a mind-f the stereo is the definitive version of this song.
Magical Mystery Tour: While Pepper's sounded better in Mono, MMT sounds better in stereo.
The Beatles (The White Album): Both versions have their merits, you need both. If you can only go for one, it's the stereo.
Abbey Road: The defining moment of these reissues, and why it took four years, may be found on AR's I Want You (She's So Heavy). Because they couldn't take the tape hiss out without compromising the sound, they didn't. But when it came to John's final "yeah" which was over saturated and clipped previously, they were able to take the clipping out, and for the first time, you can hear all of John's vocal. Second side now, Here Comes the Sun and now Because. Wonderful sound throughout. Can't wait for Ringo at the end.
Let It Be: Now that I have had the time to compare three versions of LIB, an original 1970 EMI vinyl, this remastered CD and LIB Naked, it turns out that LIB is one of the more interesting remaster releases. First, LIB Naked has it all. It is true to the original vision of the Beatles for this music. It has clarity, correct dynamics and musicality. One of the places you can hear this best is in the title track and the differences between the Martin and Spector mixes. Martin got the church-like nature of the song. Consequently, you get more organ and the choir-boy harmonies of John and George, which Spector dubbed over with horns, strings and over the top solos by George. And I'm with Sir Paul concerning the damage done by Phil to The Long And Winding Road. As for the 1970 LIB vinyl, it has its problems from a sonic standpoint, particularly as it is a Phil Spector production. This brings us to this remastered CD. It trumps the 1970 standard vinyl in clarity but not LIB Naked. The real surprise is that the compression added to this remaster actually makes this a more Phil Spectoresque production than the original. And surprisingly, I like it, at least compared with the 1970 vinyl. Still, Naked is what you want.
Mono Past Masters: Right now, listening to the The Inner Light, which I hate, but it sounds so, so, so good in mono that I may actually like it. And, look out, Paul's bass piano notes in Hey Jude are right there as is Ringo's tambourine. Can't wait for Revolution plus the mono songs from Yellow Submarine. The mono Past Masters would have been perfection if they had added a stereo Let It Be and The Ballad Of John and Yoko. After all, the "stereo" Past Masters is actually a mixture of stereo and mono.So kids, here's where we end. Your core, oddly enough, should be the mono box set. Augment this with the stereo Hard Day's Night, The Beatles For Sale, Sgt. Pepper's Lonely Hearts Club Band, Magical Mystery Tour, The Beatles, Abbey Road, Let It Be and stereo Past Masters.
Addendum: As I live in Chicago, and have access to one of the country's remaining great stereo stores, that also boast three incredibly knowledgeable owners and an original Sgt. Peppers British Stereo pressing, following posting this review I went over there to compare the original vinyl with the two new CD reissues. We listened to the reference system, Naim Audio electronic and Quad speakers. There was total agreement on what we heard. First, Pepper's mono CD had better tonal balance than Peppers stereo CD. Pepper's stereo CD had better coloration than the mono, but this was defeated by the harshness of the sound (more on harshness shortly). Thus, overall, between the two CD's we preferred the mono CD. All that said, the stereo original British vinyl pressing crushed both. It had both tonal correctness and coloration.
Now as to the harshness issue, please be mindful that I have listened to these discs on two audiophile systems. Something like harshness is likely to be more prevalent the higher up you get in the stereo food chain. Thus, someone who doesn't have an audiophile system may not experience the harshness at all, but it really is there. This may render some of the stereo CDs more listenable for these people than they were for me, at least when it comes to Pepper's.
9/12/09 THANKS TO ALL: The past few days, following the posting of my review, have been a lot of fun. So many people have taken the time to write me, quite a number saying the review was flat-out the best review of any sort they have read. Others shared memories and feelings about how important this music is to them. Amazingly, two brother, one in Boston one in Paris, found they were reading the same thread and were kind of amazed by the co-incidence. All in all, it has been a very rewarding experience. I thank Amazon for providing this opportunity, and those of you present and future who have/will take(n) the time to play.

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FEATURES:-Dimensions: 5.75" x 5.38" x 2.63"-Description: ·Hard white glossy slip box ·Limited edition ·CDs packaged as mini LP replicas (replica artwork, sleeves and gatefolds) ·Remastered by Paul Hicks, Sean Magee with Guy Massey and Steve Rooke-Contains:Original Mono version - 11 albums (12 discs) += mono mix CD debut ·Please Please Me ·With The Beatles ·A Hard Day's Night ·Beatles For Sale ·Help! (CD also includes original 1965 stereo mix)+ ·Rubber Soul (CD also include original 1965 stereo mix)+ ·Revolver+ ·Sgt. Pepper's Lonely Hearts Club Band+ ·Magical Mystery Tour+ ·The Beatles+ ·Mono Masters (features all of the mono tracks that appeared on singles, EPs. or that never made it onto the 13 albums)-Essay written by Kevin Howlett*note: Yellow Submarine, Abbey Road and Let It Be are not included, as they were originally recorded in stereo.
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1962-1966 (Red) Remastered Review

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(More customer reviews)Commonly known as the "Red Album", the 2LP vinyl set "1962 - 1966" became an instant classic when it was first released in April 1973 (as did its "Blue" counterpart "1967-1970"). When they were finally reissued onto the new CD format in 1993 however, they caused consternation because of their extortionate full price.
So is this newly remastered 2010 mid-priced 2CD reissue on EMI/Apple 5099990675225 any better - the answer is an emphatic 'yes'.
PACKAGING:
The first thing you notice is that the clunky double jewel-case of the 1993 reissue has been dumped for a three-way foldout card sleeve. The centre and right flaps picture the photograph on the inner gatefold of the original vinyl double album (St. Pancras Old Church in London, 27 July 1969, The Beatles with the public looking through the railings). It also houses the two CDs - CD1 has the full Apple label (13 tracks, 31:02 minutes) and the 2nd CD has the half Apple logo (13 tracks, 31:45 minutes). The vinyl set is yet to come, the Digital Download versions are available from 25 Oct 2010 and there's also an issue that lumps both the Red & Blue reissues together as one package in late November.
The left flap houses a new 32-page booklet. The lyrics are intact from the inner sleeves of the original album issue, there's new liner notes by BILL FLANAGAN the MTV Executive and author of "Evening's Empire" (a book on Rock in the Sixties) and there's plenty of superb colour photos from the period - it's impressively done. Downsides - some complained that the 09/09/09 card digipak sleeves for The Beatles reissues were easy to smudge once out of the shrinkwrap and worse - the inner flaps easy to tear as you removed the disc. I'm afraid these are the same. I suppose I would have been naïve of us to think that EMI would actually listen to the complaints of 2009 about packaging, but they haven't - the need for these issues to look the same as the preceding ones has overridden all considerations... Having said that, I still think they look great - substantial even...
PLAYING TIMES:
It doesn't take a particular genius to work out from the playing times provided above that this set could easily have fitted onto 1CD (and even included bonus tracks). But EMI would of course argue that this would fundamentally alter the aesthetic of the original release. At least this time, the reissue is at mid price, so we're not being charged for the privilege. I think the new price pitch makes the 'one' disc argument a mute point. Besides, I like the break, taking out the first disc and putting in the second - it's how the original 2LP issue was. And better, it doesn't actually diminish the listen, if anything it enhances it.
TRACK CHOICES:
The compilation itself is basically the A-sides of all their UK 7" singles releases between 1962 and 1966 in chronological release date order with a few key album tracks thrown in for good measure. Eagle-eye fans would therefore note that as ALL Beatles UK 7" singles for that period were issued only in MONO, so the tracks on the album should reflect that - the MONO single mixes. But EMI did nothing of the sort. In fact the original 1973 albums stated only STEREO on the labels and only the STEREO code was reflected in their catalogue numbers too. At least this time this new 2010 issue notes that Tracks 1 to 4 on Disc 1 are in MONO, while all other are in STEREO ("Love Me Do" is the album mix and not the single version). Bottom line - I would argue that accuracy's loss is the listener's gain, because the STEREO versions used here are awesome.
SOUND:
Although the compilation is copyrighted to 2010 (released Monday 18 Oct 2010 in the UK and 19 Oct 2010 in the USA), the liner notes don't try to hide that these are the 2009 remasters by the same team who did the much-praised Beatles catalogue of 09/09/09. The sound quality is fantastic - breathtaking clarity on instruments - George Harrison's sitar on "Norwegian Wood" - the string quartet on "Eleanor Rigby" and so on.
CONTENT:
But what impresses most is the actual listen itself. Even now, it's truly shocking to hear just how accomplished The Beatles were. Re-listening to each disc in straight order is a gobsmacking experience - and by the time you get to the real song-writing genius of "Ticket To Ride" and especially "Yesterday" (the song that single-handled shut all the begrudgers up) - you're left with a renewed sense of awe. "We Can Work It Out" and "Day Tripper" were a single for God's sake - not on any English album at the time of release! "Paperback Writer", "Ticket To Ride", "Michelle" - track after track of brilliance... Were they really 'this' good - and so early on - the answer is yes - and always will be.
To sum up - the sound on these new reissues is fabulous; the packaging better than the 1993 versions and each is being sold at mid-price - available in most places for less than the price of a single new album. You can't help but think that millions of people globally will take one look at these beauties on a shelf somewhere and slap them straight into their shopping baskets. And rightly so...
I've loved re-hearing these classic Beatles songs in this beautiful sound quality - I really have - and despite some minor packaging quibbles - the 2010 version of the "Red" album is wholeheartedly recommended.

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The Beatles' original 1973 compilation 1962-1966 ("Red") and 1967-1970 ("Blue") have been remastered by the same dedicated team of engineers at EMI Music's Abbey Road Studios responsible for remastering The Beatles' original UK studio albums, carefully maintaining the authenticity and integrity of the original analogue recordings. The result is the highest fidelity the catalogue has seen since its original release. Both 2CD packages include expanded booklets with original liner notes, newly written essays by Bill Flanagan and rare photos."Red" and "Blue" are the first Beatles compilations to be released after the band's 1970 disbandment, the popular collections each feature a selection of singles and album tracks written by the band's members.

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The Beatles - The First U.S. Visit (1991) Review

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(More customer reviews)This is an engaging documentary of The Beatles' first U.S. visit. What makes it so fascinating are their performances on the Ed Sullivan show, which are captured here. Digitally remastered, this early television footage has been expertly restored, enabling the viewers to see and hear The Beatles, as they first appeared on American television.
Cheeky and exhuberant, The Beatles, occasionally off key but having the time of their lives, have not lost the capacity for knocking the socks off the viewer, as they are brimming over with vitality and the joy of life. They are truly wonderful to watch, as well as hear. Fortunately, the video covers all their performances on Ed Sullivan, and what a treat they are! It is sad to think that already two of them, John and George, are no longer with us.
The film documents a more innocent and simple time. It captured The Beatles on the threshold of international fame. It memorialized for all time their first U.S. visit with footage shot in railroad cars, hotel rooms, and limousines. Some of it is somewhat self-conscious, and some of it is playful fun. It also memorialized the reactions of their fans. The film is a daily cinema verite testament to that first visit.
This is a very good documentary that is well worth having soley for the performances of The Beatles. There are over thirteen of them, and the tracks have been digitally remastered for your listening pleasure. Overall, however, the documentary lacks some cohesion, due to the cinema verite nature of the film. Still, it is a worthwhile documentary to have, if only for those wonderful Ed Sullivan performances. If one wants a historical overview of The Beatles, one may also wish to view the more in depth and complex documentary, "The Compleat Beatles".

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Magical Mystery Tour Review

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(More customer reviews)The remastered Beatles CDS are out (finally), after a too long wait. If you want to get a quick idea what to expect from the remasterings, the best way to do this is to compair one of the 1987 remastered songs to your copy of BEATLES ONE (the number one singles CD from 2000.) The BEATLES ONE was remastered with 24 bit technology, and sound solutions to negate the hiss. A lot of MAGICAL MYSTERY TOUR came out on the BEATLES ONE CD, as well as the remastered and remixed soundtrack to YELLOW SUBMARINE. (It included all 15 songs used in some way for the cartoon film.) So, I had misgivings about buying MAGICAL MYSTERY TOUR remastered, cos I already had so many of the songs remastered. Nevertheless, i'm really glad I did. The remastering job is just hands down phenominal. Most of what pops out at you, are the little bits that were too sonically blurred, or buried in the mix, to decipher. The BASS is very punchy, while the top end resonates with much greater clarity and distinction. The ride and crash symbols come across so REAL. My only real disappointment, is that with the purity of the sound we now have, all the problems with bouncing down so often to free up tracks is evident. Its no secret that MAGICAL MYSTERY TOUR was recorded on four track, like Pepper. So, because almost ALL the musical instruments ended up crowded onto one track, leaving another track or two for vocals and lead guitar, then a track for the sound effects. (I think Martin wanted the sound effects seperated, like the bus that drives between the speakers on the song MAGICAL MYSTERY TOUR, to produce that psychedelic movement between the stereo channels.) Sadly, this gives problems in the soundscape that sound very odd to our modern, 48 track hearing. Like having the drums crowded into the left channel, along with the guitars, maracas, keyboards, while the vocals and the Bass, or lead guitar, get stuck in the other channel. Of course, this is why the MONO editions were given such focus, until 8 track recording made the stereo soundscape more balanced. Still, for clarity, definition, and distinction (like finger cymbals or keyboard parts played low, around middle "C"), this remastered edition is just fantastic.
The other goodies that you get with the REMASTERED version of MAGICAL MYSTERY TOUR, is a VASTY IMPROVED booklet. For those you had the original Vinyl of this album, you know it came with a "comic book" in the middle, that had lots of photos and these drawings that told the "story" behind the movie the Beatles made in 1967 called MAGICAL MYSTERY TOUR. I often wondered WHY they didnt reproduce this booklet in the first CD edition, but the new 38 page booklet finally fixes that problem. IT also has some recording notes, and a mini essay about how this album fits into the Beatles Discography. The layout of the new cardboard CD holder is pretty cool. It opens up into three panels, like a triplyct. The first panel shows the cover, that also holds the thick booklet. The next two inner panels combine to show all four Beatles looking out the top of the Magical Mystery Tour bus (it had a skylight opening). In the third panel you find the CD slipped in, but without a CD "record cover" as you normally see these "Vinyl reproduction" gatefold albums, so you need to be careful pulling the CDs out to prevent surface scruffs. When you fold in the gatefold panels, you have outside one panel a full color reproduction of the photograph taken for the SINGLE sleeve of STRAWBERRY FIELDS FOREVER. (The fab 4 with bright floodlights around them, overexposing the film.) All in all, the design and layout are a HUGE improvement on the first CD release. Even the CD itself is printed like the old PARLOPHONE LPs. And lastly, here's a word about the 3-4 minute mini documentary. I was worried that my 10 year old MAC may not play it, but the QUICKTIME documentary will play on MACS with G4 or G5 processors, and anything past a OS X.3, or any PC with at least a pentium 3. The mini-doc shows a little bit of the first 5 song's "videos" from the MAGICAL MYSTERY TOUR FILM. While the edited "videos" play, there's voice overs from the guys, including JOHN's famous statement about this album being his favorite, cos its so wierd, and cos its the album where I AM THE WALRUS was placed. Paul defends the film, as usual. Then, they continue the voice overs, while you see bits of the promo films for HELLO GOODBYE, PENNY LANE, and STAWBERRY FIELDS FOREVER. As for studio chatter, there's a couple of bits, but not that much. I didnt own the Magical Mystery Tour DVD, I would have thought much more of this particular mini documentary. I am certain of one thing. The guys at APPLE wanted to make sure this sound remastering was done right, and would be the LAST WORD in upgrades for a long time. (At least until they do go back and remix from the original four tracks, and put out AUDIO DVDS. I wouldnt hold your breathe, tho.)
All in all, there's enough sound quality improvement here to make it well worth buying. If you dont want to replace your whole BEATLES CD collection, I suggest just buying one of the REMASTERS, just to put your toe in the water. Even tho I've always loved this album for the songs on it, I'd still buy WHITE ALBUM as a first pick, maybe even ABBEY ROAD. Since they were both recorded on 8 track, there's just that much more clarity, from the lack of bouncing down of tracks. The stereo soundscape was much improved by then as well. But whatever REMASTERED CD you buy, know this: You are hearing EXACTLY what George Martin and the Beatles heard, when they played back the master tapes in ABBEY ROADS studio. For some the sound improvment might only be subtle, but for me, any improvement to the BEATLES catalouge is VAST. The improved artwork, the quick time documentaries, etc is just icing on the cake. Who wants cake without icing anyway?

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Japanese exclusive reissue of 1967 album. This Toshiba/EMI pressing features an OBI strip (different from the last Japanese pressings issued in 1990) & an insert with Japanese text & lyrics in Japanese & English. Manufactured & pressed in Japan. This album has been direct metal mastered from a digitally remastered original tape to give the best possible sound quality. Gatefold sleeve. 2003.

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The Beatles - Magical Mystery Tour / Revolver + 3 Bonus Review

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(More customer reviews)Once again. here comes another brilliant Russian-only imported CD, that features together, 2 landmark albums from The Beatles, together onto one disc. This time, the selections are "Revolver" and "Magical Mystery Tour". One listen to this disc, and you will see why their music never goes out of style.
REVOLVER
1. Taxman
2. Eleanor Rigby
3. I'm Only Sleeping
4. Love You To
5. Here, There And Everywhere
6. Yellow Submarine
7. She Said She Said
8. Good Day Sunshine
9. And Your Bird Can Sing
10. For No One
11. Doctor Robert
12. I Want To Tell You
13. Got To Get You Into My Life
14. Tomorrow Never Knows
MAGICAL MYSTERY TOUR
15. Magical Mystery Tour
16. The Fool On The Hill
17. Flying
18. Blue Jay Way
19. Your Mother Should Know
20. I Am The Walrus
21. Hello, Goodbye
22. Strawberry Fields Forever
23. Penny Lane
24. Baby You're A Rich Man
25. All You Need Is Love
Like several other titles in this series, this particular CD is also graced with additional bonus tracks. While the 2 individual albums themselves are still enjoyable to listen to, they truly shine together, here on this double-play disc. It was also during this time that the band really experimented with some of the wildest and coolest musical sounds ever imagined by anybody. The group had far outgrown the days of "Beatlemania". Their songs had improved by '66 and '67.

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The Beatles Rare Deleted Out of Print 2 0n 1 CD + 3 B0NUS Tracks Tracklist -. REVOLVER.5 Aug. 1966 PARLOPHONE / 8 Aug. 1966 CAPITOL1. Taxman2. Eleanor Rigby3. I"m Only Sleeping4. Love You To5. Here, There And Everywhere6. Yellow Submarine7. She Said She Said8. Good Day SunShine9. And Your Bird Can Sign10. For No One11. Doctor Robert12. I Want To Tell You13. Got To Get You Into My Life14. Tomorrow Never Knows MAGICAL MYSTERY TOUR.27 Nov. 1967 CAPITOL1. Magical Mystery Tour2. The Fool On The Hill3. Flying4. Blue Jay Way5. Your Mother Should Know6. I Am The Walrus7. Hello GoodBye8. Strawberry Fields Forever9. Penny Lane10. Baby You"re Rich Man11. All You Need Is LoveBONUS:26. Here,There And Every Where (Lennon - McCartney) EMI. London, 16 June 196627. Strawberry Fields Forever (Orchestral Score) (Lennon - McCartney - G. Martin) EMI. London, 15 Dec. 196628. Your Mother Should Know (Take 1) (Lennon - McCartney) Chappel Rec. Studio,London,22 Aug. 1967

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Tour 2003 Review

Average Reviews:

(More customer reviews)I saw this show at The State Theatre in Easton Pa. It was the smallest venue on the tour and I was in the second row. It was as if Beatlemania never died! I had seen the All Starr Band on every tour since the inception but this show was incredible. So much so that I went to see it again three days later at the PNC Bank Arts Center - the local amphitheater. All of the intimacy was gone and the show was less than thrilling by comparison. I love Ringo but lets just say that this recording is representative of the amphitheatre show. The sound is shallow and you get the feeling that the band is just going through the motions. As stated in other reviews, the omission of Paul carrack's incredible rendition of Tempted (A highlight of both shows) is a great disservice to music lovers. Also, the band did an acoustic version of Here Comes the Sun in tribute to George Harrison that was moving. That too is missing. This CD is for fanatics only. I'm a fanatic and yes - I'm glad I bought it.

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