This was almost an entirely different review.
Quick background: The Beatles 1962-66 and The Beatles 1967-70 were originally released in 1973, two double LPs (vinyl) which served as their Greatest Hits. (For my thoughts on those collections, see this link: Album Spotlight: The Beatles—Compilations) Apple has just remixed and re-released these two sets with additional tracks, including the band’s apparently final single, Now and Then.
I’ve not been a fan of Beatles remixes. Here is a quote from an essay I wrote on the subject, You Can’t Do That, back in 2007:
If these records were remixed in either stereo or Dolby 5.1, the results would be hideous. These instruments and vocals are “locked in” to their balance on the tape. Any playing around with it would merely sound horrible, even with modern computers and the like. You can’t separate the ingredients after you mix cake batter, to use a simile.
Back in 2007, that was completely true. However, thanks to Machine Automated Learning, or MAL as Peter Jackson affectionately termed it, things have changed. It’s possible to isolate instruments and vocals even when they were recorded on the same track. Giles Martin, when discussing last year’s Revolver remix, even used the same simile:
That “Taxman” track, which I’m using as a demo, (now) has guitar, bass and drums together; I can take off the guitar, I can take off the bass, and then I can even separate the snare drum and kick drum as well. And they sound like the snare drum and kick drum. There’s no hint of guitar on there (even though they’d been baked together on the master tapes). And I don’t know how it’s done! It’s like I’m giving them a cake and they’re giving me flour, eggs, and milk and some sugar. 1Source: Variety
Giles and I must both love homemade scones. In any event, I anticipated these new remixes with eagerness, for a change, to hear how marvelous they’d sound, particularly on the earliest material. When they appeared on Apple Music, I promptly downloaded them and began to listen.
My joy faded, slowly at first, then more rapidly and with growing dismay. They didn’t sound great at all. In fact, they sounded terrible. Lines in each song would suddenly get softer, then return to normal a few bars later. I had to crank up the volume to ridiculous levels just to get the same level I had with the 2009 remasters.
I was not impressed. But I was quite puzzled. Revolver had sounded fine! What had happened? Was it just the two-track tapes which defied MAL’s abilities? And why had they released these when they sounded so wretched?
I listened a couple of times, shaking my head. So much for AI. But John had sounded so perfect on Now And Then. I didn’t get it.
I decided to give it one more listen and then write my review. As I pulled up the Red Album, two words caught my eye on the screen: Dolby Atmos. Per Wiki:
Dolby Atmos is a surround-sound technology developed by Dolby Laboratories. It expands on existing surround sound systems by adding height channels, allowing sounds to be interpreted as three-dimensional objects with neither horizontal nor vertical limitations.
Oh. So I’d downloaded these songs in a multichannel format? And I was listening in stereo? Maybe…just maybe….
I trashed the downloads, changed my music settings, and redownloaded the songs in stereo. World of difference. So there’s your laugh for the day.2Sorry, but if you want a Dolby Atmos review, you’ll have to look elsewhere. I haven’t the equipment or the patience.
Anyway, there are two considerations for these sets: the remixes, and the new song selections. I’ll share my thoughts about both. Asterisks are for added tracks.
Love Me Do: This is the single “Ringo” version, which I don’t like as much as the album version (sorry, Ring); but most people won’t even notice. The remix sounds a lot like the “duophonic stereo” which Capitol used to turn mono tracks into a semblance of stereo back in the Sixties; e.g., the bass on the left and treble on the right. Still, it’s better sound quality, and clearer. Nice handclaps on the instrumental.
Please Please Me: The album version this time. Again, a lot like fake stereo, but with much better sound quality. No complaints.
*I Saw Her Standing There: Marvelous! Here the guitars are separated, and the vocals and bass are clearly centered. Excellent quality mix. MAL came through. And this is a great addition to the album as well.
*Twist And Shout: Not quite as great as the previous track, but much better than the two-track mix. It really is like you’re in the studio. Also, perfect addition to the lineup.
From Me To You: The harmonica is back in the stereo mix! Sounds great.
She Loves You: Eh, we’re back to a duophonic sounding mix. But it’s NOT duophonic. I guess Giles was more adventurous on some of these tracks. BTW, he preserved what I liked best about the stereo separation on these releases. Smart man.
I Want To Hold Your Hand: The first four-track mix, and Giles makes the remix sound just as good, if not a little better. I admit it.
*This Boy: Definitely an improvement. I can hear George much more clearly! I don’t know if I would have chosen this particular song, but it’s a fan favorite.
All My Loving: An improvement, but not top level. The guitar solo is fantastic.
*Roll Over Beethoven: Beautiful. Much better than the two track, with George’s voice in the middle and the instruments spread out. But why this cover song?? What about Don’t Bother Me and It Won’t Be Long? Why were they left off when they’re Beatle originals?!
*You Really Got A Hold On Me: See above. Also, if we’re going to include covers, I would have preferred Please Mr. Postman to this one (although it’s gorgeous).
Can’t Buy Me Love: This is where I start to hear an improvement with the remixes. The original sounds great, but the remix sounds fuller; more natural. I can’t explain better than that. BTW, the bass on all of these is louder. This means I can finally turn the bass setting down a notch in my car. Good deal.
*You Can’t Do That: See above. Good song choice; but where is If I Fell? Or Things We Said Today? They should have included at least one of those.
A Hard Day’s Night: No complaints. (This will be my standard comment going forward, unless I have an issue. There are a couple.)
And I Love Her: No complaints. They preserved the beauty of the guitar separation while making the track feel more modern.
Eight Days A Week: No complaints mix wise. But Beatles For Sale is the bastard stepchild again. Where are No Reply, I’m A Loser, and Baby’s In Black? Surely you had room for at least one of them?!
I Feel Fine: This is one of my favorite Beatles songs, so I took the time to listen via headphones first to the remix, then the original stereo. The remix *cough* is better. I admit it.
Ticket To Ride: No complaints.
Yesterday: Again, I did an A/B comparison via headphones. The remix wins again. Giles has put the string quartet across the sound field, so you hear the violins on the left and the cellos on the right.3Or perhaps it’s the other way around. I’m not too sure. This is a VAST improvement. It makes the song seem less hokey than when the quartet is all in the same channel; more subtle. Gorgeous.
Help!: No complaints.
You’ve Got To Hide Your Love Away: No complaints.
We Can Work It Out: Complaint! I have no problem with the stereo, but Giles turned down the organ on the choruses. Just…no. The organ is the point of that song. Other than that, great sound.
Day Tripper: An improvement on the remaster. I can hear the guitars clearly. Mmm.
Drive My Car: Here we get to the Rubber Soul remixes, which were the ones I anticipated the most. Giles did not disappoint me. The vocals are centered, the instruments distributed well…I can’t wait for the boxed set. (Never thought I’d type that vis-a-vis the remixes!)
Norwegian Wood: See above.
Nowhere Man: Mmm. The vocals are clear and spread out. Better than the Yellow Submarine Songtrack remix.
Michelle: See above.
In My Life: See above.
*If I Needed Someone: See above, and worthy addition to the lineup. Wish they’d made room for The Word as well.
Girl: See above. I really love these particular remixes.
Paperback Writer: No complaints.
Eleanor Rigby: An improvement (coughs again).
Yellow Submarine: No complaints.
*Taxman: Needs more cowbell! Other than that, great, and a perfect addition to the lineup.
*Got To Get You Into My Life: No complaints; perfect addition.
*I’m Only Sleeping: No complaints. Not sure I would’ve chosen this, but it’s fine.
*Here, There and Everywhere: No complaints; perfect addition.
*Tomorrow Never Knows: See previous comment.
That covers the Red Album. And due to the length of this review, and my desire not to shortchange the Blue Album, I’ll leave it for next week.
Overall rating: ***** out of 5 stars. I’ll buy this one when I no longer have Apple Music (or maybe even sooner).
