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'The Beatles Remastered.' Getting better all the time?

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Suddenly, it's easier to imagine them playing live at the Cavern Club (minus the screaming girls). Listening to Revolver's "Got to Get You Into My Life," the horn section's brass sounds freshly polished and positively gleaming as Ringo's insistent shuffle beat drives the song up another level.

Paul and Ringo should be ecstatic about the boosted bass and more focused drum sounds, which reconfirms what a truly fine rhythm section they were. Ringo's ride cymbals and hi hats have never sounded so clear or shimmery. Tambourines and shakers, formerly buried in the mixes, can now be distinctly heard, adding visceral texture to the music. On the lovely "Blackbird," not only can you hear Paul's foot tapping out the steady 4/4 beat, but the type of shoe he's wearing is also apparent. (Lightweight leather with a thin sole was my guess, but I was stumped by the color. I would never have guessed the red and yellow oxfords with, yes, thin soles I later saw Paul sporting in the accompanying QuickTime movie.) His Rickenbacker bass, especially from "Revolver" on, swoops and thumps with added authority on these discs.

For those of us who are used to hearing a Beatles album or song at the very least weekly, these cleaned-up versions do require a listen or two to get used to.

The remastered lead vocals throughout these CDs have a defined apartness and dimensionality that I must admit I'm not yet wild about, or maybe it's that I just can't shake the way I've heard them sing those songs so many, many times before. Yes, the voices are more clearly delineated, but that increased presence has the effect of making John or Paul sound like they're standing way out in front of the band or sometimes in the next room. That said, it's a thrill to hear those amazing voices again, in all their exuberant glory – a hoarse, clearly exhausted John Lennon picking himself up off the mat and knocking "Twist and Shout" out of the park at the tail end of the first album's marathon, single-day recording session. Paul's romantic and drop-dead gorgeous vocal on "Here, There and Everywhere," arguably his best song. Ringo's unforgettable turn at the mike on Sgt Pepper's "A Little Help from My Friends." And none of the remasters' sonic tweaks could be called over the top. Legendary British restraint is much in evidence on this project, which is good news for fans of this marvelous music, producer George Martin, and the Beatles themselves.

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