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Tommy Lee Jones walks through the world of Tommy Lee Jones walks around the world. Sony MiniDisc. "This is gonna replace CDs soon," says Jones' Agent K. "Guess I'll have to buy the White Album again." Give it credit for being funny at the time, just a decade out of the first release of the Beatles 'catalog on compact disc, even if it failed to the end of all things corporeal. Anyway, the movie got the right thing: You have to buy the White Album again.
And – here's a joke for you – you have to buy it on CD. It's not that Capitol is not servicing digital versions of the 50th-anniversary deluxe package of "The Beatles," with Giles Martin's crisp remix of the original 1968 double album and four additional hours of unrealized studio outtakes and acoustic demos. But WAV files make lousy art objects, and there are other elements that make the boxed sets that are made for, the hardback book that encases the contents of the album archaic discs. The packaging country righteous homage to the original jacket design of british pop artist Richard Hamilton, which featured the band's name invisibly embossed on the cover, proving it's at least one thing streaming can not replace, five decades on: such an excellent use of white office.
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Since the '60s, there's been that perennial musical question: "Beatles or Stones?" Like all questions about preference, this is really a personality test in disguise. But one question is at least about your worldview: "'Sgt. Pepper 'or White Album? "If your predilection is for the conceptual designs, connections and careful oversight of" Pepper, "maybe you're a theory-of-everything person. The White Album, on the other hand, is all chaos theory – the Beatles left to their own, Brian Epstein, and the producer George Martin on holiday through a lot of the recording. In this case, I'd suggest that rudderlessness is next to godliness. The idea that "The Beatles" (the collection's actual title) would be much better than a single album is just about the dumbest rock trope ever
With last year's expansive "Sgt. Pepper 's Lonely Hearts Club Band "boxed set, the remix was really the thing. The bonus discs of outtakes were a little bit disappointing; Because the original album was so big and overdub-heavy, Michelangelo has been playing on the back of the Sistine Chapel. (Not that you would not pay for $ 140 for that.) Here, Giles Martin's sonic redo serves similar functions – reconciling the stereo and mono mixes, centering Ringo's tom-toms into a more visceral thud, sharpening the guitars to where they could cut glass – but it's a secondary attraction. You come to hear multiple alternate versions of material that could be played live by a rock band … or sounded just as complete in hootenanny form in the all-acoustic demos. With one obvious exception in "Revolution 9" ("sadly, there is no campfire or jam-session version of that one included)", "The Beatles" was close to being the group's back-to-roots album, before they got all Consumers who are getting along with the idea of "getting back." Here they are getting back just fine – then, where their roots in the blues, Chuck Berry, Elvis, flapper music and folk overlap with an ongoing need to push white envelopes.
What do you want to do in the past? "" You're So Square (Baby I Do not Care), "Paul McCartney's voice reminded them of the delay on Presley's in Sun Studios. Never mind that they are interrupting the virtual invention of heavy metal for this flippant aside, or that the Elvis cover barely lasts 30 seconds – it's performed fast enough to count as a complete track, so baby, I do not care.
What's more interesting are the number of great tunes the Beatles left on the table while releasing the finished album's 29: George Harrison's "Not Guilty," abandoned after 107 takes; McCartney's lyrically unfinished "Junk," later to appear on his solo debut; Even a snippet of "Let it be," played in a different way than Macca singing that "Brother Malcolm" – as in X – not "Mother Mary," came to him. John Lennon song called "Child of Nature" – which he must've realized was scant competition for Paul's similar "Mother Nature's Son" – and the beautiful melody of which he later salvaged for the utterly terrific "Jealous Guy."
CREDIT: Courtesy Capitol Records
Tracing the small lyrical changes is a delight. The Beatles were fantastic self-editors, "The Doll's House" was a big name for the album as the eponymous one they're settled on, or a microscope to tweak McCartney changing "awful flight" to "dreadful flight "in" Back in the USSR, "or the band jamming through a just-OK instrumental of" Everybody's Got Something to Hide Except Me and My Monkey "before perfecting the guitar licks that make the song.
Some of the greatest satisfactions on the bonuses, but even the actual versions did better, like a guitar-strumming, piano-less "Ob-La-Di, Ob-La-Da Martin discovered a previously unknown rehearsal version of "Cry Baby Cry" that he likened to Pink Floyd. And you can see why, with Lennon playing Rick Wright-ian organ. Most precious of all is a 15-minute slow-blues version of "Helter Skelter"; if you never thought you'd hear the mellow version of that song, now you can, for a quarter hour.
It's the sound of four individuals firing on all cylinders as a band – as a couple is a couple of weeks and John is writing Paul's name into "Glass Onion," prophesying his ultimate defection from the group for Yoko Ono. Another trope about the album is that it's a collection of four great solo albums. There's a kernel of truth in that; Lennon's "Julia" and McCartney's "Blackbird" are classic untouched by other Beatle hands. But it is the lesser truth when you look at the credibility and the willingness to use it. There's a sweet spot in the world for young adults – that's when you're still too much caught up in the exuberant goodwill of the gang to make a move. The album is actually the Beatles' most mature effort … and maybe, just maybe, rock 'n' roll's best too.
The Beatles
"The Beatles – Super Deluxe"
Capitol Records
Original album and sessions producer: George Martin
Additional producer: Chris Thomas
Escher demos producer: The Beatles
2018 mixes producer: Giles Martin
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