Don't you just hate it when you cannot detect where the post ends and a signature line begins?
Alex.
Well, I was born well after the Beatles disbanded and have 5? versions of Sgt Pepper released on Vinyl!
My feeling is that although the original first pressing is fantastic, the thrill of hearing all that detail and reimagining of the album for the 50th anniversary, made it worth every penny. Whilst I understand your point that the Beatles works are something of a "masterpiece" for want of a better word, and messing with it is blasphemy, I believe as long as the original works, as they were made in the 60's, are available, there's nothing to fear from the odd remix and remaster. Personally, I f@cking love the work Giles did and reach for that copy when I want to listen to Sgt Pepper.
I'm HOPING for a 50th anniversary White Album.
They were only present for the mono mixdowns, and that was all they were interested in.
When the tedious task of doing a stereo mix came up you couldn't see them for dust.
As far as The Beatles were concerned it was supposed to heard in mono, and everything else is an aberration.
Chris
Common sense isn't anymore!
I'll tell you a bit more why I'm a bit pissed at Giles's work. I was fully enthused about the 50th anniversary Pepper, and wanted to give it all accolades. And then, when I sat down to listen to what he's done, I suddenly heard how he EDITED OUT the 'fingers on the strings' effect that George Harrison did on purpose at the end of the descending lick on "Fixing A Hole"! (you know the part when Paul finishes singing "where it will gooooo!")
That did it for me. I said "fcuk this, you can't overrule George's choices, just because you want this 'oh so squeaky clean' feat of audio engineering!"
So it isn't just a remix, it was a house cleaning project. And I resent those unilateral choices.
Don't you just hate it when you cannot detect where the post ends and a signature line begins?
Alex.
Ye there's a few little intricate bits Like that that are missing but it is what it is, Giles's take. I suppose George isn't here to object, maybe they should been a bit more careful with their parts. It's an edition in my view, a different take on a masterpiece.
Location: Home Counties
Posts: 157
I'm Joe.
It's theirs to do with as they please though - they aren't asking for all previous pressings to be returned to them so just enjoy what you've got.
I'm calling an urban myth here. Whilst it is true that at the beginning of their career the Beatles were absent for the mixes (say "Please Please Me", and okay, maybe even "With The Beatles") it is a pure myth that they were never present for the stereo mixes. The myth persists despite lack of hard evidence.
Think about it -- we know that the lads were perfectionists and were working like dogs on every tiny little detail of their output. And then what -- just get up and leave when it comes to stereo mixes? How plausible is that? They'd never leave such important aspect of their product to some putzes that happen to be buzzing around the studio.
Don't you just hate it when you cannot detect where the post ends and a signature line begins?
Alex.
That particular effect is the integral part of the song. George Harrison was very meticulous when crafting his licks, hooks and solos. If he played the lick with that fingers-on-strings effect, that's exactly how he intended it. It was not a recording mistake, and to assume so is preposterous.
Don't you just hate it when you cannot detect where the post ends and a signature line begins?
Alex.
Location: Home Counties
Posts: 157
I'm Joe.
Agree or disagree - and I'm apathetic due to my reasons above - I love your passion.
100% agree. That's why it's called a 'record'. It's produced as best as it can be at that given time (and with the best equipment available to the band at the time). The equipment used and the recording conditions become an essential characteristic of the music itself. Once it's recorded it becomes a snapshot of that time and those conditions. That's the magic of it.