I've already written about this one here. It's a record that means a lot to me and had a big enough impact for me to judge every other album I've heard since by its standard. What I'll be talking about here is the 50th anniversary re-release in its Super Deluxe form: book in slip cover with 6 CDs and a Blu-Ray with hi-res stereo and mono mixes as well as two formats of 5.1 surround mixes.
New Stereo Mix
As with Pepper the bass, drums and lead vocals are in the centre with left/right panning done to other elements as well as in some effects like reverb. What results is a freshened experience. Partly this is because the mix has been created from elements early in the process, yet un-compromised by the track bouncing process, partly by some deft EQ, effects and panning, and partly, simply, because it sounds new. Space has been increased which comes into play in tracks like Long Long Long which no longer sounds like an afterthought following the storm of Helter Skelter, the air around the almost choral vocal harmonies in Revolution #1 are like rays of light. There is some loss in the modernisation: Helter Skelter's bass has lost its obnoxious punch which it needs (it does sound more now but I miss the violence of it). The clean and shiny 2009 remasters are still available, however, and if these displease we can always go back to them.
Surround Mixes
A far more immersive experience that the Pepper 5.1 as the main soundstage is kept solidly in the front with ambience and some stray elements coming in from behind your ears. Helter Skelter's reduced bass is a worry here as the point of making a 5.1 is that the .1 part is a subwoofer that can take all the subsonic joy it can eat. On the good side tracks like Warm Gun with its swirling guitars and dreamy vocals or Back in the USSR with its big guitar crunch and Beach Boy doowops. Of particular note is Julia. I never cared that much for it as it seemed to just murmur in the background before the side ended (and my original has a sticky scratch in it). Here Lennon's fragile aching vocal seems to drift to the centre of the room and make its case like a plaintive ghost. It sends shivers.
Esher Demos
Some of these appeared on Anthology 3 in the '90s but here they are given full length and pristine audio quality. It's an unplugged White Album! Songs that didn't make the album will cause the most stir and you can hear why. Paul's Junk and George's Circles offer high melancholy that could have easily lifted the record or a later Beatles LP. But there isn't enough for a third disc. And you have to wonder why George had to give Sour Milk Sea away. These are demos but they are multitrack (George had a 4-track reel to reel setup) and began with good sound. Now they are available and I couldn't be happier. Put the discs on as a summer unplugged session and luxuriate.
Sessions
Revolution - The full initial recording without the later concrete musique moments or mama dadda chanting that make sense of the claim that Revolution #9 was made from it. You can find that on Youtube. There are plenty of moments that you'll know from the big soundscape, quite surprisingly in some cases.
Honey Pie - The version of this with just the instrumental track is far more beautiful that I would have expected. The clarinet group arrangement really soars. Without the cute vocal it's just a lovely piece of music.
Good Night with guitar and three part harmonies is more beautiful than I've ever considered it. John's finger style on the Casino really sparkles.
Helter Skelter version 1 is the full take of the one that was on Anthology 3. It has a kind of creepiness to it and works ok but it's important to remember that the fabled 27 minute version is just a longer version of this slow thumping thing with breakdowns and cover versions. I'd like to hear that once. I don't care that much that it isn't on here.
The later faster version with MacCartney playing around with live echo and the full thrash version sounds bigger and angrier. The way is clear to the album version but this is a great near miss.
Can You Take Me Back has been available in muddy dubs for a while. Hearing it here is shiny fresh condition. The way it comes in on the album between Cry Baby Cry and Revolution #9 is big and spooky. This full context isn't. It's great to hear but I still prefer that eensy eerie fragment between two strange tracks.
The Book
Honestly, I would have just bought the book if that's all there had been. Essays and articles on the album, it's context, design, packaging and songs and recording are pithy and informative and enriched with a lot of evocative photography. There are enlarged copies of the colour portraits and poster from the gatefold LP. The articles about the context and work are enlightening. It's fun, it's beautiful.
This is just a skim and I'm sorry if it has sounded like more advertising at times but I am that much its fan. And skimming is really the best you can hope for from one pass on such a gigantic monolith. But I do have a few thoughts in closing.
Even the toughest of fans have argued for an ideal single disc version of this album. I wince to hear what they leave out. There are strong and weak tracks but I've never made one of these "improved" lists. One of the points of this album's appeal is its excess, there's just too much of it but it's the best surfeit in rock music history. From musique concrete to cute pop to stark and scary dreamscapes and horror rides and spooky lullabies, this one has it. I first heard it before I was told I should think about it as a band breaking up so to me it was the apex of their output. I though Abbey Road was lovely but too slick. This felt more purposed regardless what the truth was. The obvious camaraderie evident here in the sessions and demo recordings belie the official story so that now we not only have the best extension we could have wished for. What is often my favourite album feels fresher than it did when it was the least dated LP they produced (yes, including Abbey Road). It feels like a new release. I can't say better than that.
And a Happy New Year to ye!
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