What the hell is "SSSS" referring to ??? By the way, I still think "Rubber Soul" is the better album.
Sorry, it’s She Said She Said. I know a lot of people hate song acronyms and I’m totally guilty. But I don’t care.
Totally 100% dig the new SSSS cut. Yes it changes some things but it’s also extremely clear sounding now. Ditto for Taxman. The cymbal crashes are less white noisy although still a bit distorted, but the ride cymbal, nearly buried in the original mixes is dark, warm and shimmering. It’s amazing how Giles was able to separate instruments reduced on a single track in the original mix and create a much nicer stereo effect from them. Technically masterful.
Giles didn't separate them, it was done for him although he did have a hand in the remixing afterward.
As they've got an intention to systematically work backwards now, I can't see as it would make sense to start jumping around with the LP order, just for the sake of an anniversary. It doesn't seem very logical to ditch the intended working direction and suddenly remix (e.g.) Please Please Me or Magical Mystery Tour next in sequence. All of the catalogue will be done eventually. With PPM and the early LPs as well, there will be additional work for MAL. So it definitely makes sense to leave the early LPs till last (even though we want to see them done now). Similarly, why would they now break off and do MMT after Revolver (as has been suggested by a few)?
My only complaint would be the volume of the vocals isn't consistent which is a bit odd to listen to. Otherwise it's a great mix. The low end is much clearer than the plain YSS mix.
Whereas I didn't necessarily feel that the YSS remixes were an improvement. A few were, definitely, but many of them felt like their power had been defused and a bit sterile.
Probably due to how it was mixed in the original 5.1. I only used the front two and center channels, which is why it has such a dry sound. Would be much easier if I had the multitracks, hopefully I'll get to experience that one day. Probably the thing I'd want to do more than anything, honestly.
Does anybody know why the Beatles got an Ivor Novello award for Yellow Submarine as the 1966 A-side having achieved "the highest certified British sales" when we all know that this single was in fact a double A-side with Eleanor Rigby?
I totally sympathise! Although I use abbreviations myself, I tend to refer to something in a message in full first, then abbreviate the second time it's mentioned. Not everyone has time to follow a thread all the way through and make sense of it all and there's probably an assumption on a few people's part that everybody else should know what all the abbreviations mean!. I remember a while back it was getting ridiculous when people were talking about EGSTHEFMAMM (Me & My Monkey, by the way!)
The downsides of YSS are the noise reduction, digital clipping, and poor digital effects. The actual instrument placement is great and the EQ is mostly good. The gated drums and awful echo in Lucy make that mix probably the worst of that song, and the artefacts on the drums in When I'm Sixty-Four are a bit pants, but there are also several must-have mixes on that album like Nowhere Man, It's All Too Much, Only A Northern Song, etc.
I hope your right. My biggest worry is that they don’t give the earlier albums the same treatment, or do them at all. I always get the impression for whatever reason, that Apple is more focused on the later years, since those albums are the bigger sellers and the later period Beatles are probably an easier sell to younger audiences since they look and sound so contemporary. Just my worry based on nothing but speculation and I am hoping to be dead wrong and look forward to a shelf full of deluxe sets for every album in the next few years!
I think the best thing for all you naysayers, is not to buy Beatles remixes in any form. You know you’re not going to like them and it’s just an opportunity for you go into Mr. Angry mode. Save yourselves a whole of money and time. Honestly, it’s that simple. Spare me.
To me, Tomorrow Never Knows is the star of the new remix along with Here There and Everywhere. I couldn't beleive the original stereo mix could be improved, but they did it. It's always been the psychedelic trip that opened the door of the next phase in The Beatles' career, and Giles' mix expands that idea to its highest point. I don't see it as a a case of "trying too hard". There's no "too much" with this song, it's supposed to be the ultimate trip!!!
It's clear it's the same misconception that led them to not include them in the US box, despite the fact they did include the other 5 unique mixes of the Y&T album. They surely used a first edition (with duophonics) as the reference, and no one has told them the true stereo mixes were used on later editions and on tape. I would assume Bruce Spizer would do that, but either he is too busy with his books or they just ignore him.
I tend to use initials with with songs that have been discussed so much that I figure everyone knows what they mean. But in truth, it’s inconsiderate in the case of someone that may be new to the thread or even the forum altogether. To steer from that, rather that use initials, I’ll use the main words of a long song title; I’m sure though, that can sometimes be confusing as well.
I’m Not sure in which spots you mean; I have to re-listen. I was so overtaken by the smoothness of the “wide” clarity, I didn’t notice what you’re speaking of. I was also ridiculously impressed by the richness of the bass drum.
To be fair, they might have just decided that "later editions" was too scarce for the US box, given that most buyers presumably bought the initial pressing and that, even into the 1980's, that edition was still being manufactured. What I can't fathom is a) why they wouldn't mention the later release and b) use the mixes, given that they DO discuss the rare first pressing of Revolver. I guess the difference is that the first pressing was GM's original preference and, presumably, quite a few people did actually buy it. A strange circumstance either way.
Giles also straight-up neutered the drums on In Want You and buried the ending moans out of Come Together. Instead of doing what Cobbler did, these mixes just became a Giles pet project. He didn’t like the moan, so he buried it.
