sallysassalot said:

Seems like you didn't really read the press release.

The 5.1 should be cool - I wish they'd release lots of the later albums (when they got more experemental with sound) in 5.1 as well.

EmbattledWarrior said:

I think the term "Remix" has gone out of context, I am glad they didnt call it that..


shit.. when I think of remix, I think of some crap ass club beat at a fast bpm, with guest shit rappers...

u dont like what they did with Cirque du soleil? odds are u arent gonna like it, and is gonna bitch and complain.. so people who didnt like that.. stay away.

Sdldawn said:

Sdldawn said:

but semantically speaking thats exactly what the record is,
it isn't new material, so they're old songs being remixed in a mashed up fashion
thats what a remix its suppos to be like...

now contemporary music, has changed the term remix, to mean a whole other song with the same title...
this is not a rE MIX, this is a NEW MIX, because more than half of the time they're even using the original master to make the remix...

This album is indeed a remix in its true nature...
its a mash up remix CD.
might be good

DiminutiveRocker said:

well its true...

check Greatest Romance maxi single.. shit.. what a mess

In an extraordinary move, producer George Martin and his son Giles have pulled apart the Beatles' finest songs and reconstructed them into one astonishing album. They talk to Jasper Rees

One should always be wary of hyperbole, but a new Beatles album is upon us. Titled Love, it was produced by Sir George Martin, with a little help from his son Giles.
The Beatles
All you need is genius:George Martin and his son Giles have reconstructed the Beatles' songs into an astonishing album

From the dense harmonies of Because ("Love is all, love is you") through to the rich full sigh of the French horn at the close of Goodnight, it cites and samples well over a hundred Beatles songs.

The result is a long and winding fugue of juxtapositions, layerings, self-references and assorted magic tricks that may very well rank as the best compilation album ever made, and which will certainly be number one come Christmas.

The album is the soundtrack to a new show by Cirque du Soleil, which opened in Las Vegas in June. Critics flown in from the Fab Four's homeland, including my colleague Charles Spencer, universally came out in goosebumps at the show's blissful union of new sights and old sounds.

Regrettably, the spectacle is far too unwieldy ever to tour, so the closest most of us will ever come to seeing Love, The Musical is listening to Love, The Music, which is shortly to be released on CD and "surround sound" audio DVD.
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As they gave up touring and retreated to the laboratory of the studio, it was the Beatles who started the game of what you might call "intertextual" songwriting: John Lennon singing "I told you about Strawberry Fields" in Glass Onion, Paul McCartney chanting "She loves you, yeah, yeah, yeah" in the fade-out to All You Need Is Love.

Love takes that template and imagines a sort of Fabscape in which iconic and less celebrated songs speak to one another across years, albums and, most interestingly, across perceived differences of style and temperament within the band.

In the brief but brilliant annunciation of this idea, the open guitar chord of A Hard Day's Night segues into the atonal orchestral crescendo of A Day in the Life and on, via a locomotive drum intro, into Get Back.

Sir George was first invited by Apple Corps three years ago to work on a Cirque du Soleil show using Beatles music.

Though the Beatles took up only a fraction of his career (as is illustrated by a forthcoming CD called Produced by George Martin), the great producer concedes he was "probably the only person who would be allowed to do it. They gave us a brief: 'You can use anything you like.' But they weren't quite sure what we would come up with."

Before they started, Giles Martin transferred the Beatles's 250-odd songs, some of which were still only on tape, on to a single digital hard drive. "I'd write down tempos and keys of all the songs. So we had the whole Beatles catalogue in multi-track form."


The track list, which follows the rough arc of a concert, gradually selected itself. Cirque needed some form of emotional narrative, while Paul McCartney, Ringo Starr, Yoko Ono and Olivia Harrison all had their own suggestions.

Starr lobbied for Octopus's Garden, which is wittily intertwined with the strings of Goodnight (the only song to appear twice). There couldn't be repetitions in tone, which is why Hey Jude makes the cut but Let It Be and The Long and Winding Road do not.

The Martins started mucking about, not only with the track order but also with the architecture of the songs (Revolution leading ironically into Back in the USSR).

In one bravura medley, Drive My Car, The Word and What You're Doing are jumbled into a seamless triptych. In Sir George's favourite innovation, the Indian instrumentation of Harrison's Within You Without You play under Lennon singing Tomorrow Never Knows.

They dutifully sought permission for every fresh surprise. "I thought they were going to go mad," says Giles. "There is a lot of protection of the holy grail. But they didn't. They loved it."

In an astonishing outro to Strawberry Fields Forever, over the mantra-like smack of the drums there are snippets of the Sgt Pepper horn quartet, the piccolo trumpet of Penny Lane, the Piggies harpsichord and cellos, and the exit chant of Hello Goodbye.

"I thought it would be quite a laugh just to see what works with the drums," says Giles. "I wanted Penny Lane in there because it's the answer to Strawberry Fields.

" But the whole idea of the whole album was to do as much as you possibly can. I knew I was in B so I just thought, what's in B or near B? So I just stuck anything I could find."
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Some songs were left alone, for sentimental or practical reasons, or both. They couldn't do much with Help! because the whole rhythm section is on one track.

With Come Together, one of the few songs from the late 1960s in which the band recorded the whole song as an ensemble, "it's so economical what they played and so perfect on all the parts," says Giles, "anything added on to it would be an uninvited guest."

As for Yesterday, the only tampering is to lead into it with the acoustic guitar track of Blackbird. "Paul played his guitar and sang it live," recalls Sir George of the 1965 recording, "a mike on the guitar and mike on the voice.

But, of course, the voice comes on to the guitar mike and the guitar comes on to the voice mike. So there's leakage there. Then I said I'd do a string quartet.

"The musicians objected to playing with headphones, so I gave them Paul's voice and guitar on two speakers either side of their microphones. So there's leakage of Paul's guitar and voice on the string tracks.

"So how do you make a surround sound with things that's got leaks all over it? I said, 'To do this properly we should re-record that string quartet'. But Paul said, 'No, it's such an iconic song, it's something we should leave alone."

Most of the time, Apple encouraged them to be ever more daring. The only rule was that there must be nothing but original Beatles music.

It was broken only once, after Giles argued for using a demo recording of While My Guitar Gently Weeps, in which Harrison accompanies himself on acoustic guitar.


"Olivia didn't like the idea at all," says Sir George, "because she said it doesn't sound finished and doesn't do George justice." So Giles suggested to Apple and Cirque that his father augment the demo with a new string arrangement.

Sir George, who will inducted into the UK Music Hall of Fame next month, has the score of that arrangement in front of him, signed by McCartney and Starr and due for auction.

"I was scared," he says, "because it's a beautiful song that a dead man wrote, and his widow is going to look at what I've done. Olivia came to the recording session, which was even more terrifying. Thank God she loved it."

The Beatles' 12 studio albums

• Please Please Me (released March 22, 1963)

Ten of the 12 tracks on the Beatles' debut album were laid down in an astonishingly swift 585 minutes. The resulting disc was the first of 11 studio releases by the Beatles to reach number one.

With the Beatles (Nov 22, 1963)

Recorded just four months after the release of Please Please Me, this stayed at the top of the charts for 21 weeks. Like their debut, it included eight original songs and six covers.

• A Hard Day's Night (July 10, 1964)


Released at the height of Beatlemania, this was the first Beatles album proper, featuring only original compositions, all of them credited to Lennon-McCartney, and most of them signs of two spectacularly burgeoning talents..

• Beatles for Sale (Dec 4, 1964)

With its elegant but autumnal Robert Freeman album cover photograph, Beatles for Sale was seen by some as the band's defiantly downbeat response to their staggering fame.

• Help (Aug 6, 1965)

The first indisputable Beatles masterpiece, this begins with John Lennon's still-bracing cry and never lets up. The semaphore signs on the cover are, incidentally, gibberish.

• Rubber Soul (Dec 3, 1965)

With songs such as Norwegian Wood and In My Life jostling for space with Drive My Car and The Word, Rubber Soul was where the Beatles started to stir artiness into the R&B mix.

• Revolver (Aug 5, 1966)


From the string-quartet-driven Eleanor Rigby to the proto-Big Beat of Tomorrow Never Knows (the latter, the Chemical Brothers' favourite song), this is an embarrassment of riches, routinely voted greatest pop album of all time.

• Sgt Pepper's Lonely Hearts Club Band (June 1, 1967)

If only Penny Lane and I Am the Walrus – recorded at the same sessions – had been included, this Summer of Love cornerstone would be perfect. As it is, it's merely amazing.

• The White Album (Nov 22, 1968)

In fact, entitled The Beatles, this scattergun double-album veers from the polished rock of Back in the USSR to the dementedly experimental Revolution 9.

• Yellow Submarine (Jan 17, 1969)

Essentially a soundtrack to the animated film of the same name, Yellow Submarine is the band's weakest studio release and "only" reached number three.

• Abbey Road (Sept 26, 1969)


By the time of Abbey Road, the Beatles were very much McCartney's band. Despite its release date, the album was actually the band's final recording.

• Let it Be (May 8, 1970)

George Martin originally produced much of this intermittently brilliant valediction, but the version that hit the shops was the work of the sonically overbearing Phil Spector, and more's the pity.

# 'Love' is released by EMI on Nov 20. 'Produced By George Martin' is released on Nov 6, also by EMI.

I am looking forward to what has been done and the way it is mixed, sort of the way i was for all the Anthologies, however i would not call this a Beatles Studio album, im surprised that they list it as a studio despite involvement of the surviving members and wives. That was some of the issue Beatle fans had with calling "Free As a Bird" a new Beatles song, true they were all on it, but it wasnt written for that reason, and the writer of the song is dead and not there to do his part. So its a very interesting project that im sure i will enjoy, but not a Studio album to be included with actual albums they all recorded together.

Sdldawn said:

The reverse of what I heard before, but this sounds like it might work better as I can kinda already hear it in my head.

This album could actually be quite good.

Sdldawn said:

I think they mean Strawberry Fields Forever.

thesexofit said:

The same could be said for some Prince fans, myself included Most of us bought The Vault and Crystal Ball, both of which could've been better.
As far as this new Beatles album, I think it is being touted as more of a "musical collage" than an original album. I will have to hear it before I pass judgement. Regarding Beatles remasters, probably the best way to hear the albums at the moment is to buy the Capitol box sets which feature both the mono & stereo mixes of the US pressings of the albums. These will have to suffice until they decide to properly remaster all the recordings.

damn.. I just heard a little bit from it.


i'm really impressed..

What I heard:

While My Guitar Gently Weeps - It's the actual acoustic version from the Anthology.. with a beautiful string arrangment.

Within, Without You (Tomorrow Never Knows) - Okay.. this is amazing, its got lennon vocals on it, but its actually pretty much the full song of george lyrics.. over the Tomorrow Never Knows Drumming.. really good good good...

Benefit for Mister Kite, I want You, Helter Skelter - really cool one.. this one is tightly woven together... the vocals from helter skelter really sounds like he is singing to the new mix at the end..

Sdldawn said:

Perfect synopsis. Only I'd add Strawberry Fields to your suggestion, which was basically the first song recorded for Sgt Pepper.

i can't wait!!!!

Just remembered that they were playing tracks from 'Love' today, on BBC Radio 2.

Using the 'Listen Again' function, I've tracked down all the songs they played.

Firstly, here's 'Strawberry Fields Forever' during Terry Wogan's show...

http://www.bbc.co.uk/radi..._wogan_mon

It starts at 39 minutes 54 seconds in, so you have to skip 35 minutes and sit through Glen Fry's 'The Heat Is On' (or miss the first few seconds by skipping 40 minutes).

As for the reworking, it's a-may-zing. There's this weird other-worldly feel to it. It sounds more sparse but somehow more full. The obvious mash-up elements don't really occur until the end of the song, during the part which goes "Spling! Spling! Spling! Spling!" (if you know what I mean).

'While My Guitar Gently Weeps' was played during Ken Bruce's show...

http://www.bbc.co.uk/radi..._bruce_mon

It starts at 42 minutes 28 seconds in, just after Nelly Furtado's 'All Good Things (Come To An End)'.

It's basically George Harrison's original demo with a new George Martin string arrangement underscoring it - the only new instrumentation on the whole album apparently.

'Lady Madonna' was played during Steve Wright's show...

http://www.bbc.co.uk/radi...wright_mon

It starts at 2 hours, 50 minutes 42 seconds in, but the idiot hardly plays any of it!!!

'Octopus's Garden' was played during the Drivetime show...

http://www.bbc.co.uk/radi..._evans_mon

This opening features a pure mash-up of the original song and 'Good Night' from "The White Album" - which is really impressive. After the intro however, it doesn't really sound much different! You do get to hear 'Sun King' creep in at the end though.

It starts at 5 minutes 6 seconds in.

Justin1972UK said:

someones done their homework

very nice. Thank you

strawberry fields sounds great


pretty damn amazing the way they blend those things together.. it kindof feels like i've heard all the songs sampled...

sounds like Strawberry Fields is a mashup of all the demos this song... then towards the end you can hear "In My Life, Sgt. Peppers, Piggies, Hello Goodbye, Penny Lane"


Very interesting, just because after hearin the samples in the songs.. it has a feeling that you've heard all the songs.


I liked it a lot

I think the success of the Love Show has brought this to the table.. everyone that went to the show was highly impressed with the music, and thats basically what it consistantly contained.. and after hearin it.. its a excellent project.
[Edited 10/31/06 19:10pm]

Sdldawn said:

Im thinking thats what brought in this whole idea, im sure George Martin and the others had heard the "illegal" mashups that were being done underground and wanted to blow all that away, and not have something like "yesterday" mixed with JayZ's "change clothes", looking forward to hearing it in a few weeks.

Love is a fascinating reworking of numerous classic Beatles recordings by the band's original producer, Sir George Martin, and his son Giles. Love is also the title of the highly successful Cirque du Soleil show, a co-production with Apple Corps featuring the music of the Beatles, currently wowing audiences in Las Vegas. In creating the music for the show and for the album, George and Giles have created a continuous "soundscape"--a series of well-known Beatles songs augmented by additional instrumentation and vocals taken from their vast bank of original multi-track tapes. If you can imagine "Strawberry Fields Forever" beginning with John's original demo before going into an early take of the song and then climaxing in a musical collage including the piano solo from "In My Life" and the harpsichord pattern from "Piggies" and lots, lots more--or "Get Back" prefaced by the "Hard Day's Night" opening guitar chord, the guitar and drum solos from "The End," and segued into "Glass Onion," you will begin to get the picture. But hearing is believing! The guys have pushed back the boundaries and come up with a brand-new work that will add to the enduring legacy of the band. The result is an amazing album that not only reinforces the timeless quality of the group's recordings--the fans will have fun enjoying the roller-coaster experience of the album whilst trying to spot where all the pieces come from--it is also destined to open up a new legion of fans to the Beatles experience.

Sdldawn said:

Wow, I can't wait to hear his!!

Justin1972UK, thanks for the links - I've had to only listen to a couple of them, because I want this to feel new when I buy it, but I needed reassurance that this would be worth it, and from Strawberry Fields, it definitely sounds worth it - I'm as big a fan of the Anthology releases as their canon albums, and this sounds similar to those - more of 'what could have been'.

As a huge Beatles and Prince fan, between Love and 3121, Vegas is calling me... Now if U2 opens something there also, I may have to move there...

www.thebeatles.com


preview four of the 26 tracks

strawberry fields
octopus garden
lady madonna
while my guitar gently weeps


one from every beatle!

lady madonna sure did suprise me.. that is kindof a neat mid part.. very updated sounding

bublebath said:

Agree. I will give them their due, they wrote alot of good songs and contributed enormously to music, but so did many other artists and they don't get a fraction of the attention that the Beatles get.

whatsgoingon said:

I love it..

beatle propaganda all the way

when i go to lasvegas in 2007 im going to check out that show.

That intro on the beatles site sounds interesting

for the moment its bein played.. sounds like A Hard Days night Guitar sound, The End Drums, and a guitar riff from Get Back