Up next – Revolver?

42 Responses

  1. Rob Geurtsen says:

    All the talk about technology and remixing or bonus material from Revolver. It is part of a deliberate marketing ploy. Anthology proved there interesting bonus material. And by the way ‘Beatlefan’ increasingly they function as part of the Apple Corps marketing machine and with their inadequate review of ‘In Your MInd’ Madeline Bocaro’s overview of Yoko’s life they have lost credibility.

    • Win Corr says:

      Beatlefan is Beatlefan…and they are getting older in age just like all Beatles things. So a new fresh approach is needed for marketing and they are doing that with younger people getting involved at Sony to bring the Catalog up to speed which is way behind schedule. As for the Ono book; it is a brand new look at Ono’s fascinating body of work. Rest assured there are many new projects coming down the pipeline. Get ready for a couple of film announcements.

  2. T mailer says:

    Those Revolver tracks you mention that are remixed on the Yellow Submarine album are often overlooked but very impressive, especially for late 90s technology that was available (very well-defined sound in both the vocals and instruments). I hope if they remix Revolver that they also include a new mono master. The White Album mono master included in the previous deluxe reissue was very disappointing. It sounded highly compressed. (It almost seemed like they forgot to remove the RIAA equalization before mastering it).

    • nateboy2 says:

      I loved the new mono master from White Album Deluxe. It’s my favorite mix and favorite sounding version. It sounds better to me than the one in the 2009 mono box set.

      • t mailer says:

        Are you sure about that? I am referring to the Bluray that was included in the White Album archive collection where the direct mono transfer is. It sounds compressed….lacks dynamic range. I listened to it on a very good system on the disc’s PCM setting.

  3. DONALD E BJORGO says:

    I was really hoping for something celebrating ’62. And wasn’t Peter Jackson pretty much saying he had the tech to separate the different elements from the recordings.

  4. Matt Vinyl says:

    The Beatles Channel on Sirius XM has been quietly playing a few of the new “Revolver” remixes (unannounced, of course). “Tomorrow Never Knows” is basically the mono mix version but in stereo.

  5. I thought the big news with Pepper’s 2017 remix was that Giles was now able to use directly early tapes just before the bouncing down to 1 track. I don’t know why Revolver should be different. Where they avoiding the bouncing track and directly record everything live?

    • Glenn says:

      I don’t believe that technique was used prior to Pepper. I think the bass, drums and guitar were still recorded in one pass to one track during Revolver.

    • Win Corr says:

      It’s just the continuation of fixing Geoff Emerick’s inventions from the era. Look, he made it work. In Mono, it’s incredible. In Stereo it’s a curiosity. But for today’s technology they have to peel it all away and separate and remix. The technology is finally there and in a way that it does not take forever to do.

  6. Miekel Corsten says:

    Let’s keep focused on the release of the original ‘Let It Be’ movie on dvd.

    • debjorgo says:

      Yeah. Yeah… The crazy weather we’ve been having these days, Hell might freeze over. Fingers crossed!

  7. DukeViking says:

    Sam Okell confirmed on a podcast epiosde that was released this past week stating that they are starting at the middle (Revolver) and working backwards since the 50th Anniversary SDE editions are done. You could very well see Revolver (2022), Rubber Soul (2023), and HELP! (2024) in remix form.

  8. Barry M says:

    I’d never seen Robert Freeman’s original cover design before. Now that would make a crazy remix picture disc!

  9. Kevin says:

    Poor Magical Mystery Tour album!! It is continually overlooked in these deluxe remix/reissue projects!! But we need this!!

    • nateboy2 says:

      Back when the Blu-Ray box set of the movie was released, it was really absurd that the CDs in the set were not remixes, but were instead just the 2009 remaster versions. The Blu-Ray had remixes of the audio tracks, yet they couldn’t be bothered to put those mixes onto CD? I sometimes can’t figure out what drives the management decisions at Apple.

  10. Larry Jameson says:

    Giles can stop with these now. The 2009 remasters are to me the definitive tracks, stop messing with them.

    • Andrey Michael says:

      As a 16 year old myself, I genuinely enjoy the new remixes more than the original mixes. They breathe more life into the songs and makes things that I’ve never heard before more prominent. Even when introducing my friends to The Beatles, I always give them the remixed versions since they sound “fuller” in sound.

      • Rob Geurtsen says:

        If Audrey you are indeed 16 years old, and this represents your opinion genuinely, then this is the ultimate argument why remixing is smart. The Beatles’s catalogue deserves a sound fitting the current younger audience / generation.

        • William Campbell says:

          Right. And I think it would be ‘smart’ that the Mona Lisa is altered, with tattoos and facial piercings added for the younger generation’s liking.

          • T Wilson says:

            This was not to please just the young but to bring out the beauty of the music which improved mixing technology facilitated. Two of the four Beatles still with us seem to be happy with the alterations to their Mona Lisa’s. John talked of songs needing remixing before his death. George was happy with them when they were coming out in earlier versions. I can guarantee you if they had the current means to mix them, they would have. Think about it: given the choice would they have opted for older less clear masters over what is available now?

          • admin says:

            George H was involved with the mixing of the songs of Yellow Submarine Songtrack, so he certainly not only approved but took an active part.

          • Rob Geurtsen says:

            Come on, William, you are comparing apples and onions. The Mona Lisa being the onion here. Music for a new audience that aims to be listened to (commercial mechanisms) will only reach that audience if is revered by those dominating the commercial channels and if it helps to forward their business goals. The Mona Lisa lives in an entire different eco-system.
            .
            But if you want to have it your way… you have to surrender your experience with the music for the original artist’s intent. Which means bass and drums much wilder on at least Rubber Soul. There is a mix with rougher than Tamla Motown bass, but that was not doable for the audio-equipment available at the time.
            The Beatles themselves were making compromises all the time while recording, mixing, mastering, printing vinyl records- and later the media caused them to make compromises… or they were without compromise because they felt at home in the contemporary audio-technology eco-systems.
            .
            So to reach the audience we have the original recordings played by The Beatles helped by those they sometimes could or could not chose, and these sounds are presented in ways they or their company-folks deem have high potential attracting a younger audience.
            .
            And just check Peter Jackson’s roof-concert – even listening on a JBL blue tooth speaker it sounds way more rockier and powerful than another version… as such much closer to the power McCartney conveyed at the time in his music. Very very impressive… with all that modern sounds technology and the mix by the son of George Martin.

  11. Chris says:

    Despite what all of you may say, I don’t mind the Beatles getting deluxe reissued with new remixes of the albums which I know may never replace the original mixes. It’s the bonus material, which would mostly be studio outtakes and whatever, that interests me.

  12. debjorgo says:

    I like some of the new mixes better; some of the old mixes better. You can’t argue with using seven tracks to remix Sgt Pepper. Obviously the Beatles couldn’t get that mix in ’67. But on Abbey Road, the Beatles mixed that album in Stereo, using eight tracks. I guess if they had Dolby Noise Reduction back then, the may have mixed it different. But what will they do with Tomorrow Never Knows? If they go back to the original tape loops, it would have to be “replayed”.

  13. Paul says:

    Are we looking at more of a package in the Abbey Road style with fewer discs than the extravagant Pepper, White Album and Let It Be sets? Is that more or less how it will be going forward, or backwards in this case?

  14. nateboy2 says:

    Looking at Lewisohn’s book, it looks like Anthology probably gleaned the most interesting outtakes from the sessions. Though, I’d like to hear one of the earlier acoustic guitar takes of “Love You To” with George singing and Paul doing harmony. Also, one of the earlier instrumental takes of Taxman and Rain would be interesting. A well mixed version of the early take of “And Your Bird Can Sing” without the laughing, would be great (though bootleggers have done a good job removing the laughs). An absolute must would also be hearing the take 2 breakdown of “Tomorrow Never Knows”. Rounding it out, take one of the strings from Eleanor Rigby, and later instrumental takes of “Good Day Sunshine” might also be revelatory. Though, I think the “Love You To” outtake might be the only really nice addition to the outtakes we’ve already heard, since vocals are present on the takes. I also wonder if take two of “Tomorrow Never Knows” sounds more like take one or take three before it breaks down.

    • Rob Geurtsen says:

      One way of exploring what the interesting possibilities are both technically and musically is to dig into Jerry Hammack’s ‘The Beatles Recording Reference Manual’ Volume 2, which includes every thing from Help! through Revolver. The relevant chapter is from page 103-156, including those wonderful and informative diagrams. To avoid speculation and false conclusions based on technological ignorance, please also check Jerry’s Appendix 1 (pp.157-163) and read it meticulously..
      Assuming early take and tapes were not destroyed, Hammack’s Recording Reference Manuals show the potential for a wide variations of takes, take reductions and remixes (mono and stereo) even for Revolver.

    • Paul says:

      Hopefully some or all of those show up on the session discs.

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