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REVIEW: The Beatles remastered 1967-70
Part 2 of our expert guide to the box sets
Joe Bosso, Tue 8 Sep 2009, 1:10 pm UTC
The biggest surprise is saved for last, and it's in the stereo treatment of Lennon's Goodnight. As crooned by Starr, the separation given to the orchestra is sublime. You're bathed in wondrous, dulcet tones as you drift off to this lullaby made for children of all ages.
Beware the Blue Meanies
Originally intended to be an EP running at half-speed, Yellow Submarine, released 13 January 1969 in the UK and 17 January in the US, contains only six Beatles songs, two of them new but not all that new, as they were recorded during the preceding three years.
The American release was stereo while the UK album was available in stereo and mono, although the mono version wasn't true mono - it was a 'collapse' of the stereo version. Conversely, George Harrison's Only A Northern Song was a mono mix that appeared as mock-stereo.
It's a bit confusing for a record that just might qualify as the least essential Beatles disc of all, mirroring the band's involvement in the animated feature film of the same title - which was all but nil.
Hey Bulldog is the most recent cut here, recorded in February 1968, and it's a gruff, infectious rocker that sounds as if the band had a hoot putting it together. McCartney's bass (panned left) gradually rolls up to match the volume of the lead guitar (panned right).
Harrison's It's All Too Much swarms and swoons, with Ringo's flanged drums and assorted percussion, handclaps and whatnot jabbing and poking from all angles. A delicious smorgasbord of experimentation that constantly surprises.
Half of the album is comprised of George Martin's film score music - benign stuff, but I doubt many people have felt the urge to spin Sea Of Holes or Pepperland Laid Waste more than once.
The End...or is it?
As 1969 began, The Beatles were at their lowest ebb, struggling not to kill one another while finishing Let It Be (which would be released to little fanfare a year later) and convincing even George Martin that they were finished.
Although Glyn Johns (elevated from engineer to producer) had begun tracking basics for I Want You (She's So Heavy) at Trident Studios in February, the record known as Abbey Road, didn't get officially underway until May at EMI Studios - with Martin back on board (in July, he would be reunited with engineer Geoff Emerick).
