Music Review: The Beatles’ “Let It Be” (2009 Stereo Remaster)

Originally posted 2009-10-26 20:10:01. Republished by Blog Post Promoter

By Chris Moore:

It is truly a testament to the outstanding talent and staying power of the Beatles that Let It Be, their final and perhaps least ambitious — by their own designs, at least — release, is composed of such an impressive assortment of tracks.

For this reason alone, the 2009 remastered version of this classic 1970 album is worth your time and money.

Held up against the previously released audio on the CDs that have been standard issue for over two decades now, this remaster is crisper and cleaner in all the right places.  To be fair, this is probably one of the less drastic remasters, as Let It Be was originally issued in actual stereo.  Still, the seasoned Beatles fan will immediately take note of the subtle improvements, such as the even warmer ambiance of the background vocals in “I Me Mine” and the clearer separation between piano notes and vocals in both “Let It Be” and “The Long and Winding Road.”

It is a joyful experience to hear the individual vocals and instrumentation as clearly as possible.  After all, when the bulk of these tracks were laid down in January 1969 — almost one and a half years before the release of the album — the keyword had been simplicity.  Following the tumultuous White Album sessions, they had decided to adopt a more “live in the studio” feel for their next album.  Paul in particular felt that they had lost the cohesion that could only come from playing live.  Considering the backbreaking schedule of live shows in their early years and the relative happiness of their early period, it is difficult to disagree.

The Beatles' "Let It Be" (1970)

The Beatles’ “Let It Be” (1970)

For this reason, as well as the fact that Let It Be was mixed, remixed, re-arranged, and shuffled around by so many people outside the Fab Four before its initial release in 1970, I think Let It Be…Naked should be and is the first and best way to experience this album.  Purists, traditionalists, and historians may disagree, but any detractors to this theory must first explain why the Beatles’ initial intentions for the concept of this album should be all but ignored in favor of the “actual” release.  Why tracks like “Maggie Mae” and “Dig It” could ever belong on the same vinyl — or silver, for that matter — disc as gems like “Two of Us,” “Across the Universe,” and “Let It Be” is beyond this writer.

Before I trample upon too much musical holy ground, I should reinforce that the 2009 remaster provides a great experience.  Some argued that the tracks should have been stripped down and entirely remixed.  While I wouldn’t have been against that idea if it had been engineered by the right team, there doesn’t seem to be the need for anything quite so drastic here.

Perhaps the focus should instead fall on the pressures within and around this record.  Within, it is interesting to consider how complicated and tense the Beatles’ interpersonal relationships had become, and yet to listen in wonder at the beautiful music they made despite it all.  Outside of the recording process, there was a great deal of expectation when the album was released, especially considering that it wasn’t available for sale until after the Beatles had announced that they were breaking up.  That put a lot of weight on this very final addition to what is arguably the greatest rock ‘n roll catalog of all time.  Even Rolling Stone fluctuated wildly, dismissing the album at its release but soon after adding it as #86 on their list of the best rock albums of all time.

Regardless of your perspective on this album, Let It Be is a strong addition to anyone’s music collection, if only for the outstanding songs it contains — and not only the singles, but many of the deep tracks, as well.

I’ll probably still click one more space lower on my iPod for Let It Be… Naked, but I have enjoyed hearing the original in remastered audio.  And make sure you watch all of our great Beatles cover songs videos here on the music video blog!

Music Review: The Beatles’ “Let It Be… Naked” (2003 Remix)

Originally posted 2009-09-14 23:50:26. Republished by Blog Post Promoter

By Chris Moore:

The chart-topping success of Let It Be is truly a testament to both the heights of Beatlemania and also to the abilities of the four Beatles to consistently top themselves in their songwriting and musicianship.  Even by 1970, amid tensions that caused all four to at least threaten to quit the band, they managed to come together (no pun intended) to finish the principal tracks for a new album.

This was made easier, of course, by the fact that this new album was based primarily on material that had been written and recorded before their previous record, Abbey Road, was released.

The true complication in this process arose when Phil Spector was somehow given the “okay” to add his signature studio treatment to the tracks.  Perhaps with the disagreements between the Fab Four obscuring their collective vision, Spector was allowed to turn these songs — many of them little gems — into overblown, overproduced testaments to the capabilities of a mixing board.  Orchestras aside, the original concept of this album (at least, when it was begun in January 1969) was that there would be no overdubs of any kind.  How the leap was taken from “no overdubs” to “here’s Phil Spector” is a subject of some debate.  The result?  An album that made many fans and sources close to the band wonder what it would have been like without all the accessorizing.

Let It Be… Naked puts an end to that inquiry.

The cover of the 2003 remix of "Let It Be"

The cover of the 2003 remix of “Let It Be”

As the title implies, Naked is a stripped-down, bare bones version of Let It Be that highlights the instruments and original vocals of the four Beatles which, not surprisingly, is more than enough to excite and entertain.  Ringo once pointed out that, despite all their issues and arguments, when the count began and a song was performed live, they transformed back into those four boys from Liverpool who just loved to play music together.  For anyone who thought that may have been an overstatement, this new take on their final album is the proof of its veracity.

Throughout Let It Be… Naked, the Beatles’ harmonies are tight and their instrumentation is simple yet impressive.  The drums and bass are particularly fun to focus on, perhaps imagining Ringo and Paul falling perfectly into the rhythm and putting all their combined experience, personal talent, and emotion into what would be these final released tracks.  Of course, John and George are just as much fun to listen to.  George’s guitar work, for instance, clearly never needed to be and never should have been buried beneath layers of production and overdubs.

Even the track listing is rearranged on this 2003 remix of the album, tossing out “Dig It” and “Maggie Mae,” as well as adding “Don’t Let Me Down,” a track that had made the cut on the earlier Glyn Johns mix of the album, before the project was shelved.  This is hardly a revelation — I don’t imagine many will miss the two deleted tracks and the album is certainly much better for the inclusion of the latter.

In every conceivable way, Let It Be… Naked is a success and finally presents the album as originally intended, making it a must-listen for any Beatles fan as well as any fan of rock music who is interested in hearing the real story of the final album of this legendary band.

COMING LATER THIS WEEK:  In addition to our regular Beatles cover songs, a review of the new Let It Be 2009 remaster.  How does it compare?…

Reflections on Rock Music: Remasters, Reissues, and Bootleg Releases…

Originally posted 2009-03-16 23:51:12. Republished by Blog Post Promoter

By Chris Moore:

In lieu of a video tonight, I’d like to take a moment and review one of the music industry’s favorite ways to make an extra dime on previously released material — also known as “remastered” and/or “reissued” albums.  And, just because it feels right, I’d like to incorporate some thoughts on the release of previously unreleased material, or “bootleg,” “b-side,” and/or “rarity” collections.

Remastered Recordings

What is a remastered recording, really?  Now, in some cases, a remastered recording can be the most exciting release in an artist’s catalog, particularly for longtime fans and audiophiles.  For instance, there really is no substitute for the fully stereo-version of the Beach Boys Pet Sounds.  This remastered disc created quite a controversy when it first came out, as you had purists who claimed it should remain mono, as it was originally intended and released by Brian Wilson and the boys.  Others embraced the all-new expansion of the sound on this classic album.  As for me, I cannot understand how anyone in possession of the Pet Sounds CD could refrain from skipping to track 14 every time to begin with the stereo recording of “Wouldn’t It Be Nice.”  Compared to the mono recordings, the second set of stereo-mixed tracks are crisp and clear as they pop out around your ears.  You can hear each instrument and truly appreciate the minute instrumental and harmonic details that are present in this Beach Boys masterpiece, as compared to the mono versions which have a tendency to crackle and feel claustrophobic when turned up to any reasonable volume.

This, unfortunately, is probably the exception in the world of “remasters.”

Beware music fans when you pick up a CD or read online that a disc has been “remastered.”  The trick here is to read into the fine print and ascertain to what degree the recording has actually been altered.  For instance, the classic packaging/marketing trick has been for a sticker on a CD case to read “Digitally Remastered.”  That sounds great!  I have to have this new and improved recording for my collection!…

Well, perhaps so, but half the time all this means is that someone converted the analog tracks into a digital format.  Depending on the artist, producer, remixer, and age of original recording, there has often been no real improvement to the sound of the recording.  I’ve certainly been burned a few times by this “Digitally Remastered” marketing…

That being said, there really are some truly great remastered recordings out there if you’re careful to ascertain the degree of thought and effort that has gone into the apparent “remastering” (Like the re-issue of the main albums in Bob Dylan’s catalog a few years ago — and you better appreciate the improvement in sound quality, because there’s no booklet or bonus tracks to speak of!)


Not to sound bitter here or anything, but reissues can also be just another waste of money.  Or they can offer any amazing addition to your collection.  How can you tell the difference?  Well, here are a few tips:

  • If it is a reissue of a recently released album, it’s probably just the same old material with a couple of shoddily recorded demos or tracks that didn’t make it to the album (usually for a reason) attached;
  • If it is an album that never made it to CD, then you must ask yourself: How much do I love this artist? If the answer is anything other than “very much,” then stay far, far away from this type of reissue!!  On the other hand, if the answer is “very much,” then what are you waiting for?  Some of my favorite CD purchases have fallen under this category, most notably Warren Zevon’s The Envoy.  I can’t believe that, previous to the reissue of this album in 2003, I wouldn’t have been able to hear such songs as “The Overdraft” or “Hula Hula Boys.”
  • If it is a reissue of a live album, you need to seriously question what has been improved since the initial release.  After all, what level of improvement can there really be in terms of sound quality?  It’s a live album.  It better have lots of additional tracks or an amazing, detailed booklet with updated interviews, etc.  Johnny Cash’s Live at Folsom Prison reissue is an excellent example of a worthwhile purchase in this category.
  • If it is an anniversary edition of a studio recording, some of the same criteria apply as above.  For instance, have the tracks been remastered?  (I mean, really remastered!)  Is there a decent array of bonus tracks added for the collector who already has the original album?  Is there a seriously detailed booklet with a decent number of pages?  I mean, after all, if this is an album worthy of a reissue, there must be a good deal of back story, historical importance, and/or artists from that band or other bands that are excited and willing to talk about it!
  • Finally, there is the enigmatic multiple format reissue.  What is this, you may ask?  This is when an album or collection of tracks is released and there are multiple options for the consumer.  For instance, when Pearl Jam re-releases their debut album Ten later this month, there will be three different packages available.  There’s the “Legacy Edition” with two discs — one with the original tracks, one with a newly remixed version of the album by original producer Brendan O’Brien and six bonus tracks.  There’s the “Deluxe Edition” with the aforementioned two discs and a DVD of Pearl Jam’s MTV Unplugged performance from 1992.  Then, there’s the “Collector’s Edition” with the aforementioned two CDs and one DVD, four vinyl discs (one with the original album, one with the remixed and bonus tracks, two with a live concert), a cassette version of Pearl Jam’s original “Momma-Son” demo, and “Package also includes an Eddie Vedder-style composition notebook filled with replica personal notes, images and mementos from the collections of Eddie Vedder and Jeff Ament, a vellum envelope with replicated era-specific ephemera from Pearl Jam’s early work and a two-sided print commemorating the Drop in the Park concert.”  Wow.  Now that’s some selection.  For most people, the “Legacy Edition” really should be enough.  For me, the intermediate Pearl Jam fan (and the ultimate fan of CD packaging), I will consider the “Deluxe Edition” based on the price difference.  If it’s a reasonable amount more, I would really be interested to watch the unplugged performance.  As for the “Collector’s Edition” (valued on at $124.99), you truly need to be a Collector with a capital “C.”  Now, don’t get me wrong; they have really done it up with some amazing elements, but as much as I love and appreciate CD packaging, I’m not about to drop that much money on a single album reissue.  If my memory serves me well, this was the price for buying all the Dylan reissues at one point (again, admittedly without any booklet, bonus tracks, or memorabilia to speak of).

Bootlegs (and B-sides and Rarities)

A final category in this collection of corporate cash cows (and music lovers’ delights!) are officially released bootleg recordings.  For convenience, I’ll lump in B-sides and rarities.  Bootlegs, of course, are tracks that have not been officially released but are circulated underground among fans.  Perhaps the most famous release of a bootleg was Bob Dylan and the Band’s Basement Tapes.  Worth every crazy, weird minute of sound, my friends!  Dylan’s celebrated Bootleg Series is dedicated to releasing unheard tracks and live concerts that have been — almost without exception — wonderful and worthwhile purchases.  Again, I would ask that you apply that aforementioned question to the purchase laid out before you:  “How much do you like this band/artist?”

Most bands, at some point or another, release a collection of unreleased tracks, b-sides, and rarities.  These are sometimes mediocre at best (Hootie and the Blowfish’s Scattered, Covered, and Smothered) with a minimum of only somewhat interesting liner notes.  However, these are sometimes wildly fascinating and rewarding, such as the Beach Boys’ Endless Harmony soundtrack, Warren Zevon’s Preludes, or Pearl Jam’s Lost Dogs (the latter incorporating a detailed and interesting read of a booklet).

The trick here, to be repeated once and only once more, is to evaluate how much you like the artist or band, and then to take a calculated risk.  In this writer’s opinion, half the fun of surfing the racks (or the web) and buying new albums — whether they be standard releases, remasters, reissues, or bootlegs — is the risk involved.  You may be — and perhaps most often will be — unimpressed or only somewhat entertained.  But it’s all worth it when you have those moments of revelation as you discover a truly worthwhile addition to your music library!


Originally posted 2010-12-28 10:00:09. Republished by Blog Post Promoter

By Chris Moore:


This category isn’t  populated by music technically from 2010, but it belongs here all the same.  After all, with all the unsatisfactory, unimpressive remasters and reissues that are being released every year, it’s important to salute the solid ones.

Number one hails form the ever-impressive — and ever-overpriced — “Deluxe Edition” series.  As with the DE treatment of the Blue Album, Pinkerton is dressed up with gorgeous multi-fold packaging and accented with a booklet that includes a note from Rivers dating back to 1996, handwritten lyrics to the core songs on the album, an essay by insider Karl Koch, and a veritable scrapbook of pictures and memorabilia in between.  The music itself is quirky, dissonant at turns, and harmonically pleasing at others.  The only criticism to be leveled at the plentiful bonus tracks is the repetition.  I mean, I love “Pink Triangle” as much as the next guy — probably more — but are five versions really necessary?

The next two on the list are Clutch re-releases.  True to form, Clutch is not simply going through the motions here.  The packaging for both are beautiful recreations of the originals with nice accents added.  The live DVD with Robot Hive/Exodus was a nice touch for fans like myself who will buy their CDs but not necessarily spring for other releases, like their recent live DVD.  There are few booklets so thoughtfully produced as that with From Beale St. to Oblivion, and I can’t imagine any lover of albums and packaging not appreciating this one.

The Fables of the Reconstruction box is indisputably one of the coolest packaging designs of the year, though it would have been preferable to downsize the poster in favor of a longer essay with more insight into the making of the album, etc.  The bonus tracks — the so-called Athens demos — will surely thrill longtime fans fascinated by the songs in their rough forms, though to my unseasoned ear the demos don’t sound all that different from the final studio versions.

The final addition here comes with a caveat.  The four Badfinger remasters are excellent candidates for receiving more attention from modern music listeners, and the packaging comes through in terms of adding several bonus tracks and liner notes that are more than sufficient to outline the context, either forgotten or unknown to those purchasing these albums.  And the remasters are significant, adding volume that was simply impossible on the original CD versions.  However, as a good friend pointed out, there is something lost when the reverb falls away from the drums and the other aural artifacts of their early seventies production disappears.

The honorable mentions are included here, as I’m uncertain of where else to place them.  The ever-excellent Bootleg Series should go without saying.  Even a non-fan could appreciate the rich experience that is to be had by listening to and reading one of these releases, this being the ninth installment.  The other mention is for Bruce Springsteen’s The Promise, a double-album of unreleased tracks from the Darkness on the Edge of Town sessions.  The packaging is beautiful and the music, particularly for the Springsteen fans out there, is comparable to stumbling upon buried treasure.

Be sure to check back tomorrow, and then Thursday and Friday for the best lists yet: the Best Songs and the Best Albums of 2010!

1)  Pinkerton – Weezer

2)  Robot Hive/Exodus – Clutch

3)  From Beale St. to Oblivion – Clutch

4)  Fables of the Reconstruction – R.E.M.

5)  The Badfinger remasters (Magic Christian Music; No Dice; Straight Up; Ass)

Honorable Mention:

The Bootleg Series Vol. 9: The Witmark Demos (1962-1964) – Bob Dylan

The Promise – Bruce Springsteen