[Vision2020] Happy News: Beatles Entire Studio Catalog Newly Remastered On CD A Worthy Effort

[Ted Moffett]

I have listened carefully to a number of these new remasterings of the
Beatles' albums, and find the new versions on CD worthy for the improved
sound quality; and in making this evaluation, I should add that I found the
sound quality of the first 1987 CD releases of the Beatles' albums
disappointing.  Forget about lower resolution formats... MP3 is the work of
the dark side... If only the entire Bealtes' catalog would be released on
SACD.

I could expound at length, but I'll let Stereophile's Robart Baird save me
the effort (my impression of the musical experience of listening to these
new remasters was very similar to Baird's commentary, before I read his
comments).  I agree with Baird that the high quality vinyl versions of some
of the Beatles' albums are still compelling, though I think some of these
new remasterings on CD approach the musicality of the best vinyl versions.
"Sgt. Peppers" on the Parlophone UK vinyl pressing is amazing, clearly
better than the first 1987 CD release; the new CD remastering of this
album is clearly superior to the earlier CD version, enough to compare it to
the Parlophone UK vinyl:

http://blog.stereophile.com/musicroom/robertbaird/the_new_beatles/#

Using my Musical Fidelity Nu-Vista 3D CD player—which by the way is a great
machine that I have always adored—at the exact same volume, the first thing
you notice when you A-B new against old is that sonically the new transfers
make the originals sound flat and one–dimensional. There is a newfound
fullness, multi-dimensionality and also a sense of space that the originals
lack. On first listen, this new sonic heft can easily be mistaken for
loudness, for compression, but it’s really just a wider dynamic range and
the presence of *more music* that you’re hearing. In the stereo CD of *Rubber
Soul*, I A–B’d “Drive My Car” repeatedly against the 1987 originals and the
audible differences for me came down to several things: increased separation
and clarity between instruments, a more expressive, luxuriant emotional
tenor, and an exquisite and exacting sense of bringing out and enhancing
details like the roundness of the bass line or the edge on the vocals, which
were always there but which are now so much more alive and present in the
mix.

After listening for the past few days, several sonic constants have
appeared. The contributions of Paul and Ringo, alone and as a rhythm section
are now more prominent. Paul’s bass is now something you can regularly hear
and be impressed by. Ringo’s tambourine on “Got To Get You Into My Life”
(from *Revolver*) now sounds like a glorious idea come to fruition. Another
“Gee, I never heard that before,” moment comes from the layering,
particularly of the vocals, which is now so much more defined. On “Doctor
Robert,” again from *Revolver* (a lesser tune that I, of course, have a
cheesy affinity for), the harmonies have a new energy.

Energy, in fact, may be the word that best describes the positive sonic
alterations inherent in the new remasters. What you really hear is an
audible new jolt of energy. Words like cogency, potency and sparkle also
apply. This music, on the medium of CD, is suddenly more alive than ever
before. Best of all the CD format’s worst quality, that cold digital
brightness that’s made so many CD transfers damned near unlistenable, has
actually been used, very judiciously, to great effect. I would venture to
say that the Abbey Road team has finally harnessed this demon and made it
serve rather than harm the music making.

On Lennon’s “Rain” (from *Past Masters*) one of the band’s most elaborate
sonic creations, one that used a series of overdubs at different tape speeds
to achieve an odd tonal effect and near the song’s end, backward vocals, the
new remaster when compared to the original CD transfer, focuses and
revitalizes the panache of this underrated curiosity. The guitars have more
bite, Ringo’s snare pops with new vigor and the background vocals are
separated more than ever before.

Finally, after listening to the *The Beatles* (aka *The White Album*), which
despite much love for *Abbey Road* has always been my favorite Beatles
album, the proof as they say, is in the air. The sound is appreciatively
better, richer, more intense. The overdubs on this record have always
sounded clumsy to me but on the new remaster, that problem has been
minimized. A–B’ing “While My Guitar Gently Weeps,” is yet another example of
how clarity has been strengthened while the music that was always there, the
Harrison/McCartney harmonies float above the mix with a new urgency and
Clapton’s guitar has a thrilling new sting. Anyone who cannot hear he
differences here needs to upgrade their gear or perhaps retune their ears.
It’s easy to fall back upon metaphors when describing the exciting new sound
that rises from these remasters but I’ll use only one. In listening to these
new reissues, it makes me think that the music was like a half-opened flower
that has now been brought into full and beautiful bloom.

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Vision2020 Post: Ted Moffett
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