Until now if you wanted a contemporary-sounding Beatles album you had to buy something by Oasis. Now we have an album which reinvents the studio tinkering of George Martin's psychedelic prime for a new technological generation. It's still clearly a Beatles albums - if you listen inattentively many of the tracks sound very much like previous CD masters, albeit with much better sound - but there are touches of genius in the remixing/rejigging process that makes this much more than a standard compilation.
Purists will be relieved to hear that nothing appalling happens to many of the most revered tracks. "Eleanor Rigby" and "I am the Walrus" (among many others) are treated fairly straight. "A Day in the Life" sounds much the same, but with the emphasis shifted from the drums to the bass and the "sugar plum fairy" count-in of the recording session restored. Unfortunately, there is also a tendency within the project as a whole to add extraneous, sometimes irritating, sounds which somewhat spoils the version of "Strawberry Fields Forever" here.
While additions are sometimes merely fussy, however, there are some inventive segues and combinations that work perfectly. The way that "Being for the Benefit of Mr. Kite" becomes "I Want You (She's So Heavy)" has to be heard to be believed, and the marriage of "Tomorrow Never Knows" to "Within You Without You" is a flagship example of how the techniques on this album can work spectacularly. The reinvention of "Lady Madonna" is another highlight, and will set your feet tapping when the rhythm section from "Hey Bulldog" erupts for a couple of bars. Many listeners will have a lot of fun with the DTS 5.1 mix, which challenges you to work out whether you are hearing a more polished mix of the original or something completely fresh.
Not everything works, though. The string section of "Goodnight" is stuck unsympathetically onto the start of "Octopus's Garden" and there's definitely a sense that some things are done in the production process just because they could be and not because there is an actual musical improvement. The most obvious selling-point of the album - George Martin's fresh orchestral arrangement for "While My Guitar Gently Weeps" - sounds dull in the setting of a bright, edgy album and would probably also sound schmalzy compared to the version on "The White Album". As a whole, though, the album is never less than interesting ... high praise for a project where all the source material is so thoroughly known.
I was all ready to hate this, but actually it's a really welcome addition to the catalogue.