Yellow Submarine [CASSETTE] [Original recording reissued, Original recording remastered]

When it was announced that the entire Beatles catalogue was scheduled to be remastered & re-issued in 2009 I was in eager anticipation of hearing the band's recordings sounding as good as they do on this 1999 release. Now that the remasters are available in the shops, I very much regret to announce myself disappointed to discover that NOT A SINGLE ONE of the tracks featured on this album sound as good in their 2009 stereo incarnations as they do here. Was I expecting 'all too much'? It appears so. Whatever Apple's reasons (which I rather expect to be as unconvincing as the decision to remaster the band's first 4 albums in their original shoddy stereo versions) passing over these superb remixes they cannot help but leave this particular listener wondering what on earth's going on when the Yellow Submarine Songtrack contains tracks that still sound superior ten years later! As Allan Rouse was the co-ordinator for both this & the 2009 remasters projects, perhaps an explanation is out of the question? Again, it appears so. This album now stands as evidence, then, that whereas the 2009 Mono Remasters are a ground-breaking triumph the stereo counterparts represent an opportunity missed- squandered, even.

At the time of its release back in September 1999 this collection did not appear at first glance to be a very big deal at all; until, that is, you sat down and listened to its all-too familiar contents. It was only then that its abundant riches were exposed as track after track revealed finely tuned nuances that were a delight to hear. The chief engineer was Peter Cobbin, whose work here was so exemplary that it is to be lamented that his name does not appear among the credits on the 2009 remasters. It will be pleaded, of course, that these mixes were not the originals as issued back in the day- but neither are the mixes featured on the 2009 remastered stereo versions of Help! & Rubber Soul, both of which revive George Martin's excellent late 1980s versions, which effectively scuppers that particular argument. But if Apple's rationale doesn't make a whole lot of sense, the music on Yellow Submarine Songtrack certainly does! These tracks have been presented with loving care and a painstaking attention to fine sonic detail that places this album in a league of its own among Beatles compact discs. Sure, the bass registers have been enhanced, but that's by no means the full extent of what's on offer here as the entire width & depth of the stereo spectrum has been utilised to unlock & maximise the potentials of each track. 'All You Need Is Love', for example, may not have worn as well in our collective affections as many other Beatles hits but this version stands head & shoulders above any other available to you (& that includes the original mono single) as I write these lines. So: what in 1999 seemed like a worthwhile curiosity now enjoys elevated status as the one boasting the most impressive sound quality in the band's entire catalogue- a situation that we can be reasonably sure Apple & EMI did not anticipate when it embarked on the 2009 remasters project. If you want the Beatles sounding at their very best, you are recommended to make this album your topmost priority.

I wasn't convinced. The package seemed a bit like skirting around the issue, a money-spinner, a pointless exercise. Somehow it made me feel that i didn't want to buy this because it seemed like everyone elses Beatles album, and not my own.

But then, four years late, i bought it and wow.

Yes, we all know the songs - i can't bear to listen to All you Need is Love anymore, and can barely face the title track another time - but this goes beyond. Every other beatles cd release sounds dated, not because of the quality of material, but the inexcusable lack of remastering. i have heard the Beach Boys, The Byrds, Dylan, Tim Buckley, all with fantastic remastering jobs that brings the songs out of themseleves and makes them feel not so much current, as timeless. The potential is there with the Beatles to be eternally wonderful, but time and again young fans are introduced to the band through tinny cd editions and can't see what the fuss is about. The supposed greatest band in the world sound flat.

Well, in that case, this is the sound of the Beatles - gone fat. The chunky guitars sounds like I have always dreamt it to sound in my head when humming the tunes back to myself. So clear and fine, so absolutely brilliant.

Yes, Bulldog sounds current, but it is Nowhere Man, Elanor Rigby, Baby Your a Rich Man that really shine.

EMI MUST REMASTER THE CATALOGUE. Why they don't is a mystery, their arogance is losing the Beatles a lot of credit and respect, and here they are on a clean, clear, soulful cd that puts them right back where they belong.

Surely the time is due for a re-issue of the catalogue with singles as bonus tracks? Are EMI too stingy to concieve of giving value for money? Well thank God they went and remixed this, because it sounds brilliant, even if at heart it is a little pointless and silly.

Surely the Beatles are the ultimate holiday car band, the music to listen to when the whole family are on a trip, to sing along to, to fall in love with? This album can do that just fine.

"Yellow Submarine" has never previously existed in the 15-track configuration found on "Songtrack." Out are George Martin's seven instrumentals, in are nine other previously released from Beatles tracks that featured on the actual soundtrack of the film itself. The album has been re-sequenced accordingly.

The original soundtrack LP introduced only four previously unreleased Beatles songs recorded at various times in 1967 and early 1968. (see analysis below.)

The record company has decided to make this the first remixed CD in their catalogue instead of simply producing a new remastered tape. The sound quality must be heard to be believed. It is absolutely stunning, spectacular to say the least!

The appearance of the "Yellow Submarine Songtrack" (and the "Anthology" series before) demonstrated that it was possible to rework archival material without compromising it or rewriting history.

Peter Cobbin's remixes draw attention to many of the brilliant touches Martin's production added to the overall image by creating the dense mixes through a painstaking mix-down process.

Cobbin succeeds in delicately untangling the individual vocals and providing a better soundscape for the instrumental parts.
Listen, for instance, to the quartet arrangement on Eleanor Rigby. Originally, a single mono track placed at the centre in the mix whilst Paul's lead vocal was panned to the right. In the new mix, the quartet is spread across the soundstage, behind and around Paul's vocal, which now occupies the central position. This is a significant improvement.

The tunes specific to the film cannot rival the already released masterpieces but they display an offhand, period charm. The greatest improvements show, precisely, on the "new" songs.

In the former version of "All Together Now", Paul's vocal was hard right and John's centered. In the new, Paul's and John's vocals are both centered--and how about those handclaps?

At the coda, "Only a Northern Song" was cluttered in its original version but is now revealed to have layer upon layer of surrealistic sound, somewhat anticipating the "White Album."

"Hey Bulldog" is revealed as a minor classic. The jigsaw nature of the piano, guitar, and bass parts comprising the song's first verse are presented in jewel-like foil. McCartney's spectacular bass line, in particular, stands out with awesome presence.

"Songtrack" ends with the anthemic "It's All Too Much," with its handclap rhythm track, and a magnificent extended guitar solo pitched against a honking bass figure. The coda features heraldic trumpets, overlaid guitar lines, and multiple vocals, grunts, and handclaps that are wonderful.

The appearance of the "Yellow Submarine Songtrack" (and the "Anthology" series before) demonstrates that it is possible to rework archival material without compromising it or rewriting history. It is a pity that the only other reworked album is "Let It Be... Naked."

This new version is essential to all dedicated Beatles fan.