The Beatles The White Album

Like wow, was I ever that young? Some great stuff (depending on your tastes) and some crap that sounded like it was born in a smokey room full of incense meant to veil the smoke.) I used the Skip button a lot. Okay, my favorites were Back in the U.S.S.R., While My Guitar Gently Weeps, and Rocky Raccoon. But all and all there was no one like the Beatles and I still love them.

My favorite-sounding songs from The White Album up till now were a mixture of mono and stereo (I preferred ten in mono). Generally in my "Beatles taste" I prefer the rockers in mono, with the drums centered (unless they're already centered in the stereo). Almost always, I dislike the drums in one channel only. It takes away the power, punch, and overall impact, and doesn't sound live at all. In a word, it's wimpy drums, and that just ain't right for rock and nearly-rock pop music, or any music where the beat plays a big role in the overall sound. Bass is better in the middle, too. In this re-mix by Giles Martin, for the most part (with a few baffling exceptions), he understood that, just as with his wonderful Sgt. Pepper remix. I'll now proceed to analyze my favorite tracks (not including the demos), compared to what I regard as the best-sounding previous versions. Then readers may make the same head-to-head comparisons and see if they agree. It's fun. I love doing this. It's like a marvelous aural journey of discovery. I first heard the White Album at ten years old. It was different; kind of weird, and it took a while to grow on me. My brother had bought it. I enjoy it more than ever, now at age 60, as perhaps the ultimate "variety of styles" album. I can't think of anyone who has so brilliantly performed so many styles in one album, while each song remains recognizably from one group, and is hard to imagine having been produced by anyone else. 1. Back in the USSR: superior to the previous best 2009 stereo, which sounded a bit harsh and muddled. The drums are centered, as they should be. The bass is still too subdued (which is a mystery in both mixes), but can be heard more so than 2009. Paul's voice is slightly less prominent, but the overall mix works well and sounds fuller and more "atmospheric." 2. Dear Prudence: drums and stronger bass are centered, making for an improvement from the 2009 stereo. It's punchier and a bit more resonant, too: which works well, given the glorious "chimey" / neo-Byrds guitar sound. 3. Glass Onion: Thunderous, "in your face" and echoey drums are the highlight here, as they should be for such a spirited Lennon rocker, making it better and significantly more "energetic" than my previous mono favorite. 4. Ob-La-Di, Ob-La-Da: the primary improvement is in Paul's voice, which sounds perfectly natural, as if one were in the room with him. The drums are louder and crisper as well, compared to the 2009 mono, which was better than the 2009 stereo. 5. Wild Honey Pie: compared to 2009 stereo, there is more reverberation, especially in the drums, which assume a larger importance in the mix, resulting in a needed fuller sound and a somewhat "spooky" feel. 6. The Continuing Story of Bungalow Bill: much better mix in terms of both balance and overall clarity and sound, compared to the 2009 stereo, which was too harsh and excessively separated (especially in light of this improvement). 7. While My Guitar Gently Weeps: It's disappointing in that it didn't center the drums, and they are lower in volume as well, BUT there is an upside to the new mix, too: the non-lead guitar parts are more distinct, clear, and brighter. Since this is a blues-oriented guitar piece rather than a rocker per se, I give the nod to the remix (though it's a close call), because we love George's guitar (here with Eric Clapton as well), and want to get as much of that as we can! 8. Happiness is a Warm Gun: the drums are brighter than the muffled sound of the 2009 mono, and the background vocals towards the end are a lot cleaner and sharp; sounds more "alive." 9. Martha My Dear: this most Pepper-like (and I think, underrated) song of the White Album (which was about Paul's dog, for those who missed that!) sounds appropriately brighter and clearer and more catchy all-around than the 2009 stereo. The introductory piano sounds normal and natural, rather than muffled and stunted. 10. I'm So Tired: Oddly, the drums are on one side and arguably the right volume in the verses in 2009 stereo, and arguably a little soft and centered in the remix, while both mixes have a louder drum during the choruses, but with the old one centered and the new one on one side (!). 2018 has a somewhat more clarified and louder bluesy guitar in the choruses. So this one is a toss-up based on subjective preference. I might feel differently with some of these songs also if I heard them through speakers. I'm using headphones, for ease of comparison. 11. Blackbird: Paul's voice sounds fuller and more natural; slightly less tinny acoustic guitar sound, too. So it's an improvement of the 2009 stereo. 12. Rocky Raccoon: the drums are brought more to the center and the barrellhouse piano is much clearer. In the 2009 stereo it sounded like it was coming from a cheap transistor radio inside a garbage can. 13. Don't Pass Me By: a significantly cleaner and much more pleasant listening experience than the muffled, annoying 2009 mono, which was at least better than the 2009 stereo and its nearly nonexistent drums. One wonders why the original mixes could have been so substandard compared to George Martin's usually superb work. The son definitely outdid the father on this one. But I suppose the superior sound technology available today is the main reason. It seems as if our listening habits change over time as well. What we thought was fine and great 40 or 50 years ago sounds odd and weird and distorted today. 14. I Will: I think it's a bit over-mixed. The 2009 stereo is actually cleaner and the old-timey bass is where it should be, in my opinion (it's too soft now). So 2009 gets the nod. Giles must have thought the original bass was a little "intrusive." I don't. That's a subjective judgment call where different opinions are fine. 15. Julia: the two mixes of John's beautiful tribute to this late mother are very similar, but the guitars are maybe slightly brighter compared to the 2009 stereo. 16. Birthday: the frenzied guitar attack in the middle section after the drum break is more dramatic and almost punk-like, but there isn't too much difference compared to 2009 stereo. It was always a "tinny" recording and remains so even now (somewhat like many of the Rolling Stones' recordings). But maybe it was supposed to be . . . Me, I prefer a warmer, cleaner sound. But again, these are subjective judgments. 17. Yer Blues: this wonderful, near-satire of late 60s English blues was already glorious in 2009 remastered mono, but it's cleaner now compared to the mono, and the drum is totally centered instead of half-and-half, as in the 2009 stereo. Thus, it combines the best of each "competing" 2009 version: much like the 2017 mix of Pepper did. That's what we want!: all the good stuff in one mix for the best listening experience. Can't wait to hear this and the other rockers with my big old-fashioned, Michigan-made speakers. 18. Mother Nature's Son: Sounds about the same to me. 19. Everybody's Got Something To Hide Except Me And My Monkey: Inexplicably, the drums are kept to one side on this explosive rocker. It could have been improved in the same way that Glass Onion was, and the obnoxious cowbell should have been removed (I had vainly hoped)! But that would "mess with" the song as the Beatles made it (maybe with Ringo's permission, the cowbell could be excised?). But there are improved aspects in this mix, too. It happily maintains the song's rocking nature, with its wonderful all-out "Twist and Shout"-like Lennon vocal delivery. The clarity is better: particularly in the snare drum and cymbals, which can be more distinctly heard. The 2009 mono (my previous favorite) sounds "jumbled" in comparison. So I choose this one as the best. 20. Sexy Sadie: very similar, but in the 2009 stereo the drums are slightly louder (better, to my taste) and cleaner and crisper in the snare and cymbals. I don't know why that was changed (why it was thought a change was needed), so I think the remix fails on that score, but it's a relatively minor failure. 21. Helter Skelter: Paul's not a rocker? Ha! Take THIS! Disappointingly, the drums were not centered. But as in the case of Me and My Monkey, all is not lost. They're louder and have a much more jolting impact than the 2009 mono, and the guitars are louder, making the song an almost frightening existential experience (some of the most ferocious rock ever played by any band ever). Another downside is a softer bass in the mix. Since we want to hear Paul's Come Together-like "swamp" bass, too, we can easily accomplish that by simply turning up the bass portion of our equalizers. With that adjustment, the new mix can be heartily recommended as superior. Play it really loud! I made sure no one was home when I did. :-) 22. Honey Pie: This is a big improvement in an "upgraded sound" sort of way. As in many of the softer Paul songs, his voice sounds more natural: like it's an in-person performance without a mike, up close. But in terms of the mix, the "20s jazz" orchestral flourishes are much more prominent, and it works wonderfully to these ears. Great job in improving the 2009 stereo, and almost transforming the song, making it even better than it has always been. 23. Cry Baby Cry: not much different, but fuller, warmer soundscape than the 2009 stereo, while maintaining the greater punch of the 2009 mono. 24. Good Night: the big improvement here over the 2009 stereo is the significantly greater clarity of the background singing, which was quite muddy and muffled before. Conclusion: A) Striking sound improvements (10): 1, 2, 3, 6, 9, 12, 13, 17, 21, 22 B) Significant and noticeably improved sound (7): 4, 5, 8, 11, 19, 23, 24 C) About the same (5): 7, 10, 15, 16, 18 D) Inferior to the 2009 stereo (2): 14, 20 Overall, I give it an A-. The best improvements (my A list above) are VERY good, so I give it five stars for overall impact. 17 significantly or strikingly improved Beatles songs is something for all devoted fans to rejoice about! I'm very happy about the whole thing. It's a must-own for any Beatles fan.

I have been a fan of The Beatles since 1964. I got "THE BEATLES" (aka The White Album) in 1968 for Christmas from my parents! They left the price tag of $8.99 on it in case it had to be returned but it played perfectly! It was different than their previous music but it was The Beatles, I was a fan so of course I liked it. The next edition of The White Album I got was a 30th Anniversary Import CD. After that the 2009 Remasters came out in both Stereo and Mono and, being in the U.S. I had never heard the Mono version! Needless to say I thought both Remasters were great. Now almost 50 years after I got the original LP we have this 3 CD Set which includes the original album and The Esher Demos (which I have inferior versions of on bootlegs) superbly Remixed by Giles Martin and sounding better than ever before! Yes, as a long time fan I bought the 3 CD; 6 CD/1 Blu-ray Box Set and the 4 Vinyl LP version of this 3 CD set for my Beatles collection that spans over 54 years. This is definitely my "Go To" version of The White Album from this point on! Giles (chip off the ol' block son of George. RIP George) Martin and company have done a superb job on this and all The Beatles Remixes. I think Giles was the only guy for the job seeing as how his father George was losing his hearing at the twilight of his career and Giles stepped in to help and be his Dad's ears. He already knew the music of The Beatles before he did "The Beatles LOVE" project with his Dad in 2006 so he was the natural choice to take on any future Beatles projects since. No wonder Apple (specifically, Paul, Ringo, Olivia and Yoko) hired him. My recommendation is get whatever version you choose or can afford. The Box set has 3 additional CD of "Sessions" outtakes and a Blu-ray (audio only) disc of the Remixed Album plus a direct transfer of the 2009 Mono Mix on the Blu-ray! Even "... Mr. Kite" realizes "A splendid time is guaranteed for all. But tonight (THE BEATLES aka The White Album) is topping the bill." Enjoy!

These remasters are big, warm and improved. The sonic footprint is very intimate and detailed. I have a couple hundred Beatles records in vinyl. Some are dead mint mono pressings. Those are incredibly endearing to be sure. But now I want the mono reissues as my last Beatles purchase. The stereo Giles Martin anniversary mixes are all such gorgeous offerings. I'm going to cut and paste this review, because I have them all, and my conclusion is exactly the same. The Giles Martin mixes are the finest sounding Beatles records of all time. All of the albums artwork is amazing and there's booklets that go into incredible detail regarding the creation of the album you're holding. If you love the Beatles, buy all of the anniversary mixes. You'll be impressed all the way around.

I've owned every version of the white album except cassette and 8 track. Bought this one as part of my Beatles collection. I also purchased the iTunes version for the full set of demo discs. Bottom line if you don't want to shell out the really big bucks for the set that includes the blue ray and book that is the way to go. As for the remaster, it's well done and does further justice to an album which was already one of the very best.

The ‘White Album’ is my favourite Beatles album and probably my favourite album by any artist. I’ve been going back to it in mono, stereo and now this remix for over 30 years now. For me, it’s like a junk shop. There’s a bit of quality here and there, but largely it’s a collection of ideas and curiosities. Only The Beatles could have got away with releasing a ‘junk shop’ of an eclectic, in places somewhat ‘unfinished’ and experimental record. In comparison, the Stones released ‘Beggars Banquet’ in 1968 which, after their mid-sixties baroque and psychedelic experimentations, took them back to what they did best and firmly set themselves out as the ‘blues shop’ they continue to successfully trade as to this day. In contrast to Mick and the boys who repeated the formula a year later with ‘Let it Bleed’; merely weeks after the release of the ‘White Album’, The Beatles began the sessions what would later become the ‘Let it Be’ album. Notwithstanding the ‘fractiousness’ of this period in Beatle history, the recording limitations of Twickenham and Apple Studios and Phil Spector’s ‘posthumous’ production treatment, ‘Let it Be’ is arguably a more a cohesive set of consistent, quality songs than its recent white sleeved forebear. With that mind set, many argue that the ‘White Album’ would have been a better as a 12 or so long single LP. I have tried to pick and sequence such a product several times over the years and given up every time. It just doesn’t work for me. ‘The Beatles’ is a 30 track piece and every time you go back to its ‘junk shop’, you can hear something new and/or gain a new perspective. In recent years, ‘Long, Long, Long’ and even ‘Revolution 9’ have caught my imagination like Helter Skelter always has done. Most recently, before the hearing the remix and the outtakes, I had been listening particularly for Paul McCartney’s contributions across the record. Macca brings quality songs in ‘’Back in the USSR, ‘Helter Skelter’ and ‘Blackbird’’; in Beatle terms, duffers (although many will surely disagree) like Honey Pie’, ‘Rocky Racoon’ and ‘Why don’t we do it in the road?’ and most interestingly, he adds so much to the other Beatles’ songs on the record; not least on ‘While my guitar gently weeps’ which I wonder if he ever secretly thought, “I wish this was one of mine”? It is fascinating to hear the banter on the outtakes and subsequently it’s nice to discover that the Beatles were indeed still a cohesive unit during their post-Rishikesh 1968 recording sessions. As Giles Martin’s remix liner notes seem to suggest, the ‘solo’ approach was perhaps more a product of their prolific output at the time than band tensions. However, I can understand why George Martin wasn’t so fond of the ‘White Album’; when you’ve been the director of a relative emporium like ‘Sergeant Pepper’ it must have been a bit of come down to next be overseeing a ‘junk shop’. George was a true musician in the traditional sense; not the creative, artistic, rock and rollers that the Beatles were as they arguably shone a light towards the 70s rock scene on even punk across the ‘White Album’. I have now given the remix three listens end-to-end and it’s going to be hard to go back to the original mix. There’s just too much new ‘junk’ to enjoy. For example, ‘Revolution 1’ has now become for me, a true peer of its faster sibling as opposed to the second rate ‘muddy-sounding’ and comparatively dirge-like original mix. There are other subtleties that make all 30 tracks sound fresher and newer; even ‘Honey Pie’. In general there is both more top end and bass and both the lead and backing vocals are higher in the mix to provide a much more dynamic and modern feel to the album. Is it worth buying again? Yes it is and I can’t wait for remixes of the rest of the remaining catalogue; not least ‘Revolver’ which is a ‘hard listen’, particularly with headphones, in its current stereo mix. ‘Abbey Road’ is a pretty good production as it is but nonetheless it would be exciting to hear what Giles Martin might be able to do with that. This music is a major part of my own and many others’ lives. We would go back to it time and time again anyway, but it’s nice to go back to something intrinsically the same and familiar but also new at the same time. Only The Beatles could get away with this you know? And rightly so!

Excelente y de coleccion !!

Prix très raisonnable pour ce coffret. Intégrale du double blanc. Un ensemble un peu décousu intéressant à analyser avec la fiche Wikipedia en complément... riche en tous cas... mais la véritable bonne surprise est le 3ieme cd offert dans ce coffret anniversaire. Les versions acoustiques remarquables de nombreux morceaux de l'album. Fraîcheur et la cohérence qui semble manquer à l'album est bien là soulignant des compositions enchantées. Excellent

正直、音源分離技術（デミックス）を施した『Revolver』や『Abbey Road』は 個人的には、あまり評価していませんでした。 なので『White Album / DELUXE EDITION』も差ほど期待せず、ただ謙価に釣ら れて購入させていただいたのですがコレは思いの外、良かったです。 各楽曲やアルバム全体の感想は弊方のような若輩者が今更論評する必要もないので、 ここでは２００９年リマスター版と比較した感想を僭越ながらレビューさせていただ きます。 🎧聴感上の音圧🔊は２００９リマスターに軍配が上がります。 しかし『DELUXE EDITION』には音質面でのアドヴァンテージが確実に担保されて いました。 先ず真っ先に試聴して感じたことは、こちらの『DELUXE EDITION』は全体的に 丁寧にリマスティング作業が施されたなっといった印象です。 各楽器の定位もシッカリしており細かい音やボーカル🎤 が鮮明に聞こえます。 … ２００９リマスター版にみられたＣＤ特有のデジタル臭さが遠のきました。 音の鮮度が良くなり、よりアナログチックに。 丁寧にリマスティングされている分、『Helter Skelter』や『Birthday』などの イントロ部では「ガツン！」とくるインパクトさには欠けますが今まで埋もれていた 楽器音がクリアになることで解像度、生々しさが格段に良くなっています。 殆どの曲でドラムを中央に持ってくる音像定位ではありますが付け焼き刃的にＬＲの 広がりを強調して現代風にリデザインされた２００９リマスターよりは遥かに聞き易 く音楽性は高いです。 少なくても弊方宅のオーディ環境ではその違いをハッキリと確認できました。 流石にアナログ（オリジナル）並みとまでは行きませんが２００９リマスターに違和 感を感じる方は是非ともご聴取されてみては如何でしょうか。 現在の価格帯（\2,200前後）ならこのＣＤ買って損したって思う人、多分いないと 思います。 最後まで読んでいただき、どうもありがとうございました。🙏