"3 Original Album Classics" by ARETHA FRANKLIN – Featuring "The Electrifying Aretha Franklin" from May 1962, "The Tender, The Moving, The Swinging Aretha Franklin" from November 1962, An Uncredited "Soft & Beautiful" from April 1969 on CD2 in Error and "Soul Sister" from July 1966 – All Four Albums Originally on Columbia Records and Presented Here in their STEREO Versions (February 2010 UK Sony/Columbia/Legacy 3CD Hard Card Capacity Wallet with Mini LP Repro Card Sleeves and Remasters) - A Review by Mark Barry...

 

 

 

"…It Should Have Ended Long Ago…"

 

A weird one in so many ways in that this 3CD Hard Card Capacity Wallet offers more than is advertised on the tin (4 albums instead of 3) and then drops one song on CD1. But all of it is second tier music anyway (her much derided stay at Columbia Records). Time to explain and get to the details...

 

UK released February 2010 in the UK and Europe - "3 Original Album Classics" by ARETHA FRANKLIN on Sony/Columbia/Legacy 88697618262 (Barcode 886976182625) is a 3CD Hard Card Capacity Wallet with Three Mini LP Repro Card Sleeves and Remasters. It breaks down as follows:

 

Disc 1 is the album "The Electrifying Aretha Franklin" originally released May 1962 in the USA on Columbia Records CL 1761 (Mono) and CS 8561 (Stereo). The Stereo version is used here (12 Tracks, 31:36 minutes). The back of the box wrongly lists 13 tracks, when there is only 12 – the missing song is the first one on Side 1 - "You Made Me Love You".

 

Disc 2 is the album "The Tender, The Moving, The Swinging Aretha Franklin" released November 1962 in the USA on Columbia Records CL 1876 (Mono) and CS 8676. (Stereo). The Stereo version is used here (70:11 minutes)

 

NOTE to CD2: as you can see from the playing time above - a mastering error has put 22 tracks on Disc 2 so it actually features an uncredited whole album - Tracks 13 to 22 are the LP "Soft & Beautiful" issued April 1969 on Columbia Records CS 9776 in Stereo.

 

Disc 3 is the album "Soul Sister" released July 1966 in the USA on Columbia Records CL 2521 (Mono) and CS 9321 (Stereo). The Stereo version is used here (11 tracks, 30:23 minutes).

 

The sound quality is truly gorgeous - exceptional really - and the credits can be downloaded from Sony's website at www.musicmadesimple.info. But that's where the good news ends...

 

The music is mostly awful. This was her stay at the straight-laced Columbia label and not the entirely creative and sympathetic Atlantic Records. Columbia tried to put her across as a female Nat King Cole - so each song either starts with violin strings or features them somewhere in the middle - to a point where you end up getting tune after tune with these soulless crooner arrangements. The mediocrity of the song choices too is hard to believe - "Rock-A-Bye Your Baby With A Dixie Melody" and "Swanee" for God's sake! A woman with a godlike voice like this! Even Ray Charles' mighty "Just For A Thrill" - which cannot be wrecked as a song - is reduced to saccharine. 

 

It's not all bad of course - "Only The Lonely" is lovely and features great vocal work, while her version of "Try A Little Tenderness" (later made famous by Otis Redding in 1967 on Atlantic) shows some of that magic touch. "Without The One You Love" is pretty too, even when it's drowning in syrupy strings. And you're constantly aware of that 'sound' - these are the remastered Legacy issues of a few years back and audio quality is truly breathtaking. But if you really want Aretha Franklin at her soulful best, then start with her Atlantic debut album "I Never Loved A Man The Way I Love You" from 1967 and prepare to be properly blown away. Unfortunately, track after track here only convinces you that this is not Sixties Soul, but Soulless Sixties Pap.

 

I picked this up in a London store a few days ago - only released 3 months ago - and it's already reduced to five pounds. Cheap or not with an uncredited extra album or no, I'd advise you to hear this set first before you buy it.

 

One to avoid I'm afraid...

 

PS: other titles in this "3" CD series for 2010 include:

1. AMERIE (01 February 2010)

(All I Have/Touch/Because I Love It)

2. SHAWN COLVIN (08 February 2010)

[Steady On/Fat City/Cover Girl]

3. AGNETHA FALTSKOG [FRIDA of ABBA] (01 February 2010)

[Agnetha Faltskog/Nar En Vacker Tanke Blirsang/Elva Kvinnor I Ett Hus]

4. (PETER GREEN'S) FLEETWOOD MAC (01 February 2010)

[Peter Green's Fleetwood Mac/Mr. Wonderful/The Pious Bird of Good Omen - The Original UK Album Track Lists - No Extras]

5. JOURNEY (01 February 2010)

[Departure/Escape/Frontiers]

6. WILLIE NELSON (01 February 2010)

[Yesterday's Wine/Red Headed Stranger/Stardust]

7. DOLLY PARTON (8 February 2010)

[Eagle When She Flies/Slow Dancing With The Moon/White Limozeen]

8. (CARLOS) SANTANA (08 February 2010)

[Illuminations/Oneness/The Swing of Delight]

9. SCORPIONS (01 February 2010)

[In Trance/Virgin Killer/Taken By Force]

10. SIMON and GARFUNKEL (01 February 2010)

[Sounds Of Silence/Parsley, Sage, Rosemary & Thyme/Bookends]

11. TOTO (08 February 2010)

[Toto/Hydra/Turn Back]

12. LUTHER VANDROSS (01/02/2010)

(Never Too Much/Give Me The Reason/The Power of Love)

13. THE WALKER BROTHERS (01/02/2010)

[No Regrets/Lines/Nite Flights]

"Where Were You When I Needed You/Let's Live For Today/Feelings/Lovin' Things" by THE GRASS ROOTS – Four US Studio Albums from 1966 (Debut), 1967, 1968 and 1969 all on Dunhill Records featuring Producer and Songwriters Lou Adler, P.F. Sloan and Steve Barri with Band Members Creed Bratton, Rock Coonce, Rob Grill and Warren Entner (April 2022 UK Beat Goes On (BGO) Compilations – 4LPs onto 2CDs with Andrew Thompson Remasters)- A Review by Mark Barry...

 

 

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"…Melody For You…"

 

Musically somewhere between The Association, The Monkees, The Fabs and even the more melodic moments of Moby Grape (with the long-shadow of The Byrds lingering in the background) – THE GRASS ROOTS charted big – but not that you would know in 2022 or 2023. This most American of Jangle Rock bands seem all but forgotten now let alone respected like some of the hallowed names just mentioned. Yet between 1967 and 1972, TGR charted seven albums on Billboard's Rock LP charts and an impressive fourteen 45-singles starting in 1966 (also ending in 1972). 

 

Brainchild of Producer and Arranger LOU ADLER and featuring extensive songwriting contributions from two 60ts icons - P.F. SLOAN and STEVE BARRI – the last decent CD compilation for The Grass Roots covered their singles. Check out my review for the March 2014 CD "The Complete Original Dunhill/ABC Hit Singles" on Real Gone Music RGM-0227 (B0020162-02) - Barcode 848064002277. A superb sounding compilation with Aaron Kannowski remasters - all 24 of its tracks are USA seven-inch single MONO Mixes (66:27 minutes) and it's a cracker.

 

And that's where this timely 2CD compilation from England's Beat Goes On (BGO) comes a Byrds-jangling in - offering us their first four Studio Albums by THE GRASS ROOTS expertly remastered in Stereo onto 2CDs for maximum value. Time to get rooted (oh dear)...

 

UK released 8 April 2022 - "Where Were You When I Needed You/Let's Live For Today/Feelings/Lovin' Things" by THE GRASS ROOTS on Beat Goes On BGOCD1478 (Barcode 5017261214782) offers Four Stereo Studio Albums originally on Dunhill Records (USA) remastered onto 2CDs and it plays out as follows:

 

CD1 (66:43 minutes):

1. Only When You're Lonely [Side 1]

2. Look Out Girl 

3. Ain't That Lovin' You Baby

4. I've Got No More To Say 

5. I Am A Rock 

6. Lollipop Train (You've Never Had It So Good)

7. Where Were You When I Needed You [Side 2]

8. You Don't Have To Be So Nice

9. Tell Me 

10. You Baby

11. That Is What I Was Made For 

12. Mrs. Jones (Ballad Of A Thin Man)

Tracks 1 to 12 are their debut album "Where Were You When I Needed You" - released August 1966 in the USA on Dunhill Records D-50011 (Mono) and Dunhill DS-50011 (Stereo) - no UK issue. The STEREO Mix is used for this CD.

 

13. Things I Should Have Said [Side 1] 

14. Wake Up, Wake Up 

15. Tip Of My Tongue

16. Is It Any Wonder

17. Let's Live For Today

18. Beatin' Round The Bush

19. Out Of Touch [Side 2]

20. Won't You See Me

21. Where Were You When I Needed You 

22. No Exit

23. The Precious Time

24. House Of Stone

Tracks 13 to 24 are their second studio album "Let's Live For Today" - released July 1967 in the USA on Dunhill Records D 50022 (Mono) and Dunhill DS 50022 (Stereo) - no UK issue. The STEREO Mix is used for this CD.

 

CD2 (65:23 minutes): 

1. Feelings [Side 1]

2. Here's Where You Belong 

3. The Sins Of The Family Fall On The Daughter 

4. Melody For You 

5. Who Will You Be Tomorrow

6. You Might As Well Go My Way 

7. All Good Things Come To An End [Side 2]

8. Hot Bright Lights 

9. Hey Friend 

10. You And Love Are The Same

11. Dinner For Eight

12. Feelings (Reprise)

Tracks 1 to 12 are their third studio album "Feelings" - released February 1968 in the USA on Dunhill Records D 50027 (Mono) and Dunhill DS 50027 (Stereo) - no UK issues. The STEREO Mix is used for this CD.  

 

13. Lovin' Things [Side 1]

14. The River Is Wide

15. (You Gotta) Live For Love

16. City Women

17. What Love Is Made For

18. Pain

19. I Get So Excited [Side 2]

20. The Days Of Pearly Spencer

21. Baby, You Do It So Well

22. I Can't Help But Wonder, Elizabeth

23. Fly Me To Havana

Tracks 13 to 23 are their fourth studio album "Lovin' Things" - released March 1969 in the USA on ABC/Dunhill Records DS 50052 (Stereo only) and March 1969 in the UK on EMI/Stateside SJSL 5064 (Stereo only). 

 

THE GRASS ROOTS were:

CREED BRATTON - Lead Vocals and Lead Guitar

WARREN ENTNER - Lead Vocals and Rhythm Guitar

ROB GRILL - Lead Vocals and Bass

RICK COONCE - Drums and Percussion

Other Musicians included:

P.F. Sloan (Guitars and Bass), Larry Knechtel and Jimmie Haskell (Keyboards), Joe Osborn and Bobby Ray (Guitars), Hal Blaine (Drums), 'Bones' Howe (Percussion), 

 

The outer card slipcase and 24-page booklet lends this twofer CD set a feel of class. And once again BGO's long-time liner notes associate CHARLES WARING pours on the factoids and generally favourable opinions. Along with all the artwork (front and rear) filling out the first cluster of pages - Waring references sources that include P.F. Sloane's autobiography - it's a typically informative and affectionate read for a band that deserves the spotlight. The AUDIO is very clean even if the deliberate channel separation (the way it was recorded) begins to sound jarring. The imaging is great and when these so-60ts recordings kick in, the pack an ANDREW THOMPSON remastered wallop. Another point noting is that the "Golden Grass" greatest hits set issued in September 1968 contained two new tunes that were both issued as successful 45s in the USA - "Midnight Confessions" and "Bella Linda" and despite room on either CD – they are both AWOL. To the chunes we do have...

 

The debut album is a typical catchall mishmash of contemporary cover versions alongside Sloan and Barri originals. TGR tackled the gentle harmonies of Simon & Garfunkel's "I Am A Rock" (rather well too), The Turtles on "You Baby" and Barry McGuire's "Lollipop Train (You Never Had It So Good)" - while The Stones' "Tell Me", The Lovin' Spoonful's "You Didn't Have To Be So Nice" and Jimmy Reed's R&B classic "Ain't That Lovin' You Baby" provided the semi-boppers.

 

Opening the band's vinyl account in America - Dunhill Records not surprisingly picked the man of the 1965 moment as their 45-single debut. The Grass Roots' lovely version of Bob Dylan's "Mr. Jones (Ballad Of A Thin Man)" had Dunhill D-4013 put "You're A lonely Girl" on the flipside - a Non-LP track that's outside the purview of this compilation unfortunately. Fans would have to wait until April 1966 for the next platter - a pairing on Dunhill D-4029 of the Sloan/Barri classic "Where Were You When I Needed You" with another Non-LP B-side "(These Are) Bad Times". It did the trick - the A-side punching into Billboard's US singles charts in mid July 1966 and rising to a healthy No. 28 position. Their debut album would proffer one more single in August 1966 (just as the album was released) - the Sloan/Barri two-song combo of "Only When You're Lonely" with "That's What I Was Made Of" on the flipside of Dunhill D-4043 - but chart success would elude them until the release of their much loved second LP - "Let's Live For Today".

 

A cover of an Italian ditty called 'Piangi Con Me' which translates into 'Cry With Me' - The Grass Roots started their chart success proper with their version of that song re-titled "Let's Live For Today". Released April 1967, when that piano, bass and strummed acoustic guitar hits your speakers - you can so hear why its Monkees-meets-The Beatles girly-angst hit the charts with a wallop. Cleverly constructed as the vocals pan across your speakers - hippy-hippy shake moments swoop and swirl and this winner made it up No. 8 on the US singles chart (Dunhill D-4084). The "I'm glad we're different…" and "don't worry about tomorrow…" lyrics of "Let's Live For Today" meant something to Vietnam grunts too.

 

Their signature sound of Clavinet and layered vocals fills every bit of the so-60ts "Beatin' Round The Bush" (it even has a half decent guitar solo). But my fave is the whack and 'down your street' pleader "Out Of Touch" - a Sloan and Barri stab at The Kinks that succeeds. Other acoustic goodies include the layered harmonies of "No Exit" (the walls closing in) and the 'keeping me down' Beach Boys sweetness in "This Precious Time". The album ends in the sound to come - the slightly bad-boy Psych-influenced guitar trash of "House Of Stone" - a fantastic shin-kicker penned by Lead Guitarist Creed Bratton. 

 

Despite the commercial feel to its two opening clavinet and strings cuts, the "Feelings" album (their third) saw changes – a pronounced move away from the Pop of Sloan and Barri to sexier genres and the whole band playing on the album. S & B had only two songs on the album – "Here's Where You Belong" and "Melody For You". After the overtly saccharine nature of the openers, suddenly there is a Kinks hard-hitting guitar edge to "The Sins Of A Family Fall On The Daughter" – a socially smart Ben Sidan song about a girl of 30 who has been around a little too much for her own good. They really come into their own with the brilliant "Who Will You Be Tomorrow" – a Grill and Entner composition that has a slinky vibe with fabulous fuzzed-up guitar. The very pretty "Melody For You" came resplendent with lyrics like "...if I were a poet…my words would be revealing…" This period sweetheart of a tune was issued as a 45-single on Dunhill D-4122 in February 1968 (the Rob Grill and Warren Entner composition "Hey Friend" was its B-side) - but failed to get traction. There is a Dylan meets Buddy Holly jangle to "You Might As Well Go My Way" - while the band channels their inner Neil Diamond Tin Pan Alley cool with the super piano-catchy "All Good Things Come To An End" (great audio on this). The Grass Roots become almost funky THEM with the excellent flick-and-chug of "Hot Bright Lights" – a tune that actually uses the word groovy.

 

Unfortunately the band may have progressed song-wise, but the "Feelings" album di not do much business and there is a marked back-to-what-worked feel to their fourth platter. Title track "Lovin' Things" had been a UK hit for Marmalade (featuring Junior Campbell) in 1968 – the Grass Roots taking its infectious beat to the charts in March 1969. "The River Is Wide" was originally recorded by The Forum on Mira Records 232 in 1967 - here TGR begin their take with cracks of thunders but then do melodrama via Phil Spector and it is admittedly very dated. Harmonica on "(You Gotta) Live For Love" and the death-of-me "City Women" help both tunes, but the strings make it feel like they are trying to hard to please. Back to clavinet can’t-go-on whinging with "What Love Is Made Of" – an awful cloying ballad best forgotten. They even have a go at David McWilliams 'watching me too' tale in "The Days Of Pearly Spencer" though the separation of channels is harsher than it should be. Not as good an album as its undiscovered predecessor.

 

For sure, by the time you get to album number four, you can already hear the winning formula that served them on albums one and two and that taste of genuine progress on their adventurous third – already worn out. But there is much to enjoy on here and warm to see their legacy get such tasty presentation from BGO (yet another quality compilation from them).

 

A uniquely American phenomenon – The Grass Roots deserve this very cool Beat Goes On 4LPs-onto-2CDs offering. Why I can almost forgive those beads and that hairy chest man...

"Another Time, Another Place" by BRYAN FERRY of ROXY MUSIC - July 1974 UK Second Solo Studio Album of Mainly Cover Versions on Island Records (Atlantic Records USA) featuring Chris Mercer, Henry Lowther and Chris Pine on Horns with Ruan O'Lochlainn of Bees Make Honey on Saxophone, John Porter of Uncle Dog and Front with David O'List of The Misunderstood, Nice and Roxy Music on Guitars, John Wetton of King Crimson on Bass with Paul Thompson of Roxy Music and Angelic Upstarts on Drums (October 1999 UK Virgin HDCD Reissue with Bob Ludwig Remaster)

 

 

 

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"...I'm In With The 'ln' Crowd... " 

 

Common consensus has it that Bryan Ferry's second solo studio album ("Another Time, Another Place" from July 1974) outside of his day job as front man and songwriter for ROXY MUSIC was a disappointment. Another cluster of eclectically chosen cover versions (like its predecessor "These Foolish Things" from October 1973) - it wasn't as well received despite his stunning guitar-mad interpretation of "The 'In' Crowd" and I can understand why. 

The debut "These Foolish Things" hammered an unsuspecting Roxy Music fanbase with a record of cover versions - and in 1973! But despite that awkward game plan, the LP worked. So I suppose the follow-up with more of the same was always going to let down, but I would argue that with repeated listening, it's the one of the two I end up playing more. OK - it overstays its welcome as the Side 1 ender (6:46 minutes) - but I mean that combo of Blues Dobro, Haunting Organ, Tuba oom-pah and Girly Melodrama Vocal on the standard "You Are My Sunshine" - what genius. Ferry turns this overly done seaside town shanty into something new and brilliant. Please don't take my sunshine away indeed. I loved it. And it wasn't square (and I was there). To the details...

UK released October 1999 - "Another Time, Another Place" by BRYAN FERRY [of ROXY MUSIC] on Virgin FERRYCD2 (Barcode 724384760021) is a straightforward CD Reissue and Remaster of his Second Solo Album and plays out as follows (42:03 minutes:

 

1. The 'In' Crowd [Side 1]

2. Smoke Gets In Your Eyes 

3. Walk A Mile In My Shoes

4. Funny How Time Slips Away

5. You Are My Sunshine 

6. (What A) Wonderful World [Side 2]

7. It Ain't Me Babe

8. Fingerpoppin'

9. Help Me Make It Through The Night

10. Another Time, Another Place

Tracks 1 to 10 are his second solo studio album "Another Time, Another Place" - released July 1974 in the UK on Island ILPS 9284 and Atlantic SD 18113 in the USA. Produced by BRYAN FERRY and JOHN PUNTER - it peaked at No. 4 in the UK (didn't chart USA). 

 

Excepting the last track on Side 2, the whole album is cover versions – original artists being Dobie Gray for Track 1, The Platters for Track 2, a Joe South song for Track 3, a Willie Nelson song for Track 4, a Traditional for Track 5, a Barbara Campbell song done by Sam Cooke for Track 6 (she was his wife), a Bob Dylan song for Track 7, an Ike Turner song done by Ike & Tina Turner for Track 8, a Kris Kristofferson song for Track 9 with Track 10 written by Bryan Ferry. 

 

Musicians: the album featured David O'List of The Misunderstood, Nice and Roxy Music with John Porter of Uncle Dog and Front on Guitars, Chris Mercer, Henry Lowther and Chris Pine on Horns, Ruan O'Lochlainn of Bees Make Honey on Saxophone, John Wetton of King Crimson on Bass with Paul Thompson of Roxy Music and Angelic Upstarts on Drums. Ann Odell arranged the Strings and Martyn Ford arranged the Brass. Bryan Ferry played Keyboards and Organ, Harmonica and all Lead Vocals. Many others contributed to the Backing Vocals.

 

The 8-page booklet is hardly the stuff of reissue wet dreams - the lyrics, musician and HDCD Reissue/Remaster credits and that's your lot. The inner artwork to the gatefold sleeve is AWOL, but what whomps big time is the BOB LUDWIG Remaster that uses the HDCD format (High Density CD). Having been so used to hearing the edited 7" single mix for the Dobie Gray cover "The 'In' Crowd" at 4:16 minutes - the full-on wallop and power of those amazing guitars by John Porter when you play the album cut at 4:33 minutes. It may only be 20-seconds or so, but man what a kick in the audio nuts. Unfortunately that single's unreleased B-side "Chance Meeting" is AWOL too and would have made for a cool and obvious bonus track on this CD. 

Spending cash and talking trash, the audio on "The 'In' Crowd" is fantastic and when that wailing and screaming guitar comes a marauding in - the impact is truly hair-raising. Vibe-wise Ferry then does a 360 with a version of The Platters 50ts smoocher "Smoke Gets In Your Eyes" which he turns into a piano and strings jaunt - I like it. Many have said that his take on Joe South's Country Rock-ish "Walk A Mile In My Shoes" is the first of too many mistakes on the album and I can understand that criticism. But there's good in it too. Once again Ferry subverts and imbibes a sort of lounge-room lizard menace into "Funny How Time Slips Away" - only to go all Brass and Drums punch half way through. He ends Side 1 with what I think is one of the LP's great moments, the strangely nostalgia elegant "You Are My Sunshine". 

Over on Side 2 Sam Cooke's "(What A) Wonderful World" gets Ferry-ised and I it isn't the LP's greatest triumph for sure - a lack of Soul in a Englishman full of it. And although it starts out promisingly, his version of Dylan's "It Ain't Me Babe" somehow loses its way in ill-sounding Mellotron keyboards and shouted choruses. The last three are better - an unusual choice in Ike & Tina Turner's "Fingerpoppin'" which he funks up with Vegas Presley brass jabs - another slightly sinister interpretation in his Bass plucking "Help Me Make It Through The Night" - Kris Kristofferson's love song turned into an early-morning light strings-and-girls hungover pleader (let the devil take tomorrow) - and his own rather good title track "Another Time, Another Place" a slow Roxy-type Ballad with doubled-up vocals that somehow fits into the overall sound (dig that fantastic slide guitar burst).

For sure the 1973 Island Records debut "These Foolish Things" is a better overall listen, but I love the moments on this LP - and the Remaster is utterly brill. 

 

"Don't bid me adieu..." Ferry sang on the title track. Well, the dapper gent stuck around a tad longer (50-years plus and counting in 2023) and on the clever interpretations displayed here, it's obvious why he is still so rated. 

 

"If it's square, we ain't there..." - Bryan Ferry was and never has been, square...

"Let It Be: 2CD Edition" by THE BEATLES – May 1970 Final Studio Album on Apple Records featuring Paul McCartney, John Lennon, George Harrison and Ringo Starr with guests Billy Preston, George Martin and Linda McCartney (October 2021 UK Apple/Universal 2CD Edition Reissue with Giles Martin, Sam Okell and Miles Showell Remasters) - A Review by Mark Barry...

 

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"...Everybody Had A Hard Year...Everybody Had A Good Time..."

 

There have been oceans of words eulogised and satirised about how Phil Spector ruined the "Let It Be" album with additional strings and choirs - a Production-obsessed nutter handed the poison chalice of haphazard recordings made by men already disinterested and in personal disarray. But as Ringo repeatedly said - once the count-in came - The Beatles were a band once more - and even half-baked - the magic was still there.

 

So I have always said knob to the detractors. I loved "Let It Be" as an album - that gorgeous four-photograph artwork where they looked like the coolest dudes on the planet (ruined for the 2003 Naked revamp by some negative atrocity photo in silver) - the beautiful ballads that literally stopped me in my tracks and made the hairs stand up on my arms - the fresh in-your-face feel to the rockers - and the witty asides that hovered around the main songs. And I know both of the snippets "Dig It" and "Maggie Mae" remain kind of superfluous, but they were in keeping with a band that had a laugh (the Naked disc was no fun at all).

 

So I am thrilled with this long overdue 50^th Anniversary reissue of "Let It Be" in October 2021 (one year late due to Covid-19) in all its myriad versions. 2021's reissue goes back to basics - the album remixed and remastered onto CD1 with CD2 offering us tasty unreleased from the original sessions - and all of it in what can only be described as glorious audio - the best I have ever heard this album sound. And although I would have liked to buy the sexier Deluxe Edition Box Set with 4CDs and a BLU RAY (Apple 0602507138691) – I have had to settle (due to Gas Bills) for this sweaty little brute – the 2CD Edition. 

 

Let's get to the long and very detailed road...

 

UK/EUROPE released 15 October 2021 – "Let It Be: 2CD Edition" by THE BEATLES on Apple/Universal 0602507138622 (Barcode 602507138622) is 2CD Edition Reissue. CD1 offers a New 2021 Mix and Remaster of the Album, while a Second CD offers 14 Outtake Highlights of Previously Unreleased material featured on the Deluxe Edition Box Set. It platys out as follows:

 

CD1 - Let It Be 2021 Mix (35:02 minutes):

1. Two Of Us [Side 1]

2. Dig A Pony

3. Across The Universe

4. I Me Mine

5. Dig It

6. Let It Be

7. Maggie Mae

8. I've Got A Feeling [Side 2]

9. One After 909

10. The Long And Winding Road

11. For You Blue

12. Get Back

Tracks 1 to 12 are their final released studio album "Let It Be" – released 8 May 1970 in the UK on Apple PXS 1 as a Limited Edition Box set with 168-Page Photographic Booklet and then November 1970 as a Single LP only on Apple PCS 7096. It was issued 18 May 1970 in the USA on Apple AR 34001 in a Gatefold Sleeve (the UK variant was a single sleeve) and was never a box set there.

 

CD2 – Outtake Highlights (52:35 minutes):

1. Morning Camera (Speech – Mono) / Two Of Us (Take 4)

2. Maggie Mae /Fancy My Chances With You (Mono)

3. For You Blue (Take 4)

4. Let It Be / Please Please Me /Let It Be (Take 10)

5. The Walk (Jam)

6. I've Got A Feeling (Take 10)

7. Dig A Pony (Take 14)

8. Get Back (Take 8)

9. Like Making An Album? (Speech)

10. One After 909 (Take 3)

11. Don't Let Me Down

12. The Long And Winding Road (Take 19)

13. Wake Up Little Susie / I Me Mine (Take 11)

14. Across The Universe (Unreleased Glyn Johns 1970 Mix)

 

The oversized Let It Be 40-page booklet is both visually beautiful and cool – a rare feat in this reissue game. Before pouring on the historical detail for every song on the album including the Outtakes, there’s a 1-Page Forward by surviving Beatle PAUL McCARTNEY (Page 5), a 2-Page Introduction by Remix and Remaster Engineer GILES MARTIN (Pages 6 and 7) and a stunning history by noted Beatles authority KEVIN HOWLETT (Pages 8 to 17). Gorgeous colour photos intersperse and follow discussions of the back-to-basics project and its convoluted history. I did not know that the Guitar Solo George did for the single mix of Let It Be was done 31 January 1969, while the LP cut was overdubbed 4 January 1970 with Linda McCartney doing some Backing Vocals too. Keyboardist Billy Preston added huge contributions to the songs and he is given good credit for (which did not happen when the LP came out).

 

It goes into how after being recorded before the Abbey Road album - the Let It Be LP (then titled Get Back) got waylaid for a while. Abbey Road was then released in September 1969 and legendary 60ts Producer Phil Spector was called in with a Carte blanch remit to make Let It be ready for marketplace in April 1970. The booklet shows the track by track changes he made – seventeen violins, cellos and other strings added to the big ballads and even I Me Mine. The remixed and completely rejiggered album was worldwide released May 1970 as their last studio album – the group having officially broken up only a month prior in bitterness and acrimony. The booklet also shows the photo they took at EMI Studios recapturing the young lads on the balcony as in Please Please Me – it was to be used as the Get Back artwork but ended up being applied to the 1973 Red and Blue Album double-albums.

 

It’s well documented that John Lennon hated what Spector did to "Across The Universe" in particular and started a feud with Macca that ultimately brought our best loved foursome to a horrible end (all discussed). So reinterpreted 'Naked' version aside - I for one am glad to be back at what I know and loved. 

 

We (Joe Public) have been listening to Spectre's mix of "Across The Universe" for 50+ years straight and have genuinely loved it - were impossibly moved then and remain so to this day. In fact it’s hot-wired into my brain and I want it that way. The song "Let It Be" is the same – the strings that elevated "The Long & Winding Road" to a hymn too - the witty 'Pot Smoking FBI members' jibe from Lennon is at the end of "For You Blue" again (it was edited out on Naked). The larking-about 'sweet Loretta fart' Lennon intro to "Get Back" is here as is the song's punch when they kick in. I say all of this because many of us hardcore Beatles nuts will recall with a sigh the utter rubbish that CD2 of Let It Be...Naked offered – 21:56 minutes of big name tracks that turned out to 9 and 30-second snippets sandwiched between spoken cack you would never play again. Thank God this time in 2021, we get actual whole songs on CD2 – outtakes - albeit in rehearsal form. 

 

 

The second you debut the simplistic "Two Of Us" – the Remaster makes its presence known immediately. This is clear and has muscle – something the rather weedy original seemed to lack. The riffage of "Dig A Pony" is the same. But oh my God when it goes into Lennon’s moment "Across The Universe", I am grinning from ear to ear. Paul’s "Let It Be" too is the most beautiful I have ever heard it on this 2021 mix. The rocking "Get Back" with that fantastic George solo – all of it. The only slight let down is fuzziness in Harrison’s "For You Blue" which I suspect is inherent in the recording, but outside of that, songs like "I’ve Got A Feeling" are awesome. Let’s discuss the new stuff...

 

The thrill is hearing the Fabs work out glitches, develop the tunes, noticing the differences, how the tracks evolved. Again, it feels like you are eavesdropping on history, being allowed into something great, even if they and their tired-of-it tetchiness is sort of hidden from the stew by this reissue (you see it in the BLU RAY of the movie). That swing to "I've Got A Feeling" where Take 10 is a tad faster and more in your face is fabulous and the Glyn Johns unadorned mix of "Across The Universe" left me in tears – what a song – his voice and those lyrics. There are some disappointments – the "Don’t Let Me Down" take on the roof top feels off somehow (probably one of the best songs and it was inexplicably left off the album only to become a B-side to Get Back) and the much lauded unreleased cover of Jimmy McCracklin’s R&B classic turns out to be less than 50 seconds because the tapes were being changed over. You can hear the genius even in a rehearsal of Let It Be where the boys acknowledge Macca has indeed penned a winner.

 

This is a beautiful reissue despite what reservations some might have about the original LP as being a half-assed afterthought messed up by someone else. I dig this 2CD Edition of "Let It Be" and it has beautiful audio. Damn – I will need that Deluxe Edition, bills or no...

 

FANTASY TIME!

My May 1970 "Let It Be" as a Double-Album with a 4-Track "Get Back" EP as a Bonus

Each Side has the four on Lead Vocals; then next side mixes up the order and so on

The EP would be Rock 'n' Roll Orientated - A Nod to the Old Days in Germany 

 

Side 1:

Get Back (Paul on Vocals)

Across The Universe (John on Lead)

I Me Mine (George on Lead)

Maggie Mae (ditty in-between tracks)

It Don't Come Easy (Ringo on Lead)

 

Side 2:

For You Blue (George on Lead)

Dig It (ditty in between tracks)

I've Got A Feeling (Paul and John on Leads)

Back Off Boogaloo (Ringo on Lead)

The Long And Winding Road (Paul On Lead)

 

Side 3:

Dig A Pony (John on Lead)

Two Of Us (Paul on Lead)

Beaucoup Of Blues (Ringo on Lead)

All Things Must Pass (George on Lead)

 

Side 4:

Oh My My (Ringo on Lead)

Don't Let Me Down (John)

Maybe I'm Amazed (Paul)

Isn't It A Pity (George)

 

Get Back E.P. (4-Track Picture Sleeve Extended Play Single at 45rpm)

Side 1:

One After 909

Teddy Boys

Side 2:

Let It Be Me (Everly Brothers cover)

I'm Ready