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Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго

Тема: Битлз - книги, журналы и статьи

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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 15.03.19 09:59:15   
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Billboard 20 August 1988Billboard 20 August 1988
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 15.03.19 09:59:55   
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Billboard 24 September 1988Billboard 24 September 1988
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 15.03.19 10:00:31   
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Billboard 1 October 1988Billboard 1 October 1988
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 19.03.19 15:50:33   
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Billboard 1989Billboard 1989
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 19.03.19 15:51:55   
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Billboard 10 June 1989Billboard 10 June 1989
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 19.03.19 15:52:27   
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Billboard 21 October 1989 Back CoverBillboard 21 October 1989 Back Cover
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 19.03.19 15:52:57   
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Billboard 18 November 1989Billboard 18 November 1989
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: tupzem   Дата: 20.03.19 14:33:01   
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Audio, 12/1982Audio, 12/1982

The Beatles: The Collection
Mobile Fidelity Special Edition, 14 discs, $350.00.
Sound: A+ Performance: A+

The Beatles were a recording industry phenomenon in every sense of the term, and practically every phase of their activity was guided with this in mind. From the first, their records were mastered with a highly subjective ear, and the Mobile Fidelity renderings allow us to hear what we perhaps weren't intended to hear originally: The Beatles' music reproduced accurately, with all the material intact and not quite as much accent on the vocals. A lot is revealed through this process.
The earliest records by The Beatles represented a tremendous task for producer George Martin: He had two excellent writers and singers, but a band with more instrumental exuberance than chops. There were two ways to remedy this problem, and both were used – de-emphasizing the instrumental portion of the material and, when George and Ringo simply couldn't handle the material, bringing in session players. (Drummer Bernard Purdie and various session guitarists, Cornell Dupree for one, it is reported, were brought in from America.) With the rather amazing separation of tracks afforded on these editions, the differences in sound between the John and Paul with Bernard sessions and those with the rest of the group are readily apparent. One can imagine that the decision to let George and Ringo sing, which greatly helped to establish The Beatles as personalities, was a concession by John and Paul to make up for their exclusion as players. The characteristic background vocal sound that pervades all Beatles records is even easier to hear on these discs, and on songs like "Boys" there's a real party atmosphere. Also, while producer George Martin's original approach put the emphasis on clarity (as compared to contemporary Andrew Loog Oldham, The Rolling Stones' producer, who buried everything in a swirl of reverb), with these even more accurate reproductions one can hear new things. On "Please Please Me," for example, the echo chambers are brought up at the very end of the song and there's a heavy dose of wetness on the harmonica.
By the time of Beatles for Sale (known in America as Beatles '65), the group was finally playing their own instruments on most of the tracks, and Ringo's drumming was being disguised with tambourines, acoustic guitars, and anything else available. What was happening was that rock was being invented – the style of playing, recording, songwriting, the works – and though the two main Beatles and George Martin had a fair bead on what they wanted, George and Ringo were pretty much following the leads of their taskmasters. George plays some pretty rank phrases and sour notes – his technique didn't really cover much beyond Chuck Berry and Carl Perkins at this time – and this present disc doesn't mask them the way they were in the past. However, by the time Rubber Soul came around, George seemed to have gotten his fingers moving a little more fluidly, and he delivers some genuinely incredible solos ("Nowhere Man"). Incidentally, McCartney was also playing guitar on certain Beatles songs around this time, and it is unclear exactly which parts are whose.
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: tupzem   Дата: 20.03.19 14:33:58   
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Revolver and Sgt. Pepper are often looked upon, respectively, as the bottom and the top of The Beatles' recording career, an unfair characterization which has more to do with sales than musical content. Revolver was ignored because Lennon made some careless remarks regarding the Savior, while Pepper was acknowledged a masterpiece because the great public was starting to catch up to The Beatles' psychedelectation. In truth, Revolver was a very much better album with highly developed recording techniques (Tomorrow Never Knows, I'm Only Sleeping), incredible guitar work (And Your Bird Can Sing), and the most consistent songwriting and playing on anyrecord by the group. But because of the nature of its experimentation and the fact that the American version of the album left off several crucial tracks, Revolver was dismissed and Pepper was embraced.Revolver and Sgt. Pepper are often looked upon, respectively, as the bottom and the top of The Beatles' recording career, an unfair characterization which has more to do with sales than musical content. Revolver was ignored because Lennon made some careless remarks regarding the Savior, while Pepper was acknowledged a masterpiece because the great public was starting to catch up to The Beatles' psychedelectation. In truth, Revolver was a very much better album with highly developed recording techniques ("Tomorrow Never Knows," "I'm Only Sleeping"), incredible guitar work ("And Your Bird Can Sing"), and the most consistent songwriting and playing on anyrecord by the group. But because of the nature of its experimentation and the fact that the American version of the album left off several crucial tracks, Revolver was dismissed and Pepper was embraced.
Not to denigrate the latter, but Revolver was truly the apex as far as a group statement; Sgt. Pepper was McCartney's trip (he wrote almost all the songs, played most of the instruments, and dominated the sound).
The White Album was a tasty pastiche of solo albums disguised as a group effort. Yellow Submarine and Magical Mystery Tour were basic soundtrack albums where each member did his own track for the film, and Abbey Road featured a side of The Beatles as a rock band and a side of McCartney playing most of the instruments. Only on Let It Be did the group decide that The Beatles was about four people playing together. For all its rough edges it does make a statement about rock 'n' roll, as well as having some fine songs by a group which had pretty much ceased to be a group at least four albums earlier.
The Beatles: The Collection draws the lines more clearly than they've ever been seen before. The ability to distinguish exactly who is doing what is heightened incredibly in this set. There are still times when McCartney's voice sounds like Lennon's and vice versa, but that's because they were aping each other, not the result of the mixdown. This is the whole unadulterated truth, and you can draw your own conclusions.
Mobile Fidelity has, however, made a few decisions that seem a bit imprudent in terms of choice of material. There are several tracks which are excluded due to the disparity between American and British releases. There were no British equivalents of Something New, Yesterday and Today, and The Beatles' Second Album. Thus, songs like "She Loves You," "Day Tripper" and "We Can Work It Out" are not on this 14-disc set. Perhaps Mobile Fidelity could put together these leftovers with "You Know My Name" and other B sides, call it The Best of the Rest of The Beatles, and put it out as a two-LP set for next Christmas. For now, The Beatles: The Collection is not only a joy to listen to but a fantastic insight into the career of a group that is still a mystery despite all the information in print.

Jon & Sally Tiven
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: tupzem   Дата: 20.03.19 23:10:06   
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Audio, 06/1987Audio, 06/1987

Please Please Me, With The Beatles, A Hard Day's Night, Beatles for Sale: The Beatles
Capitol CDP 46435, CDP 46436, CDP 46437, CDP 46438.

The Beatles albums on most of our shelves are well-worn mementos that haven't received much attention lately. The reissue of The Beatles' repertoire on Compact Disc allows us to replace those albums with the state of the art. Even better, it encourages us to take a fresh look at the group.
For those dismayed that the first four discs have been reissued in mono, it should be noted that this is exactly what The Beatles and their producer, George Martin, intended. Subsequent attempts to impose simulated stereo on the material were made without their approval or appreciation and, like the computer colorization of black-and-white films, seem to this reviewer totally unnecessary.
These first four discs match up with the original Parlophone LPs issued in the U.K. In the United States, seven albums of Beatles material were issued in roughly the same time period, but only 14 songs found on the U.S. LPs are missing from the CDs, most notably "She Loves You" and "I Want to Hold Your Hand."
Amazingly, the 56 songs these CDs contain were recorded within a hectic two years the group largely spent touring and making their first film. They were allowed very little time in the studio, yet managed to arrange, rehearse, and record more classics than most supergroups produce in a lifetime. Despite Lennon/McCartney's prolific composing, 18 of the songs are covers. It's hard to imagine why they recorded most of the non-rockers, which include the outlandish "A Taste of Honey," Bacharach/David/Williams' syrupy "Baby It's You," and "Till There Was You" from The Music Man.
The best thing about the CD versions of these earliest albums is the new-found clarity of the vocals. Obviously, the nuances of McCartney's crooning and Lennon's sexy growl become more accessible, but the CD also reveals the kind of mastery the pair exercised when blending their unique voices in those incomparable harmonies. George Martin's liberal use of double-tracking the vocals becomes more apparent as well.
Please Please Me is basically a live album, with all but the title track recorded in one session. Martin had wanted to capture the tone of the group's live act; the energy level is very high and seems to come from a combination of exuberance, nervousness, and desire to succeed. The title song was originally much more sedate, and Martin had not wanted to use it. Under scrutiny it's apparent that The Beatles sped us their performance in the studio; the band is a bit shaky in its accompaniment, and the singers seem unused to rushing the phrasing. If you are looking for clean perfection, it won't be found here. By today's standards, the guitars are often harsh and gritty, the bass muffled and boomy, and the drums a muddy mess. The voices are not consistently balanced. But along with the imperfections comes a priceless intimacy; you feel that you are in the studio, eavesdropping.
On With The Beatles, more care was taken with sound quality, and instrumental tone and separation improved. The energy level of the performances remained high. As on all the early albums, Lennon dominated the vocals, shining especially on the feisty "It Won't Be Long" and "Please Mister Postman."
A Hard Day's Night was the first album with all original material. It comprised the seven songs from the film, plus six others written for it but not used. Its classics include "I Should Have Known Better" and "If I Fell," whose astute harmonies are still routinely analyzed alongside Bach's by students of "serious" music.
By the time of Beatles for Sale, Martin had pushed twin-track technology to its limits, achieving remarkable clarity for nearly every element. The band was progressing beyond being a "beat" group; the sophistication and creativity that would soon bloom was foreshadowed in songs such as "No Reply" and "I'm a Loser."
Listening to the early Beatles on CD brings an appreciation of just how great they really were. Transcending the technology at their disposal, they had began to expand popular music in every direction. If your personal Beatlemania has died down or if you missed out the first time, these CDs may rev up your excitement with more authority than any Beatles documentary or history book.

Susan Borey
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 25.03.19 09:07:25   
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Daily Mail сегодня.Daily Mail сегодня.
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: Dominique Francon   Дата: 27.03.19 15:47:31   
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Энди Уорхол сделал две отличные фото для альбома Imagine...Энди Уорхол сделал две отличные фото для альбома Imagine...
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: Dominique Francon   Дата: 27.03.19 15:48:30   
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... но Джон Леннон предпочел использовать полароид, сделанный Йоко Оно... но Джон Леннон предпочел использовать полароид, сделанный Йоко Оно

https://www.dailymail.co.uk/news/article-6847397/John-Lennon-photos-taken-Andy-Warhol-r...
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 28.03.19 16:30:24   
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Billboard 1990Billboard 1990
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 28.03.19 16:30:56   
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Billboard 13 January 1990Billboard 13 January 1990
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 28.03.19 16:31:30   
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Billboard 24 November 1990 РазворотBillboard 24 November 1990 Разворот
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 28.03.19 16:32:10   
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Billboard 8 December 1990 РазворотBillboard 8 December 1990 Разворот
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 28.03.19 16:32:39   
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Billboard 1991Billboard 1991
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 28.03.19 16:33:12   
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Billboard 8 June 1991Billboard 8 June 1991
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Re: Статьи в прессе о Битлз, Джоне, Поле, Джордже и Ринго
Автор: PFC   Дата: 28.03.19 16:33:42   
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Billboard 12 October 1991Billboard 12 October 1991
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