A Great Song from 1958

The Fascinators were quite popular on the East Coast in the late 50s and early 60s. This song is the best of the best from this group, a truly outstanding DooWop ballad.

Enjoy.

This song was played first around the St. Louis area back in 1963. As you can see by the record number, this was actually the A-side of this 45. However, the B-side, "Wildwood Days," became the hit recording for Bobby Rydell back in the summer of '63.

Enjoy

Beatles For Sale Remastered

My look at the new Beatles remastered CDs continues with Beatles For Sale. In England, this was their 4th LP release. Here in America, the bulk of this album was better known as Beatles 65. For me, as lover of and a collector of Beatles music, this is the first decent sounding recording they did in stereo. You might know that the first 4 Beatles CDs originally released in 1987 were taken from the mono masters. This was a decision that I liked at the time they came out. When I learned of the new CDs, I decided the first one I would covet would be Beatles For Sale. Well, after listening to the disc, I think I was right on with that decision.

A one word description of this CD is “stunning.” However, I’m not one to limit myself to one word descriptions. Let’s just say this CD has the general characteristics of the other new remastered discs. The bass is enhanced, as is the overall charity of the recordings. The surprise, for me are the sounds I’d never heard in the first CD reissues. And, there are a few tracks that really stand out.

Here’s a brief track-by-track description. No Reply and I’m a Loser are awesome. There are little sounds I’d not heard before in both songs. The first of the tracks that make me say “WOW” is Baby’s In Black. On this gem you hear all sorts of different things, especially with the guitar playing, that just stand out making this song a must hear.

Rock and Roll Music does Chuck Berry proud. On one verse, one of the guitars disappears for some unknown reason and this is heard quite clear. Paul’s I’ll Follow The Sun has always sounded good, on vinyl and on CD. Well this version sounds even better to my ears.

Now we’re up to another one of those special tracks, John’s remake of Dr. Feelgood and the Interns Mr. Moonlight. The unique organ part is brought out in this remastered goodie. Plus you really hear John’s voice crack when he opens the song screeching “Mr. moonlight.” What a treat for the ear.

Next Paul does his best Little Richard on Kansas City/Hey Hey Hey Hey, which is actually a medley of two songs from Little Richard. The version of Kansas City is a remake of the Little Richard version of the often recorded song. And boy it sure sounds great.

Then comes another of the gems on this CD, Eight Days a Week. I was actually tipped off to listen for this one with a write-up I’d read on the Internet. It’s much fuller then the 45, LP version, or the version on the first Beatles For Sale CD from 1987. Everything in this song from the hand clapping to the harmony stand out crisp and clear.

The next two songs are Buddy Holly’s Words of Love and Carl Perkin’s Honey Don’t. Both are remakes of the originals and both continue with this bright, full sound on the new disc.

Every Little Thing is another of those songs that really stick out as nothing short of outstanding on this new recording. You hear the instruments in a new way, especially the timpani Ringo plays. It adds it’s booming sound to the enhancement on this disc.

I Don’t Want to Spoil the Party is another delight and a surprise. This is one of those Beatles songs I’ve sort of dismissed, or passed by in the past. The new remastered version makes it hard to pass over now. All the clear sounding guitar work and the always great John and Paul harmonies are great.

Paul’s What You’re Doing is next and like the rest of this outstanding work, it sounds great. You hear the piano work, and all the rest of the instruments as clear as a bell. It’s like you’re there when they recorded the song.

Finally, George rocks out with another Carl Perkins remake, Everybody’s Trying to Be My Baby. You hear the little things in the guitar work that make this a rockabilly delight.

Overall, this is another gem of a disc to listen to over and over and over again. Like the other discs I’ve talked about, the packaging, pictures and video for the computer, are great. A final thought on these CDs is I told myself I was just going to get Abbey Road, the White Album, and Beatles For Sale for the moment. Well, after hearing all three of these disc sets, I find I will buy others. Sgt. Pepper will probably be next for me.

The Beatles (the White Album) Pt. 2

Some of the more dramatically different sounding tracks on this set are on disc two. We start with Birthday and Yer Blues. In both cases, the overall sound is brighter and fuller then the original 1987 CD release. Listen for those little things in the background that I’ve been talking about. The keyboards on Birthday are crisp. The guitars on Yer Blues are clean sounding. Paul’s Mother Natures Son continues with the more fuller sound theme. The horns in the background boom out over the acoustic guitar and the clear vocals.

Now we’re up to four tracks that stand out as much improved sounding songs. Everybody’s Got Something to Hide Except for Me and My Monkey has a lot going on; and I mean more than just an eleven word title. That cow bell rings lout like it never has in previous issues of the song. Put the headset on, and listen to the driving guitar reverberate across your brain. John gets two in a row with the haunting Sexy Sadie. I’ve always found this to be a unique sounding song; and you can hear it all now on this remastered gem. Once again, there’s that haunting guitar over a piano with echo on it. And, there’s that background vocal.

Helter Skelter surprised me. This has been one of my least favorite songs on this recording; but I have to admit, the newly remastered sound brings it to a new light. Long, Long, Long carries on with that haunting thing again. Just listen to that organ and the overblown vibrato.

Revolution 1 was intended to be a single release off of the album. It was decided the song was too slow and that turned out to be a good thing for Beatles fans because they then recorded the version we got on that first Apple 45; however, the LP version sounds great. The horns in the background come out to the foreground. Then Paul gives us Honey Pie; this is a track that can go overlooked, but don’t overlook it when you get the new CDs. It’s reborn anew now.

I was tipped off about Savoy Truffle before I heard the new CD. On the disc, I find sounds I never dreamed were part of the original recording. It almost sounds like the horns in the background were rerecorded; but they were not. This song might be the most dramatic in sound improvement on this set. George wrote a fine tune; and now we really hear it.

The next two tracks are pretty much John Lennon. Cry Baby Cry sure sounds good. The now familiar echo on John’s voice rings out. I guess John owes a special debt to Les Paul for inventing that technique. Then John Lennon takes on another ‘magical mystery tour’ with Revolution 9. You might be tempted to pass over this 8 minute and 22 second experiment; well do yourself a favor and put the headphones on and give it a listen, at least once. You’ll hear things you didn’t hear before.

Disc two finishes up with Richard Starkey singing the vocals on the orchestral Good Night. Like most orchestral music on CD, this is a keeper when it comes to sound. The strings, the harp, the voices, we hear it all.

In conclusion, I was not disappointed with the White Album. I had planned to get a copy of this set, along with Abbey Road, when I heard they were going to do all this remastering. Oh, by the way, you do get a copy of the poster that was part of the original LP, although this one is smaller in size.

There is one other CD I had initially planned to get, and I’ll tell you about it next; so keep watching the blog.

The Beatles (the White Album) Pt. 1

I recall when the “White Album” first was released on vinyl in 1968. It hit the stores on November 22nd, a date that lives in infamy in American history. It was a clear,cold early Winter morning and I decided I must get the record on opening day, so-to-speak. So I walked from my house to Florissant Records. I believe it was approximately a mile from my parents house and got my first copy of The Beatles, aka The White Album on vinyl. The recording was unique; the record label was very unique; the packaging was unique.

As mentioned in my Abbey Road review, I bought the first issue CDs when they came out in 1987. ‘And I loved them.’ Like Abbey Road, the new remastered White Album has an overall sound that is better than the first CDs. Unlike Abbey Road, there are certain songs that almost sound totally new on this CD set. And the packaging is superb, including the use of the B-side label on disc two and the more recognizable Granny Smith green apple on disc one’s label. That is still one of the coolest labels ever made. You would expect that from The Beatles.

I’m not going to spend time with each and every song. After all, there are 30 tracks on this two disc set; and even the not-so-good stuff sounds good on the remastered issue. What I will do is talk about some specific tracks that as stated above, almost sound totally new.

The White Album has more stuff going on behind the music than any other Beatles record, including Sgt. Pepper; well, the new CD set brings those little things to the front. This is another “listen with the headset on” CDs. And when you listen, listen to everything. ‘Don’t pass tracks by.’

Side one starts with the plane landing in Russia on Paul’s Beach Boy inspired Back in the U.S.S.R. We hear it all loud and clear as a bell. The piano on the opener rings across the roar of the jet engine. Hand clapping, background vocals, enhanced bass guitar and the lead guitar blast across your ears like a rocket. Then track one fades out and John’s Dear Prudence fades in as it always has; but this time it’s clear, crisp and downright haunting. Listen to all the sounds and that guitar work and those backing vocals. Outstanding stuff. Glass Onion is next sounding like a reborn piece of art. Hear that flute on the last verse. And then it’s Polka time as Paul gives us the classic Ob-La-Di, Ob-La-Da; listen to that “banging on the piano,” and all the hand clapping and the voices in the background. “Swing your partner round and round” and sing, sing, sing along.

Now please don’t overlook a thing on these CDs, including Wild Honey Pie; you hear it in a refreshingly new way along with The Continuing Story of Bungalow Bill. I used to play that one at parties. “All the children sing.”

The next two songs continue with an underlying theme of haunting sounds that are peppered throughout this collection. At least I’ve always thought they were haunting tunes.

George Harrison’s While My Guitar Gently Weeps is a masterpiece of recording excellence; much thanks to Eric Clapton for that lead guitar that now pierces the ears over all the other instruments. The organ, the castanets, bass and drums blend with the harmonies. Then there’s John’s VERY haunting Happiness Is a Warm Gun that never sounded better then on this new collection. Listen to yet another ear piercing guitar lead after the first movement of the song. Tell me that’s not spooky sounding.

What was side two on vinyl is the second part of disc one. Martha My Dear, I’m So Tired, and Blackbird sound so good they must be heard to understand what I’m talking about.

The next two songs deserve a little more here. Piggies is another of those born again tracks I’ve been eluding to here. It sounds brand new here. The harpsichord chimes out and the acoustic guitar can be heard plain as day along with the strings and tambourine. I love the ending on this one. Sounds great; sounds better then great. Now on Rocky Racoon, it is my opinion that Paul’s A string on his acoustic guitar is slightly out of tune. But it still sounds clear along with the harmonica, honky-tonk piano, and everything else that’s heard on this one.

The next two songs continue with this little silliness going on. Ringo sings about his lady friend who lost her hair in Don’t Pass Me By and Paul asks the musical question Why Don’t We Do It In The Road? Well, why don’t we?

Disc one finishes with Paul’s tribute to Don and Phil Everly, I Will; and it sure sounds good on this new remastered set. Then it’s back to that haunting theme with Julia, an most underrated gem from John Lennon.

That’s it for disc one. Disc two is coming up in the next installment; so stay tuned right here.

Seeing might be believing

Following up on the Abbey Road remastered CD review, here is a comparison picture of the actual wave file of Come Together from the original 1987 CD release, and the new remastered version. These files are unaltered. You can see the difference as well as hear it on the CD.

Saving the Best for First Pt. 2

We turn the old record over, if we had the old record, and get onf of the most classic album sides of all time, all crisp, clear and sounding better than we’ve ever heard it sound. I think these songs speak for themselves so I’ll talk about some of the neat parts about the side.

I must have listened to Here Comes The Sun over a thousand times in the past 40 years; now when I listen, I really hear the song. The acoustic guitar, bass, drums and that mellatron really come out. George’s vocals ring out over the music. One thing that stands out is the separation of the lead vocal and the background vocals. All the instrument layering is brought to life anew now.

Because and it’s multi track vocals are outstanding. As I’ve said over and over already, it all sounds so crisp and new. I love the synth flute at the end, always have loved it.

Now we get to the part of the CD where you have to take these next songs as one unit. When You Never Give Me Your Money starts, you hear a much sharper sounding guitar over Paul’s piano; then, the rest of the stuff all falls into line, as it always has. The guitar under Paul’s vocals, “Oh that magic feeling,” resonates like never before, as it does going into the last part of the song. Then the vocals fade out and we get the clear sounds of night, the clanging ship’s bell, then the crickets come in and listen for the talking. And then we get the Sun King and it’s panning guitar from left to right and Oh those Beach Boys’ like vocal harmonies.

Then Mean Mister Mustard, with the piano, tambourine, overdrive bass and vocals and then POW! Polyphene Pam blasts over the speaker. Listen for the break after the first verse and the little guitar riff that may have gone unheard before. I hear a woodblock during the guitar solo and some background chatter, probably somebody counting; I never heard that before. Then Paul takes over with She Came Into The Bathroom Window. Listen to the acoustic guitar; you might have paid attention to it before, but you will now. How ‘bout Ringo on the tom toms. Loud and clear.

Golden Slumbers sounds fabulous. When Paul’s voice cracks when he sings, “Smile awaits you when you rise,” we really hear it now. Then we Carry That Weight and it really carries through with all those sounds. I get lost in this stuff. And then, it’s The End and does it end with a bang. Ringo’s legendary drum break, and John, Paul, and George, each with their guitar solos ripping through your head as you listen, over a continuing drumbeat. Then the boys sing their famous, “And in the end, the love you take is equal to the love you make.” Maybe they did know it was the end for the Beatles as a group.

Oh, don’t forget Her Majesty. We better not forget Her Majesty.

And one more thing about the new CDs is the packaging. It’s as outstanding as the discs. There’s lots of pictures and even a little video you can watch on your computer. Simply marvelous.

I recommend getting the new CDs, especially if you’re a die-hard Beatles fan.