The CD: “Love”
Performer: The Beatles

I have to open this review with a warning: If you are a Beatles fan, this CD is going to hit you pretty hard. It’s like sugar coated crack! You will have to rush out and buy it, if you haven’t already. Not just a simple compilation, “Love” is the soundtrack for the new Cirque de Soleil show, created using the latest “mash-up” technology, under the supervision of The Beatles original producer, Sir George Martin, and his son, Giles.

For years people have tried to edit “megamixes” of Beatles tunes, usually with dismal results. “Stars On 45″ was a pretty wretched pastiche of Beatle covers set to a disco beat back in the 1970s. Capitol Records even created their own edit for a compilation album in the early ’80s, but it was withdrawn before its release when The Beatles objected. “Love” on the other hand, was done with their full approval. Sir George retreated to EMI’s Abbey Road Studios and extracted snippets and songs from the original master tapes.

There is no new music here, but you will hear familiar songs and sounds in an unfamiliar light. Some of the songs are immediately recognizable, while others seem like brand-new compositions, assembled crazy-quilt style into an amazing sonic masterpiece. To his credit, Martin did not just compile the hits, nor did he limit himself to using versions of songs as they were officially released. There are plenty of alternate takes and unused arrangements to be heard on this CD.

I cannot stress how wonderful it is, as a devout Beatle fanatic who has listened to every existing record of theirs for decades, to be able to pop in this CD and hear notes that are in new places, or instruments that were previously hidden. For instance, the bass guitar in “Hey Jude,” which was erased to make room for more strings (according to Mark Lewisohn’s book on the Abbey Road recording sessions) is heard here in full force. And it’s a killer bassline, to boot.

Martin uses the latest digital technology to change tempos and pitches and match up instrumental tracks from completely different songs in some places. The rhythm section from the psychedelic opus “Tomorrow Never Knows” finds itself to be a perfect fit for the lead instruments and vocals from George Harrison’s Indian-flavored “Within You, Without You.” “Drive My Car,” “The Word,” and “You Can’t Do That” meld into one song, with verses from one seamlessly intertwined with guitar solos and the chorus from another.

The most impressive melding of tunes comes with two late-era songs that feature Ringo on vocals. His song, “Octopus’s Garden,” an uptempo little ditty, has the vocal line slowed down and matched perfectly to the John Lennon-penned lullaby, “Goodnight,” which then launches back into the full-speed version of the original song, albeit with blasts of other Beatle songs mixed in.

Martin reportedly used bits of over 100 songs to create the 26 tracks on this CD. The hardcore Beatle freak will have hours upon hours of listening to do just to figure out what sliver of music is where. Just during the fade-out of “Strawberry Fields Forever,” you can hear bits of “Sgt. Pepper’s Lonely Hearts Club Band,” “In My Life,” “Penny Lane,” “Good Morning, Good Morning,” “Piggies” and “Hello, Goodbye.” Not only does all that happen in the space of one minute, but I’m not even sure I managed to list everything. Beatle fans haven’t had this much fun since the video for “Free As A Bird.”

The songs also flow freely into one another, bringing to mind a Liverpudlian mix tape. It’s wild to hear “Lady Madonna” start out with the drums from “Why Don’t We Do It In The Road,” and have bits of “Hey Bulldog” and “I’m Down” sprinkled in the middle.

A personal highlight for me is the clean studio version of the acoustic arrangement of “While My Guitar Gently Weeps,” which contains an extra verse not on the White Album. The demo recording of this has been available on bootlegs and on the Anthology CDs for years, but this version, sporting what sounds like a new George Martin string arrangement, sounds amazing.

Every track on the album is not a masterpiece. It’s a bit annoying to hear the beginning of “Blackbird,” only to have it morph into “Yesterday” before the words start. And Martin seems to rely a bit too much on the freaky-assed, high-pitched horn squeals from “Tomorrow Never Knows” (seriously, it seems like they’re on more than half the tracks on the album).

Despite the few missteps, this is an epic trek through the Beatles’ catalog, with plenty of surprises for diehard fans. Unlike most “tributes” to The Beatles, “Love” doesn’t burden the listener with substandard performers murdering classic songs. This is the real thing, The Beatles, with new, pristine digital interpretations of their own music, done with respect and….. love.

– By Rudy Pannuci 

This entry was posted on Tuesday, January 30th, 2007 at 9:13 am and is filed under Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.