T H E
BEATLES
WHITE ALBUM AT 50
Continued from page 6
The 1987 CD master and 2009 CD re-
master were used for comparison to
Martin’s new mix. Although the origi-
nal LP mixes served as the model, the
differences in sonic breadth are not
subtle, particularly in the low end.
Ringo Starr’s drum fills thump and
ring through rowdy rocker “Back in the
USSR,” and Paul McCartney’s bass gui-
tar is heard clearly for the first time. At
the other end of the spectrum, John
Lennon’s spacefaring “Dear Prudence”
is crystalline and trippier. The proto-
glam “Sexy Sadie” is beautifully bal-
anced and overflowing with detail due
to a clearer separation of the piano,
background vocals, and George
Harrison’s guitar. Harrison’s “While
My Guitar Gently Weeps” benefits
from the balanced placement of Starr’s
drums, meatier rhythm guitar, and the
bite of Eric Clapton’s lead work.
Furthermore, the refreshed vocal
sounds like someone has lifted a towel
from Harrison’s face. Even the protest
pop of McCartney’s sparse and elegant
“Blackbird” is elevated with a treat-
ment with voice and guitar occupying
the same intimate space, and a richer
blend of stacked vocals in the chorus.
“Ob-La-Di, Ob-La-Di” is less dense and
claustrophobic in the midrange, with
lively group vocals, sparkling piano,
saucy saxophone, and hip-swinging
bass.
Despite the meticulous care evident
in the main album’s remix, the hidden
attraction reveals itself as listeners fol-
low the rabbit hole downward into a
bevy of enticing extras. The four-LP set
of half-speed mastered vinyl includes
two platters featuring the Esher
18 illinoisentertainer.com november 2018
Demos, 27 songs in formative stages
recorded at George Harrison’s home
studio. Although light on Starr’s pres-
ence, the demos are well worth repeat-
ed play. The acoustic demo for “Back in
the U.S.S.R.” emphasizes the song’s
roots in the blues, fused with its sum-
mery Beach Boys-styled bridge. Vocal
clowning by Paul and George provides
a light mood, heightened when the pair
giddily sings the guitar solo as a place-
holder. Lennon’s solo acoustic “Dear
Prudence” is solemn and psychedelic,
until a “whoops!” slips into the mix,
and the song takes a turn into uptempo
folk and spoken-word tomfoolery.
Lennon’s ad-lib describes the tale
behind the song, centered upon the
Beatles’ recent experience with the
Maharishi Mahesh Yogi in India. Such
casual glimpses reveal the musicians’
personalities, clever minds, and
instinctual savvy. Furthermore, they
contradict Lennon’s assessment of the
White Album as “the sound of the
Beatles breaking up,” when it seems
like they’re having such a great time
being creative together.
McCartney’s “Ob-La-Di, Ob-La-Da”
is rendered as jangly, Latin-tinged
acoustic guitar pop more closely akin
to Badfinger than the barrelhouse
piano version heard on the final album.
Harrison’s “While My Guitar Gently
Weeps” retains its shape, but becomes
more intimate in its acoustic demo
without
Clapton’s
guitar
and
McCartney’s piano. Alternate lyrics
further reveal the classic song’s evolu-
tion and Harrison’s emergence as a top-
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57
Continued
By Jeff Elbel