Re: the new 2018 stereo remix of The White Album
It’s never been my favorite Beatles album. Lots of great songs on it – especially from Lennon, which I’ll get to later on – but there’s also a fair amount of stuff I tend to skip over. Even though my first exposure to the White Album was at summer camp at least 30 years ago, I can count on one hand the number of times I’ve listened to “Good Night” all the way through, and that’s because I also can’t physically sit through Revolution 9 without getting anxious.
I feel compelled to back up for a second and give some context here. Feel free to skip this little mini-bio, though it’ll hopefully explain where I’m coming from.
I am a Beatles nerd, though I would never in a million years consider myself an expert. (At some point I need to get my hands on one of those coffee-table books that detail every single recording session, because there’s tons of fun trivia in there that I still don’t know about.) I am a devoted fan of everything from Rubber Soul onward, and my favorite album at any given moment is either Revolver or Abbey Road. When the stereo (and mono) CDs came out on 9/9/09, I took the following day off from work and binged. (Also played a fair amount of Beatles Rock Band, I believe.) I took a deep dive into those new releases with my kick-ass headphones and suddenly heard a ton of stuff I’d never noticed before. And while my ultimate ranking of albums didn’t end up changing all that much, I did gain new appreciation for pretty much everything. (Also, for whatever it’s worth, I found that the mono remixes were far better than the stereo remixes, if only because the stereo remixes were still very much hard-panned, making them distracting to listen to over headphones.)
I’m a nerd also in the sense that I tend to approach their albums with this weird sense of reverence, as if the albums were sacred texts meant to be studied, as if they were caverns of knowledge in which I have to entomb myself inside. I never just pop on a Beatles album; I isolate myself from the rest of the world, put on serious headphones, and dive very, very deep.
Anyway, these new 5.1 surround-sound stereo mixes are something else entirely, and I adore them because they sound like what my memory of Beatles songs sound like – they are suddenly and quite vividly three-dimensional. In the same way that “Getting Better” on the new “Sgt Pepper” suddenly sounded extraordinary, I have to give props to the new mix of “Birthday”, which is a song that I normally skip over at every opportunity, because it is dumb as hell. In this new mix, however, it fucking rocks the fuck out. Do yourself a favor and listen to what happens after the drum break following the first verse: the gigantic E chord that comes in after that break sounds absolutely enormous. (Hell, go back and A/B the old stereo mix with this new one, too: it’s still a completely different animal.) It’s the sort of jaw-dropping sound where you can just tell that the engineers went “holy shit, that sounds AMAZING” when they played it back. And the whole album sounds like that.
My favorite Beatle has always been Paul, even though – or perhaps because – he is a cheeseball who writes extraordinarily beautiful melodies. The Beatle that I feel the closest kinship with is George, because he – like me, when I was in bands in college – was the youngest, and while he was an incredible songwriter in his own right, it’s awfully hard to fight for album space when you’re competing with Lennon/McCartney (and this is also how I felt trying to write songs for those bands back in the day). This being said, I’d also have to say that the White Album contains the best overall collection of Lennon-penned songs. I mean, yes, “I Am The Walrus” is probably my favorite John song in the whole catalog, followed very closely by “Come Together”, but it’s hard to beat “Dear Prudence”, “Sexy Sadie”, “Cry Baby Cry”, “Yer Blues”, “I’m So Tired”, “Julia”, “Everybody’s Got Something to Hide…” in terms of sheer consistency.
I have not yet given the bonus material enough passes to offer any definitive statement on them, beyond that they sound fantastic and they’re super-fun for someone like me, who likes to hear how these “sacred texts” originally formed and evolved. (As an example, they include Paul noodling around and then finding that little “Can You Take Me Back Where I Came From” thing that follows “Cry Baby Cry”.)
I can only hope that they go back and give this deluxe stereo treatment to everything else. Especially Revolver, because holy shit I can only imagine what “Tomorrow Never Knows” will sound like.
Re: Killing Commendatore, by Haruki Murakami
I used to be a huge Murakami fan, and then “1Q84” came out and disappointed me so much that I started to reconsider if I actually liked the stuff I used to like. I didn’t know if it was the translation that was off, or if it was the actual text, but it felt like a thousand pages of nonsense, interspersed with surprisingly and shockingly juvenile attempts at erotic writing. I have continued to buy his stuff but I very rarely feel motivated to give it a proper go. That said, I have this enormous backlog and I feel obligated to get through it, and I’d heard enough positive things about KC that I figured it was finally time to give it a shot. And, well, I’m not yet finished with it, but what I’ve read thus far has been excellent. I’ve come to realize that part of what annoys me about Murakami is how utterly passive his main characters are; everything happens to them, they never go out and make any decisions on their own. That still happens here, to a certain extent, but at least it’s justified by what’s happened to the main character before the book begins; without spoiling anything, his passivity makes a bit more sense. I don’t know if it will stick the landing, but then again, in a book this surreal it’s hard to say what the ending should be. To put it another way, I’m still invested in what’s happening and I’m willing to see it through the end.
Re: Red Dead Redemption 2
I have some complicated feelings about RDR2, the long-awaited sequel to one of my favorite games of all time. On the one hand, quite a lot of it is incredibly tedious, and when compared to other open-world games that the original inspired (i.e. The Witcher 3, Assassin’s Creed Origins / Odyssey), it feels almost antiquated in terms of quality-of-life stuff. On the other hand, it is staggeringly beautiful and almost begs you to play it while “in character”; the slow pace and tedium is a deliberate choice by the designers to make you feel like you are inhabiting the actual persona of Arthur Morgan.
And, of course, on the third hand is the knowledge that this game was built under extreme crunch conditions for quite a lot of its staff, and there’s a guilt that accompanies my purchase, because my purchase equals acceptance of harsh working conditions. It also doesn’t help that all that extra work is absolutely shown on screen. The attention to detail in this game is simply extraordinary.
I’m still somewhere in Chapter 3, which means I’ve got at least another 40 hours left to go. I’m sure there’ll be a few quality-of-life patches between now and then, too, which may address some of the weird bugs and glitches (not that there’s been a lot, mind you, but there’s certainly a fair share). So I’m not quite ready to get into how I’m feeling about it, especially since I’m still figuring that part out.
But I will say that it’s engrossing and beautiful and overwhelming, and in these troubled times we’re living in, it is very much what I need right now.