The Beatles: Love
[CD/Audio-DVD, VÖ: 17. November 2006]

Beatlemania 2006

Beatlesmusical Love feiert Einjähriges

Las Vegas (ots/28.06.2007) - Paul McCartney, Ringo Starr, Yoko Ono Lennon, Olivia Harrison und der Gründer des Cirque du Soleil, Guy Laliberte, nahmen heute an einer speziellen Gedenkfeier zu Ehren von John Lennon und George Harrison teil. Zwei Gedenktafeln, von Cirque du Soleil-Künstlern entworfen, wurden im der LOVE-Theater-Lobby des Mirage in Las Vegas enthüllt, um die beiden ehemaligen Beatles-Mitglieder und ihre Beiträge zu LOVE zu feiern. Weiterlesen hier ...

Vinylausgabe von "Love" erscheint am 27. April

Frankfurt/Main (gbip/10.04.2007) - "Endlich, ...", werden viele Fans jetzt sagen, "endlich erscheint 'Love' als Vinylausgabe." EMI's Presseportal listet das heiß ersehnte Produkt für den 27. April 2007. Es soll sich hierbei um ein Doppelalbum handeln. Die Titelliste sieht wie folgt aus:

LP 1 - Seite A:

1. Because
2. Get Back
3. Glass Onion
4. Eleanor Rigby / Julia (Transition)
5. I Am The Walrus
6. I Want To Hold Your Hand
7. Drive My Car/The Word/What You?re Doing
8. Gnik Nus
9. Something

LP 1 - Seite B:

1. Blue Jay Way (Transition)/ Being For The B...
2. Help!
3. Blackbird/Yesterday
4. Strawberry Fields Forever
5. Within You Without You/Tomorrow Never Knows
6. B6: Lucy In The Sky With Diamonds
7. Octopus?s Garden

LP 2 - Seite A:

1. Lady Madonna 2. Here Comes The Sun / The Inner Light (Trans.)
3. Come Together/Dear Prudence / Cry Baby Cry
4. Revolution
5. Back In The USSR

LP 2 - Seite B:

1. While My Guitar Gently Weeps
2. A Day In The Life
3. Hey Jude
4. Sgt Pepper?s Lonely Hearts Club Band (Reprise)
5. All You Need Is Love

Siehe auch Kundenwebseite der EMI ...

Filigranrocker knapp hinter Brachialrocker

Frankfurt/Main (gbip/01.12.2006) - Knapp hinter DEM Neueinstieg der letzten Woche, nämlich Rammstein mit "Völkerball" haben sich in den deutschen Charts die Beatles mit ihrem Album "Love" platziert. Brachialrock gewinnt vor Filigranpop! Trotzdem - Wir finden, das ist ein sehr schöner Erfolg für die Fab Four. In Österreich erklomm das Album "Love" die Position 4.

George und Giles Martin vermitteln interessante Einsichten in die Entstehung von "Love"

Frankfurt/Main (gbip/23.11.2006) - Interessant für Sammler dürfte eine 25-minütige Promo-Interview-CD sein, die derzeit in einschlägigen Internetshops vertrieben wird - allerdings wohl nicht zu den genannten Konditionen (siehe auch hier ...). German BEAT! hingegen bietet viele Informationen rund um das neue Album, wenn auch "nur" in geschriebener Form, frei Haus, wie auch das kürzlich von EMI veröffentlichte Interview mit den beiden "Love"-Produzenten George und Giles Martin:

• Track-by-Track Notes von Sir George und Giles Martin [hier ...]

Außerdem stellen wir unserem Feature die wichtigsten Informationen und Links zu diesem Album zusammen:

• Albumvorstellung am 16. November im Metropolis-Kino in Frankfurt [hier ...]
• Offizielle Pressemitteilungen von EMI Music Germany:
  - Albumankündigung [hier ...] und
  - Trackliste [hier ...]
• Wucherpreis für Promo-CD [hier ...]
• Ausgewählte Presseberichte und Links [hier ...] Update!!!
• Aufruf des Bürgerradios "Radiorunde Hamm" zur Teilnahme an der Sendung Muckenalarm, die sich am 10. Dezember rund um "Love" dreht. [hier ...]
• EMI Music Germany und German BEAT! verlosten "Love"-T-Shirts [hier ...] Update!!!

Neues Beatlesalbum "Love" erhält Dreifachgold in Deutschland am Tag der Veröffentlichung

Frankfurt/Main (gbip/17.11.2006) - Die Plattenfirma EMI Music Germany vermeldete am frühen Freitag Abend bereits die ersten Vertriebserfolge des neuen Beatlesalbums "Love". Mit einer Erstauslieferung von über 300.000 Exemplaren erreichte die Platte am Erscheinungstag dreifachen Goldstatus. Aud seine Art und Weise ist "Love" ein sehr untypisches Album - als erstes autorisiertes Remixalbum präsentiert es eine höchst ungewöhnliche Werkschau, bei der man die Musik der Fab Four auf noch nie gehörte Weise neu erleben kann: dynamisch, experimentell und auf der DVD-Edition des Albums sogar im besten Dolby Surround Sound. Aus über 100 Songs, aus Instrumental- und Gesangsspuren, Probeaufnahmen und Fragmenten schufen die beiden Produzenten George und Giles Martin eine völlig neue und einzigartige Klanglandschaft, die beweist, dass das Werk der Beatles seine Interpretation bereits überdauert hat. "Love" offenbart den Genius und das künstlerische Spektrum der Gruppe wie kein zweites Album.

Beatles entrückt: DVD/CD "Love" ab heute im Handel

Frankfurt/Main (gbip/17.11.2006) - Am Donnerstag Abend stellten einige ausgewählte deutsche Lichtspielhäuser (Details dazu hier ...) das neue Beatlesalbum “Love” vor. Die German BEAT!-Redaktion berichtet von der Albumvorstellung im Metropolis-Kino in Frankfurt am Main.

Wie die meisten der gut 60 Zuhörer zeigte sich die Redaktion beeindruckt von der Klarheit und Differenziertheit des Sounds. So haben die Fans die Beatles in der Tat noch nicht gehört. Dank Vater und Sohn Martin sind die Songs frei von jeglicher Patina geblieben. "Zugegeben", so German BEAT!-Herausgeber Sven, "ich musste mich natürlich erst einmal von einem 40 Jahre währenden Hörerlebnis lösen, um das heute vorgestellte Klangmaterial zu bewerten."

Die Produzenten wählten einen neuen kreativen Ansatz, die Beatlesmusik alten und neuen Fans zu präsentieren. Ein Besucher zeigte sich überzeugt, dass mit "Love" eine neue Art klassischer Musik veröffentlicht worden sei.

Die etwas rockigeren Charakterstücke wie "Come Together", "Glass Onion", "Lucy In The Sky" oder auch "Back In The U.S.S.R." sind ursprünglicher geworden. George Harrison sorgt mit symbiotisch kombinierten Songbeiträgen für weitere klangliche Höhepunkte. Der Redaktion liebstes Stück ist derzeit "Within You Without You/Tomorrow Never Knows" - klingt irre abgehoben. Konzeptionell erinnert die Trackliste und die bisweilen psychedelischen Übergänge an ein virtuelles Konzert der Fab Four.

Die Surroundabmischung ist gut dosiert und stabilisiert das Klangvolumen. Auf technische Spielereien wird weitgehend verzichtet. Aber die ursprünlichen Aufnahmetakes bleiben musikalische Versatzstücke: Alter - immer noch guter Wein in neuen Flaschen.

Doch "Love" beweist, dass das Werk der Beatles seine Interpretation bereits überdauert hat. Es scheint so, als läge es jetzt an der nachfolgenden Generation, diese Musik stets aktuell und frisch zu halten. Giles Martin hat jedenfalls schon mal mit "seinen" Beatles einen sehr guten und überzeugenden Anfang gemacht.

Rund um das Hörerlebnis im Kino

Im Rahmenprogramm des Kinoabend gabs ein kleines Fab-Four-Quiz. Die eingeworfenen Karten kommen bundesweit alle in einen Sack, am Ende gibt's eine Reise zur "Love-Show" in Las Vegas zu gewinnen.

Als kleines Dankeschön wurden Schlafbrillen, Luftballons und Poster verschenkt. Auf unsere Nachfrage hin, warum Schlafbrillen? Läßt das schon auf die Qualität des Albums schließen? Nein, ließen uns die Damen von der PR-Agentur wissen, die Brille sei dafür da, dass man sich beim Hören voll und ganz auf die Musik konzentrieren könne.

Optisch verstärkt wurde die Hörprobe durch einfache, farbenfrohe Projektionen.

Neues Beatlesalbum "Love" erscheint am 17. November

Nicht ganz überrascht, aber doch in freudiger Erwartung nehmen die Beatlesfans in aller Welt die Nachricht über das am 17. November 2006 erscheinende "neue" Beatlesalbum entgegen:

Köln (ots/02.10.2006) - Apple Corps Ltd und EMI Music freuen sich, die neue CD der Beatles, "Love", für November 2006 ankündigen zu können. Nachdem die verbleibenden Beatles Ringo und Paul gemeinsam mit Yoko Ono und Olivia Harrison an Sir George Martin mit der Bitte herangetreten waren, für eine Zusammenarbeit mit dem Cirque du Soleil experimentelle Mixes der Original Masterbänder anzufertigen, hat der legendäre Beatles-Produzent sich mit seinem Sohn Giles Martin unter Nutzung des gesamten Archivs der Beatles-Aufnahmen daran gemacht, "Love" zusammenzustellen.

Das Ergebnis ist eine völlig neue Herangehensweise an die Musik der Beatles. Mit Hilfe der Mastertapes aus den Abbey Road Studios der EMI haben Sir George und Giles eine einzigartige Klanglandschaft erschaffen. Die Veröffentlichung des Albums, das auch Teil der in Zusammenarbeit den Beatles entstandenen, gleichnamigen Bühnenproduktion des Cirque du Soleil ist, die im Mirage in Las Vegas aufgeführt wird, darf mit Spannung erwartet werden.

"Diese Musik entstand für die Show 'Love', die in Las Vegas läuft, aber gleichzeitig haben wir ein völlig neues Beatles-Album erschaffen", sagt Sir George. "Die Beatles haben sich immer für neue Ausdrucksformen interessiert, und für sie ist dies ein neuer Schritt nach vorn."

Giles fährt fort: "Wir hatten den gesamten Katalog der Beatles auf Band, sowohl vierspurige, achtspurige als auch zweispurige Stücke und aus dieser Palette von Sounds und Melodien haben wir eine Art Soundbett geschaffen. Die Leute werden beim Hören des Albums eine völlig neue Erfahrung machen, sie werden in einer höchst komprimierten Zeitspanne das ganze musikalische Leben der Beatles durchleben."

Das Album wird weltweit im November 2006 veröffentlicht. Weitere Informationen sowie die Tracklist folgen in Kürze.

Quelle: CAPITOL Music Germany

"LOVE", das neue Album der Beatles, erscheint am 17. November - Erste Beatles-Album in Stereo und 5.1 Surround Sound

Köln (ots/17.10.2006) - Apple Corps Ltd und EMI Music veröffentlichen am 17. November das Beatles-Album „Love“. Es ist das erste Beatles-Album, das zugleich in Stereo und in 5.1. Surround Sound erscheint.

Die Stereo-CD hat eine Länge von 78 Minuten. Die Surround Sound Version der DVD ist mit insgesamt 81 Minuten etwas länger.

Nachdem die verbleibenden Beatles Ringo und Paul gemeinsam mit Yoko Ono und Olivia Harrison an Sir George Martin mit der Bitte herangetreten waren, für eine Zusammenarbeit mit dem Cirque du Soleil experimentelle Abmischungen von den Original-Masterbändern anzufertigen, hat der legendäre Beatles-Produzent sich mit seinem Sohn Giles Martin unter Nutzung des gesamten Archivs der Beatles-Aufnahmen daran gemacht, "Love" zusammenzustellen.

Das Ergebnis ist eine völlig neue Herangehensweise an die Musik der Beatles. Mit Hilfe der Mastertapes aus den Abbey Road Studios der EMI haben Sir George und Giles eine einzigartige Klanglandschaft erschaffen. Die Veröffentlichung des Albums, das auch Teil der in Zusammenarbeit mit den Beatles entstandenen, gleichnamigen Bühnenproduktion des Cirque du Soleil ist, die im Mirage in Las Vegas zur Aufführung kommt, wird bereits mit großer Spannung erwartet.

"Dieses Album bringt die Beatles wieder zusammen, denn plötzlich sind John und George mit Ringo und mir wieder zusammen", sagt Paul McCartney. "Es ist schon magisch."

"George und Giles haben einen großartigen Job gemacht, diese Stücke so zu kombinieren. Auf mich hat das großen Eindruck gemacht und ich habe Sachen gehört, wo ich ganz vergessen hatte, dass wir sie aufgenommen hatten", kommentiert Ringo Starr.

"Das Album vermittelt das Gefühl von Liebe und deswegen heißt es auch Beatles ’Love’", fügt Yoko Ono Lennon hinzu. "Sie haben all das hervorgebracht, was schön und erstrebenswert ist."

"Die Musik ist atemberaubend. Ich glaube, das Erstaunlichste ist, dass man die Musik zerlegen kann und dass die Elemente doch die Essenz eines kompletten Songs in sich tragen", bemerkt Olivia Harrison.

Tony Wadsworth, Geschäftsführer von EMI Music UK und Irland, ergänzt abschließend: "Die höchst originelle Arbeit von George und Giles, die das Album „Love“ erschaffen haben, gibt uns ein wirklich neues Album der Beatles. Es wird uns noch mehr Respekt vor den Beatles verschaffen, wenn dies überhaupt möglich ist, vor der Kreativität und Brillanz der Band mit der großartigsten Diskographie in der Geschichte der Tonträger."

Die 5.1 Disc ist eine DVD-Audio/DVD-Video-Hybride. Die Tonspuren auf der DVD-Audio sind in hoch auflösendem 96/24 5.1 Surround Sound, der DVD-Video-Teil enthält den 5.1 Surround Sound in DTS und Dolby Digital sowie einen PCM Stereo Mix. Das DVD-Album ist für DVD-Player vorgesehen, enthält jedoch keine Video-Komponenten.

The Beatles "Love" Tracklist

1. Because
2. Get Back
3. Glass Onion
4. Eleanor Rigby Julia (Transition)
5. I Am The Walrus
6. I Want To Hold Your Hand
7. Drive My Car/The Word/What You’re Doing
8. Gnik Nus
9. Something Blue Jay Way (Transition)
10. Being For The Benefit of Mr. Kite!/I Want You (She’s So Heavy)/Helter Skelter
11. Help!
12. Blackbird/Yesterday
13. Strawberry Fields Forever
14. Within You Without You/Tomorrow Never Knows
15. Lucy in the Sky With Diamonds
16. Octopus’s Garden
17. Lady Madonna
18. Here Comes The Sun The Inner Light (Transition)
19. Come Together/Dear Prudence Cry Baby Cry (Transition)
20. Revolution
21. Back In The U.S.S.R.
22. While My Guitar Gently Weeps
23. A Day In The Life
24. Hey Jude
25. Sgt. Pepper’s Lonely Hearts Club Band (Reprise)
26. All You Need Is Love

Love Album Track By Track Notes

by George and Giles Martin

Because

George: "An inspired offering from John when we recorded it for the Abbey Road album. He had heard the opening of Beethoven's 'Moonlight Sonata' and then evolved a pattern of arpeggios on his guitar that laid the foundation for this song. Listening anew to this track, with the harmonies that only John, Paul and George could provide, one realises what great vocalists they were."

Giles: "Dominic Champagne, the LOVE show director, had been listening to the Anthology albums and loved the a cappella version of "Because" and asked whether it could be in the show. The vocals are recorded three times with John, Paul and George singing their respective parts at the same time. The sound of their voices around one microphone is magical."

Get Back

George: "This track kicks off with a driving rock sound. Great drums, great guitars ... a great band!"

Giles: "I can't listen to "Get Back" without mentally picturing the band performing the song on the roof of the Apple offices in London's Saville Row. It made sense to open the show with this song and the drum solo from "The End" works really well as an intro."

Glass Onion

George: "One of John's off-the-wall efforts, he even recorded a mixture of sounds like a window being smashed, a telephone bell and a BBC broadcast effect, all of which were left unused (at the time). Instead I wrote a string arrangement to give the song more colour. A song not often heard, but one of my favourite strange tracks."

Giles: "Glass Onion has such a great groove. In the show we needed something to get across the chaos of wartime Liverpool so the idea was to combine snippets of instruments from other songs flying through the mix. On the left hand side listen out for the " Things We Said Today" guitar that sounds like it's always been part of the song!"

ELEANOR RIGBY / JULIA TRANSITION

George: "By the time we started to record this track, Paul had realised the potential for using orchestral sounds and for the first time he wrote a song that demanded nothing but strings. I booked a double string quartet - four violins, two violas and two cellos, a sparse combination which when recorded with close microphones gave us the stringent sound we needed. The similarity to Bernard Hermann's score for "Psycho" is apparent and quite intentional."

Giles: "Allan Rouse, who's looked after the Beatles archive for years, had developed a technique in which we could combine the first recording of each four track with the 'bounce-down'. This means that we could have more than the original tracks to mix from. This version of "Eleanor Rigby" has the strings in stereo for the first time."

I AM THE WALRUS

George: "When John played "I Am The Walrus" to me for the first time I thought it sounded weird, but we laid down a track with the band the way he wanted it, then he told me he wanted me to do a score for him without being too specific. I thought long and hard about this and took a leap of faith by booking an orchestra and sixteen voices to make swooping sounds, chants and noises of laughter. When John heard what this choir were doing he fell about laughing, it was so unexpected. It really is a quirky track, but absolutely brilliant."

Giles: "The guitar from Julia in the transition into "I am the Walrus" is so beautiful and peaceful it seemed to act as a good counterpoint to the madness within the main track. The song is timeless, and it still sounds like nothing else out there today. There was certainly nothing we could add to make it any more psychedelic so we decided to bring the band out a bit more."

I WANT TO HOLD YOUR HAND

George: "At the turn of 1963/4 I was in Paris with the Beatles when Brian Epstein rang me in my hotel at one in the morning, bursting with pride and jubilation as he told me that at last we had our first No. 1 single in the USA after "I Want To Hold Your Hand" had quickly reached the top of the charts. It was a wonderful and significant moment. The Beatles had arrived!"

Giles: "We were always under pressure to present the songs in a different way and with the early material this was always more difficult as there's no separation between tracks. My dad came with an idea of using the three track tapes from "Live at the Hollywood Bowl" and combining the performances with the original masters. Surprisingly, both versions were perfectly in tune with each other, so what you're listening to here is both the live and studio versions of the song edited together."

DRIVE MY CAR/THE WORD/WHAT YOU'RE DOING

George: ""Drive My Car" was the opening track of a great album - Rubber Soul - and was recorded remarkably quickly - between 7 pm and midnight on an evening in October 1965. Great rhythm that was just right for a dance sequence in the show. "The Word", recorded a couple of weeks later, had an almost identical beat and was also completed in a few hours. "What You're Doing" was recorded a year earlier, with a similar driving rhythm. They certainly worked hard and did not waste any time in those halcyon days."

Giles: "The Beatles came up with some of pop music's most iconic riffs, none more so than "'Drive My Car". This era of Beatles music symbolises London at the peak of the swinging sixties. "The Word" and "Taxman" have such great grooves, we tried to blend as much of the band at their vibrant best in this, the only medley on the album."

GNIK NUS

George: "In the show we needed a sound to set the scene, a prelude to establish a mood, and a never-heard-before chorale by the Beatles does just that. It is pretty obvious where "Gnik Nus" came from, but I make no apologies, because for me it is absolutely lovely and it works well in the performance."

Giles: "I had turned the cymbal backwards on "Sun King" for an effect for "Within You Without You/Tomorrow Never Knows" and I realised I'd turned the vocals around as well. My dad heard what I'd done and loved it and said that it's exactly the sort of thing that John would have gone for."

SOMETHING / BLUE JAY WAY (TRANSITION)

George: "A most beautiful song by George which made everyone realise that he could write just as great a song as John or Paul, and it gave him enormous confidence. The master track was completed in May with a keyboard line from Billy Preston, and finally I added a string orchestra in mid August. I was so pleased with the final result."

Giles: ""Something" is such a sensitive song that works really well as it is. We moved the strings around for effect, leaving George's great vocal performance more upfront. "

BEING FOR THE BENEFIT OF MR. KITE!/I WANT YOU (SHE'S SO HEAVY)/HELTER SKELTER

George: "This has to be one of John's most pictorial songs and we all had fun making our recording sound like a real circus in the studio. My problem was playing the ancient harmonium while John and Paul acted as producers. They delighted in seeing me pedal away at that damned instrument for what seemed like hours. The show demanded something a little different, with a much darker mood. So although all the original sounds are still there, it does become rather menacing towards the end."

Giles: "The LOVE show director, had visions of a macabre Victorian circus for the show. This made us approach "Kite" in a completely different way. "Blue Jay Way" set the scene really well, and the sound effects from "Good Morning" add to the general circus vibe. To create the sound of a circus going wrong we edited in "I Want You (She's So Heavy)" at the end flying in the mad organs and Paul's vocal on "Helter Skelter" over the top."

HELP!

George: ""Help!" was originally written for the second Beatles film, and many armchair psychiatrists have read into it a cry from John to get him out of his prison of fame and success. It was to me a straightforward and good composition, one that came together in the studio without too much fuss, and it became the successful title song of their film."

Giles: "This was recorded really quickly onto a four track, with the band playing live onto one track. This recording has such a great natural Beatles sound that it's wonderful to just hear the power of their playing."

BLACKBIRD/YESTERDAY

George: "We agonised over the inclusion of "Yesterday" in the show. It is such a famous song, the icon of an era, had it been heard too much? The story of the addition of the original string quartet is well known, however few people know how limited the recording was technically, and so the case for not including it was strong, but how could anyone ignore such a marvellous work? We introduce it with some of Paul's guitar work from "Blackbird" and hearing it now, I know that it was right to include it. Its simplicity is so direct; it tugs at the heartstrings."

Giles: "I wasn't sure how the more sensitive songs would sound in the theatre, I was scared that some intimacy would be lost. While I was in Montreal, Cirque let me go with sound designer Jonathan Deans to a new show they were about to tour so I could play around with their PA. As soon as I played "Yesterday" through the system all the workmen stopped and just listened to the song. I guessed then that we would probably be OK!"

STRAWBERRY FIELDS FOREVER

George: "I will never forget the first time I heard "Strawberry Fields Forever". John began by giving me my usual private performance, standing in front of me, strumming his acoustic guitar and singing those incredible opening lines. I was absolutely captivated, such different material, almost too tender to be recorded. The song went through a few changes, and we recorded it more than once, eventually combining two completely different versions, in different keys and different tempos. I love the song to this day, but John told me many years later that he was never really satisfied with it and I felt that in its recording I had let him down. I hope he has forgiven me."

Giles: "The LOVE show director, had wanted us to demonstrate the Beatles experimentation and creativity in the studio. Yoko had brought in some early demos of John singing "Strawberry Fields Forever" so in the spirit of the original we decided to combine the very early takes with the final version. I went on holiday and my poor father spent hours with a vari-speed tape machine putting all the takes in the key of B. I came back and spent about six weeks combing the various tracks to make one long new version of the song. And at the end, with those fantastic drums, we just decided to have a bit of fun ..."

WITHIN YOU WITHOUT YOU/TOMORROW NEVER KNOWS

George: "Paul was always on the lookout for new sounds and experimenting at home with a Brenell recorder, he discovered that he could record on a constant loop of tape until it was literally saturated with sound. I selected a number of these tapes and used them, sometimes at a different speed and pitch, in a new song John had written. We started with a terrific rhythm track recorded in only three takes, with a constant tamboura drone and that marvellous and hypnotic drum beat from Ringo, "Tomorrow Never Knows", was born.

Later, while Sgt. Pepper was under way, George came up with an interesting and distinctive song, "Within You Without You", heavily influenced by his love of all things Indian. Working with George on this recording was fascinating. His sense of complicated rhythms and tonalities earned my respect, and the song was issued as the first track on the second side of Sgt. Pepper. Giles suggested that we combine these two tracks together in such a brilliant way."

Giles: "This was one of the first things I tried when we were making the initial demos for the show. I was really quite scared about offending all who were involved and at one stage we weren't even going to play it anyone. The fact that it was accepted showed how open-minded everyone was in the approach to the music we were creating."

LUCY IN THE SKY WITH DIAMONDS

George: "This song has the most extraordinary lyrics, with John doing his utmost to build a psychedelic vision rivalling creations by Lewis Carroll and Salvador Dali. It all began with his son Julian coming home from school with a picture of his classmate, Lucy. She was kind of floating in mid-air with little stars that he had drawn around her. Such innocence! The song came together quickly, and the opening bars are simple, but magic."

Giles: "As soon as the LOVE show director, showed me his ideas on creating a starry sky by using LED effects I set out on trying to introduce the song by having shimmering stars appear individually with sound. By slicing the original keyboard and using vari-speed we managed to get the effect I was looking for."

OCTOPUS'S GARDEN

George: "I am glad we were able to use Ringo's "Octopus's Garden" in the show. In many ways it's timeless, a children's song, easy on the ear and perfect for the LOVE show director's imaginative undersea scene, with an unexpected beginning."

Giles: "I thought it would be great to start the song with Ringo on his own. I first tried to combine his vocal with the end strings from "Glass Onion" and it sounded creepy. Then I tried the strings from "Goodnight" - they had always interested me because they're in stereo. My dad came in and pointed out if I had doubled up the strings and played the verse twice the vocal would work better, and as usual he was right, and Ringo sounds great."

LADY MADONNA

George: "Considering that Paul only played guitar when I first knew him, his piano work with that rolling boogie piano driving this along like a powerhouse had become startlingly good. In the backing we tried using Kazoos, but the old comb and paper did just as good a job."

Giles: "I wanted to get the riff from "Hey Bulldog" in the show somewhere and it works great as a middle section to "Lady Madonna". It took a while to get the track to sit right, Billy Preston's organ solo from "I Want You(She's So Heavy)" provides the glue between the two and Eric Clapton's guitar solo from "While My Guitar Gently Weeps" replaces the sax solo."

HERE COMES THE SUN / THE INNER LIGHT (TRANSITION)

George: "A brilliant composition with an unusual metre relying heavily on George's great guitar work, very different to "The Inner Light", which was basically recorded in Bombay during the time that George was recording music for his "Wonderwall" film and album. George had used a host of Indian virtuoso players with weird and wonderful instruments I did not even know existed. Once back in England he added his voice and we overdubbed vocals with John and Paul."

Giles: "It's strange that although George brought a huge Indian influence to the sound of The Beatles, some of his most famous songs have no Indian instruments on them. The tabla and delrouba from "Within You Without You" made a perfect introduction to George's guitar and we used the chorus vocals from the song to set the scene. "Here Comes the Sun" is a great song about enlightenment; it made complete sense then to finish with "The Inner Light"."

COME TOGETHER / DEAR PRUDENCE / CRY BABY CRY (TRANSITION)

George: ""Come Together" is such a simple song but it stands out because of the sheer brilliance of the performers. Paul's bass riff makes a fantastic foundation for Ringo's imaginative drumming, and John's vocal with heavy tape echo has a marvellous effect when he claps his hands and hisses into the microphone. George's guitar is equally distinctive, and altogether I believe this is one of the Beatles' greatest tracks. Combined with "Dear Prudence" is Paul's vocal piece from the end of "Cry Baby Cry" that creates a very reflective mood."

Giles: "This for me is the Beatles playing live at their economical and inspirational best. There's nothing that can be added to the song as all the parts are so well constructed and yet the song is so sparse. 'Dear Prudence' was used to end the song without fading it and I loved the way the vocals and Ringo's mad drumming add a climax to the end of "Come Together". Dominic Champagne, the shows director, had wanted something disturbing to bring in "Revolution" and I thought this ending sounded from another world. The strings from "Eleanor Rigby" and the climax from "A Day In The Life" provided an edge that isn't on the original."

REVOLUTION

George: "Hard rock recordings do not come much stronger than this one. The distortion of the guitars led to many complaints from the more conservative of listeners at the time and it did in fact give quite a few technical problems when it came to cutting the masters for the vinyl album of that day (it wasn't on an album at the time. I suggest we put replace the word album with single). Like many of John's songs its message is very clear and, for its time, pretty revolutionary! "

Giles: "The guitar sound on "Revolution" rips your head off, even today it defines the word 'distortion', it's amazing to think that it was recorded nearly forty years ago."

BACK IN THE U.S.S.R.

George: "Miraculously recorded and mixed in two days at a time of tension among the Beatles when a frustrated Ringo had temporarily walked out. Paul, George and John tried to work without him and started to record "Back In The U.S.S.R.", with Paul playing drums. Ringo returned to find they had in fact managed a track without him, but they were so delighted he was back that they showered him with flowers. Nevertheless it is one of the very few tracks without Ringo's terrific drumming."

Giles: "Like "Revolution" this bursts out from the multi-track tapes with such energy that there's nothing much that we could do with it either."

WHILE MY GUITAR GENTLY WEEPS

George: "Most people remember the heavy version of "While My Guitar Gently Weeps" but an earlier version, almost a demo, was recorded at Abbey Road and discarded until we issued the Anthology albums. I was asked to write a string score to make that early take sound more like an issued master. I was aware of such a responsibility, but thankfully Olivia and everyone approved of the result. "Yesterday" was the first score I had written for a Beatle song way back in 1965 and this score forty one years later is the last. It wraps up an incredible period of my life with those four amazing men who changed the world."

Giles: "The LOVE show director and Olivia had decided that take one, an acoustic version, of 'While My Guitar Gently Weeps' should be used for the show and asked what we could do with it. The vocal performance on the take is so tender, so the only thing I could think of was for my dad to do a string arrangement. I was surprised to find that he was apprehensive about doing it, there's no one in the world better at this kind of thing, and even after all this time he still arranges with the same vitality and empathy that has made his work legendary."

A DAY IN THE LIFE

George: "John as usual, took his inspiration from odd sources, in this case newspaper cuttings, but he needed a middle section and asked Paul if he had anything. Paul had something, but it wasn't a fit. Realising that such different tempos and styles needed to be separated, Paul suggested a 24 bar section between them which could be filled in later. I had no clue what it would be filled with, until they told me they wanted a symphony orchestra.

I think Paul came up with the idea of a great ascending crescendo, but I needed to do some orchestral organisation if it was to be effective. We all know the result. It was terrific, awe-inspiring and mind boggling to all who heard it for the first time, although some thought it to be subversive and even the dear old BBC banned the track on the grounds that it promoted drug use."

Giles: "Even before we approached this I knew there was nothing we could add to it. It really is a masterpiece. Then Allan Rouse, our project co-ordinator at Abbey Road Studios, brought the early orchestral takes up from the vault. This meant that we could make the crescendo and the last piano chord at the end even bigger."

HEY JUDE

George: "The Beatles in their time wrote and recorded quite a few anthems and "Hey Jude" is a supreme example. I remember having a little rebellion in the orchestra I had booked for the overdub. After the musicians had finished playing their parts I asked them to sing along with the chant and to clap as we did. Cheeky, I know, but not everyone was amused. One violinist remonstrated quite forcibly, saying he was not employed as a session singer and left. I asked if anyone else wanted to join him and bless them, they all stayed and received overtime pay as a result."

Giles: "The biggest challenge we faced with "Hey Jude" was finding a way of ending it. I'd found a great bass line that Paul played at the end of the song and put it in the middle, but the ending is so well known that it took quite some time to find the perfect match ..."

SGT PEPPER'S LONELY HEARTS CLUB BAND (REPRISE)

George: ""Sgt. Pepper's Lonely Hearts Club Band (Reprise)" is a rousing and upbeat shorter version of the original song specifically designed to wrap up the imaginary performance of the Sgt. Pepper album. It is ideal for a link into the final song. Our original recording was a quick affair, taped from seven in the evening of April Fool's Day 1967 right through to six the following morning."

Giles: "... and it was sheer luck that Sgt. Pepper Reprise was in the right key so we could link the two together."

ALL YOU NEED IS LOVE

George: "The Sgt. Pepper album was released in June 1967 to world acclaim, and in no time we were all given an incredible task. The Beatles were selected to represent Great Britain in a world wide television hook-up that was to be broadcast live. It happened very quickly, and the week of the event was for me one I will never forget. John's "All You Need Is Love" was an inspiration and I had the normal job of arranging and producing it. One week before the show my father was taken to hospital. I visited him every day, and he seemed to be recovering well, so much so that I rang my sister who was in Italy and told her not to break up her holiday. But early on Tuesday morning I walked in to the hospital as usual with a bunch of flowers and I was stopped by the Ward Sister who drew me aside and told me my father had died just before dawn.

I was shattered, devastated. Perhaps the work on All You Need I Love was my lifeline. I pitch forked myself into all the things I had to do, which was a mercy for me. When it came to the actual television transmission we had TV cameras focussing on us in the control room as well as the studio. With seconds to go before being on air I had a panic call from the TV director in his BBC van outside saying he had lost contact with his crew in the studio and could I relay his instructions?

I laughed aloud at the real unimportance of it all. If you are going to fall flat on your face you might as well do it in front of 200 million people! It was the end of an era and it has now become the end of our show. We have come full circle."

Giles: "I spent a long time looking for The Beatles signing off and saying goodbye for the very end of the show. But it just so happened that at the end of most of their gigs and radio shows they would either say a polite 'thanks' or bow and go straight off. So what you hear over the final chords of 'Goodnight' is taken from a Christmas record recorded in 1965."

© 2006 Apple Corps Ltd

Wucher

Frankfurt/Main (gbip/02.11.2006) - Auf den Erdbeerfeldern tauschte German BEAT!-Herausgeber Sven sich unlängst mit anderen Forianern über "Trittbrettfahrer" aus ... na ja - jetzt zitieren wir mal solche Firmen, die wir dafür halten:

"Hi Everyone,
Just a quick note to let you know we have managed to secure a very limited number of the 4-track sampler CD's for the new BEATLES album LOVE.

The tracks featured are STRAWBERRY FIELDS FOREVER, OCTOPUS'S GARDEN, LADY MADONNA and WHILE MY GUITAR GENTLY WEEPS, all in their newly remixed form.

The price is £30 [or 60 US Dollars / 50 Euros], with P&P FREE to anywhere in the world!

Remember we can accept Pay Pal from overseas buyers, payable to xxx@xxx.xx and the item can be dispatched the same day.

All the best,
xxx"

Diese E-Mail eines Spezialhändler aus UK erreichte am Donnerstag abend.

50 EUR für etwas zu verlangen, dass Radio-, Film-, Funk- und Presseleute sowie Händler quasi geschenkt bekommen ... da haben wir kein Verständnis für. Dabei gibt es die vier Songs ab heute sogar offiziell als Preview auf der Webseite der Beatles.

Fortsetzung folgt

Frankfurt/Main (gbip/23.11.2006) - Offenbar gibt es jetzt auch eine Interview-CD zum neuen Album, so berichtet jedenfalls der besagte Spezialhändler aus dem Vereinigten Königreich.

Hi Everyone!

We have managed to obtain a very limited amount of the new promo interview CD for the LOVE album.

The CD features 25 minutes of interviews, first with PAUL McCARTNEY and RINGO STARR, who discuss the history of the new album and then with SIR GEORGE and GILES MARTIN, who talk about the remixing and sequencing of all the songs.

Housed in a slimline jewel case with an insert card, this is a true collectors item. The price is £35, but P&P is FREE to anywhere in the world - ORDER NOW TO SECURE YOUR COPY!!

We have also managed to secure a few more copies of the 4-track music promo CD featuring the new versions of STRAWBERRY FIELDS FOREVER, LADY MADONNA, OCTOPUS'S GARDEN and WHILE MY GUITAR GENTLY WEEPS from the LOVE album. The price on this one is £30, with FREE P&P to anywhere in the world.

Remember that we accept Pay Pal from overseas buyers, so contact XXX on this address for more info: xxx.xxx@xxx.xxx

All the best,

xxx

Ohne Worte!

Ausgewählte Presseberichte und Links

Frankfurt/Main (gbip/17.11.2006) - Eine "neue" Platte der Beatles ist schon eine kleine Sensation. Diese reisst die Feulletonisten von ihren Bürostühlen und versetzt Fans in pure Aufregung. Da die Grupe bekanntermaßen seit 36 Jahren nur noch in den Marketingplänen von Plattenfirmen und Verlagen existieren, bietet jede "Neuveröffentlichung" automatisch Anlass zur Kritik. Geht es nach einigen Kritikern, stirbt mit jedem dieser Release ein Stück Unbekümmertheit der Sechziger Jahre.

Auf der anderen Seite loben viele Vertreter namhafter Organe diese "Renaissance der Pop-Götter" (Stern) mit den "Momentaufnahmen mit dem flüchtigen Geschmack von Zauber-Erdbeeren" (Die Zeit).

Wir geben an dieser Stelle einen Überblick über die aktuelle Berichterstattung und Rezensionen im Internet.

Offizielle Webseiten

• The Beatles: Offizielle Homepage der Fab Four mit TV-Spot, EPK Pressebericht, E-Card ... und der Möglichkeit, in das gesamte Album hineinzuhören (nach Registrierung)
• Cirquedesoleil.com: Offizielle Webseite zur Show "Love", siehe auch Pressemitteilung zur Vorpremiere der Show in Las Vegas.
• EMI Music: Produktseiten aus der Schweiz, Deutschland

Webseiten mit "Love"-Schwerpunkten

• Beatlemania.de: "... sehr hübsch für den Heim-Surround Sound" mit aktuellen und kompetenten Produktinfos und (Fan-)Besprechungen sowie einer Seite mit Besuchermeinungen zum Kino-Hörerlebnis
• die-beatles-seite.de: "... Eleanor Rigby, Drive My Car und While My Guitar Gently Weeps sind schlichtweg genial, bei anderen Songs hätte George Martin seinem Sprössling aber lieber mal auf die Flossen hauen sollen ...", urteilt Roland Butza auf seiner Featureseite. Interessant sind seine "FAQ's" zur neuen Platte "Love". Neu!!!
• Erdbeerfelder.de: Fans schildern ihre Eindrücke von der Albumvorstellung in den deutschen Kinos und vom neuen Album - unser besonderer Hinweis gilt dem Featurebeitrag "Die Beatles mal ganz anders". Das "Früchtchen" NadSab - verlässliche Forianerin auf den Erdbeerfeldern - beschreibt auf ihrem Blog mindflow die Atmosphäre während der Berliner Hörprobe.

Aktuelle Rezensionen und Berichte

• Berliner Kurier: Beatles sind wieder da
• Berliner Morgenpost: "Dies ist mein Schwanengesang"
• Frankfurter Allgemeine Zeitung: Ein neues "Beatles"-Album? Alles, was du brauchst
• Frankfurter Rundschau: Sir George Martin über das postume Beatles-Album "Love"
• Freie Presse: Ernte auf dem Erdbeerfeld
• Der Kurier: Restlverwertung reloaded: Beatles "Neu"
• LVZ Online: "Love": Grandioses Klangerlebnis mit den Beatles
• Macwelt: "Love" ist online: Neues Beatles-Album als Internet-Stream
• Neue Musikzeitung: Love - Neues Beatles-Album
• Neue Passauer Presse: Die Erdbeerfelder leuchten wieder
• ntv: Alte Liebe auf neuen Platten: Klangerlebnis mit den Beatles
• Oberösterreichische Nachrichten: "Neues" Beatles-Album testet Toleranz der Fans
• Die Presse: Rezension und Beatles-Love-Gewinnspiel bis 7. Dezember
• Der Spiegel: All you need is George
• Stern: Die Beatles singen "Gnik Nus"
• Stuttgarter Nachrichten: Remixed-Album: The Beatles: Love
• die tageszeitung (taz): Behördliche Gesundheitswarnung!
• Süddeutsche Zeitung: Das ist doch Lucy im Himmel mit Diamanten!
• Tagesspiegel: Gerührt und geschüttelt
• Thüringer Allgemeine: Das Walross am Trapez
• Vlothoer Anzeiger: "Neues" Beatles-Album "Love" in Hamburg vorgestellt
• Die Welt: nterview mit George Martin: "Mein Schwanengesang"
• Wiesbadener Kurier: All you need is: "Love" Neu!!!

Weitere Artikel im German BEAT! buntes magazin

• 13. November 2006: Hamburg feiert Beatles "LOVE"
• 10. November 2006: Runderneuerte Wiederveröffentlichung als Neuinszenierung

Bürgerradio "Radiorunde Hamm" stellt das "Love"-Album am 10. Dezember vor

Beatlesfans können sich an der Sendung beteiligen

Hamm (ots/17.11.2006) - Am 17. November gibt es wieder ein "neues" Album von den Beatles. LOVE heißt das Ergebnis einer völlig neuen "Herangehensweise an die Musik der Beatles", und Hilfe der Mastertapes aus den Abbey Road Studios ist eine "einzigartige Klanglandschaft" erschaffen worden ... so die Plattenfirma.

LOVE ist sozusagen der Soundtrack der Bühnenproduktion des Cirque Du Soleil, die im Mirage in Las Vegas aufgeführt wird.

Paul McCartney ist ähnlich begeistert wie die Plattenfirma: "Dieses Album bringt die Beatles wieder zusammen, denn plötzlich sind John und George mit Ringo und mir wieder zusammen. Es ist schon magisch." Nun, wie aber ist die Meinung der Beatles-Fans ... der alten, der neuen, der treuen, der spontanen ??

Das neue Beatles-Album wird in Ralf Grotes Sendung MUCKENALARM am 10. Dezember 2006 eine Stunde lang vorgestellt… und Ihr könnt mitmachen !

Schickt uns Eure persönlichen Eindrücke zu LOVE als VOICE MAIL auf unseren Studiorechner und wir spielen Eure Plattenkritik am 10. Dezember ein.

Alle, deren O-Ton im MUCKENALARM ausgestrahlt wird, bekommen für ihre Beatles-Sammlung die komplette Sendung auf CD.

Hier die VOICE MAIL Nummer der Radio Runde Hamm (einfach wie einen Anrufbeantworter anwählen - kurz Euren Namen nennen und dann losschwärmen oder ablästern):

0721 15 15 17 881
www.radiorundehamm.de

PS: Wer möchte, kann seine LOVE-Message auch als Email an RalfGrote@radiorundehamm.de schicken

Quelle: Ralf Grote auf den Erdbeerfeldern

Wir verlosen 6 "Love"-T-Shirts

Frankfurt/Main (gbip/07.12.2006) - Unsere aktuelle Verlosung überzeugt auch "top-modisch": Sechs T-Shirts (plus Werbeaufkleber) mit dem "Love"-Logo gab es bei uns zu gewinnen. Ihr musstet nur folgende Frage beantworten: "Wie lautete der Titel der A-Seite der ersten Beatles-Single?" War doch klar: "Love Me Do" - weder "P.S. Love me Do" noch "My Bonnie" ließen wir gelten. Zum zweiten war die Kleidergröße entscheidend.

Die T-Shirts in weiß und kurzärmlig haben gewonnen. Hannah aus Pechtoldsdorf, Christian, Tim aus Cuxhaven. Die schwarzen, langärmligen Shirt (keine Sweater) werden demnächst tragen: Heiko aus Rosengarten, Sebastian aus Kürten und Marco.

Allen Gewinner gilt unser Glückwunsch und allen anderen danken wir für ihre engagierte Teilnahme und bisweilen guten Wünsche an die Redaktion.

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