13 April 2011
There will be a different album each week (in no particular order).
I bought the first one today (SPLHCB ) with the collection box, and for geeks it seems to be the same basic format/artwork/layout as the 2009 edition although it has an extra wording written along the bottom of the back cover in Italian.
16 August 2012
Yeah, it’s a nice looking box. Probably more practical than the one the 2009 stereo remasters came in, and would go well next to the Mono Masters box.
15 September 2012
Coming from any other country besides Italy, one could conceivably not be blamed for desperately wanting this latest petroleum-wasting concoction from the marketing geniuses at Apple/Capitol/EMI/Parlophone/Southern/Eastern/Western/Northern Songs & all the other greedy bastard music companies around the world- after all, there are so many insubstantial permutations and bastardizations of the Pure, Blossoming, Virginally Sweet Sounds of The Beatles that have already screwed up every single audiophonic memory of the original songs known to Mankind up until now – mono, stereo, high fidelity, noise-reduced, bass-enhanced, Dolby-treated, half-speed remastered, surgically remixed, 32-track, quadrophonic, streamed, mp3’d, analogued, digitized and circumsized to the point where we can’t even remember George Martin’s rudimentary can-and-tight-string recording technique that seemed to work JUST FINE for the pitiful, less fortunate and untrained ears of the day, bless their ignorant hearts.. but that’s another ramble…
Wake me up a year from now, when Italy might have the balls to release a 20th-Anniversary Reissue of the ‘Artifacts’ CD Box Sets from the Big Music Co. that beat out Anthology by almost two years and delivered about 15 more Hours of unreleased material.
Has ANYONE else ever heard of these??
1 May 2011
Yip. Three volumes of 5 cd sets. The first 2 volumes covered ’58 – ’70 (going over that period twice due to the amount of stuff out there) and the third was the solo years up to ’94 (the one i never got). They had some amazing tracks, quite rare at the time, and made everyone jump at such a collection.
There are stories that Artifacts nudged Apple into being more determined to release 3 Anthology volumes due to how well it sold, the same as said about Great Danes’s 9 BBC set (which increased to 10) which made Apple wake-up and give us Live At The BBC (which they balls it up by only giving us 2cds).
If only the same had occurred with The Get Back Journals which sold heavily and stunned everyone when it came out, but that was a different time.
There is no reason why Artifacts couldnt be released for its 20th. Quite a few labels are updating and remastering bootleg albums and collections as there is still a market and its not as if the music has gotten stale.
If the Italian cds were new remasters i’d have been thouroughly pissed off but its just new packaging – tho i cant help thinking “whats the point?”. Am still waiting to buy an official beatles motorway roadsign heater.
"I told you everything I could about me, Told you everything I could" ('Before Believing' - Emmylou Harris)
I get the fear when I think of all the Beatles bootlegs out there. Too much to listen to, so I end up listening to almost none of it. I know if I started I probably wouldn’t be able to stop, and I don’t have time…
That said, here’s what I wish Apple would do. Go through all the session tapes, mix them in stereo, then release them. Every single one.
A recording session typically lasted for three hours in the 1960s, though some days there were multiple sessions booked (with short breaks between each one), and towards the end of the decade they just carried on working as long as they wanted. Obviously a three-hour session didn’t result in a full three hours of music, as there were discussions, experiments, and sometimes things were recorded over.
Sell each session tape for about £7/$10 on iTunes. Apple would make an absolute fortune, the collectors would be happy, and our understanding of the songs’ development would increase hugely. It wouldn’t harm the group’s reputation or diminish sales of the albums, but would get the music out of the EMI vaults where they’re only ever heard by a handful of people.
They could begin by giving an official release to the Get Back /Let It Be sessions. If people were willing to sit through all of that stuff, it would show there’s a demand for it. Alternatively, round up all the live bootlegs and sell them officially for £5/$7 each. The alternative is that people listen to them anyway and nobody gets paid (which is good for the listener but less so for Apple).
On a similar note, I’ve lost count of the number of times I’ve read about rare tapes or artifacts that get sold at auction to a mystery buyer, “believed to be Paul McCartney “. Assuming it’s him and he routinely outbids everyone else to accumulate Beatles items, why do we never get to hear them? What’s the point of things sitting in bank vaults or personal libraries when they have enormous commercial value?
I’ve gone a bit off topic, but thanks for reading!