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Pop - Released June 4, 2021 | A&r Music

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Pop - Released February 19, 2021 | A&r Music

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Pop - Released October 7, 2017 | Disques Backstage

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Rock - Released July 8, 2016 | Inner City Records

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Rock - Released August 5, 1966 | EMI Catalogue

Distinctions The Qobuz Ideal Discography
Everyone has their favorite Beatles record, but Revolver will always be a truly pivotal point, one of the most influential (THE most?) albums in the history of rock. This seventh studio recording, which was released in August 1966, waves goodbye to the friendly and playful image of the Fab Four from Liverpool in order for them to become the architects of a total pop revolution. With Revolver, backed by the indispensable production of George Martin, the group embarks on some of the wildest experiments in the service of creating their most fascinating material ever. They tinker with their sound and explore new territory once again, they thrive on prohibited substances (also evoked in their lyrics), introduce an impressive range of instruments (harpsichord, trumpet, sitar, organ...) and strengthen their writing, once so carefree in the infancy of their careers. Notably, the Fab Four then decided not to perform on stage again, preferring to use the recording studio as an instrument in itself, if not sometimes as an additional member. For the rest, the simple song titles written in procession is apt conclusion: Tomorrow Never Knows, Eleanor Rigby, I'm Only Sleeping, Got To Get You Into My Life, Taxman... ©MZ/Qobuz, Translation/BM
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Rock - Released December 3, 1965 | EMI Catalogue

Distinctions The Qobuz Ideal Discography
With its more ambitious compositions, Help! had made it clear that the Beatles did not intend to stay remain that nice little group from Liverpool much longer. Four months later, Rubber Soul was released in December of 1965, and the Fab Four show that they have indeed grown up artistically. There are more mature texts (written by Bob Dylan, a real influence on the Beatles as confessed by McCartney himself) and more daring harmonies. They even bring their instrumentation to unknown territory as demonstrated by Norwegian Wood or the bass on Think for Yourself. As for ballads like Girl or Michelle, they are beautiful and will remain timeless. Above all, this sixth studio album mixes more musical styles - be it pop (of course) but also R&B, folk, soul and psychedelic. Rubber Soul also marks the point where we see each member of the group affirm their unique personalities, and with the support of producer George Martin, John, Paul, George and Ringo were encouraged to move away from their "youthful" habits. ©MZ/Qobuz, Translation/BM
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Rock - Released November 13, 2000 | UMC (Universal Music Catalogue)

To enter the twenty-first century, there’s nothing better than remembering the patrons of 20th century pop and rock'n'roll. With 1, released in 2000, all of the greatest songs by Fab Four can be found compiled onto one disc. The title of the album refers to the first place on the charts these 27 songs (remastered for the occasion) occupied in both England and the United States. Obviously true music lovers worthy of the name must have all of the original studio albums by Fab Four, but this best of is perhaps the perfect starting point for budding fans... © MZ/Qobuz, Translation/BM
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Rock - Released September 26, 1969 | EMI Catalogue

The testament. The final chapter. Abbey Road, released in September 1969, is the last true episode in the discography of The Beatles, with Let It Be (released in May 1970) having actually been recorded previously. A farewell that magnifies the art of composition, melodic mastery and harmonic balance. Once again, the range is wide - whether your talking about the soothing ballads, or more percussive tracks like Come Together. Abbey Road also reminds us that, behind the tutelary tandem of Lennon/McCartney, George (Here Comes The Sun) and Ringo (Octopus's Garden) are not there to simply make up the numbers. This masterpiece, in spite of its huge success, could not prevent the Fab Four from ending their union. The divorce was made official in April 1970. The most influential group of all time ultimately spent just seven years in the studio… ©MZ/Qobuz, Translation/BM
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Rock - Released May 8, 1970 | EMI Catalogue

Only a month after their split, the Beatles released Let It Be on May 8, 1970, their twelfth and final album (which was actually principally recorded in January of 1969, before Abbey Road). Without the agreement of his clients, Allen Klein (then manager of the Fab Four) sent tapes of those sessions to producer Phil Spector. The inventor of the Wall of Sound, a production technique of stacking lseveral recording tracks one over the other in order to get a huge sound, puts his sound signature on every song; and all of this without the blessing of their authors. Still, Spector applies this famous personal touch on only a limited number of tracks, leaving a crude, ‘live’ sound in most of the others. Despite the chaotic atmosphere between The Beatles themselves coupled with the questionable choice of producer, Let It Be remains an essential recording that covers masterpieces such as the eponymous track Let it Be, the scathing, top of pop gospel Get Back, or even the beautifully folk Two of Us.  Although it is certainly far from the level of Revolver or Sergeant Pepper's, even a decent album by The Beatles’ standards will always be greater than 90% of other rock productions. ©MZ/Qobuz, Translation/BM
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Rock - Released November 27, 1967 | EMI Catalogue

A strange album in both its composition and its artwork. But, as we are talking about The Beatles, the strangeness is unquestionably wonderful... Released in late 1967 in England as a double EP and then in the US as a full album, Magical Mystery Tour is the soundtrack of the eponymous TV movie directed by Bernard Knowles for the BBC. Here we find much of the psychedelia of the Sgt Pepper's masterpiece, which had been released a few months earlier. The disc is not really designed as a full album, although it contains some of the greatest songs by the Fab Four, such as Penny Lane, Strawberry Fields Forever, All You Need Is Love, Hello Goodbye, I Am The Walrus and The Fool On The Hill. Even instrumental compositions like Flying are real gems... With Magical Mystery Tour, The Beatles sign off what would be the last of their tracks bathed in instrumental experimentation and unusual recording techniques, before turning to a final period of more refined writing. © MZ / Qobuz, Translation/BM
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Rock - Released August 6, 1965 | EMI Catalogue

Behind the eponymous title song for the film by Richard Lester, Help! shows the Fab Four in full artistic development. Throughout this fifth album, which was released in August 1965, the Beatles’ art is increasingly diverse, their texts are far from the simplicity of their humble beginnings and their instrumentalism has undeniably evolved as well. Alongside the eternal and exalted ‘hit’ songs contained on Help!, we also encounter such sublime ballads as Yesterday or You've Got To Hide Your Love Away. Even Ticket To Ride offers that ‘new’ punchy rhythm coupled with a sharp guitar sound. A major foundation was laid down here for the discographic masterpieces to come, including Rubber Soul and Revolver. ©MZ/Qobuz, Translation/BM
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Rock - Released July 10, 1964 | EMI Catalogue

Distinctions The Qobuz Ideal Discography
Soundtrack of the eponymous film directed by Richard Lester (dubbed in French Quatre garçons dans le vent or Four boys in the wind), A Hard Day's Night is a first for The Beatles, as for this third album released at the beginning of summer 1964, John Lennon and Paul McCartney wrote every song on the disc without any covers! And what songs! Can’t Buy Me Love, A Hard Day's Night, I Should Have Known Better - the level is very high and each hit track shows a rapidly developing musical and artistic identity as the group went from being national treasures to international icons. Every corner of this changing pop façade is fascinating. The irresistible melodies are pulled together by sparkling guitars in an innocent, feel-good tribute to all things melodic. A Hard Day's Night is the epitome of the early periods of that famous 'sound' of the The Beatles. Even in ballads such as And I Love Her, the Fab Four already demonstrate a fascinating musical maturity... A true joy for the listener. ©MZ/Qobuz, Translation/BM
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Rock - Released March 22, 1963 | EMI Catalogue

The first building block of the Beatles discography - in full format – was released on 22 March, 1963. Singles from the album released a few months earlier had already launched the beginning of Beatlemania, but nobody could have predicted what was to come... In this introduction, the duo of Lennon/McCartney sign off eight original songs supplemented by six cover tracks, most of it the R&B and Soul music they loved so much. A repertoire performed by Fab Four in the small clubs of Hamburg and Liverpool, and as such one which they have already mastered from a to z. With tracks like I Saw Her Standing There, Please Please Me, P.S. I Love You, and especially Love Me Do, the Fab Four gave birth here to a totally unique and innovative pop. Music that is rooted in R&B, the girl groups and the rock'n'roll of the Atlantic. And then we have a startling reinterpretation of Twist & Shout by Phil Medley and Bert Berns, a track made famous a year previous by the Isley Brothers. Fresh, authentic, intense and above all, a precursor. This first album of the anthology would remain at top stop in the UK charts for over seven months! ©MZ/Qobuz, Translation/BM
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Rock - Released June 1, 1967 | EMI Catalogue

Distinctions The Qobuz Ideal Discography
How to better a record like Revolver? Sign off another by the name of Sergeant Pepper's Lonely Hearts Club Band. For many, this is truly the greatest pop and rock music of all time, if not one of the most significant works of art in popular culture from the second half of the twentieth century... After discovering the endless possibilities offered to them in the recording studio, John, Paul, George and Ringo continue their crazy musical experiments. More than ever considered as the ‘fifth Beatle’, producer George Martin runs out a magic carpet of discoveries that would go on to influence the future of pop. When this eighth studio album is released in June 1967, the era is one that has embraced the all-out psychedelic, and this concept album is a true hallucinatory trip (not only for Lucy In The Sky With Diamonds). Like the patchwork of his mythical pocket, Sergeant Pepper's journeys through pure pop, manly rock'n'roll, totally trippy sequences (to near worldly scales), retro songs of nursery rhymes, animal noises and even classical music! On the composition side, the duo of Lennon/McCartney is at the top of its game, delivering new songs that are still influential today. ©MZ/Qobuz, Translation/BM
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Rock - Released December 4, 1964 | EMI Catalogue

Just in time for Christmas, Beatles For Sale arrived in record stores on December 4, 1964, with the Fab Four already international icons. The pace imposed on them is also totally inhuman. Contractually obliged to record two albums a year, perform consecutive marathon tours and appear on TV shows, it's clear that Beatlemania is at its peak. The consequences of this madness sees the Beatles include six guest appearances for this fourth studio album (Carl Perkins, Buddy Holly, Chuck Berry, Lieber & Stoller ...) and eight original songs. John, Paul, George and Ringo offer up rather gloomy faces on the album cover, and with titles as explicit that I'm A Loser, Baby's In Black, I Don’t Want To Spoil The Party or No Reply, they show (with grace) a darker, melancholic side than the public was perhaps accustomed to. The Beatles pass (almost) into adulthood... ©MZ/Qobuz, Translation/BM
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Rock - Released November 17, 2006 | EMI Catalogue

If boiled down to a simple synopsis, the Beatles' LOVE sounds radical: assisted by his father, the legendary Beatles producer George, Giles Martin has assembled a remix album where familiar Fab Four tunes aren't just refurbished, they're given the mash-up treatment, meaning different versions of different songs are pasted together to create a new track. Ever since the turn of the century, mash-ups were in vogue in the underground, as such cut-n-paste jobs as Freelance Hellraiser's "Stroke of Genius" -- which paired up the Strokes' "Last Night" with Christina Aguilera's "Genie in a Bottle" -- circulated on the net, but no major group issued their own mash-up mastermix until LOVE in November 2006. Put in those terms, it seems like LOVE is a grand experiment, a piece of art for art's sake, but that's hardly the case. Its genesis lies with the Beatles agreeing to collaborate with performance dance troupe Cirque du Soleil on a project that evolved into the Las Vegas stage show LOVE, an extravaganza that cost well over 100 million dollars and was designed to generate revenue far exceeding that. During pre-production, all involved realized that the original Beatles tapes needed to be remastered in order to sound impressive by modern standards when pumped through the huge new theater -- the theater made just with this dance revue in mind -- and since they needed to be tweaked, they might as well use the opportunity to do something different with the familiar music, too: to remix and re-imagine it, to make LOVE be something unique to both the Beatles and Cirque du Soleil. Keep in mind the Cirque du Soleil portion of the equation: George and Giles Martin may have been given free reign to recontextualize the Beatles' catalog, but given that this was for a project that cost hundreds of millions of dollars this wasn't quite the second coming of The Grey Album, where Danger Mouse surreptitiously mashed up The White Album with Jay-Z's The Black Album. This isn't an art project and it isn't underground, either: it's a big, splashy commercial endeavor, one that needs to surprise millions of Beatles fans without alienating them, since the mission is to please fans whether they're hearing this in the theater or at home. And so, the curious LOVE, a purported re-imagining of the most familiar catalog in pop music, winds up being less interesting or surprising than its description would suggest. Neither an embarrassment or a revelation, LOVE is at first mildly odd but its novelty soon recedes, revealing that these are the same songs that know you by heart, only with louder drums and occasionally with a few parts in different places. Often, what's presented here isn't far afield from the original recording: strip "Because" down to its vocals and it still sounds very much like the "Because" on Abbey Road -- and that arrangement is actually one of the more drastic here. Whether they're songs as spare and stark as "Eleanor Rigby" or "Yesterday," as trippy as "Lucy in the Sky with Diamonds" or as basic as "Get Back," the songs remain the same, as do most of the arrangements, right down to the laughter and sound effects sprinkled throughout "I Am the Walrus." There's only one cut that has the thrilling unpredictability of a genuine mash-up and that's a cut that blends together "Drive My Car," "The Word" and "What You're Doing," punctuated with horns from "Savoy Truffle"; a chorus from one song flows into the verse from another, as keyboards and percussion from all three, plus more, come together to make something that's giddy, inventive and fresh. But that's the exception to the rule, since most of this delivers juxtapositions that seem obvious based on the concept of the project itself: it doesn't take a great leap of imagination to set the melody of "Within You Without You" to the backing track of "Tomorrow Never Knows," since both derive from the same psychedelic era and share similar themes. Throughout LOVE, songs are augmented by samples from roughly the same phase in the Beatles career, so "Strawberry Fields Forever" is enhanced by "Penny Lane," "Hello Goodbye," "Piggies" and "In My Life," but not "There's a Place," "It Won't Be Long," or "I Feel Fine," selections that could have been truly startling. It also would have been startling if those snippets of "Penny Lane" and "Hello Goodbye" were threaded within "Strawberry Fields," in a fashion similar to "Drive My Car/The Word/What You're Doing," but they're added to the end of the song, a move that's typical of the Martins' work here. With a few exceptions scattered throughout the record, all the mash-ups are saved for the very end of the song, which has the effect of preserving the feel of the original song while drawing attention to the showiest parts of the Martins' new mixes, giving the illusion that they've changed things around more than they actually have. Not that the Martins simply add things to the original recordings; that may be the bulk of their work here, but they do subtly change things on occasion. Most notably, they structure "Strawberry Fields" as a progression from the original demo to the finished single version (a move that is, admittedly, borrowed from Anthology 2) and they've used an alternate demo take of "While My Guitar Gently Weeps," to which George Martin has written a sympathetic new string arrangement. It also has to be said that the craft behind LOVE is impeccable: it flows as elegantly as the second side of Abbey Road, which is an achievement of no small measure. But there lies the rub: even if LOVE elicits a certain admiration for how Giles and George have crafted their mash-ups, it elicits a greater admiration for the original productions and arrangements, which display far more imagination and audacity than the mixes here. Take a song as seemingly straightforward as "Lady Madonna," a Fats Domino tribute so good the man himself recorded it. This mix highlights weird flourishes like the carnival-esque vocal harmonies of the bridge -- things that were so densely interwoven into the original single mix that they didn't stand out -- but by isolating them here and inserting them at the front of the song, the Martins lessen the dramatic impact of these harmonies, just like how the gut-level force of McCartney's heavy, heavy bass here is tamed by how it's buried in the mix. The original has an arrangement that builds where this gets to the good part immediately, then stays there, a problem that plagues all of LOVE. Here, the arrangements have everything pushed up toward the front, creating a Wall of Sound upon which certain individual parts or samples can stand out in how they contrast to the rest. This means that LOVE can indeed sound good -- particularly in a 5.1 surround mix as elements swirl between the front and back speakers, but these are all window-dressing on songs that retain all their identifiable elements from the original recordings. And that's the frustrating thing about this entire project: far from being a bold reinvention, a Beatles album for the 21st century, the Martins didn't go far enough in their mash-ups, creating new music out of old, turning it into something mind-blowing. But when there's a multi-multi-million dollar production at stake, creating something truly mind-blowing is not really the goal: offering the familiar dressed up as something new is, and that's what LOVE delivers with big-budget style and flair, and more than a touch of Vegas gaudiness. It's an extravaganza, bright and colorful and relentless in its quest to entertain but beneath all the bluster, LOVE isn't much more than nostalgia masquerading as something new. © Stephen Thomas Erlewine /TiVo
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Rock - Released November 22, 1963 | EMI Catalogue

What an album cover! The beautiful black and white photo by Robert Freeman is already a kind of must-have... Recorded only four months after their first album Please Please Me, the album With The Beatles, released in November 1963, is like a little extension. This second studio album brings together seven songs by the duo of Lennon/McCartney (notable mention: All My Loving), a George Harrison (Don't Bother Me), as well as six cover songs, and is mostly vintage rock'n'roll, soul and Motown rhythm’n’blues. Introducing new instruments, dubbed voices and sound eclecticism, With The Beatles depicts a young group that gradually extricate themselves from the influences of their elders in order to create their own unique musical universe. The original songs on this album, although certainly at the level that they would go on to achieve in subsequent years, show that The Beatles were already ahead of their time. ©MZ/Qobuz, Translation/BM
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Rock - Released January 1, 2014 | EMI Catalogue

In its original form, Let It Be signaled the end of an era, closing the book on the Beatles, as well as literally and figuratively marking the end of the '60s. The 1970 release evolved from friction-filled sessions the band intended to be an organic, bare-bones return to their roots. Instead, the endless hours of tapes were eventually handed over to Phil Spector, since neither the quickly splintering Beatles nor their longtime producer George Martin wanted to sift through the voluminous results. Let It Be... Naked sets the record straight, revisiting the contentious sessions, stripping away the Spectorian orchestrations, reworking the running order, and losing all extemporaneous in-studio banter. On this version of the album, filler tracks ("Dig It," "Maggie Mae") are dropped, while the juicy B-side "Don't Let Me Down" is added. The most obvious revamping is on the songs handled heavily by Spector. Removing the orchestrations from "The Long and Winding Road" and "Across the Universe" gives Paul McCartney's vocals considerably more resonance on the former, doing the same for John Lennon's voice and guitar on the latter. This alternate take on Let It Be enhances the album's power, reclaiming the raw, unadorned quality that was meant to be its calling card from the beginning. © TiVo
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Rock - Released January 17, 1969 | EMI Catalogue

Only two months after the masterful White Album, this tenth Beatles album was released in January 1969 and seems a bit... tired. The soundtrack to the animated film by Canadian George Dunning (which was released in theaters seven months earlier), Yellow Submarine offers thirteen tracks, of which only six (at the time, only side A) are by the Fab Four. The rest is largely the bringing together of various instrumentals by legendary producer George Martin. Overdubs and sound effects of all kinds, psychedelia is required from one end to the other for this great album. It is certainly one that remains essential to understanding the history of the group, without really ever reaching the level of Revolver, Sergeant Pepper's Lonely Heart Club or Abbey Road. ©MZ/Qobuz, Translation/BM
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Film Soundtracks - Released January 1, 2014 | EMI Catalogue

Admittedly, the soundtrack to Yellow Submarine wasn't one of the highlights in the Beatles' catalog, so providing an official alternate version of it is no big deal. The soundtrack always felt cobbled together, because it was. It only contained four new songs -- two of which were written by Harrison, which indicates how seriously Lennon and McCartney took the project, if their enjoyable throwaways ("Hey Bulldog" and "All Together Now," respectively) didn't provide enough of a clue -- plus two previously released songs ("All You Need Is Love," "Yellow Submarine") and a side of George Martin instrumentals from the film's score. The Beatles never assembled a slighter album while they were active, so it wasn't a sacrilege when their organization decided to assemble a "songtrack" -- a soundtrack that featured only the songs in the film, not any of the instrumentals -- to coincide with the re-release of the film in 1999. In a way, the "songtrack" (which is what the Beatles' associates insisted on calling the new effort) is an improvement on the soundtrack since it eliminates dead weight and strengthens the original six songs with nine songs featured in the movie ("Eleanor Rigby," "Lucy in the Sky with Diamonds," "Sgt. Pepper's Lonely Hearts Club Band," etc.). It's a little jarring not to hear the songs from the soundtrack in a different order on the songtrack, but ultimately the record is entertaining, if a bit familiar. That's not the case with the sound, though. The Beatles have decided to make this the first remixed CD in their catalog. The differences are slight but often notable and never really an improvement; as a matter of fact, it could likely be enough to irk, possibly anger, longtime Beatlemaniacs. It helps distinguish the Yellow Submarine "songtrack" as much as the new sequencing. © Stephen Thomas Erlewine /TiVo

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The Beatles in the magazine
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