KATIE MELUA: "The Ultimate Collection"

Original released on CD Digipak BMG 538433672

(EU 2018, October 5)

PIERRE BACHELET Chante JACQUES BREL

Édition originale en CD Wagram WAG 334 (Ref 3089262)

(FRANCE, 2003)

"KILL BILL" (Vol. 1 + 2) (OST)

Original released on CD Maverick 48570-2

(CANADA, 2003)

In its first teaser trailers, when it was still going to be released as a single film, "Kill Bill" was sold with the immortal teaser "In the year 2003 Uma Thurman is going to Kill Bill." Of course, Uma didn't come close to the messy business of killing Bill until early 2004, when the second part of Quentin Tarantino's grindhouse epic "Kill Bill" was released, but she sure started to kill in "Kill Bill, Vol. 1", where the Bride, the character she created with Tarantino, began her arduous revenge upon the five former colleagues who killed her fiancée at her wedding rehearsal, then left her for dead at the altar. As Tarantino plot lines go, this is the simplest yet, but revenge movies shouldn't be encumbered by deep subtext. Instead, he divided the film into chapters, giving him an opportunity to play with both time and location, and then shoot each chapter as an homage to a different kind of exploitation film - something that's reflected in the soundtrack. After Nancy Sinatra's torchy "Bang Bang (My Baby Shot Me Down)" and Charlie Feathers' tough, swaggering rockabilly chestnut "That Certain Female" set the story and the mood, the record is devoted primarily to instrumental pieces that range from surging epics to the calm kitsch of Zamfir's "The Lonely Shepherd" to the intense funk pastiche of Tomoyasu Hotei's "Battle Without Honor or Humanity" (the song that kicks off nearly every trailer and ad for "Kill Bill"). The reduced presence of dialogue from the film - a hallmark of Tarantino soundtracks - is a reflection of the film, which places emphasis on action and visuals. Hell, even the tracks on the soundtrack have minimal lyrics, consisting largely of instrumentals. This gives it more of a meandering feeling, and the soundtrack kind of peters out, ending in two quick excerpts of futuristic electro music by Quincy Jones and Neu!, then a gaggle of sound effects and Kung Fu hits. Nevertheless, its cavalcade of contradictory moods has its own coherence, and it's more musical than most pop music soundtracks. Plus, this has no familiar material, nor does it have anything that would be a single on digital radio, which is why it works as an album on its own - it doesn't just reflect the movie; it follows its own logic, and displays fearless imagination. It makes you hungry for Vol. 2, both the movie and soundtrack. (Stephen Erlewine in AllMusic)

Original released on CD Maverick 48676-2

(EU 2004, April 13)

One of the great pleasures of a Quentin Tarantino soundtrack is knowing that it won't be a standard modern-day soundtrack, filled with filler and acts that the label is trying to break. Instead, it will consist of music that even hardcore record collectors will find unusual or at least ripe for revival. The soundtrack to the first volume of his revenge epic "Kill Bill" blended those two inclinations, but the soundtrack to the second film is almost nothing but unusual music. Some names are familiar, but the music isn't - there are three selections from Ennio Morricone, rockabilly cult hero Charlie Feathers makes his second "Kill Bill" appearance, Johnny Cash's latter-day "A Satisfied Man" is here, and Malcolm McLaren's "About Her" is a clever trip-hop spin on the Zombies' "She's Not There." The rest is devoted to music that sounds like the soundtrack to a Mexican spaghetti Western, which really isn't all that far off from what large parts of "Kill Bill, Vol. 2" actually is. This makes for a unified soundtrack album, but one that lacks the immediate impact of "Kill Bill, Vol. 1", since nothing is as gripping upon the first listen as the haunting "Twisted Nerve," the mesmerizing funk of "Battle Without Honor or Humility," or the crazed intensity of the 5.6.7.8's' version of "Woo Hoo." That said, it is cinematic, unpredictable, and absorbing, gaining resonance after a viewing of the film, as all good soundtracks do; it only pales in comparison to its predecessor, which was good not just as a soundtrack, but as an album of its own account. (Stephen Erlewine in AllMusic)

CYNDI LAUPER SINGS THE CLASSICS

 Original released on CD Epic EK 90760

(EU 2003, November 18)

As the girl who just wants to have fun, Cyndi Lauper became an '80s music icon with her flamboyant style, powerful baby-doll voice, and quirky songs, but as time and tastes moved on, her playful persona wore thin and attempts at becoming a more serious artist failed to regain her dwindling audience. With "At Last", Lauper steps even further away from that playful image to become the girl who just wants to sing as she tackles a set of pop standards that showcase her underrated voice. Although occasionally shrill and reckless, Lauper's forceful tones can be quite moving and awe-inspiring when corralled into the proper setting, as with her bluesy take on Etta James' "At Last." With its lazy tempo and minimal arrangement, Lauper is able to relax and convey the lyrics in one of her most mature and affecting performances. Even more low-key is the whisper quiet of "Walk on By," in which she turns Dionne Warwick's midtempo gem into a dark tale of mourning by sadly singing the lyrics over a crawling tempo. Getting a Tori Amos-style ballad treatment is the Animals' "Don't Let Me Be Misunderstood," which lets Lauper's rock roots rise to the surface with her edgy performance. While some of her song choices work, others fall flat, like "La Vie en Rose," in which her slightly ragged reading is too rough for the delicate song. Also misfiring is her corny duet with Tony Bennett, "Makin' Whoopee," where the voices of these two New Yorkers clash like stripes and plaids. Lauper also has a little too much fun with Maurice Williams & the Zodiacs' "Stay," as she reverts back to her boisterous voice of yesteryear and disrupts the mature tone of the disc. Although the results are mixed, "At Last" does focus on Cyndi Lauper's best asset - her voice - and may help to rejuvenate a career in which the personality unfortunately overshadowed the talent. (Aaron Latham in AllMusic)

A HERANÇA MUSICAL DE JOSÉ AFONSO

BACK IN BLACK

CBS’ decision to drop Johnny Cash after unparalleled 28 year partnership angered many people. Even at that time, in 1986, Cash still had a loyal following, playing sell-out concerts throughout the world and shifting more than 40,000 copies of every album he released. But this was not enough to justify the record company’s investment. Never one to consider retirement, Cash started looking for a new label.

Seven years later, and still with no recording contract, Cash met Rick Rubin during a show in California in early 1993. Rubin, who had produced the Red Hot Chili Peppers’ was forming a new label, Def American (American Recordings) and wanted to sign the legendary country songer. «To work with Johnny Cash will be an honour», Rubin said at the time. «I have respected him for years, both as a performer and a writer, and it’s going to be a pleasure having him with American». Many of the early sessions were experimental. Cash would revisit old songs and pick a few favourites, then Rubin would suggest other material for Cash to cover. Many of Rubin’s suggestions seemed strange to Cash, but he recorded them, nonetheless, only to discover that they ‘felt’ right.

The first album that resulted from those sessions was released in April 1994 and called, simply, "American Recordings". The sleeve pictured Cash with two dogs, one white and one black, to illustrate the themes of sin and redemption that the album embodied. It was the first release to feature only the word “CASH” in big, bold letters on the front, a stark and iconic design that would appear on all five of the main American releases. «I think I’m more proud of this than anything I’ve ever done in my life.» Cash said on its release. «This is me. Whatever I’ve got to offer as an artist, it’s here. I don’t think I ever worked so well with a producer.» The album received rave reviews. The Los Angeles Times called it ‘a milestone work for this legendary singer’, and Billboard went even further, saying, ‘Never has the Man In Black produced a work of such brilliance.’ It went on to win a Grammy.

The second set was called "Unchained" and appeared in November 1996. It would be almost four years before Cash would release another new album. In that time, he was diagnosed with a nervous disorder, having been twice misdiagnosed. In fact he was suffering from autonomic neuropathy, a disease which affects the nervous system. As time went on, it became clear that Cash’s touring days were over. Apart from the occasional appearance at places such as The Carter Fold, he would not take to the stage again. Life on the road had been a major part of Cash’s life and it was hard for him to accept that he would never tour again. But being off the road did give Cash more time to concentrate on writing and recording. He started researching new material and turned to songs he remembered from his youth, as well as the contemporary material suggested by Rubin and his own compositions, which had been the staple of his last two albums. Work on a third American album started in late 1999, with members of The Heartbreakers, Cash’s daughter-in-law, Laura Cash, Norman Blake, Randy Scruggs and Marty Stuart.

"American III: Solitary Man" was released in October 2000 and Cash wrote in the sleeve notes: «This album has been a long time coming, and I feel another in there somewhere». He certainly didn’t waste time finding it, and started writing again almost immediately. But there was no doubt that Cash’s voice was getting weaker and, though keen to record, some days he struggled to finish a song. His vocal style had changed from the low baritone that had become his trademark, and was now closer to spoken word. The title track was one of Neil Diamond’s many hits and, while not at the cutting edge of much of his work with Rubin, reflects his lonesome persona.

"American IV: The Man Comes Around" was released in November 2002 and became Cash’s first-ever platinum studio record. It has moments that are simply stunning, and Cash had no doubts about how the album stacked up next to its predeccessors. «I firmly believe that it’s the best record we’ve done,» he said, «It reaches out even further than the others did. It goes in so many directions, but they all come together with me and how I could make these songs my own. They come together in being my songs.» He described the theme of the album as being «the human spirit fighting for survival», adding, «It probably reflects a little of the maturity that I’ve experienced with the pain that I’ve suffered from the illnesses that brought me so close to death.» The album’s closing song was the old Vera Lynn favourite,”We’ll Meet Again”, with accompaniment from the whole ‘Cash Clan’. It was a touching, but chilling finale.

When June Carter Cash died in May 2003, after complications following an operation to replace a heart valve, Cash was devastated. Due to his ill-health, the recording sessions to the next album went slowly and there were many days that he would not feel like recording at all. Cash began work on about 60 songs at this time, but was admitted to hospital in late August. He was discharged in early September, and intended to head back to the studio to select tracks for the new album, but it was not to be. He quickly returned to hospital, and on 12 September 2003 the news came that Johnny Cash had passed away.

"American V: A Hundred Highways" was only released three years later, on 4 July 2006 in the States. One of the best tracks on the album is “Rose Of My Heart”, about his love for his late wife. “We’re the best partners this world’s ever seen”, he sings. “Together we’re close as can be / But sometimes it’s hard to find time in between / To tell you what you mean to me.” Cash’s voice may not have been strong, but the emotion he wrings out of almost every word is outstanding.

Once more Rato Records made all the homework and selected the very best from these five albums to assemble a great and lasting collection: 32 tracks in a double CD, representing the legacy of this Country True Legend. Hope you like the selection and the art work as well. Enjoy, this is for you.

PETER CINCOTTI's First Album

Originla released on CD Concord CCD 2159-2

(US 2003, March 11)

Inevitably, on his debut album, Peter Cincotti is still in the phenomenon stage of his career. The wonder is that a 19-year-old can play jazz piano and sing at such a professional level, and the issue of how distinctively he does it is one largely to be tabled for the present. Even so, the charm of his work lies in its stylistic openness, which might not be expected of a jazz performer who is older. Cincotti makes no distinction between the kind of pop songs adopted for jazz interpretation in the past and more contemporary pop songs that have not been much used for such treatment. In his liner notes, he says he's always wondered what Blood, Sweat & Tears' hit "Spinning Wheel" would sound like as an instrumental played by Erroll Garner, and so he tries to do it that way, and the answer is it doesn't sound bad at all. Mixing the Beatles' "Fool on the Hill" with Nat King Cole's "Nature Boy" may not have been his idea, but it is typical of the eclectic approach he takes to music, and it works. And then there's the closing track, "Rainbow Connection," a Muppets theme that winks good-naturedly at Cincotti's youth. His originals are not particularly impressive, and the acknowledged influence of his mentor, Harry Connick, Jr., is obvious, especially vocally, but Cincotti, supported by a good rhythm section (David Finck, bass, and Kenny Washington, drums) and the tenor saxophone of Scott Kreitzer on three tracks, is a promising pianist with a good feel for ensemble playing, and that may assure him a career even after the crowds attracted by his prodigy status and publicity machine subside. (William Ruhlmann in AllMusic)

KATIE MELUA FIRST ALBUM

Original released on CD Dramatico DRAMCD 0002

(UK, November 2003)

English listeners went mad for Katie Melua with the release of her debut album in late 2003. Issued domestically in June 2004, "Call Off the Search" posits the lovely Melua pristinely in between pop, adult contemporary, and traditional American musical forms, with savvy marketing handling the finishing touches. (Think Norah Jones.) It's a comfortable, lightly melodic affair that drinks red wine safely in the middle of the road. Raised in Soviet Georgia and the United Kingdom, Melua has a beguiling accent that colors the ends of her phrases, adding character to her velvety, if occasionally only satisfactory singing voice. She has a nice time with the understated R&B sashay of John Mayall's "Crawling Up a Hill," as well as Mike Batt's "My Aphrodisiac Is You," which is spiced up with barrelhouse piano, muted trumpet, and sly references to opium and the Kama Sutra. The singer's own "Belfast (Penguins and Cats)" opens nicely with a few measures of solo acoustic guitar before it's joined by the orchestral maneuvers that sweep through the majority of "Call Off the Search"'s after-dark cabaret. (Melua also penned a dedication to Eva Cassidy, who she's been compared to vocally.) While the instrumentation is never overbearing, a stoic version of Randy Newman's "I Think It's Going to Rain Today" and a couple of late-album pop vocal entries do dawdle a bit in the soft-focus halo that hovers over "Search"'s more easygoing stretches. These selections are perfectly capable, yet pretty obvious, as if the decision was made to sprinkle Melua's debut equally with safety and variety, in case a particular style didn't stick. Still, despite a few detours down easy street, "Call Off the Search" is a promising debut, and comfortable like the first drink of the evening.(Johnny Loftus in AllMusic)

"LET IT BE" - A Obra Maldita dos Beatles

Original released on LP Apple PCS 7096

(UK 1970, May 18)

Ainda eles! O tom desta exclamação podia variar até ao infinito, exprimir o entusiasmo mais intenso ou o aborrecimento mais profundo, consoante... consoante o quê? Consoante se seja “menino pop” ou progressista convicto? Adepto da sociedade de consumo ou do “underground”? A evolução das reacções do público em redor de cada nova obra dos Beatles são de tal modo significativas, que lembram cada vez mais a morte de um grande amor. Embora tudo isso seja relativo, pois se nos formos a fiar nos números, o grupo nunca foi tão popular. O público de que falávamos, aquele que queima hoje o que adorou ontem, não constitui mais do que uma pequena minoria. Aquele que se compõe de “conhecedores”, dos “verdadeiros amantes do pop”, aquele que está ao corrente de tudo o que se faz. Essa não julga os Beatles senão comparando-os com o que fazem os outros conjuntos, não tomando como termo de comparação apenas os mais progressistas e para afirmar que em relação a eles, os Beatles estão já ultrapassados.

É certo que eles estão ultrapassados. É certo que Jimi Hendrix ou o Lifetime de Tony Williams vão um pouco mais longe. E depois? Apesar de tudo eu defendo-os, enquanto todos os atacam, e porque o seu último album, “Let It Be”, me agrada. Sim, eu defendo-os, porque sempre fizeram música boa. Muito boa mesmo, porque continuam a ser os mestres incontestáveis da melodia “pop” e maravilhosos intérpretes, e porque, sobretudo, oh! sobretudo porque não se tomam a sério (escutem o anteentróito de “Let It Be”, aquela vózinha ridícula que anuncia: «E agora vamos tocar “Todos os anjos vieram”»). Que o conjunto não progrediu tècnicamente desde o LP “Sgt. Pepper’s”? É incontestável. E depois? Evoluiram por ventura os Stones? O mal é que sempre nos habituámos a pedir o impossível aos Beatles. Era necessário que eles tivessem permanecido os compositores que são, os intérpretes que são, e ainda que rivalizassem em virtuosismo com Jimi Hendrix ou Clapton. Enfim, eles deixaram de existir como conjunto e esta será a última ocasião que os seus detractores terão para os apunhalarem pelas costas.

Como é de “Let It Be” que queremos falar, digamos imediatamente que este disco demonstra pelo menos, cabalmente, uma coisa: que quatro Beatles juntos valem muito mais do que três Beatles separados, pelo menos. Comparado aos pobres albuns de Ringo e de Paul, este pode fàcilmente fazer figura de obra-prima. Não contém surpresas, é certo. Mas quem desconhece que o tempo das surpresas para os Beatles-grupo já passou? Escutar Paul em “Let It Be”, e escutá-lo no seu próprio album é chegar à conclusão de que ele, mais talvez do que os outros três, perdeu bastante ao precipitar a dissolução do conjunto. Cantor soberbo e compositor inspirado, brilha aqui com um singular aparato, enquanto que solitário, não é mais do que um bom artista no meio de tantos outros.

Porquê? Talvez porque os Beatles não sejam em grupo, a expressão real daquilo que são como indivíduos. Talvez porque fabricassem a quatro, com técnicas comprovadas, receitas repetidamente comprovadas, uma arte totalmente estranha à sua mentalidade e às suas preocupações de momento. Uma arte distanciada, inexpressiva, mas à qual, e é aí que intervem o milagre Beatles, o inexplicável que podemos classificar de genial, por não sabermos qual procedimento ou qual profunda sensibilidade (não pode ser outra coisa senão a consciência profissional) o grupo lograva sempre encher uma parcela de vida, um rasgo de bom humor. E é aí que intervém o paradoxo que ilustra admiràvelmente a fuga solitária de Paul: sem motivação real, a sua arte era infinitamente superior à que se propõe hoje em dia, a que se deseja ser o reflexo da sua vida sentimental.

O caso de Ringo é diferente, pois de instrumentista (e não sabemos quão inexpressivo instrumentista ele é), tornou-se cantor, mudança que exclui toda a possibilidade de julgamento. E George? É preciso esperar o seu album com Dylan para podermos falar, pois seria bastante injusto condená-lo musicalmente tendo em vista os discos que produziu. O caso de John é de longe o mais interessante, pois é o único dos Beatles a possuir uma mensagem tão forte, que consegue ultrapassar o conjunto. Existe atrás da facilidade de escrita (musical) de John, qualquer coisa que é uma poderosa motivação e que lhe permite criar sózinho (com Yoko, mas Yoko é ele), uma arte renovada, menos açucarada do que a dos Beatles, menos rica melódica e harmoniosamente, mas com um impacto mais raivoso. Ao contrário dos seus três amigos, John é frequentemente visitado pela inspiração na vida de todos os dias. Resta-nos, pelo menos, isso. Isso e “Let It Be” - disco e “souvenir” maravilhoso.

(in revista "Tempo" nº 1, Lourenço Marques, 20 de Setembro de 1970 - tradução de um artigo aparecido no nº 41 da revista francesa "Rock & Folk", em Junho de 1970 e assinado por Philippe Paringaux)

Original released on CD EMI-Apple

(UK 2003, November 18)

Trinta e três anos depois da primeira edição de “Let It Be”, apareceu no mercado este CD, intitulado “Let It Be… Naked”. Ao contrário do que a publicidade insistia em afirmar na altura, esta não é a versão “despida” do album original (as diferenças vão um pouco mais além da eliminação dos arranjos de Phil Spector...) nem muito menos a “melhor” versão. Mas vamos por partes, e recuemos um pouco no tempo.

Outubro de 1968: Acabadas as gravações dos temas que iriam constituir o chamado “White Album”, John Lennon começou a sentir a necessidade de simplificar os meios de produção e o desejo de gravar um album à moda antiga, com um som directo e básico, sem quaisquer efeitos de estúdio. Paul concordou indo ainda um pouco mais longe: e porque não filmar os Beatles em estúdio a gravarem o novo album? Meu dito meu feito, e as filmagens começaram no dia 2 de Janeiro de 1969 para virem a terminar a 30 desse mês com a famosa actuação no telhado dos estúdios da Apple, em Saville Row. Devendo inicialmente chamar-se “Get Back”, o album seria constituído pelos seguintes temas: “One After 909”, “Save The Last Dance For Me”, “Don’t Let Me Down”, “Dig A Pony”, “I’ve Got A Feeling”, “Get Back”, “For You Blue”, “The Walk”, “Teddy Boy”, “Two Of Us”, “Maggie Mae”, “Dig It”,” Let It Be” e "The Long And Winding Road”. Allen Klein, que tinha sido contratado no início de Fevereiro para tomar conta dos negócios dos Beatles, sugeriu que o filme, já rodado em 16 mm, fosse convertido para 35 mm, o que possibilitaria a sua passagem nos cinemas e não apenas na televisão. Assim, o album, que funcionaria como uma espécie de banda sonora, deveria aguardar a conclusão do trabalho para ser lançado simultâneamente com o filme.

Entretanto diversos factos iam acontecendo na vida dos 4 Beatles: Paul casa-se com Linda Eastman a 12 de Março e vai para a América em lua-de-mel; John segue-lhe o exemplo uma semana depois, desposando Yoko Ono em Gibraltar e iniciando de imediato o célebre bed-in em Amsterdam; Ringo começa a filmar “The Magic Christian”; George vai tocando em diversos albuns (de Jack Bruce, dos Cream, de Billy Preston); Paul produz o 1º album de Mary Hopkin (“Post Card”); John e Yoko começam a gravar temas para um segundo album experimental (“Unfinished Music nº 2: Life With The Lions”) e promovem a difusão, um pouco por todo o lado, do filme “Rape”, também ele experimental; são editados mais dois singles dos Beatles: “Get Back/Don’t Let Me Down” a 11 de Abril e “The Ballad of John and Yoko/Old Brown Shoe” a 30 de Maio. Tudo isto vai esmorecendo o interesse pelos temas gravados naquele mês de Janeiro (que seriam em breve difundidos em inúmeras edições piratas) e em Junho os Beatles iniciam as gravações daquele que viria ser a sua derradeira coroa de glória, o magnífico “Abbey Road”.

Dada a falta de tempo, John Lennon convida o produtor Phil Spector a criar um novo album a partir das gravações de Janeiro, alterando o nome para “Let It Be”. Spector inicia então uma pesquisa por dezenas de horas de gravações (cada tema tinha variadissimas versões), dando largas aos seus excessos criativos. O produto final acaba por ficar pronto apenas depois dos Beatles editarem “Abbey Road” a 26 de Setembro de 1969. E a primeira edição, especial (numa caixa com um livro), é editada já em 1970, no dia 8 de Maio, um mês depois de Paul ter anunciado a dissolução do grupo. As vendas não são famosas e seis meses depois, a 6 de Novembro, o album é re-editado, agora já sem o livro.

Ao longo dos anos “Let It Be” ficou sempre ligado à tristeza da separação e com o estigma do album rejeitado, do “filho ilegítimo”. E pelos vistos continua, pois esta edição de “Let It Be... Naked” (péssimo título para uma capa também ela vergonhosa) está longe de agradar a gregos e a troianos. Mas vejamos então as diferenças. De um modo geral, pode dizer-se que o som proveniente da nova remasterização é bastante superior ao original. Só que… as faixas não são exactamente as mesmas. “Maggie Mae” e “Dig It” (que funcionavam mais como separadores do que como verdadeiras canções) desapareceram, dando lugar a "Don’t Let Me Down”, na versão tocada no telhado da Apple Studios e que está a anos-luz da versão de estúdio editada em single. Todos os temas incluídos em “... Naked” são de duração inferior à do album original, em virtude de todas as introduções e finais terem sido inexplicavelmente abolidos. Não se entende muito bem esta decisão, até porque se tratava de uma imagem de marca do album original. “Get Back”, que até tem agora um som magnífico, soa como inacabada – já não termina com John a dizer «I’d like to say thank you on behalf of the group and ourselves. I hope we’ve passed the audition» e falta-lhe o verso final incluído na versão de estúdio.

“The Long and Winding Road” é uma gravação completamente diferente (julgo que se trata da versão incluída no filme). Neste caso particular penso que Phil Spector conseguiu entender melhor do que ninguém o tipo de canção que tinha entre mãos; e a introdução das cordas e dos coros veio efectivamente a enriquecer o tema, dando-lhe aquela áurea de grandiloquência do album original. Nesta versão agora editada em “... Naked”, a voz de Paul não está tão segura e o acompanhamento pura e simplesmente não resulta. Chega a parecer um ensaio para a encenação final. “Across The Universe”, pelo contrário, consegue soar bastante melhor sem os arranjos de Spector mas fica muito aquém da versão editada originalmente no album de beneficiência “No One’s Gonna Change Our World” (a mesma que figura no CD “Past Masters 2”), em Dezembro de 1969. Iniciando-se e terminando com sons de pássaros a esvoaçarem no sistema stereo, a canção tinha um trio de coros (Paul e duas vozes femininas) e um arranjo que acentuava muito mais o lado onírico da canção. “I’ve Got A Feeling” é uma nova edição, que junta duas versões diferentes, ambas tocadas no sessão do telhado e que soa também muito melhor do que o original. Finalmente “Let It Be”, que é practicamente a versão editada em single com o som bastante melhorado. Quanto aos restantes 5 temas as gravações são as mesmas do album “Let It Be”, apresentando apenas as diferenças já referidas. No final fica a sensação que muito mais poderia ter sido feito para reabilitar “Let It Be”. Deste modo, ficou-se apenas a meio caminho.