The Beatles (The White Album)

The Beatles | Format: Vinyl

Product Details

• Vinyl
• Number of Discs: 2
• Label: EMI
• ASIN: B00003JA7P
• Also Available in: Audio CD  |  Audio Cassette  |  Vinyl
• Average Customer Review: 4.4 out of 5 stars  See all reviews (1,149 customer reviews)
• Amazon Best Sellers Rank: #4,640 in Music (See Top 100 in Music)

Editorial Reviews

The Beatles (also known as The White Album) was released on November 25, 1968.

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Most Helpful Customer Reviews

468 of 501 people found the following review helpful:

5.0 out of 5 stars You'll never crack the code, May 14, 2003

By 

John Stodder "a.k.a. Juan La Princi" (livin' just enough) - See all my reviews

This review is from: The Beatles (The White Album) (Audio CD)

There are a few albums from the rock era that I feel I've been in a relationship with since the first day I got them. "The Beatles" is one of those albums. I found it under my Christmas tree in 1968, and I've been engaged with it at some level ever since. It is not the best Beatles album, objectively; nor is it my favorite. But it has always compelled my attention.

At the time it came out, I was 12, but even then it was clear that we were no longer in Pepperland or on a Magical Mystery Tour. This album wasn't yet more "progress" toward some new musical form. Musically, it embraced values never before associated with the Beatles as I understood them: Parody, pastiche, rock and roll revivalism, music-hall nostalgia, avant-garde experimentation, political agitation, intimate confession, trivial nonsense. It is, simply, a series of highly personal statements from the three songwriters, coalescing around no particular theme other than the right to personal expression.

"The Beatles" is not, to me, "the sound of the Beatles breaking up." That's the storyline a lot of Beatle historians apply to this album. If they're basing this judgement on the fact that the individual songwriters' imprints are on each song, you'd have to argue that the breakup began much earlier, around the time of "Beatles for Sale" or "Help!" Lennon-McCartney were rarely a songwriting "team" in the sense of George and Ira Gershwin. Their partnership was always about strategy, i.e. how to ensure that third-rate songs would not be included on albums just for the sake of fairness. "The Beatles" instead simply shows the evolution of each of the three songwriters (on this album, George emerges dramatically) as they each embraced new musical ideas and applied their life experiences to their art. Having helped break all the molds for what was acceptable songwriting in their previous work, they each now proceeded to take full advantage of the freedom they'd won. Some of the dumber cuts on "The Beatles" demonstrate, perhaps, the expression "freedom's just another word for nothing left to lose." Paul, in particular, seemed frightened to step out too often without the crutch of some existing form that he could parody or pay tribute to, i.e. "Honey Pie," "Back in the USSR" or "Rocky Racoon." But, while you can say that, you have to acknowledge that in this massive album, there are perhaps half a dozen Paul songs that are among his best and most original: "I Will," "Blackbird," "Mother Nature's Son," "Helter Skelter" for four examples.

Lennon's direction was to become more nakedly confessional, as befits someone who was dealing with such turbulent emotions at the time. He gives us some of his most beautiful songs, like "Dear Prudence," and some of his most intense, like "I'm So Tired," "Revolution," "Yer Blues," and "Sexy Sadie." Often, as in "The Continuing Story of Bungalow Bill," "Glass Onion," or "Everybody Has Something to Hide Except for Me and My Monkey," he seems to be writing in code, and that sense of allusiveness gives the album much of its cracked character. And of course, he's the guy who assembled the collage, "Revolution 9," which is to rock and roll what "Finnegans Wake" is to English literature--a dream that floats between meaning and nothingness.

George seems to be captured here in a moment of great self-discovery as an artist; you can hear his talent finally come together in "While My Guitar Gently Weeps," which I remember at age 12 was to my ears the best thing on the album--and still seems to be so. Prior to the White Album, he had these cautious little songs on the early albums, and then embraced India, which while sometimes satisfying seemed weird and out of place. His songs here sets the stage for "Something," "Here Comes the Sun" and then his monumental early solo work. At age 12, I thought "Long, Long, Long" was a emotional powerhouse--and I still do.

A few months after I got "The Beatles," the Charles Manson murders took place, and eventually the DA made the case that somehow, insanely, the murders were inspired by songs on this album. Around the same time, the media were full of bizarre speculation that Paul McCartney was dead, and that clues were all over this album. It's no accident that half-insane people might mine "The Beatles" for hidden messages and evidence of conspiracies. The world it depicts is strange and almost claustrophobic--all the more so for its haphazard approach and its odd switches in tone from childish delight to fiendish paranoia. But even those of us who live normal lives and dream normal dreams can acknowledge that "The Beatles" has a hold on your consciousness that is unlike anything else the group did, and unlike anything else that came out of the rock era.

171 of 188 people found the following review helpful:

5.0 out of 5 stars TURN ME ON YOU REMASTERED DEAD MAN!, September 9, 2009

By 

W. T. Hoffman "artist and musician" (Pennsylvania, United States) - See all my reviews
(VINE VOICE)    (REAL NAME)   

This review is from: The White Album (Remastered) (Audio CD)

I tried to get a handle on what to expect with the remastered BEATLES songs, by comparing the old remastered CDs from the 80s, with BEATLES ONE (the red CD with the yellow "1", that had 24 bit remastered versions of their number one hits, that came out in 2000.) You can get a ballpark idea about the new remasters, using this method. But of course, NOTHING from the white album is one BEATLES ONE. I expected at least some increased clarity, and increased volumn from the added compression. Yes, its all that and more. Right off the bat, you start hearing sounds you have NEVER heard (or noticed?) before. This isnt from equalization popping up the top end of the sound. There's improved sonic clarity across the HERTZ spectrum. Its as tho you were sonically nearsighted, and someone just put glasses on you for the first time. EVERYTHING just STANDS OUT with such clarity and force. YOU get this effect on ALL the songs. If you listen to JULIA, the acoustic guitars just BLOW YOUR MIND! You can hear John's fingers scrape across the strings. His vocals are rich, full, and the bottom end is....well, altho there is NO bass guitar on JULIA, the bottom end is so full and rich, you would think there WAS bass. Naturally, the BIG TEST for the white album, is listening to REVOLUTION #9. For some reason, deciphering REVOLUTION #9 thru headphones, penetrating the incomprehensible density of tape loops, has been a favorite pass time for some mega-fans for decades. (I'm one.) And you know what? For the first time EVER, I was able to hear more of Ringo's and John's bizarre mumbling jokes, and nonsense verbage. Again, the CLARITY! the DEPTH OF SONIC PERCEPTION! Honestly, its about as much as anyone can hope for. Of course, the WHITE ALBUM was the first Beatle's album recorded in 8 track, so there is less bouncing to free up tracks on this album. For that reason alone, there has always been less tape hiss, and greater clarity, with this album. But since this isnt a digital remix, like the YELLOW SUB soundtrack, the same clarity and vibrancy can be expected on each remastered title. Its amazing, that the engineers at ABBEY ROAD were able to find such vivid soundscapes on those (digitally transfered) master tapes. BRAVO!

NeedI say how great the WHITE ALBUM is? Let's just stick to the remastered CD's "GOODIES". First, you have a protective cardboard slip case around the double gatefold CD, EMBOSSED with "THE BEATLES", just like the first LPS did. The White album folds open, giving you four panels, each with one of the color "glossy photos" on it. (originally on seperate sheets, like the poster, but no more.) The first panel contains the 28 page booklet. It gives you all the lyrics, along with a small essay about the album. The information it contains is concise, exact, and puts the album within the context of the Fab Four's total discography. I loved the extra photos. The July '68 color "Hollyhock" photos are included, and rare B&W promo shots from that period, but the surprises will give Beatle fans something new to munch on. After the first panel containing the booklet, the next two panels have CD1 and CD2 of the album. (the documentary is on CD2). The fourth panel holds a mini reproduction of the poster, with the lyrics on the back. My only complaint, is that the glossy cardboard CD foldout has the CDs stuck in those cardboard slots TIGHT. They tend to grab onto the CDs....be careful taking them out, or the cardboard will give you minor surface scratches. (The CDs aren't in something like LP sleeves, which is the norm when this type of CD mini-LP format is used. Next, I played the QUICK TIME mini documentary. (They're about 3-4 minutes long.) I was worried cos my computer is an old MAC, but it supports MAC OS 10.3 on G4 and G5, as well as PC Pentium 3 processor using windows 2000+. Obviously, nearly anyone with a working computer will be able to watch the QUICKTIME documentaries. They don't have complete music videos, but rather show bits of studio performance. My favorite bit was Paul recording BLACKBIRD. It starts with a close up of TAP SHOES producing that beat, then the camera pulls back to reveal Paul recording on his acoustic. MAD COOL! Also, there's a TON of previously unseen footage from John's home movies of Maharishi's summer camp at Rishikesh India. Plus, photos of the sessions, topped off with studio chatter by the fab four. If you remember the White album section from the ANTHOLOGY, its an extension of that, but no repeats for the most part. Now that the WHITE ALBUM is over 40 years old, putting the songs in a sociological/historical context, will definately be a service to those new to this album, or discovering the BEATLES for the first time.

In conclusion, from the first JET ENGINE flying between your speakers, to Ringo whispering "Good night everybody, everybody everywhere, Good night", the remastered WHITE ALBUM does NOT DISAPPOINT. I don't think they could have gotten a better sound if they had gone back to remix the album. Some people are disappointed that the Beatles didnt put this out on SACD (a format already abandoned), or AUDIO DVD (Perhaps when this format is further standardized, APPLE RECORDS might bring out an AUDIO DVD boxset...who knows?) So many Beatles fans have complained about the original transfer, and then, complained as 24 BIT remastering arrived, but APPLE RECORDS didnt remaster. Well, now it's done, and obviously they worked their butts off to make everybody happy. I"m happy. And, you can bet I'm going to buy at least the ABBEY ROAD, SGT PEPPER, and REVOLVER remasters. If you're on the fence about replacing your whole BEATLES CD collection, my advice is to just buy ONE. Only YOUR ears will tell you where to go from there.

46 of 47 people found the following review helpful:

5.0 out of 5 stars A brilliant musical hodge-podge, July 19, 2004

By 

Adam Rugo "adamadjembe" (St. Louis, MO, USA) - See all my reviews
(REAL NAME)   

This review is from: The Beatles (The White Album) (Audio CD)

The Beatles left very deep footprints, and, love them or hate them, they are a cultural force to be reckoned with. The White Album represents both the peak of their art and the nadir of their personal relationships within the group (only to be surpassed by the gruesome Let It Be sessions...). Less of a group effort, each of Fabs here showcase their individual songwriting and singing talents, using the others as session players. They decisively destroy the image of the four happy pop clones of 1964. It was a liberating move for the musicians, but it can also be a jarring experience for the listener. It is a massive, sprawling masterwork that occasionally verges on complete collapse. The Beatles were never afraid to push the envelope to breaking point and beyond: The White Album is a case-in-point. As a historical document, The White Album can be heard as the "come down" from the Summer of Love, a testament to the idealism and disillusion (and dissipation) of 1968 (the year that saw the murder of both Martin Luther King and the death of the dream of peace, both within the US and internationally with the escalation of the Vietnam War). The minimalist cover artwork can be seen as the inevitable antidote to the colorful and florid excesses of Flower Power fashion. The White Album is a historical moment preserved in song. Matching the anguish and uncertainty of the era is the anguish and schizophrenia of the Beatles music on this record.

Many (including producer George Martin) have complained that the album is too long and includes tracks of inferior quality, that it could have been boiled down to a single album of solid gold. Honestly, there is something here to offend everybody. While most people (including Paul McCartney) find Revolution #9 unlistenable, it was a major achievement of experimental electronica at the time, and it bears repeated listening (but not when you're in an Obla-di Obla-da mood!). You may find yourself consistently skipping over several tracks, like Why Don't We Do It in the Road?, Wild Honey Pie, Good Night, Don't Pass Me By because they're all put-ons.

I find myself skipping over some tracks, like Yer Blues, not because it's a poorly written tune, but because it's just too emotionally painful, which is actually an acknowledgement of Lennon's success as an artist. He was in pain, and he conveyed it all too clearly. Helter Skelter, on the other hand, is completely empty of meaning, yet is absolutely hair-raising, perhaps the most terrifying pop song ever (after I Am the Walrus). The frantic clanging of Everybody's Got Something to Hide matches perfectly with Lennon's manic mood and mystical mind at the time. He describes the most profound LSD and/or meditation experience - "Your outside is in/when your inside is out" - but the way he sings it, it sounds like he's being torn apart by the experience, making the song both inspiring and frightening. I'm So Tired is such an effective evocation of apathy, insomnia, and frustration that it also makes my hair stand on end, esp. when he screams "I'd give you everything I've got for a little peace of mind!" That song has fit into the soundtrack of my life alarmingly well. In short, some people might be put off by The White Album because it is too emotionally charged and artistically adventurous. It wasn't designed as musical wallpaper and refuses to be reduced to that. You have to be prepared to listen to The White Album. When you are, it's an exhilirating experience. If not, it might make you want to puke.

The contrast in mood between the tracks is most jarring. Lennon snarls at his fans in Glass Onion, layers sarcasm on gun lovers in Happiness is a Warm Gun, pointedly berates the Left in Revolution #1, savagely attacks the Maharishi in Sexy Sadie, wails of suicide in Yer Blues. In contrast, McCarney offers some of his mildest, sweetest songs - I Will, Blackbird, and Mother Nature's Son, as well as the syrupy, music hall kitsch of Honey Pie, Martha My Dear, and Rocky Raccoon. None of McCartney's tracks here are "deep," but if you're in the mood for some tasty musical candies, these fit the bill quite nicely. Obladi Oblada is perhaps the best of the fluffy treats here. If this is your first exposure to the Beatles, you might well wonder how the group could contain such dramatic differences in temperament. (In fact, it couldn't, and would soon collapse because of those very differences in personality).

The classic tunes of this collection certainly more than justify the purchase of the two-disc set. John offers the stunning ode to his lost mother (and to Yoko) entitled Julia. George Harrison scores perhaps his greatest triumph with While My Guitar Gently Weeps (featuring Eric Clapton on lead guitar). Lennon's Dear Prudence is another touching masterpiece, written to order to induce Prudence Farrow to quit hiding out in her bungalow at Rishikesh. Ultimately, The White Album has something to delight everyone. If you prefer to avoid some tracks, you are among the majority of listeners. That's par for The White Album course. Once again, the inconsistency of the album accurately portrays the mind of each of the Beatles at the time as well as the larger cultural environment of 1968. It is required listening for anyone interested in 20th c. pop music. But be forewarned, it's not a smooth ride.