Yellow Submarine

SKU: 5099962145428
Label:
Capitol Records
Category:
Classic Rock
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"Yellow Submarine Songtrack is a compilation/soundtrack album by the Beatles for the 1999 re-release of the 1968 film Yellow Submarine. The film was re-released on 13 September 1999 in the United Kingdom and the following day in the United States. In sharp contrast with other Beatles remasters available, the songs were fully remixed from the original multitrack tapes, something not done for the original CD release of the Beatles catalogue in the late 1980s (except for Help! and Rubber Soul), nor the 2009 remastered albums.

This album contains only the Beatles songs used in the film, including tracks absent from the original Yellow Submarine album. The extra tracks replaced the George Martin film score from the original release, while the complete score was included as a DVD audio track in the CD/DVD package featuring the album and film.

The album debuted in the UK charts at number 8, selling 19,000 copies in its first week. It also peaked at number 15 on the Billboard 200, with 68,000 copies sold in its opening week. In France the album debuted at number 13.

It was reissued on CD on 4 June 2012 (5 June in North America) along with the film restored for DVD and Blu-ray release. While the original 1999 release was in a jewel-case, the 2012 version was released in a card sleeve, with the booklet and catalogue numbers the same as the earlier version, with a 1999 copyright date on the disc, and a 2012 date on the card sleeve. The sleeve was in the same format as the 2009 remasters, being slightly rectangular with "The Beatles: logo in the left hand side of the cover." - Wikipedia

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  • "Walter Becker and Donald Fagen were remarkable craftsmen from the start, as Steely Dan's debut, Can't Buy a Thrill, illustrates. Each song is tightly constructed, with interlocking chords and gracefully interwoven melodies, buoyed by clever, cryptic lyrics. All of these are hallmarks of Steely Dan's signature sound, but what is most remarkable about the record is the way it differs from their later albums. Of course, one of the most notable differences is the presence of vocalist David Palmer, a professional blue-eyed soul vocalist who oversings the handful of tracks where he takes the lead. Palmer's very presence signals the one major flaw with the album -- in an attempt to appeal to a wide audience, Becker and Fagen tempered their wildest impulses with mainstream pop techniques. Consequently, there are very few of the jazz flourishes that came to distinguish their albums -- the breakthrough single, "Do It Again," does work an impressively tight Latin jazz beat, and "Reelin' in the Years" has jazzy guitar solos and harmonies -- and the production is overly polished, conforming to all the conventions of early-'70s radio. Of course, that gives these decidedly twisted songs a subversive edge, but compositionally, these aren't as innovative as their later work. Even so, the best moments ("Dirty Work," "Kings," "Midnight Cruiser," "Turn That Heartbeat Over Again") are wonderful pop songs that subvert traditional conventions and more than foreshadow the paths Steely Dan would later take." - All Music Guide
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  • "After successfully establishing themselves as one of America's best commercial progressive rock bands of the late '70s with albums like The Grand Illusion and Pieces of Eight, Chicago's Styx had taken a dubious step towards pop overkill with singer Dennis DeYoung's ballad "Babe." The centerpiece of 1979's uneven Cornerstone album, the number one single sowed the seeds of disaster for the group by pitching DeYoung's increasingly mainstream ambitions against the group's more conservative songwriters, Tommy Shaw and James "JY" Young. Hence, what had once been a healthy competitive spirit within the band quickly deteriorated into bitter co-existence during the sessions for 1980's Paradise Theater -- and all-out warfare by the time of 1983's infamous Kilroy Was Here. For the time being, however, Paradise Theater seemed to represent the best of both worlds, since its loose concept about the roaring '20s heyday and eventual decline of an imaginary theater (used as a metaphor for the American experience in general, etc., etc.) seemed to satisfy both of the band's camps with its return to complex hard rock (purists Shaw and JY) while sparing no amount of pomp and grandeur (DeYoung). The stage is set by the first track, "A.D. 1928," which features a lonely DeYoung on piano and vocals introducing the album's recurring musical theme before launching into "Rockin' the Paradise" -- a total team effort of wonderfully stripped down hard rock. From this point forward, DeYoung's compositions ("Nothing Ever Goes as Planned," "The Best of Times") continue to stick close to the overall storyline, while Shaw's ("Too Much Time on My Hands," "She Cares") try to resist thematic restrictions as best they can. Among these, "The Best of Times" -- with its deliberate, marching rhythm -- remains one of the more improbable Top Ten hits of the decade (somehow it just works), while "Too Much Time on My Hands" figures among Shaw's finest singles ever. As for JY, the band's third songwriter (and resident peacekeeper) is only slightly more cooperative with the Paradise Theater concept. His edgier compositions include the desolate tale of drug addiction, "Snowblind," and the rollicking opus "Half-Penny, Two-Penny," which infuses a graphic depiction of inner city decadence with a final, small glimmer of hope and redemption. The song also leads straight into the album's beautiful saxophone-led epilogue, "A.D. 1958," which once again reveals MC DeYoung alone at his piano. A resounding success, Paradise Theater would become Styx's greatest commercial triumph; and in retrospect, it remains one of the best examples of the convergence between progressive rock and AOR which typified the sound of the era's top groups (Journey, Kansas, etc.). For Styx, its success would spell both their temporary saving grace and ultimate doom, as the creative forces which had already been tearing at the band's core finally reached unbearable levels three years later. It is no wonder that when the band reunited after over a decade of bad blood, all the music released post-1980 was left on the cutting room floor -- further proof that Paradise Theater was truly the best of times." - Allmusic Guide
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  • "Dog & Butterfly became Heart's fourth million-selling album and placed two songs of opposing styles in the Top 40. Like their Magazine album, Dog & Butterfly peaked at number 17 on the charts, but the material from it is much stronger from every standpoint, with Anne and Nancy Wilson involving themselves to a greater extent. The light, afternoon feel of the title track peaked at number 34, while the more resounding punch of "Straight On" went all the way to number 15 as the album's first single. With keyboard player Howard Leese making his presence felt, and the vocals and guitar work sounding fuller and more focused, the band seems to be rather comfortable once again. Average bridge-and-chorus efforts like "Cook with Fire" and "High Time" aren't spectacular, but they do emit some appeal as far as filler is concerned, while "Lighter Touch" may be the best of the uncharted material. After this album, guitarist Roger Fisher left the band, but Heart didn't let up. 1980's Bebe le Strange showed an even greater improvement, peaking at number five in April of that year." - All Music GuideRemasetered version with 3 bonus tracks.
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  • "From December 1971 to April 1972, Carlos Santana and several other members of Santana toured with drummer/vocalist Buddy Miles, a former member of the Electric Flag, and Jimi Hendrix's Band of Gypsys. The resulting live album contained both Santana hits ("Evil Ways") and Buddy Miles hits ("Changes"), plus a 25-minute, side-long jam. It was not, perhaps, the live album Santana fans had been waiting for, but at this point in its career, the band could do no wrong. The album went into the Top Ten and sold a million copies." - All Music Guide
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  • "In some ways, Styx was America's answer to Queen. The Chicago quintet never ascended to the ranks of rock-and-roll royalty, as did their English counterparts, nor are they held in as high a regard today. Nevertheless, Styx fulfilled a Midwestern American hunger for high-flown fantasy typified on Pieces of Eight with songs like Dennis DeYoung and James Young's "I'm Okay" and "Lords of the Rings," with their elaborate arrangements, soaring vocal harmonies, and lyrical pretensions. In quite another direction, guitarist Tommy Shaw writes about basic human needs and working-class values in "Blue Collar Man," while his song "Sing for the Day" is a pleasant air, and "Renegade" a hard-charging rocker. Styx may have seemed somewhat schizophrenic on Pieces of Eight but their legions of fans diminished not a whit, making the album the band's second multiplatinum effort in a row, following The Grand Illusion." 
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  • "Having morphed--some would argue devolved--into a predictable ballad machine by the '80s, it's good to be reminded of Chicago's original artistic ethos and vibrant promise. And what better place to start than their spectacular 1969 debut? This digitally remastered edition compiles the double album on a single disc that retains the original LP artwork and features a 16-page booklet with a retrospective essay (based on new band member interviews) by David Wild. Chicago weren't yet the '70s hit-singles factory they would shortly become, and CTA showcases a band whose muscular musicianship and creative restlessness fostered two LPs worth of music that was as aggressive and far-ranging as its singles were friendly and inviting. Tellingly, the hits showcased here--"Does Anybody Know What Time It Is?" "Beginnings," "Questions 67 and 68," and their rhythmically pumped cover of the Spencer Davis Group's "I'm a Man"--were often edited down from the original collection's suite-heavy structure. But those familiar cuts belie the downright progressive and angular nature of much of the rest, which fuses Terry Kath's neo-psychedelic guitar (which careens to noisy, feedback-laden Hendrixesque extremes on "Free Form Guitar") to one of rock's pioneering horn sections with enough experimentalism ("Poem 58") that it frequently overwhelms their undeniable genius with a pop song. Chicago would seldom sound so adventurous after this, one of rock's greatest debut albums." --Jerry McCulley
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  • "Presenting radio with one of the best rock ballads ever, Cornerstone gave Chicago's Styx their big break with the number one single "Babe," which held that spot for two weeks in October of 1979. "Babe" is a smooth, keyboard-pampered love song that finally credited Dennis De Young's textured vocals. While this single helped the album climb all the way to the number two spot on the charts, the rest of the tracks from Cornerstone weren't nearly half as strong. "Why Me" made it to number 26, and both "Lights" and "Boat on the River" implement silky harmonies and welcoming choruses, yet failed to get off the ground. De Young's keyboards are effective without overly dominating the music, and the band's gritty rock & roll acerbity has been slightly sanded down to compliment the commercial market. The songs aren't as tight or assertive as their last few albums, but Shaw's presence can be felt strongly on most of the tracks, especially where the writing is concerned. Outside of "Babe," Cornerstone tends to sound a tad weaker than one would expect." - Allmusic guide
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  • Out of print box set that covers the history of Fleetwood Mac from their creation in 1967 up till 1992. Includes live tracks, rare remixes, and studio recordings.Disc: 1  1. Paper Doll (Box Set Version)  2. Love Shines (Box Set Version)  3. Stand Back (Live) [Unreleased]  4. Crystal  5. Isn't It Midnight (Edited Alternate Version)  6. Big Love (Album Version)  7. Everywhere (Album Version)  8. Affairs Of The Heart (Album Version)  9. Heart Of Stone (Box Set Version)  10. Sara (Lp Version)  11. That's All For Everyone (Lp Version)  12. Over My Head  13. Little Lies  14. Eyes Of The World (Lp Version)  15. Oh Diane (Lp Version)  16. In The Back Of My Mind (Album Version)  17. Make Me A Mask (Box Set Version)Disc: 2  1. Save Me (Album Version)  2. Goodbye Angel (Box Set Version)  3. Silver Springs (B-Side)  4. What Makes You Think You'Re The One (Remastered Lp Version)  5. Think About Me (Lp Version)  6. Gypsy (Alternate Unreleased Version)  7. You Make Loving Fun  8. Second Hand News (Alternate Mix)  9. Love In Store (Alternate Mix)  10. The Chain (Alternate Mix)  11. Teen Beat (Box Set Version)  12. Dreams (Alternate Mix)  13. Only Over You (Lp Version)  14. I'M So Afraid (Edited Live Version)  15. Love Is Dangerous (Album Version)  16. Gold Dust Woman (Alternate Mix)  17. Not That Funny (Live) [Unreleased]Disc: 3  1. Warm Ways  2. Say You Love Me  3. Don'T Stop  4. Rhiannon  5. Walk A Thin Line (Lp Version)  6. Storms (Lp Version)  7. Go Your Own Way  8. Sisters Of The Moon (Lp Version)  9. Monday Morning  10. Landslide  11. Hypnotized (Lp Version)  12. Lay It All Down (Unreleased Alternate Version)  13. Angel (Alternate Mix)  14. Beautiful Child (Alternate Mix)  15. Brown Eyes (Lp Version)  16. Save Me A Place (Lp Version)  17. Tusk (Lp Version)  18. Never Going Back Again  19. Songbird (Lp Version)Disc: 4  1. I Believe My Time Ain't Long  2. Need Your Love So Bad (Box Set Version)  3. Rattlesnake Shake (Lp Version)  4. Oh Well [Part 1]  5. Stop Messin' Around (Box Set Version)  6. Green Manalishi  7. Albatross (Single Version)  8. Man Of The World (Single Version)  9. Love That Burns (Lp Version)  10. Black Magic Woman (Single Version)  11. Watch Out (Take2-Complete Master Version/Remix))  12. String-A-Long (Unreleased)  13. Station Man (Lp Version)  14. Did You Ever Love Me (Lp Version)  15. Sentimental Lady (Lp Version)  16. Come A Little Bit Closer (Lp Version)  17. Heroes Are Hard To Find (Lp Version)  18. Trinity (Previously Unreleased Version)  19. Why (Lp Version)
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  • This is the band's 1977 double album release that really caused the band to blow up on a world wide basis.  Jeff Lynne's obsession with The Beatles is in full force here.  Plenty of poppier tunes (that became world wide smash hits) but still some damn fine classical rock mixed in as well.  Going through their catalog I'd comfortably recommend this album as the stopping point.
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  • ""Countdown to Ecstasy wasn't half the hit that Can't Buy a Thrill was, and Steely Dan responded by trimming the lengthy instrumental jams that were scattered across Countdown and concentrating on concise songs for Pretzel Logic. While the shorter songs usually indicate a tendency toward pop conventions, that's not the case with Pretzel Logic. Instead of relying on easy hooks, Walter Becker andDonald Fagen assembled their most complex and cynical set of songs to date. Dense with harmonics, countermelodies, and bop phrasing, Pretzel Logic is vibrant with unpredictable musical juxtapositions and snide, but very funny, wordplay. Listen to how the album's hit single, "Rikki Don't Lose That Number," opens with a syncopated piano line that evolves into a graceful pop melody, or how the title track winds from a blues to a jazzy chorus -- Becker and Fagen's craft has become seamless while remaining idiosyncratic and thrillingly accessible. Since the songs are now paramount, it makes sense that Pretzel Logic is less of a band-oriented album than Countdown to Ecstasy, yet it is the richest album in their catalog, one where the backhanded Dylan tribute "Barrytown" can sit comfortably next to the gorgeous "Any Major Dude Will Tell You." Steely Dan made more accomplished albums than Pretzel Logic, but they never made a better one."" - All Music Guide
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  • "Equinox produced Styx's first single with A&M, the highly spirited "Lorelei," which found its way to number 27 on the charts. Although it was the only song to chart from Equinox, the album itself is a benchmark in the band's career since it includes an instrumental nature reminiscent of their early progressive years, yet hints toward a more commercial-sounding future in its lyrics. "Light Up" is a brilliant display of keyboard bubbliness, with De Young's vocals in full bloom, while "Lonely Child" and "Suite Madame Blue" show tighter songwriting and a slight drift toward radio amicability. Still harboring their synthesizer-led dramatics alongside Dennis De Young's exaggerated vocal approach, the material on Equinox was a firm precursor of what was to come . After Equinox, guitarist John Curulewski parted ways with the band, replaced by Tommy Shaw, who debuted on 1976's Crystal Ball album." - Allmusic Guide
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  • "Fans of iconic rock band THE DOORS are in for something special. The group s final album--1971 s L.A. WOMAN, with the signature hits L.A. Woman, Love Her Madly and Riders On The Storm --is being celebrated with a special two-CD release from Rhino.The L.A. WOMAN 40th anniversary edition (Rhino 2-CD) features a never-before-heard song, She Smells So Nice, which captures the band--organist RAY MANZAREK, guitarist ROBBY KRIEGER, drummer JOHN DENSMORE and late singer JIM MORRISON--joyfully barreling through a full-throttle original before segueing into the blues standard Rock Me. As the song closes, Morrison can be heard chanting, Mr. Mojo Risin --an anagram of his name that was made famous during the bridge of L.A. Woman. The track was recently discovered by producer Bruce Botnick while reviewing the L.A. WOMAN session tapes.In addition to She Smells So Nice, the second disc of the L.A. WOMAN reissue includes eight never-before-heard versions of songs from the album. Alternate takes of L.A. Woman, Love Her Madly and Riders On The Storm offer a fresh view on this landmark album, which was the group s sixth straight Top 10. The studio chatter between the songs is a revelation, transporting listeners to The Doors Workshop: the West Hollywood rehearsal space where they recorded the album with Botnick. One segment in particular captures a fascinating moment of inspiration when Morrison suggests they add the now-iconic thunderstorm sound effects to the beginning of Riders On The Storm.Rhino will also release L.A. WOMAN: THE WORKSHOP SESSIONS, a double LP featuring all of the previously unreleased material found on the CD collection on three sides of vinyl, with the fourth side featuring a laser etching of the original "Electric Woman" art originally included with the L.A. WOMAN album.Mr. Mojo Risin : The Story of L.A. Woman (Eagle Rock Entertainment DVD/Blu-ray) is told through new interviews with MANZAREK, KRIEGER and DENSMORE as well as Elektra Records founder JAC HOLZMAN, original manager Bill Siddons, engineer/co-producer Bruce Botnick and others. The high-definition video also features live and studio performances as well as rare archival photos. This fascinating documentary contains rare footage of THE DOORS in the studio and on stage. The documentary was made with the full involvement, approval and cooperation of THE DOORS.The Year of The Doors will be marked by other special releases, with details to be announced soon.L.A. WOMAN marked THE DOORS swan song, as MORRISON would pass away a few months after its release. At the time, Rolling Stone s Robert Meltzer called it The Doors greatest album...A landmark worthy of dancing in the streets (5/27/71). The first band to release eight consecutive platinum albums, THE DOORS were inducted into the Rock & Roll Hall of Fame in 1993 and received the Grammy Lifetime Achievement Award and a star on the Hollywood Walk of Fame in 2007."
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