Album Remarks & Appraisals:
After delighting audiences with the core-classical heritage of the guitar in his three previous albums, award-winning guitarist Milos Karadaglic makes a thrilling new departure performing innovative new arrangements of songs by the Beatles. He collaborates with celebrated artist including Tori Amos, Gregory Porter, Anoushka Shankar, Sergio Assad and Steven Isserlis. Songs include Blackbird, Come Together, While My Guitar Gently Weeps, Eleanor Rigby, Fool on the Hill and many others.
Tributee: The Beatles.
Audio Mixer: Jonathan Allen .
Recording information: Jeevan Music Studios London (05/2015-11/2015); London, Abbey Road Studios, Studio 2 (05/2015-11/2015); Martian Engineering Ltd, Cornwall (05/2015-11/2015); Studio Guillaume Tell, Paris (05/2015-11/2015).
Editor: Jonathan Allen .
Photographer: Andy Earl.
Quite a few of the Beatles' songs are based on harmonically sophisticated guitar parts, so it's surprising how few treatments there are for classical guitar. Guitarist Milos Karadaglic helps fill the lacuna with this collection, which has many straightforward treatments that work well. All the arrangements are by the Brazilian player Sergio Assad, although they are not specifically Brazilian in style. Karadaglic excels in the title track, and you could sample track 2, "Come Together," for a novel but natural treatment in which Karadaglic reproduces the blues percussion rhythms on the song on the body of the guitar. Several tracks are rethought more extensively, such as "All My Loving"; these are also effective. Guest stars of the celebrity of Tori Amos may help to sell albums, but the steps necessary to incorporate them detract from the overall quality; the arrangement of "She's Leaving Home" doesn't make any sense, and that of "Let It Be," featuring Gregory Porter, indulges in a sentimentality (true, it's there in the song itself) that Karadaglic mostly avoids. In "The Fool on the Hill," there is a subtle, barely-there string accompaniment that works well, but "Eleanor Rigby" and "Here Comes the Sun" suffer by comparison with the originals. Of the guest-star turns, only the final one, with Anoushka Shankar contributing an Indian aspect to "Lucy in the Sky with Diamonds" (not, interestingly, to one of the more heavily Indian-influenced Beatles tunes), works really well: it keeps Karadaglic in the foreground in a real duet with Shankar. Generally Karadaglic is strongest when he plays solo or accompanied by just a double bass; these pieces have a lived-in quality that reflect the years of study and experimentation Karadaglic put into them. Recommended, and superbly recorded at (natch) Abbey Road Studios. ~ James Manheim
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