Two years before that, the Anthology sets and Love were remastered, also for streaming and download. Although I’m not sure exactly what makes Clint Eastwood “good”, what’s so good about claiming reward money for bringing in criminals then shooting the rope when they are being hung so they can escape and then splitting the loot with them?

The other incarnations of it 'sometimes' lean more towards a tongue-in-cheek joke at times, or too self-conscious. dopo la versione diciamo "normale",pubblicata nel 1970,ecco la versione "nuda e cruda" che è stupenda.Like “I’ve Got a Feeling” – mixing the two versions rather than just using the first take makes this something very different than simply a de-Spectorized Let It Be, and wasn’t that the point to begin with? And don’t get me wrong, it sounds great, but between the two previous mixes of this take plus the different take on Anthology 3, I mean really, how many versions of “Let it Be” do we really need? So for a few songs at least, I think the sound of the new mixes more than justifies the cost of the album. At some point it would be great if it was remastered without noise reduction but we have just had the 50th box set so I see this release as quietly fading into the night.

You’ve gotta decide what “naked” version of “Across the Universe” you are going to use, I’m partial to the one on Anthology 2, but there are several possibilities. For You Blue" – a remix of the 25 January 1969 take used on the album, including Harrison's re-recorded lead vocal from 8 January 1970 and reinstating his rhythm guitar; framing dialogue removed. See, on LiBN, the producers adopted Spector’s change that made the song longer, repeating the second verse again, whereas on Anthology 3 the song was left at its original length. Same with “Don’t Let Me Down”, which wasn’t on the original album, and I am not sure how its inclusion helps make the album more Naked than it was to begin with, but what the hell, it sounds great here.It is unfortuante that there are in my listening audible places in Naked where there seems like relatively noticeable overload to the point of over-saturation and even light distortion. To me it's the closest and only totally professional iteration or representation of the material from start to finish imo. The impressive thing about it is the only thing going on in the movie while the music is playing is some guy is running around in a graveyard. When the album came out, the first thing that hit me was that song sounded the least like the one I heard at the Cow Palace in San Francisco. But then again, The Good, The Bad, and The Ugly is a classic movie anyway, best western I’ve ever seen.