Fun album and the sonics are just superb. DR of 19 per Roon. I’ve got several versions, and this is the one I like the most.
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I agree - this is by far the best-sounding version. In pursuit of better sound, I’ve collected a few “improved”, “remastered”, “extended” and polished versions but I always come back to this one, the very first one I ever bought. Heard it right that time.
All in spite of high-res promises. Just goes to show that good-ol’ 44.1/16 can be quite sufficient.
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Greg - thanks for the “heads up” on the MFSL discs. I just had a quick look on the web at their recordings and had forgotten that I have Oxygene & Equinox 24k versions, presumably purchased when I worked in Japan donkeys terms ago! Just listening to them now and they do sound good (ripped of course 
j.
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Simon, that’s outstanding!
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What a song.
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Thanks Greg. That was the first full price LP that I bought aged 13 with my saved pocket money. I remember getting the bus to Boots ( UK equivalent of Walgreen) n Lewisham (London) to their first floor record department in November 1963.
The physical mono digital version of this remaster comes from a complete CD box set issued in 2009 . The set is a lovely thing with its miniature original covers. However IMO the best sound is ( sorry!) the 2014 vinyl Beatles in Mono box played with my mono cartridge and tube phonostage. How am I to be punished? 
.
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Lovely memory Pete. I remember my Dad bringing home the Capitol LP (US version) titled Meet The Beatles when I was 9yo. It was all over for me then. My brothers and I played that LP until we wore out the stylus in my dad’s turntable. Not A Second Time is still one of my all-time fave pop songs. John Lennon’s simple but moody piano minor notes are unforgettable.
Punishment? We don’t need no stinkin’ punishment! It’s about the music! 
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On this day in 1964, the Beatles made their US live debut on CBS-TV’s ‘The Ed Sullivan Show’; they performed five songs including their current No.1 ‘I Want To Hold Your Hand’. Never before had so many viewers tuned-in to a live television program, which with 73 million viewers, was three-fourths of the total adult audience in the United States.The show had received over 50,000 applications for the 728 seats in the TV studio.
And on this day in 1961, the Beatles appeared at The Cavern Club, Liverpool, for the very first time as The Beatles; they would go on to make a total of 292 other appearances at the Club. They were paid £5 for this lunchtime appearance, and George Harrison was nearly denied admission to play because he was wearing jeans.
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RIP Burt Bacharach (1928 - 2023).
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Qobuz 24bit 48kHz
In covering the Beatles, jazz pianist Brad Mehldau chose to focus on the “strangeness” of the band’s music. But as he explains in the liner notes, it’s also the “universality,” present in parallel to strangeness, that makes it so inviting and influential; the combination of the two—which may also be the secret to the band’s artistic immortality—is, according to Mehldau, what underpins his approach to this beautifully realized project. Filmed and recorded live in front of an audience at the Philharmonie de Paris, this session benefits from intelligently placed microphones and minimal applause. It was edited by Camille Grateau, mixed by Nicolas Poitrenaud, and mastered in the U.S. by Greg Calbi at Sterling Sound. Though cries of “sellout” from jazz purists are sure-to-come, listeners will find many insights into Mehldau’s playing and the band’s utterly original creative universe. Opening with an unbroken suite of three tunes in their entirety (“I Am The Walrus,” “Your Mother Should Know” and “I Saw Her Standing There”—the last of which he plays in barrelhouse piano style), it’s very clear that Mehldau brought immense thought, passion and especially respect for the band’s prismatic genius to this project. He genuinely feels this music, most of which was composed on piano. Sticking relatively close to the familiar melodies, Mehldau embroiders them with a flow of ideas and chordal tangents. His improvisations never venture too far out, however, nor are they ever disconnected from any song’s basic emotional underpinning. As is to be expected, some interpretations are more successful than others. “Here, There and Everywhere,” played mostly in the piano’s highest registers, stretches and crystallizes but abruptly stops, apparently out of discovery. In other cases, Mehldau uncovers rich new veins of inspiration: He makes a high energy mini concerto out of the usually triumphant “Maxwell’s Silver Hammer,” improvising high notes, adding moody journeys of improvisation, and at times snapping back into choruses where he flashes ornate New Orleans piano professor bravado. Best of all, at least for sentimentalists, is the pianist—who’s often accused of a certain detachment and coldness in his playing—lingering over lush Paul McCartney songs like “Golden Slumbers” and “For No One,” raising their melodic purity to new heights of poignancy. A rambunctious, joyous success on every level. © Robert Baird/Qobuz
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got Paul Simon today…playing it in redbook standard. Must say, it sounds quite natural, flowing, almost analog like! Love it so far- looking forward what Supertramp Mofi brings in…
Yeah, that’s a good one.
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