Here's the story of the Beatles, as told by the intro to The Beatles: Rock Band. They started as four lads in a basement club, covering Chuck Berry for hours at a stretch. Girls screamed, and the band got bigger and bigger 'til it stormed the world (specifically, America). Tours and celebrity and more screaming girls followed, until suddenly the world was a drag-- and they ascended a magic escalator to the sky, where they rode the giant elephant god Ganesha up to the edge of the creation. They became saints, or gods, or something just as sacred, and on a tablet it was written: "You don't mess with the Beatles."

You, the player, are the disciple. You're here to study the music: To play as fast and loud as the band did in its youth, to finish the delicate "Dear Prudence" without a single bum note, to master Paul McCartney's bass line to "I Saw Her Standing There" on expert. The challenge is moderate compared to other music games, and harmony vocals are the only new feature: While the Beatles used strings, tape loops, and other effects, these are all channeled through the standard four instruments (guitar, bass, drums, and mic), and playing the strings for "I Am the Walrus" with the guitar controller works better than you might expect. But the harmony vocals make it a far better party game than previous Rock Band editions. I've played with two additional singers, a guy who likes to belt Rush and a woman who's in a choir, and listening to them chant "GUTEN MORGEN GUTEN MORGEN GUT" was worth the price right there.


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The first chapters take place in concert settings in front of screaming crowds. But after the Beatles quit the road in 1966, the game segues to the Abbey Road studio, where each song gets a "dreamscape." These vignettes recycle well-worn references for each song, and none of them would make the creators of Yellow Submarine lose sleep. Covering the band's psychedelic period, they're a thin metaphor for the fact that the band was well off their tits, but they also reinforce what an insular and magical place these recordings seem to emerge from-- especially if you skip the turmoil behind the scenes.

That's not to say the game ignores their history. Good scores unlock rare photos dug from the archives, as well as clips of sound and video. You get their 1963 Christmas fan club record, a rough rehearsal for "Ed Sullivan", and a promotional film for "Get Back" edited out of outtakes from the Let It Be film. And there are clips of the band just chatting or goofing around.. They're candid, but the candidness doesn't make the band seem more human; rather, you feel like you're eavesdropping on a whole new level of divinity.

The storytelling is at its finest in the last act, the rooftop show in London in 1969. The audience has aged and the band is tired. We never watch them fight, but the break-up is implied in the climax of "I Want You (She's So Heavy)", where the camera jitters until the song cuts off. But encore "The End", the unannounced 45th song, is the proper send-off: Ultimately, the band was judged by the love they made.

The word "love" sums up the entire vision for the game. Where past Rock Band and Guitar Hero titles emphasized the thrills and the grinds of rock, The Beatles: Rock Band feels completely different: it's soothing and cozy, and the songs keep luring you back not just because they're excellent and fun, but because the familiar recordings, the nostalgic visuals, and the Beatles' smiling faces make a peaceful, loving place. As a painstakingly crafted piece of fandom, it's a bullseye.

But all this worship has a drawback. Discussing Rock Band 2, which doesn't use the likeness of any real stars, Harmonix's Helen McWilliams once told me, "We want it to be about you, and your rock star fantasy... You're there with your band, for each other, and you're fulfilling your rock star dream together, and the audience is there for you." The Beatles: Rock Band is the total opposite. The "characters" are untouchable, and the tracks don't even toss you a freestyle section. Your only choices are to get the song right, or not. Sure, it's a clich that most videogames make you save the world, but at least in those games, you know you're needed. I've never felt less important in a game than this one.

all of them are compatible with each other, but I would recommend getting a guitar/band hero bundle. All guitar hero intruments work with Greenday, The Beatles, Rockband 2, and Rockband 3, (the ac/dc track pack will work with all of them except the drums) but the cool thing is that while the drums will work with rock band, they also work with guitar hero. Rock band drums are only able to work with rockband. Frankly the band hero/warriors of rock drums are much better built than the rockband ones (and MUCH quieter). Your guitars with guitar hero are the same way. Works with both games, but rockband guitars are only for rockband.

Yes, except for the first rockband game on wii. But honestly, if you can download things online, you can get most of those songs for free for rockband 2 or 3 (and 2 is importable into 3 for 1000 points. So is Greenday)

To Foster, a big part of what makes the game seem authentic was that the designers concentrated on "telling the Beatles' story" but still finding a way to do so in the context of a "Rock Band" game that fans of both the band and the game franchise would appreciate and recognize. And also because the game will appeal to even the youngest Beatles fans.

We need to spread the greatist band alive, if we sign enough then we will get not only a Beatles Rock Band but a possible revival for the series! If we can reach out to harmonix and EA we can get them to actually do something with their life instead of a dj game no one will buy, now that we have social media, selling 3 million copies will be a peice of cake :)

Many artists over the years have taken influence from The Beatles, including big names like the Foo Fighters, Billy Joel, Heart, and Bruce Springsteen. However, while many artists, including some in the rock genre, have not only taken inspiration from The Beatles, but they have made musical decisions that have made the sound their own. These decisions brought life to original sounds and are what separate The Beatles from rock music.

Another band that is compared to The Beatles because of the time era and the level of fame both bands have is the Rolling Stones. The Stones were popular during the same era as The Beatles is The Rolling Stones. Also rising to fame in the 60s, The Rolling Stones are one of the most well-known rock bands to ever produce music, however, they are arguably not as well known as The Beatles; rock lovers, such as myself, may see this as an issue. Both bands have a softer tone in their songs, but while The Beatles continue to keep that airy and sweet tone, the Stones use many different sounds in their wide array of music and, much like Queen, begin to step up the tempo and the intensity of the instruments, showing off the true rock roots behind their music.

The amount of music genres, and sub-genres, that we recognize has greatly expanded over the last few decades, so why do we continue to categorize things the way we would have several decades past? Although The Beatles do not have a real rock tone to most of their music, even for 60s standards, I can accept and understand that some people believe that they do. However, there should be a conversation about adapting the way they are categorized as a band.

The idea of inventing a genre just for The Beatles is one that many Beatlemaniacs would be in favor of, so why not make it a reality? Although The Beatles may not have my heart, giving them their own genre would solve a long-standing discussion on the topic and satisfy both fans of the band and people who have a distaste for their genre categorization. The band should be classified in a genre that is made up of a few other genres. Some of the genes that The Beatles are arguably comprised of are soft rock, folk, psychedelic pop, and pop-rock. These genres sum up the different sides of their work without limiting them to one sound. Now, I am not sure what title this genre would be given, but these are the sub-genres this genre should be made up of.

The Beatles, no matter if you enjoy their music or not, are an objectively influential band. They helped introduce new sounds to the world and showed that musicians could dabble in multiple genres. Whether or not they should be categorized as a rock band is still something that is ultimately up to the listener to decide. Classifying The Beatles as something that is not rock will help settle the tension between rock fans and Beatles fans, and is long overdue.

After playing the game yourself - with its attention to Fab visual detail and its richly transferred selection of the band's original master recordings - you may find yourself pointing to the screen and honestly believing, "It's a Beatle!"

This edition, however, ups the ante. To achieve the band's wonderful three-part harmonies, the game supports not just one but three microphones. And the controllers aren't just generic instruments but, rather, replicas of the Beatles' instruments. Which means that the bass guitar is modeled after Paul McCartney's Hfner violin bass, the lead and rhythm guitars resemble John Lennon's Rickenbacker 325 and George Harrison's Gretsch Duo-Jet, and the drums hark back to Ringo Starr's early Ludwig set, complete with the black-on-white logo of "The Beatles" on a simulated kick-drum head and the pearl-like finish on the sides of the four drum pads.

Allowing for three singers, up to six people can join the band, which means you can use only two of the three Beatles guitar controllers at the same time (one for lead/rhythm guitar lines, one for bass). But then there's nothing stopping you from, say, using George's guitar to play Paul's bass lines.

I reviewed the Xbox 360 version; the game is also available for PS3 and Wii. Whichever you select, you can of course buy the game disc separately ($60) and use almost any instrument controllers you already own (see thebeatlesrockband.com/compatibility). But to truly become the Beatles, you've got to get the Limited Edition bundle ($250), which includes the Hfner and Ludwig controllers, a microphone and a mike stand, the game disc, and a set of eight postcards. If you want the Rickenbacker and Gretsch controllers, you'll have to buy them separately ($100 each); same goes for the extra mikes (you can get wireless ones for $60 each). 006ab0faaa

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