THE BEATLES: THE CAPITOL ALBUMS VOLS. 1 & 2 (Original US Albums 2004/2006) – Meet The Beatles, The Beatles’ Second Album, Something New, Beatles ’65, The Early Beatles, Beatles VI, Help!, Rubber Soul

41n4dPP4jpLNOW INCLUDING THE TRUE MONO 2nd PRESSINGS OF RUBBER SOUL & BEATLES VI ! NOTE: These are NOT the 2014 re-issues that inexplicably used 2009 remastered files instead of the original, very different, Capitol masters we all remembered. These are the Capitol/Apple 2004 & 2006 box sets that were “compiled from the original U.S. master tapes.” The Brits must think we’re daft for dragging these mangled, reverb-laden old Capitol Records releases back from oblivion and into the digital age. For youngsters not acquainted with the peculiarities of Beatlemania in America, Capitol Records took George Martin’s original tapes and doused them in reverb, then chopped the British albums into smaller, differing LP configurations, all to squeeze a few extra albums, and a lot more sales, out of a fad that was practically guaranteed to expire before the last lunch box or bubblegum card could roll off the assembly line. That’s how the The Beatles’ UK debut morphed into their 5th LP in the States, how The Beatles’ Second Album ended up being almost a ‘covers’ album, and how Capitol was able to squeeze out five Beatles albums in 1965 alone, Beatles ’65 (actually issued in December ’64), The Early Beatles, Beatles VI, Help! and Rubber Soul. For disciples, there are oddities to be found buried in these digital grooves; like the false start on “I’m Looking Through You” and the original score music from Help! (first time on CD). It should be noted that the first pressing of Beatles VI and Rubber Soul were marred by using “folded down” mono versions, 51JN6M0E24Lby lazily “folding” two stereo tracks into one. But the 2nd pressings of the Vol. 2 box corrected that stupidity. We’ve now got both mono versions for those LPs available. For all their faults, Capitol did do one thing right for the new millennium crowd… they fit both stereo and mono versions onto one disc. Something that would have been nice for the 2009 reissues, but there was too much money involved to allow that to happen. A Hard Day’s Night is not included in the first Capitol box, as it was originally issued on United Artists Records – though Something New closely approximates it. As for Yesterday And Today and Revolver, I’m not really sure of the reasoning for leaving them out. So… why is it we Yanks seem to be clinging to these clearly inferior versions, oh-so-many decades later? Well, truth is… we’re not. Capitol was merely filling a minor marketing void with these re-issues, so except for those rabid collectors that just must have it all, there’s really only one reason all this stuff could hold any interest for the average Joe… memories. Those misty, water-colored memories of the way we were. Personally, I like the nifty cover reproductions. Of course, we’ve got dozens of Beatles-related posts hiding in the archives… just click HERE. You can get the 2004/2006 Capitol boxes at Amazon, HERE & HERE. File Under: The Beatles – Pop Rock, Vocal Group.
I Want To Hold Your Hand
I Saw Her Standing There
This Boy
It Won’t Be Long
All I’ve Got To Do
All My Loving
Don’t Bother Me
Little Child
Till There Was You
Hold Me Tight
I Wanna Be Your Man
Not A Second Time

Roll Over Beethoven
Thank You Girl
You Really Got A Hold On Me
Devil In Her Heart
You Can’t Do That
Long Tall Sally
I Call Your Name
Please Mr.Postman
I’ll Get You
She Loves You

I’ll Cry Instead
Things We Said Today
Any Time At All
When I Get Home
Slow Down
Tell Me Why
And I Love Her
I’m Happy Just to Dance With You
If I Fell
Komm, Gib Mir Deine Hand

No Reply
I’m A Loser
Baby’s In Black
Rock And Roll Music
I’ll Follow The Sun
Mr. Moonlight
Honey Don’t
I’ll Be Back
She’s A Woman
I Feel Fine
Everybody’s Trying To Be My Baby

Love Me Do
Twist And Shout
Anna (Go To Him)
Ask Me Why
Please Please Me
PS I Love You
Baby It’s You
A Taste Of Honey
Do You Want To Know A Secret

Kansas City
Eight Days A Week
You Like Me Too Much
Bad Boy
I Don’t Want To Spoil The Party
Words Of Love
What You’re Doing
Yes It Is
Dizzy Miss Lizzie
Tell Me What You See
Every Little Thing

The Night Before
From Me To You Fantasy (Instrumental)
You’ve Got To Hide Your Love Away
I Need You
In The Tyrol (Instrumental)
Another Girl
Another Hard Day’s Night (Instrumental)
Ticket To Ride
The Bitter End / You Can’t Do That (Instrumental)
You’re Gonna Lose That Girl
The Chase (Instrumental)

I’ve Just Seen A Face
Norwegian Wood (This Bird Has Flown)
You Won’t See Me
Think For Yourself
The Word
It’s Only Love
I’m Looking Through You
In My Life
Run For Your Life


  • 1
    August 21, 2011 - 09:34 | Permalink

    Search HERE

  • 2
    August 22, 2011 - 12:04 | Permalink

    Sweet! Yes, it’s the memories. This may not be the way the fabs intended but this is the context in which millions of fans first heard this stuff… and on really shitty Lo-fi record players! Mine had been my mom’s when she was in high school, looked like a small suitcase with the speaker in the lid and weighed as much as an air conditioner! Why do I obsess over music today? Because I’m still running after the feeling THESE RECORDS gave me as an 8-year-old!

    • 3
      August 22, 2011 - 13:03 | Permalink

      “Because I’m still running after the feeling THESE RECORDS gave me…”

      If I’d talked to you I could have saved a fortune on therapy.

  • 4
    August 22, 2011 - 13:10 | Permalink

    ….Or rehab, right?

    • 5
      August 22, 2011 - 14:01 | Permalink

      That was my own doing.

  • 6
    August 22, 2011 - 14:22 | Permalink

    I have an odd take on this as I was an Army brat and was “stationed” in France at the time of many of these releases thereby was first exposed to the original English releases…I heard the US releases when I came back stateside and basically said, “what the fuck!” Early on, I could sense that with Capitol records, it was all about product…i.e. how (few) many songs can we put on the record so we can eke out another toss off piece of product….and yet the Fab Four surpassed even those evil incantations simply by being brilliant. Amen.

    • 7
      August 22, 2011 - 14:51 | Permalink

      And, in a way, it didn’t matter – until the albums began to become a piece of art in themselves, of course. (Hell, the early ones were art too, most of us just didn’t know it.) But… it doesn’t matter how you look at it, there was ZERO illusion about The Beatles being a product. They knew it, Capitol knew it, and when our tiny brains started to develop a little savvy, we knew it, too. And you’re right. The only thing that could possibly overcome all that Capitolism was their undiminishing brilliance.

  • 8
    August 22, 2011 - 14:25 | Permalink

    It is blasphemy, surely, but I have always perferred the US Rubber Soul. I was a bit disappointed when I got the real one in the 80s.

    • 9
      August 22, 2011 - 14:44 | Permalink

      It was an adjustment for a lot of people. We all can listen to The Beatles any way we damn well please. But, for anyone wanting to study The Beatles, the UK releases are paramount.

    • 10
      June 15, 2014 - 15:35 | Permalink

      I completely agree: the U.S. “Rubber Soul” is an amazing, cohesive album….that matches the feel of the cover (as opposed to half of it being heavy electric/half acoustic). It rescues the best songs of side 2 of the U.K. “Help” album (which has to be one of their weakest album sides, with “Tell Me What You See” and “You Like Me Too Much”, nice as they are but slight)….I am absolutely positive that this is the album that blew Brian Wilson away as a cohesive work that prompted him to make “Pet Sounds”. “What Goes On” is not the best choice of a side two opener (and “It’s Only Love” is!), so I don’t miss that one at all, love it though I do!

      And of course, I also completely agree with Willard, the UK releases are the final word. But I do love that virtually every Beatle song has a “home” in the US releases….”Past Masters” just doesn’t cut it as an “album”.

      “Meet The Beatles” also is a fantastic album in its own right, and when I see the cover, I still immediately think of “I Want To Hold Your Hand”!

      (“Beatles VI” and “Something New” on the other hand…..)

      Thanks for posting them!

  • 11
    August 22, 2011 - 18:14 | Permalink

    This is what I grew up with. I had to put a stack of quarters on the plastic tone arm to keep it from skipping. “The Beatles Second Album” and “Something Else” are “gear”.

  • 12
    August 22, 2011 - 19:18 | Permalink

    Where is “Yesterday And Today”? I’ve recently been on an Elvis binge and similar issues exist between what was released and what makes sense historically..

    • 13
      August 22, 2011 - 19:45 | Permalink

      I wondered about that myself when these first came out. Yesterday And Today came after Rubber Soul (about a half year). Revolver also had an American release, but you gotta figure they weren’t tampering with the sound by then (I can’t remember). So why didn’t these two box set re-issues use 5 albums per box instead of 4, to include Yesterday… and Revolver? Sgt. Pepper’s was famously their first “universal” album. But then, Magical Mystery Tour was different, too. But, we forced the Brits to adopt our version on that one.

      As for Elvis, I thank my lucky stars I never got hooked collecting that catalog.

      • 14
        June 15, 2014 - 15:56 | Permalink

        Yesterday and Today uses three John songs from “Revolver” (“And Your Bird Can Sing”, “Dr. Robert”, and “I’m Only Sleeping”)….which leaves only two of his songs on the U.S. “Revolver”! (but they dominate! Both side closers, “She Said She Said” and “Tomorrow Never Knows”!). Still, “Yesterday and Today” is an interesting album and has a flow to it….it’s basically all “heavy” electric songs from “Rubber Soul”, plus “Day Tripper”, “We Can Work It Out”….with “Yesterday” and two Ringo country outings: “What Goes On” and “Act Naturally”…so it definitely feels like an album with a purpose and a unified sound (even though we all know better!)

        And I have to say, begrudgingly, “Revolver” (my favorite all time album) also flows great in the US version. It dazzles because virtually all that’s left is the extreme style-hopping! It doesn’t keep coming back to the classic “Revolver” electric sound….I remember listening to it as a kid and just being amazed at the versatility.

        That versatility is (obviously) still there on the UK version (which, of course, is definitive)….but the US version is undeniably impressive. (and all those electric songs have a great home on “Yesterday and Today”).

        (I know this is all sacrilege but what the heck…..!)

  • 15
    August 22, 2011 - 20:03 | Permalink

    Wanna take a stab at trivia? Of course, the honor system can’t work online, so it’s just to test your assumptions. According to Wiki, only two of The Beatles’ original CAPITOL albums failed to reach #1 in the US charts (they both reached #2). One was Yellow Submarine (also the only UK album not to reach #1)… what was the other? Hint, it’s in this post. Answer in the column on the far right, HERE

  • 16
    August 23, 2011 - 02:11 | Permalink

    When Capitol Records acquired United Artists Records it also acquired all US rights to the United Artists ‘A Hard Days Night’ Soundtrack album. This was the same deal under which Capitol acquired all US rights to THE BEATLES ‘Let It Be’ album which had also been previously controlled in the US by United Artists Records.
    So whatever reasoning Capitol Records had for not including remasters of the ‘A Hard Days Night’ Soundtrack album in their US reissue boxes, it was not because they did not possess the rights to do so.

    • 17
      September 13, 2013 - 22:36 | Permalink

      Historical accuracy. The original release wasn’t on Capitol. It also would have duplicated most of Something New.

  • 18
    August 23, 2011 - 09:09 | Permalink

    Thanks, Willard! I’ve been searching for the US version of HELP! on CD for quite some time, but didn’t want to buy the Capitol box. I love the instrumental stuff, especially ‘Another Hard Day’s Night’.

  • 20
    August 23, 2011 - 10:01 | Permalink

    Until I read this post I was unaware that the sound had been tinkered with.
    I was just comparing “Money” in stereo from the second album, and the mono version in the 2009 remaster, and while it may be a travesty, the reverbed version sounds more “live”.
    Thanks for this. How about the Vee-Jay album?

    • 21
      August 23, 2011 - 10:32 | Permalink

      Don’t get me started on the 2009 remasters. I’ve repeatedly stated that, as “clean” as they are, they don’t sound like The Beatles live in the studio (like the bootleg outtakes do). Instead, they sound like someone listening to The Beatles live in the studio on playback. There’s just something (kinda big) lacking, and I don’t think it’s my memory wanting something from the past. There’s a vitality missing on the 2009s, which the bottlegs – and even these reverbed American originals – illustrate.

      • 22
        June 15, 2014 - 16:08 | Permalink

        I agree, I think the 2009 remasters are VERY uneven.

        A couple of things:

        1.) They decided to remaster each song on its own, as opposed to remastering the album. This is why there are volume issues (where some songs are at a lower level than others), and some songs sound great, and others don’t. For instance, I seem to remember “Run For Your Life” sounding great….while the rest of “Rubber Soul” was not so great. Certain albums – like “Please Please Me” – sounded great (in my opinion), whereas others were uneven, or not so great (“With The Beatles” to me, was uneven, so was “Abbey Road”). On Magical Mystery Tour, the first four songs aren’t particularly an improvement at all….but then “I Am The Walrus” through “Strawberry Fields” are dazzling (again, to my ears). On Abbey Road, “Come Together” and “Something” are disappointments…..but then “Maxwell’s Silver Hammer” sounds great! (i would have preferred it the other way around!).

        2.) Even though they said they didn’t remix the tracks, they in essence remixed the tracks by isolating frequencies, and creating new mixes. This is why the bass and the drums sound kicked up and fantastic….but the guitars often do not. They actually throw off the balance in many of the songs. And the Beatles were nothing if not a guitar band! It’s not just the guitars either, for instance,If you listen to “Octopus’s Garden”, the background vocals sound great….but completely overwhelm the rest of the track. It’s just very uneven. (some songs and albums….not all).

        So I’m in total agreement with you, Willard (you little genius! This blog is great!!) about the 2009 remasters, complete disappointment, and sad to think that THESE are the versions that people may hear for the rest of time.

    • 23
      August 23, 2011 - 10:38 | Permalink

      You know… you bring up a good point. Was the Vee-Jay stuff not tampered with? My memory won’t tell me if that’s why they were so sought after in the first place, back in the day. Regardless… the Vee-Jays never made it to the CD era.

  • 24
    August 23, 2011 - 13:01 | Permalink

    The Vee-Jay was sought after because it was available before there were any Capitol releases, and there are songs that didn’t turn up again until “The Early Beatles”.
    It is one of the most counterfeited albums of all time. Both mine are fakes.

    • 25
      August 23, 2011 - 13:30 | Permalink

      I’m not sure how much “collecting” was going on in 64-65, which are the years we’re talking about. The Early Beatles may have been their 5th LP in the States, but it was still 1965, a year after they landed, and those little kids may have been buying it because of the name on the cover, but I can’t imagine it being ‘sought after’ beyond that in ’65. Which is why I’m curious if the masters they used were the original British masters (they must have been). Because, Capitol doctored their’s in-house. To me, that would explain why the album was so sought afterwards in the 70s and 80s, before the catalog became ‘organized.’ And, maybe why it was counterfeited so much. I’m speculating. I USED to know all this shit back in the day, but now… can’t remember a damn thing. I think I’m happier for it.

  • 26
    August 28, 2011 - 00:37 | Permalink

    This post just made my weekend! Awesome cap! Can’t wait to hear the original score music from Help!. Think I’ll play “In The Tyrol” as the eye of Hurricane Irene draws close to my area (about an hour from now)…. at least until I lose my power :)
    Thanks bro!

    • 27
      August 28, 2011 - 00:48 | Permalink

      If you can keep playing Help! over and over, maybe the search dogs will find you.

  • 28
    August 28, 2011 - 20:47 | Permalink

    I was raised on the UK versions and never deigned to listen to these. I always thought Capitol were just rip-off artists, especially given the chintzy 11-cut albums including singles. But I just listened carefully to the first two-plus (so far) and now I think Capitol actually did a pretty good job of selling the band, at least at the start. I don’t mind the reverb, and why shouldn’t they have cherry-picked from the then-available stock? “Please Please Me” is still my favorite album of all, and I know that’s partly sentimental but it’s also the concentrated raw freshness (or should that be fresh rawness?) and sense of sudden blossoming. But listening this way does help me to hear them again almost like new, and they are as great as ever, so thanks!

    • 29
      August 28, 2011 - 21:28 | Permalink

      Kinda what happened to us in the States when we heard the original releases. It was an adjustment, but the fanatics knew this was the way the albums were intended, thus the way they should be. Why Capitol felt the need to doctor the tapes is one thing, but, as you say, you can’t fault their marketing. It seems ludicrous today to think that no British music act had been broken in the US. Not sure how many times it was even tried. But, when The Beatles landed in America, with a crowd (some paid for) already waiting for them, already screaming… well, you have to credit The Beats’ charisma, but you gotta give Capitol some, too. Man, when I think back to things like that – that the world wasn’t even “global” then (and our technology now)… the 21st Century really makes the 20th seem like the 1800s.

      • 30
        August 29, 2011 - 12:41 | Permalink

        Cliff Richard gave it a half-hearted shot and flopped terribly, which is part of why the Beatles held back, and also why Capitol let Vee-Jay have them for a while. To put that in context, if I remember correctly, Cliff outsold the Beatles globally in 1964 — he was huge throughout the non-US English-speaking world, and indeed beyond. But then Ed Sullivan saw the English mob scenes first-hand, and the music became undeniable, and the well-placed hype kicked in and … it ain’t braggin’ if you can back it up, right?

        • 31
          August 29, 2011 - 13:07 | Permalink

          That’s sounds familiar. Wasn’t there someone else, too? Lonnie Donnegan or Tommy Steele or someone like that? In the late 50s/early 60s? Or was that when Richard tried?

          • 32
            August 29, 2011 - 17:10 | Permalink

            Lonnie Donegan had a fluke U.S. hit with “Does Your Chewing Gum Lose Its Flavor (On the Bedpost Overnight)?” in 1961, and “Rock Island Line” in 1956, but I don’t think he really counts as having conquered the U.S. market. Anyway, “My Old Man’s a Dustman” was much more betterer, and he hit the Top 20 26 times in 6 years in Britain. Cliff had occasional mild American singles successes from 1959 on, but I think it was hard going from top of the bill at home to support act here, and he made millions anyway (130+ top-20 hits so far!) so why bother.

            • 33
              August 29, 2011 - 20:21 | Permalink

              Yeah, I remember nobody even made a dent. Thanks for the info, Pete.

  • 34
    September 5, 2011 - 10:51 | Permalink

    If I’m not mistaken, “Telstar” by the Tornados (a Joe Meek production) made #1 on the Billboard chart in December 1962, but I guess it was considered a novelty fluke, due to the title (topical reference) and the fact that it was an instrumental.

    – – – – – – – – –

    Wikipedia sez:

    “Telstar” was the first U.S. number one by a British group. Up to that point, and since World War II, there had only been three British names that topped the U.S. chart: in May 1962 “Stranger on the Shore” by clarinetist Mr. Acker Bilk; the second was “He’s Got the Whole World in His Hands” by Laurie London (1958), whilst the first was “Auf Wiederseh’n Sweetheart” by Vera Lynn (1952).

    – – – – – – –

    In the summer of 1963 Del Shannon covered “From Me To You” (the first US artist to cover a Beatles song – but you all KNOW that! :) )but despite his previous successes, the cover only made it ti # 77 in the Billboard chart, probably further confirming Capitols initial reluctance to issue Beatle “product”

  • 36
    Ian of Cornwall
    September 23, 2011 - 09:02 | Permalink

    “The Brits must think we’re daft for dragging these mangled, reverb-laden old Capitol Records releases back from oblivion and into the digital age” True. I’ll have the covers though; Cheers!

  • 37
    Ian of Cornwall
    September 23, 2011 - 09:06 | Permalink

    Bollocks! I’m gonna try Help. Thanks

    • 38
      September 23, 2011 - 09:27 | Permalink

      I knew you couldn’t resist. 50 million American record buyers can’t be wrong, eh? Well… we were, but what did we know? We were just kids. Help! is probably the one worth having, for the soundtrack score if nothing else. And, it is fascinating to hear how Capitol prepped these recordings for American radio. Beyond all that, though… the covers are nice, aren’t they?

  • 39
    October 28, 2011 - 21:08 | Permalink

    Capitol didn’t do many things right, “Magical Mystery Tour” is an exception. Since I am one of the sheep that buys everything Beatles, I have to buy the Vol. 2 again since they didn’t even bother to get the first pressings correct. How can you have such a sacred collection and treat it so shittily? It was all fake mono–the giveaway is the false-start at the beginning of “I’m Looking Through You” on ‘Rubber Soul’. The true mono version does NOT have the false start–all Capitol did was “fold-down” the stereo version. errrrgh!! A pox on Capitol’s house, and God bless you Will for keepin’ on doin’ all the cool things you do!

  • 40
    October 28, 2011 - 22:52 | Permalink

    I still prefer the track listing of Meet the Beatles to that of With the Beatles. Besides the nostalgia angle, the album sounds more raw and fresh without the ‘oldies’ tracks Money, Please Mr. Postman and Roll Over Beethoven. I think Americans got the winner that time.

  • 41
    February 17, 2012 - 23:01 | Permalink

    These are the ones I found in my parents collection and made me a fan. Nice to hear these again.

  • 42
    December 12, 2012 - 01:31 | Permalink

    This is really fun getting these! I didn’t realize the American versions were so different. Thanks!

  • 43
    December 12, 2012 - 11:37 | Permalink

    No, thank you. I know these are less loved versions but I’m really enjoying them (and their covers).

  • 44
    Indiana Scott
    December 17, 2012 - 07:20 | Permalink

    Captain W: you run one of the greatest music resources that I have discovered. And I thank you for that! My boys and I have a decent music collection (vinyl/cd/mp3). I was excited to find the Capitol boxes for the obvious reason of being able to hear the albums the way we heard them on this side of the pond. My boys, who are in their twenties, thought the English versions were the sole way the Beatles’ music was released…until they started buying their own Beatles vinyl. Now, we have mp3 versions of the vinyl they recently purchased, except for one. Thanks my man!

  • 45
    July 17, 2013 - 13:07 | Permalink

    Thanks Willard

  • 46
    January 16, 2014 - 15:30 | Permalink

    many tanx! yes, so many tanx. Just a fan-xxxxxxx-tastic post.

  • 47
    June 15, 2014 - 18:14 | Permalink

    thanks much! my first LP purchase ever, was the US “HELP!” issue, followed by “Something New” in the mid 70s……my wife and i have this conversation all the time: no matter WHAT the UK releases were, THESE were the ones we all bought and grew up with….in fact when i hear the UK originals, they just aren’t the same, and maybe that’s just an emotional thing from hearing them like everyone in the US heard them……but i think “Something New” is like one their ALL TIME best sequenced early LP’s!!!!

  • 48
    June 16, 2014 - 09:45 | Permalink

    OK, well, I’m sorry, but I can’t think of these as anything other than an abomination, and yes, I grew up with them, too. Nostalgia? No, these slapped together mutilations and Capitol’s money-grubbing cheating of American fans just make me angry all over again. I was just a kid when the Beatles first were released in the US, and I followed and bought all these releases just like everyone else. It wasn’t until years later that I learned how the Capitol releases were such bastardizations of the real Beatles albums, and how we were short-changed on every album, and I was outraged. As soon as I was able I went out to purchase the British imports to finally hear the albums as they were intended, and it was a revelation. I thought (hoped) that when the CD releases came out as only modeled after the British releases, that that would be the end forever of Capitol’s betrayal, but of course, in the collector’s world of having to have every possible variation, they were bound to re-emerge, for Capitol to profit even more from these butcheries. I had no interest in downloading these when you first offered them in 2011, but refrained from making my comments then. And now that these have been served up again, I have to admit that I guess I will download them now (just for completeness and history, I guess – as you say, the Help soundtrack additions and artwork are worth something), But I doubt I will ever actually listen to these again, for me, these memories of how the albums were butchered are just too painful. Although the comments have been very surprising and interesting – to think some would say any of these are ‘better’ is just mind-boggling. So thanks anyway.

  • 49
    June 16, 2014 - 11:49 | Permalink

    Ah, well, there’s nothing logical about it, but in downloading these, I am downloading pieces of my childhood, and I am NOT going to apply critical thinking to THAT!

    Thanks, again, Willard, gonna double up the stereo versions 2 to a CD and wallow in nostalgia.

  • 50
    June 17, 2014 - 02:01 | Permalink

    also it should be pointed out (unless i missed the post about it earlier) that capitol records made a mistake when they issued vol 2 and used the wrong mono mixes on 2 albums
    rather than use the true us mono version they used fold down of the stereo mixes of rubber soul and beatles VI so in the first version of the box you got two complete albums that never existed until that box release
    that box with the error was recalled and also you could send in the wrong discs and get replacements of the correct one, hard for me to believe people did that, which is kinda like giving back 2 previously unheard beatles albums

  • 51
    June 17, 2014 - 14:47 | Permalink

    You could get the same effect by pushing the mono button your stereo.

    • 52
      June 17, 2014 - 15:04 | Permalink

      Actually, mono albums in the 60s were mixed separately – and sometimes differently – than the stereo versions. Some of them sound radically different, which is why some are in high demand. They didn’t have electronic “recall” on the mixing boards like they would have later, so every mix was unique.

  • 53
    June 21, 2014 - 10:56 | Permalink

    Granted, and inarguably, the UK canon is rightfully the real deal as far as the Fabs albums go. But listen, I have no hesitation to claim across the board classic status to most of the US albums. Yes, McCartney called them “a drag.” True, Lennon would sarcastically announce songs to American audiences by saying, “I think it’s on our latest record over here. I don’t know, I haven’t got it.” But I think these configurations are great in and of themselves. They remapped the entire American musical landscape, and certainly not because they were a bad listening experience. Who wants to keep “Can’t Buy Me Love” and “I Feel Fine” off their Beatle albums? (Er, not counting the Beatles.) “Butchered” nothing, sure we’ll take hit singles on our albums, thanks!

    While UK Rubber Soul is of course the “legitimate” version, I don’t see how anyone can call it superior. It just isn’t as cohesive and unified. The US version hangs together as a conceptual whole as much as Sgt. Pepper does. It’s magnificent. And, hell, you can’t GET a better all around snapshot of the magical, mid-period, mid-sixties Beatles as “Yesterday And Today.” It’s a phenomenal sampler, playing to all their diverse strengths; killer guitar riffs, haunting ballads, exquisite pop melodicism. And “The Beatles Second Album” is quite probably the single most hard rocking long player ever to bear their name, it kicks, it smokes, it rocks front to back. And then there’s “Meet The Beatles,” a cultural cataclysm, the atomic bomb, the big bang from which all subsequent rock and roll reverberated until Pepper changed the game once again.

    I think the US albums have their place beyond nostalgia, and deserve the hugs of those who love ’em. ‘Course, it’s a whole other can of worms regarding the remixing of the songs, the reverb Dave Dexter slopped on so much of it, and the fake stereo stuff. But there I’ll concede to nostalgia, I like ’em ’cause it was the way I first heard and loved these songs. From Sam Phillips’ atmospheric slapback to Phil Spector’s bombastic, cathedral whomp, reverb is a legitimate essence of the rock ‘n roll palette and it doesn’t exactly kill the Beatles sound. I wouldn’t pick the US mixes over what Martin, Smith and Emerick did at Abbey Road, but I like ’em. (“Ask Me Why” takes on this ethereal, late-night wistful quality for me with all the reverb. Love it that way.)

    Anyway, thanks as always Willard! I have these boxes already, but nice to see some love for them here.

    • 54
      June 22, 2014 - 21:04 | Permalink

      Mr. Anonymous, you are so right. Give yourself a name, and take a bow.

  • 55
    July 30, 2014 - 04:13 | Permalink

    Seriously, I’ve never heard or read anything before about the Capitol Records’ American version of early Beatles music. I’m kinda shocked, actually. But when I first heard the Beatles, what I liked about them was that they somehow sounded so retro. I was only 15, but already into nostalgia I guess. My first love was Ricky Nelson–my 1st 45 was “A Teenager’s Romance”, but by ’64 even Rick Nelson had lost that sound. The Beatles brought to mind the quaint twang & harmonies of earlier times (when I was 10). I always thought that their retro-y reverb-y sound was because the Beatles were from England, & England still had old style recording equipment. I guess I thought they were behind the times due to being bombed during WW II, & had only just heard about Chuck Berry & R&R. Now 50 years later I find out it was due to Capitol Records screwing with the sound? The truth is, I still love that sound, & still have “A Teenager’s Romance” too.

  • 56
    March 14, 2015 - 21:15 | Permalink

    When I found out about the incorrect mixes being released I emailed Capitol. A very helpful agent responded and took my info. A few days later the correct discs (not in the printed sleeves) were mailed to me. I didn’t have to send in the errors, so the completist in me was quite happy.

  • 57
    July 20, 2015 - 17:40 | Permalink

    Hi Will. So are these still the first pressings with “fake” mono, or the corrected 2nd pressing? Thanks, and thanks for this great site.

    • 58
      July 20, 2015 - 17:49 | Permalink

      Fake. From what I remember, Rubber Soul and Beatles VI are the fakes. I think I have digital updates for those, but haven’t taken the time to mess with them. Since I have no memory anymore, I’m forced to RE-research things all over again to decipher which is which. Then there’s the A/B listening, etc. etc. So… I’ll post them one day, perhaps.

  • 59
    July 20, 2015 - 19:59 | Permalink

    Thanks bud. When it comes to Beatles versions of the Early stuff, your head can explode if you really dive into the deep end.. Thanks for the update bud.

  • 60
    July 23, 2015 - 20:32 | Permalink

    Thanks as always Captain. Yeah, the UK versions are the canon. But the Second Album, Beatles ’65, & the US Rubber Soul are 3 of the greatest albums ever made.

  • 61
    July 24, 2015 - 12:11 | Permalink

    Culturally significant… thanks from northern Europe.

  • 62
    July 24, 2015 - 19:54 | Permalink

    Born in the UK, I was just getting into music and buying albums circa ‘Let it be’ and ‘Abbey Road’. Indeed, ‘Let it be’, the last of their albums, was the first of my Beatle purchases, after which I filled in the UK blanks. Their singles were still in print -I bought the lot- their EPs were still in print -I bought the lot. Their solo careers were commencing and, you guessed it, I bought the lot up until the late 70s, at least.

    Yes, the UK releases are the benchmark. Yes, the US releases are equally important in how they reconfigure long-known (UK) track orders, and throw things we Brits don’t expect up against each other. It’s jarring, sometimes, but that’s the excitement! That sense of jarring on hearing these for the first time, compared with…ooh, I dunno…Fabian? Cliff? It’s actually a lot of fun to listen to these and imagine America falling under the spell of their charm in these configurations. The songs, the performances are so cast-iron that they work, regardless of how present them. Ditto the Stones’ first & second UK albums (The Rolling Stones & Rolling Stone No.2, respectively) compared to ‘England’s Newest Hitmakers’ and ’12 x 5′.

    In a sense, I always think that one or two US legends -I’m thinking Prince, here- would have benefitted by having the same applied in reverse, with a composite debut album in the UK comprising the best of, say, ‘For You’, ‘Prince’ and ‘Dirty Mind’. Springsteen, too. As we got him here, in a sense, ‘debuting’ with ‘Born to run’, a composite of ‘Greetings’ and ‘The Wild…Innocent’ might have made for a more stunning introduction (or 2nd UK album) for the audience.

    Perhaps it’s a technique record labels might do well to reconsider now. We’ve never really embraced, say, Bruce Cockburn, while a reconfigured ‘debut’ (for the UK) might well have seen Bruce C regarded differently here.

    • 63
      July 24, 2015 - 20:44 | Permalink

      That’s an interesting idea… but the artists themselves would never stand for it. THEY’RE in charge these days (as much as they can be, anyway), compared to the 60s when they were pawns of the industry. Your thought is a rather “retrospective” one, looking at things after the fact… which is how you came to The Beats in the first place. Working backwards. The slicing and dicing is fun from a fan/retrospective perspective (almost like mix-taping), more than a marketing one – which is what rules these days.

      • 64
        Kwai Chang
        July 27, 2015 - 00:11 | Permalink

        I always assumed purists would have wanted cd releases of vintage albums to play side 1, side 2. Vinyl has two starting points. This had been a huge consideration…that, seemingly vanished in the five inch format. Queen II’s Side White/Side Black, for instance. Even Sgt. Pepper loses its duality in this way.
        But, then again…I would have made a third Capitol Records set for The Beatles.
        Yawnnn, we go round the mulberry bush
        pop goes the weasel
        and Bingo was his name-O
        (actually, it was Profit)
        Thanks, Willard

        ‘Capital’ Records would be too honest!

  • 65
    August 28, 2015 - 22:17 | Permalink

    Thank you, thank you, thank you!!!

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