May 04, 2007

Beatles - Sgt. Pepper's Lonely Hearts Club Band

Beatles - Sergent Pepper's Lonely Hearts club Band

History's most famous LP, Sgt. Pepper's Lonely Hearts Club Band, was Paul's idea. He commented, "I was just thinking of nice words like Sergeant Pepper and Lonely Hearts Club, and they came together for no reason. They're a bit of a brass band in a way, but also a rock band because they've got that San Francisco thing."

Having given up touring, the Beatles now focused their attention on fully exploring the possibilities of studio recording, and came up with the most consistently acclaimed rock album of all time. Recording started on November 24, 1966, but by now they were in such a position of strength that EMI could put no pressure on them to finish it for Christmas. Instead, the sessions continued until the following April, with the Beatles in virtually constant occupation of their favored Abbey Road studio. Sgt. Pepper's Lonely Hearts Club Band was finally released on June 1, 1967, and just two days later, started a staggering 22-week run at No. 1 on the U.K. album chart. A month later,with over a million advance orders, it topped the U.S. chart for 15 weeks, going on to win no fewer than four Grammies.

John Lennon: Sgt. Pepper is the one. It was a peak. Paul and I were definitely working together....

Many consider Sgt. Pepper's Lonely Hearts Club Band a "concept" album — something conceived as a package with a common theme. George Martin commented, "Sgt. Pepper's Lonely Hearts Club Band didn't start out life as a concept album but it very soon developed a life of its own. I remember it warmly, as both a tremendous challenge and a highly rewarding experience. For me, it was the most innovative, imaginative and trend setting record of its time."

Peter Blake, a prominent contemporary British artist, was hired to design the album cover. He asked each of the Beatles to list people they would like to see on the cover. The lists were compiled and became the background.

At the Beatles' insistence, the gatefold LP marked the first occurrence of an identical track listing in a UK and US Beatle album. However, only the UK version has a short section of noise, gibberish, and a 15 kilocycle pitch (not audible to humans) in the LP's run-out groove.

The record was officially released on June 1, 1967, although it was rush released on May 26. It was actually played on the BBC radio show Where It's At, on May 20.

Within one week 250,000 copies of Sgt. Pepper's Lonely Hearts Club Band sold in the UK and the record charted for an unprecedented 148 weeks.

In the US, 2.5 million copies sold within three months and the album stayed in the No. 1 spot for nineteen weeks.

The LP included a paper cut-out sheet.


Side 1
1. Sgt. Pepper's Lonely
Hearts Club Band
2. With a Little Help From
My Friends
3. Lucy In the Sky with Diamonds
4. Getting Better
5. Fixing a Hole
6. She's Leaving Home
7. Being For the Benefit
of Mr. Kite!

Side 2
1. WithinYou Without You
2. When I'm Sixty Four
3. Lovely Rita
4. Good Morning Good Morning
5. Sgt. Pepper's Lonely
Hearts Club Band (Reprise)
6. A Day In the Life

Detailed Album Information:

Release: 1 June 1967
Label: Parlophone PMC 7027 / PCS 7027


Sgt. Pepper's Lonely Heart's Club Band (2:02)
Recorded: February 1, 1967 at Abbey Road, London, England with overdubbing February 2, March 3, and March 6, 1967
John Lennon - lead guitar, background vocal
Paul McCartney - lead vocal, bass guitar
George Harrison - lead guitar, background vocal
Ringo Starr - drums
George Martin - organ
Session musicians - four horns

With a Little Help From My Friends (2:44)
Recorded: March 29, 1967 at Abbey Road, London, England with overdubs added March 30, 1967
John Lennon - background vocal
Paul McCartney - bass guitar, piano, background vocal
George Harrison - tambourine
Ringo Starr - lead vocal, drums

Lucy in the Sky With Diamonds (3:29)
Recorded: March 1, 1967 at Abbey Road, London, England with overdubs added March 2, 1967
John Lennon - lead vocal, lead guitar
Paul McCartney - bass guitar, Hammond organ, harmony vocal
George Harrison - sitar, harmony vocal
Ringo Starr - drums

Getting Better (2:48)
Recorded: March 9, 1967 at Abbey Road, London, England with overdubbing March 10, March 21 and March 23, 1967
John Lennon - lead guitar, background vocal
Paul McCartney - lead vocal, bass guitar, background vocal
George Harrison - lead guitar, tamboura, background vocal
Ringo Starr - drums, bongos
George Martin - piano strings

Fixing a Hole (2:36)
Recorded: February 9, 1967 at Regent Sound Studio, London, England with overdubbing February 21, 1967 at Abbey Road, London, England
John Lennon - maracas, background vocal
Paul McCartney - lead vocal, bass guitar, lead guitar, harpsichord
George Harrison - lead guitar, double-tracked lead guitar solo, background vocal
Ringo Starr - drums

She's Leaving Home (3:35)
Recorded: March 17, 1967 at Abbey Road, London, England with vocals overdubbed March 20, 1967
John Lennon - lead vocal, background vocal
Paul McCartney - lead vocal, background vocal
Session musicians - strings, harp

Being for the Benefit of Mr. Kite! (2:37)
Recorded: February 17, 1967 at Abbey Road, London, England with overdubbing February 20, March 28-29 and March 31, 1967
John Lennon - lead vocal, Hammond organ (main melody)
Paul McCartney - bass guitar, lead guitar
George Harrison - harmonica
Ringo Starr - drums, harmonica
George Martin - Wurlitzer organ (countermelody), piano
Mal Evans - harmonica
Neil Aspinall - harmonica

Within You Without You (5:06)
Recorded: March 15, 1967 at Abbey Road, London, England with overdubbing March 22, 1967 and April 3, 1967
George Harrison - lead vocal, tamboura
Neil Aspinall - tamboura
Indian session musicians - dilruba, tamboura, tabla, swordmandel
Session musicians - eight violins, three cellos

When I'm Sixty-Four (2:37)
Recorded: December 6, 1966 at Abbey Road, London, England with overdubs added December 8 and December 20-21, 1966
John Lennon - lead guitar, background vocal
Paul McCartney - lead vocal, bass guitar, piano, background vocal
George Harrison - background vocal
Ringo Starr - drums
Session musicians - bass clarinet, two clarinets

Lovely Rita (2:42)
Recorded: February 23, 1967 at Abbey Road, London, England with overdubs added February 24, March 7 and March 21, 1967
John Lennon - acoustic guitar, comb and paper, background vocal
Paul McCartney - lead vocal, bass guitar, piano, comb and paper, background vocal
George Harrison - acoustic guitar, comb and paper, background vocal
Ringo Starr - drums
George Martin - honky-tonk piano

Good Morning Good Morning (2:42)
Recorded: February 8, 1967 at Abbey Road, London, England with overdubs added February 16, March 13 and March 28-29, 1967
John Lennon - lead vocal, background vocal
Paul McCartney - bass guitar, lead guitar and solo, background vocal
George Harrison - lead guitar
Ringo Starr - drums
Sounds Incorporated - three saxophones, two trombones, French horn

Sgt. Pepper's Lonely Heart's Club Band (Reprise) (1:19)
Recorded: April 1, 1967 at Abbey Road, London, England
John Lennon - lead vocal, lead guitar, maracas
Paul McCartney - lead vocal, bass guitar
George Harrison - lead vocal, lead guitar
Ringo Starr - drums

A Day in the Life (5:33)
Recorded: January 19, 1967 (basic track) and February 10, 1967 (orchestral track) at Abbey Road, London, England with the final-chord ending overdubbed February 22, 1967
John Lennon - lead vocal (first, second and last verses), acoustic guitar, lead guitar
Paul McCartney - lead vocal (middle section), piano, conducts the forty-one-piece orchestra
Ringo Starr - drums
Lennon, McCartney, Starr, Mal Evans - three pianos (final chord)
George Martin - harmonium
Mal Evans - alarm clock
Session musicians - forty-one-piece orchestra

Producer: George Martin
Engineers: Geoff Emerick, Malcolm Addey, Adrian Ibbetson, Peter Vince, Ken Townsend
Second engineers: Graham Kirkby, Richard Lush, Phil McDonald, Keith Slaughter
Photography: Michael Cooper
Score: Mike Leander
Design: Peter Blake, Jann Haworth, MC Productions & The Apple
Art Direction, Liner Notes: Peter Blake

George Harrison: Vocals, Guitar, Harmonica, Sitar, Tamboura, Tambourine
John Lennon: Percussion, Vocals, Guitar, Hammond Organ, Marimbas, Rhythm Guitar
Paul McCartney: Conductor, Vocals, Bass Guitar, Guitar, Hammond Organ, Harpsichord, Piano
Ringo Starr: Drums, Vocals, Bongos, Harmonica

Michael Barnes: Tuba
Sheila Bromberg: Harp
Tristan Fry: Percussion
Roger Lord: Oboe
Marijke: Tambourine

Flutes: David Sandeman, Clifford Seville
Violins: Trevor Williams, Donald Weekes, Ernest Scott, Sidney Sax, Lionel Bently, Dean Bradley, Henry Datyner, Jose Garcia, Hans Geiger, Erich Gruenberg, Jurgen Hess, Derek Jacobs, Granville Jones, David McCallum, Bill Monroe
Violas: John Underwood, Stephen Shingles, John Meeks, Bernard Davis, Gwen Edwards
Horns: Neil Sanders, Tony Randall, James W. Buck, John Burden, Alan Civil
Clarinets: Basil Tschaikov, Frank Reidy, Henry MacKenzie, Jack Brymer, Robert Burns
Cellos: Dennis Vigay, Alex Nifosi, Francisco Gabarro, Alan Dalziel
Trumpet: Monty Montgomery, Harold Jackson, David Mason, Dave Mason
Saxophones: Alan Holmes, David Glyde, Barrie Cameron
Trombones: T. Moore, Raymond Premru, John Lee, Ray Brown
Bassoon: Alfred Waters, N. Fawcett
Double Bass: Gordon Pearce, Cyril Macarthur

May 03, 2007

Beatles - Magical Mystery Tour

Beatles - Magical Mystery Tour

Magical Mystery Tour
The Beatles' third movie, Magical Mystery Tour, was a self directed 50 minute film for television. Filmed between September 8 and November 3, 1967, the group and a cast of circus freaks take a "magical" coach trip through the English countryside.

The album that never really was, Magical Mystery Tour was conceived as a lavish EP soundtrack to the Beatles' Christmas TV movie. Musically it was far superior to the film it accompanied, with the songs continuing in the quintessentially English psychedelic music-hall style developed on Sgt. Pepper. With an early December release, the EP was held off the U.K.'s No. 1 single slot only because that was already occupied by the Beatles' "Hello Goodbye." With the addition of an impressive clutch of recent singles, the EP was transformed into an album for U.S. release, where it earned over $8 million in its first three weeks.

John Lennon: Paul made an attempt to carry on as if Brian [Epstein] hadn't died by saying, "Now, now, boys, we're going to make a record...." Magical Mystery Tour was something he [Paul] had worked out....

George Harrison: "[Magical Mystery Tour] was Paul's idea. It was basically a charabanc trip which people used to go on from Liverpool to see the Blackpool lights. And they'd get, you know, loads of crates of beer and an accordion player and all get pissed, basically, pissed in the English sense meaning drunk, and you just go to see Blackpool lights. And it was kind of like that, it was a very flimsy kind of thing..."

Parlophone notified Capitol that it intended to release Magical Mystery Tour as an EP. Capitol refused to follow suit, already having produced two poor selling Beatle EPs. Instead, Capitol produced this LP, putting the EP tracks on side one and several single tracks to fill out side two. Included was a 24-page booklet glued to the inside of the gatefold sleeve.

The Magical Mystery Tour film debuted on British television on December 26, 1967, and was a critical failure, giving it limited exposure in the US. The music was much more successful; the LP went to No. 1, with eight million dollars in sales the first three weeks of its release. It was the last US Beatle album available in mono.

Strawberry Fields Forever and Penny Lane were recorded during the Sgt. Pepper's Lonely Hearts Club Band sessions in late 1966.

Side 1
1. Magical Mystery Tour
2. The Fool On the Hill
3. Flying
4. Blue Jay Way
5. Your Mother Should Know
6. I Am the Walrus Side 2
1. Hello Goodbye
2. Strawberry Fields Forever
3. Penny Lane
4. Baby You're a Rich Man
5. All You Need Is Love

Beatles - The Beatles - White Album

The Beatles - White Album

The Beatles
Many of the songs on this double LP were influenced by a February 1968 trip to India where the Beatles meditated with the Indian guru, Maharishi Mahesh Yogi. Despite the Beatles' individual rejuvenation resulting from the trip, the album was the least joint effort to date. On a few of the songs, Paul played drums because Ringo walked out of the sessions. Many were solo efforts with none of the other Beatles contributing to the song. The recording sessions also included John's new girlfriend Yoko Ono, a disruption the others were not prepared for and did not welcome. George Martin wanted to cut the total number of songs to their best 14 or 16 but the group refused.

In its plain white gatefold cover, The Beatles became instantly known as "The White Album". A one-time working title was A Dolls' House and it was the first Beatle LP released on the group's Apple label. The UK sleeve is unique in that the record disk openings are at the top instead of the side.

Suitably edited, it would have made a magnificent single album, but most of what should have been thrown away was instead thrown to the fans, who, Beatle-starved for 18 months since Sgt. Pepper, were thrilled to have anything at all. In effect, each Beatle wrote and recorded his tracks separately, and for every moment of genius ("I'm So Tired," "I Will," "Julia") there's a "Martha My Dear," a "Rocky Raccoon," or a "Revolution 9." Recording began on May 30, 1968, and ended on October 15, with each track taking an average of 30 hours. Released on November 21, it hit No. 1 in the U.K. on December 7. After only five days on sale in America, Newsweek reported sales of 1.1 million copies.

George Harrison: ...there [were] a lot of songs that should've just maybe been elbowed or made into B-sides.

Record 1 Side 1
1. Back In the U.S.S.R.
2. Dear Prudence
3. Glass Onion
4. Ob La Di, Ob La Da
5. Wild Honey Pie
6. The Continuing Story
of Bungalow Bill
7. While My Guitar Gently
8. Happiness Is a Warm Gun

Record 1 Side 2
1. Martha My Dear
2. I'm So Tired
3. Blackbird
4. Piggies
5. Rocky Raccoon
6. Don't Pass Me By
7. Why Don't We Do It In
the Road?
8. I Will
9. Julia

Record 2 Side 3
1. Birthday
2. Yer Blues
3. Mother Nature's Son
4. Everybody's Got Something
To Hide Except Me and
My Monkey
5. Sexy Sadie
6. Helter Skelter
7. Long, Long, Long

Record 2 Side 4
1. Revolution 1
2. Honey Pie
3. Savoy Truffle
4. Cry Baby Cry
5. Revolution 9
6. Good Night

Beatles - Abbey Road

Beatles - Abbey Road

Recorded after Let It Be but released before it, Abbey Road is the last great Beatles album, but even here, almost half the material was cleverly crafted by McCartney to use up fragments of tunes that the band couldn't, or wouldn't, flesh out into complete songs. It's a tribute to his arranging skills that, as a listening experience, Abbey Road is so consistently enjoyable. Six months in the cobbling together, it was released on September 26, 1969, spending 11 weeks at No. 1 in both the U.S. and U.K.

Paul McCartney: I was getting into a lot of musical ideas; the medley on the second side--I was really up on that.

After the Get Back/Let It Be sessions, the band was breaking up and each Beatle was thinking of a solo career. Paul asked George Martin to produce a new album with the condition that the recording be done like "in the old days".

The album title refers to EMI Studios on Abbey Road where the Beatles recorded most of their songs. Another title for the album was Everest, a brand of cigarettes Geoff Emerick, their engineer, smoked. In fact, a trip to photograph the album cover in the Himalayas was suggested but was dismissed due to time constraints.

For the actual cover, the Beatles were photographed crossing Abbey Road in front of Abbey Road studios wearing what they came to work in. Paul, barefoot, wore sandals to work.

Side 1
1. Come Together
2. Something
3. Maxwell's Silver Hammer
4. Oh! Darling
5. Octopus's Garden
6. I Want You (She's So Heavy) Side 2
1. Here Comes the Sun
2. Because
3. You Never Give Me Your Money
4. Sun King
5. Mean Mr. Mustard
6. Polythene Pam
7. She Came In Through
the Bathroom Window
8. Golden Slumbers
9. Carry That Weight
10. The End
11. Her Majesty

May 02, 2007

Beatles - Let It Be and Let It Be Naked

Let It Be

Recorded in January 1969 at Twickenham Film Studios just outside London, Let It Be was a miserable experience for all concerned. The Beatles were constantly filmed while making the album in the process of falling apart. They were so dispirited that, having recorded the tracks, none of them could be bothered to do the necessary post-production work, which was delegated first to producer George Martin, then to Glyn Johns, and finally to Phil Spector. Their unlucky 13th, and last, album, Let It Be was released on May 8, 1970, in the U.K., topping the chart two weeks later. In America, with 3.7 million advance orders, it achieved the highest initial sale of any album in history, and subsequently picked up an Oscar as best Soundtrack of the Year.

George Martin: We'd do take after take after take--and then John would be asking whether Take 67 was better than Take 39. I'd say, "John, I honestly don't know." "You're no f***ing good then, are you?" he'd say. That was the general atmosphere.

John Lennon: It was a dreadful, dreadful feeling in Twickenham Studios being filmed all the time. You couldn't make music at 10 in the morning, or whatever it was, with people filming you and colored lights.

Engineer Glyn Johns edited the original session tapes into a a finished album called Get Back. The Beatles could not agree on the final product and the entire project was shelved for over a year until Allen Klein, the Beatles' new manager, dusted it off.

Klein wasn't happy with the quality of the tapes Johns had edited and hired Phil Spector to produce a soundtrack album, giving him the formidable task of sifting through hundreds of hours of studio and live tapes to produce something marketable. Spector, who had never worked with the Beatles before, added orchestrations and female choruses. The resulting record was a disappointment to many Beatle fans and the Beatles themselves. Still, Let It Be was a No. 1 record.

John Lennon: By the time we got to 'Let It Be', we couldn't play the game anymore; we couldn't do it anymore. It came to the point where it was no longer creating magic, and the camera, being in the room with us, sort of made us aware of that, that it was a phony situation ... "It was hell making the film Let It Be. When it came out, a lot of people complained about Yoko looking miserable in it. But even the biggest Beatle fan couldn't have sat through those six weeks of misery. It was the most miserable session on earth.

Paul McCartney: In fact, what happened, when we got in there, we showed how a break-up of a group works. We didn't realize that we were sort of breaking up as it was happening.

George Harrison: As everybody knows, we never had much privacy and, you know, this thing that was happening was they were filming us rehearsing. There was a bit of a row going on between Paul and I. You can see it, where he's saying, 'Well don't play this', or something and I'm saying, 'Well, you know I'll play what you want or I won't play if you don't want it, you know, just make up your mind.' That kind of stuff was going on. And they were filming us, recording us having a row, you know, it was like, terrible really. I thought, 'I'm quite capable of being relatively happy on my own and I'm not able to be happy in this situation, you know, I'm getting out of here.'

Ringo Starr: I think everyone was getting a little tired of us by then because we were taking a long time and there were many discussions going on by then — many heated discussions."

By the end of 1970, the Beatles had sold over 500 million records.

Side 1
1. Two of Us
2. Dig a Pony
3. Across the Universe
4. I Me Mine
5. Dig It
6. Let It Be
7. [Maggie Mae]
Side 2
1. I've Got a Feeling
2. One After 909
3. The Long and Winding Road
4. For You Blue
5. Get Back

Let It Be . . . Naked

How much better, you could be forgiven for wondering, could Let It Be be? The answer, perhaps surprisingly, is "a bit". Let It Be, while obviously better than almost everything ever recorded by anyone else, was compromised by the fact that the Beatles were disintegrating as a unit during the recording sessions, the rancour most famously illustrated by John Lennon calling in Phil Spector behind Paul McCartney's back to rework "The Long and Winding Road". Let It Be... Naked, then, is the album as the Beatles would have heard it while they were making it.

Side 1
1. Get Back
2. Dig A Pony
3. For You Blue
4. The Long And Winding Road
5. Two Of Us
6. I've Got A Feeling Side 2
7. One After 909
8. Don't Let Me Down
9. I Me Mine
10. Across The Universe
11. Let It Be

How Apple Constructed Let It Be Naked-
The Naked Truth About The Beatles' Let It BeNaked
Jan 1, 2004 12:00 PM, By Matt Hurwitz – Mix Magazine

Ever wondered what The Beatles' Let It Be album would have sounded like had it been properly completed instead of released as a companion disc to their 1970 fly-on-the-wall motion picture of the same name? Such was the charge given to EMI's Abbey Road Studios by the group's Apple Corps Ltd. The result is the recently released Let It Be…Naked (Apple/Capitol-EMI).

After the tumultuous sessions for the 1968 album The Beatles (aka, The White Album), the Fabs regrouped at Twickenham Film Studios in London in January 1969 to make a TV special showing the group rehearsing and recording an album. The concept was a “warts and all” view of the band with no overdubs; everything was as live as possible. After those sessions broke down, the production moved to the basement studio of The Beatles' own Apple offices, where recording continued through the month. The sessions culminated in a historic live performance (The Beatles' last) on the office's rooftop on January 30 of the same year with their new temporary “fifth Beatle,” keyboardist Billy Preston (himself an Apple recording artist by the end of the sessions), who played on the studio recordings, as well.

Glyn Johns, who had recorded the sessions, was given the task of mixing and compiling the recordings into an LP (originally titled Get Back) in May of that year, though the group chose not to release it. Johns tried a second compilation in January 1970, though that version also failed to see the light of day. John Lennon, on new manager Allen Klein's advice, brought in legendary producer Phil Spector to revamp the album in March 1970, which he did, adding orchestration to three tracks and editing others. The result — with studio chatter and quips intact — was the May 1970 Apple release Let It Be, The Beatles' last original album (although , which came out in 1969, was actually recorded after Let It Be).

In February 2002, following a chance meeting of Paul McCartney and the film's original director, Michael Lindsay-Hogg, Abbey Road veteran Allan Rouse received a call from Apple's Neil Aspinall asking him to take a stab at remixing the album. Rouse had acted as project coordinator for a number of Beatles remix projects, among them The Beatles Anthology, Yellow Submarine Songtrack and Lennon's Imagine. While the task for those projects had always been to re-create the original mixes known to millions of fans using current technology, the charge for the Let It Be project was different.

“This was not an attempt to remaster an existing album,” Rouse says. “We were asked to make it sound the way the band had believed the finished album was going to sound.” This meant, for the most part, producing mixes that reflected only what the four bandmembers (or five, including Preston) could play live: no overdubbed guitars or vocals, and certainly no orchestras.

In addition, all of the between-song chatter, breakdowns, jokes and ditties — including “Maggie Mae” and the “Dig It” jam — were dropped. Says Rouse, “They just didn't really fit in with an album of 11 songs and neither did the dialog. Those little bits were fine for a soundtrack album, which Glyn's was, but they didn't fit comfortably with the concept of a straight album.”

Rouse tapped two young staff engineers, Paul Hicks and Guy Massey, for the job. Both had worked on prior Beatles projects (and had, coincidentally, started at the studio on the same day in 1994), including the 5.1 surround mixes for the recently released The Beatles Anthology DVD set.

The group took a team approach, making decisions democratically, each chipping in suggestions but deciding with one voice. During a two-week period, the three listened to all 30 reels of 1-inch 8-track session tapes, which had been recorded through a pair of borrowed 4-track consoles onto a 3M 8-track machine. As a reference, the producer/engineers also studied the released Spector album and both of Johns' versions. “We mainly listened to identify the takes they used,” says Rouse. They also noted where Spector had made any edits, deciding if there was a good reason to either keep or discard those edits. “As it turns out, Glyn and Phil had done most of the legwork. We ended up using the vast majority of their takes.”

But because the group's mission was to make the best possible album, they didn't limit themselves to what had been done previously. “Once we started, we would A/B against the Spector disc to see if what we were doing was an improvement,” says Massey.

Upon listening to the tapes in Rouse's room at the studio, they were transferred into Pro Tools 5.2 using a Prism Sound Dream ADA 8 A/D converter. And, as part of the improvement process, once the recordings were in the digital world, the engineers began researching which takes were the best performances, and, if more than one take of a song had strong attributes, trial edits were made to see what combination would make the best overall performance. “Once we had the building blocks in the digital domain,” says Massey, “we'd delve into a bit more detail. If there were fluffed lines or pops, etc., if there was another take without the errors, we'd try inserting that part from the other take.”

Adds Hicks, “Sometimes we did the tiniest little things. If something wasn't quite right — if there was a bend in a note or something — we did actually replace it with a slightly better one. Again, our main theme was to make it as strong as possible.”

The live rooftop recordings offered their own special challenges, given that the band was playing on a blustery winter day. Because the group was being filmed, the film crew had chosen an unobtrusive vocal microphone during the sessions, the Neumann KM84i, which features a small capsule on the end of an extension tube, with the mic's preamp located at the bottom near the floor. (The mic was commonly used for TV talk shows and awards programs.) The same mics were brought upstairs to the roof, where second engineer Alan Parsons simply tied clippings of pantyhose over the capsules to act as windscreens. “The wind noise was actually quite manageable,” says Hicks. “It was really only when they weren't singing that you could hear it.” For the inevitable hard consonants and mic pops, “We mainly handled that with a combination of filtering and EQ,” notes Hicks. A small amount of de-noising was done using an analog Behringer dynamic filter.

The following is a breakdown of what was done to each Let It Be…Naked track (in running order, along with the mix engineer's name in parentheses):

“Get Back” (Hicks): While Johns and Martin used a master recorded on January 28, 1969, for the aborted LP and released single, Spector had used a recording from the day before, and the same master is used on this album. Notably absent is the song's coda, which appeared on the single. “It turns out that the coda had been recorded as an edit piece four or five reels later,” explains Hicks. “Since it wasn't on the original session recording for the song, it wouldn't have represented what actually took place in the studio during that take, so it was decided to leave it off.”

“Dig a Pony” (Massey): Those who've heard bootlegs of Johns' mixes know the song originally featured an “All I Want Is You” intro and outro, which Spector removed for his LP. “The tuning is particularly bad in the beginning,” says Massey, prompting the decision to eliminate them in the new version, as well.

“For You Blue” (Hicks): Using the same master as Spector used, Hicks mainly focused on keeping the sounds bright and clear. What was interesting, he says, was learning about the unique sound McCartney got out of his piano. “It's a fuzzy, metallic sound, which he did by putting a piece of paper in the piano strings, causing them to vibrate against the paper when struck. You can hear on the session tape Paul's fiddling around, trying to get the right sound.” And because McCartney is playing piano, he does not play bass on the song. “The bass comes from the piano,” says Hicks, with McCartney playing a bass line on the keys. George Harrison's vocal, it turns out, was one of the few overdubs used. “We took out his live vocal, which was basically a guide vocal. It wasn't a complete take, really, and I don't think it was ever intended to be used.”

“The Long and Winding Road” (Hicks): Perhaps the greatest achievement on the album is the improvement to this track, easily accomplished by removing Spector's overblown orchestra. Actually, though, the master on Let It Be…Naked is not even the one used by Spector; it's the only take on the album that was changed in its entirety. The group returned to the Apple basement the day after their rooftop show to record three more songs, this one among them. Says Rouse, “Spector had used one take recorded five days earlier.” “This version, recorded on January 31, we felt was a stronger basic performance,” says Hicks. “There's also a slight lyric change,” adds Rouse, who suggests that, this being the later recording, it represents McCartney's final lyric choice.

As a listening experience, it's a first for Beatles fans to hear them play the song instead of an orchestra. The recording features McCartney on piano, Harrison playing lead guitar through a Leslie speaker, Lennon on a newly acquired Fender Bass VI and Ringo Starr keeping light time with his hi-hat.

“Two of Us” (Massey): The same master used by Spector, also from January 31, 1969, features Lennon and McCartney on acoustic guitars, Harrison on electric and Starr providing a simple bass drum/snare/tom beat. By the way, Starr's drums were typically recorded onto a single track, precluding mixing them into stereo. Small amounts of de-essing and rumble filtering were also performed.

“I've Got a Feeling” (Massey/Hicks): A rooftop recording, this song was edited by Massey before being mixed by his colleague. Massey used the best of each of two rooftop takes of the song, creating a version, Hicks says, with the most energy. And while Johns had opted for a studio recording of the song for his version of the album, there was no beating the live performances. Notes Hicks, “I don't know if it was just the fact that they were playing live and knew it or just because they were so cold, but there was just so much more energy in the live recordings.” Sonically, he notes, the live recordings — minus the wind and pops — are not much different from their studio counterparts, making a surprisingly good match when listening to the album.

“One After 909” (Hicks): Another rooftop performance, though, interestingly, the team did consider using a studio version. “We did research to see if there was another version,” says Hicks. “But it was just much slower, and it had a completely different feel. There was no contest, really. It's one of the more up-tempo numbers, so we went with the live one.” Hicks is proudest of his drum sound, bringing Starr out to the fore. “We found so many details we wanted to bring out, which we tried our best to do. Everything is a lot more focused.”

“Don't Let Me Down” (Hicks/Massey): Though not included on Spector's album, this song was a product of those sessions. A studio version from January 28, 1969, was released as the B-side to the “Get Back” single. This version, however, is an edit of the two rooftop versions. The Beatles recorded a second take because Lennon forgot the lyrics during the first take.

“I Me Mine” (Massey): This song was not originally recorded at Apple in January 1969, though Harrison is seen in the film playing it briefly at Twickenham. In January 1970, Harrison, McCartney and Starr recorded a studio version of the song, with Harrison playing acoustic guitar and singing a guide vocal, McCartney on bass and Starr on drums for the master take. Electric piano, electric guitar, lead vocal, backing vocals, organ and a second acoustic guitar were added as overdubs. The recording was a brief 1:34 in length, so before adding his orchestra, Spector lengthened it by repeating one of the verses, resulting in a 2:25 final master. The Naked team decided to leave in the overdubs — which made the recording complete as The Beatles had envisioned it — and Spector's edit. “We were originally going to do it unedited,” says Massey, “but if you listen to it at that length, it's just far too short.” Jokes Rouse, “That was our one concession to Mr. Spector.” Massey also built up the mix as the song progressed by adding elements of the mix as the song enters the second verse.

“Across the Universe” (Massey): Again, while no studio recordings of this song were made at Apple, Lennon is seen playing the song at Twickenham in the film. “Across the Universe” was actually recorded a year earlier, in February 1968, at the same Abbey Road sessions that produced “Lady Madonna” and “Hey Bulldog.” The basic track featured Lennon on acoustic guitar, his vocal and a tom-tom (all recorded onto one track), with Harrison playing a tamboura. At the time, George Martin had added background vocals and animal sound effects. Spector's version removed the latter two parts, as well as the tamboura, replacing them with an orchestra and a choir.

The new mix features Lennon's guitar and vocal, Starr's drums and the tamboura. “Again, because the concept was whatever the guys could play live onstage, we took everything else away,” says Rouse. The ending has been given a spiritual touch, with a building echo (via real Abbey Road tape delay) added.

“Let It Be” (Massey): another recording from January 31, 1969, the day after rooftop, with McCartney on piano, Lennon on Fender Bass VI, Harrison on lead guitar (through a Leslie), Starr on drums and Preston on organ. Three months later in April, Martin added a new electric guitar lead from Harrison, and in January 1970, added backing vocals from McCartney and Harrison, brass and cellos and yet another pass at a Harrison lead. Martin produced the single release of the song, issued in March 1970 (pre-Spector), featuring the April 1969 guitar solo. Upon Spector's arrival, the song was lengthened by repeating a chorus and issued featuring the January 1970 guitar lead.

The new version features the same master and uses a few edits from other takes, most notably the Harrison guitar solo that came from the take of the song that appears in the film. “We'd always thought that the guitar lead in the version in the film was just really soaring,” says Massey. “We edited it in, just as a trial take, and we all thought it sounded great.”

The album comes with a 22-minute companion “fly-on-the-wall” dialog/music disc put together by the BBC's Kevin Howlett and engineer Brian Thompson. Howlett listened to more than 80 hours of tapes, recorded in mono by the film crew during both the Twickenham and Apple sessions, discovering a number of previously unknown Lennon/McCartney tunes (which are included on the disc), as well as some other surprises. “I had expected to hear the kind of disagreements and arguing we've all heard about,” Howlett tells Mix. “Instead, I heard the bandmembers actually having a good time. By the end, they were, in fact, quite excited about what they were doing.”

Remixing an album by the greatest rock band of all time can be, well, daunting. “It's hard to make it as up-to-date as stuff nowadays, because it wasn't recorded these days,” says Massey. “From that point of view, it was a challenge to make it sound as punchy and as present as possible. But it's a good representation of what they were like then.”

Adds Hicks, “We all collectively felt that we wanted it to stand along all the other Beatles albums, and hopefully, we've achieved that.”

Beatles - Greatest Hits 1962 - 1966 - Red

Beatles Red 62-66

The closest the Beatles came to a greatest hits package, this document of the early part of their career features hit singles (in chronological order) and selected album tracks, running from "Love Me Do" through the groundbreaking Rubber Soul and Revolver albums. While this may be an excellent intro for beginners, real fans will never be content with only selections, especially when you're dealing with those aforementioned albums. Capitol packages the collection on two discs, copying the original vinyl version--but, of course, CDs hold more music than records did. Still, you do get 26 bona fide classics, so there's no real need to complain.

Record 1 Side 1
1. Strawberry Fields Forever
2. Penny Lane
3. Sgt. Pepper's Lonely
Hearts Club Band
4. With a Little Help
from My Friends
5. Lucy in the Sky With Diamonds
6. Day in the Life
7. All You Need Is Love
Record 1 Side 2
1. I Am the Walrus
2. Hello, Goodbye
3. Fool on the Hill
4. Magical Mystery Tour
5. Lady Madonna
6. Hey Jude
7. Revolution

Record 2 Side 3
1. Back in the U.S.S.R.
2. While My Guitar Gently Weeps
3. Ob-La-Di, Ob-La-Da
4. Get Back
5. Don't Let Me Down
6. Ballad of John and Yoko
7. Old Brown Shoe
Record 2 Side 4
1. Here Comes the Sun
2. Come Together
3. Something
4. Octopus's Garden
5. Let It Be
6. Across the Universe
7. Long and Winding Road

Beatles - Greatest Hits 1967 - 1970 Blue

Beatles Blue 67-70

Even as the Beatles began heading toward an inevitable break-up, their prolific ways continued; this two-record look back only skims the surface of their later achievements. Excerpts from Sgt. Pepper, Magical Mystery Tour, the white album, Abbey Road, and Let It Be compete for space with classic singles that do as much or more to prove their eclecticism: the epic ballad "Hey Jude", the plaintive "Strawberry Fields Forever", straight rock & roll of all stripes from the plainspoken "Revolution" and "Get Back" to the surreal "Come Together". Decades after the split, this (and its companion set of 1962-1966 cuts) remains a favoured introduction for young listeners and a key sampler for veteran fans.

Record 1 Side 1
1. Love Me Do (Single Version)
2. From Me To You
3. Thank You Girl
4. She Loves You
5. I'll Get You
6. I Want To Hold Your Hand
7. This Boy
8. Komm, Gib Mir Deine Hand
(I Want To Hold Your Hand)
9. Sie Liebt Dich (She Loves You)

Record 1 Side 2
1. Long Tall Sally
2. I Call Your Name
3. Slow Down
4. Matchbox
5. I Feel Fine
6. She's a Woman
7. Bad Boy
8. Yes It Is
9. I'm Down
Record 2 Side 3
1. Day Tripper
2. We Can Work It Out
3. Paperback Writer
4. Rain
5. Lady Madonna
6. Inner Light
7. Hey Jude
8. Revolution
Record 2 Side 4
1. Get Back
2. Don't Let Me Down
3. Ballad of John and Yoko
4. Old Brown Shoe
5. Across the Universe
6. Let It Be
7. You Know My Name
(Look up the Number)

Beatles - Past Masters - Volume 1 and 2

Past Masters Volume 1 & 2

Although they were probably the band that most transformed rock from a singles medium to an album-oriented form, the Beatles also released many singles and EP tracks that never made it onto albums. In the U.S., Capitol turned the group's early LPs, through Sgt. Pepper's Lonely Hearts Club Band, into compilations, more or less, throwing the hit singles onto the vinyl to augment the album tracks. When the label later released the U.K. albums on CD, it posed a problem: What to do with the non-LP singles? Past Masters, Volume 1 compiles 18 of those singles, including some of their best-known tracks, running from "Love Me Do," "She Love You," "I Want to Hold Your Hand," and "This Boy" to "I Feel Fine" and Paul's homage to Little Richard, "I'm Down." Essential stuff.

Volume 1 - Track Listings

1. Love Me Do (Single Version)
2. From Me To You
3. Thank You Girl
4. She Loves You
5. I'll Get You
6. I Want To Hold Your Hand
7. This Boy
8. Komm, Gib Mir Deine Hand (I Want To Hold Your Hand)
9. Sie Liebt Dich (She Loves You)
10. Long Tall Sally
11. I Call Your Name
12. Slow Down
13. Matchbox
14. I Feel Fine
15. She's a Woman
16. Bad Boy
17. Yes It Is
18. I'm Down

Volume 2 - Track Listings

1. Day Tripper
2. We Can Work It Out
3. Paperback Writer
4. Rain
5. Lady Madonna
6. The Inner Light
7. Hey Jude
8. Revolution
9. Get Back
10. Don't Let Me Down
11. The Ballad Of John And Yoko
12. Old Brown Shoe
13. Across The Universe
14. Let It Be
15. You Know My Name (Look Up The Number)

Beatles - Live At The BBC


The Beatles - Live at the BBC

The surviving members of the Fab Four spent much of the 1990s belatedly reuniting to document, promote, and occasionally awkwardly burnish their unparalleled pop music legacy. This double-disc anthology of live-in-the-studio performances originally recorded specifically for the BBC during the most frantic years of early Beatlemania was the first chapter in that effort and the first issuance of previously unreleased Beatles recordings since the late '70s. In many ways, it remains the most artistically revealing.

Track Listings
Disc: 1
1. Beatle Greetings [Speech] - The Beatles, Tony Hall
2. From Us to You [#]
3. Riding on a Bus [Speech] - The Beatles, Brian Matthew
4. I Got a Woman [#]
5. Too Much Monkey Business [#]
6. Keep Your Hands off My Baby [#]
7. I'll Be on My Way [#]
8. Young Blood [#]
9. Shot of Rhythm and Blues [#]
10. Sure to Fall (In Love With You) [#]
11. Some Other Guy [#]
12. Thank You Girl
13. Sha la la la La! [Speech]
14. Baby It's You
15. That's All Right (Mama) [#]
16. Carol [#]
17. Soldier of Love (Lay Down Your Arms) [#]
18. Little Rhyme [Speech] - The Beatles,
19. Clarabella [#]
20. I'm Gonna Sit Right Down and Cry (Over You) [#]
21. Crying, Waiting, Hoping [#]
22. Dear Wack! [Speech] - The Beatles, Brian Matthew
23. You Really Got a Hold on Me
24. To Know Her Is to Love Her [#]
25. Taste of Honey
26. Long Tall Sally
27. I Saw Her Standing There
28. Honeymoon Song [#]
29. Johnny B. Goode [#]
30. Memphis [#]
31. Lucille [#]
32. Can't Buy Me Love
33. From Fluff to You [Speech]
34. Till There Was You
Disc: 2
1. Crinsk Dee Night [Speech]
2. Hard Day's Night
3. Have a Banana! [Speech]
4. I Wanna Be Your Man
5. Just a Rumor [Speech] - The Beatles, Alan Freeman
6. Roll over Beethoven
7. All My Loving
8. Things We Said Today
9. She's a Woman
10. Sweet Little Sixteen [#]
11. 1822! [Speech]
12. Lonesome Tears in My Eyes [#]
13. Nothin' Shakin' (But the Leaves on the Trees) [#]
14. Hippy Hippy Shake [#]
15. Glad All Over [#]
16. I Just Don't Understand [#]
17. So How Come (No One Loves Me) [#]
18. I Feel Fine
19. I'm a Loser
20. Everybody's Trying to Be My Baby
21. Rock & Roll Music
22. Ticket to Ride
23. Dizzy Miss Lizzy
24. Medley: Kansas City/Hey! Hey! Hey! Hey!
25. Set Fire to That Lot! [Speech] - The Beatles,
26. Matchbox
27. I Forgot to Remember to Forget [#]
28. Love These Goon Shows! [Speech]
29. I Got to Find My Baby [#]
30. Ooh! My Soul [#]
31. Ooh! My Arms [Speech]
32. Don't Ever Change [#]
33. Slow Down
34. Honey Don't [#]
35. Love Me Do

Beatles - 1 - 27 Greatest Hits

The Beatles 1

Proving yet again their willingness to dice 'n' slice their burgeoning legacy into new--if not exactly fresh--product, the Fab Four Minus One released this single disc compendium of their No. 1 hits. Though obviously superfluous to long-time Fabs faithful (who may also find themselves quibbling over the precise definition of "No. 1 hit" and the exclusion of seeming contenders like "Please Please Me" and "Strawberry Fields"), newly arrived visitors from the Pleiades star cluster and other neophytes will find it a concise and generous (nearly 80 minutes) single-disc introduction to the band's career-spanning, unparalleled dominance of pop music in the 1960s and beyond. But more than merely a trophy case of commercial success (and it won't be hard to find people to argue that these singles aren't even the band's best work), 1 is also a quick sketch of a remarkable seven-year musical evolution, one that stretches from the neo-skiffle of "Love Me Do" through a remarkable synthesis of R&B, rockabilly, Tin Pan Alley, gospel, country and classical that still defies efforts to effectively deconstruct it.

Beatles 1 - Track Listings

1. Love Me Do
2. From Me to You
3. She Loves You
4. I Want to Hold Your Hand
5. Can't Buy Me Love
6. A Hard Day's Night
7. I Feel Fine
8. Eight Days a Week
9. Ticket to Ride
10. Help!
11. Yesterday
12. Day Tripper
13. We Can Work It Out
14. Paperback Writer
15. Yellow Submarine
16. Eleanor Rigby
17. Penny Lane
18. All You Need Is Love
19. Hello Goodbye
20. Lady Madonna
21. Hey Jude
22. Get Back
23. The Ballad of John & Yoko
24. Something
25. Come Together
26. Let It Be
27. The Long and Winding Road

Beatles - Capitol Albums - Volume 1

Capitol Albums – Volume 1

When the Beatles catalog was first issued on CD in the '80s, an attempt was made to standardize the releases (which often varied wildly in content internationally) by using their original British format. But this confounded many Fabs fans in the U.S. who now found CDs with track listings that often differed dramatically from their original American LPs. More maddening, the initial four releases were only available in not-so-glorious mono mixes. This four-CD collection of the band's 1964 American album releases finally addresses those concerns, and then some. Meet the Beatles, The Beatles Second Album, Something New, and Beatles '65 have been digitally prepared from Capitol's vintage album masters and presented in both the original stereo and mono mixes released back in '64. This set gives younger fans a chance to finally hear the band's epochal early music in stereo--and should please an older generation by returning massive hit singles like "I Want to Hold Your Hand," "She Loves You," "She's a Woman," and "I Feel Fine" to their original American album contexts. The booklet contains a wealth of rare photos and concise notes by noted Beatles historian Mark Lewisohn. --Jerry McCulley

Product Description
*First Time Ever on CD...Meet The Beatles, The Beatles’ Second Album, Something New and Beatles ‘65....presented in both Stereo and Mono
*Compiled from the original U.S. master tapes

*Special packaging including original album cover artwork and 48 page collectors booklet

Track Listings

Meet The Beatles

Disc: 1
1. I Want To Hold Your Hand (Stereo)
2. I Saw Her Standing There (Stereo)
3. This Boy (Stereo)
4. It Won't Be Long (Stereo)
5. All I've Got To Do (Stereo)
6. All My Loving (Stereo)
7. Don't Bother Me (Stereo)
8. Little Child (Stereo)
9. Till There Was You (Stereo)
10. Hold Me Tight (Stereo)
11. I Wanna Be Your Man (Stereo)
12. Not A Second Time (Stereo)
13. I Want To Hold Your Hand (Original Mono)
14. I Saw Her Standing There (Original Mono)
15. This Boy (Original Mono)
16. It Won't Be Long (Original Mono)
17. All I've Got To Do (Original Mono)
18. All My Loving (Original Mono)
19. Don't Bother Me (Original Mono)
20. Little Child (Original Mono)
21. Till There Was You (Original Mono)
22. Hold Me Tight (Original Mono)
23. I Wanna Be Your Man (Original Mono)
24. Not A Second Time (Original Mono)

The Beatles Second Album

Disc: 2
1. Roll Over Beethoven (Stereo)
2. Thank You Girl (Stereo)
3. You Really Got a Hold On Me (Stereo)
4. Devil In Her Heart (Stereo)
5. Money (alt version to UK release)(Stereo)
6. You Can't Do That (Stereo)
7. Long Tall Sally (Stereo)
8. I Call Your Name (Stereo)
9. Please Mr. Postman (Stereo)
10. I'll Get You (Stereo)
11. She Loves You (Stereo)
12. Roll Over Beethoven (Original Mono)
13. Thank You Girl (Original Mono)
14. You Really Got a Hold On Me (Original Mono)
15. Devil In Her Heart (Original Mono)
16. Money (alt version to UK release) (Original Mono)
17. You Can't Do That (Original Mono)
18. Long Tall Sally (Original Mono)
19. I Call Your Name (Original Mono)
20. Please Mr. Postman (Original Mono)
21. I'll Get You (Original Mono)
22. She Loves You (Original Mono)

Something New

Disc: 3
1. I'll Cry Instead (Stereo)
2. Things We Said Today (Stereo)
3. Any Time At All (Stereo)
4. When I Get Home (Stereo)
5. Slow Down (Stereo)
6. Matchbox (Stereo)
7. Tell Me Why (Stereo)
8. And I Love Her (Stereo)
9. I'm Happy Just To Dance With You (Stereo)
10. If I Fell (Stereo)
11. Komm, Gib Mir Deine Hand (I Want To Hold Your Hand) (Stereo)
12. I'll Cry Instead (Original Mono)
13. Things We Said Today (Original Mono)
14. Any Time At All (Original Mono)
15. When I Get Home (Original Mono)
16. Slow Down (Original Mono)
17. Matchbox (Original Mono)
18. Tell Me Why (Original Mono)
19. And I Love Her (Original Mono)
20. I'm Happy Just To Dance With You (Original Mono)
21. If I Fell (Original Mono)
22. Komm, Gib Mir Deine Hand (I Want To Hold Your Hand) (Original Mono)

Beatles '65

Disc: 4
1. No Reply (Stereo)
2. I'm A Loser (Stereo)
3. Baby's in Black (Stereo)
4. Rock and Roll Music (Stereo)
5. I'll Follow The Sun (Stereo)
6. Mr. Moonlight (Stereo)
7. Honey Don't (Stereo)
8. I'll Be Back (Stereo)
9. She's A Woman (Stereo)
10. I Feel Fine (Stereo)
11. Everybody's Trying To Be My Baby (Stereo)
12. No Reply (Original Mono)
13. I'm A Loser (Original Mono)
14. Baby's in Black (Original Mono)
15. Rock and Roll Music (Original Mono)
16. I'll Follow The Sun (Original Mono)
17. Mr. Moonlight (Original Mono)
18. Honey Don't (Original Mono)
19. I'll Be Back (Original Mono)
20. She's A Woman (Original Mono)
21. I Feel Fine (Original Mono)
22. Everybody's Trying To Be My Baby (Original Mono)

Beatles Capitol Albums - Volume 2


The Beatles Capitol Albums - Volume 2

Confirmed! Capitol Albums Volume 2 available April 11!
by Bruce Spizer

The CD box set contains stereo and mono versions of the four Beatles albums released by Capitol in 1965, namely The Early Beatles, Beatles VI, the Help! soundtrack and the American version of Rubber Soul. These albums were mastered from the original Capitol tapes by Ted Jensen at Sterling Sound using 24-bit digital technology. As was the case with The Capitol Albums, Vol. 1, the discs sound superb and capture the magic of the original Capitol albums.

The Early Beatles marks the stereo debut on CD of nine early Beatles classics, including Please Please Me and Twist And Shout. It also contains the first CD release of the fake stereo mixes of Love Me Do and P.S. I Love You prepared by George Martin for the stereo version of the group's first Parlophone LP. Nine of the eleven mono tracks are unique Capitol stereo-to-mono mixdowns appearing for the first time on CD.

Beatles VI marks the stereo debut on CD of five Beatles recordings, including cover versions of Kansas City and Words Of Love, as well as Lennon and McCartney's What You're Doing, Every Little Thing and I Don't Want To Spoil The Party. The stereo album also contains the CD debut of Capitol's unique duophonic mix of Yes It Is. The mono album also includes many CD firsts: the appearance of four songs in their original 1965 George Martin mono mixes (You Like Me Too Much, Bad Boy, Dizzy Miss Lizzie and Tell Me What You See) and five songs in their unique Capitol remixes with added echo and reverb (Kansas City, I Don't Want To Spoil The Party, Words Of Love, What You're Doing and Every Little Thing).

The Capitol Albums, Vol. 2 marks the first appearance on CD of the Help! soundtrack album. Six of its tracks have never been issued on CD in mono or stereo, namely the edit of Help! with its James Bond-derived introduction and five instrumental tracks from the film, including From Me To You Fantasy and Another Hard Day's Night. When the British Help! LP was issued on CD in 1987, it contained George Martin stereo remixes of the songs, which have been used on subsequent CD compilations. The Capitol soundtrack album marks the CD debut of five songs in their original 1965 George Martin stereo mixes (The Night Before, You've Got To Hide Your Love Away, I Need You, Another Girl and You're Gonna Lose That Girl). The stereo album also contains the CD debut of Capitol's unique duophonic mix of Ticket To Ride. The mono album marks the mono debut on CD of five songs (The Night Before, You've Got To Hide Your Love Away, I Need You, Another Girl and You're Gonna Lose That Girl), which appear in unique Capitol stereo-to-mono mixdowns.

The Capitol version of Rubber Soul contains the CD debut of twelve songs in their original 1965 George Martin stereo mixes. When these songs first appeared on CD in 1987, they were stereo remixes of the songs prepared by George Martin. The album's twelve songs are also making their mono debut on CD, this time with George Martin's original mono mixes from 1965.

Because the 46 songs on The Capitol Albums, Vol. 2 appear in both stereo and mono mixes, the box set contains 92 total tracks. Out of this number, 82 are versions not previously available on CD.

Track listings and release details:


Love Me Do [2]
Twist And Shout [1][3]
Anna [1][3]
Chains [1][3]
Boys [1][3]
Ask Me Why [1][3]
Please Please Me [1][3]
P.S. I Love You [2]
Baby It's You [1][3]
A Taste Of Honey [1][3]
Do You Want To Know A Secret [1][3]

[1] Stereo debut on CD (9 tracks)
[2] First CD appearance of 1963 simulated stereo mix from first U.K. LP (2 tracks)
[3] First CD appearance of unique Capitol stereo-to-mono mixdown (9 tracks)


Kansas City [1][5]
Eight Days A Week
You Like Me Too Much [4] *
Bad Boy [4]
I Don't Want To Spoil The Party [1][5]
Words Of Love [1][5]
What You're Doing [1][5]
Yes It Is [6]
Dizzy Miss Lizzie [4]
Tell Me What You See [4]
Every Little Thing [1][5]

[1] Stereo debut on CD (5 tracks)
[4] Mono debut on CD (4 tracks)
[5] First CD appearance of unique Capitol remixes with echo and reverb (5 tracks)
[6] First CD appearance of unique Capitol duophonic mix (1 track)


Help! (with James Bond intro) [3][7]
The Night Before [3][4][8]
From Me To You Fantasy (Instrumental) [3][7]
You've Got To Hide Your Love Away [3][4][8]
I Need You [3][4][8]
In The Tyrol (Instrumental) [3][7]
Another Girl [3][4][8]
Another Hard Day's Night (Instrumental) [3][7]
Ticket To Ride [6]
The Bitter End/You Can't Do That (Instrumental) [3][7]
You're Gonna Lose That Girl [3][4][8]
The Chase (Instrumental) [3][7]

[3] First CD appearance of unique Capitol stereo-to-mono mixdown (11 tracks)
[4] Mono debut on CD (5 tracks)
[6] First CD appearance of unique Capitol duophonic mix (1 track)
[7] First CD appearance in any version (6 tracks)
[8] First CD appearance of original 1965 George Martin stereo mix (5 tracks)


I've Just Seen A Face [4][8]
Norwegian Wood (This Bird Has Flown) [4][8]
You Won't See Me [4][8] *
Think For Yourself [4][8]
The Word [4][8]
Michelle [4][8] *
It's Only Love [4][8] *
Girl [4][8]
I'm Looking Through You [4][8]
In My Life [4][8]
Wait [4][8]
Run For Your Life [4][8]

[4] Mono debut on CD (12 tracks)
[8] First CD appearance of original 1965 George Martin stereo mix (12 tracks)

* These four tracks appeared in mono on the limited edition British EP Collection set, but for most fans this will be first time these tracks are heard in mono on a commercially released mainstream Beatles CD.

The box set's packaging is similar to that of The Capitol Albums, Vol. 1. Each of the four CDs is housed in a cardboard sleeve featuring the album's original cover artwork. The labels to the CDs mimic each album's original Capitol rainbow label. The box set contains a colorful 56-page booklet full of rare photographs and quotes from the Beatles. I wrote the essay contained in the set's booklet, and I also served as a consultant on the project.

Article by Bruce Spizer and Copyright © 2006, 498 Productions, LLC. Used here with his most gracious permission.

It was originally published at For a wealth of information on the Capitol albums and other Beatles' related matters, please visit