The US Albums

Undoubtedly, there will be those who believe that this boxed set of Beatles albums packaged together in their American configurations is a cynical attempt to eke out yet more revenue from one of the most prestigious catalogues in the history of popular music. It is also safe to assume that the majority of Beatles fans would agree with the viewpoint that these collections are artistically inferior to the original British editions upon which they were based and which, at the time of their original release, made The Beatles themselves become progressively more frustrated with the interference of their American label, Capitol Records, upon their ever-evolving sound. Nevertheless, as we look back over what is now half a century since The Beatles first landed on American soil, these albums clearly have their place in history and help to illustrate the true impact of Beatlemania, with six of these records finding their release during 1964 alone.MEET THE BEATLES, THE BEATLES' SECOND ALBUM, A HARD DAY'S NIGHT, SOMETHING NEW, THE BEATLES' STORY and BEATLES '65 were all greeted with rapture by an insatiable public hungry for product and released by a record company which was arguably trying to glean as much as possible from the Fab Four before this presumed fad would burn itself out and a fresh, new homegrown band would usurp The Beatles' popularity. Of course, hindsight informs us that this never happened, but it was undoubtedly the "game plan" discussed by Capitol Records' executives in the board room at the time. Indeed, it was remarkable how the label was able to stretch out four British albums and half a dozen or so singles in quite the way that it did. Of these, MEET THE BEATLES and BEATLES '65 are perhaps the strongest collections in this group, resembling as they do the UK releases WITH THE BEATLES (1963) and BEATLES FOR SALE (1964) respectively. However, the likes of SOMETHING NEW and the interview album THE BEATLES' STORY (originally a double album but compressed to a single CD here) were rather more blatant cash-ins. SOMETHING NEW was issued just a month after the A HARD DAY'S NIGHT soundtrack and, what's more, half of its contents was already available on A HARD DAY'S NIGHT! Speaking of which, this latter album was released in the States as a genuine film soundtrack, containing just the songs from the film (plus 'I'll Cry Instead') bolstered by a crop of orchestrally arranged instrumental versions of the film songs. As the essay contained within the booklet suggests, fans were no doubt beginning to feel a little short-changed by such releases and even Capitol were relieved when they could plunder BEATLES FOR SALE - the product of the band's latest recording sessions back home in London - to assemble a whole new album entitled BEATLES '65 and get it out to the shops just in time for Christmas.The "exploitation" continued into 1965 with the release of the somewhat implausibly titled THE EARLY BEATLES, a grab-bag of 1963 Beatles leftovers (it's essentially the UK PLEASE PLEASE ME album with the tracks jumbled up) which had been the property of the band's original US label, VeeJay. With VeeJay's license to issue Beatles tracks having expired, Capitol eagerly reissued them to what was now a more receptive public. Next came BEATLES VI (by and large a mash-up of the rest of BEATLES FOR SALE and the UK non-soundtrack side two of HELP!) and then the HELP! soundtrack album itself, a lavish gatefold affair featuring once again only the actual songs from the film accompanied by incidental music laced with a then unusual Indian theme, all of which was scored by Ken Thorne this time around as opposed to the perhaps more expected George Martin. Nevertheless, the US edition of HELP! spent nine weeks at Number One.It was the release of the American version of RUBBER SOUL in December 1965 which conceivably witnessed The Beatles frustrations with Capitol over the standard of their Stateside releases come to a head. This supremely pivotal album in the group's development had such gems as 'Drive My Car' and 'Nowhere Man' removed in favour of the HELP! leftovers 'It's Only Love' and 'I've Just Seen A Face'; the latter track was used to open the album in place of 'Drive My Car' and it sounds very odd in this context. Beach Boy Brian Wilson claimed that hearing RUBBER SOUL for the first time inspired him to write his band's masterpiece, PET SOUNDS (1966); if so, imagine what he may have come up with had he heard RUBBER SOUL in the sequence that British fans did!Yet despite Capitol's seemingly rapacious quest for new Beatles music, even they only managed to cobble together two Beatles albums for 1966. The infamously packaged YESTERDAY... AND TODAY arrived in June, encased in that controversial "butcher" cover (impeccably reproduced here) and comprised from bits of RUBBER SOUL, yet more numbers from HELP!, the 'Day Tripper'/'We Can Work It Out' single and three newly recorded works from the forthcoming REVOLVER which, when released in the States just two months later, featured only 11 of the 14 tracks contained on the stellar UK original. By February of 1967, The Beatles had renegotiated their contract and (MAGICAL MYSTERY TOUR aside) future Beatles albums released in America would mirror their UK counterparts.February 1970's HEY JUDE compilation was the last assemblage designed for the American market, although it saw release in many other countries too - except Britain. Allowing fans the opportunity to buy the epic title track and a number of other non-album Beatles singles like 'Paperback Writer' and 'Lady Madonna' in both long-playing and stereo formats for the first time, HEY JUDE was a huge seller, bridging the gap between the sublime ABBEY ROAD (1969) and the shambolic swansong of LET IT BE (released in May of 1970).Of course, on a personal basis, I would never claim that any of these American Beatles albums eclipse their original British editions. But it bears testament to the power and endurance of the band's music that they are all still thoroughly enjoyable. The packaging of this set is delightful, with all of the albums presented in replica sleeves which are also made from that thicker brand of cardboard typically used on American album covers of the period. YESTERDAY... AND TODAY also comes with a stick-on replacement "packing case" cover shot which you can paste over the "butcher" sleeve if you wish (although quite who will want to risk doing this, I'm not really sure), while the box itself sits nicely alongside THE BEALTES IN MONO set.Finally though, and with what will undoubtedly be greeted with a certain amount of controversy by the purists, we move on to the sound quality. By and large, the albums sound rich and weighty, with each one (with the exception of THE BEATLES STORY and HEY JUDE) being presented in both its mono and stereo editions and although the original Capitol master tapes have crucially NOT been used in reconstructing these albums (the 2009 remasters have been employed), the variant mixes and edits of certain tracks which were prepared in London by George Martin have, however, been utilised in order to preserve the qualities which made The Beatles' US albums unique (like, for example, the false start which occurs on the stereo version of 'I'm Loooking Through You' from RUBBER SOUL but which was absent from the UK stereo master, as well as the considerable amount of echo which is present on both 'I Feel Fine' and 'She's A Woman' from BEATLES '65). The booklet explains that the decision to not go with the original Capitol tapes was taken due to the presence of such things as "duophonic" (false stereo) tracks on a number of the original albums, along with the fact that some songs on the US LPs were apparently mastered from as much as fourth-generation tapes. Ultimately, it was felt that the Capitol tapes would not deliver the best possible listening experience and that, back in the 1960s, Capitol had also quite pertinently altered such things as the bass frequencies in order to take into account the household playback equipment of the time, along with generally doctoring The Beatles' sound with added reverb in an effort to make the band sound "more American".True, this boxed set is pretty expensive and it is probably aimed largely at The Beatles' completist. However, these albums are unquestionably a part of Beatles history and provide us British fans with an idea of how The Beatles slammed head-on into the American consciousness. It is nice to see them available again.

Beatle music has to have five stars from me. No matter what order the tracks are played the music is superb. The packaging is good. Housed in a box similar to the Beatles in Mono, are thirteen albums. Twelve of them released in the period 1964 to 1966. The Beatles released seven albums in the UK up to the end of 1966 (eight if you count Oldies but Goldies). Interesting book enclosed telling the story of the album releases in America and why they were so different. Told from the perspective of a fan at the time who only heard these versions. There is the mono and stereo versions on the same disc. I was under the impression for some reason that Capitol had messed about with the sound, adding echo for example. Not the case according to these discs*. These tracks sound the same as the remastered mono and stereo reissues from 2009.Whether you buy the package or not would depend how much of a fan/compleatist you are. There is nothing new on here. However for a fan like myself it is fascinating to hear how the Americans first witnessed the Beatles on record. At first you think that it is incredible that the Americans were so late to come to the party. But in 1963 there was not the communications there are today. America was a long way away and had its own huge stars. Why would they be interested in anything from the other side of the pond? Particularly as the Beatles weren't from London. Also in retrospect the early singles and Please Please Me album were not that amazing. It only started to get amazing around the time of She Loves You. The Beatles and George Martin just got better and better in those early days.Meet The BeatlesThe Americans had joined the party so late that there was a wealth of Beatle music already available for them to play. Two albums (please please me/with the beatles plus four A sides and four b sides). It is interesting from their first album the tracks they picked. They took only one track from Please Please Me (they had given the rights away to another record company Veejay!), I saw Her Standing There, and that was probably because it was the B side of their first hit single over there, I Want To hold Your Hand (which starts the album). The rest are mainly tracks from the Beatles second UK album With The Beatles plus This Boy which was the B side of I Want To Hold Your Hand in the UK. A great track which disappeared without trace in the UK until they started releasing rarities albums in the 70's.Second AlbumEven though these albums are a mishmash of the UK releases the writer of the book does point out that even though they accept that the UK versions are the `definitive' these are the albums they were brought up on. They knew no different and the Beatles second album when you see it from that aspect is phenomenal. More tracks from With The Beatles along with a and B sides of She Loves You (I'll Get You another track that fell into obscurity in the UK until the rarities albums) and two tracks from the brilliant EP (not a concept recognised in the US) Long Tall Sally. A great collection even with side two only being 11 minutes long!A Hard Day's NightHere the American fans did get short changed says the author. I agree. One of the best albums in my opinion totally butchered on the American version. Only 8 of the 13 uk tracks appear on here. Padded out with instrumental versions of the film songs.Something NewThen a month later was issued this album with 5 of the 7 film songs. Altogether there are 8 of the 13 songs from the uk Hard Days Night on here. A good collection along with the two other tracks from the Sally EP if you hadn't already bought the previous album!The Beatles StoryI guarantee that I will not be taking this one out of its little packet again. A very poor, lifeless documentary amateurishly put together. Music snippets which were surprisingly good sound. Not sure that Liverpool would appreciate being described as a `slum town'!Beatles 658 of the 14 tracks from Beatles For Sale plus the single and B side to I feel Fine plus the last track from the UK edition of Hard Days Night! Bizarre! They only put a maximum of 12 tracks on albums (11 on this one). The result, more mishmash albums. I do not blame EMI/the Beatles for being angry at the time and refusing, until now, to release these on CD.The Early BeatlesCapitol had refused to issue the album Please Please Me so another record company had reaped the rewards. These songs reverted to Capitol in October 1964. So they reissued Please Please Me in this package ie without I Saw Her Standing There (already appeared on meet the Beatles) There's A Place and Misery (these tracks don't appear to have been released on album over there at that time, unless someone knows different?! Apart from the Veejay album of course).Beatles VI7 tracks from Beatles For Sale, 2 from UK Help, 2 other tracks (1 B side Yes It Is and Bad Boy).HelpThe 7 film tracks plus orchestral filler.Rubber Soul10 of the 14 UK tracks plus and two from the UK Help album. You would have thought that by now the releases could be the same. They are nearly there with this one, even had the same cover, but then......Yesterday and TodayThe 4 missing tracks from Rubber Soul, 2 tracks from Help, 3 from Revolver plus the single Day Tripper and We Can Work It Out. What a hotch potch! The Beatles even sent them the famous butchered photo for the cover. To let them know what they thought presumably? And they used it!!! This is in the box set along with the one used to cover it after the complaints.Revolver11 0f the UK tracks. Devalued by putting three great Lennon tracks on the last album. Right cover though!Before Sgt Pepper came out the original contract with the Beatles had finished. The new renegotiated contract said that all releases had to be the same. There were two other releases that were agreed to, one of which, Hey Jude is included. Another hotch potch of old material that had not appeared on a Capitol album before. The other (not included here) was Magical Mystery Tour. The Americans did not have EP's so they were allowed to bring out an album of these tracks along with various singles. This was for once a good idea and has been incorporated into the official Beatles Catalogue.An interesting box set but for fans only!*I have since seen from another review that the mono versions of I Feel Fine and She's A Woman on Beatles 65 have the different sound. Air craft hanger sound is a very good description Mr R.P.Gregory! On Something New the mono version of And I Love Her has a single track Paul rather than the usual double track. There is also a piano break missing on the mono version of Any Time At All. That last one is not really noticeable. Apparently the American reviewers are very unhappy because in most cases the original 'reverb' sound has been replaced by the 2009 remaster. That sound is what they remember and what they thought they were getting.