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The Beatles: The Capitol Albums, Vol. 1<\/em>\u00a0(\u201cCAV1\u201d)<\/p>\n Four-CD box set re-release (11-16-04) of the first four Beatles record albums on Capitol Records (all of the 45 songs in both stereo and mono):<\/p>\n Meet the Beatles!<\/em>\u00a0<\/span>(originally released on 20 January 1964) \u201cMTB\u201d British EMI-Parlophone Versions of (Related) Beatles\u2019 Record Albums, Singles (*), and Extended Plays (\u201cEP\u201d) in 1963-1964 and Later CD collections:<\/p>\n Please Please Me<\/em>\u00a0<\/span>(22 March 1963 \/ re-released on mono CD in 1987) \u201cPPM\u201d<\/p>\n *From me to you<\/em>\u00a0\/\u00a0Thank you gi<\/em>rl (11 April 1963) With the Beatles<\/em>\u00a0<\/span>(22 November 1963 \/ re-released on mono CD in 1987) \u201cWTB\u201d<\/p>\n *I want to hold your hand<\/em>\u00a0\/\u00a0This boy<\/em>\u00a0(29 November 1963) A Hard Day\u2019s Night<\/span>\u00a0<\/em>(10 July 1964 \/ re-released on mono CD in 1987) \u201cHDN\u201d<\/p>\n *I feel fine<\/em>\u00a0\/\u00a0She\u2019s a woman<\/em>\u00a0(27 November 1964)<\/p>\n Beatles for Sale<\/em>\u00a0<\/span>(4 December 1964 \/ re-released on mono CD in 1987) \u201cBFS\u201d<\/p>\n Past Masters, Volume One<\/em><\/span>\u00a0(1988) [collection of British singles and EP\u2019s] (\u201cPMV1\u201d)<\/p>\n 1\u00a0<\/em><\/span>(2000) [collection of #1 hit singles] (\u201c1\u201d)<\/p>\n The following are random remarks gleaned from reading many Internet articles (especially the reviews on Amazon): in no particular order. Every now and then I throw in some knowledge of my own, as a longtime Beatles fanatic. Hopefully, this collection of thoughts and information will serve as a good reference source for other fans:<\/p>\n Miscellaneous Recording Information and Trivia<\/strong><\/span><\/p>\n The sound of the Capitol final mixes are said to be \u201cquite unlike\u201d the original British recordings. Capitol added reverberation or echo (\u201cto suit the American market\u201d) fairly heavily on ten songs (and seemingly at least a little on most or all other songs on the first two albums), and a quasi-stereo process called \u201cDuophonic\u201d (on seven of these 45 songs), which used two monophonic or monaural channels, equalized and compressed them to simulate the two channels of stereo, and added reverberation. Thus, 38 of the 45 songs on this set are from the true stereo mixes prepared by George Martin. See my chart below to see which songs were thus enhanced.<\/p>\n The Beatles\u2019 producer, George Martin and Beatles\u2019 manager Brian Epstein cooperated with Capitol to a large extent, but with some mixed feelings. In fact,\u00a0Bad boy<\/em>\u00a0and\u00a0Dizzy Miss Lizzie<\/em>\u00a0(neither on this set) were recorded specifically for Capitol.<\/p>\n CAV1 offers the stereo debut on CD of 32 Beatles songs (some songs from this period had been previously included on \u201c1\u201d or \u201cPMV1\u201d).<\/p>\n The songs were not remixed from the original Capitol versions, but they were tweaked a bit to \u201coptimize their playback capabilities\u201d on today\u2019s audio systems, and equalized for more bass presence. Vacuum tube and valve equipment from that time was used, for authentic period sound (it succeeded). The set shows how much CD mastering has improved in the past few years<\/p>\n American Beatles fans have been demanding for some time a release of the early Beatles albums as they first knew and heard them. This is not simply Capitol greed, but also a matter of quite valid consumer demand. The release of songs in both stereo and mono was an aspect of fan demand that actually cut into Capitol\u2019s royalties.<\/p>\n Many think that these CD\u2019s accurately reproduce the great sound of the vinyl LPs (I\u2019ve always preferred the vinyl, analogue sound, myself, so this is music to my ears \u2014 no pun intended).<\/p>\n One reviewer on amazon.com wrote (truly and insightfully, I think, after having heard it: this is a later added note), \u201cIf you want to hear<\/em> The Beatles, play the British-version CDs. If you want to rock<\/em> to The Beatles, play the Capitol CDs.\u201d<\/p>\n George Martin and the Beatles themselves preferred the monophonic version of the first four albums (and all albums up to Sgt. Pepper<\/em>), and this is how they were re-released on CD in 1987 (boo!). Also, single records were generally in mono until the late 60s.<\/p>\n Martin and Brian Epstein believed that singles should not be on albums because it forced consumers to buy the same songs twice. But Capitol records in the US believed that hit singles made for hit albums.<\/p>\n The running order for the US albums was constructed by Capitol Records executive Dave Dexter, who had turned down the Beatles four times in 1963 (!). But there was significant rhyme and reason in how the order was selected (see more on that below, in the next section).<\/p>\n The stereo mixes on\u00a0Something New<\/em>\u00a0and\u00a0Beatles \u201965<\/em>\u00a0are those sent by George Martin. Almost all are the same as the mixes on the UK albums HDN and BFS. Echo wasn\u2019t added, excepting\u00a0I feel fine<\/em>\u00a0and\u00a0She\u2019s a woman<\/em>. EMI didn\u2019t send Capitol the original 2-track and 4-track master tapes, but the stereo tracks were Martin\u2019s mixes. In a few instances, Martin sent a different mix, sometimes intentional, and sometimes an earlier mix later improved upon by Martin.<\/p>\n The masters of the earliest Beatles songs were recorded in two tracks: one mostly instrumental. Arguably, then, it is not unreasonable or even (technically-speaking) \u201cfake\u201d to produce Duophonic quasi-\u201cstereo\u201d mixes of these songs. George Martin\u2019s intentions were to mix these two-track recordings down to mono, since stereo wasn\u2019t prevalent in the pop and rock market till the mid-to-late 1960s. Songs from WTB that appear on the mono versions of MTB and BSA were created in the same manner: by reducing the stereo master in a 2-to-1 mixdown. Some engineers thought that such mixdowns gave the mono songs a fuller sound.<\/p>\n In the early 1960s, every song on a \u201cstereo\u201d-labelled album was true or simulated (in this case, \u201cDuophonic\u201d) \u2013often called \u201cfake\u201d \u2014 stereo. All record companies did this, including EMI-Parlophone. For example, the British\u00a0Please Please Me<\/em>\u00a0album utilized fake stereo on\u00a0Love me do<\/em>\u00a0and\u00a0P.S. I love you<\/em>. Capitol made Duophonic mixes only for songs that had no stereo masters at the time. In any event, it is untrue that these albums are full of the obvious added effects.<\/p>\n There are 13 or 14 unique monophonic versions of songs: some unique to Capitol.<\/p>\n The notorious \u201cbad packaging\u201d (a host of complaints on amazon.com: present in almost every review), is said to be the work of Apple, not Capitol.<\/p>\n Magical Mystery Tour<\/em>\u00a0is the only American version Beatles album which eventually became the \u201cstandard.\u201d It had six songs from the British EP, plus five additional songs. EMI-Parlophone issued the same album in 1976, even using the Capitol master tapes, which had Duophonic mixes of three songs! The CD re-release, however, restored true stereo for all songs.<\/p>\n US Album Track Information<\/strong><\/span><\/p>\n Meet the Beatles!<\/em>\u00a0<\/span>opened with\u00a0I want to hold your hand<\/em>\u00a0(the 1st US single, released a week earlier), followed by\u00a0I saw her standing there<\/em>\u00a0(arguably the Beatles most appealing, exciting, and compelling early recording, and the only song on this set from the UK album PPM), followed by the melodious, soft, British B-side,\u00a0This boy<\/em>\u00a0(The first and third songs were not on any British LP). The rest of the songs were seven Lennon-McCartney original compositions (like the first three), from WTB, Harrison\u2019s\u00a0Don\u2019t bother me<\/em>, and the MOR cover\u00a0Till there was you<\/em>\u00a0(one for the parents \u2014 very wise marketing there). The nine songs from WTB (out of 14 on that album) followed the running order of George Martin. Five cover versions on that album, however, were dropped; thus MTB highlights the Beatles\u2019 songwriting abilities (11 of 12 originals), as well as musical versatility. WTB had 6 covers out of a total of 14 songs.<\/p>\n The Beatles\u2019 Second Album<\/em><\/span>\u00a0included the five leftover cover songs from WTB, three B-sides of singles, two new songs that would later appear on a British EP (extended play: a single-sized record with four songs instead of two \u2014\u00a0Long tall Sally<\/em>\u00a0and\u00a0I call your name<\/em>), and the hit single\u00a0She Loves You<\/em>\u00a0(not on any early British record album, as with many UK singles in those days).<\/p>\n Something New<\/em><\/span>\u00a0had five songs on both the UK and US (United Artists) versions of HDN, three more from the UK HDN, two from a British EP (Slow down<\/em>\u00a0and\u00a0Matchbox<\/em>), and the German-language alternate of\u00a0I want to hold your hand<\/em>\u00a0(a tip of the hat to the band\u2019s pre-stardom lengthy stint in Hamburg).<\/p>\n Beatles \u201965<\/em>\u00a0<\/span>included eight songs from BFS (out of that album\u2019s 14), in the same running order as that album, plus\u00a0I\u2019ll be back<\/em>, from the UK HDN, and both sides of the latest single:\u00a0I feel fine<\/em>\u00a0and\u00a0She\u2019s a woman<\/em>.<\/p>\n Songs not included in this box set:\u00a0A hard day\u2019s night<\/em>,\u00a0Can\u2019t buy me love<\/em>, and\u00a0I should have known better<\/em>, from HDN (UK). The first two songs appear on \u201c1\u201d. Songs from BFS not included:\u00a0Eight days a week<\/em>,\u00a0Words of love<\/em>,\u00a0Every little thing<\/em>,\u00a0I don\u2019t want to spoil the party<\/em>,\u00a0What you\u2019re doing<\/em>, and\u00a0Kansas City<\/em>. All six were included in the Capitol album,\u00a0Beatles VI<\/em>, released on 14 June 1965.\u00a0Eight days a week<\/em>\u00a0also appears on \u201c1\u201d. WTB is the only UK album from 1963-1964 that has all its songs included on this box set.<\/p>\n Sonic Comparisons and Alternate Mixes and Versions in Individual Songs<\/strong><\/span><\/p>\n The versions of\u00a0I feel fine<\/em>\u00a0and\u00a0She\u2019s a woman<\/em>\u00a0are the most criticized (called \u201chorrendous\u201d by some; I readily agree with regard to the latter). They are the only two songs with both added echo and Duophonic fake stereo.<\/p>\n I want to hold your hand<\/em>,\u00a0She loves you<\/em>, and\u00a0I\u2019ll get you<\/em>, are thought by more than a few to be fairly effective Duophonic mixes.<\/p>\n I call your name<\/em>\u00a0in stereo is very different from UK vinyl versions and the CD version on PMV1. The mono version has a different guitar intro.<\/p>\n The mono version of\u00a0I\u2019ll cry instead<\/em>\u00a0has an extra verse: the same as the American United Artist HDN.<\/p>\n The clarity of the stereo versions of\u00a0Things we said today<\/em>\u00a0and\u00a0If I fell<\/em>\u00a0have been described as \u201cstriking\u201d and \u201cincredible\u201d, with the harmonies really standing out.<\/p>\n The stereo and mono versions of\u00a0And I love her<\/em>\u00a0and\u00a0If I fell<\/em>\u00a0are different: for each, there is a single-voiced (mono) and double-tracked voice version (stereo). Paul\u2019s voice changes at the words \u201cin vain\u201d in only one version.<\/p>\n This is the first time\u00a0Thank you girl<\/em>\u00a0has been released in true stereo in the UK. It also has extra overdubbed harmonica from John Lennon.<\/p>\n When I get home<\/em>\u00a0\u2014 mono version, has a slightly different vocal by John, in the middle section.<\/p>\n Money<\/em>\u00a0is an alternate version to the UK release. It has guitar overdub.<\/p>\n Even the mono Capitol mixes sound better than the UK mono versions: they have a richer bass, brighter guitar, and clearer vocals.<\/p>\n As an example of greatly improved sound, one reviewer suggests\u00a0You really got a hold on me<\/em>\u00a0in both stereo and mono.<\/p>\n My Own Personal Reflections on Beatles Stuff<\/strong><\/span><\/p>\n One is now able to construct an \u201cAmerican version of\u00a0With the Beatles<\/em>\u201d on (burned) CD, with the stereo versions: which would approximate the old stereo record of that album (which I have in my record collection). The same is true of the British version of\u00a0A Hard Day\u2019s Night<\/em>, with the exception of three songs: two can be gotten from \u201c1\u201d and one monophonic from the current CD (I Should Have Known Better<\/em>). All but one song, then, can be heard in stereo on CD.<\/p>\n Based on what I have learned (which provided a tremendously entertaining night of new Beatles trivia), I\u2019ve gone from not caring at all about the set (I saw it in a music store and hardly even looked at it) to not being able to wait to hear it. Particularly interesting to me, as a Beatles fanatic of long standing, and an audiophile (as much as finances permit, anyway) are the alternate takes and the reverb and Duophonic elements, and the vaunted \u201cexcitement\u201d and \u201cpunch\u201d of these recordings; also the fact that it is said to sound like the old vinyl records. With improvements in technology, CDs are starting to sound more like records \u2014 which is a long overdue and most welcome development (at least for\u00a0these<\/em>\u00a0ears).<\/p>\n I still have many records (some 500-600), and my old turntable, and don\u2019t plan on getting rid of them (why should I have to buy every album\u00a0twice<\/em>?). I\u2019ve always been a big fan of the British versions of the Beatles\u2019 records, because they were how the band itself wanted the albums to be, and they had more songs. I have all the EMI-Parlophone British imports of vinyl records of early Beatles (I bought them in the late 70s): eight in all, up through\u00a0Revolver<\/em>, and also the British\u00a0Rarities<\/em>. They sound fantastic, and mine are all in stereo (I don\u2019t much like the mono sound of the British\u00a0Hard Day\u2019s Night<\/em>\u00a0CD \u2014 it sounds very flat and dull to me).<\/p>\n I didn\u2019t care at all about purchasing used record versions of the American Capitol catalogue, with the exception of\u00a0\u201cYesterday\u201d . . . and Today<\/em>, which included an alternate take of\u00a0I\u2019m Only Sleeping<\/em>. (I found it for $8 a few years ago in a used record store). Also, of course, I have sought to obtain as much Beatles\u2019 music on CD as I could; particularly for burning purposes, now.<\/p>\n It has often been stated that the box set is coveted particularly by American baby boomers who grew up with Beatles music in this form; thus there is great sentimental value in hearing them this way again, and that this is its own sufficient justification, despite what one thinks of Capitol profit-mongering, or the artistic issues of changing the final mix of songs, order of songs, etc. That makes perfect sense, given the drive for nostalgia, having listened to an album over and over in a certain form, and enjoying the particular sounds involved.<\/p>\n This is not, however, really what drives my own interest, which is simply to hear the songs in a higher quality, and to possess the different versions available.To me, that is more fascinating and desirable than the truly alternate takes of the 6-CD\u00a0Anthology<\/em>\u00a0series, which are only mildly interesting, and primarily of historical value (as even George Martin stated, in the liner notes).<\/p>\n My own background with the Beatles is not dependent on the US-version albums, because my family (i.e., my brother and sister: 10 years and 6 years older than me) didn\u2019t have them. We had\u00a0A Hard Day\u2019s Night<\/em>, which was actually released by United Artists, and included silly, boring instrumentals. We also had\u00a0Magical Mystery Tour<\/em>\u00a0and\u00a0The \u201cWhite Album\u201d<\/em>. That was the extent of my experience with Beatles albums until the mid-70s, when I started buying them on my own.<\/p>\n I remember seeing the Beatles on the\u00a0Ed Sullivan Show<\/em>, and of course we went to see\u00a0A Hard Day\u2019s Night<\/em>\u00a0and\u00a0Help\u00a0<\/em>at the movies. Beyond that, I knew of their music from AM radio and a few singles (particularly, as I recall,\u00a0Day Tripper<\/em>, backed with\u00a0We Can Work it Out<\/em>, and\u00a0Yellow Submarine<\/em>\u00a0\/\u00a0Eleanor Rigby<\/em>). I can still distinctly remember hearing\u00a0I want to hold your hand<\/em>\u00a0on the radio, in the car near my home. I\u2019m not sure if that was before Ed Sullivan or not, but it was certainly in the same time period (January 1964). I was five-and-a-half years old.<\/p>\n I am about as young as one can be (46), as a baby boomer, and still have a direct memory of the Beatles\u2019 arrival on the American scene. It\u2019s difficult to describe how exciting this was, to someone who hasn\u2019t experienced it. It was an incredible time, and the music was so revolutionary and fresh and exciting, in its original context. What is fascinating now to ponder, is the song order of the US albums, and how their impact is differentiated from the British albums (a factor often mentioned in the\u00a0amazon<\/em>\u00a0reviews). I\u2019ve never cared much about song order, either. I always valued each individual Beatles song, and it was far less important to me how they were grouped together (until\u00a0Sgt. Pepper<\/em>). But it seems fun now to envision listening to the \u201cfirst\u201d Beatles album, as it was heard in America, and to see how it comes across.<\/p>\n The First Four Capitol Beatles Albums: Track Rundown and Comparison to UK Albums<\/strong><\/span><\/p>\n x\u00a0= Duophonic \u201cfake\u201d or simulated stereo \u2014 Numbers following British record albums (available in stereo) where the track appears, refer to side one or two of the original record and number of song on that side \u2014<\/p>\n Meet The Beatles!<\/em>\u00a0<\/span>(MTB)<\/p>\n 1.\u00a0I Want To Hold Your Hand<\/em>\u00a0x\u00a0(true stereo on PMV1)<\/span> The Beatles\u2019 Second Album<\/em><\/span>\u00a0(BSA)<\/p>\n 1.\u00a0Roll Over Beethoven<\/em>\u00a0*<\/strong>\u00a0WTB 2-1\u00a0(no reverb on WTB)<\/span> Something New<\/em><\/span>\u00a0(SNE)<\/p>\n 1.\u00a0I\u2019ll Cry Instead<\/em>\u00a0HDN 2-2 Beatles \u201965<\/em><\/span>\u00a0(B65)<\/p>\n 1.\u00a0No Reply<\/em>\u00a0BFS 1-1
\nThe Beatles\u2019 Second Album<\/em>\u00a0<\/span>(10 April 1964) \u201cBSA\u201d
\nSomething New<\/span>\u00a0<\/em>(20 July 1964) \u201cSNE\u201d
\nBeatles \u201965<\/em>\u00a0<\/span>(15 December 1964) \u201cB65\u201d<\/p>\n
\n*She loves you<\/em>\u00a0\/\u00a0I\u2019ll get you<\/em>\u00a0(23 August 1963)<\/p>\n
\n*Can\u2019t buy me love<\/em>\u00a0\/\u00a0You can\u2019t do that<\/em>\u00a0(20 March 1964)
\n(EP)\u00a0Long tall Sally<\/em>\u00a0\/\u00a0I call your name<\/em>\u00a0\/\u00a0Slow down<\/em>\u00a0\/\u00a0Matchbox<\/em>\u00a0(19 June 1964)<\/p>\n
\n*\u00a0= added reverberation \/ echo<\/p>\n
\n2.\u00a0I Saw Her Standing There<\/em>\u00a0PPM 1-1
\n3.\u00a0This Boy<\/em>\u00a0x\u00a0(true stereo on PMV1)<\/span>
\n4.\u00a0It Won\u2019t Be Long<\/em>\u00a0WTB 1-1
\n5.\u00a0All I\u2019ve Got To Do<\/em>\u00a0WTB 1-2
\n6.\u00a0All My Loving<\/em>\u00a0WTB 1-3
\n7.\u00a0Don\u2019t Bother Me<\/em>\u00a0WTB 1-4
\n8.\u00a0Little Child<\/em>\u00a0WTB 1-5
\n9.\u00a0Till There Was You<\/em>\u00a0WTB 1-6
\n10.\u00a0Hold Me Tight<\/em>\u00a0WTB 2-2
\n11.\u00a0I Wanna Be Your Man<\/em>\u00a0WTB 2-4
\n12.\u00a0Not A Second Time<\/em>\u00a0WTB 2-6<\/p>\n
\n2.\u00a0Thank You Girl<\/em>\u00a0*\u00a0(no reverb \/ mono version on PMV1)<\/span>
\n3.\u00a0You Really Got A Hold On Me<\/em>\u00a0*\u00a0WTB 2-3\u00a0(no reverb)<\/span>
\n4.\u00a0Devil In Her Heart<\/em>\u00a0*\u00a0WTB 2-5\u00a0(no reverb)<\/span>
\n5.\u00a0Money<\/em>\u00a0*\u00a0WTB 2-7\u00a0(no reverb)<\/span>
\n6.\u00a0You Can\u2019t Do That<\/em>\u00a0x\u00a0HDN 2-5\u00a0(mono on HDN UK version)<\/span>
\n7.\u00a0Long Tall Sally<\/em>\u00a0*\u00a0(EP in UK \/ no reverb on PMV1)<\/span>
\n8.\u00a0I Call Your Name<\/em>\u00a0*\u00a0(EP in UK \/ no reverb on PMV1)<\/span>
\n9.\u00a0Please Mr. Postman<\/em>\u00a0*\u00a0WTB 1-7\u00a0(no reverb on WTB)<\/span>
\n10.\u00a0I\u2019ll Get You<\/em>\u00a0x\u00a0(mono version on PMV1)<\/span>
\n11.\u00a0She Loves You<\/em>\u00a0x\u00a0(mono version on PMV1)<\/span><\/p>\n
\n2.\u00a0Things We Said Today<\/em>\u00a0HDN 2-3
\n3.\u00a0Any Time At All<\/em>\u00a0HDN 2-1
\n4.\u00a0When I Get Home<\/em>\u00a0HDN 2-4
\n5.\u00a0Slow Down<\/em>\u00a0(EP in UK \/ PMV1)
\n6.\u00a0Matchbox<\/em>\u00a0(EP in UK \/ PMV1)
\n7.\u00a0Tell Me Why<\/em>\u00a0HDN 1-6
\n8.\u00a0And I Love Her<\/em>\u00a0HDN 1-5
\n9.\u00a0I\u2019m Happy Just To Dance With You<\/em>\u00a0HDN 1-4
\n10.\u00a0If I Fell<\/em>\u00a0HDN 1-3
\n11.\u00a0Komm, Gib Mir Deine Hand<\/em>\u00a0(I Want To Hold Your Hand<\/em>)\u00a0(mono on PMV1)<\/span><\/p>\n
\n2.\u00a0I\u2019m A Loser<\/em>\u00a0BFS 1-2
\n3.\u00a0Baby\u2019s In Black<\/em>\u00a0BFS 1-3
\n4.\u00a0Rock And Roll Music<\/em>\u00a0BFS 1-4
\n5.\u00a0I\u2019ll Follow The Sun<\/em>\u00a0BFS 1-5
\n6.\u00a0Mr. Moonlight<\/em>\u00a0BFS 1-6
\n7.\u00a0Honey Don\u2019t<\/em>\u00a0BFS 2-3
\n8.\u00a0I\u2019ll Be Back<\/em>\u00a0HDN 2-6
\n9.\u00a0She\u2019s A Woman<\/em>\u00a0x\u00a0*\u00a0(no reverb, true stereo: PMV1)<\/span>
\n10.\u00a0I Feel Fine<\/em>\u00a0x\u00a0*\u00a0(no reverb, true stereo: PMV1)<\/span>
\n11.\u00a0Everybody\u2019s Trying To Be My Baby<\/em>\u00a0BFS 2-7<\/p>\n