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Track Listing

Disc 1:

1. Love Me Do (stereo)
2. Twist And Shout (stereo)
3. Anna (stereo)
4. Chains (stereo)
5. Boys (stereo)
6. Ask Me Why (stereo)
7. Please Please Me (stereo)
8. P.S. I Love You (stereo)
9. Baby It’s You (stereo)
10. A Taste Of Honey (stereo)
11. Do You Want To Know A Secret (stereo)
12. Love Me Do (mono)
13. Twist And Shout (mono)
14. Anna (mono)
15. Chains (mono)
16. Boys (mono)
17. Ask Me Why (mono)
18. Please Please Me (mono)
19. P.S. I Love You (mono)
20. Baby It’s You (mono)
21. A Taste Of Honey (mono)
22. Do You Want To Know A Secret (mono)

Disc 2:

1. Kansas City/Hey Hey Hey Hey (stereo)
2. Eight Days A Week (stereo)
3. You Like Me Too Much (stereo)
4. Bad Boy (stereo)
5. I Don’t Want To Spoil The Party (stereo)
6. Words Of Love (stereo)
7. What You’re Doing (stereo)
8. Yes It Is (stereo)
9. Dizzy Miss Lizzie (stereo)
10. Tell Me What You See (stereo)
11. Every Little Thing (stereo)
12. Kansas City/Hey Hey Hey Hey (mono)
13. Eight Days A Week (mono)
14. You Like Me Too Much (mono)
15. Bad Boy (mono)
16. I Don’t Want To Spoil The Party (mono)
17. Words Of Love (mono)
18. What You’re Doing (mono)
19. Yes It Is (mono)
20. Dizzy Miss Lizzie (mono)
21. Tell Me What You See (mono)
22. Every Little Thing (mono)

Disc 3:

1. Help! (stereo)
2. The Night Before (stereo)
3. From Me To You Fantasy (Instrumental - stereo)
4. You’ve Got To Hide Your Love Away (stereo)
5. I Need You (stereo)
6. In The Tyrol (Instrumental- stereo)
7. Another Girl (stereo)
8. Another Hard Day’s Night (Instrumental - stereo)
9. Ticket To Ride (stereo)
10. The Bitter End/You Can’t Do That (Instrumental - stereo)
11. You’re Gonna Lose That Girl (stereo)
12. The Chase (Instrumental - stereo)
13. Help! (mono)
14. The Night Before (mono)
15. From Me To You Fantasy (Instrumental - mono)
16. You’ve Got To Hide Your Love Away (mono)
17. I Need You (mono)
18. In The Tyrol (Instrumental- mono)
19. Another Girl (mono)
20. Another Hard Day’s Night (Instrumental - mono)
21. Ticket To Ride (mono)
22. The Bitter End/You Can’t Do That (Instrumental - mono)
23. You’re Gonna Lose That Girl (mono)
24. The Chase (Instrumental - mono)

Disc 4:

1. I’ve Just Seen A Face (stereo)
2. Norwegian Wood (This Bird Has Flown - stereo)
3. You Won’t See Me (stereo)
4. Think For Yourself (stereo)
5. The Word (stereo)
6. Michelle (stereo)
7. It’s Only Love (stereo)
8. Girl (stereo)
9. I’m Looking Through You (stereo)
10. In My Life (stereo)
11. Wait (stereo)
12. Run For Your Life (stereo)
13. I’ve Just Seen A Face (mono)
14. Norwegian Wood (This Bird Has Flown - mono)
15. You Won’t See Me (mono)
16. Think For Yourself (mono)
17. The Word (mono)
18. Michelle (mono)
19. It’s Only Love (mono)
20. Girl (mono)
21. I’m Looking Through You (mono)
22. In My Life (mono)
23. Wait (mono)
24. Run For Your Life (mono)

Product Details

• Amazon Sales Rank: #8607 in Music
• Brand: Beatles
• Released on: 2006-04-11
• Number of discs: 4
• Formats: Box set, Limited Edition, Original recording remastered

Amazon.com
Unless your name is Ryan Adams, you're probably not in the habit of releasing four albums in four years, let alone the same number in one. But that's exactly what the Beatles did in 1965, thanks to Capitol Records' practice of mixing and matching tracks from their U.K. releases to create new, shorter records for the American market. Because standard-issue Beatles discs follow the British discography, The Capitol Albums, Vol. 2 marks the first CD appearance of The Early Beatles (March), Beatles VI (June), the Help! soundtrack (August), and the U.S. version of Rubber Soul (December), which are presented in both mono and stereo. And since the Brits' Please Please Me and Beatles for Sale are available only in mono, that means a lot of tracks are making their stereo CD debut here, including "Please Please Me," "Twist and Shout," "Kansas City/Hey Hey Hey Hey," "What You're Doing," and "Every Little Thing." This is also the first CD appearance of Ken Thorne's incidental music from Help! (James Bond intro, anyone?), as well as of the original wide-separation stereo mixes of Help! and Rubber Soul (not the 1987 George Martin digital remixes that appear on the British discs). All told, a full 82 of this set's 92 tracks have never before been available on CD. It's not quite the sonic revelation that was Vol. 1 (that box contained 32 stereo CD debuts, this one only 14), but it's a great listen nevertheless. Also included is a colorful, 60-page booklet featuring rare photos and liner notes by Beatles historian Bruce Spizer. --Benjamin Lukoff

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Customer Reviews

For Hardcore Beatle Fans
The second installment of Capitol's long-awaited, ongoing series of reissues of the Beatles' American albums covers the four Fab Four albums Capitol released in 1965: The Early Beatles, Beatles VI, Help!, and Rubber Soul. The first of these, The Early Beatles, was a quick roundup of all the material from Please Please Me that hadn't been put on an American LP and it appropriately plays like a truncated and jumbled version of their debut; it's fun, but lacks the momentum and punch of their British debut. Beatles VI, whose very title suggests the ferocity of Beatlemania, since it's their sixth LP in just over a year, relies heavily on their fourth British LP, Beatles for Sale, pulling six songs from that album ("Kansas City," "Eight Days a Week," "I Don't Want to Spoil the Party," "Words of Love," "What You're Doing," "Every Little Thing"), adding to the mix a couple of new songs that would later show up on Help! ("You Like Me Too Much," "Tell Me What You See"), a pair of Larry Williams covers ("Bad Boy," "Dizzy Miss Lizzie"), and "Yes It Is," originally released as the B-side to "Ticket to Ride." Since it's culled exclusively from late 1964 and early 1965 material, the album winds up holding together better than some of the grab bags from 1964, and since the newer material is lighter than the excised material from Beatles for Sale -- "I Don't Want to Spoil the Party" may be weary, but without the gloomy opening triptych of "No Reply," "I'm a Loser," and "Baby's in Black," the remaining songs from this album don't quite feel as dark -- Beatles VI winds up as a pretty fun snapshot of the waning days of the peak of Beatlesmania.
Help! and Rubber Soul were the first U.S. LPs to bear the same titles (along with roughly the same artwork) of their U.K. counterparts, but they still had distinctly different running orders than the albums released in Britain. The American version of Help! is designed as a soundtrack to the film of the same name, containing selections from the movie's Ken Thorne-written score interspersed between the Beatles songs. Where the U.K. Help! had 14 tracks, including music not heard in the film, the U.S. Help! is 12 tracks, with only seven songs from the group -- just the songs actually heard in the film. The result is a distinctly different listening experience, one that's certainly not as satisfying as the U.K. LP, yet there is a certain charm to Thorne's exotica-tinged, swinging-'60s score, particularly to the James Bondian fanfare that opens the album, that helps make the U.S. version of Help! a fun nostalgia trip. The American Rubber Soul is also different than its British cousin, removing four songs from the U.K. version ("Drive My Car," "Nowhere Man," "What Goes On," "If I Needed Someone") and replacing them with two tunes from the U.K. Help! ("I've Just Seen a Face" and "It's Only Love"). The new tunes open up each side of the record, but the sequencing remains roughly the same as it is on the U.K. version, yet the U.S. LP does wind up with a subtly different feel than its British counterpart; by opening with the folky "I've Just Seen a Face" and omitting rockers and trebly pop songs, Rubber Soul winds up feeling like the Beatles' reaction to America's folk-rock movement of 1965, which is a feel that some listeners prefer.

As on the first Capitol Albums box, each of the four albums contains the original stereo and mono mixes for each LP (initial pressings contained incorrect mono mixes for Beatles VI and Rubber Soul, which were folded down for the stereo mixes instead of the original mono mixes, but this error was quickly corrected). Where several of the 1964 LPs on the first set were bathed in echo and were in fake stereo, the four 1965 records -- with the exception of The Early Beatles, which has such an extreme hard pan on its fake stereo that it is a bit difficult to listen to on headphones -- were not dressed up in as much post-production studio trickery and the stereo sounds natural, so the mixes aren't as disorienting as they were on, say, Second Album. There are some subtle differences between mixes -- and one not-so-subtle difference: the stereo version of "I'm Looking Through You" begins with a false start -- but most of these will only be noticeable only to the hardcore fans, who are indeed the target for this set. And like last time out, they should be pleased with this set, despite its flaws, chief among them the packaging. Like Capitol Albums, Vol. 1, this set has an ugly front cover that makes it seem like a Reader's Digest exclusive, the cardboard on the slipcase as well as the individual mini-LP reproductions feels flimsy (and Help!, which was originally a gatefold, is not a gatefold here), and the set feels like it could have been put together with more care. That said, there are some improvements this time around. The set has been issued as a (roughly) CD-sized box, which is preferable to the longbox of the first set, and Bruce Spizer's notes do an excellent job detailing the histories of these American LPs. And, of course, the sound is much, much better than the sound on the CDs for the regular albums, which are now nearly 20 years out of date. That sound, along with the nostalgic joy of getting these American incarnations on CD, is the main reason the hardcore fans will be more than happy to forgive this set its few flaws and simply enjoy the many pleasures of this collectors-oriented set.

May I offer a suggestion for Capitol/EMI?
As an ageing fan who fondly remembers Beatlemania and occasionally feels a certain nostalgia for it all, I myself am not particularly interested in resurrecting all the hatchet-job releases we got on this side of the pond, although I completely understand long-time fans' desire to re-obtain the mixes they prefer. Too many of these albums make little stylistic sense and are, strictly speaking, jumbled and misleading versions of the real thing, although being The Fab Four, they're still good listening.

Please, Capitol/EMI, this is what I'd like instead:

1. A complete overhaul of the entire catalogue - all of the Parlophone LPs. Please supplement each album with contemporaneously recorded (or most appropriately so) 45 RPM releases and EPs and dump those hideous PAST MASTERS discs. So, for instance, RUBBER SOUL gets "Day Tripper"/"We Can Work It Out", REVOLVER gets "Paperback Writer"/"Rain", PEPPER gets "Penny Lane"/"Strawberry Fields" and MMT still gets "All You Need Is Love" and "Hello Goodbye". Just tack them onto the beginning or end of the disc. So simple. The early LPs would benefit greatly from this approach, too.

2. A proper remastering. Bring the volume of the guys' instruments back up where it's supposed to be. Correct the anachronistic imbalance in the voices which, in the present British discs, uncomfortably emphasizes the "lead" vocalist. (Their chorus was never intended to sound like that; it was the 1960s - not the 1980s.) Lose the bizarre fetish for "previously unheard details" like giggles and snapping fingers. (Who cares about that?) Please get rid of the fake stereo; mono is plenty exciting when it's properly mixed. George Martin knew that. The Beatles knew that. And the fans who purchased millions of 45s knew it, too.

3. And finally, please issue, as an adjunct to the complete British set, A HARD DAY'S NIGHT (Go get George Martin's instrumentals from UA) and thanks for having done HELP! and RUBBER SOUL.

This is what we need.

PS. Oh yeah, remember the reverb on "I Feel Fine" and "She's a Woman", too!

Volume II Rocks
This is a great box set. It brings me back to when I first heard my sister's version of Beatles IV. I've heard some complaints about the sound quality. Don't forget that when Capitol records got the masters from E.M.I., they changed the mix, by adding a little echo to the record. This was a common practice for records released at that time. Listen to any E.M.I. British Beatles release and you will notice the difference.
For any Beatles fan growing up in the states, it is a must have. Along with volumeI ,it is something that will be enjoyed all the time. whole