The Beatles' Definitive CD Versions: The 1963 Singles
So, I finally get a chance to analyze The Beatles' 1963 output in singles. It took a while, mainly because most of the single tracks have appeared on numerous Beatles CDs. Just to give you an idea of what I was dealing with, I have roughly a 45-minute commute home using the local mass transit system. Well, I worked on part of this project on the way home, and listening to "She Loves You" alone took almost the entire train ride. And I'm sure that if I had the headphones turned up loud enough, whoever was sitting next to me must have been ready to kill me.
For this round, I dealt with the following Beatles singles:
You may have noticed I left out "Please Please Me" b/w "Ask Me Why." I'll cover these when I take care of the Please Please Me album. But the six single tracks have been released on several different CD releases over the years; here's a guide to them and abbreviations I'll be using to keep things nice and tight:
Now, on to the music:
I don't have much to say about "From Me To You," so I'll just get into a little bit of history here.
The song was first released as a single in 1963. In the UK, it came out on Parlophone with "Thank You, Girl" as the B-side. Vee-Jay (who, at the time, was The Beatles' label in the States, after Capitol turned down "Please Please Me" and Vee-Jay had accepted it) released "From Me To You" as a single around the same time. Interestingly, Vee-Jay released it as the B-side of "Please Please Me." And here in the United States, "From Me To You" (as performed by The Beatles, at least -- Del Shannon also released a cover of it) made its worldwide album debut on an album called Jolly What! The Beatles With Frank Ifield On Stage, an album that was recorded neither "on stage" nor with The Beatles performing with Frank Ifield -- it was a compilation (or, as the liner notes to the album actually said, "copulation" -- don't believe me? Check Snopes) of four Beatles songs to which Vee-Jay owned the U.S. rights, and the rest of the album was filled out with Frank Ifield tunes. While many fans were smart enough in the '60s to not buy this obvious rip-off, they're kicking themselves now for turning away an album that today is worth thousands of dollars.
"From Me To You" basically has two distinct versions. The mono version has a harmonica playing over the intro, while the stereo version does not. In the mono version's harmonica intro, the vocals are fighting with the harmonica for attention; it's just a bad balance. And the harmonica also really renders the lead guitar useless. But what's interesting is that, as on Please Please Me and With The Beatles, you can hear Ringo's bass drum pedal squeak. I haven't been able to hear that on the stereo versions.
Mono Versions
PM87:
Really, the sound is very harsh at first, with too much high and middle but not enough bass. Not a good listening experience.
SINGLE:
Sounds exactly the same as PM87.
EP:
Sounds no different from the prior two mono versions, just a bit quieter; MAYBE less harsh.
RED:
First of all, I find it odd that the CD reissue of the "red" album has the mono version, while all the non-CD releases have always had the stereo version. On the CD version of the red album, the bass is more audible than on the prior CD mono releases, but the vocals sound a bit more distorted on this version.
1:
The bass is more audible than on PM87, single, and EP, but not quite as audible as on Red. The vocals aren't distorted, either.
MM:
The 2009 mono release is similar to the 1987 version, but cleaner and brighter. I found myself wishing that there were more bass, though. At the end of the song, the vocals seem to be at war with the harmonica.
Worst mono version: Past Masters, Vol. 1 (1987)
Just plain bad sound.
Best mono version: 1
Quite simply, this version has the best EQ and overall sound clarity.
Stereo Version
PM09:
Hmmm...so far the stereo version was only released on one CD to this date. But on this CD, the sound is incredibly clear. The acoustic guitar really rings out. One caveat, though, is that the overall sound is not the best balance due to the odd stereo separation -- most rhythm instruments are in the left, with some acoustic guitar in right, vocals in the right, and the harmonica centered. The stereo mix also makes it very clear that the intro is an edit piece (which I always knew, actually, thanks to Mark Lewisohn's book and, of course, the fine folks at Yellow Dog who gave us Unsurpassed Masters Vol. 1), as the vocals are centered during the intro, then suddenly panned right for the rest of the song.
Definitive CD version of "From Me To You": Past Masters (2009)
There was something I always loved about the reverb on the stereo version. It's hard to describe, but it sounds different from any other reverb that I've heard on any other Beatles song. Plus, the sound on the stereo Past Masters is very clean; really, you'd think it was mastered by Paul's grandfather.
Mono Versions
PM87:
It sounds to me like there is an obscene amount of noise reduction on this version, so much that the reverb on the vocals is virtually gone. The mastering just sounds lifeless. Sounds like there's a tape glitch between "good to be true" and the next verse. There's an audible (and badly-timed) edit before the "oh" coda -- right after the harmonica.
EP:
This slightly newer version still sounds noise-reduced, but not quite as harshly. The EQ is better, perhaps the reason I noticed what might be an edit right before the words "I know, little girl..."
SINGLE:
You'd think this would be the same version that's in the EP box, but I don't think it is. I heard less bass in the single version, unfortunately. But this version makes it a little clearer that that is an edit right before "I know, little girl..." Something sounds like an edit or tape glitch in the phrase "would doubt our love," and I hear yet another before "That's the kind of love" - and even another after that line! And maybe even another edit before the last verse.
CAPITOL (mono)
There's a lot of reverb on this version. It almost sounds like it's coming from an A.M. radio! Interestingly, we hear the harmonica in the "way that you do" and "good to be true" call-and-responses as well as in the very end, but we're not supposed to hear those harmonica parts in mono; therefore, this is obviously a fold-down of the stereo mix, especially because "Thank You Girl" was never released on a single in the U.S. at this point, so Capitol might never have been sent a mono version. It also appears that the ending "Oh" refrains are different from the prior versions, as the edit audible in those versions isn't noticeable here, and the harmonica playing sounds a bit different. And one other difference I noticed is that during the second verse on the line "Only a fool would doubt our love," Lennon and McCartney disagree on the lyric: one sings "could," the other sings "would."
MM:
Sounds noise-reduced (this could be where some of the five minutes of noise reduction in the 2009 remasters comes in), but the EQ is better than on PM87. I really wish there were a bit more bass, but at least there's a bit of treble.
Worst mono version: The Capitol Albums, Vol. 1
Partly because it sounds like it was recorded in a can of sardines, and partly because it's a fake mono mix, in that Dave Dexter's goons just took the stereo mix and combined the two channels to make a mono version. Boooooooo!
Best mono version: The Compact Disc EP Collection
Best EQ overall and with the least amount of distracting noise and tape glitches.
Stereo Versions
CAPITOL (stereo)
Okay, the overall sound is just plain harsh. The EQ isn't all that great, and there's too much extra reverb. Not good! Also, the playback is slow and makes the song drag a bit.
PM09:
Much cleaner stereo mix than Capitol's. Still not great, but much more enjoyable.
Definitive CD version of "Thank You, Girl": Past Masters (2009)
But admittedly, not by far. I think the overall balance sounds better on the mono mix, but the stereo version sounds cleaner, brighter, and has the harmonica parts that make the sound as a whole complete.
There are no true stereo versions of "She Loves You." Depending on what source you wish to believe, the original unmixed session tapes were either lost, erased, or stolen, so as of 2010, it is physically impossible to make a true stereo mix of the song. However, it's clear that different releases of the song came from different edits. And there are many edits in "She Loves You."
PM87:
The sound is noticeably hissy, but the EQ is good. There are easily audible edits during the guitar riffs before every verse. There's also an edit right before first "ooooooooooh!" Each version of "She Loves You" has an edit either right on or shortly before the word "pride." On PM87, the edit comes right on the word "pride," and at this point the treble noticeably increases. Then there is another edit between the following "she loves you" and "and you know that can't be bad," and the treble decreases to the level it was originally; the difference in EQ is night and day. Overall the sound isn't bad, but the changes in EQ are distracting.
SINGLE:
This version is still hissy, but it has better EQ than PM87. The edits during guitar riffs in first and second verses are still audible, but the edit is either not there or inaudible before the first "ooooooooooh!" There may or may not be an edit during guitar riff before third verse on this version; if there is an edit, it's pretty seamless. The "pride" edit here comes before the word "pride" and is much smoother than on PM87, and as with PM87, the treble significantly increases at this point. The same edit and EQ change between "she loves you" "and you know that can't be bad" is even more noticeable than on PM87. The sound is generally cleaner when the recording is taken as a whole.
EP:
Sounds exactly the same as the single to me.
RED:
The sound on this release is a bit cleaner than before, with good EQ and less hiss and sibilance. The edit during guitar riff at the beginning of the first verse is smoother than usual, and as with the single and EP versions, the "ooooooooooh!" edit is still inaudible. The single and EP "pride" edit and EQ anomaly are still there.
1:
Sounds like Red but with even less hissj; really good sound. The "pride" edit happens before the word "pride" -- and it's a bad edit. The equalization changes at this point as usual, but this time the middle-range frequencies increase rather than the highs. On the following "Because she loves you," the EQ changes again, but for the worse. Actually, forget what I said about "really good sound" -- it sucks from this point until the end of the song.
CAPITOL (mono):
The EQ isn't as bright as on the prior CD versions -- more middle, less high. Bass might have a bit more emphasis than on the prior versions. The guitar riff edit before the third verse is really bad. The "pride" edit happens before the word "pride," but interestingly, the EQ doesn't go out of whack and stays consistent through the whole song.
CAPITOL (fake stereo):
The EQ is actually really good, and one can argue that the EQ actually does give the illusion of a stereo recording. However, the vocals sound strange, almost as if they have artificial double-tracking. In fact, this recording might have been severely processed -- high/low fake stereo plus "duophonic," perhaps -- there might be a slight, barely noticeable echo delay in one channel. The "pride" edit sounds different from Capitol mono, interestingly -- sounds like it's ON the word "pride," as on PM87. And as with Capitol mono, the EQ remains consistent throughout whole song. If it weren't for the "duophonic" tampering, so far this version would win out on EQ. Lots of hiss, though; undoubtedly from a lower-generation tape than the UK versions.
MM:
The EQ isn't that great -- not much in terms of highs. There's a bit more emphasis on the bass than before. I can hear a few tape glitches in the beginning. The guitar riff edits in the beginnings of the first and second verses are smoother than usual, but the riff edit before the third verse is atrocious. The "pride" edit falls on the word "pride" as in PM87 and Capitol fake stereo. The EQ does noticeably change a bit, then back again, but it's not nearly as atrocious as before.
PM09:
Seems to be the same as MM, except I heard only one tape glitch in the beginning. I noticed an edit before the first "and you know you should be glad." The guitar riff edits in the first and second verse are smooth, as is the edit before the first "ooooooooooh!" The edit during the guitar riff that introduces the third verse is pretty bad. However, unlike with most other versions, the "pride" edit is very smooth. At this point there's a very slight change in EQ, making Ringo's cymbals sound louder, but it returns to normal in a few seconds.
Worst version: 1
The sudden EQ change on the "pride" edit, resulting in the sound being severely marred for the remainder of the song, make this probably the least-desirable CD version of "She Loves You."
Definitive CD version of "She Loves You": Past Masters (2009)
I think I had to judge this one on cleanliness. The various versions of "She Loves You" sound good, but unfortunately not great. Also, this one has the smoothest edits and the least drastic changes in equalization after the "pride" edit.
PM87:
The sound quality is mediocre. The equalization consists mostly of middles; not much in lows and highs. Sounds like it was mixed specifically for AM radio -- which it very well may have been. Either that or it was noise-reduced to hell.
SINGLE:
Slightly more treble than on PM87. There might be an edit right before "Well, there's gonna be a time." Lennon's vocal error is not as noticeable, interestingly.
CAPITOL (mono):
Sounds like PM87 but with additional reverb, bringing the sound more "in your face." Mastering sounds louder, too, as do the harmonica parts.
CAPITOL (fake stereo):
As with "She Loves You," the EQ in general actually doesn't sound too bad. However, the left channel is too bassy.
MM:
The EQ is better than PM87, but not not as good as single. Bass is a bit more audible, but not very punchy. Really lacking in treble. The edit heard on single version is noticeable here, too.
PM09:
This version is mastered slightly louder here than on MM. George's guitar is slightly more noticeable than on other versions. The bass is slightly louder than before.
Overall, there isn't really a great-sounding version of "I'll Get You," which is a shame because it's a good song. I'd love to have a version that has the EQ of the Capitol fake stereo with the cleanliness of the single version.
Worst version: The Capitol Albums, Vol. 1
The EQ leaves much to be desired, and the extra reverb doesn't help, nor does the relative loudness.
Definitive CD version of "I'll Get You": The CD Singles Collection
But not by far, honestly.
The Beatles were already hitting it big throughout Europe by the time the song was first released over there in 1963, as "She Loves You" was a massive hit, as was "Please Please Me." Both songs were rejected by Capitol Records, EMI's United States record label who had the right of first refusal of all foreign product from another EMI label.
And "I Want To Hold Your Hand" was the fourth Beatles song that Dave Dexter, Jr., who was in charge of that foreign product, rejected. It took Brian Epstein going over Dexter's head to Alan Livingston -- and a threat from Livingston's wife -- to get "I Want To Hold Your Hand" released in the United States. Meanwhile, a young girl in Washington, D.C., asked a local DJ why we couldn't have songs like "She Loves You" in the United States. When presented with a Parlophone copy of "I Want To Hold Your Hand," the DJ invited the girl on the air to introduce the song, which was to be played for the first time in the United States. Capitol releases the song, and the rest is the world as we know it.
It was an honor to listen to nine (whoa!) versions of this song back-to-back for this project. (Thank you, Mrs. Livingston, wherever you are!)
Mono Versions
SINGLE:
A very exciting, very punchy version. The bass is just right! Admittedly, the EQ could use some additional treble. The lead guitar riff at the end is drowned out.
EP:
Better EQ than the single -- good amount of treble, but slightly less bass than on the single. The song is still exciting, nonetheless. The extra treble means a little bit of hiss, but it's not distracting at all.
CAPITOL (mono):
This version is mastered a bit louder than before, but the EQ is slightly better than EP -- nice balance of lows, middles, and highs, although the treble could be boosted just a tiny bit. Definitely an exciting recording to listen to. It sounds like there are tape glitches in various places in the song. Still, it's a surprisingly clean-sounding recording for what must be at least a generation away from the UK pressings.
CAPITOL (fake stereo):
- The mix on the stereo pressing of Meet The Beatles! is actually rechanneled mono, with lows on the left, highs on the right. There might be a slight duophonic effect as well. The processing does nothing to improve the sound. In fact, Capitol's reprocessing makes it sound like the Beatles were singing this in a natatorium.
MM:
Sounds like Capitol mono or maybe even the single version, but not mastered as loudly. Nice sound, but there's still something about it that's not quite what it could be; perhaps it's noise reduction?
Worst mono version: The Capitol Albums, Vol. 1
That is, the so-called "stereo" version from Meet The Beatles! The "Dexterization" absolutely adds nothing.
Best mono version: The Compact Disc EP Collection
Taken from The Beatles' Million Sellers. Nice EQ, nice mix, almost makes me want to get up and dance -- and let me tell ya, I do not dance.
Stereo Versions
PM87:
Not a good mix at all. The rhythm instruments are all in the left channel, maybe slightly panned toward center (or perhaps it's the vocal/clap track centered with headphone leakage?), while the lead guitar is in the right channel. And the lead guitar is mixed farther forward than the rest of the instruments, making it sound as if this is a "vocals-up" mix. The EQ is OK but not great. This version of the song just doesn't have any real bang to it.
RED:
Sounds like PM87, but with a bit more bass. Lead guitar is still a bit too far forward in the right channel. The EQ is slightly improved.
1:
The EQ is a bit improved, even slightly more than Red. The vocals still overpower the song, but not as badly as on PM87. Lead guitar is still panned all the way to the right, but it's not as distracting as on PM87.
PM09:
Good bass in the EQ, but could use a tiny bit more treble. PM09 probably has the best stereo balance, as the rhythm instruments seem to be more in line with the vocals and lead guitar, although the vocals still overpower a bit. This is definitely the most energetic-sounding stereo version that has been released on CD so far. Oh...and did I detect an extra falsetto harmony during the last "I can't hide"?!
Worst stereo version: Past Masters Vol. 1 (1987)
Just a lifeless recording with vocals and lead guitar that are way too loud.
Best stereo version: Past Masters (2009)
I think a good way to describe this version is this: Take the best mono mix and make it stereo. Good sound all around, and definitely the most exciting-sounding stereo version that's ever been officially released by EMI on CD.
Definitive CD version of "I Want To Hold Your Hand": The Compact Disc EP Collection
Mind you, since 1988 the stereo version has been drilled into me. It's what was on the CD (remember, the original Past Masters came out in 1988, not 1987, although it was mixed in 1987), and ergo it's also what's been played on the radio ever since. But the mono mix definitely has the edge. Remember, "I Want To Hold Your Hand" was the first song The Beatles ever recorded on a 4-track tape, so the folks at Abbey Road were just learning how to record with it. As a result, we don't have the best balance, so the true stereo mixes have to be pretty primitive.
The mono versions, though, wow. I think my first exposure to a true mono version of "I Want To Hold Your Hand" was when I got The Capitol Albums, Vol. 1, and I listened to the mono Meet The Beatles! in my car on my way home from work. Mind you, I was not quite 30 years old at the time, but I'd been familiar with "I Want To Hold Your Hand" all my life -- I heard it everywhere: the radio, music systems in stores, lip-sync competitions (I grew up in the '80s), you name it...and to be honest with you, I got sick of it long before I became a Beatles fan in 1987. But when I heard the mono Meet The Beatles! on CD, I turned the volume up. Just the excitement...forget the lyrics, it was the music that was making the statement -- and what a statement it was. I suddenly understood what it must have been like to be a Beatlemaniac in 1964, and it only took me 17 years of being a Beatles fan to do that.
There's something special about "This Boy." When I first heard it, I thought for sure it had to have been a cover that was originally done by, maybe, the Platters or some other group from the '50s. It sounded too professional. Too polished. And generally, too good to have been written by these scruffy young Liverpudlians. But it was one of those songs that taught me this: if it sounds too good to have been a Beatles original, it is a Beatles original.
Also, it's a fairly easy song to learn if you and two friends want to sing in three-part harmony. It's a very simple harmony that sounds absolutely stunning. And I also wonder if I'm the only person who's noticed (long ago, not just when I've been doing this intense listening) that when George sings the line "would always feel the same" that he sings the word "feel" with melisma. Most people, when singing that part, will sing "would always feel" with the note pattern of "G G A B" and hold the B for the entire word "feel," but George actually sings it "fee-eel," so that the "fee" part is a B and the "eel" part is an A -- it sounds really cool.
Something else I've noticed for quite awhile is that there's an obvious edit between the end of the bridge and the beginning of the last verse. The timing of the edit is actually quite good, as the song doesn't skip a beat at all, but you can tell the edit is there because John's voice suddenly cuts out completely before the last verse starts. It's possible that the bridge could be an edit piece, but I'm typing this away from home so I don't have access to my Lewisohn book, so I can't say for sure.
Unfortunately, the song fades out, which is strange because according to Mark Lewisohn, "This Boy" was recorded with a complete ending (yeah, I know, I'm not near the book, but I remember reading about it!), probably similar to how The Beatles performed it live. Even the outtake that was released on the Free As A Bird EP fades. I'd love to hear a studio version with a complete ending.
The song for years was only available in mono; anything labeled "stereo" was just some kind of rechanneled attempt to fake a stereo mix. I believe the stereo mix that eventually did see the light of day was made in 1976, and it's an odd mix. The bass, drums, and acoustic guitar are panned hard-left, the vocals hard-right, and George's lead guitar centered. And what's really odd is that during the bridge, John's lead vocal is double-tracked (as on the mono version), but one of those lead vocals leaks over into the left stereo channel. Yup, just one of John's lead vocals -- not his other, and none of the background harmonies bleed over.
Mono Versions
SINGLE:
There's a really nice bass sound on this version. As I say with most mono versions of Beatles songs, it could use some more treble. The vocals sound slightly more reverbed than what I'm used to hearing on "This Boy," this time in a 50's doo-wop kind of way. What stuck out for me when listening to the single version is that I could actually hear the guitar pick strumming the acoustic guitar's chords. Niiiice! And listen to that awesome bass line right before John sings "Oh and this boy would be happy..." It's actually in every version, but I noticed it for the first time when listening to the single version. George's guitar sounds a little buried during the bridge.
CAPITOL (mono):
The EQ has more treble, but also a bit too much bass -- the bass actually gets distorted in a few places. This could be the result of a loss of tape generation, though. George's strumming also sounds a bit cleaner than on the single version. However, as with a lot of the Capitol releases, it sounds like there's a tape glitch, in this case during the second verse. And did I hear an edit during the bridge between "Oh and" and "this boy"?? Or was it a tape glitch?
CAPITOL (fake stereo):
As with prior Capitol fake-stereo mixes, the EQ actually sounds pretty bright. However, in this case, the bass is overwhelming and distorted most of the time. And it sounds like not only is this mix high/low fake stereo, but it's also duophonic with extra reverb added. And somehow, I noticed a LOT of tape glitches that I didn't hear in the true mono Capitol version. Basically, this version SUCKS. Period.
MM:
The 2009 mono release sounds like the single, but with slightly more treble. The vocals seem to be potted down a little bit. EQ is slightly better than on the single, but not as good as on the Capitol mono. Overall the sound is slightly cleaner than on prior versions.
Worst mono version: The Capitol Albums, Vol. 1
Specifically, I'm referring to the "stereo" mix of Meet The Beatles!
Just no. That's all I have to say.
Best mono version: Mono Masters
This was a tough one. I prefer the EQ on the mono Capitol version, but I think I had to go with cleanliness, as the various elements on the recording on PM09 sound cleaner, while the Capitol version has tape glitches (not to mention a lower tape generation).
Stereo Versions
PM87:
Surprisingly, this old CD version has nice EQ all around, but the vocal channel on the right overpowers the instruments on the left. The stereo version has kind of a weird mix -- bass, drums, and acoustic guitar are on the left, lead guitar in the middle, vocals on the right.
EP:
The sound is slightly brighter than on PM87, especially with George's guitar.
PM09:
The sound and EQ are as good as on the EP version, but there's a much better balance of channels. Still the same separation, but the left channel does a much better job of complementing the right channel, so the vocals aren't too overpowering, even when listening through headphones. Interestingly, George's guitar seems to be quieter on this version than on other versions.
Worst stereo version: Past Masters, Vol. 1 (1987)
It's not so much that it's a bad version, just the least-good. The truth is that all the stereo versions sound very nice and are pretty clean.
Best stereo version: Past Masters (2009)
Good EQ, crisp sound throughout, and a good balance make this the best of the three stereo versions we've been given over the years.
Definitive CD version of "This Boy": Past Masters (2009)
Yes, the stereo mix has all the vocals panned to one side, which is generally frowned upon, but you know what? The newest stereo release of the song has the brightest sound and, to my ears, was the most pleasant listen of the seven versions that have been released on CD.
For this round, I dealt with the following Beatles singles:
- "From Me To You" b/w "Thank You, Girl"
- "She Loves You" b/w "I'll Get You"
- "I Want To Hold Your Hand" b/w "This Boy"
You may have noticed I left out "Please Please Me" b/w "Ask Me Why." I'll cover these when I take care of the Please Please Me album. But the six single tracks have been released on several different CD releases over the years; here's a guide to them and abbreviations I'll be using to keep things nice and tight:
- PM87 - Past Masters, Vol. 1, compiled in 1987 and released in 1988 to include Beatles tracks that didn't appear on the canonical album catalog.
- SINGLE - The Complete Singles Collection, a box set from 1992 that compiled all the Beatles' singles on mini-CDs, complete with reproductions of the picture sleeves.
- EP - The Compact Disc EP Collection, just like the singles box but a compilation of EPs. The EPs that are apropos to this installment of my obsessive analysis are The Beatles' Hits, The Beatles' Million Sellers, and a "bonus" EP included in the set of stereo mixes, simply titled The Beatles.
- RED - the "red album," officially called 1962-1966 and sold as a two-CD set in 1993 despite the ability to easily fit the entire contents on one CD.
- CAPITOL (mono) - mono mixes from The Capitol Albums, Vol. 1 from 2004. Albums within this set that apply to this entry are Meet The Beatles! and The Beatles' Second Album.
- CAPITOL (fake stereo) - Back in the '60s, if a stereo mix wasn't available for a song, engineers would apply crazy EQ and other effects to simulate stereo, and the result was usually atrocious. The "fake stereo" designation will refer to any tracks from The Capitol Albums from the "stereo" albums but are really processed mono. When I compare "best mono," "best stereo," etc. versions, anything that's actually fake stereo will be considered mono.
- CAPITOL (stereo) - if you can't figure out what I mean by this after reading my explanations for the other two Capitol designations, then you really need to put down the joint and come back after you sober up.
- 1 - the 2000 album that compiled the officially-recognized #1 hits from The Beatles in both the U.S. and U.K. Beatles fans the world over knew this album would be a huge flop (case in point: 1982's 20 Greatest Hits). Check the RIAA site to see what a flop it was.
- MM - Mono Masters, the mono equivalent to Past Masters found in the box set The Beatles In Mono.
- PM09 - Past Masters, 2009 edition, the two-volume remastered version.
Now, on to the music:
From Me To You
I don't have much to say about "From Me To You," so I'll just get into a little bit of history here.
The song was first released as a single in 1963. In the UK, it came out on Parlophone with "Thank You, Girl" as the B-side. Vee-Jay (who, at the time, was The Beatles' label in the States, after Capitol turned down "Please Please Me" and Vee-Jay had accepted it) released "From Me To You" as a single around the same time. Interestingly, Vee-Jay released it as the B-side of "Please Please Me." And here in the United States, "From Me To You" (as performed by The Beatles, at least -- Del Shannon also released a cover of it) made its worldwide album debut on an album called Jolly What! The Beatles With Frank Ifield On Stage, an album that was recorded neither "on stage" nor with The Beatles performing with Frank Ifield -- it was a compilation (or, as the liner notes to the album actually said, "copulation" -- don't believe me? Check Snopes) of four Beatles songs to which Vee-Jay owned the U.S. rights, and the rest of the album was filled out with Frank Ifield tunes. While many fans were smart enough in the '60s to not buy this obvious rip-off, they're kicking themselves now for turning away an album that today is worth thousands of dollars.
"From Me To You" basically has two distinct versions. The mono version has a harmonica playing over the intro, while the stereo version does not. In the mono version's harmonica intro, the vocals are fighting with the harmonica for attention; it's just a bad balance. And the harmonica also really renders the lead guitar useless. But what's interesting is that, as on Please Please Me and With The Beatles, you can hear Ringo's bass drum pedal squeak. I haven't been able to hear that on the stereo versions.
Mono Versions
PM87:
Really, the sound is very harsh at first, with too much high and middle but not enough bass. Not a good listening experience.
SINGLE:
Sounds exactly the same as PM87.
EP:
Sounds no different from the prior two mono versions, just a bit quieter; MAYBE less harsh.
RED:
First of all, I find it odd that the CD reissue of the "red" album has the mono version, while all the non-CD releases have always had the stereo version. On the CD version of the red album, the bass is more audible than on the prior CD mono releases, but the vocals sound a bit more distorted on this version.
1:
The bass is more audible than on PM87, single, and EP, but not quite as audible as on Red. The vocals aren't distorted, either.
MM:
The 2009 mono release is similar to the 1987 version, but cleaner and brighter. I found myself wishing that there were more bass, though. At the end of the song, the vocals seem to be at war with the harmonica.
Worst mono version: Past Masters, Vol. 1 (1987)
Just plain bad sound.
Best mono version: 1
Quite simply, this version has the best EQ and overall sound clarity.
Stereo Version
PM09:
Hmmm...so far the stereo version was only released on one CD to this date. But on this CD, the sound is incredibly clear. The acoustic guitar really rings out. One caveat, though, is that the overall sound is not the best balance due to the odd stereo separation -- most rhythm instruments are in the left, with some acoustic guitar in right, vocals in the right, and the harmonica centered. The stereo mix also makes it very clear that the intro is an edit piece (which I always knew, actually, thanks to Mark Lewisohn's book and, of course, the fine folks at Yellow Dog who gave us Unsurpassed Masters Vol. 1), as the vocals are centered during the intro, then suddenly panned right for the rest of the song.
Definitive CD version of "From Me To You": Past Masters (2009)
There was something I always loved about the reverb on the stereo version. It's hard to describe, but it sounds different from any other reverb that I've heard on any other Beatles song. Plus, the sound on the stereo Past Masters is very clean; really, you'd think it was mastered by Paul's grandfather.
Thank You, Girl
Not much to say here, other than there are basically two versions: the mono version and the stereo version. As with "From Me To You," the difference is in the harmonica. However, exactly the opposite of "From Me To You": the stereo version has some harmonica parts that are missing in the mono version. Personally, I find the mono mix of "Thank You, Girl" to sound a bit anemic without those extra harmonica parts.Mono Versions
PM87:
It sounds to me like there is an obscene amount of noise reduction on this version, so much that the reverb on the vocals is virtually gone. The mastering just sounds lifeless. Sounds like there's a tape glitch between "good to be true" and the next verse. There's an audible (and badly-timed) edit before the "oh" coda -- right after the harmonica.
EP:
This slightly newer version still sounds noise-reduced, but not quite as harshly. The EQ is better, perhaps the reason I noticed what might be an edit right before the words "I know, little girl..."
SINGLE:
You'd think this would be the same version that's in the EP box, but I don't think it is. I heard less bass in the single version, unfortunately. But this version makes it a little clearer that that is an edit right before "I know, little girl..." Something sounds like an edit or tape glitch in the phrase "would doubt our love," and I hear yet another before "That's the kind of love" - and even another after that line! And maybe even another edit before the last verse.
CAPITOL (mono)
There's a lot of reverb on this version. It almost sounds like it's coming from an A.M. radio! Interestingly, we hear the harmonica in the "way that you do" and "good to be true" call-and-responses as well as in the very end, but we're not supposed to hear those harmonica parts in mono; therefore, this is obviously a fold-down of the stereo mix, especially because "Thank You Girl" was never released on a single in the U.S. at this point, so Capitol might never have been sent a mono version. It also appears that the ending "Oh" refrains are different from the prior versions, as the edit audible in those versions isn't noticeable here, and the harmonica playing sounds a bit different. And one other difference I noticed is that during the second verse on the line "Only a fool would doubt our love," Lennon and McCartney disagree on the lyric: one sings "could," the other sings "would."
MM:
Sounds noise-reduced (this could be where some of the five minutes of noise reduction in the 2009 remasters comes in), but the EQ is better than on PM87. I really wish there were a bit more bass, but at least there's a bit of treble.
Worst mono version: The Capitol Albums, Vol. 1
Partly because it sounds like it was recorded in a can of sardines, and partly because it's a fake mono mix, in that Dave Dexter's goons just took the stereo mix and combined the two channels to make a mono version. Boooooooo!
Best mono version: The Compact Disc EP Collection
Best EQ overall and with the least amount of distracting noise and tape glitches.
Stereo Versions
CAPITOL (stereo)
Okay, the overall sound is just plain harsh. The EQ isn't all that great, and there's too much extra reverb. Not good! Also, the playback is slow and makes the song drag a bit.
PM09:
Much cleaner stereo mix than Capitol's. Still not great, but much more enjoyable.
Definitive CD version of "Thank You, Girl": Past Masters (2009)
But admittedly, not by far. I think the overall balance sounds better on the mono mix, but the stereo version sounds cleaner, brighter, and has the harmonica parts that make the sound as a whole complete.
She Loves You
Not much to say about this classic that most people already don't know. It was released in the UK and the US in 1963. Dave Dexter at Capitol turned down "She Loves You" and decided that Frank Ifield's "Confessin'" would be much more suitable for the American public. This was during a time when Vee-Jay was in deep trouble with EMI, so "She Loves You" was not offered to Vee-Jay; instead, it was offered to an even smaller label called Swan, based in Philadelphia and had ties to Dick Clark. The agreement was that Swan would have single rights to the masters for "She Loves You" and "I'll Get You." That's it. No album rights, just single rights.There are no true stereo versions of "She Loves You." Depending on what source you wish to believe, the original unmixed session tapes were either lost, erased, or stolen, so as of 2010, it is physically impossible to make a true stereo mix of the song. However, it's clear that different releases of the song came from different edits. And there are many edits in "She Loves You."
PM87:
The sound is noticeably hissy, but the EQ is good. There are easily audible edits during the guitar riffs before every verse. There's also an edit right before first "ooooooooooh!" Each version of "She Loves You" has an edit either right on or shortly before the word "pride." On PM87, the edit comes right on the word "pride," and at this point the treble noticeably increases. Then there is another edit between the following "she loves you" and "and you know that can't be bad," and the treble decreases to the level it was originally; the difference in EQ is night and day. Overall the sound isn't bad, but the changes in EQ are distracting.
SINGLE:
This version is still hissy, but it has better EQ than PM87. The edits during guitar riffs in first and second verses are still audible, but the edit is either not there or inaudible before the first "ooooooooooh!" There may or may not be an edit during guitar riff before third verse on this version; if there is an edit, it's pretty seamless. The "pride" edit here comes before the word "pride" and is much smoother than on PM87, and as with PM87, the treble significantly increases at this point. The same edit and EQ change between "she loves you" "and you know that can't be bad" is even more noticeable than on PM87. The sound is generally cleaner when the recording is taken as a whole.
EP:
Sounds exactly the same as the single to me.
RED:
The sound on this release is a bit cleaner than before, with good EQ and less hiss and sibilance. The edit during guitar riff at the beginning of the first verse is smoother than usual, and as with the single and EP versions, the "ooooooooooh!" edit is still inaudible. The single and EP "pride" edit and EQ anomaly are still there.
1:
Sounds like Red but with even less hissj; really good sound. The "pride" edit happens before the word "pride" -- and it's a bad edit. The equalization changes at this point as usual, but this time the middle-range frequencies increase rather than the highs. On the following "Because she loves you," the EQ changes again, but for the worse. Actually, forget what I said about "really good sound" -- it sucks from this point until the end of the song.
CAPITOL (mono):
The EQ isn't as bright as on the prior CD versions -- more middle, less high. Bass might have a bit more emphasis than on the prior versions. The guitar riff edit before the third verse is really bad. The "pride" edit happens before the word "pride," but interestingly, the EQ doesn't go out of whack and stays consistent through the whole song.
CAPITOL (fake stereo):
The EQ is actually really good, and one can argue that the EQ actually does give the illusion of a stereo recording. However, the vocals sound strange, almost as if they have artificial double-tracking. In fact, this recording might have been severely processed -- high/low fake stereo plus "duophonic," perhaps -- there might be a slight, barely noticeable echo delay in one channel. The "pride" edit sounds different from Capitol mono, interestingly -- sounds like it's ON the word "pride," as on PM87. And as with Capitol mono, the EQ remains consistent throughout whole song. If it weren't for the "duophonic" tampering, so far this version would win out on EQ. Lots of hiss, though; undoubtedly from a lower-generation tape than the UK versions.
MM:
The EQ isn't that great -- not much in terms of highs. There's a bit more emphasis on the bass than before. I can hear a few tape glitches in the beginning. The guitar riff edits in the beginnings of the first and second verses are smoother than usual, but the riff edit before the third verse is atrocious. The "pride" edit falls on the word "pride" as in PM87 and Capitol fake stereo. The EQ does noticeably change a bit, then back again, but it's not nearly as atrocious as before.
PM09:
Seems to be the same as MM, except I heard only one tape glitch in the beginning. I noticed an edit before the first "and you know you should be glad." The guitar riff edits in the first and second verse are smooth, as is the edit before the first "ooooooooooh!" The edit during the guitar riff that introduces the third verse is pretty bad. However, unlike with most other versions, the "pride" edit is very smooth. At this point there's a very slight change in EQ, making Ringo's cymbals sound louder, but it returns to normal in a few seconds.
Worst version: 1
The sudden EQ change on the "pride" edit, resulting in the sound being severely marred for the remainder of the song, make this probably the least-desirable CD version of "She Loves You."
Definitive CD version of "She Loves You": Past Masters (2009)
I think I had to judge this one on cleanliness. The various versions of "She Loves You" sound good, but unfortunately not great. Also, this one has the smoothest edits and the least drastic changes in equalization after the "pride" edit.
I'll Get You
This is a good counterpart to the A-side, what with the "Oh yeah" refrains to match the "Yeah, yeah, yeah" refrains of "She Loves You." Not much more to say, except I've always loved Lennon's vocal flub during the phrase "change your mind." As with "She Loves You," the unmixed session tapes are gone, so there are only mono and fake stereo versions.PM87:
The sound quality is mediocre. The equalization consists mostly of middles; not much in lows and highs. Sounds like it was mixed specifically for AM radio -- which it very well may have been. Either that or it was noise-reduced to hell.
SINGLE:
Slightly more treble than on PM87. There might be an edit right before "Well, there's gonna be a time." Lennon's vocal error is not as noticeable, interestingly.
CAPITOL (mono):
Sounds like PM87 but with additional reverb, bringing the sound more "in your face." Mastering sounds louder, too, as do the harmonica parts.
CAPITOL (fake stereo):
As with "She Loves You," the EQ in general actually doesn't sound too bad. However, the left channel is too bassy.
MM:
The EQ is better than PM87, but not not as good as single. Bass is a bit more audible, but not very punchy. Really lacking in treble. The edit heard on single version is noticeable here, too.
PM09:
This version is mastered slightly louder here than on MM. George's guitar is slightly more noticeable than on other versions. The bass is slightly louder than before.
Overall, there isn't really a great-sounding version of "I'll Get You," which is a shame because it's a good song. I'd love to have a version that has the EQ of the Capitol fake stereo with the cleanliness of the single version.
Worst version: The Capitol Albums, Vol. 1
The EQ leaves much to be desired, and the extra reverb doesn't help, nor does the relative loudness.
Definitive CD version of "I'll Get You": The CD Singles Collection
But not by far, honestly.
I Want To Hold Your Hand
The importance of "I Want To Hold Your Hand" cannot be overstated, no matter how hard you try. At the very least, it was a technical turning point for The Beatles, as it was the first song they recorded on four-track tape. At the second-least, the song changed the world.The Beatles were already hitting it big throughout Europe by the time the song was first released over there in 1963, as "She Loves You" was a massive hit, as was "Please Please Me." Both songs were rejected by Capitol Records, EMI's United States record label who had the right of first refusal of all foreign product from another EMI label.
And "I Want To Hold Your Hand" was the fourth Beatles song that Dave Dexter, Jr., who was in charge of that foreign product, rejected. It took Brian Epstein going over Dexter's head to Alan Livingston -- and a threat from Livingston's wife -- to get "I Want To Hold Your Hand" released in the United States. Meanwhile, a young girl in Washington, D.C., asked a local DJ why we couldn't have songs like "She Loves You" in the United States. When presented with a Parlophone copy of "I Want To Hold Your Hand," the DJ invited the girl on the air to introduce the song, which was to be played for the first time in the United States. Capitol releases the song, and the rest is the world as we know it.
It was an honor to listen to nine (whoa!) versions of this song back-to-back for this project. (Thank you, Mrs. Livingston, wherever you are!)
Mono Versions
SINGLE:
A very exciting, very punchy version. The bass is just right! Admittedly, the EQ could use some additional treble. The lead guitar riff at the end is drowned out.
EP:
Better EQ than the single -- good amount of treble, but slightly less bass than on the single. The song is still exciting, nonetheless. The extra treble means a little bit of hiss, but it's not distracting at all.
CAPITOL (mono):
This version is mastered a bit louder than before, but the EQ is slightly better than EP -- nice balance of lows, middles, and highs, although the treble could be boosted just a tiny bit. Definitely an exciting recording to listen to. It sounds like there are tape glitches in various places in the song. Still, it's a surprisingly clean-sounding recording for what must be at least a generation away from the UK pressings.
CAPITOL (fake stereo):
- The mix on the stereo pressing of Meet The Beatles! is actually rechanneled mono, with lows on the left, highs on the right. There might be a slight duophonic effect as well. The processing does nothing to improve the sound. In fact, Capitol's reprocessing makes it sound like the Beatles were singing this in a natatorium.
MM:
Sounds like Capitol mono or maybe even the single version, but not mastered as loudly. Nice sound, but there's still something about it that's not quite what it could be; perhaps it's noise reduction?
Worst mono version: The Capitol Albums, Vol. 1
That is, the so-called "stereo" version from Meet The Beatles! The "Dexterization" absolutely adds nothing.
Best mono version: The Compact Disc EP Collection
Taken from The Beatles' Million Sellers. Nice EQ, nice mix, almost makes me want to get up and dance -- and let me tell ya, I do not dance.
Stereo Versions
PM87:
Not a good mix at all. The rhythm instruments are all in the left channel, maybe slightly panned toward center (or perhaps it's the vocal/clap track centered with headphone leakage?), while the lead guitar is in the right channel. And the lead guitar is mixed farther forward than the rest of the instruments, making it sound as if this is a "vocals-up" mix. The EQ is OK but not great. This version of the song just doesn't have any real bang to it.
RED:
Sounds like PM87, but with a bit more bass. Lead guitar is still a bit too far forward in the right channel. The EQ is slightly improved.
1:
The EQ is a bit improved, even slightly more than Red. The vocals still overpower the song, but not as badly as on PM87. Lead guitar is still panned all the way to the right, but it's not as distracting as on PM87.
PM09:
Good bass in the EQ, but could use a tiny bit more treble. PM09 probably has the best stereo balance, as the rhythm instruments seem to be more in line with the vocals and lead guitar, although the vocals still overpower a bit. This is definitely the most energetic-sounding stereo version that has been released on CD so far. Oh...and did I detect an extra falsetto harmony during the last "I can't hide"?!
Worst stereo version: Past Masters Vol. 1 (1987)
Just a lifeless recording with vocals and lead guitar that are way too loud.
Best stereo version: Past Masters (2009)
I think a good way to describe this version is this: Take the best mono mix and make it stereo. Good sound all around, and definitely the most exciting-sounding stereo version that's ever been officially released by EMI on CD.
Definitive CD version of "I Want To Hold Your Hand": The Compact Disc EP Collection
Mind you, since 1988 the stereo version has been drilled into me. It's what was on the CD (remember, the original Past Masters came out in 1988, not 1987, although it was mixed in 1987), and ergo it's also what's been played on the radio ever since. But the mono mix definitely has the edge. Remember, "I Want To Hold Your Hand" was the first song The Beatles ever recorded on a 4-track tape, so the folks at Abbey Road were just learning how to record with it. As a result, we don't have the best balance, so the true stereo mixes have to be pretty primitive.
The mono versions, though, wow. I think my first exposure to a true mono version of "I Want To Hold Your Hand" was when I got The Capitol Albums, Vol. 1, and I listened to the mono Meet The Beatles! in my car on my way home from work. Mind you, I was not quite 30 years old at the time, but I'd been familiar with "I Want To Hold Your Hand" all my life -- I heard it everywhere: the radio, music systems in stores, lip-sync competitions (I grew up in the '80s), you name it...and to be honest with you, I got sick of it long before I became a Beatles fan in 1987. But when I heard the mono Meet The Beatles! on CD, I turned the volume up. Just the excitement...forget the lyrics, it was the music that was making the statement -- and what a statement it was. I suddenly understood what it must have been like to be a Beatlemaniac in 1964, and it only took me 17 years of being a Beatles fan to do that.
This Boy
In England, "This Boy" was the B-side of The Beatles' worldwide breakthrough song "I Want To Hold Your Hand." It was a nice balance -- a rocker on the A-side, and a nice mellow ballad on the other. I'm not quite sure why "I Saw Her Standing There" was chosen for the B-side in the United States, nor am I sure how Capitol was able to release "I Saw Her Standing There," as Vee-Jay kinda-sorta had the rights to that song, maybe, in a way, depending on what day it was and whether Transglobal had a pending lawsuit against Vee-Jay. I know it's discussed in one of the Bruce Spizer books (or, at least, I THINK it is), but man, I'm on a roll talking about my Beatles listening experience; I can't stop to consult the Spizer books, even though they are among the best out there!There's something special about "This Boy." When I first heard it, I thought for sure it had to have been a cover that was originally done by, maybe, the Platters or some other group from the '50s. It sounded too professional. Too polished. And generally, too good to have been written by these scruffy young Liverpudlians. But it was one of those songs that taught me this: if it sounds too good to have been a Beatles original, it is a Beatles original.
Also, it's a fairly easy song to learn if you and two friends want to sing in three-part harmony. It's a very simple harmony that sounds absolutely stunning. And I also wonder if I'm the only person who's noticed (long ago, not just when I've been doing this intense listening) that when George sings the line "would always feel the same" that he sings the word "feel" with melisma. Most people, when singing that part, will sing "would always feel" with the note pattern of "G G A B" and hold the B for the entire word "feel," but George actually sings it "fee-eel," so that the "fee" part is a B and the "eel" part is an A -- it sounds really cool.
Something else I've noticed for quite awhile is that there's an obvious edit between the end of the bridge and the beginning of the last verse. The timing of the edit is actually quite good, as the song doesn't skip a beat at all, but you can tell the edit is there because John's voice suddenly cuts out completely before the last verse starts. It's possible that the bridge could be an edit piece, but I'm typing this away from home so I don't have access to my Lewisohn book, so I can't say for sure.
Unfortunately, the song fades out, which is strange because according to Mark Lewisohn, "This Boy" was recorded with a complete ending (yeah, I know, I'm not near the book, but I remember reading about it!), probably similar to how The Beatles performed it live. Even the outtake that was released on the Free As A Bird EP fades. I'd love to hear a studio version with a complete ending.
The song for years was only available in mono; anything labeled "stereo" was just some kind of rechanneled attempt to fake a stereo mix. I believe the stereo mix that eventually did see the light of day was made in 1976, and it's an odd mix. The bass, drums, and acoustic guitar are panned hard-left, the vocals hard-right, and George's lead guitar centered. And what's really odd is that during the bridge, John's lead vocal is double-tracked (as on the mono version), but one of those lead vocals leaks over into the left stereo channel. Yup, just one of John's lead vocals -- not his other, and none of the background harmonies bleed over.
Mono Versions
SINGLE:
There's a really nice bass sound on this version. As I say with most mono versions of Beatles songs, it could use some more treble. The vocals sound slightly more reverbed than what I'm used to hearing on "This Boy," this time in a 50's doo-wop kind of way. What stuck out for me when listening to the single version is that I could actually hear the guitar pick strumming the acoustic guitar's chords. Niiiice! And listen to that awesome bass line right before John sings "Oh and this boy would be happy..." It's actually in every version, but I noticed it for the first time when listening to the single version. George's guitar sounds a little buried during the bridge.
CAPITOL (mono):
The EQ has more treble, but also a bit too much bass -- the bass actually gets distorted in a few places. This could be the result of a loss of tape generation, though. George's strumming also sounds a bit cleaner than on the single version. However, as with a lot of the Capitol releases, it sounds like there's a tape glitch, in this case during the second verse. And did I hear an edit during the bridge between "Oh and" and "this boy"?? Or was it a tape glitch?
CAPITOL (fake stereo):
As with prior Capitol fake-stereo mixes, the EQ actually sounds pretty bright. However, in this case, the bass is overwhelming and distorted most of the time. And it sounds like not only is this mix high/low fake stereo, but it's also duophonic with extra reverb added. And somehow, I noticed a LOT of tape glitches that I didn't hear in the true mono Capitol version. Basically, this version SUCKS. Period.
MM:
The 2009 mono release sounds like the single, but with slightly more treble. The vocals seem to be potted down a little bit. EQ is slightly better than on the single, but not as good as on the Capitol mono. Overall the sound is slightly cleaner than on prior versions.
Worst mono version: The Capitol Albums, Vol. 1
Specifically, I'm referring to the "stereo" mix of Meet The Beatles!
Just no. That's all I have to say.
Best mono version: Mono Masters
This was a tough one. I prefer the EQ on the mono Capitol version, but I think I had to go with cleanliness, as the various elements on the recording on PM09 sound cleaner, while the Capitol version has tape glitches (not to mention a lower tape generation).
Stereo Versions
PM87:
Surprisingly, this old CD version has nice EQ all around, but the vocal channel on the right overpowers the instruments on the left. The stereo version has kind of a weird mix -- bass, drums, and acoustic guitar are on the left, lead guitar in the middle, vocals on the right.
EP:
The sound is slightly brighter than on PM87, especially with George's guitar.
PM09:
The sound and EQ are as good as on the EP version, but there's a much better balance of channels. Still the same separation, but the left channel does a much better job of complementing the right channel, so the vocals aren't too overpowering, even when listening through headphones. Interestingly, George's guitar seems to be quieter on this version than on other versions.
Worst stereo version: Past Masters, Vol. 1 (1987)
It's not so much that it's a bad version, just the least-good. The truth is that all the stereo versions sound very nice and are pretty clean.
Best stereo version: Past Masters (2009)
Good EQ, crisp sound throughout, and a good balance make this the best of the three stereo versions we've been given over the years.
Definitive CD version of "This Boy": Past Masters (2009)
Yes, the stereo mix has all the vocals panned to one side, which is generally frowned upon, but you know what? The newest stereo release of the song has the brightest sound and, to my ears, was the most pleasant listen of the seven versions that have been released on CD.
posted by dauber at 11:13 PM
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