---
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title: "The Beatles: The Original Studio Recordings"
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# The Beatles: The Original Studio Recordings

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The Beatles - Stereo Box Set - desertcart.com Music

Review: Finally, the Fab Four's music gets the treatment it deserves! - This review also applies to The Beatles Mono Box Set . It took 22 years, but with the newly remastered stereo and mono box sets, The Beatles' music finally gets the treatment it deserves! Kudos to the EMI Abbey Road team for doing a terrific job with the remastering. I'll try not to duplicate what others have written, but here is my review of the remasters, based on a disc-by-disc comparison that I did against the original 1987 CDs a couple of months ago: PLEASE PLEASE ME, WITH THE BEATLES, A HARD DAY'S NIGHT, BEATLES FOR SALE: These first four albums were originally issued as mono CDs back in 1987, though many of the stereo mixes later appeared on the Capitol Albums box sets and other compilations. Actually, only four songs make their global CD stereo debut here: "Misery" and "There's a Place" from PLEASE PLEASE ME, and "I Should Have Known Better" and "You Can't Do That" from A HARD DAY'S NIGHT. George Martin did not want the twin-track mixes of the first two albums issued on CD, and insisted that the mono versions be used; for the second two albums, recorded on 4-track tape, Martin wanted to remix those two for CD, but was informed by EMI that it was too close to the release date deadline, so four mono CDs were released in 1987. There is not a whole lot of difference between the 1987 and 2009 mono versions, though the new ones are cleaner and less muddy. The stereo versions, however, blow both mono sets out of the water, as far as I am concerned. NOTE: The "fake stereo" versions of "Love Me Do" and "P.S. I Love You," which were issued on the original stereo vinyl album, were replaced with the standard mono versions on the new PLEASE PLEASE ME CD. For those who must have the fake stereos, they are available on THE EARLY BEATLES CD, included in THE CAPITOL ALBUMS, VOL. 2 box set. NOTE: The 2014 reissue of THE EARLY BEATLES (available separately, and included in the new THE U.S. ALBUMS box set) has the true mono mixes of the songs, just like the 2009 versions of PLEASE PLEASE ME. HELP!, RUBBER SOUL: Because he was not satisfied with the original 1965 stereo mixes, George Martin did remixes of these two albums for their 1987 CD release. The remastered stereo CDs use these remixes, and while they sound considerably better in 2009, my preference is for the original 1965 stereo mixes, which appear alongside the mono mixes in the mono box set. The monos are good as well - in fact, they sound better than the 1987 stereo CDs, though not as good as the 2009 stereo versions. American listeners may find the mono mixes to the soundtrack (first) half of HELP! a little strange-sounding. This is because the mono version of the Capitol album (available on THE CAPITOL ALBUMS, VOL. 2) is a "fold-down" of the stereo mix - that is, the two channels of the stereo master tape are combined onto one track during the disc-cutting stage. UPDATE: The 2014 reissue of the Capitol HELP! ORIGINAL MOTION PICTURE SOUNDTRACK CD has both the original U.K. mono mixes and the 1987 stereo remixes. REVOLVER: My favorite Beatle album (next to ABBEY ROAD). Both the mono and stereo versions of the new CDs are far superior to the 1987 stereo version. Save for "Yellow Submarine" and "Eleanor Rigby," which have appeared in mono on CD singles, the mono mix of REVOLVER makes its global CD debut in 2009. It's a shame that American fans were denied the full 14-song version of this album until vinyl imports became available in the late 1970s; three of John Lennon's best numbers ("I'm Only Sleeping," "Doctor Robert," and "And Your Bird Can Sing") were issued on the "YESTERDAY"...AND TODAY album in America, leaving the U.S. version of REVOLVER with just 11 songs. Both of the latter two titles were released on CD in 2014, as part of THE U.S. ALBUMS box set, and as individual CDs. SGT. PEPPER: A magnificent album, in both stereo and mono, and again far superior to the 1987 CD. Although I generally prefer the stereo release, the mono version has its virtues as well, particularly on "She's Leaving Home," which is at its original speed on the stereo version, but sped up in mono to make Paul sound younger (per Bruce Spizer). Also, the laughter at the end of "Within You Without You" and Paul's scat vocal at the end of the "Sgt. Pepper" reprise are much louder in mono. MAGICAL MYSTERY TOUR: Because the original six-song double EP (released in CD format in 1992 as part of the COMPACT DISC EP COLLECTION) was not viable in the U.S. market in 1967, Capitol Records added the group's five 1967 single releases to create an 11-song LP, which was ultimately released in the UK in 1976. The newly remastered stereo CD, like its 1987 predecessor, is based on the 1971 German LP issue, which contained all 11 songs in full glorious stereo. The original Capitol album had the last 3 tracks in simulated Duophonic stereo, as well as different (earlier) mixes of "I Am the Walrus" and "Strawberry Fields Forever." Strangely, when Parlophone issued the album in the UK in the 1970s, the cassette version (Parlophone TC-PCS 3077) used the all-stereo German master, but the vinyl (Parlophone PCTC 255) reverted back to the original Capitol version with the Duophonic mixes. The remastered stereo CD is the clear winner here. Although all of the mono mixes have been issued on the EP and SINGLES COLLECTION CD box sets, this is the first time that the actual mono album has been issued since Capitol deleted it in early 1968 (and, according to Beatles historian Bruce Spizer, the surplus mono albums were sent to Brazil, of all places). THE BEATLES (THE WHITE ALBUM): Of all of the remastered albums, the White Album is the most significantly improved. The original 1987 CD was flat and lifeless and had three indexing errors: when the songs "Wild Honey Pie," "Rocky Raccoon," and "Cry Baby Cry" were programmed to play by themselves, the intros of the next three songs (respectively, "Bungalow Bill," "Don't Pass Me By," and "Revolution 9") are heard as well. These errors have been corrected on the new remastered CD, and the entire album sounds fantastic. The mono version is also quite interesting because it was not originally issued in America, although the mono versions of two songs ("Helter Skelter" and "Don't Pass Me By") were issued on the Capitol RARITIES album in 1980. While the mono version is fascinating, the stereo is much better. YELLOW SUBMARINE: This is the original soundtrack album, with six Beatle songs on the first half and the seven-song George Martin film score on the second half. On the original LP, "Only A Northern Song" was mixed only in mono because of technical limitations at the time; a fake stereo version appears on that LP and the original 1987 CD, but the previously unissued mono mix appears on the new CD. The mono UK release of the YELLOW SUBMARINE album was a "fold-down" version of the stereo. Although Martin's score sounds magnificent, as does the rest of the remastered CD, listeners who purchase the CDs individually are advised to purchase 1999's YELLOW SUBMARINE SONGTRACK, which contains 15 remixed versions of the Beatle songs in the film, including the first-ever true stereo mix of the "Only a Northern Song" master. An alternate stereo take of that song appears on the ANTHOLOGY 2 album from 1996. ABBEY ROAD: The Beatles' recording swan song (though the next-to-last release, and, if you count the HEY JUDE LP, the third-from-the-last release in America). My favorite album (George Martin's too), and a magnificent presentation that is leaps and bounds over its 1987 CD predecessor. One minor beef: at the end of Side One of the vinyl LP, the song "I Want You (She's So Heavy)" has a closing instrumental riff that abruptly cuts off, creating a dramatic effect. On the original CD, "Here Comes the Sun" begins just a few seconds later and this effect is lost. On the remastered CD, there is only a one-second break between the tracks. It's too bad that the engineers didn't add a one-minute band of silence between the two songs, which would have restored the original effect. LET IT BE: This is the much-criticized Phil Spector "reproduction" from 1970, and the sound quality of the remaster compares favorably to the 2003 release, LET IT BE...NAKED. Though NAKED is the better version, the lack of quality is not all "Crazy Phil's" fault; the songs themselves were not up to normal Beatles standards, probably because the group was not getting on well at the time. Actually, I prefer Phil's mix of the title song. The group wisely reunited later in the year to record ABBEY ROAD; they obviously wanted to finish out on a positive note, and certainly did. PAST MASTERS/MONO MASTERS: Originally issued as two separate CDs (VOLUME ONE and VOLUME TWO) in 1988, the two PAST MASTERS discs have been combined into one set for this remastered CD release. All 33 of the group's original non-LP tracks are collected here, and four songs that were issued in mono on the 1988 version are in wonderful stereo here - "From Me to You," "Thank You Girl," "Komm, Gib Mir Deine Hand," and "Sie Liebt Dich." The sound quality on all of the other tracks is a significant improvement over the earlier version, as well. Interestingly, "Thank You Girl" appears in its original stereo mix for the first time (at its natural speed and without the echo effects that appeared on THE BEATLES' SECOND ALBUM version). Disc one of MONO MASTERS (included in the mono box set) has the same tracks as PAST MASTERS, but all in mono; disc two is similar, but replaces "The Ballad of John and Yoko," "Old Brown Shoe," and the single version of "Let It Be," which were only mixed in stereo, with the mono mixes of four songs from the YELLOW SUBMARINE album - "Only A Northern Song" (also found on the remastered YS CD), "All Together Now," "Hey Bulldog," and "It's All Too Much" (unique to this compilation). These mono mixes were intended for a YELLOW SUBMARINE EP that was prepared in March 1969, but never released. The mono mix of "Across the Universe" originally donated to the World Wildlife Fund, was also intended for that EP; it follows the mono UK single versions of "Get Back" and "Don't Let Me Down" on this CD. A stereo mix of "Universe" with bird sound effects was prepared for NO ONE'S GONNA CHANGE OUR WORLD, the World Wildlife Fund charity album, in late 1969. Interestingly, these same bird sound effects (at the beginning and end of this song) are also on the mono version. NOTE: Because no stereo mixes exist for "Love Me Do (Original Single Version)," "She Loves You," "I'll Get You," and "You Know My Name (Look Up The Number)," those four songs appear in mono on both PAST MASTERS and MONO MASTERS. (Although a reedited and extended stereo mix of "YKMN (LUTN)" was prepared for ANTHOLOGY 2 in 1996, the original has only been issued in mono). The stereo CDs are packaged in digipaks with expanded booklets with original liner notes and new historical and recording notes. A modified version of the 1987 SGT. PEPPER booklet is included, as well as the complete MAGICAL MYSTERY TOUR booklet. The YELLOW SUBMARINE booklet has the U.S. Dan Davis liner notes, as well as the U.K. Tony Palmer/Derek Taylor notes. The mono box set, manufactured in Japan, has the CDs packaged in mini-LP sleeves with resealable outer sleeves, complete with the original inner sleeve LP dust jackets, static-free rice paper sleeves for each CD, and such amenities as the MAGICAL MYSTERY TOUR booklet with the Capitol logo, and the SGT. PEPPER cutouts. Each CD has its proper period label: the gold-and-black Parlophone label for PLEASE PLEASE ME, yellow-and-black Parlophone labels from WITH THE BEATLES to SGT. PEPPER; the original Capitol rainbow label for MAGICAL MYSTERY TOUR; and green Apple labels for the last four albums. PAST MASTERS and MONO MASTERS have the yellow-and-black Parlophone label on disc 1, and the Apple label on disc 2. The Mini-Documentaries DVD (included with the stereo box set) has a red Apple label. The mini-docs (also included as QuickTime files on the individual stereo CDs) don't have a lot of new material, but are a nice touch nonetheless. If you can only afford one set, get the stereo box, but if you can afford it, get the mono box set too, as well as the Capitol Albums sets, YELLOW SUBMARINE SONGTRACK, LET IT BE...NAKED, and LOVE. As they say in "Mr. Kite," a splendid time is guaranteed for all.
Review: I fell in love with this music all over again. - This is the single most impressive remastered collection EVER. From sound quality to presentation to arguably the greatest body of music produced by a single band in popular history, I can't imagine anything surpassing this any time soon. The packaging is gorgeous. The piano-black magnetic flip-top box opens to reveal the lovingly detailed albums. Yes, these are the first CDs to give you that feeling of having an "album." The gatefold holds the CD on the right, and has a pocket for the liner notes on the left. The individual liner notes include the original notes (the guy who wrote that kids in "AD 2000" will still love The Beatles nailed it on the head, no?), new historical notes placing the music in context to their history, and then recording notes which detail intricacies and interesting factoids about the actual recording of the album itself. I loved just holding these records...small yes, but as close to a mini-LP as I've experienced in a while. The remastering is astonishing. Nothing short of miraculous. When was the last time listening to music gave you goosebumps? It will happen here, and often. I am as familiar with these 525 minutes of music as I am with my own heartbeat, and yet I was continually amazed at the sonics, the details. Instruments I've never noticed. Imperfections that make the performances absolutely "real." I did not think I could appreciate Beatle music any more than I already do, yet I feel like I'm starting over. I fell in love with this music all over again. Each album delivers its' treasures in their own way. The early ones...say, the first four...for the most part have that early stereo effect. Instruments on the left, vocals on the right (the recordings were done on two-track machines). As I understand it, no individual vocal or instrument has been enhanced in a remix. The tracks have been cleaned up, but the balance has been preserved. You won't get blasting drum beats or startlingly loud vocals. One more thing: you probably already know these are the original "British" releases...if you're looking for "The Early Beatles" or "Meet The Beatles" or "Something New"...well, you need to brush up on your Beatle history. Their first LP, "Please Please Me", was famously recorded in one day. The opening, "One, two, three, FOH!" launching into "I Saw Her Standing There" has a crispness that immediately lets you know you are entering uncharted waters. This song has never sounded this good. The album breezes by...you'll marvel at the purity and clarity of these young voices...the gorgeous harmonies...each instrument clearly in its' place. We all know how Lennon was shredding his vocal cords by the time they got to "Twist and Shout", and you'll swear you can hear them fray right here. "With The Beatles" open with a thrilling "It Won't Be Long", a song I could not have cared less about before. I felt that way about a lot of songs going through these records. "The Night Before", "You Won't See Me"...previously "neglected" songs regained a new life for me. On THIS album though, you get rockers, Broadway (Til There Was You), Motown covers...and again, it all sounds totally new. The guitars in particular...I think I can hear each individual string strummed. "A Hard Day's Night" opens with that chord...MAN did they know how to get your attention when people used to put needles into grooves! When Lennon's voice breaks in "If I Fell", it somehow brought him vividly back to life. The feeling was powerful, and a little weird, I admit. My eyes kinda welled up with tears, and that was only the first time. Again, these astonishing multi-part harmonies just soar...and freakin' Ringo Starr rocks like all get out. If anybody's "status" rises because of this set, it'll be him. "For Sale" is, for me, an odd mish-mash. There are songs from their pre-Beatles live marathons (like Kansas City), country-ish sojourns (Honey Don't), a Buddy Holly cover (Words of Love), blistering rockers (Rock and Roll Music), sweet ballads (I'll Follow The Sun...oh my God what vocals...)...but in the context of the first three records, here you see the guys going for something "more". This is the album that transitions into the creative leap that was to follow with the next three records. Here you'll also start to notice the creativity in McCartney's bass playing. He's just not keeping the beat. "Help!" again opens with a heart-stopping chorus. A playlist of only first songs on Beatle records would be quite impressive, and not for those with medical problems. This album shows a consistency that is leaps and bounds above the last one. The Dylan influence (You've Got To Hide Your Love Away) isn't as "in your face" as some people have suggested. It just seems that these guys can do no wrong. Each song is filled with special moments...a little something you'll return to later. A harmony here, a drum lick there, a delicate Harrison guitar flourish...and then there's "Yesterday." Paul is right there in your car/headphones/living room, and when the strings come in, you'll wish they didn't. "Rubber Soul" and "Revolver" make the greatest double-LP that was never a double LP. These are two parts of a whole, I think, and there are things in these songs that will keep you interested forever. The bouncing piano of "You Won't See Me" with those classic pop back-up vocals. The dreamy guitars of "Norwegian Wood." The elegant simplicity of "For No One" and "In My Life" with that classical harpsichord bridge. The sweetness in "Michelle", "Here There and Everywhere" and "Girl." The Beatle-bob, head-shaking guitar power chords in "I'm Looking Through You." The startled opening of "Taxman." The what-the-hell "Tomorrow Never Knows" stuff. The drama of "Eleanor Rigby" and "Nowhere Man." These are routinely considered amongst the best albums ever made. It's impossible to argue. Now we come to "Sgt. Pepper's". Quite possibly the most fun "best album of all time" to listen to. While there are loads of arguments as to which album is the best rock album ever (I'm kinda partial to "Born To Run"), are there any that changed what we consider pop music in one fell swoop? Yes, its' luster has been lost over time, but this sonic upgrade guarantees its' place in history. C'mon, "Sgt Pepper's" into "With A Little Help..." into "Lucy In the Sky..." is never forgotten once heard. The first time anyone heard that, they knew it was something special. Something amazing. That just doesn't happen that often. For those technologically oriented, the fact that this was recorded on a four-track recorder is impossible. Consider "Being For The Benefit Of Mr. Kite" alone. One thing that stuck out: check out the horns on "Good Morning, Good Morning." They come driving out of your speakers like an out-of-control semi. The Beatles start to get loopy with "Magical Mystery Tour." For the first time, there are things that seem like a waste of time. But the number of stone-cold classics makes you ignore stuff like "Flying." Again with the brisk intro of the title track...the guys let you know immediately you're in for a trip, and they remind you that they can rock with the best of 'em. These new remasters reveal details in "I Am The Walrus" and "Strawberry Field Forever" heretofore unheard. You can hear the sun shining in "Penny Lane." How is that possible? And it's "cranberry sauce." I'm not as impressed with "The White Album" as I think most people are. Yes, it's still one of the great ones, but for the first time, I became impatient with the Beatles. That's a quibble, as the thrills of "Back In The USSR, the early metal of "Helter Skelter", the delicacies of "Blackbird", "Julia" and "Martha Dear", the singalong "Ob-La-Di, Ob-La-Da", the epics "While My Guitar Gently Weeps" and "Dear Prudence"...FAR outweigh the tedium of "Wild Honey Pie" and "Revolution #9", the boring "Long Long Long", the novelty-ish "Why Don't We Do It In The Road?" The improvement in the sonics exaggerates these differences. Still, a most impressive collection...just not up to the last few. "Yellow Submarine"? All together now. It's an aberration. "Let It Be" again mixes a rare mis-step with some legendary tunes. This gives you a chance to re-evaluate Phil Spector's take on the Fab Four. You'll be thinking "If only..." a few times. Like if only he didn't syrup over "The Long and Winding Road" but I guess for that, you have "Let It Be...Naked." The poignancy of "The Two Of Us" will touch you. And yes, they passed their audition. I have always considered "Abbey Road" to be their real last album. If you don't know, it was recorded after "Let It Be", but released first. This is another record on the short list of "best ever by anyone" and similarly, it's hard to argue. Harrison's contribution rival (surpass?) Lennon/McCartney's, and the side-long suite condenses the random joys of a 'Sgt. Pepper's'-like variety into half the time. Seriously, the last song is titled "The End"...isn't that how it should be? I say yes. "Past Masters" blows my mind. This collection that organizes the Beatles non-LP singles contains some of the single greatest singles ever. Ever. EVER. "She Loves You", "I Want To Hold Your Hand", "I Feel Fine" (Niiiiiiice feedback!), "Day Tripper" (whip-cracking drums), "We Can Work It Out", "Lady Madonna"... I want to "single" out two performances. First, "Paperback Writer". I previously enjoyed this tune, but now it vaults into one of my favorite Beatle songs. I had never appreciated the intertwined harmonies as much, nor the muscular rhythm section and snarling guitars. Of all the songs in the box, this is one that feels the most "different." Maybe it's just me. And then there's "Hey Jude." I doesn't get any better than this. Paul and a piano, the rest of the lads folding in, and then the soaring ending. If you liked the song before, you'll love it now. if you loved it before, you'll weep. A DVD collects the "mini-documentaries". These tasty little treats (each one available individually on its' respective album) are 3-4 minute long visual liner notes, if you will. They are tantalizingly brief, with some terrific photos/videos, "backstage" chatter, and salient comments from all involved. There's some stuff that you'll recall from the "Anthology" films, but there's also a whole lot of new stuff, and that stuff is pretty sweet. I thought it was pretty cool that if you watch them in order..."play all"...they placed Abbey Road last. Nice touch for diehards. There. I'm done. There is no possible way that if you've read this far, you could in any way be disappointed with this box. The Beatles will change your musical life. Again.

## Technical Specifications

| Specification | Value |
|---------------|-------|
| ASIN  | B002BSHWUU |
| Best Sellers Rank | #17,996 in CDs & Vinyl ( See Top 100 in CDs & Vinyl ) #130 in British Invasion Rock #440 in Folk Rock (CDs & Vinyl) |
| Customer Reviews | 4.7 4.7 out of 5 stars (2,017) |
| Date First Available  | July 9, 2009 |
| Is Discontinued By Manufacturer  | No |
| Label  | Capitol |
| Language  | English |
| Manufacturer  | Capitol |
| Number of discs  | 16 |
| Original Release Date  | 2009 |
| Product Dimensions  | 11.93 x 6.1 x 3.07 inches; 3.75 Pounds |
| SPARS Code  | ADD |

## Images

![The Beatles: The Original Studio Recordings - Image 1](https://m.media-amazon.com/images/I/61+OjG0v9TL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ Finally, the Fab Four's music gets the treatment it deserves!
*by S***S on January 14, 2010*

This review also applies to The Beatles Mono Box Set . It took 22 years, but with the newly remastered stereo and mono box sets, The Beatles' music finally gets the treatment it deserves! Kudos to the EMI Abbey Road team for doing a terrific job with the remastering. I'll try not to duplicate what others have written, but here is my review of the remasters, based on a disc-by-disc comparison that I did against the original 1987 CDs a couple of months ago: PLEASE PLEASE ME, WITH THE BEATLES, A HARD DAY'S NIGHT, BEATLES FOR SALE: These first four albums were originally issued as mono CDs back in 1987, though many of the stereo mixes later appeared on the Capitol Albums box sets and other compilations. Actually, only four songs make their global CD stereo debut here: "Misery" and "There's a Place" from PLEASE PLEASE ME, and "I Should Have Known Better" and "You Can't Do That" from A HARD DAY'S NIGHT. George Martin did not want the twin-track mixes of the first two albums issued on CD, and insisted that the mono versions be used; for the second two albums, recorded on 4-track tape, Martin wanted to remix those two for CD, but was informed by EMI that it was too close to the release date deadline, so four mono CDs were released in 1987. There is not a whole lot of difference between the 1987 and 2009 mono versions, though the new ones are cleaner and less muddy. The stereo versions, however, blow both mono sets out of the water, as far as I am concerned. NOTE: The "fake stereo" versions of "Love Me Do" and "P.S. I Love You," which were issued on the original stereo vinyl album, were replaced with the standard mono versions on the new PLEASE PLEASE ME CD. For those who must have the fake stereos, they are available on THE EARLY BEATLES CD, included in THE CAPITOL ALBUMS, VOL. 2 box set. NOTE: The 2014 reissue of THE EARLY BEATLES (available separately, and included in the new THE U.S. ALBUMS box set) has the true mono mixes of the songs, just like the 2009 versions of PLEASE PLEASE ME. HELP!, RUBBER SOUL: Because he was not satisfied with the original 1965 stereo mixes, George Martin did remixes of these two albums for their 1987 CD release. The remastered stereo CDs use these remixes, and while they sound considerably better in 2009, my preference is for the original 1965 stereo mixes, which appear alongside the mono mixes in the mono box set. The monos are good as well - in fact, they sound better than the 1987 stereo CDs, though not as good as the 2009 stereo versions. American listeners may find the mono mixes to the soundtrack (first) half of HELP! a little strange-sounding. This is because the mono version of the Capitol album (available on THE CAPITOL ALBUMS, VOL. 2) is a "fold-down" of the stereo mix - that is, the two channels of the stereo master tape are combined onto one track during the disc-cutting stage. UPDATE: The 2014 reissue of the Capitol HELP! ORIGINAL MOTION PICTURE SOUNDTRACK CD has both the original U.K. mono mixes and the 1987 stereo remixes. REVOLVER: My favorite Beatle album (next to ABBEY ROAD). Both the mono and stereo versions of the new CDs are far superior to the 1987 stereo version. Save for "Yellow Submarine" and "Eleanor Rigby," which have appeared in mono on CD singles, the mono mix of REVOLVER makes its global CD debut in 2009. It's a shame that American fans were denied the full 14-song version of this album until vinyl imports became available in the late 1970s; three of John Lennon's best numbers ("I'm Only Sleeping," "Doctor Robert," and "And Your Bird Can Sing") were issued on the "YESTERDAY"...AND TODAY album in America, leaving the U.S. version of REVOLVER with just 11 songs. Both of the latter two titles were released on CD in 2014, as part of THE U.S. ALBUMS box set, and as individual CDs. SGT. PEPPER: A magnificent album, in both stereo and mono, and again far superior to the 1987 CD. Although I generally prefer the stereo release, the mono version has its virtues as well, particularly on "She's Leaving Home," which is at its original speed on the stereo version, but sped up in mono to make Paul sound younger (per Bruce Spizer). Also, the laughter at the end of "Within You Without You" and Paul's scat vocal at the end of the "Sgt. Pepper" reprise are much louder in mono. MAGICAL MYSTERY TOUR: Because the original six-song double EP (released in CD format in 1992 as part of the COMPACT DISC EP COLLECTION) was not viable in the U.S. market in 1967, Capitol Records added the group's five 1967 single releases to create an 11-song LP, which was ultimately released in the UK in 1976. The newly remastered stereo CD, like its 1987 predecessor, is based on the 1971 German LP issue, which contained all 11 songs in full glorious stereo. The original Capitol album had the last 3 tracks in simulated Duophonic stereo, as well as different (earlier) mixes of "I Am the Walrus" and "Strawberry Fields Forever." Strangely, when Parlophone issued the album in the UK in the 1970s, the cassette version (Parlophone TC-PCS 3077) used the all-stereo German master, but the vinyl (Parlophone PCTC 255) reverted back to the original Capitol version with the Duophonic mixes. The remastered stereo CD is the clear winner here. Although all of the mono mixes have been issued on the EP and SINGLES COLLECTION CD box sets, this is the first time that the actual mono album has been issued since Capitol deleted it in early 1968 (and, according to Beatles historian Bruce Spizer, the surplus mono albums were sent to Brazil, of all places). THE BEATLES (THE WHITE ALBUM): Of all of the remastered albums, the White Album is the most significantly improved. The original 1987 CD was flat and lifeless and had three indexing errors: when the songs "Wild Honey Pie," "Rocky Raccoon," and "Cry Baby Cry" were programmed to play by themselves, the intros of the next three songs (respectively, "Bungalow Bill," "Don't Pass Me By," and "Revolution 9") are heard as well. These errors have been corrected on the new remastered CD, and the entire album sounds fantastic. The mono version is also quite interesting because it was not originally issued in America, although the mono versions of two songs ("Helter Skelter" and "Don't Pass Me By") were issued on the Capitol RARITIES album in 1980. While the mono version is fascinating, the stereo is much better. YELLOW SUBMARINE: This is the original soundtrack album, with six Beatle songs on the first half and the seven-song George Martin film score on the second half. On the original LP, "Only A Northern Song" was mixed only in mono because of technical limitations at the time; a fake stereo version appears on that LP and the original 1987 CD, but the previously unissued mono mix appears on the new CD. The mono UK release of the YELLOW SUBMARINE album was a "fold-down" version of the stereo. Although Martin's score sounds magnificent, as does the rest of the remastered CD, listeners who purchase the CDs individually are advised to purchase 1999's YELLOW SUBMARINE SONGTRACK, which contains 15 remixed versions of the Beatle songs in the film, including the first-ever true stereo mix of the "Only a Northern Song" master. An alternate stereo take of that song appears on the ANTHOLOGY 2 album from 1996. ABBEY ROAD: The Beatles' recording swan song (though the next-to-last release, and, if you count the HEY JUDE LP, the third-from-the-last release in America). My favorite album (George Martin's too), and a magnificent presentation that is leaps and bounds over its 1987 CD predecessor. One minor beef: at the end of Side One of the vinyl LP, the song "I Want You (She's So Heavy)" has a closing instrumental riff that abruptly cuts off, creating a dramatic effect. On the original CD, "Here Comes the Sun" begins just a few seconds later and this effect is lost. On the remastered CD, there is only a one-second break between the tracks. It's too bad that the engineers didn't add a one-minute band of silence between the two songs, which would have restored the original effect. LET IT BE: This is the much-criticized Phil Spector "reproduction" from 1970, and the sound quality of the remaster compares favorably to the 2003 release, LET IT BE...NAKED. Though NAKED is the better version, the lack of quality is not all "Crazy Phil's" fault; the songs themselves were not up to normal Beatles standards, probably because the group was not getting on well at the time. Actually, I prefer Phil's mix of the title song. The group wisely reunited later in the year to record ABBEY ROAD; they obviously wanted to finish out on a positive note, and certainly did. PAST MASTERS/MONO MASTERS: Originally issued as two separate CDs (VOLUME ONE and VOLUME TWO) in 1988, the two PAST MASTERS discs have been combined into one set for this remastered CD release. All 33 of the group's original non-LP tracks are collected here, and four songs that were issued in mono on the 1988 version are in wonderful stereo here - "From Me to You," "Thank You Girl," "Komm, Gib Mir Deine Hand," and "Sie Liebt Dich." The sound quality on all of the other tracks is a significant improvement over the earlier version, as well. Interestingly, "Thank You Girl" appears in its original stereo mix for the first time (at its natural speed and without the echo effects that appeared on THE BEATLES' SECOND ALBUM version). Disc one of MONO MASTERS (included in the mono box set) has the same tracks as PAST MASTERS, but all in mono; disc two is similar, but replaces "The Ballad of John and Yoko," "Old Brown Shoe," and the single version of "Let It Be," which were only mixed in stereo, with the mono mixes of four songs from the YELLOW SUBMARINE album - "Only A Northern Song" (also found on the remastered YS CD), "All Together Now," "Hey Bulldog," and "It's All Too Much" (unique to this compilation). These mono mixes were intended for a YELLOW SUBMARINE EP that was prepared in March 1969, but never released. The mono mix of "Across the Universe" originally donated to the World Wildlife Fund, was also intended for that EP; it follows the mono UK single versions of "Get Back" and "Don't Let Me Down" on this CD. A stereo mix of "Universe" with bird sound effects was prepared for NO ONE'S GONNA CHANGE OUR WORLD, the World Wildlife Fund charity album, in late 1969. Interestingly, these same bird sound effects (at the beginning and end of this song) are also on the mono version. NOTE: Because no stereo mixes exist for "Love Me Do (Original Single Version)," "She Loves You," "I'll Get You," and "You Know My Name (Look Up The Number)," those four songs appear in mono on both PAST MASTERS and MONO MASTERS. (Although a reedited and extended stereo mix of "YKMN (LUTN)" was prepared for ANTHOLOGY 2 in 1996, the original has only been issued in mono). The stereo CDs are packaged in digipaks with expanded booklets with original liner notes and new historical and recording notes. A modified version of the 1987 SGT. PEPPER booklet is included, as well as the complete MAGICAL MYSTERY TOUR booklet. The YELLOW SUBMARINE booklet has the U.S. Dan Davis liner notes, as well as the U.K. Tony Palmer/Derek Taylor notes. The mono box set, manufactured in Japan, has the CDs packaged in mini-LP sleeves with resealable outer sleeves, complete with the original inner sleeve LP dust jackets, static-free rice paper sleeves for each CD, and such amenities as the MAGICAL MYSTERY TOUR booklet with the Capitol logo, and the SGT. PEPPER cutouts. Each CD has its proper period label: the gold-and-black Parlophone label for PLEASE PLEASE ME, yellow-and-black Parlophone labels from WITH THE BEATLES to SGT. PEPPER; the original Capitol rainbow label for MAGICAL MYSTERY TOUR; and green Apple labels for the last four albums. PAST MASTERS and MONO MASTERS have the yellow-and-black Parlophone label on disc 1, and the Apple label on disc 2. The Mini-Documentaries DVD (included with the stereo box set) has a red Apple label. The mini-docs (also included as QuickTime files on the individual stereo CDs) don't have a lot of new material, but are a nice touch nonetheless. If you can only afford one set, get the stereo box, but if you can afford it, get the mono box set too, as well as the Capitol Albums sets, YELLOW SUBMARINE SONGTRACK, LET IT BE...NAKED, and LOVE. As they say in "Mr. Kite," a splendid time is guaranteed for all.

### ⭐⭐⭐⭐⭐ I fell in love with this music all over again.
*by M***. on September 18, 2009*

This is the single most impressive remastered collection EVER. From sound quality to presentation to arguably the greatest body of music produced by a single band in popular history, I can't imagine anything surpassing this any time soon. The packaging is gorgeous. The piano-black magnetic flip-top box opens to reveal the lovingly detailed albums. Yes, these are the first CDs to give you that feeling of having an "album." The gatefold holds the CD on the right, and has a pocket for the liner notes on the left. The individual liner notes include the original notes (the guy who wrote that kids in "AD 2000" will still love The Beatles nailed it on the head, no?), new historical notes placing the music in context to their history, and then recording notes which detail intricacies and interesting factoids about the actual recording of the album itself. I loved just holding these records...small yes, but as close to a mini-LP as I've experienced in a while. The remastering is astonishing. Nothing short of miraculous. When was the last time listening to music gave you goosebumps? It will happen here, and often. I am as familiar with these 525 minutes of music as I am with my own heartbeat, and yet I was continually amazed at the sonics, the details. Instruments I've never noticed. Imperfections that make the performances absolutely "real." I did not think I could appreciate Beatle music any more than I already do, yet I feel like I'm starting over. I fell in love with this music all over again. Each album delivers its' treasures in their own way. The early ones...say, the first four...for the most part have that early stereo effect. Instruments on the left, vocals on the right (the recordings were done on two-track machines). As I understand it, no individual vocal or instrument has been enhanced in a remix. The tracks have been cleaned up, but the balance has been preserved. You won't get blasting drum beats or startlingly loud vocals. One more thing: you probably already know these are the original "British" releases...if you're looking for "The Early Beatles" or "Meet The Beatles" or "Something New"...well, you need to brush up on your Beatle history. Their first LP, "Please Please Me", was famously recorded in one day. The opening, "One, two, three, FOH!" launching into "I Saw Her Standing There" has a crispness that immediately lets you know you are entering uncharted waters. This song has never sounded this good. The album breezes by...you'll marvel at the purity and clarity of these young voices...the gorgeous harmonies...each instrument clearly in its' place. We all know how Lennon was shredding his vocal cords by the time they got to "Twist and Shout", and you'll swear you can hear them fray right here. "With The Beatles" open with a thrilling "It Won't Be Long", a song I could not have cared less about before. I felt that way about a lot of songs going through these records. "The Night Before", "You Won't See Me"...previously "neglected" songs regained a new life for me. On THIS album though, you get rockers, Broadway (Til There Was You), Motown covers...and again, it all sounds totally new. The guitars in particular...I think I can hear each individual string strummed. "A Hard Day's Night" opens with that chord...MAN did they know how to get your attention when people used to put needles into grooves! When Lennon's voice breaks in "If I Fell", it somehow brought him vividly back to life. The feeling was powerful, and a little weird, I admit. My eyes kinda welled up with tears, and that was only the first time. Again, these astonishing multi-part harmonies just soar...and freakin' Ringo Starr rocks like all get out. If anybody's "status" rises because of this set, it'll be him. "For Sale" is, for me, an odd mish-mash. There are songs from their pre-Beatles live marathons (like Kansas City), country-ish sojourns (Honey Don't), a Buddy Holly cover (Words of Love), blistering rockers (Rock and Roll Music), sweet ballads (I'll Follow The Sun...oh my God what vocals...)...but in the context of the first three records, here you see the guys going for something "more". This is the album that transitions into the creative leap that was to follow with the next three records. Here you'll also start to notice the creativity in McCartney's bass playing. He's just not keeping the beat. "Help!" again opens with a heart-stopping chorus. A playlist of only first songs on Beatle records would be quite impressive, and not for those with medical problems. This album shows a consistency that is leaps and bounds above the last one. The Dylan influence (You've Got To Hide Your Love Away) isn't as "in your face" as some people have suggested. It just seems that these guys can do no wrong. Each song is filled with special moments...a little something you'll return to later. A harmony here, a drum lick there, a delicate Harrison guitar flourish...and then there's "Yesterday." Paul is right there in your car/headphones/living room, and when the strings come in, you'll wish they didn't. "Rubber Soul" and "Revolver" make the greatest double-LP that was never a double LP. These are two parts of a whole, I think, and there are things in these songs that will keep you interested forever. The bouncing piano of "You Won't See Me" with those classic pop back-up vocals. The dreamy guitars of "Norwegian Wood." The elegant simplicity of "For No One" and "In My Life" with that classical harpsichord bridge. The sweetness in "Michelle", "Here There and Everywhere" and "Girl." The Beatle-bob, head-shaking guitar power chords in "I'm Looking Through You." The startled opening of "Taxman." The what-the-hell "Tomorrow Never Knows" stuff. The drama of "Eleanor Rigby" and "Nowhere Man." These are routinely considered amongst the best albums ever made. It's impossible to argue. Now we come to "Sgt. Pepper's". Quite possibly the most fun "best album of all time" to listen to. While there are loads of arguments as to which album is the best rock album ever (I'm kinda partial to "Born To Run"), are there any that changed what we consider pop music in one fell swoop? Yes, its' luster has been lost over time, but this sonic upgrade guarantees its' place in history. C'mon, "Sgt Pepper's" into "With A Little Help..." into "Lucy In the Sky..." is never forgotten once heard. The first time anyone heard that, they knew it was something special. Something amazing. That just doesn't happen that often. For those technologically oriented, the fact that this was recorded on a four-track recorder is impossible. Consider "Being For The Benefit Of Mr. Kite" alone. One thing that stuck out: check out the horns on "Good Morning, Good Morning." They come driving out of your speakers like an out-of-control semi. The Beatles start to get loopy with "Magical Mystery Tour." For the first time, there are things that seem like a waste of time. But the number of stone-cold classics makes you ignore stuff like "Flying." Again with the brisk intro of the title track...the guys let you know immediately you're in for a trip, and they remind you that they can rock with the best of 'em. These new remasters reveal details in "I Am The Walrus" and "Strawberry Field Forever" heretofore unheard. You can hear the sun shining in "Penny Lane." How is that possible? And it's "cranberry sauce." I'm not as impressed with "The White Album" as I think most people are. Yes, it's still one of the great ones, but for the first time, I became impatient with the Beatles. That's a quibble, as the thrills of "Back In The USSR, the early metal of "Helter Skelter", the delicacies of "Blackbird", "Julia" and "Martha Dear", the singalong "Ob-La-Di, Ob-La-Da", the epics "While My Guitar Gently Weeps" and "Dear Prudence"...FAR outweigh the tedium of "Wild Honey Pie" and "Revolution #9", the boring "Long Long Long", the novelty-ish "Why Don't We Do It In The Road?" The improvement in the sonics exaggerates these differences. Still, a most impressive collection...just not up to the last few. "Yellow Submarine"? All together now. It's an aberration. "Let It Be" again mixes a rare mis-step with some legendary tunes. This gives you a chance to re-evaluate Phil Spector's take on the Fab Four. You'll be thinking "If only..." a few times. Like if only he didn't syrup over "The Long and Winding Road" but I guess for that, you have "Let It Be...Naked." The poignancy of "The Two Of Us" will touch you. And yes, they passed their audition. I have always considered "Abbey Road" to be their real last album. If you don't know, it was recorded after "Let It Be", but released first. This is another record on the short list of "best ever by anyone" and similarly, it's hard to argue. Harrison's contribution rival (surpass?) Lennon/McCartney's, and the side-long suite condenses the random joys of a 'Sgt. Pepper's'-like variety into half the time. Seriously, the last song is titled "The End"...isn't that how it should be? I say yes. "Past Masters" blows my mind. This collection that organizes the Beatles non-LP singles contains some of the single greatest singles ever. Ever. EVER. "She Loves You", "I Want To Hold Your Hand", "I Feel Fine" (Niiiiiiice feedback!), "Day Tripper" (whip-cracking drums), "We Can Work It Out", "Lady Madonna"... I want to "single" out two performances. First, "Paperback Writer". I previously enjoyed this tune, but now it vaults into one of my favorite Beatle songs. I had never appreciated the intertwined harmonies as much, nor the muscular rhythm section and snarling guitars. Of all the songs in the box, this is one that feels the most "different." Maybe it's just me. And then there's "Hey Jude." I doesn't get any better than this. Paul and a piano, the rest of the lads folding in, and then the soaring ending. If you liked the song before, you'll love it now. if you loved it before, you'll weep. A DVD collects the "mini-documentaries". These tasty little treats (each one available individually on its' respective album) are 3-4 minute long visual liner notes, if you will. They are tantalizingly brief, with some terrific photos/videos, "backstage" chatter, and salient comments from all involved. There's some stuff that you'll recall from the "Anthology" films, but there's also a whole lot of new stuff, and that stuff is pretty sweet. I thought it was pretty cool that if you watch them in order..."play all"...they placed Abbey Road last. Nice touch for diehards. There. I'm done. There is no possible way that if you've read this far, you could in any way be disappointed with this box. The Beatles will change your musical life. Again.

### ⭐⭐⭐⭐⭐ Review
*by R***A on July 14, 2023*

Esse box é fundamental para todo beatlemaníaco que se preze. Lançado em 2009, ele contém as obras completas originais da carreira dos Fab Four, desde "Please Please Me" até "Let It Be", incluindo também o "Past Masters" (duplo) e um CD extra contendo mini-documentários referentes aos discos de carreira. Todos os discos foram devidamente remasterizados (não há remixes aqui, só melhorias na qualidade do som, em comparação aos CDs lançados anteriormente). A melhor qualidade possível para ouvir os Beatles em CD estéreo atualmente (há um outro box só com as versões em mono remasterizadas, também lançado em 2009). Os discos vem acondicionados em estojos individuais, em formato conhecido como digipack, com capas cartonadas de excelente qualidade de acabamento e com certo brilho. A impressão é impecável. Os estojos são réplicas exatas, porém reduzidas, dos LPs originais. Então, todos eles vêm com fotos na parte interna e externa e os CDs de "Sgt. Peppers" e "The Beatles (White Album)" vêm com o material extra que estava presente nos LPs originais. O box é de excelente qualidade, rígido, e vem com fitas para facilitar a retirada dos CDs de dentro dos dois locais em que ficam acondicionados. O fechamento do box é por ímãs que ficam ocultos em uma das abas e no próprio box. Por fora, o estojo é envolvido por um case em papel cartonado mais simples. Meu box, vendido e entregue pela própria Amazon, é original e veio com indicação de impressão nos EUA. Fiquem atentos para compras em outros sites, pois existem versões mais baratas e não originais, cujas qualidades de impressão e acabamento não chegam aos pés dessa aqui.

## Frequently Bought Together

- The Beatles: The Original Studio Recordings
- The Beatles The White Album

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