Capitol Records

REVIEW: April Wine – Animal Grace (1984)

APRIL WINE – Animal Grace (1984 Capitol/EMI)

11 albums in, and April Wine were riding high!  Myles Goodwyn, Brian Greenway, Steve Lang, Gary Moffet, and Jerry Mercer bunkered down in Morin Heights with Mike Stone co-producing, and emerged with some true grace…Animal Grace.  Let’s take a dive into the nine new songs they emerged with in 1984, all but one written by Myles.

 

 

 

 

THIS COULD BE THE RIGHT ONE.

Lead track and lead single.  Great riff, accompanied by melodic keyboards.  Myles’ impassioned vocals make for a great chorus, but the lush backing vocals really sell it.  There are some cringe lyrics though –  “I just wanna please you.  To give you pleasure is a pleasure for me.”  There is a superb double-tracked guitar solo, and nice thuddy 80s drums with that processed sound that went in and out of style.

SONS OF THE PIONEERS

Second single.  It has an interesting, jagged kind of riff.  It’s an an unusual song, a little proggy in vibe.  A little spacey in atmosphere.  More cringey lyrics – “Men not afraid of fear”.  “Sons of the Pioneers” is definitely one of the most interesting songs because it’s a bit different.  There is an absolutely smashing guitar solo.  Melodic and memorable, with a lot of fun hooks and some whammy work.

WITHOUT YOUR LOVE

This killer not-ballad sounds very much like a Journey outtake from 1983’s Frontiers.  Nice keys open the track, but it does sound like a Jon Cain backing a Neal Schon riff.  Not that this is a bad thing.  Even the drum patterns remind of Steve Smith in Journey.  One of the top tracks.  Almost haunting chorus with those keyboards.  Three in a row great guitar solos with memorable hooks, this one being particularly catchy.

ROCK TONITE

Just a good time, party song with a simple sentiment:  “Let’s rock tonight!”  It is the hardest rocking song so far, with basic lyrics about letting go and rocking tonight.  Don’t want no revolution, let’s rock tonight.  It’s feels so good.  Simple message.  First song on the album without a dominant keyboard, though you can still hear them.  This song is simply based on the riff.  The guitar solo this time is less full of “grace”, and more rock and roll energy.

HARD ROCK KID (Tom Lang cover)

Shades of “I Got Your Rock” by Frehley’s Comet.  Nice low-key chugging going on in the verses, with some wah-wah guitar accents.  Sounds very typical of the era with that chorus echo – “Hard rock kid…kid…kid!”

MONEY TALKS

Very sweet saccharine chorus, again with the great backing vocals.  The song itself is a bit janky, but the chorus really knocks it out.  Again, it’s something that Frehley could have done with the Comet, but the backing vocals are more from the oldies era of the early 60s.  Not among the top tracks on an album stacked with them, but the chorus is one of the best on the album.

GIMME THAT THING CALLED LOVE

This atmospheric song features keyboards of two types:  eerie opening keys, and different eerie ones on the chorus!  It’s a really interesting and unique slow-paced song.  Maybe Alice Cooper could have recorded it on one of his 80s blackout albums?  If he has, it would be a classic today.

TOO HOT TO HANDLE

A bit Rainbow, circa “Danger Zone” from Down to Earth.  The keyboards and guitars combine into one nice, smooth opening riff combo.  The chorus features great harmonies once again, but this song isn’t a standout.

LAST TIME I’LL EVER SING THE BLUES

Here we go with the classic blues groove.  Myles’ approach to the blues here is like Kim Mitchell’s, or Van Hagar’s.  The blues is the basis, but it’s a far more fun version of the blues.  The kind of blues to dance to.  The April Wine lush harmonies don’t quite meld with the blues, but maybe that’s what makes it unique.

With Animal Grace, April Wine concocted a strong collection of songs with 80s production values perfectly in synch with what was happening at the time.  A strong album, and still enjoyable for those who miss that sound.

3.5/5 stars

Tim’s Vinyl Confessions Ep. 858: April Wine Deep Dive #11 (Animal Grace)

A few weeks ago, we interviewed Tim Durling on his new book On Record: The April Wine Album Review.  Tim has also been doing Deep Dives on each album with guests from his book.  On the episode for Animal Grace, Tim recruited both myself and Robert Lawson.  It’s a great chat so have a watch – I will be posting my written review of the album tomorrow!

NOW on TVC!

REVIEW: Sammy Hagar – Musical Chairs (1977)

SAMMY HAGAR – Musical Chairs (1977 Capitol)

A second album in 1977 for Sammy Hagar!  Swiftly following his self-titled record, Sammy was back with another collection of originals and covers featuring Bill Church and Alan Fitzgerald.  New to the band this time out were drummer Denny Carmassi, and Gary Pihl on guitar.  With Denny on board, it’s Montrose without Ronnie.

This review is based on my notes for an excellent episode of Tim’s Vinyl Confessions, and so does not follow my usual review format.  By all means, check out his Sammy Hagar book Red On Black for more details.  Let’s take ’em all track by track.

1. “Turn Up the Music” (John Carter, Sammy Hagar 3:35)

One of the Sammy songs I have known for ages, being on a 1989 “special markets” compilation called Turn Up the Music!  Very cool intro guitar lick, one of Sammy’s catchiest solo tracks.  Cool lyrics referencing the working day, and shouting out to past rockers like “Johnny B Goode”.  An ode to music making you feel better, helping you get through the day.  “Heavy metal music, oh that feels alright.”

2. “It’s Gonna Be All Right” (Hagar 4:11)

Laid back with cool synth riff by Fitz, and great punchy horn section.  Catchy and fun.  Youthful.  “We may be young, but we are strong, we can’t be wrong.  We’ve only just begun to be right!”  I remember feeling that way!  The horn section really gives the song a unique flavour for hard rock, and it just blasts!

3. “You Make Me Crazy” (Hagar 2:47)

Lovely little ballad with great keyboards and female backing vocals.  Very mellow in a 70s sense.  I picture a wintry chalet with a fire roaring.  Tommy Bolin vibes, circa “Sweet Burgundy”.  While it doesn’t really fit the Hagar oeuvre (especially on an album featuring the lyric “heavy metal music”), I do like this song.  Maybe it would be called adult contemporary in some circles…but not mine.

4. “Reckless” (Hagar 3:32)

One of Sammy’s heaviest!  Smokes from start to finish.  Guitar/organ riff is killer.  Heavy metal music indeed!  A true head banger.  Primitive Hagar music, with all the punches intact.

5. “Try (Try to Fall in Love)” (Norman Des Rosiers 3:11)

A cover of a sappy piano ballad.  Full of strings and adornments, flutes, and woodwinds, but a bit too mushy.  No rock.  Very lush, and Sammy attempts a nice falsetto, but it’s not a favourite.  And that song title?  It reminds me of “Tonight I’m Gonna Rock You (Tonight)” by Spinal Tap.  Why “Try (Try)”?  Why?  Oh that’s too much now.

6. “Don’t Stop Me Now” (Carter, Hagar 3:12)

Back to form, thankfully!  Nice crunchy simple riff here, and catchy guitar licks.  Punchy, simple and crunchy.  Nice chorus.  Listen for “red” reference – “I’m turnin’ red.”  This one strikes me as Kiss outtake quality.  Think Simmons’ Vault.

7. “Straight from the Hip Kid” (Liar cover – Norman Tager, Paul Travis 3:09)

Funky clavinet is a nice touch; thanks Fitz!  This is a cover tune by Liar, a contemporary 70s band who put out their own version of the track two years earlier.  Hard rocking, but with a slight touch of funk.

8. “Hey Boys” (Hagar 2:50)

OK song.  Light but not particularly memorable.  Chorus feels like it doesn’t fit.  Good keyboard solo work, very atmospheric.  “We’re all playin’ musical chairs, of but a change is gonna come,” lyric comes from this song.  Nice light rock.  Yacht rock?

9. “Someone Out There” (Hagar 3:01)

Enjoy the upbeat rock stylings of this song.  Light background organ is very nice.

10. “Crack in the World” (Hagar 5:11)

Slow rocker.  Goes epic in a soft kind of way, but the chorus doesn’t quite fit, which is a problem plaguing this record.  Good keyboard and guitar solos for what it is.  Kind of ends prematurely.

Not a spectacular album, with only two real serious rockers.  There are a few good light rockers too, but fans expecting the “Heavy Metal” Hagar will be sorely left with something they won’t understand.

3/5 stars

 

 

 

REVIEW: Helix – “Don’t Get Mad Get Even” (7″ single)

HELIX – “Don’t Get Mad Get Even” (1983 Capitol Records 7″ single)

Here’s a rarity for you, with a picture sleeve, even!  “Don’t Get Mad Get Even” is one of Helix’s least-known singles.  As a No Rest for the Wicked track, it has always been overshadowed by “Heavy Metal Love”.  I saw the music video, which was filmed at the same time as “Heavy Metal Love”, just once.  You never heard it on the radio.  It’s only on one (out of print) Helix “best of” CD appropriately titled Deep Cuts.  It wasn’t even on Over 60 Minutes With…, which focused on this period from Capitol Records.  In short, it’s a forgotten track except among the faithful.

Written by Lisa Dalbello and Tim Thorney, “Don’t Get Mad Get Even” boasts dual strengths. First there is the guitar hook, as tasty as any on classic rock radio today. Second is the chorus, an exceptional one at that, the kind Helix are good at. Powerful, melodic, emphatic and rebellious! Add in some cool solo work and what you have is a lost Helix classic. It’s truly a gem that deserves another listen from strangers and fans alike.

Interestingly enough, in 1982 “Don’t Get Mad Get Even” was recorded by Canadian rock singer Lydia Taylor (1983’s Most Promising Female Vocalist at the Juno Awards).

The B-side, “Check Out the Love” (credited to Helix as a band) is a little more well known than the A-side.  It was on both Over 60 Minutes With… and a live album recorded in Buffalo, NY.  I’ve probably heard ’em play it live on one of the many times I’ve seen Helix since 1987.  One way or another, this is a solid Helix banger with a dirty guitar hook.  The guitars on this song are just lethal, whether soloing or sliding.  Brian Vollmer’s vocals are melodic with grit.  It’s just the kind of song Helix are known for.  Rough n’ tough, but memorable.

The picture sleeve is an added bonus.  On the front, back row, that’s Greg “Fritz” Hinz, Brian Vollmer and Mike Uzelac.  In the front, the guitar duo of Paul Hackman and Brent “The Doctor” Doerner.  Every kid on our street thought Doctor Doerner was the coolest.  You can see why — he just that “look”.

Thanks to pal Craig Fee for locating this and many other Helix singles for me.

5/5 stars

 

REVIEW: The London Quireboys – “Hey You” (1990 cassette single)

THE LONDON QUIREBOYS – “Hey You” (1990 Capitol cassette single)

A curiosity unique to cassette.  The UK 12″ single for “Hey You” included a live “Hoochie Coochie Man” on the B-side.  It and the 7″ single also contained the album track “Sex Party”.  You could get these same tracks on the CD single, but the cassette went with a different route.

The A-side common to all is of course “Hey You” from the hit debut album A Bit Of What You Fancy. It sounds classic from first crash of guitar. The Stones-y Faces vibe is immediately apparent, and fondly recalls the summer of 1990 when the need for such a sound heralded in the Quireboys and Black Crowes.  It was completely unlike everything out by Motley Crue, Bon Jovi, and Warrant.  Its refreshing reliance on slide guitar still sounds great in the speakers, but the rasp of singer Spike is its most defining trait.

The first B-side is the roudy “Sex Party” from the album.  The boogie piano keeps it kickin’ hard.  But then the cassette goes its own way with two additional tracks.  They are severely edited versions of hit singles “I Don’t Love You Anymore” and “7 O’Clock”.  Both fade out prematurely just as the songs are getting awesome!

The whole thing repeats on both sides.  The idea is to give the kids incentive to go out and buy the album next time.  Save your allowances and buy the album to get the full songs.  Such teases!  Just as Spike is telling us what time it is, adding that it’s also “time for the party”, the song fades and the side ends!

Can’t realistically rate something like this very high.  While the two full tracks are both awesome, it’s hard to justify buying this tape today as anything other than a curiosity.  The cassette still sounds good after 31 years though!

2/5 stars

REVIEW: Poison – “Stand” (1993 promo cassette)

POISON – “Stand (CHR edit)” (1993 promo cassette single)

What is a “CHR edit”?  It’s a special single edit of a song specifically intended for “contemporary hit radio”.  In other words, Top 40.  So, when “Stand” by Poison was selected to be the first single from 1993’s brand new Native Tongue album, it had to be trimmed for length.  Getting Poison on the radio was going to prove to be an impossible task, so why make it harder by giving them a 5:16 long track that they definitely wouldn’t touch?  “Stand” was shortened to 4:21, with much of Richie Kotzen’s delightfully idiosyncratic guitar licks getting the axe, along with some of the choir.

The cassette you see here contains two edited versions of “Stand”:  the 4:21 “CHR edit” and another at 4:30 simply called “edit”.  The differences are in the guitar solo which starts to deviate at the 2:28 mark.  It’s in interesting curiosity, a peak inside the minutia of thinking that goes into marketing a song.  “Hey, this format needs another nine seconds of song, leave in some guitar solo.”  Is that how it worked?

The tape has both edit versions on both sides…twice.  2x2x2=8 times total, that you will hear “Stand” by Poison, if you play it all the way through.  Call the CIA and let ’em know I have this cassette; they can use it with their enhanced interrogation techniques.  I’ll sell.

On that note I can all but guarantee this cassette has never been played through, ever.  It was sent to the Record Store about a year and a half before I started working there.  The owner hated Poison.  Hated — with a passion.  There is no way he played this tape in store, ever.  I rescued it from a giant, forgotten stack of promos that were stuffed into a bin.  All garbage.  “Don’t take any of those,” said the owner.  Eventually all that junk was slated to be thrown out when the only location that sold tapes changed formats at the end of 1996.

This tape is valuable for one thing:  it reveals the true North American release date for Native Tongue.  Currently (August 2019), Wikipedia claims Native Tongue was released on February 8, 1993.  That’s impossible because the 8th was a Monday.  New releases came out on Tuesdays.  This promo cassette clearly states on the back that the forthcoming album Native Tongue was retailing on February 16 — a Tuesday.  You’re welcome, internet.

Otherwise, this cassette is fairly useless.

1/5 stars

REVIEW: Sword – Sweet Dreams (1988)

scan_20170121SWORD – Sweet Dreams (1988 Capitol)

Canada’s mighty Sword took another swing on their second and final album Sweet Dreams.  They recorded a fine debut in Metalized (1986), but as with any band, growth is expected on album #2.  No problem for Sword.

Metalized was relentless, thrashy, fast, and punishing.  Sweet Dreams is heavy but diverse.  This is immediately obvious on the opening title track.  The tempo is condensed to a slow metal Zeppelin stomp.  The melodies are more focused.  The sound (thanks to Gggarth and Jack Richardson) has more oomph and depth.  What the band sacrificed in speed was paid back in other qualities.

Capitol records released “The Trouble Is” as the first single/video. Rick Hughes’ enviable voice makes it sound like Sword, otherwise it could have been one of Dokken’s heaviest tracks. The lyrics are surprisingly still valid in 2017: “People are lying, they keep on trying, to live where they can be free. They jam into boats with a knife at their throats…” It hasn’t changed much in 30 years. “Land of the Brave” tackles war, a popular metal topic ever since Black Sabbath wrote “War Pigs” back in 1970. The screams of Rick Hughes mimic the horrors of the battlefield. An apt comparison would be Iron Maiden, with a little bit of Metallica. For some rebellious attitude, check out “Back Off”, which hits the gas pedal during the chorus. Another popular metal topic: “Back off preacher, stay away!” Ozzy would have been proud. Guitarist Mike Plant blasts through his solos effortlessly, showing off a variety of rock styles. “Prepare to Die” (also heard on the recent Live Hammersmith CD) is the thrashiest of the bunch on side one, sounding like vintage Sword.

Cool thrashy shreddery kicks “Caught in the Act” right in the nuts to commence side two.  It switches up on “Until Death Do Us Part”, focused by the stomp of the beat.  If Sweet Dreams has any weakness it is that there are two Swords.  The speedy metal of “Caught in the Act” and “Until Death Do Us Part” are a contrast to the more accessible rock of “The Trouble Is”.  One of the most stunning tracks on the album is “The Threat”, on which all the ingredients mix perfectly.  (They get bonus points for naming themselves in the lyrics:  “Ride with the sword in your hand, and some day with the sword you will die.”)  For a real surprise check out the slide guitar grease of the incredible “Life on the Sharp Edge”.  It’s all over with “State of Shock” which will knock you senseless for all the headbangin’ going on.  Seems Motorhead must have rubbed off on them a bit.  “State of Shock” goes out like a champ leaving you punched out drooling on the mat.

Sword stopped after two albums and Rick Hughes moved on to the mainstream rock band Saints & Sinners.  Sweet Dreams succeeded as a second album should.  It pushed the sound outwards.  Hughes and company should be proud of both of their records.

4/5 stars

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REVIEW: W.A.S.P. – First Blood…Last Cuts (1993)

scan_20161125W.A.S.P. – First Blood…Last Cuts (1993 Capitol)

When grunge took over the airwaves in 1991-1992, a lot of older guard bands found themselves without a record contract.  W.A.S.P.’s 1992 concept album The Crimson Idol failed to generate enough interest for Capitol Records to continue investing in the band.  A greatest hits contractual obligation album was a typical move for bands in this situation, and that is how First Blood…Last Cuts came to be.  With that in mind, the 16 track album is great bang for the buck.  Rarities and new songs add value, and the photo-loaded booklet is tons of fun.

A rarity right off the bat, “Animal” was a non-album single and W.A.S.P.’s first.  It’s better known as “Fuck Like a Beast”, and that might explain why it wasn’t on the W.A.S.P. album.  A good but not exceptional track, it does boast a nice metal chug, but it’s otherwise just there for shock value.  It is primitive metal akin to the first LP, with Blackie in full screech.  You either like W.A.S.P. or you don’t.

“L.O.V.E. Machine” from the first LP is remixed with the first verse re-recorded, for some reason.  Presumably Blackie must have been dissatisfied with the original.  There are several remixes on this CD, including singles “I Wanna Be Somebody”, “I Don’t Need No Doctor” (a metalized Ray Charles cover via Humble Pie), “Blind In Texas” and “Wild Child”.  The remixes generally have a sharper drum sound, particular the tracks originally from the muddy first album.  The remixing leads to an uneven listen.  Rather than sounding fresh, the remixes feel off-kilter and slightly unfamiliar, especially when butted up against non-remixed tracks.  The muddy “On Your Knees” follows the remixed “I Wanna Be Somebody”.  The transition between the two songs, both originally from the same album, could be better.

Thankfully the strong songs outnumber the middling by a hefty margin.  “Headless Children” and “The Real Me” (a Who cover from Quadrophenia) remain two highlights of the W.A.S.P. canon.  The chugging heavy epic “Chainsaw Charlie” has never been topped by Blackie.

The final incentives are the two new songs, although one (“Rock and Roll to Death”) was recycled on 1995’s Still Not Black Enough.  “Sunset and Babylon” is special as it features Lita Ford on guest lead guitar.  The nimble-fingered Ford adds some character to the tune, a pretty standard rock n’ roller from Blackie and cohorts.

At 75 minutes, First Blood…Last Cuts is a long running album providing great value.   Perhaps it runs a song or two too long, but nit picking aside it is a solidly hot listen through.  The drunken cowboy blasts of “Blind in Texas” are as fondly remembered as the gentle strumming on ballads like “Hold On to My Heart”.  Indeed, as the album runs on to its second half, ballads begin to outshine the rockers.  “Forever Free” remains one of W.A.S.P.’s brightest stars, as likeable as it was in 1989.  “The Idol” is a darkly beautiful ballad demonstrating that Blackie Lawless is indeed deeper than just his assless chaps.  Although the album dialogue should have been chopped for this greatest hits CD, it just breaks up the flow.

Most people do not need all the W.A.S.P. albums.  In fact, scientific studies have shown that one or two W.A.S.P.’s is all the average homo sapiens will ever need.  First Blood…Last Cuts would be solidly recommended CD for your first or only W.A.S.P. purchase.

4/5 stars

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REVIEW: King Kobra – Ready to Strike (1984)

IMG_20150607_142430KING KOBRA – Ready to Strike (1984 Capitol)

What happened to the good ship King Kobra? Hilarious misspelled name, silly coordinated hair colours (all but veteran drummer Carmine Appice, who complimented their red and blonde with his red and black), and production by the guy who brought you Quiet Riot — what could possibly go wrong? They even had their own “kobra” signature hand gesture, and weird complementary stage moves in an expensive music video.

When you have lyrics like, “I’m ready to strike, I’m cocked and loaded tonight,” but you’re not David Lee Roth or Gene Simmons, you’re already fighting an uphill battle.  Carmine saw the sudden success of bands like Quiet Riot, and decided “why the hell not”?  He picked up some great players for this project.  Bassist Johnny Rod ended up in W.A.S.P. later on.  David Michael-Phillips played with Lizzy Borden after Kobra.  Mick Sweda formed BulletBoys.  Mark Free formed Unruly Child, and ultimately became Marcie Free.  She still fronts Unruly Child today. Meanwhile Carmine Appice reformed this lineup of King Kobra, substituting in Paul Shortino for Free, and getting good reviews for it.

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So talent aside, there’s no worries there.  There are two major issues with this record.  One: the muddy Spencer Proffer production which lays a muffly blanket over the band.  All but Appice of course, who bears a very Frankie Banali-like sound on this album. The guitars are empty transistor radio renditions of what guitars should sound like. Two: filler material kept Ready To Strike from fulfilling its potential.

It’s not all filler of course — much of it is damn good.  The first three tracks in a row (“Ready to Strike”, “Hunger”, and “Shadow Rider”) are all really good, actually.  Famously, “Hunger” became a minor hit, although it was actually written by Canada’s Kick Axe, and recorded by them under the name Spectre General, for Transformers: The Movie in 1986!  I prefer the King Kobra version, because Mark Free really nailed that vocal.

Other decent tunes include “Shake Up”…I mean, it’s OK.  It has a good pre-chorus, “And the beat goes on and on and on…”, but the lines about home work and yard work were pretty goofy even back then. Like that one, “Tough Guys” is also a good tune (mid-tempo mellow rocker) sunk by a bad lyric. “The world’s greatest lie, is that all of us tough guys don’t cry.” No thanks, not cranking that one with the windows down.

Crummy tunes: “Attention”, “Piece of the Rock”, “Breakin’ Out” and “Dancing With Desire”. Stinky. I can’t decide how I feel about the overwrought “Second Thoughts”.

Overall: Middle of the road album that neither astounds nor repulses. It has enough good tunes to warrant a place in my collection. How about you?

3/5 stars

GUEST REVIEW: The Beatles – Stereo Box Set LP version


THE BEATLES – Stereo Box Set (2009 LP version, Apple/EMI)

By: Lemon Kurri Klopek

I’m a sucker for a good boxed-set. I own several. A couple from The Beach Boys, and The Who, one from David Bowie, The Rolling Stones, heck, even The Monkees. When we’re talking The Beatles though, I have a number of them. The original bread box set of CDs, the Singles Collection, the E.P. Collection, the Anthologies, The Capitol sets, the Mono box and the Stereo box. Then of course the individual solo sets. The Lennon box, Onceuponatime, the Darkhorse Years, the list goes on. I have the special editions from each member’s solo catalogue. All Things Must Pass, Band On The Run, etcetera.  So when I saw the giant LP collection sitting there staring at me in the record store, it was no surprise when I found myself lugging it, double bagged out to the trunk of my car.

I must say it is an impressive set. All original UK releases plus Past Masters, all stereo versions, and all on 180 gram vinyl. These sets of vinyl are on the retail shelves for close to $350. I bought mine from a local establishment that was running a sale that weekend. I walked out having parted with 276 of my dollars. That’s tax included too. Not a bad deal considering there are 14 records (two of which are doubles.) That is less than $20 per record if you’re keeping track.

BEATLES

One small added bonus is, there is a foam cushion in the box that when removed makes room for the Yellow Submarine Songtrack and the #1s double record released years ago. Now I’m sure you could put other releases in there like, I don’t know, Love, or Yesterday and Today but I put in #1s and Yellow Sub. You put in whatever you like, it’s a free country… Anyway…

I figured the thing to do was to start at the beginning. So after unsheathing the box from its’ cellophane wrapping, (one of the best parts of buying a record and sadly something a generation will miss out on entirely) out came the beefy 180 gram stereo version of Please Please Me. I placed it on my Rega turntable and dropped the needle. In an instant it was the 11th of February 1963 and I was standing in EMI Studios on Abbey Road in London. Listening to what for all intents and purposes is a recording of The Beatles live set at the time. George Martin’s stereo mix of “I Saw Her Standing There” which was released a month after the original Mono mix, was filling my living room. The second release With The Beatles followed and then of course, A Hard Day’s Night. Stellar the lot.

5/5 stars

Contents:

Please Please Me (1963)
With The Beatles (1963)
A Hard Day’s Night (1964)
Beatles for Sale (1964)
Help! (1965)
Rubber Soul (1965)
Revolver (1966)
Sgt. Pepper’s Lonely Hearts Club Band (1967)
Magical Mystery Tour (1967)
The Beatles (1968)
Yellow Submarine (1969)
Abbey Road (1969)
Let It Be (1970)
Past Masters (1962–1970)

Further reading:
THE BEATLES – In Mono (2009)