22 December 2013
Parlophone, without a doubt. The Parlophone releases mirror exactly how George Martin & The Beatles intended them to sound, the Capitol releases were "Americanized" by unnecessary layers of reverb/echo. Americans got a very different 'Revolver ' album, as Capitol held back three John Lennon songs in 'And Your Bird Can Sing ', 'Dr. Robert', & 'I'm Only Sleeping ' for the 'Yesterday & Today' compilation, imagine 'Sgt. Pepper ' having three less Paul McCartney tunes on it...:-)
17 December 2012
There's an even more simple reason why the 1987 releases were based on the UK catalogue. The Beatles/Apple had gained control of how their recordings could be released, and they were never in a million years go with the Capitol over the albums as they put them together. Had EMI/Capitol still controlled what could be released, I am sure the Capitol would have seen release much sooner, and we'd have At the Hollywood Bowl. The reason they weren't, and we haven't, is because Apple has to yes.
"I only said we were bigger than Rod... and now there's all this!" Ron Nasty
8 January 2014
All 3 of those "Revolver " songs were John's. Which left John with only 2 songs on the U.S. Revolver ...while George had 3. Not your typical Beatle album where George would have more songs than John. I've always wonderd if that was an "accident"
it also seemed to me that Paul could've "sacrificed" a song, since he had 5. heck, i wouldve swapped "Here, There & Everywhere" for "I'm Only Sleeping "
31 October 2013
I don't have that many Parlophone ones, as my dad grew up in America, but I have an import of With The Beatles (which my dad bought for $5!) and it sounds FANTASTIC, the Capitol ones I have don't sound nearly as good.
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12 December 2019
The reproduction standards of records in the '60s, particularly Pop ones, were never all that "high end" regardless. They would've been engineered to sound good on the most low-end equipment -the teenage consumer- then had to play them on. So...what that meant: bass limited by a wide margin and summed-to-mono (sub 150Hz); loudest grooves compressed the hell out of; generally muddy, thin signal quality; etc.
What was "high end" audio back then, was: 1/4"-wide reel to reel tape running 7.5 inches per second or faster. THIS was the only audio format to ever approach studio quality...because it WAS THE SAME THING the final mixdown master would've been made on. Beatles albums were released in the U.S. and Japan on this format; with the best quality ones available between 1969-1973 (these are in a totally different class than similar, European EMI vintage tapes otherwise solely intended for portable junk players).
I will play the game Existence to the End ;)