Beatles Yesterday And Today mixes

Correct - That is actually my listing on Discogs
There are even two versions of that green label (not counting the Record Club release)
There was one with the TM next to the lowercase letter l in the Capitol logo, and another with ® at the bottom of that same l. (I'm sure the TM is the earlier version, so probably 69 vs 70)
Could not have been a bunch of there printed either way, as it started sometime in 1969, replacing a Colorband label that started in 1968 and the Apple/Capitol label took over in 1971
So part of 69, all of 70 and part of 71 - maybe 2 years total

The bad news is that the non-club version has the Duophonic stereo. (and mine is the latter version so the possibility of the TM version being different is nil)
Listening to it the highs are rolled off in the left channel and bass is cut in the right. I found myself slowly tilting my head as the song went on...

I compared these 3 songs to the 2009 Revolver Remaster which uses the 1966 UK Stereo mix and those are a lot better. Still not great stereo but better than the duophonic by a ways.
Interestingly, I found tha I like the Y&T stereo on Nowhere Man and Ringo's What Goes On from Rubber Soul better than the stereo 1987 mix on the 2009 Remaster CD. Luckily I also have the original 1987 CD to compare them with and it is really close to the Y&T, but the Y&T beats it out by a nose - That seems like just the difference of vinyl vs CD, a bit richer, otherwise the mix and stereo were the same. The 1987 CD beats the 2009 remaster also, they really screwed that deal up.

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Day Tripper stereo from Y&T is really nice, the 2009 Past Masters version is horrible - so echoey, and they used both channels on the intro lick vs the left side only on Y&T (I wish I had the single to compare it)

 

Have you compared "Nowhere Man" and "What Goes On" on the stereo Y&T LP to the stereo tracks on the 2009 mono box Rubber Soul CD? Those would be the original 1965 mixes. The 1987 and 2009 stereo CDs would both have the 1987 mixes.

But of course the single would be the mono mix. The "Day Tripper" and "We Can Work It Out" mixes found on the Y&T LP can now be found on the 2014 Y&T CD, although all of the Help! and Rubber Soul tracks on this CD use the 1987 mixes.

 

No, don't have the 2009 Mono box set
The 1987 & 2009 stereo may use the same mixes, but they are so jacked on the 2009 remaster, they sound quite different.

So the 2014 CD is the first time an "un-remastered" version of the 66 UK stereo was available other than Y&T?
It's a jewel on that record then.

I don't know WHAT happened with all the emojis - too late to edit them out.. oops

Anyway Dinstun, I want to say thanks for putting that chart together, it was really helpful in understanding the complicated and strange history of these songs.
Made it really enjoyable

Unfortunately it also made me realize what a cluster the 2009 Remasters are...
I have Rubber Soul & Abbey Road in the 1987 version, would gladly trade the 2009s for the rest of the 87s!

 

Yes since I was 15 my ears told me "And Your Bird Sing" in True US STEREO is unique. I had both UK Revolver & US Y&T in a comparison test and I still do the comparison 37 years later. I think we got a Remix 1 on True STEREO Y&T. It's not in the books I understand. The US STEREO has greater separation and I can hear more slight detail. The Bass on the UK buries the small differences. You have to listen to it with the speakers spread wide. Head phones are less sensitive . It's mostly in the right speaker.

 

I think your hearing is probably much better than mine to hear these differences. But could the differences you describe be attributed to mastering differences?

John Barrett's notes on the three stereo mixes:


From this, tape E60042 was sent to the US and E60043 stayed in the UK. "Doctor Robert" and "I'm Only Sleeping" are clear: RS1 of each went to the US and RS2 was for the UK.

But "And Your Bird Can Sing" needed to be an edit from two different takes: take 10 was the best, but they wanted the ending of take 6 for the bass. Does anyone know where this edit takes place? They would have done the edit from the mix, not the 4-track, so as I see it, either:

• take 10 and take 6 were mixed twice and edited twice
• take 10 and take 6 were mixed once and edited and a copy made of this.

But Barrett is confusing, because it reads as RS1 was from take 10 and RS2 was from take 6 and an edit made of these on E60042. So what then is RS2 on E60043?

I think it likely that RS2 on E60043 is simply a copy of the edit done on E60042, otherwise it seems there should be a noted RS3 and RS4, and another edit. And I'm not aware that anyone has noticed a different edit at the end of the song, which would probably be noticably different if done twice.

I'll go back and listen myself, but has anyone noticed different edits on the stereo versions of AYBCS, US vs UK? Also, there should definitely be different edits on the two mono versions.

 

The stereo AYBCS on the 2014 Y&T cd *just* sounds like the eq of the 1987 Revolver track was tweaked and the fadeout went three seconds longer to hear the bassline come to a stop. There's nothing arrangement-nor-edit-wise glaringly different between them...

EXCEPT (again); the eq of the 2014 AYBCS, has:

the lead guitar boosted and favoring the center-left
any sort of reverb of John's double tracking almost removed and now very "dry" through each channel...WHICH, opposed to the '87, is why the *right* channel seems so sparse on the 2014 AYBCS; where: one is (now) able to pick out the sounds of the tambourine, high-hat, and ("cleaner") bassline with distinctive ease.

Funny sidebar: the three ex-Duophonic tracks on the MONO portion of the 2014 Y&T cd sound like the '66 Duophonic ones folded down! That boxy/"mechanical"-effect to the vocals on them IS immediately noticeable...like if I just listened to the right channel of those on a '66 (stereo) copy.

 

I still hear a difference on the true stereo us vs stereo uk. I'm just going by my hearing of the stereo separation with & without headphones. Interesting notes.

 

Yes And Bird Can Sing has a different US stereo mix when compared to the UK stereo.

 

I would still love to know why Capitol used fold downs on the UK Rubber Soul tracks on Y & T when the dedicated mono mixes were available.

 

I once owned a US Apple pressing that had the Revolver tracks in true stereo.

 

Ok, I pulled the stereo "And Your Bird Can Sing" from a UK Revolver LP and a US Y&T LP into Audacity again, and this time I found the edit point. It's at about the 1:35 mark, after the last vocal "Meeee", just before the fuzzy low note on the downbeat. If you play both tracks together, the phasing changes drastically here. You can also see the time shift on the waveforms:



This corroborates this post from @lukpac and would seem to be clear evidence of two separate edits of takes 10 and 6. To me, the only conceivable reason for doing this would be to create two stereo first generation masters, RS1 and RS2.

 

As for the Y&T mixes, this table may be easier to follow. This is the Y&T section from the spreadsheet I use to keep track of release mixes of all the albums:



This shows mixes for these releases:
T 2553 - Capitol mono LP
2014 Mono - 2014 US Albums CD mono tracks
ST 2553 (1) - 1966 Capitol stereo LP
2014 Stereo - 2014 US Albums CD stereo tracks
YT 2553 - 1966 Capitol stereo reel-to-reel
ST 2553 (2) - 1969 Capitol Record Club LP and some later stereo LPs

Mix notation:
m - standard mono mix, as found on the 2009 mono CDs
s - standard stereo mix, as found on the 2009 stereo CDs
m1 - alternate mono mix (US mix in this case)
s1 - alternate stereo mix
s87 - George Martin stereo remix on 1987 CDs
s' - fold from stereo mix s
m1" - fake stereo from mono mix m1

The colors indicate the relevant original release - usually a UK album, or yellow for a UK single. Purple for mixes not originally released in the UK.

 

First post here – trying to get to the bottom of identifying this release It seems I have the opposite A/B configuration:

Side A Etched: ST-1-2553-x7 —◁
Side B Etched: ST-2-2553-W6 —◁

Both labels are the green Apple background with Apple/Capital. Labels match closest to the Winchester #4 pressing (label can be seen here --> http://www.applerecords.nl/US LP Beatles Capitol Reissues.pdf).

So confusing! Any leads? No listings on Discogs, obviously, or I wouldn't be digging into the bowels of forums

 

It was mastered in NY, pressed at Winchester, and will have three duophonic tracks. This entry has a different label, but the same matrix.

 

What's still puzzling to me is the question of when LP mastering of this record began using the updated tape master with the three fake stereo tracks replaced with true stereo. Why would a 1971 LA pressing with matrices such as B-18/B-14 still have the fake stereo tracks?

Does this mean that B-18 metal master was cut early (1966) and kept until needed? Would they have made 18 masters in 1966?

Or was it cut later (1971), which would indicate the old fake stereo tape master was still being used? Was there more than one tape master in LA at this time and they grabbed the old one?

 

Ahhh, thank you! I discounted this entry due to the label but matrix trumps that.

 

Good job explaining those true stereo mix differences for the 3 Revolver tracks.

 

I just received an all mono copy in Near Mint shape off of Discogs. (It was not listed under the all mono listing, but it's a minor quibble. I want a mono and an all stereo copy of the black rainbow 80s.) I'm listening to it now, and I'm on side 2. The mono mixes always had a great energy, but it seems like the whole album running a little fast. Like they were in a really big hurry to get through each song! Too bad there's a few fold-downs. I'd give it an A if not for those two issues. It's been talked about here and elsewhere how good this era sounds in mono and it's no less here, really. It's a nice Allied ('A' stamped on labels) non Quiex 80s pressing. My matrix info is:

1: B-23367-G35 SRC stamp ST-1-2553 G-35
Delta(Sheffield)^12397-X
12 SPAR MASTERED BY CAPITOL _____)
(The hook looks like a cane shape) SN prefix is crossed out by the ST - Someone must have thought (or planned that) this was going to be a green Budget Line Issue at some point.

2: SRC stamp ST-2-2553 G-32 1-2 SPAR
B-23368-G32
Delta-^12397-X O-
MASTERED BY CAPITOL _____)

 

I also have the G-35/G-32 mono cut, but no indication it was pressed at Allied that I recall. I don't really understand the Specialty / Allied situation. Why would the SRC mark be on an Allied pressing?

 

It happened all the time from what I have come to understand. Allied pressed from Specialty/SRC plates.
The 'A' (as opposed to 'E-A-S-T') stamped in the inner ring on each side on the labels makes it unmistakably an Allied pressing.

 

I just picked up a mint Yesterday And Today “Stereo” lp. It’s appearance is similar to other 1980s pressings I have. Rainbow Capitol. Says Stereophonic on the jacket and the record label but, the whole album is in ....mono!

To say I’m disappointed this isn’t like the stereo version I had back in 1983 is an understatement.
The matrix for side 1 says: SRC ST and then SN which was scratched out followed by-1-2553 G35 / /
MASTERED BY CAPITOL with an upside down cane scribble under MASTERED.

Side 2 reads : SRC ST-2-2553 G32 / / and then the same MASTERED BY CAPITOL with the cane as side 1 and that’s it.
Don’t know if it’s fold down or a true mono mix but the main point is it’s not Stereo! Bummer

 

FWIW, true mono.

 

What part of the LP I own would
have persuaded Capitol to release it with Stereo labels? I’m assuming the version I have is somewhat known about.