Views
This album is described as "troubled" by Beatles producer George Martin in his autobiography, as he was asked by Bhaskar Menon, the president of Capitol at the time, to approve the tapes they intended to use, and he was "appalled" because they were some of the early twin-track mono tapes they had made and were going to be transferred to stereo for the issue. Instead of approving the album as it was presented to him, Martin filtered and remixed every song. On the older tracks, "Twist and Shout", "I Saw Her Standing There", "I Wanna Be Your Man", "Boys" and "Roll Over Beethoven", Martin reversed the stereo, brought the vocal track away from the edge into the centre, and added a slight echo for a more modern sound. Some of the song editing is not clean: for instance, the opening notes of "Dear Prudence" can be heard following the track "Back in the U.S.S.R.". Another example can be found towards the end of "Birthday", where Starr's's count-in to "Yer Blues" is clearly audible.
EMI Records in Britain refused to use Martin's remixed Capitol tapes, citing The Beatles' strict instructions that any reissues had to be exactly as originally recorded.
The UK Parlophone double album PCSP 719 kept the original UK mixes including the five stereo mixes done for this album, the Long Tall Sally EP and "I'm Down".
In October 1980, the album was divided into two single albums, and released as budget LPs in both the United States and the UK. Rock 'n' Roll Music: Volume 1 (US LP: Capitol SN-16020; UK LP: EMI/Music for Pleasure MFP 50506) contained the songs on sides one and two of the original album, while Rock 'n' Roll Music" Volume 2 (US LP: Capitol SN-16021; UK LP: EMI/Music for Pleasure MFP 50507) consisted of the songs on sides three and four.
This time, the British release contained George Martin's remixed versions. The 1980 UK budget releases used the American Capitol double album mixes SKBO 11537, the matrix on the MFP albums confirms this as: Vol 1 SKBO 11531 -A1 - 1 & B1 - 1 Vol 2 SBKO 11531 -A2 - 1 & B2 - 1
The budget-line albums featured new artwork, based on a picture of the group circa 1964−65. The US editions of the cover set the group in a crowd, while the British cover eliminated the crowd and placed the group against a stark white background.
Read more about this topic: Rock 'n' Roll Music (album)
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