Unless your name is Ryan Adams, you're probably not in the habit of releasing four albums in four years, let alone the same number in one. But that's exactly what the Beatles did in 1965, thanks to Capitol Records' practice of mixing and matching tracks from their U.K. releases to create new, shorter records for the American market. Because standard-issue Beatles discs follow the British discography, The Capitol Albums, Vol. 2 marks the first CD appearance of The Early Beatles (March), Beatles VI (June), the Help! soundtrack (August), and the U.S. version of Rubber Soul (December), which are presented in both mono and stereo. And since the Brits' Please Please Me and Beatles for Sale are available only in mono, that means a lot of tracks are making their stereo CD debut here, including "Please Please Me," "Twist and Shout," "Kansas City/Hey Hey Hey Hey," "What You're Doing," and "Every Little Thing." This is also the first CD appearance of Ken Thorne's incidental music from Help! (James Bond intro, anyone?), as well as of the original wide-separation stereo mixes of Help! and Rubber Soul (not the 1987 George Martin digital remixes that appear on the British discs). All told, a full 82 of this set's 92 tracks have never before been available on CD. It's not quite the sonic revelation that was Vol. 1 (that box contained 32 stereo CD debuts, this one only 14), but it's a great listen nevertheless. Also included is a colorful, 60-page booklet featuring rare photos and liner notes by Beatles historian Bruce Spizer. --Benjamin Lukoff More from the Beatles The Beatles (The White Album) Revolver Abbey Road The Capitol Albums, Vol. 1 The Beatles 1 Let It Be... Naked

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Personnel: Andy Summers (guitars, banjo), Paul McCandless (soprano saxophone, oboe, flutes), David Hentschel (keyboards, drum programming), Stephen Croes (Synclavier), Jimmy Haslip, Doug Lunn (bass), Kurt Wortman (drums, percussion).Recorded at Evoke Studios, Venice, California and Mad Hatter Studios, Los Angeles in November and December 1988.An atmospheric collection of compositions that would be the perfect backdrop for vistas of sunsets in exotic lands, Summers went a little more mainstream with this release than he had with Mysterious Barricades and his two projects with Robert Fripp. The textures here have more in common with his work as guitarist for the Police, though his playing is better highlighted in this solo context. Titles such as "The Island of Silk" and "Rain Forest in Manhattan" give a clue as to the almost dreamlike feel Summers is going for. He is largely successful, his uniquely fluid guitar tone combining with instruments such as wooden flute, percussion, oboe, and xianjiang tambourine, w