Finally the biggest band in the history of music is making their video game debut exclusively via Rock Band. Made with the full backing of the surviving Beatles, & the families of Lennon and Harrison, this is no expansion pack but a full-bloodied standalone game filled with special features.

Featuring an interactive voyage through The Beatles' career, the game includes not just their most memorable songs but also venues such as The Cavern Club, Abbey Road Studios and surreal dreamscape settings.

Includes 45 master recordings from the entirety of the band's career, including I Saw Her Standing There, I Want to Hold Your Hand, Can’t Buy Me Love, Ticket To Ride, Yellow Submarine, With a Little Help from My Friends, Lucy in the Sky with Diamonds, I Am The Walrus, Come Together, Here Comes the Sun plus lots more.

This Limited Edition Pack Includes:

The Beatles Rock and Game with 45 master recordings.

Höfner Bass controller: Large scale replica of the Bass famously used by Sir Paul McCartney

Beatles-inspired & Ludwig-branded Rock Band 2 drums with classic pearl finish & vintage replica Beatles kick drum head

Microphone & Microphone Stand

Additional special content

Arguably the first psychedelic rock album, REVOLVER was praised for its musical experimentation--the Indian sounds of "Love You To," the Motown-inspired "Got To Get You Into My Life," the backwards guitar in "I'm Only Sleeping." "Tomorrow Never Knows" was the most radical departure from previous Beatles' recordings for its skeletal bass/drums propulsion enhanced only with tape loops (contributed by all four Beatles and added in the mix-down process), more backwards guitar, and an eerie John Lennon vocal. Still, the Beatles' experimentation grew out of their songwriting, which had matured beyond formula pop. "Tomorrow Never Knows" was inspired by the Tibetan Book of the Dead, Harrison's "Taxman" was a bitter diatribe, and McCartney's "Eleanor Rigby" was a bleak portrait of loneliness. Balanced with upbeat songs like "Good Day Sunshine" and "Yellow Submarine," REVOLVER proved The Beatles were not mere pop stars, but musical artists in search of new sounds and ideas.

THE BEATLES (generally known as "The White Album" because of its cover) was a sprawling two-record set, highlighting the distinct personalities in the group as they matured and moved further away from each other. With the four Beatles playing like session men on each other's songs, the making of the album was fraught with tension. John Lennon's songs included a bitter take on people who read too much into the Beatles' lyrics ("Glass Onion"), reflections on loneliness and alienation ("Yer Blues," "I'm So Tired"), and the avant garde sound collage "Revolution 9." George Harrison's songs offered black humour ("Piggies") and tender sadness ("While My Guitar Gently Weeps," with Eric Clapton on guitar). Paul McCartney provided both light, lyric songs ("Ob-La-Di, Ob-La-Da," "Honey Pie"), and rockers ("Back In The U.S.S.R.," the explosive "Helter Skelter"). Ringo Starr made his solo songwriting debut with the goofy country/ska lilt of "Don't Pass Me By" and sang the album closer "Good Night."

Though some might argue that the Beatles' unprecedented evolution from British Invasion pin-ups to pop music visionaries began with BEATLES FOR SALE, RUBBER SOUL is without a doubt the first album to definitively put the Fab Four in the running for Greatest Band Ever. Virtually every aspect of the Liverpool quartet's incredibly diverse sound is in evidence here: the dark, irony-filled Dylanism ("Norwegian Wood," "Nowhere Man"), pop perfection ("In My Life"), the passion for classic tin pan alley balladry ("Girl," "Michelle"), and the love of good 'ol rock & roll music ("Drive My Car"). Peppered with nasty fuzz bass, exotic sitar, cartoonishly sped-up piano that sounds like harpsichord, and elements of country,Motown, and classical music, the album reveals a creative scope and willingness to experiment so revolutionary it can now only be termed "Beatlesque." Though the Fabs don't go as far out on a limb here as on the more overtly experimental REVOLVER, RUBBER SOUL is perhaps the Beatles' most finely crafted and accessible work, and consequently many fans' and critics' favourite.

Packaged together on CD for the first time, 'Past Masters Vol.1 & 2' gathers singles, oddities and B-sides, saving the dedicated Beatle maniac considerable time. VOLUME ONE covers the first half of the Beatles career from 1962 to 1965, while VOLUME TWO deals with 1965 to 1970.
Such was the enormous success of the Fab Four's breakout singles "She Loves You" and "I Want To Hold Your Hand" that their vocals were re-cut for German versions ("Komm, Gib Mir Deine Hand" and "Sie Liebt Dich" respectively), which were originally slated for the West German market (and are included on this collection) before being released in the States. Always mindful of their influences, the Beatles in their early phase were also notable for their choice of cover songs. Carl Perkins, Larry Williams and Little Richard were all paid tribute to eventually. While Ringo Starr sang "Matchbox" and John Lennon handled "Slow Down" and "Bad Boy," Paul McCartney channelled Richard Penniman. His take on "Long Tall Sally" induces goose bumps and the influence clearly carried over to "I'm Down."
During the time period covered by VOLUME TWO, the Fab Four stopped touring and focused their energies on studio recordings.The results included some of the Beatles' more experimental forays, like their first use of backwards tape ("Rain") and the breaking of the singles time barrier ("Hey Jude"). There are also alternate versions of well-known songs ("Get Back," "Across The Universe"), and songs influenced by Fats Domino ("Lady Madonna") and Indian culture ("The Inner Light") featured here. The most unusual tune included on this collection is "You Know My Name (Look Up The Number)." This highly unusual recording was started in May 1967 and shelved before getting completed in November 1969. The result was an avant-cabaret number conceived by John Lennon, featuring mumbled vocals, Brian Jones' saxophone playing and sound effects replicating the inside of an after-hours club.

Including eight years of groundbreaking recordings, the Beatles Stereo Box Set contains the individual albums, as well as a two CD Past Masters collection of non-album tracks. Painstakingly remastered over four years by a team of dedicated studio engineers at the legendary Abbey Road studios, they utilised vintage studio equipment in conjunction with state of the art modern recording technology to bring the catalogue to the highest fidelity it has seen since its original release.

Each of the 13 original albums also include a Quicktime mini-documentary, which feature rare photos and footage, as well as previously unheard conversations from Abbey Road studio sessions, to deliver a further insight into the the Beatles' recording process. All of these documentaries are also featured on a DVD packaged in the box set to provide more versatile viewing. The albums have all been repackaged in limited edition eco-friendly packaging, and contain additional rare photos and illuminating background notes.

This collection also marks the first time the first four Beatles albums have been available in stereo in their entirety on compact disc, making this without doubt the most complete stereo Beatles box set ever made.

From Please Please Me to the White Album, all the original Beatles mixes are represented here in full, glorious mono! The Past Masters CD has been recreated as Mono Masters to properly reflect this period. This set duplicates the Past Masters track listing with the exception of those tracks that only ever appeared in stereo. However, as an added bonus, five tracks, never previously released in mono, are included in the package. These are "Only A Northern Song", "All Together Now", "Hey Bulldog" and "It's All Too Much" all from the Yellow Submarine project plus "Across The Universe". These titles were originally scheduled for release on an EP in 1969.

The easy in the Mono Masters booklet explains in some detail the history of these recordings and goes some way to highlight just why these versions are so eagerly anticipated. With the collector in mind, both the Help! and Rubber Soul discs now additionally contain bonus content in the shape of the original 1965 stereo mixes on CD for the first time, since Sir George Martin had actually remixed these for their CD debut in 1987 rendering these original mixes unavailable. All the albums (apart from Mono Masters) come in their original vinyl-style packaging reduced in exquisite detail to CD-sized format. This includes everything from the recreation of the vinyl label (printed on the cd itself) to the paper inner sleeve replete with the original text. The jackets themselves are exact reproductions of the original UK vinyl releases and since they are being manufactured in Japan, they are of the very highest quality and had the very highest possible attention to detail in the production.

Apart from the first four albums which have been available in mono on CD since 1987, the remaining titles are making their CD debut in this format and all plus the Mono Masters set have received the remastering treatment by a dedicated team of engineers and Abbey Road studios.

After the laborious disorganization and infighting that characterized early 1969's LET IT BE sessions (as famously captured on film), the fractious four were willing to let George Martin take the reins and to work with him as a cohesive unit for the much more succinct production of their (and the decade's) swan song, ABBEY ROAD. The superb performances make the album an artistic high point for all members of the group. Paul McCartney inspired the suite of songs that begins with "You Never Give Me Your Money." Often thought of as two long medleys, the songs that fill most of the second half of ABBEY ROAD segue seamlessly into one another, but are programmed as separate CD tracks. George Harrison had his first A-side on a Beatles' single ("Something"); John Lennon contributed a pair of heavy rockers ("Come Together" and "I Want You"); and Ringo Starr's "Octopus's Garden" was a favourite with children.

One of the most famous and influential albums ever recorded, SGT. PEPPER'S LONELY HEARTS CLUB BAND had a huge impact on the music world, signalling the beginning of a new era of sophistication and maturity in rock. The musical experimentation was dynamic and fresh, several tracks were edited to create seamless transitions, and even the visual design was more elaborate than anything previously attempted. Producer George Martin and The Beatles searched for new sounds and studio effects. They added crowd sounds and animal cries from sound-effects recordings, sped up Paul McCartney's vocals in "When I'm Sixty-Four" (to make him sound younger), and sustained a single piano chord for 40 seconds to end "A Day In The Life." The orchestrations, scored by Martin, were hailed by critics as bridging the gap between pop and classical music, and many people who had never bought a rock record bought SGT. PEPPER.

Recorded in between a cup of tea and a cigarette, this album is raw yet dazzling. Here were four lads, highly experienced on stage, but with little or no idea of what a recording studio was like. They were subtly marshaled by the much-respected George Martin to deliver an entire album that was exactly what the fans wanted, but was still a surprise. Things were never as simple as this again, yet the genius is there. Examples are Lennon's unmatchable rasping on "Twist And Shout", McCartney's graceful ease in singing "I Saw Her Standing There", Harrison's sparse but definite Gretsch chords, and Starr's ace vocal on "Boys".

A HARD DAY'S NIGHT was the first Beatles album of all-original material, and the first to feature George Harrison playing his Rickenbacker electric 12-string guitar (on the opening chord of "A Hard Day's Night," for instance). The distinctive sound of the 12-string inspired countless guitarists including Roger McGuinn and David Crosby of the Byrds. The film from which these songs hail remains a classic combination of happy 1960’s naivete and nascent hipster wit. Many of the most important rock bands to emerge in the latter half of the '60s came into being because of A HARD DAY'S NIGHT's irresistible vibrancy. The tunes flow like the finest red wine, as the title track leads to the glorious harmonica of "I Should Have Known Better" and the powerfully poignant "If I Fell."

HELP was the last Beatles album to feature a cover version (Larry Williams's "Dizzy Miss Lizzie"), and is considered a turning point in the quality of their songwriting. Like the previous album's "I'm a Loser," "You've Got To Hide Your Love Away" was Lennon's nod to the influence of Bob Dylan. McCartney's gift for melody was obvious in "I've Just Seen A Face." and Harrison's songwriting contribution grew to two tracks. Instrumentally, "Ticket To Ride"'s off-beat rhythm was Ringo's masterpiece, while the string quartet in the huge hit"Yesterday" was unusual for a rock band at that time; it was the start of a stellar series of McCartney ballads with strings ("Eleanor Rigby," "She's Leaving Home").

A testament to the abundance of perseverance and talent within the Beatles' ranks, their fourth album was recorded in and around a busy North American and British tour schedule. BEATLES FOR SALE also marked their last full-length release loaded with cover songs, as the Fab Four moved towards writing more of their own material. Interspersed between Beatles classics such as "Eight Days a Week" and the Dylan-inspired "I'm a Loser" are faithful renditions of songs by Buddy Holly and Carl Perkins (featuring the only lead vocals by Ringo Starr and George Harrison on this album). The frenetic, inspired take on Chuck Berry's "Rock And Roll Music" is only superseded by a tremendous medley of "Kansas City" and "Hey, Hey, Hey, Hey," that finds Paul McCartney's exuberant vocals comparing admirably to his hero Little Richard, providing a vibrant centre piece on BEATLES FOR SALE.  

Starting out as a sing-a-long vehicle for Ringo Starr on REVOLVER, "Yellow Submarine" became the inspiration for the 1968 animated feature film of the same name. Most of the soundtrack was composed and orchestrated by George Martin, but the remaining six songs were far from being Beatle cast-offs. George Harrison's two contributions, "Only A Northern Song" and "It's All Too Much" mark the adventurously experimental phase the Beatles were in at that time and dabble in woozy psychedelic shadings laced with orchestrations that continued to influence cutting-edge pop artists for decades to come. Along with the aforementioned "Yellow Submarine," other Lennon/McCartney compositions include the good-time, skiffle-flavoured "All Together Now," the Lennon-driven rocker "Hey Bulldog," and "All You Need Is Love"--the unofficial flower-power anthem.

This is the one that turned the world upside-down. Releasedas its creators evolved from pop group to phenomenon, WITH THE BEATLES both affirmed promise and proclaimed genius. A slew of memorable Lennon/McCartney compositions embraced pop at its most multi-faceted, robust, melancholic, excited, and wistful. Their grasp of melody and harmony startled, yet for every unusual chord sequence employed, the Beatles' vigor and sense of purpose remained true. Influences and mentors were acknowledged by a handful of cover versions, but the strength of the album lies in the group's own creations. WITH THE BEATLES freed artists to record their own material, and the course of pop was irrevocably changed.

The first six songs on MAGICAL MYSTERY TOUR were the soundtrack to the Beatles' TV movie of the same name. The film was an experimental mess, but the experimental pop of the album included some of their most memorable productions. The soundtrack side was dominated by Paul McCartney pop tunes, including the bittersweet piano ballad "Fool On The Hill" and "Your Mother Should Know," an impossibly catchy bit of Vaudevillian pop. But it also featured George Harrison's mystical "Blue Jay Way" (about his house in Hollywood) and John Lennon's "I Am The Walrus," which wedded a stream-of-consciousness lyric to a fierce drum beat, layers of strings, odd voices and some dialogue from Shakespeare's "King Lear." McCartney's"Hello Goodbye," which led off the assorted singles, featured some neatly arranged contrapuntal vocals, and may well have been about the dissolving partnerships (songwriting and otherwise) between McCartney and Lennon. Lennon's strangely arranged "Strawberry Fields Forever," whose two halves blend different takes of the same song, one slowed down to match the pitch of the other, was a trippy reverie; its bridges, orchestrated with horns, cellos, and backward cymbals, are sheer brilliance. "Penny Lane," a wistful fantasy featuring a beautiful trumpet solo, was McCartney at his melodic best, the AM foil to Lennon's FM headiness.

Generally regarded as the Beatles' last album, LET IT BE was actually recorded in 1969, before the recording and release of ABBEY ROAD. LET IT BE was greeted with mixed reviews when it came out in 1970, and is still a controversial disc inthe band's catalogue--many fans reject it, while others defend it fiercely. Notable for its difference from anything else the Beatles recorded, LET IT BE has a raw, ragged, muscular sound that recalls the band's very earliest rock roots. The songs were mostly recorded live (save Phil Spector's overdubs on "The Long and Winding Road", "Across the Universe", and "I Me Mine"), and the result is a world away from the meticulous, high-sheen sophistication of the group's George Martin-produced releases.
No one is likely to argue that LET IT BE is the band's best album, but it is a strong release nonetheless. From the easy-rolling folk feel of "Two of Us"to the interlocking vocals and screaming guitar of "I've Got a Feeling" to the epoch-making title cut (one of Paul McCartney's finest moments), the album bristles with good songwriting and gutsy energy. There are moments of filler--the rock & roll rehash "One After 909", for example--but at its best, as on John Lennon's meditative "Across the Universe" and the driving "Get Back" (which features Billy Preston on keys and is the record's high point), it shows the Beatles for what they always were: a top-notch, hard-working rock band.