"genuine" soundtrack albums in the US, since the non-film songs were replaced by orchestral selections from the respective film scores. In this way, even though the group had recorded six albums for EMI by early 1966, Yesterday and Today was the Beatles' tenth American Capitol album, and twelfth overall. The two non-Capitol albums were A Hard Day's Night, then on United Artists Records, and Introducing... The Beatles on Vee Jay Records. That Capitol should be preparing a new Beatles album for a June release, the first of three for the year, was also consistent with the US approach to the band's LP releases, following the pattern of 1964 and 1965. Similarly, the February 1966 single "Nowhere Man" – a song Capitol omitted from its reconfigured Rubber Soul in December 1965 – was a typical practice whereby the company exploited the most commercial-sounding EMI LP tracks and signalled a forthcoming album. Song selection Yesterday and Today included songs from the Beatles' two most recent LPs that had not yet been included on American albums, plus three from the LP they began recording in April 1966, plus two songs which until then had only been released back-to-back on a single: from Help!, the tracks "Yesterday" and "Act Naturally" (respectively, they were A- and B-sides of a single issued by Capitol nine months previously) from Rubber Soul, "Nowhere Man" and "What Goes On" (issued as the B-side of the February 1966 single), plus "Drive My Car" and "If I Needed Someone" both sides of the double A-side single "Day Tripper" / "We Can Work It Out" from the not-yet-released Revolver, the tracks "I'm Only Sleeping", "Doctor Robert" and "And Your Bird Can Sing". The mono mixes were different from those used for the August 1966 release of Revolver, while the stereo version of Yesterday and Today initially contained duophonic ("fake stereo") mixes of the three songs. Subsequent issues of Capitol's album used the true stereo mixes. The collection covers a diverse range of "phases" in the Beatles' musical development, according to author Michael Frontani, given the band's maturation between June 1965 and May 1966. It includes material drawing on the American folk and country styles, and songs that anticipate British psychedelia in their drug-inspired lyrics and musical experimentation. The hodge-podge nature in which Capitol repackaged their work for the North American market infuriated the Beatles, as it did Brian Epstein and George Martin,