# Reviewing the Beatles



## Deleted member 56686 (Sep 11, 2019)

*







The overview*


So why not start this new forum with a song by song review of the greatest band of all time (unless Trollheart beats me to it)? The Beatles has been a bit of a passion for me and was the catalyst for my love of music and sixties music in particular. So I’m going to review their work in chronological order as much as possible. Sometimes I’ll include recordings that the Beatles actually recorded during a certain period as opposed to the actual release date (For example: Live at the BBC which covers those recordings from 1963 to 1965 even though not released until  1994). So turn off your mind, relax and… well, you get the point. My first installment will be coming soon. 


ALBUM RATINGS:

PLEASE PLEASE ME: 
WITH THE BEATLES: :flower::flower::flower::flower::flower:
A HARD DAYS NIGHT: :flower::flower::flower::flower::flower:
BEATLES FOR SALE: 
HELP!:   1/2
RUBBER SOUL: :flower::flower::flower::flower::flower:
REVOLVER: :flower::flower::flower::flower::flower:
SGT PEPPER'S LONELY HEART'S CLUB BAND: :flower::flower::flower::flower::flower:
MAGICAL MYSTERY TOUR: 
THE BEATLES (WHITE ALBUM): :flower::flower::flower::flower::flower:
ABBEY ROAD: :flower::flower::flower::flower::flower:
LET IT BE:


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## escorial (Sep 11, 2019)

What albums released by the band has a picture of 5 Beatles on the cover...


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## Deleted member 56686 (Sep 11, 2019)

I don't know but I assume the fifth Beatle you're referring to is Stuart Sutcliffe.


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## escorial (Sep 11, 2019)

One of them is but not the other one


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## Deleted member 56686 (Sep 11, 2019)

Pete Best? Pre Ringo?


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## escorial (Sep 11, 2019)

No


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## Deleted member 56686 (Sep 11, 2019)

That's okay. I can name an album with eight Beatles on the cover.


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## escorial (Sep 11, 2019)

Yours bigger than mine


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## escorial (Sep 11, 2019)

Going to the newly refurbished house in colderstonepark which is named after burial stones that are ancient and Lennon use to walk through it on his way home from school...the stones contain ancient carvings and two more recent carvings...the letters JL


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## Ralph Rotten (Sep 11, 2019)

I have all of their albums (digitally.)
Even a bunch of interviews and newsreel tapes.
I even have their stuff with Bobby Sherman (which sounded a lot like Elvis.)


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## escorial (Sep 12, 2019)

reading most of maccas lyrics is pretty dire stuff...his Harmony's were on the whole great....


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## Deleted member 56686 (Sep 12, 2019)

If I have to hear Silly Love Songs one more time... uker:




*THE VERY EARLY RECORDINGS*







Now it’s safe to say that these recordings are, at times, rather amateurish, particularly the earliest material., but they are artifacts of the evolution of the Beatles. Some of these tracks you can find on various discs from the Beatles Anthology to various bootlegs. I suspect a lot of it you can get off YouTube. In any event, you’ll be able to hear the progression of the Quarrymen, as they were originally called, to the Silver Beatles, and finally, The Beatles.

*Phillips Sound Recording Service 1958*


These were two tracks that the then three Quarrymen (John, Paul, and George) recorded in a sound booth in Liverpool. It was never meant for release but it more or less opens the Beatles’ Anthology package.  The first is a amateurish but not bad cover of Buddy Holly’s That’ll Be the Day. The other track is the only known Paul McCartney- George Harrison collaboration outside of their extra lyrics to Free As a Bird in 1995. In Spite of all the Danger is a nice song and, with a clean recording, I can imagine being it strong enough to chart. They certainly show potential on these recordings

*The Quarrymen Demos 1960*






I hadn’t heard these tracks before to be honest. I found them on YouTube and I’m listening to them for the first time. The first thing I’m noticing is that Paul appears to be the primary vocalist in the early days. It makes sense as, even in 1960, he has a good voice.  This is also the introduction of Stu Sutcliffe, the doomed original bassist who would die of a brain hemorrhage in 1962. He was brought in by buddy John Lennon.  You’ll  notice they still don’t have a drummer though that would change shortly.  For the most part, this sounds like a typical garage band, albeit with some talent. I can’t imagine these boys would evolve into the greatest rock band the world would ever know.  My favorite song in this group has to be I’ll Always Be In Love With You. Also some kudos to the original recording of I’ll Follow the Sun which, in some ways, is superior to the Beatles For Sale recording.  George Harrison sings the cover to Matchbox on this recording though most of it appears to be erased. It’s obvious even this early he’s a big Carl Perkins fan.

*Early Beatles Homemade Recordings May 1960*


You’ll find these three tracks on the Anthology album. Sixteen songs were recorded in all but, alas, only three songs survived, Hallelujah I Love Her So, the Ray Charles cover, the silly You’ll Be Mine, an original recording, and a nice instrumental they called Cayenne. Cayenne is easily the best of these three tracks. It’s very possible the Beatles could have made it as a successful instrumental band had they not reached fame the way they did.

*Tony Sheridan Recordings  June 1961*






Released in the US as The Savage Young Beatles, these recordings were basically as a backup band to Tony Sheridan, a British singer who had some limited popularity in Germany. This was recorded in Hamburg where the Beatles were honing their craft. You’ll notice that the Beatles now have a drummer after having recruited Pete Best.  Since this is primarily Sheridan and backup band, it’s not an album I’d recommend except, perhaps, for collectors. There are two tracks that are all Beatles, a raucous cover of Ain’t She Sweet and a nice instrumental by Harrison, Cry For a Shadow which, it could be argued, is influenced by the Shadows, the hot British instrumental band at the time.  Also note that by now, Stu Sutcliffe is gone and Paul McCartney has taken up the bass.

*The Decca Tapes  January 1, 1962*







This was the Beatles original audition for Decca records where they were famously told that guitars were on the way out.  Certainly it isn’t especially earthshaking and one can see, while the Beatles are certainly competent, they don’t seem especially energetic, which may be why they were ultimately turned down.  Having said that, it’s very professional sounding even if the recording quality isn’t quite up to the standards of EMI later this year.  Highlights of these recordings include a raucous version of Money, The Sheik of Araby cover, sung by Harrison, and a raving version of the Coasters’ Searchin. The three Beatles’ originals, Like Dreamers Do, Love of the Loved,  and Hello Little Girl, aren’t especially impressive. All three would later become hits for other artists after the Beatles gained stardom.

*EMI Artist Test- June 6, 1962*





Most of these tracks were destroyed and only two appear to have been salvaged.  An early version of Love Me Do, and a cover of Besame Mucho. Neither are especially impressive but Love Me Do is interesting for its fast paced instrumental break that McCartney would later say was influenced by Bruce Channel’s Hey Baby. It should also be noted that Best’s drumming doesn’t appear up to par on this take and perhaps influenced producer George Martin to not want to use him which led the Beatles to dump Best for Ringo Starr who, by then, they wanted as their drummer anyway.

*Beatles Live at the Star Club Hamburg Germany December 1962*








Originally released by Lingasong Records in 1977, this album would be the subject of lawsuits by the Beatles. The Beatles were ultimately unsuccessful in their bid to block the probably illegal recording. This is also the first introduction of Ringo Starr as the Beatles drummer and you can hear what a complete band they are by this point. This is actually after their first moderately successful single, Love Me Do, but before their breakthrough hit, Please Please Me.  As was the norm in the pre-fame Beatles, most of the songs are covers, many of which are quite energetic, but there are two Beatles originals in this mix, notably I Saw Her Standing There which is a good way to open this set. While I’d love to hear a Beatles’ set from their earlier Hamburg days, this could be a good example of how they sounded, albeit with a little more polish.

And that’s about it for the Beatles’ first chapter. Stay tuned for the Beatles’ first single and album.


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## escorial (Sep 12, 2019)

Pete best brother opened a Beatles museum in Mathew street an it wasn't very good but the footage without sound of the Beatles earliest gig in Liverpool was worth the entrance fee...on YouTube there is a recording of John and the quarrymen at the church fete but recently macca bought back a home recording of him and George made in a home studio....on the label he wrote McCartney and Harrison...


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## Aquilo (Sep 12, 2019)

I have to admit, they were a little bit before my time, but their energy is undeniable. It's weird, but they weren't born poor, so lack of cash hadn't drained them of life or knocked out their ability to shout back at life, and the toffs who viewed pop music and the likes as the lowest form of art was there to be taken down a peg or two. Attitude. They just brought a load of attitude into UK music, the kind the likes of Oasis could only ever imitate. In reality you'd have thought they wouldn't have hit a note with lower-class England, but they did, mostly because of all that attitude: it gave the youth some driving power to be something, and the toffs a lot of envy over their freedom. I always loved the Liverpudlian accents more than Manchester anyway, and people in general just really warmed to the Beatles back then and how they spoke too. It was never just about the music with them. I can think of no other group who had this impact. Although I still feel I came too late to the party, because I can't say their music is memorable for me (please don't shout at me for that, mrm.!!).


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## escorial (Sep 12, 2019)

each generation seems to find something new in us...para george


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## Ralph Rotten (Sep 12, 2019)

They were still pretty rough when they signed their early recording contracts, so that is why they toured with Sheridan. Tony Sheridan had been around the block, and they were intended to learn the ropes from him.
Once they got their spurs, they went off on their own.


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## Irwin (Sep 12, 2019)

I sometimes wonder what they would have been without the guidance and musical expertise of George Martin. They had some really great arrangements and harmonies. 

I was listening to This Boy earlier and the "took my love away" melody is very similar to the introductory lick in Harlem Nocturne. Was that just coincidence or an actual influence? I don't know if that would have been George Martin or not. John was into jazz, and that was his song.

After 1966, they were purely studio musicians and especially with the White Album, it was kind of a co-op working relationship. For some songs, John or Paul would come up with a song and then the other three would work out parts to support that song. Some of the songs were complete group efforts. I think what made them great was their sound--especially from John and Paul's vocals and how they worked together and harmonized. In some of their songs, they'd switch lead vocals in the middle of the song and sometimes in the middle of a line. It was magic how they sang together and individually, in their solo careers, while they had some good songs, they never had the magic they had in the Beatles.

And then there was Ringo's unique style and George's playing the complemented the songs perfectly (most of the time) and helped create their sound.


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## Deleted member 56686 (Sep 13, 2019)

*PLEASE PLEASE ME*









And here we are to the beginning of the Beatle legend as we know it. This first album was something of a potboiler, essentially recorded as if they were doing a live set. Fourteen songs were recorded in a span of about fourteen hours. The Beatles were certainly destined for better albums but this is a good start and probably one of their two most energetic albums along with the album,  With the Beatles.  I’m going to start this review off by reviewing the debut single and then we’ll dissect the album track by track.






*Single: Love Me Do/ PS I Love You:* We’ll cover the flip side when I review the album, but the recording of Love Me Do is different than the one on the album. The single version is notorious for George Martin benching Ringo Starr for session drummer Alan White. Despite this, it is Ringo that is on the released track  and he’s fine as are the other instrumentalists. Vocally, and this is where the single track differs from the album track along with some noticeable clapping in the instrumental break.  It seems McCartney’s voice seems to crack on the single version. It wouldn’t be the first time his voice would crack on a recording but it would be the most noticeable. Somebody should have given Paul a cough drop.  Anyway, it’s a simple tune for the most part. It was successful enough to make the British Top twenty.






*I Saw Her Standing There*:  And the album opens with one of McCartney’s potboilers. The song rocks throughout and could have easily been as big a hit as Please Please Me would be. I especially like the lead guitar bits on this one. This would be released by Capitol records as the flip side of I Want To Hold Your Hand in the US.

*Misery*:  Not really one of my favorites. It’s sounds rather workmanlike and doesn’t especially stand out in my opinion. I first heard it on Introducing the Beatles in the US. I got lucky and bought the album in the cutout bin around 1975. Pity I lost it somewhere; it’s probably worth about fifty dollars now.

*Anna (Go To Him):*  The Beatles were really into Arthur Alexander at this time. They also covered three of his other songs including his big hit, You Better Move On as well as Where Have You Been All My Life and Soldier of Love, which the Beatles do great justice to on their Live at the BBC collection. In some ways,  I prefer this version to the original. It’s well crafted and it’s an especially good vocal by Lennon.

*Chains*: A workable cover  originally recorded by the Cookies, but nothing especially outstanding about it. I can say the same thing for the Cookies’ version to be honest. Nice harmonica though.

*Boys*: This is essentially Ringo’s debut as a singer as he rips through an energetic cover of a very solid Shirelles’ tune.  I do find it odd that he’s talking bout’ boys though :lol:

Another great guitar break by Harrison on this one.

*Ask Me Why*: I call this one PS I Love You, Jr. It’s essentially the same acoustic based style. Not an especially stand out Lennon-McCartney original, but not especially bad either. This was the flip side to Please Please Me.



*Please Please Me*: And now we’ve come to the title track and the big hit of the album. Folklore has it that  George Martin wanted the Beatles to record How Do You Do You as their second single. And the Beatles did record a workmanlike version of the song. They didn’t like it though and Martin allowed them to record Please Please Me instead. Ironically, How Do You Do It would be recorded by Gerry and the Pacemakers and they would keep Please Please Me out of the number one spot.

As it is though, this is a very catchy tune with a cool double entendre. It’s influenced by Roy Orbison and Lennon in fact wanted to record it at a slower pace.  Not my favorite song on the album, but pretty damned good.

*Love Me Do*:  This is the album version and the version most heard in the US where it went all the way to number one in 1964. Of course this was a period where the Beatles could sneeze and they’d have a number one smash in the States.  This recording is a bit cleaner than the single version. The clapping isn’t as noticeable but at least McCartney sings without his voice breaking.

*PS I Love You*: Listening to this again, I think you can feel an Elvis vibe on this one. This was the type of thing Elvis might have recorded circa 1963. It’s pleasant if not especially inspired.  This was, of course, the flip to Love Me Do.

*Baby It’s You*:  Another Shirelles’ cover (and one of my favorites from that girl group), this version does the girls justice. I especially like Lennon’s rhythm guitar that seems to change chords effortlessly. It has a certain moodiness that the other tracks on the album don’t seem to have.

*Do You Want To Know a Secret*: George gets the vocals on this Lennon-McCartney original. Lennon actually wrote this one and based it, I believe , on something related to Disney’s Peter Pan. It’s a simple tune really,  clocking in at less than two minutes,  but it’s one of my two favorite tracks on the album.

*A Taste of Honey*: This is where the album seems to tail off a little. McCartney would soon become notorious for recording, then writing, schmaltzy tunes. Originally written as a pop standard by Bobby Scott and Rick Marlow, the Beatles’ adopted Lenny Welch’s version and turned the song into their own. While not exactly a rock and roller, the song is quite melodic and it proves that, at the very least, McCartney has some good taste.

*There’s a Place*: Sort of a cross between Please Please Me and Misery and nowhere near as good as the former.  Some nice harmonica work but not an especially inspirational tune. I guess I would rate it okay by Beatles standards.

*Twist and Shout*: At least the Beatles end it with a bang. This was the last song recorded on this marathon day and Lennon’s voice had had it by this time. It seems to add to the song as Lennon’s raspy voice dominates this great Isley Brothers’ cover. This is usually looked at as the Beatles’ greatest cover and it would be hard for me to disagree. It’s the best song on the album and only Do You Want To Know a Secret comes even close for me.

And there you go. A solid start to what will be an amazing catalog. Stay tuned  as we next cover some non-album tracks from 1963.


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## Irwin (Sep 13, 2019)

mrmustard615 said:


> *Single: Love Me Do/ PS I Love You:* We’ll cover the flip side when I review the album, but the recording of Love Me Do is different than the one on the album. The single version is notorious for George Martin benching Ringo Starr for session drummer Alan White. Despite this, it is Ringo that is on the released track  and he’s fine as are the other instrumentalists. Vocally, and this is where the single track differs from the album track along with some noticeable clapping in the instrumental break.  It seems McCartney’s voice seems to crack on the single version. It wouldn’t be the first time his voice would crack on a recording but it would be the most noticeable. Somebody should have given Paul a cough drop.  Anyway, it’s a simple tune for the most part. It was successful enough to make the British Top twenty.



This must be the version with Alan White. It doesn't sound like Ringo's style.

[video=youtube;czw8eqepir8]https://www.youtube.com/watch?v=czw8eqepir8[/video]


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## Deleted member 56686 (Sep 13, 2019)

It could be. After I wrote this I read somewhere that it was the Alan White version. Ringo had claimed in Anthology that it was him.


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## Deleted member 56686 (Sep 14, 2019)

*The 1963 singles*








One of the unique things about the Beatles was the insistence that their singles tracks would be not be put on albums. There would be exceptions of course ( notably: A Hard Day’s Night, Help, Eleanor Rigby, Come Together), but most of the British releases tended to be non-album tracks.  Thus we have half an album of non-album cuts for 1963. The impressive thing about this is that you can hear the improvements in the Beatles’ craft with each single not to mention to increasing successes that came with them.






*From Me To You*: This was the follow up to Please Please Me and a perfect example of what was known as Merseybeat.  It has a nice beat and some pretty nice chord changes. I really like this tune.

*Thank You Girl*:  I first heard this song on the American release of the Beatles’ Second Album. If I recall this is a different take than the British version as the American version has a little more harmonica. I do prefer the British version. It’s a very solid B-side to From Me To You. And that was another thing about the Beatles in general: quality B sides.






*She Loves You*: This is probably the song that catapulted the Beatles into the phenomenon they would become, at least in Britain anyway. It’s a hard driving, very catchy tune. It’s also arguably rather dated. I have to admit that, while I like the song, I wouldn’t rate it among my Beatle favorites. I think the yeah, yeah, yeah refrain gets a little old after a while.  On the other hand, it’s a great melody and I love that guitar twang after the refrains.

*I’ll Get You*: This definitely sounds like a throwaway song. You can hear some guitar work that may remind you of With the Beatles later, but it isn’t an especially inspiring tune. The She Loves You flip is probably one of their weaker efforts.






*I Want To Hold Your Hand*: This one, needless to say, is a classic. Capitol Records, an EMI subsidiary believe it or not,  laughed at the Beatles for the best part of a year. When they finally released this one and found out they not only had a smash, but they had a phenomenon not seen since the days of Elvis Presley, a bit of panic would hit the company as much of their material had been picked up by other labels. More on that later. As for this song, you know you have a classic the moment you hear the opening chords. One of the most energetic songs the Beatles would ever perform and, while it’s not my favorite early Beatle song, it certainly ranks right up there.

*This Boy*: Another solid B-side. Probably not really my speed but nonetheless a nice ballad. It wouldn’t be a flip side in the States, being relegated to an album track on Meet the Beatles (I Saw Her Standing There is the Capitol B-Side).  It doesn’t matter much in the end analysis though. I Want To Hold Your Hand was the hit and most deservedly so.


So the Beatles have not reached fame and fortune, at least in England anyway. But wait, there’s more






*Interlude: Beatles Live at the BBC 1963-1965*


By mid 1963, the Beatles were a big enough entity that they made frequent appearances on various radio shows on the BBC. There was even a program known as Pop Goes the Beatles.  This went on for at least two years. Most of these tracks, predictably, were covers though there were some originals including some tracks that were never recorded by the Beatles, instead they were given to other artists. I love the energy on these shows and it seems obvious the Beatles enjoyed doing these.  I remember buying this CD when it came out in 1994 and it was almost like discovering the Beatles for the first time. I’m not going to review each song because it would seem a bit redundant. For the most part, all the performances are good but I guess my favorites would be their performances of Baby It’s You (which I think was released as a single),  Soldier of Love, the Arthur Alexander standard.. and I Just Don’t Understand, an Ann-Margaret cover of all things.


And that’s it for this round. Stay tuned as we are about to see the Beatles really explode.


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## Deleted member 56686 (Sep 15, 2019)

*WITH THE BEATLES*











A lot of times, a band’s sophomore effort never seems to hold up to the first album. This is obviously one of the exceptions.  This is the album that established the Beatles as a major force in the annals of rock n roll and it is leaps and bounds over the nonetheless solid Please Please Me.  It is a rather eclectic mixture of original compositions and covers from the energy of Roll Over Beethoven to  the  wistful Til There Was You. Is it a perfect album? No. But it's probably the best album to come out in 1963 and it stands out as the Beatles best album pre-Rubber Soul.  Definitely a must listen.




*It Won’t Be Long*: The album starts off with a shout. This is a rocker in the spirit of I Want To Hold Your Hand and is one of the best tracks on the album.  Actually, the first four songs on this album I would call must listens.  With the energy that is on this track, this could have easily been released as I Want To Hold Your Hand’s follow-up.

*All I’ve Got To Do*: Lyrically, it’s a fairly simplistic love song, typical of the time, but there is also a certain moodiness to this track that puts it above the norm. The song flows throughout and, while not a rocker like It Won’t be Long, it stands out on its own merits and has a certain cerebral quality to it.







*All My Loving*: My favorite song on the album and a Beatles classic. Lennon’s rhythm guitar triplets dominate the track. There is a sense he is influenced by some of the early guitar virtuosos of the fifties. It is also one of Paul’s better tunes.  It follows the theme of innocent love as was the trend in the early Beatles recordings. Again, a huge favorite.

*Don’t Bother Me*: This is George Harrison’s contribution, his first, and he makes it count. If All My loving is my favorite song on the album, this one rates a close second. Lennon’s tremolo sound is a highlight and  the dark melody is closer to the kind of sound I generally like.  Harrison says he came up with the song when he was sick in bed and really didn’t want to be bothered. At any rate, a great song from the underrated Beatle.

*Little Child*: This was meant to be Ringo’s song but Lennon and McCartney would sing it themselves. This is where the album tails off a bit. Not  a bad song of course but it pales when compared to the previous four tracks. Some decent harmonica work.

*Till There Was You*: I really could never get into this track. It sounds like typical McCartney schmaltz and it was indeed taken from the Music Man.  McCartney had a knack for using non rock n roll tunes for his covers. It’s certainly listenable but nothing I would kill for.

*Please Mr. Postman*: The Beatles were very big on Motown and this is the first of three covers from that catalog.  This one comes off as fairly typical Merseybeat and is a good version of the Marvelletes’ classic. It’s listenable and catchy in its own way. Not a great song but good enough to get the album back on track.






*Roll Over Beethoven*: Another great cover. George gets to do the honors with this one. Some very good guitar work and it never seems to miss a beat. Honestly I think this version is superior to the Chuck Berry original and I believe it would get some airplay during the height of Beatlemania in the States.

*Hold Me Tight*: Probably the weakest song on the album. This one sounds like it could have been filler material, something that was rare on a Beatles album. Paul’s vocals are rather atrocious to be honest and it doesn’t sound like they worked very hard on this one.  Luckily this in an aberration to an an otherwise great album.

*You Really Got a Hold On Me*: Another Motown cover, this one from the Miracles. Honestly, Smokey Robinson could have sang the lead on this version as it doesn’t stray very much from the original. It is the same speed and even has the same sort of soulful mood to it. I like this version but it really doesn’t sound so different from the Miracles.

*I Wanna Be Your Man*: This song is legendary as the song Lennon and McCartney gave to the Rolling Stones. Here, they give Ringo a shot with this track and he is up to the challenge. It has something of a primal beat to it. Not a great song though a good track. Honestly, I like the Stones’ version a little better.

*Devil In Her Heart*: I never really got into this cover, sung by George. In fact, as a kid, I used to make fun of it. There’s nothing especially wrong with it, but I could never really get into it. So imagine my surprise when I heard the original from the Donays (another girl group) and really went, wow! Needless to say the original outdoes the cover in this case.

*Not a Second Time*:  The last Lennon-McCartney original on this album.  Not among their most inspiring tracks but certainly heads and shoulders over, say, Hold Me Tight. George Martin plays the piano on this track, later covered fairly successfully by Robert Palmer many years later.

*Money (That’s What I Want*): The Beatles again finish out with a cover and again, I have to admit I prefer not only the original Barrett Strong classic (which is also my favorite early rock song), but the Rolling Stones’ version as well.  Still, I like this version and, while it doesn’t end the album the way Twist and Shout had previously, it’s not a bad way to finish up a classic album.



And that’s it for this installment.  Now the Beatles have invaded America and the record companies are in a panic. How panicky? Stick around and I’ll tell you in the next installment


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## Deleted member 56686 (Sep 16, 2019)

*Interlude: The desperate American repackagings:*









So while the Beatles we’re riding high in their native Britain, the Americans scoffed. If it isn’t American, it must be terrible the masses said. Dick Clark claims that he moved American Bandstand to Philadelphia because the kids there didn’t get She Loves You on Rate a Record. Yeah, the LA kids were so hip they looked sick when they showed the Strawberry Fields Forever video a few years later. Try again, Dick. Anyway, Capitol records, which had the first rights to any Beatles recording, passed saying they were okay but they weren’t the Beach Boys, or something of that effect.

So other record companies, seeing how well the Beatles were faring, bought rights to some of their songs,  including most of the Please Please Me album. Vee-Jay records had the bulk of them, but other labels too got in the fray. From Me To You showed up on Vee-Jay while She Loves You was released on Swan records. Unfortunately, the fans preferred Vee-Jay's other obscure artist, the Four Seasons, while Swan fans, well they had no fans.

But a strange thing happened late in 1963. The Beatles exploded with I Want to Hold Your Hand and Capitol suddenly had a change of heart. Now they were starting a Beatles Are Coming campaign. And America asked, “Who the Hell are the Beatles?”

And America found out. And Capitol had a smash hit and a smash album as well as a smash phenomenon that made Elvis Presley look like Pat Boone. Actually by 1964, Elvis did look kind of like Pat Boone but that’s another story.

But the other labels still had rights to the songs not on With the Beatles, and Capitol had to figure out a way to stretch one album into two so they could make up for all the money they lost because of their own stupidity.

And everyone began to trip over each other as they desperately tried to cash in on the Beatles phenomenon. And this is what they hath wrought…

*Introducing the Beatles (VeeJay Records):*






This is essentially Please Please Me minus Please Please Me and Ask Me Why which Vee-Jay would release as a single.  They picked one of the dorkiest Beatles’ publicity shots for their album cover. Ringo hasn’t even trained his hair to show off his bangs yet.  As far as the album itself, well,  it's the Please Please Me album, except that Please Please Me isn’t even on it.  I actually found this album in the cut out bin in 1975 and I lost it. Talk about some sick case of karma.



*The Capitol Recordings (Meet the Beatles, The Beatles Second Album, Something New, Beatles’ 65,  The Early Beatles, Beatles VI, Help!,  Rubber Soul, Yesterday and Today, Revolver):

*





Not to be outdone, Capitol, which did have the rights to just about everything else, managed to find a way to stretch seven albums into ten. How did they do that? Well, while British albums generally had thirteen or fourteen tracks, American albums featured twelve tracks tops and, if they especially felt greedy, eleven. Thus  Capitol could put I Want To Hold Your Hand on Meet the Beatles and Roll Over Beethoven on the  Beatles’ Second Album (even though it really wasn’t). Kansas City and Eight Days a Week were kept off Beatles ‘65’ (The American Beatles For Sale version and actually released in 1964) and placed on Beatles VI instead. Then there was the Early Beatles set which is also essentially the Please Please Me album, this time minus Misery and There’s a Place. At least they kept the weaker tracks off.  They saved the best confusion for last though. Help! was a soundtrack album with some George Martin produced movie music as filler. You Like Me Too Much, Tell Me What You See, and Dizzy Miss Lizzie were already released on Beatles VI while It’s Only Love and I’ve Just Seen a Face are on the US Rubber Soul. For even more of an insult, Yesterday and Today, known for the infamous butcher cover, would feature not only Yesterday and Act Naturally, previously a hit single the year before in the States, they pilfered more Rubber Soul tracks. Even better, they pilfered three tracks off the as to yet unreleased Revolver album, rendering the US version with a mere eleven tracks. Thank god they didn’t pilfer Sgt. Pepper.

*The Beatles vs. the Four Seasons (VeeJay Records):

*





Not satisfied with their one Beatle album and about to go broke, some enterprising person had the brainstorm  to repackage Introducing the Beatles in as many ways as possible which culminated in grouping the Beatles with Vee-Jay’s other cash cow, the Four Seasons. And why not? Vee-Jay wasn’t about to get the rights to A Hard Days Night and the Four Seasons had already abandoned ship and signed with Phillips. So let’s have a competition with the few tracks they still had the rights to. After all, the public is dying to buy a double album set from two bands that were about as similar as hockey was to golf.  The album back cover even featured a ten point system as if they were boxing each other. The Four Seasons had no chance; the Beatles sparred with Muhammad Ali for Joe Louis’ sake.  Anyway, fans were no doubt disappointed when Vee- Jay didn’t release the next album in their catalog, The Beatles and the Four Seasons go surfing.  And don’t forget to buy the other Beatles classic, Jolly What, the Beatles and Frank Ifield.


*The Beatles With Tony Sheridan (MGM):

*





It gets better. Not to be outdone, MGM, which had the rights to Tony Sheridan of all people, re-released My Bonnie byTony Sheridan and the Beat Brothers, only now it was now the Beatles with Tony Sheridan. I can imagine teenage girls wondering if Tony Sheridan was the next big heartthrob since the Beatles apparently liked him. Um, not exactly. Sheridan, no doubt, is totally innocent in all of this, and I wouldn’t be surprised if he even felt a little slighted by all the fuss. The Beatles aren’t the villains in the piece either.  Ain’t She Sweet would chart moderately on Billboard while the album sold, not as many albums as Meet the Beatles.

*A Hard Day’s Night (United Artists): 

*





And it  gets even better yet.  While Capitol was turning down anything British in 1963, United Artists signed the Beatles to do a movie, assumedly meant only for British audiences at the time. The Beatles would record seven new songs that would be in the movie. Thus, United Artists had the rights to, you guessed it, A Hard Day’s Night and the other songs on the soundtrack. Here’s the best part. Parlophone retained the rights to those tracks plus other tracks the Beatles recorded for the album thus, Capitol too had the rights. Capitol released A Hard Day’s Night as a single and used the other tracks on the Something New album. United Artists couldn’t copy the Hard Day’s Night album as recorded in England but they could use the songs in the movie on their soundtrack album that also included some George Martin tracks. In some ways I prefer this over Something New if only because A) It actually has A Hard Day’s Night on it unlike Something New and B) I like the single tracked And I Love Her better than the better known double track that is on the Capitol album. So there!

*The Beatles’ Story (Capitol): *






Finally, we get to Capitol’s last foray into making a buck. The Beatles didn’t have any new material as of October 1964 and Capitol couldn’t wait two months before they could release Beatles ‘65’ when it was still 1964. So they released a two record set of the Beatles’ biography.  I don’t know who the narrator is but basically it’s a double album mishmash of Beatle interviews and song snippets. Apparently, kids ate it up because it got all the way to number seven on Billboard. Capitol messed up though because they forgot to stretch it into two different releases.

And so, that’s a small example on the cashing in of the Beatles in 1964. It seemed like everything from records to Beatle wigs to towels used by John Lennon were on the market. Thank God they weren’t able to acquire Ringo Starr’s tonsils. :lol:


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## Irwin (Sep 16, 2019)

One advantage the Beatles had was their stage persona and offstage also in that they were interesting to watch. They were all naturally a bit quirky but in a good way, and they looked like they were having the time of their lives. Emotions are contagious, so it made you feel good to watch them. That's probably why their movies were successful, also.


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## Deleted member 56686 (Sep 17, 2019)

*1964 EP and singles*







In between albums, the Beatles kept busy with a trip to America where they became regular guests on the Ed Sullivan show.  They also recorded some tracks in Paris of all places, notably versions of And I Love Her and Can’t Buy Me Love which we’ll be covering in the next installment. There were some on album tracks in the meantime in the form of an EP and then late in the year when they were recording Beatles For Sale.  Some interesting stuff to cover so away we go.







*Long Tall Sally*:  The title track of the four song EP. Paul McCartney did a great Little Richard imitation and you’ll hear that on several songs in the Beatles’ catalog so it made sense to start off with a Little Richard cover. And it’s a potboiler to be sure. I have to admit this is my favorite track on the EP and certainly one of the better covers. It’s accented with heavy sounding guitars and is very raucous, something the Beatles would do less as time wore on, at least until the Get Back sessions.

*I Call Your Name*:   This was clearly recorded for A Hard Days’ Night but it would be left off the album and put on this EP instead. It certainly sounds like a track that would fit in this period.  The only original on the EP, this is a different take on an early Lennon composition. I like this track. It has the jangly sound that Harrison was beginning to get into. This was later covered in a old fashioned way by the Mamas and Papas.

*Slow Down*:  A Larry Williams cover. Capitol would release this as a single in September 1964. Not one of the Beatles’ better efforts, it not surprisingly was more of a minor hit, peaking at number 25 on Billboard. Some good lead guitar work and piano by George Martin but not much more to recommend.

*Matchbox*:  Did I mention the Beatles were big Carl Perkins fans? Well, the Beatles were big Carl Perkins fans.  I honestly don’t think they did the best versions of his material. This one is an exception though. Ringo sings the lead and does a pretty good job with it. It moves along at a medium pace quite well.






*I Feel Fine*: Now we get to the single from the Beatles For Sale period. This one is known for its use of feedback at the beginning. In one way it sounds like a Byrds folk-rock song with a harder edge. This one has two versions:  The American with more reverb that you can hear on their 1962-1966 compilation, and the British version which is a more straight forward recording. I prefer the British version; I think it was how the Beatles’ intended it. I have a feeling Capitol had a habit of trying to water down songs to appease the American public. In the Beatles’ case, it probably wasn’t a smart idea.

*She’s a Woman*: This is a McCartney potboiler and one of his best. He sings the song with gusto while Lennon’s spirited chords give the song a certain drive. I like this song and, along with the A-side, makes this one of the Beatles’ better two-sided singles.

Well, that was a quickie, wasn’t it? :lol: . Next installment, we’ll have the Beatles’ third album, and the soundtrack to their first movie.


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## Deleted member 56686 (Sep 18, 2019)

*A HARD DAYS NIGHT*







With the Beatles’ soaring popularity in England. United Artists signed the fab four to a movie contract which led to their classic movie, A Hard Day’s Night. The movie was a fictional account of a day in the life of the Beatles as they prepared for a television appearance. Wilfrid Bramell, of Stepsoe and Son fame, played the comic relief as Paul’s grandfather, but all four Beatles showed their cheeky humor  as director Richard Lester essentially let them be themselves. A must see movie for the few who may not have seen it.

As for the album in which half are the songs used in the film and the other half were recordings to compliment the album, it didn’t receive quite the glowing reviews the previous effort did, but it certainly stands up on its own.  There is a certain maturity on parts of this album, particularly from Paul (though John would quickly catch up). I absolutely love this album.






*A Hard Day’s Night*: The title track and my favorite early Beatles song,  the title came from one of Ringo Starr’s many malapropisms (he also inspired titles for Eight Days a Week and Tomorrow Never Knows).  It opens with that strange sounding chord (Fadd9 according to Harrison) and it never loses steam. This was my favorite all time song as a kid and it was also the song that made me a Beatles fanatic. So yes, there is a special place in my heart for this one.

*I Should Have Known Better*: This was a favorite song of mine too as a kid. Lennon’s harmonica rings throughout. It’s a medium paced song that yearns to calm things down a little after the initial throes of Beatlemania, yet it keeps its cheerful tone. The Beatles sound happy here.

*If I Fell*: A Lennon ballad. This song is unique with the two versions, the single track version you hear on the American soundtrack album and the movie, and the double track version that Capitol would release (and , I believe, Parlophone as well). This is one of the songs where McCartney’s voice cracks (on the double track), but unlike the previous two incidents on Love Me Do and Hold Me Tight, he recovers rather quickly. A beautifully crafted song.

*I’m Happy Just To Dance With You*: This was given to Harrison to sing. A catchy tune, certainly not one of the great Beatles classics and honestly not all that different from the infamous Hold Me Tight. But I have to admit I like this, maybe it’s because of Harrison’s vocals. Maybe it’s the guitar work, but it kind of grows on you.






*And I Love Her*: My second favorite song on the album and one of McCartney’s great ballads. The lyrics are relatively simple, but the acoustic guitars give the song a gentle feel. It also rates as one of McCartney’s , perhaps the first of many, great melodic tunes. A gentle tune that I like a lot.

*Tell Me Why*: Obviously inspired by Motown, it has a gospel feel to it but, to be honest, I can’t get into this song the way I can with the others. Probably the weakest song on the soundtrack part of the album in my opinion.






*Can’t Buy Me Love*: This one is peppy to say the least. I really liked this song as a kid, but it seems to have grown old a bit on me. Another song that has that sort of Motown beat. It’s well crafted and I love Harrison’s guitar solo, but probably my least favorite of the three singles off the album.

*Anytime At All*:  Now we’re into the tracks that were not meant for the movie (save one). There’s a distinct difference in these songs which seem to mirror the style done on I’ll Call Your Name.  As for Anytime At All, I like how the main chorus blends into the verse. Another happy sounding song and a solid effort.  






*I’ll Cry Instead*: This was meant for the movie but for some reason it wasn’t used. A country tinged tune, not really a favorite of mine , but certainly catchy in its own way. Capitol released an abbreviated version of the song on Something New which made absolutely no sense to me. I think this is the longest song on the Parlophone album.

*Things We Said Today*: Paul is really at his best on this album  as two of his best pieces are on this album, And I Love Her being the other.  This is an electric acoustic piece if that makes sense. The lyrics are introspective and sad. It’s the moodiest of the song that makes this a Beatles classic, albeit an underrated one.

*When I Get Home*: This could be I Call Your Name’s twin. It’s a hard edged style that only Lennon could pull off.  Probably meant more as filler, the Beatles do a great job at pulling this one off.  Lennon would later argue that Ticket To Ride was the first heavy metal song; maybe he should have mentioned this one.

*You Can’t Do That*: Released earlier as the B-side to Can’t Buy Me Love, this is another Motown themed song. Unlike Tell Me Why, this one works.  This no doubt influenced Christopher Walken when he demanded more cowbell on Saturday Night Live because that percussion instrument is one of the dominant traits of this track. Lennon seems to sneer on this one, almost threatening actually. A good song.

*I’ll Be Back*: The Beatles end this set with a rather sad, wistful tune. Lennon and McCartney are perfect in the harmonies and you can hear Lennon’s pain in the middle eight.  This wouldn’t be released in America until December where it’s on Beatles ‘65’.  I like this track.

And so that ends the initial phase of Beatlemania as we know so… what? There’s more? Oh, okay 

*Interlude: Beatles at the Hollywood Bowl 1964-1965*








Originally meant as a live album, probably in 1965, this disc, finally released in 1977, covers two concerts. As typical of the Beatles’ concerts, they opened with Twist and Shout.  You can certainly hear some of the hysteria and screaming that always accompanied Beatles concerts.  The sound quality is surprisingly good, especially given they often couldn’t maintain the beat because they couldn’t hear over the screaming fans.  They no doubt were told this was being recorded for a possible album, at least in the 1964 concert.  They certainly sound better than they would at Shea Stadium, at least with the part that was shown in Anthology.

And there you have it. Three albums down and a bunch to go. See you next installment when the Beatles get tired of working eight days a week :lol:


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## Deleted member 56686 (Sep 19, 2019)

[h=1]BEATLES FOR SALE[/h]






After three well received albums, all with a certain amount of energy, this one seemed like a bit of a letdown. You can tell on the album cover how tired the Beatles look and it shows on the record. Some of the originals hint at the exhaustion the four of them must have felt after the frenzy of touring.  Frankly, most of the covers on this album are, for the most part, uninspiring. I won’t call this a disappointment though as there some gems on this collection. A couple songs in fact are rather well thought out. So, not as good as the previous three LPs but it won’t be their worst either.

*No Reply*: The album opens up well enough.  Originally written for Tommy Quickly, the Beatles instead recorded it on their own. You can hear some of the progressions in Lennon’s lyrics from simple love songs to more introspective thinking.  A dark song and a rather good one. 

*I’m a Loser*:  One of my two favorite songs on the album, this is where the Bob Dylan influence can be heard. The Beatles had met Dylan during their first tour to America and they were introduced to the evil pleasures of marijuana.  This song of course has nothing to do with anything unseemly, certainly at the time, but some of Lennon’s best lyrics can be heard on this track.  Harrison’s Gretsch is prominent in the instrumental break. A Beatles’ classic.

*Baby’s in Black*: This was done in the waltz style that Lennon especially liked. It’s also where the album begins to tail off a bit. This song is still decent though with its country influenced sound. And some pretty good harmonies by John and Paul make this a fairly listenable song.

*Rock n Roll Music*: A workmanlike cover of the Chuck Berry classic. Really not  a favorite Beatle track in my opinion, but on this album, it’s fairly par for the course. Not a bad song but not especially inspiring either.

*I’ll Follow the Sun*: I think I mentioned in an earlier post that a 1960 recording is a little superior to the official track here. That may be a little unfair. Here, McCartney does it in a more quiet fashion and it does work quite well. I won’t say this is a favorite, mainly because it isn’t, but it is a pleasantly crafted tune.

*Mr. Moonlight*: Okay, let’s make something clear. I hate this song. I didn’t like it when the Beatles we’re playing it in their live shows in Hamburg and I don’t like it here.  Originally recorded by Dr. Feelgood and the Interns in 1962, this version sounds too much like something you’d hear from a lounge singer. Let’s put it this way; it fits Dr. Feelgood a lot better than it does the Beatles. By the way, I hate this song.

*Kansas City/Hey Hey Hey Hey*: Another song that was popular in the Beatles’ Hamburg repertoire. Why the Beatles merged these two songs together, I guess you would have to ask them but it works pretty well. I especially like the Hey Hey Hey Hey part of the song. McCartney has always been good aping Little Richard.






*Eight Days a Week*: The best song on the album. Lennon claims the Beatles tried too hard to make this a single and failed and yet, Capitol released it as a single in the US and it went straight to number one. And it deserved it.  It’s possibly the most cheerful song on an album that is a little depressing overall. I get why Lennon didn’t like the song as it does sound a little like a Beatles by numbers song and yet, the rhythm of the piece is enough to make this my favorite song on the album.

*Words of Love*:  A Buddy Holly cover that strangely enough sounds just like the original. It’s an okay song basically,  but it isn’t something I’d jump over the moon for.

*Honey Don’t*:  And now we’re at the Carl Perkins section of the album.  This is a slight slower pace than the Carl Perkins original and Ringo sings it with his usual positive style even prodding George to do his lead guitar break much as he did on Boys way back. Not a great tune but better than the other Perkins cover on the album.

*Every Little Thing*: On this tune, you can hear the Beatles trying to sound a little more mature musically but I don’t think it works too well here. One thing I’ve noticed about this album at this point. The album as a whole seems to lack the energy that was on the first three albums.  This song seems to highlight the lack of enthusiasm on the album as a whole.

*I Don’t Want To Spoil the Party*: Another country tinged song and much needed. This is one of the better songs on the album. Capitol would use this as the flip side to Eight Days a Week. It’s a nice piece of lyrics by Lennon and again some good harmonies.

*What You’re Doing*: I have to admit I wasn’t that crazy about this song at first but it kind of grows on you after a while. Considered filler material by McCartney, it still works pretty well with a nice piano break near the end.

*Everybody’s Trying To Be My Baby*: The other Perkins cover on the album and probably the second worst final track on a Beatles’ album, second only to Goodnight on the White Album.  George sings this one and not very well which is a shame as he was certainly the biggest Carl Perkins fan in the band.



So are the Beatles in a slump and will they get out of it? Spoiler alert: The next album has been considered the weakest of all the Beatles albums by some. Do I agree? Find out in the next installment


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## Irwin (Sep 19, 2019)

^ I remember a lot of those songs being used in the Beatles animated TV series.


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## Deleted member 56686 (Sep 19, 2019)

They likely were. The Beatles cartoon series started in 1965 when this album was still relatively new. They must have had it on for three years because they also had Strawberry Fields Forever and Penny Lane later on. There's a bunch of these cartoons on YouTube I believe.


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## Deleted member 56686 (Sep 20, 2019)

Now it’s time to review the Help! album but first a few messages from our sponsor…  cheesy grin

*Interlude: 1965 singles and B-sides*







*Yes it Is*: The flipside to Ticket To Ride, this is an early step into experimentation by the Beatles. The song is known especially for Harrison’s pedal guitar work. In fact he makes the guitar sound like it’s almost being played backwards. If this is the sequel to This Boy, I think this is an improvement. It’s a great three part harmony. It’s also another example of Lennon’s rapidly maturing lyrics. I really like this track.






*I’m Down*: The flip side of Help!, this was one of McCartney’s potboilers. Also not the strongest Beatle B-side, but it does have its merits. McCartney is obviously influenced by the Beach Boys on this one though I don’t think any of them could equal their vocals or harmonies, good as the Beatles were at it. Not a great song but there is a lot of energy which makes up for a lot.






*We Can Work It Out*: This song and its flip, Day Tripper, were recorded during the Rubber Soul sessions. This is a very mature song written mostly by McCartney but Lennon contributes to the middle eight. There is a great contrast between McCartney’s optimism (We can work it out) and Lennon’s pessimist (life is very short…).  Add the distinctive harmonium by Lennon and you have one of the Beatles’ classic songs.  This is probably the first Beatles song I remember hearing on the radio. I would have been four then. I like this song a lot.

*Day Tripper*: Possibly the most identifiable Beatles riff opens this song. Lennon intended this as a drug song he would admit later but I imagine the powers that be didn’t pick up on it because it was never banned. I do know this,  the catchy guitar riff and the amped up sound makes this one of my all-time favorite Beatle tunes.  Lennon plays the classic riff as well as the guitar solo. I love this song more every time I hear it.

And so here we are to the main feature. The  Beatles recorded seven songs for the soundtrack and added seven more tracks to complete the album. The film didn’t quite get the accolades A Hard Day’s Night did, but it is one heck of a romp. The surviving Beatles, in 1995, admitted they had a lot of fun doing the film and drove their ever so patient director, Richard Lester, crazy. As for the album, critics rated it a disappointment. So what do I think, well let’s see…

*HELP!*






*Help!*: Disguised as your typical Beatles pop song, this song showcases how Lennon can express himself in oh so many ways. He says he wrote this during his “Fat Elvis” period and it is, in a sense, a cry for help. I think I hear some Dylan influences here. Lennon was the most influenced by Dylan and you’ll hear much of that on this album and on Rubber Soul in particular. A good way to start off the album.

*The Night Before*:  I remember this song in the movie. This was the scene where they are being defended by tanks if I recall. Anyway, I like the electric piano work in this and there is a nice lead guitar by Harrison. This is a nice track.

*You’ve Got To Hide Your Love Away*: This is definitely Lennon doing Dylan from the acoustic sound all the way to the vocals. A nice flute solo at the end as well as the Beatles are beginning to experiment with more instruments. I find it average by Beatles standards but I can see why people would really like this one.

*I Need You*: A Harrison composition, it’s a simple song lyrically speaking, but I like the melancholic mood that isn’t unlike Don’t Bother Me.  I feel a little more of a folk-rock vibe even though the guitar pedal work is pretty much electric. I would rate this an above average George Harrison tune.

*Another Girl*: First a disclaimer: I’m a huge fan of what is known as garage rock. Why do I mention this? Well, garage rock is known for its minor chords, particularly from E-minor to A. And that’s the charm of this McCartney tune. He manages a quite melodic tune with primarily those two chords. Yes, of course he uses other chords too, it is the Beatles after all,  but it’s the E-minor/A progression that I remember the most. A favorite song on the album.

*You’re Gonna Lose That Girl*:  Another song that I like. A straightforward Beatle tune for the most part, but there is some play with the percussion. Ringo plays bongos on this track and you can hear them clearly at the end. Some nice background harmonies by Paul and George.

*Ticket To Ride*: My favorite song on the album and a Beatle classic. This is the song Lennon bragged was the first heavy metal song (not true of course; the Kinks certainly would have something to say about this). What it does feature, besides the heavy jangly riffs, is some of the best drumming from Ringo, starting with a drum roll after the first chorus to one simple drumbeat after the last one.  A perfect song and possibly a precursor to the heavier parts of Rubber Soul.

*Act Naturally*: Now we’re on side two and the tracks that we’re recorded outside the movie and, perhaps it is here why critics aren’t crazy about this album. We start with a Buck Owens cover that Capitol would release as Yesterday’s flip.  Ringo sings this earnestly and seems to be in his element, but the country flavored tune doesn’t really impress me much to be honest.

*It’s Only Love*: This is one of two cuts that Capitol left out for their Rubber Soul release. It also is the one that doesn’t seem to fit. Still, I really like this song. Even though Lennon doesn’t sound especially enthused, it’s a fairly melodic tune with some folk elements and there’s a nice pedal effect right at the end. Probably my favorite song on side two.

*You Like Me Too Much*: Harrison’s other contribution and it pains me to say that this song is just weak. Possibly my least favorite of all of Harrison’s songs, the lyrics seem way too simple and even the piano solo from George Martin can’t save this. The biggest disappointment on the album.

*Tell Me What You See*: Unless you count this one. Ringo plays with some different percussion instruments and it probably saves the track from being a complete disaster, but honestly, this song kind of bores me to death. McCartney admitted this was used for filler and it shows.

*I’ve Just Seen a Face*: The other track pulled by Capitol. This one fits in better with the folk-rock leanings of Rubber Soul. This is McCartney’s foray into folk influenced music and while Lennon was trying to ape Dylan, McCartney seems more influenced by more traditional English folk sounds. I sense he may have been influenced by Donovan, with whom he’d become good friends with. Nice tune.






*Yesterday*: This is Paul McCartney- solo artist at work. He recorded this with only an acoustic guitar and George Martin added the string quartet. This is the most covered song in history. As for me, I think the song is a little too light for my taste but I have to admit, I like the melody as well as the chord changes. It’s a fun song to play on guitar. The lyrics are also quite good but, again, it really isn’t my speed.

*Dizzy Miss Lizzie*: Okay, first of all I didn’t especially hate the song, not that I thought this Larry Williams cover was exactly a classic, until I saw the Dick Clark abortion known as the Birth of the Beatles. And in that movie made for television, you learn that the whenever the Beatles had to play a song, whether it was Lennon wearing his toilet seat or Lennon eulogizing his friend Stu, they rock n roll with, you guessed it, Dizzy Miss Lizzie.  Every time I hear this song, I feel like Alex in A Clockwork Orange when he is forced to listen to Beethoven’s Ninth. MAKE IT STOP!

So what’s my final take on the album? Well I look at it as two albums. The side one soundtrack, which is pretty damned good, and side two which is, well, a bit mixed. I guess if forced to choose between this and Beatles For Sale, I’d probably take this one only because of side one though, technically, Beatles For Sale is a little better overall.

So that’s it for the Beatlemania part of the era. Stay tuned for my next installment as we dissect Rubber Soul


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## Deleted member 56686 (Sep 21, 2019)

*RUBBER SOUL*






This is where the Beatles begin to truly expand their musical horizons and, perhaps along with Dylan’s Highway 61 Revisited, would inspire other bands to record their own masterpieces. Indeed Brian Wilson credits Rubber Soul with the inspiration for Pet Sounds which, in turn, would inspire McCartney to come up with Sergeant Pepper. So this not only started the golden mid period for the Beatles, it started a new rock n roll renaissance that would quickly transform the face of music.  Rubber Soul was one of the Beatles’ more eclectic efforts which is saying something given they were one of the most eclectic bands of all time.  From folk-rock to baroque, this album has something for everybody. A real classic to be sure. How do I know? Well, let’s read on to find out. 



*Drive My Car*:  The album opens innocently enough as Drive My Car seems like a continuation of the Beatles’ songs circa Help! It’s a good song but, honestly, I like some of the other tracks better. Some interesting double entendres in the lyrics.

*Norwegian Wood*:  This song is legendary in a couple ways. First we have Lennon’s lyrics about a one night stand. It’s barely camouflaged and it’s one of Lennon’s most brutally honest songs. The other is the first use of sitar which would start something of a trend in rock for the next couple years. George Harrison took up the instrument about the time they were filming Help! Obviously Harrison hadn’t mastered the instrument as of yet and he would later use Indian musicians on some of his Beatle recordings, but he plays it well enough to make a legendary accompaniment to what is essentially a gentle folk-rock song. 

*You Won’t See Me*: I actually heard the Anne Murray cover first as a kid and it’s safe to say I’m not into Anne Murray. Thus, I didn’t expect much from this track. So imagine my surprise when I heard it for the first time. It is another of McCartney’s fascination with soul and it works very well on this album. An underrated gem.






*Nowhere Man*: One of my all time favorite Beatle songs and yet, it can only be the second best song on the album (more on that later). So what makes this such a great song? Well, for starters you have one of the best three part harmonies on any Beatles song equaled only by the harmonies on Because.  Then there is the superb guitar work  over the folk-styled rhythm guitar  background. Add some introspective lyrics by Lennon and you have another Beatle classic. Again, one of their blockbusters in my book.

*Think For Yourself*: The first of two Harrison contributions.  The Beatles work hard on the harmonies on this one and Paul’s fuzz bass doubles as the lead guitar on this. Harrison’s lyrics are a bit cryptic on this one and he even sounds a little angry. One of the heavier tunes on the album. It’s one of my favorite Harrison contributions.

*The Word*:  I actually used the title as my signature on my album reviews on the music forum I was on and I’m doing it again here in my album review thread. It’s the first of many Beatles songs that would focus on the concept of universal love.  The harmonium is evident on this track and it would be even more so on I’m Looking Through You. It has a good rhythm and it is quite a solid track. If you’re into garage rock, catch the live version of the Word by the Thirteenth Floor Elevators. That version really rocks.






*Michelle*: A bit of McCartney schmaltz in my opinion. The lyrics are great, especially when he gets into the French speaking part, but I think the song sounds a bit too wimpy for my tastes. A very popular song, McCartney said he was influenced by Nina Simone on this one. And you can hear the soulful parts of the song. Unfortunately, for me, you can also hear the MOR parts of the song too.

*What Goes On*: A country tinged song in the spirit of Act Naturally, Ringo Starr gets partial songwriting credits on this one.  Lennon claims to have actually written this even before there was a Beatles. Whatever the case, I’m not very big on this song. In fact, I’d rate it as the weakest song on the album






*Girl*: Which leads me to the strongest song on the album.  In some ways it is similar to Michelle, but while Michelle comes off as a bit schmaltzy to me, this song comes off as a bluesy folk-rock piece. Some of Lennon’s best lyrics can be heard on this one. There are a few clever references such as the tit-tit-tit background vocals in the middle eight and the deep breathing. The Beatles add a balalaika sound right at the end. If there is such a thing as the perfect song, this could be it.

*I’m Looking Through You*:  This one starts off with an acoustic base and an unusual beat of sorts. There is a noticeable organ sound after each verse, played by Ringo. It’s essentially one chord, but it works with the song. Some very good lyrics by McCartney about yet another fight with girlfriend Jane Asher.

*In My Life*: This is the baroque part of the album and George Martin plays the baroque piano solo. It’s another piece of good introspective writing by Lennon. It’s one of their most played songs in movies and TV. It isn’t really a favorite song of mine though. I mean, it’s a great song to be sure, but it wouldn’t be the first song I would think of when talking about Rubber Soul.

*Wait:* I think this may have been originally recorded for Help but they decided it not to release it on that album. They revived it for Rubber  Soul, adding some percussion, guitars, and vocals. I like this tune. It has a nice reverb after the middle eights. I especially like Paul’s middle eights in fact. Some nice harmonies as well on the song. One of my favorite tracks on the album

*If I Needed Someone*: Harrison’s other contribution, this one is probably the Beatles’ most Byrds-influenced song. They were reportedly asked who their favorite band was around this time and they all said in unison, the Byrds. In fact, the Byrds’ PR man, Derek Taylor, would soon be working for the Beatles and would be a close friend of Harrison’s.  It’s a good song and I’m sure the Byrds would have been impressed. I have to admit I like Think For Yourself a bit better though, not that I don’t like this one, because I do. But it isn’t what I would call special by Beatles standards either.

*Run For Your Life*: Yes, the line “Rather See You Dead Little Girl…” was taken off the song Baby Let’s Play House and yes, the song does sound rather misogynist. Lennon himself hated this song.  I like it though for all its flaws, legitimate and maybe not so legitimate.  It has this mood where you can imagine being out in the west with just you and your horse. And I love the screaming guitar break. A great way to end this classic album.



And so that completes the review on my second favorite album of all time. I won’t tell you my all time favorite- not yet anyway. Mainly because I have to review my third all time favorite album first. So I’ll see you then


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## Deleted member 56686 (Sep 22, 2019)

*1966*

This would be something of a stressful year for the Beatles, especially on the touring front. There was an incident in the Philippines  where the Beatles were accused of snubbing First Lady Imelda Marcos. The government incited potential violence against the Fab Four and they were lucky to get away with their lives. But the biggest blow was a comment John Lennon made to Maureen Cleave of the Evening Standard when he said that the Beatles were more popular than Jesus Christ. This led to a major backlash in the American South where radio stations hosted Beatle burn-ins and firecrackers were thrown at them in Memphis. Lennon would be forced to apologize at a Chicago press conference later.  The Beatles would stop touring after their San Francisco concert that August.

So in the backdrop of all that, the Beatles retreated to the studio in 1966. And, by now, they had gone all progressive, even to the point of toying with the psychedelic sound that the Beatles would be among the pioneers in.  By the time the Beatles got to recording Revolver, the Beach Boys had released the highly acclaimed Pet Sounds and there was a sense that the Beatles wanted to top that. And they would in a big way.

*Interlude 1966 single*








*Paperback Writer*: Lennon would call this the son of Day Tripper though, in reality, it is a matter of fact a song by McCartney as he is trying to submit a book to a publisher.  It’s a good yarn to be sure but it is really the strong guitar work and bass that makes this such a great song. Some great background vocals with the simple refrain of Frere Jacques of all things.

*Rain*: Lennon’s flip side, it isn’t unlike Paperback Writer with its metallic guitar and Byrds-like jangles, at least not until the end. Lennon somehow had accidentally put the recording in backwards on a tape and he came up with the background effects at the end. In some ways this is the Beatles’ entry into the world of psychedelia. One thing for sure, this, along with Paul’s A-side, makes this yet another quality two-sided single from the Beatles.


So now we come to an album that is considered the greatest album of all time according to some music critics. I actually rate this third behind Rubber Soul and an album yet to be released.  Of course, this is an amazing album as the Beatles push the envelope doing things a conventional rock band wasn’t supposed to do.  This was released on the backdrop of the Jesus Christ controversy and some stations even banned the album and its accompanying single briefly.  Time has been kind to this album though and it now receives the accolades it so richly deserves. Did I mention I really love this album? Well, let’s see what I think of the tracks.

*REVOLVER*







*Taxman*: A Harrison song starts off the album, the first of three contributions by him. Harrison had a reputation of worrying about his finances and this is a scathing attack on the government and their high taxes essentially. McCartney plays lead guitar on this one and it is one of the most recognizable Beatles riffs. There is a little bit of an Indian vibe to the guitar. A good start to the album.






*Eleanor Rigby*: Another McCartney with string quartet arrangement. This one is different though as we have accompanying vocals from Lennon . It is  a well crafted song about loneliness and, even while Paul is accompanied with the strings, there is a much harder edge to it than Yesterday. This was released as a single with Yellow Submarine. I prefer this side.

*I’m Only Sleeping*: A trippy track from Lennon. This song features backwards guitars  from Harrison backed by a bluesy beat. The Beatles even experimented with xylophones in an earlier take. This is a great track and indicative of the experimental spirit of the Beatles at this stage in their career.

*Love You To*: Harrison’s second contribution. He brings in Indian musicians on this one. In fact the only Beatles on this track are Harrison on the sitar and McCartney on bass. The rest of the instruments are Indian such as the tabla and tambura. It’s not one of the stronger songs on the album but you can feel Harrison’s love of the Indian culture on this track.

*Here There and Everywhere*: After several tracks with much experimentation, the album settles down with this straightforward ballad from McCartney. This is hardly schmaltz though as Harrison and Lennon compliment McCartney’s well thought out lyrics with their background vocals. This is my favorite song on the album and my favorite McCartney tune overall. In fact, I’ll go on a limb and say McCartney is never better than he was on Revolver. While Lennon and Harrison certainly had their contributions, this is clearly McCartney’s moment to shine through.


*Yellow Submarine*: A children’s song essentially, Yellow Submarine was written by McCartney and given to Ringo, who is perfect for this song.  Not one of my favorite songs though as it seems just a little too whimsical to me despite Lennon’s  repeats of Ringo’s last verse as if he were the captain of the submarine (best part of the song). The inspiration for the incredible animated movie two years later.

*She Said She Said*: Inspired by Peter Fonda of all people who, while on an LSD trip, claimed that he knew what it was like to be dead. Lennon wrote lyrics around that and the result is a one the heavier songs on the album. I again have to use the word trippy on this heavy guitar laced song.  I like this song, it’s one of my underrated gems.

*Good Day Sunshine*: A goodtimey start to side two by McCartney. It’s a happy tune and one that I surprisingly like. More great harmonies and a nice piano based tune. McCartney said they were influenced by the Lovin Spoonful on this one.  A great tune.






*And Your Bird Can Sing*: A quick song on the album but also a fairly powerful one. This was one of three songs Capitol managed to put on the Yesterday and Today collection, released two months earlier, I’m Only Sleeping and Doctor Robert being the others.  This is one of those songs that seems to play in my head a lot. It’s catchy and it’s vintage Lennon at his nonsensical best. I like this track.

*For No One*: McCartney’s other true classic on this album. Backed by a baroque piano and a great French horn solo, this song is one of McCartney’s most haunting pieces. It’s a beautiful melody and it’s one of my favorite tracks on the album.

*Doctor Robert*: Inspired by a doctor who introduced Lennon and Harrison to LSD, this isn’t a song I especially would kill for. In fact, I think it’s the weakest song on the album. Some nice guitar work by Harrison.

*I Want To Tell You*: Harrison’s third entry and probably the closest thing to a filler track on this album. Not a terrible song by any length of the imagination and you can see where Harrison’s style would take him later on. It’s not an especially inspiring track overall though.

*Got To Get You Into My Life*: Here, McCartney tries to play an all out soul song.  Actually, influenced by an experience with pot, this is lyrically quite adventurous. I don’t think it fits well as a Beatles song though. With another band like maybe Blood, Sweat, and Tears, who in fact, did cover this, I think it would work better. Well crafted song though.

*Tomorrow Never Knows*: The last song on the album but the first song to be recorded, this was the Beatles’ attempt to record a song on one chord and, this time, they succeed.  One of the Beatles’ trippiest songs,  they go all out with a continuing tape loop and Lennon’s droned vocals. Lennon took the lyrics from the Tibetan book of the dead and patterned the song over a droning C chord. I won’t say this is my favorite song on the album but it has nothing to do with lack of greatness. There are so many superior tracks on this album, including this one, and I can’t think of a better way to close out this classic album.

And thus ends the prequel to what will be the standard by which all other rock albums are measured.

But first, a little bit of nostalgia.

*Interlude: A Collection of Beatles’ Oldies*







Essentially a  greatest hits collection put together by Parlophone as there wasn’t a Beatles release in the works (at this time, December 1966, the Beatles were in the studio recording Strawberry Fields Forever). It’s a fair compilation of their hit singles to this point plus one track that was previously unreleased in England. A nice little collectors item. As for the unreleased track…

*Bad Boy*: Recorded during the Help! sessions, I call this the twin to Dizzy Miss Lizzie. This had been released on Beatles VI in the US but for some reason unreleased in Britain. Another Larry Williams cover, it isn’t anything major to write about but I do think it’s better than Dizzy Miss Lizzie if only because Dick Clark didn’t shove this one down our throats in Birth of the Beatles.

And that’s about it for 1966. 1967 would be a major year for changes both in musical and personal directions for the Beatles. So stay tuned as we explore what was possibly the most creative of all Beatle years.


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## Deleted member 56686 (Sep 23, 2019)

*1967 Singles and Sgt. Pepper*

*






Interlude: The 1967 singles*



1967 was not only a watershed year for the Beatles. It was for the rock  genre in general. As minds were expanding, or at least that was the thought with the hippie culture then, so was the music, and the Beatles were on the forefront of it all. It would peak with the landmark Sergeant Pepper album which we’ll be covering in this segment, but first, some amazing singles.






*Strawberry Fields Forever*: This may have been the most ambitious effort by the Beatles as there are four different versions. If you listen to the Love album, you can hear the progression from the early takes to the two final products which George Martin would merge at different speeds. This wonderful piece of psychedelia is not only my all time favorite Beatles song, it is my favorite all time song period. I probably should start a thread on this song alone.

*Penny Lane*: Strawberry Fields Forever was a reminiscence of John’s. Penny Lane was Paul's reminiscences. You can hear the contrast from the moodier sound of the B-side to the peppy sound here on this A-side. It’s a great piece of what was probably already known as Paisley Psychedelia in England and it probably accentuates what is probably the best of all the Beatles double sided singles.  Love the radio edit with the piccolo trumpet (David Mason does the famous trumpet solo during the instrumental break).






*All You Need Is Love*: Recorded live for the Our World program, this is probably the signature message song by the Beatles. It’s a very optimistic song that Lennon wrote specifically for Our World.  This single release also signals the end of the Beatles as we had known them to this point for it would only be a month later when their manager, Brian Epstein, died and things would begin to unravel. I like this song, and it’s one of those songs that can keep playing in my head.

*Baby You’re a Rich Man*: If the A-side is one of the most positive moments of Lennon, this one is just plain nasty.  Supposedly this was Lennon’s personal attack on Epstein which I’m sure he later regretted, as they were quite close.  The song is accentuated with a keyboard instrument known as a clavioline. It sounds kind of like something Harrison would have come up with in his Indian phase.  An above average Beatles tune in my opinion.


*SERGEANT PEPPER’S LONELY HEARTS CLUB BAND*








And here we are at the Beatles’ own landmark album. Combined with the early single, this album took about six months to complete. The idea to call it Sergeant Pepper was McCartney’s and more than half the songs on this album are primarily his. McCartney was very influenced by the Beach Boys’ Pet  Sounds on this album. Lennon too contributes his share and he’s never been better. Harrison’s one effort isn’t his best but it seems to fit in with this classic. And this is a classic, the ultimate classic. Still acclaimed by many as the greatest album ever made, this is also the album I would rate as my all time favorite, even with the flaws, and there are a couple. But enough of my chit-chat. Let’s review the songs. 

*Sergeant Pepper’s Lonely Hearts Club Band*: The Beatles open the album with a straightforward rocker, or so it seems until you hear the marching band. This was the song Don McLean was alluding to in his epic, American Pie, a few years later. Not my favorite beginning song from the Beatles (I’d probably go with A Hard Day’s Night), but it is nonetheless a great intro.

*With a Little Help From My Friends*:  And it segues into a John and Paul ditty that was given to Ringo. The screaming throngs that melded the opening track into this one makes two songs sound like it’s just one, something McCartney in particular would use to great effect on Abbey Road. This song, as Lennon and McCartney were writing it,  is highlighted in Hunter Davies’ biography, released a year later.  It’s a nice little ditty and Ringo (or is it Billy Shears?) sings it with charm.






*Lucy in the Sky With Diamonds*: This is Lennon at his trippiest. This song would be banned in some circles because of its supposed reference to LSD. It was in fact inspired by a drawing from Lennon’s young son, Julian. The lyrics are certainly Lennon at his trippiest. I really love the harpsichord sounding opening and it certainly is a mind expanding experience. One of my favorite songs on the album.

*Getting Better*: A piece of nice McCartney pop with some contributions from Lennon. It’s one of those songs where the contrast between McCartney’s optimism (It’s getting better all the time) and Lennon’s pessimism (Can’t get much worse) makes this one of the more humorous songs in a sense. Lennon’s lyrics can be a bit personal (I used to be cruel to my woman… ) but the optimism seems to be the dominant force here. A nice tune.

*Fixing a Hole*: This one starts out with a straight harpsichord, one of my favorite instruments used in rock in general by the way. Maybe there is a Donovan influence here as that instrument is prominent on his Sunshine Superman album.  It’s a good song, but probably the weakest track on side one.

*She’s Leaving Home*: A bit lush and certainly with some drama, this might be my favorite McCartney track on the album. Based on a report at the time of a missing teenager, this lyrics recounts the laments of parents who had given their daughter everything but love it seems. A beautifully arranged song and one of those underrated gems I like to talk about.

*Being For the Benefit of Mr. Kite*: And what a way to end side one. Lennon cheated a little by taking the lyrics off an old circus poster, but the calliope effects among other things makes for a real classic. Melody wise, it’s reminiscent of It’s Only Love, but in execution it is indeed a totally different song. It has me after Henry the Horse doing the waltz and the calliope effects and tape loops take over the song. A favorite of mine.

*Within You Without You*: Now after the absolute brilliance of side one, side two is kind of a letdown, especially early on, and it is only the final track that keeps this album from falling out of the top spot. This particular track is Harrison’s contribution and probably one of his weaker efforts. It’s a straight forward Indian tune with  some psychedelic seasoning in the overdubs. I don’t dislike the song in any way, but it is a disappointment after the wonderful Paisley pop of side one.

*When I’m Sixty Four*: And we come to my least favorite song on the album. McCartney wrote this during the Beatles early days and it is surprisingly mature for such a period. But I hate the whole old timey elements that McCartney would really pervert on some of his Wings tracks in the seventies. It’s the one song I try to skip when listening to this album.

*Lovely Rita*: The album improves significantly on this track. While it still pales in comparison to the brilliant tracks on side one, this song about a parking meter cop is a nice piece of McCartney pop. Some sound effects are brought in but I don’t think they’re necessary. A nice song.

*Good Morning Good Morning*:  Inspired by a Kellogg’s commercial, this sax driven piece was considered something of a throwaway piece by Lennon. It probably is the weakest of his four tracks, but it does have its charm. The animal montages at the end was perhaps inspired by Pet Sounds.

*Sergeant Pepper’s Lonely Hearts Club Band (reprise*): Set up as both an epilogue to the album and for the introduction to the grand climax, this quick track is something of a companion piece to the title track.  This is a good version and it sets up the final track extraordinarily well.






*A Day in the Life*: I think people know the story of the classic example of two songs in one, Lennon writing the main piece, with McCartney scoring the middle eight.  Many people consider this the Beatles' peak and it would be hard for me to disagree. Lennon’s lyrics about some elements in the news basically, as well as a great melody are the moving forces on this track. McCartney adds to this song with his own day in the life so to speak and it ends with a crescendo of orchestral music ending with that ever so long piano chord that lasted fifty-three seconds. This was done with three pianos with Lennon, McCartney, Starr, and Mal Evans playing the same piano chord in succession. Next to Strawberry Fields Forever, this is my second favorite Beatles tune and it’s safe to say this is the best ending to any Beatles album.  And don’t forget about the inner groove.

And now the Beatles have reached their musical zenith and it would be all downhill from here. But would it really? Much of their most acclaimed material would be among their final albums and at least two of these are bonafide Beatles classics. So stay tuned as we cover the Beatles’ late sixties material.


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## Deleted member 56686 (Sep 24, 2019)

*MAGICAL MYSTERY TOUR*







After the death of Brian Epstein, the Beatles found themselves in a no man’s land of sorts. Not having any real leadership and with Lennon all but having relinquished his role as band leader, McCartney came up with the idea of a film where the Beatles would go on a bus and explore the English countryside. It resulted in one of the Beatles’ most panned efforts. As for the music, this was no doubt meant as Son of Sergeant Pepper, but it was never a complete album, being released in England as a double EP set.  Capitol added two singles from earlier in 1967 to make it a full album in the States. While there are some good tracks as well as one amazing cut on this album, I rate this as one of the Beatles’ disappointments. I’m also adding some tracks that were recorded during this period but released on later recordings, mostly the Yellow Submarine soundtrack.

*Magical Mystery Tour*: The title track and one of the better cuts on the EP. It starts out with the sound of trumpets and the circus like atmosphere dominates the song. It’s not quite as psychedelic as Pepper but it’s still pretty paisley in its own way.

*The Fool on the Hill*: This is all mostly McCartney and it is certainly his song. It is a gentle recorder based song with some rather nice lyrics. It’s probably not a song I’d go out of my way for but it is a nice listen. This would become a hit for Sergio Mendes and Brasil ‘66’ nearly a year later.

*Flying*: The only released Beatles instrumental until Anthology and the only song with writing credits to all four members, this was meant as incidental music for the film. It certainly shows in that aspect. Obviously a filler track which is odd considering there are other tracks (see later) that could have been used.

*Blue Jay Way*: This is Harrison’s contribution and not an especially great song.  Harrison wrote this in LA while waiting for Derek Taylor. It does make for interesting lyrics at least. He actually has two better songs that could have been used on this album, but I guess Lennon and McCartney were in a bad mood on this album.

*Your Mother Should Know*: My least favorite song on the album. McCartney tries to do the two step here, much like he would do with Wings later. For whatever reasons, the other Beatles didn’t try to stop him from being cheesy on this one. His mother (God rest her soul) should have spanked him.






*I Am the Walrus*: And this one is unequivocally a Beatles classic and one of Lennon’s best. Some of Lennon’s best nonsensical lyrics dominate the song which is accentuated from the heavy orchestral background that would later become the main sound of the Electric Light Orchestra.  It’s easily my favorite song on this almost album.

*Hello Goodbye*: This is the big hit from the soundtrack. It’s vintage psychedelia with McCartney’s own offbeat lyrics (You say goodbye and I say Hello). To be honest, this isn’t a song I can really get into, maybe because they played this to death on oldies radio for a while. I will say  that I Am the Walrus was a much more superior side and I think I speak for the majority on this one.  I sense even McCartney himself thinks so. Not a horrible track at all, it just isn’t for me.

*Tracks later released on Yellow Submarine*







*All Together Now*:  McCartney called this a throwaway song. It is certainly meant as a children’s song. Honestly, it isn’t really my speed but I can see why they used this in Yellow Submarine. A very simple song, really.

*Only a Northern Song*: I think I mentioned Harrison had two songs that were superior to Blue Jay Way. This was one of them. Recorded during Pepper actually, I can’t understand why this wasn’t used instead of Within You Without You on that album.  A swipe at the Beatles song publisher. It’s a great piece of psychedelia and one of Harrison’s most underrated songs.

*It’s All Too Much*: The other Harrison song that would be saved for Yellow Submarine, this Indian flavored psychedelic piece  isn’t as strong as Northern Song but it’s still superior to Blue Jay Way. It’s an upbeat tempo and it fits in quite well with the animated feature that was Yellow Submarine. Not a bad song at all.

And that’s about it for the Beatles’ mid period/psychedelic era. Stay tuned as the Beatles become disillusioned with each other after a trip to India and take a bite out of the Apple.


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## Deleted member 56686 (Sep 25, 2019)

*1968*








*Interlude: 1968 non-album tracks*


This was something of a transitional year for the Beatles in a few ways. First, they would be launching their own label, thus Lady Madonna/The Inner Light would be the last release on Parlophone while Hey Jude/Revolution would be the debut on the new Apple label. Then there were the personal transitions as Lennon would leave his wife Cynthia for Yoko Ono, something that would put great strain on the other Beatles.  McCartney too would find himself in between girlfriends as Jane Asher would announce their break up.  Then there was the disillusionment with the Maharishi after a trip to India in early 1968 after the Lady Madonna recordings. And then there was disillusionment among the Beatles themselves, something that would come to a head on the White Album later in 1968. One thing for certain, they were the moptops no longer.






*Lady Madonna*: This is Paul McCartney doing his best Fats Domino impression as the Beatles are getting back to basics here.  The lyrics are clever and there is a great sax solo. I have to admit that, while I like the song, I can’t rate this among my Beatle favorites. Ironically, Fats Domino himself would cover this song later in the year.

*The Inner Light*: The third of Harrison’s Indian inspired songs, it’s probably one of the Beatles' weaker flip sides and yet it’s probably my favorite of Harrison’s three Indian inspired numbers.  As with the other two, there are no fellow Beatles on this track. As with Harrison’s other two Indian numbers, the lyrics are a bit cryptic in a cheesy way. This was originally conceived from Harrison’s Wonderwall soundtrack and would be used for the Beatles here. A surprisingly decent track.

*Hey Bulldog*: Saved for the Yellow Submarine soundtrack, this is my favorite of the four songs recorded in the Lady Madonna session and my favorite original track on the soundtrack itself.  This is one of the Beatles’ heavier tracks  with strong drumming by Ringo, Lennon’s pounding piano and a great lead guitar by Harrison. And of course the usual McCartney bass licks. Really great song.

*Across the Universe*:  This may have meant to be the flip side of Lady Madonna but Lennon was paranoid they were trying to sabotage his songs, so he left this for the World Wildlife Fund a year later. Shame really because this is a beautifully crafted song. As Lennon himself said years later, these are some of the best lyrics he ever wrote while the background acoustics are gentle and mildly psychedelic. Phil Spector would revive this track for Let It Be two years later.






*Hey Jude*: The first Beatles single on Apple, this is the Beatles’ longest actual song at well over seven minutes. Amazingly enough it would not only get airplay without having to cut it short, it would become the Beatles’ biggest hit.  This McCartney penned classic was inspired by a visit to Lennon’s son Julian right after his parents’ split. It is a song of hope more than anything else. Very good lyrics and a wonderful melody but the Na Na Na Na bit that takes up the entire second half of the song I could have done without. Still, a nice masterpiece.

*Revolution*: One of my favorite Beatles tunes and probably the beginning of Lennon’s artistic peak. There are three versions of this song, the other two being on the White Album. This one is the heaviest and probably the most commercial. This is the best of the three versions with Lennon’s pointed lyrics that yearns for peaceful outcomes instead of violence. The song is backed by one of Lennon’s heaviest rhythm guitar licks. It also features a great instrumental electric piano break by session musician Nicky Hopkins. Misses my Beatles all time top ten, but just barely.



So now we’re past any semblance of goodwill between the four Beatles. They will be in the studio for one of their most acrimonious studio sessions but it will culminate in yet another great album. So stay tuned for the next installment


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## Irwin (Sep 25, 2019)

I never owned The Magical Mystery Tour, but other than Hello Goodbye, that's a great stoner album. There's so much variety in the song styles and genres that it kind of transports the listener to different places and time periods. 

 Hello, Goodbye would have been a good song if not for the incredibly stupid lyrics... almost as dumb as McCartney's Someone's Knocking at the Door, which I think he did in the late '70s with Wings.


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## Deleted member 56686 (Sep 26, 2019)

Irwin said:


> I never owned The Magical Mystery Tour, but other than Hello Goodbye, that's a great stoner album. There's so much variety in the song styles and genres that it kind of transports the listener to different places and time periods.
> 
> Hello, Goodbye would have been a good song if not for the incredibly stupid lyrics... *almost as dumb as McCartney's Someone's Knocking at the Door, which I think he did in the late '70s with Wings*.





Let Em In off the Wings at the Speed of Sound in 1976. That album is also notorious for Macca's other masterpiece, Silly Love Songs. uker:


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## Deleted member 56686 (Sep 26, 2019)

*THE BEATLES (THE WHITE ALBUM)*








And so here we are at the Beatles’ winter of discontent. Ringo would even leave the band briefly after a row with McCartney who, by now was becoming something of a perfectionist to the chagrin of the other three. In fact, there is a famous row that was filmed between McCartney and Harrison during the filming of Let It Be. In one sense, this double album set is a combined four mini solo albums as each Beatle wanted to do their own thing. With the exception of Starr perhaps, the other Beatles were essentially session musicians on the primary Beatle’s track.  It is also argued that there is too much filler on this album, that maybe it should have been pared down to one amazingly great album. I’m not so sure. While there are certainly some throwaways (was Revolution 9 really necessary?), it still makes for a great album and a half at least. So even with all the acrimony, this will prove to be one of the Beatles’ best efforts.

*Back in the USSR*:  It starts off with one of McCartney’s better tracks, a rollicking Beach Boys influenced ditty about Russian girls, not unlike what the Beach Boys did in California Girls. Ringo is missing from this track as this is right after the disagreement with McCartney. McCartney ends up playing the drums. Nevertheless it has some great background vocals from Lennon and Harrison and a great instrumental break from Harrison. A very good opener.

*Dear Prudence*: Like a lot of the songs on the album, this was written in India. Lennon wrote this about Mia Farrow’s sister who was apparently a bit reclusive during the Indian trip. The guitar is in a fingerpicked style that Donovan had taught Lennon.  Indeed I notice two distinct styles by Lennon on this album, the fingerpicking you hear on this track and on Julia, and the blues numbers that Lennon would be writing such as Yer Blues for example. The White Album will be for Lennon what Revolver was for McCartney in my opinion, an artistic peak.

*Glass Onion*: This is a bit of a whimsical piece of nostalgia by Lennon. It is driven by a string arrangement though not as out front as it was, say, on I Am the Walrus. One of the more interesting line is the song where he claims the Walrus was Paul. This would be one of the clues in the Paul is Dead rumors that would crop up a year later. Another great tune by Lennon.






*Ob La Di Ob La Da*: When they talk about Paul McCartney and his “Silly Love Songs”, maybe they should point at this one. I think someone considered releasing this as a single at the time; thank God they didn’t.  It’s an annoying little ditty in my opinion about a day in the life of Desmond and Molly (Maybe a precursor to Paul and Linda?).  Capitol would release it as a desperation single in 1977 (I think) and would also become the theme song for the TV series Life Goes On. You guys can have it.

*Wild Honey Pie*: Another annoying track from McCartney.  I can’t believe they pulled Harrison’s Not Guilty for this. At least it’s not very long mercifully.

*The Continuing Story of Bungalow Bill*:  This is Lennon’s scathing response to a big game hunter in India who would return from his endeavors for meditation. It’s a fun little sing along with Ringo rather prominent on this track. Yoko Ono is also evident on this track which I’m sure warmed the other Beatles all over. It’s a nice track where Lennon can channel his disgust (at the hunter) with a strong sense of humor. A cool tune.

*While My Guitar Gently Weeps*: The last two tracks of side one is arguably the strongest part of this album. This Harrison composition is my favorite of all of his songs. It’s interesting that he wasn’t comfortable with his own guitar playing so he brought his friend, Eric Clapton, in to do the lead. And it’s a brilliant piece of work. Harrison claims that the Beatles all behaved themselves while Clapton was there to keep the façade of harmony going. Harrison would use that revelation later when he brought in Billy Preston during the Get Back sessions. A fantastic melody, solid lyrics, and great instrumentation makes this a true Beatles top ten.

*Happiness is a Warm Gun*: And this isn’t a top ten, but it sure is a top twenty. This time, Lennon takes aim at gun owners. I was thinking this was a play on Charles Schultz’ Peanuts books (Happiness is a Warm Puppy, etc), but, according to the Beatles Bible, Lennon says he saw that quote in a gun magazine. One thing for sure, this melding of four songs, all Lennon’s, really works on this track. Some great guitar work by Lennon and Harrison add up to one of my favorite songs on the album. Again, the White Album is Lennon’s peak with the Beatles I think.

*Martha My Dear*: Yeah you could smell this one a mile away. This love song of sorts is about McCartney’s dog. I guess he wasn’t ready to sing love songs to Linda yet. Yes, it’s corny with the small orchestral arrangement, but somehow it works.

*I’m So Tired*: Another one of Lennon’s really great tracks, it goes on with his continuing theme of always being sleepy (I’m Only Sleeping comes to mind). It has a bluesy feel to it. The bass is prominent at parts and some rather interesting lyrics (Sir Walter Raleigh, such a stupid git). Another favorite song on the album.

*Blackbird*: A pretty acoustic tune by McCartney, this was done solo without help from the other Beatles. I guess in a way this was the precursor to McCartney’s first solo album. It’s a nice piece of lyrics. Honestly not among my favorite tracks on the album, but certainly a sweet tune.

*Piggies*: This, sad to say, is one of the songs on the album that would inspire Charles Manson and his murderous spree in 1969. This Harrison track is another one of his diatribes against the greedy. I imagine given the mood of the time, some people may have thought it was anti cop. Whatever the case, the song has something of an renaissance feel to it with the harpsichord especially prominent. Not Harrison’s best, but still a nice tune.

*Rocky Raccoon*: Not really a favorite song. McCartney here is writing a western story of sorts and it certainly is a good try, but I compare this to Bungalow Bill and, frankly, it doesn’t rate. I do have a personal story behind this. When I was working at a supermarket, someone borrowed my Beatles songbook so he could learn this song. He did a good job with it too. Still comes off as pretty average to me though.

*Don’t Pass Me By*: Okay, first the good news- Ringo wrote this one and he gets a chance to shine on his own. Now the bad news- Ringo wrote this one. It’s a silly song for the most part with a pounding organ based piano. To be fair it isn’t really all that terrible, but it isn’t especially inspiring either.

*Why Don’t We Do It In the Road*: It’s better than this one though. Obviously a throwaway by McCartney, it’s basically one set of lyrics over a monotonous verse. At least this one is a little more listenable than his Honey Pie messes.

*I Will*:  A simple acoustic piece by McCartney, this, like most of the songs on the LP, were written in India.  They seemed to work a little too hard on such a simple song, but the final product comes out fairly well.

*Julia*: Needless to say, this is Lennon’s love song to his late mother. After having lost my own mother last year, I can kind of relate to this one. This features the finger picking style Lennon had learned from Donovan in India. There are also some wistful vocals on this tracks. It’s a beautiful and one of Lennon’s best on the album.






*Birthday*:  This was basically the result of a Beatles’ jam in the studio. Many people are involved in this hard rock recording including Yoko Ono and Pattie Harrison. It was likely one of the Beatles’ few happy moments on the album. Honestly, though, it’s not one of my favorite Beatles tunes.  I mean, it’s okay, but, honestly, I find the song to be a bit bland, even uninspired.

*Yer Blues*: This is pure raw blues.  Lennon is at his scathing best here and this is a precursor to his confessional primal scream era that would be evident in his early solo work,. It comes off as a typical blues song (I’m so lonely, wanna die…). Lennon would play this with Eric Claton, Keith Richards, and Mitch Mitchell at the Rolling Stones’ Rock n Roll Circus.

*Mother Nature’s Son*: Another one of McCartney’s gentler tunes, this is reminiscent of Blackbird except there is some more instrumentation. I guess this could just as easily been on McCartney since he again recorded this by himself.  A nice track but nothing that really says great song to me.

*Everybody’s Got Something To Hide Except  Me and My Monkey*: This isn’t an especially great song either but you have to love how the track rocks on. It has something of a fast paced feel. Lennon claims he wrote this about his relationship with Yoko but of course there is that monkey reference (i.e. heroin- which both John and Yoko were taking in 1969. Not a bad song, certainly a lot of energy.

*Sexy Sadie*: This rather angry song is probably my second favorite on the album.  Of all the Beatles, Lennon was the most disillusioned after India. There were rumors that the Maharishi was taking liberties with one of the females at the retreat and Lennon was feeling a bit of betrayal. This resulted in this scathing rebuke. A strong piano based song with some great background vocals, this is one of Lennon’s most searing efforts and possibly the most underrated song in the entire Beatles’ catalog. Then again, that could be just me.  One of the riffs in Sexy Sadie would be famously imitated on Radiohead’s Karma Police three decades later.


*Helter Skelter*: And just imagine, the song that was said to be Charlie Manson’s inspiration to orchestrate the Tate-LaBianca murders was simply about an English version of a see-saw.  Strange in a sense that this is one of McCartney’s great rockers, probably his best track on the album. He wanted this one loud and he got his wish. McCartney screams like never before and it would turn into one of the Beatles’ most remembered jam sessions although most of that would be cut. A very energetic track.

*Long, Long, Long*: One of Harrison’s tracks, this one is essentially one of his spiritual songs. It is  probably the quietest song on the album. In fact, there are parts where I can barely hear it. It does feature a rather wild finish.

*Revolution 1*: This was the version of Revolution that was originally recorded. Not as heavy as the single release, this version has more of a bluesy feel to it with a little bit of brass to accentuate the song. There are also the shoo be doo wah background vocals from Harrison and McCartney, something they also do on the David Frost Programme where they played the hard rock version.

*Honey Pie*: Well there isn’t anything wild about this one. Sometimes I think McCartney wished he was a child of the 1920s. He might as well saved this one for a deodorant commercial or something. Needless to say, I don’t like this track.

*Savoy Truffle*: This is an attempt at humor from Harrison as kind of an inside joke to his friend, Eric Clapton. Not a bad song and some great saxophone work, but it’s pretty much par for the course in terms of the Beatles.

*Cry Baby Cry*: This was influenced by a nursery rhyme of all things but somehow this one works, possibly because this is Lennon and not a piece of McCartney schmaltz. It’s a nice melody with some piano backing. Probably the best song on side four.  The song is also noted for McCartney’s Can You Take Me Back tacked on at the end.





*Revolution 9*:  This is actually an experimental tape drawn up by John and Yoko. It is essentially an eight minute  montage of tape loops dubbed over a jam session at the end of Revolution 1. I think it’s one of those tracks you either love or hate. I sense John and Yoko would go further with this on their Two Virgins disaster. As for this track, well, no, it’s not a classic Beatles track obviously, but at least I can listen to it.

*Good Night*: Probably my least favorite of all the Beatles songs. Lennon wrote this and gave it to Starr and he’s about the only one who could have pulled this off. This is way too lush for me. It’s probably the poorest of all the Beatles end tracks in my opinion.

And so, despite being at each other’s throats during much of the recording (and Spoiler alert: It’s about to get even worse), the Beatles come up with what I think is their best album post-Sergeant Pepper.

Soon the dream will be over, but we still have a couple installments left at least as we cover the end of the Beatle dream. Stay tuned as we cover the acrimonious year that would be 1969.


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## Deleted member 56686 (Sep 27, 2019)

*1969


*






This would prove to be a rather tumultuous year for the Beatles in both personal and business endeavors. First there was the budding romance between Paul McCartney and Linda Eastman, who would become newlyweds in March. Paul had at last become domesticated and, in some ways, his songs would become even more insufferable to the other Beatles. This ties in with the business issues as the Beatles had decided they needed a manager to fill the void left by Brian Epstein when he died in 1967. And McCartney had the perfect candidate, his new father in law, Lee Eastman. But wait a minute, the others protested, that sounds like nepotism. Thus they went with Lennon’s choice, Allan Klein, recommended by none other than the Rolling Stones, a band he was just about to stab in the back. Harrison and Starr sided with Lennon and there would be great resentment on McCartney’s end.

And then there were the adventures of John and Yoko. They too tied the knot right about the same time Paul and Linda did.  The two lovebirds celebrated by sleeping in bed where the public could see. In between, they recorded some obscure song called Give Peace a Chance. Essentially, Lennon had just embarked on a solo career. Yoko also remained a fixture in Beatles world, and John too would suffer his  own resentments that his wife couldn’t be accepted. It would culminate in John finally asking Paul for a proverbial divorce late in the year.

So how does this all play out musically? Incredibly well as it turns out. The Beatles' personal issues would not spill over into the music, which would keep its high quality. McCartney had a least one last gasp, Lennon was in the middle of a very creative period that would continue into his solo material in the early seventies, and Harrison was just hitting his stride. Even Ringo would have something to offer this year. So, buckle your seat belts; it’s going to be a bumpy, but wonderful, ride.

*Interlude: Yellow Submarine Soundtrack*







The original songs are covered in The Magical Mystery Tour and Lady Madonna recordings, but I thought the album deserved a mention as it also features a rather inspired soundtrack from George Martin. The soundtrack also made for a great animated feature. The Beatles themselves originally weren’t that keen on the idea of an animated film at first and actors would overdub the cartoon voices. After seeing the film and its rather original animation, the Beatles would warm up to it and they would do a live action cameo at the end., probably in early 1968 judging by how they looked, particularly Lennon. Anyway, if you like animated features, this is the movie to watch. There hasn’t been anything like this since.

*Interlude: The Get Back Sessions*







These were the sessions that would spawn the Let It Be album and movie of the same name. Hundreds of songs were rehearsed in this relatively brief span in January 1969. It’s a pretty good quantity given that the Beatles were barely on civil terms during this period. McCartney was seen as especially bossy and the infamous spat between him and Harrison is on for display in the Let It Be movie a year later.  Lennon, at times, seemed rather distant, preferring to spend his time with Yoko in the studio. Harrison left at one point and returned with a promise to get out of the cold Twickensham  studio where they were recording the proposed album. This was McCartney’s idea of a get back to basics album (thus the original title). There were some songs that were introduced that would appear on solo albums later such as McCartney’s Junk and Teddy Boy and Harrison’s All Things Must Pass, but most of the unreleased tracks would be covers, mostly of their favorite artists from the Quarrymen days.  Honestly, as much as I love listening to Beatles alternate takes, these sessions don’t really impress me. They’re nice little jam sessions but that’s about it for me.

*Interlude: 1969 singles*







*Get Back*: A McCartney potboiler and a huge hit for the Beatles, this was one of the tracks that was released from the Get Back sessions. It’s a good choice as McCartney boogies about Jojo and Arizona. This is where Harrison brings Billy Preston in and it will be one of the few golden moments in Let It Be. He does a fantastic keyboard solo on this track. This is the studio version as a live version from the famous rooftop concert will be released on the Let It Be album a year later.

*Don’t Let Me Down*: A Lennon blues standard and a great one at that. It’s a love song to Yoko as a lot of Lennon songs were at that time. I love the rawness of the piece and that was one of the best things about the Get Back sessions before Phil Spector would get his mutts on them, there was a certain raw quality to them and Don’t Let Me Down may be the rawest of them all.






*The Ballad of John and Yoko*: The basic story behind this is that Lennon felt like it was time to record a song. Paul was visiting at the time, but George and Ringo were nowhere to be found. So this is essentially the one true Lennon and McCartney recording. McCartney would overdub the drums while Lennon supplied the guitars. The end result is a rather good song. Lyrically, it is a blow by blow account of John and Yoko’s marriage adventure and this would get the single banned in some areas.  I really like this song. It proves that Lennon and McCartney could still cooperate with each other even in the middle of all the tensions.

*Old Brown Shoe*: Harrison’s flip side to Ballad is kind of hard to categorize. He wrote it as a song about opposites and the recording itself is quite ambitious. It has a nice beat to it as the keyboards are prominent as well as Harrison’s lead guitars. It’s a decent song to be sure, not an absolute favorite, but certainly a solid track.



So you see where we are at this late stage of the Beatles. Despite their issues with each other, they were still able to make some incredible music. And they weren’t done yet. Stay tuned for what will be the last album they will record together. One hint: They’ll go out with a bang (well, not really a bang but you know what I mean )


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## Deleted member 56686 (Sep 28, 2019)

[h=1]ABBEY ROAD[/h] 





So the Beatles were in a lot of trouble by this time as we now know, so it was a bit of surprise that they decided to record one more album. There was a feeling, I believe, that they wanted to make one last great album as a group, hopefully with more group cooperation than they had had on the White Album, and what they had considered as a rather disastrous movie/album attempt earlier in 1969. So they got together for one more record and they would come up with a masterpiece to end the decade. This album had a little bit of everything from Lennon’s penchant for blues based rock to McCartney’s thematic tendencies. Add two classic tracks from Harrison and even a decent song by Starr and you have one of the great swan songs in rock history.

I’m not going to dissect each track on side two as most of them are part of a montage that dominate most of the second side, rather I will combine those tracks as the Sun King-The End montage. Anyway, here we go.







*Come Together*:  Lennon was asked by Timothy Leary to write a campaign song and he came up with this one. He also used a line from a Chuck Berry song that would get him in trouble some years later. Nevertheless, this, along with A Hard Day’s Night, is the most powerful opening to a Beatles’ album. It’s typically heavy as per Lennon in 1969. Some great percussion and a bluesy feel overall makes this one of the great Beatles’ tunes and, arguably the last.

*Something*: I did say arguably, didn’t I? Harrison comes up with this flip side to Come Together and it’s one of his best. It’s certainly his most acclaimed Beatle track to be sure.  It’s a beautifully crafted love song. It has a fantastic melody with some nice chord changes and I really like the keyboards in particular. A very fine track that I really like.

*Maxwell’s Silver Hammer*: The other Beatles would be very annoyed with this track as McCartney insisted on many takes with the 'bang bang Maxwell’s Silver Hammer' part. It was kind of silly considering it’s one of McCartney’s silliest songs. In fact I’ll go as far as saying it’s the weakest track on the album. And, yes, that Bang Bang part is annoying.

*Oh Darling*: This was McCartney going back to his roots to an extent. It starts out as a retro doo wop type of song then he really belts it in the middle eight. Needless to say this is head and shoulders better than Maxwell. Lennon would say later that he thought he could have sung it better.

*Octopus’ Garden*: And this is the other song Ringo writes with the Beatles (I’m not counting What Goes On). It’s a charming ditty as only Ringo could do. It makes for a great children’s song and, honestly, I like this one a lot. I like the underwater instrumental break as well.

*I Want You (She’s So Heavy)*: And this is Lennon at his rawest. Two heavy guitars jangle throughout the piece.  The lyrics are rather simplified but that doesn’t really matter. Lennon’s vocals are incredibly raw and the whole white noise effect makes this arguably the heaviest of all Beatle songs. Probably my favorite song on the album next to Come Together.






*Here Comes the Sun*: This is Harrison’s other contribution and something of a classic in its own right. I honestly can’t call this one of my favorites though. This was the theme song of a local children’s show in Baltimore in the seventies and I think I pretty much got tired of it. Harrison wrote this in Eric Clapton’s back yard incidentally.

*Because*: One of the Beatles’ most beautiful songs, this is perhaps the best vocals on all the Beatles’ songs. Backed by an electric harpsichord, Lennon, McCartney, and Harrison would record their harmonies three times to have an effect of extra singers. It’s a gentle song and one of my favorite tracks on the album.

*You Never Give Me Your Money (medley*): The first of two medleys, this was McCartney’s comment on the business dealings of Allen Klein at the time. Amazingly no one took umbrage to it and it would prove to be a successful recording. There are some other snippets of songs in this medley and a great guitar break in the Beatles style after the one-two-three-four-five-six-seven refrain. A decent track.

*Sun King-The End (Medley)*: This is not only the grand finale of Abbey Road, it’s the grand finale of the Beatles as we know them. Of course Let It Be had yet to be released but this is the last album the Beatles would ever record. Like You Never Give Me Your Money, it’s essentially a montage of snippets of songs, most of them written by McCartney but three, Sun King, Mean Mr. Mustard, and Polythene Pam were Lennon tracks. Both Lennon and McCartney have their whimsical moments, but it is The End instrumental that proves to be the magnum opus as Lennon, McCartney, and Harrison play their guitar riffs in their own distinctive styles along with Ringo’s rare drum solo. And in the End the Love You Take is Equal To the Love You Make is a perfect ending to perhaps the most amazing career in the annals of music.

*Her Majesty*: This is basically a twenty three second throwaway that McCartney used to puncture the pompousness of The End. This is a perfect postscript as it shows the Beatles haven’t lost their humor.

So the Beatles succeeded in going out in style but there still is one more release to go. It was decided that they would resurrect the Get Back recordings after all and it would culminate in a film and an album, even though by then, the Beatles had all but broken up. We’ll cover that in the next installment though.


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## Deleted member 56686 (Sep 29, 2019)

*1970*








As the year started, John Lennon had already left the Beatles and the remaining three would work on a George Harrison song on January 3, marking the last time the Beatles would actually record as a group. The public would be blissfully unaware of the turmoil though until Paul McCartney announced that he himself was leaving the Beatles. He performed a self interview on his first solo effort, McCartney, which he wanted released at the same time as Let It Be. It would get even worse as at year’s end as  he would sue to dissolve the Beatles, thus becoming enemy number one to Beatles fans. So where did that leave the Beatles musically?  Well, there was no Beatles musically except that they wanted to release Let It Be. George Martin had washed his hands of the whole thing and Lennon would bring in Phil Spector, something that displeased McCartney to no end.  Indeed, the solo efforts of Lennon and Harrison in particular would be far more superior than Let It Be would be.

But this is a Beatles thread. We can talk about the solo Beatles another time. As for now, the  last of the Beatles catalog, at least for another twenty five years anyway.

*Interlude: Hey Jude 1970*







Predating the Past Masters’ CDs by about eighteen years, this was a small collection of previously released singles and B sides that were not released on albums. It was an Allen Klein brainstorm to make some extra money, such as his cynicism was. The album did sell moderately well and it did make sense for someone that didn’t have the Beatles singles. Not a terrible collection of course except that A) the album only has ten songs and B) the Red and Blue albums released three years later would be much more extensive and a much better buy. Nice late Beatles cover though.

*LET IT BE*







So here we are with one more final release from the Beatles. Of all the Beatles albums this is my least favorite. For one thing, it doesn’t sound a lot like what you would expect from the Beatles. In other words, this could have easily been a Rolling Stones album the way this was recorded.  Indeed, the Rolling Stones had heard about these recordings months before and titled their new album Let It Bleed, perhaps their own comment on the Beatle mess.  Anyway, the songs for the most part aren’t terrible, even with Spector trying to turn Let It Be into a Ronettes spectacular.  In fact…

*Two of Us*: The album starts off pretty well as McCartney and Lennon sing a touching duet about their friendship. It starts off with a whimsical comment by Lennon that has nothing to do with the song (who cares if Doris Day can get her oats), but it doesn’t take away from one of the better songs on the album. Some nice acoustic work.

*Dig a Pony*: The one Lennon original on the album. This is an example of Lennon’s penchant for repetitive blues. This too is a decent song. The recording is rather raw as it is from the rooftop concert. It may be why this song works rather well as the rooftop concert was the one moment where the Beatles seemed to be in relative harmony. Pity they couldn’t have simply used the entire rooftop concert for this album and maybe just release Let It Be and Winding Road as separate singles.

*Across the Universe*: Revived by Phil Spector, gone are the female background vocals and added are some strings. Maybe it’s because it wasn’t originally recorded during the acrimonious Get Back sessions that makes this the best song on the album. It also proves that song still stands up no matter what anyone else (read: Phil Spector) could do to it.

*I Me Mine*: One of Harrison’s two contributions and not an especially impressive song. This was the last song that the Beatles would officially work on and without  Lennon at that. As Harrison himself said, it is a bit egocentric. He must have liked it though because he titled his autobiography I Me Mine.

*Dig It*: Simply a snippet from a Beatles jam session. Nothing much to report here except that Lennon must have a fixation on Doris Day.






*Let It Be*: This would prove to be a big hit for the Beatles but it isn’t one of my favorite songs to be honest. Maybe it should be as it is obviously a personal song from McCartney singing about his mother for the most part. It is a nice melody and they are good lyrics, but I think Lennon put it best in his Playboy interview in 1980. This just as well could have been Wings. There are two versions, the heavier guitar break being on the album, which I think is the better version of the two.

*Maggie Mae*: Another piece of tomfoolery by the Beatles. I guess they had to highlight Lennon in some way.

*I’ve Got a Feeling*: This was a mish mash of two melded songs, the main one by McCartney and the Everybody Had a Hard Year refrain by Lennon.  This was one of the rooftop recordings and as such, it works on this album quite well.

*One After 909*: This was actually one of the first songs Lennon and McCartney wrote dating back to 1960 at least. They even recorded it in 1963 during the From Me To You sessions, not to see the light of day until Anthology 1 in 1995. As for the Let It Be version,  this sounds like another rooftop recording and it sounds like Lennon and McCartney are simply having fun on this track, something they weren’t having a lot of at that time.






*The Long and Winding Road*: This is the song McCartney hated Spector for. The last released single by the Beatles is a rather soft song that Spector added a lot of lush strings to, something that McCartney objected to. McCartney finally got to release this song stripped down on Let It Be Naked, the way he had intended it. Actually, I like the Spector version. Yeah, it may be a little too lush but I think the song needed more than simply a piano accompaniment.  It might not have been the greatest way for the Beatles to go out, but it could have certainly been a lot worse.

*For You Blue*:  Harrison’s other entry and a better tune than I Me Mine. It’s a fairly straightforward song without the cosmic references he would have been prone to at the time. Lennon plays a mean lap steel guitar in the instrumental break and Harrison seems to have fun with this. Not a bad way for Harrison to go out.

*Get Back*: And a great way for the Beatles to go out again, this version is from the famous rooftop concert and you can hear the live energy on this one.  Like on the single, Preston plays that great electric piano solo. There is also that quip from Lennon at the end asking if the had passed the audition. At least Spector didn’t mangle that one.

And that’s about it for the Beatles, except, well, it’s not. There are still a couple loose ends which we’ll tend to now.

*Bonus Track: You Know My Name (Look Up the Number)*:  A silly track that was originally recorded in 1967, this ended up as the flip side to Let It Be.  In a way it’s also something of a tribute to the Rolling Stones’ Brian Jones, who died in 1969. He plays a sax solo on this. This song was popular on Doctor Demento.

*Interlude: The Beatles’ Christmas Album*







These were five to seven minute messages that were sent out to the Beatles’ fans  at Christmas from 1963 to 1969. You can sort of hear the progression from the happy go lucky Beatles of 1963 and 1964 to the more experimental Beatles of the middle years to the Beatles distancing themselves from each other at the end.  The best of these messages has to be 1967’s Christmas Time is Here Again. This was probably the last real release that truly had the Beatles’ blessing (The album was released initially to the fans in late 1970) until possibly Live at the BBC (or maybe the Red and Blue albums from 1973).



And so that’s it for the Beatles proper. But there are still some things to review such as the various repackagings, of course, the Anthology series, and a few things the Beatles released in the Millenium. We’ll cover them over the next few days. In the meantime, stay cool and turn off your mind, relax and float downstream as they say in Tomorrow Never Knows.


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## Irwin (Sep 29, 2019)

Here's a video of the Beatles recording Two of Us.  

[video=youtube;W_uPx5uQ-tw]https://www.youtube.com/watch?v=W_uPx5uQ-tw&amp;list=WL&amp;index=33&amp;t=0s[/video]


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## Deleted member 56686 (Sep 30, 2019)

[h=1]AFTER THE BEATLES[/h] 





The seventies would be interesting times indeed for the now ex-Beatles. Paul McCartney had taken the other three to court and eventually would win his case to officially break up the Beatles. Musically, it was obvious that McCartney and Lennon were not exactly happy with each other as the would trade barbs through their music. McCartney would complain about Too Many People which would provoke Lennon to record his scathing How Do You Sleep, with some help from none other than George Harrison. 1971 was a very creative year for all four ex-Beatles as Harrison was riding high on his All Things Must Pass album and used that good will to stage a concert with other stars of the day to help the people of Bangla Desh. Lennon would release two acclaimed albums of his own during 1970-1971 and would pursue his own political agenda, something that would get him in hot water with Richard Nixon and leading to some major immigration problems later on. McCartney's album, Ram, panned at the time, is now considered one of his best albums. He would form Wings with wife Linda and would become one of the most successful artists in the seventies, probably second only to Elton John. Even Ringo would score with a number one hit in 1971 with It Don't Come Easy. He would have a string of hits in the early and mid seventies and manage a film career as well. 

As for relations, things would thaw by around 1973 and there would be Beatles reunion rumors for the rest of the decade. It would never happen and, when John Lennon was more or less assassinated in December 1980, the chances of a full Beatles reunion was gone forever. 

So where did that leave the Beatles as an entity? Well, for one thing, as Lennon said before he died, the music is out there. And there would be some repackings of their material starting with a four album greatest hits package which was well put together, and what I like to call Capitol's desperation albums which were in hopes of cashing in on what they could with some moderate success. Capitol even allowed a rumor of a reunion by way of a Canadian group called Klaatu (which also happened to be a term Ringo used on his Goodnight Vienna album cover- aping The Day the Earth Stood Still). The Beatles, for the most part, stayed obvious to it, preferring to live their own lives. So, here we are as we look at the various releases from the seventies not mentioned in other posts (such as Beatles Live at the Star Club, Beatles Live at the Hollywood Bowl, etc).


[h=2]1973: The Beatles 1962-1966 and The Beatles 1967-1970[/h]








Otherwise known as the Red and Blue albums, these were, combined, a four disc set of The Beatles greatest hits including some choice album tracks that the four of them must have liked. Girl, for example, probably wouldn’t have made another person’s greatest hits (It does for me though). Girl, of course, is a great example that the Beatles weren’t afraid of using album cuts on this greatest hits package (Michelle, Lucy in the Sky With Diamonds, A Day in the Life, While My Guitar Gently Weeps, etc). So where’s Here There and Everywhere or Tomorrow Never Knows? You only have the single from Revolver? What’s wrong with you guys? Anyway, despite the omissions, The two double album sets are a very good snapshot of the best of the Beatles career.

[h=2]Capitol Record’s Desperation Beatles Compilations[/h] 
With the Beatles having broken up years ago, there wasn’t any new product on the horizon. Sure, all the Beatles were selling records as solo artists; McCartney was even among those that was a major player in what was the  known as the Superstar Era,  but it wasn’t the same thing. On top of that, this was a period where people were asking when were the Beatles going to get back together. Sometimes, the ex-Beatles, who by now were on reasonably good terms, would be coy as if to say it was possible.  This would make Capitol desperate enough to market a Canadian band named Klaatu with a rumor that they were the Beatles incognito (They weren’t of course). So, on the backdrop of all that, some whiz kid at Capitol had the brainstorm of releasing old Beatle material and they could make a killing. And Capitol did make some money, especially with the first repackaging, but in the end analysis, fans in the seventies preferred buying the new Wings record rather than buy Beatles songs that were a decade old.  So what did Capitol come up with? Well. Let’s see.

*Rock and Roll Music (1976)*:






This cash in was a combination of early Beatles covers and selected originals. Done in chronological fashion, they managed to skip most of the mid period save Got To Get You Into My Life, the hit single from the album. I guess Capitol was a little disappointed when the song merely made the top ten. Helter Skleter didn’t even fare that well.

*Love Songs (1977)*:






Not content with one foray into the Beatles archives, Capitol put together another two album set and dubbed it Love Songs. They’re obviously struggling to get enough Lennon songs on this thematic brainstorm as McCartney was the primary love song writer. I guess Yer Blues was out.

*Rarities (1980)*:






There really isn’t very much rare about this album as these are merely British recordings of different takes such as I’m Only Sleeping for example. There is an extra two bars at the end of And I Love Her, about as rare as this album gets. Beatles fans like me were suckered into buying this anyway.

*Reel Music (1982)*:






And to top it all off, Capitol released this collection of songs that were used in their movies. Yes, all five films are covered here but where is Hello Goodbye? Where is Nowhere Man or Lucy in the Sky With Diamonds (used in Yellow Submarine)? What about Hey Bulldog?  This album made Capitol rich beyond its wildest dreams by peaking all the way to number 19 on the album charts. They were so excited they forgot to release the next Beatles desperation package, The Beatles Sing Sinatra Covers.

So, yes, if you’re a die hard Beatle fan, these were fairly wasted releases because, with the exception of some of Rarities maybe,  you could pretty much get the same cuts on the nine hundred Beatle albums already in your collection. I think, by 1982, Capitol and Parlophone had to live with the fact that the Beatles would never get together again, especially with John Lennon no longer with us.

But the three survivors would get together again over a decade later and they would  release a six disc set of real Beatles outtakes and live performances plus they would record over two Lennon demos to make it sound like a Beatles reunion, but you’ll have to wait until the next installment for my thoughts on the three part package. Until then, well, I’ll think of something clever to write one day


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## Amnesiac (Sep 30, 2019)

Very interesting. Funny thing: Today, I was listening to the classic rock station in the car, and, "Revolution," came on. I turned the radio off. The song just irritated me, although it used to be one of my favorites. I don't know why it irritated me, but... there it is.


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## Deleted member 56686 (Oct 1, 2019)

[h=1]THE BEATLES ANTHOLOGY SERIES[/h] 
	

	
	
		
		

		
		
	


	




There is still some history to discuss in the eighties in particular. The Beatles, in no big surprise, we’re inducted into the fledgling Rock n Roll Hall of Fame. What was a bit shocking though,  was that while Harrison, Starr, and even Yoko Ono appeared to accept the induction, McCartney was nowhere to be found.  It seems that there were still some business issues that we’re keeping the now Fab Three and Yoko apart. Things would change in the nineties though as business tangles finally were settled and the surviving Beatles could actually be friends again. McCartney would even be the one to induct the late John Lennon into the Hall of Fame in 1994 with Yoko’s blessing.  On the backdrop of this was the surviving Beatles’ determination to set the story straight in their own words, using archives from old Lennon interviews to air his side of the story. They did this lovingly and Yoko equally lovingly gave the Threetles, as they would be affectionately referred,  three demo tapes of Lennon’s that they could record over. Two of these songs would be released as part of a three volume set of Beatles alternate takes, rehearsals, and some live performances. Here then, are the reviews of these extraordinary sets.  I won’t be dissecting these track by track except for the two new songs and maybe a couple significant moments.






*Beatles Anthology 1*: This two disc set covers the Beatles from the days of the Quarrymen to the recording of Beatles For Sale. It’s a fascinating look into their early history dating back to an amateur recording they made in 1958. The discs also cover recordings from 1960, a few songs with Tony Sheridan in Germany, some of the Decca auditions, and various outtakes of early era Beatles. Plus some rather interesting TV appearances and concerts.  Among the tracks I’m not reviewing individually here, I’m especially partial to the Morecambre and Wise appearance as well as alternate takes of Can’t Buy Me Love,  And I Love Her, and Eight Days a Week. Overall, this is a wonderful glimpse into how the Beatles became, well, the Beatles. Personal note: I was one of those in line when the discs came out at midnight. The anticipation was unparalleled as it was like buying the Beatles’ new album all over again.  Needless to say, it was all worth it.

Now for a few tracks.

*Free as a Bird*: As part of the new goodwill between the surviving Beatles and Lennon’s widow, Yoko supplied the three with demo recordings of Lennon’s that they could use for their Anthology series. Free as a Bird is the best of those demos. Lennon’s demo in of itself doesn’t sound like anything particularly special but the other Beatles do great justice to it. McCartney and Harrison wrote the two middle eights and Ringo adds his drums (not to mention Harrison’s slide guitar and of course, McCartney’s signature bass lines). If the Beatles had been able to reunite for real (obviously Lennon’s death made that impossible), this would have been a great way to kick the reunion off.

*You Know What To Do*: One of two tracks off of the Beatles For Sale sessions that went unreleased.  This was a Harrison composition and you can see why it wasn’t used on the album. It’s not his worst song to be honest and Beatles For Sale was not the Beatles’ best album. So no, this certainly wouldn’t have been a Beatles classic in any stretch of the imagination but, come on, it has to be better than Mr. Moonlight. :lol:

*Leave My Kitten Alone*: And this searing cover of the Little Willie John classic definitely is better than Mr. Moonlight or over half the songs on Sale for that matter. Lennon has great chops on this one and the rhythm is similar to something you might have heard on the Help! soundtrack. This could have been one of the Beatles best covers along with Twist and Shout and Roll Over Beethoven. So why did they leave this in mothballs for thirty years? I mean, I love Carl Perkins but this song has to blow Everybody’s Trying To Be My Baby out of the water. Tsk, tsk, boys.
Okay that’s part one, so now on to part two.






*Beatles Anthology 2*: This set covers the Beatles’ mid period from the Help! sessions in 1965 to  the Lady Madonna recordings in 1968. In between are some interesting alternate takes from Rubber Soul, Revolver, Sgt. Pepper, and Magical Mystery Tour.  What’s really fascinating about this set is how the Beatles have progressed as a serious band. You hear three different versions of Strawberry Fields Forever though I have to protest keeping Harrison and McCartney’s background vocals off on the first demo (You will hear it on Love). There are also some interesting versions of Norwegian Wood, I’m Only Sleeping, Tomorrow Never Knows, and A Day in the Life among others. This is my favorite set of the three volume Anthology series as it explores what is certainly the Beatles’ most creative period.

Now for a few track reviews.

*Real Love*: The other Lennon demo that was used by the Beatles. They had also worked on Now and Then but they would abandon that attempt for Anthology 3. Now Real Love had been released on the Lennon: Imagine soundtrack in 1988 and it had also started the film. I actually prefer Lennon’s demo version as there is a gentle simplicity to the song. I mean the Beatle version works, but maybe Yoko should have given them something else to work with. I think the Beatles used too much instrumentation on this.

*If You’ve Got Trouble*:  This was meant to be the Ringo vehicle on the Help! soundtrack, but the Beatles didn’t particularly like the song so it would be pulled for Act Naturally (not in the movie) instead.  Obviously, this isn’t a great song but it wouldn’t have been the worst thing the Beatles did either, even on the Help! album. Ringo is charming as always and the melody works for him. I think it was maybe the lyrics that turned the Beatles off. In any event, it’s a good glimpse on what the Beatles were doing circa 1965.

*That Means a Lot*: A McCartney track, also recorded for the Help! soundtrack and rejected. The Beatles were also dissatisfied with this track and instead, PJ Proby would score a hit in England with this.  I kind of like this song. I agree maybe most if not all of the tracks in the film are a little better but certainly they could have put this on side two somewhere, couldn’t have they? Anyway, a couple tracks later, you’ll hear more  Beatles live performances including a few from Blackpool Night Out and a live track from Shea Stadium. Then we get into the meat of the Beatles mid-period.

*Norwegian Wood*:  This version is done in a lower key and there is more sitar on this early take. This could have worked on Rubber Soul as easily as the final product. I also notice that Harrison sounds already fairly adept at what is considered a rather difficult instrument to master. They probably did pick the right take for the album though.

*The Strawberry Fields Forever takes*:  There are actually over twenty takes on this track starting with Lennon’s tape recording when he was writing this in Spain. Anthology features Lennon’s original demo, Take 1 where they inexplicably take out the background vocals, And Take 7 and an edit piece. One day I will do a thread on this song in particular as it may be the most worked on song ever, certainly in the Beatles’ catalog. It says something of the greatness of this song, which I rate as my all time favorite. I understand why they didn’t release more takes on this collection for obvious reasons, there are other tracks to cover after all, but as much as I love these tracks, I guess I feel that it wasn’t enough.






*Beatles Anthology 3*:  This is the volume that gets the most criticism as these are the outtakes and unreleased tracks from the Beatles’ later years. No longer are the Beatles in an experimental mode so to speak and yet there are some great demos and alternate takes from The White Album, especially but also many of the Get Back sessions  as well as a handful of cuts from Abbey Road. The whole first disc is devoted to the White Album alone, and there some early versions I quite like such as a bluesy version of Sexy Sadie as well as Happiness Is a Warm Gun.  The second disc is a little more uneven to be honest as it covers mostly Let It Be/Get Back sessions but even there we have some nice demos of Teddy Boy and All Things Must Pass, tracks that would later find themselves on so albums by McCartney and Harrison respectively.  This disc completes a well put together archive by the surviving Beatles and I am quite happy that they kept Lennon’s legacy alive in this especially.  This really was a labor of love.

And now for a few tracks.

*While My Guitar Gently Weeps (demo)*:  This acoustic demo by Harrison assisted with a harmonium track by McCartney at the end is perhaps the most beautiful track on the entire Anthology series. Of course they were correct to record the final track with Clapton the way they did, but it’s a shame they couldn’t have gotten this stripped down version out a lot sooner. Here, this is haunting and actually my favorite track on all the Anthologies.

*Not Guilty*: Harrison would later record this on his self titled album. This certainly would have fit in well on the White Album but it was written with barbs towards Lennon and McCartney and it is alleged they kept it off the album for that reason. Nevertheless, it is a decent track and probably would have been a better track than, say, Savoy Truffle?

*What’s the New Mary Jane*: This is one of those legendary tracks you heard on Beatle bootlegs for years so it made sense that this track might see the light of day here. A silly, sort of psychedelic track really, this might have been more appropriate for the Mothers of Invention. The song, if you want to call it that, was one of those John and Yoko sessions with a little help from George. It’s pretty silly, but I do kind of like it.

*Come and Get It*: I think Paul McCartney actually recorded this demo for Badfinger, who would have a very big hit with this. It doesn’t sound all that different from the Badfinger version as this too is piano based. McCartney doubles his vocals here. I can’t say which version is superior which is probably a good thing. It’s also a pretty good song which helps.


So that wraps up the Anthology series. After this, the Beatles would truly be friends again and Ringo and Paul work together to this day. Unfortunately, soon after the Anthologies were released, George would develop cancer and would die in 2001. So, today we only have McCartney and Starr to keep up the Beatle legacy, along with help from the two widows. We can get to that though in our last chapter, coming up next as The Beatle legacy ends with grace.


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## Deleted member 56686 (Oct 2, 2019)

*AND IN THE END…*







So the Beatles had finally found closure and they could enjoy their lives apart, and occasionally, together. It would be a good thing as George Harrison would succumb from a long battle with cancer. This left Starr and McCartney, with some help from George Martin, to release a few more interesting packages and this is what this last chapter will cover.

*1 (2000)*






Released in 2000, this was essentially a greatest hits package, the only caveat being that the song had to have either been number one in the UK or in the US, thus twenty-seven songs made the cut. This album is noted more for its omissions (namely Please Please Me and Strawberry Fields Forever) in some ways but overall, well, you’ve heard the songs, it’s a fantastic compilation and it, sadly, will be the last Beatle project to involve George Harrison as he will pass away the following year.







*Let It Be Naked: (2003)*


Paul McCartney never liked how Phil Spector had mixed this particular album and this was his way of doing something about it. For the most part, Lennon’s and Harrison’s mixes are relatively untouched, but McCartney’s The Long and Winding Road in particular, is stripped down without the lush strings. It sounds nice hearing it as McCartney had intended it, but I have to admit I like Spector’s arrangement just a little better.  I will say that the mixes are a bit superior to the original. You do hear a lot more instruments on these recordings. Perhaps it has more to do with the improvements in technology or maybe McCartney was right that they were adding too much instrumentation on the original. Either way, it’s a nice job.






*The Capitol Albums series ( 2004,2006)*


Not to be outdone, Capitol decided to release on CD the original American albums. Now I used to call this a desperation move by Capitol but in this case I think this was appropriate as this is how American fans would have remembered the Beatles at the time. I myself started buying  American reissues as a kid without realizing the albums were totally different in England. My only complaint is that they didn’t release Yesterday and Today in the two four CD packages (that would have been album nine and the US Revolver, ten). Still a nice piece of nostalgia though






*Love: (2006)*


This would be the last (for now) project the Beatles would officially undertake. It would also be the last project the ailing George Martin would be involved in. By now he had lost much of his hearing and it would be his son, Giles, that would do most of the mixing. This was also with involvement from not only Paul and Ringo, but with Yoko Ono and Olivia Harrison, John and George’s widows respectively as well as with Cirque Du Soleil who was featuring this package in their Las Vegas show. The album itself is basically a mash up of their songs, some more obvious than others. My favorite mashups are Drive My Car/The Word/What You’re Doing, the Strawberry Fields Forever studio takes and the While My Guitar Gently Weeps demo with strings added. If this is indeed the Beatles’ swan song of sorts, it’s a great way to go.


And that’s it for my review of the Beatles. I may explore some of the best of the Beatles as solo artists though I think I’ll likely be fairly selective, especially when we get past the seventies. But now is the time for other projects. Soon, I’ll be doing a Reviewing the Rolling Stones thread so stay tuned for that. In the meantime, All You Need is Love in an Octopus’ Garden, or something like that :mrgreen: .


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## escorial (Nov 16, 2019)

BBC radio merseyside does a 1 hour show at midnight Friday covering all aspects of the band and one thing that always gets me is the game..name the backward Beatle song...it might only be a few seconds of the song played backward but I've never found it easy to answer correctly...


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## Irwin (Nov 16, 2019)

I just listened to Let It Be naked. It's deeply spiritual sounding music (minus the religion), the way it's arranged with backing vocals that sound (and feel) like angels in the studio. It actually gave me goosebumps listening to it. I've always believed the Beatles used magic when they played because what they created together is beyond what should be humanly possible. It's like all the planets were perfectly aligned or some other kind of astrological phenomenon that I might be able to specify if I knew more about astrology.

But then the electric guitar comes in and ruins it because it's too far out front. It should be set back as another angelic voice instead of taking the spotlight away from Paul.


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## Irwin (Nov 17, 2019)

I listened to the entire White Album last night, straight through, just sitting on the couch, and I must say, that was one incredible album, even after 50 years. I don't think I ever listened to it through headphones before, and it was the remix from 2018, so it was much clearer than the original release. It does lack cohesion in that about half or maybe one-third of it was recorded with orchestral accompaniment and the rest with just standard band instruments as well as a Mellotron and a few effects. It might have been better to release it as two seperate albums. I may separate out the tracks and create the two albums myself one day if I have some spare time, just for the hell of it, to see how that changes the listening experience.

Also, in Beatles news, I heard they're going to remaster and re-release the Let It Be movie. Maybe they'll show it in theaters. That would be cool, watching it with a bunch of other Beatles fans.


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## Deleted member 56686 (Dec 1, 2019)

Biro said:


> I thought the 5th Beatle was the late Billy Preston.
> 
> One thing never talked about now as all is lost in history and peoples knowledge becomes 'only' what others have wrote in books etc, is that John Lennon in the early 70's was regarded as a pain in the backside and a bit of a dick.   This was because he was always telling others what they should do.  A bit like a 70's version of Bono.......but not as bad.
> 
> Whereas Paul McCartney was accepted as the norm (maybe be cause of Wings?) and was even seen using public transport quite a lot around London until Lennon's murder.  But people especially the media didn't like Linda.




Actually a lot of people were considered the "fifth Beatle", the most common probably being George Martin, but Brian Epstein, Mal Evans, Neil Aspinall, Stu Sutcliffe, and even a New York DJ named  Murray the K have been considered the fifth Beatle at one time or another. And I'm sure there were others as well.


I was actually around in the early seventies and, yes, Lennon was something of a political activist that might remind people of Bono today. He was also a quite flawed man by his own admission. But I think it was McCartney that got the most flak for a few reasons, his love for Linda being one (and John and Yoko especially got the wrath on that particular score), but also his supposedly sappy music (Ram was not well received at the time). The biggest reason McCartney was disliked though was that the was the one who was blamed for breaking up the Beatles since he was the one who had announced it. He also initiated a lawsuit to break up the Beatles' business interests. It probably wasn't until 1973 and with Wings where McCartney again had the goodwill of his fans.


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## escorial (Dec 1, 2019)

What's a dog with wings...Linda McCartney..I can recall reading that in a music mag an thinking..Paul McCartney's wife ugly..I thought she was a looker with sex appeal..still do


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