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THE BEATLES

Proto-Prog • United Kingdom


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The Beatles biography
It goes without saying that the Beatles were one of the most important, influential and progressive bands in the history of rock and pop music. There are many places on the Internet where a full biography may be found, and their history has been covered so many times that here we consider only their place as a progressive band.

The music of the Beatles was notable mainly for the songwriting partnership of Lennon/McCartney, which bucked the trend of bands going to songwriting houses for their material and helped to convince other bands to write their own songs. On their earliest albums, it was the quality of the Lennon/McCartney songs that stands out from the covers that were also included.

The other aspect of the Beatles music that remained a constant throughout their carreer as a band is the wide range of influences and styles that they assimilated into their own. Their hunger for experimentation in style and sound was to last and expand right up to their swansong album, "Abbey Road".

A frequent speculation is that it was the Beatles who finally swayed Bob Dylan in 1964/5 to use electric instruments, and in so doing brought about the fusion of folk and rock that would lead to the development of psychedelia, via the Byrd's "Eight Miles High" and the San Francisco music scene, "Swinging London" and other movements. In fact, many other factors led to the rise of those cultures, but the importance of the Beatles' music should not be overlooked.

The influences were mutual; The Beatles and the Byrds particularly not only exchanged a number of ideas, but also met several times - including one notable occasion which included Bob Dylan and Peter Fonda that resulted in the song "She said, she said" ("Revolver"). It was Roger McGuinn of the Byrds who turned George Harrison onto the sound of the sitar and led George to have lessons from Ravi Shankar.

Harrison also adapted the riff from The Byrds' "Bells of Rhymney" to write the song "If I Needed Someone", dedicating the song to Roger McGuinn who wrote it, and used the sitar in "Norwegian Wood", both songs appearing on the "Rubber Soul" album, an album that contains so many song writing styles that it can be difficult to believe that it's all the same band. "The Word" particularly seems to herald the off-beat musical and rhythmic style that would be prevalent in psychedelia, and the wider-ranging folk-like feeling and more introspective lyrics in many songs reflects the impact of th...
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The Beatles official website

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Buy THE BEATLES Music


Abbey RoadAbbey Road
Remastered
EMI 2012
Vinyl$19.23
$36.48 (used)
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Beatles White Album, 180-Gr Remaster Mono-2 Copies-Sequencial #'s-4 SEALED LP's USD $46.00 [12 bids]
1h 29m
BEATLES I Want To Hold Your Hand. I Saw Her Standing There. 1964. USD $4.22 [2 bids]
1h 29m
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1h 35m
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1h 36m
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1h 42m
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1h 52m
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1h 53m
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1h 53m
Live at Star Club 1962, Vol. 2 by The Beatles (CD, Sep-1991, Sony Music... USD $10.00 [0 bids]
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1h 54m
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1h 56m
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1h 58m
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1h 59m
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1h 59m
THE BEATLES GENUINE 1963 ROYAL COMMAND PERFORMANCE MAGAZINE GRAND CONDITION USD $23.44 [0 bids]
2h
THE BEATLES LP Revolver 1966 Capitol stereo john lennon paul mccartney USD $20.50 [6 bids]
2h
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2h
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2h
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2h
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2h 2m
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2h 2m
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2h 2m
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2h 3m
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2h 4m
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2h 4m
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2h 5m
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2h 5m


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THE BEATLES shows & tickets


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THE BEATLES discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

THE BEATLES top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.01 | 288 ratings
Please Please Me
1963
2.85 | 274 ratings
With The Beatles
1963
3.51 | 314 ratings
A Hard Day's Night
1964
2.70 | 271 ratings
Beatles For Sale
1964
3.41 | 328 ratings
Help!
1965
3.87 | 476 ratings
Rubber Soul
1965
4.36 | 638 ratings
Revolver
1966
4.32 | 731 ratings
Sgt. Pepper's Lonely Hearts Club Band
1967
4.12 | 497 ratings
Magical Mystery Tour (US Version)
1967
4.15 | 548 ratings
The Beatles
1968
2.46 | 253 ratings
Yellow Submarine
1969
4.49 | 699 ratings
Abbey Road
1969
3.22 | 375 ratings
Let It Be
1970
3.55 | 133 ratings
Let It Be - Naked
2003

THE BEATLES Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.89 | 26 ratings
The Beatles at the Hollywood Bowl
1977
1.81 | 14 ratings
The Beatles Live! at the Star Club in Hamburg, Germany; 1962
1977
3.14 | 45 ratings
Live at the BBC
1994
2.07 | 6 ratings
Last Night In Hamburg
1999

THE BEATLES Videos (DVD, Blu-ray, VHS etc)

3.56 | 38 ratings
A Hard Day's Night
1964
3.12 | 31 ratings
Help!
1965
3.09 | 4 ratings
The Beatles At The Shea Stadium
1966
3.85 | 57 ratings
Yellow Submarine
1968
3.95 | 25 ratings
Let It Be
1970
3.00 | 31 ratings
Magical Mystery Tour
1978
5.00 | 1 ratings
Ready Steady Go! The Beatles Live
1985
4.88 | 8 ratings
The First U.S Visit
1991
5.00 | 2 ratings
Video Collection
2003
4.05 | 3 ratings
A Long And Winding Road
2003
4.00 | 1 ratings
In Washington D.C, Feb. 11th, 1964
2003
4.00 | 1 ratings
The Beatles With Tony Sheridan - The Beginnings In Hamburg
2004
0.00 | 0 ratings
Destination Hamburg
2007
5.00 | 1 ratings
Turn Left At Greenland
2008
0.00 | 0 ratings
The Tomorrow Show With Tom Snyder
2008
0.00 | 0 ratings
In Performance
2008
0.00 | 0 ratings
Yesterday
2008
1.88 | 6 ratings
The Beatles At The Budokan
2008

THE BEATLES Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.83 | 6 ratings
Introducing The Beatles
1963
1.91 | 12 ratings
Meet the Beatles
1964
1.66 | 6 ratings
Something New
1964
1.40 | 6 ratings
The Beatles' Story
1964
4.14 | 7 ratings
Beatles '65
1964
2.61 | 14 ratings
The Beatles' Second Album
1964
2.16 | 26 ratings
A Hard Day's Night (US version)
1964
2.09 | 4 ratings
The Beatles' First
1964
2.59 | 28 ratings
Rubber Soul (US)
1965
2.22 | 26 ratings
Help (US version)
1965
3.50 | 4 ratings
The Early Beatles
1965
3.67 | 3 ratings
Beatles VI
1965
3.23 | 14 ratings
Yesterday and Today
1966
2.32 | 6 ratings
A Collection Of Beatles Oldies (But Goldies !)
1966
3.36 | 21 ratings
Revolver (US)
1966
3.67 | 31 ratings
Hey Jude
1970
3.19 | 73 ratings
1962-1966
1973
3.69 | 85 ratings
1967-1970
1973
3.12 | 11 ratings
Rock 'n' Roll Music
1976
3.50 | 2 ratings
The Beatles Tapes (From The David Wigg Interviews)
1976
4.00 | 13 ratings
Love Songs
1977
4.40 | 5 ratings
Rarities
1978
5.00 | 5 ratings
The Beatles Album Collections
1978
3.13 | 4 ratings
The Beatles Ballads
1980
0.00 | 0 ratings
The Beatles Box
1980
2.27 | 3 ratings
Rarities (US version)
1980
5.00 | 3 ratings
E.P. Collections
1981
5.00 | 1 ratings
Hear The Beatles Tell All
1981
5.00 | 1 ratings
The Beatles Talk Downunder (1964)
1982
5.00 | 2 ratings
The Beatles Singles Collections
1982
0.00 | 0 ratings
The Complete Silver Beatles
1982
0.00 | 0 ratings
First Movement
1982
2.50 | 2 ratings
Reel Music
1982
4.40 | 5 ratings
20 Greatest Hits
1982
5.00 | 1 ratings
The Beatles Mono Collection
1982
5.00 | 5 ratings
The Collection
1982
5.00 | 1 ratings
The Beatles Original Mono-Record Box
1986
4.00 | 2 ratings
The Beatles On Compact Disc - Help / Rubber Soul / Revolver
1987
2.04 | 7 ratings
The Early Tapes of The Beatles
1987
3.39 | 57 ratings
Past Masters Volume 1
1988
4.11 | 58 ratings
Past Masters Volume 2
1988
0.00 | 0 ratings
The Conversation Disc Series
1988
0.00 | 0 ratings
Talk Downunder Vol. II
1990
2.50 | 2 ratings
The Silver Beatles - Original Decca Tapes and Cavern Club Rehearsals 1962
1991
2.80 | 51 ratings
Anthology 1
1995
3.87 | 57 ratings
Anthology 2
1996
3.62 | 53 ratings
Anthology 3
1996
0.00 | 0 ratings
Words Of Love
1998
3.36 | 36 ratings
Yellow Submarine Songtrack
1999
0.00 | 0 ratings
Magical And Mystical Words
1999
0.00 | 0 ratings
Things We Said Today
2000
3.91 | 69 ratings
The Beatles '1'
2000
0.00 | 0 ratings
Big Beat Box
2001
4.38 | 8 ratings
Capitol Albums Vol 1
2004
4.43 | 7 ratings
Capitol Albums Vol 2
2006
2.92 | 65 ratings
Love
2006
0.00 | 0 ratings
The Beatles - 1967-69 - Acoustic Submarine
2006
4.93 | 34 ratings
The Beatles In Mono Box Set
2009
4.70 | 50 ratings
The Beatles Stereo Box Set
2009
4.74 | 34 ratings
Past Masters (Remastered)
2009
4.26 | 26 ratings
The Beatles 1962-1970
2010
1.00 | 1 ratings
Anthology Highlights
2011
4.25 | 4 ratings
Tomorrow Never Knows
2012

THE BEATLES Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

1.29 | 5 ratings
My Bonnie
1961
2.84 | 13 ratings
Love Me Do
1962
2.50 | 11 ratings
Please Please Me
1963
2.37 | 10 ratings
From Me To You
1963
3.64 | 13 ratings
She Loves You
1963
2.68 | 10 ratings
I Want To Hold Your Hand
1963
2.67 | 3 ratings
The Beatles Christmas Record
1963
3.50 | 10 ratings
Twist And Shout
1963
3.00 | 3 ratings
The Beatles Hits
1963
2.50 | 2 ratings
The Beatles No. 1
1963
2.65 | 8 ratings
All My Loving
1964
3.04 | 6 ratings
Long Tall Sally
1964
3.96 | 5 ratings
Extracts From The Film A Hard Day's Night
1964
2.00 | 1 ratings
Extracts From The Album A Hard Day's Night
1964
2.50 | 7 ratings
Beatles For Sale
1964
2.00 | 1 ratings
Souvenir of Their Visit to America
1964
2.00 | 1 ratings
Four By The Beatles
1964
3.55 | 11 ratings
Can't Buy Me Love
1964
3.55 | 11 ratings
A Hard Days Night
1964
3.40 | 10 ratings
I Feel Fine
1964
3.00 | 7 ratings
If I Fell
1964
2.00 | 1 ratings
Another Beatles Christmas Record
1964
3.82 | 11 ratings
Ticket To Ride
1965
3.75 | 12 ratings
Help !
1965
3.73 | 11 ratings
Day Tripper
1965
2.00 | 1 ratings
The Beatles Third Christmas Record
1965
2.00 | 1 ratings
4 By The Beatles
1965
2.00 | 1 ratings
Beatles For Sale No. 2
1965
2.00 | 1 ratings
The Beatles Million Sellers
1965
3.86 | 7 ratings
Yesterday
1966
4.10 | 10 ratings
Nowhere Man
1966
3.47 | 15 ratings
Paperback Writer
1966
3.62 | 17 ratings
Eleanor Rigby
1966
2.00 | 2 ratings
Pantomime: Everywhere It's Christmas
1966
4.87 | 24 ratings
Strawberry Fields Forever
1967
3.54 | 18 ratings
All You Need Is Love
1967
4.06 | 14 ratings
Hello Goodbye
1967
2.17 | 4 ratings
Christmas Time (Is Here Again)
1967
3.82 | 22 ratings
Magical Mystery Tour (UK Version)
1967
3.29 | 15 ratings
Lady Madonna
1968
4.25 | 23 ratings
Hey Jude
1968
2.00 | 1 ratings
The Beatles Sixth Christmas Record
1968
4.06 | 17 ratings
Get Back
1969
3.09 | 16 ratings
Ballad Of John And Yoko
1969
3.15 | 16 ratings
Something
1969
2.00 | 1 ratings
The Beatles Seventh Christmas Record
1969
3.06 | 12 ratings
Let It Be
1970
4.00 | 3 ratings
The Beatles Christmas Album
1970
3.50 | 2 ratings
From Then To You
1970
3.68 | 10 ratings
Yesterday
1976
3.67 | 9 ratings
Back In The U.S.S.R.
1976
3.00 | 5 ratings
Twist And Shout
1977
3.93 | 18 ratings
Sgt. Peppers Lonely Hearts Club Band/With A Little Help From My Friends
1978
3.00 | 2 ratings
Movie Medley
1982
2.00 | 5 ratings
Love Me Do
1982
3.00 | 3 ratings
Baby It's You
1995
3.93 | 10 ratings
Free As A Bird
1995
3.96 | 8 ratings
Real Love
1996
3.80 | 5 ratings
Yellow Submarine Songtrack Sampler
1999
3.50 | 2 ratings
Within You Without You / Tomorrow Never Knows (promo)
2006
2.33 | 3 ratings
Love (promo)
2006
3.33 | 3 ratings
Help! (7 Song Radio Sampler)
2007

THE BEATLES Reviews


Showing last 10 reviews only
 The Beatles at the Hollywood Bowl by BEATLES, THE album cover Live, 1977
2.89 | 26 ratings

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The Beatles at the Hollywood Bowl
The Beatles Proto-Prog

Review by Lear'sFool

2 stars Good actual Lord. Here's a story for the ages. Right at the height of The Beatles' original zeitgeist, when they still played live to fans who wouldn't let anyone actually listen to the music, their record companies tried their darnedest to get a high quality taping of a live performance to ply to eager fans. Unfortunately for their plans, none of their recordings turned out in anywhere near decent quality, when venues and guilds even let them record. Back then, they had the good sense not to drop any of this on the world. But in the Seventies, with Beatlemania II still raging, a different company managed to kick out an even poorer recording of one of the old Hamburg shows. This led a panicked EMI to force George Martin to try and salvage two bad recordings of Hollywood Bowl shows, a year apart, into something they could sell to make up lost ground. And... well, he couldn't really salvage it. SQ remains in the dumps, and there's nothing here for lo-fi to make better. The fans are way too loud and annoying. The haphazard stitching together of the two shows results in both "A Hard Day's Night" and "Help!" being the newest Beatles album. It's great to have another version of their cover of "Roll Over Beethoven", but this is worth very little. *sigh* We did need a good Beatles live record, but this wasn't it. Definitely a collectible for fans, but this comes out more like a Dada art project meant to critique the culture of pop music than anything else.

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 Beatles For Sale by BEATLES, THE album cover Studio Album, 1964
2.70 | 271 ratings

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Beatles For Sale
The Beatles Proto-Prog

Review by siLLy puPPy
Prog Reviewer

2 stars THE BEATLES were the hottest act in musical history at this point and Beatlemania was showing no signs of cooling off any time soon. Like many early 60s releases FOR SALE was the title for the UK release not seeing a US release until 1987 (but the US would see a slightly reworked version called BEATLES 65.) This was the point when the band was a victim of its own success. The constant touring and release of a new album every six months depleted the band's original songs and because of record company pressure the Fab Four were pretty much forced to cough up another album right after "Hard Day's Night." With very little original material to supply the band reverted back to covering 50s songs only unlike those on the first couple of albums, most of these tracks seem stale and like a retrograde instead of an energized attempt at refreshing their sound.

Personally I find this the weakest album in the entire BEATLES discography. It just feels forced. There are a few tracks like "No Reply" that are up to snuff, but even the single "Eight Days A Week" is one of my least favorite BEATLES hits. The covers are fairly boring and overall this album just feels unnecessary. There are some firsts in the BEATLES evolutionary path here. The band had their only cover song hit #1 in Australia with Chuck Berry's "Rock And Roll Music" and John Lennon was incorporating personal experience as the basis for songwriting as heard in "I'm A Loser" showing his influence from hanging out with Bob Dylan. This album isn't a total waste of time but it's nevertheless the one that I find myself rarely wanting to put on. Luckily things would only get better from here. 2.5 rounded down

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 Sgt. Pepper's Lonely Hearts Club Band by BEATLES, THE album cover Studio Album, 1967
4.32 | 731 ratings

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Sgt. Pepper's Lonely Hearts Club Band
The Beatles Proto-Prog

Review by drubella

5 stars Not much can be said about Sgt. Pepper's Lonely Hearts Club Band in a review that hasn't already been covered in great detail in books. The only thing left to do is throw in my 2 cents. This album changed the way people thought about popular music. Not just the average radio listener, but musicians and aspiring musicians as well. It made it possible for people to hear pop music as more than just throwaway singles, but as an album as a whole. None of the songs were ever released as singles. The first real concept album. Even the cover art reflects the content that lies within. In my opinion, no other album splintered the rock genre into so many other sub-genres. Obviously, other factors and bands were involved to form more specialized factions of rock, but, I believe this album was the catalyst. It opened up a lot of people's eyes to something possible beyond the two and a half minute pop song. It didn't hurt either that being the most popular band in the world made it easier to get a concept album out to a large amount of people. Some of who might not have listened to The Beatles otherwise, either because they listened to a more sophisticated style of music or because the "I Want to Hold Your Hand" crowd hated it..

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 Revolver by BEATLES, THE album cover Studio Album, 1966
4.36 | 638 ratings

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Revolver
The Beatles Proto-Prog

Review by drubella

4 stars Love them or hate them, The Beatles have left an impression on the music world that I doubt will ever be duplicated. Although they could never be truly considered progressive rock, they were certainly the most progressive in the genre of rock. Just listen to Please Please Me and then to Abbey Road(Let It Be was recorded before Abbey Road but released afterward) and it does not seem like a mere six years between the two. Those two albums are light years apart! In fact, it hardly sounds like the same band! Revolver, to me, is the first obvious connection The Beatles have to prog rock. There are three main reasons that I believe why. #1. Studio experimentation. Although The Beatles get all the credit as the songwriters, my hat goes off to George Martin and the studio team at EMI. Things had to be tried in ways never thought of before. Instruments being played and devices being used in ways that they were not intended. Sometimes things had to be invented. Imagine trying to make Lennon "sound like an orange!" Martin may have been the only person on earth that could translate what they wanted to do. So I give him as much credit as The Beatles in the technical aspect. And when listening to the album, don't forget this was done on four track tape! All overdubs had to be dumped down in order to make room for more overdubs. No computers. Loops were spooled by hand and fed into tape machines. There was no sampling. #2. Overindulgence. Spending a lot of time recording one song is common in prog rock, but, back then most bands went into the studio and bashed out their tunes that were either rehearsed on the road, or written by someone else, as quickly as possible. Singles were still more important than album tracks. The amount of attention paid to Tomorrow Never Knows alone for John Lennon to realize his vision is a good example; even though the song would have definitely not been chosen for release as a single at the time. All of the studio experiments, multiple takes and overdubs caused the album to take 300 hours to record and mix. Please Please Me took only 19. However, by the time the Revolver sessions began, money for studio time was not an issue. #3. Cover Art. Almost all rock album covers of the day were a posed picture of the band or artist, but this is an actual drawing/collage by an artist(Their friend Klaus Voormann). It could be said that the Rubber Soul cover with the elongated heads is art. Truth is, that was a happy accident! Later, elaborate artwork on prog rock albums would sometimes become as important as the music itself, with the entire package being art. Often times the artwork almost overshadows the musicians themselves and there are not even photos of the band members at all, but in the mid sixties, for the most part, only jazz album covers would have anything on them that could be considered art. Revolver is an album that is more musically serious than any of The Beatles previous efforts. It is the album that shows them going in a different direction from boy/girl songs riddled with personal pronouns to exploring what was really possible in music. Revolver still has elements of the mop top Beatles, but it was a vision of what was to come.

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 A Hard Day's Night by BEATLES, THE album cover Studio Album, 1964
3.51 | 314 ratings

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A Hard Day's Night
The Beatles Proto-Prog

Review by siLLy puPPy
Prog Reviewer

4 stars Continuing the Merseybeat pop / rock concoctions of their first two albums, THE BEATLES up their ante after their explosion onto the world scene after their American invasion via The Ed Sullivan show. This is the very first album where they prove to the world that they do not have to rely on covers and indeed can construct an entire album of their own making. After breaking into the stratosphere their confidence level shot through the roof and this was a good thing for it allowed the Fab Four to construct some of the catchiest and memorable 60s rock n roll in their nascent career.

Side one on HARD DAY'S NIGHT is also the soundtrack to THE BEATLES' hugely successful black-and-white comedy film of the same name starring the Fab Four themselves, performing their own music and escaping the crazed female fans who were throwing themselves as well as their knickers about. The film itself was a huge hit and so was the accompanying album. Side two consists of songs not found on the soundtrack. This was the only album where every track was written by Lennon and McCartney but it was Ringo who came up with the album title.

This album was a true innovator as it prompted many a folk act to "plug it in" and go electric but also saw some progressive tendencies creep in as with George Harrison's Spanish guitar. This album helped continue THE BEATLES into the spotlight and didn't disappoint one bit. The momentum was strong and HARD DAY'S NIGHT only cemented Beatlemania into the world's consciousness. The absolute best of their early albums and the only one where I love every track on it. Run, guys! They're catching up to ya!

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 With The Beatles by BEATLES, THE album cover Studio Album, 1963
2.85 | 274 ratings

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With The Beatles
The Beatles Proto-Prog

Review by siLLy puPPy
Prog Reviewer

3 stars Quickly following up a successor to their chart busting debut, WITH THE BEATLES was released only eight months later and succeeded in knocking their own "Please Please Me" off the number one position on the charts. The Fab Four were on fire and the world was eating it up big time. Unlike the debut which was recorded in one day, this album had the luxury of taking three months to record although the music is very similar to the previous one that being mostly based on late 50s / early 60s pop. This album boasts 8 originals and 6 covers. There are a few firsts here for THE BEATLES. George Harrison makes his debut as a contributing member as singer and songwriter on "Don't Bother Me." The track "All My Loving" was the first song ever heard by Americans when they appeared on The Ed Sullivan Show which launched Beatlemania in the USA. Also it was their first album to sell a million copies in the UK. The second album ever to do so.

For me I like this second release better than the first simply because I like most of the songs on here unlike the debut. The originals are catchy and show how THE BEATLES were masters of their game in the simplified days before they got all freaky and creative on the world. The harmonies are sublime and the music is marvelous. The covers are good choices that add to their sound and an air of confidence is taking root. This is not the band reinventing their sound just quite yet but simply a slightly improved take on what they had been doing throughout the early 60s, namely pumping out some of the best pop rock music of that era. The band was still a few albums away from their best output but as with the debut I find this a mandatory piece in my collection for it is beautifully crafted and charmingly catchy hooks and was a minor step up in THE BEATLES' decade long career. 3.5 rounded down

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 Long Tall Sally by BEATLES, THE album cover Singles/EPs/Fan Club/Promo, 1964
3.04 | 6 ratings

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Long Tall Sally
The Beatles Proto-Prog

Review by Guillermo
Prog Reviewer

3 stars The Extended Play (EP) format was a more popular format in the U.K, than in the U.S. In that format some bands released 4 or 5 songs in a little vinyl disc that played at 45 R.P.M. So, bands like The Beatles used it sometimes to release their most popular songs from their British albums, and in two occasions, to release new music which only was released in that format. This EP was the first time they released new music in that format, with the second time being the double EP package of the songs from the "Magical Mystery Tour" film in late 1967.

This EP has 4 songs. Three of them were composed by other musicians, and only one song was composed by Lennon and McCartney.

"Long Tall Sally": composed by Little Richard. Sung by McCartney. It has some piano playing and a lead guitar played by Harrison. An energetic song which they also used many times to finish their concerts.

"I Call Your Name": composed by Lennon and McCartney, and sung by Lennon. A simple good and somewhat slow song which maybe it is not very popular or known as other songs from the band. It also includes a lead guitar by Harrison.

"Slow Down": composed by Larry Williams and sung by Lennon, A very typical Rock and Roll song which also has some piano playing, plus another good lead guitar by Harrison. In other occasions the band also recorded two other songs composed by Williams ("Dizzy Miss Lizzy" and "Bad Boy"). It seems that Lennon was a fan of Williams`s music.

"Matchbox": composed by Carl Perkins, and with double-tracked lead vocals by Ringo Starr. It also includes some piano playing and another lead guitar by Harrison.

The songs in this EP sound like being recorded mostly "live in the studio" with very few overdubs (like most of their early material). But they sound very well, and the band sounds like having a very good time. Four good Rock and Roll songs which were exclusively recorded to be released in this EP. Even the photo in the cover was good and very original. The band not only recorded songs for their British albums, They also recorded some songs to be only released on singles, and as I wrote above, in only two occasions they also recorded some new songs to be exclusively released on EPs like this. They worked very hard, I think.

These four songs were also released in the "Past Masters Volume One" compilation album in 1988.

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 Anthology 3 by BEATLES, THE album cover Boxset/Compilation, 1996
3.62 | 53 ratings

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Anthology 3
The Beatles Proto-Prog

Review by Chicapah
Prog Reviewer

4 stars I must admit that it's impossible for me to be objective about The Beatles. I was an impressionable 14 year old when I experienced my personal coming-of-age epiphany whilst witnessing their American debut on Ed Sullivan in early '64 (Yes, I'm an aging boomer but I wouldn't want to be associated with any other generation) and in an instant all my questions about what the future held for me were answered big time. John, Paul, George and Ringo were going to collectively lead not just me but all of us into the musical Promised Land where all the restrictive fences were going to be torn down and ceremoniously torched in a blazing bonfire of revolution. No genre was taboo, no concept too strange and the sky was the limit. The atmosphere was indescribable. I can tell you this much, though. We had a ball reacting to their every move. Each new LP release by the Fab Four was a mind-expanding, celebratory event. Even conservative AM Top 40 radio stations would play EVERY cut on the album for weeks on end. Society at large was gleeful to be engulfed, inundated and influenced by the sounds The Beatles conjured up from their unbridled imaginations and unleashed on the world. It was a magical time to be a teenager in love with life-defining music. If you haven't a clue as to what I'm on about then I'm afraid I can't help you. I doubt that such a widespread phenomenon will ever be repeated on such an enormous scale so I reckon you had to be there. Nothing was ever the same again. Nothing.

The three anthology sets that coincided with the huge celebration of all things Beatles in the mid- 90s (that included the airing of an exhaustive network television documentary) were intended to make available all of the incidental recordings, rare tapes and demos that few had ever heard. The public ate up the packages like free surf and turf. The first collection portrayed them as youthful, eager overachievers who took full advantage of being in the right place in the right era with the right material and the right look. Of course, none of those factors would've made any difference if they hadn't have possessed an unassailable and undeniable talent for tapping into the yearnings and dreams of everyone under the age of 30 and brilliantly expressing them through the highly efficient and accessible vehicle known as rock & roll. Anthology 1 is a testament to their enthusiasm and ambition. #2 shows them to be fearless pioneers who refused to stay in their assigned niche and had no qualms about going wherever their muse led them. When faced with the realization that touring and playing live concerts had become detrimental to their creativity they did what no other entity would've had the guts to do (because of the income involved) and sold all of their luggage. The fully-stocked workshop that was the studio would now be the sole medium through which they'd communicate to the masses. Anthology 2 is an intriguing exploration into how an adventurous, progressive-minded quartet of gifted musicians was able to permanently alter the planet's rotation forevermore.

Anthology 3 completes the triathlon. It generally covers the last two years of the band's existence when the changes they initiated and championed in modern civilization eventually began to change them, as well. Their innocence was long gone and they'd found that the golden crown of adulation was heavier than anticipated. Yet they sensed they had a reputation to uphold and a responsibility to not let their legion of fans down. That constant pressure forced them to work in a tight cocoon together and, as to be expected, they began to cherish their time away from the conclave. These two CDs reveal their own unique personalities and artistic leanings coming to the surface independent of the "group" mentality. They knew what they sounded like as a cohesive unit, now they each wanted to find out what they sounded like as individuals. One of the misconceptions about this final period of The Beatles' career is that they couldn't stand one another's company. The 50 cuts included here dispel that rumor completely. One can't help but hear their boisterous camaraderie seeping into many of the tracks. The fact is, they couldn't have produced the stellar music they did if they'd been preoccupied with conniving ways to stab the guy next to them in the back all the time. Making the best music they could was their reason for living and they took their job quite seriously.

Of course, having George Martin as a mentor and advisor didn't hurt. That's why the opening piece, "A Beginning" is appropriate. It's a lush symphonic instrumental originally intended to serve as an intro to Ringo's goofy "Don't Pass Me By" on the White Album. It's obvious that the two didn't jive as a couple so Martin's score was jettisoned but, fortunately, not destroyed. Its inclusion is a lovely way to begin. Seven of the next eight selections were culled from homemade tapes recorded at George's house in Surrey. Having knocked the residents of the earth for a loop with the ground-breaking masterpiece that is "Sgt. Peppers," one gets the feeling that they were now more comfortable with and confident in their songwriting skills and they were willing to lay down every tune idea they came up with no matter how unorthodox or weird an outsider would've considered it to be. The best of this bunch is John's raw rendition of "Happiness is a Warm Gun." It's a ragged, incomplete outline to be sure but Lennon's raspy vocal riding atop his aggressive acoustic guitar strumming is convicting and real. "Junk," an unfinished melody idea of Paul's, displays a lot of potential but I guess it fell to the wayside. A pity. Harrison's "Piggies" showcases his uncannily mellow vocal style in its unaffected state and it's a treat. McCartney's nostalgic "Honey Pie" shamelessly demonstrates his enjoyment of the creative process that seemed to enrapture him at times. The rest of disc 1 (except for one cut) consists of demos they recorded in rehearsals at Abbey Road. Of special interest is the piano/vocal run-through of "Good Night." Mr. Starr's singing is especially unaffected and the orchestral score is gorgeous. "Sexy Sadie" sports an unexpectedly laid-back aura that surreptitiously underlines John's sarcastic skewering of their once-esteemed Indian guru. But the highlight is George's solo version of "While My Guitar Gently Weeps." It's an incredibly haunting presentation of his immaculate song that proudly stands on its own two feet without unnecessary decoration. "Not Guilty" is another Harrison-penned number that stayed hidden for eleven more years until he put it on his eponymous LP. It has a proggy slant that's worthy of note.

Disc 2 is a mixture of demos captured at the Abbey Road and Apple Studios. Most of the tracks are rough test runs but it's the screw-up moments that demonstrate their wit and nonchalant attitude that I've always found endearing. They knew that amazing tunes often grew from small ideas if they were only given the chance to sprout so little hiccups along the way didn't faze them in the least. It was all part of the process. Honorable mentions go out to Lennon's poignant rendition of "I'm So Tired," the group's loose but upbeat take on "I've Got a Feeling" that exudes pure elation, George's smooth-as-silk offering of "All Things Must Pass" that demonstrates his ongoing maturation as a composer of merit and the edgy vocal performance John delivers on "Come Together" that coats it with a truckload of grit. I've always loved Badfinger's breakthrough single, "Come and Get It," and it's a sweet bonus to get to hear Paul's original version that's almost as irresistible. The most astounding cut is the isolated, vocals-only track of "Because." Arranged by the master George Martin (and employed later on to raise the curtain on the engaging "Love" soundtrack), it's a marvel to behold. Their awesome blend of voices is ethereal and wholly captivating. I also appreciate the no-frills demo of "Let It Be" and it makes me wonder what it was like to hear one of the greatest songs of the modern age being unveiled for the first time ever. Lennon's complimentary remarks uttered when they finish the take says volumes. Even he was stunned by his partner's accomplishment. It's only fitting that they decided to exit with "The End" but the tacking on of a backwards rendering of the climactic piano chord on "A Day in the Life" was a stroke of absolute genius. Can't ask for more.

Like its predecessors, Anthology 3 went straight to #1 and didn't stop selling until it reached triple platinum status. Hard to believe that folks would gladly pay top dollar to have in their grasp an assortment of outtakes, coarse demos and snippets of tomfoolery from four lads from Liverpool, England but they weren't just anybody. These cuts had emanated from the one-and-only Beatles who rattled the universe with regularity throughout the turbulent but marvelous 60s. My humble opinion is that prog rock was destined to be an inevitable offshoot in the evolution of rock & roll but it would've been delayed in being nurtured, investigated and expanded by years if not for this spectacular band blowing the doors off the establishment's fortress. I make no apologies for indulging in every tidbit of Beatlemania I can wallow in because they did what other artists only dream of doing. Making an indelible mark in history that will never be duplicated. I was lucky enough to get to watch it happen before my very eyes. Perhaps no one's ever rocked you and your peers' world down to its core. My condolences. This group thoroughly transformed my life. Therefore I'll always be in their debt.

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 Lady Madonna by BEATLES, THE album cover Singles/EPs/Fan Club/Promo, 1968
3.29 | 15 ratings

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Lady Madonna
The Beatles Proto-Prog

Review by Guillermo
Prog Reviewer

3 stars Both songs of this single were recorded before the band went to India in 1968 to study Meditation. It was their last single which was released in the Parlophone label because by late 1968 their albums and singles became released also by Parlophone but in their Apple Records label.

"Lady Madonna", mainly composed by McCartney, is a Rock song with good backing vocals and a sax solo (played by a session musician) and with some "vocal imitations" of some horn instruments done by Lennon, McCartney and Harrison. It also has two different drum tracks recorded by Ringo Starr each played in a different way.

"The Inner Light" is an Indian Music song composed by Harrison, but recorded by him in India in late 1967 and in early 1968 while he was recording a soundtrack album for a British film called "Wonderwall", in an album which was the first album released as soloist by any member of the band and also was the first album released in their Apple Records label. The instrumentation in this song was played by Indian musicians (like in most of the "Wonderwall Music" album) playing instruments of that country, but with Harrison adding lead vocals in London later and also with brief backing vocals by Lennon and McCartney in the last lyrics line of the song. It was the last song of this style of music which Harrison recorded to be released by the band.

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 Paperback Writer by BEATLES, THE album cover Singles/EPs/Fan Club/Promo, 1966
3.47 | 15 ratings

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Paperback Writer
The Beatles Proto-Prog

Review by Guillermo
Prog Reviewer

3 stars By 1965 the music by The Beatles became increasingly more interesting and complex. From 1963 to 1965 they released two albums of new music per year plus some extra tracks which were not released in the albums but in singles. But by 1966 they became tired of all this hard work, which also included doing several tours and making two films, and also writting (in the case of Lennon and McCartney) some songs for other artists to record. So, in 1966 they released only one new album ("Revolver") and this single with two tracks which were not included in that album. By the end of 1966 they released a compilation called "A Collection of Oldies...but Goldies" and they have toured for the last time in their career.

"Paperback Writter", mainly composed by McCartney, has very good lead and backing vocals which were overdubbed several times making them hard to sing in concert. Despite this, the band played this song during their last tours in 1966, and also during their last concert at the Candlestick Park in San Francisco in August 1966. During the nineties McCartney played the song in some of his solo tours with the help of some modern technology to reproduce well the vocals arrangements, doing a very good job.

"Rain", mainly composed by Lennon, is a more interesting song with very good guitars in sound and also very good but less complicated vocals arrangements. It also includes at the end of the song a lead vocal which was recorded backwards. This recording technique was very useful and exciting for them in those years and they used it in several other songs.

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