PART I
THE ORIGINAL ALBUMS

PLEASE PLEASE ME

Parlophone CDP7 46435 2 Released April 1963

It requires a leap of the imagination to return to the innocent days of 1963, when The Beatles recorded and released their first two long-playing albums. The common currency of teenage pop was the three-minute single, or at a stretch the two-for-the-price-of-two 45rpm extended player (EP). Albums, or LPs as they were universally known in the early Sixties, were regarded as being beyond the financial reach of most teenagers; and with the oldest of The Beatles themselves no more than 22 when their first album was recorded, the teen audience was definitely EMI’s target.

Only adult performers like Frank Sinatra and Ella Fitzgerald were allowed to use the 30- or 40-minute expanse of the LP as a personal artistic statement. For the rest, the LP was unashamedly a cash-in – either for a film, or else for die-hard supporters entranced by a hit single or two. Hence the full title of The Beatles’ début album, which defined its selling points precisely: Please Please Me, Love Me Do and 12 Other Songs.

Much has been made of the fact that 10 of the record’s 14 tracks were recorded during one day; but that was the way the pop business operated in 1963. This haste was proof of The Beatles’ junior status at EMI, and also of the company’s desire to rush an LP onto the market before teenage Britain found a new set of heroes. Remember that the band had yet to score their first No. 1 when the album was recorded: the extended session represented a commendable act of faith on the behalf of producer George Martin.

Four of the album’s titles were already in the can, via their first two singles, ‘Love Me Do’ and ‘Please Please Me’. The rest – a mix of originals and covers – was a cross-section of their typical concert fare, with one exception: the group’s penchant for covers of Chuck Berry and Little Richard rock’n’rollers was ignored, presumably because George Martin believed the era of rock’n’roll was past.

Recorded on two-track at Abbey Road, the album was mixed into mono and very rudimentary stereo – the latter format claiming only a tiny proportion of the market in 1963. Until 1968, The Beatles regarded the mono versions of their albums as the authentic representation of their work; and if they’d been asked, they would no doubt have agreed with George Martin’s decision to prepare the CD mix of Please Please Me in mono. But stereo-philes, particularly in America, regarded this decision as barbarism in disguise, and continue to lobby for the release of the CD in stereo.

I SAW HER STANDING THERE
(John Lennon/Paul McCartney)
Recorded 11 February 1963

With a simple count-in, Paul McCartney captured all The Beatles’ youthful exuberance in the opening seconds of their début album. Lyrically naïve, melodically unpolished, ‘I Saw Her Standing There’ was still classic Beatles’ rock’n’roll – Lennon and McCartney trading vocals as if they were chewing gum between syllables, the falsetto ‘ooos’ that soon became a Beatles trademark, the rising chords of the middle eight that promised some kind of sexual climax, and the tight-but-loose vigour of the playing. And the record ended with a triumphant clang of a guitar chord matched by a whoop from McCartney. No doubt about it, The Beatles had arrived.

MISERY
(John Lennon/Paul McCartney)
Recorded 11, 20 February 1963

Right from the start of their recording career, The Beatles were encouraged by manager Brian Epstein to work as a songwriting factory, turning out hits to order for other artists. By February 1963, their reputation had yet to acquire its later power, and fellow performers more often than not turned them down. Helen Shapiro was offered this Lennon composition the week before The Beatles recorded it themselves, but her management declined. Unabashed, Lennon and McCartney romped through what was supposed to be a declaration of lovelorn anguish like two schoolboys on half-day holiday. Never has a song about misery sounded so damn cheerful.

Trivia note: the sheet music for this song, as copied by Kenny Lynch’s early cover version, gives the first line as: “You’ve been treating me bad, misery.” Lennon and McCartney sang something much more universal: “The world’s been treating me bad”.

ANNA (GO TO HIM)
(Arthur Alexander)
Recorded 11 February 1963

If The Beatles had been allowed more than a day to make this album, they would no doubt have re-recorded the instrumental backing for this rather laboured cover of an Arthur Alexander R&B hit. But there was no faulting Lennon’s vocal, which had already hit upon the mixture of romantic disillusionment and supreme self-interest that became his trademark when tackling a love song. It was almost sabotaged, though, by the pedestrian nature of McCartney and Harrison’s backing vocals.

CHAINS
(Gerry Goffin/Carole King)
Recorded 11 February 1963

At The Beatles’ Decca audition in January 1962, George Harrison threatened to surface as their prime lead vocalist. A year later, he’d already been relegated to cameo appearances, as on this charmingly cheerful cover of The Cookies’ New York girl-group hit, which The Beatles had only recently added to their repertoire.

BOYS
(Luther Dixon/Wes Farrell)
Recorded 11 February 1963

If George was restricted to cameos, Ringo Starr’s vocal contributions to The Beatles’ recording career were purely tokens, to keep his fans from causing a fuss. He bawled his way through The Shirelles’ 1960 US hit with enthusiasm if not subtlety, nailing the song in just one take. Presumably nobody in 1963 stopped to wonder why Ringo was singing a lyric that lauded the joys of boys, rather than the opposite sex. The song, a raucous 12-bar rock’n’roller, had been a Beatles standard for a couple of years, Ringo having inherited the number from former drummer Pete Best.

ASK ME WHY
(John Lennon/Paul McCartney)
Recorded 26 November 1962

Unlike Paul McCartney, John Lennon took time to slide into the conventions of pop songwriting. ‘Ask Me Why’ illustrated what happened before he acquired the knack. From the difficult rhythm of the opening lines to the cut-and-paste structure of the middle section, it was a song that seemed to have been constructed painfully, bar-by-bar, rather than flowing naturally like McCartney’s early efforts. Careful study of his role models, like Smokey Robinson and Arthur Alexander, soon rewarded Lennon with a keen grasp of the essentials of composing, though not in time to prevent this number being consigned to the flipside of ‘Please Please Me’.

PLEASE PLEASE ME
(John Lennon/Paul McCartney)
Recorded 26 November 1962

Though no evidence remains on tape, The Beatles’ original arrangement of ‘Please Please Me’ was apparently closer to a Roy Orbison ballad than a beat group number. It was attempted during the group’s second EMI session in September 1962, George Martin remembering it as “a very dreary song”. He suggested that the group soup up the arrangement – something that was done to such effect that it became their first No. 1 at the end of February 1963.

In up tempo form, it became an overt sexual invitation on Lennon’s part, and a clear sign that The Beatles were more than just another pop group. Their harmonies, the opening harmonica riff, and Ringo’s accomplished drumming testified to a remarkable surge in confidence since their first EMI sessions.

As with ‘Love Me Do’, there are two different versions of this song on EMI releases. The stereo mix, unavailable on CD, utilised an alternate take on which Lennon and McCartney messed up their vocals. Quite how that blatant a mistake escaped the notice of George Martin remains to be answered.

LOVE ME DO
(John Lennon/Paul McCartney)
Recorded 11 September 1962

Despite the claim on the album cover, this track wasn’t the one issued on the first Beatles single. It was the same song, true enough, but not the same recording. At the group’s début session, on 4 September 1962, they had struggled through more than 15 takes of ‘Love Me Do’ before George Martin was remotely satisfied. A week later, they returned to London, to find session drummer Andy White ready to take Ringo Starr’s place. Having only recently replaced Pete Best in the band, Ringo must have wondered whether his own days were numbered. White duly handled the sticks on a remake of the song, with Ringo dejectedly banging a tambourine on the sidelines. For reasons that remain unclear, it was the initial version of ‘Love Me Do’ which appeared as the group’s first 45. But when their album was assembled, George Martin elected to use the Andy White recording instead – presumably because the tape of the single had been sent overseas to an EMI subsidiary. Later in 1963, the decision was made to use the White take on all future pressings of the single, as well; and from then until 1982, Ringo’s recording début with The Beatles remained officially unavailable.

The song itself was a genuine
Lennon/McCartney collaboration, its plodding beat enlivened by Lennon’s harmonica solo. That was a gimmick he picked up from Bruce Channel’s spring 1962 hit, ‘Hey Baby’, and proceeded to use many times over the next two years. Without the gimmick, ‘Love Me Do’ hadn’t previously been regarded as one of the highlights of the group’s original repertoire.

P.S. I LOVE YOU
(John Lennon/Paul McCartney)
Recorded 11 September 1962

There’s a clear division in The Beatles’ early work between the songs they wrote before ‘Please Please Me’, and the ones that came immediately after. McCartney’s ‘P.S. I Love You’ dated from the early months of 1962, and had the slightly forced feel of ‘Love Me Do’ and ‘Ask Me Why’ – with only Paul’s swoop into the upper register for the last middle section to suggest that any great genius was on display. Like ‘Ask Me Why’, it qualified for the album solely because it had appeared on the flipside of a single.

BABY IT’S YOU
(Hal David/Burt Bacharach/Barney Williams)
Recorded 11, 20 February 1963

Lennon may have sounded slightly ill-at-ease on his own songs, but with covers, he already had the confidence of a born interpreter. The group’s boyish harmonies didn’t distract him from giving another Shirelles hit a commanding vocal performance that marked him out as The Beatles’ most distinctive voice.

DO YOU WANT TO KNOW A SECRET?
(John Lennon/Paul McCartney)
Recorded 11 February 1963

Given away simultaneously to fellow Brian Epstein protégé Billy J. Kramer (for a hit single), and to George Harrison (for this LP), ‘Do You Want To Know A Secret?’ was a Lennon composition - inspired by a line he remembered from a Disney song that his mother used to sing. “I thought it would be a good vehicle for George because it only had three notes and he wasn’t the best singer in the world,” Lennon explained charitably in later years.

A TASTE OF HONEY
(Ric Marlow/Bobby Scott)
Recorded 11 February 1963

In Hamburg and Liverpool, The Beatles were required to work up a sheaf of ballads and standards, which would melt the hearts of even the most anti-rock audience they would be forced to entertain. McCartney was the Beatle with the heritage in pre-Elvis pop, and it fell to him to perform the group’s token demonstration of ‘sophistication’ – an American song recorded most notably by Lenny Welch, but fast becoming a favourite among sedate jazzmen and big bands around the world.

In retrospect, the inclusion of this song seems laughable – the Stones would never have made such a blatant cop-out – but in McCartney’s capable hands, ‘A Taste Of Honey’ became another slice of Beatle music. The group didn’t much care for the song, though: when they performed it live, Lennon invariably changed the chorus to ‘A Waste Of Money’.

THERE’S A PLACE
(John Lennon/Paul McCartney)
Recorded 11 February 1963

Forget the theory that John Lennon only started singing about himself when he starting taking drugs. Listen to the words of this cheery beat tune, and you’ll find his first piece of self-analysis: “There’s a place where I can go, when I feel low, when I feel blue. And it’s my mind, and there’s no time, when I’m alone.” No-one – not even Bob Dylan – was writing songs like that in 1963. But nobody told John Lennon that. The result: the first self-conscious rock song, beating The Beach Boys’ equally self-obsessed ‘In My Room’ by several months.

TWIST AND SHOUT
(Bert Russell/Phil Medley)
Recorded 11 February 1963

“I couldn’t sing the damn thing, I was just screaming.” So said John Lennon, about the first take of the final song recorded during The Beatles’ marathon 11 February session. His voice shot by the rigours of the day’s schedule, and unable to fall upon the twin crutches of pills and booze which had fuelled The Beatles on their night-long gigs in Hamburg, Lennon simply shredded his vocal cords in the interests of rock’n’roll.

Until McCartney matched it with ‘Long Tall Sally’ a year later, this was the supreme Beatles rocker – a cover, ironically enough, of a tune that the Isley Brothers had rescued from an abysmal original recording by Phil Spector’s charges, The Top Notes. In that one take, Lennon cut Britain’s best rock’n’roll record to date, and the band kept pace with him, right down to Ringo’s exultant flourish on the drums as The Beatles reached home.

WITH THE BEATLES

Parlophone CDP7 46436 2 Released November 1963

Four months after they released their début album, The Beatles began work on their follow-up. By the time it was released, in November 1963, the group were the hottest product in British show-business. Second time around, there was no need to sell the album on the reputation of a recent hit single: with Christmas on the horizon, EMI knew the fans would buy anything The Beatles released. What they didn’t realise, though, was that With The Beatles would prove to be such a giant step beyond their hastily assembled début.

The cover artwork immediately revealed that more thought had gone into this album than its predecessor. Whereas Please Please Me used the standard smiling pop pose as its cover design, With The Beatles boasted a much artier Robert Freeman photo, with the group’s heads arranged in careful line, shot in half-light. It emerged later that this trick was simply borrowed from much earlier pictures of the group, taken by the German photographer Astrid Kirchherr. But as far as the public was concerned, the artwork was startlingly new.

Musically, too, With The Beatles announced that the revolution had arrived. The Beatles kept faithfully to the same mix of originals and outside songs that had filled their first long-player, but they were already beginning to play the studio as an instrument. On Please Please Me, they’d briefly discovered the potential joys of overdubbing. Now, with more time on their hands, they went to town. “The first set of tricks was double-tracking on the second album,” John Lennon admitted many years later. “We were told we could do it, and that really set the ball rolling. We double-tracked ourselves off the second album.” And they did it without sacrificing an ounce of the freshness and exuberance that had become The Beatles’ hallmark – audible most clearly on the mono mix of the record, which was again favoured by George Martin for the CD release.

IT WON’T BE LONG
(John Lennon/Paul McCartney)
Recorded 30 July 1963

Throughout their career, The Beatles never lost sight of the importance of having hit singles. Certainly in 1963, their continued production of hits was their passport to the future, and they blatantly concocted potential chartbusters as and when required.

Lennon and McCartney competed for the honour of winning an A-side, with only pride and prestige at stake – the songwriting royalties for all their songs were split equally between them, after all.

Like ‘She Loves You’, the single they recorded a month earlier, Lennon’s ‘It Won’t Be Long’ was built around a ‘yeah, yeah’ chorus. Two singles with the same gimmick would have become a straitjacket, so ‘It Won’t Be Long’ was ‘relegated’ to the position of lead track on the album, where it was every bit as effective a hook as ‘I Saw Her Standing There’ had been on Please Please Me.

ALL I’VE GOT TO DO
(John Lennon/Paul McCartney)
Recorded 11 September 1963

Compare this song to ‘Ask Me Why’, written around a year earlier, and the rapid maturity in Lennon’s songwriting is immediately apparent. John singled out Arthur Alexander (the man who’d written ‘Anna’, plus several other Beatles stage favourites) as his prime inspiration for this soulful ballad. He stretched the word ‘I’ over seven syllables in the opening line, using all the melismatic flair of Sam Cooke or Jackie Wilson, and proved how well he understood the power of melody by shifting into a higher register for the final chorus as a cry of passion. It was a remarkably assured performance, which would have been beyond anyone else in the group at this early stage of their career.

ALL MY LOVING
(John Lennon/Paul McCartney)
Recorded 30 July 1963

While Lennon was converting emotion into music, McCartney was writing unforgettable melodies. Classical students claim there’s a tune of Tchaikovsky’s buried in ‘All My Loving’, but it’s an irrelevant point, as the finished song is pure Beatles – the most commercial song they recorded in 1963 that wasn’t issued as a single. Often maligned as musicians, The Beatles prove their worth on this song: Harrison’s lead break is beautifully tidy and restrained, while Lennon’s lightning rhythm guitar playing is the powerhouse of the arrangement.

DON’T BOTHER ME
(George Harrison)
Recorded 12 September 1963

“That was the first song that I wrote, as an exercise to see if I could write a song,” George Harrison confessed in his autobiography, I Me Mine. “I don’t think it’s particularly good.” Faced by two prolific bandmates, Harrison was envious of their ability and their royalty cheques. Liverpool friend Bill Harry nagged George on the subject while he was ill in bed during a Beatles tour, and Harrison responded by turning his reaction into a slightly clumsy but reasonably accomplished song. Interestingly, it didn’t sound anything like his own musical heroes, Carl Perkins or Goffin & King, but came out as a facsimile of what Lennon & McCartney were writing – just as beat groups across the country were doing in their bedrooms.

LITTLE CHILD
(John Lennon/Paul McCartney)
Recorded 12 September, 3 October 1963

Even The Beatles occasionally sounded like tired hacks, though this early in their career, they could always summon the enthusiasm to hide their lack of inspiration. Five years later, this contrived but chirpy pop tune would have been classed as bubblegum. But on With The Beatles, Lennon and McCartney’s dynamic vocals and Lennon’s chest-expanding harmonica solo turned a piece of hackwork into 106 seconds of pure energy.

TILL THERE WAS YOU
(Meredith Willson)
Recorded 30 July 1963

Standards time again, as Paul filled the ‘A Taste Of Honey’ slot with the hit song from the Broadway musical, The Music Man. He sang the song as if he meant every word, and George Harrison contributed an accomplished acoustic guitar solo – so accomplished, in fact, that some cynics have questioned whether he actually played it. But the solo on the rendition they recorded onstage in Hamburg was equally dextrous, so unless they’d smuggled a session man into the Star-Club, George was the man.

PLEASE MR. POSTMAN
(Dobbin/Garrett/Garman/Brianbert)
Recorded 30 July 1963

During 1963, the American stable of Motown labels, owned by Berry Gordy, began to enjoy regular distribution for their youthful soul records in Britain. The Beatles were instant fans, to the extent that three of the tracks on With The Beatles were covers of recent Motown hits.

On their first album, ‘Chains’ and ‘Anna’ had been enthusiastic renditions of outside songs, without threatening to become definitive. On ‘Twist And Shout’, however, and again with The Marvelettes’ ‘Please Mr. Postman’, Lennon’s performance was so magical that it made the original sound like an imitation. The Beatles tightened up The Marvelettes’ vocal arrangement, while Lennon’s lead dripped with authority and self-confidence. It was a thrilling conclusion to the first side of the album, which had already seen the group tackling everything from soul to rock to balladry with ease.

ROLL OVER BEETHOVEN
(Chuck Berry)
Recorded 30 July 1963

Even before there was a Beatles, Lennon, McCartney and Harrison had been performing this Chuck Berry rock’n’roll standard from 1956. During 1961, the song passed from John’s hands to George, who also had to double as lead guitarist – fine in the studio, when he could overdub the solo, but prone to being more erratic onstage. Despite their heritage as a rock’n’roll band, The Beatles sounded strangely uncomfortable the first time they cut an authentic American rock song in the studio, hurrying the pace to the point that George had problems fitting all the words into each line.

HOLD ME TIGHT
(John Lennon/Paul McCartney)
Recorded 12 September 1963

During the sessions for their first album, The Beatles had taped and then abandoned a version of this self-composed beat number – and the tape was subsequently destroyed. If the take that was considered good enough for release is anything to go by, the original must have been disastrous, as this remake has a McCartney vocal that strays distressingly off key, to the point that neighbouring dogs are likely to howl with distress. Only a handful of Beatles recordings can be said to be below par, but this is one of them.

YOU REALLY GOT A HOLD ON ME
(William ‘Smokey’ Robinson)
Recorded 18 July 1963

Not so ‘You Really Got A Hold On Me’, Lennon’s second brilliant hijacking of a Motown song. Sublime though The Miracles’ original is, it’s easily outclassed by The Beatles’ effortless interpretation. John’s vocal could be used as a dictionary definition of reluctant infatuation, while the decision to dramatise the phrase ‘tied up’ with a repeated break in the rhythm was a stroke of genius. The response vocals challenged George’s limited range to the hilt, but sheer enthusiasm won the day, as The Beatles stole another American song for their own.

I WANNA BE YOUR MAN
(John Lennon/Paul McCartney)
Recorded 11, 12, 30 September, 3, 23 October 1963

By the time The Beatles finished work on this song, they knew that The Rolling Stones were issuing it as their second single. As the story goes, Stones manager Andrew Oldham spotted Lennon and McCartney in a London street, bundled them into his car, and requested a song for his new band. The Beatles played the Stones the chorus of ‘I Wanna Be Your Man’, then went into another office to finish the bridge – emerging an hour or so later to display the completed effort to their visibly impressed juniors. The Stones played the song as an R&B tune; The Beatles gave it to Ringo, whereupon it became his usual concert showcase for the next three years. Amusingly, on the road Ringo usually managed to forget that the song had all of two verses, and ended up repeating the first one over and over again.

DEVIL IN HER HEART
(Richard Drapkin)
Recorded 18 July 1963

Aficionados of the American girl-group sound, The Beatles borrowed this tune from The Donays – probably the most obscure song they ever covered in the studio. It was George Harrison’s choice, and he responded with an energetic if not always convincing lead vocal, backed by the superb chorus harmonies of Lennon and McCartney.

NOT A SECOND TIME
(John Lennon/Paul McCartney)
Recorded 11 September 1963

‘Not A Second Time’ reinforced John Lennon’s status as the most adventurous of The Beatles when it came to composing. The rhythm of this piano-based song seemed to be on the verge of imminent collapse, but whereas this was a flaw on ‘Ask Me Why’, it suited the emotional disruption of the lyric this time around. Usually, John sounded completely in control of every romantic situation, even when the lyrics asserted otherwise, but everything about ‘Not A Second Time’ announced that Lennon was simply a pawn in her game – predating the more blatant emotional masochism of ‘Norwegian Wood’ by two years.

MONEY
(THAT’S WHAT I WANT)
(Berry Gordy/Janie Bradford)
Recorded 18, 30 July, 30 September 1963

The third and last of the Motown classics moulded into pure John Lennon songs, Barrett Strong’s hit ‘Money’ took on a new life in this interpretation. The tentative delivery of the original was knocked off the pavement by Lennon’s steamroller vocal, every bit as tonsil-shredding as ‘Twist And Shout’ had been. As on ‘I Wanna Be Your Man’, George Martin came into his own on keyboards: on the earlier track, he’d played Hammond organ, while this time he supplied the piano which was the root of the song.

But the piano wasn’t the only difference between this performance, and the far less convincing version of the same tune at The Beatles’ January 1962 audition. At Decca, Lennon had simply been singing Barrett Strong’s song. At EMI nearly two years later, he was living it, howling the lyrics as a piece of psychotherapy. And as many critics have noticed, he widened the context of the song by adding a single, throwaway phrase to the final choruses: “I wanna be free,” he cried, a prisoner to the passion that the rest of the song denied.

Trivial note: mono and stereo mixes of this song once again have slightly different Lennon vocals. And once again, the definitive version is included on the mono-only CD.

A HARD DAY’S NIGHT

Parlophone CDP7 46437 2 Released July 1964

The transition from pop stars to film actors was already a well-trodden route by 1964. The pop business hadn’t yet cottoned on to the potential riches of international merchandising, but a hasty and cheap black-and-white movie was the next best thing. It also enabled The Beatles to be seen in towns and countries that they had no intention of visiting in person. It’s probably not a coincidence that The Beatles staged only one further lengthy UK tour after the A Hard Day’s Night film was released.

Although the film grossed millions of dollars in America, it was originally conceived as an entirely British phenomenon. The Beatles had been approached in the autumn of 1963, at which stage their fame had scarcely spread beyond their native land. Hence the low budget and black-and-white film: if United Artists had realised the movie would ever be shown in America, they would almost certainly have ensured it was made in colour.