on 12 October 2000
packed with rare takes and live performances, this is essential listening for the beatles fan. no greatest hits collection, this album feels more like being a voyeur to some of the most historic recordings done by the beatles. standout tracks include the instrumentals 'eleanor rigby' and 'within you without you' (have to be heard to appreciated), early versions of 'fool on the hill' and 'i'm looking through you' and the incedible 'strawberry fields forever' john lennon recorded in his house.
on 17 November 1999
This is the best Anthology collection! "Real Love" is great! Be sure to catch the never before released "If You've Got Trouble" and "12 Bar Original". Interesting is the evolution of "Strawberry Fields Forever" and "A Day In the Life". Hilarious is the version of "And Your Bird Can Sing"! Other interesting outtakes include "Tomorrow Never Knows", "I'm Looking Through You", "I am the Walrus", "Taxman", "Penny Lane", and "Got to Get You Into My Life". Classic line: "Paul's broken a glass broke, a glass Paul broke..." I would gladly trade the live 1966 tracks for "All You Need Is Love". "We Can Work It Out", and more Rubber Soul and Revolver sessions. Also, if you can find it, get the "Real Love" CD single which features 3 songs not on this anthology including "Here, There, and Everywhere" and "Yellow Submarine".
on 26 July 2013
Picking up where Anthology 1 left off, the second volume of previously unreleased Beatles recordings relies less on `historical significance' displayed on the first volume and more on the wealth of alternate versions of well known material from the phenomenally successful series of albums and singles recorded between 1965 and 1967, their most consistent 3 years when their creativity and commercial impact were both peaking. These were also the years in which The Beatles turned from being a band that toured, into a band that didn't. For me these are The Beatles' halcyon days - roughly 1000 of them - when they stood head and shoulders above anyone that dared to consider pop music as a career.
With just three unreleased songs within its track listing (one of which is a forgettable blues influenced instrumental), the vast majority of Anthology 2 comprises alternate versions of landmark recordings such as `Yesterday', `Help!', `Norwegian Wood', `Tomorrow Never Knows', `Strawberry Fields Forever', `A Day in the Life', `Lucy in the Sky With Diamonds', `I Am the Walrus', and a host of others.
The lack of unreleased songs suggests that The Beatles didn't write many songs they didn't find a use for, and although there are exceptions, most of the material written in the period 1965-67 ended up on the album or single under current consideration rather than being shelved for a future project. The exceptions tend to be lesser songs, suggesting the band were good judges of what to pass on, albeit ultimately using these lesser tracks as circumstances required (a film soundtrack, a b-side and a benefit compilation album).
From the touring days (Disc 1) the live recordings on Anthology 2 include 4 tracks from Blackpool (August 1965), 1 track from Shea Stadium (also August 1965) and 2 tracks from Tokyo (June 1966) recorded just two months before they made their final planned concert in San Francisco, which is sadly not represented on the album. Live, The Beatles had devolved into something of a train wreck due to the hysterical audiences they played to back then. But the Shea Stadium recording above all else demonstrates the task that lay before them and they sound burned out (this was the opening night of the tour remember) and lacklustre. The Tokyo tracks are, if anything, worse still. Perhaps that justifies the lack of live recordings contained in their back catalogue but I would have been happier with a wider representation of them as a live band.
The studio material on offer, while at times fascinating (Lennon's demo of `Strawberry Fields Forever' is the stand out from a historical perspective), often sounds like filler material to my ears and I'd far sooner play the last half of the red album and the first half of the blue album if I wanted an overview of their work from this highly charged period. But the Anthology project was conceived as a peek behind the curtains - an alternative view of their recording career - in which fans could finally acquire some of the lost treasures in the EMI vaults. So all this demonstrates is that, under the guidance of George Martin, the band was quite capable of getting the best out of their material and left very few lost gems on the shelf. `You've Got to Hide Your Love Away' and `It's Only Love' are decent enough takes but the absence of a couple of key overdubs renders them second best to the masters issued, a feeling that is par for the course really on much of Anthology 2.
The tracks that would grace Revolver are, not surprisingly, more complex in structure and bear less resemblance to the finished versions - `Tomorrow Never Knows' represents their "giant leap" in soundscape terms and even the earliest take demonstrated just how far from `Love Me Do' the band had travelled in just four years. An early version of `Got to Get You into My Life' is even more interesting lacking most of the embellishments the track would eventually feature as well as including a few lyrical alterations too. Then there's the briefest section of a rehearsal of `I'm Only Sleeping' complete with vibraphone which gives the song a nice atmosphere that would have worked on the final recording I'm sure. This is where Anthology 2 stands on its own merits and one is tempted to wonder whether a "making of Revolver" album or documentary could ever be made from the surviving tapes.
On that note, the compilers have elected not to feature any speech to provide the sparse commentary that worked so well on Anthology 1. Disc 2 takes all of its content form the vaults at EMI, essentially a string of demos, try outs, although in some cases the compilers have produced new `finished' versions by blending tracks or sections from different takes. `A Day in the Life' is such an example and while undoubtedly intriguing (how could you fail to make it so, with such profound writing as this song so easily displays), its no competition for the finished master. Personally I would have liked a few words to explain the decision to come off the road, as well as some contextual information surrounding Sgt. Pepper but perhaps the remaining Beatles simply wanted the music to speak for itself.
And Sgt. Pepper (which dominates Disc 2) certainly speaks for itself. This is the album that did so much for the format - printed lyrics, gatefold sleeve, inserts, an iconic sleeve design (itself full of icons) - that has become a statement not just for the music but for the times it was recorded in, as well as setting the bar for others to surpass in terms of musical complexity and experimentation. Those that managed to hold onto the pop sensibilities that are the foundations of Sgt Pepper and survived the Sixties' pre-occupation with drugs, went onto tap into the deep reserves of an emerging market where pop turned into rock and fame turned into fortune. Just about every subsequent rock star worth mentioning in dispatches owes a debt to The Beatles in general and to Sgt. Pepper in particular.
By 1967 The Beatles had become a band that appeared neither on radio nor television, although they would make exceptions when they were in control of proceedings of course - their live telecast of All You Need is Love was an event (a TV `happening' if you will) not merely a programme and A Magical Mystery Tour was a Beatles production where they (unfortunately) controlled the entire thing. From here on in The Beatles relied largely on their industriousness, their talent as writers and a solid reputation to hide any sense of crisis that lurked within. And no single event signalled the arrival of that crisis more than the death of Brian Epstein, whose job, it seems, was done.
So, on the whole, Anthology 2 is a fair representation of the period even if precious little stands up as essential listening compared to the material the band issued at the time. But with material this arresting it's impossible to dismiss or downplay the collection, so I'll give it 4 stars.
This is the second volume of the Beatles "Anthology" - a double CD set featuring 45 tracks, released in 1996. It was a major critical and commercial success, topping the charts in several countries (including Britain). The music is from the period 1965 to 1968 (aside from the inclusion of the "Real Love" song). Unlike the initial volume, this collection doesn't include several dialogue tracks - but instead focuses on the music. It's a compilation of alternative takes, live performances and demos, including the likes of "Strawberry Fields", "Help!" and "The Fool on the Hill"'. Nothing featured on the album had previously been released by the Beatles in the form it's heard here. Rather, this album represents an opportunity to listen to the Beatles in a slightly new way.
The "Anthology" project was a major contribution to music - consisting of three double albums, new singles, a documentary series, and a book. It aimed to present the history of the Beatles, in a new an more intimate manner, in chronological order. Included with this album is a deluxe 46 page booklet - providing information of the songs, as well as lots of photos of the band.
If you're a fan of the Beatles, I thoroughly recommend this collection. If you're totally new to the Beatles' music then, while you will no doubt enjoy this compilation, I'd suggest you first listen to the original Beatles studio albums (or perhaps the so-called 'Red' and 'Blue' double CD sets, featuring the greatest hits of the band).
Overall, a truly fantastic item.
on 22 October 2012
Of the three anthologies this is THE ONE to get. It is packed to the brim with wonderfully alternate versions of popular Beatles songs...I mean just crammed full of delightful melodies. For me it is definitely worth FIVE stars and I wonder what some people are on when they give it four along with a host of other albums which are certainly not worthy of it. So, lets get real, this is the most creative era of the Beatles, brought to life with a strange air of difference thanks to all the outtakes which were left in the vaults. Splendorous. Buy this Penny Laners and you won't be disappointed!!!!!
on 29 July 2007
...pre-release a few years ago, I couldn't believe it.
The strains of John desperately trying to sing 'Strawberry Fields' in C instead of the published A, alone in his bedroom with a manky tape recorder, looped with three successive versions sets the tone for the whole album.
Paul's clarity of voice on 'Your Mother Should Know' and the first demo of 'Fool on the Hill' are brilliant. The fluffs (Paul screwing up and swearing), the quirks (John's 1-2-3 'Sugar-Plum-Fairy, Sugar-Plum-Fairy' on Day in the Life), Paul breaking a glass and John ribbing him for it and the omniscience of Sir George Martin, overseeing all.
As Paul says in a silly voice prior to launching into a military-drum-beat-backed 'Your mother Should Know':
'You want us to do it again George?...OK this time, with ciggie in mouth..
Frankly Paul you could do it with a tuba up your a** and it would still sound magnificent!!!
If you're a Beatles fan, buy volume two of anthology first: and turn up the volume.
on 17 June 2007
With the '40 years ago today' anniversary unmarked & uncelebrated by Apple/EMI (they knew the world media would do it for free anyway) and no re-master, it's worth investigating Vol.2/Disc.2 (1967/early 1968)of the often unfairly criticised Anthologies. I prefer the punchy stripped down mix of 'Good Morning Good Morning' to the official version. This and the alternate/out-fakes of the other Pepper & Mystery tour tracks, '67 singles, plus oddities such as 'Only a northern song','You know my name' & 'Across the universe' are really enjoyable with an element of surprise due to the unfamilar order. Along with some Yellow Submarine Songtrack & Love re-mixes (and without resorting to bootleg recordings), it's possible to compile a very interesting Psych period Beatles album that will make you brain prick up your ears and over-come the familarity of the original versions.
on 20 June 2003
Some of the most interesting recordings of the 3 Anthology collections appear on Volume 2. There are alternate versions of songs which are quite different from those that were released. And there are versions of songs which show the creative process undergone to produce the version we are familiar with.
We get to hear Yesterday "unstrung" with Paul playing acoustic guitar and singing, but without the string octet.
Paul's demo of Fool on the Hill is included, as is a simpler version of John Lennon's Across the Universe.
It is interesting to hear I Am the Walrus without the George Martin slurpy cellos and sound effects. When you hear only electric piano and John's voice, you appreciate Martin's skill in complementing John's musical ideas.
The versions of Strawberry Fields Forever are worth the price of this compilation. It is wonderful to be able to hear John's extremely simple original version, and also two versions produced before the final recording which ws a composite of two separate recordings. One of the versions included gives you the whole of one of these versions that were edited together.
There are two instrumental only recordings here, of Eleanor Rigby and Within You, Without You. Karaoke, anybody?
Perhaps the most startlingly different alternative version is the recording of Tomorrow Never Knows.
I wonder if you will agree with me that the alternative versions are interesting, but nearly always not as satisfying as those that were released.
A great set to play from time to time. Highly recommended.