Prepare to dive deeper than ever before into the Beatles' legendary vaults! With the release of what's being hailed as the definitive collection – The Beatles Anthology 4 – we're getting a final, comprehensive look at outtakes, alternate versions, and studio curiosities that shaped their incredible career. But is it really the final word?
This expansive collection boasts 36 tracks, including fresh mixes of "Real Love," "Free As A Bird," and the highly anticipated "Now And Then," often dubbed the "last Beatles song." These new mixes notably enhance John Lennon's vocals, bringing them from spectral whispers to a richer, more present performance. But here's where it gets controversial... While these 'new' tracks are undoubtedly a draw, the real gold lies within the remaining 33 unearthed gems. Are they truly essential listening for the casual fan, or primarily for hardcore devotees? You decide.
The Beatles Anthology 4 spans a fascinating period, from the second take of "I Saw Her Standing There" on February 11, 1963, to the isolated and breathtakingly beautiful string arrangement for "Something" from Abbey Road, recorded on August 15, 1969. The album essentially presents an alternate timeline of the band's evolution. And this is the part most people miss... Not everything is entirely unheard. For example, Take 26 of "Strawberry Fields Forever" previously surfaced on the 2017 Sgt. Pepper super deluxe edition. Some tracks have even been circulating on bootlegs for years! The question is: Does familiarity diminish the listening experience, or does it add another layer of appreciation?
While some legendary recordings, such as the avant-garde "Carnival Of Light" and the mythical 27-minute jam version of "Helter Skelter," remain elusive, Anthology 4 promises to be the ultimate, exhaustive chapter in The Beatles' story. We're talking about an 8-CD, 12-LP boxset that compiles Anthologies 1-3, an updated book, and a re-release of the Anthology TV documentary (featuring a brand new final episode!) on Disney Plus.
So, without further ado, let's delve into some of the best tracks resurrected from the Beatles' archives for Anthology 4...
This Boy (Takes 12 And 13)
Recorded: EMI Studios, London, October 17, 1963
Originally the B-side to "I Want To Hold Your Hand," the song that catapulted The Beatles to US stardom, "This Boy" was recorded on the same day using EMI Studio's (now Abbey Road) newly installed four-track mixing desk. Neither track made it onto their second UK album, With The Beatles, but Capitol Records in the US included them on Meet The Beatles! Lennon envisioned "This Boy" as a Smokey Robinson-esque ballad, primarily focused on the band's signature three-part harmonies with McCartney and Harrison. These takes showcase the harmonies locking in perfectly, but things quickly unravel as they stumble over the "This boy" and "That boy" lyrics, culminating in a hilarious mispronunciation of "Thas boy" on Take 13 before dissolving into laughter. It's a charming, humanizing glimpse into the band's recording process.
Tell Me Why (Takes 4 and 5)
Recorded: EMI Studios, London, February 27, 1964
Recorded in a whirlwind eight takes just days before filming A Hard Day's Night (it appears in the movie, opening a medley), "Tell Me Why" has always possessed a raw, unbridled energy. Take 4 captures McCartney and Lennon in a spirited debate about the vocal harmonies before quickly falling out of tune and breaking down. But they immediately launch into Take 5, a more energetic, quicker, and altogether more joyous version than what ended up on the album. Lennon's voice is particularly prominent, and Ringo Starr's drumming is a masterclass in free-flowing rhythm. His backbeat has seldom swung freer than it does here.
I've Just Seen A Face (Take 3)
Recorded: EMI Studios, London, 14 June 1965
The Beatles' country influences are often understated, but "I've Just Seen A Face," written about McCartney's then-girlfriend Jane Asher, is arguably their closest homage to the Everly Brothers. Like many tracks on Anthology 4, this version is more spirited than the final release. With Starr's train-like shuffle, Harrison's 12-string guitar, and Lennon strumming so hard he breaks a string, this take feels like a freewheeling campfire jam. Recorded on the final day of the Help! sessions (along with "I'm Down" and "Yesterday"), it didn't appear in the US until it was added as the opening track to Rubber Soul.
In My Life (Take 1)
Recorded: EMI Studios, London, 18 October 1965
Lennon considered "In My Life" his "first major piece of work," and it's remarkably complete even on its first studio take. Stripped of the harmonies that define the Rubber Soul version (although McCartney's harmony is faintly audible in the background), Lennon's vocal becomes even more wistful and tender. Also absent is George Martin's baroque-inspired piano bridge, recorded at half speed and then sped up to mimic a harpsichord. Some might argue that the song is actually better without Martin's contribution, allowing Lennon's lyrics and melody to take center stage.
Something (Take 39 - Instrumental - Strings Only)
Recorded: EMI Studios, London, 15 August 1969
George Martin, a classically trained musician, often goes unheralded for his exceptional orchestral arrangements. His suggestion to use strings on "Yesterday" was a pivotal moment, but few of his contributions were as sublime as his work on Harrison's "Something." Even Lennon admitted that it might be the best song on Abbey Road. Performed by a 21-piece ensemble, including 12 violins, the arrangement was so grand that it required two of the eight available studio tracks. McCartney hailed the finished track as "The best song George has ever written," a sentiment that could apply to both Harrison and Martin.
Got To Get You Into My Life (second version – unnumbered mix)
EMI Studios, London 6 & 11 April 1966
Things get a bit complex here. The Beatles initially recorded an earlier version of McCartney's song on April 7th, featuring organ, acoustic guitar, and drums. The following day, they completely revamped it, reimagining it as a Stax-style soul track. This appears to be an early rendition of that version, though its lack of numbering makes its exact position in the song's development timeline uncertain. Instead of the Memphis Horns-style stabs of the Revolver version, Harrison plays rudimentary guitar riffs with a fuzz pedal, serving as a guide for the horns that would later be added – similar to what Keith Richards initially did on "(I Can't Get No) Satisfaction." Take 8 was ultimately chosen as the foundation for overdubs, including additional guitar, a new bass line, and falsetto backing vocals from Harrison and Lennon. Even without the horns, this version packs a serious punch.
Strawberry Fields Forever (Take 26)
EMI Studios, London, 8, 9, 15 and 21 December 1966
Take 26 of "Strawberry Fields Forever" isn't entirely new, but unless you shelled out a considerable sum for the 2017 Sgt. Pepper’s Lonely Hearts Club Band Super Deluxe Edition, you might not be familiar with its original form. Famously spliced together with Take 7 to create the iconic 1967 single (Take 7 appeared on Anthology 3), Take 26 had to be slowed down to match the pitch of Take 7, resulting in a miraculous synchronization of tempos. The creation of Take 26 itself was a feat of engineering, involving multiple earlier takes being bounced down onto single tracks, run backwards beneath other versions, and then bounced down again, ultimately forming the second half of the single. Before descending into percussive chaos towards the end, Take 26 is surprisingly upbeat, skipping through those famous fields with a childlike innocence, rather than being filtered through Lennon's psychedelic lens.
All You Need Is Love (rehearsal for BBC broadcast)
EMI Studios, London, 24 June 1967
Performing live to an audience of 350 million viewers across five continents to promote your new single? That's a bold move! The BBC commissioned The Beatles to perform a new song for a groundbreaking live satellite broadcast, leaving little to chance. "All You Need Is Love" was meticulously rehearsed, with three desk tracks pre-filled for playback during the live performance. This final rehearsal features Lennon's live lead vocal with the orchestra for the first time, which would fill track four the following day. Despite some nervous energy before the orchestra and backing tracks kick in, Lennon's vocal is, as on many Anthology versions, sweeter and warmer than the eventual release.
Hey Bulldog (Take 4 Instrumental)
EMI Studios, London, 11 February 1968
"Veering between yer blues and yer comedy," Lennon quips as this early take of "Hey Bulldog" breaks down after just over three minutes. Originally intended for the Yellow Submarine soundtrack (and included on the album, but cut from the movie until its 1999 re-release), "Hey Bulldog" took just 10 takes and overdubs in 10 hours to complete while a camera crew filmed the band working as a promo for their next single, "Lady Madonna." While the take ends with Lennon's dismissive comment, it's unclear who he's addressing. Even so, this purely instrumental version sounds remarkably similar to the finished product, showcasing the band's growing perfectionism in the studio.
Helter Skelter (Second Version – Take 17)
EMI Studios, London, 9 September 1968
"Keep that one! Mark it fab!" shouts an exhausted McCartney at the end of this take of The Beatles' most notorious track, forever linked to Charles Manson. Originally arranged in E minor and played much slower (hence the "Second Version" designation), Starr recalls the band recording the restyled song in a state of "total madness and hysterics" after changing the key to E major and increasing the tempo. Regardless of the messages Manson claimed to hear within the song, the lyrics were largely nonsensical, with McCartney simply trying to outdo The Who's Pete Townshend in terms of volume and raw energy. While more thrashing, this version is close to what ultimately appeared on The White Album: the final take, number 21, became the foundation, by which point McCartney must have been nearing collapse.
So, there you have it – a sneak peek into the depths of The Beatles Anthology 4. What do you think? Does this collection offer genuine insight into the band's creative process, or is it simply scraping the bottom of the barrel? And more importantly, which of these unearthed tracks are you most excited to hear? Share your thoughts in the comments below!
