For those who’ve dedicated years to unearthing every echo of the Beatles – every rough take, forgotten broadcast, and whispered rehearsal – this Christmas brings a singular gift. It’s the arrival of Anthology 4, a new collection promising a deeper dive into the band’s legendary archive and a documentary to accompany it.
The Beatles’ impact is undeniable, but for a dedicated core of fans, a new Anthology release isn’t just an event; it’s a revelation. These are the listeners who once navigated the hidden world of 1990s Greenwich Village, a golden age for unauthorized recordings. Beautifully packaged bootlegs, complete with detailed notes, offered complete sessions of iconic songs like “I Saw Her Standing There” and “Strawberry Fields Forever.”
When those underground shops were shut down, the hunt moved to Beatlefest conventions in Secaucus, New Jersey. There, amidst a network of discreet dealers, lay the source of it all: vast collections of DVDs and VHS tapes, catering to a passionate, devoted fanbase.
The flow of these recordings eventually slowed, hampered by legal challenges and estate controls. The “Great Clampdown” by EMI and the estates of John Lennon and George Harrison effectively ended the era of easy access. Yet, the subculture endured, fueled by the occasional surfacing of a previously unknown gem – a Paul McCartney demo, a lost 1963 performance, or a rough mix of a classic album.
The original Anthology project, launched in 1995, ironically mirrored the bootleg world it sought to control. EMI released three double albums alongside a televised documentary, offering many of the same rarities that had previously circulated underground. Crucially, the surviving Beatles and George Martin, their producer, focused on material not already widely available.
Fans who had scoured the Village, Secaucus, and eBay rejoiced at the arrival of “new” treasures like a previously unheard 1963 Harrison demo, early takes of “Eight Days a Week” with a strikingly different intro, and an alternate version of “Come Together.” However, some purists questioned the archival liberties taken, preferring complete, unaltered takes over remixes combining fragments from different sessions.
Now, Anthology 4 arrives, restoring the original documentary with added footage and offering the remastered collections on vinyl, CD, and streaming platforms. The collection includes remastered versions of the first three sets, demos, outtakes, and rarities from deluxe album editions, plus the recently released “Now and Then,” the final Beatles song crafted from old Lennon demos, and thirteen previously uncirculated studio outtakes.
While the full package might overwhelm casual listeners, for the dedicated, the thirteen “new” tracks are the heart of the release. They evoke the same thrill experienced three decades ago, offering a fresh glimpse into the creative process.
The true insight comes from the earliest takes. We now hear how fully realized “In My Life” was, even before the iconic piano solo. Conversely, we discover how much faster “I Need You” was originally intended, a raw burst of Beatlemania energy. And a glimpse into an early version of “Nowhere Man” reveals John Lennon’s initial vision, surprisingly reminiscent of The Byrds.
Takes of “Tell Me Why” reveal Ringo Starr perfecting the distinctive drum fill that defines the song’s ending. A BBC rehearsal of “All You Need Is Love” showcases Starr’s improvisational skills, shifting time signatures and eliciting an enthusiastic response from the band, almost creating an entirely new musical moment.
Perhaps most captivating are the alternate takes of “Baby You’re A Rich Man.” The instrumental passage foreshadows Lennon’s later solo work, “Watching The Wheels,” creating an eerie connection across time. The playful ad-libs during the fade-out reveal the band’s effortless chemistry, a spirit of collaboration and humor before tensions arose.
It’s in these moments between takes that we’re reminded of the band’s evolution. A casual exchange reveals a glimpse into their changing world: Lennon requests Cokes, while McCartney playfully suggests adding “cannabis resin,” a detail destined for a legal hearing.
George Harrison once joked that a future archival release would be titled “Scraping the Bottom of the Barrel.” Yet, even seemingly minor discoveries, like demos revealing Lennon’s authorship of “Yellow Submarine” and his poignant acoustic rendition, prove profoundly moving and insightful.
Anthology 4’s thirteen “new” tracks are undeniably revelatory. But as the Beatles’ legacy continues to unfold, a question lingers: how much more remains to be discovered? The clamor for deluxe editions of albums like *Rubber Soul* and *With the Beatles* grows, but a sense of finality hangs in the air, echoing Sgt. Pepper’s warning: “It’s getting very near the end.”
