Shitty bands?

Please list them..

Incubus
Kings of Leon
Red Hot Chilli Peppers
Counting Crows
Sublime
Dave Matthews
Led Zeppelin

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I'm Down
The Beatles 

 
Composed By  Other Links
John Lennon/Paul McCartney All Performers that have performed this Title
 
 

Song Review by Richie Unterberger


"I'm Down," the B-side of "Help!," was one of the most frantic rockers in the entire Beatles catalog. The very first line — sung a cappella by the principal writer, Paul McCartney — was about as larynx-twisting an upper-register, non-falsetto vocal as was possible in rock music. Critics have often noted that the vocal and the song itself are very much in the Little Richard style, and some see it as little more than a rewrite of Little Richard's "Long Tall Sally." It's true there are some similarities between "I'm Down" and "Long Tall Sally," but it's not just a blatant copy. For one thing, there are the great call-and-response vocals between McCartney and the other Beatles, as well as the sudden jerky shifts in tempo in which the instruments periodically stop altogether. George Harrison lets loose with one of his patented bluesy, slightly disheveled, growling guitar solos, and then it's back to a final verse where McCartney really climbs the high notes for emphasis. That done with, it's time for one of the group's more crazed and elongated fadeouts, kicked off by a hair-raising McCartney scream, then settling into more vocal trades between him and the group as well as some wild organ playing by John Lennon. Although The Beatles Recording Sessions tells listeners that seven takes were completed at the session, the song has a wonderfully loose, almost jammy feel. Listen to the part where McCartney starts the final verse, for instance, and his first line is answered with a lazy, almost diffident guitar sliding slowly up the low notes. Not that it hurts the song any, but there's a contradiction between the mood of the lyrics — ostensibly a guy down in the dumps about being dumped — and the delivery. McCartney does not sound down in the dumps; he sounds like he's having the time of his life, with an energy that's incredibly infectious.




"I'm Down" was a great live favorite of the Beatles' mid-'60s shows, as seen in the famous footage of their 1965 Shea Stadium concert, which closed with an especially wild performance of the song. There have not been many covers of "I'm Down"; indeed, for years it was surprisingly hard to hear, as it didn't get issued on a Beatles LP until the mid-'70s. There were a couple of surprising attempts, however, one a live version (recorded in 1966, released in the 1980s) by the 13th Floor Elevators, with Roky Erickson contributing a demented lead vocal that was grating where McCartney's was uplifting. Even more surprisingly, Yes, a group not known for rock-'em-sock-'em party tunes, did "I'm Down" in concert.

"I'm Down," the B-side of "Help!," was one of the most frantic rockers in the entire Beatles catalog. The very first line — sung a cappella by the principal writer, Paul McCartney — was about as larynx-twisting an upper-register, non-falsetto vocal as was possible in rock music. Critics have often noted that the vocal and the song itself are very much in the Little Richard style, and some see it as little more than a rewrite of Little Richard's "Long Tall Sally." It's true there are some similarities between "I'm Down" and "Long Tall Sally," but it's not just a blatant copy. For one thing, there are the great call-and-response vocals between McCartney and the other Beatles, as well as the sudden jerky shifts in tempo in which the instruments periodically stop altogether. George Harrison lets loose with one of his patented bluesy, slightly disheveled, growling guitar solos, and then it's back to a final verse where McCartney really climbs the high notes for emphasis. That done with, it's time for one of the group's more crazed and elongated fadeouts, kicked off by a hair-raising McCartney scream, then settling into more vocal trades between him and the group as well as some wild organ playing by John Lennon. Although The Beatles Recording Sessions tells listeners that seven takes were completed at the session, the song has a wonderfully loose, almost jammy feel. Listen to the part where McCartney starts the final verse, for instance, and his first line is answered with a lazy, almost diffident guitar sliding slowly up the low notes. Not that it hurts the song any, but there's a contradiction between the mood of the lyrics — ostensibly a guy down in the dumps about being dumped — and the delivery. McCartney does not sound down in the dumps; he sounds like he's having the time of his life, with an energy that's incredibly infectious.




"I'm Down" was a great live favorite of the Beatles' mid-'60s shows, as seen in the famous footage of their 1965 Shea Stadium concert, which closed with an especially wild performance of the song. There have not been many covers of "I'm Down"; indeed, for years it was surprisingly hard to hear, as it didn't get issued on a Beatles LP until the mid-'70s. There were a couple of surprising attempts, however, one a live version (recorded in 1966, released in the 1980s) by the 13th Floor Elevators, with Roky Erickson contributing a demented lead vocal that was grating where McCartney's was uplifting. Even more surprisingly, Yes, a group not known for rock-'em-sock-'em party tunes, did "I'm Down" in concert.

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You Can't Do That

The Beatles  
 
Composed By  Other Links
John Lennon/Paul McCartney All Performers that have performed this Title
 
 

Song Review by  Richie Unterberger
 

As  the  B-side  to  "Can't Buy  Me  Love," "You  Can't Do  That" was  a  worthy  companion  to  the  more well-known  hit,  particularly  as  it  was  also  one  of the  Beatles'  grittiest  and  hardest-rocking  early originals. The  track  was  introduced  by  a  ringing, circular  George  Harrison  guitar  lick  that  marked the  first  time  he  played  12-string  electric  guitar  on  a  Beatles  recording — an  innovation  that  would  figure  strongly  not  just  in  the Beatles' mid-'60s  records,  but  also  in  the  development  of  folk-rock. Rhythmically  the  song   has  a  funkier, more soulful  beat  than  anything  else  the Beatles  had previously  done, perhaps  sparked  by  increased exposure  to  American  soul  music  as  the  group began  to  tour    the   U.S.   John  Lennon,  in  fact, specifically  cited  Wilson  Pickett  as  an  inspiration for  the  song, although  since  Pickett  had  barely begun  to  record  under  his  own  name  when  "You Can't  Do That"  was  written  in   early  1964,  one wonders  if  Lennon   was  influenced  by  Pickett  only in  hindsight. The  song  had  no  shortage  of dynamite  hooks,  particularly  the  insistent  stuttering beats  at  the  end  of  each  verse  and  bridge,  the thrilling  soulful  responsive  harmonies  that  answer Lennon's  lead  vocal,  and  the  dramatic  rising harmony  vocals  that  accompany  Lennon  on  the bridge. 



Lennon   lets  loose  with  one  of  his  all-time  great screams  to  launch  the  instrumental  break,  in which  he  makes  his  debut  as  a  lead  guitarist   on a   Beatles   record, with  crunchy, frenetic  riffing  that suits  the  tune  well. Listen  also  for  the  very  end, in  which  a  reprise  of  the  principal 12-string  guitar riff  suddenly  slows  to  a  crawl  for  the  last  three notes. Lyrically  this  is  one  of  the  toughest  Lennon-  McCartney  songs,  principally  written  by Lennon , and  verging  almost  on  misogyny  in  its threats  to  leave  a  girl  if  she  so  much  as  talks  to another  guy. There's  an  underlying  note  of insecurity,  however,  in  his  laments  that  others  will laugh  in  his  face  if  they  see  her  acting  the  way she  does.  "You  Can't  Do  That"  was  honored  with a  most  unusual  cover  version  by  Nilsson  a  few years  later  on  his  debut  album,  in  which  he  did not  so  much  sing  "You Can't  Do  That"  as  use  its main  motifs  for  the  body  of  a  track  which interwove  brief  phrases  from  other  Beatles  classics  like  "Can't  Buy  Me  Love,"  "Day Tripper," "You're  Going  to  Lose  That  Girl," and  "Drive  My Car."

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You Can't Do That

The Beatles  
 
Composed By  Other Links
John Lennon/Paul McCartney All Performers that have performed this Title
 
 

Song Review by  Richie Unterberger
  

Lennon   lets  loose  with  one  of  his  all-time  great screams  to  launch  the  instrumental  break,  in which  he  makes  his  debut  as  a  lead  guitarist   on a   Beatles   record, with  crunchy, frenetic  riffing  that suits  the  tune  well. Listen  also  for  the  very  end, in  which  a  reprise  of  the  principal 12-string  guitar riff  suddenly  slows  to  a  crawl  for  the  last  three notes. Lyrically  this  is  one  of  the  toughest  Lennon-  McCartney  songs,  principally  written  by Lennon , and  verging  almost  on  misogyny  in  its threats  to  leave  a  girl  if  she  so  much  as  talks  to another  guy. There's  an  underlying  note  of insecurity,  however,  in  his  laments  that  others  will laugh  in  his  face  if  they  see  her  acting  the  way she  does.  "You  Can't  Do  That"  was  honored  with a  most  unusual  cover  version  by  Nilsson  a  few years  later  on  his  debut  album,  in  which  he  did not  so  much  sing  "You Can't  Do  That"  as  use  its main  motifs  for  the  body  of  a  track  which interwove  brief  phrases  from  other  Beatles  classics  like  "Can't  Buy  Me  Love,"  "Day Tripper," "You're  Going  to  Lose  That  Girl," and  "Drive  My Car."

Lennon   lets  loose  with  one  of  his  all-time  great screams  to  launch  the  instrumental  break,  in which  he  makes  his  debut  as  a  lead  guitarist   on a   Beatles   record, with  crunchy, frenetic  riffing  that suits  the  tune  well. Listen  also  for  the  very  end, in  which  a  reprise  of  the  principal 12-string  guitar riff  suddenly  slows  to  a  crawl  for  the  last  three notes. Lyrically  this  is  one  of  the  toughest  Lennon-  McCartney  songs,  principally  written  by Lennon , and  verging  almost  on  misogyny  in  its threats  to  leave  a  girl  if  she  so  much  as  talks  to another  guy. There's  an  underlying  note  of insecurity,  however,  in  his  laments  that  others  will laugh  in  his  face  if  they  see  her  acting  the  way she  does.  "You  Can't  Do  That"  was  honored  with a  most  unusual  cover  version  by  Nilsson  a  few years  later  on  his  debut  album,  in  which  he  did not  so  much  sing  "You Can't  Do  That"  as  use  its main  motifs  for  the  body  of  a  track  which interwove  brief  phrases  from  other  Beatles  classics  like  "Can't  Buy  Me  Love,"  "Day Tripper," "You're  Going  to  Lose  That  Girl," and  "Drive  My Car."

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Revolution
The Beatles 
 
Composed By  Other Links
John Lennon/Paul McCartney All Performers that have performed this Title
 

Song Review

  by  Richie Unterberger

As  the B-side  of "Hey Jude," "Revolution" formed one-half of  a  worthy contender  for  the  best  rock single  of  all  time. As  with  another  contender, "Penny Lane"/  "Strawberry   Fields  Forever," each side  represented  one  of  the  best  and  most characteristic  songwriting  efforts  by  Paul McCartney  and  John Lennon,  respectively  (even  if  they  were  billed   to  Lennon- McCartney   jointly,  out  of  contractual  custom). "Revolution"  was,  of  course, quite  different  in  tone  from  "Hey  Jude," one  of   the  group's  best  ballads. In  contrast, "Revolution" was  one  of  their  greatest, most  furious rockers, also  featuring  some  of  Lennon's  most challenging,  fiery  lyrics. It  must  first  be  noted  that two  entirely  different  arrangements  of  "Revolution" were  recorded  and  released. A  slow  one  with  doo wop-inspired  harmonies, officially  titled  "Revolution 1," appeared  on  The Beatles  (popularly  known as the  White  Album); the  faster  and, most  would agree, superior  version  appeared  on  the  B-side  of the  "Hey  Jude"  single. The  song  described  here will  be  the  single  version, simply  entitled "Revolution."  Leading  off  with  a  startling  machine-gun  fuzz  guitar  riff  and  a  scream, the  heart immediately  starts  pounding  before  Lennon  goes into  the  first  verse.  (Trivia  note:  An  obscure  1954 recording  by  bluesman  Pee  Wee  Crayton,  "Do  Unto  Others," has  an  opening  riff  that  sounds almost  identical  to  the  riff  that  opens  "Revolution." Coincidence,  or  not?) Combining  one  of  his throatiest  vocals  and  the  consistently  buzzing, fuzzy  guitars, you  have  one  of  the  most  down-and-dirty  Beatles  tracks  ever.


 In  "Revolution," Lennon  seems  to  be  questioning,  quite  reasonably, the  validity  of  changing  the  world  through  violent  means. He  was  setting himself  up  for  criticism  from  all  sides  here, particularly  in  the  turbulent  year  of  1968:  the establishment  was  angered  by  anyone  talking about  "Revolution"  in  any  context, while  some  of the  left  viewed  refusal  to  overthrow  society  by  any   means  necessary  as  a  cowardly  sellout. Lennon  is  quite  emphatic, however,  that  when  it comes  to  violence, you  can  count  him  out. (Typically,  he  would  sit  on  the  fence  on  this  issue  over  the  years, and  in  "Revolution  1,"  qualify his  observation  by  immediately  singing  the  word "in"  after  declaring  that  he  could  be  counted  out.) Characteristically, optimism  prevails  in  the Beatles' world,  even  when  taking  on  one  of  the  most explosive  subjects  possible,  as  on  the  uplifting chorus  (helped  greatly  by  harmony  vocals), when the  group  urgently  and  repeatedly  reassures listeners  that  everything's  going  to  be  all  right. Those  reassurances  become  sing-shouts  in   the final  refrain,  though  the  loud guitar  figures  in  the background  imply  that  everything  might  not  be  all right, as  does  a  final  near-hysterical  repetition  of the  phrase  by  Lennon. "Revolution,"  incidentally, was   one   of   the   few   Beatles   tracks  to  feature a  contribution  from  an  outside  rock  session musician,  Nicky  Hopkins,  who  adds  ebullient keyboards  to  the  performance.

 

Song Review

  by  Richie Unterberger


As  the B-side  of "Hey Jude," "Revolution" formed one-half of  a  worthy contender  for  the  best  rock single  of  all  time. As  with  another  contender, "Penny Lane"/  "Strawberry   Fields  Forever," each side  represented  one  of  the  best  and  most characteristic  songwriting  efforts  by  Paul McCartney  and  John Lennon,  respectively  (even  if  they  were  billed   to  Lennon- McCartney   jointly,  out  of  contractual  custom). "Revolution"  was,  of  course, quite  different  in  tone  from  "Hey  Jude," one  of   the  group's  best  ballads. In  contrast, "Revolution" was  one  of  their  greatest, most  furious rockers, also  featuring  some  of  Lennon's  most challenging,  fiery  lyrics. It  must  first  be  noted  that two  entirely  different  arrangements  of  "Revolution" were  recorded  and  released. A  slow  one  with  doo wop-inspired  harmonies, officially  titled  "Revolution 1," appeared  on  The Beatles  (popularly  known as the  White  Album); the  faster  and, most  would agree, superior  version  appeared  on  the  B-side  of the  "Hey  Jude"  single. The  song  described  here will  be  the  single  version, simply  entitled "Revolution."  Leading  off  with  a  startling  machine-gun  fuzz  guitar  riff  and  a  scream, the  heart immediately  starts  pounding  before  Lennon  goes into  the  first  verse.  (Trivia  note:  An  obscure  1954 recording  by  bluesman  Pee  Wee  Crayton,  "Do  Unto  Others," has  an  opening  riff  that  sounds almost  identical  to  the  riff  that  opens  "Revolution." Coincidence,  or  not?) Combining  one  of  his throatiest  vocals  and  the  consistently  buzzing, fuzzy  guitars, you  have  one  of  the  most  down-and-dirty  Beatles  tracks  ever.




 In  "Revolution," Lennon  seems  to  be  questioning,  quite  reasonably, the  validity  of  changing  the  world  through  violent  means. He  was  setting himself  up  for  criticism  from  all  sides  here, particularly  in  the  turbulent  year  of  1968:  the establishment  was  angered  by  anyone  talking about  "Revolution"  in  any  context, while  some  of the  left  viewed  refusal  to  overthrow  society  by  any   means  necessary  as  a  cowardly  sellout. Lennon  is  quite  emphatic, however,  that  when  it comes  to  violence, you  can  count  him  out. (Typically,  he  would  sit  on  the  fence  on  this  issue  over  the  years, and  in  "Revolution  1,"  qualify his  observation  by  immediately  singing  the  word "in"  after  declaring  that  he  could  be  counted  out.) Characteristically, optimism  prevails  in  the Beatles' world,  even  when  taking  on  one  of  the  most explosive  subjects  possible,  as  on  the  uplifting chorus  (helped  greatly  by  harmony  vocals), when the  group  urgently  and  repeatedly  reassures listeners  that  everything's  going  to  be  all  right. Those  reassurances  become  sing-shouts  in   the final  refrain,  though  the  loud guitar  figures  in  the background  imply  that  everything  might  not  be  all right, as  does  a  final  near-hysterical  repetition  of the  phrase  by  Lennon. "Revolution,"  incidentally, was   one   of   the   few   Beatles   tracks  to  feature a  contribution  from  an  outside  rock  session musician,  Nicky  Hopkins,  who  adds  ebullient keyboards  to  the  performance.

 In  "Revolution," Lennon  seems  to  be  questioning,  quite  reasonably, the  validity  of  changing  the  world  through  violent  means. He  was  setting himself  up  for  criticism  from  all  sides  here, particularly  in  the  turbulent  year  of  1968:  the establishment  was  angered  by  anyone  talking about  "Revolution"  in  any  context, while  some  of the  left  viewed  refusal  to  overthrow  society  by  any   means  necessary  as  a  cowardly  sellout. Lennon  is  quite  emphatic, however,  that  when  it comes  to  violence, you  can  count  him  out. (Typically,  he  would  sit  on  the  fence  on  this  issue  over  the  years, and  in  "Revolution  1,"  qualify his  observation  by  immediately  singing  the  word "in"  after  declaring  that  he  could  be  counted  out.) Characteristically, optimism  prevails  in  the Beatles' world,  even  when  taking  on  one  of  the  most explosive  subjects  possible,  as  on  the  uplifting chorus  (helped  greatly  by  harmony  vocals), when the  group  urgently  and  repeatedly  reassures listeners  that  everything's  going  to  be  all  right. Those  reassurances  become  sing-shouts  in   the final  refrain,  though  the  loud guitar  figures  in  the background  imply  that  everything  might  not  be  all right, as  does  a  final  near-hysterical  repetition  of the  phrase  by  Lennon. "Revolution,"  incidentally, was   one   of   the   few   Beatles   tracks  to  feature a  contribution  from  an  outside  rock  session musician,  Nicky  Hopkins,  who  adds  ebullient keyboards  to  the  performance.

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Abbey Road
The Beatles 
 
 

 
Artist
 
The Beatles
 
Album
 
Abbey Road
 
Rating *****
 
 
Release Date
 
Sep 26, 1969
 
Label
 
 
Capitol
 
 
Genre  Styles
Pop/Rock
 Album Rock
Rock & Roll
Pop/Rock
British Psychedelia
Psychedelic
Sunshine Pop
Prog-Rock/ Art Rock
AM Pop
Hard Rock
 
 
Moods  Themes
Whimsical
Naive
Elegant
Sophisticated
Cheerful
Freewheeling
Complex
Brassy
Fun
Romantic
Bittersweet
Sweet
Refined/ Mannered
Brash
Laid-Back/ Mellow
Hypnotic
Intimate
Self-Conscious
Lush
Energetic
Passionate
 Road Trip
Reflection
Summertime
Housework
 
 
AMG Album ID
 
R     1525
 
 
Corrections to this Entry?
 
 Review by Richie Unterberger


The last Beatles album to be recorded (although Let It Be was the last to be released), Abbey Road was a fitting swan song for the group, echoing some of the faux-conceptual forms of Sgt. Pepper, but featuring stronger compositions and more rock-oriented ensemble work. The group was still pushing forward in all facets of its art, whether devising some of the greatest harmonies to be heard on any rock record (especially on "Because"), constructing a medley of songs/vignettes that covered much of side two, adding subtle touches of Moog synthesizer, or crafting furious guitar-heavy rock ("The End," "I Want You (She's So Heavy)," "Come Together"). George Harrison also blossomed into a major songwriter, contributing the buoyant "Here Comes the Sun" and the supremely melodic ballad "Something," the latter of which became the first Harrison-penned Beatles hit. Whether Abbey Road is the Beatles' best work is debatable, but it's certainly the most immaculately produced (with the possible exception of Sgt. Pepper) and most tightly constructed.
 

Tracks
  
   
   
   
  Title  
  Composer  
  Time  
 
    1   Come Together  Lennon, McCartney  04:20 
     2   Something  Harrison  03:02 
      3   Maxwell's Silver Hammer  Lennon, McCartney  03:27 
      4   Oh! Darling  Lennon, McCartney  03:26 
      5   Octopus's Garden  Starkey, Starr  02:51 
      6   I Want You (She's So Heavy)  Lennon, McCartney  07:47 
     7   Here Comes the Sun  Harrison  03:05 
      8   Because  Lennon, McCartney  02:45 
      9   You Never Give Me Your Money  Lennon, McCartney  04:02 
      10   Sun King  Lennon, McCartney  02:26 
      11   Mean Mr. Mustard  Lennon, McCartney  01:06 
      12   Polythene Pam  Lennon, McCartney  01:12 
     13   She Came in Through the Bathroom Window  Lennon, McCartney  01:57 
      14   Golden Slumbers  Lennon, McCartney  01:31 
      15   Carry That Weight  Lennon, McCartney  01:36 
      16   The End  Lennon, McCartney  02:19 
      17   Her Majesty  Lennon, McCartney  00:23

 
Abbey Road
 
Rating *****
 
 
Release Date
 
Sep 26, 1969
 
Label
 
 
Capitol
 
 
Genre  Styles
Pop/Rock
 Album Rock
Rock & Roll
Pop/Rock
British Psychedelia
Psychedelic
Sunshine Pop
Prog-Rock/ Art Rock
AM Pop
Hard Rock
 
 
Moods  Themes
Whimsical
Naive
Elegant
Sophisticated
Cheerful
Freewheeling
Complex
Brassy
Fun
Romantic
Bittersweet
Sweet
Refined/ Mannered
Brash
Laid-Back/ Mellow
Hypnotic
Intimate
Self-Conscious
Lush
Energetic
Passionate
 Road Trip
Reflection
Summertime
Housework
 
The last Beatles album to be recorded (although Let It Be was the last to be released), Abbey Road was a fitting swan song for the group, echoing some of the faux-conceptual forms of Sgt. Pepper, but featuring stronger compositions and more rock-oriented ensemble work. The group was still pushing forward in all facets of its art, whether devising some of the greatest harmonies to be heard on any rock record (especially on "Because"), constructing a medley of songs/vignettes that covered much of side two, adding subtle touches of Moog synthesizer, or crafting furious guitar-heavy rock ("The End," "I Want You (She's So Heavy)," "Come Together"). George Harrison also blossomed into a major songwriter, contributing the buoyant "Here Comes the Sun" and the supremely melodic ballad "Something," the latter of which became the first Harrison-penned Beatles hit. Whether Abbey Road is the Beatles' best work is debatable, but it's certainly the most immaculately produced (with the possible exception of Sgt. Pepper) and most tightly constructed.
 

Tracks
  
   
   
   
  Title  
  Composer  
  Time  
 
    1   Come Together  Lennon, McCartney  04:20 
     2   Something  Harrison  03:02 
      3   Maxwell's Silver Hammer  Lennon, McCartney  03:27 
      4   Oh! Darling  Lennon, McCartney  03:26 
      5   Octopus's Garden  Starkey, Starr  02:51 
      6   I Want You (She's So Heavy)  Lennon, McCartney  07:47 
     7   Here Comes the Sun  Harrison  03:05 
      8   Because  Lennon, McCartney  02:45 
      9   You Never Give Me Your Money  Lennon, McCartney  04:02 
      10   Sun King  Lennon, McCartney  02:26 
      11   Mean Mr. Mustard  Lennon, McCartney  01:06 
      12   Polythene Pam  Lennon, McCartney  01:12 
     13   She Came in Through the Bathroom Window  Lennon, McCartney  01:57 
      14   Golden Slumbers  Lennon, McCartney  01:31 
      15   Carry That Weight  Lennon, McCartney  01:36 
      16   The End  Lennon, McCartney  02:19 
      17   Her Majesty  Lennon, McCartney  00:23

 
 
Genre  Styles
Pop/Rock
 Album Rock
Rock & Roll
Pop/Rock
British Psychedelia
Psychedelic
Sunshine Pop
Prog-Rock/ Art Rock
AM Pop
Hard Rock
 
 
Moods  Themes
Whimsical
Naive
Elegant
Sophisticated
Cheerful
Freewheeling
Complex
Brassy
Fun
Romantic
Bittersweet
Sweet
Refined/ Mannered
Brash
Laid-Back/ Mellow
Hypnotic
Intimate
Self-Conscious
Lush
Energetic
Passionate
 Road Trip
Reflection
Summertime
Housework
 
The last Beatles album to be recorded (although Let It Be was the last to be released), Abbey Road was a fitting swan song for the group, echoing some of the faux-conceptual forms of Sgt. Pepper, but featuring stronger compositions and more rock-oriented ensemble work. The group was still pushing forward in all facets of its art, whether devising some of the greatest harmonies to be heard on any rock record (especially on "Because"), constructing a medley of songs/vignettes that covered much of side two, adding subtle touches of Moog synthesizer, or crafting furious guitar-heavy rock ("The End," "I Want You (She's So Heavy)," "Come Together"). George Harrison also blossomed into a major songwriter, contributing the buoyant "Here Comes the Sun" and the supremely melodic ballad "Something," the latter of which became the first Harrison-penned Beatles hit. Whether Abbey Road is the Beatles' best work is debatable, but it's certainly the most immaculately produced (with the possible exception of Sgt. Pepper) and most tightly constructed.
 

Tracks
  
   
   
   
  Title  
  Composer  
  Time  
 
    1   Come Together  Lennon, McCartney  04:20 
     2   Something  Harrison  03:02 
      3   Maxwell's Silver Hammer  Lennon, McCartney  03:27 
      4   Oh! Darling  Lennon, McCartney  03:26 
      5   Octopus's Garden  Starkey, Starr  02:51 
      6   I Want You (She's So Heavy)  Lennon, McCartney  07:47 
     7   Here Comes the Sun  Harrison  03:05 
      8   Because  Lennon, McCartney  02:45 
      9   You Never Give Me Your Money  Lennon, McCartney  04:02 
      10   Sun King  Lennon, McCartney  02:26 
      11   Mean Mr. Mustard  Lennon, McCartney  01:06 
      12   Polythene Pam  Lennon, McCartney  01:12 
     13   She Came in Through the Bathroom Window  Lennon, McCartney  01:57 
      14   Golden Slumbers  Lennon, McCartney  01:31 
      15   Carry That Weight  Lennon, McCartney  01:36 
      16   The End  Lennon, McCartney  02:19 
      17   Her Majesty  Lennon, McCartney  00:23

 
Moods  Themes
Whimsical
Naive
Elegant
Sophisticated
Cheerful
Freewheeling
Complex
Brassy
Fun
Romantic
Bittersweet
Sweet
Refined/ Mannered
Brash
Laid-Back/ Mellow
Hypnotic
Intimate
Self-Conscious
Lush
Energetic
Passionate
 Road Trip
Reflection
Summertime
Housework
 
The last Beatles album to be recorded (although Let It Be was the last to be released), Abbey Road was a fitting swan song for the group, echoing some of the faux-conceptual forms of Sgt. Pepper, but featuring stronger compositions and more rock-oriented ensemble work. The group was still pushing forward in all facets of its art, whether devising some of the greatest harmonies to be heard on any rock record (especially on "Because"), constructing a medley of songs/vignettes that covered much of side two, adding subtle touches of Moog synthesizer, or crafting furious guitar-heavy rock ("The End," "I Want You (She's So Heavy)," "Come Together"). George Harrison also blossomed into a major songwriter, contributing the buoyant "Here Comes the Sun" and the supremely melodic ballad "Something," the latter of which became the first Harrison-penned Beatles hit. Whether Abbey Road is the Beatles' best work is debatable, but it's certainly the most immaculately produced (with the possible exception of Sgt. Pepper) and most tightly constructed.
 

Tracks
  
   
   
   
  Title  
  Composer  
  Time  
 
    1   Come Together  Lennon, McCartney  04:20 
     2   Something  Harrison  03:02 
      3   Maxwell's Silver Hammer  Lennon, McCartney  03:27 
      4   Oh! Darling  Lennon, McCartney  03:26 
      5   Octopus's Garden  Starkey, Starr  02:51 
      6   I Want You (She's So Heavy)  Lennon, McCartney  07:47 
     7   Here Comes the Sun  Harrison  03:05 
      8   Because  Lennon, McCartney  02:45 
      9   You Never Give Me Your Money  Lennon, McCartney  04:02 
      10   Sun King  Lennon, McCartney  02:26 
      11   Mean Mr. Mustard  Lennon, McCartney  01:06 
      12   Polythene Pam  Lennon, McCartney  01:12 
     13   She Came in Through the Bathroom Window  Lennon, McCartney  01:57 
      14   Golden Slumbers  Lennon, McCartney  01:31 
      15   Carry That Weight  Lennon, McCartney  01:36 
      16   The End  Lennon, McCartney  02:19 
      17   Her Majesty  Lennon, McCartney  00:23

Refined/ Mannered
Brash
Laid-Back/ Mellow
Hypnotic
Intimate
Self-Conscious
Lush
Energetic
Passionate
 Road Trip
Reflection
Summertime
Housework
 

The last Beatles album to be recorded (although Let It Be was the last to be released), Abbey Road was a fitting swan song for the group, echoing some of the faux-conceptual forms of Sgt. Pepper, but featuring stronger compositions and more rock-oriented ensemble work. The group was still pushing forward in all facets of its art, whether devising some of the greatest harmonies to be heard on any rock record (especially on "Because"), constructing a medley of songs/vignettes that covered much of side two, adding subtle touches of Moog synthesizer, or crafting furious guitar-heavy rock ("The End," "I Want You (She's So Heavy)," "Come Together"). George Harrison also blossomed into a major songwriter, contributing the buoyant "Here Comes the Sun" and the supremely melodic ballad "Something," the latter of which became the first Harrison-penned Beatles hit. Whether Abbey Road is the Beatles' best work is debatable, but it's certainly the most immaculately produced (with the possible exception of Sgt. Pepper) and most tightly constructed.
 

Tracks
  
   
   
   
  Title  
  Composer  
  Time  
 
    1   Come Together  Lennon, McCartney  04:20 
     2   Something  Harrison  03:02 
      3   Maxwell's Silver Hammer  Lennon, McCartney  03:27 
      4   Oh! Darling  Lennon, McCartney  03:26 
      5   Octopus's Garden  Starkey, Starr  02:51 
      6   I Want You (She's So Heavy)  Lennon, McCartney  07:47 
     7   Here Comes the Sun  Harrison  03:05 
      8   Because  Lennon, McCartney  02:45 
      9   You Never Give Me Your Money  Lennon, McCartney  04:02 
      10   Sun King  Lennon, McCartney  02:26 
      11   Mean Mr. Mustard  Lennon, McCartney  01:06 
      12   Polythene Pam  Lennon, McCartney  01:12 
     13   She Came in Through the Bathroom Window  Lennon, McCartney  01:57 
      14   Golden Slumbers  Lennon, McCartney  01:31 
      15   Carry That Weight  Lennon, McCartney  01:36 
      16   The End  Lennon, McCartney  02:19 
      17   Her Majesty  Lennon, McCartney  00:23

 
The last Beatles album to be recorded (although Let It Be was the last to be released), Abbey Road was a fitting swan song for the group, echoing some of the faux-conceptual forms of Sgt. Pepper, but featuring stronger compositions and more rock-oriented ensemble work. The group was still pushing forward in all facets of its art, whether devising some of the greatest harmonies to be heard on any rock record (especially on "Because"), constructing a medley of songs/vignettes that covered much of side two, adding subtle touches of Moog synthesizer, or crafting furious guitar-heavy rock ("The End," "I Want You (She's So Heavy)," "Come Together"). George Harrison also blossomed into a major songwriter, contributing the buoyant "Here Comes the Sun" and the supremely melodic ballad "Something," the latter of which became the first Harrison-penned Beatles hit. Whether Abbey Road is the Beatles' best work is debatable, but it's certainly the most immaculately produced (with the possible exception of Sgt. Pepper) and most tightly constructed.
 

Tracks
  
   
   
   
  Title  
  Composer  
  Time  
 
    1   Come Together  Lennon, McCartney  04:20 
     2   Something  Harrison  03:02 
      3   Maxwell's Silver Hammer  Lennon, McCartney  03:27 
      4   Oh! Darling  Lennon, McCartney  03:26 
      5   Octopus's Garden  Starkey, Starr  02:51 
      6   I Want You (She's So Heavy)  Lennon, McCartney  07:47 
     7   Here Comes the Sun  Harrison  03:05 
      8   Because  Lennon, McCartney  02:45 
      9   You Never Give Me Your Money  Lennon, McCartney  04:02 
      10   Sun King  Lennon, McCartney  02:26 
      11   Mean Mr. Mustard  Lennon, McCartney  01:06 
      12   Polythene Pam  Lennon, McCartney  01:12 
     13   She Came in Through the Bathroom Window  Lennon, McCartney  01:57 
      14   Golden Slumbers  Lennon, McCartney  01:31 
      15   Carry That Weight  Lennon, McCartney  01:36 
      16   The End  Lennon, McCartney  02:19 
      17   Her Majesty  Lennon, McCartney  00:23

 

Tracks
  
   
   
   
  Title  
  Composer  
  Time  
 
    1   Come Together  Lennon, McCartney  04:20 
     2   Something  Harrison  03:02 
      3   Maxwell's Silver Hammer  Lennon, McCartney  03:27 
      4   Oh! Darling  Lennon, McCartney  03:26 
      5   Octopus's Garden  Starkey, Starr  02:51 
      6   I Want You (She's So Heavy)  Lennon, McCartney  07:47 
     7   Here Comes the Sun  Harrison  03:05 
      8   Because  Lennon, McCartney  02:45 
      9   You Never Give Me Your Money  Lennon, McCartney  04:02 
      10   Sun King  Lennon, McCartney  02:26 
      11   Mean Mr. Mustard  Lennon, McCartney  01:06 
      12   Polythene Pam  Lennon, McCartney  01:12 
     13   She Came in Through the Bathroom Window  Lennon, McCartney  01:57 
      14   Golden Slumbers  Lennon, McCartney  01:31 
      15   Carry That Weight  Lennon, McCartney  01:36 
      16   The End  Lennon, McCartney  02:19 
      17   Her Majesty  Lennon, McCartney  00:23

 
      4   Oh! Darling  Lennon, McCartney  03:26 
      5   Octopus's Garden  Starkey, Starr  02:51 
      6   I Want You (She's So Heavy)  Lennon, McCartney  07:47 
     7   Here Comes the Sun  Harrison  03:05 
      8   Because  Lennon, McCartney  02:45 
      9   You Never Give Me Your Money  Lennon, McCartney  04:02 
      10   Sun King  Lennon, McCartney  02:26 
      11   Mean Mr. Mustard  Lennon, McCartney  01:06 
      12   Polythene Pam  Lennon, McCartney  01:12 
     13   She Came in Through the Bathroom Window  Lennon, McCartney  01:57 
      14   Golden Slumbers  Lennon, McCartney  01:31 
      15   Carry That Weight  Lennon, McCartney  01:36 
      16   The End  Lennon, McCartney  02:19 
      17   Her Majesty  Lennon, McCartney  00:23

With the Beatles
The Beatles  
 
 
 
Artist
 
The Beatles
 
Album
 
With the Beatles
 
Rating
 
 
Release Date
 
Nov 22, 1963
 
Label
 
 
Capitol Records
 
Time
 
 
32:24
 
Type
 
 
Enhanced
 
Genre  Styles
Pop/Rock
 Contemporary Pop/ Rock
Merseybeat
British Invasion
Rock & Roll
AM Pop
Early Pop/Rock
 
 
Moods  Themes
Lively
Gleeful
Exciting
Warm
Bright
Yearning
Energetic
Raucous
Fun
Bittersweet
Playful
Sweet
Rollicking
Rousing
Poignant
Witty
Cheerful
Acerbic
Exuberant
Earnest
Whimsical
 Affection/ Fondness
Playful
Summertime
Spring
Hanging Out
Party Time
 
 
AMG Album ID
 
R     1503
 

 
 Review by Stephen Thomas Erlewine
 
 
 
With the Beatles is a sequel of the highest order — one that betters the original by developing its own tone and adding depth. While it may share several similarities with its predecessor — there is an equal ratio of covers-to-originals, a familiar blend of girl group, Motown, R&B, pop, and rock, and a show tune that interrupts the flow of the album — With the Beatles is a better record that not only rocks harder, it's considerably more sophisticated. They could deliver rock & roll straight ("I Wanna Be Your Man") or twist it around with a little Latin lilt ("Little Child," one of their most underrated early rockers); Lennon and McCartney wrote sweet ballads (the achingly gorgeous "All I've Got to Do") and sprightly pop/rockers ("All My Loving") with equal aplomb; and the propulsive rockers ("It Won't Be Long") were as richly melodic as slower songs ("Not a Second Time"). Even George Harrison's first recorded song, "Don't Bother Me," is a standout, with its wonderfully foreboding minor-key melody. Since the Beatles covered so much ground with their originals, their covers pale slightly in comparison, particularly since they rely on familiar hits (only "Devil in Her Heart" qualifies as a forgotten gem). But for every "Roll Over Beethoven," a surprisingly stiff reading of the Chuck Berry standard, there is a sublime moment, such as Lennon's soaring interpretation of "You Really Got a Hold on Me," and the group always turns in thoroughly enjoyable performances. Still, the heart of With the Beatles lies not in the covers, but the originals, where it was clear that, even at this early stage, the Beatles were rapidly maturing and changing, turning into expert craftsmen and musical innovators.

 
 

Tracks
  
   
   
   
  Title  
  Composer  
  Time  
 
    1   It Won't Be Long  Lennon, McCartney  2:13 
      2   All I've Got to Do  Lennon, McCartney  2:02 
     3   All My Loving  Lennon, McCartney  2:07 
     4   Don't Bother Me  Harrison  2:28 
      5   Little Child  Lennon, McCartney  1:46 
       6   Till There Was You  Willson  2:13 
       7   Please Mister Postman  Bateman, Dobbins, Garrett ...  2:34 
Composed by: Bateman, Dobbins, Garrett, Gorman, Holland

 
      8   Roll Over Beethoven  Berry  2:45 
      9   Hold Me Tight  Lennon, McCartney  2:31 
       10   You've Really Got a Hold on Me  Robinson  3:01 
     11   I Wanna Be Your Man  Lennon, McCartney  1:59 
       12   Devil in Her Heart  Drapkin, Dropkin  2:26 
      13   Not a Second Time  Lennon, McCartney  2:06 
       14   Money (That's What I Want)  Bradford, Gordy  2:51 
       15   With the Beatles Mini-Documentary [Multimedia]

 
 
Release Date
 
Nov 22, 1963
 
Label
 
 
Capitol Records
 
Time
 
 
32:24
 
Type
 
 
Enhanced
 
Genre  Styles
Pop/Rock
 Contemporary Pop/ Rock
Merseybeat
British Invasion
Rock & Roll
AM Pop
Early Pop/Rock
 
 
Moods  Themes
Lively
Gleeful
Exciting
Warm
Bright
Yearning
Energetic
Raucous
Fun
Bittersweet
Playful
Sweet
Rollicking
Rousing
Poignant
Witty
Cheerful
Acerbic
Exuberant
Earnest
Whimsical
 Affection/ Fondness
Playful
Summertime
Spring
Hanging Out
Party Time
 
 
AMG Album ID
 
R     1503
 
 
 
 Review by Stephen Thomas Erlewine
 
 
 
With the Beatles is a sequel of the highest order — one that betters the original by developing its own tone and adding depth. While it may share several similarities with its predecessor — there is an equal ratio of covers-to-originals, a familiar blend of girl group, Motown, R&B, pop, and rock, and a show tune that interrupts the flow of the album — With the Beatles is a better record that not only rocks harder, it's considerably more sophisticated. They could deliver rock & roll straight ("I Wanna Be Your Man") or twist it around with a little Latin lilt ("Little Child," one of their most underrated early rockers); Lennon and McCartney wrote sweet ballads (the achingly gorgeous "All I've Got to Do") and sprightly pop/rockers ("All My Loving") with equal aplomb; and the propulsive rockers ("It Won't Be Long") were as richly melodic as slower songs ("Not a Second Time"). Even George Harrison's first recorded song, "Don't Bother Me," is a standout, with its wonderfully foreboding minor-key melody. Since the Beatles covered so much ground with their originals, their covers pale slightly in comparison, particularly since they rely on familiar hits (only "Devil in Her Heart" qualifies as a forgotten gem). But for every "Roll Over Beethoven," a surprisingly stiff reading of the Chuck Berry standard, there is a sublime moment, such as Lennon's soaring interpretation of "You Really Got a Hold on Me," and the group always turns in thoroughly enjoyable performances. Still, the heart of With the Beatles lies not in the covers, but the originals, where it was clear that, even at this early stage, the Beatles were rapidly maturing and changing, turning into expert craftsmen and musical innovators.

 
 

Tracks
  
   
   
   
  Title  
  Composer  
  Time  
 
    1   It Won't Be Long  Lennon, McCartney  2:13 
      2   All I've Got to Do  Lennon, McCartney  2:02 
     3   All My Loving  Lennon, McCartney  2:07 
     4   Don't Bother Me  Harrison  2:28 
      5   Little Child  Lennon, McCartney  1:46 
       6   Till There Was You  Willson  2:13 
       7   Please Mister Postman  Bateman, Dobbins, Garrett ...  2:34 
Composed by: Bateman, Dobbins, Garrett, Gorman, Holland

 
      8   Roll Over Beethoven  Berry  2:45 
      9   Hold Me Tight  Lennon, McCartney  2:31 
       10   You've Really Got a Hold on Me  Robinson  3:01 
     11   I Wanna Be Your Man  Lennon, McCartney  1:59 
       12   Devil in Her Heart  Drapkin, Dropkin  2:26 
      13   Not a Second Time  Lennon, McCartney  2:06 
       14   Money (That's What I Want)  Bradford, Gordy  2:51 
       15   With the Beatles Mini-Documentary [Multimedia]     
 
 indicates  Track Pick
 indicates a click-through to a song review
 
 
 
 
Releases Other Editions
 Year  
  Type  
  Label  
  Catalog #  
 
1987 CD Capitol Records C2-46436
2006 LP Parlophone Records 1206
1987 CS Capitol Records C4J-46436
2007 CD Toshiba EMI 51112
2004 LP EMI Music Distribution TOJP60132
  Edition 
 
Stereo

 
 
32:24
 
Type
 
 
Enhanced
 
Genre  Styles
Pop/Rock
 Contemporary Pop/ Rock
Merseybeat
British Invasion
Rock & Roll
AM Pop
Early Pop/Rock
 
 
Moods  Themes
Lively
Gleeful
Exciting
Warm
Bright
Yearning
Energetic
Raucous
Fun
Bittersweet
Playful
Sweet
Rollicking
Rousing
Poignant
Witty
Cheerful
Acerbic
Exuberant
Earnest
Whimsical
 Affection/ Fondness
Playful
Summertime
Spring
Hanging Out
Party Time
 
 
AMG Album ID
 
R     1503
 
 
 
 Review by Stephen Thomas Erlewine
 
 
 
With the Beatles is a sequel of the highest order — one that betters the original by developing its own tone and adding depth. While it may share several similarities with its predecessor — there is an equal ratio of covers-to-originals, a familiar blend of girl group, Motown, R&B, pop, and rock, and a show tune that interrupts the flow of the album — With the Beatles is a better record that not only rocks harder, it's considerably more sophisticated. They could deliver rock & roll straight ("I Wanna Be Your Man") or twist it around with a little Latin lilt ("Little Child," one of their most underrated early rockers); Lennon and McCartney wrote sweet ballads (the achingly gorgeous "All I've Got to Do") and sprightly pop/rockers ("All My Loving") with equal aplomb; and the propulsive rockers ("It Won't Be Long") were as richly melodic as slower songs ("Not a Second Time"). Even George Harrison's first recorded song, "Don't Bother Me," is a standout, with its wonderfully foreboding minor-key melody. Since the Beatles covered so much ground with their originals, their covers pale slightly in comparison, particularly since they rely on familiar hits (only "Devil in Her Heart" qualifies as a forgotten gem). But for every "Roll Over Beethoven," a surprisingly stiff reading of the Chuck Berry standard, there is a sublime moment, such as Lennon's soaring interpretation of "You Really Got a Hold on Me," and the group always turns in thoroughly enjoyable performances. Still, the heart of With the Beatles lies not in the covers, but the originals, where it was clear that, even at this early stage, the Beatles were rapidly maturing and changing, turning into expert craftsmen and musical innovators.

 
 

Tracks
  
   
   
   
  Title  
  Composer  
  Time  
 
    1   It Won't Be Long  Lennon, McCartney  2:13 
      2   All I've Got to Do  Lennon, McCartney  2:02 
     3   All My Loving  Lennon, McCartney  2:07 
     4   Don't Bother Me  Harrison  2:28 
      5   Little Child  Lennon, McCartney  1:46 
       6   Till There Was You  Willson  2:13 
       7   Please Mister Postman  Bateman, Dobbins, Garrett ...  2:34 
Composed by: Bateman, Dobbins, Garrett, Gorman, Holland

 
      8   Roll Over Beethoven  Berry  2:45 
      9   Hold Me Tight  Lennon, McCartney  2:31 
       10   You've Really Got a Hold on Me  Robinson  3:01 
     11   I Wanna Be Your Man  Lennon, McCartney  1:59 
       12   Devil in Her Heart  Drapkin, Dropkin  2:26 
      13   Not a Second Time  Lennon, McCartney  2:06 
       14   Money (That's What I Want)  Bradford, Gordy  2:51 
       15   With the Beatles Mini-Documentary [Multimedia]

Rock & Roll
AM Pop
Early Pop/Rock
 
 
Moods  Themes
Lively
Gleeful
Exciting
Warm
Bright
Yearning
Energetic
Raucous
Fun
Bittersweet
Playful
Sweet
Rollicking
Rousing
Poignant
Witty
Cheerful
Acerbic
Exuberant
Earnest
Whimsical
 Affection/ Fondness
Playful
Summertime
Spring
Hanging Out
Party Time
 
 
AMG Album ID
 
R     1503
 
 
 
 Review by Stephen Thomas Erlewine
 
 
 
With the Beatles is a sequel of the highest order — one that betters the original by developing its own tone and adding depth. While it may share several similarities with its predecessor — there is an equal ratio of covers-to-originals, a familiar blend of girl group, Motown, R&B, pop, and rock, and a show tune that interrupts the flow of the album — With the Beatles is a better record that not only rocks harder, it's considerably more sophisticated. They could deliver rock & roll straight ("I Wanna Be Your Man") or twist it around with a little Latin lilt ("Little Child," one of their most underrated early rockers); Lennon and McCartney wrote sweet ballads (the achingly gorgeous "All I've Got to Do") and sprightly pop/rockers ("All My Loving") with equal aplomb; and the propulsive rockers ("It Won't Be Long") were as richly melodic as slower songs ("Not a Second Time"). Even George Harrison's first recorded song, "Don't Bother Me," is a standout, with its wonderfully foreboding minor-key melody. Since the Beatles covered so much ground with their originals, their covers pale slightly in comparison, particularly since they rely on familiar hits (only "Devil in Her Heart" qualifies as a forgotten gem). But for every "Roll Over Beethoven," a surprisingly stiff reading of the Chuck Berry standard, there is a sublime moment, such as Lennon's soaring interpretation of "You Really Got a Hold on Me," and the group always turns in thoroughly enjoyable performances. Still, the heart of With the Beatles lies not in the covers, but the originals, where it was clear that, even at this early stage, the Beatles were rapidly maturing and changing, turning into expert craftsmen and musical innovators.

 
 

Tracks
  
   
   
   
  Title  
  Composer  
  Time  
 
    1   It Won't Be Long  Lennon, McCartney  2:13 
      2   All I've Got to Do  Lennon, McCartney  2:02 
     3   All My Loving  Lennon, McCartney  2:07 
     4   Don't Bother Me  Harrison  2:28 
      5   Little Child  Lennon, McCartney  1:46 
       6   Till There Was You  Willson  2:13 
       7   Please Mister Postman  Bateman, Dobbins, Garrett ...  2:34 
Composed by: Bateman, Dobbins, Garrett, Gorman, Holland

 
      8   Roll Over Beethoven  Berry  2:45 
      9   Hold Me Tight  Lennon, McCartney  2:31 
       10   You've Really Got a Hold on Me  Robinson  3:01 
     11   I Wanna Be Your Man  Lennon, McCartney  1:59 
       12   Devil in Her Heart  Drapkin, Dropkin  2:26 
      13   Not a Second Time  Lennon, McCartney  2:06 
       14   Money (That's What I Want)  Bradford, Gordy  2:51 
       15   With the Beatles Mini-Documentary [Multimedia]

Fun
Bittersweet
Playful
Sweet
Rollicking
Rousing
Poignant
Witty
Cheerful
Acerbic
Exuberant
Earnest
Whimsical
 Affection/ Fondness
Playful
Summertime
Spring
Hanging Out
Party Time
 
 
AMG Album ID
 
R     1503
 
 
 
 Review by Stephen Thomas Erlewine
 
 
 
With the Beatles is a sequel of the highest order — one that betters the original by developing its own tone and adding depth. While it may share several similarities with its predecessor — there is an equal ratio of covers-to-originals, a familiar blend of girl group, Motown, R&B, pop, and rock, and a show tune that interrupts the flow of the album — With the Beatles is a better record that not only rocks harder, it's considerably more sophisticated. They could deliver rock & roll straight ("I Wanna Be Your Man") or twist it around with a little Latin lilt ("Little Child," one of their most underrated early rockers); Lennon and McCartney wrote sweet ballads (the achingly gorgeous "All I've Got to Do") and sprightly pop/rockers ("All My Loving") with equal aplomb; and the propulsive rockers ("It Won't Be Long") were as richly melodic as slower songs ("Not a Second Time"). Even George Harrison's first recorded song, "Don't Bother Me," is a standout, with its wonderfully foreboding minor-key melody. Since the Beatles covered so much ground with their originals, their covers pale slightly in comparison, particularly since they rely on familiar hits (only "Devil in Her Heart" qualifies as a forgotten gem). But for every "Roll Over Beethoven," a surprisingly stiff reading of the Chuck Berry standard, there is a sublime moment, such as Lennon's soaring interpretation of "You Really Got a Hold on Me," and the group always turns in thoroughly enjoyable performances. Still, the heart of With the Beatles lies not in the covers, but the originals, where it was clear that, even at this early stage, the Beatles were rapidly maturing and changing, turning into expert craftsmen and musical innovators.

 
 

Tracks
  
   
   
   
  Title  
  Composer  
  Time  
 
    1   It Won't Be Long  Lennon, McCartney  2:13 
      2   All I've Got to Do  Lennon, McCartney  2:02 
     3   All My Loving  Lennon, McCartney  2:07 
     4   Don't Bother Me  Harrison  2:28 
      5   Little Child  Lennon, McCartney  1:46 
       6   Till There Was You  Willson  2:13 
       7   Please Mister Postman  Bateman, Dobbins, Garrett ...  2:34 
Composed by: Bateman, Dobbins, Garrett, Gorman, Holland

 
      8   Roll Over Beethoven  Berry  2:45 
      9   Hold Me Tight  Lennon, McCartney  2:31 
       10   You've Really Got a Hold on Me  Robinson  3:01 
     11   I Wanna Be Your Man  Lennon, McCartney  1:59 
       12   Devil in Her Heart  Drapkin, Dropkin  2:26 
      13   Not a Second Time  Lennon, McCartney  2:06 
       14   Money (That's What I Want)  Bradford, Gordy  2:51 
       15   With the Beatles Mini-Documentary [Multimedia]

Playful
Summertime
Spring
Hanging Out
Party Time
 
 
AMG Album ID
 
R     1503
 
 
 
 Review by Stephen Thomas Erlewine
 
 
 
With the Beatles is a sequel of the highest order — one that betters the original by developing its own tone and adding depth. While it may share several similarities with its predecessor — there is an equal ratio of covers-to-originals, a familiar blend of girl group, Motown, R&B, pop, and rock, and a show tune that interrupts the flow of the album — With the Beatles is a better record that not only rocks harder, it's considerably more sophisticated. They could deliver rock & roll straight ("I Wanna Be Your Man") or twist it around with a little Latin lilt ("Little Child," one of their most underrated early rockers); Lennon and McCartney wrote sweet ballads (the achingly gorgeous "All I've Got to Do") and sprightly pop/rockers ("All My Loving") with equal aplomb; and the propulsive rockers ("It Won't Be Long") were as richly melodic as slower songs ("Not a Second Time"). Even George Harrison's first recorded song, "Don't Bother Me," is a standout, with its wonderfully foreboding minor-key melody. Since the Beatles covered so much ground with their originals, their covers pale slightly in comparison, particularly since they rely on familiar hits (only "Devil in Her Heart" qualifies as a forgotten gem). But for every "Roll Over Beethoven," a surprisingly stiff reading of the Chuck Berry standard, there is a sublime moment, such as Lennon's soaring interpretation of "You Really Got a Hold on Me," and the group always turns in thoroughly enjoyable performances. Still, the heart of With the Beatles lies not in the covers, but the originals, where it was clear that, even at this early stage, the Beatles were rapidly maturing and changing, turning into expert craftsmen and musical innovators.

 
 

Tracks
  
   
   
   
  Title  
  Composer  
  Time  
 
    1   It Won't Be Long  Lennon, McCartney  2:13 
      2   All I've Got to Do  Lennon, McCartney  2:02 
     3   All My Loving  Lennon, McCartney  2:07 
     4   Don't Bother Me  Harrison  2:28 
      5   Little Child  Lennon, McCartney  1:46 
       6   Till There Was You  Willson  2:13 
       7   Please Mister Postman  Bateman, Dobbins, Garrett ...  2:34 
Composed by: Bateman, Dobbins, Garrett, Gorman, Holland

 
      8   Roll Over Beethoven  Berry  2:45 
      9   Hold Me Tight  Lennon, McCartney  2:31 
       10   You've Really Got a Hold on Me  Robinson  3:01 
     11   I Wanna Be Your Man  Lennon, McCartney  1:59 
       12   Devil in Her Heart  Drapkin, Dropkin  2:26 
      13   Not a Second Time  Lennon, McCartney  2:06 
       14   Money (That's What I Want)  Bradford, Gordy  2:51 
       15   With the Beatles Mini-Documentary [Multimedia]

 
 
 
With the Beatles is a sequel of the highest order — one that betters the original by developing its own tone and adding depth. While it may share several similarities with its predecessor — there is an equal ratio of covers-to-originals, a familiar blend of girl group, Motown, R&B, pop, and rock, and a show tune that interrupts the flow of the album — With the Beatles is a better record that not only rocks harder, it's considerably more sophisticated. They could deliver rock & roll straight ("I Wanna Be Your Man") or twist it around with a little Latin lilt ("Little Child," one of their most underrated early rockers); Lennon and McCartney wrote sweet ballads (the achingly gorgeous "All I've Got to Do") and sprightly pop/rockers ("All My Loving") with equal aplomb; and the propulsive rockers ("It Won't Be Long") were as richly melodic as slower songs ("Not a Second Time"). Even George Harrison's first recorded song, "Don't Bother Me," is a standout, with its wonderfully foreboding minor-key melody. Since the Beatles covered so much ground with their originals, their covers pale slightly in comparison, particularly since they rely on familiar hits (only "Devil in Her Heart" qualifies as a forgotten gem). But for every "Roll Over Beethoven," a surprisingly stiff reading of the Chuck Berry standard, there is a sublime moment, such as Lennon's soaring interpretation of "You Really Got a Hold on Me," and the group always turns in thoroughly enjoyable performances. Still, the heart of With the Beatles lies not in the covers, but the originals, where it was clear that, even at this early stage, the Beatles were rapidly maturing and changing, turning into expert craftsmen and musical innovators.

 
 

Tracks
  
   
   
   
  Title  
  Composer  
  Time  
 
    1   It Won't Be Long  Lennon, McCartney  2:13 
      2   All I've Got to Do  Lennon, McCartney  2:02 
     3   All My Loving  Lennon, McCartney  2:07 
     4   Don't Bother Me  Harrison  2:28 
      5   Little Child  Lennon, McCartney  1:46 
       6   Till There Was You  Willson  2:13 
       7   Please Mister Postman  Bateman, Dobbins, Garrett ...  2:34 
Composed by: Bateman, Dobbins, Garrett, Gorman, Holland

 
      8   Roll Over Beethoven  Berry  2:45 
      9   Hold Me Tight  Lennon, McCartney  2:31 
       10   You've Really Got a Hold on Me  Robinson  3:01 
     11   I Wanna Be Your Man  Lennon, McCartney  1:59 
       12   Devil in Her Heart  Drapkin, Dropkin  2:26 
      13   Not a Second Time  Lennon, McCartney  2:06 
       14   Money (That's What I Want)  Bradford, Gordy  2:51 
       15   With the Beatles Mini-Documentary [Multimedia]

And The Beach Boys version of Rock and Roll Music is not rocking at all but The Beatles version is and John's great rock vocal is almost as great as his  rocking vocal on Money and his incredible Twist and Shout rocking vocal which he sang with a bad sore throat from a bad cold!
 
 
 
Also, The Beatles  not only wrote so many great timeless rock songs,but so many beautiful  acoustic ballads,even as early as on their great early 1964 A Hard Day's Night  album,John's beautiful If I Fell, I'll Be Back  and  Paul's  beautiful  And  I  Love Her and Things We Said Today.
 
 
Paul McCartney says in his authorized biography  Many Years From Now, that 12 years after his beloved mother Mary who was a nurse and a midwife  died when Paul was only 14 and his brother only 12 from breast cancer within a month of being diagnosed,he had a realistic vivid dream where he saw his mother alive again and she told him to just accept things as they are.
 
 
 
Some people including Paul himself say he subconciously wrote Yesterday 3 years before he wrote Let It Be also about his mother's death.Especialy when  he sings the words,why she had  to  go  I don't  know she  wouldn't say, and how  he sings  I  said something wrong and he longs  for yesterday when  she  was still  living and  all of  his troubles seemed  so far away,and he's not half the man he used to be, and wants  to find a place to hide away,and how  there is a shadow hanging over him and yesterday came suddenly. Like Let  It  Be it's  a  sad  song  especially for an extremely talented,great looking, very successful  22  year old  rock artist  to write.
 
 
He said when he woke up from this dream(where he saw his dead mother Mary )he thought how wonderful it was to see  her again,and that's what he wrote the beautiful song Let It Be About,it's his dead mother Mary who comes to him in his times of trouble in his hours of darknes speaking words of wisdom Let  Be.
 
 
 
John Lennon's beautiful song Julia on The Beatles great rock album,The White album is about his mother Julia  who gave him away at 5 to be raised by her older sister,and just when John was getting close to her she was killed in a hit and run car accident by a drunk off duty cop while she crossed the street  in front of the house John lived in,he was at her boyfriend's house waiting for her.
 

Also John Lennon wrote the lyrics to the great song  A Day In The Life while he was reading the coroner's report in the news paper of Tara Brown's death who was a Guiness heir and a good friend of theirs(Paul met him first in a London club and he was closest to him,and he introcuded him to John,George, and Mick Jagger,Keith Richards and Brian Jones met him through them and became friends with him too) who  was killed at the age of 21 in his sports car crash in December 1966,his girlfriend was in the car and had minor injuries.He would have inherited 1 million $ if he had lived to be 25.