Your basket is empty

Categories :

Similar artists

Albums

From
CD$16.49

Rock - Released August 5, 1966 | EMI Catalogue

Distinctions The Qobuz Ideal Discography
Everyone has their favorite Beatles record, but Revolver will always be a truly pivotal point, one of the most influential (THE most?) albums in the history of rock. This seventh studio recording, which was released in August 1966, waves goodbye to the friendly and playful image of the Fab Four from Liverpool in order for them to become the architects of a total pop revolution. With Revolver, backed by the indispensable production of George Martin, the group embarks on some of the wildest experiments in the service of creating their most fascinating material ever. They tinker with their sound and explore new territory once again, they thrive on prohibited substances (also evoked in their lyrics), introduce an impressive range of instruments (harpsichord, trumpet, sitar, organ...) and strengthen their writing, once so carefree in the infancy of their careers. Notably, the Fab Four then decided not to perform on stage again, preferring to use the recording studio as an instrument in itself, if not sometimes as an additional member. For the rest, the simple song titles written in procession is apt conclusion: Tomorrow Never Knows, Eleanor Rigby, I'm Only Sleeping, Got To Get You Into My Life, Taxman... ©MZ/Qobuz, Translation/BM
From
CD$16.49

Rock - Released December 3, 1965 | EMI Catalogue

Distinctions The Qobuz Ideal Discography
With its more ambitious compositions, Help! had made it clear that the Beatles did not intend to stay remain that nice little group from Liverpool much longer. Four months later, Rubber Soul was released in December of 1965, and the Fab Four show that they have indeed grown up artistically. There are more mature texts (written by Bob Dylan, a real influence on the Beatles as confessed by McCartney himself) and more daring harmonies. They even bring their instrumentation to unknown territory as demonstrated by Norwegian Wood or the bass on Think for Yourself. As for ballads like Girl or Michelle, they are beautiful and will remain timeless. Above all, this sixth studio album mixes more musical styles - be it pop (of course) but also R&B, folk, soul and psychedelic. Rubber Soul also marks the point where we see each member of the group affirm their unique personalities, and with the support of producer George Martin, John, Paul, George and Ringo were encouraged to move away from their "youthful" habits. ©MZ/Qobuz, Translation/BM
From
CD$16.49

Rock - Released July 10, 1964 | EMI Catalogue

Distinctions The Qobuz Ideal Discography
Soundtrack of the eponymous film directed by Richard Lester (dubbed in French Quatre garçons dans le vent or Four boys in the wind), A Hard Day's Night is a first for The Beatles, as for this third album released at the beginning of summer 1964, John Lennon and Paul McCartney wrote every song on the disc without any covers! And what songs! Can’t Buy Me Love, A Hard Day's Night, I Should Have Known Better - the level is very high and each hit track shows a rapidly developing musical and artistic identity as the group went from being national treasures to international icons. Every corner of this changing pop façade is fascinating. The irresistible melodies are pulled together by sparkling guitars in an innocent, feel-good tribute to all things melodic. A Hard Day's Night is the epitome of the early periods of that famous 'sound' of the The Beatles. Even in ballads such as And I Love Her, the Fab Four already demonstrate a fascinating musical maturity... A true joy for the listener. ©MZ/Qobuz, Translation/BM
From
CD$16.49

Rock - Released June 1, 1967 | EMI Catalogue

Distinctions The Qobuz Ideal Discography
How to better a record like Revolver? Sign off another by the name of Sergeant Pepper's Lonely Hearts Club Band. For many, this is truly the greatest pop and rock music of all time, if not one of the most significant works of art in popular culture from the second half of the twentieth century... After discovering the endless possibilities offered to them in the recording studio, John, Paul, George and Ringo continue their crazy musical experiments. More than ever considered as the ‘fifth Beatle’, producer George Martin runs out a magic carpet of discoveries that would go on to influence the future of pop. When this eighth studio album is released in June 1967, the era is one that has embraced the all-out psychedelic, and this concept album is a true hallucinatory trip (not only for Lucy In The Sky With Diamonds). Like the patchwork of his mythical pocket, Sergeant Pepper's journeys through pure pop, manly rock'n'roll, totally trippy sequences (to near worldly scales), retro songs of nursery rhymes, animal noises and even classical music! On the composition side, the duo of Lennon/McCartney is at the top of its game, delivering new songs that are still influential today. ©MZ/Qobuz, Translation/BM
From
CD$25.49

Rock - Released April 2, 1973 | EMI Catalogue

Released in 1973, three years after the separation of the Beatles, this compilation from 1967-1970 is more commonly known as the The Blue Album and consists of 28 songs that were recorded, as the title indicates, between 1967 and 1970. It is obviously the essential companion of its red twin, The Beatles 1962 - 1966 (The Red Album), and was mastered simultaneously. The anthology of the second period of The Beatles' career can be summed up wonderfully by simply reciting the titles of all the opening tracks (light euphemisms to say the least): Strawberry Fields Forever, Penny Lane, Sgt. Pepper's Lonely Hearts Club Band, Lucy in the Sky with Diamonds, A Day In The Life, All You Need Is Love, I Am the Walrus, Magical Mystery Tour, Hey Jude, Back In The USSR, While My Guitar Gently Weeps, Here Comes The Sun, Come Together, Let It Be or Across The Universe. Again we listen, open-mouthed, witnessing the musical aftermath of adulthood on the four boys from Liverpool, who were undoubtedly some of the most accomplished musicians on the planet, both in their brilliance and in their imagination. It is fascinating, again and again, to realize that this extensive list of wonderful songs was recorded in just four short years ... © MZ/Qobuz, Translation/BM
From
CD$16.49

Rock - Released September 26, 1969 | EMI Catalogue

The testament. The final chapter. Abbey Road, released in September 1969, is the last true episode in the discography of The Beatles, with Let It Be (released in May 1970) having actually been recorded previously. A farewell that magnifies the art of composition, melodic mastery and harmonic balance. Once again, the range is wide - whether your talking about the soothing ballads, or more percussive tracks like Come Together. Abbey Road also reminds us that, behind the tutelary tandem of Lennon/McCartney, George (Here Comes The Sun) and Ringo (Octopus's Garden) are not there to simply make up the numbers. This masterpiece, in spite of its huge success, could not prevent the Fab Four from ending their union. The divorce was made official in April 1970. The most influential group of all time ultimately spent just seven years in the studio… ©MZ/Qobuz, Translation/BM
From
CD$25.49

Rock - Released April 2, 1973 | EMI Catalogue

Released in 1973, three years after the separation of The Beatles, this compilation from 1962-1966 (more commonly known as the The Red Album) brings together 26 songs recorded, as indicated by the title, between 1962 and 1966. From Love Me Do (opening track) to Yellow Submarine (closing track), how far the four boys from Liverpool came in that period is quite awe-inspiring. It is especially fascinating to realize, in retrospect, that all of these masterpieces were recorded in just five short years! The artistic evolution that is taking shape here is also stunning: the mischievous and restless debut, the birth of the writing of Lennon/McCartney, the evolution of work in the studio... this double compilation allows you to hear and understand this rather unique period in the history of rock'n'roll and pop. Its blue twin, The Beatles 1967 - 1970, was released simultaneously and is obviously an indispensable companion. ©MZ/Qobuz, Translation/BM
From
CD$16.49

Rock - Released May 8, 1970 | EMI Catalogue

Only a month after their split, the Beatles released Let It Be on May 8, 1970, their twelfth and final album (which was actually principally recorded in January of 1969, before Abbey Road). Without the agreement of his clients, Allen Klein (then manager of the Fab Four) sent tapes of those sessions to producer Phil Spector. The inventor of the Wall of Sound, a production technique of stacking lseveral recording tracks one over the other in order to get a huge sound, puts his sound signature on every song; and all of this without the blessing of their authors. Still, Spector applies this famous personal touch on only a limited number of tracks, leaving a crude, ‘live’ sound in most of the others. Despite the chaotic atmosphere between The Beatles themselves coupled with the questionable choice of producer, Let It Be remains an essential recording that covers masterpieces such as the eponymous track Let it Be, the scathing, top of pop gospel Get Back, or even the beautifully folk Two of Us.  Although it is certainly far from the level of Revolver or Sergeant Pepper's, even a decent album by The Beatles’ standards will always be greater than 90% of other rock productions. ©MZ/Qobuz, Translation/BM
From
CD$16.49

Rock - Released November 27, 1967 | EMI Catalogue

A strange album in both its composition and its artwork. But, as we are talking about The Beatles, the strangeness is unquestionably wonderful... Released in late 1967 in England as a double EP and then in the US as a full album, Magical Mystery Tour is the soundtrack of the eponymous TV movie directed by Bernard Knowles for the BBC. Here we find much of the psychedelia of the Sgt Pepper's masterpiece, which had been released a few months earlier. The disc is not really designed as a full album, although it contains some of the greatest songs by the Fab Four, such as Penny Lane, Strawberry Fields Forever, All You Need Is Love, Hello Goodbye, I Am The Walrus and The Fool On The Hill. Even instrumental compositions like Flying are real gems... With Magical Mystery Tour, The Beatles sign off what would be the last of their tracks bathed in instrumental experimentation and unusual recording techniques, before turning to a final period of more refined writing. © MZ / Qobuz, Translation/BM
From
CD$25.49

Rock - Released November 22, 1968 | EMI Catalogue

After the amazing masterpieces of Revolver and Sergeant Pepper's, The Beatles dive back into the art of pure writing, bringing about a certain level of sobriety and leaving aside their recent psychadelic delusions, awesome as they were. Released in November 1968, this double White Album is a return to more refined pop and rock; the essence of their art. The title track of the disc, The Beatles, does not manage to hide the growing dissension between the four musicians at the time, and their diverging personalities saw this album herald the beginning of the end for the Fab Four, and the budding of their future solo careers... Despite all of this, The Beatles managed to release a new and totally unique album here, which can be enjoyed step by step as a true emotional rollercoaster: The fantasy of Dear Prudence, the dark madness of Revolution 9, the legendary guitar solo in While My Guitar Gently Weeps, the labyrinth of Happiness Is A Warm Gun and Sexy Sadie, the emotion of Julia (which Lennon dedicated to his mother, who died when he was 17), the purity of Blackbird and the ultra-violent tsunami that is Helter Skelter… the White Album is a brilliant production, a new masterpiece of a group growing apart ... ©Marc Zisman/Qobuz, Translation/BM
From
CD$16.49

Rock - Released August 6, 1965 | EMI Catalogue

Behind the eponymous title song for the film by Richard Lester, Help! shows the Fab Four in full artistic development. Throughout this fifth album, which was released in August 1965, the Beatles’ art is increasingly diverse, their texts are far from the simplicity of their humble beginnings and their instrumentalism has undeniably evolved as well. Alongside the eternal and exalted ‘hit’ songs contained on Help!, we also encounter such sublime ballads as Yesterday or You've Got To Hide Your Love Away. Even Ticket To Ride offers that ‘new’ punchy rhythm coupled with a sharp guitar sound. A major foundation was laid down here for the discographic masterpieces to come, including Rubber Soul and Revolver. ©MZ/Qobuz, Translation/BM
From
CD$16.49

Rock - Released March 22, 1963 | EMI Catalogue

The first building block of the Beatles discography - in full format – was released on 22 March, 1963. Singles from the album released a few months earlier had already launched the beginning of Beatlemania, but nobody could have predicted what was to come... In this introduction, the duo of Lennon/McCartney sign off eight original songs supplemented by six cover tracks, most of it the R&B and Soul music they loved so much. A repertoire performed by Fab Four in the small clubs of Hamburg and Liverpool, and as such one which they have already mastered from a to z. With tracks like I Saw Her Standing There, Please Please Me, P.S. I Love You, and especially Love Me Do, the Fab Four gave birth here to a totally unique and innovative pop. Music that is rooted in R&B, the girl groups and the rock'n'roll of the Atlantic. And then we have a startling reinterpretation of Twist & Shout by Phil Medley and Bert Berns, a track made famous a year previous by the Isley Brothers. Fresh, authentic, intense and above all, a precursor. This first album of the anthology would remain at top stop in the UK charts for over seven months! ©MZ/Qobuz, Translation/BM
From
CD$25.49

Rock - Released March 7, 1988 | EMI Catalogue

An essential compilation published in two volumes back in 1988 is rolled into one here, the Past Masters reunite songs that were mainly released as singles (sides A and B), and many of which are missing from the thirteen official studio albums (so, essential!), as well as some rarities (the Fab Four in German!). An avalanche of masterpieces recorded between September 1962 and January 1970, where just reading the title speaks for itself: Love Me Do, She Loves You, I Want to Hold Your Hand, Day Tripper, We Can Work It out, Paperback Writer, Rain, Hey Jude, Revolution, The Ballad of John and Yoko, Across the Universe, Let It Be... ©MZ/Qobuz, Translation/BM
From
CD$16.49

Rock - Released December 4, 1964 | EMI Catalogue

Just in time for Christmas, Beatles For Sale arrived in record stores on December 4, 1964, with the Fab Four already international icons. The pace imposed on them is also totally inhuman. Contractually obliged to record two albums a year, perform consecutive marathon tours and appear on TV shows, it's clear that Beatlemania is at its peak. The consequences of this madness sees the Beatles include six guest appearances for this fourth studio album (Carl Perkins, Buddy Holly, Chuck Berry, Lieber & Stoller ...) and eight original songs. John, Paul, George and Ringo offer up rather gloomy faces on the album cover, and with titles as explicit that I'm A Loser, Baby's In Black, I Don’t Want To Spoil The Party or No Reply, they show (with grace) a darker, melancholic side than the public was perhaps accustomed to. The Beatles pass (almost) into adulthood... ©MZ/Qobuz, Translation/BM
From
CD$16.49

Rock - Released November 17, 2006 | EMI Catalogue

If boiled down to a simple synopsis, the Beatles' LOVE sounds radical: assisted by his father, the legendary Beatles producer George, Giles Martin has assembled a remix album where familiar Fab Four tunes aren't just refurbished, they're given the mash-up treatment, meaning different versions of different songs are pasted together to create a new track. Ever since the turn of the century, mash-ups were in vogue in the underground, as such cut-n-paste jobs as Freelance Hellraiser's "Stroke of Genius" -- which paired up the Strokes' "Last Night" with Christina Aguilera's "Genie in a Bottle" -- circulated on the net, but no major group issued their own mash-up mastermix until LOVE in November 2006. Put in those terms, it seems like LOVE is a grand experiment, a piece of art for art's sake, but that's hardly the case. Its genesis lies with the Beatles agreeing to collaborate with performance dance troupe Cirque du Soleil on a project that evolved into the Las Vegas stage show LOVE, an extravaganza that cost well over 100 million dollars and was designed to generate revenue far exceeding that. During pre-production, all involved realized that the original Beatles tapes needed to be remastered in order to sound impressive by modern standards when pumped through the huge new theater -- the theater made just with this dance revue in mind -- and since they needed to be tweaked, they might as well use the opportunity to do something different with the familiar music, too: to remix and re-imagine it, to make LOVE be something unique to both the Beatles and Cirque du Soleil. Keep in mind the Cirque du Soleil portion of the equation: George and Giles Martin may have been given free reign to recontextualize the Beatles' catalog, but given that this was for a project that cost hundreds of millions of dollars this wasn't quite the second coming of The Grey Album, where Danger Mouse surreptitiously mashed up The White Album with Jay-Z's The Black Album. This isn't an art project and it isn't underground, either: it's a big, splashy commercial endeavor, one that needs to surprise millions of Beatles fans without alienating them, since the mission is to please fans whether they're hearing this in the theater or at home. And so, the curious LOVE, a purported re-imagining of the most familiar catalog in pop music, winds up being less interesting or surprising than its description would suggest. Neither an embarrassment or a revelation, LOVE is at first mildly odd but its novelty soon recedes, revealing that these are the same songs that know you by heart, only with louder drums and occasionally with a few parts in different places. Often, what's presented here isn't far afield from the original recording: strip "Because" down to its vocals and it still sounds very much like the "Because" on Abbey Road -- and that arrangement is actually one of the more drastic here. Whether they're songs as spare and stark as "Eleanor Rigby" or "Yesterday," as trippy as "Lucy in the Sky with Diamonds" or as basic as "Get Back," the songs remain the same, as do most of the arrangements, right down to the laughter and sound effects sprinkled throughout "I Am the Walrus." There's only one cut that has the thrilling unpredictability of a genuine mash-up and that's a cut that blends together "Drive My Car," "The Word" and "What You're Doing," punctuated with horns from "Savoy Truffle"; a chorus from one song flows into the verse from another, as keyboards and percussion from all three, plus more, come together to make something that's giddy, inventive and fresh. But that's the exception to the rule, since most of this delivers juxtapositions that seem obvious based on the concept of the project itself: it doesn't take a great leap of imagination to set the melody of "Within You Without You" to the backing track of "Tomorrow Never Knows," since both derive from the same psychedelic era and share similar themes. Throughout LOVE, songs are augmented by samples from roughly the same phase in the Beatles career, so "Strawberry Fields Forever" is enhanced by "Penny Lane," "Hello Goodbye," "Piggies" and "In My Life," but not "There's a Place," "It Won't Be Long," or "I Feel Fine," selections that could have been truly startling. It also would have been startling if those snippets of "Penny Lane" and "Hello Goodbye" were threaded within "Strawberry Fields," in a fashion similar to "Drive My Car/The Word/What You're Doing," but they're added to the end of the song, a move that's typical of the Martins' work here. With a few exceptions scattered throughout the record, all the mash-ups are saved for the very end of the song, which has the effect of preserving the feel of the original song while drawing attention to the showiest parts of the Martins' new mixes, giving the illusion that they've changed things around more than they actually have. Not that the Martins simply add things to the original recordings; that may be the bulk of their work here, but they do subtly change things on occasion. Most notably, they structure "Strawberry Fields" as a progression from the original demo to the finished single version (a move that is, admittedly, borrowed from Anthology 2) and they've used an alternate demo take of "While My Guitar Gently Weeps," to which George Martin has written a sympathetic new string arrangement. It also has to be said that the craft behind LOVE is impeccable: it flows as elegantly as the second side of Abbey Road, which is an achievement of no small measure. But there lies the rub: even if LOVE elicits a certain admiration for how Giles and George have crafted their mash-ups, it elicits a greater admiration for the original productions and arrangements, which display far more imagination and audacity than the mixes here. Take a song as seemingly straightforward as "Lady Madonna," a Fats Domino tribute so good the man himself recorded it. This mix highlights weird flourishes like the carnival-esque vocal harmonies of the bridge -- things that were so densely interwoven into the original single mix that they didn't stand out -- but by isolating them here and inserting them at the front of the song, the Martins lessen the dramatic impact of these harmonies, just like how the gut-level force of McCartney's heavy, heavy bass here is tamed by how it's buried in the mix. The original has an arrangement that builds where this gets to the good part immediately, then stays there, a problem that plagues all of LOVE. Here, the arrangements have everything pushed up toward the front, creating a Wall of Sound upon which certain individual parts or samples can stand out in how they contrast to the rest. This means that LOVE can indeed sound good -- particularly in a 5.1 surround mix as elements swirl between the front and back speakers, but these are all window-dressing on songs that retain all their identifiable elements from the original recordings. And that's the frustrating thing about this entire project: far from being a bold reinvention, a Beatles album for the 21st century, the Martins didn't go far enough in their mash-ups, creating new music out of old, turning it into something mind-blowing. But when there's a multi-multi-million dollar production at stake, creating something truly mind-blowing is not really the goal: offering the familiar dressed up as something new is, and that's what LOVE delivers with big-budget style and flair, and more than a touch of Vegas gaudiness. It's an extravaganza, bright and colorful and relentless in its quest to entertain but beneath all the bluster, LOVE isn't much more than nostalgia masquerading as something new. © Stephen Thomas Erlewine /TiVo
From
CD$16.49

Rock - Released November 22, 1963 | EMI Catalogue

What an album cover! The beautiful black and white photo by Robert Freeman is already a kind of must-have... Recorded only four months after their first album Please Please Me, the album With The Beatles, released in November 1963, is like a little extension. This second studio album brings together seven songs by the duo of Lennon/McCartney (notable mention: All My Loving), a George Harrison (Don't Bother Me), as well as six cover songs, and is mostly vintage rock'n'roll, soul and Motown rhythm’n’blues. Introducing new instruments, dubbed voices and sound eclecticism, With The Beatles depicts a young group that gradually extricate themselves from the influences of their elders in order to create their own unique musical universe. The original songs on this album, although certainly at the level that they would go on to achieve in subsequent years, show that The Beatles were already ahead of their time. ©MZ/Qobuz, Translation/BM
From
CD$38.49

Rock - Released October 28, 1996 | EMI Catalogue

The final installment of the Anthology series has two discs of previously unreleased material from the White Album era through the group's demise in early 1970. In terms of sheer listenability, this may be the strongest volume of the three, if only because it focuses almost solely upon studio recordings rather than mixing live concerts/broadcasts and outtakes. Also, by this time the Beatles had perfected their approach to recording, meaning that even the early/alternate versions of many of their cuts were often of outstanding quality. There's some prime stuff here: "unplugged" White Album demos from mid-1968, radically different versions of "While My Guitar Gently Weeps" and "Helter Skelter," a stringless "The Long and Winding Road," three beautifully sung and played Harrison solo demos from early 1969, and several songs the Beatles never released, like "All Things Must Pass," "Not Guilty," "Teddy Boy," "Come and Get It," and "Junk." Not everything here is so great that the casual consumer will be fascinated, of course. As on previous Anthology sets, some of these alternates are only very slightly different from the official versions; the oldies covers from the Let It Be era are off-the-cuff jams that aren't up to the group's usual level of brilliance. It's still a fascinating collection, both for the insight it affords you into the group's creative process at the end of their career, and for the considerable excellence of the music itself. © Richie Unterberger /TiVo
From
CD$16.49

Rock - Released January 1, 2014 | EMI Catalogue

In its original form, Let It Be signaled the end of an era, closing the book on the Beatles, as well as literally and figuratively marking the end of the '60s. The 1970 release evolved from friction-filled sessions the band intended to be an organic, bare-bones return to their roots. Instead, the endless hours of tapes were eventually handed over to Phil Spector, since neither the quickly splintering Beatles nor their longtime producer George Martin wanted to sift through the voluminous results. Let It Be... Naked sets the record straight, revisiting the contentious sessions, stripping away the Spectorian orchestrations, reworking the running order, and losing all extemporaneous in-studio banter. On this version of the album, filler tracks ("Dig It," "Maggie Mae") are dropped, while the juicy B-side "Don't Let Me Down" is added. The most obvious revamping is on the songs handled heavily by Spector. Removing the orchestrations from "The Long and Winding Road" and "Across the Universe" gives Paul McCartney's vocals considerably more resonance on the former, doing the same for John Lennon's voice and guitar on the latter. This alternate take on Let It Be enhances the album's power, reclaiming the raw, unadorned quality that was meant to be its calling card from the beginning. © TiVo
From
CD$16.49

Rock - Released January 17, 1969 | EMI Catalogue

Only two months after the masterful White Album, this tenth Beatles album was released in January 1969 and seems a bit... tired. The soundtrack to the animated film by Canadian George Dunning (which was released in theaters seven months earlier), Yellow Submarine offers thirteen tracks, of which only six (at the time, only side A) are by the Fab Four. The rest is largely the bringing together of various instrumentals by legendary producer George Martin. Overdubs and sound effects of all kinds, psychedelia is required from one end to the other for this great album. It is certainly one that remains essential to understanding the history of the group, without really ever reaching the level of Revolver, Sergeant Pepper's Lonely Heart Club or Abbey Road. ©MZ/Qobuz, Translation/BM
From
CD$38.49

Rock - Released November 20, 1995 | EMI Catalogue

The first in a series of three double-CD sets of previously unreleased and rare Beatles material, released in conjunction with the mammoth Anthology video documentary. This covers the late '50s to the end of 1964, mixing studio outtakes, live performances, primitive recordings from the Quarrymen/Silver Beatles days, excerpts from the famous 1962 Decca audition, the most notable 1961 Tony Sheridan-era recordings, and brief spoken bits from interviews. Although this material is undeniably of vast historical importance, it can't be placed in the same company as the Beatles' proper albums, in either cohesion or quality. While the studio outtakes (many never even heard on bootleg) are the most enticing items, these are almost exclusively alternate versions of songs they placed on their official releases (the most notable exceptions being the 1964 R&B cover "Leave My Kitten Alone," the 1962 demo "How Do You Do It," and the unimpressive 1964 Harrison original "You Know What to Do"). Sometimes the differences are quite interesting (a much more electric-oriented version of "And I Love Her," for example), but the alternates also illustrate how the group were virtually unerring in selecting the best arrangement and take of their songs for the final versions. The pre-1962 items are sometimes taken from private rehearsal tapes of primitive fidelity and are really of archival value only. One could go on at great length about the many curiosities and finds unearthed by this compilation, but for most general consumers, two observations may suffice. It does not stand up to the Beatles' fully conceived albums (even Live at the BBC), but the Beatles' scraps and leavings are more interesting than over 95 percent of other performers' best work. By that standard, this must be judged a worthwhile collection, especially (but not solely) for dedicated Beatles fans. © Richie Unterberger /TiVo

Artist

The Beatles in the magazine
  • 51 years since The Beatles let it be
    51 years since The Beatles let it be On this day 51 years ago, The Beatles would play what was to be their last performance in public together. A chance for us to look back on what was then, unbeknownst to us, their last show.
  • The Beatles Special: 7/7
    The Beatles Special: 7/7 To celebrate the arrival of The Beatles on Qobuz, a full week of Video of the Day's dedicated to the Fab Four!
  • The Beatles Special: 6/7
    The Beatles Special: 6/7 To celebrate the arrival of The Beatles on Qobuz, a full week of Video of the Day's dedicated to the Fab Four!
  • The Beatles Special: 5/7
    The Beatles Special: 5/7 To celebrate the arrival of The Beatles on Qobuz, a full week of Video of the Day's dedicated to the Fab Four!
  • The Beatles Special: 4/7
    The Beatles Special: 4/7 To celebrate the arrival of The Beatles on Qobuz, a full week of Video of the Day's dedicated to the Fab Four!
  • The Beatles Special: 3/7
    The Beatles Special: 3/7 To celebrate the arrival of The Beatles on Qobuz, a full week of Video of the Day's dedicated to the Fab Four!
  • The Beatles Special: 2/7
    The Beatles Special: 2/7 To celebrate the arrival of The Beatles on Qobuz, a full week of Video of the Day's dedicated to the Fab Four!
  • The Beatles Special: 1/7
    The Beatles Special: 1/7 To celebrate the arrival of The Beatles on Qobuz, a full week of Video of the Day's dedicated to the Fab Four!
  • Britpop forever
    Britpop forever The brilliant new album from Eugene McGuinness, leader of everlasting English rock…