ReviewsReview: The Beatles Anthology
SDE on The Anthology Collection and Anthology 4
“This is certainly a culmination of something,” Paul McCartney says in episode nine of The Beatles Anthology – a newly constructed epilogue to mark 30 years since the release of the documentary series. “I mean, we’ve put together our story. I don’t know whether that means it’s an end.”
It’s 1994, and McCartney is tipsy on what-ifs following sessions with George Harrison and Ringo Starr to turn a clutch of John Lennon demos into ‘new’ Beatles songs. His eyes are twinkling, as if he’s allowed himself to think there’s a chance of making more new Beatles music.
Harrison is more philosophical. “The Beatles will go on and on,” he says. “On those records and films and videos and books and in people’s memories and minds. The Beatles has just become its own thing now. The Beatles, I think, exist without us. Play the game ‘existence’ till the end of the beginning.”
In a way, they’re both correct. The Anthology project – comprising three 2CD rarities sets released between November 1995 and October 1996, a primetime eight-episode documentary and (much later) a coffee table book – was a joyful and revelatory exploration of The Beatles’ music, story and individual personalities, which delighted those who were there first time around and drew in new generations. As ever, their timing was perfect – nostalgia was in the air, what with Oasis’ Lennon cosplay, and the influx of vintage rock titles on newsagents’ shelves. What better moment was there for The Beatles to return? They were far from the first of the 60s giants to open their vaults – Dylan’s Bootleg Series began in 1991; The Beach Boys gave fans something to SMiLE about with 1993’s Thirty Years Of Good Vibrations set – but Anthology set a new standard for archive releases. Previously unheard moments of magnificence; Mark Lewisohn’s detailed sleevenotes; Klaus Voorman’s exquisite artwork; those fat white CD boxes – everything about Anthology felt like a step up. This rarified quality was reflected in the then-hefty price of the 2CD sets (unless, like this writer, you took advantage of a loophole in the Britannia Music Club’s introductory offer to get all three volumes for free).
Since then, lavish, wallet-emptying box sets have become commonplace, making Anthology look rather quaint by comparison. Not only that, but the outtakes and alternate takes released on the Beatles’ own deluxe editions have made their Anthology counterparts – often multiple takes bolted together and polished by perfectionist George Martin – feel dated.
The announcement of an anniversary edition of Anthology brought hopes of more riches from those Abbey Road archives and, in the light of Peter Jackson’s incredible Get Back, a revamped and extended documentary series. Get Back aside, recent Beatles releases have shown a worrying lack of engagement with fan opinion. The lack of blu-ray in the Revolver box irked audiophiles and the Let It Be set was needlessly stingy when it came to outtakes; we’re still waiting for the long-promised DVD/blu-ray of Michael Lindsay-Hogg’s Let It Be and for the home release of the rooftop gig; extended ‘red’ and ‘blue’ albums were seemingly prioritised above the still-MIA Rubber Soul box; and then there was the chaos of the In Mono box reissue.
An Anthology reissue was a chance to buck that trend. But it hasn’t quite panned out that way. The original three Anthology sets have been remastered (well, that’s the official line, we’ll come to that later) and joined by a fourth volume. Anthology 4 includes 36 tracks over two CDs or three LPs – 13 of which are previously unreleased, plus new remixes of the two 90s ‘threetles’ singles – ‘Free As A Bird’ and ‘Real Love’ – and their belated sibling, 2022’s ‘Now And Then’. When first announced, it looked as though the only way fans would be able to get those ‘new’ tracks was to buy the entire set. Understandably, online outrage ensued, and, to their credit, Apple made the common-sense decision to make Anthology 4 available to buy separately.
Everyone will have different ideas of how to improve Anthology (that’s what the comments section below is for, pop pickers), but how difficult would it have been to present all of the original tracks in full, rather than the George Martin edits, and to add an additional disc’s worth of unreleased tracks to each of the three volumes – whether as a bonus disc or slotted in chronologically? Take the 13 previously unreleased tracks that have ended up on Anthology 4, add the ‘Free As A Bird’ and ‘Real Love’ B-sides still unavailable elsewhere, and then take your pick from cleaned-up Decca audition tapes; cleaned-up early live shows and BBC sessions; songs that didn’t make their respective deluxe editions so far (the 27-minute ‘Helter Skelter’, ‘Revolution’ take 20, ‘Suzy Parker’, ‘The Palace Of The King Of The Birds’ and ‘Watching Rainbows’, for starters) and, yes, I’m going there, ‘Carnival Of Light’ and, hey presto, we have an Anthology reissue to set tongues wagging in Pepperland.
Perhaps The Beatles camp’s thoughts on that mythical unreleased track are telling – in a recent Uncut interview, Giles Martin teased it again while arguing that it’s unsuitable for release (“It’s John Lennon hitting an anvil for quite a long time”, “it’s a sound installation” – sign me up, Giles!) and implying that Beatles fans are spoilt for wanting to hear it. The thing is, anybody interested in hearing it understands the spirit in which it was recorded and is aware that it’s unlikely to change anybody’s world. As Giles’ dad said when referring to the summer 1960 recordings with Stuart Sutcliffe on bass featured on Anthology 1, ‘Carnival Of Light’ is of historical interest – if nothing else, when else would the biggest and best pop band in the world also be so engaged with a burgeoning counterculture? For a few Apple execs to decide on the track’s worth smacks of the same strange underestimating of fans that underpins their puzzling recent missteps.
The ‘new’ songs that are on Anthology 4 show exactly why we all care so much. If this is barrel scraping, fetch me a wooden spoon. The set’s foreword comes from interviews conducted with the band’s former press officer, Derek Taylor, in 1996. “It was just the bees’ knees to be around The Beatles then, because they represented joy, absolute joy,” says Taylor. That feeling courses through so much of the first disc of Anthology 4. Songs frequently collapse into fits of laughter as lines are fluffed and harmonies falter; there’s never a sense of pressure, just weightless creation. We’ll never know exactly how it felt to be witness to this unrelenting excellence and innovation, but this is the stuff that gets us closer than ever to having a sense of it.
The first few songs will be familiar to the Fabs hardcore, as they were previously released on the 2013 digital-only set Bootleg Recordings 1963. We’re immediately dropped into Abbey Road on the morning of 11 February 1963. By the end of that day, they’d recorded 12 songs for their debut album, Please Please Me. ‘I Saw Her Standing There – Take 2’ sounds like a band determined to make their mark. It’s far from the finished article – McCartney’s vocals retain some of the showbiz stylings of the Decca audition, Lennon’s backing vocals are slightly off pace, and the whole thing threatens to fall apart at the instrumental break – but raw excitement and attitude carry it through. They’d get there soon enough, as ‘Money (That’s What I Want) (RM7 undubbed)’ shows – recorded just months later (18 July, for With The Beatles) but light years ahead in terms of maturity. This is the familiar master take without George Martin’s piano overdubs, allowing Lennon’s extraordinary vocal, all piss-and-vinegar scouse soul, to truly shine.
By October that year, any initial studio jitters are gone, and the fun really begins. “Don’t be nervous, John,” jokes McCartney; “I’m not,” snaps Lennon. They launch into a swoonsome ‘This Boy (Takes 12 and 13)’ (first released on the ‘Free As A Bird’ CD single), swiftly derailed when McCartney goes too hard on his harmony part. They compose themselves for another gorgeous take, again curtailed when backing vocals go awry – cue genuine, unfettered laughter. Two takes later, they’d nail it. By the following February, things were looser still. ‘Tell Me Why (Takes 4 and 5)’ begins with Ringo clattering around, harmonies being worked out on the spot and – how quickly they grow up – some gentle cheekiness in response to Martin’s direction. Take 4 falls apart immediately but 5 zips along, propelled by pep and a sense of a group totally in love with what they’re doing. It’s by no means their greatest song, but were the proverbial aliens to ever land, we could do worse than play them this one to sum up The Beatles’ hold over us. Recorded later that day, ‘If I Fell (Take 11)’ is a tender, touchingly wobbly take, emphasizing the vulnerability at the heart of Lennon’s plea for reassurance. “Something like that you mean?” asks Harrison off-mic, after a first attempt at his closing flourish – absolutely, George!
Ringo’s time to shine comes with an electric first take of ‘Matchbox’, recorded 1 June ’64 in front of its writer, the great Carl Perkins, which crackles and swings with an energy lacking in its familiar version. Meanwhile, there’s more hilarity on ‘Every Little Thing (Take 6 and 7)’ as the first run-through is interrupted by McCartney’s on-mic wind while a fine second take crumbles into corpsing. And a first stab at Harrison’s ‘I Need You’ (recorded 15 February 1965 and missing its abrupt wah-wah punctuation points) is a breezy delight, until some chords go awry, the bass starts wandering and off-mic mirth sets in, eventually spreading to its singer. “Lonnie’s gonna regret not singing this one,” quips Lennon, referring to the skiffle-tastic third take of ‘I’ve Just Seen A Face’. But there’s a price to be paid for such frantic playing, as Lennon discovers (“I broke a string”). The humour and warmth of these sessions are not only a joy to hear today, but go some way to explaining the band’s rapid progression – clearly, the studio was a relaxed and forgiving environment where they felt free to make mistakes and to experiment.
That helped along massive leaps forward, such as Lennon’s ‘In My Life’. We get the first take here, recorded 18 October 1965, and surely a preview for a Rubber Soul deluxe set, should it still be on the cards. Lennon’s vocal is a little mannered, as if totally aware of the song’s brilliance, and overly cautious, still finding his way into it. And for those of us who have always found George Martin’s baroque, double-speed piano break a trifle overbearing, it’s fascinating to hear that section left wide open. Recorded three days later, the near-instrumental ‘Nowhere Man (First Version – Take 2)’ is another shoo-in for future Rubber Soul shenanigans, offering an insight into the extent of The Byrds’ influence and a glimpse of an alternate a cappella opening.
A run of songs taken from the Revolver and Sgt Pepper’s boxes follows before the unreleased treats resume with ‘Baby, You’re A Rich Man (Takes 11 and 12)’. By this point, any façade of professionalism is long gone, with Lennon and McCartney requesting “cannabis resin”, with McCartney adding “We’ve got that taped for the high court tomorrow”, presumably for the benefit of Mick Jagger, who was present at the session following his and Keith Richards’ pleas of ‘not guilty’ to a charge of drug possession at Chichester Magistrates’ Court the previous day. Take 11 is quickly abandoned after a crashing piano intro, but the following take was the one later bounced for overdubs. Hearing it without bells and whistles brings home its R&B roots, with the band cooking up a groove that Booker T & The MGs would be proud of, as well as accentuating the juxtaposition of the cooed verses and raw aggression of the choruses. Their progression as players is underlined by the thrilling ‘Hey Bulldog (Take 4 – Instrumental)’, despite Lennon’s claim that it’s “veering between yer blues and yer comedy”.
A rehearsal of ‘All You Need Is Love’ from 24 June – the day before the band performed the song as Britain’s contribution to the Our World global broadcast – features much chaos and clatter and some choice Lennon nonsense (“Queen Margaret was wearing a low-feathered nightgown”) before he delivers a beautifully drowsy vocal. Elsewhere, the instrumental backing track of McCartney’s ‘The Fool On The Hill’ is a delight, and George Martin’s isolated ‘I Am The Walrus’ score for eight violins, four cellos, three horns and a contrabass clarinet reveals hitherto hidden depths.
The previously unheard tracks on Anthology 4 are rounded off by 2025 remixes of ‘Free As A Bird’ and ‘Real Love’, which harness today’s technology to strengthen Lennon’s vocals. The effect is slightly disorientating, with ‘Free As A Bird’ seeming somehow flatter as a result. Still, some of the mid-90s sheen of the original is dispensed with and added guitar embellishments and backing vocals make it an interesting listen. ‘Real Love’ is a more daring overhaul, losing some of Harrison’s guitar licks and using what is presumably MAL software to render Lennon’s vocal near-unrecognisable.
Despite the claims that the existing Anthology discs have been ‘remastered’, it’s apparent from the outset that Peter Jackson’s tech has been used throughout. The new versions of ‘That’ll Be The Day’ and ‘In Spite Of All The Danger’ have located a previously missing mid-range for a fuller sound, while vocals are clearer and up front. The same goes for pretty much everything here, replicating the general modus operandi of Giles Martin’s remixes to date. Of particular interest to those looking to future releases will be the crunching guitars and crisper vocals on Harrison’s moment in the Shea Stadium spotlight, ‘Everybody’s Trying To Be My Baby’, and the remix of take one of ‘I’m Looking Through You’, which feels positively three-dimensional compared to the Anthology 2mix, boding well for that Rubber Soul box.
And what of the much-anticipated episode nine of the Anthology series? Firstly, anyone looking for Get Back-style revelations should cool their Beatle boots a little – it’s essentially the bonus features from the Anthology bonus DVD sequenced into a narrative – but there is enough unseen footage to keep fans happy. Slotted in among the familiar interview footage are blink-and-you-miss-them gems, such as a clip of Paul playing an acoustic ‘Helter Skelter’, shot during ‘White Album’ sessions on 11 June 1968 for an Apple promotional video.
The footage of the three Beatles together is revealing. When the three remaining Beatles sit around a table together, they seem to revert to familiar dynamics. Sitting with George Martin behind the Studio 2, Abbey Road, mixing desk, Harrison inadvertently foreshadows the fourth wall-breaking humour of Ricky Gervais’ The Office, looking to the camera and cringing as the intro to ‘You Never Give Me Your Money’ blasts out, before niggling, “Bit cheesy” at an unamused McCartney. Elsewhere, when an unguarded McCartney reflects on his unrelenting work ethic, Harrison deadpans, “He ran out of beauty competitions to judge,” and, during the ‘Free As A Bird’ sessions, we see McCartney ad libbing by jazz scatting an imitation of bird song while Harrison sits stony-faced next to him. Another unguarded moment comes when Harrison reveals that, in order to keep George Martin and Geoff Emerick from calling time on a session at half-five, band fixer Mal Evans once doused a teapot with uppers.
But it’s the footage from those ‘threetles’ sessions that really make Anthology episode nine essential viewing for fans. The extra scenes here offer revealing and often genuinely moving insights, particularly during the recording of ‘Now And Then’, as the three men come to terms with Lennon’s absence.
“Paul and I are gonna do some stadiums next year”, jokes Harrison. McCartney answers, almost to himself, “I think we could pull it off, too.” “I’ll be the ref,” offers Ringo. The chemistry is there, as it always was; as every note of Anthology makes abundantly clear. “To be around then was very heaven,” says Derek Taylor in Anthology 4’s foreword – we don’t doubt it.
Review by Jamie Atkins. The Anthology Collection and Anthology 4 are released today. The nine-part Beatles Anthology starts on Disney+ on 26 November 2025.
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Tracklisting
Anthology 4 The Beatles / 2CD and 3LP sets
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CD 1
- I Saw Her Standing There (Take 2)
- Money (That’s What I Want) (RM7 undubbed)
- This Boy (Takes 12 and 13)
- Tell Me Why (Takes 4 and 5)
- If I Fell (Take 11)
- Matchbox (Take 1)
- Every Little Thing (Takes 6 and 7)
- I Need You (Take 1)
- I’ve Just Seen A Face (Take 3)
- In My Life (Take 1)
- Nowhere Man (First version – Take 2)
- Got To Get You Into My Life (Second version – unnumbered mix)
- Love You To (Take 7)
- Strawberry Fields Forever (Take 26)
- She’s Leaving Home (Take 1 – instrumental)
- Baby, You’re A Rich Man (Takes 11 and 12)
- All You Need Is Love (Rehearsal for BBC broadcast)
- The Fool On The Hill (Take 5 – instrumental)
- I Am The Walrus (Take 19 – strings, brass, clarinet overdub)
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CD 2
- Hey Bulldog (Take 4 – instrumental)
- Good Night (Take 10 with a guitar part from Take 5)
- While My Guitar Gently Weeps (Third Version – Take 27)
- (You’re So Square) Baby I Don’t Care (Studio jam)
- Helter Skelter (Second version – Take 17)
- I Will (Take 29)
- Can You Take Me Back? (Take 1)
- Julia (Two rehearsals)
- Get Back (Take 8)
- Octopus’s Garden (Rehearsal)
- Don’t Let Me Down (First rooftop performance)
- You Never Give Me Your Money (Take 36)
- Here Comes The Sun (Take 9)
- Something (Take 39 – instrumental – strings only)
- Free As A Bird (2025 mix)
- Real Love (2025 mix)
- Now And Then
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CD 1
Tracklisting
Anthology Collection The Beatles / 8CD box set
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CD 1 – Anthology 1 – Disc 1
- Free As A Bird (1995 mix)
- John Lennon Speech 1
- That’ll Be The Day
- In Spite Of All The Danger
- Paul McCartney Speech 1
- Hallelujah, I Love Her So (Home demo)
- You’ll Be Mine (Home demo)
- Cayenne (Home demo)
- Paul McCartney Speech 2
- My Bonnie
- Ain’t She Sweet
- Cry For A Shadow
- John Lennon Speech 2
- Brian Epstein Speech 1
- Searchin’ (Decca audition)
- Three Cool Cats (Decca audition)
- The Sheik Of Araby (Decca audition)
- Like Dreamers Do (Decca audition)
- Hello Little Girl (Decca audition)
- Brian Epstein Speech 2
- Besame Mucho (June 1962 version)
- Love Me Do (First version)
- How Do You Do It
- Please Please Me (First version)
- One After 909 (Takes 3, 4 and 5)
- One After 909 (Edit of Takes 4 and 5)
- Lend Me Your Comb (BBC recording)
- I’ll Get You (Sunday Night at the London Palladium)
- John Lennon Speech 3
- I Saw Her Standing There (Live in Stockholm)
- From Me To You (Live in Stockholm)
- Money (That’s What I Want) (Live in Stockholm)
- You Really Got A Hold On Me (Live in Stockholm)
- Roll Over Beethoven (Live in Stockholm)
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CD 2: Anthology 1 – Disc 2
- She Loves You (Royal Variety Performance)
- Till There Was You (Royal Variety Performance)
- Twist And Shout (Royal Variety Performance)
- This Boy (The Morecambe And Wise Show)
- I Want To Hold Your Hand (The Morecambe And Wise Show)
- Speech From The Morecambe And Wise Show
- Moonlight Bay (The Morecambe And Wise Show)
- Can’t Buy Me Love (Take 2 with solo from Take 1)
- All My Loving (The Ed Sullivan Show)
- You Can’t Do That (Take 6)
- And I Love Her (Take 2)
- A Hard Day’s Night (Take 1)
- I Wanna Be Your Man (Around The Beatles)
- Long Tall Sally (Around The Beatles)
- Boys (Around The Beatles session)
- Shout (Around The Beatles)
- I’ll Be Back (Take 2)
- I’ll Be Back (Take 3)
- You Know What To Do (Demo)
- No Reply (Demo)
- Mr Moonlight (Takes 1 and 4)
- Leave My Kitten Alone (Take 5)
- No Reply (Take 2)
- Eight Days A Week (Takes 1, 2 and 4)
- Eight Days A Week (Take 5)
- Kansas City / Hey-Hey-Hey-Hey! (Take 2)
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CD 3: Anthology 2 – Disc 1
- Real Love (1996 mix)
- Yes It Is (Takes 2 and 14)
- I’m Down (Take 1)
- You’ve Got To Hide Your Love Away (Take 5)
- If You’ve Got Trouble (Take 1)
- That Means A Lot (Take 1)
- Yesterday (Take 1)
- It’s Only Love (Takes 3 and 2)
- I Feel Fine (Blackpool Night Out)
- Ticket To Ride (Blackpool Night Out)
- Yesterday (Blackpool Night Out)
- Help! (Blackpool Night Out)
- Everybody’s Trying To Be My Baby (Live at Shea Stadium, New York)
- Norwegian Wood (This Bird Has Flown) (Take 1)
- I’m Looking Through You (Take 1)
- 12-Bar Original (Take 2 edited)
- Tomorrow Never Knows (Take 1)
- Got To Get You Into My Life (Take 5)
- And Your Bird Can Sing (Take 2)
- Taxman (Take 11)
- Eleanor Rigby (Take 14 – Strings only)
- I’m Only Sleeping (Rehearsal)
- I’m Only Sleeping (Take 1)
- Rock And Roll Music (Live in Tokyo)
- She’s A Woman (Live in Tokyo)
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CD 4: Anthology 2 – Disc 2
- Strawberry Fields Forever (Home demo sequence)
- Strawberry Fields Forever (Take 1)
- Strawberry Fields Forever (Take 7 and edit piece)
- Penny Lane (Remix)
- A Day In The Life (Takes 1, 2, 6 and orchestra)
- Good Morning Good Morning (Take 8)
- Only A Northern Song (Takes 3 and 12)
- Being For The Benefit Of Mr Kite! (Takes 1 and 2)
- Being For The Benefit Of Mr Kite! (Take 7)
- Lucy In The Sky With Diamonds (Takes 6, 7 and 8)
- Within You Without You (Instrumental)
- Sgt Pepper’s Lonely Hearts Club Band (Reprise) (Take 5)
- You Know My Name (Look Up The Number) (Stereo remix)
- I Am The Walrus (Take 16)
- The Fool On The Hill (Demo)
- Your Mother Should Know (Take 27)
- The Fool On The Hill (Take 4)
- Hello, Goodbye (Take 16)
- Lady Madonna (Takes 3 and 4)
- Across The Universe (Take 2)
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CD 5: Anthology 3 – Disc 1
- A Beginning
- Happiness Is A Warm Gun (Esher demo with false start)
- Helter Skelter (Take 2 edited)
- Mean Mr Mustard (Esher demo)
- Polythene Pam (Esher demo)
- Glass Onion (Esher demo)
- Junk (Esher demo)
- Piggies (Esher demo)
- Honey Pie (Esher demo edited)
- Don’t Pass Me By (Take 3 with Take 5 vocal)
- Ob-La-Di, Ob-La-Da (First version – Take 5)
- Good Night (Rehearsal and Take 34)
- Cry Baby Cry (Take 1)
- Blackbird (Take 4)
- Sexy Sadie (Take 6)
- While My Guitar Gently Weeps (Acoustic version – Take 1)
- Hey Jude (Take 2)
- Not Guilty (Take 102 edited)
- Mother Nature’s Son (Take 2)
- Glass Onion (Original mono mix)
- Rocky Raccoon (Take 8)
- What’s The New Mary Jane (Take 4)
- Step Inside Love / Los Paranoias (Studio jam)
- I’m So Tired (Edit of Takes 3, 6 and 9)
- I Will (Take 1)
- Why Don’t We Do It In The Road (Take 4)
- Julia (Take 2)
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CD 6: Anthology 3 – Disc 2
- I’ve Got A Feeling (Apple Studio)
- She Came In Through The Bathroom Window (Apple Studio)
- Dig A Pony (Apple Studio)
- Two Of Us (Apple Studio)
- For You Blue (Apple Studio)
- Teddy Boy (Apple Studio)
- Medley: Rip It Up / Shake, Rattle And Roll / Blue Suede Shoes (Apple Studio jam)
- The Long And Winding Road (Apple Studio)
- Oh! Darling (Apple Studio)
- All Things Must Pass (Demo)
- Mailman, Bring Me No More Blues (Apple Studio jam)
- Get Back (Third rooftop performance)
- Old Brown Shoe (Demo)
- Octopus’s Garden (Take 2)
- Maxwell’s Silver Hammer (Take 5)
- Something (Demo)
- Come Together (Take 1)
- Come and Get It (Demo – 1996 remix)
- Ain’t She Sweet (Studio jam)
- Because (Vocals only)
- Let It Be (Apple Studio)
- I Me Mine (Take 16)
- The End (Remix with the final chord of A Day In The Life)
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CD 7: Anthology 4 – Disc 1
- I Saw Her Standing There (Take 2)
- Money (That’s What I Want) (RM7 undubbed)
- This Boy (Takes 12 and 13)
- Tell Me Why (Takes 4 and 5)
- If I Fell (Take 11)
- Matchbox (Take 1)
- Every Little Thing (Takes 6 and 7)
- I Need You (Take 1)
- I’ve Just Seen A Face (Take 3)
- In My Life (Take 1)
- Nowhere Man (First version – Take 2)
- Got To Get You Into My Life (Second version – unnumbered mix)
- Love You To (Take 7)
- Strawberry Fields Forever (Take 26)
- She’s Leaving Home (Take 1 – instrumental)
- Baby, You’re A Rich Man (Takes 11 and 12)
- All You Need Is Love (Rehearsal for BBC broadcast)
- The Fool On The Hill (Take 5 – instrumental)
- I Am The Walrus (Take 19 – strings, brass, clarinet overdub)
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CD 8: Anthology 4 – Disc 2
- Hey Bulldog (Take 4 – instrumental)
- Good Night (Take 10 with a guitar part from Take 5)
- While My Guitar Gently Weeps (Third Version – Take 27)
- (You’re So Square) Baby I Don’t Care (Studio jam)
- Helter Skelter (Second version – Take 17)
- I Will (Take 29)
- Can You Take Me Back? (Take 1)
- Julia (Two rehearsals)
- Get Back (Take 8)
- Octopus’s Garden (Rehearsal)
- Don’t Let Me Down (First rooftop performance)
- You Never Give Me Your Money (Take 36)
- Here Comes The Sun (Take 9)
- Something (Take 39 – instrumental – strings only)
- Free As A Bird (2025 mix)
- Real Love (2025 mix)
- Now And Then
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CD 1 – Anthology 1 – Disc 1
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By Jamie Atkins
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