The Beatles: "The Red Album" 1962-1966

 

The Beatles 1967-1970 "Blue Album" was actually the first physical copy of Beatles music I bought, back in May 1974. I was already familiar with so much of their work, of course, dating right back to being a five year-old in 1963-1964, but it was the newly-released blue album that really did the business for me. A friend of mine at the time bought this, the "Red Album" as he preferred the poppier sound of the group's early material. Me, it was always the rockier post 1967 stuff. The songs from the early period I have always considered far more throwaway and inconsequential, despite having several favourites from their ranks. 

Until now, that is.

This sparkling new remaster, now rightly increased in size, is simply wonderful, giving a magnificent new lease of life to songs many of which are now over sixty years old (something that is almost incomprehensible to consider). The sound is bloomin' wonderful - warm, deep and marvellously subtle. I absolutely love it. When I first heard it, the effect was revelatory. It actually made me mentally happy hearing these new remasters, and, as you know if you regularly read my drivel, I am certainly no Beatles obsessive.

Another reason for praising this new edition is that the tracks that have been added finally do full justice to the period in question. Criminally left off the original double album were I Saw Her Standing There, Twist And Shout, Taxman, Got To Get You Into My Life, I'm Only Sleeping, Here There And Everywhere and Tomorrow Never Knows. Quite why Revolver was so under-represented on the original remains one of life's great mysteries. Yellow Submarine but no Tomorrow Never Knows or Got To Get You Into My Life? Astonishing. Anyway that has been rectified and these new additions are now included, plus several others, all of which conspire to make this a simply superb compilation. 

In its expanded format I feel we are getting a much better picture of The Beatles' career over the 1962-1966 period, with, importantly, more tracks from both ends of the four years. This showed firstly what a great, unadulterated pop group they were and secondly what a potentially great rock/pop outfit they became/could become. The original album just didn't quite catch that vibe properly, in my view. 

I have enjoyed listening to it more than the blue album, surprisingly. Maybe this is because I already have new remasters/remixes of the blue album's material, whereas much of this is new, the Rubber Soul material backwards. As I said, goddamn great it is too.

I know you all know the tracks but here you go. 

Don't forget before you go - for my detailed Beatles album reviews, click here

All songs written by Lennon and Paul McCartney except where indicated.

With regard to Love Me Do I have never been a huge fan of The Beatles' first single, finding it lyrically twee and totally unthreatening. I don't even feel it had any of the vitality of rock 'n' roll. In a matter of a year or so it would sound hopelessly dated and by now it sounds exactly what it is - a song from several generations ago. Its infectious harmonica is its redeeming feature, though, as I guess is its instantly singable chorus. It just doesn't do it for me, I much prefer Please Please Me or I Saw Her Standing There from the same period. 

This is the "Ringo" version of the song, by the way. The version on the Past Masters compilation features Ringo on drums, whereas the one on the Please Please Me album and the previous Red Album had Andy White behind the kit and a sulking Ringo tapping out a rhythm on the tambourine. This newly remastered version has the best sound I have ever heard on the song, making me appreciate it more. It is still lyrically lacking, though. 

Now there is the wonderful Please Please Me, composed largely by Lennon at his Aunt Mimi's house, with McCartney and Lennon in perfect harmony on vocals (after a few arguments, it is said) and that marvellous, spine-tingling iconic harmonica riff. Bloody marvellous. Even now, all these years later. The group's second single (and what a barnstormer it was), there has long been debate as to whether it got to Number One or not. It certainly did so on the charts published by various music papers but not, it seems on what was considered the official chart, therefore it doesn't appear on the 1 compilation, somewhat unfairly. For me, it the absolute best of the early Beatles singles. Love those descending guitar riffy bits. On this remaster, just listen to McCartney's throbbing bass! Heaven. Those harmonies too, man. Wow. 

From Paul McCartney's opening "1-2-3-4, what an opening to an album career I Saw Her Standing There was, with its rocking McCartney vocal and solid bass line. A great Beatles rocker, largely if not totally, written by McCartney, it is one that has always stood the test of time, now having "classic" status. It kicks off the album in thoroughly explosive fashion. Even now, I hear it and think "wow!". It remains one of The Beatles' finest pure rockers. If anyone wanted to know why the group changed the face and ears of music in early 1963, they just need to listen to this, don't they? It is one of my favourite Beatles songs of all and the sound on this remaster is life-affirmingly good - once more that bass is just sublime. Come on remasters - do all the early albums! Please!

It's time for Lennon's throaty (apparently suffering from a heavy cold) vocal on this infectious rocker - when The Beatles make The Top Notes/The Isley Brothers' Twist And Shout their own and get the girls screaming....this was them rocking at their absolute best. It positively bristles with youthful energy, doesn't it? I never, and I mean never, fail to get excited by this. I can just imagine being young in 1963 and hearing this for the first time.

The group's third single, From Me To You is extremely (and almost impossibly) catchy, rhythmic and even bluesy in places. I guess Lennon's harmonica helped in that respect. It is just so atmospheric, early sixties. Such a period piece. The sound on this, once again, is just the best the song has ever had. Again, the vocal harmonies are peerless. 

Another non-album single. She loves You's infantile chorus was ideal for me to sing as a little kid and really annoy my parents, who hated me saying "yeah". I have never been a huge fan of the song, finding it too simplistic but even I cannot deny its fresh-faced, energetic appeal. It hits you between the ears, however simple it may be. It is another one totally transformed by the remaster, from Ringo's first iconic rolling drum intro. What a start this album has had!

The non-album singles just keep on a-coming. Such a wealth of material. I Want To Hold Your Hand was another simple song whose simplicity belied its intoxicating, intrinsic rhythm. All these songs had hooks to die for, let's be honest. Check out the clarity of those handclaps and that bass (once more).

A possibly questionable inclusion, This Boy was a rock 'n' roll ballad from the pen of John Lennon. It is very, very much of its time and puts me in mind of something they would have played at a fairground of the time. It was the 'b' side of I Want To Hold Your Hand and Lennon admits he wrote it with the sound of Smokey Robinson & The Miracles in his mind. I can hear what he meant.

The sunny, breezy All My Loving is a poppy, extremely catchy McCartney song. It really gives you that typically Beatles sound and was an irresistible, evocative and comparatively unexpected hit single, exemplifying sixties pop at its most carefree, melodic, innocent and essential.

Less impressive, though, was the next one - to this day I still believe the guitar at the beginning of Chuck Berry's Roll Over Beethoven is totally messed up - and another bit a bit later on - although I have to admit that the rest of it rocks, big time, with a resonant bass line and a surprisingly good rock vocal from Harrison. Chuck Berry it ain't though, and 1973's cover by the Electric Light Orchestra blew all other versions away. The song carried a message to the young generation to get with the new sound, cats. 

Could the remastering/remixing not have put right that accursed error? I certainly would not have minded an overdubbing because the clumsy mistake annoys me every time. ELO got it right, putting The Beatles to shame.

Talking of Smokey Robinson, his You Really Got A Hold On Me is given a harmonious vocal treatment from Lennon and McCartney. The song suits them. Lennon is particularly impressive. Neither of them are a match for the smooth and subtle Robinson, of course, but it still sounds ok. It's got a power to it that gets your attention.

In a different class, however, was the Beatles classic Can't Buy Me Love, a pop song of true perfection, with its killer bass line, steady drums and wryly observational, even cynical lyrics. Why, were The Beatles already eschewing their new-found wealth? Whatever, it is a timeless highlight summing up 1964 Beatles beautifully. People quoted this song endlessly and still do. It was also the first Beatles song to only feature one vocalist and was actually the final one that Lennon and McCartney properly wrote together. Subsequently they wrote separately, letting the other help finish off the songs. The songwriting "partnership" - Brill Building or Hitsville USA style - was a bit of a myth, wasn't it? 

Lennon's love of romantic confrontation was exemplified on the otherwise irrepressibly catchy and muscular rock of You Can't Do That. Ringo's cowbell makes a rhythmic and welcome appearance - as indeed it had done on the song featured immediately below this one - and this was one of the first Beatles songs that demonstrated a (comparative) chunky rock power to it. Again inspired by Wilson Pickett, according to Lennon, the song has a real appeal to it despite its didactic, overbearing lyric that sees a jealous (again) Lennon aggressively telling his girl not to talk to other blokes. He's told you before, girl - got it? 

A Hard Day's Night, inspired by one of those pithy "Ringoisms" - delivered in all homely innocence but somehow making everyone laugh - is one that belies its irresistible catchiness that had everybody singing along, driven by Ringo's intoxicating cowbell runs. It is a pop classic, simple as that. 

An archetypal McCartney song, And I Love Her was inspired by the girl he genuinely loved at the time, Jane Asher. Even by now, it was becoming clear which of the pair was mostly responsible for which song. Lennon would never have written a syrupy ballad like this, despite the niceness that McCartney said If I Fell from the Hard Day's Night album had. 

Eight Days A Week is probably the only accepted, recognisable Beatles classic on the Beatles For Sale album from which it came. John Lennon is on lead vocal in a song that has a great guitar riff and a quintessential 60s guitar pop sound. It is mid-60s Beatles to a tee, isn't it? I love it. It sounds great in its new remaster rght from its notable, ground-breaking "fade-in".

I Feel Fine is one of my absolute favourite non-album singles from the period. Vocally, the harmonies are top notch and it just overflows with irrepressible, romantic enthusiasm. Up there in my Beatles "best of" list. I just love Ringo's surprisingly rhythmic, rolling drum sound (he almost steals the whole song, even having a micro-solo at one point)) as well as the unusual single note intro. The bits where they sing "I'm so glad that she's my little girl" in joyous harmony is just glorious. Love it to death. Always have done.

The jangly, instantly recognisable strains of the marvellous Ticket To Ride need no introduction, do they? It has been said by several writers over the years that this was recorded around the time The Beatles first dabbled in LSD. If true, the drug did a good job. The song is perfectly created and performed, possibly the high point of their career so far. The guitar sound on here would continue with successful songs like Nowhere Man and Paperback Writer. By now it now goes without saying that the sound is fucking awesome. It almost gets a sometime Beatles sceptic like me seriously loving them!

Then, of course, however, there is McCartney's seismic redemption with his solo recording (with orchestration) of the most covered song in history, Yesterday. It featured classical music instrumentation for the first real time, something that would be utilised considerably by George Martin and McCartney on songs like Eleanor Rigby and She's Leaving Home. 

There you are - not a bad first disc, eh?

The huge hit of Help! is a great song, isn't it? Lennon lays himself bare here, but in a very singalong, impossibly catchy way, so much so that any real cry for help is lost beneath the appeal of the upbeat tune. Lennon later claimed, expressing personal regret, that the song was changed due to "commercial pressure" from a morose piano ballad to the "fun" song that suited the film. Tina Turner did a fine, slowed-down soulful cover of it on her 1983 Private Dancer album. 

The old "Dylan influence" chestnut rears its head for the first time here in Lennon's sensitive You've Got To Hide Your Love Away (inspired, apparently, by manager Brian Epstein's homosexuality, although only the chorus would seem to back that up). Some acoustic guitars, lyrical sharpness and a starkness of delivery do not a Dylan make. Dylan, as it happens, was, around this time, recording his electric stream of consciousness in Subterranean Homesick Blues while The Beatles were going all acoustic in the manner of Dylan's earlier albums, (supposedly). 

A non-album single written mainly by McCartney about his problems in love with Jane Asher, We Can Work It Out is extremely infectious, with a hooky chorus (and verses too). I've always felt there was something a bit Motown-y about it, but that is probably not to do with The Beatles' version but because Stevie Wonder did a really good upbeat cover of it in 1970. Deep Purple covered it too, on their 1968 Book Of Taliesyn album.

Non-album single time and again and Day Tripper was the moment that The Beatles became more of a serious rock band. Yes, it is a chart-aimed pop song, but it is also a credible rock number, featuring some fine rock guitar. It should have been on Rubber Soul, shouldn't it? Lennon later described it as a "drug song", something that also marked a change in The Beatles' approach/image. 

The rocking cowbell, piano and guitar riffing of Drive My Car is incredibly catchy, and underneath its pop facade has some great guitar parts. On this track and many others, McCartney's bass sounds truly wonderful. There is a rockiness to this and a solid maturity that marked a sea change between the Rubber Soul and Help! McCartney was said to be dissatisfied with the song, lyrically. It is one of those songs where the lyrics don't matter that much, though, isn't it? It thrives on its rocking vibe and hooks. 

Norwegian Wood (This Bird Has Flown) was Lennon's supposed Dylan pastiche, or his attempt to match him. Dylan responded, good-humouredly, I think, with the similar 4th Time Around. As I said above, it was the first Beatles song to feature George's sitar. It is nowhere near the quality of Dylan's material from the era, though, let's be honest. Written by Lennon about an extra-marital affair he was having, I do like the wry line "I once had a girl, or should I say, she once had me", though. 

Lennon's Byrds-like beauty (inspired by feelings of isolation) in Nowhere Man was also enhanced by McCartney's bass - warm, melodious and throbbing nice and loud, just as I like it. You can clearly hear the inspiration of Motown's James Jamerson and the Memphis-Stax bass players in McCartney's playing, something he freely admits. The same applied to You Won't See Me as well. With its excellent Harrison vocal, fine keyboards and slightly distorted but thrilling guitar solo, Think For Yourself is a philosophical track that is a bit of a revelation - a great track and one that showed Harrison to be a thoughtful songwriter. 

McCartney's French-influenced love song - he sung one verse in schoolboy French - Michelle - was basically a solo song on his part, typically tuneful and catchy with once again a lovely bass line near the end. Granted, it is a bit throwaway and incongruous, but it is an enjoyable diversion both on here and on Rubber Soul. 

The confessional and majestic In My Life has a reasonable case for being Lennon's finest song to date, although I have never been convinced by the harpsichord-sounding piano solo that George Martin put on to the song after the main parts had been recorded. It sounds totally incongruous to me and breaks the ambience of the song's narrative. Instrumental experimentations such as this were starting to appear more often in the group's output, though. The Rolling Stones, of course, had been using such instrumentation for a while by now, it is wise to remember. 

Harrison's second impressive song on the Rubber Soul album (the other was Think For Yourself) is the truly excellent If I Needed Someone, but for whatever reason his songs always seem to be overshadowed by the catchy instant appeal of McCartney's songs or the lyrical "in your face" attack of Lennon. It's a good one, though, with a fine hook.

Just as on 1964's transitional Beatles For Sale album, however, miserable old Lennon and his love life problems are never far away by now, in introspective retrospections such as this plaintive offering, Girl, a track I have never particularly liked, mainly due to its slightly off-putting hissing vocal part. I've always found it a bit unnerving. 

Paperback Writer was a fine McCartney non-album single rocker with countless hooks, both lyrical and musical. Like Day Tripper it was another highly credible Beatles rock song. Notably for McCartney at the time, it was not a lovelorn song addressed at Jane Asher, but one featuring an imaginary character who wants to be a successful author. Its lyrics are wry and clever, sung from the aspirant young man's point of view.

Poor old Eleanor Rigby's gloomy, evocative tale is told by McCartney and assembled string musicians, making it I think, the first song to only feature one Beatle. The others had nothing to do with it. It is just so bloody atmospheric, though, isn't it? I loved it when I first heard it as a kid and I still do, despite its melancholy. In fact it is that that draws me into it. It is a very visual song. I can see Rigby and Father McKenzie so clearly. Great characterisation. The rice on the floor always fascinated me too. Rice? I need to consult my history book. I don't need to, my wife has just told me that rice pre-dated confetti at weddings (as I presumed, I just wouldn't have thought people could afford to throw foodstuff around).

Regarding Yellow Submarine -  do I have to? No? Good. One thing I will say is that for years I thought Ringo wrote this (it's just so Ringo isn't it?). He didn't - McCartney did.

Now we have the staccato guitar stabs of Harrison's Taxman, one that rails at the contemporary tax situation in the UK, name-checking politicians Mr. Wilson and Mr. Heath with accompanying "ooh oohs". Musically, it is often the track that people use to demonstrate just how much better they think mono is than stereo, the latter incarnation of it being notoriously clumsy, although the latest remaster here has done its level best to iron a lot of that out. It is now as good as the song has ever sounded. Check out Harrison's searing guitar interjections - now so powerful. As many know, The Jam appropriated the distinctive riff on their 1980 number one hit single, Start!

By McCartney's admittance, the brassy, bouncy, Motown-influenced Got To Get You Into My Life that has since become a Beatles classic was about his battle with succumbing to the lure of marijuana. I have never quite bought into that, but he says it's true so who am I to dispute it? I just can't get away from it sounding like jaunty young and cheery Grandmother's favourite Paul feeling happy and breezy. McCartney couldn't be edgy and druggy at this time if he tried, could he? Maybe in the seventies, but certainly not in 1966. He wasn't the last one to grow a beard for nothing. It's just a great pop song, but one that sits most incongruously with the general unnerving feel of the Revolver album. It was successfully covered by Cliff Bennett And The Rebel Rousers.

Sung by Lennon, strangely, as "seeping", I'm Only Sleeping combines a surprisingly bright, vaguely music hall melody with a lyric that makes lazing in bed sound cool and sowed the seeds of Lennon's generous drug consumption and its effect on his subsequent compositions. He was marking his territory as the indolent one, the one who was free to do the hell he liked, man. I love those little between verses rubbery basslines too - ba ba ba baah....

Here There And Everywhere was a McCartney love song to his current squeeze Jane Asher, at whose parents' house in London's Wimpole Street he was living. It is a masterpiece of melody and beauty, showcasing the sensitive side of McCartney and his ear for a killer tune at its best. It is said (by perceived wisdom) to be heavily-influenced by McCartney's favourite song, The Beach Boys' God Only Knows. You can hear their influence in it but, importantly, Pet Sounds wasn't released in the UK until a month after this track's recording. Were the two geniuses working and composing subliminally?!

With Tomorrow Never Knows, Lennon has the last say on this edgy, strangely menacing album with a glorious mélange of tape loops put into reverse joined by the kitchen sink. It is the first sign of The Beatles "going weird" and is the absentee father of I Am The Walrus. It doesn't beggar any further analysis other than it is a brilliant work of accidentally-created genius. The Beatles became a completely different group with this track, helped soon by Strawberry Fields Forever. No more mop-tops. Hello psychedelia. What a sea change in three-four years. It held up a mirror to the world.

The 2023 remaster track listing - 

The original track listing -