In 1988 the release of the Past Masters collection was one of the first major release of the Beatles catalogue after the death of John Lennon. That is important as the surviving Beatles members were willing to prevent the release of any compilation that they deemed unworthy, such as the strange Sessions bundle whose contents wouldn’t see the light of day until The Beatles Anthology TV series ten years later. So this compilation of The Beatles’ B-Sides and Singles, as well as having a stamp of approval, also has a stamp of finality, the end of a band as a singular unit.

Of course there has been many compilations after this. As we all know Beatles sales and merchandising opportunities will never die! And Past Masters doesn’t have the strong sense of narrative and progression like the Blue/Red albums before it – though that is still there – or the just simple pleasures of 1. But more than any of that preamble it gives us a chance to talk about songs that didn’t make it onto albums, with The Beatles for the most part seeing the practice of singles and albums as two separate entities (though this seems to be truer in their later career). This came from the unfounded belief that if the band didn’t come out with music over too long a period fickle people would forget about. A belief which today with artists releasing albums three years at a time just seems cute.

As a result there is so much classic music that would feel foolish not to touch on. That’s not as true for this first side, as here we have some superfluous albeit entertaining rarities, but we also have some of the most iconic pop tunes ever written. Here we go:

 

Track by Track

“Love Me Do (Single Version)”: There were three recordings of the band’s first single. The first version was made when Pete Best, the most unlucky man in rock history, was still the band’s drummer. Although Best gets the blunt of the blame for that version being weak – it cost him being in the Beatles after all – I honestly think the band just were not strong enough yet in the vocal department anyway. The third version, the one on the album Please Please Me, has session musician Andy White as drummer, and is my favourite (all my loves and issues with the song there still stand). This version here, the one that includes Ringo Starr, does have a different vibe to it though, namely the quieter mix of the kick drum, which also accentuates John and Pauls harmonies.

“From Me To You”: It’s actually quite surprising to to me that one of The Beatles most famous songs never made it higher than #41 on the Billboard Charts (in America anyway). But then I guess that’s a testament even at this time to the strength of the band’s B-Sides. It’s odd to me that a song that is about “me” never has less than two people singing on it, but regardless the vocals are  simply infectious, as is that bouncing bass.

“Thank You Girl”: I won’t deny that I agree with John and Paul when they say this was a song that feels like an attempt at a single that simply wasn’t strong enough. Though the stereo mix with the panning echo at the end is weirdly ethereal.

“She Loves You”: The song that made the band megastars in their own country, this song is full of bombast with the pummelling percussion its belting, triple-“yeah” refrain. But compared to other Beatles where the woman was of the band’s affection, here the band are talking about two different people. It makes the song feel like your optimistic friend egging you in the right direction. Apparently hearing this song was the moment that Ozzy Osbourne wanted to be in a band. So it seem The Beatle’s did influence Metal after all.

“I’ll Get You”: Another Beatles song that really does sound like a “B-Side”, though the muted guitars allow Paul’s bass to stand out. He has said that the song beginning with “Imagine” was the start of the band being influenced by Lewis Carroll. Though I would say “I’ll get you in the end” sounds more like what that the villain of a children’s cartoon would say at the end of the episode.

“I Wanna Hold Your Hand”: The song that in the legend of the Beatles is crucial in kicking off their success in America, and in turn “Beatlemania”. Listening to it after the song prior you can really feel the difference in how it was record (the same time as the With the Beatles sessions). Every harmony and every guitar lick and feels really individual and distinct, and it all adds to the joyous mood this song is renowned for. Though I’m glad John would cut through the subtext in later live shows: “I wanna hold your glands”.

“This Boy”: Of all the attempts by John Lennon to write a “Motown” song in early Beatles, I think this song comes the closest. The complex chords structure, the bouncing guitars playing off one another an those vocal harmonies being once mellow and full of passion. The melancholy probably explains why it was chosen as the music to accompany Ringo’s walk on the towpath in A Hard Day’s Night. The perfect decision, I would add.

“Komm, Gib Mir Deine Hand”: Not much to say, other than the existence of this is delightful.

“Sie Liebt Dich”: Ditto.

“Long Tall Sally”: The next four songs come from the Long Tall Sally EP, the only Beatles disc to be majority covers. It was a nice excuse for the band to exemplify the rock and roll they were so found of, and here they really show the passion they have for Little Richard with both an energetic guitar solo from George and John hitting registers that I honestly did not expect of him.

“I Call Your Name”: This is the only song on the EP which was a Beatles original, and the slower  swinging tempo (and cowbell!) means it feels that way. This is a really strong song for the first half,  and the tones from the new Rickenbacker guitar are cool, but the move to the guitar solo sees the rhythm seem to change to an almost different song, feeling like a serious of disconnected parts as a result.

“Slow Down”: Some critics have pointed out that this song doesn’t have the best guitar solo in the world, and how you can even hear Ringo and the band lose time at moments. In many ways its ramshackled, but in others way the sloppiness along the band’s sheer passion is what makes this song work for me (and that piano).

“Matchbox”: Similarly, the passion of this performance makes it the favourite of the three Carl Perkins covers the band had done. The jamming guitar solo is a lot more effective, the piano breaks are well placed, and the contributions from Ringo in both drums and vocals make this charming.

“I Feel Fine”: You would think that the first example of feedback used on a rock record would be a harder band like The Kinks or The Who, but here in the opening grooves of “I Feel Fine” John uses feedback to transition into the bright and catchy riff that makes this song a classic. That and the cymbal heavy percussion by Ringo, taken straight from Ray Charles but in a way that perfectly fits with the pop vibes.

“She’s a Woman”: This song feels primarily a “Paul” track, particularly with how much is going on in the lower registers with the piano and bass. If John had already done a Little Richard impression, here Paul was trying to do that in a Beatles composition. Despite being impressive, it does demonstrate how Paul’s register would somehow continue to improve well into the White Album.

“Bad Boy”: The Beatles also performed multiple Larry Williams cover, and this cover which was also done by the Rolling Stones and Kinks is my personal favourite. Between the vocals, the double tracked guitars and the slight electric piano filling the sound out, you can really feel how the band had progressed as a studio unit since even a couple of years ago.

”Yes It Is”: Also an example of the band’s progression and use of studio techniques, this used volume pedals to create the effect of calm, building guitar chords and melodies like the strings of a quartet. This is one of my favourite Beatles deep cuts. I can’t really be that intelligent about it. It’s just really pretty.

“I’m Down”: Ending the side that contains mainly the early-Beatles career with a straight up rock and roll track feels incredibly appropriate. This sees Paul again channel his Little Richard register, and here he does it with an increased confidence. But the whole band displays the same, especially in the end as John’s organ and Ringo’s bongo get extra frantic, to the point the only logical end point is for the music to go down…

 

What did you think though?

(Don’t intend to put this in the rankings, though by the time we get to the second disc I might change my mind)