Beatles' `Anthology II': better than ever
With the immense media hype surrounding the release of The Beatles Anthology, Volume I last November, it was easy to overlook the fact that the much heralded double CD was little more than a curio piece showcasing the early years of the group, when the Fab Four were still looking to score a record deal while playing old R & B covers in dives. In short, much of Anthology I was good material, but not the timeless and classic stuff the group would soon deliver in the mid to late-'60s, as Beatlemania pop frenzy would soon be replaced by psychedelia and acid weirdness.
Finally, four months later, the Fab Four returns with Anthology, Volume II . Anthology II compiles studio outtakes and live performances -- on two CDs -- delivered from EMI's vaults chronicling the middle era of the Beatles, when the group decided to cease touring to devote all of their energies to the recording studio.
Anthology II is a more interesting selection of songs than its predecessor. Where Volume I often got lost in a hodgepodge of obscure cover songs and the contemporary-sounding end of the Beatles canon, Volume II more than makes up for it as it chronicles the most fertile years of creativity for the Fab Four: 1965-68, when they released four groundbreaking albums -- Help! , Rubber Soul , Revolver and Sgt. Pepper's Lonely Hearts Club Band -- each expanding the Beatles' musical boundaries in new, unexpected directions -- Dylan-esque folk, Indian raga, orchestral chamber pop and full-blown psychedelia.
During this period, the Beatles' experimentation with mind-altering chemicals (LSD was a nearly daily staple for John Lennon during these years) would carry over into experimentation within the studio, where new recording techniques and song forms would be pursued.
Exotic instruments such as sitar, mandola, tabla and Mellotron would be used in conjunction with the traditional rock 'n' roll guitar/bass/drums setup, imbuing the songs with an atmosphere never before heard in Western rock 'n' roll.
These vital studio versions are astounding: "Tomorrow Never Knows" sounds 30 years ahead of its time, with its jarring guitar loops and jittery rhythms gelling into a wall of sound, with John Lennon's blissed-out vocals barely audible above the fray. This was the sound of something completely different from what the Beatles had been producing up until this point.
Paul McCartney's "Yesterday" is presented in its initial acoustic take, sans strings and production. "A Day in the Life" is presented in skeletal form, minus the gigantic orchestral crescendo of its finally released counterpart. Lennon's vocals have never sounded more naked or haunting than on these Anthology tracks. Without any distortion or electronic alteration (an oft-used Lennon trick during these years), Lennon's voice is brought to the fore, as opposed to being merely another instrument in the dense mix. The melodious "And Your Bird Can Sing" is also noteworthy to hear, as a very stoned Lennon and McCartney burst into laughter as they stumble through the song.
Admittedly, some "cheating" was done on Anthology II , through the mixing together of several different song takes into one composite take on a track. Nevertheless, hearing embryonic versions of favorite Beatles songs is a joy. "Strawberry Fields Forever" is presented in several different versions -- first in its acoustic demo form recorded by John Lennon at home in 1966, then as it is gradually transformed into its awe-inspiring final form, complete with backward tape loops and distorted string sections.
Anthology II , unlike I , will appeal to newcomers as well as old fans for its incredible diversity of song selection as well as the almost manic atmosphere of creativity that pervades these songs. To hear the in-studio chatting and talk that punctuates many of these tracks is to hear geniuses at work. Lennon and McCartney have oft-times been heralded as the Bach and Mozart of the 20th century for their sublime compositional skills and intense musical creativity.
Anthology II captures the vitality of the Beatles at a time when their creative forces were at their peak.
This item appeared in the Arts & Entertainment section of the March 29, 1996 issue.
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