Formats and tracklisting
[CD: DVD: CD+DVD: Blu-Ray: CD+Blu-Ray]
DISC 1 AUDIO (CD) + DISC 1 VIDEO
(DVD or Blu-ray)
- ‘Love Me Do’
- ‘From Me To You’
- ‘She Loves You’
- ‘I Want To Hold Your Hand’
- ‘Can’t Buy Me Love’
- ‘A Hard Day’s Night’
- ‘I Feel Fine’
- ‘Eight Days A Week’
- ‘Ticket To Ride’
- ‘Help!’
- ‘Yesterday’
- ‘Day Tripper’
- ‘We Can Work It Out’
- ‘Paperback Writer’
- ‘Yellow Submarine’
- ‘Eleanor Rigby’
- ‘Penny Lane’
- ‘All You Need Is Love’
- ‘Hello, Goodbye’
- ‘Lady Madonna’
- ‘Hey Jude’
- ‘Get Back’
- ‘The Ballad Of John And Yoko’
- ‘Something’
- ‘Come Together’
- ‘Let It Be’
- ‘The Long And Winding Road’
DISC 1 VIDEO EXTRAS
- Paul McCartney audio commentary
- ‘Penny Lane’
- ‘Hello, Goodbye’
- ‘Hey Jude’
- Ringo Starr filmed introductions
- Penny Lane
- Hello, Goodbye
- Hey Jude
- ‘Get Back’
The Beatles 1+
CD/DVD or CD/Blu-ray
DISC 1 AUDIO (CD) + DISC 2 VIDEO (DVD or Blu-Ray)
(same as above)
DISC 2 VIDEO (DVD or Blu-Ray)
- ‘Twist & Shout’
- ‘Baby It’s You’
- ‘Words Of Love’
- ‘Please Please Me’
- ‘I Feel Fine’
- ‘Day Tripper’ *
- ‘Day Tripper’ *
- ‘We Can Work It Out’ *
- ‘Paperback Writer’ *
- ‘Rain’ *
- ‘Rain’ *
- ‘Strawberry Fields Forever’
- ‘Within You Without You’/‘Tomorrow Never Knows’
- ‘A Day In The Life’
- ‘Hello, Goodbye’ *
- ‘Hello, Goodbye’ *
- ‘Hey Bulldog’
- ‘Hey Jude’ *
- ‘Revolution’
- ‘Get Back’
- ‘Don’t Let Me Down’
- ‘Free As A Bird’
- ‘Real Love’
DISC 2 VIDEO EXTRA
- Paul McCartney audio commentary
- ‘Strawberry Fields Forever’
* alternate version
NOTES ON THE VIDEOS
BEATLES 1 DVD
DISC ONE
1. LOVE ME DO
Newly edited clip, featuring material from BBC TV’s The Mersey Sound, with performance footage filmed on 27 August 1963 at the Little Theatre, Southport.
2. FROM ME TO YOU
A live performance at the 1963 Royal Variety Show, filmed at The Prince Of Wales Theatre, London, on 4 November 1963.
3. SHE LOVES YOU
A live performance from the Swedish Television show Drop In, recorded on 30 October 1963 during a short Scandinavian tour.
4. I WANT TO HOLD YOUR HAND
From the Granada TV programme Late Scene Extra filmed on 25 November 1963.
5. CAN’T BUY ME LOVE
First broadcast in the TV show Around The Beatles, filmed on 28 April 1964 and broadcast the following month. It features a different audio track to that of hit single, recorded by The Beatles on 19 April 1964.
6. A HARD DAY’S NIGHT
Live performance at the Palais des Sports, Paris on 20 June 1965, while on a short European tour.
7. I FEEL FINE
Filmed at Twickenham Film Studios on 23 November 1965. One of ten films shot that day to satisfy global TV demand for broadcast material to accompany The Beatles’ hit records.
8. EIGHT DAYS A WEEK
A brand new clip edited from material filmed at the Shea Stadium concert in New York City on 15 August 1965, during which the band performed twelve songs, but ‘Eight Days A Week’ was not among them. The clip says so much about the band’s frenetic lifestyle in 1965, at the height of Beatlemania.
9. TICKET TO RIDE
Filmed at Twickenham Film Studios on 23 November 1965.
10. HELP!
The less frequently seen clip of those filmed at Twickenham Film Studios on 23 November 1965.
11. YESTERDAY
Paul performing on The Ed Sullivan Show, videotaped in New York City on 14 August 1965 and broadcast the following month, the day before the single was released in America.
12. DAY TRIPPER
Three versions of this clip were filmed at Twickenham Film Studios on 23 November 1965. This is version 2, in which all of the group are wearing polo neck sweaters, except for Paul, who wears a black shirt.
13. WE CAN WORK IT OUT
There were three versions of the ‘We Can Work It Out’ video filmed atat Twickenham Film Studios on 23 November 1965. This is version 2 in which all four Beatles are wearing black polo neck sweaters.
14. PAPERBACK WRITER
Filmed in 35mm, and in colour, in Chiswick Park, West London, by director Michael Lindsay-Hogg.
15. YELLOW SUBMARINE
This clip is newly created from original Yellow Submarine footage.
16. ELEANOR RIGBY
This clip is taken directly from the Yellow Submarine movie.
17. PENNY LANE
A ground-breaking clip by Swedish director Peter Goldmann that captures The Beatles in Stratford, London, and at Knole Park in Kent, with additional material shot in Liverpool.
18. ALL YOU NEED IS LOVE
Filmed in Studio One at Abbey Road, on 25 June 1967, and beamed around the globe as a part of the TV programme Our World. This colourised version was created for The Beatles Anthology TV programme in 1995.
19. HELLO, GOODBYE
London’s Saville Theatre was the location for this promo film, shot on 10 November 1967; The Beatles wear their Sgt. Pepper outfits.
20. LADY MADONNA
Just prior to leaving for India, The Beatles met up in Studio Three at Abbey Road, on 11 February 1968. They were filmed while recording ‘Hey Bulldog’.
21. HEY JUDE
Filmed at Twickenham Film Studios on 4 September, for broadcast on David Frost’s TV show, Frost On Sunday. The introduction by David Frost is different from that on disc 2.
22. GET BACK
The promo clip made available at the time of the original release of the single featured performances from the Apple rooftop synched to the record. This new clip has been rebuilt to replicate the original but with improved picture quality.
23. THE BALLAD OF JOHN AND YOKO
This original promo clip features outtakes from the Let It Be movie, with other private footage shot in Amsterdam, London, Paris and Vienna.
24. SOMETHING
The video features George and Pattie, John and Yoko, Paul and Linda, and Ringo and Maureen. and was filmed at locations in Berkshire, Surrey, and the Mull of Kintyre.
25. COME TOGETHER
The clip was created in 2000 by Melon Dezign for the launch of thebeatles.com and the original Beatles 1 album.
26. LET IT BE
A 1970 promo clip was made available to support the release of the single and it was different to the one featured in the Let It Be movie; this clip has been rebuilt from the original footage.
27. THE LONG AND WINDING ROAD
This clip is taken straight from the Let It Be movie.
DISC TWO
1. TWIST AND SHOUT
From the Granada Television programme Scene At 6.30, which was videotaped on 14 August 1963.
2. BABY IT’S YOU
One of two clips used to promote the single taken from the 1995 Live At The BBC album. The clip is enhanced by the inclusion of unique colour footage of The Beatles filmed outside the BBC’s Paris Studio on Lower Regent Street, London.
3. WORDS OF LOVE
When On Air – Live At The BBC Volume 2 was released in 2013, it included ‘Words Of Love’, a Buddy Holly composition that the band recorded for radio. This new clip is a mix of existing footage and innovative animation.
4. PLEASE PLEASE ME
A live performance videotaped on 9 February for The Ed Sullivan Show, which was screened on 23 February 1964.
5. I FEEL FINE
Filmed at Twickenham Film Studios on 23 November 1965, this clip shows The Beatles eating fish and chips during their lunch break.
6. DAY TRIPPER
From the TV special The Music Of Lennon & McCartney that first broadcast in mid-December 1965.
7. DAY TRIPPER
Filmed at Twickenham Film Studios on 23 November 1965, with the group wearing their Shea Stadium Jackets with the ‘Nehru’ collars.
8. WE CAN WORK IT OUT
Filmed at Twickenham Film Studios on 23 November 1965 – showing The Beatles wearing the Shea Stadium jackets.
9. PAPERBACK WRITER
Shot on videotape at Abbey Road, on 19 May 1966, this studio version is prefaced by a short introduction by Ringo. It was broadcast on The Ed Sullivan Show in America.
10. RAIN
‘Rain’, the B-side of ‘Paperback Writer’, was filmed in colour at Chiswick House, West London, on 20 May 1966.
11. RAIN
This black and white clip is a new edit from several takes of ‘Rain’ videotaped at Abbey Road on 19 May 1966.
12. STRAWBERRY FIELDS FOREVER
Directed by Peter Goldmann and with newly restored footage, this was filmed at Knole Park, Kent on 30 and 31 January 1967.
13. WITHIN YOU WITHOUT YOU/TOMORROW NEVER KNOWS
The merging of these two tracks, one from Sgt Pepper’s Lonely Hearts Club Band, the other from Revolver, was created for The Beatles Love show by Cirque du Soleil, which opened in June 2006 in Las Vegas. This video was created to promote the Love album released later that year.
14. A DAY IN THE LIFE
Filmed in Studio One at Abbey Road on 10 February 1967, this includes classical musicians, who were asked to wear evening dress, fake noses and funny hats for the recording session.
15. HELLO, GOODBYE
This clip is another shot at London’s Saville Theatre on 10 November 1967; The Beatles wear their ‘street clothes’.
16. HELLO, GOODBYE
This third version was also shot at London’s Saville Theatre on 10 November 1967; it includes elements from the first two films but with additional footage unique to this edit.
17. HEY BULLDOG
The original footage from a 1968 shoot for the ‘Lady Madonna’ promo film was unearthed in the mid-1990s. It was revealed that The Beatles were recording ‘Hey Bulldog’ and is an edit done to promote the reissue of the Yellow Submarine movie in 1999.
18. HEY JUDE
This is an edit of the two other takes filmed on 4 September 1968 for the Frost On Sunday TV show. This has a different David Frost intro to the clip on disc 1.
19. REVOLUTION
One of two versions, this was shot the same day as ‘Hey Jude’. John’s lead vocal is completely live, as are most of Paul and George’s backing vocals. The instrumentation, including Nicky Hopkins’ electric piano, is from the master tape.
20. GET BACK
This clip was assembled in 2003 to support the release of the album Let It Be…Naked and utilises studio footage from the famous Get Back/Let It Be sessions.
21. DON’T LET ME DOWN
This was the B-side of ‘Get Back’ and this clip is a composite of two live performances from the Apple rooftop in 1969. It was made available to support the release of Let It Be…Naked in 2003.
22. FREE AS A BIRD
The 1995 video is a work of art by director Joe Pytka, who used the concept of a bird’s-eye view to pay homage to many Beatles songs and images.
23. REAL LOVE
This video directed by Geoff Wonfor and ex-10cc and leading pop promo-maker Kevin Godley, this video was made in 1996 to support the release of the single.
Yesterday and Eight Days A Week are also included on the album as they were released in the US but not the UK. Strawberry Fields was only a B-side in the US not a double A-side, which is why it is not on the album as Penny Lane / Strawberry Fields was only No. 2 in the UK (hard to believe those 2 masterpieces could be beaten by Englebert Humperdink or whatever his name is!).
Personally, I would prefer a compilation with all their UK singles and B-sides. As mentioned in the article, Rain is a brilliant song (and I’m surprised it was not on The Beatles: Rock Band). I suppose now that most fans seem to have the box sets, compilations are not really necessary.
“…hard to believe those 2 masterpieces could be beaten by Englebert Humperdink or whatever his name is!).”
Being a double A side, PL and SFF were listed separately in the charts because, back then, charts were compliled from lists returned by retailers and some listed the single as SFF and some as PL; their combined totals would easily have relegated Humperdink’s ‘Release Me’ to number 2 if listed as one record.
All this, of course, is already covered here: https://www.beatlesbible.com/1967/02/17/uk-single-penny-lane-strawberry-fields-forever/
They weren’t listed separately in the charts. That’s what they did in America; I’m talking about the UK.
At last. You have simply and accurately explained the ommission of ‘Strawberry Fields’ when even ‘experts’ have been in a fuss and should have known better. It was not a Number One. People confuse the UK double a-side (for airplay) with the American ‘double-charting’.
This is probably not the right place for this question but i didn’t know where else to put it……”Is the oldies but goldies album still available? If not is it now collectable”
In the US, the Billboard Hot 100 was, at the time, based primarily on two factors: Physical sales and radio airplay. For SFF/PL, I’m sure the AM Top 40 stations (i.e. WABC, WLS, KHJ, etc.) gave Penny Lane much more airplay, probably thinking Strawberry Fields Forever was too weird for their listeners. Hence, Penny Lane hit #1, Strawberry Fields hit #8.
A similar thing happened with Hey Jude/Revolution. The A-side, Hey Jude was, of course, a massive hit – nine weeks at #1 in the US. Revolution was designated as the B-side, but still reached #12.
Well, Strawberry Fields and Revolution and Rain arent on it. Most of the songs, Hey Jude, Get Back, Let it Be, Winding Road, are all Pauls. Yet BOTH Day Tripper and We Can Work it Out(BOTH by Paul) are on it. Another exampple of Paul clinging to the Beatles and not giving the others much credit.
Revolution and Rain were b-sides though. Day Tripper and We Can Work It Out was a double a-side single, as was Penny Lane/Strawberry Fields. The latter song should really have been on the album. For the rest, you can’t really blame Paul for writing more commercial songs, can you? The album’s about number one hits, after all. If it was a general best-of and he had most of the tracks you may have had a point.
“Day Tripper” & “We Can Work It Out” are both Lennon/McCartney collaborative efforts. “Day Tripper” was mainly John’s song (he said it was his first drug song – or something to that effect) but Paul sang the lead. “We Can Work It Out” was mainly Paul’s song but John wrote the classic middle-8.
Fair enough BUT you cant deny that Paul could be a show off. Hey Jude, often considered the beatles “greatest and most essential” song, is VASTLY overrated. I think Revolution is much more rock’n’roll. My mom thinks that The Beatles were made to represent Paul, that hes the leader. BS
Naturally. Expert opines always cite “mom,” then label her opinion “BS” !!
Jude was the Beatles biggest single (i.e., biggest seller and longest time at no. 1.) It was also considered by some as something of a comeback for them after their Magical Mystery Tour television flop (although the album went straight to No. 1.) However, no one anywhere ever said Hey Jude was their “most essential” song and you really just made that up to support your own argument/criticism. In logic that’s called a circular argument and invalidates any conclusion.
BTW, the Beatles had no “leader”; they were equal opportunity show offs. They always maintained this, as Lennon himself often confirmed at press conferences where he was frequently known as the witty show off 🙂 Lennon and McCartney were a partnership, a point Lennon again repeatedly made (that from the earliest days going back to the Quarrymen, Lennon chose Paul as his song writing partner.) This is why many Beatle singles were in fact double A sides, with a song from Paul and a song from John. Not always but the best singles (such as Hey Jude/Revolution) were symbolic of that partnership. Real Beatles fans and critics always think of their albums and singles in those terms, not some silly “my mommy said” pissing match between Lennon and McCartney.
Actually, the ‘Hey Jude’ single wasn’t a double A-side – ‘Revolution’ was a B-side.
John has said himself that he was the leader originally. In 1966, John started to get lazy and after Brian Epstein died in 1967, he lost the will to keep going. Paul helped The Beatles pull through and he became the leader.
Well, the Beatles were specifically asked about leadership at recorded press conferences. Both Lennon and McCartney stated clearly the Beatles had no leader. Lennon also said he specifically chose Paul as his partner. While Lennon started/led the original band (Quarrymen) I think it’s clear by the time they became the Beatles they were making decisions as a group rather than by dominant leader. Yoko in particular has tried to perpetuate the myth that Lennon was the Beatles leader when in reality their partnership was more or less equal. Certainly there were tensions and disagreements. Paul may have been seemed more dominant after Epstein died, but he was trying to keep the group motivated rather than take over as “leader.” Lennon during that period was deeply involved with drugs, which I think explains his apathy.
In any case what I personally meant by “double A” sides was a release that featured both an “a” song from John and one from Paul. I view Jude/Revolution this way. The picture sleeve I bought advertised “The Beatles, Hey Jude/Revolution, as if a single with two A sides (as opposed to singles with real B side “filler” not advertised on the sleeve.) Having two “A” class songs certainly helped sales and I remember lot’s of us who bought Beatle singles would favor one side or the other. Revolution did very well in US charts and was No. 1 in Australia/New Zealand. In all the Beatles had something like 45 singles released that in fact hit No. 1 in various countries (some after the breakup in 1970.) So in my view the Beatles One album is quite subjective in it’s content. Revolution should have been on it, as should (at minimum) Strawberry Fields, Please Please Me, and Nowhere Man (which was No. 1 in Canada and Australia and No. 2 In the US.)
Well, it’s a little subjective, but the album would be huge if they included all their number 1s from every country, so they focused on the main countries of the UK and USA. They could have included Please Please Me on the album which was #1 on most of the UK charts just not the main one. Strawberry Fields Forever was never #1; Penny Lane was in the USA but back then the American charts counted the flip side as a separate entry and Strawberry Fields charted lower. The double A-side in the UK reached #2.
As for B-sides, the single sleeves often had the B-side on them, I think.
I agree it’s subjective. But by some US chart counts Nowhere Man was No.1, by Billboard it was No. 2. But consider: who remembers most B sides (whether listed on the sleeve or not?) I don’t. I have to go to my stack of records and actually look at them to remember the B sides because most were mediocre and forgettable filler songs.
My thought though is many Beatles singles were highly innovative in that they offered original hits and memorable songs on both sides. Few groups offered this type of musical quality. I always considered Rain to be the A side of Paperback Writer/Rain, and so did most of my friends. Ditto for Penny Lane/Strawberry Fields; Strawberry was our dominant side. I gave about equal play to Hey Jude/Revolution, but my point is classifying most Beatle singles via their A/B sides seems a bit unfair and non sequitur. I think as someone else commented I’d have preferred an album (double, I guess) including both B and double A sides. Also adding significant non US/UK No. 1 songs like Nowhere Man and Revolution. Or, perhaps Apple could have released a compilation of Beatles top ten singles, noting their chart positions with descriptive liner notes. In any case, such a CD would have seemed more appropriate to the uniqueness of Lennon-McCartney songwriting and reflected Beatles singles better.
I believe, like Elvis, there just needs to be a Beatles “2”. As most of you I found Beatles “1” to be lacking “Nowhere Man” and “Revolution” as well as album hits like “With a Little Help from my Friends”. Bring on #2!!!
I’ve always been fuzzy on the whole concept of “double a-sides” – how do they differ from regular singles? Did they include a note for disc jockeys explicitly suggesting that they not favour one side over the other?
I guess the radio pluggers would have made it clear at the time, along with chart compilers and so on. It’s a bit of a vague thing – Day Tripper/WCWIO was the very first one, as far as I know. I suppose the agreement was that neither song was more important than the other, though of course that didn’t stop certain songs being preferred by the public and broadcasters.
Crazy thing is, chart compilers pretty much have to rely on listener requests alone to determine which of the two sides was the most popular, since sales figures would be identical.
“Another exampple of Paul clinging to the Beatles and not giving the others much credit.”
How silly. The album contains songs that were #1 on the charts. It has nothing to do with what Paul did or did not do.
Paul didn’t make up the UK or American charts, for heavens sake.
Beatles For Sale is represented with Eight Days a Week, it was released as a single in the US but wasn’t released as a single in the UK
You’re right – thanks for that.
Rubber soul isn’t represented at all either
There must be Revolution with Hey Jude, Revolution is a way better song than Hey Jude, sorry guys.
Also Strawberry Fields with Penny Lane. Penny Lane is ”banal” as hell, I’m sure most of people buy that single for Strawberry Fields.
And where is the Don’t Let Me Down?
Is there a grudge about John?
Revolution and Don’t Let Me Down were b-sides, so wouldn’t be included on the album. I agree about SFF though – IMO it should have been on the album.
It’s amazing that this album has so many songs that are ‘meh’ to me. Paperback Writer, Eleanor Rigby, Hello Goodby, Yellow Submarine, Lady Madonna, Long and Winding Road. Granted, it’s the Beatles, so ‘meh’ is highly relative and must be put in context. But in the context of The Beatles, they are not my favorites.
Tell if it’s true that the version of 2000 is different from the 2011 version.
I heard both and I could not hear differences
The 2011 version was remastered. It presumably uses the same mixes as the 2000 version but would have been fixed up a bit. The sound of the 2000 version was criticised because of compression and other techniques to make it sound louder and more modern, not how the songs original sounded. 2015 remix is a better attempt at making the mixes more modern while keeping the integrity of the originals.
2015 version sounds much better that the old Cd n1.s,, for example in the song Let it be,the remix and the sound is very noticiable, but in the old songs, i mean: Tickect to Ride, lady madonna and son on, the drums are still not centered………..so,the remixed exist but , unfortunally, less than in the faboluos remix of Yellow Submarine soundtrack.
John Lennon and Paul McCartney made an agreement, back before the group was even signed for a first recording session that, regardless of the contribution of either of them to an individual song, all songwriting credits for the Beatles music would be listed as “Lennon-McCartney.” Thus: 1. “Here, There and Everywhere,” which Paul wrote after he and John attended an advance listening party in London for The Beach Boys’ album “Pet Sounds,” at Brian Wilson’s invitation — where Paul first heard “God Only Knows” for the first time, which inspired his own song, begun that same day; 2.) “In My Life,” which is all music by John Lennon and lyrics by John Lennon. Both are listed as “Lennon-McCartney” , songwriters.
John and Paul made a marriage of inspiration, necessity, creation and functionality. Like all marriages, they had rough stretches and, ultimately, the relationship failed. You might say, though, that they stayed together for the sake of the kids — all of us fanboys and fangirls — and the sake of the family — The Beatles. Whichever figure of speech or image works for you, what works for me is this: it was a classy move, and look at what John and Paul created and gave all of us by sticking together for as long as they did.
I’d add that, in IMO, God so loved the world that he connected the Beatles with George Martin, that their music would Live and be Light forever.
So The Beatles already have the most Nr. 1s EVER – but just imagine what that number would be if they had started to do what everybody else was doing and take great album tracks and put them out as singles!!
I mean, at times it would almost be impossible for them to increase their time at the top of the charts (including spot 2-6…), but there are so many songs that would have been definite candidates for Nr. 1:
– All my loving
– I saw her standing there
– Drive my car
– Michelle
– The word
– Got to get you into my life
– Obladi, Oblada
– In my life
– Lucy in the sky
– While my guitar gently weeps
All of these could and most definitely would have been number one – actually many of them WERE big hits for other artists… And you could surely add more songs to the list.