CD 1

01. Strawberry Fields Forever [04:09]
02. Penny Lane [03:02]
03. Sgt. Pepper's Lonely Hearts Club Band [02:02]     play
04. With A Little Help From My Friends [02:44]
05. Lucy In The Sky With Diamonds [03:30]
06. A Day In The Life [05:08]
07. All You Need Is Love [03:49]
08. I Am The Walrus [04:36]
09. Hello, Goodbye [03:30]
10. The Fool On The Hill [03:00]
11. Magical Mystery Tour [02:49]
12. Lady Madonna [02:19]
13. Hey Jude [07:11]
14. Revolution [03:25]

CD 2

01. Back In The U.S.S.R. [02:47]                     
02. While My Guitar Gently Weeps [04:47]
03. Ob-La-Di, Ob-La-Da [03:11]
04. Get Back [03:13]
05. Don't Let Me Down [03:36]
06. The Ballad Of John And Yoko [03:01]
07. Old Brown Shoes [03:21]
08. Her Comes The Sun [03:07]
09. Come Toghether [04:20]
10. Something [03:04]
11. Octopu's Garden [02:52]                       play
12. Let It Be [03:52]
13. Across The Universe [03:50]
14. The Long And Winding Road [03:40]

Vocals, Bass – Paul McCartney
Vocals, Drums – Ringo Starr
Vocals, Guitar – George Harrison, John Lennon

Picking up where 1962-1966 left off, the double-album compilation 1967-1970, commonly called The Blue Album, covers the Beatles' later records, from Sgt. Pepper's through Let It Be. Like The Red Album, The Blue Album was released in the wake of a pair of widely advertised quadruple-LP bootlegs, Alpha Omega, Vols. 1-2: The Story of the Beatles, which had appeared early in 1973. And like its companion volume, this set contains a mixture of hits, including singles like "Lady Madonna," "Hey Jude," and "Revolution" -- which had originally appeared only as 45s -- plus important album tracks like "Lucy in the Sky with Diamonds," "A Day in the Life," "While My Guitar Gently Weeps," and "Come Together," as well as orphaned tracks such as the single versions of "Let It Be" and "Get Back," which had never been on any LP before. The first two sides of the original double-LP edition carry listeners through the highlights of the psychedelic era, starting with "Strawberry Fields Forever" and "Penny Lane" and up through "Magical Mystery Tour," before returning to rock & roll territory on "Lady Madonna," "Hey Jude," and "Revolution." The second LP skims three of the more popular tracks off of the sprawling White Album (aka The Beatles) and moves into the late singles ("The Ballad of John and Yoko," "Old Brown Shoe," "Let It Be"), plus single and album highlights from Abbey Road and Let It Be. As a précis of the group's final 36 months, it's all mightily impressive, even if 1967-1970 misses several great songs. But like its predecessor, this set does capture the essence (if not the full range) of the Beatles' later recordings. ---Bruce Eder, AllMusic Review

The Beatles 1967-1970 (Blue Album), to kompilacja zawierająca największe hity zespołu The Beatles z późniejszego okresu twórczości. Zdjęcie umieszczone na okładce płyty zrobione zostało w siedzibie EMI w Londynie i przedstawia wszystkich członków zespołu spoglądających w dół, z klatki schodowej. Zdjęcie o tej samej kompozycji, tyle, że zrobione 6 lat wcześniej zostało umieszczone na okładkach płyt Please Please Me oraz The Beatles 1962-1966. Zdjęcie to pierwotnie miało pojawić się na okładce nigdy nie wydanego albumu Get Back, który potem został zamieniony na płytę Let It Be, a w nowym projekcie została użyta inna okładka.

W wyborze utworów, jakie znalazły się na płycie brali udział członkowie zespołu. Podobnie rzecz miała się z kolorystyką i zdjęciami. Kolor niebieski został użyty, aby nawiązać do jednego z ich ulubionych zespołów piłkarskich – Everton F.C. Mimo że wiele piosenek, które były coverami, w wykonaniu Beatlesów odniosło sukces, nie zostały one umieszczone na albumie. W trakcie wybierania utworów pojawił się także pomysł, aby dodać piosenki wykonywane przez członków zespołu już po rozpadzie, ale ze względu na ograniczoną ilość miejsca na krążkach winylowych, pomysł został odrzucony.

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CD1
01. Love Me Do
02. Please Please Me
03. From Me To You
04. She Loves You
05. I Want To Hold Your Hand	play
06. All My Loving			play
07. Can't Buy Me Love
08. A Hard Day's Night
09. And I Love Her
10. Eight Days A Week
11. I Feel Fine
12. Ticket To Ride
13. Yesterday

CD2
01. Help!
02. You've Got To Hide Your Love Away
03. We Can Work It Out
04. Day Tripper
05. Drive My Car
06. Norwegian Wood (This Bird Has Flown)	play
07. Nowhere Man
08. Michelle
09. In My Life
10. Girl					play
11. Paperback Writer
12. Eleanor Rigby
13. Yellow Submarine

Artist: BEATLES

Assembling a compilation of the Beatles is a difficult task, not only because they had an enormous number of hits, but also because singles didn't tell the full story; many of their album tracks were as important as the singles, if not more so. The double-album 1962-1966, commonly called The Red Album, does the job surprisingly well, hitting most of the group's major early hits and adding important album tracks like "You've Got to Hide Your Love Away," "Drive My Car," "Norwegian Wood," and "In My Life." Naturally, there are many great songs missing from the 26-track 1962-1966, and perhaps it would have made more sense to include the Revolver cuts on its companion volume, 1967-1970, yet The Red Album captures the essence of the Beatles' pre-Sgt. Pepper records. ---Stephen Thomas Erlewine, AllMusic Review

I bought the red and the blue on vinyl when they were released in 1973. At that time, album sides could not hold 30 minutes of music, hence the need for a double album.

The CD version was planned for 1992 then delayed until 1993. Prior to both projected release dates, it was announced that it would be a double disc affair even though the entire two albums could fit on one disc with 15 minutes to spare. If this is due to the desire of preserving the original appearance of the album as a double anthology, I don't buy it.

Today, double discs are now presented in the slim CD case that look like single CDs. Therefore, they should release its blue album this way, put the red album on one disc and they would look comparable. That way we would save a few bucks. Now for the music... The first four songs are mono. The two track stereo tapes for Love Me Do and She Loves You are no longer in existence.

When The Beatles rerecorded their two biggest hits I Want To Hold Your Hand and She Loves You in German in early 1964, they were able to just record the vocal track over the existing backing track of Hand. Since She Loves You's two tracks had been erased, they had to record a whole new rendition. Please Please Me and From Me To You are also in mono. There are stereo masters for these but since Please Please Me in stereo has a vocal flub it was not used. It was announced there was no clean stereo master for From Me To You. I do enjoy this compilation. It's great to have these songs remastered in the early 1990's, and I love hearing All My Loving, Can't Buy Me Love, A Hard Day's Night, And I Love Her, and Eight Days A Week in stereo. In fact, this blows the excuse out of the water that the first four albums would sound terrible in stereo, so present them in mono only.

However, I wish they had used the US stereo mix of Day Tripper. This was on both US and UK versions of the red album. It is a cleaner mix, with less obtrusive echo on the vocal, has a longer fade out, and doesn't try to hide a vocal flub with a volume knob twist. The fade out should have been sung: Day Tripper...Day Tripper Yeh! The Beatles accidently sung it: Day Tripper Yeh!...Day Tripper Yeh! No attempts were made to have them resing the vocal. They just lowered the volume during the mistake. What that did was lower the entire backing track with it.

Still, it is a nice anthology with unpublished photos and the lyrics to all the songs (correct lyrics this time. Just compare the lyrics of A Hard Day's Night on the vinyl to the CD. "So why on earth should I moan, cos' when I get you alone" is correct). ---Brian O'Marra, amazon.com

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1. Christmas Time Is Here Again
2. The Beatles Christmas Record 1963
3. Another Beatles Christmas Record 1964	play
4. The Beatles Third Christmas Record 1965
5. The Beatles Fourth Christmas Record 1966
6. Christmas Time Is Here Again (1967)
7. The Beatles 1968 Christmas Record
8. The Beatles Seventh Christmas Record 1969
9. Christmas Message Outtake 1964
10. Hello Dolly!
11. Speech (Take 1)
12. Speech (Take 3)
13. Speech (Take 2)
14. Speech (Take 4)
15. Speech (Take 5)
16. The Lost Christmas Message II
17. Messages For Radio London And Radio Caroline
18. Jock And Yono
19. Once Upon A Pool Table
20. Christmas Time (Is Here Again)		play
21. The Lost Christmas Message
22. Itv News Interview
23. Newsreel Interview
24. Christmas Show Interview
25. A Saturday Club Christmas

From 1963 until 1969 the Beatles put together single-sided flexi discs with a Christmas message that were distributed to their fan club members. All seven of these were included in a 12" LP and sent as a final farewell to members in 1970. Various bootlegs of that limited LP have been floating around for years, and with assorted outtake material and rehearsal chatter included, plus the complete acetate of "Christmas Time (Is Here Again)," that is what has been assembled here in this festive boot from Yellow Dog Records. Aside from "Christmas Time," which is a pretty good holiday song by any standards, nothing reaches serious artistic heights, but the sheer zany joy of the Beatles is pretty irresistible as they joke and pun their way through short skits and fractured Christmas carols. By 1965 everything gets drenched in reverb and quick edits, and tape loops by 1967 make these recordings in their own way as experimental as any of the group's serious material. John Lennon's genius for wordplay is rampant everywhere, and odd horn blasts and snippets of songs dart in and out. By 1969 the four Beatles were recording their holiday messages separately, and the sequence was edited together for unity, and yes, Yoko is there, too. As a sort of alternate history of the Beatles told through holiday tidings, The Complete Christmas Collection is fascinating and fun, and makes one wish that it could have gone on forever. ---Steve Leggett, AllMusic Review

Grupa The Beatles, poza albumami studyjnymi, w latach 1963-1969 nagrywała także albumy świąteczne dostępne dla członków ich fanklubu. Nagrania te wydawane były na siedmiocalowych pocztówkach dźwiękowych. W roku 1970 wszystkie nagrania zebrano i wydano wspólnie na płycie winylowej The Beatles' Christmas Album. Dzisiaj nagrania świąteczne Beatlesów są niemal nieosiągalne, z wyjątkiem utworu Christmas Time Is Here Again, który został wydany w roku 1994 na stronie B singla Free as a Bird.

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CD 1 :
01 From Us To You
02 The Hippy Hippy Shake
03 Memphis, Tennessee
04 Too Much Monkey Business
05 Do You Want To Know A Secret?
06 Crying, Waiting, Hoping
07 Don't Ever Change
08 To Know Her Is To Love Her
09 Carol
10 Soldier Of Love
11 Lend Me Your Comb
12 Clarabella
13 A Shot Of Rhythm And Blues
14 The Honeymoon Song
15 Nothin' Shakin' But Leaves On The Trees
16 So How Come No Loves Me
17 I Got A Woman
18 Roll Over Beethoven							play
19 'Till There Was You
20 I Wanna Be Your Man
21 Can't Buy Me Love
22 This Boy
23 Long Tall Sally
24 And I Love Her
25 A Hard Day's Night
26 She's A Woman
27 I Feel Fine
28 Everybody's Trying To Be My Baby
29 Dizzy Miss Lizzy
30 Ticket To Ride

CD 2 :
01 Too Much Monkey Business
02 Thank You Girl
03 From Me To You
04 I'll Be On My Way
05 I Saw Her Standing There
06 Long Tall Sally
07 Some Other Guy
08 Boys
09 Memphis, Tennesse
10 I'll Get You
11 She Loves You
12 Lucille										play
13 I Got To Find My Baby
14 Money, That's What I Want
15 Young Blood
16 Baby It's You
17 Sure To Fall
18 Anna
19 Lonesome Tears In My Eyes
20 I'm Gonna Sit Right Down And Cry Over You
21 Matchbox
22 Please Mr. Postman
23 I Got A Woman
24 Chains
25 Glad All Over
26 Honey Don't
27 You Really Got A Hold On Me
28 Lucille
29 Twist And Shout

George Harrison – lead guitar, vocals
John Lennon – vocals, rhythm guitar, harmonica
Paul McCartney – vocals, bass guitar
Ringo Starr – drums, vocals

From US To You is a compilation album featuring performances by The Beatles that were originally broadcast on various BBC Light Programme radio shows from 1963 through 1965. The monaural album, available in multiple formats but most commonly as a two-CD set, consists of 59; 30 of the songs had never been issued previously by The Beatles.

Although the songs were recorded ahead of broadcast, allowing for retakes and occasional overdubbing, they are essentially "live in studio" performances. Most of the songs are cover versions of material from the late 1950s and early 1960s, reflecting the stage set they developed before Beatlemania. Before the album's release, comprehensive collections of The Beatles' BBC performances had become available on bootlegs.

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CD1
1. Love Me Do (Original Single Version)
2. From Me To You
3. Thank You Girl
4. She Loves You
5. I'll Get You
6. I Want To Hold Your Hand
7. This Boy
8. Komm, Gib Mir Deine Hand
9. Sie Liebt Dich
10. Long Tall Sally
11. I Call Your Name
12. Slow Down
13. Matchbox
14. I Feel Fine
15. She's A Woman
16. Bad Boy
17. Yes It Is
18. I'm Down 

CD2
1. Day Tripper
2. We Can Work It Out
3. Paperback Writer
4. Rain
5. Lady Madonna
6. The Inner Light
7. Hey Jude
8. Revolution
9. Get Back (with Billy Preston)
10. Don't Let Me Down (with Billy Preston)
11. The Ballad of John and Yoko
12. Old Brown Shoe
13. Across the Universe
14. Let it Be
15. You Know My Name (Look Up The Number)

When Capitol decided to release the original British editions of the Beatles' albums instead of the bastardized American versions, they were left with a bit of a quandary. Since the Beatles had an enormous number of non-LP singles, some of their greatest hits -- from "I Want to Hold Your Hand" through "Hey Jude" -- would not be included on disc if Capitol simply served up straight reissues. They had two options: they could add the singles as bonus tracks to the appropriate CDs, or they could release a compilation of all the non-LP tracks. It should come as no surprise that they chose the latter. Over its first half, Past Masters captures the exuberance of Beatlemania while confirming the band's talents as popcraftsmen ("This Boy," "Yes It Is") and proving that they could rock really, really hard ("I Feel Fine," "She's a Woman," the peerless "I'm Down"). From 1965 on, the 15 non-LP tracks released in the last five years of the band's career (not counting the singles that were released on Magical Mystery Tour) may not be as thematically consistent, but they hit greater highs with a greater frequency. Indeed, some of the greatest singles in pop history are here: "Day Tripper," "We Can Work It Out," "Paperback Writer," "Rain," "Lady Madonna," "Hey Jude," "Revolution," "Don't Let Me Down," and "The Ballad of John and Yoko." In the middle of all this, single versions of "Get Back" and "Let It Be" appear (the former is stiffer than the LP version, the latter is better than its counterpart), along with the alternate (and superior) "Across the Universe" and the silly yet strangely irresistible "You Know My Name (Look Up the Number)." Apart from a few cuts that are merely rarities, this is a near-perfect compilation that captures the energy and spirit of the Beatles' entire career. ---allmusic.com

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1. Taxman
2. Eleanor Rigby
3. I'm Only Sleeping
4. Love You To
5. Here, There and Everywhere
6. Yellow Submarine
7. She Said She Said
8. Good Day Sunshine
9. And Your Bird Can Sing
10. For No One
11. Doctor Robert
12. I Want to Tell You
13. Got To Get You Into My Life
14. Tomorrow Never Knows

The Beatles:

John Lennon – lead, acoustic and rhythm guitars, lead, harmony and backing vocals, 
piano, Hammond organ and harmonium, tape loops and sound effects, cowbell, 
tambourine, maracas, handclaps, finger snaps

Paul McCartney – lead, acoustic and bass guitars, lead, harmony and backing vocals, 
piano, clavichord, tape loops, sound effects, handclaps, finger snaps

George Harrison – lead, acoustic and rhythm guitars, bass, lead, harmony and backing vocals, 
sitar, tamboura, sound effects, maracas, tambourine, handclaps, finger snaps

Ringo Starr – drums, tambourine, maracas, handclaps, finger snaps, 
lead vocals on "Yellow Submarine"

All the rules fell by the wayside with Revolver, as the Beatles began exploring new sonic territory, lyrical subjects, and styles of composition. It wasn't just Lennon and McCartney, either -- Harrison staked out his own dark territory with the tightly wound, cynical rocker "Taxman"; the jaunty yet dissonant "I Want to Tell You"; and "Love You To," George's first and best foray into Indian music. Such explorations were bold, yet they were eclipsed by Lennon's trippy kaleidoscopes of sound. His most straightforward number was "Doctor Robert," an ode to his dealer, and things just got stranger from there as he buried "And Your Bird Can Sing" in a maze of multi-tracked guitars, gave Ringo a charmingly hallucinogenic slice of childhood whimsy in "Yellow Submarine," and then capped it off with a triptych of bad trips: the spiraling "She Said She Said"; the crawling, druggy "I'm Only Sleeping"; and "Tomorrow Never Knows," a pure nightmare where John sang portions of the Tibetan Book of the Dead into a suspended microphone over Ringo's thundering, menacing drumbeats and layers of overdubbed, phased guitars and tape loops. McCartney's experiments were formal, as he tried on every pop style from chamber pop to soul, and when placed alongside Lennon's and Harrison's outright experimentations, McCartney's songcraft becomes all the more impressive. The biggest miracle of Revolver may be that the Beatles covered so much new stylistic ground and executed it perfectly on one record, or it may be that all of it holds together perfectly. Either way, its daring sonic adventures and consistently stunning songcraft set the standard for what pop/rock could achieve. Even after Sgt. Pepper's, Revolver stands as the ultimate modern pop album and it's still as emulated as it was upon its original release. --- Stephen Thomas Erlewine, AMG

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1. Drive My Car
2. Norwegian Wood (The Bird Has Flown)
3. You Won't See Me
4. Nowhere Man
5. Think For Yourself
6. The Word
7. Michelle
8. What Goes On
9. Girl
10. I'm Looking Through You
11. In My Life
12. Wait
13. If I Needed Someone
14. Run For Your Life

The Beatles

John Lennon: lead and backing vocals, rhythm guitar, six and twelve string acoustic guitars, 
electric piano, harmonium, tambourine, cowbell, maracas

Paul McCartney: lead and backing vocals, lead and acoustic guitars, bass, fuzz bass, 
acoustic and electric piano

George Harrison: lead, rhythm and acoustic guitars, twelve string acoustic and electric guitars, 
sitar on "Norweigan Wood (This Bird Has Flown)", bass, lead and backing vocals

Ringo Starr: drums, tambourine, maracas, cowbell, lead vocals on "What Goes On", 
Hammond organ on "I'm Looking Through You"

While the Beatles still largely stuck to love songs on Rubber Soul, the lyrics represented a quantum leap in terms of thoughtfulness, maturity, and complex ambiguities. Musically, too, it was a substantial leap forward, with intricate folk-rock arrangements that reflected the increasing influence of Dylan and the Byrds. The group and George Martin were also beginning to expand the conventional instrumental parameters of the rock group, using a sitar on "Norwegian Wood (This Bird Has Flown)," Greek-like guitar lines on "Michelle" and "Girl," fuzz bass on "Think for Yourself," and a piano made to sound like a harpsichord on the instrumental break of "In My Life." While John and Paul were beginning to carve separate songwriting identities at this point, the album is full of great tunes, from "Norwegian Wood (This Bird Has Flown)" and "Michelle" to "Girl," "I'm Looking Through You," "You Won't See Me," "Drive My Car," and "Nowhere Man" (the last of which was the first Beatles song to move beyond romantic themes entirely). George Harrison was also developing into a fine songwriter with his two contributions, "Think for Yourself" and the Byrds-ish "If I Needed Someone." --- Richie Unterberger, All Music Guide

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01. Sgt. Pepper's Lonely Hearts Club Band 
02. With A Little Help From My Friends 
03. Lucy In The Sky With Diamonds 
04. Getting Better 
05. Fixing A Hole 
06. She's Leaving Home 
07. Being For The Benefit Of Mr. Kite! 
08. Within You Without You 
09. When I'm Sixty-four 
10. Lovely Rita 
11. Good Morning Good Morning 
12. Sgt Pepper's Lonely Hearts Club Band (Reprise) 
13. A Day In The Life

Artists:
John Lennon – lead, harmony and backing vocals, lead, rhythm and acoustic guitars,
 Hammond organ, piano, handclaps, harmonica, tape loops, sound effects, kazoo,
 tambourine, maracas, comb and paper (on "Lovely Rita")
Paul McCartney – lead, harmony and backing vocals, lead, acoustic and bass guitars,
 piano, Lowry and Hammond organ, handclaps, vocalisations, tape loops, sound effects,
 kazoo, comb and paper (on "Lovely Rita")
George Harrison – lead, rhythm and acoustic guitars, sitar, lead vocals on "Within You Without You", 
harmony and backing vocals,Hammond organ, tambura, harmonica, kazoo, handclaps,
 maracas, comb and paper (on "Lovely Rita")
Ringo Starr – drums, percussion, congas, tambourine, maracas, handclaps, tubular bells,
 lead vocals on "With a Little Help from My Friends", harmonica, kazoo, final piano E chord

With Revolver, the Beatles made the Great Leap Forward, reaching a previously unheard-of level of sophistication and fearless experimentation. Sgt. Pepper's, in many ways, refines that breakthrough, as the Beatles consciously synthesized such disparate influences as psychedelia, art song, classical music, rock & roll, and music hall, often in the course of one song. Not once does the diversity seem forced -- the genius of the record is how the vaudevillian "When I'm Sixty-Four" seems like a logical extension of "Within You Without You" and how it provides a gateway to the chiming guitars of "Lovely Rita." There's no discounting the individual contributions of each member or their producer, George Martin, but the preponderance of whimsy and self-conscious art gives the impression that Paul McCartney is the leader of the Lonely Hearts Club Band. He dominates the album in terms of compositions, setting the tone for the album with his unabashed melodicism and deviously clever arrangements. In comparison, Lennon's contributions seem fewer, and a couple of them are a little slight but his major statements are stunning. "With a Little Help from My Friends" is the ideal Ringo tune, a rolling, friendly pop song that hides genuine Lennon anguish, à la "Help!"; "Lucy in the Sky with Diamonds" remains one of the touchstones of British psychedelia; and he's the mastermind behind the bulk of "A Day in the Life," a haunting number that skillfully blends Lennon's verse and chorus with McCartney's bridge. It's possible to argue that there are better Beatles albums, yet no album is as historically important as this. After Sgt. Pepper's, there were no rules to follow -- rock and pop bands could try anything, for better or worse. Ironically, few tried to achieve the sweeping, all-encompassing embrace of music as the Beatles did here. --- Stephen Thomas Erlewine, allmusic.com

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CD 1 
01. Julia 
02. Back In The U.S.S.R. 
03. Dear Prudence 
04. Glass Onion 
05. Ob-La-Di, Ob-La-Da 
06. Wild Honey Pie 
07. The Continuing Story Of Bungalow Bill 
08. While My Guitar Gently Weeps 
09. Happiness Is A Warm Gun 
10. Martha My Dear 
11. I'm So Tired 
12. Blackbird 
13. Piggies 
14. Rocky Raccoon 
15. Don't Pass Me By 
16. Why Don't We Do It In The Road 
17. I Will 

CD 2 
01. Birthday 
02. Yer Blues 
03. Mother Nature's Son 
04. Everybody's Got Something To Hide Except Me And My Monkey 
05. Sexy Sadie 
06. Helter Skelter 
07. Long, Long, Long 
08. Revolution 1 
09. Honey Pie 
10. Savoy Truffle 
11. Cry Baby Cry 
12. Revolution 9 
13. Good Night

Personnel:
George Harrison – lead, harmony and backing vocals; lead and rhythm guitars 
John Lennon – lead, harmony and backing vocals; lead and rhythm (electric and acoustic guitars) 
Paul McCartney – lead, harmony and backing vocals; four and six-string bass guitar; 
Ringo Starr – drums and assorted percussion, lead vocals on "Don't Pass Me By" and "Good Night"
+
Eric Clapton – guitar on "While my Guitar Gently Weeps"
Jack Fallon – violin on "Don't Pass Me By"
Pattie Harrison, Yoko Ono, Mel Evans, Jackie Lomax, Maureen starkey – backing vocals

And
    Ted Barker – trombone on "Martha My Dear"
    Leon Calvert – trumpet and flugelhorn on "Martha My Dear"
    Henry Datyner, Eric Bowie, Norman Lederman, and Ronald Thomas – violin on "Glass Onion"
    Bernard Miller, Dennis McConnell, Lou Soufier and Les Maddox – violin on "Martha My Dear"
    Reginald Kilby – cello on "Glass Onion" and "Martha My Dear”
    Eldon Fox  – cello on "Glass Onion"
    Frederick Alexander  – cello on "Martha My Dear"
    Harry Klein – saxophone on "Savoy Truffle" and "Honey Pie”
    Dennis Walton, Ronald Chamberlain, Jim Chest, and Rex Morris – saxophone on "Honey Pie"
    Raymond Newman and David Smith – clarinet on "Honey Pie"
    Art Ellefson, Danny Moss, and Derek Collins – tenor sax on "Savoy Truffle"
    Ronnie Ross and Bernard George – baritone sax on "Savoy Truffle"
    Alf Reece – tuba on "Martha My Dear"
    The Mike Sammes Singers – backing vocals on "Good Night"
    Stanley Reynolds and Ronnie Hughes – trumpet on "Martha My Dear"
    Tony Tunstall – French horn on "Martha My Dear"
    John Underwood and Keith Cummings – viola on "Glass Onion"
    Leo Birnbaum and Henry Myerscough – viola on "Martha My Dear"

Each song on the sprawling double album The Beatles is an entity to itself, as the band touches on anything and everything it can. This makes for a frustratingly scattershot record or a singularly gripping musical experience, depending on your view, but what makes the so-called White Album interesting is its mess. Never before had a rock record been so self-reflective, or so ironic; the Beach Boys send-up "Back in the U.S.S.R." and the British blooze parody "Yer Blues" are delivered straight-faced, so it's never clear if these are affectionate tributes or wicked satires. Lennon turns in two of his best ballads with "Dear Prudence" and "Julia"; scours the Abbey Road vaults for the musique concrète collage "Revolution 9"; pours on the schmaltz for Ringo's closing number, "Good Night"; celebrates the Beatles cult with "Glass Onion"; and, with "Cry Baby Cry," rivals Syd Barrett. McCartney doesn't reach quite as far, yet his songs are stunning -- the music hall romp "Honey Pie," the mock country of "Rocky Raccoon," the ska-inflected "Ob-La-Di, Ob-La-Da," and the proto-metal roar of "Helter Skelter." Clearly, the Beatles' two main songwriting forces were no longer on the same page, but neither were George and Ringo. Harrison still had just two songs per LP, but it's clear from "While My Guitar Gently Weeps," the canned soul of "Savoy Truffle," the haunting "Long, Long, Long," and even the silly "Piggies" that he had developed into a songwriter who deserved wider exposure. And Ringo turns in a delight with his first original, the lumbering country-carnival stomp "Don't Pass Me By." None of it sounds like it was meant to share album space together, but somehow The Beatles creates its own style and sound through its mess. --- Stephen Thomas Erlewine, allmusic.com

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CD1
01. Get Back #1 warm-up - #3
 / Don't Let Me Down #1
 / I've Got A Feeling #1 
/ One After 909 
/ Dig A Pony [26:04]
02. I've Got A Feeling #2 
/ Don't Let Me Down #2 
/ Get Back #4 [11:19]
03. Get Back #2 & #3 
/ Don't Let Me Down #1 
/ I've Got A Feeling #1 
/ One After 909 
/ Dig A Pony [18:05]
04. I've Got A Feeling #2 
/ Get Back #4 [06:36]
05. I've Got A Feeling #2 
/ Don't Let Me Down #2 
/ Get Back #4 [05:47]

CD2
01. Get Back #1 warm-up jam
/Get Back #2/I Want You
/Don't Let Me Down
/Get Back #3
/Don't Let Me Down #1
/I've Got A Feeling #1 [16:23]
02. One After 909
/Dig A Pony
/God Save The Queen
/I've Got A Feeling #2
/Don't Let Me Down #2
/Get Back #4 [14:54]
03. Announcement Only [01:07]
04. God Save The Queen 
/I've Got A Feeling #2
/Don't Let Me Down
/Get Back #4 [16:07]
05. I've Got A Feeling #1
/One After 909
/Dig A Pony [11:08]

"The Rooftop Concert" was the first live gig since the band stopped touring in 1965 (tired of constantly screaming girls and frustrated by not being able to reproduce the more complex arrangements of their studio albums) and was to be their last.

The 42-minute show was recorded onto two eight-track machines in the basement of Apple, by George Martin, engineer Glyn Johns and tape operator Alan Parsons. The tracks were filled with the following: Paul McCartney, vocals; John Lennon's and George Harrison's vocals; Billy Preston's organ; McCartney's bass guitar; a sync track for the film crew; Starr's drums; Lennon's guitar; Harrison's guitar.

“We went on the roof in order to resolve the live concert idea, because it was much simpler than going anywhere else; also nobody had ever done that, so it would be interesting to see what happened when we started playing up there. It was a nice little social study. We set up a camera in the Apple reception area, behind a window so nobody could see it, and we filmed people coming in. The police and everybody came in saying, 'You can't do that! You've got to stop.'” ---George Harrison

“ It was good fun, actually. We had to set the mikes up and get a show together. I remember seeing Vicki Wickham of Ready, Steady, Go! (there's a name to conjure with) on the opposite roof, for some reason, with the street between us. She and a couple of friends sat there, and then the secretaries from the lawyers' offices next door came out on their roof. We decided to go through all the stuff we'd been rehearsing and record it. If we got a good take on it then that would be the recording; if not, we'd use one of the earlier takes that we'd done downstairs in the basement. It was really good fun because it was outdoors, which was unusual for us. We hadn't played outdoors for a long time. It was a very strange location because there was no audience except for Vicki Wickham and a few others. So we were playing virtually to nothing - to the sky, which was quite nice. They filmed downstairs in the street - and there were a lot of city gents looking up: 'What's that noise?'” ---Paul McCartney

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