The closest the Beatles came to a greatest hits package, this document of the early part of their career features hit singles (in chronological order) and selected album tracks, running from "Love Me Do" through the groundbreaking Rubber Soul and Revolver albums. While this may be an excellent intro for beginners, real fans will never be content with only selections, especially when you're dealing with those aforementioned albums. Capitol packages the collection on two discs, copying the original vinyl version--but, of course, CDs hold more music than records did. Still, you do get 26 bona fide classics, so there's no real need to complain.

Even as the Beatles began heading toward an inevitable break-up, their prolific ways continued; this two-record look back only skims the surface of their later achievements. Excerpts from Sgt. Pepper, Magical Mystery Tour, the white album, Abbey Road, and Let It Be compete for space with classic singles that do as much or more to prove their eclecticism: the epic ballad "Hey Jude", the plaintive "Strawberry Fields Forever", straight rock & roll of all stripes from the plainspoken "Revolution" and "Get Back" to the surreal "Come Together". Decades after the split, this (and its companion set of 1962-1966 cuts) remains a favoured introduction for young listeners and a key sampler for veteran fans.

Although they were probably the band that most transformed rock from a singles medium to an album-oriented form, the Beatles also released many singles and EP tracks that never made it onto albums. In the U.S., Capitol turned the group's early LPs, through Sgt. Pepper's Lonely Hearts Club Band, into compilations, more or less, throwing the hit singles onto the vinyl to augment the album tracks. When the label later released the U.K. albums on CD, it posed a problem: What to do with the non-LP singles? Past Masters, Volume 1 compiles 18 of those singles, including some of their best-known tracks, running from "Love Me Do," "She Love You," "I Want to Hold Your Hand," and "This Boy" to "I Feel Fine" and Paul's homage to Little Richard, "I'm Down." Essential stuff.

This is the first release in a three-part series that essentially amounted to the three surviving Beatles officially sanctioning the release of tracks that had been bootlegged for years. Thus, you get some of their earliest recordings as teens; the tracks they cut in Hamburg, Germany; their Decca audition tapes (which were rejected); and, finally, alternate takes and works in progress of songs that are now part of the world's consciousness. Oh, yeah, you also get "Free As a Bird," the John Lennon track the other Beatles "finished" in 1995; it's out of context in the company of some of the group's early classics. Beatlemaniacs, of course, love exploring this stuff, but the three Anthologies are hardly a place for beginners to start their explorations.

If you are, like me, a long-time Beatles fan, you will love this twist on what I personally believe to be the most experimental & brave period of the Fabs glittering career. Whilst most of the tracks are good (only a few clinkers, ie. the tedious "Green Onions" clone of "12 Bar Instrumental" are present), the real gold in these tracks is that they enable the listener to follow (or try & follow) the development of a particular song. Listening to some of the songs is like seeing old and well-loved buildings only half-built (ie "a Day In The Life"). In particular, listening to the basic unadorned take of"I Am The Walrus" is like suddenly finding your eccentric Auntie Nellie pruning roses in the nude...!

Musicians (pro- or amateur) will be fascinated by the alternative takes & half-developed ideas, trying to figure out the logic behind why certain ideas were dropped and others developed. And in case I've wondered off the point a little, I'll say it again, brilliant music, to be appreciated by EVERYBODY.

Get this, if only for a fascinating glimpse of the inner musical workings a bunch pop geniuses, illustrated & dissected in the manner of an anatomical text book.

From the White Album to the end, the last days of the Beatles weren't smooth, which made the fact that they still produced some astonishing music all the more remarkable. In abbreviated form, "What's the New Mary Jane" is finally issued here, and proves underwhelming. For the rest of the set, it's largely down to outtakes and demos, but this time there isn't the same insight of the previous two volumes. Anthology 3 comes dangerously close to the sound of barrels being scraped. That said, it's the Beatles, and in whatever form, the music still shines brilliantly.

The surviving members of the Fab Four spent much of the 1990s belatedly reuniting to document, promote, and occasionally awkwardly burnish their unparalleled pop music legacy. This double-disc anthology of live-in-the-studio performances originally recorded specifically for the BBC during the most frantic years of early Beatlemania was the first chapter in that effort and the first issuance of previously unreleased Beatles recordings since the late '70s. In many ways, it remains the most artistically revealing.

Proving yet again their willingness to dice 'n' slice their burgeoning legacy into new--if not exactly fresh--product, the Fab Four Minus One released this single disc compendium of their No. 1 hits. Though obviously superfluous to long-time Fabs faithful (who may also find themselves quibbling over the precise definition of "No. 1 hit" and the exclusion of seeming contenders like "Please Please Me" and "Strawberry Fields"), newly arrived visitors from the Pleiades star cluster and other neophytes will find it a concise and generous (nearly 80 minutes) single-disc introduction to the band's career-spanning, unparalleled dominance of pop music in the 1960s and beyond. But more than merely a trophy case of commercial success (and it won't be hard to find people to argue that these singles aren't even the band's best work), 1 is also a quick sketch of a remarkable seven-year musical evolution, one that stretches from the neo-skiffle of "Love Me Do" through a remarkable synthesis of R&B, rockabilly, Tin Pan Alley, gospel, country and classical that still defies efforts to effectively deconstruct it.

How much better, you could be forgiven for wondering, could Let It Be be? The answer, perhaps surprisingly, is "a bit". Let It Be, while obviously better than almost everything ever recorded by anyone else, was compromised by the fact that the Beatles were disintegrating as a unit during the recording sessions, the rancour most famously illustrated by John Lennon calling in Phil Spector behind Paul McCartney's back to rework "The Long and Winding Road". Let It Be... Naked, then, is the album as the Beatles would have heard it while they were making it.