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The Beatles ?– The Beatles

Tracklist

Credits

• Engineer – Chris Thomas, Geoff Emerick, Ken Scott
• Producer, Orchestrated By – George Martin
• Written-By – Harrison* (tracks: A7, B4, C7, D3), Lennon-McCartney (tracks: A1 to A6, A8 to B3, B5, B6 to C6, D1, D2, D4 to D6), Starkey* (tracks: B6)

Notes

After the show came the reality. Fractured, dislocated and expansive, The Beatles – housed in its legendary plain white, subtly embossed sleeve – came out in November 1968. It arrived at a time when both the group and the world had changed irrevocably: the former since their first forays into fame and fortune, the latter scarred by the ongoing war in Vietnam and the assassination of Martin Luther King, to touch upon the tip of the iceberg.

From the inside looking out, maybe everything wasn't going to be alright, despite John Lennon’s assurances on the rousing Revolution 1, just one of many highlights on what is perhaps The Beatles’ most ambitious studio album.

After writing dozens of songs while meditating in India in the spring, the group returned to Abbey Road – and Trident, in Soho – to record over 30 tracks of new material up until the summer. When you think of how unrest had started to simmer within the group's ranks – Yoko Ono arriving in the studio; Apple forming; Ringo leaving and then returning – and how broad the album's palette of sounds (blue beat, heavy metal, folk and doo-wop, to name a few), The Beatles still manages to hang together like few other works.

The Lennon and Paul McCartney stereotypes are at once reinforced, yet also dismissed – few would have thought Good Night was the product of Lennon’s pen, and likewise Helter Skelter didn’t immediately scream McCartney. Away from such showpieces, it's the doodles that delight – George Harrison's Savoy Truffle is a fine counterweight to While My Guitar Gently Weeps, and Everybody's Got Something to Hide Except For Me and My Monkey balances the gravitas of Revolution 1.

Given that it also contains Lennon, Ono and Harrison's nine-minute noise collage Revolution 9 and McCartney's genuinely pointless Wild Honey Pie, it’s little wonder that producer George Martin always opined that The Beatles could have made a splendid single album. That said, without such variety on offer, the compiling of one’s own version wouldn’t be the national pastime it is today. --Daryl Easlea

This was the album that was the first by the Beatles to start showing in a bit more detail that whist the songs were being credited to Lennon and McCartney increasingly the songs were being written individually. As such this makes it a totally fascinating album and let's the fans see the individual strengths that each brought to the table. Maybe as a result we get some of the most underappreciated songs by each of the band. With McCartney we get the wonderful Martha my dear, with Lennon we get the beautiful Cry baby cry and in the case of George Harrison we get his best Beatles song in Long Long Long. The strange thing about this album is how rare it is to hear many of the songs on the radio whenever other songs are played on a daily basis. The album starts with one of its best known songs Back in the USSR and then starts a wonderful journey through so many unexpected twists and turns with Yoko joining in on backing vocals on Bungalow Bill the wonderful strangeness of Happiness is a warm gun. We have McCartney turning it up to 11 on Helter Skelter and one of his most beautiful love songs in I will. It's a truely wonderful album which a times feels like a precursor for the solo albums which only lay a year or two ahead but 38 years on it just sounds like the best album by the best group ever.