THE BEATLES
singles

(Ratings for the singles reflect the A-side only. Format differences obliterate my desire to attempt to grade the package as a whole. I don't own most of these singles but I review them because I know the music. Deal with it.)

Love Me Do (Parlophone/Vee Jay 1962)
The Beatles' first actual single. #17 in Britain, nowhere in America until much later. This song strikes me as kind of funky. On the single that's Ringo Starr on the drums, while the album -- released a few months later -- has session man Andy White. The b-side is Paul's matinee-idol schtick "P.S. I Love You," also on the album. You can find the single version on PAST MASTERS VOLUME ONE. (B+)

Please Please Me (Parlophone/Vee Jay 1963)
The first #1 hit, this has all the classic Beatles elements in place -- the harmonies, wicked structure, chiming guitars, and harmonica -- and they would only get better. The touching "Ask Me Why" is on the flip. (A)

From Me to You (Parlophone/Vee Jay 1963)
The stale followup to the hit suggests little of the strength of the debut album released on the same day. "From Me to You" is the Beatles' weakest early single, treading along with little momentum, and it's aged terribly, upstaged even by its b-side, the fair-enough "Thank You Girl." [2006 note: FMTY kicked ass live, though.] (B-)

She Loves You (Parlophone/Swan 1963)
What a perfect song. I think it has two hidden messages: one insisting that it be played again once it finishes, and one demanding that you get up and scream with mystified bliss. The b-side isn't a shade less potent. Without a doubt, the essential Beatles recording. One of the best singles of all time. (A+)

I Want to Hold Your Hand (Parlophone/Capitol 1963)
From the bass notes of the opening through to the delirious sensuality of the chorus, "I Want to Hold Your Hand" sounds like it's coming from outer space. The accusations (mostly in America) that the Beatles were somehow subliminally wooing their female fans to become spawns of Satan or sexual slaves or whatnot aren't far from understandable in this case: the clunking rhythm guitar track, the appalling left-field vocals, Ringo's insane percussion work, and the intensity of the "I can't hiiiiiide!" are like nothing else previously labeled rock & roll. You could listen to this repeatedly all day grasping for the full effect of its sheer entity. Many people did. Although "This Boy" doesn't leave you reeling from the same kind of culture shock, it is beautiful three-part-harmony rock & roll, with an appropriately pained lead from John and a wonderful riff. This single on its own is twice as evocative as most albums of the period. (A+)

Can't Buy Me Love (Parlophone/Capitol 1964)
Though it's a step back from the leaps and bounds of the previous two singles, this taster from A HARD DAY'S NIGHT is a quintessential McCartney rocker. It was particularly important in the United States, where it was the first actual new release by the band after their uproarious February landing and the explosion of their Stateside popularity. Although it's one of the weaker songs from the sessions, it accompanies one of the most brilliant sequences in the film. John's A++ "You Can't Do That" is appropiately spiteful, with more unbelievable lead vocals. (A-)

A Hard Day's Night (Parlophone/Capitol 1964)
The thundering, twisting classic title track from the film and album, with Paul McCartney's "Things We Said Today" a perfect counterpoint. John and Paul's vocals on their respective sides of the disc find both in peak form... never duplicated. (A+)

I Feel Fine (Parlophone/Capitol 1964)
An utterly incredible recording, "I Feel Fine" begins with a squeal of feedback before possibly the best rhythm-guitar riff of all time begins. This is what hero worship is all about. Ringo's nonstop cymbals and the tower of vocals reach back toward the days of Hamburg and the Cavern, days which in a sense the Beatles were probably wishing for by now. But no song released in 1962 or 1963 would have the courage and confidence of this one. The headbanger "She's a Woman" (what a title) in theory is simplistic and rather dull, but the released performance finds Paul belting out a solid rocker. It's no "I Saw Her Standing There," but that's okay. Paul's rhyme scheme is hysterical, as is the scene in Help! involving this song. (A+)

Ticket to Ride (Parlophone/Capitol 1965)
Approaching metal in its relentless crunch, "Ticket to Ride" is one of the Beatles' strangest and best singles, but it wouldn't approach either status without the aid of one Ringo Starr. I could practically listen to a drums-only version of "Ticket to Ride." John writes another winner, and belts it out almost like it's "I Call Your Name," but not quite. "Yes It Is," meanwhile, is my choice for the most underrated Beatles recording. It's as beautiful as "This Boy" and the delicate, stark lyrics and Lennon's breathtaking vocal break threaten to push it head-and-shoulders over the earlier harmony showcase, but I refuse to choose between them. (A+)

Help! (Parlophone/Capitol 1965)
The lyrics to "Help!" are John's most chilling words since "Every night when everybody has fun / Here am I sitting all on my own." The film HELP! is splendid, but obviously Lennon was in a different world during the entire ordeal, writing something as bare and revelatory as this (not to mention "You've Got to Hide Your Love Away"). His world-weary resignation would reach its peak later in the year. Paul's poorly-written b-side "I'm Down" looks especially inconsequential next to its match on the single. The band lights up both songs, particularly the latter, with outstanding performances. George's harmonies on "Help!" are lovely. (A+)

Day Tripper/We Can Work It Out (Parlophone/Capitol 1965)
The two songs that weren't witty or introspective enough for RUBBER SOUL end up here on a double-A 7". As long as you don't compare them to their close relatives on the album ("Drive My Car" and "I'm Looking Through You" respectively) they're wonderful. On "Tripper," George Martin turns a good rocker into a great one, a fine riff into the end of the world. I like the mellotron on the flipside a lot, too. (A)

Paperback Writer (Parlophone/Capitol 1966)
This is one of those singles where the b-side is so good you tend to sort of forget about the A-side, but "Paperback Writer" is a fabulous Paul McCartney track and a perfect single, considering that it's much more lightweight than his fine work on REVOVLER but still nuanced and fascinating, with some stellar harmonies that supposedly were done in tribute to, um, another band I like a lot. (Paul credits that same band with inspiring his greatest composition, "Here, There, and Everywhere.") With so much of the Beatles' 1966-67 work, what's there doesn't bother me. It's what's not there that keeps me from praising it to the skies, and I maintain that Lennon all but lost it during this period, but I often forget how fabulous Paul McCartney's work was throughout the last half of the Beatles' career. His sense of humor is criminally overlooked, much closer to Ray Davies than John Lennon, and the lyrics to "Paperback Writer" are excellent and surprisingly evocative. This points in the direction of his satirical work on the White Album. But in any case, "Rain" is something else entirely; with its backward loops and motherfucking phenomenal work from Ringo (the greatest performance ever by rock's greatest drummer), it's experimental but tops works like "Tomorrow Never Knows" because it's also fun and playful. With its grinning, trippy, gorgeous vocals and beautifully ugly sonic guitar attacks, it's as discordant-yet-gripping as "She Said, She Said" or "I'm Only Sleeping"... and it tops all of the above. To me, this is the perfect psychedelic Beatles: it's obviously a pop song but the fuck-all, anything-goes spirit makes it something bigger. The oddities aren't the star of the show, they're just a complement to a grand attraction. (A)

Yellow Submarine/Eleanor Rigby (Parlophone/Capitol 1966)
There are things about both of these songs that have always rubbed me the wrong way. The rating stands -- I can't tell you they're not wonderful because they are. "Yellow Submarine" is a great novelty that probably should not have been released as a single... it's interesting, though, that the biggest band in the world could have hits with such left-field material just as easily as with its more commercial work. It's a double-A with "Eleanor Rigby." If there is a serious problem with the Beatles' songwriting in general and their relationship to George Martin, I think it's laid out in spades within "Rigby." On the heels of their most human, sobering LP to date and a single that displayed an experimental and funny side without vindictive or indulgent flavor, it's ashame that Paul's Darker Side comes out in such a humorless, confused fashion on "Eleanor Rigby." The Poetry Anthology feel of it just grates on me, I suppose, but it comes alive for me, ironically enough, on the film named after the flipside, in which it's complemented by some arresting, sympathetic visuals. I just see the potential for a character portrait here and all I can hear is how much better Ray Davies would have done writing about the same person (and hey, he did; see "Two Sisters"). Nicholas Schaffner points out in his book that "No one was saved" is a rather trite line; he doesn't consider it a serious problem, nor do I, but I mention it because it's bothered me for years... seems forced, I guess. Nonetheless, REVOLVER, from which both these songs are taken, contains Paul McCartney's finest collection of songs, and out of them this is perhaps the weakest, which is remarkable enough since it's a hell of a good cut. More serious, to these ears, is George Martin's exaggerated string production. Though not as damaging as "Yesterday" and even quite lovely on its own terms, I just think it goes too far and the song would work better for me in a less contrived arrangement. But what do I know? Whatever problems extant here would be much more than redeemed by the next single. (A-)

Strawberry Fields Forever/Penny Lane (Parlophone/Capitol 1967)
With little doubt in my mind, I can proclaim this to be the best 7" rock record ever pressed. It marks the single moment in the Beatles' catalog when their restless experimentation, George Martin's bottomless skills, and their genius as composers of rock & roll came together to create something of a distinct and undeniable piece. John Lennon's "Strawberry Fields Forever" is confusing, ponderous, rambling, surreal, and insanely beautiful. Paul McCartney's "Penny Lane" is simply a work of pop genius which is in its own way as personal as the flipside. The abilities of the two men are laid out perfectly here, with the band dynamic and their relationship with Martin firmly in place. Even if nothing on SGT. PEPPER comes close, this is proof that there was heart and energy behind the band's psychedelic phase... and what a breathtaking pair of recordings. (A+)

All You Need is Love (Parlophone/Capitol 1967)
If I were to make a list of John Lennon's ten worst compositions, probably all of them except this would be from his solo career (and at least half of those would be from SOME TIME IN NEW YORK CITY). It's so off-the-cuff and fun you can't really dislike it, but it is light as a feather, inconsequential, and coming from its author, next to meaningless. George Martin's strings are truly extraneous and over-the-top. The puzzling b-side, "Baby You're a Rich Man," is one of those cases when you can't figure out what on earth John was getting at... the first line ("How does it feel to be one of the beautiful people?") is a prize, the rest is trash, a Yuppie version of "With a Little Help from My Friends." (C-)

Hello Goodbye (Parlophone/Capitol 1967)
Probably the Beatles' worst U.K. single, "Hello Goodbye" is also the one song that points to Paul McCartney's future direction with his next band, Wings. The song is so slight and overbaked it makes "All You Need is Love" seem substantial. Still, even this is a lot better than "Silly Love Songs" or "Let 'Em In," though just as thin. Exceedingly irritating. John's "I Am the Walrus" does its best to be menacing, but it's really just charming and witty; it's hard to be put off by Lennon's affable surrealism. (That's a compliment, by the way.) (D+)

Lady Madonna (Parlophone/Capitol 1968)
Paul's rollicking Elvis impersonation gets the Beatles back on track after a meandering year of erratic work and bland singles. George Harrison's Indian b-side "The Inner Light" is slight at best; it's hard to imagine that it was written after the infinitely more sophisticated "Within You, Without You." (A)

Hey Jude (Apple/Capitol 1968)
"Hey Jude" finds Paul McCartney learning once and for all the rules of rock balladry, and as on the white album, he gets it right here, in a complete turnaround from the blubbering mess of pop confections like "Hello, Goodbye." The Beatles knew better than to hide behind "Crimson & Clover" power chords -- "Hey Jude" demonstrates the band's key appeal, which is that they broke down barriers for others while lurking behind their own hold of an audience. This song made seven-minute singles an acceptable idea, but not a second of it seems wasted, even in the anthemic fadeout that occupies over half of the running time. It's pointless to claim that the song isn't touching, and for my money it's leaps and bounds over "Yesterday." You just can't escape these clutches, and in its own way "Revolution" is similarly unifying. Hearing these two tracks you feel like you're a part of something; no wonder "Hey Jude" became the Beatles' biggest hit. (A+)

Get Back (Apple/Capitol 1969)
I admit it, I really do think Billy Preston makes "Get Back" a classic. His solo just cooks in a song that, truth be told, barely qualifies as a significant composition. That's not the point, though... then again, it's exactly the point. The Beatles are Back to Basics here; down to bare instrumentation playing good old rock & roll with goofy, incompetent lyrics, vocal bravado, and that stomping beat. The album version is better, but "Get Back" is undeniable; it's just that it is upstaged to a phenomenal extent by John's "Don't Let Me Down," quite possibly the band's single best recording since "Strawberry Fields Forever" or maybe before, and for certain one of Lennon's most moving songs this side of "In My Life." The sparse production and Billy Preston's piano help make it a perfect moment, its teasing lyrics, decisive movement, and intoxicating soul flowing forth in breathtaking waves, the climax bursting forth in that last instrumental break, replete with the distant scream that makes it all so complete. I know that when I say I love the Beatles, this is exactly what I mean. (A)

The Ballad of John and Yoko (Apple/Capitol 1969)
You have to admire the Beatles for sticking by this composition considering what some might consider a crowning example of Lennon's self-indulgence. All I hear is a swinging reminisince of a wild and crazy time, and the Beatles -- or John and Paul, anyway -- sound as enthusiastic as they ever did. John Lennon continues to learn to relax as a vocalist while retaining every trace of his expressive abilities, and while this isn't a "Don't Let Me Down," it's one of the most delightful cuts in the late Beatles catalog. I also dig George's b-side, "Old Brown Shoe," with a spectacular band performance, but every time I hear it I can't ignore George's still-contemptible attitude toward the mates he seems to regard as pathetic underlings. The line "If I grow up I'll be a singer / Wearing rings on every finger" is too good for me to dismiss the song as charmless, but c'mon. (A+)

Something/Come Together (Apple/Capitol 1969)
The only Parlophone single to consist of previously-released material, this is a pair of essentials from the ABBEY ROAD album. "Something" is George's power-move (his only Beatles single), produced and performed with gusto; good as the track is, it's difficult not to notice how superior it is stripped down to nothing on the ANTHOLOGY set. I still don't think it's his best song, and if anything I think it's hampered by George Martin and the Beatles; imagine what Spector could have done with this on ALL THINGS MUST PASS. Its flaws a testament less to those involved and more to the problems that have led ABBEY ROAD to date slightly, "Something" remains a most remarkable record. The double-A flip, "Come Together," is the only cut from that album that works completely and still sounds like a classic outside of its original context. John's primal crooning, and the deliciously teasing lyric, makes for yet another great time, and it still cooks today. (A)

Let It Be (Apple/Capitol 1970)
The final Parlophone single is a moving, powerful ballad from Paul. Interpreted by millions as either a solemn farewell to the band or a religious hymn, it mostly seems to be Paul's "Julia," a longing eulogy for the author's mother, though nobody's saying the other two ideas aren't there or that they're any less personal. This George Martin mix lacks Phil Spector's overdubs, but the Spector version is actually an improvement. The b-side, "You Know My Name (Look Up the Number)," dating back to 1967, demonstrates the immaculate appeal of even the Beatles' throwaways. (A+)

Yesterday (Parlophone 1976)
Although this was a hit in the U.S. in 1965, I'm going by the British discography and in England, despite an EP appearance, it wasn't a single until eleven years after it was recorded. The U.S. b-side, "Act Naturally," was replaced with "I Should Have Known Better." "Yesterday" is among Paul's most enduring compositions, its melody strong enough to withstand George Martin's overreaching abuse. No one seemed to notice how much better the song would be with more Beatles on it, but then, maybe it wouldn't be the most covered song in rock history if they'd made the rock move. (A)

Back in the U.S.S.R. (Parlophone 1976)
The single released to promote ROCK & ROLL MUSIC was going to be "Helter Skelter" until the film of the same name appeared and it was decided that capitalizing on the fame of a serial murderer might not be a great P.R. move. (In the U.S., "Got to Get You into My Life" was used.) So another White Album track is in its place, and of course a great one, blah blah, with the even better "Twist and Shout" on the flip. (A+)

Sgt. Pepper's Lonely Hearts Club Band/With a Little Help from My Friends (Parlophone 1978)
I don't understand why this was released as a single, but I won't ask questions. The 7" has the first two songs and the final one from SGT. PEPPER'S LONELY HEARTS CLUB BAND. Sort of a Cliffs notes 45. (A)

The Beatles Movie Medley (Capitol 1982)
See the title? You get the idea. Avoid. (B-side: "I'm Happy Just to Dance with You.") (D-)

Baby, It's You (Apple/Parlophone/Capitol 1994)
This nifty single has, in addition to "Baby it's You" from the Beeb, some BBC performances that did not end up on the double-disc retrospective LIVE AT THE BBC, of "I'll Follow the Sun," "Devil in Her Heart," and "Boys." Early Beatlemaniacs will grab any morsel they can find, and this one's certainly worth picking up. (B+)

Free as a Bird (Apple/Parlophone/Capitol 1995)
Supposedly a generation had been calling for a reunion since 1970, but I'm confused. What on earth is the point of a reunion without John Lennon? Even if his voice is there on this recording, it's part of an unfinished compositon that is being victimized by the overbearing fist of Jeff Lynne, who produces it like he's trying to get airplay alongside Celine Dion. As nice as it is to hear the voices together again, the notion of this as "event" is slaughtered by the fact that I never listened to the Beatles for their use of state-of-the-art technology, which is really the only impressive thing about this. Stick to John's solo version. Fans will want to seek out the CD maxi-single of this, which has some ANTHOLOGY 1 rejects (!) -- a rare PLEASE PLEASE ME outtake, of "I Saw Her Standing There," plus sessions for "This Boy" and the first Christmas fan club single. Still nothing from WITH THE BEATLES. (B)

Real Love (Apple/Parlophone/Capitol 1996)
Even if Jeff Lynne's treatments are still Muzak fodder, Lennon's song "Real Love" is good enough to sustain his heavy hand, and on the whole this is a stronger record than "Free As a Bird." In fact, with the others' additions, in this case the Beatles revision is actually superior to John's demo, but it's still a shame the song was never properly recorded, because it's a fine one. I'm still a bit wary of this whole idea, though. Anyway, the b-sides here are another small goldmine for hardcore fans. The alternate mix of "Yellow Submarine" is fairly worthless, but it's interesting just to hear a song as offbeat as "Baby's in Black" performed live, while the sessions for "Here, There and Everywhere" are more interesting than a lot of what made the cut of ANTHOLOGY 2. (B+)