Twenty Forgotten Beatles Hits!

Now it’s been a couple of weeks since The Beatles remastered catalogues reached public ears, let’s have a look at the hidden gems that have been unearthed.

I’ll Get You
(Past Masters Volume 1, 1963)
She Loves You’s flip side is oddly threatening, but with a streak of sarcastic humour saves it from puerile misogyny.

It Won’t Be Long
(With the Beatles, 1963)
Opening the Beatles second LP, It Won’t Be Long captures the rush of early Beatlemania and sets the tone perfectly. The songwriting wasn’t quite there yet, but an exciting opener nonetheless.

Money
(With the Beatles, 1963)
Somewhat ignored in favour of Twist and Shout, this is possibly even more ramshackle and exciting. Check out the remastered version where George Martin’s thrilling piano is given due prominence.

I’ll Be Back
(A Hard Day’s Night, 1964)
The soundtrack album to the Fab Four’s first feature is short, sharp and sweet. But things are brought to a downbeat and melancholic close, the start of Lennon’s long look in the mirror

What You’re Doing
(Beatles For Sale, 1964)
Beatles For Sale is largely forgettable, but this stands out thanks to a rather charming beat provided by Ringo and a lovely McCartney vocal


She’s a Woman
(Past Masters Volume 1, 1964)
Not quite as revolutionary or exciting as it’s I Feel Fine flipside, She’s A Woman is the first, and one of the best, Beatles exploration into blues.

I’m Down
(Past Masters Volume 1, 1965)
Paul’s response, and B-side to, Lennon’s Help!, as well as a Little Richard parody. Proof of where the Beatles hollering came from then...

I Need You
(Help!, 1965)
The best of George’s early songwriting efforts, I Need You has beautifully simple lyrics combined with the slightly alien guitars from Ticket To Ride.

Girl
(Rubber Soul, 1965)
Rubber Soul is known for its exploration into new songwriting territory away from love, but this is Lennon at his most bruised.

Love You To
(Revolver, 1966)
The sitar had already been used to flesh out Norwegian Wood, but this was the first time George used it as a lead instrument. A stepping stone towards the philosophical leanings of Within You Without You

For No One
(Revolver, 1966)
Paul explores his classical tendencies on this dark ballad, somewhat lost among the Eleanor Rigbys and Tomorrow Never Knows that feature as Revolver’s more celebrated moments

Lovely Rita
(Sgt Pepper’s Lonely Hearts Club Band, 1967)
Slightly out of place on the showstopping album, this is nevertheless funny, charming and beautifully produced.

Your Mother Should Know
(Magical Mystery Tour, 1967)
More McCartney pilfering from another era, a celebration of the music his father played him, this provided the finale of the Magical Mystery Tour film.

The Continuing Story of Bungalow Bill
(The Beatles, 1968)
Lennon’s tale of a man murdering tigers in India, who would return for meditation at nightfall, featuring Yoko Ono on backing vocals for the first time.

Birthday
(The Beatles, 1968)
A song written for Paul’s new squeeze Linda. Slightly throwaway, but it rocks like nobody’s business.

Long Long Long
(The Beatles, 1968)
Dreamy soundscapes written by George in India. The otherworldly verses give way to percussive, twinkling choruses.

Old Brown Shoe
(Past Masters Volume 2, 1969)
Harrison’s B-side to The Ballad of John and Yoko is an infinitely superior piano tinkler, with I Am the Walrus-style lyrical nonsense.

Oh! Darling
(Abbey Road, 1969)
Simple, but with a heartfelt McCartney vocal and shimmering production from George Martin.

I Me Mine
(Let It Be, 1970)
The last song The Beatles would record (albeit without John) was, ironically, a sarcastic Harrison riff on greed and selfishness.

You Know My Name (Look Up The Number)
(Past Masters Volume 2, 1970)
The B-side to final single Let It Be was actually recorded in 1967. It’s nonsense, but fun, with Lennon and McCartney exploring comedy voices and revue. Features Brian Jones on saxophone.