Anthology 3 (1996)
Covering the years 1968-1970, Anthology 3 features songs written and recorded during the group’s trip to India in which they completed study with the Maharishi, as well as other demos and rehearsals from The Beatles, Abbey Road, and Let It Be. Many tracks are demos recorded by the song’s writer, several at George’s Esher home. There is precious little material from the famed ‘Get Back sessions’ that could have been included rather than the special remixes, but volume 3 features an incredible look at a band at the end of their storybook careers.
- A Beginning
An orchestral piece written by George Martin originally for inclusion on the White Album as an intro piece to Ringo’s “Don’t Pass Me By”. Later used in the film “Yellow Submarine”.
- Happiness Is A Warm Gun
An acoustic demo recorded by John during the famous Esher sessions. Includes the ‘I need a fix’ and ‘Mother Superior jumped the gun’ sections but not the ‘Happiness is a warm gun’ section.
- Helter Skelter
Distinctly different from the master, this version of “Helter Skelter” (take 2) is a slow, driving tune shortened to 5 minutes from over 12 minutes in its original form.
- Mean Mr. Mustard
Demo recorded at Esher featuring a bridge not used in the final version.
- Polythene Pam
Demo recorded by John at Esher, with vocal gibberish in place of the unfinished lyric.
- Glass Onion
Demo recorded at Esher, again, with vocal gibberish in place of unfinished lyric.
Demo recorded at Esher but never recorded by the Beatles – instead apprearing on Paul’s solo debut McCartney.
Demo recorded at Esher, featuring a double-tracked vocal by George and different lyrics than the released version
- Honey Pie
The final Esher demo presented on Anthology, with lyrics slightly different than the finished version.
- Don’t Pass Me By
Take 5 featuring vocal and basic instrumental track, without the fiddle.
- Ob-La-Di, Ob-La-Da
Fortified with session players (on 3 saxophones and conga drums) and scrapped in favor of a remakerecorded the following week.
- Good Night
A recorded rehearsal, remixed with the ending of the master (take 34), with some studio talk discussing the direction of the song.
- Cry Baby Cry
Take 1 featuring a basic instrumental track and vocals.
Featuring Paul only on an acoustic guitar (and no bird sound effects), this is take 4, with the master being take 32.
- Sexy Sadie
The basic instrumental track – take 6 – fading out near the end becase it was lacking a final coda.
- While My Guitar Gently Weeps
Demo recorded by George on his acoustic guitar and Paul on organ, featuring an additional verse not used in the master.
- Hey Jude
Preceeded by some studio chat, this is a simple studio rehearsal which is somewhat stripped down.
- Not Guilty
Although worked on for 3 days, “Not Guilty” was not included on the White Album. Presented here is take 102.
- Mother Nature’s Son
Take 2 (the master being take 26) featuring some studio chat and a basic track.
- Glass Onion
Mono mix featuring some additional sound effects placed by John which were ultimately left off the master, including an closing loop of BBC soccer commentator Kenneth Wolstenholme elling, “It’s a goal!”, which was dropped in favor of an orchestral score written by George Martin.
- Rocky Raccoon
Take 8 (take 10 being the master) with some misspoken lyrics by Paul.
- What’s The New Mary Jane
Originally conceived by John for use on the White Album, then rejected, then considered as a B-side for the Plastic Ono Band to “You Know My Name (Look Up The Number)”, “What’s The New Mary Jane” was never issued except on bootleg discs. This is take 4, featuring John and George as well as Yoko and Mal Evans on sound effects.
- Step Inside Love/Los Paranoias
Recorded during a jam during sesions for “I Will”, “Step Inside Love” was written for Cilia Black for her BBC TV program. The jam extended into “Los Paranoias” at the suggestion of John.
- I’m So Tired
A mix of takes 3, 6, and 9 (the master being take 14), recorded during the end of the White Album sessions.
- I Will
Take 1 (the master being take 67 featuring the same elements as the released version.
- Why Don’t We Do It In The Road?
Take 4, performed solo by Paul on acoustic guitar. The master was take 5 with several overdubs and all instruments except drums (played by Ringo) played by Paul.
The final track recorded for the White Album, this is take 2 featuring John searching for the right structure for the song. The master was take 3.
- I’ve Got A Feeling
Featuring Billy Preston on keyboard, this version of “I’ve Got A Feeling” was recorded in the basement of the Beatles office building on Savile Row in London. Also filmed for use in the ‘Let It Be’ film.
- She Came In Through The Bathroom Window
Another song recorded during the Savile Row sessions, but not used on the Let It Be album, instead, later recorded for Abbey Road.
- Dig A Pony
A Savile Row take with the intor “All I want is…”, which was later cut for the final version.
- Two Of Us
Another Savile Row take recorded with paul and John on vocals.
- For You Blue
According to the Anthology linear notes, all takes of “For You Blue” were recorded on Jan. 25, 1969, but the master featured a rerecorded vocal by George almost a year later on Jan. 8, 1970.
- Teddy Boy
A rehearsal for a song never issued by the Beatles, instead, used on Paul’s debut McCartney. Features some intersting vocals by John.
- Medley: Rip It Up/Shake, Rattle, And Roll/Blue Suede Shoes
The only oldies medley of dozens rehearsed by the Beatles during Let It Be rehearsals released on Anthology, although many were later found on bootlegs.
- The Long And Winding Road
The basic track to which Phil Spector added orchestration for the Let it Be album, to Paul’s dismay. Noted as the version that ‘nature intended’.
- Oh! Darling
Recorded during the Savile Row sesions but unissued until Abbey Road, the beginning of this rehearsal of “Oh! Darling” is faded out due to misoperation of the recording machine.
- All Things Must Pass
Frequently performed during Let It Be rehearsals, “All Things Must Pass” was not used on any Beatles album, rather was recorded by George for his first solo album of the same name.
- Mailman, Bring Me No More Blues
An obscure Buddy Holly cover which was the B-side of “Words Of Love” which was recorded by the Beatles for Beatles For Sale in 1964. One of many Holly tunes recorded during these sessions.
- Get Back
This version was the final number performed during the band’s legendary rooftop concert on January 30, 1969. Notably, it is the final public performance by the Beatles.
- Old Brown Shoe
An elaborate demo recorded by George using 2 overdubs of guitar and vocals.
- Octopus’s Garden
Take 2 with some studio chat from take 8 (the master was take 32). Written shortly after completion ofthe White Album sessions.
- Maxwell’s Silver Hammer
Take 5, without the anvil sound effect and some additional vocals (the master was take 21 with some vocal overdubs.
A solo demo recorded by George, just before Joe Cocker’s version (which preceded the Beatles version).
- Come Together
Take 1 (the master being take 9 with further overdubs) featuring John on vocal, clapping his hands and playing tamborine.
- Come And Get It
Recorded by Paul in less than an hour as a demo for Apple recording artists Badfinger for use as their first single. The song was a huge hit.
- Ain’t She Sweet
Performed during recordings for “Sun King”, the jam that included this version of “Ain’t She Sweet” also featured two other Gene Vincent songs. Also recorded during the band’s Hamburg sessions with Tony Sheridan.
Features the nine vocals (three each by Paul, John, and George) recorded in three separate takes, but without the instrumentation. Previously released on several bootlegs.
- Let It Be
This is historic as it features part of Paul’s original presentation of the song to the rest of the band. Also features some remixed orchestration and studio chat by John.
- I Me Mine
From the band’s final session, for which John was absent, which turned out “I Me Mine” as it was used on the Let It Be album.
- The End
A remix featuring additional guitar solos by paul, George, and John, and a more prominent orchestral piece.
- Capitol/Apple CDP 7243 8 34451 2 7, released October 29, 1996
- Digital only, released June 14, 2011
Promo disc, front cover
Promo disc, back cover