The Beatles, Album by Album--Past Masters, Vol. I

The Past Masters collection brings together all of the Beatles' singles (A- and B-sides) that didn't make it onto their LPs. These two CDs round out the Beatles canon, as well as providing a history in under 2 hours of the entire Beatles legacy. Not merely a refuse bin for material not deemed worthy for their albums, the Beatles' singles were as big of an event as the albums themselves, and the group always tried to save their best material for singles. Tracks like "I Feel Fine" or "Rain" were often experimental precursors to the legendary albums that would follow.

It is indeed a jarring transition to move from the late Beatles catalogue to these symbols of prime-time Beatlemania, but lest we forget, the Beatles were at the top of their game throughout their entire career. Ever since the release of Please Please Me, they were the greatest rock and roll band on the face of the planet. They wouldn't relinquish that title until they broke up. Despite the fact that I suppose I prefer the sophistication and versatility of their later work, there is nothing that depicts the exultation of music and youth itself like the early Beatles. They had such an explosive, unquenchable energy to them that separated them immediately from all their peers. Despite the relatively sluggish nature of their minor first single, "Love Me Do" (George Martin was wary of releasing it as their first single, although it does have a certain innocent charm to it), the group got off to a fast start with their own compositions. Their third single, "From Me to You," is a noticeable improvement, with the Beatles' signature swing and intricate harmonies. Its flip-side, "Thank You Girl," is equally complex for this early stage of their development.

However, it's with "She Loves You" and "I Want to Hold Your Hand" that Beatlemania hit its peak. I have never heard another song with quite the energy and explosive power of "She Love You," which rides on a tsunami wave of Ringo's drumming and John and Paul's delirious, pent-up singing. I love that they are singing a song in the second-person, to the audience. It is almost like they are singing about the power of music itself to bring joy and passion to their listeners. The thrill of this song is undeniable. You could make a case for it being the greatest pure rock song of all time, and you wouldn't be wrong. "I Want to Hold Your Hand," while a step down, is certainly no less historically significant. While "She Loves You" ensured Beatlemania was there to stay in Britain, "I Want to Hold Your Hand" is what brought the Beatles to America. The songwriting is more complex than ever--although it lacks the raw power of "She Loves You"--and that breakdown is just perfect. It's an astonishing song for its era.

My only problems with this collection are the same as my complaints about the early Beatles albums post-Hard Day's Night. Once their songwriting prowess hits a certain point of sophistication and innovation, it becomes somewhat annoying to hear them do covers of songs that are a decade behind the times. While songs like "Matchbox" and "Bad Boy" are undeniably fun, they pale in comparison to the Beatles originals on here (except when the Beatles are clearly imitating these past gods, such as on "I'm Down" or "She's a Woman"). Also, I'm just not a huge fan of the Little Richards/Jerry Lee Lewis-style of classic rock & roll. I much prefer the storytelling, guitar-driven songs of Chuck Berry or the R&B/soul of Ray Charles. Even though Chuck Berry is probably equally one-dimensional, there is something very repetitive to me about the piano-driven style of the above-mentioned two. Hence, a song like "Long Tall Sally" (a Little Richards cover) isn't too appealing to me. And hearing all of these covers come out after the harmonic clarity of "I'll Get You" and the beautiful rhythm guitar and close harmonies of John, George, and Paul on "This Boy" just feels like an inevitable step down. Such is basically the case with any cover (or pseudo-cover [i.e., when they did a song plainly in the style of their predecessors without irony or embellishment]) released after the songwriting epiphany of A Hard Day's Night. What the classic rock & roll songs do bring is a rave-up energy that is sadly lacking in almost any music since the '50s, and certainly in modern music. This was music to dance to, to have fun with your friends while listening to. Not to put down others for not knowing about it, or worse, to not want other people to know about it because it makes you think you are cool to like an underground band. It was about the thrill of youth and of sex. Those days are gone from music forever. It's impossible to make music anymore without being ironic or self-conscious it seems.

"I Feel Fine" is a huge step in the Beatles' evolution. From that opening amplifier feedback into that incredibly complex and catchy guitar figure into the verses and the harmonies, this song is a harbinger of groundbreaking things to come. This is mid-period Beatles perfection. "She's in love with me and I feel fine"--that really sums up the feeling of listening to this. "Yes It Is" is a very underrated ballad. The gentle singing and use of volume pedal swells on the guitar give the song a very ephemeral, delicate feel that fits the story of teenage heartbreak and longing it tells. It is perhaps John's equivalent of "Here, There and Everywhere."

Overall, I think it's definitely worthwhile to give this CD a listen. The original compositions on here are all stunning in their own right, with a few exceptions, and most of the covers are at least enjoyable. Ringo singing the Carl Perkins song "Matchbox" is a lot of fun. I do love the rave-up feel of that kind of classic rock & roll song, despite my acknowledgment that they will always be a step below the refinement of the finest Beatles compositions.

--Edward