Post by henryj on Jan 29, 2019 14:37:46 GMT
This is a review of a Dave Dexter compilation aimed at the American market when the Beatles were first and fast becoming the phenomenon they would be. It consists mainly of cuts omitted from the original British albums. I posted this in this part of the Beatle Forum because a) The Beatles Second Album was not really a proper Beatle release, and b) it was not set up in the album review section anyway (and there was no point in waiting for it to appear there).
In Britain, songs were typically released on 14-cut long-play albums OR singles OR extended-play (EP) records. Beatle records were released in Britain on the Parlophone label, a division of EMI. American albums, released on EMI’s Capitol label, had 10 to 12 cuts and included singles and EP cuts. EPs were also released in America, but I don’t remember there being much demand. Therefore, there were enough cuts left over after two Beatle album British releases to make a third for the American market. But you probably already knew that.
The Beatles Second Album was released in April 1964. Another album of leftover cuts, Beatles VI, was released a year later. The third such album “Yesterday and Today,” was released in the spring of 1966. These three albums were compiled by the now-maligned Dave Dexter. Beginning with “Sergeant Pepper’s Lonely Hearts Club Band,” British albums were released intact on Capital in the US.
Roll Over Beethoven – Chuck Berry song, sung by George. If you have ever played your guitar or other instrument along with this cut, you will find that they take it at a deceptively fast tempo. The tempo I would take it is somewhat slower. Very high-energy; was this energy fueled by the same amphetamines that got them through the marathon gigs in Hamburg? In Britain, it originally appeared on the Parlophone album With the Beatles.
Thank You Girl – There are two versions floating around, one with harmonica, one without it. This is the one with it. Another high-energy song. Maybe borderline bubble-gum for the teenyboppers, and ammunition of those who dismiss the Beatles as a boy band. One of only 4 original Lennon-McCartney songs on this album (no George compositions). The single was released in the US on the Vee-Jay label, not Capitol. In Britain, it appeared as the B-side to the single “From Me to You.”
You Really Got A Hold On Me – Smokey Robinson/Miracles cover, sung by John. This is one of those R & B covers that I have always considered to be proto-primal-scream for John. I perceive that singing this and other such songs was therapeutic for John. They did a good job on this one. Originally appeared on With the Beatles.
Devil In Her Heart – Another George vocal and another cover version. Not my favorite cut on the album, but George does some really good guitar work on this one. Originally appeared on With the Beatles.
Money (That's What I Want) – Another Motown cover, co-written by Berry Gordy Jr. himself. Assuming Gordy owned at least a part of Jobete Music, the publisher of Motown songs, The Beatles Second Album is probably his favorite Beatle release, with “You Really Got a Hold on Me,” “Money,” and “Please Mr. Postman” on this album. And this is another proto-primal-screamer for John, with urgent backup vocals by Paul and George. When all the instruments come in during the intro, the entrances are less than precise, but they quickly recover. Originally appeared on With the Beatles.
You Can't Do That – Rickenbacker 12-string starts this one. I put this song in a threesome with Rubber Soul’s “Run For Your Life” and John’s solo “Jealous Guy.” John apparently really was a jealous guy and wrote songs about it. It is said that John plays the guitar solo on this, while George is playing the ostinato 12-string riff. Because he was really a jealous guy. Plenty of cowbell. Capitol released this before Parlophone released it on A Hard Day’s Night.
Long Tall Sally – Leadoff cut for side two of the vinyl. Little Richard cover, sung by Paul. This was before Paul developed his trademark blues-screamer voice, the one he would use on “She’s a Woman,” “Kansas City,” “I’m Down,” Helter Skelter,” “Oh Darling,” and others. More Beatle high-energy. Good cover version with two guitar solos and lots of energy. Originally appeared on a Parlophone EP.
I Call Your Name -- Intro lead played on a Rickenbacker 12-string over a chord progression that does not appear elsewhere in the song. There is a cover version by the Mamas and the Papas that has received as much airplay as the Beatles original, but I like this one better. Straight eighths give way to a shuffle on the guitar break, then back to the straight eighths for the rest of the vocal. Originally appeared on the Long Tall Sally EP.
Please Mister Postman -- Motown cover and another proto-primal screamer for John. This was originally recorded by the Marvellettes, but not the first time the Beatles covered a girl group. Originally appeared on the Parlophone LP With the Beatles.
I'll Get You -- Originally appeared as the B-side of the Parlophone single “She Loves You.” This is not quite as teeny-bobbery as “Thank You Girl.” This one features John singing at the same time he’s playing his harmonica.
She Loves You -- Originally appeared on a Parlophone single. This was the first Beatle song I ever heard any part of. While the Beatles first hit in the US in January 1964, there was a segment on the Walter Cronkite early-evening news appearing in December 1963. The piece was about a phenomenal British rock group called the Beatles, and the big thing was the “Yeah Yeah Yeah” part, which is the fragment of “She Loves You” that they showed. This had more of that early Beatles high energy.
In my opinion, this album is better than Beatles VI but not as good as Yesterday and Today. Hey, it's a Beatle album. Enjoy it!
In Britain, songs were typically released on 14-cut long-play albums OR singles OR extended-play (EP) records. Beatle records were released in Britain on the Parlophone label, a division of EMI. American albums, released on EMI’s Capitol label, had 10 to 12 cuts and included singles and EP cuts. EPs were also released in America, but I don’t remember there being much demand. Therefore, there were enough cuts left over after two Beatle album British releases to make a third for the American market. But you probably already knew that.
The Beatles Second Album was released in April 1964. Another album of leftover cuts, Beatles VI, was released a year later. The third such album “Yesterday and Today,” was released in the spring of 1966. These three albums were compiled by the now-maligned Dave Dexter. Beginning with “Sergeant Pepper’s Lonely Hearts Club Band,” British albums were released intact on Capital in the US.
Roll Over Beethoven – Chuck Berry song, sung by George. If you have ever played your guitar or other instrument along with this cut, you will find that they take it at a deceptively fast tempo. The tempo I would take it is somewhat slower. Very high-energy; was this energy fueled by the same amphetamines that got them through the marathon gigs in Hamburg? In Britain, it originally appeared on the Parlophone album With the Beatles.
Thank You Girl – There are two versions floating around, one with harmonica, one without it. This is the one with it. Another high-energy song. Maybe borderline bubble-gum for the teenyboppers, and ammunition of those who dismiss the Beatles as a boy band. One of only 4 original Lennon-McCartney songs on this album (no George compositions). The single was released in the US on the Vee-Jay label, not Capitol. In Britain, it appeared as the B-side to the single “From Me to You.”
You Really Got A Hold On Me – Smokey Robinson/Miracles cover, sung by John. This is one of those R & B covers that I have always considered to be proto-primal-scream for John. I perceive that singing this and other such songs was therapeutic for John. They did a good job on this one. Originally appeared on With the Beatles.
Devil In Her Heart – Another George vocal and another cover version. Not my favorite cut on the album, but George does some really good guitar work on this one. Originally appeared on With the Beatles.
Money (That's What I Want) – Another Motown cover, co-written by Berry Gordy Jr. himself. Assuming Gordy owned at least a part of Jobete Music, the publisher of Motown songs, The Beatles Second Album is probably his favorite Beatle release, with “You Really Got a Hold on Me,” “Money,” and “Please Mr. Postman” on this album. And this is another proto-primal-screamer for John, with urgent backup vocals by Paul and George. When all the instruments come in during the intro, the entrances are less than precise, but they quickly recover. Originally appeared on With the Beatles.
You Can't Do That – Rickenbacker 12-string starts this one. I put this song in a threesome with Rubber Soul’s “Run For Your Life” and John’s solo “Jealous Guy.” John apparently really was a jealous guy and wrote songs about it. It is said that John plays the guitar solo on this, while George is playing the ostinato 12-string riff. Because he was really a jealous guy. Plenty of cowbell. Capitol released this before Parlophone released it on A Hard Day’s Night.
Long Tall Sally – Leadoff cut for side two of the vinyl. Little Richard cover, sung by Paul. This was before Paul developed his trademark blues-screamer voice, the one he would use on “She’s a Woman,” “Kansas City,” “I’m Down,” Helter Skelter,” “Oh Darling,” and others. More Beatle high-energy. Good cover version with two guitar solos and lots of energy. Originally appeared on a Parlophone EP.
I Call Your Name -- Intro lead played on a Rickenbacker 12-string over a chord progression that does not appear elsewhere in the song. There is a cover version by the Mamas and the Papas that has received as much airplay as the Beatles original, but I like this one better. Straight eighths give way to a shuffle on the guitar break, then back to the straight eighths for the rest of the vocal. Originally appeared on the Long Tall Sally EP.
Please Mister Postman -- Motown cover and another proto-primal screamer for John. This was originally recorded by the Marvellettes, but not the first time the Beatles covered a girl group. Originally appeared on the Parlophone LP With the Beatles.
I'll Get You -- Originally appeared as the B-side of the Parlophone single “She Loves You.” This is not quite as teeny-bobbery as “Thank You Girl.” This one features John singing at the same time he’s playing his harmonica.
She Loves You -- Originally appeared on a Parlophone single. This was the first Beatle song I ever heard any part of. While the Beatles first hit in the US in January 1964, there was a segment on the Walter Cronkite early-evening news appearing in December 1963. The piece was about a phenomenal British rock group called the Beatles, and the big thing was the “Yeah Yeah Yeah” part, which is the fragment of “She Loves You” that they showed. This had more of that early Beatles high energy.
In my opinion, this album is better than Beatles VI but not as good as Yesterday and Today. Hey, it's a Beatle album. Enjoy it!