What if "With the Beatles" had featured all original material?

Even a broken clock is correct twice per day. Let’s not give Dexter too much credit.

 

As if you need motivating...

 

...it would be like this

 

Indubitably! : )

 

everyone needs motivation at one time or another...: )

 

O'Yea! but I like all of the American albums of course due to hearing them first and more than the UK albums...

 

you're in the wrong thread...: )

 

No.

 

NO...nada, nah, nope, nay, no way, negative, no siree, not on your nelly, not for all the tea in china, not in a million years, under no circumstances, not likely, fat chance, not a cat (in hell)'s chance, not for Joe, not on your tintype...

 

that doesn't work it only makes 'em want to disrupt our Beatles threads even more...they really enjoy it...you know if it doesn't suit them they should not exist and no one should enjoy them as well...

 

I think he needs bigger wings!

 

Well let's not go crazy here. The US Revolver is clearly inferior to the UK version. And the net effect of giving the songs in the A Hard Days Night movie to United Artists was problematic, and the UK version of that is clearly better as well (although ftr I would leave You Can't Do That on Beatles Second Album, and taking I'll Be Back off Beatles 65 and putting it at the end of AHDN, where it clearly belongs, leaves a hole there).

But the US Revolver is clearly superior, The Beatles Second Album is inspired, and using the one two of I Want To Hold Your Hand and I Saw Her Standing There on Meet the Beatles was a large part of what made them so huge.

 

"Till There Was You" is simply a beautiful and well-crafted song with inventive chord progressions that McCartney favored in much of his own songwriting. I hear it (and a number of other Broadway show tunes) as a profound influence on Paul's songcraft. And as much as Lennon claimed to be a basic rocker to the core, I believe it also influenced his work as well. "If I Fell", "Girl", "In My Life", "Strawberry Fields Forever" and a number of others have some pretty intricate chord progressions.

 

For perspective here as I grew up and added interests in genres other than rock, eventually I began to appreciate music from the fifties beyond early rock, and even the forties. At first it was mostly instrumental jazz. But eventually I appreciated Sinatra, and then a number of others like Rosemary Clooney and even Doris Day. Those two bridged jazz with pop, imo, but in turn introduced me to some others who did at least dabbled in that mix, like Julie London, Connie Francis and Dean Martin. I think Julie London covered A Taste of Honey. And Peggy Lee covered Till There Was You.

But I don't think the question about the song and the Beatles was so much whether the song itself has value. I think the question at the time was whether it fit with what they were trying to do. I can certainly see the argument against it, as it does stand out as rather out of place amidst every other song on Meet the Beatles. On the other hand is the argument that showing a diverse capability in the band's set list has merit.

As for inventive chord progressions, I don't think that is the issue, either. And not to digress but I tend to think John Lennon's songs were at least as inventive in such regard as Paul's.

 

I have actually come to like the song. And I noticed something else: I think in 1964 it would help the Beatles figure out the arrangement for "And I Love Her". They have similar arrangements. When the Beatles were trying to find the right way to record "And I love Her", I wonder if anyone thought about how they recorded "till there was you".

 

Crazy as it seems to you...yes...
and I do agree with you on some points...basically I'm talking US Albums as they were just there for me back then and the UK were not...simple. It's nostalgia...BUT, every unique track on the US albums are very special to me...and yes, TCDT is wonderful on BSA for me...

 

You of course mean YCDT, heh. Yes, I will never hear that as something that does not belong with the songs on Second. But even at the time the release of UA's AHDN and then Something New with some of the same songs was an issue. They sold both of them like crazy, but looking back...

I'll Be Back is one of my favorite album cuts from this period, and like you I associate it with Beatles 65. But again, in hindsight, I think it clearly belongs as the closer on the UK AHDN. It showed where they were going to go in the next phase of their journey (increasing chord progression complexity and while a romantic song a more complex subject).

 

dam keyboard!

 

It would probably be the best Beatles album.

 

Looks good to me!

 

The net benefit to the the world through exposure to Motown songs such as, Please Mister Postman, Money (That's What I Want) and You've Really Got a Hold on Me can not be measured. The bright line shone on that catalog by the Beatles set the Detroit label up to be one of the producers of the most riveting, joyous music of the mid-60's. The Beatles helped to ameliorate their financial woes, I can't imagine the 1960's withou Motown. Further, the inclusion of Roll Over Beethoven helped put Chuck Berry on white kids' turntables and guitars in their hands. I am very contented with the way it all turned out.

 

We kind of got "With The Beatles" in the U.S. that way as some pointed out. It was called "Meet The Beatles" and, aside from "Till There Was You", it was all original material. It remains a strong album the sequencing is largely successful although I would have opened with "I Saw Her Standing There" rather than one of the singles. It rips the head off what comes before it.

 

I'm sure the Beatles covers didn't hurt. And I can't comment on their impact in the UK after the release of With the Beatles in November 1963.

But in the United States, Motown was already doing pretty well prior to the release of The Beatles' Second Album in April 1964 (which is when the above tracks would have first been heard in America).

They'd already had:

• two #1's on the Billboard Hot 100 ("Please Mr. Postman" and "Fingertips – part 2"), with a third #1, "My Guy," imminent
• three Top 10 hits from The Miracles
• a Top 10 hit and Top 20 hit from The Marvelettes (in addition to their #1)
• two Top 10s from Martha and the Vandellas
• a Top 10 from Marvin Gaye

…plus The Supremes' unbroken string of five straight #1s was just around the corner. Meanwhile, these and other Motown artists were doing even better on the R&B charts.

I'm not sure how far you can take the argument that the Beatles covers brought success to Motown that it wouldn't have had anyway.


P.S. While Barrett Strong's "Money (That's What I Want)" was recorded under the auspices of Berry Gordy, it's not really regarded as part of the Motown canon.

 

How would "Beatles For Sale" have come off as an "All Originals" LP? To revise it, I only added songs that are of 1964 vintage:

Eight Days A Week
I'm A Loser
Baby's In Black
Nobody I Know
I'll Follow The Sun
I Don't Want To See You Again
No Reply

A World Without Love
Every Little Thing
I Don't Want To Spoil The Party
What You're Doing
It's For You
From A Window
You'll Know What To Do

 

Woah, ‘You’ll Know What To Do’ would have gone down as their weakest closing song ever! Talk about ending with a whimper!