It's been 40 years... why hasn't there been another Beatles?

Cafe Society
41

I second you, completely. To the ridiculous point about the Beatles being irrelevant prior to Sergeant Pepper (or maybe Rubber Soul), here is a list of their recordings Prior to Rubber Soul. This unbelievable array of great songs was all done in less than a 3-year period, and if they had retired at this point in their career, they arguably could still be considered the greatest musical group ever.
Love Me Do (single 5 Oct 1962)
620904 How Do You Do It? [Murray] [A 1-1-23] [Beatles hated this song, but were forced to record it]
620904 Love Me Do [McCartney] [first version/single version: Ringo on drums]
620911 Love Me Do [McCartney] [2nd version/LP version: Andy White on Drums, Ringo on tambourine]
620911 P.S. I Love You [McCartney] [B-side Love Me Do; also on “Please Please Me”]
620911 Please Please Me [Lennon] [A 1-1-24]

Please Please Me (single 11 Jan 1963)
621126 Please Please Me [Lennon] [new take] [also on LP “Please Please Me”]
621126 Ask Me Why [Lennon] [B-side Please Please Me; also on LP “Please Please Me”]

PLEASE PLEASE ME (LP 22 March 1963)
630211 There’s a Place [Lennon]
630211 I Saw Her Standing There [take 1 - LP version] [McCartney or Lennon/McCartney; vocals Paul]
630211 I Saw Her Standing There [take 9 - on CDM Free As a Bird]
630211 A Taste of Honey [Scott/Marlow; vocals Paul]
630211 Do You Want To Know a Secret [Lennon; vocals George]
630211 Misery [Lennon/McCartney]
630211 Hold Me Tight [McCartney] [this take was lost and was re-recorded 630912 for “With the Beatles”]
630211 Anna (Go to Him) [Alexander; vocals John]
630211 Boys [Dixon/Farrell; vocals Ringo]
630211 Chains [Goffin/King; vocals George]
630211 Baby It’s You [David/Williams/Bacharach; vocals John]
630211 Twist and Shout [Medley/Russell; vocals John]

From Me To You (non-LP single 11 April 1963)
630305 From Me To You [Lennon/McCartney] [not on LP]
630305 Thank You Girl [Lennon/McCartney] [B-side From Me to You; not on LP]
630305 The One after 909 [Lennon] [A 1-1-26]

She Loves You (non-LP single 23 Aug 1963)
630701 She Loves You [Lennon/McCartney] [not on LP]
630701 I’ll Get You [Lennon/McCartney] [B-side She Loves You; not on LP]

WITH THE BEATLES (LP 22 Nov 1963)
630718 You Really Got a Hold on Me [Robinson; vocals John & George]
630718 Money [Bradford/Gordy; vocals John]
630718 Devil in Her Heart [Drapkin; vocals George]
630718 Till There Was You [Willson; vocals Paul]
630730 Please Mr Postman [Dobbin/Garrett/Garman/Brianbert; vocals John]
630730 It Won’t Be Long [Lennon]
630730 Roll Over Beethoven [Berry; vocals George]
630730 All My Loving [McCartney]
630911 I Wanna Be Your Man [Lennon/McCartney; vocals Ringo]
630911 Little Child [Lennon/McCartney]
630911 All I’ve Got To Do [Lennon]
630911 Not a Second Time [Lennon]
630911 Don’t Bother Me [Harrison]
630912 Hold Me Tight [McCartney] [first take recorded 630212 for “Please Please Me” but was lost]

I Want To Hold Your Hand (non-LP single 29 Nov 1963)
631017 I Want To Hold Your Hand [Lennon/McCartney] [not on LP]
631017 This Boy [Lennon; vocals John & Paul] [B-side I Want to Hold Your Hand; not on LP]
631017 This Boy [take 12 & 13 (failed/incomplete) - on CDM Free As a Bird] [Lennon; vocals John & Paul]

Various sessions in Paris (at EMI’s Pathé Marconi studios)
640129 [recording of German vocals to “I Want to Hold Your Hand”]
640129 Sie Liebt Dich [complete re-recording of music and German vocals to “She Loves You”]
640129 Can’t Buy Me Love [McCartney] [take 2 - A 1-2-8]

Can’t Buy Me Love (single 20 March 64)
640225 Can’t Buy Me Love [McCartney] [take 4 - single/LP version]
640225 You Can’t Do That [take 6 - A 1-2-10] [Lennon]
640225 You Can’t Do That [take 9 - B-side of Can’t Buy Me Love; also on LP “A Hard Day’s Night”]

‘A HARD DAY’S NIGHT’ FILM SESSIONS (premiered 2 Aug 1964)
640225 And I Love Her [take 2 (vocals and pace slightly off) - A 1-2-11] [McCartney]
640225 I Should Have Known Better [Lennon]
640227 And I Love Her [LP version] [McCartney]
640227 Tell Me Why [Lennon]
640227 If I Fell [Lennon]
640301 I’m Happy Just To Dance With You [Lennon; vocals George]
640301 Long Tall Sally [Johnson/Penniman/Blackwell; vocals Paul] [out-take; on EP 19 June 1964]
640301 I Call Your Name [Lennon] [out-take; on EP 19 June 1964]
640416 A Hard Day’s Night [take 1 (laughs at the end) - A 1-2-12] [Lennon]
640416 A Hard Day’s Night [take 9 - LP version] [Lennon]

‘A HARD DAY’S NIGHT’ LP SESSIONS (LP released 10 July 1964)
640601 Matchbox [Perkins; vocals Ringo] [out-take; on EP 19 June 1964]
640601 I’ll Cry Instead [Lennon] [a longer version was released on the US single/LP + on the 1981 film re-release]
640601 Slow Down [Williams; vocals John & Paul] [out-take; on EP 19 June 1964]
640601 I’ll Be Back [take 2 (failed) - A 1-2-17] [Lennon]
640601 I’ll Be Back [take 3 (laughs once, faded) - A 1-2-18] [Lennon]
640601 I’ll Be Back [take 16 - LP version] [Lennon]
640602 Any Time At All [Lennon]
640602 Things We Said Today [McCartney]
640602 When I Get Home [Lennon]

Demo Recordings (3 songs demoed in all)
640603 You Know What To Do [demo] [Harrison] [out-take; A 1-2-19]
640603 It’s For You [demo] [McCartney] [unreleased]
640603 No Reply [demo/take 1 (laughs)] [Lennon] [A 1-2-20]

BEATLES FOR SALE (LP 4 Dec 1964)
640811 Baby’s in Black [Lennon or Lennon/McCartney]
640814 I’m a Loser [Lennon]
640814 Mr Moonlight [edit of take 1 & 4 - A 1-2-21 (not perfect)] [Roy Lee Johnson; vocals John]
640814 Leave My Kitten Alone [John/Turner/McDougal; vocals John] [out-take; A 1-2-22]
640929 Every Little Thing [Lennon]
640929 I Don’t Want To Spoil the Party [Lennon]
640930 No Reply [take 2 (laughs) - A 1-2-23] [Lennon]
640930 No Reply [take 8 - LP version] [Lennon]
641006 Eight Days a Week (sequence) [take 1-3 (incomplete) - A 1-2-24] [Lennon; vocals John & Paul]
641006 Eight Days a Week (complete) [take 5 - A 1-2-25] [Lennon; vocals John & Paul]
641008 She’s a Woman [McCartney] [B-side I Feel Fine; not on LP]
641018 Eight Days a Week [take 13 - LP version] [Lennon; vocals John & Paul]
641018 Kansas City/Hey! Hey! Hey! [take 1 - LP version] [Lieber/Stoller/Penniman; vocals Paul]
641018 Kansas City/Hey! Hey! Hey! [take 2 - A 1-2-26] [Lieber/Stoller/Penniman; vocals Paul]
641018 Mr Moonlight [re-recorded from 14 Aug; LP version] [Roy Lee Johnson; vocals John]
641018 I Feel Fine [Lennon] [single 27 Nov 1964; not on LP]
641018 I’ll Follow the Sun [McCartney]
641018 Everybody’s Trying To Be My Baby [Perkins; vocals George]
641018 Rock and Roll Music [Chuck Berry; vocals John]
641018 Words of Love [Holly; vocals John & Paul]
641026 Honey Don’t [Perkins; vocals Ringo]
641026 What You’re Doing [McCartney]

‘HELP!’ FILM SESSIONS (premiered 29 July 1965)
650215 Ticket To Ride [Lennon] [single 9 April 65; also on LP]
650215 Another Girl [McCartney]
650215 I Need You [Harrison]
650216 Yes It Is [Lennon; vocals John & Paul] [not used in film; take 2; A 2-1-2]
650216 Yes It Is [Lennon; vocals John & Paul] [not used in film; take 14; B-side Ticket To Ride]
650217 The Night Before [McCartney]
650217 You Like Me Too Much [Harrison] [not used in film; on US LP “Beatles VI” and on UK LP “Help!”]
650218 You’ve Got to Hide Your Love Away [Lennon] [take 5; A 2-1-4]
650218 You’ve Got to Hide Your Love Away [Lennon] [take 9 - LP version]
650218 Tell Me What You See [McCartney] [not used in film; on US LP “Beatles VI” and on UK LP “Help!”]
650218 If You’ve Got Trouble [Lennon/McCartney; vocals Ringo] [out-take; A 2-1-5]
650219 You’re Going To Lose That Girl [Lennon]
650220 That Means a Lot [McCartney] [out-take; take 1; A 2-1-6]
650413 Help! [Lennon]

BEATLES VI (urgent recordings for the US LP “Beatles VI” 14 June 65)
650510 Dizzy Miss Lizzy [Williams; vocals John] [on US LP “Beatles VI” and on UK LP “Help!”]
650510 Bad Boy [Williams; vocals John] [only on US LP “Beatles VI”]

‘HELP!’ LP SESSIONS (LP released 6 Aug 1965)
650614 I’ve Just Seen a Face [McCartney]
650614 I’m Down [McCartney] [take 1; A 2-1-3]
650614 I’m Down [McCartney] [take 7; B-side Help; not on LP]
650614 Yesterday [McCartney] [take 1; A 2-1-7]
650614 Yesterday [McCartney] [take 2 - LP version]
650615 It’s Only Love [Lennon] [take 2; A 2-1-8]
650615 It’s Only Love [Lennon] [take 6 - LP version]
650617 [strings added to Yesterday take 2]
650617 Act Naturally [Russell/Morrison; vocals Ringo]
650617 Wait [Lennon/McCartney] [released - with some rhythm overdubs on 11 Nov - on “Rubber Soul”]

42

I think this is the best comparison I’ve seen in the thread. Steve Jobs and the Apple Inc. of the past ten years is the closest thing we’ll see to the Beatles this generation - which makes it ironic that his relationship with the “other” Apple has been so contentious, up until recently.

The Beatles and Apple share an uncanny ability to turn in unexpected directions and yield enormous critical and commercial success. I think you’ll find few things as transformative and subsequently pervasive in our culture over the past decade as the iPod and iPhone, both of which were derided upon their announcement but turned out to be massive successes (Apple is currently repeating this cycle with the iPad). Both the Beatles and Apple are celebrated for their attention to detail in their craft, refusing to release anything until it fits their exact specifications.

In addition, both Apple and the Beatles are often accused of being less influential than people claim, as they’re rarely the originators of new ideas, per se, but rather incorporate new ideas into their work in ways that attract widespread interest for the first time. They do occasionally come up with some truly groundbreaking ideas (automatic double tracking, ultra-high resolution displays for mobile devices), but by and large, they are credited more with popularizing previously esoteric concepts (incorporating sampling into composition, tablet computers). Today, the Beatles remain cited more often as an influence by musicians and songwriters than any other artist of the modern era, including Elvis, while virtually every smartphone in production has its design roots in the full touchscreen candybar shape of the original iPhone.

And of course, in both cases, the sales speak for themselves.

43

Yikes, does this guy also pick his classic literature from the Oprah Book Club? The only band here that has legitimately shaped anything at all (post-Nirvana) is the White Stripes. A couple of others have carved a distinctive sound, but are otherwise not going to be remembered in 20 years.

44

You think White Stripes will be remembered in 20 years?

45

Hell yes.

GargoyleWB, I feel ya, but who would you suggest? Who’s happening that is worth discussing within this context? Someone like M.I.A., who at least is innovating by adding global influences? **Kanye **for changing the game about how to puzzle together songs as a producer more vs. a player?

46

I have trouble remembering them today.

47

I believe a couple of other factors, including The Beatles own success, ensured that there wouldn’t be a repeat band.
Records (12" and 7") were still a new mass media and were becoming more and more accessible to the public for listening/sharing/trading. They released music relentlessly in the 8 years they were together (12 studio albums, 13 EPS, 55 singles, several compilation albums, and 6 films)
They also recognized the emergence of bands requiring a visual impact that would set them apart from the others. i.e. other bands wore matching suits but they added the “mop tops”.
They saw Elvis’ popularity, and the benefits of film.

Rock and Roll was relatively new, The Beatles and their contemporaries had a blank slate to incorporate influences and styles from those records and experiment with chord progressions, beats, rythyms, lyrics, etc… to make it their own. IMHO, (and I have heard other critics express the same opinion), The Beatles were able to successfully put together many of the great rock/pop melodies, riffs, progressions, etc. that are possible with the musical scale.

Of course, their influence cannot be understated, they have inspired millions upon millions of aspiring musicians pick up an instrument, to write music, lyrics,form a band, etc…
The market became flooded with artists all competing for gigs, record contracts, fans, radio, etc… like never before. At the time, radio airplay was limited and a large number of acts were all competing for it.

Bands didn’t tour, at least not like today. Touring has evolved into a massive industry and has become a requirement. Almost all artists/band spend months or years on the road either nationally or globally depeding on their popularity which takes away from their production of new material. New material is what keeps you current and on the radio, and on the charts.
It’s like trying to mount a comeback with each subsequent release every 2-4 years (or even longer in alot of cases).

Finally, the internet has created a whole new music industy, consisting of niche bands and fans. Music has become individualized and more independent from the mainstream.

That’s my take!

BTW, Wordman and I really should sit down for a beer sometime our opinions mesh well.

48

[QUOTE=Sparky812]

BTW, Wordman and I really should sit down for a beer sometime our opinions mesh well.
[/QUOTE]

mmm, beer

::checks **Sparky’s **location::

Labatt’s?

49

I’m a Molson Export guy.:slight_smile:

50

I’m there; we can round up Le Ministre, grab some poutine and go to town.

:smiley:

Sorry for the hijack - carry on.

51 
No problem .... bring your guitar and we'll jam a couple of tunes while we're at it!
52

The premise of the OP is a load of crap.

It’s way too subjective of a declaration. Every generation has its Beatles. I’m sure there are some 70 year olds wondering why there was never another Ella Fitzgerald.

For you Southern Yankee, there will be no other Beatles.

53

Just to set the timeline straight, Sgt. Pepper came out in June 1967. The White Album was released in November 1968 and Abbey Road came out in September 1969, about two months after “Sugar, Sugar.” The Beatles officially broke up in April 1970, so while I like the White Album and Abbey Road more than Sgt. Pepper, they were near the end at that point. But this does make the point that a lot of people were still into pop crap even in 1969.

Not in mine it won’t. :wink:

54

Using The Tipping Point concept, it was probably simply due to luck. A few influential people talked them up, spread the word, made them omnipresent, and boom. The Beatles became huge. None of this was planned, of course. Basically, they went viral.

55

Wouldn’t it have been better to use another Gladwell example; Outliers? The one where he contends that they put in their ten thousand hours. You know, overnight sensations in other words.

56

While I didn’t read it, I know the premise. Did he use the Beatles as an example in Outliers? I wouldn’t think that they would qualify as outliers. I mean, it’s not like they were objectively better than their contemporaries. Don’t all bands spend thousands of hours practicing? My next door neighbor’s kid’s band seemingly practices hours and hours every day and night. They’re real good. But they’re still practicing in a garage.

57

so you don’t actually think the music itself had anything to do with it - it could just have easily been someone like Gerry + The Pacemakers who struck it lucky instead, but just happened to be the Beatles?

I think 95% or more of the Beatles’s success is down to their music, plain and simple…

58

Aren’t the Beatles, and especially in the context of this thread, the very definition of outliers? The OP posits that there has not been another Beatles.

It’s been awhile since I read it, but I think the neighbour kids are supposed to be out playing gigs, scrambling to make it, not just practicing in the garage.

59

This list is

  1. Amazingly white, and

  2. As a result, wrong.

Are there black people in Mr. Pollard’s world? At least not counting the ones who back up Dave Matthews?

60

Well, it’s definitely a conundrum, sort of like the nature vs. nurture argument. I don’t doubt for a second that The Beatles were indeed talented and hard-working. But I still think that the biggest ingredient in having that kind of monumental success is a society that is receptive to a music revolution, and even possibly demanding of one.

When I think of the Beatles, I don’t think Albert Einstein or UConn women’s basketball, i.e. entities that are objectively better than their contemporaries. Instead I think, Titanic (the movie), Cabbage Patch dolls or Muhammad Ali; i.e. entities buoyed by societal forces.