1 (One)

The Beatles - 1 CD/DVD edition artwork (2015)Recorded: September 1962-April 1970
Released: 13 November 2000

Love Me Do
From Me To You
She Loves You
I Want To Hold Your Hand
Can't Buy Me Love
A Hard Day's Night
I Feel Fine
Eight Days A Week
Ticket To Ride
Day Tripper
We Can Work It Out
Paperback Writer
Yellow Submarine
Eleanor Rigby
Penny Lane
All You Need Is Love
Hello, Goodbye
Lady Madonna
Hey Jude
Get Back
The Ballad Of John And Yoko
Come Together
Let It Be
The Long And Winding Road

The bestselling compilation album 1 collates The Beatles' number one hit singles, charting their rise from tentative R&B-influenced rockers through to era-defining songwriters, encompassing guitar pop, childhood singalongs, strings-based balladry, psychedelia, boogie woogie and much more along the way.

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The chronological approach allows listeners to trace The Beatles' advancements in songwriting throughout the 1960s, and their increasingly experimental approach to studio recording.

The songs included on 1 were number one hits in either the UK or US charts. Hence the inclusion of Love Me Do, which only managed number 17 in the UK, and The Long And Winding Road, which wasn't even released as a single there.

The tracklisting contains other anomalies. Strawberry Fields Forever, a double a-side with Penny Lane, is inexplicably omitted, as is Please Please Me, which in 1963 topped some UK charts but not others.

A compilation such as this will never be the last word on the subject. After all, stunning album tracks such as Tomorrow Never Knows or A Day In The Life, and b-sides (Rain, I Am The Walrus) often eclipsed the quality of the million-selling 7" singles.

It's also worth remembering that, during the 1960s, The Beatles were in the habit of putting out albums without lifting any singles from them, so With The Beatles, Rubber Soul, Sgt Pepper's Lonely Hearts Club Band and The Beatles (White Album) remain unrepresented.

As an introduction to the world's most successful band in history, though, 1 is packed full with essential moments, and anyone unfamiliar with The Beatles' output could find many worse places to start.

On 15 September 2015 it was announced that a new edition of 1 would be reissued in November 2015, containing remixed versions of the songs, as well as CD/DVD and CD/Blu-ray editions containing new stereo and 5.1 surround sound mixes, and a two-disc, 180-gram vinyl edition to follow.

A special deluxe edition, titled 1+, will contain a second bonus disc of 23 videos, containing alternative versions, rare videos and TV appearances. Four of the videos feature exclusive audio commentary or filmed introductions by Paul McCartney and Ringo Starr. The deluxe edition also includes a 124-page hardback book.

The promotional films were digitally restored from the original 35mm negatives scanned in 4K, with audio produced from the original analogue tapes by Giles Martin and Sam Okell at Abbey Road Studios.

Here's the full press release:


All-New Editions of The Beatles 1 Pair Beautifully Restored Promotional Films and Videos with Brand New Stereo and Surround Audio Mixes

Beatles 1+ Deluxe Edition Celebrates the Sight & Sound of The Beatles in 50 Films & Videos

London – September 15, 2015

After The Beatles stopped touring, and because travelling around the globe to promote new releases was impossible, the band increasingly made what could be described as “mini movies”. These pioneering promotional films and videos helped to define the way we have come to watch music, not least because The Beatles approached filming with the same ease and innovative spirit they brought to the recording studio, exploring new creative possibilities with infectious delight. Showcasing the band's filmed work to accompany their 27 No.1, U.K. and U.S. singles, The Beatles 1 is newly restored and expanded in multiple configurations for global release on November 6 by Apple Corps Ltd/UMG.

The 27-track CD/DVD and CD/Blu-ray pairs beautifully restored videos for each song, with new stereo and 5.1 Dolby Digital and DTS HD surround audio mixes. The brand new Beatles 1+ celebrates their career in over 200 minutes through 50 promotional films and videos. This includes the 27 No.1s, with the restored videos, along with a second disc of 23 videos, including alternate versions, as well as rarely seen and newly restored films and videos; all include new audio mixes in deluxe CD/2-DVD and CD/2-Blu-ray packages. The 27-track audio CD is also being made available with new stereo mixes. A 2 LP, 180-gram vinyl package will follow.

The Beatles - 1+ CD/Blu-ray deluxe edition artwork (2015)

The new editions of The Beatles 1 have been made possible following extensive research, and restoration of the original promo films, classic television appearances and other carefully selected videos spanning the band's history. Apple Corps dug deep into The Beatles' vaults to select a broad range of films and videos for their rarity, historical significance and quality of performance. An 18-person team of film and video technicians and restoration artists was assembled by Apple Corps to undertake painstaking frame-by-frame cleaning, colour-grading, digital enhancement and new edits that took months of dedicated, ‘round-the-clock work to accomplish.

The result is a visual run down of The Beatles' number one records, as well as the additional tracks on the bonus disc of Beatles 1+ that show the band in previously unseen standards of clarity and quality; many of the films and videos have never before been commercially released, in whole or in part.

Beatles 1 and Beatles 1+ offers the restored films, including 35mm negatives scanned in 4K and digitally restored with new stereo and 5.1 surround audio remixes, produced from the original analogue tapes by the GRAMMY® winning team of Giles Martin with Sam Okell at Abbey Road Studios. For four of the videos, Paul McCartney and Ringo Starr have provided exclusive audio commentary and filmed introductions, respectively. The 1+ Deluxe Edition, presented in an expanded 124-page illustrated hardcover book includes ‘an appreciation' of The Beatles' ground-breaking films and videos by music journalist and author Mark Ellen and extensive, detailed track/video annotation by music historian and author Richard Havers.

“These videos and films are spectacular reminders of the era we lived in. They also rock!”
Paul McCartney

“I think it's really interesting to see the videos we made, some of them incredible and some of them really incredible. How else would we have got to sit on a horse?”
Ringo Starr

Between 1962 and 1970, The Beatles released 27 No.1 hit singles in the U.S. and the U.K. In 2000, these timeless songs were collected for The Beatles 1, which topped the charts in 35 countries and became that decade's bestselling album worldwide. 15 years later, 1 is revisited for this entirely new, visually-inspired presentation.

It's The Beatles, as you've never seen them before.

The Beatles 1

[CD: DVD: CD+DVD: Blu-Ray: CD+Blu-Ray]
(DVD or Blu-ray)

  1. Love Me Do
  2. From Me To You
  3. She Loves You
  4. I Want To Hold Your Hand
  5. Can't Buy Me Love
  6. A Hard Day's Night
  7. I Feel Fine
  8. Eight Days a Week
  9. Ticket To Ride
  10. Help!
  11. Yesterday
  12. Day Tripper
  13. We Can Work It Out
  14. Paperback Writer
  15. Yellow Submarine
  16. Eleanor Rigby
  17. Penny Lane
  18. All You Need Is Love
  19. Hello, Goodbye
  20. Lady Madonna
  21. Hey Jude
  22. Get Back
  23. The Ballad of John and Yoko
  24. Something
  25. Come Together
  26. Let It Be
  27. The Long and Winding Road


  1. Paul McCartney audio commentary
  2. Penny Lane
  3. Hello, Goodbye
  4. Hey Jude
  5. Ringo Starr filmed introductions
  6. Penny Lane
  7. Hello, Goodbye
  8. Hey Jude
  9. Get Back

The Beatles 1+

CD/2-DVD: CD/2-Blu-ray]

(same as above)

DISC 2 VIDEO (DVD or Blu-Ray)

  1. Twist & Shout
  2. Baby It's You
  3. Words Of Love
  4. Please Please Me
  5. I Feel Fine
  6. Day Tripper *
  7. Day Tripper *
  8. We Can Work It Out *
  9. Paperback Writer *
  10. Rain *
  11. Rain *
  12. Strawberry Fields Forever
  13. Within You Without You/Tomorrow Never Knows
  14. A Day In The Life
  15. Hello, Goodbye *
  16. Hello, Goodbye *
  17. Hey Bulldog
  18. Hey Jude *
  19. Revolution
  20. Get Back *
  21. Don't Let Me Down
  22. Free As A Bird
  23. Real Love


  1. Paul McCartney audio commentary
  2. Strawberry Fields Forever

* alternate version




Newly edited clip, featuring material from BBC TV's The Mersey Sound, with performance footage filmed on 27 August 1963 at the Little Theatre, Southport.
A live performance at the 1963 Royal Variety Show, filmed at The Prince Of Wales Theatre, London, on 4 November 1963.
A live performance from the Swedish Television show Drop In, recorded on 30 October 1963 during a short Scandinavian tour.
From the Granada TV programme Late Scene Extra filmed on 25 November 1963.
First broadcast in the TV show Around The Beatles, filmed on 28 April 1964 and broadcast the following month. It features a different audio track to that of hit single, recorded by The Beatles on 19 April 1964.
Live performance at the Palais des Sports, Paris on 20 June 1965, while on a short European tour.
Filmed at Twickenham Film Studios on 23 November 1965. One of ten films shot that day to satisfy global TV demand for broadcast material to accompany The Beatles' hit records.
A brand new clip edited from material filmed at the Shea Stadium concert in New York City on 15 August 1965, during which the band performed twelve songs, but ‘Eight Days A Week' was not among them. The clip says so much about the band's frenetic lifestyle in 1965, at the height of Beatlemania.
Filmed at Twickenham Film Studios on 23 November 1965.
10. HELP!
The less frequently seen clip of those filmed at Twickenham Film Studios on 23 November 1965.
Paul performing on The Ed Sullivan Show, videotaped in New York City on 14 August 1965 and broadcast the following month, the day before the single was released in America.
Three versions of this clip were filmed at Twickenham Film Studios on 23 November 1965. This is version 2, in which all of the group are wearing polo neck sweaters, except for Paul, who wears a black shirt.
There were three versions of the ‘We Can Work It Out' video filmed atat Twickenham Film Studios on 23 November 1965. This is version 2 in which all four Beatles are wearing black polo neck sweaters.
Filmed in 35mm, and in colour, in Chiswick Park, West London, by director Michael Lindsay-Hogg.
This clip is newly created from original Yellow Submarine footage.
This clip is taken directly from the Yellow Submarine movie.
A ground-breaking clip by Swedish director Peter Goldmann that captures The Beatles in Stratford, London, and at Knole Park in Kent, with additional material shot in Liverpool.
Filmed in Studio One at Abbey Road, on 25 June 1967, and beamed around the globe as a part of the TV programme Our World. This colourised version was created for The Beatles Anthology TV programme in 1995.
London's Saville Theatre was the location for this promo film, shot on 10 November 1967; The Beatles wear their Sgt. Pepper outfits.
Just prior to leaving for India, The Beatles met up in Studio Three at Abbey Road, on 11 February 1968. They were filmed while recording ‘Hey Bulldog'.
Filmed at Twickenham Film Studios on 4 September, for broadcast on David Frost's TV show, Frost On Sunday. The introduction by David Frost is different from that on disc 2.
The promo clip made available at the time of the original release of the single featured performances from the Apple rooftop synched to the record. This new clip has been rebuilt to replicate the original but with improved picture quality.
This original promo clip features outtakes from the Let It Be movie, with other private footage shot in Amsterdam, London, Paris and Vienna.
The video features George and Pattie, John and Yoko, Paul and Linda, and Ringo and Maureen. and was filmed at locations in Berkshire, Surrey, and the Mull of Kintyre.
The clip was created in 2000 by Melon Dezign for the launch of thebeatles.com and the original Beatles 1 album.
A 1970 promo clip was made available to support the release of the single and it was different to the one featured in the Let It Be movie; this clip has been rebuilt from the original footage.
This clip is taken straight from the Let It Be movie.


From the Granada Television programme Scene At 6.30, which was videotaped on 14 August 1963.
One of two clips used to promote the single taken from the 1995 Live At The BBC album. The clip is enhanced by the inclusion of unique colour footage of The Beatles filmed outside the BBC's Paris Studio on Lower Regent Street, London.
When On Air – Live At The BBC Volume 2 was released in 2013, it included ‘Words Of Love', a Buddy Holly composition that the band recorded for radio. This new clip is a mix of existing footage and innovative animation.
A live performance videotaped on 9 February for The Ed Sullivan Show, which was screened on 23 February 1964.
Filmed at Twickenham Film Studios on 23 November 1965, this clip shows The Beatles eating fish and chips during their lunch break.
From the TV special The Music Of Lennon & McCartney that first broadcast in mid-December 1965.
Filmed at Twickenham Film Studios on 23 November 1965, with the group wearing their Shea Stadium Jackets with the ‘Nehru' collars.
Filmed at Twickenham Film Studios on 23 November 1965 – showing The Beatles wearing the Shea Stadium jackets.
Shot on videotape at Abbey Road, on 19 May 1966, this studio version is prefaced by a short introduction by Ringo. It was broadcast on The Ed Sullivan Show in America.
10. RAIN
‘Rain', the B-side of ‘Paperback Writer', was filmed in colour at Chiswick House, West London, on 20 May 1966.
11. RAIN
This black and white clip is a new edit from several takes of ‘Rain' videotaped at Abbey Road on 19 May 1966.
Directed by Peter Goldmann and with newly restored footage, this was filmed at Knole Park, Kent on 30 and 31 January 1967.
The merging of these two tracks, one from Sgt Pepper's Lonely Hearts Club Band, the other from Revolver, was created for The Beatles Love show by Cirque du Soleil, which opened in June 2006 in Las Vegas. This video was created to promote the Love album released later that year.
Filmed in Studio One at Abbey Road on 10 February 1967, this includes classical musicians, who were asked to wear evening dress, fake noses and funny hats for the recording session.
This clip is another shot at London's Saville Theatre on 10 November 1967; The Beatles wear their ‘street clothes'.
This third version was also shot at London's Saville Theatre on 10 November 1967; it includes elements from the first two films but with additional footage unique to this edit.
The original footage from a 1968 shoot for the ‘Lady Madonna' promo film was unearthed in the mid-1990s. It was revealed that The Beatles were recording ‘Hey Bulldog' and is an edit done to promote the reissue of the Yellow Submarine movie in 1999.
This is an edit of the two other takes filmed on 4 September 1968 for the Frost On Sunday TV show. This has a different David Frost intro to the clip on disc 1.
One of two versions, this was shot the same day as ‘Hey Jude'. John's lead vocal is completely live, as are most of Paul and George's backing vocals. The instrumentation, including Nicky Hopkins' electric piano, is from the master tape.
This clip was assembled in 2003 to support the release of the album Let It Be…Naked and utilises studio footage from the famous Get Back/Let It Be sessions.
This was the B-side of ‘Get Back' and this clip is a composite of two live performances from the Apple rooftop in 1969. It was made available to support the release of Let It Be…Naked in 2003.
The 1995 video is a work of art by director Joe Pytka, who used the concept of a bird's-eye view to pay homage to many Beatles songs and images.
This video directed by Geoff Wonfor and ex-10cc and leading pop promo-maker Kevin Godley, this video was made in 1996 to support the release of the single.

26 responses on “1 (One)

  1. Matt

    Yesterday and Eight Days A Week are also included on the album as they were released in the US but not the UK. Strawberry Fields was only a B-side in the US not a double A-side, which is why it is not on the album as Penny Lane / Strawberry Fields was only No. 2 in the UK (hard to believe those 2 masterpieces could be beaten by Englebert Humperdink or whatever his name is!).

    Personally, I would prefer a compilation with all their UK singles and B-sides. As mentioned in the article, Rain is a brilliant song (and I’m surprised it was not on The Beatles: Rock Band). I suppose now that most fans seem to have the box sets, compilations are not really necessary.

    1. Deadman

      “…hard to believe those 2 masterpieces could be beaten by Englebert Humperdink or whatever his name is!).”

      Being a double A side, PL and SFF were listed separately in the charts because, back then, charts were compliled from lists returned by retailers and some listed the single as SFF and some as PL; their combined totals would easily have relegated Humperdink’s ‘Release Me’ to number 2 if listed as one record.

      All this, of course, is already covered here: http://www.beatlesbible.com/1967/02/17/uk-single-penny-lanestrawberry-fields-forever/

    2. Michael K

      At last. You have simply and accurately explained the ommission of ‘Strawberry Fields’ when even ‘experts’ have been in a fuss and should have known better. It was not a Number One. People confuse the UK double a-side (for airplay) with the American ‘double-charting’.

  2. Aaron Montefusco

    Well, Strawberry Fields and Revolution and Rain arent on it. Most of the songs, Hey Jude, Get Back, Let it Be, Winding Road, are all Pauls. Yet BOTH Day Tripper and We Can Work it Out(BOTH by Paul) are on it. Another exampple of Paul clinging to the Beatles and not giving the others much credit.

    1. Joe Post author

      Revolution and Rain were b-sides though. Day Tripper and We Can Work It Out was a double a-side single, as was Penny Lane/Strawberry Fields. The latter song should really have been on the album. For the rest, you can’t really blame Paul for writing more commercial songs, can you? The album’s about number one hits, after all. If it was a general best-of and he had most of the tracks you may have had a point.

    2. Elsewhere Man

      “Day Tripper” & “We Can Work It Out” are both Lennon/McCartney collaborative efforts. “Day Tripper” was mainly John’s song (he said it was his first drug song – or something to that effect) but Paul sang the lead. “We Can Work It Out” was mainly Paul’s song but John wrote the classic middle-8.

  3. Aaron Montefusco

    Fair enough BUT you cant deny that Paul could be a show off. Hey Jude, often considered the beatles “greatest and most essential” song, is VASTLY overrated. I think Revolution is much more rock’n’roll. My mom thinks that The Beatles were made to represent Paul, that hes the leader. BS

    1. thomas

      Naturally. Expert opines always cite “mom,” then label her opinion “BS” !!

      Jude was the Beatles biggest single (i.e., biggest seller and longest time at no. 1.) It was also considered by some as something of a comeback for them after their Magical Mystery Tour television flop (although the album went straight to No. 1.) However, no one anywhere ever said Hey Jude was their “most essential” song and you really just made that up to support your own argument/criticism. In logic that’s called a circular argument and invalidates any conclusion.

      BTW, the Beatles had no “leader”; they were equal opportunity show offs. They always maintained this, as Lennon himself often confirmed at press conferences where he was frequently known as the witty show off :-) Lennon and McCartney were a partnership, a point Lennon again repeatedly made (that from the earliest days going back to the Quarrymen, Lennon chose Paul as his song writing partner.) This is why many Beatle singles were in fact double A sides, with a song from Paul and a song from John. Not always but the best singles (such as Hey Jude/Revolution) were symbolic of that partnership. Real Beatles fans and critics always think of their albums and singles in those terms, not some silly “my mommy said” pissing match between Lennon and McCartney.

      1. McLerristarr

        Actually, the ‘Hey Jude’ single wasn’t a double A-side – ‘Revolution’ was a B-side.

        John has said himself that he was the leader originally. In 1966, John started to get lazy and after Brian Epstein died in 1967, he lost the will to keep going. Paul helped The Beatles pull through and he became the leader.

        1. thomas

          Well, the Beatles were specifically asked about leadership at recorded press conferences. Both Lennon and McCartney stated clearly the Beatles had no leader. Lennon also said he specifically chose Paul as his partner. While Lennon started/led the original band (Quarrymen) I think it’s clear by the time they became the Beatles they were making decisions as a group rather than by dominant leader. Yoko in particular has tried to perpetuate the myth that Lennon was the Beatles leader when in reality their partnership was more or less equal. Certainly there were tensions and disagreements. Paul may have been seemed more dominant after Epstein died, but he was trying to keep the group motivated rather than take over as “leader.” Lennon during that period was deeply involved with drugs, which I think explains his apathy.

          In any case what I personally meant by “double A” sides was a release that featured both an “a” song from John and one from Paul. I view Jude/Revolution this way. The picture sleeve I bought advertised “The Beatles, Hey Jude/Revolution, as if a single with two A sides (as opposed to singles with real B side “filler” not advertised on the sleeve.) Having two “A” class songs certainly helped sales and I remember lot’s of us who bought Beatle singles would favor one side or the other. Revolution did very well in US charts and was No. 1 in Australia/New Zealand. In all the Beatles had something like 45 singles released that in fact hit No. 1 in various countries (some after the breakup in 1970.) So in my view the Beatles One album is quite subjective in it’s content. Revolution should have been on it, as should (at minimum) Strawberry Fields, Please Please Me, and Nowhere Man (which was No. 1 in Canada and Australia and No. 2 In the US.)

          1. McLerristarr

            Well, it’s a little subjective, but the album would be huge if they included all their number 1s from every country, so they focused on the main countries of the UK and USA. They could have included Please Please Me on the album which was #1 on most of the UK charts just not the main one. Strawberry Fields Forever was never #1; Penny Lane was in the USA but back then the American charts counted the flip side as a separate entry and Strawberry Fields charted lower. The double A-side in the UK reached #2.

            As for B-sides, the single sleeves often had the B-side on them, I think.

            1. thomas

              I agree it’s subjective. But by some US chart counts Nowhere Man was No.1, by Billboard it was No. 2. But consider: who remembers most B sides (whether listed on the sleeve or not?) I don’t. I have to go to my stack of records and actually look at them to remember the B sides because most were mediocre and forgettable filler songs.

              My thought though is many Beatles singles were highly innovative in that they offered original hits and memorable songs on both sides. Few groups offered this type of musical quality. I always considered Rain to be the A side of Paperback Writer/Rain, and so did most of my friends. Ditto for Penny Lane/Strawberry Fields; Strawberry was our dominant side. I gave about equal play to Hey Jude/Revolution, but my point is classifying most Beatle singles via their A/B sides seems a bit unfair and non sequitur. I think as someone else commented I’d have preferred an album (double, I guess) including both B and double A sides. Also adding significant non US/UK No. 1 songs like Nowhere Man and Revolution. Or, perhaps Apple could have released a compilation of Beatles top ten singles, noting their chart positions with descriptive liner notes. In any case, such a CD would have seemed more appropriate to the uniqueness of Lennon-McCartney songwriting and reflected Beatles singles better.

              1. james hummel

                I believe, like Elvis, there just needs to be a Beatles “2”. As most of you I found Beatles “1” to be lacking “Nowhere Man” and “Revolution” as well as album hits like “With a Little Help from my Friends”. Bring on #2!!!

  4. Von Bontee

    I’ve always been fuzzy on the whole concept of “double a-sides” – how do they differ from regular singles? Did they include a note for disc jockeys explicitly suggesting that they not favour one side over the other?

    1. Joe Post author

      I guess the radio pluggers would have made it clear at the time, along with chart compilers and so on. It’s a bit of a vague thing – Day Tripper/WCWIO was the very first one, as far as I know. I suppose the agreement was that neither song was more important than the other, though of course that didn’t stop certain songs being preferred by the public and broadcasters.

      1. Von Bontee

        Crazy thing is, chart compilers pretty much have to rely on listener requests alone to determine which of the two sides was the most popular, since sales figures would be identical.

  5. Carole

    “Another exampple of Paul clinging to the Beatles and not giving the others much credit.”

    How silly. The album contains songs that were #1 on the charts. It has nothing to do with what Paul did or did not do.

    Paul didn’t make up the UK or American charts, for heavens sake.

  6. Canberk Duman

    There must be Revolution with Hey Jude, Revolution is a way better song than Hey Jude, sorry guys.
    Also Strawberry Fields with Penny Lane. Penny Lane is ”banal” as hell, I’m sure most of people buy that single for Strawberry Fields.
    And where is the Don’t Let Me Down?

    Is there a grudge about John?

  7. Hammer 109

    It’s amazing that this album has so many songs that are ‘meh’ to me. Paperback Writer, Eleanor Rigby, Hello Goodby, Yellow Submarine, Lady Madonna, Long and Winding Road. Granted, it’s the Beatles, so ‘meh’ is highly relative and must be put in context. But in the context of The Beatles, they are not my favorites.

  8. fsd

    2015 version sounds much better that the old Cd n1.s,, for example in the song Let it be,the remix and the sound is very noticiable, but in the old songs, i mean: Tickect to Ride, lady madonna and son on, the drums are still not centered………..so,the remixed exist but , unfortunally, less than in the faboluos remix of Yellow Submarine soundtrack.

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