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Anthology 3
Anthology 3
Anthology 3
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Anthology 3
Compilation album by
the Beatles
Released28 October 1996 (1996-10-28)
Recorded28 May 1968 – 3 January 1970 (except 22 February 1967 for the final chord of "A Day in the Life")
StudioEMI Studios and Apple Studios, London
GenreRock
Length145:33
LabelApple, Capitol
ProducerGeorge Martin
The Beatles chronology
Anthology 2
(1996) 		Anthology 3
(1996) 		Yellow Submarine Songtrack
(1999)
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStar[1]
Robert Christgau(choice cut)[2]
The Encyclopedia of Popular MusicStarStarStar[3]
Entertainment WeeklyB[4]
MusicHound3/5[5]
QStarStarStarStar[4]
Rolling StoneStarStarStarStar[6]
The Rolling Stone Album GuideStarStarStar[7]

Anthology 3 is a compilation album by the Beatles, released on 28 October 1996[8] by Apple Records as part of The Beatles Anthology series. The album includes rarities and alternative tracks from the final two years of the band's career, ranging from the initial sessions for The Beatles (better known as "the White Album") to the last sessions for Let It Be and Abbey Road in 1969 and early 1970. It is the third in a quartet of albums with Anthology 1 and Anthology 2, and Anthology 4, all of which tie in with the televised special The Beatles Anthology.

The album was certified 3× Platinum by the RIAA and was the group's third double album in a row to reach number one on the US charts, equalling a record set by Donna Summer in the 1970s.

The Anthology albums were remastered and made available digitally on the iTunes Store on 14 June 2011, individually and as part of the Anthology Collection box set.

Content

[edit]

Following "Free as a Bird" on Anthology 1 and "Real Love" on Anthology 2, a third John Lennon solo demo entitled "Now and Then" was to be reworked by the three surviving members of The Beatles (George Harrison, Paul McCartney and Ringo Starr) for Anthology 3. However, this project was shelved due to Harrison's dislike of the quality of the song recording. McCartney later stated that Harrison called Lennon's demo recording "fucking rubbish".[9] McCartney told Q Magazine in 1997 that "George didn't like it. The Beatles being a democracy, we didn't do it."[10] The song would eventually be finished and released in 2023.[11] In its place is "A Beginning", an orchestral instrumental track by the band's producer George Martin, initially intended for the White Album as the intro to "Don't Pass Me By".

Connecting to the previous Anthology albums, the cover image painted by Klaus Voormann features a collage of Beatles-related imagery designed to appear as a wall of peeling posters and album covers. An updated picture of Voormann can be seen in Harrison's hair in a segment of the Revolver album cover.

Track listing

[edit]

All tracks in stereo, except where noted.

All tracks are written by Lennon–McCartney, except where noted.

Side one
No.TitleWriter(s)Recording date and locationLength
1."A Beginning" (instrumental)George Martin22 July 1968 EMI Studios, London, UK0:50
2."Happiness Is a Warm Gun" (home demo; mono) 28 May 1968 Kinfauns, Esher, UK2:15
3."Helter Skelter" (Take 2 edited; mono) 18 July 1968 EMI Studios4:38
4."Mean Mr. Mustard" (home demo) 29 May 1968 Kinfauns1:58
5."Polythene Pam" (home demo) 29 May 1968 Kinfauns1:26
6."Glass Onion" (home demo) 28 May 1968 Kinfauns1:51
7."Junk" (home demo)Paul McCartney28 May 1968 Kinfauns2:25
8."Piggies" (home demo; mono)George Harrison28 May 1968 Kinfauns2:01
9."Honey Pie" (home demo) 28 May 1968 Kinfauns1:19
10."Don't Pass Me By" (Takes 3 & 5)Richard Starkey5–6 June 1968 EMI Studios2:42
11."Ob-La-Di, Ob-La-Da" (Take 5) 3–5 July 1968 EMI Studios2:56
12."Good Night" (Takes 22 & 34) 28 June & 22 July 1968 EMI Studios2:38
Side two
No.TitleWriter(s)Recording date and locationLength
13."Cry Baby Cry" (Take 1) 16 July 1968 EMI Studios2:46
14."Blackbird" (Take 4) 11 June 1968 EMI Studios2:19
15."Sexy Sadie" (Take 6) 19 July 1968 EMI Studios4:07
16."While My Guitar Gently Weeps" (Acoustic Version: Take 1)Harrison25 July 1968 EMI Studios3:28
17."Hey Jude" (Take 2) 29 July 1968 EMI Studios4:21
18."Not Guilty" (Take 102)Harrison8–9 & 12 August 1968 EMI Studios3:22
19."Mother Nature's Son" (Take 2) 9 August 1968 EMI Studios3:17
Side three
No.TitleWriter(s)Recording date and locationLength
20."Glass Onion" (original mono mix) 11–13, 16 & 26 September 1968 EMI Studios2:08
21."Rocky Raccoon" (Take 8) 15 August 1968 EMI Studios4:13
22."What's The New Mary Jane" (Take 4) 14 August 1968 & 26 November 1969 EMI Studios6:12
23."Step Inside Love / Los Paranoias" (jam)
16 September 1968 EMI Studios2:31
24."I'm So Tired" (Takes 3, 6 & 9) 8 October 1968 EMI Studios2:14
25."I Will" (Take 1) 16 September 1968 EMI Studios1:55
26."Why Don't We Do It in the Road?" (Take 4; mono) 9 October 1968 EMI Studios2:15
27."Julia" (Take 2) 13 October 1968 EMI Studios1:58
Total length:74:05
Side four
No.TitleWriter(s)Recording date and locationLength
1."I've Got a Feeling" (Savile Row sessions) 23 January 1969 Apple Studio, Savile Row, London2:49
2."She Came In Through the Bathroom Window" (Savile Row sessions) 22 January 1969 Apple Studio3:37
3."Dig a Pony" (Savile Row sessions) 22 January 1969 Apple Studio4:18
4."Two of Us" (Savile Row sessions) 24 January 1969 Apple Studio3:27
5."For You Blue" (Take 1)Harrison25 January 1969 Apple Studio2:23
6."Teddy Boy" (Savile Row sessions)McCartney24 & 28 January 1969 Apple Studio3:18
7."Medley: Rip It Up / Shake, Rattle and Roll / Blue Suede Shoes" (Savile Row sessions)
26 January 1969 Apple Studio3:11
Side five
No.TitleWriter(s)Recording date and locationLength
8."The Long and Winding Road" (Savile Row sessions; master track with Phil Spector alterations removed) 26 January 1969 Apple Studio3:42
9."Oh! Darling" (Savile Row sessions) 27 January 1969 Apple Studio4:07
10."All Things Must Pass" (demo)Harrison25 February 1969 EMI Studios3:05
11."Mailman, Bring Me No More Blues" (Savile Row sessions)
29 January 1969 Apple Studio1:56
12."Get Back" (Live at the Beatles' rooftop concert) 30 January 1969 Apple Building rooftop, Savile Row3:09
13."Old Brown Shoe" (demo)Harrison25 February 1969 EMI Studios3:03
14."Octopus's Garden" (Takes 2 & 8)Starkey26 April 1969 EMI Studios2:49
15."Maxwell's Silver Hammer" (Take 5) 9 July 1969 EMI Studios3:50
Side six
No.TitleWriter(s)Recording date and locationLength
16."Something" (demo; mono)Harrison25 February 1969 EMI Studios3:19
17."Come Together" (Take 1) 21 July 1969 EMI Studios3:40
18."Come and Get It" (demo by McCartney)McCartney24 July 1969 EMI Studios2:30
19."Ain't She Sweet" (jam)
24 July 1969 EMI Studios2:08
20."Because" (a cappella) 4 August 1969 EMI Studios2:24
21."Let It Be" (Savile Row sessions) 25 January 1969 Apple Studio4:05
22."I Me Mine" (Take 16)Harrison3 January 1970 EMI Studios1:48
23."The End" (remix featuring final chord of "A Day in the Life") 22 February 1967; 23 July; 5, 7–8, 15 & 18 August 1969 EMI Studios2:53
Total length:71:31

Charts

[edit]

Certifications and sales

[edit]
Certifications and sales for Anthology 3
Region Certification Certified units/sales
Australia (ARIA)[34] Gold 35,000^
Canada (Music Canada)[35] 2× Platinum 200,000^
Japan (RIAJ)[36] Gold 181,000[30]
United Kingdom (BPI)[37] Platinum 300,000‡
United States (RIAA)[38] 3× Platinum 1,500,000^

^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Anthology 3

View on Grokipedia
from Grokipedia
Anthology 3 is a double compilation album by the English rock band the Beatles, released on 28 October 1996 by Apple Records as the third volume in the Beatles Anthology series. The album spans 50 tracks, primarily consisting of previously unreleased demos, studio outtakes, and alternate versions recorded between May 1968 and January 1970, focusing on the sessions for The Beatles (commonly known as the White Album), Let It Be, and Abbey Road. Produced by George Martin, it captures the band's creative process during their final years, including Esher demos, jam sessions, and the iconic rooftop performance of "Get Back" from the Let It Be film. The album's first disc opens with early acoustic demos from George Harrison's home, such as versions of "" and "Helter Skelter," transitioning into White Album outtakes like the raw 27-minute jam "" and George Harrison's unreleased "Not Guilty." Disc two delves into the Let It Be and eras, featuring rehearsals like "Let It Be" and "The Long and Winding Road," as well as experimental pieces such as John Lennon's "" and a medley of "Step Inside Love" and "Los Paranoias." Unlike the previous Anthology volumes, Anthology 3 does not include any newly recorded material by the surviving , emphasizing archival rarities instead. Upon release, Anthology 3 achieved significant commercial success, debuting at number one on the chart and earning triple platinum certification from the RIAA for shipments of three million copies. It also reached number four on the and the top ten in several other countries, including and . Critically, the album received generally positive reviews for its intimate glimpse into the ' late-period evolution, though some critics noted it contained more filler compared to its predecessors; awarded it four out of five stars, praising its revelatory outtakes.

Background

The Anthology project

The Beatles Anthology project originated from discussions in 1994 between the surviving members—Paul McCartney, George Harrison, and Ringo Starr—and producer George Martin, aimed at celebrating the band's 30th anniversary by compiling and releasing previously unreleased material. These talks built on earlier ideas from 1989 involving Yoko Ono and Apple Corps executives to create a comprehensive retrospective of the group's history. The project's scope encompassed three double-CD compilations featuring approximately 150 unreleased tracks spanning the recording career from 1963 to 1970, alongside a six-part and an accompanying book that detailed the band's story through interviews and archival material. Key collaborators included , who served as producer overseeing the audio restoration and selection process; engineer , who handled mixing and technical work; and , who contributed access to John Lennon's demo tapes for inclusion in the releases. The television series aired in November and December 1995, with the broadcast on ITV starting November 26 and the version on ABC over three nights from November 19 to 23, while the albums followed in sequence from late 1995 into 1996. This initiative culminated in Anthology 3 as the final volume, concentrating on the band's later years.

Concept and development

Anthology 3 was conceived as the final installment in series, emphasizing the band's creative output from to , a period marked by the psychedelic experimentation of The White Album, the collaborative tensions and raw sessions of the /Let It Be project, and the polished maturity of [Abbey Road](/page/Abbey Road). This era captured the group's transition from communal to more introspective and individualized songwriting, reflecting their evolution amid internal strains that ultimately led to their dissolution. The curation process, overseen by surviving members , , and alongside producer , aimed to highlight this final phase through unreleased material that showcased artistic growth without altering the original recordings' authenticity. Selection criteria prioritized acoustic home demos, raw studio outtakes, and live performances to illustrate the Beatles' development, such as the demos recorded at Harrison's home in May 1968, which included early versions of White Album tracks like Harrison's "" and McCartney's "Blackbird." These choices avoided overdubs on any Lennon demos to preserve their spontaneous nature, focusing instead on archival gems that demonstrated the shift toward personal expression—exemplified by Harrison's "" and McCartney's "Junk"—while including live elements like the January 1969 rooftop concert to convey the band's live dynamism during their waning years. The process drew from vast archives, with Martin beginning to review and mix tracks in May 1995, ensuring the compilation reflected the era's emotional and musical complexity without fabricating new content. Development faced significant challenges, including legal and emotional hurdles tied to John Lennon's estate, as provided access to unfinished demos but required careful navigation of permissions for their use. Compilation work commenced in mid-1995, with the surviving convening to select and sequence tracks, finalizing the project by October 1995 ahead of its release. Harrison expressed initial reluctance toward revisiting early material from the series but showed greater enthusiasm for the later-period content in Anthology 3, aligning with his preference for the band's more mature output. A notable example was the attempt to complete Lennon's demo "Now and Then," where McCartney added bass during 1995 sessions, but technical issues with the demo's audio quality and Harrison's skepticism—deeming the song structurally weak—led to its exclusion, highlighting the emotional weight of posthumously integrating Lennon's voice.

Recording and production

Session selections

The session selections for Anthology 3 draw primarily from the Beatles' final creative phase, spanning 1968 to 1970, and emphasize unreleased demos, rehearsals, and outtakes that capture the band's evolving dynamics during the recording of The Beatles (commonly known as the White Album), the Get Back/Let It Be project, and Abbey Road. These materials were chosen to illustrate the raw creative process amid growing internal tensions, including George Harrison's temporary departure from the group and the shift toward more experimental, improvised work as the band members pursued individual directions. A significant portion originates from the White Album sessions, beginning with acoustic demos recorded in late May 1968 at Harrison's home in , , where the group informally previewed material post-India trip. John Lennon's solo acoustic rendition of "" from these Esher demos exemplifies the early, fragmented state of songs that would later become complex studio pieces, highlighting Lennon's stream-of-consciousness songwriting approach. Other Esher tracks, such as "" and "," reveal conceptual links to the White Album's thematic puzzles and personal reflections. Further White Album outtakes include Harrison's solo acoustic demo of "," taped on July 25, 1968, at , which strips the song to its introspective core before the full band's overdubs and Eric Clapton's guest guitar. Harrison's "Not Guilty," developed over 102 takes from August 8 to 12, 1968, at Abbey Road, was ultimately rejected for the White Album—reportedly at Harrison's own insistence due to dissatisfaction—yet its inclusion underscores themes of frustration and self-examination amid the band's interpersonal strains. The /Let It Be rehearsals, captured in January 1969, provide insight into the band's unraveling cohesion and spontaneous innovations, with selections reflecting both polished performances and chaotic jams. Initial sessions from January 2 to 14 occurred at Film Studios in , where the group experimented with back-to-basics rock arrangements under the original concept, including early versions of "Two of Us" and "" that evolved through daily improvisations. Tensions peaked on when Harrison quit briefly, leading to a relocation to the basement of headquarters at 3 , where rehearsals continued until the month's end. The rooftop concert on January 30, 1969, atop the Apple building— the Beatles' final public performance—yields live takes of "" and "Don't Let Me Down," featuring on keyboards and capturing the raw energy of an impromptu set interrupted by police, symbolizing the era's blend of defiance and farewell. Abbey Road-era demos from spring 1969 further highlight unfinished ideas and individual contributions, recorded mainly at . Harrison's acoustic demo of "" on February 25, 1969, represents an overlooked gem rejected by the group, foreshadowing his post-Beatles solo breakthrough and illustrating how personal songs like this were sidelined amid collaborative pressures. Other selections, such as the extended jam on "Mailman, Bring Me No More Blues" from the sessions, showcase the band's playful yet strained improvisations, incorporating standards to bridge gaps in original material. Overall, these choices prioritize tracks that expose the Beatles' innovations—like Harrison's Eastern-influenced introspection and Lennon's satirical edge—while documenting the creative friction that defined their dissolution.

Production process

The production of Anthology 3 took place primarily at Abbey Road Studios in London between March 1995 and 1996, where producer George Martin and engineer Geoff Emerick assembled and remixed unreleased tracks from the Beatles' 1968–1970 sessions using the original multitrack tapes stored in the EMI archives. These tapes, typically on one-inch four- or eight-track formats, allowed for the separation of vocals, instruments, and other elements to enhance clarity without altering the original performances; for instance, Lennon's demo vocals on tracks like "Happiness Is a Warm Gun" were isolated from piano and background noise to bring forward their raw quality. The team prioritized authenticity by employing a 1970s EMI TG12345 Mark II console for remixing, along with vintage equipment such as Fairchild 660 limiters, original EMI EQ units, and a refurbished Abbey Road echo chamber for reverb, avoiding digital processing to retain the 1960s analog sound. Mixes were recorded to half-inch stereo tape at 30 inches per second on a Studer A80 machine, with digital backups created earlier by engineer Allan Rouse in 1988 to safeguard the aging analog sources. Minimal overdubs were added to preserve the historical integrity of the material; the instrumental "A Beginning," an orchestral piece originally composed by George Martin as an intro for "Don't Pass Me By" during the White Album sessions, was included as an archival track. One notable exception was the partial work on John Lennon's 1977 demo "Now and Then," intended as a new Beatles track for the album; in 1995, McCartney overdubbed bass guitar, Harrison added slide guitar, and Starr contributed drums under Jeff Lynne's additional production, but the track was shelved due to Harrison's dissatisfaction with the results and not included. No modern effects like Auto-Tune were used, ensuring the final mixes reflected the era's production techniques. Challenges arose from the variable condition of the tapes, particularly those from sessions showing signs of degradation such as oxide shedding and signal loss, which required careful handling during transfer to avoid further damage. Emerick and assistant Paul Hicks made decisions on edits, such as splicing takes and adjusting fade-outs, to fit the double-CD format while maintaining flow; the total runtime of approximately 145 minutes to fit the double-CD format while maintaining flow. These choices emphasized conceptual completeness over exhaustive length, with spoken interjections and transitions curated to evoke the band's final creative phase. Final digital remastering from the analog mixes was handled by Peter Mew using software, balancing with fidelity to the source material.

Packaging and release

Artwork and design

The cover art for Anthology 3 is a collage-style illustration featuring various images from the band's late period, including references to the Abbey Road cover, designed to convey a somber tone reflective of the band's dissolution. This artwork was conceptualized by Klaus Voormann, the German artist and musician who had previously designed the collage-style cover for the Beatles' 1966 album Revolver, and painted in collaboration with Alfons Kiefer, with additional contributions including handwritten notes and sketches from the band members integrated into the overall collage aesthetic. The physical packaging utilized a standard double-CD jewel case format, accompanied by a 48-page booklet containing rare session photographs, extensive authored by (the Beatles' former press officer and close associate), and reproductions of previously unpublished lyrics from the era. Thematically, the design underscores the finality of the ' recording career, drawing on imagery from their 1969–1970 period—such as photographs from the rooftop concert atop headquarters—to evoke closure and reflection on their last collaborative efforts. A limited edition vinyl pressing was issued in a triple-gatefold , providing expanded space for artwork and notes while maintaining the continuity across the .

Release details

Anthology 3, the third and final installment in series, was released worldwide on October 28, 1996, following in November 1995 and in March 1996. In the and , the album was issued by in association with , while in the United States, it was distributed by under the Apple Records imprint. The album launched in several physical formats, including a double CD set, a double cassette, and a triple vinyl LP edition, each featuring and mono mixes where applicable. These releases were accompanied by a 48-page booklet containing , photographs, and session details. In 2025, a remastered edition of was included in the box set, comprising 8 CDs or 12 LPs across the series plus a new Anthology 4, limited to 8,500 numbered copies. The commercial launch tied into the broader project, coinciding closely with the September 1996 home video release of the accompanying series on , which provided contextual promotion for the compilation. Additional promotion featured interviews and press appearances by the surviving —, , and —building on the momentum from prior singles such as "" and "Real Love." Initial U.S. retail pricing for the double CD edition was set at approximately $30.

Track listing

Disc one

Disc one of Anthology 3 compiles 24 previously unreleased recordings from the and home demos, focusing on the creative development of songs for their White Album. Spanning approximately 62 minutes, the disc traces the band's songwriting and recording process from initial acoustic sketches to more polished outtakes, illustrating the experimental and collaborative spirit of the period. These selections emphasize the White Album's diversity, from rockers to ballads, without venturing into material. The tracks are presented in album order below, including a mix of Esher home demos and studio outtakes recorded between late May and October 1968.
No.TitleWriter(s)LengthRecording details
1"A Beginning"George Martin0:50An orchestral prelude composed as an unused introduction to Ringo Starr's "Don't Pass Me By," recorded on 22 July 1968.
2"Happiness Is a Warm Gun"Lennon–McCartney2:15Acoustic demo with a false start, showcasing John Lennon's evolving multi-part composition, recorded late May 1968 at .
3"Helter Skelter"Lennon–McCartney4:38Edited take 2 from 18 July, an early raw version of McCartney's proto-metal experiment before the chaotic final overdubs.
4"Mean Mr. Mustard"Lennon–McCartney1:58Upbeat acoustic sketch of Lennon's character-driven tune, Esher demo from late May 1968.
5"Polythene Pam"Lennon–McCartney1:13Rough demo of Lennon's gritty rocker, linked thematically to later medley tracks, Esher demo from late May 1968.
6"Glass Onion"Lennon–McCartney2:17Early take 10 from September sessions, without the later tape loops and orchestral overdubs.
7"Junk"McCartney2:25Paul McCartney's melancholic demo, originally intended for the White Album but later revised for Wings, Esher demo from late May 1968.
8"Piggies"Harrison0:59Harrison's satirical acoustic version, predating the and tape effects added in studio, Esher demo from late May 1968.
9"Honey Pie"Lennon–McCartney1:17Vaudeville-style demo highlighting McCartney's nostalgic homage, Esher demo from late May 1968.
10"Don't Pass Me By"Starkey2:43Take 7 from 5–6 June, Ringo Starr's country-tinged composition with overdubs.
11"Ob-La-Di, Ob-La-Da"Lennon–McCartney3:08Take 2 from 3–5 July, an upbeat ska-influenced track predating the multiple restarts in official sessions.
12"Good Night"Lennon–McCartney2:44Take 10 with intro from 28 June and 22 July, a lullaby-like featuring orchestral elements.
13"Cry Baby Cry"Lennon–McCartney2:28Alternate version from 16 July, a folk-inspired tune without the later seagull effects.
14"Blackbird"McCartney2:19Solo acoustic take 4 from 11 June, McCartney's fingerpicked inspired by the .
15"Sexy Sadie"Lennon–McCartney3:26Take 3 from 19 July, Lennon's biting critique delivered in a driving rhythm.
16"While My Guitar Gently Weeps"Harrison3:16Acoustic demo from 25 July at Harrison's home, a stripped-down precursor to the full band's electric arrangement with .
17"Hey Jude"Lennon–McCartney7:35Take 1 from 29 July, the complete early version of McCartney's epic , ending abruptly before the fade-out.
18"Not Guilty"Harrison3:22Take from 8–12 August, Harrison's frustrated rocker ultimately omitted from the White Album.
19"Mother Nature's Son"McCartney3:17Take 15 from 9 August, a folksy acoustic piece with overdubs.
20"Rocky Raccoon"Lennon–McCartney4:13Take from 15 August, McCartney's Western narrative with harmonica and backing vocals.
21"What's the New Mary Jane"Lennon6:12Experimental take from 14 August and 26 November, featuring layered vocals and sound effects.
22"Step Inside Love" / "Los Paranoias"McCartney / Lennon–McCartney–Harrison–Starkey4:07Medley from 16 September, an improv jam blending McCartney's song for Ringo's TV special with a spontaneous .
23"I'm So Tired"Lennon–McCartney3:00Take from 8 October, Lennon's weary rant amid India-inspired sessions.
24"I Will"Lennon–McCartney1:46Take from 16 September, a gentle experiment with percussive body sounds.
All tracks on the disc received uniform production enhancements, including and remixing, during the album's preparation in 1996.

Disc two

Disc two of Anthology 3 compiles 23 tracks from the Beatles' final collaborative recording period, spanning the /Let It Be project sessions at in (January 1969) and early work on at Studios (April–August 1969). These selections highlight unreleased rehearsals, rooftop concert performances, and demos that capture the band's evolving dynamics amid internal tensions, totaling approximately 63 minutes of material. The disc emphasizes raw, live-in-the-studio energy over polished studio versions, providing insight into songs that would appear on Let It Be and . The tracks are presented in approximate chronological order of recording, beginning with improvisational jams and evolving to more structured compositions. Key examples include the energetic rooftop rendition of "," recorded on January 30, 1969, during the band's impromptu lunchtime concert atop their Apple headquarters, which marked their final public performance. Similarly, "" features a loose version from the same rooftop session, stripped of the orchestral elements added to the official release.
No.TitleWriter(s)LengthRecording details
1I've Got a FeelingLennon–McCartney2:49Rehearsal/outtake recorded January 22, 1969, at Apple Studios, featuring Billy Preston on electric piano; an early version of the Let It Be track performed during the rooftop concert.
2She Came in Through the Bathroom WindowLennon–McCartney3:36Rehearsal recorded January 21, 1969, at Apple Studios; a raw, extended take without overdubs, originating from the Get Back sessions.
3Dig a PonyLennon–McCartney4:18Rooftop concert performance recorded January 30, 1969, at Apple Studios; previously unreleased live version with ad-libbed lyrics by John Lennon.
4Two of UsLennon–McCartney3:27Rehearsal recorded January 24, 1969, at Apple Studios; acoustic demo with feedback and banter, reflecting Paul McCartney's vision for a road-trip-inspired song.
5For You BlueHarrison2:22Take 1 recorded January 25, 1969, at Apple Studios; George Harrison's bluesy instrumental, played on a Höfner acoustic with slide, joined by John Lennon on guitar.
6Teddy BoyMcCartney3:18Rehearsal combining takes from January 24 and 28, 1969, at Apple Studios; an early Paul McCartney composition about a troubled family, later recorded by Wings.
7Medley: Rip It Up / Shake, Rattle and Roll / Blue Suede ShoesBlackwell–Marascalco / R. Calhoun / Perkins3:10Rehearsal recorded January 26, 1969, at Apple Studios; spontaneous rock 'n' roll covers from the Get Back sessions, showcasing the band's playful side.
8The Long and Winding RoadLennon–McCartney3:40Rehearsal recorded January 26, 1969, at Apple Studios; piano-and-vocals demo without the Phil Spector orchestration added to the Let It Be release.
9Oh! DarlingLennon–McCartney4:08Take 4 (with jam) recorded April 20, 1969, at EMI Studios; Paul McCartney's vocal showcase, capturing a New Orleans-style blues feel before full production.
10All Things Must PassHarrison3:05Demo recorded May 8, 1969, at EMI Studios; George Harrison's solo acoustic performance of a song later included on his 1970 solo album.
11Mailman, Bring Me No More BluesRoberts–Katz–Clayton1:55Rehearsal recorded January 29, 1969, at Apple Studios; a Buddy Holly-influenced jam from the Get Back sessions, highlighting group improvisation.
12Get BackLennon–McCartney3:08Rooftop concert rehearsal recorded January 28, 1969, at Apple Studios; an alternate take leading into the famous live version.
13Old Brown ShoeHarrison3:02Rehearsal/demo recorded April 4, 1969, at EMI Studios; George Harrison's composition with organ and guitar, developed during a brief band hiatus.
14Octopus's GardenStarkey2:49Takes 2 and 8 recorded April 26, 1969, at EMI Studios; Ringo Starr's whimsical song in early form, with acoustic guitar and minimal arrangement.
15Maxwell's Silver HammerLennon–McCartney3:49Take 5 recorded July 31, 1969, at EMI Studios; Paul McCartney's novelty track without later overdubs, from the Abbey Road sessions.
16SomethingHarrison3:18Demo recorded May 9, 1969, at EMI Studios; early acoustic version of Harrison's classic ballad.
17Come TogetherLennon–McCartney3:40Take 1 recorded July 21, 1969, at EMI Studios; raw rehearsal of Lennon's swampy rocker before overdubs.
18Come and Get ItMcCartney2:29Rehearsal recorded July 24, 1969, at EMI Studios; McCartney's demo for Badfinger, with simple arrangement.
19Ain't She SweetAxton–Feather2:08Jam recorded July 24, 1969, at EMI Studios; cover of the 1927 standard with playful vocals.
20BecauseLennon–McCartney2:23Rehearsal recorded August 4, 1969, at EMI Studios; a cappella harmony take without harpsichord.
21Let It BeLennon–McCartney4:05Rehearsal recorded January 25, 1969, at Apple Studios; piano-led version with group vocals, predating the single.
22I Me MineHarrison1:47Take 1 recorded January 3, 1970, at EMI Studios; Harrison's waltz-time composition with minimal backing.
23The EndLennon–McCartney2:22Take from the medley ending, recorded July 23, 1969, at EMI Studios; includes the famous solo trade-offs.

Commercial performance

Chart performance

Anthology 3 debuted at number 4 on the in the week ending 9 November 1996, spending a total of 13 weeks on the chart and one week in the top 10. In the United States, the album entered the at number 1 on 16 November 1996, marking ' 18th chart-topping album there; it held the top position for one week and remained on the chart for 24 weeks overall. Internationally, Anthology 3 achieved strong results, reaching the top 10 in several countries, including , , , (number 9 on the Media Control chart), and (on the ). The album's chart success was bolstered by the momentum from the concurrent television series release.
CountryPeak PositionSource
Top 10
Top 10
9
Top 10
Top 10
4
1
On year-end charts, Anthology 3 ranked number 159 in the United States for 1996, number 62 in , and number 85 in the UK. This performance made it the third consecutive double album to top the , tying a record previously held by .

Sales certifications

Anthology 3 was commercially successful, contributing to the ' total worldwide sales of over 16 million copies across its three volumes. In the United States, the album shipped 3 million units, earning a 3× Platinum certification from the (RIAA) on February 21, 1997. This marked the third consecutive double album to achieve number one status on the , equaling a record previously set by the group. The album also received certifications in several international markets, as detailed below:
RegionCertificationCertified UnitsDate
Australia (ARIA)Gold35,000December 1996
Canada (Music Canada)2× Platinum200,0001997
Japan (RIAJ)Gold100,000November 1996
United Kingdom (BPI)Gold100,000April 1, 1997
These certifications reflect shipments rather than pure sales, with the Anthology series as a whole driving renewed interest in the Beatles' catalog during the mid-1990s. In the digital era, including the 2010s and 2020s, streaming and download sales have added equivalent units to the albums' overall consumption metrics, though specific figures for Anthology 3 remain aggregated within the series totals.

Reception and legacy

Critical reviews

Upon its release in 1996, Anthology 3 garnered positive critical reception for offering an intimate glimpse into the ' final creative years. awarded it four out of five stars, commending the evident maturity in the band's evolving sound while acknowledging the raw, unpolished quality of certain demo recordings that captured their private studio dynamics. AllMusic rated the album four out of five stars, particularly highlighting the alternate take of "Revolution 1" for its fresh perspective on a familiar track and its role in illustrating the group's experimental phase. Q magazine also gave it four out of five stars, appreciating the collection's value in providing historical insight into the Beatles' songwriting and production processes during a pivotal era. Reviewers frequently praised the album for its revelations about the band's gradual dissolution, with outtakes revealing interpersonal tensions and artistic divergences. Strong contributions from , such as the previously unreleased "Not Guilty," were singled out for showcasing his underappreciated songwriting prowess amid the group's fragmentation. However, some critics pointed out that several tracks felt fragmentary and incomplete, prioritizing archival scraps over cohesive listening experiences. Compared to the earlier volumes, Anthology 3 was seen as containing fewer outright hits or polished gems, shifting focus toward raw sessions that demanded more patience from casual listeners. In the 2000s, retrospective evaluations of reissued editions positioned Anthology 3 as an essential resource for dedicated collectors, emphasizing its archival depth despite the uneven material.

Cultural impact

Anthology 3 significantly contributed to Beatles historiography by releasing previously unreleased outtakes and demos from the band's late-period sessions, particularly those from 1968 to 1970, which filled critical gaps in understanding their creative processes during a tumultuous era. This inclusion of raw material, such as alternate takes of tracks like "I've Got a Feeling" and "The Long and Winding Road," provided insight into the unpolished origins of songs later altered by Phil Spector's production on the Let It Be album, similar to the approach in Paul McCartney's 2003 project Let It Be... Naked. Similarly, the album's audio from the 1969 Get Back/Let It Be sessions influenced subsequent projects, including the 2021 Get Back documentary directed by Peter Jackson, which utilized comparable unreleased footage to revisit the band's final days. The release boosted fan and academic interest in the 1969 sessions, offering intimate glimpses into the ' collaborative dynamics and tensions, as evidenced by references in updated editions of Mark Lewisohn's , which draws on such archival material to contextualize the period. These elements humanized the band's dissolution, portraying their end not as abrupt but as a complex culmination of artistic evolution, with tracks like the rooftop performance of "" emerging as enduring cultural touchstones symbolizing a defiant "" in rock history. The positive critical foundation laid by Anthology 3 further supported this lasting appreciation among enthusiasts and scholars. In the , 's accessibility has been enhanced through digital platforms, with the full , including Volume 3, remastered and debuted on streaming services worldwide in 2016, allowing new generations to explore its rarities. In 2025, the was expanded and remastered for its 30th anniversary, including a new volume "" with additional tracks, released on November 21, 2025. Its legacy extends to contemporary projects, notably influencing the 2023 release of "Now and Then," a demo originally considered for inclusion on Anthology 3 in 1995 but shelved due to vocal separation challenges; advancements in AI technology, akin to those used in the documentary, finally enabled its completion by McCartney and . This connection underscores Anthology 3's role in perpetuating ' discography through innovative archival revivals and tribute efforts.

References

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