A lot can happen in three decades. Since 1995, we’ve seen nine different UK prime ministers, the birth and death of the Minidisc, iPod and DVD. Manchester City sank to the third tier of English football then rose to become champions of Europe. One thing that hasn’t wavered, though, is the popularity of The Beatles.

On November 21, The Beatles’ Anthology 4 was released to an eager worldwide audience, 30 years after the first instalment in the series, Anthology 1, and 56 years after the band split.

Released in November 1995, Anthology 1 was initially met with bemusement by reviewers. Some dismissed its contents as “scrappy old demo tapes, TV recordings, and studio outtakes” which were “of scant interest to anyone but obsessives”. Perhaps there were simply a lot more “obsessives” than critics thought – the public bought the album in droves. Anthology 1 topped charts all over the world with the highest first week of sales ever recorded.

Anthologies 2 and 3 followed in March 1996 and October 1966, respectively. Although they didn’t quite reach the commercial heights of Anthology 1, they still sold in their millions. Their releases also coincided with the peak of Britpop, which came not so much to bury the Fab Four’s legacy as to raise it to new heights with figureheads Noel and Liam Gallagher of Oasis regularly espousing their idolatry for the band.

Trailer for The Beatles Anthology on Disney+.

The Anthology trilogy may not have been the first outtakes and demos albums (that honour goes to The Who and their 1974 Odds and Sods collection), but they did break new ground in showing how a retrospective of band’s career can move beyond a compilation of previously released tracks.

The Anthologies told the story of The Beatles, tracking their development from amateur cover-artists to bona fide musical pioneers. It showed listeners how their favourite songs were constructed, morphing from, in the case of Strawberry Fields Forever, a home recording, through a series of experimental studio versions, to the finished product.

Most importantly, though, the albums offered intimate access to private spaces. It felt as if we were in Studio 2 with the band, listening to them chatting, playing around, trying things out, then, finally, creating some of the greatest songs ever committed to tape.

Anthology 4

As with all the previous instalments, Anthology 4 shows how the personalities of John Lennon, Paul McCartney, George Harrison and Ringo Starr were so key to their appeal. Their famous sense of humour and joie de vivre can be heard throughout. On Baby You’re A Rich Man (Takes 11 and 12), following Lennon’s request for bottles of Coke from roadie Mal Evans, McCartney jokingly asks for some cannabis resin before wryly remarking “that’s recorded evidence for the high court tomorrow”.

Harrison laughs at his inability to “do a Smokey [Robinson]” on While My Guitar Gently Weeps (Third Version – Take 27); and Lennon seems to be having the time of his life singing All You Need is Love (Rehearsal for BBC Broadcast). Their humility shines through, too.

On Julia (Two Rehearsals), for example, we hear Lennon speaking with producer George Martin about his struggles with playing and singing it. Here’s the most celebrated artists of all time unsure whether he’s good enough. The recording took place only a matter of months after the release of Sgt. Pepper’s Lonely Hearts Club Band, an album considered to have changed not only music, but pop culture at large. And when Starr bashfully asks whether anyone “has heard the Octopus one” before giving Octopus’s Garden (Rehearsal) an airing, we genuinely feel his anxiety.

Another extraordinary element of this collection (and the previous three) is the Beatles’ shift from just seeming like a group of lads larking about to a group of musicians creating masterpieces, then back again. It happens so quickly and so naturally that it’s almost disorientating.

More than any of the other Anthologies, the significance of Martin’s contribution is printed in bold, then underlined, twice, in red ink. If anyone ever deserved the accolade of “fifth Beatle” it was he, with his skills as an arranger and composer gloriously evident on I am The Walrus (Take 19 – Strings, Brass, Clarinet Overdub), Strawberry Fields Forever (Take 26), and Something (Take 39 – Strings Only Instrumental).

Sadly, it looks like the well of treasures may have finally run dry. The collection includes several tracks Beatles devotees will have already hoovered up via Abbey Road Super Deluxe, The Beatles (White Album) 50th Anniversary Edition, and Let It Be Super Deluxe. But, when it comes to The Beatles, enough is never enough. As well as the album, there is also an extended version of the 1990s docuseries Anthology airing on Disney+ on November 26th, and a 25th Anniversary edition of the book (also titled Anthology).

Anthology 4 already has something in common with its mid-90s ancestors courtesy of some less-than-charitable press, but whether it will mirror their success remains to be seen. What is for sure, though, is that The Beatles’ commercial juggernaut, well into its seventh decade now, shows no signs of slowing down.

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This article is republished from The Conversation, a nonprofit, independent news organization bringing you facts and trustworthy analysis to help you make sense of our complex world. It was written by: Glenn Fosbraey, University of Winchester

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Glenn Fosbraey does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.