Something About the Beatles Podcast
Episode 314: Anthology 4 and The Beatles' SDEs – A Critique
Date: November 20, 2025
Host: Robert Rodriguez (Evergreen Podcasts)
Guests: Doug Sulpy, Chip Madinger
Main Theme / Purpose
This episode delivers a deep, spirited critique of recent and forthcoming Beatles archival releases, especially the "Anthology 4" compilation and the Beatles' Super Deluxe Editions (SDEs). Host Robert Rodriguez is joined by experts Doug Sulpy and Chip Madinger to dissect Apple/Universal’s strategies for managing the Beatles' legacy, compare them with best practices from other artists’ catalogs, and candidly discuss missed opportunities, questionable decisions, and what true “gold standard” archival work looks like. The episode is not about piling on negativity but encourages holding The Beatles' camp to higher standards, given their towering legacy.
Key Discussion Points and Insights
1. Archival Strategy and Frustrations
- The panel struggles to find coherent logic in Apple/Universal’s approach to Beatles SDEs and archival projects, describing the process as haphazard, inconsistent, and reactive rather than visionary.
- Doug Sulpy: "It almost seems like what is the bare minimum we can get away with selling to the fans this year to put something substantial until next year." (08:37)
- The releases often circle familiar material, with many fans being asked to re-purchase content they already own.
- The unique challenge of managing four estates is acknowledged but not accepted as an excuse for subpar curation.
2. Comparison to Other Artists’ Archival Releases
- King Crimson and Jethro Tull’s archival strategies are frequently praised for transparency, completeness, and fan engagement.
- King Crimson’s approach: comprehensive box sets (24 CDs and Blu Rays), streaming access to everything, and constant remix innovations.
- Jethro Tull and Lennon estate offer more depth, surround mixes, and “elemental mixes” that foreground unique parts of the recordings.
- Chip Madinger: "Everything if you are a hardcore [King Crimson] fan... whatever is in the vaults basically they make available." (57:27)
- Beatles' releases, by contrast, are repeatedly called "stingy" and “random,” never matching the gold standard.
3. Anthology 4 and SDEs – Specific Critiques
- The episode discusses the announcement and contents of "Anthology 4" with skepticism; much is recycled from SDEs, offering little new for longtime collectors.
- Questions are raised over the decision to bundle Anthology 4 only within a box set with the previous three volumes, then reversing course after online backlash.
- Hardcores are left unserved; casuals may not care for bonus content of little general interest.
- There is a call for more transparency, a clear demarcation between live, studio outtakes, and demos, or a release structure like Dylan’s Bootleg Series.
4. Missed Opportunities & Unreleased Beatles Material
- Much is made of inaccessible or "mythic" Beatles recordings:
- Lost demos (e.g., "Good Night," "All Things Must Pass" group version)
- Star Club tapes (now held by Peter Jackson), Carnival of Light, unreleased Decca tracks, acetates, longer takes ("Dr. Robert" with a missing minute), more Twickenham material, Ukrainian demos.
- Fans want outtakes, demos, home recordings, and even alternate versions released—either for streaming or as downloads.
- Ringo and Paul’s solo catalogs still have glaring gaps.
- The McCartney “archive” series stalled before completion, with big holes (e.g., "Back to the Egg," "London Town").
- Ringo hasn’t participated in the SDE program.
5. Physical vs. Streaming Media
- Strong frustration at Beatles' recent tendency to drop physical BluRays (with surround mixes) from SDEs, even as other artists prioritize surround experiences.
- "Streaming-only" releases and missing surround discs are a "star off" for many.
6. The Solo Beatles Archives
- Lennon’s SDEs are recognized as thorough and well-executed, often providing new material even for experts and matching or exceeding other “gold standard” releases.
- McCartney’s series is described as "haphazard" but often delightful in depth—when not missing key albums.
- Harrison’s draw on the "Early Takes" as a tempting but incomplete teaser; fans want a "Dark Horse Tour 1974" box, more home demos, and proper concert film treatments.
- Ringo’s history of TV concerts and unreleased projects is ripe for mining.
- There is a call for more concert material (Bangladesh, Campuchea), improved releases of famous live sets (Australian tour, Glasgow 1979), and streaming access to vault tracks and outtakes.
7. Video Archival Opportunities
- The panel laments "dribbles" of archival video (Beatles '64, Mal Evans Brothers), selective use in box sets (e.g., Beatles 1 BluRay), and unexplained omissions.
- The "Get Back" film is cited as a lost opportunity—the BluRay should have included hours of additional footage.
- Live performances from the Cavern, Washington, and Shea Stadium are all possible yet remain in limbo.
8. Consumer Responsiveness and Apple’s Motives
- Hosts and guests debate whether Apple ever truly listens to fan feedback—was the Anthology 4 release strategy reversal genuine or pre-planned?
- Repeated complaint: the Beatles camp seems more interested in strategic monetization over fan satisfaction or preservation.
- Doug Sulpy: "Are the people just so financially comfortable... that they just don't care?" (27:31)
- The concern is that when the first generation "Beatle people" are gone, the window for robust archival releases will close, and Gen Z audiences will be far less invested or interested.
Notable Quotes & Memorable Moments
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Doug Sulpy:
- "They act very stingy but they can't possibly need the money. They're Beatles Incorporated." (27:31)
- "I think after a few years of this waiting for a rubber soul box that never came... even hardcore Beatle fans are getting a little jaded at this point." (31:45)
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Robert Rodriguez:
- "If not now, when? Because right now you are at the maximum point of interest from people." (39:01)
- "You're racing against the clock in terms of maximum interest from the fans that got you here." (34:48)
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Chip Madinger:
- "The Lennon packages are better than the Beatles packages." (61:30)
- "If you want to hear everything, I mean, there's... audience tapes up to fantastic soundboards just so that you have it all in one place." (59:01)
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On “Carnival of Light”:
- Doug Sulpy: "It's a sonic experimentation. Not worth a repeat listen. ...But it's top of the list for anybody who's a hardcore fan of something we know that exists." (23:53)
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On curatorial philosophy:
- Doug Sulpy: "If I had ultimate power... every single take of every single song... up on iTunes tomorrow for 99 cents each. Everybody's happy." (46:39)
- Doug Sulpy: "We don't know who's curating it. And when you do get somebody who's a real fan, I mean, I think Peter Jackson is a super fan. ...Why would you do that if your purpose is to sell the Blu Ray when you have the guy wanting to put the bonus material on the Blu Ray? Why would you do that?" (47:54, 48:23)
Timestamps for Important Segments
- Introduction / Overview (No negativity, high standards): 02:47–07:54
- The SDE Series’ Lack of Vision: 08:18–10:36
- King Crimson as a Model: 10:09–10:47
- Criticism of Apple’s Material Hoarding: 11:30–13:12
- What the Fans Want vs. What’s Offered: 14:08–16:45
- Anthology 4’s Missteps & Consumer Backlash: 17:22–19:05
- Ideas for New Material (Demos, Star Club, etc.): 22:23–23:26
- Carnival of Light & Estate Politics: 23:53–25:02
- Release Strategy and Generational Disconnect: 26:41–28:31
- Missed Live/Video Opportunities (Shea/Cavern/Star Club): 30:01–34:10
- Peter Jackson, Get Back, and Video Hoarding: 47:54–49:27
- Surround/Atmos Mixes + Streaming Frustrations: 60:35–66:53
- Solo Beatles SDEs (McCartney, Lennon, Harrison, Ringo): 61:26–88:55
- Solo-Specific Omissions and Wishlists: 84:32–107:11
- Concluding Thoughts / Reference Books (8 Arms/Leninology): 107:11–110:34
Flow, Language & Tone
The discussion is witty, wry, and occasionally exasperated—reflecting the panel’s deep knowledge mixed with their ever-growing impatience as fans and scholars. The tone is passionate and at times bemused—never needlessly harsh, but consistently critical, and always underpinned by reverence for the Beatles’ significance and frustration at missed potential. The chemistry between the panelists brings moments of dry humor, resigned shrugs, and genuine excitement for what could be.
Summary Table of Gold Standards vs. Beatles
| Artist/Label | Archival Standard (per episode) | Beatles Practice (per episode) | |----------------------|------------------------------------------------|------------------------------------------| | King Crimson | Everything released, complete, streaming | Piecemeal, haphazard, incomplete | | Jethro Tull | Deep boxes, new mixes, surround, physical | Dropping surround, little new, haphazard | | Lennon Estate | Thorough, “gold standard,” remasters, demos | Beatles lags behind on core group extras | | McCartney/Apple | Good when present, many holes, non-chronologic | Incomplete, “haphazard” | | Harrison/Olivia | Occasional gems, but little follow-through | “Extra space, one bonus track” |
Conclusion
The Beatles’ team is consistently failing to deliver the archaeological justice that their unprecedented cultural and musical legacy deserves. Other artists, with far fewer listeners, offer more transparency, completeness, and respect to their hardcore fans. While solo projects (especially Lennon’s) are praised, the group’s core catalog reissues are described as frustratingly incomplete and often tone-deaf to audience desires.
Given that the window for satisfying the core of Beatle fandom (“first gen” fans) is closing fast, the hosts encourage Apple and Universal to embrace ambition and transparency—at the very least, to do what their peers are already doing—and not to lose sight of the hardcore fans who got them here. Every year of delay is a missed opportunity both for consumers and history.
Resources Mentioned
*End of episode content summary.