Which Track Doesn’t Belong: Beatles LPs (1)

[C] Roll Over Beethoven | Chuck Berry's classic found its home with the Beatles' sophomore effort in 1963, when covering American hits was still their bread and butter.

[A] Eight Days a Week | This working week anthem was penned during the Beatles' exhausting 1964 tour schedule, landing on their fourth studio album alongside other road-weary tracks.

[B] I'm Down | Paul's Little Richard homage served as the flip side to "Help!" making it prime singles collection material rather than album fare.

[D] Your Mother Should Know | Paul's music hall number was written specifically for their psychedelic bus ride TV special, complete with tuxedos and choreographed dance steps.

[B] We Can Work It Out | This Lennon-McCartney collaboration topped charts worldwide as a standalone single in December 1965, never needing album support to shine.

[A] Think for Yourself | George's fuzz-bass gem emerged during sessions exploring Indian music and Dylan influences, marking the band's artistic evolution beyond Help!'s pop sound.

[C] Helter Skelter | Paul's proto-metal screamer was his attempt to out-heavy The Who, recorded years after Help! when feedback and chaos became creative tools.

[D] Here, There and Everywhere | Brian Wilson's favorite Beatles song showcases the sophisticated harmonies that defined their 1966 studio experimentation phase.

[C] Across the Universe | Written during meditation in India, this cosmic hymn floated through multiple versions before Phil Spector added his orchestral wall.

[A] Every Little Thing | Timpani drums give this track its distinctive gallop, recorded when the Beatles had moved beyond their debut's raw energy.

[B] Run for Your Life | John later disowned this jealousy anthem, which closed out an album recorded two years after Please Please Me's legendary ten-hour session.

[D] Day Tripper | Ringo called this riff-monster their first "drug song," released as a double A-side when singles still ruled the charts.

[C] Roll Over Beethoven | Berry's rock manifesto predates Abbey Road's Moog synthesizers by six years, belonging to an era of leather jackets over studio polish.

[D] Revolution 1 | The slowest, bluesiest version of John's political statement includes Yoko's backing vocals and a lengthy fade of studio chatter.

[A] Nowhere Man | First Beatles track featuring only vocals and instruments with no percussion, this existential meditation predates Pepper's orchestral ambitions by eighteen months.

[B] Tell Me Why | This Lennon rocker answered critics who found their early singles too soft, recorded when Pepper's concept was still years away.

[D] Strawberry Fields Forever | This is a monumental track that was recorded during the Sgt. Pepper's sessions, but was released as an early single and not included on the album's final tracklist.

[B] Maxwell's Silver Hammer | Paul's macabre music hall number drove his bandmates crazy with endless takes, recorded during sessions five years after Beatles for Sale.

[A] Rocky Raccoon | Paul's Wild West saga was born in India alongside Donovan, featuring honky-tonk piano that wouldn't exist until the White Album sessions.

[D] In My Life | Lennon's nostalgic masterpiece required George Martin's sped-up baroque piano solo, representing sophistication beyond Beatles for Sale's rushed recording schedule.