The blurb on the front of the double-CD set The Hamburg Repertoire says it collects “The original recordings of songs performed by The Beatles on stage in Hamburg.” Disc One opens with Little Richard’s “Long Tall Sally.” Disc Two ends with Chet Atkins’ version of the “Theme From ‘The Third Man’.”

When first I clicked on the stream for this album, I really wasn’t sure about it. In fact, I thought I wasn’t going to like it, much as I had wanted to. But I’ve had it playing almost continuously while I’ve been dealing with mindless stuff – and I’ve come to like it.

Not without reservations of course – there are always reservations – but it’s got under my skin and I’m now properly in the groove, appreciating what Lucinda Williams is doing, delving into this most hallowed of song catalogues and bravely tackling numbers that are rarely, if ever, covered. As is her way.

“We hope if you like it, you'll buy it,” says Paul McCartney. It’s 4 April 1963 and The Beatles are on stage and about to perform their third single “From Me to You.” It’s out in a week.

To his left, John Lennon instantly responds to the entreaty. “And if you don't like it,” he retorts. “Don't buy it.”

Welcome to one of Peter Culshaw’s occasional global radio shows, hosted by Music Box. Today’s guest is the celebrated essayist, novelist, music composer and singer Amit Chaudhuri.

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Lisa Cortés’s fast-paced documentary Little Richard: I Am Everything opens with a TV interview made in 1971, 16 years after the rock 'n' roll pioneer became an overnight success with groundbreaking hits like "Tutti Frutti" and "Good Golly Miss Molly".

A strange new single went on sale in Britain’s record shops in April 1962. Credited to Ray Cathode, “Time Beat” combined a metronomic rhythm with peculiar, otherworldly sounds. It was not a standard pop record. The flipside, “Waltz In Orbit”, was also about its tempo and was just as weird. Not many copies were sold.

The Beatles loomed over everything else. It wasn’t inevitable, but the arrival of the revealing Revolver box set and Peter Jackson’s compelling Get Back film confirmed that there is more to say about what’s known, and also that there are new things to say about popular music’s most inspirational phenomenon of the 20th century.

John Lennon does not appear on “Love You Too” and “For No One”. With “Taxman”, “Eleanor Rigby”, “Here, There and Everywhere”, “Good Day Sunshine” and “I Want to Tell You”, his contributions are limited to backing vocals and, on odd occasions, some percussion too. He appears semi-detached from seven of Revolver’s 14 tracks.

“At all times, the film-makers have attempted to present an accurate portrait of the events depicted and the people involved.” The on-screen statement beginning each of Get Back's three parts acknowledges that definitions of accuracy can depend on points of view.

A caption tells us that while filming the Beatles at Twickenham Film Studios in January 1969 for a planned TV broadcast, director Michael Lindsay-Hogg and his crew amassed 60 hours of film and 150 hours of audio recordings. Some of it was seen in the 1970 film Let It Be, but the bulk of it has remained locked in the vaults ever since. Until now.