What if the Beatles had made one more album.

I'm sure this has been done before, no doubt it is somewhere but I can't find it. What if the Beatles had made one more album after the release of Let It Be. Lets say they came back together in 1979 to do an album, which songs would be on it. So you can chooce up to 14 songs from the solo albums up to and including 1979. Another thing, it will have to be an album like they did in the 60's, a bit unfair to Ringo and George I know, but it means only one Ringo song and 3 George songs the most. I count songs like Photograph as one Ringo song not a George song.

Imagine
Beware My Love
All Things Must Pass
# 9 dream
Oh My Love
Photograph
My Sweet Lord

Getting Closer
Faster
No Word
Maybe I'm Amazed
Out Of The Blue
Band On The Run
Jealous Guy



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What is mine is yours and yours is mine.

Very good choices, Legs. I'll have to think on this on for a while, but I will make a contribution.

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Bearkat77's Beatlemaniac Page
Bearkat77's Tribute to John Lennon
Bearkat77's Tribute to Ringo Starr

I think I'd buy it

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...then there's this Welsh rarebit wearing some brown underpants...about the shortage of grain in Hertfordshire.
-Revolution 9

I'll try it after I've had a think. I'm sure I saw a website like this with "fictional" Beatles albums.

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This link shows some good fictional albums http://www.beatleart.com/green.htm

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I am the Eggman

22 days until the rerelease of AHDN on DVD

<BLOCKQUOTE><font size="1" face="Tahoma, Arial, Sans-Serif">Quote:</font><HR>Originally Posted By Legs:
Thanks for the link.
Now we don't have to use our own imagination anymore<HR></BLOCKQUOTE>

Yes,thanks

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"Feel the purity of evil"

[This Message Has Been Edited By bearkat77 On September 03, 2002 08:34 PM]

Thanks for the link.
Now we don't have to use our own imagination anymore.

Ok I wanted to bring this up again.

Here is the album cover art HERE

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Thurston: Look behind every successful man, and you'll find a woman.
Gilligan: Yes, sir.
Thurston: Just make sure his wife doesn't find her.
Gilligan's Isalnd

Great artwork, Sarge. Did you design that yourself?

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Bearkat77's Beatlemaniac Page
Bearkat77's Tribute to John Lennon
Bearkat77's Tribute to Ringo Starr

<BLOCKQUOTE><font size="1" face="Tahoma, Arial, Sans-Serif">Quote:</font><HR>Originally Posted By bearkat77:
Great artwork, Sarge. Did you design that yourself?

<HR></BLOCKQUOTE>

No, I stole it from an image off Google And you can call me Aaron if you wish

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Thurston: Look behind every successful man, and you'll find a woman.
Gilligan: Yes, sir.
Thurston: Just make sure his wife doesn't find her.
Gilligan's Isalnd

That would be great!

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"The things I do for love"

It's still a good design for an album. Thanks for posting it, Aaron.

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Bearkat77's Beatlemaniac Page
Bearkat77's Tribute to John Lennon
Bearkat77's Tribute to Ringo Starr

Here's my take on the topic...

This would be the story behind the Beatles next album, if they were to stay together.

It's March 11th, 1970, and the Beatles have just released "Let It Be"/"You Know My Name" as an single. John Lennon's "Instant Karma" is near the top of the charts and Phil Spector has been busy re-mastering the tracks for the Let It Be LP. The rest of the Beatles, let's imagine, have been taking time off from recording to settle down. The press is hot over the Beatles potential split, and many believe that the band is done for good, though there has been no official word. In a last-ditch effort to patch things up and see what could be done, George Martin organizes a meeting in England for the boys on April 2nd, the day that Phil Spector would finish the mixing for Let It Be, and just eight days from the day that Paul McCartney was going to announce his departure from the band.

The meeting, though staring with much tension, is calmed by Martin, who plays mediator. Everyone's opinions are voiced, with Paul being the most vocal, and most abused at the meeting. Paul doesn't like the idea of Allan Klein as the band's manager, of Spector messing with tracks, and of Yoko Ono always being in on the recordings. John of course takes offense to all claims, and buries Paul by accusing him of being a "fascist leader" of a rock band. Things get crazy, but things are soon worked out.

They agree that Spector will only be used on tracks that the boys think should have his treatment, and word must be approved. They agree that Allen Klein will be ousted as the manager, and each Beatle will gain managerial status at the same time. They also agree that Yoko, or anyone outside of the four Beatles, barring any kind of session musician, cannot be in the studio while music is being played. Still, anyone is allowed inside the recording studio itself.

The band decides, however, to take a few months off; to write, to enjoy life, to put the past behind them. Finally in late September of 1970, while Lennon's Live Peace In Toronto is enjoying a long run on the billboard album charts, (it came out before Let It Be and was still going when Let It Be left the charts) the four Beatles came together in Abbey Road studios. The sessions for their new LP would begin.

As September, October, and November came and went, the band was busy having a good time in the studio. All of the wives of the Beatles came by to check out the happenings and there was a sense of family in the air. The Beatles finished up recording and mixing for their new LP in mid-November, and George Martin decided to speed up the process so the record could be released at Christmas-time.

October 1970: “Maybe I'm Amazed” (McCartney)/“Early 1970”(Starkey) Released

The A-Side of this new Beatles single was a McCartney ballad echoing of "Let It Be" and "Hey Jude". John and George would add a simple backup vocal. The B-Side is Starr's first track on a Beatles single, the ironic tune about the band during the worst times for the band.

“Amazed” should be the 28th #1 single for the Beatles, probably going to one in both the UK and the US.

December 1970: "The Cavern" LP Released

This was the awakening for the Beatles. They were fresh, had insipiration, had time to reflect, and were able to put out a great record. The title alludes to where the Beatles started to become popular, showing that they want to get back to their roots.

--- LP “The Cavern” ---

Side One

1. What Is Life (Harrison) – 4:18
- The first song LP after the Beatle shakeup is written by George, not John, not Paul. It’s a question but also a reflection: “What is my life without you by my side?” It could be a love song, but could also be a question to the rest of the band. Phil Spector added brass on the song, but this version is more “Beatley,” with a nicely added McCartney bassline. Great opener.

2. Teddy Boy (McCartney) – 2:26
- A song Paul wrote for Let It Be, it’s about a boy trying to cope with his mother moving on in life. Almost the same situation with Paul coping with John moving on in life (Yoko). It’s a nice, soft transition from the first track. John and George do backup on this song.

3. I Found Out (Lennon) – 3:37
- John’s first offering is a hard rocker with satirical tones. John has a lot to talk about since early 1970, especially Yoko’s miscarriage and his confrontation with religion. George puts the bleeding guitar to use here and Paul has a flat-out badass bassline. Gone is John’s echo vocal…primarily because he doesn’t need it at all. One issue this album presents is John’s conflicting views on religion. The Beatles are assuming that fans can understand both George and John’s religious opinions as different.

4. Every Night (McCartney) – 2:36
- Paul returns with another sweet song, which is a nice tune to proceed John’s rocker. John provides a backup of “ don’t leave me” as Paul “ooohs” in the chorus. It’s sweet and touching.

5. That Would Be Something (McCartney) – 2:43
- John and Paul both sing on this song. Paul opens with “that would be something” and “reach in the falling rain”, but John comes back at 1:20 with a more snide interpretation of the lyric. At 1:40 the song kicks up and George has broken in with a “Helter Skelter” guitar rif. John and Paul comes in together at 2:00 and trade off with the lyric. The end of the song is a crash of guitars, bass, and drum, Beatle style. It’s much harder than the McCartney solo version and is a great transition from “Every Night” to the next suite.

6. My Mummy’s Dead (Lennon) – 0:49
- John now takes over the back of side 1 with a short, tape-recording filler, used only to set up the side closer. It’s personal, emotional, yet echoing of classic Lennon.

7. Mother (Lennon) – 5:36
- The closer of side 1 is an epic build from solemn and sweet to grating and greusome. Paul packs punch with a new bassline and George strums the rhythm. It’s a haunting track that closes the album with fans wondering what’s in store for the second side. A perfect fit.

Side Two

1. Singalong Junk (McCartney) – 2:36
- This, the instrumental version of the Let It Be session song, fits nicely to open the second side. It’s a curious track with a hint of sadness, fitting nicely as the response to Lennon’s epic “Mother”. George will showcase a nice guitar here, but it won’t be showy. It’s a beautiful track, and the best Beatle instrumental…out of the three ever made.

2. It Don’t Come Easy (Starkey) – 3:01
- In the honor of “Octopus’s Garden” and “Don’t Pass Me By”, Ringo contributes another song to a Beatle LP. This one is his best- an uplifting track with a cool George slide guitar, some Phil Spector brass arrangements, and great backup by Paul and John. It’s a nice follow up to show the fans that the Beatles still have a happy side. The lyric also suggests anew for the Beatles, like “Get Back” and “I’ve Got A Feeling”.

3. The Ballad of Sir Frankie Crisp (Harrison) – 3:55
- Harrison’s best offering on the LP is this beautiful work with flowing arrangements. George Martin provides a flute and Spector brings in some strings, but up front is John’s piano, Paul’s bassline, and George’s haunting lead. “Let It Roll” is quite the change from Ringo’s tune, but sets up the next one nicely.

4. Power To The People (Lennon) – 3:19
- George fades with “let it roll” and then the whole band screams “power to the people” in this “All You Need Is Love” type track. Ringo shows great talent with the tubs, but it’s Paul’s awesome bassline and the added brass that makes this song like. At the end of the song a group of people chime in with the chorus. As the song closes out and the people are singing the chorus, Paul starts screaming “all you need is love” the same way he shouted “she loves youy, yeah, yeah, yeah” at the end of the former.

5. The Lovely Linda (McCartney) – 0:45
- This McCartney ditty is the transition from “Power” to the next big Lennon track. It’s pretty much Paul on solo here with Ringo on the ethnic drums.

6. Isolation (Lennon) – 2:50
- This is John back in the emotional mindset. This song can be about John and Yoko trapped, or it can be about Paul and Linda trapped. The piano is gone from this track, and in its place is George’s guitar. Paul keeps a slow bassline and contributes with the vocal as a backup. A great track.

7. Junk (McCartney) – 1:57
- The reprise of the first track of the side, this is straight from the Let It Be sessions. A nice lyric about almost nothing at all, John also sings here and George keeps a steady guitar with. A good closer…that doesn’t close…

8. Love (Lennon) – 3:26
- John’s piano fades in and this beautiful song starts with a John solo vocal, accompanied by a guitar rhythm. 1:48 into the song, Paul adds a bassline and 2:20 into the song George adds his slide guitar to heighten the song. But at 2:43 everything stops, except for John’s piano, which plays a beautiful outro to the album. It leaves everyone sad, yet in a way, fulifilled with the work. Kind of a “Day In The Life”, but not really the same impact. It’s still a great ending to the LP.

The Cavern is mostly John with “Mother”, “Isolation”, “Love”, and “Power To The People” as big tracks. Paul contributes with “Teddy Boy” and “Every Night”, but the rest that he puts out is marginal or a little over that mark. George’s two tracks are strong and Ringo pulls out his best, so in all this LP would be right up there with Let It Be, but with the variety of The White Album.

The Cavern would stay on top for most likely 2 or 3 months, letting the Beatles ride that wave until February, when their next single would come out.

February 1971: “My Sweet Lord” (Harrison)/“Well, Well, Well” (Lennon) Released

The first track would be Harrison’s second single as a Beatle, and could maybe surpass the first, “Something”, in sales. The backup vocals would be Paul and John instead of the hired singers in the solo version. The B-Side is John’s reprise of “I Found Out” with the backwards guitar of that song to accompany the screaming vocal.

“My Sweet Lord” would become the Beatles’ 29th number one single, going to the top in the UK and in the US, and “Well, Well, Well” would probably chart as well. In May the Beatles would release their next single.

May 1971: “Working Class Hero” (Lennon)/“Eat At Home” (McCartney) Released

The A-Side would be John at probably his most emotional. Added is a George guitar to go right with John’s and a nice McCartney bassline. “Eat At Home” will be a Paul vocal solely, but will show the Beatles in a bluesy form once again. It works nicely with “Working Class Hero” and is obviously much more simpler and silly.

“Working Class Hero”, though a great song, would not get to #1 in the US or in the UK. “Eat At Home” would probably chart in the US though.

As the summer of 1971 approaches, George Harrison has talks with Eric Clapton, Bob Dylan, and Ravi Shankar for a concert to support Bangladesh. Reports are that the other Beatles have nothing to do with the event, though Ringo wouldn’t mind getting involved. Plans are made and Harrison, with Clapton, Dylan, Shankar, Badfinger, and Apple recording artist Billy Preston, are on tap for the August 1st show in Madison Square Garden, New York.

At this time no Beatle songs are on the charts and word was that the Beatles were taking the summer off to be with family. August 1st approaches, and the Concert For Bangladesh starts at MSG. Harrison opens up with “Awaiting You All”, a song he says he had just written. He then introdues Shankar, and the rest of the concert goes on well. Harrison plays “What Is Life”, “Here Comes The Sun”, “Something”, and a duet with Dylan which Harrison would give to Dylan in “I’d Have You Anytime”.

As the concert gets to a 2/3 point, starts “My Sweet Lord”, his biggest single to date. The crowd goes nuts, but as Harrison is strumming the first few bars, Ringo comes out to the drums and gets a huge cheer. Harrison continues, and as the backup chorus is “supposed” to kick in, Paul McCartney comes out and sings. Finally as George is “supposed” to come back with “my sweet lord”, John comes out and does so. By now the roof is blowing off, as the Beatles play on stage to a paying audience for the first time in five years.

The band continues with “While My Guitar Gently Weeps” using Clapton, “Get Back” using Preston, and “Let It Be” using Dylan. The Beatles, collaborate with Shankar on “Bangladesh” to finish off an amazing night.

The next day the Beatles call a press conference, announcing that they would go on tour one last time. The tour would start in New York, at the Garden, and would finish up in London. There would be 24 dates on the tour and it would last 3 months, from October 1st to December 31st, 1971. The last show would end on the first day of 1972…at midnight.

The second part will come later...

[This Message Has Been Edited By The Myth On October 25, 2002 11:10 AM]

[This Message Has Been Edited By The Myth On October 25, 2002 11:13 AM]

Welcome The Myth.

I enjoyed your story. If only...

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Silence often says much more than
trying to say what's been said before

Originally Posted By The Myth (excerpted):
Here's my take on the topic...

This would be the story behind the Beatles next album, if they were to stay together.

<font size="2" face="Tahoma, Arial, sans-serif">I'm sorry I didn't see this until now, so late in the game, but I am really humbled by this opus. Now THIS is the kind of AltHis work I wish there was more of out there; well researched, plausable and satisfying.

My hat is very much off to you. I'd offer to remove more, but I think my wife would have something to say about that...

Originally Posted By The Myth (excerpted):
[QB]The second part will come later...[QB]

<font size="2" face="Tahoma, Arial, sans-serif">Well...?

Awaiting further communique...

Originally Posted By JDanRyan:
</font><blockquote><font size="1" face="Tahoma, Arial, sans-serif">Quote:</font><hr /><font size="2" face="Tahoma, Arial, sans-serif">Originally Posted By The Myth (excerpted):
[qb]Here's my take on the topic...

This would be the story behind the Beatles next album, if they were to stay together.

<font size="2" face="Tahoma, Arial, sans-serif">I'm sorry I didn't see this until now, so late in the game, but I am really humbled by this opus. Now THIS is the kind of AltHis work I wish there was more of out there; well researched, plausable and satisfying.

My hat is very much off to you. I'd offer to remove more, but I think my wife would have something to say about that...

Originally Posted By The Myth (excerpted):
The second part will come later...[QB]

<font size="2" face="Tahoma, Arial, sans-serif">Well...?

Awaiting further communique...</font><hr /></blockquote><font size="2" face="Tahoma, Arial, sans-serif">Wow! Thanks for pulling this back up and being so interested in my althistory. Since you want it, I'll bring forth the next part of my story in a little while. Now my night (after a very busy day) has some purpose!

This would be the Beatles story, if they were to stay together.

It is October 1st, 1971, and the Beatles are in New York City at the start of their world tour of 24 venues, ending on December 31st of the year in London.

The Beatles play:

New York City
Philadelphia
Washington DC
Chicago
Houston
San Francisco
Los Angeles
Buenos Aires
Tokyo
Osaka
Sydney
New Dehli
Moscow
Hamburg
Berlin
Vienna
Warsaw
Amsterdam
Oslo
Rome
Madrid
Paris
Dublin
London

The tour lasts 3 months, allowing the band to get from city to city with ease and comfort. They play roughly 20 songs at each concert, before coming back out for 2 encores of 3 songs each. The encores usually consist of "Hey Jude," "I Wanna Hold Your Hand," "Let It Be," and "Something." On December 31st, 1971, they play in Wembley Stadium in front of a sold-out mass of fans. The final encore: "I Wanna Hold Your Hand," "Lucy in the Sky With Diamonds," "Hey Jude," and "The End." Midnight strikes as the final chord dies out, and the celebration to begin 1972 is underway.

Speculation was that the band would call it quits after the tour was over, and it seemed to look that way at first, with John recording some solo material in demos: "Imagine," "How," and "Oh Yoko!" Paul slammed these rumours and said that the band would begin work on a new album in March.

In February, however, John Lennon released a single of his own...

February 1972: “Imagine” (Lennon)/“Oh Yoko!”(Lennon) Released

"Imagine" and "Oh Yoko" are in their normal forms here, with the A-Side garnering a US #18 position and a UK #2 spot. Lennon did release "Instant Karma!" as a single two years before, so this wasn't much of a surprise. In fact, George called it "a welcome change."

During the tour, and in the two months following, the four band members got to writing more songs. Paul, as usual, had a plethora of new songs. In March, they all came together yet again for an album recording. The band wanted each and every song to be at least tried out in the sessions, which made for some interesting music. As the sessions went on, it became apparent that the new album may have a release in July or August. Thus, in May, the first Beatles single in a full year was released.

May 1972: “Another Day” (McCartney)/“Let It Down” (Harrison) Released

The A-Side is Paul at his pop best. It's light FM style pop but it would be enhanced by a more raw Harrison guitar lick. John would also add some weird background noises like a train chug. "Let It Down" would be de-Spectorized and would instead build on the surging guitars of Paul, George, and John, and an organ piece from old friend Billy Preston.

"Another Day" would hit #1 in the US and #3 in the UK, just missing out.

July 1972: "Tomorrow" LP Released

After months of going over numerous new songs, the Beatles finally decide a perfect 13 for their new LP. The title of the album reflects the band's ideals of moving forward, as well as being the title of one of the album tracks.

--- LP “Tomorrow” ---

Side One

1. Smile Away (McCartney) – 4:01
- Much like Revolver and Please Please Me, this album opens up with "a 1,2,3,4!" and the gritty guitars start. This song would benefit from John's snideness, as he yells obscenities in the break towards the end where Paul does a DJ impression. George Martin would also contribute with a synthesizer to add creepiness to the song. A great rocker and opener.

2. How? (Lennon) – 3:45
- "How?" changes dramatically as a Beatles song, with a guitar rif opening the song, before both John and Paul sing the verse. John sings "oh no" by himself. George's slide lead plays answer to John and Paul's lyric, a la what he wanted for "Hey Jude." The orchestra is subbed by George and Paul on the lead and rhythm. The song isn't as sad as a result, and instead takes on a tone of "Two Of Us." A nice change of pace leading into the next song.

3. Dear Boy (McCartney) – 2:14
- Not much changes for this song- only the backup singers being George and John, and an added acoustic guitar section for George, with John on bass. It remains a light, old-fashioned song that contrasts nicely with the next tune.

4. Monkberry Moon Delight (McCartney) – 5:25
- Pounding piano playing by Paul and John's use of a referee's whistle, among others, come in handy for this rollicking track. Ringo pounds hard on the drums for this one, as Paul downright screams his vocals beligerently. John's innovations of a whistle, a lead pipe, and a cowbell on the song stand out and make this song quite recognizable.

5. Behind That Locked Door (Harrison) – 3:05
- Paul and John add background vocals, Paul nicely places a killer bassline in, and John keeps the rhythm steady. Add a touch of Ringo with whispering drums, and the track is that much better. A sweet song that surely relieves the listener after "Monkberry."

6. I Don't Wanna Be A Soldier Mama (Lennon) – 6:08
- Things then kick into high gear. Eric Clapton makes a guest appearance to add fuel to the fire, and the guitars go all out on this Lennon epic. Paul contributes some vocal to add oomph to John's vocal, and also puts in an even better bassline. The brass is out and in comes a proto-metal roar of a Clapton axe. George and Eric wail here, easily doing the job to close out the side.

Side Two

1. Tomorrow (McCartney) – 3:27
- The title track and a perfect opening for side 2. This is another Paul song with throwback qualities, but George's slide guitar adds an interesting new dimension.

2. Gimme Some Truth (Lennon) - 3:16
- A daze intro fades into the repeating guitar rif of this Lennon rocker. Paul's bassline again kicks, and George again comes through with a better lead. The echo is non-existant here, and the band sounds tight and in control. A great song.

3. Jealous Guy (Lennon) – 4:14
- The song that was originated during the "Get Back" sessions becomes reality. A beautiful background choir-like vocal is done by Paul and George, while George Martin puts in place a four piece orchestra, like "Yesterday." A gorgeous song.

4. Heart Of The Country (McCartney) – 2:22
- A smile folk song by Paul, but an added slide guitar by George makes things that much better. John takes the acoustic rhythm and motors along with the song. Simple yet much more effective.

5. Wah-Wah (Harrison) – 5:35
- A hard rocker from George which is enhanced by a Paul and John backup of "wah-wah!" at the points of the song where such the verse occurs, and by a great filler guitar from John in spots. The brass stays in the song.

6. Crippled Inside (Lennon) – 3:49
- For "Crippled Inside," Paul again joins John for the vocal. George brings forth another surging guitar rif, and Ringo shows mastery drumwork. A standard blues song with the Beatles touch.

7. Uncle Albert/Admiral Halsey (McCartney) – 4:50
- The mini-suite closes the album with a sweeping tone. The first part of the song is light, with the orchestra remaining in place. Then John becomes the vocal, "...but we haven't done a bloody thing all day..." The bridge is standard, before exploding into Admiral Halsey, where George's guitar comes out and Ringo's drums are accentuated. The song, as a Beatle song, would sound much louder and raucous. The very end, with the fade out and the "oooohs" give way to laughter and merriment. A happy and fitting closer.

Simply put, Tomorrow is a more balanced effort from the Fab Four. "Jealous Guy," "Wah Wah," and "Smile Away" are the highlights, with many underrated gems also included. It would be on par with Revolver, but with a more rock oriented sound, like Let It Be.

Tomorrow would hit number 1 and stay there for some time, most likely into September. A new Beatles single would appear in August, after the time of the album's release.

August 1972: “Too Many People” (McCartney)/“It's So Hard” (Lennon) Released

"Too Many People" is the Beatles at their pop finest. McCartney's song features great vocals, a dictating bassline, and more George electric. The B-Side is John again in his state of anguish. It's a rock song with a tight Beatle sound to it.

“Too Many People" would make the ascention to #1 in England, but in the US, it would hit #6.

October 1972: “Isn't It A Pity” (Harrison)/“Backseat Of My Car” (McCartney) Released

A double A-side, George's song is the "ode" to "Hey Jude" and is just as beautiful. The second song, Paul's "Backseat" is a mini-suite, getting an advantage from John, Ringo, and George's influences.

"Isn't It A Pity" hits #1 in the US and #21 in the UK. Meanwhile, on its own gas, "Backseat" goes to #11 in the UK.

The band decides to take some time off to concentrate on their own, personal lives. Paul works on some new songs, very raw for what they are, but keeps them on hold. George starts to write new songs, and John the same. Ringo finally decides to craft some new songs as well, with help from each Beatle.

It is now October 1972, but how long will it take for the Beatles to come together again?

Time will tell...

I couldn't believe that the first draft for the LP didn't include 'It don't come easy'! Wha'?
A glaring omission....but that's just my music-obsessed opinion, hee....
I won't go so far as to draft a track list but I'd like to suggest and maybe alter/rectify a few things from my personal point of view....
OK, defo 'I.D.C.E.' for the Ringo song, but with the middle 8 (Sorry George, 'bridge'..) from the George vocal demo reinstated, therefore creating the definitive version. And how I do deeply wish that George had recorded 'Window window' properley, the best version being the acoustic demo on 'Beware of Abkco' ....and if I'm getting imaginative I also wish George had sang 'Sour milk sea' with the same arrangement - now THAT would have been a memorable 1st time A-side for George. Now, why on Earth was 'A love for you' left off 'Ram'? That and 'Back seat..' defo have to go on here! And 'Monkberry Moon delight' would have been great done by The Beatles, G.Martin produced & without those off-key harmonies by a tone deaf American.
'Gimme some truth' simply has to be on here too...you know it.
A finished Beatles EMI studio arrangement of 'All things must pass' w/harmonies, etc, would have been real swell....I think the definitive version is on the 2CD 'All things must surface' set - no suffocating horns making a pantomime out of a serious song......but we'll most certainly leave the horn arrangement intact for 'Run of the mill'...oh yes. Shame, but I can't see 'I found out' being on there, what with the Paul reference....er, I think that's enough personal ammendments for now!!!

Lastly and most importantly......
the album must be 100% Spector - free.

What do people think????????

I couldn't believe that the first draft for the LP didn't include 'It don't come easy'! Wha'?
A glaring omission....but that's just my music-obsessed opinion, hee....
I won't go so far as to draft a track list but I'd like to suggest and maybe alter/rectify a few things from my personal point of view....
OK, defo 'I.D.C.E.' for the Ringo song, but with the middle 8 (Sorry George, 'bridge'..) from the George vocal demo reinstated, therefore creating the definitive version. And how I do deeply wish that George had recorded 'Window window' properley, the best version being the acoustic demo on 'Beware of Abkco' ....and if I'm getting imaginative I also wish George had sang 'Sour milk sea' with the same arrangement - now THAT would have been a memorable 1st time A-side for George. Now, why on Earth was 'A love for you' left off 'Ram'? That and 'Back seat..' defo have to go on here! And 'Monkberry Moon delight' would have been great done by The Beatles, G.Martin produced & without those off-key harmonies by a tone deaf American.
'Gimme some truth' simply has to be on here too...you know it.
A finished Beatles EMI studio arrangement of 'All things must pass' w/harmonies, etc, would have been real swell....I think the definitive version is on the 2CD 'All things must surface' set - no suffocating horns making a pantomime out of a serious song......but we'll most certainly leave the horn arrangement intact for 'Run of the mill'...oh yes. Shame, but I can't see 'I found out' being on there, what with the Paul reference....er, I think that's enough personal ammendments for now!!!

Lastly and most importantly......
the album must be 100% Spector - free.

What do people think????????

You know, sometimes I get upset with Paul but I have to admit, that there were Beatles albums after Pepper at all is probably due most to him. I like John's songs better on the albums, but they might not be there at all if McCartney hadn't kicked his butt in gear to write them.

For that, I'm eternally grateful.