I have had it up to here waiting for the Beatles catalogue to be remastered

It was an e-bay 'sillymoney' thing for a while, but eventually the price came down, I got mine for a fiver or thereabouts.

Olympic standard Beatles denial/nerdery/speculative uploads on D3m0n0id at the minute:

Asking what might have happened if the Beatles never broke up is a question that has entered many fans' minds. Those that have ventured into the solo catalogs have found that the quality simply does not match what the four lads from Liverpool did when they were together. Still, I did my best to answer that question by compiling material from all four solo careers into a series of albums which have a cohesive theme and sound to each album. In the end, I found that I appreciated the Beatles solo efforts much more when each Beatles' material was bookended by songs from the other four. It reminded me of all the magic of hearing the original Beatles albums, while bringing songs from some of my favorite composers of all-time into a format where I could truly appreciate them for what they were.

While many have compiled mix CD's of the solo Beatles to create a "what-if" collection, The Beatles Redux project is much more than that. Many songs have been edited, cross-faded, or even turned into medleys to present them how the might have actually appeared on a real Beatles album. In many cases, EQ,limiting, and even decompression were applied to provide a consistent, cohesive sound with matching volume levels throughout the entire album. Although the best sources available to me at the same were used, some coming from high-res discs, vinyl rips or audiophile collections, in very rare instances lossy sources were used for songs which were unailable to me in any other form. The emphasis here is on presenting a collection has a consistent sound, and as such these discs are simply not trying to be audiophile quality. If there are any errors present, feel free to notify me, but please do not comment to complain about sound quality.

The Beatles Redux Collection spans 16 albums, plus a Past Masters Volume 3 and 4. These albums assume the Beatles recorded consistently until John Lennon was shot in 1980, at which point the individual Beatles finished up the 16th album using material that they had been working on, adding some special tributes to their fallen comrade. Most albums contain around 14 songs, some with less and some with more. When compiling the tracklists, I always divded the album in my head into side A and side B, as these would have been presented with two sides originally. In many cases, I mirrored the tracklist of existing post-1965 Beatles albums by picking songs with similar styles as the original albums. In this alternate reality, the Beatles allowed George to be a full-fledged composer. As such, on most albums the main 3 songwriters have between 3-5 songs each, while Ringo gets his customary one track per LP, with certain albums featuring more than one Ringo tune.

Songs were chosen for albums based not on their real-life chronology, but instead on the sound they had. This helped to mitigate the different directions they went in, especially after their first few albums. I did not limit myself to songs recorded while all 4 were alive, as there were a lot of songs that just made sense being part of this collection that were recorded well outside this time frame. The idea is to present albums the Beatles could have made, and not a best of for what the solo Beatles did before 1981.

While I have faux album covers for some of these, I do not have genuine artwork, nor ability to do so. If anyone is interested in creating some, I'd be glad to assist them in providing artwork to really complete this project.

I hope to present all the projects that I made if there is enough interest, but I will start around the middle with this one with the collection I feel is best. The discography is as follows:

1970. Silver
1971. Down on the Apple
1971. Letting Go
1972. Get On The Right Thing
1972. It Don't Come Easy
1973. Live & Let Die
1974. We All Shine On
1974. Don't let Me Wait Too long
1975. Vienna Rock Show
1976. Silly Love Songs
1977. Roots (Songs From The Material World)
1978. Somewhere In Oz
1979. Now & Forever
1980. Stepping Out
1980. Center Of A Circle

so what's zee track listing?

I hope at least one album is comprised entirely of bitter songs about each other - Sue Me Sue You Blues, How Do You Sleep?, Too Many People, etc.

ashamedly curious about these.

not sure about some of those album title choices ("Don't Let Me Wait Too Long", "Roots (Songs From The Material World") although some are inspired ("Live and Let Die" would have been an awesome Beatles album, ditto "We All Shine On").

Yeah, bring these on!

^^ otm!

doesn't some kind soul want to send me an invite to D3m0no1d? i've wanted in for years and would be SO grateful....

Check your ILX webmail.

I think you can D/L stuff from there without logging in, but only a couple at a time.

As requested.
---------------------------------------------------- 01 - Silver -----------------------------------------------------------------------------------------------

The dark days 0f 1969-1970 came and went, with the Beatles setting aside their differences to churn out the splendid Abbey Road and to turn the Get Back debacle into somewhat of a finished product in Let It Be. Although all was not right in Beatle camp, the four had come to one decision which would help keep them together; that George, having in recent years penned such songs as "Something" and "Here Comes The Sun", would be allowed more output within the band and even single opportunities. The result was that all 3 songwriters, Ringo in tow, entered the studio in 1970 with a mission to record as much as possible, lest they be outdone by their bandmates. The side effect was that the sessions degenerated in much the same way The White Album had done several years previously; often times one set of Beatles would be recording in one studio while another was simultaneously recording elsewhere. Because of the independent nature of many of these recordings, many were stripped back, relaxed recordings. At other times, excess occurred when other band members were not there to restrain constant multitracking and layering. This occurred mostly on Harrison's material, who brought along buddies like Eric Clapton again and even Bob Dylan to help flesh out his material.

The fact that these sessions were strangely similar to the White Album was not lost on the Beatles themselves. Having noted the similarities, the Beatles once again released a double album with no true title, though it came to be known as The Beatles Silver. Opinions were mixed as to whether or not the Beatles missed the mark on this one. Much like the last double album, there were a mix of high and lows. McCartney's material was most well-received, with songs like "Maybe I'm Amazed", "Too Many People", "Another Day", & "Junior's Farm" providing a real edge to the album's sides. John, on the other hand, provided material which reflected his mental state at the time; cutting, angry, and yet sometimes introspective. This was highlighted in songs like "Working Class Hero", "I Found Out", & "God". George's material ranged from a re-hash of his guitar crying, to scorching rockers like "The Art Of Dying", to gentle waves like "I'd Have You Anytime" & "Beware of Darkness". Ringo was given a chance to contribute with an old standard, "Bye Bye Blackbird", and a McCartney-penned "Six'o'Clock".

Disc 1
1. Too Many People
2. The Lovely Linda
3. Isolation
4. The Art of Dying
5. Another Day
6. Bye Bye Blackbird
7. I Found Out
8. Maybe I'm Amazed
9. I'd Have You Anytime
10. Every Night
11. God
12. Singalong Junk
13. Wah Wah
14. How
15. Monkberry Moon Delight

1. Junior's Farm
2. Hold On
3. Tomorrow
4. It's Johnny's Birthday
5. This Guitar (Can't Keep From Crying)
6. Well Well Well
7. Junk
8. Beware of Darkness
9. Smile Away
10. Working Class Hero
11. Dear Boy
12. Six'O"Clock
13. I Don't Wanna Be A Soldier
14. All Thing's Must Pass

---------------------------------------------------- 02 - Down On The Apple --------------------------------------------------------------------------------------

Fans hoping for a second Abbey Road were somewhat disappointed when 1971's soft-spoken Down On The Apple came out, but those hoping for a Rubber Soul-esque collection of rocking tunes mixed with quality acoustic material found this album right up their alley. The album opens with George's magnificent "What is Life", easily one of the most memorable post-1970 Beatles tunes. Not to be outdone, Paul counters with the the jangling yet heavily rock tune "Helen Wheels". It's then we are treated to our first change-up with Lennon's honest ballad "Jealous Guy". "Apple Scruffs" & "Mama's Little Girl" continue the albums softer pace, and then we approach Ringo's country-ish rock tune "Down & Out". George throws in the torrid rocker "Awaiting On You All" before side one closes with John's open ballad "Look at Me", bringing back visions of the White Album's "Julia".

Side two opens with a song almost as notable for the lawsuit that followed its release as the tune itself, but that's not to say that George's "My Sweet Lord" is not an exceptional track, regardless of its origins. John throws in his witty, almost blue grass "Crippled Inside" before Paul gives us an extremely laid back "Teddy Boy". We follow with another treat from George, a well-executed Dylan cover called "If Not For You". The album peaks again with Paul's medley "Backward's Traveler/C Moon", another witty, silly but catchy tune. Ending on an upbeat note, we hear John profess his love in "Oh Yoko", providing a pleasant end to one of the Beatles more heartfelt collections.

The album was preceeded by a "My Sweet Lord"/"C Moon" single, and "What Is Life"/"Eat At Home" (available on Past Masters Volume 3) gave it the distinction of having two Harrison-penned A sides.

Disc 1
1. What Is Life
2. Helen Wheels
3. Jealous Guy
4. Apple Scruffs
5. Mama's Little Girl
6. Down & Out
7. Awaiting On You All
8. Look At Me
9. My Sweet Lord
10. Crippled Inside
11. Teddy Boy
12. If Not For You
13. Backwards Traveller
14. C Moon
15. Oh Yoko!

---------------------------------------------------- 3 - Letting Go -----------------------------------------------------------------------------------------------
1970's second Beatle release had been a double album, but 1971's Beatle releases Down On The Apple and Letting Go could have easily been paired together and nobody would have blinked an eye. "I don't even remember recording one from the other, then again, there's a lot of those days I don't remember really well" said drummer Ringo. We were recording really solid music", said Paul McCartney, "but I don't think we were pushing the envelope as we had in the past." 1971's second release, Letting Go, wasn't going to be confused by many of being an experimental, groundbreaking release, but it seems the Beatles still had demons to exercise, both within themselves & with other members of the group. It wasn't until 1972 that the Beatles seemed unified both with each other and with a purpose, and the albums released that year, Get On The Right Thing & It Don't Come Easy, really reflected that. The Beatles, or at least Paul, seemed aware that they were in danger of being passed; he wrore the album's dark namesake "Letting Go', which acts as the album's final message, expressing that feeling.

Saying that Letting Go wasn't pushing artistic boundaries doesn't give proper credit to the fact that the tunes, which save for Lennon's chilling "Mother", were still mighty fine pieces of music that most fans were eager to listen. While the BBC might not have agreed when they banned it, album-opener "Hi-Hi-Hi" possesed an infectious beat and hook that was hard not to enjoy. With songs like the aforementioned "Mother" & "Nobody Loves You (When You're Down & Out)", John had nothing to be ashamed of. The second half-opener, George's "You", may not have won any awards for best lyrics, but it's joyous sound certainly doesn't offend any ears. And Mccartney, aside from contributing standout openers and closers, also put out another slew of outstanding acoustic pieces; something he seems to be able to do with so little effort, you wonder why more can't do it. So while "Letting Go" was not the carnival of sound that some of the later 60's era Beatles recordings were, it brings to mind the days of "Help" & "Rubber Soul", where the Beatles did more with acoustic guitars and excellent songwriting than most bands could hope to do, all the while having a couple steady rockers to keep things moving.

While most Beatle albums spurred two or more singles, Letting Go was only represented by one single, Hi, Hi, Hi/Mother (single mix). With the A-side being banned by the BBC and the B-side not being very radio-friendly, it ended up being one of the least succesful Beatles single releases.

1. Hi, Hi, Hi
2. Remember
3. I'm Carrying
4. Ballad Of Sir Frankie Crisp
5. Nobody Loves You (When You're Down & Out)
6. Miss O'Dell
7. Mother
8. You
9. Coochy Coochy
10. Put It There
11. It's So Hard
12. Calico Skies
13. Who Can See It
14. Letting Go

---------------------------------------------------- 4 - Get On The Right Thing ----------------------------------------------------------------------------------------------
Although the Beatles had released some fine material since 1970, creatively they seemed to have grown somewhat stagnant. Opinions were changed after 1972's first release,

Get On The Right Thing. For the first time since Abbey Road, The Beatles seemed truly united in purpose, and that was to produce an album that was more socially and

politically aware than those that had preceeded it. Although John's "Woman Is The Nigger Of The World" is one notable exception, many of the songs on this smash LP contained

optimistic, or idealistic views, or at least made appeals for love, peace, & understanding. Certainly, the most notable track is John's "Imagine", where he outlines a world

where people didn't fight over possesion or religion, but the underwhelming theme of the album is also heavily present in George's material. Songs such as "The Day The World

Gets Round", "The Answer's At The End", & "Run Of The Mill" have the power to make us want to be better human beings simply by listening to George's heartfelt pelase &

testimonials.

Perhaps most notable is the fact that John awoke creatively from the rut he had been in since releasing "Give Peace A Chance" as a single in 1970. While Silver, Down On The

Apple, & Letting Go had worthy contributions from John, the overwhelming theme of the bulk of his tracks was based on his psychological struggles, as he attempted to cope

with demons that had haunted him since childhood that he had only recently attempted to confront. John solidly puts that phase of his life behind by contributing his most

excellent slate of tracks since Magical Mystery Tour, including "Imagine", the opener & first single "Mind Games", & "Oh My Love". John had not earned an A-side since 1970's

"Give Peace A Chance"; on this album, both singles released ("Imagine" & "Mind Games") had a Lennon A-side. Imagine/Mull of Kintyre was not released as a double A-side, but

the B-side, a Mccartney tribute to a region around one of his homes, garnered extensive radio play itself.

The title of album, Get On The Right Thing, certainly could have applied to the Beatles themselves. This album was the first of what is largely regarded as a second creative

peak for the group, lasting through 1975's Vienna Rock Show.

1. Mind Games
2. That Would Be Something
3. The Day The World Gets Round
4. Woman Is The Nigger Of The World
5. Single Pigeon
6. Lady Gaye
7. Oh My Love
8. Get On The Right Thing
9. Imagine
10. Run Of The Mill
11. Mull of Kintyre
12. Isn't It A Pity
13. Bring On The Lucie (Freda People)
14. The Answer's At The End

---------------------------------------------------- 5 - It Don't Come Easy -----------------------------------------------------------------------------------------------

Throughout the sixties, the Beatles had restained for doing too much politically-oriented music, save for Revolution. 1970's single Give Peace A Chance seemingly opened up the floodgates that only burst through in 1972. Although their early 1972 album Get On The Right Thing seemed to be leaning towards a more politically aware group, It Don't Come Easy, released later in the year, went further than anyone could have expected. Although fans' opinions on the album were mixed due to the subject matter, the unified sound and flow of the album make it one of the Beatles more interesting seventies exploits. The album was followed by a Christmas single, John's "Happy Xmas (War is Over)".

Opening the album is perhaps Ringo's most famous tune (and the lead single from the album), It Don't Come Easy, where he reminds people that they have to work to get what they want, and that peace is how they make it. John follows it up with the name "Gimme Some Truth", where he demands honesty from politicians. George counters with "Give Me Love (Give Me Peace On Earth), a laid back appeal for peace. Paul makes it apparent how he feels about the state of things with "I've Had Enough", the next track. John then presents his track "John Sinclair", where he protests the imprisonment of a man whose crime amounted to two joints, which John points out in the famous line "they gave him ten for two". George, having been preoccupied with the country's troubles for some time, presents his appeal for "Bangladesh". He had written the song a year previously, to be released on special compilation, and here it makes its first appearance. Paul closes side one by reminding people to "Ram On".

John's anthemic "Power To The People" opens side two, followed by Paul's fast paced acoustic number "Mrs. Vanderbilt". George slows things down again with "Grey Cloudy Lies", another appeal for truth. Next we get two songs that focus on Ireland, one from John and one from Paul. John takes the slow, sorrowful approach with his "The Luck Of The Irish". Paul puts things bluntly with his much more rocking "Give Ireland Back To The Irish". Perhaps the most beautiful song on the album, John's "Angela" explores the hardships of another U.S. prisoner, Angela Davis, who John claims is being held merely for political reasons. The album closes with a distinct bang, as Paul's examination of the sexual revolution in "The Back Seat Of My Car" provides the perfect ending to an album full of substance. As Paul (and Linda) repeat the song's refrain, "we believe that we can't be wrong", provides an apt summary of this album. The Beatles have a message to give, and they will not be dissuaded, because they believe they can't be wrong.

1. It Don't Come Easy
2. Gimme Some Truth
3. Give Me Love (Give Me Peace On Earth)
4. I've Had Enough
5. John Sinclair
6. Bangladesh
7. Ram On
8. Power To The People
9. Mrs. Vanderbilt
10. Grey Cloudy Lies
11. The Luck Of The Irish
12. Give Ireland Back To The Irish
13. Angela
14. The Back Seat Of My Car

---------------------------------------------------- 6 - Live & let Die -----------------------------------------------------------------------------------------------

After 1972's overtly political It Don't Come Easy, fans of the Beatles were hoping they would get back to more straightforward rock. Although john still dabbled in political messages, in 1973 The Beatles delivered what was one of the most heavy feeling albums of their catalog. Although few of the tunes were straight up rockers, perhaps owing to its title song alone even the ballads on this collection have a sense of urgency and weight to them.

The album opens the stellar McCartney tune "Live & Let Die", also the title song of a James Bond film of the same name, released the very same year. john follows up Paul's blockbuster with the aggresive "Sunday Bloody Sunday". For the third track, Paul channel's some of his White Album magic to deliver the acoustic "Bluebird", though this song is quite a bit more full than its predecessor. George continues at a slower pace with "Your love Is Forever", a softer song which still has a big sound. A rarity for a single disc Beatles album, Ringo delivers the first of his two tracks, the dancy "Oh My My". An air of mystery surrounds the McCartney ballad that follows, "We're Open Tonight", yet another soft song which still has a big sound. Side one closes with John's fun and jumpy "Intuition" leading into Paul's cheesy yet satisfying "My Love", one of his more notable love songs of the era.

Side two begins by delivering one of the most rocking tunes in the Beatles catalog, the heavy yet-radio friendly "Jet". John's "Aisumasen" keeps the flow going, then we apprach Ringo's second tune, a piece written by him as an ode to his buddies in the band called "Early 1970", referencing the time when it was widely believe that the Beatles were breking up. "Attica State" from John & "The Light That Has Lighted The World" from George lead up to what is essentially the albums closer, Paul's fast-paced piano pop song called "1985", which ends in a bang (literally) that leads us to a brief reprise of the album's recognizable title track.

Two succesful singles were extracted from the album, both feauturing McCartney A-sides- Live & Let Die/Oh My My & Jet/My Love.

1. Live & Let Die
2. Sunday Bloody Sunday
3. Bluebird
4. Your Love Is Forever
5. Oh My My
6. We're Open Tonight
7. Intuition
8. My Love
9. Jet
10. Aisumasen (I'm Sorry)
11. Early 1970
12. Attica State
13. The Light That Has Lighted The World
14. Nineteen Hundred and Eighty-Five
15. Live & Let Die (reprise)

---------------------------------------------------- 07 - We All Shine On -----------------------------------------------------------------------------------------------

The early seventies were at times filled with negativity for the Redux Beatles, and at other times their music was simply an outlet for political messages. By late 1973, the Beatles began to make a conscious effort to come up with an album similar to 1967's Sgt. Pepper. The result was undoubtedly one of their finest efforts of the 1970's. Like its model Sgt. Pepper, We All Shine On attempts to recreate the feeling of being at a live show. Except for a couple intimate moments, the album is fast-paced with seamless transitions between many songs. The album opens with the crowd in anticipation of the band's first song. McCartney's "Band On The Run" starts slowly but crescendos, gaining a reaction from the crowd. Bily Shears reprises his role, seemingly crooning away before the final notes of the opener have even rung out. "I'm The Greatist" seemlessly fades and gives way to Harrison's "I Dig Love", tastefully only two minutes long, until its final piano notes seem to bring forth the title song, Lennon's "Instant Karma (We All Shine On). Listeners are not treated to any true gap in the music until before Harrison's "Dear One" provides 2:28 of soft escape, which is perhaps rudely interrupted by McCartney's rocker "Getting Closer". Perhaps the loudest song on the album gives way to its most tender, Lennon's masterful ballad "Love".

The audience is only given a brief respite, and soon Ringo's "Back Off Boogaloo" entices the crowd to scream in excitement once again. As this singalong fades, Harrison's indescribably beautiful acoustic "Be Here Now" sweeps over the audience, reminding them that there is perhaps no better place to be than here & now, listening to the four Beatles. On the next track, McCartney uses the acoustic guitar for an entirely different purpose, in one of his finest, albeit one of his silliest compositions, "Uncle Albert/Admiral Halsey, which featured on a double A side with Instant Karma to promote the album. Once again, before this song has had time to leave entirely, the opening notes of Lennon's aggresive ballad "Out Of The Blue" comes in. Lennon's song seems to build in intensity, with piano solos that can only be described as "thrashing", before all is unleashed in a gigantic musical climax as it becomes Harrison's all out rocker "Let It Down". 'Let It Down's" unrestricted intensity seens to fold in upon itself, and as the chaos disintegrates we are left with one final taste of Lennon's "Love", reminding us of the real message of the album; to remember love.

1. Band On The Run 5:37
2. I'm The Greatist 3:16
3. I Dig Love 2:04
4. Instant Karma (We All Shine On) 3:19
5. Dear One 2:28
6. Getting Closer 3:23
7. Love 3:16
8. Back Off Boogaloo 3:24
9. Be Here Now 4:05
10. Uncle Albert/Admiral Halsey 4:48
11. Out The Blue 3:17
12. Let It Down 4:45
13. Remember Love 0:40

---------------------------------------------------- 8 - Don't Let Me Wait Too Long ------------------------------------------------------------------------------------------
The title of the Beatle's second 1974 entry could have applied to fans themselves. We All Shine On, released earlier in the year, had reminded fans of rock music just what

an album could be, and many were hoping the Beatles would advance yet one step further. What they ended up getting in Don't Let Me Wait Too Long was an album that never

intended to top the energy and somewhat furious at times pace of its predecessor; in fact, in many ways it was a complete polar opposite. The laid back feel of the album may

have been intended to give the Beatles a respite; after all, while there were very progressive bands on the move in 1974, having a more mellow sound in the early seventies

didn't exactly alienate audiences, as band and listener together sometimes seem to have needed a moment to recover from the wild night that had been the late sixties and

early seventies.

The mellow feel of the album was reflected in the album's lead single, the Ringo-sung and George-penned "Photograph" (backed by a relatively popular b-side "Let'Em In") and

also its title track, George's "Don't Let Me Wait Too long." Another fine George tune was lauded for its composition but laughed at for its vocals; "Dark Horse" would come

to be known by fans as "Dark Hoarse" because Geoge developed an unfortunate case of laryngitis before vocal recording had finished. While John seemed to have done just fine

recording the Please Please Me album while sick, George does not seem to have been so lucky. In another bit of bad luck, George had been sued for lifting the melody for his

1971 tune "My Sweet Lord" from "He's So Fine". His track "This Song", one of the more upbeat numbers on this album, sarcastically plays off his being sued. Neither Paul nor

John had an aversion to venturing into country music territory; John to some degree with "I Know (I Know)" & Paul much moreso with his overt Sally G, having actually been

written outside Nashville.

The album does possess some more upbeat and contemporary numbers. Paul's jumpy "Listen To What The Man Said" stood out on the album, and reached release as the second single

of the album. John's frantically rocking closer, "New York City" was not only the most rocking song on the album, it was one of the most rocking the Beatles had ever

released. Responding to rumors that he and Paul had not been getting along, John jokingly wrote "How Do You Sleep", a public roast of Paul via song that some took as even

further evidence the two were not getting along (Paul, for his part, was just glad that fans had accepted he was alive). Following this tune on the album was Paul's epic

acoustic "Little Lamb Dragonfly", partially written in an effort to create an an Abbey Road-style interplay of musical ideas, only on acoustic guitar.

Standing between We All Shine On and Vienna Rock Show in the Beatles catalog, "Don't Let Me Wait Too Long" sometimes gets forgotten, much as Beatles for Sale was between A

Hard Days Night & Help, but like the former, it features many tunes that are still essential to the Beatles canon.

1. Going Down On Love
2. Dark Horse
3. Sally G
4. This Song
5. I Know, I Know
6. Listen To What The Man Said
7. Hear Me Lord
8. Photograph
9. Mamunia
10. Don't Let Me Wait Too Long
11. How Do You Sleep?
12. Little Lamb Dragonfly
13. New York City

---------------------------------------------------- 09 - Vienna Rock Show --------------------------------------------------------------------------------------
Dark & mysterious, yet dancy at the same time, Vienna Rock Show doesn't contain many of the later Beatles' more notable songs, but that doesn't prevent it from being one of their more memorable efforts. Full of songs that fit together like puzzle pieces, Vienna Rock Show manages to be much more than the sum of its parts, much like Abbey Road. Featuring Ringo's John-penned, catchy title song at its bookends, & Paul's famous Venus & Mars/Rock Show medley in the middle, this album is a sheer carnival of sound that has to be heard to be appreciated.

1. Goodnight Vienna
2. Love In Song
3. Only People
4. Dark Sweet Lady
5. My Baby's Request
6. #9 Dream
7. Goodnight Tonight
8. Venus & Mars
9. Rock Show
10. Steel & Glass
11. Sue Me, Sue You Blues
12. Here We Go Again
13. That Is All
14. Goodnight Vienna (reprise)

---------------------------------------------------- 10 - Silly Love Songs ------------------------------------------------------------------------------------------
When it comes to groups as popular and groundbreaking as the Beatles, one would think that when they are a decade and a half into their careers, they would give little care to what the current popular trends were in music. As 1976's Silly Love Songs shows, not only did the Beatles not have a problem dabbling in the mainstream mix, they completely immersed themselves. Dancy, poppy, punchy, Silly Love Songs was polarizing to Beatles fans who had come to respect their artistic virtues. Whether or not there was any greater purpose to it other than sheer enjoyment, Silly Love Songs made itself one of the best selling Beatles albums of the decade.

Double A-side Whatever Get's You Through The Night/Silly Love Songs introduced the Beatles new direction to listeners, and if there was any doubt as to their intention to create a funky, dancy album, that was shattered upon hearing the opening notes on George's "Woman Don't Cry For Me". Other fast-paced Beatles classics contained within this album's running time include Paul's "Coming Up", Ringo's "Wrack My Brain", & John's screeching "What You Got". Also notable were the album's final two tracks, consisting of John's mostly instrumental "Beef Jerkey" (a precursor of things to come) and Paul's contemporary piano ballad "No More Lonely Nights".

1. Woman Don't Cry For Me
2. Whatever Gets You Thru The Night
3. Cooking In The Kitchen Of Love
4. Coming Up
5. What You Got
6. Can't Stop Thinking About You
7. Beware My Love
8. Move Over Ms. L
9. Learning How To Love You
10. Wrack my Brain
11. Silly Love Songs
12. Pure Smokey
13. Beef Jerky
14. No More Lonely Nights

---------------------------------------------------- 14 - Stepping Out -----------------------------------------------------------------------------------------------

For the Redux Beatles, 1980's Stepping Out plainly reflected that all four lad's from Liverpool were approaching their fourth decade. The recurring themes of life are present in many of the songs on this album, such as John's "Borrowed Time" & "Nobody Told Me", along with Paul's haunting acoustic number "Somedays". The boys still have the ability to throw in top caliber pop numbers however, as George's "Got My Mind Set On You" becomes a highly succesful single, backed with Paul's appealing "Tug of War". Aside from the lead single, George contributes several other pleasant numbers, including "Here Comes The Moon" & "Love Comes To Everyone". The Beatles introdution to the eighties comes to a close with the type of classic love song that Paul McCartney seems ordained by God to be able to write, "Your Loving Flame".

1. Stepping Out
2. Tug of War
3. That's What It Takes
4. Borrowed Time
5. Have You Seen My Baby
6. Daytime Nighttime Suffering
7. Here Comes The Moon
8. To You
9. Nobody Told Me
10. Love Comes To Everyone
11. Somedays
12. Dear Yoko
13. Got My Mind Set On You
14. Your Loving Flame

---------------------------------------------------- 16 - Real Love -----------------------------------------------------------------------------------------------

On a December night in New York City, 1980, John Lennon approached his home at the Dakota, his wife Yoko trailing not far behind. He would never make it to his apartment, as a gunman shot him several times. Lennon died shortly thereafter. His death stunned the world, and shattered his bandmates. This album is the tribute album they could have made in the fantasy world I've created, had they stayed together until this point. For the most part, the music speaks for itself, and whether or not this album is "fake" it still brings me to tears at certain points. The description below will describe how the Beatles might have created this tribute album.

Following John's death, the remaining Beatles decided it would not be proper to continue making music as Beatles without their fallen member. They decided to gather what remaining music they could to create one last "new" Beatles album. Lennon had only begun to lay down tracks for a new album (in fact, he was returning from the studio when shot), leaving the remaining Beatles with just three new tracks to complete; Free As A Bird, Real Love, and Grow Old With Me, which was brought to completion not by any other member of the group, but by orchestration from George Martin. A haunting piano demo which John had recorded shortly before he died, "Help Me To Help Myself", was also added to the album. Although its somewhat prophetic visions of not being able to stay aline haunted the remaining members, they felt it was poignant enough to help the public realize just what an unspeakable tragedy had occurred.

The remaining members provided songs which reflected on John's life, loss, message, or just what it had meant to be a Beatle. Paul begins his material with "The Song We Were Singing", which describes how he and John's relationship always oriented itself towards creating music. His "Here Today" is an emotional peak or the album while "Flaming Pie" pays tribute to the story John used to tell for how they got the name "Beatles". George pays tribute to John with his somewhat more upbeat (compared to "here Today") number "All Those Years Ago". In a similar vein, he recounts the insane and irrational popularity of the Beatles at their peak in "When We Was Fab". His mounrful instrumental "Marwa Blues" opens the second half. The album, and the band itself, comes to a close with one of McCartney's best compositions, "Beautiful Night", featuring a tag sung by Ringo.

1. Free As A Bird
2 The Song We Were Singing
3. This Is Love
4. Help Me To Help Myself
5. All Those Years Ago
6. King of Broken Hearts
7. Flaming Pie
8. Marwa Blues
9. Real love
10. Here Today
11. When We Was Fav
12. Little Willow
13. Grow Old Along With Me
14. Beautiful Night

I'll copy the rest when they appear.

I need to work out what to do with these now, but just reading that lot was immense. Big cop-out on 'How Do You Sleep?' though!

I can't help but wonder that there's too many of them, surely then it's just a little better than the solo records on shuffle?

I've never bothered with the solo records besides a couple of Lennon's; intriguing as McCartney's career is, this way is far more interesting to me right now. Besides, you need a hefty counterweight to the official boxes.

This is up there with 'If Hitler had won the war' fiction... in terms of probably best to leave well alone....

^^^ exactly. and, of course, if the dudes hadn't split and gone on to live their weird post-Beatles lives, then those lives wouldn't have 'made' them write the songs contained above.

still, i do find stuff like this bizarrely intriguing....

The thing is, there are so many solo Beatle songs that two or more Beatles played on: most of JL/POB, ATMP, Ringo's records thru 1973 or so...I haven't checked it in detail, but it's likely that the first few tracklistings here have as much Beatle collaboration as the White Album or Abbey Road.

London, 2 September 1965

Paul slowly woke up, slowly left that wonderful dream he’d just had, the one about him and John. His eyes opened to John’s sleeping face, still off somewhere dreaming. Paul could feel John’s warmth, his naked body pressed against his own. Had it really happened? Were he and John really...lovers?

John began to stir, and Paul looked again into his face. He looked so pretty lying there, half-asleep, Paul thought warmly. John opened his eyes, looked myopically at Paul and smiled. “Was it good for you too, luv?”

Paul smiled serenely at John. “Yes, Johnny.”

WHAT HAPPENED NEXT?!!!

hahaha, i'm not telling. all i can say is the internet has totally ruined the WHAT IF scenario for me.

The Hours and the Times took a stab at it.

Sort of.

Threesome with Eppy, obv

feel free to read on though:

http://lovelyrita_1967.tripod.com/slash.html

oh god...

Should be called: "The Love We Make, or, John and Paul Doin' It!"

Too many albums per year imho, and too many lousy songs. "I Don't Want to Be a Soldier" I don't think I've ever made it through an entire listen.

And I say Yoko Ono would have joined the Beatles, so there would be cool Plastic Ono Band stuff on these too. At the very least something like "Remember Love".

Someone pulled this before on a blog, though they stuck to the chronology much more. It's crazy to even fathom (would Elton John still have done backup vox on "Whatever Gets You Thru The Night"?), but I am interested in hearing how it's been "remastered" with the segues and such.

When We Was Fav

Read the typo as "When We Was Flav," imagined the slashfic possibilities.

it's likely that the first few tracklistings here have as much Beatle collaboration as the White Album or Abbey Road.

I think Abbey Road was the only late-period album where everyone played on almost every song, the exceptions being "Because" and "Her Majesty."

I thought Lennon was basically MIA on that one?

i think he's all over it, even the harrison songs. there's a tape of him rehearsing "Something" with George.

iirc, Lennon endeavored to be absent for the "Something" session(s) that produced the final master. But he later praised the song as Harrison's best. I don't think Lennon's on "Here Comes The Sun" or "Maxwell's Silver Hammer," either.

Ah, but according to this,

The original version, at eight minutes, was even longer than "Hey Jude," featuring Lennon on the piano at the end, with a counter-melody in the middle. These were cut out, the piano part going to a Lennon song, "Remember," and the counter-melody finally appearing on The Beatles Anthology 3.

Yeah that's been bootlegged for ages, it's basically a sloppy jam tacked on to the end that doesn't really go anywhere.

Apparently "Something" was demo'd during the "White Album" sessions, and for some reason I want to say it was during the recording of "Piggies" and was done on a harpsichord or organ. I really really want to hear that.

Never liked Something, but I do dig that sloppy jam.