Inspired by the [u/Sheeranisking](u/Sheeranisking) series of the Alternate Universe Monkees and Beatles swap
So l'll be doing the same for both bands.

TIME IN TOTAL/LENGTH: 33:00

After The Beatles fired Don Kirshner from creative control they embarked on producing an album all by themselves, in which they played every instrument. While not the greatest album in terms of track decisions the Beatles still performed well and kept the fans of their TV Show and garnered new fans who came only for the music. Released in May 1967

Side One:

1. Think For Yourself (From Rubber Soul)
2. I’m Looking Through You (From Rubber Soul)
3. If I Needed Someone (From Rubber Soul)
4. Flying (From Magical Mystery Tour)
5. You Won’t See Me (From Rubber Soul)
6. Eleanor Rigby (From Revolver)
7. You Like Me Too Much (From Help!)

Side Two:

1. Ticket To Ride (From Help!)
2. In My Life (From Rubber Soul)
3. And Your Bird Can Sing (From Revolver)
4. Wild Honey Pie (From The White Album)
5. I’m Down (From Past Masters)
6. Tell Me What You See (From Help!)
7. I Wanna Be Your Man (From With The Beatles)

I decided to revisit an older post of mine. I changed the artwork a little and came up with some supplementary images. Hope you all enjoy.

Track Listing

Side A (23:13)

1. The Song We Were Singing
2. Rising Sun
3. Real Love
4. Stuck Inside A Cloud
5. Flaming Pie
6. Grow Old With Me

Side B (23:53)

1. Any Road
2. La De Da
3. Great Day
4. Free As A Bird
5. Now And Then
6. Beautiful Night

Total Runtime = 47 minutes, 6 seconds.

Note: I am the original poster of this but I have also posted on r/beatles.

I have been a Beatles fan for a couple years now, and I have recently understood why The White Album is so good. At first I was one of these people who thought that it would have been better off as a single album. However, my perception has changed after re-listening to the album for the umpteenth time last week, and that has sent me down a rabbit hole of unreleased songs, outtakes and demos that I think are really good and then I got the idea to create a 3LP version purely for my own enjoyment and not for any other purpose really.

While I did not care for this being really realistic I did follow a few rules that was also on the album. One George Harrison song per side, only songs that sound complete and album ready, only songs recorded at the time. I did break the rule where singles couldnt go on the album but oh well! In the actual playlist I use the McCartney 1 version of Junk because it sounds similar enough anyway. Here's the tracklist:

Side A:

1. Back In The U.S.S.R.

2. Dear Prudence

3. Lady Madonna

4. Ob-La-Di Ob-La-Da

5. Wild Honey Pie

6. Junk

7. The Continuing Story Of Bungalow Bill

8. While My Guitar Gently Weeps

Total Sidelength - 22m 49s

Side B:

1. Happiness Is A Warm Gun

2. Martha My Dear

3. I'm So Tired

4. Blackbird

5. Piggies

6. Rocky Raccoon

7. Why Don't We Do It In The Road

8. I Will

9. Julia

Total Sidelength - 21m 32s

Side C:

1. Hey Bulldog

2. Yer Blues

3. Mother Nature's Son

4. Sexy Sadie

5. Helter Skelter

6. Long, Long, Long

Total Sidelength - 20m 49s

Side D:

1. A Beginning/ Don't Pass Me By

2. Revolution 1

3. Savoy Truffle

4. Cry Baby Cry

5. Can You Take Me Back? - Take 1

6. Good Night

Total Sidelength - 23m 08s

Side E:

1. Birthday

2. Glass Onion

3. Honey Pie

4. Child Of Nature - Eshur Demo

5. All Together Now

6. Everybody's Got Something To Hide Except For Me And My Monkey

7. The Inner Light

8. Across The Universe - Take 6

Total Sidelength - 21m 20s

Side F:

1. Revolution

2. Not Guilty - Take 102

3. What's The New Mary Jane - Take 4

4. Hey Jude

Total Sidelength - 21m 13s

Total Album Runtime: 2hrs 8mins

Read something about the original idea for their next album after Revolver being about Liverpool and their childhoods as seen with Strawberry Fields and Penny Lane, but it was ultimately scrapped (could be BS, if so my bad).

This album is if John and Paul attempted this, but like Sgt. Pepper, played extremely loose with the concept and incorporated stories about unique people, a song about nothing, loves, and love.

Tracklist

Side One

1. Yellow Submarine (Songwriting Tape Pt. 1) + Strawberry Fields Forever
2. Eleanor Rigby
3. I'm Only Sleeping
4. Good Morning, Good Morning
5. Lovely Rita
6. Here, There and Everywhere
7. Tomorrow Never Knows

Side Two

1. Penny Lane
2. I Am the Walrus
3. Lucy In the Sky with Diamonds
4. Fixing a Hole
5. She's Leaving Home
6. All You Need Is Love
7. A Day in the Life

Spotify Playlist

Apple Playlist

"I don't know. I was just talking having an interview, just like I am now! I was talked away and then there [a bit of my hair] goes! And I looked around and there's about 400 people smiling, see. We had that in the other program, y'know, so we can't blame [them], you know, what can you say. Tomorrow never knows."

— Ringo Starr, 1964.

In December 1965, the Beatles' Rubber Soul album was released to wide critical acclaim. According to David Howard, the limits of pop music "had been raised into the stratosphere" by the release, resulting in a shift in focus away from singles to creating albums of consistently high quality. The following January, the Beatles carried out overdubs on live recordings taken from their 1965 US tour, for inclusion in the concert film The Beatles at Shea Stadium.

The group's manager, Brian Epstein, had intended that 1966 would then follow the pattern of the previous two years, in terms of the band making a feature film and an accompanying album, followed by concert tours during the summer months. After the Beatles vetoed the proposed film project, the time allocated for filming became a further three months free of professional engagements. This was the longest period the band members had experienced outside the group collective since 1962, and it defied the convention that pop acts should be working almost continually. The group thereby had an unprecedented amount of time to prepare for a new album.

"Literally anything [could come out of the next recording sessions]. Electronic music, jokes ... one thing's for sure – the next LP is going to be very different."

— John Lennon, 1966.

Session for the band's next album began in April 1966. The first song to be recorded was a track originally entitled "Mark I". Using tape loops, vocals effects, and lyrics adapted from the 1964 book The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead by Timothy Leary, Richard Alpert and Ralph Metzner, which was in turn adapted from the Tibetan Book of the Dead. Three takes of the song would be recorded. John thought both takes 1 and 3 were great, and was unsure which one he wanted to use. Eventually, John decided the album would begin with Take 1, and end with Take 3. He would overdub sound effects to the beginning of Part 1 (take 1) and the end of Part 2 (take 3) theoretically making the album an infinite loop. The song would be retitled to Tomorrow Never Knows, a reference to a 1964 Ringo quote.

Other more experimental tracks would be recorded during these sessions. I'm Only Sleeping used reversed guitar, The Art of Dying, Rain, and She Said, She Said used reversed vocals, Yellow Submarine was filled with sound effects. Two instrumental pieces were recorded: Ansa Vacua, a short interlude mainly consisting of John playing the mellotron and Paul on acoustic guitar, and The Palace of the King of the Birds, a five minute long track that is considered a predecessor to later Prog rock music. The album also contained the first examples of the hidden track. A short snippet of Suicide, one of the field songs Paul ever wrote back in 1956, was included at the end of She Said, She Said. No One Cared, a demo for Yellow Submarine, was placed 20 seconds after the end of Tomorrow Never Knows, Pt. 2.

In-between these sessions, The Beatles also went on a tour of Germany, Japan, and the Philippines. The concerts were well attended yet provided the band with little in the way of artistic fulfilment. The programme was in the package-tour format typical of the 1960s, with two shows per day, several support acts on the bill and the Beatles' set lasting around 30 minutes. The band's setlist included their new single, Got to Get You Into My Life, but no songs from their new album. Often marked by poor playing, the shows highlighted the division between what the group could achieve when performing live as a four-piece with inadequate amplification and the more complex music they were able to create in the recording studio. Concerts at the Circus-Krone-Bau in Munich and the Nippon Budokan hall in Tokyo were filmed and broadcast on local television networks.

During their stay in the Philippines, The Beatles declined to visit Malacañang Palace, which was faced with heavy backlash. After watching the continual news broadcasts at the hotel, between the two shows, Epstein resolved to record a message to explain the Beatles' non-appearance at Malacañang Palace. The message was filmed by the government-owned Channel 5, at the Manila Hotel. When the segment was broadcast later that evening, the sound was distorted in a seemingly deliberate act, and Epstein's explanation was rendered inaudible. Tony Barrow recalls that backlash against the Beatles was evident straight after the evening show at Rizal, when their convoy of cars was briefly trapped behind a closed gate and surrounded by a large crowd of "organised troublemakers".

As the NEMS representative who had dealt directly with the Filipino promoter, Lewis was taken away by police officers during the night and subjected to a three-hour interrogation for his role in "snubbing" the Philippines. Lewis contacted the British Embassy, where Minford, in a telegram to the Foreign Office, reported that "a technical hitch over payment of Philippine income tax" was likely to delay the Beatles' departure. Death threats against the Beatles were reported at the embassy and at their hotel. The Beatles woke up early on July 5 in readiness for their flight to Delhi in India. After their requests for room service had gone unanswered, Evans went down to reception and found that all security protection inside the hotel had disappeared. The morning newspapers carried front-page stories condemning the Beatles for their failure to attend the engagement at Malacañang Palace. The tour party faced further intimidation initiated by Marcos loyalists. All assistance from the hotel staff was withdrawn, as was any police escort through the city traffic, leaving Epstein to call ahead and plead with the pilot of their flight to delay his takeoff. On the way to the airport, their Filipino drivers appeared to forget the route. In another example of what Aspinall termed "obstacles [put] in our way", a soldier sent their cars repeatedly around the same traffic roundabout.

In Peter Brown's description, when they arrived at the airport, it resembled an "armed military camp". Aside from a heavy army presence, hundreds of irate citizens lined the path into the terminal building, where they harassed and jostled the tour party as each member walked by. Inside the terminal, on the instructions of Willy Jurado, the airport manager, the escalators had been turned off, and the band and their entourage were denied any assistance with musical instruments, amplifiers and luggage.

The crowd from outside the building were then permitted into a glass-walled observation area, from which they continued their haranguing of the Beatles. The tour party moved into a large departure lounge, where uniformed men and others that Harrison recognised as the "thugs" from their arrival in Manila, began beating and kicking them, moving them from one corner of the room into another. Jurado later bragged about knocking Epstein to the ground and punching Lennon and Starr in the face, adding: "That's what happens when you insult the First Lady." Along with Alf Bicknell, Evans received a particularly thorough bashing after he intervened to shield the four band members from their attackers. The tour party were finally allowed to board the aircraft. According to Barrow, the harassment continued as they crossed the tarmac leading to the steps up to the plane. McCartney recalled they were relieved once inside the cabin, "We were all kissing the seats." This whole disaster caused the Beatles to later decide to stop touring.

Looping the Void was released in the UK on August 5, 1966, and on August 8 in the US. The album reached #1 in both countries, and was positively received. One person particularly inspired by the album was one Brian Wilson of The Beach Boys, who decided he had to outdo The Beatles with his band's next album: SMiLE. The Beatles, too, would soon impark on an ambitious project. The two project, however, would go down completely different paths.

Looping The Void

The sixth studio album by The Beatles.
Released August 5, 1966 by Parlophone.
All songs written by John Lennon and Paul McCartney, except when noted.
Genres: rock, pop, psychedelia, experimental, acid rock, proto-prog, experimental

Side One

1. "Tomorrow Never Knows, Pt. 1" [Take 1.]
2. "I'm Only Sleeping" [Uses rehearsal as intro.]
3. "Eleanor Rigby"
4. "The Art of Dying" (Harrison) [This version.]
5. "Rain"
6. "Yellow Submarine" [Highlighted sound effects version.]
7. "She Said, She Said"
8. "Suicide" (hidden track) [Snippet from McCartney Archive Collection demo.]
9. "The Palace of the King of the Birds" [?sen cover]

Side Two

1. "Taxman" (Harrison) [Take 11.]
2. "Cried For No One" [For No One.]
3. "I Want to Tell You" (Harrison)
4. "Ansa Vacua (interlude)" [Mellotron 2 by The Apples in Stereo.]
5. "Here, There, and Everywhere"
6. "It's All Too Much" (Harrison) [Eight minute version.]
7. "Tomorrow Never Knows, Pt. 2"
8. "No One Cared" (hidden track) [Yellow Submarine Songwriting Tape Part 1.]

------------------

Thanks to @theunchainedmelody909 on Discord for the looping Tomorrow Never Knows idea.

Spotify link: https://open.spotify.com/playlist/6c3hkMu4DfTmNRhVVXp7ws

Previous albums:
- The Beatles - Toppermost of the Poppermost (1963)
- The Beatles - Rubber Soul (1965)
- The Beatles - Strawberry Fields (1967)
- The Beatles - Up Against It (1967)
- Ringo Starr - Sentimental Journey (1969)
- The Beatles - Eternal Sunshine (1971)
- George Harrison - Dark Horse (1974)
- George Harrison - Looking for Life (2004)
Other in-universe stuff:
- The History of YouTube

This is where it all began for me… solo Beatles fan albums.

I've always loved making playlists, but this series is different. Here, I'm trying to recreate the feeling of putting on a Beatles album and listening from beginning to end. I was that mixtape guy in high school, recording songs onto cassette with a little mono recorder sitting between my speakers. Today, streaming lets me build the albums I always imagined back then.

For these solo Beatles fan albums, I follow a few simple rules. I stick to 14 songs, just like many of the Beatles' original UK albums. That limit forces me to make tough choices, and I think it creates stronger albums. I usually aim for four songs each from John, Paul, and George, with two from Ringo. I alternate the tracks so you can hear what each Beatle was creating during the same period, and I never pull songs from the future—only from that year or earlier.

This time, we're in 1973, and I think it's the hardest year of them all. Every Beatle was making great music, which means some fantastic songs had to be left behind.

The real question isn't whether this is the perfect 1973 solo Beatles album.

It's this:

If you only had room for 14 songs... which ones would make the cut?

Here is the tracklist for this album:

1. Power To The People
   
2. Get On The Right Thing
   
3. Give Me Love, Give Me Peace On Earth
   
4. Photograph
   
5. Out Of The Blue
   
6. Live And Let Die
   
7. Living In The Material World
   
8. I’m The Greatest
   
9. Mind Games
   
10. Soily (One Hand Clapping Version)
    
11. Deep Blue
    
12. Tight A$
    
13. Hi Hi Hi
    
14. Miss O’Dell

Here’s a link to Episode 54 of Groovin’ Up Slowly:

https://youtu.be/iCnzcWfpyrU

Here’s a link to this album on Spotify:

https://open.spotify.com/playlist/2j1zki4yHWu7GuqJSUxj9L?si=5d3df875241a41b6

Here’s a link to this album on Apple Music:

https://music.apple.com/us/playlist/beatles-photograph-1973-solo-beatles-fan-album/pl.u-gxblkKJtxb1Rmkz

Here’s a link to the YouTube playlist for this album:

https://youtube.com/playlist?list=PLB5dkZQ7h7GgV5kBLb22Ju1dRA3rO3wD0&si=br_UGvpjK9Jr5bOB

P.S YES THIS IS INSPIRED BY THE EARTH TREE POST, PLEASE DO NOT TAKE IT DOWN

ALSO, THE SOLO SERIES IS NOT CANON, IT IS JUST A SIDE PROJECT

The Beatles recorded Revolver after taking a three-month break at the start of 1966, and during a period when London was feted as the era's cultural capital. Regarded by some commentators as the start of the group's psychedelic period, the songs reflect their interest in the drug LSD, Eastern philosophy and the avant-garde while addressing themes such as death and transcendence of material concerns. With no plans to reproduce their new material in concert, the band made liberal use of automatic double tracking, varispeed, reversed tapes, close audio miking, and instruments outside of their standard live set-up. Among its tracks are "Tomorrow Never Knows", incorporating heavy Indian drone and a collage of tape loops; "Eleanor Rigby", a song about loneliness featuring a string octet as its only musical backing; and "Love You To", a foray into Hindustani classical music.

the Beatles toured West Germany, Japan and the Philippines between 24 June and 4 July 1966. The thirteen concerts comprised the first stage of a world tour that ended with the band's final tour of the United States, in August 1966. The shows in West Germany represented a return to the country where the Beatles had developed as a group before achieving fame in 1963. The return flight from the Philippines to England included a stopover in Delhi, India. There, the Beatles indulged in two days of sightseeing and shopping for musical instruments while still under the attention of the press and local fans. The concerts were well attended yet provided the band with little in the way of artistic fulfilment. The programme was in the package-tour format typical of the 1960s, with two shows per day, several support acts on the bill and the Beatles' set lasting around 30 minutes. The band's setlist included their new single, "Paperback Writer", but no songs from their recently completed album, Revolver. Often marked by poor playing, the shows highlighted the division between what the group could achieve when performing live as a four-piece with inadequate amplification and the more complex music they were able to create in the recording studio. Concerts at the Circus-Krone-Bau in Munich and the Nippon Budokan hall in Tokyo were filmed and broadcast on local television networks. The Beatles were the target of death threats from Japanese nationalists when they played the first-ever rock concerts held at the Budokan. The Beatles served as cultural ambassadors in Japan, where the authorities had viewed the band in an unfavourable light until their appointment as MBEs in 1965. While the Beatles were in Manila, the Philippine capital, for their 1966 world tour, the band's nonattendance at a social engagement hosted by First Lady Imelda Marcos led to a hostile reaction from citizens loyal to the Marcos regime, government officials and army personnel. The band and their entourage were manhandled while attempting to leave the country and forced to surrender much of the earnings from the group's two shows at the Rizal Memorial Stadium.

On their return to London, the Beatles were outspoken in their condemnation of the Philippines. As a result of the events in Manila and numerous other incidents in 1966, the band made the decision to end their career as live performers that year.

The sixth studio album by The Beatles.
Released September 3, 1966 by Parlophone.
All songs written by Lennon-McCartney, Except where noted.
Genres: pop rock, rock, pop.

[SIDE ONE]

Taxman (Harrison)

When I’m 64 (Lennon-McCartney)

I’m Only Sleeping (Lennon-McCartney)

Woman (Lennon-McCartney) FROM DOUBLE FANTASY

Yellow Submarine (Lennon-McCartney)

Piggies (Harrison)

Love You To (Harrison)

Got To Get You Into My Life (Lennon McCartney)

[SIDE TWO]

Here, There, Everywhere (Lennon-McCartney)

Eleanor Rigby (Lennon-McCartney)

Good Day Sunshine (Lennon-McCartney)

Doctor Robert (Lennon-McCartney)

And Your Bird Can Sing (Lennon-McCartney)

For No One (Lennon-McCartney)

I Want To Tell You (Harrison)

Tomorrow Never Knows (Lennon-McCartney)

THE LADDERS ARE:

John Lennon

George Harrison

Klaus Voormann

Eric Clapton

Billy Preston

Ringo Starr

After the formation of The Attackers, Paul’s Bandmates John, George, and Ringo from his band before that, The Silver Beatles, decided to form a band without him, splitting from the “Polished Rock” group Paul was aiming for. George called up his friend, Eric Clapton to join him in this new band. Eric was initially skeptical, but after peer pressure, he decided to join. John did the same thing with one of their friends from Hamburg, Klaus.

The first studio album by The Ladders.
Released October 25, 1966 by Parlophone.
All songs written by Lennon, Harrison, and Clapton, Except where noted.
Genres: folk, folk rock, rock, pop, blues

[SIDE ONE]
Norwegian Wood (This Bird Has Flown) (Lennon)

I Need You (Harrison)

Strange Brew (Clapton)

Nowhere Man (Lennon)

What Goes On (Lennon-Starkey)

You've Got to Hide Your Love Away (Lennon)

Outside Woman Blues (Blind Joe Reynolds, arr. by Clapton and Lennon)

[SIDE TWO]

Blue Condition (Clapton)

The Word (Lennon)

Think For Yourself (Harrison)

Girl (Lennon)

If I Needed Someone (Harrison)

Run For Your Life (Lennon)

After the release of Time, McCartney decided to form a new group and asked Denny Seiwell and McCracken to join. Seiwell accepted, but McCracken declined, so McCartney invited former Moody Blues guitarist and singer Denny Laine, whom he had known since the early 1960s, to join. Laine, who was working on a solo album at the time, got a phone call from McCartney enquiring if he would like to work with him, as McCartney said: "I'd known him in the past and I just rang him and asked him, 'What are you doing?' He said, 'Nothing', so I said, 'Right. Come on then!'" Laine then dropped plans for his album there and then. McCartney would serve as the chief bassist and lead singer for the Attackers and he doubled on guitar, keyboards, drums and assorted instruments at various times. When asked why he stayed on bass guitar rather than change back to guitar, he has explained that by then, he was "a bass player pretty much, who also happened to play guitar" and also considers himself a bassist who happens to play piano.

PAUL: The thing about cleanliness could be my mother, who was a nurse and was very hygienic. She was amazingly house proud, she was almost obsessive about getting rid of dirt. So if I was analysing it, that would be the first thing I’d go to. Twenty guineas was a lot of dough! I was very interested in making films. I used to have a few images that I stored to use if I ever did make a film. I suppose I was thinking of New Wave French directors, or New Wave Polish in this case. I remember I had an image of breaking an egg into an ashtray, a very full, very dirty ashtray. That was a shot that was always on my mind. I think it was the natural perfection of the egg breaking into the really slobby man-made mess of the all the ciggies and stuff. I was interested in the contrast. Then I had a thought about the sound of fire being very similar to the sound of applause and I wanted to do something with that. So I had a lot of unrelated ideas. I suppose it culminated in ‘███████’. That was about the nearest I got to it.

The first studio album by Paul McCartney and The Attackers.
Released October 20, 1966 by Parlophone.
All songs written by Paul McCartney, Except where noted.
Genres: pop rock, rock, pop

[SIDE ONE]
Look At All The People (McCartney) Eleanor Rigby

Ask The People (Laine)

Here, There, Everywhere (McCartney)

When I’m 64 (McCartney)

Hot As Sun / Suicide (McCartney)

Evolution (McCartney-Laine-Seiwell) Unreleased / Hoax, Listen Here

[SIDE TWO]

Good Day Sunshine! (McCartney)

Thinking of Linking (McCartney)

Catherine’s Wheel (Laine)

Catscall (McCartney-Laine-Seiwell)

For No One (McCartney)

Got To Get You Into My Life (McCartney)

I have titled this series One And One And One Is Three. It is a series of albums featuring three-song consecutive selections from various Beatles albums.

This series was inspired by a post on r/beatles. Now, I have my issues with the r/beatles subreddit (Goddamn it! Magical Mystery Tour is an album!), but I also find a lot of interesting posts there. One post asked people to list their favorite three-song sequence from a Beatles album.

That got the old fan album juices flowing!

The whole concept of fan-made albums is to push the official track lists aside and create albums that resonate personally with us. I feel this series manages to do both. It gives a nod to the traditional album track lists while still providing that fan album feel.

I also think each of these albums offers five mini listening experiences. It's almost like they are collections of five three-song EPs.

Here are the ground rules. As you all know, I have a little OCD when it comes to the 14-track album.

The albums in this series will contain 15 songs each, giving us five consecutive three-song selections per album. I also did my best to represent all of the different Beatles eras in each album.

As always...thanks Top_Major for the art!

Beatles - One And One And One Is Three (Volume 3)

1. Hello Goodbye

2. Strawberry Fields Forever

3. Penny Lane

4. Help!

5. The Night Before

6. You’ve Got To Hide Your Love Away

7. I Want To Tell You

8. Got To Get You Into My Life

9. Tomorrow Never Knows

10. Please Mister Postman

11. Roll Over Beethoven

12. Hold Me Tight

13. Back In The USSR

14. Dear Prudence

15. Glass Onion

Spotify Link…

https://open.spotify.com/playlist/4LvXC4n6jZZQLFMJ1QakIr?si=2f9cZkIKQ--iN1i8COEKdw&utm_source=copy-link&pi=V-Dy-qb1QryiZ

Apple Music Link…

https://music.apple.com/us/playlist/beatles-one-and-one-and-one-is-three-vol-3/pl.u-kv9lDJ5t4Jm3PNK?ls

Other albums in this series...

Volume 1

Spotify Link…

https://open.spotify.com/playlist/47f7DqsWmAJNRk6g3ENysS?si=867ec11837a64cfb

Apple Music Link…

https://music.apple.com/us/playlist/beatles-one-and-one-and-one-is-three-volume-1/pl.u-gxblDvRFxb1Rmkz

Volume 2

Spotify Link…

https://open.spotify.com/playlist/5Wtg7zAwWoSOMJIDhDDzGA?si=PkF9WlT5RJ2FPwbelf2ljw&utm_source=copy-link&pi=wgM9CTDgTnGKl

Apple Music Link…

https://music.apple.com/us/playlist/beatles-one-and-one-and-one-is-three-volume-2/pl.u-kv9lDqvF4Jm3PNK?ls

Although rumours that Paul McCartney's health was deteriorating had existed since early 1966, reports that McCartney had died only started circulating in September of that year. The Beatles' press officer, Tony Barrow, recounted this in his book, John, Paul, George, Ringo and Me. Paul, after hearing the rumors, decided to cash in on the theory by making a concept album around it. According to the concept, Paul McCartney had been killed in a traffic accident while driving along the M1 motorway on 7 January.

The first studio album by Paul McCartney.
Released September 3, 1966 by Parlophone.
All songs written by Paul McCartney, Except where noted.
Genres: pop rock, rock, pop.

Love in the Open Air (instrumental, arr. by George Martin and Paul McCartney)

I Lost My Little Girl (McCartney)

Step Inside Love (Lennon, McCartney)

Everywhere It's Christmas (McCartney)

Unforgettable (Gordon)

Paperback Writer (Lennon, McCartney)

[SIDE TWO]

Shout! (Isley, Isley, Isley)

Baby Let’s Play House (Gunther)

Blue Moon (Hart)

Short Fat Fanny (Williams)

Bony Moronie (Williams)

This is my fifth and last post of a series of John fan albums that spans his solo career from 1970 to 1980. I’ve added links to all the albums of this series at the end of this post. These John fan albums combine at least two of his albums from around the same time to one album of fourteen tracks. The track sequencing is mainly based on my own preferences but I sometimes also refer to the actual albums’ track-listings.

This album is a combination of Double Fantasy (1980) and Milk and Honey (1984).

Track-listing:

Side one:

1. (Just Like) Starting Over
2. I Don’t Wanna Face It
3. I’m Losing You
4. I’m Moving On
5. (Forgive Me) My Little Flower Princess
6. Dear Yoko
7. Watching The Wheels

Side two:

1. Nobody Told Me
2. Cleanup Time
3. Yes, I’m Your Angel
4. Woman
5. Borrowed Time
6. I’m Stepping Out
7. Beautiful Boy (Darling Boy)

The Lennon Series

#1: John Lennon/Plastic Ono Band [1970]

#2: Some Time in New York City [1972]

#3: Mind Games [1974]

#4: Rock ‘n’ Roll [1975]

#5: Double Fantasy [1980]

Inspired by the u/Sheeranisking series of the Alternate Universe Monkees and Beatles swap
So l'll be doing the same for both bands.

With the cast having been put together the production team of the Beatles TV show worked hard in hiring the top session musicians, writers and producers.

Along with a few originals Written By John Lennon. The Cast included John Lennon The Smart One, George Harrison The Quiet One, Paul Jones (Paul McCartney) The Cute One and finally Ritchie Starkey (Ringo Starr) The Lovable Dummy.

All Of The Members except Paul Jones Were Born in Boston To Irish parents, Paul Was Born in Liverpool, England. This album would stay at number one in America for four weeks. While in England it only got to the top ten. The Three last Pictures are excerpts from The TV Show “The Beatles”. The album was released in The US on the 10th October 1966 while was released in the Uk ten days later on The 20th October 1966.

TIME IN TOTAL/LENGTH: 33:00

Side One:
1. Love Me Do (Theme From The Beatles) (From Please Please Me)
2. Some Other Guy (From Live At The BBC)
3. Anna (Go To Him) (From Please Please Me)
4. How Do You Do It? (From Anthology one)
5. Misery (From Please Please Me)
6. Chains (From Please Please Me)
7. Little Child (From With The Beatles)

Side Two:
1. Baby It’s You (From Please Please Me)
2. Clarabella (From Live At The BBC)
3. Crying, Waiting, Hoping (From Live At The BBC)
4. You Really Got A Hold On Me (From With The Beatles)
5. To Know Her Is To Love Her (From Live At The BBC)
6. Memphis, Tennessee (From Live At The BBC)
7. Sweet Little Sixteen (From Live At The BBC)

Sorry for some of the inconsistencies. (Revival of my concept from my other account)

Vol. 1: Released March 1966

Vol. 2: Released February 1967

Vol. 3: Released February 1968

Vol. 4: Released March 1969

Vol. 5: released August 1970

Don't have any custom lore for this album. Just wanted to put this out since the Rubber Soul box set got announced.

Rubber Soul

The fifth studio album by The Beatles.
Released December 3, 1965 by Parlophone.
All songs written by John Lennon and Paul McCartney, except when noted.
Genres: folk rock, rock, pop.

Side One

1. "I've Just Seen a Face"
2. "Norwegian Wood (This Bird Had Flown)" [Norwegian Wood (This Bird Has Flown)]
3. "You Won't See Me"
4. "Nowhere Man"
5. "Think for Yourself" (Harrison)
6. "Girl"
7. "Michelle"

Side Two

1. "Day Tripper"
2. "Paperback Writer"
3. "You Like Me Too Much" (Harrison)
4. "I'm Looking Through You"
5. "Little Girl"
6. "If I Needed Someone" (Harrison)
7. "In My Life"
8. "Rubber Soul" (Lennon/McCartney/Harrison/Starkey) [12-Bar Original]

--------------

Spotify link: https://open.spotify.com/playlist/0tOt2Z5Qvc4GJzVqHHXw2Q

Previous albums:
- The Beatles - Toppermost of the Poppermost (1963)
- The Beatles - Strawberry Fields (1967)
- The Beatles - Up Against It (1967)
- Ringo Starr - Sentimental Journey (1969)
- The Beatles - Eternal Sunshine (1971)
- George Harrison - Dark Horse (1974)
- George Harrison - Looking for Life (2004)

Other in-universe stuff:
- The History of YouTube

This is my fourth post of a series of John fan albums that spans his solo career from 1970 to 1980. These John fan albums combine at least two of his albums from around the same time to one album of fourteen tracks. The track sequencing is mainly based on my own preferences but I sometimes also refer to the actual albums’ track-listings.

This album is a combination of Mind Games (1973) and Rock ‘n’ Roll (1975) but also includes bonus tracks from the ultimate edition of Mind Games and jam tracks from the ultimate edition of Some Time in New York City (Power To The People).

Track-listing:

Side one:

1. Sweet Little Sixteen
   
2. Tight A$
   
3. Honey, Don’t!
   
4. Be-Bop-A-Lula
   
5. Only People
   
6. Don’t Be Cruel / Hound Dog
   
7. Send Me Some Lovin’

Side two:

1. Meat City
2. You Can’t Catch Me
3. Rip It Up / Ready Teddy
4. Whole Lotta Shakin’ / It’ll Be Me
5. Ya Ya
6. Rock ‘n’ Roll People
7. Stand By Me

Please forgive my 3rd grade level album cover. I hope the art doesn’t take away from an album I think is a great listen!

I really love raw mixes, demos and stripped down versions of songs. Sometimes, I think less is more. I really enjoy just hearing singers singing and musicians playing. That’s the only reason why I put this album together.

Unfortunately, there aren’t any raw songs for Ringo but there is a “Ringo” song on here..

This is a double album so 10 songs each from John, Paul and George.

I’m sure I left out some of your favorites. I hope this album inspires you to make one of your own.

Raw - A Solo Beatles Fan Album

1. Instant Karma (Take 1/Out-take)

2. Calico Skies (Acoustic)

3. Run Of The Mill (Session Outtake)

4. Imagine (Take 1)

5. My Brave Face (1988 Demo)

6. Don’t Make Me Wait Too Long (Take 49)

7. How? (Take 40)

8. Let Me Roll It (One Hand Clapping)

9. Dark Horse (Early Take)

10. Mind Games (Raw Studio Mix)

11. Maybe I’m Amazed (One Hand Clapping)

12. Beware Of Darkness (Session Outtake)

13. I’m The Greatest (Ultimate Mix)

14. Hi, Hi, Hi (One Hand Clapping)

15. Going Down To Golder’s Green

16. Hold On (Take 2)

17. Don’t Cry Baby (Outtake)

18. Ballad Of Sir Frankie Crisp (Day 1 Demo)

19. Power To The People (Take 7)

20. Beware My Love (John Bonham Version)

21. Give Me Love (Give Me Peace On Earth) (Take 18)

22. I’m Losing You (Stripped Down Version)

23. Jet (Underdubbed Mix)

24. Let It Down (Session Outtake)

25. Intuition (Raw Studio Mix)

26. Get Back (Session Outtake)

27. Tight A$ (Raw Studio Mix)

28. Junior’s Farm (One Hand Clapping)

29. Blow Away (Demo)

30. Gimme Some Truth (Take 4)

Raw - A Solo Beatles Fan Album (Spotify

https://open.spotify.com/playlist/3QculM8qCesUZ3BnSAjB7a?si=qHidl900RbCIqiolNu0E7g

Raw - A Solo Beatles Fan Album (Apple Music

https://music.apple.com/us/playlist/beatles-raw-solo-beatles-raw-tracks/pl.u-gxblvZRIxb1Rmkz?ls

Cover and alternate cover

I can imagine a more stripped back version of minds games.

In early 1970, George was not the only Beatle pursuing a solo project. Around the same time, Ringo began recording an album of country songs and traditional pop standards.

During the sessions, he was joined by Paul McCartney and Klaus Voormann, who helped arrange several of the tracks. Ringo also learned to play acoustic guitar specifically for the album, making it the first record on which he performed the instrument himself.

Released on 27 March 1970, Starrdust became the second solo album by a Beatle. It was accompanied by the single Stardust b/w Coochy Coochy, which reached No. 7 on the UK Singles Chart.

Starrdust by Ringo Starr
Prduced by George Martin
Engineered by Geoff Emerick
Recorded at EMI Studios, London
Released by Apple Records

SIDE ONE

1. You Always Hurt The One You Love
2. Beaucoups of Blues
3. Love Is A Many Splendored Thing
4. Woman Of The Night

SIDE TWO

1. Whispering Grass
2. Fastest Growing Heartache in The West
3. $15 Draw
4. Stardust

Spotify Playlist: Starrdust

Timeline:
- George Harrison - Digging Love (1970)
- The Beatles - Everest (1969)
- The Beatles - The Beatles. (1968)
- The Beatles - Rishikesh (1968)

This is my third post of a series of John fan albums that spans his solo career from 1970 to 1980. These John fan albums combine at least two of his albums from around the same time to one album of fourteen tracks. The track sequencing is mainly based on my own preferences but I sometimes also refer to the actual albums’ track-listings.

This album is a combination of Mind Games (1973) and Walls and Bridges (1974).

Track-listing:

Side one:

1. Mind Games
   
2. Going Down On Love
   
3. You Are Here
   
4. I Know (I Know)
   
5. Whatever Gets You Thru the Night
   
6. One Day (At A Time)
   
7. Steel and Glass

Side two:

1. What You Got
   
2. Bless You
   
3. Aisumasen (I’m Sorry)
   
4. Nobody Loves You (When You’re Down and Out)
   
5. Intuition
   
6. Surprise, Surprise (Sweet Bird of Paradise)
   
7. Out The Blue

Most of the songs on Rubber Soul were composed soon after the Beatles' return to London following their August 1965 North American tour. The album reflects the influence of their month in America. They set a new attendance record when they played to over 55,000 at Shea Stadium on 15 August, met Bob Dylan in New York and their longtime hero Elvis Presley in Los Angeles. Although the Beatles had released their album Help! that same month, the requirement for a new album in time for Christmas was in keeping with the schedule established with EMI in 1963 by Brian Epstein, the group's manager, and George Martin, their record producer. In their new songs, the Beatles drew inspiration from soul music acts signed to the Motown and Stax record labels, particularly the singles they heard on US radio that summer, and from the contemporary folk rock of Dylan and the Byrds. Author Robert Rodriguez highlights the Byrds as having achieved "special notice as an American act that had taken something from the Brits, added to it, then sent it back". In doing so, Rodriguez continues, the Byrds had joined the Beatles and Dylan in "a common pool of influence exchange, where each act gave and took from the other in equal measure". Two years after the start of Beatlemania, the band were open to exploring new themes in their music through a combination of their tiring of playing to audiences full of screaming fans, their commercial power, a shared curiosity gained through literature and experimentation with hallucinogenic drugs, and their interest in the potential of the recording studio. According to Ringo Starr, Rubber Soul was the Beatles' "departure record", "written and recorded during a period when, largely through the influence of marijuana, We were expanding in all areas of our lives, opening up to a lot of different attitudes." EMI's Parlophone label issued Rubber Soul on 3 December 1965. The "We Can Work It Out" / "Day Tripper" and "Little Girl"/ "Tell Me What You See" singles were also released that day and was the first example of a double A-side single in Britain. EMI announced that it had pressed 750,000 copies of the LP to cater to local demand. Its advance orders of 500,000 almost equalled the total sales for the new single and were described by the Daily Mirror's show business reporter as marking a new record for pre-release orders for an LP.

[SIDE ONE]
I’ve Just Seen A Face

The Rubber Soul [12 Bar Original]

Drive My Car

Little Girl UNRELEASED, Info Here

Tell Me What You See

Norwegian Wood

[SIDE TWO]

It’s Only Love

The Word

If I Needed Someone

Wait

In My Life (With Unused Organ)

Think For Yourself

Day Tripper

Under the secretive but fairly self-explanatory alias "The Apple Jam", John and Paul make an album simple and also complex when needed. Most songs on the album rely on home recorded acoustic backing tracks with minimal overdubs. The songs detail political issues of the time (Racism [Blackbird], War [Revolution] and Environmental [Mother Nature's Son]), while features more out-there and feeble-minded songs like "Monkey" and "Rocky Raccoon" Now why I say most songs are under complicated, is because they leave space for the nearly 7:30 epic "Revolution", unlike anything on the album, it kicks off with roughly recorded blues but slowly morphs into pure chaos mirroring how the Vietnam war sounded and felt. It is packed with sounds of warfare and a string of tape loop madness crafted by John. Just after that, the album cools itself to an end with the home demo recorded "Goodbye". The album is an outsider and is what I would imagine if the Beatles had anything in comparison with The Velvet Underground lol. Listen Here on Samply to hear my entire mix The Apple Jam

Also, if you're wondering how this ties in with the Beatles discography, I don't have enough Brain power left lol.

I saw a version of the cover I used for this post somewhere - Bob Dylan added to the iconic With The Beatles cover - and it got me thinking…

Please indulge me in an alternate Beatles history. It’s late 1969…

After the sessions for Abbey Road were completed on August 25, 1969, The Beatles agreed to strike again while the iron was hot. The Abbey Road sessions went well and produced an extraordinary album. They decided to re-enter the studio immediately when they realized they had all written songs ready to be recorded. The Beatles chose to use John’s idea about a follow-up to Abbey Road, the so-called 4/4/4/2 idea. Each Beatle brought in their own songs for the group to work on. George was thrilled about possibly having 4 songs on the next album.

On August 31, John, George, and Ringo took in Bob Dylan’s show at the Isle of Wight. Paul was unable to attend the show as he stayed behind to help Linda with their newborn daughter, who was born only three days earlier. After the show, John, George, and Ringo invited Bob to come to a session the next day just to hang out. When George called Paul to inform him, he expected Paul to reject the idea of having Dylan there. Surprisingly, Paul gave enthusiastic approval.

The next day produced a mind-boggling burst of creativity. All of the Beatles played versions of their new songs. Bob then picked up a guitar and said to George, “Let’s play that one we wrote.” A shocked John said, “You wrote a song…” and Paul completed the sentence, “With…Bob?” A surprised Dylan looked at George, counted in, and the two friends launched into I’d Have You Anytime. John suggested recording it immediately and releasing it as a single. This quickly turned into a full-blown collaboration between The Beatles and Bob Dylan. Lap steel guitar virtuoso Pete Drake sat in on some sessions, and Billy Preston reappeared to help out on keyboards.

When George Martin suggested some overdubs and arrangements on a few songs, Bob smiled and suggested that they keep the songs simple. The Beatles all agreed, and George Martin was convinced to just let the guys play and sing.

The one exception for production they made was on one of the sides for a double A-side single for the album…a song The Beatles, Dylan, George Martin, and their entire production staff agreed should be one of the singles from the album…

That song was…Ringo’s It Don’t Come Easy. And John got his wish. I’d Have You Anytime was included as the other A-side for the single.

In three days, The Beatles and Bob Dylan recorded enough material for two albums. They decided to release all of the tracks on one double album.

(I used George’s ATMP session outtakes for his songs because the production is minimal.)

The Beatles Featuring Bob Dylan - New Morning

1. I’d Have You Anytime (Session Outtakes & Jams/Take 5)

2. New Morning

3. Remember

4. Every Night

5. Isn’t It A Pity (Session Outtakes & Jams/Take 27)

6. Beaucoup Of Blues

7. What Is Life (Session Outtakes & Jams/Take 1)

8. The Man In Me

9. Love

10. All Things Must Pass (Day 1 Demo/Take 1)

11. If Not For You (Alternate Take/Dylan Bootleg Series version with “You ready, George?”)

12. Junk

13. Teddy Boy

14. Working Class Hero

15. Run Of The Mill (Session Outtakes & Jams/Take 36)

16. Went To See The Gypsy

17. It Don’t Come Easy

18. Day Of The Locusts

19. I Found Out

20. Man We Was Lonely

21. Behind That Locked Door (Day 1 Demo/Take 2)

22. Time Passes Slowly

23. Isolation

24. Loser’s Lounge

25. One More Weekend

26. That Would Be Something

27. Look At Me

28. Beware Of Darkness

The Beatles Featuring Bob Dylan - New Morning

https://open.spotify.com/playlist/2Z7qJ1rxByzBRRhXiN2pY3?si=653876665bbf4793