unCapitol— not on Capitol. At least not the Capitol on this rock we all live on.
The recent announcement and then release of box set of the Beatles' US Capitol mono LPs from (mostly) 1964 got me to thinking of making a second alternate fabs discography— that is, in addition to the one as detailed in my Beatles in Atlantis series. As that's a mostly stereo endeavor, and uses alternate Capitol mixes (stereo & sometime mono) where available, this here'll be mostly mono, using the mixes from proper discography as presented in The Beatles In Mono (2009) CD box set, except as noted.
Since there are no dedicated mono versions of the last couple albums in the band's real world discography (Get Back /Let It Be/…Naked and Abbey Road) and since I perfected my own best-effort-at-a-Get-Back album in the Atlantis series, their corresponding entries here serve as true alternates (to Let Back; to Abbey Road) and therefore by definition are second-best collections of the respective material. Thusly some in-narrative reasoning for this shall be written into the introduction for each.
This ain't gonna be a full-on storyline like with the Atlanteans, but a framework will be provided. Though known as Earth to its own inhabitants, it's clearly ain't the Earth in our universe…
Parameters for assembling discography as created in this alt world US:
• only one version of each song to be used (there is one exception, because story)
• Goal is to include all core catalog songs (though not duplicate versions; see above) & a few other highlights across the LPs.
• Capitol has right to all songs featured in the United Artists films, but cannot name an LP after its corresponding film, nor can they use recordings of any complete performance as seen uniquely performed live in any of the films. Additionally, United Artists was not to release any audio recordings of the band.
• only one version of each song to be used (there is one exception, because story)
• Goal is to include all core catalog songs (though not duplicate versions; see above) & a few other highlights across the LPs.
• Capitol has right to all songs featured in the United Artists films, but cannot name an LP after its corresponding film, nor can they use recordings of any complete performance as seen uniquely performed live in any of the films. Additionally, United Artists was not to release any audio recordings of the band.
The standardized worldwide catalog, codified with CD / digital remastering campaign, is included near end of this post, followed by a synopsis of the solo years.
01} Twist and Shout (August, 1963)
The Beatles are signed to Capitol soon as EMI offers 'em to its North American subsidiary, brought on by young, hip A&R representative Dexter du Louvre. Originally from Montreal, du Louvre had a background in the fine arts & theater, and moved to Los Angeles to write for television comedy before working for Capitol. He took an immediate liking to The Beatles and immediately set upon preparing and promoting their debut LP. His connection to Canada led Capitol to issue discography there identical to one in the States.
He named stateside debut after the joyful closer, despite it being a cover. All the songs on UK debut Please Please Me were included, though de Louvre used the original single version of Love Me Do with Ringo on drums, and he reordered the songs at end of first and start of second side into what he considered a superior sequence.
__side one I Saw Her Standing There Misery Anna Chains Boys Love Me Do [single version] Ask Me Why | side two__ Please Please Me P.S I Love You Baby It's You Do You Want To Know A Secret A Taste Of Honey There's A Place Twist And Shout |
02} With The Beatles! (late January, 1964)
A reconfiguring of the quartet's second album. Dexter felt new US fans would be well-served to have both the band's recent UK hits, including their current US chart topper. Additionally, he wanted to share the delight and energy of the BBC broadcast with North American audiences, and arranged for inclusion of a pair of "Pop Go The Beatles" performances. These substitutions meant bumping five With The Beatles [UK; no "!"] selections— all of which were covers, resulting in an album with a greater focus on the bands' own songwriting. Starting with this collection, du Louvre chose to acquire approval for his changes to track listings, album titles, and artwork from George Martin and The Beatles before submitting his work to Capitol for release.
__side one She Loves You All I've Got To Do All My Loving Don't Bother Me Little Child Till There Was You I Just Don't Understand ‡ | side two__ I Want To Hold Your Hand It Won't Be Long This Boy Hold Me Tight Soldier Of Love ‡ I Wanna Be Your Man Not A Second Time |
‡ Live at the BBC [2013]
03} The Beatles' Third Album (mid April, 1964)
Relying heavily on boisterous covers, owing to the inclusion of five With The Beatles numbers left off of With The Beatles!, the band's third US / Canadian album is further bolstered by the inclusion of three original single sides, three selections slated for release on an upcoming UK EP, and one more BBC "Pop Go The Beatles" performance. Around this time, Capitol was advised that if they failed to issue either of the two recent German language re-recordings, both songs would be offered to a small label. This would've led to American fans needlessly spending their allowance on songs they already had in English on the previous LP (money that could instead go towards the latest and greatest from Capitol). Du Louvre choose therefore to included Sie liebt dich — which was, unlike the other option, a complete new performance, and a lively one at that — placing it here as the closer.
Though hardly a showcase for the band's songwriting prowess, the third album was yet another hit, with many a US fan considering it the purest slab of Beatles rock 'n' roll ever issued.
__side one Roll Over Beethoven Thank You Girl You Really Got A Hold On Me Devil in Her Heart I'm Gonna Sit Right Down and Cry (Over You) ‡ Money | side two__ Long Tall Sally Slow Down Matchbox From Me To You Please Mister Postman I'll Get You Sie Leibt Dich |
‡ Live at the BBC [2013]
04} Something New (early July, 1964)
Recognizing A Hard Day's Night as The Beatles' first real masterpiece of an album, Dexter decided to release the LP in its entirety; he did go one further, adding the sole original from the most recent UK EP, which was right at home here in middle of second side. The peculiarities of Capitol's deal with United Artists meant he had to come up with an album title that differed from the film's name. This writer cannot fathom how that was advantageous to UA, but that was the deal. He expressed his displeasure at this one day over lunch, remarking "there's a perfectly excellent title for this album yet for some silly reason I have to think of… something new," at which the waiter, having overheard just end of this complaint, inquired "Is that the name of the new Beatles album? Sounds exciting!"
__side one A Hard Day's Night I Should Have Known Better If I Fell I'm Happy Just To Dance With You And I Love Her Tell Me Why Can't Buy Me Love | side two__ Any Time At All I'll Cry Instead Things We Said Today I Call Your Name When I Get Home You Can't Do That I'll Be Back |
05} Beatles '64 (early December, 1964)
Close to, but different from, the Beatles' fourth UK album, as Dexter here returns to practice of including both sides of latest single as he'd done on With! Additionally, by late 1964, The Beatles and their producer George Martin were so satisfied with du Louvre's work on the band's behalf (not to mention, he'd gained their trust by seeking their approval on any changes), that in addition to final mixes, he was soon receiving outtakes to hear and possibly consider if he ever felt the need for an extra track. Among the first batch of those, he was eager to include the Kitten rocker, resulting in three Beatles For Sale tracks being set aside for future use. (Of note, starting the next year Capitol was up and running in Mexico and going forward Beatles releases were consistent across North America.)
__side one No Reply I'm A Loser Baby's In Black Rock And Roll Music I'll Follow The Sun Mr. Moonlight Everybody's Trying To Be My Baby | side two__ Kansas City/Hey-Hey-Hey-Hey! Eight Days A Week Leave My Kitten Alone * Honey Don't Every Little Thing She's a Woman I Feel Fine |
*Anthology 1 [1995]
06} Beatles VI (early August, 1965)
Facing another movie-adjacent album for which he couldn't use the film's title, du Louvre opted for the least imaginative notion that came to his mind. Included in latest batch of tapes sent stateside was Bad Boy, one of two Larry Williams covers originally recorded specifically for the American market but which, unlike the other, would not see release in UK until the end of the next year. Making room for this and the three leftover tracks from Beatles' fourth UK album meant that four Help! tracks were set aside for future use— including, interestingly, du Louvre's favorite from the entire fifth UK album, You've Got To Hide Your Love Away. Even without it, much of the new material here, including the would-be title track, along with the leftover numbers, continue the dour but melodic mood with which Beatles '64 started. You wouldn't know it from the celebratory cork-popping photo, though. In UK discography, the band's development following their fourth album is fairly evident on their fifth. Here, conversely, bringing in remaining previous tracks and offloading four current ones for future use, the result feels somewhat like a "part 2" of previous album, from the dour mood of certain selections right down to featuring front cover image from same photoshoot.
__side one Help! The Night Before Yesterday I Need You Another Girl You're Going To Lose That Girl Dizzy Miss Lizzy | side two__ Act Naturally You Like Me Too Much Bad Boy I Don't Want To Spoil The Party Words Of Love What You're Doing Ticket To Ride |
07} Rubber Soul (early December, 1965)
Upon receipt of the Rubber Soul master, Dexter regretted the need to find a home for the remaining Help! tracks. The band were again making strides, bordering on leaps, clearly more pronounced than between For Sale and Help! yet as result of having to accommodate leftover tracks he recognized he would again inadvertently dampen the presentation of those advancements. He considered putting off the earlier 1965 tracks for even later use, but surmised at rate The Beatles were developing those tracks would possibly seem anachronistic in merely a year's time. Instead Du Louvre chose to set aside three of the more-forward looking numbers from Rubber Soul, along with the Ringo ditty, expecting they'd work well as basis for a follow-up LP that, along with their fantastic current non-album single, would showcase the band's recent progress.
The resulting North American issue was a decidedly more mellow, and less eclectic and varied, collection than the actual Rubber Soul crafted by the band and their producer. Dexter again passed on his favorite Help! track, thinking You've Got To Hide Your Love Away would work well with the Rubber Soul selections he set aside for next release, and that it ought not appear on same record as Norwegian Wood; that'd make for one too many sardonic down folk rock pop John ballad per album, he thought. Beatles '64 already had started with two or three, he figured. Many US fans would later claim that the removal of certain songs and the inclusion of a pair of the leftover tracks evinced an intent at crafting a more "folk rock" album, while others insisted the choice of Tell Me What You See was a deliberate winking nod to the plastic soul referenced by the album's title. In reality, the track selection for the US Rubber Soul was merely a consequence of decisions du Louvre had made about the previous LP, and the next, as-yet-to-be formed LP which he expected he'd complete with whatever the band's next single would be. Though this altered tracklist was nonetheless exceptional, going forward, Dexter resolved to no longer remove songs from any provided UK tracklist.
__side one I've Just Seen A Face Norwegian Wood (This Bird Has Flown) You Won't See Me Think For Yourself The Word Michelle | side two__ It's Only Love Tell Me What You See Girl I'm Looking Through You In My Life Wait Run For Your Life |
08} What Goes On (late May, 1966)
Though displeased to an extent with the less adventurous nature of the Rubber Soul he'd assembled, upon hearing the Fabs' upcoming single du Louvre was joyed by how the LP he now configured, joining them with the material he'd previously set aside, spotlighted a band of disparate strengths developing in exciting new directions at a formidable clip. Alongside the two new 1966 tracks and the material extracted from Rubber Soul were a pair of Help!-era b-sides and an outtake from same time— a Ringo number which to Dexter sounded sprightly and a bit futuristic — as finale, because what could follow it? The number proved quite popular on radio stations and garnered as much airplay as many of their singles, particular in the Northern States and Canada. Speaking of singles, this collection was issued a week before Paperback Writer / Rain, so fans who wanted the LP would not find themselves purchasing same two songs they already had on 45. Of some interest to those in our corner of the musical multiverse, the album photo — the so-called "butcher cover" — did not cause an uproar. During the filming of Help! the previous year, The Beatles of this Earth became vegetarians, and were soon extolling the health virtues of a slaughter-free diet and, with more focus, were speaking out for animal rights. Fan club members would even receive recipes on occasion. So when this artwork appeared, it was well understood to be the band's lighthearted and surreal, but pointed, remark on what goes on in factory farming, the practice of which was well underway in Britain and which, to the band's dismay that very year, 1966, intensified both in the UK and USA, making their visual commentary timely.
__side one Drive My Car You've Got To Hide Your Love Away What Goes On Day Tripper Yes It Is I'm Down | side two__ Paperback Writer Rain We Can Work It Out Nowhere Man If I Needed Someone If You've Got Trouble * |
*bootleg of canceled '80s Sessions LP
09} Revolver (early August, 1966)
By recently finding a home for all the previously uncollected tracks, Dexter had paved way to no longer omit tracks from the LPs as assembled by The Beatles & George Martin. The timing couldn't have been better, as he considered their new 14 track album to be an absolute masterpiece and their finest since A Hard Day's Night. The band had been pleased with du Louvre's handling of their catalog; though they had misgivings over the watered-down Rubber Soul, their concerns were allayed promptly as they were reportedly amused with its followup What Goes On, particularly how it had turned a shelved Ringo showcase into an unlikely North American hit! Now with du Louvre — "Dex" to his friends and colleagues, and to the Beatles who'd grown to increasingly trust him and his decisions, and found him personable upon visits to Los Angeles — issuing Revolver unadulterated, they were quite satisfied, artistically, regarding their relationship with Capitol Records. Nonetheless, when negotiating their new contract with Capitol not longer after Revolver's release, language was included formalizing what had thus far just been a courtesy extended by Dex: The Beatles henceforth would officially have full approval rights for any and all Capitol album titles, cover art, song selections, and track sequences.
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__side one Taxman Eleanor Rigby I'm Only Sleeping Love You To Here, There And Everywhere Yellow Submarine She Said She Said | side two__ Good Day Sunshine And Your Bird Can Sing For No One Doctor Robert I Want To Tell You Got To Get You Into My Life Tomorrow Never Knows |
10} Sgt. Pepper's Lonely Hearts Club Band (late May, 1967)
Another album from which it wouldn't have done to omit a note — nor a dog whistle — the North American edition of the fabs' widely hailed Summer of Love long player did add a song, becoming the second, and final, North American album to feature an expanded but otherwise exact tracklist of UK counterpart. Feeling the album could use another Lennon or Harrison number, Dex was keen to add the Pepper's-adjacent Only A Northern Song to the LP. Simply explaining the fans should get to hear this additional psychedelic gem from George, and that the album would be the best avenue for that, as ever Dex received the band's permission for his intended alteration.
__side one Sgt. Pepper's Lonely Hearts Club Band With A Little Help From My Friends Lucy In The Sky With Diamonds Getting Better Fixing A Hole She's Leaving Home Only A Northern Song | side two__ Being For The Benefit Of Mr. Kite! Within You, Without You When I'm Sixty-Four Lovely Rita Good Morning, Good Morning Sgt. Pepper's Lonely Hearts Club Band (Reprise) A Day In The Life |
11} Magical Mystery Tour (late November, 1967)
As Magical Mystery Tour was a made-for-television production of Apple and the BBC, and not a theatrical United Artists release, Capitol was free to release an album under same name. Dex assembled the titular collection with panache. With the show songs gathered on side one, in expert sequence, the second side featured the band's other non-Pepper's 1967 releases along with a song originally considered for the film but which would not see UK and worldwide release until the Yellow Submarine animated film. Widely regarded as a superior listening experience to the double EP release of the film songs, the LP edition promptly became a popular import in the UK and elsewhere. This collection can be considered, debatably, the band's superior psych LP and — as du Louvre was aware when assembling it — more of a "concept album" than its celebrated predecessor: a real trip, a voyage of place, time, and mind, ending on an international stage with a universal message.
__side one Magical Mystery Tour The Fool On The Hill Flying Blue Jay Way Your Mother Should Know I Am The Walrus | side two__ Hello Goodbye Strawberry Fields Forever Penny Lane Baby You're A Rich Man It's All Too Much All You Need Is Love |
12} The Beatles (late November, 1968)
The band's self-titled double was just the second, and final, UK album to be issued in North America using same title, song selection, and sequence as its UK counterpart. The Capitol mono edition did differ slightly though from the UK mono. For three tracks, du Louvre edited them to conform with certain aspects of the stereo mix he found much preferable:
• Don't Pass Me By was slowed almost all the way down to speed of stereo mix.
• Brief bit of While My Guitar Gently Weeps fadeout was folded to mono and flown in from stereo mix, including the plaintive "yeah yeah yeah yeah…" concluding vocals.
• Fade-back-in and famously blistered fingers climactic closing of Helter Skelter was folded and appended to the mono mix.
Unlike Revolver, the other Capitol LP which hewed to UK tracklist, the cover art was changed significantly. The black & white inner gatefold reproductions of four enclosed color photos instead appeared on front cover below embossed name. No copies were numbered.
|
__side one Back In The USSR Dear Prudence Glass Onion Ob-La-Di, Ob-La-Da Wild Honey Pie The Continuing Story Of Bungalow Bill While My Guitar Gently Weeps ° Happiness Is A Warm Gun __side two Martha My Dear I'm So Tired Blackbird Piggies Rocky Racoon Don't Pass Me By ‡ Why Don't We Do It In The Road? I Will Julia |
__side three Birthday Yer Blues Mother Nature's Son Everybody's Got Something To Hide Except Me And My Monkey Sexy Sadie Helter Skelter * Long, Long, Long __side four Revolution 1 Honey Pie Savoy Truffle Cry Baby Cry Revolution 9 Good Night |
all edits Library Industries exclusive! songs sourced from In Mono box & hacked together in Audacity as follows–
°fade portion sourced from The Beatles (30th Anniversary Limited Edition) [1998], then folded-down & flown-in
‡speed (nearly-)matched to stereo, referencing The Beatles (30th Anniversary Limited Edition) [1998]
*fade-in/blisters ending folded-down from The Beatles (30th Anniversary Limited Edition) [1998] & added to end
13} The Beatles Again (mid September, 1969)
In late May or early June, The Beatles, as yet unsatisfied with the efforts Glyn Johns had made towards compiling a Get Back album, request Dex try his hand at same. Du Louvre was concurrently working on a separate collection which could be issued while the Get Back documentary was still being prepared. The Beatles Again was formulated as part addendum to the eponymous double, and, by way of inclusion of a handful of demos, and even a couple of recordings from the Get Back sessions, part teaser for the in-progress, behind-the-scenes, sometimes off the cuff structure a Get Back album might take. (At the time he was under impression the associated documentary was to air on television, and therefore not subject to prohibition against Capitol including any peformances unique to a UA theatrical release.)
With this prospective interim release readied, and believing his work with the Get Back material effectively complete (see next entry), Du Louvre decided it was an opportune time for a trip back home to Canada. In the brief time he was gone, Apple's relationship with Capitol deteriorated, and the band itself was nearing its end.
For the first time, The Beatles requested changes to a proposed Capitol LP. They were pleased with the idea, but objected to the demos on specific grounds: Paul & George wanted the attention on the artists they gave their songs too, not on their own demos, and John was actively working on mixing a studio version of What's The New Mary Jane for prospective release. They suggested the release could work wonderfully without the four demos, or with different demos in their stead, but instead of hearing back from Dex as anticipated, they learned thru the press the record was being released exactly as first submitted. Davis Donalds Sr., a brash industry veteran tasked with overseeing matters during du Louvre's short visit home, later claiming to have not been aware of the band's correspondence regarding this collection, rush-released it before any further objections could be raised and before Dexter would return and delay a release with the requested revisions. Donalds thought he'd seize the opportunity to bring in some Beatle cash for Capitol. Unsurprisingly given its contents, the collection was a commercial & critical success. Other than the two leftover soundtrack songs that start the collection, the LP offered fans in UK and elsewhere material never-before issued on LP, and so soon became a popular import.
Apple informed Capitol that issuing this compilation without the band's approval was a clear violation of terms. The band were fully viewing their contract with Capitol to thusly be terminated; furthermore, any potential future releases would not be considered until if and when new terms were agreed upon. Hence, a North American release of their upcoming LP Abbey Road was now postponed indefinitely. Returning after just three weeks away, du Louvre was shocked at what had transpired in his absence.
The superstitious might note this is the Beatles' thirteenth Capitol album.
__side one All Together Now Hey Bulldog Sour Milk Sea [custom edit of demo] * Lady Madonna The Inner Light Hey Jude Revolution | side two__ Come And Get It [demo] † Not Guilty † What's The New Mary Jane [demo]° Goodbye [home demo] ∆ Old Brown Shoe Ï€ Suzy Parker ‡ Taking a Trip to Carolina [impromptu] √ The Ballad Of John And Yoko Ï€ You Know My Name (Look Up The Number) |
*another Library Industries exclusive— removes most of the vocalized interlude from middle of song, taking it down to about three minutes; edited from The Beatles: 50th Anniversary Edition: CD 3: Esher Demos [2018]
†Anthology 3 [1996]
°The Beatles: 50th Anniversary Edition: CD 3: Esher Demos [2018]
∆ sourced from boot that sounds better, altho it's on Abbey Road: 50th Anniversary (Super Deluxe) Edition [2019]
‡ widely bootlegged. I applied a little compression to whatever I started with.
Ï€ Past Masters [2009] (When submitting album for approval, Dexter requested —and received— dedicated mono mixes of both sides from latest single. However, as album was hurried for release in his absence, his originally assembled master with placeholder stereo tracks was used, so the mono edition includes these two in stereo, The requested dedicated mono mixes, prepared by George Martin & sent to Capitol, are long-thought lost.)
√ pulled from Let It Be... Naked | Fly on the Wall [2003]
14} Get It B. (late January, 1970) [stylized as GET IT Be)
In early January 1970, it was decided the documentary of the Get Back sessions would screen in theaters, rather than be shown on television. This impacted the Get Back album which Dexter du Louvre had compiled in late spring / early summer 1969 in two ways. First, once Capitol's legal team, in midst of dispute over The Beatles Again, claimed that for materials associated with a theatrical release, the label was exempt from requiring band approval, Capitol execs — overriding the objections of du Louvre who wanted the band and label to first agree to terms — pressured Dexter to ready his compilation for release well ahead of the film's debut. Secondly, however, as this was now to be a theatrical feature, and Capitol was prohibited from issuing "any complete performance as seen uniquely performed live in any of the [United Artists] films" Dex had to hurriedly change most of his selections. Not certain what would be in the film, but fully expecting it to rely heavily on the rooftop concert, he replaced all live tracks with best studio takes he could find; for Don't Let Me Down and its a-side Get Back, he simply opted for the previously released single mixes. Though it would turn out he'd included more of Dig It than actually ended up being seen in the film, out of caution he removed it, substituting Can You Dig It. He was aware that the three Beatles had recently professionally recorded I Me Mine, but Capitol had not received a copy and so he left in the rehearsal bit he'd included months earlier, gambling that it could not be classified as a "complete performance" even if shown. He removed the hybrid he'd crafted of George's demo of All Things Must Pass and the bands' rehearsals of the song, anticipating by now George would be recording the song for his own solo career; this left room for Mailman, Bring Me No More Blues. He substituted a previous take for his selected Across The Universe, as the one he preferred (with the fan backup vocals) had just been issued weeks earlier on a UK charity compilation and he was unsure if Capitol had rights to it. Learning they were to be featured in the upcoming cinematic release, Dex replaced the January 31st 1969 Two of Us and Long And Winding Road with earlier efforts. However, wishing to keep the Let It Be (take 27-B aka take 28) from same Apple Studio performance (and, not particularly keen on the string and brass overdubs and redone background vocals recorded same day for what would be the single mix of 27-A), he took a novel approach: modifying take 28 to an extent which would significantly differentiate it from the performance in film and be permissible in that regard. Though never receiving I Me Mine, he did have at his disposal a copy of the January 4th 1970 stinging guitar overdubs for Let It Be 27-A— so he grafted that solo onto 27-B aka take 28, creating a unique version. Largely forgoing the comic asides, between-song banter, and live-in-studio ambiance with which he'd peppered his original Get Back compilation, Dexter also resequenced the songs, as he felt his original track order was driven by the energy of the rooftop performances, now absent from this new configuration. This revised sequence was seemingly closely followed, with a couple side two omissions, weeks later when another American would present material from these same sessions, but "as reproduced for disc"…
Knowing Capitol could not name an album after a UA film, and uncertain at that point of just which of two songs would become the film's title track, Dex jokingly dubbed this heavily revised collection "Get It B." a combination of the two titles, with the "B" a little inside joke indicating pretty much everything on the LP was now his "b" or second choice. Of note, the UK/worldwide Let It Be album never became a popular import in North America, with most fans and critics there preferring the back-to-basics result of the Get It B. album, despite its reliance on not-ideal takes for many of the selections. Paul McCartney is said to have preferred this hastily assembled collection despite its shortcomings over the overstuffed, over-reproduced edition featuring a slathering of musical adornment he famously found objectionable. With this collection issued in place, and in advance, of the LP assembled by that other American, the orchestrated single version of Let It Be, and the three heavily orchestrated songs from said album of same name, never saw release in North America.
__side one Two of Us [take 4] † Dig A Pony [1969 Glyn Johns mix] † Across The Universe [take 2] ∞ I Me Mine [rehearsal] °† Can You Dig It? † Let It Be [take 28 w/Jan 04 1970 solo] * Maggie Mae/Fancy My Chances w/You °† | side two__ I’ve Got A Feeling [take 10] † Mailman, Bring Me No More Blues ◊ One After 909 [take 3] † The Long And Winding Road [Jan26] ◊ For You Blue [take 4] † Don't Let Me Down [single version] ° Get Back [single version] ° |
†Let It Be (Super Deluxe Edition) [2021] {note that for many of the selections pulled from this 2021 set,
edits have been made: removing studio chatter, etc, so that tracks start and end more or less clean.]
°For first time, Capitol did not issue separate mono/stereo editions of an album; these recordings are mono on
an otherwise stereo LP, either out of necessity or, in case of the two closing single sides, Dex's preference.
*main performance & edited closing ambience/John singing/Ringo drumroll from Let It Be (Super Deluxe Edition) [2021]; stinging 01/04/70 guitar solo from Let It Be [2009]
∞ Anthology 2 [1995]
◊ Anthology 3 [1996]
15} Abbey Roadwork (early May, 1970)
By spring of 1970, worldwide reports of the Beatles' breakup were widespread. In the UK, press copies of Paul's debut solo album arrived with text in the form of an interview intimating the band's demise. In North America, not only were there no press copies of Paul's debut solo LP, there were no copies at all. On account of the legal dispute over The Beatles Again, no Apple material had been issued since the Give Peace A Chance single, not counting the disputed Get It B. This meant the band's final recorded LP, hailed as a studio masterpiece and available for over half a year worldwide, was not even scheduled for release in North America, the band explicitly forbidding it while litigation was underway over the two previous, unauthorized, US LPs. However, Allen Klein, now firmly in charge of Apple, didn't want to lose out on sales in the band's most lucrative market. Thinking it a clever workaround to bypass band's explicit prohibition against Abbey Road being distributed by Capitol, Klein instructed Apple to send over alternate takes and early mixes from which a similar but different album could be assembled. Du Louvre's contract with Capitol required he complete the task at hand, though he found the prospect questionable at best. Much to his shock, among the rough mixes and alt takes, he realized he'd been shipped the multitrack masters! Someone at Apple really erred there; did give him more to work with though. Having assembled the best second-best edition of Abbey Road he could muster from the provided material, Dexter was instructed by Capitol to issue it under the same name and using same cover art as actual album. This was too objectionable; he could not sully the actual album's reputation that way, nor betray the artists and their producer thusly. Dexter had different artwork prepared, sporting a guilefully different title, leaving North Americans under no illusion they were buying Abbey Road; instead, they got the roadwork.
Dexter flew to London to personally ensure safe return of the tapes. Upon his return, Capitol fired him for his subterfuge over altering the album title and cover, complaining he was more loyal to "foreign musicians" than to US company he worked for. Being a foreigner himself, he found this a bit amusing. Meanwhile, the American in London had also been shown the door: The Beatles, previously split 3 to 1 over their support, or lack thereof, for Klein's role in their organization, united in their disapproval of his underhanded scheme to issue an alternate Abbey Road behind their backs and dismissed him for breach of contract. With common enemies in both Capitol and Klein, the band's split, which had been growing quite quarrelsome, turns amicable.
American fans embrace what they get in Abbey Roadwork, though the legit Abbey Road becomes a popular import. Conversely, Roadwork ends up being exported for listeners back in England and elsewhere who want to hear, particularly, the alternate takes. The Klein / Capitol alternate LP scheme does end up making even more money than if the real album had simply been released worldwide, ironically assisted by Dex's implementation of different art and title, which helped to differentiate the two editions in the marketplace. Also ironically, it is through the fractured, contentious relationship with Capitol, and Klein's sly shenanigans, that Abbey Road — or, a not-reasonable-facsimile — becomes the band's swan song, if only in North America, as it really should have been everywhere.
__side one Come Together [take 1] ◊ Something [studio demo] ‡ Maxwell's Silver Hammer [take 12] ‡ Oh! Darling [take 4] ‡ Octopus's Garden [takes 2 & 8] ◊ I Want You (She's So Heavy) [Trident recording session & reduction mix] ‡ | side two__ Here Comes The Sun [take 9] ‡ Because [a cappella mix] ◊ The Long One [trial edit & mix 30-07-69]—» —»The End [remix] ‡/◊* |
◊ Anthology 3 [1996]
‡ Abbey Road: 50th Anniversary (Super Deluxe) Edition [2019]
‡/◊* Library Industries edit of Long One from Abbey Road: 50th ending instead with The End [remix] from Anthology 3
~~~~•~~~~~~ Post-breakup ~~~~~~•~~~~
When the legal wrangling concluded, Capitol was found to have repeatedly violated their contract with The Beatles, starting with the unauthorized release of The Beatles Again, and continuing with Get It B. and Abbey Roadwork. Existing agreements were terminated, and the former bandmates and Apple were free to take their burgeoning solo careers, and future pressings of the Beatles back catalog, to a different US label.
Shortly after being terminated by Capitol, Dexter du Louvre was hired by nearby Warner Bros. Records. Apple still implicitly trusted du Louvre; none of the now-dissolved band's issues with Capitol were Dexter's fault; to the contrary, they'd always been pleased with his work. And so Warner, with du Louvre as point man, was now handling North American manufacture and distribution of Apple Records.
The Fab Former | Let It Down (mid December, 1970)
Somewhat surprisingly, almost inexplicably, Warner issues a double of ex-Beatles solo material as part of their mail order budget Loss Leaders series! Compiled of course by Dexter du Louvre, it is decidedly not a best-of-first-solo-year collection. Across the two LPs, there are almost as many Ringo lead vocals (three, including an outtake) as John solo recordings (only four), with not much more from Paul. It is primarily a showcase for George's songwriting, presumably the label's motive: promoting George as unsung Beatle no more. None of the best songs from All Things Must Pass are presented — excepting the title track, here as performed by Apple label mate & fifth Beatle Billy Preston. Interestingly, most of the George numbers included are alternate takes, demos, or outtakes, accentuating the abundance of his song stockpile at the time. Of particular note two previously unissued Beatles recordings from Get Back sessions are snuck in! Credited slyly on the label to "The Fab Former" at $2 this was a remarkable bargain by any name.
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| In a sign of perhaps mirror synchronicity with the Atlantis timeline, no selections from that world's similarly titled Let's At Sea reunion setlist / resultant live double are featured here. |
__side one__ I Live For You [outtake] * • Beaucoups Of Blues § Valentine Day ^ • Beware Of Darkness [take 8] † Remember ∆ • Dream ¬ __side two__ Teddy Boy ª • Mother Divine [day 2 demo] † Gimme Some Truth [rehearsal] ◊ Ballad Of Sir Frankie Crisp (Let It Roll) [day 1 demo] † Let It Down ∂ • All Things (Must) Pass ∫ | __side three__ Coochy Coochy §§ • Hot As Sun - Glasses ^ Beautiful Girl [day 2 demo] † • Kreen - Akrore ^ Cosmic Empire [day 2 demo] † • Love ∆ __side four__ I Found Out ∆ • Singalong Junk ^ Behind That Locked Door [demo] ≈ Hear Me Lord [day 2 demo] † Art Of Dying ∂ • My Mummy's Dead ∆ |
* All Things Must Pass (2001 bonus) ; § Beaucoups Of Blues ; ^ McCartney ; §§ Beaucoups Of Blues (1995 bonus)
† All Things Must Pass [2021 Super Deluxe bonus] ; ∆ Plastic Ono Band ; ¬ Sentimental Journey ; ª Anthology 3
∫ Encouraging Words ; ◊ Let It Be [2021 Super Deluxe bonus] ; ∂ All Things Must Pass ; ≈ Early Takes Volume 1
Various Apple Artists | Listen The Snow (late April, 1972)
A second and final solo years Loss Leader, again assembled by Dexter, was planned just in time for the 1971 holiday season. Originally set to feature a dozen tracks, its release was delayed at request of Apple who were concerned it might detract from sales of then still recent singles. This postponement allowed Dexter to include both sides of Ringo's April 1972 hit single, which, perplexingly given their earlier concerns, Apple did not object to. With Paul's as-yet unreleased Little Woman Love slated for inclusion, Dex then acquired John's unreleased guide vocal mix of God Save Oz, which supplanted the actual God Save Us a-side sung by Bill Elliot. The LP, at the traditionally fab count of 14 tracks, collected the complete non-album a- or b-sides from singles released or recorded in 1971 (the back cover stating "recorded late 1970 thru '71").
Named after Yoko's b-side to the John & Yoko Xmas single, this LP was seen as a belated holiday gift to Beatles fan; not a gift, exactly— it was one dollar by mail order. Unlike any other entry in the Loss Leaders series, this one garnered coverage in the mainstream press, and reviews were overwhelmingly positive.
"An ersatz single LP white album for 1971, issued a few months late, with Ringo unexpectedly bringing the odd experimental sounding number and Yoko providing the most purely beautiful closer to any, dare I say, Beatles album ever" — The Guardian
"With the hindsight / sound of last year of solo releases, which increasingly make the fab four seem like a dissipating dream never to be glimpsed again, I feel I've just listened to the first accidental, and last ever, (de facto) Beatles album. Maybe no accident: Quebecker-turned-Angeleno Dexter du Louvre made a name for himself assembling the North American releases for the band when they did exist, and now that they don't exist he sure seems to have conjured up one last go around. The whole thing hangs together, right down to the majestic closer by the oft-maligned Ms. Ono. This would have been one of my favorite albums of last year, and it's no less an unexpected treasure this." — Rolling Stone
Predating the UK release of the Happy Xmas single by the better part of a year, demand for an import was high; in the States, it was sold out via mail order well in advance of Christmastime. So in time for holiday season '72, a budget, retail, non-promotional worldwide release followed.
__side one__ Power To The People Another Day Back Off Boogaloo Little Woman Love Do The Oz Blindman Bangla Desh | __side two__ It Don't Come Easy Deep Blue Early 1970 God Save Oz [Lennon guide vocal mix] Oh Woman Oh Why Happy Xmas (War Is Over) Listen, the Snow Is Falling |
late 1970s — early '80s
• In the late '70s, Dexter leaves Warner Bros. Records and starts his own label, DDL. When John & Yoko return to recording after a half decade absence, they sign with DDL for release of their Double Fantasy LP
• Early December 1980: John, returning home with Yoko after an exceptionally productive day, is confronted by a gunman. A jogger (an off-duty nurse) who happens by tackles the would-be assailant. John's left shoulder is grazed by a single bullet. A crowd of passerby restrain the shooter — who is thereafter jailed — while the nurse tends to the minor wound.
• Walking on Thin Ice is Yoko's first international hit, as she and John embark upon a hugely successful world tour.
• Following the success of Say Say Say, George records a hit duet with Prince, released w/ a b-side, also a hit, credited to "Ringo and the Revolution."
1984: Give My Regards to Broad Street
John and George have a brief joint cameo in Paul's feature film, appearing as a pair of unrelenting hecklers. This is broadly referred to as "the only good part of the movie, except maybe the music" with most reviews using that exact phrase.
1984–'85 | the Super Bowl of Lawsuits: Apple v. Apple
Following the 1984 unveiling of the Macintosh personal computer, by way of acclaimed commercial from director of Blade Runner, Apple Corps took legal action against Apple Computer, Inc. for infringing use of the name and logo— and prevailed. In addition to a large settlement, Apple Corps was awarded a small percentage of all sales for as long as the Cupertino computer company continued under the Apple name and continued using logo and such. This influx of funds helped allow Lennon and McCartney to acquire Northern Songs, Ltd, at long last gaining control of the catalog of their own compositions which had for years evaded their grasp.
mid 1980s: the counterfeit boom
In the run-up to the recorded works of the Beatles being readied for release on the new digital optical compact disc (CD) format, it was reported that their catalog would finally be standardized worldwide, with speculation this would mean deletion of the unique Capitol collections. Additionally, following a new agreement between Apple, EMI, and Capitol, the Beatles catalog would revert to Capitol, though Warner Bros. retained North American rights to all the solo material they'd released (including, technically, the two Get Back outtakes on their first fab Loss Leader). Between when this changeover took effect and the completion of the digitally remastered reissues, there was a brief yet relatively substantial gap when Beatles records were out of print and unavailable throughout North America. This led to a spate of impressive counterfeits of the band's US/Canada/Mexico catalog —many convincing enough that retailers couldn't tell, or could convincingly claim athat they couldn't tell, that these were not legitimate products. One counterfeit though was deliberately easy to spot: presumably pressed by vegan counterfeiters (the label said as much), it humorously adopted the title of the recent Smiths album and its title track / vegetarian musical manifesto, Meat Is Murder, for an otherwise faithful reproduction of 1966's beloved What Goes On.
The Beatles | Kompromat aka Kompendium (in or around May, 1986)
The standardization of the band's catalog was spearheaded by John Lennon and George Harrison; surprisingly, Paul McCartney was not particularly adamant about the choices being made — or, more likely, he simply was in agreement with their decisions and saw no reason to appear controlling. There is one impactful exception to Paul's hands-off approach, however; more on that later. While George Martin handled the remastering, Dexter du Louvre's input was sought to varying degrees, depending on the title. As speculated, the Capitol titles — most of them, at least — were being retired. Though there was a solution to accommodate the majority of the songs only released on LP in the 60s by Capitol, a couple such numbers were going to be omitted owing to wish to avoid excessive side lengths, as LPs were to be part of the reissue campaign along with cassettes and the main focus of the campaign, the shiny new CD.
Dexter assembled a rough compilation including those two numbers along with rarities, mostly unreleased, for Martin & the former bandmates to consider for possible release or as bonus item unique to a proposed box set. Somehow, this assemblage fell into the hands of some of the aforementioned counterfeiters, who now turned their underground manufacturing and distribution capabilities towards bootlegging the collection. Soon it was in record stores throughout the US and its neighbors south & north, and overseas. The bootleg proved rather popular, forestalling any legitimate release as part of the upcoming reissue series.
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| front cover |
__side one
That'll Be The Day [Quarrymen]
In Spite Of All The Danger [Quarrymen]
You'll Be Mine [home demo]
Ain't She Sweet [original, no drum overdubs]
Cry For A Shadow
I'm Gonna Sit Right Down and Cry (Over You) [BBC]
One After 909 [1963 takes 4 & 5]
Bad to Me [demo]
You Know What To Do [demo]
Memphis, Tennessee [BBC]
Shout [Around the Beatles; full-length]
__side two
That Means A Lot [take 1]
Christmas Time (Is Here Again) [edit as on Sessions]
Circles [Kinfauns demo]
Step Inside Love/Los Paranoias [jam]
The Palace of the King of the Birds [Twickenham | edit ~2min]
Isn't It a Pity [Savile Row demo]
Watching Rainbows [edit ~2min]
Can You Dig It? [Savile Row]
Rip It Up/Shake, Rattle And Roll/Blue Suede Shoes [Savile Row sessions]
Mama You Been On My Mind [Twickenham sessions]
Mailman, Bring Me No More Blues [Savile Row]
.png) |
| back cover showing alternate title |
Early 1987 thru Early '88: The Standardized Beatles Catalog
For the standardized album catalog…
• Most Capitol collections are deleted
• Most, though not all, entries from band's actual, UK, catalog are retained - albeit a few reflect changes based on Capitol counterparts
• A new collection brings together stray early-to-mid songs, not on UK albums, abandoned by deletion of unique Capitol LPs
• A reimagined album is crafted to replace both a contentious UK/international LP and its unauthorized Capitol sibling
Regarding mixes used: through Revolver, except for one exception, the compact disc has full mono program followed by entire album in stereo; cassettes have full mono on one side of tape, and complete stereo album on other side; vinyl is mono. Subsequent albums used mixes as noted below.
01} Please Please Me
UK album and artwork, but using the slight resquencing Dexter du Louvre used for first North American LP, Twist and Shout. The Andy White (Ringo on tambourine) version of Love Me Do though is used, as the master tape for the orignal with Ringo drumming is no longer available.
02} With The Beatles
No exclamation mark! It's the original UK album.
03} A Hard Day's Night
UK album and artwork, but with I Call Your Name added to middle of side one, as on Capitol Something New (see way up above)
04} Beatles for Sale
UK album
05} Help!
UK album
06} Rubber Soul *stereo mix included on CD/tape has false starts on I'm Looking Through You*
UK album
07} Beatles 63–66 *CD&LP mono only; cassette has 2nd side of stereo mixes, only using mono when no stereo available, substituting Sie liebt dich for She Loves You*
For the early-to-mid period UK non-album single and EP tracks, and most of the other early-to-mid tracks orphaned by the deletion of the Capitol LPs that housed them, this delightful new collection was compiled.
 |
___side one
From Me To You
Thank You Girl
She Loves You
I'll Get You
Slow Down
Matchbox
She's a Woman
Leave My Kitten Alone
Yes It Is
I'm Down
___side two
I Feel Fine
Soldier Of Love
Long Tall Sally
Bad Boy
I Just Don't Understand
If You've Got Trouble
Day Tripper
We Can Work It Out
Paperback Writer
Rain
08} Revolver
UK album / North American album (featured same fourteen songs in same sequence)
09} Sgt. Pepper's Lonely Hearts Club Band
*CD & LP mono; cassette adds stereo program, using fake stereo of song on deleted UK Yellow Submarine*
10} Magical Mystery Tour *CD & LP: side one / film songs are stereo, side two songs are mono; cassette has full stereo LP on 1st side of tape, full mono on 2nd*North American album, with Only a Northern Song added after She's Leaving Home, moving Being for the Benefit of Mr. Kite! to open second side
Not UK EP, but twelve song Capitol LP, with the songs featured in film on first side, in order of lyric booklet, & second side comprised of remaining 1967 non-album single sides with another of the four "new" songs from deleted UK Yellow Submarine album
~~•~~~note: box set bonus~~~•~~ With the UK/international Yellow Submarine LP deleted — its four "new" Beatle songs being available across the same three LPs where they had featured in the 60s Capitol discography — an entire side of George Martin material was omitted from the Beatles catalog. As a bonus in the CD "bread box" box set, a newly curated collection including that whole side, along with earlier Martin recordings of Beatles tunes, and one short unreleased track originally intended for the white album, was included. Rather than residing in a jewel case in its own slot in the wooden box, it was housed in a sleeve built into a page of the enclosed booklet. A standalone CD, as well as a cassette edition, was also available. No vinyl LP was pressed. Titled George Martin in Pepperland, the selections are listed below, shown reflecting the two cassette sides.
 |
| George Martin seen at EMI studios during Beatles heyday |
__side one__ Don't Bother Me » Off the Beatle Track » A Hard Day’s Night (soundtrack) » A Hard Day’s Night (soundtrack) » A Hard Day’s Night (soundtrack) » Help! {The George Martin Orchestra LP} » Help! {The George Martin Orchestra LP} | __side two__ She Said She Said » … Instrumentally Salutes "The Beatle Girls" » … Instrumentally Salutes "The Beatle Girls" » … Instrumentally Salutes "The Beatle Girls" » Yellow Submarine |
11} The Beatles (“the white album”) *the CD, LP, & cassette all feature the mono mixes for the songs of first and third side — using Dexter's slightly modified While My Guitar Gently Weeps and his extended (w/ fadeout and blisters) Helter Skelter [see way way above] but the stereo mixes for the songs of second and fourth side. This became known as the "odd mono, even stereo" edition.*
UK album / North American album (featured same thirty songs in same sequence)
12} The Beatles Again *the CD, LP, & cassette all feature mono mixes, except selections for which only stereo mixes were available*
13} Get Back *stereo-only*North American album. Though its unauthorized release snowballed into legal action terminating the band's ties to Capitol, this is indeed the collection originally complied by Dexter du Louvre and released behind his back, and against the Beatles' objections in violation of their contract, by Capitol at the behest of Davis Donalds Sr. At this point, nearly two decades later, George, Paul, and John's concerns over certaininclusions no longer pertained.
Lennon & Harrison determined to delete Get It B., and retain Let It Be with one change: simply adding the single b-side studio version of Don't Let Me Down as the penultimate track. Paul forcefully reminded them they were wrong about Klein, and proclaimed they'd been equally wrong about the 1970 "as reproduced for disc" LP collection named after their final film. He never cared for the heavy-handed approach to the overdubs, and reminded them none of them were really pleased with any attempt up through then to make an album of the material, a task they'd abandoned and left to others. He insisted Let It Be should be deleted just like Get It B., and that now was finally time for a definitive Get Back album to be released in their stead. Enlisting Ringo's agreement, Paul suggested George Martin, overseeing the remastering as he was. Martin declined, advising since both Glyn Johns and Dexter du Louvre had originally been tasked with assembling LPs from this material, they should now collaborate on a final compilation. Their results were wholeheartedly approved by all four former fabs.
 |
| multiversal mirror synchronicity: near-exact match to Let Back. Speculation abounds that this timeline's USA = United States of Atlantis! A robust democracy, stretching coast to coast, inhabited originally by indigenous descendants of Atlantis, who'd repelled European, primarily British, attempts at colonization. |
__side one
[opening piano & live sounds ("all cameras four" etc) from roof, as on 2nd Glyn Johns Get Back configuration]
01> One After 909 —•— rooftop 30 January 1969 —•—
[J "Oh Danny boy, the '|…| ⟨…⟩ '|…| ⟨…⟩ calling"]
[R "Hold it!” \ false start]
02> Dig A Pony —•— rooftop 30 January 1969 {with "All I want…" intro & outro} —•—
[J "Thank you, brothers. Me hand’s getting uh too cold to play a chord now."]
03> I've Got A Feeling —•— rooftop 30 January 1969 {take one} —•—
[J "Ohhhhh, my soul. So hard"]
[P "…Dexter has scored another…"]
[G "Alright… "]
[J "We've had a request from Martin and Luther…"]
[G "Are you ready Ringo… "]
[R "Ready George"]
[G "1 2”] [P “hello” ?] [G “3”] [P “hello” ?] [G "4 —"]
04> I Me Mine —•— studio 3 January 1970 —•— {extended via repeated portion} —•—
[P <yelping>]
[G "Paul, stop"]
05> Two of Us —•— studio 31 January 1969 —•— {with whistling outro} —•—
[P "And so we leave the little town of London, England"]
[guitar, tuning]
[G "Okay”]
[J "Quiet please!"]
06> All Things Must Pass —•— {composite of studio demo 25 February 1969, with band backing flown in from rehearsals and some Preston pulled in, approximating a nearly faltering Music From Big Pink feel, in keeping with Harrison’s stated inspiration and intent} —•—
[J "Are we supposed to giggle in the solo?"
[P "Yeah."
[J "OK."
[P "This'll – this is gonna knock you out, boy."]
07> The Long and Winding Road —•— studio 31 January 1969 —•— {minus McCartney’s vocalizations over Preston’s solo} —•—
__side two
[J "⟨…⟩ '|…| Richie"
[J <breath-laugh>
[opening stringed and percussive sounds — as on final Glyn Johns Get Back configuration]
08> Across The Universe —•— studio 4 & 8 February 1969 —•— {at original tempo & pitch, with the backup vocal overdubs, including the Apple Scruffs mixed fairly prominently as on originally released World Wildlife Fund version, and sans the nature/bird effects, with bit of tape delay at end} —•—
09> Dig It —•— studio 26 January 1969 —•— {1969 Glyn Johns ~4:10 Get Back, but edited to end ~3:47 at drum/piano finish, before "Ohhhh…"} —•—
[J "That was 'Can You Dig It' by Georgie Wood. And now we'd like to do 'Hark, The Angels Come'."]
10> Let It Be —•— studio 31 January 1969 {composite of take 27A & take 27B (a.k.a. take 28); starting with take 27 intro (beginning with original mix: John on bass / John & George on backing vocals), then pulling in solo from take 27B aka take 28; after 27B solo, switching to single mix with Paul bass overdub, etc); adding bits of 4 January 1970 guitar overdubs, stinging guitar licks in the outro; no "there will be no sorrow" ending variation kept in from 27B; no repeated segment, unlike album mix; keeping Paul's take 27 debatable "mistake" on piano in last verse —•—
11> Maggie Mae —•— studio 24 January 1969 —•—
[rattling ice]
[J "Queen Says 'No' …"]
12> For You Blue —•— studio 25 January 1969, 8 January 1970 (overdubs) —•—
[P "Do your thing, man.”
[J "I’m doing it all the time, I can’t keep off it!" <giggle>]
13> Don't Let Me Down —•— rooftop 30 January 1969 {composite take} —•—
14> Get Back —•— rooftop 30 January 1969 {composite, takes 1 & 3} —•—
[cheers]
[P "Thanks, Mo."]
[J "I'd like to say thank you on behalf of the group and ourselves, and I hope we've passed the audition.”]
[laughter, clapping]
Main sources for Library Industries collection listed below, though assorted additional edits / adjustments made. [Chat/dialogue/ambiance] sourced variously
01, 02> Get Back: The Rooftop Performance {2022}
04 , 05, 12, 13> Let It Be… Naked {2003}
03> Let It Be {Martin/Okell Remix; 2021}
06> Anthology 3 has the main demo Harrison performance; snippets from rehearsals found on the Let It Be… Naked {2003} Fly on the Wall bonus disc & the third disc of Let It Be (Super Deluxe) {2021}; "Albums That Never Were" blog Get Back 2022 upgrade, an excellent assemblage purportedly pulling the other three Beatles from Fly on the Wall and some Preston from The Beatles: Rock Band stems, though Library Industries edited to restore opening and closing from Anthology 3 demo
07> 1+ {DVD, Blu-ray; 2015}
08> Past Masters, Volume Two {The Beatles Box Set; 1988}, the opening nature sounds removed, and recording slowed down (by about -3.562%) back down to original speed as on 1970 Glyn Johns mix now readily found on Let It Be EP {Let It Be (Super Deluxe); 2021}, fading out the Past Masters ending into birdless ending from Let It Be… Naked
09> Get Back LP – 1969 Glyn Johns Mix » Let It Be (Super Deluxe) {2021}
10> sourced & assembled from 1969 Glyn Johns Mix » Let It Be (Super Deluxe) {2021} + Let It Be… Naked remix {2003} + single remix (Super Deluxe) {2021} + album remix (Super Deluxe) {2021} + … Naked remix {2003}
11> Let It Be {Martin/Okell Remix; 2021}
14> Rooftop performance take 3 is bulk of it; "Albums That Never Were" blog Get Back 2015 upgrade
14} Abbey Road *stereo-only*
UK album. First time ever available in North America! The other counterfeits soon fell out of circulation once the standardized remastered catalog was available, being now largely redundant. However, Get It B. and Abbey Roadwork, offering so much unique material by way of alternate takes and mixes, continued to be popular.
The Elastic Ladder's Band (early December, 1989) and planned 1990 concert
Right in time for the holidays, a double LP/ double CD with no advance press, and to the music world's great surprise, was issued under the name "The Elastic Ladder's Band." Sides one through three featured John Lennon, George Harrison, Ringo Starr, Harry Nilsson, and Klaus Voormann. The fourth side presents a rather different lineup:
Yoko Ono, vocals and keyboardsLinda McCartney, vocals and keyboardsPaul McCartney, bass and vocalsJohn Lennon, guitar and vocals
with longtime Yes member Alan White of the Plastic Ono Band on drums, and, unexpectedly, Ian McDonald, formerly of King Crimson and Foreigner, on woodwinds.
The album was seen as a stunning return to form, and then some, for all, with the closing side declared absolutely astonishing, hailed by one reviewer as
"indescribably ahead of its time —a time almost surely forever somewhere ahead, never present; an impossibly thrilling future"
Fans took to referring the lineup on first three sides as "The Ladders" or, calling back th three fabs' young success while ironically nodding to their current middle age, simply "The Lads." The final side lineup was distinguished in discussion as "Elastic Lass."
No one saw this coming, but just about all who listened were "ecstatic with the Elastic."
Over in Germany, however far back anyone did or didn't see it coming, on November 9, 1989, the Berlin Wall began to come down. The world watched in awe. To coincide with the planned June 1990 official demolition, assorted musical acts from Western and Eastern Europe, the United States, and elsewhere were scheduled to perform a celebratory concert. The Ladder's Band accepted an invitation. With all four of them appearing, though in the two separate Ladder lineups, there was feverish expectation that The Beatles — who had never performed behind the Iron Curtain — would reform and play a set at this momentous occasion.
However, in late May a cabal of non-state actors — perhaps hardline Soviet loyalists dismayed at impending changes to the global power order, or perhaps not that at al— somehow seized control of the Soviet Union's nuclear arsenal, launching countless coordinated simultaneous attacks on the west, triggering an equally destructive response against the east. Worldwide nuclear conflagration ensued, wiping out civilization the Earth over. Needless to say, there was no concert. There was nothing.
Postscript: 2064
It is said when first descendants of few scattered survivors ventured out of shelters in the northeastern United States, they happened upon, a century after its release, a copy of With The Beatles! Side one was blasted to a glass-like sheen; the second side however was pristine. Upon playing it on a makeshift hand-cranked turntable sporting a bird's beak for a stylus and an old hubcap as the platter, it brought the listeners — out in open air for first time, and hearing recorded music for first time as well — such utter joy that when they began building a new city amidst the ruins of a hundred years earlier, they decided to name it honor of this group of four long-gone, obliterated lads from a port town across the Atlantic. Hence, "New iverpool" was born — the L missing as it had been lost to time by partial damage to the back cover blurb from which the trailblazers of a new human society gleaned info about the mysterious pop idols whose faces were half-shrouded in shadow on the front photo.
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| standardized worldwide catalog, 1987, shortly before the apocalypse |
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