The Squire Presents

Part 1 – Sci-Fi Lullabies (Break Up Version)

Most, if not all musical movements receive their name from people who tend not to be part of that movement, be it the press, critics or the artists A&R. Some movement names are used whilst it is still active, such as punk whereas other are retrospectively given with Freakbeat being a good example. Some artists embrace the movements name, some do not and therefore seek to distance themselves from it. There is also the added problem of trying to work out what is the first record to be released that could be described as starting that moment off. The amount of words that have been written trying to work out what the first Rock ’n’ Roll record was is arguably a good deal more than the amount written by Shakespeare. 

British band Suede fit nicely into lots of the categories mentioned above. Their first album is considered (myself included) to be the first Britpop album. They hated the title and their second album can therefore be considered to be the first post-Britpop LP, four years before anyone else tried to produce one of their own. 

Suede started when students Brett Anderson and Justine Frischmann met whilst studying at University College London. They became a couple soon afterwards and with Anderson’s friend, Matt Osman, they decided to form a band. Neither Frischmann or Anderson felt they were good enough guitar players to play lead so after an advert was placed in the music paper, the New Music Express (or NME as it is more commonly known), a certain Bernard Butler got their job. Early gigs would see the band backed up with a drum machine which proved to be unreliable. They would briefly be joined by drummer Justin Welch, who would later reconnect with Frischmann in Elastica. He didn’t stay long and therefore another advert in the music weeklies was placed. The band were surprised when Mike Joyce, former drummer with The Smiths got in touch but he did not stay long either. Joyce bailed on the fledgling group because he felt that being in a band that was influenced by and had certain similarities to The Smiths would do Suede more harm than good. Eventually, Simon Gilbert joined behind the drum kit. 

Tensions began to build when Frischmann and Anderson split up. Frischmann had started a relationship with Blur’s Damon Alban but she did not leave Suede immediately. It was felt that the situation could be worked through but she was eventually fired after turning up late for rehearsals on too many occasions, sometimes due to being on the set of a Blur video. With Frischmann gone, Anderson and Butler became closer and began writing the songs that would make up the debut album. 

Anderson was the figurehead of the band, and appeared on the front cover of music weekly Melody Maker before they had released a record. The paper even called them the “Best New Band in Britain”. By the time of their third single released, ‘Animal Nitrate’ they had matched the hype with record sales as this was their first single to break into the UK Top Ten singles chart. When the album came out, it was the biggest selling debut since Frankie Goes to Hollywood’s ‘Welcome to the Pleasuredome’ LP. The album also won the 1993 Mercury Music Prize and it would seem that Suede were truly going to be the next big thing. That was until tension started to arise between Anderson and Butler. 

In early 1994, the band released ‘Stay Together’, their highest charting single to date but the sound was different to what had gone before. The song was also a portent of what was to come. Multi-layered guitars, increased length of the songs and sounding like nothing else around it. Butler did not help the situation by being quite critical of Anderson in one of the few interviews he gave at the time. Tensions got so high that Butler began to record his parts for the second album separately from the rest of the band until he came to the studio to find that he would not be allowed in and his guitars were left on the street. The band finished the album with either Butler recording in another studio or with a session player playing Butlers’ parts from the demo recordings. Considering the tension that went into making this record, it is surprising how good it is even if it took some members of the music press a number of years to catch up. 

Suede would recruit in a new guitar player in Richard Oakes, and continue to release records to this day. However, what this collection looks to do is see what a B-Sides collection would have looked like if the band had decided to call it a day after ‘Dog Man Star’ had been released. Some of Suede’s B-Sides were excellent, which is was clearly shown when the band released the ‘Sci-Fi Lullabies’ collection which this album shares its title and artwork with. Unlike the version that came out in real life, no songs recorded with Oakes could be included. There is also a lot more songs from the first album sessions as well which shows the strength of material they had before they had even entered a recording studio. Overall, a good record that more than stands up on its own merits.  

Side A

1. The Living Dead (Stay Together – 1994)
2. Killing Of A Flash Boy (We Are The Pigs – 1994)
3. He’s Dead (Metal Mickey – 1992)
4. My Insatiable One (The Drowners – 1992)
5. My Dark Star (Stay Together – 1994)
6. Where The Pigs Don’t Fly (Metal Mickey – 1992)

Side B

1. Modern Boys (The Wild One – 1994)
2. Whipsnade (We Are The Pigs – 1994)
3. High Rising (So Young – 1992)
4. The Big Time (Animal Nitrate – 1993)
5. To The Birds (The Drowners – 1993)

Part 2 – Lost Lullabies

When the real ‘Sci-Fi Lullabies’ came out in 1997, it was not a comprehensive collection of Suede’s B-Side. There were a number of tracks that did not make the cut. What I have done here, is to collect those lost songs to be a release all of their own. Called ‘Lost Lullabies’, it is weighed down by the Eno remix of ‘Introducing The Band’ which I first heard as the B-Side to the 12” single version of ‘The Wild Ones’. I think I played it once and for the second time when completing this collection. It is definitely something that does not warrant multiple plays. 

Side A

1. Eno’s Introducing The Band (The Wild Ones – 1994)
2. Feel (Lazy – 1997)

Side B

1. Dolly (So Young – 1993)
2. Digging A Hole (Lazy – 1997)
3. Painted People (Animal Nitrate – 1993)
4. Sam (Beautiful Ones – 1996)
5. This World Needs A Father (The Wild Ones – 1994)
6. Asda Town (The Wild Ones – 1994)

The cover is adapted from the original ‘Sci-Fi Lullabies’. 

I didn’t realise until putting this entry together that Radiohead’s ‘OK Computer’ was a bit of a Marmite album. Either touted as one of the greatest or most overrated albums of all time, it was for a time the only Radiohead album I owned. I had tried getting into Radiohead after hearing ‘Creep’ for the first time, but ‘Pablo Honey’, the album from which that song was taken did not inspire me to buy anything else at the time. This began to change once some of the songs that were on their second album, ‘The Bends’ started appearing on compilation albums I bought at the time. ‘High & Dry’, ‘Fake Plastic Trees’, ‘Just’ and ‘Street Spirt (Fade Out)’ all made it onto mix tapes from the time but the parent album would have to wait until it was re-released on vinyl about twenty years after the event for me to take the plunge and buy it. There were no such qualms with ‘OK Computer’ though. 

I’m not sure if it was ‘Paranoid Android’ or ‘Karma Police’ that made me feel that this album could be a welcome addition to the Squire Archives, but in it came and what an experience it was. It sounded like a complete album, and not a couple of great singles tagged with some substandard filler. This was prog rock for the 90s. It also signalled the death nail for the ‘Britpop’ movement as this complex style of writing and arranging would influence many acts that produced music over the following years.

I had not played ‘OK Computer’ as a whole for many years. What brought the album back to my attend was reports that a number of MIniDiscs that had belonged to Thom Yorke had been stolen. The story went that the band were contacted by the owner of the sound files and threatened with the whole lot being made available on line without a payment being made. If this happened or not is neither here nor there, but the band decided to officially release the music for a short period of time. In return, the band asked the buyers to donate to Extinction Rebellion. 

So, being a huge fan of the record, I duly paid my money and slowly made my way through the files. Luckily, fans online published playlists for these discs but it took an age to edit them down into individual songs and then listen to them through. Even though the majority of it was not worth even one listen, there was some great outtakes that had not been officially released before and it does beg the question, why not? Picking up a copy of the OKNOTOK 19972017 edition of ‘OK Computer’, I wondered if I could put together an alternative version of the record. 

What I did was to only use songs that I had not used on other compilations elsewhere. I would also add songs that had either been used as B-Sides or previously unreleased. The rest would be made up of different versions (and in some respects, the differences are negligible) of the songs that would make up rest of the record. I did delete ‘Lucky’, a song I do like but never thought that it fitted in with the rest of ‘OK Computer’. That could be down to the fact that I first heard it on the ‘Help’ Charity album from 1995. Personal taste I suppose. 

Unlike the majority of my posts, this is designed for CD length instead of vinyl. The original link that the band posted to donate to Extinction Rebellion still works if you fancy making a donation. https://chuffed.org/pay/campaign/62932. 

1. Motion Picture Soundtrack (Solo Piano)
2. Airbag (Unmastered Album Version)
3. Paranoid Android (Late Mix)
4. Subterranean Homesick Alien (Late/Final Version 3 – Different Intro)
5. Exit Music (Late Mix)
6. Let Down (Thom 4-Track)
7. Karma Police (Unmastered Album Version)
8. Polyethylene – Part 2 (Late Mix w/Vocal Effect)
9. How I Made My Millions (Single B-Side)
10. Lull Single (B-Side)
11. What Do You Mean (Take 2)
12. Attention (Thom 4-Track)
13. Fitter Happier (Solo Piano Demo)
14. Electioneering (Unmastered Album Version)
15. Climbing Up Walls (Unmastered Album Version)
16. No Surprises (Late Mix, Original Speed)
17. Lift (Alternative Version, Mix #1)
18. Man Of War (OKNOTOK Version) 
19. The Tourist (Unmastered Album Version 3)

For the cover of this compilation, I used one that was produced on SkillShare for a project to come up with a alternative sleeve. https://www.skillshare.com/projects/OK-Computer-alternate-album-cover-DKNG-textures-and-halftones/23899

You really know when you are getting on a bit when the music of your youth becomes the subject of box set retrospectives, containing rare tracks, forgotten artists and the odd unreleased song. Between 2019 and 2021, there were three of these looking at the British music scene in the 1990s. These were ‘Steve Lamacq – Lost Alternatives’ (2019), ’Martin Green Presents: Super Sonics – 40 Junkshop Britpop Greats’ (2020), ’Caught Beneath The Landslide (The Other Side Of Britpop And The ‘90s (2021)’. These were jam packed with names I remember but loads that I did not. What I have been surprised about is that there has not been a second volume.

I thought I would see if I could produce my own box set following a similar template laid out by the ‘Lost Alternatives ’ by choosing tracks from the whole decade, but I would not be allowed to use any songs from the three compilations above*. I would also not be allowed to any songs that I have placed on any of the compilation or lost albums that I am posting or already posted this year. I also could not use the same artist more than once (unless guesting with someone else). This did prove to be a bit of a challenge but this is what I came up with. 

Some of the more well known names represented with rare tracks such as B-Sides. I have also looked to include only bands from the British Isles, even though the odd interloper will make an appearance. Steve Lamacq also had nothing to do with this either. 

Disc 1

1. Heavenly Pop Hit – The Chills
2. Rollercoaster – The Jesus & Mary Chain
3. 13th Disciple  – Five Thirty
4. Kinky Love – Pale Saints
5. Inertia – Blur
6. Dogs With No Tails – The Pale
7. Which Way Should I Jump? – Milltown Brothers
8. Twiggy Twiggy – Pizzicato Five
9. Here’s Where The Story Ends – The Sundays
10. Alternative Title – Carter, The Unstoppable Sex Machine
11. Funny How – Airhead
12. Touched By The Hand Of Cicciolina – Pop Will Eat Itself
13. Yr Own World – The Blue Aeroplanes
14. Obscurity Knocks – The Trash Can Sinatra’s
15. Cherry-Coloured Funk – Cocteau Twins
16. Gimmie Some Truth – The Wonder Stuff
17. Flying – The Telescopes
18. Sweetness & Light (Demo) – Lush
19. Leave The All Behind – Ride

Disc 2

1. Unstable – Flamingoes
2. If I Can’t Change Your Mind – Sugar
3. Judy Over The Rainbow – Orange
4. Dream – Pooka
5. Lowdown – Elextrafixation
6. Without Doubt – Mantaray
7. City Sickness – Tindersticks
8. Girl At The Bus Stop – My Drug Hell
9. Kent – Salad
10. Still Hanging Around – AutoPop
11. Every Day – Brianpool
12. Halo – Girl Of The Year
13. What’s What We’ll Do – The Poppies
14. Not Even Starcrossed – Telstar Ponies
15. In The Groove Again – Out Of My Hair
16. Undecided – Shack
17. So Glad (Album Version) – Thrum
18. White Love (Radio Mix) – One Dove
19. Souvlaki Space Station – Slowdrive
20. (Come On, Join) The High Society – These Animal Men
21. Kenuwee Head – Voodoo Queens

Disc 3

1. Who’s That Girl – The Mystics
2. Disco Hell – The Candyskins
3. Go Go Pepper – Tip Top Planets
4. Lewis Brightworth – Thurman
5. Seems You’ve Missed Sunday – The Weekenders
6. Out Of The Void – Grass Show
7. Sucrose – The Delgados
8. Spice Girls (Who Do You Think You Are?) – Period Pains
9. Teenage Girl Crush – Angelica
10. Mail Monarchy – Compulsion
11. Stand Up – Lick
12. Me & Mr Lonely – Pimlico
13. Working On A Beautiful Thing – The Pooh Sticks
14. Fear Of Flying – Ruth
15. The Milkman – Mice
16. Strawberries & Cream – Boutique
17. Sex & Cheques – Jolt
18. Kylie & Jason – Midget
19. Ignoramus (Alternative Version) – Baby Chaos
20. Ecstacy – Deluxor
21. Strength – Comet Gain
22. Loves A Cliché – The Karelia
23. I’m In Love – Taxi Driver
24. Twist – Arnold
25. Alfie – Don
26. Welsh Bands Suck – Teen Anthems

Disc 4

1. Heavens Above – Hillman Minx
2. Say Something – The Smiles
3. I Messiah, Am Jailer – AC Acoustics
4. Overthrown – Labido
5. I Was Starving Hungry (In Tesco’s) – Mogul
6. Hot Topic – Le Tigre
7. Daria – Chicks
8. Girlie Pop – Pop Tarts
9. Super Sexy Razor Happy Girls – Mika Bomb
10. Spyder – Jetsons
11. The Wee Wee Song – Girlfriendo
12. Ray Liotta – Linoleum
13. Jediwannabie – Bellatrix
14. Killing The Bland – Prolapse
15. Dirty Weekend – The Dandys
16. The Hymn For The Cigarettes – Hefner
17. Sweeping The Nation – Spearmint
18. The Book Lovers – Broadcast
19. Looking For Sparks – Seafruit
20. Shirley Wall – Doberman
21. Better Made – Head-swim
22. Baby Come On – Spacemaid
23. Disco 2000 (Original Mix) – The Lance Gambit Trio

The cover is adapted from one used for a Spotify playlist which represented tracks that didn’t quite make the ‘Lost Alternatives’ four CD box set. 

*I suspect that I will have doubled up on at least one song.

Oasis in their mid 90s pomp always boasted that some of their best songs were relegated to the B-Sides of their singles and a collection of these flip sides were collected together on ‘The Masterplan’ compilation which was released in 1998. Taking a look at the other big hitters from the era, Oasis were the only band to do this (as far as I can tell) so I thought it would be an interesting experiment to see if there was enough material from some of these other bands to do the same. This is the first of these B-Sides Collections and it is the mighty Supergrass that get this honour.   

These date from their first releases on Parlophone in 1995 up until the last album of the decade in 1999. Unlike their standard albums, there are a couple of covers on here. The title takes it name from ‘Wait For The Sun’, one of the B-Sides from the ‘Lenny’ single. An awesome song and such a shame that it was relegated to a B-Side. 

Side A

1. Believer (Moving – 1999)
2. Nothing More’s Gonna Get In My Way (Richard III – 1997)
3. Condition (Alright – 1995)
4. Melanie Davis (Going Out – 1996)
5. Some Girls Are Bigger Than Others (Sun Hits The Sky – 1997)
6. Faraway (Acoustic Version) (Moving – 1999)

Side B

1. We Still Need More (Than Anyone Can Give) (Late In The Day – 1997)
2. What A Shame (Pumping On Your Stereo – 1999)
3. Lucky (No Fear) (Pumping On Your Stereo – 1999)
4. 20ft Halo (Richard III – 1997)
5. Odd? (Mansize Rooster – 1995)
6. Wait For The Sun (Lenny – 1995)

The sleeve is adapted from the Hollywood Bowl 2003 bootleg, with a slight change to the graphics. A nice pastiche of The Beatles Second album cover, ‘With The Beatles’.

Kate Bush has been one of the most innovative and eclectic songwriters of the last 50 years. She was an innovator because she moved away from conventional instrumentation, being one of the earliest exponents of the Fairlight CMI sampler. She was one of the first people to use a headset wireless microphone so her hands would be free during the choreographed dance sequences of her one and only concert tour. She was also the first female artist to achieve a number one hit single in the UK charts with a songs that she had written herself. None of her original albums have failed to break the top ten in the UK charts, and her singles have also achieved high chart status on a regular basis. Not bad for someone who has only released two albums this century. 

As is my want at this time of year, I have decided to put together a Christmas themed what-if release, and as this is the season of good will, I have added a second one for good measure. The first is a selection of recordings Kate Bush has completed that have a Christmas theme. There aren’t many different songs that could have been included here and three versions of the same song might be overkill, but they are all different so I am sure the Kate Bush completist would like it.  

‘December Will Be Magic Again’ in its original studio version was recorded in 1979 but not released until a year later. It was a Top 30 hit in the UK and did a lot better in Ireland. This is followed by ‘Home For Christmas’ which originally appeared in the Comic Strip Presents film, ‘Wild Turkey’. It then appeared on the B-Side of the UK single ‘Moment of Pleasure’ which came out in 1993. She also privately pressed a number of these on a 3” CD single (anyone remember these?) which were sent out as a Christmas card. We end Side A with a non Christmas song, but it did feature in the Kate Bush Christmas Special that was broadcast in 1979. It was written as an introduction to guest Peter Gabriel and was performed as a three part harmony with her brother Paddy and Glenys Groves. Side B has two more versions of ‘December Will Be Magic Again’. The first is from the aforementioned Christmas Special and was performed live with Kevin McAlea on Keyboards, with Kate on piano and vocals. The last song is the bongo mix of ‘December Will Be Magic Again’ which has, as far as I can tell, not appeared on a Kate Bush released but has found a home on Christmas compilation albums down the years. 

The Christmas EP

Side A

1. December Will Be Magic Again
2. Home For Christmas
3. The Angel Gabriel (Kate – Christmas Special 1979)

Side B

1. December Will Be Magic Again (Kate – Christmas Special 1979)
2. December Will Be Magic Again (Bongo Mix)

The second EP complies folk songs that Kate Bush has released. I was quite surprised that she had covered any at all, considering that she has focused mostly on her own compositions. The opening song was released in 1996 for a compilation album ‘Common Ground – Voices of Modern Irish Music’. Bush herself was born in England but her mother was from Ireland and said that he mother helped out with the recording as she is not a speaker of the Irish language. She had to learn it phonetically before laying down her recording. The song itself tells of a woman that represents Ireland, and is given over her gifts (such as cattle, her land and even herself) to the cruel English and wondering why Irish men do nothing to defend her. 

The second might be pushing it a bit as being a folk song, because it is not a traditional song like the others on this disc, but was written by Donovan for his ‘HMS Donovan’ album. Donovan may well have started off as a folk singer but quickly morphed into something distinctively more psychedelic. ‘HMS Donovan’ was his second album directed at children and did draw on traditional folk songs, poems and hymns. Bush covered the song for the B Side of her ‘Sat In Your Lap’ from 1981. 

Side B starts with another Irish folk song, ‘My Lagan Love’. The Lagan might refer to the river of the same name that runs through Belfast or a stream that flows into Lough Swilly in County Donegal. ‘The Handsome Cabin Boy’ is another traditional folk song which refers to girls impersonating sailors and heading off for a life at sea. This was released on the B-Side of the ‘Hounds of Love’ single in 1986. Even though this is a traditional song, some pressings of this single credited Bush as the sole writer of the song, instead of the trad arr. by credit you’d expect. It is a shame Kate Bush did not release more traditional songs as she had an excellent voice for interpreting this style of music. 

The Folk EP

Side A

1. Mna Na H’Éireann (Women Of Ireland)
2. Lord Of The Ready River

Side B

1. My Lagan Love
2. The Handsome Cabin Boy

I loaded up YouTube a little while back for my daily dose of new content by one of the creators I subscribe to and found that the algorithm had decided that I liked The Beatles. This is true, but this was something a bit different. The video was called “ABANDONED: This Beatles Jam Was Almost A Masterpiece Pt.1” on a channel called ‘almost beatle songs’. What I got when I clicked on it was some video of the band from the 1969 ‘Get Back’ sessions playing an unreleased/unfinished song called “Watching Rainbows”. The narrator talked about the similarities between it another Beatles song called ‘I’ve Got A Feeling”. The lyric watching rainbows had also been used in a Bee Gees song called ‘Morning Of My Life” which had been recorded in 1968 by Mary Hopkin, who was signed to The Beatles record label, Apple. The video teased that the song could have been a masterpiece if the band had worked on it a bit more and finished it off. Well, the people who produced the video decided to do just that. 

How do you finish off a Beatles song from over 50 years earlier? Well, this story goes back early 1969 when The Beatles met up at Twickenham Film Studio to rehearse material for a potential live concert. It was decided that they would only play new material. Having only just finished the sessions to ‘The Beatles (White Album)’ just over two months previously, there was a dearth of new material. It had also been decided that a film crew would be on hand to record the rehearsals as part of a TV documentary, culminating in the aforementioned live concert. The soundtrack of the film was recorded on two mono Nagra tape recorders. At some point in the 1970’s, these tapes were stolen from The Beatles archive and become a source of numerous bootlegs throughout the years. It was also a treasure trove for Beatles archeologists to hear the band working on new material, some of which never went further than a one off play through. 

So taking these unfinished tracks, using different parts from different takes and in some cases, slicing in some other unreleased material from the sessions, the people behind the channel recorded a more realised take of the song than The Beatles every did. Whilst the video of the song played, dates would appear on the screen showing which date that particular section was taken from. Over the next year, they would release a number of other songs that they had interpreted and it is a selection of these that I present today. 

Side 1

1. How Do You Tell Someone?
2. Rambling Woman
3. I Lost My Little Girl
4. Suicide
5. There You Are, Eddie
6. Watching Rainbows (Melody Version)
7. Taking A Trip To Carolina

Side 2

1. Madman
2. Pillow For Your Head
3. Child Of Nature
4. Window Window
5. Case Of The Blues
6. Woman
7. All I Want Is You

All I Want Is You (Lennon)

The original recording sounds nothing more than the band warming up in the studio. Not a lost classic by any stretch of the imagination but this version takes elements of ‘Hey Jude’ and because of this, it finishes the set off nicely.

A Case Of The Blues (Lennon)

As far as I can tell, this was not presented to The Beatles as a song to record during the ‘Let It Be’ sessions, but predates it by about a year. That does not mean it wouldn’t find a home here. The Beatles would resurrect all sorts of songs during these sessions including ‘One After 909” which was one of the earliest songs Lennon and McCartney wrote together. 

Child Of Nature (Lennon)

Inspired by a lecture given by the Maharishi Mahesh Yogi during The Beatles’ stay in India, early in 1968. The song was demoed for ‘The Beatles’ and played during the ‘Let It Be’ sessions. The melody and the tune were kept but the lyrics would be completely changed before being released on Lennon’s 1971 ‘Imagine’ album. 

How Do You Tell Someone? (Harrison)

A quick run through of this song was as far as The Beatles got with this George Harrison song. 

I Lost My Little Girl (McCartney)

McCartney says that this was one of the first songs he ever wrote on a guitar in around 1956. It was played during there ‘Let It Be’ sessions with John Lennon on lead vocals. The version presented here is a lot darker than the Buddy Holly inspired track that McCartney himself would perform on his “Unplugged’ performance in 1991. 

Madman (Lennon)

Attempted at least twice during the ‘Let It Be’ sessions, the song shares certain similarities to another Lennon song, ‘Mean Mr Mustard’.

Pillow For Your Head (McCartney)

Performed twice during the ‘Let It Be’ sessions, this was never attempted again. The folks over at Almost Beatle Songs needed to have an educated guess as to what some of the lyrics were on this one as the original recording, his vocals are really hard to hear. 

Rambling Woman (Harrison)

On the original recording, this sounds like George Harrison is doing his best Bob Dylan impression. 

Suicide (McCartney)

Another McCartney song that dates from the 1950’s, he is said to have offered it to Frank Sinatra to record but with a title such as this, it would seem that Blue Eyes decided to pass. 

Taking a Trip To Carolina (Starkey)

Unlike the original ‘Let It Be’ album, we have included a song written by Ringo. The original snippet of this song was included on the ‘Fly On The Wall’ bonus disc which was included on the ‘Let It Be…Naked’ album from 2003

There You Are, Eddie (McCartney)

McCartney wrote a song about his dog Martha for the ‘The Beatles’ album. As far as I can tell, this was written about his other dog called Eddie. 

Watching Rainbows (Lennon/McCartney)

The tune is similar to ‘I’ve Got A Feeling’ and some of the improvised lyrics hark back to ‘I Am The  Walrus’. 

Window Window (Harrison)

Harrison once again channels his inner Dylan with a bit of Simon and Garfunkel thrown in. Seemingly inspired by his marriage to Patti Boyd. 

Woman (McCartney)

A song that did make it out of the sessions, four years before it was played at the ‘Let It Be’ sessions. McCartney had given this song away to Peter & Gordon but insisted that the writing credit would be for Webb as he wanted to see if the duo would have a hit with a song that was not obviously written by Lennon/McCartney. 

I decided that fourteen songs was the correct amount of songs to include here as the majority of The Beatles UK albums had this number of tracks. There is also a nice balance between the amount of songs the three main songwriters get, including one from Ringo to boot. Listening to these songs lifts the lid on an alternative ‘Let It Be’ album. All songs credited to the member of the band who wrote it. You can find more of the songs recorded by this collective on the aforementioned almost beatles songs YouTube account (https://www.youtube.com/c/almostbeatlessongs), bandcamp (https://elvisorbison.bandcamp.com/album/almost-beatles-songs-vol-2) listed under Elvis Orbison on Spotify as well as their own site (https://almostbeatlessongs.com/). Elvis Orbison is the name used by musician Brett Lyda to complete this project.