Obviously we're all Monkees fans. I would say Tork could've taught Dolenz to play bass in concert and in the studio either Tork or Nesmith could play the bass and they all share the singing duties.Tork said that the best alignment would have been for him to play led guitar, Nesmith to play bass, Jones to play drums and Dolenz to be the lead singer.
Edit: Red Beetle beat me by one minute.
Rock albums from alternate timelines
- Thread starter flippikat
- Start date
After seeing this great promo image from Capitol in 1974 https://twitter.com/Doctor_J_/status/1104807129007951878 I decided to work it into a 70s Beatles album cover. And so...
The Beatles - Communications (1976)
SIDE ONE
You Can't Catch Me
Rock Show
Whatever Gets You Thru The Night
This Song
(It's All Da-Da-Down To) Goodnight Vienna
SIDE TWO
Ya Ya
Steel And Glass
Crackerbox Palace
I'll Still Love You
Night Out
“Every time The Beatles are lucky, people assume we're clever. When we did Communications, we didn't know about The Damned or what was happening in London or any of that[1]. We were a bunch of old rockers who'd gone completely Hollywood and were too off our faces to think about whether we were speaking to the world's youth…but we owed EMI a record! I’d been sued by Morris Levy - Apple's lawyers had managed to talk him into settling as long as two of his songs appeared on a Beatles album [2]. Paul had used up all his big ballad ideas on his own release [so] we had to rock hard, it was all we had left in the tank.”
John Lennon, The Late Show, BBC2 1989
“I was upset that they didn't ask me to produce it. They'd tried that before, recording an "honest" album with no overdubs; that dissolved into bickering and recrimination, so Brian Epstein sent them all home to cool off [3]. I thought that's what was happening this time. No sooner was there talk of a new Beatles album, the next thing I heard it was going to come out with the credit, "Produced by The Beatles". I felt a little betrayed, until Paul told me why.”
George Martin, Arena, BBC1 2011
“Somehow, we recorded a good album when we didn't really want to work together, but I think the difference between Communications and stuff like The White Album and the Get Back sessions was that in the last two, we resented each other. On Communications we were all on good terms…we just resented...working, really. We decided to be good boys and get some stuff demoed in LA…halfway through, we thought, "this is good enough as it is". So, we recorded everything at Brother Studios [4] and just sent that to EMI. People say "The Beatles invented New Wave". No, they didn't. The Beatles just released their demos!”
Paul McCartney, The 100 Greatest Albums of All Time, VH1 1997
“It wasn't sloppy by any means. We did overdubs and everything, but not of outside musicians, just ourselves. We'd get a basic track down with guitar, bass and drums and then we'd go back and add my guitar and John or Paul would add an extra bit of guitar, so it was four musicians doing the work of five. It came out sounding a bit like Revolver really [5]. Except, we didn't bother with any reverb, so that gave the whole thing a really nice punch. Best of all, it was a laugh to record. We hadn't been that close for a long time; close enough that John sang one of mine and I sang one of his[6]. Paul was all written out, [it was] his own fault for doing a solo album. We felt sorry for him and let him have one of the covers, so apart from Ringo's one, we all got three vocals each.”
George Harrison, Anthology, 1995 [7]
“I loved that one, even though I only got one song on it. I was heartbroken when the reviews came in. The critics hated it. I think because it was only half an hour long. You weren't a serious musician in those days if you didn't release the longest album you could. Didn't matter to us in the end…it sold and sold and sold.”
Ringo Starr, Wogan, BBC1 1983
[1] I've avoided using the word "punk". The Beatles accidentally releasing a starkly stripped-down rock album will have bent the timeline somewhat. I'm not saying punk wouldn't happen, but I tried to sidestep answering the question.
[2] Confession, I just didn't want to clutter this album with three covers, so I used the change in timeline as an excuse. I know John Lennon still didn't manage to get all three agreed upon songs released IOTL, but I just thought I'd tidy it up completely.
[3] So the sessions never get as far as being turned into an album.
[4] This is in the same timeline as the one where Paul and Brian Wilson have worked on some songs together. It seems to have resulted in an invitaiton to take advantage of Brother Studios if Paul or his friends were in the neighbourhood. I know Brother Studios was in Santa Monica, not LA. Paul is either misremembering or just using the name of the city people are more likely to have heard of.
[5] So while I've used Beatles solo numbers from OTL, the recordings sound very different ITTL.
[6] I just love the idea of John singing Crackerbox Palace in a more acidic tone. George takes Steel And Glass in return. Paul sings Ya Ya.
[7] The Anthology still happens in 1995, even though the still together Beatles being happy to be interviewed together should bring it forward, their being together also means there's more history for the show to cover, so it takes until 1995 to get it done.
With thanks to my friend Gary for editing this for me.
The Beatles - Communications (1976)
SIDE ONE
You Can't Catch Me
Rock Show
Whatever Gets You Thru The Night
This Song
(It's All Da-Da-Down To) Goodnight Vienna
SIDE TWO
Ya Ya
Steel And Glass
Crackerbox Palace
I'll Still Love You
Night Out
“Every time The Beatles are lucky, people assume we're clever. When we did Communications, we didn't know about The Damned or what was happening in London or any of that[1]. We were a bunch of old rockers who'd gone completely Hollywood and were too off our faces to think about whether we were speaking to the world's youth…but we owed EMI a record! I’d been sued by Morris Levy - Apple's lawyers had managed to talk him into settling as long as two of his songs appeared on a Beatles album [2]. Paul had used up all his big ballad ideas on his own release [so] we had to rock hard, it was all we had left in the tank.”
John Lennon, The Late Show, BBC2 1989
“I was upset that they didn't ask me to produce it. They'd tried that before, recording an "honest" album with no overdubs; that dissolved into bickering and recrimination, so Brian Epstein sent them all home to cool off [3]. I thought that's what was happening this time. No sooner was there talk of a new Beatles album, the next thing I heard it was going to come out with the credit, "Produced by The Beatles". I felt a little betrayed, until Paul told me why.”
George Martin, Arena, BBC1 2011
“Somehow, we recorded a good album when we didn't really want to work together, but I think the difference between Communications and stuff like The White Album and the Get Back sessions was that in the last two, we resented each other. On Communications we were all on good terms…we just resented...working, really. We decided to be good boys and get some stuff demoed in LA…halfway through, we thought, "this is good enough as it is". So, we recorded everything at Brother Studios [4] and just sent that to EMI. People say "The Beatles invented New Wave". No, they didn't. The Beatles just released their demos!”
Paul McCartney, The 100 Greatest Albums of All Time, VH1 1997
“It wasn't sloppy by any means. We did overdubs and everything, but not of outside musicians, just ourselves. We'd get a basic track down with guitar, bass and drums and then we'd go back and add my guitar and John or Paul would add an extra bit of guitar, so it was four musicians doing the work of five. It came out sounding a bit like Revolver really [5]. Except, we didn't bother with any reverb, so that gave the whole thing a really nice punch. Best of all, it was a laugh to record. We hadn't been that close for a long time; close enough that John sang one of mine and I sang one of his[6]. Paul was all written out, [it was] his own fault for doing a solo album. We felt sorry for him and let him have one of the covers, so apart from Ringo's one, we all got three vocals each.”
George Harrison, Anthology, 1995 [7]
“I loved that one, even though I only got one song on it. I was heartbroken when the reviews came in. The critics hated it. I think because it was only half an hour long. You weren't a serious musician in those days if you didn't release the longest album you could. Didn't matter to us in the end…it sold and sold and sold.”
Ringo Starr, Wogan, BBC1 1983
[1] I've avoided using the word "punk". The Beatles accidentally releasing a starkly stripped-down rock album will have bent the timeline somewhat. I'm not saying punk wouldn't happen, but I tried to sidestep answering the question.
[2] Confession, I just didn't want to clutter this album with three covers, so I used the change in timeline as an excuse. I know John Lennon still didn't manage to get all three agreed upon songs released IOTL, but I just thought I'd tidy it up completely.
[3] So the sessions never get as far as being turned into an album.
[4] This is in the same timeline as the one where Paul and Brian Wilson have worked on some songs together. It seems to have resulted in an invitaiton to take advantage of Brother Studios if Paul or his friends were in the neighbourhood. I know Brother Studios was in Santa Monica, not LA. Paul is either misremembering or just using the name of the city people are more likely to have heard of.
[5] So while I've used Beatles solo numbers from OTL, the recordings sound very different ITTL.
[6] I just love the idea of John singing Crackerbox Palace in a more acidic tone. George takes Steel And Glass in return. Paul sings Ya Ya.
[7] The Anthology still happens in 1995, even though the still together Beatles being happy to be interviewed together should bring it forward, their being together also means there's more history for the show to cover, so it takes until 1995 to get it done.
With thanks to my friend Gary for editing this for me.
Off The Beatle Track!- The Beatles (1963)
Side 1
1. I Saw Her Standing There (McCartney)
2. Anna (Go to Him) (Lennon)
3. One After 909 (Lennon & McCartney)
4. Do You Want to Know a Secret (Harrison)
5. Ask Me Why (Lennon)
6. Love Me Do (Lennon & McCartney)
Side 2
1. Boys (Starkey)
2. A Taste of Honey (McCartney)
3. P.S. I Love You (McCartney)
4. Chains (Harrison)
5. There’s a Place (Lennon)
6. Twist and Shout (Lennon)
Off The Beatle Track! Became an instant success in Britain upon release, but it took a little while for The Beatles to get any attraction in America.
It's Just A Matter Of Time
(1981)
Side 1
1. It's Just A Matter Of Time
2. I'll Come Home to You
3. A Big Hunk o' Love (live)
4. How Long Have You Been There
5. Honest John (The Working Man’s Friend)
6. Baby There's A Fire Burning Down Below
Side 2
1. It Keeps Right On A-Hurtin
2. Long Black Limousine (remix)
3. You'll Never Walk Alone (re-recorded)
4. Yesterday's Whine
5. Just Call Me Lonesome (Alternate Take)
6. Good Time Charlie's Got The Blues
During the making of this album long time friend and producer Felton Jarvis suffered a stroke on December 19, 1980. He was admitted to a Nashville hospital where he died on January 3, 1981, at the age of 46. Elvis was deeply affected by this and the album was delayed as well as concerts, Elvis finished it in memory of Felton including the song Baby There's A Fire Burning Down Below which Felton wanted Elvis to record for years. Another Album would not recorded for a few more months.
Pink Floyd- Observations (1968)
Side 1
1. Let There Be More Light (Waters)
2. Vegetable Man (Barrett)
3. Corporal Clegg (Waters)
4. Julia Dream (Gilmour)
5. Clowns and Jugglers (Barrett)
6. See-Saw (Wright)
Side 2
1. Set the Controls for the Heart Of the Sun (Waters)
2. In the Beechwoods (Instrumental)
Side 1
1. Let There Be More Light (Waters)
2. Vegetable Man (Barrett)
3. Corporal Clegg (Waters)
4. Julia Dream (Gilmour)
5. Clowns and Jugglers (Barrett)
6. See-Saw (Wright)
Side 2
1. Set the Controls for the Heart Of the Sun (Waters)
2. In the Beechwoods (Instrumental)
The Narrow Way, Pink Floyd’s 3rd album, and 2nd with 2nd guitarist David Gilmour in the band.
Pink Floyd- The Narrow Way (1969)
Side 1
1. The Narrow Way - (Gilmour)
2. Lanky - (Barrett)
3. Grantchester Meadows (Waters)
Side 2
1. The Grand Vizier’s Garden Party - (Mason)
Pink Floyd- The Narrow Way (1969)
Side 1
1. The Narrow Way - (Gilmour)
2. Lanky - (Barrett)
3. Grantchester Meadows (Waters)
Side 2
1. The Grand Vizier’s Garden Party - (Mason)
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This is my go at it:
David Bowie - Janine (1979)
Side 1
1. Janine (no relation to other song)
2. Night Flight
3. The Boys Of London
4. Keep On Movin'!
Side 2
1. Bliss
2. Lady Jayne (dedicated to Jayne County)
3. Young Americans (concert version)
4. The Fires
5. It's A Small World
-------
Not sure how this would fit in, attempting an ATL version of a Bowie album.
David Bowie - Janine (1979)
Side 1
1. Janine (no relation to other song)
2. Night Flight
3. The Boys Of London
4. Keep On Movin'!
Side 2
1. Bliss
2. Lady Jayne (dedicated to Jayne County)
3. Young Americans (concert version)
4. The Fires
5. It's A Small World
-------
Not sure how this would fit in, attempting an ATL version of a Bowie album.
K.A.O.S.- Pink Floyd (1987)
Side 1
1. Radio Waves
2. One Slip
3. Sunset Strip
4. Home
Side 2
1. Learning to Fly
2. Yet Another Movie
3. Terminal Frost
4. The Tide Is Turning (After Live Aid)
Originally began as a Roger Waters solo album, this 8 track record was the revival of interest in Pink Floyd after the widely criticized The Final Cut.
While the reunion of The Beatles was the spectacle of Live Aid, Pink Floyd reunited the original 4 members with Syd Barrett. They decided to make an album made up of songs almost like a duo album between Gilmour and Waters.
Concerning The Album...
1. Syd Barrett continued with his solo career in this TL (No matter how unlikely that sounds)
2. Pink Floyd (and not only Gilmour) preform at Live Aid
3. John Lennon lives and The Beatles reunite at Live Aid
Side 1
1. Radio Waves
2. One Slip
3. Sunset Strip
4. Home
Side 2
1. Learning to Fly
2. Yet Another Movie
3. Terminal Frost
4. The Tide Is Turning (After Live Aid)
Originally began as a Roger Waters solo album, this 8 track record was the revival of interest in Pink Floyd after the widely criticized The Final Cut.
While the reunion of The Beatles was the spectacle of Live Aid, Pink Floyd reunited the original 4 members with Syd Barrett. They decided to make an album made up of songs almost like a duo album between Gilmour and Waters.
Concerning The Album...
1. Syd Barrett continued with his solo career in this TL (No matter how unlikely that sounds)
2. Pink Floyd (and not only Gilmour) preform at Live Aid
3. John Lennon lives and The Beatles reunite at Live Aid
POD: For a variety of reasons, the "Buggles" lineup of Yes is better received by fans, and instead of disbanding after the Drama tour decides to work on a second album. With the band rejuvenated and feeling a burst of creativity, they would record their first double album since 1973's Tales From Topographic Oceans. Unlike that album, however, this one would only feature two side-long tracks, bookending the album; the middle two sides would feature shorter songs.
Yes - Fly From Here
Released November 1981
All songs credited to Geoff Downes, Steve Howe, Trevor Horn, Chris Squire, and Alan White.
Personnel:
Trevor Horn: lead vocals
Steve Howe: guitars
Chris Squire: bass guitar, vocals
Geoff Downes: keyboards, synthesizers
Alan White: drums
Side 1:
Fly From Here - 23:49[1]
- Overture
- Part I: We Can Fly
- Part II: Sad Night at the Airfield
- Part III: Madman at the Screens
- Part IV: Bumpy Ride
- Part V: We Can Fly (Reprise)
Side 2:
Heat of the Moment - 3:50[2]
Adventures in Modern Recording - 5:48[3]
Go Through This - 5:32[4]
Life on a Film Set - 5:06[5]
Side 3:
Satellite - 7:32[6]
Beatnik - 3:39[7]
Vermillion Sands - 6:48[8]
Can You See - 3:34[9]
Side 4:
Mind Drive - 18:34[10]
Much like Genesis' Abacab released in September of that year, Fly From Here was generally praised by music critics, particularly in how the band melded their progressive roots with their forward-looking pop sensibilities.
[1]Pretty much the same as OTL, only released 30 years earlier.
[2]With apologies to John Wetton; TTL Asia won't be formed.
[3]Originally from OTL's album of the same name by the Buggles.
[4]A song performed by the Drama lineup live IOTL but never featured on a studio album.
[5]Also another Buggles track.
[6]Instrumental; the same track as OTL's Song No. 4 - Satellite found on the Special Edition of Drama released in 2004.
[7]Yet another Buggles track.
[8]See #7.
[9]A track originally worked on by XYZ (a supergroup composed of Squire, White, and Jimmy Page) IOTL that would become Can You Imagine on Magnification.
[10]Another XYZ track; similar to OTL's track released on Keys to Ascension 2 but with the vocal and keyboard parts obviously different.
Yes - Fly From Here
Released November 1981
All songs credited to Geoff Downes, Steve Howe, Trevor Horn, Chris Squire, and Alan White.
Personnel:
Trevor Horn: lead vocals
Steve Howe: guitars
Chris Squire: bass guitar, vocals
Geoff Downes: keyboards, synthesizers
Alan White: drums
Side 1:
Fly From Here - 23:49[1]
- Overture
- Part I: We Can Fly
- Part II: Sad Night at the Airfield
- Part III: Madman at the Screens
- Part IV: Bumpy Ride
- Part V: We Can Fly (Reprise)
Side 2:
Heat of the Moment - 3:50[2]
Adventures in Modern Recording - 5:48[3]
Go Through This - 5:32[4]
Life on a Film Set - 5:06[5]
Side 3:
Satellite - 7:32[6]
Beatnik - 3:39[7]
Vermillion Sands - 6:48[8]
Can You See - 3:34[9]
Side 4:
Mind Drive - 18:34[10]
Much like Genesis' Abacab released in September of that year, Fly From Here was generally praised by music critics, particularly in how the band melded their progressive roots with their forward-looking pop sensibilities.
[1]Pretty much the same as OTL, only released 30 years earlier.
[2]With apologies to John Wetton; TTL Asia won't be formed.
[3]Originally from OTL's album of the same name by the Buggles.
[4]A song performed by the Drama lineup live IOTL but never featured on a studio album.
[5]Also another Buggles track.
[6]Instrumental; the same track as OTL's Song No. 4 - Satellite found on the Special Edition of Drama released in 2004.
[7]Yet another Buggles track.
[8]See #7.
[9]A track originally worked on by XYZ (a supergroup composed of Squire, White, and Jimmy Page) IOTL that would become Can You Imagine on Magnification.
[10]Another XYZ track; similar to OTL's track released on Keys to Ascension 2 but with the vocal and keyboard parts obviously different.
POD: For a variety of reasons, the "Buggles" lineup of Yes is better received by fans, and instead of disbanding after the Drama tour decides to work on a second album. With the band rejuvenated and feeling a burst of creativity, they would record their first double album since 1973's Tales From Topographic Oceans. Unlike that album, however, this one would only feature two side-long tracks, bookending the album; the middle two sides would feature shorter songs.
Yes - Fly From Here
Released November 1981
All songs credited to Geoff Downes, Steve Howe, Trevor Horn, Chris Squire, and Alan White.
Personnel:
Trevor Horn: lead vocals
Steve Howe: guitars
Chris Squire: bass guitar, vocals
Geoff Downes: keyboards, synthesizers
Alan White: drums
Side 1:
Fly From Here - 23:49[1]
- Overture
- Part I: We Can Fly
- Part II: Sad Night at the Airfield
- Part III: Madman at the Screens
- Part IV: Bumpy Ride
- Part V: We Can Fly (Reprise)
Side 2:
Heat of the Moment - 3:50[2]
Adventures in Modern Recording - 5:48[3]
Go Through This - 5:32[4]
Life on a Film Set - 5:06[5]
Side 3:
Satellite - 7:32[6]
Beatnik - 3:39[7]
Vermillion Sands - 6:48[8]
Can You See - 3:34[9]
Side 4:
Mind Drive - 18:34[10]
Much like Genesis' Abacab released in September of that year, Fly From Here was generally praised by music critics, particularly in how the band melded their progressive roots with their forward-looking pop sensibilities.
[1]Pretty much the same as OTL, only released 30 years earlier.
[2]With apologies to John Wetton; TTL Asia won't be formed.
[3]Originally from OTL's album of the same name by the Buggles.
[4]A song performed by the Drama lineup live IOTL but never featured on a studio album.
[5]Also another Buggles track.
[6]Instrumental; the same track as OTL's Song No. 4 - Satellite found on the Special Edition of Drama released in 2004.
[7]Yet another Buggles track.
[8]See #7.
[9]A track originally worked on by XYZ (a supergroup composed of Squire, White, and Jimmy Page) IOTL that would become Can You Imagine on Magnification.
[10]Another XYZ track; similar to OTL's track released on Keys to Ascension 2 but with the vocal and keyboard parts obviously different.
I love OTL Fly From Here (sadly the last good album under the Yes name at this rate), and Drama is a favorite of mine, so TTL would be interesting for Yes. "Heat of the Moment" might be like "Owner of a Lonely Heart" OTL, although I like "Owner of a Lonely Heart" more in terms of cheesy 80s songs. I think the album would have fairly mixed appraisal in the long term, when you mix some grand prog songs like the Keys to Ascension bits and especially "Fly From Here" with Buggles songs.
Personally, I think a timeline in which the Buggles became a massive name in the 80's instead of being a one-hit wonder in most people's eyes. I think how it would start is, after Yes disbands in '81, MTV starts up, except it's all over the east coast instead of just a small bit of New Jersey due to due an increase in funding, and the interest in their music due to theirs being the first video played results in their debut album The Age of Plastic re-entering the charts, possibly hitting no. 1. This would lead their record label, Island Records, to give the people what they clearly want and release the title track of their upcoming album as a single ahead of the release of the album, which would be a no. 1 single. I also believe the timeline would feature people utilizing technology in different ways and the Buggles creating sci-fi rock operas, I dunno. Does this seem plausible; how would you go about creating a timeline like this?
Or, maybe just a single (or a couple posts) on this thread would be better than a whole timeline lol.
“This was The Beatles’s swan song” Rolling Stone said in 1970, by that time the group was splitting apart after the disastrous recording sessions of Get Back, The Beatles 12th album. Inclinations was
recorded after a year of hiatus from the group only releasing 1 single throughout the year of 1969-1970. The album was very well received in the US and the UK, reaching #1 on the Billboard charts and on
the UK charts.
Inclinations- The Beatles
Released: April 20, 1970
Recording: December 10, 1969- March 23, 1970
Produced: Phil Spector, George Martin
Genre: Rock, Pop, Hard Rock, Folk
Label: Apple
Side 1
Side 2
Personnel
John Lennon: Rhythm Guitar (3, 8), Piano (1, 5, 12), Vocals (1, 3, 8, 11)
Paul McCartney: Guitar (4, 5, 10), Bass (All Tracks), Vocals (4, 5, 10, 12)
George Harrison: Lead Guitar (All Tracks), Vocals (2, 6, 9)
Richard Starkey: Drums (All Tracks), Vocals (7)
Phil Spector: Producer (1, 2 ,3, 6, 7, 8, 9, 11)
George Martin: Producer (4, 5, 10)
recorded after a year of hiatus from the group only releasing 1 single throughout the year of 1969-1970. The album was very well received in the US and the UK, reaching #1 on the Billboard charts and on
the UK charts.
Inclinations- The Beatles
Released: April 20, 1970
Recording: December 10, 1969- March 23, 1970
Produced: Phil Spector, George Martin
Genre: Rock, Pop, Hard Rock, Folk
Label: Apple
Side 1
- Instant Karma! (We All Shine On)- (Lennon)
- Beware of Darkness- (Harrison)
- Hold On- (Lennon)
- That Would Be Something- (McCartney)
- Man We Was Lonely- (McCartney)
- If Not for You- (Harrison)
Side 2
- It Don’t Come Easy- (Starkey)
- Well Well Well- (Lennon)
- What Is Life- (Harrison)
- Every Night- (McCartney)
- Remember- (Lennon)
- Maybe I’m Amazed- (McCartney)
Personnel
John Lennon: Rhythm Guitar (3, 8), Piano (1, 5, 12), Vocals (1, 3, 8, 11)
Paul McCartney: Guitar (4, 5, 10), Bass (All Tracks), Vocals (4, 5, 10, 12)
George Harrison: Lead Guitar (All Tracks), Vocals (2, 6, 9)
Richard Starkey: Drums (All Tracks), Vocals (7)
Phil Spector: Producer (1, 2 ,3, 6, 7, 8, 9, 11)
George Martin: Producer (4, 5, 10)
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