Rock albums from alternate timelines

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Viva Las Vegas (1964)

Side A

  1. Viva Las Vegas
  2. The Yellow Rose of Texas/The Eyes of Texas
  3. The Lady Loves Me (duet with Ann Margret)
  4. Come on Everybody
  5. Today, Tomorrow and Forever (duet with Ann Margret)
  6. What'd I Say
Side B
  1. Appreciation (Ann Margret)
  2. If You Think I Don't Need You
  3. I Need Somebody to Lean on
  4. My Rival (Ann Margret)
  5. You're the Boss (duet with Ann Margret)
Both the movie and album, Viva Las Vegas, were smash hits when they were released. The album would go on to be the top selling album of 1964 crushing The Beatles and any other competition. The album would be the first time an not Elvis song was included on an Elvis record with co-star Ann Margret's two songs Appreciation and My Rival. Following the success of the album and a couple of tours, Elvis returned to the recording studio and worked on another album.
 
The Beach Boys - Good Timin’ (1975)
53DF857A-EBB2-4E95-90E0-2EFA4383C537.jpeg

Produced by: The Beach Boys

Side 1:
1. Good Timin’ (B. Wilson/C. Wilson)
2. Barnyard Blues (D. Wilson)
3. It’s Natural (B. Wilson/Sandler)
4. My Love Lives On (D. Wilson/Kalinich)
5. Rollin’ Up To Heaven (B. Wilson)

Side 2:
1. It’s O.K. (B. Wilson/Love)
2. Rainbows (D. Wilson/C. Wilson/Kalinich)
3. Battle Hymn Of The Republic (Howe)
4. River Song (D. Wilson/C. Wilson)
5. Ding Dang (B. Wilson/McGuinn)

Singles:
Child Of Winter* b/w Battle Hymn Of The Republic
(US #104 / UK #96)
Good Timin’ b/w River Song
(
US #15 / UK #22)
It’s O.K. b/w Ding Dang
(US #34 / UK #36)

“After taking a gap year, and releasing a stellar live album, The Beach Boys are back with this years LP. Good Timin’ is a quaint little album, but it clearly shows a band torn between material and presentation. The band has been selling out stadiums over the past two years, they’re currently the biggest live act in the country if not the world. Has this been costly to their studio work? Possibly. But nonetheless this album is still very enjoyable. Lead single/album opener Good Timin’ is a sweet track, and reminiscent of their legendary Surfer Girl. The album also sports some great cuts from Dennis Wilson as well. No matter the circumstances, we are happy to have a new album for The Beach Boys and are looking forward to what comes next.”
- Rolling Stone Magazine (1975)

“I like this album, it’s a bit of a warm up for me. The boys were busy touring so I was messing around with some stuff in the studio. I’m definitely planing on kicking my ass into gear from here on though.”
- Brian Wilson (1975)

“We’ve been really focused on performing but we’re happy to have something out there. There’s some good stuff on that album.”
- Mike Love (1975)

“It’s good, but it doesn’t surpass what came before it, or maybe even what came after it. I was satisfied with my songs on it, but I maybe could’ve held on to them and done something on my own.”
- Dennis Wilson (1979)

Good Timin’ filled a gap for us. It was very much a contract fulfillment album but we made the best of what we had. I’m a big fan of the title track. It was a decent hit too.”
- Carl Wilson (1988)

“I was definitely more interested in performing at that time. That’s where the energy was. We were playing with bands like Chicago and the Grateful Dead. I loved that scene. But we needed to put something out so we did.”
- Al Jardine (2005)
 
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The Beach Boys - Pick Ya Up At 8 (1976)
78DA877F-1C28-44DC-8A93-29F3FE2E95B6.jpeg

Produced By: Brian Wilson

Side 1:
1. Come Go With Me (Quick)
2. Had To Phone Ya (B. Wilson/Love/Rovell)
3. Shake, Rattle And Roll (Calhoun)
4. TM Song (B. Wilson)
5. Sea Cruise (Smith)
6. Everyone’s In Love With You (Love)
7. Just Once In My Life (Coffin/Smith/Spector)

Side 2:
1. Pacific Ocean Blues (D. Wilson/Love)
2. That Same Song (B. Wilson/Love)
3. Palisades Park (Barris)
4. A Casual Look (Wells)
5. Chapel Of Love (Barry/Greenwich/Spector)
6. In The Still Of The Night (Parris)
7. Sherry She Needs Me (B. Wilson/Titelman)

Singles:
Come Go With Me b/w Rock And Roll Music*
(#6 US / #24 UK)
Pacific Ocean Blues b/w Had To Phone Ya
(#11 US / #22 UK)
Sea Cruise b/w Peggy Sue*

(#46 US / #72 UK)

“A wave of nostalgia has taken over America recently, and The Beach Boys have placed themselves at the heart of it all. Performing concerts all across America in a barnstorming esq touring campaign, they’ve continued their status as the band to see perform. Now they’ve released an album to tour alongside of, Pick Ya Up At 8 has hit shelves and it’s a fine product from the boys. Brother Brian is fully back at the production console, something that has been much publicized recently. The band, including Brian, performed on Saturday Night Live and a result got the go ahead to have their own special on TV later this year. Things seem to be good for the band, and this years album shows that they’re comfortable with what’s happening around them. Pick Ya Up At 8 packs 6 original Beach Boys songs alongside some classic oldies that have been given the Brian Wilson touch. It’s an enjoyable and fun album. To be honest, we would like to see more original work from the main man himself, but we’re willing to wait for him to find his groove again. 1976 looks to be the year of The Beach Boys, and Pick Ya Up At 8 is the perfect component to the bands recent successes.”
- Rolling Stone Magazine (1976)

“It’s what we have cookin right now, but there’s more on the way. Our next album will be my most dedicated work in ages, maybe even since Pet Sounds.”
- Brian Wilson (1976)

“We remember the malt shops and the sock hops, and the drive ins and diners. We wanted to celebrate with you all so we’ve recorded some old classics to get you back on to your feet. This country could use a little fun right now.”
- Mike Love (1976)

“I still can’t decide whether it was a worthwhile effort or a shameless fucking cash grab. Don’t get me wrong I enjoyed making it, and I certainly enjoyed the paychecks. But what the fuck were we doing.”
- Dennis Wilson (1979)

“‘76 was an alright year for us you could say. SNL and all that. I was really just going along with the flow at that point. Brian wasn’t doing too well around that time but he was at least writing a lot. I couldn’t say the same for myself.”
- Carl Wilson (1983)

“I knew there was profit to be made, I saw them selling out arenas and realized I needed to get them involved in something. The special was a pain in my ass but it was the most watched television special of the year, we even joked it was bigger then the presidential debates. But it was a mess from the start.”
- Lorne Michaels (1986)

“I liked doing those old covers, and I knew it was good for Brian, but we needed something substantial eventually. Pick Ya Up At 8 sustained us until we got what we needed.”
- Al Jardine (1993)

“Me and John were backstage doing our usual thing, when Brian Wilson bursts into the dressing room, coke nails, big gut, and all. He told us he watched the show every night and was a huge fan of the both of us, then just turned around and left. 15 minutes later we walk out and Dennis Wilson and Mike Love are face to face screaming at each other about a parking ticket or some shit. Brian is nowhere to be found and they have to go on stage in 2 minutes. Within seconds of the curtain opening, Brian bursts out of the bathroom and darts straight to the piano. Somehow, after all this, they still killed it out there. I still don’t understand how they could go from a complete fucking mess to the strongest act in the world within seconds. Magic I guess.”
- Dan Aykroyd (2013)

“I was done with SNL by the time they were on there but I did run into Brian Wilson about 2 months later at a market in LA. Being a musician myself I was interested in how he did his thing. Eventually I ended up at his house playing piano with him for 6 fucking hours. He did play me some good stuff, but I was just being polite since he seemed to be in a rough state. Looking back on it now it is cool, but at the time I thought I was going to lose my fucking mind.”
- Chevy Chase (2018)
 
A little idea that came to me the other day in the form of a playlist (with one notable unreleased exception!). Here is a not very realistic take on a late 1967 Beatles album, had they gone on yet another 'long hiatus' after releasing the Strawberry Fields/Penny Lane double A-side in February 1967:

The Beatles - Sgt. Pepper's Band
Released 15 November 1967
Produced by George Martin

IMG_0783.JPG


Side A
  1. Sgt. Pepper's Lonely Hearts Club Band
  2. With a Little Help From My Friends
  3. Lucy in the Sky with Diamonds
  4. Fixing a Hole
  5. Only a Northern Song
  6. She's Leaving Home
Side B
  1. Penny Lane
  2. Strawberry Fields Forever
  3. When I'm 64
  4. Good Morning, Good Morning
  5. Lovely Rita
  6. Being for the Benefit of Mr. Kite!
Side C
  1. Getting Better
  2. Hello, Goodbye
  3. Within You, Without You
  4. Carnival of Light
Side D
  1. You Know My Name (Look up the Number)
  2. Across the Universe
  3. Sgt. Pepper's Lonely Hearts Club Band (Reprise)
  4. In the Life of...*
* Working title for 'A Day in the Life'.
 
The Beach Boys - Pick Ya Up At 8 (1976)
View attachment 651914
Produced By: Brian Wilson

Side 1:
1. Come Go With Me (Quick)
2. Had To Phone Ya (B. Wilson/Love/Rovell)
3. Shake, Rattle And Roll (Calhoun)
4. TM Song (B. Wilson)
5. Sea Cruise (Smith)
6. Everyone’s In Love With You (Love)
7. Just Once In My Life (Coffin/Smith/Spector)

Side 2:
1. Pacific Ocean Blues (D. Wilson/Love)
2. That Same Song (B. Wilson/Love)
3. Palisades Park (Barris)
4. A Casual Look (Wells)
5. Chapel Of Love (Barry/Greenwich/Spector)
6. In The Still Of The Night (Parris)
7. Sherry She Needs Me (B. Wilson/Titelman)

Singles:
Come Go With Me b/w Rock And Roll Music*
(#6 US / #24 UK)
Pacific Ocean Blues b/w Had To Phone Ya
(#11 US / #22 UK)
Sea Cruise b/w Peggy Sue*

(#46 US / #72 UK)

“A wave of nostalgia has taken over America recently, and The Beach Boys have placed themselves at the heart of it all. Performing concerts all across America in a barnstorming esq touring campaign, they’ve continued their status as the band to see perform. Now they’ve released an album to tour alongside of, Pick Ya Up At 8 has hit shelves and it’s a fine product from the boys. Brother Brian is fully back at the production console, something that has been much publicized recently. The band, including Brian, performed on Saturday Night Live and a result got the go ahead to have their own special on TV later this year. Things seem to be good for the band, and this years album shows that they’re comfortable with what’s happening around them. Pick Ya Up At 8 packs 6 original Beach Boys songs alongside some classic oldies that have been given the Brian Wilson touch. It’s an enjoyable and fun album. To be honest, we would like to see more original work from the main man himself, but we’re willing to wait for him to find his groove again. 1976 looks to be the year of The Beach Boys, and Pick Ya Up At 8 is the perfect component to the bands recent successes.”
- Rolling Stone Magazine (1976)

“It’s what we have cookin right now, but there’s more on the way. Our next album will be my most dedicated work in ages, maybe even since Pet Sounds.”
- Brian Wilson (1976)

“We remember the malt shops and the sock hops, and the drive ins and diners. We wanted to celebrate with you all so we’ve recorded some old classics to get you back on to your feet. This country could use a little fun right now.”
- Mike Love (1976)

“I still can’t decide whether it was a worthwhile effort or a shameless fucking cash grab. Don’t get me wrong I enjoyed making it, and I certainly enjoyed the paychecks. But what the fuck were we doing.”
- Dennis Wilson (1979)

“‘76 was an alright year for us you could say. SNL and all that. I was really just going along with the flow at that point. Brian wasn’t doing too well around that time but he was at least writing a lot. I couldn’t say the same for myself.”
- Carl Wilson (1983)

“I knew there was profit to be made, I saw them selling out arenas and realized I needed to get them involved in something. The special was a pain in my ass but it was the most watched television special of the year, we even joked it was bigger then the presidential debates. But it was a mess from the start.”
- Lorne Michaels (1986)

“I liked doing those old covers, and I knew it was good for Brian, but we needed something substantial eventually. Pick Ya Up At 8 sustained us until we got what we needed.”
- Al Jardine (1993)

“Me and John were backstage doing our usual thing, when Brian Wilson bursts into the dressing room, coke nails, big gut, and all. He told us he watched the show every night and was a huge fan of the both of us, then just turned around and left. 15 minutes later we walk out and Dennis Wilson and Mike Love are face to face screaming at each other about a parking ticket or some shit. Brian is nowhere to be found and they have to go on stage in 2 minutes. Within seconds of the curtain opening, Brian bursts out of the bathroom and darts straight to the piano. Somehow, after all this, they still killed it out there. I still don’t understand how they could go from a complete fucking mess to the strongest act in the world within seconds. Magic I guess.”
- Dan Aykroyd (2013)

“I was done with SNL by the time they were on there but I did run into Brian Wilson about 2 months later at a market in LA. Being a musician myself I was interested in how he did his thing. Eventually I ended up at his house playing piano with him for 6 fucking hours. He did play me some good stuff, but I was just being polite since he seemed to be in a rough state. Looking back on it now it is cool, but at the time I thought I was going to lose my fucking mind.”
- Chevy Chase (2018)
We still getting Love You?
 
Corabi Crue

- LOS ANGELES, 1995

Vince Neil's successful lawsuit against Nikki Sixx prevented Motley Crue from ever using the Motley Crue name ever again, without Vince Neil's permission.
Forced to change their name, the remainder of Motley Crue now performs under the name Crue and Corabi.

The Motley Crue album of 1994 was a dud. Alternative rock was king, and Motley Crue was seen as a relic of the 80s. Motley Crue, now unshackled of their old name, now go a new direction musically.

Crue and Corabi go into a pop-oriented direction.

With the lead single off the Album, "Distractions", the song and the album becomes a surprise hit on top 40 radio. The aforementioned "Distractions" becomes a top 40 hit, peaking at #31 on the Billboard radiio charts, and the title track hitting #50 on the top 100/#3 Mainstream Rock. But the real big smash hit on the album is Crue and Corabi's cover of The Moody Blues "Nights in White Satin". The soft, soulful ballad becomes 1997's top love song. The song spends 22 weeks on the Billboard charts, being released in July of 1997 and peaking at #4 in November, exiting the charts in December of 1997. The song was released in the UK in September of 1997, but didn't really take off until February of 1998, becoming the UK's Valentine's Day #1 of 1998.

Other love songs on the album include Marie Antoinette, Bella Donna (Named after Nikki Sixx's wife, Donna D'Erico) and Unholy Matrimony (A Song about Tommy Lee and Pamela Anderson's troubled relationship). Chinese Bureaucracy, a song making fun of rival band Guns 'N Roses,

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Track Listing.

1. Lost Melodies
2. Unholy Matrimony
3. Bella Donna
4. Marie Antoinette
5. Distractions
6. Afterglow
7. Chinese Bureaucracy
8. Beach Bums
9. Shoe Store
10. Title Track
11. Nights in White Satin (Moody Blues Cover)

With the smashing success of "Windstorm", Crue and Corabi strike a deal with Vince Neil. Vince Neil, whose financial situation is dire, agrees to lease the "Motley Crue name to Crue and Corabi. For 5% of all sales of any future Crue and Corabi album, and 15% of the gross profits from any concert, Crue and Corabi can tour as "Motley Crue".

"Motley Corabi" as the fans call them, quickly change their name back in December of 1997, which may have stymied any more chart success of their smash single.

Motley Crue's subsequent album in 2000, "New Tattoo", features only half of Motley Crue's original lineup. Tommy Lee is replaced with Randy Castillo. Tommy Lee starts his own band, and cuts his own album. The album is met with tepid sales, with one song, "Spicy Thing", scraping the top 40 at #37, and the rest of the songs on the album fail to chart. However, the album has a cult following. "Tommyworld", by Tommy Lee also sells tepidly, but gains a cult following.



In 2002, after getting together to collaborate on the book "The Dirt", Motley Crue become a pop culture sensation. The book helps these old friends mend their broken friendship. John Corabi leaves the band on amicable terms, to become the new lead singer of Van Halen, Randy Castillo gets treated for cancer, but can never play music again, leaving the door open for Tommy Lee and Vince Neil to rejoin the band.

Which they do in 2003, with their new album "American Tragedy".
 
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Night Life (1964)

Side A

  1. Oh Lonesome Me
  2. Little Egypt
  3. Night Life
  4. Blue River
  5. One Track Heart
Side B
  1. Do The Vega
  2. Poison Ivy
  3. Goodbye Little Darlin' Goodbye
  4. Deep Feeling
  5. Big Love Big Heartache
 
The Beatles - Shaved Fish (1975)

View attachment 648466
Produced By: The Beatles

SIDE ONE:
1. Venus and Mars/Rock Show
2. Here We Go Again
3. This Guitar (Can’t Keep From Crying)
4. Scared
5. You Gave Me the Answer
6. Nobody Loves You (When You’re Down and Out)

SIDE TWO:
1. Tired of Midnight Blue
2. Call Me
3. Letting Go
4. Steel and Glass
5. Venus and Mars (reprise)
6. The Answer’s At the End


In November of 1974, the Beatles regrouped in a studio in Los Angeles, later New Orleans to record their 16th studio album (then titled “Venus and Mars”) but as the sessions went on and Lennon’s partying and drinking habits grew, Paul has to do what was right for John even if he had to end the band.

He secretly called Yoko Ono in order for her and John to reconnect in order for her to bring some stability into his life and after a show in New York City, the two reunited and were back together. The band was put on an indefinite hiatus in late 1975 as John was going into his now-famous “househusband” period. Leaving the rest to follow solo careers as they waited for John to make music again.
Looking back through this, that cover looks familiar...
 

CalBear

Moderator
Donor
Monthly Donor
The Beatles - Shaved Fish (1975)

View attachment 648466
Produced By: The Beatles

SIDE ONE:
1. Venus and Mars/Rock Show
2. Here We Go Again
3. This Guitar (Can’t Keep From Crying)
4. Scared
5. You Gave Me the Answer
6. Nobody Loves You (When You’re Down and Out)

SIDE TWO:
1. Tired of Midnight Blue
2. Call Me
3. Letting Go
4. Steel and Glass
5. Venus and Mars (reprise)
6. The Answer’s At the End


In November of 1974, the Beatles regrouped in a studio in Los Angeles, later New Orleans to record their 16th studio album (then titled “Venus and Mars”) but as the sessions went on and Lennon’s partying and drinking habits grew, Paul has to do what was right for John even if he had to end the band.

He secretly called Yoko Ono in order for her and John to reconnect in order for her to bring some stability into his life and after a show in New York City, the two reunited and were back together. The band was put on an indefinite hiatus in late 1975 as John was going into his now-famous “househusband” period. Leaving the rest to follow solo careers as they waited for John to make music again.
Is this your original work?
 

CalBear

Moderator
Donor
Monthly Donor
The Beatles - Shaved Fish (1975)

View attachment 648466
Produced By: The Beatles

SIDE ONE:
1. Venus and Mars/Rock Show
2. Here We Go Again
3. This Guitar (Can’t Keep From Crying)
4. Scared
5. You Gave Me the Answer
6. Nobody Loves You (When You’re Down and Out)

SIDE TWO:
1. Tired of Midnight Blue
2. Call Me
3. Letting Go
4. Steel and Glass
5. Venus and Mars (reprise)
6. The Answer’s At the End


In November of 1974, the Beatles regrouped in a studio in Los Angeles, later New Orleans to record their 16th studio album (then titled “Venus and Mars”) but as the sessions went on and Lennon’s partying and drinking habits grew, Paul has to do what was right for John even if he had to end the band.

He secretly called Yoko Ono in order for her and John to reconnect in order for her to bring some stability into his life and after a show in New York City, the two reunited and were back together. The band was put on an indefinite hiatus in late 1975 as John was going into his now-famous “househusband” period. Leaving the rest to follow solo careers as they waited for John to make music again.
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