The Squire Presents

To finish off the month, I have put together a special Beatles What-If project. Being in lockdown allowed my imagination to wander somewhat, but I do hope that you enjoy this alternative history project of what The Beatles Anthology albums could have been.

The Long & Winding Road Vol.1

In 1995, The Beatles released their Anthology project that consisted of a TV series, albums, and a coffee table book. They had also thrown open the doors on the archives to allow unreleased studio recordings to be officially heard for the first time. The project had been running from 1970 when Neil Aspinall, future head of the Apple Company, put together a compilation of archival footage that he called The Long & Winding Road. The film was ready by 1971, but as relations between the band members were not as good as they could have been, they were not involved in the project. This film itself became a part of the archive but permission was given to use some of the footage so that Eric Idle could complete his Rutles project. The project was resurrected in 1980 when John Lennon said that he would be getting back together with the other Beatles for a reunion concert and that it would be used as the end of the Long & Winding Road film. Tragically, Lennon was killed before this could happen. 

Up to this point, Beatles fans had been poorly served by archival material being released. Between 1970, when the band split up, and 1995 when the Anthology project saw the light of day, there were a couple of live albums.  The Live at the Hollywood Bowl and Live! at the Star-Club In Hamburg, Germany albums, both from 1977. In 1980, EMI had asked house engineer John Barrett to listen to and catalogue The Beatles session tapes whilst he recovered from cancer treatment. This led to a multi-media event called ‘The Beatles at Abbey Road’, which included some unreleased material being heard for the first time since they had been recorded. All of the surviving Beatles attended the event and Harrison said that he was happy for his solo take of While My Guitar Gently Weeps to be released. EMI prepared an album called Sessions, but The Beatles undertook legal proceedings to prevent it coming out. All of the songs that were put forward for the Sessions album would be released on the Anthology albums. 

These albums contained material that had not been released before and this took the form of some live cuts, TV appearances, demos and alternative mixes of previously released songs. What these albums showed was that there was little in the way of songs that were not used anywhere else. Most of these songs came from the early days of the band and their recordings before signing with EMI in 1962. What was also missing were any curiosities that had come out down the years, and are little known outside of the most dedicated Beatles fans.  

What if the project had been released in 1980 as planned, but instead of what we got in 1995, these records were made up of some of the aforementioned curiosities, some unreleased mixes and demos. I have seen this as a continuation of my Collection of Beatles Oldies LPs, so as these would still be readily available in this alternative timeline, none of the songs included on those collections are included here.  These albums would be released three single LPs and would have a cover photo close to the period when the music was recorded.  That is why Pete Best is included on the sleeve for Vol.1 as Ringo Starr does not play on many of the songs on that record. All of the sleeves are based on the U.S. version of the Rarities album that was released in 1980. 

I have tried to show where these songs can be found as a number of them have been released officially down the years, but some are still in the archive (or on bootlegs, if you know where to look). There is a gap in these collection between 1963 and 1966, mostly down to the fact that the best archival recordings from that period had already been used on the first Collections of Beatles Oldies LP. I would hope that The Beatles in this timeline would see fit not to double up on material to give their fans the best value for money compilations they could. 

Side A

1. That’ll Be The Day – The Quarrymen – Demo
2. In Spite Of All Danger – The Quarrymen – Demo
3. Hallelujah, I Love Her So – Home Demo
4. You’ll Be Mine Home – Demo
5. Cayenne – Home Demo
6. My Bonnie – With Tony Sheridan
7. Ain’t She Sweet – With Tony Sheridan
8. Cry For A Shadow – With Tony Sheridan
9. ‘Till There Was You – Decca Demo
10. Like Dreamers Do – Decca Demo

Tracks 1, 2, 3, 4 & 5 would be released on the Anthology 1 album (1995).

Track 6 was originally released as a single, but the band was credited as The Beat Brothers (1961)

Track 7 was originally released as a single (1964) 

Track 8 was originally released on the ‘Mister Twist’ EP (1962)

Track 9 is currently unreleased. 

Track 10 would be released on the Anthology 1 album (1995).

Side B

1. Take Good Care Of My Baby – Decca Demo
2. The Sheik Of Araby – Decca Demo
3. Love Of The Love – Decca Demo
4. Crying, Waiting, Hopping – Decca Demo
5. Three Cool Cats – Decca Demo
6. Hello Little Girl – Decca Demo
7. Besame Mucho – EMI Demo (Pete Best on Drums)
8. Love Me Do – EMI Demo (Pete Best on Drums)
9. Please Please Me – Andy White on Drums
10. Bad To Me – Home Demo
11. I’m In Love – Home Demo

Tracks 2, 5, 6, 7, 8 & 9 would be released on the Anthology 1 album (1995).

Tracks 1, 3 & 4 are currently unreleased. 

Tracks 10 & 11 would be released on the The Beatles Bootleg Recordings (2013)

The Long & Winding Road Vol.2

Side A

1. A Beginning (Take 4)/Don’t Pass me By (Take 7) – Studio Recording
2. Child Of Nature – Esher Demo
3. Step Inside Love – Studio Jam
4. Los Paranoias – Studio Jam
5. Circles – Esher Demo
6. Junk – Esher Demo
7. Can You Take Me Back (Take 1) – Studio Recording

Tracks 1, 2, 3, 4, 5, & 8 would be released on the ‘The Beatles – 50^th Anniversary Box Set’.

Track 7 would be released on the Anthology 3 album.

Side B

1. It’s All Too Much – Full Length Version
2. What’s The New Mary Jane – Studio Outtake
3. The Inner Light – Stereo Mix
4. Tomorrow Never Knows – Matrix XEX 606-1 – Mono
5. Sgt. Pepper’s Lonely Hearts Club Band (Reprise) – U.S. 8-Track Stereo Mix
6. Inner Grove Sgt Pepper’s

Track 1 is currently unreleased.

Track 2 would be released on Anthology 3 (1996).

Track 3 would be released on The Beatles EP Collection (1981)

Track 4 was released on the first pressing of the Revolver LP. When ‘Revolver’ was initially mixed, a different master for ‘Tomorrow Never Knows’ was sent off to be pressed. The mix is known as Remix 11. Although subtle, it is different to the standard Remix 8 which was ultimately to replace it. The story goes that each group member was given the first copies from the production line and John Lennon went off to listen to it. But, it turned out that he was unhappy with the mix or that the wrong one had been used and he informed George Martin. Production was then stopped as the new masters were cut and the pressing plates were replaced. First pressings have XEX 606-1 whereas the standard press has XEX 606-2 and beyond (www.thebeatles-collection.com). This version has not been made available since. 

Track 5 was released on the 8-Track version of Sgt. Pepper’s Lonely Heart Club Band (1967) The 8 track edition of Sgt. Pepper’s Lonely Hearts Club Band features a longer edit of Sgt. Pepper’s Lonely Hearts Club Band (Reprise), created to fill more of the tape and “even out” the recording sides. At about 1:15, where Paul’s “Woo!” is heard, the previous 15 seconds are replayed and that “Woo!” is heard again before the song completes (www.aboutthebeatles.com).

Track 6 was released on the initial UK pressing of the Sgt Pepper album (1967). Later pressings, especially in the USA did not include this track. 

The Long & Winding Road Vol.3

Side A

1. Come Together – Brazilian Mono Mix
2. Teddy Boy – Get Back – 1^st Version
3. Dig It – Get Back – 1^st Version
4. Something – Inc. Coda Jam
5. The Ballad Of John & Yoko – NZ Censored Edition

Track 1 was released in Brazil (1970). Both Abbey Road and Let it Be were released in Mono in Brazil. They were not dedicated Mono mixes though, but a fold down of the Stereo one.

Tracks 2, 3, & 4 are currently unreleased. Tracks 2 & 3 were the original versions of songs that would be released later as the Let It Be album. Track 4 includes an extended piano jam that an was exorcised from the final version. 

Track 5 was made specifically for New Zealand radio with references to Christ edited out. This version has not been made commercially available. 

Side B

1. Come & Get It – Studio Demo
2. Old Brown Shoe – Australian Mono Single Mix
3. Don’t Let Me Down – Get Back – 1^st Version
4. Watching Rainbows (Edit) – Demo
5. All Things Must Pass – Studio Demo
6. Goodbye – Home Demo
7. Get Back (Coda) – Get Back – 1^st Version

Tracks 1 & 6 would be released on Abbey Road 50^th Anniversary Deluxe Edition (2019)

Track 2 was released in Australia (1969). It is not a dedicated Mono mix, but is a fold down of the Stereo. 

Tracks 3, 4 & 7 are currently unreleased. Tracks 3 & 7 were versions of songs that would be released later as the Let It Be album. Track 4 is a songwriting jam from the Let It Be sessions.

Track 5 would be released on Anthology 3 (1996).

A Spotify playlist could not be created for these collections due to the amount of songs that have still not been officially released. 

As I posted a compilation of The Velvet Underground earlier this month, I thought I would continue by looking at the lost forth album the band had been recording in 1969. This seems to be a staple of many of the what-if album websites but the beauty of these things is just that. It is a what-if album. It was never released and so anyone can take the songs and speculate as much as they like about the running order would be, cover imagery etc. The story of this album has also been told many times but here is a summery. 

By the time the band had come to record their third album founding member John Cale had been fired, they had moved to MGM from Verve (an MGM subsidiary) and the sound had changed. This was down to the removal of Cale, who seemed intent to drive the band towards a more drone, noise infused future. Reed on the other hand, seemed to want to achieve some sort of commercial success with the band and having Cale in the band would have stopped this from happening. The fact that the band did not achieve much success during their life time is neither here nor there. They have definitely sold a lot more units since. Multi-instrumentalist Doug Yule was brought in as Cale’s replacement and he was there in time to record the third album. This album had few of the rough edges that had been present when Cale was in the band, and the subject matter of the songs had become more intimate. With the album recorded by the end of 1968, the band hit the road opening a good deal of 1969 playing live. 

In between live dates, the band was also in the studio laying down fourteen songs that the band members do not seem to have been in agreement as to what the purpose of recording them was. Lou Reed and Maureen Tucker both said that these songs would have been the basis of the next album. Doug Yule says that these songs were professional demos and Sterling Morrison says that this was just a way of looking busy whilst they were looking to get out of their contract. Whatever the reason, these songs have been released numerous times down the years but it is the versions that were included on the 2014 Super Deluxe Edition of the ‘Velvet Underground’ album that will will form the basis of this release. 

Out of the fourteen songs that were released as part of the compilation, two did did not make the cut. That was Rock & Roll as this came out as part of the ‘Loaded’ album and I did not want an overlap of songs. The other is I’m Sticking With You’ which sounds a though it should have been added to an album that was directed towards children or a B-Side. Out of the remaining songs, Andy’s Chest was relegated to a B-Side of whatever song was released from this album as an A-Side. Most probably an edited version of Foggy Notion, even though it no doubt would have been banned due to its lyrical content. That means there is a gap to be filled in with the running time as labels like to release albums with similar playing times on each side. Therefore I had a look at other unreleased material and there was a demo recording of Countess From Hong Kong, Though it was a co-write between Reed and Cale, the demo dates from the second half of 1969 so would fit into the time frame of this record. This takes the album up to about 23 minutes per side, which is long for an album of the time but not unheard of. 

So why didn’t the album come out? If, as Morrison says, the band were just killing time, then there was no intention of releasing it at all. However, if we go with Tucker and Reed’s version of events, then it could have been down to the fact that in 1969, MGM were in financial trouble. One of the ways of reducing this would have been to strip their artists roster of any band that were proving to be unprofitable. The Velvet Underground would have fit this category and so they were out. What MGM did not allow the band to do was to take the master tapes with them. By the time The Velvet Underground had signed with Cotillion Records, they had moved on and only a few of the songs were taken forward to what would be the ‘Loaded’ album. What this ‘lost’ album does is nicely bridge the gap between the recording of the ‘Velvet Underground’ and ‘Loaded’ albums showing the progression the band was making. As it was, these songs lay in the MGM vaults until the mid 80s when they were released along with some other outtakes from the Cale era. 

Would this album have turned The Velvet Underground into a commercial group? Doubtful but Lou Reed did not abandon the songs completely as many of them would appear on his solo records throughout the 1970s’. The front cover of this collection was adapted from a gig poster that band played at the Paramount Theatre in Springfield. Unfortunately, I don’t know the date of the gig as the poster didn’t say.

Side A

1. Foggy Notion
2. One Of These Days
3. Countess Of Hong Kong
4. Ride Into The Sun
5. Ocean

Side B

1. I Can’t Stand it
2. Coney Island Steeplechase
3. I’m Gonna Move Right In
4. Lisa Says
5. Ferryboat Bill
6. She’s My Best Friend
7. We’re Gonna Have A Real Good Time 

Single B-Side

Andy’s Chest

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Normally I would only look to share one what-if album a month because they take a bit longer to put together than the compilations I post. However, the lockdown has given me a little bit more time and this particular piece also fits in nicely with the recent posts about Bowie that went online in February and April. 

Bowie did not see much in the way of success during the 60s, but he was laying down the groundwork for what would come later. He reeled a number of singles on the Vocalion Pop, Parlophone and Pye labels but none of them troubled the charts. Even with these singles behind him, he managed to secure a deal with Deram, a subsidiary of Decca Records. He released three singles and one album whilst on the label but none were chart hits, even though The Laughing Gnome made number 6 in the UK when it was re-released in 1973. The majority of these records were released in 1967, which was one of the most experimental years for music but this curious mix of music hall/ Anthony Newley style numbers fell on deaf ears. Bowie wrote a number of new songs and presented them to the label as potential singles but they were rejected effectively ending his association with Deram & Decca. However, this compilation looks at what might have happened if these songs had not been rejected and Bowie continued to be a Deram recording artist into 1968. 

Even though the recording sessions for the follow-up album were meant to start in the Spring of 1968, I have taken a view that anything that was demoed in that year could be used. I have also discounted any song that was used on the 1969 ‘David Bowie’ album as well, so no Space Oddity I’m afraid. What we have here is a solid, if not spectacular album which is a little rough around the edges, but that was down to the fact that very few of these songs were actually recorded in a studio. Most are simply demos. Would these songs have been changed once Bowie brought them into the studio? Who knows, but what we have here is a rough idea of what a second Bowie on Deram album would have been like, with accompanying singles. 

London, Bye, Ta, Ta – Originally this song was going to be the B-Side of the unreleased ‘In The Heat of the Morning’ single, but it sounded like a great place to start the album off and would have been wasted on the flip of a seven inch. It looks at how London is changing and has become something of a strange young town to the song’s narrator. 

Mother Grey – The influence of Ray Davies on Bowie’s early songwriting was evident on his debut album. With the release of these 1967/8 demos, you can see that Bowie had still not got all of this out of his system with Mother Grey. The song covers the domestic drudgery of Mother Grey as she cleans the house, makes dinner and polishes the picture frame of the son who has moved out of the family home. Similar to Ray Davies’ ‘Two Sisters’ then. 

The Reverend Raymond Brown (Attends The Garden Fete On Thatchwick Green) – This would not have sounded out of place on his debut album, seeing as it follows a cast of characters in an imaginary village. Various characters are mentioned including Rev. Brown who leads the village band during a fete whilst lusting after a local beauty and the local women gossiping about Sally who has got herself pregnant. All a bit Ray Davies. 

Goodbye Threepenny Jones – An observation song from Bowie where he watches a performing  artist performing a show with stories of sadness and despair. Bowie’s companion is heard laughing during these stories and then Joe is thanked for the show and asked not to come again. 

Angel, Angel, Grubby Face – Would this one have made the cut if the second album sessions had gone ahead, seeing as it has a very similar melody line (in places) to London, Bye, Ta, Ta? This song looks at the hustle and bustle of city life with the relatively peacefulness of the countryside. The Village Green Preservation Society before it came out I suppose. 

When I’m Five – Bowie must have thought highly of this song at the time because he not only recorded a studio version, but he also cut a version at the BBC for a radio session. This BBC version would be used as the soundtrack to the short promo film ‘Love You ‘Till Tuesday’. Is it a song for children, or just a child. Bowie sings as though he were a child and would have been this album’s ‘Laughing Gnome’.  

Ching-A-Ling – For a short time in 1968, Bowie was part of a folk trio with Hermione Farthingale (his girlfriend at the time) and initially Tony Hill who was soon replaced by John ‘Hutch’ Hutchinson. The only known studio recording session completed by the band was ‘Ching-A-Ling’ which producer Tony Visconti had booked without the approval of Bowie’s management as a way of getting a record contract. As it was, it didn’t. Bowie would record another demo in 1969 but that would be the last time he revisited the song. 

Love All Around – A lovely Bowie melody that seems to be a love song, but some of the lyrics in the chorus are a bit hard to hear due to his enthusiastic strumming. This causes the recording to become a bit distorted in places.  

The Mirror – Bowie spent time studying mime with Lindsey Kemp and this would be a source of income for him between 1967 and 1969. Kemp asked Bowie to write some songs for a show he was putting on called ‘Pierrot in Turquoise’ and this is one of those songs. The only known recording of these songs date from 1970 when the Pierrot show was broadcast on the BBC under the title of ‘The Looking Glass Murders’. These date from the time period of the second Deram Album and one of the songs, ‘Threepenny Pierrot’ was re-written to be London, Bye, Ta, Ta. 

Karma Man – Bowie had been studying Buddhism since the mid 60s and this song looks at a man who sits crossed legged with all of his world possessions on him. That being his clothes and beads. Could it be Bowie commenting on capitalism or just putting forward what he had seen from his studies of Buddhism? This song looks to have taken inspiration from Syd Barrett without sounding too much like the one time Pink Floyd front man. 

Love Song – When Hermione Farthingale broke up with Bowie and left Feathers, he and ‘Hutch’ Hutchinson continued to record demos and play the odd gig together. When they recorded a demo tape, it included a number of Bowie originals as well as a couple of covers. Bowie would include covers in a number of his early 70’s LPs including this song. Love Song written by Lesley Duncan; who the musicians can be heard talking about at the beginning of the song as she was a back-up singer for Dusty Springfield at that time. 

Life Is A Circus – Another song from the Feathers demo tape. This was originally recorded by an obscure folk group called Djinn. Bowie may well have come across them as Djinn had asked Tony Visconti to be their producer. It would be this demo tape that secured Bowie a contract with Mercury Records. 

Let Me Sleep Beside You – A blatant attempt at a hit single, and would have made a good A-side so it keeps that position here. Artists didn’t always put singles on their albums in the 1960’s. With some suggestive lyrics about a girl now being a woman, this was rejected by his label because of the song’s message. Strange as this was the label that in January 1967, had allowed The Rolling Stones to release “Let’s Spend the Night Together’. I suppose the difference being that the Stones sold a lot of records and Bowie, at this stage, had not. 

Columbine – Another song from the ‘Pierrot in Turquoise’ project. 

In The Heat Of The Morning – One of the songs put forward by Bowie to Dream as a potential single. This was one of the first recordings Bowie made with Tony Visconiti and this, like ‘Let Me Sleep Beside You’, was Bowie looking for a more commercial sound. Deram were not impressed though and the working relationship between the label and Bowie came to an end. 

April’s Tooth Of Gold – A song detailing young people and their interesting fashion sense and the older generation not having a clue as to what is going on. The characters and language used may well have been out of date by the time of the second album sessions, so relegation to a B-Side would have been a fitting home for it. The strumming is a bit reminiscent of Autumn Almanac by The Kinks.  

The release of ‘Conversation Piece’ in 2019 shows the leap that Bowie made between his two self titled albums was not as great as would first appear. With the demos opening a door on a songwriter honing his craft, would a second Dream album have allowed Bowie the development time to make that leap? Maybe, maybe not. 

Some of Bowie’s earlier material can be heard on the Songs of David Bowie podcast. http://www.thesquirepresents.co.uk/episode-87-the-songs-of-david-bowie/

Side 1

1. London, Bye, Ta Ta – 1
2. Mother Grey – 2
3. The Reverend Raymond Brown (Attends The Garden Fete On Thatchwick Green) – 2
4. Goodbye Threepenny Joe – 2
5. Angel, Angel, Grubby Face – 2
6. When I’m Five – 1

Side B

1. Ching-A-Ling – 2
2. Love All Around – 2
3. The Mirror – 3
4. Karma Man – 1
5. Love Song – 2
6. Life Is A Circus – 2

Singles

1. Let Me Sleep Beside You – 1
2. Columbine – 3
3. In The Heat Of The Morning – 1
4. April’s Tooth Of Gold – 3         

Key

1 – Taken from David Bowie (1967) Deluxe Edition

2 – Taken from Conversation Piece

3 – Demo from Looking Glass Murders (Currently Unreleased)

The cover of this compilation is adapted from The Dream Anthology release from 1997. 

Due to the still unreleased nature of some of these songs, it has not been possible to produce a Spotify playlist

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In this post, I will continue with my alternative history of The Beatles with a follow up to the 1966 collection, A Collection of Beatles Oldies. 

With The Beatles officially no more by the end of 1970, EMI had potentially lost a very lucrative cash cow. The individual members releasing a number of solo albums and singles throughout the early years of the 1970s, which did sell a significant amount of units, offset this somewhat. However what-if EMI had decided in its infinite wisdom to produce an LP for Christmas 1970 which followed on from their previous compilation, A Collection of Beatles Oldies. It would use the same format as the previous volume so it would include B-Sides, a few unreleased songs from the archive with a couple of rarities thrown in for good measure.

Rain (Mono) – Left off of the previous volume for being released the same year as the A Collection of Beatles Oldies compilation. Originally released as the B-Side to the Paperback Writer single.

Baby You’re A Rich Man (Mono) – Originally released as the B-Side to the All You Need Is Love single.

You Know My Name (Look Up The Number) (Mono) – Originally released as the B-Side to the Let It Be single. Even though the single came out in 1970, the initial recording sessions for this song were started in 1967 and sounds more in tune with the psychedelic songs of that year than the more straightforward music the band were producing when it eventually saw the light of day. 

The Inner Light (Mono) – Originally released as the B-Side to the Lady Madonna single.  

I Am The Walrus (US Mono single mix) – This version of the song includes an extra bar of music before the words ‘yellow matter custard’. The UK version was an edit of the first half of Take 10 with Take 22. This was the version released on the B-Side of the Hello, Goodbye single and the Magical Mystery Tour EP. It would seem that Capitol Records in the US were sent an unedited tape of Take 22. 

Penny Lane (Stereo) – This dates from the 1980 US Rarities, so it could be said to be a little out of the time frame of this record, but this is a unique version worthy of inclusion here (and who’s to say that someone might have done the same thing in 1970 anyway). This was a combination of the stereo version of the song, which American audiences had not heard up to that time with some additional piccolo trumpet at the songs conclusion which had been heard on US promotional copies of the single.

Revolution (Mono) – Originally released as the B-Side of the Hey Jude single. 

Across The Universe (Mono) – This version was released on the charity album, ‘No One Gonna Change My World’. This version had some added sound effects added to make it fit into theme of the record, which was released to raise money for the World Wildlife Fund. 

Don’t Let Me Down (Mono) – Originally released as the B-Side to the Get Back single. 

Old Brown Shoe (Stereo) – Originally released as the B-Side to the Ballad of John & Yoko single. 

Not Guilty (Full Length Version – Stereo) – Recorded during the sessions for The Beatles ‘White Album’. One of the last songs to be left off of the album, it was felt by Lennon especially, that airing the bands dirty laundry in public would not be beneficial to their public image. Listen to the song’s lyrics and you will see what he means. Harrison said that the song was a reference to the band’s trip to India, the Maharishi Mahesh Yogi and the lavish launch of Apple Corps, which he had missed due to spending time with Ravi Shankar instead of returning more quickly from a trip to Asia. The song was legendary with Beatles fans during the 70s due to it being a known, but not heard outtake. Harrison did record a solo version for inclusion on his 1979 George Harrison album, but the original Beatles version did not see the light of day until 1996, and even then, it was in edited format. The full-length version would not be officially released until 2018. 

Christmas Time Is Here Again (Mono) – Between 1962 and 1969, The Beatles would release a fan club exclusive single with songs and sketches. One of those was Christmas Time (Is Here Again), which was included on the 1967 release. This is the edited version that would eventually be released to the general public as a B-Side on the 1995 Free As A Bird single. 

Side A

1. Rain (Mono)
2. Baby You’re A Rich Man (Mono)
3. You Know my Name (Look Up the Number) (Mono)
4. The Inner Light (Mono)
5. I Am The Walrus (US Mono Single Mix)
6. Penny Lane (US Rarities Remix Trumpet Ending Edited onto Regular Stereo Version)

Side 2

1. Revolution (Mono)
2. Across the Universe (Mono – No One Gonna change My World Version)
3. Don’t Let Me Down (Mono)
4. Old Brown Shoe (Stereo)
5. Not Guilty (Stereo – Full Length Version)
6. Christmas Time Is Here Again (Mono)

This playlist could not be reproduced on Spotify, as they contain songs not available on the platform at this time. The front cover is adapted from one of the rejected ideas that had been put forward for the ‘White Album’. 

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