10 May - 16 June 1976
GEORGE HARRISON: "We planned for our first album of originals since Everest to be called Between the Lines. The meaning behind it was that when people think of the Beatles, they think of John as the Beatle who always wrote the hard rockers like 'Revolution' and 'Come Together', Paul for writing the ballads like 'Yesterday' and the more outlandish songs like 'Ob-La-Di, Ob-La-Da', me for being the quiet one, and Ringo being... Ringo. That was reflected on our projects apart between 1970 and 1975, but if you look deeper, there's more to us than what we've often been stereotyped as." (1996)
PAUL McCARTNEY: "Since he'd had three songs on Abracadabra, George had always been frustrated at the fact that John and I always dominated the albums. I mean, John recognized George's talent during the trip in India in 1968 and I didn't; if I had, maybe we wouldn't have broken up in 1970. Having heard his music as part of the Ladders, I'd realized how much I'd taken George's growth for granted. He deserved to stand alongside me and John, y'know, and the critics agreed. That was why, for when we did Between the Lines, the three of us would have equal vocal spots. Ringo could have an extra vocal spot if he felt like it." (2005)
Among the first songs auditioned for Between the Lines was "Beautiful Girl", a song that George had begun back in 1969, and now, he had finished it up for possible inclusion, inspired by his girlfriend Olivia Arias. His other contributions to the sessions included the comedic "Crackerbox Palace" (with the line "it's twoo, it's twoo" inspired from Madeline Kahn's character Lili Von Shtupp in Blazing Saddles), the jazz-sounding "Learning How to Love You", and a co-write with John Lennon, "This Song", following their respective lawsuits over "My Sweet Lord" and "Come Together".
Paul's first contribution to the sessions was what he considered probably his most ambitious and complex track, "Silly Love Songs", a response to John Lennon and music critics for mostly writing... well, silly love songs. The track was met with skepticism among the other three Beatles, thinking it would never be a hit single. Still, they recorded it with the mindset that it could end up being either the Beatles' biggest surprise hit (or at least, among their biggest), or a single that would render them a musical joke. It could've also ended up somewhere in the middle; "Silly Love Songs" was a gamble at this point. Two of Paul's other contributions had a much harder rock sound - the counter argument "Beware My Love", and a track written as early as 1971, "Soily". He'd also had another track from 1973, "Six O'Clock", which was given to Ringo to sing, having had no songwriting contributions of his own.
John's contributions were all from the Goodnight Vienna sessions. The best of the leftovers, according to the other three Beatles, were the psychedelic dreamlike "#9 Dream", the jazzy "Bless You", and the 50s-influenced "Move Over Miss L", a jab at Lennon's ex-wife Yoko Ono. The only new song he contributed was another track for Ringo to sing, "Cookin' (in the Kitchen of Love)". That left the total at four songs each from John, Paul and George, with one track from the latter being left aside for a possible B-side, and the former two each giving a track for Ringo to sing.
JOHN LENNON: "We split up the $3,200 we'd earned for our performance on Saturday Night between us and used that money to pay for studio space at the Hit Factory in New York. That place was chosen because I wanted to be there for Maddy when our child came. That, and our wedding. While I gave part of my share to pay for studio space, most of it went into preparing for the birth of our child as well as wedding planning. As excited as I was to record with us as the Beatles again, I wanted to put as much focus as I could on taking care of Maddy and our unborn child. Paul and Ringo understood, given that they had each fathered children; George was the only one who didn't have any at the time, but even he could sense that I wanted to prioritize family over business." (1988)
MADELINE KAHN: "While John and the others were recording, I spent time with Linda and her children and got to meet Olivia for the first time. Unofficially, we had formed a club about being lovers to the Beatles, along with Nancy Andrews, though we didn't see her that often. Poor John was torn about splitting time with me and his bandmates, so I had to assure him that things would be fine with me. Didn't stop him from worrying, though. *giggles*" (2003)
Despite John's concerns, the recording sessions for Between the Lines went by extremely smoothly, especially given that the album as a whole was self-produced. Although there was a brief spat between George and Paul over how some songs should be arranged, Ringo acted as the mediator telling them that they were too old to be squabbling like this. After all, they were all grown men, and every track had to say "produced by the Beatles", and not "'Six O'Clock' produced by Paul McCartney", "'Beautiful Girl' produced by George Harrison", and so on. After the recording was done, two days before Paul's 34th birthday, the track listing was decided as follows, according to the journals of John Lennon:
Although the album's planned release date was set for 16 July 1976, for whatever reason, it never happened. But why? It wasn't like the music was anything to be ashamed of, right? Actually, it was because Paul McCartney had been dragged back into working with Smile and had to prepare for a tour beginning in July, and unfortunately, this would leave him with little to no time to promote the album.
RINGO STARR: "It was unbelievable. We were so close to putting out a Beatles reunion album and a few singles, but label problems had other plans in store." (2010)
PAUL McCARTNEY: "We'd put so much effort into this album, but because I was committed to Smile at the time, the album was pulled at the last minute. What was even harder for all of us was that I asked for my vocal spots to be removed; George didn't want to do this, and I don't blame him. Between the Lines had gone from being a Beatles reunion album to a Ladders album." (1988)
GEORGE HARRISON: "With John set to marry Madeline and Paul having dropped out, I was left in charge with reworking the album. I had to rely on older John songs from when we did Goodnight Vienna just to fill the void that Paul left behind. At least he got to re-use his own songs for the next Smile album, so it wasn't a complete loss for everyone involved." (1996)
Even though the Beatles' version of Between the Lines was never officially released, the planned track listing was, and over the years, the album gained a cult following for its status. On the internet in the 2010s, blogs such as Albums That Never Were would try to recreate what the Beatles reunion album would've been like had it been properly released. Other blogs like The Reconstructor and What If - Misc would go a step further to determine what the Beatles' albums between 1970 and 1975 would've been like had they stayed together during the first half of the decade; mostly it was a matter of personal preference and taste. Then there were blogs such as Something Creative and Apple Merseysiders[1] that envisioned a different story for the Beatles altogether pre-1970. Imagine that.
Madeline Kahn grew up under a nonobservant Jewish roof, and in Jewish circles, it was considered to be good luck if you were married on a Tuesday, based upon the account of the third day of creation with the phrase "and God saw that it was good" (Genesis 1:10-12) appearing twice. The wedding between her and John Lennon took place on Tuesday the 22nd of June, shortly after the recording sessions for the Beatles' Between the Lines and before Paul McCartney went on a world tour with Smile throughout the latter half of 1976 and into the first few months of 1977.
Paul served as the best man to John whilst Linda McCartney was Madeline's maid of honor. The attendees of the wedding were the other two Beatles, along with Cynthia Powell, Julian Lennon, Maureen Cox, Olivia Arias, the McCartney and Starkey children, as well as Apple associates Brian Epstein, Peter Brown, Neil Aspinall, Mal Evans and Derek Taylor. Some additional members from the entertainment scene (including Mel Brooks, Gene Wilder, Dennis Wilson, Freddie Mercury and Elton John) were also invited to the subsequent party near Madison Square Garden. Shortly after the wedding, Mr. and Mrs. John Lennon began their honeymoon in Greece. It was a happy time for all involved.
17 September 1976
 |
| The cover for the Beatles' unreleased 1976 album Between the Lines, planned for a release date of 16 July 1976. |
PAUL McCARTNEY: "Since he'd had three songs on Abracadabra, George had always been frustrated at the fact that John and I always dominated the albums. I mean, John recognized George's talent during the trip in India in 1968 and I didn't; if I had, maybe we wouldn't have broken up in 1970. Having heard his music as part of the Ladders, I'd realized how much I'd taken George's growth for granted. He deserved to stand alongside me and John, y'know, and the critics agreed. That was why, for when we did Between the Lines, the three of us would have equal vocal spots. Ringo could have an extra vocal spot if he felt like it." (2005)
Among the first songs auditioned for Between the Lines was "Beautiful Girl", a song that George had begun back in 1969, and now, he had finished it up for possible inclusion, inspired by his girlfriend Olivia Arias. His other contributions to the sessions included the comedic "Crackerbox Palace" (with the line "it's twoo, it's twoo" inspired from Madeline Kahn's character Lili Von Shtupp in Blazing Saddles), the jazz-sounding "Learning How to Love You", and a co-write with John Lennon, "This Song", following their respective lawsuits over "My Sweet Lord" and "Come Together".
Paul's first contribution to the sessions was what he considered probably his most ambitious and complex track, "Silly Love Songs", a response to John Lennon and music critics for mostly writing... well, silly love songs. The track was met with skepticism among the other three Beatles, thinking it would never be a hit single. Still, they recorded it with the mindset that it could end up being either the Beatles' biggest surprise hit (or at least, among their biggest), or a single that would render them a musical joke. It could've also ended up somewhere in the middle; "Silly Love Songs" was a gamble at this point. Two of Paul's other contributions had a much harder rock sound - the counter argument "Beware My Love", and a track written as early as 1971, "Soily". He'd also had another track from 1973, "Six O'Clock", which was given to Ringo to sing, having had no songwriting contributions of his own.
John's contributions were all from the Goodnight Vienna sessions. The best of the leftovers, according to the other three Beatles, were the psychedelic dreamlike "#9 Dream", the jazzy "Bless You", and the 50s-influenced "Move Over Miss L", a jab at Lennon's ex-wife Yoko Ono. The only new song he contributed was another track for Ringo to sing, "Cookin' (in the Kitchen of Love)". That left the total at four songs each from John, Paul and George, with one track from the latter being left aside for a possible B-side, and the former two each giving a track for Ringo to sing.
 |
| John Lennon, 1976. |
MADELINE KAHN: "While John and the others were recording, I spent time with Linda and her children and got to meet Olivia for the first time. Unofficially, we had formed a club about being lovers to the Beatles, along with Nancy Andrews, though we didn't see her that often. Poor John was torn about splitting time with me and his bandmates, so I had to assure him that things would be fine with me. Didn't stop him from worrying, though. *giggles*" (2003)
Despite John's concerns, the recording sessions for Between the Lines went by extremely smoothly, especially given that the album as a whole was self-produced. Although there was a brief spat between George and Paul over how some songs should be arranged, Ringo acted as the mediator telling them that they were too old to be squabbling like this. After all, they were all grown men, and every track had to say "produced by the Beatles", and not "'Six O'Clock' produced by Paul McCartney", "'Beautiful Girl' produced by George Harrison", and so on. After the recording was done, two days before Paul's 34th birthday, the track listing was decided as follows, according to the journals of John Lennon:
Side A:
Silly Love Songs
Kitchen of Love (both tracks to be a single together)
Beautiful Girl
Move Over Miss L
Soily (You Know He's Right)
No. 9 Dream (as part of a single)
Side B:
Crackerbox Palace
Beware My Love (both also to be a single together)
Bless You (Wherever You Are)
Six O'Clock in the Morning
Learning How to Love You
This Song as a B-side to No. 9 Dream
Although the album's planned release date was set for 16 July 1976, for whatever reason, it never happened. But why? It wasn't like the music was anything to be ashamed of, right? Actually, it was because Paul McCartney had been dragged back into working with Smile and had to prepare for a tour beginning in July, and unfortunately, this would leave him with little to no time to promote the album.
RINGO STARR: "It was unbelievable. We were so close to putting out a Beatles reunion album and a few singles, but label problems had other plans in store." (2010)
PAUL McCARTNEY: "We'd put so much effort into this album, but because I was committed to Smile at the time, the album was pulled at the last minute. What was even harder for all of us was that I asked for my vocal spots to be removed; George didn't want to do this, and I don't blame him. Between the Lines had gone from being a Beatles reunion album to a Ladders album." (1988)
GEORGE HARRISON: "With John set to marry Madeline and Paul having dropped out, I was left in charge with reworking the album. I had to rely on older John songs from when we did Goodnight Vienna just to fill the void that Paul left behind. At least he got to re-use his own songs for the next Smile album, so it wasn't a complete loss for everyone involved." (1996)
Even though the Beatles' version of Between the Lines was never officially released, the planned track listing was, and over the years, the album gained a cult following for its status. On the internet in the 2010s, blogs such as Albums That Never Were would try to recreate what the Beatles reunion album would've been like had it been properly released. Other blogs like The Reconstructor and What If - Misc would go a step further to determine what the Beatles' albums between 1970 and 1975 would've been like had they stayed together during the first half of the decade; mostly it was a matter of personal preference and taste. Then there were blogs such as Something Creative and Apple Merseysiders[1] that envisioned a different story for the Beatles altogether pre-1970. Imagine that.
22 June 1976
 |
| Madeline Kahn, 1976. |
Paul served as the best man to John whilst Linda McCartney was Madeline's maid of honor. The attendees of the wedding were the other two Beatles, along with Cynthia Powell, Julian Lennon, Maureen Cox, Olivia Arias, the McCartney and Starkey children, as well as Apple associates Brian Epstein, Peter Brown, Neil Aspinall, Mal Evans and Derek Taylor. Some additional members from the entertainment scene (including Mel Brooks, Gene Wilder, Dennis Wilson, Freddie Mercury and Elton John) were also invited to the subsequent party near Madison Square Garden. Shortly after the wedding, Mr. and Mrs. John Lennon began their honeymoon in Greece. It was a happy time for all involved.
Released: 17 September 1976
Recorded: March - April 1975, 10 May - 16 June 1976
Producer: The Beatles (Paul McCartney on 1976 tracks) and Dennis Wilson (1975 tracks)
Track listing[2]
Side A
This Song**
Cookin' (in the Kitchen of Love)*
Scared
Crackerbox Palace*
Nobody Loves You (When You're Down and Out)
Cookin' (in the Kitchen of Love)*
Scared
Crackerbox Palace*
Nobody Loves You (When You're Down and Out)
Side B
Six O'Clock***
Bless You***
Beautiful Girl*
#9 Dream*
Learning How to Love You***
Bless You***
Beautiful Girl*
#9 Dream*
Learning How to Love You***
The final Between the Lines album was essentially a hodgepodge; "Scared", "Nobody Loves You (When You're Down and Out)" and the original version of "Bless You" were all taken from the Goodnight Vienna sessions. The Beatles' version of the latter track and "Soily" both ended up in the vaults whilst "This Song" was included in the track listing and "Move Over Miss L" relegated to B-side status. "Learning How to Love You" had been given a new mix and "Six O'Clock" was shortened to four minutes, removing the coda that featured Paul McCartney's vocals. The remaining four tracks ("Cookin' (in the Kitchen of Love)", "Crackerbox Palace", "Beautiful Girl", and "#9 Dream") were all full Beatles recordings in all but the name.
The Ladders' seventh (and final) album managed to reach #1 for a couple of weeks in the United States, largely due to its status as "the Beatles album that almost was". Meanwhile, in the United Kingdom, Between the Lines reached #6. The first single, "#9 Dream"/"This Song" (#23 UK, #9 US), was intended to be the second reunion single following "Silly Love Songs"/"Cookin' (in the Kitchen of Love)", and it received positive reviews upon its release on 23 August, with the most common complaint being that it was a Ladders single in name only. The same applied to the second single, "Crackerbox Palace"/"Move Over Miss L" (#19 UK, #7 US), released 15 November.
JOHN LENNON: "We decided to end the Ladders right there when we put out Between the Lines. I had a family to raise after messing up the first time with Julian. George and Ringo still regrouped to form the Dark Horses with Eric, Ronnie and Vangelis. Paul continued with Smile; it would be a few years before we reunited once more, this time for real." (2003)
The Ladders' seventh (and final) album managed to reach #1 for a couple of weeks in the United States, largely due to its status as "the Beatles album that almost was". Meanwhile, in the United Kingdom, Between the Lines reached #6. The first single, "#9 Dream"/"This Song" (#23 UK, #9 US), was intended to be the second reunion single following "Silly Love Songs"/"Cookin' (in the Kitchen of Love)", and it received positive reviews upon its release on 23 August, with the most common complaint being that it was a Ladders single in name only. The same applied to the second single, "Crackerbox Palace"/"Move Over Miss L" (#19 UK, #7 US), released 15 November.
JOHN LENNON: "We decided to end the Ladders right there when we put out Between the Lines. I had a family to raise after messing up the first time with Julian. George and Ringo still regrouped to form the Dark Horses with Eric, Ronnie and Vangelis. Paul continued with Smile; it would be a few years before we reunited once more, this time for real." (2003)
26 November - 10 December 1976
Released: 26 November 1976
Recorded: 11 May and August - October 1976
Producer: Paul McCartney and Roy Thomas Baker; The Beatles (track 6 only)
Track listing[3]
Side A
Let 'Em In
The Note You Never Wrote
Long Away
She's My Baby
Beware My Love*
The Note You Never Wrote
Long Away
She's My Baby
Beware My Love*
Side B
Silly Love Songs*
Tie Your Mother Down
Time to Hide
Drowse
San Ferry Anne
Warm and Beautiful
Tie Your Mother Down
Time to Hide
Drowse
San Ferry Anne
Warm and Beautiful
With permission from the other three Beatles, Paul re-used the full-length, unedited recording of "Silly Love Songs" for the next Smile album, from which the title was derived from. It was released as a single with Brian May's "Tie Your Mother Down" (with Freddie Mercury on vocals) on 27 September, reaching #1 in both the United States and the United Kingdom, becoming the greatest selling single of 1976, with Elton John and Kiki Dee's "Don't Go Breaking My Heart" a close second.
Silly Love Songs, the fourth album by Paul McCartney & Smile, was purely Smile from start to finish, excluding the title track. Unlike the title track, however, "Beware My Love" was re-recorded from ground up, cross-fading from the previous track "She's My Baby". The album hit #1 in the United States but stalled at #2 in the United Kingdom and received mixed to positive reviews from critics, noting the increased vocal prominence of Denny Laine, Brian May and Roger Taylor, feeling like a group effort.
This was further proven by the release of the second single, "Long Away"/"Let 'Em In" (#10 UK, #2 US), on 6 December, with the A-side featuring May on lead vocals, the first Smile single to do so. The third and final single, "Time to Hide"/"Teo Torriatte (Let Us Cling Together)" (non-album B-side) (#5 UK, #8 US), released 7 February 1977, featured Denny Laine on lead vocals for the A-side, being regarded since as his best song.
Silly Love Songs, the fourth album by Paul McCartney & Smile, was purely Smile from start to finish, excluding the title track. Unlike the title track, however, "Beware My Love" was re-recorded from ground up, cross-fading from the previous track "She's My Baby". The album hit #1 in the United States but stalled at #2 in the United Kingdom and received mixed to positive reviews from critics, noting the increased vocal prominence of Denny Laine, Brian May and Roger Taylor, feeling like a group effort.
This was further proven by the release of the second single, "Long Away"/"Let 'Em In" (#10 UK, #2 US), on 6 December, with the A-side featuring May on lead vocals, the first Smile single to do so. The third and final single, "Time to Hide"/"Teo Torriatte (Let Us Cling Together)" (non-album B-side) (#5 UK, #8 US), released 7 February 1977, featured Denny Laine on lead vocals for the A-side, being regarded since as his best song.
Freddie Mercury's second extended play, Somebody to Love, was released on 10 December 1976, and charted at #1 in the United Kingdom for two weeks. The first side consisted of "You Take My Breath Away" and "The Millionaire Waltz", whilst the second side consisted of the title track, "Good Old-Fashioned Lover Boy" (both released as a single together on 15 November; #1 UK, #9 US) and "You and I", John Deacon's sole contribution to the extended play.
15 - 31 December 1976
 |
| Frederick "Freddie" Jerome Lennon II, the first-born son of John Lennon and Madeline Kahn, 1999. |
Shortly after Frederick's birth, the Lennons and McCartneys would spend the holidays together, celebrating both Hanukkah (December 17 to 24) and Christmas. While Madeline and Linda spent a lot of their time looking after the kids, John and Paul would spend long hours either jamming together on their acoustic guitars (it is believed that some songs were recorded by the pair, but this has never been fully confirmed) or reflecting on everything that had happened for the past year; both men expressed their disappointment that the Beatles never got to put out a proper reunion album, but they still understood that there were circumstances beyond their control. Happily, neither John nor Paul ruled out the possibility of reuniting once John felt comfortable enough to return to the spotlight. "I gotta have time to be a real dad, after all," John said.
At the start of the 1970s, the Beatles had split up into two parties - Paul McCartney and the Ladders. But with John Lennon becoming a househusband as of 31 December 1976, three parties now existed under the same banner; Lennon himself, Paul McCartney and Smile, and the Dark Horses, the latter of which consisted not only of George Harrison and Ringo Starr, but also Eric Clapton (guitar), Highway 61 Records artist Ronnie Wood (bass guitar), and former Aphrodite's Child member Vangelis Papathanassíou (keyboards).
All four Beatles had expressed their disappointment at being unable to release Between the Lines as intended, even apologizing to fans for not being able to fulfill their wishes. Still, they all had fun being together again for the first half of 1976, and they all shared the same optimism that when John was ready, they would get back together to record a proper album as a group. The question was, how long would it be before John Lennon would come out of retirement to record again? As Ringo once said, tomorrow never knows. After all, life is what happens to you while you're busy making other plans...
END OF PHASE TWO
Footnotes
- This universe's equivalent to Strawberry Peppers.
- Tracks are sourced from Thrity-Three & 1/3, Ringo's Rotogravure, Walls and Bridges and Ringo's eponymous 1973 album. Any tracks marked with an asterisk (*) were recorded by the Beatles; "This Song" is marked with two asterisks, noting that it was intended to be a B-side instead of an album track. "Six O'Clock", "Bless You" and "Learning How to Love You" are marked with three asterisks, noting that they are different mixes from what was intended for the Beatles' version of Between the Lines. "Scared" and "Nobody Loves You" were never intended for the Beatles album.
- Tracks are sourced from Wings at the Speed of Sound and A Day at the Races; "Tie Your Mother Down" is the single edit that removes the instrumental intro featuring the Shepard tone melody that "Teo Torriatte" later reprises. All tracks from Somebody to Love are also sourced from A Day at the Races. On Silly Love Songs, tracks marked with an asterisk were intended for the Beatles' Between the Lines, but were either re-recorded ("Beware My Love") or given their original length back ("Silly Love Songs").
- Frederick Jerome Lennon is this universe's equivalent to Sean Lennon. Also, in OTL, Sean was born on October 9, 1975, his father's 35th birthday.
Author's Comments
Wow... fifty chapters since this blog first started, and in that time, we've covered eleven years and well over a hundred albums. All within the span of fourteen months! That's pretty impressive if I do say so myself. But now, Phase Two has come to a close, and soon, we'll be entering Phase Three, which will cover the 1977-1985 period.
So the Beatles have almost put out a reunion album, but sadly, fate had other ideas in store. But they're still hoping for a proper reunion once John's ready, so it's not a complete loss. In meantime, Paul carries on with Smile and George and Ringo rebrand once more under the Dark Horses. And yeah, I decided to title drop various alternate album blogs cause hey, it's the fiftieth chapter, so you gotta do something special for it.
As for what'll happen with Phase Three? I've been rethinking my release strategy; what if I was to put out chapters close together based upon a specific time frame? First would be 1977, then 1978-1980, then 1981-1983, and ending with 1984-1985. A weekly release is nice and all, but I did have to take a hiatus between chapters 30 and 31 in order to think about how the latter would go. If I was to work in blocks, a break would give me plenty of time to think about what I could include for the next block. 1977's going to be fairly short, so that'll be covered within five chapters at most. (Maybe six depending on what comes up.)
In the meantime, here's what I have in mind for extra scenes for Phase Two, in no specific order: (if there's anything you think I may have missed out on for both Phase One and Two, let me know)
Album cover art for the Ladders' Between the Lines was designed by Auran.
Wow... fifty chapters since this blog first started, and in that time, we've covered eleven years and well over a hundred albums. All within the span of fourteen months! That's pretty impressive if I do say so myself. But now, Phase Two has come to a close, and soon, we'll be entering Phase Three, which will cover the 1977-1985 period.
So the Beatles have almost put out a reunion album, but sadly, fate had other ideas in store. But they're still hoping for a proper reunion once John's ready, so it's not a complete loss. In meantime, Paul carries on with Smile and George and Ringo rebrand once more under the Dark Horses. And yeah, I decided to title drop various alternate album blogs cause hey, it's the fiftieth chapter, so you gotta do something special for it.
As for what'll happen with Phase Three? I've been rethinking my release strategy; what if I was to put out chapters close together based upon a specific time frame? First would be 1977, then 1978-1980, then 1981-1983, and ending with 1984-1985. A weekly release is nice and all, but I did have to take a hiatus between chapters 30 and 31 in order to think about how the latter would go. If I was to work in blocks, a break would give me plenty of time to think about what I could include for the next block. 1977's going to be fairly short, so that'll be covered within five chapters at most. (Maybe six depending on what comes up.)
In the meantime, here's what I have in mind for extra scenes for Phase Two, in no specific order: (if there's anything you think I may have missed out on for both Phase One and Two, let me know)
- Hunky Dory Solo Projects (July 1973 - October 1976)
- Roy Wood's Side Projects
- The Beach Boys/Passions Post-1973
- The Zombies and Russ Ballard Post-Back from the Dead
- CSNY 1975 - 1976 Solo Projects
- The Best of Highway 61 Volume 1 (July 1973 - December 1976)
Album cover art for the Ladders' Between the Lines was designed by Auran.
👏👏👏Thrilling conclusion to Phase Two. Congratulations to you Zack and to all who helped you along the way! Thank you so much for liking my ideas for Badfinger post-break up so much to the point that you actually used them! Was so happy to see them used in the story.
ReplyDeleteIn terms of Extra Scenes, it seems you have all the main points covered, I can't think of any other scenes you could do, apart from focusing them on artists that you haven't already discussed in the last 50 chapters. Also, if you think the new release strategy for chapters will increase the quality of the writing (which you have proven will be quite hard to do!), then I say go for it. Don't know how often they will be released, but I'm sure that when they are, they will be great! - Dan
For the release strategy, I may go for two chapters a week depending on how much there is to cover, on Mondays and Fridays. We'll see what happens.
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