April 1971 marked the first anniversary of Paul's statement that he was leaving The Beatles.

During those 12 months the music landscape had changed. The loss of The Beatles was old news. T-Rex were literary riding high in the singles chart with Ride A White Song. Rod The Mod - Rod Stewart was about to hit number one in both the singles and album charts simultaneously in the UK and USA with Maggie May from his album Every Picture Tells A Story. Albums were now big business for record companies, as Led Zeppelin would prove. Plus Slade, Sweet and of course the legend that is David Bowie were waiting in the wings. Ready to dominate the early 70's charts.

So was the solo work of John, Paul, George and Ringo relevant to music fans of the 1970's?

In this weeks weeks episode we try to answer that question, By looking at the UK singles chart of 18 April 1971.

Welcome to episode 27 of Fixing A Hole. The Beatles podcast you didn’t know you needed.

If you’re a fan of the podcast, or you like to be a guest on an episode, we’d love to hear from you.

Visit our new patreon channel at patreon.com/fixingahole its currently free to join with new and exclusive material being added from 1 September.

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By the end of 1970, John had released 4 albums outside of The Beatles. Two Virgins, Life With The Lions and The Wedding Album were Avant Garde pieces which had more in common with Revolution 9 rather than Strawberry Fields Forever. While Live Peace in Toronto was a record of a live concert performed as the Plastic Ono Band.

Clearly Johns album output away form his band mates did not have the commercial appeal of Revolver, Sgt. Pepper, or Abbey Road. However, his solo singles fared much better on the charts. Give Peace A Chance, Cold Turkey and Instant Karma were all major hits.

Then just before 1970 came to a close. John gave his masterpiece. John Lennon Plastic Ono Band, was a stripped back John, baring his soul about family, relationships and The Beatles.

Imagine might be his most played song, but John Lennon Plastic Ono Band is the real john Lennon, laid bare.

Welcome to episode 26 of Fixing A Hole. The Beatles podcast you didn’t know you needed.

If you’re a fan of the podcast, or you like to be a guest on an episode, we’d love to hear from you.

Visit our new patreon channel at patreon.com/fixingahole its currently free to join with new and exclusive material being added from 1 September.

Please get in touch via:

Facebook: Fixing A Hole https://www.facebook.com/profile.php?id=61562724166069

Email: info@fixingahole.co.uk

When the Beatles contract with EMI expired in the February of 1976. EMI were free to exploit the band back catalogue....or were they?

With Paul signing a new contract with EMI subsidiary Capitol. EMI were mindful not to upset one of their most lucrative assets.

Following the rerelease of all 22 UK Beatles singles, EMI and Capitol came up with a compilation of The Beatles rockier recordings. Which although housed in an ill conceived 50's influenced sleeve. The album was a great introduction for new fans.

The following year came a live album compiled from tapes which had sat unreleased in the vault since the mid 60's. The Beatles At The Hollywood Bowl is a fantastic document of Beatlemania, which we all hoped would lead to more excavations of the vault, but no. What we received were compilations of Love Songs, Ballads, Film Songs.

In this episode we look at the full story behind these themed compilations. What was released. What never left the vault and why.

Welcome to episode 25 of Fixing A Hole. The Beatles podcast you didn’t know you needed.

If you’re a fan of the podcast, or you like to be a guest on an episode, we’d love to hear from you.

Visit our new patreon channel at patreon.com/fixingahole its currently free to join with new and exclusive material being added from 1 September.

Please get in touch via:

Facebook: Fixing A Hole https://www.facebook.com/profile.php?id=61562724166069

Email: info@fixingahole.co.uk