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Talk Talk – Mountains Of The Moon

I first became aware of Talk Talk in 1990 when the re-release of ‘It’s My Life’, a single from their 1984 LP of the same name broke into the UK Top 20. This became my song of that summer and I bought the accompanying best of compilation album, ‘Natural History (The Very Best Of Talk Talk)’ as soon as I could afford it. Slowly but surely, I bought all of the albums the band had released up to that point. You could see the progression as time went on. ‘The Party’s Over’, their 1982 debut is very much an album of its time with its New Wave vibe and it did lead to comparisons with Duran Duran, especially as the same producer worked with both bands at the time. 

The follow up album, ‘It’s My Life’ moved away from its predecessors synth sound, most probably due two reasonable hit singles and a good chart placing for the debut album meaning recording budgets could increase. This LP would also see the beginnings of front man Mark Hollis’ anti commercial stance came to the fore, especially with the filming of the video for the single ‘It’s My Life’. It consists of stock footage of wildlife interspersed with Hollis in a zoo refusing to mime. EMI, the bands record label ordered a re-shoot. This had the band doing the complete opposite of the original video with some over the top miming. The original video was the one that did the rounds in 1990 and I didn’t know about the second effort until writing this piece. Both, at the time of writing are available on YouTube. 

The synth pop style disappeared completely for their third album, ‘The Colour Of Spring’. This included their biggest single to date, ‘Life’s What You Make It’. Follow up single, ‘Living In Another World’ was a sizeable hit in many of the major markets, except for the UK. The parent album sold in enough quantities that the band were afforded an unlimited budget for their next album. EMI were most probably expecting ‘The Colour Of Spring Pt.2’. What they got was ‘Spirit Of Eden’. Taking over a year to record, the sessions comprised of playing in a darkened studio, lit only by candles and oil lamps. The music were based on improvising over the basic song structures with Hollis’s lyrics dealing with spiritual and religious subjects sprinkled over the top. It sounded like nothing before it, and on reflection, there isn’t that much that has sounded like it since. This was a truly original piece of work and the record company were initially reluctant to put it out. However, Hollis would not deviate from his vision and the LP came out as it was conceived. 

The band and EMI entered into a period of conflict. Talk Talk wanted out of their contract and felt that the label had not taken up the option to extend it in time. EMI thought they had and the case went to court. The band eventually won and proceeded to sign with Verve. The band were once again given carte blanche to record what they wanted to and after working within a similar recording environment to what they had had with ‘Spirit of Eden’, they delivered ‘Laughing Stock’. It was another uncommercial record that Verve struggled to market. The band then silently disbanded and apart from one solo album in 1998, Mark Hollis effectively retired from the music industry until his untimely death in 2019. 

With ‘Spirit Of Eden’ and ‘Laughing Stock’, I felt that these were two heads of the same beast and when replaying them again recently, I wondered if there was a way of sequencing the songs so they could create a new whole. I also played the ‘Missing Pieces’ album, which contained songs from the ‘Laughing Stock’ sessions. ‘The Colour Of Spring’ might have contained their most successful singles but pieces such as ‘Chameleon Day’ did point the way to what was coming on ‘Spirit Of Eden’. 

After, I thought, completing this collection, I played Mark Hollis’ only solo album. What I didn’t release until compiling this is that this was originally going to be released under the Talk Talk name, even though only Hollis was the only member left. The band moniker was dropped, but not before some CD-rs had been produced. This solo album continues in the same vein as the last two Talk Talk albums so I wanted to see if I could mix any left over tracks not used on Disc 1 could be utilised with the solo album to make a second disc. Well, there was as well as a couple of songs from ‘The Colour of Spring’ sessions, including a couple of single B-Side.

Disc 1

  1. The Rainbow (Spirit Of Eden)
  2. Eden (Spirit Of Eden)
  3. Desire (Spirit Of Eden)
  4. After The Flood (Laughing Stock)
  5. I Believe In You (Spirit Of Eden)
  6. Ascension Day (Laughing Stock)
  7. Myrrhman (Laughing Stock)
  8. New Grass (Laughing Stock)
  9. Wealth (Spirit Of Eden)
  10. Inheritance (Spirit Of Eden)
  11. April 5th (The Colour Of Spring)

Disc 2

  1. Chameleon Day (The Colour Of Spring)
  2. Taphead (Laughing Stock)
  3. Inside Looking Out (Mark Hollis)
  4. The Gift (Mark Hollis)
  5. The Daily Planet (Mark Hollis)
  6. A Life (1895-1915) (Mark Hollis)
  7. Runeii (Laughing Stock)
  8. A New Jerusalem (Mark Hollis)
  9. Westward Bound (Mark Hollis)
  10. The Watershed (Mark Hollis)
  11. It’s Getting Late In The Evening (B-Side ‘Life’s What You Make It’ single)
  12. John Cope (B-Side ‘I Believe In You’ single)
  13. The Colour Of Spring (Mark Hollis)

Unlike the majority of playlists I produce, this one is not designed to fit on to an LP. The cover art is taken from James Marsh’s website. Marsh was the artist on all of Talk Talk’s discography and it was only fitting that some of his artwork was used as the cover. The title is taken from the one proposed for Hollis’ only solo album, when it was originally going to be released under the Talk Talk banner. This was abandoned when the album was released as under Hollis’ name.

The second disc could not be reproduced on Spotify due to one or more songs not being available on that platform. 

I decided against not cutting out the silence at the end of ‘ A New Jerusalem’ as it worked nicely with the fade in used on the song that followed it. 

Put links to both videos in the website.

Video 1st Attempt – https://www.youtube.com/watch?v=cFH5JgyZK1I

Video 2nd Attempt – https://www.youtube.com/watch?v=KtEy0BHxNhQ

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Pink Floyd – More Relics

After 1983’s ‘The Final Cut’, it looked as though Pink Floyd were unlikely to release an album of new material any time soon, if at all. ‘The Final Cut’ was essentially a Roger Waters solo album and even though it was commercially successful, each band member spent the next couple of years releasing solo records. This included the no longer officially a member even though not everyone released it until seeing the lack of a credit for him on the back of ‘The Final Cut’, Rick Wright.  

Whatever the causes, the mid 80s would see a number of law suits flying about which would finally be resolved (sort of) by the end of 1987 by which time, the ‘Momentary Lapse of Reason’ album had been released which did not contain Roger Waters. With all that uncertainty, I am surprised to see that a compilation did not see the light of day during that period just to keep the Pink Floyd name alive. I therefore decided to have a go myself at putting together a spiritual follow up to their classic ‘Relics’ compilation from 1971. In a moment of inspiration, I decided that the name ‘More Relics’ would be a good choice. 

The original ‘Relics’ was a bit of a clearing house contains single A and B sides as none of these were included on any albums at the time, some album tracks and one unreleased song. I have tried to follow this but instead of album tracks, I decided to focus on some more rarities instead. So, what do we get. All of the 1960s singles that were not on the original ‘Relics’, some rare European single mixes, a couple of stray tracks and one unreleased song. 

Side A

  1. Shine On You Crazy Diamond – Part 1 (French Jukebox Single Edit)
  2. It Would Be So Nice (Single B-Side)
  3. Apple & Oranges (Single A-Side)
  4. Candy & A Current Bun (Single B-Side)
  5. Wish You Were Here – with Stephane Grappelli (Previously Unreleased)
  6. Point Me At The Sky (Single A-Side)

Side B

  1. Pigs On The Wing – Parts 1 & 2 (8 Track Version)
  2. Money (1981 Promo Single Edit)
  3. Young Lust (Italian Single Version)
  4. Another Brick In The Wall (Single Version)
  5. Embryo
  6. Give Birth To A Smile

Shine On You Crazy Diamond (Part 1) – Released as a single in France. 

It Would Be So Nice – The first single A-Side to be released that was not written by Syd Barrett, even though the band were still trying to channel his way of writing. It didn’t chart and many members of the band thought it was down to it being awful. 

Apple & Oranges  – The last A-Side recorded with Syd Barrett and their first not to chart in the UK. Roger Waters blamed the production and it does sound a bit of a mess. 

Candy & A Current Bun – B-Side to their debut single, ‘Arnold Layne’. 

Wish You Were Here – with Stéphane Grappelli– The one previously unreleased song on the compilation. An alternative version of the classic ‘Wish You Were Here’ with added violin by legendary player, Stéphane Grappelli. It could be argued that this is a better version than the one that was originally released. 

Point Me At The Sky – The last single released by Pink Floyd in the UK during the 1960’s. Roger Waters called it a ‘notable failure’ and that the band would therefore concentrate on albums because they were ‘no bloody good’ at writing singles.  

Pigs On The Wing – Parts 1 & 2  – Originally released on the ‘Animals’ album. On there, the song was divided into two parts which bookended the LP. When the 8-Track cartridge version was prepared, it was decided to make use of the loop-play function of that format which is where the end of the recording looped back to the beginning. This meant that the album could be played continuously. Part 1 and Part 2 were therefore edited together and a linking guitar solo added, which was played by touring guitar player, Snowy White. 

Money – This version of ‘Money’ was re-recorded for the compilation, ‘A Collection of Great Dance Songs’. Dave Gilmour recorded the whole track because one record label would not give the rights to another one to release the original version, or something along this lines. Gilmour played every instrument on the track himself except for the sax part. That was recorded by Dick Parry who had played the part on the original recording. This version came out on a promo single. 

Young Lust  – Released in Italy on the B-Side of their version of ‘Another Brick In The Wall’, this extended version of the song which runs to 3 minute and 58 seconds. It restores the full 12-bar intro which was cut during production. It also has the full, clean outro without the phone call. At about the 2 minute and 50 second mark as the guitar solo ends, a scream can be heard. This is Roger Waters and it was mixed out of most other versions.

Another Brick In The Wall (Part 2) – The single version of the song which was their first single in the UK for over twelve years. It was also their biggest hit in the UK (and many other markets) when it hit the Number 1 spot. 

Embryo – Record in late 1968 and possibly unfinished. It would be released on a couple of compilations. The first being the Harvest Sampler LP, ‘Picnic – A Breath of Fresh Air’ and the US compilation, ‘Works’. This was a concert table for a couple of years in the early 1970s. 

Give Birth To A Smile – Taken from the soundtrack album, ‘Music Form The Body’. This was composed and performed by Roger Waters and Ron Geesin but the last song on the LP features the remaining members of pink Floyd. 

The album cover is from the Behance website and was created blu Javi Montilla. 

As an added bonus, I did have a second ‘More Relics’ sleeve prepared. Like the original ‘Relics’, this is a hand drawing. This one could be seen as an alternative sleeve for the South American market.

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Anthony Phillips – Variations On A Theme

Welcome to 2025 and here is a project I have been looking forward to sharing. Anthony Phillips was the original guitar player in Genesis, playing on their first two albums. ‘From Genesis To Revelation’ and ‘Tresspass’ with his tenure lasting from 1967 to 1970. It was he who was most instrumental in the band becoming professional and a live band. They had not supported their first album with live shows as Phillips, as well as vocalist Peter Gabriel were still at school at the time. The irony of this was that Phillips would develop stage fright. He thought the stage fright would pass but that and a case of bronchial pneumonia brought about his departure from the band. Phillips kept in touch with the his old band mates, and would continue to write with Mike Rutherford. He would also collaborate with Harry Williamson (son of Tarka the Otter author, Henry Williamson) as well as training as a music teacher, studyed orchestration and continuing to write music.

Throughout the seven year period between leaving Genesis and releasing his first solo album, Philips would continue to record demos and was looking to work on a project with old band mate Mike Rutherford. The pair would meet up sporadically due to Rutherford’s commitments to Genesis. The first fruits of this collaboration to partially see the light of day was ‘Silver Song’, a song that the pair had written in 1969 as a farewell to departing Genesis drummer, John Silver. Phillips and Rutherford brought in Phil Collins who was then in the Genesis drummer’s stool to not only provide percussion, but lead vocals. A B-Side was quickly written in the form of ‘Only Your Love’ but with everything ready to go, the Charisma label who had financed the recordings decided against releasing the record. To this day, no one is sure why. 

However, what if this single was scheduled for a release in 1975 when Genesis were taking a break after the Lamb Lies Down on Broadway tour and the departure of vocalist Peter Gabriel? This could be the prelude to an Anthony Phillips solo album to be released the same year, two years before his official 1977 debut, ‘The Geese & The Ghost’. But what should be on it?

Well, since 2014 Cherry Red Records and the people who have been curating Phillips’ tape archive have been doing a sterling job re-releasing his back catalogue. Each set comes with one disc of unreleased material which is of such a high quality, I am surprised these have not seen the light of day before. I was also surprised by the amount of material that has come out that was written and recorded before 1977 that was not included on his first album. 

With this album following on from the proposed 1975 release of the ‘Silver Song’, this was going to be a a more stripped down affair due to the fact that Mike Rutherford would not have been able to spend much, if any time with Phillips due to his commitments to Genesis and the ‘Lamb Lies Down on Broadway’ Tour. I also looked to follow the template of ‘Geese & the Ghost, so we get some vocal and instrumental tracks. Very few of these songs have been re-recorded since they were laid down in demo form. One that did see the light of day before was a re-recording of ‘Stranger’ which appears on the first ‘Private Parts & Pieces’. Another was ‘Take This Heart’ which would be recorded in 1975 by the Charterhouse Choral Society for the Charisma release, ‘Beyond An Empty Dream’. That version is very different from the original demo. As the majority of these are demo recordings, some of the fidelity is not studio quality. However, these are the only recordings I had to work with. 

Side A

  1. Queen Bettine (1972 Demo)
  2. Picardy Pictures (1972 Demo)
  3. Rowey Song (1972 Version)
  4. Child Song (1973 Demo)
  5. Stranger (1970 Demo)

Side B

  1. Guitar Song (1973 Demo)
  2. Variation On A Theme Of Fantoms (1973 Demo)
  3. Windmill (1971 Demo)
  4. Take This Heart (1972 Demo)
  5. Rowey Reprise (1972 Version)
  6. Master Of Time (1973 Demo)
  7. Will The Last Man Off The Ice Rink (Please Turn Out The Lights) (Recorded 1973) 

Single

  1. Silver Song (Recorded 1973)
  2. Only Your Love (Recorded 1973)

None of the songs really lent themselves to a title except for ‘Variation on a Theme of Fantoms’ so I decided that should be what the album you’d have been called. Phillips has used the artist Peter Cross for many of his sleeves, but I did not have a piece of his artwork I could use. I therefore used a picture I took on a very cold December morning near the village of Moggerhanger, Bedfordshire in the UK.

I was not able to recreate this playlist on Spotify. 

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Imaginary Album Covers 2024

It is almost the end of 2024, it is time for another collection of pictures I have found on line that look like LP covers. Sorry for not acknowledging where this picture came from this year.

Electric Reaper – You’re Not Suppose To Give Up

Okavanga – As Far As I Can See

Adonai – When A God Looks Down On Creation

Adonai is one of the names of God in Judaism

Alsatia – Fancy Colours

Alsatia was an area just outside of the City of London that, in the 17th Century was known for its lawlessness.

Streamer – Everybody’s Number One To Someone

Colonel Sparrow – I Don’t Really Know What I Am Doing Here

Colonel Sparrow is referencing novelty band, Lieutenant Pigeon who were famous for their hit, ‘Mouldy Old Dough’.

Serenita – Tropical Moon Over Dorking

Serenita is the Italian word for peace.

House Of Dolls – Where Does The Sun Shine?

House of Dolls is a 1953 novel that describes ‘Joy Divisions’, which were groups of women imprisoned in concentration camps during World War 2,  who were kept for the sexual pleasure of other inmates.

The Canute’s – Still Waiting

King Canute (or Cnut) was King of England, Norway and Denmark up to his death in 1035. He is said to have sat on a beach to show how limited his power was by being unable to stop the tide.

Empty Horses – The Moon Is Not A Balloon

The title of this fake album is a reference to David Niven’s memoir, ‘The Moon’s A Balloon’.

The Contexts – Metamorphopsia

Metamorphopsia is a type of distorted vision in which a grid of straight lines appears wavy or partially blank.

The Co-Ordinators – The Lost Art Of Getting Lost

‘movement iv – Fire & Water

Arboretum – Frosted Windows

Almas – Can You See What I See?

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Episode 106 – That Was The Year That Was (2024)

Catching up with Darryl Bullock for a chat about music is always a pleasure. To finish off the year, we take a look at some of our favourite record purchases over the last twelve months.

  • Ernest Evans – Pixies
  • Sam (Specially Edited Version – Promo) – Keith West
  • Johnny Remember Me (Original Lyrics) – John Leyton
  • Get Out Your Rock & Roll Shoes – The Crocheted Doughnut Ring
  • Day – Secret Scream
  • First Annual Semi-Formal Combination Celebration Meet-The-Monster Population Party – Groovie Goolies
  • Earn Enough For Us – XTC
  • Better Than – Saint Saviour
  • Trans-Europe 18 – Keeley
  • Never Again (English Version) – Marzella
  • Titania – Vincent Geminiani
  • Drop In The Ocean – Sophie May
  • Starbuster – Fontaines D.C.
  • Groovin’ (French Version) – The Young Rascals
  • Out Of The Blue (Raw Studio Mix) – John Lennon
  • Industrial Disease (Mono Promo Version) – Dire Straits
  • It’s A Bitch – John Grant
  • Theme From Harry’s Game – Clannad
  • I Like ‘Be’ With You – Andy Partridge & Chris Braide featuring Tim Weller
  • Warm Body – Nell Mescal
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The Beach Boys – Christmas Recordings

Back in July, I posted a Beach Box 1964 box set looking at the recordings the band made that year. I did note back then get I would have a dedicated post for the Christmas recordings made in that year, so here it is.

As with most recordings made for the festive season, these took place in the summer. More specifically, June of 1964. That is, except for the ‘Little Saint Nick’ single (along with its B-Side, ’The Lords Prayer’) which was recorded in 1963, and therefore, is not be included here. The original album came out on 9th November 1964, but I moved it back a month to be closer to the festive season. 

I have included a different version of ‘Little Saint Nick’. Called ‘Little Saint Nick’s Drive-In”, it has the lyrics of ‘Little Saint Nick’ but over the tune of ‘Drive-In’ from the ‘All Summer Long’ album. It was not clear if this was recorded in 1963 or 1964, so I have gone with the latter. 

Some for the songs on this compilation were not released at the time and are from later reissues. These tend to be released mixed in stereo only. The takes for the song ‘Christmas Day’ are a bit confusing as to their numbers, but this what the studio engineer seems to be saying on the sessions tracks and what they were listed as on the sleeves on the records. 

Merry Christmas everyone. 

1 – Complete Christmas Album Era Sessions (Bootleg)

2 – Christmas Sessions (Bootleg)

3 – The Beach Boys’ Christmas Album

4 – The Beach Boys’ Christmas Album (1991 Reissue)

5 – Keep an Eye On Summer: The Beach Boys Sessions 1964

6 – Ultimate Christmas

Disc 1

  1. Little Saint Nick – Drive In Version (Backing Vocal Overdub) – 1
  2. Little Saint Nick – Drive In Version (Vocal Take 1b) – 2 
  3. Little Saint Nick – Drive In Version (Vocal Take 3b) – 2
  4. Little Saint Nick – Drive In Version (Vocal Take 4b) – 2
  5. Little Saint Nick – Drive In Version (Stereo) – 4
  6. The Man With All The Toys (Backing Track) – 2
  7. The Man With All The Toys (Instrumental Overdub) – 2
  8. The Man With All The Toys (Vocal Overdub) – 2
  9. The Man With All The Toys (Mono) – 3
  10. The Man With All The Toys (Stereo) – 3
  11. Santa’s Beard (Instrumental Takes 1-13) – 2
  12. Santa’s Beard (Instrumental Takes 14 & 15) – 2
  13. Santa’s Beard (Instrumental Takes 16-21) – 2 
  14. Santa’s Beard (Instrumental Unknown Take) – 2
  15. Santa’s Beard (Stereo Mix) – 2 
  16. Santa’s Beard (Vocal Overdub) – 2
  17. Santa’s Beard (Mono) – 3
  18. Santa’s Beard (Stereo) – 3
  19. Merry Christmas, Baby (Instrumental Takes 1-6) – 2
  20. Merry Christmas, Baby (Instrumental Takes 7, 8 & 9) – 2
  21. Merry Christmas, Baby (Instrumental Take 10) – 2
  22. Merry Christmas, Baby (1st Vocal Overdub) – 2
  23. Merry Christmas, Baby (2nd Vocal Overdub) – 2
  24. Merry Christmas, Baby (Mono) – 3
  25. Merry Christmas, Baby (Stereo) – 3
  26. I’ll Be Home For Christmas (Vocal Overdub) – 2
  27. I’ll Be Home For Christmas (Mono) – 3
  28. I’ll Be Home For Christmas (Stereo) – 3
  29. Jingle Bells (Instrumental Mix Take 1) – 5
  30. Jingle Bells (Instrumental Take 4) – 2
  31. Jingle Bells (Inner Cuts 1 & 2, Take 4) – 2

Disc 2

  1. Christmas Day (Try-Out Takes 12-18) – 2
  2. Christmas Day (Try Out Takes 19-24) – 2
  3. Christmas Day (Instrumental Takes 1 & 2) – 2
  4. Christmas Day (Instrumental Takes 3-8) – 2
  5. Christmas Day (Instrumental Take 1) – 2
  6. Christmas Day (Instrumental Takes 2-6) – 2
  7. Christmas Day (Instrumental Take 7) – 2
  8. Christmas Day (Instrumental Overdub Take 7) – 2
  9. Christmas Day (Vocal Overdub Take 7) – 2
  10. Christmas Day (Vocal Overdub 1a) – 2
  11. Christmas Day (Vocal Overdub 3a) – 2
  12. Christmas Day (Vocal Overdub 4a) – 2
  13. Christmas Day (Vocal Overdub 6a) – 2
  14. Christmas Day (Vocal Overdub 7a) – 2
  15. Christmas Day (Vocal Overdub 8a) – 2
  16. Christmas Day (Vocal Overdub 9a) – 2
  17. Christmas Day (Vocal Overdub 10a) – 2
  18. Christmas Day (Vocal Mix) – 2
  19. Christmas Day (Mono) – 3
  20. Christmas Day (Stereo) -3
  21. Frosty The Snowman (1st Vocal Overdub) – 2
  22. Frosty The Snowman (2nd Vocal Overdub) – 2
  23. Frosty The Snowman (Mono) – 3
  24. Frosty The Snowman (Stereo) – 3
  25. Blue Christmas (Instrumental Takes 2 & 3) – 2
  26. Blue Christmas (1st Vocal Overdub Take 4a) – 2
  27. Blue Christmas (1st Vocal Overdub Takes 5a, 6a & 7a) – 2
  28. Blue Christmas (1st Vocal Overdub Take 8a) – 2
  29. Blue Christmas (2nd Vocal Overdub) – 2
  30. Blue Christmas (Mono) – 3
  31. Blue Christmas (Stereo) – 3
  32. Christmas Eve (Instrumental Mix) – 5

Disc 3 

  1. We Three Kings Of Orient Are (1st Vocal Overdub Takes 1, 2 & 3) – 2
  2. We Three Kings Of Orient Are (1st Vocal Overdub Take 6) – 2
  3. We Three Kings Of Orient Are (2nd Vocal Overdub Takes 1a, 2a, 3a & 4a) – 2
  4. We Three Kings Of Orient Are (Vocal Inner Cut 1) – 2
  5. We Three Kings Of Orient Are (Vocal Inner Cut 2 Take 4) – 2
  6. We Three Kings Of Orient Are (Vocal Inner Cut 2 Takes 5 & 6) – 2
  7. We Three Kings Of Orient Are (Mono) – 3
  8. We Three Kings Of Orient Are (Stereo) – 3
  9. Santa Claus Is Comin’ To Town (Intro Take 1) – 2
  10. Santa Claus Is Comin’ To Town (Intro Takes 4 & 5) – 2
  11. Santa Claus Is Comin’ To Town (Alternate Intro Takes 1-7) – 2
  12. Santa Claus Is Comin’ To Town (Alternate Intro Takes 10-18) – 2
  13. Santa Claus Is Comin’ To Town (Alternate Intro Takes 20-24) – 2
  14. Santa Claus Is Comin’ To Town (Vocal Overdub Take 3a) – 2
  15. Santa Claus Is Comin’ To Town (Vocal Overdub Take 4a) – 2
  16. Santa Claus Is Comin’ To Town (Mono) – 3
  17. Santa Claus Is Comin’ To Town (Stereo) – 3
  18. White Christmas (Instrumental Takes 2 & 3) – 2
  19. White Christmas (1st Vocal Overdub) – 2
  20. White Christmas (2nd Vocal Overdub) – 2
  21. White Christmas (3rd Vocal Overdub) – 2
  22. White Christmas (4th Vocal Overdub) – 2
  23. White Christmas (Mono) – 3
  24. White Christmas (Stereo) – 3
  25. Auld Lang Syne (Session) – 2
  26. Auld Lang Syne (Undubbed) – 2
  27. Auld Lang Syne (Vocal Stereo Overdub) – 2
  28. Auld Lang Syne (Alternate Take – No Narration) – 4
  29. Auld Lang Syne (Alternate Version) – 6
  30. Auld Lang Syne (Mono) – 3
  31. Auld Lang Syne (Stereo) -3

Please follow the link to see the post from July – https://www.thesquirepresents.co.uk/the-beach-boys-1964/

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Various Artists – The Post-Britpop Years Vol.2

So this is it, the last Britpop related playlist in my year of Bristol memories. As noted last month, Britpop had ran out of steam by 1997 with the big players in the movement moving in a new musical direction, suffering from burnout, splitting up or just seeing further sales diminish. Blur released a self titled album which took its influence from the American lo-fi scene. Pulp released ‘This Is Hardcore’, which sounded like morning after the night before. Oasis released ‘Be Here Now’ which was an overproduced bloated mess. 

Bands that followed on from this took elements that had inspired the Britpop bands, but looked to make music that would appeal to a wider audience. There was less focus on Britain, the lyrics became more introspective and there was a greater attempt to appeal to the American market.

Many of the bands that made up the Post-Britpop era started during the Britpop years. Radiohead and The Verve predated it but found critical acclaim with their ‘OK Computer’ and ‘Urban Hymns’ albums respectively. Coldplay became one of the biggest selling bands of the era with their first two albums going multi platinum. Travis, Catatonia and Snow Patrol also shifted plenty of records at this time. As with any movement, this also ran out of steam by 2002 when bands such as The White Stripes, The Strokes and The Hives came along with each being hailed as the saviours of rock and roll.

Like ‘The Britpop Years’ compilations from the last few months, there are a number of artists that would not normally be associated with the Post Britpop years. Once again, the compilations look at the years the music was produced in, not necessarily sticking to what would be considered Post Britpop as that would mean artists from outside the UK could not be included. 

Disc 1

  1. D’you Know What I Mean – Oasis
  2. Paranoid Android – Radiohead
  3. Feel Good Hit Of The Summer – Queens Of The Stone Age
  4. Cochise – Audioslave
  5. You & Me On The Run – theaudience
  6. Hazels Hob (Radio Edit) – Hardbody
  7. We Are All Made Of Stars – Moby
  8. Love Unlimited (Album Version) – Fun Lovin’ Criminals
  9. Whippin’ Piccadilly – Gomez
  10. Driftwood – Travis
  11. Not If You Were The Last Junkie On Earth – The Dandy Warhols
  12. Flagpole Sitta – Harvey Danger
  13. Sex & Candy – Marcy Playground
  14. El President – Drugstore
  15. Be There (Radio Edit) – UNKLE (Feat. Ian Brown)
  16. What’s It’s Like – Everlast
  17. Get Myself Arrested – Gomez
  18. Teardrop – Massive Attack
  19. Let Down – Radiohead

This disc could not be reproduced on Spotify due to one more songs not being available on that platform.

Disc 2

  1. Woman I Know – Bernard Butler
  2. Tom The Model – Beth Gibbons & Rustin’ Man
  3. Tsunami – Manic Street Preachers
  4. London – Noonday Underground
  5. Jerk It Out – Caesars 
  6. Asphalt Road – Sue Garner & Rick Brown
  7. New Slang – The Shins
  8. So You Say You Lost Your Baby – Death In Vegas
  9. Get Off – The Dandy Warhols
  10. Delicious – Catherine Wheel
  11. Elements – Lemon Jelly
  12. Sunday Morning Call – Oasis
  13. I Can’t Comfort You Any More – Michael J Sheehy
  14. No Surprises – Radiohead
  15. The Rock – Delakota
  16. Opus 40 – Mercury Rev
  17. Reach For The Sun – The Polyphonic Spree
  18. My Weakness – Moby

This disc could not be reproduced on Spotify due to one more songs not being available on that platform.

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Various Artists – The Last Days Of Britpop 1998

So with the year coming to an end, this also means that I will be wrapping up Britpop themed posts and what better way than taking a dive into a selection of tracks from arguabley the last year of the scene. As with the other entries that have already been posted which looked at 1997, this includes some of the big hitters (Oasis and Pulp), the under card (Shed Seven) and the those who were hoping that Britpop would still be fashionable as they put out their records (pretty much everyone else).  

Side A

  1. More Than Us – Travis with Anne Dudley
  2. Miyako Hideaway (Radio Edit) – Marion
  3. Hurry On Sundown (Hari On Sundown) – Kula Shaker
  4. Wait For The Sun – Menswear
  5. This Feeling – Puressence 
  6. All Around The World (Radio Edit) – Oasis

Side B

  1. Begin Again – Space
  2. She Left me On Friday – Shed Seven
  3. Cracking Up – The Jesus & Mary Chain
  4. Like A Friend – Pulp
  5. Take It – Ballroom
  6. Untouchable – Rialto

Side C

  1. The Peccadilloes – Kirsten’s Beach
  2. Molly – Carrie
  3. A Page A Day – Po!
  4. Scorch Comfort – Seafood
  5. Small Change – Lodger
  6. Tricolore – Mover
  7. Radar Intruder – Derrero 

Side D

  1. Don’t You Know Who I Am? – Happyland
  2. English Country Garden – The Dandys
  3. Can Jam (Full Mix) – Mainstream
  4. I’ve Had Enough – Hillman Minx
  5. 3 O’Clock In The Morning – Jack

Like my previous efforts for 1997, this was produced to be a double LP, this is what the artwork for the gatefold sleeve.

I used Virgin as the record label as they were the ones who produced The Best Album in the World Series of CDs that I bought in the 90s.

The cover comes from https://pitchfork.com/features/lists-and-guides/10045-the-50-best-britpop-albums/ and pays homage to Sgt Pepper. 

The Last Days of Britpop 1997 Vol.1 – https://www.thesquirepresents.co.uk/various-artists-1997-the-last-days-of-britpop-vol-1/

The Last Days of Britpop 1997 Vol.2 – https://www.thesquirepresents.co.uk/various-artists-the-last-days-of-britpop-1997-vol-2/

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Various Artists – Now, It’s Not What I Would Call Britpop (1993)

Back in August and September, I posted a couple of playlists which covered the years 1994 to 1997. For my money, these are the years of Britpop. However, there is a school of thought that says Britpop started a year earlier. I didn’t think I would be able to produce a playlist looking at non Britpop songs from that year as I had to cover two years per disc for 1994-1997. Well, it would seem that I could. 

  1. Round Here – Counting Crows
  2. Sooner Or Later – World Party
  3. She Wants To Share Her Magic – Stephen Duffy
  4. Feed The Tree – Belly
  5. Kite – Nick Hayward
  6. Disarm – Smashing Pumpkins
  7. Going Down (Single Version) – Sun Dial
  8. Cannonball – The Breeders
  9. Are You Gonna Go My Way? – Lenny Kravitz
  10. Puss – The Jesus Lizard
  11. Sunflower – Paul Weller
  12. You’re In A Bad Way – Saint Etienne
  13. Tuesday Morning – The Pogues
  14. If I Were A Carpenter – Robert Plant
  15. My Darling – The Juliana Hatfield Three
  16. 4th  Of July – Aimee Mann
  17. In Those Days – Beverley Craven
  18. Into Dust – Muzzy Star
  19. Sappy – Nirvana
  20. Private Universe – Crowded House

Being as this was a one year compilation and not for two, I decided to use a different piece of art. Once again, I used the Virgin Records logo because they were the ones who were releasing compilations I liked during the 1990s. 

Now, It’s Not What I Would Call Britpop (1994-1995) – https://www.thesquirepresents.co.uk/various-artists-now-its-not-what-i-would-call-britpop-1994-1995/

Now, It’s Not What I Would Call Britpop (1996-1997) – https://www.thesquirepresents.co.uk/various-artists-now-its-not-what-i-would-call-britpop-1996-1997/

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Nick Drake – Lost Masters

On 25th November 1974, Nick Drake passed away in his parents home in Tanworth-in-Arden. His work was not well known at this time and it would take until the end of the decade that his profile began to rise. By the mid 80s, he was being mentioned by a number of musicians as an influence and in the following decade, his gained further exposure due to the BBC broadcasting radio and TV documentaries about him. Sales of his records increased significantly around this time when his song ‘Pink Moon’ appeared in a Volkswagen advert. Cue his music appearing on movie soundtracks and he is now, arguably, the most famous he has ever been. It is such a shame that he is not around to enjoy it. 

Drakes recording legacy is slight. During his life time, he released three studio albums made up of 31 songs. No singles were released from these albums during his lifetime so there wasn’t any obscure non album B-Sides to boost the numbers. Over the years, there have been a few compilations which have delved into the archives and there have been a smattering of unreleased songs that have made it to market. Most famous of these would be the tracks he recorded in 1974 for what could have been his fourth album, but these demos are as far as that project went. Four of these songs were included on the ‘Time Of No Reply’ compilation which came out in 1987. Included on that album were outtakes from his first LP sessions, some home recordings and an alternative take. 

The home recordings were a small window into the treasure trove of recordings he made on a tape player in his parents house, many of which had found their way onto the black market due Drake’s father making copies for fans who knocked on the door ion the family home. Some of these would eventually receive a legitimate release on the ‘Family Tree’ album in 2007. Before this, there was another compilation, ‘Made To Love Magic’ which was designed to supersede ‘Time Of No Reply’. This is did because in 2013, a box set called ‘Tuck Box’ came out containing the three studio albums, ‘Made To Love Magic’ and ‘Family Tree’. However, there are a number of Nick Drake performances that have seen the light of day in an official capacity which for one reason or another were not included in ‘Tuck Box’. This playlist is my attempt to address this by gathering together all of the lost masters for a compilation. 

Side A

  1. Rider On The Wheel
  2. Joey
  3. My Bay’s So Sweet
  4. Mayfair
  5. Fly
  6. Hanging On A Star
  7. Clothes Of Sand
  8. Man In A Shed
  9. Plaisir D’Amour

Side B

  1. Time Of No Reply
  2. Strange Meeting II
  3. Betty & Dupree
  4. Magic
  5. The Thoughts `of Mary Jane
  6. Black Eyed Dog
  7. Voice From The Mountain

Side C – (BBC Session)

  1. Time Of No Reply
  2. River Man
  3. Bryter Layter

Side D – (BBC Session)

  1. Cello Song
  2. Three Hours

So where do these masters come from?

Rider On A Wheel – One of the ‘final four’ songs Drake recorded. The version on ‘Made To Love Magic’ was included with a crisp, well balanced mix. This is the same take as induced on the latter compilation and only included here for completeness.

Joey – The version on ‘Made To Love Magic’ was included with a crisp, well balanced mix with less flanging. This is the same take as induced on the latter compilation and only included here for completeness. 

My Baby’s So Sweet – included on the vinyl version of ‘Family Tree’ as well as some version of the CD. However, it was not included on the CD included in ‘Tuck Box’.

Mayfair – A recording from Drake’s days at Cambridge University. A studio version, with a flub, was included on the ‘Made To Love Magic’ compilation. 

Fly – Home recording. Only available on the ‘Time Of No Reply’ compilation from 1987. 

Hanging On A Star – Included on ‘Time Of No Reply’ and a different take form the one used on ‘Made To Love Magic’ 

Clothes Of Sand – One of the ‘final four’ songs Drake recorded. The version on ‘Made To Love Magic’ was included with a crisp, well balanced mix. This is the same take as induced on the latter compilation and only included here for completeness. 

Man In A Shed – An early studio recording. Only available on the ‘Time Of No Reply’ compilation from 1987.

Plaisir D’Amour – Included as a hidden track on the ‘A Treasury’ compilation from 2004. Was originally scheduled to be included on ‘Pink Moon’ but ultimately it was not. 

Time Of No Reply – The basic track as recorded back in 1968. Orchestrations were overdubbed when this was included on the ‘Made To Love Magic’ compilation. These orchestrations had been produced on manuscript by Drake’s Cambridge friend, Robert Kirby and were not used in 1969 as the songs were deemed surplus to requirements. However, these orchestrations were pulled from the archives with wonderful results. 

Strange Meeting II – Home recording. Only available on the ‘Time Of No Reply’ compilation from 1987.

Betty & Dupree – not included on the ‘Family Tree’ CD, but was released on the vinyl edition. It was not included on the CD included in ‘Tuck Box’.

Magic – Listed as ‘I Was Made To Love Magic’ on the ‘Time Of No Reply’ compilation. This has the original orchestration produced by Richard Hewson, which Drake was not happy with and he asked that his Cambridge friend, the aforementioned Robert Kirby come and work as the arranger. This 1969 Kirby arrangement was finally recorded in 2004. The recording was also sped up for the ‘Made To Love Magic’ compilation. 

The Thoughts `of Mary Jane – Taken from ’Time Of No Reply’, this has a slightly extended ending with a dissonant guitar note that was faded out when this song was included on the ‘Made To Love Magic’ compilation.  

Black Eyed Dog – One of the ‘final four’ songs Drake recorded. The version on ‘Made To Love Magic’ was included with a crisp, well balanced mix. This is the same take as induced on the latter compilation and only included here for completeness.

Voice From The Mountain – One of the ‘final four’ songs Drake recorded. The version on ‘Made To Love Magic’ was included with a crisp, well balanced mix. This is the same take as induced on the latter compilation and only included here for completeness.

The BBC Sessions. These five songs were recorded for legendary BBC DJ, John Peel on 5th August 1969 and broadcast a day later. Drake only performed a handful of times in the live arena, and it would seem that no recordings were made. These five songs are the closest we will get. They sound as though they have been recorded from the radio as the studio tapes were no doubt wiped, something there BBC were prone to do in that era so that they could be used again. These rare recordings have only been released in their entirety once on a physical format, and that as a 10” record in 2014. Limited to 1000 copies, it came as part of the signature boxed edition of the book, ‘Remembered For A While’. 

So there we have it. All of these recordings have been released at one point or another but are now all out of print and in some cases, really hard to find and even then, you will be paying a premier to get them. 

The total running time of this compilation is just over an hour so it would be easy enough to reproduce on CD.

The front cover was produced by Behance user, Dorota Kowal