The Squire Presents

April is Record Store Day so for this years fantasy release, I have delved once more into the vault of Dylan recordings for this one. This is an alternative version of his 1975 album, ’Blood On The Tracks’. Now, we have already had an alternative version of this album released back in 2019. That was the first official release on vinyl of the original version of the LP. Dylan had recorded the first version of ‘Blood On The Tracks’ in late 1974, and had cut an acetate to play to family and friends. One of those he played the acetate to was his brother David Zimmerman who persuaded Dylan not to release the album in its current state as the sound was too stark to sell. Dylan went back into the studio and re-recorded five of the album tracks with a backing band, This is the version of ‘Blood On The Tracks’ that most people knew. 

The sessions for the album were at a time when Dylan’s personal life was going through a period of turmoil. His marriage to his first wife, Sara, was beginning to disintegrate. Some have said that the songs on this album chronicle that break up, but Dylan himself has said that the songs were inspired by the works of Anton Chekov.

Pre-production of the album started with guitar player Mike Bloomfield, who had played with Dylan during the ‘Highway 61 Revisited’ sessions. Bloomfield found it hard to keep up with Dylan as he was playing too fast. Bloomfield also said he had trouble learning them as to his ears, they all sounded the same. All the songs were long, in the same key and so Bloomfield left the project. 

The recording sessions started in September of 1974 with Eric Weissberg and his band Deliverance recruited to provide the backing. They also struggled with the pace in which Dylan was playing so they too left the project. Retaining the bass player from Deliverance as well as recruiting an organ and steel guitar player, Dylan had his album ready to be released on the aforementioned acetate. The album was initially released to mixed reviews by in the years since, but has been seen as one of Dylan’s best albums. 

So, we have the original album that was released in 1975. We have the acetate version that received an official release in its original form in 2019. So what is this version I present here? This is built around the myriad of song versions that were released in 2018 on Volume 14 of the Bootleg Series, which was called ‘More Blood, More Tracks’. This release shows Dylan working his way through the songs, working out what the arrangements and accompaniment should be. What I looked to do here was try to make the album a purely acoustic affair, harking back to the Dylan of the early 1960’s. 

The album is this state is a lot stalker than the one we got, with sparse arrangements and little in the way of other musicians playing along with him. As this is a fantasy Record Star Day release, I also included a couple of songs that were recorded during the sessions but not included on the original acetate or album. These are ‘Call Letter Blues’, which is the only song on this release to have a full band. The other is ‘Up To Me’. 

Side A

1. Tangled Up In Blue (Take 3, Remaster)
2. Simple Twist Of Fate (Take 1)
3. You’re A Big Girl Now (Take 1)
4. Idiot Wind (Take 1)
5. You’re Gonna Make Me Lonesome When You Go (Take 2, Remake 2)

Side B

1. Meet Me In The Morning (Take 2, Remake)
2. Lily, Rosemary & The Jack of Hearts (Take 2)
3. If You See Her, Say Hello (Take 2)
4. Shelter From the Storm (Take 2)
5. Buckets Of Rain (Take 2)

Bonus Single

1. Call Letter Blues (Take 2)
2. Up To Me (Take 2, Remake 2)

The cover art was adapted from a Reddit post by FortePiano96. This playlist is not available on Spotify.

57 years ago, Genesis released their first LP. Compared to their later work, especially in the 1970s, this is chock full of concise songs, no meandering solos, plenty of piano and even a stab at a commercial single in the form Silent Sun. The record even came out in a mono as well as stereo mix. So, what is the story here. 

The original line-up of Genesis formed in 1967 and consisted of guitarist Anthony Phillips, guitarist/bassist Mike Rutherford, lead vocalist/flutist Peter Gabriel, keyboardist Tony Banks, and drummer Chris Stewart, all pupils of Charterhouse School in Godalming, Surrey. At that time, it was quite unusual for a band to come out of the public school system, with the vast majority having been in the state sector. I digress. 

Each member had been in earlier school bands with Gabriel, Banks, and Stewart in the Garden Wall. Phillips and Rutherfords’ band was known as Anon, which did get as far as recording a song called ‘Pennsylvania Flickhouse’ which has found it way out into the wild in 2011. After that band split, the two friends started writing songs together at Rutherford’s grandmother’s house. They asked Banks to play piano on a demo they were planning to record, and Banks agreed under the condition that they also record a song he and Gabriel had written. They ended up recording six songs for their demo tape which were ‘Don’t Want You Back’, Try A Little Sadness’, She’s Beautiful’, That’s Me’, Listen On Five’ and ‘Patricia’. Some of these would find their way onto compilations and reissues down the years. The members intended for the songs to be performed by other people as they saw themselves foremost as a collection of songwriters. 

The group sent the demo tape to two people, one being BBC radio presenter David Jacobs, and the other was sent to former Charterhouse pupil Jonathan King, who had scored commercial success as a singer-songwriter and producer with his UK top five single ‘Everyone’s Gone To The Moon’ in 1965. Following a visit to the school during Old Boys Day, where the group had a friend give the tape to him, he listened to it in his car on his drive home and, despite its roughness, was immediately enthusiastic, particularly about Gabriel’s vocals. King offered the group a ten year publishing deal with his publishing company JonJo music and a five year recording contract to produce ten albums for Decca Records. However, after concerns from their band members parents, one due to the age of the members which ranged from between 15 and 17 years old and also because they were keen for their children to pursue careers away from music, this was reduced to a one year deal with the option for a second.  

Between August and Decmber 1967, they recorded a selection of songs at Regent Sound Studios, London. The band were keen to attempt longer, more complex pieces but King advised them to focus on shorter, more pop orientated material. A bit annoyed by this, Banks and Gabriel came up with ‘The Silent Sun’, a pastiche of The Bee Gees who were one of King’s favourite bands. This song would be their first single. The producer also came up with their name, reflecting that it marked ‘a new sound and a new feeling’, or just because it was the start of something for him and the band. ‘The Silent Sun’ flopped, even though it had received some radio play on Radio Caroline and BBC Radio One. 

In May 1968, the second single, ‘A Winter’s Tale’ backed with ‘One-Eyed Hound’, was released and, like their first, it flopped. Stewart then left the group either to continue with his studies, or because of his poor technique. He was replaced by John Silver. Despite their lack of success King continued to support the group and, by mid-1968, suggested that a studio album might reverse their fortunes. They were a little overwhelmed with the longer available time of an LP, so King suggested the idea of a loose concept album that told a story about the Book of Genesis at the start and the Book of Revelation at the end, with linked instrumental tracks. The idea worked, and the group began to write at a faster pace, composing more than enough material to return to Regent Sound studio 2 during the school summer holidays of 1968. These sessions would produce the album, ‘From Genesis To Revelation’. 

King was the producer, and once the songs were recorded, string and brass arrangements were added by Arthur Greenslade and Lou Warburton. These were added to one of the stereo channels, while mixing the band’s performance on the other. This was done without the band’s knowledge, which they thought compromised the strength of the songs, and Phillips was particularly angered at the decision, expressing his feelings towards it by stomping out of the studio on the last day. His main issue was that due to the limitations of recording technology of the time, adding orchestration meant that everything else on the recording had to be reduced to mono. 

The album was released in March 1969 and failed to chart, and even the release of ‘Where The Sour Turns To Sweet’ as a single failed to stimulate new interest. Prior to its release, Decca discovered that an American act had also called themselves Genesis and asked the band to change its name to avoid confusion, but King reached a compromise so the band’s name would be omitted from the sleeve, leaving the album’s title written in gold text in a Gothic style, in order to evoke mystery when presented in music shops. However, this reputedly back-fired when some shops filed the album in their religious music sections, since the title ‘From Genesis To Revelation’ was the only descriptive text on the album. The album is believed to have sold only sold 649 copies, and so original copies are now extremely rare (especially the mono mix), and when it failed to become a success, the group decided to split and resume their education. 

Rutherford has said “Legend has it that From Genesis to Revelation ended up being shelved in the religious music section of record shops as a result, but the fact is we only sold 600 copies so it can’t have been in many record shops in any case. I can’t remember ever seeing it, and I did look”. 

This marked the end of their association with King, who had grown increasingly dissatisfied with the band directing their material away from mainstream pop, and in September 1969, with the release of ‘When The Sour Turns To Sweet’ as a single. The bands’ association with Decca also finished with neither the label or band looking to renew it. Gabriel, Banks, Rutherford, and Phillips decided to make Genesis a full-time band, recruited John Mayhew on drums, obtained a recording contract with Charisma Records and the rest they say is history. 

Disc 1

Mono LP mix, singles and demos from 1967

1. Where The Sour Turns To Sweet (Mono)
2. In The Beginning (Mono)
3. Fireside Song (Mono)
4. The Serpent (Mono)
5. Am I Very Wrong? (Mono)
6. In The Wilderness (Mono)
7. The Conqueror (Mono)
8. In Hiding (Mono)
9. One Day (Mono)
10. Window (Mono)
11. In Limbo (Mono)
12. The Silent Sun (Mono)
13. A Place To Call My Own (Mono)
14. The Silent Sun (Single A-Side – 7” Mix)
15. That’s Me (Single B-Side)
16. A Winter’s Tale (Single A-Side)
17. One-Eyed Hound (Single B-Side)
18. She Is Beautiful (Demo)
19. Patricia (Demo)
20. Try A Little Sadness (Demo)

Disc 2

Stereo mix, 1968 demos

1. Where The Sour Turns To Sweet (Stereo)
2. In The Beginning (Stereo)
3. Fireside Song (Stereo)
4. The Serpent (Stereo)
5. Am I Very Wrong? (Stereo)
6. In The Wilderness (Stereo)
7. The Conqueror (Stereo)
8. In Hiding (Stereo)
9. One Day (Stereo)
10. Window (Stereo)
11. In Limbo (Stereo)
12. The Silent Sun (Stereo)
13. A Place To Call My Own (Stereo)
14. Image Blown Out (Demo)
15. Where The Sour Turns To Sweet (Demo)
16. In The Beginning (Demo)
17. The Magic Of Time (Demo)
18. Hey! (Demo)
19. Hidden In The World Of Dawn (Demo)
20. Sea Bee (Demo)
21. The Mystery Of The Flannel Isle Lighthouse (Demo)
22. Hair On The Arms & Legs (Demo)

Disc 3

De-Orchestrated, rough mixes etc. As noted earlier, Anthony Phillips was particularly annoyed with the orchestration on this record. Some rough mixes have seen the light of day minus the strings and horns but what if the final mix had them removed. Well, the internet provides. Thanks to pj at https://albumsiwishexisted2.blogspot.com/ for posting it. 

1. Where The Sour Turns To Sweet (De-Orchestrated)
2. In The Beginning (De-Orchestrated)
3. Fireside Song (De-Orchestrated)
4. The Serpent (De-Orchestrated)
5. Am I Very Wrong? (De-Orchestrated)
6. In The Wilderness (De-Orchestrated)
7. The Conqueror (De-Orchestrated)
8. In Hiding (De-Orchestrated)
9. One Day (De-Orchestrated)
10. Window (De-Orchestrated)
11. In Limbo (De-Orchestrated)
12. The Silent Sun (De-Orchestrated)
13. A Place To Call My Own (De-Orchestrated)
14. When The Sour Turns To Sweet (Rough Mix)
15. In The Wilderness (Rough Mix Without Strings)
16. One Day (Rough Mix)
17. Image Blown Out (Rough Mix)
18. Build Me A Mountain (Rough Mix)

Disc 4

2017 mixes made from the then ‘recently’ rediscovered multitrack tapes. 

1. In Hiding (Vocals Mix)
2. One Day (New Stereo Mix)
3. A Winter’s Tale (Studio Takes)
4. A Place To Call My Own (Vocals Mix)
5. The Silent Sun (New Mono Mix)
6. In Hiding (New Stereo Mix)
7. On The Trail Of The One Eyed Hound (New Stereo Mix)
8. Where The Sour Turns To Sweet (New Mono Mix)
9. A Place To Call My Own (New Mono Mix)
10. One Day (Mono Mix With Reduced Horns)
11. In Limbo (Mono Mix With Reduced Horns)
12. Am I Very Wrong (Mono Mix With Reduced Horns)
13. The Serpent (New Mono Mix)
14. The Silent Sun (Alternative New Mono Mix)
15. The Conqueror (New Mono Mix)
16. Image Blown Out (Alternative Demo)
17. That’s Me (New Mono Mix)
18. In The Wilderness (New Mono Mix)
19. The Window (New Mono Mix)
20. In The Beginning (New Mono Mix)
21. The Serpent (Vocals Mix)
22. Fireside Song (New Mono Mix)
23. Where The Sour Turns To Sweet (New Mono Mix)

I decided against included the 2006 version of ‘The Silent Sun’ and ‘When The Sour Turns to Sweat’ as both had new drums added to them and to my ears, they sound terrible.

So, about a year after Flying Vinyl said that it was stopping the five singles a month drop, there was an announcement that it was to return. Good news as far as I was concerned. There was a difference however. Instead of being a series of vinyl singles, they would now be pressed on an LP. Purchasers would receive ten songs, with five artists so essentially the same as what went before. So far so good and I duly signed up.

The first LP dropped through my letter box in early September of 2022. Each came on rather fetching and in some cases, interesting coloured vinyl with a booklet giving some information about the artists on the record. For the next five months, a new record arrived until January 2023. That was when the sixth and what would turn out to be the last LP. A little information sheet was contained within detailed the reasons why this was the last one and essentially, it was essentially the same as when the single series finished. Supply chain issues. 

It is a shame when any series you’ve enjoyed comes to end but rarely do does this happen twice, especially in such short a period of time. I thought that for this sampler, I would only have a single LP and an EP for this last (it would seem) ever Flying Vinyl sampler, just to do something a bit different this time around. 

Side A

1. She’s So Neat – Mystic Peach
2. Millenial – Sheafs
3. Entertainer – T Truman
4. John – The Golden Dregs
5. Just My Style – Honey Guide
6. Dull Paradise – Mewn

Side B

1. Swimming – Sprints
2. Reset My Password – Public Body
3. Higghhighhigh – Euan Blackman
4. Bon Iver – Split Milk Society
5. New Fair – Hussy
6. Halo – Blood Wizard

EP – Side A

1. I Don’t Want To Go To The Shop – Moderate Rebels
2. Okay – Maddie Ashman

EP – Side B

1. So Cool – Low Girl
2. Handsome Machine – Team Picture

As 2005 rolled around, Jack White began to prepare material for the White Stripes next album. Recording would prove to be problematic as it was decided that sessions would take place in Jack White’s home. The reasons behind the problems were that the tape machine and microphones would stop working along with water that would drip down from the ceiling. 

Jack White also felt that he had been betrayed and burned by fellow members of the Detroit music scene. One of these was Jim Diamond, who had brought a law suit against the band claiming he had been the mixer and editor on the bands first two albums. The other was Jason Stollsteimer from the band The Von Blondes. Jack White had been credited as the producer on the Von Blondes debut album, which Jim Diamond (him again) felt he should have had been given credit for instead of White. Jack White and Jason Stollsteimer would have a physical altercation. White would plead guilty to assault after this incident and had to pay costs as well as attend anger management classes. 

The album was different from its predecessors as there is less focus on the blues and punk rock sound that had been so prevalent on the bands previous records. There was also more experimental with instrumentation. Piano, mandolin and marimba can all be heard on the finished product. 

The album had a listing event for music journalists, where each of them received an vinyl copy of the record. There was also a further 600 released which for the next ten years, would be the only vinyl version of this album.  

Disc 1

The original album with B-Sides & non LP A-Sides

1. Blue Orchid
2. The Nurse
3. My Doorbell
4. Forever For Her (Is Over For Me)
5. Little Ghost
6. The Denial Twist
7. White Moon
8. Instinct Blues
9. Passive Manipulation
10. Take, Take, Take
11. As Ugly As I Seem
12. Red Rain
13. I’m Lonely (But I Ain’t That Lonely Yet)
14. Who’s A Big Baby (B-Side)
15. Through I Hear You Calling, I will Not Answer (B-Side)
16. You’ve Got Her In Your Pocket (Live Belfast, UK – 25/8/2004) (B-Side)
17. Same Boy You’ve Always Known (Live Manaus, Brazil – 1/6/2005) (B-Side)
18. Screwdriver (Live Manaus, Brazil – 1/6/2005) (B-Side)
19. Blue Orchid (High Contrast Remix) (B-Side)
20. Shelter Of Your Arms (B-Side)
21. Top Special (A-Side – Non LP Single)
22. Walking With A Ghost (Walking With A Ghost EP)

Disc 2

Rare tracks, demos, tracking rehearsals & live B-Sides

1. City Lights
2. Instinct Blues (Demo)
3. Red Rain (Demo)
4. City Lights (Demo)
5. I’m Slowly Turning Into You (Demo)
6. Semitone Blues (Demo)
7. The Denial Twist (Demo)
8. My Doorbell (Demo)
9. My Doorbell (Band Demo)
10. The Nurse (Demo)
11. Over & Over & Over ((Demo)
12. White Moon (Demo)
13. Forever For Her (Is Over For Me) (Tracking Rehearsal)
14. Spitting Tracks (Tracking Rehearsal)
15. The Denial Twist (Alt. Mix)
16. White Moon (Alt. Mix)
17. City Lights (Alt. Mix)
18. Over & Over & Over (Outtake)
19. As Ugly As I Seem (Alt. Mix)
20. I’m Lonely (But I Ain’t That Lonely Yet) (Alt. Mix)
21. Ain’t No Sweeter Than Rota Blues (Inst Outtake)
22. The Denial Twist (Live On KCRW Radio) (B-Side)
23. As Ugly As I Seem (Live On KCRW Radio) (B-Side)
24. Screwdriver (Live Manaus, Brazil – 1/6/2005) (Walking With A Ghost EP Edit)
25. Whispering Sea (Live, Gorge Amphitheater 6/8/05) (B-Side)

Disc 3 – Live at Auditorio Coca-Cola, Monterrey, Mexico 11th May 2005

1. Dead Leaves & A Dirty Ground
2. Black Math
3. Blue Orchid
4. My Doorbell
5. Jolene
6. Hotel Yorba
7. Fell In Love With A Girl
8. Let’s Shake Hands
9. When I Hear My Name
10. Take A Whiff On Me
11. Cannon
12. The Nurse
13. The Same Boy You’ve Always Known
14. The Denial Twist
15. Death Letter
16. Little Ghost
17. We’re Going To Be Friends
18. I Fought Piranhas
19. Passive Manipulation
20. I Just Don’t Know What To Do With Myself
21. I’m Lonely (But I Ain’t That Lonely)
22. Seven Nation Army
23. Boll Weevil

Blu-ray

Unreleased footage filmed by David James Swanson as he joined the White Stripes Central and South American tour in 2005.

Well, Christmas time is upon us again and that means that the same old songs to make their way onto the playlists of every DJ or shop PA System. Be it the classic Phil Spector Christmas Album, Slade, Wizard, Mariah Carey, Jona Lewie or Band Aid, these songs are classic for a good reason but you can have too much of a good thing. 

Back in December 2020, I posted a compilation of what could be considered the classic Christmas records, and then followed it up in 2021 with what is arguably the complete opposite with some of the worst seasonal records ever committed to vinyl (tape, CD, MP3 etc). I also put together a podcast back in 2013 following a similar theme with my good friend and much missed Darryl Bullock. 

What I have never done is take a look at some of the ‘alternative’ artists I have enjoyed down the years (and who this term applied to is up for debate, hence the apostrophes). Many of them have recorded their own Christmas theme records so I thought it was about time to put them on a compilation. What I was looking for were original songs because this shows a bit of effort, instead of just covering a classic from years gone by. I have also tried not to have more than one song from the same artist, even though John Wheeler does appear twice. Once as a solo artist and the second time with his main band, Hayseed Dixie. So much for the rules. 

Merry Christmas everyone and on reflection, the alternative might refer to the songs themselves instead of the artists. 

Side 1

1. I Wish It Christmas Today – Julian Casablancas
2. Christmas Without A Kiss – Smoke Fairies
3. Everything’s Gonna Be Cool This Christmas – Eels
4. Father Christmas – Hayseed Dixie
5. Christmastime – Smashing Pumpkins
6. Little Drummer Machine Boy – Beck

Side 2

1. Christmas Night – The Cave Singers
2. Xmas Time Is Here Again – My Morning Jacket
3. Don’t Shoot Me Santa – The Killers
4. Is This Christmas? (Radio Edit) – The Wombats
5. Christmas Morning – Lyle Lovett

Side 3

1. I Don’t Intend To Spend Christmas Without You – Saint Etienne
2. I Want An Alien For Christmas – Fountains Of Wayne
3. Christmas Was Better In The 80s – The Futureheads
4. When I Get Home For Christmas – Snow Patrol
5. Underneath The Christmas Light – Sia
6. A Change At Christmas (Say It Isn’t So) – The Flaming Lips

Side 4

1. Why I Hate Christmas – White Town
2. The Christmas Song – The Raveonettes
3. Only At Christmas Time – Sufjan Stevens
4. Xmas Light – John Wheeler
5. Just Like Christmas – Low

The cover is based on a stock image of a Christmas tree with the Ace Records logo in the top left as I thought this would be the sort of compilation they could release. 

2020 Christmas Post – https://www.thesquirepresents.co.uk/various-artists-its-christmas/

2021 Christmas Post – https://www.thesquirepresents.co.uk/various-artists-a-squire-christmas/ 

Podcast – https://www.thesquirepresents.co.uk/episode-14-christmas-bursts-of-the-worst/

All good things must come to an end and this became the case with Flying Vinyl in July of 2021. Craig Evans, who founded Flying Vinyl, wrote in the magazine that would come with each set that production lead times had escalated from six weeks to nine months due to factors such as the pandemic, Brexit and shortages in raw materials. The price of vinyl had also increased by 30% since the start of 2020. This meant that by the middle of 2021, it was becoming increasingly difficult to have the sets shipped on time.

It was sad to see the end of Flying Vinyl in this format. I enjoyed the set of five 7” singles dropping through the letterbox each month with all sorts of musical delights included in the grooves. Craig did sign off by saying that Flying Vinyl would return by January 2022 in an LP format. As with other promises such as this, I felt it was a case of I will believe it when I see it. 

So, we round of 2025 with the last sample set of Flying Vinyl when it was a box set of singles. 

Side A

1. Man On The Run – Workfriends
2. Esteem – Floral Scene
3. Sunset – The Feens
4. Dog Toy – Speedboat
5. Coasting – The Royston Club
6. Love In The Backwater – Dirty Freud
7. Sunshine Seeker – The Sway

Side B

1. The Ballad Of The Rain – John Myrtle
2. Falling Apart – Slow Pulp
3. Asc Scorpio – Oracle Sisters
4. Old Ways – Bleach Lab
5. Open Lights – Yore
6. Travel Guide – Junodream

Side C

1. Wonder – Cobain Jones
2. Haircut – Slant
3. Lost Without You – The Howlers
4. The Pool Of Emotion The Size Of An Ocean – J Madden
5. Spinning – Moa Moa
6. 001 – Wings Of Desire

Side D

1. The People, The Place – Low Hummer
2. Now & Then – Van Houten
3. True Romance – Abbie Ozard
4. Free As A Bird – Jamie Pollock
5. Don’t Be Afraid – Tycho Jones
6. Forever – Night Tapes

White Stripes – Elephant Deluxe

When The White Stripes started to record Elephant, their fourth album, it was decided that they would only use equipment that had been manufactured before 1963. I’m not sure why this date was important but Jack White thought it was and he seemed to know what he was doing as this was their most successful record to date. Containing songs such as ‘Seven Nation Army’ and ‘The Hardest Button To Button’, the LP was their first to hit Number 1 in the UK Album charts. It was also their first to break into the top ten in the USA. 

As before, Disc 1 contains the original LP with period singles. Disc 2 contains the mono mix of the album that was released on the Vault 55 package from 2023. This was a dedicated mix, with extras bits of music that had been rediscovered on the master tapes. Unlike the previous Vault ‘XX’ releases from Third Man Records, there wasn’t much in the way of demos, alternative versions or outtakes. A remix of ‘The Hardest Button to Button’ from Beck (released 2011) is included for completeness. 

Disc 3 is the first in the series to be a DVD. That is because after the release of ‘Elephant’, the band started to play longer sets which would no longer fit onto a standard length CD without removing a song. Instead of doing that, I have included the audio of their gig at The Aragon Ballroom from 2nd July, 2003. This was inlcuded on the 2023 re-release of ‘Elephant’. The complete ‘Live Under Blackpool Lights’, recorded over two (27th & 28th January 2004) as well as the DVD extras from ‘Elephant XX’ round out the disc. 

Disc 1

The album with single A and B sides

1. Seven Nation Army
2. Black Math
3. There’s Not Home For You Here
4. I Just Don’t Know What To Do With Myself
5. In The Cold, Cold Night
6. I Want To Be The Boy To Warm Your Mother’s Heart
7. You’ve Got Her In your Pocket
8. Ball & Biscuit
9. The Hardest Button To Button
10. Little Acorns
11. Hypnotise
12. The Air Near My Fingers
13. Girl, You Have No Faith In Medicine
14. It’s True That We Love One Another
15. Black Jack Davey (Single B-Side)
16. Who’s To Say (Single B-Side)
17. St Ides Of March (Single B-Side)
18. I Fought Piranhas/Let’s Build A Home (Single B-Side)

Disc 2

Mono mix, demos and a remix

1. Seven Nation Army (Mono Mix)
2. Black Math (Mono Mix)
3. There’s Not Home For You Here (Mono Mix) 
4. I Just Don’t Know What To Do With Myself (Mono Mix)
5. In The Cold, Cold Night (Mono Mix)
6. I Want To Be The Boy To Warm Your Mother’s Heart (Mono Mix)
7. You’ve Got Her In your Pocket (Mono Mix)
8. Ball & Biscuit (Mono Mix)
9. The Hardest Button To Button (Mono Mix)
10. Little Acorns (Mono Mix)
11. Hypnotise (Mono Mix)
12. The Air Near My Fingers (Mono Mix)
13. Girl, You Have No Faith In Medicine (Mono Mix)
14. It’s True That We Love One Another (Mono Mix)
15. Hypnotised (Solo Demo Mix 1)
16. Hypnotised (Solo Demo Mix 2)
17. You’ve Got Her In Your Pocket (Take One)
18. The Hardest Button To Button (Beck Remix – Single A-Side)
19. The Hardest Button To Button (Joshua Homme & Mark Lanegan Remix – Single A-Side)

Disc 3 (DVD)

1. Intro – (Live Under Blackpool Lights – 27th & 28th January 2004)
2. When I Hear My Name – (Live Under Blackpool Lights – 27th & 28th January 2004)
3. Black Math – (Live Under Blackpool Lights – 27th & 28th January 2004)
4. Dead Leaves & The Dirty Ground – (Live Under Blackpool Lights – 27th & 28th January 2004)
5. I Think I Smell A Rat – (Live Under Blackpool Lights – 27th & 28th January 2004)
6. Take A Whiff On Me – (Live Under Blackpool Lights – 27th & 28th January 2004)
7. Astro – (Live Under Blackpool Lights – 27th & 28th January 2004)
8. Outlaw Blues – (Live Under Blackpool Lights – 27th & 28th January 2004)
9. Jack The Ripper – (Live Under Blackpool Lights – 27th & 28th January 2004)
10. Jolene – (Live Under Blackpool Lights – 27th & 28th January 2004)
11. Hotel Yorba – (Live Under Blackpool Lights – 27th & 28th January 2004)
12. Death Letter – (Live Under Blackpool Lights – 27th & 28th January 2004)
13. Do – (Live Under Blackpool Lights – 27th & 28th January 2004)
14. The Hardest Button To Button – (Live Under Blackpool Lights – 27th & 28th January 2004)
15. Truth Doesn’t Make A Noise – (Live Under Blackpool Lights – 27th & 28th January 2004)
16. The Big Three Killed My Baby – (Live Under Blackpool Lights – 27th & 28th January 2004)
17. Wasting My Time – (Live Under Blackpool Lights – 27th & 28th January 2004)
18. You’re Pretty Good Looking For A Girl – (Live Under Blackpool Lights – 27th & 28th January 2004)
19. Hello Operator – (Live Under Blackpool Lights – 27th & 28th January 2004)
20. Apple Blossom – (Live Under Blackpool Lights – 27th & 28th January 2004)
21. Ball & Biscuit – (Live Under Blackpool Lights – 27th & 28th January 2004)
22. Let’s Shake Hands – (Live Under Blackpool Lights – 27th & 28th January 2004)
23. I Fought Piranhas – (Live Under Blackpool Lights – 27th & 28th January 2004)
24. Let’s Build A Home – (Live Under Blackpool Lights – 27th & 28th January 2004)
25. Goin’ Back To Memphis – (Live Under Blackpool Lights – 27th & 28th January 2004)
26. Seven Nation Army – (Live Under Blackpool Lights – 27th & 28th January 2004)
27. Da Balli Of De Boil Weevil – (Live Under Blackpool Lights – 27th & 28th January 2004)
28. Outro – (Live Under Blackpool Lights – 27th & 28th January 2004)
29. When I Hear My Name – (Live at The Aragon Ballroom – 2nd July, 2003)
30. Dead Leaves & The Dirty Ground – (Live at The Aragon Ballroom – 2nd July, 2003)
31. Lovesick – (Live at The Aragon Ballroom – 2nd July, 2003)
32. Hotel Yorba – (Live at The Aragon Ballroom – 2nd July, 2003)
33. Aluminium – (Live at The Aragon Ballroom – 2nd July, 2003)
34. Cool Drink Of Water Blues – (Live at The Aragon Ballroom – 2nd July, 2003)
35. The Hardest Button To Button – (Live at The Aragon Ballroom – 2nd July, 2003)
36. I Want To Be The Boy To Warm Your Mother’s Heart – (Live at The Aragon Ballroom – 2nd July, 2003)
37. Stones In My Passway – (Live at The Aragon Ballroom – 2nd July, 2003)
38. Stop Breaking Down – (Live at The Aragon Ballroom – 2nd July, 2003)
39. Do – (Live at The Aragon Ballroom – 2nd July, 2003)
40. In The Cold, Cold Night – (Live at The Aragon Ballroom – 2nd July, 2003)
41. Seven Nation Army – (Live at The Aragon Ballroom – 2nd July, 2003)
42. The Same Boy You’ve Always Known – (Live at The Aragon Ballroom – 2nd July, 2003)
43. Black Jack Davey – (Live at The Aragon Ballroom – 2nd July, 2003)
44. We’re Going To Be Friends – (Live at The Aragon Ballroom – 2nd July, 2003)
45. Offend In Every Way – (Live at The Aragon Ballroom – 2nd July, 2003)
46. Little Cream Soda – (Live at The Aragon Ballroom – 2nd July, 2003)
47. Cannon/Party Of Special Things To Come – (Live at The Aragon Ballroom – 2nd July, 2003)
48. Candy Cane Children – (Live at The Aragon Ballroom – 2nd July, 2003)
49. The Air Near My Fingers – (Live at The Aragon Ballroom – 2nd July, 2003)
50. This Protector – (Live at The Aragon Ballroom – 2nd July, 2003)
51. Screwdriver (Intro) – (Live at The Aragon Ballroom – 2nd July, 2003)
52. Ball & Biscuit – (Live at The Aragon Ballroom – 2nd July, 2003)
53. Screwdriver (Reprise) – (Live at The Aragon Ballroom – 2nd July, 2003)
54. Let’s Build A Home – (Live at The Aragon Ballroom – 2nd July, 2003)
55. Goin’ Back To Memphis – (Live at The Aragon Ballroom – 2nd July, 2003)
56. It’s True We Love One Another (Footage Shot At Toe Rag Studios) – (DVD Extras)
57. Live Shibuya 21st October 2003 – Part 1 – (DVD Extras)
58. Interview – (DVD Extras)
59. Live Shibuya 21st October 2003 – Part 2 – (DVD Extras)
60. The Hardest Button To Button (8mm Film Reel) – (DVD Extras)

John Lennon had formally left The Beatles in September 1969, but had agreed to keep it quiet until all sorts of business deals had been finalised. Paul McCartney retreated to his farm house in Scotland and fell into depression. He took the ending of the band very badly and the situation was not helped by disagreements over who should be looking after The Beatles business affairs. McCartney favoured the family of his wife Linda, whereas the other three appointed the controversial Allen Klein. Luckily for us, Linda convinced him to write new material as well as to finish off songs he had been working on in the last days of The Beatles. 

Returning to London, he started to work on what would become the ‘McCartney’ album. Apart from some backing vocals from Linda, everything else was performed by Paul. After working up the songs at his home studio, he then moved to the more professional environment of Morgan Studios. Wanting the keep the project under wraps, he booked the studio time under the name of ‘Billy Martin’. With further sessions completed at EMI, the album was scheduled for a April 1970 release. This lead to further conflict with other Beatles. This was because the Phil Spector produced ‘Let it Be’ LP as well as the film to go along with it were scheduled for released around the same time. Lennon and Harrison wrote to McCartney about pushing the release of the solo album back so The Beatles product could take precedence. Ringo Starr said he would take it around personally to McCartneys house. McCartney did not take kindly to the visit and the release date of his solo LP was not pushed back. As a consequence of all of this, his relationship with his three former band mates was now at an all time low, if non existent. 

McCartney followed this by composing a Q&A press release in which he explained the reasons behind his solo LP and The Beatles spitting up. His former band mates were not happy about this also. It seemed to them that McCartney was using the breakup as a way off promoting his album. Lennon was especially displeased because he had kept his own departure from the group quiet the previous year. 

The ‘McCartney’ album sold very well, especially in the US but it has come under some criticism for being under produced and lacking in quality material. McCartney soon returned to the studio to record the ‘Ram’ album, which used outside musicians and was more professionally produced. Criticism of the ‘Ram’ LP at the time was harsh, with some of The Beatles (especially Lennon) feeling that some of the songs were directed at him and his wife Yoko Ono. ‘Ram’ has received critical reassessment and is seem a lot more favourably in recent years. However, it is still a disjointed album with some fantastic songs mixed in with some lightweight material. 

What if McCartney had not released his first solo album but had used it as a way of working up new material and getting used to recording without his old bandmates? Well, the ‘McCartney’ LP did have some excellent songs on it but overall, it is not very good. What if McCartney had kept the quality songs from the first LP sessions and used them on ‘Ram’ instead? Well, this is what I came up with.  

Side A

1. Too Many People (Ram)
2. Maybe I’m Amazed (McCartney)
3. Eat At Home (Ram)
4. Ram On (Ram)
5. Long Haired Lady (Ram)
6. Junk (McCartney)

Side B

1. Every Night (McCartney)
2. Monkberry Moon Delight (Ram)
3. Uncle Albert/Admiral Halsey (Ram)
4. Smile Away (Ram)
5. Ram On (Reprise) (Ram)
6. The Back Seat Of My Car (Ram)

Singles

1. Maybe I’m Amazed (Mono Single Mix)
2. Singalong Junk (Mono Single Mix)

1. Another Day (Mono Single Mix)
2. Oh Woman, Oh Why (Mono Single Mix)

1. Uncle Albert/Admiral Halsey (Mono Single Mix)
2. Smile Away (Mono Single Mix)

For this, I need to change the history of the period a little bit. In this timeline, McCartney decides against releasing the songs he has been recording as an album. Therefore, there isn’t a conflict between his record and the ‘Let It Be’ LP. That means that there isn’t as much bad blood between McCartney and the rest of The Beatles. McCartney takes stock of the situation, listens to what he has produced and comes to the conclusion that what is in the can is not very good and goes off to write some new songs as well as finish off some of the ideas he brought to the ‘Let it Be sessions’ but where not ultimately used*.

With ‘Let It Be’ out, The Beatles offer a joint press release stating that the band is over and all four members set out to release singles. Each ex-Beatle releases an album before the end of the year. except Ringo who releases two. McCartney kicks off his solo career with the single ‘Maybe I’m Amazed’ backed with ‘Singalong Junk’. Both of these song were recorded earlier in the year and is seen by McCartney as a stop gap to keep his name fresh with the record buying public especially as his ex-colleagues have released so much product in comparison. 

McCartney takes time at the end of 1970 and early 71 writing new material as well as being in the studio with musicians David Spinoza (Guitar), Hugh McCracken (Guitar) and Denny Sewell (Drums). Enough songs are recorded for an album in their own rite but McCartney decides to include a couple songs from his earlier sessions (‘Junk’ and ‘Every Night’) as well as a stereo mix of ‘Maybe I’m Amazed’**.

Another outtake from the ‘Let It Be’ Sessions is released as a stand alone single at the start of 1971 (as it did in reality) but is not included on the parent album. The single is a top five single in all of the major markets and ‘Ram’ follows in May. For the US, Canadian and Mexico markets, ‘Uncle Albert/Admiral Halsey’ is released with another ‘Ram’ song, ‘Smile Away’ on the B-Side. Both of these songs receive exclusive mono mixes for this release. The LP is a success with the public but not so much with critics who feel McCartney would benefit from a collaborator of the standard of John Lennon to make his work have a harder edge. McCartney goes back the drawing board and forms the band Wings, for which he would continue to have massive commercial success for the rest of the 1970s

Overall, I feel that this is a vast improvement on the original ‘Ram’ album. If this timeline had been followed instead of what happened in reality, the remaining tracks recorded for the ‘McCartney’ album would no doubt have seen the light of day on some sort of archival release. I used the cover of the ‘McCartney’ as think this is better than the one used for ‘Ram’. 

*  These songs are ‘Every Night’, ‘Junk’, ‘Back Seat of My Car’, ‘Another Day’

** The single version was released in mono.