Month: August 2024

Between 1994 and 1997, Britpop ruled the airwaves as far as I was concerned, but it did not mean that it was the only music genre I was listening to. The late 60s were never too far away either, especially as several Britpop artists were declaring how that period of music had influence them. Reissue programmes were starting to gather pace and one of these was a reconstruction of the fabled ‘Teenage Opera’ project. I had first heard of this project when I heard lead single ‘Excerpt From A Teenage Opera’ played on Capitol Gold, a radio station that focused on what was called oldies music back in the late 80s, early 90s. Oldies back then would have been anything between the mid 50s and 1969. This was an excerpt but what happened to the rest of it?

For this, we must go back to 1967 when German born producer Mark Wirtz finds himself in London checking out bands on the underground scene. He is also accepts a job on the staff at EMI. Two of the bands who he takes an interest in are Pink Floyd and the In Crowd. The Floyd sign to EMI label, Columbia but Wirtz declined the offer to produce them but looks to work with the In Crowd, especially their singer who goes by the name of Keith West. The In Crowd were already signed to EMI and had released three singles under that name but none of them troubled the charts. The band decided to change their name to the more ‘psychedelic’ Tomorrow and started to work with Wirtz.

Wirtz had had an idea of doing a pop opera style project and had already laid down some basic tracks. One of these was played to West who wrote the lyrics to what would become the first release for this project called ‘Excerpt From A Teenage Opera’. The song, telling the story of a grocer who is taken for granted before he dies was recorded in true stereo, which was rare for a 1967 pop single and it reached number 2 in the UK singles charts. The title of ‘Grocer Jack’ was given to the song later and was not included on the original single credits to imply that it was part of a much larger project. With the song being such a big hit, the music press were keen to find out when the rest would be released. 

Reports suggested that the whole thing was already complete and was going to be released as a double album, also rare for the 60s. There was talk of a musical version would be staged which is something that did happen in 2017. There were also reports that MGM were prepared to  buy the film rights. However, after this initial interest, the release of second single ‘Sam’ failed to live up the sales of the first and interest quickly faded. This was down to a couple of reasons. First up, ‘Sam’ was quite long for a single closing in at over five minutes so radio stations were reluctant to play it. Keith West also decided to leave the project. He needed to make a choice between being a darling of the underground music scene with his band Tomorrow, or being a pop star recording with Wirtz on the opera project. He opted for Tomorrow, even though he did record one further song for the project. Called ‘Mr Rainbow’ it was a rerecording of the Tomorrow song ‘Hallucinations’ and it was released under the pseudonym Steve Flynn. 

Wirtz continued to work with Tomorrow. Their single ‘My White Bicycle’ is a psychedelic classic but neither it, nor the follow-up, ‘Revolution’ seriously dented the charts. By the time their album came out, the band had lost their cohesion. One of the reasons for this could have been that they were expected to play songs from the Teenage Opera project on stage. It would have been difficult enough to do this with the band being a four piece, but they were lacking the orchestra and children to reproduce them in the style of the recording. 

After West left, there was a third single called ‘(He’s Our Dear Old) Weatherman’ with Wirtz taking over a lead vocalist. This was the first single not to have a dedicated stereo mix and it can be said that Wirtz knew his opera project was now dead in the water. ‘Except From A Teenage Opera’, ‘Sam’ and ‘(He’s A Dear Old) Weatherman’ are the only songs that can be guaranteed to have been completed for the project. Wirtz continued to produce records and when RPM Records came to compile their version of Teenage Opera in 1996, they used the three aforementioned songs, period productions from Wirtz and incidental music to make it sound like an actual soundtrack. 

I decided that if EMI had thought of releasing an album back in the late 60s with some of the music Wirtz had been involved with, I suspect none of the incidental music would have made the cut. That just leaves the two themes (one to start of proceedings and one to conclude), the single A-Sides and even some B-Sides. 

SIde A

1. Theme From A Teenage Opera – Mark Wirtz Orchestra
2. Excerpt From A Teenage Opera – Keith West
3. Auntie Mary’s Dress Shop – Tomorrow
4. Barefoot & Tiptoe – Sweet Shop
5. (He’s Our Dear Old) Weatherman – Mark Wirtz
6. Dream, Dream, Dream – Zion De Gallier
7. Mr. Rainbow – Steve Flynn

Side B

1. Sam (From A Teenage Opera) – Keith West
2. Shy Boy – Kippington Lodge
3. Colonel Brown – Tomorrow
4. Cellophane Mary-Jane – Astronaut Alan & The Planets
5. Possum’s Dance – Mark Wirtz Orchestra
6. On A Saturday – Keith West
7. Theme From A Teenage Opera (End Titles) – Mark Wirtz Orchestra

The following notes for these songs have taken some details from the sleeve notes of the 1996 RPM release and an entry on the Steve Hoffman forum written by user mark f from 5th November 2007. 

Theme from a Teenage Opera (B-side of ‘Except For A Teenage Opera) – the first track in the chronology of the Opera but never, according to Wirtz, intended to be part of the final concept. In fact ‘Theme’ was considered by Wirtz to be a throwaway B-side. Apparently, it gained its name only later when a B-side was needed for ‘Excerpt From a Teenage Opera’. Steve Howe plays the lead guitar on the track and contrary to popular belief this is the only Opera related track on which Howe appears. Howe’s guitar, the mandolins and balalaika were added later. Despite Wirtz’s feelings about the track it’s certainly a strong number melodically and the production is excellent. 

Excerpt from a Teenage Opera – Incorrectly known as ‘Grocer Jack’, the instrumental track was recorded under the name Mood Mosaic. Though ‘Sam’ would present more complications in editing, ‘Excerpt From A Teenage Opera’ has at least three distinct sections, one of which has Wirtz doing his best Motown impersonation (evident in the section starting with “his arms and legs don’t feel so strong”). Existing recordings show that the rhythm section and keyboards were recorded live, followed by percussion overdubs. At least three more sessions would include orchestra and vocal overdubs. Though Wirtz has claimed that his use of mandolin and balalaika were influenced by Russian classical and dance music, the string band he used was from a local restaurant. Exactly who played on the track is unclear, but Clem Cattini was the drummer. Vocalists included The Ivy League, The Ladybirds and Peter Lee Stirling. Jim Sullivan and/or Vic Flick were more than likely the guitarists and Wirtz believes that Russ Stableford played bass. The children’s chorus was made up of students from the Corona School (a performing arts school in London which still exists to this day). Wirtz claims to have paid the Corona School out of his own pocket, West claims the kid’s vocals were his idea and there are reports that they were fed milk and cookies.

Auntie Mary’s Dress Shop – Recorded during the sessions for the Tomorrow album

Barefoot & Tiptoe – In early 1968, Wirtz married single Ross Hangman. Between them, they wrote several songs including this one. Both Mr and Mrs Wirtz sing on this song as well. The recording also included the Band of the Irish Guards who were not used to sitting down when playing, so they were recorded marching around the studio for the oompah section. 

(He’s Our Dear Old) Weatherman – After West left the project, Wirtz claims that he gave up the search for a suitable vocalist but its possible he didn’t try all that hard sensing that he needed to get the track out fast. It can be argued that no other vocalist could have performed it as well as Wirtz. One existing backing track shows that the rhythm section was recorded live with timed sections of silence left for the orchestral overdubs. During the first silence Wirtz can be heard laughing hysterically. The main features of the instrumental track are the prominent accordion and the heavy percussion – again played by Clem Cattini. The children’s vocals were performed by the Irish kiddy folk act The O’Briens, with whom Wirtz recorded one single.

Dream, Dream, Dream – The artists lived on this release was Zion De Gallier. This was the pseudonym of Douglas Ord who was a singer of a band called The Deepbeats who do not see to have made any recordings. This was the A-Side of his second single, both of which were produced by Wirtz. 

Mr Rainbow – As noted above, Steve Flynn was a pseudonym for Keith West and this was a rerecorded version of Tomorrow’s song, ‘Hallucinations’. 

Sam – Roughly the same history and musicians as ‘Excerpt From A Teenage Opera’ but session recordings indicate even more percussion overdubs, which were later mixed down or totally removed. The heavy use of percussion had been a Wirtz trademark since 1964 and it sounds like Wirtz wanted to recreate his old sound. Sample edits of the backing tracks show that the sections were originally considered to be in a different order. The music papers of the day have Wirtz covertly recording train sounds at railway yards. He did in fact record the church bells at The Dom in his hometown of Cologne, Germany. The 4th Central Holloway Brownies Pack sings the children’s chorus this time because, according to Wirtz, The Corona School was not interested in participating. The issue may have come down to money. It is unclear as to whether the Brownies required milk and cookies. Lyrics printed on the promotional picture sleeve show a spoken word section with a girl (singer Penny Gold) asking Keith if Sam will come back. Promotional copies of the single had no B-side because the original B-side had been rejected (see below). Promo copies also contained a slip warning DJs of the track’s length. Wirtz later edited ‘Sam’ for radio play when it became evident that it was too long. Copies of those edits appear to have been hastily pressed. Advanced publicity claimed that Sam took 80 hours to record but Wirtz says that this is rubbish. In any case, publicists seemed pleased to announce that EMI were concerned about the cost to make the record. The B-Side of ‘Sam’ that was not used would have been interviews by Tim Rice, he of the musicals and working with Andrew Lloyd Webber fame. The second Mark Wirtz idea for the B-side to ‘Sam’ was to have kids being interviewed on various topics. Papers quoted Wirtz as saying that the interviews would address the kids at an adult level with the hope of gaining their perspective on various serious topics. The interviews were conducted apparently with the girls in the ‘Sam’ Brownie troupe but EMI rejected the idea for the B-side. If these tapes still exist, they have not been located.

Shy Boy – A single A-Side by band, Kippington Lodge.

Colonel Brown – Another track recorded by Tomorrow for inclusion on their album. 

Cellophane Mary-Jane – A B-side for a single where the artist was listed as Astronaut Alan & The Planets. This looks to have been a group of session players who released numerous singles under loads of different names and Wirtz may well have been a member. The A-side was called ‘Fickle Lizzie Anne’.

Possum’s Dance – Originally released as the B-side to ‘(He’s Our Dear Old) Weatherman)’.  According to Wirtz this track was recorded at the end of the ‘Sam’ sessions while the mandolin and balalaika players were still around. It’s possible that the main track was recorded even earlier as Mood Mosaic. Again, despite its charming melodic qualities, Wirtz considers this to be a throwaway B-side.

Theme From A Teenage Opera (End Credits) – a rerecorded version of the opening theme. 

The cover is adapted form the one that was used on the RPM records sleeve from this heady days of 1996 and considering this came out in the era when sleeve art was minimal due to the limited space afforded by cassettes and CDs, this is quite a busy effort. All references to RPM have been removed but the Parlophone label has been added. The credit for Kippington Lodge would not, if it this had come out in the 1960s included the separate entry for Nick Lowe as he was just a member of the band and his solo career was some way off into the future. I do not have the necessary I.T. skills to fix that one though.

P.S. – Whilst I was putting this together, I thought that if this LP had been released back in the 60s, it would have been ripe for reappraisal and a Deluxe Edition. If CD 1 was the original album, CD 2 would contain the single mixes, flip sides, all of the incidental music that came with the 1996 reconstruction and any further unreleased material.

CD

1. Except From A Teenage Opera (Single Version) – Keith West
2. Theme From A Teenage Opera (Single Version) – Mark Wirtz Orchestra
3. Festival Of Kings – Mark Wirtz Orchestra
4. Sam (From A Teenage Opera) – Keith West
5. Thimble Full Of Puzzles – Mark Wirtz’ Mood Mosaic (feat The Ladybirds)
6. Paranoiac Woodcutter #1 – Mark Wirtz Orchestra
7. The Sad Story Of Simon The Bugle – Mark Wirtz
8. The Kid Was A Killer – Keith West
9. Except From A Teenage Opera (Count In Version) – Keith West
10. Paranoiac Woodcutter #2 – Mark Wirtz Orchestra
11. Mrs Raven – MArk Wirtz
12. Knickerbocker Glory – Mark Wirtz
13. Grocer Jack’s Dream – Mark Wirtz Orchestra
14. Lets Live For Tomorrow – Steve Flynn
15. Farewell To A Broken Doll – Mark Wirtz Orchestra
16. Fickle Lizzie Anne – Astronaut Alan & The Planets
17. Glory’s Theme (All Aboard) – Mark Wirtz Orchestra
18. Lead The Way – Sweet Shop
19. Love & Occasional Rain – Mark Wirtz Orchestra
20. Lady On A Bicycle – Kippington Lodge
21. Geraldine – Zion De Gallier
22. Grocer Jack (Reprise) – Mark Wirtz Orchestra
23. Two’s Company, Three Thousands A Crowd – Tim Rice & Samantha Jones
24. Except From A Teenage Opera (Shortened Version) – Keith West

Sam (From A Teenage Opera) (Specially Edited Version) – Keith West

Except From A Teenage Opera (Single Version) – Mono mix of the song used on the 1967 single.

Theme From A Teenage Opera (Single Version)– Mono mix of the song used on the 1967 single.

Festival Of Kings – This was originally released on the Mark Wirtz Orchestra’s 1970 LP, ‘Come Back & Shake Me’. Even though it appeared on the 1996 ‘Teenage Opera OST’, it is unclear is this was ever meant to be a part of the project. 

Sam (From A Teenage Opera)– Mono mix of the song used on the 1967 single.

Thimble Full Of Puzzles – B Side to the ‘Sam’ single. Originally used on the ‘Mood Mosaic’ LP, a Wirtz project that came out just before he started work on the ‘Teenage Opera’ project.  

Paranoiac Woodcutter #1 – Originally this tune was first reported B-side to Sam was this instrumental that would later form the foundation for ‘(He’s Our Dear Old) Weatherman.’ It’s unclear whether the song was even recorded around the same time as ‘Sam’ and Wirtz claims the title was a joke name on the session sheets – his obvious Disney influence at work.

The Sad Story Of Simon The Bugle – Listed in the sleeve notes in the 1996 RPM release as a lost track, this has been found in the subsequent years. This completed backing track under this title appears on ‘The Fantastic Story of Mark Wirtz.’ However, that track was probably made after Wirtz left EMI. Unlike other Opera tracks was recorded completely live and was not recorded at Abbey Road. It does have a distinct Opera quality to it but for Wirtz it’s a fairly ordinary arrangement. It also lacks the multiple sections that have come to distinguish the three Opera singles. The opening segment the track on ‘Fantastic Story’ was used on ‘The Song I Sing’ from Wirtz’s solo album Balloon. Later Wirtz added vocals and used the full track as ‘The Chug-a-lug Song’ on his unreleased recording ‘Tempo’. It seems likely that ‘Sad Simon’ was never recorded and even Wirtz admits that the idea may have been a last ditch effort to revive the Teenage Opera. Wirtz says that he had intended to recruit Cliff Richard as lead vocalist on ‘Sad Simon.’

The Kid Was A Killer – B Side to the single, ‘On A Saturday’

Except From A Teenage Opera (Count In Version) – The stereo version of the song but with a count not included on the original release. 

Paranoiac Woodcutter #2 – see above

Mrs Raven – Wirtz looked to release this as a stand alone single in 1968 but it only got as far as the promotional disc stage. I believe that this was co-written by Norman ‘Hurricane’ Smith, producer of early Pink Floyd and engineer one numerous Beatles songs. Not part of the Teenage Opera project, but…… 

Knickerbocker Glory – This was the B-Side of the ‘Mrs Raven’ and this was included on the 1996 RPM release. 

Grocer Jack’s Dream – From the 1996 RPM release, this is a backing track for the song ‘Except From A Teenage Opera’. 

Lets Live For Tomorrow – B-Side of the ‘Mr Rainbow’ single. This does not sound like Keith West is singing this song to me. 

Farewell To A Broken Doll – This was originally released on the Mark Wirtz Orchestra’s 1970 LP, ‘Come Back & Shake Me’. Even though it appeared on the 1996 ‘Teenage Opera OST’, it is unclear is this was ever meant to be a part of the project.

Fickle Lizzie Anne – A-Side of the ‘Cellophane Mary-Jane’ single.

Glory’s Theme (All Aboard) – From the 1996 RPM release, this is a backing track for the song ‘Sam (From A Teenage Opera)’. 

Lead The Way – B-Side of the ‘Barefoot & Tiptoe” single

Love & Occasional Rain – This was originally released on the Mark Wirtz Orchestra’s 1970 LP, ‘Come Back & Shake Me’. Even though it appeared on the 1996 ‘Teenage Opera OST’, it is unclear is this was ever meant to be a part of the project.

Geraldine – B-Side of the ‘Dream Dream Dream’ single

Grocer Jack (Reprise) – From the 1996 RPM release, this is a small section of the backing track for the song ‘Except From A Teenage Opera’. 

Two’s Company, Three Thousands A Crowd – a comedy record conceived by Wirtz during his Teenage Opera period but in no way connected to the project. The recording has a couple (Tim Rice and Samantha Jones) making love, only to be interrupted by an ever-growing crowd of people who break into a song aptly titled ‘What Goes Up, Must Come Down’ (come to think of it, on paper the idea sounds rather funny). The idea of the crowd entering the room has a striking resemblance to The Beatles later recording of the ‘Hey Jude’ chorus, an irony not lost on Wirtz. The full recording of ‘Two’s Company’ has not surfaced but a partial version is hidden at the end of CD 1 of ‘The Fantastic Story.’ A re-recorded version of ‘What Goes Up’ was later released under the name Cellophane Mop.

Except From A Teenage Opera (Shortened Version) – Released as the B-Side to the US version of the single that was on the New Voices Records label. It is unknown if Wirtz produced this himself but this is the only place this version of the song has been released. 

Sam (From A Teenage Opera) (Specially Edited Version) – Wirtz produced this after the song had been released to be played on the radio. Radio stations were reluctant to play songs that were over five minutes back in the 60s, but by the time this came out, the momentum for the Teenage Opera project was waining. 

Missing is the track, Little Canoe. Apparently the working title of an intended Teenage Opera track. Wirtz now claims that he may have invented the title – or at least its connection to the Teenage Opera – to appease Opera fanatics. However, an acetate from the Teenage Opera period exists with the word “Canoe” on it. I have not been able to source a copy of this track, but Wirtz has alternately claimed that this recording formed the foundation for another planned Opera track called ‘The Sad Story of Simon and His Bugle.’

Back in June, I produced a compilation looking at songs released by bands who made an impression on the charts in or just before the Britpop era, I thought it would be interesting to complete a counter compilation which looked at one of the later releases from bands associated with the era. This was inspired by me finding out that Elastic released a single called ‘The Bitch Don’t Work’ which came out in 2001. I thought the band split up after the release of the previous years ‘The Menace’ album so what other tracks were out there that I could pull together for a compilation. Well, this is what I came up with. 

To qualify to be included in this compilation, the bands needed to have split up after the Britpop era (which I class as between 1994-1997), so bands that disbanded during that time (e.g. Lush) are not included. 

Side A

1. Measured In Blood – Strangelove
2. Waster – Reef 
3. Solve That – The Supernaturals
4. Lava Flow – Space
5. When I See Red – Echobelly

Side B

1. Vostok – Geneva
2. Falling Down (Radio Edit)
3. If I’m A Friend – Gene
4. Cobwebs – Cast

Side C

1. Why Can’t I Be You – Shed Seven
2. Car Crash – Supergrass
3. London Crawling – Rialto
4. Getting Your Way – Mansun
5. Forever In My Dreams – Pulp

Side D

1. The Bitch Don’t Work – Elastica
2. (We All Need A Little) Lifting – Dodgy
3. Sparkle (Acoustic) – Marion
4. Apple Core – Catatonia
5. Oxygen – Suede
6. Kingsize (Radio Edit) – The Boo Radleys

Measured In Blood – Strangelove

Just sneaking into the compilation as this song came out in 1998, ‘Measured In Blood’ was one of the B-Sides to the bands last single, ‘Another Night In’. Strangelove formed in Bristol in 1991, and had been waking waves in the mid 90s, especially when their song ‘Time For The Rest Of Your Life’ , which was Q Magazine’s single of the year. They disbanded in 1998 just as they seemed to be on the point of breaking through (their singles were breaking into the UK Top 40) as front man Patrick Duff felt the band had run its course. As of 2024, they have not reformed. 

Waster – Reef 

For those who lived through this period and watched Channel 4’s ‘TFI Friday’ will remember Reef as the band who had the lyrics of their song ‘Place Your Hands’ changed from ‘Put Your Hands On’ to ’It’s Your Letters’. Formed in Glastonbury in 1994, the band hit big when their first three albums broke into the UK top ten. ’Waster’ was their last single before they disbanded in 2003. The band reformed in 2010 and continue to perform to this day. 

Solve That – The Supernaturals

Formed in Glasgow in 1991, the band are most probably best remembered for the 1997 song, ‘Smile’ The single was not as big a hit as I thought it was, just breaking into the UK top 25. It was used as part of the advertising campaign for Smile bank, the UK first fully digital bank. ‘Solve That’ was a B-Side to their last single, ‘Life Is A Motorway’. The band broke up in 2002 but reformed ten years later and have been together ever since. 

Lava Flow – Space

Formed in Liverpool in 1992, Space were quite big in the Britpop era with their two albums of the period breaking into the Top 5 of the UK charts. A falling out with their record label lead them to be dropped with their proposed third album being shelved. ‘Lava Flow’ was the B-Side to their last single before they split up in 2005. However, the band reformed in 2011 and have been together ever since. 

When I See Red – Echobelly

Formed in 1992 when singer Sonya Madan and guitarist Glenn Johansson met in a pub, the band hit the hights with their singles ‘Great Things’ and ‘King Of The Kerb’ but the momentum was lost after the band suffered from line up changes, legal and health issues. They took a break in 1997 before returning in 2001. ‘When I See Red’ was a B-Side to the penultimate single, ‘Tell Me Why’ with the group formally disbanding in 2004. Madan and Johansson would reform the band in 2009 and they continue to perform to this day. 

Vostok – Geneva

Formed in Aberdeen in 1992, Geneva did not release any records until 1996 with third single, ‘Tranquilliser’ being the most successful by reaching number 24 in the UK charts. ‘Vostok’ was a B-Side of their last single to be released in their initial incarnation. The band split in 2000 but reformed in 2018 and have been together ever since. 

Falling Down (Radio Edit) – Oasis

Formed in Manchester in 1991, Oasis burst onto the scene in 1993 with their no nonsense approached to playing, anthemic songs and sibling rivalry. Oasis were massive. All of their studio albums reached number 1 in the UK charts, and they even sold significant numbers in the USA. Their singles also sold significant numbers with only three of them not breaking into the UK top 10. It all came crashing down in 2009 when the bickering between the Gallagher brothers became too much and Noel left the band. This is the radio edit of the final A-Side, ‘Falling Down’. As of 2024, they have not reformed. 

If I’m A Friend – Gene

Formed in 1993 out of the ashes of another band called Spin, Gene were classed as a Britpop band but they did draw comparisons between themselves and The Smiths because of lead singer, Martin Rossiter, was said to sound a bit like Morrisey. Their first two albums both broke into the UK top 10, with their singles from this period never went higher than number 14. Momentum was lost between the second and third albums. Their last album was released in 2001 and last single in 2004. ‘If I’m A Friend’ was a B-Side to this last single. The band disbanded in 2004 and as of 2024, they have not reformed. 

Cobwebs – Cast

Formed in Liverpool in 1991 by ex-La’s bass player, John Power, Cast’s debut album ‘All Change’ became the highest selling debut album on the Polydor label at that time. A string of memorable singles followed including ‘Alright’, ‘FInetime’ and ‘Walkaway’ and the momentum continued with their second album, ‘Mother Nature Calls’. However, by the time of their last album, ‘Beetroot’, there was an attempt to change the sound and this did not go down with other members of the group and their disbanded in 2001. ‘Cobwebs’ was a B-Side for their last single, ‘Desert Drought’. The band reformed in 2010 and have been together ever since. 

Why Can’t I Be You – Shed Seven

Formed in 1990 and hailing form York, Shed Seven were initially signed to Polydor but relations soured after the label decided to release best of in 1999. The band were not happy about this, feeling that it was too early into their careers for the retrospective of this nature but went  along with it on the condition that two new songs from the compilation were released as singles. ‘Disco Down’ was duly released but the second was not as the label reissued three year old sing ‘Going For Gold’ instead. The band quit the label and found two more homes before deciding to call it a day in 2003. ‘Why Can’t I be You’ was their last single. The band did reform in 2007 and continue to perform to perform to this day. 

Car Crash – Supergrass

Formed in Oxford in 1993, Supergrass became household names after their single ‘Alright’ reached number 2 in the UK single chart. The continued to release records up until 2008 when they split from long time label Parlophone after it had been taken over by a venture capitalist group. Singing for Cooking Vinyl, the band began recording their seventh album tentatively titled ‘Release The Drones’ but they split up before it could be finished. ‘Car Crash’ was the B-Side of their last single, but the band did reform in 2019 to play live but they have been on hiatus again since 2022. 

London Crawling – Rialto

A late comer to the Britpop party, Rialto were formed in 1997 in London. Members of the band had previously worked in Kinky Machine, who had released two albums earlier in the decade. Even though they had started to place some singles in the charts, the band were dropped by their label before their debut album was released in most territories. Finding a new label, they failed to build on their initial sales and broke up in 2002. ‘London Crawling’ was their last single, which was a rerecording of the last song released by Kinky Machine. 

Getting Your Way – Mansun

Formed in 1995 in Chester, main songwriter Paul Draper had been producing releasing tapes for sale across the north of England and been in a band called Grind before he and Steve King formed Mansun. Debut album, ‘Attack Of The Green Lantern’ was intended to be something very rare in this era, a concept album. However, it did not quite work out that way as Draper ran out of steam. The band split up in 203 after sessions for their forth album dragged on due to health issues and inter band divisions preventing recording from being completed. The final sessions were released as an album called ‘Kleptomania’ with ‘Getting Your Way’ was the opening track on the album as well as the B-Side to the only single released from this sessions. As of 2024, the band have not reformed. 

Forever In My Dreams – Pulp

Formed as far back as 1978, Pulp had been recording artists for ten years before they started to dent the charts starting with their single ‘Razzmatazz’ in 1993. By the release of the 1998s, ‘This is Hardcore’, showed a more jaded band with a harsher sound. Wanting to release something more positive, they enlisted Scott Walker to produce but the album failed to meet expectations in terms of sales. Pulp disbanded in 2002. ‘Forever In My Dreams’ was a B-side to their final single of this era. The band have reformed a couple of times since, even releasing a one off single in 2013 called ‘After You’. They are still performing as of 2024. 

The Bitch Don’t Work – Elastica

Elastica was formed in 1991 in London by Justine Frischmann and Justin Welch, whop had both been early members of Suede. Being signed to Radio 1 DJ Steve Lamacq’s record label gave them exposure, as well as Frichmann’s relationship with Blur front man, Damon Albarn. Their debut album was the fastest selling debut since Oasis’s a couple of years earlier, but they were dogged by accusations of plagiarism regarding a number of their songs. The band spent five years trying to record a follow up and by the time ‘The Menace’ was released, the bands time had passed. After failing to write enough material for a third album, the band released one final single, ‘The Bitch Don’t Work’ in 2001. As of 2024, the band have not reformed. 

(We All Need A Little) Lifting – Dodgy

Formed in Hounslow in 1990, they released their first single on their own label in 1991 but it was once they had signed with A&M that they started to break into the charts. Classic era singles ‘Staying Out For The Summer’ and ‘Good Enough’ followed but a line up change and leaving their label lead to the band releasing their ‘Real Estate’ album on their own imprint once more. ‘(We All Need A Little) Lifting’ was their final single in this incarnation but the band reformed in 2007 and have been performing ever since. 

Sparkle (Acoustic) – Marion

Formed in 1993 in Macclesfield, the stated off being lumped with the already old hat ‘Madchester’ scene and then thought of as a northern Suede, which the band felt did not help them. Their debut album, ‘This World & Body’ from 1996 reached number 10 in the UK charts, but the 18 month tour that followed it broke the band with front man Jamie Harding descending into heroin addiction. The band split up in 1999 with the acoustic version of their song ‘Sparkle’ one of the B-Sides on their last single. The band have reformed a disbanded a number of times since, and released some new music in 2016. As of 2024, they are still performing together. 

Apple Core (Full Length Version) – Catatonia

Formed in 1992 in Cardiff, Catatonia were lumped in with the Cool Cymru movement. Formed by Cerys Matthews and Mark Roberts, the band received some media attention after they released their debut EP, ‘For Tinkerbell’. Sales and media attention steadily increased until they released ‘their ‘Mulder & Scully’ single, which reached number 3 in the UK chart. The band continued to release albums almost yearly but this took a toll on Matthews who went into rehab in 2001. The band split and the full length version of album track ‘Apple Core’ was the B-side to their last single. As of 2024, the band have not reformed. 

Oxygen – Suede

Formed in 1989 in London, Suede were one of the original Britpop bands even though the band would not thank me for saying it. Their debut self titled album was the fastest selling debut album single ‘Welcome To The Pleasuredome’ by Frank Goes To Hollywood ten years earlier. Original guitar player, Bernard Butler left during the tense sessions of the second album but the band came back with a-vengeance with their third album. However, the momentum was lost with Anderson deadening into drug addiction. 2002’s ‘A New Morning’ album took two years to record and £1 million to make but sale were poor. The band decided to split in 2003 with the release of their singles compilation. On there was one new song, ‘Attitude’ with with ‘Oxygen’ being one of the B-Sides. The band reformed in 2010 and have been performing and releasing new music ever since. 

Kingsize (Radio Edit) – The Boo Radleys

Formed in 1988 in Wallasey, The Boo Radleys made records that have been categorised as noise pop, dream pop and shoe gaze before ‘Wake Up Boo!’ came out in 1995. This slice of pop perfection was their biggest hit but it lead to main songwriter Martin Carr not wanting to repeat himself so they proceeded the ‘C’mon Kids’ album. It was a commercial disappointment and this continued with 1998s ‘Kingsize’. The band split up after the release of this album, with ‘Kingsize’ meant to be they last single A-Side. The release was cancelled but the band did return and put out new music in 2022, without Martin Carr. 

Even though tapes were on the way out by the time the last of the songs on this compilation was released, it just seemed to be the perfect image for this cover. 

Unlike the ‘Early Alternatives’ compilation from June (https://www.thesquirepresents.co.uk/various-artists-early-alternatives/), this would fit nicely onto a CD but being me but I have compiled this as though it were a vinyl release.