Category: Lost Album

Not long after posting our annual Christmas podcast, I found out that friend of The Squire (and personal friend too boot), Darryl Bullock had passed away.  I had got to know to know Darryl through our shared love of what can be best described as ‘outsider’ music, or at worst, just terrible tunes. Over time, we bonded over our shared love of The Beatles as well as Laurel & Hardy.

It has taken me some time to come to terms that he is not there on the other end of the phone to share a new ‘bad’ record I have come across, or to check my information on a piece of music or band that I have been writing about is correct. 

I wanted to mark his passing and do something to remember him by, so I have compiled a rarities set from arguably his favourite band, The Beatles. This is a companion piece to the original UK ‘Rarities’ LP that initially came as part of the ‘The Beatles Collection’ box set in 1978. 

It amazes me still that a band such as The Beatles would still have enough material knocking around that was officially rereleased that could still be considered to be rare. With the numerous re-issue programmes they have put out since the mid 90s, you would have through that they would have been rereleased but it would seem not. A good starting point was the B-Sides to the 90s singles, ‘Free As A Bird’ and ‘Real Love’ that came out as part of the ‘Anthology’ programme. I did not want to include any of these B-sides if they had been subsequently released e.g. the live version of ‘Baby’s In Black’ from the ‘Real Love’ single came out later on the 2016 version of ‘Live At The Hollywood Bowl’ album. 

I also included two additional songs as a bonus single (as it were) as I thought this would come out as an LP, so I would have to work with the time constraints that format gave me. I also did not want to include any songs on the rarities discs I compiled back in July of 2020 (https://www.thesquirepresents.co.uk/the-beatles-the-long-winding-road/).

I am sure that Darryl would seen this and gone “you could have included such and such, or this would have been a better choice”. My thoughts go out to all those who knew Darryl. I miss him greatly.

Side 1

1. I Saw Her Standing There
2. Devil In Her Heart
3. All My Loving
4. This Boy
5. I Feel Fine
6. And I Love Her
7. Eight Days A Week

Side 2

1. Help!
2. Yellow Submarine
3. Here, There & Everywhere
4. I Am The Walrus
5. Free As A Bird
6. Real Love

Bonus Single

1. Christmas Time (Is Here Again)
2. Movie Medley

I Saw Her Standing There (Take 9) – Taken from ‘Free As A Bird’ CD

The count from this version was used on Take 1, which was released on the ‘Please Please Me’ album. 

Devil In Her Heart – Taken from ‘Baby It’s You’ 7”/CD

To promote the release of the ‘Live At The BBC’ album in 1994, an EP came out over six months earlier. What was a nice touch was that each of the four songs featured a lead vocal from one of the individual Beatles. At the time. only the title track would come out on the parent album. ‘Boys’ and ‘I’ll Follow The Sun’ would eventually see the light on 2013’s, ‘On Air – Live At The BBC Volume 2”, but ‘Devil In Your Heart’ is still unique to the original EP release.

All My Loving (Hi-Hat Intro) – Taken from Please Please Me (West German Version)

A slightly longer mix of the song featuring a hi-hat introduction.

This Boy(Takes 12 & 13) – Taken from ‘Free As A Bird’ CD

Two incomplete takes that both break down in laughter. 

I Feel Fine (Whispered Intro) – Taken from 1962-1966 (1973 Version) 

Virtually identical to the true stereo mix of the song which has the whispered words ‘low enough’ spoken at the beginning of the track.

And I Love Her (Stereo Extended End) – Taken from Something New (West German Version)

This extended mix of this song repeats the riff from the end of the song six times instead of the usual four.

Eight Days A Week – Taken from +1

This 2015 remix does not have the fade in that the store common version has. 

Help!

Taken from the US soundtrack album for the film, ‘Help!’, this includes an instrumental introduction that is based on the James Bond theme. 

Yellow Submarine – Taken from ‘Real Love’ CD

This includes a Ringo spoken word introduction with marching sound effects. The other sound effects were mixed higher in this version.

Here, There & Everywhere– Taken from ‘Real Love’ CD

A combination of take 7 (with a mono mix of the basic track with a McCartney guide vocal) with harmony vocals from take 13 superimposed added at the end. 

I Am The Walrus – (US Mono Single Version)

This includes an extra bar of music before the lyrics, “yellow matter custard”. 

Free As A Bird (2015 Remix) – Taken from +1

This remix cleans up John Lennon’s vocal with better technology for completing the task than was available in 1994 when the original version was prepared. Other changes were to push McCartney’s lead vocal more prominently in the second verse and a different version of Harrison’ lyric from ‘life’ to ‘love’ as well as Lennon saying ‘turned out nice again’ which was switched to play the correct way around. It was played backwards on the 1994 recording. 

Real Love (2015 Remix) – Taken from +1

This remix cleans up John Lennon’s vocal with better technology for completing the task than was available in 1995 when the original version was prepared. The harmonium and harpsichord are more prominent in this mix as well some additional lead guitar phrases and drum fills. 

Christmas Time (Is Here Again) (Edit) – Taken from ‘Free As A Bird’ 7”/CD

A unique edit of this track that originally appeared on a fan club flexi disc in 1967. After the song fades out, it includes some of the speech taken from 1966 Christmas disc and then a poem from the 1967 recording. 

Movie Medley

It was a bit of a thing back in the late 70s and 80s to cut and paste several songs together with a similar drum beat in the background. This originally came out in conjunction with a compilation of Beatle songs taken from song of their films called ‘Reel Music’. This was initially only a US released as Parlophone UK thought it was “tacky”. However, import copies were selling in good numbers so they eventually relented and it would be a reasonable hit on both sides of the Atlantic. It seems that Apple Records have tried to forget this ever existed, as it did not appear on 2019s ‘The Singles Collection’. However, it did appear in the 1982 equivalent.  

The cover is based upon the original Beatles ‘Rarities’ compilation (UK version) from 1978. My skills are not good enough to replicate sleeve exactly I’m afraid. This is as close as I could get.  

The Beach Boys had gone from being an act that performed songs about cars and surfing to producing the pop masterpiece of ‘Pet Sounds’ in the space of four years. Musicians and song writers moved quickly in the 1960’s. Just look how much Dylan and The Beatles changed their sounds in the same time. Anyway, with the collapse of the ’Smile’ project, (which I looked at in a previous post https://www.thesquirepresents.co.uk/the-beach-boys-smile-redux/), the band recorded the lo-fi album ‘Smiley Smile’, a record which showed that Brian Wilson’s control over the recording process was diminishing. 

The band had also dropped out of performing at the Monterey Pop Festival where the great and the good of the counterculture turned up to herald in a new age of music, something that with the failure of the ‘Smile’ album to appear meant that The Beach Boys were seen as out of step with the times. In response, the band booked the Honolulu International Centre Arena to perform a couple of concerts that that would lead to a live album and concert film. 

Things did not go smoothly. Bruce Johnson refused to go, saying that the whole situation had got too weird. To make up the numbers as it were, Brian Wilson was persuaded to go. Wilson had not performed live for nearly three years and said that he would come along if he could bring his Baldwin organ. This meant that he would not be covering bass duties as he had before which meant that Carl Wilson or Al Jardine would need to take on that responsibility. The band were also under rehearsed and this can be clearly heard on the recordings. To counteract this, the band tried overdubbing to rescue the recordings but these proved unsatisfactory. They then went to recording studio in San Fransisco to produce a ‘live’ record where the audience noise would be edited in later. These recordings were also abandoned as the band felt that it was ready to record what would become their ‘Wild Honey’ album. 

These recordings would remain in The Beach Boys vault until the early 80s when some of them started to see the light of day. Finally in 2017, both of the shows were released and it from these that this what if has been compiled. I have looked to include the best version of each song which was not an easy task as these performances are very poor. Most come from the second night but where they do not, I have marked them with an asterisk. 

It is clear to see why this was not released by just hearing it. The band not only sound underrehearsed but disinterested in what they are doing. Maybe they were too stoned? It also shows how ill equipped they were to perform the complex songs that Brian had been producing in the studio over the last couple of years in a live setting. This is by far the weakest what if album I have posted on the site. The Beach Boys would produce better live albums than this in future. 

Side 1

1. Hawthorne Boulevard
2. Hawaii
3. Help Me Rhonda
4. You’re So Good To Me
5. California Girls
6. Wouldn’t It Be Nice
7. Gettin’ Hungry*
8. Surfer Girl
9. Surfin’

Side 2

1. Sloop John B
2. The Letter
3. God Only Knows
4. Good Vibrations
5. Heroes & Villains
6. Barbara Ann*

The front cover was taken from https://idesignalbumcovers.tumblr.com

All performances from the 26th August 1967 Performance except where noted.

*25th August 1967 Performance

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.

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. 

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/

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

I have raised this point in the past, but I feel it is worth saying again. The biggest complaint I have about reissue programmes of most bands is the way the record labels and in some cases, the artists themselves have treated their fans so badly down the years. A case in point is the deluxe edition of ‘Then Play On’ by Fleetwood Mac that I produced back in June of 2023 (INSERT LINK). Another artist where I feel the fans have been badly treated is David Bowie, Bowie, when he was alive, was one of the first artists to re-released his albums on CD with bonus tracks. Granted, they were a bit thin on the ground compared to the Deluxe Editions we have come to expect since then, but at least it was a start. 

Take for instance the 1990 re-release of 1969’s ‘David Bowie/Space Oddity’ album. That version came with three bonus tracks including a B-Side and a re-recording of an album track that was released as two sides of a single. Not bad, but when the album came out again in 1999, there were no bonus tracks what so ever. The same thing happened when the album was given another dusting down through the first seven years of the 21st Century. No bonus tracks at all. Then in 2009, the 40th Anniversary Edition finally came with a second disc of bonus tracks but this was followed by another re-release in the mid 2010’s in certain territories where once again, there were no bonus tracks to be seen. For the 50th Anniversary in 2019, there was at least a remix of the album which on certain tracks sounded very different from the original as well as a box set called ‘Conversation Piece’ which collected lots of demos and otherwise stray tracks. However, a lot of these demos had been released in vinyl box set mimicking acetate singles that were one of the few ways an artist could listen their tunes once they had recorded them in a studio. That is quite a lot of re-issues and rereleases. 

What I have attempted here for the 55th Anniversary of this album being released is to create an all encompassing box set of the ‘David Bowie/Space Oddity’ album that includes the various mixes of the album, single mixes, demos, BBC Sessions and curios that have come out down the years to create the most comprehensive version of the album I could create. 

Therefore, we have four different mixes of the album, even though to my untrained ears, the version from 1969, 1990 and 2009 sound pretty similar to each other. There are also a couple of stray tracks from the time Bowie was signed to Decca. These were included because they were not included in the rather good Deluxe Edition of his debut album from 1967, also confusingly called ‘David Bowie’. It is no wonder John Peel took the piss out him a year later in BBC broadcast for the Sunday Show for naming his first two albums the same (Peter Gabriel should have taken note). 

Disc 1 – 1969 Album Mix & Singles

1. Space Oddity – 1
2. Unwashed & Somewhat Slightly Dazed (including Don’t Sit Down) – 1
3. Letter To Hermione – 1
4. Cygnet Committee – 1
5. Janine – 1
6. An Occasional Dream – 1
7. Wild Eyed Boy From Freecloud – 1
8. God Knows I’m Good – 1
9. Memory Of A Free Festival – 1
10. Space Oddity (UK Mono Single Edit) – 1
11. Wild Eyed Boy From Freecloud (Mono Single B-Side) – 1
12. Conversation Piece (Mono B-Side) – 1
13. Regazzo Solo, Ragazza Sola (Italian Single A-Side) – 2

Disc 2 – 1990 Remaster & BBC Sessions

1. Space Oddity – 3
2. Unwashed & Somewhat Slightly Dazed – 3
3. Don’t Sit Down – 3
4. Letter To Hermione – 3
5. Cygnet Committee – 3
6. Janine – 3
7. An Occasional Dream – 3
8. Wild Eyed Boy From Freecloud – 3
9. God Knows I’m Good – 3
10. Memory Of A Free Festival – 3
11. in The Heat Of The Morning (BBC Session Recorded 13/5/1968) -1 
12. London Bye, Ta-Ta (BBC Session Recorded 13/5/1968) -1
13. Karma Man (BBC Session Recorded 13/5/1968) -1
14. When I’m Five (BBC Session Recorded 13/5/1968) -1
15. Silly Boy Boy (BBC Session Recorded 13/5/1968) -1
16. Let Me Sleep Beside You (BBC Session Recorded 20/10/1969) – 4
17. Unwashed & Slightly Dazed (BBC Session Recorded 20/10/1969) -1
18. Janine (BBC Session Recorded 20/10/1969) -1

Disc 3 – 2009 Digital Remaster & Sessions

1. Space Oddity – 4
2. Unwashed & Somewhat Slightly Dazed (including Don’t Sit Down) – 4
3. Letter To Hermione – 4
4. Cygnet Committee – 4
5. Janine – 4
6. An Occasional Dream – 4
7. Wild Eyed Boy From Freecloud – 4
8. God Knows I’m Good – 4
9. Memory Of A Free Festival – 4
10. Space Oddity (Love You ‘Till Tuesday Version) – 5
11. In The Heat Of The Morning (Decca Mono Version) – 1
12. Ching-A-Ling (Mono) – 1
13. Conversation Piece (Stereo Version) – 4
14. Wild Eyed Boy From Freecloud (Alt. Album Mix) – 4
15. Janine (Mono Version) – 1
16. Regazzo Solo, Ragazza Sola (Full Length Stereo Version) – 4

Disc 4 – 2019 Mix & Sessions

1. Space Oddity – 1
2. Unwashed & Somewhat Slightly Dazed (including Don’t Sit Down) – 1
3. Letter To Hermione – 1
4. Cygnet Committee – 1
5. Janine – 1
6. An Occasional Dream – 1
7. Wild Eyed Boy From Freecloud – 1
8. God Knows I’m Good – 1
9. Memory Of A Free Festival – 1
10. Conversation Piece (2019 Mix) – 1
11. Regazzo Solo, Ragazza Sola (2019 Mix) – 1
12. Space Oddity (Morgan Studios Alt. Take) – 1
13. London Bye, Ta-Ta (Decca Alt. Version) – 1
14. Memory Of A Free Festival (Alt. Album Mix) – 4

Disc 5 – Demos

1. April’s Tooth Of Gold – 1
2. The Reverend Raymond Brown (Attends The Garden Fete On Thatchwick Green) – 1
3. When I’m Five – 1
4. Mother Grey – 1
5. In The Heat Of The Morning – 1
6. Goodbye 3d (Threepenny) Joe – 1
7. Love All Around – 1
8. London Bye, Ta-Ta – 1
9. Angel, Angel, Grubby Face (Version 1) – 1
10. Angel, Angel, Grubby Face (Version 2) – 1
11. Animal Farm – 1
12. Space Oddity (Solo Fragment) – 1
13. Space Oddity (Version 1) – 1
14. Space Oddity (Version 2) – 1
15. Space Oddity (Version 3) – 1
16. Lover To The Dawn – 1
17. Ching-A-Ling – 1
18. An Occasional Dream – 1
19. Let Me Sleep Beside You – 1
20. Life Is A Circus – 1
21. Conversation Piece – 1
22. Jerusalem – 1
23. Hole In The Ground – 1

Disc 6 – Demos & Sessions

1. Memory Of A Free Festival (Harmonium Mix) – 5
2. Space Oddity – 1
3. Janine – 1
4. An Occasional Dream – 1
5. Conversation Piece – 1
6. Ching-A-Ling – 1
7. I’m Not Quite (AKA Letter To Hermione) – 1
8. Lover To The Dawn – 1
9. Love Song – 1
10. When I’m Five – 1
11. Life Is A Circus – 1
12. Space Oddity (Home Demo Version 3 – Unfaded Start) – 4
13. Wild Eyed Boy From Freecloud (Single B-Side – Spoken Intro) – 4
14. Memory Of A Free Festival (Moonage DayDream Mix Edit) – 5
15. Cygnet Committee/Lazarus (Moonage Daydream mix) – 5
16. Space Oddity (Moonage Daydream Mix) – 5

The image I have used for this cover was on the Steve Hoffman forum, but I am afraid I do not know who created it. 

1 – Conversation Piece Box Set

2 – Five Years (1969-1973) Box Set

3 – 1990 Rykodisc Version

4 – Space Oddity 40th Anniversary Edition 

5 – Moonage Daydream – A Brett Morgen Film OST

I did not include all of the variations of this album, especially not the RCA CD release form the early 1980s which I have not heard, but it is meant to be terrible. I am sure that there is the odd stray track out there that I did not include as it was most probably hidden on an obscure compilation somewhere. I did decide that the mixes produced for the ‘Moonage Daydream’ film, including s mix between ‘Cygnet Committee’ and ‘Lazarus’ with the later appearing on Bowies final album. It seemed correct to include it here though. Please let me know in the comments if there is any missing tracks. However, this just goes to show what could have been produced if Bowie or his record labels had taken the time and care to produce one of these for the 50th Anniversary back in 2019. A missed opportunity I feel.

The second post this month is another volume of songs tracking the last days of Britpop. Like Volume 1, which was posted last month, this is a selection of B-Sides, single edits and the odd different recording, be it demo or rough mix. All the main players are here along with some recordings but some of the eras also rans. There is also a song from one band called Polarbear who would sell a lot more records when they changed their name to Snow Patrol. 

Side 1

1. Cosmonaut No.7 – Scarfo
2. Step Right Up (Full Version) – Mainstream
3. M.O.R. (Road Version) – Blur
4. Jump or Be Sane – Catatonia
5. Heads High – Don
6. Stay Young – Oasis

Side 2

1. Cardboy King – Salad
2. Filmstar (Orignal Version) – Suede
3. Mary Wana – Nicotines
4. Roadie – The Boo Radleys
5. I’m A Man – Sleeper
6. Stay – 18 Wheeler
7. We Still Ned More (Than  Anyone Can Give) (Dust Brothers Recording) – Supergrass

Side 3

1. Holy Cow – Polarbear
2. Scumbag – Pink Kross
3. Michaela – Pippi & The Butcherbirds
4. The Face Smiles Back Easily – Ocean Colour Scene
5. Fill Me – Elcka
6. Superstar – Superstar
7. Raspberries – Comet Gain

Side 4 

1. Oh Yeah, Baby – Dweeb
2. Let It Lie – Dustball
3. Air Hockey – Bennet
4. Bar Bar Bar (Demo) – Elastica
5. Golden Skin – Silver Sun
6. Times Up – Sussed
7. Tomorrow Never Dies (Rough Mix) – Pulp

As this was produced to be a double LP, this is what the artwork for the gatefold sleeve.

I cannot remember where I found this image, but if it was produced by Double J (who has included their name in Damon Alban’s head), I think you. It is wonderful.

Volume 1 can be found here – https://www.thesquirepresents.co.uk/various-artists-1997-the-last-days-of-britpop-vol-1/

Something a little different to finish off the month. By 1997, Britpop was burning itself out. The fun and games of the previous three or so years had started to become stale. The main artists of the period were starting to release music that had lost some of its sparkle which could be argued to have been caused by exhaustion/drug problems etc. 

That didn’t stop some quality music from being released. I put this compilation together from songs that I had not used on previous posts this year. Most of the major Britpop acts are included, with some obscure ones added for good measure. There are stand alone singles, single mixes, B-sides and album tracks. As the are the midst of a vinyl revival, I have made this a double LP. 

Side A

1. Hush – Kula Shaker
2. Young Girls & Happy Endings – Gorky’s Zygotic Mynci
3. Echo Bass – The Verve
4. Everything Is Sorrow (Granby Remix) – The Boo Radleys
5. Down A Different River – Super Furry Animals

Side B

1. Taxloss (Single Version) – Mansun
2. Nothing Is Changing – Sleeper
3. Hello Monday – Ocean Colour Scene
4. Death Of A Party (7” Remix) – Blur
5. Don’t Need A Gun – The Charlatans
6. Sometimes I Make You Sad – Supergrass

Side C

1. Brimful Of Asha (Album Version) – Cornershop
2. Thickshake – Silver Sun
3. I Am The Mob (Luca Brasi Mix) – Catatonia
4. Stand By Me (French Radio Edit) – Oasis
5. True Love Waits (Full Band) – Radiohead

Side D

1. Free Me (Acoustic) – Cast
2. Where Are They Now – Gene
3. Best Regrets – Geneva
4. Duschess – Suede
5. Laughing Boy – Pulp
6. Come Together – Spiritulized

The artwork comes from BBC Radio 2 show about Britpop. 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.

Out of all of the bands that could be classed as Britpop, Pulp formed first. Starting out in 1978 (when Tim Wheeler from Ash was about 1 year old), front man Jarvis Cocker has been the only ever present. It took them two years to play a gig and then in 1981, they had recorded a demo tape which the band gave to legendary DJ, John Peel, who duly gave them some exposure with a Peel Session. The original line up disbanded not long after this as most of the members went off to University and, the Peel Session not leading to any success. A new line up was formed and it was then that ‘It’, their first album was recorded and released in 1983. A second album, ‘Freaks’ was released in 1987 but Cocker took a break to study at Central Saint Martin College, putting the band on hiatus. 

By the 1989, Cocker had resurrected the band and they had a deal with Fire Records. It was whilst on that label that the released the ‘My Legendary Girlfriend’ single. This was made weekly music newspaper, the NME’s single of the week. The trajectory of the band started to rise and ‘O.U’ was made single of the week by Melody Maker, an other UK weekly music paper. Signing to Island Records, ‘Lipgloss’ became their first single to break the UK top 40. Parent album, ‘His ’n’ Hers’ broke into the top ten of the LP charts and the band was on its way, finally. 

‘Different Class’ followed soon afterwards but there were some incidents of controversy. There was the single ‘Sorted For E’s & Whizz’ which was said to be pro drugs and the original artwork showed people how to make a paper wrap which was interpreted as a way of hiding drugs. Then there was the 1996 BRIT Awards when Cocker rushed the stage during Michels Jackson’s over the top performance of ‘Earth Song’ for which he ended up spending a night in jail for. None of this seemed to hurt record sales though.

There would  three year gap before their next album was released. ‘This Is Hardcore’ which was darker than the previous two efforts, mostly down to the pressures of fame, Cocker having a cocaine addiction and a lack of new material. The band would record one more album, 2001s ‘We Love Life’ before splitting. There have been a few reunions but none that herded any new music. They did leave quite of a lot of quality music though for us to listen to and this is shown by the amount of top notch B-Sides they produced during the period they were signed to Island Records. For this, the sixth and final B-Sides collection from the major players of Britpop, Pulp are afforded a double album. 

Side A

1. The Babysitter (Do You Remember The First Time)
2. Deep Fried In Kelvin (Lipgloss)
3. You’re A Nightmare (Lipgloss)

Side B

1. Seconds (The Sisters EP)
2. Street Lites (Do You Remember The First Time)
3. Your Sister’s Clothes (The Sisters EP)
4. The Professional (This Is Hardcore)

Side C

1. Ansaphone (Disco 2000)
2. His ’n’ Hers (The Sisters EP)
3. Ladies’ Man (This Is Hardcore)
4. Tomorrow Never Lies (Help The Aged)

Side D

1. We Are The Boys (Party Hard)
2. P.T.A. (Parent Teacher Association) (Mis-Shapes & Sorted For E’s & Wizz)
3. Cocaine Socialism (A Little Soul)
4. Mile End (Something Changed)
5. 59 Lyndhurst Grove – Live (Common People – French Single)

I normally would not include live tracks on B-Sides collections, but this version of ’59 Lyndhurst Grove’ was. It finishes with a nice thank you by Jarvis Cocker and I felt it was a really nice way to finish off.