I do love a bit of Harry Nilsson, especially his earlier work. I have posted several playlists devoted to him but I was surprised that I have not done so for over three years. So, here we have another collection of Nilsson written songs inspired by the Ace Records 2017 collection of Nilsson covers. The delay in posting another one of these is no doubt down to the fact that I didn’t think I would be able to find enough material for a volume 4 but it just goes to show how wrong I was and how many people covered Nilsson.
I wanted this compilation to have the same amount of songs as all of the other volumes. That is, 24. No song is to repeated on the disc and the first tune is a cover of ‘Gotta Get Up!’. This will most probably the last attempt at a compilation like this if I follow these rules as I am not sure how many other covers of ‘Gotta Get Up!’ there are. There is also a contribution by early collaborator George Tipton, as well as a very early cover from Little Richard dating back to 1964. There is also a rather curious cover of the ode to dying with your bodily functions in one piece from Czechoslovakia by artist Petr Spálený
Gotta Get Up – The Loulou Sisters
Groovy Little Suzy – Little Richard
Cuddly Toy – The Fruit Machine
One – Al Kooper
The Story Of Rock & Roll – The Collage
Without Him – Julie London
Rainmaker – Cryan’ Shames
1941 – George Burns
Don’t Leave Me Baby – Astrid Gilberto
Without Her – Rick Nelson
(I Guess) The Lord Must Be In New York City – Roslyn Kind
Marchin’ Down Broadway – George Tipton
It’s Been So Long – Ronnie Charles
Wailing Of The Willow – Judith Durham
There Will Never Be – Robert Farnon & Tony Coe
Maybe – Jack Jones
Remember (Christmas) – Florence Warner
Open Your Window – Louis Bellson
Turn On The Radio – Dunn & Rubini
Blanket For A Sail – Davy Jones
Turn Out The Light – Clive Bruce
Jump Into The Fire – Lithium X-MAs
I’ll Be Home – Cass Elliot
Sto Třicet Slok (I’d Rather Be Dead) – Petr Spálený
I remember the first time I saw a Traffic Sound release. This would have been around 1999/2000 and it was in the Psych section of a second hand record shop I used to work near in Twickenham. The shop was mostly made up of vinyl releases so it was quite odd that I should be looking at the CDs as even then I was more interested in analogue music. There was something about the front cover that grabbed my attention and the back told me that this band were from Peru. This CD was also a collection of their first two albums. Supposedly they were highly collectable if you could find the original vinyl. Well, the only place I had the internet was at work and there wasn’t exactly a lot of information about obscure Peruvian bands on there at that time. I remember playing it and not being impressed by the first six songs (except Sueno) as they were all covers which had been done better by other bands. However, the second album was a revelation.
This was nothing like I had heard before. What is classed as South American Psych is very different from the European/North American variety. There were using the same standard instruments as those bands, but Traffic Sound had found their now voice on the second record with a distinct hint of their roots in there. What I didn’t realise was the band had released another two albums after this in Traffic Sound (or Tibet’s Suzettes) and Lux. These albums would prove allusive until I came across a website that specialised in re-issues of music such as this. Annoyingly, I cannot remember the name of it. What I do remember though is that they were one of the first companies I dealt with that went out of business due to the competition from Amazon and the like. Before they went under, I found that they had the two Traffic Sound albums to complete my collection. What I did’t realise until many years was that the editions I had bought came with some B-Sides attached.
These latter albums showed that the band had matured and were becoming more progressive in their sound, as well as adopting some of the Andean folk spirit a lot of websites mentioned they had when I was researching this piece. I’ll take their word for it, but the music was definitely becoming more progressive. That is very clear when listening to it. The last album also contains some political content which could have put the band in danger due to Peru being run by a military government that saw rock music as a dangerous foreign influence on the youth of the country. Unfortunately this would be it for the band as Peru was not a country where a musician could make a living in. The band has reformed for the odd reunion gig but luckily they left a great recording legacy for us to enjoy.
Virgin
Tell The World I’m Alive
Simple
Sueno
White Deal, Poco, Big Deal
Jews Caboose
Meshkalina
Tibet’s Suzettes
Those Days Have Gone
Yesterday’s Game
Empty
Solos
Lux
El Gusano
America
Inca Snow
What Your Need & What You Want
The Revolution
A Beautiful Day
Last Song
One or more songs were missing from Spotify so I could not produce a play list for this entry.
I used the front cover of the first CD I bought from this band as the cover for this compilation.
I first became aware of Talk Talk in 1990 when the re-release of ‘It’s My Life’, a single from their 1984 LP of the same name broke into the UK Top 20. This became my song of that summer and I bought the accompanying best of compilation album, ‘Natural History (The Very Best Of Talk Talk)’ as soon as I could afford it. Slowly but surely, I bought all of the albums the band had released up to that point. You could see the progression as time went on. ‘The Party’s Over’, their 1982 debut is very much an album of its time with its New Wave vibe and it did lead to comparisons with Duran Duran, especially as the same producer worked with both bands at the time.
The follow up album, ‘It’s My Life’ moved away from its predecessors synth sound, most probably due two reasonable hit singles and a good chart placing for the debut album meaning recording budgets could increase. This LP would also see the beginnings of front man Mark Hollis’ anti commercial stance came to the fore, especially with the filming of the video for the single ‘It’s My Life’. It consists of stock footage of wildlife interspersed with Hollis in a zoo refusing to mime. EMI, the bands record label ordered a re-shoot. This had the band doing the complete opposite of the original video with some over the top miming. The original video was the one that did the rounds in 1990 and I didn’t know about the second effort until writing this piece. Both, at the time of writing are available on YouTube.
The synth pop style disappeared completely for their third album, ‘The Colour Of Spring’. This included their biggest single to date, ‘Life’s What You Make It’. Follow up single, ‘Living In Another World’ was a sizeable hit in many of the major markets, except for the UK. The parent album sold in enough quantities that the band were afforded an unlimited budget for their next album. EMI were most probably expecting ‘The Colour Of Spring Pt.2’. What they got was ‘Spirit Of Eden’. Taking over a year to record, the sessions comprised of playing in a darkened studio, lit only by candles and oil lamps. The music were based on improvising over the basic song structures with Hollis’s lyrics dealing with spiritual and religious subjects sprinkled over the top. It sounded like nothing before it, and on reflection, there isn’t that much that has sounded like it since. This was a truly original piece of work and the record company were initially reluctant to put it out. However, Hollis would not deviate from his vision and the LP came out as it was conceived.
The band and EMI entered into a period of conflict. Talk Talk wanted out of their contract and felt that the label had not taken up the option to extend it in time. EMI thought they had and the case went to court. The band eventually won and proceeded to sign with Verve. The band were once again given carte blanche to record what they wanted to and after working within a similar recording environment to what they had had with ‘Spirit of Eden’, they delivered ‘Laughing Stock’. It was another uncommercial record that Verve struggled to market. The band then silently disbanded and apart from one solo album in 1998, Mark Hollis effectively retired from the music industry until his untimely death in 2019.
With ‘Spirit Of Eden’ and ‘Laughing Stock’, I felt that these were two heads of the same beast and when replaying them again recently, I wondered if there was a way of sequencing the songs so they could create a new whole. I also played the ‘Missing Pieces’ album, which contained songs from the ‘Laughing Stock’ sessions. ‘The Colour Of Spring’ might have contained their most successful singles but pieces such as ‘Chameleon Day’ did point the way to what was coming on ‘Spirit Of Eden’.
After, I thought, completing this collection, I played Mark Hollis’ only solo album. What I didn’t release until compiling this is that this was originally going to be released under the Talk Talk name, even though only Hollis was the only member left. The band moniker was dropped, but not before some CD-rs had been produced. This solo album continues in the same vein as the last two Talk Talk albums so I wanted to see if I could mix any left over tracks not used on Disc 1 could be utilised with the solo album to make a second disc. Well, there was as well as a couple of songs from ‘The Colour of Spring’ sessions, including a couple of single B-Side.
Disc 1
The Rainbow (Spirit Of Eden)
Eden (Spirit Of Eden)
Desire (Spirit Of Eden)
After The Flood (Laughing Stock)
I Believe In You (Spirit Of Eden)
Ascension Day (Laughing Stock)
Myrrhman (Laughing Stock)
New Grass (Laughing Stock)
Wealth (Spirit Of Eden)
Inheritance (Spirit Of Eden)
April 5th (The Colour Of Spring)
Disc 2
Chameleon Day (The Colour Of Spring)
Taphead (Laughing Stock)
Inside Looking Out (Mark Hollis)
The Gift (Mark Hollis)
The Daily Planet (Mark Hollis)
A Life (1895-1915) (Mark Hollis)
Runeii (Laughing Stock)
A New Jerusalem (Mark Hollis)
Westward Bound (Mark Hollis)
The Watershed (Mark Hollis)
It’s Getting Late In The Evening (B-Side ‘Life’s What You Make It’ single)
John Cope (B-Side ‘I Believe In You’ single)
The Colour Of Spring (Mark Hollis)
Unlike the majority of playlists I produce, this one is not designed to fit on to an LP. The cover art is taken from James Marsh’s website. Marsh was the artist on all of Talk Talk’s discography and it was only fitting that some of his artwork was used as the cover. The title is taken from the one proposed for Hollis’ only solo album, when it was originally going to be released under the Talk Talk banner. This was abandoned when the album was released as under Hollis’ name.
The second disc could not be reproduced on Spotify due to one or more songs not being available on that platform.
I decided against not cutting out the silence at the end of ‘ A New Jerusalem’ as it worked nicely with the fade in used on the song that followed it.
Back in July, I posted a Beach Box 1964 box set looking at the recordings the band made that year. I did note back then get I would have a dedicated post for the Christmas recordings made in that year, so here it is.
As with most recordings made for the festive season, these took place in the summer. More specifically, June of 1964. That is, except for the ‘Little Saint Nick’ single (along with its B-Side, ’The Lords Prayer’) which was recorded in 1963, and therefore, is not be included here. The original album came out on 9th November 1964, but I moved it back a month to be closer to the festive season.
I have included a different version of ‘Little Saint Nick’. Called ‘Little Saint Nick’s Drive-In”, it has the lyrics of ‘Little Saint Nick’ but over the tune of ‘Drive-In’ from the ‘All Summer Long’ album. It was not clear if this was recorded in 1963 or 1964, so I have gone with the latter.
Some for the songs on this compilation were not released at the time and are from later reissues. These tend to be released mixed in stereo only. The takes for the song ‘Christmas Day’ are a bit confusing as to their numbers, but this what the studio engineer seems to be saying on the sessions tracks and what they were listed as on the sleeves on the records.
Merry Christmas everyone.
1 – Complete Christmas Album Era Sessions (Bootleg)
2 – Christmas Sessions (Bootleg)
3 – The Beach Boys’ Christmas Album
4 – The Beach Boys’ Christmas Album (1991 Reissue)
5 – Keep an Eye On Summer: The Beach Boys Sessions 1964
6 – Ultimate Christmas
Disc 1
Little Saint Nick – Drive In Version (Backing Vocal Overdub) – 1
Little Saint Nick – Drive In Version (Vocal Take 1b) – 2
Little Saint Nick – Drive In Version (Vocal Take 3b) – 2
Little Saint Nick – Drive In Version (Vocal Take 4b) – 2
Little Saint Nick – Drive In Version (Stereo) – 4
The Man With All The Toys (Backing Track) – 2
The Man With All The Toys (Instrumental Overdub) – 2
So this is it, the last Britpop related playlist in my year of Bristol memories. As noted last month, Britpop had ran out of steam by 1997 with the big players in the movement moving in a new musical direction, suffering from burnout, splitting up or just seeing further sales diminish. Blur released a self titled album which took its influence from the American lo-fi scene. Pulp released ‘This Is Hardcore’, which sounded like morning after the night before. Oasis released ‘Be Here Now’ which was an overproduced bloated mess.
Bands that followed on from this took elements that had inspired the Britpop bands, but looked to make music that would appeal to a wider audience. There was less focus on Britain, the lyrics became more introspective and there was a greater attempt to appeal to the American market.
Many of the bands that made up the Post-Britpop era started during the Britpop years. Radiohead and The Verve predated it but found critical acclaim with their ‘OK Computer’ and ‘Urban Hymns’ albums respectively. Coldplay became one of the biggest selling bands of the era with their first two albums going multi platinum. Travis, Catatonia and Snow Patrol also shifted plenty of records at this time. As with any movement, this also ran out of steam by 2002 when bands such as The White Stripes, The Strokes and The Hives came along with each being hailed as the saviours of rock and roll.
Like ‘The Britpop Years’ compilations from the last few months, there are a number of artists that would not normally be associated with the Post Britpop years. Once again, the compilations look at the years the music was produced in, not necessarily sticking to what would be considered Post Britpop as that would mean artists from outside the UK could not be included.
Disc 1
D’you Know What I Mean – Oasis
Paranoid Android – Radiohead
Feel Good Hit Of The Summer – Queens Of The Stone Age
Cochise – Audioslave
You & Me On The Run – theaudience
Hazels Hob (Radio Edit) – Hardbody
We Are All Made Of Stars – Moby
Love Unlimited (Album Version) – Fun Lovin’ Criminals
Whippin’ Piccadilly – Gomez
Driftwood – Travis
Not If You Were The Last Junkie On Earth – The Dandy Warhols
Flagpole Sitta – Harvey Danger
Sex & Candy – Marcy Playground
El President – Drugstore
Be There (Radio Edit) – UNKLE (Feat. Ian Brown)
What’s It’s Like – Everlast
Get Myself Arrested – Gomez
Teardrop – Massive Attack
Let Down – Radiohead
This disc could not be reproduced on Spotify due to one more songs not being available on that platform.
Disc 2
Woman I Know – Bernard Butler
Tom The Model – Beth Gibbons & Rustin’ Man
Tsunami – Manic Street Preachers
London – Noonday Underground
Jerk It Out – Caesars
Asphalt Road – Sue Garner & Rick Brown
New Slang – The Shins
So You Say You Lost Your Baby – Death In Vegas
Get Off – The Dandy Warhols
Delicious – Catherine Wheel
Elements – Lemon Jelly
Sunday Morning Call – Oasis
I Can’t Comfort You Any More – Michael J Sheehy
No Surprises – Radiohead
The Rock – Delakota
Opus 40 – Mercury Rev
Reach For The Sun – The Polyphonic Spree
My Weakness – Moby
This disc could not be reproduced on Spotify due to one more songs not being available on that platform.
Back in August and September, I posted a couple of playlists which covered the years 1994 to 1997. For my money, these are the years of Britpop. However, there is a school of thought that says Britpop started a year earlier. I didn’t think I would be able to produce a playlist looking at non Britpop songs from that year as I had to cover two years per disc for 1994-1997. Well, it would seem that I could.
Round Here – Counting Crows
Sooner Or Later – World Party
She Wants To Share Her Magic – Stephen Duffy
Feed The Tree – Belly
Kite – Nick Hayward
Disarm – Smashing Pumpkins
Going Down (Single Version) – Sun Dial
Cannonball – The Breeders
Are You Gonna Go My Way? – Lenny Kravitz
Puss – The Jesus Lizard
Sunflower – Paul Weller
You’re In A Bad Way – Saint Etienne
Tuesday Morning – The Pogues
If I Were A Carpenter – Robert Plant
My Darling – The Juliana Hatfield Three
4th Of July – Aimee Mann
In Those Days – Beverley Craven
Into Dust – Muzzy Star
Sappy – Nirvana
Private Universe – Crowded House
Being as this was a one year compilation and not for two, I decided to use a different piece of art. Once again, I used the Virgin Records logo because they were the ones who were releasing compilations I liked during the 1990s.
Now, It’s Not What I Would Call Britpop (1994-1995) – https://www.thesquirepresents.co.uk/various-artists-now-its-not-what-i-would-call-britpop-1994-1995/
Now, It’s Not What I Would Call Britpop (1996-1997) – https://www.thesquirepresents.co.uk/various-artists-now-its-not-what-i-would-call-britpop-1996-1997/
Britpop ran out of steam by 1997 with the big players in the movement moving in a new musical direction, suffering from burnout, splitting up or just seeing further sales diminish. Blur released a self titled album which took its influence from the American lo-fi scene. Pulp released ‘This Is Hardcore’, which sounded like morning after the night before. Oasis released ‘Be Here Now’ which was an overproduced bloated mess.
Bands that followed on from this took elements that had inspired the Britpop bands, but looked to make music that would appeal to a wider audience. There was less focus on Britain, the lyrics became more introspective and there was a greater attempt to appeal to the American market.
Many of the bands that made up the Post-Britpop era started during the Britpop years. Radiohead and The Verve predated it but found critical acclaim with their ‘OK Computer’ and ‘Urban Hymns’ albums respectively. Coldplay became one of the biggest selling bands of the era with their first two albums going multi platinum. Travis, Catatonia and Snow Patrol also shifted a good deal of units at this time. As with any movement, this also ran out of steam by 2002 when bands such as The White Stripes, The Strokes and The Hives were hailed as the saviours of rock and roll.
Like ‘The Britpop Years’ compilations from the last few months, there are a number of artists that would not normally be associated with the Post Britpop years. Once again, the compilations look at the years the music was produced in, not necessarily sticking to what would be considered Post Britpop as that would mean artists from outside the UK could be included.
Disc 1
Holes – Mercury Rev
Hundred Mile High City – Ocean Colour Scene
Porcelain – Moby
Don’t Falter – Mint Royal (with Lauren Laverne)
78 Stone Wobble – Gomez
Praise You (Radio Edit) – Fatboy Slim
Boys Better – The Dandy Warhols
Jesus Says – Ash
Clint Eastwood – Gorillaz
Prologue To History – Manic Street Preachers
Cement Mixer – Clinic
Tequila (Mint Royal Shot Mix) – Terrorvision
Korean Bodega – Fun Lovin’ Criminals
Pure Morning – Placebo
Dolphins Were Monkeys (UNKLE Remix) – Ian Brown
Rising Sign – Hurricane #1
Shining Light – Ash
Disc 2
My Star – Ian Brown
Scar Tissue – Red Hot Chilli Peppers
Go Let it Out – Oasis
You Stole The Sun From My Heart – Manic Street Preachers
Celebrity Skin – Hole
Whatever Happened To My Rock & Roll – Black Rebel Motorcycle Club
Denise – Fountains Of Wayne
Subterranean Homesick Alien – Radiohead
Walk Like A Panther (7” Version) – The All Seeing I
Why Does My Heart Feel So Bad – Moby
Brimful Of Asha (Single Version) – Cornershop
Underdog (Save Me) – Turin Brakes
Pipe Dreams – Travis
To You – I Am Kloot
Great Divide – The Cardigans
Wishing Stone – Dot Allison
Come Back To What You Know – Embrace
Morning Afterglow – Electrasy
All I Want – Puressence
Delta Bottleneck Stomp – Mercury Rev
Interlude – Blur
The front cover, which is pretty much the same for all of the volumes, was adapted from a compilation released many moon ago and I have no idea what it was.
This disc could not be reproduced on Spotify due to one more songs not being available on that platform.
Last month, I posted a what-if compilation of The Beatles and what could have been their LP release of 1969, with additional singles. They were one of the bands mentioned by multiple artists during the Britpop era as a major influence. They even got back together (sort of) to release two new(six) songs during the mid 90s. So, wouldn’t it be interesting to put together a compilation of artists that were an influence on that period so this is what I put together.
Britpop was a harking back to the great British song book of the 60s, 70s and 80s. It was also a rejection of American grunge music, so many of the songs writers from this period looked to write about Britishness in their lyrics. The 60s influences (especially Blur) ranged from The Kinks (especially when they were banned from the USA and their songs became more British in their lyrical content), The Beatles, and Syd Barrett’s Pink Floyd. From the 70s, Noel Gallagher took inspiration from Slade. Art rockers such as Roxy Music were an influence on Suede. Bands from the late 70s such as The Strangers and Wire were such an influence on Elastica that the band lost plagiarism court cases due to the similarity of their songs to those of these earlier bands records. The indie scene of the 80s and very early 90s played a part in creating Britpop. The Madchester Scene where bands such as the Stone Roses and Happy Mondays played a part, incorporating dance beats and jangly guitars into their sound. With all this thrown into the mix, Britpop emerged.
Whilst not all of these songs were the most inspirational in terms of Britpop, with The La’s and the song ‘There She Goes’ being called by Rolling Stone magazine, the foundation of Britpop, I did not want to use songs that were used on other compilations I have put together for this years celebration. If this compilation had actually been released back in the 90s, and I am surprised nothing like this was, then The Beatles and Pink Floyd would have been nowhere near it with those bands and/or record labels would not have released these songs for a compilation such as this. I also feel that compilers back in the day would have picked a Beatles song by John Lennon, but I went with ‘The Inner Light’, a George Harrison number as I needed to have something with an Indian influence to cover Kula Shaker.
Disc 1
My Generation (Mono) – The Who
The Last Time – Andrew Oldham Orchestra
Arnold Layne – Pink Floyd
The Inner Light – The Beatles
Autumn Almanac – The Kinks
Lazy Sunday – Small Faces
Street Fighting Man (Single Mono Mix) – The Rolling Stones
Starman (Single Mono Mix) – David Bowie
Cum On Feel The Noize – Slade
Do The Strand – Roxy Music
20th Century Boy – T.Rex
No More Heroes – The Stranglers
Take My I’m Yours – Squeeze
Radio, Radio – Elvis Costello & The Attractions
I Am The Fly (Single Version) – Wire
Groovy Times – The Clash
Cleopatra – Adam & The Ants
Harmony In The Head – The Buzzcocks
Disc 2
The Eton Rifles – The Jam
Bloody Revolutions – Crass
Treason – The Teardrop Explodes
Do Nothing (Single Version) – The Specials (feat. Rico & the Ice Rink String Sounds)
Senses Working Overtime (Single Edit) – XTC
Our House (Radio Edit) – Madness
The Cutter – Echo & The Bunnynmen
This Charming Man – The Smiths
24 Hour Party People – Happy Mondays
I Wanna Be Adored (Single Version) – Stone Roses
Brassneck – The Wedding Present
Def Con One – Pop Will Eat Itself
Timeless Melody – The La’s
Dragging Me Down – Inspired Carpets
L.S.I. – The Shamen
Cut Your Head – Pavement
Disc 2 could not be reproduced on Spotify due to one or more songs not being available.
The front cover images is adapted from pinterest user, Tim Benson. Virgin Records released several compilations during this era so I used their logo here.
As I noted last month, I did spend the mid 90s listening to a lot of what we would now call Britpop, but that was not all that made its way onto my record player. There was a lot of other good music being produced at that time that was not Britpop and I thought I would put together another compilation of songs that reflected the period. Like last month, I could not produce a compilation for 1996 or 1997 individually so I have combined these years not a CD length playlist.
Premiers Symptômes (Modular Mix) – Air
Remember Me (Original 12” Version) – Blue Boy
Drinking In L.A. – Bran Van 3000
Where Have All The Cowboys Gone? – Paula Cole
Who Do You Think You Are? – Spice Girls
Mint Car – The Cure
Oh Marie – Sheryl Cole
Rotterdam (Or Anywhere) – The Beautiful South
Someone’s Daughter (Single Version) – Beth Orton
Black Eyed Boy – Texas
The Bright Light – Tanya Donelly
Don’t Speak – No Doubt
Have You Seen Mary? – Sponge
Kiss Me – Sixpence None The Richer
Real Love – The Beatles
Miss Misery – Elliott Smith
My Love – Mark One
Simple Beautiful – Briana Corrigan
Ladies & Gentlemen We Are Floating In Space – Spiritualised
I did spend the mid 90s listening to a lot of what we would now call Britpop, but that was not all that made its way onto my record player. There was a lot of other good music being produced at that time that was not Britpop and I thought I would put together a compilation of songs that reflected the period. I did try producing a compilation that would cover one year, but this proved to be a bit difficult. Therefore, both this and next months entry cover two years each. On reflection, this is a real mixed bag.
Bizarre Love Triangle – Frente!
Cornflake Girl (Edit) – Tori Amos
Missing (Todd Terry Remix) – Everything But The Girl
Stay (I Missed You) – Lisa Loeb
Turn On Turn In Cop Out – Freak Power
All I Wanna Do – Sheryl Crow
Sense – Terry Hall
Patience Of Angels – Eddi Reader
Change – The Lightning Seeds
Inside – Stiltskin
Ode To Billy Joe – Sinead O’Connor
Hallo Spaceboy – David Bowie
Tongue – R.E.M.
Streets Of Philadelphia – Bruce Springsteen
Take It Back (Edit) – Pink Floyd
’74-’75 – The Connels
Black Gold – Soul Asylum
One Of US – Joan Osborne
Blackhole – Beck
Unlike the majority of my compilations, I have made this fit onto a CD with no vinyl equivalent. I also chose the title as it was a nice play on the ‘Now That’s What I Call Music’ compilations that were also a mixed bag of genres, depending on what was selling that particular month.
I added the Virgin Records logo as they seemed to be kings of the compilation i the mid 90s if what I have in my record collection is anything to go by.
This playlist could not recreated on Spotify due to one or more of the songs not being available.