The Squire Presents

I do like a bit of Pink Floyd, especially in their more experimental days before ‘Dark Side Of The Moon’ came out. They were bursting with ideas but they were struggling to find their sound. However, Pink Floyd entered 1969 in reasonable shape sales wise, but there was still some debate as to the direction the band would take. The band’s early material and their hits had been written by Syd Barrett, but due to reasons documented in numerous other places, he had left the band by April 1968. The band had already recruited Barrett’s friend David Gilmour to help take the heavy lifting of live work and so was already in place when Barrett left/was asked to leave. The bands second album, ‘A Saucerful of Secrets’ had been released in June 1968 and was a mixed bag of psychedelic jams, first album outtakes, Barrett knock offs as well as one Barrett original. The album is, as drummer Nick Mason described it, a cross-fade between one era and the next. I’ve not seen a more apt description of that album anywhere else. 

With Barrett gone and the psychedelic era drawing to a close, the band were looking for a new direction. A way of keeping themselves busy as well as earning some money, the band took on commissions to write soundtracks. This included the films ‘Speak’ by John Latham, ‘More’ by Barbet Schroeder, ‘The Committee’ by Peter Sykes and there was some contributions to TV shows such as Tomorrows World. They would finish off the 60s by realising the half live, half studio album ‘Ummagumma’. 1969 was quite a productive year, but that does not mean that the music they were producing was as memorable as the work that had proceeded it or what was to come. This was a band treading water and wondering what to do next and listening to the studio set on ‘Ummagumma’ shows this. However, when listening to the material that band put out in 1969, I wondered if there was enough songs to make a stand alone album as a true follow up to ‘Saucerful of Secrets’. Well, this is what I came up.

All of the songs needed to come from the last months of 1968, which means that the ‘Point Me At The Sky’ single would still be part of this timeline. I changed the B-Side from ‘Careful With That Axe, Eugene’ to ‘Ibiza Bar’ from ‘More’. I quite like ‘Ibiza Bar’ as it borders on a hard rock sound Pink Floyd did not attempt very often. However, one of their other attempts was ‘The Nile Song’ from the same album was also in a similar style and sound very much alike as well. I did not like the idea of having two songs that sounded pretty much the same so I relegated one to a single B-Side. ‘Cirrus Minor’ also appeared on the ‘More’ and it could be argued that it is a strange choice as the opening track. It is a very mellow songs and not the bombastic here were are opening you’d expect on an album. It was the opening track on the original album and to my ears, this was the best place for it. I edited the introduction to ‘Grantchester Meadows’ over the end of ‘Cirrus Minor’ as we moved to a more folk orientated tune and it works quite nicely. We then get to ‘Careful With That Axe, Eugene’, which is presented here in a stereo mix. The original single version was mono, but as this album would have been released in stereo only as all new Pink Floyd albums have been since 1969; that is the reason why this mix was included. This song was wasted on the B-Side of ‘Point Me At The Sky’. Side A finishes with ‘The Narrow Way (Part 3)’, the first Pink Floyd song with lyrics by Gilmour. Parts 1 & 2 were instrumental tracks and have been edited out, as they would have meant this side of the album would be too long. This record is meant to be more song based so having all of the instrumental noodling would detract from the record. 

Side B starts with a bang and the aforementioned ‘Nile Song’. We then go back to the more folky side of Floyd with the beautiful ‘Green Is The Colour’. The pace picks up again with ‘Biding My Time’ which was one of the few genuine Pink Floyd rarities to get an official release during the 70s, when the band put out the ‘Relics’ album. Cymbaline, one of the more beautiful songs from ‘More’ and like ‘Green Is The Colour’, was wasted on a soundtrack album. What follows is another rarity from the era in the form of the song ‘Embryo’. Only recorded as a demo in late 1968, it slipped out on the Harvest label sampler LP ‘A Breath of Fresh Air’. The song was never finished by the band but it did become a concert staple between 1970 and 71. We finish off with another song from ‘More’ with ‘Crying Song’. 

Playing through this compilation whilst writing this entry, it reminded me that even at this early stage, the band were capable of writing some quality material and this would have been a very good album, if a little eclectic with the amount of styles presented within the grooves. Granted, they were still trying to find the direction they were going to go in but this would have lead nicely into ‘Atom Heart Mother’, the studio album that followed in 1970. It was interesting to note that a lot of these songs were being performed by the band at this time as ‘The Man & The Journey’ show, which I also looked at back in April of 2022. 

Side A

1. Cirrus Minor – More
2. Granchester Meadows – Ummagumma
3. Careful With That Axe, Eugene (Stereo Mix) – Relics
4. The Narrow Way (Part 3) – Ummagumma

Side B

1. The Nile Song – More
2. Green Is The Colour – More
3. Biding My Time – Relics
4. Cymbaline – More
5. Embryo – Picnic – A Breath Of Fresh Air
6. Crying Song – More

Single

1. Point Me At The Sky – Single A-Side
2. Ibiza Bar – More

The name of the album comes from the name given to some of the shows they played in 1969 which would also be known as ‘The Man & The Journey’. 

The cover has been adapted from https://www.reddit.com/r/pinkfloyd/comments/avlk6k/pink_floyd_the_man_and_the_journey_hypothetical/

When it comes to these what-if records, Smashing Pumpkins really are the band that just keep on giving, especially when it come to the period between their formation in 1988 and initial breakup in 2000. The scale of the material that the band recorded and did not release must be akin to Bob Dylan, in that the could have quite easily released a number of Bootleg Series style releases, but instead, they focused on placing this material on the deluxe editions of their original albums. The first two, ‘Gish’ and ‘Siamese Dream’ only hinted at what was to come. Maybe main songwriter Billy Corgan felt that the best of the outtakes had already been released on their ‘Pisces Iscariot’ album. With that record also being released in a deluxe edition, it would seem not. As has been mentioned in previous posts on the Pumpkins, Corgan shared a lot of material via his website in the early 2000, some of which have not see an official release either. 

It was with the deluxe editions of ‘Mellon Collie & The Infinite Sadness’ and ‘The Aeroplane Flies High’ that the true depth of material that the band had in the archive become clear. These rereleases included so much music it was impossible to sit through them in one sitting. I already tackled what ‘The Aeroplane Flies High’ would have sounded like if it had been released as a single album in the same manor as ‘Pisces Iscariot’,  but what about ‘Adore’?

‘Adore’ came out at a challenging time for the band. Not only was Corgan finding the pressure to produce a record that matched ‘Mellon Collie’, but the band was reeling from the sacking of drummer Jimmy Chamberlin due to drug issues. Band relations were also at a low point with Corgan latter summing up these sessions as the work of a group falling apart. Corgan was also having to contend with the death of his mother as well as going through a divorce. Considering we got anything at all was a minor miracle. 

There were clues as to what was coming with ‘Adore’ with their previous releases. The song ‘1979’ included electronic elements as well as stand alone singles ‘Eye’ and ‘The End Is The Beginning Is The End’. ‘Adore’ would not only include the use of drum machines (harking back to the earliest days of the band when they did not have a drummer) but more acoustic guitar and piano. Corgan felt that he was no longer making music for teenagers, but to everyone. Judging by the number of albums sold (which by most peoples standards were quite good), the album lost the band a lot of fans instead of gaining them. Sales were down significantly on ‘Mellon Collie’ and was the first time a Pumpkins album had sold less than the preceding one. 

In preparation for ‘Adore’, the band recorded around 30 songs and at one point of its production, it was going to be a double album. As it was, the album was so long that it was decided that the vinyl version would need to use two discs, even though side 4 was left blank. For this, I was tempted to have a go at putting together a double, but I thought it would be better to have a look at what a record of sessions outtakes would sound like, especially as this was the first album since ‘Siamese Dream’ not to have a compilation of sessions material released after it. There wasn’t exactly a shortage of songs on the ‘Adore’ reissue to choose from. 

The album itself is based on a vinyl format, so I was limited to about 24 minutes per side. The opening song of the compilation is ‘Let Me Give The World To You’, which was almost on the parent album until Corgan got wind that the record label were keen to release this as the first single. Corgan was adamant that this would not be a single, but the only way to prevent that would be to take the song off of ‘Adore’, which is what he ended up doing. The song was rerecorded for the ‘Machina’ project. It did see a limited release on the ‘Machina II’ album in 2000. As an opening song for this collection, it is a good place to start. 

For the rest of the record, I focused on the songs that used minimal electronics. The collection focuses on the acoustic and more mellow of the songs. The more electronic music was relegated to the B-Sides of the single. I would also have the band release one single from this, which would be an alternative version of ‘Do You Close Your Eyes?’. As this was also the era where two CDsingles would come out per release with different B-Sides, there are four extra tracks from the sessions that could have been released. 

For the title of the album, I chose ‘Adhor’ as this is the opposite of ‘Adore’ I also used a picture taken by Yalena Yemchuk who took the picture for the original album as well. 

As a whole, it works well and once again shows how much quality material Corgan was writing at this time, and how much of it was forgotten about as he moved on to the next project. 

Side A

1. Let Me Give The World To You (Adore Outtake)
2. Valentine (Sadlands Demo)
3. Sparrow (Sadlands Demo)
4. My Mistake (Take 1/CRC Demo)
5. Chewing Gum (CRC Demo)
6. Czarina (Take 1/Adore Outtake)

Side B

1. Do You Close Your Eyes When You Kiss Me? (CRC Demo)
2. Saturnine (For Piano & Voice)
3. It’s Alright (Instrumental/Adore Outtake)
4. What If? (Streeterville Demo)
5. Blissed & Gone (CRC Demo)
6. Cross (Adore Outtake)

Singles

1. Do You Close Your Eyes? – A-Side (Adore Outtake)
2. Indecision – B-Side (Sadlands Demo)
3. Waiting – B-Side (Adore Outtake)
4. My Mistake – B-Side (Badlands Demo)
5. O Rio – B-Side (Instrumental/Sadlands Demo)

I feel that in the past, I have been a little bit harsh on The Beach Boys with my ‘Endless Bummer’ compilations. Some of the songs they have released are timeless classics. Their story is also one of the great soap operas in music with family feuds, drug abuse, mental health problems and Mike Love. Their story begins in the late 1950’s when a 16 year old Brian Wilson has been soaking up the piano playing of his father, Murray Wilson and the vocal harmony group, the Four Freshman. Brian would teach his family members how to sing the background harmonies, gaining experience for what he would do in the recording studio. In 1958, he received a reel-to-reel tape recorder which he used to overdub his voice along with the aforementioned family. 

When his youngest brother Carl received a guitar for Christmas, the pair of them (along with Carl’s friend David Marks) would start playing together. Brian also started to write songs and other people who would become part of The Beach Boys family started to appear on the scene. These were Mike Love, cousin to the Wilson’s and Al Jardine who was a classmate of Brian. Brian suggested that he, Carl, Love and Jardine should team up as a group which was given the name, The Pendletones, a pun on Pendelton which was a style of shirt that was the fashion at the time. 

This is where the third Wilson brother comes in to the picture. Middle brother Dennis was the only surfer in the group and it was on his suggestion that the group should write songs about the sport and the lifestyle it inspired. From this came the songs ‘Surfin’ and ‘ Surfin’ Safari’. Murray Wilson had had some experience of the music business and most importantly, some contacts. He introduced The Pendletones to publisher Hite Morgan which lead to the group recording a demo of ‘Surfin’. Murray shopped the demo to Herb Newman who owned the Candix Record label. Candix would release the song (backed with ‘Luau’) but had changed the name of the group to The Beach Boys because the labels promotion man felt it would associate them more directly with the surf-music genre. By the end of 1961, ‘Surfin’ had sold 40,000 copies. 

Morgan asked some of The Beach Boys to add some vocals to some backing tracks he had recorded previously with some other musicians. These became the single credited to Kenny & The Cadets’ with Brian on lead vocals, backed with Carl and Jardine along with the Wilsons’ mother, Audree. Another member of Kenny & The Cadets was Val Polite who I believe was a member of the LA based vocal group, The Jaguars. Jardine would leave The Beach Boys to study dentistry and was replaced by David Marks. However, Candix had always struggled with cash flow problems and having a successful single actually didn’t help. Candix would go bankrupt and Murray Wilson tried to find the band a new label. Considering they had had a national hit, be it a small one (‘Surfin’ made number 75 in the Billboard top 100), labels such as Dot and Liberty turned them down feeling that the band where a one minor hit wonder.  

Capitol Records eventually signed the group to a seven year contract and work began on their debut album, ‘Surfin’ Safari’ and it because that album is 60 years old this month that I have put together this collection. This project originally started out as deluxe edition of that album. The Beach Boys have been one of the few bands (in my opinion) that in recent years, have served their fans well by opening up the vaults to the gold contained within. However, what they did not do very often was focus on one album releasing session and live tracks for the period. This would have been the first of those deluxe editions but when it came to it, this actually proved to be a bit tricker than it would be for other bands. That is because The Beach Boys put out so much product in a relatively short time, even by the standards of the 1960s. Just to put this into context, they released ten albums between 1962 and 1965. That does not include the single only tracks and the work Brian completed with other artists. He was a very busy man for the majority of the 60s. No wonder he had a break down at the end of the ‘Smile’ sessions. 

So instead of a deluxe edition of the albums, what I have put together instead is a collection that looks at a particular year, except with this first collection that covers the first three from their first home demos until the start of the sessions for their second album, ‘Surfin’ U.S.A.’. I have looked to include as many variations of a song that I could find. This includes demos, false takes and rehearsals. I took inspiration for these collections on the mighty fine compilation, ‘Becoming The Beach Boys – The Complete Hite & Dorinda Morgan Sessions’. This would take a song and have all of the versions of it before moving on to the next one. Granted, it does make it a bit of a heavy listen after the fifth breakdown of a take. 

I would also not normally include any songs that had the hand of Brian Wilson in it that wasn’t released under The Beach Boys name but on this one occasion, I have included those Kenny & The Cadet recordings here. Therefore, all of the other Brian Wilson solo recordings and outside productions are not included here as I think they should have a box set all to themselves. These tracks have also not been presented in the order in which they were recorded. I have followed the running order of the parent albums and added songs that were unreleased at the time where there was space. 

Disc 1 – 1960 Home Recordings

The first CD is a collection of home demos showing Brian getting use to working with the tape recorder as well as working out how to get the best performances out of the group. As a final note, it is interesting that there is a version of ‘Sloop John B’ on these early recordings as The Beach Boys would resist this around the time of their masterpiece ‘Pet Sounds’ LP. 

All of the songs on this disc were taken from ‘The Garage Tapes’ bootleg, except for track 2 which came from the ‘Hawthorne, CA: Birthplace Of A Musical Legacy’ compilation and track 11 which comes from the ‘Rarities 1962-1968’ bootleg. Even though the years on that bootleg are later than the music contained on this disc, track 11 sounds like the other home demos the band recorded so it goes here instead of later. 

1. Vocal Rehearsal
2. Happy Birthday Four Freshmen
3. Surfin #1
4. Surfin #2
5. Surfin #3
6. Surfin #4
7. Surfin #5
8. Surfin #6
9. Surfin #7
10. Surfin #8
11. Surfin (Rehearsal)
12. Bermuda Shorts #1
13. Bermuda Shorts #2
14. Sloop John B
15. Good News
16. Holly Gully
17. Happy Birthday
18. Dream
19. To Spend One Night With You
20. Brian At The Piano
21. July 18th Celebration
22. White Christmas
23. Murray Directs Brian At The Organ

Disc 2

Discs 2 & 3 are from the ‘Becoming The Beach Boys – The Complete Hite & Dorinda Morgan Sessions’ with a couple of extra tracks from the earlier compilation ‘Studio Session 61-62*’ which included a couple of takes that were unavailable anywhere else. An alternative version of ‘Barbie’ is taken from the rare Japanese only compilation ‘Still I Dream Of You: Rare Works of Brian Wilson” from 1993 where it was listed at Take 2. 

1. Surfin’ (Demo)
2. Surfin’ (Takes 1 & 2)
3. Surfin’ (Take 3)
4. Surfin’ (Take 4)
5. Surfin’ (Take 5)
6. Surfin’ (Take 6)
7. Surfin’ (Take 7)
8. Surfin’ (Take 8)
9. Surfin’ (Master)
10. Luau (Demo Take 1)
11. Luau (Demo Take 2)
12. Luau (Demo Take 3)
13. Luau (Takes 1 & 2)
14. Luau (Takes 3, 5 & 6)
15. Luau (Take 7)
16. Luau (Takes 8, 9, 10 & 11)
17. Luau (Take 12)
18. Luau (Master)
19. Lavender (Demo)*
20. Lavender (Rehearsal Take 1)
21. Lavender (Rehearsal Take 2)
22. Lavender (Rehearsal Take 3)
23. Surfin’ Safari (Takes 3 & 4)
24. Surfin’ Safari (Takes 5 & 6)
25. Surfin’ Safari (Take 10)
26. Surfin’ Safari (Overdub Take 1 On Take 6)
27. Surfin’ Safari (Overdub Take 2 On Take 10)
28. Surfin’ Safari (Master)
29. Surfin’ Safari (Stereo Overdub)

Disc 3

1. Surfer Girl (Take 1)
2. Surfer Girl (Take 2)
3. Surfer Girl (Take 3)
4. Surfer Girl (Take 4)
5. Surfer Girl (Take 5)
6. Surfer Girl (Take 6)
7. Surfer Girl (Master)
8. Surfer Girl (Overdub Lead Vocal)
9. Judy (Take 1)
10. Judy (Take 2)
11. Judy (Overdub Takes 1 & 2)
12. Judy (Overdub Take 4)
13. Judy (Master)
14. Judy (Demo – April 1962 Guitar Solo)
15. Beach Boys Stomp (A.K.A. Karate) (Take 1)
16. Beach Boys Stomp (A.K.A. Karate) (Rehearsal Take 2)
17. Beach Boys Stomp (A.K.A. Karate) (Overdub Take 1 On Take 1)
18. Beach Boys Stomp (A.K.A. Karate) (Overdub Take 2 On Take 1)
19. Beach Boys Stomp (A.K.A. Karate) (Candix Session)*
20. Beach Boys Stomp (A.K.A. Karate) (Master)
21. Barbie (Overdub Take 1) – Kenny & The Cadets
22. Barbie (Overdub Take 2, 3 & 4) – Kenny & The Cadets
23. Barbie (Overdub Take 5) – Kenny & The Cadets
24. Barbie (Overdub Take 7) – Kenny & The Cadets
25. Barbie (Mono Single Master) – Kenny & The Cadets
26. Barbie (Mono Album Master) – Kenny & The Cadets
27. Barbie (Alt. Version) – Kenny & The Cadets
28. Barbie (Stereo) – Kenny & The Cadets*
29. What Is A Young Girl Made Of (Demo) – Kenny & The Cadets
30. What Is A Young Girl Made Of (Overdub Take 1) – Kenny & The Cadets
31. What Is A Young Girl Made Of (Overdub Take 3) – Kenny & The Cadets
32. What Is A Young Girl Made Of (Overdub Takes 4 & 5) – Kenny & The Cadets
33. What Is A Young Girl Made Of (Overdub Take 6) – Kenny & The Cadets
34. What Is A Young Girl Made Of (Overdub Take 7) – Kenny & The Cadets
35. What Is A Young Girl Made Of (Mono Master) – Kenny & The Cadets
36. What Is A Young Girl Made Of (Stereo) – Kenny & The Cadets*

Disc 4

Discs 4 & 5 cover the sessions for the ‘Surfin’ Safari’ along with any other song that was recorded in 1962. This does include some versions of songs that would appear on the album that came out the following year. This includes both the mono and duophonic mixes of the album. 

** Surfin’ Safari

*** Surfin’ Safari (1990 Reissue)

****Surfer Girl

***** Little Deuce Coupe

^ Good Vibrations: Thirty Years Of The Beach Boys (Box Set)

^^ Unsurpassed Masters Vol.1 (Bootleg)

^^^ Unsurpassed Masters Vol.3 (Bootleg)

^^^^ In The Beginning (Bootleg)

1. Surfin’ Safari (Mono)**
2. Surfin’ Safari (Duophonic)**
3. Surfin Sarafi (2021 Stereo Mix)+++
4. Country Fair (Instrumental)^^
5. Country Fair (Overdub 2, Take 13)^^
6. Country Fair (Mono)**
7. Country Fair (Duophonic)**
8. Ten Little Indians (Mono)**
9. Ten Little Indians (Duophonic)**
10. Chug-A-Lug (Mono)**
11. Chug-A-Lug (Duophonic)**
12. Little Girl (You’re My Miss America) (Instrumental Takes 1 & 2)^^ 
13. Little Girl (You’re My Miss America) (Instrumental Takes 3, 4, 5, 6, 7 & 8)^^
14. Little Girl (You’re My Miss America) (Instrumental Takes 9, 10, 11 & 12)^^
15. Little Girl (You’re My Miss America) (Instrumental Take 13)^^
16. Little Girl (You’re My Miss America) (Instrumental Take 15)^^
17. Little Girl (You’re My Miss America) (Mono)**
18. Little Girl (You’re My Miss America) (Duophonic)**
19. 409 (Mono)**
20. 409 (Duophonic)***
21. Land Ahoy (Instrumental Take 1)^^
22. Land Ahoy (Overdub 1, Takes 2 & 3)^^
23. Land Ahoy (Overdub 1, Take 4)^^
24. Land Ahoy (Overdub 1, Take 5)^^
25. Land Ahoy****
26. The Surfer Moon (Instrumental Take 1)^^
27. The Surfer Moon (Instrumental Take 2)^^
28. The Surfer Moon (Instrumental Take 3)^^
29. The Surfer Moon (Vocal Overdub, Take 19)^^^^
30. The Surfer Moon (1st Stereo Mix, Vocal Take)^^^
31. The Surfer Moon (2nd Stereo Mix, Vocal Take)^^^
32. The Surfer Moon (Mono)****
33. The Surfer Moon (Stereo)****
34. Their Hearts Were Full Off Spring (Demo)^

Disc 5

** Surfin’ Safari

*** Surfin’ Safari (1990 Reissue)

****Surfer Girl

***** Little Deuce Coupe

+ Made In California (Box Set)

++ Hawthorne, CA: Birthplace Of A Musical Legacy

+++Sounds Of Summer: The Best Of The Beach Boys (Expanded Super Deluxe)

^ Good Vibrations: Thirty Years Of The Beach Boys (Box Set)

^^ Unsurpassed Masters Vol.1 (Bootleg)

^^^ Unsurpassed Masters Vol.3 (Bootleg)

^^^^ In The Beginning (Bootleg) Surfin’ (Mono)**

1. Surfin’ (Duophonic)**
2. Heads You Win, Tails I Lose (Overdub 1, Take 13)^^
3. Heads You Win, Tails I Lose (Overdub 1, Take 14, 15 & 16)^^
4. Heads You Win, Tails I Lose (Overdub 1, Take 17)^^
5. Heads You Win, Tails I Lose (Mono)**
6. Heads You Win, Tails I Lose (Duophonic)**
7. Summertime Blues (Instrumental, Takes 1 & 2)^^
8. Summertime Blues (Instrumental, Take 3)^^
9. Summertime Blues (Instrumental, Take 4)^^
10. Summertime Blues (Overdub, Take 5)^^
11. Summertime Blues (Overdub, Takes 6 & 7)^^
12. Summertime Blues (Overdub, Take 8)^^
13. Summertime Blues (Overdub, Take 9)^^
14. Summertime Blues (Overdub, Take 10)^^
15. Summertime Blues (Overdub, Take 11)^^
16. Summertime Blues (Overdub, Take 12)^^
17. Summertime Blues (Mono)**
18. Summertime Blues (Duophonic)**
19. Cuckoo Clock (Instrumental)^^
20. Cuckoo Clock (Overdub 2, Take 12)^^
21. Cuckoo Clock (Mono)**
22. Cuckoo Clock (Duophonic)**
23. The Shift (Mono)**
24. The Shift (Duophonic)**
25. Cindy, Oh Cindy (Instrumental, Take 1)^^
26. Cindy, Oh Cindy (Instrumental, Takes 2, 3 & 4)^^
27. Cindy, Oh Cindy (Instrumental, 5, 6 & 7)^^
28. Cindy, Oh Cindy (Instrumental, Take 8)^^
29. Cindy, Oh Cindy (Vocal Take)^^
30. Cindy, Oh Cindy***
31. Lonely Sea (Mono)**
32. Lonely Sea (Stereo)**
33. Lonely Sea (Original Long Mono Version)+
34. Surfin’ U.S.A. (Demo With Drums)++

The cover image was taken at the same photo session that produced the shot used for ‘Surfin’ Safari’ LP sleeve.

Even though the first series of ‘The Boys’ came out in 2019, this was another one of those shows that I did not see until lockdown. Based upon a comic book, ‘The Boys’ is set in a world where superheroes are seen as heroes by the general public but in the background, they are arrogant and/or corrupt. I am not going to say too much more because if you have not seen it, it is well worth a watch. 

What I didn’t realise until earlier this month was that there was a spin off series that came out between seasons 2 and 3. It was called ‘The Boys Present: Diabolical’. This series was made up of eight episodes all on a different theme and using a different animation style for each. When looking on line, the only soundtrack I found was based upon the original music created for the series. I wanted one that included all of the songs used in this series so this is it. Unlike the majority of my playlists, this one is not designed to be replicated on vinyl.  

1. Arirang – Hyesu Wiedmann
2. Kimokawaii – Leo Birenberg & Zach Robinson
3. Laser Baby’s Day Out – Julie Bernstein & Steven Bernstein
4. Only Wanna Be With You – Hootie & The Blowfish
5. Pusher Man – Curtis Mayfield
6. Boyd In 3d – Sherri Chung
7. Queso – Pell
8. An Animated Short Where Pissed-Off Supes Kill Their Parents – Ryan Elder
9. Levitating – Dua Lipa
10. I’m Your Pusher – Christopher Lennertz & Matt Bowen
11. Gimmie – All Talk
12. Bffs – Leo Birenberg & Zach Robinson
13. Take My Picture – Five Knives
14. Nubian Vs. Nubian – Dara Taylor
15. Augenbling – Speed
16. John & Sun Her – Hyesu Widmann
17. Old Town Road – Lil Has X (ft. Billy Ray Cyrus)
18. One Plus One Equals Two – Christopher Lennertz & Matt Bowen
19. Frog Quest 2 – Nervy Talkie

The artwork is taken from the official soundtrack cover. 

In October 2020, I put together a couple of Smashing Pumpkins playlists. What this lead to was playing through their back catalogue from Gish to Adore and all points in between. Apart from the stylistic differences between the records (no doubt down increased budgets and Billy Corgan’s ego), the band hit a real purple patch around the recording of the ‘Mellon Collie & the Infinite Sadness’ album. I say band and not just Corgan because this was the last period where they actually were a band. James Iha contributed a good number of tunes during this period, he and D’Arcy actually contributed musically (instead of having any parts they played replayed by Corgan) and drummer Jimmy Chamberlin even contributed vocals to the song ‘Farewell & Goodnight’. The band dynamic would never be the same after Chamberlin was fired from the band during the Mellon Collie tour after he and touring keyboard player Jonathan Melvoin both suffered a drugs overdose. Melvin died but Chamberlin, who had struggling with substance abuse for a fews years before this time was given his marching orders to ostensibly protect his health. 

Corgan, and the rest of the band to a lesser extent, must have lived in rehearsal rooms and the studio, laying down numerous takes of what feels like 100 tunes before settling on the 28 that made up the original ‘Mellon Collie’ album. With so many musical outtakes left in the can, the Pumpkins ended up releasing many of them at the time as B-Sides to the ‘Mellon Collie’ singles which would be collected into a box set called ‘The Aeroplane Flies High’. I remember seeing this release before hearing about it and its presentation was what drew me in to begin with. The five singles had been collected in a box that look liked the carry cases used to transport 7 inch singles in, included a handle. 

The box set also contained some exclusive recordings of cover songs which were included on the ‘Bullet With Butterfly Wings’ single. When I initially played it, I found it impenetrable. There were 33 songs on it and the ‘Pastichio Medley’ seemed to take an eternity to finish. Come to think of it, that first play through of this box set might be the only time I have listened to that track all the way through. This set was not something to play all the way through, but to dip a toe into once in a while to take in the delights that could be unlocked and what delights they were to behold. This is not just some collection of third rate outtakes put out to fleece the fans of their hard earned cash. It proved to be full of A-Grade material that showcased a different dimension to the band and so I come to this collection. 

Whilst playing it again recently, I wondered what this set would sound like if it was complied as an album in the style of ‘Pisces Iscariot’. The band’s record label had had a go themselves at this by releasing a 12 track promo album from the box set back in 1996, but when playing the track in that order did not do the parent release justice. I thought that following the template of ‘Pisces Iscariot’ would allow for more songs as that contained 14 tracks. What I didn’t release until putting this compilation together was how long ‘Pisces Iscariot’ was, clocking in 57 minutes. That must have been a strain on the LP version, which as far as I can tell was not edited down. 

My version of ‘The Aeroplane Flies High’ clocks in at 51 minutes but is still based on the LP format. Therefore, both sides should match up in terms of side length, because back in the day, you had to take into consideration the cassette buying fans. Like ‘Pisces Iscariot’, there are 14 songs on the record, one written by James Iha (and includes guest vocals from Nina Gordon of Veruca Salt), a bonus 7 inch single (for those lucky enough to get hold of an early copy) and two cover versions. The biggest difference between this and ‘Pisces Iscariot’ is that the bonus single contain the cover versions.

This version does include one song that was released on the LP version of ‘Mellon Collie’ but as this only ever released in the UK back in 1996 and in very limited numbers, this would have been new to most listeners. 

What was evident from listening back to the deluxe editions of ‘Mellon Collie’ and ‘The Aeroplane Flies High’ is that Billy Corgan had great musical ideas to burn. If this album had been released instead of the box set, this would have been seen as more than just a spiritual successor to ‘Pisces Iscariot’ and been as big a hit as the box set had been (well, in the USA anyway). 

Side A

1. Blank
2. Transformer
3. Set The Ray To Jerry
4. Marquis In Spades
5. The Aeroplane Flies High (Turns Left, Looks Right)
6. Medellia Of The Grey Skies

Side B

1. …Said Sadly
2. Mouths Of Babes
3. Cherry
4. Jupiter’s Lament
5. Meladori Magpie
6. Pennies
7. The Last Song
8. Tonite Reprise

Bonus 7” Single

1. Clones (We’re All)
2. You’re All I’ve Got Tonight

The front cover has been adapted from The Aeroplane Flies High Promo CD release.