Friday, 15 November 2019

Queen - Blurred Vision (1995)

After the 1971 demos resulted in a record deal with EMI, Queen spent 1972 recording their debut album for the label. They had quite a few songs ready to lay down, in fact more than could be fitted on the album, so 'Mad The Swine' had to be omitted from the final cut after producer Roy Thomas Baker and the band disagreed on the quality of the percussion. The song was meant to be the fourth track on the album between 'Great King Rat' and 'My Fairy King', but with the issue unresolved, the track was left off the album, and later re-surfaced in 1991 as both the B-side to the 'Headlong' CD single in the UK, and on the Hollywood Records re-release of the 'Queen' album. Another song recorded in 1972 was 'See What A Fool I've Been', which was used as the b-side to 'Seven Seas Of Rhye', making a classic single, with one of their best-ever songs on the A-side and a previously unheard song on the flip. After that flurry of productivity, however, b-sides tended to be taken from the same album as the single, or in some cases even the previous release, and it wasn't until 1980 that another single with an unissued track on the flip emerged, and from then on it was a regular occurrence. 'Blurred Vision', from 1985, is an experimental instrumental re-working of it's A-side 'One Vision', and it's great to hear the band trying something a bit different, while similarly, 'Forever' is a beautiful piano version of 'Who Wants To Live Forever'. The only non-album A-side they ever issued was their 1984 Christmas single, and that was something of a last minute decision, as originally the plan was to release 'Man On The Prowl' as the 5th and last 7" single from 'The Works' album, but it was cancelled at the last minute in favour of a new song 'Thank God It's Christmas', although it kept the same catalogue number. Being Queen, there isn't a bad song on this album, even though they are all basically left-overs, and I might be wrong but I couldn't find any sign of an official b-sides collection from the band ever being released, so it makes this album rather special. 



Track listing

01 See What A Fool I've Been (b-side of 'Seven Seas Of Rhye' 1974)
02 Mad The Swine (previously unreleased 1972, and b-side of 'Headlong' 1991)
03 A Human Body (b-side of 'Play The Game' 1980)
04 Soul Brother (b-side of 'Under Pressure' 1981)
05 Thank God It's Christmas (single 1984)
06 Blurred Vision (b-side of 'One Vision' 1985)
07 I Go Crazy (b-side of 'Radio Ga Ga' 1983)
08 Forever (Piano Version) (b-side of 'Who Wants To Live Forever' 1986)
09 Hijack My Heart (b-side of 'The Invisible Man' 1989)
10 A Dozen Red Roses For My Darling (b-side of 'A Kind Of Magic' 1986)
11 Hang On In There (b-side of 'I Want It All' 1989)
12 Stealin' (b-side of 'Breakthru' 1989)
13 Chinese Torture (from the 'A Kind Of Magic' bonus EP 1989)
14 Lost Opportunity (b-side of 'I'm Going Slightly Mad' 1991)
15 Rock In Rio Blues (b-side of 'A Winter's Tale' 1995)

Enjoy / Enjoy

You might also like this reworking of 1989's 'The Miracle' that I spotted on another blog last year. I pieced it together using the suggested track listing and made a cover for it, and now for the life of me I can't remember where I got it from, but I have saved the notes from the blog in the folder.


Pink Floyd - Dark Side Of A Dream (2003) UPDATE

Great news, and many, many thanks to the anonymous visitor who's sent me a proper audio copy of this Pink Floyd mix. Links are now updated, and we can finally hear in top quality just what everyone has been raving about. 

Alice Cooper - Nobody Likes Us (1970)

The Earwigs formed in Phoenix in 1964 with three of the eventual five Alice Cooper members (Vince Furnier, Dennis Dunaway and Glen Buxton), who were classmates in high school. They were joined shortly afterwards by John Tatum on rhythm guitar and John Speer on drums, and changed their name to The Spiders, with Michael Bruce replacing Tatum in 1966, and Neal Smith replacing Speer the following year. The band relocated to Los Angeles in early 1967, and changed their name again, this time to The Nazz. During their time as The Spiders and The Nazz the band released a number of singles on local labels such as Santa Cruz Records and Very Records. In 1968, the band learned that Todd Rundgren also had a band called Nazz, and found themselves in need of another name. The legend is that the name 'Alice Cooper' came from a session with a Ouija board and was the name of a 17th century witch. However, Furnier described the incident with the Ouija board as "just pure urban legend...but it was a great story." In fact the name was chosen simply as a gimmick, because it sounded innocuous and wholesome, in humorous contrast to the band's image and music.
After a 1968 gig at the Cheetah club in Venice, California, where most of the club's patrons left after hearing the band play just ten minutes, they were approached by music manager Shep Gordon, who saw the band's negative impact that night as a force that could be turned in a more productive direction. He arranged an audition for the band with Frank Zappa, who was looking to sign bizarre music acts to his new record label, Straight Records. Zappa told them to come to his house "at 7 o'clock" for an audition, but the band mistakenly assumed he meant 7 o'clock in the morning. Being woken up by a band willing to play that particular brand of music at seven in the morning impressed Zappa enough for him to sign them to a three-album deal, and the first three Alice Cooper albums were released on Zappa's Straight label. This album looks back at the early days of Alice Cooper, with their two singles as The Spiders, the sole outing from The Nazz, plus a rare demo from them, the studio version of 'Levity Ball', which appeared on their 1969 'Pretties For You' album in a live rendition, and some choice tracks from their first two albums for Zappa, including a freaked-out version of their 1967 Nazz single. This takes us up to 1970, when they reinvented themselves as the shock-rock glam-racket band that we know and love today. 



Track listing

01 Don't Blow Your Mind (The Spiders single 1966)
02 No Price Tags (b-side of 'Don't Blow Your Mind)
03 Hitch Hike (The Spiders single 1965)
04 Why Don't You Love Me (b-side of 'Hitch Hike')
05 Lay Down And Die, Goodbye (The Nazz single 1967)
06 Wonder Who's Loving Her Now (b-side of 'Lay Down And Die, Goodbye)
07 Nobody Likes Me (The Nazz demo 1968)
08 Levity Ball (studio version 1968)
09 Living (from 'Pretties For You 1969)
10 Fields Of Regret (from 'Pretties For You' 1969)
11 Return Of The Spiders (from 'Easy Action' 1970)
12 Lay Down And Die, Goodbye (from 'Easy Action' 1970) 

Enjoy / Enjoy

Brian Eno - Music For White Cube (1997)

'Music For White Cube' was a sound installation created by Brian Eno for the White Cube gallery in London, which ran from 25th April to 31st May 1997. It consisted of 4 CD players playing tracks of Eno singing one note with a background of traffic and other street sounds, which had then been slowed down and enhanced using audio software. The gallery describes itself as 'possibly the smallest exhibition space in Europe', and consists of a simple square room, painted white. During the show, white blinds covered the two windows in one wall and a suspended ceiling muffled lights that were suspended above it. Mounted on each of the four walls was a CD-player with two speakers on either side, playing random tracks.
Eno created the music by selecting random sites situated within a one-mile radius of the White Cube and recording a variety of ambient sounds around him, such as crowd-noise, the ringing bells of clock-towers, weather and rushing traffic. On top of this he also recorded himself singing a single, long note at each location. Taking the raw recordings back to his London studio, he ran them through a variety of enhancement software/hardware to produce a series of time-stretched, compressed, equalised, reverberating compositions, which he burned onto CDs (8 to 16 tracks on each). These were the discs that were fed into the Installation players and set to 'random'. Eno says "I was thinking of the sound less as music and more as sculpture, space, landscape, and of the experience as a process of immersion rather than just of listening."
I'll admit that it's debatable whether you would actually call this "music", and it's certainly one of his most challenging works, which perhaps needs to be listened to in situ to really appreciate it, but I'm sure fans of his who haven't heard it will be intrigued enough to try it at least once. This CD of extracts from the installation was released in a limited edition of 500, and I've created new artwork for it to replace the minimalist line drawing that it was housed in. 



Track listing

01 Notting Hill, Feb 20   (11:37)
02 Old Brompton Road, Feb 20   (3:03)
03 The Oval, Feb 24   (7:03)
04 Regents Park, Feb 01   (24:34)
05 Barbican Station, Feb 24   (1:39)
06 Bermondsey, Feb 24   (4:16)
07 Kentish Town, Jan 29   (2:27)
08 Lavender Hill, Feb 14   (7:00)
09 Camden Town, Feb 24   (6:20)


The Climax Chicago Blues Band - Loving Machine (1976)

The Climax Chicago Blues Band were formed in Stafford, England in 1968, by lead guitarist/vocalist Peter Haycock, saxophonist/vocalist Colin Cooper, guitarist Derek Holt, keyboardist Arthur Wood, bassist Richard Jones, and drummer George Newsome. The band were one of the leading lights of the late 1960's UK blues boom, and released blues albums in the late 60's and early 70's to rival Fleetwood Mac and The Aynsley Dunbar Retaliation. Prior to the release of 1969's 'Plays On', Jones left the group and Holt moved to bass, and in 1970, the group shortened its name to the Climax Blues Band, reportedly due to pressure from the American band Chicago Transit Authority. They also moved to the Harvest label, shifting their sound towards a more rock oriented approach on 1970's 'A Lot of Bottle'. Around the release of 1971's 'Tightly Knit', Newsome was replaced by John Cuffley, and when Wood left in the wake of 1972's 'Rich Man', they continued on as a quartet. In 1974 they issued 'FM Live', a document of a New York radio concert, and following the success of that album in America, 1975's 'Stamp Album' was their commercial breakthrough. The following year's 'Gold Plated' fared even better, with their biggest success on both sides of the Atlantic being the hit single 'Couldn't Get It Right', but by this time the blues had long gone, and the 'Gold Plated' album was the last one of theirs that I bought. The rise of punk rock effectively stopped the group in its tracks, and by 1981 they'd left their blues roots far behind and attempted to become a mainstream pop-rock band, admittedly with some success. Over the years out-takes have appeared on re-issues of their albums, and as most of them are from the classic blues years of 1968 to 1971, I've collected them all together for this album of b-sides and rarities, which will just emphasise what a great blues outfit they were in their early days, and if you don't know the band then hopefully it will prompt you to try their first few albums. 



Track listing

01 Checking On My Baby (previously unreleased 1968)
02 Arthur's Boogie (previously unreleased 1968)
03 Stormy Monday (previously unreleased 1968)
04 Don't Start Me Talkin' (previously unreleased 1968)
05 Anybody's Boogie (previously unreleased 1968)
06 Like Uncle Charlie (single 1969)
07 Loving Machine (b-side of 'Like Uncle Charlie')
08 Dance Of The Mountain (previously unreleased)
09 Flight (Live at the Blow Up Club 1971)
10 Fat Maybellene (b-side of 'Couldn't Get It Right' 1976)
11 Shadow Man (previously unreleased 1976)
12 Spoonful (b-side of 'Reap What I've Sowed' 1970)

Enjoy / Enjoy

Tuesday, 12 November 2019

Queen - The Princess Diaries (1973)

Johnny Quale and The Reactions, and later just The Reaction, took many forms in the mid to late 60's. Mostly serving as a live covers band, The Reaction toured the Truro and Cornwall area, becoming a popular band of the region. In 1965 Johnny Grose (a.k.a. Quale), guitarist Graham Hankins, bassist Jim Craven, and saxophone player John "Acker" Snell were joined by former Beat Unlimited band members Mike Dudley on guitar and Roger Taylor on drums. Later that year the band and Quale parted ways, with Roger Brokenshaw taking Quale's place as lead singer, and other line-up changes resulting in almost a completely new band, with just Taylor, Dudley and Snell remaining. Meanwhile, former singer Johnny Quale had met with Norrie Paramor, an EMI producer, who was interested in a demo. Johnny contacted The Reaction to serve as the backing band for the recording, and Johnny Quale And The Reaction recorded four tracks during the session, 'Buono Sera', 'Just A Little Bit', 'What's On Your Mind', and 'I'll Go Crazy'. After the session, and without Quayle, The Reaction recorded two more tracks, 'In The Midnight Hour' and 'I Feel Good (I Got You)', both sung by drummer Roger Taylor, which would be their only studio recordings. By 1968, The Reaction had started to disband, and Taylor left for London to begin studying dentistry, but the following year he joined forces with former 1984 band members Tim Staffell and Brian May to form Smile.
Before that, however, May was playing in 1984, a band made up of May on guitar, Dave Dilloway on bass, John Garnham on guitar/vocals, Richard Thompson on drums, John Sanger on piano, and future Smile lead vocalist Tim Staffell on vocals and harmonica. After some success as a support act for artists such as Jimi Hendrix, Traffic, T-Rex, and Pink Floyd, 1984 had a chance to record a professional demo. On 31st March 1967 the six members of 1984 recorded 12 tracks at Thames Television's Broom Lane Studios in Teddington. The group was allowed to test new recording equipment that the studio had just purchased, and all tracks were done in one take and mixed in mono. By 1968, though, May had left the band and was shortly followed by Staffell, who soon reconvened with May to form Smile.
While this was going on, Brian May's old friend Bill Richards had formed a folk-rock band called the Left-Handed Marriage, named after an archaic form of marrying beneath oneself. By January 1967, the quintet had progressed to the point where they had issued their own privately pressed album 'On The Right Side Of The Left Handed Marriage', which ran to just fifty copies. In March 1967, after Richards had signed a twelve-month contract with EMI's music publishing company Ardmore & Beechwood, he approached May to help him create a "fuller" sound for the Left Handed Marriage, with a request to provide guitar and backing vocals on some recording sessions. On the understanding that the project wouldn't interfere with his commitment to 1984, May agreed, and on 4th April 1967 the band recorded four songs: 'Give Me Time' (later changed to 'I Need Time'), 'She Was Once My Friend', 'Sugar Lump Girl' and 'Yours Sincerely' (which was basically 'Give Me Time' backwards). The idea had been to release the songs as a commercial EP, but instead the set became the Left Handed Marriage's first demo for their publishers, and it led to the offer to record a more professional session at EMI's prestigious Abbey Road studios. Another take of 'I Need Time', and a new song called 'Appointment' were taped, with talk of issuing a record, but this never materialised and 7" acetates are all that remain. Although Ardmore & Beechwood were pleased with the results, they still thought the Left Handed Marriage could improve their sound even further, and so on 31st July 1967 they booked the band into Regent Sound in central London, and this session resulted in new versions of 'I Need Time', 'She Was Once My Friend' and 'Appointment'. Despite the studio quality of the tape, Ardmore & Beechwood failed to place the songs with a record label, and like so many groups before and since, the Left Handed Marriage quietly disappeared from view, leaving May free to move on.
After May and Staffell left 1984 in 1968, they decided that they wanted to continue to work together in a band, and so formed Smile. All they needed was a drummer, and so May posted a note on the Student Union notice board at Imperial College in London, stating that they were looking for a "Ginger Baker/Mitch Mitchell style drummer". Roger Taylor responded, and Smile soon became a 'semi-pro outfit', building up a popular live reputation locally, and playing support gigs for Free, Pink Floyd, Jimi Hendrix, and Yes. Smile signed a recording contract with Mercury Records and went on to record six tracks over the course of two sets of studio sessions. The first was recorded in June 1969, and consisted of 'Earth', 'Step On Me', and 'Doin' Allright', while the second session was recorded three months later, and included 'April Lady', 'Blag', and 'Polar Bear'. The first session produced their only proper single, 'Earth', but after little success, singer Tim Staffell left the band, leaving May and Taylor without a singer. They eventually joined forces with a college classmate and friend of Tim Staffell's at Ealing Art College, Farrokh 'Freddie' Bulsara. 
Bulsara had already been the lead singer for various bands, including Ibex, Wreckage, and Sour Milk Sea. Ibex consisted of 'Freddie' Bulsara on vocals, Mike Bersin on guitar, John Taylor on bass, and Mick Smith on drums, and although the band never made it into a recording studio, there was a single live show recorded by roadie Geoff Higgins at the Sink Club in Liverpool in 1969. The performance was recorded on a Grundig TK14 reel-to-reel tape machine and later sold to Queen collector John S. Stuart, who allowed it to be used by Queen Productions, so that 'Rain' could be included on the Freddie Mercury Solo Collection box set. However, the tape was leaked to the bootleg market, most likely by someone at either EMI or Queen Productions, and bootlegs of it are now freely available. This concert is notable because Brian May and Roger Taylor joined Ibex for the encore, marking the first known appearance of Freddie, Roger, and Brian live together, but unfortunately the tape ran out after 30 minutes, so it misses this encore. It does also include one Freddie original composition in 'Vagabond Outcast', although ti's not a great recording. Ibex later became Wreckage, and soon after that Bulsara joined Smile to form a new band. All they needed now was someone to play bass. 
In 1970 The Opposition, then known as Art, recorded three tracks at Beck Studio in Wellingborough. The band at this time was made up of Dave Williams (guitars), Richard Young (keyboards), Nigel Bullen (drums), Alan Brown (vocals), and John Deacon (bass). Engineer Derek Tomkins told the group they could record three songs in the time scheduled, but the group had only prepared two tracks, 'Sunny' and 'Vehicle', and so a third song was quickly improvised, an instrumental called 'Transit 3' (named after the band's new van). A few acetates were cut, and a tape was run off from Nigel Bullen's copy. Later that year Deacon left for London to study at the Chelsea College Of Technology, and while there he formed another band, called Deacon. In 1971, Deacon joined Smile, who then changed their name to Queen, and demos were recorded of 'Keep Yourself Alive', 'The Night Comes Down', 'Great King Rat', 'Jesus', and 'Liar', leading to the band being signed to EMI. At the same time as Queen were recording their debut album, Trident Studios' house engineer Robin Geoffrey Cable was working on a musical project, and he enlisted Mercury to perform lead vocals on the songs 'I Can Hear Music' and 'Goin' Back', with both songs being released together as a single in 1973. 
One last oddity is the song 'Silver Salmon', which was written by Tim Staffell but recorded by Queen, either during the first album sessions in 1971/72, or later in 1977, depending on who you believe (I tend to favour the former). It's never appeared on a Queen album, and the Staffell/Queen connection makes it a fitting end to this album, which I've called 'The Princess Diaries' - because what are you before you become a Queen? 



Track listing

The Reaction (Roger Taylor, 1966)
01 I Got You (I Feel Good)
02 In The Midnight Hour

1984 (Brian May, 1967)
03 Our Love Is Drifting
04 Purple Haze
05 How Can It Be
06 Sweet Wine

The Left Handed Marriage (Brian May, 1967)
07 Appointment
08 She Was Once My Friend
09 I Need Time

Smile (Brian May, Roger Taylor, 1969)
10 Earth
11 Step On Me
12 April Lady
13 Polar Bear
14 Blag
15 Doing Allright

Ibex (Freddie Mercury, 1969)
16 Vagabond Outcast
17 We're Going Wrong

Wreckage (Freddie Mercury, 1969)
18 Green

The Opposition (John Deacon, 1970)
19 Vehicle
20 Sunny
21 Transit 3

Larry Lurex (Freddie Mercury, 1973)
22 I Can Hear Music
23 Goin' Back

Queen (1972)
24 Silver Salmon

Enjoy / Enjoy

Sunday, 10 November 2019

Pink Floyd - Dark Side Of A Dream (2003)

I found a very strange post the other day, purporting to be a one and half hour mix of Pink Floyd music, but unfortunately it had a dead link. Some investigation revealed that it appeared in 2005, and either at that time or shortly afterwards was added to the soundtrack of a short 1969 film by Jim Henson (yes, the Muppet man) called 'The Cube'. There's been much discussion on the net about who or what it was, with some people claiming that it was by the band Dream Theater, and others claiming parts of it could be by Signal Hill (not the L.A. progressive metallers, but another band of the same name), but it was generally believed to be music by Pink Floyd pieced together by someone called Ray Kolling, and it was later added to 'The Cube' by someone else, but having to lose 60 minutes of music in order to fit the running time of the film. Then suddenly Ray Kolling himself turned up on the Steve Hoffman site with this to say:

Hi fellow Floyd fans..... 
I am the creator of this mix you are talking about, Dark Side Of A Dream....
I started it as a personal project in the summer of 2001 just to experiment with different ideas I had concerning digital mixing...
I was a DJ a few decades before and I always had a love for the Floyd so I decided to try a mix using the Floyd music and style...
It was originally released around 2003 on some file sharing sites that were popular at the time and released on bit torrent a few years later.
Its kinda cool having people still listening to this mix some 10 years on, as it was a brief moment in my life that needed to be filled by a burst of creativity.
During the 5 years after release, it got about 1,000,000 downloads on torrent sites. I never expected that but I did produce a second mix 'Passage' shortly thereafter.
Personally, I don't think it was quite as good and I didn't put much effort into it, but it did have limited success.
The description above by 'toptentwist' is fairly accurate, and I dont recall all of the source material. But 14 and 15 are from a 'Signal Hill melody'. (referring to the track list put together by toptentwist - see below)
Some of the cuts were from less known bootleg releases with a bit of 'eq' to compensate for the poor quality of the track; some live, less known cuts from other official releases; and some cuts from 'a tree full of secrets'. Most everything else was from studio discs and the whole thing was done with Sony Acid Pro and a few other programs.
I never thought this would be popular and I never wanted any money or recognition. It was just something I needed to do to find myself, and thankfully, it worked.
Ray Kolling

Try as I might I couldn't locate a live link anywhere, but I wanted to hear it so badly that I eventually tracked down a copy of the film, and by running the soundtrack through Audacity I managed to remove most of the dialogue, leaving just a rumble here and there where it was a bit loud. Less than a week after I posted that admittedly not great quality copy, an anonymous visitor has sent me a file of the original sixty-nine minute mix, so many, many thanks to them, and we can now finally hear what the fuss was all about.  



Track listing by toptentwist

01 Gunner's Dream (2:12) - Starts with the heartbeat from 'Dark Side Of The Moon', the bell from 'Division Bell', the rowing sounds from 'Momentary Lapse Of Reason' - and seems to be the the real Floyd track.
02 Goodbye Blue Sky (2:31) - seems to be the real Floyd track (with some mix effects)
03 The Post War Dream (2:13) - seems to the real Floyd track but fades out with the heart beat from 'Dark Side...' and then flows into a keyboard quote from 'Sheep' from the 'Animals' album
04 Sheep (excerpt) (2:10) - transitions into the next song that quietly fades in for about the last 30 seconds
05 Dogs (excerpt) (not sure how to call the time - since it starts before the other song finishes - at some point I hear the "mad for years" bit from 'Dark Side...' and the airplane from 'Dark Side...' as well.... seems like the idea was to blend the two songs from 'Animals')... the whole bit (both songs - lasts about 3:30)... and transitions into
06 The Thin Ice (3:30) - starts with some crowd noise and some background vocals flown in from god knows where but seems to be the Pink Floyd album track from 'The Wall'
07 Another Brick In the Wall (Part 1) (excerpt) (0:54) transitions into girl talking from 'The Wall' ("Are all these your guitars?")
08 On the Run (4:40) - starts with various album effects - 'Dark Side...' heartbeat and laugh, some stuff from 'The Wall' - eventually transitions into the synth song from 'Dark Side...' and ends with something I think is from 'The Wall'... again somewhat hard to say the time - but I stopped it after 4:40
09 Is There Anybody Out There (1:35 ) - definitely live acoustic guitar - not sure who it is playing - lots of Pink Floyd sound effects (it's getting clearer to me what someone did when they created this odd hodge podge)
10 In The Flesh (4:47 ) - starts with a very long introduction I'll call "Welcome To Nassau Coliseum" - this really confused me at first - I think its from an actual stage announcement before a live 1980 Floyd performance on Long Island - transitions into first song from 'The Wall'. Reading about the double live CD of the 'The Wall' released in 2000 - that seems to be from that... the guy announces his name at the start ("Gary Yudman")... the actual band performance sounds like a different band than Floyd... Did Floyd really use a surrogate band for those original shows??? I seem to remember reading they did - but it seems a little over the top (ha ha ha - of course it was - ha ha ha)
11 What Do You Want From Me (5:05) This one took me a while to identify - because its from the non-Waters era
12 Sorrow (1:50) - Almost missed noticing this one... leaves with a heartbeat segue into
13 Empty Spaces -> What Shall We Do Now? (5:15 ) seems to be from two CD 'The Wall' live album
14 Don't Leave Me Now (3:55) - transitions into audience noise at the end - seems to just be 'The Wall' studio recording - not much effects
15 Wish You Were Here (3:42) - I think this is someone else covering Floyd - not sure who...
16 Comfortably Numb (7:20) - another recording of someone doing a cover of Floyd... no electric guitar... interesting to hear acoustic guitar attempt to mimic Gilmour's famous solo at the end
17 Marooned (4:50) - includes sound effects of guy rowing - sounds like live Floyd to me - but not sure what release it would be from because that song isn't on 'Pulse' or 'Delicate Sound Of Thunder' (read that its on the 'Pulse' DVD - so its probably from there)
18 Pigs on the Wing (3:15) - seems to be Part 1 and Part 2 from the 'Animals' album joined by a middle flown in from somewhere else - middle seems to be Gilmour on electric guitar
19 High Hopes (8:30) seems to be Floyd live from the 'Pulse' album... ends with a segue that is a combination of various Floyd sounds... one of them seems to be 'Small Furry Animals' from the 'Ummagumma' album

Enjoy / Enjoy

The Bevis Frond - We've Got It Covered (2002) UPDATE

Just happened to stumble across another of the Frond's contributions to a tribute album (I missed Jay's comment on the original post), this time a cover of The Syn's 'Grounded' for 'Pull Up The Paisley Cover:A Psychedelic Omnibus' from 2002. I'd never heard of this before, but as it does seem to slot nicely into this collection I've added it to the album and updated the link. If you've already downloaded the album and just want to add this to it, I've put it at track 10, and so you can download it separately and rejig the running order yourself.  

The Bevis Frond - 'Grounded'

Friday, 8 November 2019

Terry Reid - Zodiac Blues (1969)

Terry Reid was born in 1949 in Huntingdon, England, and at the age of 15 joined Peter Jay's Jaywalkers after being spotted by the band's drummer, Peter Jay, playing in local band The Redbeats. In 1966 The Jaywalkers were named as a support act for The Rolling Stones for their concert at the Royal Albert Hall, and Graham Nash of The Hollies became friends with Reid at that concert, suggesting The Jaywalkers sign up with Columbia Records. Their first single was the soul-inspired 'The Hand Don't Fit the Glove' which was a minor hit in 1967, but by then The Jaywalkers had decided to disband. Reid came to the attention of producer Mickie Most, who was in partnership with Peter Grant at the time, and Most became his manager. His first single with Most, 'Better By Far', became a radio favourite, but the following album, 'Bang Bang, You're Terry Reid', was not a commercial success, although a 1968 tour of the United States with Cream did much to gain him a loyal following. Yardbirds guitarist Jimmy Page became interested in Reid's work, and when The Yardbirds disbanded, Page wanted Reid to fill the vocalist spot for his proposed new group, the New Yardbirds, which was later to become Led Zeppelin. Reid had already committed to go on the road for two tours with The Rolling Stones and another with Cream, and so turned down the offer, but he did recommend a young Birmingham-based singer, Robert Plant, and also suggested that Page check out Plant's band's drummer, John Bonham! 
Following the release of his second, eponymous album in 1969, Reid had a falling out with producer Mickie Most, who wanted him to become a balladeer and follow Most's own formula, and so consequently was unable to record or release his music while waiting for the outcome of the litigation. Instead he concentrated on live work, and in 1971 he was signed by Ahmet Ertegun to Atlantic Records, and with his band of David Lindley, Lee Miles and Alan White he began recording in the UK and the US, releasing the 'River' album in 1973 to favourable reviews, but commercial failure. Over the next decade, Reid switched to different labels in search of a winning formula, and released 'Seed Of Memory' in 1976, and 'Rogue Waves' two years later, but in 1981 he retired his solo career to concentrate on session work, appearing on albums by Don Henley, Jackson Browne and Bonnie Raitt. In 1991 he returned with producer Trevor Horn for the WEA album 'The Driver', and he is still working today. This album concentrates on his early recordings with Peter Jay and The Jaymen, as well as solo tracks that never made it to his albums, and the only song I've omitted is that first single with the Jaymen, which wasn't really in keeping with the rest of material on here (if you check it out on Youtube you'll see what I mean). If Reid is remembered for anything these days, it's as the man who turned down Led Zeppelin (and I don't help by using the Led Zep font for the  artwork!), but these recording show that there was much more to him that that, and with a bit more luck he could have been a major recording artist in the early 70's. 



Track listing

01 This Time (b-side of 'The Hand Don't Fit The Glove' with The Jaywalkers 1967)
02 Better By Far (single 1968)
03 Fire's Alive (b-side of 'Better By Far')
04 Just Walk In My Shoes (with The Jaywalkers 1967)
05 Ain't That Peculiar (previously unreleased 1968)
06 I've Got News For You (previously unreleased 1968)
07 I'll Take Good Care Of You (with The Jaywalkers 1967)
08 Summer Sequence (previously unreleased 1968)
09 Rich Old Lady (previously unreleased 1968)
10 It's Gonna Be Morning (with The Jaywalkers 1967)
11 Penny (previously unreleased 1969)
12 Funny How Time Slips Away (with The Jaywalkers 1967)
13 Zodiac Blues (previously unreleased 1969)


Brian Eno - Textures (1989)

I'm listening to a lot of Brian Eno as the moment, particularly his albums with Cluster and Moebius & Roedelius, and in searching those out I stumbled on a couple of rare recordings that I hadn't heard before. 'Textures' is a 1989 album by Eno (together with his brother Roger, and Daniel Lanois) for the library music company 'Standard Music Library', consisting of edited and unedited ambient music, produced exclusively for licensed use in television programs and films. The album was purely intended for "business to business" use, and was never commercially released to the public, but a copy of the CD sold for £535.00 when offered for sale in 2014. Eleven tracks are unpublished elsewhere, and ten tracks are actually edits or versions of pieces from the previous years album 'Music for Films III' (1988), or the following ones 'The Shutov Assembly' (1992) and 'Neroli' (1993). This is the most musical and easily accessible of the four that I intend to post, as two of them are for art installations, and the other was a promo for a wine distribution company, so they are a little experimental, but I'm sure fans will want to hear them at least once, and hopefully this one more than that. 



Track listing

01 Soft Dawn 
02 The Water Garden (aka 'Cavallino')
03 Shaded Water (aka 'Alhondiga')
04 Suspicious (aka 'Lanzarote')
05 Ozone 
06 Landscape With Haze (aka 'Riverside')
07 Mirage (aka 'Triennale') 
08 River Mist (aka 'Asian River')
09 Constant Dreams ('Neroli' edit)
10 Dark Dreams 
11 Black Planet 
12 Night Thoughts 
13 Travellers 
14 Evil Thoughts 
15 Darkness 
16 Jungles 
17 Sanctuaries 
18 Menace 
19 Suspended Motion (aka 'Markgraph') 
20 The Wild (aka 'Stedelijk')
21 River Journey (extended mix of 'Asian River')

Enjoy / Enjoy