Stevie Ray Vaughan - ...and on guitar (1990)

Stephen Ray Vaughan was born on 3 October 1954 in Dallas, Texas, and began playing guitar at age seven, initially inspired by his elder brother, Jimmie Vaughan. Learning by ear, he diligently committed himself, following along to songs by the Nightcaps, and he listened to blues artists such as Albert King, Otis Rush, and Muddy Waters, and rock guitarists such as Jimi Hendrix and Lonnie Mack. In 1963, he acquired his first electric guitar as a hand-me-down from Jimmie, and soon after he joined his first band, the Chantones, in 1965. Following a falling out with the other members he left the band and joined the Brooklyn Underground, playing professionally at local bars and clubs. In May 1969, after leaving the Brooklyn Underground, he joined a band called the Southern Distributor playing pop rock covers, but he tried to add blues songs to the group's repertoire, even though he was told that he wouldn't earn a living playing blues music, and so he and the band parted ways. In February 1970, Vaughan joined a band called Liberation, which was a nine-piece group with a horn section, and at a gig at the Adolphus Hotel in downtown Dallas he was asked onstage by ZZ Top to jam with the band. In September 1970 Vaughan made his first studio recordings with the band Cast Of Thousands, which included future actor Stephen Tobolowsky, recording two songs for the compilation album 'A New Hi', which featured various teenage bands from Dallas. In late January 1971 he left Liberation and formed his own band Blackbird, moving from Dallas to Austin, Texas, as he felt they had more liberal and tolerant audiences. After a couple of years Vaughan left Blackbird and joined Krackerjack, staying with them for less than three months, and then joined Marc Benno's band, the Nightcrawlers, reuniting with Benno after meeting him at a jam session some years before. 

The next month, the Nightcrawlers recorded an album at Sunset Sound Recorders in Hollywood for A&M Records, and although the record was rejected by A&M, it did include Vaughan's first songwriting efforts, 'Dirty Pool' and 'Crawlin''. In 1975 Vaughan joined a six-piece band called Paul Ray And The Cobras, which included guitarist Val Swierczewski and saxophonist Joe Sublett, and for the next two-and-a-half years he earned a living performing weekly at the Soap Creek Saloon and at Antone's, which was widely known as Austin's 'home of the blues'. In late 1976 the band recorded a single, with Vaughan playing guitar on both tracks, which was released in February 1977, and the band carried on touring for most of the rest of that year. Near the end of September he left the band and formed Triple Threat Revue, recording some tracks in an Austin studio in January 1978, but in mid-May the bassist left to form his own group and Vaughan renamed the band Double Trouble, recruiting new bass-palyer Jackie Newhouse, and by October that band had a residency at one of Austin's most popular nightspots, the Rome Inn. Following some line-up changes, the group settled on bassist Tommy Shannon and drummer Chris Layton, and in 1982 they performed at the Montreux Jazz Festival, where David Bowie saw Vaughan play and contacted him for a studio gig, resulting in him playing his blues guitar on six of the eight songs on Bowie's 1983 album 'Let's Dance', including the iconic solo at the end of the title track. 

With the success of 'Let's Dance', Bowie requested Vaughan as the featured instrumentalist for the upcoming Serious Moonlight Tour, and in late April he began rehearsals for the tour in Las Colinas, Texas, but when contract renegotiations for his performance fee failed, he abandoned the tour days before its opening date, and he was replaced by Earl Slick. Double Trouble had recorded some tracks at Jackson Browne's studio after Browne had jammed with them in Montreux and offered free use of his studio, and after acquiring the recordings Double Trouble began assembling the material for a full-length album, to be called 'Texas Flood'. After knocking the album into shape, it was released on 13 June 1983, and peaked at number 38 on the US charts, ultimately selling half a million copies. In January 1984, Double Trouble began recording their second studio album 'Couldn't Stand The Weather', with John Hammond as executive producer and engineer Richard Mullen, and during recording sessions Vaughan began experimenting with other combinations of musicians, including Fran Christina, Stan Harrison, and Jimmie Vaughan. 'Couldn't Stand The Weather' was released on 15 May 1984, and two weeks later it had rapidly outpaced the sales of 'Texas Flood', peaking at number 31 on the US album chart. 

The success of the band's two albums, added to his recognition at playing with Bowie on 'Let's Dance', meant that he was often asked to guest on other artist's work, adding his guitar to records by Lonnie Mack, James Brown, and Jennifer Warnes among others. The recording with James Brown was for the soundtrack to the 1985 film 'Rocky IV', but it wasn't without it's troubles, as apparently Vaughan was so upset by how low his guitar parts had been mixed that he left in a helicopter never to return. The songs were edited for release as a single, and about four minutes had to be cut, which included most of Vaughan's solos, so for this post I've used the longer version which later appeared on Brown's 'Gravity' album, on which you can hear Vaughan's playing in full. During the majority of his life, Vaughan struggled with drug and alcohol addiction, but he successfully completed rehabilitation and began touring again with Double Trouble in November 1986. His fourth and final studio album 'In Step' reached number 33 in the United States in 1989, and was one of his most critically and commercially successful releases, including his only number-one hit 'Crossfire'. It cemented his reputation as one of the world's most highly in demand blues performers, and he headlined Madison Square Garden in 1989, and the Beale Street Music Festival in 1990. On 27 August 1990, Vaughan and four others were killed in a helicopter crash in East Troy, Wisconsin, following a performance with Double Trouble at Alpine Valley Music Theatre. An investigation concluded that the cause was pilot error and Vaughan's family later filed a wrongful death lawsuit against Omniflight Helicopters that was settled out of court. It was a terrible waste of a supremely gifted musician who was at the peak of his powers, and I hope that this collection of early recordings and guest appearances is a fitting tribute to his talent. 

Track listing

Disc One
01 Red, White And Blue (from the 'A New Hi' compilation album 1970)
02 I Heard A Voice Last Night (from the 'A New Hi' compilation album 1970)
03 Dirty Pool (from the unreleased album by The Nightcrawlers 1973)
04 Crawlin' ((from the unreleased album by The Nightcrawlers 1973)
05 Other Days (single by The Cobras 1977)
06 Texas Clover (b-side of 'Other Days)
07 Love Struck Baby (Triple Threat Revue demo 1978)
08 I Wonder Why (Triple Threat Revue demo 1978)
09 Let's Dance (from 'Let's Dance' by David Bowie 1983)

Disc Two
01 Don't Stop By The Creek, Son  (from 'Texas Twister' by Johnny Copeland 1983)
02 Oreo Cookie Blues (from 'Strike Like Lightning' by Lonnie Mack 1985)
03 Living In America (by James Brown from the film 'Rocky IV' 1985)
04 First We Take Manhattan (from 'Famous Blue Raincoat' by Jennifer Warnes 1986)
05 You So Heavy (from 'Emerald City' by Teena Marie 1986)
06 Love Roulette  (from 'Heartbeat' by Don Johnson 1986)
07 Bumble Bee Blues (from 'Distant Drums' by Brian Slawson 1988)
08 Pipeline (from 'King Of The Surf Guitar' by Dick Dale 1989)
09 Cat's In The Well (from 'Under The Red Sky' by Bob Dylan 1990)
10 Just How You Play The Game (from 'The Peacemaker' by Jerry Lynn Williams - 

                                                                                               recorded 1990, released 1996)

 

Gary Numan - Exhibition (1981)

Following the release of Tubeway Army's second album 'Replicas' in 1979, Gary Numan was already busy recording his next album with a new backing band, and when he was invited to record a John Peel session he opted to premiere four new songs instead of promoting the Tubeway Army release. The first fruits of his labours was the single 'Cars', and this first solo effort reached No. 1 in the UK charts, as well as finding success in North American, spending two weeks at No. 1 on the Canadian RPM charts, and reaching No. 9 in the U.S. charts. His debut solo album was also released in 1979, and 'The Pleasure Principle' equaled the success of 'Cars', reaching No. 1 in the UK, and a sell-out tour quickly followed. In contrast to Tubeway Army's music, 'The Pleasure Principle' was a rock album with no guitars, instead using synthesisers fed through guitar effects pedals to achieve a distorted, phased, metallic tone. The second single from the album was 'Complex', which didn't quite match the success of 'Cars', but achieved a respectable No. 6 on the UK Singles Chart. In 1980 Numan released the singles 'We Are Glass' and 'I Die: You Die', reaching No. 5 and No. 6. in the UK singles chart, and he then topped the album charts for a third time with 'Telekon', but when 'This Wreckage' was lifted from the album in December, it only scraped into the top 20. 'Telekon' was his final studio album that he retrospectively termed the "machine" section of his career, reintroducing guitars to his music and featuring a wider range of synthesisers. The same year he embarked on his second major tour with an even more elaborate stage show than the previous year, but then unexpectedly announced his retirement from touring with a series of sell-out concerts at Wembley Arena in April 1981. A live two album set from the 1979 and 1980 tours released at this time reached No. 2 in the UK charts, and they were also released individually as 'Living Ornaments '79' and 'Living Ornaments '80', charting separately in their own right. Departing from the pure electro-pop that he had been associated with, Numan began experimenting with jazz, funk, and ethereal and rhythmic pop, and his first album showcasing this change in style was 'Dance', which came out in 1981, and which charted at No. 3 on the UK charts. The album produced one hit single in 'She's Got Claws', and featured several distinguished guest players, such as Japan's Mick Karn on bass guitar and saxophone and Rob Dean on guitar, Roger Mason of Models on keyboards, and Queen's Roger Taylor on drums. For this first of three collections of b-sides and out-takes we look at the non-album tracks which appeared on those first seven solo singles, emphasising the difference between his solo work and the Tubeway Army period, most notably on the b-side of 'We Are Glass', 'Trois Gymnopedies (First Movement)', and the piano version of 'Down In The Park'. 

Track listing

01 Asylum (b-side of 'Cars' 1979)

02 Random (out-take 1979)

03 Bombers (Live) (b-side of 'Complex' 1979) 

04 Oceans (out-take 1979)

05 We Are Glass (single 1980)

06 Trois Gymnopedies (First Movement) (b-side of 'We Are Glass')

07 I Die: You Die (single 1980)

08 Down In The Park (Piano Version) (b-side of 'I Die: You Die')

09 On Broadway (b-side of 'Remember I Was Vapour' 1980)

10 A Game Called Echo (out-take 1980)

11 Photograph (b-side of 'This Wreckage' 1980)

12 I Sing Rain (b-side of 'She's Got Claws' 1981)

13 Exhibition (b-side of 'She's Got Claws' 1981)

The Stone Roses - Groove Harder (1995)

When The Stone Roses released the single 'Fools Gold'/'What the World Is Waiting For' in 1989, 'Fools Gold' was orignally intended as the b-side, but the song quickly became one of the band's most famous songs, and merited an extended version on the 12" single, becoming their first top ten UK hit. This success led to their biggest headline gigs in 1989, to 4,000 people at Blackpool's Empress Ballroom and to 7,000 people at London's Alexandra Palace, and the group won four NME Readers poll awards that year - Band of the Year, Best New Band, Single of the Year for 'Fools Gold', and Album of the Year for 'The Stone Roses'. Their gig at Spike Island on 7 May 1990 was attended by some 27,000 people, and although it was considered a failure at the time due to sound problems and bad organisation, it's since become legendary over the years as a "Woodstock for the baggy generation". Their final single for Silvertone was 'One Love', which reached number four in the UK singles chart, and which proved to be the band's last original release for four years, entering a protracted legal battle to terminate their five-year contract with the label. Silvertone owners Zomba Records took out an injunction in September 1990 to prevent the band from recording with any other label, but in May 1991 the court sided with the group, and they were released from their contract. The band subsequently signed with Geffen Records for a million-pound advance, and began work on their second album, but an appeal against the ruling delayed the record for another year, and the band finally started work on the record in mid-1993.

Progress was slow, with producer John Leckie ultimately leaving the project as the band would not sign a production contract, and the band assuming production duties with engineer Simon Dawson at Rockfield Studios in Wales, spending 347 ten-hour days working on the album. 'Second Coming' finally arrived on 5 December 1994, and their sound had changed to a shady, heavy blues rock sound, mostly due to Squire writing most of the material. 'Love Spreads' was the first single from the album, reaching number two on the UK Singles Chart, but 'Second Coming' received a mixed reception from the British press, with poor reviews and much being made of the length of time it took to record. In March 1995, just two weeks before a tour in support of 'Second Coming' was due to begin, Reni exited the band following a disagreement with Ian Brown, and a replacement drummer had to be found, with Robbie Maddix filling the drum-stool. After a couple of aborted attempts at setting up a tour, the band finally organised a full UK tour for November and December 1995 and all dates sold out in a day. John Squire announced his departure on 1 April 1996, blaming the gradual social and musical separation that the band had undergone in the past few years, and guitarist Aziz Ibrahim was recruited as a replacement. The band continued for another six months, but there was a noticeable deterioration in the quality of its public performances after Squire's loss, and the music press was united in its criticism, leading to Brown and Mani dissolving the group in October 1996. Their singles from 1989 onwards often added extended versions to the 12" versions, so we start with the full length version of the song that ended the last post, and which heralded the start of the band's attempts to 'groove harder'. While this post only has seven tracks it's still a full 48-minute album, so enjoy the final days of this iconic UK indie band.  

Track listing

01 Fools Gold (extended single 1989)
02 One Love (extended single 1990)
03 Something's Burning (extended b-side of 'One Love')
04 Breakout (b-side of 'Love Spreads' 1994)
05 Groove Harder (b-side of 'Love Spreads' 1994)
06 Moses (b-side of 'Ten Storey Love Song' 1995)
07 Ride On (b-side of 'Ten Storey Love Song' 1995)

They Might Be Giants - Let's Start (1985)

John Linnell and John Flansburgh first met as teenagers growing up in Lincoln, Massachusetts, and began writing songs together while attending Lincoln-Sudbury Regional High School, but didn't form a band at that time. They then attended separate colleges after high school and Linnell joined The Mundanes, a new wave group from Rhode Island, but they reunited in 1981 after both relocating to Brooklyn, moving into the same apartment building on the same day. At their first concert, they performed under the name El Grupo De Rock and Roll (Spanish for "the Rock and Roll Band"), because the show was a Sandinista rally in Central Park, and a majority of the audience members spoke Spanish. Discarding this name, the band assumed the title of the 1971 film 'They Might Be Giants', which in turn was taken from a 'Don Quixote' passage about how Quixote mistook windmills for evil giants. The duo began performing their own music in and around New York City, with Flansburgh on guitar, Linnell on accordion and saxophone, and accompanied by a drum machine or prerecorded backing track on audio cassette. Their atypical instrumentation, along with their songs which featured unusual subject matter and clever wordplay, soon attracted a strong local following, and their performances often featured absurdly comical stage props such as oversized fezzes and large cardboard cutout heads of newspaper editor William Allen White. From 1984 to 1987 the band were the house-band at Darinka, a Lower East Side performance club, playing one weekend a month, and by the end of their three-year stint they were selling out every performance. On 30 March 1985 They Might Be Giants released their 7" flexi-disc, the 'Wiggle Diskette' disc, which included demos of the songs 'Everything Right Is Wrong' and 'You'll Miss Me'. In 1985 the band released their full length demo cassette, originally distributed by the Johns at TMBG concerts in 1985-86. The material was recorded onto standard store-bought audio cassettes, with black-and-white photocopied inserts on different colored paper (commonly yellow, but also on white and blue), and although it was self-released, the cassette was reviewed by Michael Small in People magazine, giving the band the attention they would need to score a record deal with Bar/None. The duo released their self-titled debut album in 1986, which became a college radio hit, with 'Don't Let's Start' alerting me to the band, and they later issued one of my all-time favourite songs with 'Birdhouse In Your Soul'. So that you can hear what all the fuss was about at 'the start' of their career, here's that 1985 demo cassette, housed in new cover art, and (sort of) titled after the demo of 'Don't Let's Start' that features on the tape. Some of these songs later appeared on their debut album in a more polished form, and at least one was resurrected for their third album, but many of them are exclusive to this tape, so enjoy this collection of early work from the band.

Track listing

01 (Put Your Hand Inside The) Puppet Head  
02 When It Rains It Snows  
03 Number Three  
04 Don't Let's Start  
05 You'll Miss Me  
06 Hope That I Get Old Before I Die  
07 Biggest One  
08 32 Footsteps 
09 Boat Of Car  
10 Cowtown 
11 Chess Piece Face  
12 Rabid Child  
13 Youth Culture Killed My Dog  
14 Alienation's For The Rich  
15 The Day 
16 (She Was A) Hotel Detective  
17 Which Describes How You're Feeling  
18 Toddler Hi-Way  
19 Become A Robot  
20 I'm Def 
21 Hell Hotel  
22 They Might Be Giants  
23 Nothing's Going To Change My Clothes

Snoop Doggy Dogg - Playin' 4 Keepz (1991) UPDATE

There were a couple of tracks on this album where I wasn't 100% happy with the quality, and luckily I stumbled on a better recording of '187 (It's On)', so I've replaced the slightly thin-sounding version with this much better one. The Yandex link is updated and so is Soulseek, so either download the whole thing again, or just the one song from Soulseek. 'Longbeach Is A Muthafucca' will have to stay there unless I find a better version of that one. 

Track listing

01 Let 'Em Understand (feat. Tha Foesum)
02 Long Beach Is A Muthafucca (feat. Warren G)
03 Do You Remember (feat. George Clinton)
04 187 (It's On) (feat. Lady Of Rage)
05 Playin' 4 Keepz (feat. Tha Convicts)
06 Niggaz Is Like That (feat. Chocolate & CPO)
07 County Bluez 
08 The Message
09 Smoke On (feat. Po', Broke, and Lonely)
10 Dope Slang Symphony (feat. Nate Dogg, Kurupt Tha Kingpin, and Dat Nigga Daz)
11 True To The Game
12 Hoe I Like (feat. Dr. Dre)

Robert Fripp - Triple Exposure (1979)

In the first of what is intended to be a regular spot on the blog, here is Mike Solof's personal take on a trio of classic albums from the late 70's. All his albums include a pdf of his notes.  
According to Robert Fripp, his 1979 album 'Exposure' was originally conceived as the third part of an MOR trilogy with Daryl Hallʼs solo album 'Sacred Songs' and Peter Gabriel's 'Peter Gabriel II', both of which he produced and to which he contributed. With the proposed release of 'Sacred Songs' postponed, and the delay in the release of 'Exposure', it made it impossible to convey the sense of what he'd intended, which was to try to investigate the 'pop song' as a means of expression. He considered it a supreme discipline to know that you have three to four minutes to get together all your lost emotions, and find words of one syllable or less to put forward all your ideas, and it's a discipline of form that he didn't consider to be cheap or shoddy. Although Daryl Hall's 'Sacred Songs' was recorded in 1977, record company indecision meant that it didn't appear until 1980, which was a year after the appearance of 'Exposure', and thus ruining Fripp's concept of a trilogy of records that would have started with 'Sacred Songs' and ended with his own 'Exposure', all being released very close to each other as a way to feature and promote Fripp's production techniques. 'Sacred Songs' was originally to be titled 'The Last Great New York Heartthrob', and would have featured a different track listing to that of the final release, but Hall's management and label resisted the project, fearing the music would damage Hall's commercial appeal, and insisting as well that 'Exposure' be equally credited to Hall, who was initially Fripp's main vocalist. To counter what the record company was demanding, Fripp instead used only two Hall vocals on his album, substituting Peter Hammill and Terre Roche as vocalists on other recordings. All the songs from the sessions were eventually released in various forms on each artist's individual albums, with 'Urban Landscape' appearing on Hall's album, as does 'NYCNY' (actually 'I May Not Have Had Enough of Me but I've Had Enough of You' with different lyrics written by Hall), while the Gabriel record also featured a version of 'Exposure'. Fripp's album was remixed in 1983, and a second "definitive edition" was released in 1985 featuring some alternate takes, but in 2006, a 24-bit two-disc remaster appeared on Fripp's Discipline Global Mobile label, with one disc containing the original 1979 album, and the second disc featuring a version of 'Exposure' containing all the original Daryl Hall vocals. For this re-imagining of the trilogy as one album, Mike has one rule, and that is that every song had to feature Fripp playing on it as opposed to just producing the cut, and although many of the songs appeared in different forms on different albums, he's only picked one version of each for the project. Unfortunately, all three musicians never appeared together on the same recording, but through the magic of clever editing he's included a remix of a great version of 'Exposure' (which he found on Youtube by Mr. J. Wilson…), enhancing and bringing forward all the vocal parts from the different versions, and that’s the perfect opener to his take on Fripp's vision.

Track listing
 
01 Exposure (Custom Mix featuring Fripp/Gabriel/Hall & Roche)
02 Preface / You Burn Me Up
03 Disengage II
04 Chicago
05 New York, New York, New York
06 Perspective
07 Exposure
08 Mother Of Violence
09 Why Was It So Easy
10 North Star
11 Water Music 1 / Here Comes The Flood
12 White Shadow
13 Something In 4-4 Time
14 Babs And Babs
15 Survive
16 On The Air
17 Mary
18 The Farther Away I Am
19 Without Tears
 
A Mike Solof Production

The Wannadies - Want More (1996) UPDATE

Thanks to Rev. Dave for pointing out that this post seemed to have one of the tracks missing, so I've now added 'I Got A Right' into its rightful place and you can re-download from Soulseek or Yandex for the correct track listing. 

Track listing 

01 The Beast Cures The Lover (from the 'Smile' EP 1989)

02 This Time (from the 'Smile' EP 1989)

03 I Want More (from the 'Smile' EP 1989)

04 Children Of The Revolution (b-side of 'Heaven' 1990)

05 In The Altogether (b-side of 'So Happy Now' 1992)

06 Birds (b-side of 'So Happy Now' 1992)

07 Lee Remick (b-side of 'Cherry Man' EP 1993)

08 I'm A Man (b-side of 'Cherry Man' EP 1993)

09 Blister In The Sun (b-side of 'Cherry Man' EP 1993)

10 I Got A Right (b-side of 'Love In June' 1994)

11 Let Go Oh Oh (b-side of 'You And Me Song' 1994)

12 No Disco (b-side of 'You And Me Song' 1994)

13 Lift Me Up (Don't Let Me Down) (b-side of 'You And Me Song' 1994)

14 New Life (b-side of 'You And Me Song' 1994)

15 Why (b-side of 'Someone Somewhere' 1996)

16 Goodbye (b-side of 'Someone Somewhere' 1996)

17 Disappointed (b-side of 'Someone Somewhere' 1996)

Steve Vai - ...and on guitar (2003)

Steven Siro Vai was born on 06 June 1960 in Carle Place, New York, and his first experience of music started at an early age, when at the age of six he was first introduced to the guitar, seeing an older child playing in his grade school auditorium, and knowing instinctively that he was going to play the guitar someday. At the age of twelve he decided to start playing the instrument, and in 1973 he began taking guitar lessons from fellow New York native Joe Satriani, and playing in local bands like The Ohio Express, Circus, and Rayge throughout his high school years. In 1978, to further pursue his interest in music composition and theory, Vai attended Berklee College of Music in Boston, Massachusetts, and after receiving both a notated transcription of Frank Zappa's 'The Black Page', and a recording of Vai's college band Morning Thunder, Zappa was impressed enough to put Vai on salary as a transcriptionist to transcribe his work. After leaving Berklee College of Music and moving to California, Vai auditioned for and became a full-time member of Zappa's band, going on his first tour with Zappa in late 1980. After leaving Zappa's employ in 1983, Vai bought a house in Sylmar, Los Angeles and built his first professional studio, where he wrote and recorded a large amount of music that was not originally intended for release. Out of this material, he compiled his first studio album 'Flex-Able', which he released on his own Akashic Records label. At the same time as the album came out, he'd come to public attention when his composition 'The Attitude Song' was published in Guitar Player magazine, showcasing a number of specialized techniques, such as two-handed tapping, whammy bar acrobatics, sweep picking, alternate picking, multi-part harmonies, and odd phrasing. In between his solo work, and appearing in the film 'Crossroads' in 1986 as the Devil's guitar player Jack Butler, where he wrote and performed nearly all the guitar parts in the duel scene, he replaced Yngwie Malmsteen as the lead guitarist of Alcatrazz, recording the album 'Disturbing The Peace' with them in 1985. Later that year he joined David Lee Roth's post-Van Halen band as lead guitarist, and their 1986 debut album 'Eat 'Em And Smile' was both a critical and commercial success, reaching number four on the Billboard 200 albums chart and selling over two million copies. Roth's subsequent album 'Skyscraper' was released in 1988 and was another commercial success, but Vai left the band after the Skyscraper Tour to work on the JEM guitar that he'd designed, which incorporated a series of groundbreaking designs that have since become staples throughout the guitar industry, and he releasing the Ibanez JEM 777 guitar in 1987. 

From 1985 to 1990 he recorded the 'Passion And Warfare' album at his home studio, and in those five years he also appeared on a number of other artist's albums as a guest guitarist, always adding something a bit out of the ordinary to the recordings. One of these sessions was to record the guitar parts for Whitesnake's 'Slip of The Tongue' album, where he replaced the injured Adrian Vandenberg, and after the album came out to critical acclaim, Vai joined the band on their thirteen-month world tour. In May 1990 he released his second album 'Passion And Warfare' through Relativity Records, winning him a number of awards such as Guitar World and Guitar Player's 'Best Album' and 'Best Rock Guitarist' awards. Vai's next project was to form his own band with Devin Townsend on vocals, T. M. Stevens on bass, and Terry Bozzio on drums and release the 'Sex & Religion' album, and in 1994 he began working with Ozzy Osbourne, writing and recording the 'Ozzmosis' album, before internal conflicts led to the whole album being re-written and recorded with Zakk Wylde on guitar instead. 2001 saw the limited release of 'The Secret Jewel Box', a conceptual ten-CD box set containing unique material from various eras of Vai's career, and he continues to releases albums, either solo or with the band G3, including fellow guitar maestros Joe Satriani and Eric Johnson, as well as playing live for a few years on the Zappa Plays Zappa tour as a special guest, but this collection showcases his guest appearances from his early days as one of the new kids on the block, showing the old guys how it should be done.   

Track listing

01 London 1941 (from 'At The Door' by Heresy 1985)
02 Full Moon (from 'The Epidemics' by The Epidemics 1986)
03 There's Still Hope (from 'The Great Nostalgia' by Bob Harris 1986)
04 Home (from 'Album' by Public Image Ltd 1986) 
05 Funk Me Tender (from 'Funk Me Tender' by Randy Coven 1986)
06 Noah's Ark (from 'Submarine' by Greg Bissonette 1986)
07 Western Vacation (from 'Western Vacation' by Western Vacation 1986)
08 Sweet Lady Luck (out-take from 'Slip Of The Tongue' by Whitesnake 1989)
09 Supergirl (from 'The Best Of Dreams' by Rebecca 1990)
10 Feed My Frankenstein (from 'Hey Stoopid' by Alice Cooper 1991)
11 Speed (from 'Free World' by Munetaka Higuchi with Dream Castle 1997)
12 Room Full Of You (from 'Vertigo' by Billie Myers 2000)
13 Shapes Of Things (from 'Birdland' by The Yardbirds 2003)

Snoop Doggy Dogg - Playin' 4 Keepz (1991)

Calvin Cordozar Broadus Jr., known professionally as Snoop Dogg (previously Snoop Doggy Dogg and briefly Snoop Lion), was born on 20 October 1971, and shortly after graduating from high school at Long Beach Polytechnic High School in 1989, he was arrested for possession of cocaine, and for the next three years, was frequently incarcerated. With his two cousins Nate Dogg and Lil' ½ Dead, and friend Warren G, he recorded homemade tapes as the group 213, named after the area code of their native Long Beach at that time. One of his early solo freestyles over 'Hold On' by En Vogue was on a mixtape that fortuitously wound up with Dr. Dre, who was so impressed by the sample that he called Broadus to audition. When he began recording, he took the stage name Snoop Doggy Dogg, and together he and Dr. Dre began working on the theme song of the 1992 film 'Deep Cover', and then on Dr. Dre's debut solo album 'The Chronic'. He had in fact been recording for a while before that big break, and had even taped an album in 1991 for Future Shock Entertainment called 'Over The Counter', which was released as a cassette tape that year. It was originally 'Over The Counter', and not Dr. Dre's 'The Chronic', that was to be the debut album for both Snoop Doggy Dogg and the Death Row label, but the record was pulled off the production line and never had an official release, other than the cassette copies sold at swap-meets. This was due to the fact that Death Row did not have the financial capabilities to support itself as a legitimate record label in 1991, and as a result their distributors Priority Records, Sony Music and Time Warner were unable to legally release it onto the market. Around the same time Snoop also recorded some other demos, including a second version of 'Deep Cover', and another collaboration with Dr. Dre on 'Smoke On'. Only six tracks from 'Over he Counter' have ever surfaced online, but if you add those to some other pieces recorded at the same time we end up with an album that could have been released a full two years before his official debut release 'Doggystyle'. Whether it would have catapulted him to stardom like 'Doggystyle' did we'll never know, as those two years honing his craft probably gave that debut album the extra edge that helped it achieve the success that it did. However, it's interesting to be able to listen to these songs that were recorded when he was just starting out, and to hear the emergent talent that has kept him at the top of the rap scene for all these years.    

Track listing

01 Let 'Em Understand (feat. Tha Foesum)

02 Long Beach Is A Muthafucca (feat. Warren G)

03 Do You Remember (feat. George Clinton)

04 187 (It's On) (feat. Lady Of Rage)

05 Playin' 4 Keepz (feat. Tha Convicts)

06 Niggaz Is Like That (feat. Chocolate & CPO)

07 County Bluez 

08 The Message

09 Smoke On (feat. Po', Broke, and Lonely)

10 Dope Slang Symphony (feat. Nate Dogg, Kurupt Tha Kingpin, and Dat Nigga Daz)

11 True To The Game

12 Hoe I Like (feat. Dr. Dre)

The Stone Roses - So Young (1991)

The Stone Roses formed in Manchester in 1983, and one of the pioneering groups of the Madchester movement in the late 1980's and early 1990's. The classic and most prominent lineup consisted of vocalist Ian Brown, guitarist John Squire, bassist Mani and drummer Reni, and started when Brown (who at the time was a bassist) and guitarist John Squire formed a short-lived Clash-inspired band called The Patrol in 1980 along with singer/guitarist Andy Couzens and drummer Simon Wolstencroft, and they played several gigs in 1980 and recorded a demo tape. Towards the end of that year they decided on a change of direction, as Brown had got a taste of being a frontman during the last Patrol show, singing Sweet's 'Block Buster!' to close the set, and Couzens wanted to concentrate on guitar. The band members lost enthusiasm in 1981, with Brown selling his bass guitar to buy a scooter, and Wolstencroft joining Johnny Marr and Andy Rourke's pre-Smiths band Freak Party, but Squire continued to practise guitar while working as an animator for Cosgrove Hall during the day, and together with Couzens he started a new band, The Fireside Chaps, with bassist Gary "Mani" Mounfield, and later recruited a singer named David "Kaiser" Carty and drummer Chris Goodwin. After changing their name to The Waterfront, their sound became influenced by 1960's groups and contemporary bands such as Orange Juice, but Goodwin left the band recorded their first demo, and shortly afterwards Squire asked Brown to join as singer, joining The Waterfront in late 1983, for a time sharing vocals with Dave Carty. Like the earlier attempts at bands, The Waterfront fizzled out, but in late 1983 Couzens decided to try again, and approached Brown, and together they decided on Wolstencroft as drummer and Pete Garner as bassist, and they also decided that they needed Squire in the band, and when he agreed the band's line-up was cemented. They worked solely on new material, and after rehearsing for some time without a band name, Squire came up with The Stone Roses. 

The band rehearsed for six months, during which time Wolstencroft had been auditioning for other bands, and he left to join Terry Hall's The Colourfield, so Goodwin rejoined, but he lasted for only one rehearsal, and an ad for a replacement eventually resulted in Alan "Reni" Wren joining in May 1984. After rehearsing and writing songs over the summer, they recorded their first demo in late August, making 100 cassettes, with artwork by Squire, and set about trying to get gigs, debuting as The Stone Roses on 23 October 1984, supporting Pete Townshend at an anti-heroin concert at the Moonlight Club in London. Following this high-profile gig, the band was interviewed by Garry Johnson of Sounds magazine, and the band received management offers, with ex-Hacoenda manager Howard Jones eventually taking on the band. They played their first headlining gig on 4 January 1985, and had their first recording session with legendary producer Martin Hannett in January 1985 at Strawberry Studios in Stockport, aiming to record tracks for a single and an album. Further sessions followed in March, during which they recorded two tracks which would be come their debut single, the double A-side 'So Young'/'Tell Me', and they were invited to play a live session on Piccadilly Radio in March, for which they premiered a new song, 'I Wanna Be Adored'. A tour of Sweden followed in April, and on their return they returned to the studio to record their debut album, but hey were unhappy with the results, as the band's sound was changing, and so it was shelved, later being released as 'Garage Flower', although they did release the 'So Young' single. In 1986 they began working on new material, including 'Sally Cinnamon', and at the same time they parted company with Jones and took on Gareth Evans as manager, using his International 1 venue as their new rehearsal space. As Brown and Squire began collaborating more closely on songwriting, they decided that they should take a larger slice of the money than the other band members, and so Couzens and Wren left the band in protest, although they soon returned. Couzens played an ill-fated gig with the band at the end of May, before being pushed out of the band by Evans after flying home alone while the rest of the band returned in their van, and in December 1986 they recorded their first demo as a four-piece, including the first studio recordings of 'Sugar Spun Sister' and 'Elephant Stone'. 

In early 1987, Evans negotiated a deal with Black/FM Revolver for a one-off release on the specially created Black Records label, and 'Sally Cinnamon' became the band's second single, although the chiming guitar hooks and strong melody alienated some of their old fans, but also attracted many new ones. In June, Garner announced that he was leaving, although he stayed until they found a replacement in Rob Hampson, who only lasted a week before he too was replaced by old Waterfront band-mate Mani. In early 1988 the band played at Dingwalls in London, and Zomba/Rough Trade's Geoff Travis was interested in signing the band, even funding studio time to record 'Elephant Stone' with Peter Hook producing. Roddy McKenna, A&R executive with Zomba, asked if they could be transferred internally to Andrew Lauder's newly created guitar-based Silvertone Records subsidiary, who signed them to an eight-album deal, and bought the 'Elephant Stone' tapes from Rough Trade to release as a single in October 1988. In 1988 and early 1989 the Stone Roses recorded their debut album at Battery Studios and Konk Studios in London, and Rockfield Studios in Wales, produced by John Leckie. 'Elephant Stone' had made little impact, and band's performances outside the north-west were still attracting small audiences, but their 'Made Of Stone' single received more press attention and was picked up for airplay by DJ Richard Skinner on his late night Radio One show. The band's eponymous debut album was released in April 1989, and entered the UK Albums Chart at number 32, followed by the single 'She Bangs The Drums', which gave them a top forty UK hit. Later in 1989 the band released a non-album double A-side single, 'Fools Gold'/'What The World Is Waiting For', which reached number eight on the UK Singles Chart, and which quickly became one of the band's most famous songs. There are quite a few Stone Roses collections out there, but very few of them include their first two singles, and none of them include all the early b-sides, so this post has every non-album track that they recorded up to 1989, excluding the 'Garage Flowers' album, which will appear in its own right later.   

Track listing

01 So Young (single 1985)
02 Tell Me (b-side of 'So Young')
03 Sally Cinnamon (single 1987)
04 All Across The Sands (b-side of 'Sally Cinnamon')
05 Here It Comes (b-side of 'Sally Cinnamon')
06 Elephant Stone (single 1988)  
07 Full Fathom Five (b-side of 'Elephant Stone')
08 The Hardest Thing In The World (b-side of 'Elephant Stone')
09 Going Down (b-side of 'Made Of Stone' 1989)
10 Guernica (b-side of 'Made Of Stone' 1989)
11 Simone (b-side of 'I Wanna Be Adored' 1989)
12 Where Angels Play (b-side of 'I Wanna Be Adored' 1989)
13 Mersey Paradise (b-side of 'She Bangs The Drums' 1989)
14 Standing Here (b-side of 'She Bangs The Drums' 1989)
15 Fools Gold (single 1989)
16 What The World Is Waiting For (b-side of 'Fools Gold' )

Alan Hawkshaw - The Hawk (1971)

British composer and performer Alan Hawkshaw died on 16 October 2021 aged 84, leaving behind him a legacy of over 7,000 performances on record as composer and musician, including a number of well-known TV theme tunes such as Grange Hill, Channel 4 News, The Dave Allen Show and the Countdown timer music. Hawkshaw was born on 27 March 1937 in Leeds,and worked as a printer for several years before becoming a professional musician, first joining the pop group The Crescendos, and then in the early 1960's becoming a member of rock and roll group Emile Ford and the Checkmates. He also formed the Mohawks and Rumplestiltskin with some fellow session musicians, playing the Hammond organ in both groups, and in 1965 he played piano on The Hollies 'Put Yourself In My Place' on their 'Hollies' album, as well as playing with David Bowie on the 'Bowie At The Beeb' album, soloing on the Top Gear recording of 'In The Heat Of The Morning'. In 1969, Hank Marvin recruited Hawkshaw into The Shadows to tour Japan, where he can he heard taking lead piano on 'Theme From Exodus' on the resulting live album 'The Shadows Live In Japan', and in 1970 he played on the band's 'Shades Of Rock' album. After leaving The Shadows he did rejoin Hank Marvin, Bruce Welch, & John Farrar, playing on both of their albums under the name of Marvin, Welch & Farrar. Around this time he was composing and recording music for KPM Records, which was one of the best 'libaray music' specialists in the UK. Musicians would record instrumental pieces in a particular genre, like funk or rock (The Pretty Things famously recorded a number of these albums for De Wolfe), and KPM would press them up onto albums and send them round to TV and film production companies for them to pick tunes that they might want to feature in their productions. Alongside Keith Mansfield, Alan Parker, and Johnny Pearson, Hawkshaw was at the forefront of this enterprise, and it's reckoned that he played on over 7,000 recordings in his career, many of which can be found on KPM's library discs, as well as his own albums. In the 1970's, he worked for Olivia Newton-John, Jane Birkin, and Serge Gainsbourg as a musical director, arranger and pianist, and was also a keyboard player for Cliff Richard, for whom he co-wrote 'The Days Of Love', one of six shortlisted songs which Richard performed in A Song for Europe that year. As well as his TV themes, including composing all the music for the 'Arthur C. Clarke's Mysterious World' series, he also wrote or played the music for many adverts, including ads for Cadbury's Milk Tray, Sunsilk shampoo, Heinz Spaghetti, Bird's Eye, and Esso, and his recordings have been sampled by a host of modern artists, with the opening three notes from The Mohawks' 'The Champ' being one of the most sampled pieces ever. Even if you don't know his name you've probably enjoyed his music more than you know, and so as a tribute to 'the best-know British composer that you've never heard of', here's a selection of his compositions from his KPM records from 1969 to 1971 - and just listen to 'Pollution' from 1970 and decide amongst yourselves who came up with the riff first - Hawkshaw or Deep Purple.   

Track listing

01 Work Out
02 The Difference
03 Action Replay
04 Delivery Date
05 Powerboat
06 Purity
07 Freight Line
08 Studio 69
09 The Brisk Scene
10 Go Go Go
11 Stratosphere
12 Beat Me 'Til I'm Blue
13 Thrills And Spills
14 Lady Grey
15 Pollution
16 Speed Speed Speed
17 Smooth And Easy
18 The Busy Scene
19 Chilli 'n' Grits
20 Electromotion

Neil Young & Crazy Horse - Toast (2001)

Sometime in late 2000 or early 2001, Neil Young went into the studio with Crazy Horse and cut an album that was to be named 'Toast', after the studio where it was recorded. The only song to see the light of day from these sessions was 'Goin’ Home', which appeared on the underwhelming 'Are You Passionate?', but for years Young has claimed that 'Toast' is on the verge of being officially released, and he was enthusiastic about it in a Rolling Stone interview in in 2008, saying "It's an amazing listening experience. It was recorded in 5.1. It’s a mind-blowing record, and I don’t think it's a commercial record, but it's great rock & roll, very moody, kind of jazzy. It was recorded in the same place where Coltrane was recorded, so there's a lot of heavy stuff in there". He expanded on the songs, saying "The music of 'Toast' is about a relationship. There is a time in many relationships that go bad, a time long before the break up, where it dawns on one of the people, maybe both, that it’s over. This was that time. The sound is murky and dark, but not in a bad way, and from the first note, you can feel the sadness that permeates the recording. That song, with its refrain, "Don't say you love me", is called 'Quit', while the next one 'Standing In The Light' is sort of like a Deep Purple hit. 'Goin' Home' follows, painting a landscape where time doesn't matter - because everything is going south. A lady is lost in her car. The dark city surrounds her - past, present and future. Then the scene changes to a religious guy who just lost his job as a logger - he can't cut any more tress and so he's turning on Jesus, and then the album closes with 'Gateway Of Love', beckoning with "background noise on a changing sky". I had forgotten about these songs, put them out of my mind and went on living my life". However, like many of Young's unreleased albums it currently remains locked away, so we'll have to find another way to hear it. Although 'Toast' was never released, it seems that Young really was intending it to appear, as he played all the songs from it on his 2001 world tour, and many of these concerts were recorded. While 'Quit' did eventually appear on 'Are You Passionate' alongside 'Goin' Home', this was a re-recorded version with Booker T. & The M.G.s, so I've taken a recording with Crazy Horse from a Montreux gig, and added the other four tracks from his Japanese concert at the Fuji Rock Festival, so that we can hear an approximation of what the album might have sounded like. As it is quite short at just 33 minutes, I've added a cover that Young has performed a few times with Crazy Horse but which never seems to have made it to an official live album, rounding it out to a more acceptable 44 minutes. 

Track listing 

01 Quit
02 Standing In The Light Of Love
03 Goin' Home
04 Hold You In My Arms
05 Gateway Of Love
06 All Along The Watchtower

Mike Nesmith R.I.P.

 

https://albumsiwishexisted2.blogspot.com/2019/01/mike-nesmith-papa-gene-blues-1969.html

https://albumsiwishexisted2.blogspot.com/2019/02/mike-nesmith-good-clean-fun-1970.html

Harvey Mandel - ...and on guitar (2014)

Harvey Mandel was born on 11 March 1945 in Detroit, Michigan, and grew up in Morton Grove, Illinois, a suburb of Chicago. He began playing guitar while in his early teens and found his inspiration in the sound of the Ventures, but once he had the chance to hear musicians like Buddy Guy in the small blues clubs of Chicago's West and South sides a whole new world of music opened up to him. He learned from and performed with such greats as Guy, Albert King, Muddy Waters, and Otis Rush, and he got his nickname "The Snake" from master blues harp player Charlie Musselwhite, who admired the way Mandel's left hand would effortlessly snake up and down the guitar neck. His solo career began in the late '60s, after he was signed to Philips Records, a label distributed by Mercury Records, and his first album was 1968's 'Cristo Redentor', which was well-received on the then-growing underground radio scene in California. He followed this with 'Righteous' in 1969 and 'Games Guitars Play' in 1970, before moving to the Janus Records label. On the night that Henry Vestine quit Canned Heat in July 1969, Mandel was in the band's dressing room at the Fillmore West, and both he and Mike Bloomfield joined them to help out on their two sets. Following this, both Bloomfield and Mandel were offered Vestine's spot in the band, and Mandel accepted, with his third performance with the band being the Woodstock Festival in 1969. He stayed with Canned Heat for a year, touring and recording material which appeared on three albums, and during this period, with Canned Heat bandmates Larry Taylor and Fito de la Parra, he also contributed to the 'Music From Free Creek' super session project. With Canned Heat bassist Larry Taylor, Mandel joined John Mayall's band for a couple of years, and after a brief tour with Mayall in Europe in 1972, he recorded 'The Snake', and then 'Shangrenade' in 1973 and 'Feel The Sound Of Harvey Mandel' in 1974, all of which were released on Janus Records. When Rolling Stones guitarist Mick Taylor left the band in December 1974, Mandel was given an audition as his replacement, and although he didn't get the gig, he did record two tracks with the Stones for their 1976 album 'Black And Blue', providing the lead guitar solo on 'Hot Stuff'. Mandel's session work is a short who's-who of blues and roots-rock greats, including playing with The Rolling Stones, John Mayall, Charlie Musselwhite, Barry Goldberg, Jimmy Witherspoon, Don "Sugarcane" Harris, Dewey Terry, Freddy Roulette, Bobby Keys, and eventually, even his heroes the Ventures. In the early '90s, Mandel moved back to the San Francisco Bay Area, where he recorded a series of excellent albums for the Chicago-based Western Front Entertainment label, as well as permanently rejoining Canned Heat in 2010. He continues to write and record to this day, sometimes in collaboration with his son Eric Mandel as lead vocalist, and if you need proof that he's lost none of his skill in recent years then just listen to his work on 'Wasabi' from 1996.

Track listing

Disc One
01 Cha Cha The Blues (from 'Stand Back! Here Comes Charley Musselwhite's  

                                                                                                         South Side Band' 1967) 
02 Spirit Of Trane (from '2 Jews Blues' by Barry Goldberg 1969)
03 Sisters And Brothers (from 'Mighty Grahame Bond' by Grahame Bond 1969)
04 Going Down Slow (from 'The Blues Singer' by Jimmy Witherspoon 1969)
05 I Feel A Lot (from 'Raymond Louis Kennedy' by Raymond Louis Kennedy 1970) 
06 Television Eye (from 'Back To The Roots' by John Mayall 1971)
07 Do It Yourself (from 'Choice Cuts' by Pure Food & Drug Act 1972)
08 The Buzzard's Cousin (from 'Fiddler On The Rock' by Don "Sugarcane" Harris 1972)

Disc Two
01 Suit For The Cat (from 'Chief' by Dewey Terry 1973)
02 Earl's Shuffle (from 'Music From Free Creek' by Various Artists 1973)
03 Which Witch Is Which (from 'Reel To Real' by Love 1974)
04 Memory Motel (from 'Black And Blue' by The Rolling Stones 1976)
05 You Make It Hard (from 'Let's All Get Naked' by Acme Thunder 1978)
06 Zeke And The Rat (from 'Pryvet Blewz' by Denis Farley 1988)
07 Snake Bite (from 'Guitar Speak II' by Various Artists 1990)
08 Wasabi (from 'Standing In Stereo' by Geno White 1996)
09 Shake The Devil Down (from 'Primitive Son' by Eli Cook 2014)

The Balcony - Portrait (1983)

Here's another rarity from the early 80's Liverpool music scene, with a self-produced cassette tape from The Balcony. The band were formed by Dave 'Yorkie' Palmer (ex Dance Party, Egypt For Now, later Space) on vocals, Mark Cowley, Steve Powell on guitar, Mark Davies on bass, and they were a radical pot pourri of styles, with a tougher, leaner funk base, but with a psychedelic edge was still evident. In fact, Yorkie even managed to get 60's guru Mayo Thompson, of Red Crayola fame, to produce the band's first single 'Surprise After Surprise'/'The Lizard Hunt' in 1982. Later lineups included the addition of a brass section, consisting of Phil Lucking, Mike Kidson, and Martin Green, and at one gig they had three drummers. One of their songs, 'Too Late', was featured in the Chris Bernard / Frank Clarke film 'Letter To Brezhnev', and after a long gap they released their second single 'Redder Than Burning Coals' in 1986. Their third single 'A Cover Version' was effectively banned due to it's lyrical content, and so was never commercially released, and as a result of this the band split up. In their few years together they recorded two sessions for Radio One, for John Peel and Saturday Live, and their Peel session has long been a favourite of mine, having kept the tape that I recorded off the radio for nearly 40 years. All three songs from the Peel session are on this tape, albeit in different versions, but the rest of the songs are just as good, and so it's worth checking them out to hear a band that really should have made it bigger then they did. I've had to replace the final track 'Those Dangerous Dark Nowheres' with another rare track 'Windmills', as it's been impossible to track down, but 'Windmills' is a worthy replacement.   

Track listing

01 Things Worth Giving
02 Someone
03 Too Late
04 Ecstasy Can Take The Blame
05 Am I Really To Die By Your Knife
06 The Lizard Hunt
07 She Keeps Her Secret
08 Surprise After Surprise
09 Don't Take Photos
10 Windmills

Jackie De Shannon - Trust In Me (1969)

Singer and songwriter Jackie DeShannon has quite a musical legacy. Her early singles crafted doo wop to intelligent lyrics, and she toured with the Beatles in 1964 and more than held her own. She wrote songs with Randy Newman and Jimmy Page, sang with Van Morrison, and was among the first artists to realize that folk and pop could work together, and was a behind-the-scenes innovator in the creation of folk-rock. She started out singing country songs on a local radio show by the time she was six years old, and by the age of 11 she was hosting her own show on the station. She was already single-minded about a career in music, and after the family moved to Illinois, she continued to work at singing and songwriting, and recorded regional singles under various names as a teenager, including sides as Jackie Dee and Jackie Shannon. Her versions of a pair of country songs, 'Buddy' and 'Trouble', caught the ear of rocker Eddie Cochran, who sought her out and introduced her to his girlfriend, singer and songwriter Sharon Sheeley, and they began collaborating on songs such as 'I Love Anastasia', which was a hit for the Fleetwoods, and 'Dum Dum' for Brenda Lee. Sharon Lee Myers, as she then was, signed a recording contract with Liberty Records in 1960, and by this point she had grafted the names Jackie Dee and Jackie Shannon together to become known as Jackie DeShannon, and it was under that name that her debut single 'Lonely Girl' appeared later that year. Although she continued to release fine singles, including the Sonny Bono/Jack Nitzsche classic 'Needles And Pins' and her own 'When You Walk In The Room' (both songs were later big hits for the Searchers), she only had moderate success in the charts. Her biggest break came when she opened for the Beatles on the group’s first U.S. tour in 1964 with a band that included a young Ry Cooder, and that same year the Byrds covered her song 'Don’t Doubt Yourself Babe' on their debut album for Columbia Records, which only added to her visibility. She moved briefly to England in 1965, where she began writing songs with a pre-Led Zeppelin Jimmy Page, including 'Don’t Turn Your Back on Me' and 'Dream Boy', as well as penning 'Come And Stay With Me' for Marianne Faithfull, and when she moved back to New York she teamed up with a pre-fame Randy Newman to write 'Did He Call Today Mama?' and 'Hold Your Head High', among others. In 1965 she finally conquered the pop charts with her version of Burt Bacharach and Hal David's 'What The World Needs Now Is Love', and two years later in 1967 she played a folksinger in the movie 'C'mon Let's Live A Little', where she starred alongside 60's hearth-throb Bobby Vee. 

Despite the eventual success of the single, she was a tough act to market, as she was obviously young and beautiful, but her natural intelligence made her seem out of place as a teen idol, and the singer/songwriter era was still a couple of years down the road. In 1967 she released the 'New Image' album, but the title was a misnomer, as it just consisted of pale cover versions, and her name only appeared on the credits of two of the tracks. 'For You' came out the same year, and was a bold experiment comprising 'standards' with orchestral arrangements, which was an idea borrowed more successfully by Linda Ronstadt some fifteen years later. 'Me About You' was released in early 1968, and was an excursion into soft rock, with songs by Tim Hardin and John Sebastian, alongside four of her own songs, but it was with 1968's 'Laurel Canyon' that she finally found her voice. Out went the well-groomed young female entertainer, to be replaced by the blonde hippie chick pictured sumptuously in a series of Sue Cameron photos on the album cover. The music was a revelation as well, with De Shannon contributing five songs, but picking others by Barry White, Paul Williams, Clapton/Bruce/Brown, and Robbie Robertson to accompany them, and employing a band that included Mac 'Dr. John' Rebennack, Barry White, Russ Titleman and Harold R. Battiste Jr., producing a loose, flowing sound, supporting her soulful voice in top form. Many of the songs celebrated Los Angeles, and particularly the Laurel Canyon area, as well as including her hit version of The Band's 'The Weight', and her own belated recording of the Marianne Faithful hit 'Come And Stay With Me'. Possibly because this was a new career path for her, she recorded way more tracks than were needed for the album, so that she could pick the best of them fr the final tracklisting, and a lot of them have since turned up on expanded re-issues. This companion album to 'Laurel Canyon' is made up of these out-takes, as well as a few in the same style from her follow-up album from the following year, and a non-album Christmas single that she released in 1969, and when you hear a great track like 'The Greener Side' you wonder how that could ever have been rejected. 

Track listing

01 Brighton Hill
02 Trust In Me
03 What Is This
04 Happy Go Lucky Girl
05 Ooh, You Did It Again!
06 What Was Your Day Like
07 Medley - Keep Me Hangin' On' / Hurt So Bad
08 Effervescent Blue
09 Mediterranean Sky
10 The Greener Side
11 Reason To Believe
12 Try A Little Harder
13 Children And Flowers
14 Christmas

Dave Matthews Band - The Lillywhite Sessions (2000)

In September 1994, Dave Matthews Band released their debut studio album 'Under The Table And Dreaming', and with the singles released from it - 'What Would You Say', 'Satellite', and 'Ants Marching' - being commercial hits, the group started a long and successful career. The album brought the band worldwide fame and it was eventually certified six times platinum, and paved the way for its follow-up 'Crash', which brought the band a Grammy Award and four additional Grammy nominations, plus three more hit singles. By 1997, the band had reached unparalleled levels of popularity across the United States and, to some degree, the world, and so in October they released their first full-length live album, 'Live At Red Rocks 8.15.95', which was recorded at the Red Rocks Amphitheatre in Morrison, Colorado, and featured songs from the band's first three albums. In late 1997, the band returned to the studio with producer Steve Lillywhite and an array of guest collaborators, including Tim Reynolds, banjoist Béla Fleck, vocalist Alanis Morissette, future touring band member Butch Taylor, Chapman Stick player Greg Howard, and the Kronos Quartet. They composed and recorded their third album for RCA, and 'Before These Crowded Streets' was released on 28 April 1998, with the record representing a great change in direction for the band, as they no longer relied on upbeat hit singles to carry the album. 'Stay (Wasting Time)' was an uplifting gospel number, and 'Crush' was a love ballad, and together with lead single 'Don't Drink The Water' they proved extremely popular with band's fanbase, generating two Grammy nominations. 

The band took part in the Woodstock '99 concert during the summer, and later that year they released their third live album 'Listener Supported', which was also issued as their first live DVD. In 2000, he band set up their own recording studio at a large countryside home outside Charlottesville, and with longtime producer Lillywhite at the helm, they began work on their fourth studio album. The songs were heavily influenced by personal conflicts, notably the death of Matthews's uncle from alcoholism, but the album was scrapped by the band themselves after falling out with Lillywhite. In October 2000 Matthews began writing with Glen Ballard, and with the rest of the band joining them in the Los Angeles, they recorded the replacement album 'Everyday' in ten days. While this album gave the band a fresh start, Ballard's production, which featured a pop-rock music sound and no songs over 4:43, was very different from the acoustic sound and long jams that the albums produced by Steve Lillywhite featured, and although 'Everyday' was a huge commercial success, hardcore fans were unhappy with this change of style, and the scrapped album was leaked by a fan in March 2001. Once the fans heard the abandoned album they were much happier with the usual DMB sound appearing on the album, and it was also praised by critics, leading to the band actually including some of the songs in their live sets. After critical comparison of the two simultaneous albums, fans who were less than pleased with 'Everyday' were even more frustrated with the band's decision to scrap the earlier work in exchange for 'Everyday'. Many of the songs from The Lillywhite Sessions would, however, eventually be officially released. In response to overwhelming fan support, coupled with a popular and widely publicized online campaign known as the Release Lillywhite Recordings Campaign, the band returned to the studio in 2002 to record 'Busted Stuff', which was produced by Lillywhite's recording engineer Stephen Harris, and which included new treatments of much of the 'Lillywhite Sessions' material, along with newly written songs 'You Never Know' and the single 'Where Are You Going'. However, if you're a fan of the band then you're going to want to hear these legendary recordings, and so here is the full album as recorded by Steve Lillywhite and subsequently scrapped by the band. 

Track listing

01 Busted Stuff
02 Grey Street
03 Digging A Ditch
04 Sweet Up And Down
05 JTR
06 Big Eyed Fish
07 Grace Is Gone
08 Captain
09 Bartender
10 Monkey Man
11 Kit Kat Jam
12 Raven

Tubeway Army - Do You Need The Service? (1979)

Gary Anthony James Webb had fronted London band Mean Street in 1976 when he was just 18, and they saw their song 'Bunch Of Stiffs' appear on the 'Live At The Vortex' compilation album, after which he left the band and auditioned as lead guitarist for The Lasers, where he met bass-player Paul Gardiner. The Lasers soon became Tubeway Army when Webb's uncle Jess Lidyard joined on drums, and the band gave them selves suitably sci-fi names, with Webb rechristening himself 'Valerian', Gardiner was 'Scarlett', and Lidyard became 'Rael'. Webb was a prolific songwriter, and through playing gigs on the punk scene, and also recording some demos (later released on CD as 'The Plan') they managed to secure a record deal with the independent Beggars Banquet label, releasing two guitar-heavy, punk-style singles in the first half of 1978. During this time the band went through some line-up changes, changing drummers, and briefly adding a second guitarist, but due to musical differences Webb (now renamed Gary Numan) and Gardiner split with them as they wanted to move away from punk rock. As Numan was unhappy with playing on the often violent London punk scene, they became a studio-only band, quickly recording the 'Tubeway Army' album, and while it was still largely guitar/bass/drums-based, the album saw Numan's first tentative use of the Minimoog synthesizer, which he had come across by accident in the recording studio during the album sessions. Lyrically the record touched on dystopian and sci-fi themes similar to those employed by authors J. G. Ballard and Philip K. Dick, of whom Numan was a fan, and keen to distance his music from punk rock he wanted to drop the Tubeway Army name and release the album under his own stage name, but this idea was rejected by Beggars Banquet, and so 'Tubeway Army' was released in November 1978. 

Despite selling out the initial pressing of 5000 copies it didn't enter the album charts, and no singles were lifted from it, but undeterred, Numan took Tubeway Army back into the studio to record their follow-up album 'Replicas'. The result was more synth and science fiction oriented than the last album, and although the first single from the album, 'Down In The Park', failed to chart, it would prove an enduring cult track in the years to come. In early 1979 they were invited to record a session for the John Peel show, and this exposure might well have helped their next single 'Are 'Friends' Electric?' to reach the No. 1 spot on the UK singles chart. By this time the band included Chris Payne, Paul Gardiner, drummer Cedric Sharpley, and Ultravox keyboardist Billy Currie, and they gave memorable performances on both Top Of The Pops and The Old Grey Whistle Test, appearing dressed all in black and playing in a near-motionless manner, earning them comparisons to a band of androids. While all this was happening for the band, Numan was already busy recording his next album with a new backing band, and at the peak of their success, he opted to premiere four new songs in a John Peel session in June 1979 rather than promoting the current album, and so the Tubeway Army group name was dropped. While they will forever be remembered for that huge hit single (and deservedly so, as it is a classic), they were an innovative band for the period, integrating new wave synths into their punk-rock sound, and by listening to this collection of singles, b-sides, radio sessions and out-takes you can actually hear the transition from all-out punk rock to what would become Numan's signature electronic direction when he started his solo career.   

Track listing

01 That's Too Bad (single 1978)
02 Oh! Didn't I Say (b-side of 'That's Too Bad')
03 Bombers (single 1978)
04 Blue Eyes (b-side of 'Bombers')
05 O.D. Receiver (b-side of 'Bombers')
06 Do You Need The Service? (b-side of 'Down In The Park' 1979)
07 We Are So Fragile (b-side of 'Are 'Friends' Electric?' 1979)
08 Films (John Peel Session 1979)
09 Airlane (John Peel Session 1979)
10 Conversation (John Peel Session 1979)
11 Only A Downstat (out-take 1979)
12 We Have A Technical (out-take 1979)
13 The Crazies (out-take 1979)

A little Christmas gift for you...

Mike S contacted me at the weekend and asked if I'd considered adding files inside the folders with the biogs and track listings, and while I know that Sonic does that on Albums That Never Were, it wasn't something that I'd thought about. However, when playing one of my '...and on guitar' albums I do sometimes have to refer to the site to see who the main artist was, as the tag only credits the guitarist, so it might be a good idea for that series. Mike suggested adding them as a pdf, and that would solve any issues for MAC users trying to open a Word doc, but it would be quite a task adding an extra file to each folder and then re-uploading them all to Yandex, and also re-sharing them on Soulseek, so the solution is that all the pdfs will be stored in one folder on Yandex. If you want them all then just download the folder, and if you don't then don't bother. I'll add the new pdf to the folder each time I post a new addition to the series, and then you can just slot it into the music folder. They're all there from Phil Manznaera onwards, and I'll add the rest later.

James Burton - ...and on guitar (1978)

James Burton was born 21 August 1939 in Dubberly, Louisiana and began playing guitar at a young age, influenced by Chet Atkins, Elmore James and several others, using fingerpicks with a flatpick instead of the more conventional thumbpick. At the age of only 14 he became a professional musician, working club gigs and private parties, and in 1954 he became the youngest staff musician on the weekly radio show Louisiana Hayride in Shreveport, where he grew up. The first record that he played on was 'Just For A While'/'You Never Mention My Name' by Carol Williams in 1956, and in addition to his work on the Hayride, he played in Dale Hawkins' band, with whom he recorded and co-wrote 'Susie-Q' in February 1957. While working with Bob Luman, he came to the attention of Ricky Nelson, who invited him and Luman's bassist, James Kirkland, to meet his parents, and Nelson's father Ozzie Nelson offered Burton and Kirkland a regular spot on his son's television show 'The Adventures Of Ozzie And Harriet'. Before long James was living with the Nelson family in Hollywood, and playing on Ricky Nelson's 1957 single 'Stood Up'/'Waitin' In School', and then on every Ricky Nelson record after that for the next seven years. By 1965, Nelson was only on the road one month a year and Burton got bored, so he accepted an invitation from TV producer Jack Good to become a regular on the weekly 'Shindig' show, and to recruit a group, which he called the Shindogs. While working with Nelson, he had hardly done any session work for others, but after his exposure following a year on Shindig, he was soon doing five or six sessions a day, sometimes seven days a week, recording with such varied acts as Merle Haggard, Frank Sinatra, the Monkees, Judy Collins, the Everly Brothers and Johnny Mathis. In November 1967 he released his first album 'Corn Pickin' And Slick Slidin'', which was a collaboration with steel guitarist Ralph Mooney, and in 1969 he recorded the high point of his work with the dobro guitar, which he'd taken up in 1963, on Merle Haggard's tribute album to Jimmie Rodgers, 'Same Train, A Different Time'. In 1969, Elvis Presley asked Burton to be his lead guitarist and manage his band, to which he agreed, and so he moved to Las Vegas, remaining with Presley's touring band until the singer's death in August 1977. Through the last five years with Elvis, Burton also worked with Gram Parsons and Emmylou Harris, and then after Presley's death he went on the road with John Denver and stayed with him for fifteen years, continuing to do session work, and playing with Jerry Lee Lewis's touring band in the early 1980's. There is an excellent anthology of his work out on CD titled 'James Burton: The Early Years 1957-1969', and so this collection seamlessly carries on from that, mainly concentrating on his work from the late 60's to the early 70's, and because he played on so many, many records during that period I narrowed it down even further by only selecting records on which he played his dobro guitar. As well as a slew of superb country tracks, this also includes the outro on The Beach Boys' 'Cabinessence', and some superlative work on Buffalo Springfield's 'A Child's Claim To Fame'. 

Track listing

Disc One
01 A Child's Claim To Fame (from 'Buffalo Springfield Again' by Buffalo Springfield 1967)
02 Mama Tried (from 'Roots' by The Everly Brothers 1968)
03 Poor Immigrant (from 'Who Knows Where The Time Goes' by Judy Collins 1968)
04 Midnight Wind (from 'Closing the Gap' by Michael Parks 1969)
05 Little Piece In D (from 'John Hartford' by John Hartford 1969)
06 Song Of Sad Bottles (from 'Mark Spoelstra' by Mark Spoelstra 1969)
07 On The Natural (from 'My Griffin Is Gone' by Hoyt Axton 1969)
08 Living On The Corner (from 'Who Knocked The Brains Out Of The Sky' by 

                                                                                                           Eric Von Schmidt 1969) 
09 Cabinessence (from '20/20' by The Beach Boys 1969)
10 Snake Mountain Blues (from 'Our Mother The Mountain' by Townes Van Zandt 1969)
11 Hoboin' (from 'Rock Salt And Nails' by Steve Young 1969)

Disc Two
01 Makes You Beautiful (from 'Sings About People' by John Hurley 1970)
02 Apple Tree (from 'Slim Slo Slider' by Johnny Rivers 1970)
03 Topanga Canyon (from 'John Phillips (John The Wolfking Of L.A.)' by John Phillips 1970)
04 Big T Water (from 'James Hendricks' by James Hendricks 1971)
05 Train Of Life (from 'Someday We'll Look Back' by Merle Haggard and The Strangers 1971)
06 Sunstorm (from 'Sunstorm' by John Stewart 1972)
07 The Moon Is Stone (from 'Raised On Records' by P.F. Sloan 1972)
08 Streets Of Baltimore (from 'GP' by Gram Parsons 1973)
09 Boulder To Brimingham (from 'Pieces Of The Sky' by Emmylou Harris 1975)
10 Bet On The Blues (from 'I Want To Live' by John Denver 1977)
11 Song For The Life (from 'Ain't Living Long Like This' by Rodney Crowell 1978)
12 Come Early Mornin' (from 'Nicolette' by Nicolette Larson 1978)

Thanks to Martin for the suggestion.

The Wannadies - As If We Care (2002)

The next few years after 1997 were a turbulent time for The Wannadies, as in Spring 1997 drummer and founding member Gunnar Karlsson left, to be replaced by long-time friend of the band Erik Dahlgren, and after sorting out problems with their Swedish record label, the band now felt they were suffering from a lack of support from BMG in the UK, and so went on strike. To compensate for the lack of new material, a compilation album of the best of their first three records entitled 'Skellefteå' was released in Scandinavia in the spring of 1998, with the band touring the region in support of it while their problems with BMG were being resolved. Relations with the label had sufficiently improved for the band to begin recording their next album in the autumn of 1998, with a ten-day session at the Chateau De La Rouge Motte studio in Normandy, France with producer Mike Hedges. Only the track 'String Song' was completed, however, and it was not until the winter of 1998/99 that the band recorded the bulk of the tracks for fifth album 'Yeah', with former Cars frontman Ric Ocasek at the helm. 'Yeah' was released in the autumn of 1999 in Scandinavia and early spring 2000 in the UK, but BMG decided not to release the record in America, and also refused permission for the band to release it on another label, eventually dropping the band altogether. Despite not having a record company, the band toured extensively throughout the summer of 2000, and in the latter half of 2000 and much of 2001 the band constructed their own recording studio in which they would record much of their sixth album, with Nille Perned again producing. In 2002 they released 'Before & After' in Scandinavia through the National record label, and on 8 September 2003 in the UK on Cooking Vinyl records. After a long hiatus, the band were thought to be writing and recording songs for their seventh album in 2009, but in April they announced they had split, with Pär Wiksten going solo. Although the band reunited and played their hits 'Friends' and 'Hit' at a festival in 2016, it would be another four years before new music was released by the band, and a song originally started at the 'Before & After' sessions and completed in 2020 was issued as a single, with 'Can't Kill The Musikk' featuring a live version 'My Home Town' as the b-side. This second collection from the band includes all the non-album tracks from the re-issue of 'You And Me Song' in 1996 to the break-up in 2003, once again housed in a contemporary sleeve. 

Track listing

01 Everybody Loves Me (b-side of 'You And Me Song' re-issue 1996)
02 We Were Sitting In A Car On Our Way From Mold To Bath As A Thunderstorm 

                                                            With Hail Stones Passed (b-side of 'Friends' 1996)
03 Just Can't Get Enough (b-side of 'Hit' 1997)
04 (Yeah Yeah Yeah) In Your Face (b-side of 'Hit' 1997)
05 As If You Care (b-side of 'Hit' 1997)
06 I Like You A Lalalala Lot (b-side of 'You And Me Song' EP 1997)
07 What's The Fuss (bonus 7" with 'Bagsy Me' album 1997)
08 Are You Exclusive? (b-side of 'Shorty' 1997)
09 Taking The Easy Way Out (b-side of 'Shorty' 1997)
10 Princess Spoon (b-side of 'Yeah' 1999)
11 After All (b-side of 'Yeah' 1999)
12 Trick Me (b-side of 'Yeah' 1999)
13 Love And Hate (b-side of 'Big Fan' 2000)
14 Fabian's Space Disco (b-side of 'Skin' 2002)

Thanks to jman for the suggestion.