Various Artists - Where Have All The Horns Gone?! (1981)

After performing major surgery on a number of albums to remove the excess flab, and cosmetic surgery on a few others to give them a nip and tuck here and there, my attention turned to some of my favourite horn-led songs, and I wondered what they would sound like without their brass sections. Pretty good, as it turns out, as most of them remain great tracks even without the horns, and with some you don't even miss them despite hearing them hundreds of times already in their familiar versions. So purely as a bit of fun, and as an experiment to see what these programmes can do, here is a collection of songs which are famous for their inclusion of a horn section, presented in all their naked glory.  

Track listing

01 25 Or 6 To 4 - Chicago
02 Bitch - The Rolling Stones
03 And When I Die - Blood Sweat & Tears
04 Keep The Customer Satisfied - Simon & Garfunkel
05 No Reply At All - Genesis
06 Spinning Wheel - Blood Sweat & Tears
07 Reward - The Teardrop Explodes
08 Wake Up Boo - The Boo Radleys

09 Questions 67 & 68 - Chicago

10 You've Made Me So Very Happy - Blood Sweat & Tears
11 5:15 - The Who
12 Deacon Blues - Steely Dan

After some back and forth discussions and a bit of re-thinking, I've decided to remove the Moody Blues track, as despite a Reddit post citing it as one of the best rock songs with horns, I now realise that it doesn't actually have any on there, so it shouldn't really be here. 

Neil Christian And The Crusaders - Get A Load Of This (1967)

Neil Christian And The Crusaders might be a relatively obscure UK pop group of the early 60's, but they were as good a breeding ground for guitarists as John Mayall's Bluesbreakers, including in their ranks at various times such luminaries as Jimmy Page, Ritchie Blackmore, Albert Lee, Mick Abrahams and Paul Brett, as well as pianist Micky Hopkins, and bassist Alex Dmchowski, who later went on to join Aynsley Dunbar's Retaliation. Christopher Tidmarsh started his career in music by managing a North London-based outfit called The Red-E-Lewis And The Red Cats, who underwent a line-up shift when the original members joined Johnny Kidd as The Pirates from July 1961 to early 1962. Recruiting guitarist Bobby Oats and drummer Jim Evans, they played a few gigs at the Ebisham Hall in Epsom, and Tidmarsh first spotted Jimmy Page paying there. In early 1959, John Spicer joined the band on rhythm guitar, and when Oates announced that he was leaving the band, Tidmarsh contacted Page and invited him down to Shoreditch to audition for the vacancy. He became their new lead guitarist and Spicer switched to bass, and in Spring 1960 Tidmarsh replaced Lewis on vocals, and they reinvented themselves as Neil Christian And The Crusaders. Tidmarsh changed the names of his musicians, with Page being known as 'Nelson Storm', John Spicer was 'Jumbo' and drummer Evans was nicknamed 'Tornado'. 

Page toured with them for two years until he was forced to quit due to illness, suffering from glandular fever, although he would later still record with the band in the studio until 1964. Page's replacement was Paul Brett from the Impacs, who was himself briefly replaced by Albert Lee, while bassist Jumbo Spicer left to be replaced by Arvid Andersen. The Crusaders were augmented by pianist Tony Marsh, who had previously been in a Wembley-based combo called the Escort alongside drummer Keith Moon, and is was Marsh who introduced guitarist Ritchie Blackmore to Neil Christian, who teamed up with Andersen and Evans for a brief spell in early 1965. In March 1965, Blackmore and the rest of the group defected Screaming Lord Sutch to become The Savages, and so Christian pulled in an entirely new line-up, taking over a Luton group called The Hustlers, who featured Mick Abrahams on guitar. By June 1965 the new line-up was cemented by the addition of drummer Carlo Little, keyboardist Graham Waller and bassist Alex Dmchowski. While he was guitarist with the Crusaders, Abrahams stood in for Screaming Lord Sutch, who did exactly the same set as The Crusaders, before eventually leaving in late 1965. 

Christian disbanded the Crusaders soon after and decided to pursue a solo career, and his fortunes went on the upswing after he hooked up with songwriter and producer Miki Dallon, and landed a number 14 hit single with Dallon's 'That's Nice. To promote 'That’s Nice', Christian reassembled The Crusaders with Richie Blackmore, Tornado Evans, Avid Andersen and Tony Mash, and they toured the UK and Europe, particularly Germany, where they had a residency in Munich. While there he also recorded some tracks for the Metronome label, with 'Two At A Time' being a big hit for him in Germany in 1966. Christian went back to England and recruited new musicians who formed the final incarnation of the Crusaders, with pianist Matt Smith joining three members of Lord Caesar Sutch & The Roman Empire, Richie Blackmore, Carlo Little and bassist Tony Dangerfield. After The Crusaders split up following an argument in a restaurant, Christian released his final UK 45 'You're All Things Bright And Beautiful' for Pye in 1967, although when he moved to the Vogue label he recorded 'My Baby's Left Me' with his old Crusaders mates Blackmore and Little, with Nicky Hopkins on piano and Rick Brown on bass. Christian continued to release singles under his own name and as Neil Christian And The Crusaders well into the mid 70's, but he is best remembered for employing a string of guitarists who later went on to greater things, and an album around 1967 could have included tracks featuring most of them. As that never came about, then here is the best of the band's output, leaving aside some of the more 'pop' moments, and concentrating on the R&B that let those guitarists shine. 

Track listing

01 She's Got The Action
02 Get A Load Of This
03 One For The Money
04 Yakity Yak
05 That's Nice
06 Honey Hush
07 Bad Girl
08 Crusading
09 Oops
10 Countdown
11 My Baby's Left Me
12 Let Me In
13 I Like It

Featuring on guitar:
01, 02, 08, 12, 13 Jimmy Page
04, 07, 09, 10, 11 Richie Blackmore
01, 05 Mick Abrahams 
03, 06 Phil McPill 

Sunday - Whitney Houston Presents Sunday (2000)

Sunday were a R&B quintet from New Jersey, comprised of five girls aged between 18 and 22. Three sisters, Tawanda, Notasha, and Tiffany, were joined by their two cousins, Shakira and Stacey to form a group very much in the style of Destiny's or En Vogue, but with their gospel roots setting them apart. The quintet started singing together at the New Life Deliverance Church in Newark where their maternal grandmother was a pastor for 23 years, and they caught the eye of Robyn Crawford, a long-time associate of Whitney Houston, who signed them to a record deal. They recorded their self-titled debut album in 2000, which was executive-produced by Houston and Crawford, and it was led by the single 'I Know', which underperformed on the Billboard Hot 100, barely cracking at #98, but managed to fare better on the R&B/Hip-Hop aspect, peaking at number 32. However, this was not enough to prevent the album from getting canned by Capitol Records and Houston's label Better Place Records, and so it remains unreleased to this day. Like so many of these shelved albums, there is much to enjoy on here, and so here is what could have been the start of a promising career for these Whitney Houston protégées. 

Track listing

01 I'm Takin' Your Man 
02 Me For Me
03 Somebody Else
04 Fed Up 
05 Make It Hot
06 All Of A Sudden
07 I Know 
08 What Am I Gonna Do?
09 Alone
10 Everything's Alright
11 Believe In Love (feat. Whitney Houston)

The Dodos - Up The Block (1966)

In 1966, The Dodos released their highly influential and ground-breaking album, 'Up The Block'. A true innovation in sound, the Dodos left their more simplistic and singles based song-writing for more expansive and fresh sounding songs. With a harder edge than previous output, this record really shook the music scene and influenced many of their contemporaries to follow suit. The title, Up The Block evokes a sense of community which the Dodos both fostered and bristled against. This sentiment is explored within the songs of the album as well, on tracks like 'Marvelman' and 'Best Friends' which both take a combative look at their fan's expectations of them. Meanwhile songs like 'At the Pub', 'The Drums' and 'Honk That Horn' feel more like celebrations of their fans. There are a few classic Dodos boy meets girl songs, such as 'She Smiled At Me', 'Five Ways Till Love', 'Sun In My Eyes', and 'Blue Green Red', which all evoke the nostalgia of previous works, while also moving forward sonically. Two songs which were previously released as singles in late 1965 ('Magazine Blues' and 'One Day You Won't Need Us') were drastically reworked for the album, with completely different structure/sound and lyrical changes. The album had many sessions and there are drastically different alternate versions that were not used for the album which may be released at a later date as part of a rarities album. One such song is the side A closer, 'Dance It Away'. Written by Joseph Lemmon, the songs is a lumbering almost hypnotic song about watching your best girl give herself to the moment while dancing. 

The album version is also sung by Joseph, but there was a version sung by Samuel, who gave a wonderful vocal performance and raced through the song making it significantly shorter and punchier. The label wanted to release the Samuel version as a single, but the band and specifically Joseph fought to make the sixth single from the album 'Marvelman' instead, as Joseph felt more connected to the lyrical content of that song, and so the Samuel version while, breathtaking ,has yet to make the light of day. The Dodos were very staunch on the idea of providing value to their listeners, and so they always tried to make singles and album tracks different enough that no one felt cheated buying both. And this means that a wide selection of unreleased session tracks are in the Dodos vaults, all as good as the released version, but different. Of note is also Johnny's stepping up as far as song-writing goes on this album, having written 'At The Pub', 'Magazine Blues', 'Over Your Head', and 'One Day You Won't Need Us'. This was the first time in their career that Johnny had so many songs on an album. One of the album standouts has to be Bippo's 'The Drums'. A real joy of a track with not only a great vocal & percussion performance by the Dodos' drummer extraordinaire, but the rest of the band goes all in making it one of the most colourful and exciting tracks on the album. This is a rollicking good rock and roll album with something for everyone.  

Track listing

01 At The Pub
02 She Smiled At Me
03 Sun In My Eyes
04 Magazine Blues
05 Five Ways Till Love
06 Honk That Horn
07 Dance It Away
08 Blue Green Red
09 Over Your Head
10 Best Friends
11 The Drums
12 One Day You Won't Need Us
13 Marvelman

The Micky Finn - The Sporting Life (1967)

In the summer of 1961 lead guitarist Micky Waller, rhythm guitarist Bevis Belmour, bassist Mick Stannard, and drummer Richard Brand put together a Shadows-like instrumental band called The Strangers, and gigged around Bethnal Green in East London. The following year, they became a much more R&B-oriented group and enlisted vocalist Harry Bates, although by 1963 Waller and Brand had left to form a more 'mod' sounding band, while the remainder of the group carried on as The Mates, with new drummer Albert Smith. Having been  bitten by the Jamaican Blue Beat bug whilst hanging out at the Crypt Club, Aldgate, they decided to concentrate on this music, and so formed a new band, recruiting John Cooke aka "Fluff" on keyboards, John Burkitt on bass and Alan Marks on vocals. After having heard that Cyril Davis & His R&B All Stars featured a drummer called Micky Waller, he changed his surname to Finn, and the band became Mickey Finn & The Blue Men. Their agent, Don White, secured them a recording contract with Blue Beat Records, and in 1964 they released their debut single, a rendition of Elias & The Zig-Zag Jive Flutes 'Tom Hark', coupled with 'Please Love Me', composed by Alan Hawkshaw of Emile Ford & the Checkmates. After a couple of months, they switched to Oriole, and began recording with Jimmy Page on harmonica, after meeting him at Hackney Club 59. 

The follow up single, covering Bo Diddley's 'Pills' and Jimmy Reed's 'Hush Hush', was released in March 1964, and was banned after the police had discovered some purple hearts stashed in Mickey Waller's amp during a raid on The Scene Club. By mid 1964, ex-Stranger Mick Stannard had replaced Burkitt on bass, and they became known as simply The Mickey Finn. Their final 45 for Oriole was a Chuck Berry number 'Reelin' And Rockin'', but it failed to chart, even though it was tipped as a hit on 'Juke Box Jury'. Through their new manager, Chris Radmall, they got a deal with Columbia, and began recording with producer Shel Talmy in 1965, and their cover of Ian Whicomb's smash hit 'The Sporting Life' is now one of their most notable releases. They followed this with 'I Do Love You'/'If I Had You Baby' in July 1966 on Polydor, and then spent the summer of 1967 in Southern France, where they had a residency at the Voom Voom Club, St-Tropez. 'Garden Of My Mind' appeared on Direction Records in 1967, but after a few more years on the circuit, they decided to call it a day in 1971, with Micky Waller and John Cooke going on to The Heavy Metal Kids. Waller relocated in France and became a sought-after session musician, recording with Nino Ferrer, among others, and he eventually returned to the UK and joined Steve Marriott’s All Stars in 1976, and then the group formed by ex-Pretty Things singer, Phil May & the Fallen Angels, in 1977. The Micky Finn made a couple of excellent singles in their hey-day, and this has kept them at the top of any list of obscure UK beat groups of the 60's, and by 1967 they had recorded enough material for an album, although this would have had to include both their R&B and psychedelic songs on the same record, so this could be why it never happened. However, let's enjoy all of their best music on this imaginary album from 1967.  

Track listing

01 Night Comes Down
02 Ain't Necessarily So
03 Poverty
04 Reelin' And A'Rockin'
05 Garden Of My Mind
06 Hush Your Mouth
07 If I Had You Baby
08 The Sporting Life
09 Miss Jane

10 Because I Love You
11 I Still Want You
12 God Bless The Child

13 Please Love Me
14 Time To Start Loving You

Kenny - Old Songs Never Die (1979)

Kenny was one of the myriad bands thrust onto the British glam scene as it approached its end in the mid-70's, and they were generally regarded, alongside the Bay City Rollers and Slik, as simply another in a long line of acts created by master songwriters Bill Martin and Phil Coulter. In fact, although the five-piece group's best-known material was indeed the work of that pair, Kenny's Rick Driscoll and Yan Stile were also very competent songwriters in their own right, as the group's final few releases proved. Kenny had actually already existed for some three years before Martin and Coulter first encountered them, as under the name Chufff the quartet were regulars on the free festival progressive rock circuit, playing alongside such stalwarts as Hawkwind and the Edgar Broughton Band. They were discovered by Martin and Coulter in late 1974, apparently rehearsing in a banana warehouse in the north London suburb of Enfield, and their initial response to the songwriters' overtures were disdainful. Martin and Coulter would not take no for an answer, and as they had recently recorded a new version of a song previously cut with the Bay City Rollers, a dance number called 'The Bump', they were anxious to find a ready-made band to promote it on television. Indeed, the record had already been released and seemed destined for a chart entry, and so as they seemed assured of stardom, Chufff agreed to become Kenny. 

In the event, that stardom was to prove extremely fleeting, as while the group certainly garnered some publicity from the Kellogg's cereal company's objections to the band's "K" logo, and 'The Bump' made number three in early 1975, the group enjoyed just three further British hits, all penned by Martin-Coulter, including the number four smash 'Fancy Pants', plus 'Baby I Love You OK', and 'Julie Ann'. Driscoll and Stile only managed to get a couple their own songs onto vinyl, with 'Dancin' Feet' on the flip of 'Julie Anne', and 'Happiness Melissa' appearing on the b-side to the late-1975 flop 'Nice To Have You Home'. The under-performance of Kenny's debut album furthered the band's desire to extricate themselves from their predicament and, in late 1976, they went to court to free themselves from Martin-Coulter, after which they signed to Polydor and recorded a new, all original, album, 'Ricochet', and released the single 'Hot Lips'. Neither drew any attention whatsoever and when a serious road accident put Stile out of action, Kenny folded. For a manufactured pop band of the period they managed to get quite a few non-album songs on the b-sides of their singles, and so if you have fond memories of 'The Bump' then check out this collection of their harder to find tracks.  

Track listing

01 Forget The Janes, The Jeans And The Might Have Beens (b-side of 'The Bump' 1974)
02 Bring Back The Good Old Melodies (b-side of 'The Bump' 1974)
03 I'm A Winner (b-side of 'Fancy Pants' 1975)
04 The Sound Of Super K (b-side of 'Baby I Love You, OK!' 1975)
05 Dancin' Feet (b-side of 'Julie Anne' 1975)
06 Happiness Melissa (b-side of 'Nice To Have You Home' 1975)
07 Bangin' My Head Against A Brick Wall (b-side of 'Hot Lips' 1976)
08 Crying (out-take 1976)
09 Abe's Lament (out-take 1976)
10 Old Songs Never Die (single 1977)
11 Don't Hold On (b-side of 'Old Songs Never Die')
12 Reach Out (I'll Be There) (single 1979)
13 Time Is The Healer (b-side of 'Reach Out (I'll Be There')

Pierre Henry - Ceremony (1969)

This might seem like something of an odd post, considering how much time and effort it took to remove just about every trace of Pierre Henry from the original mix of Spooky Tooth's 'Ceremony' album, but after posting the result I receive at least two comments from people saying that they would have preferred to have heard less Spooky Tooth and more Pierre Henry! After confirming that they weren't joking, I did strip out a couple of tracks, and as they were gratefully received, I found that I had a bit of free time this weekend, so I've stripped out the other four tracks, and here is 'Ceremony' as performed solely by Pierre Henry. As I mentioned in the comments, this sort of  'music' isn't really for me, and so as I've had to listen to them all multiple times while working on them, I'll probably never need to hear this again.   

Track listing

01 Have Mercy
02 Jubilation
03 Confession
03 Prayer
05 Offering
06 Hosanna

Queen - Flash Gordon (1980)

While writing and recording 'The Game', Queen were asked by renowned movie director Dino DeLaurentis to provide the soundtrack for his upcoming sci-fi epic 'Flash Gordon', which the band accepted and promptly began working on both albums simultaneously. Although at first many fans criticized 'Flash Gordon', since it was issued as an official Queen release rather than a motion picture soundtrack, it has proven to be one of rock's better motion picture soundtracks over the years. The majority of the music is instrumental, with dialogue from the movie in place of Freddie Mercury's singing (only two tracks contain lyrics), but the song-writing is still unmistakably Queen. Highlights abound, such as 'Football Fight', 'Vultan's Theme (Attack Of The Hawk Men)', 'The Wedding March', and the heavy metal roar of 'Battle Theme'. But it was the two more conventional songs that were the album's best tracks, with the anthemic U.K. Top Ten hit 'Flash's Theme', and the woefully underrated rocker 'The Hero'. With Queen involved, 'Flash Gordon' is certainly not your average, predictable soundtrack, and in a recent comment, Anonymous suggested that a version of it without the dialogue and effects would be an interesting listen. As it was quite unusual at the time for a soundtrack album to include sounds from the film, I thought that it was a valid idea, and so here is the unadulterated version of Queen's soundtrack to the film 'Flash Gordon'.  

Track listing

01 Flash's Theme
02 In The Space Capsule (The Love Theme)
03 Ming's Theme (In The Court Of Ming The Merciless)
04 The Ring (Hypnotic Seduction Of Dale)
05 Football Fight
06 In The Death Cell (Love Theme Reprise)
07 Execution Of Flash
08 The Kiss (Aura Resurrects Flash)
09 Arboria (Planet Of The Tree Men)
10 Escape From The Swamp
11 Flash To The Rescue
12 Vultan's Theme (Attack Of The Hawk Men)
13 Battle Theme
14 The Wedding March
15 Marriage Of Dale And Ming (And Flash Approaching)
16 Crash Dive On Mingo City
17 Flash's Theme Reprise (Victory Celebrations)
18 The Hero

The Four Pennies - A Place Where No One Goes (1966)

The Four Pennies started out as the Lionel Morton Four, taking their name from their singer, who had served as a choir boy in a cathedral in his hometown of Blackburn, Lancashire, during his youth. In 1963 they changed their name to the more commercial alternative of The Four Pennies, named after Penny Street, where their favourite music shop was located. The band now consisted of Lionel Morton on vocals and rhythm guitar, Fritz Fryer on lead guitar, Mike Wilshaw on bass, keyboards, and backing vocals, and Alan Buck on drums, and they got a record deal with Philips almost immediately, and their first single 'Do You Want Me To' came out in 1963, scoring a number 47 placing in the UK singles chart. Their second single, 'Tell Me Girl', was released in 1964, but the b-side proved the more popular song, and 'Juliet' is now the song with which they are most associated, after it hit the number one slot on the UK Singles Chart. It was a self-penned number, written by Fryer, Wilshaw and Morton, but ended up being the only UK Number one of 1964 not to chart in America. Following the UK chart-topping success of 'Juliet', the band racked up subsequent 1964 UK hits with their original 'I Found Out The Hard Way' and a cover of Leadbelly's 'Black Girl', followed by the release of their debut album 'Two Sides Of Four Pennies', which, as was customary for British acts of the time, mostly ignored their hit singles. After their first single of 1965 failed to reach the UK chart, Fryer left The Four Pennies to found a folk trio called Fritz, Mike and Mo, and he was replaced on guitar by David Graham. The revamped quartet then hit the UK chart again with 'Until It's Time For You to Go', written by Buffy Sainte-Marie, but their 1966 cover of Bobby Vinton's 'Trouble Is My Middle Name' would be their final chart placing, after which Fryer returned to the fold, replacing his own replacement Graham. They finished 1966 by releasing their second album, 'Mixed Bag', but neither it, nor the singles 'Keep The Freeway Open' and Tom Springfield's 'No More Sad Songs For Me', charted, and so by the end of the year the group had dissolved. As it happened, they could have released a much better second album than 'Mixed Bag' in 1966, by just including some of their better singles and their b-sides, but as they didn't do that then here is what it would have sounded like. 

Track listing

01 Square Peg
02 Till Another Day
03 Don't Tell Me You Love Me 
04 Juliet
05 Trouble Is My Middle Name
06 No Sad Songs For Me
07 Black Girl
08 Keep The Freeway Open
09 Miss Bad Daddy
10 Cats
11 The Way Of Love
12 A Place Where No One Goes
13 Way Out Love
14 I Found Out The Hard Way
15 Tell Me Girl (What Are You Gonna Do)

Jhené Aiko - 3:16AM (2012)

Returning to music after completing her education, Jhené Aiko released a mixtape titled 'Sailing Soul(s)' in March 2011, which was made available via her official website, JheneAiko.com. All the songs on the mixtape were written by her, except for 'July', and it featured collaborations with Miguel, Drake and Kanye West, among others. To promote the mixtape Aiko was joined by R&B singer Miguel on a one off free secret performance on Sunday, 15 July 2011, and in October she released music videos for two of the songs from the mixtape, 'My Mine' and 'Stranger'. In 2011 she also began working closely with artists from Carson-based independent record label Top Dawg Entertainment such as Schoolboy Q and Ab-Soul, and the latter was featured on her 'Sail Out' EP, which was released in November 2013. Before that, however, in 2012, she met with No I.D., record producer and vice president of A&R at Def Jam, who ended up signing Aiko to his Artium Records imprint through Def Jam. Her first release on the label was '3:16AM', which was made available for digital download on iTunes in September 2012, and which was the first single from the forthcoming 'Sail Out' EP. The EP was released in November 2013, and debuted at number eight on the US Billboard 200 chart, with first-week sales of 34,000 copies. In June 2014, 'To Love & Die' was released for digital download as her forthcoming album's lead single, but she had in fact recorded another albums worth of material while in the studio for the 'Sail Out' sessions, and so before the release of her actual debut record 'Souled Out' in 2014, she could have issued the '3:16AM' album in 2012, and so as she didn't do that then we'll just have to do it for her. 

Track listing

01 3:16AM
02 2 Seconds
03 Comfort Inn Ending
04 For My Brother
05 I'd Rather Be
06 I'm Back
07 Keep Ya Head Up
08 Snapped
09 Everything Must Go
10 In Love We Trust
11 Wait No More
12 Burning Man (3:16PM)

Captain Beefheart & The Magic Band - Drink Paint Run Run (1972)

Following the release of the classic 'Trout Mask Replica' album in 1969, Captain Beefheart & The Magic Band's (the first time the group were not referred to as 'His' Magic Band) follow-up had to be something special, and 1970's 'Lick My Decals Off, Baby' certainly continued in a similarly experimental vein. Appearing within the most experimental and visionary stage of the group's career, it was their most commercially successful album in the UK, spending twenty weeks on the Albums Chart and peaking at number 20. Art Tripp III, formerly of the Mothers of Invention, played drums and marimba on the record, along with a returning John French, who had been ejected from the group during the 'Trout Mask Replica' sessions. An early promotional music video was made of its title song, alongside a bizarre television commercial that included excerpts from 'Woe-Is-uh-Me-Bop', silent footage of masked Magic Band members using kitchen utensils as musical instruments, and Beefheart kicking over a bowl of what appears to be porridge onto a dividing stripe in the middle of a road. The video was rarely played but was accepted into the Museum of Modern Art, where it has been used in several programs related to music. The next record was just credited to Captain Beefheart, and the atmosphere of 1972's 'The Spotlight Kid' seemed more relaxed and fun. 

The music is simpler and slower than on the group's two previous releases, and this was in part an attempt by Don Van Vliet to become a more appealing commercial proposition, as the band had made virtually no money during the previous two years. The next record was released as by Captain Beefheart And The Magic Band, and 1972's 'Clear Spot' is rightly regarded as a high-point in the band's career. The production credit of Ted Templeman made AllMusic's Ned Raggett consider "why in the world wasn't it more of a commercial success than it was", and while fans of the fully all-out side of Beefheart might find the end result not totally to their taste, those less concerned with continually pushing back the borders enjoyed his unexpected blend of styles, tempered with a new accessibility. And, of course, it included that fantastically strange piece of aggression that was 'Big Eyed Beans From Venus'. While recording these three albums the group laid down many, many instrumental takes, while Van Vliet searched for that perfect recording over which to lay his vocals, and hours worth of them have survived, so here is a selection of the very best. As most of them are instrumentals, I've included a couple of alternate vocal takes of songs that did eventually end up on albums, just to give the album a bit of variety, but these are completely different versions.  

Track listing

01 Suzy Murder Wrist
02 U Bean So Cinquo
03 Drink Paint Run Run
04 Flaming Autograph
05 Love Grip
06 No Flower Shall Grow
07 Sun Zoom Spark (Take 3)
08 Best Batch Yet
19 Seam Crooked Sam (Take 1)
10 Dual & Abdul
11 Dirty Blue Gene
12 Open Pins
13 Semi-Multicoloured Caucasian

Bern Elliott & The Fenmen - I Can Tell (1964)

Bernard Michael Elliott was born in Erith, Kent, on 17 November 1942, and attended Picardy School in Belvedere, before forming his own beat group, which became Bern Elliott and the Bluecaps. After a name change to Bern Elliott and the Fenmen in 1961, the group performed over the next two years in clubs in Hamburg, Germany, and were signed to a recording contract with Decca in early 1963. 'Money' was released by several artists at the time, but Bern Elliott and the Fenmen were unique as a group in registering a UK Singles Chart Top 20 hit with the song in December 1963, with their Merseybeat style belying their southern England roots. However, they did appear on 13 March 1964 episode of the UK television programme Ready Steady Go!, playing their follow-up hit, 'New Orleans'. In May 1964, Elliott parted company with The Fenmen, and utilised The Klan for a short time as his backing group on one release, 'Good Times'/'What Do You Want With My Baby', which was released on Decca in September 1964. The following year Elliott tidied himself up in an effort to become a smoother pop entertainer, and issued two solo efforts, 'Guess Who' and 'Voodoo Woman', neither of which troubled the charts. The Fenmen continued as a band in their own right, issuing further efforts both for Decca and CBS, including 'I've Got Everything You Need, Babe' in 1965 and 'Rejected' in 1966. After the Fenmen themselves disbanded, Wally Allen (aka Wally Waller) and Jon Povey moved on to The Pretty Things, but despite only releasing one EP and a couple of singles before the band members went their separate ways, they had recorded enough material for an album by 1964, and so if Decca had wanted one then it could have sounded like this. 

Track listing

01 Money
02 Be My Girl
03 Everybody Needs A Little Love
04 Good Times

05 (Do The) Mashed Potato
06 Chills
07 New Orleans
08 Please Mr. Postman
09 Talking About You
10 Nobody But Me
11 What Do You Want With My Baby
12 I Can Tell
13 Shake Sherry Shake
14 Little Egypt
15 Shop Around

Grouper - False Horizon (2016)

Grouper is the solo project of musician, artist and producer Liz Harris, who was born on 15 July 1980 in Northern California, and who grew up around the San Francisco Bay area, in a Fourth Way commune there which was inspired by the philosophy of George Gurdjieff. The community was known as "The Group", which would later serve as some inspiration for the moniker Grouper. After finishing at university with a Bachelor of Fine Arts degree, Harris briefly moved to Los Angeles, where she worked with Mayo Thompson at Patrick Painter. Her first album was an eponymous self-released full-length CD-R, followed later that year by 'Way Their Crept' on Free Porcupine Society Records. In 2008 she released 'Dragging A Dead Deer Up A Hill', which turned out to be her breakthrough album, with AllMusic reviewer Heather Phares praising it for showing more musical range than Harris' previous work, and for "letting more melody, more structured songs, and even a few phrases emerge from the ether", while Pitchfork gave it 8.2 stars, calling the work "an arresting album of pastoral psychedelic pop". Harris has continued to release albums since then which challenge the listener, including one consisting of two parts: 'A I A: Dream Loss' and 'A I A: Alien Observer', and a pair of longform tape collage pieces which originally took shape for commissioned performances in New York and Berkeley. Her 2014 release 'Ruins' is relatively stripped-down, with just piano, voice and field recordings, and while being only 22 minutes long, 2018's 'Grid Of Points' garnered generally positive reviews. On 27 July 27 2021, Harris announced a new Grouper album, 'Shade', and released its first single 'Unclean Mind', and to trace how she got to that point, from her self-released CD-R to her 12th official album on the respected Kranky label, here is a collection of her non-album singles and other rarities, recorded between 2007 and 2016, and spanning her career from her ambient instrumentals to her singer/songwriter phase.   

Track listing

01 Quiet Eyes
02 Everyone In Turn
03 Hold
04 Water People
05 Hollow Tone
06 I'm Clean Now
07 Sick
08 Cassiopeia
09 Headache
10 Moving Machine
11 False Horizon
12 Demona

Spooky Tooth - Ceremony (1969)

Spooky Tooth's 1969 album 'Ceremony: An Electronic Mass' must be one of the most divisive records ever released. Despite the project being instigated by Gary Wright, it is considered by him to have ended the band's career, and has been described by others as being "one of the great screw-ups in rock history". Spooky Tooth wrote and recorded six tracks, and then sent them over to Pierre Henry to add his music concrete contributions to them, which generally involved him hitting anvils with pipes, grunting over the music, or adding three minutes of cacophonous bells to the end of 'Prayer'. As Wright describes it, "...we did a project that wasn't our album. It was with this French electronic music composer named Pierre Henry. We just told the label, 'You know this is his album, not our album. We'll play on it just like musicians.' And then when the album was finished, they said, 'Oh no no — it's great. We're gonna release this as your next album.' We said, 'You can't do that. It doesn't have anything to do with the direction of 'Spooky Two' and it will ruin our career.' And that's exactly what happened". Wright was so unhappy with this decision that he left the band following the release of the album. Following a comment by Unknown on the 'Atom Heart Mother' post, I looked into removing Pierre Henry's contributions from the album, and although some of them were too deeply embedded to remove completely, you can now hear some really fine music from the band coming through, with great guitar work and strong arrangements. This could have been a great Christian rock album if it had been released as a purely Spooky Tooth record, and at the moment this is the closest that we'll get to hearing that concept. 

Track listing

01 Have Mercy
02 Jubilation
03 Confession
03 Prayer
05 Offering
06 Hosanna

The Attack - Art Attack (1968)

The Attack were founded by Richard Shirman and Gerry Henderson, who were originally in a group called the Soul System, whom, for the best part of a year, had a very unstable line-up. In early 1966, the remnants of the crumbling group were joined by Bob Hodges on organ, David John (Davy O'List under alter ego) on guitar, and Alan Whitehead on drums. They soon came to the attention of entrepreneur Don Arden, who then signed them to Decca and changed their name to The Attack. Their debut single was released in January 1967, and was an extremely anglicized cover of 'Try It', an American hit for both the Standells and Ohio Express, whose versions were exemplar of the sneering garage sound. However, The Attack's powerful vocals, pop art guitar, and the underbelly of a warm Hammond created a similar atmosphere to the Small Faces, the Birds, and the Creation. Shortly after the single was released, Davy O'List was handpicked by Andrew Loog Oldham to join the Nice, who were to act as the backing band for newly acquired American soul singer P.P. Arnold, and so he quit the group in late February. Meanwhile, Shirman, a regular visitor to the London clubs, had been keeping a watchful eye on a young guitarist he had seen jamming with Jimmy Page, and so John Du Cann was introduced into the group. 

As a follow-up to 'Try It', a version of 'Hi-Ho Silver Lining' was then released, but Jeff Beck got the hit first in Britain in 1967. The third 45, 'Created By Clive'/'Colour Of My Mind', backed a foppish sub-Kinks-style number with a fairly groovy mod-psych tune penned by DuCann. Bassist Kenny Harold and guitarist Geoff Richardson left shortly after the disappointment of the 'Created By Clive' single, leaving Du Cann as the only guitarist, and Jim Avery was drafted in on bass, with Plug still on drums. Their next single was to be be the excellent 'Magic In The Air', but Decca refused to release it on the grounds that it was too heavy, and so Plug and Avery left the ranks to be replaced by Roger Deane on bass and Keith Hodge on drums. The final single, released in early 1968, was 'Neville Thumbcatch', a fruity mod-pop tune with spoken narration, like a lesser counterpart to Cream's 'Pressed Rat And Warthog', and Decca's deal with the Attack expired after that single, with a projected fifth 45, 'Freedom For You'/'Feel Like Flying', remaining unreleased. This led to the break-up of the group, with Du Cann going on to form Andromeda, and later to join Atomic Rooster in the 70's. The Attack have been well-served with compilations of their material, but as so often happens with these anthologies, the label try to cram in every single thing that they could track down by the band, whether good, bad or indifferent, and The Attack are the perfect example of the need for some judicious pruning of their material in order to present them in the best light. Their singles 'Hi-Ho Silver Lining', 'Created By Clive', and 'Neville Thumbcatch' are not representative of the band's powerful mod sound, and so they need to be excised in favour of scorching rockers like 'Any More Than I Do', and so here is the album that they should have released in 1968, which shows what a great band they really were. 

Track listing 

01 Any More Than I Do
02 Go Your Way
03 Colour Of My Mind
04 Strange House
05 Come On Up
06 Magic In The Air
07 Feel Like Flying
08 Lady Orange Peel
09 Too Old
10 Freedom For You
11 Anything
12 Mr Pinnodmy's Dilemma
13 Try It
14 We Didn't Know

Jhené Aiko - My Name Is Jhené (2003)

Jhené Aiko Efuru Chilombo was born on 16 March 1988 in Los Angeles, California, but the family moved to Baldwin Hills when their home burned down when she was seven. She embarked on her musical career contributing vocals to several B2K releases, as well as performing on a song on the soundtrack of the 2002 film 'The Master Of Disguise'. During this time she was known as the cousin of B2K's rapper, Lil' Fizz, though she is not actually related to him, and it was actually a marketing tool suggested by her labels Sony, The Ultimate Group and Epic Records, to promote her through B2K and attract an audience. She also appeared in numerous music videos including O'Ryan's debut video 'Take It Slow', B2K's debut video 'Uh Huh', and Morgan Smith's 2004 video 'Blow Ya Whistle', as well as having songs featured on the soundtracks of 'Barbershop', 'You Got Served', 'The Proud Family', and 'Byou'. In 2003, when she was just 15 years old, she released a video for her single 'No L.O.V.E', and she was set to release her debut album, then-titled 'My Name Is Jhené', later that year, but it was never released due to tension at the record label Epic, which ultimately led to Aiko asking to be released from her contract. Once the labels agreed to her request she went back to school to continue her education, and it was to be four years before she made a return to music in 2007, and another four before she released any new music. By this time her cancelled album was behind her, as she was now 23 years old, and a record made when she was 15 would not be an accurate representation of her music, but it's certainly a fine example of her early work, and so here it is for you to hear.

Track listing

01 My Name Is Jhené
02 Pain
03 No L.O.V.E.
04 Boy
05 What I Need
06 Down 4 U, Part II (feat. Lil' Fizz)
07 Won't Play The Game
08 Cherry Pie (Interlude)
09 Angel
10 Wanna Be
11 Deja Vu
12 Don't Walk Away
13 You Got Nerve
14 Dog (feat. Lil' Fizz)
15 Promise Ring
16 Rowdy
17 You Don't Know (feat. Needa S.)

The Dodos - Photo Album (1966)

One of the 1966 albums by the Dodos is entitled 'Photo Album', and it features twelve tracks, including six singles, and as always, all the singles are different to the album versions. The Dodos believed in quality and value for their fans! The album shows the boys progressions into their psychedelic phase, with such classics as 'The March Of The Lonely', 'Round About Way', and of course the epic closing number, 'One More Time (For Those In The Back)'. That doesn't mean they sacrificed melody, as shown by such numbers as 'Moon in Your Eyes', 'Outta Sight (Outta Mind)', and 'It Hurts'. All throughout, it's classic Dodos song-writing, but a bit more mature than their 1965 albums, and with a wider palate of colours to work with.

Track listing

01 Hot Fuzz
02 Round About Way
03 Moon In Your Eyes
04 Your Mother Said No
05 Tight Spaces
06 The March Of The Lonely
07 It Hurts
08 Anything That Isn't You
09 Big Ben
10 Outta Sight (Outta Time)
11 Night On The Sound
12 One More Time (For Those In The Back) 

Mike Solof - Off The Beatle Track - Episode 152 (2020)

I think its time for another dip into Mike Solof's Beatles-related radio shows, and this one is a bit different, as it doesn't feature The Beatles, but a band who many people seriously thought were The Beatles when their self-titled album appeared in 1976. With hindsight it's hard to believe that we ever really though that this was the reformed Beatles, for some unknown reason releasing a record under a pseudonym, but Mike's in depth investigation follows the clues, and it's a really enjoyable listen.

Track listing

01 Episode 152 - Klaatu: The Other Beatles

  

The Glass Menagerie - Run To The Sun (1969)

In August 1967 guitarist John Kendall and bassist John Medley left their band The Truth and teamed up with three ex-members of The Raging Storms, being Lou Stonebridge on vocals, Keith O'Connell on organ and Bill Atkinson in drums. Inspired by the new wave of progressive and psychedelic rock, they started out as a covers band, playing material by Blood, Sweat & Tears, The Doors, Traffic, The Lovin' Spoonful, and Jefferson Airplane, and they quickly gained a reputation and a strong following, and in 1968 they signed a deal with Pye Records. After they moved to London, O'Connell left the group to join Geno Washington's Ram Jam Band, and so Stonebridge took over on organ as well as vocals. Their fist single for Pye was a cover of The Rolling Stones' 'She's A Rainbow', which was released in April 1968, and they followed that in June with another cover, this time tackling The Lovin' Spoonful's 'You Didn't Have To Be So Nice'. For their third single they covered Harry Nilsson's I Said Goodbye To Me', and backed it with a John Medley original in 'Frederick Jordan', but despite all three records containing some excellent music, and enjoying decent airplay, none of them were hits. The band continued to build up a popular live following through constant touring, broadcasts on John Peel's 'Top Gear' radio show, and regular appearances at clubs like The Marquee. In 1969 the band moved to the Polydor Record label, where they released two singles, 'Have You Forgotten Who You Are' and 'Do My Thing Myself', and they also recorded an album, which was never released, possibly due to the lack of success of the singles. By the end of 1969, both Kendall and Medley felt that they were getting nowhere with the group and so left, and the remaining members recruited Tony Dangerfield as the new bassist, and they continued for another year as a three-piece, before finally folding in 1970. The unreleased album has never surfaced, but we can have a guess at what might have been included on it, and as some of their radio sessions have survived, we know the sort of material that they were playing in 1969, and so here is my attempt to piece together what a Glass Menagerie album could have sounded like if it had appeared in 1969. 

Track listing

01 I Said Goodbye To Me
02 That's When I Start To Love Her
03 Watching The World Pass By
04 Life Is Getting It Together
05 Have You Forgotten Who You Are
06 Chequebook Girl
07 Do You Ever Think
08 Let's All Run To The Sun
09 Frederick Jordan
10 Run Out Of Time
11 Do My Thing Myself
12 Putting It Off Till Another Day
13 She Came From Hell

This album is the perfect companion to a recent post on the albumsthatshouldexist site, as it includes all their singles, alongside a few sessions for the BBC.  

The 13th Floor Elevators - Bull Of The Woods (1969)

While the 13th Floor Elevators' debut album caught them as they were still buzzing with the excitement of their musical journey through inner space, and 'Easter Everywhere' found them exploring the possibilities of the recording studio as well as their own creative process, their final studio set, 1969's 'Bull Of The Woods', documented a band that was running out of steam. Legal problems were dogging the Elevators and preventing them from touring, they were justifiably unhappy with their record company, lead vocalist Roky Erickson was beginning to buckle under the group's steady diet of LSD, and lyricist and founder Tommy Hall was growing tired of the demands of the group after the difficult process of writing 'Easter Everywhere'. The album project commenced shortly after the completion of 'Easter Everywhere', and featured two bass players, with the 1968 line-up of Roky Erickson, Stacy Sutherland, Tommy Hall, Danny Thomas, and Duke Davis, with Ronnie Leatherman replacing Davis on some tracks. Only four songs feature Roky Erickson and Duke Davis, with the remaining seven tracks featuring only Sutherland, Thomas, and Leatherman, and so as a consequence, guitarist Stacy Sutherland became the de facto leader of the group during this period, writing most of the songs and singing lead on several numbers, and in his hands the 13th Floor Elevators were a very different band. Sutherland's compositions are more languid and pastoral than the material that dominated the first two albums, and while there's still a psychedelic undertow, Sutherland's music was gentler and his lyrics more solidly grounded in the real world than what he created in tandem with Erickson and Hall. At the same time, the record also showcases Sutherland's consistent strength as a guitarist, and his fluid lead lines and melodies rooted in country and blues figures are Texas psychedelic music at its purest and most refreshing, after the psychic roller coaster of the 13th Floor Elevators' first two albums. Unfortunately, the sessions for the album were recorded quickly, and producer Ray Rush overdubbed an incongruous horn section on several numbers at the insistence of International Artists Records, but even in compromised form, 'Bull Of The Woods' is a testament to Stacy Sutherland's talents and his often overlooked role in one of America's truly visionary rock bands. This version removes that overdubbed horn section, although as it was only present on a few of the tracks then this isn't a radical upgrade, but it's certainly worth a listen if you're a fan of the group. 

Track listing

01 Livin' On
02 Barnyard Blues
03 Til Then
04 Never Another
05 Rose And The Thorn
06 Down By The River
07 Scarlet And Gold
08 Street Song
09 Dr. Doom
10 With You
11 May The Circle Remain Unbroken

The Human Expression - Optical Sound (1967)

The Human Expression formed in 1966, with the members coming from Westminster, California, and Tustin, California.  Jim Quarles and Jim Foster began writing songs for the new band, and they started performing in local venues and school dances to create a more cohesive unit. After rehearsing for six months, they went to a recording studio and cut the demo recordings for their first single, eventually securing a recording contract with Los Angeles-based Accent Records. Although 'Every Night' was chosen as the A-side, the original flip, 'Readin' Your Will', was replaced with a song that is probably their best known recording, 'Love At Psychedelic Velocity'. Two more original compositions made up the second single, 'Optical Sound'/'Calm Me Down', but perhaps due to the slow sales of the band's own songs, their manager brought demos of two songs by then-unknown songwriter Mars Bonfire to the band to consider for their third single. They selected 'Sweet Child Of Nothingness' for their third release, to be backed with another original composition 'I Don't Need Nobody', turning down 'Born To Be Wild' in the process, as Quarles was not impressed with the song. Before the third single was released, lead guitarist Martin Eshleman injured his hand, when Tom Hamilton accidentally slammed a door on it, leaving Eshleman with severed tendons, forcing him to leave the band. Although a new guitarist was brought in, Quarles left almost immediately, and the band then fell apart. By that time they had recorded enough material to put together an album of their single sides plus a few demos, and so here is the best of The Human Expression from 1967.

Track listing

01 Love At Psychedelic Velocity
02 Outside Of It All
03 Every Night
04 Calm Me Down
05 Optical Sound
06 Your Mind Works In Reverse
07 Who Is Burning
08 Readin' Your Will
09 I Don't Need Nobody
10 You Need Lovin' Too
11 Sweet Child Of Nothingness
12 Following Me

Tweet - Love, Tweet (2008)

Charlene Keys was born on 21 January 1971), and is better known by the stage name Tweet. In the early 90's she Tweet joined the female trio Sugah, which comprised Tweet, Susan Weems, and Rolita White, and they were part of Devante Swing's Swing Mob collective. While there, she met Missy "Misdemeanor" Elliott, with whom she formed a close friendship' leading to her appearing on Missy Elliott's platinum-selling third album, 'Miss E... So Addictive', being featured on one track and providing background vocals to another four. In March 2002 she released her debut solo single, 'Oops (Oh My)', which was produced by Timbaland and features guest vocals by Missy Elliott, and which hit number one on the Hot R&B/Hip-Hop Songs. In April 2002, Tweet released her debut album Southern 'Hummingbird', which featured Missy Elliott, Bilal, and Ms. Jade, and it reached number three on the Billboard 200 chart. In 2002 she appeared as a guest vocalist on a number of albums, including those from Trina, Meshell Ndegeocello, Karen Clark Sheard, Ms. Jade, and Whitney Houston. This continued throughout 2003, with appearance on records by Madonna, Monica, and Mark Ronson, and she also began recording songs for her follow-up to 'Southern Hummingbird'. The album was supposed to be released in early 2004, but was pushed back when Tweet moved from Elektra Entertainment Group to Atlantic Records, but she did release the single 'Turn Da Lights Off' that year, which was produced by Missy Elliott and Kwamé. In March 2005 her second album appeared, and 'It's Me Again' peaked at #17 on the Billboard album charts, before quickly falling out of the charts. 

She then broke away from her manager, Mona Scott, and Violator Management, and signed with Mathew Knowles of Music World, leading to her departing from Missy Elliott's Goldmind Inc. camp and signing to Jheryl Busby and Mike City's record label, Umbrella Recordings. There, she began recording material for her third album, along with producers Nisan Stewart, Warryn Campbell and Novel. Initially titled 'Love, Tweet', the album was preceded by the buzz single 'Good Bye My Dear', a collaboration with rapper T.I., it was expected to be released on 8 April 2008. The release of lead single 'Anymore' failed to materialize, however, and after a couple of years she grew tired of Umbrella's lack of promotion and ongoing delays to her releases, and so she left them and signed to MC Lyte's record label DuBose Music Group. In June 2012 she began posting previously unreleased material from the 'It's Me Again' and 'Love, Tweet' recording sessions on her new website, as a part of her weekly SoundCloud-hosted special, Tweet Tuesdays, and in 2013 DuBose did finally release her 'Simply Tweet' EP, which was recorded live with a full band. In July 2015, Tweet confirmed that she had signed with the independent eOne Music label, and her third album 'Charlene', was released in 2016, confirming that 'Love, Tweet' would never appear. This post is therefore made up of the tracks that she posted from both of her early album sessions, most of which would probably have appeared on the 'Love, Tweet' album, had it appeared in 2008 as intended. 

Track listing

01 I Just Wanna  
02 Remedy 
03 Everything  
04 Cruisin' 
05 Alone 
06 Trouble  
07 Anymore 
08 Love Again 
09 My Dear (feat. T.I.) 
10 I Admit It  
11 Real Lady 
12 Can't Live Without You (feat. Novel)  
13 See Ya
14 Whisper
15 Give It To Ya  

Mick Taylor - Special (1988)

In December 1974 Mick Taylor announced that he was leaving the Rolling Stones, coming as a shock to both the band and their fans. The Stones were due to start recording a new album in Munich, and the entire band was reportedly angry at Taylor for leaving at such short notice. After his resignation from the Stones, Taylor was invited by Jack Bruce to form a new band with keyboardist Carla Bley and drummer Bruce Gary, and in 1975 the band began rehearsals in London with tour dates scheduled for later that year. The group toured Europe, with a sound leaning more toward jazz, including a performance at the Dutch Pinkpop Festival, but disbanded the following year. In the summer of 1977, Taylor collaborated with Pierre Moerlen's Gong for the album 'Expresso II', released in 1978, and after that he began writing new songs and recruiting musicians for a solo album, working on projects with Miller Anderson, Alan Merrill and others. In 1977 Taylor signed a solo recording deal with Columbia Records, and his debut solo album, titled 'Mick Taylor', was finally released by Columbia Records in 1979 and reached No. 119 on the Billboard charts in early August. In 1981 he toured Europe and the United States with Alvin Lee of Ten Years After, sharing the bill with Black Sabbath, and he spent most of 1982 and 1983 on the road with John Mayall, for the "Reunion Tour" with John McVie of Fleetwood Mac and Colin Allen. 

It was to be another five years before Taylor ventured into the studio to record his second solo album, when in the spring of 1988 he gathered together Shayne Fontaine on second guitar, Wilbur Bascomb on bass and Bernhard Purdie on drums, and recorded nine new pieces. However, most of these songs never saw the light of day when the album was put on hold. although a few of them had been played live. The title track 'Special' is solid rocker with catchy slide guitar playing, while Bob Dylan's 'Blind Willie McTell' is heard for the first time in a studio version, with the song developing faster than Dylan's recorded version, but still with a great guitar solo that carries it away. 'Separately' was originally written by Keith Richards and Mick Taylor for the 'Goat's Head Soup' sessions in Jamaica, but is presented here with lyrics that were presumably written afterwards by Taylor himself. 'Red Shoes' is a Max Middleton composition that could have easily appeared on a late 70's Jeff Beck album, and the album closes with the emotionally charged instrumental 'Soliloquy'. It's not known why Taylor decided not to publish these songs in 1988 or shortly after, and fans had to wait another two years to get a proper second studio album, with 1990's 'Stranger In This Town', but we can now hear what Taylor was up to a couple of years before that came out.

Track listing

01 Special 
02 Going To Mexico 
03 Red Shoes 
04 Blind Willie McTell 
05 Separately 
06 The Blue Note Shuffle 
07 Downtown Broadway 
08 Soliloquy

Cherry Roland - Just For Fun (1976)

Cherry Roland was born in Dartford, Kent, and is best known as an actress, starring in the 1963 UK comedy film 'Just For Fun', but she was also a recording artist signed to Decca Records, who released her first single, 'Handy Sandy', in February 1963, the same month as the film came out. With the success of the film making her name well known in the UK, and following a couple of appearance on the UK TV show 'Thank Your Lucky Stars', her second single, released in May 1963, was 'What A Guy', and it featured the title track from the film on the flip. Her third single, 'Nobody But Me', was released on Fontana Records in October under the name Cherry Rowland, possibly because she was still under contract to Decca at the time, but she soon reverted back to the original spelling for future records. Several of her singles were released in Europe, and she was particularly popular in Holland and Germany, where she had a good fan base, and so her next single was released on German Decca, with 'Another Night Alone' coming out in September 1965. Two of her performances with the Belinda Beats, which were recorded live at the Liverpool Hoop Club in Berlin, were included on a various artists album released in Germany in 1965, and by 1966 she was recording completely in the German language, with the 'Was Ist Gold, Was Ist Geld' single appearing in June of that year. After that she took some time away from the music industry, before returning some five years later with the 'Hey, Herr Kapitan' single in 1971, once again aimed at the German market. In 1974 she attempted a comeback, and released the single 'Here Is Where The Love Is' in the UK, and by the middle of the 1970's she'd joined a cabaret show which toured South Africa, where she recorded a number of singles as a solo artist whilst in that country. 'Second Time Around' did particularly well, apparently selling in excess of 200,000 copies, and it was also released in Holland and Jamaica. The success of the single led to the recording of an album of the same name, which was issued on the South African EMI label in 1976, and singles were released from it in a number of countries. While putting together this album, the only copies of the 'Another Night Alone'/'Cry Baby Cry' single that I could find were cut short after just under two minutes, so I've extended them slightly to a more reasonable length, so that they fit in better with the rest of this collection of the work of Cherry Roland.   

Track listing

01 Handy Sandy (single 1963)
02 Stay As I Am (b-side of 'Handy Sandy')
03 What A Guy (single 1963)
04 Just For Fun (b-side of 'What A Guy')
05 Nobody But Me (single 1963)
06 Boys (b-side of 'Nobody But Me')
07 Another Night Alone (single 1965)
08 Cry Baby Cry (b-side of 'Another Night Alone')
09 Wishin' And Hopin' (from 'Live At The Liverpool, No 1' 1965)
10 Can I Get A Witness (from 'Live At The Liverpool, No 1' 1965)
11 Was Ist Gold, Was Ist Geld (German single 1966)
12 Schade Fur Dich (b-side of 'Was Ist Gold, Was Is Geld')
13 Hey, Herr Kapitan (single 1971)
14 Pretty Old Lady (b-side of 'Hey, Herr Kapitan')
15 Here Is Where The Love Is (single 1974)
16 Second Time Around (single 1976)
17 I'd Rather Go Blind' (b-side of 'Second Time Around')

The Pete Best Combo - I Don't Know Why I Do (1965)

Randolph Peter "Pete" Best was born 24 November 1941 in the city of Madras, then part of British India. After Best's mother, Mona Best, moved to Liverpool in 1945, she opened The Casbah Coffee Club in the cellar of the Bests' large house in Liverpool, and it became very popular with British youths, having a membership of over 1,000. The Beatles (at the time known as the Quarrymen) played some of their first concerts at the club, and Best played there with the Beatles, as well as with his first band, the Black Jacks. In August 1960 The Beatles invited Best to join the group, on the eve of their first Hamburg season of club dates. He was eventually replaced by Ringo Starr on 16 August 1962, when the group's manager, Brian Epstein, dismissed Best under the direction of John Lennon, Paul McCartney, and George Harrison, following their first recording session at Abbey Road Studios. Soon after he was dismissed, Epstein attempted to console him by offering to build another group around him, but Best refused. Feeling let down and depressed, he sat at home for two weeks, not wanting to face anybody or answer the inevitable questions about why he had been sacked. Epstein secretly arranged with his booking agent partner, Joe Flannery, for Best to join Lee Curtis & the All Stars, which then broke off from Curtis to become Pete Best & the All Stars, and they signed to Decca Records, releasing the unsuccessful single 'I'm Gonna Knock On Your Door'. Best later moved to the United States along with songwriters Wayne Bickerton and Tony Waddington, and as The Pete Best Four, and later as The Pete Best Combo, they toured the US in 1965 with a combination of 1950's songs and original tunes, recording for small labels Cameo and Mr. Maestro, but with little success. They ultimately released an album on Savage Records in 1966, 'Best Of The Beatles', which was a play on Best's name, but which led to disappointment for record buyers who neglected to read the song titles on the front cover and expected a Beatles compilation. The group disbanded shortly afterwards, and Bickerton and Waddington were to find greater success as songwriters in the 1970', writing a series of hits for the American female group, The Flirtations and the British group, the Rubettes. Many of Best's group's singles were written by Bickerton and Waddington, and by 1965 they had amassed a considerable body of original material, which would have been enough to put together an album of their own songs in 1965. While 'Best Of The Beatles' did include some of those songs, it also featured a lot of covers, and so this album would have been a much better example of their work, had it come out a year earlier in 1965. 

Track listing

01 Why Did You Leave Me Baby?  
02 I Need Your Lovin'  
03 I Can Do Without You  
04 She's Alright  
05 Keys to My Heart  
06 I'm Checkin' Out Now Baby 
07 I'll Try Anyway  
08 I Don't Know Why I Do  
09 How Do You Get to Know Her Name?  
10 She's Not the Only Girl in Town 

11 Don't Play With Me 
12 More Than I Need Myself  
13 I'll Have Everything Too 
14 The Way I Feel About You  
15 If You Can't Get Her