Airbag - Speed Of Light (2007)

Norwegian progressive rockers Airbag have been around since a group of friends with similar musical tastes got together in 1994 and formed a band, with the current line-up stablising in 1999. Bjorn Riis is the lead guitarist and main songwriter, with Asle Tostruo on vocals, Jorgen Hagen on keyboards, Anders Hovdan on bass and Joachim Slikker on drums. They spent their early years playing infrequent gigs around Norway, in particular in Oslo, from where there is a live album available from a 2001 concert, and they didn't record their first demo until 2004. They released their first EP 'Sounds That I Hear' in 2007, which blended influences from acts such as a-ha, Porcupine Tree and Pink Floyd, managing to create a sonic expression defying normal genre conventions. They allowed the release to be freely downloadable from their website, and within a few months more than 10,000 people had downloaded it, establishing a good-sized, international fanbase in a very short space of time. A second EP was issued the same year, with 'Safetree' also being freely downloadable, and it further extended their popularity among an internet-savvy fanbase. 2007 also saw Airbag's debut as a proper live outfit, opening for acts like Pineapple Thief, Gazpacho and Riverside, and in 2009 they were signed by Karisma Records, with their debut album 'Identity' being issued the same year. It included three re-recorded songs from the 'Safetree' EP, but not the title track which remains exclusive to that release. Since then they have released four more albums of absolutely outstanding progressive rock, and they are currently my favourite prog-rock band alongside Porcupine Tree. If you like Steven Wilson and PT then you really have to hear Airbag, and this collection of the songs from their early EP's which weren't re-recorded for 'Identity' is a great place to start. While putting this together I discovered that Bjorn Riis has also released four solo albums, and they are every bit a good as those from his day job, and so for any fans of Porcupine Tree or Pink Floyd who have never heard of Airbag, then you're in for a real treat.  

Track listing

01 Come On In (from 'Come On In' demo EP)
02 Moon Song (from 'Come On In' demo EP)
03 Take Me (from 'Come On In' demo EP)
04 Crying Out (from 'Come On In' demo EP)
05 Speed Of Light (from 'Sounds That I Hear' EP 2007)
06 Sounds That I Hear (Parts I & II) (extended recording from 'Sounds That I Hear' EP 2007)
07 Safetree (from 'Safetree' EP 2007)

The Rolling Stones - Hillside Blues (1971)

For the final post of Rolling Stones rarities, I removed the duplicate songs that had already appeared on the 'Necrophilia' and 'Travelin' Man' albums from the 'Hillside Blues' bootleg, and that left over an hour of prime Rolling Stones out-takes to complete the trilogy.

Track listing

01 Jiving Sister Fanny (London, Olympic Sound Studios 1969)
02 I'm Going Down (Los Angeles, Elektra Studios 1969)
03 I Don't Know Why (London, Olympic Sound Studios 1969)
04 Downtown Suzie (London, Olympic Sound Studios 1969)  
05 Blood Red Wine (London, Olympic Sound Studios 1968)
06 Family (London, Olympic Sound Studios 1968)
07 Still A Fool (London, Olympic Sound Studios 1968)
08 Dancing In The Light (London, Olympic Sound Studios 1970)    
09 Who Am I? (London, Olympic Studios 1970)
10 Trident Jam (London, Olympic Studios 1970)    
11 Hillside Blues (Los Angeles, Sunset Sound Studios 1969)   
12 Highway Child (Redlands 1968)    
13 I Ain't Lying (Villefranche sur-mer, Villa Nellcote 1971)

Dodgy - Summer Fayre (1993)

Dodgy started out as a trio from Bromsgrove and Redditch called Purple, comprising Nigel Clark on bass, Mathew Priest on drums and David Griffiths on guitar. They moved to London in 1998, gaining Frederic Colier as the bass guitarist, with Clark providing vocals, and this new formation first settled in Battersea, using their living quarters as a rehearsal space. The quartet then relocated to a semi-detached house in Hounslow, where they turned the garage in the back garden into a sound proofed rehearsal room, and playing in local pubs and small venues until cracks started to appear when Clarke and Priest's direction clashed with that of Colier and Griffiths. Dissension led to the dismissal of Griffiths and Colier, with Clark and Priest going it alone for the time being, although they soon realised that they needed a guitarist, so they placed an ad in the magazine Loot, and invited Australian Ben Lurie to join them, only to see him leave them less than a week later to join The Jesus and Mary Chain. Shortly afterwards they discovered guitarist Andy Miller, who came from Neasden, and with a new line-up came a new name - Dodgy. Miller moved in with the rest of the band in Hounslow in the early part of 1990, and from then on the three of them were constantly in the garage, piecing songs together through Clarke's songwriting. While out one night, Priest became engrossed in a conversation with a guy who happened to manage bands, and he surreptitiously popped a demo cassette into the guy's jacket pocket without him realising. When he found it he played it and then straightaway rang the number included within the cassette case, and Dodgy now had Andrew Winters as their manager. The band started The Dodgy Club in Bacchus Wine Bar in Kingston Upon Thames in late 1990, and by playing there every two weeks for eight months, they built up a loyal following of fans, and had also drawn interest from major recording and publishing labels. This led to them signing a six album deal with A&M Records in 1991, and as well as a publishing deal with BMG. The band's debut album was produced by The Lightning Seeds' Ian Broudie, and as well as the jaunty indie-pop of their music, they concerned themselves with social issues by supporting The Serious Road Trip, War Child, the Liverpool Dockers' Strike, Charter 88 and youth democracy campaigns. This first post contains their early singles and their b-sides, released before the appearance of their first album in 1993, plus their contribution to a 1993 Bob Dylan tribute album. 

Track listing

01 Easy Way (single 1991)
02 Seems Like A Bad Day (b-side of 'Easy Way')
03 Smeasy Way (b-side of 'Easy Way')
04 Summer Fayre (single 1991)
05 St. Lucia (b-side of 'Summer Fayre')
06 The Elephant (from 'The Black And White Single' 1992)
07 Worth The Blood (full version) (from 'The Black And White Single' 1992)
08 Rainy Day Women #12 & 35 (from 'Outlaw Blues Vol. 2 - A Tribute To Bob Dylan' 1993)

Christine Quaite - Guilty Eyes (1966)

Christine Quaite was born in Leeds, Yorkshire on May 11th, 1948, and although both her grandfather and uncle were professional dancers, they didn't influence her musically. She began singing at the age of eight, when she entered a seaside talent contest in the Yorkshire resort of Bridlington, and finding that she enjoyed it, she went on to enter many similar competitions. She later joined the Judean Club, a Jewish youth club in Leeds, where other members included future pop singer Julie Grant, and Jeff Christie, who would later have a major international success with his group Christie's 'Yellow River' single. The club would put on a show every couple of weeks, and Quaite was one of the singers, while pianist Paul Conway also directed the shows. At one of her competitions Quaite came second, receiving a recording contract from Oriole Records as a prize, and as the b-side for her second single she used a song that Conway had written for one of their shows. She was only 13 at the time, but her powerful voice belied her tender years, and her first record 'Oh My', backed with 'Guilty Eyes', was released in 1962, followed by a cover of Johnny Crawford's 'Your Nose Is Gonna Grow', with the original 'Our Last Chance' on the flip. Her third single 'Whisper Wonderful Words' borrowed the tune from Bizet's 'Habanera' from 'Carmen', with lyrics added to make it a pop song. Being a recording artist in her early teens, her life was very complicated, and her school would never allow her time off to visit the recording studio, so she had to play truant to make her records. Despite some minor commercial success in the US with 'Tell Me Mama', none of her singles charted in the UK, and her contract with Oriole ceased when the label went bankrupt in 1964. She continued doing TV, radio and cabaret work around the country, and in June 1965 she signed with manager-producer-songwriter Bunny Lewis, with Lewis' Ritz Productions company signing her to a new recording contract with Laurie Records of New York, in the expectation it would guarantee her further releases there. Her first record under the new deal was a Bobby Goldsboro song, 'If You've Got A Heart', which reached acetate stage in the US but was never released, and this was followed by Bacharach/David's 'Long After Tonight Is All Over'. Both singles were, however, issued in the UK on the Stateside label, but these were to be her last recordings. At the time of her last single she was still only 18 years old, and it seems unbelievable that her recording career was over at such a young age, but she did leave behind a clutch of excellent singles, especially the later soul-influenced ones, and so hopefully this collection will bring her to the attention of an appreciative new audience.

Track listing

01 Oh My! (single 1962)
02 Guilty Eyes ‎(b-side of 'Oh My!')
03 Your Nose Is Gonna Grow (‎single 1962)
04 Our Last Chance (b-side of 'Your Nose Is Gonna Grow')
05 Mister Heartache ‎(single 1963)
06 Whisper Wonderful Words (b-side of 'Mister Heartache')
07 Tell Me Mama (single 1963)
08 In The Middle Of The Floor (b-side of 'Tell Me Mama')
09 Here She Comes (single 1964)
10 I Believe In Love (b-side of' Here She Comes')
11 Mr. Stuck-Up (single 1964)
12 Will You Be The Same Tomorrow (b-side of 'Mr. Stuck-Up')
13 Huggin' My Pillow (acetate 1964) 
14 If You've Got A Heart (single 1965)
15 So Near, So Far (b-side of 'If You've Got A Heart')
16 Long After Tonight Is All Over (single 1966)
17 I'm Hoping (b-side of 'Long After Tonight Is All Over')

Sons Of Zöku - Sleepless (2020)

Sons Of Zöku are an Adelaide-based hybrid tribe of Portuguese-born Ricardo Da Silva and Ica Quintela, and Australian-born Jordan Buck, Oscar Ellery, and Eddie Hannemann, who've been around since about 2018. By 2019 they'd slimmed down to a trio of Da Silva, Quintela and Buckm and released a couple of singles and an EP. Their music is a kaleidoscopic onslaught of psych-rock, thunderous drums, seductive grooves, colossal riffs, wailing guitars and vocals, but tempered by rich and alluring melodies, eastern touches and the beauty of pastoral folk too. They've have found a perfect balance between thunderous noise and subtle sweetness, delivering modern psych-rock that harks back to Revolver-era Beatles and the radiant euphoria of Screamadelica. The nine tracks on this album are their total recordings released to date, but the band are tempting us by letting slip that they actually recorded thirteen songs for their EP, of which only five were included, so we can be sure that there is more great music to come from this exciting new band. 

Track listing

01 Monk And The Serpent
02 Mauvaise Foi
03 Big Rich Man
04 In Furs
05 Wild Eyes
06 Sleepless
07 Dead Poets
08 Luz
09 Paralysed

Lynyrd Skynyrd - Down South Jukin' (1977)

In 1964, Ronnie Van Zant, Bob Burns, and Gary Rossington became acquainted while playing on rival baseball teams in Jacksonville Florida, and they decided to jam together one afternoon after Burns was injured by a ball hit by Van Zant. They set up their equipment in the carport of Burns' parent's house and played the Rolling Stones' then-current hit 'Time Is On My Side', and liking what they heard they immediately decided to form a band. They approached guitarist Allen Collins to join them, and after he agreed, they rounded out the line-up with bassist Larry Junstrom, naming themselves My Backyard, although this was later changed to The Noble Five, before becoming The One Percent by 1968. Van Zant sought a new name after growing tired of taunts from audiences that the band had "1% talent", and at Burns' suggestion the group settled on Leonard Skinnerd, which was in part a reference to a character named 'Leonard Skinner' in Allan Sherman's novelty song 'Hello Muddah, Hello Fadduh' and in part a mocking tribute to P.E. teacher Leonard Skinner at Robert E. Lee High School. Skinner was notorious for strictly enforcing the school's policy against boys having long hair, causing Rossington to drop out after constantly being hassled about his hair, and they adopted the distinctive spelling of the name as early as 1970, by which time they had become a top band in Jacksonville, headlining at some local concerts, and opening for several national acts. The band continued to perform throughout the South in the early 70's, further developing their hard-driving blues rock sound and image, and experimenting with recording their sound in a studio, crafting a distinctively 'Southern' sound through a creative blend of country, blues, and a slight British rock influence. During this time, the band experienced some lineup changes for the first time, with Junstrom leaving and being briefly replaced by Greg T. Walker on bass, and Rickey Medlocke joined as a second drummer and occasional second vocalist to help fortify Burns' sound on the drums. In 1972, the band were spotted by musician, songwriter, and producer Al Kooper of Blood, Sweat & Tears, who had attended one of their shows at Funocchio's in Atlanta, and Kooper signed them to his Sounds of the South label, and produced their first album. 

The band released '(Pronounced 'Lĕh-'nérd 'Skin-'nérd)' on 13 August 1973, with it selling over one million copies, and it contained the hit song 'Free Bird', which received national airplay, and eventually reached No. 19 on the Billboard Hot 100 chart. Lynyrd Skynyrd's fan base continued to grow rapidly throughout 1973, and their 1974 follow-up album 'Second Helping' cemented their breakthrough, and its single 'Sweet Home Alabama', a response to Neil Young's 'Southern Man', reached number 8 on the charts that August. By 1975, personal issues began to take their toll on the band, and in January drummer Burns left the band after suffering a mental breakdown during a European tour, and was replaced by Kentucky native and former US Marine Artimus Pyle. The band's third album 'Nuthin' Fancy' was recorded in 17 days, but Kooper was unhappy with the band's lack of preparation for the album's recording, and so they parted ways by mutual agreement after the tracking was completed. Though the album fared well, it ultimately had lower sales than its predecessors, and midway through the promotional tour, guitarist Ed King abruptly left the band after a falling out with Van Zant. Collins and Rossington both had serious car accidents over Labor Day weekend in 1976, which slowed the recording of the follow-up album and forced the band to cancel some concert dates, and Rossington's accident inspired the ominous Van Zant/Collins composition 'That Smell' – a cautionary tale about drug abuse that was clearly aimed towards him and at least one other band member. When the 'Street Survivors' album appeared in 1977 it turned out to be a showcase for guitarist/vocalist Steve Gaines, who had joined the band just a year earlier and was making his studio debut with them. Publicly and privately, Van Zant marveled at the multiple talents of Skynyrd's newest member, claiming that the band would all be in his shadow one day, even allowing Gaines an unprecedented lead vocal on his own bluesy 'Ain't No Good Life' on the album. 

Following a performance at the Greenville Memorial Auditorium in Greenville, South Carolina, on October 20, 1977, the band boarded a chartered Convair CV-240 bound for Baton Rouge, Louisiana, where they were scheduled to appear at LSU the following night. After running out of fuel the pilots attempted an emergency landing before crashing in a heavily forested area five miles northeast of Gillsburg, Mississippi. Ronnie Van Zant and Steve Gaines, along with backup singer Cassie Gaines (Steve's older sister), assistant road manager Dean Kilpatrick, pilot Walter McCreary, and co-pilot William Gray were killed on impact. Other band members Collins, Rossington, Wilkeson, Powell, Pyle, and Hawkins, tour manager Ron Eckerman, and several road crew members suffered serious injuries. The accident came just three days after the release of 'Street Survivors', and following the crash and the ensuing press, it became the band's second platinum album and reached No. 5 on the U.S. album chart. The original sleeve for 'Street Survivors' had featured a photograph of the band amid flames, with Steve Gaines nearly obscured by fire, and out of respect for the deceased, MCA Records withdrew the original cover and replaced it with the album's back photo, a similar image of the band against a simple black background, waiting nearly thirty years before restoring it for the deluxe CD version of the album. Lynyrd Skynyrd disbanded after the tragedy, reuniting only on one occasion to perform an instrumental version of 'Free Bird' at Charlie Daniels' Volunteer Jam V in January 1979, with Collins, Rossington, Powell, and Pyle being joined by Daniels and members of his band. The surviving members did eventually reunite in 1987, but it's the first incarnation of the band that has provided these demos, out-takes, and a hard to find b-side, for a rarely heard overview of their formative years. 

Track listing

01 Mr. Banker (demo 1973)

02 Down South Jukin' (demo 1973)

03 Tuesday's Gone (demo 1973)

04 Gimme Three Steps (demo 1973)

05 Was I Right Or Wrong (demo 1974)

06 Georgia Peaches (previously unreleased 1977)

07 Take Your Time (b-side of 'Sweet Home Alabama' 1974)

08 Sweet Little Missy (previously unreleased 1977)

09 Jacksonville Kid (previously unreleased 1977)

Dodgy - The Dodgy Club (1998)

I've always considered Dodgy to be one of the very best bands to emerge during the Brit-pop era of the early 90's, with their infectious humour and knack for a memorable melody earning them the title of the clown princes of the genre. While putting together an exhaustive collection of their non-album b-sides and rare recordings I found that they sometimes handed over control of their music to remixers such as Jah Wobble and Tranceglobal Underground, with the results being a far cry from the classic indie-pop that we know and love. As a foretaste of the future posts, here are all the dance remixes on one album, titled as a tribute to the club that they started in 1990 at the Bacchus Wine Bar in Kingston Upon Thames, where they gained their first fans, and got their foot on the ladder to international success. If you have fond memories of the band then you are in for a treat, with a four-post series to collect all their hard-to-find recordings, and in the meantime, enjoy this quite superb album of their remixes, which I think hangs together extremely well as a dance album in its own right.   

 

Track listing

01 See The Way (promo 12" single as D-Club 1991)
02 So Let Me Wobble Jah (b-side of 'So Let Me Go Far' 1994)
03 The Elephant (The Balafon-A-Bing-Bong Immigrant Mix) (b-side of 'So Let Me Go Far' 1994)
04 Out Clubbing (b-side of 'In A Room' 1996)
05 Jungle UK (No Rest In Peace) (b-side of 'In A Room' 1996)
06 Nutters (b-side of 'Good Enough' 1996)
07 Lovebirds On Katovit (b-side of 'Good Enough' 1996)
08 Look Up (b-side of 'Every Single Day' 1998)
09 Mostar Keep Shining (b-side of 'Every Single Day' 1998)

The Mars Volta - Landscape Tantrums (2021)

The Mars Volta have just released the 'La Realidad De Los Sueños' box set of all their albums, and the highlight for fans like me is a collection of out-takes from their 2003 debut album 'De-Loused In The Comatorium'. The only thing letting it down is the very minimal and basic artwork, so if you get the album and want to jazz it up a little then you can replace the black and white cover with this one. This is only the artwork and I'm not posting the album on Soulseek, so just save it from this page if you want it. 

The picture is the work of an innovative photographer called Elena Jo Melanson, and you'll be seeing more of her work in future posts. 

Ry Cooder - ...and on guitar (1971)

Ryland Peter Cooder was born on 15 March 1947 in Los Angeles, California, growing up in Santa Monica, California, and graduating from Santa Monica High School in 1964. He began playing the guitar when he was three years old, and a year later he accidentally stuck a knife in his left eye and has had to wear a glass eye ever since. As a youngster he performed as part of a pickup trio with Bill Monroe and Doc Watson, in which he played banjo, but although the band was not a success, it did inspire him to apply banjo tunings and the three-finger roll to guitar instead. He first attracted attention playing with Captain Beefheart and his Magic Band, notably on the 1967 album 'Safe As Milk', after previously having worked with Taj Mahal and Ed Cassidy in the Rising Sons. At a warm-up gig shortly before the Monterey Pop Festival in 1967, Don Van Vliet froze, straightened his tie, then walked off the 10 ft stage and landed on manager Bob Krasnow, later claiming he had seen a girl in the audience turn into a fish, with bubbles coming from her mouth. Cooder decided that this unprofessionalism was the final straw in an already strained relationship, and that he could no longer work with Van Vliet, effectively starting his career as a session musician. In 1968 he played with Randy Newman on his '12 Songs' album, as well recording sessions with The Rolling Stones in 1968 and 1969, with his contribution on mandolin appearing on 'Let It Bleed' and his slide guitar on 'Sticky Fingers', and later teaming up with Mick Jagger, Charlie Watts, Bill Wyman, and longtime Rolling Stones sideman Nicky Hopkins to record the 'Jamming with Edward!' album. Cooder also played bottleneck guitar on the original version of Little Feat's 'Willin'', and contributed slide and bottleneck guitar to a vast array of US singer/songwriters in the early 70's, including Marc Benno, Arlo Guthrie, Scott McKenzie, Ron Elliott, Mark LeVine and Gordon Lightfoot, and in particular on the truly stunning version of the Dionne Warwick/Cilla Black classic 'Anyone Who Had A Heart' by Eve. Throughout the 70's, Cooder released a series of albums that showcased his guitar work, starting with his eponymous debut in 1970, and releasing an album every year until the late 80's. These records explored bygone musical genres and found old-time recordings which he then personalized and updated, and on his breakthrough album 'Into The Purple Valley' he chose unusual instrumentations and arrangements of blues, gospel, calypso, and country songs. During the 80's he moved into film soundtracks, and his contribution to Wim Wnders' 'Paris, Texas' is regarded as some of his best work, but for this collection we're just looking at his session-work on albums from other artists in the early 70's. As Cooder is recognised as one of the foremost exponents of the slide and bottleneck guitar, I've chosen just tracks which feature those instruments, and have still managed to fill two volumes from just four years of recordings..

Track listing

Disc One
01 Sure 'Nuff 'N' Yes I Do (from 'Safe As Milk' by Captain Beefheart & His Magic Band 1967)
02 Richard Lee (from 'Pilgrim's Progress' by Mark LeVine 1968)
03 Heavy On My Mind (from 'LA, Memphis & Tyler, Texas' by Dale Hawkins 1968)
04 Don't Talk Now (from 'Longbranch/Pennywhistle' by Longbranch/Pennywhistle 1968)
05 Smokey Joe's Cafe (from 'The Anders & Poncia Album' by Anders & Poncia 1968)
06 Struttin' Down Main Street (from 'Border Town' by Fusion 1969) 
07 Something Better (single by Marianne Faithfull 1969)
08 Soft Soundin' Music (from 'Harpers Bizarre 4' by Harpers Bizarre 1969)
09 Teach It To The Children (from 'Marc Benno' by Marc Benno 1970)
10 Natural Magic (from the soundtrack of the film 'Performance' 1970)
11 Look In The Mirror (from 'Stained Glass Morning' by Scott McKenzie 1970)
12 Deep River Runs Blue (from 'The Candlestickmaker' by Ron Elliott 1970)
13 Go Back Upstairs (from 'Salty' by Alex Richman 1970)

Disc Two
01 Let's Burn Down The Cornfield (from '12 Songs' by Randy Newman 1970)
02 Me And Bobby McGee (from 'If You Could Read My Mind' by Gordon Lightfoot 1970)
03 Anyone Who Had A Heart (from 'Take It And Smile' by Eve 1970)
04 Willin' (from 'Little Feat' by Little Feat 1970)
05 Fence Post Blues (from 'Washington County' by Arlo Guthrie 1970
06 Don't Drink The Water (from 'Don Everly' by Don Everly 1970)
07 Song For Judith (from 'Living' by Judy Collins 1971)
08 The Blues (All Night Long) (from 'Stories' by David Blue 1971)
09 Mr. Money (from 'Possum' by Possum 1971)
10 Born Under A Bad Sign (from 'Rita Coolidge' by Rita Coolidge 1971)

11 Sister Morphine (from 'Sticky Fingers' by The Rolling Stones 1971)
12 Dirty, Dirty (from 'Crazy Horse' by Crazy Horse 1971)

Thanks to whoever it as who suggested Ry Cooder (sorry I can't find your name) but it's a great addition to the series. 

search cooder aiwe

For MAC users

Press command+shift+period (to show hidden files) and a grayed out folder '...and on guitar" will appear and the mp3s will be inside. Either drag those to another folder OR rename the folder without any periods at the beginning. Press command+shift+period to once again hide the hidden files.

Elkie Brooks - Hello Stranger (1974)

Elaine Bookbinder was born on 25 February 1945 in Salford, north west England, and raised in nearby Prestwich, coming from a musical family, with her father being a local bandleader and one of her brothers, Tony, going on to become the drummer for Billy J Kramer and the Dakotas (under the name Tony Mansfield). After leaving school in 1960, she headed for London, where she performed with the Eric Delaney Band and jazz musician Humphrey Lyttelton, for a while using the stage name Elaine Mansfield, before finally deciding on Elkie Brooks. After passing an audition, Don Arden became her manager, and he saw her as a kind of Mancunian answer to Brenda Lee, though her voice had yet to develop the husky tones she would later be known for. In 1964 she landed a recording contract with Decca, and one of the first things that label bosses did was to send her off to Belgium, to take part in the Knokke Cup, competing against the likes of Germany's Ria Bartok and the Netherlands' Rita Hovink and Trea Dobbs. Back in the UK, she recorded her fist single 'Something's Got A Hold On Me', which was issued in June 1964, but as the gospel into of the song - a cover of a two-year-old single by US soul singer Etta James - was not a sound that British record buyers were overly familiar with, the record sank. 'Nothing Left To Do But Cry' was issued as the follow-up in September, with Brooks promoting the single in earnest, including making her debut television appearance, and although it wasn't a hit, the track has gone on to become a Northern soul dance favourite. She gained further live experience by appearing on pop package tours alongside groups such as The Animals, and in late 1964 she supported The Beatles on tour, with The Yardbirds, Freddie and the Dreamers and others. 

In 1965 Decca released a version of The Temptations' 'The Way You Do The Things You Do', but when this didn't provide the hoped-for breakthrough hit she was dropped by Decca and moved to the HMV label. Her first record for the new label was 'He's Gotta Love Me' in early 1965, and it's generally considered one of her finest recordings of the period, with this being followed by a cover of the Leslie Gore tune 'All My Life' in October. In February 1966 'Baby Let Me Love You' became her final single for HMV, leaving the label after feeling that the material she recorded for them was meaningless and having no depth. Her disappointment when she joined Brian Epstein’s NEMS record label in 1969 must therefore have been palpable, with a third-placed song in that years A Song For Europe being chosen as the A-side of her first single for the label. 'Come September' was certainly a change in style, but it was better than performing in cabaret in a succession of northern clubs, which is what she'd been doing between leaving HMV and signing with NEMS. Just one further single was issued on NEMS in 1969, with 'Groovie Kinda Love' being credited to Elki And Owen And The Rim Ram Band, before she met and married Pete Gage the following year, and the two of them formed the rock-fusion band Dada. With the addition of Robert Palmer they changed their name to Vinegar Joe, and achieved a certain notoriety for the sexual chemistry they displayed in their live performances, with the band also going on to record a number of well-received albums. After Vinegar Joe split in 1974, Brooks signed with A&M Records, and in 1977 she finally scored her first international hit single with 'Pearl's A Singer', and she hasn't looked back since. To see how she got there, just listen to these early singles and hear that the talent was always there, if only the public had taken notice a little sooner.

Track listing

01 Something's Got A Hold On Me (single 1964)
02 Hello Stranger (b-side of 'Something's Got A Hold On me')
03 Nothing Left To Do But Cry (single 1964)
04 Strange Tho' It Seems (b-side of 'Nothing Left To Do But Cry')
05 The Way You Do The Things You Do (single 1965)
06 Blue Tonight (b-side of 'The Way You Do The Things You Do')
07 He's Gotta Love Me (single 1965)
08 When You Appear (b-side of 'He's Gotta Love Me')
09 All Of My Life (single 1965)
10 Can't Stop Thinking Of You (b-side of 'All Of My Life')
11 Baby Let Me Love You (single 1966)
12 Stop The Music (b-side of 'Baby Let Me Love You')
13 Groovie Kinda Love (single with Owen And The Rim Ram Band 1969)
14 Come September (single 1969)
15 Rescue Me (single 1974)
16 Lady Of The Rain (b-side of 'Rescue Me')

Ganser - Pyrrhic Victory (2016)

Ganser have been kicking around the Chicago DIY scene since around January 2014, when Nadia Garofalo and Alicia Gaines were both students at the School of the Art Institute, bonding over their shared love of The Residents, outsider communities, and transgressive filmmakers like John Waters and David Lynch. In the summer of 2015 Charlie Landsman responded to a Facebook ad, and with the addition of Brian Cundiff, the band started rehearing and recording. Songs soon started to appear on Soudcloud and Bandcamp, and in 2016 one of them alerted me to the band, and their dark-post-punk-wave sound, particularly the spikey guitars of 'Sunk', which reminded me of the much-loved The Gang Of Four. They released their debut LP 'Odd Talk' in 2018, which was full of dissonant guitar, abstract lyrical segues, bassline hooks, and drumbeat sinkers, and they followed last year with their second album 'Just Look At That Sky', both of which are available from Bandcamp. Their sound is born of bands such as Joy Division, Mission of Burma, The Birthday Party, Savages, Priests, and while there’s no shortage of outfits with similar influences, Ganser manages to craft a sound familiar and refreshing at the same time, each member adding their own twisted bent to their songs where needed. Amazingly, neither album included a single one of the songs they'd posted to Soundcloud, and so this collections of those tracks could be classed as their real debut album, and superb stuff it is too.

Track listing

01 Smelling Salts
02 Losing Light
03 Audrey
04 Battery
05 Sadwerk
06 Pyrrhic Victory

07 Sunk
08 (what are you doing here?)
09 Machine Men
10 Candor
11 Strategies For Living

Paul Simon & Art Garfunkel as Tom & Jerry - Two Teen-Agers (1967)

Paul Simon and Art Garfunkel grew up in the 1940's and 1950's in their predominantly Jewish neighborhood of Kew Gardens Hills in Queens, New York, three blocks away from one another. They attended the same schools, and were both fascinated by music, listening to the radio and being taken with rock and roll as it emerged, particularly the Everly Brothers. Simon first noticed Garfunkel singing in a fourth grade talent show, which Simon thought was a good way to attract girls. He hoped for a friendship, which started in 1953, when they appeared in a sixth grade adaptation of Alice in Wonderland, after which they formed The Peptones, a streetcorner doo-wop group with three friends, learning to harmonize along the way. In 1956 they wrote their first song, 'The Girl for Me', and then, while trying to remember the lyrics to the Everly Brothers song 'Hey Doll Baby', they wrote 'Hey Schoolgirl', which they recorded for $25 at Sanders Recording Studio in Manhattan. While recording, they were overheard by promoter Sid Prosen, who signed them to his independent label Big Records after speaking to the 15-year old's parents. Under Big Records, Simon and Garfunkel assumed the name Tom & Jerry - Garfunkel named himself Tom Graph, a reference to his interest in mathematics, and Simon chose Jerry Landis, after the surname of a girl he had dated. Their first single 'Hey Schoolgirl' was released with 'Dancin' Wild' on the b-side in 1957, and after Prosen bribed DJ Alan Freed $200 to play the single on his radio show, it attracted regular rotation on nationwide AM pop stations, leading it to sell over 100,000 copies and landing on Billboard's charts at number 49. Despite this early success, neither of their next two singles for Big Records got anywhere near the charts, and so after graduating from Forest Hills High School in 1958, the pair continued their education should a music career not unfold, with Simon studying English at Queens College, City University of New York, and Garfunkel studying architecture before switching to art history at Columbia College, Columbia University. 

While still with Big Records as a duo, Simon released a solo single 'True Or False' under the name True Taylor, which upset Garfunkel, who regarded it as a betrayal, and the emotional tension from the incident occasionally surfaced throughout their relationship. They continued recording as solo artists while together as Tom & Jerry, with Garfunkel's own 'Private World' and 'Beat Love' being released under the name of Artie Garr, while Simon recorded with the Mystics and Tico & The Triumphs, and wrote and recorded under the names Jerry Landis and Paul Kane. After graduating in 1963, Simon joined Garfunkel, who was still at Columbia University, to perform again as a duo, this time with a shared interest in folk music. By late 1963, billing themselves as Kane & Garr, they played at Gerde's Folk City, performing three new songs - 'Sparrow', 'He Was My Brother', and 'The Sound of Silence' — which attracted the attention of Columbia Records staffer Tom Wilson, and they were signed after auditioning 'The Sound Of Silence' for the label. Simon & Garfunkel's debut studio album 'Wednesday Morning, 3 A.M.' was recorded over three sessions in March 1964 and released in October, and with five compositions by Simon, it heralded a new sound on the folk circuit. Simon was adamant that they would no longer use stage names, so the record was issued under the name of Simon & Garfunkel, and Tom & Jerry were no more. In 1967 the UK label Allegro released an album of Tom & Jerry singles, but attributed them to Simon & Garfunkel, and put a contemporary photo on the cover, with this attempt to portray the record as a new Simon & Garfunkel album so incensing Simon that he took legal action to get the album withdrawn on both sides of the Atlantic. The one odd thing about the Allegro collection was the inclusion of two instrumental tracks, the mournful 'Tijuana Blues', and the jazzy 'Simon Says', which were previously unheard, but unlike any of their other recordings. This short-ish album collects all the duo's tracks recorded as Tom & Jerry, as well as the afore-mentioned 'Beat Love' by Artie Garr, and an otherwise unreleased song by Jerry Landis as a bonus. 

Track listing

01 Hey Schoolgirl (single November 1957)
02 Dancin' Wild (b-side of 'Hey Schoolgirl')
03 That's My Story (single May 1958)
04 (Pretty Baby) Don't Say Goodbye (b-side of 'That's My Story')
05 Our Song (single February 1958)
06 Two Teen-Agers (b-side of 'Our Song')
07 Baby Talk (single June 1958)
08 Lookin' At You (single May 1959)
09 I'm Lonesome (b-side of 'Lookin' At You')
10 Surrender, Please Surrender (single August 1962)
11 Fightin' Mad (b-side of 'Surrender, Please Surrender')
12 Tijuana Blues (single October 1967)
13 Simon Says (b-side of 'Tijuana Blues')
14 Flame (recorded by Jerry Landis 1961)
15 Beat Love (single by Artie Garr October 1959)

The Rolling Stones - Travelin' Man (1970)

Once 'Necrophilia' had been put to one side I was able to remove the duplicate songs that were on there from the 'Catfish' bootleg that I'd found, and I ended up with 49 minutes of music, which I've re-sequenced and given a new cover, for the second of these collections of late 60's and early 70's rarities from The Stones. Following a comment about 'Loving Sacred Loving', I've determined that both that song and 'Shades Of Orange' were actually by Bill Wyman's proteges The End rather than the Stones. I first though that he might have taken the songs to rehearsals for the Stones to try out, but comparing both versions shows that isn't the case, so I've performed a major overhaul, removing those those two tracks, re-titled it and given it a new cover. Luckily it was a lengthy album, so is still 43 minutes long even after the edit, and I've also given the title track a proper intro compared to other bootlegs of the song.  

Track listing

 

01 I Can See It (RCA Studios, Hollywood 1966)

02 Mr. Spector And Mr. Pitney Came Too (Regent Sound Studios, London 1964)

03 Cocksucker Blues (RS Mobile Recording Studio, Newbury 1970)

04 Leather Jacket (Olympic Sound Studios, London 1970)

05 Stuck Out All Alone (Olympic Sound Studios, London 1968)

06 Catfish (unknown studio or year)

07 Alladin Story (Trident Studios, London 1969)

08 And I Was A Country Boy (Olympic Sound Studios, London 1969)

09 Potted Shrimp (Olympic Sound Studios, London 1970)

10 Travelin' Man (Olympic Sound Studios, London 1970)