Nicki Minaj - Go Get 'Em Girl (2010)

When Nicki Minaj started out in the music business she rapped in a quartet called The Hoodstars composed of Lou$tar (son of "Bowlegged Lou"), Safaree Samuels (Scaff Beezy) and 7even Up, and in 2004 the group recorded the entrance song for WWE Diva Victoria, 'Don't Mess With', which was featured on the compilation album 'ThemeAddict: WWE The Music, Vol.6'. After she left the group she uploaded songs on her Myspace profile, sending several of them to people in the music industry, and she was signed to a 180-day contract with Brooklyn label Dirty Money Entertainment. Her first mixtape 'Playtime Is Over' came out in  July 5, 2007, followed by 'Sucka Free' in April 2008, and lastly 'Beam Me Up Scotty' appeared in April 2009. One of its tracks 'I Get Crazy' reached number 20 on the U.S. Billboard Hot Rap Songs chart, and that helped her to be signed to Lil Wayne's Young Money Entertainment, with her debut album 'Pink Friday' being released on Cash Money Records in 2010. Over those early years of recording and releasing mixtapes, Minaj had taped a lot of extra songs which weren't used, with 2009 and 2010 being a particularly prolific time for her, and she could easily have released one last mixtape in 2010 before 'Pink Friday' came out, so as she didn't, I've taken the best of those songs from 2009/2010 and put it together for her. 

Track listing

01 Chocolate Legs (feat. Eric Benet) 

02 That's What's Up

03 Fuck U Silly (feat. Cassie)

04 New York Minute (feat. French Montana) 

05 Girlfriend 

06 Bring It Back

07 Go Get 'Em Girl        

08 Gettin' Paid 

09 Saxon

10 Everywhere We Go (feat. Lil Kim) 

11 Here And There (Girl You Bad)

12 Make A Baby  

13 I Love My Range Rover

14 Zonin' 

15 Love Me

16 We Miss You

17 Top Of The World  

The Mixers - Speed, Madness, Flying Saucers... (1985)

I've been going through my old cassette collection again, and found this tape that I used to play all the time back in the 80's. The Mixers were a Glasgow neo-psyche band who had a nice line in 60's influenced psychedelic indie pop, and actually had their 'Never Find Time' appear on Dan Treacy's Whaam! Records compilation 'All For Art... And Art For All' in 1984, before it was re-issued by Vinyl Japan as a single in 1998. They were formed in 1980 when 15-year-old singer-songwriter-guitarists Dannie Vallely and Ulric Kennedy replaced departing lead guitarist Jim Bell in a group comprising Grant Morrison on rhythm guitar and Ron Bookless on bass. They were eventually joined by Mikel Angus on drums, and adopting their name from Anthony Burgess' novel 'A Clockwork Orange', the band set about creating melodic pop cross-fertilised with the supercharged delivery of the punk era. This tape was issued by Acid Tapes in 1985, and I added a couple of extra songs to my copy, by The Cloud Merchants and The Ochre 5, who began life as a bedroom project by Dannie Vallely, and employed the vocal talents of his sister Joanne Vallely. The tape was sent to Alan McGee who, predictably, loved it, and weeks later The Jesus and Mary Chain turned up on Joanne's doorstep in East Kilbride demanding the band join them for a Creation Records launch night in Glasgow. A band was formed for the event featuring Dannie Vallely (guitar/keyboards), with ex-Mixers Grant Morrison (rhythm guitar) and Ulric Kennedy (bass), and with Pete Haggerty on drums, but they only stayed together long enough for that one gig. Ochre 5's 'Virtual Sham' is a stunning song which deserves to be included here, and to round off the album we have those two tracks from the Whaam! Records compilation. 

Track listing

01 No One Loves You At All 

02 Now

03 Pictures Of You

04 Dear Sister, Love

05 Big Store

06 The Greenroom

07 Whisper Soft

08 Strangest Play

09 Bitter Sun

10 Closer

11 Virtual Sham (Ochre 5)

12 Things We Used To Say (The Cloud Merchants)

13 Never Find Time

14 Love Hurts

The Bee Gees - Acoustic Hits Live (2001)

Mike is back from a well-deserved break in the good ole US of A, and his latest effort is a collection from a band that very rarely let you down, The Bee Gees. Over to Mike... 

I'm back. and this time around I have an acoustic concert that I created of the Bee Gees Greatest Hits - Live. Who'da thunk it but it turns out that there have been a ton of acoustic performances made available of the group playing acoustically since they formed back in 1960. And I listened to everyone! But before I could start I had to set up strict guidelines to pick which of the many versions out there that I would include. My criteria was very, very strict! I based it on one single note. If they hit that note strong then the whole show was a keeper. If not, and their voices cracked or wavered even the tiniest bit, I ditched the whole show! We all know the note… it's the one everybody uses when they are “attempting“ to demonstrate what makes the Bee Gees, well…the Bee Gees. I said “attempting to hit”, as no one ever hits that note, it's just too damn high! The note is in 'How Do You Mend A Broken Heart' and it happens just after the first verse and before the chorus. Trust me, it's high! With that said, this acoustic concert has a bunch of great soundboard sources including the VH1 Storytellers concert from 1990, two fantastic unplugged shows from 1981 and 1983, a couple of performances from Las Vegas in 1997 and a wonderful A&E Live By Request presentation from 2001. Their harmonies during each are stellar and their performances are almost flawless. I say almost because in one place... well, youʼll hear on track 24. Besides that one rare live flub (always fun to see people are human), I've also added as bonus cuts two incredible extras. One is a writing session where the guys are just sitting around a piano working out the details of one of their classics 'How Deep Is Your Love?', and the other is well, just indescribable...at least in the presence of ladies and all the good folk who are my fans. So here it is. I hope you enjoy my version of an Album I Wish Existed: The Bee Gees Acoustic Greatest Hits - Live!

Track listing

01 I've Got To Get A Message To You
02 To Love Somebody
03 I Started A Joke
04 Lonely Days
05 How Do You Mend A Broken Heart?
06 Jive Talkin'
07 Stayin' Alive
08 How Deep Is Your Love?
09 Islands In The Stream
10 Heartbreaker
11 Still Waters
12 I Could Not Love You More
13 Words
14 Holiday
15 Guilty
16 Nights On Broadway
17 Too Much Heaven
18 You Should Be Dancing
19 Massachusetts
20 New York Mining Disaster 
21 Paradise
22 Blue Island
23 Three Kisses Of Love 

Bonus tracks
24 How Can You Mend A Broken Heart (false start)
25 How Deep Is Your Love (writing session)
26 To Lose Your Penis - (For The National Addadicktome Foundation)

Sources:
Tracks 1-13 VH1 Storytellers 1990 
Tracks 19-21, 23-24 Capital Radio Studios 1981
Track 22 MTV's Most Wanted 1993
Tracks 16-17 One Night Only MGM Grand Las Vegas 1997
Track 14-15, 18 A&E Live By Request 2001
Tracks 25-26 Unknown

PS. Thanks go out to pj for all his help arranging, editing and general overall tinkering this collection! What started as a Mike Solof production ended up much more a co-project

and I thank him tons and tons for his help!

Madonna - Set The Right (2004)

In 2002 Madonna was offered the job of supplying the theme song to the 20th James Bond film 'Die Another Day', but when it was delivered the producers asked her to change the song to fit the movie's title into it, like all other Bond movies have done. She did as requested, and around the same time another title was rumoured to have been recorded with producers M and Mirwais Ahmadzai for the soundtrack, but it was later decided that it was just the early version of 'Die Another Day'. As it turns out it was in fact a completely new track, and 'Can't You See My Mind' was leaked online some time later. After the single of 'Die Another Day' was released, Madonna began work on the follow-up album to 'Music, which was to be called 'American Life', and as with the 'Music' sessions, more material was recorded than could fit onto the album. One of these leftovers was another collaboration with Mirwais and Monte Pittman, and 'Cool Song' was taped as both an acoustic track and also a dance remix by Paul Oakenfold, re-titled 'It's So Cool', with the latter appearing as an iTunes-only bonus track on Madonna's greatest hits compilation 'Celebration'. The original recording from 2002 features a stripped-down, acoustic performance, and includes a children's choir during the final chorus, while a Mirwais dance remix demo has also surfaced. 'The Game' and 'Miss You' are more Mirwais co-writes, and they both have a stripped-down acoustic folk feel, but neither made the cut for the album. 'Set The Right' is a more upbeat Mirwais co-write, and had an number of titles through it's recording, including 'To The Left, To The Right' or 'Set To Right', but when it leaked online it was titled 'Set The Right'. After 'American Life' was released in 2003, Madonna embarked on the Re-Invention World Tour, and with Mirwais and Pittman in tow, more songs were written and recorded, including 'I'm In Love With Love' and 'I Love New York', both of which were supposed to be indicative of the sound originally conceptualised for the next album, before the project evolved into what eventually became 'Confessions On A Dance Floor'. 'Miss You', 'If You Go Away', 'How High', 'Boum', 'Curtain', 'The Devil Wouldn't Recognize You' and 'Is This Love (Bon D'Accord)' were written for a planned musical called 'Hello Suckers', which would have been a 1920's-style stage show loosely based on the life of 'Texas Guinan'. Songs were written with a number of co-writers including Patrick Leonard and Mirwais Ahmadzaï, and lyrics from some of them were later reworked and included on tracks for 'Confessions On A Dance Floor' and 'Hard Candy'. With the addition of lovely acoustic take of 'Love Profusion', we therefore have enough new material to produce another album that could have come out during the Re-Invention tour of 2004, before 'Confessions...' appeared in 2005.    

Track listing

01 Set The Right
02 It's So Cool
03 The Game
04 If You Go Away
05 Can't You See My Mind
06 Is This Love? (Bon D'Accord)
07 I Love New York
08 Miss You
09 In Love With Love
10 Love Profusion (demo)
11 Boum
12 Cool Song

The Alan Parsons Project - The Sicilian Defence (1979)

'The Sicilian Defence' was to be the twelfth studio album by The Alan Parsons Project, named after the famous chess opening move. It was recorded in 1979, and was never actually intended for release, as it was to be used as a bargaining chip in contract re-negotiations with their record label Arista. Parsons did not feel they were given adequate time to make a new album while Eric Woolfson negotiated their contract, but were under obligation to deliver one anyway, and so Parsons and Woolfson quickly recorded a series of instrumental sketches, each named after a chess move, as their final album for the label. When it was done Parsons delivered both 'Eve' and 'The Sicilian Defence' simultaneously and told the label "There are your last two albums. Now, give us a new deal". Although Arista rejected 'The Sicilian Defence' they accepted 'Eve', and the ploy worked as the contract was re-negotiated for the follow-up 'The Turn Of A Friendly Card'. Parsons freely admits that it's not their best work, and in the early days he tried to disown it completely, even hoping that the tapes no longer existed, but they did survive and the album finally saw the light of day in 2014 on 'The Complete Albums Collection' anthology, although that is currently the only way that you can hear it. Parsons is now happy that its release is fulfilling a need to document, historically, the entire catalogue of The Alan Parsons Project, and so if you don't own the 2014 box-set then you can now give it a listen see if you agree with him. 

 
Track listing

01 P-K4
02 P-QB4
03 Kt-KB3
04 ...Kt-QB3
05 P-Q4
06 PxP
07 KtxP
08 Kt-B3
09 Kt-QB3
10 P-Q3

Unit 4 + 2 - For A Moment (1968)

Of all the one-hit wonder groups of the 60's, one of the most well-known is Unit 4 + 2, who, try as they might, could never match the success of their 1965 smash hit single 'Concrete And Clay'. The band formed in 1962, when Brian Parker, then the guitar player and songwriter with the Hunters, decided to form his own vocal harmony group. He asked his friend David 'Buster' Meikle to join him, and together they recruited school-friends Tommy Moeller and Peter Moules. They named the group Unit 4, but when they were later joined by Russ Ballard on guitar and Robert 'Bob' Henrit on drums, they renamed the band Unit 4 + 2, for a six-piece group featuring a four-part vocal harmony section. Moeller was lead singer and front man from the first show as the Unit 4 vocal group to the last show as Unit 4 + 2, but due to ill health and a dislike of performing live, Brian Parker left the band, although he remained involved as co-songwriter with Tommy Moeller for all of the band's original recordings, and his place at live performances was taken by Howard 'Lem' Lubin. Their first single as the full band was 'The Green Fields', on Decca Records in 1964, which did reach a respectable number 48 in the UK charts, but the follow-up 'Sorrow And Pain', was less successful. It was their third release which catapulted them to stardom, when 'Concrete And Clay' became a huge hit the following year, reportedly thanks to exposure on pirate radio stations like Wonderful Radio London, and DJ Kenny Everett in particular. As well as reaching the top of the UK chart, the single was a worldwide hit, competing in the US with a cover version by Eddie Rambeau, which did split sales for both artists. Decca released a hastily put together album, titled '1st Album', and the the next single '(You've) Never Been In Love Like This Before', did reach the UK top 20, but is generally forgotten today. The band released 10 singles on Decca between 1964 and 1966, including one four-track EP, but they were forever chasing that second smash hit single, even changing the track listing, cover art and title of the re-release of their debut album to '#1 featuring Concrete and Clay', in an attempt to remind people of the song. Soundalike singles 'Hark' and 'Baby Never Say Goodbye' (written at the same time as 'Concrete And Clay' but not released until 1966) utilised he same Latin influence that made 'Concrete And Clay' stand out, but failed to replicate its success, although some of them did grace the lower reaches of the UK chart. By 1967 the band had left Decca and signed with Fontana, and with Ballard and Henrit on board as full-time members, the Unit 4 + 2 sound had gelled, but their cover of Bob Dylan's 'You Ain't Goin' Nowhere' was outsold by a cover version by the Byrds, and even adding electric piano and other orchestration to their last single '3.30' didn't help. Around the time of their self-titled second album in 1967, Rodney Garwood replaced Peter Moules (who had taken up bass when the band changed from a vocal group to a pop band), and Hugh Halliday replaced Bob Henrit, but it was too late to capitalise on the single's success and the album failed to chart. Fontana stuck by them and allowed them to release six singles up to 1969, but the band eventually broke up in 1970. Despite their lack of chart success after 'Concrete And Clay', they have left behind a competent body of work, and this collection of all their non-album Decca and Fontana single tracks should go some way to showing what a great band they were in their heyday, and also showcase the work of Ballard and Henrit before they teamed up with Rod Argent in his eponymous band in 1970.  

Track listing

01 The Green Fields (single 1964)
02 The Lonely Valley (b-side of 'Sorrow And Pain' 1964)
03 When I Fall In Love (b-side of 'Concrete And Clay' EP 1965)
04 To Be Redeemed (from 'Unit 4 Plus 2' EP 1965)
05 (You've) Never Been In Love Like This Before (single 1965)
06 Tell Somebody You Know (b-side of '(You've) Never Been In Love Like This Before')
07 Hark (single 1965)
08 Stop Wasting Your Time (b-side of 'Hark')
09 You've Got To Be Cruel To Be Kind (single 1965)
10 I Won't Let You Down (b-side of 'You've Got To Be Cruel To Be Kind')
11 Baby Never Say Goodbye (single 1966)
12 Rainy Day (b-side of 'Baby Never Say Goodbye')
13 For A Moment (single 1966)
14 Fables (b-side of 'For A Moment')
15 I Was Only Playing Games (single 1966)
16 I've Seen The Light (b-side of 'I Was Only Playing Games')
17 A Place To Go (b-side of 'Butterfly' 1967)
18 You Ain't Goin' Nowhere (single 1968)
19 So You Want To Be A Blues-Player (b-side of 'You Ain't Goin' Nowhere') 

Rihanna - Give Me A Try (2011)

The 'Angel' album of the recent post wasn't the first time that unreleased tracks from Rihanna had been compiled into an album by fans, as the same thing had happened in 2011. Leaked studio recordings and demos appeared on the internet, with some of the songs going as far back as 2006, and a number of them also later appeared on 'Angel'. 'My Name Is Rihanna' was one of these, which was renamed as 'My Name Is Fantasia' for the 'Angel' album, but it sits better on this one under it's original title, as it segues nicely into her version of the Bob Marley classic 'Get Up Stand Up'. The rest of the songs are a fine collection of ballads and up-tempo pieces which didn't deserve to be locked away in the vaults, so enjoy them here.  

Track listing

01 My Name Is Rihanna
02 Get Up Stand Up 
03 Ur Luv
04 Slower To Heal
05 Give Me A Try (feat. Sizzla)
06 How I Like It
07 Never
08 Suicide
09 I'm Back
10 Tip Pon Toe
11 Hurricane
12 Survivor

Bob Marley & The Wailers - Exodus (Horns Mix) (1977)

While Bob Marley was recording sessions for the 'Exodus' and 'Kaya' albums in 1977, he began to experiment with including a horn section on the songs, as he thought it would add another dimension to his ever-evolving musical catalog, much like the rock guitar did on the 'Natty Dread' and 'Rastaman Vibration' albums. While he used horns for his remaining studio albums, with their greatest and most persistent use on the 'Survival' album, they only survived on these recordings on the title track of the 'Exodus' album. The Wailers horn section originated with Jamaican trombone and saxophone players Vin Gordon and David Madden, who played on the 'Natty Dread' and 'Rastaman Vibration' albums, and it later included included Glen Da Costa, David Madden, and the Zap Pow horns. Madden recalls "Bob called me, 'David, we have a recording session, do you want to come?' And of course, I said yes. I didn't know Bob was going to become any kind of star. He would say, 'We have a little tour, do you want to come along?' It was a  mixture of professionalism and friendship. We don’t have that superstar air in Jamaica. I might sing the biggest tune yesterday but today I'm still walking down the street. When me and Bob talked, it was because of a session. Or Family Man will say, David, go talk to Bob because he wants to do a session". Madden and the other horn players were paid for the sessions but were not credited with writing parts. "Well, you see, when we reach the studio, the song is already done. It is all there. When you hear a song, the thing is to be able to say, you know, there is a part there that would sound better with horns. I am hearing that there is something that would sound better than if it was left alone. So for them guys, Marley and those, just for thinking to put some order in that tune, to bring it up some more, well that is genius in them. But as for what to play there, they don’t know. That is where we come in. They weren't able to tell us what to play. But because of being in the studio and working and all the practice that we do, we are hearing things. So when we come and they say, alright, roll the song, and we start to play, they say ‘Damn! Here! Yes!’ and the tune go up and it is a hit!" Madden has happy memories of his work with Marley, playing on 17 of his hit songs, including 'Natty Dread', 'So Jah Say', 'Rat Race', 'War', 'Is This Love', and 'Smile Jamaica', and The Zap Pow horns subsequently became the Wailers' horn section for studio sessions and tours. Only a few of these recordings have horns added, as Madden said, sometimes you can just tell that they are not needed, but even those without the addition of the horns are monitor mixes, and so completely different to the released versions. 

Track listing

01 Natural Mystic
02 So Much Things To Say
03 Guiltiness
04 The Heathen
05 Exodus
06 Jammin'
07 Waiting In Vain
08 Turn Your Lights Down Low
09 Three Little Birds
10 One Love

Just a reminder....

if you can't use, or don't like, Soulseek, then links to all 1000-plus albums are in a pdf that can be downloaded via the Yandex link under the disclaimer at the top right of the blog. Recent albums are at the top, and an archive of the rest is below. 

In a similar fashion, a pdf further down contains all the notes and track listings from the '..and on guitar' series, which can be slotted into the folders so that you can easily find the original artists when you listen to them.

2Pac - 100% Black Gold (1996)

Tupac Shakur began recording under the stage name MC New York in 1989, and after signing with Atron Gregory, manager of the rap group Digital Underground, he was added to the group as a roadie and backup dancer. In January 1991 he debuted under the stage name 2Pac on Digital Underground, under the new Interscope Records label, on the group's January 1991 single 'Same Song', which also opened the group's 'This Is An EP Release'. Shakur's debut album '2Pacalypse Now' arrived in November 1991, and would bear three singles, 'If My Homie Calls', 'Trapped' and 'Brenda's Got A Baby', all of which depicted individual struggles under socioeconomic disadvantage in a distinctive poetical style. Shakur's second album 'Strictly 4 My N.I.G.G.A.Z...' was released in in February 1993, and was a critical and commercial advance on its predecessor, debuting at No. 24 on the pop chart in the Billboard 200. In late 1993, Shakur formed the group Thug Life with Tyrus "Big Syke" Himes, Diron "Macadoshis" Rivers, his stepbrother Mopreme Shakur, and Walter "Rated R" Burns, releasing its only album 'Thug Life: Volume 1', in October 1994. Shakur's third album 'Me Against The World' was released in March 1995 while he was incarcerated, and is now hailed as his magnum opus, and commonly ranks among the greatest, most influential rap albums of all time. The lead single 'Dear Mama' was released in February 1995 with 'Old School' as the b-side, and is the album's most successful single, topping the Hot Rap Singles chart, and peaking at No. 9 on the Billboard Hot 100. 

While Shakur was in prison in 1995, his mother was about to lose her house, and so Shakur had his wife Keisha Morris contact Death Row Records founder Suge Knight, who advanced Shakur's mother $15,000 to pay her debts. In October 1995, Knight visited Shakur in prison again and posted the $1.4 million bond, allowing Shakur to return to Los Angeles and join Death Row, with the appeal of his December 1994 conviction pending. His fourth album 'All Eyez On Me' came out on Death Row in February 1996, and was rap's first double album, featuring Shakur rapping about the gangsta lifestyle, and leaving behind his previous political messages. In between recording tracks for his albums, Shakur was constantly taping music, and there are many hand-written track listings of proposed albums which never appeared. One of these is the legendary '100% Black Gold', which was to have followed 'All Eyez On Me', but before it could be finalised Shakur was shot four times by an unidentified assailant in a drive-by shooting in Las Vegas in September 1996, and he died six days later. At the time of his death, a fifth and final official solo album was already finished, 'The Don Killuminati: The 7 Day Theory', under the stage name Makaveli, which became the first of many posthumous releases over the next decade. Yet there is still much music which remains officially unreleased, and '100% Black Gold' is one of the very best of the fan-produced albums which has used some of those tracks. The album went through many different tracklist and name adjustments, being variously known as 'Outlaw Immortal', 'Still I Rise' and 'Thug Life Vol. 2', before finally settling on '100% Black Gold', and this reconstruction follows exactly the hand-written track listing for it that Shakur left behind. 

Track listing

01 Hit 'Em Up (feat. Outlawz)
02 Wordz 2 My First Born 
03 Troublesome '96
04 Made Niggaz (feat. Outlawz)
05 When Thugz Cry
06 Never Had A Friend Like Me
07 Never Call U Bitch Again
08 Fuckin' Wit The Wrong Nigga (Part 1)
09 Mama's Just A Lil Girl
10 Who Do U Believe In (feat. Yaki Kadafi)
11 Thug n' Me (feat. Jewell)
12 Fuckin' Wit The Wrong Nigga (Part 2) a.k.a. Tongue Kissin'

Susanna Hoffs - Ghost (1994)

Susanna Lee Hoffs is best know as a co-founder of the Bangles, evolving from The Bangs, who were formed in 1981 with Debbi and Vicki Peterson, after being inspired by punk bands like The Ramones. They recorded their first full length album 'All Over The Place' for Columbia Records in 1984, but the night before it was pressed they learned of a legal claim by an East Coast boy band, also called The Bangs, that requiring a sudden change of name, so The Bangs morphed into The Bangles. They had a moderate hit with the single 'Hero Takes A Fall', but their commercial breakthrough came with the album 'Different Light' in 1986, which produced the hit singles 'Manic Monday' (which Prince had written for the group), 'If She Knew What She Wants', and 'Walk Like An Egyptian'. In 1987 Hoffs tried her hand at acting, and starred in the film 'The Allnighter', which was directed by her mother Tamar Simon Hoffs. It was critically panned and failed at the box office, but Hoffs later said that although the movie wasn't great, the overall experience of it was. In 1988 The Bangles released their third album 'Everything', and the first single from it, co-written by Hoffs, was 'In Your Room', which became a top 10 hit, and this was followed by their biggest-selling single 'Eternal Flame'. In 1989 The Bangles formally disbanded, and Hoffs started a solo career, staying with Columbia and releasing her debut solo album 'When You're A Boy' in 1991. Sessions for the follow-up proceeded throughout 1993 and 1994, but when the album was presented to Columbia they rejected it, which led to Hoffs leaving the label. The 1994 recordings showed a distinct change in style, reflecting more of her emotions in the songs, most likely as a result of the fact that she co-wrote over half of the album. It was grungier rock and had more of a bite than her first solo outing, and was riskier and more original, and this could be why Columbia rejected it, as they wanted something more along the lines of 'When You're A Boy'. When the label ordered her to return to the studio to re-record them, she refused, and was released from her contract, but in a rare move, Columbia also turned all of the songs' rights over to her (which usually they prefer to hold onto, to capitilize on any future success she might have for another label). It would be another two years before she was picked up by London Records, who released her second, eponymous album in 1996, but because she owned the rights to her songs, she was able to include reworkings of 'Enormous Wings', in an almost identical version, 'Darling One', which is a much more uptempo take, and 'Happy Place', with alternate lyrics. 'Catch The Wind' and 'Turning Over' were subsequently released as bonus tracks on the 4-track CD single 'All I Want' in 1996, but the rest of the songs have remained locked away, so here is your chance to hear what should have been Susanna Hoffs' second Columbia album in 1994. 

Track listing

01 Enormous Wings
02 Darling One
03 Sunshine 
04 Happy Place
05 Right By You 
06 Catch The Wind 
07 Without You 
08 Go
09 Sleep 
10 Ghost
11 Turning Over

The Seahorses - Minus Blue (1999)

The Seahorses were formed in 1996 by guitarist John Squire following his departure from The Stone Roses, and after recruiting bassist Stuart Fletcher, and vocalist/songwriter Chris Helme. Squire did admit early on that despite liking a couple of Helme's songs, including 'Blinded By The Sun' which he re-arranged for the album, he could see problems later if Helme wanted to record them with the band. In the summer of 1996, Squire rented a cottage in Coniston, Cumbria to write and rehearse with Helme and Fletcher, and after trying out several drummers, they finally settled on Andy Watts, who had previously gigged with Fletcher and also knew Helme. Due to Squire's past work with the Stone Roses, the band were met with intense media interest and speculation before they had recorded or released anything, and even the band name was the subject of various conspiracy theories, after the NME claimed that it was an anagram of He Hates Roses. Just weeks after Watts joined, they all headed to North Hollywood to record with David Bowie/T. Rex producer Tony Visconti, and they released their debut single 'Love Is The Law' on 28 April 1997 via Geffen Records, to whom Squire was still signed following his departure from the Stone Roses. The band's debut album 'Do It Yourself' was released in May 1997, and included the song 'Love Me And Leave Me', which was co-written with Liam Gallagher of Oasis, with whom the band toured in 1997. Shortly before the release of the single it was announced that drummer Andy Watts was leaving the group to spend more time with his family (or had been asked to leave, depending on who you believe), and he was temporarily replaced by session players Mal Scott and Toby Drummond. The band went on to play support slots with The Rolling Stones, U2, and Oasis, and in 1998 they began work on a follow-up album with another new drummer, Mark Heaney, having previewed several new songs during secret fan club gigs and festival appearances, including 'City in The Sky', '700 Horses', 'Tombraid', and two Helme compositions 'Won't Let You Fall' and 'Moth'. The band entered Olympic Studios with producer David Bottrill in January 1999 to record the album, with the working titles of 'Minus Blue' and 'Motocade', but tensions came to a head between Squire and Helme, and Squire walked out of the studio, never to return, resulting in the sessions being abandoned, and the group splitting up. The main arguments between Squire and Helme were to do with the writing process, with Squire becoming increasingly dissatisfied with the material being produced by Helme, until it reached a point where their partnership was no longer possible. Helme was also unhappy with Squire writing the majority of the band's material, and therefore picking up the majority of the publishing money, and due to this he attempted to launch a solo career whilst still in The Seahorses, later claiming that the Seahorses' management informed him that they would sue him if he started touring and playing his own material whilst still a member of the band. In 2005 some of the recordings from the abandoned sessions surfaced, and so we are now able to hear what 'Minus Blue' might have sounded like had the band managed to put their differences aside for a bit longer and complete the album. 

Track listing

01 Night Train
02 700 Horses
03 Anamorphosis
04 I Want You
05 Cocksucker Blues
06 Reach Out
07 Dolphin
08 Something Tells Me
09 What Can You See? (Into The Light)
10 Tombraid

The Incredible String Band - Curlew (1972)

1972 was a pivotal year for The Incredible String Band, as having released a string of well-received albums on Elektra Records, their manager Joe Boyd severed ties with the band in 1971 and returned to the US, while Rose Simpson left the group, to be replaced by Malcolm Le Maistre, formerly of the Stone Monkey troupe. Mike Heron had taken time out to record a well-received solo album 'Smiling Men With Bad Reputations', which featured a host of session guests, among them Pete Townshend, Ronnie Lane, Keith Moon, John Cale, Richard Thompson, and Elton John on an unreleased out-take, and in 1972 Licorice McKechnie left, to be replaced by Gerard Dott, an Edinburgh jazz musician and friend of both Heron and Robin Williamson. Williamson himself also recorded a solo album 'Myrrh', which featured some of his most extraordinary vocal performances, and so to a casual observer it would seem that the band was on the verge of falling apart. However, they had managed to secure a deal with Island Records, and following the release of the soundtrack to the film 'Be Glad For The Song Has No Ending', they issued the eclectic 'Liquid Acrobat As Regards The Air' in 1971 to renewed praise from the critics. So in 1972 they began laying down tracks for the upcoming 'Earthspan' album, which, compared to its predecessors, was a more generic folk album. The band was continuing its exploration into progressive rock and synthesizers in order to create a more commercial-oriented sound, which was mostly due to Heron's influence over the group, and as a result they would lose much of their trademark style that made them popular in the British underground counterculture of the 1960's. 

They recorded a couple of sessions for the John Peel Show on Radio 1, and previewed unrecorded songs such as 'Secret Temple' and 'Oh Did I Love A Dream', as well as performing a full band version of 'Rends-Moi Demain' from Williamson's solo album. Clive Palmer had left the band in their early days and formed his own group C.O.B. or Clive's Original Band, and had released their debut album 'Spirit Of Love' in 1970, but in the same year that the ISB was preparing to go into the studio for the 'Earthspan' sessions, they released their second album 'Moyshe McStiff And The Tartan Lancers Of The Sacred Heart', bringing him back to the attention of ISB fans who remembered his early involvement with the band. So although things weren't going swimmingly for the Incredible String Band, there was a lot of music from the individual musicians in that year, so I though I'd bring some of it together as a summary of what was going on in their lives. We start with a track from each of the solo albums which were around in 1972 (Heron's having been released a few months earlier), followed by an out-take from the 'Earthspan' sessions, and the un-issued track from Heron's solo album that featured Elton John. An out-take from Palmer's album follows, and then we have the ISB version of Williamson's 'Rends-Moi Demain', and another leftover from Heron's album. Another 'Earthspan' out-take, Licorice McKechnie's 'Secret Temple', is next, followed by Palmer's instrumental out-take 'Falconer's Glove', and then another track from Williamson's 'Myrhh' as he was starting to feel a bit neglected, and finally we round off with the lovely instrumental title track. This is something of an unusual post, as it mixes released album tracks, demos, radio sessions and out-takes, but it captures a moment in time for the members and former members of this unique band.

Track listing

01 Dark Dance 
02 Martha & Mary  
03 Feast Of Stephen 
04 Oh Did I Love A Dream  
05 Make No Mistake 
06 Sweet Spring 
07 Rends-Moi Demain 
08 Lady Wonder   
09 Secret Temple   
10 Falconer's Glove 
11 Cold Harbour 
12 Curlew