An enormous amount of valuable rock music was performed on BBC radio in the decade or so after the Beatles’ first session in March 1962. Fortunately tapes of much (though far from all) of it survive, varying in fidelity from superb to lo-fi tinniness that seems to have resulted from putting a home recorder next to a radio speaker. Also fortunately, many BBC tapes have come out on official releases, and many others have unofficially circulated.

In my previous post, I discussed rock radio sessions in the 1960s on the BBC that differed notably from what groups offered on their official recordings. That post focused on a few specific groups I think took the best advantage of the format, all of them well known. Those were the Beatles, Fairport Convention, and Pink Floyd, with an honorable mention to Fleetwood Mac.

It wasn’t too often that anyone presented a BBC version of an officially released studio track and substantially changed the arrangement. There might have been two opposing viewpoints taken into consideration as to whether to do such things. One, and the one probably preferred by fans decades later looking for something different than the official record, would be that the BBC offered a fairly low-pressure environment for experimenting and offering a version as different from the familiar one as the Beatles’ “Revolution” single was from the “Revolution 1” version of the same song on The White Album.

The more cautious and common one is that it would take a lot of effort to reinvent an arrangement for just one BBC performance that, to the performers’ knowledge, wouldn’t be released and just be broadcast once or twice, before it was realized that BBC sessions had some commercial value on reissues many years later. In addition, a lot of acts probably viewed the sessions as promotion for their records, and wouldn’t have thought it sensible to perform versions that varied notably from what you’d hear on official vinyl.

Once in a great while, an act would conjure a BBC variation quite different from the studio version, and in some cases superior. Here are a few obscure ones:

The most obscure of these, but also the most interesting, was by a group who were themselves obscure, Blossom Toes. Their two late-’60s albums were among the best fairly little known ones of the British psychedelic and early progressive rock era, though they’re more well known, at least among collectors, now than they were then. The first of these, We Are Ever So Clean, was wistful psych-pop with traces of the Beatles and the Kinks, but with its own brand of tuneful whimsy. One of the better tracks was “Love Is,” with its melancholic, bittersweet look at fading love. It was embellished, as much of the album was, by orchestration, including a cello.

The BBC version is as different from the studio one as the White Album version of “Revolution” was from the single. There’s no orchestration from session musicians; the song’s much slower and more somber; the harmonies are more haunting; there’s a prominent flute; and, most notably, a ghostly mellotron. It’s almost like the dark doppelganger of the relatively cheery studio counterpart, as if it’s the reflection of what’s really felt when a love affair ends, and not a glossier lament. It’s true that not many are familiar with the original version to begin with, and not too many have concerned themselves with the differences. They’re about as wide as they are on any BBC rock recordings of interest from the 1960s, however, and the BBC version is now fortunately easily available on CD, after only having done the rounds unofficially for many years.

It might have been effective for Blossom Toes to present both of these different arrangements on one album, as is sometimes done for very different versions by plenty of acts, including the Beatles on Sgt. Pepper (with the reprise of the title song). This would almost have subtly conveyed how the romance in the song could be experienced in very different ways. Or, at the very least, to put the BBC version, or a studio recording following the BBC arrangement, on a B-side; as obscure as they were, Blossom Toes did have non-LP-B-side material. This too was sometimes done by acts—not just the Beatles—who did very different versions of the same song on album vs. single. It’s not known if Blossom Toes even thought of this, but the BBC variation is certainly worth hearing.

Wayne Fontana is not nearly as obscure as Blossom Toes. He fronted the Mindbenders on the 1965 #1 classic hit “Game of Love,” after all. His solo career didn’t go so well, and he never made the US Top 100. But he did have some mild British hits, the biggest of which was “Pamela, Pamela,” which almost made the UK Top Ten. It was written by Graham Gouldman, who’d already penned great songs for the Yardbirds and the Hollies.

I’d hardly make the case that Fontana was a major figure of British rock, or that “Pamela, Pamela” was one of Gouldman’s best songs, though it’s okay and has his characteristic deft use of minor melody. I’d hardly given the track much thought since first hearing it more than thirty years ago. So I was a little astounded when I heard the January 6, 1967 BBC version on a double CD of 1964-68 Fontana BBC sessions (about half with the Mindbenders). It sounded pretty good, whereas I’d never thought much of the hit single.

As recorded in the studio, “Pamela, Pamela” is bloated orchestral pop, and not sung particularly well by Wayne, especially at the end, where he strains to hit a really high note. Its BBC counterpart (one of them; he’d record a less distinguished one on January 26, 1968) isn’t nearly as different as Blossom Toes’ “Love Is” from its studio version, but it’s still of particular note for those who are fanatical enough about the British Invasion to invest in a double CD of Fontana radio sessions in the first place. The term “unplugged” wasn’t around in 1967, and this isn’t acoustic solo, but the 1967 BBC “Pamela, Pamela” greatly improves the song by removing the orchestration. Actually the arrangement is effectively minimal, with weedy Greek-flavored guitar and very light percussion, almost amounting to tapping. Fontana’s vocal sounds far more relaxed, and hits the final high note with dramatic ease. It’s as if he’s doing what he wants with the song instead of what is considered to be the most commercial in an age when orchestral pop by Tom Jones was big.

While the double CD itself (titled Live on Air 1964-1968) is no great shakes, it’s far more enjoyable than I braced myself for. Fontana’s singing, while again not for the ages and no match for the best vocalists of his era, is pretty accomplished, and even the non-Mindbenders stuff is largely pleasant, though he only got a truly excellent song with “The Game of Love.” So, as they’d say in the UK, good on you Wayne.

As a third example of a very different BBC version you’re not likely to read about many or any other places, there’s Duffy Power’s October 10, 1964 performance of “Where Am I?” Power was an excellent British blues-rock singer who never had a hit, despite associations with top British musicians like Graham Bond, Duffy Power, and John McLaughlin. He made quite a few records, including some flop singles, one of which was 1964’s “Where Am I?” This sounds like a transparent attempt to mold him for the pop market, as the soul-pop ballad is given soaring orchestration and rather loud, melodramatic female backup vocals.

As with Fontana’s “Pamela, Pamela,” on the BBC, the logical alternative path was to subtract the over-production. Suddenly what sounds like a misguided fire at the pop market sounds like a superb, ghostly mood piece. Sung just by Power with conventional rock instruments, it’s sparse and eerie. Not commercial, but certainly better, and Duffy’s vocal sounds far more comfortable in this setting. Again, this sounds like Duffy doing what he wants, instead of what is thought might sell. It can be heard on the triple CD compilation Live at the BBC Plus Other Innovations; for all his commercial obscurity, there’s a wealth of Power music on CD, both from reissues of official discs and material that was unreleased when it was recorded in the 1960s and early 1970s.

An enormous amount of valuable rock music was performed on BBC radio in the decade or so after the Beatles’ first session in March 1962. Fortunately tapes of much (though far from all) of it survive, varying in fidelity from superb to lo-fi tinniness that seems to have resulted from putting a home recorder next to a radio speaker. Also fortunately, many BBC tapes have come out on official releases, and many others have unofficially circulated.

While BBC performances were often live renditions that differed little from the studio versions, there were more interesting supplements to an act’s official discography if they were adventurous. Prime among those were opportunities to do songs that weren’t on their studio releases, often cover versions of material by other artists, less often original compositions that somehow didn’t make it onto commercial product. Yet less frequent were arrangements of songs from albums, singles, and EPs that different substantially from their studio counterparts, and in fairly rare instances were actually superior.

This post isn’t a survey of the noteworthy BBC recordings from the time; it would take several books to cover those. Instead I’m citing the three acts that I think took most advantage of the format, along with a few instances that come to mind where radio versions outdistance the studio ones.

There’s heavy competition for judging the best BBC practitioners, especially since almost every British act of note did at least an album’s worth of sessions, and often several albums worth of sessions. For me, there are three clear winners, two of whom were among the biggest acts of all time, and a group who weren’t, although they’re pretty well known.

At the top of the list, as they were for so many things, are the Beatles, even if their sessions were limited to 1962-65, and the bulk of those took place in 1963. Their BBC output’s hardly a secret; there are two official double CDs, a bunch of tracks on an iTunes download comp of previously unissued 1963 material, and plenty of cuts that circulate unofficially, even if those are usually different versions of tunes that are now officially available in different BBC takes. There’s even a big book about their BBC sessions, The Beatles: The BBC Archives, though like many works of its kind, it was disappointingly short on description and background info on the actual performances. It might come as a surprise to some chroniclers, but the music is actually the reason most fans care about this stuff.

The Beatles did more than 50 sessions, 40 in 1963 alone. These included  275 tracks and 88 songs (many done more than once), three dozen of which (all but one covers) are not on their studio releases. At the risk of immodestly, I’ll note I describe all of their sessions in my book The Unreleased Beatles: Music and Film. Their greatest value are the 35 covers not on their studio records, many of them terrific, and virtually all of them worthwhile. These not only prove their versatility and illustrate their influences. Especially in 1963, they did so many sessions, and put such a varied repertoire into their sets, that I think they might have been an underrated influence in how quickly and constantly they improved as a band.

Here I’ll focus on how they treated their original material. While almost always energetic, they didn’t rearrange or redefine their original compositions (all by John Lennon and Paul McCartney on their radio sessions) to a notable degree. There’s just one I’d contend might be better than the studio version. This is “Thank You Girl,” as done on June 19, 1963. It’s simply appreciably zestier than the familiar track from the B-side of “From Me to You,” Ringo really pounding the drums, and John lets loose with some fierce screams not heard at all on the 45. True, it’s missing the harmonica that’s a prominent part of the original arrangement, as the instrument was on numerous early Beatles releases. 

There are some other instances where the Beatles did something a little different on the BBC renditions of their compositions, though not in ways that made much of a difference. The June 17, 1963 “P.S. I Love You” ends with a nice melancholy chord that’s not part of the single. The January 7, 1964 “I Wanna Be Your Man” has a bit of Bo Diddley in the rhythm and some reverb on the guitar. On their final BBC session on May 26, 1965, Lennon changed the lyrics of “I’m a Loser” to “beneath this wig, I am wearing a tie.”

But the Beatles were not ones to jam or monkey around with what admittedly worked very well to begin with. They did sometimes mildly tinker with cover versions that made it onto their studio records. The sadly incomplete January 16, 1963 performance of “Chains” has some background harmonies on the bridge not heard on the Please Please Me version. The instrumental break on the June 24 “Roll Over Beethoven” is twice as long, with some wild staccato George Harrison riffing and very well recorded McCartney bass. John, and not Ringo, sings “Honey Don’t” on the August 1 session.

Most top British groups didn’t attempt original songs on the BBC that never wound up on their records, and the Beatles weren’t an exception. There was one interesting exception when they did a nice version of “I’ll Be On My Way” on June 24, 1963 that easily surpassed the one that had appeared on the B-side of Billy J. Kramer’s first single. Since there were a good number of Lennon-McCartney songs the Beatles “gave away” to other artists and didn’t attempt in the studio, it begs the question why they didn’t do other leftovers for the BBC. 

It’s not a question so serious to keep even Beatles fanatics up at nights, but I’d think they weren’t too passionate about most of their giveaways, although it would have been nice to hear them try “Bad to Me” or “World Without Love” (sketchy demos of both do circulate, “Bad to Me” as part of the iTunes-only 1963 comp). Also, some of those giveaways were written very early in their career, sometimes before they had a recording contract. Maybe they weren’t interested in revisiting lesser efforts from their publishing catalog. They did try “Hello Little Girl” at their very first BBC session (with Pete Best still on drums) on March 7, 1962, but it wasn’t broadcast and a tape doesn’t survive, although at least the one from their January 1 Decca audition does.

Other than the Beatles, the group that best took opportunities to do covers not on their records might be a surprise to some people, since they didn’t have big hit records. That was Fairport Convention, who in the late 1960s sort of specialized in obscure cover versions, though they were also writing their songs from the beginning of their career on disc. So wide was their repertoire that quite a few weren’t on their three late-’60s LPs. About half of their four-CD Live at the BBC box is from sessions between December 10, 1967 and September 27, 1969, during which they offered more than a dozen covers not found on their albums and singles.

These aren’t only of interest to Fairport Fanatics. Some of the songs are among the best things they ever did. In particular, the Leonard Cohen standard “Suzanne” has some thrilling back-and-forth lead vocal tradeoffs and harmonies between Ian Matthews and Sandy Denny. I’d say “Tried So Hard” outdoes the Gene Clark original, as does their treatment of Eric Andersen’s “Close the Door Lightly When You Go,” due in large but not sole part to their stellar vocal harmonies. Also very fine are Richard & Mimi Fariña’s “Reno Nevada,” the well-harmonized arrangement of Johnny Cash’s “I Still Miss Someone,” and their bouncy takes on the Everly Brothers’ “Gone, Gone, Gone” and “Some Sweet Day”—neither of them too well known in their original guises, though “Gone, Gone, Gone” was a medium-sized 1964 US hit for the Everlys. 

Although Fairport did put Bob Dylan’s “Percy’s Song” (an early-’60s Dylan outtake not released by the singer-songwriter himself until the mid-1980s) on their 1969 Unhalfbricking album, the epic BBC version outdistances it, especially in respect to Denny’s spectacular vocal. If there’s not as much to note about the covers of Cohen’s “Bird on a Wire” and Jackson C. Frank’s “You Never Wanted Me,” they’re very good too.

Some of the originals Fairport covered were quite obscure, especially in the UK, where some of the albums on which they appeared would have been very hard to find. Some of the material hadn’t even been issued at all in any versions. When I asked Ian (now Iain) Matthews about the wealth of cover versions Fairport did, he commented, “We were quite fortunate really, because in [their producer] Joe [Boyd] and his direct link to Warners at the time, we had a private source to whatever American material we wanted. He was responsible for many of our early influences. Were it not for him, I may not have listened to Moby Grape or Buffalo Springfield for quite some time. Joni Mitchell too, Joe had a direct line to her publishing demos and supplied us with whatever we could handle. I’m sure the Joe pipeline was how Sandy got ‘Who Knows'[Where the Time Goes] to Judy Collins.”

Fairport’s February 9, 1969 session offered one especially noteworthy bonus—an original not included on their studio releases. Not only that, an original by guitarist Simon Nicol, who seldom wrote any compositions whatsoever. The song, “Shattering Live Experience” (the title is not part of the lyrics), was a quite worthy, wistfully bittersweet tune with typically superb male-female harmonies that would have sat well on any of their first three albums. As I was puzzled as to why it wasn’t used on a vinyl record or indeed why Nicol didn’t write more, I asked him about it around the early 2000s. 

“I certainly wasn’t writing, and I never have done,” was his response. “I was kind of  reluctant to be drawn into that field, and ‘Shattering Live  Experience,’ it’s a toe in the water. And I decided that the water was too cold,” he laughed. Dare I say I wish he’d tried to write more, but that wasn’t to be, and after the group dove whole-hog into far more British traditional folk-oriented material, they wouldn’t write or cover much such straightforward folk-rock songs anyway.

Long before BBC tracks were officially released by countless acts to embellish their discography (and some would say to exploit interest by completists determined to get everything once the official catalog was exhausted), a member of Fairport recognized the importance of their BBC output. A cassette with thirteen of the best BBC tracks came out in 1976 and was, according to the Mainly Norfolk site, “privately circulated by (Fairport ’60s bassist) Ashley Hutchings and could be purchased at Fairport gigs.” With nearly identical tracks, an official 1987 LP titled Heyday finally made most of the material from the cassette available. A 2002 CD version of Heyday added eight tracks, though only one of these, “You Never Wanted Me,” was a late-’60s version of a song that didn’t make their official studio releases. 

Now we’re up to four CDs with 2007’s Live at the BBC, though about half is from the first half of the 1970s, and of much less interest for me. The songs not on previous versions are generally decent, but not quite up to the level of what was on Heyday in musical quality, and sometimes not in sound quality. The extras still testify to their appetite for eclectic cover versions that wouldn’t fit onto their conventional releases, such as Joni Mitchell’s “Marcie” and “Night in the City:’ Bob Dylan’s “Lay Down Your Weary Tune,” Dino Valenti’s “Let’s Get Together,” and Eric Andersen’s “Violets of Dawn.”

The third group I feel made the most of their BBC sessions were Pink Floyd, who recorded a wealth of them in the first five years or so of their recording career. Fortunately many of them were officially issued on the Early Years box, even if that cost a small fortune. 

The Floyd’s extensive BBC catalog would be worthwhile if only for the performance of two Syd Barrett originals, “Vegetable Man” and “Scream Thy Last Scream,” that were never on official releases during the original leader’s brief but brilliant stint in the band. Studio versions of both (with Barrett still on board) are on that box too, but it was quite bold of the group to present them for BBC broadcast, especially as they—even at the time, not just in retrospect—are disturbing reflections of Barrett’s alarmingly more disturbed mental state. While the BBC versions aren’t too different than the studio outtakes, and the studio versions have expectedly better fidelity, certainly they are valuable pieces of the Pink Floyd-Barrett canon.

While Pink Floyd often varied from the studio versions in interesting ways on both their BBC sessions and in live performance in general, there weren’t many BBC arrangements that virtually reinvented the song. One glorious exception is their downright explosive nine-and-a-half-minute version of “Interstellar Overdrive” from their December 20, 1968 session.  As I wrote in a review of the box for Flashback, It’s a stupendous arrangement that’s different from the studio version and every other circulating performance, with some wrenched-from-the-bowels-of-the-earth organ swirls by Wright and a dramatic mid-section where the band  suddenly vamps on tense, urgently ascending chords, alternating dramatically with space-piercing guitar pings and yowls. When the band returns to the main motif at the end, it’s with a grandiose finality that’s impossible to follow.” Even though this was done without Syd Barrett, David Gilmour having come into the lineup for good in early 1968, this is simply the best performance of the song. It’s too bad it’s slightly lo-fi and obviously not from the original tape or a vinyl transcription disc, but that’s a pretty minor drawback.

Another BBC cut that varies from, and is arguably superior to, the familiar studio track, is the May 12, 1969 version of “Granchester Meadows.” This benefits from Gilmour’s high harmony vocal on the choruses and “BBC sessions songbirds” sound,but it’s a gorgeous arrangement, and the superb harmonies different from those heard on Ummagumma. Less markedly different, but still arguably superior to the studio counterpart, is a 25-minute version of “Atom Heart Mother” with choir, cello, and brass ensemble that outdoes, at least in my view, the side-long cut that served as the title track to the album of the same name.

You could make the same case for “One of These Days” and a 26-minute “Echoes.” These are at the very least as good as the Meddle versions. Indeed, the best Floyd BBC performances generally are a match for or better than the ones recorded at EMI, with a somewhat looser and less self-consciously polished air. You can also throw in a fifteen-minute “Fat Old Sun” as a less striking yet substantially different BBC offering, and the BBC “If,” overlooked next to the epics that dominated their early-’70s repertoire, has a nice subdued, almost ginger feel.

Incidentally, when I saw Pink Floyd drummer Nick Mason talk about his book Inside Out: A Personal History of Pink Floyd almost twenty years ago, he said there weren’t any plans to put out previously unreleased material by the band, even implying there wasn’t anything of enough interest to merit vault excavation. About ten years later, obviously the band had changed their tune, whether because of a realization that money was to be made by its official release, a sincere reevaluation of its quality, or both. Whatever the cause, it’s good there was a change of heart, since these aren’t just neat supplements to their core catalog, but in some cases absolutely essential ones.

An honorable mention of sorts can be given to Fleetwood Mac when Peter Green was their main guitarist, singer, and songwriter. They did a wealth of BBC sessions between 1967 and 1970, including many covers, and some originals, not on their studio releases. A lot of them are on the double CD Peter Green’s Fleetwood Mac Live at the BBC, but even that set, with 35 tracks, doesn’t contain many of the ones they did for BBC radio. Of the ones that do have studio counterparts, they often varied them pretty markedly. Some of them aren’t easily available even via unofficial means, including quite a few detailed in Richard J. Orlando’s three-volume Love That Burns, which exhaustively details Green’s work in the 1960s and early 1970s, most of it done with Fleetwood Mac.

A few others are on the unofficial compilation The Complete Unreleased BBC Anthology 1967-1968. Even as just a nineteen-song collection of what else is out there, this has some fine music, sometimes of material not found elsewhere. This is detailed in my blogpost on the recordings, but they include good versions of B.B. King’s “Sweet Little Angel,” “Mean Old World,” and Muddy Waters’s “You Need Love” (part of which is the basis of Led Zeppelin’s “Whole Lotta Love”). Unexpectedly worthwhile is the Jeremy Spencer-helmed “Psychedelic Send Up Number,” which is exactly what the title says it is, and is quite funny. There are also some ordinary and subpar covers and oldies, but those songs alone would make for worthwhile additions to the group’s official discography.

There were other instances in which a BBC performance clearly outshone or differed from the studio version, some of them quite obscure. I’ll detail some of the most notable ones in my next post.

British jazz from the 1960s and first half of the 1970s isn’t, dare I say, a specialty of too many people, even in the UK, and less so elsewhere. However, Richard Morton Jack’s limited edition hardback book Labyrinth: British Jazz on Record 1960-75—published earlier this year on Landsdowne—is an exceptionally well produced record guide to many of the British jazz LPs made between 1960 and 1975. Morton Jack has issued a couple other hefty compendiums of reviews/descriptions of both British and North American rock records of the period, Galactic Ramble (covering the British Isles) and Endless Trip (covering North America). Although a few folk and jazz albums are documented in Galactic Ramble, Labyrinth is exclusively devoted to British jazz, allowed for far more coverage of the genre.

Labyrinth isn’t just a discography listing catalog numbers and dates. Each of the several hundred albums gets a fully considered paragraph-long description by the author. Many of the entries also include excerpts from reviews of the albums actually printed around the time of their release, along with full-page reproductions of the front and back covers and inner labels. There’s also a very interesting and lengthy introduction by musician and producer Tony Reeves, who was part of and worked with several acts during this period, most famously Colosseum. Plus there are also a few pages reproducing ads of the time for British jazz releases.

Even within the world of jazz enthusiasts and collectors, British jazz doesn’t get a ton of attention, and many of the names will be unfamiliar to readers as few made an international impact. The ones that did tended to be ones whose impact bled over to the rock audience, like Jack Bruce, John McLaughlin, Chris Spedding, Colosseum  (though only their first LP is included), Harold McNair (via his work with Donovan), John Cameron (also as a Donovan associate), Hugh Hopper (with Soft Machine), Elton Dean (part of Soft Machine for a while), Henry Lowther (part of Manfred Mann and John Mayall’s Bluesbreakers for a while), and others. Morton Jack covered some British rock with a jazz influence in Galactic Ramble, and rock albums by the many acts with players with jazz experience are usually detailed in there.

This is the place to learn about names known more to jazz aficionados, like Joe Harriott, Mike Westbrook, Norma Winstone, Michael Gibbs, and Nucleus, though one (Dudley Moore) is extremely famous, though not  principally for his accomplished jazz piano. It also offers insight into some styles that were more prevalent in British jazz than elsewhere, like Indo-Jazz. The quality of the writing is extremely high, as is the quality of the writing and graphics—a relative rarity among such specialist guides.

Richard Morton Jack is also the author of the superb and very highly regarded 2023 biography Nick Drake: The Life, which I interviewed him about last year on this blog. I also interviewed him about Galactic Ramble in a previous blogpost. He graciously answered my twenty questions about Labyrinth in June 2024, a few months after its publication.

You’ve edited, published, and written much of your previous guides focusing on rock LPs from the early 1960s to the mid-1970s, with different books for the North American and British Isles scenes. Some jazz LPs were covered in your Galactic Ramble book, which mostly focused on British Isles rock LPs from the era, with some folk as well. But Labyrinth focuses exclusively on British jazz LPs from 1960-1975. What made you decide to do an entire book on the subject?

Whilst pop, rock, psychedelia, prog, folk, and other genres of that era been extensively revisited and explored, British jazz has been relatively neglected. Pulling together a detailed, heavily illustrated guide to it struck me as a worthwhile way both to commemorate it and stimulate interest in it. Also, because not much jazz was in fact released in Britain in this period, I was able to include almost all of it (with the notable exception of trad).

Labyrinth‘s format is different from Endless Trip and Galactic Ramble, although there are some similarities. Like your other books, Labyrinth prints excerpts of many reviews of the LPs actually written at the time, alongside recently written reviews composed specifically for the volume. However, where the other books had recently written reviews by several writers, you wrote all of the several hundred or so reviews in Labyrinth, though Tony Reeves wrote a detailed foreword. Every single one of the albums detailed in Labyrinth has a newly written review, though in your other volumes, some entries only had excerpts from period reviews. Also, while the other volumes had many illustrations of record covers and reprints of advertisements, Labyrinth has large full-page reprints of many (though not all) of the LPs’ front and back covers, as well as reproductions of the inner labels. What made you decide to go this route for the format and design?

I hesitate over the word ‘review’ to describe my text in Labyrinth – I intended my entries on each album to be historical or factual rather than critical, and therefore tried to leave my own opinions out of them. 

I felt that reproducing their artwork at near-enough full size was worthwhile on aesthetic grounds, and – more importantly – that the small print on many of their back covers is of great interest, yet because so many of the albums are rare, most people will never get to read them. One example out of my head: virtually the only immediate information regarding Mike Taylor’s music is buried on the back cover of his LPs. Therefore, a large part of the intention of Labyrinth was to reproduce sleevenotes legibly.

While as noted many of the albums get the full design treatment of large repros of the front/back covers and inner labels, as well as quotes from period reviews, some of them only get your paragraph-long review and a much smaller reprint of the front cover. While I thought maybe the less essential LPs were chosen for this briefer treatment, some of them get very good reviews by you. Were the ones given less space chosen because there weren’t good vintage review quotes; because the covers weren’t visually interesting; or for some other reasons?

In some cases I didn’t think the albums were of sufficient interest (whether in terms of music or artwork or both) to merit two-page spreads. In some cases I could find no original reviews, meaning that the text accompanying the artwork would’ve been skimpy. And I tended to relegate the few albums that had gatefolds to shared spreads, because reproducing their artwork in full would have involved shrinking them, thereby defeating the object. 

There’s a wealth of excerpt quotes from reviews of albums when or shortly after they appeared. Some of them are from music publications with wide circulations and/or a jazz focus such as Melody Maker and Down Beat, but many are from far more obscure sources like local British general interest papers in cities like Bristol and Newcastle, and long unavailable little-known publications like Amateur Tape Recording. I know you have a huge collection of periodicals, but was this a matter of going through what you had, searching for additional reviews as part of your specific research for this book, or a combination of the two?

It was a case of combing through as many publications as I possibly could, in search of insightful or revealing information from the time of each album’s release. Although contemporary reviews were often written hastily, and with strong personal bias, I feel strongly that the dual perspective is enlightening: understanding how albums were received upon first release gives a sense of immediacy and perspective that revisionist reviews can’t match, even if we might well feel that their evaluations are wrong-headed. 

Along those lines, were there any unlikely review sources that particularly startled you, a la the Bert Jansch and Nick Drake reviews you’ve previously found in Penthouse?

Funnily enough, Penthouse had decent jazz coverage too – for example, they ran a piece about Neil Ardley and the New Jazz Orchestra in an early 1965 issue, well before they had an album out. Leaving aside pornography, national press coverage of jazz was wider and more earnest than of pop and rock, even though it was clearly of far less popular interest: the notion of taking pop music and musicians seriously was more or less alien to mainstream journalism in that era. And it’s always fun to read Philip Larkin’s ornery Telegraph reviews (by no means all of which have been anthologised). 

What really startles me about all British musical coverage of the 1960s and early 1970s is the sheer volume of it. Every week brought a new issue of Melody Maker, Disc, Record Mirror, Music Echo, Sounds, Top Pops, Music Now, the NMEand others, which had very broad remits. That’s not to mention the underground press and specialist monthly magazines (including jazz titles such as Jazzbeat, Crescendo, Jazz Monthly, Jazz & Blues and so on). A huge amount of valuable information is buried in them all.

Turning more to the content rather than the record guide-like format, British jazz hasn’t often gotten this serious critical approach in book form, written with intelligent perspective, yet also meant to be accessible to the collector and general listener. What do you think were the chief qualities that made British jazz most distinctive in this period, and specifically, distinct from the North American (and sometimes European) jazz that got a much bigger audience and much more attention from the music industry and critics?

I’m hesitant to ascribe musical qualities to British jazz that weren’t present in European or North American jazz, and can’t swear that I could identify a 60s jazz recording as being British rather than (say) Swedish. What I will suggest is that the British scene was more insular, for various reasons. That insularity led the musicians to get to know each other pretty well over the years, and to develop empathy and rapport for each other’s personal styles that creates threads between disparate recordings. 

There was also an extraordinarily enlightened attitude within the British record industry at the time, which permitted these commercially kamikaze records to be written, recorded and released. As I say in my introduction to the book, but for a genuinely small number of executives, virtually none of the music in the book would ever have been recorded.

As a related question, do you feel there were notable sub-genres or styles distinct to British jazz?

Again, I’m hesitant to make great claims for anything unique about British jazz, but I do think that individuals with strong ideas were encouraged to develop them and present them free of commercial considerations in a way that ceased to be possible as of circa 1973. Visionaries like Mike Taylor, Neil Ardley, Graham Collier and others were therefore able to develop their own distinctive approaches free of (much) interference or outside pressure, musically at least. The Arts Council (funded by the government) also made grants to numerous jazz composers in this era, which allowed them to work free of financial pressure – for short periods, anyway.

And as a related question to that, one that seems more prevalent in British jazz than elsewhere was what’s called Indo-jazz. There seems like a specific reason for that, Indian residents and culture being a pretty big part of British life and a much bigger one than in North America, owing to India having been a British colony. Would you agree with this, and what do you think were the most outstanding qualities of this branch of British jazz?

Denis Preston, the remarkable proprietor of Lansdowne Studios and architect of the so-called ‘Lansdowne Series’ – an EMI brand that essentially consisted of whatever he wanted to release – took a strong interest in what we now call ‘world music’. Rather than making ‘field’ recordings, his approach was to get excellent expat or visiting musicians to make studio recordings that typified aspects of the music of their home countries. He admired the Indian composer John Mayer and the Jamaican saxophonist Joe Harriott, and therefore suggested in 1965 that they bring their respective groups together. I personally find the results a little awkward, enjoyable though they are, and think the best venture in that style is the flippantly named Curried Jazz (which came out on a budget label in 1968, credited to the Indo-British Ensemble). 

On a slightly different tack, the first album by the Goan guitarist Amanda D’Silva doesn’t attempt to fuse sitars and other Indian instruments with jazz, but gives him the space to reflect India’s musical heritage through the electric guitar, with standard jazz backing. I think that makes for a more original and striking result.

As you note in a number of the reviews, it’s astonishing what uncommercial and experimental jazz albums found release on some major labels during this period. A good example is one I happen to have (as a CD reissue, not the original LP), Hugh Hopper’s 1984, which you wrote ‘has to be about as uncommercial an album as was ever released by a major label’. How do you account for the presence of these sort of records on majors at the time, other than perhaps the general assumption that they were throwing all kinds of things at the wall to see what stuck?

I think that would be cynical in the case of jazz. The great Hugh Mendl, one of the most senior executives at Decca in the 1960s, told me shortly before his death that he had always passionately believed that major record companies had a cultural duty to preserve for posterity music that was of value, even if it had dismal commercial prospects. In other words, the vast profits being generated by the likes of the Beatles and the Stones should partly be used to underwrite the work of equally valid but less financially rewarding artists. 

Hugh wasn’t alone in this: David Howells, a senior executive at CBS in London in this period, was passionate about avant-garde jazz and produced records by Tony Oxley and other utterly uncommercial musicians, yet had (and still has) genuinely equal respect and enthusiasm for the Love Affair, the Marmalade, the Tremeloes and other pop acts he was involved with. It didn’t seem at all contradictory to him to like and encourage both. That broadminded attitude pervaded the British music industry in that era: if something was good of its sort, it was regarded as worthy of support. I also think that it was a short and wondrous period in which there was a respectable market for challenging music. Captain Beefheart’s Trout Mask Replica was a hit in the UK! I recently saw the official CBS sales report to the end of 1969: its British release was in mid-November, and in its first six weeks it sold 9296 copies. That’s really remarkable, especially when you consider it was an expensive double LP.

As you explain in your introduction, you drew the line at including much jazz-rock that was at least or more rock than jazz—Soft Machine might be a good example—I think in part because much such product was reviewed in Galactic Ramble. However, you did include Colosseum’s first album in Labyrinth. While personally I’m glad you did since I like that record, it seems like an exception to an informal rule, as it owes a lot to blues-rock, perhaps more than it does to jazz. Was there a specific reason you thought this qualified for inclusion?

I didn’t leave anything out of Labyrinth on the grounds that I’d covered it elsewhere. I approached the book entirely as an entity unto itself. I can’t defend the omission of, say, the Soft Machine other than by saying that they seemed to me to tilt further towards the ‘rock’ than ‘jazz’ part of ‘jazz-rock’, and that by including them I would have been opening the door to other jazzy rock records (by, say, Web, Brainchild, Skin Alley, Heaven and Iguana) that would have bloated the book and blurred its focus.

From my perspective, Colosseum are of specific interest because Jon Hiseman and Tony Reeves had come from a jazz background and were seeking not only to broaden their repertoire but to bring music that had been regarded as fairly obscure into a more mainstream market. That’s why they used the line ‘morituri te salutant’ for their album title: they did feel a sense of jeopardy in bringing jazz to rock audiences in the UK.

Many notable British rock musicians of the period had some background in jazz, and sometimes even made jazz or certainly heavily jazz-influenced records, though they’re mostly known for the rock or jazz-rock they did. As I know you’re aware, the list is long and goes all the way up to Brian Jones and Charlie Watts in the Rolling Stones, also including Graham Bond (though the album he did as part of Don Rendell’s group is covered), Jack Bruce, Ginger Baker, Dick Heckstall-Smith, Robert Wyatt, Manfred Mann (both the leader and some members of his group), Brian Auger, Georgie Fame, members of Pentangle, Duffy Power, some of the Bluesbreakers, John McLaughlin, Van Morrison…the list could go on. Is this branch of British jazz, or at least music that owes a lot to jazz, one that you’re tempted to write about in the future, or think someone could? (I’m aware there were a few items by or associated with some of these names in Labyrinth, including solo LPs by Bruce, McLaughlin, and Hugh Hopper, and the Watts-assisted People Band LP.)

I suspect trying to unpick the incredibly broad range of influences and attitudes that came together in British popular music in the 1960s is a fool’s errand. What’s salutary for me is how versatile and well-schooled so many musicians were, including everyone you’ve named. I’m not convinced that mainstream popular music will ever again be dominated by individuals with such diverse musical backgrounds and skills, and such catholic tastes. 

And another related question: there weren’t anything like the parade of jazz players moving effectively into top ranks of rock in North America as there was in the British Isles. Conversely, there weren’t anything like the parade of folk musicians moving into the top ranks of rock in the British Isles as there was in North America, Donovan being a notable exception. Do you, like me, see a similarity in those movements, in that jazz might have helped bring a more cerebral and sophisticated strain into rock in the British Isles, just as folk did in North America when many folkies went electric? 

I think it’s a perfectly valid line of thought. Perhaps it’s also worth considering whether the relative number of regional clubs made it easier to scratch a living out of jazz in America than in Britain, and easier to scratch a living out of folk in Britain than in America. 

Separately, Miles Davis was able to reach a broad rock audience in America in the late 60s in a way that’s hard to envisage for a British player. I think that’s partly because Britain was a much smaller market, so it was easier to sell Miles’s fusion records into the UK than to focus on breaking, say, Ray Russell (not that I’m comparing their talent or commercial prospects) internationally. It’s perhaps instructive that John McLaughlin felt the need to move to America to communicate his music in the way he thought necessary.

It’s also worth noting that the vast majority of jazz coverage in Britain was for American jazz, reflecting a general sense that British jazz was somehow ersatz. That gradually eased off, but I suspect a lot of British players felt a little aggrieved or defensive as a result.

Getting back to straight British jazz: North American jazz musicians, and some European musicians like Stephane Grappelli and Gabor Szabo, got a much bigger international audience (including in the UK) than British jazz musicians did outside of the British Isles. There are a few here and there that have a few cult followers in North America, like Derek Bailey and Keith Tippett, but not many. Indeed, most British jazz of the time is still unknown or virtually unknown here, even among many jazz aficionados. To what do you attribute this, from both musical and business/promotional perspectives?

To be fair, Decca (for instance) did release a reasonable number of British jazz records in America through its London affiliate, so Mike Westbrook, John Surman, Michael Gibbs and others did at least have some of their records issued there. But clearly records that had barely sold in the UK were never going to be of much interest to foreign licensors, and it was always easier for large international record companies to market major US jazz artists (and I would include Szabo as American in this context) internationally than to attempt to break a large number of new local names in smaller territories. I don’t think there’s any valid musical grounds for it: British jazz has simply taken a very long time to filter through. 

As an aside, it’s intriguing that Japan was the biggest foreign market for British jazz back in the day, with numerous obscure and challenging albums coming out over there, often with revised artwork and detailed insights giving background information that even the British releases lacked. And the market for original pressings of British records has always been livelier in Japan than anywhere else. 

Even collectors who aren’t interested in this kind of music might be interested in this book because of the graphics on the album covers. Many of them are striking, and even the ones that aren’t so good—and you sometimes point out ones with substandard or even laughable covers in your reviews—hold some fascination for their period qualities, making them look either unique to their time or reflective of the general music business values of the era. They’re too diverse to put into one or two categories, but what do you think generally were some of the most interesting qualities of the British jazz LP graphics of the period, and ones that made them distinct not only from other periods, but also from the graphics used on LP covers of other genres in 1960-75?

With reference to the early 60s – in other words, the beginning of the period covered by the book – perhaps there’s an argument that jazz fans tended to be older and more aesthetically sophisticated and discerning than pop fans, and therefore expected more interesting imagery when buying an LP. That said, the covers of Down In The Village by Tubby Hayes and Movement by Joe Harriott (to give two examples) feature close-ups of their faces in the manner of a Cliff Richard or Frank Ifield album. 

As the decade progresses, I’m not sure I can distinguish between graphics on jazz records and pop or rock records. I think the movement away from straightforward photographs and towards more abstract or imaginative concepts happened in parallel for rock and jazz, and that by the turn of the decade a lot of their designs were interchangeable. As an obvious example, Vertigo’s artwork for LPs by Nucleus or Keith Tippett could easily have sat on progressive rock albums.

The same holds true in some respects for the liner notes, which in those days were usually on the back cover, if there were any. This is also true of jazz LPs in North America, and of folk LPs in both the US and UK, but they had a lot more text in those days, especially toward the earlier part of 1960-75. They were also usually pretty serious in tone, sometimes almost academic and scholarly. While it’s easy to make fun of them for a frequent stuffiness that’s rarely if ever in liner notes of contemporary releases any more, they’re also valuable for the sheer wealth of information, often including the sources for the songs and how the performers found and felt about them. In the later part of this period, they’re also sometimes notable for inscrutable attempts at hipness and stream-of-consciousness prose. Again, what do you think generally were some of the most interesting qualities of the British jazz LP liner notes of the period, and ones that made them distinct not only from other periods, but also from the notes used on LP covers of other genres in 1960-75?

Again, without wanting to make mindless comparisons to pop and rock, I think there was a desire on the part of the musicians or producers of jazz records to impart a clear idea of what was being attempted on a given album, which to me can form a vital part of understanding and contextualising the music. 

Most jazz musicians, and certainly leaders / composers, of this era were highly musically literate, and wanted to explain their art in a way that most pop or rock musicians didn’t (Messrs. Townshend and Fripp being notable exceptions), being happy for listeners to form their own relationship with their music without being bogged down by long explanations. I doubt the Beatles gave much consideration to the broader context of their work as they recorded it: they simply moved onto the next thing without pausing to reflect, and found it somehow embarrassing (or ‘soft’) to do so. Either way, earnest sleevenotes ceased to appear on pop or rock LPs as of around 1969, whereas there was plenty of small print on the back of jazz LPs well into the 1970s.

There are few if any others who’ve heard all of the albums you reviewed in Labyrinth, let alone given each of them a considered review. First, a basic question: do you own all of these LPs? I ask because some of them are excruciatingly rare, like those that were produced in editions of 99 copies, or only sold at live performances. Or, in the case of Keith Tippett’s first LP, only pressed as a demo. For the Tony Rushby Sextet’s self-titled 1964 LP, you wrote that only one copy is known to exist, and you can’t get much rarer than that.

Alas, I do not own all the LPs in the book, but I do own most of them, so the photographs you see are almost all of my own copies. I don’t collect privately pressed albums, but that Tony Rushby LP is mine: I bought it cheaply because I recognised one or two of the track titles. It’s not in any way innovative or striking, but it’s a perfectly valid set that gives a vivid sense of a gifted amateur group of the mid-60s, of which there were of course lots. No doubt others made similar recordings that I’m unaware of.

A related question: how long did it take to accumulate and listen to all of these LPs, and what were the hardest ones to find? 

I’ve been collecting albums for 25 years or so now, during which time competition for them has greatly increased. In the early 2000s, British jazz was not especially sought-after, certainly not in comparison to psychedelia or progressive rock. That has completely changed, and because in many cases fewer copies were pressed in the first place, the supply have now more or less dried up. 

In my experience, certain major label British jazz albums are just as hard to find as private pressings. I guess maybe 500 copies were pressed of something like High Spirits by Joe Harriott, of which maybe half survive, scattered to the winds, almost all in the collections of people who prize them.

Although you must have had most of these albums before deciding to write Labyrinth, I’m guessing you heard and collected quite a few others in the process of doing the book. If so, what were the most interesting and surprising finds and discoveries that you hadn’t previously heard?

I was aware of virtually everything in the book before I started writing it, but the process of collating them and putting them in chronological order did yield some interesting observations, not least how extraordinarily busy and productive certain musicians were: Tubby Hayes, Michael Garrett, John Surman, Mike Westbrook, Stan Tracey, John Dankworth, Ian Carr, Don Rendell and others seem to have been ceaselessly writing, recording and gigging. 

There were one or two musical surprises: I hadn’t realized that there was an LP by The Trio (led by John Surman) that had come out only in Japan.

Wearing a tragic collector’s hat, it’s intriguing that certain rare British jazz albums came in both laminated and unlaminated sleeve variants. Examples include Hum Dono by Joe Harriott and Amancio D’Silva, Love Songs by Mike Westbrook, Tales Of The Algonquin by John Surman and John Warren, Phase III by the Rendell-Carr Quintet and Cold Mountain by Michael Garrick. To me that implies that more copies were pressed than one might imagine.

This might be hard to boil down, but can you recommend just a half dozen or so albums to someone who’s interested in getting into British jazz from this period?

British jazz in this period covered a large range of styles, so I think any such list needs to be broken down, and will inevitably be personal. 

That said… For a small group with horns: Tubby Hayes – Down In The Village, Mike Taylor – Pendulum or Don Rendell – Space Walk. For small piano-led groups: Mike Taylor – Trio or Michael Garrick – Cold Mountain. For larger ensembles: Neil Ardley and others – Greek Variations or the Chitinous Ensemble – Chitinous. For one album that spans various styles across short, melodic tracks: Stan Tracey – Jazz Suite. Recommending avant-garde recordings seems inherently pointless to me, as responses to them are so personal, but How Many Clouds Can You See? by John Surman combines free playing with structured parts to stirring effect. I could go on!

Like a good number of readers of your previous work, I’m primarily a rock fan, and especially of rock from this same time period, 1960-1975. The jazz from this period I like tends to be of the more accessible, rocky, riff-driven kind, like guitarist Wes Montgomery in the mid-’60s and soul-jazz organists like Big John Patton. For me and/or such listeners, what are the British jazz albums you’d recommend hearing that we’d be most likely to enjoy? 

I think it’s a very reasonable question, and many of the jazz records I find most enjoyable are ones that are analogous to rock music, even if they don’t feature vocals or the same instrumentation. So, off the top of my head… Don Shinn – Temples With Prophets, Joe Harriott & Amancio D-Silva – Hum Dono, the Don Rendell / Ian Carr Quintet – Change-Is, Graham Collier – Songs For My Father, Michael Gibbs – Michael Gibbs, Ian Carr – Belladonna.

There’s information on Labyrinth: British Jazz on Record 1960-1975 and how to purchase copies at https://lansdownebooks.com.

It’s Beach Boys Spring—not the summer, as you might expect—with the appearance of two major projects championing the group’s legacy. The first to get issued was the book The Beach Boys By The Beach Boys, and I wrote about some of the more interesting aspects of that volume in my previous post. The other is the two-hour documentary simply titled The Beach Boys, which is streaming on Disney Plus. 

It doesn’t have much in the way of previously unknown facts and stories, if you’re very familiar with the group’s history. Unlike the two previous full-length documentaries on the band, An American Band (1985) and Endless Harmony (1998), it does not gloss over a few of the darker sides of their story, particularly the role of Murry Wilson (father to three of the Beach Boys and uncle to another) in their career and (far less extensively) Dennis Wilson’s friendship with Charles Manson. Besides recent interviews with surviving Beach Boys Mike Love, Al Jardine, and Bruce Johnston, there are also interviews with associates who are less heard from, including David Marks (who was in the group on their first few albums), Brian Wilson’s first wife Marilyn, and Blondie Chaplin, who was in the band for a while in the early 1970s.

Like my post about the book, this one isn’t a review of the film, which I’ll put on my year-end roundup of documentaries. It will focus on the more interesting and less-traveled perspectives heard in the movie.

Murry Wilson. A good amount of space is given to Murry Wilson’s work with the group as their early manager and then publisher. More of the coverage is negative than positive, though different sides of the story are given. He could be rough on his kids when they were growing up, and a more accurate description seems to be that he could be abusive. That’s been documented in some books, as well as some bootlegged chatter from recording sessions, and led to him being fired by the group not long after they’d become superstars.

As far as how difficult he was to get along with as the Beach Boys were getting off the ground, Marks remembers Murry even adjusting his guitar amps onstage. It’s also discussed how he’d intrusively signal to the band to adjust their sound during concerts and fine them for minor indiscretions, leading to Marks quitting the Beach Boys in late 1963. They did let him keep handing their publishing, which led to serious problems down the road, Murry selling their publishing for an undervalued $700,000 in 1969. 

Mike Love expressed a lot of displeasure in his memoir for, in his view, not getting enough songwriting credits, or the compensation he deserved as a contributing writer to much Beach Boys material. He criticizes Murry’s work on the publishing end in the documentary, remembering that Murry said he’d sell the publishing back to the Beach Boys, but he didn’t, and that Murry didn’t credit his songwriting contributions on a number of compositions. “I got cheated by my uncle,” he says. “He screwed his own sons, and grandchildren.” Brian’s first wife Marilyn (now Marilyn Wilson-Rutherford) has a more personal angle, noting the sale upset Brian so much that he stayed in bed for three days.

So yes, there’s a lot of bad stuff about Murry. But the documentary does air some more positive perspectives about the father. It was Murry, Love recalls, who got them into the studio, where they cut their debut single “Surfin’,” a big local and small national hit that did kick off their recording career, although it wouldn’t truly take off until they signed to Capitol. Other sources have also acknowledged Murry did a great deal for the group in their early days, including hustling them to labels all over Los Angeles and being instrumental in getting them onto Capitol with his persistence. While Marilyn Wilson-Rutherford detailed the publishing sale’s devastating impact on Brian, she’s also the most vocal in acknowledging Murry’s attributes. If he wasn’t there protecting them, she opines, they wouldn’t have become nearly as big. She also goes as far as to declare, “If there was no Murry, there would be no Beach Boys.” Leading viewers to wonder, if only he could have both helped their career without being such a bully to them personally—but too often, both qualities are found in tough businesspeople.

Birth of the Beach Boys: The story has often been told that the Beach Boys became serious, or at least seriously semi-professional, when Murry and Audree Wilson took a vacation to Mexico in late 1961, leaving their sons money for food in their absence. This story goes that the brothers instead used the money to rent instruments and work up material, incensing Murry when he returned, but cooling him out when he heard the results of their rehearsals, sparking him to help set them on the road to recording and stardom. Screenwriters might consider it a good setup for a biopic, but Al Jardine sets the record straight (as has previously been reported elsewhere) in hs interview. It was Jardine’s mother, he says, who gave them $300 to rent equipment. A big sum, by the way, in 1961; that’s equivalent to about $3000 today,

Denny’s Drums: That’s the name of an instrumental on an early Beach Boys album. Dennis Wilson is not the most highly regarded drummer from a famous rock band. It’s often been reported that many of the Beach Boys’ drum parts were recorded by session musicians, especially Hal Blaine. It’s also sometimes been written that he’d rather spend time having fun, at the beach in particular, than in the studio. Even in this documentary, Al Jardine observes Dennis would rather be in the water than in the studio.

Yet Jardine also says in the doc that Dennis, who’d been included in the band at least partly due to his mother’s insistence, learned the drums quite proficiently. And Marilyn Wilson-Rutherford says that Dennis is actually usually on drums on the Beach Boys’ records. Blaine and Jim Gordon certainly played drums on some Beach Boys discs, including some of their most highly esteemed recordings. But it does seem like Dennis was a more significant contributor as an instrumentalist on Beach Boys sessions than many assume, as is true of the Beach Boys as a whole. Certainly he plays very enthusiastically and serviceably well in the live ’60s footage of the group, if hardly with the finesse of the best drummers of the era.

Nick Venet: Nick Venet is credited as the producer of the first two Beach Boys albums, Surfin’ Safari and Surfin’ USA. He isn’t given much credit, in the descriptive rather than official sense of the term, in histories and by the Beach Boys. In the new documentary, Brian Wilson (in an archive interview) says Venet didn’t do much besides announce take numbers. 

In a voiceover interview excerpt, Venet ascribes his ousting from production duties as due to Murry, who as noted in their early days took an aggressive role in the group’s direction, which included musical matters. When Nick told Murry he was wrong, Venet remembers, the band took it as a slander against the whole family.

It might be impossible to determine if Venet did much besides acting as a functionary of sorts, but at least a couple of things might be noted in his defense. If his credit on Beach Boys records might have been symbolic, he wasn’t just some bureaucratic attaching his name to productions. His production resume, much of it compiled after his brief time with the Beach Boys, includes a lot of impressive albums, most notably folk-rock singer-songwriter Fred Neil’s self-titled 1966 Capitol album; the Stone Poneys, Linda Ronstadt’s group prior to her solo career; and early Los Angeles folk-rock group the Leaves. Indeed he was one of the more significant 1960s folk-rock producers, also working with John Stewart in his early solo career, and with cult folkie Karen Dalton.

He deserves ultimate credit, too, for signing the Beach Boys after they—according to this documentary and other accounts—were rejected by quite a few labels, whether or not he did much in the studio afterward. An issue that’s not discussed much is why the Beach Boys had trouble landing a deal after their debut single “Surfin'” had significant success. It’s easy to say in hindsight, of course, but it seems obvious from listening to their pre-Capitol recordings that they both had some appreciable if raw talent, and that they sounded appreciably different from other rock bands of the time.

That’s evident not just from “Surfin’,” but also the numerous other recordings they made with Hite and Dorinda Morgan (best heard on the double CD Becoming the Beach Boys: The Complete Hite and Dorinda Morgan Sessions, even if many of the tracks are multiple versions of a small group of songs). These included early versions of two big Capitol hits, “Surfin’ Safari” and “Surfer Girl.” At a guess, maybe the Beach Boys were considered something of a one-shot novelty group, both because of the lyrics of “Surfin'” capitalizing on the surfing craze, and because of the name the Beach Boys, which might have suggested they were manufactured to suit that specific song.

Al Jardine rejoining: The usual perception of the Beach Boys’ timeline has Al Jardine in the group at the very beginning (including on the “Surfin'” single), then leaving to concentrate on college, being replaced by the Wilsons’ young neighbor, David Marks. Then Jardine rejoining when Marks quit/was fired in late 1963. But as the documentary verifies, it’s not that simple. It has Brian Wilson’s discomfort with touring—often reported to have come to a head at the end of 1964, at which point he left the road to concentrate on writing/recording/producing, replaced for a while by Glen Campbell and then long-term by Bruce Johnston—surfacing in 1963.

That, the film notes, is when Al Jardine rejoined, or at least often filled in for Brian, not Marks. With Marks’s departure, Brian then had to go back on the road until late 1964. For a while Jardine and Marks were in the same group, at least onstage. Ian Rusten and Jon Stebbins’s The Beach Boys in Concert book confirms Jardine filled in for Brian as early as a spring 1963 midwest tour, doing so off and on for a while until Marks left and Al settled in for good.

As I also observed in my previous post, although Jardine is the least colorful and least discussed of the five core Beach Boys, his contributions weren’t entirely peripheral. Part of the reason he stayed for good was that he was considered a better singer, and certainly vocal harmonizer, than Marks. It’s noted in the documentary that Jardine had perfect pitch. When I interviewed Dean Torrance of Jan and Dean about eight years ago, he told me, “his vocals were spot-on. Al was great. So they all contributed. It was an ensemble, and everybody had an important piece to contribute.”

Marks’s contribution to the group is generally underreported, and there’s a lot more about him and that stint in his book The Lost Beach Boy, co-written with Jon Stebbins.

The Beach Boys on the Beatles: The Beach Boys’ admiration for the Beatles is well documented, as is the Beatles’ high regard for the Beach Boys, though it’s usually Paul McCartney who vocalized that. Some comments in the documentary, however, indicate the Beach Boys didn’t know quite what to make of the Beatles when they unexpectedly invaded the US with massive success in early 1964. Recalling the time when “I Want to Hold Your Hand” took over the US airwaves, Jardin describes them as a little crude, and players, whereas the Beach Boys were singers. In an archive interview, Brian Wilson states “I Want to Hold Your Hand” “wasn’t that great a record.” It’s not a big deal considering Jardine, Brian, and the other Beach Boys quickly became big Beatles fans, but it’s peculiar.

Mike Love as co-writer: Love co-wrote a lot of ’60s Beach Boys songs with Brian Wilson, including some big hits, his contributions primarily being on the lyrical end. As previously noted, he has said and written that he should be credited on some others. Brian did write with some others in the ’60s who weren’t in the Beach Boys, including Gary Usher, Roger Christian, Tony Asher (for most of the Pet Sounds album), Van Dyke Parks, and even, on the 1969 single “Break Away,” his father Murry (who used the pseudonym Reggie Dunbar). In the documentary, Love says a reason for this was that when the Beach Boys were on tour without Brian, he wasn’t available to collaborate with his cousin.

Yet Wilson was writing with Usher very early on, before Brian was off the road even some of the time. On their first album, 1962’s Surfin’ Safari, Usher has a co-writing credit on half (six) of the songs, including the hit “409.” A couple of those songs have Wilson-Usher-Love credits, including “409.” On their next LP, Surfin’ USA, Usher co-wrote one of the best non-45 early Beach Boys songs, “Lonely Sea.” Roger Christian co-wrote their 1963 hits “Shut Down” and “Little Deuce Coupe,” and Usher and Christian credits continued to pop up into 1964, including on “Don’t Worry Baby,” co-written by Christian. 

Certainly it seems possible that rather than turning to other writers out of necessity when Love wasn’t available, Brian wrote with some others because of personal preference, or according to what he wanted to create depending on the song. When he retired from the road (occasional appearances and TV spots aside) at the end of 1964, Brian also certainly would have been around Love less, including in the Pet Sounds/Smile period, when the Beach Boys’ touring schedule included visits to Japan and the UK. Asher and Parks, however, certainly struck different lyrical moods than Love did, and according to some accounts, not with Love’s approval (especially on the Smile material Parks co-wrote).

Mike Love is not the most popular ’60s rock star, and has gotten a lot of heat from some writers and fans for not, in their view, supporting Brian’s most ambitious efforts. But he did contribute a lot to the group as singer and sometime lyricist, and according to one comment by Marilyn Wilson-Rutherford in the documentary, Brian did value Love’s place in the band, saying Brian thought Mike was the greatest frontman.

Bruce Johnston: Johnston has his share to say in the documentary, but he just wasn’t as important a part of the story as the other five principal Beach Boys. He has an interesting tale, however, about how he inadvertently negotiated his fee when he started playing with them on tour in 1965. Asked what he wanted for two weeks of touring, he asked for $250. It was thought he was asking for $250 a night, however, not for the whole two weeks. So he got $3000 instead of the $250 he was offering.

The Wrecking Crew: Sometimes the impression’s given that the Wrecking Crew played almost everything on the mid-’60s Beach Boys sessions. They certainly played on a lot of them, and they were certainly important, but their role might have generally been overestimated. In an archive interview in the documentary, drummer Hal Blaine says that Carl Wilson did play with the Wrecking Crew often on sessions, but also that he was the only one in the group who did (possibly Blaine was not counting Brian Wilson in this memory).

It’s all hindsight and quite possibly advice that would have been ignored at the time, but maybe Brian could have offered the other guys in the group at least some more instrumental input in the Pet Sounds/Smile era. Maybe they would have been just as happy to let the Wrecking Crew handle things, but it could have made them feel more involved, rather than being singers for what some consider more Brian Wilson projects than Beach Boys ones. Possibly that could have eased tensions down the road when Smile was taking a long time to complete (and never would get completed). After Smile broke down, the Beach Boys took over most of the instrumentation on the records anyway.

Another guy on the Wrecking Crew, Don Randi, has an interesting comment in the documentary. The influence of Phil Spector on Brian Wilson has been oft-covered, and Spector often used the Wrecking Crew too. Randi remarks that a key difference between Spector and Brian, however, was that Brian was always reinventing himself. They were both perfectionists, Love remembering how Brian had the group do backup vocals for “Wouldn’t It Be Nice” thirty times.

Smile: Much has been written about Smile, and how the band and especially Mike Love were not as supportive of Brian Wilson’s vision for the project as they could have been. A comment from an archive interview with Carl Wilson in the documentary serves as evidence that he wasn’t opposed to it. Carl acknowledged that Love didn’t think the lyrics were relatable, but also that he (Carl) loved it, praising how it was “so artistic and abstract.”

Charles Manson: There’s not a whole lot about Manson in the film, but Dennis Wilson’s interaction with the Manson Family isn’t skipped over. Love offers a cutting one-liner about Manson: “I only met the guy once, and that was enough for me.”

The Beach Boys Are a Group, Not Brian Wilson: One point the surviving Beach Boys make in the documentary, and one with which I’m in general agreement, is that while Brian Wilson was the most important member of the group, the Beach Boys were very much a group with individuals who made strong contributions, not Brian Wilson and sidemen. Love sees this as an issue for both the rest of the band and Brian, stating, “The problem was, Brian was being hailed as a genius, but there was no credit for the rest of the band…it might have been a little bit easier for Brian to handle the genius label.”

Adds Bruce Johnston, “I’m president of the Brian Wilson fan club. But the musicality of every Beach Boy is essential. If we didn’t have the ability, we wouldn’t have been able to sing these parts. Brian was lucky to have our voices to sing his dreams.”

Marilyn Wilson-Rutherford has this melancholy note: Brian could do everything, musically. “But the other parts of life were hard for him.”

I’m teaching a seven-week non-credit course on the Beach Boys from June 18-July 30 at the College of Marin in Kentfield, CA. It will meet on Tuesday nights from 7:10pm-9:30pm, and can be taken both in-person and through Zoom. Concentrating on their best work in the 1960s, the course follows their growth from their early surf and hot rod anthems through their lyrical maturation with symphonic masterpieces like “Good Vibrations” and the Pet Sounds album. Besides exploring leader Brian Wilson’s phenomenal skills as a melodic composer and sophisticated studio producer, the group’s glorious vocal harmonies will also be highlighted through a wealth of audiovisual clips and instructor commentary. Registration info at https://marincommunityed.augusoft.net, for course #8221M/6361.

The Beach Boys By the Beach Boys, just issued by Genesis Publications, is sort of like what Anthology was for the Beatles. It’s an oral history where all of the principal Beach Boys (the six that played together on Pet Sounds, for easy reference), some of the others who were members for a while, and some people from outside the band talk about the group’s history. The great majority of the comments are from the six core Beach Boys—Brian Wilson, Carl Wilson, Dennis Wilson, Mike Love, Al Jardine, and Bruce Johnston—though obviously the late Carl and Dennis didn’t directly participate in the book’s production, with many quotes taken from archival sources.

This isn’t quite up to the level of the Beatles’ Anthology in depth, visuals, and candor, but it’s still pretty interesting, even if you know a lot about the group and some of the stories are inevitably familiar. Fortunately, it cuts off at 1980, eliminating the lengthy later period in which they only sporadically put out music. There are tons of pictures, again running the gamut from familiar to rare, and some non-photo memorabilia. Perhaps unsurprisingly, a number of controversial parts of the story (such as Dennis Wilson’s friendship with the Manson Family) are not mentioned or referred to only briefly.

This post isn’t a review of the book, which I’ll have in my year-end roundup of rock books. Instead, I’ll go over some of the more surprising inclusions and comments. These are all from the pre-1967 era, as I’m not too much of a fan of their post-Smile work, acknowledging there are plenty of Beach Boys fans who hold a different view.

1. For me, the very most surprising illustration shows a couple pages from a Brian Wilson notebook with his handwritten lyrics for “Surfer Girl.” What could be so surprising about lyrics to a familiar hit song, you’re thinking. Well, the lyrics are entirely different from the record. Not just a few words crossed out and substituted here and there; entirely different. What’s more, it’s titled “Surfer Girl (Fast),” and the Beach Boys’ hit “Surfer Girl” is definitely not fast; it’s a slow ballad. The words in this version strike an entirely different mood than the hit single lyrics, too, with a more ebullient scenario about meeting the surfer girl at a party and how she’s a “livin’ doll.” 

So – could Brian have first conceived of a song about a surfer girl that was absolutely different both musically and lyrically, and then junked it and started from scratch, just keeping the title and some general themes about taking her surfing? Frustratingly, the book doesn’t say. It just notes the illustration is of lyrics for “Surfer Girl” from Brian’s notebook, as if the caption writer isn’t at all familiar with the hit version.

2. Al Jardine remembers hearing the Beatles for the first time when the Beach Boys were on tour in New Zealand and “I Want to Hold Your Hand” came over the radio. “I thought it sounded raw and live,” he comments. “It sounded like a live recording, which it probably was, because they played live in the studio unlike us.” I found this reaction unusual, because although “I Want to Hold Your Hand” certainly bursts with energy, I’ve never thought of it as especially raw. Not like, say, the Kingsmen’s “Louie Louie,” which became a US hit just a few weeks before “I Want to Hold Your Hand” did.

As for it being a live recording, even back in late 1963, the Beatles were sometimes using multi-tracking, overdubbing, and edits. In his big Rolling Stone interview in the early 1970s, John Lennon said “the first set of tricks was double tracking on the second album…We’d double tracked ourselves off the album on the second album. Not really.” As it happens, the October 17, 1963 session when “I Want to Hold Your Hand” was recorded was their first with four-track recording equipment. Mark Lewisohn’s The Beatles Recording Sessions doesn’t note overdubs for this track, but I’m guessing the handclaps might well have been, and perhaps there was some vocal double tracking.

There’s not a right or wrong in Jardine’s initial perception of the track, and I’m not annoyed by it. It’s just not one I’ve heard others express.

3. Speaking of Al Jardine, there’s a surprising note in the introduction to the 1964 chapter: “It needs to be noted that in the early years Al Jardine was the Beach Boys’ hidden studio bassist, handling four-string duties on such instant classics as ‘Fun Fun Fun,’ ‘Catch a Wave,’ ‘Hawaii,’ ‘Little Saint Nick,’ ‘Don’t Worry Baby,’ “I Go Around,’ ‘All Summer Long,’ ‘Hushabye,’ ‘Little Honda,’ ‘Wendy,’ ‘Girls on the Beach,’ ‘Don’t Back Down,’ ‘She Knows Me Too Well,’ ‘You’re So Good to Me,’ and others.”

Al Jardine is, for most fans, the least colorful of the five primary Beach Boys (Bruce Johnston, who came aboard in 1965, didn’t play on as many records or concerts). He’s mostly known as the rhythm guitarist, a harmony singer, and occasional lead singer (most famously on “Help Me, Rhonda”). That’s a lot of songs on which he is reported in the book to have played bass, and it doesn’t even list all of them. The paragraph also doesn’t mention he played standup acoustic bass on their first single, “Surfin’.”

This isn’t amplified in the book, but if he played bass so often in the studio, he was an underrated contributor, at least to this early work. It also isn’t examined why Brian Wilson, who was publicly known as the band’s bass guitarist through the mid-1960s, would have had Jardine play on so many recordings. Here are just a couple guesses. Maybe Brian wanted to focus on producing as much as possible, and was content to leave the bass duties to Jardine on some songs. Or maybe they both played bass on at least some of the records, fattening the sound with multi-tracking.

4. And while we’re on the subject of bass guitar, for all of Brian Wilson’s multifaceted talents, his bass playing doesn’t get discussed too much in general. He’s most known as a composer, singer, and producer, and not so much as an instrumentalist, especially as he sometimes had non-Beach Boy session musicians play on some of the group’s most notable records. When his instrumental performances are thought of, what he does as a keyboard player comes to mind more than what he plays on bass.

But Brian does have some detailed comments about the bass and its role on Beach Boys records in the book. On “Here Today” from Pet Sounds, “I wanted to present the idea of a bass guitar playing about an octave higher showcased as the principal instrument in the track.” Pet Sounds itself, he notes, “was a great album for its basslines, and I think people picked up on that. It taught bass players a way to be more creative.”

Carl Wilson also has a detailed comment about bass parts from this era. Brian, he says, “was writing basslines that were so far from the norm. ‘God Only Knows’ is the classic example that takes it to a new plateau. The bass was played in a different way from the one in which the song was written. It was inverted. ‘Sloop John B’ also had a brilliant bassline, the kind of line that musicians really loved.”

5. I don’t remember hearing that the instrumental title track to Pet Sounds was intended as a James Bond theme from the time I started reading extensively about the Beach Boys in the late ‘70s. It seems to be more commonly known now, and you can hear how it could have fit into a Bond movie as a theme or a song for certain scenes, though apparently it didn’t get into the running. Here’s a Brian Wilson comment on it from the book:

“It was originally titled ‘Run, James, Run!’ It was supposed to be a James Bond-themed song. We were going to try to get it to the James Bond people, but we thought it would never happen, so we put it on the album.”

6. Dennis Wilson is often, maybe usually, assumed to be a mediocre drummer, and one who’d rather be at the beach than at the studio, leading to the use of session musicians like Hal Blaine on Beach Boys sessions to play drums on their records. Carl Wilson has an interesting comment to the contrary: “Brian liked to use Hal because Hal was more reliable than Dennis, but whenever Dennis got the chance to play, he always did a great job. He played drums on more of our records than most people realize. I think because he didn’t play on Pet Sounds everybody assumes he never played at all, and that’s just not the case.”

Somewhat contradictorily, a quote from Dennis reads: “If you listen closely to the Pet Sounds album, you’ll hear me playing jazz patterns. Not everything was rock and roll.” The contradiction isn’t Wilson saying some of the patterns was jazzy, but that he actually played them. Did he play on Pet Sounds or not? Or maybe just some parts, or some parts that weren’t used? I don’t think the answers will ever be final.

7. Carl Wilson was the most skilled instrumentalist in the Beach Boys, aside perhaps from his older brother Brian. You don’t hear much of his trademark crisp guitar style on Pet Sounds, and I’ve wondered exactly how much he managed to get on, and whether it bugged him that his contribution on guitar was probably less on this album than any other. Here’s how he’s quoted in the book:

“I didn’t play that much guitar on the Pet Sounds sessions, although I do remember playing 12-string direct through the board. My playing wasn’t as consequential as it had been before and would become later, because everything had become more of an orchestra, part of the whole. It wasn’t that simple form, like our early records, with a little song and little lead break and drive home the chorus. It was more symphonic.”

8. Not to pick on Al Jardine too much, but he didn’t seem to have too much input into the group’s overall direction, especially before he started getting some of his compositions on records. An exception was “Sloop John B.” When Jardine’s specific contributions to the Beach Boys are cited, it’s usually noted that he was the folk music fan in the group, and was the main force behind them interpreting some folk material, most famously “Sloop John B.” This folk song had most famously been done by the Kingston Trio, an influence not only on Al, but also on the visual image of the group, who wore similar striped shirts in concert in their early years.

So why didn’t he sing lead on the hit single version of “Sloop John B”? There’s a pretty long and interesting behind-the-scenes account from Al in the book:

“A year before we cut it, I told Brian if it was performed in our style, he might enjoy it. I sat and played these chord progressions, basically three chords done on guitar, banjo and keyboards. I knew I had to have keyboards, otherwise I wouldn’t get his attention. I took a pretty primitive folk song, which I’d learned in high school, and added a chord or two—I heard the Beach Boys harmonies in there and felt very strongly that we could make a great record.

“The very next day, I got a phone call to come down to the studio. Brian played the song for me and I was blown away. From concept to the completed track took less than 24 hours. He then lined us up one at a time to try out for the lead vocal. I had naturally assumed I would sing the lead, since I had brought in the arrangement. It was like interviewing for a job. Pretty funny. He didn’t like any of us. My vocal had a much more mellow approach because I was bringing it from the folk idiom. For the radio, we needed a more rock approach. Brian and Mike ended up singing it. But I had a lot of fun bringing the idea to the band.”

“Sloop John B,” a #3 hit single in the US and #2 in the UK, is sometimes knocked for not fitting into Pet Sounds, or diluting the concept, or being a commercial concession to Capitol Records. Jardine has a different view that’s refreshing, if not to the liking of some purists. “The label said we needed a hit single on Pet Sounds, something with some commercial appeal. ‘Sloop John B’ had proved itself. It may not fit the creative tone of the album, but it certainly gave some relief at the end of side one.”

9. Ever wonder why the cover of Pet Sounds shows the Beach Boys in a zoo (the San Diego Zoo)? Maybe I’ve read this previously and missed it, but Mike Love tells it this way: 

Capitol’s “working title for the album had been Our Freaky Friends. To illustrate that cover, Capitol had sent us to the San Diego petting zoo to photograph us with our new ‘freaky friends’—the animals. When the LP was renamed Pet Sounds, Capitol reviewed the pictures from that same photoshoot and selected an image of us feeding a bunch of hungry goats. Not exactly inspired artwork, but indicative of Capitol’s creative efforts.”

I’m teaching a seven-week non-credit course on the Beach Boys from June 18-July 30 at the College of Marin in Kentfield, CA. It will meet on Tuesday nights from 7:10pm-9:30pm, and can be taken both in-person and through Zoom. Concentrating on their best work in the 1960s, the course follows their growth from their early surf and hot rod anthems through their lyrical maturation with symphonic masterpieces like “Good Vibrations” and the Pet Sounds album. Besides exploring leader Brian Wilson’s phenomenal skills as a melodic composer and sophisticated studio producer, the group’s glorious vocal harmonies will also be highlighted through a wealth of audiovisual clips and instructor commentary. Registration info at https://marincommunityed.augusoft.net, for course #8221M/6361.

I’ve put up a couple previous posts about rock songs from the 1960s that were different in their 45 and LP versions, sometimes drastically so. Here are a few from the early 1970s through the early 1980s that weren’t chronological fits into those posts. The depth of my knowledge of that era isn’t as great as it is from the 1960s, and no doubt I’ve missed a good number of examples, especially in the punk and new wave era, when there were sometimes more basic versions of songs on early singles. But these might of interest, and they range from superstar acts to cult ones.

David Bowie, “The Prettiest Star.” More than most artists of his stature, Bowie put out some different versions of songs on singles than you heard on his albums, especially in the early 1970s. The B-side of “Space Oddity” had a different version of “The Wild Eyed Boy from Freecloud” than the one on his 1969 album (titled, confusingly, David Bowie in the UK, where his only previous LP had also been titled David Bowie; Man of Words, Man of Music in the US; and then reissued under the title Space Oddity). He also re-recorded another song from his second album, “Memory of a Free Festival,” for a 1970 single that split it into two parts. I don’t find these variations of tracks from his second album too remarkable, though they’re decent enough. 

A little more interesting is “The Prettiest Star,” first issued as a flop non-LP 1970 single few would have heard at the time. It’s a nice wistful tune that, in retrospect, seems a little like a bridge between the hippie and glam eras. Of historical note, it has a sweetly buzzing guitar solo by Marc Bolan, a little before he’d become a British superstar as T. Rex, and yet more before he and Bowie would vie for top honors, commercially anyway and if only for a bit, in the glam scene.

Bowie might have thought it should get a wider hearing, and/or that the 1970 single didn’t do it justice. Oddly, he waited three years, and until his sixth album—his third wasn’t even out when “The Prettiest Star” was on a single—to issue a remake. In 1973, Aladdin Sane included a new version with his famed backup band the Spiders from Mars. It’s rather smoother and somewhat harder-rocking, with some sax, ‘50s-style rock’n’roll boogie piano, and prominent backing vocals. It’s not terribly different from the earlier arrangement, but I prefer the 1970 single, which has a lighter and less hammy feel.

Bowie was a superstar in the UK and becoming a star in the US when Aladdin Sane came out, so the LP version is far more familiar than the original 45 one. That 1970 single isn’t all that convenient to find on reissues, though it’s been on a few, including the large and expensive box Five Years 1969-1973, which has the original mono single mix; some other reissues have different mixes. The Re: Call 1 disc of rarities on Five Years 1969-1973 also includes two different versions of “Holy Holy,” which was on two different singles (one in 1971 and one in 1974) without getting on his regular LPs. How many other major artists had two different versions of non-LP  songs on singles? I can’t think of one offhand.

The Last, “She Don’t Know Why I’m Here.” The original 1977 single of “She Don’t Know Why I’m Here” was easily one of the greatest fusions of early punk/new wave with a retro 1960s garage sensibility. An explosive performance, it has a deserved place on the Children of Nuggets box of 1976-96 neo-psych.

Why it was even felt necessary to record a new version for their 1979 Bomp LP L.A. Explosion, I don’t know. Maybe the original track, issued on the small Backlash label, was unavailable. Maybe the production of the single was felt too raw and fuzzy, though if anything that enhanced its appeal. Whatever the situation, the LP version is far tamer and a big letdown. It sounds almost as though it was thought that by making it more folk-rockish and harmony pop-oriented, the song would be improved. It achieved the opposite result, though owing to its appearance on Children of Nuggets and the We’re Desperate: The L.A. Scene (1976-79) installment of Rhino’s DIY punk/new wave series, the version from the rare original single is the better known one after all.

The Mo-Dettes, “White Mice.” Released on the small (their own?) Mode label in 1979, “White Mice” was the ultimate fusion of earthy new wave and a more classic ‘60s-indebted girl group sound. Catchy and propulsive, though sung in such heavy British accents that the lyrics were hard to understand in the US, the single benefited from Rough Trade distribution to get a fair amount of exposure, and also some airplay on American college/non-commercial radio. It also benefited from one of the best 45 picture sleeves of the era, with a witty multi-panel cartoon satirizing romance comic books. They even managed to produce a video for the single, which you can find online.

As this was their debut single and they featured a guitarist, Kate Korris, who’d been in both the Slits and the Raincoats, this single (backed by the far less impressive “Masochistic Opposite”) exhibited considerable promise. Alas, it seemed like more of an anomalous one-shot than the start of a substantial career. They had a few more singles in the early 1980s, and one album, 1981’s The Story So Far, but no other songs on the level of “White Mice.”

I thought I’d scored when I found a copy of The Story So Far for, as I remember, three dollars a couple of years after its release. Any elation was dimmed by listening to the version of “White Mice” on the LP, for which it was retitled “White Mouse Disco.” It’s actually not a disco rearrangement, but in common with some other remakes—whether by contractual necessity, or generated for other reasons—there’s a bit of a going-through-the-motions feel compared to the dynamic original, especially with the forced-sounding descending “ooh-ooh-ooh” near the end. The single also boasts considerably better production, especially in its use of echoed vocals.

My happy ending was finding the original single, a year later with picture sleeve, for fifty cents. Fifty cents! And, fortunately, the original 45 version was used on Rhino’s Starry Eyes: UK Pop II (1978-79) compilation.

The Go-Go’s, “We Got the Beat.” In one of the more famous instances of a song first appearing on an indie single that got remade into a big hit, the first version of “We Got the Beat” came out on Stiff Records in 1980 as the Go-Go’s’ first release. As you’d kind of expect, it’s more basic than, and not as fully produced as, the famous hit remake that appeared on their debut LP, though it’s hardly lo-fi. It’s somewhat closer to their roots in the L.A. punk/new wave scene, though these were largely submerged by the time they became new wave pop stars.

While the original Stiff 45 isn’t that easy to get, it did make an impact upon its release, Stiff being one of the higher-profile British new wave labels. The original version was reissued in 1994 on the CD single The Whole World Lost Its Head.

Berlin, “Tell Me Why.” Not nearly as hip as David Bowie, or even the Mo-Dettes and the Go-Go’s, Berlin did sound better in their early indie days than they did during their brief period of Top Forty pop success in the early-to-mid-1980s. The 1981 45 version of “Tell My Why” was about as good and rocking as synth-pop got, though that might seem like faint praise if the style’s not your thing. A DJ at the college radio station where I did programs in the early 1980s wrote something along the lines of “like you wished Blondie sounded like” on the 45 picture sleeve. That might be underestimating Blondie, but it does have a good wistful vocal, a jackhammer-rapid beat, and effective washes of percussive sound.

Berlin put a longer version on their 1982 Top Thirty album Pleasure Victim, and perhaps unsurprisingly, it was limper, more slickly produced, and far more obviously geared toward mainstream radio play, especially in the hovering synth lines. I don’t know if the original 45 version of “Tell Me Why” has ever been reissued, and I’m not going to buy Berlin compilations to find out.

In a previous post, I detailed some of the most interesting instances in which the LP version of a song by a major 1960s rock act differed from the one on the 45. Even without paying much attention to the ones where the single’s a few seconds longer, the LP has a different guitar part, the drums aren’t double-tracked, etc., there were a surprising number of these. So much so that I didn’t have room for all of the ones I could have written about. This post goes through some of the others, by acts who weren’t exactly minor, but weren’t as major as the Beatles, Rolling Stones, Beach Boys, Who, and others upon which I focused on my earlier post.

Phil Ochs, “I Ain’t Marching Anymore.” There are few instances in which the single is so different from the album version, and also in my view few instances in which one of the versions is so markedly superior. This anti-war protest anthem might be Ochs’s most famous song, with the possible exception of “Outside of a Small Circle of Friends.” It was the title track of his second LP, where it, like virtually everything Ochs did at Elektra Records in the mid-’60s, had an acoustic folk arrangement.

I say virtually everything because in February 1966, Ochs put out an electric version of the song on a UK-only single, with backing by the Blues Project. (It did come out in the US as a flexidisc with Sing Out magazine, although the flexidisc format was rarely employed in those days.) Although Ochs liked rock and was an early and vocal supporter of his rival Bob Dylan’s move from folk to rock, he didn’t seem to feel the need to make such a move himself, at least over the course of his first three albums, all of which were on Elektra Records. This electric version was simply far more musically dynamic and appealing than the plain folk one, with rollicking piano and what sound like bagpipes at the track’s beginning and end.

Why didn’t it get a general release in Ochs’s native US? “It was basically to test the waters,” Michael Ochs, Phil’s brother and (starting in 1967) manager, told me. “He wanted to expand his music, and so he thought, ‘Wouldn’t this be great, to do a rock version.’ I’m not sure that was his decision to be careful and only put it out in England. Phil was very tight with Murray the K, and Murray the K was on [New York’s] WOR-FM at that point, doing a very hip show. Every week he’d play like three new releases for major artists, and people would call in and pick their favorite. I know he played Phil’s electric ‘I Ain’t Marching Anymore’ against the latest Stones record and one other major one, and the calls that came in all said they loved Phil’s record the best.”

One shot-in-the-dark guess as to why it wasn’t released in the US is that Ochs wouldn’t be with Elektra Records that much longer. This single came out around the same time as his third and final (and best) Elektra LP, In Concert. If it was known at that time that Ochs was planning to leave for another label, Elektra might not have wanted to put too much into promoting a single that represented a departure from his folk sound, at a time when there was still some controversy about folkies going electric, though Dylan got the brunt of that flak. Ochs would indeed go into recordings with full backings by other musicians starting in 1967 with A&M Records, though these tended to be more eclectic, sometimes orchestral folk-with-pop-and-art song than straightahead rock.

One celebrity who did get to hear the UK single was not pleased. Asked for his reaction to the single in Melody Maker’s “Blind Date” column, Who singer Roger Daltrey snarled, “It sounds like a punished protest song. Turn it off, turn it off, turn it off! It’s not even good for my grandmother.” 

For a record that was so hard to find in its initial incarnation, fortunately it hasn’t been hard to find on reissues. It’s been on the Rhino various-artists compilation Songs of Protest and the Phil Ochs box Farewells & Fantasies, and came out way back in 1976 on the double-LP Ochs anthology Chords of Fame.

Bob Seger, “2 + 2 = ?” There’s a bit of overlap between singles-only versions and some tracks I cited a few years ago in a post about prime ’60s rarities that have yet to be reissued. This is one of them, although it did get a low-profile reissue. To quote from the entry in that previous post: 

“The original version of this oddly titled tune, as heard on a 1968 Capitol single, is not only Seger’s greatest recording, but also one of the rawest, most powerful anti-war rockers of all. But wasn’t that on his Ramblin’ Gamblin’ Man LP, you’re asking — an album that’s pretty easy to find used and cheap? Yes, but the seven-inch version simply destroys the tamer LP counterpart. And that’s not just collector talk that builds up cuts for their sheer rarity. The single has a searing intensity that couldn’t be matched, making the rationale behind a fairly limp album variation a mystery of its own.

Seger, as many of you likely know, seems to take an inordinate lack of pride in his earliest sides, though these are precisely the ones that will appeal most to garage rock enthusiasts. It was enough of a surprise that approval was finally granted for a CD compilation of his 1966-67 singles on ABKCO last year (the heartily recommended Heavy Music). What’s blocking the appearance of the original 45 take of “2+2=?” on CD is uncertain, not to mention unfathomable.

The Capitol 45 version was reissued as a vinyl seven-inch by Third Man Records. Backed by “Ivory,” it’s sold out. Yet it might not be the exact same version as you hear on the original single. As one reader wrote, “The 45cat.com site says this this Third Man reissue is in stereo and not the original mono 45 mix.”

The “2 + 2 = ?” single—the title, incidentally, is never vocalized in the song—was one of the relatively few rare records to gain a place in Dave Marsh’s book The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made. Marsh called it “a thunderous crash of a record, with phased cymbals, pounding toms and snares, and a honking guitar. Seger’s finest achievement, though, was his lyric, which spelled out the inequity of what was going on in terms stark and terrorized first describing his own hatred of war and the men who might make him fight it, then telling about a high school friend, ‘just an average friendly guy’ who is sent to fight and winds up ‘bured in the mud of a foreign jungle land.’ And then he turns on the full fury of his Wilson Pickett voice and his overamped band.”

Judy Collins, “Who Knows Where the Time Goes.” Collins was a pretty big star, and “Who Knows Where the Time Goes” was the title track of one of her most popular albums, a 1968 LP that made the Top Thirty and eventually was awarded gold status. To this day, it’s the most widely heard composition by Sandy Denny, who was virtually unknown in the US when Collins covered this song. But it’s not well known that the LP version wasn’t the only version. 

On the album, there was a full-band production and a key change. A far sparser, drumless arrangement sans dramatic upward key change was only on the B-side of “Both Sides Now” and the film soundtrack of The Subject Was Roses,though it later showed up on the greatest hits collection Colors of the Day. That anthology is pretty easy to pick up cheap used, and I don’t know whether the B-side version was ever issued on CD.

Judy Collins, “Chelsea Morning.” It’s also not so well known that Collins put a cover of Joni Mitchell’s “Chelsea Morning” on a 1969 single, two years before a different version was on her 1971 LP Living. The 45 version has a far more ornate, orchestral-informed arrangement; the LP is dominated by piano. The LP version is also a live recording, not a studio one, to judge from the bits of applause heard near the beginning and end of the track. The 45 track seems to be the one on the CD The Very Best of Judy Collins, though I don’t have the physical disc to check. Unlike her cover of another Joni Mitchell composition, “Both Sides Now,” Collins’s rendition of “Chelsea Morning” wasn’t a big hit, only reaching #78.

Tom Rush, “Urge for Going.” Also in the Elektra catalog, Tom Rush issued a cover of Joni Mitchell’s “Urge for Going” as a single in 1966, well before Mitchell issued her debut album in 1968. The 45 version of “Urge for Going” got airplay on Boston’s influential station WBZ, but didn’t catch on nationally. It’s more than two minutes shorter than the LP version, on the 1968 album The Circle Game. It’s also distinguished from its counterpart by a higher key, though it’s not enormously different in approach, other than the longer version allowing for some added ghostly keyboards (at least I believe it’s an organ or keyboard) near the end. The 45 version, perhaps unknown even to the kind of people who care about this kind of thing, appeared as a bonus track on a 2008 CD reissue of The Circle Game.

The Leaves, “Too Many People.” The Leaves might only be remembered for their hit “Hey Joe,” in part because it was selected for the Nuggets compilation. But they were a decent folk-rock-oriented group, if one with a short life. Their first LP, though uneven, is far better than their second and final one, which is of virtually no interest. The first LP also included, oddly, a different version of their debut 45 “Too Many People.” It’s half a minute longer than the single, but it’s decisively less impressive, with a more even tempo that’s far less effective than the one on the 45, which followed the rhythm of the Rolling Stones’ “Empty Heart.” It also just seems less energetic overall than the single, as if they were reluctantly forcing themselves to go through a song they’d already played many times in the studio again.

It’s a little puzzling why this bluesy, vaguely folk-rockish protest number was redone. The original single had reached #11 on the charts—I assume a local radio chart—in their native Los Angeles. It was also on the same small label, Mira, that issued the LP, titled Hey Joe. Maybe it was re-recorded because the Leaves’ lineup changed between the single and the LP, with guitarist Bill Rinehart getting replaced by Bobby Arlin. The original 45 version, fortunately, was a bonus track on the 2000 expanded CD reissue of Hey Joe, and even way before that, had been on the 1982 compilation The Leaves 1966, on the enigmatic Panda label.

Savage Rose, “A Girl I Knew.” Savage Rose are not a big name in English-speaking countries, but they’re a big name in my house, as they were one of the best groups from a non-English speaking nation (Denmark) in the late 1960s and early 1970s, and I devoted a chapter to them in my book Unknown Legends of Rock’n’Roll. They were a big name in their native Denmark, where they at some points sold a lot of records, and made some impressions, if more on an underground/cult level, in some other European countries. Even in the US, they got some LPs released, did some shows (including the 1969 Newport Jazz Festival), and got complimentary reviews in Rolling Stone. They put out a lot of records, so this non-LP version of one of their best album tracks might have been overlooked even by dedicated collectors.

“A Girl I Knew” was a highlight of their 1968 self-titled debut LP, with a light yet slightly ominous psychedelic feel, interesting piano-organ interplay, and Annisette’s distinctive throaty, pinched vocals. It’s a little mystifying as to why they’d bother cutting an inferior slower, heavier rock version on a single that, to my knowledge, is extremely difficult to find on CD. It did show up on a huge eleven-CD various-artists box set Dansk Rock Historie 1965-1978, and I’m not sure any copies of that made it overseas; I’ve certainly never seen one. Making matters more confusing, it seems like there are three volumes in a box set series titled Dansk Rock Historie 1965-1978, of which this is just one, each bearing that identical title, though at least they’re in different colors. The one with the 45 version of “The Only Girl I Knew” is green.

As to why there was a remake for the 45 market, that might have had to do with a famed producer with whom they briefly worked. Polydor Records, perhaps sensing it could break the group into the international market, arranged some sessions in London with manager/producer Giorgio Gomelsky, a British impresario who’d worked with the Yardbirds, Soft Machine, Julie Driscoll & Brian Auger & the Trinity, and numerous other innovative UK artists. “He was a pretty wild guy,” Savage Rose guitaris Nils Tuxen told me. “It was known that he consumed a bottle of whisky every day, which is not a little.”

Obviously some effort went into this enterprise, as Gomelsky came over to Denmark beforehand to see the band play at Tivoli, Copenhagen’s famous amusement park. And going to Britain to record was not something a Danish band could do with casual ease in the late 1960s. “It was an interesting situation, because at that point, you were not allowed to go into England and record,” noted Tuxen. “It was strictly prohibited. The Musicians Union would not [allow] such a thing. So what the record company did…we went there and didn’t carry any instruments at all with us. They hired instruments for us. They even hired a session bass player who sat around for the entire time, just in order that our bass player could use his bass. Can you imagine that?”

But the collaboration was not a success, resulting only in an obscure single—the slower remake of “A Girl That I Knew” on one side, and the bluesy “Birthday Day” on the other. “In the studio, we just didn’t get to the place where our kind of creativity started,” Savage Rose keyboardist Thomas Koppel told me about the sessions. “We felt like the road was blocked somehow. It didn’t work out. In situations like that, we became anarchists.”

“That’s BS,” retorted Gomelsky when asked to give his side of the story. “The drummer [Alex Riel] was a professional musician, he knew a lot about music. You could talk to him. He saw very clearly what the ideas were. Annisette—great singer. We had no problems. With one of the [Koppel] brothers, I had terrible problems. One of them thought of himself as some kind of Viking god. Big-headed, big chip on his shoulder and knew zilch. It was very difficult to get anything out “of them and by consequence out of the session. He opposed everything, he stopped everything, he stopped work from flowing. We were getting nowhere.

“In London at the time, remember, we were flowing. We were in a groove. The engineers were hot, everybody was hot, we worked and went out and we celebrated. It was such an ‘up’ kind of situation. And there came this guy with this sort of negative kind of resistance. It just didn’t make for any agreeable environment. So I said, ‘I can’t do anything.’ But on the way there, we had some really good ideas, because Alex Riel—a pleasure to work with—was open to anything that made sense to him. Annisette, she was waiting, ready to wail away at the least opportunity. One of the brothers was cool. But then there was the other one. So it was not a happy experience. Truth to be known, you can pinpoint why.”

Whatever the reasons for this impasse, the resulting single did not succeed at raising the group’s international commercial profile, if that was the intention. It wasn’t the last time they hooked up with a big-name producer—they recorded Refugee with Jimmy Miller, who was also handling the Rolling Stones at the time, in 1971. But as Thomas admitted, “We were never really the typical kind of artists that wanted a producer at all.”

The few English-speaking collectors who are interested in finding Savage Rose rarities might want to know that Dansk Rock Historie 1965-1978—the volume that features their 1972 album Dodens Triumf as disc one, if you’re determined to track it down–also includes this single’s B-side, “Birthday Day,” and another non-LP single from 1969, “The Schoolteacher Said So,” which like “Birthday Day” isn’t so memorable. It also has…

Savage Rose, “Ride My Mountain.” Used on the B-side of the Danish single “Evening’s Child,” the 45 version is about two minutes shorter than the one on their second album, 1968’s In the Plain. It’s faster and more intense, and though it’s not definitively superior to the LP counterpart, it’s worth hearing for Savage Rose completists. Although I’d guess fairly few of them will go to the effort of finding and buying the green-colored Dansk Rock Historie 1965-1978 box. It seems like it will cost at least $50 including shipping, going from the listings of copies for sale on discogs.com.

A smaller selection of post-1960s LP vs. single variations will be coming up in a future post.

How many notable 1960s singles were issued in appreciably different versions on 45s than the same songs — by the same artists — sounded on LPs? It’s not a query apt to keep the average listener awake at night. But it does matter to many collectors, and actually to many less intense fans who’ve noted the differences and found them curious. And there are more such variations than many would think, by many of the most famous and best acts of the era.

This list of examples worth detailing ended up longer than I anticipated. That’s even without considering the numerous, and perhaps countless, variations that are actually essentially the same track. There are lots of different mixes, especially when you compare stereo vs. mono. There are plenty of cuts that last a few more seconds on LP, or a few more seconds on singles. There are also plenty of tracks that were edited for radio play and/or single release, the Doors’ “Light My Fire” being about the most famous such occurrence. But most of this list springs from entirely different recordings of the same song, sometimes of huge hits. So many came to mind that for this post I’m concentrating on the more well known acts among my favorites, saving rather lesser famous ones for a future post.

Sometimes the rationale for putting out a different version is well known, as it is with the Beach Boys’ “Help Me Rhonda” and the Beatles’ “Revolution,” where the Beach Boys simply felt they could do it better, and (at least some of) the Beatles feeling a faster version was necessary for a single. Often the reasons remain mysterious, or even inexplicable. Ranking these in order of their quality or historical importance would mean splitting up multiple entries from specific artists, so I’ve opted to group these notes by artist. Starting, of course, with the biggest group of all.

The Beatles, “Revolution”: Even many casual rock fans know there are two versions of “Revolution,” in part because one was on a chart-topping album and one was a hit single, albeit on the flipside of a #1 disc. It’s more obvious since the titles are slightly different, the White Album version bearing the title “Revolution 1,” and the flipside to “Hey Jude” (which made #12 under its own steam on the national chart) simply billed as “Revolution.” What makes it most obvious is that they’re very different. “Revolution 1” is slow, almost sluggish, with doo-wopish backup harmonies, and a key lyrical difference when John Lennon sings “you can count me out…in” on the LP, but emphatically and simply “you can count me out” on the single.

When Lennon pushed for “Revolution 1” to be a single, Paul McCartney and George Harrison insisted it had to be faster. John still seemed to have regrets, or at least mixed feelings, about this compromise in one of his final interviews. My guess, however, is that a very lopsided majority of fans prefer the fast single version, as I do. It’s more urgent and exciting; the fuzzy guitar blasts add another layer missing from the album version; and if John was reluctant to rearrange the song, you’d never guess it from the vocal, which has an all-out commitment likewise absent from its predecessor. Lennon, incidentally, seemed to have a blind spot of sorts in preferring a slow version to a fast one in another instance, as he wanted “Help!” to be slower. It’s hard to imagine that song working as well if it had been slowed to “Revolution 1” pace.

“Let It Be”: There’s some dispute as to whether the single and LP versions of “Let It Be” qualify as entirely different recordings. They have most of the same basic elements, but very different mixes. Most notably, the LP version — with post-production work by Phil Spector — has pretty loud George Harrison guitar overdubs missing or only faintly heard on the single. The LP version lasts a little longer, too, but Harrison’s guitar is the main reason plenty of people think these are totally different versions. They’re different enough that the Beatles’ official catalog has for many years made space for the single version on the Past Masters Vol. 2 compilation of non-LP tracks. Not everyone remembers this didn’t mark the first time this was on an album, as it appeared on the 1967-1970 anthology back in 1973.

The “Let It Be” single was one of the first records I bought, back in 1970 when I was eight. I didn’t get the Let It Be LP until a couple years later, but even then I was immediately struck by the difference between the versions. Then as now, I much prefer the single. The guitar on the album mix is obtrusive, both during the instrumental break and the final section. Letting the organ and the female backup vocals carry more weight on the single creates a more choral, dignified atmosphere that fits the song better. Paul McCartney of course didn’t care for Spector’s treatment of Let It Be album material in general, though his greatest ire was directed at the overdubbed orchestra and voices on “The Long and Winding Road.”

“Get Back”: The differences are clear-cut: the single has a tag after a brief false ending entirely missing from the album arrangement, with some tossed-off spoken lyrics not found anywhere in the LP version. The album track actually uses the same take as the 45, albeit mixed by Phil Spector. Again the single’s considered a different enough version to merit a place on Past Masters Vol. 2, as it had in 1973 on 1967-1970.

I was a bit too young to clearly remember the different 1969 single version when I bought the Let It Be LP in 1972, and remember feeling gypped when I heard the original on the 1967-1970 version on a friend’s copy that I didn’t own. I’d give the nod to the single version for the additional coda.

“Love Me Do”: It wasn’t widely comprehended while the Beatles were active that the versions of “Love Me Do” on their debut single and album respectively were different. There’s an easy way to tell the difference. Ringo Starr drums on the single, which has no tambourine. Session musician Andy White drums on the Please Please Me version, which has a tambourine, played by Ringo. Since the story was often told (particularly in Hunter Davies’s 1968 authorized biography) that Martin had planned to use White but relented and used Ringo after all, it wasn’t widely suspected that the LP has White on drums. That ended up being the version that was far more widely heard than the one on the original single, especially as it was used on Capitol’s The Early Beatles, which for most of the group’s lifespan was the only place it was available on US releases.

The versions aren’t very different, aside from the tambourine, and it can be questioned why George Martin felt it necessary to re-record the track in the first place. The additional tambourine does help a bit, and the better compromise at the time might have been for Starr to play the drums and White the tambourine, so as not to embarrass Ringo or make him feel inadequate. White doesn’t do a very good job on an early version of “Please Please Me” recorded in September 1962, and his replacement of Ringo could be harshly judged as one of Martin’s few lapses of judgement in his production of the Beatles, if you’re so inclined. It’s not hard to get the Starr/single version of “Love Me Do” now, as it came out on the 1980 Rarities compilation and, more usefully in the CD era, on Past Masters Vol. 1.

There are, by the way, some significant other differences between Beatles and single LP mixes, though you have to be pretty attentive to catch them. There are different vocals on the mono/single and stereo LP mixes “Please Please Me”; the original single/mono version has a better John Lennon vocal, as he briefly forgets words and chuckles on the LP stereo one. And there are a few extra beats in the “I Am the Walrus” single and an excised trumpet flourish at the end of DJ copies of “Penny Lane.”

The Rolling Stones, “Time Is On My Side.” Many things the Beatles did, the Rolling Stones did too. So many acts made different 45/LP versions that you can’t say they were imitating the Beatles when they cut an entirely different take of “Time Is On My Side” for an album. It’s more complicated than the usual scenario, because initially the single and LP versions were the same. Both of those started with an unaccompanied organ, and both were used on the hit single and its first appearance on an album, with 1964’s 12 X 5.

But on November 8, 1964 — when the single was already on the charts, and the track was also already available on 12 X 5, released the previous month — they cut a new version, with a superb and distinctive Keith Richards guitar solo serving as an introduction instead of the organ. This appeared on their second British LP, the unimaginatively titled No. 2. Very few Americans would have been aware of this at the time, when few UK import discs were sold in the US.

But, in an ironic twist to the story, the remake is the version that’s by far the most familiar one to Americans. That’s because it was the one used on their first US greatest hits compilation, Big Hits (High Tide and Green Grass), issued in March 1966. It’s also the one used on Hot Rocks, and maybe other compilations with which I’m not familiar. Certainly it’s the one that’s played the most on radio. I don’t remember ever hearing the first version on the radio in the 20th century, though that’s the one that would have played on the radio when it became their first US Top Ten hit.

Opinions differ on the matter, of course, but the remake simply sounds definitively superior, to me and I think most Stones fans. Not just because of the guitar solo at the beginning, though that’s the biggest reason. The whole performance is better and tighter. The Stones’ No. 2 album, by the way, also had a different version of a second song than what would have been heard in the US at the time. For reasons still unexplained, a briefer, higher-pitched version of “Everybody Needs Somebody to Love” was on their US Now album, while a longer, lower-pitched, and funkier one was on No. 2.

As for “Time Is On My Side”‘s placement on Big Hits, as Rhino Records co-founder Harold Bronson wrote in his diary/memoir Time Has Come Today, in 2006, Stones manager Andrew Oldham told him “the group preferred this take and, in compiling Big Hits (High Tide and Green Grass), the original didn’t work in the running order as well as the second version. ‘As far as I can recall, you are the first fellow to ever ask me about ‘Time Is on My Side,’ he said.”

The Rolling Stones, “Honky Tonk Women.” The 1969 single, a huge #1 hit, is one of the Stones’ core classics. Virtually everyone would agree on that. Not so the counterpart on Let It Bleed, which doesn’t even have the same title, though it is the same song. Some might say the casual, country-ish hoedown arrangement doesn’t qualify, as it was retitled “Country Honk.” It was so drastically rearranged, in fact, that it almost doesn’t sound like the same composition, though it assuredly is.

Why the group decided to redo it, and use it instead of “Honky Tonk Women,” isn’t readily understandable. It’s true some bands, more in the UK than US, didn’t want previously released or simultaneously released singles to also be available on albums. But Let It Bleed does include “Honky Tonk Women”‘s nearly-as-classic B-side, “You Can’t Always Get What You Want,” in the same version used on the 45.

In the original Rolling Stone Record Guide, Dave Marsh called “Country Honk” “an abomination in the face of the original ‘Honky Tonk Women’ single,” and while I might not phrase it quite as harshly, I’m generally in agreement. I would say the overwhelming majority of Stones fans would vote the single the better version — at least 99%, in fact. The main reason for its existence seems to have been that the song was first conceived more as a country outing than a rocker. Keith Richards told Crawdaddy in 1975, “That’s how the song was originally written, as a real Hank Williams/Jimmie Rodgers/1930s country song. And it got turned around to this other thing by Mick Taylor, who got into a completely different feel, throwing it off the wall another way.”

The Beach Boys, “Help Me Rhonda.” In a pretty well known oddity in the Beach Boys catalog, they put out an LP version of one of their biggest hits before issuing an entirely different recording on the single. The one on the Today album is far more sluggish, giving weight to a ukulele and a harmonica solo. It also even spells it differently — “Help Me Ronda.” The reason it was redone for a single seems straightforward enough — with the bass and jangly guitar intro, faster tempo, more of a Phil Spector influence in the production, more energetic backup harmonies, and a characteristically crisp (and very brief) Carl Wilson guitar solo, it’s better from every angle. One far lesser noticed change is in the lyric “and it ruined our plan” to “and it shattered to our plan,” which Mike Love takes the credit for in his autobiography. The real mystery is why they didn’t keep working at it before the single version — virtually unanimously considered far better — came out.

The Beach Boys, “Be True to Your School.” This isn’t one of my favorite Beach Boys hits, and is too rah-rah both lyrically and musically for my taste. But no matter where you put it in the Beach Boys canon, the 1963 hit single instantly strikes you as remarkably different, as the album version is missing the cheerleader chants (by Capitol girl group the Honeys, one of whom, Marilyn Rovell, would become Brian Wilson’s first wife) and even missing a guitar solo, an omission rectified by the re-recording. Even if the 45 had never been recorded, the LP arrangement would seem to be missing something, and have far less oomph.

Here’s a mystery I’ve never seen addressed: the first two Beach Boys greatest hits collections, issued by Capitol in 1966 and 1967, included virtually all of their hit singles, as well as some standout B-sides and LP tracks. But neither had “Be True to Your School” (or, for that matter, “The Little Girl I Once Knew,” which made #19 in late 1965). How did these get omitted, and dubious choices like “Long Tall Texan” and “Louie Louie” slip in instead?

The Who, “Mary Anne with the Shaky Hand.” Sure this would have gotten more attention if it was an A-side, but as heard on the US B-side of “I Can See for Miles” (“Someone’s Coming” was on the UK B-side), this has a way different arrangement than the version on The Who Sell Out. The single has Al Kooper on organ, a higher key, full Keith Moon drum bashing, and a generally considerably poppier approach, as if it was cut with the intention of being a single A-side before the idea was abandoned. The LP counterpart, in contrast, is almost folky in its acoustic guitar foundation and far less ornate percussion (almost minimal by Who standards). Too, the instrumental breaks are much different — the single highlights the organ, but the album strips it down to acoustic guitar and percussive rattles, with a different nearly Latin tempo.

Which one’s better? It’s a close call, and one of those occasions where instead of picking one over the other, it’s good to have both available, as the differences aren’t merely superficial and both are good recordings. I kind of like the single version better, and it probably would have slotted into The Who Sell Out in the same place in the sequence without anyone feeling like it was an ill fit.

Foreign record labels obviously had some trouble with the song’s title. In the US, Decca titled the B-side version “Mary Anne with the Shaky Hands,” turning the hand from a singular to a plural. The French sleeve (pictured) had trouble with the definite article and turned it into “Mary Anne with a Shaky Hand.”

As a brief footnote, when I was seventeen in 1979, a local FM radio station ran a Who A-Z day — maybe the only time it ever presented such a thing. It was pretty comprehensive, including all the non-LP UK-only 45 tracks. But it missed the 45 version of “Mary Anne with the Shaky Hand.” I pointed this out in a letter to them (no instant email in those days), and didn’t receive a reply.

The Who, “Circles.” Even as a big fan of the Who for about 45 years, I still have a hard time keeping the back story behind the two versions of “Circles” straight. Basically they recorded a version of this fine mod rocker with producer Shel Talmy, but as they wanted to break off their association with him around the beginning of 1966, they subsequently re-recorded it without his involvement. The second version came out on March 4, 1966 on the UK B-side of “Substitute” on the Reaction label, though it was quickly replaced by “Waltz for a Pig,” an instrumental credited to “The Who Orchestra” (actually the Graham Bond Organisation). This was because of legal action from Shel Talmy, and the first version, which he had produced, came out shortly afterward on the UK B-side of “A Legal Matter,” on the Brunswick label. This first version also came out in April 1966 on the Who’s first US LP, The Who Sings My Generation.

More headaches for discographies down the decades ensued because “Circles” was also, for no apparent reason other than to evade legal threats, released with “Instant Party” as or in the title in some of its different iterations. The second version of “Circles” also came out in September 1966 on the UK Ready Steady Go EP. The first version, however, was far more familiar to American listeners than the second one, as The Who Sings My Generation would constantly be available, and the EP never released here, with the second version not showing up on an official US release until 1987’s Two’s Missing compilation.

More important than the different titles and different releases are the actual tracks. The Talmy take is a bit sloppy in execution, and murkier in mix than most 1965 Who recordings, especially in how John Entwistle’s horn blares and blends with the other instruments. Yet the remake, though clearer, is more muted and less spirited. The guitars at least ring with real authority on the initial attempt. For that reason, among others, I prefer it, though it’s fair to say the Who never seemed to fully get to grips with this song in the studio and maximize its potential. It might have been a little too weird in structure — with two different bridges and in its first incarnation an extended rambling, droning instrumental passage near the end — to be the possible A-side it was first envisioned as.

The Who, “I’m a Boy.” So few people heard this in the US when it was first released in 1966 that Americans think of the longer LP version, from the 1971 greatest hits collection Meaty, Big and Bouncy, as the only or at least definitive one. Not so in the UK, where a shorter version made #2. The longer version was recorded only a little later in 1966, but is substantially different, lasting about a minute longer with an extra verse. Mostly for that reason, the original hit UK version sounds a little strange to US listeners, though both have their merits. The single is more concise and has wordless group harmonies in the instrumental section, and the album variant has more content, though it drags a little in comparison.

The Who, “Magic Bus.” The Who seemed to take the length of a track into serious consideration for their singles, considering that two very popular ones had significantly shorter durations in their 45 iterations. Like “I’m a Boy,” “Magic Bus” was about a minute shorter on its 1968 single than it was on Meaty, Big and Bouncy a few years later, though both versions were recorded around the same time. With “Magic Bus,” the groove is more the core than the lyrics or chord changes, so it works better when it goes a little longer — though not when it goes a lot longer, as live versions (most famously the one on 1970’s Live at Leeds) have demonstrated. 

In the department of “here’s something I don’t remember seeing written about,” one way to tell the versions apart is how the weird shouted “moo” before the instrumental break seems lower and more echoed on the single. A more vital question, as least in some minds, is: what does this “moo” mean? Is it supposed to be “move” and the end consonant doesn’t come through? Is it “Moon,” meaning a cue for Keith Moon to play?

The Byrds, “Why.” Why are there two versions of “Why,” released almost a year apart? Like many of the cases exhumed in this post, it’s not clear. First heard in early 1966 on the B-side of “Eight Miles High,” it too had a pronounced raga influence — even more so than “Eight Miles High,” though the song wasn’t nearly as good. The main attraction was the sitar-like instrumental break, though Roger McGuinn actually created it by playing a 12-string Rickenbacker guitar through a walkie talkie speaker inside a cigar box. A subsequent version, released in 1967 on the Younger Than Yesterday album, was considerably less energetic, with much less adventurous guitar work.

While this is the consensus among most critics and fans, the LP version isn’t without a significant merit not heard on the 45. That’s in the tense, declarative up-and-down chords that serve as its introduction, which aren’t present at all on the single. The album arrangement was heard, and probably still has been heard, more than the 45, as the version of “Why” on the single remained non-LP, and for many years the only version that could be easily obtained was on Younger Than Yesterday. Certainly this was the version noted alternative/indie guitarist and album designer Bruce Licher heard, as is evident on the homage paid to the LP cut in the introduction to Licher’s 1997 demo “Tundra,” as heard on the Tape Excavation compilation.

The Byrds, “Don’t Make Waves.” Although this was one of the weakest songs the Byrds cut in the mid-1960s, I can reprise a listing I wrote a few years ago as part of a post on rarities yet to be reissued:

“As the non-LP B-side to the not-quite-hit-single “Have You Seen Her Face,” “Don’t Make Waves” was one of the least essential songs the Byrds released during their classic 1965-67 David Crosby era. It’s a real basic Roger McGuinn-Chris Hillman composition, serving as the theme song for an obscure 1967 film of the same name, though it has characteristically nice Byrds harmonies. And it has, some of you Byrdsmaniacs are already declaring, been reissued as a bonus track on the expanded CD of their Younger Than Yesterday album. 

Yes, but actually the version on the Don’t Make Waves soundtrack LP is different. And kind of weird, too — the vocals have a hollow reverb, almost as though they’re singing to the backing track in an empty hallway. Michael Clarke’s had his share of criticism as a drummer, and though it’s usually unfounded and his work is usually serviceable enough, here it’s kind of overdone bashing. It sounds like a demo that got used by accident, or was maybe rushed over to the film’s producers when they needed something before it could get relatively polished in the studio, the vocals seeming to lose some heart near the finish. McGuinn goes into a neat twelve-string figure at the very end, but even that gets botched by the production, which fades it out as soon as it starts.

If this is such a mediocre recording, some might hold the attitude that it’s better off left unreissued. But the Byrds were one of the greatest bands of the time, and it would be good to have everything they did available, including their relatively few misfires. Maybe it couldn’t be licensed for their standard catalog since it appeared on a soundtrack LP for MGM Records, and not on their usual label, Columbia.”

The Yardbirds, “I’m a Man.” Here we have an unusual case where the LP version preceded the one on the hit single by almost a year; the LP version was live, and the hit a studio recording; different lead guitarists, both big stars, were featured on each; and the single, though a pretty big hit in the US, wasn’t even issued in the UK. A live performance of this Bo Diddley classic with the Eric Clapton lineup, released around the end of 1964 on Five Live Yardbirds (though it was recorded back in March), rumbles along nicely enough, with the kind of tempo changes that differentiated much of what the Yardbirds did from the originals they were covering. By comparison, the single, released in October 1965, is explosive, with a more confident, ferocious attack and fiery Jeff Beck soloing in the final instrumental section that concludes with a percussive attack on the guitar strings.

For such a major band, some of the record company decisions concerning the Yardbirds were inexplicable. One assumes part of the reason “I’m a Man” didn’t come out in the UK was because there was no UK Yardbirds studio album before 1966, though one-and-a-half studio LPs came out in the US in 1965. Certainly there were enough tracks by the Jeff Beck lineup for at least one studio British LP in ’65, even if that would have meant using some material from 45s and their 1965 UK EP. This meant that not only “I’m a Man,” but also “The Train Kept A-Rollin’,” another great track, weren’t even on the British market in the mid-’60s. 

In the US, “The Train Kept A-Rollin'” and “I’m a Man” found a place on 1965’s Having a Rave-Up with the Yardbirds LP, side one of which was one of the greatest LP sides of the era, even if it was mostly comprised of songs that had appeared on singles. There weren’t enough studio tracks in the can to fill up a whole studio album, so side two took four songs from Five Live Yardbirds, which wasn’t issued in the US. One of those was the Clapton version of “I’m a Man.” American listeners must have been confused to find two versions of the same song — albeit pretty different versions — on the same LP, with no explanation as to the date and lineup of the live performance.

Country Joe & the Fish, “Section 43.” Like a few entries in this post, this sort of goes beyond the strict 45/LP version division, as the original version of this psychedelic instrumental was on the Fish’s second EP, released in 1966. The more well known version appeared on their 1967 debut LP, Electric Music for the Mind and Body. Maybe some casual listeners won’t detect too much difference, but the 1966 performance, recorded with a slightly different lineup, simply has more loose and reckless spontaneity without lapsing into excess. That’s especially true of the guitar riffs in the opening section, which have an ear-piercing frequency missing from the LP remake. The debut album included remakes of the two other songs from the LP, “Bass Strings” and “Love” (titled “Thing Called Love” on the EP). But the difference in quality is far more pronounced in comparing the two “Section 43″s.

Country Joe & the Fish weren’t the only notable Bay Area group from the psychedelic era to remake songs from an early EP on their debut LP. So did the more obscure, but quite worthy, Mad River, whose 1967 EP had early versions of “Amphetamine Gazelle” (initially titled “A Gazelle”) and “Wind Chimes.” These aren’t as noteworthy as “Section 43,” though “Wind Chimes” has a section with Hare Krishna chants not on the LP arrangement. The Mad River EP’s most notable, actually, for a good song that doesn’t appear on either of their two LPs, “Orange Fire.”

Everything from the second Country Joe & the Fish EP and Mad River’s EP—along with the fine EP by Bay Area psychedelic group Frumious Bandersnatch, who never issued anything else in their lifetime, and the not-as-fine EP from Notes from the Underground—was included on Big Beat’s 1995 CD compilation The Berkeley EPs. Getting back to the EP version of “Section 43,” that was also featured on the four-CD box Love Is The Song We Sing: San Francisco Nuggets 1965-1970, the best compilation of San Francisco ’60s rock.

The Great Society, “Somebody to Love.” Although this group put out just one barely distributed single while active, they’re not as obscure as many would think, since they featured Grace Slick before she joined Jefferson Airplane. “Somebody to Love” was their one barely-distributed single, recorded and issued before Jefferson Airplane cut their hit version. Because of Slick’s subsequent fame with Jefferson Airplane, two LPs of live 1966 recordings of the Great Society at San Francisco’s Matrix club were issued in 1968, including a concert performance of “Somebody to Love.”

This live version is much, much better than the comparatively rudimentary single, although it was recorded only about half a year later. For one thing, the single—titled “Someone to Love,” not “Somebody to Love”—is sung by Slick with another member of the band, David Miner. It was more of a dirge at this point, and while the live version is certainly still slower than the Airplane’s dynamic arrangement, it’s far more honed and dramatic. There’s better guitar soloing, a raga-ish riff introducing the song and recurring throughout, and a superb solo Slick lead vocal. It’s probably much more a reflection of how dramatically the Great Society improved in half a year than a deliberately strategic rearrangement.

Donovan, “Catch the Wind.” Hit and popular songs are often remade years later, often due to the original recordings being unavailable for licensing, or just because artists past their peak want to use material that’s better than what they’re subsequently able to conjure. These remakes are rarely of interest, and often terrible. There are exceptions that prove the rule, however, like “Catch the Wind,” a big hit when Donovan made it his debut single in 1965. He underwent very complicated contractual disputes with record labels, and by the time his first greatest hits compilation came out in 1968, his 1965 releases — comprising quite a few tracks from singles, LPs, and EPs — were unavailable for Epic’s Donovan’s Greatest Hits collection, issued at the beginning of 1969. 

The most popular of Donovan’s compositions from 1965 singles, “Catch the Wind” and “Colours,” were thus re-recorded in May 1968. Where the originals had been acoustic folk in nature, these remakes had full rock arrangements with top British session men Big Jim Sullivan (guitar), Clem Cattini (drums), and a pre-Led Zeppelin John Paul Jones. The 1965 “Catch the Wind” was a very impressive debut, but the 1968 redo was both quite different and pretty good. It had a more languid, introspective pace, and was a good two minutes longer. I’d give the original the slight edge, but the “rock” version, though it’s not exactly hard rock, is worthwhile in its own right.

It was also the only one I was familiar with for a couple years after getting the Greatest Hits LP at age 17 in 1979, before I was able to hear the original or any of Donovan’s largely folk-based 1965 tracks. I’m guessing a good number of others who weren’t old enough to hear the original version were exposed to the 1968 remake first, Greatest Hits being a big seller and generally more widely available than his 1965 material. The 1968 “Colours” version is also longer and more elaborately arranged than the original, but I don’t find it nearly as interesting as the “Catch the Wind” remake.

The Grateful Dead, “Dark Star.” Even many Deadheads are unaware of this 1968 single version, clocking in at a mere two minutes and 45 seconds. It will certainly never displace the far more celebrated 23-minute concert version on 1969’s Live/Dead in the consciousness of either Deadheads or more general rock fans. If you do prefer studio concision to live improvisation, however, you might prefer or at least appreciate the single, which emphasizes the song rather than the jamming. It was heard by few upon its release as it didn’t gain much sales or airplay, or find a place on their 1960s LPs; according to Dennis McNally’s biography A Long Strange Trip, only 1600 copies of the single were pressed, and only 500 sold. It hasn’t been easy to find on reissues, though it’s on Love Is the Song We Sing: San Francisco Nuggets 1965-1970.  

One little noted connection this single illuminates: the Grateful Dead and the Velvet Underground are sometimes categorized as the ultimate opposites in 1960s rock, the San Francisco hippies on one side and the dark, urban realists on the other. But there were links between the groups, if tenuous ones. Both of them called themselves the Warlocks briefly before settling on their permanent names. They shared bills in 1969 in Pittsburgh and Chicago. The Grateful Dead were among the witnesses at the marriage ceremony of original Velvet Underground drummer Angus MacLise and Hetty McGee on April 24, 1968 in Golden Gate Park. And, according to an interview Hetty gave Bananafish many years later, she plays tambura on the Grateful Dead’s “Dark Star” single.

Bob Dylan, “Just Like Tom Thumb’s Blues.” Considering the extreme interest in Dylan’s 1966 world tour, and particularly in live performances of the electric half of those concerts with the Hawks (later the Band), it’s a little surprising the appearance of a live recording from those shows on the B-side of a hit single didn’t get more attention, then and since. Back in 1966, a live version of “Just Like Tom Thumb’s Blues” was on the B-side of “I Want You,” which got to #20 in the charts. This was less than a year after a studio version of “Just Like Tom Thumb’s Blues” was on Dylan’s first all-out rock album, Highway 61 Revisited.

A May 1966 recording of a British Dylan concert in Manchester achieved legendary status since it started to get bootlegged (and misidentified as a show in London’s Albert Hall) just a few years later. Decades later, that Manchester concert was officially released, including a version of “Just Like Tom Thumb’s Blues.” If you’re concerned about having a complete Dylan collection, it’s vital to know that the version on the B-side of “I Want You” is not the same one as the Manchester concert. It was recorded three days earlier in Liverpool, on May 14, 1966.

It’s not much different than the Manchester version; you wouldn’t expect it to be, from the same tour just three days apart. It is, however, appreciably different from the Highway 61 studio track, in common with how Dylan generally sounded with the Hawks on songs he’d already released in studio renditions. There’s nothing wrong with the studio version, although I admit it’s not among my favorite Dylan tunes. But the live recording sounds richer and fuller.

This Liverpool-taped B-side hasn’t been easy to come by since its initial release. It showed up on the 1978 triple LP compilation Masterpieces, only released in Japan, Australia, and New Zealand. It’s also on the 36-CD box The 1966 Live Recordings, which has all of the live recordings known to survive from that year. That’s a lot of cash to spend for the B-side taped in Liverpool, though at least it has a ton of other material that’s not available elsewhere, albeit with more multiple versions of the same song than almost anyone would want to hear in a concentrated dose.

Going back to 1966, it’s a little mysterious why only this track was released from his live recordings back then, and why nothing else from the live recordings was issued for many years, though the Manchester show was heavily bootlegged for decades. There were a couple gaps in Dylan’s career at Columbia Records that could have easily been filled by a live 1966 album. The first was when he didn’t release anything for a year and a half after Blonde on Blonde came out in mid-1966 — not a gap even worth noting for artists in the late 20th and early 21st century, but a big one for 1960s stars. Columbia opted to put out the first Dylan’s greatest hits collection in 1967, and while a live 1966 recording almost certainly wouldn’t have sold as much, the market could have borne a live album in that 18-month or so period as well.

Then there was no Dylan Columbia studio album between 1970’s New Morning and 1975’s Blood on the Tracks (remember that early 1974’s Planet Waves initially came out on Asylum). unless you want to count 1973’s Pat Garrett and Billy the Kid, which was for the most part a soundtrack. Columbia opted to put out the outtakes collection Dylan in 1974, which was ridiculed as an absurdly inferior compilation given the wealth of much better unreleased material which was known to exist even back then. Maybe there was some legal or contractual holdup surrounding the 1966 live tapes, or objection from Dylan and/or his representatives. But at least the recordings are readily available now, if not always readily affordable.

As time goes on and gets more and more distant from my favorite period of popular music, the reissues and vault finds get ever more specialized. They also get closer to the margins of what might be considered the core repertoire of major acts, and more and more obscure as far as artists who haven’t gotten much if any mainstream attention.

So it goes with my nearly Top Twenty list, where there are yet more live concerts by big stars (and part of seemingly continuous lines of them by Jimi Hendrix and the Doors); a huge expanded box by the Who (many other such boxes not on this list have been recently released as well); more live and rare early Renaissance than anyone thought was around; and a five-CD Heinz box, the very concept of which would have been unimaginable just a decade or two ago. Overdue career-spanning anthologies still come out, like the one for the Daily Flash, but there aren’t all that many such comps as noteworthy that are left in the wings.

While I don’t get too hung up on numbers and rankings, it was a fairly tough decision as these things play out to choose #1. Had none of the Doors’ March 1967 Matrix tapes ever circulated, that would have been an easy choice, but prior availability of tracks does factor into my list. Much of the Renaissance material was unheard, at least by me, which makes it more of a novel discovery, though that box is weighed down by some repetition and (though on less than half of it) subpar sound. There was no 2023 reissue that was clearly of such major importance that it was as easy a choice for the #1 spot, as, say, the first volume of Joni Mitchell’s Archives series and George Harrison’s All Things Must Pass were in recent years.

The Doors are by far the more important act, their 1967 tapes are definitely their most interesting live recordings, and the new box is the most complete collection of these, adding some previously uncirculating tracks. Ultimately that gives them the nod, though the top spot could have easily gone to the Renaissance collection, particularly if the welcome surprise of hearing some interesting stuff I didn’t know existed is taken into account.

1. The Doors, Live at the Matrix, 1967 (Rhino). A double live LP, Absolutely Live, by the Doors came out in 1970 while the group was still active, and there have been so many archival concert releases that even Doors fanatics have a hard time keeping track of them. Aside from their 1968 Hollywood Bowl show and the rather short, cover-dominated London Fog 1966, however—as well as a few lo-fi scraps that made it onto Boot Yer Butt!: The Doors Bootlegs—none of them predate 1969 save for Live at the Matrix, 1967. A double disc of material from their March 1967 shows at the San Francisco club came out in 2008, but this five-LP box lives up to the new and improved tag in a couple respects.

Crucially, the box has a lot more of what survives on tape from their March 7, 8, 9, and 10 Matrix shows. Most of the tracks gaining release for the first time have been in unofficial circulation for years, but this material’s taken, to quote Joel Selvin’s liner notes, “straight from reels of Scotch 201 quarter-track tape recorded at 7 ½ ips.” The 2008 compilation had been (it was belatedly discovered) mastered from third-generation copies, though it was thought at the time they were first-generation. 

Yet what’s most important is that these are the only recordings that capture the Doors in peak form before they became stars and their set lists became more rigid and predictable. Their first LP had been out for a couple months, but “Light My Fire” wouldn’t enter the charts until three months after their Matrix stint. The Doors were still an underground act, and the audiences at the club were so small that, as guitarist Robby Krieger’s quoted in the liner notes, “We looked at it as a paid rehearsal. There were five to ten people in the club. We did it for ourselves.” Although the sound quality on these tapes is a little thin and distant, these are the best and most interesting of the live Doors recordings, both for the hungry, wiry intensity of the performances and the presence of quite a few songs that aren’t available in many or any concert versions.

They didn’t mail/phone it in, playing most of the songs from their debut album (no “Take It As It Comes,” “End of the Night,” or “I Looked At You,” sadly); every song from their yet-to-be-recorded second LP, Strange Days, except “Strange Days,” “Love Me Two Times,” “You’re Lost Little Girl,” and “Horse Latitudes”; and even one that didn’t make it onto vinyl until their third album, “Summer’s Almost Gone.” Plus a heap of blues/R&B/jazz covers, some likewise never part of their catalog while Jim Morrison was alive, like “Gloria,” “Money,” “I’m a King Bee,” “Get Out of My Life Woman,” and “Rock Me Baby.” Plus a few instrumentals to give Jim a break, including “Summertime” and a couple, Miles Davis’s “All Blues” and Milt Jackson’s “Bags’ Groove,” that to my knowledge have never before circulated anywhere.

Best of all, the band plays, and Morrison sings, with passion and spontaneity, even given that many of the songs (even the long version of “Light My Fire”) are rewarded with light tennis match-type clapping. “Moonlight Drive” (included here, like several of the songs, in two versions) differs from the Strange Days arrangement with a middle section where Morrison and Ray Manzarek sing improvised-sounding parts against each other, Manzarek playing organ instead of piano. “Unhappy Girl” opens with a long piercing organ solo that doesn’t appear in the studio version. Morrison asks to be shown the way to the next little boy in an alteration to “Alabama Song”—a change which, it’s safe to assume, would not have been allowed on a commercial release in 1967, even by a label as progressive as Elektra.  

Although the songs were often enhanced by bass guitarist session players in the studio, the absence of a bassist means the arrangements are generally leaner here, and it’s interesting to hear Manzarek carrying the bass parts with the lower notes of his keyboard. Too, Ray had to play all his parts on an organ without utilizing piano for color and variation, which means songs like “People Are Strange” sound appreciably different.

As for the two previously uncirculating instrumentals, while naturally the band needed Morrison’s vocals to be at full power, they’re not without interest. The languid, repetitive riffs of “All Blues” are on the filler side, but an eight-minute forty-second “Bags’ Groove” (on the one-sided seven-inch that comes with the box) is actually pretty cool, the group hitting a nice jazz-bluesy sort of Doors-meet-the-MG’s groove. So is the lengthy (and previously available) instrumental “Summertime,” which the Doors arrange to suit their trademark hypnotic rock-jazz-blues style.

Not everything about this box is ideal. The sound quality isn’t remarkably different or better than the previous official and unofficial versions, though everything is now speed-corrected. Indeed, it isn’t as good as it is on the best and most historically significant officially issued Matrix tapes by other acts, those being the two LPs by the Great Society (with a pre-Jefferson Airplane Grace Slick) and 1969 Velvet Underground Live, Morrison’s vocals somehow not coming through as well as the singing does on those great records. The blues covers largely illustrate that early Rolling Stones-style blues-rock wasn’t the Doors’ strength. “Crawling King Snake” (later of course recorded for L.A. Woman) has some of the most amateurish harmonica (presumably by Morrison) to grace any release by a top rock act, though those bleats are brief and more amusing than annoying.

There is one standout among the covers, that being “Who Do You Love,” which the Doors would cut in a mellower version for Absolutely Live. The much earlier one on this box is good and preferable, with some nice swooping slide guitar and well-timed insertion of demonic organ breaks. Note that although the annotation describes this collection as the complete Matrix recordings, two versions of “Who Do You Love” purporting to be from the club in March have circulated. They’re easy to tell apart as Morrison’s vocal on the first verse is higher and nastier on the shorter one not included on this box, among other differences. One would guess the missing version might not have been taped at the Matrix, though it seems to be from the same era, and has similar fidelity. (A slightly edited version of this review will appear in a future issue of Ugly Things magazine.)

2. Renaissance, Live Fillmore West and Other Adventures (Repertoire). For a group of notable significance, the output of the original Renaissance—the lineup featuring ex-Yardbirds Keith Relf and Jim McCarty, as well as bassist Louis Cennamo, ex-Nashville Teens pianist John Hawken, and Relf’s sister Jane—was slim. There was just one album, 1969’s self-titled Renaissance, before the group’s personnel started to shift and splinter. By their third album, not a single original member remained. Renaissance itself had just five songs, though three were between seven and twelve minutes long.

This five-disc set does much to amplify their sparse discography, with four CDs of previously unissued live performances, TV and radio broadcasts, and demos, along with a DVD of British and European television clips. That’s a heavenly gift for fans, though it comes with some limitations. The sound quality is uneven, though the performances aren’t. And though there are a few songs that didn’t make the studio LP, there are inevitably a lot of multiple versions of the five that did.

The majority of the material comes from live concerts, the whole of the first disc featuring their March 6, 1970 show at the Fillmore West. While the instruments come through fairly well, there’s no denying that the vocals are on the submerged side. In common with many live tapes of plenty of acts from the era, the songs are stretched to markedly longer arrangements, “Kings and Queens” and “Bullet” lasting fifteen minutes apiece. The odd ghostly, almost avant-garde ending of the studio version of the latter wasn’t replicated in live performance. As a major bonus, however, in addition to all five songs from the LP, three others that didn’t make it were played. All of their compositions have the group’s idiosyncratic blend of rock, classical, and exotic non-rock styles, often layered with a tense, ominous mood.

None of the non-LP numbers are quite up to the level of the material on their studio releases, the eight-minute “No Name Raga” going into some less focused improvisation than was their usual wont. The nine-minute “After the War,” songwriting credited to “unidentified,” is hard to fully judge. It boasts some wailing Jane Relf vocals, but the extent to which they’re under-recorded is a deterrent to full listening pleasure, though there are some forceful riffs and wah-wah guitar, and McCarty’s drumming gets into more uninhibited soloing than he ever did with the Yardbirds. The two-minute “The Tao of Myself” is a two-minute improvisation tagged onto the end of “Bullet,” and the words Keith Relf are singing can’t be easily deciphered. (For that matter, the ways vocals were placed in the mixes and arrangements sometimes made it difficult to make out early Renaissance’s lyrics with exact precision even when they were recorded in classier audio.)

Disc two combines excerpts from concerts in Helsinki (May 1969) and Switzerland (April 1970) with a May 1969 version of “Kings and Queens” from a Swedish radio broadcast. It’s perhaps the least notable disc owing to less-than-sparkling audio quality, sticking to versions of just three of the five songs from the album. There’s also a brief Helsinki interview with Hawken and Keith Relf that just makes basic points that the group, which had only done a few concerts, was trying to do something different.

The sonic imperfections of the first two CDs might put them in the “for hardcore fans” only category, but that’s not the case for the other CDs. Disc three features more than forty minutes of material from a February 25, 1970 Cincinnati concert, and while the fidelity might have been a little too dull to make the cut for the usual standard official live album, it’s appreciably better than what the preceding two discs offer. Crucially, it has not only every song from Renaissance except “Innocence,” but also has far better sounding versions of “No Name Raga” and “After the War,” although “Bullet” lasts less than half of what it does on the Fillmore tape.

Cincinnati’s Music Hall might not have had the glamour of the Fillmore West. But these recordings, made just a couple weeks earlier than the ones from the Fillmore, are a decidedly better representation of the band—who play and sing well everywhere in this package, regardless of the variable technical qualities of the tapes. Disc three is completed by the similarly acceptable-fi audio of 1969-70 British and European TV spots, though those are better experienced as the film clips featured on the DVD.

The first half of disc four has decent-sounding BBC radio broadcasts recorded in October 1969 and March 1970, with versions of all songs from the debut LP except “Wanderer.” Of most interest, there’s also (from the March 26, 1970 taping) a Jim McCarty original, the delicate folk-classical Jane-sung “Face of Yesterday,” that’s the sole song on the entire package that found a place on Renaissance’s second studio album, 1971’s Illusion. There’s also a brief Keith Relf interview where he explains how different factions in the Yardbirds led to a different sound he and McCarty wanted to explore with Renaissance.

The second half of disc four contains the least characteristic, yet in some ways among the most interesting, tracks on this compilation. These nine “rarities and demos,” as they’re titled here, are almost an entire studio album of its own, though they were recorded at various times and with different combinations of musicians. It would have been nice to have exact personnel listings and dates, if they even exist. But Cennamo’s comments in Chris Welch’s lengthy liners indicate most were done between the Yardbirds’ split and Renaissance’s formation, though some were done significantly later. 

Whatever their precise origins, they show a somewhat folk-poppier, less ornate, and more concise side of the band, and a very good one, even if some fans might prefer their more avowedly progressive efforts. One highlight, the buoyant but bittersweet “Line of Least Resistance,” showed up a few years ago on Repertoire’s collection of Keith Relf rarities, All the Falling Angels. So did “I’d Love to Love You,” a lovely acoustic duet between the Relfs, and  “Together Now,” though this a different (and inferior) version with added orchestration.

Generally these studio recordings afford greater room for Jane Relf’s vocals, both in quantity and range of expression. Certainly one peak, not only of this anthology but of her whole career, is her glowing interpretation of “Carpet of the Sun,” which a later lineup of Renaissance  would record in a much more bombastically arranged version, with Annie Haslam on vocals, on a 1973 album. Cennamo states in the liners that this Jane-sung version was cut “after the original Renaissance broke up,” which might make it the latest track on this compilation.

But most of these demos and rarities have an enticing haunting, melancholy-with-rays-of-sunshine bursting through feel, and would make a nice (if short) album of its own, despite its disparate sources. (McCarty’s “Prayer for the Light,” for instance, comes from the obscure Schizom soundtrack.) As a whole, they point to attractive directions the original Renaissance lineup could have explored more fully, whether during their brief lifetime or had they stayed together longer. They also more fully show the appeal of Jane’s singing—in a different way than her brother, though she likewise didn’t have the power of more celebrated British vocalists, she projected personal, enigmatic emotion that more than made up for that.

While it would be a cliché to propose that the whole set’s worth buying for the 40-minute DVD, especially with respect to collectors’ budget considerations, the one that closes this anthology comes close to deserving such an accolade. Besides well-preserved color clips of 1970 broadcasts of performances of “Island” and “Kings and Queens” on the Germany TV program Beat-Club, there’s a much less frequently seen fourteen-minute BBC mini-documentary from late 1969, also in vivid color. This shows the original group working in the studio, where producer Paul Samwell-Smith and engineer Andy Johns can also be seen; in more casual settings, with brief interviews with band members; and at a live performance of “Island” in London’s Revolution Club in October 1969. In black and white, but in good shape, is a clip of the band in Paris in January 1970, again performing “Island,” obviously a favorite of the group and, apparently, television programmers.

This would have arguably worked better as a three-disc set without the first two discs, as higher-fi versions of almost all the songs from the first pair of CDs are heard on the final three. It’s also true that the abundance of multiple versions—seven apiece of “Island” and “Kings and Queens”—makes this too much to take in at once. Yet some fans would argue, with some reason, that if you’re going to have some rare material, you might as well have it all. It’s all here, and if early Renaissance was in some ways not as immediately accessible as far more famous post-Yardbirds projects by their three celebrated guitarists, this does reward patient listeners. It also boasts its share of incandescent songs and passages that strike home right away. (A slightly edited version of this review appeared in Ugly Things magazine.)

3. Joni Mitchell, Archives Vol. 3: The Asylum Years (1972-1975) (Rhino). The third volume of Mitchell’s five-CD box sets of almost entirely unreleased material actually spans late 1971 to 1975, to be technical. The title refers to years during which she was on Asylum Records. Like the previous two boxes, it’s a deft mix of demos, outtakes, and live recordings, including a few on which James Taylor sings or Neil Young plays, though Mitchell’s the focus on those. The one previously released track might have been missed even by Joni collectors, since “Raised on Robbery,” recorded in 1973 with Neil Young & the Santa Monica Flyers, only came out on Young’s Archives Vol. 2: 1972-1976.

Unlike the majority of listeners, I’m a much bigger fan of Mitchell’s earlier work, an era spotlighted on the previous two boxes, which spanned 1963-1971. But I liked this more than I expected, in part because the different nature of the sources ensures there’s more variety than there is on any studio or live Mitchell album from this period. If the studio LPs (For the Roses, Court and Spark, and The Hissing of Summer Lawns) had more polished production, the songs from those albums certainly don’t suffer in earlier and often plainer musical settings. Personally I prefer the less elaborate productions, especially to those using the slicker fusiony sounds of Tom Scott & the L.A. Express, though that outfit can be heard on some of the numerous songs from her March 3, 1974 concert at the Dorothy Chandler Pavilion in Los Angeles.

There’s enough material from that show and her February 23, 1972 Carnegie Hall concert to have made two separate albums, and these (as well as scattered much shorter excerpts from other live appearances) mix then-new compositions with older songs that were already favorites, like “Big Yellow Taxi,” “Woodstock,” Both Sides Now,” and “The Circle Game.” Some of her between-song raps are quite long and spacey, including an unexpected reference to the Performance movie. A studio medley duet with James Taylor of “Bony Moronie,” “Summertime Blues,” and “You Never Can Tell” demonstrates both that Mitchell had a genuine love for early rock and roll, and that it wasn’t her strong suit as an interpreter or performer.

The more (at the time) recent and less familiar compositions are the highlights, however, though some similarity in her approach on quite a few songs in this era means this wouldn’t qualify as the most consistent Mitchell listen – not that this was the intention of an archival box like this. Some of the better and/or more interesting items include a pre-For the Roses live acoustic version of “You Turn Me On I’m a Radio,” and an outtake of the same tune backed by Neil Young and the Stray Gators; a band-less demo of her biggest hit, “Help Me”; good demos and alternate versions of a couple highlights from Hissing, “In France They Kiss on Main Street” and “Dreamland”; and likewise the demo and Neil Young-backed versions of a Court and Spark highlight, “Raised on Robbery.” Best of all is the Court and Spark outtake “Bonderia,” in which Mitchell scats wordlessly with an unusual nearly middle eastern-gypsy-ish melody that’s almost experimental by her standards. Along the same lines, “Sunrise Raga” is offbeat as it’s nearly instrumental save for some wordless singing, and Mitchell’s backed by bongos on an Indian-flavored piece. Both tracks make me wish she’d done more such ventures.

Like the previous Archives boxes, Cameron Crowe interviewed the singer for the liner notes. While some might wish she’d been grilled in greater depth about some of the specifics on these vault retrievals, it’s enough of a miracle she can speak at some length to an interviewer given her recent health scares. While this might not be my favorite volume owing to my personal tastes, in its selectivity and packaging it’s up to the standards of its predecessors, and the series as a whole is already established as one of the best of its kind in those regards.

4. The Who, Who’s Next/Life House (Polydor). This is basically a superdeluxe edition of Who’s Next, though much of the material was originally intended for the unfinished rock opera Life House (as it’s now apparently spelled, rather than Lifehouse). How does it not rank higher or at the top of this list, considering I wrote about it in about half of my book Won’t Get Fooled Again: The Who From Lifehouse to Quadrophenia? It’s not the greatest value for money, boasting a $250-300 price depending on where you get it. More importantly, the extra material isn’t always that exciting, though at least Pete Townshend refrained from putting on post-1970s re-recordings or interpretations of Life House elements. The original Who’s Next album is one of the discs, and a Blu-ray offers mixes of tracks (all heard elsewhere on the set) that some consider higher-fi than what’s possible on average stereo systems. Everything else was not on the Who’s Next LP, though a fair amount of it’s been released elsewhere.

The most interesting material is found on the two CDs of Pete Townshend demos. Much of it’s done the rounds on limited edition release and bootlegs, but they include solo versions of much of the material on Who’s Next that have a different, sometimes more personal, less glossy, and vulnerable cast than the highly polished group studio tracks. There are also some songs that didn’t find release by the Who or sometimes anywhere at the time, with the tender, acoustic folk-based love song “Mary” and the wistful “Time Is Passing” being highlights. An early iteration of “Baba O’Riley,” titled “Teenage Wasteland,” uses a far different melody for much of the performance than the later familiar version. But most of the songs not eventually reworked for Who’s Next aren’t as good as what was selected for that album, “Pure and Easy” being a notable exception. The most unfamiliar of these, “Finally, Over” and “There’s a Fortune in Those Hills,” don’t leave much of an impression.

This box is one of these infrequent instances where, for my purposes, limiting it to these two CDs would have been more enjoyable listening (not to mention more affordable) than working through the whole set. There’s a disc of their first go at the album at New York’s Record Plant in early 1971; alternate versions cut at Olympic; and quite a few non-LP singles and outtakes from 1970-72, sometimes in longer unedited versions, though all of these have appeared in some mixes/edits on other archival compilations. Some fans have already offered different and much more enthusiastic assessments, but I don’t find any of the alternates too appreciably different than the final arrangements, let alone superior to them or on the same level. The non-LP singles and outtakes include some very good songs (“The Seeker,” “Join Together,” John Entwistle’s “Heaven and Hell”) and a bunch of decent-to-okay ones (the Roger Daltrey-written 1970 B-side “Here for More” is underrated), but the unedited longer versions don’t significantly add to their quality.

There are also two CDs of live recordings from London’s Young Vic on April 26, 1971, and two CDs of live tracks from December 12, 1971 in San Francisco. Acknowledging that many Who fans groove mightily to live recordings of the band from this period (and not just Live at Leeds), these aren’t my favorite ways to experience their music. The execution can be blustery, the songs overlong, and the odd unexpected covers (“Bony Moronie,” Marvin Gaye’s “Baby Don’t You Do It,” and Freddie King’s “Going Down”) unremarkable. Overall, there are just too many multiple and not-terribly-varying versions of songs throughout the box to make for listening that’s as stimulating as it might seem on paper.

Also in the box is a 102-page hardback book of deeply researched liner notes that does a lot to help illuminate the stories of both the unfinished Life House and the album it morphed into, Who’s Next, as well as the many extra tracks recorded by the band between 1970 and 1972 (excepting Live at Leeds recordings). The newly written graphic novel based on Life House that’s also part of the package is not as essential and, in my view, inessential. The rare period memorabilia in an LP-sized sleeve, including reproductions of posters and concert programs, is nice but not amazing. If omitting the Blu-ray and the quite sizable graphic novel would have lowered the list price considerably, I would have preferred such a revision.

5. Various Artists, Tape Excavation (Independent Project/P22). This came out in LP form in 2020, but there are reasons to include this on a 2023 list. Even if you’re the kind of collector who gets in line for Record Store Day releases at dawn, you might be frustrated by trying to acquire the LP-only release if you don’t already have it. It was available only as limited editions that added up to 600 copies. More importantly, this CD version adds eight tracks to the original fourteen, now making for a total of twenty-two. It compiles previously unreleased tracks from various Bruce Licher musical projects spanning 1980 to 2019, including material from his most famous band (Savage Republic); pre-Savage Republic outfits Project 197, Bridge, and Final Republic; and post-Savage Republic projects Scenic, Lanterna, Lemon Wedges, Bank, and SR2, along with post-Savage Republic Licher solo recordings. A booklet with liner notes explains the origins of the tracks.

Tape Excavation’s selections are actually of similar quality to Licher’s previous official releases, even if the fidelity and polish might not be as high on a few tracks (particularly the earlier ones). Although it covers four decades, there’s a continuity in the eerie instrumental textures, which both use conventional instruments (especially Licher’s unusually tuned guitar) and blend them in unconventional ways. The earlier efforts bear some traces of early-‘80s post-punk dissonance, yet are likely to appeal to people who don’t usually like post-punk, at least if my own tastes are an indication. There’s even some appealingly cheesy new wave keyboard on Final Republic’s “Chase,” though the same group was responsible for the foreboding waves of overlapping reverb dominating “The Unknown.” The earlier of the additional eight tracks tend to be noisier and more industrial in nature than the original core fourteen.

Licher focused more on sort of post-punk equivalents to surf music with elements of psychedelia and middle eastern melodies as time went on. His pair of 1997 solo demos are of special note; “Cedar” is worthy of exotically dreamy Ennio Morricone-like soundtracks, and “Tundra” can’t help but sound like an end-of-the-century takeoff on the Byrds’ “Why.” The later excursions might be less edgy and frenetic than his ‘80s endeavors, but maintain his knack for atmospheric instrumentals that are more mature yet not at all wimpy.

The tracks of later vintage added for the CD fall into this area, highlighted by Exploratorium’s “The Atmosphere” and the dreamy yet slightly foreboding late-‘90s home recording “SF Cima Song,” a variation of a song from Scenic’s Incident at Cima album. The most recent of the added items, the 2009 solo home recording “Mesopotamia” and the 2017 solo home recording “There Is Always a Light Which Will Illuminate the Way, Even in the Darkest of Times,” are also up to the standard of the selections on the original LP, as spooky instrumentals evoking the kind of photos of desolate landscapes found in many of the booklet’s illustrations. Licher went through dozens of boxes of recordings to cull these tracks, and if even a small percentage of these approach Tape Excavation’s standard, a series of archive releases would be welcome. 

6. The Daily Flash, The Legendary Recordings 1965-1967 (Guerssen). It’s hard to know where to rank a compilation on which the best half dozen or so tracks are so much better than the other dozen or so. On the basis of their handful of previously available rare singles and outtakes, the Daily Flash were among the better early folk-rock groups, with particularly outstanding covers of Ian & Sylvia’s “The French Girl” and Eric Andersen’s “Violets of Dawn,” as well as searing early psychedelia on “Jack of Diamonds,” which opens with an unholy blast of feedback. They had good vocal harmonies and guitar-oriented arrangements that were polished without getting too slick, creating the impression they could have been significantly bigger if they’d gotten more breaks.

A whole LP’s worth of material, including all of the above songs, appeared back in 1984. But this 19-song comp was eagerly awaited as it includes about ten cuts that haven’t been easily available, and in some cases never before issued. Yet none of the extras are in the same league as most of what appeared on that 1984 LP, I Flash Daily. The folk-rock versions of Dino Valenti’s “Birdses” and Bob Dylan’s “Let Me Die in My Footsteps”—themselves hard to hear in versions by their composers back in the mid-1960s—are just okay. Some of the other folk-rock updates of folk tunes, like “When I Was a Cowboy,” are disappointingly forgettable. Only a couple of original compositions (both by Steve Lalor) are here, and while “Barbara Flowers” isn’t bad poppy folk-rock, the previously unissued “Again and Again” doesn’t make much of an impression.

This Seattle group’s failure to write much, or very interesting, original material was the biggest factor in their failure to rise to the heights of the better folk-rock groups of the time. Like Buffalo Springfield, for instance, who were also produced and managed by Charlie Greene and Brian Stone (and whom Daily Flash guitarist Doug Hastings joined for a bit when Neil Young left the Springfield). Despite the excellence of their best sides, they just didn’t have what it took to be a major band, as much as folk-rock fanatics like me might have wished this comp to prove otherwise. But it does, after a gap of many years, fully represent their legacy, with thorough if occasionally drifting liner notes untangling their history and what happened when, including recording dates. There are three versions of Dylan’s “Queen Jane Approximately,” though there’s a purpose to the repetition: two different versions were released on singles, and the third one’s a live recording.

7. Various Artists, One Mile from Heaven (Mapache). In the 1970s, there were loads of privately pressed singer-songwriter albums—many, perhaps most, of them poor and amateurish. There were also some decent and, on rare occasion, striking ones, or at least some striking tracks here and there on such releases. This twenty-track double LP curates some of the most noteworthy, with a couple (from Jim Sullivan in 1969 and Bobb Trimble in 1980) falling just outside the ‘70s. In the words of Daniel Resines’s liners, “It’s a compilation of hardly known (if not completely unknown) songs that nobody was waiting for—the sheer opposite of a greatest hits album.” In other words, the kind of thing that many collectors of vintage rock esoterica are waiting for.

But while none of these are household names, some of them are known, to UT readers at any rate. Maitreya Kali (aka Craig Smith) is a star in UT’s world, in large part due to our publisher/editor’s excellent book about him, and his “One Last Farewell” leads off this collection. Another star of sorts in our alternate universe is Merrell Fankhauser, whose prime was just honored with a six-CD box. Gary Higgins, Michael Yonkers, and Jim Sullivan have their own smaller cult followings; Alicia May and Chuck & Mary Perrin have been honored with CD reissues of their albums. At least half the artists, however, are apt to be unfamiliar to most collectors, other than the kind who write reviews for the fine reference books overseen by Richard Morton Jack and the late Patrick Lundborg.

This sort of privately pressed singer-songwriter fare could hardly be called a “scene”—few of them knew each other, and few listeners heard these records when they were released. There is, however, a unifying thread, at least when you hear them with half a century or so of distance. Though not nearly as desolate or outsider-ish as many “loner folk” efforts, there’s a bittersweet after-the-party feel to much of the material. There’s often a pensive, subdued air, but it’s not exactly laidback or mellow. And while these generally had much lower recording and promotional budgets than mainstream ‘70s singer-songwriters on “real” labels did, the sound is always professional, and usually nearly or on par with major label efforts of the period.

At the same time, it’s far enough removed from the bigtime music business to ensure a lot of idiosyncrasy and, within this anthology, diversity. Maitreya Kali’s “One Last Farewell” does stand out as a highlight for its spookiness, but other selections worth noting include Billy Hallquist’s eight-minute “Persephone,” which builds to an extended anthemic choral climax nearly worthy of Fairport Convention’s take on “Percy’s Song,” to cite a rough comparison. Yonkers’s “And Give It To You” is far more delicate and sensitive than his more famed, yet more bombastic, earlier and far heavier, far more electric-oriented recordings.

Joni Mitchell fans are likely to enjoy Alicia May’s “Summer Days,” which was recorded by the same engineer Mitchell used, Henry Lewy. Naomi Lewis’s “More Beautiful” is classy melancholy mid-‘70s singer-songwriting with a more effectively deployed sparse arrangement than most of her more celebrated peers were prone to use. Carm Mascarenhas has, according to the liners, been compared to vintage Van Morrison, though I hear some of fellow Canadian Neil Young in his approach. For something a bit more eccentric, there’s Michael Angelo’s “Field of Lonely Eyes,” which blends nice close vocal harmonies with eerie synthesizer on a cut that’s more homespun and lo-fi than most of the other selections, but pleasantly so.

While hardcore collectors might insist you need to experience these artists with their full albums, this works well as a sampler whether you want to go deeper or content yourself with some of the cream of this niche genre. If you don’t specialize in that niche, the appeal of the individual tracks might be enhanced by hearing them in similar yet versatile company, rather than on full albums by the artists that some might find wearisome to take in all at once. The booklet has background info on all of the performers, with pictures of most of them, and reproductions of all the LP covers from which the material was drawn. (A slightly edited version of this review appeared in Ugly Things magazine.)

8. David Blue & the American Patrol, The Lost 1967 Elektra Recordings & More (Hanky Panky/Mapache). Blue’s self-titled 1966 Elektra debut LP was one of the most blatantly early electric Dylan-inspired records, at a time when there was no shortage of Dylan imitators. He did a second, but unreleased, album for Elektra in 1967 with, or at least credited to as with, backup band the American Patrol. Eight of the ten tracks that would have comprised that album are this vinyl-only LP release, along with three acoustic folk tracks he contributed to Elektra’s 1965 various-artists compilation album Singer Songwriter Project, where he was billed under his birth name, David Cohen.

Blue still sounds derivative of Dylan to some extent on much of the 1967 material, but he was taking steps toward finding more of his own voice, both as a singer and a songwriter. “23 Days in September” (which he’d re-record in a more laidback version on his 1968 album of the same name), “Scales for a Window Thief,” and especially “Best of Your Childlike Smiles” are rather nice, if still slightly Dylanesque, pensive folk-rock. There’s a wistful quality to Blue’s softly intoned vocals and more bittersweet melodic turns than most circa-’66 folk-rock (though this was taped in 1967) of this sort had. He gets into more playful, lighthearted moods, with variable but basically acceptable results, on some of the other songs; “Anna” is the best of these, and “You Need a Change” has a slightly ahead of its time country-rock tinge.

It’s unfortunate, however, that “Vaudeville Blues” and “Dr. Smith’s Electrical Light Machine” have a cringeworthy dated vaudeville rock feel, along the lines of so many similar tracks from the time from bands that seemed to feel they should put one such cut on their LP, as if they had to prove their diversity. It’s doubly unfortunate that two other tracks from the unreleased LP, “Anything You Find on the Floor Is Yours” and “Tell Me What It’s Like When You Get Back,” were not made available for this release, as they have a decidedly rougher and bluesier, almost garage rock feel than the rest of the material. As far as demonstrating versatility goes, they’re far better than the vaudevillian tunes, and one wishes they could have been included, or even included at the expense of the vaudevillian numbers. They’d also be more interesting than the pretty run-of-the-mill folk performances from Singer Songwriter Project, an LP that hasn’t been too hard to find (though some editions exclude the tracks by Richard Fariña, which are the best on that compilation).

Who loses in this exclusion? Only fans and history. Had they been possible to add to the tracklist, this LP would have ranked a notch or two higher. History is given, at least, by Mark Brend’s extensive liner notes, decorated by some rare pictures and graphics. This was issued in a limited edition of 500 copies, the same label also putting out a 500-copy vinyl run of Blue’s debut LP at the same time.

9. Los Shakers, ¡Shaker Mania! (Guerssen). Los Shakers, or the Shakers as they’ve sometimes been billed, were the finest Uruguayan rock group of the 1960s, and indeed probably the best one in South America. Some might feel this is damning with the faintest of praise considering how much distance in quality there was between South American rock and North American (and British) rock. But singing in both Spanish and accented English, they were also among the better explicitly Beatles-influenced groups from anywhere in the globe. Plenty of people wouldn’t count this as a major asset either, and it’s easy to imagine some rock critics making fun of how heavily derivative their records were, not to mention the accents and awkward English phrasing. But their records were pretty enjoyable, if no match for what the Beatles (or even the better bands with some similarities to the early Beatles, from the Hollies and the Bee Gees to the Beau Brummels) did. 

Plenty of Shakers music has actually been readily available in English-speaking countries for a long time, both on CD and through an English-language LP Audio Fidelity actually issued in the US in the mid-1960s, Break It All. For those such as I who do care about their catalog, this (so far vinyl-only) compilation offers something different, focusing on non-LP singles and rarities, even including three previously unreleased tracks. As a whole they’re not quite up to the level of the best Shakers CD compilation, Big Beat’s 2000 release ¡Por Favor (compiled, like this LP, by Alec Palao). Nor does it offer anything especially different from what’s been more commonly available. It’s just good sub-Beatles ‘60s pop-rock, sometimes (though not often) with a more South American influence, especially on the closing bossa nova-inflected “Nunca Nunca.” “Don’t Call Me on the Telephone, Baby” is uncomfortably close to Larry Williams’s “Bad Boy” and how the Beatles did that, but nothing else here is as obviously derivative.

Note that “Only in Your Eyes” isn’t the Break It All version, but the much rarer earlier one recorded for a single in March 1965. The complicated origins of the rarities are explained and annotated in Palao’s liner notes. 

10. Various Artists, Let’s Stomp!: Merseybeat and Beyond 1962-1969 (Strawberry). As the liners to this three-CD, 93-track collection begin, “Merseybeat was a relatively brief phenomenon—still a local scene in 1962 and fading by the end of 1964.” But did any other such brief boom echo so loud and long in the history of rock? This was the true beginning of a distinctive British rock sound, which would transform not just the country’s music industry, but also music and even youth culture the globe over.

Much of its mammoth influence, of course, was due to the band who wasn’t only the biggest and best on the scene, but also the best rock group of all time. Alas, the Beatles aren’t represented on this compilation for licensing reasons—not even by one of their pre-EMI Hamburg recordings. But virtually everyone else is. While some of the selection can be debated, it’s the most all-encompassing Merseybeat compilation both in its quantity and its range.

All of the non-Beatles hitmakers are here: the Searchers, Gerry & the Pacemakers, Billy J. Kramer, the Swinging Blue Jeans, the Mojos, the Merseybeats, the Merseys, the Fourmost, and Cilla Black. So are the names known who didn’t quite make it big, even if they’re known to many: the Big Three, Rory Storm and the Hurricanes, Jackie Lomax, Tommy Quickly, the Remo Four, Tony Jackson post-Searchers. So are plenty of names known only to those who were there or ravenous collectors, like the 23^rd Turnoff, Wimple Winch, Jason Eddie, and Ian & the Zodiacs. So are some names that were unfamiliar to this know-it-all reviewer, from Jeannie & the Big Guys to Satin Bells. The only omission I’d argue for is the Pete Best Combo, whose “The Way I Feel About You” is pretty storming garage pop, even if it was recorded in the US.

Every British Invasion collector would have a different selection to propose for such an anthology, and a few acts aren’t heard at their best. Certainly the Merseybeats’ “Our Day Will Come” and Ian & the Zodiacs’ “Beechwood 4-5789” hardly count among their best work, and Gerry & the Pacemakers’ “Slow Down” is a non=starter compared to the Beatles’ version. Like a good number of compilations of this sort, the mix of classic hits (the Swinging Blue Jeans’ “Hippy Hippy Shake,” Kramer’s “Bad to Me,” and the Searchers’ “When You Walk in the Room”) with deep cuts and obscurities means that almost anyone who buys this will already have some (and maybe even much) of it elsewhere.

But heard a few times, this does grow on you for its sheer diversity. There’s certainly Merseybeat in the classic chipper catchy guitar-driven style; the Fourmost’s “I’m in Love,” one of the lesser known Lennon-McCartney songs the Beatles didn’t release, is one of the best such items. But there are plenty of woman solo acts and girl groups, often in a pop or soul style; journeyman club rock’n’roll by some of the Beatles’ peers who never quite made it outside of Liverpool and Hamburg, like King Size Taylor; light psych from Focal Point; mod from the Thoughts (whose “All Night Stand” is featured in its rarer US version, though it’s not much different than the UK one); and demented early freakbeat, though Jason Eddie’s ‘Come On Baby” is pretty well known to devotees of the form.

Listing all the non-hits of high quality (albeit mixed with some mundane efforts and routine covers) would take quite a few paragraphs, but listen especially for Jeannie & the Big Guys’ tough interpretation of Titus Turner’s “Sticks and Stones”; a surprisingly worthwhile run through “Sally Go Round the Roses” by ex-Vernon Girl Lyn Cornell; and the Remo Four’s solid blue-eyed soul/rock take on Gloria Jones’s “Heart Beat.” Although they’ve done the reissue rounds for decades, the bittersweet, ethereal psychedelia of the 23^rd Turnoff’s “Michael Angelo” (sic) and Wimple Winch’s mod mini-epic “Rumble on Mersey Square South” are among the very few items here that show local bands innovating with the changing times and more serious, sophisticated compositions. As the Beatles did—and, somehow, their Liverpool peers didn’t, almost without exception.

There are just three previously unreleased tracks, all carrying some degree of interest. The Maracas’ “A Different Drummer” is a Joe Meek production. Samantha Jones’s “This Is the Real Thing” wasn’t on one of her numerous ‘60s singles, and was retrieved from an acetate. Shel Talmy produced the Pathfinders’ moody and well-harmonized “Lonely Room,” the best of this trio of vault finds, is a fine cover of an Ivy League composition.

Is there much more to be found by many of these acts on other compilations, single-artist or various-artist? Sure (though probably not in the Pathfinders’ case), and everyone will have their favorites, sometimes many, that aren’t featured here. For the less fussy who want a good overview of the breadth of ‘60s Merseybeat, however, it works as a starter or sampler, with detailed, bountifully illustrated liner notes by compiler Jon Harrington. (A slightly edited version of this review appeared in Ugly Things magazine.)

11. David John & the Mood: Diggin’ for Gold (Cherry Red). David John & the Mood put out only three non-hit singles as part of the mid-1960s British R&B/rock explosion. But they’re pretty fondly regarded by collectors, in part owing to their inclusion on numerous specialist archival compilations. This 22-track anthology is the first actual compilation of material by the group, though it doesn’t actually include much in the way of songs they didn’t release. All six cuts from the 45s are here, but much of the rest are alternate versions and backing tracks. There’s just one song, the outtake “That Little Old Heartbreaker Me,” that wasn’t on the singles in some form. Even that song is presented in three different versions, one of them a backing track with backing (but no lead) vocals.

Although David John & the Mood were a second-tier British R&B/rock outfit, most of the half dozen numbers on their singles were pretty good. When their material first appeared on reissues, there was speculation that “David John” might actually be a pseudonym for David Bowie, as there’s some similarity between how John (given name David John Smith) and very early Bowie sing in a high, sometimes squealy and mannered voice. “I Love to See You Strut” in particular is pretty taut and brash; “Bring It to Jerome” is a good Bo Diddley cover, if not on the same level as the original or Manfred Mann’s version; and “Pretty Thing,” likewise no match for the original or the Pretty Things’ cover, captures the naive energy of the young British R&B acts well, with one of the all-time great weird dissonant sloppy guitar solos of the genre.

On reflection, John doesn’t sound quite as much like early Bowie as sometimes suspected when “Bring It to Jerome” and “I Love to See You Strut” appeared on Pebbles Vol. 6 back at the end of the 1970s. There are hints that he and the Mood could have developed into something more notable and important than a fairly typical, if slightly better than average, early sub-Stones et al. combo. They didn’t get the chance, however, owing to some bad breaks and questionable management, though they were able to record a couple singles with producer Joe Meek.

While I like David John & the Mood, it can be disputed whether they’re worth the kind of treatment the Beach Boys get with their box sets, where many of the selections are backing tracks and not-so-different alternates. The different versions on this comp aren’t notably different than the familiar (at least to the kind of collectors who accumulate this stuff) ones, though an acetate version of “Diggin’ for Gold” isn’t as close as the others. Even most such collectors would be satisfied with an EP or mini-LP of the singles plus the outtake and acetate. This does, however, come with a 20-page booklet with a full history of the group that documents them much better than anything else that’s been published.

12. P.J. Proby, Presley Style: Lost Elvis Songwriter Demos 1961-1963 (Bear Family). P.J. Proby was most known for his brief period of superstardom as an expatriate American singer in Britain in the mid-1960s, though he had only modest success in his native US. In the early 1960s, before he was known for his own records, he recorded numerous demos of songs for Elvis Presley to cut. That’s been known for a long time, but this 21-track collection marks the first release of any of the material. While it’s of more interest as an historical oddity than for its intrinsic merits, it’s not without such merits, if something of a footnote in the careers of both Proby and Presley.

Proby could credibly emulate Elvis’s style, though he had more of a warble and was ultimately no match for Presley’s greatness. Nor were the songs featured on this anthology among Elvis’s best, even by the standards of his Presley’s generally somewhat diminished early-‘60s output. If you’re looking for highlights from the Elvis catalog from this period like “Little Sister” or “Return to Sender,” or even “Just Tell Her Jim Said Hello,” be aware no such items are here. Also be aware that these songs aren’t even among his best or best known secondary early-‘60s output, and were mostly used as filler on his soundtracks, or not even used at all by Elvis. All but three were written by the Sid Wayne-Ben Weisman composing team, hardly the best songwriters of the era, or even among the best who wrote for Presley.

All those reservations out of the way, this isn’t such a bad listen, though it’s uneven and has a few turkeys. Proby undoubtedly attacks the material with professional zeal; the backing, likely by the Wrecking Crew at least some of the time, is like the vocals better than the material; and some of the songs are pretty fair, and occasionally rock out. “Come and Get It,” for instance, is a decent tough bluesy rocker that would have been one of Presley’s better LP tracks had Elvis done a version (he didn’t). “Carnival of Dreams” is a neatly dramatic torch song-cum-rocker. There are also songs neither Proby nor Presley could have done much to elevate, the military ode “Snap To!” being the most flagrant example. 

This collection does raise the issue, as does much of Presley’s post=’50s output, of how much he would have benefited from being able to record more songs by writers closer to his age and musical passions by the likes of Jerry Leiber and Mike Stoller. Or even by using songs from composers with a good rock sensibility who were older than Elvis, like what Doc Pomus wrote with Mort Shuman. The issue isn’t discussed by the thorough liner notes, which treat the material as if it’s of deserving of canonization as anything Presley did. If ultimately something of a curiosity, as such curiosities go, it’s pretty interesting. 

13. Heinz, The White Tornado (Cherry Red). For someone often berated for having little vocal or instrumental talent, and sometimes cast as a stooge of sorts (putting it politely) who never would have gotten on disc if not for the patronage of producer Joe Meek, Heinz sure made a bunch of good records. It’s true they might have owed more to stellar backup musicians and Meek’s production than Heinz’s limited skills. But “Just Like Eddie” (his sole big UK hit), “Big Fat Spider,” “Movin’ In,” “I’m Not a Bad Guy,” “Hush-A Bye Baby,” and “That Lucky Old Sun”—to name just a few—are certainly dynamic, highly enjoyable sides in an Meek-meets-the-British Beat explosion way. How much Heinz, however, is too much Heinz?

This five-CD box certainly begs the question, even for Heinz/Meek fans. With the accent on demos and alternate takes found in Meek’s seemingly bottomless “tea chest tapes,” there’s certainly insight to be heard into how the tracks were generated and polished. Many of them, however, can’t help but expose the weaker (and sometimes weakest) elements of Heinz’s voice, and the sometimes undistinguished and/or corny material, before they were burnished by Meek and company. And while almost all of his 1963-66 releases are represented by the original versions or versions that are close to what was issued at the time, there are few songs that weren’t on those discs.

I am a Heinz fan, at least of most of his singles and some of the tracks from his sole LP. But let’s be realistic—his demos, backing tracks, and alternate takes don’t carry anything like the charge, let alone historical importance, of the kind of similar marginalia that fills up box sets of the likes of the Beatles and the Beach Boys. It can be tough to wade through slightly different or meager outtakes by those groups too, but at least they nearly always illuminate the creative process of some of the greatest artists of the twentieth century. For all his attributes, Heinz wasn’t one, and for all his erratic studio genius, Meek wasn’t on that level either.

For most fans, a selective compilation, or even the uneven double CD Just Like Eddie: The Heinz Anthology (which has all his 1963-66 tracks), is far preferable to this far scrappier if far more extensive overview. Even serious Heinz fans—and it’s hard to imagine many who get this set won’t already have his standard output—might have been better served by a much more selective trawl through his extras. Some of the alternates are simply the official versions at the original speed, and while the revelations that Meek often sped up the recordings for release are interesting, the slower-running variations aren’t better. The annotation could have been clearer about who’s singing what—it’s usually Heinz, but Meek himself (who was a woeful singer) and songwriter Geoff Goddard are also heard on vocals at some points.

It’s not often that the less familiar material on this box will perk up your ears, whether because it’s different from what you’re used to or it’s pretty good. But there are some tracks that do strike such chords. A demo of “Heart Full of Sorrow” is slower and gutsier than the single, missing the chirpy female backup vocals; a “Big Fat Spider” demo, though missing the incredible creepy guitar licks of the 45, has a notably different bouncy feel and prominent organ; take 7 of “Movin’ In” isn’t much different from the single, but has stunning guitar work, also demonstrating that Heinz could summon satisfyingly raw vocals once in a while. 

There are a bit more than half a dozen songs that didn’t make it beyond the demo/outtake stage, including a rudimentary cover of “Fever.” Most of the others are poppy trifles, some of them bearing an “unknown” songwriting credit. But even these can’t be wholly written off, the box ending on its highest note with “Voices On the Wind.”

As haunting as all but the best Meek compositions and productions—and Joe had many of those—this spare yet effective performance has a decent Heinz vocal and is utterly devoid of the frivolity found in many of his (and Meek’s) other efforts. Although the ending refrain goes on for too long, this stately and somber number is easily up the standard of Heinz and Meek’s better tracks. It reminds us why many listeners still care about their work sixty or so years later, even if they have to be very dedicated to their legacy to spring for this box’s super-deep survey. (A slightly edited version of this review appeared in Ugly Things magazine.)

14. Various Artists, You Thrill Me to Pieces: Beat & Pop from the United Kingdom 1963-1966 (Teensville). This has an even more tenuous spot on a best-of list than the Heinz box above. And like that Heinz box, it’s only on here because it’s in a genre in which I specialize – perhaps the genre (mid-‘60s British rock) in which I specialize more than any other. None of these 34 tracks were close to hits, and in fact few of the groups are at all recognizable even to most British Invasion collectors, except the Merseybeats (represented by a demo, “Janie, I Love You,” that might be rare, but isn’t very good). Some of the musicians achieved greater subsequent fame in other contexts, most blatantly Mick Taylor, whose early combo the Juniors weighs in with a forgettable 1964 single. There are some other famous associations in the Echoes, who were Dusty Springfield’s backup group, and the Cockneys, whose Mick Grace filled in for an ill Ray Davies on a brief mid-‘60s European Kinks tour. But for the most part these musicians made little impact at any time.

In its favor, unlike many similar compilations, this doesn’t have lame covers of American rock and soul songs. It’s wholly comprised of compositions you don’t come across anywhere else, many written by the acts themselves, and some that might be by famous songwriters (Goffin-King, Clint Ballard Jr., Les Reed-Barry Mason, Roger Greenaway) but are utterly unfamiliar. It’s far more pop-rock (and sometimes more pop than rock) than R&B, and there’s nothing by the kind of obscure bluesy mid-‘60s UK acts that made good rare discs, like the Fairies, the Birds, and the Wheels. Merseybeat might be the biggest influence, but generally these acts and their writers/producers/labels were trying to make catchy hits.

To be cold, most of them aren’t that catchy, though enough of them are pleasant to be modestly enjoyable while they play, even if they don’t stick with you. It’s a testament to just how prolific the British scene was at the time. But it does make you wonder whether the labels—and there were only a few big ones in the UK, who dominated the business, and were responsible for every one of these 34 tracks—were that wise in giving so many acts a chance. Even at the time, it seems like most of these would have been given little chance at being hits by either average listeners or the record companies, or sometimes even by the performers.

Two of these tracks – not a high percentage, admittedly – do stand out in this crowd, and to my knowledge have never previously been issued on CD. One is the most famous, the Cockneys’ Mick Grace-penned “After Tomorrow,” to which they mimed in the opening sequence to the quickie British rock movie Swinging UK in 1964. Not that it’s brilliant, but it has the kind of quirky unpredictable chord changes, mix of major and minor melody, and exuberant harmonies found in the better Merseybeat (although they were from London). Another is “Kiss Me” by the Viscounts, most remembered (if at all) for Gordon Mills—later manager of Tom Jones, Engelbert Humperdinck, and Gilbert O’Sullivan—being a member. Although it’s kind of corny and diluted a bit by orchestration, it does have the sort of catchy Merseyish melodies and all-out chipper harmonies that had genuine hit potential. As another testament to the imperfection of the British record business, it was used as a B-side, and to my knowledge has never been reissued before this compilation.

15. The Doors, Live in Bakersfield, August 21, 1970 (Rhino). Should this be the only live Doors release in existence, it would rate much higher on this list, as their box of 1967 Matrix tapes does. It isn’t, of course; besides the double Absolutely Live album they put out back in 1970, there are many posthumous concert discs, with more than a dozen discs of material from 1970 alone. This double CD isn’t too much different from those, while the sound, from a two-track tape on a reel-to-reel recorder by road manager Vince Treanor, isn’t quite as good as the others, though it’s alright. It’s also the last of the Doors concerts that was recorded to make it to official release, with the exception of their Isle of Wight appearance from only about a week later.

The Doors were sticking to pretty similar set lists during this time, and my heart did not race at the prospect of yet another medley of “Alabama Song/Back Door Man/Five to One.” Still, this Record Store Day release (on both LP and CD) – not too hard to get on CD a few weeks later, despite its limited-edition status – has its merits. More often than you’d expect, the Doors sort of clowned around and didn’t always seem to take their songs too seriously in the later concerts they did with Morrison. There’s none of that here, the band playing things fairly straight, and with a lot of commitment, even if they might have done “When the Music’s Over,” “Roadhouse Blues,” “The End,” and the medley many, many times by this point.

Less traveled tunes like “Universal Mind” (combined with parts of Mongo Santamaria’s “Afro Blue”)” and “Ship of Fools” are also included, along with a medley of “Mystery Train/Away in India/Crossroads” that might strike some beginning Doors fans as out of the blue, but which they did at a number of other concerts from this time that have come out. Most exciting is a nine-minute “Love Me Two Times,” both because there aren’t many live versions of that around, and because it’s a lot more stretched-out than the familiar, much shorter hit single, even detouring into “Baby Please Don’t Go” and “St. James Infirmary.”

It’s unfortunate that Treanor’s tape ran out after ninety minutes, leaving some of the two-hour-plus show undocumented (and also missing the first few bars of “Roadhouse Blues”). Maybe that had some other less run-of-the-mill tunes. What’s here has some interesting improvisations, and although it’s sometimes reported that the band and particularly Morrison were losing some heart at this point, they’re giving it their all, with some especially intense screams and crescendos on “The End.”

16. Nina Simone, You’ve Got to Learn (Verve/Universal). More Nina Simone from the 1960s is always welcome, though this live July 2, 1966 performance at the Newport Jazz Festival is rather peripheral to her large discography. At about 33 minutes, it’s pretty short, and note that while there are seven tracks listed, one is a forty-second spoken “Intro to Blues for Mama.” The sound and performance are very good, but the song selection is a little on the sedate side, particularly with “I Loves You Porgy” and the ballad “Music for Lovers.” Better and more forceful, though not scintillating, are Charles Aznavour’s “You’ve Got to Learn,” the Simone-Abbey Lincoln co-write “Blues for Mama,” and the highly percussive quasi-spiritual “Be My Husband.” The highlight is a “Mississippi Goddam” that’s taken at a more relaxed funkier pace than the more familiar frenetic versions. It’s not as good as that faster version, but at least it’s notably different. Even within just six songs, this testifies to the unpredictably wide eclecticism of her repertoire, though it doesn’t match the highlights of her recorded work in the era.

17. Jimi Hendrix, Hollywood Bowl August 18, 1967 (Legacy). This was one of the Jimi Hendrix Experience’s first shows in the US, after their triumphant appearance at the Monterey Pop Festival and concerts at the Fillmore, but also after their disastrous, aborted time as an opening act on a Monkees tour. They were still an opening act (for the Mamas and the Papas) at this Hollywood Bowl gig, a week before the US release of Are You Experienced. Recorded by a radio station technician, the sound is good, and the audience reaction somewhere between what you’d imagine the feedback to have been at their previous Californian shows and the Monkees concerts. In a way that helps, since there’s little audience noise to compete with the music. On the other hand, Hendrix sounds a little displeased by the indifferent crowd, judging from between-song remarks like “thanks anyway” after “Killing Floor” and a promise to do a song “from the bottom of our hearts” before “Like a Rolling Stone.” “We’d like to dedicate this last number to ourselves,” he says before “Wild Thing.” “Well, might as well, there’s nobody else here.” Noel Redding even handles a few of the announcements.

As for the performance, it’s pretty good, but at this point not a standout in the bulging Hendrix catalog of posthumously released live shows. It’s similar to their long-available Monterey set, but not as fine. Jimi forgets a few words during “The Wind Cries Mary,” and the interplay between him and the backup vocals on “Fire” is kind of sloppy, though there aren’t other notable flaws. The set does include a few songs that weren’t available on early Hendrix discs, notably “Sgt. Pepper’s Lonely Hearts Club Band,” “Catfish Blues,” and a couple covers he had performed at Monterey, “Killing Floor” and “Like a Rolling Stone.”

18. Jackie DeShannon, The Sherry Lee Show (Sundazed). Here’s another one for the “primarily of historical interest” pile, although the music is of solidly respectable quality, if hardly nearly as good or characteristic of what the artist would do at her best. It’s amazing enough that these were found and preserved, as this presents 31 songs DeShannon sang on an Aurora, Illinois radio show in 1956 and 1957. She was only in her early teens, and going by the name Sherry Lee. She didn’t sound too much like she’d sound when she started to make many, and often very good, recordings in the early 1960s as a pop-rock singer, often writing her material. Instead, she sounds like a young early honky-tonk performer, with country her main influence, though there’s some early rock and roll in the mix.

These tapes—in decent, though not studio, quality—are somewhat like the early (mid-1950s) country efforts of Wanda Jackson, or the earliest singles by Patsy Cline. DeShannon rocks a little harder than Jackson or Cline did on those discs, but nothing is nearly as hot as Jackson’s early rockabilly classics, and she’s not as deep in the country bag as Cline (whose “Walkin’ After Midnight” she covers here). Most of the cuts are fair honky-tonk tunes, and while DeShannon’s vocals are strong for a youngster, they lack the personality she’d stamp many of her cuts with in the 1960s, almost  to the point where she sounds like an entirely different artist here. About the only thing that does separate her somewhat from other early honky-tonkers are some ventures into Elvis Presley and Fats Domino songs, though they way they’re arranged here is more on the country side of things than rock’n’roll. It sure sounds, by the way, like she sings about catching someone in bed (rather than dead) in her version of “Baby Let’s Play House,” on which she doesn’t bother to change the subject from a girl.

Once in a while on my lists, I note a release from a couple years back that I somehow missed at the time. Here’s one for this list, though it came out in 2021:

Laura Nyro, Go Find the Moon: The Audition Tape (Omnivore). This is really more an EP than an album, the eight tracks lasting a mere eighteen-and-a-half minutes, including some incomplete fragments, studio talk, and a false start. This previously unreleased 1966 tape is – the phrase must be again used — primarily of historical interest, even for Nyro fans, due to its brevity and far barer arrangements than even her first album would boast. There aren’t really arrangements, actually; it’s just her on solo piano, going through a few songs that would appear on her early albums (“And When I Die,” “Lazy Susan,” and “Luckie”), and three that didn’t make any of her records (“Go Find the Moon,” “Enough of Your,” and “In and Out”). It’s not fair to judge a solo audition tape against a fully arranged studio album, but like other such demos, it illustrates how much the songs benefited from full backup, as they did on Nyro’s debut More Than a New Discovery.

Her talents as a songwriter, and also (though they generally haven’t gotten as much acclaim) singer and pianist, are evident, particularly on the song that’s by far the most famous, “And When I Die.” The others, including the previously unheard compositions, aren’t as striking, though they show her knack for blending soul, pop, Tin Pan Alley, and gospel was already developed, and her vocals fully mature. The producers (Artie Mogull and Milt Okun) deserve some credit for detecting her big potential, although the solo piano backing makes much of the material rather similar sounding. Asked if she can play some songs that she didn’t write, Nyro seems rather stuck for a musical response, going through a partial version of “Kansas City” and just a few lines of “I Only Want to Be With You.” Whether or not she knew other people’s songs by heart, maybe she was reluctant to do any but her own at this audition, although ironically, she’d do the best all-cover album by a noted singer-songwriter a few years later on 1971’s Gonna Take a Miracle.