Gone but not forgotten

Grab ’em while you can folks

It’s a disaster of Titanic proportions. I received this e-mail earlier tonight.

“To whom it may concern,

We have recently received a complaint regarding files, which you have been sharing through your Box.net account, and infringe on previously-held copyrights.

As infringing on copyrights by sharing files through your Box account goes against the Box.net Terms of Service, we will deactivate your account on November 13, 2008.”

titanic

So. You have 1 week only to get all the stuff from here that you want. After that, everything’ll be gone. It’s not like I’ve been guilty of sharing the new Guns ‘n Roses album 4 weeks before it’s released, or any other Tesco shelf filling crapolla like Snow Patrol or Oasis. As you know, most of the stuff on here is deleted/hard to find old stuff that only people with incredibly good taste like us folk enjoy. Someone’s got it in for me, as Bob sang. I cannae believe it. I’m quite pissed off and upset, but there you go. Secretly, I’d like to think that, somehow, Prince stumbled onto Plain Or Pan?. It wasn’t long after his version of ‘Creep’ was posted that I had my first slap on the wrists. I also had another warning when I dared to post a Jesus & Mary Chain cover of ‘Alphabet Street’. I think wee Prince is a secret lurker on here. If you are reading this Prince, just to let you know, you used to be really, really magic…..

The good ship Plain Or Pan? will still be sailing. Future files will just be hosted somewhere else instead. But any music I am currently sharing will be gone gone gone forever, I’m afraid. Bastards. Grab em while you can folks, grab em while you can.

sad

Cover Versions, Double Nugget, Hard-to-find

It’s The Aptly-Named Billy Fury!

Billy Fury. Your granny knows him from such staple Hit Parade fodder as ‘Halfway To Paradise’, ‘Wondrous Place’, ‘Last Night Was Made For Love’….. do I need to go on? Billy and Cliff Richard battled it out for the dubious tag of ‘British Elvis’, but the more sussed among us really knew that Elvis was in fact the ‘American Billy’.

billy-fury

Upturned collar? Check. Lip curl? Check. Half-collapsed quiff? Check. Forget the songs listed above and instead listen to this. ‘Ain’t Nothin’ Shakin’ But The Leaves On The Trees‘ is a hand clappin’ enhanced primal rocker that could’ve sat neatly on any Nuggets-type compilation you care to mention. How Fury got from garage band howling blues to slush like ‘Colette‘ is anyone’s guess but, wow, when he was on form there was clearly no-one like him. His manager obviously gave him his stage moniker round about this time, otherwise he’d have been forever known to the world as Billy Ballad. Incidentally, The Beatles version of ‘Nothin’ Shakin’…‘ can be found on their ‘At The BBC’ album. It sounds pish.

Morrissey was a big fan, so much so that he nicked half his look from Fury. Look here.  As too are those talented wee fuckers in The Last Shadow Puppets. They stuck their own version of ‘Wondrous Place’ on the b-side of their ‘The Age Of The Understatement‘ single. Understated indeed – a churchy organ, some brooding bass, a top vocal and some Duane Eddy twang halfway through. What I like about this lot is that they all look similar, they even sound similar when they sing and they are clearly very talented. A bit like The Beatles. But then, obviously nothing like The Beatles. I’ve already posted their version of Bowie‘s ‘In The Heat Of The Morning’ (here) and if they keep up their high standards of self-imposed quality control I think these two youngsters could be around for years to come. A bit like The Beatles. But then, obviously as I’ve already said, nothing like The Beatles as well.

dave-berry

2 more decent UK garage band rockers to follow. These days, Dave Berry may be more comfortable touring the country in those terrible 60s nostalgia shows alongside such 3rd divison outfits as The Swinging Blue Jeans and The Tremeloes. Back in the day he was equally comfortable blasting out tough R&B tunes as he was crooning pop ballads. One such record was July 1964’s‘The Crying Game’ (number 5, fact fans), much later also a hit for Boy George. The A-side was the pop ballad. The B-side was something else entirely. Along with his backing band The Cruisers, he came up with this proto-punk snarling rabid dog of a record. ‘Don’t Give Me No Lip Child’ is a belter, and given that the Sex Pistols strangled and choked it into something resembling a cover version, John Lydon thought so too.

lip-child-label

Before they became The Who, The High Numbers released ‘I’m The Face’. The sound of Swinging London, it was written by Peter Meaden, their amphetamine-fuelled manager stroke publicist. This tune is essentially Slim Harpo‘s ‘Got Love If You Want It’ with new lyrics designed to reflect the culture of the times – a classic mod-stomper of a record that was a paen to all things Modern (not modern). Of course, as is more often than not the way with fantastic records, the single was a flop. According to some sources, the only copies that were actually sold were bought by Meaden himself, in a crap attempt at chart rigging. Ivy League jackets. Buck skin shoes. I’m the face baby, is that clear? Clear as crystal, little Roger!

high-numbers

Most downloaded tracks

Reduce Reuse Recycle

No Halloween post this year. But last year’s was a belter….

In the best Ringo traditions, “With peace and love, NO MORE HALLOWEEN GUISERS. Please. I hate you all. Peace and love.

Pass me the Haribo!

Gone but not forgotten, Hard-to-find

Hands in the air, this is a stick up!

Now, this is a good bit of music. I’ve noticed that I’m getting a whole load of new people finding Plain Or Pan? by Googling ‘Elliott Smith’, so especially for those folks and also any regular visitors who are partial to a bit of introspective melancholia, here follows some assorted versions of 2 of the greatest songs George Harrison never wrote.

‘Stickman’ is just one of many unreleased gems in Elliott Smith’s grand body of work. Leftover from the recording sessions that spawned the material that appeared on the posthumously released ‘From The Basement On A Hill’ album, it wouldn’t have sounded out of place on ‘Figure 8’, his sophomore major label release (as our American friends would say). I have a collection of unreleased tracks loosely titled ‘Basement II‘. Elliott’s original idea was for ‘From The Basement On A Hill’  to be a double, but once he died that idea was vetoed. Shame, as ‘Stickman;’ would undoubtedly have been on it. But which version?

Stickman (Version 1) is the clearer version, with full band, backing vocals and everything in place. It features a fantastic wonky sounding guitar riff and this version is my favourite Elliott recording in the world….ever! Stickman (Version 2) is the more introverted acoustic demo, featuring some nice shakers, backwards percussion, some lovely “aaaah” backing vocals and a honky tonk piano towards the end. Kind of psychedelic naked soul bearing. Here it is.

The ghost of George Harrison playing slide guitar is all over ‘Dancing On The Highway’. Or ‘Still Here’. Or ‘Here If You Want Me’. Yep. Three titles for the same song. Each version features an assortment of chiming guitar riffs, “wooo-ooo” backing vocals just behind the George Harrison guitar part and backwards percussion. Very Beatles and very, very good. Happy downloading!

All images taken from this book. It’s a good buy.

Comes with a free CD too.

Have a poke about the site – there’s quite a bit of Elliott Smith material still available for download.

Hard-to-find

Larry, Moe, Curly and Iggy

I was watching the BBC’s fairly decent Alan Yentob-presented 3 part documentary on the history of the guitar last night. The Johnny Marr bit was excellent. You’ll find it here. Learn how to play ‘There Is A Light..’ from the man himself! Iggy Pop was also on, waxing lyrical about how being a guitar player was all just about being a bit of a prick (!) He must know something I suppose, and given that The Stooges only recently became friends again, he may be right.

Ron Asheton was the bit of a prick he was referring to. At the tail end of the 60s he was the proto-punk, perma-shaded, primal riffmeister on ‘The Stooges’ and ‘Funhouse’,  The Stooges first 2 albums. By the mid 70’s, James Williamson’s introduction as co-writer and lead guitarist had relegated Asheton to bass playing duties on the Bowie-assisted and aptly named ‘Raw Power’. To these ears, the riffs became less prowling and menacing as a result. Iggy talks about writing the riff for ‘Search & Destroy’ here. It’s very funny. Johnny Marr rates ‘Raw Power’ highly, and while it’s still a fantastic record, for me it’s just shaded by the first two albums, in particular ‘Funhouse’.

When I first got broadband I went absolutely nuts, downloading anything I could get my hands on. Well, not anything. I wasn’t interested in the latest Bloc Party album (is anyone?) or The Doors back catalogue (I’d buy that), but I actively sought out hard-to-find gems. I was in heaven when I found the Complete Funhouse Sessions, a 7 CD set that presented in chronological order every take of every track that The Stooges recorded for Funhouse. Plus all the studio chatter you could want. “Someone’s guitar string was ringing on that one!” moans Iggy at one point. Clocking in at 7 hours and 52 minutes long, it’s not the sort of thing you’d want to play all day. Well, maybe you would. But it would drive you crazeeee. The box set was quickly out of print (only 3000 made for sale), so I had no qualms about downloading it.

Dipping into it now and again reveals wee bits and pieces I had never noticed before, and it gives you a great insight into how the tracks developed as the sessions continued. Some of the squaking sax that made the final cut isn’t on these sessions. Other tracks had the squaking sax and wah-wah mayhem taken off before the final album was sequenced. Much as I love them, Spacemen 3 clearly made a career out of re-hashing these cast offs. Much of this is uneasy listening. In fact Mrs Pan hates this stuff when I play any of it, so I tend to keep it for when I’m washing the floor. Mop in hand, I’ll strut about like Iggy. Only, with my trousers on.  Here’s some of my favourite outtakes.

Down On The Street (take 2)

Fun House (take 1)

Loose (take 3 – false start)

Studio chat regarding drum roll in ‘Loose’

Loose (take 4)

See That Cat aka TV Eye (take 1)

1970 (take 1)

now go and get yer mop!

Hard-to-find

Kinks, Konkers and Kids in Kasualty

Autumn. The nights are drawing in and the curtains are drawing shut. The heating comes on a bit earlier than normal and stays on that wee bit longer. You can smell winter coming in the air. The leaves are turning red and yellow. Conkers are on the ground and in the playground. Kids are off to the medical room for a good dose of TCP and a telling off. It’s round about now that I like to dig out ‘Autumn Almanac’ by The Kinks, a song that so perfectly sums up this time of year. You don’t even have to be quintessentially English to appreciate lines such as, “I like my football on a Saturday, roast beef on Sundays, alright! I go to Blackpool for my holidays, sit in the open sunlight.” No doubt about it, it’s one of my all-time top 5 favourite songs ever. Just behind ‘There She Goes’ by The La’s and just ahead of ‘Ally’s Tartan Army’ by the Scotland World Cup Squad 1978. Lee Mavers once lectured me on the brilliance of Autumn Almanac and Waterloo Sunset for a good 10 minutes, but that’s for another time. “I wish I’d written Waterloo Sunset,” is one of the things he said.

Autumn Almanac

David Watts
Sunny Afternoon
Susannah’s Still Alive

Mr Pleasant

 

My computer’s playing silly buggers. Can’t get the spacing to work out. You don’t mind? Recorded for Top Gear on October 25th 1967 in BBC Maida Vale Studio 4 and broadcast 4 days later, the above 5 tracks are taken from a well-known Kinks bootleg called ‘The Songs We Sang For Auntie’, a 3 CD set that compiles most of (or all?) the unreleased BBC session stuff from 1964-1994. A must-have for any fan of a band who were matched only by The Beatles in terms of high quality output. But that’s just my opinion.

 

The voice between tracks is Brian Matthews (I think), who still presents the Sounds of the 60s show on Radio 2 every Saturday morning. The time really is ripe for a Kinks re-appraisal. The single version of Autumn Almanac was recorded in September 67 and released 3 weeks later. No great strategic marketing campaign with focus groups, target audiences and avoidance of any other big act’s single being released at the same time. Get in the studio, cut the record, release the record. Times being simpler then, Autumn Almanac climbed to either number 3 or number 5 on the charts, depending on which music paper you were reading. But ask anyone to name 3 Kinks singles and it’d be unlikely Autumn Almanac would feature in too many lists. It’s an under appreciated stone cold classic. Just ask Lee Mavers.

Yes, yes, yes! It’s my Autumn Almanyac!

 

Dylanish, Hard-to-find

Unmasked And Unanimous

(Dylan fans’ll get it)

Unmasked? That’ll be the files for disc 3 of Tell Tale Signs, volume 8 of the excellent and seemingly never-ending Bootleg Series.  Unanimous? That’ll be the verdict from you, the paying public who don’t like being ripped off and conned into paying an extra £85-odd for a 3rd disc of rarities.

I ordered my copy of Tell Tale Signs a few weeks ago, to make sure it would land on the day of release. I think internet retailers are becoming increasingly lax with their service. It used to be you could order a new release about a week before it was due out and it’d arrive on the Saturday before release. These days, you can order something 2 weeks ahead of it’s release and not receive it till the Wednesday or Thursday after the release day. Yes Mr Play.com, I’m looking at you. Anyway. After I ordered the 2 CD set I read about a 3 CD set. With a free book. Shit. Too late to cancel my order. I’ll maybe order it anyway. Then I saw the price. £99.99. £99.99!!! Free delivery mind. But £99.99. For an extra CD of 12 tracks (some of which are featured on discs 1 and 2) and a nice big book. Screw that, I thought. Some enterprising kind soul will put the files up on the internet somewhere. A quick look about on Monday night and, voila, there they were. And here they are. In mp4 format though. It’ll play on iTunes and you can burn your CD from there. Stick it to The Man!

Tracks (in a .rar file) are:

  1. Duncan And Brady (Unreleased, 1992)
  2. Cold Irons Bound (Live, Bonnaroo, June 2004)
  3. Mississippi (Unreleased Version #3, Time Out Of Mind)
  4. Most Of The Time (Alternate Version #2, Oh Mercy)
  5. Ring Them Bells (Alternate Version, Oh Mercy)
  6. Things Have Changed (Live, Portland, Oregon, 2000)
  7. Red River Shore (Unreleased Version #2, Time Out Of Mind)
  8. Born In Time (Unreleased Version #2, Oh Mercy)
  9. Tryin’ To Get To Heaven (Live, London, England, 2000)
  10. Marchin’ To The City (Version #2, Time Out Of Mind)
  11. Can’t Wait (Alternate Version #2, Time Out Of Mind)
  12. Mary And The Soldier (Unreleased, World Gone Wrong)

(looks beautiful right enough)

Gone but not forgotten, Hard-to-find

Big fat dead guy in a bath tub.

So I’m on the lookout yesterday for a decent Sunday paper. A big thick one with lots of magazines, a decent sports section, a challenging sudoku and a crossword that’s impossibly hard. Perhaps even with something free in it. And I find The Sunday Times. The Sunday Times is the Sunday papers, they say. It’s big and thick, has lots of magazines, a decent sudoku, and I can’t do the crossword. And there’s a free Doors album with it. Even though I have ‘Strange Days’ (on vinyl and CD) this sways me and I buy it.

After reading the paper it’s clear they’ve done some sort of deal with Elektra/Rhino, because for the rest of the week they’re giving away a classic album every day. Today was Love‘s ‘Forever Changes’. Tomorrow is ‘Unknown Pleasures’ by Joy Divison. Later on you’ll get some Jesus and Mary Chain, New Order and Echo & the Bunnymen. There appears to be no rhyme or reason to these freebies, but if you haven’t got them, get yerself down to WH Smiths in the morning and nab yourself a classic album. Strange Days indeed.

Listening again to Strange Days had me scurryng for a bootleg I have called ‘Television Bleeding’, which features 7 studio tracks and some live TV stuff. The live stuff can wait for another day, but for now, here’s the studio tracks.

1. Hello I Love You (no drums, no second vocal overdub)
2. People Are Strange (no drums, no guitar solo, no second vocal overdub)
3. Love Her Madly (no reverb, no drums, no echo on voice)
4. Love Me Two Times (no tambourine, no guitars)
5. Riders On The Storm (no second vocal overdub, no echo, no drums)
6. Touch Me (no drums)
7. Soul Kitchen (different bass sound)

The blurb on the cover says,  “Tracks 1-7 are alternate studio mixes, done by Paul Rothchild during the production of “The Best of the Doors” Quadrodisc. I find it very interesting to listen to these, sometimes you have the feeling of listening to totally new recordings. But they are absolutely the same as on the albums but in different mixes. Anyway, have you ever heard Riders On The Storm without the whispering and without drums? And People Are Strange without drums and guitar solo? Both open whole new categories of listening experiences. All songs with Morrison are in excellent stereo. You won’t believe your ears!”

Jim Morrison. A wanker.

The above poster also reminds me of Denis Leary’s biting quote about Jim Morrison. “Let me tell you something. We need a two and a half hour movie about the Doors? Folks, no we don’t. I can sum it up for you in five seconds, ok. I’m drunk. I’m nobody. I’m drunk. I’m famous. I’m drunk. I’m fucking dead. There’s the whole movie, ok!? Big fat dead guy in a bath tub, there’s your title for you.”

Big fat dead guy who’s band made some fairly decent psychedelic organ-based music. I love them! Julian Cope loves them too! Happy listening!

Cover Versions, Hard-to-find

I don’t think I wanna dance just now.

Welcome to request corner! His name is Prince and he is funky. What follows are 3 decidedly unfunky covers of Prince tracks. If you were being cruel you might say they’re workmanlike in their approach. Sloppy, too slow (hello My Morning Jacket) and devoid of any soul at all. If you were being a bit more generous, you’d say they were trying to do the tracks in their own style (howdy Foo Fighters). If you were a bit less cynical, you might even say The Jesus And Mary Chain‘s version of ‘Alphabet Street’ was pretty good. Cos it is. Thanks to Gerald for the suggestion.

My JAMC version of ‘Alphabet Street’ comes from one of the CD single versions of ‘Come On’ (it’s also got a Pogues and a Cramps cover on it), but it’s available from round about now on the sexy looking box set above. What I like about this version is that the JAMC have gone out of their way to make it as easy as possible to play. Stripped it back to 3 simple chords, added some fuzz bass, some doo-wop vocals, some feedback (naturally) and made it sound like any other of their records. Prince’s Alphabet Street sounds like the kind of place where supermodels are handing out free E’s and sex on tap, but The JAMC make Alphabet Street sound like the kind of place where even Lou Reed would be scared of going to score. I think Glasvegas could do a really good version of The JAMC covering Prince. Yeah! Yeah! Yeah! Yeah!

The Foo Fighters track comes from the B-Side of their ‘Have It All’ single, and in the best traditions of the radio, many DJs started playing the ‘Darling Nikki’ cover instead of the rather obvious and plodding A-Side. The Foo Fighters version reached number 15 in the American charts, much to Prince’s disgust. He wouldn’t let them release it as a single, they stuck it on the b-side instead, and voila, the rest is filthy-lyriced history.

First things first now. I like My Morning Jacket. As far as blue-collar rocking guitar bands go I think they’re possibly my favourite. I prefer them to the Hold Steady, if that means anything. I really liked the ‘Z’ album. I’m sure they’re a decent live proposition. They’re famed for long and loud live sets, and they often do covers during encores, which is where their version of ‘I Could Never Take The Place Of Your Man’ comes from. I found this version whilst poking about the blogosphere, but I can’t find any info on where it was recorded. It’s live and sounds like it’s from the mixing desk but other than that I can’t tell you much else about it. Except that it must’ve been one hell of a long show that night, cos MMJ have stripped all the bounce, all the fun and all the soul out of a great wee song. Compare and contrast with this Prince ‘Sign O’ The Times’ tour soundcheck rehearsal. Even allowing for a cheesy brass section near the end, the funk is back. Listen to Prince’s guitar playing during the solo! Jeez-oh! I think I wanna dance now!

*More Prince ‘SOTT soundcheck stuff is available here. And Prince doing Radiohead‘s ‘Creep‘ is still available via this link!

Hard-to-find

I’d imagined, like, a string quartet after the second verse y’know.

If only I’d had these tracks in 1989! Round about then I taped Paul McCartney‘s MTV Unplugged off the telly and must have watched it about a million times. Well, at least 30. The bit I kept going back to was where he played ‘Blackbird’‘ (or ‘Blackboard‘ as he referred to it on the programme. Ho ho.). I slowly but surely worked out how he played it by freeze-framing the trickier parts, playing the mirror image of what south paw McCartney was playing and rewinding it as soon as the song had finished. I’d then play along to it with my vinyl copy of The White Album on my stereo.

The cover of my White Album technically isn’t white. The bottom left-hand corner and the inner gatefold has a distinct beige look about it. Probably because I pissed on it during the night after my 18th birthday. But that’s another story. Anyway. Freeze-framing and rewinding videos followed by carefully dropping and lifting record player needles at the right points on a record made learning this song a labour of love for me. Kids nowadays have it easy. Whomp ‘Sweet Child O’ Mine’ onto the iPod docking station, fire up UltimateGuitar.com and there it is, 300+ tabs of the same song, all slightly different, mostly all good. In my day you had to earn your guitar stripes. Tsk.

“Tsk!”

When they first started playing guitar, McCartney and George Harrison both learnt to play Bach‘s Bouree in E minor so that they could show off at parties. Looking for some post-Pepper inspiration, McCartney was staying at his farm on the Mull of Kintyre and wrote ‘Blackbird‘ after playing about with Bach’s tune. According to Philip Norman’s book ‘Shout!‘, later that same day he played it to the fans who were waiting outside the gates of his house. 

“A few of us were there. We had the feeling something was going to happen. Paul didn’t take the Mini inside the way he usually did – he parked it on the road and he and Linda walked right past us. They went inside and we stood there, watching different lights in the house go on and off.

In the end, the light went on in the Mad Room, at the top of the house, where he kept all his music stuff and his toys. Paul opened the window and called out to us, ‘Are you still down there?’ ‘Yes,’ we said. He must have been really happy that night. He sat on the window sill with his acoustic guitar and sang Blackbird to us as we stood down there in the dark.”  Fan Margo Stevens, quoted by Philip Norman in ‘Shout!’

It’s been said that the lyrics are about the civil rights movement in America and the struggle for equality. Or it might just be about a wee bird that McCartney saw in his garden one summer’s morning in 1968. Without wanting to sound too glib about it, as a guitar player it was always the finger picking and overall sound of the record that grabbed me.

McCartney and his Martin D28, Abbey Road June 11th 1968

These days, Blackbird has become my Bach and it can now be yours. What you have is a hassle-free way of learning ‘Blackbird”. The tab taken from The Beatles Complete Scores is here, in word document form. And below you have 10 or so in-the-studio crystal clear versions of ‘Blackbird’. Some fast, some slow, some with fluffed lines, some that stop short. There’s some rudimentary piano clanging on one take. There’s also the odd bit of studio chatter between Paul and George Martin. Occasionaly there’s a third voice. That’s a slightly fed-up John Lennon, taking a break from putting together ‘Revolution 9’ in the studio next door.

Blackbird 1

Blackbird 2

Blackbird 3

Blackbird 4

Blackbird 5

Blackbird 6

Blackbird 7

Blackbird 8

Blackbird 9

Blackbird 10

Blackbird 11

All tracks are taken from a Beatles bootleg called ‘Gone Tomorrow, Here Today‘ and were recorded at Abbey Road Studio 2 on June 11th and July 29th 1968, and at Trident Studios on August 28th and 29th 1968. None of the tracks on my bootleg sleeve are marked as being a particular take, so I can’t be any more precise about their origin than that. But this is a good way to learn the song – it’s essentially a work-in-progress session. McCartney repeats the trickier parts and plays it again and again and again, honing it to perfection. Anyway. Take the tab, download the tracks and play along. You’ll have it mastered in no time. You’ll need to add your own foot taps and bird noises. Party piece ahoy!

Piss stain not in shot