Who Knows by The La‘s is the track that time forgot. Their one perfectly imperfect album, famously overcooked by a succession of well-intentioned producers, prodders and preservatists, and, despite John Leckie rounding up an actual Abbey Road mixing desk that had channelled yer actual Beatles and a Lennon solo session, devoid of the requisite amount of authentic 60s dust to sate Lee Maver’s unsatisfied and unsatisfiable mind nonetheless contains a dozen short ‘n snappy, frantically scrubbed belters; Way Out, Doledrum, I.O.U, I Can’t Sleep, There She Goes – I really should just list them all – clatter, clang and chime like the best of the band’s undeniable influences.
Mavers, and therefore by default, the band, hated the finished album so much they immediately disowned it. Everyone else though was enthralled by its lo-fi urgency and keening need to drag ‘indie’ music, at the time populated by greasy-fringed posh boys from the Home Counties who played their tunes through banks of overcooked effects pedals, back to a classic songwriting mentality. Too late for the golden era of 60s pop and too early for what would become (gads) Britpop, The La’s ploughed a lone, stubborn furrow for roughly the length of time it took their visionary leader to smoke a six foot spliff to the roach before vanishing in a fragrant puff of smoke.
With each passing year their legend grows. Aborted sessions with young Liverpool musicians too young to have appreciated The La’s first time around, sporadic, erratic live appearances including a short, unpublicised tour 7 or 8 years ago (drums played by the fella who cut Lee’s grass) and a rare spotting of Lee in a Liverpool local banging the bongos at an open-mic acoustic night have all gone a way to helping maintain the myth with a much-resigned and decreasing fanbase.
That sketch above appeared online a couple of weeks ago. Purportedly scribbled by Mavers himself, it’s another reason to hang in there. What else lies in drawers, in cupboards, in studios, long-forgotten?
Will we ever hear new La’s material again? Don’t be daft. Of course not. Thanks to the world wide web, there are a multitude of La’s demos, sessions and alternate versions to gorge yourself upon. Despite this though, two things remain tantalisingly conspicuous by their absence;
1. Lee Mavers has absolutely no online presence at all. He is a 21st century hermit. A recluse happy to live off the not insubstantial royalties that pour monthly through his letter box on the back of There She Goes‘ enduring appeal.
2. You can search and search. You can ask Siri. You might even still be able to Ask Jeeves, but you’ll never find more than one version of Who Knows, The La’s track that time forgot.
The La’s – Who Knows
Who Knows is fantastic. Going by its non-appearance on any of the La’s demos or live shows that circulate, it was seemingly recorded once and once only, commited to tape and preserved forever as a one-off recording. Featuring a simple, cyclical acoustic riff and a fragile, voice in the dark vocal, it floats across the ether on a vapour trail of morse-code guitar transmissions, radio static and a heavy reverb that swallows the whole track up at the end. Someone should see that it soundtracks the shipping forecast and it would be the best thing ever.
Who knows what tomorrow knows? Who knows what the future holds? Who knows?
That’s it in a nutshell. Lee. In a room. Playing for no-one but himself. Thank goodness someone (Bob Andrews, since you’re here) magnetised it all to tape. It made its only appearance on the b-side of the original There She Goes single. The cosmic, slightlydelic yin to the shiny, radio-friendly yang. Those in the know should’ve put it on the album at the expense of Liberty Ship. It would’ve made the perfect Side 1 closer. Why didn’t they? Who knows indeed.