Category: studio outtakes

demo, Most downloaded tracks, studio outtakes

Well, flip your wig!

Craig McAllister

So Phil Spector is finally found guilty. Six years to reach the only obvious conclusion, although, most music fans could tell you he’d committed murder as soon as he got his tiny little hands on the master tapes to ‘Let It Be’. But it’s official – it’s moiduh and Phil Spector will probably spend the rest of his life in a cushy corner of some state penitentiary or other, bald and friendless.

phil-wig

Murder 1

Of course, as you know, the music he worked on is mostly sublime. Timeless, not set by generation. You could be 5 or 95. There’s something there for all of us. Some of those tracks are practically folk songs. I’m going to remember him this way. And you should too. Listen to The Ronettes in the studio doing ‘My One And Only Baby’ as it was called before becoming ‘Be My Baby’. Here‘s an amalgamation of takes 21-25, mostly instrumental, with the odd backing vocal and studio chatter flung in for good measure. A Wall of Sound production in production.

phil-wig-2

Murder 2

Here‘s an unrecorded take of the same track, complete with  lead and backing vocals and that ricketty-ticketty percussion at the end of every line. The wee tape rewind at the beginning makes me think this is Spector’s first play back of the completed track, but that’s only my thoughts. I guess we’ll never know now.

Finally, here‘s that Ronettes ‘Baby I Love You’ isolated vocal track that everybody still emails me about. *Note. I incorrectly labelled this as Be My Baby Vocals. But before you get yer knickers in a twist I just checked, and it’s definitely the vocal track of Baby I love You. OK!

Last time I posted tracks of this ilk, they were removed tout de suite by the DMCA. Make like Phil with a .45 and act fast!

Later everyone, gotta shoot…….!

phil-wig-3

Murder 3

demo, entire show, Hard-to-find, studio outtakes

Come down from the mountain, you have been gone too long…

Craig McAllister

…Spring is upon us, follow my only song. The clocks change this weekend, and the opening line from the Fleet Foxes ‘Ragged Wood’ has been ringing in my head since yesterday, when I logged onto The La’s forums to discover that Lee Mavers, my generation’s Syd Barrett, Arthur Lee and Howard Hughes rolled into one (Eccentric behaviour? Check. Reclusive lifestyle? Check. Obsessive-Compulsive Disorder? Check) has come out of hibernation for a one-off (or maybe more) guest spot on Pete Doherty’s tour.

mavers-doherty-1

He’s alive! And playing guitar! Picture copied from Las.org

Believe me, this has sent ripples of excitement towards anyone who still faithfully checks out what the La’s have been up to since 1990. For any uninitiated amongst you, here’s a quick summary…

tumbleweed

Yep. Ignoring the ironic attempt at humour, or the eagerly anticpiated yet ultimately unfulfilling 2005 ‘comeback”; Maver’s toothache problems meant he couldnae sing very well. Drummer problems of Spinal Tap proportions meant that Lee’s gardener (he has a gardener?!?) played the smallest drum kit imagineable whilst standing up, The La’s have been pretty much gone, dead and split up. So yeah, ripples of excitement have splashed their way across the ether towards anyone still holding a 20 year old torch in anticipation of the mythical second album. Even a new song would be nice. Or a new chord. Or a new anything. Until then, we’ll have to make do with this…

The internet is a wonderful thing, isn’t it?

They did ‘Son Of A Gun’ as well, which is easy enough to find on yer YouTube. I don’t want to clog this page up with videos when what I really wanted to give you was this……………….the Holy Grail of La’s recordings. Whispered in hushed tones from every corner of the Merseyssippi and beyond, rumoured to be an urban myth, a recording that wasn’t actually in existence, until 2005 when me, myself and I stupidly opened my metaphorical big mouth with one typed line on the La’s website. “The Kitchen tapes? I’ve got them.” Cue mass pandemonium. “No you don’t.” “Yes I do.” And my ego got the better of me. I won’t say how I got a hold of the original tape, but I feel I betrayed that person’s trust in a way. Sorry Mr L, if you’re reading. I know you browse here on occassion. As soon as I had copied the tape for one person it had spread like the River Irvine bursting its banks across the Low Green. It was everywhere. Every bloody file sharing site and half-arsed second rate blog posted it. And took the credit for it.  Anyone could hear the session. I was pissed off. You had to earn your La’s stripes first. You couldn’t just turn up to the party as a newcomer in 2005 and just be given it. But that’s what happened. The emails never stopped coming. “‘Eh a’right fella/la/mate etc. Eh, about dem Kitchen tapes. Any chance of eh, y’know. I’ll send you me addy and a stamp.” I still get the emails to this day, even though if they looked hard enough, any dim wit could find it on most file sharing sites. All my fault. I let it out the bag and I hate myself for it. But you might as well get it from me as poke about on those dodgy file sharing sites full of adverts for swingers in your area.

mavers

But the Kitchen Session itself. What is it? If you’ve never heard of it before now, here’s the facts. Sometime in 1989, the La’s were staying at a cottage in Devon, ostensibly to write songs for their second album. The cottage was owned by Andy MacDonald, label boss of Go! Discs. In preparation for him visiting, the band recorded themselves in the kitchen (good acoustics apparently) doing a half hour or so session on video camera. MacDonald later took the tape back to London where an audio copy of it made it’s way into my lucky bastard hands. The songs are almost complete but not quite. Apart from ‘I Am The Key’ none of the songs had ever been heard before. The session is a masterclass in songwriting. Mavers is clearly in charge, shouting instructions and changes to the assembled band – John Power (bass), Chris Sharrock (bongos, percussion, banging noises, now in Oasis) and Barry Sutton (guitar). “The song’s just started…….Bongos man! Nah, You should come in second….2, 3, 4!”  “ZZ Top! chaka-boom, chaka boom!“

He sings guitar riffs where they would appear in a studio recording. He scats, riffs and sings in that high falsetto that sounds so magical on The Hit Single the band are known for. Where the lyrics are incomplete, he makes up the words to fit the melody. He even sends himself up, him and Power singing Bryan Adams’ ‘Run To You’ at one point when they realise where they got the bassline from. But the songs. The songs! Pure gold! ‘Our Time’ features one of the best lines in any songs, ever.

“But the reasons unravel through the seasons I travel.”

Good, eh? I must’ve played my 17 year old tape about 300 times. As soon as I had the technology I converted it to a digital file, but for maximum effect I still like playing that old tape. It’s just about the best piece of music I own. Well. Apart from (insert obvious choice here) and so and so, but you know what I mean. The tape has reached such mythological status that it even has it’s own Wikipedia page (!) In fact, it’s so good only last week Mavers declared it “fucking rubbish“. Yes. It is that good. There is an inferior quality version in circulation which includes a daft R’n’B tune at the end. But if you want the original hi-fi/lo-fi master tape to wav file, the full unedited 34 minute Kitchen Session is here. I hope you enjoy every minute of it as much as I have. I’ve listened to it twice as I’ve written this article and it still knocks my socks off.

The official unofficial tracklisting is:

  • When Will I See You Again
  • Our Time
  • Robberman
  • She Came Down In The Morning
  • Was It Something I Said
  • It’s Not Impossible
  • Tears In The Rain
  • I Am The Key
  • band talking

    • A plea. My recording is taken straight from the video tape and converted to audio. If anyone out there has the video, well, I’m your best pal. Drop me a line. I can send you me addy and a stamp if you like, la.

    *If you like The La’s, and in particular studio outtakes, demos and the likes, you might want to click here. I put the music back up recently for a polite reader from Sweden.

    Gone but not forgotten, Hard-to-find, studio outtakes

    Take your knickers off and let’s go!

    Craig McAllister

    Hmmmmm…it appears that the internet police have been at it again. Both versions of Revolution take 20 have been were mysteriously deleted from my file sharing account. If you’ve visited specifically for them, read on…

    It’s amazing to think that, 41 years after initially being recorded, a new mix of The Beatles ‘Revolution‘ has made it’s way out of the box marked ‘Masters’ and onto the internet. Not just any old new mix, oh no! The mix getting every Beatles bore’s knickers in a twist is the fabled Revolution Take 20, all uninterrupted 10min 46 seconds of it. Shooby-doo-wop, ah-wow!

    beatles-68

    The history books point to this take being recorded on the 4th June 1968 and apparently had John Lennon singing the whole of the backing vocals whilst lying on his back. The Master Tape box was labelled ‘Revolution – Mama Papa’. Sadly (for me) it doesn’t feature Michelle Phillips on guest vocals, or even Papa John banging away on a tambourine somewhere in the background. The ‘Mama Papa’ refers to the backing vocals Lennon sings in the second half of the song (starting around the 5min 40s mark). Listen out, too, for the amusing studio chatter at the start and a wee bit of Yoko Ono at the end.

    lewisohn2

    Lennon recording his vocals. Taken from the excellent Mark Lewisohn Beatles Sessions trainspotters delight book.

    Sonically, Take 20 lies somewhere between the laid-back Beach Boys-y acoustic version of Revolution 1 on side 3 of the White Album and Revolution 9’s looped tapes and weird noises. There’s some harmonica buried deep in the mix, some nonsensical Lennon mumbles, what sounds like George Harrison’s guitar doing an impression of an air raid siren and all manner of weird things going on. It goes without saying, of course, but any discerning fan of The Beatles needs this take. I’m certain it’s spreading across the interent like a happy virus even as I type, but you can get it here (high quality mp3 file) or here (higher quality flac file). Whatchawaitin’ for?

    beatles-white1

     Bonus Track! At the start of September ’68, Paul McCartney got pissed off with Pete Townshend for suggesting that The Who were the only band still capable of rocking out any more. By the 13th of September The Beatles had recorded this, the 21st take of Helter Skelter. Blisters on their fingers indeed!

    demo, Gone but not forgotten, Hard-to-find, studio outtakes

    The Making Of A Great Compilation Tape…

    Craig McAllister

    Stubborn kind of fellow. Marvin Gaye sang a song with the same title but to all intents and purposes he could be talking about himself. Fed up with the non-stop rollercoaster of  Motown promotion and hard-sell and at the same time defying the orders of label boss Berry Gordy (who wanted instant hit after hit), he set up camp for the best part of a year recording what many of us consider to be his masterpiece, ‘What’s Going On’.

    I expect most of you here to know about the socio-political overtones in the lyrics, about how at the time (1971) such things were no-go for someone in Gaye’s world of work. You could argue that Marvin pushed open all sorts of doors with ‘What’s Going On’. Certainly, Stevie Wonder’s political work was just around the corner, but Marvin was one of the first mainstream million-selling artists to start writing this sort of stuff. Nowadays anyone from Take That to Leona Lewis can have a political conscience, but Marvin’s work was truly groundbreaking. What makes it all the better was that he cajoled, coerced and conducted the Funk Brothers into playing the grooviest music imaginable. Political music doesn’t have to be flat and one dimensional. Billy Bragg, sit up and listen when I’m talking to you.

    marvin-gaye-wgo-sessions

    Marvin cajoles, coerces and conducts the Funk Brothers

    Listen to this. An instrumental (with the odd leaked Marvin backing vocal thrown in at the end) ‘rhythm ‘n’ strings’ version of the title track of ‘What’s Going On’. Listen to that bassline! Listen to those vibes! The clipped guitar! The finger clicks! The sweeping strings! The bongos, man! THIS IS MUSIC!

    Marvin took the same approach to recording a couple of years later when writing ‘Let’s Get It On’. An album dedicated to love, sex and all that sort of stuff, you could be forgiven for thinking that it might sound like a slushy mess if you’ve never heard it. Far from it. Like the album before, Gaye pushes the Funk Brothers to their limits (and they have some seemingly never-ending limits) and makes another belter of an album.

    I was always in denial about ‘Let’s Get It On’ as an album. Nothing could ever match up to ‘What’s Going On’ and I thought it was slushy romantic crap the first time I heard it. Played it once then filed it away. Then I heard the title track again, at the end of ‘High Fidelity’ when Jack Black’s band sing it. Instant re-appraisal. Jack Black turned me back on to ‘Let’s Get It On’! S’true!

    Listen to the original studio demo of ‘Let’s Get It On’. A bit rougher round the edges than the version Jack Black loves but smooth enough to suggest something might happen upstairs sometime soon. Actually, it’s very smooth. Flutes, piano, backing vocals, wah-wah’d guitar, saxophone. This is one lush demo. I like my demos to feature a wee bit of studio chat and the odd bum note here and there. This one is no different. Except I’ve never heard the Funk Brothers never play a bum note, ever. Even on a demo.

    gaye-lgio

    Marvin hears that all-too-familiar squeak of the bedsprings from the upstairs neighbours and decides to write ‘Let’s Get It On’.

    ‘Running From Love’ was an instrumental that never Marvin quite managed to find a complete set of lyrics for, so never made the final cut of the album. Shame, as this version with fuzzed intro makes it sound like some long-lost Blaxploitation theme. The other version is slicker and smoother and would make great incidental music on a chocolate advert. Ideal, indeed, for gettin’ it on. With Valentine’s Day but a few days away, what better present to give your loved one than a CD of these downloaded beauties? And if he/she thinks it’s the worst present in the world…ever, then you’ve got to ask yourself if they’re really worth the effort.

    marvin_gaye_in_studio

    Cover Versions, Gone but not forgotten, Hard-to-find, Studio master tapes, studio outtakes

    Johnny Marr’s Dansette Delights

    Craig McAllister

    For Johnny Marr, the 7″ is king. The latest edition of Mojo has him picking his 10 essential 7″s (+ 6  8! bonus tracks). He’s even designed a CD cover as well. All you need is the music…..

    johnny_marr_3

    I’ve lifted the picture above and some of the text below from Mojo’s website. Credit where it’s due and that.
    1. Del Shannon
    Keep Searchin’ (We’ll Follow The Sun)
    (Stateside B-side, 1964)
    Johnny Marr: “The influence of [A-side] The Answer To Everything on me when writing Please Please Please Let Me Get What I Want is well documented so I picked its sister record, this time. It was the sound of the house when I was little.”
    2. The Rolling Stones
    Get Off Of My Cloud
    (Decca single, 1965)
    Johnny Marr: “The main thing I took from Keith Richards was his musical ideology; that there is a nobility in playing rhythm guitar and being the engine room and steering the ship, all these very valorous concepts which he threw in the face of guitar culture in the early ’70s.”
    3. T.Rex
    Metal Guru
    (T-Rex Wax Co. single, 1972)

    Johnny Marr: “It’s so beautiful and commercial but slightly weird and I could not believe what I was hearing because it was so all-encompassing. It connected with something beyond my regular senses.”

    4. The Isley Brothers
    Behind A Painted Smile
    (Tamla Motown B-side, 1969)

    Johnny Marr: “Motown provided a fantastic alternative to the rock music my mates were getting into. I ventured into this place called Rare Records on John Dalton Street in Manchester, I went into the basement and I remember to this day it was like a sea of future happiness.”

    5. Iggy And The Stooges
    Gimme Danger
    (Raw Power LP track, CBS 1973)

    Johnny Marr: “I remember getting on the bus and just staring at the front cover in disbelief all the way home. I wasn’t disappointed when I played it because it sounded like I thought it would. It was mysterious, sexy, druggy, riffy and to-the-point.”

    6. The Crystals
    There’s No Other Like My Baby
    (Philles single, 1961)

    Johnny Marr: “There is an unpretentiousness to it, and compared to what was passing itself off as weird in rockland with prog music at the time this just sounded weirder to me, and it seemed to come from an odder dimension.”

    7. Blondie
    Hanging On The Telephone
    (Chrysalis single, 1978 )

    Johnny Marr: “It reminds me of going to parties and really complaining that I didn’t want to hear Peaches by The Stranglers for the eleventh time and going through record collections with all that ELO shit in them and pulling out *Parallel Lines and going, ‘Alright then, let’s listen to this very, very loud!’”

    8. Bob And Marcia
    Young Gifted And Black
    (Harry J single, 1970)

    Johnny Marr: “It was one of the records that both Morrissey and myself liked in the same way. It reminded us both of being youthful fanatics and being outside of the norm… Then, amazingly, when [New Order’s] Bernard Sumner and I started to get close we both discovered that we liked that record in the same way.”

    9. The Equals
    Black Skin Blue Eyed Boys
    (President single, 1970)

    Johnny Marr: “Some records you wear down and you wear out but this one… I remember it from being out from when I was a kid but unlike some of the other tracks I play, I don’t listen to it for that reason, I like it because it reminds me of something shared between me and my mate.”

    10. The Cribs
    Hey Scenesters
    (Wichita single, 2005)

    Johnny Marr: “A fantastic working class street rock’n’roll 45 that could only have come from a band in this country. It’s like, Move over, this is the new generation. The Jarmans are as hip as street musicians get from any generation.”

    Bonus Tracks:

    Paul Davidson – Midnight Rider (Tropical single, 1976)

    Johnny Marr: “Aside from Keith Richards’ on Gimme Shelter, Midnight Rider contains my favourite ever guitar solo.”

     

    Alternative TV – Action Time Vision (Deptford Fun City single, 1978 )
    Built To Spill – In Your Mind (Ancient Melodies Of The Future LP track, WEA, 2001)
    The Drifters – I Count The Tears (Atlantic, 1960)
    Johnny Marr: “If you were to play this to the other members of The Smiths it would remind them of being in a band with me. I used to sing and play it on the guitar when we weren’t recording and forced everyone to sing along. They learned to love it!”

    Hamilton Bohannon – Disco Stomp (Dakar/Brunswick, 1975)
    No direct quote from Johnny, but he’s said before that Disco Stomp influenced the swampy rhythm of How Soon Is Now. That record, and undoubtedly a huge side order of Bo Diddley.


    TV On The Radio – Wolf Like Me (4AD single, 2006)

    !!!Extra Bonus Tracks!!!

    Del Shannon – The Answer To Everything

    Johnny Marr: “The influence of ‘The Answer to Everything’ on me when writing ‘Please Please Please Let Me Get What I Want’ with The Smiths is well documented.” It is? ! ?

    Rolling Stones – Gimme Shelter (Guitar track from recording session)

    Johnny Marr: “Keith Richards was badass. His solo on ‘Gimme Shelter’ is my favourite ever guitar solo.“

    johnny_cd_artwork

     

    Download the entire set + artwork here.

    I’ve written about Johnny Marr before. Have a read here

    ***Woops! Numpty Alert!

    In my haste to bring you this excellent compilation, I mistakenly put the wrong TV On The Radio track on the album. Playing it in the car today I though, “Hang on! That’s not ‘Wolf Like Me’! Idiot!” But this is. So if you downloaded the .rar file previously, you’ll need it to correct the tracklisting on the compilation You can also download front and back cover artwork here (made by my good self). Ta!

    Cover Versions, Gone but not forgotten, Hard-to-find, Sampled, studio outtakes

    Ingredients in a recipe for soul

    Craig McAllister

    Who says we don’t do requests? Regular reader Big Stuff emailed to ask for some Bobby Womack and such stuff in a soulful vain. So for him and every other soul brother or sister out there, read on.

    Firstly, not Bobby Womack, but The Temptations. ‘Ball Of Confusion’ is a stone cold funk/soul classic, in any of it’s various forms. Five-part harmonies backed by the Funk Brothers is always going to be a winning combination in anyone’s book. Released on the ‘Psychedelic Shack’ album in1970 it took the sound of The Temptations onto a whole other level. Here‘s an unreleased alternative mix of the version you know and love.

    temptations

    If that version is on a whole other level then this version takes the original 4 and a half minutes of funk and propels it into the stratosphere. At 10 minutes + (!), the 1971 Undisputed Truth version is the one that does it for me every time. Every time. The Undisputed Truth was essentially a nom de plume for in-house Motown producer Norman Whitfield. He was getting tired of the Motown sound he had helped make so ubiquitous, and with a love for Sly Stone, Parliament, Jimi Hendrix, Funkadelic and so on, decided he was going to create a similar sound for himself. He took The Temptations basic backing tracks, got in a couple of singers and got to work.

    ball-of-confusion-lyrics

    His take on ‘Ball Of Confusion’ features phased, fried and wah-wah-ed guitars, “Right on…take me higher” vocals, the greatest 3 note bassline ever and quite possibly the goddam kitchen sink. Basically, Whitfield took The Temptations out of Detroit and put them on a Greyhound bus with a one-way ticket to flare city. Listen to it with loud with the lights out and prepare to fry yer mind.

    undisputed-truth

    The Undisputed Truth

    You might be surprised to learn this, but Bobby Womack was the writer of the Rolling Stones 1964 hit ‘It’s All Over Now’. Or maybe you knew that already. You probably do know that his track ‘Across 110th Street’ was used in Tarantino’s blaxploitation homage ‘Jackie Brown’. And you’re probably also aware that it was also used in the 1972 film of the same name. (110th Street, not Jackie Brown)The soundtrack for the film features 3 versions of the same track. The first one is the one you know and love. The other 2 are more interesting. Firstly, there’s an instrumental version that sounds like the incidental music in a long-forgotten episode of Starsky & Hutch. It also sounds like the funkiest elevator muzak you could ever wish for. It’d sound great on Celebrity Come Dancing. Honestly.

    bobby-womack-110street

    There’s also Across 110th Street (Part II). Featuring minimum vocals and maximum brass stabs and wah-wah, it should get those ants in yer pants a-dancin’. Get on the good foot!

    bobby-womack-1972

    D’you want to hear my Louis Walsh impression? Read this with an Irish accent….

    “Y’know what? You’ve got a lotta soul in your voice, a lot of soul.” Sheeesh. The word ‘soul‘ is bandied about these days in front of anyone who can hold a note for 2 seconds. Louis Walsh wouldnae know soul even if a huge afro continually kicked his arse shouting “I feel good!” at the same time. Those X-Faxtor contestants are really quite sadly deluded and buffoons like wee Walshy don’t help matters.

    aretha-67

    Real soul, real soul is all about feeling. And no-one felt it better than Aretha. With 2 kids to her name by the time she was 16, she’s lived it more than most of us will ever know. Her 1967 version of ‘Chain of Fools’ is a belter. Even better is the rare version featuring Joe South’s extended tremolo’d twanging guitar. Man, you should hear it! Here it is. Dig it brothers and sisters!

     

    Cover Versions, demo, elliott smith, Gone but not forgotten, Hard-to-find, Most downloaded tracks, Peel Sessions, Studio master tapes, studio outtakes

    Aye! Tunes! iCompiled for you

    Craig McAllister

    ‘Don’t Look Back’ sang Bob Dylan. And indeed Teenage Fanclub. But sometimes you’ve got to look back before you can move forwards again. 2009 starts with a bang! Plain Or Pan? is almost 2 years old and to celebrate I’ve compiled a selection of the most-loved and downloaded tracks from the blog. This is your very last chance to grab some of those nuggets of pop goodness that you may have missed first time around.

    plain-or-pan-first-2-years

    Tracklisting:

    Disc 1

    1. Sgt Peppers’ vocal track – The Beatles

    2. Coca Cola – Jerry Lee Lewis

    3. Son Of Sam acoustic – Elliott Smith

    4. There She Goes promo – The La’s

    5. All The Way Down  beat version – The Primitives

    6. Boots – Lee Hazelwood

    7. Just Dropped In – The Dap Kings

    8. Baby I Love You vocal track – Ronettes

    9. Hey Hey What Can I Do – Led Zeppelin

    10. You Really Got A Hold On Me – Small Faces

    11. Your Time Is Gonna Come – Sandie Shaw

    12. Mama You Been On My Mind – Rod Stewart

    13. In The Heat Of The Morning – Last Shadow Puppets

    14. The Loner – Supergrass

    15. Down By The River – Joey Gregorash

    16. Southern Man – Sylvester and the Hot Band

    17. Freaky Dancin’ – Happy Mondays

    18. Filthy – St Etienne

    19. Gimme Shelter  vocal track – Rolling Stones

    20. Flume live MOKB/WEEM – Bon Iver

    21. Grace – King Creosote

    22. Just Like a Woman live in the studio– Jeff Buckley

     

    Disc 2

    1. Monkey Gone To Heaven vocal track – The Pixies

    2. Handy Man Peel Session – Frank Black & Teenage Fanclub

    3. About A Girl BBC session – Teenage Fanclub

    4. Dead Leaves And Tne Dirty Ground – Nina Persson

    5. Hanging On The Telephone – The Nerves

    6. Down On The Street take 2 – The Stooges

    7. Tradewinds – Super Furry Animals

    8. Riders On The Storm outtake – The Doors

    9. I Heard It Through The Grapevine vocal track – Marvin Gaye

    10. Coca Cola – Ray Charles & Aretha Franklin

    11. Homework – John Lee Hooker

    12. Stickman version 1 – Elliott Smith

    13. Snow – Trashcan Sinatras

    14. Moon River full-length version – Morrissey

    15. Autumn Almanac BBC session – The Kinks

    16. Everybody Drop It Like It’s Hot – DJ Prince

    17. 99 Problems – Jay Z/The Beatles

    18. Over  live in a stable– The La’s

    19. Music When The Lights Go Out Legs 11 demo – The Libertines

    You’ll find CD1 here, CD2 here and you’ll find the artwork here. Easy-peasy!