Dylanish, entire show, Hard-to-find

Are these French ones? No, they’re healthy cigarettes!

In 1962, a 20 year old Bob Dylan recorded an hour long show for Cynthia Gooding‘s ‘Folksinger’s Choice’ radio programme. History seems to be a bit fuzzy regarding the actual date of recording, or even if the show was actually broadcast at all. My bootleg says 11th March 1962, so that’s what I’m sticking with. You may know differently. What is absolutely astonishing about this show is that it exists at all, and in such brilliant quality. I don’t know what methods were used to extract the show from the radio to someones tape recorder. Maybe the recording is taken straight from the radio station’s own tapes (which is more than likely), but if you’re in any way shape or form a fan of Bob Dylan, you need this bootleg in your collection, it’s simple as that.

young-bob.jpg

What you get is young pre-Columbia Bob playing a mixture of original and traditional material. In it’s own right, that’d be good enough. What makes this recording even better is the between-song chat between Cynthia and Dylan. They’d met each other in 1959, when Dylan sang to Gooding at a party after one of her concerts. She recognised his talent and was impressed enough to go and see him perform his own shows at places like Folk City in New York. Throughout the radio show, she is clearly in awe of him. In fact, I’d say she fancies the pants off him, and Dylan knows it. His tall stories regarding where and how he grew up are in full flow – “I’d just come from South Dakota……I’d come there from Sioux Falls“,  “I was a clean-up boy, I used to be on the main line, on the ferris wheel, do just fun rides. I used to do all kinds of stuff like that…..I skipped a bunch of things, and I didn’t go to school a bunch of years and I skipped this and I skipped that.” Dylan talks about his influences, how he writes songs, and when cornered has to admit that, maybe, some of these songs, well, he only wrote the first couple of verses himself and the rest of the song is, I don’t know, something I heard before.

dylan-62.jpg

Bob, with healthy cigarette

Fantastic stuff, every wee bit of it. The full tracklisting on the back of the disc is below, but really, download and burn as gapless for that full radio show experience. The link for the whole show (plus artwork) in one complete .rar file is here. As a tempter, here’s one of the between-song chats and a version of ‘Smokestack Lightning’.

Lonesome Whistle Blues
Fixin’ To Die
Smokestack Lightning
Hard Travelin’
Death Of Emmett Till
Standing On The Highway
Roll On John
Stealin’
Long Time Man Feel Bad
Baby Please Don’t Go
Hard Times In New York

young-bob2.jpg

“D’ya like that?…………..I sure do!”

Hard-to-find

Dead 60s dead.

I read a couple of days ago that the Dead 60s had decided to call it a day. No massive falling out over royalties, musical differences, girlfriends in the studio, any of that stuff. As their website says, “We just felt like the band had run its course, time for us all to branch out & try other things.” No big deal. The world hasn’t stopped. No one’s life is over, but the Dead 60s brand of Liverpudlian indie ska is no more.

Most folks preferred The Ordinary Boys anyway (!) But I had a bit of a soft spot for the Dead 60s. I thought they were a Scouse Specials. In hindsight they’re not really, but so what? A few years ago my pal Quinny & I hosted a radio show for student radio. It was called ‘Under The Influence’ and it was fantastically brilliant. You may have heard it now and again?

dead-60s.jpg

In reality, just as very few people heard the Dead 60s, very few people heard our show. But if you had, you’d have heard us play ‘Riot Radio’ the band’s first single. I went on a download frenzy after hearing this track and discovered the Dead 60s dubtastic version of The White Stripes ‘7 Nation Army’. I think it may have been recorded for an XFM session, I’m not too sure. It’s spacey, echoey and features great spaghetti western guitars. It’s nothing like the garage rock of the original. Lee Perry Mavers!  I like it. You will too! Here it is.

Another couple of Seven Nation Army covers for you:

1. The Dynamics (Lovers rock/dub version, nice melodica solo. Fans of the Dead 60s?)

2. The Flaming Lips (Surely you’ve heard this by now? Fuzz bass, car sirens, vocals through a food blender, it’s the end of the world as we know it and I feel fine. Yes, the Flaming Lips can do no wrong.)

3. Bonus track. Here’s one of those mash-ups that I keep saying I don’t like. Public Enemy Vs The White Stripes, ‘Bring The 7 Nation Army’. Bass! How low can you go?

Hard-to-find

Freshly Squeezed Orange Juice With No Wee Bits You Don’t Like Floating In It

The Vinyl Villain is an excellent blog. Over the past year or so I have compiled a couple of CDs worth of hard-to-get music that has been made available on the site and I am a regular visitor throughout the week. Possibly in the wake of BBC4’s ‘Caledonia Dreaming’ rockumentary and it’s attendant Edwyn Collins documentary (or possibly not), The Vinyl Villain has come up with a very laudable scheme. He will make you a personal, 60 minute compilation of almost ANY Orange Juice material that has ever been available. All the rare b-sides, flexi disc stuff, Peel sessions, etc etc that you could shake a Roger McGuinn fringe at. Or the ‘You Can’t Hide Your Love Forever’ album if you still don’t have it. It’s your choice.

 orange-juice.jpg

The bulk of your money (£6 – surely a bargain) goes to Quarriers, a very worthwhile cause. See the blog for full details and the complete list of available tracks. Make your own Orange Juice LP! What could be more fun and more worthwhile? Go! Now! Keep The Vinyl Villain’s CD burner working overtime. I’m off to peruse the list and see what gems he has waiting for me.

Orange Juice – L.O.V.E. Love

Al Green – L.O.V.E. Love

It doesn’t get much better than that

Dylanish

The Blues Is Still The Blues

The new (April) issue of Mojo is giving away one of the best free CDs I think I’ve ever got from a magazine. Usually I tend to play these things once at best (sometimes they remain in their shrinkwrap forever) but ‘The New Dictionary Of Blues And Soul’ is a belter. It’s so good it made me want to write about it. It’s been on constant rotation this weekend and has made the job of cleaning the wooden floor in preparation for a visit from my mother-in-law all the more bearable. The compilation features only new artists playing blues and soul, just as authentically as any of the old masters you already know and love. When I hear the term ‘New Blues and Soul’ I think of keech like James Morrison or Adele, but these artists have the chops, the soul and the clout to show they mean it, maaaaaan.

I’m posting one track from the CD and another 2 that didn’t feature on it, but on another day would be equally at home on such a compilation with Sharon Jones & the Dap Kings (essentially Amy Winehouse’s band on the ‘Back To Black’ album), Eli ‘Paperboy’ Reed & the True Loves, Edgar ‘Jones’ Jones and Seasick Steve, amongst a dozen or so non-household names. Saying that, Seasick Steve is playing the Albert Hall. THE Albert Hall, not the shitty wee place in Stirling, so who I am to suggest who is and who isn’t a household name?

pete.jpg

Pete Molinari is on the Mojo CD doing ‘I Don’t Like The Man I Am’. This is taken from his forthcoming ‘A Virtual Landslide’ album, which on the strength of this track, I will be buying. Molinari has all the right credentials. His album was produced at Toe Rag Studios by Liam Watson, he did his shift in New York’s  Greenwich Village at the Cafe Wha? and The Gaslight and he has a soul voice that wannabees like Paulo Nuttini would swap their 1970s Rod Stewart collections for. ‘I Don’t Like The Man I Am’ sounds a bit ‘Time Out Of Mind’-era Dylan and would fit neatly beside tracks like ‘Tryin’ To Get To Heaven’.

 t-model-ford.jpg

T-Model Ford records for Fat Possum records, the home of raw and unpolished blues. He was born in Mississppi, of course. He thinks he’s 75 but isn’t sure. He’s been in the jail for murder amongst other offences. If his music wasn’t so powerful, he’d be a walkin, talkin’ cliche of the blues. ‘Nobody Gets Me Down’ is on his forthcoming ‘Pee-Wee Get My Gun’ album.

 rl-burnside.jpg

RL Burnside also records on Fat Possum. In 1997 he recorded his debut album for Fat Possum. He was 71 and sounds it. Like T-Model Ford, he’s lived a full-on life. He’s been a sharecropper, a migrant worker and seen his father, brother and uncle all murdered within a month of each other. He sings the blues with unquestionable authenticity. He played music for much of his life, but it wasn’t until the 1990s when Jon Spencer (of the Blues Explosion) started name dropping him (and later recorded with him) that he got any incling of recognition. This track, ‘Shake ‘Em On Down’ is from his 1997 album ‘A Ass Pocket Of Whiskey’. Robert Lee is currently rockin the good Lord up above. (ie, he’s deid.) Amen.

Hard-to-find

Brian was a French horn

Some say ‘Pet Sounds’ is the greatest album ever made etc etc blah blah blah. It may well be, but for what it’s worth, ‘Abbey Road’, ‘Never Mind the Bollocks’, ‘Hunky Dory’, ‘Grand Prix’ by Teenage Fanclub and ‘Blonde On Blonde’ (or ‘Bringing It All Back Home’, Highway 61 Revisited, Nashville Skyline, yawn) have been or are currently my own personal ‘Best Album Ever’. Even ‘Life’s Too Good’ by The Sugarcubes is in my eyes/to my ears one of the best albums ever made. Honest. The fact is, there is no one ‘Best Album Ever’. But for many, ‘Pet Sounds’ is right up there. I saw the Brian Wilson ‘Pet Sounds’ tour a couple of times in 2002, and the show at the Edinburgh Playhouse was fantastic, way better than the Glasgow show earlier that year. My memories of Glasgow were of folk continually shouting out combinations of “Genius!” or requests for the next song, when everyone there knew what was coming next. Duh. It was the ‘Pet Sounds’ show. We all had the album. Edinburgh was better. We were 3 rows from the front, right in front of Brian. At one point I was convinced he was smiling at me. Then I realised he was screwing up his big fat hang dog face to read the auto-cue. True. The one major blip came at the end of the night, right after I had acquired a typed out set list from the stage. There at the top were the immortal words. ‘Brian Wilson. Pet Sounds. Edinburgh, England.’ Genius? Not at geography.

 petsound.jpg

Anyway. The music. Before I go on, a disclaimer. There are plenty, plenty of Beach Boys trainspotters out there. Some of you may even stumble across this site. If you do, please don’t take great delight in correcting any inaccuracies I may write with regards to ‘Pet Sounds’. For this reason I am keeping any such info at a minimum. In fact. I’m not going to write any. There are plenty, plenty of Beach Boys websites, blogsites and fansites scattered throughout hyperspace that do just that. There’s a very good one right here in fact. Me? I prefer to focus on the music. Or lack of, as today may be. What follows is the 11 songs from ‘Pet Sounds’ done in acappella style. No music, except for the odd leakage of backing tape that the assembled Beach Boys could hear in their headphones. Beach Boys stack-o-vocals, as Brian liked to call them. All the harmonies, coughs, whispered count-ins, duh-duh-duh-duh-duhs you could ever want to hear. In fact, it might all be too much for the one sitting, but it does make a great wee compilation. If it does appear all too much, I’d suggest going for the version of ‘Here Today’. But really, you need all of this, you really do.

petsounds.jpg

In a rare fit of praise, Murry Wilson once said of his son, “Brian thinks in six-part harmony instead of two or three part. He’s not only a writer, he’s an arranger and he has a concept of harmonics which is uncanny.” These six-part harmonies blew the socks off of 1970s slush merchant Eric Carmen (‘All By Myself’ etc). In a famous quote he says, “Their vocal harmonies are unsurpassed…..I think Brian was a French Horn, Carl was a flute, Al Jardine a trumpet, Dennis a trombone and Mike Love (booooo!) a baritone sax, before their incarnation as The Beach Boys.” So here you go….the human orchestra that was the Beach Boys:

Wouldn’t It Be Nice

You Still Believe In Me

That’s Not Me

Don’t Talk (Put Your Head On My Shoulder)

I’m Waiting For The Day

Sloop John B

God Only Knows

I Know There’s An Answer

Here Today

I Just Wasn’t Made For These Times

Caroline, No

*special bonus track God Only Knows (alternative ending – very nice!)

All in all, not a bad day at the office for a 23 year old. Genius? Maybe. Talented bastard? Aye, definitely. Happy downloading!

wilson.jpg

Weirdy and Beardy

Most downloaded tracks

My fvrt nw bnd

mgmt.jpg

“Let’s make some music, make some money, find some models for wives.”

I’ve been getting myself all in a lather over MGMT (pronounced as it reads – as in ‘Booker T & the MGMTs’, not ‘Management’ – thanks to Wino.) Shitty name. A pain in the you know what to google, but what great music! Like a Californian Super Furry Animals or the long lost Siamese twin of the Flaming Lips, guitars are just on the right side of fuzzy, the keyboards are set to wonky, but not too wonky and everything’s wrapped up in a half decent melody. In short, weird tunes you can whistle. The album ‘Oracular Spectacular’ is released on 10th March and is only £6.99 from Play. The first track is called ‘Time To Pretend’ and I have played it about 43 times over the course of this weekend. Try before you buy here.

Hard-to-find

Dear Jim, Please could you fix it for me….

…to be a great northern soul singer in the style of Dean Parrish? So thought a 15 year old Paul Weller when he recorded ‘Left, Right & Centre’ at one of his first recording sessions. Jim didn’t quite fix it for Weller at the time but 35+ years later, ‘Left, Right & Centre’ has seen the light of day, with northern soul legend Dean Parrish doing the vocals.

lord-large-cover.png

It’s out on Acid Jazz, under the nom de plume of Lord Large and it sounds just like the Weller demo from all those years ago. In fact, I imagine it sounds like something straight off of the turntable at the Wigan Casino in the 1970’s. Which is no bad thing. Weird thing is, on the demo Paul Weller sings like Dean Parrish. And on the new version, Dean Parrish sings like Paul Weller. Or maybe Paul Weller’s been singing like Dean Parrish all along and no-one’s noticed. I’ve only heard ‘I’m On My Way’, so I can’t claim to be the biggest Dean Parrish fan ever. So what do I know? I don’t even know if Paul Weller plays on the new track. Neither does Mr Google or Mr Wiki. Maybe you do?

dean-parrish.jpg

Get yer brogues on, talc down your floor and have a northern soul night in front of your computer. Go on! You know you want to! And if you don’t like the track you can blame the bald mod himself, Steve Cradock. Apparently he found the demo in a box of old stuff when he was round at Weller’s one night and got it released. He even gets to play guitar on the Lord Large version too. The wee arse licker.

paulweller.jpg

A self-satisfied Paul Weller yesterday. Just out of frame, Steve Cradock’s tongue.

entire show

Jeff Buckley Glastonbury 24th June 1995

Following on from the post below, here‘s the complete show as requested by one or two of you more sociable vistors. The file’s quite big and has been compressed as a winrar file, which works the same as a zip file. Download, unrar and enjoy.

Plain Or Pan? – We do requests!

Any problems with winrar, visit this site.

 

entire show, Gone but not forgotten, Hard-to-find

Jeff Kicks Out The Jams

Apart from not going to see The Smiths play my hometown during their 1985 tour of off-the-beaten-track backwaters and one horse towns, my main musical regret is not going to see Jeff Buckley when I had 2 chances. In February 1995 he played the Garage in Glasgow. Two of my pals went. I played football instead. Then on the 20th of June he played Edinburgh Queens Hall. I was working in Edinburgh that whole week. Somehow I only found out about the concert the next day….

jeff-glastonbury.jpg

D’oh. And d’oh. Four days after the Queens Hall show Jeff Buckley played Glastonbury. Sandwiched somewhere between Sleeper, Heavy Stereo and a million other Adidas-clad no-marks he put on a performance of such magnitude that ‘Glastonbury Live’ would have made a great official live Jeff Buckley long player. Especially as the BBC were recording it. The tracks below are taken straight from a BBC transcription disc. That means crystal clear sound, about as far removed from that 5th generation D90 recorded outside the venue sound that you often associate with bootlegs. Unfortunately, history shows that Jeff’s performance was somewhat overshadowed that weekend by 2 monobrowed brothers from Burnage. Yep. 1995 was the year of Oasis and the record buying public in the UK didn’t have time for fookin’ sensitive singer-songwriters who were the missing link between the Smiths and Led Zeppelin. Indeed, many people had yet to actually hear Jeff Buckley. ‘Grace’ is now regarded as a stone cold classic album, but you need to bear in mind that it sold slowly while Jeff was alive. It’s hard to explain to any Buckley haters just why he’s so brilliant, especially as he’s partly responsible for awful bands like Starsailor, Scott Matthews or even Muse, but if like me you are a fan, the tracks below from the Glastonbury show are absolutely essential.

Starting with a fantastic 9 minutes + version of ‘Dream Brother’ before going into ‘Lover, You Should’ve Come Over’, Jeff and his band are on sizzling form. In amongst a mixture of released and unreleased songs they do theee heaviest version of ‘Eternal Lifeyou might ever hear. These 3 tracks are all here in crystal clear straight-off-the-mixing-desk quality. If you like them, any requests for the full show in the comments section will be dealt with ASAP. In the meantime, if you’re new to Plain Or Pan? you may not have discovered the other Jeff Buckley downloads here and here.

jeff-glast-front.jpg

front cover artwork for the complete show

Hard-to-find

T’n’T @ KEXP

If you’ve ever read this previous post, you’ll know how much I like Tapes ‘n’ Tapes. It’s been a while since they’ve done anything new. In fact, it’s been a while since they’ve done anything at all. Played a few shows across America maybe, but there’s not been much action this side of the world. So I got quite excited when I received one of the band’s emails saying they’d finished their 2nd album and were about to start touring it. Yeeha!

 tapes.jpg

The following tracks are not new in any way, shape or form. I spent a few months and a few pennies (but not that much) on eBay last year tracking down the various singles, promos and odd releases that had slipped through my Tapes ‘n ‘ Tapes radar. If you have ‘The Loon’ do yourself a favour and download this wee selection of b-sides, session tracks and remixes to complete your collection. If you don’t have ‘The Loon’, why not? Try before you buy from the menu below, then go and buy ‘The Loon’.

1. Cowbell (KEXP session, previously only available as a free download.

Now it’s available as a, er, download again…for free…)

2. Jacov’s Suite (KEXP session, b-side of ‘Cowbell‘ CD single)

3. Omaha (KEXP session, b-side of ‘Cowbell‘ 7″ single)

4. Cowbell (Blackeyes Remix – Promo only release – rare as hens teeth)

These instruments below made that racket above

tapes-studio.jpg