Friday, February 26, 2010

Joy Ride

This cautionary tale was aimed towards young, thrill-seeking teens. The exciting car chase at the end of the film may have glamorized joy-riding to students more than actually demonize it. If nothing else, the film reveals the primary perpetrator of auto thefts: bored, horny boys.

Anyone know any of the tunes in the soundtrack?
Spooky Tooth?


Tuesday, February 23, 2010

The Snake

My brother in law went to Vietnam, and all i got was this lousy bottle of snake wine. He said the stuff was everywhere that caters to tourists, and it was cheap- american dollars wise.

He told me that he drank a bottle with his buddies the other night. He said it kind of freaked them out but it wasn't too bad, that it was kind of like shitty moonshine. They got drunk, nobody got sick, and everybody's got a fun story to tell. And here i thought that Mexicans were total savages for putting a little worm in the Mezcal bottle. Feh. Amateurs. The Vietnamese are fucking animals.. This shit is crazy.
On the label (opposite side, not pictured) it says that it cures Lumbago, Rhumatism, and 'Sweat of limbs.' Sweat of limbs eh? I'll bet this stuff is quite refreshing on a hot summer day.
"Whoo- it sure is a scorcher today."
"Grab a bottle of snake wine, that'll cool you right down."
According to some, the Cobra venom contains powers that give a man more potency- if you know what i mean... To make his Cobra snake stand on end!

As much as i want to try mine, i think i'd rather keep it un-opened because it looks so friggin cool up there on the shelf.
I'll probably never actually drink it.
I wish the bro in law brought more than two bottles back. Maybe if i could get my hands on some formaldehyde, i could drink the booze then re-fill and re-seal the bottle... But i'd probably be better off just drinking the formaldehyde. Now that would be a story to tell.

Once i took the photo, it got me to thinking of Snake songs.
A few that came to mind were: ZZ Top- Tube snake boogie, John Lee Hooker- Crawlin' King Snake, anything by Slash's Snakepit... And of course Bo Diddley for "wearing a cobra snake for a necktie." Finally i consulted the Googles because i knew there had to be something i was missing, and i found this forgotten gem.

I don't actually own this record in a physical form, i just found it floating around in the webernets, so i brought it over here...
I didn't think anyone would mind my borrowing it. Certianly not you, the listener.

From 1968.
Dig Al Wilson, and the slightly funky-northern soul-AM Gold classic,
"The Snake."


Saturday, February 20, 2010

Sorry Excuse

I had this crazy idea of featuring a 45's by bands that i was friends with when i was younger, with an essay written by the actual band member(s) themselves.
So here's my first go of it.
After all these years, i'm still in contact with Andy Excuse of Sorry Excuse, and he's still in contact with Chris Sorry. I don't think either of them sees much of Fuckin Jeff at this point. Through the miracle that is the internet, i was able to get these guys to write out a few words about their 17 year old record.

There are seven short songs on this record, each side only clocks in at about 6 minutes and change. I've plucked out two individual tracks and also included side one and side two in their entirety at the bottom. In my humble opinion, punk rock 45's should be listened to a side at a time regardless of how many songs they actually contain. It's just how i was brought up.

Here's Andy singing lead on the track "Elvis Come Home" Or if you prefer, players for all of side one and side two of this fine release are located at the bottom of the page.

Enough of my yammering, here's Andy Excuse himself to spin a yarn the way only he can:

Way back in 1992 or something like that, the redoubtable Charlie Krich was kind enough to offer frequently nude Coventry yokels Sorry Excuse the chance to record an honest to god record in a real live recording studio for release on his label, Vandal Children records.

In preparation, we rehearsed in my parents basement until my very first bass amp (a 50 watt Gorilla practice amp my Dad had given me the previous Christmas) died horribly. Loads of pungent blue smoke. We had never recorded with anything other than a boom box, and were relieved to find out that the studio had plenty of house equipment for us to use for the session.

On the big day, I picked up Chris, his brother Josh's Aria Pro II guitar, and Charlie in my old '76 Monte Carlo and headed down to Trod Nossel Studios in Wallingford CT. I can't remember if we managed to fit Fuckin Jeff and his sister's drum kit in there as well, but it's possible. That was a huge goddam car. Jeff, the regular author of this fine blog, used to remark that you could have a three ring circus in the back seat.

The engineer asked me if I wouldn't mind playing direct. I had no idea what he meant, so I told him it was no problem. We recorded most of the basic tracks in one take, all playing together. I think there were a couple of edits punched in, and we needed three or four takes for 'Elvis Come Home'. Fuckin Jeff and Chris had come up with some crazy syncopated rhythm at the end of the chorus that I couldn't hang with. I eventually figured out that I could just play the same thing as usual, but had to actually count the beats out loud, like a caveman, or, that is to say, like a bass player. Oh yeah, it was also Fuckin Jeff's idea to play the intro to that number really slow. In later years, we would sometimes do entire numbers that way if we were playing for audiences who had no idea what punk rock was.

During the whole session, I remember thinking, "Wow, this is the fastest we've ever played!" By the time the record came out, I would play it for people who had seen us live and they'd say, "Wow, this is really slow, compared to how you play it live."

Charlie told us to put a cover together. Fuckin Jeff came up with the hilarious idea of leaving most of the front cover blank, and then giving the printed copies to the kids at his Mom's day care center to color. We thought that was brilliant, and Charlie said he thought so too when we explained it to him. It turned out he was just being nice, because when he got the finished versions back from the printer with all that blank space on the front, he called me up in a panic.

"Andy, there's basically nothing on the cover. It's really bad. This could be the worst record cover i've seen in twenty years of punk rock."

I tried once more to explain what we had in mind, and reassured him that it would be absolutely brilliant. "No, man, we'll get all the kids to do all of these crazy crayon drawings on the blank space. Each cover will be unique, and people can look through and decide which one they like best. In ten years, they'll be talking about which cover they got, which was the best one, and what a great idea it was!" Charlie didn't try quite as hard to be nice in that conversation, and eventually I had to ask him to trust me. In a rare instance of insanely poor judgement, he agreed.

As fate would have it, most children aren't nearly the unspoiled geniuses as we'd like to believe them to be. We got far too many covers featuring rudimentary depictions of Barney, the purple dinosaur. Stupid kids. Talentless hacks, the whole load of them. The band members made a few, and I think we got some friends to pitch in while we were drinking malt liquor in an undeveloped cul de sac deep in the Coventry woods.

We got enough done so that when the records finally arrived, Charlie and I felt we had enough to sell when we drove up to a big punk show at some roadside shithole near Pittsfield MA. They actually went over kinda big, and Charlie was relieved. I traded one to a girl for her zine, and got a nice smooch in the bargain. Gamp, from Bugout Society, bought one, and immediately opened up the package to examine the gleaming red vinyl.

"Hey, Andy, the grooves are really packed in, here. Is this gonna be one of those records where the needle just gouges across to the label when I put it on the turntable?"

"Well, I'll tell you what, Gamp, if you have any trouble with it at all, just throw it away." Salesmanship, ladies and gentlemen. It can get you a long way in this crazy world.

After the small false start with the children from the Not Gifted crowd, we smartened up and started arriving at shows with a load of blank covers, a big can of crayons, some cookies and beer. As many of you who were pressed into service know, the whole scene contributed to the project, and we got some amazing stuff.

Relatively early in the proceedings, Fuckin Jeff showed up at practice looking somewhat the worse for wear. On the inside of your record cover, you will note that we thanked some people, including Fuckin Jeff's younger sister, Fuckin Heather, who was a big supporter who had colored a bunch of covers herself. Most of you will also note that the word 'Fuckin' in Fuckin Heather is lined out with a magic marker. Apparently, Fuckin Jeff and Fuckin Heather's Dad (Fuckin Dad), no doubt beaming with paternal admiration, had a look at one of the covers, and took issue with the whole Fuckin Heather thing. That's 'took issue', as in screamed bloody murder at Fuckin Jeff, chased him out the front door, and around and around the tree in the front yard until both of them, being kinda fat, were exhausted. Not quite so exhausted that Fuckin Dad was unable to storm back into the house, grab the carton of records and as yet uncolored covers and fling them out onto the lawn, of course, because that's what he did. Inhaling deeply for maximum fat guy volume, he commanded Fuckin Jeff never to darken his towels again, until each 'Fuckin' in Fuckin Heather had been crossed out. Jeff spent most of the night sitting in that very same undeveloped cul de sac, deep in the Coventry woods, lining out the 'Fuckin's. So, if you got one of the unredacted ones, congratulations, your copy is even more rare.

Here's a few words from Chris Sorry and a track with him on lead vocal.
This ones called "Date with destiny."

I remember mostly being in a fog on recording day and being led around by the only one who (perhaps, ever) knew what was going on, i.e. Andy. During a break in recording, I remembering walking around outside, over the rail tracks, thinking "Where the fuck are we exactly?" Ironically, I now work in that lovely town of Wallingford, and often drive by that very site I was asking that question, on my way to the bar after a week's work.

I remember the engineer letting me play through one of the studio amps, a Marshall that I thought he was crazy to even let me near. Looking back, the sound is not as impressive as I remember it, but that's probably life. I also remember how impressed the engineer was with Fuckin' Jeff's metronome of a kick drum. I don't remember any kind words for Andy or me. He did say, "I like yer songs - you get in, bash it, then get the hell out." Which I now read as a thinly veiled word of gratitude that we recorded quick so he could get us done so he could go back to doing more blow.

Andy left out how pissed Fuckin' Jeff's mom was, too. She was the one who discovered the whole "Fuckin' Heather" thing, and she blew a fuse knowing that the kids at her in-home daycare were busy crayoning the cover, where inside lurked this obscenity. Of course, she didn't appreciate the connotation attached to her daughter either- Even though it was eerily prophetic.

I don't have a hand crayoned 45. There were 500 of those precious originals, and they were quickly mailed out, and sold out. Many ended up in the Netherlands, or something like that. There apparently was a pipeline for Vandal Children shit to that part of the world - go figure. If you learn Spanish, or something, you can probably start calling over there, and scare some up.
There aren't that many people to sort through.

The 2nd pressing had a black-and-white drawing by Andy Excuse, also in crayon, of the 3 of us flipping the bird with big grins on our faces. I like it enough. I think there were 300 of those made.

(Chris Sorry, Andy Excuse)

Editor's note:
There were also an undetermined number of photocopied covers drawn by an old tattoo artist friend of mine and Andy's. I'm guessing that there were 200-300 of these and 200-300 of the one drawn by Andy. That would equal a grand total of 1000 records in two 500 press runs. Which is typical of how small-label punk rock 7 inchers were manufactured at the time. How many of each cover were used exactly would be impossible to say at this point.
The vinyl on the first press was bright red, and on the second press it was a darker, blood-red.

Side one uncut:
1. Sorry Excuse
2. Sob Story
3. This Magic Moment
4. Date With Destiny

Side two uncut:
1. Elvis Come Home
2. Everything Fades Away
3. Touch Butts

Click the DivShare logo on the little player thingy to download the sides.
Even better than that, here's a zip file containing all the music here, (The sides as sides, and also separated.) Plus the artwork here and other crap.
: : : GET IT HERE : : :

(Andy Excuse, Chris Sorry)


Thursday, February 18, 2010

They're coming to take me away Ha! Ha!

I'm not gonna put my whole life story out on the internet for a bunch of strangers to read, but i will give you one small detail about myself. I'm in my mid-to-late 30's and i have a young sister who's only in her middle-teens. It's a long story. I had a young mom, and she's got a regular-aged one. It's not a big deal, this kind of shit happens every day. Or in my mothers case- every 22 years or so.

After being urged by my mother to create a facebook page, i finally gave in and did so, i was hesitant at first, but now i'm glad i did.
My sister and i recently became "friends", and just tonight i saw a post where she quoted the Dr. Demento classic "They're coming to take me away" and i thought to myself, Wow- My kid sister is really outta sight! I remember listening to the Dr Demento show when i was her age, and younger even. Our mom, after all these years, is still teaching her kids that great music is not always the standard normal crap that you hear every day, not to mention still being the greatest mom ever. Especially now.
It really warmed the cocles of my heart...

I also remembered that i just converted the song from the 45 that i probably actually stole from my mother way back when we were all a lot younger. Or in my sisters case: Not born yet.

So off to the archives i went...

This one's for my sister Kelly, and the lady who gave us both life.
You guys are the greatest!

They're coming to take me away HA! HA!

And if anyone feels the need to hear it, the b-side is the entire song backwards. Nothing more. It actually works surprisingly well. It's worth a listen.



Tuesday, February 16, 2010


I got Olympics fever.

I need more Olympics records in my life.
I'm wild about this stuff.

Here's one for Team America!



Sunday, February 14, 2010

ba ba ba ba baaaa, ba ba ba ba baaa

It being Valentines day, i figured i'd post one to go with the theme.

There are quite a few love songs in popular music, i could pretty much throw a dart at my record collection and hit one (of course i would never actually throw a dart at my records, i might break something good.) I thought of some good tunes, but they are either on CD, or were something that i haven't already converted from vinyl.

I've never been big on Hallmark-holidays, Valentines Day seems pretty useless to me, so i took the easy way out and chose something from the reserves that i had already transferred.

Here we have The Troggs doing a song that's not Wild Thing. It might be the flip-side, i'm not sure, i have a few Troggs singles. Anyway, it's a good one. Not too cheesy, just a good old fashioned 'baby-be-mine' type number.

Check it out.

I knocked down a couple walls in my house last year, and found this card in the rubble. It was stuck between the baseboard floor trim and the wall. From the look of him, he had probably been living there for fifty years or so.
Give or take a few years, this little Valentine card is about as old as this song.

Thursday, February 11, 2010

Last Night

All right, so i cheated. This one's not from vinyl. It's from one of the many CD compilations of '60's soul hits' that i have.
Minor details.
This is my blog anyway.. There are no rules here.

What i did was alter the song slightly... That's why i'm sharing it here with you fine folks.
Now don't get me wrong, It's not like i did a retarded electro-pop remix of 'My Generation' or anything.. I just took this simple instrumental number, dumped it into my internet-box, extended the breaks a little bit and threw in some sound effects. That makes it sound like a lot more than it really is, it was really no big woop. The result still cracks me up every time i listen it. I probably added a whole 20 seconds to the playing time of the track, bringing it up to a whopping 2:57!
I dug my 're-mix' so much i just had to pass it on. (i hope nobody minds)

I gotta do this kind of shit more often. It makes me happy.

In case anyone cares, The Mar-Keys were, one of the Stax records house-bands of the early 1960s. Members of this rhythm section later formed other nationally prominent Memphis studio session groups, including the Memphis Horns, the Packers, and Booker T. & the M.G.'s. Each of these offshoot groups also recorded popular instrumental albums of their own, in addition to serving as the backing band on albums by dozens of rock, R&B, and soul music stars on Stax, Volt and other labels.

From 1961, The Mar-Keys "Last Night" - Modified by me.



Tuesday, February 9, 2010

They're Gonna Get You!

I don't know much about the Count Five, and i'm not going to claim to be an expert on the subject. In fact i'm anything but. There's plenty of information written on this one-hit-onder group from San Jose. If you really want their story, go find it. That's what the internet is for.
Here's a link to their wikipedia page if you really wanna know more.
Me, i'm just trying to dig on some tunes and rant about nothing....

The Count Five's one hit of which i speak, would be the garage rock classic "Psychotic Reaction" and anyone who digs any type of rock music has undoubtedly heard this one before. If you haven't- Please crawl out from under that rock you've been living under for the last 50 years, and get with the program. We have these things called electricity, and indoor plumbing now. And music-wise, you might wanna find some records by a guy named Chuck Berry and work it from there. There was also this dude called Elvis- he was pretty good too. It should all fall into place for you after that.

Now, don't get me wrong, I aint puttin down Psychotic Reaction. If i told you i didn't think it was one of the greatest 1960's garage rockers like, ever, I'd be lying- And i aint no liar. But we've heard it plenty of times before. "We"- Well all of us except that guy who was living under a rock anyway... Shit, i've always wanted to cover Psychotic Reaction, but the dudes i always end up in bands with have always shot me down. "Nah, we can't do that one- It's been covered to death already..." No shit. It's a great fucking song, and the people love hearing it. But what do i know. I'm only a bass player.

I will not posting Psychotic Reaction today. I'd rather hear the flip-side. A seldom heard selection called "They're Gonna Get You."
Check it out. It's a real boss tune, and the only other Count Five number i know.



Sunday, February 7, 2010

Smoke em if you got em

I discovered this image while cruising the far reaches of the vast interwebs-
"It's a series of tubes."
This gem was just sitting there, waiting for me to steal it...
Now it's here, on my little slice of the internet.

Far as i can tell that's Ritchie Blackmore on this Vietnamese cigarette pack. (Yes, it's real. Circa 1993.) Its the Stratocaster that tells me it's not Jimmy Page or Eddie Van Halen. But i could be wrong- I'm just a guy that pays WAY too much attention to these kinds of things... Tell you what though, if these were available at my corner bodega i'd smoke them exclusively.
But alas, it just wasn't meant to be.

Anyway, nobody (not even me) needs to hear "Smoke on the water" (get it- "Smoke") again for the kajillianth time, but it did get me to thinking of other 'Smoke' songs i had in my collection. 'Smokestack Lightnin' immediately came to mind, but the only vinyl version of it i have is on a Yardbirds LP... Then i was thinking 'Smokin in the boys room', until i remembered that i also had this seldom-heard acid-rock garage freak-out from a band with one of the dumbest names of the 60's (or ever, for that matter) Bubble Puppy.
It's been like a million years since i last listened to this one, and i had forgotten just how fucking great this song is.

I chose it for two reasons that have absolutely nothing to do with Ritchie Blackmore:
1. The word Smoke is in the title.
2. Its a wicked jam.

The song was allegedly inspired by an episode of The Beverly Hillbillies where Granny says: "Hot smoke and sassafras, Jethro, can't you do anything right?"
The members of this Texas group liked the phrase so much they wrote the song around it as an ode to meditating while smoking marijuana.
It became their only hit record.

From 1969.
Bubble Puppy, with "Hot Smoke and Sasafrass."



Thursday, February 4, 2010

Record Breaker

When i was a kid i shopped at a record store called 'Record Breaker' back when vinyl was still the standard format. It's where i bought a lot of my Misfits records, and other punk stuff like that. Ahh, the good ole days. That place was great. It's where my degenerate friends and myself bought those embroidered heavy metal patches for our denim coats. You know the ones. It was the 80's, and my life was like a never ending "Heavy Metal Parking Lot." (For those who haven't seen HMPL: Find it, Get it, and Watch it- You'll be a better person for doing so. And who knows? You might just learn something.)
After getting a new Iron Maiden patch or Metallica button or whatever, we'd then more than likely be found down on the abandoned train tracks smoking dirt weed and huffing Scotch Guard...
Good times. Good times. We made our mammas proud.

I remember when Record Breaker started to carry CD's, when they were still in those tall thin cardboard sleeves, and we were all: "What the fuck are these things?" "The place ain't called 'CD Breaker!'" My family wasn't exactly made of money, so we got a CD player long after everyone else had one. So i had the pleasure of seeing this new format before actually hearing any music on one.
I think i was a senior in high school when we finally got our very own CD player. On the day we got it, i was allowed to pick out two discs to listen to in the new machine. The first two CD's i bought were Black Sabbath's 'We sold our soul..' and the Beastie Boys 'Licence to ill.'
I still have them both.

Once Record Breaker got on the CD bandwagon, they started to phase out their vinyl selection just like everybody else. I remember getting some good deals on standard stuff during that time. Then there were the closeout bins where they had all this oddball crap that they were desperate to get rid of. I got some really strange punk/garage 7"s from Norway or Sweeden or some damn place for like a buck each. (Still got em- I oughtta convert those.)
I've had this record for so long, i want to say i bought it there, from their closeout bin- some 20 years ago.
That store closed when the big CD mall-stores took over. Musta been 1992 or so. It's been a while, so i could be off by a year or two in either direction.

Either way, this record is proof that just because something is really old, it doesn't mean it's really cool. It was recorded in 1957. It's not a bad little record, it's just average. It's a couple high school kids doing sloppy covers of Little Richard, Link Wray, and Ronnie Self songs, and nothing more. If that's your bag, then have at it. It's worth hearing.

As much as i tried to find some information on this record, there was none to be had. And i mean none. It's like this record is a ghost. Some of these songs are scattered throughout a series of CD compilations put out by the same label, but this little 45- she's long out of print.

I don't know much, but judging by the look and feel of the vinyl, and the time period that i used to shop at Record Breaker, I'm guessing this is from, i'm gonna say, oh, 1990 or so.
But then again, I've been wrong before. It's hard to keep track sometimes. A little too much cheap grass and aerosol inhalants back in the day maybe......

I didn't seperate the tracks. I didn't see the point.
Side one is Bop A Lena and Raw-Hide

Side Two: Ready Teddy and Jenny Jenny




Muddy Waters "Evil" from 1958.
Not to be confused with the Howlin Wolf song of the same name. Muddy's version is the same theme, but it's an entirely different song.

The cool thing about this record (my personal copy) is that there is a crack that goes from the outer edge to about halfway through the song. You can hear a little pop when the needle hits it, but it still doesn't skip...
They really don't make em like this anymore.




High Heel Sneakers

How about another version of High Heel Sneakers.
This ones by The Searchers. It's the B-side of 'Love Potion Number Nine' from 1964.

I know that i have at least one more version of this song in my collection, maybe two, i gotta check.

Old 45's are amazing. Look at how beat up the label is on this one- It's a little bit noisy, but it still plays without skipping.



Tuesday, February 2, 2010

Terry Knight and the Pack

I'm going with the straight Wikipedia write-up on this one. (I edited it down a bit.)
Personally, i love knowing all the details about records like this.

I picked this up at a long gone record store in Cambridge, Ma about ten years ago. I remember not really liking it so much at the time, filing it away and forgetting about it until recently when i started thinking about rare stuff i have that i could share here. I gotta say, 'Hearing it again for the first time' i really kinda dig it now.

Check out the first number called "Numbers."

'Terry Knight and the Pack' was a rock band from Flint, Michigan between 1965 and 1967. They were on the Lucky Eleven label throughout their short recording career.

Former DJ Terry Knight fronted the act as singer and songwriter. Don Brewer and Herm Jackson played drums and bass, respectively. Curt Johnson supplied fuzz guitar solos while Bobby Caldwell provided melodic keyboards. Mark Farner filled in for Herm Jackson on bass for a few months in the spring of 1966 while he was injured with a broken leg. Since they are both credited with playing bass on this record, it's unclear who actually performed on which songs. In January 1967 Terry fired Curt Johnson and replaced him with Mark Farner on guitar.

A quintessential garage band, TK&TP openly imitated best-selling rockers of the mid-1960s, especially the Rolling Stones and Bob Dylan. Due to the band's lack of refinement and Knight's compositional idiosyncrasies, much of their material transcends its inspiration to qualify as lost classics of the Nuggets era.

Six of their nine 45s made regional Top 40s throughout Michigan, Ohio and New York, with two of them - "Mister, You're A Better Man Than I" (originally by The Yardbirds) and "I (Who Have Nothing)" (a cover of a Ben E. King song) - reaching the national charts.

Tracks by the band include: "This Precious Time" (composed and produced by P.F. Sloan), versions the Rolling Stones' "Satisfaction" and "Lady Jane" and several Knight originals: "Numbers," "A Change On The Way" and "Love, Love, Love, Love, Love" (later covered by Detroit's Brownsville Station). An interesting note is that The Music Explosion issued an almost identical version of "Love, Love, Love, Love, Love"--same instrumental backing track but a different vocal track; it's unclear whether The Pack or the Music Explosion recorded the "original".

After their second LP, Reflections, Knight left the band to pursue a frustrated solo career as a producer and singer. The Pack briefly continued without Knight with even less success. The band was largely forgotten until Mark Farner and Don Brewer formed the nucleus of Capitol Records' best-selling act of the early 1970s, Grand Funk Railroad, who were initially managed and produced by Knight.

All recordings by Terry Knight and the Pack have been out of print since 1973, with the exception of "I (Who Have Nothing)" which is included in the Cameo Parkway 1957-1967 box set.

Only one "best of" compilation was released in late 1972 by ABKCO Records as the 2 LP set "Mark, Don and Terry 1965-67" inspired by the Grand Funk Railroad 2 LP set "Mark, Don and Mel 1969-72" released earlier that year on Capitol. The ABKCO-released album was later re-packaged in 1973 as "Funk-Off." Both albums are considered collectors items after being dropped from the ABKCO catalog. Another quasi-best-of compilation, Track On, was released on Lucky Eleven circa 1969-70, but the legality of its issue has been questioned.

In 2008, Terry Knight and The Pack were inducted into the Michigan Rock and Roll Legends Hall of Fame.
-From Wikipedia.

Here's another one called "Sleep Talkin."

And here's a zip file of THE WHOLE RECORD including the cover scans. Go for it. The cover on my copy is pretty beat, but the vinyl is in surprisingly good shape for it's age. There's a minor skip at the very beginning of one of the songs, but it's really not too bad. You'll barely even notice it.


Monday, February 1, 2010

Somebody Help Me

I don't know why bands did stuff like this back in the old days, but a lot of them did. Two drastically different mixes of the same song.
They probably didn't have a choice, or worse yet, didn't even know it was happening until it was too late.

Here we have "Somebody Help Me" by the Spencer Davis Group featuring Steve Winwood.
I don't know about the chronologicals, but it would seem to me that this version came out first as the single, and the other version with more organ and less guitar was what was on the long player of the time. On this here 45 of mine, its the same take but there is no organ, way more guitar, and the bass is so up front it makes Led Zep's Heartbreaker sound like JPJ was playing the ukulele. Why would a producer fuck around with perfection like this? Anyone's guess. It was a different era.
Either way, here's the heavy version.

And if anyone cares to compare the two, HERE"S A LINK to a 30 sceond sample of the crummy watered down version.

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