The home of the The Squire – podcasts, compilations, lost & reconstructed albums
Throughout the centuries, Richmond Upon Thames has contained many pubs within its boundaries. Here I am once again joined by Richard Holmes, author of Pubs, Inns and Taverns of Richmond to look at some of those that are no longer with us as well as the Breweries that were once found within the town.
If you are interested in buying any of Richard’s books, he can be contacted here holmes1@blueyonder.co.uk.
It was only after competing my retrospective look at the Hendrix related discs Alan Douglas put out that I though I really should have produced one of the best tracks from the Mike Jeffereis years. These were the years between Hendrix’s death in 1970 and 1974 even though Jefferies himself died in a plane accident in 1973. What I learned from listening to these albums (and this was also noted in my previous post), is that this could be the best example of the law of diminishing returns. ‘The Cry Of Love’ and ‘Rainbow Bridge’ are very good records. However, the two that followed are not. ‘War Heroes’ has some good material but the majority is pretty substandard. It is even worse on ‘Loose Ends’ which was so bad, that Reprise who represented Hendrix in the USA refused to release it. You can tell how bad it is that when the Hendrix family took over the catalogue in the 1990’s and seem to have release every recording Hendrix made bar him blowing his nose (even though it has felt as though they may as well have done), there is still one song from ‘Loose Ends’ that has so far failed to see a re-release.
As you can see from this double album, the majority of the cuts come form the first two releases of the Mike Jefferies era and there is some crossover with the Alan Douglas LP, but where as those tracks have session musicians on them, the Jefferies releases did keep the original players on there. Still a good album though but apart from ‘The Cry Of Love’, the Hendrix family have seen to it that these records were deleted from the Hendrix catalogue and I will surprised if they ever see the light of day again. It is not as though they are rare through as most were in production for over twenty years.
Side 1
Side B
Side C
Side D
*These songs also appeared on the Alan Douglas Years compilation from earlier in the month.
The cover image is an adaptation of the one used for ‘The Cry of Love’ album.
The posthumous career of Jimi Hendrix can be split into three periods. The first period was just after he died when his manager Mike Jeffery was keen to milk the Hendrix cash cow for all it was worth. The second is after Jeffery had died (in 1973) and producer Alan Douglas took over the tape catalogue, as well as paying out of his pocket for tapes that Hendrix had recorded at the Record Plant studios. The third period is from the mid 90s up until the present day where the Hendrix family took control of the guitar players recorded legacy and have put out a steady steam of releases ever since. It is the second period that this entry deals with.
After buying all of the albums released during his lifetime, I turned my attention to the records that were put after his death. These came quite quickly with ‘The Cry Of Love’ being the first of these and was compiled by engineer Eddie Kramer as well as drummer Mitch Mitchell. The cover is a stunning piece of work and was quite successful with the record buying public on both sides of the Atlantic. Even though this cannot be considered to be the fourth Hendrix studio album because the song mixes had not been finalised by the man himself, it contained a couple of classic numbers including the lovely song, Angel.
From what was a positive start with the posthumous releases, this soon turned into a case of diminishing returns. I did not manage to secure a copy of ‘Rainbow Bridge’ but I did pick up ‘War Heroes’ and wondered what Hendrix himself would have thought of this and was it worthy of release. The nadir of the period was ‘Loose Ends’, an album considered to be so bad that the Reprise record label refused to release it in the US.
The last album from this period of Hendrix album releases that I bought was 1975’s ‘Crash Landing’. I think I played it once and until recently, I have never listened to it again. It just didn’t do it for me at the time. I think I was just into that psych period of Hendrix too much to want to hear his ‘I’ve moved onto something more heavy and funky’ period. ‘Crash Landing’ was the first of the Douglas releases and he would release another four ‘studio’ albums during his tenure as the keeper of the Hendrix archives. His time in this capacity has been seen by seem as controversial.
The controversy arises form he fact that Douglas replaced the original backing tracks of some of the songs on the releases he put out, utilising sessions players. These weren’t any old sessions players though, but some of the best in the business. In defence of Douglas, if he wanted to make a cash grab album, why spend money on some of the best musicians around. They would not have come cheap. He would also have needed to have updated the sound to appeal to the record buying public of 1975. The crate digging career overview box sets of today were not a thing back in the mid 70’s. As far as I can think of, only Buddy Holly & Jim Reeves had had their career prolonged in this way by releasing archive material up to that point. Using session musicians did not endure Douglas to fans of Hendrix, and it might not have helped his cause that he claimed writing credits on some of the ‘Crash Landing’ songs.
A few months later, a second Douglas produced Hendrix album was released. ‘Midnight Lightning’ followed the same template as ‘Crash Landing’ including using the same set of session musicians. This was followed up with ‘Nine To The Universe’ which was made up of edited jam sessions, but unlike the previous efforts, Douglas used most of the original backing tracks. Apart from the repacking of already released songs and live albums, Douglas waited until 1994 to release some new Hendrix studio product. ’Blues’ contained some songs that had already been released but the majority had not been. Some of them were composites of multiple takes that were edited together to form a new song. This record also included the original backing tracks. One last Douglas album was 1995’s ‘Voodoo Soup’ which was Douglas’ attempt at creating the album Hendrix was working on when he died. The album did receive some positive reviews but there was still the criticism that outside musicians were brought in to re-record parts Douglas felt were substandard. Not long after this, the Hendrix family gained the rights to the archives and Douglas’s association came to an end.
All of the albums released after Hendrix’s death until the release of the first Hendrix family approved albums in 1997 have been deleted from the back catalogue. However, these releases were around long time and enough copies were sold so it was not difficult to pick up the records missing from the collection, and I feel that in the past I fell into the trap many other have of dismissing Douglas’ contribution to the Hendrix legacy. The albums have good players playing on, the covers don’t look cheap (even though the Voodoo Soup one is a bit weird) and if Douglas was only after the money, why did he release so few Hendrix studio session albums. The Hendrix family have released considerably more in their time as custodians of the archive, some of it of very dubious quality. The ‘Blues’ album is also still part of the official catalogue, so if Douglas did such a bad job, why not delete everything he did? If the backing tracks that were recorded with Hendrix in the studio were so good, then why has the Hendrix family not released a studio cut of ‘Machine Gun’? Douglas did.
I put this playlist together using the following albums; ‘Crash Landing’, ‘Midnight Lightning’ and ‘Voodoo Soup’. I did not use ‘Nine To The Universe’ as none of the tunes fitted in with this playlist, and ‘Blues’ is still available. I wanted to see if the recording held up and there was enough for a double album. It could be presented as the best of the Douglas years and it is unlikely that the Hendrix family will never do this themselves.
I was inspired to put this compilation together by reading an excellent blog, http://deadhendrix.blogspot.com. It goes into a lot more detail. looking at each of the albums made up of studio cuts that were put out between 1970 and 1996. It with thanks to that blogger that I listened and re-evaluated the Douglas era. It is bloggers like this that the internet needs. Putting out fresh perspectives and challenging old ideas. I salute you, whoever you are.
Side 1
Side 2
Side 3
Side 4
The cover for this compilation as adapted from an unused Henri Martinez painting that had been commissioned by Hendrix for his next album but ultimately not used. I added a Hendrix related logo.
After Hendrix finished recording ‘Electric Ladyland’, Hendrix would only release one more album before his untimely death. That album was to fulfil a contract he signed before he made it big and was called ‘Band of Gypsys’. It was a live album of live songs Hendrix had not released before and was seen by Hendrix himself as not up to the standard he had set for himself. ‘Band of Gypsys’ is not a bad album, with ‘Machine Gun’ being seen as an artistic triumph but it does pale in comparison with what came before. With his outstanding contract problems seemingly out of the way, Hendrix went back to finishing off the album he had been working on since he finished ‘Electric Ladyland’.
Hendrix spent much of time between the end of the ‘Electric Ladyland’ session until his death in and out of the studio. With the amount of studio material that has seen the light of day over the years, it is surprising the Hendrix had any time to play live, eat or it would seem breath. He was even putting together his own stood called Electric Lady because he had run up massive bills from the amount of time he had spent block booking other studios to record as much as he possible could. This second compilation focuses on the period of time Hendrix was recording his fourth album but there is still room for some tunes from the years when the Experience was a going concern. This just goes to show that Hendrix had amassed an amazing amount of material and it is a tragedy that he never got to finish it. Enjoy!
Disc 1
Disc 2
Like Volume 1, the front cover was an image I came across back in the dim distant past so I’m afraid I will not be able to credit the person who made it.
Have you ever wondered what the answer to that question is? Well, let The Squire and Paul from Ale Hunters look to answer it for you.
Ale Hunters – https://www.alehunters.co.uk
Filmed at the Brewery Market, Church St, Twickenham https://brewerymarket.co.uk
My first experience (no pun intended) of Hendrix was on a K-Tel compilation album called ‘British Gold’. The track listing for that album included ‘Hey Joe’, and a look in the Squire archive in the late 80s when I was expanding my musical pallet contained some of the Track Records sampler albums that went by the name of ‘Backtrack’ as well as the ‘Smash Hits’ compilation. Not much to go on but this was about to change.
My interest in Hendrix was really awakened when someone brought in a cassette into school of the ‘Radio One’ album. What an album this was seeing as it was a compilation of songs Hendrix had recorded for the BBC. With an eye catching cover of the great man himself wielding a Fender Stratocaster guitar, the music contained within was different, electrifying and nothing like anything in the charts at the time it came out in 1988. This seemed to be the album everyone bought and I duel bought mine. A bargain as well at only £5 for a double LP. This album received a lot of plays on the turntable and was great it that this only included what could be argued to be the best version of songs that he seemed to only play at the BBC like Drivin’ South. Compare this to the ‘BBC Sessions’ album released ten years later and you’ll see what I mean. The later album might be more comprehensive, but in my opinion ‘Radio One’ is the definitive album of the two.
After ‘Radio One’ has wetted the appetite, I bought all of the records not already in the archive that Hendrix with or without the Experience released in his lifetime. Every album had mind blowing songs on them, but the icing on the cake was playing through ‘Electric Ladyland’ for the first time. Was this a rock album, or an R&B one? But then again, was it psychedelic or blues, or a melting pot taking all of Hendrix’s influences and blasting them out of the speakers to attack your senses. Who cares, it is a classic album and contains one of the greatest cover version of all time in Hendrix’s interpretation of Dylan’s ‘All Along The Watchtower’.
Most of the recordings contained on this compilation are taken from the releases of the Jimi Hendrix Experience, with only a couple taken from later sessions because the majority of the post ‘Electric Ladyland’ material does not fit in with these earlier recordings sonically for me. Enjoy!
Disc 1
Disc 2
The front cover was an image I came across back in the dim distant past so I’m afraid I will not be able to credit the person who made it.
Normally when it comes to music produced from 1966-68, I tend to go for the mono mix as this is what the majority of artists thought of as the playback system that was dominant at the time. However, to my ears, Hendrix sounds weird in mono (if you are lucky enough to hear in that way) so I have gone with stereo mixes for the majority of the songs on this playlist. I think that the only mono records here are from the single mixes.
Throughout the centuries, Richmond Upon Thames has contained many pubs within its boundaires. Here I am joined by Richard Holmes, author of Pubs, Inns and Taverns of Richmond to look at some of those that are no longer with us.
If you are interested in buying any of Richard’s books, he can be contacted here holmes1@blueyonder.co.uk.
Here on the forth volume of my Under The Influence Series, the theme is Northern Soul. Time to relive the glory nights of the Twisted Wheel, Golden Torch, Blackpool Mecca and Wigan Casino.
Disc 1
A playlist for this complication could not be produced due to one or more songs not being available on Spotify.
Disc 2
A playlist for this complication could not be produced due to one or more songs not being available on Spotify.
What can I say about this era of Fleetwood Mac that has not been said before. Absolutely nothing so I will be brief. There is a reason why this era of the band is so well known. They sold an absolute ton of records and put out Rumours, the only classic album to have been produced whilst the band members were partaking in liberal amounts of cocaine. The classic era dates from 1975 when Lindsay Buckingham and Stevie Nicks joined. This line up was also the most stable in the bands history, which is surprising considering the collapse of two of the relationships that band members were in, and then two having an affair and the aforementioned drugs. How they produced anything at all, let along five albums of at worse, pretty good to at best, absolutely classic music is beyond me.
Like the first compilation of Mac material, this era had so much quality music that I put together a CD set. I didn’t finish in 1987 when Lindsey Buckingham left, but with the album that signalled the end of the band as regular recording act in ‘Behind The Mask’. This is not classic Mac, but still competent enough for inclusion here. I gave the next album after this a listen, but the ‘Time’ record is just awful. It doesn’t help that drummer Mick Fleetwood felt it was time to include a seven minute spoken word piece to see it off. Buckingham would return, and go again (or fired depending on your point of view). Nicks and Christine McVie would go and come back, but behind the ever rotating members up front are the bedrock of Mick Fleetwood and John McVie. The rhythm section has pretty much been the same since day one (apart from stop gap bass player Bob Brunning from the very early days). Fleetwood Mac is now just a touring band with attempts to record a new record coming to nothing since 2003s ‘Say You Will’. I’d moved on by this point but I will always have a soft spot for the Mac as they were the first band I really got into as it were. I love the music and how they managed to survive after Peter Green left, and then come back even stronger is a testament to great song writing and great playing. For that, I say thank you. Enjoy.
Disc 1
Disc 2
Disc 3
When Fleetwood Mac started in 1967, they were a British Blues band that ended the decade outselling The Beatles and The Rolling Stones. After numerous line up changes and relocating to the USA, the band released ‘Rumours’, one of the greatest and biggest selling albums of all time. With an album, how do you follow it up. Lindsey Buckingham, the man who pretty much kept the sessions for Rumours going even with a mountain of cocaine and the collapse of the inter band relationships trying to get in the way, through that ‘Tusk’ should be competing with the New Wave acts dominating the charts at the time. ‘Tusk’ sold well, but nowhere near a much as ‘Rumours’.
Then there was ‘Mirage’, the forgotten album from the classic Buckingham/Nicks era of the band. This album did something ‘Tusk’ and ‘Tango In the Night’ did not, which was to make Number 1 in the USA but in terms of singles, none really cut it in either the US or UK charts. Well, ‘Hold Me’ made the top 5 in the US but that was about it. Listening to the ‘Mirage’ album though, it could be argued that the band members who wrote the songs were not producing their best work for the band at this time. Stevie Nicks has realised ‘Bella Donna’, her first solo, which had reached Number 1 on the US Billboard chart and was very successful in other territories as well.
Lindsey Buckingham had also release this first solo album in the shape of ‘Law & Order’ which was not in any way shape or form as successful as Stevie Nicks. Mirage came out a year later and then there was five year gap before the next Mac album, ‘Tango In The Night’. In-between ‘Mirage’ in 1982 and ‘Tango In The Night’ in 1987, each of the band songs writer released a solo album. In fact, ‘Tango In the Night’ started life as a Lindsay Buckingham solo album until he was convinced otherwise, but what would have happened if the band had decided to have release another record in 1985 instead of the solo albums. Well, here is an attempt at answering that question.
Side A
Side B
B-Sides
I thought that being democratic with each of the three song writers receiving four songs each, taking the total songs on the record to 12. However, unless we did what Dire Straits did at the time which was was to do some editing here and there so that the album would have a different run time on vinyl and CD, then this was not going to happen. The songs are quite long apart from Stevie Nicks, who only seems that have one way of writing songs. Christine McVie and Lindsey Buckingham produced records that did not sound as though they would fit on the Mac album. Anyway, I digress. McVie would only have three songs on this record with Buckingham and Nicks having four each.
I may have been critical of Stevie Nicks, but when putting this album together, her songs were the most commercial and are arguably the best ones on this record. Her album, ‘The Wild Heart’ is pretty good and she had so much material knocking about that she was able to release another album in 1985, which was called ‘Rock A Little’. As albums go, I feel that this would have been a stronger collection than ‘Mirage’, but still not up there with the best albums this line up produced.
This record was geared to a the length of a vinyl LP, so there were a number of good songs left over. I felt that it would have been a shame to lose them so in this time line, these would have been used a B-Sides. The Stevie Nicks songs, like those used on the main album are the strongest here. If this had been, I am sure that Nicks would have been rather annoyed that she had produced so many quality songs that were not allowed to be on the parent album. I can hear her arguing with Buckingham about the inclusion of Nightbird, which is a good song. However, I can hear Buckingham saying ‘We cannot have Nightbird on the album as it sounds too much Gypsy form the last album’, which would no doubt get Nick’s back up.
By this point in music history, Mac were releasing 12” singles so there was room for some of the longer more experimental songs on the B-Sides. Whatever the A-Sides would have been, there are four B-Sides for you to enjoy. In reality, there is no way on God’s Earth that this album would have been released. It is amazing that they actually managed to get their act together to release ‘Tango In The Night’. That album came out in 1987 and in thirty four years since then, they had produced three albums of new major. To put that into context, before that, they had released fourteen albums. The band essentially finished in 1982 and ‘Tango’ aside, they have become like the Beach Boys. Releasing the odd album here and there but essentially going out on the road to perform old hit for ever increasing ticket prices. Fleetwood Mac are one of the greatest bands of all time but they have never been the same since.
The front cover is adapted from the promo CD release of the Stevie Nicks box set compilation, Enchanted. They band name is at the base of the quill to have the effect that the person has just written it. There are no band pictures from 1984 so I went with this image instead. Fits quite nicely I think.