Various Artists – A Squire Christmas

This time last year, I posted a compilation of what I would consider great Christmas records. Well, this year I’ve gone the other way and am posting a compilation of what can only be considered (at best) a collection of ‘alternative’ Christmas records. It’s not to say that all of of these records are bad, but I doubt that any of these will be appearing on a ‘Now That’s What I Call Christmas Music’ anytime soon.  Some of these records are so obscure that I suspect that some of the people who have played on them don’t want to admit to that fact, or at least. The sound quality on some of these records is not as pristine as I would like, but some of these recordings are on the obscure side so it was a case of using what was at hand.

Disc 1

1.Spike Jones & his City Slickers – All I Want for Christmas Is My Two Front Teeth (Gardner)

Spike Jones was a popular musician and bandleader specializing in performing satirical arrangements of popular songs. Ballads and classical works receiving the Jones treatment would be punctuated with gunshots, whistles, cowbells, and ridiculous vocals. Through the 1940s and early 1950s, the band recorded as Spike Jones and his City Slickers and toured the USA and Canada under the title ‘The Musical Depreciation Revue’. 

2. Gayla Peevey – I Want A Hippopotamus For Christmas (Rox)

Gayla Peevey was a popular child singer in Oklahoma and was only ten years old when she recorded this novelty Christmas record. The record was released by Columbia Records, and was a huge hit. The Oklahoma City Zoo capitalized on the popularity of the song for a fundraiser in 1953. Kids sent in their nickels and dimes (that’s 5 & 10 cents to non Americans) as donations and helped to raise $3,000 to buy the zoo a baby hippopotamus, named Matilda. Unfortunately, Matilda died in March 1998 as she was being transferred to Walt Disney World. Gayla changed her name to Jamie Horton as a teenager, and in 1960 she recorded “My Little Marine,” which reached #84 in the US charts.

3. Kay Martin & her Body Guards – I Know What You Want for Christmas (Unknown)

In the 1950 and 1960s, adult comedy recordings became widely available and very popular. Kay Martin and Her Body Guards was one such act, consisting of the eponymous Kay Martin together with Jess Hotchkiss and Bill Elliot. From 1953 to 1963, their popular, often risqué material received top billing in Las Vegas and Reno casinos and was in demand across the southern US. Their six live recordings became popular adult ‘party’ albums, often sold at the door after the shows. Their best known recording was the 1962 Christmas album “I Know What He Wants for Christmas… but I don’t know how to wrap it!” Sometimes the record sleeve graphic would feature ex-model Martin but more often an anonymous glamorous young lady with very little clothing on. Sometimes there was an alternative R-rated “party” version with some ‘disenrobement’ (whatever that means) included. Needless to say, there is a lot of double entendre on these records. 

4. Troy Hess – Christmas on the Moon (Hess)

Troy Hess has performed since he was 2 years old, appearing with such stars as Bob Wills, Ernest Tubb, Dolly Parton, Johnny Cash, George Jones and Tammy Wynette. His father, Bennie Hess, was a popular B-western movie actor and hillbilly singer in the 1940’s. Bennie also ran his own record label and record plating plant as well as recording many early rockabilly acts. During the 1970s and 1980s, Bennie Hess devoted most of his time to promoting his son Troy, who he billed as ‘America’s Singing Souvenir,’ and ‘the world’s youngest country and western singer.’ Troy recorded his first record at the age of four and was quite popular at state and county fairs, as Bennie fronted the band acting as emcee for the shows, and sometimes even performing magic tricks. Some of the songs young Troy Hess recorded were “You Oughta See Pickles Now,” “Troy Hess Boogie,” “Please Don’t Go Topless, Mother,” and “Christmas on the Moon.” It looks like Troy is still making music, but is not putting any of his efforts down on disc (as far as we can tell). 

5. Lou Monte – Dominick the Donkey (Monte/Allen/Saltzberg)

Lou Monte, was an Italian-American singer best known for a number of best-selling, Italian-themed novelty records which he recorded for both RCA Records and Reprise Records in the late 1950s and early 1960s. This song tells the tale of Santa having to use a donkey to help him deliver presents in Italy because his reindeer can’t climb hills and there was me thinking reindeer could fly. There was a campaign in 2011 to get this song to the top of the UK singles chart, but ultimately it peaked at number 3. 

6. Reece Shipley – Can Santa Miss Those Missiles (Shipley)

Reece Shipley was a well-respected Country Swing and Rockabilly songwriter and singer. In the early 1950s, Shipley performed regularly on radio programs, such as WKPT’s ‘Saturday Night Hayride.’ A wonderful example of what was being produced during the madness of the Cold War. 

7. Lillian Briggs – Rock ‘n’ Roll-y Poly Santa Claus (Allen/Arthur)

In 1956, Rockabilly Bombshell Lillian Briggs released a song for the Christmas Holiday season, called “Rock ‘n’ Roll-y Poly Santa Claus.” The song was co-written by Robert Allen, who also wrote many hit songs including “Home for the Holidays,” “Chances Are,” as well as the fight song for Auburn University in Alabama, “War Eagle.” The orchestra was under the direction of Owen B. Masingill, who also wrote arrangements and conducted for many top performers, including Duke Ellington, Perry Como and Hoagy Carmichael, and also played trombone with Gerry Mulligan.

8. Mae West – Santa, Come Up and See Me Sometime (Unknown)

Mae West was an American actress, playwright, screenwriter, and sex symbol, who was famous for her provocative double entendre laced humour. She was an outspoken crusader for free speech, and was also an early advocate of gay and transgender rights. In the 1960’s, in an attempt to keep her commercial appeal with younger generations, Mae West recorded two Rock and Roll albums, “Way Out West”, which featured covers of songs by Bob Dylan and The Beatles, and “Wild Christmas”, which featured “Santa, Come Up and See Me Sometime,” a very strange song where Mae expresses her lust for Santa (and his reindeer) by using one of her better known catchphrases.

9. Kay Martin & her Body Guards – Come on Santa, Let’s Have a Ball (Unknown)

See Disc 1, Song 3

10. Bobby Helms – Captain Santa Claus and His Reindeer Space Patrol (Unknown)

Bobby Helms was an American singer, who had hits on both the country and pop music charts in the late 1950s. Christmas 1957 saw the release of the Bobby Helms hit song “Jingle Bell Rock,” and it reappeared again on the charts four of the following five years, becoming a Christmas classic in the process. The B-Side of the single was a less popular song, called “Captain Santa Claus and His Reindeer Space Patrol.” The rocket sound effects sound like a combination of a toilet flushing and someone clearing their throat of phlegm. Nice!

11. Dora Bryan – All I Want For Christmas Is A Beatle (Benton)

Dora Bryan is a British actress, with a long list of films, television shows and plays to her credit. She has a distinctive speaking voice which has become a trademark of her performances. She recorded “All I Want for Christmas is a Beatle,” in 1963. The song has the distinction of being the first record that attempted to cash-in on the success of the Beatles, and was a top 20 hit in the UK that year.

12. Debbie Dabney – I Want To Spend Christmas With Elvis (Heartbreak Noel) (Kirshner/Darin)

Out of the unholy compositional alliance of Don Kirshner and Bobby Darin comes “I Want To Spend Christmas With Elvis.” The long forgotten Debbie Dabney brays the lyric made up of Elvis Presley song titles loosely strung together around a sexually suggestive Christmas theme. This song fits in to a pop music sub-genre called the ‘cash-in record’. These occur when a musical star becomes so famous that other people (read: record companies) feel obliged to perform songs about him or her. Elvis certainly falls into this category, so we ended up with this record. Other examples include “I Want to Spend Xmas With Elvis” by Marlene Paul (which is in fact the same song, released under a different name in a vain attempt to fool the public) and “Elvis For Christmas” by Mad Milo, a Buchanan-Goodman styled novelty record. Note that these are just the Christmas-oriented Elvis cash-ins; there were plenty of others not related to the holiday, like “My Boy Elvis” by Janis Martin.

13. Little Betty Ashley and J.W. Thompson – The Christmas Dolly (Unknown)

No information has been forth coming about these ‘artists’.

14. Sheb Wooley – Santa and the Purple People Eater (Wooley)

Shelby F. “Sheb” Wooley was a musician and character actor who appeared in many Western movies – but is most famous for having written and recorded the most annoying rock and roll earworm ever, “Purple People Eater,” which in 1958 was so popular that a toy line was produced not long afterwards. Shortly after he released “Purple People Eater”, Wooley tried to further cash in on the success of his hit by releasing a string of lesser-known novelty songs, including “The Purple People Eater Plays Earth Music,” “Purple People Eater #2,” and even a song called “Skin Tight, Pin Stripped, Purple Pedal Pushers.” In 1958 he released a Christmas song called “Santa and The Purple People Eater,” about Santa’s encounter with Sputnik and an alien, however no song of his ever really captured the attention of the record buying public in the same way as the original.

15. Barbra Streisend – Jingle Bells (Pierpont)

I would have loved to have been in the recording studio when the arranger and orchestra came in ready to record this Christmas standard. I can then see Streisend coming in and saying, “We need to record this song in under two minutes because I’m late for dinner/my car is on a parking meter that is about to expire etc”. That can be the only explanation for why is it sung at 80mph. Please, just turn the damn thing off!

16. Buddy Hackett – Dear Santa Claus (Unknown)

Buddy Hackett was a legendary rubber-faced comic, actor, and entertainer. Described as a ‘comic’s comic,’ he appeared in films such as “It’s a Mad, Mad, Mad, Mad World”, and “The Love Bug”, as well as numerous television appearances.

17. Kay Martin & her Body Guards – Santa’s Doing the Horizontal Twist (Unknown)

See Side A, Song 3

18. Ben Light – Christmas Balls (Balls)

Benjamin Bertram Leight had a long career, performing under the name ‘Ben Light.’ From the 1930s to the late 1950s, he made hundreds of recordings, and sold millions of records. In 1936, he recorded ‘party’ records for Hollywood Hot Shots, a low-budget record label which supplied jukebox records. While Ben accompanied on piano, an anonymous male singer did the singing. These songs, with titles like “The Guy Who Put the Dix in Dixie” and “Christmas Balls,” were considered raunchy material in their day, filled with sexual innuendo and ‘teasing’ lyrics.

19. The Beach Boys – Santa’s Beard (Wilson/Love)

The annoying child pulls the pillow out from under Santa’s shirt and pulls off his beard. The whole scenario makes ours stomachs turn, much like an undercooked Brussels sprout. When was the last time that pillow was washed for God’s sake? With Brian Wilson hitting his most migraine-inducing falsetto note as he repeats the taunt (“Not Santa! Not Santa!”), we may never enter a shopping centre again. Not one of the best Beach Boys efforts by a long shot.

20. Sonny James – Barefoot Santa Claus (James)

Sonny James is a popular American country music singer and songwriter. From 1964 to 1972, Sonny James was a dominant force in country music. He recorded 16 straight #1 singles in addition to 72 verified chart hits. James’s career No.1’s total would eventually stand at 23. In 1969, Billboard magazine named him ‘Artist of the Year.’ Back in 1966, James released this Christmas record complete with obligatory off-key children’s choir. Why is it that a chorus of children just can’t sing in tune on records? The song was co-written by Bob Tubert, who also wrote songs for Brenda Lee, Eddy Arnold and Dolly Parton. Oh well, everyone has an off day. 

21. The Go-Go’s – I’m Gonna Spend My Christmas with A Dalek (Unknown)

Over the years, Doctor Who has also inspired dozens of musical tributes, such as the 1964 Christmas song “I’m Gonna Spend My Christmas With A Dalek” by The Go-Go’s (not the Belinda Carlisle Go-Go’s, but a 1960s British pop band of whom this was the only recorded song. This band originated from Newcastle). In the song, a little girl explains that she’ll celebrate the season by kissing her favourite robot “on his chromium-plated head.” You haven’t lived until you have heard a Dalek asking for “more plum pud-ding and cus-tard.”

22. Don Ho – This Christmas (Jenkins) 

Don Ho was a popular Hawaiian musician and entertainer. His soothing and seductive baritone voice, treasury of stories and warm island personality, entertained generations of fans for over four decades. He released his Christmas album that was produced and arranged by the legendary Gordon Jenkins (who also worked with Judy Garland and Frank Sinatra). The album included this song that Jenkins wrote where Ho does his best lounge lizard impersonation.

23. Elton Britt & The Pinetoppers – Christmas in November (Unknown)

Britt was a popular country singer of the 1940s, with a yodelling style often compared to Jimmie Rodgers. He released over 600 singles and 60 albums, and is best known for “There’s A Star Spangled Banner Waving Somewhere,” which was the first country song awarded a gold record for selling more than a million copies. The song was adopted as a symbol of the war effort by patriotic audiences, and President Franklin Roosevelt invited Britt to the White House in 1942 to perform the hit. “Christmas in November,” released in 1962, is a weepy story about ‘little Jevy’ who ‘won’t be with us in December,’ so they have Christmas a month early. The whole song is very sappy, but the creepiest part of the song is the fact that the father’s biggest concern seems to be what the neighbours will think.

24. Alex Houston and Elmer – Here Comes Peter Cotton Claus (Unknown)

Alex Houston has been performing for more than 50 years along with his ventriloquist dummy named Elmer, which was purchased for $50 when Alex was 8 years old. His act includes parodies of country songs with Elmer doing most of the singing. In 1972, they released an album on called “Here Comes Peter Cotton Claus,” which features a song by the same name as the first track on each side of the album. On the back cover, country singer Charley Pride is quoted as saying: ‘Alex is so talented that you leave believing there were two guys on that stage.’ and ‘I think Elmer is one of the funniest guys I ever met.’ Apparently Charley doesn’t get out much anymore.

25. Derrik Roberts – There Won’t Be Any Snow (Christmas in the Jungle) (Vance/Pockriss)

This song briefly broke in to the American Top 10 in December of 1965, falling only behind singles from The Beatles. The song is credited to the songwriting team of Paul Vance and Lee Pockriss, who also wrote “”Itsy Bitsy Teeny Weenie Yellow Polka Dot Bikini,” “Johnny Angel,” and “Catch a Falling Star.” This schmaltzy recording, by Derrik Roberts, is a sentimental pro-war message, from a soldier supposedly on the front lines in Vietnam. This song also features sound effects of gunfire and bombs, as well as jungle noises, which were added for dramatic effect. File with John Waynes’ film “The Green Berets” for misguided propaganda efforts.

26. Barry Gordon – Zoomah the Santa Claus from Mars (Unknown)

Barry Gordon is an American film and television actor who began his professional life at the age of three as a child singer and actor. In 1952, at age six, he recorded “Nuttin’ for Christmas,” which is one of the top ten best-selling Christmas records of all time. The lyrics show that kids have been annoying for a lot longer than you think. Gordon would go on to be the longest serving president of the Screen Actors Guild.

27. Earney Vandagriff & Joe Poovey – Christmas Filled With Cheer (Vandagriff)

Earney Vandagriff was one of the many country music artists influenced by Hank Williams. Joe Poovey was encouraged to become an entertainer by his father at age four. By age nine he was recording hillbilly music in a studio. His parents had encouraged him to learn the guitar and by 1953 he was fronting his own country band, the Hillbilly Boys, and playing the prestigious Big D Jamboree radio show. In 1955 Earney Vandagriff and the Big D Boys were all set to hunker down and cut a little country number called ‘Christmas Filled With Cheer‘ and they roped in young Joe Poovey to provide a recitation. The fiddle-heavy “Christmas Filled with Cheer” is pretty creepy, with Poovey talking directly to Santa Claus about how ‘my daddy’s dead [and] I hide where no one will see my tears.’ What is it with country singers and depressing Christmas songs? If fact, not just Christmas songs, every song.

28. The Happy Crickets – Christmas Is For The Family (Unknown)

After the success of Pinky & Perky and The Chipmunks, there were a large number of copycat records, which featured sped-up vocals of animal characters. These groups included The Grasshoppers, The Penguins, The Nutty Squirrels, The Happy Hamsters, The Panda Bears, Santa’s Elves, Harvey the Singing Hamster, The 3 Little Pixies and The Busy Beavers. Happy Time Records, a division of the Pickwick International Corporation released a series of records by their own knock-off version of The Chipmunks, with an album called ‘Christmas with the Happy Crickets’. The Happy Crickets is probably the worst attempt at cashing in on the singing animal phenomenon; the singing is terrible (even when sped up), and the arrangements sound like they were slapped together by a committee of drunks whilst hoping the session fee arrives soon so they can buy another crate of booze. The song “Christmas is for the Family” is definitely one of the most annoying songs I have ever heard, or ever care to hear. 

29. Red Sovine – Is There Really a Santa Claus (Unknown)

Woodrow Wilson “Red” Sovine was a country music singer associated with truck driving songs, particularly those recited as narratives set to music. The most famous example of this is his 1976 number one hit “Teddy Bear”. Almost all of Red Sovine’s songs contain one or more of the following elements: trucking, orphaned children, without one or both parents (usually big eyed boys), crippled children (maimed, blind, or just plain gimpy), dead or dying people. Sovine is also remembered for his Christmas tear-jerkers, which included “Here is Christmas” (a divorcee’s holiday lament) and “What does Christmas Look Like?” (a little blind girl asks daddy to describe the Christmas that she cannot see). Red has two equally maudlin songs on this collection. The first “Is There Really a Santa Claus?” tells the story of two children who are left motherless on Christmas Eve, and their grieving, despondent father tells them that they shouldn’t expect any toys from Santa. Later, after overhearing the kid’s prayers, he is overcome with guilt, and decides to buy them some toys at the last minute. As he hurries to the shops, he gets struck by a car, and killed in the process. The poor kids are orphaned, but none of that seems to matter because, when they wake up the next morning, they get the Christmas presents that they wished for. Well, that makes the loosing of both parents in one day alright then doesn’t it. The second is “Faith in Santa,” which is about a runaway, starving, half-naked and abused boy dying on a street side Santa’s lap. Before he dies he tells Santa that his daddy is in prison for killing his mamma’s boyfriend, mom is never around because she works in a bar and the guy they live with beats him. Someone pass the Joy Division box set because I need cheering up.

30. Captain Kangaroo – The Ballad of Charles Dickens’ Christmas Carol (Unknown) 

Captain Kangaroo (played by Bob Keeshan) was an American children’s television series which aired weekday mornings on CBS Television from 1955 until 1984. One of the longest-running network children’s shows of all time, Captain Kangaroo left a lasting impression on the minds and hearts of children during its 30 years on television. The show was built around life in the “Treasure House,” where the Captain (whose nickname came from the big pockets in his coat) would tell stories, and take part in silly skits with human and puppet characters. Keeshan wrote many books and released several record albums as Captain Kangaroo. He also released a Christmas LP called “Merry, Merry Merry Christmas,” which features a frantic retelling of Charles Dickens’ “A Christmas Carol,” called “The Ballad of Charles Dickens’ Christmas Carol.” I love how they distilled entire chapters down to one or two throwaway lines. Nice. 

Disc 2

1. ‘Wounded’ John Scott Cree – Rudolph the Red Nosed Reindeer (May/Marks)

Wounded John Scott Cree is a folk singer similar to Loudon Wainright or Richard Digance. He toured a lot in the 1970s and recorded a number of singles for the Pye label (of which this is one and not folkie in anyway) but disappeared for many years before making a comeback in recent years. This record is always on heavy rotation in Squire Towers over Christmas and the holiday season hasn’t official started until this is blasting out of the stereo.

2. Canned Heat & the Chipmunks – The Christmas Song (Bagsasarian)

The Chipmunks are possibly the most popular TV and musical cartoon of all time, enjoying two periods of prosperity. The ’60s era of adolescent Baby Boomers and the ’80s, when the Boomers’ children were growing up and having families of their own. The man who brought the Chipmunks to life, Ross Bagasarian worked as an actor and songwriter before experimenting with a novel technique. He would record normal vocals but would then speed up the playback on a tape machine. The process yielded the number one hit “Witch Doctor” in early 1958, and the phenomenon mushroomed later that year when his Christmas gimmick single “The Chipmunk Song”, which spent four weeks at the top of the charts. “The Alvin Show” premiered on prime-time television in 1961, with all voices supplied by Bagasarian. Chipmunk records continued to chart throughout the 60’s and 70’s, by which time Bagasarian Jr. had taken over from his late father. Canned Heat was a blues-rock/boogie band that formed in Los Angeles in 1965. The importance of the group lies not only with their blues-based music, but with their efforts to reintroduce and revive the careers of some of the great old bluesmen (e.g. John L:ee Hooker). As a band, they played at the Monterery, Woodstock and Isle of Wight music festivals. For some bizarre reason, Canned Heat were paired with their Liberty label-mates, the Chipmunks on this bizarre slice of late 60’s godawfulness. The “Chipmunk Song” wasn’t actually the same song as the Chipmunks’ similarly titled 1958 chart-topper, but it was a good-natured boogie containing ‘humorous’ dialogue between Heat singer Bob Hite and the Chipmunks. 

3. Homer & Jethro – Santa Claus, The Original Hippie (Unknown)

Homer & Jethro were an American country music duo, with a long career from the 1940s through the 1960s, specializing in comedy records and satirical versions of popular songs. I’m surprised the American’s like Christmas so much if the lyrics of this song are to be believed, Santa is just some old Commie.  

4. Bobby Sherman – Christmas Is (Make It Sweet) (Karen/Reuss)

Sporting a winning smile and fashionably shaggy hair, Bobby Sherman was a genuine teen idol during the late ’60s and early ’70s. Sherman first surfaced as a regular on ABC-TV’s mid-’60s rock spectacular ‘Shindig!’, then co-starred on the warm-hearted program ‘Here Comes the Brides’. He stormed the pop charts as a vocalist in 1969-70 with the well-produced “Little Woman,” “La La La (If I Had You),” “Easy Come, Easy Go,” and “Julie, Do Ya Love Me,” all four songs credited as million sellers on the Metromedia label. The hits stopped abruptly in 1972, and today Sherman mostly works behind the scenes in television. God knows who the children are on this record, but someone should have called child services.  

5. Ricky Segall & the Segalls – All I Want to Ask Santa (Segall)

Born in Long Island, New York, Ricky Segall began his acting career in 1973 at the age of four when he played Ricky Stevens on ‘The Partridge Family’ from 1973-1974, during the television series’ fourth and final season. By the fourth season, due to declining ratings and David Cassidy’s looming possible departure, an effort was made by the producers to breathe new life into the show, by introducing a precocious 4-year-old neighbour called ‘Ricky Stevens,’ played by Ricky Segall, to occasionally sing children’s songs. Ricky was famous for his bowl haircut and his off-key singing. In 1973, Bell Records released an album entitled “Ricky Segall and The Segalls,” with the unforgivably awful Christmas song “All I Want to Ask Santa Claus.” All of the songs on the album were written by Ricky’s father. Ricky Segall is currently a minister at a Church in San Antonio, but this will not save him. He is definitely going to hell for this record.

6. John Denver – Please, Daddy (Don’t Get Drunk This Christmas) (Danoff/Nivert)

The late Rocky Mountain troubadour sometimes introduced this song as a funny little ditty that took on more serious overtones over time. It’s hard to see what could have been funny about a seven-year-old pleading with dear old Dad to not come home completely smashed and ruin Christmas like he does every year by not passing out under the tree. It should be noted that Denver had been arrested twice for Driving under the influence of alcohol before his untimely death. 

7. Irwin the Disco Duck – Sleigh Ride (Anderson/Parish)

Irwin featured on a number of records in the late 70s, right in time for the disco boom. Looking at the sleeves to the records and noise Irwin makes, you would have thought that the Walt Disney Company would have sued the pants off of them due to him not only looking a lot like Donald Duck, but sounding like him as well. One of the voice actors used for Iwrin was Don Messick, who would later go onto voice Scrappy Doo. To err is human, to voice Scrappy Doo is unforgivable. 

8. Carolee Goodgold – Boogaloo ‘Round The Aluminium Christmas Tree (Unknown)

Carolee Goodgold is an American singer/actress/voiceover artist. She can be heard on hundreds of commercials, records, industrials and audiobooks. Some of the national campaigns for which she performed the vocals and/or voiceover include Cingular, Cheerios, Verizon, Dentyne, Downy, MCI, Jello, Tourneau, Dole, Napier, Lone Star Beer, Club Med, MGM Grand, American Express, IBM, Revlon, Unisom, among many others.

9. The Little Stinkers – I Farted on Santa’s Lap (Unknown)

The Little Stinkers is a group of kids led by Mary Beltrami, a seven year-old girl with a supposed angelic voice and a gift for comedic delivery. We beg to differ. 

10. John Bongiovi – R2-D2 We Wish You a Merry Christmas (Yeston/Meco)

Released on the album ‘Christmas in the Stars’ which features recordings of Star Wars-themed Christmas songs and stories about a droid factory where the robots make toys year-round for a certain ‘S. Claus’. Much of the album is sung and narrated by British actor Anthony Daniels, reprising his role as C-3PO and LucasFilm provided the genuine sound effects for R2-D2 and Chewbacca. The singer you can hear though was a young man called John Bongiovi, who in a few short years after this would become Jon Bon Jovi. At this point in his singing career, he was just sweeping the floors at his cousin’s studio before being asked to sing this bizarre ditty. Everybody has to start somewhere you know. 

11. The Sensational Little Shana Lynette – Mister Russian, Please Don’t Shoot Down Santa’s Sleigh (Unknown)

Another slice of Cold War lunacy. Thos pesky Ruskie’s are not only going to shoot down Satan so stopping those good American kids from enjoying Christmas, they no doubt plan to kidnap the Easter Bunny as well. No information has been forth coming about this ‘artist’.

12. Billy Idol – White Christmas (Berlin)

Oh dear! Believe or not, there is a whole album of Idol Christmas songs out there. Was he drink when he recorded this, or was it a present for his mother that somehow managed to get released? It is not recommended though unless you like the idea of a quite famous rock star doing an impression of a pub singer.

13. The BellRays – Rocket Ship Santa (Fate)

The BellRays are a “rock ‘n’ soul” group that was founded in the early 1990s in Riverside, California. This song was released as part of a compilation called “F*ck Christmas”. They’re nice boys really. 

14. Mojo Nixon – Christmas, Christmas (Unknown)

Mojo Nixon (born Neill Kirby McMillan, Jr) is an American musician. A part of the psychobilly movement, he is known for his boisterousness, his often scathing critiques of pop culture, his insults about contemporary celebrities, and his libertarian political views. Christmas was also on his hit list evidently.

15. Sarah Silverman – Give the Jew Girl Toys (Garman)

Sarah Silverman is an American Emmy Award nominated comedian, writer, singer, guitarist, and actress. Her satirical comedy addresses social taboos and controversial topics such as racism, sexism and religion. She often performs her act as a caricature of a Jewish-American princess, mocking bigotry and stereotypes of ethnic groups and religious denominations, by endorsing them ironically, like celebrating Christmas evidently.

16. Madonna – Santa Baby (Javits/Springer/Springer)

Madonna had been around the block far too many times even by the time this came in 1987 to get away with playing the infuriating Betty Boop-ish ingénue. When Eartha Kitt made a case for being a good, deserving girl ‘think of all the fellas that I haven’t kissed’ it was mildly amusing. When Madonna trotted out the line, it was just another reason for whatever bloke she was seeing at the time (Sean Penn if memory serves) to start throwing the ornaments about.

17. Big Jim & the Goodbuddies – CB Santa (Unknown)

Before the Internet or mobile phones, there was an earlier communication fad in the 1970’s: CB radio. America was caught in a Citizen’s Band mania that painted truck drivers as counter culture heroes – highway cowboy kings who fought “Smokey Bear” at every turn (or the police if your not up with your CB jargon). Millions of people thrilled at the chance to have meaningless conversations with total strangers out on the road, complete with its own slanguage (‘Hammer down, good buddy’, ‘Bear in the air,’ etc.). In 1975, at the height of the CB mania, a band by the name of “Big Jim & The Goodbuddies” released a single called “CB Santa,” backed with “Soup of the Day.” “CB Santa” is about a trucker with a CB radio rescuing Santa from a snowbank, with a chorus that parodies “Oh Susanna.”

18. Matthewmatic – Hanukkah’s on (Unknown)

Why just have Christmas when we can have some about Hanukkah as well. You can’t say we are not inclusive here. No information has been forth coming about this ‘artist’.

19. Suzannah – Mom and Daddy, Please Don’t Steal For Me This Christmas (Unknown)

Make do with nothing for Christmas due to a lack of cash. God forbid, we can’t have that so let’s go and steal the kids some Christmas presents. That’s really buying into the spirit of the season ins’t it. No information has been forth coming about this ‘artist’.

20. Jeff Foxworthy – Redneck 12 Days of Christmas (Foxworthy/Wilson)

Jeff Foxworthy is an American stand-up comedian, actor and game show host who in 1993, he released ‘You Might Be a Redneck If…’ which started the “You Might Be a Redneck” fad, topped the comedy album charts, and sold more than three million copies. Foxworthy has made a successful career out of bingo a one trick pony. Well done him.

21. Wesley Willis – Merry Christmas (Willis)

Wesley Willis was perhaps the most prolific and the best-known outsider musician. His formula was simple: a kicking synth beat under a spoken verse, trailed by the song title yelped four times in a chorus. The formula worked so well that Willis composed thousands of songs in the same exact pattern. A diagnosed schizophrenic, he gained a sizeable cult following in the 1990s after releasing over 50 CDs (almost always containing 30 songs) of unique but simple music. The emphasis was always on his stream-of-consciousness lyrics full of bizarre, excited, and often obscene rants about crime, fast food, cultural trends, bus routes, violent confrontations with superheroes, commands for his ‘demons’ to engage in bestiality, and praise for his favourite actors, friends (both platonic and romantic), politicians, and hip-hop and rock artists. 

22. Spın̈al Tap – Christmas with the Devil (Tufnel/St. Hubbins)

Spın̈al Tap is a semi-fictional heavy metal band, the subject of the 1984 rockumentary/mockumentary film ‘This Is Spın̈al Tap’. The band members are portrayed by Michael McKean (as David St. Hubbins), Christopher Guest (as Nigel Tufnel) and Harry Shearer (as Derek Smalls). They first appeared in a 1978 ABC comedy special, ‘The TV Show’. The same trio of actors would be reunited as the American folk music revival band The Folksmen in the 2003 mockumentary ‘A Mighty Wind’. The film was accompanied by a soundtrack album of the same name. In the years since the film was made the actors who portrayed the band members have played concerts and released music under the Spinal Tap name, blurring the line between parody and reality.

23. Cashing in on Christmas – Bad News (Dennis)

Bad News are another spoof rock band, created for the Channel 4 television series ‘The Comic Strip Presents…’. Its members are Vim Fuego (aka Alan Metcalfe), vocals and lead guitar (played by Adrian Edmondson who also wrote the episode); Den Dennis, rhythm guitar (Nigel Planer); Colin Grigson, bass (Rik Mayall); and Spider Webb, drums (Peter Richardson). The episode, ‘Bad News Tour’, took the form of a fly-on-the-wall rockumentary, in which the incompetent band is followed travelling to a gig in Grantham by an almost equally inept documentary crew. Coincidentally, it was in production at the same time as the similar film ‘This Is Spinal Tap’, which was released the following year to much greater acclaim.

24. Shelley Duvall – Dear Santa Claus (Kipner/Ross)

Shelley Duvall is an award-winning American film and television actress who began her career in the 1970’s appearing in the movies of Robert Altman. She has also appeared in movies by Woody Allen, Stanley Kubrick, Terry Gilliam and Tim Burton. In 1991 she released a Christmas music collection called “Hello, I’m Shelley Duvall…Merry Christmas.” This music is so bad it was hard to choose a single song as being the worst of the bunch, but we decided on “Dear Santa Claus” as being representative of the rest of the songs, which are to be frank, hideous. We should have known what was coming after her vocal chops were on full display in the Robert Altman Popeye movie.

25. Carrie Fisher – The Life Day Song (Williams/Welch/Welch)

In May 1978, the Star Wars phenomenon was at its height, and someone at 20th Century Fox suggested to Lucasfilm that they cash in on/allow the creation of a Star Wars themed holiday special (delete as appropriate). George Lucas initially liked the idea, and sat down with the show’s producers and penned a basic story outline for the television special. It is Life Day, a holiday that is celebrated on Chewbacca’s home planet Kashyyyk (This being ‘A Long Time Ago in a Galaxy Far, Far Away’ there can’t be a Christmas). What followed was two of the most excruciating hours of TV ever broadcast (except for the Boba Fest cartoon segment, that is actually quite good.). The real ‘highlight’ came near the end of the show when Carrie Fisher gives a short speech on the meaning of Life Day and sang a song in celebration, “The Life Day Song”, sung to the tune of the Star Wars theme. The Holiday Special was only ever broadcast once but has been widely bootlegged down the years. Lucas famously said that ‘If I had the time and a sledgehammer, I would track down every copy of that show and smash it.’ When interviewed many years later Carrie Fisher pretended not to know what the journalist was talking about when the subject of the Holiday Special was mentioned. No one likes to be reminded of bad work, especially when they might have made it might have been made under the influence of some sort of illegal substance (allegedly).

26. Red Sovine – Faith In Santa

See Side A, Song 29. 

27. Newsong – The Christmas Shoes (Ahlstrom/Carswell)

Dear Lord, where do we start with this offering from Christian band Newsong? There is something terribly disturbing about the thought of a little boy buying his Mum new shoes for her trip to Heaven because ‘I want her to look beautiful if Mama meets Jesus tonight.’ which almost implies that Jesus Christ has a foot fetish. The production is so sugary sweet that you can feel your teeth rot away as you listen to it. There’s no telling how many people this song has killed from diabetic shock. 

The front cover is adapted from a record put out under Stephen Colbert’s name. Even though the cover is very cheesy, the record itself contains serious muso’s such as Elvis Costello and Willie nelson joining the Colbert. Sorry Stephen, but the cover had the exact aesthetic I was looking for and it was too good not to use.

The Beach Boys – Greatest (UK Edition)

Last month, I posted a fake album called ‘Endless Bummer – Vol.1’ which was a collection of some of the worst tracks The Beach Boys released before they put out the glorious ‘Pet Sounds’. Well, I did feel a bit bad about posting that so I thought about what I could do to make up for that and this is it, a collection of their hits. This is not just any collection of their hits mind you. This compilation only includes the singles that were hits in the UK. 

A lot of the material The Beach Boys recorded in their early career just did not translate to the record buying pubic in the UK. Songs about sunshine, surfing and hot rod cars didn’t have much of a market over here and out of the really early singles, only ‘Surfin’ U.S.A.’ would be a hit, and a minor one at that, only reaching number 34. It would take until ‘I Get Around’ in 1964 for their first top ten hit. Out of the 21 singles the band released in the US between 1961 and 1966, not all would see a release in the UK and out of those that were, only 10 managed a chart placing; Granted, by the time we get to ‘Good Vibrations’, they have scored their first UK number 1. 

Their albums would also be released out of order as well. ‘Surfin’ U.S.A.’ would be released in 1963 in the US, but would only see the light of day in the UK in 1965. Therefore, I have a problem with any release that claims to be a Greatest Hits record in the UK. That is because they always contain songs that were not hits in the UK. That might be why the majority of them go under the Best Of tag. 

I have decided to address this with a collection that only includes songs that were hits in the UK. There is just about enough to fit onto a double LP, or one CD. All of these songs were Top 40 hits and I have also looked to include the single versions. That means, most of them are in mono. It also means that the disco version of ‘Here Comes The Night’ is also a lot shorter at four and a half minutes, whereas the album version was over ten. The harpsichord intro to ‘Lovely Lynda’ is also absent. That only appeared on the album version. 

There is also a bonus track (if you can call it that) for the CD version, which is the collaboration between The Beach Boys and Status Quo. Unlike the collaboration between The  Beach Boys and the Fat Boys, this version of ‘Fun, Fun, Fun’ did not initially appear on a Beach Boys album. I only include it here because if this were a real record, there would be enough room on the CD for it. The joke being that when the original Beach Boys version of this song was released in the UK, it was not a hit. This inferior version with Quo, made number 24. 

The songs are presented in the order in which they were hits in the UK. 

Side A

  1. Surfin’ U.S.A
  2. I Get Around
  3. When I Grow Up (To Be A Man)
  4. Dance, Dance, Dance
  5. Help Me, Rhonda
  6. California Girls
  7. Barbara Ann
  8. Sloop John B

Side B

  1. God Only Knows
  2. Good Vibrations
  3. Then I Kissed Here
  4. Heroes & Villains
  5. Wild Honey
  6. Darlin’
  7. Friends

Side C

  1. Do It Again
  2. Bluebirds Over The Mountain
  3. I Can Hear Music
  4. Break Away
  5. Cottonfields (The Cotton Song)
  6. California Saga (On My Way To Sunny Californ-i-a)

Side D

  1. Rock & Roll Music
  2. Here Comes The Night
  3. Lady Lynda
  4. Wipe Out (with The Fat Boys)
  5. Kokomo

CD Bonus Track

Fun, Fun, Fun (with Status Quo)

The sleeve was taken from the a piece of artwork created by a user on the Smiley Smile message board. 

Various Artists – Beck Record Club

Between ‘Golden Feelings’, his first album release in 1993 and Modern Guilt in 2008, Beck Hansen released a new record nearly every other year. This all finished in 2008 and Beck would not release another album under ‘Morning Phase’ in 2014. So what was Beck up to in those six years. He spent some of that time recovering form a spinal injury that he received whilst filming a music video for the song ‘E-Pro’ in 2005. He said that recording the ‘Modern Guilt’ album was like “doing it with both hands tied behind your back. It hurt to sing. I’m whispering through half of those vocals”. This also meant that Beck was unable to tour and he also changing record labels. 

With all of this going on, Beck was not idle. He worked on a number of projects including recording enough material to have released around four albums. 2012 would seen he ‘I Just Started Hating People Today’ single and a set of 12 inch singles was released in 2013 that included songs from a unfinished project that was similar to ‘Odelay’. The drought of albums finished with 2014 and ‘Morning Phase’, but there was also a second album that Beck said would also be released that year which has not been released so far. 

However, Beck did record five albums in 2009 which did see the light of day, but not on any physical format. These record’s came out via YouTube under the banner of Beck’s Record Club and the idea behind that project was to cover an entire album by another artist with a rotating set of musicians. These albums were:

1. The Velvet Underground & Nico – The Velvet Underground

2. Songs Of Leonard Cohen – Leonard Cohen

3. Oar – Skip Spence

4. Kick – INXS

5. Yanni Live At The Acropolis – Yanni

I had heard all of these albums before (except for the Yanni one) and enjoyed the idea as well as the execution. These songs were all available to hear on YouTube and I also remember that there was poll on Beck’s official website (or possibly a fan site – I cannot remember) where fans were asked to vote on which songs from these record would be officially released. I took part in the voting and looked forward to it being released. Well, I am still waiting so I thought I would put together my own Record Club LP using my favourite tracks from those sessions. Highlights include the duet on ‘Need You Tonight’ and electronica of ‘Run Run Run’. I also like the way in which they turned ‘Black Angel’s Death Song’ from the noise experiment of the original into a folk tune, reminiscent of the early demo tape The Velvet Underground recorded in 1965. The amount of songs I had would have made the album too long for an LP release, so I took the two that did not fit the flow of the record so I put these on B-Sides to any singles that was released. 

There are not songs from the Yanni album because I just did not like this record. 

Side 1

  1. Little Hands – Oar
  2. Run Run Run – Velvet Underground & Nico
  3. I’ll Be Your Mirror – Velvet Underground & Nico
  4. Diana – Oar
  5. All Tomorrow’s Parties – Velvet Underground & Nico
  6. Never Tear Us Apart – Kick

Side 2

  1. Broken Heart – Oar
  2. Mystify – Kick
  3. Need You Tonight – Kick
  4. Sunday Morning – Velvet Underground & Nico
  5. One Of Us Cannot Be Wrong – Songs Of Leonard Cohen
  6. All Come To Meet Her – Oar

Single B-Sides

  1. Black Angel’s Death Song – Velvet Underground & Nico
  2. Hey, That’s No Way To Say Goodbye – Songs Of Leonard Cohen

The front cover was adapted from an image found on https://rockinon.com/blog/miyazaki/41821 with a Beck logo added to it. 

This play list could not be reproduced with one or more songs not being available on Spotify.

The Beatles – Let It Be / Abbey Road (Mono)

As this is Black Friday, and Record Store Day also deem this a suitable time to release ‘exclusive’ vinyl, here is something I would like to see come out which no doubt never will. That is, the last two Beatles albums in mono.

Even though there been some experiments with stereo recording in the 19th Century, mono recordings would dominate audio recording from its early days until the late 1960s. This however began to change because the technology to produce a stereo sound improved and musicians were making more experimental music that would use the format to make the music move from one speaker to the next. Check out the end of ‘Interstellar Overdrive’ from Pink Floyd’s debut album for a good example. 

In the early 60’s, stereo was thought of a niche product and not as much time was spent on these compared to the mono mixes. Mono was also the broadcast medium for AM radio so singles tended to be exclusively in Mono. This would even continue into the 70s where mono mixes of records were made exclusively for radio stations until FM radio caught on. For a while, both mono and stereo versions were released with differing mixes but by 1967 in the US, mono versions would start to be discontinued. In the UK, mono was essentially gone by 1968 but in other areas of the world, this would not be the case. Mono records continued to be pressed and so it was with these records that were released in Mono in Brazil.

There is nothing particularly special about them as they are just a fold down of the stereo mix. However, they are a nice curiosity. 

Side 1 – Abbey Road (Side A)

  1. Come Together
  2. Something
  3. Maxwell’s Silver Hammer
  4. Oh! Darling
  5. Octopus’s Garden
  6. I Want You (She’s So Heavy)

Side 2 – Abbey Road (Side B)

  1. Here Comes The Sun
  2. Because
  3. You Never Give Me Your Money
  4. Sun King
  5. Mean Mr. Mustard
  6. Polythene Pam
  7. She Came In Through The Bathroom Window
  8. Golden Slumbers
  9. Carry That Weight
  10. The End
  11. Her Majesty

Side 3 – Let It Be (Side A)

  1. Two Of Us
  2. Dig A Pony
  3. Across the Universe
  4. I Me Mine
  5. Dig It
  6. Let It Be
  7. Maggie Mae

Side 4 – Let It Be (Side B)

  1. I’ve Got A Feeling
  2. One After 909
  3. The Long & Winding Road
  4. For You Blue
  5. Get Back

Since I initially put this together, I have discovered that a Mono version was released of Abbey Road in Czechoslovakia in the early 1970s which like the Brazilian, is a Stereo fold down mix. Let It Be was also released in a fold down Mono mix in Argentina. I am sure that further Mono versions will come to light once I have uploaded this. 

I was also able with my rudimentary computer skills to make up a front cover that is a mash up of both the original sleeves. 

The Lost Pubs of Richmond Upon Thames (Part 3)

Throughout the centuries, Richmond Upon Thames has contained many pubs within its boundaries. In this, the third part of the series, I once again look at some of pubs that are no longer here. 

If you are interested in buying any of Richard’s books, he can be contacted here holmes1@blueyonder.co.uk.

The Beach Boys – Endless Bummer Vol.1

I am not be the first person to come up with the concept of looking at the worst recordings from an artists back catalogue. I believe that the first was the infamous bootleg, ‘Elvis’ Greatest Shit’ which was released in 1982 showcasing some of the worst recordings from the King’s career. 

When it comes to The Beach Boys, I and also not be the first to take this concept and run with it. Mine is a little different though as I will explain. The Beach Boys must be one of the most bootlegged bands of all time, and normally, these contain enough gold to justify a few repeat listens. However, for a group that has been performing for the best part of 60 years, there was always going to be some skeletons in the closet that the band would much rather have not seen the light of day. Luckily (or unluckily depending on your point of view), a number of the worst recordings the band has made were compiled on a bootleg called ‘Endless Bummer, The Very Worst of The Beach Boys’, and it sure does live up to its title. There is a drunk Carl Wilson trying to make his way through ‘Good Vibrations’, Mike Love making a quick buck on some adverts, a Spanish language version of their massive mid 80s hit, ‘Kokomo’ as well Brian Wilson’s father berating him in the recoding studio. However, all of these recording from this have not been released commercially as far as I can tell, and it is unlikely that they ever will be anyway. 

Now, if we look at the bands output during their mid 60s heyday, we can see that between 1961 and 1966, the released eleven studio albums (I will include Beach Boys Party on that list) and one live album. There was even room for 19 singles, numerous EPs (these tended to be country specific) and even a Best of Album. Coupled with concert tours and promotion, it is no wonder that main song writer Brian Wilson stopped touring after a breakdown. With this amount of product, it is also not a surprise that some filler would be included. However, some of this filler really does defy description. We have an interview, some unfunny studio banter and a drum solo. It is not like Brian Wilson didn’t have enough material knocking about as he gave some pretty good songs away to the likes of The Honeys, Glen Campbell and Jan & Dean.

So what do we have for your listening pleasure?

Side 1

  1. Ten Little Indians (Surfin’ Safari)
  2. Country Fair (Surfin’ Safari)
  3. Chug-A-Lug (Surfin’ Safari)
  4. Cuckoo Clock (Surfin’ Safari)
  5. The Shift (Surfin’ Safari)
  6. South Bay Surfer (Surfer Girl)
  7. Heads You Win, Tails I Lose (Surfin’ Safari)
  8. Louie Louie (Shut Down Volume 2)
  9. Bull Session With ‘Big Daddy’ (The Beach Boys Today!)

Side 2

  1. Our Favourite Recording Sessions (All Summer Long)
  2. Finders Keepers (Surfin’ USA)
  3. Denny’s Drums (Shut Down Volume 2)
  4. Be True To Your School – Album Version (Little Deuce Coupe)
  5. I’m Bugged At My Ol’ Man (Summer Days & Summer Nights)
  6. In The Back Of My Mind (The Beach Boys Today!)
  7. The Times They Are-A-Changin’ (Beach Boys Party!)
  8. ‘Cassius’ Love vs ‘Sonny’ Wilson (Shut Down Volume 2)

Ten Little Indians – Released as the follow up single to Surfin’ Safari because Capitol Records thought that surf music would be a short lived craze. This song was based on a children’s rhyme  and only just scrapped in the US top 50, and nowhere else. Well, except Sweden where it inexplicably made number 6.

Country Fair – Said to have been written in ten minutes and it shows. Detailing, as it does, a trip to the country fair and all of the ‘exciting’ things that can be done there. It sounds like a young persons nightmare. It also includes the lyrics ‘The most specialist girl I knew, I had her pack us a lunch and on down the dirt road we flew’. Were The Beach Boys too manly to make their girlfriends lunch then? No wonder the girlfriend of the song narrator leaves him for the fair’s strongman. 

Chug-A-Lug – There is certainly a lot of songs taken from the first beach Boys album, but it really is an awful record. Is this the only record ever recorded about hanging out at a root beer stand, drinking the stuff?

Cuckoo Clock – You want to make out with your girlfriend but every time you get a little too close, the cuckoo clock goes off. Instead of just going to another room, the singer decides to dismantle the clock. What a waste of a good clock. Terrible lyrics to boot. 

The Shift – A song about a particular type of dress, Brian Wilson and Mike Love presented the song as a fashion statement. The lyrics make it sound as though there are perving over the girl wearing it and what the hell does “It’s tighter than a moo-moo and it’s just too much’ mean?

South Bay Surfer – A rewrite of the song ‘Old Folks at Home’, also known as ‘Swanee River’. When you run out of ideas, just nick someones else’s song and write some new lyrics over the top (Student Demonstration Time repeated the trick on the ‘Surf’s Up‘ album). When the singer says ‘rock out’, there is also a distinct lack of rocking out. The band must have known this was a clunker. 

Heads You Win, Tales You Lose – A song about flipping a coin, or numerous other devices to work out who should win an argument. The singer then claims that his girlfriend is cheating to get the result she wants and then deciding to do the same. A blueprint for a long and happy relationship this is not. 

Louie Louie – Rock critic Greil Marcus once said “Has there ever been a bad version of Louie Louie?”. Well, yes there has and here it is. Coming a year after the garage rock behemoth that was the version by The Kingsmen, this sounds so polite and insipid. Move along, nothing to hear here. 

Bull Session With ‘Big Daddy’ – A recording made during an interview with Teen Set magazine editor Earl Leaf. Half way through, food is delivered because we all want to hear that. This is a rambling, unfocused mess edited down from a recording that was 20 minutes long. The aching ballad ‘Guess I’m Dumb’ was recorded during the sessions for the parent album but no one in the band wanted to sing it so it was given to Glen Campbell. Surely that would have been better than this spoken word piece of drivel.  

Our Favourite Recording Session – Tape noises, mucking around and a distinct lack of care for the record buying public. Not even worth inclusion on an outtakes album.

Finders Keepers – Sounds like at least two different songs stitched together with a lyric about losing a surf board and then getting it back. It sounds too long at 1 minute and 38 seconds.

Denny’s Drums – There are those who say that Dennis Wilson was a better drummer than he is given credit for. However, on the evidence of this track, it is not hard to see why Brian Wilson used the cream of L.A. sessions drummers on his recordings once he retired for the road. Also, the Beach Boys are meant to be a vocal group. Instrumentals are bad enough, but a drum solo. Filler for fillers sake. 

Be True To Your School (Album Version) – Not a bad song, but included here because of the subject matter. Why is one of the premier bands of their age sining a song about being true to your school? Not exactly the most hip thing a band could do is it?

I’m Bugged At My Ol’Man – Sounds like a demo than a fully realised track. Just Brian Wilson and the piano with his brother and wife backing him up. Written in response to Brian Wilson’s tumultuous relationship with his father, the lyrics mention the punishments the singer has to content with for any minor incident, including having his windows boarded up, his hair cut off and a meal of bread crumbs. Brian Wilson would credit himself as ‘Too Embarrassed’ instead of by his actual name. If he was that embarrassed, why release it?

In The Back Of My Mind – A Brian Wilson experiment with Dennis Wilson singing solo. Includes an unusual time signature and a chord sequence that was not common in Brian Wilson’s work. Some say that this os one of the band’s masterpieces, but to my ears it sounds sloppy, especially when the instrumentation starts to play out of sync with itself. 

The Times They Are-A-Changing – Taken from the ‘Beach Boy’ Party!’ LP, an album made to have some produce ready for the Christmas market, it was meant to be recorded at an actual party, but was made after lots of rehearsing and recorded in the studio. Party noises added on later. In the hands of The Beach Boys, this anthem of change sounds like Little Richard songs covered by Pat Boone. 

‘Cassius’ Love v ‘Sonny’ Wilson – Supposedly showcasing a behind the scenes look at The Beach Boys in the recoding studio. There is no doubt that during their history, fights in the studio undoubtably happened. However, this is so clearly staged for the microphones. Not worthy of a B-Side, let alone an album track. The cultural reference in the title is now lost on anyone not above the age of 70. 

This compilation only includes tracks that were on original US albums, so there isn’t anything that has been subsequently released on any of the numerous reissues/archive projects that have been released under the Beach Boys name down the years. There will be some who disagree with this collection, but that is the nature of music. One persons gold is another person manure. 

The cover artwork is adapted from an archival released called ‘Ultimate Christmas’. 

Harry Nilsson – In Italiano

One of the many surprises included on the 2013 box set ‘The RCA Albums Collection’ was a number of songs Nilsson had recorded in Italian. Even though the majority of these Italian versions were recorded as far back as 1967, only ‘Cuddly Toy’ would see an initial release. Another song, called ‘Leggenda’ was the B-Side the the Italian language version of ‘Without You’. Leggenda is an Italian folk song that is about catching a butterfly but accidentally killing it. The moral being that you cannot catch your dreams. 

Nilsson would return to recording in Italian in 1971 for his super hit single, ‘Without You’. There is also an interloper on this mini album in that I have included a Spanish language version of ‘Without You’ as well. This follows the trend of records of this type by not being a direct translation but following the feeling of the words instead. In the opening there is no mention of evening, and the first verse is all about a single event of her leaving rather than a longer problem (‘always smile but..’). The second verse is different words but same sentiment – about seeing everything dark in the future so needs her to hear the truth right away. The title of the Spanish version translates as ‘If You Aren’t There’. This matches the chorus which would read ‘Living Isn’t life, if you aren’t there. I can’t exist without your love’. This is also true of the Italian versions where the meaning is similar but not exactly the same.  

The sleeve is a photo of Nilsson from the late 60s with the title and record company logos added. If this were to be released, it would fit nicely onto a 10” record and if was released, it would have been a nice exclusive for the Italian market. 

Side A

  1. Cuddly Toy
  2. You Can’t Do That
  3. Without Her
  4. Per Chi

Side B

  1. It’s Been So Long
  2. Sleep Late, My Lady Friend
  3. Leggenda
  4. Si No Estas Tu

Harry Nilsson’s London

Harry Nilsson was an American musician famous for his interpretations of Everybody’s Talking’ and Without You. During the 1970’s he spent a lot of time in London. In this video, we follow in his footsteps as we discover Harry Nilsson’s London.

If you would like to follow the route of the walking tour, please download this file.

The Beatles – The “Get Back” Box Set

‘I thought it would be great to go out, because it would break The Beatles. It would break the myth. That’s us, with no trousers on and no glossy paint over the cover’. John Lennon. 

Over the previous four years, we have had a steady stream of deluxe box set versions of the albums the Beatles released between 1967 and 1970, finishing off with the recent ‘Let It Be’ effort. Even though the contents of the previous box sets was always a bit on the short side (with the ‘White Album’ being the exception), I feel that ‘Let It Be’ was a major slap in the face to the fans, especially if you bought the CD/DVD like I did*. The two CD’s worth of rehearsals, jams and sessions could easily have fitted onto one disc. The EP was particularly poor as this contains only four songs. What about the rooftop concert? I suspect that this will come out as part of a box set that will tie in with the physical release of Peter Jackson’s ‘Get Back’ TV series. Why not put it with the ‘Let It Be’ box set though? It isn’t as though there wasn’t enough room for it seeing as it was 42 minutes long? There was plenty of room on the EP CD. 

Anyway, what is most probably most irritating to me is the lack of care that went into the much heralded release of the 1969 Glyn John’s mix from when the project was called ‘Get Back’. It turns out that this is the not the 1969 mix at all, but a hybrid of the 1969 and 1970’s version of the LP. A good example of this is the song ‘For You Blue’, which uses the re-recorded vocals from 1970. The Japanese box set does include the true 1969 ‘Get Back’ mix. Why is it the Japanese box set is correct whereas the rest of the world has to suffer with a botched job. Replacements would be nice, but I doubt that this will happen. 

With this in mind, I thought about putting together my own ‘Let It Be’ box set, but listening through all of the Nagra rolls and session tapes would take a considerable amount of time, and there are only so many times you listen to the false starts, breakdowns of takes and jams of old songs before turning off the stereo and playing something else instead. 

The idea behind the sessions that led to the ‘Let It Be’ album was to get the band back to playing like a unit again and, potentially, playing a live gig, something they had not done for three years. This was in response to the experimentation and hours spent recording in the studio which had led to tension during the sessions recording the ‘White Album’. The initial plan was to actually play material from the ‘White Album’, with the rehearsals being recorded and the gig being the finale. The plan changed slightly when it was decided to play new material instead. Lennon had developed an heroin addiction and had not produced much new material, whereas Harrison was the opposite. He had recently returned from a stay in the USA where he had jammed with Bob Dylan and The Band and was armed with a number of songs, most of which would end up on his first solo album. McCartney was a busy as ever and had plenty of songs to bring to the table, even if some were not fully formed at the start of proceedings. 

With rehearsals kicking off at Twickenham studios on 2nd January, the band were expected to turn up at the beginning of the day (instead of their usual practise of turning up in the late afternoon and/or evening) to practise. The film studio space was massive (and cold), the camera crew were intrusive and tensions ran high, especially between Harrison and both Lennon (for his lack of involvement) and McCartney (for numerous reasons that I won’t go into here). This lead to Harrison walking out of the band, saying ‘see you round the clubs’ as he left. 

Lennon quipped that they could get Eric Clapton in as a replacement, but instead, the rest of the band persuaded Harrison to return, although he insisted on certain conditions being met before he did so. These were that the band move from Twickenham Studios to their purpose built recording facility at their offices in Saville Row as well as abandoning the live concert idea. Harrison also brought in keyboard player, Billy Preston. Preston had known The Beatles since their Hamburg days and when he entered the sessions, the working environment became a bit more conducive to recording music. The band would actually play a concert, but it was on the roof of their office building (something that has been imitated many times down the years) and recording would finish on 31st January. 

Engineer Glyn Johns was given the task of producing the album and, in May 1969, a version was ready. It favoured the rougher mixes over the more polished efforts from later in the sessions. There were false starts, breakdowns and jams. Even though this did fit the objective of the sessions, the band rejected it and so at the end of 1969, Johns compiled another mix. That would complement the soon to be released film as only songs that were in the movie would now be included. That meant that a version of ‘Across The Universe’ was prepared as well as a brand new recording of ‘I Me Mine’, as no multi track of the song was recorded at the time. Lennon did not appear on this session having left the band the previous September. This version was also rejected and the tapes finally handed over to producer Phil Spector to produce and his version with strings, choirs, edits and all sorts of studio shenanigans (which was what this project was meant to avoid) included. The LP topped both the UK and US album charts, but the band had disintegrated by the time of its release and this would be their last album of original material. 

What I was looking here was to put together these two Glyn John mixes as part of the ‘Let it Be’ box set, but whilst researching this piece, I found that there were two other mixes of the ‘Get Back’ material as well as a proposal to release another LP made up of covers of the rock n roll oldies the band played during rehearsals. I must thank the people over at https://www.beatlesource.com for listing the differences between the four versions presented here. 

I have decided to follow the current trend with this one and present this as though it was released on vinyl.

Disc 1 – ‘Get Back’ Version 1

It has always been assumed that the tape Glyn Johns delivered in May 1969 was the first attempt at mixing material from the sessions, but this is not actually the case. A tape was constructed and cut to acetate in January of 1969 and it can be said that this was never intended for a commercial release, but just as a reference for the band so they knew what the recording sounded like. At some point though, a tape was made of the acetate and fell into the hands of a number of US radio stations which broadcast this. These broadcasts were taped off of the radio by an unknown listener and these recordings would end up as the first known Beatle’s bootleg. Called ‘Kum Back’, it has been bootlegged many times over the years, but the whereabouts of the original Johns tape is unknown. What is also unknown is how the radio stations received a taped copy of the acetate, even though Lennon himself took responsibility for that slipping out. 

Side A

  1. Get Back (unique mix).
  2. Teddy Boy (This mix adds an additional 1:16 of performance between the breakdown at the beginning and the start of the song, which is not heard on versions 2 and 3).
  3. Two Of Us (This mix includes a snippet of another performance, probably a remnant of an earlier, discarded mix and a false start not heard on versions 2, 3 or 4).
  4. Dig A Pony (Strangely, although this is a different mix, it features the tape-start sound heard at the beginning which is heard on versions 2 and 3 but not on version 4). 
  5. I’ve Got A Feeling (This mix includes an additional 10 seconds of extended ending after John’s comment “Not bad though” not heard on versions 2, 3 or 4).

Side B

  1. The Long & Winding Road (This mix features a second or two additional intro of Ringo getting set on the drums and a longer, piano tinkling outro not heard on not heard on versions 2, 3 or 4 or the Let It Be album). 
  2. Let It Be (This begins with what is probably a remnant of an earlier, discarded mix. None of this performance or mix appear anywhere else.)
  3. Don’t Let Me Down (With the exception of John’s comment about “give me the courage to come screaming in” being a bit more clear, this mix features nothing not heard on versions 2, 3 or 4).
  4. For You Blue (This mix features a five second longer outro which includes guitar chop not heard on versions 2, 3 or 4).
  5. Get Back (This performance would form the basis of both the single and Let It Be album versions. The performance, itself, appears on all versions. The spoken intro is heard on compilation 2 and the Let It Be album. The post-song dialog is extended on compilation 2. The single version, which also appears on compilations 3 and 4, omits the spoken intro and adds a coda (taken from another performance) to the end, eliminating the post-song bits).
  6. The Walk (a short jam of a Jimmy McCracklin song from 1958. This is the only version of ‘Get Back’ where this song appears).

Disc 2 – ‘Get Back’ Version 2

This could be considered the lost version of the ‘Get Back’ album. Compiled in May 1969, this version was broadcast on WKBW radio station in Buffalo, USA in September the same year. It was always thought that this was the same as version 3, but it does have some marked differences. This are most notably on the song ‘Get Back’ which is the same performance as the single version, but lacks the coda nor the cold ending of version 1. This version comes to a natural end with some studio chat at the end. The other is the ‘Dig It’ jam, which is almost a minute longer than any other version. 

Side A

  1. One After 909 (This is the same as versions 3 and 4).
  2. Rocker/Save The Last Dance For Me/Don’t Let Me Down (Intro) (This is the same as version 3). 
  3. Don’t Let Me Down (This is the same as version 3).
  4. Dig A Pony (This is the same as version 3).
  5. I’ve Got a Feeling (on the bootleg recording taken from the original broadcast, this has been recorded over by a version of ‘Across the Universe’ form the ‘No One’s Gonna Change Our World’ charity album. I have assumed that this would be same as the version used on version 3 but without Ringo’s comment. See below). 
  6. Get Back (see above)

Side B

  1. For You Blue (This is the same as version 3).
  2. Teddy Boy (This is the same as version 3).
  3. Two of Us/Maggie Mae (This is the same as version 3 and 4).
  4. Dig It (This is a longer 5-minute edit but otherwise, it sounds the same as the 4-minute edit on version 3. The additional minute is at the beginning of the song. Both edits end the same). 
  5. Let It Be (This is the same as version 3 and 4).
  6. The Long & Winding Road (This is the same as version 3 but is missing Lennon’s comments “are we supposed to giggle in the solo” and McCartney’s response, “yeah”).
  7. Get Back (Reprise) (This is the same as version 3 and 4).

This version is so similar to Version 3 that I almost did not include it, but for completeness’ sake, it stays. 

Disc 3 – ‘Get Back’ Version 3

Glyn Johns went back to the studio to complete further work on the ‘Get Back’ album and this is the version, if it had been accepted, that would have seen the light of day in August 1969, or September, or December when the ‘Let it Be’ single was scheduled to be released. the single would be delayed until March the following year. The version of the song ‘Get Back’ was the April 1969 single mix, and ‘Dig It’ was trimmed by a minute. Some dialogue was also changed. Though this version was not broadcast on US Radio like versions 1 & 2, tapes began circulating of this mix in the 1970s. It shares a lot of similarities with versions 2 & 4, as you will se below. 

Side A

  1. One After 909 (This is the same as versions 2 and 4).
  2. Rocker/Save The Last Dance For Me/Don’t Let me Down (Intro) (This is the same as versions 2 and 4).
  3. Don’t Let me Down (This is the same as versions 2 and 4).
  4. Dig A Pony (This is the same as versions 2 and 4).
  5. I’ve Got A Feeling (This is the same as compilations 2 and 4. At the end, Glyn has added Ringo’s comment, “Glyn, what does that sound like?”).
  6. Get Back (This is the same as compilation 4. It’s the stereo single mix (RS5) with the coda. Gone are John’s intro comments, “picks with the fingers” and the chat at the end).

Side B

  1. For You Blue (This the same as versions 2 and 4 except version 4 edits out a bit of the intro).
  2. Teddy Boy (This is the same as version 2. It was not included on version 4).
  3. Two Of Us/Maggie Mae (This is the same as versions 2 and 4).
  4. Dig It (This is the same as version 4).
  5. Let It Be (This is the same as versions 2 and 4).
  6. Long & Winding Road (This mix is the same as versions 2 and 4 however, this version add John’s comment “Are we supposed to giggle in the solo?” and Paul’s reply, “yeah”. These comments are absent from version 2 but are present on version 4).
  7. Get Back (Reprise) (This is the same as versions 2 and 4).

Disc 4 – ‘Get Back’ Version 4

Almost a year after the sessions had wrapped up, the ‘Get Back’ album had still not seen the light of day. Was it because The Beatles had washed their hands of the material, or the book that was meant to accompany the album was taking longer than expected. Whatever the reason, it was decided that the album now need to reflect the music seen in the nearly completed film. That meant that ‘Teddy Boy’ was out, but ‘Across The Universe’ and ‘I Me Mine’ were in. 

This proved to be a bit of a problem as neither song had been recorded on multi track once the sessions moved away from Twickenham Studios to Saville Row. ’Across The Universe’ had seen a release on the ‘No One’s Gonna Change Our World’ charity album which came out in December of 1969. A different version was needed so Glyn Johns set about creating a mix that removed the sound effects and female backing vocals that had accompanied the charity album performance. ‘I Me Mine’ needed to be recorded from scratch, so in what would prove to be the last Beatles session until the mid-90s, Starr, Harrison and McCartney met at Abbey Road studios to produce the track.  

Side A

  1. One After 909 (This is the same as versions 2 and 3).
  2. Rocker/Save The Last Dance For Me/Don’t Let Me Down (intro) (This is the same as versions 2 and 3).
  3. Don’t Let Me Down (This is the same as versions 2 and 3).
  4. Dig A Pony (The opening note, which previously had a glitch sound, has been smoothed out a here. Perhaps it was remixed but, otherwise, it sounds the same as versions 2 and 3).
  5. I’ve Got A Feeling (This is the same as versions 2 and 3).
  6. Get Back (This is the same as version 3. This is the stereo single mix (RS5) with the coda).
  7. Let It Be (This is the same as versions 2 and 3).

Side B

For You Blue (This track is missing a bit of the dialog and the longer false start that is heard on versions 2 and 3. This is the new mix mentioned above. Verses 1 and 2, along with the last line of verse 3, feature the new vocal. Most of verse 3 is the old vocal. In portions of verse 2, both vocals can be heard).

  1. Two Of Us/Maggie Mae (This is the same as versions 2 and 3).
  2. Dig It (This is the same as version 3).
  3. Long & Winding Road (This is the same as versions 2 and 3).
  4. I Me Mine (This is the original minute and a half edit and features a spoken intro found nowhere else).
  5. Across The Universe (This is an unique mix of this song and features a spoken intro found nowhere else).
  6. Get Back (Reprise) (This is the same as versions 2 and 3).

Disc 5 – “Get Back’ Oldies Compilation

One thing that is apparent when looking at what was played during these sessions, there was an awful lot of old songs from The Beatles early days getting an airing. These would include songs that Lennon & McCartney had written before fame (including ‘One After 909’, which did it make it on to the final album), but mostly it was rock ‘n’ roll tunes. Whilst the ‘Get Back’ tapes were being prepared, it was rumoured that a bonus disc made up of these rock ‘n’ roll oldies was also going to see the light of day. 

A tape has surfaced which some have called the ‘Oldies Companion’, but when listening to it, it does not completely fit the bill. That is because the first two songs are a rather good version of ‘I’ve Got A Feeling’ and an eight minute edit of ‘Dig It’. These do not go with the theme of the album, so I did not use these but instead focused on just the old tunes. The problem with these oldies is they were never recorded up to release standard. The band used them as a way of warming up or alleviating boredom. 

Others sounded quite good but they were recorded to the Nagra machines the camera crew were using, so on occasions there is a good deal of talking and the occasional beeping noise. The recordings included here do not have any of the camera crew talking over them but there is the occasional beep. Some of the songs were also recorded quite early on in the process when the band were at Twickenham Film Studios, so these were only available in mono. Stereo equipment was only brought into proceedings when the band moved to Saville Row. 

I have included the date when these versions were recorded in case you fancy making your own version. 

Side A

  1. Blue Suede Shoes – Recorded 26th January 1969
  2. Shake, Rattle & Roll – Recorded 26th January 1969
  3. Kansas City/Miss Ann/Lawdy Miss Clawdy – Recorded 26th January 1969
  4. Mailman, Bring Me No More Blues – Recorded 29th January
  5. Bad Boy – Recorded 24th January 1969
  6. Besame Mucho – Recorded 29th January 1969
  7. Cannonball/Not Fade Away/Hey Little Girl/Bo Diddly – Recorded 29th January 1969
  8. Maggie Mae/Fancy My Chances With You – Recorded 24th January 1969

Side B

  1. Maybe Baby – Recorded 29th January 1969
  2. Suzy Parker – Recorded 9th January 1969
  3. School Days – Recorded 24th January 1969
  4. Crying, Waiting, Hoping – Recorded 29th January 1969
  5. Gone, Gone, Gone – Recorded 7th January 1969
  6. Because I Know You Loved Me So – Recorded 3rd January 1969
  7. Peggy Sue Got Married – Recorded 29th January 1969
  8. You Really Got A Hold On Me – Recorded 26th January 1969
  9. Rip It Up – Recorded 26th January 1969

So there it is. The Beatles and their ‘Get Back’ album given the deluxe box set treatment. Will we ever see anything like this come out officially? I doubt it even though by the 60th anniversary comes along in 2030, it would no doubt be a digital only release. 

The cover art is taken from https://bbchron.blogspot.com/2013/04/the-beatles-get-back-glyn-johns-mixes.html

*Now, I know I know I didn’t need to buy it, but I am a completist and I had all of the others, so I bought this one as well.