I’ll wrap up my posts that have a Nirvana connection with this what-if EP. In 1990, Kurt Cobain and Screaming Trees lead singer, Mark Lanegan decided to make a record and wrote a number of songs together. They told Sub-Pop, their record label, that they wanted to work together on making an album out of these songs. However, by the time they got to the studio, they had forgotten how the songs they had written actually went. Cobain and Lanegan had neglected to record any demos to help them later on. Instead of wasting the studio time, they decided to record an albums worth of Leadbelly covers. They were joined in the studio by Screaming Trees drummer Mark Pickerel and Nirvana bassist Krist Novoselic. This collective was to be known as The Jury.
Four tracks were recorded but interest in the project soon dwindled. It would seem that the problem was neither Cobain and Lanegan wanted to take the lead on the project. The first song recorded was ‘Where Did You Sleep Last Night’. This ended up being released on Mark Lanegan’s first solo album, ‘The Winding Street’. The other three didn’t appear until 2004’s ‘With The Lights Out’ box set. ‘Grey Goose’ was left as an instrumental because the vocals were never added, even though Lanegan notes that he was meant to add them at a later date which never happened.
This is a case of what if the record company had not sat on these recordings but put these out as an EP, especially as both singers on this project would become quite well known in the next couple of years.
For my second Nirvana related release of the month, I have made an album made up of what I consider to be the best of their rare and archive recordings. Now, there was ‘With The Lights Out’ box set that came out in 2004. 3CDs worth of music and a DVD of video. This box set had been talked about for five years before it eventually came out, with the planning process bogged down in litigation. What we eventually got was a pretty comprehensive overview of the band and their music, taking in the bands first live show in 1987 right up some home demos from 1994. There was also a single disc version which included three songs not previously released on the box set. Theres nothing like fleecing your fan base now is there?
Reviews of her box set were mixed, with some praising it for being a valuable look at the band’s evolution, whilst others felt there was too much second rate material which would not have seen the light of day under other circumstances. I would have agree with the latter, whilst also feeling that there were some rarities which should have included. Therefore, here is my attempt at a more condensed version of ‘With The Lights Out’, but going under the title of ‘Verse Chorus Verse’, the name that was originally attributed to the live compilation that did not see the light of day in 1994.
Most of the songs that I have included here come from the ‘With The Lights Out’ with some help from ‘Sliver: The Best Of The Box’. I also wanted to include a number of songs that were released but had not been included on any Nirvana album before. I also used the template set by the vinyl version of ‘From The Muddy Banks Of The Wiskah’. That is, the forth side included material that was not available on any other format. In the case of ‘Muddy Banks’, this material was stage banter. In this case, it is material that were rougher demos (mostly recorded at home by Cobain) that were not sonically up the standard of the rest of the album. Being a vinyl nut, I like the idea that this format should get some bonuses every so often.
The songs not included on either of the aforementioned compilations are:
Love Buzz – The 7” version had a sound montage that had been put together by Cobain. This does not appear on the album version.
Sappy – Originally this song was to be called ‘Verse Chorus Verse’, but this title was shared with another song so the original title of ‘Sappy’ was used instead. This was originally release on a AIDS benefit album called ‘No Alternative’. For legal reasons, the songs could not be listed on the album artwork and was therefore placed at the end of the running order as a hidden track. It did not take long for word to get out that there was an otherwise unavailable Nirvana song on a compilation album which meant that its popularity was greatly increased.
Smells Like Teen Spirit – This was 20 seconds shorter than the version found on ‘Nevermind’.
Pay To Play (Smart Studios Version) – This version was recorded at the first attempt the band made at recording their second album. Even though those sessions would not see the light of day (initially), this version of the song had a video recorded with drummer Chad Channing. Channing might not have had the power of future drummer, Dave Grohl, it does shows how close Grohl was to this original version when laying down his drum parts. The band even recorded a video but after Channig was fired form the band, these sessions ended up acting as a demo to shop the band around to the major labels, with Geffen eventually taking the bait. After Channing left the band (or was fired depending on the source you read), the song was re-recorded and this version would eventually see the light of day on the compilation ‘DGC Rarities Vol.1’. The video itself had been released on the ‘With The Light Out’ Box Set.
Pennyroyal Tea – Cobain was unhappy with the version that had been released on ‘In Utero’ and so a remix was prepared by Scott Litt. He had done a bit of remixing on some other ‘In Utero’ songs, but as they album was already out, it was decided that it would be released as a single instead. Even though production of the single was in the advanced stages in many countries around the world, it would not be released in 1994 due to Cobain’s death.
I Hate Myself & I Want To Die – Recorded during the ‘In Utero’ sessions, it was left off of the album due to Cobain feeling that there was enough noise songs not he album already. It would eventually see the light of day on ‘The Beavis & Butt-Head Experience’ album.
You Know You’re Right – The last song recorded by the whole band at their last recording session. For this compilation, it would have been released as a single as well to promote the release of this album.
Down In The Dark – Cobain provided backing vocals to this song which was released on Lanegan’s first solo album ‘The Winding Sheet’. Not strictly Nirvana I know but it made for a nice addition here.
Here She Comes Now – The A-Side of a split single with The Melvins. It was also included on a compilation album ‘Heaven & Hell: A Tribute To The Velvet Underground’.
As a promotional device for this release, I would have had ‘You Know You’re Right’ as a single, with two additional songs that would not have been included on the compilation album. A little bonus for anyone who would have bought it.
Love Buzz (7” version)
Blandest (Studio Recording 1989)
Pen Cap Chew (Nirvana First Studio Recording 1988)
If You Must (Nirvana First Studio Recording 1988)
Clean Up Before She Comes (4 Track Home Recording 1987-8)
Sappy (No Alternative Charity Album Release 1993)
Where Did You Sleep Last Night (Home Demo 1990)
Smells Like Teen Spirit (Single Edit 1991)
Even In His Youth (Music Source Studio Session 1989) This is not the same as the recording that was released as a B-Side to ‘Smells Like Teen Spirit’.
Jesus Doesn’t Want Me For A Sunbeam (Band Rehearsal 1994)
Pennyroyal Tea (Scott Litt Remix 1994)
Old Age (Nevermind Outtake 1991)
I Hate Myself & I Want To Die (The Bevis & Butt Head Experience Album 1993)
You Know You’re Right (Studio Matter 1994)
Pay To Play (Smart Studios Sessions 1990)
In Bloom (Smart Studios Sessions 1990)
Verse Chorus Verse (Nevermind Outtake 1991)
Down In Dark (The Winding Street 1990)
Here She Comes Now (Smart Studios Sessions 1990)
Spank Thru (1985 Fecal Matter Demo)
White Lace & Strange (Radio Session 1987)
About A Girl (4 Track Home Recording 1987-8)
Sliver (Home Demo 1990)
Opinion (Kurt Cobain Solo Radio Session 1990)
Token Eastern Song (Music Source Studio Session 1989)
Do Re Mi (Home Demo 1994)
MV (Studio Session 1993)
You Know You’re Right (Home Demo 1993/4)
Anoexorcist (Radio Session 1987)
Sappy (Studio Session 1990)
The cover is based upon the self titled compilation from 2002. The single is a straight copy of the one of the covers used or the promo single of ‘You Know You’re Right’ which also came out in 2002.
I did not feel the need to complete a Nirvana live album as ‘MTV Unplugged In New York’, and ‘From The Muddy Banks Of The Wiskah’ did a good enough job here, and there has been a number of live archival releases since then.
A Spotify playlist could not be created for this compilation due to one or more of those songs not being available on that platform.
I don’t normally make posts to mark the passing of a musician, but when it comes to Kurt Cobain, I am going to make an exception. That is because Nirvana were one of the first bands I got into where we didn’t already have some records of theirs in the collection. I remember their performance of ‘Smells Like Teen Spirit’ on Top of the Pops, and even though I was not exactly enamoured with what I heard as I did not realise that Cobain was singing the song in a lower register. The rest of the band were to taking their performance too seriously either. I’m sure it is on Youtube if you want to see for yourself. Once I heard ‘Nevermind’ though, I knew this was a band I needed to examine further.
Even though ‘Nevermind’ was the album everyone else was buying, I thought I would buck the trend and I bought ‘Bleach’, their first album. For a long time, I preferred this one. The rawness of the production was the polar opposite to the sheen of ‘Nevermind’ and it was easy to see why Cobain felt that his artistic vision had been compromised some what by his success. He was a punk at heart, even though his songs were full of memorable melodies not normally associated with that style of music. It could be argued that Cobain would have preferred to stay an underground artist making albums in the vein of ‘Bleach’ instead of trying to keep his record company happy by producing more albums that did not deviate too far from ‘Nevermind’. However, this was not to be and on 5th April, Cobain took his own life leaving a legacy as one of the most influential musicians of the alternative rock scene.
The remaining members of Nirvana set about securing Cobain’s legacy by releasing a live compilation called ‘Verse Chorus Verse’ and though this album was all but ready (it just need some final mixing), the project was scrapped. This was down the Bassist Krist Novoselic and drummer Dave Grohl finding the whole project overwhelming, considering how close it was what to Cobain’s death. With this, the first of an alternative history of posthumous releases, this looks at a compilation that Geffen, the bands record label could have put out as a stop gap whilst the live material project was put on the back burner for the time being.
The music had all been released before and it would have included every B-Side not included on an album or compilation release before Cobain’s death. There was easily enough material, even though ‘Been A Son’ is on here twice. Once, as a studio cut and the second, a live performance. I have tried tried to keep the songs in the order in which they were released, but did have to move a couple around as the playing sides were too different in terms to playing time. This is because vinyl and more importantly, cassette releases needed to be catered for in the mid 90s so making sure that the playing sides matched up as closely as they could in terms of timing would have been a consideration that would have needed to be taken into account.
I missed off ‘Big Cheese’ which was the B-Side of their debut single and not originally on the ‘Bleach’ album, it was on every subsequent (as far as I can tell) repressing. In the UK, it was there from the start. ‘Dive’, the B-Side of Sliver but would later appear on Incesticide. With ‘Oh, The Guilt’, I had got so use to hearing the remixed version from the ‘With The Lights Out’ box set that I had forgotten that there were clicks throughout this that was the sound of a lighter being struck. For a moment, I thought that my CD copy had developed a fault down the years.
Both Endless, Nameless and Gallons of Rubbing Alcohol Flow Through the Strip appeared on the CD versions of ‘Nevermind’ and ‘In Utero’, but where not included on the vinyl pressing (which were the versions I bought at the time). The two noise boys tracks have been included as a bonus 7” single as these would have made the LP far too long and would have been a nice bonus for this buying the vinyl version. As it is, this record is just over 50 minutes long, which is pushing it for a vinyl record.
Been A Son – Blew EP
About A Girl (Live) – Sliver EP
Spank Thru (Live) – Sliver EP
Molly’s Lips (Live) – Candy (Split Single with The Fluid)
Even In His Youth – Smells Like Teen Spirit
Aneurysm – Smells Like Teen Spirit
Drain You (Live) – Come As You Are
D7 – Lithium
School (Live) – Come As You Are
Been A Son (Live) – Lithium
Curmudgeon – Lithium
Polly (Live) – In Bloom
Sliver (Live) – In Bloom
Oh, The Guilt – Puss (Split Single with Jesus Lizard)
Marigold – Heart Shaped Box
MV – All Apologies
I Hate Myself & I Want To Die – Pennyroyal Tea
Bonus Single (Vinyl Only)
Endless, Nameless (Hidden Song on ‘Nevermind’)
Gallons Of Rubbing Alcohol Flow Through The Strip (Hidden Song on ‘In Utero’)
The artwork uses an image that I found on the Behance website by contributor Julia Ro.
This ‘lost’ album could not be replicated on Spotify.
The British Rail 423 class of train entered service in 1967 and continued to be a mainstay of lines in South London as well as Kent, Sussex and Hampshire for the next 38 years. Here, in the second and last part of this series, the Squire meets up with a dedicated band of enthusiasts who are looking to restore the last remaining 423.
So here is the fourth and last of my Who compilations. As I said before, I have never listened to any of the bands records after they originally split up in the mid 80s so this compilation covers the period of the last albums with Keith Moon. All of the songs on Disc 1 come from ‘The Who By Numbers’ and ‘Who Are You’, except one. That song is ‘Love Is Coming Down’ which is Pete Townshend’s demo, which as far as I know has yet to be officially released.
Disc 2 takes in the two albums recorded with Kenny Jones as the drummer and the sound of the band changes dramatically at this point. Kenny Jones is a great drummer, but he does not play in the same way as Keith Moon (who does really) and the material that was being written at this time was very different from the hard rock, progressive sound that they had for the majority of the 70s. There are a lot more electronics in there, as well as the odd drum machine.
This was not a happy period for the band either, with tensions in the air. Jones’ drumming style had drawn criticism from some in the band. Townshend had released a solo album in 1980 and it was felt, but Daltrey most specifically, that the songs on that were stronger than the material that was presented for the ‘Face Dances’ album. Townshend had fallen into a depression and was taking drugs as well as drinking heavily. He also felt that he was not writing material that was suitable for the band so decided to leave, essentially ending the group.
There have been numerous reunions (one of which I saw in Hyde Park in 1996) and two new albums, but they just didn’t appeal. Sometimes bands just need to know when to stop before they become just a parody of themselves.
Who Are You (Lost Verse Version)
However Much I Booze
In A Hand or A Face
Trick of The Light
Dreaming From the Waist
How Many Friends
Love Is Coming Down (Pete Townshend Demo)
Guitar & Pen
No Road Romance
Imagine A Man
They Are All In Love
Blue Red & Grey
It’s In You
Did You Steal My Money?
Another Tricky Day
The Quiet One
It’s Your Turn
You Better You Bet
One Life’s Enough
Somebody Saved Me
I’ve Known No War
Cry If You Want
The cover is adapted from the US version of the bands 2002 compilation, ‘The Ultimate Collection’.
The British Rail 423 class of train entered service in 1967 and continued to be a mainstay of lines in South London as well as Kent, Sussex and Hampshire for the next 38 years. Here, the Squire meets up with a dedicated band of enthusiasts who are looking to restore the last remaining 423.
In the third of my Who compilations, I am looking at the period of time just after ’Tommy’ up to and including ‘Qudropheania’. With the success of ‘Tommy’, the band became financially secure but were not keen to sit on their laurels. Having played two key festivals in Woodstock and the Isle Wight (both in 1969), the band decided to release a live album that would show how different their sound was on stage compared to the studio. ‘Live at Leeds’ is considered one of the greatest live albums of all time and some of those songs are included here as I prefer them to their studio versions. The rest of disc 1 is made up of some tracks that were written for the ‘Lifehouse Project’ with some like ‘Sister Disco’ being Pete Townshend demos.
Disc 2 cover the ‘Quadrophenia’ sessions and so does not follow the storyline of the original album. Like Disc 2 on the previous collection, I was going with how it sounded to me as a compilation without having to worry about maintain the narrative. I used the 2011 Super Deluxe Edition of the album and took from that a number of songs that had originally been dropped from the LPs running order and some that only exist in demo form. It does not follow the story of the original album, but it still finishes with the main character of Jimmy sitting on a rock and his final fate is once again ambiguous.
Baba O’Riley (Instrumental Version)
Heaven & Hell (Live)
Eyesight To The Blind (Live)
Young Man Blues (Live)
Boney Marone (Live)
Summertime Blues (Live)
Shaking All Over (Live)
Postcard (1970 Version)
I Don’t Even Know Myself
Sister Disco (Pete Townshend Demo)
Mary (Pete Townshend Demo)
Long Live Rock
Love Ain’t For Keeping (New York Recording)
Behind Blue Eyes
Too Much Of Anything
Greyhound Girl (Pete Townshend Demo)
When I Was A Boy
This disc could not be replicated due to one ore more songs not available on Spotify.
I Am The Sea
The Real Me
You Came Back (Demo)
Cut My Hair
Quadraphonic Four Faces (Demo)
The Punk & The Godfather
Sea & Sand (Demo)
Get Inside (Demo)
Joker James (Demo)
I’m One (Demo)
Is It In My Head?
Love Reign O’er Me
The cover is adapted from the band’s compilation ‘Meaty Beaty Big and Bouncy’ which was released in 1971.
This disc could not be replicated due to one ore more songs not available on Spotify.
By 1969, Pete Townshend had given up drugs and had taken an interest in the works of Meher Baba, an Indian spiritual master who gave teachings on two main subjects. The nature of the soul and advice on achieving spiritual ambitions. Taking these on board, he set out to develop these teachings in his music and wanted to expand on the idea of the rock opera that he had dipped his toe into with the songs ‘A Quick One, Whilst He’s Away’ and ‘Rael’. The resulting album was ‘Tommy’ the story of a deaf, dumb and blind kid who suffers from a psychosomatic condition that was caused by his childhood trauma of seeing his father killed by his mother’s lover. Eventually the mental block that has caused Tommy’s condition is broken and he becomes the leader of a religious movement that eventually collapses around him.
To compile the first disc of this collection, I used the 2003 Deluxe and 2013 Super Deluxe editions of ‘Tommy’ as well as well as the 1998 reissue of ‘Odds & Sods’. Even though it mostly follows the story of Tommy as laid out on the original album, I have gone for what sounded good sonically instead of an understandable narrative. Well, what sounded sonically good to me anyway. ‘Tommy’ was the game changer for The Who and tuned them from a group on the slide to a commercial force that they have continued to be up to the current time. With such an album under your belt, how were they going to follow this up?
This is the point where we come to the ‘Lifehouse’ project. This is the great lost Who album project, and many people have looked to recreate what could have been. A search of the internet will throw up numerous websites discussing the album and there have been numerous attempts by other sites to create what ‘Lifehouse’ could have been. I decided against this as I didn’t want to limit myself with songs that were destined for that project. I therefore decided that anything recorded after ‘Tommy’ and before ‘Qudropheania’ could be included and that left me with two CDs worth of songs. The second being the first disc of Volume 3. This included demos for the songs that Townshend had written that would later be released on the ‘Lifehouse Chronicles’ box set in 2000.
By 1972, The Who were light years away from the band that had released ‘My Generation’ eight years before. That did not mean that Townshend was not looking back on those days for inspiration. However, for the remainder of the 70s, the band would continue to re-imagine ‘Tommy’, with a version recorded with the London Symphony and a feature film. Both of these versions would include guests musicians singer taking on the roles originally sung by the band. Townshend also never quite gave up on the ‘Lifehouse’ project and would also return to it at later points during the decade.
Its A Boy
Trying To Get Through
Cousin Kevin Model Child
The Acid Queen
Go To The Mirror
Tommy, Can you See Me?
Smash The Mirror
We’re Not Gonna Take It
Listening To You
Put The Money Down
Getting In Tune (New York Recording)
Pure & Easy
Time Is Passing
Let’s See Action
The Song Is Over
Won’t Get Fooled Again
The cover is adapted from the ‘Tommy’ EP the band rebased in 1970.
The Who are one of the great British bands, having come to prominence in the mid 60 and after the odd break here and there, they have continued to release new music up until the modern day. This month, I am posting a series of Who playlists that I have put together which looks at their career from 1965 to 1968. The songs here are when they went out as The Who and I did not include any of the bands recordings when they were The High Numbers as these did not fit in with the rest of the compilation, sound wise.
The first CD cover the band in earliest incarnation as an R&B covers band and even though the band recorded enough cover versions to fill an album, these were mostly rejected in favour of material written by guitar player Pete Townshend. Even though this early period of The Who would give rise to such classics as ‘Substitute’ and ‘My Generation’, I found when putting this together that the bands covers neatly fitted into the overall sound that they had. When I normally put compilations like this together I tend to ignore covers and stick to their original material. If I had done this with The Who, this first CD would have been a bit short.
CD 2 focuses on their next two LPs (‘A Quick One’ and ‘The Who Sell Out’), one EP (‘Ready Steady Who), and assorted singles. Townshend continued to produce a number of classic songs during this period but as this was era of the single, when it came to recording ‘A Quick One’, he didn’t have enough material to fill the record. ‘A Quick One’ is a curious beast as it is the most democratic of all Who albums in terms of songwriting credits. Either to secure a publishing deal for each member of the band, or as part of the marketing push to promote it, each member of the band were tasked with supplying at least two songs. Daltrey only managed one, so a cover of ‘Heat Wave’ was included to fill the gap. Townshend supplied what he would later call a min-opera in the form of ‘A Quick One, While He’s Away’. Made up of six songs he had not finished, the song made up a cohesive narrative of a women who’s love has been away for over a year, so she had a fling with Ivor the Engine Driver. When the original lover comes back, she reveals her transgression and all is forgiven.
Apart from Heat Wave, the second CD shows The Who evolving away from the R&B band of the first CD and into something else. It is a bit hard to say what because in the era when everyone else seemed to be going all psychedelic, The Who did not really embrace that genre. Granted, on ‘The Who Sell Out’ there are two bonafide psych classics in ‘Armenia, City In The Sky’ and ‘I Can See For Miles’. These two songs do not make the cut here as they did not fit into the sound of this compilation; well, to my ears anyway. ‘The Who Sell Out’ could be argued to be one of the first concept albums as it was designed to celebrate the culture of Pirate Radio, so the album was mixed with jingles and fake adverts. They recorded so much material for that album that when an expanded addition of this album was released in the mid 1990s, the compilers were able to continue the fake radio concept through out the entire CD.
‘The Who Sell Out’ also revealed a more mellow side to Townshend with the inclusion of the beautiful ‘Sunrise’ and the almost psychedelic ‘Relax’. It is also the album with the most humour, with the bands self written adverts showing a side of the band that would rarely come to the fore after this. There was even room for a mini opera in the form of ‘Real’ and the at the time unreleased ‘Glow Girl’ gave hints as to what was coming with ‘Tommy. What these two CDs highlight is how quickly the band changed their sound and how bit by bit, the pieces for what was coming next were being put into place.
Out In The Street
Daddy Rolling Stone
Baby Don’t You Do It (Mono Acetate Version)
Lubie (Come Back Home)
Just You & Me, Darling (BBC Session Saturday Club 29/05/1965)
Good Lovin’ (BBC Session Saturday Club 29/05/1965)
Shout & Shimmy
Instant Party mix
I Can’t Explain
Much Too Much
Anyway, Anyhow, Anywhere (Mono)
My Generation (Monaural Version w/ Guitar Overdubs)
The Kids Are Alright
A Legal Matter (Monaural Version w/ Guitar Overdubs)
I Don’t Mind (Full Length Version)
Anytime You Want Me
The Good’s Gone (Full Length Version)
Run Run Run
Boris The Spider
I’m A Boy
So Sad About Us
Don’t Look Away
I Can’t Reach You
Our Love Was
Mary Anne With The Shaky Hand
Pictures Of Lily
Call Me Lightning
I’ve Been Away
A Quick One, While He’s Away
The cover is adapted from a band posters used to advertise some of their earliest gigs.
Record Collector magazine, a magazine that I have been buying since since the very early 90s when I saw a picture of there Syd Barrett line up on the front cover. I had only just bought ‘Piper At The Gates Of Dawn’ and wanted to find out more about the band during the Barrett era. Anyway, Record Collector has always been a great resource for information on all sorts of artists. In an article from at least eight, if not ten years ago, it mentioned a number of acetates Pink Floyd had recorded before they adopted their famous name. Before they were the Floyd, they went by numerous monikers such as Sigma 6, The Meggadeaths, The Abdabs, The Screaming Abdabs, The Tea Set and then The Pink Floyd Sound. There would also be a number of members who would leave before the band found fame. These would include Juliette Gale, who would later marry Floyd keyboard player Rick Wright and a guitar player who went by the name of Rado Klose.
One acetate which contained the songs ‘Lucy Leave’ and I’m A King Bee’ would appear on bootlegs over the years, but the other two did not and it was only with the release of a vinyl EP going by the name ‘1965: Their First Recordings’ that fans finally got to hear them. These songs are nothing like the Floyd of ‘Arnold Layne’ or ‘See Emily Play’, but a more R&B/Blues based sound that was the rage at the time. These songs would also be released on the ‘The Early Years 1965-1972’ box set.
Whilst trawling through fan made Pink Floyd LP sleeves, I came across this sleeve. The photo includes Rado Klose (he is the chap on the left) and I think it was taken in the back garden of 39 Stanhope Gardens, Crouch End, where Roger Waters and Nick Mason lived at the time. I thought it would be a nice bonus to present this as an EP the band could have put out if they had signed a contract with Columbia earlier than they did in reality. After all of the other Pink Floyd bits and pieces that have been presented this month to include this one as well.
Double O Bo
Walk With Me Sydney
As I was at it, I thought I might as well make a picture sleeve for the other two tracks. ‘Lucy Leave’ and ‘I’m A King Bee’. I thought I would use the name the band were using at the time these tracks were recorded which was The Tea Set. If this were to have been made back in 1964/5 for a UK releases, it is possible that only the promo version would have had a picture sleeve like this. We in the UK didn’t seem to warrant picture sleeves back in the day. If we were on the continent though, they did produce picture sleeves so let’s pretend it comes from Germany.
I’m A King Bee
As was mentioned earlier, I found this cover online but I did not make a note of who made it. The same with the ‘Lucy Leave’ single which was adapted from someone else work. Thanks whoever you are. Good job on both fronts. I was also surprised to find all of these songs on Spotify.