Saturday, October 5, 2019

Diary - "Uni" (single)


I don't usually (as in, EVER) do this... but I heard a FANTASTIC track tonight and thought I'd share it with you all.  It's a new single by a Brooklyn, New York-based band called Diary.

Diary's been around since 2016, and consists of Will Banyard on drums, Christ Croarkin on bass, Andy Brienza on lead guitar and Kevin Bendis on vocals and synthesizer keys.  This song, "Uni", was released over the summer, and is intended to be the first in a series of tunes the band is planning on releasing through the end of the year.

Here's the video:


When I first heard this song, it put me in mind of some classic shoegaze bands from the last century, like My Bloody Valentine and especially The Veldt/Apollo Heights, another Brooklyn-by-way-of-North Carolina band I've written about on this blog earlier.  Diary calls themselve a "dreamwave" band, a synth genre that draws upon the synthesizer pioneers from that earlier era, while adding in something that sounds to me like almost Cocteau Twins-esque atmosphere. Whatever it's called, and however it's categorized, it completely tickled my eardrums - so much so that I immediately went to the group's site on Bandcamp and bought it!

I've received the band's permission to repost it here... so here, for your enjoyment is "Uni" by Diary, released on July 3rd, 2019.  It appears that Diary hasn't toured since mid-summer, but I recommend keeping an eye open for any upcoming shows of theirs in your area.  This is a band to watch for in the future!

Until then, have a listen to this... and as always, let me know what you think.

Diary - "Uni" (single) (direct download link)

Thursday, August 15, 2019

Various Artists - Woodstock - Back To The Garden: The Definitive 50th Anniversary Archive (38 Discs)


Fifty years since Woodstock... what else can I say that hasn't already been said in the run-up to this historic anniversary? With the reams of memories, commentaries, scholarly dissertations, criticisms, accolades and contextual perspectives published and broadcast over the past couple of months, there is simply no chink of daylight left for a small-time music blogger like myself to add any fresh thoughts or new ideas regarding this seminal, semi-mythical event.

I believe it's the "semi-mythical" part about Woodstock that makes it so hard for modern-day writers to get a handle on the festival, what it was all about, and what it "meant". So much of what most people in this day and age know about Woodstock comes from fragmentary snippets (such as pictures of topless women dancing in the mud, Country Joe McDonald's infamous "Gimme an F!  Gimme a U! Gimme a..." chant, and of course Jimi Hendrix's electrified "Star Spangled Banner") displayed and broadcast constantly over the decades - images that I feel have served to morph the event from simply a gargantuan and well-attended rock festival into this shining, hippie-fied anti-war wonderland of universal hope and community, truly "three days of peace and love".

In conjunction with this, Michael Wadleigh's 1970 documentary film of the concert, while celebrated, presented only three hours of the three-day show... but it drew in contemporary audiences of the time and future audiences who hadn't been/couldn't have been in attendance at the original concert with a contrived sense that, by seeing the movie, they HAD been there, and they were feeling the same sort of glow from that time and place.  Of course, that "glow" had less to do with the overall vibe there, and a lot to do with Wadleigh's skillful film editing (it even got nominated for an Oscar in the Film Editing category, a rare distinction for a documentary). In his original four-star review of Woodstock, critic Roger Ebert (who should have known better) stated "The remarkable thing about Wadleigh's film is that it succeeds so completely in making us feel how it must have been to be there", adding in a later expanded review, "...how touching it is in this film to see the full flower of its moment, of its youth and hope."

So, there's a lot of legend and mythology surrounding Woodstock, which I feel skews the perception of the overall concert.  Music producers Brian Kehow and Andy Zax felt the same way regarding the show's legacy, apparently. Instead of presenting to the public only the parts of the festival that fit into the overarching "peace and love" narrative, Zax and Kehow decided to restore and reconstruct the ENTIRE concert, from start to finish, utilizing all available sources. The result of their decade-plus long effort is what I am presenting here today: a 38-disc, 432-track compilation of nearly every song sung, note played and word spoken from the stage in Bethel, New York from the evening of August 15th to the morning of August 18th, 1969, chronologically sequenced (the only tracks missing are two songs from Hendrix's set, "Mastermind" and "Gypsy Woman"/"Aware Of Love", which his estate requested not be included, and a song and a half ("Teenager In Love" and the first half of "Little Darlin") from Sha Na Na's performance due to a gap in the taping). In all, over 250 of the tracks present within this box set have never seen official release.

This set provides more of a "boots on the ground" perspective of the entire event; not just the highs and lows, but some of the more mundane instances and situations involved in the operation of a large rock concert. The many stage announcements included in this set really give you a sense of being there as a participant, and modifies the established view of how it was there over those three days. Pitchfork recently published an article on this set which describes this feeling and function much better than I ever could; here it is.

This is a gargantuan release, and as such was released in extremely limited quantities - only 1,969 copies (cute) of this set were produced, retailing for $800 or more. Two smaller sets containing selections from this box - the three-disc, 42-track Woodstock – Back To The Garden: 50th Anniversary Collection and the ten-disc, 162-track Woodstock – Back To The Garden: 50th Anniversary Experience - were released earlier this year and are more widely available.

But I got my hands on the source, the granddaddy, and thus I present it to you for your perusal and enjoyment (or at least for those of you without a spare $800 lying around...) - Woodstock - Back To The Garden: The Definitive 50th Anniversary Archive, all thirty-eight discs, released by Rhino Records just last month, on August 2nd, 2019. Enjoy, and as always, let me know what you think.

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Friday, June 7, 2019

Blind Faith - London Hyde Park 1969 (video)


On this date fifty years ago, the short-lived supergroup Blind Faith played its debut concert (and as it turned out, their ONLY live appearance on English soil) on a scorching hot day in London's Hyde Park. Less than three months later, after a 30+-date worldwide tour that ended in Hawaii, the band (comprised of co-lead vocalists keyboardist Steve Winwood (ex-Spencer Davis Group and Traffic) and guiarist Eric Clapton (ex-Bluesbreakers, Yardbirds and Cream), along with drummer Ginger Baker (ex-Cream) and bassist Ric Grech (ex-Family)) called it a day, leaving behind only one
 artifact, their eponymous 1969 album release (with its controversial cover), to mark their passing.

The rapid rise and fall of Blind Faith was the result of wild hype, overblown expectations, and corporate/managerial greed destroying what started out as an informal jam session/get-together between old friends. I would usually go into the details, whys and wherefores of this story of rock 'n' roll misfortune in my own long-winded and inimitable (ha) way... but it appears I won't have to. Writer Johnny Black penned the definitive version of this chronicle for MOJO magazine back in July 1996 - a link to his article is provided here.

So, instead of my blathering on and on regarding the circumstances that led up to this historic day in rock history a half-century ago, how about if I let you all see the performance for yourself?  Here's London Hyde Park 1969, the official video album by the band at their free concert on that day, the full 45-minute show with band member interviews dispersed throughout.  Despite the brevity of the performance, this is still a classic, and worth viewing.

Enjoy London Hyde Park 1969, released on DVD in 2005 and burned to .mp4 format off of my personal copy.  And as always, let me know what you think.

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Friday, April 5, 2019

Nirvana - Into The Black (6-disc set)


Kurt Cobain died twenty-five years ago today... damn.

Hard to believe it's been THAT long, and even still harder for me to believe that there are young adults walking around nowadays who either weren't alive or old enough to be aware of what was going on in music at that time - all of the great tunes and bands that were on the scene, with Nirvana in the forefront. Gotta say, the thought that people missed out on those heady times when they were happening, the times I lived and reveled in and enjoyed... well, it makes me feel sad, and kind of old.

I've already said more than enough about Cobain's band and his suicide in a post I published five years ago on the 20th anniversary of the event (again - wow, it's been that long)... no need to elaborate or belabor that point here again. Instead, to commemorate the life and legacy of the now-immortal Kurt Cobain, I'll just shut my mouth and offer up the following Nirvana hard-to-find for your listening pleasure: the legendary Into The Black box set.

From Wikipedia:
"Into The Black is a six CD box set released by Tribute in 1994, which is often considered the preferred Nirvana bootleg box set due to it being compiled by a knowledgeable fan... Several recordings were obtained specifically for the set and it contains a large amount of material that had not yet surfaced up to the time of its release. The extensive 116-track collection includes demo recordings, two band-made compilations, the 1992 Reading Festival performance and BBC radio sessions from Maida Vale Studios. The set also contains two Seattle shows; the 1991 Halloween homecoming performance for their North American Nevermind tour, and their last ever American show in 1994."
Here's the song lineup, and a summary of the sources of these contents:

Disc 1:
* Tracks 1-9 from Reciprocal Recording, Seattle, WA on January 23, 1988, with the exception of "Beans".
* Tracks 10-12 recorded at Smart Studios, Madison, WI in April 1990 and are sourced from the 7" vinyl bootleg Total Fucking Godhead. "Sappy" and "Polly" can be found on Master Demo Recordings in better quality.
* Tracks 14 and 15 from the November 1, 1989 VPRO session recorded at Villa 65 in Hilversum, Netherlands for Nozems-a-Gogo.
* Tracks 17-20 from the November 9, 1991 BBC session at Maida Vale Studios, sourced from the 7" vinyl bootleg Smells Like Nirvana. "Something in the Way" remains unreleased, while the other songs appeared on Incesticide.
* Tracks 21-23 recorded live at MTV Studios, New York, NY on January 10, 1992.
Disc 2:
* Tracks 1-12 were a band made compilation of songs from two Reciprocal Recording sessions on January 23, 1988 and June 1988, with the exception of "Escalator to Hell". When Into the Black was released, only four of the songs were commercially available.
* Tracks 13-19 recorded at Smart Studios, Madison, WI in April 1990. They were taken from a cassette Nirvana was sending to record labels in 1990, after the original intention for release as the second Sub Pop album was scrapped.

Disc 3:
* All tracks from a near complete soundboard source recorded live on October 31, 1991 at the Paramount Theatre in Seattle, WA.
* The only tracks officially released include "Jesus Doesn't Want Me for a Sunbeam" featured on the DVD portion of With the Lights Out and "Negative Creep" included on From the Muddy Banks of the Wishkah.
* Other bootleg CDs to feature this show include No Place Like Home on Murphy Records, Happy Halloween on Genocide and Trick or Treat on Kiss the Stone.
Disc 4:
* Tracks 1-16 from an incomplete soundboard source recorded August 30, 1992 at the Reading Festival, taken from the second FM broadcast.
* Although many bootleg CDs feature this performance, they have become obsolete since the release of Live at Reading. However, there is still some interest with collectors because the FM broadcasts contain an alternate sound mix. In addition, the bootleg CD releases maintain better continuity as compared to the official release CD version, which is heavily edited.
Disc 5:
All tracks from a complete audience source recorded live at the Seattle Center Arena in Seattle, WA on January 8, 1994, with the six final tracks of the performance featured on Last American Show Part 2.
Disc 6:
* Tracks 1-6 from a complete audience source recorded live at the Seattle Center Arena in Seattle, WA on January 8, 1994, with the first 19 tracks of the performance featured on Last American Show Part 1.
* Tracks 7-18 from BBC sessions recorded in 1989 and 1991 at Maida Vale Studios.
* Track 19 is Courtney Love's complete eulogy for Kurt Cobain recorded at the Seattle Center Flag Pavilion on April 10, 1994.
So, in memory of Kurt Cobain, I proudly offer up the Into The Black compilation, released on the bootleg label Tribute in 1994. Enjoy, remember, and as always, let me know what you think.

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Thursday, January 24, 2019

The Fall - Final Gig (QMU Glasgow, 4 Nov 2017)

Well, it was exactly one year ago today that Mark E. Smith died, done in by lung and kidney cancer. Since then, it's been an odd year for me (and many others, I'm sure) in that regard; the first one in memory that wasn't graced by a new Fall release.

As affecting as MES's death has been to me over the past year, what I'm finding equally distressing is the gradual silence which seems to be falling over Fall-world. Yes, there are still diehards who frequent The Fall Forum, posting on band-related topics and the like. But from my vantage point, the number and quality of posts there has declined significantly since the initial flood of comments, tributes and the like that came immediately after Smith died. And The Fall Online blog, a formerly "must-see" site that for many years I used to visit at least weekly, is also slowly and gradually falling quiet. There have been only two posts in the "Fall News" section since last September... I suppose with the band kaput and the leader no more, there wouldn't be much "band news" to report, per se. Still, it's weird to see how quickly that once go-to source has become moribund.

Somewhat related to that: in the wake of Smith's death last January, I figured that, as in the case of other rock legends who pass on, the "floodgates" (as it were) would soon be opened, and longtime fans would have been blessed with a plethora of heretofore unreleased Fall product - rare outtake and demo collections, multi-disc compilations, album re-releases and the like stored away in the vaults, pulled together from the prolific band's long career. I was all but rubbing my hands together in anticipation; it all might not have been of the greatest quality, but I reckoned at the very least these archive releases would have kept the name and legend of The Fall alive for many more years. But for the most part, this hasn't happened... which I find sort of strange. Other than a few live sets (a couple from the 1990s released by Cog Sinister, consisting of some dodgy FLAC-only files of various shows in Sheffield) and a three-disc set of "golden greats" out on Cherry Red, there's really been nothing noteworthy put out. It's as if the world is already forgetting about the honorable Mr. Smith, and deeming the volume and quality of material he and his band produced over the past four decades is inconsequential and unworthy of continued acknowledgement.

Therefore, it's up to us, true Fall fans, to keep Mark's name and legacy alive. And to that end, here's a little something for my fellow Fall travelers - a bootleg recording
of the very last concert by the band, which took place in the Queen Margaret student union at the University of Glasgow, Scotland, only two months before Smith's death. A very obviously ill MES performed seated at center stage for the entire show... but he DID perform, so all props and respect to him for that. The Telegraph (UK) newspaper published a superb review of the gig the day after the show - the story's opening paragraph was prophetic, and therefore now haunting:
Hunched in a wheelchair, right arm in a sling, face bloated and bearded, Mark E Smith sang-spat a repeated phrase – “I think it’s over now, I think it’s ending” – as his sidemen locked into a brutal riff. This sounded valedictory, and a question hovered in the air: could we be witnessing the last days of The Fall, a band that for 40 years has belched like a dirty chimney through the drab skies of British culture?
Sucks to be right sometimes... Anyway, I got this recording from my friend and fellow blogger Jon Der - and subsequently I bestow it unto you all as well.

Here it is, The Fall's final show, recorded on the evening of November 4th, 2017. Enjoy, and spare a moment today to remember the late, great Mark E. Smith, the original Rock Curmudgeon, and all of the outstanding music he and the various incarnations of his band The Fall left behind. He, and they, remain my all-time favorite artist(s), and probably will so for the rest of my life.

And as always, let me know what you think.

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Friday, September 7, 2018

Buddy Holly - The Complete Buddy Holly (Purple Chick) (10-Disc Set + DVD)


Thoughts While Standing At Buddy Holly's Tomb

Only Buddy Holly's
dust rests here
with all his
youthful dreams
just some remnants
of the fifties
from a plane burst
at the seams.
Oh Lord, how that
aircraft tumbled
nose to tail,
and tail to nose,
how those boys
last prayer's were mumbled
then they screamed
at fate's cruel blows.
leaving broken bodies
scattered
all across the
once white snow,
east of nowhere long ago...
Buddy Holly would have turned eighty-two today.

Almost sixty years gone now... and Charles Hardin Holley's legacy and influence in rock - and in music as a whole - remains unassailable to this day. Every major artist that has since followed in his wake - The Rolling Stones, Bob Dylan, Eric Clapton, Elton John, Bruce Springsteen, The Clash, and of course The Beatles - and every major rock movement - the British Invasion, surf rock, the folk-rock explosion, punk, alternative - owes a large part of their very existence to this unassuming yet brilliant and driven young man from Lubbock, Texas.

I think of all the rock pioneers and icons who left this world well before their time (Bobby Fuller, Otis Redding, Jimi Hendrix, Janis Joplin, Kurt Cobain, Jeff Buckley, and many, many more (unfortunately)), Buddy Holly was the one with the most unrealized potential.  I mean, heck, just consider this: the guy went from relatively simplistic teenybopper stuff like "That'll Be The Day" and "Maybe Baby"... to complex, melodic and thoughtful songs like "Well... All Right" and "True Love Ways"... in little over two years of active recording. Personally, I find the rate and level of the evolution of his art and musical sophistication astonishing - rivaled only by that of The Beatles (admitted Holly disciples) during their seven years as recording artists. And yet there were four of them - while he sometimes worked with songwriting partners, Buddy was essentially a solo artist.

Holly had dreams and ambitions far beyond just being a rock singer. Many of the frustrations in his early career stemmed from his lack of creative control over his music (a circumstance that contributed to his break from his first band, The Crickets, in 1958). More and more, he began managing his own musical direction, taking tentative steps into Latin-influnced sounds ("Take Your Time") and easy listening ("True Love Ways", "Moondreams"). Holly also began producing music, arranging sessions for his Lubbock friend Waylon Jennings and for his young 'discovery' Lou Giordano.

And still, Buddy yearned to do more on the production side. Late in 1958, he'd purchased land back in Texas and had drawn up plans for his own recording studio, and had already signed on many of his musician friends as staff (it was rumored that, once he got back off the Winter Dance Party tour in early 1959, one of the first artists he planned on recording at his new facility would have been Ritchie Valens...). And his music ambitions kept on expanding. He dreamed of recording with R&B giant Ray Charles (even at one point going out to California to seek him out - unfortunately, Charles was away on tour; can you IMAGINE what that collaboration would have been like?) and gospel great Mahalia Jackson.

In short, as great as he was even in the late 1950s, Buddy Holly was nowhere near reaching the height of his powers. I sometimes think about what could have happened had he not boarded that Iowa plane in February 1959 - more spectacular songs from him; forays into folk and country; playing with Dylan; collaborating with The Stones; even producing The Beatles! I am convinced that Holly would have remained a force in music for decades to come, and if he was still alive today, he'd be celebrated as the singular "elder statesman of rock".

But alas, none of that was destined to be. What a loss to music, and to the world.
On that tragic day
the music died
when the world
forever was denied
what could have been,
great songs unwritten
such promise in
a blizzard smitten
time stole what still
can't be forgiven,
three stars who still
had so much living
all vanished when their
plane was stricken,
leaving flesh remains,
torn and frostbitten.

But what will truly
be their legacy,
lies in the songs
that musically
still have us
humming them daily,
when radio stations
dust off tracks
that hold the gold....
today's songs lack,
then sadly we'll
go drifting back
not to Buddy's tomb,
but to his tunes.
The compilation offered here, The Complete Buddy Holly, was assembled by the Purple Chick collective of music fans in 2005. Here's a concise description of this offering, taken from the online magazine Big O Worldwide:
...Its comprehensiveness [of this set] rivals the official MCA 6-LP box set, The Complete Buddy Holly, first released in 1981 and long out-of-print. The MCA set has never been issued on CD.

Like the official LP box set, Purple Chick cover the same ground but offer the extras of alternates, demos, home recordings, live performances and radio spots that MCA decided to overlook. In general, what you get are Holly’s Nashville sessions with his friend Bob Montgomery that later was posthumously released as Holly In The Hills [1965], the demos for Decca, the Clovis recordings, the first sessions with Norman Petty in 1957 and the sessions that resulted in the three albums released in his lifetime.

Holly’s final demos, often called the Apartment Tapes, are also here. These were first overdubbed by Norman Petty using a Texas band called The Fireballs when new Holly material was needed.

The extra mile Purple Chick have taken are to assemble sessions produced by Buddy Holly for his friends including Sonny Curtis, Waylon Jennings, Carolyn Hester and Harry Nilsson and also those on which he played in [Buddy For Others Pt 1 and 2]. There are also two CDs worth of songs from Holly’s record collection, we presume to give the listener an idea of what influenced Holly. There is also a disc of interviews with Buddy Holly that includes various newscasts about the plane crash.
And as an added bonus, there's an eleventh disc full of video recordings of and about Buddy Holly - basically every important existing video featuring him.

Here's the entire Purple Chick set lineup, noting songs and sources; I've included some notes from the original Purple Chick release (marked as such below):
Volume One

1: My Two Timin' Woman (Snow)
- c.1949: Home Recording, 3315, 36th Street, Lubbock, Texas; Buddy Holly: vocal, acoustic guitar
2: I 'll Just Pretend (Martin)
3: Take These Shackles From My Heart (King-Stewart)
- c. 1952: Home Recording, 3315, 36th Street, Lubbock, Texas; Bob Montgomery (poss. Jack Neal): lead vocal, guitar; Buddy Holly: second vocal, mandolin
4: Footprints In The Snow (Jones)
- c:1953: (Prob.) Home Recording, 3315, 36th Street, Lubbock, Texas; Bob Montgomery: lead vocal, guitar; Buddy Holly: vocal, guitar
5: Gotta Get You Near Me Blues+ (Montgomery)
6: Flower Of My Heart* (Montgomery-Guess)
7: Door To My Heart* (Montgomery)
8: I Gambled My Heart+ (Holly-Montgomery)
9: Soft Place In My Heart+ (Montgomery)
10: Gotta Get You Near Me Blues+ (Montgomery)
- c. late 1954/April 1955: Nesman Recording Studio - Wichita Falls, Texas; Bob Montgomery: lead vocal, acoustic guitar; Buddy Holly: duet vocal, electric lead guitar; Sonny Curtis: fiddle; Larry Welborn: bass on *; Don Guess: steel guitar on *, bass on +; 6-10: plus overdubs: 6 October, 1963 - The Fireballs: (George Tomsco: guitar, Stan Lark: bass; Keith McCormack: rhythm guitar; Lyn Bailey: bass; Doug Roberts: drums)
11: You And I Are Through* (Montgomery)
12: Memories (Montgomery)
13: You And I Are Through* (Montgomery)
14: Baby It's Love (Bob Montgomery-Ella Holley)
15: Memories (Montgomery)
16: Queen Of The Ballroom (Don Guess)
- August, 1955: KDAV Studio - Lubbock, Texas; Bob Montgomery: lead vocal, acoustic guitar; Buddy Holly: duet vocal, second lead guitar; Sonny Curtis: fiddle, lead guitar on *; Don Guess: bass; 13-16: plus overdubs: 26 June 1964 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark or Lyn Bailey: bass; Doug Roberts or Eric Budd: drums)
17: Baby Let's Play House (Gunter)
18: Down The Line (Holly-Montgomery)
19: Baby Let's Play House (Gunter)
20: Down The Line (Holly-Montgomery)
- Mid 1955: Nesman Recording Studio - Wichita Falls, Texas; Buddy Holly: lead vocal, acoustic guitar; Bob Montgomery: vocal and guitar on *; Sonny Curtis: lead guitar; Larry Welborn: bass; Jerry Allison: drums; 19-20: plus overdubs: June 1964 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums)
21: Moonlight Baby (Holly) (aka Baby Won't You Come Out Tonight)
22:1 Guess I Was A Fool (Holly)
23: Don't Come Back Knockin' (Holly-Parrish)
24: Love Me (Holly-Parrish)
- 7 December, 1955: Nesman Recording Studio - Wichita Falls, Texas; Buddy Holly: vocal, guitar; Sonny Curtis: lead guitar; Don Guess: bass; Jerry Allison: drums (These acetates were sent to Decca in response to a telegram from Eddie Crandall to Dave Stone)
25: Love Me (Holly-Parrish) (Take 10)
26: Don't Come Back Knockin' (Holly-Parrish)
27: Midnight Shift (Lee-Ainsworth)
28: Blue Days, Black Nights (Hall)
- 26 January, 1956: Bradley's Barn Studio - Music Row, Nashville, Tennessee (Owen Bradley: producer); Buddy Holly: vocal; Sonny Curtis: lead guitar; Grady Martin: rhythm guitar; Don Guess: bass; Doug Kirkham: percussion
29: Baby Won't You Come Out Tonight+ (Holly)
30: I Guess I Was Just A Fool+ ~Holly)
31: It's Not My Fault (Hall-Myrick)
32: I'm Gonna Set My Foot Down*+ (Holly)
33: Changin' All Those Changes*+ (Holly)
34: Rock-A-Bye Rock+ (Holly)
35: Because I Love You+ (Holly)
- February-April, 1956: Norman Petty Studios - 1313 West 7th Street Clovis, New Mexico; Buddy Holly: vocal, guitar; Sonny Curtis: guitar, lead guitar on *; Don Guess: bass; Jerry Allison: drums on +

Volume Two

1: Baby Won't You Come Out Tonight (Holly)
2: Because I Love You (Holly)
3: Changin' All Those Changes (Holly)
4: I 'm Gonna Set My Foot Down (Holly)
5: It's Not My Fault (Hall-Myrick)
6: Rock-A-Bye Rock (Holly)
- Feb-Apr 1956 session from disc 1 plus overdubs: 14 November 1962 - The Fireballs: (George Tomsco: guitar; Keith McCormack: guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums)
7: Rock Around With Ollie Vee (Curtis) (fragment)
8: Rock Around With Ollie Vee (Curtis) (take 8)
9: I'm Changin' All Those Changes* (Holly) (take 3 fragment)
10: I'm Changin' All Those Changes* (Holly) (take 4)
11: That'll Be The Day (Alllson-Holly-Petty) (take 19)
12: Girl On My Mind (Guess) (take 3)
13: Ting-A-Ling (Nugetre) (take 7)
- 22 July, 1956: Bradley's Barn Studio - Music Row, Nashville, Tennessee (Owen Bradley: producer); Buddy Holly: vocal, guitar; Sonny Curtis: guitar, lead on *; Don Guess: bass; Jerry Allison: drums
14: Rock Around With Ollie Vee (Curtis) (take 12)
15: Modern Don Juan (Guess-Neil) (take 76 [sic])
16: You're My One Desire (Guess) (false start)
17: You're My One Desire (Guess) (take 2)
- 15 Nov, 1956: Bradley's Barn Studio - Music Row, Nashville, Tennessee (Owen Bradley: producer); Buddy Holly: vocal; Harold Bradley: guitar; Grady Martin: guitar; Don Guess: bass; Floyd Cramer: piano; Farris Coursey: drums; E.R. "Dutch" McMillin: saxophone
18: Gone (Rogers) (version one)
19: Gone (Rogers) (version two)
20: Gone (Rogers) (version three)
21: Have You Ever Been Lonely (De Rose-Brown) (version one)
22: Have You Ever Been Lonely (De Rose-Brown) (version two)
23: Have You Ever Been Lonely (De Rose Brown) (version three)
24: Have You Ever Been Lonely (De Rose-Brown) (version four)
25: Brown-Eyed Handsome Man (Berry)
26: Good Rockin' Tonight (Brown)
27: Rip It Up (Marascalco-Blackwell)
28: Blue Monday (Bartholomew-Domino)
29: Honky Tonk (Doggett-Shepard-Butler-Scott)
30: Blue Suede Shoes (Perkins)
31: Shake, Rattle and Roll (Calhoun)
32: Bo Diddley (McDaniel)
33: Ain't Got No Home (Henry)
34: Holly Hop (Holley)
35: Gone (Rogers) (version three)
36: Rip It Up (Marascalco-Blackwell)
37: Honky Tonk (Doggett-Shepard-Butler-Scott)
38: Blue Suede Shoes (Perkins)
39: Shake, Rattle and Roll (Calhoun)
40: Have You Ever Been Lonely (De Rose-Brown) (version one)
41: Good Rockin' Tonight (Brown)
42: Blue Monday (Bartholomew-Domino)
43: Ain't Got No Home (Henry)
44: Holly Hop (Holley)
- November-December, 1956: (Poss.) Home Recording - 1926, 19th Street, Lubbock, Texas; Buddy Holly: vocal, guitar; Jerry Allison: drums and vocals; (Poss.) Don Guess: bass; 35-39: plus overdubs: 10/11 October, 1963 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts: drums); Vi Petty: piano; 40-44: plus overdubs: 22 August, 1968 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Lyn Bailey or Stan Lark: bass; Doug Roberts: drums)

Original Purple Chick notes:  "Space here to tell you a little about this collection. Over a year in the making, we snagged everything we could find from numerous sources, including What You Been A Missin' and The Music Never Died. One thing we didn't include was any of the "Picks" vocal overdubs from the 1980s, frankly because we think they suck. You can find them on all manner of budget CDs. But you really don't want to. Tracks making their CD debut include the 7" versions of "Wait Til The Sun Shines Nellie", "Look At Me" and "Mailman...", and the 50s and 60s stereo mixes on Disc Nine.

As well as our new, previously unavailable stereo mixes, we managed to dig out one or two exclusives: "Take These Shackles..." on disc one is not only upgraded in sound, but appears without skips for the first time! Also making their bootleg debut (we think) are the BBC "Maybe Baby" and Florida "That'll Be The Day" fragments and the first version of "That's What They Say". We're not sure whether the Hightime fragment is lip-synched or sung live to the record, but it debuts here all the same.

We did minimal work on the source material if it warranted it - mostly de-clicking and speed-correction. Also, we fixed the tape glitch on the Palladium "Oh Boy" and combined two different sources of "My Two-Timin Woman" to get the longest version in best quality. When speed-corrected the Vigotone "Last Night" and "Send Me Some Lovin'" turn out not to be alternate takes, just undubbed."

Volume Three

1: Brown-Eyed Handsome Man (Berry)
2: Bo Diddley (McDaniel)
3: Brown-Eyed Handsome Man (Berry)
4: Bo Diddley (McDaniel)
- December 1956-January 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Larry Welborn: bass; Jerry Allison: drums; unknown: guitar; 3-4: plus overdubs: 22 August, 1968 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums)
5: I'm Looking For Someone To Love (Holly-Petty)
6: That'll Be The Day (Allison-Holly-Petty)
- 25 February, 1957: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Larry Welborn: bass; Jerry Allison: drums; Niki Sullivan, Gary Tollett and Ramona Tollett: backing vocals
7: Last Night (Petty-Mauldin)
8: Maybe Baby* (Holly-Petty)
9: Words Of Love (Holly)
10: Last Night+ (Petty-Mauldin)
11: Maybe Baby* (Holly-Petty)
- 12 March, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico;Buddy Holly: vocal, guitar, Joe B. Mauldin: bass; Jerry Allison: drums; Niki Sullivan: second vocal*; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 12-14 Oct '57); 11: plus overdubs: 15 March, 1966 - The Fireballs: (see above - Doug Roberts: drums)
12 Words Of Love* (Holly)
13: Mailman Bring Me No More Blues+ (Roberts-Katz-Clayton)
14: Mailman Bring Me No More Blues+ ((Roberts-Katz-Clayton)
- 8 April, 1957 Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal (double-tracked on *), guitar (double-tracked on *); Jerry Allison: drums; Joe B. Mauldin: bass; Vi Petty: piano on +; 14: plus echo overdub for 7": October 1961: Decca Record Co., Ltd., 254 Belsize Road, London, England
15: Not Fade Away (Hardin-Petty) (incomplete alternate)
16: Not Fade Away+ (Hardin-Petty)
17: Everyday* (Hardin-Petty)
- 29 May, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Jerry Allison: cardboard-box (knee slapping on *); (Prob.) Joe B. Mauldin: bass; Vi Petty: celeste on *; Buddy Holly, Jerry Allison, Niki Sullivan: overdubbed vocals on +
18: Ready Teddy* (Blackwell-Marascalco)
19: Valley Of Tears# (Domino-Bartolomew)
20: Tell Me How+ (Hardin-Allison-Petty)
- May-July, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Niki Sullivan: guitar on * and +; Joe B. Mauldin: bass; Jerry Allison: drums; Vi Petty: piano on * and #; Norman Petty: organ on #; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 12-14 Oct '57)
21: Peggy Sue (Holly-Allison-Petty) (alternate)
22: Peggy Sue (Holly-Allison-Petty)
23: Listen To Me* (Hardin-Petty)
24: That'll Be The Day - for Bob Thiele (Holly-Allison)
25: That'll Be The Day - for Murray Deutch (Holly-Allison)
26: That'll Be The Day - for Bill Randall (Holly-Allison)
27: Oh Boy (West-Tilghman-Petty)
28: Oh Boy+ (West-Tilghman-Petty)
- 30 June, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar (double-tracked v & g on *), Joe B. Mauldin: bass; Jerry Allison: drums; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 19 August '57)
29: I'm Gonna Love You Too (Mauldin-Petty-Sullivan)
- 1 July, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: double-tracked vocal, guitar; Joe B. Mauldin bass; Jerry Allison: drums; Cricket: chirp
30: Send Me Some Loving (Marascalco-Price)
31: It's Too Late (Willis)
32: Send Me Some Loving+ (Marascalco-Price)
33: It's Too Late+ (Willis)
- 20 July, 1957: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 12-14 Oct '57)
34: Am Empty Cup+ (Petty-Orbison)
35: Rock Me My Baby+ (Long-Heather)
36: You've Got Love+ (Wilson-Orbison-Petty)
37: Maybe Baby+ (Holly-Petty)
- 28-29 September, 1957: The Officers Club Lounge - Tinker U.S. Air Force Base, Oklahoma City, OK; Buddy Holly: vocal, guitar, Niki Sullivan: guitar, Joe B. Mauldin: bass, Jerry Allison: drums; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 12-14 Oct '57)
38: That'll Be The Day (Holly-Allison-Petty) (fragment)
- 22 October, 1957: KPTV Hightime, Portland Oregon; Buddy Holly: mimed (double-tracked?) vocal; Joe B. Mauldin and Jerry Allison: mimed vocal
39: That'll Be The Day (Holly-Allison-Petty)
40: Peggy Sue (Holly-Allison-Petty)
41: Interview with Ed Sullivan
- 1 December, 1957: Ed Sullivan Show, CBS Television Studios, New York City, New York; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums; Niki Sullivan: guitar

Volume Four

1: Little Baby (Holly-Petty-Kendall)
2: (You're So Square) Baby I Don't Care (Leiber-Stoller)
3: Look At Me (Holly-Petty-Allison)
4: Look At Me (Holly-Petty-Allison)
- 7 December, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin; bass, Jerry Allison: drums; C.W. Kendall Jr.: piano; 4: plus echo overdub for 7: October 1961: Decca Record Co. Ltd. 254 Belsize Road London England
5: Mona (McDaniel) (warm up)
6: Mona (McDaniel) (take one)
7. Mona (McDaniel) (take two)
8: Mona (McDaniel) (take three)
- December, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Jerry Allison: drums; guitar at beginning
9: Peggy Sue (Holly-Allison-Petty)
- 29 December, 1957: Arthur Murray Dance Party, TV Show - New York City, New York; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums
10: Rave On (West-Tilghman-Petty) (take 3)
11: That's My Desire (Kresa-Loveday) (rehearsal)
12: That's My Desire (Kresa-l.oveday) (take I - false start)
13: That's My Desire (Kresa-Loveday) (take 2 breakdown)
14: That's My Desire (Kresa-l.oveday) (take 3)
15: That s My Desire+ (Kresa-Loveday) (take 3)
- 25 January, 1958: Bell Sound Studios - 237 W. 54th Street, New York City, New York; Buddy Holly: vocal; Joe B. Mauldin: bass; Jerry Allison: drums; Norman Petty: piano; Al Caiola: lead guitar; Donald Arnone: rhythm guitar; The Jivetones: (William Marine, Robert Bollinger, Robert Harter, Abby Hoffer, Merrill Ostaus): backing vocals; 15: plus overdubs: 15 March 1966 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts: drums)
16: Oh Boy (West-Tilghman-Petty)
- 26 January, 1958: Ed Sullivan Show, CBS Television Studios, New York City, New York; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums
17: Well... All Right (Holly-Allison-Petty-Mauldin)
- 12 February, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: cymbals
18: Take Your Time* (Holly-Petty) (take I breakdown)
19: Take Your Time* (Holly-Petty) (take 2 - breakdown)
20: Take Your Time* (Holly-Peity) (take 3)
21: Take Your Time* (Holly-Pelty) (take 4)
22: Fool's Paradise (Leglaire-Petty-l.insley) (take 1)
23: Fool's Paradise (Leglaire-Petty-Linsley) (take 2)
24: Fool's Paradise (I.eglaire-Petty-Linsley) (take 3)
25: Think It Over (Holly-Petty-Allison) (take 1 - false start)
26: Think It Over (Holly-Petty-Allison) (take 2 - false start)
27: Think It Over (Holly-Petty-Allison) (take 3)
28: Think It Over (Holly-Petty-Allison) (take 4)
29: Think It Over (Holly-Petty-Allison) (take 5)
30: Fool's Paradise+ (Leglaire-Petty-Linsley) (take 3)
31: Think It Over+ (Holly-Petty- Allison) (take 5)
- 14 February, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums, cardboard-box on *; Norman Petty: organ on *- plus The Roses (Robert Linville, Ray Rush, David Bigham) backing vocals on +; Vi Petty: piano on + (overdubbed: 19 February, 1958)
32: That'll Be The Day* (Allison-Holly-Petty) (fragment)
33: Everyday* (Hardin-Petty) (fragment)
34: Drown In My Own Tears+ (fragment)
35: Hallelujah, I Love Her So + (Charles) (Glover) (fragment)
- 24 February, 1958: "Big Gold Record Stars Show" - Dade County Auditorium, Miami, Florida; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass on *; Jerry Allison: drums on *; Jerry Lee Lewis: piano and vocal on +
36: That'll Be The Day (Allison-Holly-Petty)
37: Peggy Sue (Holly-Allison-Petty)
38: Oh Boy (West-Tilghman-Petty)
- 2 March, 1958: The London Palladium - Argyle Street, London, England; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums
39: Maybe Baby (Holly-Petty) (fragment)
- 14 March,1958: BBC Television studios - Lime Grove, London, England; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums
40: Heartbeat* (Montgomery-Petty)
41: Lonesome Tears+ (Holly)
42: It's So Easy+ (Holly-Petty)
- 25 May, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Tommy Allsup: lead guitar; Joe B. Mauldin: bass on +; Jerry Allison: drums on +; George Atwood: bass on *; plus The Roses (Robert Linville, Ray Rush, David Bigham): backing vocals on + (overdubbed: 27 May, 1958)
43: Love's Made A Fool Of You (Holly-Montgomery)
44: Wishing (Holly-Montgomery)
45: Love's Made A Fool Of You+ (Holly-Montgomery)
46: Wishing ++ (Holly-Montgomery)
- 2 June, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: double-tracked vocal, guitar; Tommy Allsup: lead guitar; George Atwood: bass; Bo Clarke: drums - 45-46: plus overdubs: January 7, 1964 - handclaps on +; 1963 guitar overdubs on ++

Volume Five

1: Early In The Morning (Darin-Harris)
2: Now We're One (Darin) (fragment)
3: Now We're One (Darin)
- 19 June, 1958: Coral Records Studios - The Pythian Temple, 80th Street, New York City, New York; Buddy Holly: vocal; George Barnes: lead guitar; Al Chernet: acoustic guitar; Sanford Bloch: bass; Ernest Hayes: piano; David "Panama" Francis: drums; Philip Kraus: drums; Sam Taylor: alto saxophone; Helen Way Singers: (Helen Way, Harriett Young, Maeretha Stewart, Theresa Merritt): backing vocals
4: Everyday KLLL Jingle (Holly)
5: Peggy Sue KLLL Jingle (Holly-Alllson)
- 1 September, 1958: Radio KLLL - Lubbock, Texas; Buddy Holly: vocal, guitar
6: Come Back Baby (Petty-Nell)
7: Reminiscing (Curtis) (Buddy wrote this, but gave King Curtis the credit for flying down to the session)
8: Reminiscing + (Curtis)
- 10 September, 19S8: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums; Curtis "King Curtis" Ousley: saxophone; 8: plus overdubs: 14 November, 1962 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Eric Budd: drums)
9: True Love Ways (Holly-Petty) (stereo)
10: It Doesn't Matter Anymore (Anka) (stereo)
11: Raining In My Heart (B & F Bryant) (stereo)
12: Moondreams (Petty) (stereo)
13: True Love Ways (Holly-Petty) (mono)
14: It Doesn't Matter Anymore (Anka) (mono)
15: Raining In My Heart (B & F Bryant) (mono)
16: Moondreams (Petty) (mono)
- 21 October, 1958: Coral Records Studios - Pythian Temple, 80th Street, New York City, New York; Buddy Holly: vocal; Al Caiola: acoustic guitar; Sanford Bloch: bass; Ernest Hayes: piano; Doris Johnson: harp; Clifford Leeman: drums; Abraham Richman: tenor saxophone; Sylvan Shulman, Leo Kruczek, Leonard Posner, Irving Spice, Ray Free, Herbert Bourne, Julius Held, Paul Winter: violin, David Schwartz Howard Kay: viola, Maurice Brown, Maurice Bialkin: cello; 9-12 Mixed for stereo 1979. Alternate stereo mixes of 9, 10 and 11 from 1959 and 1967 on Disc Nine.
17: That's What They Say (Holly) (version I - incomplete)
18: That's What They Say (Holly) (version 2)
19: What To Do (Holly)
20: Peggy Sue Got Married (Holly)
21: That Makes It Tough (Holly)
22: Crying, Waiting, Hoping (Holly)
23: Learning The Game (Holly)
- 3 December, 1958 (17-19); S December, 1958 (20); 8 December, 1958 (21); 14 December, 1958; (22); 17 December, 1958 (23): Apartment 4-H, The Brevoort, 8th Street, New York City, New York; Buddy Holly: vocal, acoustic guitar
24: You're The One (Holly-Jennings-Corbin)
- 27 December, 19S8: Radio KLLL. - Lubbock, Texas; Buddy Holly: vocal, guitar; Waylon Jennings: handclapping; Ray "Slim" Corbin: handclapping
25: Wait 'Til The Sun Shines Nellie* (Sterling-Von Tilzer)
26: Slippin' And Slidin'* (Penniman-Bocage-Collins-Smith) (Slow version # 1)
27: Slippin' And Slidin'* (Penniman-Bocage-Collins-Smith) (slow version # 3)
28: Slippin' And Slidin' (Penniman-Bocage-Collins-Snulh) (slow version # 2)
29: Slippin' And Slidin' (Penniman-Bocage-Collins-Smith) (fast version)
30: Drown In My Own Tears (Glover) (fragment)
31: Maria Elena
32: Dearest (McDaniel-Polk-Baker) (version 1 - incomplete)
33: Dearest (McDaniel-Polk-Baker) (version 2)
34: Love Is Strange (Smith-Baker)
35: Smokey Joe's Cafe (Leiber-Stoller)
36: Smokey Joe's Cafe (Leiber-Stoller) (unedited)
37: Buddy's Guitar (Holly) (aka I Know I'll Have The Blues Again aka Leave My Woman Alone)
- 1-20 January, 1959: Apartment 4-H, The Brevoort,8th Street, New York City, New York; Buddy Holly: vocal, acoustic guitar, electric guitar on *
38: Slippin' And Slidin'* (Penniman-Bocage-Collins-Smith) (sped-up version # 1)
39: Slippin' And Slidin'* (Penniman-Bocage-Collins-Smith) (sped-up version # 3)
40: Slippin' And Slidin' (Penniman-Bocage-Collins-Smith) (sped-up version # 2)
- 1-20 January, 1959: Apartment 4-H, The Brevoort, 8th Street, New York City, New York; Buddy Holly: vocal, acoustic guitar, electric guitar on * [Buddy deliberately recorded these songs at a slow tempo, with the tape running at half-speed (71/2 i.p.s. versus 15 i.p.s.) so they would sound like The Chipmunks when played back!]

Volume Six

1: Peggy Sue Got Married (Holly)
2: Crying, Waiting, Hoping (Holly)
- overdubbed 30 June, 1959: Coral Records Studio A, New York City, New York; Andrew Ackers: piano; David 'Panama' Francis: drums; Sandford Block: bass; The Ray Charles Singers: backing vocals; C. John "Jack" Hansen: producer
3: That's What They Say (Holly) (take 2)
4: What To Do (Holly)
5: Learning The Game (Holly)
6: That Makes It Tough (Holly)
- overdubbed 1 January, 1960: Coral Records Studlo A, New York City, New York; Andrew Ackers: piano; David 'Panama' Francis: drums; Sandford Block: bass; The Ray Charles Singers: backing vocals; C tohn "Jack" Hansen: producer; Mixed for stereo in 1979. Alternate stereo mixes of 4 and 5 from 1967 are on Disc Nine of this set.
7: What To Do (Holly)
8: Peggy Sue Got Married (Holly)
9: Crying, Waiting, Hoping (Holly)
10: That Makes It Tough (Holly)
11: That's What They Say (Holly) (version 2)
12: Learning The Game (Holly)
- overdubbed June 1962-December 1963: Norman Petty Studios - 1313 West 7th Street, Clovis, NM; The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums); Norman Petty: producer
13: You're The One (Holly-Jennings-Corbin)
- overdubbed June 1962-December 1963: Norman Petty Studios - 1313 West 7th Street, Clovis, NM; The Fireballs: (George Tomsco: guitar; Jimmy Glimer: rhythm guitar; Stan Lark: bass; Doug Roberts: drums); Norman Petty: Onedeoline, Producer
14: Umm, Oh Yeah (Dearest) (McDaniel-Polk-Baker) (version 2)
15: Slippin' And Slidin' (Penniman-Bocage-Collins-Smith) (slow version #2)
- overdubbed 1962-1963: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums); Norman Petty: producer
16: Wait 'Til The Sun Shines Nellie (Sterling-Von Tilzer) (single version)
17: Wait 'Til The Sun Shines Nellie (Sterling-Von Tilzer) (album version with additional overdubbing)
- overdubbed 29 October 1962: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums); poss. Vi Petty, George Tomsco, Homer Tankersley: backing vocals; Norman Petty: producer
18: Love Is Strange+ (Smith-Baker)
19: Slippin ' And Slidin ' (Penniman-Bocage-Collins-Smith) (fast version)
20: Dearest* (McDaniel-Polk-Baker) (version 2)
21: Smokey Joe's Cafe* (Leiber-Stoller)
- overdubbed 1968: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts: drums); Norman Petty: Onedeoline on +; poss. Vi Petty, Barbara Tomsco, George Tomsco, Homer Tankersley: backing vocals on *; Norman Petty: producer
22: Peggy Sue Got Married (Holly)
- overdubbed 1995, Abbey Road Studios, London, England; The Hollies: (Allan Clarke, Graham Nash, Tony Hicks: vocals; Tony Hicks: rhythm and lead guitar; Bobby Elliott: drums; Ian Parker: keyboards; Ray Stiles: bass; Alan Coates: percusslon)
23: Got To Get You Near Me Blues (Montgomery)
24: Memories (Montgomery)
25: Baby Let's Play House (Gunter)
26: Last Night (Petty-Mauldin)
27: Oh Boy (West-Tilghman-Petty)
28: Send Me Some Loving (Marascalco-Price)
29: It's Too Late (Willis)
30: That's My Desire (Kresa-Loveday)
31: Fool's Paradise (Leglaire-Petty-Linsley)
32: Think It Over (Holly-Petty-Allison)
33: Love's Made A Fool Of You (Holly-Montgomery)
34: Wishing (Holly-Montgomery)
- True stereo versions - For The First Time Anywhere!!  Created by Purple Chick synchronizing the dubbed and undubbed versions that appear earlier on this set.(Undubbed versions are panned mostly left, the dubbed versions mostly right.)

Volume Seven

1: I Saw The Moon Cry Last Night (Neal) - Jack Neal
2: I Hear The Lord Callin' For Me (Neal) - Jack Neal
- c. 10 November 1953: Radio KDAV - 6602 Quirt Avenue, Lubbock, Texas; Jack Neal: vocal, guitar; Buddy Holly: guitar
3: All From Loving You* Hall) - Ben Hall
4: Rose Of Monterey+ (Hall) - Ben Hall
- c. 1955: Radio KSEL, Lubbock, Texas(*); Radio KDAV - 6602 Quirt Avenue, Lubbock, Texas(+); Ben Hall: vocal; Buddy: guitar; Sonny Curtis: fiddle; Weldon Myrick: steel guitar; Dena Hall: bass
5: Because You Love Me (Curtis) - Sonny Curtis
6: I'll Miss My Heart (Inman) - Sonny Curtis
7: Queen Of The Ballroom (Guess) - Sonny Curtis
8: This Bottle (Curtis) - Sonny Curtis
9: Dallas Boogie (Curtis) - Sonny Curtis
10: One In A Million (Curtis) - Sonny Curtis
- 7 June 1955: (Prob.) Nesman Recording Studio - Wichita Falls, Texas; Sonny Curtis: vocal; Buddy Holly: guitar; Larry Welborn: bass; Jerry Allison: drums
1l: Go Boy Go* (Wilson) - Gary Dale
12: Gone* (Rogers) - Gary Dale
13: Go Boy Go+ (Wilson) - Gary Dale
14: Gone+ (Rogers) - Gary Dale
15: The Golden Rocket+ (Snow) - Gary Dale
16: 1 Overlooked An Orchid+ (Story-Smith-Lyn) - Gary Dale
- 21 February, 1957: Radio KDAV - Lubbock Texas (*); 1 March, 1957: Norman Petty Studios -13i3 West 7th Street, Clovis, New Mexico (+); Gary Dale Tollett: vocal; Buddy Holly: guitar; 3erry Allison: drums; Ramona Tollett, June Clark, Niki Sullivan: backing vocals
17: A Whole Lot Of Lovin' (Huddle-Petty-Robinson) (take I ) - Jim Robinson
18: A Whole Lot Of Lovin' (Huddle-Petty-Robinson) (take 2) - Jim Robinson
19: A Whole Lot Of Lovin' (Huddle-Petty-Robinson) (take 3) - Jim Robinson
20: A Whole Lot Of Lovin'+ (Huddle-Petty-Robinson) (take 3) - Jim Robinson
21: It's A Wonderful Feeling* (Huddle-Petty-Robinson) - Jim Robinson
- 28 April, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Jim Robinson: vocal; Buddy Holly: guitar; Jerry Allison: cardboard-box percussion, drums on *; Vi Petty: piano on *; (Poss.) Joe B. Mauldin: bass; The Bowman Brothers: backing vocals on *, plus The Roses (Robert Linville, Ray Rush, David Bigham) backing vocals on + (dubbing date unknown)
22 Starlight (Huddle-Petty-Robinson) - Jack Huddle
23: Believe Me* (Petty-Robinson) - Jack Huddle
- 28 April, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Jack Huddle: vocal; Buddy Holly: lead guitar; Jerry Allison: drums; (Poss.) Joe B. Mauldin: bass; The Bowman Brothers: backing vocal on *; Vi Petty: piano on *
24: By The Mission Wall (Cline) - Fred Crawford
- April-June, 1957 (or 14 July, 1957): Norman Petty Studios - 1313 West 7th Street, Clovis, NM; Fred Crawford: vocal; Buddy Holly: guitar; 3erry Allison: drums; (Poss.) Joe B. Mauldin- bass; (Poss.) Norman Petty: organ; (Poss.) The Bowman Brothers: backing vocals
25: A Man From Texas (Russell-Petty-Dougherty)- Jim Robinson
- 24 June, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Jim Robinson: vocal; Buddy Holly: guitar; (Poss.) George Atwood: bass; Unknown: drums; Vi Petty: piano; The Picks: backing vocals (overdubbed mid-August, 1957)
26: Broken Promises (Davis) - Sherry Davis
27: Humble Heart* (Davis) - Sherry Davis
- prob. 12 July, 1957: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; Sherry Davis: vocal; Buddy Holly: lead guitar; Jack Vaughn: rhythm guitar; Jerry Allison: drums; Unknown: bass; The Picks: backing vocals; Gene Medley: backing vocals on *
28: Look To The Future* (Petty-Sullivan) - Gary Dale
29: Honey Honey (Tollett) - Gary Dale
- 14 July, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Gary Dale Tollett: vocal, guitar on *; Buddy Holly: guitar; 3erry Allison: drums; (Poss.) Joe B. Mauldin: bass; Ramona Tollett: backing vocal; The Picks: backing vocals (overdubbed mid-Aug.1957)
30: Sugartime (Phillips-Echols) (version 1) - Charlie Phillips
31: Sugartime (Phillips-Echols) (version 2) - Charlie Phillips
32: One Faded Rose* (Echols-Baggett-Phillips) (version 1) - Charlie Phillips
33: One Faded Rose* (Echols-Baggett-Phillips) (version 2) - Charlie Phillips
- July 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Charlie Phillips: vocal; Buddy Holly: lead guitar, harmony vocal on *; Jack Vaughn: acoustic guitar; Jerry Allison: drums; Jimmy Blakely: steel guitar; George Atwood: bass

More original Purple Chick notes:  "Discs Seven and Eight compile all circulating sessions featuring Buddy as a side musician and/or producer, plus songs Buddy wrote that he never recorded, with others finishing the compositions posthumously. Others exist, and may yet escape ( "I Sent You Roses" by Jerry Engler is due to be released later in 2005).

Some tracks, which erroneously appeared on previous compilations, have been excluded:
  • Buddy shared a session with Billly Walker on 12 March, 1957, but does not feature on Billy's recordings.
  • "When Sin Stops" by The Nighthawks (Hamilton 50006), on the Vigotone set does not feature Buddy.
  • Similarly, "Oh Boy!" on the Vigotone Set is by Billy And The Glens (Jaro 77006), not Sonny West.
  • The contemptible "Ni**er Hatin' Me" was recorded in the late 60s(!) by Johnny Rebel (C. J. Trahan)."

Volume Eight

1: Moondreams (Petty) (album version) - The Norman Petty Trio
2: Moondreams* (Petty) (single version) - The Norman Petty Trio
3: Moondreams+ (Petty) (alternate version) - The Norman Petty Trio
- 20-22 July, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: acoustic guitar; Norman Petty: organ; Vi Petty: piano; Mike Mitchell: percussion; Unknown: bass; The Picks: overdubbed vocals on *; The Roses: overdubbed vocals on + (1 and 2 are the same version, but 3 is a different recording/take entirely.)
4: Don't Do Me This Way (Tucker) - Rick Tucker
5: Patty Baby (Baker-Tucker) - Rick Tucker
- 25 August, 1957: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; Rick Tucker: vocal, poss. guitar; Buddy Holly: lead guitar or (Poss.) Roy Orbison: lead guitar; (Poss.) Bo Clarke: drums; (Poss.) Don Guess: bass; Bill Pickering and Bob Lapham: backing vocal
6: Don't Do Me This Way (Tucker) Rick Tucker
- 12 September, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Rick Tucker: vocal; Buddy Holly: acoustic guitar or (Poss.) Rick Tucker: acoustic guitar; Vi Petty: piano; (Poss.) Bo Clarke: drums; (Poss.) Don Guess: bass; The Picks: backing vocals
7: Real Wild Child (O'Keefe-Greenan-Owens) (take 1)- Ivan
8: Real Wild Child* (O'Keefe-Greenan-Owens) (take 2) - Ivan
9: Oh, You Beautiful Doll (Brown-Ayer) (take 1) - Ivan
10: Oh, You Beautiful Doll (Brown-Ayer) (take 2) - Ivan
11: Oh, You Beautiful Doll+ (Brown-Ayer) (take 2) - Ivan
- 19 February, 1958: Norman Petty Studios - i313 West 7th Street, Clovis New Mexico; Jerry "Ivan" Allison: vocal, overdubbed drumsticks on +; Buddy Holly: guitar, overdubbed lead guitar, backing vocal on *, Joe B. Mauldin: bass, backing vocal on *; Bo Clarke: drums, backing vocal on *; Norman Petty: overdubbed water-filled wine glasses on +
12: Scarlet Ribbons (Siegal-Danzig) - Carolyn Hester
13: Wreck Of The Old '97* (traditional) - Carolyn Hester
- 1958: Norman Petty Studio - 1313 West 7th Street, Clovis, New Mexico; Carolyn Hester: vocal; Buddy Holly: guitar; George Atwood: bass (*); Jerry Allison: percussion (*)
14: What A' You Gonna Do (Engler) - Jerry Engler
- 7 September, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Jerry Engler: vocal; Buddy Holly: guitar, bells; George Atwood: bass; Bo Clarke: drums
15: When Sin Stops (Venable) (take I - instrumental) - Waylon Jennings
16: When Sin Stops (Venable) (take 2 - instrumental) - Waylon Jennings
17: When Sin Stops (Venable) (take 3 - instrumental) - Waylon Jennings
18: When Sin Stops (Venable) (take 4 - vocal) - Waylon Jennings
19: When Sin Stops (Venable) (take 5 - vocal) - Waylon Jennings
20: When Sin Stops (Venable) (take 6 - vocal) - Waylon Jennings
21: When Sin Stops+ (Venable) (take 2) - Waylon Jennings
22: Jole Blon (Choates-York) - Waylon Jennings
- 10 September, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Waylon Jennings: vocal; Buddy Holly: guitar; George Atwood: bass; Bo Clarke: drums; Curtis "King Curtis" Ousley: tenor saxophone; The Roses backing vocals overdubbed on +
23: Stay Close To Me (Holly) (false start) - Lou Giordano
24: Stay Close To Me (Holly) (take 4) - Lou Giordano
25: Don't Cha Know* (Everly) - Lou Giordano
- 30 September, 1958: Beltone Recording Studio, New York City, New York; Lou Giordano: vocal; Buddy Holly: guitar; Phil Everly: guitar; Unknown: bass guitar; Unknown: drums; Buddy Holly, Joey Villa, Phil Everly: falsetto vocals on *
26: More And More (Jennings) - Waylon Jennings
27: When You Are Lonely (Jennings) - Waylon Jennings
- 27 December, 1958: Radio KLLL. - Lubbock, Texas; Waylon Jennings: vocal; Buddy Holly: guitar
28: My Best Friend (My Baby's Coming Home) (Holly-Turner-Nilsson)
29: My Baby's Coming Home (Holly-Turner-Nilsson)
- May, 1962: American Studios, Hollywood, California; Harry Nilsson: vocal; Scotty Turner: guitar, production; 29: plus overdubs: 1994 Nashville Tennessee - Michael Blaustone: drums; Steve Bryant: guitar; James A. Wilson: bass; Troy Lancaster: guitar; Scotty Turner: guitar; Woody Wright: guitar
30: I Know I'll Have The Blues Again (Holly-Mackey) - Whitesidewalls
- c. 1980: Cookhouse Recording Studios - 2541 Nicollet Avenue, Minneapolis, Minnesota; Pat Brown: guitar, drums, vocal; Karl Ausland: guitar, vocal; Dan Melford: bass, vocal; Jeff Schmahl, guitar, keyboards, vocal; Dave Swanson: sax, vocal; Dale Menten: piano
31: Monetta (Holly-Curtis) - Sonny Curtis
- September, 1990: BBC Radio Merseyside, Liverpool, England; Sonny Curtis: guitar, vocal
32: A Whole Lot Of Lovin' (Huddle-Petty-Robinson) - Jim Robinson
33: Moondreams (Petty) - The Norman Petty Trio
34: Moondreams (Petty) - The Norman Petty Trio
35: Oh, You Beautiful Doll (Brown-Ayer) - Ivan
36: When Sin Stops (Venable) (take 2) - Waylon Jennings
- True stereo versions - For The First Time Anywhere!! Created by Purple Chick

Volume Nine

1: The Paul Cohen Phone Call
- 28 February, 1957: Jerry Allison's Home, 2215 6th Street, Lubbock, Texas
2: Bill Randle WERE promo
3: Bill Randle WERE promo
- 30 June, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico
4: Don Passerby promo
5: Don Passerby promo
6: Don Passerby promo
7: Don Passerby promo
- 15 September, 1957: recorded at The Forum, Montreal, Canada for 1230 Cornwall Radio
8: Red Robinson promo
9: Red Robinson interview
- 23 October, 1957: recorded Georgia Auditorium, Vancouver, Canada for the for the "Teen Canteen" show
10: Freeman Hover interview
11: Freeman Hover promo
- 2 November, 1957: recorded at the Albany Hotel, Denver, Colorado for KCSR radio, Chadron, Nebraska
12: Dale Lowery interview
- 5 November, 1957: recorded at Municipal Auditorium, Topeka, Kansas for KTOP radio
13: Pat Barton interview
- 31 January, 1958: recorded Newcastle Stadium, Newcastle, Australia for Radio 2KO, Newcastle, AUS
14: Bob Chesney interview
15: Bob Chesney/WTRL promo
- 24 February, 1958: "Big Gold Record Stars Show", Dade County Auditorium, Miami, Florlda
16: KSYD Wichita Falls promo
17: Dick Arlen WACK promo
- unknown dates: unknown locations
18: Alan Freed interview
- 23 September, 1958 (broadcast 2 October, 1958) WNEW TV Studio, New York City, New York
19: Ronnie King interview
- 17 October, 1958: recorded at the Catholic Youth Center, Scranton, Pennsylvania for "Teen Time", WGH, 739 Boush, Norfolk, Virginia
20: Dick Clark interview
- 28 October, 1958: American Bandstand, WFIL Studios 46th & Market Streets, Philadelphia, Pennsylvania
21: Big Bopper Winter Dance Party promo
22: Ritchie Valens Winter Dance Party promo
23: Buddy Holly Winter Dance Party promo
- 1958/1959: unknown locations
24: Newscast about the plane crash
25: WNOE Newscast about the plane crash
26: Newscast about the plane crash
27: A Message To The Dutch Buddy Holly Fan Club From Ella And Lawrence Holley
28: Norman Petty Defends Himself
- unknown dates: unknown locations
29: Raining In My Heart (alternate stereo mix from 1959)
30: True Love Ways (alternate stereo mix from 1967)
31: It Doesn't Matter Anymore (alternate stereo mix from 1967)
32: What To Do (alternate stereo mix from 1967)
33: Learning The Game (alternate stereo mix from 1967)
34: Not Fade Away ('complete' alternate take with no backing vocals - outfake by Purple Chick)
35: Peggy Sue Got Married (Jack Hansen's overdubs in stereo for the first time - by Purple Chick)
36: Crying Waiting Hoping (Jack Hansen's overdubs in stereo for the first time - by Purple Chick)
- Various odds and ends that there wasn't room for on the other discs.
37: Wait Til The Sun Shines Nellie (Sterling-Von Tilzer) - Bing Crosby
38: Slippin' and Slidin (Penniman-Bocage-Collins-Smith) - Little Richard
39: Dearest (McDaniel-Polk-Baker) - Mickey and Sylvia
40: Love Is Strange (Smith-Baker) - Mickey and Sylvia
41: Smokey Joe's Cafe (Leiber-Stoller) - The Robins
42: Leave My Woman Alone (Charles) - Ray Charles
- (supposedly Buddy's Guitar from the Apartment Demos is based upon this)

Continued from Disc 10 - "Buddy's Record Collection"

Volume Ten

1: My Two Timin' Woman (Snow) - Hank Snow
2: I'll Just Pretend (Martin) - Flatt and Scruggs and the Stanley Brothers
3: Take These Shackles From My Heart (King-Stewart) - Pee Wee King
4: Footprints In The Snow (Jones) - Bill Monroe and his Bluegrass Boys
5: Baby, Let's Play House ((,Gunter) - Elvis Presley, Scotty and Bill
6: Blue Days, Black Nights (Hall) - Ben Hall, Weldon Myrick, Dena Hall
7: I Forgot To Remember To Forget (Kesler-Feathers) - Elvis Presley, Scotty and Bill
(the sole acetate of Buddy's version was scratched at Buddy's request to prevent its airplay competing with his first Decca single )
8: Ting A Ling (Nugetre) - The Clovers
9: Gone (Rogers) - Ferlin Husky
10: Have You Ever Been Lonely (De Rose-Brown) - Ernest Tubb
11: Brown-Eyed Handsome Man (Berry) - Chuck Berry
12: Good Rockin' Tonight (Brown) - Elvis Presley
13: Rip It Up (Marascalco-Blackwell) - Little Richard
14: Blue Monday (Bartholomew-Domino) - Fats Domino
15: Honky Tonk (Part 1) (Doggett-Shepard-Butler-Scott) - Bill Doggett
16: Blue Suede Shoes (Perkins) - Elvis Presley
17: Shake Rattle and Roll (Calhoun) - Elvis Presley
18: Bo Diddley (McDaniel) - Bo Diddley
19: Ain't Got No Home (Henry) - Clarence "Frogman" Henry
20: Ready Teddy (Blackwell-Marascalco) - Little Richard
21: Valley Of Tears (Domino-Bartholomew) - Fats Domino
22: All Of My Love (Oh Boy) (West-Tilghman) - Sonny West
23: Send Me Some Lovin' (Marascalco-Price) - Little Richard
24: It's Too Late (Willis) - Chuck Willis
25: An Empty Cup (Petty-Orbison) - Roy Orbison and the Teen Kings
26: (You're So Square) Baby I Don't Care (Leiber-Stoller) - Elvis Presley
27: Mona (McDaniel) - Bo Diddley
28: Rave On (West-Tilghman-Petty) - Sonny West
29: That's My Desire (Kresa-l.oveday) - Frankie Laine
30: Drown In My Own Tears ((Charles) - Ray Charles
31: Hallelujah! I Love Her So (Glover) - Ray Charles
32: Early In The Morning (Darin-Harris) - Bobby Darin
33: Now We're One (Darin) - Bobby Darin
 
DVD

1. Elvis comes to Lubbock*
- c. 10-26 April, 1956
2. That'll Be The Day (fragment)
- High Time - 22 October, 1957
3. Oklahoma City*
- c. 28-29 October, 1957
4. That'll Be The Day/Peggy Sue/Interview
- Ed Sullivan Show - 1 December, 1957
5. Peggy Sue
- Arthur Murray Dance Party - 29 December, 1957
6. Oh Boy
- Ed Sullivan Show - 26 January, 1958
7. Australia/UK tour*
- February/March, 1958
8. Oh Boy (montage)
- London Palladium - 2 March, 1958
9. Live In England*
- March, 1958
10. Maybe Baby (montage fragment)
- BBC TV - 14 March, 1958
11. Live In Michigan*
- 5 April, 1958
12. New bikes in Lubbock*
- c. May, 1958
13. Clear Lake
- 3 February, 1959

BONUS TRACKS
14. Peggy Sue (music video - alternate edit)
- Arthur Murray Dance Party - 29 December, 1957
15. That'll Be The Day (news report)
- High Time - 22 October, 1957
(* = home movie)
In honor of the life and legacy of the immortal Buddy Holly, I proudly offer to you all on his birthday Purple Chick's The Complete Buddy Holly from 2005. Spare a minute or two today to remember this great artist... enjoy, and as always, let me know what you think.
And somewhere deep
within his crypt,
what still remains
of youthful lips,
will bend for just
a little while,
in a long lost memory
of his smile.


---Special acknowledgement and thanks to the poet "Artis", courtesy of AllPoetry.com.
Please use the email link below to contact me, and I will reply with the download link(s) ASAP:

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Wednesday, September 5, 2018

Various Artists - Dunedin Double EP


...And my last quickie post this week in appreciation for reaching the half-million visitor landmark...

From the old (and long defunct) Kiwi Tapes blog (credit for this narrative to original poster):
The Dunedin Double EP was a seminal record in New Zealand music. An unusual format, it contain two 45rpm 12" discs, and at nearly 50 minutes length, it is longer than many albums.

Released in 1982, the compilation was one of the first releases from the newly formed Flying Nun Records label (catalogue number DUN-1), which over the course of the next ten years was to become the biggest independent record label in New Zealand. Many of the label's top groups came from the South Island city of Dunedin, and established that southern city's music scene as the leading source of guitar-based bands in New Zealand throughout much of the decade. The bands from the city which had music released on Flying Nun were grouped under the loose banner of Dunedin Sound, and several of them went on to not only national but also international success.

The Dunedin Double EP established the names of four of these groups, each of which was represented on the double EP by one side. The four bands concerned were The Chills, Sneaky Feelings, The Stones, and The Verlaines. The Chills' song "Kaleidoscope World" in particular became very popular, gaining considerable airplay for the band (It later provided the title for the band's first album, a compilation of their early singles and EP tracks.

Though the sound quality of the Dunedin Double EP was distinctly lo-fi (it was recorded on portable 4-track), the release of this record provided a major impetus both for Flying Nun records and for the four bands involved, as well as providing inspiration and momentum to the music scene in Dunedin.
For your consideration:  Flying Nun's legendary Dunedin Double EP, released on vinyl in New Zealand in June 1982, and to the best of my knowledge never re-released on CD or any other format. Enjoy, and as always... well, you know.

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