The Beatles - Shea! Stadium Ultra Deluxe (5-disc set); plus concert film

Sixty years to the day since The Beatles played Shea Stadium in New York on their second American tour... hard to fathom that it's been THAT long since that watershed moment in rock history.

I was going to pen one of my extended screeds in celebration of and in relation to this day... but it appears that Rolling Stone magazine beat me to it. I don't think I can improve upon this article, which contains the following summation:

"...Shea was more than just the first high-profile stadium concert. It showed everyone how huge, untamable, crazed pop music could be. It destroyed the hopes of everyone who still thought the Beatles — and their young female audience — were just a passing fad, which was still the conventional adult wisdom in 1965. The Fabs couldn’t be dismissed anymore, and neither could the girls. It shattered all the cliches about how show-biz was supposed to work. Never before had that many humans joined together in one place to celebrate music — and on a deeper level, to celebrate each other. That’s why “Shea Stadium” is still the two-word code for the culmination of pop dreams at their loudest, lustiest, scariest, and most deranged."

Can't add much else to this phrase, or the overall writeup in general... so I'll just shut up and provide the music!

I was thinking about posting the venerable Purple Chick Sheaken Not Stirred two-disc set - but I think that the one offered here is better. Here's the Shea! Stadium Ultra Deluxe set, a fan-generated compilation that popped up on a Beatles bootleg site a couple of years ago. This set features the ENTIRE concert, with music from opening acts including King Curtis, Brenda Holloway, Sounds Incorporated and Cannibal & The Headhunters; 1991 stereo versions and 2003 remix/remastering of the Fab Four's set; and bonus tracks.

And speaking of bonuses...

Knowing that the Shea Stadium show was going to be a big deal, NEMS Enterprises (band manager Brian Epstein's holding company) and Sullivan Productions (television host and show presenter Ed Sullivan's firm) arranged for the concert to be intensively documented on film. More than a dozen cameras were deployed in and around the stadium and backstage to capture the frenzy of the moment. The hours of tape generated were then edited down to a fifty-minute-long documentary, The Beatles At Shea Stadium, which premiered in England in early 1966, but not shown in America until January 1967.

The Beatles At Shea Stadium should not be considered a "true documentary", however. A couple of songs played that night were not included due to concerns about the film's length. The remaining songs were heavily edited.in post-production - some being overdubbed, and a couple replaced with studio versions already existing on record or rerecorded by The Beatles at a London session in early January 1966. The Shea! Stadium Ultra Deluxe set includes the soundtrack from this movie (in mono format)... and I included the film here as well, for your review and amusement.

So, again, for this post, I'm providing:

• Shea! Stadium Ultra Deluxe, a five-disc bootleg set released in 2023; and
• The Beatles At Shea Stadium concert film, released to television and theaters in 1966

I hope these offerings help you to either relive or experience for the first time the revelry, euphoria and hysteria from one of the landmark shows in music history! Enjoy, and as always, let me know what you think.

Please use the email link below to contact me, and I will reply with the download link(s) ASAP:

• The Beatles- Shea! Stadium Ultra Deluxe (5-disc set): Send Email
• The Beatles - The Beatles At Shea Stadium: Send Email

More Mary Hansen (Stereolab) Obscurities

I was in the casino last weekend to play a little poker and make a couple of bets on the NFL playoff games scheduled for that weekend. The place I go has a huge sports book, with multiple giant screens covering a vast back wall, showing every current game (football, college and pro basketball, hockey, etc.) being played at that particular time on various broadcast networks.

As I was walking in to the space to place my bet at one of the automated machines (go Kansas City!), I was jolted when I suddenly heard Stereolab's "Lo Boob Oscillator" blasting at top volume all around me. Now, Stereolab isn't generally what you'd expect to hear coming out of a casino's music system... so needless to say, I was momentarily confused, as I couldn't immediately place the source. Then I looked up and one of the display screens, and saw it was running the following commercial for Hotels.com:

I couldn't believe it - a huge corporation choosing to set their ad to a tune by a band that I'll wager the vast majority of Middle American viewers had never heard of, and one of my favorite songs of all time, as I've related in a previous posting here! Now, I'm not overly superstitious... but I took that out-of-the-blue Stereolab encounter as a good omen... as it turned out to be. I not only won my football bet that night, but also came away with a solid win at the hold 'em tables.

As I've detailed time and again here, I adore Stereolab, and over the years have managed to gather up pretty much all of their recorded output as a group (or "Groop", if you will), both albums and singles, along with many of the band collaborations and individual member side projects. In the past, I've posted a couple of these harder-to-find releases here earlier, including the Rose, My Rocket-Brain! tour EP from 2004 and the Eaten Horizons Or The Electrocution Of Rock art-house release from 2007.

I was ecstatic when they reformed in 2019 after a ten-year hiatus, and went running like a bastard to their show at Boston's Royale back in September of that year, a couple of months before COVID hit (damn, hard to believe that show was THAT long ago...). The concert was superb, and even with the long break, they didn't seem to have missed a beat (and yes, they played "Lo Boob Oscillator"). But seeing the group up on stage that night once again made me wistful for the presence of Mary Hansen, their late percussionist, keyboardist and background vocalist, who died in 2002. As I mentioned in an earlier post, Mary brought an ineffable quality to Stereolab's music:

Hansen's voice was the perfect complement to Sadier's; their singing styles and vocal range were very similar . . . but different enough to add nuance and color to many of the band's songs.

So, in the wake of a previous request for these items from an intrepid blog visitor, I thought I'd post a few more releases I have that feature Mary's work.

• Europa 51 - Abstractions

Over the years, Stereolab's drummer Andy Ramsay has been the catalyst behind an number of the band's experimental singles/EPs, offshoots and collaborations, Either with his bandmates or working independently, Ramsay has appeared on, written for or arranged releases with artists as diverse as The High Llamas, Ui, Wire, The Charlatans, Add N to (X), and many, many more. In the past, I've featured some of his work here on this blog. But this release was probably his most eclectic.

Named after Roberto Rossellini's early '50s Italian film starring Ingrid Bergman, Europa 51’s lone album, Abstractions, is the work of Ramsay and fellow Stereolab member Simon Johns, also featuring Mary Hansen, High Llamas members Dominic Murcott and John Bennett, jazz bass player Simon Thorpe and classical harpist Celine Saout. The album was a hybrid project that combined styles like lounge, jazz, bluegrass, and folk. While this album sounds somewhat like Stereolab from time to time, in many ways it goes far beyond anything The Groop had ever done - unfortunately, with somewhat uneven results. Mary's vocals are featured on tracks 4 through 7 ("Voyeurism", "Three Steps In The Sun", "Golden Age Of Gameshows" and "Free Range Corona"), and are lovely as always. But be sure to check out the entire album - it may not all be to your taste, but you will definitely find sounds that pique your interest.

• Splitting the Atom - Splitting The Atom EP:

Another Ramsay one-off, a short-lived project with Stereolab's sound engineer Simon Holliday and Peter Kember, a.k.a. Sonic Boom (Spaceman 3, Spectrum, etc.). Only 2,500 copies of this EP were pressed for release on black vinyl, making it one of the rarest Stereolab-related discs. Mary Hansen added vocals to one track here.

Trivia: "Monkey Brain" (vinyl pops and all) was later used as the soundtrack to a short film/digital video called "four" by Man and Martin, described as "four whole minutes of pulsating thought muesli, ultra-violet and ultra-compact bulletproof adventures for ages four years and above" (Man and Martin is graphic designer, sculptor and AppleMacintosh convert Andy Martin). "four" premiered at the onedotzero2 digital film festival at the Institute of Contemporary Arts, London in May 1998. Here it is, if you'd like to see it:

• Various Artists - Spooky Sounds Of Now:

An ostensibly Halloween-themed compilation CD - plus a very cool comic collection in book form ("Spooky Tales", subtitled 'Spirit Summoning Stories', edited by Mark Baines) - all housed in a lidded box. In addition to inclusions from alternative heavy hitters such as Jad Fair, Yo La Tengo and The High Llamas, this release also includes a short track by Blips, "Blip^/Blip~", featuring Stereolab's Tim Gane and Mary along with Sonic Boom once again. It sounds a lot like what was released on the Turn On side project, also released that year - hard to tell if it was an outtake from that session or not. No matter - it's a pretty good tune.

Here's the full track list:

1. Dymaxion - The Haunted Radio
2. Blips - Blip^/Blip~
3. Jad Fair & Jason Willett - Werewolf of London Town
4. Two Dollar Guitar - The Lonliest Monk
5. Herald - It's Under The Waltzers
6. Kooljerk - Mailor Jeune
7. Mount Vernon Arts Lab - Scooby Don't
8. Cylinder - Red Moss
9. Pink Kross - Spooky Dooky
10. Mystery Dick - Screambirds
11. Amplifier - Cat Whisker
12. The Yummy Fur - Saturday Night Mo-Mo
13. Dick Johnson - Vertigo
14. Angel Corpus Christi - Clown Sex
15. Project Dark - Full Length Mirror
16. G. Mack - Red Moss [Frame Trigger]
17. the Dramatics - Hallucination of a Deranged Mind [Inspired by Coffin Joe]
18. Yo La Tengo - 3D
19. Supermalprodelica - L'etat De Grace
20. High Llamas - Spool to Spool
21. Will Prentice - Singing Floorboards

• Alternative 3 - Original Soundtrack Recording:

In June of 1977, England's Anglia Television aired a documentary called 'Alternative 3' on its weekly Science Report program. The episode was presented as a factual expose, in that the show's investigators had found evidence that life on Earth was soon to be doomed to extinction from global warming, and the two superpowers of that time (Russia and the United States) had been secretly working together for decades to terraform and eventually

colonize the Moon and Mars with selected superior humans - leaving the rest of us here on this planet to die off when the inevitable end came. The show detailed what appeared to be a global 'brain drain', with scientists, engineers and other highly skilled technicians and thinkers from all over the world seemingly disappearing or dying - but, in the course of the program's investigation, finding that they all had been recruited for the interplanetary program, and sequestered at a secret base to work on it. 'Alternative 3' was filled with interviews with authoritative personnel and film footage showing the level and scope of work on this secret plan up to the present day.

Within minutes of its airing, network and government phone lines were inundated with thousands of calls from jolted viewers, demanding more information on this all-too-real effort. Needless to say, 'Alternative 3' was all just a big hoax, a spoof of similarly styled conspiracy documentaries from that period. It was originally planned to air on April 1st (April Fool's Day) of that year, in order to drive that point home, but due to production issues was not broadcast until June 20.

Needless to say, it freaked a whole lot of people out, in the same manner that Orson Welles' radio broadcast of War Of The Worlds caused mass hysteria almost forty years earlier. Although Anglia Television and the show's producers freely and readily admitted that it was fake, the basic points and premises of 'Alternative 3' live on to this day in various forms in other global cabal/UFO/extraterrestrial conspiracy theories.

The score for the 1977 broadcast was composed by no less than Brian Eno, who subsequently released a portion of it on his 1978 album Music For Films. And in 2001, a collective of musicians (including Stereolab, Add N to (X), Richard Thomas and others, all recording under the Alternative 3 moniker) recorded and released an 'alternative' version of the film score, allegedly for a feature film on the hoax that was scheduled for release that same year (I didn't find any evidence that this movie was ever produced or released, however).

This album is promoted on the label's website as "Super fried electronic madness. Long lost sessions mostly recorded at the Centre of Sound in London plus some dubs done at the ‘labs studio, stretched and twisted into dense and filmic slices of electronica." Can't really argue with any of that description!

 

So here for your listening pleasure is a smorgasbord of Stereolab's Mary Hansen-related ephemera:

• Europa 51 - Abstractions, released by London-based experimental music label Lo Recordings in 2003;
• Splitting the Atom - Splitting The Atom EP, put out on Stereolab's own Duophonic Super 45s label in 1997;
• The Spooky Sounds Of Now compilation, launched by Scottish independent label Vesuvius Records, also in 1997; and
• Alternative 3 - Original Soundtrack Recording, another Lo Recordings release, put out on April 30th, 2001

Have a listen and once again contemplate and revel in the artistry of the late, lamented vocalist, who left this world way too soon - you are still missed, Mary, by multitudes of music fans.

And as always, let me know what you think.

Please use the email link below to contact me, and I will reply with the download link(s) ASAP:

• Europa 51 - Abstractions: Send Email
• Splitting The Atom - Spiltting The Atom EP: Send Email
• Various Artists - Spooky Sounds Of Now: Send Email
• Alternative 3 - Original Soundtrack Recording: Send Email

Various Artists - This Is Rockabilly Clash

Stumbled across this one a couple of years ago, in my ongoing search for anything and everything related to The Clash.  It's a compendium of Clash tunes reworked by several bands in the rockabilly/psychobilly style.  Here's the lineup of songs and artists:

1. Guns of Brixton - The Honeydippers
2. Career Opportunities - Farrell Bros.
3. Capitol Radio - The Hyperjax
4. Jail Guitar Doors - The Caravans
5. Train In Vain - The Sabrejets
6. Should I Stay Or Should I Go? - Long Tall Texans
7. I'm So Bored With The U.S.A. - XX Cortez
8. Jimmy Jazz - Frantic Flintstones
9. What's My Name? - The Charles Napiers
10. Bank Robber - The Pistoleers
11. Brand New Cadillac - The Accelerators
12. Janie Jones - Farrell Bros.
13. Know Your Rights - The Caravans
14. Guns Of Brixton - Rancho Deluxe

Some tunes here work better than others... but all in all, this is a great group of songs providing an interesting, different take on some familiar music from Strummer, Jones & Co., in a style with which the original band was not unfamiliar with.

No long-winded story from me regarding this one...  Posting this for no reason whatsoever, other than I like it, and thought that some of you might like it as well.  Here's the compilation This Is Rockabilly Clash, released on Raucous Records in the UK on July 11th, 2003.  Enjoy, and let me know what you think about it as well.

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The Rolling Stones Monthly Book (1964 - 1966)

In a post I made a couple of years ago, I detailed the publication history of The Beatles Monthly Book, a a magazine put out by Beat Publications Ltd. which had an original run from 1963 to 1969, with a subsequent revival (consisting of reprints and new material) from 1976 to 2003.  In that post, I mentioned that the publisher, Sean O'Mahony, had also released a similarly group-dedicated Rolling Stones Book during the same period in the mid-60s.

The site Rolling Stones Data provided a brief history of the mag:

"Between 1964 and 1966, the Stones issued THE ROLLING STONES BOOK (also known as “The Rolling Stones Monthly Book”), the equivalent of the Beatles’ ‘The Beatles Monthly Book’, as well produced by British publishing company Beat Publications Ltd. The first issue came out on June 10 1964, and continued to be published monthly until November 1966, with a total of 30 numbers. Each one featured approximately thirty pages (size 8 X 6.25 inches) containing updated information about the group, as well as exclusive photos, interviews, song lyrics, etc. The Beatles Monthly Book closed down temporarily in the early ’70s, but it was revived later, first reprinting the originals, but then as a launching pad for UK Record Collector magazine, and finally shutting up in January 2003, while ‘The Rolling Stones Book’ had only the original edition."

As noted above, unlike The Beatles Book, the Rolling Stones-centered magazine was never republished or revived after its initial run, and as such it has been somewhat difficult for fans of the group to find... until now.

A German Stones fan by the name of Christof made a special effort back in 2020 to create top-quality .pdf copies of every issue, and he kindly but briefly made them available for download. By special request, he recently provided me with copies of the entire print run - which I now happily bestow unto you. Here for your enjoyment are all thirty issues (plus a bonus edition) of The Rolling Stones Book, again formatted for viewing on your computer or printing, if you're so inclined.

Thanks once again to Christof for his diligent, dedicated efforts, which have been greatly appreciated by me and I hope by you all as well!

Please use the email link below to contact me, and I will reply with the download link(s) ASAP:

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2021 In Memorium - #2: Everett Morton (Born 1950)

RIP to Everett Morton, drummer for the classic '80s ska revival band The Beat (known more familiarly in the States as The English Beat), who died last October 8th at the age of 71.  His innovative, syncopated drumming anchored the band through three studio album releases (1980's Special Beat Service, 1981's Wha'ppen, and 1982's I Just Can't Stop It) and innumerable live appearances up to the group's breakup in 1983.  Afterwards, Morton teamed up with former group member Saxa (on saxophone, obviously) and new vocalist Tony Beet to form The International Beat, releasing a album, The Hitting Line, in 1991, followed by Dance Hall Rockers in 1996.  Even after the demise of his original band, Morton stayed friendly with former Beat frontman Ranking Roger (Roger produced and participated on The International Beat's first album), and in later years the two performed as a version of the original Beat all across the UK, up until Roger's death in 2019.

Back in the day, The English Beat was one of my mainstay ska revival bands (along with The Specials and Madness).  I aurally devoured any and everything they put out, and recall being bitterly disappointed when I heard of the group's demise... so much so that for years afterward, I avidly followed the former members of the old band in their new projects.  For a while in the mid-80s, I was a fan of Fine Young Cannibals (guitarist Andy Cox and bassist David Steele's pop/rock/jazz project with vocalist Roland Gift), whose music was a far cry from the Beat's ska beat.  In 1984, I bought All The Rage, the debut album of General Public, vocalists Ranking Roger and Dave Wakeling's post-breakup band (with Mick Jones from The Clash and Horace Panter from The Specials).  And in the early 90's, I never missed an opportunity to see Special Beat, an amalgamation of members of the two ska revival giants, whenever they played Washington, DC (as I've mentioned long ago...).

But somehow, I missed out on The International Beat's music until long after its release.  I must say I enjoy this album very much.  Its sound is closer to the softer, poppier Wha'ppen-era Beat music, rather than the harder, straight-ahead ska sound of the band's debut album.  But that is not to say that The Hitting Line is without merit.  In my opinion, of all the post-breakup releases, Morton and Saxa's album comes the closest to replicating the old English Beat vibe.

But here - judge for yourself.  In honor of the life and work of Mr. Everett Morton, I proudly offer you all The Hitting Line Crosses The Border, Dojo Records' 1992 rerelease (with bonus tracks) of The International Beat's original debut album, The Hitting Line, from the prior year on Triple X Records.  This will be a welcome addition to your ska revival collection!  

In any event, have a listen, and as always, let me know what you think.

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2021 In Memorium - #1: Richard H. Kirk (Born 1956)

As I did during this time last year, the following are a series of posts regarding possibly less heralded/recognized musicians and artists who died in 2021 who will be sorely missed.

Richard H. Kirk, a founding member of influential English industrial/electronic band Cabaret Voltaire, died on September 21st at the age of 65.

Cabaret Voltaire came together in the early 1970s, when Sheffield, England resident Chris Watson, an admirer of Brian Eno's early work, began experimenting with his own self-made electronic music gizmos.   His early noodlings caught the attention of fellow Sheffieldite and Eno devotee Kirk, and the two began working together making sound collage tape loops.  Kirk began adding traditional instruments into the mix, and late in 1973 enlisted his friend Stephen Mallinder to add vocals and bass guitar.  The band began appearing live at venues in the central UK in the spring of 1975, but these performances leaned more towards performance art than actual concerts.  Their provocative stage antics led to some highly raucous and violent incidents in those early days (with injuries incurred by both audience and band members), but with the rise of punk rock in the late '70s, audiences became more accepting of what Cabaret Voltaire had to offer.  By the end of that decade, the group was sharing bills with the likes of Joy Division and Gang Of Four.  Their debut album, Mix-Up, was released in 1979, the first of over a dozen LPs put out during the band's initial run (they broke up in 1994, only to reform in 2014. albeit with Kirk as the sole remaining member).

I didn't know anything about Cabaret Voltaire until the mid-80s, during my senior (First Class) year at the U.S. Naval Academy in Annapolis, MD.  That year, an underclassman nicknamed "Rock" moved into my company.  Rock was the antithesis of what the standard template for a military officer was or should be - he was tall, gaunt and geeky, in a young Ric Ocasek-sort of way.  And he had both a biting wit and a semi-rebellious attitude, features that did not serve him well with the Academy leadership and hierarchy.  

But he had superb musical tastes, and he and I began bonding over our shared enjoyment of bands considered to be outside of the popular mainstream.   Rock turned me on to groups like Pere Ubu and Bauhaus with its various offshoots (like Tones On Tail and Love & Rockets).  And he was the one who introduced me to Cabaret Voltaire, playing "Crackdown" from the album of the same name for me one weekend afternoon.  But even with exposures to that album and songs like "James Brown" and "Sensoria" from their next disc Micro-Phonies, I can't say that I was a huge CV fan until after I graduated and moved to Athens, Georgia for a few months.  As I've mentioned before, mid/late-80s Athens was a musical hotbed, and the University of Georgia's student-run radio station, WUOG, was amazing, always playing interesting stuff.  And one day they spun the song "I Want You", off of the group's latest disc The Covenant, The Sword, And The Arm Of The Lord:

That was the tune that hooked me, and I immediately ran out to purchase the album.

The Covenant, The Sword, And The Arm Of The Lord was one of Cabaret Voltaire's most contentious and controversial albums. From Wikipedia:

"Cabaret Voltaire struggled with several censorship issues with Some Bizarre and Virgin Records upon the release of the album. The original title... was forced to be shortened [to The Arm Of The Lord] in the US to avoid reference to a former American white supremacist organization. Musically, the album featured a more abrasive, sample-heavy sound than its predecessor and contained many sexual innuendos in the lyrics, to which Virgin Records took objection. Several speeches by Charles Manson were also mixed in between songs."

Virgin laid down the law to the band, saying that there had to be a charting single released from this album, otherwise they would be dropped from the label.  In response, Cabaret Voltaire cheekily wrote and directed the above video for the brutal "I Want You" (they later admitted the song was about masturbation).  Shockingly, the move worked - the album made the British Top 60, calming the label's fears (the band still left Virgin for EMI for their next album in 1987).

Long before the original band's first dissolution, Kirk had begun releasing solo albums, the first of which being 1980's Disposable Half-Truths.  He released six more solo LPs prior to the breakup, then significantly increased his output in the 1990s, with releases and collaborations under his own name and scores of aliases (including Sandoz, DR Xavier, Biochemical Dread, Electronic Eye Dark Magus and Wicky Wacky) dabbling in not only the industrial, but the techno/dance genre as well.  Not only was he a pioneer, but he was prolific, and will be sorely missed.

In celebration of the life of Richard H. Kirk, here's a copy of my favorite Cabaret Voltaire record, The Covenant, The Sword, And The Arm Of The Lord, put out by Virgin Records in November 1985.  Remember, enjoy, and - as I always say - let me know what you think.

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The Beatles - The Beatles EP Collection (Plus) (18 Discs)

 

In addition to the thousands of CDs I have in my possession, I also own a couple hundred extended plays (EPs).  Included in that group are some of the most important and celebrated EP releases by some great artists over the years: Flying Nun Records' legendary Dunedin Double EP; The Buzzcocks' Spiral Scratch; The Clash's Cost Of Living; R.E.M.'s Chronic Town; U2's very first release, Three; An Ideal For Living by Joy Division; The Pixies' Come On Pilgrim - along with some personal favorites: Slates by The Fall; Pavement's Watery, Domestic; Mission Of Burma's Signals, Calls And Marches; The Raveonettes' Whip It On; Nirvana's Hormoaning; Stink by The Replacements; pretty much all of The Cocteau Twins and Stereolab's EPs... and many, many more, including some I've written about and posted here in the past, such as Ratcat's 'Tingles' EP, the S.F. Seals Baseball Trilogy and the vinyl B-52's remix EPs.

Based upon all of this relatively recent activity, you'll be forgiven if you thought (as I once did) that EPs were a fairly recent innovation to music sales. If so, than like me, you would be wrong. A combination of market factors and competition drove the development of extended play discs. What follows is an abbreviated history of record playing formats:

78 rpm records (discs made of shellac or vinyl. with a playing speed of 78 revolutions per minute) were generally the standard recording format from the beginning of the 20th century into the mid-1940s. These discs came in two sizes, 12" and 10", and due to its fast rotation speed and larger playing groove, contained a maximum sound duration of five and three minutes, respectively.

While since the early 1930s some companies had made half-hearted attempts to market longer playing records for home use (all of which failed for economic reasons, as the Great Depression was in full swing), it wasn't until 1941 that a recording concern (Columbia) made a concerted effort to extend the playing duration of discs. Although research was interrupted by World War II, in the summer of 1948 Columbia unveiled their new creation: a disc rotating at 33 revolutions per minute (less than half of that of a 78) with a finer groove, in two sizes identical to that of the reigning format: a 12" and 10". These new long players (otherwise known as LPs) had an original capacity of 22 minutes per side, a playback capacity that only increased with subsequent improvements in technology.

In response to this, RCA Victor released the 7" 45 rpm record in the spring of 1949, as a smaller, more durable and higher-fidelity replacement for the shellac 78s. To compete with the LP, boxed album sets of 45s were issued. But despite intense marketing efforts by RCA Victor, by the mid-50s, the 45 ultimately succeeded only in replacing the 78 as the preferred format for singles. While most of the unit volume in those days was in 45 rpm sales, in terms of dollar sales, LPs led singles by almost two-to-one.

Partly as another attempt to compete with Columbia's LP, RCA Victor introduced the first "Extended Play" 45s during 1952. Their narrower grooves, achieved by lowering the cutting levels and sound compression optionally, enabled them to hold up to 7 and a half minutes per side [Generally speaking, an EP is described as "a musical recording that contains more tracks than a single but less than a full album or LP" - a pretty vague description, all in all. The Recording Industry Association of America (RIAA) officially defines an EP as containing three to five songs or under 30 minutes in length, which fits the original EP running time to a tee. While other recording organizations around the world have other varying descriptions of what an EP is in terms of track numbers and overall length, for the sake of time and argument, let's just use the RIAA's].

RCA issued more than two dozen Elvis Presley EPs during the decade after it signed him away from Sun Records, and they were fairly popular releases. But other than those Elvis discs, EPs were relatively uncommon and hard to find in the U.S. by the early 1960s, all but fading away here as the Album Era gained strength and popularity from the late Fifties onward.  In the UK, however, the EP format continued to be successful, with chart-topping releases throughout the decade from such artists as The Shadows and Cliff Richard.

But the undisputed kings of British EPs were, believe it or not, The Beatles. Their first EP, Twist And Shout, sold over two million copies, topped the UK EP charts for more than five months, and was on the charts for more than a year. This disc and the three #1 UK EPs that followed (The Beatles' Hits, The Beatles (No. 1) and All My Loving) all contained songs that had been included in previously released Beatles albums. It wasn't until the release of the Long Tall Sally EP in the summer of 1964 that some original content was included (although all of the songs on this disc would be released on albums before that summer was out).

All of the British Beatles EP were issued by EMI/Parlophone on the dates indicated below, and all except for the Magical Mystery Tour EP were released in mono format. In 1981, all fourteen of the UK releases were gathered into one box set, The Beatles EP Collection, along with a new disc, titled The Beatles, which compiled previously unavailable stereo mixes of four songs.   Here are some of the specifics on each disc in this set:

The Beatles' Hits EP (originally released September 6th, 1963)

1. From Me To You
2. Thank You Girl
3. Please Please Me
4. Love Me Do

 

Twist And Shout EP (originally released July 12th, 1963) 

1. Twist And Shout
2. A Taste Of Honey
3. Do You Want To Know A Secret
4. There's A Place
   

The Beatles (No. 1) EP (originally released November 1st, 1963)

1. I Saw Her Standing There
2. Misery
3. Anna (Go To Him)
4. Chains
   

All My Loving EP (originally released February 7th, 1964)

1. All My Loving
2. Ask Me Why
3. Money
4. P.S. I Love You
   

 

Long Tall Sally EP (originally released June 19th, 1964)

1. Long Tall Sally
2. I Call Your Name
3. Slow Down
4. Matchbox
   

 

Extracts From The Film A Hard Day's Night EP (originally released November 4th, 1964)

1. I Should Have Known Better
2. If I Fell
3. Tell Me Why
4. And I Love Her
   

Extracts From The Album A Hard Day's Night EP (originally released November 6th, 1964)

1. Any Time At All
2. I'll Cry Instead
3. Things We Said Today
4. When I Get Home
   

Beatles For Sale EP (originally released April 6th, 1965)

1. No Reply
2. I'm A Loser
3. Rock And Roll Music
4. Eight Days A Week
   

Beatles For Sale No. 2 EP (originally released June 4th, 1965)

1. I'll Follow The Sun
2. Baby's In Black
3. Words Of Love
4. I Don't Want To Spoil The Party
   

The Beatles' Million Sellers EP (originally released December 6th, 1965)

1. She Loves You
2. I Want To Hold Your Hand
3. Can't Buy Me Love
4. I Feel Fine
   

Yesterday EP (originally released March 4th, 1966)

1. Yesterday
2. Act Naturally
3. You Like Me Too Much
4. It's Only Love
   

 

Nowhere Man EP (originally released July 8th, 1966)

1. Nowhere Man
2. Drive My Car
3. Michelle
4. You Won't See Me
   

 

Magical Mystery Tour (Stereo Version) EP (originally released December 8th, 1967)

1. Magical Mystery Tour
2. Your Mother Should Know
3. I Am The Walrus
4. The Fool On The Hill
5. Flying
6. Blue Jay Way
   

Magical Mystery Tour (Mono Version) EP (originally released December 8th, 1967)

1. Magical Mystery Tour
2. Your Mother Should Know
3. I Am The Walrus
4. The Fool On The Hill
5. Flying
6. Blue Jay Way

The Beatles EP (originally released December 7th, 1981)

1. The Inner Light
2. Baby You're A Rich Man
3. She's A Woman
4. This Boy
   

 

[In my opinion, there should be one more Beatles disc that should have been released as 

an EP - Yellow Submarine, which contains only four new songs by the band, then pads the "album" out with songs from the film's orchestral soundtrack recorded and produced by George Martin.  Of all the Beatles albums, this one is truly viewed as a contractual obligation/crass money grab semi-effort by the band, as the four new songs were all but screaming for an EP release... But heck - we already broached this subject, didn't we?]

 

In addition to the British EPs collected above, three Beatles EPs were released in America - the first being Souvenir Of Their Visit To America. EMI's US subsidiary Capitol Records consistently refused to put out any Beatles material in the States during 1963 and early 1964 - despite the success the band was having overseas, the label just didn't believe the Fabs could make it in America and had ZERO interest in them. So EMI worked out a licensing deal with small independent Vee-Jay Records for the American release of the group's 1963 singles and debut album Please Please Me (Vee-Jay was actually eager to acquire the license to another popular EMI recording at the time, "I Remember You" by Frank Ifield, and took on the Beatles material as a throw-in/favor to EMI). Vee-Jay had limited resources to promote the music properly, which initially led to poor sales of Beatles product over here.  Once the Beatles were signed in November 1963 to play on the popular and influential The Ed Sullivan Show, Capitol Records SUDDENLY saw the light and changed their minds, exercising their option to release Beatles music in the U.S.

However, as a condition of their earlier contract, Vee-Jay was permitted to market any Beatles material they had licensed for another year, through October 1964. Their subsequent mail order EP offering was a huge success, more than making up for those lackluster Beatles sales the year prior.

The other two U.S. EPs, Four By The Beatles and 4 By The Beatles (confusingly similar names, but different content), were both Capitol's belated attempt to hop on the Beatles gravy train. But due to coming out after Vee-Jay's more successful disc, better distribution of full Beatles albums in the States, and the relatively unpopularity of the EP format here, sales for these two discs were not what Capitol anticipated, and they were both quickly deleted from Capitol's catalogue by the end of 1965.

Here are the details on the U.S. EPs:

 

4 By The Beatles EP (originally released February 1st, 1965)

1. Honey Don't
2. I'm A Loser
3. Mr. Moonlight
4. Everybody's Trying To Be My Baby
   

Four By The Beatles EP (originally released May 11th, 1964)

1. All My Loving
2. Please Mr. Postman
3. Roll Over Beethoven
4. This Boy
   

Souvenir Of Their Visit To America EP (originally released March 23rd, 1964)

1. Misery
2. A Taste Of Honey
3. Ask Me Why
4. Anna (Go To Him)
   

After the Beatles' EP heyday ended in the late 1960s, extended plays wouldn't become popular again until the rise of punk in the mid-1970s, when bands found it to be a more cost-efficient way to bring their music to the public's attention. This trend continued through the New Wave and alternative eras. While the use and sales of the EP have declined in the digital age, they are still being made, and are still out there ready for listeners to expand their musical horizons with. I, for one, hope the EP format never dies out.

...and, at least in the case of The Beatles, it lives on here! For your listening enjoyment, here is the entire slate of Fab Four EP releases:

• The Beatles EP Collection, containing fourteen EPs originally released between 1963 and 1967 in the UK, plus a bonus disc of never-before released stereo material.  This set was initially put out on vinyl by EMI/Parlophone on December 7th, 1981, and subsequently on compact disc on May 26th, 1992; and
• The three U.S. EPs, originally released by Vee-Jay and Capitol Records, respectively, in 1964 and 1965.
  

Enjoy these brief but extended blasts of Sixties rock goodness... and as always, let me know what you think.

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The Fall - Sussex Morning

A continuation of my annual commemoration of the death of band leader, group stalwart and all-around indie music genius Mark E. Smith, who died three years ago today, on January 24th, 2018.  I know I have said this every year since that fatal day, but Smith and his band are still sorely missed, by myself and thousands of other rabid Fall fans.

By now, I've pretty much given up on seeing any 'new' Fall product hit the shelves... As I've mentioned before, in the wake of the demise of a band with such a broad and discerning fan base, usually labels will make every effort to scour their vaults for unreleased or alternative versions of songs to gather into "expanded editions" of existing albums or collections of heretofore unheard music. I mean, heck, look at what's happened with David Bowie's catalog over the past five years - they're still finding and putting out quality sets, like the fine Conversation Piece early-career compilation in 2019. Somehow, that hasn't been the case with The Fall.  Perhaps it may be due to their convoluted recording history across a multitude of labels (although that didn't seem to deter other career-spanning Fall compilations released before Smith's death)... but I'm beginning to suspect more and more that there just isn't that much studio-recorded stuff out there to cull from.

The COVID-19 pandemic has, needless to say, limited the activities of the post-Fall bands. Imperial Wax spent most of the spring and summer of 2020 hunkered down, but during the fall began work on their second album, a follow-up to 2018's Gastwerk Saboteurs. And it appears this band is gearing up in anticipation for the 2021 concert/festival season, assuming that it comes to pass. So good luck to them with those endeavors.

Brix & The Extricated have been silent all year (mercifully so, in my opinion), with no shows or releases in 2020. However, just today Brix announced a couple of new projects for 2021, including a solo album (her first standalone release since fronting The Adult Net more than thirty years ago) and a book about The Fall. We'll see how all of that turns out.

Probably the most significant Fall-related news over the past year was the June 6th death (at the age of seventy-two) of former band manager and Smith girlfriend Kay Carroll. The hard-nosed Carroll ran the business end of The Fall from 1977 until falling out/breaking up with Smith in the midst of a U.S. tour in the spring of 1983 (Mark rebounded swiftly, hooking up with Brix in Chicago little more than a month later). Kay remained in the States and ended up settling in Portland, Oregon, where she worked in nursing for several years and went through a couple of husbands. It's generally understood that the Fall song "An Older Lover" was written by Mark about her (she was eleven years Smith's senior). The Guardian carried an obituary a couple of weeks after her passing; here it is.

Anyway, like I said earlier, I don't think we're going to see any new Fall studio remainders put out anytime soon, if ever. And I believe on more than one occasion I've clearly expressed my low opinion for the various Fall live sets and soundboard recordings that have been released over the years. Receiver Records, Cog Sinister and Castle Music have clogged/saturated the market with sketchy, poorly-captured band gigs from locales worldwide, so much so that I have made little to no effort to collect many of them, finding them not worth my while. However, I will occasionally stumble across a live set that breaks that half-assed mold, and actually brings something to the table. My offering today is one of these.

This disc was the initial offering from a blogsite/poster named Hanleyfender, a site that was active off and on between 2009 and 2013, and specialized in making available live versions of Fall shows.  This recording covers some of the poster's favorite live Fall songs from various locations during the 2006-2007 timeframe; here's some additional information regarding tracks and participants:

1. Intro (Over Over loop. L.A.) 23.05.2006
2. Senior Twilight Stock Replacer. Brighton. 31.03.2007
3. MES Birthday 50 Year Old Man. Bilston. 05.03.2007
4. Over Over. Aberdeen. 15.03.2007
5. Fall Sound. Brick Lane London. 12.03.2006
6. Theme From Sparta F.C. Malaga. Spain. 21.01.2007
7. Hungry Freaks, Daddy. Edinburgh. 13.03.2007
8. My Door Is Never. Reading. 28.03.2007
9. Coach and Horses. Brick Lane. London. 11.09.2006
10. Mountain Energie. Los Angeles. CA. 23.05.2006
11. Reformation. Brighton. 31.03.2007
12. Palais Interlude. Hammersmith Palais. London. 01.04.2007
13. Scenario. Brick Lane. London. 12.03.2006
14. Systematic Abuse. Brick Lane. London. 12.03.2006
15. White Lightning. Brighton. 31.03.2007
16. Blindness. Bournemouth. 10.09.2006
17. Outro (Loop 41. L.A). 23.05.2006

The Fall:
Tim Presley (Guitar). Bab Borbato (Musicmaster Bass). Orpheo McCord (Drums).
Dave Spurr (Bass. He’s not a Yank). Mark E. Smith (Vocals). Elani Smith (Keyboards)

Additional Hanleyfender notes:

"Generally considered by me to be the greatest Fall live compilation ever. 'Mountain Energie' also considered by me to be the greatest ever audience recording ever captured by The Fall."

This recording was originally made into a limited edition (50 copies) of CDs sent out to friends of The Consortium, the music blogging group Hanleyfender was affiliated with. But since then it's become a little more widespread - but not by much. It's still an awful hard Fall comp to track down.

So here it is for you all to peruse: The Fall's Sussex Morning, a fan-assembled compilation of live tracks prepared and released in 2009. This assemblage is offered up both in tribute to and in memory of the great Mark E. Smith, and to keep alive the music he and his band made for over forty years for at least a little while longer. Enjoy, remember, and as always, let me know what you think.

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2020 In Memorium - #1: Tony Lewis (Born 1957)

In addition to artists who passed on last year that I've already posted about, including David Roback, John Prine and Andy Gill, the following are a series of posts regarding other perhaps less heralded/recognized musicians who died in 2020 who will also be sorely missed.

Tony Lewis (1957 - 2020)

RIP to Tony Lewis, frontman and lead singer for the 1980s English power pop group The Outfield, who died unexpectedly in London on 20 October at the age of sixty-three. This group didn't have many hits during their lifetime, but the ones they did have were stone-cold classics, including this sublime 1985 gem and defining band tune "Your Love" off of their debut album from that year.  This song got played to death on FM radio back when I was in school, and rightfully so - just a great, great tune, eventually reaching #6 on the US Billboard Hot 100 charts.

The song dragged the album, Play Deep, into the US Top Ten as well, achieving triple-platinum status (The Outfield was an odd and rare example of a British band that made it big in the States, but had little success in their own home country). Subsequent albums by the band during the decade led to diminishing returns, and the original lineup of The Outfield broke up in 1992. Various iterations of the group continued touring and releasing albums intermittently over the next twenty years until band cofounder John Spinks died of cancer in 2014. After a short hiatus from music, Lewis continued his career as a solo artist, releasing a solo album (Out Of The Darkness) in 2018 and touring constantly until his own death last year.

To me, "Your Love" is one of the most recognizable and defining pop songs of the mid-80s; movie-makers who include this tune in their soundtrack immediately establish a time and setting for their films. It's the sound of beaches, and cars, and sun, and fun, and summer love... all rolled into a three-minute nugget. So it deservedly lives on long after its debut and heyday, and so does Mr. Lewis as well. Thanks for the music, Tony.

In honor of his life, I proudly present you with Play Deep, the debut album by Lewis' band The Outfield, released on Columbia Records on November 12th, 1985. Enjoy, remember, and as always, let me know what you think.

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