Because even one of the most adventurous albums of all time starts to sound "tame" after the 700th listen or so... Released as a companion disc to the 2006 reissue of Faust IV, this collection of Peel Sessions, alternate takes and full-length versions not only serves as revealing, if somewhat cockeyed look at the band's masterpiece, but holds its own against the actual album in terms of the way it still manages to sound light years ahead of its time. All told, this is hardly an odds n' sods collection. "Krautrock" is presented in its early Peel Sessions mix, which includes much of the same 7-minute psychedelic drone intro as the original but the ending features far more subdued drumming and percussion than the version that would appear on the album. The band's warped pop gems "Giggy Smile", "Sad Skinhead" and "Jennifer" are all given the "alt mix" treatment with the addition of a few stray textures that were trimmed before making it onto the LP. The unquestioned gem here however, is the unedited 10:32 version of "Just a Second (Starts Like That!)". An epic guitar head swirler which, in true Faust fashion, goes nowhere specific and everywhere else all at once. Even if you're not familiar with the original LP, this collection will turn you upside down and sideways.
Showing posts with label Alternate Versions. Show all posts
Showing posts with label Alternate Versions. Show all posts
Sunday
Faust
Faust IV + Outtakes and Alternates- 1973
Because even one of the most adventurous albums of all time starts to sound "tame" after the 700th listen or so... Released as a companion disc to the 2006 reissue of Faust IV, this collection of Peel Sessions, alternate takes and full-length versions not only serves as revealing, if somewhat cockeyed look at the band's masterpiece, but holds its own against the actual album in terms of the way it still manages to sound light years ahead of its time. All told, this is hardly an odds n' sods collection. "Krautrock" is presented in its early Peel Sessions mix, which includes much of the same 7-minute psychedelic drone intro as the original but the ending features far more subdued drumming and percussion than the version that would appear on the album. The band's warped pop gems "Giggy Smile", "Sad Skinhead" and "Jennifer" are all given the "alt mix" treatment with the addition of a few stray textures that were trimmed before making it onto the LP. The unquestioned gem here however, is the unedited 10:32 version of "Just a Second (Starts Like That!)". An epic guitar head swirler which, in true Faust fashion, goes nowhere specific and everywhere else all at once. Even if you're not familiar with the original LP, this collection will turn you upside down and sideways.
Because even one of the most adventurous albums of all time starts to sound "tame" after the 700th listen or so... Released as a companion disc to the 2006 reissue of Faust IV, this collection of Peel Sessions, alternate takes and full-length versions not only serves as revealing, if somewhat cockeyed look at the band's masterpiece, but holds its own against the actual album in terms of the way it still manages to sound light years ahead of its time. All told, this is hardly an odds n' sods collection. "Krautrock" is presented in its early Peel Sessions mix, which includes much of the same 7-minute psychedelic drone intro as the original but the ending features far more subdued drumming and percussion than the version that would appear on the album. The band's warped pop gems "Giggy Smile", "Sad Skinhead" and "Jennifer" are all given the "alt mix" treatment with the addition of a few stray textures that were trimmed before making it onto the LP. The unquestioned gem here however, is the unedited 10:32 version of "Just a Second (Starts Like That!)". An epic guitar head swirler which, in true Faust fashion, goes nowhere specific and everywhere else all at once. Even if you're not familiar with the original LP, this collection will turn you upside down and sideways.
Tuesday
Fleetwood Mac
Tusk (Outtakes & Alternates) - 1979
Following the overwhelming success of their self-titled 1975 LP and 1977's Rumours, Fleetwood Mac's chief songwriter Lindsey Buckingham began writing material with the intention of creating not only the band's most experimental LP of its career, but his own answer to the low-fi new wave movement that threatened to turn his beloved Mac into 70's rock dinosaurs. With a multi-million dollar budget in tow, Buckingham began creating quirky home demos that employed minimalist drumming, overdriven acoustic guitar, brisk tempos and uncharacteristically rushed, almost claustrophobic vocals with layers and layers of odd harmonies. For proof of the band's notorious amphetamine intake around this time, look no further. Many of these home demos sound strikingly similar to their album counterparts, and as such, are easily the high points in this collection of rarities. Stevie Nick's input, in contrast to her ex-partner's, was much in the same vein as the songs she contributed to the band's previous two albums, and "Sara", included here in a very extended take, remains one of their signature tunes. All told, the brilliance of the album has always been the way in which is revealed so many radically different sides of the band, yet remained anchored to Buckingham's slices of bizarre, heady pop. What's equally intriguing is how this collection of demos, outtakes and alternates reveals how this formula was in place from the beginning. A fine companion piece to the original album that was issued as the second disc of the 2004 remaster, and one that holds up very well on its own. If you're anything like me, you'll be slightly disappointed that an alternate version of the title track isn't included. A great set none the less.
Following the overwhelming success of their self-titled 1975 LP and 1977's Rumours, Fleetwood Mac's chief songwriter Lindsey Buckingham began writing material with the intention of creating not only the band's most experimental LP of its career, but his own answer to the low-fi new wave movement that threatened to turn his beloved Mac into 70's rock dinosaurs. With a multi-million dollar budget in tow, Buckingham began creating quirky home demos that employed minimalist drumming, overdriven acoustic guitar, brisk tempos and uncharacteristically rushed, almost claustrophobic vocals with layers and layers of odd harmonies. For proof of the band's notorious amphetamine intake around this time, look no further. Many of these home demos sound strikingly similar to their album counterparts, and as such, are easily the high points in this collection of rarities. Stevie Nick's input, in contrast to her ex-partner's, was much in the same vein as the songs she contributed to the band's previous two albums, and "Sara", included here in a very extended take, remains one of their signature tunes. All told, the brilliance of the album has always been the way in which is revealed so many radically different sides of the band, yet remained anchored to Buckingham's slices of bizarre, heady pop. What's equally intriguing is how this collection of demos, outtakes and alternates reveals how this formula was in place from the beginning. A fine companion piece to the original album that was issued as the second disc of the 2004 remaster, and one that holds up very well on its own. If you're anything like me, you'll be slightly disappointed that an alternate version of the title track isn't included. A great set none the less.
Wednesday
Captain Beefheart
Grow Fins Vol. 1 (Early Demos & Live) - 1966-68
Even the Captain had to start somewhere, and not surprisingly, his "somewhere" was pretty out there for most folks. Rounding up tracks and traces from the early days of the Magic Band, Grow Fins Vol. 1 (the vinyl-only compilation of the Just Got Back From the City and Electricity discs in the fantastic Grow Fins box set) is a fine collection of demos that would pre-date the Safe as Milk LP, a full-length television performance from 1968 and a smattering of demos and live versions. Through its many incarnations, the Magic Band in turn, had many primes. With slide virtuoso Ry Cooder as a full on member of the band on many of these cuts, and Van Vliet searching for and ultimately finding his voice over the course of this set, this compilation is undoubtedly one of them. Highlights here are numerous, but my favorites include the 1967 demo of "Sure Nuff n Yes I Do" and "Electricity", presented here in two extraordinary live incarnations. As they say, if you got ears, you gotta listen.
Even the Captain had to start somewhere, and not surprisingly, his "somewhere" was pretty out there for most folks. Rounding up tracks and traces from the early days of the Magic Band, Grow Fins Vol. 1 (the vinyl-only compilation of the Just Got Back From the City and Electricity discs in the fantastic Grow Fins box set) is a fine collection of demos that would pre-date the Safe as Milk LP, a full-length television performance from 1968 and a smattering of demos and live versions. Through its many incarnations, the Magic Band in turn, had many primes. With slide virtuoso Ry Cooder as a full on member of the band on many of these cuts, and Van Vliet searching for and ultimately finding his voice over the course of this set, this compilation is undoubtedly one of them. Highlights here are numerous, but my favorites include the 1967 demo of "Sure Nuff n Yes I Do" and "Electricity", presented here in two extraordinary live incarnations. As they say, if you got ears, you gotta listen.Friday
Captain Beefheart
Trout Mask House Sessions (Grow Fins Volume 2) - 1969
Captain Beefheart was once quoted as saying that he composed the entirety of Trout Mask Replica in an eight hour burst of creative genius. In truth, it was created over a period of about 8 months, during which Beefheart holed up the Magic Band in a small house in the LA suburbs, blacked out the windows, handed out rations of lima beans and forced them into marathon rehearsals that would average 12 hours a day. But before the Magic Band took their creation into the studio to lay it down in an incredible single-day session, Frank Zappa recorded the entirety of Trout Mask Replica in its natural environment; the house in which it was created over those eight grueling months. The result is tighter, tougher, more assured than the studio album, and completely instrumental, since Beefheart intended to overdub his vocals in the bathroom at a later date. Interspersed with fly-on-the-wall chatter among the band, Zappa, random guests and neighbors, plus the constant tap of a typewriter, it's a field recording in the truest sense and an indispensable document for lovers of the creative process. God bless the Captain.
Subscribe to:
Comments (Atom)