Saturday, February 24, 2018

Neil Young & Crazy Horse - Oh, Lonesome Me (1970)

The Rockets were a Californian psychedelic rock group, consisting of band members Danny Whitten, Leon Whitsell, Ralph Molina and Billy Talbot. They had been together since 1963, when they began as a doo-wop vocal group, of all things, called Danny and the Memories. After several name changes, stylistic changes, a Sly Stone-produced single and relative fame on Los Angeles' nightclub scene, they released a self-titled album in 1968, through White Whale records. With Whitten and Whitsell on lead vocals and also sharing most of the significant songwriting duties, it didn't sell very well, only managing to score about five thousand copies sold and no expressive charting singles. However, their luck began to change when, in late 1968, they got in touch with Neil Young, an old acquaintance they had interacted with in '66, when he was still a member of Buffalo Springfield. After leaving the aforementioned band a couple of times and releasing his first solo album early in 1968, he saw them perform at the Whisky-a-Go-Go club, and impressed with what he saw, Young invited the group for a couple of jam sessions, with Whitten, Molina, and Talbot accepting the invitation.

After those sessions, they received an offer to become his official backing group from then on, and so they did. Rechristened as "Crazy Horse", the three of them began the recording of Neil's second solo studio album, "Everybody Knows This is Nowhere", in early 1969. After released, in April of 1969, it became a hit, with songs such as "Cinnamon Girl" becoming AM radio staples, and managing to chart much higher than his previous studio LP. The album even featured a "tribute" of sorts to the deceased Rockets written by NY, "Running Dry", even featuring ex-member Bobby Notkoff on violin. As was the norm, they toured throughout the year to promote their album, with the special addition of producer and friend Jack Nitzsche handling the keyboard duties, and so they undertook their first North American tour together as a band. And then as early as August of the same year, they began recording on and off with Young, for a possible follow-up record. In that month alone, they recorded some eight new songs, with one of them even being a Danny Whitten original, and due to all that happening in the space of a year, the future looked pretty bright for them.

However, right around that time, Neil received an invitation, right around that time, to join Crosby, Stills, and Nash in their next gig, this little festival in the middle of nowhere called "Woodstock". That extended into an album and sold-out tour with CSNY, leading to him understandably not having much time to record his album, which led to all his activities with the Horse being put on hold for the time being, the LP obviously included. After he returned, in February 1970, things had changed. He decided to scrap most CH recordings and start anew, in a brand new direction. With a different backing group, he recorded the more personal and folksy "After the Gold Rush", that when released featured only three songs with the Whitten/Molina/Talbot lineup. As with its predecessor, it was a big hit, and cemented Young's reputation as a great artist of that era. The band, however, also used their newfound popularity to their favor, recording a new DW-led album, that featured songs such as the great "I Don't Wanna Talk About It", later covered by Rod Stewart. While both parts went their separate ways, for the time being, their second unfinished effort stayed in the vaults.

However, what many of us still wondered was: how could a second NY&CH effort have sounded like? First of all, we know of the working title of it, during the August 1969 sessions. It was named "Oh, Lonesome Me" after a Don Gibson cover they recorded, and was to be released in early 1970. Second of all, I believe it would have featured about twelve songs, as they did not record any other ten-minute epics, as was the case in Everybody Knows This is Nowhere. The group's influence and output in it would have also been bigger, I think, as shown by their live performances and sessions at the time, featuring Whitten-sung numbers and such. In addition to the eight songs from the 1969 sessions, live versions by them of Young-written songs will be included here, due to the unavailability of period-accurate studio versions of them, and the fact they would probably be recorded had the whole CSNY thing not happened. Some songs from the Crazy Horse album will be included as well, due to being recorded concurrently with ATGR and to the idea that their album would feature more input from them. Without stretching it any further than this, here it is:

Winterlong (Live at Fillmore East)
Look at All the Things (Crazy Horse)
Everybody's Alone (Archives, Vol. 1 - 1963/1972)
Come on Baby Let's Go Downtown (Live at Fillmore East)
Wonderin' (Live at Fillmore East)
It Might Have Been (Archives, Vol. 1 - 1963/1972)

Oh, Lonesome Me (After the Gold Rush)
I Don't Want to Talk About It (Crazy Horse)
When You Dance I Can Really Love (After the Gold Rush)
I Believe In You (After the Gold Rush)
Dance, Dance, Dance (Crazy Horse)
Birds (Archives, Vol. 1 - 1963/1972)

Young and Whitten performing live, March 1970

Our album begins with "Winterlong". It was first recorded during the Horse sessions, but that take remains unreleased. A studio version was recorded during sessions for "Tonight's the Night", being released on Decade. In here, however, we will use a live version from March 1970, as it features the group and is from the same time period as Gold Rush. Up next is Whitten's It Might Have Been, an oddity in here as it doesn't feature Neil playing or writing in it. However, its justified by the fact that in those same sessions, the group recorded a version of the tune, and it remains unreleased. Instead, we'll use the "Crazy Horse" LP's version of it. As track number three, we have "Everybody's Alone". Recorded by both Young and the Horse and as a group effort between him and CSN, we will use the original version of it, tracked by the band, and found on his "Archives Vol. 1" anthology release. Afterward, the live "Come on Baby Let's Go Downtown" comes. Found on both "Tonight's the Night" and the March 1970 gig, we will use it as opposed to a studio version without Neil from the Horse LP, due to featuring the group's frontman, and being good enough for a different album.

As the fifth tune, we have "Wonderin'", introduced in the live album as "from my new album, when I record it". Despite being written way back then, the first studio version of it fans ever saw was recorded on 1983's "Everybody's Rockin'", in a surprisingly good rockabilly arrangement. Instead of that, we will use a live version of it, from the same gig as the other two tunes before it. A Jo London cover, "It Might Have Been" finishes off side one, then again as a live performance, but this time from an unknown venue in April '70, found on the Archives release. They did attempt a studio version, but as NY kept screwing up the lyrics on those takes, it was then rendered unusable. Starting side two is our title track, itself being a cover too, by Don Gibson. The studio version that was released on "After the Gold Rush" is our pick in here, also being one of my favorites from the Aug. '69 sessions. The surprise posthumous hit "I Don't Want to Talk About It" comes next, being written and sung by Whitten. Being the best song on the "Crazy Horse" LP, I think that it would most certainly be included on the album as it is, and due to that, we will use that version in here.

Serving as the eighth track on our reconstruction is "When You Dance I Can Really Love". Probably one of the best songs on the album, it was included on ATGR as recorded by the Horse, and would probably be released as one of the singles off this particular version, based on sheer quality. Up next is the final of three songs in here to be sourced from his 1970 album, "I Believe in You". It was also recorded with CSNY during sessions for their first album, but obviously, we will use the group version of it. Recorded and included on the Horse's album, but written by Young, "Dance, Dance, Dance" is sung by drummer Ralph Molina, and that's the version of it we'll use this time around. It was also attempted with the frontman, but then again nothing came of the tune with him, leading us to use this one. As the final track on this album, "Birds" is also the shortest song, clocking at more or less one and a half minutes. It was released as the b-side to the "Oh, Lonesome Me" single, and was later re-recorded to be used on his Horse-less album. For that, we will use the original CH take, found in the Archives collection, finishing off the album in a very beautiful way, as it should be.

Clocking in at about 42 minutes, in more-or-less evenly timed sides, "Oh, Lonesome Me" is a solid country/rock affair, being almost like a bridge between its predecessor and the hit that was to come afterward, 1972's "Harvest". In addition to all that, the non-Neil compositions and covers give this a sort of "spontaneous" feel to the LP and as a showcase for his now famous backing band, with its contrast between live and studio material. I also don't think the inclusion of live material is too far-fetched, as they have in the past released studio/concert hybrids, such as "Rust Never Sleeps", leading us to believe this could also be the case. Due to the fact that Neil is the king of unfinished albums, this particular lost LP doesn't have the same fame and mythology as "Homegrown", another of his non-projects. That is undeservedly so, because it plays a very important part on NY's discography, and helps us understand his later work. Due to it being Whitten's final work before his heroin addiction spiraled out of control, this album's release would make an album like "Tonight's the Night" a much more poignant statement about one of his greatest friends who died so tragically.

- Live at Fillmore East, March 1970
- Neil Young - After the Gold Rush
- Crazy Horse - Crazy Horse
- The Archives, Vol. 1 - 1963/1972

Friday, February 09, 2018

The Small Faces - 1862 (1969)

The Small Faces released their landmark album, "Ogden's Nut Gone Flake", in May 24th, 1968, to massive critical and commercial acclaim, and the album is to this day considered one of the masterpieces of the so-called summer of love. Together with albums by the kinds of Traffic, the Beatles or the Jefferson Airplane, it defined the psychedelic era, and has a loyal cult following exactly 50 years after its release. It featured regular "pop" songs on the first side, and a fairy tale made up of songs and narration called "Happiness Stan" on the other. It followed Stan, a man who goes on an adventure to find the other half of the moon, and meets several characters and new friends throughout his journey. It helped the band to further distance themselves from their Rn'B and early rock n' roll roots, and establish them as a major act in Britain. However, it also proved to be unperformable by the quartet in a live setting due to its complexity and significant amount of overdubs, and that frustrated them quite a lot, especially frontman and guitarrist Steve Marriott. 

But they had to move on, and so they did, entering the studio soon after the Ogden's sessions had ended to record some newly written tracks. The first result the public saw of that was the single release of "The Universal" with "Donkey Rides, a Penny, a Glass" on the b side. Despite the sucess of their previous single, "Lazy Sunday", it charted much lower than its precedent, only being able to reach #16, which further upset Steve, who considered the tune to be the greatest song he had ever written up to that point. As the group continued recording as the year went by, they started conceptualizing a followup to their masterpiece, tentatively titled 1862, after the year a chapel next to Marriott's house was built. On and off due to their touring commitments, they recorded what amounted to about 8 finished songs, as well as three or four instrumental demos. However, after he and bassist Ronnie Lane produced a single by young band The Herd, he grew impressed of their lead guitarrist's playing habilities, Peter Frampton, and soon formed a friendship with him.

And so, in late '68, Steve suggested to his three bandmates that they make Frampton into a band member, to help with their live performances and help them overcome what he considered to be their "limitations" as a band. But the others, specially keyboardist Ian McLagan and Lane, were against the addition of a fifth Small Face, and nixed the idea. That was the final straw for the singer, and during a disastrous New Year's Eve gig, he announced his departure from the band, and simply left the stage. The band finished the rest of their already booked concerts, and called it quits in March 1969. Steve formed Humble Pie with Frampton soon after the breakup, and they went on to record their first two albums that same year. He tried to convince McLagan into joining, but he instead stayed with his other bandmates, who with ex-Jeff Beck Group's Ron Wood and Rod Stewart formed the Faces, and released their first album in 1970. With the unfinished album nowhere near a release-worthy status, their label released a comp called The Autumn Stone, and released the more finished tunes there.

However, what every SF fan wondered was: what if they had actually finished the album and released it? What we actually know, is that it wouldn't feature a medley or concept, as they considered that formulaic after the success of ONGF. We can also assume that it would base itself on a 12 song, 40 minutes template, as was the norm at the time. We also have a list of songs, written by their guitarrist, of the album contenders up to then. It only features 9 tunes, with three of those being instrumentals, and two being the same under different titles! Due to that, I won't consider it as a tracklist, but will take it into account in other ways, when building my own. We also will allow some of the songs recorded by their "spinoff" bands soon after the breakup, due to them either featuring in his list, or being on complete by the time they were recording 1862. From that, however, we will exclude two songs: "Pig Trotters", being an instrumental version of  "Wrist Job", and "War of the Worlds", listed as "Blues Jam" due to being too incomplete. Without further ado, here it is:

Wide Eyed Girl on the Wall (The Autumn Stone)
Call it Something Nice (The Autumn Stone)
Red Balloon (The Autumn Stone)
Wrist Job (As Safe as Yesterday Is)
Hello the Universal (The Autumn Stone)
Wham Bam, Thank You Ma'am (The Autumn Stone)

Buttermilk Boy (As Safe as Yesterday Is)
The Story of Evolution (First Step)
Growing Closer (As Safe as Yesterday Is)
Donkey Rides, a Penny, a Glass (Ogden's Nut Gone Flake)
Collibosher (The Autumn Stone)
The Autumn Stone (The Autumn Stone)

Bonus track:
Every Little Bit Hurts (Ogden's Nut Gone Flake) 

Marriott, Jones, McLagan and Lane in late 1968.
Our reconstruction starts off with "Wide Eyed Girl on the Wall", written by Marriott and Lane. A great horn-driven instrumental, I consider it not to be an unfinished tune without vocals, but yes an attempt at a "scene setting" instrumental, just like the title track of their previous album, causing it to be the first track. Up next is "Call it Something Nice", with vocals by Ronnie and again written by the two. Begun in late 1967 during the Ogden's sessions, but held over for its follow-up, it's a great little ditty, that despite only having a working title, deserves a spot in here. "Red Balloon", a Tim Hardin cover, is the third track of the LP, and most probably the greatest song on the album, sung by Steve, and was recorded soon after the sessions for the aforementioned LP ended, being a fantastic acoustic rendition of it. Afterward is the organ-driven "Wrist Job", the first non-Small Faces track, is included due to being on the contenders list, and fitting in seamlessly with the other tracks, as well as being a vocal version of their "Pig Trotters", sung and written solely by their frontman.

"Hello the Universal" is next, retitled to the band's wishes, as it was titled incorrectly in the single. Recorded by Steve alone in his garden, with studio overdubs by the others, was then again written by Lane and Marriott. Finishing the first side we have "Wham Bam Thank You Ma'am", a hard-rocking tune that was released as the b-side to their final single, "Afterglow". This tune serves as a companion to the style HP would later base themselves on, and we can barely tell they're played by different bands! Speaking of the devil, we have the Pie's "Buttermilk Boy" opening side two with a bang. As it featured in the contenders list and fits like a glove with the rest of the material, it deserves to be included in here. If you're wondering what is "The Story of Evolution", its simply "Stone" from the Faces' "First Step", edited to match the state it was in in late-1968, as showcased in the demo Lane recorded of it, released in Who Came First. I chose the more finished 1970 version of his solo tune, editing it down to both fit in and resemble more how it was at the time of recording this album.

"Growing Closer", by Humble Pie, was written by Ian McLagan, who when writing it was in between the two bands, eventually choosing its rival. It was written by one member and performed by another, with vocals by Marriott, so I think its fair to say it has merit to be included here. "Donkey Rides, a Penny, a Glass" comes next, being sung and written by both Steve and Ronnie. We will use a different version of it, featuring a brass overdub, as I feel its more finished than the released one (and a bit of variety sometimes is nice, as well!). As the second-to-last on the LP, "Collibosher" is an instrumental, being pretty similar to the opening track as well and I also consider it to be a finished song rather than a backing track. Written by SM alone, it was begun during the final session for Ogden's but finished sometime later. Wrapping up their farewell is "The Autumn Stone", the title track to their 1969 compilation. Written by Marriot/Lane and sung by the former, with guest Lyn Dobson on the flute, it gives the band the fantastic goodbye it deserved, in their final album and song.
As an album, "1862" is a pretty bold statement by them, showing a more folk and blues-oriented side, while abandoning the psychedelia of their previous record. They develop here a more hard rocking style, almost a sampler of their later bands, while also keeping that cheeky British and folksy side to it, as they knew wonderfully how to do. The album is about 41 minutes long, with both sides being more or less even in length. Its lead single would probably be "The Autumn Stone" b/w "Wham Bam", as it was a scrapped 45' that wasn't released due to their breakup. As a b-side to the second single, "Red Balloon", we can use another cover, the great ONGF outtake "Every Little Bit Hurts", also included here as a bonus track, used after being relegated from the original LP. The band most certainly would still split, due to the wounds between them all being too deep to solve that easily. However, by delaying that only by a couple of months, we get a great album, and proper farewell for them. It's a shame we didn't get this final glimpse of their brilliance, before they ceased to be small.


- The Autumn Stone
- Ogden's Nut Gone Flake
- Humble Pie - As Safe as Yesterday Is

- The Faces - First Step

Saturday, December 30, 2017

The Who - Empty Glass (1980)

Keith Moon, the drummer of The Who, passed away in late 1978, shortly after the band released their "Who Are You" album. The band finished the editing of "The Kids are Alright", a documentary about the band that was being produced since late 1977, right before his death, and its release was dedicated to him, as he passed merely weeks after the band approved the film's rough cut, not changing anything of the cut after that. His death devastated many fans around the world, and it was expected that the band was going to break up as an effect of that, and also due him being a vital part of their sound. However, the remaining three members of the group decided to carry on, soon afterward recruiting ex-Small Faces and Faces drummer Kenney Jones as his replacement, and went on a large US and European tour the following year. The tour, their first full-fledged one in more than three years, was criticised by many, mostly due to the stark difference in the drumming style of Jones and his predecessor, and a tragedy in Cincinnati that killed 11 people just before one of their performances didn't help matters either, leading to a very negative mood within the group.

At the same time as the tour was beginning, this incarnation of The Who entered the studio for the first time, to record new versions of "Quadrophenia" outtakes, to be used in the motion picture of the same name, based on their 1973 rock opera. The band debuted many freshly written tunes in their live performances, mostly led by Pete Townshend, with some of them even managing to become live staples for them. It seemed that the next logical step was for the band to record an LP with those songs, as had been the norm until then. However, Townshend had other plans, and ended up recording a lot of the material they had performed, as well as other songs he had written the previous year, as "Empty Glass". His first real solo album, it was mostly based on his estranged relationship with his wife Karen, his ongoing alcohol addiction, and even a couple of nods to Moon, his deceased bandmate. The album was pretty well received by the fans and critics, even managing to score a hit, with "Let My Love Open the Door". Even Roger Daltrey, one of his fellow band members, expressed his liking for it, even citing a couple of songs he considered his favorites off of it.

The other members of the band weren't idle during that whole time either, with Roger releasing the soundtrack to the movie "McVicar", on which he also played the lead role. John Entwistle, however, spent that time recording the bulk of his "Too Late the Hero" album, that ended up only being released in 1981. After that small break, touring started again throughout 1980, with them booking time in the studio for the final months of the year. That led Pete to write all of their next album, "Face Dances" during that short period of time, with John also writing a couple of songs for it. When it was released, however, the first Who album without Keith Moon was bashed by critics, and despite the success of "You Better You Bet" as a single, failed to make as much of an impression as their albums often did. Because of that, comparisons between both Face Dances and Empty Glass, written and released one year apart, became inevitable, with almost always EG being seen as the superior album, and Daltrey even accusing the guitarist of saving the best material for himself, on one occasion.

However, what was in the back of every fan's mind during that time was: what if they had recorded "Empty Glass", instead of it being just a solo album? To start off, it would probably still follow the tracklist and be mostly songs from that album. Nothing from FD will be included, in order not to overlap between both albums, so that they can co-exist as separate entities. This is going to be mostly an imaginative effort, due to the lack of Who versions of the tracks, so we'll have to stick to our imaginations for the time being. Only one cut off Entwistle's TLTH album makes the album, due to that being generally the number he got for each album, even though Who Are You featured a record three by him. No songs here are sourced from McVicar, however, since it features only covers, and the last time they had included one in a studio album was in 1969, so I doubt they'd record any. "And I Moved" is taken out of the album, to make place for Entwistle, and also due to its lyrical content, which I doubt Roger would be happy to sing. Without stretching it any further, here's our tracklist:

Side One:
01 Rough Boys
02 I Am an Animal
03 Talk Dirty
04 Empty Glass
05 Jools and Jim
Side Two:
06 Keep on Working
07 Cats in the Cupboard
08 A Little is Enough
09 Let My Love Open the Door
10 Gonna Get Ya

Daltrey, Townshend and Jones playing live, 1980
Our 1980 Who album begins with "Rough Boys", which features Kenney Jones on drums, playing as a guest on Pete's album. On some interview, Roger has stated he felt some of the album's songs would be better suited for The Who, going as far as citing this song, being an indicator he enjoyed it, apart from its pretty risqué lyrics. I'd think that its arrangement would be mostly untouched, apart from the vocals, of course. Afterward, comes the great "I Am an Animal", which they even debuted on tour in '79, during some of the encores. It would still, I believe, feature Pete on the lead vocals, since it suits him better than Daltrey's "stronger" vocals would, considering its acoustic and midtempo. As track no. 3, "Talk Dirty" is our sole Entwistle tune, and its a great song, with his typical sense of humour showing up. Its synth driven sound also fits in well with the rest of the songs, guaranteeing its spot in here. What led me to include this specific song is that its the most famous from his solo album, which was being developed concurrently with EG, what leads me to believe they would record it.

We move on to "Empty Glass", which was even first demoed by the band during the sessions for the "Who Are You" album two years beforehand, with Moon behind the drumkit. A pretty hard-rocking tune, it would fit in with our lead singer's voice like a glove, and be one of the highlights of the album, deserving to be its title track. The short and fast-paced "Jools and Jim" comes next, which was written during one of their tours, but not played during it, and as in the original album, finishes the first side of it. Starting off side two we have "Keep on Working", first demoed in 1977, during sessions for "Rough Mix", but never recorded until the time came for his album. I believe it would still have been sung by its author since it sounds pretty good as it is, and I don't believe Roger would be able to do it justice, so it remains the same. Up next is "Cats in the Cupboard", which was featured in several of their encores during that time. Due to it being a pretty energetic tune, I believe the band's lead singer would do a great job on it, and would probably become a consistent live staple for them.

As the eighth track, "A Little is Enough" is a great tune, and reportedly Townshend's favourite song off the album, as he has stated in some interviews and his autobiography. Since in his solo gigs he has played it constantly since releasing the song, I believe the band would have done the same thing. The lead single off the album would most certainly be "Let My Love Open the Door", which managed to hit #9 in the Billboard charts. Since Daltrey even covered the song recently, with Pete guesting on acoustic guitar and backing vocals, we can assume he is a fan of the song, and they would most surely record it. His version is not included here due to the sheer difference in age between it and the rest of the songs, making it sound pretty out of place within the album. Finishing off the LP, "Gonna Get Ya" is the longest song on it, clocking in at six and a half minutes. Its also the one I consider to sound the most like the famous "old Who sound", making my choice for lead singer quite obvious, since it would suit Roger perfectly, and would sound awesome live, had they played it on tour.

Had this really become The Who's ninth studio album, it would have been pretty well recieved, due to its stellar songwriting and performance. However, I reckon most Who purists would disown it, as they did with "Face Dances" and "It's Hard", since it doesn't feature Keith, and has a much more 80's sound than what came of it. It is surely an improvement over FD, being overall stronger and considerably personal in its lyrics, as well. The main single off of it would of course be "Let My Love Open the Door", which with the Who brand name would most likely hit #1, since it came close to doing that with Pete alone, even. The main sequencing changes were swapping out LMLOTD and the title track, to make the sides even out, with them ending up at about 20 minutes each, the standard for an LP. Had their main songwriter not begun a solo career, The Who would end up with a much stronger post-Moon discography, something much needed for a band that was trying to re-establish themselves and prove they could go on, without the band member who never had an empty glass.

Sources used:
- Pete Townshend - Empty Glass
- John Entwistle - Too Late the Hero

Sunday, November 12, 2017

Pink Floyd - Spare Bricks (1982)

"Pink Floyd - The Wall", released in 1982, was Pink Floyd's second full-length film, and was based on their album of the same name. It featured most of the album's songs in their original form, and followed Bob Geldof playing the role of Pink, as he built an imaginary wall between himself and the world, also explaining the reasons that led him to do such a thing. Mostly driven by the music, the film expanded on the original rock opera's narrative's themes of war, isolation and even the very own nature of rock and roll, being a great companion piece to the LP, as well as a fan favorite of many. The film was pretty well received by the critics, and was even a moderate success at the box office, screening from July 1982 to early 1983. The flick combined Gerald Scarfe's surreal animation sequences with other additional live-action scenes, written by Roger Waters himself, who later criticised the way his screenplay and vision were treated, saying it didn't do them justice. In addition to all that, it also featured a new song, "When the Tigers Broke Free", originally written for the 1979 album but dropped before the recordings started, due to being "too personal", for the band and producer Bob Ezrin's liking, but brought back for this project. Other songs, such as "Mother" and "Bring the Boys Back Home", were re-recorded entirely, featuring different, more orchestral arrangements or different interpretations, to better fit the narrative and visuals of the motion picture they were inserted on.

Because of that, there were plans by the group of releasing a soundtrack album with the re-recorded tracks and the new song, as was announced in the credits of the movie, with a planned release date of November 1982. Pink Floyd also planned on adding other songs, either The Wall leftovers or newly written tunes, to help make up an album, since the movie versions weren't enough to make up a full album, and the band felt fans wouldn't buy an album of rehashed older material only. It was also supposed to flesh out its narrative, adding some more depth to the story with these new tunes, as the band had to work within the limitations of the LP. The "Spare Bricks" sessions, as the album was now known, then began in mid-1982, with the band recording about six new songs, all of them written by Waters. However, in May of the same year, after album sessions were already underway, Argentinian dictator Leopoldo Galtieri invaded the Falklands Islands, leading to a war against the UK for the area. Roger Waters was enraged by this, and began writing a new concept. That conflict caused a direction change on the album, which then became "The Final Cut - A Requiem for the Post-War Dream", with him writing the rest of the LP's material based on the war and his feelings about it. Since the band was already uninterested in the soundtrack idea to begin with, Waters decided that scrapping SB and starting anew was the right thing to do, as the next Pink Floyd album.

So instead of a new album, all the band's fans got in that year was a single, with "When the Tigers Broke Free" on the A-side and their new orchestral version of "Bring the Boys Back Home" on the B-side, in July 1982. It charted considerably well, considering it's nature, peaking at #39 and being well received by critics. However, now that the album had grown into a standalone unit, problems arose: in-fighting within the band was at an all-time high, with Gilmour and Waters simply not getting along. The lead guitarist's lack of productivity also further extended the issues, with him later criticizing the album for its overtly political tone and lack of musicality, and ends up only singing lead vocals on one of The Final Cut's songs. With keyboardist Rick Wright long gone by this point, the piano parts were played by the album's producer Michael Kamen, who also wrote most of the orchestration on it. He proved to play an essential role on the sessions, but did not manage to ease the tensions between the band members, as Bob Ezrin had before him, and his more passive approach in producing could be seen, with Roger finally managing to take the reins of the band. Due to all that was mentioned above, Floyd fans were left without a "real" release of the soundtrack, and even to this date, the seven movie-exclusive songs haven't been released anywhere, leading the rerecordings to be largely forgotten among the listeners, and very few info being available about them.

However, what some of us fans were left wondering was: if Pink Floyd had carried on with the project as was intended, what would that album look like? Well, to start off, the six newly written songs would obviously, with some minor lyrical changes, be released on TFC, so it is our main source of material in this reconstruction. All tunes featured here were recorded with the intention of being a part of SB, between 1981-82 by the band, with only one notable exception, that will be explained later. As well as that, all of the film songs would be taken from a fan-made DVD rip, since it hasn't met an official release yet, and any other sources aren't available. That implies that most of these songs will feature some sound effects from what was happening onscreen, but unfortunately, those are unavoidable. The album's sequence will be mostly inspired by the one on The Final Cut, because of our familiarity with the album and the direct linking of some tracks, thankfully making my job a lot easier. The songs from The Wall are not sequenced in order of appearance, however, but on the spots I felt they fit on the best within the LP, to make up the best listening experience possible within our limitations. Very few editing was needed in this, mostly to make the songs segue smoothly, and since it's no use to try and avoid the many sound effects in the songs, the movie tunes are left mostly unaltered from their original state on the movie. So without any further ado, here's our tracklist:

Side One:
01 In the Flesh
02 Your Possible Pasts
03 One of the Few
04 When the Tigers Broke Free
05 The Hero's Return
06 Another Brick in the Wall, Pt. 3
07 What Shall We Do Now?
Side Two:
08 Bring the Boys Back Home
09 The Fletcher Memorial Home
10 Mother
11 The Final Cut
12 The Moment of Clarity
13 Outside the Wall

Waters, Gilmour and Hugo Zuccarelli during the TFC sessions, 1982
Starting off the album is the re-recording of "In the Flesh", which is led by an almost Wagnerian orchestral arrangement and features actor Bob Geldof unaccompanied on lead vocals. As an intro for the album, a snippet of "The Little Boy that Santa Claus Forgot" by Vera Lynn is used, in order to emulate the beginning of the film, that featured the aforementioned song as its opener. That is followed by "Your Possible Pasts", whose chorus was recited as a poem by Geldof as a part of the tune "Stop" in the flick. One of the first to be recorded for the LP, it was based on some early ideas written early on for The Wall by Waters, but that were scrapped beforehand, more than justifying its inclusion in here. After that comes "One of the Few", featuring Roger alone on acoustic guitar and vocals. Originated from the first 1978 demos for TW, it was originally named "Teach", and is sung from the point of view of the Teacher from "Another Brick in the Wall, Pt. 2", having been brought back from there by the band for use in this project. "When the Tigers Broke Free" comes next, featured on a different, slightly longer mix with different vocals in some spots, as well as added military snares to certain sections of it. At first rejected by the band due to being "too personal" on the original album, back then when it was titled "Anzio, 1944", it was not forgotten by Waters, finally finding a home in the film. Being the only new song in it, it more than justifies its own inclusion in here.

Up next is "The Hero's Return", first recorded as "Teacher, Teacher" during the The Wall sessions. The version used here is an edit of both parts, joining them together and excluding the verse about "the gunner's dying words", as it doesn't quite fit. Also sung in the POV of the teacher, it was the first song recorded for the project, what led to its appearance here. Track no. 06 is "Another Brick in the Wall, Pt. 3", here re-recorded in a slightly faster tempo than the original, and with it's classic "TV smashing" intro intact. "What Shall We Do Now?" finishes up the first side, having been excluded from the original album at the last minute due to the album's length and the constraints of vinyl. It's a shame it couldn't be featured on the LP, but it ended up finding a good home on the movie and soundtrack. It features a reprise of "Empty Spaces" as its first section, then leading to a different, fast-paced section, that is exclusive to it. "Bring the Boys Back Home" is next, an orchestrated version featuring vocals by the Portaddulais Male Voice Choir, not featuring any Pink Floyd members in it, and was the only of two songs of the film to see an official release. "The Fletcher Memorial Home" follows, having been written for SB, without any leftover material being used on it. This version doesn't feature its spoken word bridge, since it was only added after they had shifted towards The Final Cut, and dates the song considerably, with its many references to 1980s politics.

"Mother" is next, being re-recorded almost entirely, with the exception of its guitar solo section. The only song on the album to feature a lead vocal by David Gilmour, it has a much slower and different arrangement than the LP version, being mostly orchestral and led by a glockenspiel, instead of the acoustic guitar-led arrangement it had before. Afterward comes "The Final Cut", having been inspired by many "bits and pieces" left over from The Wall, and even featuring a reference to it in its lyrics. The line "I'll tell you what's behind the wall" is obscured by a shotgun blast, in order to try and disguise its connection to TW. Most probably, if SB had happened, it would have been present in its original form, but since there isn't a version without the blast, the regular one is used here. "The Moment of Clarity" is next, being recited by Bob Geldof as a poem during the movie. While not appearing as a song per se, it was performed in the movie, and due to that, I think the band would end up recording it for Spare Bricks. Since that didn't happen, we use Waters' solo version, released on The Pros and Cons of Hitch Hiking, instead, with him alone on acoustic guitar. Finally, "Outside the Wall" ends the album, in a longer and much less ironic version. It features an instrumental bridge, with the melody of "Southampton Dock", from TFC as its main motif, and is mostly orchestrated, and with Waters on lead. It ends the album on a much more positive note than the original, and also gives it a proper ending.

"Spare Bricks - Music from the Film" is a pretty decent companion piece to The Wall movie and album, adding more depth to it's narrative than ever intended before, and also finding a home for many of its outtakes, that were otherwise without any proper context, stranded in TFC. With both of its sides clocking in at about 23 minutes, it would easily fit into the vinyl's constraints, and with 13 songs, makes up for a solid listening experience. The most probable lead single of the album would be "Your Possible Pasts" backed with "The Final Cut", due to them being released that way as a promo single for TFC, and being part of the new material recorded for the project, it would make sense to think that. As even as a promo, it managed to climb to #8 on the charts, I'd consider it would manage to be a hit, with the single release and Wall association probably helping it. As a standalone album, there's no doubt that it suffers considerably, with the new material making up for about half the LP, and even still, of a slightly sub-par quality. However, as a companion piece to The Wall, it works quite well, proving to be an essential piece of the rock opera's lore, and giving the movie re-recordings a home, instead of being lost as they are at the moment. With the original LP's 40th anniversary on the way, a deluxe edition featuring the film tunes, without sound effects would be the ideal thing to do. But until then, we're all left to speculate about The Wall's lost spare bricks.

Sources used:
- The Final Cut (2004 remaster)
- The Wall - Music from the Film
 - The Pros and Cons of Hitch Hiking

Thursday, September 14, 2017

Pink Floyd - Bricks In The Wall (1980)

The 1977 "In the Flesh?" tour of Europe and North America was a massive success both commercially and musically for Pink Floyd, with them playing about 60 shows during the duration of its two legs. They sold out big arenas, and even though Animals didn't have the same commercial impact as the two albums before it, set attendance records all over during the tour. However, all was not well in the band: Roger Waters had, throughout the tour, began to show increasingly aggressive behavior outside the stage, and even sometimes towards the audience. He often yelled at disruptive fans who would not stop screaming and releasing fireworks during the more quieter numbers of the concert. All of that came to a head when, during the last night of the tour, in Montreal, Waters was performing "Pigs on the Wing, Pt. 2", alone on his acoustic guitar, when yet another group of fans started screaming and cracking fireworks, only this time considerably closer to the stage. He stopped the song three times, and during the third, barely made it to the verses, when the firecrackers started again. The band finishes the song, but as they play "Pigs (Three Different Ones)", Waters calls one of the fans responsible for that closer to him and proceeds to spit on him, out of anger.

That was something no one even noticed at the time, but it had an impact on Waters nevertheless, with him noticing his that stardom had alienated him from Pink Floyd's audience. He then started having ideas, especially regarding his desire to completely isolate himself from the world. He envisioned the construction of a wall across the stage between the band and the public during the shows, having expressed his dislike for performing in stadiums. With those ideas in mind, and with the band taking a long break after the tour, he started developing two concepts on his own. The first of them, about a man's self-imposed isolation, through the metaphor of a wall, after years of traumatic interactions with authority figures and the loss of his father at a very young age, being named Bricks on the Wall. The second, a concept album about a man's dreams across only one night that dealt with his marriage, sex, and the pros and cons of his family life, against a promiscuous life on the road, titled The Pros and Cons of Hitch Hiking. He presented both to the band in July 1978, after a year-long break. The band eventually chose the "Bricks in the Wall" concept, with it being "more universal" in David Gilmour's words, with both even sharing some musical motifs.

The band had some doubts about the concept, and while they chose the Wall concept, according to Wright and Gilmour both had "no melody" and that if the band's situation hadn't been that bad at the moment, they would probably have expressed their dislike for it and started over from scratch. But they still soldiered on with the album, and with the help of producer Bob Ezrin, started works on the new album in December 1978 in Super Bear Studios, France. The recording sessions were nothing short of tense, with band members barely communicating and Ezrin having to serve as a mediator between them, mostly without any success. Things came to a point where Wright was sacked from the band, due to both his lack of contribution to the new concept and his constant fighting with Waters. He remained on the sessions, but as a hired gun only, playing the same part during the tour. Sessions were also held in New York, LA and the band's studio in Britannia Row, London. They were always being hurried, with them accepting larger advances for changing the deadline for delivering the album to CBS from early 1980 to November 1979, also having to edit out many small sections of songs, due to the time constraints of vinyl, even dropping a full song, "What Shall We Do Now?".

That problem was largely caused by the band and Ezrin's decision to trim what was in Roger's demos a triple album to a double, focusing on the more finished songs than on the bits and pieces also present. Some of the "bits and pieces" were later reused by the band for work in a follow-up album, updating some lyrics and finishing them. They also cut small sections of many songs, such as "Run Like Hell", trying to make the album more concise and "fittable" into the LP, with the album sides going past 20 minutes. After the The Wall Tour's conclusion, in June 1981, they had enough recordings for a live album, which they did not release until 2000's superb "Is There Anybody Out There? - The Wall Live", as well as professionally videotaping the final dates, for future use in the The Wall movie - which by then was half fictional, half concert film. The concert film idea was quickly dropped, with the excuse of the footage being "too dark", even though on the bootlegs, they look superb, despite the low quality. But nevertheless, as soon as The Wall became a fully fictional movie, Roger recorded a new song, "When the Tigers Broke Free", started way back in the Wall demos as "Anzio, 1944", and scrapped before the first production demo for being "too personal".

Free from the constraints of the album, many songs were presented in longer, unedited versions and some were even re-recorded altogether, such as "Bring the Boys Back Home" and "Mother". During most of the first semester of 1982, the plan was to release Spare Bricks, an album of both the re-recorded songs and new, Wall-related songs, to help "flesh-out" the narrative. The new tunes would also help to fill the album, as the band didn't feel there was enough strong material for a soundtrack. "The Hero's Return" and "One of the Few" were both brought back from the early Wall Demos, when they had the names "Teacher, Teacher" and "Teach", respectively. "Your Possible Pasts" and "The Final Cut" were in very embryonic form, as bits and pieces, being finished and re-written for the project, with the chorus from YPP even being recited by "Pink" on The Wall, as well as most of "The Moment of Clarity", a song which wouldn't appear until Roger, alone, released The Pros and Cons of Hitch Hiking. The only real "new" song written for Spare Bricks was "The Fletcher Memorial Home", which didn't feature anything demoed before, and dealing with similar themes as most of the album's third side, such as war/politics and its impact on people, this time focusing on politicians.

But some things Roger wrote during those productive early writing sessions for the project still weren't worked on, such as the aforementioned "The Moment of Clarity", "Sexual Revolution", which was as well demoed in a semi-complete version for the Wall but only released in PACOHH. Finally, also written were the two other parts of "Is There Anybody Out There?", it being supposed to be a trilogy, as the three "Another Brick in the Wall"s, never being worked on or rewritten ever since. But as tension grew between Gilmour and Waters, something unexpected happened: in May 1982, after album sessions had already begun, Argentinian dictator Leopoldo Galtieri invaded the Falklands, leading to a war against Britain for the area. Roger Waters was enraged by this, seen as his generation had always envisioned WW2 to be "the war to end all wars", and then suddenly the Thatcher administration simply starts a new, pointless war against Argentina for a  small island, putting lives of people like his deceased fathers at risk. That sudden war led to a direction change on the sessions, from complementing The Wall to a new concept, namely "The Final Cut - A Requiem for the Post-War Dream", with him writing the rest of the LP's material based on that conflict.

With all that in mind, you might be wondering: is it possible to reconstruct the original, longer album that Waters and co envisioned in the first place? One of the best attempts at doing so was done by Marty of The Wall Complete, which I would definitely recommend to check out, since it's the version I based on to create this. And since we already have that, my focus is to, as well as add the missing sections of the songs, add all of the Spare Bricks and leftovers into the narrative, in order to assemble a wider, more fully-fleshed version of it, finally being able to see the album as was originally intended, a 3LP piece. My additions will base themselves on if the song was meant at any sense for the project (be it the album, movie, or soundtrack), and how/where it fits in inside the narrative, even resorting to edits in some cases to make them fit completely. Since we're talking about 1980 here, I'll only use the studio versions (with one exception I'll explain later), because although the live takes are fantastic, the sides would be, well, too long to fill into three pieces of vinyl, and the live/studio hybrid doesn't work well in this setting due to difference in sound and the sheer difficulty of managing to edit both together. But without stretching this any longer than we already have, here's our tracklist:

First Act - Under Construction
Side One:
01 In the Flesh?
02 The Thin Ice
03 When the Tigers Broke Free
04 Another Brick in the Wall, Pt. 1
05 The Happiest Days of Our Lives
06 Another Brick in the Wall, Pt. 2
Side Two:
07 One of the Few
08 The Hero's Return, Pts. 1 & 2
09 Mother
10 Goodbye Blue Sky
11 What Shall We Do Now?
12 Young Lust
Side Three:
13 One of My Turns
14 Don't Leave Me Now
15 Sexual Revolution
16 Empty Spaces
17 Another Brick in the Wall, Pt. 3
18 Goodbye Cruel World

Second Act - Inside the Wall
Side One:
01 Hey You
02 Is There Anybody Out There?
03 Nobody Home
04 Your Possible Pasts
05 Vera Lynn
06 Bring the Boys Back Home
07 The Fletcher Memorial Home
Side Two:
08 Comfortably Numb
09 Isn't This Where We Came In?
10 The Show Must Go On
11 In the Flesh
12 Run Like Hell
Side Three:
13 Waiting for the Worms
14 Stop
15 The Final Cut
16 A Moment of Clarity
17 The Trial
18 Outside the Wall

Our story begins with "In the Flesh?", mostly an introduction to Pink's narrative, and happening way after most facts on the album. This more "complete" version features the "The Little Boy Santa Claus Forgot" movie intro, and some small sections, present on other versions and cut on the album. Afterward, a baby's cry leads us to "The Thin Ice", a story about Pink as an infant and his parents' view of the world, warning him about the dangers of life in society. This features a short piano intro cut from the LP, where that and ITF? segued directly. Up next is "When the Tigers Broke Free", first demoed during the "The Wall" sessions, and only used in the movie. This version is a new, different mix, using a shorter intro and different vocals in some parts, as well as some pretty neat added military snares. As track number four we have the first part of "Another Brick in the Wall", introducing the impact of his father's passing on him as a child, being the first bricks in his wall, and we stick with the original version of it. Up next we have "The Happiest Days of Our Lives" and the second part of "Another Brick in the Wall", as the album's hit single. They are both in their original form, even though their live, longer counterparts are just as great, with added solos and jamming.

Introducing a new point of view to the story, we have "One of the Few". Sung from the viewpoint of the teacher, it tells of his experiences coming home from the war and having to pick a career. Used is the regular TFC version, segueing into "The Hero's Return". That tune is as well about the teacher's life and frustrations, and our version of choice is an edit of both parts, excluding the "the gunner's dying words" verse and going directly into the second part of it. Up next is "Mother", dealing with Pink's overprotective and overbearing mother, who then becomes one more brick in his wall. Here we use the 1982 movie version, in order to add some variation. As song number ten we have "Goodbye Blue Sky", mostly a wartime story used as a metaphor for our protagonist's loss of innocence, and entrance into adulthood, with the "phone call" part tacked on at the end of it. After that, we have the movie version of "What Shall We Do Now?", which speaks of Pink asking himself what he should use to finish his wall, citing many things associated with his rock n' roll lifestyle he could use. Up afterward is "Young Lust", with him cheating on his wife after being cheated on, featuring an extended intro not featured on the album, as well as a "phone-call free" fadeout, fading normally.

Soon after the groupie's monolog, we have "One of My Turns", where he destroys his hotel room and scares the girl away from him. We use the regular album version, segueing into "Don't Leave Me Now", with Pink begging his wife not to leave, and citing his less than valid reasons for still wanting her. We use the regular take of it, however fading out a little later. "Sexual Revolution", sourced from Pros and Cons, begins next, in its regular album version. It tells of Pink's relationships and views towards women, and was even demoed during the Wall sessions. Right afterward, "Empty Spaces" begins, in its intended spot, as a reprise of WSWDN?, wishing to fill the last few slots in the wall. Up next is the third part of "Another Brick in the Wall", where Pink's basically telling himself he can live behind the wall without any outside contact whatsoever. Here, we use its album version, as well as "The Last Few Bricks", an instrumental medley from its live incarnation, used as an outro for it. Finally, after that, we have "Goodbye Cruel World", his final farewell to the outside world, where he finally shuts down completely. We use its regular version, with a dark, distorted instrumental reprise of "The Thin Ice" from the demos being used as its outro, as his descent into the Wall, so to speak.

The second half of the album begins with the album version of Hey You, where Pink tries to call out to the outside world but realizes that he has been shut out entirely, and he is completely alone. Next up we have Is There Anybody Out There?, a plea from the imprisoned Pink, calling for the attention of anyone beyond his wall, getting no answer. We use its regular take, segueing into "Nobody Home". That same song, used here in its original version, although live takes featured a guitar solo, deals with Pink's many possessions and addictions, and while he has all that, he is still alone and can't get to reach his wife, or anyone for that matter. Up afterward is "Your Possible Pasts", one of the many spare bricks, dealing both with Pink's isolation and already adding some war themes, something predominant in the next couple of songs, forming a "bridge" of sorts. Next is "Vera Lynn" in its regular version, dealing with the promise that the soldiers would return, as in Vera's song, "We'll Meet Again", but in Pink's case, his father did not, and he is asking himself what has become of that. After that, the superior, movie version of "Bring the Boys Back Home" comes in, pleading that the soldiers come home from the war, and that the children aren't left fatherless, as Pink was before.

Keeping on with the war themes, "The Fletcher Memorial Home" is a criticism of world leaders, accusing them of sacrificing human lives for their political objectives, featured here without its spoken word bridge, it being instrumental instead. Up next is the fantastic "Comfortably Numb", about how Pink has finally gone insane, no longer telling the real world from the one he has created, while here its regular version with the coda of BTBBH as an intro is used. "Isn't This Where We Came In?" is the other two parts of ITAOT? I mentioned before, only retitled and shortened a bit. It is kept in its original position, however, and still has the same usage, a last cry for help before his fascist hallucination. "The Show Must Go On", now featuring the lost verse, cut at the last minute. It talks about Pink's uncertainty if he could perform at his concert. Afterwards, we have "In the Flesh", with the same added section from its earlier counterpart, where he has the hallucination his concert has become a fascist rally, and that he is its leader. In the same vein, "Run Like Hell", also has him threatening his audience, with racist insults and so on. This song features about one minute of music originally cut, mainly on its introduction and middle section, finally being a "complete" song.

Our final side opens with Waiting for the Worms, where Pink once more has one of his fascist rants, and says that if his listener wishes things to be as they used to, they need to follow him. This version has the extended movie coda edited in, resulting in a couple more chants of "hammer". But after that, all falls to pieces with "Stop", where he realizes what he has done, and wonders if he's guilty about it. "The Final Cut" comes in next, where he falls into depression once more, and almost commits suicide, due to his actions on the previous songs. On "The Moment of Clarity", recorded by Roger alone, he decides and tries to show his feelings, tries to open himself, and fails, a feeling also expressed on the last few verses of "The Final Cut", before his failed suicide attempt. Most probably the centerpiece of the whole album, "The Trial" is next, where Pink, after being caught "showing feelings", is put on a mental trial, with all the figures from his past there to judge him. This version has both a longer intro and outro, sourced from the live version, with more "tear down the wall!" chants as well. "Outside the Wall", here in its movie version, serves as an optimistic ending to the story, telling people that it's not easy to feel that way, and that, after all, they're not alone.

I like the end result of this 36-song long monstrosity, which explains a lot more of the story than the released version ever tried to tell us to begin with. It creates a bigger and more developed universe, giving us other smaller stories and even more detail and reasons for Pink to have done what he did, before it all collapsed and ended with "Outside the Wall". It is, yes, much more overblown, and I'll admit that even maybe too long (there are even folks that consider the normal one too long!). But anyway, as an experiment, and a tryout at telling the complete story, it works pretty well. It gives us the teacher's point of view of the world, and the little sections of songs added somewhat improve the album's flow, now it was allowed to go on longer. The sides are all in the margin of 21-23 minutes long, with all tunes more or less evenly distributed, so to not end up having the album with bad sound quality due to long sides, one of the main worries Waters and co. had with the original album. The new songs also benefit from the narrative and music of the album in a great way, with most songs given a brand new meaning outside their common albums, and finally being awarded the context they deserve. Now that all was said and done, we were finally able to put the final bricks in the wall.

Sources used:
- The Wall Complete (Fan remix)
- The Wall (Immersion Edition)
- The Final Cut (2004 remaster)
- Soundtrack from The Wall (bootleg)
- Under Construction (Bootleg)
- The Pros and Cons of Hitch Hiking