the jason shergold music collector site
Sunday, 8 December 2013
Hello there and welcome to the "Jason Shergold Music Collector Site".
This blog features articles about various bands and singers, and how to go (more or less) about collecting their records. In the main, the articles will be aimed at people trying to get a collection together from scratch, looking at shortcuts to doing so where they exist, but some articles will be a bit more specialised, with features of video releases, Japanese pressings, etc. As it's built using a Blogger template, it can - at times - look a bit DIY, just think of it as the internet version of "Sniffin' Glue".
As a UK based music fan, most of these articles will revolve around UK discographies, but not necessarily just for UK bands. Although, for some artists featured, their discographies will continue to grow, the post-iTunes scenario is that you can more or less guess what formats albums and singles will be released on nowadays, so these blogs in the main will help to fill in the gaps when multiple physical formats were all the rage.
The blog will be updated at least once every month - if you find that the homepage does not show the Tamla logo above, it will be that the site is being updated, and may not be available for viewing for an hour or two. The updates are expected to occur initially at the start of each month, any later blogs to be published that month will appear at random as the weeks progress. You will be able to click on older editions using the menu buttons in the top right.
The December 2013 edition is now online, with a look at Sleeper, The Doors and Elvis Presley UK 45's.
Please note: If you ever notice "newer" pages listed top right, this will be the new issue "in progress" - if you click on it, the whole page will not load. When the new issue is ready, it will be mentioned on this page. You can click on previous years tabs to get previous articles. Once you have selected that year, you can click on a different month to look at different acts.
The acts featured appear in the months listed below:
Adam And The Ants - October 2013
Lily Allen - August 2010
Atomic Kitten - June 2013
The Beatles - September 2011
Beyoncé - May 2013
Blondie - January 2011 / September 2013
Blur - August 2011 / July 2012 / October 2013
David Bowie - September 2010 / October 2010 / November 2010 / January 2011 / June 2012
Kate Bush - July 2013
Buzzcocks - December 2011
Belinda Carlisle - October 2013
The Clash - May 2011
Elvis Costello - January 2013 / September 2013
Sheryl Crow - June 2013
The Cure - December 2011
Deep Purple - March 2010
Depeche Mode - May 2012
The Doors - December 2013
Bob Dylan - November 2013
Sophie Ellis-Bextor - August 2011
Embrace - November 2013
The Flaming Lips - November 2011
Peter Gabriel - August 2013
Genesis - April 2011
Girls Aloud - August 2010 / November 2013
Goldfrapp - August 2013
Deborah Harry - January 2011
Jimi Hendrix - September 2010
Inspiral Carpets - April 2012
The Jam - May 2013
Elton John - August 2012 / September 2012 / October 2012 / November 2012
Joy Division - March 2011
Kenickie - October 2010
The Kinks - November 2010 / April 2011 / May 2013
John Lennon - May 2013
Pixie Lott - February 2011
Madness - November 2011
Madonna - April 2010 / July 2010 / August 2010 / September 2010 / March 2011 / June 2011 / July 2011 / August 2011 / September 2011 / October 2011 / November 2011 / March 2012 / November 2012 / January 2013 / November 2013
Mansun - August 2011
Dannii Minogue - September 2011
Kate Nash - February 2011
New Order - October 2012
Nirvana - June 2011 / December 2012
Oasis - April 2013
Pet Shop Boys - May 2011 / June 2011
Pink Floyd - January 2011 / July 2011
P!nk - April 2012
Elvis Presley - March 2011 / October 2011 / November 2013 / December 2013
Pulp - August 2011
Queen - December 2010 / September 2011
Cliff Richard & The Shadows - July 2011
Rolling Stones - July 2010 / October 2010 / March 2011
The Saturdays - April 2011
Siouxsie & The Banshees - March 2013
Slade - May 2012
Sleeper - December 2013
Smashing Pumpkins - June 2012
The Smiths - June 2010
Britney Spears - November 2010 / December 2010
Bruce Springsteen - February 2012
Status Quo - January 2012
Cat Stevens - February 2012
Rachel Stevens - July 2011
The Stranglers - February 2010 / December 2011 / May 2013 / September 2013
Suede - August 2011
Sugababes - August 2012
TRex - December 2010
Theaudience - August 2011
Thin Lizzy - February 2013
Tin Machine - December 2010
U2 - March 2012 / December 2012
The Velvet Underground - October 2010
The Walker Brothers - June 2011
Scott Walker - September 2010 / February 2013
The Who - May 2010 / August 2012 / July 2013
Kim Wilde - October 2013
To return to the homepage, you can click on the tab for the current year. Several blogs are in production, with articles on Elvis Presley, The Charlatans, All Saints, Genesis and The Stranglers due over the next few months.
You can email me using the link above, and if you can add any information, you can add comments to the blog using the link at the bottom of the relevant page. Regards, Jason.
Frankie say NO to downloads!
When Britpop began to fall from grace in the late 90s, it came in for a bit of a kicking from the very same people who had championed it only a matter of years before. It was dismissed as a retro sounding, non-forward thinking style of music, “meat and potatoes” indie. Bands either fell off the radar and split up, fell out with each other and split up, and those that survived did so either by being too big to split up initially (Oasis) or reinvented themselves as Pavement obsessed anti-pop guitar manglers (Blur).
But you have to remember, that most of these bands - the good ones at least - had quite good reference points, and were merely emulating their idols. Bowie, The Kinks, The Beatles, the good thing about Britpop was that bands who would otherwise have stayed marginalised broke through into the mainstream. Shows like “Top Of The Pops”, that had started the decade by still featuring the likes of 2 Unlimited, were now more or less being forced into having guitar bands make an appearance, as slowly but surely, the latest wave of indie-poppers began denting the top 40.
Leading the charge, at least as regards the smaller bands of the time, were Sleeper, led by the rent-a-quote indie pin up queen Louise Wener, and her band of anonymous “Sleeperblokes”. They made some quite decent tunes, and for a while, were huge popstars. Wener had formed the band at Manchester Uni, where, inspired by pop acts like Madonna, she figured a female fronted band who weren’t scowling at the top of their lungs, like Hole or L7, might have a chance at the big time. They actually found themselves emerging at the time alongside a whole host of other female fronted bands with a similar approach (see also Salad, Tiny Monroe and Echobelly), and then crashed and burned relatively quickly, although Wener later reinvented herself as a writer, and still makes it into the public eye now and again.
Like most single twenty something indie boys, I was quite obsessed with Wener at the time. She was born in Gants Hill, a bus ride or two away from where I used to live, so she became something of an East London local hero when Sleeper became big news in 1995. I recall going to see them play at some TOTP organised “indie mini festival” at Wembley Arena in 1996, and they were the only band playing who I liked. They had to go to America that night, so asked to open the show because they had to race off to the airport, even though they were deserving of a much higher place on the bill. They came on at about half six, played for 40 odd minutes, and that was it. I left straight away, and remember passing queues of latecomers still waiting to get into the venue, obviously only interested in the sub-Weller dadrock nonsense of Ocean Colour Scene that was due along later that night.
Sleeper emerged in 1993, being signed to RCA offshoot Indolent, an “indie” label being bankrolled by a major. They released their first single, the “Alice” EP, that year, although it was more of a maxi single really, consisting of only three songs, and was the first of several releases that would include, as their lead track, a very early preview of material due to make their debut LP several years later. The relevant track on this EP was the opening “Alive In Vain”. Some copies were exported to North America, where the band were billed as “Sleeper UK” and stickers featuring their US name were placed over their UK moniker. Like many of their early releases, it was issued on both 7” and CD with identical track listings.
Single number 2, “Swallow”, dented the top 100, and featured an alternate version of a song later to be re-recorded for the LP, “Twisted”, as one of the bonus tracks. Catchy-as-hell follow up single “Delicious” appeared in May 1994, which alongside the usual 3 track 7” and CD editions, was also issued on 12” with a bonus track, “Tatty”. This song later got a second lease of life when it appeared on the “For Immediate Use” freebie cassette, given away with a copy of the now defunct music mag Raw.
By now, the band were starting to attract attention - I seem to recall Wener was already starting to fascinate the press with her outspoken quotes and sometimes deliberately provocative behaviour, done really to try and promote the band, even if she didn’t necessarily agree with the actual things she was saying. I also think that “Delicious” b-side “Lady Love Your Countryside” was titled so that the final word could be used to terrify TV execs if the band played it live on a television show, but I could be wrong. With the band’s profile starting to rise, they managed to get "Supermarket Sweep" star Dale Winton to appear in the video for their next single, “Inbetweener”, the band’s first really big hit, and one of the more famous records from the era.
“Smart” was issued in March 95, garnering positive reviews, a decent chart position, with sizeable units shifted. The vinyl edition of the album included a repressing of the original “Alice” 7”, as these were starting to fetch big money on the collectors market. Thanks to the inclusion of material from the earlier singles, much of the album would have been already quite well known to a lot of people when it came out (albeit sometimes in re-recorded form), and even so-called new album track “Bedhead” had appeared before, in live form at the end of 1994, when it appeared on the “Bucket And Spade” mail order/gig freebie 7”.
A re-recorded track from the LP, “Vegas” (featuring Graham Coxon on saxophone), appeared a few weeks later, a quite brilliant piece of indie (power) pop. Showing where their influences were coming from, the B-side was a cover of The Pretenders’ “Hymn To Her”. 7” copies were pressed on blue vinyl, whilst the CD edition added additional bonus tracks. The band later supported REM that summer at one of their two gigs at Milton Keynes Bowl, where Michael Stipe famously sang “Happy Birthday” to Louise mid way through their set. Having spent some 18 months to get from their debut EP to their debut LP, the band were now seemingly on a roll, and brand new material appeared in September, when “What Do I Do Now” turned up as the band’s latest 45. The multi formatting really started in earnest here, with a second CD single featuring live B-sides in a unique sleeve being offered to fans. It became their biggest hit so far.
Several months passed before the band’s second album was ready for release, and the LP was previewed by the “Sale Of The Century” single in April 1996. 7” and Cassette copies included the band’s cover of Blondie’s “Atomic”, originally taped for the “Trainspotting” soundtrack album, and although the band came in for some stick for their (slightly rough) cover, well, let’s face it, even Led Zeppelin couldn’t have improved on the original.
“The It Girl” followed “Smart” into the UK album chart top 10, and was regarded to be an improvement over it’s predecessor, Wener being praised for her strong song writing skills - her lyrics at times were deliberately in-yer-face, whilst the pop influences were noticeable via the hooks and melodies that the songs contained. It was guitar music, but less 'Sonic Youth' and more 'Squeeze' in it's approach. “Nice Guy Eddie” followed “Sale Of The Century” into the top 10, and the likes of Elvis Costello came forward as a fan, inviting them to record a cover of one of his songs for the b-side of a single, whilst also covering one of their songs at a later date. Some formats of “Nice Guy Eddie” featured a comedy cover of “Inbetweener” by Radio 1 DJ’s Mark And Lard, under the title of “Ugly Bleeder”.
“Statuesque” appeared as the next single in late 1996, with the 7” edition coming in a fancy gatefold sleeve, and the aforementioned Costello cover appearing on one of the two CD singles that were released. It should have heralded the next phase of the band, but it was really the turning point, the highpoint before the problems set in. After the US tour (supporting Costello), there was a UK tour in December where the band played a celebratory homecoming (for Louise) show at the Ilford Island, but there was trouble on the horizon. The band were more or less forced into recording a new album almost immediately to keep up with the momentum they had obtained, but the thing was, that the group were starting to burn out.
In late 97, the band released their third album, “Pleased To Meet You”, trailed by the glorious horn driven romp that was “She’s A Good Girl”. By this point, bass player Diid Osman had quit, soon to be replaced by Dan Kauffmann, joining original members Jon Stewart and Andy Maclure. The album was issued in two different sleeves, with the LP version featuring a front cover image of Louise from when she was at school, done I think to show how even a geeky Essex girl could become a popstar. Promo copies came in a third variant sleeve, with all three band members (no Kauffmann - he wasn’t quite in the band just yet) proudly on show - the standard Cassette and CD editions featured a current image of Wener, alone, on the front cover.
And then it all started to unravel. The album had also dented the top 10, but a forthcoming tour was postponed, unofficially I believe, due to poor ticket sales, and was rescheduled for the following spring - enough time to try and shift more tickets I guess. But “She’s A Good Girl” had failed to go top 20, and the band were convinced that the label would withdraw their support. A follow up single, “Romeo Me”, fared even worse, stalling at number 39 despite being multi formatted across two CD editions and an oversized 7” single, which had a unique B-side pressed on clear vinyl, free postcards and a “Marilyn Monroe” cover not used on any of the other formats. Originally, three more singles had been planned by the label, but when the third of these, “Rollercoaster”, got cancelled, it showed that the end was nigh.
Wener mentioned in The Guardian some years later that when they filmed the video for “She’s A Good Girl”, it was on the same day that Princess Diana died, and the band felt that the tide had turned. By the start of 1998, Robbie Williams was turning into a superstar, and with Blur having already started copying the bands they previously claimed to have hated, Wener felt the Britpop bubble was about to burst. I recall seeing the band play what felt, to me, like an underwhelming show at the Cliffs Pavilion in Southend, far from being a sellout, despite the extra time bought from the postponement being a potential opportunity for increased ticket sales. The final gig was at London’s Brixton Academy, which the band did feel was a celebratory affair, so maybe I just didn’t fully enjoy the Southend one, or maybe the crowd were a bit boring, I can’t quite remember. It just felt less euphoric than all the other times I had seen them, the Ilford gig had felt like a big party. Sleeper announced their split soon after, a rather low key ending for a band that had, just three years earlier, been critically acclaimed press darlings.
Given the vogue now for reissuing pretty much anything, no matter how niche the reissue might be, Sleeper have had a few releases in recent years that have revamped the back catalogue, suggesting there is still some interest in the band. Aside from a “Greatest Hits” album (one which included a b-side, so that obviously wasn’t a hit), the band’s first two albums have been reissued in expanded form by Cherry Red, collating most of the rarities from the relevant period, but not all (single versions seemingly absent).
The list below features more or less everything the band released on 45 in the UK, plus details of the three LP’s. The early period singles, as you can see, were sometimes issued on “pointless” formats but are listed on the basis that any missing tracks from these formats are now on the Cherry Red releases. Anything that is missing, is missing for a reason.
Smart (CD, Indolent SLEEP CD 007)
The It Girl (CD, Indolent SLEEP CD 012)
Pleased To Meet You (LP, unique p/s + poster, Indolent SLEEP 016)
Pleased To Meet You (CD, Indolent SLEEP 016 CD)
Alice EP: Alice In Vain/Ha Ha You’re Dead/Big Nurse (7”, Indolent SLEEP 001)
Alice EP: Alice In Vain/Ha Ha You’re Dead/Big Nurse (CD, Indolent SLEEP 001 CD)
Swallow/Twisted/One Girl Dreaming (7“, Indolent SLEEP 002)
Swallow/Twisted/One Girl Dreaming (CD, Indolent SLEEP 002 CD)
Delicious/Lady Love Your Countryside/Bedside Manners (7”, Indolent SLEEP 003)
Delicious/Lady Love Your Countryside/Bedside Manners/Tatty (12“, Indolent SLEEP 003 T)
Delicious/Lady Love Your Countryside/Bedside Manners (CD, Indolent SLEEP 003 CD)
Bucket And Spade EP: Bedhead (Live)/Alice In Vain (Live)/Swallow (Live) (Numbered Mail Order 7” in die cut sleeve, Indolent SLEEP 004, first 500 pressed on green vinyl)
Inbetweener/Little Annie (7”, Indolent SLEEP 006)
Inbetweener/Little Annie (Cassette in “Cereal Box” p/s, Indolent SLEEP 006 MC, with free stickers)
Inbetweener/Little Annie/Disco Duncan/Bank (12“, Indolent SLEEP 006 T)
Inbetweener/Little Annie/Disco Duncan (CD, Indolent SLEEP 006 CD)
Vegas (New Version)/Hymn To Her (Numbered Blue Vinyl 7”, Indolent SLEEP 008, 5000 only)
Vegas (New Version)/Hymn To Her (Cassette, Indolent SLEEP 008 MC)
Vegas (New Version)/Hymn To Her/It’s Wrong Of You To Breed/Close (12” Picture Disc in clear sleeve, Indolent SLEEP 008 T)
Vegas (New Version)/Hymn To Her/It’s Wrong Of You To Breed/Close (CD, Indolent SLEEP 008 CD)
What Do I Do Now?/Paint Me/Room At The Top (Numbered 7” in unique p/s, Indolent SLEEP 010, 2000 only)
What Do I Do Now?/Paint Me (Cassette, Indolent SLEEP 009 MC)
What Do I Do Now?/Paint Me/Room At The Top (CD1, Indolent SLEEP 009 CD1)
What Do I Do Now?/Disco Duncan (Live Cardiff University 3.3.1995)/Vegas (Live London Astoria 9.3.1995)/Amuse (Live Cardiff University 3.3.1995) (CD2 in unique p/s, Indolent SLEEP 009 CD2)
Sale Of The Century/Atomic (Numbered Green Vinyl 7”, Indolent SLEEP 011, 10000 only)
Sale Of The Century/Atomic (Cassette, Indolent SLEEP 011 MC)
Sale Of The Century/Package Holiday/Oh Well (CD, Indolent SLEEP 011 CD)
Nice Guy Eddie/Inbetweener (Live London Shepherds Bush Empire 13.10.1995)/Ugly Bleeder (7” Picture Disc in clear sleeve, Indolent SLEEP 013)
Nice Guy Eddie/Inbetweener (Live London Shepherds Bush Empire 13.10.1995)/Ugly Bleeder (Cassette in “living room” p/s, Indolent SLEEP 013 MC)
Nice Guy Eddie/Pokerface/Blazer Sleeves (CD, Indolent SLEEP 013 CD)
Statuesque/She’s A Sweetheart (Numbered 7” in “board game” p/s with poster, Indolent SLEEP 014, 10000 only)
Statuesque/She’s A Sweetheart/Spies (CD1, Indolent SLEEP 014 CD1)
Statuesque (LP Version)/(The Boxed Off Mix)/The Other End Of The Telescope/Atomic (Wubble U Mix) (CD2, different p/s, SLEEP 014 CD2)
She’s A Good Girl/Come On Come On/I’m A Man (CD, Indolent SLEEP 015 CD)
Romeo Me/Cunt London (Numbered Clear Vinyl 7”, “Monroe” p/s with 3 postcards, Indolent SLEEP 17, supposedly 3000 only but some copies numbered as high as 3500)
Romeo Me/This Is The Sound Of Someone Else/What Do I Get?/Nice Guy Eddie (BBC Radio 1 John Peel Version 11.5.1996) (CD1, Indolent SLEEP 17 CD1)
Romeo Me/When Will You Smile?/What Do I Do Now? (BBC Radio 1 Evening Session Version 20.11.1995)/Motorway Man (Artic Mix) (CD2, Indolent SLEEP 17 CD2)
SELECTED PROMOS/OTHER RARITIES
Inbetweener/Little Annie/Disco Duncan/Bank (Promo 12“ in die cut sleeve, Indolent DOLE 004)
Inbetweener (Live The White Room 11.3.1995) (Cassette, from “The White Room Album”)
Disco Duncan (BBC Radio 1 John Peel Version 25.10.1994) (CD, Melody Maker MM/BBC CD 97-99, from “Hold On”)
Tatty (Cassette, from “Raw - For Immediate Use”)
Nice Guy Eddie/Pokerface/Blazer Sleeves (Promo CD Single, Indolent DOLE 039, unique “titles” p/s)
Sale Of The Century (Live Leeds Town & Country Club 9.4.1996) (CD, Harmless CTYCD 96, from “Radio One Sound City Leeds 1996”)
Statuesque (Promo Acetate CDR, Indolent no cat. No., unique p/s)
She’s A Good Girl (Promo CD Single, Indolent DOLE 074, unique p/s)
Pleased To Meet You (Promo CD Album, Indolent DOLE 076, unique p/s)
Monday, 2 December 2013
I know I keep mentioning it, but there is no getting away from the fact that the 1996 “Original Elvis Presley Collection” boxset simply didn’t manage to include everything the man had recorded and released during his lifetime, even though the sheer size of the thing would make you think it should have done. Hyped very much as a career overview from start to finish, it’s still a good effort, and was, for me, a great way of getting into the expansive back catalogue.
Aside from the movie soundtrack albums, and the budget label releases, there were not too many other albums issued during that period that included rarities that didn’t make the box. But quite a few greatest hits albums did get the nod, and between them, cobbled together a large number of A-sides (and a lot of B-sides) from the period that would have otherwise also gone AWOL.
Elvis released a huge chunk of 45’s in the UK, and I thought it would make sense to detail the ones released up until 1977. In recent years, there have been some box sets and reissue campaigns which have made a few of them available again (and some, it seems, for the first time ever in the UK), so we shall concentrate on these releases for the main body of this blog. To clarify, posthumous releases are in the main not dealt with here, nor are Elvis’s original UK EP’s - these are complex subjects worthy of being looked at in greater isolated detail.
The Sun 45’s
When Elvis signed to HMV and then RCA, the Sun material was included as part of the deal, and material from the period started to appear on UK singles and albums. One of the later Sun singles appeared as a UK single in 1958 when “I’m Left, You’re Right, She’s Gone” surfaced on HMV as POP 428. Eight of the Sun tracks later appeared on the RCA albums “For LP Fans Only” and “A Date With Elvis”, and whilst certain editions of the latter also included “I Forgot To Remember To Forget”, the German edition of the album did not - meaning it is missing from the 96 boxset, as the CD included in there is based on the German tracklisting.
All ten songs - and other material from the period - made it onto 1976’s “The Sun Sessions”, but if you fancy getting repressings of all five Sun singles, you might be interested in the recent “Sun Singles Collection”. It exists partly because the 50 year copyright limit is up on this material, and the dubious looking Real Gone Music label have taken it upon themselves to repress the five singles on different coloured shades of vinyl, and put them in one big box. The original Sun labels have been kept for the release, so it all looks quite nice. Different versions of the box have the singles pressed in different colours (there seem to be editions in black, yellow, blue, red and pink), whilst disc 5 suggests the A-side is “Mystery Train” (sometimes viewed as the b-side), which had also been issued as a UK single by HMV in 1957 as POP 295. The Sun period resulted in several outtakes being shoved into the vaults, and more recent 'Elvis At Sun' releases have included all of the ten originals bolstered by these various alternate takes and unreleased songs.
The 18 Number Ones
The singles were released on a weekly basis, but if my memory serves me correctly, the usual online retailers offered them for sale en masse before the first one was even released, and some singles seemed to sell out before copies had the chance to reach the shops. All of them charted highly second time around, and even though some singles seemed impossible to hunt down at the time, you do seem to be able to track down some of the CD editions on the likes of Amazon even now, so I’m not sure where they were hiding all this time. All of the singles were numbered, but I recently tracked down a “One Night” CD which was not numbered - just a blank white space there instead of where the number should be on the back - so either additional copies were pressed at some point, or unnumbered copies were issued initially as promos.
The first reissue, “All Shook Up”, was housed in a box designed to hold all of the other 17 releases. This, along with all of the other releases, included the original B-side plus a “related” bonus track. Whilst quite a few of the reissues went down the rarities route by including an alternate take of the A or B side (although all had previously been released across a variety of earlier rarities albums), “All Shook Up” added “Heartbreak Hotel” as it’s bonus, on the basis it was Elvis’s debut UK single, and was thus of historical importance. Original copies of the box were shrinkwrapped, with the single already inside the box.
The CD editions actually featured the disc slipped into a mock RCA sleeve inside the outer packaging, thus killing two birds with one stone. Because the CD’s were replicating the original artwork, details of what the bonus track was was only listed on a sticker on the front, and as part of the inner sleeve.
The odd one out was, of course, “A Little Less Conversation”. Even though the (earlier) reissue had been issued on vinyl, no copies were ever released in die cut sleeves, so the 10” was housed in a special custom designed die cut sleeve, with the original grey and white “football” artwork replicated on the sleeve. The original 3 track CD from 2002 had featured short and long remixes, along with the original 1968 mix (RCA 74321 943572), the 2005 reissues omitted the original mix, and was thus shorter, rather than longer, than the original release.
Elvis The King
The choice of singles seemed slightly random. There were some big hitters here - “Always On My Mind”, “Suspicious Minds”, “In The Ghetto” and so on - but I still think the ones chosen were simply picked because of their status, and that they were not based on chart positions or record sales. They did all originally chart inside the top 20, but then again, so did most Elvis singles. Again, single number 1, “Heartbreak Hotel”, was housed in a box designed to hold all the remaining singles.
Slightly confusing matters along the way, was the release midway through the campaign by HMV - through HMV stores only I do recall - of “My Baby Left Me”, also on 10” and CD. Issued as an A-side back in the 50’s in selected foreign territories - but not in the US or the UK - this edition included the bonus tracks “One Sided Love Affair” and “Don’t Be Cruel”, the latter recorded live. The CD came in a full picture sleeve, and both the 10” and the CD were numbered, the latter including the video of the “Don’t Be Cruel” performance (HMV MHC 4004 51001). The video footage is also available on an Elvis DVD, so if you manage to find a sealed copy and want to keep it in mint condition, then you have an excuse not to open it!
It is also worth pointing out that the reissue campaign was also marked by another Elvis “best of”, when “Elvis The King” was released on CD to coincide. Whilst the typography from this set matched the logos being used on the reissued singles, the album itself was more of a full on greatest hits set, and as well as including some of the songs that were being reissued as part of the "King" campaign, it also included other hits in order to pad the set out.
Whilst the reissues covered in this article from 2004 onwards were genuine revamps, with the original release coming with it’s original B-side and relevant picture sleeve, a number of singles had turned up as totally differently designed CD Singles from the 80s onwards. The famous laughing version of “Are You Lonesome Tonight” had appeared on a CD reissue of “Always On My Mind” in 1997 (RCA 74321 485422, another variant edition exists with an alternate A-side and different sleeve), long before appearing again as part of the 2005 campaign, having also already appeared as an a-side in it’s own right firstly in 1980 on 7” (RCA 196) and then again in 1991 on various formats, including a 4 track CD edition (RCA PD 49178).
“If I Can Dream” appeared in the early noughties as the lead track on the “America The Beautiful” EP (RCA 74321 90402 2). “Stuck On You”, issued in 1988, seems to have been the first single to get reissued on CD (RCA PD 49596), backed with the original B-side “Fame And Fortune“ plus two other tracks, whilst a live “Suspicious Minds” CD Single from 2002 (RCA 74321 855822), available in both numbered and un-numbered form, featured a mix shorter than that from the album it was promoting. There was a 1992 reissue for “Don’t Be Cruel”, which included an at the time unreleased version of “I Need Your Love Tonight”, issued on both 7” and CD (RCA 74321 11061 2).
There also exist some slightly oddball releases that couple together various hits on a single CD. A newspaper freebie from 2001, as a promo for the “50 Greatest Hits” release, included “Heartbreak Hotel”, “Return To Sender”, “Love Letters” and “I Just Can’t Help Believin‘” (RCA BMGSM62). There is also a 1998 Danish promo CD, an eight track EP (or mini album?), simply called “Elvis” (RCA 980 20412), which includes “Hound Dog”, “Blue Suede Shoes”, “Jailhouse Rock”, “Don’t Be Cruel”, “All Shook Up”, “Lawdy Miss Clawdy”, “Return To Sender” and “That’s All Right”. There were also a number of posthumous releases where an old song was being issued as a single in the UK for the first time (the remixed “Rubberneckin‘”, the late 1977 release of “My Way”, from the “Elvis In Concert” LP), I may try and detail these properly on a future blog.
The usual notes. This is the entire UK singles discography for 45’s released between 1956 and Elvis’s passing in 1977. Reissues are not detailed individually, I refer you to the excellent 45cat.com site if you want more detail on the reissues of older material that surfaced again when Elvis was still alive (and beyond). I have listed, for each single, the album from which the a-side was taken, or details of a later compilation where the track was included. Any single listed as being “from“ an album is defo in the box, any listed as “available on“ may not be, it depends on the album. Stuff from the 60s that were from Elvis movies were also housed in the 1992 “Double Features” compilations, and these, as you know, are in the 1996 boxset. Of course, many of these singles eventually appeared on multiple albums, so for the latter, I have just gone for the most obvious or interesting. For the singles reissued in 2005 and 2007, details are noted of the bonus track that was tagged onto the end of said reissue.
UK SINGLES JAN 56 - AUGUST 77
Heartbreak Hotel/I Was The One (1956, HMV 7M 385, 2007 reissue adds “Heartbreak Hotel (Alt. Take 6)”, from “Elvis' Golden Records”)
Blue Suede Shoes/Tutti Frutti (1956, HMV 7M 405, 2007 reissue adds “Lawdy Miss Clawdy (Alt. Take 1)”, from “Elvis Presley”)
I Want You I Need You I Love You/My Baby Left Me (1956, HMV 7M 424, from “Elvis' Golden Records”)
Hound Dog/Don’t Be Cruel (1956, HMV POP 249, 2007 reissue adds “Any Way You Want Me (Master)”, from “Elvis' Golden Records”)
Blue Moon/I Don’t Care If The Sun Don’t Shine (1956, HMV POP 272, from “Elvis Presley”)
Love Me Tender/Any Way You Want Me (1956, HMV 253, from “Elvis' Golden Records”)
Mystery Train/Love Me (1957, HMV POP 295, from “For LP Fans Only”)
Rip It Up/Baby Let’s Play House (1957, HMV POP 305, from “Elvis”)
Too Much/Playin’ For Keeps (1957, HMV POP 330, from “Elvis' Golden Records”)
All Shook Up/That’s When Your Heartaches Begin (1957, HMV POP 359, 2005 reissue adds “Heartbreak Hotel”, from “Elvis' Golden Records”)
Teddy Bear/Loving You (1957, RCA 1013, 2007 reissue adds “Loving You (Farm Version, Alt. Take 6)”, from “Loving You”)
Paralyzed/When My Blue Moon Turns To Gold Again (1957, HMV POP 378, from “Elvis”)
Party/Got A Lot O’ Livin’ To Do (1957, RCA 1020, 2007 reissue adds “Got A Lot O’ Livin’ To Do (Movie Master, Take 17)”, from “Loving You”)
Tryin’ To Get To You/Lawdy Miss Clawdy (1957, HMV POP 408, from “Elvis Presley”)
Santa Bring My Baby Back (To Me)/Santa Claus Is Back In Town (1957, RCA 1025, from “Elvis’ Christmas Album”)
I’m Left, You’re Right, She’s Gone/How Do You Think I Feel (1958, HMV POP 428, from “For LP Fans Only”)
Jailhouse Rock/Treat Me Nice (1958, RCA 1028, 2005 reissue adds “Treat Me Nice (Movie Version)”, from “Elvis' Golden Records”)
Don’t/I Beg Of You (1958, RCA 1043, 2007 reissue adds “I Beg Of You (Alt. Take 5)”, from “Elvis' Gold Records Volume 2”)
Wear My Ring Around Your Neck/Don’cha Think It’s Time (1958, RCA 1058, 2007 reissue adds “Don’cha Think It’s Time (Alt. Take 48)”, from “Elvis' Gold Records Volume 2”)
Hard Headed Woman/Don’t Ask Me Why (1958, RCA 1070, 2007 reissue adds “Steadfast Loyal And True (Undubbed Master)”, from “King Creole”)
King Creole/Dixieland Rock (1958, RCA 1081, 2007 reissue adds “King Creole (Alt. Take 18)”, from “King Creole”)
One Night/I Got Stung (1959, RCA 1100, 2005 reissue adds “One Night Of Sin”, from “Elvis' Gold Records Volume 2”)
A Fool Such As I/I Need Your Love Tonight (1959, RCA 1113, 2005 reissue adds “A Fool Such As I (Alternate Version)”, from “Elvis' Gold Records Volume 2”)
A Big Hunk O’ Love/My Wish Came True (1959, RCA 1136, 2007 reissue adds “A Big Hunk O’ Love (Alt. Take 1), ”from “Elvis' Gold Records Volume 2”)
Stuck On You/Fame And Fortune (1960, RCA 1187, from “Elvis' Golden Records Volume 3”)
A Mess Of Blues/The Girl Of My Best Friend (1960, RCA 1194, from “Elvis' Gold Records 4”)
It’s Now Or Never/Make Me Know It (1960, RCA 1207, 2005 reissue adds “A Mess Of Blues”, from “Elvis' Golden Records Volume 3”)
Are You Lonesome Tonight?/I Gotta Know (1961, RCA 1216, 2005 reissue adds “Are You Lonesome Tonight? (The Laughing Version)”, from “Elvis' Golden Records Volume 3”)
Wooden Heart/Tonight Is So Right For Love (1961, RCA 1226, 2005 reissue adds “Puppet On A String”, from “GI Blues”)
Surrender/Lonely Man (1961, RCA 1227, 2005 reissue adds “Lonely Man (Solo)”, from “Elvis' Golden Records Volume 3”)
Wild In The Country/I Feel So Bad (1961, RCA 1244, available on “Wild In The Country [“FTD” Soundtrack edition]”)
(Marie’s The Name) His Latest Flame/Little Sister (1961, RCA 1258, 2005 reissue adds “(Marie‘s The Name) His Latest Flame (Alternate Version)”, from “Elvis' Golden Records Volume 3”)
Rock-A-Hula Baby/Can’t Help Falling In Love (1962, RCA 1270, 2005 reissue adds “Can‘t Help Falling In Love (Movie Version)”, from “Blue Hawaii”)
Good Luck Charm/Anything That’s Part Of You (1962, RCA 1280, 2005 reissue adds “Good Luck Charm (Alternate Version)”, from “Elvis' Golden Records Volume 3”)
She’s Not You/Just Tell Her Jim Said Hello (1962, RCA 1303, 2005 reissue adds “She‘s Not You (Alternate Version)”, from “Elvis' Golden Records Volume 3”)
Return To Sender/Where Do You Come From (1962, RCA 1320, 2005 reissue adds “Girls Girls Girls”, available on “Girls Girls Girls”)
One Broken Heart For Sale/They Remind Me Too Much Of You (1963, RCA 1337, available on “It Happened At The World‘s Fair”)
Devil In Disguise/Please Don’t Drag That String Around (1963, RCA 1355, 2005 reissue adds “Devil In Disguise (Alternate Version)”, from “Elvis' Gold Records 4”)
Bossa Nova Baby/Witchcraft (1963, RCA 1374, available on “Fun In Acapulco”)
Kiss Me Quick/Something Blue (1963, RCA 1375, from “Pot Luck”)
Viva Las Vegas/What’d I Say (1964, RCA 1390, 2007 reissue adds “Viva Las Vegas (Alt. Takes 1&2)”, available on “Viva Las Vegas”)
Kissin’ Cousins/It Hurts Me (1964, RCA 1404, available on “Kissin’ Cousins”)
Such A Night/Never Ending (1964, RCA 1411, from “Elvis Is Back!”)
Ain’t That Loving You Baby/Ask Me (1964, RCA 1422, from “Elvis' Gold Records 4”)
Blue Christmas/White Christmas (1964, RCA 1430, from “Elvis’ Christmas Album”)
Do The Clam/You’ll Be Gone (1965, RCA 1443, available on “Girl Happy”)
Crying In The Chapel/I Believe In The Man In The Sky (1965, RCA 1455, 2005 reissue adds “Milky White Way”, from “How Great Thou Art”)
Tell Me Why/Puppet On A String (1965, RCA 1489, available on “Elvis 75”)
Blue River/Do Not Disturb (1966, RCA 1504, available on “From Nashville To Memphis”)
Frankie And Johnny/Please Don’t Stop Loving Me (1966, RCA 1509, available on “Frankie And Johnny”)
Love Letters/Come What May (1966, RCA 1526, from “Elvis' Gold Records 4”)
All That I Am/Spinout (1966, RCA 1545, available on “Spinout”)
If Every Day Was Like Christmas/How Would You Like To Be (1966, RCA 1557, from “The Wonderful World Of Christmas”)
Indescribably Blue/Fools Fall In Love (1967, RCA 1565, from “Elvis' Gold Records 4”)
The Love Machine/You Gotta Stop (1967, RCA 1593, available on “Easy Come Easy Go [“FTD” Soundtrack edition]”)
Long Legged Girl (With The Short Dress On)/That’s Someone You Never Forget (1967, RCA 1616, available on “Double Trouble”)
There’s Always Me/Judy (1967, RCA 1628, from “Something For Everybody”)
Big Boss Man/You Don’t Know Me (1967, RCA 1642, available on “Clambake”)
Guitar Man/Hi Heel Sneakers (1967, RCA 1663, available on “Clambake”)
US Male/Stay Away (1968, RCA 1688, available on “Elvis' Gold Records 5”)
Your Time Hasn’t Come Yet Baby/Let Yourself Go (1968, RCA 1714, available on “Speedway”)
You’ll Never Walk Alone/We Call On Him (1968, RCA 1747, from “His Hand In Mine”)
A Little Less Conversation/Almost In Love (1968, RCA 1768, available on “Almost In Love”)
If I Can Dream/Memories (1969, RCA 1795, 2007 reissue adds “If I Can Dream (Alt. Take 1)”, from “NBC-TV Special”)
In The Ghetto/Any Day Now (1969, RCA 1831, 2007 reissue adds “In The Ghetto (Alt. Take 3)”, from “From Elvis In Memphis”)
Clean Up Your Own Backyard/The Fair’s Moving On (1969, RCA 1869, available on “Almost In Love”)
Suspicious Minds/You’ll Think Of Me (1969, RCA 1900, 2007 reissue adds “Suspicious Minds (Alt. Take 7)”, available on “Elvis' Gold Records 5”)
Don’t Cry Daddy/Rubberneckin’ (1970, RCA 1916, available on “Elvis 75”)
Kentucky Rain/My Little Friend (1970, RCA 1949, available on “Elvis' Gold Records 5”)
The Wonder Of You/Mama Liked The Roses (1970, RCA 1974, 2005 reissue adds “Let It Be Me”, from “On Stage”)
I’ve Lost You/The Next Step Is Love (1970, RCA 1999, available on “Elvis 75”)
You Don’t Have To Say You Love Me/Patch It Up (1971, RCA 2046, 2007 reissue adds “Patch It Up (Alt Take 9)”, from “That’s The Way It Is”)
There Goes My Everything/I Really Don’t Want To Know (1971, RCA 2060, from “Elvis Country”)
Rags To Riches/Where Did They Go Lord (1971, RCA 2084, available on “Elvis 75”)
I’m Leavin’/Heart Of Rome (1971, RCA 2125, available on “Walk A Mile In My Shoes”)
I Just Can’t Help Believin’/How The Web Was Woven (1971, RCA 2158, from “That’s The Way It Is”)
Until It’s Time For You To Go/We Can Make The Morning (1972, RCA 2188, from “Elvis Now”)
An American Trilogy/The First Time Ever I Saw Your Face (1972, RCA 2229, 2007 reissue adds “An American Trilogy (Aloha Version)”, available on “Elvis 75“)
Burning Love/It’s A Matter Of Time (1972, RCA 2267, 2007 reissue adds “Burning Love (Alt. Take)”, available on “Elvis' Gold Records 5”)
Always On My Mind/Separate Ways (1972, RCA 2304, 2007 reissue adds “Always On My Mind (Alt. Take 2)”, available on “Elvis 75”)
Polk Salad Annie/CC Rider (1973, RCA 2359, from “As Recorded At Madison Square Garden”)
Fool/Steamroller Blues (1973, RCA 2393, from “Fool”)
Raised On Rock/For Ol’ Times Sake (1973, RCA 2435, from “Raised On Rock”)
Take Good Care Of Her/I’ve Got A Thing About You Baby (1974, RCA APBO 0196, from “Good Times”)
If You Talk In Your Sleep/Help Me (1974, RCA APBO 0280, from “Promised Land”)
My Boy/Loving Arms (1974, RCA 2458, from “Good Times”)
Promised Land/It’s Midnight And I Miss You (1975, RCA PB 10074, from “Promised Land”)
Trouble/Mr Songman (1975, RCA 2562, from “Today”)
Green Green Grass Of Home/Thinking About You (1975, RCA 2635, from “Today”)
Hurt/For The Heart (1976, RCA 2674, from “From Elvis Presley Blvd, Memphis, Tennessee”)
The Girl Of My Best Friend/A Mess Of Blues (1976, RCA 2729, from “Elvis Is Back!”)
Suspicion/It’s A Long Lonely Highway (1976, RCA 2768, from “Pot Luck”)
Moody Blue/She Thinks I Still Care (1977, RCA PB 0857, from “Moody Blue”)
Way Down/Pledging My Love (1977, RCA PB 0998, 2005 reissue adds “Way Down (Alternate Version)”, from “Moody Blue”)
Note: The b-sides that seem to have been left off most major albums run from the period covering “Never Ending“ up to “Separate Ways“. As discussed last month, several of these can be found on the CD reissues of the Camden Budget albums, whilst “From Nashville To Memphis” includes a lot of the 1960s recordings, and “Walk A Mile In My Shoes“ covers the 70s quite brilliantly. “We Call On Him“ was also a flipside that resurfaced a few years ago on “Elvis Gospel“, one of a number of “themed“ compilations issued for the benefit of the new generation. Next month, I shall look at some of the Elvis comps in my collection which pretty much include all of the above (and more).
Sunday, 1 December 2013
Who knows just how many bands, who crashed and burned in the 60s or 70s, have become unknown in the decades that have followed. Bands who never got beyond a cult status, or are only known to people who were there “at the time”. The Doors are different. Their profile was raised to an almost unimaginable level of fame thanks to the 1991 movie, and although there have been some half hearted reunions since, usually under banners other than The Doors due to in band legal fighting, this is a band who officially ceased to exist over 40 years ago, and yet still seem as relevant as ever.
They didn’t really last that long - a period of just four and a half years occurred between their debut single and their final one with Jim Morrison as front man, and by the end of 1972, it was really finally all over. Yet in that time, they managed six studio albums with Jim (and two without) and played enough shows to capture a sizeable chunk of live material on tape. 2013 has seen the release of a singles boxset which has kept them in the public eye still, so in celebration of the box, I thought I would have a quick look at the band’s UK releases.
1968’s “Waiting For The Sun”, housed in a beautiful sleeve with the sun providing a backdrop behind the four band members, has been the subject of mixed reviews over the years. Home to the bouncy organ pop of “Hello I Love You”, it was this move away from the more “far out” sound of their past that upset some of their most vocal supporters, but it was also home to the snarling anti-war march of “The Unknown Soldier”, and last time I listened to it, it sounded quite good.
Similarly, few people seem to ever name check 1969’s “The Soft Parade”, although it’s title was appropriated by the Brighton based band of the same name (although later changed to “The Electric Soft Parade” due to legal wrangling with a Doors cover band who were already using the name). However, I seem to recall having listened to this one numerous times over the years and enjoying it every time, perhaps the prog-esque looking title track, nine minutes in length, has always been epic enough to entice me back time and time again.
But it was 1970’s “Morrison Hotel” that was regarded as a superior album, their “comeback”, driven along by the boogie woogie romp that was album opener “Roadhouse Blues”. Parts of the album consisted of songs originally started on several years earlier (“Waiting For The Sun”, after it failed to make the LP of the same name, appeared here instead) which would suggest an element of barrel scraping, but critics love it. I think the picture of the band looking out of the window of an actual Morrison Hotel is rather clever.
Another one I keep returning to, probably because of it being home to two enormous Doors tunes, is 1971’s “LA Woman”. The title track is a glorious eight minute, hi energy, rock and roll blues workout, but the crowning achievement has to be the closing “Riders On The Storm”, a beautiful, atmospheric, and epic piece of music, whenever I hear it, it conjures up images in my head of some big Cadillac car driving through the desert, with nobody and nothing else in sight. It’s a stunning, towering piece of work, a brilliant end to a magnificent record - and also, strangely, more or less, the song marking the end of the band’s career. Only a few months later, Morrison was found dead in Paris.
The band decided to carry on, keyboard player Ray Manzarek had sung lead on several Doors tunes previously, and thus sort of took over as front man. Two albums with the remaining trio, “Other Voices” and “Full Circle”, were issued in October 71 and July 72 respectively before they finally split, and for many years, these albums have been dismissed or ignored by many - including the band themselves. Try hard enough, and you will find these records on CD (they can be found on what seem to be unofficial 2-on-1 sets), but unlike the other albums in the back catalogue, they haven’t been reissued multiple times since their original release, and probably remain as the black sheep of The Doors family.
Before the band’s six albums were reissued as 40th Anniversary editions from 2007 onwards (often with alternate mixes of several songs included instead of the original versions), several boxsets had been issued that had cobbled them together in one place. I have a 1999 set called “The Complete Studio Recordings” (US Only 7xCD, Elektra 62434-2), which has reissues of all of the Morrison era albums, along with a CD of rarities called “Essential Rarities”, which included one previously unreleased song (this bonus album was later released separately in it‘s own right). Each of the albums were housed in vinyl style boxed sleeves, with each CD housed in a nifty paper inner sleeve as well, and were designed to return the design of the albums back to their original LP state - “LA Woman” came in the “shiny see through” cover of the original, previous CD releases having just tried to replicate this design by simply using the basic cover image with the photo of the band tinted in yellow. “The Doors” is also of interest, because some previous vocals “lost” in the mix of the original 1967 version, were brought to the forefront - both “Break On Through” and “The End” have sections that are significantly different to the original version(s).
I have never really thought of The Doors as a singles band - indeed, I think that most of my singles are from countries other than the UK. But the band did originally issue 15 singles with Morrison, and three more without, although some were spectacular flops. The band also didn’t really do “B-sides”, with only “Who Scared You” and “Don’t Go No Further” being non album flipsides from the Morrison days, and “Treetrunk” thereafter. The aforementioned “Essential Rarities” CD includes “Who Scared You”, although the version in the “Complete Studio” boxset is an edited mix. The version on the “separately released” edition is the original mix. After the end of the band, several posthumous singles would surface, often using an A-side that had previously been released as a single in the UK before (such as 1991’s “Light My Fire”) but sometimes not (1980’s “The End”).
1983’s “Alive She Cried”, I guess, was an attempt to get new Doors material out on the market - it was an LP consisting entirely of unreleased live recordings, and probably showed that the vaults were full of Doors tapes just waiting to be exhumed. To further emphasize it’s importance, the live version of “Gloria” included on the LP was issued as a UK single to coincide. Although “Live At The Hollywood Bowl” is listed as it’s official follow up, this was actually just an EP (or mini album) that surfaced in 1987. It has since been revamped into a full blown album, and is also available, in a variety of forms, on both VHS and DVD.
1991’s “In Concert” was the next release to exhume things from the vaults. It was essentially a 2-CD set compiling both the “Absolutely Live” and “Alive She Cried” releases, although the track listing was, for some reason, slightly mixed up in parts. There was one song from the Hollywood Bowl EP (“The Unknown Soldier”) and a live version of “Roadhouse Blues”, previously only available on the (in my view) fake Doors album from 1978, “An American Prayer” - a record that consisted, mostly, of a reformed Doors playing backing music to a series of poetry recitals by Morrison. Indeed, even the album itself was not really credited to “The Doors”, so in my view, one for completists only. The big rarity on “In Concert” was the closing “The End”, which was previously unreleased.
Come the millennium, and the surviving members of the band announced the formation of Bright Midnight Records, which was designed to make available previously unavailable Doors material - mainly dealing with concerts, but with some other odds and sods lined up for release. The album series was to be made available as mail order only releases from the band’s website, and as a preview to the releases, an album called “The Bright Midnight Sampler” was issued, with highlights from eight gigs that were to be made available in coming years. A delayed UK release, in a totally different sleeve, surfaced later in 2001 as “Bright Midnight Live In America”.
The series commenced properly with “Live In Detroit”, a 2-CD trawl though a gig the band had played at the Cobo Arena on 8th May 1970. It was followed by a box set, the 4-CD ‘Audio Documentary‘, “No One Here Gets Out Alive”, mostly interviews but with some musical interludes contained within. The next “proper” release was 2001’s “Live In Hollywood: Highlights From The Aquarius Theatre Performances”, another album that appeared later in the UK - with an alternate track listing and new sleeve - as 2002’s “Live In Hollywood”.
The next two releases from the website were the two Aquarius Theatre shows, with a rehearsal from the same venue issued as the next release, titled “Backstage And Dangerous” in late 2002. Since then, seven more sets have been released (along with the “expanded” Hollywood Bowl show), but this still means that several concerts are seemingly sitting in the vaults, as the band claimed 36 albums were to be released on the label. Quite whether the series will continue after Manzarek’s death, we shall wait and see. It is worth noting that several of the latter albums in the series are available via online retailers like Amazon as they were issued “normally“, and whilst the older ones - like the Detroit show - seem to be available on there as well, they sell for a small fortune when you look closely...after all, these are the deleted mail order ones being sold by record dealers through the site. It is worth pointing out that the 2003 boxset “Boot Yer Butt” seems to source material from no less than 30 shows, whilst just one song on the “Bright Midnight Sampler” seems to be (now) previously unreleased, so maybe the vaults have already been emptied, bar this one gig (Bakersfield, 1970).
1980’s “Greatest Hits” (LP, Elektra K 52254) does what it says on the tin, and although not the first compilation issued in the UK, does - by virtue of it’s release date - cover the entire band’s career, from “Light My Fire” through to “LA Woman”. 1985’s “The Best Of The Doors” (2xCD, Elektra 7559 60345 2) does more or less the same, albeit in much longer form. It is a sort of expanded reissue of an earlier, identically titled 1973 version (LP, Elektra K 42143), and was for some years the definitive hits set before being deleted in the 90s. A third variant of the album surfaced in another new cover in 2000, which was initially released as a numbered double CD with a series of previously unreleased remixes on disc 2 (2xCD, Elektra 7559 62569 2). Pointless, but there we go.
1997 saw the release of “The Doors Box Set”, a quadruple CD trundle through the band’s past (4xCD, Elektra 7599 62123 2). Two discs were devoted to rarities and live material, with another disc titled “Live In New York”, featuring a series of performances from the band’s shows at the Felt Forum in the city on January 17th and 18th 1970. One of the Bright Midnight releases is effectively a heavily expanded version of this disc. The fourth disc in the box is called “Band Favourites”, and you can probably guess what it is. A 15 song “best of”, with each of the - at the time - surviving band members selecting five of their favourites. Nothing rare then. The box was also available in two halves, with “Box Set Part 1” (2xCD, Elektra 7599 62295 2) including the New York stuff, and “Box Set Part 2” (2xCD, Elektra 7599 62296 2) the band favourites disc. All three releases used the same basic cover image.
I have listed the details of the original CD pressings of The Doors seven Morrison era albums, just because I have had the Doors albums for years, and so I know a few of the albums from these versions as opposed to the “tarted up” editions that have surfaced post 2007. The singles listed are the original UK singles issued from 1967 to 1983, anything that appeared thereafter was effectively a reissue of something already released.
The Doors (CD, Elektra 7559 74007 2)
Strange Days (CD, Elektra 7559 74014 2)
Waiting For The Sun (CD, Elektra 7559 74024 2)
The Soft Parade (CD, Elektra 7559 75005 2)
Morrison Hotel (CD, Elektra 7559 75007 2)
Absolutely Live (CD, Elektra 7559 61972 2, CD version housed in different cover to original LP release)
LA Woman (CD, Elektra 7559 75011 2)
There aren’t too many other “odd” releases knocking about, apart from a vinyl version of “LA Woman” featuring alternate takes exclusively (Rhino 8122 79577 7) and the soundtrack CD to the film “When You’re Strange” (Rhino 8122 79811 3). All of the 2007 reissues had originally appeared in the “Perception” boxset from 2006, which also included a freebie DVD as part of the package. Whilst the new singles boxset quite happily covers the post-Morrison years, the two LP's from the period have, as mentioned earlier, become long lost vinyl/cassette/8-track rarities never re-released in the UK - "Other Voices" (Elektra K 42104) and "Full Circle" (Elektra K 42116). 2011 also saw the release of the "Collection" box, which includes reissues of the six Morrison albums in their "40th Anniversary" remix form, but with the bonus tracks from the original reissues missing.
POSTHUMOUS LIVE ALBUMS
Alive She Cried (CD, Elektra 7559 60269 2)
In Concert (2xCD, Elektra 7599 61082 2)
Bright Midnight: Live In America (CD, Elektra 7559 62656 2)
Live In Detroit (2xCD, Bright Midnight RHM2 7902)
Live In Hollywood (CD, Elektra 7559 62733 2)
Live At The Aquarius Theatre: The First Performance (2xCD, Bright Midnight RHM2 7906)
Live At The Aquarius Theatre: The Second Performance (2xCD, Bright Midnight RHM2 7907)
Backstage And Dangerous: The Private Rehearsal (2xCD, Bright Midnight RHM2 7908)
Boot Yer Butt! The Doors Bootlegs (4xCD, Bright Midnight RHM2 7911)
Live In Philadelphia 70 (2xCD, Bright Midnight RHM2 7912)
Live In Boston (3xCD, Bright Midnight 8122 79979 0)
Live At The Matrix 67 (2xCD, Bright Midnight 8122 79884 8)
Live In Pittsburgh 1970 (CD, Bright Midnight 8122 79970 7)
Live In New York (6xCD, Bright Midnight 8122 79838 0)
Live In Vancouver (2xCD, Bright Midnight 8122 79786 8)
Also worthy of a mention, aside from the expanded “Live At The Bowl” set (Rhino 8122 797120 - which I‘d personally get on DVD really if I were you), is the aforementioned “No One Here Gets Out Alive” (Bright Midnight RHM2 7903). Several other Bright Midnight releases exist which seem to be nothing more than interview sets, so they are not mentioned here. Generally, the “RHM2” releases were the US ones only available via mail order, the last five ones in the list were made available via general outlets, and - box sets aside - can be hunted down quite easily and relatively cheaply.
Break On Through/End Of The Night (7”, Elektra EKSN 45009)
Alabama Song/Take It As It Comes (7”, Elektra EKSN 45012)
Light My Fire (Edit)/The Crystal Ship (7”, Elektra EKSN 45014)
People Are Strange/Unhappy Girl (7”, Elektra EKSN 45017)
Love Me Two Times/Moonlight Drive (7”, Elektra EKSN 45022)
The Unknown Soldier/We Could Be So Good Together (7”, Elektra EKSN 45030)
Hello I Love You/Love Street (7”, Elektra EKSN 45037)
Touch Me/Wild Child (7”, Elektra EKSN 45050)
Wishful Sinful/Who Scared You (7”, Elektra EKSN 45059)
Tell All The People/Easy Ride (7”, Elektra EKSN 45065)
You Make Me Real/The Spy (7”, Elektra 2101 004)
Roadhouse Blues/Blue Sunday (7”, Elektra 2101 008)
Love Her Madly/Don’t Go No Further (7”, Elektra EK 45726)
Riders On The Storm/Changeling (7”, Elektra K 12021)
Tightrope Ride/Variety Is The Spice Of Life (7”, Elektra K 12036)
Ships With Sails/In The Eye Of The Sun (7”, Elektra K 12048)
Get Up And Dance/Treetrunk (7”, Elektra K 12059)
The End +1 (7”, Elektra K 12400)
Gloria (Live - Edit)/Love Me Two Times (Live) (7”, Elektra E 9774, 12“ also exists but plays album version of a-side)
Wherever a Doors single was reissued again in the UK, the b-side was usually the same, or at the least, another “oldie” - these may well be easier to find than some of the original pressings, although the reissue of “Love Her Madly” that exists replaces the original non-album B-side with an easy to obtain oldie, which seems a bit pointless. Later reissues, such as 1991’s “Light My Fire”, come in full picture covers, unlike their 60s/70s originals. Anybody interested in finding the original b-sides “Who Scared You” and “Don’t Go No Further” on LP would do well to hunt down the 1972 album “Weird Scenes Inside The Gold Mine” (LP, Elektra K 62009).
The recent singles boxset is based on Japanese 45's, and thus includes reissues of all of these except “Break On Through”, “Alabama Song”, “Wishful Sinful”, “You Make Me Real”, “Roadhouse Blues” and “Ship With Sails”. “The End” and “Gloria” are also missing because they are posthumous releases. It is also worth pointing out that the box also includes singles that were never issued in the UK (“Runnin Blue”, “Land Ho!” and “The Mosquito”), whilst there are the usual mono mixes and unique edits, with the likes of “Love Her Madly” shorter than the album mix, but still longer than the US 7” mix. More info about it here: https://thedoors.com/news/singles-box-japan-edition-4753
Sunday, 17 November 2013
The November 2013 blogs feature a look at Madonna's "Immaculate Collection", Embrace's "The Good Will Out", Girls Aloud, Bob Dylan and Elvis Presley. To look at any of these blogs, click the relevant link to your right.
"Last Gas pa pa pa pa pa pa pa pa"
Saturday, 16 November 2013
Well, what a depressing comeback that turned out to be. For so long, Girls Aloud had always seemed like the most punk rock of all the girl bands, the one reality TV show act who outstripped their rivals by a country mile. And so when they announced their hiatus was over in the fall of 2012, it was time to rejoice.
But the news that their return was in conjunction with a new greatest hits album, and not a new studio album...well, I should have seen it coming. As the resultant tour finished earlier this year, the band were straight onto Twitter announcing their split. Their return had been nothing more than a JLS-style final fling, a quick money making couple of months back together, and the usual gumph about “musical differences”, and “wanting to move forwards“. Why oh why, can’t we have a pop group who DO want to stay together for more than a decade, who DO want to make a career out of it? I guess they have all earned enough money never to need to work again, and a couple of them do seem to actually now hate one another which doesn't help, but it’s a shame. Cheryl excepted, it’s difficult to see how any of them will stay in the public eye at the same level as they did before, but I guess, if they have had enough, then they have had enough. Good on Nadine though for sticking her neck out and claiming she never wanted them to throw in the towel. It almost makes you wish she could do a “Robert Smith” and simply keep the name, get four new girls in, and make another studio record.
My last GA blog, back in 2010, made reference to a career spanning singles boxset that, at the time, covered the band’s entire career up until that point. The new live DVD, reunions excepted, is thus surely going to be the final word, and so I thought I would do a follow up article to tie up the loose ends.
“Ten”, so named as their return marked the tenth anniversary of debut single “Sound Of The Underground”, featured 14 old hits, and four new recordings. One of the new songs, “Something New”, was issued as the preview single for the album in late 2012, and appeared as both a blue vinyl 7” backed with the “Seamus Hajii Radio Mix” (Polydor 372 133-0) and a 4 track CD Single with mixes by Fred Falke, Alias and Jim Elliott (Polydor 372 132-8). For the album, this song started proceedings, and the 14 oldies then followed, in sort of reverse release date order - the singles from albums two to five appeared with material from the most recent album first, each chosen song appearing in order of the date of single release, then after the latest/last single from that album, it was onto material from the LP before. Songs from the debut appeared near the end, in actual reverse release date order so that "SOTU" thus appeared last. Where they existed, radio edit mixes were used - the tracks affected being “Can’t Speak French” and all three of the 45’s from “Out Of Control”. The choice of tracks was, arguably, controversial, as just one song from their best LP, “Chemistry”, was included (“Biology”) but the inclusion of the non-album single “Something Kinda Ooooh” (only previously available on the previous hits album) was a worthy inclusion. The remaining three new songs were then placed at the end of "Ten" after "Sound Of The Underground" (Polydor 371 730-3).
Given that it is now almost law to have to release your new album as some form of “special edition”, a limited run were issued as a double CD set, with the second disc consisting of fan favourites, voted for on the group’s website. Ten songs were included, a mix of B-sides (“Memory Of You”), album tracks (“Graffiti My Soul”), and hits that, perhaps, should really have been on the main album to start with (the sublime “Whole Lotta History”). The double disc edition was housed in a vinyl style cardboard gatefold sleeve (Polydor 372 201-3).
Also released at the same time as these three editions was a DVD, called “Ten - The Videos” (Polydor 372 215-6). Simply, this includes the 14 videos for the 14 oldies from the CD edition, plus the clip for “Something New” at the start. The running order follows the same "sort of reverse" approach as the LP. Trouble was, no sooner had it hit the stores, than a video was released for the download only single “Beautiful Cause You Love Me” (one of the other new songs on “Ten”), thus making the DVD rather defunct. With all of the band’s clips available on earlier DVD releases, the inclusion of “Something New” on this DVD did mean, briefly, that all of the band’s clips were available officially on the format, but the release of the “Beautiful” video changed all that barely days later! For some bizarre reason though, no attempt has been made to include the “Beautiful” video on any other official release since, so this DVD does at least - sort of - bring the story up to date as regards "officially available" clips, if that makes sense.
With the band ceasing to exist after a show in Liverpool in March 2013, the next release was a 7-CD boxset called “The Collection”, issued in May (Polydor 372 920-7). This included all five albums, as well as an (edited) audio edition of the “Tangled Up Live” DVD performance. The final disc featured a selection of B-sides (and three “non album“ A-sides), but given that not a single note of music here was previously unissued, it was really only of interest to completists and anybody who might have “missed” something beforehand, and wanted to play catch up quickly. The audio rip of the “Tangled Up” show did seem to be of great interest to some, though. Copies retail still for about £30, quite good value for a box set with this much material, but a lot to pay for nothing exclusive. For those of you who need to know these things, the version of the debut LP that appears is the original version, the one that climaxes with “Everything You Ever Wanted”, and not the later reissue that added things like “Girls On Film”.
And so we come to the (probable) finale, “Ten: The Hits Tour 2013” (Polydor 375 279-2), a DVD released earlier this month that documents one of the band’s gigs from the final tour, albeit in edited form (their cover of “Call Me Maybe” missing due to licensing issues). The decision to release it, minus any extras, has seen the band and record company come in for some stick - instead of it being an all guns blazing celebration of the group, it’s been seen as a low key, thoughless, cash in job - trundle around the net and you will see people asking where the free CD is, why isn’t it on Blu-Ray, etc, etc. Nadine has again stepped forward to join in the argument, stating she had filmed some two hours of backstage footage at a Manchester gig on the basis some of it would be included as a bonus feature. As a document of the tour, it does it’s job, but given that earlier DVD releases were a bit more “fancy”, you can see why people are grumbling. Why could it not at least have had the two new music videos from the accompanying LP on it, like all the other live DVD's did? Maybe, by being released at a time when the band members had all gone off to start doing other things, you do wonder if there simply wasn’t any desire by anybody to put the effort in (it’s basically a DVD release of an earlier filmed-for-TV job), so respect to Nadine for voicing her concerns.
But as ho hum as their finale was, the fact remains that Girls Aloud have left behind them a big pop shaped hole in the music industry. Watch the "Ten" DVD, and try not to swoon at the near faultless pop genius of "The Loving Kind". You can't. With Radio 1 getting worse every day as it simply plays what is in the charts and not much else (and I tell you, there is some awful stuff in the top 40 right now), and indie rock continuing to struggle to get it’s head back over the parapet, the mainstream is now reverting to the horribleness it offered us in the 80s. When Girls Aloud were around, there was a voice of reason to stand against all the chart rubbish. And now they have gone. The Saturdays, it’s over to you.
Sunday, 10 November 2013
Even before they had split up, a number of bands were being touted as the “New Oasis” in the late 1990s. The eventual winners were crowned after the millennium, when Kasabian emerged as a far more camp looking (just look at Serge‘s outfits), but equally primal, rock beast.
But before then, the most likely contenders were Embrace. They too were led by a pair of brothers, and they too had a swaggering arrogance, utterly convinced of their brilliance, despite what people might have thought of them. I seem to recall seeing them in a tent at a 1997 festival, where despite being billed to play for 40 minutes, played for only about half an hour before leaving the stage, effectively saying “we know how good we are, we don’t need the full 40 minutes to prove it to you”.
Although they made a Coldplay endorsed comeback in the noughties, Embrace have spent the last seven years seemingly doing nothing, but they are back on another phoenix from the flames style return. But still, some of you might think that for me to suddenly throw them here into my classic albums list might seem like an insane curveball. But the fact is, that their 1998 debut LP “The Good Will Out” is a masterpiece, a glorious, over the top, relentlessly epic piece of rock and roll, an album that is not afraid to start off in a bombastic manner, and to then keep the pace up for the remainder of the record. Everytime I listen to it, it reminds me just how unambitious so many other records were that followed it. It even out-Oasised Oasis’s later efforts.
As with so many other bands, the formative years of the group stretched throughout the nineties, with not so much as a sniff of a record deal, although self produced cassettes were made, as were changes of musical direction. In 1997, the group released their first record via that regular indie band “debut 45” route, when Fierce Panda issued the “All You Good Good People” single. Whilst most Fierce Panda 45’s were scratchy, lo-fi, 3 minute anti-pop releases, this one went the other way. Big, booming, over the top choruses, a big booming over the top middle eight, which resulted in the final section of the song being an entirely big, booming, over the top finale. It was over six minutes long, longer than both sides of the usual FP 7”, full of (over) confidence, and not afraid to be bold enough to make a huge, roaring, impact. The b-side was no different. “My Weakness Is None Of Your Business” starts off as a genteel piano ballad, and then about halfway through, WHOOMP! A big key change, marked by a big noise of guitars and terrace anthem style vocals, the song suddenly goes into full on lighters aloft, arms in the air mode, before gliding to a beautiful, understated, finish. For a debut single, it was quite remarkable.
“One Big Family”, the lead track on the next EP of the same name, repeated the trick - this time with brother Richard trying in vain to be heard over the looping grooves and the wailing guitar lines. Complete with another magnificent terrace anthem style chorus, it was the closest the band ever really got to Stone Roses style dance-isms, the song later being remixed by Paul Oakenfold. This EP was their first top 30 hit, and unlike the “Fireworks” EP, the extra tracks would not make it onto any versions of the debut album, although some would reappear in re-recorded form as B-sides the next year.
In the fall of 97, a re-recorded version of “All You Good Good People” was issued as the next single. Again, it was to be issued as an EP, although in an attempt to hit the charts at a higher position than “One Big Family”, two distinctly different versions of the EP were to be released, one of which would feature both an edited mix of the track as it’s lead song, along with the Fierce Panda original as one of the extras. This bout of multi formatting did the trick, and bolstered by radio play and a continuing buzz surrounding the band, the single hit the top 10. Embrace had arrived.
With the album scheduled for a summer 1998 release, it was previewed by the May release of “Come Back To What You Know”, another quiet/loud beast of a record, easily the match of anything the band had released on 45 so far. (Claim to fame - A subsequent gig at the Shepherds Bush Empire in May 2000 was filmed by MTV, and at one point, the camera zooms in on me and several other nutters pogoing like mad people during this one!) The “EP” concept was still in place, 4 tracks on each format, although the single was not marketed as such, and each format just listed the a-side as the title of the single.
“The Good Will Out” appeared in June. Reviews were highly positive, the album went to number 1, and sold quickly. They were the Arctic Monkeys of their day. For once, the hype was justified. It is a glorious piece of work, a record that seemed to suggest that Embrace were going to take over from Oasis, now that “Be Here Now” had caused Gallagher lovers to scratch their heads in confusion.
What I love about the record is that it’s ambition is absolutely towering. A lot of albums have some good singles, and a bit of filler, and the running order could easily be rejigged, and it wouldn’t really matter. But you get the impression that Embrace really worked on this record with a view as to how it should sound, how it should start, and how it should end. So, it starts with a string section tuning up, a bit like the end of “A Day In The Life” going backwards, before rolling into “All You Good Good People” - and we’re off.
Subsequently, three more singles follow straight away thereafter - there really seems to be a statement of intent here. But as soon as you hit the first “album track”, the quality simply remains sky high - the simmering beauty of “Higher Sights” is followed by the astonishing “Retread”, which starts off slow and quiet a la “Fireworks”, then explodes into a wall of sound midway through. The impact is incredible, McNamara‘s vocals sound tearful, choked up and vulnerable...it‘s stunningly beautiful, and noisily powerful at the same time.
The record finally starts to calm down during the final quarter - the piano driven beauty of “That’s All Changed Forever”, the sublime horn filled simplicity of “Now You’re Nobody”, the latter being mostly instrumental during it’s final section, proof that the band did not necessarily need to follow the verse chorus verse formula that some of the singles adopted.
The album closes with the title track. A magnificent, “Hey Jude” style finale, seven minutes long, with an insistent “sha la la” sing along ending that stretches the song onwards to the climax, with a slow, lengthy fade out prolonging the sheer genius of the record. There are some who will tell you that a lot of these songs have nicked their ideas from other sources, and that this is nothing more than overblown, “meat and potatoes” indie, with the sheer wall of sound a noisy mistake hiding potentially half-decent ideas. This is nonsense. The album’s brilliance lies in the fact that it knows exactly what it is doing, every key change, every epic power chord, every “la la la” shout in lieu of a lyric appears in the right place, this is an album where everything has been crafted perfectly - the intro, the outro, the sheer heart tugging beauty of the slower numbers, the soaring powerhouse genius of the rockier ones, “The Good Will Out” is absolutely magnificent. Whenever you hear it, you automatically want to get the lighters out for “My Weakness”, you want to jump around like a loon to “One Big Family”, and you want to do a communal clap along to the title track - the whole thing, I guess, is really as catchy as hell, the hooks are as brilliantly executed as they would be on a Beyonce or Britney song, only with added walls of sound.
With the album having arrived and marked Embrace as serious contenders to the Britpop crown, “My Weakness” was issued as the next single, in a different form to the original ‘Fierce Panda’ mix. The second CD was a live EP dubbed “The Abbey Road Sessions”, with all three songs having been taped at the legendary London studios in the fall of 1997. The ‘second half’ of the release was issued as a mail order only CD release some months later, known as “The Abbey Road Sessions Part 2”, and was designed to slot into the packaging of the first half.
“The Good Will Out”, meanwhile, was issued as a 12” single in late 98, I guess it was issued on this format only to try and reinforce the epic nature of the track - it probably wouldn’t have looked quite as impressive had it been squeezed onto a 7” single in edited form. B-sides were all previously released EP material, although the version of “Blind” that appeared on side 2 was a mix previously unissued in the UK - known as the “Road Version”, it had appeared on the US version of the LP, instead of “You’ve Got To Say Yes”.
Embrace were never able to top “The Good Will Out”. 2000’s “Drawn From Memory”, at times, maintained the full on rock and roll of it’s predecessor (“New Adam New Eve”, “Yeah You”), whilst the Motown-esque stomp of “You’re Not Alone” was near faultless, but at other times, in what seemed to be an attempt to do something different from the debut, it never fully worked - the bizarre kazoo solo in “Hooligan”, the slightly enforced quiet/loud structure of “Save Me” didn’t have the same oomph as when it was employed on the likes of “All You Good Good People”. 2001’s “If You’ve Never Been” was mostly downbeat, the two singles issued both “arms aloft” ballads, giving no indication to the heavier side to the band. 2004’s “Out Of Nothing” restored some pride, the likes of piano driven (Coldplay written) tunes like “Gravity” balanced out with balls to the wall rockers like “Ashes”, but by the time of 2006’s “This New Day”, the likes of Radio 1 were beginning to disown them, and the final single from the LP, “I Can’t Come Down”, failed to dent the top 40, whilst reviews were rather mixed. Embrace went into hiding.
But it’s not really fair to compare any of these records to the debut. Last time I listened to “This New Day”, it sounded quite good, but the fact was that Embrace had released a first LP that few people would be able to ever match, not least themselves. Whenever I listen to it, it never ceases to amaze - it’s sheer ambition is something to be lauded, and yet it manages to create this euphoric atmosphere without having to resort to Muse style histrionics. I’m not the only person who thinks it’s the work of genius, and although the idea of claiming a “Britpop” style record to be one of the best ever made might seem like the work of madness, I do not care. “The Good Will Out” is a storming record, truly astonishing at times, magnificently OTT, and supremely confident in it’s bolshy arrogance. It’s obvious that when the band played that “shortened” festival set in 1997, they knew exactly how good their first album was going to be - and they were not wrong. Monumental stuff.
Oh yes. And welcome back.
So good is that first album, I am not sure what I could write about the others. So I thought I’d use this opportunity to list all of the Embrace studio albums (and singles) from the UK up to the present day, just in case I never get round to doing another article on them. One or two albums were reissued with freebies following their initial release, and those are the ones in the list. As for the 45’s, Embrace usually issued something exclusive or at least rare on most releases, so all of the singles are shown. It’s only really the 1-sided “I Can’t Come Down” which is a bit pointless, edited for the promo, but with the LP mix on the 45. Quite a few of the latter period B-sides appeared on 2005’s “Dry Kids” rarities set, and so even though some singles are of interest because of their unique sleeves, or the fact that a lot of the 7” singles were pressed on coloured vinyl, some of these B-sides can now be found on “Dry Kids”, making one or two formats “defunct”.
The Good Will Out (CD, Hut CDHUT 46)
Drawn From Memory (CD, Hut CDHUT 60)
If You’ve Never Been (CD, Hut CDHUT 68)
Out Of Nothing (CD+DVD, Independiente ISOM 45CDX)
This New Day (CD+DVD, Independiente ISOM 60CDX)
All You Good Good People (7” Mix)/My Weakness Is None Of Your Business (Numbered 1300 only 7”, Fierce Panda NIN 29)
Fireworks EP: The Last Gas/Now You’re Nobody/Blind/Fireworks (Cassette, Hut HUTC84)
Fireworks EP: The Last Gas/Now You’re Nobody/Blind/Fireworks (12“, Hut HUTT84)
Fireworks EP: The Last Gas/Now You’re Nobody/Blind/Fireworks (CD, Hut HUTCD84)
One Big Family/Dry Kids/You’ve Got To Stop To Get Better/Butter Wouldn’t Melt (Cassette, Hut HUTC 86)
One Big Family/Dry Kids/You’ve Got To Stop To Get Better/Butter Wouldn’t Melt (12”, Hut HUTT 86)
One Big Family/Dry Kids/You’ve Got To Stop To Get Better/Butter Wouldn’t Melt (CD, Hut HUTCD 86)
All You Good Good People/You Don’t Amount To Anything This Time/The Way I Do/Free Ride (12“, Hut HUTT 90)
All You Good Good People/You Don’t Amount To Anything This Time/The Way I Do/Free Ride (CD1, Hut HUTCD 90)
All You Good Good People (Radio Edit)/One Big Family (Perfecto Mix)/All You Good Good People (7” Mix)/(Orchestral Mix) (CD2, HUTDX 90)
Come Back To What You Know/Love Is Back/If You Feel Like A Sinner/Perfect Way (12“, Hut HUTT 93)
Come Back To What You Know/Love Is Back/If You Feel Like A Sinner/Perfect Way (CD1, Hut HUTCD 93)
Come Back To What You Know/Butter Wouldn’t Melt (Live, London ICA 24.7.1997)/Dry Kids (Live, London ICA 24.7.1997)/Come Back To What You Know (Orchestral) (CD2, Hut HUTCDX 93)
My Weakness Is None Of Your Business (New Version)/Feelings I Thought You Shared/Don’t Turn Your Back On Love (Cassette, Hut HUTC 103)
My Weakness Is None Of Your Business (New Version)/Feelings I Thought You Shared/Don’t Turn Your Back On Love/One Big Family (Perfecto Mix) (12“, Hut HUTT 103)
My Weakness Is None Of Your Business (New Version)/Feelings I Thought You Shared/Don’t Turn Your Back On Love (CD1, Hut HUTCD 103)
My Weakness Is None Of Your Business (Live, London Abbey Road Studios 19.10.1997)/Higher Sights (Live, London Abbey Road Studios 19.10.1997)/Retread (Live, London Abbey Road Studios 19.10.1997) (CD2, Hut HUTCDX 103)
The Good Will Out/Butter Wouldn’t Melt (Live, London ICA 24.7.1997)/Dry Kids (Live, London ICA 24.7.1997)/Blind (Road Version) (12”, Hut HUTT 107)
The Abbey Road Sessions Part 2 EP: All You Good Good People (Live, London Abbey Road Studios 19.10.1997)/That’s All Changed Forever (Live, London Abbey Road Studios 19.10.1997)/You’ve Got To Say Yes (Live, London Abbey Road Studios 19.10.1997) (Mail Order Only CD, Hut HUTCD 109)
Hooligan/I’ve Been Running/I Can’t Feel Bad Anymore (Cassette, Hut HUTC 123)
Hooligan/I’ve Been Running/I Can’t Feel Bad Anymore/Like A Believer/With The One Who Got Me Here (12“, Hut HUTT 123)
Hooligan/I’ve Been Running/I Can’t Feel Bad Anymore (CD1, Hut HUTCD 123)
Hooligan/Like A Believer/With The One Who Got Me Here (CD2, Hut HUTDX 123)
Note: this was the first of a number of Embrace releases which included a non chart eligible 12” release, issued after the original 45, with all the relevant B-sides on the one disc.
You’re Not Alone/Brothers And Sisters/Happy And Lost/Come On And Smile/A Tap On Your Shoulder (12“, Hut HUTT 126)
You’re Not Alone/Brothers And Sisters/Happy And Lost (CD1, Hut HUTCD 126)
You’re Not Alone/Come On And Smile/A Tap On Your Shoulder (CD2, Hut HUTDX 126)
Save Me/Get On Board/Still So Young (Cassette, Hut HUTC 133)
Save Me/Get On Board/Still So Young/Save Me (BBC Radio 1 Evening Session Version February 2000)/(Perfecto Mix)/(Reverend Bass Mix) (12“, Hut HUTT 133)
Save Me/Get On Board/Still So Young (CD1, Hut HUTCD 133)
Save Me (BBC Radio 1 Evening Session Version February 2000)/(Perfecto Mix)/(Reverend Bass Mix) (CD2, Hut HUTDX 133)
I Wouldn’t Wanna Happen To You (New Version)/The First Cut/I Know What’s Going On/Top of The Heap/3 Is A Magic Number (12", Hut HUTT 137)
I Wouldn’t Wanna Happen To You (New Version)/3 Is A Magic Number (Numbered Blue Vinyl 7”, Hut HUT 137)
I Wouldn’t Wanna Happen To You (New Version)/The First Cut/I Know What’s Going On (CD1, Hut HUTCD 137)
I Wouldn’t Wanna Happen To You (New Version)/Top Of The Heap/3 Is A Magic Number (CD2, Hut HUTDX 137)
Wonder/Anywhere You Go/Everyday (Cassette, Hut HUTC 142)
Wonder/Anywhere You Go/Everyday (CD1, Hut HUTCD 142)
Wonder/Today/Caught In A Rush/Wonder (Video) (CD2, Hut HUTDX 142)
Make It Last (Single Version)/Fight Yer Corner/It’s You I Make It For/Make It Last (Video) (CD1, Hut HUTCD 144)
Make It Last (Orchestral Version)/Giving Forgetting And Giving In/What You’ve Never Had You’ll Never Have (CD2, Hut HUTDX 144)
Make It Last (Live, Secret Gig #6 28.7.2001 - Video)/Over (Live, Secret Gig #6 28.7.2001)/The Good Will Out (Live, Secret Gig #6 28.7.2001) (DVD, Hut HUTDVD 144)
Gravity/Wasted (Red Vinyl 7”, Independiente ISOM 87S)
Gravity/Too Many Times (CD1, Independiente ISOM 87SMS)
Gravity/The Shot’s Still Ringing/Waterfall/Gravity (Video) (CD2, Independiente ISOM 87MS)
Ashes/Enough (Yellow Vinyl 7”, Independiente ISOM 89S)
Ashes/Maybe I Wish (CD1, Independiente ISOM 89MS)
Ashes/Flaming Red Hair/How Come/Ashes (Video) (CD2, Independiente ISOM 89SMS)
Looking As You Are/The Final Say (Grey Vinyl 7”, Independiente ISOM 91S)
Looking As You Are/Madelaine (CD1, Independiente ISOM 91MS)
Looking As You Are/I Ache/Soldier’s Hours/Looking As You Are (Video)(CD2, Independiente ISOM 91SMS)
A Glorious Day/Hallelujah (Orange Vinyl 7”, Independiente ISOM 94S)
A Glorious Day/Milk And Honey (CD1, Independiente ISOM 94MS)
A Glorious Day/Feels Like Glue/Red Eye Shot (CD2, Independiente ISOM 94SMS)
Nature’s Law/Soulmates (Orange Vinyl 7”, Independiente ISOM 103S)
Nature’s Law/Deliver Me/Collide (CD, Independiente ISOM 103MS)
Nature’s Law (LP Version)/(Video)/(Live, Manchester MEN Arena 16.12.2005 - Video)/(Behind The Scenes Video) (DVD, Independiente ISOM 103DVD)
World At Your Feet/What Lies Behind Us (7” Picture Disc, Independiente ISOM 107S)
World At Your Feet/Celebrate (CD1, Independiente ISOM 107MS)
World At Your Feet/Love Order/Whatever It Takes/World At Your Feet (Video) (CD2, Independiente ISOM 107SMS)
Target/Just Admit It (Red Vinyl 7”, Independiente ISOM 110S)
Target/Run Away (CD1, Independiente ISOM 110MS)
Target/One Luck/Thank God You Were Mean To Me (CD2, Independiente ISOM 110SMS)
I Can’t Come Down (1-sided etched 7”, Independiente ISOM 115S)
I Can’t Come Down/Contender (Live)/Heart And Soul (Live)/I Can’t Come Down (Live, Manchester Apollo) (CD, Independiente ISOM 115MS)
Note: for interest, the “notable” B-sides on “Dry Kids” are “The Shot’s Still Ringing”, “Waterfall”, “Too Many Times”, “Maybe I Wish”, “Flaming Red Hair”, “How Come”, “Madelaine” and “Milk And Honey”. Aside from the usual DVD releases, there also exists a “hits” set from 2002 called “Fireworks”, which was also issued on DVD. The audio contains nothing particularly unusual, so the DVD version is the one to track down.