Shabooh Shoobahwas Australian band INXS’s third album, and the album that brought the band worldwide attention. The huge, anthemic singles “The One Thing” (July 1982) and “Don’t Change” (October 1983) hit the charts everywhere with “The One Thing” breaking the Top 30 in the U.S. as well as being the debut video from INXS for the fledgling music video channel MTV. “To Look At You” dropped as a single in March 1983, and the final single “Black and White” came out in June the same year.
In September 1983 the US was treated to an EP of remixes of singles from Shabooh Shoobah. Titled Dekadance, it included extended dance remixes of “Black and White,” “To Look At You,” “The One Thing,” and a “new version” of “Here Comes” called “Here Comes II.” The band is credited as producing the new remixes with Mark Opitz and David Nicholas credited as the engineers, so it seems by the credits that the band was fairly hands-on with the creation of the EP. Ostensibly, it seems that the band and their label wanted to ride the wave of excitement around the album and the band. When this EP dropped, the band was already in the studio with Nile Rodgers at the Power Station in NYC working on their next album The Swing.
In Australia, there was a related 12″ release just called Dance with a similar cover which was really just a single release of the extended mix of “Black and White” along with two b-sides, “Long In Tooth” and “No Day But Sunday.”
As an aside, the band released another EP confusingly also titled Dekadance in Australia in 1985 of remixes from The Swing.
By the time Shabooh Shoobah came out, INXS had established a standard practice of using non-album b-sides on their singles and these songs usually presented a more loose and fun version of the band including jazz instrumentals usually composed by Kirk Pengilly. As a fan of the band in the 1980’s I collected every 7″ and 12″ I could find to get all of the remixes and b-sides. I even created a mixtape of all of the b-sides and remixes as well as soundtrack songs that stayed in my car. In fact, my first car still belongs to my family, and my brother found the tape recently when they were detailing it.
A5 Here Comes II – From Dekadance EP. I have always loved this re-imagining of this song. Slower, moody.
B1 Go West – B-side from the Australian “Don’t Change” single. Very stripped down with Casio rhythm track. Almost seems like a demo, Hutchence’s vocals are dry/no reverb.
B2 Phantom of the Opera – “The One Thing” b-side from July 1982. This track as presented in the RSD information, is actually spelled wrong. This is a Tim Farriss track, so the real title is a pun: “Phantim of the Opera.” A pastiche of film dialog and synths.
B3 Soul Mistake (Live from the US Festival, 1983) B4 Here Comes (Live from the US Festival, 1983) B5 Spy of Love (Live from the US Festival, 1983) B6 Old World New World (Live from the US Festival, 1983) – These last four tracks are live takes from the US Festival and haven’t been released anywhere other than the 40th Deluxe reissue. The band’s setlist at the US Festival was nine out of the ten tracks from Shabooh Shoobah.
Here are the songs missing from this release based on the 40th Deluxe:
You Never Used To Cry – From the Australian limited edition two 7″ single set for “To Look At You.” Written and performed by Tim Farriss. Also used in the Jon Cryer 1984 film No Small Affair.
Space Shuttle – B-Side from “The One Thing” Australian 12″. A kind of dark new-wave track.
This release, while good-intentioned is disappointing because it doesn’t include all of the bonus tracks from the 40th Deluxe reissue. It’s also missing the extended version of “To Look At You” from the Dekadance EP (which is also included on the 40th Deluxe). Honestly, the US Festival tracks aren’t essential on vinyl, in my opinion, and I would have rather had all of the b-sides and “To Look At You” extended remix. I’ll still pick it up since I’m a big fan of INXS.
The much-anticipated list for Record Store Day 2023 dropped February 16th and the next (and likely last) Miles Davis release based on a “Complete Sessions” box set is on the list. Titled Turnaround : Rare Miles from the Complete On The Corner Sessions, it is a four-song excerpt from the 2007 box set of sessions before and after the ones used on Miles Davis’s 1972 album On The Corner.
On The Corner was the third in a series of Davis’s 1970’s Jazz Fusion releases and similarly to the previous Bitches Brew (1970) and Jack Johnson (1971) (both of which also got the Complete Sessions treatment) the album was a pastiche of recording sessions.
On The Corner’s Complete box spans a wide range of recording dates starting in March of 1972 and continuing through May of 1975. So, it’s a bit disingenuous to say that everything in the On The Corner Complete Sessions box was really sessions for On The Corner. Especially considering how many sessions were after the album itself was released– the tracks on On The Corner come from June and July 1972. But, I suppose that Sony’s attempt at clearing the vaults for release necessitated expanding the scope of sessions to include and there wasn’t enough material to give releases like Big Fun and Get Up With It their own box sets, so combining them makes sense.
Below is the tracklisting, which I got from the website of the French version of RSD called DisquaireDay. I got the session information from the infinitely-handy Paul Tingen site miles-beyond.com dedicated to the Electric Miles period. Per Tingen’s site, all four of these tracks were at-the-time remixed and remastered for the boxset by Richard King and Bob Belden in 2007.
The Jazzdisco.org site is missing the session information for “U-Turnaround” and “The Hen.” Tingen says that the “U-Turnaround” track is the same theme as used on Agharta after “Prelude.”
…Turnaround and U-Turnaround are based on the tune that appears after 22:01 in “Prelude” on Agharta. On the LP version it’s actually called “Prelude Pt2.” It also appears on another official Sony release, Bill Laswell’s Panthalassa. Laswell calls it “Agharta Prelude Dub,” and Enrico Merlin and I simply refer to it as “Agharta Prelude.” Why the makers of the OTC boxed set didn’t stick to convention as established by Sony itself is a mystery.
The album comes out on sky blue vinyl and implements a pink version of the original artwork done by Corky McCoy with some of the clothing in different colors from the original art.
This is a custom YouTube Playlist I made of the four tracks on Turnaround:
Davis hit the studio as a bandleader with a concept of what On The Corner was to become. His intention with On The Corner was to reconnect with the African American audiences who had moved away from jazz to rock and funk bands like Sly and the Family Stone. Unfortunately, by creating an albums with a foot in both worlds, he was never fully embraced by either jazz or rock and funk fans and critics.
Following On The Corner Columbia would create a string of releases comprising studio outtakes. Big Fun (1974), Get Up With It (1974) and Water Babies (1976) while released before his four-year hiatus, were made up of outtakes and unused sessions dating back into the 1960’s which adds to the general confusion around his work during this time.
There has been a reappraisal of Davis’s jazz and rock fusion albums of the late 60’s and early 70’s in the last decade with tastemakers like The Wire and Pitchfork praising albums like On The Corner. It clearly took a while for audiences to catch up with the genius of Miles Davis. As a fan who only recently came around to Electric Miles, I’m happy to have these really unique and cool RSD releases in my collection.
A side note: These Rare Miles from the Complete Sessions releases have been “RSD First” releases, which means that Sony/Universal could choose to reissue these later. I think that a boxset treatment with all four of these would be a cool release and would give some people who missed out on these a chance to get them.
Here are links to the previous article I wrote about the series:
At some point I found a copy of She’s The One in a CD cutout bin not too long after the album was released in 1996. From a Tom Petty fan perspective, ironically, I heard this before I ever heard Wildflowers completely. 1995 and 1996 were years of exploration for me musically. I was living in Minneapolis (Eagan, specifically) and my ears were filled with the alternative nation of REV-105 and I was discovering new bands and music every day it seemed and I wasn’t focused on classic rock. I missed the Wildflowers release completely and ended up picking up its neglected sibling purely coincidentally. The irony being that She’s The One became the home for tracks that were lopped off Wildflowers when Warner Brothers suggested it be a single album rather than Petty’s original vision of a double.
As much as I have come to love Wildflowers and its 2020 bloated retort to the eternal Pettyfan joke “When is Wildflowers going to be reissued?”, Wildflowers… And All The Rest gave us nearly every minute of tape we could stand of the album, with every possible session that could be considered related to Wildflowers proper, I still hold a fondness for She’s The One, the quirky non-sequitur of songs collected spanning incidental music, covers and multiple takes.
One of the criticisms put forth about Wildflowers… And All The Rest was that it didn’t include any of the at-the-time new songs from She’s The One. Most people looked at She’s The One as kind of an extension of Wildflowers— particularly since the soundtrack benefitted by the inclusion of four very strong songs from those sessions: “Climb That Hill,” “Hung Up And Overdue,” “California,” and “Hope You Never.” The rest of the original soundtrack was new material recorded specifically for the film including two songs which would become important songs in Petty’s catalog, “Walls” with its amazing chorus “‘Cause you’ve got a heart so big/ it could crush this town/And I can’t hold out forever/Even walls fall down” and Petty’s tribute to his future second wife Dana, “Angel Dream” which became a staple in later live shows.
Amidst all of the personal turmoil in Petty’s life including the firing of drummer Stan Lynch from the Heartbreakers, divorce from his wife of 22 years Jane and the beginning of a heroin addiction that was hidden from public view until Warren Zanes’ “Petty” biography came out in 2015, he was approached to curate the soundtrack for the Ed Burns film She’s The One. Quoted in “Petty,” he says about the project, “I was approached about putting together a soundtrack for the movie. I liked what I’d seen of Ed Burns’s work. But, when I took the job I didn’t think it through. I wound up in a situation where they wanted different artists for a soundtrack. They had a few, but they wanted me to call more artists.” Eventually he called his manager Tony Dimitriades and told him he couldn’t do this. Dimitriades suggested that he should do the soundtrack himself, “like Paul Simon did for The Graduate.”
Ultimately, it was a failure on many levels. Petty was forced to rush to meet a deadline, “I was completely off my game.” he says in his biography, “I was doing something that was against my grain.” The film’s release was pushed back six months, leaving the soundtrack to appear to be a Heartbreakers album, “Some people thought I was following up Wildflowers… My record came out with no movie, I was so depressed– that just made me more depressed.” The album sold only 490,000 copies and ultimately went gold, but marks the sole disappointment in his catalog.
I would say that the 1996 version of She’s The One suffers from being a somewhat literal listing of the songs included in the soundtrack. We get two versions of “Walls”: one version is what was the single (“Walls (Circus)” and the other is “Walls (No. 3)” apparently created to satisfy Burns’s request of having a different one for the closing credits. We get two versions of “Angel Dream” as well and things cap off with a 57-second bouncy piano/organ instrumental “Airport.” The strings/piano/guitar instrumental arrangement of “Hope On Board” is positively breathtaking and too short. Another complicating factor are the two cover songs, which Petty typically didn’t include on proper albums. The resulting release comes off as kind of a cast-off in that regard, and if anything a bit unbalanced particularly considering the usually careful sequencing on Petty albums.
What the team ultimately settled on is now titled Angel Dream: Songs and Music from The Motion Picture ‘She’s The One’ and capitalizes on the great songs included on She’s The One: “Walls,” “Grew Up Fast” (a personal favorite), “Zero From Outer Space,” the Lucinda Williams cover “Change The Locks” (a typo according to Dana Petty in her interview with David Fricke on SiriusXM since the correct title is “Changed The Locks”) the Beck cover “Asshole,” “Supernatural Radio” (which is presented now as an extended take) and adds two songs recorded in July 1993 (in the middle of the sessions for Wildflowers, incidentally) during the sessions that produced “Mary Jane’s Last Dance” for the Greatest Hits album (“Something’s In The Air,” the other new track, was recorded in February that year). These songs are notable as having Stan Lynch on drums. None of the songs on the original Wildflowers nor the original She’s The One had him on them. These songs are a JJ Cale cover “Thirteen Days” (recorded on July 22, 1993, this shows up in a photo of a proposed tracklist for Wildflowers included in the box set), “105 Degrees” (recorded on July 23, 1993) and “One Of Life’s Little Mysteries” (the earliest track, recorded on August 4, 1992). We also get an instrumental reworking of “Angel Dream” titled “French Disconnection.”
It’s interesting to note that the song “Lonesome Dave” from the Wildflowers sessions which was included in the An American Treasure box set and not in the …All The Rest boxset was recorded on July 23 as well. In the “Petty” biography by Zanes, George Drakoulias remembers cutting many more tracks than “Mary Jane’s Last Dance,” and we’re getting a bit of a peek into those sessions with Stan Lynch with the posthumous releases.
“…The idea behind Angel Dream was to make it a tighter album, and something that would make sense with this music after the three original Wildflowers tracks were taken off of it (for inclusion on Wildflowers All The Rest). It was important to have a really tight set of songs, sequenced in a way that honors Tom’s sense of how important albums are, in the story that they can tell. (This logic is behind the decision to leave certain songs off of the original Wildflowers, as McCool discussed in his earlier post.)
For Angel Dream the decision was made to not include the second versions of two songs (Walls and Angel Dream) that are on the She’s The One soundtrack, and also to not include the music cues that related more to the film. This was reconfigured to be a Tom Petty & The Heartbreakers album, not a film soundtrack album. Since we needed more material to fill out the album, we went back to three tracks that were recorded during the Wildflowers sessions, and an unreleased instrumental track.”
Steve Hoffman Forums post 6/15/2021
Ulyate touches on the inclusion of the new songs, “Can songs that were not recorded at the same time as others live on the same album? Yes they can, if they fit into the “vibe”. Without Tom there will always be second-guessing, but please know we did our best.”
The album is a really good listen and while I question the absolute necessity of its existence, it’s a record I’ll play frequently. The idea is that this is the version that will “replace” the original album in the new cataloging of Petty, though the original 1996 version (which was remastered in 2018) will continue to be available as a download.
Angel Dream Tracklist with my notes (special thanks to Mark Felsot for corrections):
Angel Dream (No. 2) from original 1996 soundtrack, remixed for this release
Grew Up Fast from original 1996 soundtrack, remixed for this release
Change The Locks (Lucinda Williams cover) from original 1996 soundtrack, remixed for this release
Zero From Outer Space from original 1996 soundtrack, remixed for this release
Asshole (Beck cover) from original 1996 soundtrack, remixed for this release
One of Life’s Little Mysteries new track recorded August 4, 1992 with Stan Lynch
Walls (No. 3) from original 1996 soundtrack, remixed for this release
Thirteen Days (JJ Cale cover) new track recorded July 23, 1993 with Stan Lynch
105 Degrees new track recorded July 24, 1993 with Stan Lynch
Climb That Hill from original 1996 soundtrack, remixed for this release
Supernatural Radio (extended version) new version recorded June 4, 1996
French Disconnection (Instrumental) new track recorded April 11, 1996
The new RSD Drops lists came out April 7th for both the June 12th and the July 17th Drops. Similar to 2020, Record Store Day is being split into multiple dates to help with crowding in the stores. I think this also helps with the vinyl pressing delays as the record manufacturing is still catching up from the COVID shutdowns and related problems.
As I predicted in my post last year about the excellent Double Image: Rare Miles from the Complete Bitches Brew Sessions 2 LP release, the next in the series is one based on the 1970 sessions that resulted in the Jack Johnson (AKA A Tribute To Jack Johnson) album. Titled Champions – Rare Miles from the Complete Jack Johnson Sessions, it will come out for the second RSD Drops on July 17th, and will be around $21.97 according to Bull Moose, and will be on opaque yellow vinyl.
According to the expert in all things Electric Miles, Paul Tingen, Davis was spurred on by his recent exposure to Jimi Hendrix to state in a 1969 Rolling Stone interview, “I could put together the greatest rock ‘n roll band you ever heard.” Tingen surmises that Davis seeing Hendrix’s Band of Gypsies at the Fillmore East New Years Day, 1970 was the biggest catalyst for his new sound.
Davis was in the Columbia studios with his band for a marathon 12 dates starting February 18th and continuing through June 4th– an incredibly productive time for Davis yielding many more recordings than the two that ended up on the 1971 LP. Distilling the massive amount of time in the studio for Davis into releases that make sense organizationally continues to be a challenge, and has since the beginning involved some creativity on the part of the record producers and the label. This is compounded by the fact that Davis rolled tape for every minute he was in the studio.
Following the sessions that would form Bitches Brew (August 19th-21st, 1969) Davis continued recording music that followed the new electric Jazz/Funk path he was taking. The compilers of the Complete Bitches Brew opted to take sessions from November 1969 through to February 1970 that used the same band lineup as Bitches Brew. In that regard, the Double Image release is less of an outtakes of Bitches Brew as it is maybe a part II.
The Complete Jack Johnson Sessions pretty much pick up where The Complete Bitches Brew Sessions drop off. “Take It Or Leave It” was recorded on February 2nd, and the initial “Willie Nelson” sessions start just over two weeks later on February 18th.
Side A 1. “Duran – Take 4” (March 17, 1970 at Columbia Studio C) 2. “Sugar Ray” (March 20, 1970 at Columbia Studio B) 3. “Johnny Bratton Take 4” (February 27, 1970 at Columbia Studio B)
Side B 1. “Ali – Take 3” (May 19, 1970 at Columbia Studio C) 2. “Ali – Take 4” (May 19, 1970 at Columbia Studio C) 3. “Right Off – Take 11” (April 7, 1970 at Columbia Studio B)
As an entry in the catalog of Miles Davis music, The Complete Jack Johnson Sessions represent a transitional snapshot. These are the sound of Davis and his sidemen searching. Big looped sections on the eventual album from these sessions show the band landing blocks of music that work, but also seems to include the band kind of reaching. A lot of this was a result of the very unstructured approach in the studio. From the Tingen article:
“Everything was experimentation,” recalled drummer Billy Cobham. “There was not one moment that whatever was put on a piece of paper would not be changed.” “A lot of times the way we did things was very fragmented,” added Dave Holland. “Often I didn’t know whether we were recording or rehearsing. We would have these fragments, these sketches of ideas, and we’d play them for 10 minutes. And then we might do one more take like that, and move on to the next thing. One of the things that created the sound of the studio recordings is that were all trying to figure out what was going on. This created a certain space—it wasn’t tentative, but it was searching. And Miles had a policy of taping everything. When it was then finally put together, there was a lot of editing that went on.”
Even with this somewhat randomly-organized recording, the highlight is Davis, who plays some fantastic runs around the grooves. This seems to be a result the physical and mental health of Davis during this time. The cover of Champions is a photograph of Davis in the ring taken by Jim Davis shortly after these sessions. Tingen quotes Chick Corea, “Miles was, “totally clean, working out in the gym, physically looking great, and living the life of a health freak. He had this thing about fish and told me how good fish was for you.” In short, Miles was in great physical and mental shape, and at the peak of his trumpet powers.”
In the Davis catalog, Jack Johnson is a record that is somewhat obscure; maybe “obscured” is a more accurate description. Even though it uses a similar approach of editing miles of tape into a two-track epic funk, it is overshadowed by achievements of Bitches Brew. The Champions collection of tracks from these sessions helps put some context around somewhat meandering Jack Johnson album and also opens the door for the following Electric albums which include my personal favorites Big Fun and On The Corner.
Speaking of On The Corner, it’s almost certain that the next RSD-exclusive title based on the series of “Complete Sessions” for Miles Davis will be from the 2007 Complete On The Corner Sessions made up of sessions from June of 1972 through May of 1975.
I’m a sucker for earnest songs about heartbreak. Clearly.
When I watched Paul Thomas Anderson’s film Magnolia, I was struck by the songs from Aimee Mann. Like many, I was familiar with her band, the MTV darlings Til Tuesday, but I hadn’t really kept up. Though, there wasn’t much to keep up with. The classic yarn of a band breakup followed by a couple of brilliant solo albums that her label didn’t know what to do with caused her to crash land in 1999 with no label and a record in the can that wouldn’t be released.
As the story goes, Paul Thomas Anderson was moved enough by the demos of this album to craft Magnolia around it and get some more songs from her. He connected to Mann through her husband Michael Penn who scored Anderson’s first two films. She got an Oscar nom for “Save Me” (a song that was written for the film).
I rewatched Magnolia recently. A horrific storm called a “derecho” blew 130+ MPH winds across Iowa, removing over 65% of the tree cover of Cedar Rapids and knocking power out for days and cell service and internet for weeks. Once power was restored, my wife and I still didn’t have internet and cell service was spotty, so we took to digging through our sadly-neglected collection of DVD’s and Blu-Rays for stuff to watch. We hadn’t seen it probably since I bought the DVD when it came out in 2000. The film’s three hours is not an easy watch, and twenty years later the heavy-handedness of the story arc and plot devices seems almost dated. Considering this was Anderson’s carte blanche film following the breakout success of Boogie Nights, it’s apparent he was pulling out all of his directorial tools for this. The soundtrack and score of the film end up being an essential part of the narrative with songs belonging to the characters, the culmination of which is when the film pauses for the characters to sing “Wise Up.”
This part of the film was a real lump-in-the-throat moment for me and how I became a fan of this soundtrack and Bachelor No. 2. I wrote an article back in 2008 proposing a mix people could make of the two CD’s to make a perfect version of the album.
Bachelor No. 2 was released in May 2000 on Mann’s own record label Super-Ego Records. It included “How Am I Different,” “Deathly,” and “You Do” from Magnolia. “Nothing Is Good Enough” appears on the soundtrack as an instrumental. Interestingly, “Wise Up” was originally intended for the film Jerry McGuire. A really great article breaking down the soundtrack by A/VClub by Alex McLevy makes the observation that in a literal sense the song says that the film “is not going to stop” until the characters wise up. Certainly the scene in the film where the characters sing “Wise Up” is a point of inflection.
In 2006, Mobile Fidelity Soundlab corrected sin of this album not existing on vinyl by pressing a limited run of 200g half-speed mastered LP’s based on the original US CD (which means it doesn’t have “Save Me” on it in place of “Driving Sideways” as the UK version did). These days copies of this are running around $200 and I was keeping an eye out to see if any might show up for a deal.
It will be interesting to hear that new version of “Wise Up.” If I had to guess, it probably removes the drum machine. In the press release she mentions that she “used a lot of drum loops” and nowhere is it more apparent than on “Wise Up.” Though for me, that works great.
UPDATE: The 2020 COVID pandemic resulted in the standard April Record Store Day being canceled in favor of three “Record Store Day Drops” August 29th, September 26th, and October 24th. All of these are Saturdays, incidentally. The original Record Store Day list has been split up over these three dates. It’s worth noting that Black Friday Record Store Day (Friday, November 27th) has not been changed, yet, and is kind of a 4th “Drop” I suppose, coming a month after the last Drop.
The Miles Davis Double Image: Rare Miles from the Complete Bitches Brew Sessions will be released on the 3rd drop on October 24th.
The 2020 Record Store Day List came out this week, and I’m pleased to report that Sony is continuing the trend of releasing compilations of Miles Davis outtakes that they started for the 2019 Black Friday RSD Early Minor release for the In A Silent Way sessions. This release titled Double Image: Rare Miles from the Complete Bitches Brew Sessions, takes the unreleased studio recordings from the 1998 Columbia boxset The Complete Bitches Brew Sessions.
Sony is stepping up their game with this release. It is a two LP gatefold with opaque red LP’s. Bull Moose Records (kind of the original home of RSD) shows their list price as being $25.97 (note: this price went up $1 since it was originally announced in March) which is a pretty fair price for such a nice presentation. According to the RSD site, there will be 6000 pressed worldwide.
Like many people, my first exposure to Miles Davis’s catalog started with his groundbreaking 1959 album Kind of Blue and by most accounts this is the album most people wanting to get into Davis or jazz in general should start with. Wanting to dig further into his catalog I went earlier in his career with his pre-modal style Prestige Records catalog, then moved into his early Columbia career with albums like Round About Midnight (1957), Sketches of Spain (1960) and Someday My Prince Will Come (1961). At the time I was aware of Bitches Brew, but it took a long time for me to really appreciate the album, initially seeming too cacophonous and lacking any discernible structure. For me it took listening to the Chicago jazz artists like The Chicago Underground Ensemble/Chicago Underground Trio and bands on Delmark Records who were related to post rock band Tortoise to really be able to appreciate Bitches Brew. Further, it was interviews with Tortoise bass player Doug McCombs about how Teo Macero’s tape editing work on Bitches Brew informed how his 2009 album with David Daniell Sycamore was created– improvisational recording sessions were edited into the resulting album that pushed me to take a closer look at the album.
The album as released was recorded over three days in August of 1969 (19th-21st) at Columbia’s Studio B in New York City. The band was the largest collection of musicians Davis had assembled to date. The core of the band was a partial carry over from the In A Silent Way sessions with Wayne Shorter on tenor saxophone, Dave Holland on bass, Chick Corea on electric piano, and Jack DeJohnette on drums. Notably, this was the live touring band and had already been performing some of the key pieces from Brew including early versions of what became “Miles Runs the Voodoo Down”, “Sanctuary”, and “Spanish Key”. According to Paul Tingen (who wrote the essential book on this period “Miles Beyond : Electric Explorations of Miles Davis, 1967-1991”), this pre-work with a band before hitting the studio was rare (apparently not considering the fact that most of the 1950’s Prestige releases were based on in studio takes of what was his live show at the time). The five-piece was joined in the studio by Joe Zawinul (electric piano), John McLaughlin (electric guitar), Larry Young (electric piano), Lenny White (drums), Don Alias (congas), Juma Santos, and Bennie Maupin (bass clarinet).
After some meetings with the band at his house where they, according to the JazzTime article Tingen wrote, brought in their own compositions for Davis to choose from and he made sketches that they would work from in the studio during the three days booked. At these sessions (with Teo Macero producing and engineer Stan Tonkel), Davis acted more like a conductor than composer. The tapes typically ran the entire time and he used playbacks to further tailor the works.
Davis left the post production work to Teo Macero. Macero used extensive tape editing and effects like delay and echo on previous albums In A Silent Way and Circle in the Round to create new works from the raw recordings which many consider to be groundbreaking work in itself. Extensive tape edits were done to create the first two tracks on the album “Pharaoh’s Dance” (which has 19 edits) and “Bitches Brew” (which has 15). Davis had the final approval of the recordings, but according to Tingen never really gave Macero the full credit he deserved and Macero’s own opinion was that Davis didn’t really want to credit even the musicians. This is why In A Silent Way and Bitches Brew are credited as “Directions in Music By Miles Davis” as a kind of way to take full credit for the recordings.
The second LP in Bitches Brew had less studio manipulation than the first two sides. This was largely because these songs were more fleshed out due to live performances. “Spanish Key” and “Miles Runs the Voodoo Down” had no edits. “Sanctuary” has one edit where Macero clips in a different take. “John McLaughlin” is an edit of a studio improvisation where Davis isn’t playing. According to Tingen, Davis gives some rough vague instructions during the session and they lumber along not knowing where to take the work until Davis says “John” and McLaughlin takes a guitar solo and then the band falls into lock step. Macero edited this down to McLaughin’s solo and following for the final recording.
The resulting album was somewhat baffling to the musicians who performed on it. Tingen quotes a famous story by Zawinul where he says he was standing in the offices of CBS and heard music over the speakers and asked a receptionist what it was when she replied that it was “that Bitches Brew thing.”
When you look at the jazzdisco.org entries for August 19-21, 1969 sessions and compare it to the track listing for Double Image, you’ll notice that the songs included were not recorded during the sessions that were used for Bitches Brew. So, what are these recordings?
Reissue producer of the Complete Bitches Brew Sessions Bob Belden told Tingen that they included the extra tracks that used a lot of the same musicians as Bitches Brew and also that these songs were additionally electric piano focused. As was typical of this later period Davis studio work, he had a lot of sessions recorded that were not intended for any particular album release, and CBS kept cranking out new albums that were ostensibly just compilations of unrelated songs– oftentimes songs many years apart. The 1979 compilation album Circle in the Round has tracks from 1955 through 1970. Exploitative? Maybe, but the renewed posthumous effort of getting Davis’s work released in a somewhat orderly fashion serves the purpose of making some sense of the progression made over his life in music.
Below is the track listing from Double Image: Rare Miles from the Complete Bitches Brew Sessions with my added notation of what the recording dates were.
LP 1 / Side A “1. Yaphet” (11/19/69) 2. “Corrado” (11/19/69) LP 1 / Side B “1. The Little Blue Frog (master)” (11/28/69) 2. “The Big Green Serpent” (11/28/69) 3. “Trevere” (11/28/69) 4. “The Little Blue Frog (alternate take)” (11/28/69)
LP 2 / Side A “1. Double Image (first version)”(1/28/70) 2. “Feio” (1/28/70) LP 2 / Side B “1. Recollection” (2/6/70) 2. “Take It Or Leave It” (2/6/70)
I’m going to predict that since we have had an LP from In A Silent Way’s complete sessions (which was box set #5 of the “complete” series) and now Bitches Brew (which was box set #3) that the next RSD release will be based on the 2003 box set for The Complete Jack Johnson Sessions (box set #6). The Jack Johnson album only had two tracks on it and there were a lot of sessions not used, so it should be interesting to see what they’d include on a vinyl comp.
If that wasn’t enough, reissue label Get On Down is releasing a previously Japan-only album of Miles Davis in concert from 1964 with an early iteration of his “second great quintet.” It was released in the US on CD in 2005, but not on vinyl. Titled simplyMiles in Tokyo, the album originally came out in 1969 on Sony/CBS and this release copies that release down to the gorgeous black and white cover art and the OBI strip (which is slightly modified to show the Get On Down catalog number and logo). The original pressing was a gatefold, I’m hoping the replicated that as well, but I have no indication one way or another. (Chris from Bull Moose hasn’t done his rundown yet. I’ll update this if he mentions it).
Sam Rivers joined Miles Davis’s quartet in April of 1964 replacing George Coleman according to the Sam Rivers sessionography. This database quotes Davis as saying he wanted to hire Wayne Shorter but Art Blakey had him tied up in the Jazz Messengers, so he hired Rivers at Tony Williams’s suggestion and took him on tour. Rivers would stay with the quintet through July 15th, which is the day after the Miles in Tokyo recording took place. Rivers would be replaced evenually with Wayne Shorter in September, which would establish the “second great quintet” which would stay in place until 1968 and recorded the albums E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro.
I think the reason for Rivers’s short stint in Davis’s band is two-fold. Clearly Rivers was Davis’s second choice, and also the general opinion is that Rivers’s style on the sax didn’t mesh well with Davis’s, and this is apparent according to critics on the Miles in Tokyo album. To me the recording is notable in its frenetic pacing of the songs. I think it picks up the energy from the Lincoln Center performance, which shares a lot of the same songs, including the sped up “So What.”
Here is the track listing for Miles in Tokyo:
A Side : “If I Were A Bell”, “My Funny Valentine” B Side : “So What”, “Walkin”, “All Of You”
Helpfully, there is a YouTube video of the complete album:
The big news from the Tom Petty camp is the announcement of a new 60-track career retrospective called Tom Petty: An American Treasure. It comes in three physical formats, one is a 4 CD version that includes an 84-page hardcover book (available only through tompetty.com) there is also a 4 CD version without the hardcover book. Additionally, there is a 6-LP version of it that doesn’t include the hardcover book, which comes out on Black Friday Record Store Day on 11/23, coincidentally (though likely not– it is probably an “RSD First” release, which means it is a regular release, and not limited to RSD).
The box set has a mixture of album tracks, outtakes and alternative versions and live tracks. In some ways this box set is the sequel to the 1995 Playback box set which focused on studio songs, outtakes, unreleased and b-sides. This set mixes in some live tracks like the 2009 The Live Anthology did. An American Treasure is a fairly complimentary addition to those collections.
With the assistance of posts on Steve Hoffman Forums and Mudcrutch Farm Tom Petty forums, I started taking a look at what is on this box in greater detail. There is some disappointment from folks due to the 18 album tracks and the bit of overlap with the Playback boxset and tracks that were available on Highway Companion bonus downloads. That said, there is a treasure trove of new stuff here. The album tracks are kind of deeper tracks from albums that haven’t been focused on before. And– surprise– no “Free Fallin'”!
Here is a breakdown (so to speak) of the new tracks on here. This is the full track list, so I’ve included the album tracks, but didn’t provide any commentary on those. I also provide some thoughts about possible future archive releases.
Surrender (Previously unreleased track from Tom Petty and the Heartbreakers sessions—1976) – The first place we heard this song in any form was on 2000 release Anthology: Through the Years. The version on this compilation was a new recording of the song created specifically for this release (and was the last studio recording of Howie Epstein before his death, according to Wikipedia). In 2009 we got a version on The Live Anthology as a live performance from June 11, 1983 from Irvine Meadows. In 2010 a studio version of this song was added to the Deluxe Edition reissue of Damn The Torpedoes. We don’t know yet whether the version here is the same version that was included on that reissue, since Damn The Torpedoes was, according to Wikipedia, recorded between 1978 and 1979.
Listen To Her Heart (Live at Capitol Studios, Hollywood, CA—November 11, 1977) Anything That’s Rock ‘N’ Roll (Live at Capitol Studios, Hollywood, CA—November 11, 1977)
These two tracks came from a radio broadcast on KWST FM 106 in Los Angeles. This recording has been floating around as a widely-traded bootleg.
When The Time Comes (Album track from You’re Gonna Get It!—May 2, 1978) You’re Gonna Get It (Alternate version featuring strings from You’re Gonna Get It! sessions—1978) Unheard version from what I can tell.
Radio Promotion Spot (1977)
Rockin’ Around (With You) (Album track from Tom Petty and the Heartbreakers —November 9, 1976)
Fooled Again (I Don’t Like It) (Alternate version from Tom Petty and the Heartbreakers—1976)
Breakdown (Live at Capitol Studios, Hollywood, CA—November 11, 1977) See above.
The Wild One, Forever (Album track from Tom Petty and the Heartbreakers—November 9, 1976)
No Second Thoughts (Album track from You’re Gonna Get It!—May 2, 1978)
Here Comes My Girl (Alternate version from Damn The Torpedoes sessions—1979) Not on the Deluxe Edition of Damn The Torpedoes!
What Are You Doing In My Life (Alternate version from Damn The Torpedoes sessions—1979) Not on the Deluxe Edition of Damn The Torpedoes!
Louisiana Rain (Alternate version from Damn The Torpedoes sessions—1979) Not on the Deluxe Edition of Damn The Torpedoes!
Lost In Your Eyes (Previously unreleased single from Mudcrutch sessions—1974) On the 1995 Playback box set, we got a few Mudcrutch sessions tracks (“On The Street”, “Depot Street”, “Cry To Me”, “Don’t Do Me Like That”, “I Can’t Fight It”) but this is a new one. There is a bootleg that collects all of the Mudcrutch sessions from 1974 and 1975 which doesn’t include the Playback tracks, but does include this (other Mudcrutch songs that haven’t seen official release: “Another Lonely Night, “Don’t It Get Weird”, “You’re Driving me Crazy”, “She’s A Screamer”, “Parade of Loons”, “Makin’ Some Noise”, “You Don’t Care”, “Don’t Bring me Down”, “Save Me”, “Don’t Make It Any Easier”, “Long way From Home”, “Once Upon a Time Somewhere”, “Country Girls Run Dry”)
Keep A Little Soul (Previously unreleased track from Long After Dark sessions—1982) The first single from this box set, and is the download you get for the pre-order.
Even The Losers (Live at Rochester Community War Memorial, Rochester, NY—1989) No songs from this show are on The Live Anthology, so this is an unheard track.
Keeping Me Alive (Previously unreleased track from Long After Dark sessions—1982) A version of this song is on Playback. Is this a different take?
Don’t Treat Me Like A Stranger (B-side to UK single of “I Won’t Back Down”—April, 1989) Not part of the b-sides on Playback.
The Apartment Song (Demo recording (with Stevie Nicks)—1984) From Playback.
Concert Intro (Live introduction by Kareem Abdul-Jabbar, The Forum, Inglewood, CA—June 28, 1981) King’s Road (Live at The Forum, Inglewood, CA—June 28, 1981) Clear The Aisles (Live concert announcement by Tom Petty, The Forum, Inglewood, CA—June 28, 1981) A Woman In Love (It’s Not Me) (Live at The Forum, Inglewood, CA—June 28, 1981)
In 1981 during the Hard Promises tour, Tom Petty & The Heartbreakers played a three-night run at The Forum in Inglewood, CA: June 28-30th. Tracks from this run have appeared before. The two duet tracks with Stevie Nicks on the live album Pack Up The Plantation: Live (“Insider” and “Needles and Pins”) were from one of those nights (I haven’t found setlists for those shows yet). The Live Anthology has a bunch of songs from those nights:
“Ladies and Gentlemen…”, “Nightwatchman.” (June 30, 1981)
“A Thing About You” (June 28, 1981)
“Breakdown” (June 30, 1981)
“A Woman In Love (It’s Not Me)” (June 29, 1981)
“The Waiting” (June 28, 1981)
“Good, Good Lovin'” (June 30, 1981)
“I Need To Know” (June 29, 1981)
In my opinion, at the risk of redundancy, they could do a Grateful Dead style boxset encompassing all three nights, since clearly they have very high quality recordings of those nights.
Straight Into Darkness (Alternate version from The Record Plant, Hollywood, CA—May 5, 1982) A version we haven’t heard.
You Can Still Change Your Mind (Album track from Hard Promises—May 5, 1981)
Rebels (Alternate version from Southern Accents sessions—1985) As someone on the Mudcrutch board observed, the sessions for Southern Accents were “problematic” and Petty broke his hand punching a wall during them in frustration. Maybe this will be a very different version of “Rebels” due to all of the recording they did trying to get the album completed.
Deliver Me (Alternate version from Long After Dark sessions—1982) This is a new outtake we haven’t heard.
Alright For Now (Album track from Full Moon Fever—April 24, 1989)
The Damage You’ve Done (Alternate version from Let Me Up (I’ve Had Enough) sessions—1987) Another new version we’ve not heard.
The Best Of Everything (Alternate version from Southern Accents sessions—March 26, 1985)
Walkin’ From The Fire (Previously unreleased track from Southern Accents sessions—March 1, 1984) New version.
King Of The Hill (Early take (with Roger McGuinn)—November 23, 1987) – Interesting inclusion. Petty co-wrote this with Roger McGuinn for his Back From Rio album.
I Won’t Back Down (Live at The Fillmore, San Francisco, CA—February 4, 1997) Tom Petty performed an epic 20-night sold out run from January 10th to February 7th, 1997 at The Fillmore in San Francisco. This was the 20th anniversary of the band. We also have some songs on The Live Anthology from this run:
“Diddy Wah Diddy” (2/1/97)
“I Want You Back Again” (2/7/97)
“Friend of the Devil” (2/7/97)
“Jammin’ Me” (2/7/97)
“County Farm” (2/4/97)
Similarly to the run of shows at The Fillmore in 1981, we could get a boxset of these shows. That would be pretty amazing.
While we’re talking about it, they did another residency at The Fillmore in 1999, from March 7th to the 16th. The nights of the 15th and 16th created the High Grass Dogs : Live at The Fillmore film.
Gainesville (Previously unreleased track from Echo sessions—February 12, 1998) Too new to be included in Playback— but I’m looking forward to hearing other tracks from the under-appreciated album.
You And I Will Meet Again (Album track from Into The Great Wide Open—July 2, 1991)
Into The Great Wide Open (Live at Oakland-Alameda County Coliseum Arena—November 24, 1991)
No 1991 tour songs at all on The Live Anthology.
Two Gunslingers (Live at The Beacon Theatre, New York, NY—May 25, 2013) This is the same version that was on the Highway Companions fanclub download Live 2013 and on the Kiss My Amps Vol. 2 Record Store Day vinyl release.
Lonesome Dave (Previously unreleased track from Wildflowers sessions—July 23, 1993) To Find A Friend (Album track from Wildflowers—November 1, 1994) Crawling Back To You (Album track from Wildflowers—November 1, 1994) Wake Up Time (Previously unreleased track from early Wildflowers sessions—August 12, 1992) Grew Up Fast (Album track from Songs and Music from “She’s the One”—August 6, 1996)
Oh boy. The hopeful amongst the Tom Petty faithful are now looking at 2019 as the 25th anniversary of Wildflowers to get the expanded version with “All The Rest.” So, now we have what is likely some of the tracks that would have been included in the promised expanded edition of Wildflowers here in this box set. I just hope Wildflowers: All The Rest comes out before I die.
I Don’t Belong (Previously unreleased track from Echo sessions—December 3, 1998) More cool unheard stuff from Echo. Accused Of Love (Album track from Echo—April 13, 1999) Lonesome Sundown (Album track from Echo—April 13, 1999)
Don’t Fade On Me (Previously unreleased track from Wildflowers—sessions—April 20, 1994) See above.
You And Me (Clubhouse version—November 9, 2007) This is a song from The Last DJ. The Clubhouse is the Heartbreakers rehearsal and gear storage space. I’m sure there’s lots of interesting recordings from The Clubhouse we haven’t heard.
Have Love Will Travel (Album track from The Last DJ—October 8, 2002) Money Becomes King (Album track from The Last DJ—October 8, 2002)
Bus To Tampa Bay (Previously unreleased track from Hypnotic Eye sessions—August 11, 2011) Oooh. Hypnotic Eye outtakes!!
Saving Grace (Live at Malibu Performing Arts Center, Malibu, CA—June 16, 2006) The 2006 tour was a strong one– it also generated the “Live From Gatorville” show and they played Bonnaroo.
Down South (Album track from Highway Companion—July 25, 2006)
Southern Accents (Live at Stephen C. O’Connell Center, Gainesville, FL—September 21, 2006) Insider Live (with Stevie Nicks at O’Connell Center, Gainesville, FL—September 21, 2006)
“Live From Gatorville” or “One 30th Anniversary Concert from Gainesville, FL” which was a pay-per-view (I think) and then the bonus DVD included with the “Runnin’ Down A Dream” documentary. These songs are from this. We got a bunch of songs from this show on The Live Anthology: “I’m A Man”, “Mary Jane’s Last Dance”, “Southern Accents” (so this is repeated here)
Two Men Talking (Previously unreleased track from Hypnotic Eye sessions—November 16, 2012) Fault Lines (Album track from Hypnotic Eye—July 29, 2014) Sins Of My Youth (Early take from Hypnotic Eye sessions—November 12, 2012)
Cool to hear more from the Hypnotic Eye sessions.
Good Enough (Alternate version from Mojo sessions—2012) Something Good Coming (Album track from Mojo—July 15, 2010)
I would have thought that there would be more alternate and outtakes from Mojo, since it seemed like they were jamming more. Nevertheless, it will be cool to hear something from those sessions.
Save Your Water (Album track from Mudcrutch 2—May 20, 2016)
Like A Diamond (Alternate version from The Last DJ sessions—2002)
Hungry No More (Live at House of Blues, Boston, MA—June 15, 2016) This was previously released on the Highway Companion club download The Very Best Performances of the 2016 Mudcrutch Tour live Mudcrutch compilation.
An American Treasure seems like a really thought out tribute to Tom Petty, even though it’s kind of a mixed bag. The inclusion of album tracks and other tracks that have been released elsewhere makes it not exactly a perfect collection for die-hard fans of Petty. The album tracks it does have, don’t include any hits, so it’s not really for the casual fan either. For a Tom Petty completist like me, it’s one to add to the collection, even if it is kind of a compromise.
But, deeper in the list, down in the compilations was the new RSD exclusive Soul Slabs Vol. 1 compilation of the legendary 7″ R&B/Soul/Funk releases from the Ohio-based Colemine Records. In 2014 Colemine released a compact disc compilation of singles called 20/45 in celebration of their seventh birthday. Soul Slabs is an update of that compilation, bringing the collection up to 2016. There is a pretty big overlap of the two releases, but since this is on vinyl and updated, it really is the more essential release in my opinion. It doesn’t miss the big cuts: Ikebe Shakedown’s “Hard Steppin'” is pretty much an R&B classic at this point– Colemine reissued the single for RSD a couple of years ago and reissued the Hard Steppin’ EP on vinyl. Orgone has been a force for a few years, and the releases on Colemine are an essential addition to their catalog– their release Beyond the Sun is positively breathtaking and should be in everyone’s soul collection. That goes for Durand Jones and the Indications new LP as well. Damn. Colemine started a subscription service of sorts where they email you about new exclusive releases and they give you a chance to buy it before it goes totally public. A lot of those releases are on this comp too: Soul Scratch, The Ephemerals, Kris Lager, Gene Washington & The Ironsides.
1. Jungle Fire – Comencemos
2. The Droptones – Don’t Get Caught
3. The Rugged Nuggets – Yo Todo Tu Yo
4. Dojo Cuts – You Make Lovin’ Real Easy
5. Ikebe Shakedown – Hard Steppin’
6. On The Spot Trio – Suction
7. Monophonics – Like Yesterday
8. Los Sospechos – Jano’s Revenge
9. The Jive Turkeys – The Reggie
10. Fat Night – Things You Do
11. Alan Evans Trio – Authoritay
12. The Grease Traps – Street Sweeper
13. Gene Washington & The Ironsides – Next To You
14. The Sure Fire Soul Ensemble – City Heights
15. Kris Lager Band – Money & Loneliness
16. In Motion Collective – Jesse’s Jing
17. Orgone – Do What You Came To Do
18. Durand Jones & The Indications – Smile
19. Leroi Conroy – Remember When?
20. Soul Scratch – Pacified
21. Ephemerals – Things
22. The Gripsweats – Ziggy’s Walk
Here is a YouTube Playlist of all of the tracks. ENJOY!!!
With Record Store Day 2016 fast approaching (April 16th), I wanted to post about a few releases that I’m interested in. I already posted about the Son Volt Live at the Bottom Line previously. Tom Petty has been a supporter of RSD from the start with special reissues of his first two albums and a vinyl-only (plus download) live compilation titled Kiss My Amps for Black Friday RSD 2011.
Announced with the rest of the Official RSD list for this year is a sequel– Kiss My Amps Live Vol. 2. Volume 1 focused on the Mojo Tour from 2010. Volume 2 focuses on dates in 2013 and is made up of tracks that were given to members of the Tom Petty fanclub Highway Companions as part of their subscription as a digital download. Notably, Kiss My Amps Volume 1 was not made up of theMojo Tour 2010 download the club got, but were different tracks.
It will be pressed on 180g vinyl and includes covers by The Byrds, Paul Revere and the Raiders/The Monkees, Little Feat and a Traveling Wilburys song. They had to take a track off of it (“Baby, Please Don’t Go”) because the original digital download was 55 minutes and it is tricky to get that much audio per side of an LP and have it sound good. (Even minus the 5:22 of “Baby Please Don’t Go” it’s pretty tight at 49 minutes (24+ per side). Optimally, you want less than 22 minutes per side to get the full bass frequencies.
1. So You Want to Be a Rock N Roll Star (Live Beacon Theatre)
2. I’m Not (You’re Steppin Stone) Live Beacon Theatre
3. Love is a Long Road (Live Fonda Theatre)
4. Two Gunslingers (Live Beacon Theatre)
5. When a Kid Goes Bad (Live Fonda Theatre)
6. Willin’ (Live Fonda Theatre)
7. The Best of Everything (Live Fonda Theatre)
8. Tweeter and the Monkey Man (Live Beacon Theatre)
9. Rebels (Live From Bonnaroo Music & Arts Festival)
10. A Woman In Love (It’s Not Me) (Live From Bonnaroo Music & Arts Festival)
The standout track on here for me is the 8:46 minute version of “Tweeter and the Monkey Man.” For that track alone, this set is essential.
Bull Moose Records lists this at MSRP of $19.98 with their price being $17.97. So, expect your RSD participating store to have it around these prices.
In other Tom Petty news for RSD, there will be a Mudcrutch 7″ featuring tracks from the upcoming Mudcrutch album 2. The A-side is “Trailer” which is a reworking of the Southern Accents outtake. The original version can be heard on the flipside of the “Don’t Come Round Here No More” 7″ or on disc 4 The Other Sides of the Playback boxset. A really great track, and is worthy of a revisit. The song would have improved the song lineup of Southern Accents, in my opinion.