BIG O News

It is perhaps worth mentioning that despite the torrent of filth that Big O continues to allow on their comments section over on what is still one of the best sites for music ROIOs they continue to send out a fine Newsletter and even feature a fun quiz each week

Highlights from this weeks edition received this morning are here:

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LATEST

SPREAD THE WORD - The BigO Update No. 1057

(December 11, 2020)

Started in Oct 1998

IT'S A DEAL, BOB DYLAN SELLS HIS SONGS

By the old wooden stove where our hats was hung,

Our words were told, our songs were sung,

Where we longed for nothin' and were quite satisfied

I wish, I wish, I wish in vain

That we could sit simply in that room again

Ten thousand dollars at the drop of a hat

I'd give it all gladly if our lives could be like that

- from Bob Dylan's Dream

According to the New York Times, Bob Dylan has sold his back catalogue for US$300 million (£225 million), giving Universal the ownership of over 600 songs spanning a period of almost six decades. While the deal means that Universal now control one of the most celebrated back catalogues in history, Dylan is also listed as the principal songwriter on the vast majority of songs - which means Universal does not have to share future revenues with any other songwriters. While Dylan is yet to confirm the reason for the sale, he follows in the footsteps of The Killers, Chrissie Hynde and Blondie - who have all sold publishing stakes in the last 12 months.

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ANYWAY, ANYHOW, ANYWHERE (All the news this week)

THE WAINWRIGHTS FESTIVE LIVESTREAM

Rufus, Martha and Lucy Wainwright have announced details of their annual Christmas show, A Not So Silent Night. This year's event will take the form of a livestream, with each Wainwright sibling performing virtually from LA, Montreal and New York respectively. A Not So Silent Night - Virtually Together will stream live on Veeps.com on December 20 at 12 pm PST/3 pm EST/8 pm GMT, although it will be available for purchase and stream until January 6.

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DAVID BYRNE SURPRISED BY THE NUMBERS THAT STILL SUPPORT TRUMP

Speaking to The Independent, David Byrne was asked if he could have ever imagined the political events of the last five years, particularly in the US. "To be honest, no," Byrne replied, before speaking about the recent presidential elections. "We've all had our dystopian fantasies of what could go wrong, and there's plenty of books and TV shows that represent that. But then to see this happen... Trump was not a surprise. He is what he is. What is surprising is how many people still support him," Bryne said, referring to the amount of support Trump has post-election.

He went on: "When you see the coronavirus exploding across the United States, and how many dead there are, and how many people just don't care about that or think it's a conspiracy, you just go, 'Wow, the country I'm living in isn't the country I thought it was'."

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THIS WEEK'S WTF MOMENT

DAVID BOWIE COINS

A series of David Bowie coins have been released as part of the UK's Royal Mint's music collection - including one that was launched into space. The one ounce coin orbited the Earth's atmosphere for 45 minutes after launch before its eventual return, and it is now being offered as a prize on the Royal Mint's Facebook page. The coin celebrates the music icon's career with a design inspired by his formative years spent living and recording in Berlin, as well as featuring the iconic lightning bolt design from 'Aladdin Sane'.

Fans can purchase the coins from the Royal Mint's website, which range from £13 for a uncirculated £5 coin, all the way to an "out of this world" price, a staggering £72,195 for a kilo gold coin in a denomination of £1,000. 11 of the gold coins will be minted.

* On a personal note I was looking though my mum's effects and bits and pieces this week and found a whole collection of Royal Mint special edition coins from the Royal calendar; the marriage of Princess Anne to Mark Philips and Prince Charles to Lady Diana Spencer plus several others offered by banks at the time that my wife had given Mum too. Upon checking these out it should be noted and maybe of interest to anyone collecting the Bowie coin that the ones my mother had have changed in their valuation in the early naughties as they are now many not even worth face value something which in the past one could always rely on. Banks need not offer the value of Crowns or any such denomination of coin. They are of interested merely to numismatists (coin collectors) and then it would seem scarcely make their face value unless 'mint'! (sic) They are effectively valueless

Nada! Nothing! Zilch! Not worth a bean or the metal they are stamped out of!

                               

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McCARTNEY III DELAYED

The release of Paul McCartney's latest album has been pushed forward to December 18.-

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 Paul McCartney - Inglewood 1989 [Millard Tape]

Click here for the tracks:

http://www.bigozine2.com/

THE LAST WORD on 'GET BACK' the MOVIE 

"The proof is the footage. I bought into the dark side of the Beatles breaking up and thought, 'Oh God, I'm to blame.' I knew I wasn't, but it's easy when the climate is that way to start thinking so.

"But at the back of my mind there was always this idea that it wasn't like that, but I needed to see proof. There's a great photo Linda took, which is my favourite, of me and John working on a song, glowing with joy. This footage is the same. All four of us having a ball.

"I love it, I must say because it's how it was. It just reminds me of - even though we had arguments, like any family - we loved each other, you know, and it shows in the film."

- Paul McCartney on the new Peter Jackson directed 'Get Back' movie. He was talking to the UK Sunday Times, December 2020. McCartney has previously been accused of orchestrating their split, after he announced his departure from the band in April 1970 and later that year filed a law suit which called for the group's formal dissolution.

 

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Yesterday was the 40th Anniversary of the death of John Lennon

JOHN LENNON - OFF THE WALLS 1974

It was 40 years ago today...

JOHN LENNON

Off The Walls (Summer Of 1974) [Masterfraction MCFD 005, 1CD]

Alternate mixes and sessions. Very good soundboard.

Click here for the tracks:

http://www.bigozine2.com/

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By now the latest memes seem to finally accept and make it understandable to get that unfortunately while we still miss him we can calmly take on board now that John was a bit of a dick!

Bless 'im!

Like many brothers he infuriated me and could be a total spanner but we still miss him. ( I imagine (geddit!?) that my own dear brother would often have thought like this about me!! Me about him? Not so much!)

Clapper: You married?

Gripweed: No, I play the harmonica.

– John Lennon (Gripweed) in Richard Lester’s “How I Won the War” (1967)

 

At 5pm yesterday 40 years ago John was approaching the door to his home when the psychopathic so called fan, the vainglorious nonentity desirous of equal fame as his supposed hero, Mark Chapman stepped out and shot him in the back several times. Rushed to emergency hospital John was pronounced D.O.A.

We miss him still . . . . . pillock or nay! Genius? Nah! But he was our pillock!

Brother? yup!

 UNCLE LOU PLAYS STOCKHOLM 1974

This over at Hear Rock City this morning and what a doozie this is! I highly recommend you play this really LOUD!

What a band! No Steve Hunter by now but the line up still is as tight as a gnat's chuff!  This is Lou Reed at his live best . . . . . . alongside Rock N Roll Animal of course and the proof that the seventies really could cook up a storm! This is a quality recording . . . . . . . amongst the best I have down in the Vaults

Lou Reed - Live Konserthuset, STOCKHOLM 1974

If you doubt me, then play one thing today for me . . . . Sweet Jane here is a STORM of FUNK! Danny Weiss on fire throughout with the tightest funk rhythm section of Prakash John on bass and Pentii Glan on drums, along with John Fonfara on keyboards, Stellar line up and no mistake . . . . . . . . . . . 

Notes from the inna sleeve :

The career of Lou Reed defies capsule summarization. Like David Bowie (whom Reed directly inspired in many ways), he has made over his image many times, mutating from theatrical glam rocker to scary-looking junkie to avant-garde noiseman to straight rock & roller to your average guy. A firmer grasp of rock's earthier qualities has ensured a more consistent career path than Bowie's, particularly in his latter years. Yet his catalog is extremely inconsistent, in both quality and stylistic orientation. Liking one Lou Reed LP, or several, or all of the ones he did in a particular era, is no guarantee that you'll like all of them, or even most of them. Few would deny Reed's immense importance and considerable achievements, however. As has often been written, he expanded the vocabulary of rock & roll lyrics into the previously forbidden territory of kinky sex, drug use (and abuse), decadence, transvestites, homosexuality, and suicidal depression. As has been pointed out less often, he remained (and remains) committed to using rock & roll as a forum for literary, mature expression well into middle age, without growing lyrically soft or musically complacent. By and large, he's taken on these challenging duties with uncompromising honesty and a high degree of realism. For these reasons, he's often cited as punk's most important ancestor. It's often overlooked, though, that he's equally skilled at celebrating romantic joy, and rock & roll itself, as he is at depicting harrowing urban realities. 

Although Reed achieved his greatest success as a solo artist, his most enduring accomplishments were as the leader of the Velvet Underground in the '60s. If Reed had never made any solo records, his work as the principal lead singer and songwriter for the Velvets would have still ensured his stature as one of the greatest rock visionaries of all time. The Velvet Underground are discussed at great length in many other sources, but it's sufficient to note that the four studio albums they recorded with Reed at the helm are essential listening, as is much of their live and extraneous material. "Heroin," "Sister Ray," "Sweet Jane," "Rock and Roll," "Venus in Furs," "All Tomorrow's Parties," "What Goes On," and "Lisa Says" are just the most famous classics that Reed wrote and sang for the group. As innovative as the Velvets were at breaking lyrical and instrumental taboos with their crunching experimental rock, they were unappreciated in their lifetime. Five years of little commercial success was undoubtedly a factor in Reed leaving the group he had founded in August 1970, just before the release of their most accessible effort, Loaded. Although Reed's songs and streetwise, sing-speak vocals dominated the Velvets, he was perhaps more reliant upon his talented collaborators than he realized, or is even willing to admit to this day. The most talented of these associates was John Cale, who was apparently fired by Reed in 1968 after the Velvets' second album (although the pair have worked together on various other projects since then). 

Reed has a reputation of being a difficult man to work with for an extended period, and that has made it difficult for his extensive solo oeuvre to compete with the standards of brilliance set by the Velvets. Nowhere was this more apparent than on his self-titled solo debut from 1971, recorded after he'd taken an extended hiatus from music, moving back to his parents' suburban Long Island home at one point. Lou Reed mostly consisted of flaccid versions of songs dating back to the Velvet days, and he could have really used the group to punch them up, as the many outtake versions of these tunes that he actually recorded with the Velvet Underground (some of which didn't surface until about 25 years later) prove. Reed got a shot in the arm (no distasteful pun intended) when David Bowie and Mick Ronson produced his second album, Transformer. A more energetic set that betrayed the influence of glam rock, it also included his sole Top 20 hit, "Walk on the Wild Side," and other good songs like "Vicious" and "Satellite of Love." It also made him a star in Britain, which was quick to appreciate the influence Reed had exerted on Bowie and other glam rockers. 

Reed went into more serious territory on Berlin (1973), its sweet orchestral production coating lyrical messages of despair and suicide. In some ways Reed's most ambitious and impressive solo effort, it was accorded a vituperative reception by critics in no mood for a nonstop bummer (however elegantly executed). Unbelievably, in retrospect, it made the Top Ten in Britain, though it flopped stateside. Having been given a cold shoulder for some of his most serious (if chilling) work, Reed apparently decided he was going to give the public what it wanted. He had guitarists Steve Hunter and Dick Wagner (who had already played on Berlin) give his music a pop-metal, more radio-friendly sheen. More disturbingly, he decided to play up to the cartoon junkie role that some in his audience seemed eager to assign to him. On-stage, that meant shocking bleached hair, painted fingernails, and simulated drug injections. On record, it led to some of his most careless performances. One of these, the 1974 album Sally Can't Dance, was also his most commercially successful, reaching the Top Ten, thus confirming both Reed's and the audience's worst instincts. As if to prove he could still be as uncompromising as anyone, he unleashed the double album Metal Machine Music, a nonstop assault of unlistenable electronic noise. Opinions remain divided as to whether it was an artistic statement, a contract quota-filler, or a slap in the face of the public. 

While Reed has never behaved as outrageously (in public and in the studio) as he did in the mid-'70s, there was plenty of excitement in the decades that followed. When he decided to play it relatively straight, sincere, and hard-nosed, he could produce affecting work in the spirit of his best vintage material (parts of Coney Island Baby and Street Hassle). At other points, he seemed not to be putting too much effort into any aspect of his songs ("Rock and Roll Heart"). With 1978's Take No Prisoners, he delivered one of the weirdest concert albums of all time, more of a comedy monologue (which not too many people laughed hard at) than a musical document. Reed had always been an enigma, but no one questioned the serious intent of his work with the Velvet Underground. As a soloist, it was getting impossible to tell when he was serious, or whether he even wished to be taken seriously anymore.

At the end of the '70s, The Bells set the tone for most of his future work. Reed would settle down; he would play it straight; he would address serious, adult concerns, including heterosexual romance, with sincerity. Not a bad idea, but though the albums that followed were much more consistent in tone, they remained erratic in quality and, worse, could occasionally be quite boring. The recruitment of Robert Quine as lead guitarist helped, and The Blue Mask (1982) and New Sensations (1984) were fairly successful, although in retrospect they didn't deserve the raves they received from some critics at the time. Quine, however, would also find Reed too difficult to work with for an extended period. New York (1989) heralded both a commercial and critical renaissance for Reed, and in truth it was his best work in quite some time, although it didn't break any major stylistic ground. Reed works best when faced with a challenge, which arrived when he collaborated with former partner John Cale in 1990 on a song cycle for the recently deceased Andy Warhol. In both its recorded and stage incarnations, this was the most experimental work that Reed had devised in quite some time. 

Magic and Loss (1992) returned him to the more familiar straight rock territory of New York, again to critical raves. The re-formation of the Velvet Underground for a 1993 European live tour could not be considered an unqualified success, however. European audiences were thrilled to see the legends in person, but critical reaction to the shows was mixed, and critical reaction to the live record was tepid. More distressingly, old conflicts reared their head within the band once again, and the reunion ended before it had a chance to get to America. Cale and Reed at this point seem determined never to work with each other again (the death of Velvet Underground guitarist Sterling Morrison in 1995 seemed to permanently ice prospects of more VU projects). In 1996, the surviving Velvet Underground members were inducted into the Rock and Roll Hall of Fame, performing a newly penned song for their fallen comrade, Morrison. Reed closed the '90s with an album that saw him explore relationships, 1996's Set the Twilight Reeling (many speculated that the album was biographical and focused on his union with performance artist Laurie Anderson), which didn't turned out to be one of Reed's more critically acclaimed releases. He also found time to compose music for the Robert Wilson opera Timerocker, and in 1998, released the "unplugged" album Perfect Night: Live in London. The same year, Reed was the subject of a superb installment of the PBS American Masters series that chronicled his entire career (eventually released as a DVD, titled Rock and Roll Heart). 

2000 saw Reed's first release for Reprise Records, Ecstasy, a glorious return to raw and straightforward rock, a tour de force that many agreed was his finest work since New York. Another collaboration with Robert Wilson, POE-try, followed in 2001 and continued its worldwide stage run through the year. Including new music by Reed and words adapted from the macabre texts of Edgar Allan Poe, POE-try led to Reed's highly ambitious next album, The Raven. Animal Serenade, a double-disc set recorded at the Wiltern Theater in Los Angeles during his 2003 world tour, was issued in spring 2004. The live effort is Reed's tribute of sorts to his celebrated Rock N Roll Animal concert album, which was released 30 years before. In 2007 Reed released Hudson River Wind Meditations, a four-song experimental sound collage that celebrated both the best and worst aspects of Metal Machine Music. 

Reed's solo work ultimately cannot stack up to his Velvet output, despite its many highlights. Still, most would have to concede that with the exception of Neil Young, no other star that rose to fame in the '60s has continued to push himself so diligently into creating work that is meaningful and contemporary. If that means he relies on stock musical and lyrical ideas at times (as Young does), it also means he's proved that rock can remain relevant to listeners other than hormone-crazed teenagers. [Biography by Richie Unterberger & Greg Prato]

 

Lou Reed Konserthuset Stockholm Sweden 14 May 1974

Lou Reed, vocals

Danny Weiss, guitar

Michael Fonfara, keyboards

Prakash John, bass 

Pentti "Whitey" Glan Drums

01.  Sweet Jane 7:43

02.  Vicious 7:10

03.  Sally Cant Dance 4:13

04.  Heroine 10:54

05.  Oh, Jim 8:47

06.  Walk On The Wild Side 7:22

07.  I¥m Waiting For My Man 4:21

08.  Lady Day 10:58

09.  Rock¥n Roll 4:50

10.  White Light / White Heat 5:28

11.  Sister Ray 8:30

Go on you know you want to!  

Mr Bojangles

 

JERRY JEFF WALKER

I forgot that Aquarium Drunkard had posted this for Jerry Jeff Walker t'other day and a fascinating playlist it is too . . . . my brother introduced me to Jerry Jeff when he was going through a real country Highwaymen phase having visited the USA and made it down to Nashville going cross country on Greyhound buses from Idaho to Tennessee and came back with various albums not least a few by Jerry Jeff himself. . . . . . I liked him

Check this out . . . . . 

Jerry Jeff Walker - "I Got My Irons In A Fire Down In Texas" - Aquarium Drunkard

EMILY BARKER

'MACHINE'

 Turning into a women's day . . . new singles from both Amy MacDonald and Emily Barker just posted this

Emily Barker just released Machine, check it out here. 

Here’s what they say about it: 

“Alongside the album version, there are two new versions of Machine here: one was made with Lukas Drinkwater during the first lockdown when we experimented by creating alternative versions to all the songs on the album (you'll hear more about this later down the line), and the other is a solo version - just me clicking my fingers and singing the melody, much in the style of when it was written.

If you haven't seen Tori Styles' wonderful video, that's here too.

Emily x” 

An extraordinary darker track from Emily here and with tremendous accompaniment from her wonderful husband of this year, bassist Lukas Drinkwater

Do check it out . . . . buy it for a couple of quid!

Amy MacDonald 'Fire'

 

Amy MacDonald

Releases another track from 'The Human Demands'

'FIRE'

For a dim and dingy Friday here . . .this should cheer you up!

http://www.amymacdonald.co.uk/

The Human Demands here . . . .

  XTC

GO 2

Now I have said before what a fan of XTC I was (still the loudest band I ever heard at a theatre here in Oxford) and one of the albums that struck me at the time was the brilliant GO 2 album and not least because it was clever and eye-catching in it's ground breaking cover art (Hipgnosis)

I think it is so clever and the first self referential meta-language text for an album I have ever found and it impressed me so much at the time. Finding it again now it was a source of great pleasure and still makes me smile . . . . .I think I bought everything they did as a band and tried to keep up with their off shoot projects, (Dukes of Stratosphear etc) solo antics and so on. I still greatly admire Andy Partridge and Colin Moulding's creativity and for what it's worth I still consider Terry Chambers amongst the very best of drummers and he regularly would feature in ky top ten pop drummers of all time. Andy & Colin possibly as among my favourite pop writers  . . . . . . . Oh we go!

 

This is a video of the Song Battery Brides (Andy Paints Brian) the second track on the album GO 2 by XTC

This is a video of the Song Jumping in Gomorrah the ninth track on the album GO 2 by XTC

This is a video of the Song Meccanik Dancing the first track on the album GO 2 by XTC

This is a video of the Song Are You Receiving Me? by XTC this is not on the album GO 2 by XTC but is a single to try to get a single song in the charts for pop sales. I bought this and others when they came out from my local record store.

David Byrne & Brian Eno

MY LIFE IN THE BUSH OF GHOSTS

A favourite album from when it came out to now (it is always in my top ten and by turn in my top three . . . . .) and I found these pictures of David and Brian working on the album in the studio

 

Brian Eno and David Byrne at Different Fur Studios during the recording of My Life In The Bush Of Ghosts, 1980

Brian Eno and David Byrne at Different Fur Studios during the recording of My Life In The Bush Of Ghosts, 1980

Brian Eno and David Byrne at Different Fur Studios during the recording of My Life In The Bush Of Ghosts, 1980

REGIMENT . . . . 

MEA CULPA

HELP ME SOMEBODY (live)

Unreleased Gems Volume 1

 

 The BBC Archives 

Unreleased Gems Volume 1

Blimey, Jobe has gone into overdrive suddenly over on the wagon! I can hear his floppy boots stomping 

After a quietish time for the last few days (anybody would think it had been Thanksgiving!? ) Jobe has suddenly posted a plethora of gems from the BBC Vaults and they are doozies without exception . . . . . 

BBC Unreleased Gems Vol I - Floppy Boot Stomp

BBC Unreleased Gems Vol II - Floppy Boot Stomp

BBC Unreleased Gems Vol III - Floppy Boot Stomp

BBC Unreleased Gems Vol IV- Floppy Boot Stomp

Complete Track Listing:

BBC Archive Unreleased Gems Vol 1

01. Cream - Outside Women Blues.mp3

02. Julie Driscoll with Brain Auger & Trinity - Old Jim Crow.mp3

03. The Nice - Get To You (version 2--longer).mp3

04. Fleetwood Mac -Dead Shrimp Blues.mp3

05. Al Stewart - Absolutely Sweet Marie.mp3

06. Son House - Death Letters.mp3

07. Kippington Lodge -Younger Girl.mp3

08. Rod Stewart (with Ian MacLagan) - Good Morning Little School Girl.mp3

09. Procol Harum -Morning Dew.mp3

10. Simon and Garfunkel--Can't Help But Wonder Where I'm Bound.mp3

11. Chicken Shack (featuring Christine McVie)--Love Me or Leave Me.mp3

12. Blodwyn Pig -Rock Me Baby.mp3

13. The Iveys -Birthday (Pete Ham lead vocals).mp3

14. David Bowie -Waiting For the Man (version two--radically different).mp3

15. Traffic - Blindman.mp3

16. Brian Auger & Trinity - I'm Not Talking.mp3

17. Love Sculpture - Do I Still Figure In Your Life.mp3

18. Cochise - Past Loves.mp3

19. Mandrake Paddle Steamer - The Ivory Castle Of Solitaire Husker.mp3

20. Joe Cocker - Mr. Bus Driver.mp3

21. Led Zeppelin -Sunshine Woman.mp3

BBC Archive Unreleased Gems Vol 2

01. The Move -Open My Eyes (cuts in and cuts out).mp3

02. Fleetwood Mac -Yonder's Wall.mp3

03. Ten Years After - Woke Up This Morning.mp3

04. The Family - Bring It On Home.mp3

05 .Badfinger - Up on Cripple Creek.mp3

06. Bee Gee's - World 1968.mp3

07. Hollies - Mighty Quinn BBC in Concert.mp3

08. Elmer Gantry's Velvet Opera - All Along The Watchtower.mp3

09. Bakerloo - The Last Blues.mp3

10. Andy Fernbach - Gotta Keep Miovin'.mp3

11. The Crazy World of Arthur Brown - I Put A Spell On You.mp3

12. John Mayall's Bluesbreakers with Eric Clapton - Tears in My Eyes.mp3

13.  Brett Marvin And The Thunderbolts - Drop Down Mama.mp3

14. The Eclection - Charity.mp3

15. Principal Edwards Magic Theatre - Pinky A Mystery Cycle.mp3

16. The Pretty Things - Alexander.mp3

17. Colosseum - February's Valentine.mp3

18.  Kaleidoscope - Flight From Ashiya.mp3

19. Black Sabbath - Evil woman.mp3

20. Trees - On The Shore.mp3

BBC Archive Unreleased Gems Vol 3

01. Ivor Cutler - Bounce, Bounce, Bounce - night ride 1969-05-07.mp3

02. Blodwyn Pig - It's Only Love Top Gear 1969-12-27 .mp3

03. Bonzo Dog Doo Dah Band - Sofa Head Top Gear 1969-12-27 .mp3

04. Bonzo Dog Doo Dah Band - Give Booze A Chance Top Gear 1969-12-27.mp3

05. Colosseum - Lost Angeles Top Gear 1969-12-27.mp3

06. Davey Graham - Rock Me 01-05-1968.mp3

07. Griffin - What A Day It's Been Top Gear 1969-12-27 .mp3

08. Jackie McShane and John Renbourn – Watch The Stars 12-12-1968.mp3

09. Joe Cocker and The Grease Band - Lawdy Miss Clawdy Top Gear 1969-12-27.mp3

10. John Dummer Blues Band - After Hours Top Gear 1968-08-11.mp3

11. John Fahey - The Death Of The Clayton Peacock 1969-05-28.mp3

12.John Martyn – Different To The Book - Night Ride 12-12-1968cor.mp3

13. Juicy Lucy - She's Mine-She's Yours Top Gear 1969-12-27.mp3

14. Leonard Cohen & The Tony Gilbert Group - Dress Rehearsal Rag Top Gear 1968-08-11.mp3

15. Michael Chapman - Postcards Of Scarborough Top Gear 1969-12-27.mp3

16. Richie Havens - High Flying Bird Top Gear 1969-12-27 .mp3

17. The Incredible String Band - This Moment Top Gear 1969-12-27.mp3

18. Tim Rose - Long Haired Boy Top Gear 1968-08-11.mp3

19. Tyrannosaurus Rex - A Day Laye Top Gear 1969-12-27.mp3

BBC Archive Unreleased Gems Vol 4

01. Manfred Mann - Hound Dog - 1966 The Saturday Club.mp3

02. The Troggs - I Can't Control Myself 1966 The Saturday Club.mp3

03. The Animals - Paint It Black 1966 The Saturday Club.mp3

04. Spencer Davis Club - I'm A Man 1967 The Saturday Club.mp3

05. Tomorrow - Real Life Permanent Dream 1967 Top Gear.mp3

06. The Alan Bown Set - Pandora's Golden Heebie Jeebies 1967 Top Gear.mp3

07. The Herd - I Want You 1967 Top Gear.mp3

08. Spooky Tooth - Tobacco Road 1968 Top Gear.mp3

09. Junior’s Eyes - Imagination 1968 Top Gear.mp3

10.Idle Race - Please, No More Sad Songs 1969 Top Gear.mp3

11.Savoy Brown - Train To Nowhere 1969 Top Gear.mp3

12.Roy Harper - Hell's Angels 1969 Top Gear.mp3

13. Third Ear Band - Hyde Park Raga 1969 Top Gear.mp3

14 The Faces - Wicked Messenger 1970 Top Gear.mp3

15.Kevin Ayers - The Interview 1970 Top Gear.mp3

16. Humble Pie - One Eyed Trouser Snake Rumba 1970 John Peels Sessions.mp3

17. Back Door - Linin' Track 1973 In Concert.mp3

18. Swapp Happy - Europa 1974 Top Gear.mp3

19. Pentangle - Light Flight 2008 Stuart Maconie’s Freak Zone.mp3

Extraordinary place the Auntie Beeb in the Sixties!

 Enjoy!