Friday, July 31, 2015

Led Zeppelin - Studio Magik: Sessions 1968-1980

Led Zeppelin
Studio Magik
Sessions 1968-1980




Normally I stay away from nonofficial releases on this blog... but the mailman was a day early today and brought gifts: The last three Led Zeppelin remasters... I have been like a child on xmas morning all day. So, since I am not going to post those, (go fucking buy them and make Jimmy some money.) we decided to post this lavish box set by the now defunct Godfather Records (Do I hear Eat A Peach?) , that included all the unreleased studio music we had from Led Zeppelin... 18 cd's of it!
I hope you enjoy this box as much as I do... and don't forget to get the last three remasters tomorrow morning!



  CD 01: Led Zeppelin I & II Sessions

01 Babe I'm Gonna Leave You (Take 8)
02 Babe I'm Gonna Leave You (Take 9, Stopped)
03 Babe I'm Gonna Leave You (Take 9, Complete)
04 You Shook Me
 Recorded at Olympic Studios, Barnes, London, England on September 27, 1968

05 Baby Come On Home (Take 1, Stopped)
06 Baby Come On Home (Take 2, Stopped)
07 Baby Come On Home (Take 3, Complete
 Recorded at Olympic Studios, Barnes, London, England on October 10, 1968

08 Guitar Organ Instrumentals (Take 1)
09 Guitar Organ Instrumentals (Take 2)
10 Guitar Organ Instrumentals (Take 3)
11 Guitar Organ Instrumentals (Take 4)
12 Guitar Organ Instrumentals (Take 5)
13 Guitar Organ Instrumentals (Take 6)
14 Guitar Organ Instrumentals (Take 7)
 Recorded at Olympic Studios, Barnes, London, England on October 1968

15 Moby Dick (Intro & Outro)
16 Drum Solo
 Recorded at Mirror Sound, Los Angeles, CA between May 4th and 6th, 1969

17 Sugar Mama
 Recorded at Morgan Studios, Willesden, London, England in June 1969

18 We're Gonna Groove
 Recorded at Morgan Studios, Willesden, London, England on June 25th, 1969



CD 02: Led Zeppelin II Multitracks - Whole Lotta Love

01 Whole Lotta Love (Main Guitar)
02 Whole Lotta Love (Guitar Overdubs)
03 Whole Lotta Love (Bass)
04 Whole Lotta Love (Drums Right)
05 Whole Lotta Love (Drums Left)
06 Whole Lotta Love (Tympani / Tambourine)
07 Whole Lotta Love (Vocals)
08 Whole Lotta Love (Vocal Overdubs)
09 Whole Lotta Love (Multitrack Mixdown, Version 1)
10 Whole Lotta Love (Multitrack Mixdown, Version 2)
11 Whole Lotta Love (Multitrack Mixdown, Version 3)
12 Whole Lotta Love (Multitrack Mixdown Showcase)
 Recorded at Olympic Studios, Barnes, London, England in May 1969



CD 03: Led Zeppelin II Multitracks - What Is And What Should Never Be

01 What Is And What Should Never Be (Main Guitar)
02 What Is And What Should Never Be (Bass)
03 What Is And What Should Never Be (Drum Right)
04 What Is And What Should Never Be (Drum Left)
05 What Is And What Should Never Be (Main Vocal)
06 What Is And What Should Never Be (Vocal Overdubs Take 1)
07 What Is And What Should Never Be (Vocal Overdubs Take 2)
08 What Is And What Should Never Be (Guitar and Vocals Overdubs)
09 What Is And What Should Never Be (Multitrack Mixdown, Version 1)
10 What Is And What Should Never Be (Multitrack Mixdown, Version 2)
11 What Is And What Should Never Be (Multitrack Mixdown, Version 3)
 Recorded at Groove Studios, New York City and Olympic Studios, London in June 1969



CD 04: Led Zeppelin II Multitracks - Heartbreaker

01 Heartbreaker (Main Guitar Take 1)
02 Heartbreaker (Main Guitar Take 2)
03 Heartbreaker (Bass)
04 Heartbreaker (Drum Right)
05 Heartbreaker (Drum Left)
06 Heartbreaker (Guitar, Bass And Drums)
07 Heartbreaker (Vocals)
08 Heartbreaker (Vocals And Guitar)
09 Heartbreaker (Multitrack Mixdown, Version 1)
10 Heartbreaker (Multitrack Mixdown, Version 2)
 Recorded And Mixed at A&R Studios, New York City, NY on May 30th and 31st, 1969



CD 05: Led Zeppelin II Multitracks - Ramble On

01 Ramble On (Acoustic Guitar)
02 Ramble On (Electric Guitar)
03 Ramble On (Guitar Overdubs)
04 Ramble On (Bass)
05 Ramble On (Drum Right)
06 Ramble On (Drum Left)
07 Ramble On (Vocals)
08 Ramble On (Vocals And GUitar)
09 Ramble On (Multitrack Mixdown, Version 1)
10 Ramble On (Multitrack Mixdown, Version 2)
11 Ramble On (Multitrack Mixdown, Version 3)
12 Ramble On (Multitrack Mixdown, Version 4)
13 Ramble On (Multitrack Mixdown, Version 5)
14 Ramble On (Multitrack Mixdown, Version 6)
 Recorded at Juggy Sound Studio, New York City in June 1969



CD 06: Led Zeppelin III Sessions

01 Jennings Farm Blues (Take 1, Stopped)
02 Jennings Farm Blues (Take 2, Stopped)
03 Jennings Farm Blues (Take 3, Stopped)
04 Jennings Farm Blues (Take 4, Stopped)
05 Jennings Farm Blues (Take 5, Stopped)
06 Jennings Farm Blues (Take 6, Complete Basic Version)
07 Jennings Farm Blues (Take 7, Stopped)
08 Jennings Farm Blues (Take 8, Stopped)
09 Jennings Farm Blues (Take 9, Stopped)
10 Jennings Farm Blues (Take 10, Stopped)
11 Jennings Farm Blues (Take 11, Stopped)
12 Jennings Farm Blues (Take 12, Complete Full Mix)
 Recorded at Olympic Studios, Barnes, London, England in November 1969)

13 Untitled Guitar Instrumentals
 Recorded at Bron-Yr-Aur Cottage, Wales in May 1970



CD 07: Led Zeppelin III Sessions (Part 2)


01 Guitar Instrumental (Take 1)
02 Guitar Instrumental (Take 2)
03 Poor Tom (Take 1)
04 Guitar Instrumental (Take 3)
05 Guitar Instrumental (Take 4)
06 The Boy Next Door (Take 1)
07 The Boy Next Door (Take 2)
08 The Boy Next Door (Take 3)
09 The Boy Next Door (Take 4)
10 The Boy Next Door (Take 5)
11 My Oh My (Takes 1 & 2)
12 Bron-Yr-Aur (Takes 1 & 2)
13 Guitar Instrumental (Take 5)
14 Guitar Instrumental (Take 6)
15 Guitar Instrumental (Take 7)
16 Bron-Yr-Aur (Take 3)
17 My Oh My (Takes 3 & 4)
18 Bron-Yr-Aur (Take 4)
19 Poor Tom (Takes 2 - 6)
20 Hey Hey What Can I Do (Takes 1 & 2)
21 Immigrant Song
22 Bathroom SOng
 Recorded at Headley Grange Studios, Hampshire, England, between May and June 1970

23 Poor Tom (Take 1, Instrumental)
24 Poor Tom (Take 2, With Vocals)
 Recorded at Morgan Studios, Willesden, London, England on May 6th, 1970

25 Celebration Day (Instrumental)
26 Hey Hey What Can I Do (Instrumental)
27 Out On The Tiles (Instrumental
 Recorded between May and June 1970, Location Unknown



CD 08: Led Zeppelin III & IV Sessions


01 That's The Way (Full Mix)
02 Feel So Bad (Takes 1 & 2)
03 Since I've Been Loving You (Vocal Track)
04 Since I've Been Loving You (Full Mix)
 Recorded at Olympic Studios, Barnes, London, between May and June 1970

05 Stairway To Heaven (Take 1, Instrumental)
06 Blues Guitar / Piano Improvisation
07 Black Dog (Take 1, Acoustic Instrumental)
08 Black Dog (Take 2, Acoustic Instrumental)
09 Black Dog (Rehearsal)
10 No Quarter
11 Stairway To Heaven (Take 2, Instrumental)
12 Stairway To Heaven (Take 3, Instrumental)
13 Stairway To Heaven (Take 4, Instrumental)
14 Electric Guitar Improvisation
15 Stairway To Heaven (Take 5, With Vocals)
16 Stairway To Heaven (Take 6, With Vocals)
17 Stairway To Heaven
18 Night Flight
 Recorded at Headley Grange Studios, Hampshire, England, between January and february 1971)



CD 09: Led Zeppelin IV Sessions


01 The Battle Of Evermore (Take 1)
02 The Battle Of Evermore (Take 2)
03 The Battle Of Evermore (Take 3)
04 The Battle Of Evermore (Take 4)
05 The Battle Of Evermore (Take 5)
06 The Battle Of Evermore (Take 6)
07 Four Sticks (Take 1, Instrumental)
08 Four Sticks (Take 2, with Vocals)
09 Black Dog
10 When The Levee Breaks (Take 1)
11 When The Levee Breaks (Take 2)
 Recorded at Headley Grange Studios, Hampshire, England, between January and February 1971)



CD 10: Bombay Rehearsals & Houses Of The Holy Sessions


01 Friends (Rehearsing The Tune)
02 Four Sticks (Take 1)
03 Friends (Take 1)
04 Friends (Take 2)
05 Friends (Take 3)
06 Four Sticks (Take 2)
07 Four Sticks (Take 3)
08 Four Sticks (Take 4)
 Recorded at EMI Studios Bombay in March 1972

09 Walter's Walk (Take 1, Instrumental)
10 Walter's Walk (Take 2, With Vocals)
11 Walter's Walk (Take 3, With Vocals)
 Recorded with the Rolling Stones Mobile Studio at Stargroves, Newbury, Berkshire on May 15th, 1972



CD 11: Houses Of The Holy Sessions & Lucifer Rising


01 No Quarter (Take 1, Instrumental, Complete)
02 No Quarter (Take 2, Stopped)
03 No Quarter (Take 3, Stopped)
04 No Quarter (Take 4, Instrumental)
05 No Quarter (Take 5, Stopped)
06 No Quarter (Take 6, Stopped)
07 No Quarter (Take 7, Complete)
 Recorded at Island Studios, London in June 1972

08 Incubus
09 Damask
10 Unharmonics
11 Damask (Ambient Version)
12 Lucifer Rising
13 Lucifer Rising (Percussive Return)
 Recorded at Boleskine House, Loch Ness, Scotland between October and November 1973



CD 12: Pre-Physical Graffiti Outtakes (Part 1)


01 Untitled Instrumental
02 Untitled Instrumental
03 Ten Years Gone (Takes 1 - 12)
 Recorded at Headley Grange Studios, Hampsire in November 1973



CD 13: Pre-Physical Graffiti Outtakes (Part 2)


01 Swan Song
 Recorded at Headley Grange Studios, Hampsire in November 1973



CD 14: Physical Graffiti Outtakes (Part 1)


01 The Wanton Song (Take 1)
02 The Wanton SOng (Take 2)
03 Take Me Home (Take 1)
04 Take Me Home (Take 2)
05 In The Morning (Take 1)
06 Trampled Underfoot (Takes 1 - 9)
07 In The Morning (Take 2)
08 Sick Again
09 The Rover
10 Untitled Instrumental
11 ABC Song
12 In My Time Of Dying (Takes 1 - 7)
13 The Wanton Song
14 Trampled Underfoot
 Recorded at Headley Grange Studios, Hampsire between January and February 1974



CD 15: Physical Graffiti Outtakes (Part 2)


01 Ten Years Gone (Takes 1 - 4)
02 Boogie With Stu (Takes 1 - 9)
03 Night Flight (Takes 1 - 11)
04 Trampled Underfoot
05 Kashmir
06 Custard Pie
07 In The Light
08 Swan Song (Take 1)
09 Swan Song (Take 2)
 Recorded at Headley Grange Studios, Hampsire between January and February 1974



CD 16: Presence & In Through The Out Door Outtakes


01 Wanton Song
02 Wanton Song
 Recorded at Headley Grange Studios, Hampsire between January and February 1974

03 Royal Orleans
04 Tea For One
05 Don't Start Me Talking / All My Lovin'
 Recorded at SIR, Hollywood, CA in October 1975

06 Bonzo's Montreux (Take 1)
07 Bonzo's Montreux (Take 2)
 Recorded at Mountain Studios, Montreux on September 12th, 1976

08 Fire
09 Carouselambra (Takes 1 - 4)
 Recorded in Clearwell Castle, Gloucestershire in May 1978

10 Drum Segment
11 Carouselambra
12 Ozone Baby (Take 1)
13 Ozone Baby (Take 2)
14 All My Love
15 Wearing And Tearing
16 I'm Gonna Crawl
17 Fool In The Rain
 Recorded at Polar Studios, Stockholm in November 1978



CD 17: In Through The Out Door Sessions


01 Carouselambra (Take 1)
02 Wearing And Tearing
03 Fool In The Rain (Take 1)
04 Hot Dog
05 In The Evening
06 Southbound Saurez
07 Darlene
08 Fool In The Rain (Take 2)
09 Carouselambra (Take 2)
10 All My Love
 Recorded at Polar Studios, Stockholm in November 1978



CD 18: In Through The Out Door Sessions & Final Rehearsals


01 Ozone Baby (Take 1)
02 Ozone Baby (Take 2)
 Recorded at Polar Studios, Stockholm on November 14th, 1978

03 Darlene (Take 1)
04 Darlene (Take 2)
 Recorded at Polar Studios, Stockholm on November 16th, 1978

05 Wearing And Tearing (Take 1)
06 Wearing And Tearing (Take 2)
 Recorded at Polar Studios, Stockholm on November 21st, 1978

07 White Summer (take 1)
08 White Summer (Take 2)
09 Kashmir
10 Achilles Last Stand (Take 1)
11 Achilles Last Stand (Take 2)
12 Stairway To Heaven
 Recorded at The Rainbow Theatre, London, between April and May 1980



While I have numerous titles containing Led Zeppelin Studio Outtakes I do not collect them as much as I do their live music. Years back I bought the Scorpio Studio Sessions Ultimate title as kind of a final word and up until now was a (for me) defining release of this material. Upon the official announcement that The Don would be attempting to produce a definitive collection of this material did I think, time to upgrade?  One only has to look at the scope of this collection, every known bit of out take and rehearsal material known to circulate among collectors. The new set is prepared in chronological order, each CD has its own subtitle and the set comes with an excellent 60 page booklet with detailed notes on each session from the incomparable Paul De Luxe and The Hermit. There are six gatefold sleeves that house the CDs, all have the track listing on the back and are beautifully adorned with studio shots of the band during the era found within the compact discs. The box itself is striking in its simplicity, a Black box with gold lettering with the Swan Song logo and individual band member signs on the cover; of course it is slightly thicker to accommodate six sets as well as the booklet. The care shown in the sets creation and its accuracy in detail are second to none, and for now this must be considered as definite as it stands at this time, for we do not know what will be unearthed in the future. The massive 18 disc set just so happens to be Box number 18 of an incredible line of box sets that has garnered praise from collectors.

Doing a review such as this is a daunting task and one that can include some pains to produce and I was incredibly lucky to have some superb references along the way that must be acknowledged. Firstly to Gerard’s excellent review of the Scorpio Studio Sessions, since that set came with a flimsy sheet with only basic information I long ago printed a copy of his review to use as a reference guide. Secondly to the Led Zeppelin Data Base and Argenteum Astrum, a site with a massive amount of information and a vast help for this review and also for my general collecting needs. Of course Led Zeppelin Live by Luis Rey and Dave Lewis’ Concert File are always excellent resources and inspiration in not only how I write a review but thanks to Luis how I listen to these tapes, both the studio and live material.



Disc 1 (65:59) Led Zeppelin I and II Sessions – Olympic Sound Studios Barnes, London England September 27,1968; Babe I’m Gonna Leave You (take 8), Babe I’m Gonna Leave You (Take 9 stopped), Babe I’m Gonna Leave You (Take 9 complete), You Shook Me. Olympic Sound Studios Barnes, London England October 10, 1968; Baby Come On Home (AKA Tribute To Bert Berns / Take 1 stopped), Baby Come On Home (AKA Tribute To Bert Berns / Take 2 stopped), Baby Come On Home (AKA Tribute To Bert Berns / Take 3 Complete. Olympic Sound Studios Barnes, London England October 1968; Guitar Organ Instrumentals (Take 1), Guitar Organ Instrumentals (Take 2), Guitar Organ Instrumentals (Take 3), Guitar Organ Instrumentals (Take 4), Guitar Organ Instrumentals (Take 5), Guitar Organ Instrumentals (Take 6), Guitar Organ Instrumentals (Take 7). Mirror Sound, Los Angeles, California between May 4-6 1969; Moby Dick (intro & outro), Drum Solo. Morgan Studios, Willesden, London England June 1969; Sugar Mama. Morgan Studios, Willesden, London England June 25, 1969; We’re Gonna Groove

These outtakes can be found in parts on the titles Olympic Gold on Scorpio (LZ 92-SC), Gems + Jams (ZELCD101), Studio Haze (Laughing Skull), Anyway You Want (KFM 008), Babe, I’m Gonna Leave You (Dynamite Studio DS92J031), Hairway To Steven (Invasion Unlimited IU9645-1), Early Days (Refinded Masters), Studio Sessions (Antrabata), and Studio Sessions Ultimate (Scorpio LZ-07001~12). “We’re Gonna Groove” is found on Different Mixed Coda (POT), The Lost Sessions Volume 8 ~ Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc).

The sound quality of the material when compared to the Scorpio set is not as amplified as much so there is less hiss and has a warmer sound. Plant’s raw vocal on “Babe I’m Gonna Leave” is superb as well as is his vocal improvisations. I enjoy the “Baby Come On Home”, throw the backing vocals out and blues it up just a little it would have been an incredible song, I love the sound of Page’s guitar as well. The “Guitar Organ Instrumentals” are also good, Page’s playing is simply wonderful, it would have been interesting to here parts of this during his “White Summer / Black Mountain Side” showcase in the live shows. The “Moby Dick” outtakes are a very nice upgrade is sound versus the Scorpio titles as is “Sugar Mama”, there is still tape hiss present but they sound clearer. The version of “We’re Gonna Groove” was later released on Coda, this was not found on the Scorpio title but thankfully added to this set.

Disc 2 (72:28)  Led Zeppelin II Multi Tracks – Rehearsed and assembled during the bands second American Tour in 1969 with basic framework recorded at Olympic Sound Studios London May 1969 with additional overdubs added in Los Angeles. Final mix by Eddie Kramer and Page over two days at A&R Studios, New York City, NY. August 1969; Whole Lotta Love (main guitar bleed), Whole Lotta Love (guitar overdubs bleed), Whole Lotta Love (bass bleed), Whole Lotta Love (drum right bleed), Whole Lotta Love (drum left bleed), Whole Lotta Love (tympani tambourine bleed), Whole Lotta Love (vocals bleed), Whole Lotta Love (vocals overdubs bleed), Whole Lotta Love (multi track mix down version 1), Whole Lotta Love (multi track mix down version 2), Whole Lotta Love (multi track mix down version 3), Whole Lotta Love (multi track mix down showcase)

Disc 3 (58:11) Led Zeppelin II Multi Tracks – Recorded June 1969 at Groove Studios New York and Olympic Sound Studios London. Mixed at A&R Studios New York; What Is And What Should Never Be (main guitar bleed), What Is And What Should Never Be (bass bleed), What Is And What Should Never Be (drum right bleed), What Is And What Should Never Be (drum left bleed), What Is And What Should Never Be (main vocals bleed), What Is And What Should Never Be (vocal overdubs bleed take 1), What Is And What Should Never Be (vocal overdubs bleed take 2), What Is And What Should Never Be (guitar and vocal overdubs), What Is And What Should Never Be (multi mix down version 1), What Is And What Should Never Be (multi mix down version 2), What Is And What Should Never Be (multi mix down version 3)

Disc 4 (72:31) Led Zeppelin II Multi Tracks – Recorded and mixed in A&R Studios New York City, NY. May 30, 31, 1969; Heartbreaker (main guitar bleed take 1), Heartbreaker (main guitar bleed take 2), Heartbreaker (bass bleed), Heartbreaker (drum right bleed), Heartbreaker (drum left bleed), Heartbreaker (guitar bass drum bleed), Heartbreaker (vocals bleed), Heartbreaker (vocals and guitar bleed), Heartbreaker (multi track mix down version 1), Heartbreaker (multi track mix down version 2)

Disc 5 (61:41) Led Zeppelin II Multi Tracks – Recorded in Juggy Sound Studio, New York in June 1969 and mixed in A&R Studios in New York; Ramble On (acoustic guitar bleed), Ramble On (electric guitar bleed), Ramble On (guitar overdub bleed), Ramble On (bass bleed), Ramble On (drum right bleed w/tympani), Ramble On (drum left bleed w/tympani), Ramble On (vocals bleed), Ramble On (vocals and guitar bleed), Ramble On (multi track mix down version 1), Ramble On (multi track mix down version 2), Ramble On (multi track mix down version 3), Ramble On (multi track mix down version 4), Ramble On (multi track mix down version 5), Ramble On (multi track mix down version 6)

All Our Love (Beelzebub Records), Alternates And Outtakes I & II Volume 1 (Boogie Mama), The Black Bomber – The Recording Sessions (Beelzebub Records), Countdown (Boogie Mama), Early Ramshackle Days (Beelzebub Records), Led Zeppelin II Multi Track Mixdowns (Empress Valley Supreme Disc), The Lost Sessions Volume 2 (Empress Valley Supreme Disc), The Making Of Led Zeppelin II (Empress Valley Supreme Disc), Royal Albert Hall 1970 (Wendy Records). The most recent of Zeppelin outtakes to see the light of day, early in this millennium. They provide a fascinating glimpse into not only the mixing but how the songs were written and constructed. While sometimes some of the bleed tracks can get tedious other times you marvel at some sounds or parts you never heard before. I have always enjoyed the Classic Album series on VH1 (and on DVD) for this reason. The ensuing multi track mix downs are superb and offer a different glimpse at these songs we all know so well. The sound quality on all is impeccable stereo perfection and these outtakes are considered essential. The “Whole Lotta Love” mix down version 3 has an incredible ending. The mix downs for “What Is And What Should Never Be” have many added guitar snippets with version 2 and 3 being very enjoyable. The last “Heartbreaker” mix down version 2 has a much different guitar solo and some accented slides as well as some vocals snippets and is a superb mix up. The “Ramble On” disc is particularly interesting; the acoustic guitar bleed brings to light a lot of the depth of the song you don’t usually hear and notice due to the eventual prominence of the electric guitar. “Ramble On” has the most multi mixes, all variations of each other with extra vocals and guitar and drum snippets scattered throughout.

Disc 6 (71:38) Led Zeppelin III Sessions – Recorded at Olympic Sound Studios, Barnes, London England November 1969; Jennings Farm Blues (take 1 stopped), Jennings Farm Blues (take 2 stopped), Jennings Farm Blues (take 3 stopped), Jennings Farm Blues (take 4 stopped), Jennings Farm Blues (take 5 stopped), Jennings Farm Blues (take 6 complete basic version), Jennings Farm Blues (take 7 stopped), Jennings Farm Blues (take 8 stopped), Jennings Farm Blues (take 9 stopped), Jennings Farm Blues (take 10 stopped), Jennings Farm Blues (take 11 stopped), Jennings Farm Blues (take 12 complete full mix) Recorded at Bron-Yr-Aur Cottage Machynlleth Gwynedd, Wales sometime between April and May 1970; Untitled Guitar Instrumentals

The Jennings Farm Blues material is an electric take on the Led Zeppelin III acoustic song “Bron-Yr-Aur Stomp”, recorded as a possible single but the song remained unreleased by the band although one can certainly tell that considerable work went into it. It was first found on Jennings Farm Blues (Scorpio) and featured on 1970 Studio Works (Theramin Music), Alternates And Outtakes III Volume 2 (Boogie Mama), The Lost Sessions Volume 6 (Empress Valley Supreme Disc), Scorpio Rising (Akashic), Sessions (Antrabata Reference Master), and Studio Sessions Ultimate (Scorpio). The sound source has been excellent since its first release; again the music does not seem as amplified as the Scorpio Studio Sessions Ultimate and has a warmer natural sound to it.

The “Untitled Guitar Instrumentals” have a long history and are a much valued tape in Led Zeppelin history as they are the only known tape of the band playing at Bron-Yr-Aur cottage in Wales. Long tired of touring in America and the social upheaval that was happening and directly affecting them they retreated to the quiet countryside to compose and the mostly acoustic material that came from it formed a good deal of the third and fourth records. The recordings have a long history with bootleggers going back to the vinyl days of Bootleg LP’s The Alternative Led Zeppelin III (The Swingin’ Pig Records), Best Of Led Zeppelin Vol. 1 (Rock Solid Records), The Final Option (Rock Solid Records & The Swingin’ Pig Records), Led Zeppelin Film Can (Rock Solid Records), Led Zeppelin III Studio Rehearsals May 1970 (RL Records), More Inedits (MLZ), Studio Rehearsals May 1970 (Rock Live), Studio Rehearsals 1967-1971 Part 1 (Grasshopper), & III To Get Ready (Early Times) and on compact disc under titles like 1970 Studio Works (Theramin Music), Another Way To Wales (Black Swan), Led Zeppelin III (Tarantura), Sessions (Antrabata Reference Master), Studio Sessions Ultimate (Scorpio “new”), Tribute To Johnny Kidd And The Pirates (Scorpio “old”), Ultra Rare Tracks Volume 1 (Missing Link), & Ultra Rare Trax Part 2 (Savage Beast Music). The quality found on the Godfather box is very similar to what is on the Scorpio Studio Sessions Ultimate. There are many song references thrown in, my favorite is “Down By The Seaside” and although is just an early run through has many of the laid back components of the yet to be recorded version. Where the Scorpio version has song indexes, unfortunately the Godfather is one long 46 minute track. Another of the really great early tapes.


Disc 7 (69:40) Led Zeppelin III Sessions (part 2) – Recorded at Headley Grange Studios, Hampshire England sometime between May and June 1970; Guitar Instrumental (take 1), Guitar Instrumental (take 2), Poor Tom (take 1), Guitar Instrumental (take 3), Guitar Instrumental (take 4), The Boy Next Door aka That’s The Way (take 1), The Boy Next Door aka That’s The Way (take 2), The Boy Next Door aka That’s The Way (take 3), The Boy Next Door aka That’s The Way (take 4), The Boy Next Door aka That’s The Way (take 5), My Oh My aka Friends (takes 1-2), Guitar Instrumental (take 5), Guitar Instrumental (take 6), Guitar Instrumental (take 7), Bron-Yr-Aur (take 3), My Oh My aka Friends (takes 3-4), Bron-Yr-Aur (take 4), Poor Tom (takes 2-6), Hey Hey What Can I Do (takes 1-2), Immigrant Song, Bathroom Song aka Out On The Tiles. Recorded at Morgan Studios Willesden London England on May 6, 1970; Poor Tom (take 1 instrumental), Poor Tom (take 2 w/ vocals)

The first set of material is a rehearsal amateur tape some have attributed to Bron-Yr-Aur Cottage but it cannot be confirmed so it is label as Headley Grange. It has also been in circulation for a long period, Bootleg LP References are  The Alternate Led Zeppelin III (The Swingin’ Pig Records), Hiawatha Express (Stash) & The Making Of Friends (III) while on compact disc as 1970 Studio Works (Theramin Music), Alternates And Outtakes III Volume 2 (Boogie Mama), Another Way To Wales (Black Swan), Hiawatha Express (Toasted/Condor), Led Zeppelin III (Tarantura), Sessions (Antrabata Reference Master), Stairway Sessions (Silver Rarities), Studio Sessions Ultimate (Scorpio “new”), Tribute To Johnny Kidd And The Pirates (Scorpio “old”), & Ultra Rare Trax Part 2 (Savage Beast Music). Again the tape is similar to the sound of the Scorpio Studio Session Ultimate. Being an amateur style recording there is some notable tape hiss present and at times what sounds like wind moving across the microphones is present but does not detract from the listening experience, just adds to the ambiance.

This is a very intimate tape featuring just Page and Plant giving us a glimpse inside their unique musical bond. “Poor Tom” features some nice percussion from what sounds like Plant clapping along on his legs as they are seated. The many takes of “The Boy Next Door” are wonderful, soft and gentle with some great improvised guitar from Page; clearly his skills on the acoustic guitar are vast. Great to hear the sounds of a dog, possibly Plant’s beloved Stryder adding his own compliment. The early takes of “Friends” include bongos from Plant and we see that musically it is taking shape, Plant sings vocal harmonies of what is to become the lyrics and Page adds harmonized vocals to flesh it out. You can clearly here Robert’s child during Take 3 of “Bron-Yr-Aur”, the addition of “Hey Hey What Can I Do?” with the acoustic guitar from Plant and some mandolin from Page sounds very like something you would hear from The Band. The early band versions of “Immigrant Song” and “Out On The Tiles” are tentative sounding, the latter has the chorus intact but the rest will continue to take shape.

The two takes of “Poor Tom” are excellent sounding outtakes, the final one being what is used on Coda. They sound just slightly fuzzy and are one of my favorite songs from that record. Previously found on All Our Love (Beelzebub Records), Alternates And Outtakes III Volume 2 (Boogie Mama), Coda Advanced Tapes (Boogie Mama), Different Mixed Coda (POT), The Lost Sessions Volume 8 ~ Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc), Sessions (Antrabata Reference Master), Studio Sessions Ultimate (Scorpio).

The rest of the record is taken up with excellent quality outtakes of “Celebration Day”, “Hey Hey What Can I Do?”, and “Out On The Tiles” sans vocals. They sound close to the final mixes and have seen compact disc releases as All Our Love (Beelzebub Records), Alternates And Outtakes III Volume 2 (Boogie Mama), The Lost Mixes EP Volume 3 ~ Led Zeppelin 1970-1971 (Empress Valley Supreme Disc), Outside The Door (Beelzebub Records), The Smithereens (Akashic, 1CD & 3CD), incredible as it sounds the story has the tapes being found in the garbage.

Disc 8 (78:04) Led Zeppelin III and IV Sessions – Recorded at Olympic Sound Studios, Barnes, London England sometime between May and June 1970; That’s The Way (full mix), Feel So Bad (aka Hats Off To Roy Harper takes 1-2) Medley includes Fixin’ To Die, That’s Alright Mama, Since I’ve Been Loving You (vocal track), Since I’ve Been Loving You (full mix). Recorded at Headley Grange Studios, Hampshire England sometime between January and February 1971; Stairway To Heaven (take 1 instrumental), Blues Guitar / Piano improvisation, Black Dog acoustic (take 1 instrumental), Black Dog acoustic (take 2 instrumental), Black Dog electric (rehearsal), No Quarter, Stairway To Heaven (take 2 instrumental), Stairway To Heaven (take 3 instrumental), Stairway To Heaven (take 4 instrumental), Electric Guitar Improvisation, Stairway To Heaven (take 5 w/ vocals), Stairway To Heaven (take 6 w/ vocals), Stairway To Heaven, Night Flight

The remainder of the LZIII out takes start disc eight, in incredible sound. It first appeared on Studio Daze (Scorpio) and was followed on titles like 1970 Studio Works (Theramin Music), Alternates And Outtakes III Volume 2 (Boogie Mama), Led Zeppelin III (Tarantura), Live On Tour With Led Zeppelin Volume 1 (Beelzebub Records), The Lost Sessions Volume 6 (Empress Valley Supreme Disc), Scorpio Rising (Akashic), Sessions (Antrabata Reference Master), Studio Daze Revisited (Scorpio), Studio Sessions Ultimate (Scorpio), & Ultra Rare Trax Part 2 (Savage Beast Music). The versions are excellent studio mixed version in outstanding quality and are musically a revelation. The song titles “Feel So Bad” is the music of “Hats Off To Harper” with lyrics from “Fixin’ To Die” and Elvis’ “Thats Alright Mama” sung in the “Hats Off” style.  The vocal track of “Since” is good but the final full mix of the song is incredible. It reeks with emotion and passion like no other song in the band’s vast catalog does and the playing was described by Plant as the sound of Led Zeppelin live, if the bootleggers microphones could accurately capture the bands sound, this song would be it.

The IV album outtakes are essential listening, mostly due to the fact that we are treated to several quality rehearsals of “Stairway To Heaven”, as well as other gems to boot. This recording has been out many times on bootleg LP as And IV To Go (Ugly Duckling), Inedits (LZ 1-2), Led Zeppelin IV Studio Rehearsals January 1971 (RL Records), Studio Rehearsals January 1971 (Rock Live), & Studio Rehearsals 1967-1971 Part 1&2 (Grasshopper) and on bootleg CD as All That Glitters Is Gold (Celebration Definitive Masters), The Lost Sessions Volume 9 (Eelgrass), The Lost Sessions Volume 9 ~ All Roads Lead To Headley Grange 1 (Empress Valley Supreme Disc), Sessions (Antrabata Reference Master & The Diagrams Of Led Zeppelin), Studio Sessions Ultimate (Scorpio), Ultra Rare Tracks Volume 1 (Missing Link), & Ultra Rare Trax Part 2 (Savage Beast Music). The “Stairway” versions start off rudimentary and have early versions of “Black Dog” in between, it is great to here Jonesy give direction and Plant improving the lyrics, something he would continue to do onstage. There is an early version of “No Quarter” also, a song that would continue to be worked on until its final form the next year. The history of “Stairway” is one of legend, the music comes to Page and upon hearing it Plant started the lyrics in a blast of semiotic energy between the two, this is a glorified idea but is pretty much confirmed when listening to the versions of the song. The sound is very similar to that of the Scorpio Studio Sessions Unlimited.

The last take of “Stairway” is an excellent studio outtake released as The Lost Sessions Volume 9 ~ All Roads Lead To Headley Grange 1 (Empress Valley Supreme Disc), some claim its legitimacy but Plant’s vocals are slightly different and Page’s guitar solo is total different, he has stated in many interviews that several solo were recorded. “Night Flight” is the full mix of the song minus overdubs done prior to its being released on Physical Graffiti, it has been previously found on Coda Advanced Tapes (Boogie Mama), The Lost Sessions Volume 8 – Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc).

Disc 9 (60:26) Led Zeppelin IV Sessions – Recorded at Headley Grange Studios, Hampshire England sometime between January and February 1971; The Battle Of Evermore (take 1), The Battle Of Evermore (take 2), The Battle Of Evermore (take 3), The Battle Of Evermore (take 4), The Battle Of Evermore (take 5), The Battle Of Evermore (take 6). Recorded somewhere between January and February 1971; Four Sticks (take 1 instrumental), Four sticks (take 2 w/ vocals), Black Dog, When The Levee Breaks (take 1), When The Levee Breaks (take 2)

One of my disappointments with the Scorpio Session box was that the “Battle Of Evermore” material was not present, save one small outtake. I have always loved this song and am glad to finally hear this music. Of course many collectors have this on titles All That Glitters Is Gold (Celebration Definitive Masters), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Sessions (Antrabata Reference Master & The Diagrams Of Led Zeppelin), and Studio Sessions Ultimate (Scorpio). I give Plant much credit for this song, he brings in Sandy Denny from Fairport Convention to sing on the song and the vocal mix has the wonderful call and response aspect and his lyrics show his deep appreciation and knowledge of Welsh history combined with the works of JR Tolkein that brings the song to life. The quality of this material varies slightly but is all very good to excellent quality.

The remainder of the material has been found on All Our Love (Beelzebub Records), All That Glitters Is Gold (Celebration Definitive Masters), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Control Monitor Mixes EP (Watch Tower), The Lost Mixes EP Volume 1 (Empress Valley Supreme Disc), The Lost Mixes EP Volume 3 – Led Zeppelin 1970-1971 (Empress Valley Supreme Disc), Outside The Door (Beelzebub Records), The Smithereens (Akashic, 1CD & 3CD), Studio Sessions Ultimate (Scorpio). They are variations of the final mixes, “Four Sticks” has Bonzo’s drumming in the foreground and has a much different feel to it where the final mix is close to the one found on the record. The most interesting of these is the two “When The Levee Breaks”, both sound as if they are still a mix in process, all the above songs are superb studio quality.


Disc 10 (61:45) Bombay Rehearsals & Houses Of The Holy Sessions – Recorded at EMI Studios Bombay, India March 1972; Friends (rehearsing the tune), Four Sticks (take 1), Friends (take 1), Friends (take 2), Friends (take 3), Four Sticks (take 2), Four Sticks (take 3), Four Sticks (take 4). Recorded by the Rolling Stones Mobile Studio, Stargroves Newbury, Berkshire, England and Island Studios London England May 15, 1972; Walters Walk (take 1 instrumental), Walters Walk (take 2 w/ vocals), Walters Walk (take 3 with vocals)

Page and Plant’s trip to Bombay after the band’s legendary Australian Tour is one of legend, they spoke about it in various interviews and finally the tape came to light, and what a revelation it is, one that would certainly come to fruition some 20 plus years later when the duo reformed to produce the Un- Ledded project. Previously issued as All That Glitters Is Gold (Celebration Definitive Masters), Alternates And Outtakes III Volume 2 (Boogie Mama), Complete 1972 Bombay Sessions (Tecumseh), The Lost Sessions Volume 2 – Led Zeppelin In India (Empress Valley Supreme Disc), Sessions (Antrabata Reference Master & The Diagrams Of Led Zeppelin), The Smithereens (Akashic, 1CD & 3CD), Studio Sessions Ultimate (Scorpio). I got my first taste of this tape on the Studio Haze (Laughing Skull), a version that was much poorer in sound and completeness. The sound quality found on this Godfather version is similar to the Scorpio Studio Session Ultimate and is excellent and complete. The music found within is very interesting; if you close your eyes you can almost envision Page and Plant working with the musicians who they have a limited dialogue with. The versions of “Friends” with vocals are incredible; his voice has some echo on it and a very ethereal quality to it that accents the music perfectly. The final mixes of “Four Sticks” are also very nice, although take 4 is not a complete version being cut about a minute in.

The remainder of the disc is comprised of three takes of “Walter’s Walk”, a song that dates back to the Houses Of The Holy era but would not see the light of day until the Coda record in 1982. The band would play the main riff of the song during “Dazed and Confused” and there are many good references to the song from the summer 1972 tour, such as Baltimore and San Bernardino. We are treated to the complete 13 minute tape, parts have been released on 1970 Studio Works (Theramin Music), All Our Love (Beelzebub Records), Coda Advanced Tapes (Boogie Mama), Different Mixed Coda (POT), The Lost Sessions Volume 8 – Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc), Sessions (Antrabata Reference Master), Studio Daze (Scorpio), Studio Sessions Ultimate (Scorpio). The quality is superb studio quality, and the final two versions have been remixed sometime in 1982 when Plant recorded the vocals for the song, his last remaining thing he recorded for Led Zeppelin.

Disc 11 (57:00) Houses Of The Holy & Lucifer Rising – Recorded at Island Studios London, England and mixed at Olympic Studios by Andy Johns in June 1972; No Quarter (take 1 instrumental complete), No Quarter (take 2 stopped), No Quarter (take 3 stopped), No Quarter (take 4 instrumental complete), No Quarter (take 5 stopped), No Quarter (take 6 stopped), No Quarter (take 7 w/ vocals complete). Recorded at Boleskine House. Loch Ness Scotland sometime between October and November 1973; Incubus, Damask, Unharmonics, Damask (ambient version), Lucifer Rising, Lucifer Rising (percussive return)

There is precious little of the material that encompasses the Houses Of The Holy record, all we have is 25 minutes of “No Quarter” outtakes, the quality is incredible and the final version with vocals is pristine in quality and showcases a mix I think that is superior than the one eventually released. The material was first found on Studio Daze (Scorpio) and then on 1970 Studio Works (Theramin Music), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), The Lost Sessions Volume 6 (Empress Valley Supreme Disc), Sessions (Antrabata Reference Master), Scorpio Rising (Akashic),  Studio Daze Revisited (Scorpio), Studio Sessions Ultimate (Scorpio).

The remainder of the material comes from 1973 and is a four track recording of instrumental music Page produced for Kenneth Angers film Lucifer Rising. Page was late with turning the music over to Anger who was much displeased and made light of the situation in the press. This was Page’s first foray into film, he would again dabble in soundtracks from 1982s Death Wish II. Previous releases include Brutal Artistry II (Midas Touch), Inducted And Possessed (Beelzebub Records), Sessions (Antrabata Reference Master), Studio Sessions Ultimate (Scorpio). Interestingly, Anger did not use any of the material, a true shame as the “Lucifer Rising” track is a 20 minute soundscape of very dramatic themes that have, as the liner notes state “give one the creeps”. If you love Page’s bow solos from “Dazed and Confused” and some of his electronic improvisation, this dark piece is very appealing and the same piece makes its CD debut on this set. The sound quality is certainly better than is what is found on Scorpio’s Studio Session Ultimate title, and is much more complete.

Disc 12 (54:21) Pre Physical Graffiti Outtakes (Part 1) – Recorded at Headley Grange Studios Hampshire, England November 1973; Untitled Instrumental. Recorded at Headley Grange Studios Hampshire, England November 1973; Untitled Instrumental, Ten Years Gone (takes 1-12)

Sessions (Antrabata Reference Masters) and Studio Sessions Ultimate (Scorpio) were the only two previous releases, I will defer to the liner notes; This is a real mystery. It consists of Page working out melodies on the acoustic guitar. Some of the melodies introduced on the guitar are then (very occasionally) played on piano. The piano playing is very good and causes questions as to whether or not it is Page playing or someone else. There is no further evidence on tape that he even plays the instrument. Nevertheless some of the melodies are recognizable including the fast break found in 1976′s “Hots On For Nowhere” and an embryonic version of “The Rain Song”. Sadly Godfather chose to leave it as one long 43 minute track. The quality is excellent and a slight improvement over the Scorpio version.

The rest of the disc is comprised of Jimmy working through “Ten Years Gone”, the material has seen previous released as All That Glitters Is Gold (Celebration Definitive Masters), Brutal Artistry (Midas Touch), The Complete Bombay 1972 Sessions (Tecumseh), Studio Sessions Ultimate (Scorpio “new”). Again the quality is excellent, the origin of these could have been to use as overdubs on the final version, one comprised of Page’s guitar army. Sadly, they are just fragments. One of the more boring discs in the set that does get a lot of “air time” on my stereo but is good to own for completeists sake.


Disc 13 (61:36) Pre Physical Graffiti Outtakes (Part 2) – Recorded at Headley Grange Studios Hampshire, England November 1973; Swan Song aka Midnight Moonlight.

The song has seen prior releases on Brutal Artistry (Midas Touch), The Lost Sessions Volume 10 ~ All Roads Leads To Headley Grange 2 (Empress Valley Supreme Disc), Studio Sessions Ultimate (Scorpio). Its origins go back many years, as early as February 1970 as found in Page’s showcase of “White Summer/Black Mountain Side” from the band’s date in Copenhagen on the 28 you can certainly clearly hear the introductory notes and would be played sporadically throughout the years, sadly as these instrumental workouts show, was never completed by the band. As we all know Page would dust of the song and work it into shape for his solo spot on the ARMS tour, one that would find him beginning a collaboration with Bad Company’s Paul Rodgers. The duo would go on to form The Firm and release the opus on their first self titled record in 1984. Again unfortunate that Godfather elected to leave it as one long track as there are numerous places that would have made sense. Quality wise it is similar to the Scorpio Studio Sessions Ultimate in terms of quality.

Disc 14 (72:34) Physical Graffiti Outtakes (Part 1) – Recorded at Headley Grange Studios Hampshire, England sometime between January and February 1974; The Wanton Song (take 1), The Wanton Song (take 2), Take Me Home (take 1), Take Me Home (take 2), In The Morning aka In The Light (take 1), Trampled Underfoot (takes 1-9), In The Morning aka In The Light (take 2), Sick Again, The Rover, Untitled Instrumental, ABC Song, In My Time Of Dying (takes 1-7). Recorded at Headley Grange Studios Hampshire, England sometime between January and February 1974; The Wanton Song, Trampled Underfoot

After the meandering of the previous two discs we get into the real meat and potatoes of this set. Thankfully there is a lot of studio material from the Physical Graffiti sessions for us to enjoy in excellent sound quality. This is a real glimpse inside the creative process of the band as they record their masterpiece. The tape has seen numerous releases on Bootleg LP as Alternate Physical Graffiti (The Swingin’ Pig Records), Hiawatha Express (Stash), In Through The Outtakes (White Box & Widget Recordworks), Tangible Vandalism (TV & White Box), & White Summer (Marc & Rock Solid Records) and on CD as Alternative Graffiti (Celebration Definitive Masters), Brutal Artistry (Midas Touch), Headley Grange (Immigrant), The Lost Sessions EP Volume 10 – All Roads Leads To Headley Grange 2 (Empress Valley Supreme Disc), Physically Present (House Of Elrond), Sessions (Antrabata Reference Master), Studio Sessions Ultimate (Scorpio), & Totally Tangible (Blimp). The sound on this material, as stated before is excellent and very close in sound to the Scorpio Studio Session Ultimate.

“The Wanton Song” is much more advanced as found on the 1973 rehearsal tape / sound check. “Take Me Home” sounding like something that came from “The Crunge” with Plant ad libbing lyrics that sound like The Beatles’ “I Wanna Be Your Man”. “In The Morning” is an early work through of “In The Light”, it is interesting to hear Page working on the different riffs and time changes on the guitar, he has the ascending riff down. Even though Plant has some rough lyrical ideas down he seem to put in a great vocal performance and Bonham starts really pounding his set at the songs conclusion, great outtake. The “Trampled” takes are a lot of start and stops and finds Bonzo searching for the right beat, there are some nice spots of chatter between takes that is quit nice. Another “In The Morning” follows, like the other has Plant (?) whistling the melody before the band start the song but the version is tame compared to the first.

The “Untitled Instrumental” is what is described as a groovy jam, one can certainly agree as it is loaded with funk. The “In My Time Of Dying” takes are interesting to say the least, the band try and get Bonzo to get the right beat and it sounds heated. The final two songs are finished mixes, the sound is perfect, they have circulated under titles as Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Alternative Graffiti (Celebration Definitive Masters), Control Monitor Mixes EP (Watch Tower), The Lost Mixes EP Volume 1 (Empress Valley Supreme Disc), & Studio Sessions Ultimate (Scorpio “new”).

Disc 15 (69:29) Physical Graffiti Outtakes (Part 2) – Recorded at Headley Grange Studios Hampshire, England sometime between January and February 1974; Ten Years Gone (takes 1-4), Boogie With Stu (takes 1-9), Night Flight (takes 1-11). Recorded at Headley Grange Studios Hampshire, England sometime between January and February 1974; Trampled Underfoot, Kashmir, Custard Pie, In The Light, Swan Song aka Midnight Moonlight (take 1), Swan Song aka Midnight Moonlight (take 2)

The 37 minute tape featuring the “Ten Years Gone”, “Boogie With Stu”, and “Night Flight” outtakes have been circulating on such titles as Alternative Graffiti (Celebration Definitive Masters), Brutal Artistry II (Midas Touch), Studio Sessions Ultimate (Scorpio), & Ultra Rare Trax Part 2 (Savage Beast Music). There are small scuffs during 2:18 and 2:29 of “Ten Years Gone”; they are also present on the Scorpio title, Disc 10 track 8. I do not own other versions of this tape and have to guess it is on the master. The song is in its final mixes and the extensive overdubs are all on there. “Boogie With Stu” was, of course, recorded back in 1971 and dusted off for inclusion on Physical Graffiti, the mixes provide no hidden gem within. Again it would be nice to have que breaks for the songs as some are quick snippets while others are a complete song.

The reminder of the disc has seen the light of day on All Our Love (Beelzebub Records), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Alternative Graffiti (Celebration Definitive Masters), Brutal Artistry (Midas Touch), Brutal Artistry II (Midas Touch), The Lost Sessions Volume 12 – All Roads Lead To Headley Grange 3 (Empress Valley Supreme Disc), Physical Graffiti Alternate Trax (Tarantura), Physically Present (House Of Elrond), Studio Sessions Ultimate (Scorpio), & Swansongs (Tarantura).

“Trampled” is a virtually complete finished mix. “Kashmir” is a stripped down version with drums, bass, and guitar before the Mellotron was added and is fantastic to hear. The version of “In The Light” is incredible, worth the price of admission alone, this is the “In The Morning” version with different lyrics. The quality is so pristine; one has to wonder why they chose to abandon this version. The last two tracks are full band instrumental version of “Swan Song aka Midnight Moonlight”. The second take is longer and where the first take is like the opening, this take sounds like the possible middle section. It cannot be stated enough, and certainly the hardcore collectors know that the Physical Graffiti outtakes are the most satisfying of this set and is essential listening.

Disc 16 (69:56) Radio Takes, Presence Outtakes, Bonzo’s Montreux Sessions and In Through The Out Door Outtakes – Recorded at Headley Grange Studios Hampshire, England 1974; The Wanton Song (WLIR 92.7 radio broadcast), The Wanton Song (WPLJ 95.5 radio broadcast). Recorded at Studio Instrument Rentals (SIR) Hollywood, Los Angeles October 1975; Royal Orleans, Tea For One (Hootchie Kootchie version), Don’t Start Me Talking – All My Loving. Recorded at Mountain Studios Montreux, Switzerland on September 12, 1976; Bonzo’s Montreux (take 1), Bonzo’s Montreux (take 2). Clearwell Castle, Forest Of Dean, Gloucestershire, England May 1978; Fire (Say You Gonna Love Me), Carouselambra (takes 1-4). Recorded at Polar Studios Stockholm, Sweden November 1978; Drum Segment, Carouselambra, Ozone Baby (take 1), Ozone Baby (take 2), All My Love, Wearing And Tearing, I’m Gonna Crawl, Fool In The Rain

The first two tracks are from radio broadcasts and feature outtakes of “The Wanton Song”. The quality is excellent but sounds like it were recorded off of radio, it has seen prior releases as Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), The Lost Sessions Volume 12 – All Roads Lead To Headley Grange 3 (Empress Valley Supreme Disc), Relax (Beelzebub Records). Luis Rey stated that if not for some slide guitar overdubs this could pass for a live recording. I agree as it has alot of energy and a live feel too it, this version has DJ comments after its conclusion. The second version is better sounding and similar to the other. Alternative Graffiti (Celebration Definitive Masters), Brutal Artistry (Midas Touch), Sessions (Antrabata Reference Master), Studio Sessions Ultimate (Scorpio). The sound is similar to the Scorpio title and is excellent quality.

Sadly the sessions for Presence yields virtually nothing, all we have is this 8 minute fragment of rehearsal done while the band is in exile in California. The version of “Tea For One” is very nice, certainly not as up and down sounding as the final version is more of a Chicago blues, the “Don’t Start Me Talking” is a really nice jam. Prior releases are Bizarre (Tarantura), Brutal Artistry II (Midas Touch), Countdown (Boogie Mama), Sessions (Antrabata Reference Master), & Studio Sessions Ultimate (Scorpio). Quality is excellent and the tape sounds similar to the Scorpio title.

“Bonzo’s Montreux” was done in the fall of 1976, previously released as All Our Love (Beelzebub Records), Coda Advanced Tapes (Boogie Mama), Different Mixed Coda (POT), The Lost Sessions Volume 8 – Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc). The song is very close to what would be released on Coda. Very inventive, one has to wonder why he did not incorporate it into his 1977 solos.

The second portion of the disc is the first glimpses of the band after the turbulent and very sad death of Robert’s son and the cancellation of the 1977 tour and band activities. Early rehearsals are done in England at Clearwell Castle and produce an interesting tape that has seen the light of day as Bizarre (Tarantura), Brutal Artistry II (Midas Touch), In Through The Outdoor Sessions (Boogie Mama), The Lost Sessions Volume 4 (Empress Valley Supreme Disc), Missing Links (The Diagrams Of Led Zeppelin), Sessions (Antrabata Reference Master), & Studio Sessions Ultimate (Scorpio). The quality is a very good amateur style recording, Page is playing very well and the music sounds nothing like what would be eventually released on In Through The Out Door, obviously Jimmy sounds very dominant. The run throughs of “Carouselambra” are simply wonderful, albeit raw. Jimmy’s guitar tone is excellent and Jones’ keys naturally have a dominant place in the mix but as Luis Rey states that Bonzo is the true star of this recording and leaves you wondering if the band would have ever played the piece live. The band has put considerable work into the song and Plant has vocals in place for much of the piece, great stuff.

The rest of the disc has us transported to Sweden and Polar Studios, home to ABBA and the sessions that would produce the band’s final studio album. All Our Love (Beelzebub Records), Coda Advanced Tapes (Boogie Mama), The Lost Sessions Volume 4 (Empress Valley Supreme Disc) are the previous titles featuring this 29 minute tape. I will refer to liner notes as they hit the nail on the head; These tracks are drum mixes of versions later used on the In Through The Out Door album. Stellar quality, you hear a drums view of the songs. We can clearly hear Bonham working on the drums with the tape of the vocals and guitar faintly in the background. It’s a brilliant insight into a brilliant drummer and makes me wish they had released the official album with this good quality. They sound fresh and excited. Bonzo lets out a “fookin’ ‘ell” right before “Fool In The Rain” and it’s a joy to hear.

Disc 17 (65:29) In Through The Out Door Sessions – Recorded at Polar Studios Stockholm, Sweden November 1978; Carouselambra (take 1), Wearing And Tearing, Fool In The Rain (take 1), Hot Dog, In The Evening, Southbound Saurez, Darlene, Fool In The Rain (take 2), Carouselambra (take 2). Recorded at Polar Studios Stockholm, Sweden November 1978; All Of My Love

The majority of this disc is the 58 minute tape and finds the music nearing completion with the final mixes being worked on. It has been much bootlegged starting with the bootleg LP The Complete Outtakes And Rehearsals (Swan Song), In Through Out Door Sessions (Toasted Records), In Through The Outtakes (White Box & Widget Recordworks), & Out Through The Back Door (Amazing Stork & White Box) and on CD as All My Love (Tarantura), In Through The Outdoor Sessions (Boogie Mama), The Lost Sessions Volume 4 ( Empress Valley Supreme Disc), Sessions (Antrabata Reference Master), & Studio Sessions Ultimate (Scorpio). The quality is excellent, professional quality if just a little dull but is equal in quality to the Scorpio set. Again Bonham’s drumming is at the forefront of “Carouselambra”, simply incredible in his fills of what was the last of the Zeppelin epics and one for the new decade. One has to wonder how they chose the material that would make the record, they produced a fast and aggressive rocker like “Wearing And Tearing” and elect to leave it off and make for a possible Knebworth special EP that is of course scrapped. Perhaps too aggressive for the rest of the material but a song that certainly lets you know that the dinosaur still had some fighting spirit left in its old bones. “Fool In The Rain” has some cool count in and some ad libs from Plant. “Southbound Saurez” has a different feel with Jones on the piano and Page’s guitar has a nice fuzz tone to it.

The final track is “All Of My Love”, this outtake is stunning in terms of sound quality and performance. Previously released on All Our Love (Beelzebub Records), In Through The Outdoor Sessions (Boogie Mama), The Lost Sessions Volume 4 (Empress Valley Supreme Disc), Studio Daze (Scorpio), Studio Daze Revisited (Scorpio), & Studio Sessions Ultimate (Scorpio). I remember being blown away by the original Studio Daze Scorpio title and this version of “All Of My Love” as it was much closer to how it was performed live and has a loser feel and features some great playing from Page.

Disc 18 (66:15) In Through The Out Door Sessions & Final Rehearsal – Recorded at Polar Studios Stockholm, Sweden November 14 1978; Ozone Baby (take 1), Ozone Baby (take 2). Recorded at Polar Studios Stockholm, Sweden November 16 1978; Darlene (take 1), Darlene (take 2). Recorded at Polar Studios Stockholm, Sweden November 21 1978; Wearing And Tearing (take 1), Wearing And Tearing (take 2). Recorded at the Rainbow Theatre, London, England and / or New Victoria Theatre London, England sometime between April and May 1980; White Summer (take 1) White Summer medley incl. Black Mountain Side (take 2), Kashmir, Achilles Last Stand (take 1), Achilles Last Stand (take 2) Stairway To Heaven

The final disc finds different mixes of the three songs recorded during the In Through The Out Door sessions that would eventually be released on Coda. Interesting as we have actual dates for each of the three songs and all are in the finished stages with just minor differences in the mixes. Previously released under the titles Coda Advanced Tapes (Boogie Mama), Different Mixed Coda (POT), & The Lost Sessions Volume 8 – Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc). The songs show a possible different direction that the band could have explored on the record and possibly in the new decade.

The rest of the disc has the “final” rehearsal as it originally circulated as being from the time period directly before Bonham’s death. Ultimately it has the more plausible origin of being from rehearsals prior to the bands German tour 1980. It has had a myriad of releases beginning with the vinyl LP The Final Option (Rock Solid Records & The Swingin’ Pig Records), The Last Rehearsal – Bonzo’s Last Stand (Oznob), Out Through The Back Door (Amazing Stork & White Box), Strange Tales From The Road (Rock Solid Records), & Tangible Van-Dalism (TV & White Box) and CD as The Last Rehearsal (Missing Link), The Lost Sessions Volume 11 ~ The Final Rehearsal (Empress Valley Supreme Disc), Rehearsals (Empress Valley Supreme Disc), Sessions (Antrabata Reference Master), Strange Tales From The Road (no label), & Studio Sessions Ultimate (Scorpio). The recording itself is excellent quality, the performances are not really noteworthy but an interesting listening experience as unbeknownst to the band that they were in their final stages of existence.

The last word? Many times previously when companies try to put together something and label it as definitive it always seems to fall short. As massive of a project as this was Godfather simply nails it and delivered what they intended to do; give fans the most comprehensive and complete collection of Zeppelin studio outtakes in the best ever quality. Certainly the most ambitious and best ever box set produced by the label, bar none.

Ian Gillan Band - 2003 - Rarities 1975-77

Ian Gillan Band - 2003 - Rarities 1975-77



01. Finally The Finale
02. My Baby Loves Me
03. Down The Road
04. You Make Me Feel So Good
05. Country Lights (Backing Track)
06. Child In Time   
07. Scarabus (Backing Track)   
08. Smoke On The Water (Live)   
09. Let It Slide (Backing Track)
11. Twin Exhausted   
12. Fool's Mate (Backing Track)   
13. Vindaloo   
14. You Get What You Ask For   
15. Raped By Aliens

Vocals – Ian Gillan
Bass Guitar – Roger Glover (tracks: 1,2,4,10)
Bass, Vocals – John Gustafson
Drums, Percussion – Mark Nauseef
Guitar, Backing Vocals – Ray Fenwick
Lead Vocals – John Gustafson (tracks: 13-15)
Piano, Keyboards – Colin Towns, Mickey Lee Soule, Mike Moran
Producer – Ian Gillan Band (tracks: 5,7,8,11-15), Roger Glover (tracks: 1-4,6,9,10)

   

Compilation of rarities & alternate versions includes five previously unreleased tracks:1,10,13-15.
There's a sense of adventure that latter-day Purple could never have countenanced and a looseness to the proceedings that was a far cry from the uptight grumbling that scarred his old band's final sessions together. If it all gets too weird for you, there's a terrific version of 'Child In Time' to bring you back to earth.
This is a collection that will undoubtedly appeal to the Purple completist, especially as Roger Glover plays on four songs… guitarist Ray Fenwick has raided his vaults for this excellent set, and come up with some real gems. Not only are there plenty of alternate versions…and backing tracks, but several numbers unreleased in any form…Essential.

Ian Gillan Band - 2001 - Live: Yubin Chokin Hall, Hiroshima, 1977

Ian Gillan Band
2001 
Live: Yubin Chokin Hall, Hiroshima, 1977

 

01. Money Lender    10:13
02. Twin Exhausted    5:02
03. Child In Time    10:31
04. What's Your Game    7:24
05. My Baby Loves Me    7:21
06. Trying To Get To You    3:58
07. Mercury High    5:46
08. Rock'n'Roll Medley    8:10
09. Woman From Tokyo    4:24

Ian Gillan
Ray Fenwick
John Gustafson
Mark Nauseef
Colin Towns




The gig at the Yubin Chokin Hall, went brilliantly and bought back memories of the visit I made with DEEP PURPLE, which simply did not compare". So wrote IAN GILLAN in his autobiography. It certainly must have made an impression upon him and goes to validate that what we have is indeed a souvenir of a great concert. This is 1977 and although PUNK is happening in the UK things were different in Japan and IGB touched down in Japan on 9th September 1977 for a 6 date tour spread over a 2 week period. The major point being that it gave them plenty of time to relax and sightsee. In fact the band spent the first few days in Tokyo giving them sufficient time to overcome any jet lag before commencing the first gig at Kosei Nenkin Hall. The band arrived in Hiroshima via the Super Express train on 16th September 1977. The visit to the city that only 32 years earlier had been the focal point of the entire world was indeed a sobering occasion. Includes liner notes by Andrew Bedford. Recording information: Yubin Chokin Hall, Hiroshima, Japan (1977).

Ian Gillan Band - 1998 - Live at the Rainbow

Ian Gillan Band
1998
Live at the Rainbow
 

01. Clear Air Turbulence
02. Money Lender
03. Child in Time
04. Smoke on the Water
05. Woman From Tokyo
06. Twin Exhausted

- Ian Gillan / lead vocals
- Colin Towns / keyboards, flutes
- John Gustafson / bass, vocals
- Ray Fenwick / guitars, vocals
- Mark Nauseef / drums, percussion



Ian  Gillan Band, with '60s veterans John Gustafson (Merseybeats, Big Three) and Ray Fenwick (post-Stevie Winwood Spencer Davis Group) in the lineup, at a live show on May 14, 1977 at one of Britain's most prestigious rock venues. The sound is pretty good, and the material divided between reprises of old Deep Purple favorites ("Smoke on the Water," "Woman from Tokyo") and surprisingly fusiony originals by the five-piece lineup occupying the stage. ~ Richie Unterberger Touring with the IAN GILLAN BAND in the mid 70's was a wild affair, both on and off stage... It was on 14th May 1977 in front of a packed house at the RAINBOW THEATRE, Finsbury Park, London they performed in front of CHRIS BLACKWELL the label owner who was there that night checking out his investment. The rest as they say in Rock N Roll is history! Recording information: Rainbow Theater, Finsbury Park, London, England (05/14/1977). Photographer: Ray Fenwick. Liner Note Author: Claes Johansen.

Ian Gillan Band - 1997 - Rockfield Mixes Plus

Ian Gillan Band
1997
Rockfield Mixes



01. Clear Air Turbulence   
02. Five Moons   
03. Over The Hill   
04. Angelo Manchenio   
05. Money Lender   
06. Goodhand Liza   
07. This Is The Way   
08. Apathy (Backing Track)   
09. Over The Hill (Live)   
10. Smoke On The Water (Live)   
11. Interview With Ray Fenwick   
12. Mercury High (Backing Track)


- Ian Gillan / lead vocals
- Colin Towns / keyboards, flutes
- John Gustafson / bass, vocals
- Ray Fenwick / guitars, vocals
- Mark Nauseef / drums, percussion

Additional musicians:

- Phil Kersie / tenor saxophone (on Five Moons)
- Martin Firth / baritone saxophone
- John Huckridge / trumpets
- Derek Healey / trumpets
- Malcolm Griffiths / trombone




Ian Gillan became dissatisfied with the final mixes of the album and this delayed its eventual release. What eventually became the album Clear Air Turbulence was remixed at Kingsway before release, but the original mix had taken place at Rockfield Studios in Wales. In 1997 the original mix was released by Angel Air Records under the title The Rockfield Mixes. The Rockfield Mixes represents a cleaner (or at least earlier) version of the album. It also includes an extra track which didn't make it to the original release.

Clear Air Turbulence' was the second album from the fledgling Ian Gillan Band, the one where Ian made a concerted effort to move away from being just as the singer in a hard rock band. This was the one where jazz and funk made it's way to the forefront ? and it is probably the addition of one Colin Towns who brought this element in with him. But 'CAT' isn't the album I'm reviewing here, or is it? This is the album as it was originally mixed, before Ian decided that he wasn't happy with it and took it back to Kingsway Recorders. Instead of releasing it and going on tour, Ian cancelled the gigs and the album wasn't released until April 1977 ? a different beast to the one now in the player. Somewhat unusually for Angel Air, this is a reissue of one of their own albums, as it originally came out in 1997 but here it contains there extra songs and an interview with Ray Fenwick.
This is an album that is quite experimental in nature, but what is never in doubt is that at this point Ian was still in his prime, with some great vocals and don't be in doubt, there are some fine songs on here. "Money Lender" has a funk and rock style with some great horns and percussion. This outfit was really tight and while it may not be one that Purple fans will readily pick up, this is a strong release. Mind you, the live version of "Smoke" does show that Ray could distort it and crank it up with the best of them.

Ian Gillan Band - 1978 - Live at the Budokan

Ian Gillan Band
1978
Live at the Budokan



01. Clear Air Turbulence (12:49)
02. Scarabus (5:25)
03. Money Lender (10:53)
04. Twin Exhausted (5:05)
05. Over The Hill (8:35)
06. Mercury High (4:58)
07. Smoke On The Water (9:46)
08. Child In Time (10:16)
09. Woman From Tokyo (4:47)

- Ian Gillan / lead vocals
- Colin Towns / keyboards, flutes
- John Gustafson / bass, vocals
- Ray Fenwick / guitars, vocals
- Mark Nauseef / drums, percussion




Wouldn't you have guessed it?? After returning to a Purple song format in Scarabus, that Ian Gillan and his band would go on to return to live "old glory" moments in the Budokan theatre in Tokyo, where the Japanese crowds are sooooo easy to please and way over-appreciative. Recorded after the band's Scarabus album, I suspect this was probably among the last gig of the IGB well that band with that line-up)
Opening on the excellent title track of the second and best album CAT, the IGB take their time building up, thus almost doubling its length, something they will do for Money Lender (from the same album) as well and to a lesser extent Over The Hill (also from CAT), while . Oddly enough, the band chooses to alternate tracks from Clear Air Turbulence and Scarabus and give us three from each, but as you can easily guess, the CAT tracks win easily with their infectious grooves and enthralling solos, compared to the sterile tightness of Scarabus tracks. Of course, what sucks here is that Gillan lives on Purple glory and more or less two thirds of the second album is devoted to Purple tracks, including the obligatory (but atrocious) Woman From Tokyo.

Well although I find this album a bit of a shame, living on a certain past, it does have some moments, particularly when bordering on the jazz-rock passages and the fact that the band was probably better live than in the studio, I could be tempted into saying that this Live at Budokan is all you need from the IGB, but Clear Air Turbulence might be worth a second look.

Ian Gillan Band - 1977 - Scarabus

Ian Gillan Band 
1977
Scarabus



01. Scarabus (4:53)
02. Twin Exhausted (4:08)
03. Poor Boy Hero (3:08)
04. Mercury High (3:31)
05. Pre-release (4:22)
06. Slags To Bitches (5:09)
07. Apathy (4:19)
08. Mad Elaine (4:15)
09. Country Lights (3:16)
10. Fool's Mate (4:19)

- Ian Gillan / lead vocals
- Colin Towns / keyboards, flutes
- John Gustafson / bass, vocals
- Ray Fenwick / guitars, vocals
- Mark Nauseef / drums, percussion



This is the third Jazz-Rock/Fusion album from Ian Gillan. Compared with Clear Air Turbulence, Scarabus is more in line with Gillan's hard rock days in Deep Purple and the songs are shorter and less elaborated. But melodically strong. The musicianship is still excellent and they again create a hard-rock-jazz-rock- crossover. Collins Towns is a great keyboard player but there is much less room for him to stretch out on this album.
Personally, I am a bigger fan of Deep Purple than I am of Jazz-Rock/Fusion in general, but this album is quite good and is even up to par with many Deep Purple albums. And perhaps this is a good starting point for Deep Purple fans to get into Jazz-Rock, but for the Jazz purists Clear Air Turbulence is without doubt the better album.

Ian Gillan Band - 1977 - Clear Air Turbulence

Ian Gillan Band 
1977 
Clear Air Turbulence



01. Clear Air Turbulence (7:35)
02. Five Moons (7:30)
03. Money Lender (5:38)
04. Over The Hill (7:14)
05. Goodhand Liza (5:24)
06. Angel Manchenio (5:17)


- Ian Gillan / lead vocals
- Colin Towns / keyboards, flutes
- John Gustafson / bass, vocals
- Ray Fenwick / guitars, vocals
- Mark Nauseef / drums, percussion

Additional musicians:

- Phil Kersie / tenor saxophone (on Five Moons)
- Martin Firth / baritone saxophone
- John Huckridge / trumpets
- Derek Healey / trumpets
- Malcolm Griffiths / trombone



 It would not be too much of an exaggeration to call Clear Air Turbulence, the second album released by the sadly short-lived Ian Gillan Band, one of the forgotten masterpieces of Seventies progressive rock. For those who think of Ian Gillan as little more than a hirsute hard rock screamer, listening to this record may definitely bring somewhat of a shock - and not just because of the vocals. Following his return to the world of music after a series of unsuccessful business ventures, Ian surrounded himself with a bunch of seasoned musicians, and proceeded to surprise his fans by slowly but inexorably detaching himself from his Deep Purple past. Unfortunately, though, rock fans are not always as open-minded as we would expect them to be, and the project folded after releasing a total of three studio albums, plus a posthumous live one.
Listening to Clear Air Turbulence we cannot but regret the demise of such an exciting band, with an incredibly high level of musicianship and creativity. The six tracks on the album, which all exceed the five-minute mark, feature complex, multi-layered structures, enhanced by the discreet presence of a horn section, and overall distinguished by a sophistication, a lightness of touch seldom associated with Gillan's mother band. Even Ian's distinctive vocals, while easily recognisable, never really sound like the original 'air raid siren' unleashed on the likes of "Machine Head" and "Made in Japan". However, the ace in the hole on "Clear Air Turbulence" is keyboardist Colin Towns (also responsible for the delicate flutes on the dreamy, soulful ballad "Five Moons"). Another of the many unsung heroes of the rock world, now a composer of jazz and soundtrack music, Towns joined the band for the recording of this album (replacing Mike Moran), and immediately stamped his mark on their music, as well as on the band's later incarnation (simply called Gillan).

Weird, spaced-out keyboard sounds introduce the title-track, rising to a crescendo that soon gives way to a manic, bass-and-drum driven riff, and a wildly exhilarating, 7-minute-plus ride, powered by Towns' sweeping synthesisers. In the middle section of the song, guitarist Ray Fenwick (a veteran of the British rock scene, formerly with the Spencer Davis Group) demonstrates his skills with a slow-burning, emotional solo. Towns is responsible for the delicate flutes on the dreamy, soulful ballad "Five Moons"; while on the funky "Money Lender" horns take pride of place, and Gillan's commanding, even aggressive vocal performance is somewhat reminiscent of his hard rockin' past.

"Over the Hill" (my personal favourite, together with the title-track) showcases drummer Mark Nauseef's impressive skills, as well as brilliant piano and synth work in the bridge, and more understated, tasteful guitar. The atmospheric "Good Hand Liza" follows, punctuated by Latin-style percussion and spacey synths, and driven along by John Gustafson's meaty, dynamic bass lines. The album ends in style with another highly complex, structured number, the romantic "Angel Manchenio", dedicated to a Gypsy who became Gillan's blood brother (a very interesting story indeed, as told by the lyrics). The song, which alternates slower moments, with an almost Latin feel, and full-fledged jazzy flights of instrumental and vocal prowess, is probably the furthest Gillan ever strayed away from his hard rock roots, and a perfect closer for the album.

Even if, at the time of its release, "Clear Air Turbulence" was not considered rock enough by Deep Purple fans, and probably not jazzy enough for lovers of fusion, over thirty years later it is high time it was recognised as the adventurous, stimulating near-masterpiece it is. It is a sad fact of the music world that, all too often, musicians are much more ready to try new avenues than their fans. However, don't make the same mistake - if you love sophisticated, complex jazz-rock/fusion, don't be put off by the name, and get hold of this album.

Ian Gillan Band - 1976 - Child in Time

Ian Gillan Band
1976
Child in Time


01. Lay Me Down 2:55
02. You Make Me Feel So Good 3:41
03. Shame 2:47
04. My Baby Loves Me 3:35
05. Down The Road 3:27
06. Child In Time 7:23
07. Let It Slide 11:41

Ian Gillan - vocals and harmonica
Roger Glover - synthesizer, kalimba and vocals
John Gustafson - bass and vocals
Ray Fenwick - guitars and vocals
Mark Nauseef - drums and percussion
Mike Moran - keyboards



This album is Ian Gillan's solo debut after he left Deep Purple in early 70-s. Released on small Oyster label, he didn't succeed, mostly because he didn't offer much to ex-Deep Purple fans.
Looking on this album as independent product, open ear listener can find some nice moments though. First of all - "Child In Time", remake of the possibly the best Deep Purple 's song. Not too much similar to original, no way better than it, it offers softer, warmer and much more emotional version. With many progressive rock elements and excellent Gillan's vocals.

Five first songs (all A-side) are all short and more straightforward heavy funk-rock numbers with some r'n'b elements, great Gillan vocals, but not too complex. Even if not so great, these songs are worth listening unless you hate funk in your music or are hungry to listen pseudo-symphonic organ passages once again.

Then please pay attention to line-up: ex Spencer Davies Group guitarist Ray Fenwick, ex-Roxy Music bassist John Gustafson and jazz-rock drummer Mark Nauseef (Elf, Velvet Underground), between others. Album's music is more aerial, funky, even jazzy in moments, but at the same time could be compared with heavy funk-rock Deep Purple works (with Glenn Hughes).

In all, not the best Gillan's album, but really worth listening, especially if you're interested in early heavy funk-rock albums from late 70-s.

Thursday, July 30, 2015

Episode Six - 2005 - Love, Hate, Revenge

Episode Six 
2005 
Love, Hate, Revenge
 



The Singles, A's & B's
101. Put Yourself in My Place
102. That's All I Want
103. I Hear Trumpets Blow
104. True Love Is Funny That Way
105. Here There and Everywhere
106. Mighty Morris Ten
107. Love, Hate, Revenge
108. Baby Baby Baby
109. Morning Dew
110. Sunshine Girl
111. I Can See Through You
112. When I Fall in Love
113. Little One (As The Episode)
114. Wide Smiles (As The Episode)
115. Lucky Sunday
116. Mr Universe
117. Mozart Versus the Rest
118. Jak d'Or
119. I Will Warm Your Heart (As Sheila Carter & Episode Six)
120. Incense (As Sheila Carter & Episode Six)
121. I Won't Hurt You (As Neo Maya)
122. U.F.O. (As Neo Maya)

Rarites, Demos and Live Recordings
201. Love, Hate, Revenge (US Version)
202. The Way You Look Tonight (Outtake)
203. My Little Red Book (Outtake)
204. Plastic Love (Outtake)
205. Time and Motion Man (Outtake)
206. Only Lonely People (Outtake)
207. Zip-A-Dee-Doo-Daa (Demo)
208. Cottonfields (Demo)
209. My Babe (Demo)
210. Love Is a Swinging Thing (Demo)
211. Steal Your Heart Away (Demo)
212. Walking to New Orleans (Demo)
213. Let the Four Winds Blow (Demo)
214. Mozart Versus the Rest (Live)
215. Him Or Me (Live)
216. Hazy Shade of Winter (Live)
217. Monster in Paradise (Live)
218. Orange Air (Live)
219. The Castle (Live)
220. Slow Down (Live)
221. I Am the Boss (Live)
222. Morning Dew (Live)




Sanctuary's new Episode Six double CD 'Love, Hate, Revenge' is an upgraded and expanded reissue of Sequel's excellent 1991 'The Complete Episode Six' collection. Disc one comprises the band's singles, while disc two bulks up the original bonus tracks from six to twenty-two.

For those unfamiliar with Episode Six, they were Ian Gillan and Roger Glover's pre-Deep Purple band, with whom they released nine singles between 1966 and 1969, all of which somehow fell short of chart success. It all ended when Ritchie Blackmore, Ian Paice and Jon Lord caught one of their London shows at the behest of drummer Mick Underwood, and poached both men for Deep Purple. Episode Six attempted to continue, but after Mick Underwood split away with new members John Gustafson and Pete Robinson to form Quatermass, the band sank into obscurity until their increasingly rare catalogue began to be snapped up by curious Deep Purple fans and collectors of Sixties pop music. What they found often hinted at Messrs Gillan & Glover's future successes, and baffled that the band had never broken into the big time.

• However, it is easy to see why Episode Six's first single "Put Yourself In My Place" (from January 1966) failed to set the charts alight. It's a rather average Hollies song, played in lacklustre fashion by session musicians, with Episode Six only allowed to contribute the vocals. The B-side "That's All I Want" is much better, rattling along very nicely, and as a bit of history it's also Roger Glover's first recorded composition.

• "I Hear Trumpets Blow" followed in April 1966, and is a piece of pure adulterated pop. GIllan's lead vocal is nice, but the whole thing is a bit too jaunty for it's own good. The B-side "True Love Is Funny That Way", written by the group's drummer Harvey Shield, is superior.

• 'Here There & Everywhere" from August 1966 is a beautiful reproduction of the Paul McCartney classic, with Ian Gillan putting in a wonderful performance. Glover's B-side "Mighty Morris Ten" is a lighthearted send-up of The Beach Boys 'Shut Down' style car songs. Fun, but definitely a B-side.

• 'Love, Hate, Revenge' was released in January 1967. One year on from their first single Episode Six proved their versatility with this classy piece of psychedelic pop. The UK version had a chanted middle section, bizarrely replaced in the USA by an electronic drone. The US version is included on disc 2. Another string to Episode Six's bow was an ability to perform strong r&b, shown here by the enjoyable B-side 'Baby, Baby, Baby'.

• 'Morning Dew' (June 1967) is a great version of the Tim Rose classic, with Gillan belting in superbly on the chorus. B-side 'Sunshine Girl', written and sung by Roger Glover, is frankly a bit crap but still fun!

• 'I Can See Through You' (October 1967) is one of Episode Six's finest moments, and one of the best songs of the sixties. Roger Glover's first A-side, it's a progressive mini-masterpiece exploding with ideas, including elements of Sgt.Pepper and The Who's 'I Can See For Miles' . Many other bands would have folded under the disappointment of it failing to become a hit, but Episode Six continued.

The band's management always seemed to prioritise their jack-of-all-trades cover band reputation to keep their busy gigging and BBC radio schedule ticking along. Any hope of a real push in any one direction rested on a single taking off in the charts. Their singles output emphasize the point. For me, it says it all that the B-side 'I Can See Through You' was a schmaltzy cover of Nat King Cole's 'When I Fall In Love'.

• 'Little One' (February 1968) involved a halfhearted attempt at gaining the band some 'cool', with their name changed to the more underground sounding 'The Episode'. However the A-side is a straight pop cover, aimed at no market in particular and consequently falling between a number of stools. B-side 'Wide Smiles' is Gillan and Glover's first joint composition to be recorded. It's jaunty 'doo-be-boop-de' style complete with flutes belies GIllan's attack on people in the music industry. His disillusionment is understandable, but the band still had two more shots left at the charts.

• Gillan & Glover's 'Mr.Universe' (October 1968) was the belated follow-up to 'I Can See Through You', with great vocals (including Gillan's first recorded scream), and marvelous lyrics, guitar, arrangement, everything... However, it was only a B-side for the big production pop treacle of 'Lucky Sunday'.

• And so to the last Episode Six single. Reacting to feedback from a BBC radio performance of guitarist Tony Leander's tremendous 'Mozart Vs The Rest' instrumental, the track was rushed out as a single in February 1969; though not fast enough. Despite steady sales the charts remained unmolested. A shame, as it's a great little single, complete with the ultra-tight instrumental 'Jak D'Or' on the flip-side.

And that was that; a few months later, Gillan and Glover accepted an offer to join Deep Purple.

• One of the halfhearted tactics tried towards the beginning of Episode Six's recording career was to launch singles as solo efforts. Only two were completed. Sheila Carter's 'I Will Warm Your Heart' is a beautifully sung slowie, although ironically it sounds a bit hurried, while the B-side 'Incense' is a ghastly sub-gospel item with Ian GIllan on organ. Graham Carter's 'I Won't Hurt You', issued as Neo Maya, is a lost classic, weird but compulsive. Its B-side 'UFO' is just a list of UFO sightings read out over a drum pattern!

DISC TWO :

Disc two is given over to 'rarities, demos and live recordings'. The sound quality is variable, the nine live tracks (grouped together at the end of the CD) could be a bit lo-fi for some ears. Of the 22, six studio demos were originally on the 1991 Sequel collection, 3 others are repeated from Purple Records' 'Cornflakes & Crazyfoam' double CD (1965 demos of 'Love Is A Swinging Thing' , 'Steal Your Heart Away', and the US version of 'Love, Hate, Revenge'), and the rest are previously unreleased.

• There are five demo tracks from Episode Six's first studio session in 1964, all of which show the band already a highly professional and practiced sounding outfit. 'My Babe' (first released on the Sequel CD) is interesting in that it features Andy Ross, Ian Gillan's predecessor in the group, busy doing an Elvis voice for all he's worth. However he's plainly not the lead singer, but just part of the ensemble. The other '64 demos are previously unreleased, including a harmony version of 'Cottonfields' which precedes the Beach Boys version by four years, and a rocky take of 'Zip-a-Dee-Doo-Dah' which really works (no, honestly!).

• The five out-takes from 1966-67 originally appeared on the Sequel CD, but deserve a mention for being every bit as good as the band's singles from the time. 'The Way You Look Tonight' is a strong harmony-based rendition similar in style to 'When I Fall In Love', 'Time And Motion Man' from 1967 is a strange listen, all off-centre harmonies and melody, the sort of thing that you'd either love or be irritated by. It's intrinsically not catchy, but Episode Six manage to make it just that. Of Roger Glover's two compositions 'Plastic Love' is disappointing plastic psychedelia, while 'Only Lonely People' is a very powerful, instant classic. Period. It simply has to be heard.

• The live tracks, mostly from 1968, are all previously unreleased, and include the Gillan/Glover compositions 'I Am The Boss' and 'Monster In Paradise', and strong covers of 'Slow Down', 'Morning Dew', 'Orange Air', 'Hazy Shade Of Winter' (sounding like a proto 'Into the Fire' on this occasion), 'Him Or Me' and 'The Castle'.

The only real absentee is the film soundtrack song 'Gentleman Of The Park', which is on 'Cornflakes & Crazyfoam'. So, for anyone wanting the essential Episode Six in one purchase, 'Love, Hate, Revenge' is the one to go for. If you wish to explore further out-takes and live tracks by the band, I'd recommend 'Cornflakes & Crazyfoam'. Between them they are the last word on a great band.

review: Mark Ainsworth


Episode Six - 2002 - Cornflakes & Crazyfoam

Episode Six 
2002
Cornflakes & Crazyfoam (1964-1968)




101. Fortune Teller 2:36
102. Got My Mojo Working 2:39
103. Mohair Sam 2:27
104. Love, Hate, Revenge 2:33
105. I Can See Through You 3:24
106. Stagger Lee 2:17
107. My Little Red Book 2:23
108. Que Sera 2:56
109. Little One 2:57
110. Always Something There to Remind Me 2:56
111. Sunshine Superman 3:53
112. Orange Air 2:42
113. Can't Be So Bad 3:26
114. Mr. Universe 3:15
115. I Had a Talk With My Man 2:52
116. Temptation 2:54
117. Alone Again Or 2:54
118. A Hazy Shade of Winter 2:48
119. Mozart vs the Rest 2:47
120. Stones Medley 2:10
121. The Morning 3:20
122. I Am the Boss 2:40
123. I'll Be Your Baby Tonight 2:41
124. Something's Gotten Hold of My Heart 4:23
125. Been Such a Long Way Home 3:23

Demos and Rehearsals
201. Nobody Loves Me Like You Do 2:21
202. Let the Four Winds Blow 1:44
203. Have You Ever Been There 3:09
204. Sunshine Girl 2:52
205. Lucky Sunday 3:34
206. Gentlemen of the Park 3:10
Unissued Singles
207. The Way You Look Tonight 2:26
208. Love Is a Swinging Thing 2:43
209. Steal Your Heart Away 3:15
Sheila Carter and Episode Six
210. You Can Have Him 3:21
211. I Will Warm Your Heart 2:22
212. Incense 2:39
213. Stay With Me Baby 4:06
Live in Europe
214. I Hear Trumpets Blow 2:47
215. Morning Dew 3:23
Early Songwriting
216. Monster in Paradise 2:26
217. I Am a Cloud 2:13
The Ultimative Covers Band
218. Light My Fire 2:49
219. The Castle 3:14
220. Spanish Caravan 3:13
221. Say You Don't Mind 2:49
222. Island in the Sun 3:05
223. Here There and Everywhere 2:21
224. River Deep, Mountain High 3:24
225. Jesse James 3:27
226. Slow Down 2:16




Track By Track Guide By Tim Joseph (abridged from cd sleeve notes)
Tracks Reviewed by David Browne

CD2 is divided into various sub categories, and is something of a bonus disc if you consider CD1 as the main feature. The sound quality varies from pristine studio to lo-fi radio recordings. The music is often a test of the variety of pop and rock which the listener can cope with., but I found it a rewarding listen with plenty to investiigate and enjoy again and again.

My personal stats for both discs are that I'm happy with at least 45 of the 51 tracks, which is some average for any cd in my collection! The best dozen or so would simply have made a classic album.

FORTUNE TELLER
• Taken from the band's first demos, recorded on May 24th 1964 a year before Gillan joined. Glover is on bass.

My first impression was shock at the excellent sound quality; sharp and clear. It's not representative of the whole collection, but it's some start! This must be Roger's earliest released recording. The song is polite when compared to The Who's version on 'Live At Leeds', but very attractive nonetheless. Sheila Carter comes across as a real star even at this early stage, great singing and tasteful keyboard work.

GOT MY MOJO WORKING take two
• Between July 64 and March 65 the band did a number of rehearsals and demos. Here Harvey Shield* - leads an uptempo version of this blues classic.

Again, sharp sound quality, and a tight performance from the band. We've had confirmation from Harvey Shield that it was he, and not Andy Ross on lead vocals!

MOHAIR SAM
• After Ian Gillan joined (he's on all the remaining tracks on CD 1), Episode Six were offered a deal with Pye. This demo was done in late 1965 for a possible single. It shows a very professional sounding band indeed. Another track from the session appears on CD2.

Tremendous performance. The harmonies and backing are very much in the mold of early Mamas & Papas. This really should have been their first single instead of the weedy Hollies composition. Ian Gillan's earliest released recording, and an excellent track.

LOVE, HATE, REVENGE
• Although "Love Hate Revenge" was the band's fourth British single, the version is an acetate of the American version cut in Jan 1967. With a totally different guitar part, it makes an interesting comparison. Perhaps with a bit more of this psychedelic treatment a producer could have really taken the band forward.

The recording is very bassy, but is an enjoyable listen, and a great track. The British single version is better, for some reason the vocal chants in the mid section were replaced by an electronic drone for the US release.

I CAN SEE THROUGH YOU
• This version of the band's sixth single was recorded for the BBC on Oct 30. 1967 and featured John Kerrison on drums, who had just joined the band. Glover's mini masterpiece again shows what the band could achieve given sympathetic engineers.

A big dip in recording quality, I'm assuming this was included because a/ the song is an absolute gem, and b/ this is a superb 'live' sounding performance, brilliantly sung and a with psychedelic organ sound straight from Pink Floyd's 'Piper At The Gates Of Dawn'!

STAGGER LEE
• The first of three tracks recorded for the BBC on Jan 30.1968 (the others are on CD2). These are the first band versions ever released. "Stagger Lee" has Ian finally showing the direction he would later move in.

Scary stuff! A gentle opening gives way to a throat shredding scream from Ian, and a very powerful vocal. The actual song is reminiscent of 'Running Bear', which Ian often threw into Black Night during Deep Purple's 1987 tour. The sound quality is up on the previous track (and stays up for the rest of CD1), but is still an off-air recording.

MY LITTLE RED BOOK
• The first of three songs taped for the BBC on April 8. 1968 (the others are on CD2). Episode Six also did a studio version at Pye which remained unissued until the Sequel CD in 1991.

Not my favourite song ever tackled by Episode Six, but this punchy version is way better than that on the Sequel CD. (Chronologically the music is already overlapping with Deep Purple's earliest days.)

QUE SERA
• The old Doris Day standard - not that there's much resemblance - recorded for the BBC on Jan 30. 1968. What Ian thought about recording material like this is unknown, although he does sound to be enjoying himself.

Ian Gillan sings Doris Day in his Elvis voice? Do me a favour.. That said, it's very energetic, and as usual with Episode Six it's imaginative, with a Spanish feel not a million miles from what Deep Purple introduced to Hey Joe.

LITTLE ONE
• The band's seventh single, recorded for the BBC, July 1.1968 to
promote the release.

The song has never been one of my Episode Six favourites, the single being softened up too much with poppy brass. This is different! Just the band bashing it out, clean and tight with superb heavy guitar in place of the trumpets. Yes!!

ALWAYS SOMETHING THERE TO REMIND ME
• Was this a phase Ian was going through - first Doris Day and now Sandie Shaw? Recorded for the BBC on Jan 30. 1968.

All 'what the f..??' prejudices aside, this is great stuff. A superbly emotive vocal, lifted even further by Sheila's incredible backing harmonies. Add about a hundred-weight of heaviness and you'd end up with an early approximation of 'Perfect Strangers'.

SUNSHINE SUPERMAN (+ Hard Days Night)
• The first of two tracks recorded live for Pop North on Aug 22.1968. And what a performance! The band tear into this Donovan number as though their lives depended on it. Great vocals from Ian, with
the rest of the band managing to fit "A Hard Day¹s Night" into the
proceedings. Superb!

Energetic, and brimming with vocal and instrumental ideas, but to my ears a bit of a mess. I prefer to hear songs performed one at a time, and even then not these two!

ORANGE AIR
• Although a version of this track (written for The Fifth Dimension) appeared on RPM's deleted Radio 1 Club CD, this is the definitive version and one of their finest moments. Recorded for the BBC, Oct 28. 1968, this is sheer perfection.

A grower. For anyone receptive to sophisticated sixties pop music there's an abundance to enjoy.

CAN'T BE SO BAD
• Another BBC track as The Episode from August 22.1968. As with
"Orange Air", although a version appeared on the RPM Radio 1 Club CD, this performance cuts it to bits. Yet again, had this Moby Grape cover been a single, it might have given the band the hit
they so richly deserved.

Episode Six as Fleetwood Mac, with a great vocal performance from Sheila, and ace beefy guitar work. The chorus then arrives and it's pure west coast pop, all bah-bah-bah vocal harmonies... Weird, but great.

MR. UNIVERSE
• The first of two recordings done for the BBC in November 1968. Written by Ian and Roger, Gillan fans will recognise some of the lyrics which he re-recorded in 1979 for the title track of an album by his own band. One of the band's heaviest numbers.

Mr.Universe (a single b-side) is my favourite Episode Six recording, and contains one of Ian Gillan's most explosive vocal performances. This session version comes close (some feat!), but I'll stick with the original.

I HAD A TALK WITH MY MAN
• The second track done for the BBC in November 1968 allowed Sheila a vocal showcase. Very few singers would be brave enough to try this live on radio these days.

Attractive blues track spiced up with a touch of jazz, I much prefer it to the material on Sheila's solo single.

TEMPTATION
• For me the band's finest cover of all. Recorded for the BBC on 7th January 1969, this old standard is turned by the band into something else again. Great harmonies, great rhythm, great EVERYTHING. Turn it up and play it ten times in a row. If only they'd done a studio version. A lost Number One, for sure.

Fantastic. Very sophisticated pop/rock. Listening to this it's easy to see why Ian Gillan was so enamoured of Deep Purple mk1's cover versions..

ALONE AGAIN OR
• Recorded for the BBC on 27th January 1969. The first of two (three if you count "My Little Red Book") songs by Love. It seems strange that Episode Six could get covers of this band onto daytime radio when the originals were ignored.

Again fantastic in its own right, and with more shades of mk1 Deep Purple.

A HAZY SHADE OF WINTER
• Recorded for the BBC on 27th January 1969 featured a song which had proved a surprising flop for Simon & Garfunkel. Ian seems more familiar here with the lyrics than he did on the Radio 1 Club performance where he invented a part about the sky falling down! This version is slightly less frantic than there, presumably because this is a studio take rather than a live one.

Great riff, and perhaps the rockiest track on CD1. The lo-fi sound quality doesn't help, but it's still an enjoyable listen.

MOZART VS THE REST*
• This sequence, from the band's live appearence on the Radio 1 Club in Cardiff on March 24. 1969 captures the essence of the
programme. Mozart provoked a huge response when they first performed it on the show and it was soon out as a single and became a firm live favourite, performed no less than nine times on various shows, but this remains the best of the lot.

Very similar to the single version, but even more frantic. Great background yells and hollers from Gillan and a fabulous performance from guitarst Tony Lander.

STONES MEDLEY SATISFACTION / PAINT IT BLACK*
• Like Sunshine Superman, The Stones medley again shows the remarkable ability of the band vocalists to cope with a complex arrangement - you try singing 'Satisfaction' while someone stood next to you belts out 'Paint It Black'! Recorded live on 24th March 1969 for the Radio 1 Club.

Oh God, they're at it again.. another 'two-fer'. This is better than the Donovan / Beatles effort, recorded live with everyone firing on all cylinders. This track shows what a terrific live band Episode Six would have been to witness.

MORNING
• Sadly the tape boxes don't tell us the origin of the next five tracks.
Sheila Carter feels they may be home demos done in early 1969 when they were planning their album, although there is a chance they were recorded for a radio session April 22. 1969.

"Morning", first heard on Dusty Springfield's 1968 album 'Definitely Dusty', is especially strong, handled with conviction by Sheila. Note Mick Underwood¹s great drum pattern.

Another great performance from Sheila, almost turning it into Steeleye Span-style folk rock. She deserved fame after Episode Six every bit as much as Gillan and Glover.

I AM THE BOSS
• A Gillan original, one showing the lyrical sense of humour he would use to great effect in Deep Purple on tracks like "Anyone's Daughter".

The lyrical style later emerged again in the Cher Kazoo project. Too daft for my tastes. Mind you, it took me years to get used to 'Anyone's Daughter'...

I¹LL BE YOUR BABY TONIGHT
• If you (like me) hold to the theory that Dylan's songs almost always sound better covered by someone else then here's further proof. The original was on Dylan's album 'John Wesley Harding'.

NIce, but not essential, a fairly straight reproduction of the original.

SOMETHING'S GOTTEN HOLD OF MY HEART
• Sheila shows her true capabilities. Also note Ian's "Child In Time"-like screams! The track had been a hit for Gene Pitney in 1967.

Absolutely fantastic. An emotional tour de force, with the band giving the backing track the full Vanilla Fudge steamroller treatment, even threatening to become Led Zeppelin at one point. If Lord, Paice and Blackmore witnessed Episode Six performing material in this fashion, it's no surprise that the singer and bass player were snapped up pronto.

BEEN SUCH A LONG WAY HOME
• This stunning version of 'Been Such A Long Way' is a real treat, Gillan gives it everything.

And so we reach track no.25, with virtually every flavour of pop and rock music having been touched upon, and always with conviction. For me, the star of this final track is Roger Glover, riffing energetically with the lead guitar in the mid-section. Gillan almost steals the show with a screaming prototype for the Made In Japan ending of 'Strange Kind Of Woman'.

DEMOS & REHEARSALS

NOBODY LOVES ME LIKE YOU DO
• Another track from their first demo session, on 26th May 1964 (see CD1 track 1). Again, Harvey and Sheila are on vocals. Glover is on bass but Gillan was still busy with The Javelins. Of the other tracks from this session, "My Babe" can be found on Sequel's "The Roots Of Deep Purple" (NEX CD 156).

Very good sound quality. Basic musically, but attractive in the same vain as their first B-side 'That's All I Want', a track which I've always enjoyed. Another track from Roger's first ever recording session.

LET THE FOUR WINDS BLOW
• From the same 1964 session as "Got My Mojo Working" on CD1, Sheila takes lead.

Pure early sixties r'n'b, with a hint of Beatles in the performance.

HAVE YOU EVER BEEN THERE
• One of the earliest-known Roger Glover compositions, this home demo / practice session was taped in early 1966 with Ian Gillan on vocals (he's on the rest of the tracks on CD 2). An earlier demo sung by Roger himself can be found on the Purple Records CD "Pre Purple People" (PUR 325).

Ian Gillan sounds a little tentative, but the group's backing harmonies are (as ever) very strong, giving the track an energetic Beach Boys Party feel.

SUNSHINE GIRL
• A Roger Glover composition, we think this is a pre June 1967 practice session, prior to the band recording it for the b-side of their single "Morning Dew".

The single version is a hesitant performance with Roger on lead vocals. This scores extra points for its live atmosphere; you can easily imagine the group stood in a circle running through the song.

LUCKY SUNDAY
• Tony Lander spent hours in his home "studio" preparing the vocal parts for "Lucky Sunday", the band's eighth single. This rehearsal shows them practicing the track in August 1968.

I've never warmed to the single, so this version never stood much chance. The song is a bit wet and poppy, about a bored kid ogling a girl in church. The version on this cd is pleasingly raw instrumentally, but Ian's vocal sounds a bit too weak for my liking. Purple Records' aim was to illustrate him trying to get the feel of a new song, a charming enough concept, but the reality is the first duffer on the entire collection.

GENTLEMEN OF THE PARK
• The band still argue about who did or did not take part in this session done just before March 1969 for the "Les Bicyclettes De Belsize" soundtrack. However, it seems that they were only used in a vocal capacity.

This track was the major absence from Sequel's 1991 "Complete Episode Six" release, so I'm pleased that it has made it onto this collection. The sound quality is excellent as expected, and it's an attractive piece of music. The song appears in the film as assorted snappers busily photograph a fashion model in Belsize Park. Pure sixties kitsch.

UNISSUED SINGLES:

• THE WAY YOU LOOK TONIGHT
A demo done in 1965 (see "Mohair Sam" on CD1), this features a lovely vocal from Ian accompanied by the whole band. Episode Six re-recorded this Jerome Kern standard in 1967 for another possible single, but it remained unreleased until the Sequel CD in 1991.

An attractive vocal harmony ballad, very similar to the version on the Sequel cd. There's some hiss and click left from the acetate, but, swings and roundabouts, we also get to enjoy the clarity and richness of the singing.

• LOVE IS A SWINGING THING
A faithful cover of one of The Shirelles better-known tracks. This demo was for another possible single in 1965 which fell by the wayside, despite a fine performance from Sheila and the boys.

Attractive enough, but very restrained compared to the powerful music often recorded for the BBC, on which the band would frequently really cut loose and hit the heights.

• STEAL YOUR HEART AWAY
Demo'd as a possible b-side for the above track, "Steal Your Heart Away" is best known here as The Moody Blues' debut single, although that band gave the song a minor-key arrangement compared to the basic blues version here.

The sound quality remains high for this uptempo blues from 1965. It's an enjoyable, and catchy track with Harvey Shield and Sheila Carter on vocals. (The sleeve notes say that Ian Gillan sings lead, but Harvey has told us otherwise!)

SHEILA CARTER & EPISODE SIX

• YOU CAN HAVE HIM
This is a faithful version (well, without the brass!) of Dionne Warwick's minor hit. Recorded for the BBC, April 8. 1968.

A big drop in sound quality for a tuneless and grating BBC session track, recorded on the same day as Deep Purple's first ever show.

• I WILL WARM YOUR HEART 'stage one'
While Sheila was preparing to record her solo single, she had one of her early pre-orchestral demos cut to acetate, which we feel is better than the single itself. This dates from early November 1966.

In complete contrast, an absolutely beautiful, stripped back performance. Crystal clear sound quality, and what a lovely voice.

• INCENSE
Originally the b-side of Sheila's 1966 solo single, this was taped live for the BBC on June 1.1968.

I've always found the b-side version a tuneless racket (my internal soul music receptor obviously doesn't work very well!) and this take, even with the edge of being performed live, sounds little better to me. Pass.

• STAY WITH ME BABY
Recorded for the BBC in either December 1968 or January 1969, along with "Temptation" on CD1. "Stay With Me Baby" was another of Sheila's showcase tracks, Ian Gillan handled keyboard duties while Sheila was thus occupied.

Everyone seems to have had a go at this one, most recently David Coverdale on Restless Heart. The song itself is ok, and doesn't make much impact.

LIVE IN EUROPE:


• I HEAR TRUMPETS BLOW
• MORNING DEW
These two versions of the band's fifth and second singles were taped for a German TV appearance in September 1967.

This particular TV show has become infamous for their barely under control audio recordings. Episode Six got off lightly, and their two songs sound sharp and fun.

EARLY SONGWRITING:

• MONSTER IN PARADISE *
Another group original, performed live for the BBC Radio One Club on March 3. 1969. A solo version by Ian appeared as part of his Cher Kazoo project.

A great tune, with great lyrics, sung as a quirky duet between Ian and Roger. At this point I'd like to say that I'm stunned by the sheer volume of national radio work carried out by Episode Six. It seems that anyone listening to BBC Radio One at any time of day in 1968/69 would have been regularly exposed to Episode Six in all of their various guises. The fact that the likes of 'Monster In Paradise' could be performed live to a huge daytime audience, only to sink into instant obscurity is plain bizarre. Surely fame was only an album away.

• I AM A CLOUD*
This is the powerful live performance they did when called up to deputise for an errant Pink Floyd on the BBC Radio One Club in April 1969. Another original which clearly shows the heavy direction the band were moving in at this late stage in their career. A different version on the track appears on the "Pre Purple Purple" CD.

Pretty tuneless, especially on the guitar front, but with a pleasing heaviness towards the end (when the music becomes more cohesive) seemingly inspired by Led Zeppelin's first album. It sounds as if the soundman was caught completely on the hop by the song's sudden punk aggression!


ON AIR: THE ULTIMATE COVERS BAND

• LIGHT MY FIRE*
A unique interpretation of The Doors' classic which was often extended into a mini-theatrical piece during regular live shows. Here, for the BBC Radio 1 Club, Dec 31.1968, they keep it short.

Neat cover which veers closer to pop rather than rock despite Mick Underwood's powerful drumming and Sheila's Pink Floyd organ solo. The band really manage to give the song a strong British feel. A grower.

• THE CASTLE
Recorded for the BBC Radio One Club on June 1st 1968, this was a good stab at another Love number.

The vocals are muffled, but the guitar and bass pick away clearly throughout. Tremendous music, makes me want to go out and buy Love albums!

• SPANISH CARAVAN*
Another virtuoso performance of a Doors track, done for the BBC Radio 1 Club on April 3. 1969. The vocalist here appears to be guitarist Tony Lander.

Carried by the sharp guitar work and by Sheila's shadowing keyboards. The vocals fit the track nicely, Lander could do a fair Jim Morrison impression!

• SAY YOU DON'T MIND
Sheila takes lead on this version of Denny Laine's first single on leaving The Moody Blues. Taken from a BBC session, Jan 30.1968.

Sheila shows her incredible versatility once again, hitting the notes in this unusual track with wonderful ease.

• ISLAND IN THE SUN
A cover of a Harry Belafonte number, Ian's masterly and tender vocal ensures that this version stands on its own merits. Taken from a BBC session, Jan 30.1968.

Errr....no thanks.

• HERE THERE AND EVERYWHERE
Another song for the BBC on April 8. 1968 was this two-year-old single a-side. One of Paul McCartney's best ballads, and Ian does it justice here.

Quite a pretty version, but I much prefer the single. Here Ian stays too far in the background, possibly because of an unsympathetic mix.

• RIVER DEEP, MOUNTAIN HIGH
Another BBC session, from August 13th 1968. Coincidentally, Deep Purple were also recording this for their second studio album around the same time.

Disappointingly from a Deep Purple fan's point of view we don't get to hear Ian tackling the vocals. Instead it's Sheila, though as usual she does an exemplary job. For me, the end result is stronger than mk1's performance of the track.

• JESSE JAMES
Another number from a BBC appearance on 22nd August 1968, giving Roger lead vocal, although the whole band contribute. While it is easy to see why this went down well live, it translates less well without the visuals.

I suppose it illustrates another aspect of Episode Six in concert, though I think I'll skip past it in future. It's a joke western song (full of whoops and yee-harrs), with a music hall Rule Britannia thrown in. Maybe it provided the inspiration to chuck a few bars of Land Of Hope & Glory into Under The Gun in 1984, but I hope not.

• SLOW DOWN
A live session from January 1969. This Larry Williams hit
(covered by The Beatles on their "Long Tall Sally" EP), thunders along not unlike the rock¹n roll encores Deep Purple would be doing a few months down the line, and makes a fitting conclusion to the disc.

Faster than the boring Beatles version, but still a bit too good mannered to get the blood pumping.


* Some tracks have previously been released on the Episode Six 'Radio One Club' cd in 1997. They have been remastered for inclusion on 'Cornflakes & Crazyfoam'.