The Who - Meaty, Beaty, Big and Bouncy (Alternate White Trash Soul Version)

 

'Meaty, Beaty, Big and Bouncy' is the first in a long line of Who compilations. It is also widely regarded as the best. One reason for its success is that it has an actual purpose. Meaty was designed as a collection of the group's singles, many of which were never released on albums and it was compiled by Pete Townshed himself.  

However, there were some negative aspects to the situation at first. Kit Lambert, The Who's manager, tried to change the track order, but failed because too many copies had already been produced. The UK release was delayed because The Who and their other manager, Bill Curbishley, failed to consult Lambert but anyway. Aside from 'Boris the Spider' and 'I'm a Boy', every track on the album had been released as a single in the UK. Furthermore, all except 'A Legal Matter', 'Magic Bus and 'The Seeker' were top ten hits. 'Happy Jack', 'I Can See for Miles', 'Magic Bus' and 'Pinball Wizard' were also Top 40 hits in the US.

As it was released before 'Who's Next', it doesn't feature any of the group's later radio friendly "rock" hits. But that's for the best, in my opinion at least. I never liked them that much, if at all, right after. The Who have always been a maximum R&B outfit of pill-poppin' mods, not a bunch of long-haired hippies.

This time, I'm offering an alternate version of 'Meaty, Beaty, Big and Bouncy'. I love the Ox, but 'Boris the Spider' was a joke, not a proper song — let alone one worthy of such a great collection. So I threw it out, don't care for any different aspect, it's my blog after all. I replaced it with what I consider to be the most underrated early Who song: 'Circles', which I learned from the Fleur De Lys' cover version when I was younger. Then I added two more: 'Call Me Lightning' was another US-only single that made it to the Top 40. Aside from that, it remains an amazing sonic blast of proto-power pop with added doo-wop vocals — it could have been easily a song by the Action!

At the tail end of this alternate look of mine it's the monster that is 'Goin' Down'. A song by Don Nix, a veteran of the Memphis music scene, having been involved with the very first house band for Stax Records, The Mar-Keys, since the late '50s. It is likely that this version was based on Freddie King’s rendition, which appeared on his 1971 album 'Getting Ready'. Pink Fairies and the Jeff Beck Group both tried it in the studio and at concerts, but Townshend and Co. probably went there first. There is only a live recording of it from 1971, and its sole legitimate release was on the 1987 rarities kind of thing album, 'Two's Missing'. A powerful smack in the vain of  'Live at Leeds'. Of course a no single release but to yours truly a battle cry to their younger and angrier days.  

All original MBB&B songs are ripped from the 1985 US CD version by MCA. 

The reason was no other than Steve Hoffman's remastering. A well-known figure in the audiophile community, he is named for using every time the best available source tapes and Hoffman's mastering is praised widely for improving the sound of the early Who recordings. The key element of his remastering work was the replacement of the original LP's fake stereo tracks by using vintage true stereo and mono mixes. I often visit his forum to see what Steve or others have to say about recordings and pressings I'd like to put my hands on. 

For the Meaty project, he wrote this: That's what I tried to do for the original MCA MEATY CD. The big problem is that in the late 1970s, the Who's material was "divided up" and the earlier stuff (starting, I think, at PICTURES OF LILY and going back) stayed at Brunswick, UK and stuff from I'M A BOY and later) went to the Who for their new TRACK label. So in the UK there are two different sets of owners, two different master vaults and a lot of confusion and bad blood. In the USA everything stayed with Decca/MCA so it was easier for me to recompile the set from scratch (I only had an afternoon) but a lot was a tape copy from the UK but at least true mono or true stereo. I doubt that would be possible to do in the UK now except by legal wrangles.

For the Extras I used rips from: 

1. CIRCLES, The Who '66 (2001 CD - Polyboy Records, duophonic)
2. CALL ME LIGHTNING, Magic Bus - The Who On Tour (2007 CD, Decca Records Japanese, Stereo)
3. GOIN' DOWN, Who's Missing & Two's Missing (2011, Polydor Records, SHM-CD Japanese, Stereo)

I also created the front sleeve featuring the then WHO logo, which I attached to the bottom right corner using scans of the original pamphlet that came with the American edition of 'Meaty Beaty Big and Bouncy' in 1971.

Various Artists - De Nederlandse Punk R&B Geluiden, 60's Nederbiet (White Trash Soul 60s Punk No.3)

As in the US of A, it all started with a television appearance by the Beatles in the Netherlands too. Nothing was the same the next day. Hormone-driven teenagers looking for an outlet began growing their hair long, buying or borrowing cheap music instruments, and forming bands.

As was the case in the USA (again), a movement emerged in Holland that tried to emulate the Rolling Stones, the Kinks, Them and the Pretty Things. However, due to a lack of 'talent', a different sound emerged that was rougher, rawer and more anarchic and which always had the inherent characteristics of the countries in which the bands originated. The American sound is now known as '60s punk or garage punk. The Dutch have the 'Nederbeat' (or 'Nederbiet') moniker.

By now, most people are aware of the existence and importance of bands such as The Outsiders, Q65 and Golden Earrings or Shocking Blue. However, there were many other brilliant Dutch groups that have remained undiscovered, except perhaps to the most dedicated fans of the 'genre'. 

The purpose of my newer post is to highlighting these Nuggets for those who are still in the dark. I'm pretty sure that if you love the original 'Nuggets' compilations, you'll love this also. If you're sitting on some 'Pebbles' volumes, chances are some of them little jewels have been heard by you already. A full-on blast of 60s punk-R&B that's all about that mod-influenced, fuzzadelic, skull-crushingly reverbed-out sounds!

Various Artists - Lyres Under Influence

The truly great bands involved in or pioneering the garage revival scene of the '80s played the important role of archaeologist. They were the ones who, with their expertise, brought to light things we didn't know existed. As a natural continuation of DMZ, (the) Lyres carried on this tradition. They were the first to revive 60s punk, before everyone else saw the trend and claimed to be part of it. 

Jeff Conolly was/is quite a character! He completed this task even before Tim Warren, Greg Shaw and Billy Miller (perhaps) did. Compiling some of the songs that the Lyres have covered, instantly creates one of the best garage punk and freakbeat playlists around and that's what I have to offer this time. All I had to do was to decide which tracks to select and arrange them in a way that would make them flow nicely for all of you people. Either way, I had already done my job many moons back. Cheers!

1. The Witch - The Sonics
2. Take A Look At Me - Mr. Lucky & the Gamblers
3. Since You Been Gone - The Kingsmen
4. Little Sally Tease - Don & The Goodtimes
5. What A Girl Can't Do - Hangmen
6. How Can I Make Her Mine - Bobby Roberts & The Ravons
7. Gotta Find A New Love - The Yo-Yo's
8. Busy Body - Jolly Green Giants
9. Don't Tell Me Lies - Tommy Tucker & The Esquires
10. No Reason To Complain - The Alarm Clocks
11. Jezebel - Teddy Boys
12. Lily - Drusalee & The Dead
13. Stacey - The Hangmen Of Fairfield County
14. Baby (I Still Want Your Lovin') - It's Them
15. Soapy - Mickey & The Clean Cuts
16. I Don't Wanna Cry - The Buckinghams
17. We Sell Soul - The Spades
18. I Confess - The New Colony Six
19. What's Wrong With You - The Outsiders
20. Love Me Till the Sun Shines - The Kinks
21. Shake It Some More- Jay-Jays
22. She's Got Eyes That Tell Lies - Him & the Others
23. Go-Go Girl - John's Children
24. The Way I Feel About You - The Pete Best Combo
25. Grounded - The Syn
26. You'll Never Do It Baby - The Cops 'n' Robbers
27. Now I've Got A Witness - The Rolling Stones
28. Let's Talk About Girls - The Grodes
29. Don't Tread On Me - Kit & The Outlaws
30. Stormy - Jesters Of Newport
31. Hang Up - The Wailers
32. Let's Have A Party - The Rivieras

The Wylde Mammoths - Singles, EPs, Flexi 1986 - 1994 (White Trash Soul R&B Series No.19)

Here's an updated and expanded version of the post I did back in 2010. I've added everything I was missing back then. In fact I'm still missing the 'Before It's Too Late' two sider, but don't worry — it's here from another man's rip at a very good bitrate (thanks to Soulseek and its P2P digital heart). I asked Tim Warren about the possibility of an expanded/remastered reissue of their two LPs on Crypt when I met him about three years ago here in Athens, but he seemed annoyed, so I didn't pursue the matter. Geniuses like him and Peter Maniette have their own way of thinking, don't they? And I suppose, after Peter's sad loss, this will remain a 'should have been' kind of thing for all Mammoth fans. Of all the amazing bands that emerged after the brutal, savage and voracious monster that was The Crimson Shadows (The Stomachmouths, The Highspeed V and The Maggots, to name a few), The Wylde Mammoths were the most unique, thanks to Peter's rare songwriting brilliance. If you're looking for some percectly executed garage beat in a 60s tradition, lo-fi  recorded and as straightforward and exciting as The Kinks in their early days, with an added 'Back From The Grave' fixation, here's another chance.

The Chesterfield Kings - The Chesterfield Kinks (White Trash Soul Real R'n'R No.8)

Having been here for such a long time, you obviously don't need a recap or a history lesson on Rochester's finest Frankensteins, the Chesterfield Kings, do you? I guess you're also familiar with their long-standing fixation on the Beatles/Stones dipole. Well, here's the thing: Greg, Andy and Co. have always had a soft spot for The Kinks as well — the most British of the British Invasion bands — and they've covered them no less than five times throughout their career. As the title betrays, the idea this time was to bring together all the covers they did for the Kinks in one place. The only thing missing is a performance of 'Party Line' from a 1985–86 video, which I have been unable to acquire all these years. Brief but satisfying... 

Lyres by Miriam Linna (Breakthrough No. 1, Todd Abramson, 1984)

 

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