#bbc session version

[madc0w-got-banned]

Listen/purchase: Mission Bells (BBC session version) by the aislers set

album

[alas--pringles]

Mountain fans- always looking for visual crumbs of their favorite

Rain fans- always listening for audible crumbs of their favorite 😭

[death-by-mercury]

You've done me wrong

For the last time

You've sung your song

Now I'm going to sing mine

Out loud, so loud

Like the roaring sea 🌊

[rastronomicals]

5:35 AM EDT August 16, 2024:

Uriah Heep - "Gypsy BBC Session Version" From the album ...Very 'eavy ...Very 'umble (June 13, 1970)

Last song scrobbled from iTunes at Last.fm

2003 expanded reissue bonus track

[clatterbane]

A working link

Nirvana - D7 (BBC sessions)

[guessimdumb]

Dexys Midnight Runners - Let's Make This Precious (BBC Version) (1982)

Searching for the Young Soul Rebels is one of my faves, and in between that LP and their big hit LP Too-Rye-Ay, Dexys Mk II recorded an number of singles and a BBC session. Let's Make This Precious later reappeared with the fiddles and whatnot, but I much prefer this rendition, which retains a lot of the sound of their first LP.

No, not those guitars, they're too noisy and crude

[cazzyf1]

Some James Hunt lore ✨️

Because man needs to be appreciated

Warning, potential nsfw and other triggering topics under the cut

James Hunt brought a v*brator to a Mclaren mechanic asking if he could fix it.

James Hunt supporting black-led groups in South Africa when trying to gain their independence. He didn't want to commentate the South African GP because of what was happening but the BBC forced him to. So he purposely revealed during the race that him and Murry Walker were not actually in South Africa commentating (which was not known to the public at the time). He also donated all the money he got from commentating the South African GP to charities to support the apartheid's even though at the time he was struggling for money

James Hunt learnt to play the trumpet at school and was rather good at it. He got to play at the Royal Albert Hall and everyone was suprised when he played well and got invited back to perform at another show.

At school he made his younger brother a pair of pj trousers and his brother proudly wore them around. James loved his younger siblings dearly.

James studied the female anatomy to understand and help his girlfriend at the time who kept having miscarriages.

Niki had to convince German guards not to arrest James when he tried breaking back into the track after a night out.

James having to convince airport customs to let him bring a playboy magazine through because it had an interview piece with him in.

James would throw up before races and Niki sometimes would piss beside him.

After retiring from F1 James brought a farm however he couldn't kill any of the animals so it fell through. His son, Freddie, now owns a sustainable farm in Scotland.

James loved the game backgammon and made everyone play it with him.

James sent Niki a telegram after his crash trying to motivate him to get better. Niki called James up on his birthday from hospital and they chatted for hours.

James owned a nightclub called 'Oscars' named after his dog.

James Hunt slept with a journalist then got upset when she rated him in a newspaper article.

James seized the PA system from a flight attendant and gave his own version of the welcoming address as they landed. Later on he appeared sitting on luggage riding the carousel.

One day during practise James felt tired and halfway through he pulled the car over and fell asleep. Niki who was sitting out watching James practise panicked when James didn't return and jumped on an ambulance that rushed around to find James, only to find him asleep in his car.

James went to therapy and concluded that he struggled with emotional intimacy with women likely down to the lack of emotional availability in his childhood.

Once, while being interviewed, James pointed to his hotel room and him and the interviewer watched as a woman broke into his hotel room.

James was happy when Suzy left him for Richard Burton as he felt responsible for her even though their relationship had fallen apart.

James was given a toy monkey after winning the championship and carried it everywhere.

He would refuse to wear suits to formal events, preferring to wear jeans and no shoes.

In his early days he tried to enter a mini car he had made with missing doors and a garden chair in the passenger seat.

Once James was stuck in the back of a car in traffic and he needed to go to the toilet. His then girlfriend suggested he piss out the window as the car tried to rush past all the traffic but as it was so cold his c*ck wouldn't work so he was just accidentally flashing everyone as the car rushed by.

After winning the world championship, Britian hosted a 'James Hunt' day. Niki went along to wave a flag for one of the races.

One of the first times James Hunt and Murry Walker worked together, James leg was in a cast, and he sat down and put his leg on Murray's lap which really annoyed Murray. He also drank two bottles of rose wine during that commentary session.

James was utterly dedicated to his dog Oscar to the point that they were inseparable.

James said that what brought him pleasure in the bedroom is the woman feeling pleasure and that he liked a woman who knew what she wanted and told him

He became very depressed and would call the bad days his 'dippers'

He struggled with a lot of addictions but got sober for his sons

[tavolgisvist]

'…Paul McCartney was such a fan of Dominic Behan’s ‘Liverpool Lou’ that he recorded it with the Scaffold'

(Liverpool - Wondrous Place by Paul Du Noyer, 2002; Part (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX))

Q: “Liverpool Lou” was another massive hit for The Scaffold. That is linked with the recording of the McGear album. A: It was. The BBC telly wanted The Scaffold to do a sketch with the actress, Rita Tushingham and Derek Guyler. They said “Can you sing the song for us? I couldn’t come up with a song. I was working with our kid and Wings in Strawberry and said “Have you got any ideas for a Scaffold song? I’m doing this telly.” He said “Oh, you wanna do Liverpool Lou.” I said “No, it is too folky, too Spinners.” He said “No, just listen to it.” It was very old and had been around for centuries in Liverpool. I had forgotten how it went and certainly didn’t know the words. I said to BBC telly people “Could you get me a song called Liverpool Lou?” They sent me two versions. One was by Dominic Beehan and the other was by Delaney and Bonnie. Scaffold tried to trad arrange ‘Liverpool Lou’ but Dominic Beehan had got to it before us and copyrighted it. He got all the writing credits and all of the money for Liverpool Lou. The other version by Delaney and Bonnie was absolute magic. Our kid heard those two opposites and said “You want to go in the middle there.” He did it, he made that song. That is just Wings with in the middle of ‘Liverpool Lou’, a 10CC gizmo. That’s the weird sound in the middle. Q:The Godley and Creme invention. A: That’s right. It’s hard to play but I think our kid played it. Norm Yardley does the gob iron on Liverpool Lou, I was with him the other night. Nice track.

(Mike McCartney / McGear – The Strange Brew, 2016)

Scaffold’s latest single ‘Liverpool Lou’ released on May 3rd on the Warner Bros. Label. Record No. K 16400. It’s an old song, credited to Brendan Behan’s brother, Dominic. Paul produced and arranged it. In the middle there’s a gizmo solo, it’s a new instrument invented by Lol Creme and Kevin of 10CC, who partly own ‘Strawberry Studios’. There are only two gizmos in the world.

(From Wings Fun Club newsletter N°1, 1974)

Oh Liverpool Lou, lovely Liverpool Lou Why don't you behave just like other girls do? Oh why must my poor heart keep following you Stay home and love me, my Liverpool Lou When love is pleasing, and love is teasing And love is a pleasure, when first it is new love And as it grows it older, and love it grows colder And that fades away, love, like the morning dew <…> When I go out walking, I hear people talking School children playing, I know what they're saying They're saying you'll grieve me, that you'll deceive me Some morning you'll leave me all packed up and gone <…> Sounds from the river Keep telling me ever That I should forget you Like I never met you Please tell me their songs of Was never more wrong, love Please say I've been gone, love To my Liverpool Lou

Another song where Paul used a Gizmo - I’m Carrying:

McCartney originally recorded the song accompanied by just his acoustic guitar during the London Town sessions aboard the stern of the yacht Fair Carol in the Virgin Islands on 5 May 1977. In December 1977, he overdubbed orchestral strings and he also overdubbed his own playing of an electric guitar using a Gizmo. The Gizmo is a device invented by 10cc members Kevin Godley and Lol Creme, which allows a guitar to be played by vibrating the strings rather than plucking them. (x)

By dawn's first light I'll come back to your room again With my carnation hidden by the packages I'm carrying, something I'm carrying something for you Ah, long time no see baby, sure has been a while And if my reappearance lacks a sense of style I'm carrying, something I'm carrying something for you I'm carrying I'm carrying, can't help it I'm carrying I'm carrying something for you

People say, ‘What does this song mean?’ and I say, ‘Well, it’s up to you.’ It can mean a million things. What am I carrying here? I kind of make it clear that it’s packages. So I’m like Dapper Dan, with my carnation hidden by the packages. I’m bringing presents for you, I’m carrying something for you, but also, when a woman is having a baby, she’s carrying. There are a couple of other meanings that rule themselves out. One is carrying a gun. Another is carrying drugs. One meaning that might have a little traction is the idea of one person ‘carrying’ a band, with the others riding on the coattails. I’m not even sure about that. I’m just playing with the word ‘carrying’. It’s a very ambiguous little song, but that was the sort of freedom of Wings, to do something a little bit ambiguous. It’s been suggested that this song sounds Lennon-esque. I’d admit to it if it were, but to me it sounds more McCartney-esque: just the little voice. I couldn’t imagine John doing quite such a little voice. But you know, if it’s seen as Lennon-esque, that’s no great problem. We did learn how to write songs together, after all.

(Paul McCartney, The Lyrics, 2021)

[queenofclogs]

can we talk about THIS VERSION of Tenement Funster?

his voice has me weak on my knees

[marcyonacross]

In a committed relationship with my beautiful wife, the 12 second long high note Copia hits at the end of the BBC Live Session version of Life Eternal

[dried-up-f1sh]

I drew something cute this time. Anyway, here's Genevieve and Vox dancing way back when they were on better terms. I used my abandoned sketches for the background portraits because I know damn well I ain't completing those😭. I also have a version with colourbars (idk why. I just like how they look)

At some point I might actually make a comic but for now I don't think I'll be posting because my exams are approaching and since this is my first year of varsity, I don't know what to expect.

[thegreatimpersonator]

so i think i finally figured out what exactly put me off taylor, and it wasn't the politics (or lack of it) or generally how she's been since midnights released. i think it's the basic fact that she's stopped being/feeling like she is a musician. like i know she's doing the tour, obviously, but nothing about her including the tour has felt like it's about her work.

for instance i see artists of her generation and even newer ones do your staple few things after they've released new music: you do SNL maybe, maybe a tiny desk concert, maybe BBC live radio, maybe some smaller/closed door live gigs and live performance videos on your YouTube, maybe you speak with Genius or Apple Music like Hozier did about your process. just tiny things that speak about your music and what is after all your day job.

instead what i recall and what i've seen taylor do since midnights came out (or arguably since the red re-recording came out) is simply her go to jimmy fallon or whatever and basically rehash the same lines about the album, or release a hundred combinations and versions of the same thing for people to buy. and this isn't even half the reason why we see her face plastered everywhere: a bulk of it is pap walks, tabloid-y speculation which generally makes me go what even are you now

and i just feel like this is such a wasted opportunity to do more with her music. the last bit of creativity in this sense that i can think of is the folklore long pond studio sessions: they gave her a chance to talk about making the album, and they also added a different texture to the songs themselves.

wow this is actually such a good observation. she really doesnt promote her music anymore, but she does promote her personal life. (and i know shes on tour, but she has the week off in between, she can do an interview over the phone during lunch one of those days off you know) the TIME interview was the perfect example, i would have loved to know what the re-recording process was like from the beginning, if it changes with each album, what she approaches first, how tour affects the re-recordings, etc... but instead we got a good chunk of her and her current partner. i would have loved to see it focus in on her as an artists rather than her personal life.

and if we take the only artist i can think of that doesnt really do promo but is currently releasing music, that's beyonce (not comparing them as artist dont worry), but beyonce is so different from taylor. they both are selling entirely different things. taylor sells relatability, writes about human emotion for the everyday person. she built a good percentage of her career off of relating to people and building a community of people feeling like they personally can relate to her and she can relate to them. beyonce doesnt offer any of that, she sells the fantasy, an escape. her releasing an album and never really promoting it makes sense, her art doesnt thrive off of relatability and feeling like the everyday person. taylors does.

nothing about taylor is about the music anymore. and when it is, it's 'fans' asking for more of it, then getting it, then wanting more. and when we get it- the longest, most intense discussions are about the person they're supposedly about and people creating an entire story surrounding it... not once admiring the song itself and her work. and thats probably why it feels so exhausting, every conversation is stale and tasteless if you're someone who doesnt care about her personal life. it's just the same gossip over and over again and a lot of its been being discussed for over a decade.

[harrisonarchive]

George, Pattie, and Mal Evans with Frank Sinatra in the control room at Reprise Records on November 12, 1968; photos © Ed Thrasher/MPTV Images.

“One diary entry I’ve left to the end because it’s a great one — a great memory for me at any rate. One Wednesday evening Pattie, George and I went to Hollywood’s Western Recording Studios at the invitation of Frank Sinatra. We watched him work through his session. Afterwards he took us all out for dinner on Sunset Strip and we had a fascinating time listening to his stories and gags. There’s an evening I won’t forget!” - Mal Evans, The Beatles Monthly, January 1969 “[W]e went along with his road manager, Mal Evans, and we went to the recording studio, and in the studio itself, it was — they had a full orchestra, and we went upstairs to the control room, where Frank was, and the engineer, and the producer, and Frank said hello to George and me, and then he said he was just going to go down into the studio to record. So this was really exciting, and we were looking through the big glass window, looking down at him there and the orchestra, and he sang ‘My Way.’ [gasps] This is absolutely wonderful, this is incredible. So he came upstairs, listened to it, we all listened to it, and he said, ‘That’s it, we’re going out for a drink now.’ And it’s as if he had done it just in one take. Who knows, you know, whether they’d done it a few times before we arrived, I don’t know, but in my mind, and George’s, he’d done it in just one take. So it was supreme, it was fabulous. And then off we went to a club, and there was this long table where Frank sat down. George was about to sit next to him, and one of his big guys said, ‘No, no, no, you can’t sit next to Frank.’ So George had to sit a couple of chairs away. I was at the other end with somebody from New York with a very strong accent, and they all had their own bottles of various whiskey in front of them. It was kind of like being in a movie.” - Pattie Boyd, BBC Radio 2, September 2019

Sinatra went on to record a cover of George’s song “Something" in 1970, calling the Harrisong “the greatest love song of the past fifty years.” “‘They all say that "Something” was inspired by Patti [sic - Pattie] but it wasn’t really,’ George confides with an impish chortle. 'She was my wife at the time, but when I wrote that I had Ray Charles in my head. I always imagined Ray singing it, and eventually he did record it. There was a period of time when that became a Muzak tune; you’d hear it in elevators and I started feeling a bit embarrassed, but now I’m back into it and so happy to have written it.’ ‘Sinatra was doing it for years,’ he notes slyly, 'so now I always think of Frank Sinatra when I’m doing it. In fact, I’ve got that in the live version: Stick around Jack, it may show.’" - Billboard, July 4, 1992 (x)

[rastronomicals]

12:48 AM EDT October 27, 2024:

Led Zeppelin - "You Shook Me" From the bootleg Another White Summer (Recorded August 10, 1969)

Last song scrobbled from iTunes at Last.fm

BBC Radio 1 session at The Playhouse Theatre, London, in front of a live audience, for something called 'Rock Hour.'

Soundboard taping. Excellent quality version (with a bonus track) of boot that had been released many times under names like One Night Stand and (natch) BBC Rock Hour

[longliverockback]

Jethro Tull Stand Up [The Elevated Edition] 2024 Parlophone ————————————————— Tracks CD One: Steven Wilson Remix 01. A New Day Yesterday 02. Jeffrey Goes to Leicester Square 03. Bourée 04. Back to the Family 05. Look into the Sun 06. Nothing Is Easy 07. Fat Man 08. We Used to Know 09. Reasons for Waiting 10. For a Thousand Mothers Associated Recordings 11. Living in the Past 12. Driving Song 13. Bourée [Morgan version] Original 1969 Stereo Single Mixes 14. Living in the Past 15. Driving Song BBC Top Gear Session 16. A New Day Yesterday 17. Fat Man 18. Nothing Is Easy 19. Bourée

Tracks CD Two: Live at the Stockholm Konserthuset, 9th January 1969 Second Show 01. Introduction 02. My Sunday Feeling 03. Martin’s Tune 04. To Be Sad Is a Mad Way to Be  05. Back to the Family 06. Dharma for One 07. Nothing Is Easy 08. A Song for Jeffrey Live at the Stockholm Konserthuset, 9th January 1969 First Show 09. To Be Sad Is a Mad Way to Be 10. Living in the Past [mono] 11. Driving Song [mono] Original Radio Spots 12. Stand Up [Spot #1] 13. Stand Up [Spot #2]

Tracks DVD: Steven Wilson Remix 01. A New Day Yesterday 02. Jeffrey Goes to Leicester Square 03. Bourée 04. Back to the Family 05. Look into the Sun 06. Nothing Is Easy 07. Fat Man 08. We Used to Know 09. Reasons for Waiting 10. For a Thousand Mothers Associated Recordings 11. Living in the Past 12. Driving Song 13. Bourée [Morgan version] 14. A New Day Yesterday 15. Jeffrey Goes to Leicester Square 16. Bourée 17. Living in the Past 18. Look into the Sun 19. Nothing Is Easy 20. Fat Man 21. We Used to Know 22. Reasons for Waiting 23. For a Thousand Mothers 24. Living in the Past 25. Driving Song 26. Bourée [Morgan version] 27. A New Day Yesterday 28. Jeffrey Goes to Leicester Square 29. Bourée 30. Back to the Family 31. Look into the Sun 32. Nothing Is Easy 33. Fat Man 34. We Used to Know 35. Reasons for Waiting 36. For a Thousand Mothers 37. Living in the Past [mono] 38. Driving Song [mono] 39. Living in the Past 40. Driving Song Live at the Stockholm Konserthuset, 9th January 1969 41. To Be Sad Is a Mad Way to Be 42. Back to the Family —————————————————

Ian Anderson

Martin Barre

Clive Bunker

Glenn Cornick

* Long Live Rock Archive