Captain Beefheart and His Magic Band - It Comes To You in a Plain Brown Wrapper (UPGRADE)

 

Captain Beefheart and His Magic Band – 

It Comes To You In a Plain Brown Wrapper

(soniclovenoize reconstruction)

MAY 2021 UPGRADE

Disc 1 – Captain Beefheart and His Magic Band
Side A:
1. Safe as Milk
2. Big Black Baby Shoes
3. Moody Liz
4. Trust Us

Side B:
5. On Tomorrow
6. Dirty Blue Gene
7. Beatle Bones n’ Smokin’ Stones
8. Gimme Dat Harp Boy
9. Kandy Korn


Disc 2 – The Twenty-Fifth Century Quakers
Side A:
1. Mirror Man
2. 25th Century Quakers

Side B:
3. Korn Ring Finger
4. Tarotplane


Happy May Day! To celebrate, here’s a long-overdue upgrade to one of my favorite albums that never were. This is a reconstruction of the unreleased 1968 double-album It Comes to You in a Plain Brown Wrapper by Captain Beefheart and His Magic Band. Originally scrapped with half of the material re-recorded and infamously “psychedelicized” for the album Strictly Personal with the other half released as 1972’s Mirror Man, this reconstruction attempts to cull all the originally intended material for the double album that was supposed to be their sophomore release, more successfully bridging the gap between 1967’s Safe As Milk and 1969’s Trout Mask Replica. This upgraded version attempts to follow drummer John “Drumbo” French’s recollections of what Captain Beefheart actually intended with the album, organizing the composed material on Disc One and the improvised material on Disc Two. I have created unique edits of the improvised material in order to fit on a theoretical vinyl record, and have edited the composed songs in Disc One as per French’s notes on how they should have ended. Additionally, I have synced the isolated vocal from the Strictly Personal version of “On Tomorrow” with the instrumental Plain Brown Wrapper version, creating a 'finished' recording.

After a prominent rise of notoriety upon the release of Captain Beefheart & His Magic Band’s psychedelic-blues debut Safe As Milk in 1967, the group stood at a crossroads of how to proceed: continue being a cutting edge cult act or expanding their horizons? After a disastrous warm-up performance for their scheduled 1967 Monterey Pop Festival, it seemed that breakthrough success would elude the riotous bunch. To make matters worse, Don Van Vliet’s band had been damaged by lineup changes due to members who had had enough of The Captain’s drug hallucinations, erratic behavior and alleged emotional abuse. Prodigal guitarist Ry Cooder vacated to be replaced briefly by Gerry McGee, who was in turn replaced by Jeff Cotton.

Despite the troubled waters, Vliet reunited with a Magic Band that consisted of Cotton, Alex St. Clair Snouffer, Jerry Handley and John French in the November of 1967 to record their follow-up to Safe As Milk at TTG Studios in Los Angels. The band had spent months writing and rehearsing new material, which they tackled in the studio: “Safe as Milk”, “Trust Us”, “On Tomorrow”, “Beatle Bones n’ Smokin’ Stones”, “Gimme Dat Harp Boy”, “Kandy Korn”, “Big Black Baby Shoes”, “Flower Pot”, “Dirty Blue Gene” and “Moody Liz”. The new material was more intricate and abstract as compared to the Blues-based Safe as Milk, yet often retaining a melodic sensibility for the possibility of mainstream airplay; “Trust Us” was specifically earmarked for the lead single for the new record.

But expectations were even higher than this impressive collection of songs, as Vliet intended their sophomore album to be a conceptual double-record: The first disc would contain the aforementioned “composed” works, and be credited to Captain Beefheart and His Magic Band; a second disc of improvisational jams would constitute the second disc, credited to their alter-egos the Twenty-Fifth Century Quakers, who were essentially “opening” for Captain Beefheart and The Magic Band. The album was to be called It Comes To You In A Plain Brown Wrapper, in reference to an ambiguous parcel containing either narcotics, drug paraphernalia or possibly pornography. The cover art was to feature exactly that as well, a plain brown wrapper marked ‘strictly personal’, with both records addressed from one band to the other. There was even a photo shoot with the band dressed as Quakers!

Producer Robert Krasnow ran tape as the Captain and His Magic Band soldered through a number of live improvisations-- “Taroplane”, “25th Century Quaker”, “Mirror Man” and “Korn Ring Finger” – which Drumbo French thought were disorganized due to Vliet being unable to conduct the unprepared band properly, as he was contained in a vocal booth. After tracking more than a double album’s worth of material in total, the sessions were paused for a European tour, leaving only six of the ten composed songs with vocals. The band never returned to the TTG Session recordings, forever leaving these tracks unfinished. No reason was ever given for the session’s halt, but it has been suggested that their label Buddha Records had pulled the plug out of disinterest. Interestingly enough, due to Buddha Records misfiling of the band’s contract, Captain Beefheart and company were free to sign to a different label by the Spring of 1968. The very next day, Krasnow and the band entered Sunset Sound Studios to rerecord a single-LP version of the album on Krasnow’s own Blue Thump label.

Recorded in April and May of 1968, Don & his crew recut the more ”commercial” tracks from the November 1967 sessions at a much more abbreviated length: “Safe as Milk”, “Trust Us”, “Mirror Man” (cut from the original 15 minutes down to 5!), “On Tomorrow”, “Beatle Bones ‘n; Smokin’ Stones, “Gimme Dat Harp Boy” and “Kandy Korn”, as well as a new improvisation called "Ah Feel Like Ahcid." In a move that angered Beefheart fans for ages, Krasnow allegedly took the liberty himself to overdub numerous faux-psychedelic effects onto the newly-recorded album, even completely burying the mixes under unlistenable phasing. The resulting released album—Strictly Personal—was a commercial disaster and The Captain disowned the album, claiming the effects were added without his permission. Some speculate that was untrue and Vliet had given his approval only to later turn on the album after its failure. Either way, this folly of questionable truth is just simply a part of the Captain Beefheart mythos-- as was everything else!

After the critical success of the seminal experimental and Frank Zappa-produced rock album Trout Mask Replica (not to mention its respectable follow-up Lick My Decals Off Baby), Buddha Records wished to capitalize on Captain Beefheart’s renewed cult status and artistic credibility. Going back to the original November 1967 Plain Brown Wrapper tapes, they compiled a single-disc of material, primarily focusing on the extended live improvisations. 1971’s Mirror Man included “Tarotplane”, “Kandy Korn”, “25th Century Quaker” and “Mirror Man” and showed the world (or at least the few who were listening) what Strictly Personal was supposed to sound like, to some extent. But wasn't without its own short comings: not only was it merely half of the original Plain Brown Wrapper album, but it featured anachronistic cover art, improper musician credits and Buddha falsely claimed the album was recorded in one night in 1965!

Beyond the Mirror Man LP, the TTG Sessions remained unheard, although “Big Black Baby Shoes” was rerecorded as “Ice Rose” for 1978’s Shiny Beast and “Dirty Blue Gene” was rerecorded for Doc At The Radar Station in 1980. Years passed before fans were able to piece together the actual Plain Brown Wrapper album, beginning with questionably-legal British import I May Be Hungry But I Ain’t Weird in 1992. Suffering from the same fate as other early Captain Beefheart CD reissues of poor mastering and use of inferior mastertapes, it wasn’t until 1999 when Buddha Records released The Mirror Man Sessions, essentially a properly-mastered Mirror Man with five outtakes from the Plain Brown Wrapper sessions included as bonus tracks; seven more TTG outtakes were included as bonus tracks on the 1999 remaster of Safe As Milk. Finally, Sundazed Records collected all the non-Mirror Man outtakes and one more additional track in their own vinyl-only 2008 reconstruction of It Comes To You in a Plain Brown Wrapper (which made no attempt to literally reconstruct the lost album).

While all the pieces are now available to recreate It Comes to You in a Plain Brown Wrapper, we still have the task to wrap it all up as one. While my previous reconstruction featured a mix of the composed and improvised selections evenly spread across the four theoretical LP sides, here we will follow what drummer John French has said he believed the album would have been structured, according to conversations he’d had with The Captain himself! This will include making my own unique edits of the four improvisational pieces (“Mirror Man”, “25th Century Quaker”, “Korn Ring Finger” and “Tarotplane”) so that they will fit on a 40-minute vinyl record. The remaining songs will be sequenced as French suggested (beginning with “Safe as Milk" and ending with “Kandy Korn”), using the songs’ officially-released versions as a template of when the tracks should end (as most of the TTG Sessions simply did not have proper endings), as well as French’s own comments about when songs should have ended. Finally, Side B will be structured to emulate the Side B of Strictly Personal, just for fun!

For the Captain Beefheart and His Magic Band disc, side A begins with Take 5 of “Safe as Milk”, a bonus track found on the 1999 Safe as Milk reissue, faded out just before the 4-minute mark; French had said he believed Vliet wanted to begin the album with “Safe as Milk”, to make a sort of continuity from the previous album. Following is “Big Black Baby Shoes” from the 1999 Safe as Milk reissue, edited to match the Shiny Beast rerecording. Next is “Moody Liz” from The Mirror Man Sessions, with the side closing with Take 9 of “Trust Us” from the Safe as Milk reissue, but faded out after the drum crescendo, as suggested by French. Side B attempts to replicate a non-psychedelicized Strictly Personal, as it opens with “On Tomorrow” but with the isolated vocals from the Strictly Personal recording synced to the TTG version from the Safe as Milk remaster. Next is “Dirty Blue Gene” again from the Safe as Milk reissue, followed by “Beatle Bones ‘n’ Smokin’ Stones”, “Gimme Dat Harp Boy” and “Kandy Korn”, all taken from The Mirror Man Sessions.

For the Twenty-Fifth Century Quaker disc, Side C begins with “Mirror Man” from The Mirror Man Sessions, edited down from 15:46 to an even 13:00. This is followed by “25th Century Quaker” also from The Mirror Man Sessions, edited down from 9:50 to 7:36. Side D opens with the hypnotic “Korn Ring Finger”, presented in it’s full 6:47 length as heard on the Safe as Milk remaster. The album closes with the epic “Tarotplane” from The Mirror Man Sessions, edited down from 19:08 to a reasonable 14:04.

 
Sources used:
The Mirror Man Sessions (1999 Buddha Records CD remaster)
Safe as Milk (1999 Buddha Records CD remaster)
Strictly Personal (1994 Liberty Records CD remaster)

flac --> wav --> editing in SONAR Pro and Goldwave --> flac encoding via TLH lv8
* md5 files, track notes and artwork included

The Who - Who's For Tennis? (UPGRADE)

The Who – Who’s For Tennis?

(soniclovenoize reconstruction)

May 2020 UPGRADE

Side A:

1.  Glow Girl

2.  Fortune Teller

3.  Tattoo

4.  Silas Stingy

5.  Dogs

6.  Call Me Lightning

7.  Melancholia

Side B:

8.  Faith in Something Bigger

9.  Glittering Girl

10.  Little Billy

11.  Dr. Jekyll and Mr. Hyde

12.  Sunrise

13.  Magic Bus

Upgrades to this April 2020 are:

• Updated source for “Glow Girl”, “Fortune Teller” and “Melancholia”. 
• Dropped “Girl’s Eyes”, “Early Morning Cold Taxi” and “Shakin All over” from the album.
• Added “Tattoo”, “Silas Stingy”, “Glittering Girl” and “Sunrise” so the album will fit in Who’s Lily’s continuity. 
• Widened stereo field of “Call Me Lightning”.
• New stereo mix of “Dr. Jekyll and Mr. Hyde”
• New edit of “Magic Bus”, a hybrid of the long and short versions

Next in a series of social-distant-reconstructions is my upgrade of the proposed and promptly withdrawn 1968 album Who’s For Tennis? by The Who.  Originally intend as a proper studio album (or live album, as some maintain) that would have been released in-between The Who Sell Out and Tommy, the idea for the album was scrapped and the recorded material instead came out as either single releases or remained in the vaults.  This reconstruction draws from numerous sources to create a completely stereo, cohesive album, utilizing the best mastering available and is volume-adjusted for aural continuity.  Also, a completely new and unique stereo mix of “Dr. Jekyll and Mr. Hyde” was created, unavailable elsewhere and exclusive to this reconstruction.  This revised version is meant to follow Who’s Lily, so there is no overlap between the two albums. 

Riding as high as they possibly could from 1967’s The Who Sell Out, a concept album recorded to emulate British pirate radio stations, The Who embarked on tours of Australia and the United States throughout 1968, biding their time until their next concept album.  During this time, Pete Townshend began composing what he believed could be his magnum opus, a rock opera that spanned an entire album-length (rather than a single-song ‘pocket-opera’ such as “A Quick One While He’s Away”) about a deaf, dumb and blind kid (who sure played a mean pinball).  Such a lofty project required time to compose and demo properly, and the album was set to be recorded that fall.  But in an attempt to keep up with their British rock contemporaries such as The Rolling Stones, The Beatles and The Kinks who could release an entire album of material every year, the question was proposed: what album would The Who release in 1968 to fill the stopgap until Townshend’s rock opera, which at best would be released in early 1969?

Thus The Who’s manager and producer Kit Lambert proposed an album entitled Who’s For Tennis? to be released that July of 1968, meant to capitalize on the upcoming Wimbledon Championships.  The album would have included all new recordings as well as any number of the relevant outtakes from the previous year’s Sell Out sessions, which had produced a wealth of non-LP material.  In January and February of 1968, The Who recorded Townshend’s “Faith in Something Bigger”, “Glow Girl” and “Little Billy”, the later written for the American Cancer Society for an anti-smoking campaign.  Also recorded during these initial sessions was a very old Who song originally dating from 1964 called “Call Me Lightning”, and bassist John Entwhistle’s own “Dr. Jekyll and Mr. Hyde”, yet another ‘scary’ children’s song.  After embarking on their spring tour of the US directly after the February recording sessions, The Who returned to the studio in May and June and recorded seven more tracks: Townshend originals “Dogs”, “Melancholia”, “Magic Bus”, “Joys” and “Facts of Life” as well as live staples of old blues covers “Fortune Teller” and “Shakin’ All Over”. 

With twelve new studio recordings in the can, the absurd idea of Who’s For Tennis? was eventually withdrawn as the summer drew upon The Who.  Instead of an entire album, just three of the tracks trickled out as single-releases: the US single “Call Me Lightning” b/w “Dr. Jekyll and Mr. Hyde” and it’s UK counterpart “Dogs” b/w “Call Me Lightning”.  Neither single charted particularly well, becoming long-forgotten Who singles.  There was also some discussion of a live album of The Who’s performance at The Fillmore East to be released in Who’s For Tennis?’s place (some sources claim the Who’s For Tennis? concept was this live album rather than a studio album of the 1968 recordings) but the performances were a bit too sloppy and were set aside.  The final decision was to instead release the single “Magic Bus” as well as two cash-grab compilations: The Magic Bus: The Who On Tour in the US, and Direct Hits in the UK.  The decision paid off, as “Magic Bus” became a long-time fan favorite and live staple for The Who for years to come.  This was enough to bide the band’s time until Townshend could see, feel, touch and heal his rock opera into fruition, even as much as pillaging the outro of the now-canned “Glow Girl” into Tommy’s “Overture/It’s A Boy”. 

The remaining tracks were left unheard for years, with each slowly trickling out on anthology collections: first on Odds and Sods in 1974; then on Rarities volumes 1 & 2 in 1983; and finally the Maximum R&B boxset in 1994.  Aside from the tracks that remain in the vault to this day (“Shakin’ All Over”, “Joys” and “Facts of Life”), Who fans have just enough material to reconstruct what this theoretical 1968 stopgap album would have been.  Various fans’ track sequences tend to utilize the same 12-or-so tracks recorded during this period but the actual track sequences fluctuate wildly, as there never was a finalized tracklist.  The only concrete information we have (beyond a title) is that it would have been a ‘preachy’ album (a reference to the inclusion of “Little Billy” and “Faith in Something Bigger”) and the album would have opened with “Glow Girl”.  Keep in mind that allegedly Sell Out outtakes and non-LP tracks would have been used as filler on Who’s For Tennis?, which could have included any of the following songs: “Pictures of Lily”, “Doctor, Doctor”, “Glittering Girl”, “Hall of the Mountain King”, “Sodding About”, “Early Morning Cold Taxi”, “Girl’s Eyes”, “Summertime Blues” and “Someone’s Coming”.  What would have actually been on Who’s For Tennis?  While there is no possible answer, we can certainly know what is on this reconstruction!

For the purposes of this (updated) reconstruction, we will obviously use the eight studio recordings from 1968 that are available.  But to fill out the album, we will use the four songs recorded in October 1967 (“Glittering Girl”, “Tattoo”, “Silas Stingy” and “Sunrise”) as those would have been recorded a month after the theoretical Who’s Lily album.  We will include them here, so that both reconstructions could fit in the same continuity. 

Side A begins with the only clue Pete Townshend has left us: the album starts with “Glow Girl”, which would have also been a single, here sourced from the best-sounding version 2015 SHM remaster of Odds and Sodds.  Following is “Fortune Teller” taken from the 2011 SHM remaster of Who’s Missing.  Much like their live shows, “Tattoo” follows, from the 2014 remaster of The Who Sell Out, as well as “Silas Stingy”.  Mellowing down a bit, the unique stereo mix of “Dogs” taken from the Maximum R&B set is next, followed by mod-rocker “Call Me Lightning”, using the true stereo mix again found on Maximum R&B, but with the stereo spectrum widened slightly.   Side A closes with the epic rocker “Melancholia”, the superior mix taken from the 2011 remaster of Who’s Missing. 

Side B opens with Townshend’s admittedly preachy “Faith in Something Bigger” from Odds and Sods, followed by the remake version of “Glittering Girl” from October 1967, from Sell Out.  Next is a song that seemed a bit ahead of its time in terms to social acceptance to the health hazards of smoking: “Little Billy”, using the superior master from Odds and Sods.   Next is a completely new stereo mix of the otherwise mono “Dr. Jekyll and Mr. Hyde”, created when syncing up the two different mono mixes, both taken from the 2011 SHM remaster of Who’s Missing.  Some phasing happens during the third verse, which I left in because of its appropriate timeliness.  Next is Townshend’s essentially-solo recording “Sunrise”, again from Sell Out.  Closing the album is my own unique edit of “Magic Bus”, using the body of the common stereo mix from Then and Now, but with the extended middle section taken from the mono mix on The Who Hits 50. 

With cover art brilliantly reimagined by Jon Hunt (thanks Jon!) as the icing on the cake, we have twelve songs evenly spread over two sides, in tandem with their previous three albums.  And what of the quality of this audio tennis match?  The most points scored here is for the drastic change from mod-pop into full-blown rock icons.  Here we hear the band beefing up their sound and more importantly Roger Daltrey shifting from the slight, short-haired teen-pop singer of “I’m A Boy” and “Substitute” into the wailing, bare-chested, long-haired rock star of Tommy, Who’s Next and Quadrophenia.  Listening to the album, we now see how The Who went from Sell Out to Tommy.  But taking the album into a whole, we can understand why Who’s For Tennis? was left out: while there are some great songs here, the album as a whole is pretty weak, scatterbrained and honestly a bit corny.  Regardless, this reconstruction offers a missing piece of The Who’s history, an excellent addition to their album discography as it, at the very least, collects a number of non-LP songs that would be quite an annoyance to gather piecemeal.  Let the match begin! 

Sources used:

30 Years of Maximum R&B (1994 original CD master)

Odds and Sodds (2015 SHM CD remaster)

Sell Out (2014 HDTracks stereo remaster)

Then and Now (2004 original CD master)

The Who Hits 50! (2014 Geffin Records)

Who’s Missing (2011 SHM CD remaster)

flac --> wav --> editing in SONAR and Goldwave --> flac encoding via TLH lv8

*md5, artwork and tracknotes included

Small Faces - 1862

Small Faces – 1862

(soniclovenoize reconstruction)

Side A:

1.  Hello The Universal

2.  Donkey Rides, A Penny, A Glass

3.  Wide Eyed Girl On The Wall

4.  The Autumn Stone

5.  Evolution

6.  The War of The Worlds

Side B:

7.  Red Balloon

8.  What You Will

9.  Collibosher

10.  Growing Closer

11.  Wrist Job

12.  Wham Bam Thank You Ma’am

Continuing our weekly Social Distancing bonus reconstructions, this a long-requested one.  This is a reconstruction of the unfinished final Small Faces album, 1862.  Recorded throughout 1968, Small Faces broke up before finishing the album.  Several of the tracks would instead eventually appear on their posthumous 1969 collection The Autumn Stone.  This reconstruction attempts to present 1862 as a completed album, using the best quality stereo mixes of the material. 

After their smash hits of “Itchycoo Park” and “Tin Soldier”, the release of Small Faces third album Ogden’s Nut Gone Flake ushered the band into the emerging art-rock scene, being a psychedelic concept album with unique, circular packaging.  Its single “Lazy Sunday” charted to number two in 1968, making them one of the top bands in the UK.  Although the band felt they had already achieved their masterpiece, they returned to Trident studios with Glyn Johns to work on a follow-up album the day before Ogden’s release in May.  The theoretical fourth album was titled 1862, named after the metal plaque on the hundred-year-old chapel owned by Marriott, where the band rehearsed.  Top priority was a cover of Tim Hardin’s “Red Balloon”, a bittersweet folk ballad about heroin addiction.  Also tracked were two instrumentals, ambiguously named “Fred” and “Jack”, which the band never went back to finish.  

Several weeks later in June, the Small Faces went in to Olympic Studios to record a stopgap single between Ogden’s and 1862: the folk ballad “Hello The Universal” and the poppy rocker “Donkey Rides, A Penny, A Glass”.  An elaborate third song was recorded, “Wide Eyed Girl on the Wall”, but was apparently never completed, lacking vocals; like “Fred” and “Jack”, Small Faces never returned to complete the track.  The two finished songs were released as a single at the end of the month, but failed to mimic their previous success, despite being better compositions with more refined arrangement and production.  Furthermore, due to a pressing typo, “Hello The Universal” was misscredited simply as “The Universal”. 

Touring to support Odgen’s also proved difficult, as the material was just too complex to perform live.   Frontman Steve Marriott pitched the idea of adding a fifth member as a second guitarist, freeing himself to focus on singing—the prime candidate was Marriott’s friend Peter Frampton.  The rest of the band detested the idea, and they soldered on as a quartet.  Returning to Olympic in September, two more contrasting songs were tracked: the hard rocker of “Wham Bam Thank You Ma’am” and the pastoral folk ballad “The Autumn Stone.”  The band did not take so kindly to the former, with bassist Ronnie Lane storming out of the sessions and keyboardist Ian McLagan refusing to play on it.  Regardless, the heavy riff rock of “Wham Bam Thank You Ma’am” signaled the direction Marriott wanted to move in, and he brought in Nicky Hopkins to complete McLagan’s parts! 

In December, Glyn Johns invited the Small Faces to act as a backing band for French singer Johnny Hallyday and to record an album.  Being in a state of confusion, uncertainty and debt to their label, the band accepted but somehow found Peter Frampton joining their ranks from the recommendation of either Marriott or Johns.  In the course of the sessions, a few Marriott originals were worked up for Hallyday: a cover of an older Small Faces song “That Man” and two newer compositions, “Bang!” and “What You Will”.  The perceptions of the resultant album Riviere Ouvre Ton were contrasting; while McLagan and drummer Kenney Jones thought the sessions were awful, Marriott relished the opportunity to work with Frampton and took this as a sign to restart anew.  Marriott officially quit Small Faces, storming off stage on their New Years Eve performance. 

With perfect timing, Immediate Records released a new mix of “Afterglow”, backed with “Wham Bam Thank You Ma’am” (again misprinted as “Wham Bam Thank You Man”) in March 1969.  Marriott immediately formed a new group with Frampton called Humble Pie, with a decidingly heavier sound, as heard in “Wham Bam”.  Their debut single “Natural Born Bugie” featured a new recording of “Fred”, the instrumental from the May Trident sessions, now including a vocal and retitled “Wrist Job”.  Humble Pie’s debut album As Safe as Yesterday Is was released in August, which featured new recordings of “Bang” and “What You Will”, as well as folk jam “Growing Closer”, written as a collaboration between Frampton and McLagan, who had briefly rehearsed with Humble Pie before declining a position in the band.  Simultaneously, McLagan, Lane and Jones regrouped with new frontman Rod Stewart and future Rolling Stones guitarist Ronnie Wood as just simply the Faces.  By the end of the year, the quintet began recording their debut album, First Step, which had a very rootsy atmosphere.  While largely Stewart and Wood compositions, the 1970 album did feature an older Ronnie Lane original, “Stone”, which initially appeared as a collaboration with Pete Townshend as “Evolution” the previous year.    

Putting Faces and Humble Pie aside, Immediate also attempted a final cash grab for the Small Faces: a posthumous compilation album originally titled In Memorium, which contained some of the material recorded for 1862: “Red Balloon”, “Wide Eyed Girl on the Wall” and “The Autumn Stone.”  In Memorium also included a pair of songs long-attributed to 1862, but which were actually Ogden’s outtakes: “Call It Something Nice”, recorded at the very first Ogden’s session in April 1967, and “Collibosher”, recorded at the very last Odgen’s session in April 1968!  The Small Faces showed dismay for the morbid title, and Immediate withdrew and renamed the album The Autumn Stone, reissued as a double LP.  This edition added “The Universal” and “Wham Bam Thank You Ma’am”, now harboring most of the finished 1862 recordings.  Throughout the years, the twin instrumentals “Fred” and “Jack” made their way from the vaults to discount-bin anthology CDs, both mysteriously retitled to “The Pig Trotters” and “The War of The Worlds” without any band authorization.  This was the final say of 1862, its scraps littering The Autumn Stone and as various CD reissue bonus tracks and as a living mystery in the minds of Small Faces fans. 

Interestingly, some clues to 1862 were found in a blog post by Mick Taylor in 2008 regarding the backstory of the song “Red Balloon”; the blog post had some contribution from Toby Marriott, Steve’s son.  In the post, Toby mentions he had once read his father’s 1968 songbook, which stated the possible tracklist for 1862: “The Autumn Stone”, “Red Balloon”, “Collibosher”, “Buttermilk Boy”, “Wrist Job”, “Piccaninny”, “Wide Eyed Girl On The Wall”, “Donkey Rides, A Penny, A Glass” and a song only referenced as “Blues Jam.”  What is strange about this tracklist is its inclusion of the December 1966 outtake “Piccaninny”, severely out-of-date amongst the 1968 sessions, as well as “Buttermilk Boy”, recorded for As Safe as Yesterday Is.  Toby also mentions he no longer had the songbook, so he had to have been listing them from memory.  Can his recollection be trusted?  We will use this as a simple guidepost to reconstruct 1862 and try to logically fill in the gaps. 

For my reconstruction, we will take all these facts into account, but primarily intending to make an 1862 that sound musically cohesive.  We will also exclusively use Small Faces mixes found on the Here Come The Nice box set, being all stereo remixes that sound simply exquisite, as opposed to the crud on The Autumn Stone.  We will also rely on the several instrumental tracks, but we will appropriately fade them out to make them of a concise length and spread them throughout the album.  I have chosen to exclude both “Piccaninny” and “Call It Something Nice”, as they both pre-dated the recording sessions for 1862 and do not sonically sound identical enough to the rest of the material (although I will use “Collibosher”, as it was at least tracked in 1968).  Additionally, we will use some tracks from As Safe As Yesterday Is and First Step, since a few of their tracks dated from the 1862 era and, fortunately for us, sound sonically similar to the finished 1862 tracks anyways. 

Side A begins with the single that highlighted this era, “Hello The Universal” and “Donkey Rides, A Penny, A Glass,” both great introductions to the album.  Next, “Wide Eyed Girl On The Wall”, the stereo mix which has a new fade-out to match the mono mix, followed by “The Autumn Stone.”  Next I chose Face’s “Evolution” as not only does it feature most of the Small Faces, it could have very well been Ronnie Lane’s contribution to the original 1862 album since the song dated from around that time.  Side A dramatically closes with “The War of The Worlds”, faded out to make it an appropriate length. 

Side B begins with “Red Balloon”, another keystone song in 1862.  This is followed by the Humble Pie version of “What You Will” since the song was worked on by Small Faces during the Hallyday sessions, not to mention the song distinctly sounds like an 1862 song!  Although “Collibosher” dates from the final Ogden’s sessions, it does sound remarkably like an 1862 song, so I am including it here, again fading it out early to be concise.  Next, I’ve chosen “Growing Closer” from As Safe As Yesterday Is, as it could have been Ian McLagan’s contribution to the album, not to mention the acoustic and flute seemed to fit perfectly in the album!  Following is “Wrist Job”, using the Small Face’s instrumental instead of the Humble Pie lyrical version.  The album closes with a punch—“Wham Bam Thank You Ma’am”, in true stereo! 

Sources used:

Small Faces – Here Come The Nice (2014 Immediate Records box set)

Faces – First Step (2015 Rhino remaster)

Humble Pie – As Safe As Yesterday Is (2008 Repertoire Records remaster)

flac --> wav --> editing in SONAR Pro and Goldwave --> flac encoding via TLH lv8

* md5 files, track notes and artwork included