The Clash - Rat Patrol From Fort Bragg

The Clash – Rat Patrol From Fort Bragg

(soniclovenoize reconstruction)

Side A:

1.  Straight To Hell

2.  Know Your Rights

3.  Rock The Casbah

4.  Red Angel Dragnet

Side B:

5.  Should I Stay Or Should I Go

6.  Ghetto Defendant

7.  Sean Flynn

Side C:

8.  Car Jamming

9.  The Fulham Connection

10.  Atom Tan

11.  First Night Back in London

Side D:

12.  Inoculated City

13.  Death is a Star

14.  Cool Confusion

15.  Idle in Kangaroo Court W1

A blog-follower request, this is a reconstruction of the unreleased Clash album Rat Patrol From Fort Bragg.   Originally conceived as a double-album by guitarist Mick Jones who had tried to harness more creative control of the band, Rat Patrol was eventually skimmed down and remixed into a more commercial single-disc, their seminal 1982 album Combat Rock.  Unlike other Rat Patrol bootlegs, this reconstruction follows Mick Jones’ actual track order found on his rough cut of the double-album.  Also my reconstruction uses a number of sources to provide the most complete, pristine and dynamic album possible, including remastered bootleg tracks and a needledrop vinyl rip of an original pressing of Combat Rock.  As always, all tracks are volume adjusted for a cohesive listening experience. 

By the early 1980s, the cracks in The Clash had begun to form.  Coming off their daring 1980 triple-album Sandinista!, work began on their fifth album in late 1981 at a London rehearsal space, demoing new material with a mobile multitrack set-up.  While Clash frontman  Joe Strummer hoped for a more commercial and concise single album of roots-rock, guitarist Mick Jones wished to continue the world beat influence of their previous album, pushing the envelope to his current tastes in dub, reggae and American hip-hop.  Temporarily shelving their differences, The Clash embarked on a tour and residency to road-test the new material.  During this period, the band embraced images and concepts associated with the Vietnam War—or at least the Vietnam War as seen through the Hollywood lens.  They also embraced elements of urban American culture, even as much as having graffiti artist Futura 2000 paint the backdrop of their tour.  Blending this ‘ghetto’ and Vietnam War imagery together, they created an aesthetic of “urban warfare” which was perpetuated in Joe Strummers lyrics for the new material.  Was this perhaps a metaphor for the band’s own internal warfare? 

Reconvening in New York’s Electric Ladyland Studios in late 1981—Mick’s choice as he felt that was the center of modern musical activity—The Clash got to work recording the album proper, led by Jones’ vision of a more funk/reggae/dub-inspired sound and fueled by Topper Headon’s appropriately globalized drumming.  Sides were drawn as Headon’s heroin addiction led to his own perception as being an outcast in the group and sided with Jones, leaving Joe Strummer and bassist Paul Simonon (who felt he had been forced to take a creative backseat) to unite on the other side of the battle field and vie for a single disc punk record.    As sessions progressed, the songs became longer—an obvious dub influence—and  despite Strummer’s worries that they needed a single-LP for CBS Records to properly promote the album, the project was steadily becoming yet another double album, possibly doomed to distribution limbo.  The situation amounted to running two studio rooms simultaneously so both Strummer and Jones could work independently on their vocals and guitar overdubs respectively, without having to actually interact with each other. 

Just before leaving to tour Asia in early 1982, Mick Jones prepared his vision of the double album, provisionally titled Rat Patrol From Fort Bragg.  Long-winded, indulgent and sometimes even superfluous, the album contained 15 songs and ran over 65 minutes—and that was excluding at least four outtakes (“Overpowered By Funk”, “Walk Evil Walk”, “Midnight To Stevens” and “Long Time Jerk” did not make the cut on Jones’ sequence).  The rest of the band hated it and Joe Strummer championed to have the album remixed and edited into a more commercial product.  Strummer’s wishes eventually won and producer Glynn Johns was brought in to fix the album (note this is the third time this blog has covered an Album That Never Was that Glyn Johns was supposed to produce and/or clean-up, including The Beatles Get Back and The Who’s Lifehouse!!). 

That April, Strummer and Johns reviewed the material at Wessex Studios in London and remixed the songs to emphasize its guitar elements and begin whittling the songs down to their basic necessity, eliminating their unneeded near raga-lengths.  “Know Your Rights”, “Red Angel Dragnet”, “Ghetto Defendant”, “Sean Flynn” and “Inoculated City” all lost approximately two minutes each.  The songs earmarked as singles, “Should I Stay Or Should I Go” and “Rock The Casbah” (the later actually referencing the raga-lengths of the Rat Patrol songs), were treated to new vocal tracks.  Four songs, “The Fulham Connection”, “First Night Back In London”, “Cool Confusion” and “Idle In Kangaroo Court W1”, were dropped entirely, while “Overpowered By Funk” was curiously added back into the running order.  Despite Mick Jones and allegations that his art had been tampered with, the album was appropriately retitled to Combat Rock and CBS Records had their more commercial, single-disc album, rush-released that May. 

Even though the more concise album was commercially successful—both “Should I Stay or Should I Go” and “Rock The Casbah” became hits—the cracks in The Clash were too deep to be fixed.  Topper was removed from the band due to his excessive heroin addiction in May, the month Combat Rock was released; Mick was fired from the band the following year.  Both Jones and Headon went on to form Big Audio Dynamite, who was more reminiscent of the world-beat hybrid found on Rat Patrol, while Strummer and Simonon continued the Clash and recorded their final album ironically titled Cut The Crap (which was later disavowed by all band members).  But luckily through bootlegs and an assortment of bonus tracks and compilations, we are able to reconstruct what this less-commercial and raga-like Combat Rock would have been—what turned out to be The Clash’s unreleased swansong.

The overall primary concern for this Rat Patrol is sound quality.  While Mick Jones’ original mix of the album is available on bootlegs, they are usually sourced from a highly generated cassette; because of this, I occasionally chose to use the Combat Rock versions of some tracks rather than the bootlegged Mick Jones mixes for the sake of a pleasurable listening experience.  Luckily, fairly pristine versions of Jones’ mixes of “Rock The Casbah”, “Straight To Hell” and “Should I Stay or Should I Go” can be found on bootlegs, an alternate source than the muffled cassettes.  Likewise, the long Mick Jones mixes of “Ghetto Defendant” and “Sean Flynn” are found on the Sound System boxset.  The remaining tracks are sourced from a needledrop vinyl rip of Combat Rock by kel bazaar, which is the most pristine and dynamic version of the album I’ve heard.  We will also use the actual tracklist from Mick Jones’s master, which omits “Overpowered by Funk” and “Walk Evil Walk”. 

Side A begins with Mick Jones’ original mix of “Straight To Hell” taken from the bootleg Rat Patrol from Fort Bragg on Redline Records.  It sounded a bit crusty so I personally re-EQd it to match the EQ parameters found on the vinyl rip of Combat Rock used elsewhere on this reconstruction.  Following is the shorter Glyn Johns mix of “Know Your Rights” from the vinyl rip of Combat Rock.  Mick’s very different original mix of “Rock The Casbah” is next, taken from the bootleg Another Combat Rock, again re-EQed to match the parameters of the album version.  The side concludes with “Red Angel Dragnet” from the vinyl rip of Combat Rock, again choosing the shorter album version; note if we had used the longer mixes, side A would have been ridiculously longer than the other sides anyways!  Side B opens with Mick’s mix of “Should I Stay or Should I Go” taken from Another Combat Rock, again reEQd to match the album version.  Closing disc one is Mick’s long mixes of “Ghetto Defendant” and “Sean Flynn”, taken from the Sound System box set.

Side C begins with “Car Jamming” from Combat Rock, being that the Johns and Jones mixes were fairly similar.  “The Fulham Connection”, also known and released as “The Beautiful People Are Ugly Too”, is taken from the Sound System box set.  Next is “Atom Tan” from Combat Rock (again not too different from its original mix) followed by “First Night Back in London” from the Sound System box set.  Side C starts with the unedited Combat Rock version of “Inoculated City” which features the original ’2000 Flushes’ sample, albeit not the long Mick’s version.  Next is “Death is a Star”, again from Combat Rock.  “Cool Confusion” from the box set follows, with the album finishing on the goony “Idle in Kangaroo Court W1” also known and bootlegged as “Kill Time”. 

The final aspect is the cover image chosen myself, the famed photograph of the execution of Nguyễn Văn Lém in 1968.  While it may be either clichéd or insensitive by 2014 standards, this photograph would have been controversial in 1982 and I felt that it accurately communicated the lyrical references to the Vietnam War and the notion of “urban warfare” contained in Rat Patrol From Fort Bragg.

Sources used:

Another Combat Rock (CD Bootleg, 2003 Darkside Records)

Combat Rock (1981 Dutch vinyl pressing, kel bazaar rip)

Rat Patrol From Fort Bragg (CD bootleg, 2003 Redline Records)

Sound System (2014 CD box set)

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*md5, artwork and tracknotes included

The Who - Who's For Tennis?

The Who – Who’s For Tennis?

(soniclovenoize reconstruction)

Side A:

1.  Glow Girl

2.  Fortune Teller

3.  Girl’s Eyes

4.  Dogs

5.  Call Me Lightning

6.  Melancholia

Side B:

7.  Faith in Something Bigger

8.  Early Morning: Cold Taxi

9.  Little Billy

10.  Dr. Jekyll and Mr. Hyde

11.  Shakin’ All Over

12.  Magic Bus

A long-desired blog-follower request, this is my reconstruction 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.

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 1993.  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”, “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!

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 from the Sell Out remaster.  Following is “Fortune Teller” taken from the 30 Years of Maximum R&B boxset.  The first of my chosen Sell Out outtakes follows (using only the ones that seemed to stylistically and sonically match the rest of the 1968 material): Keith Moon’s “Girl’s Eyes”, again taken from Maximum R&B.  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 (albeit frustratingly narrow) again found on Maximum R&B.   Side A closes with the epic rocker “Melancholia”, once again taken from the Maximum R&B set.  

Side B opens with Townshend’s admittedly preachy “Faith in Something Bigger” from Odds and Sods, followed by 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 the second Sell Out outtake which fits in with the sound of The Who circa 1968, Roger Daltrey’s “Early Morning: Cold Taxi”, also taken from the Maximum R&B box set. 

Midway through side B we come upon the two truly unique mixes on my reconstruction.  First, a completely new stereo mix of the otherwise mono “Dr. Jekyll and Mr. Hyde” is created when syncing up the two different mono mixes.  Panned at 9 o’clock to the left is the mono mix found on the Rarities album that features prominent drums; panned at 3 o’clock to the right is the mono mix found on the vinyl-only release of Magic Bus: The Who On Tour that features prominent backing vocals and sound effects.  Because both versions are mixed differently enough, we are able to create an interesting stereo spectrum.   At some points, the two mixes fall out of sync, creating a sweeping phase effect; while this is usually unwanted, I thought the effect was particularly effective in the creepy psychedelic track, and I left it in!  While “Shakin’ All Over” was recorded during the May 1968 sessions, no recordings of the track have been released nor leaked.  Instead, I present here a soundboard recording of the song taken from their Fillmore East performance, a nod to the brief concept that Who’s For Tennis? might have been a live album from that date anyways.  Edited to a more modest length, I also personally remixed the crusty-sounding soundboard recording to emulate the mixing found during the ending of “Melancholia” by reducing the volume and high end of the guitar in the left channel, and raising the high end of the drums in the right channel as well as bringing them in a bit to about 3 o’clock.  Concluding the noisy  performance—and the album as a whole—is “Magic Bus”, the stereo mix taken from Odds and Sods, which featured the most natural mastering in my opinion.

With cover art brilliantly reimagined by Jon Hunt (thanks Jon!) as the icing on the cake, we have twelve songs evenly spread over two shorter 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 (1992 original CD master)

Fillmore East: 6 April 1968 (bootleg CD, Sunrise Records)

Magic Bus - The Who On Tour (1968 unknown vinyl rip)

Odds & Sods (1998 Polydor CD remaster)

Rarities vols I & II (2004 Polydor CD remaster)

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*md5, artwork and tracknotes included

Captain Beefheart - It Comes To You in a Plain Brown Wrapper

Captain Beefheart & His Magic Band –

It Comes To You in a Plain Brown Wrapper

(soniclovenoize reconstruction)

Side A:

1.  Trust Us

2.  Mirror Man

Side B:

3.  Korn Ring Finger

4.  25^th Century Quaker

5.  Safe As Milk

Side C:

6.  Moody Liz

7.  Tarotplane

Side D:

8.  On Tomorrow

9.  Beatle Bones n’ Smokin’ Stones

10.  Gimme Dat Harp Boy

11.  Kandy Korn

This was a long-overlooked follower-request from a few years ago and I was recently reminded to do it!  This is a reconstruction of the unreleased 1968 double-album It Comes to You in a Plain Brown Wrapper by Captain Beefheart & His Magic Band.  Originally scrapped with half of the material re-recorded and infamously “psychedelicized” for the album Strictly Personal and 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.  Some tracks have been crossfaded to make a continuous side of music (notably Side D) and the most pristine sources are used for the best soundquality, including a vinyl rip of an original pressing of Mirror Man. 

 

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 and erratic behavior.  Prodigal guitarist Ry Cooder vacated to be replaced briefly by Gerry McGee, who was in turn replaced by Jeff Cotton. 

Despite the troubled waters, Don reunited with a Magic Band that consisted of Cotton, Alex St. Clair Snouffer, Jerry Handley and John French in the fall of 1967 to record their follow-up to Safe As Milk.  The album was planned to be a double album and was to follow the contemporary fad of extended improvisational jams, as well as featuring a more “live” feel as compared to the first record.  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’! 

This parcel was never delivered however, as the recording sessions came to a halt.  No reason was ever given, but it has been suggested that their label Buddha Records had pulled the plug out of disinterest.  A consolation was offered by the producer of the Plain Brown Wrapper sessions, Bob Krasnow, who convinced the band to rerecord some of the material and release it on his label Blue Thumb.  Recorded in April and May of 1968, Don & his crew recut the more ”commercial” tracks from the Fall 1967 sessions at a much more abbreviated length (“Mirror Man” was cut from the original 15 minutes down to 5!).  In a move that angered Beefheart fans for ages, Krasnow took the liberty himself (allegedly) to overdub numerous faux-psychedelic effects onto the newly-recorded album, even completely burying the mixes under unlistenable phasing.  The 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 Don 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 fall 1967 Plain Brown Wrapper tapes, they compiled a single-disc of material, primarily focusing on the extended live improvisations.  1971’s Mirror Man showed the world (or at least the few who were listening) what Strictly Personal was supposed to sound like, to some extent.  But it was not 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! 

Years passed before fans were able to piece together the 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 outtakes (presumably the rest of the listenable material) were included as bonus tracks on their 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, unlike my own reconstruction).

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.  The layout of my reconstruction was rather simple: each of the four sides would feature one of the lengthy live jam sessions, with one whole side following Side B of Strictly Personal as close as possible (giving one an alternate and more authentic take on the album).  I also used a pristine needledrop vinyl rip of Mirror Man by Euripides for those tracks, as it features the album’s original EQ and mastering parameters that has since been lost, deeper bass and crisper highs.  It is of note that the Sundazed vinyl utilized the same mastering as the 1999 Buddha remasters, so it was not used here as source material.  I also chose to exclude the instrumental tracks that Captain Beefheart had never gotten around to recording vocals for (“Big Black Baby Shoes”, “Flower Pot” and “Dirty Gene”), thus making a more finished-sounding album (although the instrumental “On Tomorrow” was used to mimic the tracklist for Strictly Personal).  The end result is eleven tracks that span two 45-minute discs and offer a purer Captain Beefheart album than Strictly Personal, with this effectively replacing it. 

Side A of my reconstruction begins with take 12 of “Trust Us” from the Safe As Milk remaster, selected over take 6 as take 12 featured vocal overdubs, suggesting it was the master take.  This is followed by the epic “Mirror Man” from Euripides’ vinyl rip of the album.  Side B begins with the reserved Delta Blues “Korn Ring Finger” from the Safe As Milk remaster, followed by “25^th Century Quaker” from Euripides’ Mirror Man vinyl rip, concluding with take 12 of ”Safe as Milk” from The Mirror Man Sessions, again chosen over take 5 because of its vocal overdubs.

The second disc begins with the decidingly upbeat take 8 of “Moody Liz” from The Mirror Man Sessions (chosen over the overdub-less take 16 from Sundazed’s Plain Brown Wrapper) and the rest of the side C belongs to “Tarotplane” from Mirror Man.  The final side of the album attempts to offer an alternate, unadorned version of side B of Strictly Personal, beginning with the instrumental “On Tomorrow” from the Safe As Milk remaster, which is segued into “Beatle Bones n’ Smokin’ Stones” from The Mirror Man Sessions. The final descending bassline is hard edited into “Gimme Dat Harp Boy”, also from The Mirror Man Sessions.  The album concludes with possibly the most commercial track of the lot, “Kandy Korn” from Euripides’ vinyl rip of Mirror Man.  

Sources Used:

Mirror Man (Euripides vinyl rip, 1971 Buddha Records)

Safe As Milk (CD remaster, 1999 Buddha Records)

The Mirror Man Sessions (CD, 1999 Buddha Records)

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*md5, artwork and tracknotes included