The Beatles - Back-Track Part Three

Label: Vigotone, BT6368-3

Total Time: 73:32
1. Do You Want To Know A Secret (2:38)
2. A Taste Of Honey (2:09)
3. Seventeen (2:58)
4. There's A Place (2:03)
5. You're Gonna Lose That Girl (2:23)
6. I Need You (2:30)
7. Yes It Is (2:43)
8. Twelve Bar Original (6:44)
9. Strawberry Fields Forever (home demo) (1:02)
10. Strawberry Fields Forever (home demo) (2:00)
11. Strawberry Fields Forever (studio take) (3:02)
12. Strawberry Fields Forever (studio take) (2:05)
13. Strawberry Fields Forever (studio take) (1:16)
14. Strawberry Fields Forever (studio take) (3:45)
15. Strawberry Fields Forever (studio take) (3:58)
16. Strawberry Fields Forever (studio take) (3:13)
17. Strawberry Fields Forever (studio take) (3:37)
18. Strawberry Fields Forever (studio take) (3:25)
19. Across The Universe (3:49)
20. Lady Madonna (2:10)
21. Not Guilty (4:16)
22. What's The New Mary Jane? (6:36)
23. A Case Of The Blues (2:55)
24. Because (2:15)

Do You Want To Know A Secret Recorded Feb. 11, 1963, Take 8, Track 2 opens with John and Paul asking George Martin for instructions on where to place the "Do-Dahs" during the chorus. A complete run-through follows, with George Harrison's lead vocal still single-tracked at this stage.

A Taste Of Honey Recorded Feb. 11, 1963, this version features an unreleased mono mix completed 2/25/63. Take 7, Track 2 has Paul's vocal double-tracked, slightly out of synchronization, to provide a fuller sound.

Seventeen Take 10, as presented here, is a complete run-through performed live at EMI studios Feb. 11, 1963. George Martin took portions of takes 9 and 11 to produce the final incarnation, "I Saw Her Standing There."

There's A Place Recorded live in the studio Feb. 11, 1963, Take 11 has no overdubs and is much faster paced than the more familiar take 13 (judged best by George Martin).

You're Gonna Lose That Girl Beginning with a count from George, Take 3, recorded Feb. 19, 1965, at the start of the "Help!" sessions, contains no reverb or electronic effects, and the bongo track runs throughout.

I Need You Started on Feb. 15, 1965, and completed the next day, Take 5 presented here, is a previously unreleased stereo mix. The absence of all reverb and other studio effects allows George to bring his tone pedal "wah-wah" guitar far forward to the right channel on this mix.

Yes It Is Take 14, recorded on Feb. 16, 1965. This recording, presented here, prior to the final overdubs of "Live" harmony, again features George Harrison's newly acquired tone pedal for guitar.

Twelve-Bar Original Never released, this was the Beatles' first attempt at recording an entire instrumental after reaching world-wide fame. Take 2, recorded live without overdubs Nov. 4, 1965, was mixed down and transferred to reference disc Nov. 30, 1965 (hence the surface noise present). This is the only known surviving recording of the Beatles' attempt at the blues a la Rolling Stones.

Strawberry Fields Forever (Home Demos) By the mid-60's, all the Beatles owned home tape machines which allowed them to put down ideas that would later prove invaluable back at EMI. In early November 1966, John began work on what would later evolve into arguably his most ambitious recording to date. Presented here are John's four original home demos.

Strawberry Fields Forever (Studio Takes) The evolution of a masterpiece of studio work traced through eight separate takes in the order they were recorded. Take 1 was recorded on Nov. 24, 1966. Takes 2, 3 and 4 were recorded on Nov. 28. At this point John had a very different song. One day later, Takes 5 and 7 were recorded. John, still not happy with the sound, asked George Martin to score a brass and string section. Take 25, recorded on Dec. 15, 1966, is the original trumpet and cello backing track later used on the finished recording. Take 26, recorded the same day, adds vocals and brings us close to the finished song, although George Martin eventually edited two versions together for the final incarnation.

Across The Universe Take 7, recorded on Feb. 4, 1968, was originally planned for single release. This early mix has backward guitar sounds and differs from both the "Wildlife" and "Let It Be" versions.

Lady Madonna An early raw version (Take 3) recorded Feb. 3, 1968, live in the studio with an attempted vocal overdub, aborted seconds into the take.

Not Guilty Take 99, recorded Aug. 8, 1968, during the "White Album" sessions. This is the complete unedited stereo mix, running several minutes longer than all other known versions. George sings lead.

What's The New Mary Jane? Take 4, recorded Aug. 14, 1968. This recording is unique in that John's vocals are single-tracked, without the "echo" effect predominant on other known versions. At the end you will hear John exclaim, "Let's hear it back before they come to take us away."

A Case Of The Blues Another Lennon home demo recorded during December of 1968. Written between the "White Album" and "Get Back" sessions, no known studio take exists.

Because Beethoven's Piano Sonata in C Sharp Minor, Opus 27 No. 2, provided the inspiration for this track (when played back to front!). Take 23 spotlights the beautiful three-part harmonies of John, Paul and George in this outtake vocal track, recorded Aug. 1, 1969.

Paul McCartney - The Knebworth Concert

Label: Vigotone, VT-CD 15

Total Time: 48:12
1. Coming Up (5:29)
2. Back In The USSR (3:10)
3. I Saw Her Standing There (3:12)
4. We Got Married (6:33)
5. Crowd Participation Time (0:38)
6. Birthday (2:32)
7. Paul's Speech + Cheer (0:59)
8. Let It Be (3:47)
9. Live And Let Die (3:33)
10. Interlude (0:55)
11. Hey Jude (7:02)
12. Tribute Intro (0:25)
13. Strawberry Fields Forever
Help!
Give Peace A Chance (4:10)
14. Applause (0:52)
15. Yesterday (2:04)
16. Applause (0:27)
17. Can't Buy Me Love (2:25)

John Lennon - Imagine - The Sessions

Label: Vigotone, VT-CD 08

Total Time: 71:05
1. Imagine (Alternate Take) (3:09)
2. Crippled Inside (Alternate Take) (3:50)
3. Jealous Guy (Alternate Take) (4:07)
4. It's So Hard (Alternate Take) (2:25)
5. I Don't Want To Be A Soldier, I Don't Want To Die (Alternate Take) (5:48)
6. Give Me Some Truth (Alternate Take) (3:42)
7. Oh My Love (Alternate Take) (2:26)
8. How Do You Sleep (Alternate Take) (8:09)
9. How (Alternate Take) (3:45)
10. Oh! Yoko (Alternate Take) (5:53)
11. Jam (Session Outtake) (0:40)
12. How Do You Sleep (Rehearsal) (4:33)
13. Oh, My Love (Version 2) (2:42)
14. I'm The Greatest (Demo) (2:38)
15. Well (Baby Please Don't Go) (Session Outtake) (5:52)
16. How Do You Sleep? (Low Vocal) (7:37)
17. Imagine (Solo Piano) (3:02)
18. San Francisco Bay Blues (Solo Acoustic) (0:47)

John Lennon - Something Precious & Rare

Label: Vigotone, VT-CD 07

Total Time: 60:54

Tracks 1 - 10 From sessions for the "Ringo" album - 1973
1. I'm The Greatest (False Start) (0:49)
2. I'm The Greatest (False Start) (0:31)
3. I'm The Greatest (False Start) (0:23)
4. I'm The Greatest (Complete Take 1) (3:38)
5. I'm The Greatest (False Start) (0:51)
6. I'm The Greatest (False Start) (0:19)
7. I'm The Greatest (Complete Take 2) (4:26)
8. I'm The Greatest (False Start) (0:45)
9. I'm The Greatest (Complete Take 3) (2:20)
10. I'm The Greatest (Complete Take 4) (4:01)

Tracks 11 - 19 Rehearsal session for "Wall And Bridges" album, Saturday, 13 July 1974.
11. Steel And Glass (5:20)
12. Going Down On Love (4:04)
13. Move Over Ms. L. (Includes "Surprise, Surprise (Sweet Bird Of Paradox) which is not listed on the cover.) (6:40)
14. Beef Jerky (3:24)
15. Scared (4:57)
16. Old Dirt Road (4:43)
17. Bless You (6:36)
18. Whatever Gets You Through The Night (1:51)
19. Nobody Loves You (When You're Down And Out) (5:16)

Bob Dylan - The Freewheelin' Bob Dylan Outtakes

Label: Vigotone, VT-115

Total Time: 72:36
1. Baby, Please Don't Go (1:58)
2. Corrina, Corrina (3:08)
3. The Death Of Emmett Till (4:17)
4. Mixed Up Confusion (2:23)
5. (I Heard That) Lonesome Whistle (2:05)
6. Talkin' John Birch Paranoid Blues (3:45)
7. Milkcow's Calf Blues (2:32)
8. That's All Right (3:22)
9. Solid Road (Rocks And Gravel) (2:51)
10. Going To New Orleans (3:08)
11. Let Me Die In My Footsteps (4:03)
12. The Ballad Of Hollis Brown (5:04)
13. Wichita (2:56)
14. Sally Girl (3:16)
15. Whatcha Gonna Do (2:09)
16. Mixed Up Confusion (2:32)
17. Solid Road (Rocks And Gravel) (2:15)
18. That's All Right (2:09)
19. Mixed Up Confusion (2:19)
20. Corrina, Corrina (2:31)
21. Milkcow's Calf Blues (2:46)
22. Wichita (3:04)
23. Whatcha Gonna Do (2:58)
24. Baby I'm In The Mood For You (2:45)

25. Sally Girl (2:20)

HOW MANY ROADS MUST A MAN WALK DOWN...

Bob Dylan has walked down many roads. For most of his 22 years he "road freight trains for kicks and got beat up for laughs, cut grass for quarters and sang for dimes." And his songs today are the sounds he sopped up all those years on the road - "the coyote's call and the train whistle's moan, the ol' time pals an' first run gals, the faces you can't find again."

Bob does what a true folk singer is supposed to do - sing about the important ideas and events of the times. And he does it better than anybody else.

The Freewheelin' Bob Dylan Outtakes features seven of Bob's own compositions, including both sides of his rare debut single. Also classic interpretations of songs by icons Robert Johnson, Hank Williams, and Elvis Presley. Including four songs in stereo and additional bonus tracks featuring noteworthy alternate takes.

Hear it and you'll know why Bob Dylan is the voice of the times.

Track Notes:
1. Baby, Please Don't Go - studio outtake - 4/62
2. Corrina, Corrina - alternate solo version - 7/62
3. The Death Of Emmett Till - studio outtake - 4/62
4. Mixed Up Confusion - rare single version - 11/62
5. (I Heard That) Lonesome Whistle - studio outtake - 10/62
6. Talkin' John Birch Paranoid Blues - from withdrawn lp - 10/62
7. Milkcow's Calf Blues - Take 3 - studio outtake - 4/62
8. That's All Right - Take 1 - studio outtake - 11/62
9. Solid Road (Rocks And Gravel) - alternate solo version - 7/62
10. Going To New Orleans - studio outtake - 10/62
11. Let Me Die In My Footsteps - unedited w/extra verse - 4/62
12. The Ballad Of Hollis Brown - studio outtake - 11/62
13. Wichita - Take 2 - studio outtake - 4/62
14. Sally Girl - Take 4 - studio outtake - 10/62
15. Whatcha Gonna Do - studio outtake - 11/62
16. Mixed Up Confusion - alternate version (a) - 11/62
17. Solid Road (Rocks And Gravel) - from withdrawn lp - 10/62
18. That's All Right - Take 2 - studio outtake - 11/62
19. Mixed Up Confusion - alternate version (b) - 11/62
20. Corrina, Corrina - rare single version - 11/62
21. Milkcow's Calf Blues - Take 4 - studio outtake - 4/62
22. Wichita - Take 1 - studio outtake - 4/62
23. Whatcha Gonna Do - studio outtake - 11/62
24. Baby I'm In The Mood For You - alternate version - 7/62

25. Sally Girl - studio outtake - 10/62

All tracks mono (except stereo). Tracks 12, 13, 15, 16, 18, 19, 24 are from acetate sources.

The Beach Boys - Heroes And Vibrations

Label: Vigotone, VT-163

Total Time: 39:55

Good Vibrations (B. Wilson / M. Love)
1. Instrumental track (1) (3:42)
2. Toy piano (1:48)
3. Fuzz bass (1:45)
4. Rehearsals / instrumental track (2) (1:09)
5. Tack piano / piccolo (0:50)
6. "She's Already Workin' On My Brain" (mono) (3:01)
7. "Hum-Be-Dum" (mono) (1:08)
8. Rarities mix (mono) (3:35)

Heroes And Villains (B. Wilson / V.D. Parks)
9. "Fire" intro (0:51)
10. "I've Been In This Town..." (instrumental) (0:57)
11. "I've Been In This Town..." (w/ vocals) (1:00)
12. "In The Cantina..." (piano rehearsal / final version w/ vocals) (1:51)
13. "My Children Were Raised..." (vocal rehearsals) (3:22)
14. "My Children Were Raised..." (w/ final vocals) (0:34)
15. "Sunny Down Snuff..." (final vocals) (0:28)
16. "Dum, Dum, Dum" (end of "H&V Part One") (1:28)
17. "Tag To Part One" (2nd version) (1:18)
18. "Bicycle Rider" (main H&V theme) (5:13)
19. "H&V Part Two" (revised version take one) (4:17)
20. "Just See What You've Done" (final vocals) (0:52)
21. Mike F**ks with the Formula(s) (0:46)

"Heroes And Villains" and "Good Vibrations", the two greatest works of Brian Wilson and the Beach Boys' career, are examined on "Heroes And Vibrations", the taster for Vigotone's forthcoming multi-disc "Smile" box set. Alternate instrumental and vocal takes for both songs, most in full stereo, are featured in breathtaking quality, along with studio chatter and other interesting items.

"Heroes And Vibrations" is a taster for future "Smile" riches to come from the good folks at Vigotone. We're still in the process of assembling the best possible package one could hope for from these legendary sessions, but with public outcry for the release of this set at a fever pitch, we've decided to unleash a few goodies to give you an idea of what's to come...and we think you'll be quite pleased with what you hear!

The excerpts included here are obviously, given our title, from the myriad rehearsals and sessions that produced the best-known and representative tracks from the "Smile Era", "Good Vibrations" and "Heroes And Villains". As with most of the tapes from this period, many of the tracks featured here are fragmentary and have been difficult listening on previous, lesser quality releases. Here the material appears in stellar sound quality. Most items are in full stereo, both on tracks that have only been available before in mono, as well as on several things never before heard. In other words, you're in for a real treat.

So, with that in mind, savor a bit of the genius that was '66-'67-era Brian Wilson and the Beach Boys and be on the lookout for the deluxe "Smile" box set - - - coming soon!

Elvis Presley - The Unissued Elvis 1956-1958

Label: Vigotone, VT-168/169

VT-168 / 37 Tracks - Total Time: 70:58
1-4. Lawdy, Miss Claudy (Takes 7-9, 12)
5-9. Shake, Rattle And Roll (Takes 1-3, 5, 7)
10. I Want You, I Need You, I Love You (Take 3)
11. (There'll Be) Peace In The Valley (For Me) (Take 1)
12-14. I Beg Of You (Takes 5, 10-11)
15. That's When Your Heartaches Begin (Take 1)
16-28. It Is No Secret (What God Can Do) (Takes 1-13)
29-37. Blueberry Hill (Takes 1-9)

VT-169 / 51 Tracks - Total Time: 66:19
1-15. Have I Told You Lately That I Love You (Takes 1-15)
16-27. Is It So Strange (Takes 1-11, 12)
28-30. I Need Your Love Tonight (Takes 3-4, 15)
31-32. A Big Hunk O' Love (Takes 2-3)
33-41. Ain't That Lovin' You Baby (Takes 2-10)
42-43. (Now And Then There's) A Fool Such As I (Takes 4-5)
44-51. I Got Stung (Takes 3-8, 18, 20)

The Unissued Elvis 1956-1958 is a two CD set of unreleased studio takes from the King's most fertile period. These original session tapes, rescued from the trash heap, have appeared over the years scattered across many obscure and hard-to-find collections. Vigotone has gathered these tracks together in a coherent form and packaged them with a 32 page booklet of photos and facts creating a set that is a must own for the serious Presley collector.

Elvis - The Unissued Elvis 1956 - 1958

The hectic pace of the career of Elvis Presley and his rise to fame in the mid-to-late 1950's required the King to record "on the run" many times between television performances, live concerts and movie-making. As a result, recording studios in New York, Nashville and Hollywood were used to capture Elvis's tremendous output during these years. One consequence of this multi-location recording method was the scattering of the original session tapes among many locations. Many of these tapes have unfortunately been lost or destroyed by RCA, the official handler (or mishandler) of the Elvis tape archive, and only the foresight of several recording engineers and interlopers have kept some of these priceless recordings from the trash heap. Previously scattered among several obscure, hard-to-find collections, these sessions are now gathered together in a coherent form on these discs to give you Elvis - The Unissued Elvis 1956 - 1958.


Some observations on what you're about to hear:

Almost uniformly throughout his career, Elvis preferred to cut his material live with a band in the studio. Partly due to achieve the dynamicism of his stage performances, and partly due to the restrictions of the 1950's recording technology, these sessions saw very little overdubbing. Many of the takes are false starts and breakdowns, and the complete takes rarely differ from the final released takes. However, the excitement comes from the power of the performances that Elvis (still, excepting the final session, with his original classic band of Scotty Moore, Bill Black and D.J. Fontana, with assorted musicians) never fails to deliver in laying down these tracks.


FEBRUARY 3, 1956 - RCA STUDIOS, NEW YORK CITY
"Lawdy, Miss Claudy" (Lloyd Price): Takes 7-9 and 12
"Shake, Rattle And Roll" (Charles Calhoun): Takes 1-3, 5 and 7

Personnel: Elvis Presley: guitar, vocals; Scotty Moore: lead guitar; Bill Black: bass; Shorty Long: piano; D.J. Fontana: drums.

Squeezed between his first two appearances on the Dorsey Brothers Stage Show television program, this last day of a three-day recording session produced two songs that ended up respectively as the "B" and "A"-sides of an August 1956 single. "Lawdy, Miss Claudy" takes 7 and 8 are breakdowns, including comments from an obviously amused Elvis. Take 9 produces a complete version, as does take 12, which features a slightly intense vocal performance, perhaps because the King had already captured the one on take 10, the released version.

The early takes of "Shake, Rattle And Roll" produce some interesting variations. Take 1 breaks down quickly but starts with a different verse than the released version (take 12). The version that was issued had overdubbed backing vocals; none are heard on any of these takes. Take 2 is complete, again with a different verse and a piano solo not in the issued take. Take 3 breaks down immediately, as does take 5, but now Elvis has started using the verse found on the released version. Take 6 is announced, but sadly is not heard. Take 7 is complete, with correct verses this time, but still with the piano solo.



APRIL 14, 1956 - RCA STUDIOS, NASHVILLE
"I Want You, I Need You, I Love You" (Mysels-Kosloff): Take 3

Personnel: Elvis Presley: guitar, vocals; Scotty Moore: lead guitar; Chet Atkins: guitar; Bill Black: bass; Marvin Hughes: piano; D.J. Fontana: drums.

A one day recording session to produce just one song, albeit a very important one: the A-side for the follow-up to E's smash debut RCA single, "Heartbreak Hotel". Take 3 of "I Want You,..." is a complete version, with Elvis sounding a bit tentative; perhaps in order to get the feeling of the song. The released version is a splice of takes 14 and 17, and this fact, combined with the evidence of other takes that have been made on the Legendary Performer Vol. 2 LP, the Complete '50's Masters box set and the Platinum - A Life In Music set suggest that possibly Elvis' impatience documented at this session dictated the necessity of using various takes to create the finished master.



JANUARY 13, 1957 - RADIO RECORDERS, HOLLYWOOD
"(There'll Be) Peace In The Valley (For Me)" (Thomas Dorsey): Take 1
"I Beg Of You" (Rosemarie McCoy-Kelly Owens): Takes 5, 10-11
"That's When Your Heartaches Begin" (William Raskin-Billy Hill-Fred Fisher): Take 1

Personnel: Elvis Presley: guitar, vocals; Scotty Moore: lead guitar; Bill Black: bass; Gordon Stoker: piano, backing vocals; D.J. Fontana: drums; Neal Mathews, Hoyt Hawkins, Hugh Jarret (Jordanaires): backing vocals.

From the first of three studio sessions for RCA in January 1957, Elvis mixes the sacred with the profane: a little gospel with his rock 'n' roll. Take 1 of "Peace In The Valley" has the same "around the piano" feel as the released take 9, the the Jordanaires offering their usual fine backing vocals.

The three takes of "I Beg Of You" (released almost a year after it was recorded, as the B-side to "Don't") all differ from the issued version, which ended up being recorded at a session a month later (February 23) at the same studio. Here the guitar lines, percussion and backing vocals are significantly different. Takes 5 and 11 are complete, take 10 breaking down midway through.

Switching to a ballad mode, Elvis gives us the 1957 version of his first ever recording from 1953, take 1 of "That's When Your Heartaches Begin", slower and without the echo present on the released take 7.

At least two of these January 1957 sessions were recorded in experimental "binaural" stereo (although it sounds like regular stereo to these ears!), some tapes of which were officially issued by RCA on the Stereo '57 album in 1988, and a complete session which follows...



JANUARY 19, 1957 - RADIO RECORDERS, HOLLYWOOD
"It Is No Secret (What God Can Do)" (Stuart Hamblem): Takes 1-13
"Blueberry Hill" (Al Lewis-Larry Stock-Vincent Rose): Takes 1-9
"Have I Told You Lately That I Love You" (Scott Wiseman): Takes 1-15
"Is It So Strange" (Faron Young): Takes 1-11, 12

Personnel: Elvis Presley: guitar, vocals; Scotty Moore: lead guitar; Bill Black: bass; Dudley Brooks: piano; Hoyt Hawkins: organ, backing vocals; D.J. Fontana: drums; Neal Mathews, Hoyt Hawkins, Hugh Jarret (Jordanaires): backing vocals.

A four song session, presented here complete in "binaural" stereo (with E on the right, Jordanaires and piano on the left, and the rest of the instruments centered), for tunes all destined for various EP's and LP's, with Elvis starting off again with some gospel singin'. Takes 3, 5, and 12 of "It Is No Secret" are all complete takes that differ little from the released take 13. (As a matter of fact, with all the complete unissued performances in this session, Elvis seems to be basically looking for the right nuances in his vocal to perfect the take.) The other attempts all break down quickly, with the incomplete take 4 being the first attempt at the Jordanaires' distinctive vocalization over the intro.

Elvis' rather uninspired reading of Fats Domino's "Blueberry Hill", one of the few cover versions E attempted that he was unable to make "his own", is featured in 4 complete performances (takes 2, 3, 7 and 8) nearly indistinguishable from the master take 9. Again the other takes are all fairly quick breakdowns.

Listen next for the most profanity-laden part of the session; three "shit" versions of "Have I Told You Lately That I Love You" within the 15 takes included; not a reflection of the quality of the performances but simply because the King utters the aforementioned expletive when takes 1 (featuring Elvis proclaiming "I can't make this son of a bitch right") and 11 break down and take 7 concludes after a full rendition! (E aficionados may recall a version of "Can't Help Falling In Love" that has circulated for many years with the King breaking down the take in a similar fashion.) Take 2 is complete, though it ends abruptly ("Is that too short?"). Takes 13 and 14 are also complete, 13 featuring an attempt at "Vegas-y" phrasing ("...told ya lately that I love ya"), and 14 concluding with Elvis admonishing Bill Black for not repeating a verse as E had requested. The other takes all break down at various points, with Elvis getting particularly impatient on takes 3 through 6 ("Okay, okay...let's go..."; must have been time for eats!), and problems with the guitar/piano intro botching attempts 8 through 10 before they finally "hit the pocket" on master take 15.

This session concluded with the recording of "Is It So Strange". Takes 1 (ending with Elvis having a hearty laugh), 9, 10 and 11 feature complete performances, with breakdowns on the remaining takes at various points. It should be noted that the abrupt silence about 3/4 of the way into take 10, which concludes with Elvis confidently proclaiming "I got this son of a bitch, man!" is on the source tape. The issued master was, as with all the other tunes, the final take. It fades early here, again due to the source tape.



JUNE 10, 1958 - RCA STUDIOS, NASHVILLE
"I Need Your Love Tonight" (Sid Wayne-Bix Reichner): Takes 3-4, 15
"A Big Hunk O' Love" (Aaron Schroeder-Sid Wyche): Takes 2-3
"Ain't That Lovin' You Baby" (Ivory Joe Hunter): Takes 2-10
"(Now And Then There's) A Fool Such As I" (Bill Trader): Takes 4-5


JUNE 11, 1958 - RCA STUDIOS, NASHVILLE
"I Got Stung" (Aaron Schroeder-David Hill): Takes 3-8, 18, 20

Personnel: Elvis Presley: guitar, vocals; Chet Atkins: lead guitar; Hank Garland: guitar; Bob Moore: bass; Floyd Cramer: piano; D.J. Fontana: drums; Murray "Buddy" Harman: bongos; Gordon Stoker, Neal Mathews, Hoyt Hawkins, Ray Walker (Jordanaires): backing vocals.

Recorded during a two-week leave from the Army, is which he has just started a two-year hitch that was feared would perhaps knock the King from his rightful throne, the June 10th evening session had Elvis showing up in uniform! Perhaps not the best way to get one in the mood for some fiery rock and roll to leave his faithful followers during his absence, but it certainly didn't seem to affect his performance. "I Need Your Love Tonight" take 3 was an immediate breakdown, but leads into a complete take 4 which featured a slightly laid-back vocal, and another complete performance in take 15. Take 18 was the keeper, however and was issued as the B-side of take 9 of "A Fool Such As I" in March of 1959.

"A Big Hunk Of Love", the A-side of his final "Army era" single, is featured here with a complete take 2, with a somewhat frantic vocal from Elvis, and different Jordanaires backing. Take 3 was (trimmed from this version) the issued take, released in June 1959.

"Ain't That Lovin' You Baby" is represented by all but the first take; 2 and 3 are breakdowns (after the first verse and intro respectively). Take 4 was the take used for the issued version (oddly enough, not released until September 1964, as the B-side of the "Ask Me" single). However, a further 6 takes are included here, all breakdowns and incomplete with plenty of the King's laughter ensuring their unusablity! Finally, takes 4 (a breakdown) and 5 (complete) of "A Fool Such As I" bring this session tape to a halt.

The next night, Elvis returned for his final recording session of the 1950's. "I Got Stung" took many tries to perfect; 24 to be exact. Takes 3-7 are all incomplete (the King proclaims "I like this song!" during the breakdown in the first verse of take 4, and coughs his way through take 6 into take 7), but take 8 is finally a complete version. Take 18 is almost complete, until E's delightful utterance of "Fuck it, shit" makes it plain that this won't be a keeper. Bringing the disc to a close is a complete take 20, with a very prominent bass line that isn't evident in the released take 24.

...And so ended what was the most important period in true "rock and roll", with Elvis still the King. His return from the Army in March 1960, and the release of the "Stuck On You" single the same month saw Elvis' popularity unabated. However, it was obvious from first listening that this was a different performer, one with the rough edges gone. E was now into the realm of the "all-around entertainer" that the good Colonel had envisioned, perhaps from day one of his association with Elvis. His descent into Hollywood Hell in the early to mid-'60's made John Lennon's quote upon hearing of the King's death in 1977 ring even more true: "Elvis died when he went into the Army". Though Elvis was to recover somewhat in the late '60's, listening to this material makes it plain that he never again reached the heights that he scaled from 1954 - 1958. Maybe John was right...

Dr. John Carpenter and Sister Michelle
July 1998

Bob Dylan - We Had Known A Lion

Label: Vigotone, VT-170/171

VT-170 - 7 Tracks - Total Time: 41:52
The Acoustic Set
1. She Belongs to Me (4:04)
2. To Ramona (5:59)
3. Gates Of Eden (6:43)
4. It's All Over Now, Baby Blue (5:08)
5. Desolation Row (10:11)
6. Love Minus Zero / No Limit (4:03)
7. Mr. Tambourine Man (5:45)

VT-171 - 9 Tracks - Total Time: 48:37
The Electric Set
1. Tombstone Blues (5:04)
2. I Don't Believe You (4:48)
3. From A Buick Six (3:18)
4. Just Like Tom Thumb's Blues (5:18)
5. Maggie's Farm (4:37)
6. It Ain't Me, Babe (4:41)
7. Ballad of a Thin Man (6:05)
8. Like a Rolling Stone (8:22)
bonus: studio alternate version
9. Tombstone Blues
(w/background vocal overdub) acetate (6:26)

On July 25, 1965, Bob Dylan shocked the music world by "going electric" at the Newport Folk Festival. Five weeks later he played his first full concert since the switchover, and his eight song electric set was met with utter hostility from the fans at the Forest Hills Music Festival. His next show was September 3rd at the Hollywood Bowl, and that historic concert is contained on this set. Unlike the Forest Hills concert, which unfortunately has only come down to us in the form of an awful quality audience tape (even by 1965 standards), a pristine quality soundboard recording was used for this set. Dylan is met with surprising civility, and even takes the opportunity to joke with the crowd. While the set list is nearly the same as that of Forest Hills, Dylan does add "Ballad Of A Thin Man", which gets its live debut. Dylan is backed by future Band Member Robbie Robertson and Levon Helm, along with Al Kooper on organ and Harvey Brooks on bass. This is a moment of rock history, and it's also some damn fine music.

Bob Dylan - First Time Around

Label: Vigotone, VT-187/188

VT-187 8 Tracks - Total Time: 52:22
April 13 - Stadium, Syndey, Australia - Part One
Acoustic Set
1. She Belongs To Me (3:44)
2. Fourth Time Around (4:39)
3. Visions Of Johanna (8:25)
4. It's All Over Now, Baby Blue (6:19)
5. Desolation Row (11:08)
6. Just Like A Woman (5:20)
7. Mr. Tambourine Man (8:29)
8. interval (4:20)

VT-188 8 Tracks - Total Time: 46:27
April 13 - Stadium, Syndey, Australia - Part Two
Electric Set
1. Tell Me, Momma (5:48)
2. I Don't Believe You (She Acts Like We Have Never Met) (6:36)
3. Baby, Let Me Follow You Down (4:41)
4. Just Like Tom Thumb's Blues (7:09)
5. Leopard-Skin Pill-Box Hat (5:04)
6. One Too Many Mornings (3:41)
7. Ballad Of A Thin Man (7:21)
8. Positively 4th Street (6:07)

Taken from a newly-surfaced soundboard recording, First Time Around is a long sought piece of the legendary 1966 tour puzzle. Among many highlights, it features an electrifying version of "Positively 4th Street" which was dropped from the latter part of the tour. This double CD is a historical document of Bob Dylan at the peak of his creative power. On stage, alone with his backup band, his performances are electrifying. This deluxe package features a 28 page booklet of informative text and photos of interest.

The Beach Boys - Goodbye Surfing, Hello God! Disc 5

Label: Vigotone, VT-242

Total Time: 56:52
1. Add Some Music To Your Day (vocals only) (3:28)
2. Slip On Through (mix in progress) (3:47)
3. Forever (vocals only) (3:07)
4. Forever (alternate mix) (2:45)
5. San Miguel (alternate mix) (2:33)
6. Wouldn't It Be Nice (Merv Griffin) (2:19)


Live: Big Sur Folk Festival - October 3, 1970
7. Wouldn't It Be Nice (2:08)
8. Sloop John B. (2:41)
9. Country Air (2:34)
10. California Girls (2:36)
11. Aren't You Glad (3:40)
12. Cottonfields (3:07)
13. Their Hearts Were Made Of Spring (2:20)
14. Riot In Cell Block #9 (4:13)

15. Good Vibrations (4:33)
16. Student Demonstration Time (alternate mix) (3:28)
17. Only With You (live 1972) (3:51)
18. Sail On Sailor (instrumental / vocals only mix) (3:17)

The next several tracks spotlight some alternate mixes of songs recorded for Sunflower, the group's brilliant inaugural LP release for Brother/Warner Bros. in August of 1970.
1. Add Some Music To Your Day (vocals only) (3:28)
Recorded: Fall 1969
A terrific "vocals-only" mix of the Beach Boys' first single for Warner Bros., issued in February of 1970. All six (including Bruce) Beach Boys take a turn at one point or another, thus "Add Some Music To Your Day" is an obvious candidate for this type of isolated mixing!

2. Slip On Through (mix in progress) (3:47)
Recorded: Fall 1969
A mix in progress, with some booth conversation between the composer of the track, Dennis, and Carl about the track and the mixing process for the leadoff track on Sunflower.

3. Forever (vocals only) (3:07)
4. Forever (alternate mix) (2:45)
Recorded: Fall 1969
Two alternative ways of listening to one of the finest Dennis Wilson compositions: first, in a vocals-only mode, and then a different mix altogether from the one found on Sunflower.

5. San Miguel (alternate mix) (2:33)
Recorded: Fall 1969
The Dennis compositions just keep on comin', with a alternate mix of this track which varies in comparison to the one found on Ten Years Of Harmony, the 1981 compilation of the group's 1970-1980 Brother output where the track made its first appearance. While recorded for Sunflower, it was not used for that LP.

6. Wouldn't It Be Nice (Merv Griffin) (2:19)
Recorded: Summer 1970
Despite some blown lyrics by Al, this live performance for The Merv Griffin Show, complete with full horn section is a marvelous take on the Pet Sounds track. This airing of the track is followed up immediately by its appearance at another, slightly more important venue.

Live: Big Sur Folk Festival - October 3, 1970
7. Wouldn't It Be Nice (2:08)
8. Sloop John B. (2:41)
9. Country Air (2:34)
10. California Girls (2:36)
11. Aren't You Glad (3:40)
12. Cottonfields (3:07)
13. Their Hearts Were Made Of Spring (2:20)
14. Riot In Cell Block #9 (4:13)
15. Good Vibrations (4:33)
A lynchpin of the Beach Boys' early-70's resurgence was their performance at the Big Sur Folk Festival on October of 1970 alongside such acts as Joan Baez, Kris Kristofferson, Linda Ronstadt and Country Joe McDonald (in fact, he can be heard being introduced at the very end of "Good Vibrations"). Interestingly, this was not actually held in Big Sur, but at the site where the Monterey Pop Festival had been held three years previous at which the Beach Boys were a no-show!

Included here is the second of two sets the Boys played that fall day. While this was not the tightest concert from this era, it's certainly the best recorded, and this section from the show has a great mix of old and new tunes (though Bruce Johnston's admonition to the audience "to not shout out those old songs" during the introduction to "Their Hearts Were Full Of Spring" was a harbinger of things to come). Rolling Stone, who had shunned the Boys ever since it began publication in 1967, raved about their performance in an "all is forgiven, welcome home" review and paved the way to a major 2-part piece about their history the next year. Particular highlights include versions of their final Capitol single "Cottonfields" (noted as a "big hit everywhere else (except the US)") and the Coasters' "Riot In Cell Block #9" (prior to Mike Love's ruining the song by morphing it into his own hackneyed composition, "Student Demonstration Time" on 1971's Surf's Up). As a side note, Dennis was not present at this performance, as he was in the midst of shooting Two-Lane Blacktop with James Taylor.

16. Student Demonstration Time (alternate mix) (3:28)
Recorded: 1970
A Lieber/Stoller tune which turned up on Surf's Up with new "improved" lyrics courtesy of Mike.

17. Only With You (live 1972) (3:51)
Recorded: Late 1972
This Holland track was premiered during the 1972 tours and was a Carl tour de force; this rendition recorded at a Chicago concert was a particularly effective performance of the song.

18. Sail On Sailor (instrumental / vocals only mix) (3:17)
Recorded: November 28, 1972
A fantastic way to end this voyage through the vaults, here is the instrumental track to this last minute addition to 1973's Holland LP, the Brian Wilson/Van Dyke Parks/Tandyn Almer composition "Sail On Sailor". The song was attached to the album when Warners didn't hear a strong single in the other material recorded for the LP; while it didn't exactly burn up the charts, it was the last bit of compositional brilliance to be heard from Brian for almost five years.

The Beach Boys - Goodbye Surfing, Hello God! Disc 4

Label: Vigotone, VT-241

Total Time: 61:19
1. Bluebirds Over The Mountain (stereo remix one) (0:29)
2. Bluebirds Over The Mountain (stereo remix two) (0:20)
3. Bluebirds Over The Mountain (stereo remix three) (2:50)
4. Bluebirds Over The Mountain (stereo remix four) (0:23)
5. Bluebirds Over The Mountain (stereo remix five) (0:43)
6. Bluebirds Over The Mountain (stereo remix six) (2:52)
7. Bluebirds Over The Mountain (stereo remix seven) (1:03)
8. Bluebirds Over The Mountain (stereo remix eight) (0:16)
9. Bluebirds Over The Mountain (stereo remix nine) (2:52)
10. Bluebirds Over The Mountain (stereo remix ten) (0:34)
11. Bluebirds Over The Mountain (stereo remix eleven) (0:31)
12. Bluebirds Over The Mountain (stereo remix eleven-2) (2:22)
13. Bluebirds Over The Mountain (stereo remix fourteen) (0:22)
14. Bluebirds Over The Mountain (stereo remix thirteen) (0:27)
15. Bluebirds Over The Mountain (stereo remix fourteen-2) (0:52)
16. Bluebirds Over The Mountain (stereo remix fourteen-3) (0:18)
17. Bluebirds Over The Mountain (pickup one) (0:10)
18. Bluebirds Over The Mountain (tag insert one) (0:40)
19. Bluebirds Over The Mountain (tag insert two) (0:13)
20. Bluebirds Over The Mountain (tag insert three) (0:28)
21. Bluebirds Over The Mountain (tag insert four) (0:35)
22. Bluebirds Over The Mountain (tag insert four-2) (0:33)
23. Bluebirds Over The Mountain (tag insert five) (0:16)
24. Time To Get Alone (stereo remix one) (3:00)
25. Time To Get Alone (stereo remix two) (0:32)
26. Time To Get Alone (intercut one) (1:04)
27. Time To Get Alone (intercut two) (0:53)
28. Time To Get Alone (intercut three) (0:51)
29. Time To Get Alone (stereo remix five) (0:26)
30. Time To Get Alone (stereo remix six) (0:36)
31. Time To Get Alone (stereo remix six-2) (2:51)
32. Time To Get Alone (stereo remix eight) (0:36)
33. Time To Get Alone (stereo remix nine) (0:57)
34. Time To Get Alone (stereo remix ten) (0:14)
35. Time To Get Alone (stereo remix eleven) (0:24)
36. Time To Get Alone (stereo remix twelve) (2:57)
37. Time To Get Alone (stereo remix thirteen) (0:22)
38. Time To Get Alone (stereo remix fourteen) (1:43)
39. Time To Get Alone (stereo remix fifteen) (0:18)
40. Time To Get Alone (stereo remix sixteen) (1:09)
41. Time To Get Alone (stereo remix sixteen-2) (0:14)
42. Time To Get Alone (stereo remix seventeen) (1:11)
43. Time To Get Alone (stereo remix eighteen - slate) (0:10)
44. The Nearest Faraway Place (section one, remix one) (0:18)
45. The Nearest Faraway Place (section two, remix one) (0:26)
46. The Nearest Faraway Place (section two, remix two) (0:14)
47. The Nearest Faraway Place (section three, remix one) (0:46)
48. The Nearest Faraway Place (section three, remix two) (0:43)
49. I Can Hear Music (Mike Douglas) (3:02)
50. Never Learn Not To Love (Mike Douglas) (2:57)
51. Break Away (Take 16 - Brian Vocal) (2:48)
52. Break Away (instrumental) (2:38)
53. Break Away (alternate vocals and mix) (3:09)
54. Break Away (David Frost) (3:07)

1. Bluebirds Over The Mountain (stereo remix one) (0:29)
2. Bluebirds Over The Mountain (stereo remix two) (0:20)
3. Bluebirds Over The Mountain (stereo remix three) (2:50)
4. Bluebirds Over The Mountain (stereo remix four) (0:23)
5. Bluebirds Over The Mountain (stereo remix five) (0:43)
6. Bluebirds Over The Mountain (stereo remix six) (2:52)
7. Bluebirds Over The Mountain (stereo remix seven) (1:03)
8. Bluebirds Over The Mountain (stereo remix eight) (0:16)
9. Bluebirds Over The Mountain (stereo remix nine) (2:52)
10. Bluebirds Over The Mountain (stereo remix ten) (0:34)
11. Bluebirds Over The Mountain (stereo remix eleven) (0:31)
12. Bluebirds Over The Mountain (stereo remix eleven-2) (2:22)
13. Bluebirds Over The Mountain (stereo remix fourteen) (0:22)
14. Bluebirds Over The Mountain (stereo remix thirteen) (0:27)
15. Bluebirds Over The Mountain (stereo remix fourteen-2) (0:52)
16. Bluebirds Over The Mountain (stereo remix fourteen-3) (0:18)
17. Bluebirds Over The Mountain (pickup one) (0:10)
18. Bluebirds Over The Mountain (tag insert one) (0:40)
19. Bluebirds Over The Mountain (tag insert two) (0:13)
20. Bluebirds Over The Mountain (tag insert three) (0:28)
21. Bluebirds Over The Mountain (tag insert four) (0:35)
22. Bluebirds Over The Mountain (tag insert four-2) (0:33)
23. Bluebirds Over The Mountain (tag insert five) (0:16)
Recorded 9/29/67, 10/16/68, and 10/28/68; mixing and additional recording on 11/12/68 and 11/15/68.
More separation of channels for 20/20, with additional overdubs having been completed at the end of mixing. Something to note while listening is that while mixing both this and the following song, engineer Desper has a difficult time remembering what mix he's working on; thus, some misnumbering of remixes is heard on the slates.

24. Time To Get Alone (stereo remix one) (3:00)
25. Time To Get Alone (stereo remix two) (0:32)
26. Time To Get Alone (intercut one) (1:04)
27. Time To Get Alone (intercut two) (0:53)
28. Time To Get Alone (intercut three) (0:51)
29. Time To Get Alone (stereo remix five) (0:26)
30. Time To Get Alone (stereo remix six) (0:36)
31. Time To Get Alone (stereo remix six-2) (2:51)
32. Time To Get Alone (stereo remix eight) (0:36)
33. Time To Get Alone (stereo remix nine) (0:57)
34. Time To Get Alone (stereo remix ten) (0:14)
35. Time To Get Alone (stereo remix eleven) (0:24)
36. Time To Get Alone (stereo remix twelve) (2:57)
37. Time To Get Alone (stereo remix thirteen) (0:22)
38. Time To Get Alone (stereo remix fourteen) (1:43)
39. Time To Get Alone (stereo remix fifteen) (0:18)
40. Time To Get Alone (stereo remix sixteen) (1:09)
41. Time To Get Alone (stereo remix sixteen-2) (0:14)
42. Time To Get Alone (stereo remix seventeen) (1:11)
43. Time To Get Alone (stereo remix eighteen - slate) (0:10)
Recorded: Mid-1967, 10/2 & 4/68; Mixed: 11/15/68
One of the best Brian Wilson compositions of the post-Smile era, "Time To Get Alone" was originally recorded in the summer of 1967 by the pre-Three Dog Night group Redwood, whose nominal leader at the time was Brian's good friend Danny Hutton (their version, unreleased at the time, can be heard on the 1993 Three Dog Night compilation Celebrate). The Beach Boys appropriated if for use on 20/20 as they were having a difficult time finding enough tracks to fill this final Capitol LP, and added several vocal parts and reedited the track considerably from he original Redwood version. Remix 18 was the one used for the LP, thus again it does not appear here.

44. The Nearest Faraway Place (section one, remix one) (0:18)
45. The Nearest Faraway Place (section two, remix one) (0:26)
46. The Nearest Faraway Place (section two, remix two) (0:14)
47. The Nearest Faraway Place (section three, remix one) (0:46)
48. The Nearest Faraway Place (section three, remix two) (0:43)
Recorded: 6/20/68, Mixed: 11/16/68
Finally, rounding up this mixing party, we have some remixes for "The Nearest Faraway Place", which was to be the final cut on side one of 20/20.

49. I Can Hear Music (Mike Douglas) (3:02)
50. Never Learn Not To Love (Mike Douglas) (2:57)
Recorded: Spring 1969
Featured here are two live vocals over prerecorded backing tracks for an appearance on The Mike Douglas Show to promote "I Can Hear Music", their new Carl-produced 45. Poor ol' Mike likely didn't realize as he was introducing "Never Learn Not To Love" (an interesting choice for performance since it wasn't even an A-side) that it was actually written by a future mass-murderer!

51. Break Away (Take 16 - Brian Vocal) (2:48)
52. Break Away (instrumental) (2:38)
53. Break Away (alternate vocals and mix) (3:09)
Recorded: 3/31/69 & 4/23/69
"Break Away" was the group's penultimate Capitol single, and a tremendous Brian and Murry-penned effort that sadly went unheralded by the public at large, not even making the top 50. We have an alternate mix of the Brian scratch lead vocal that was featured on Endless Harmony, but complete with a slate and count-in here, a mix of the backing track, and finally an alternate version of the Carl-sung track with different vocals.

54. Break Away (David Frost) (3:07)
Recorded: Summer 1969
Then it was time to promote the new single! David Frost's late night program was the outlet in this case, with the Boys singing live over the pre-recorded track.

The Beach Boys - Goodbye Surfing, Hello God! Disc 3

Label: Vigotone, VT-240

Total Time: 63:35
1. Little Bird (mono remix one) (2:03)
2. Little Bird (mono remix two) (1:48)
3. Little Bird (mono remix three) (1:17)
4. Little Bird (#1 pickup one) (0:14)
5. Little Bird (#1 pickup two) (0:16)
6. Little Bird (#1 pickup three) (0:09)
7. Little Bird (mono remix four) (0:20)
8. Little Bird (mono remix five) (0:17)
9. Little Bird (mono remix six) (0:45)
10. Little Bird (mono remix seven) (0:19)
11. Little Bird (mono remix eight) (0:19)
12. Little Bird (mono remix nine) (1:06)
13. Little Bird (mono remix ten) (0:32)
14. Little Bird (mono remix eleven) (2:06)
15. Little Bird (mono remix twelve) (1:04)
16. Little Bird (mono remix thirteen) (2:04)
17. Little Bird (mono remix fourteen) (1:04)
18. Little Bird (#2 pickup one) (0:10)
19. Little Bird (#2 pickup two) (0:12)
20. Little Bird (#2 pickup three) (0:56)
21. Little Bird (mono remix fifteen) (2:06)
22. Little Bird (tag pickup one) (0:51)
23. Little Bird (tag pickup two) (0:18)
24. Little Bird (tag pickup three) (0:25)
25. Little Bird (flat mono master mix) (2:58)
26. Bluebirds Over The Mountain (rough instrumental mix) (2:58)
27. Never Learn Not To Love (mono 45 mix) (2:09)
28. The Nearest Faraway Place (rough mono mix) (2:46)
29. Never Learn Not To Love (stereo remix one) (1:32)
30. Never Learn Not To Love (stereo remix two) (2:17)
31. Never Learn Not To Love (stereo remix three) (0:14)
32. Never Learn Not To Love (stereo remix four) (1:26)
33. Never Learn Not To Love (stereo remix five) (1:23)
34. Never Learn Not To Love (stereo remix seven) (1:33)
35. Never Learn Not To Love (stereo remix eight) (1:47)
36. Never Learn Not To Love (stereo remix nine) (2:14)
37. Never Learn Not To Love (stereo remix ten) (1:08)
38. Never Learn Not To Love (stereo remix eleven - slate) (0:12)
39. Fig Plucker (2:31)
40. Oh Yeah! (0:54)
41. Be With Me (stereo remix one) (0:34)
42. Be With Me (stereo remix two) (1:30)
43. Be With Me (stereo remix three) (2:53)
44. Be With Me (stereo remix four) (3:53)
45. Be With Me (stereo remix five) (1:16)
46. Be With Me (stereo remix eight) (2:24)
47. Be With Me (stereo remix nine) (2:34)
48. Be With Me (stereo remix ten - slate) (0:09)

1. Little Bird (mono remix one) (2:03)
2. Little Bird (mono remix two) (1:48)
3. Little Bird (mono remix three) (1:17)
4. Little Bird (#1 pickup one) (0:14)
5. Little Bird (#1 pickup two) (0:16)
6. Little Bird (#1 pickup three) (0:09)
7. Little Bird (mono remix four) (0:20)
8. Little Bird (mono remix five) (0:17)
9. Little Bird (mono remix six) (0:45)
10. Little Bird (mono remix seven) (0:19)
11. Little Bird (mono remix eight) (0:19)
12. Little Bird (mono remix nine) (1:06)
13. Little Bird (mono remix ten) (0:32)
14. Little Bird (mono remix eleven) (2:06)
15. Little Bird (mono remix twelve) (1:04)
16. Little Bird (mono remix thirteen) (2:04)
17. Little Bird (mono remix fourteen) (1:04)
18. Little Bird (#2 pickup one) (0:10)
19. Little Bird (#2 pickup two) (0:12)
20. Little Bird (#2 pickup three) (0:56)
21. Little Bird (mono remix fifteen) (2:06)
22. Little Bird (tag pickup one) (0:51)
23. Little Bird (tag pickup two) (0:18)
24. Little Bird (tag pickup three) (0:25)
25. Little Bird (flat mono master mix) (2:58)
Recorded: 2/29/68, Mixed: 3/7/68
Much of the remaining material on Goodbye Surfing, Hello God! comes from previously unheard two-track 1" mixdown tapes of some of the Beach Boys' 1968 singles and tracks for 1969's 20/20 LP. These "mix reels" are so called because they have numerous attempts at mixing multitrack tapes down to stereo or mono for 45's or LP's. To be honest, listening to these can at times be a frustrating experience. The primary reason in this case is because rarely are there completed versions of these songs on the mix reels, since the final mix is usually cut out and placed on a separate reel. However, the up side is being able to hear parts that were either discarded or mixed down in the final mix. The above two tracks, "Friends" and "Little Bird", are the mono mix reels for the A and B sides respectively of a single that was issued in April of 1968. When the Friends album was released in June of '68, it was released only in stereo, the first time a Beach Boys album had not been mixed for mono. Therefore, these were the only tracks from the LP to receive mono mixes. (NOTE: While the Friends and 20/20 albums were issued in mono in the UK, these were "foldovers" of the 2-track stereo tapes and were not true mono mixes from the multitracks.)

26. Bluebirds Over The Mountain (rough instrumental mix) (2:58)
Recorded: 9/29/67, Mixed: 10/14/68
This track was originally not intended for a Beach Boys release, but was a Bruce Johnston/Carl Wilson effort. However, it was pulled from the vaults as a follow-up to the semi-successful "Do It Again" single and given this rough mix of the track as it stood at the time, prior to the addition of vocals and more instrumental overdubs. There's plenty of studio talk at the end as well!

27. Never Learn Not To Love (mono 45 mix) (2:09)
Recorded: 9/11/68, Mixed: 10/14/68
The B-side for "Bluebirds" was this Dennis Wilson composition, actually written primarily by one Charles Manson under the title "Cease To Exist". This mono mix, direct from the 1" mixdown tape, is considerably different than the 20/20 LP version, and has never appeared on CD before in this fidelity.

28. The Nearest Faraway Place (rough mono mix) (2:46)
Recorded: 6/20/68, Mixed 10/14/68
Evidently, this Bruce Johnston-penned MOR-ish instrumental was under consideration as a B-side material, and was given a mono mix for that very purpose. However, "The Nearest Faraway Place" would not appear on a single until 1970's "Cottonfields" (the group's final Capitol 45), and was heard in its stereo 20/20 LP mix.

You're invited to a "Beach Boys 20/20 Mixing Party"! This section of stereo remix sessions in November of 1968 for the 20/20 album show the rather frustrating, yet ultimately (hopefully) satisfying activity of multiple remixes to attain the optimum balance of instruments and vocals on the final record. Again, keep in mind while listening that many of these mixes are incomplete, and the final released mix was edited out of the mix reel. So, let's head over to Capitol's Studio C and see what engineer Steve Desper and the Boys are up to.
29. Never Learn Not To Love (stereo remix one) (1:32)
30. Never Learn Not To Love (stereo remix two) (2:17)
31. Never Learn Not To Love (stereo remix three) (0:14)
32. Never Learn Not To Love (stereo remix four) (1:26)
33. Never Learn Not To Love (stereo remix five) (1:23)
34. Never Learn Not To Love (stereo remix seven) (1:33)
35. Never Learn Not To Love (stereo remix eight) (1:47)
36. Never Learn Not To Love (stereo remix nine) (2:14)
37. Never Learn Not To Love (stereo remix ten) (1:08)
38. Never Learn Not To Love (stereo remix eleven - slate) (0:12)
Recorded: 9/11/68, Mixed: 11/6/68
A return to the Wilson/Manson track for stereo separation purposes. Remix 11 was the one used for the LP, thus it does not appear on the tape, though the slate is included.

39. Fig Plucker (2:31)
40. Oh Yeah! (0:54)
Mixed: 11/11/68
The above two tracks (recording dates unknown, but they are likely circa 1967) were mixed at the same time as the "Be With Me" session that follows. However, they are included only because they haven't been elsewhere; they are, frankly, awful attempts at comedy (in the case of the former) and early rap music (the latter) "Fig Plucker" is sophomoric humor at best (and sounds like the Peter Tork spoken-word bit "Peter Percival Patterson's Pet Pig Porky" on the Monkees' LP Pisces, Aquarius, Capricorn and Jones, Ltd.), while "Oh Yeah!" has the boys intoning that phrase again and again behind an unnamed young African-American male's dialogue. 'Nuff said.

41. Be With Me (stereo remix one) (0:34)
42. Be With Me (stereo remix two) (1:30)
43. Be With Me (stereo remix three) (2:53)
44. Be With Me (stereo remix four) (3:53)
45. Be With Me (stereo remix five) (1:16)
46. Be With Me (stereo remix eight) (2:24)
47. Be With Me (stereo remix nine) (2:34)
48. Be With Me (stereo remix ten - slate) (0:09)
Mixed: 11/11/68
This marvelous Dennis Wilson song has all the hallmarks of his finest work from this era: a haunting melody and a somewhat eerie, strained, yet ultimately beautiful vocal performance. Much of what made the song as effective as it ended up being was the result of a fine mixing job by Desper, but it took considerable work on his and Dennis' part to make "Be With Me" the moving piece it is. 10 mixes (mostly incomplete) were made of this track, with #10 being the 20/20 version; on remix number 9, brother Brian's vocals can be distinctly heard.

The Beach Boys - Goodbye Surfing, Hello God! Disc 2

Label: Vigotone, VT-239

Total Time: 54:27

Live: Washington D.C. 11/19/67
1. Show Introduction (1:21)
2. Barbara Ann (2:05)
3. intro to "Darlin'" (0:34)
4. Darlin' (2:28)
5. intro to "I Get Around" (0:23)
6. I Get Around (2:13)
7. intro to "Surfer Girl" (0:54)
8. Surfer Girl (2:23)
9. intro to "Wouldn't It Be Nice" (0:37)
10. Wouldn't It Be Nice (2:00)
11. intro to "God Only Knows" (1:01)
12. God Only Knows (2:42)
13. intro to "California Girls" (0:50)
14. California Girls (2:37)
15. intro to "Wild Honey" (2:22)
16. Wild Honey (2:49)
17. intro to "Good Vibrations" (0:26)
18. Good Vibrations (4:11)
19. intro to "Graduation Day" (0:35)
20. Graduation Day (3:22)
21. intro to "Johnny B. Goode" (1:43)
22. Johnny B. Goode (2:54)
23. outro (0:20)
24. Harmony Friends (2:52)
25. Friends (mono dubdown 1 of take 6) (2:49)
26. Friends (mono dubdown 2 of take 6) (0:29)
27. Friends (mono dubdown 3 of take 6) (1:56)
28. Friends (mono dubdown 4 of take 6) (2:42)
29. Friends (flat mono master mix) (2:31)

Live: Washington D.C. - Recorded: 11/19/67
1. Show Introduction (1:21)
2. Barbara Ann (2:05)
3. intro to "Darlin'" (0:34)
4. Darlin' (2:28)
5. intro to "I Get Around" (0:23)
6. I Get Around (2:13)
7. intro to "Surfer Girl" (0:54)
8. Surfer Girl (2:23)
9. intro to "Wouldn't It Be Nice" (0:37)
10. Wouldn't It Be Nice (2:00)
11. intro to "God Only Knows" (1:01)
12. God Only Knows (2:42)
13. intro to "California Girls" (0:50)
14. California Girls (2:37)
15. intro to "Wild Honey" (2:22)
16. Wild Honey (2:49)
17. intro to "Good Vibrations" (0:26)
18. Good Vibrations (4:11)
19. intro to "Graduation Day" (0:35)
20. Graduation Day (3:22)
21. intro to "Johnny B. Goode" (1:43)
22. Johnny B. Goode (2:54)
23. outro (0:20)
A highlight of Goodbye Surfing, Hello God! is this complete unheard November 1967 concert at a Washington D.C. venue. While the Boys are more than a little loose, both instrumentally and vocally (they're certainly not, as the announcer says at the end of the show, "one of the most fabulous recording and performing groups in the world" on this evening!), it's still a treat to be able to hear songs like "Wild Honey" and "Darlin'" just as they were being issued for public consumption.

Apparently, on of the Boys' problems on this night revolved around a set of rules dictated to them prior to the show by the Daughters of the American Revolution, which restricted what they could say onstage. Thus, their somewhat sarcastic, foul moods are on display throughout. In particular, Mike is in rare form tonight, with much insufferable banter being thankfully cut off by Carl (who remarks to the crowd, "You're very tolerant" at the end of "I Get Around"). Mike also neglects to check his song list, setting up his troubled there in for "Wild Honey" when it's time to play "California Girls".

24. Harmony Friends (2:52)
Recorded: early 1968
An unused bit of beautiful wordless harmony that was to have been utilized on the Friends LP, but was consigned to the vault instead.

25. Friends (mono dubdown 1 of take 6) (2:49)
26. Friends (mono dubdown 2 of take 6) (0:29)
27. Friends (mono dubdown 3 of take 6) (1:56)
28. Friends (mono dubdown 4 of take 6) (2:42)
29. Friends (flat mono master mix) (2:31)
Recording completed: 3/13/68, Mixed: 3/14/68
See first track on disc three "Little Bird" for information about this track.

The Beach Boys - Goodbye Surfing, Hello God! Disc 1

Label: Vigotone, VT-238

Total Time: 58:51
1. "Hi, we're the Beach Boys!" (0:04)
2. Surfin' U.S.A. (home demo) (2:04)
3. Fun, Fun, Fun (Steve Allen) (2:26)
4. Wendy (Ed Sullivan) (2:38)
5. When I Grow Up (To Be A Man) (1968 mono mix) (2:11)
6. ID for radio station WBBF (1:04)
7. ID for radio station WTRY (0:40)
8. ID for radio station WPTR (0:22)
9. ID for radio station KENO (0:40)
10. ID for radio station WMCA (0:31)
11. ID for radio station WINS (0:48)
12. ID for radio station KNUZ (0:26)
13. ID for radio station KILT (1:11)
14. ID for radio station KBOX (0:34)
15. ID for radio station CHUM (1:43)
16. ID for radio station KRLA (2:01)
17. Dance, Dance, Dance (backing track) (2:05)
18. Help Me Rhonda (first pass) (0:42)
19. Help Me Rhonda (second pass) (3:02)
20. Help Me Rhonda (third pass) (2:51)
21. Help Me Rhonda (fourth pass) (1:01)
22. Help Me Rhonda (fifth pass) (0:44)
23. Help Me Rhonda (sixth pass) (0:52)
24. Help Me Rhonda (seventh pass) (0:59)
25. Little Cycle (Little Honda) (Andy Williams) (2:16)
26. Banana And Louie (Beagle recording session) (15:51)
27. Wouldn't It Be Nice (alternate mono mix) (2:30)
28. God Only Knows (alternate mono mix) (2:41)
29. I Know There's An Answer (alternate mono mix) (3:17)

1. "Hi, we're the Beach Boys!" (0:04)
Recorded: 10/26/64
A cheery opening for the set, recorded while the Boys were taping promos for radio stations encouraging them to play their new single "Dance, Dance, Dance". More to come.

2. Surfin' U.S.A. (home demo) (2:04)
Recorded: 1/63
Another demo of this track was included on the 1993 box set Good Vibrations, but this is a superior recording with Brain on piano and Dennis on sloppy drums.

3. Fun, Fun, Fun (2:26)
Recorded: Winter 1964
The Beach Boys made many appearances on network television shows during the 60's and 70's, many of which have appeared on other releases in both visual and audio forms. For this release, we have concentrated on performances that have been more difficult to find in this vein. From a 1964 Steve Allen Show appearance in this performance of "Fun, Fun, Fun" that is preceded by a bit of semi-condescending introduction by the man himself. We wouldn't expect anything less from the late Mr. Allen, would we?

4. Wendy (2:38)
Recorded: 9/27/64
Seeing as it happened several months after the Beatles' debut on the program, the Boys' first Ed Sullivan Show appearance was surprisingly late in the game, occurring after they had already enjoyed several hits over the previous two years. However, better late than never, and this performance of "Wendy" from the All Summer Long LP was a great live take on this wonderful track.

5. When I Grow Up (To Be A Man) (2:11)
Recorded: 8/5 & 10/64 Mixed: 7/68
Included here is an unused 1968 mono mix of this 1964 single, emanating from when the Stack O' Tracks LP was being assembled; it includes some vocalizing of a particularly naughty age number at the very end!

ID's for radio stations:
6. WBBF - Rochester, NY (1:04)
7. WTRY - Albany, NY (0:40)
8. WPTR - Albany, NY (0:22)
9. KENO - Las Vegas, NV (0:40)
10. WMCA - New York, NY (0:31)
11. WINS - New York, NY (0:48)
12. KNUZ - Houston, TX (0:26)
13. KILT - Houston, TX (1:11)
14. KBOX - Dallas, TX (0:34)
15. CHUM -Toronto, Canada (1:43)
16. KRLA - Los Angeles, CA (2:01)
Recorded: 10/26/64
17. Dance, Dance, Dance (backing track) (2:05)
Recorded: 10/9/64
A necessary evil for any popular artist is the recording of the dreaded "station promos", where the person or group tapes greetings for a variety of radio stations in the hopes that they will be played along with their new release. In this case, the Beach Boys were recording a huge amount of promos at Western Studios to accompany their new single, "Dance, Dance, Dance". The majority of the promos recorded this day were featured on Seat Of Tunes' Unsurpassed Masters Vol. 12 (1965): Sloop John B Sessions + Radio Spots CD, but they just end before this batch, which wound up the day of taping. By this time, Mike and Brian are the only ones left in the studio with engineers Chuck Britz and they're obviously tired, but still having some R-rated fun.
As a bonus, we've included an instrumental run-through of the track they're promoting, recorded a couple of weeks before the promos.

18. Help Me Rhonda (first pass) (0:42)
19. Help Me Rhonda (second pass) (3:02)
20. Help Me Rhonda (third pass) (2:51)
21. Help Me Rhonda (fourth pass) (1:01)
22. Help Me Rhonda (fifth pass) (0:44)
23. Help Me Rhonda (sixth pass) (0:52)
24. Help Me Rhonda (seventh pass) (0:59)
Recorded: 2/24/65
Some previously unheard guitar, vocal and percussion run-throughs and overdubs on this re-recording of the Beach Boys Today! track for its release as a single in April of 1965.

25. Little Cycle (Little Honda) (2:16)
Recorded: 4/65
Along with renditions of "Help Me Rhonda" and "Their Hearts Were Full Of Spring", the Boys (with Brian) sang with Andy Williams on a reconstituted version of their track "Little Honda" on the latter's popular NBC variety show. Reconstituted, because the NBC brass didn't want Honda to benefit from free promotion, thus the lyric change to the more generic "Little Cycle".

26. Banana And Louie (15:51)
Recorded: 3/22/66
Masterpieces don't come easy; certainly, the recording of the "tail end" of the Pet Sounds album was no simple task. Brian brought his two beagles, Banana and Louie, into the studios to provide a few actual pet sounds to wind up the LP. With the assistance of Brian's wife Marilyn and brother Dennis and his son Scott, the dogs were let loose at Western Studios to do their best, which is what we hear for several minutes. However, Brian was a stern taskmaster to the hapless hounds as he was to his musicians. At one point, Brian seems to have learned how to treat his dogs from his father Murray, screaming "Get up there!!" when one of the dogs doesn't want to put its paws up on the keyboards as Brian is demanding. Scott Wilson is treated similarly by his dad, with Dennis threatening not to give him his Batman ring of Scott doesn't provoke the dogs to bark as directed. Marilyn's plea to Brian, "Honey, but they're so tired already" means nothing to the artiste at work. Eventually, Brian got what he wanted, but as this tape shows, it wasn't a lot of fun getting there.

Pet Sounds alternate mono mixes:
27. Wouldn't It Be Nice (2:30)
28. God Only Knows (2:41)
29. I Know There's An Answer (3:17)
Mixed: 3/22/66
While it may seem hard to believe that there could be more mixes of Pet Sounds material that remain unheard to the collecting community, there three make their debut on this set. Mixed on the same day as the above "Banana and Louie" session, all of them contain noticeably different vocal elements than the other available mixes.

Jan & Dean - More Music For A Rainy Day

Label: Vigotone, VT-243

Total Time: 60:55
1. The tape rolls / Louisiana Man (overdub take 1) (2:16)
2. Louisiana Man (overdub take 2) (1:39)
3. Louisiana Man (overdub take 3) (1:34)
4. Louisiana Man (overdub take 4) (0:18)
5. Louisiana Man (overdub take 5) (0:28)
6. Louisiana Man (overdub take 6) (1:53)
7. Louisiana Man (overdub take 7) (2:42)
8. Louisiana Man (overdub take 8) (0:46)
9. Louisiana Man (overdub take 9) (1:19)
10. Like A Summer Rain (piano only) (0:29)
11. Like A Summer Rain (instrumental) (1:11)
12. Like A Summer Rain (instrumental) (0:39)
13. Like A Summer Rain (basic track 1) (0:43)
14. Like A Summer Rain (rough mix) (3:35)
15. Like A Summer Rain (guitar overdub) (3:28)
16. Like A Summer Rain (rough mix 2) (3:35)
17. Like A Summer Rain (rough mix 3) (3:35)
18. Like A Summer Rain (instrumental version w/background vocals) (3:34)
19. Raindrops (instrumental) (3:19)
20. Rain On The Roof (early working version - some vocals) (2:36)
21. Rain On The Roof (rough mix with full vocal) (2:35)
22. A Taste Of Rain (rough mix) (4:07)
23. Crying In The Rain (rough mix) (2:08)
24. Pocket Full Of Rainbows (rough mix) (3:40)
25. Rhythm Of The Rain (unreleased track rough mix) (2:52)
26. Here Comes The Rain (intro only) (0:15)
27. Rhythm Of The Rain (unreleased track rough mix 2) (2:51)
28. Here Comes The Rain (instrumental rough mix) (2:42)

The Beach Boys - Goodbye Surfing, Hello God!

Label: Vigotone, VT-238/242

Just when stalwart Beach Boys fans think they've heard it all, along comes Goodbye Surfing, Hello God!, a five-CD set of previously unissued Beach Boys material spanning their glory decade of 1963 through 1972. Demos, tracking and mixing sessions, and concert and television performances afford the listeners a "fly-on-the-wall" perspective that is both interesting and educational for the seasoned Beach Boys fan and collector. Complete track notes and background information on the material are also included within the lavishly illustrated booklet.

Goodbye Surfing, Hello God!:
The Beach Boys In Session, On Television, And In Concert -- 1963-1972

Once upon a time, it seemed an impossible dream (to quote that Man Of La Mancha classic), to actually to session tapes of groups such as the Beatles or the Rolling Stones. It was nigh-on unfathomable for the average fan, and was the sole domain of a select team of musicians, producers and engineers who had actually been present at the sessions themselves. Occasionally, a tantalizing bit of poor-to-average quality tape of one of these tracking or vocal overdub sessions would sneak out, but in general, fans would simply have to make do with the official releases and wonder how these magical bits of musical brilliance had been constructed. This, of course, is the way the artists involved would have preferred it to be; who would be interested in the rough ideas, half-finished concepts or alternative visions for the songs that had constructed their careers? There was a reason that these items had never been issued: the best takes or mixes were the ones selected for release. Lock up the multi-track session tapes and mixdown tapes as well, they dictated, and let the official recorded canon stand on its own merits.

Thankfully, in the case of the Beach Boys, the last decade has unleashed a plethora of unissued material as a result of archival and cataloging projects dating back over twenty years. While working on these projects, renegade engineers were kind enough to dub copious numbers of tape copies from the masters and (in their own special ways) made them available for all to hear. While the Beatles and the Stones have certainly had a substantial amount of rough tapes exit the vaults in a similar fashion, the sheer quantity of unissued recordings from the cousins, friends and brothers is truly awe-inspiring. Not to mention, frankly mind-numbing at times; how many screwed-up takes of "Christmas Day" can any human bear to hear?

However, true Beach Boys fans are a stalwart bunch. No matter how many of these tapes have already seen the light of day (particularly thanks to the good folks at the Sea Of Tunes label and their fine series of CD box sets), these same enthusiasts will be happy to know that there is even more to be heard. There are more session tapes and mixing sessions, great live (and semi-live) television appearances, more 'in concert' material from their prime live performance era of the 60's and early 70's, and plenty of other odds and sods. This is the reason for the box you hold in your hands now. Vigotone is proud to offer to the grizzled, yet indefatigable Beach Boys veterans Goodbye Surfing, Hello God!, a collection of previously unissued session tapes, unreleased alternative mixes, and uncirculated-to-date live performances, all in the same exemplary quality one has come to expect from these earlier releases. Sit back, enjoy, study, and get up every so often to use the facilities; Brian would want it that way.

Mark Boyd Elliot
February 2001

Bob Dylan - Jewels And Binoculars Disc 25/26

Label: Vigotone, VT-216/217

VT-216 16 Tracks - Total Time: 64:36
The Blonde On Blonde Studio Sessions
October 5, 1965
1. Temporary Like Achilles (1:03)
("Medicine Sunday")
2. Jet Pilot (1:03)
3. Can You Please Crawl Out Your Window? (1) (0:56)
("Crawl Out Your Window")
4. I Wanna Be Your Lover (1) (1:03)
("I Don't Wanna Be Your Lover")
5. I Wanna Be Your Lover (2) (3:32)
6. I Wanna Be Your Lover (3) (3:26)
7. Instrumental (4:07)
("#1")

November 30, 1965
8. Visions Of Johanna (1) (8:27)
("Freeze Out")
9. Visions Of Johanna (2) (7:28)
("Freeze Out")
10. Can You Please Crawl Out Your Window? (2) (3:38)

January 21, 1966
11. She's Your Lover Now (1) (8:28)
12. She's Your Lover Now (2) (6:26)

January 27, 1966
13. I'll Keep It With Mine (3:13)

February 15, 1966
14. Keep It With Mine (3:13)

Bonus tracks:
15. Can You Please Crawl Out Your Window? (3) (3:33)
16. Pledging My Time (Dutch Greatest Hits mono mix) (3:53)


VT-217 14 Tracks - Total Time: 71:37
January 25 - March 10, 1966
The U.S. Blonde On Blonde mono mix.
1. Rainy Day Women #12 & 35 (4:23)
2. Pledging My Time (3:47)
3. Visions of Johanna (7:26)
4. One Of Us Must Know (Sooner Or Later) (4:51)
5. I Want You (3:00)
6. Stuck Inside Of Mobile With The Memphis Blues Again (7:03)
7. Leopard-Skin Pill-Box Hat (3:56)
8. Just Like A Woman (4:50)
9. Most Likely You Go Your Way (And I'll Go Mine) (3:19)
10. Temporary Like Achilles (4:56)
11. Absolutely Sweet Marie (4:52)
12. 4th Time Around (4:31)
13. Obviously 5 Believers (3:30)
14. Sad-Eyed Lady Of The Lowlands (11:18)

Bob Dylan - Jewels And Binoculars Disc 23/24

Label: Vigotone, VT-214/215

VT-214 7 Tracks - Total Time: 42:36
May 26 - Royal Albert Hall, London, England
1. She Belongs To Me (3:38)
2. 4th Time Around (4:46)
3. Visions Of Johanna (7:50)
4. Leopard-Skin Pill-Box Hat (4:02)
5. One Too Many Mornings (4:05)
6. Ballad Of A Thin Man (7:23)
7. Like A Rolling Stone (10:53)

VT-215 7 Tracks - Total Time: 61:15
May 27 - Royal Albert Hall, London, England
1. She Belongs To Me (5:06)
2. 4th Time Around (5:55)
3. Visions Of Johanna (11:31)
4. It's All Over Now, Baby Blue (7:01)
5. Desolation Row (13:31)
6. Just Like A Woman (9:18)
7. Mr. Tambourine Man (8:53)

Bob Dylan - Jewels And Binoculars Disc 21/22

Label: Vigotone, VT-212/213

VT-212 7 Tracks - Total Time: 55:31
May 20 - ABC Theatre, Edinburgh, Scotland - Part One
1. She Belongs To Me (3:38)
2. 4th Time Around (5:34)
3. Visions Of Johanna (11:10)
4. It's All Over Now, Baby Blue (6:54)
5. Desolation Row (11:41)
6. Just Like A Woman (6:46)
7. Mr. Tambourine Man (9:55)

VT-213 8 Tracks - Total Time: 38:16
May 20 - ABC Theatre, Edinburgh, Scotland - Part Two
1. Tell Me, Momma (4:27)
2. I Don't Believe You (She Acts Like We Have Never Met) (5:44)
3. Baby, Let Me Follow You Down (3:40)
4. Just Like Tom Thumb's Blues (6:05)
5. Leopard-Skin Pill-Box Hat (4:26)
6. One Too Many Mornings (3:18)
7. Ballad Of A Thin Man (1:52 - incomplete)
8. Like A Rolling Stone (8:44)
Audience Recording

Bob Dylan - Jewels And Binoculars Disc 19/20

Label: Vigotone, VT-210/211

VT-210 7 Tracks - Total Time: 48:07
May 17 - Free Trade Hall, Manchester, England - Part One
1. She Belongs To Me (3:28)
2. 4th Time Around (4:35)
3. Visions Of Johanna (8:09)
4. It's All Over Now, Baby Blue (5:35)
5. Desolation Row (11:40)
6. Just Like A Woman (5:48)
7. Mr. Tambourine Man (8:52)


VT-211 9 Tracks - Total Time: 45:17
May 17 - Free Trade Hall, Manchester, England - Part Two
1. Tell Me, Momma (4:32)
2. I Don't Believe You (She Acts Like We Have Never Met) (5:51)
3. Baby, Let Me Follow You Down (3:59)
4. Just Like Tom Thumb's Blues (6:06)
5. Leopard-Skin Pill-Box Hat (4:45)
6. One Too Many Mornings (3:52)
7. Ballad Of A Thin Man (7:19)
8. Like A Rolling Stone (7:49)
9. Just Like Tom Thumb's Blues (Soundcheck) (1:04)
STEREO Line Recording