Hi, on this page you will find stories of lost, forgotten and reconstructed albums that never existed, but that could have been, regardless of the musical genre, just good music. Enjoy it. 

Dedicated to my parents.

The Who 
"Rock is dead -
long live Rock!"

(2nd Part - Reconstructed)




In June.., and many others surprises.

The Who 
"Who´s Next"
(Glyn Johns 1st Cut)


Side A: (22:54) 

1. Baba O´Riley.(5:09)

2. Bargain.(5:34)

3. Behind Blues Eyes.(3:42)

4. Won´t Get Fooled Again.(8:33)


Side B: (22:44) 

1. Baby Don´t You Do It.(5:14)

2. Love Ain´t For Keeping.(4:02)

3. My Wife.(3:41)

4. Time Waits For No Man.(3:34)

5. The Song Is Over.(6:14)

Original alternate cover for "Who´s Next!". 1971.

Who's Next was the fifth studio album published by the British rock band The Who, in August 1971, although it is considered one of the best works of the group, it is actually a residual album of the truncated rock opera "lifehouse" ; ; an ambitious project with touches of science fiction, fruit of the mystical experiences that Pete Townshend had during the promotional tour of "Tommy" in 1969. 

Where there were moments ion stage in a permanent state of levitation, with extra corporeal sensations, and the deja vu was something that seemed to be the order of the day. Moments that began to translate into new songs that did not begin to materialize until Who's Right ? was abandoned. 

Previous to the start of the new world tour,that would start on July 3 in Shefield. In March, the group moved to the Record Plant studios in New York, to start a series of preliminary recordings related to the "lifehouse" project, these sessions began on March 16 with "Baby don't you do it" and " Won't get fooled again "; followed on the 17 of "Pure and easy"; "Love ain't for keeping" and the 18 concluded with "Getting in tune" and "Behind blue eyes". 

Between the end of April and next month, the group combined new recording dates, in the studios of Stargroves and Olympic in London, with a series of concerts, destined to be part of "lifehouse". So, on April 24 at the London theater: "Young Vic" and two more in May, at the University of Liverpool and at the Caird Hall in Dundee. Where the group intended to experiment and interact with the public the first line-ups of this opera. 

The songs were flowing at such a speed that Pete Townshend already had more than thirty to build a double album, but the plot became so complex that it could not materialize and that took the musician to a degree of psychological and nervous exhaustion it was to end his mental stability, fruit of it began to see the first serious problems within the formation and even with the producer Kit Lambert. 

After abandoning the project, and starting new sessions that extended from May to June of 1971 in the Olympic studios, the producer in charge of taking forward the new album, Glyn Johns, as soon as they concluded with the record of "My Wife", and the mixes, compiled a series of topics, which he considered best for the achievement of "Who's next"; and made with them a series of assemblies or combinations, prior to the commercial version, of which I present here one, which was about to be the final. In the side A appears as it should have been, small tribute to "Lifehouse", since they were all part of the project and in that same order, but with some other song interspersed. On the B side, except for the theme that closed "Lifehouse" - "The song is over", the rest was put following the same order that they played in, approximately, live during April and May, since the abandoned plan, I was going to see a place for some live themes, which was not the case here, although everything is studio recordings. 

As it could not be less, the last word was the group and its leader Pete Townshend, who after listening to the version of Glyn Johns, made last minute changes, leaving the album to your liking. 

This was distributing the original order of the songs from Face A to B and replacing some songs with others. 

While all this was happening, different covers were made for the album. The first, shown here at the base of the CD box, without comments, women of proven opulence in sado plan, as referring to the title .. Who is next to the What am I going to shake?.

Leaving the alternative photos of the urinated monolith, I have chosen the original alternative cover, with Mr. Keith Moon dressed as a dominant prostitute. Here it appears as it was going to be if design, with two of the selected photos that the friend made. Finally inside the booklet or diptico, as you want to call it, the cover of the censorship, the photograph that replaced the one of the urinations in all those countries in which the final proposal was declared indecorous, today chosen as one of the best of all times, it goes without saying if Keith Moon's whip and wig had been carried out. 

To enjoy friends.



The Who 
(Final Cut - June 1971)

Side A:  

1.The Note.(5:20)
2.Behind Blue Eyes.(3:40)
3.Love Ain´t For Keeping.(2:10)
4.Mary (Rmk-2).(2:20)
5.I´m In Tune.(4:50)
6.Going Mobile.(3:42)

Side B:
1.Too Much Of Anything.(3:04)
2.Time Is Passing.(3:29)
3.Won´t Get Fooled Again.(5:52)
4.The Song Is Over.(6:14)
5.Baba O´Riley.(3:12)

Original alternate cover for "Lifehouse" Lp. 1971.

What can be said about "Lifehouse"?.Little that we don´t know today, because there´re very accurate reconstructions to what would have been the final double album and almost all of you know its history, as experts or understoods in the matter.

So let me do a little introduction: “Lifehouse” project, the missing link between "Tommy" and "Quadrophenia", was the great lost album of The Who, as: "Smile" for the Beach Boys, both with something in common, ended up breaking the psychology and the nerves of their creators, considered “damned works” for many years. Brian Wilson was able to conclude "Smile" over the years, but Pete Townshend has not yet, because there is no definitive version recorded entirely by The Who.


Along the times, there were different attempts to get something out of this schizophrenic project, but no luck. This new reconstruction that I bring you, apart from being the prologue to the promised album: "Rock is dead, Long live Rock!", available within a few days; shows you the last attempt to save "Lifehouse",  during this first stage.


After the unsuccessfully New York´s sessions at Record Plant studios during the month of March, The Who returned to England to Olympic studios; “Lifehouse” every day it became more complicated and this made Pete felt inside a mental loop with no exit. Although the project is officially abandoned after this american sessions, had become an personal obsession and Pete made more compilations, work, day and night in parallel; one of last, reducing the double acetate it to a single Lp.


This last cut from early June 1971.had practically the same order of songs, although many of them in extended version, and some absence. Next I put the order of this acetate of two discs, in case you want to reconstruct it and have the two final versions. The double...


Side A: (17:10)
1. The Note.(5:21)
(A.k.a: "Pure & Easy")
2. Behind Blue Eyes.(3:29)
3. Love Ain´t For Keeping.(4:03)
4. Mary (Rmk-2).(4:17)

Side B: (18:36)

1. I´m In Tune.(7:04)
(A.k.a: "Getting In Tune")
2. Going Mobile.(3:42)
3. Too Much.(4:21)
(A.k.a: "Too Much Of Anything")
4. Time Is Passing.(3:29)

Side C: (17:33)

1. Baby, don´t you do it.(8:37)
2. Won´t Get Fooled Again.(8:56)

Side d: (19:37)

1. Song Is Over.(6:14)
(A.k.a: "The Song Is Over")
2. Baba O´Riley.(13:23)

Outtakes from "Lifehouse":
Olympic Studios, London, England. April to June 1971.

"Time Waits For No Man. "A.k.a: "When I Was a Boy".
"Bargain"."My Wife" & "Let´s See Action".


After doing this new cut of the disk, seeing that Pete continued to dislike it, the sound engineer and producer Glyn Jones advised to him to leave it definitely, due to its enormous complexity in constructing a coherent and understandable plot for the mentality of then, the better solution: to make made a powerful rock album, not t necessarily with a specific storyline, only good music: "Who's Next" was born.

I want to explain some changes of this new work that I bring you, but begining by the end: 

The instrumental version of: "Baba O'Riley", edited to 3:12 minutes, because the full length version of 13:23 is a succession, rather monotonous, chaining the three main fragments of its structure, again and again at different scales, for which its synthesis is appreciated, because it can get boring a bit. 

"Won't get fooled again", intended to be, as happened after, a single, and the needed to make space on the B side, was edited from 8:33 to 5:52, but how “Lifehouse” was unpublished, This edit was ruled out and Glyn Jones make a new for the single being reduced even more to 3:40, Leaving the original in "Who's next" Lp.  

"Too much of anything", went from 4:24 to 3: 04, but It happened the same as with "Won't get fooled again", how "Lifehouse" was not published, This version was left out. The rest of the songs are basically the same mixes as in "Who's next"; some of them with the original titles. 

So, this version, it was closest to see the light in the summer of 1971 as "Lifehouse". It was a project that was never left, it was always there, with new ideas. Day to day...  

On booklet, you find the “labels” of the acetate´s copy that I have. I reproduced not only the order of the songs, the versions too, as it´s appear on this acetate, because the quality isn´t entirely good for me. Except “Mary”, song that I re-worked, over the best version that I found of this Pete´s demo, so that it sounds more integrated in the final result of this reconstruction and don´t look like what it really is, a demo or an unfinished song.


... the single version:

Side A:  (22:05)
1.The Note.(5:20)
(A.k.A: "Pure & Easy")
2.Behind Blue Eyes.(3:40)
3.Love Ain´t For Keeping.(2:10)
(acustic version)
4.Mary (Rmk-2).(2:20)
5.I´m In Tune.(4:50)
(A.k.a: "Getting In Tune")
6.Going Mobile.(3:42)

Side B: (21:53)

1.Too Much Of Anything.(3:04)
(Unreleased version)
2.Time Is Passing.(3:29)
3.Won´t Get Fooled Again.(5:52)
(Unreleased single version)
4.The Song Is Over.(6:14)
5.Baba O´Riley.(3:12)
(Unreleased Instrumental edit version).

The artwork, images taken in Manchester 1971, some selected as one more option
to be part of the album, as cover photo


Ok! That´s all.., and what´s next?
"Rock is dead, Long Live Rock!".. The Who version, in a few weeks, before the end of June.
Meanwhile, enjoy it.

Electric Light Orchestra - "The Lost Planet" - (A Suite of Symphonic Rock).

In the spring of 1972, the Electric Light Orchestra returned to Air Studios, London, England, to begin work on the band’s second album, titled “The Lost Planet“. But Roy Wood had become disillusioned with the group and soon left to form "Wizzard". Shortly after, another member, Bill Hunt left ELO by "Wizzard" too


After short time of reflection, ELO returned with Jeff Lynne's at the head of the band, dumpeding  the 'Lost Planet' idea, at the same time that he began to looking for replacement musicians, he think about a new concept for the album. 

So he asked ex-Move vocalist Carl Wayne to come in and sing on some tracks, and although they were perfectly fine recordings they weren't right for the album, so Jeff Lynne took over vocal duties himself.


The new project started in May and the sessions were extended until October, the result, now called ELO 2 would be very, very different to the original idea of ‌‌creating a conceptual album. ELO 2 was released in February 1973 by Harvest.  

ELO 2 It´s the least commercial-sounding album the band released, although it reached the British Top 40 album chart and contains the band's longest track, a anti-war song "Kuiama", but not in this reconstruction. Here´s a new mix.


But this album did not achieve the expected success due to the chain of errors, such as not including the song "showdown", or placing the long version of "Roll Over Beethoven" or not editing "From The Sun To The World", or to sequence the songs according to the number of minutes per side and not in the correct order to how the disc was cut.: 


Side A: 

1. From the Sun to the World (Boogie No 1)

2. Mama...

3. Roll over Beethoven.


Side B: 

1. Kuiama

2. In Old England Town (Boogie No 2) 


I have divided the album into two suites chaining the songs with "link tracks", almost all of them are integrated at the beginning or at the end of the main songs, but for the listener I indicate them in the setlist. always following the original order as reference but without copying it, seeking the best cohesion in this reconstructution. 


Side A: (The Lost Planet Suite 1) (21:05)


1. From The Sun To The World.(Part I).


2. Momma... (A.k.a: Mama...)

     (Link Track#1)

3. Roll Over Beethoven.(Edit)

4. Showdown.(Early version).

5. Roll Over Beethoven.(Coda).


Side B: (The Lost Planet Suite 2) (21:27)


1. In Old England Town.(Alt.mix)

2. Everyone ´s Born To Die.(Remix)

      (Link Track #2)

2.  Kuiama.(Part I & III).

      (Link Track #3)

4. In Old England Town.(Reprise).


Seen the result with the original lp, I think that here Jeff Lynne was worng, when leaving the project of "The Lost Planet", transforming it ,at the time of sequence it in ELO 2 because this work has always been a transitional album, in comparison with "The Lost Planet Suite", almost a masterpiece. Only hear it and compare.


The original cover for ELO 2 was design by Hypnosis. But in this new reconstruction, I have used photos taken during the mission to the moon of Apollo 17 and some photomontage. Initial Idea taken from the blogger AEC “Albums back from the dead”, and its cover for the same album, which looks really good at the same time as simple. that's why it's very good.




But now, enjoy with this new reconstruction of what could have been and was not, one of the best records from ELO: The Lost Planet.


Please, turn off the light and hear this reconstruction with headphones, lie on the the bed, close your eyes, relax,  and will have a good trip to the lost planet. But do not forget to come back!.

The Rolling Stones - "Emotional Rescue" (2nd acetate & alternate version).

Although it is cited as the beginning of the recording sessions of the album "Emotional Rescue", between January 5 to March 2, 1978, at the Pathé Marconi studios, Paris France; It is not quite correct, since these dates correspond in fact to the last sessions destined to "Some Girls", Lp published on June 9, 1978. The error, so to speak, is the outtake "Summer Romance", taken from that sessions.

Clarified this, "Emotional rescue" was conceived and developed in a very convulsive period within the band, almost in decomposition phase, full of interruptions due to personal problems related to justice, especially in the case of Keith Richards avoided going to prison, after paying bail, for possession of heroin while he was in a hotel in Canada. In addition, taking advantage of the group that Ron Wood had formed, The New Barbarians, to promote his solo album: " Gimme Some Neck", how Keith was forced to provide community services by giving a series of concerts in benefit of IAB (Institute of Assent for the Blind), in Oshawa, Ontario, Keith entered the Ron Wood formation.

The tour of The New Barbarians between April and May, 20 concerts in total, two in Canada and the rest in the United States, put a new parenthesis in the study work.

Mick Jagger was involved in the divorce of Bianca, Bill in the process of separation from Astrid, Ronnie also been arrested along with his partner Jo for possession of drugs in St-Maarten in the Caribbean.., and Keith, once again, with problems with Anita Pallenberg, now with an accidental death in the house they shared, which was under renovation, one of the masons, a 17-year-old boy, had been playing with her on Russian roulette and has blown his head off. The only one who seemed to be saved was Charlie, more concerned with hair loss. Under this climate the album "Some Girls" was developed and the following one, "Emotional Rescue".

So after the promotional tour of "Some Girls", on July 26, 1978 at the Alameda Coliseum, Oakland Ca.; tour did not have European part, the Rolling Stones locked themselves in the RCA studios of Los Angeles from August 26 to September 6 to rehearse new songs like: "My old Lady”; “Not the way to go”, “What gives you the right” o  “I´ll let you know”; along with other classical themes of Chuck Berry, Willie Dixon o Jimmy Reed.

The following appointment took place already in The Bahamas, at the end of the month of January of 1979 until the middle of February in the studies Compass Point of Nassau. Where now if, the real recording sessions started with the first attempt on “Emotional Rescue”, “I´m think I´m gonna mad” o “Little T & A” and others outtakes: “Lonely at tghe top”; Gangter´s moll” ;”Let´s go steady again” o “What´s the matter”.

After the tour with The New Barbarian has finished, The Rolling Stones tired with everything that was happening around they, left the American continent in the direction of France, where once again in the Pathé Marconi studies, they resumed the sessions for "Emotional Rescue" on June 19, prolonging them throughout the summer with more songs: ”Dance”; “Down in the hole”; “Hang fire”; “Heaven”; “Indian girl”; “It´s a lie”; “Let me go”; “We had it all”; “send it to me” o “No use in crying”. Many of which ended in the next album "Tattoo you".

In November, Mick and Ketih began to make the first mixes, but a fight between them, for the musical direction of the group, interrupted again the evolution of "Emotional Rescue" and both remained almost a month without seeing each other until the end of January.  Now in New York at the Electric Lady studios, the "glimmer twins" made peace and resumed the mixes. Mixes that according to Bill took longer than recording any other album.

Little by little, the project was taking form, thus at the end of March, the first acetate of the disc was made: “Down in the hole”; “She´s so cold”; “Claudine”; “We had it all”l; “·You Left me”; ·”Indian Girl”; “I think I´m gonna mad”; “Let me go”; “Emotional Rescue”; “Send it to me”; “Summer Romance”; “Where the boys go”;” Ain´t no use in crying”; “Dance”.

Before the end of that month , in New York was taken the famous thermographic photos that were later included in the album and its poster besides the promotional videos: “Emotional Rescue”, “She´s so cold” , “Where the boys go” y “Down in the hole”.

Between April and May more mixes and a new acetate, the one shown here.

Side A: 

1. Indian Girl.(6:38).

    (Full length version).

2. Emorional Rescue.(5:43).

     (Full length version).

3. Ain´t No Use In Crying.(3;26).

4. Claudine.(3:42)

5. I´m Think I´m Going Mad.(3:53).


Side B: 

1. Let Me Go.(3:46).

2. Where The Boys Go.(3:44).

3. Neighbours.(3:30).

4. Summer Romance.(3:14).

5. Down In The Hole.(3:52).

6. We Had It All.(2:50).


An alternative version of the album, in early June and a single "Emotional Rescue" ready for publication on June 20. Three days later the album was distributed in the United States and a couple of days later, on the 27th in the United Kingdom and the rest of the world. It remained at No. 1 in the United Kingdom for 18 weeks, two more in the United States. 

Side A: 

1. Emotional Rescue.(3:39)

    (Single edit).

2. She´s So Cold.(3:59).

     (Clean version).

3. Send It To Me.(3;43).

4. In dian Girl.(4:23)

5. All About  You.(4:18). 

Side B: 

1. If I Was A Dancer.(5:51).

    (A.k.a: Dance Pt.2).

2. Summer Romance.(3:16).     

3. Where The Boys Go.(3:29).

4. Down In The Hole.(3:58).

5. Let Me Go.(3:51). 

After this introduction, I bring you in the alternative version, two different mixes: one made for the single "Emotional Rescue" and other of "She's so cold", called "Clean Version", with a censored verse: "she's so goddamned cold" ; sent this way to the radio stations. 

Finally, the acetate has been cleaned and remastered, song by song. And in it we can listen to unreleased songs as well as mixes totally different from the known ones.

The artwork, the one selected here,it was going to appear as a paper sleeve that enveloped the album of thermographic photographs, although later, the idea was abandoned, although there some were  promotional copies.


O.K friends, enjoy it and be happy always, with music better.!

Led Zeppelin - Physical Graffiti - Reconstructed Unreleased 2nd version.

Following a well-deserved rest after the New York concerts; shows that ended to the grueling promotional tour of "Houses of The Holy.". Jimmy Page called of the rest of the group to his house in Plumpton, in september of 1973, to begin to shape what would be the following study work: ”Physical Graffiti”, project still without concrete title.

Jimmy wanted a double lp and had two options: a studio album with new songs accompanied by another live record with the recordings of Madison Square Garden, in the style of what Pink Floyd had done years ago in 1969 with "Ummagumma". Or another, completely studio, where he would mix the new themes that already hovered in his head with other unpublished, discards product of other sessions from the times of Led Zeppelin III.

Thus, in November, the first sessions began for the new job at Headley Grange, a former hospice, built in 1795 in East Hampshire (United Kingdom), famous during the 70s for being not only recording studio and essay Led Zeppelin, like other bands such as: Bad Company, Fleetwood Mac, Genesis, Peter Frampton, The Pretty Things, Ian Dury or Clover.

But these sessions were interrupted when John Paul Jones got tired of the frantic pace and left the band, to lead a quieter life as organist of Winchester Cathedral although it was officially said that he had fallen ill; part of the investment that had been made in the contracting of the studies was recovered, renting them to Bad Company, while Peter Grant was trying to convince Jones not to leave the group. 

In January, the fourth members of  Led Zeppelin returned to the studio for record more material, between that month and the next three, the band recorded and finaliced eight new songs: "Custard pie". "Sick again". "In my time of dying". "In the light" ."Ten years gone". "Kashmir". "The wanton song" and "Trampled under foot". 

At the end of the mix sessions, in July, two different cuts were made from the album; one with these new songs together with the outtakes from past works, which had been given a facelift at Olympic Studios by Mike Harwood; and another, with the best songs from the New York concerts, mixed by Eddie Kramer at the Electric Ladyland studios for the second disc. But when Jimmy Page listened these material opted to postpone the publication of a live album, because the quality it was not all the good that he wanted. In addition, the fact that he temporarily canceled the documentary from the past tour, also influenced in the final decision.

This reconstruction brings you, the original order of the songs, according to the acetate, with three unpublished mixes: "Sick Again", which started with "The Rover", because Jimmy Page had not finished the song and mixed as it was played live, along with two simpler and abbreviated versions of: "In my time of dying" and "In the light", shortened so that do not exceed 26 minutes per side. I also recover the original mixes of "Dazed & confused", "Stairway to heaven" & "Whole lotta love", selected for the live album and rejected by Page.

Side A: (Studio)

1. Custard Pie.(4:16)

2. The Rover/Sick Again.(5:43)

     (Unreleased version).      

3. In My Time Of Dying.(9:50)

     (Unreleased version).

4.. In The Light.(6:32)

     (Unreleased version). 


Side B: (Studio) 

1. Ten Years Gone.(6:34)

2. Kashmir.(8:39)

3. The Wanton Song.(4:08)

4. Trampled Underfoot.(5:36)


Side C: (In Concert)

1.Dazed and Confused.(26:43)

    (Original mix)


Side D: (In Concert)

1. Stairway to heaven.(10:43)

     (Original mix)

2. Whole lotta Love.(14:24)

      (Original mix). 


Although the album was ready in July after the mixes made at Olympic Studios, its publication was not announced to the press until November 1974, because the group decided to postpone its edition until February of the following year, because there were other issues that in one way or another affected its diffusion like the end of the contract with Atlantic, the creation of own record label "Swan Records" or the promised rest that Peter Grant had offered to Jones in exchange for not quit Led Zeppelin.

“Physical Graffiti”, considered the best double album in history, went on sale on February 24, 1975 in the US and a day later in the United Kingdom and the rest of the world, coinciding with the first dates of his new world tour that had already begun on January 11 in Holland and that would end in November, the album became number one, staying in this position for six weeks in a row.

Finally, the artwork: two were selected by Jimmy Page and Robert Plant, both made by Mike Doud & Peter Corriston: that of the façade of building No.96 from St.Marks Street in New York and another one of Mount Machu-Pichu. For this reconstruction, has been used the artwork discarded from Peru.


Enjoy it.

Pete Townshend - "Rock is dead - Long live Rock!" (1st part) (The Acetate Tape).

This album that I bring you now, is the reconstruction of the demo tape that served as a reference for the sessions held by “The Who” between May and June 1972 at the Olympic Studios, with the sound engineer and producer Glyn Johns of what should have been the new studio album that year entitled: "Rock is dead-Long Live Rock!”, which was abandoned because it resembled, according to its creator, Pete Townshend, to "Who´s next".

After the publication of this latest work, on August 14, 1971 and his subsequent world tour, Pete Townshend assured that he would never embark on another conceptual album, because, the truncated "Lifehouse" project, almost ended with your mental health.

But you can never say that of: "never say, never again"; because during the months of January to March, Pete was alternating family life with his home studio recording, reviewing discarded material, and experimented with other new songs.

Little by little, a new concept of rock opera was formed in his mind, about life in a rock band, which he soon identified as his own, and thus, unwittingly or not, one song after another, under a common plot; it became in the materialization of a demo tape that began recording on April at the Eel Pie studios with:Long Live Rock (demo #3). "Join Together", "The Relay", "Put The Money Down," and “Love Reign O'er Me” (demo #2),

Side A: 

1. Relay.(4:15).

2. Get Inside.(3:09).

3. Women´s Liberation.(5:01).

4. Love Reign O´er Me.(3:59).

5. Long Live Rock!.(3:46).


Side B: 

1. Is It In My Head.(4:12).

2. Put The Money Down.(5:50)

3. Can´t You See I´m Easy.(2:57).

4. Join Together (In The Band).(6:23).

Tape that served as a claim to reunite the band once again. So in the month of May, The Who started that new project  at the Olympic studios, alternating with the Ramport Studios. But,that is another story,that we will continue with a second part and a new reconstruction of: "Rock is dead – long live rock” by The Who.

At the moment enjoy with this advance.



The Jimi Hendrix Experience - "Live Experience" - The lost 1969 live album

The story behind that lost album says: In May of 1969, Michael Jeffery, manager of the "Jimi Hendrix Experience", commissioned the engineer Eddie Kramer to review a series of tapes containing the concerts of the Royal Albert Hall, Los Angeles and San Diego. The main reason for this album was to fulfill the pending commitment with Reprise and Capitol Records, after the legal battle lost with producer Ed Chalpin and PPX Industries.

Thus, at the beginning of June of 1969, Eddie Kramer moved to the Wally Heider studios in Hollywood Ca, to start his work on Sunday June 8 with the mixes of: “Star Spangled Banner” (L.A Forum). “Purple Haze” (San Diego) and “Little Wing” (Royal Albert Hall); continuing on Monday 9: “Voodoo Child (slight return)” (Royal Albert Hall). “Fire” (San Diego) and “Red house” (San Diego) and ending on Tuesday 10: “I don´t live today” (L.A Forum) and “Getting my heart back together again” (a.k.a Hear my train a coming) (Royal Albert Hall).

Between that last day and the following one the disc was mounted, whose provisional title was "live experience" and the result was shown to Jeffery,Capitol & Reprise Records,...  


Side A: 

1. Fire.(3:27).

2. Getting My Heart Back Together Again.(8:24).

(a.k.a: Hear My Train A´Coming)

3. Red House.(12:42). 


Side B: 

1. Star Spangled Banner.(2:29).

2. Purple Haze.(4:50).

3. I Don´t Live Today.(5:31).

4. Little Wing.(3:13).

5. Voodoo Child (Slight Return).(7:45).  


...but a couple of days later, on June 15 the project was discarded, although Reprise did not set aside the possibility of publishing it in September, despite the fact that it had already opted for the American version of "Smash Hits"; finally not to detract from this compilation, the live album was definitely abandoned.

The project was recovered years later, published in January 1972 by Polydor, as part of a posthumous album: "Hendrix In the West", with some of those recordings selected for "live experience" and other new ones made at the Isle of Wight Festival and at the University of Berkeley during 1970.

What is shown here, It's a reconstruction of that lost album, using the original mixes made by engineer Eddie Kramer in June of 1969. and compiled in chronological order like a complete set list as “The Jimi Hendrix Experience” played in concert that year.


Enjoy it. 


Jimi Hendrix - "Crash Landing" - Master Reel - Wiped Version.

After death Jimi Hendrix´manager: Michael Jeffery in a mid-air collision over Nantes, France on March 5.1973; the producers Alan Douglas & Tony Bongiovi were hired to evaluate hundreds of hours of remaining material that was not used on earlier posthumous albums.The material used on Crash Landing consisted of recordings Hendrix originally made with Billy Cox on bass and either Mitch Mitchell or Buddy Miles on drums and on one occasion by Rocky Isaacs, except: "Peace in Mississippi," "Somewhere," & "Stone Free" were recorded with the original Jimi Hendrix Experience line up, with Noel Redding on bass.

How the songs were works in progress or demos, they used several session musicians, none of whom had ever even met Hendrix, to re-record or overdub guitar, bass, drums, percussion and female backing vocals, erasing the contributions of the original musicians, only Hendrix' vocals and guitar contributions were retained, something that was very criticized. However the album, it became one of the most successful since “The Cry of love” Lp: #5 in the U.S.and #35 in the UK.

There was two versions of the album: the released in March and August 1975 in the United States and the United Kingdom respectively with this order:


Side A: 1.Message to love.- 2.Somewhere over the rainbow.(Somewhere)- 3.Crash landing.- 4.Come down hard on me.

Side B: 1.Peace in Mississipi.- 2.With the power. (Power of soul)- 3.Stone free again. - 4.Captain coconut.(MLK).


And one another with different line-up and no overdubs, but unknown and unissued: 


1.Crash landing (Record Plant - 24/4/69) - 2.Somewhere (a.k.a “Somewhere over the rainbow) (3/68) - 3.Anything is possible (a.k.a “With the power” or “Power of soul“ or “Power to love“) (Record Plant - 21/1/70) - 4.New rising sun (TTG - 22/10/68) - 5.Message to love (a.k.a “Nine to the universe” or “Message to the universe” or “Message of love”) (Record Plant - 20/1/70) - 6.Scat vocal-Lead 1 Scat vocal 2-Lead 2 (Hit Factory - 28/8/69) - 7.Stone Free (alternate) (a.k.a “Stone free again” (Record Plant - 7/4/69) - 8.Peace in Mississipi (TTG- 24/10/68) - 9.Here comes your lover man (a.k.a “Here he comes (lover man)”  (TTG - 29/10/68).


This album is a reconstruction of the “master reel” with the original order of the tracks, with some small change so that all the selected songs appear, but without retouching of any kind, as recorded in his day by Jimi Hendrix. 


01. Crash Landing.(4:15).

02. Somewhere.(4:06).

03. Power Of Soul.(5:20).

04. New Rising Sun.(7:24).

05. Message To The Universe.(6:19).

06. Come Down Hard On Me.(3:18).

07. Stone Free Again.(3:43).

08. Peace In Mississippi.(5:26)

09. Here He Comes (Lover Man).(6:33).

10. Ezy Rider/MLK Jam.(20:00). 



Enjoy it.


The Kinks: "Where Was Spring?". Unreleased 1969 album.

After the release of the album: "The Kinks Are the Village Green Preservation Society", on November 22, 1968, the BBC commissioned Ray Davis to write more songs for a television serie, which was to be called: Where was Spring?. A British television sketch comedy program, which was first aired by the BBC at night time every Monday, between the months of January to February. A total of 12 episodes were recorded of which only six were aired; of an approximate duration of 25/30 minutes per episode, with music perfomed by North Kensington Festival Wind Ensemble, arranged and directed by Stanley Myers and songs by the Kinks: “Where Did My Spring Go", "When I Turn off the Living Room Light", "We Are Two of a Kind", "Let's Take Off Our Clothes" and "Darling I Respect You", an one outtake “Till death us part two”, from september 1968.

Where Was Spring?, It was a love serie with Eleanor Bron and John Fortune, two stalwarts of the British satire scene in the 1960s, produced by Neil Sheerin. The show were of a series of two-handed sketches performed by Bron and Fortune, mostly playing married or romantic couples though often not seen romantically.

There were also animated sequences supplied by Klaus Voormann, designer of the cover for the Beatles' Revolver album. Almost all the episodes were lost, because it is believed that master tapes were accidentally destroyed by overwriting them.

The BBC proposed to Ray Davies, the possibility of making an EP with the songs of the program and later an LP adding new ones, but none of the options came to fruition because the group had a secret agreement with Granada TV, to carry out a film and an LP that later would be known as: Arthur (Or the Decline and Fall of the British Empire).

The project of "Arthur" was unveiled on March 10 and with it faded the EP or Lp: There was Spring ?. The recording sessions for "Arthur" officially began on May 1, 1969, with the songs "Drivin '" & "Mindless Child Of Motherhood"; immediately after Ray Davis returned from the United States.

The reconstruction that is brought here, in Lp format, translates to the side A the original EP of five tracks, once the themes that Ray Davis did not want to include in his day were discarded: "We Are Two of a Kind", "Let's Take Off Our Clothes" and "Darling I Respect You". Side B: begins with the song "Did you see his name?", written for the:"The Eleventh Hour TV Show", plus that material recorded before the date of March 10 available to complete an Lp.


Side A: 


1. Where Did My Spring Go.(2:10).

2. When I Turn Out The Living Room Light.(2:19).

3. Pictures In The Sand.(2:47).

4. Berkeley Mews.(2:36).

5. Till Death Do Us Part.(3:18)


Side B: 


1. Did You See His Name.(2:00).

2. Plastic Man.(3:04).

3. Groovy Movies.(2:33).

4. Creeping Jean.(3:11). 

5. King Kong.(3:23).


All tracks, MONO, because  are taken from sample tapes where there is no stereo mix.



Guns´N´Roses - More Lies (A.k.a Lies II) - "Aborted album".

On December 6, 1988, Guns'N'Roses published his second studio album "Lies"; a compilation Lp because on the side A, was reissued the EP of 1986: "Live?! * @ Like a Suicide", previously edited by the independent label UZI Suicide.While on the B side, some acoustic songs and discards appear from the "Appetite for Destruction" sessions.Ten years later and with the band already practically decomposed, Geffen Records programmed a second part of Lies: "More Lies" (a.k.a: Lies II ", following the same technique as the first one.Some of the material came from the EP "From the jungle" distributed only in Japan, along with the full content of the third EP "Civil War", March 1993.

In addition, to make it more attractive, were included two extra tracks played live: "Live and Let Die" at Wembley Stadium in London in 1991 and "Yesterdays" in Las Vegas, Nevada in 1992. In this reconstruction, another one is added: "Oh My God" from the soundtrack of the film: "End of Days".

"Lies II" or "More Lies", was scheduled to be published just 10 years after the first, in December 1998, with a view to that year's Christmas campaign, but the recent edition of the compilation "Use your illusion" in the United States; the internal problems that were between the original members of the band and the absence of a good live album, delayed its publication and finally was canceled by "Live Era'87 '93", which after a year of work ended up seeing the light in November 1999.

The artwork of "More Lies" was in line with the first one, a cover that emulated being a tabloid with real news and messages loaded with certain sarcasm.The album was also to be a posthumous tribute to the porn actress Savannah, Slash's ex-girlfriend and who had recently shot herself to death after being disfigured after a traffic accident.

This new reconstruction opens with the three live themes of the Marquee but with the correct sequencing, followed by two songs extracted from the cdsgl "Live and Let Die", the live version in Wembley and "Shadow of your love", altered studio recording to make it appear live. All this followed by the Lp version of "Sweet Child O'Mine",plus the full content of the EP "Civil War", in its international version; the song "Oh My God", that everybody believed was the return of Guns & Roses to the old ones and the interview to Slash.


Enjoy it!. 


El 6 de diciembre de 1988, Guns´N´Roses publicó se segundo álbum de estudio “Lies”; un Lp recopilatorio pues en la cara A se reeditaba el EP de 1986: “Live ?!*@ Like a Suicide”, editado previamente por el sello independiente UZI Suicide. Mientras que en el lado B, aparecían algunas canciones acústicas y descartes de las sesiones de “Appetite for Destruction”.Diez años después y con la banda ya prácticamente descompuesta, Geffen Records programó una segunda parte de Lies: “More Lies” (a.k.a: Lies II”, siguiendo la misma técnica del primero. Parte del material procedía del EP “From the jungle” distribuido sólo en Japón, junto con el contenido integro del tercer EP “Civil War”, de marzo de 1993.

Además, para hacerlo más atractivo se incluyeron dos temas extras tocados en directo y que habían sido caras B: “Live and Let Die” en el estadio de Wembley en Londres en 1991 y “Yesterdays” el 92 en Las Vegas, Nevada. En esta reconstrucción se pone otro más: “Oh My God” de la banda sonora del film: “End of Days”.

“Lies II” o “More Lies”, estaba programado para ser editado justo 10 años después del primero, en diciembre de 1998, con vistas a la campaña de navidad de ese año, pero la reciente edición del recopilatorio “Use your ilusión” en Estados Unidos; los problemas internos que habían entre los miembros originales de la banda y la ausencia de un buen álbum en vivo, retrasó su publicación y finalmente se abortó por : “Live Era´87 ´93”, que tras un año de trabajo terminó viendo la luz en noviembre de 1999.

El artwork de “More Lies” estaba en la línea del primero, una portada que emulaba ser un tabloide con noticias reales y mensajes cargados de cierto sarcasmo. El álbum también iba a ser un homenaje póstumo a la actriz porno Savannah, ex novia de Slash y que hacía poco se había suicidado de un disparo al quedar desfigurada tras un accidente de tráfico.

Esta nueva reconstrucción abre con los tres temas en directo del Marquee pero con el secuenciado correcto, seguido de dos canciones extraidas del cdsgl “Live and Let Die”, la adaptación de la misma en Wembley y “Shadow of your love”, grabación de estudio alterada para que parezca en directo. Todo ello seguido de la versión Lp de “Sweet Child O´Mine”, mas el contenido completo del EP “Civil War”, en su versión internacional; el directo de las Vagas, la canción “Oh My God”, que todo el mundo creía era el regreso de Guns & Roses a las andadas y la entrevista a Slash.

A disfrutarlo amigos.

The Byrds - Dr.Byrds & Mr.Hyde (Acetate line-up & Mono version)

Between October 7 and 16, 1968, the new Byrds, with only Roger McGuinn from the original members, brought together the new line-up: Clarence White; Gene Parsons & John York, in the Columbia studios in Hollywood Ca. to record a series of songs, for a new album, planned, in principle for Christmas.At the end of the session of the 16th, in which they recorded "Stanley's Song", a first acetate was made. However, of the nine songs, only seven were included, leaving out: "Lay Lady Lay", Dylan´s version, which was also an "outtake" of the April sessions for "Sweethart of the Rodeo" and the aforementioned "Stanley´s song ", assuming that the group would record new material.

So on December 4, after a sporadic session in Nashville, registered on October 21, The Byrds returned to the studio to record a couple of songs for the movie "Candy", this session apart from the themes "Child of the Universe " and "Candy ", came out a medley that the group took to place it as the closing of the album. However, Columbia considered that the material continued to be poor and insufficient and delayed its publication, but to silence the rumors of dissolution of what was left of the group and not leave much time without material playing on the radio stations, on January 7, 1969, A single was anticipated: "Bad Night at the Whiskey" / "Drug Store Truck Drivin 'Man".

In February all the existing material was revised and the acetate of October was expanded with the “outtakes”: "Stanley's song" and "Lay Lady Lay", but when it was presented to Columbia, it made as many changes as it thought fit to make the most commercial album; the first thing was to remove the two songs cited, by the two written for the movie Candy, of which only one of them had been taken for the soundtrack. Thus the song "Candy" by "Stanle's song" and a remix of "Child of the Nature" by "Lay Lady Lay", that Columbia destined to a second single of the album in May with "Old Blue" on the side B. Finally the album was released on March 5, 1969, with a relative success among fans, becoming the weakest work of the group of those published in the decade of the sixties; although not badly received by the critics.

Here I bring you the alternative "line-up" of February 1969 made for the album that Columbia rejected before reorganizing everything for the final acetate, in addition to the monaural version. 

 Enjoy it.



Entre el 7 y el 16 de octubre de 1968, la nueva formación The Byrds, con tan sólo Roger McGuinn de los miembros originales en el grupo, reunió a la nueva formación: Clarence White; Gene Parsons & John York, en los estudios de Columbia en Hollywood Ca. para grabar una serie de temas, de cara  a un nuevo álbum, previsto, en principio  para la navidad. Al término de la sesión del 16, en el que grabaron “Stanley´s Song”, se hizo un primer acetato. Sin embargo de las nueve canciones, sólo siete fueron incluidas, dejando fuera: “Lay Lady Lay”, versión de Bob Dylan, que además era una “outtake” de las sesiones de  abril para “Sweethart of the Rodeo” y la citada “Stanley´s song”, en previsión que el grupo grabaría nuevo material.

Así el el 4 de diciembre, tras una esporádica sesión en Nashville, registrada el 21 de octubre,  , Los Byrds volvieron al estudio para grabar un par de temas destinados a la película “Candy”, de esta sesión a parte de los temas “Child of the Universe” y “Candy”, salió un medley que el grupo aprovechó para colocarlo como cierre del álbum. Sin embargo, Columbia consideraba que el material continuaba siendo pobre e insuficiente y retrasó su publicación, pero para acallar los rumores de disolución de lo que quedaba del grupo y no dejar mucho tiempo sin material sonando en las emisoras, el 7 de enero de 1969, se anticipó un single:  Bad Night at the Whiskey” / “Drug Store Truck Drivin' Man”.

En febrero se revisó todo el material existente y se amplió el acetato de octubre con los temas descartados entonces: “Stanley´s song” y  “Lay Lady Lay”, pero cuando se presentó a Columbia, esta realizó cuantos cambios creyó conveniente para hacer el álbum más comercial; lo primero fue quitar las dos canciones citadas, por los dos temas escritos para la película Candy, de los que sólo uno de ellos había sido aprovechado. Así  el tema “Candy”, entró por “Stanle´s song” y una remezcla de “Child of the Nature” por “Lay Lady Lay”, que Columbia destinó a un segundo single del álbum en mayo con “Old Blue” en la cara B. Finalmente el álbum vio la luz el 5 de marzo de 1969, con un éxito relativo entre los fans, pasando a ser el trabajo más flojo del grupo de cuantos publicaron en la década de los sesenta; aunque no por ello mal recibido por la crítica.

Aquí os traigo el “line-up” alternativo de febrero de 1969 realizado para el álbum y  que Columbia rechazó antes de reorganizarlo todo de cara al acetato final. 

ABBA - "Opus 10" - The album that never was.

On May 3, 1982, Abba returned to the Polar studios with the intention of recording new songs for his next Lp, after the publication in November 1981 "The Visitors". The first one was: "You owe me one", followed a week later by "I am the city", and twenty days later by: "Just like that", continuing in August with: "Cassandra"; "Under attack" and "The day before you came".

At the beginning of September, seeing that the personal problems of the members of the group hinder normal development of the recordings sessions; because both couples were in the process of breaking up. Benny Andersson & Björn Ulvaeus, like producers of the album, tried to save the project, of what was clear was going to be the farewell album of ABBA, anticipated the end of the sessions, they searched on the archives unpublished material with which to complete the new album. So to the six songs already mentioned, they took from "Super Trouper sessions": "Put on your white sombrero" & "Burning My Bridges" and from "The Visitors sessions": "Giving a Little bit more".  But after making a couple of compilations with remixes of some of these songs, decided to definitively abort the album, considering that the minimum expected quality of an ABBA record was not achieved.

The best way to say goodbye was with a double "greatest hits" album where all the singles plus two extra tracks from the summer sessions of '82 were compiled. This work was published in November and December as: ABBA The Singles - The 1st Ten Years ", preceded in October of the single: "The day before you came / Cassandra ", and another posthumous one in February of the 83:"Under Attack / You owe me one ".

Up to here, what the real story left us. But what was "Opus 10" then?.

Halfway through the recording sessions of "The Visitors", in June 1981, the group gave an interview to a journalist from the Swedish newspaper: "Expressen". Published shortly after with the title "Abba, is recording his tenth album". The journalist called this work still without date or definitive name, because it would not have until October, as "Opus 10", which was later misinterpreted. The rumor spread that the following work of ABBA was going to be called "Opus 10" and when "The Visitors" saw the light in November, it was said that "Opus 10" had been the provisional title of the Lp.

But in reality it was that, “Opus 10” (work #10) comes from the calculation of studio albums published to date, June 1981, plus Vol.1 & Vol.2  “Greatest Hits”, excluding: "Gracias por la musica" from 1980.

Years later, when in the alternative market appeared the instrumental song Nationalsång "-" National anthem ", recorded in Polar Music studios between March 16 and 18, 1981, during the same sessions of:" Fanfare For Icehockey World Championships '81 ", Although it was really an early adaptation of the Swedish national anthem, it was renamed " Opus 10 "; this immediately unleashed the fever among the fans of Abba, extending the uncertain story that it was actually the central theme of the new album that Abba was going to record in the summer / autumn of 1982, with the songs mentioned above and others still unpublished today.

But it was never like that in reality. There was never an Lp project with the name of "Opus 10", although it has been disseminated in some books about Abba, including the authoritative biography of Agnetha "As I Am".

What is brought here is a reconstruction, for the taste of some people, of one of the compilations made during September 1981 in search of that possible studio album with no name, but with the certainty that it never existed one Lp or proyect "Opus 10". I´m sorry to say this.




El 3 de mayo de 1982, Abba regresó a los estudios Polar con la intención de grabar nuevas canciones para su siguiente Lp, tras la publicación en noviembre de 1981 “The Visitors”. La primera de ellas fue “You owe me one”, seguida una semana después por “I am the city” y veinte días después por “Just like that”, continuando con “Cassandra”; “Under attack” y “The Day before you came” durante el verano de ese año. A principios de septiembre, viendo que los problemas personales por los que atravesaban los miembros del grupo dificultaban enormemente el desarrollo normal de las grabaciones, pues ambas parejas estaban en proceso de ruptura. Los miembros masculinos del grupo: Benny Andersson & Björn Ulvaeus, productores a la vez del álbum, trataron de salvar el proyecto, de lo que estaba claro iba a ser el álbum de despedida de ABBA, anticipando el fin de las sesiones y rebuscando en el archivo material inédito con el que completar; así a las seis canciones ya mencionadas, tomaron: de “Super Trouper” – “Put on your white sombrero” & “Burning My Bridges” y “The Visitors”: - “Giving a Little bit more”. Pero tras realizar un par de compilaciones junto a remezclas de alguno de estos temas decidieron abortar definitivamente el álbum, al considerar que no se conseguía la calidad mínima esperada de un disco de ABBA. Por lo que decidieron que lo mejor era decir adiós con un doble disco de grandes éxitos donde se recopilaran todo los singles más dos temas extras de las sesiones del verano del 82. Dicho trabajo salió publicado entre noviembre y diciembre como: ABBA The Singles – The 1st Ten Years”, precedido en octubre del sencillo: “The day before you came/Cassandra” y otro póstumo en febrero del 83: “Under Attack/You owe me one”. 

Hasta aquí lo que la historia real nos dejó. ¿Pero que fue entonces “Opus 10”?. 

A mitad de las sesiones de grabación de “The Visitors”, en junio de 1981, el grupo concedió una entrevista a un periodista del diario sueco:“Expressen”. Publicada poco después con el título “Abba, está grabando su décimo álbum”. Durante la redacción, el periodista llamó a este trabajo todavía sin fecha ni nombre definitivo, pues no lo tendría hasta octubre, como “Opus 10”, el cual fue posteriormente mal interpretado. Lo de Opus 10 (obra nº10) viene del cálculo de los álbumes de estudio publicados hasta la fecha, junio de 1981, más los dos de grandes éxitos, excluyendo: “Gracias por la música”  de 1980. Tras la difusión de la entrevista en “Expressen”, se extendió el rumor de que el siguiente trabajo de ABBA se iba a llamar “Opus 10” y cuando “The Visitors” vió la luz en noviembre, se dijo que “Opus 10” había sido el título provisional del Lp.

Años después, cuando apareció el tema instrumental Nationalsång” – “Himno nacional”, grabado en los estudios Polar Music entre el 16 y 18 de marzo de 1981, durante las mismas sesiones de: “Fanfare For Icehockey World Championships '81”, aunque se trataba en realidad de una adaptación del himno nacional sueco,un demo además, fue rebautizado como ”Opus 10”; en el mercado alternativo; lo que desató inmediatamente la fiebre entre los fans de Abba, extendiendo la historia incierta de que en realidad era el tema central del nuevo álbum que Abba iba a grabar en el veráno/otoño de 1982, con las canciónes arriba citadas y otras todavía hoy inéditas, muchos demos o sin concluir. Pero nunca existió un proyecto de Lp con el nombre de “Opus 10”, pese a que ha sido difundido incluso en algunos libros sobre Abba, como la biografía autorizada de Agnetha “As I Am”.

Lo que aquí se trae es una reconstrucción de una de las compilaciones realizadas durante septiembre de 1981 en busca de ese álbum perdido que terminó transformándose en el doble “The Singles”, al que he llamado “Opus 10”, para gusto de algunos, pero con la certeza de que  nunca existió. Y siento decir esto. 

Blur: "British Image 1" (Demonstration tape).

After the release at the end of August 1991 of the debut album "Leisure", which received very good reviews, partly because it had been polished during the concerts that the group gave between the end of '89 and a good part of the 1990; in May of that year, Blur finally decided to start a series of studio sessions that lasted intermittently for 10 months until the month of March 1991, when the album was ready for the final mixes.

Shortly before it was published, on August 26, the group started new sessions to register material in order to form a second Lp, before getting fully involved in the "Leisure" promotion with a mini European tour that would begin on March 4. October and that would take them to their first American tour to close the year.Between mid-November and January of the following year 1992, Blur continued to record tracks for an album that was originally going to be called "British Image 1" with producer Stephen Street, who had previously worked on his 1991 single "There's No Other Way "; and that they had planned to release in the spring, just before embarking on a new American tour much longer than the previous one, before more numerous audiences with TV appearances included.

While this happened, "Leisure" continued to climb positions, placing in the top 10 of Uk Records and putting Blur at the head of a musical phenomenon that would soon be known as the rebirth of "Britpop" with bands as important as Stone Roses, Happy Monday, Oasis or Suede.

So in mid-March, the group already had a demo tape to present to their label with the following "line-up": "Oily Water", "Mace", "Badgeman Brown", "Popscene", "Resigned", "I'm fine", "Garden Central", "Hanging Over", "Into Another", "Peach", "Bone Bag", "Never Clever", "Coping", "My Ark" and "Pressure On Julian" , of which they were quite satisfied.But David Balfe owner of Food Records, after listening to this compilation did not see with good eyes this material, because in comparison with all the previous thing it did not have sufficient quality and they did not contain songs that could be removed like singles of success, qualifying it as "artistic suicide".Despite this, Food Records, selected what they considered best and on March 30, a cdsgl with three songs: "Popscene"; "Mace" & "Bageman Brown.", Plus two others in 12 "format:" I'm fine "and" Garden Central ". In place of the album "British Image 1".

On April 1 a mini tour of the United Kingdom began, prior to the great American tour with 37 performances contracted until June 3 in Pittsburg, although this tour of America was so exhausting and so little recognized by the public that preferred before the phenomenon Nirvana, that Blur anticipated its end by canceling the last four dates.In addition, the little success achieved by "Popscene" and the rivalry with Suede shook the foundations of the group, to such an extent that their continuity within Food Records was questioned, as the debts of the members of the group began to increase as the problems with the alcohol and fights.

It was during this time, the Olympic summer of 1992 when Damon Albarn decided to change the name of the album and its theme to "Britain vs. America", due to the resentment that had remained within the band due to the lack of interest of the American public before their music and the severe criticism they received from their performances. They felt contempt for everything American.

 Despite this the creative process continued, as well as the changes both physically and in the way of composing the new songs, for this they took as reference groups like The Kinks or Small Faces to compose the new songs of what would soon become "Modern life is rubbish ", title taken from street graffiti. This second album did not reach the popularity of the first, but at least it was worth to get out of bankruptcy.

"Britisn Image 1", now "Britain vs America", had a second chance in December, but SBK again despised the work and recommended a new producer, Butch Vig linked to Nirvana, which they rejected.Willing to break with SBK and not to act again in America during a good season. The group dedicated the months of January to April of 1993 to perfect the album over any criticism that they were not themselves and to take it forward, of 1992, with new songs written by Damon Albarn, like "For Tomorrow" or "Chemical World" , definitively published on May 10, 93.

"Modern life is rubbish", although it is not the best work of the group, a moderate success, if it is a clear sign of overcoming, of survival, of a group of kids, in front of the system.

What you have here, it´s a reconstruction of the demonstration tape that Blur presented to the owner of Food Records, but does not correspond to the alternate or definitive "line-up" of the album. This collection carries the 1st provisional title: "British Image 1" , and the original artwork.

Enjoy it!. 



Tras el lanzamiento a finales de agosto de 1991 del álbum debut “Leisure”, el cual recibió muy buena crítica, en parte porque había sido pulido durante los conciertos que el grupo dio entre finales del 89 y buena parte del 90; en mayo de ese año, Blur se decidió por fin a iniciar una serie de sesiones de estudio que se extendieron de manera intermitente durante 10 meses hasta el mes de marzo de 1991, en el que el álbum quedó listo para las mezclas finales. 

Poco antes de que saliera publicado, el 26 de agosto, el grupo inició nuevas sesiones para registrar material con cara a conformar un segundo Lp, antes de meterse de lleno en la promoción de “Leisure” con una mini gira europea que comenzaría el 4 de octubre y que los llevaría a su primera gira americana para cerrar el año. Entre mediados de noviembre y enero del siguiente año 1992, Blur continuó registrando temas, para un álbum que en principio se iba a llamar “British Image 1” con el productor Stephen Street, quien había trabajado previamente en su single de 1991 "There's No Other Way"; y que tenían pensado lanzar en primavera, justo antes de embarcarse en una nueva gira americana mucho más larga que la anterior, ante audiencias más numerosas con apariciones en TV incluidas. 

Mientras esto sucedía, “Leisure”, seguía escalando puestos, colocándose en el top 10 de Uk Records y poniendo a Blur a la cabeza de un fenómeno musical que pronto sería conocido como el renacer del “Britpop” con bandas tan importantes como Stone Roses, Happy Monday,  Oasis o  Suede.

Asi a mediados de marzo, el grupo ya tenía una cinta de demostración para presentar a su discográfica con el siguiente “line-up”: "Oily Water", "Mace", "Badgeman Brown", "Popscene", "Resigned", “I´m fine”, "Garden Central", "Hanging Over", "Into Another", "Peach", "Bone Bag", "Never Clever", "Coping", "My Ark" and "Pressure On Julian", del cual estaban bastante satisfechos. Pero David Balfe propietario de Food Records,tras escuchar esta recopilación no vió con buenos ojos este material, porque en comparación con todo lo anterior no tenía calidad suficiente y no contenían canciones que se pudieran sacar como singles de éxito, calificándolo de “suicidio artístico”. Pese a ello, Food Records, seleccionó lo que consideró mejor y el 30 de marzo, salió al mercado un cdsgl con tres canciones: “Popscene”; “Mace”  & “Bageman Brown.”, más otras dos en formato de 12´´: “I´m fine” y “Garden Central”. En lugar del álbum “British Image 1”.

El 1 de abril empezó una mini gira por el Reino Unido, previa a la gran gira norteamericana con 37 actuaciones contratadas hasta el 3 de junio en Pittsburg, si bien este tour por América fue tan agotador y tan poco reconocido por parte del público que prefería antes el fenómeno Nirvana, que Blur anticipó su fin cancelando las últimas cuatro fechas. Además el poco éxito conseguido por “Popscene” y la rivalidad con Suede hizo tambalear los cimientos del grupo, hasta tal punto que se cuestionó su continuidad dentro de Food Records, como las deudas de los miembros del grupo empezaron a aumentar como los problemas con el alcohol y las peleas.

Fue durante esta época, el verano olímpico de 1992 cuando Damon Albarn decidió cambiar el nombre del disco y su temática por el de “Britain vs America”, por el resentimiento que había quedado dentro de la banda ante la falta de interés del público norteamericano ante su música y las severas críticas que recibieron de sus actuaciones. Sentían desprecio por todo lo estadounidense. 

Pese a ello el proceso creativo continuó, así como los cambios tanto físicamente como en la manera de componer lo nuevos temas, para ello tomaron como referencia a grupos como  The Kinks o Small Faces para componer los nuevos temas del que pronto llegaría a ser “Modern life is rubbish”, título extraído de un grafiti callejero. Pese a ello, este segundo álbum no alcanzó la popularidad del primero, pero al menos les valió para salir de la bancarrota. 

“Britisn Image 1”, ahora “Britain vs America”, tuvo una segunda oportunidad en diciembre, pero una vez mas SBK volvió a despreciar el trabajo y recomendó un nuevo productor Butch Vig vinculado a Nirvana, que rechazaron de pleno. Dispuestos a romper con SBK y a no volver a actuar en América durante una buena temporada. El grupo dedicó los meses de enero a abril de 1993 a perfeccionar el álbum por encima de cualquier crítica que no fueran ellos mismos y a sacarlo adelante, de 1992, con nuevas canciones escritas por Damon Albarn, como “For Tomorrow” o “Chemical World”, publicándose definitivamente el 10 de mayo del 93. “Modern life is rubbish”, aunque no es el mejor trabajo del grupo, un éxito moderado, si es una muestra clara de superación, de supervivencia, de un grupo de chavales, frente al sistema.

Esto que tenéis aquí, es una reconstrucción de las canciones que conformaban la cinta de demostración que Blur presentó al propietario de Food Records, pero no se corresponde con el  “line-up” alternativo o definitivo del álbum. Esta colección lleva el título provisional del álbum: “British Image 1” y su artwork original. 

Small Faces: "1862" - Steve Marriott "line-up".

Just a couple of days before their third studio album "Ogdens' Nut Gone Flake" was published, on May 24, 1968, the Small Faces were already reunited at Olympic Studios recording new songs with the engineer Glyn Johns.

The album, was going to be called "1862", date that corresponded with the one that had been recorded in an old wood of an abandoned chapel, near the house of Steve Marriott, in the village of High Laver in the county of Essex, England. Place in which he had played when he was a child; now, 1968, Steve wanted to buy this chapel, to turn it in a personal recording studio.

During these new sessions that ran from May 23 to September 11, 1968, the group recorded just a dozen songs, some of them instrumental. At the end of these sessions, which remained pending material to finish, Steve Marriott provided the sound engineer Glyn Johns an provisional "line up" of how he wanted the songs appear on the album to make a first acetate.

Side A: “Hello, The Universal”; “Blues Jam” (a.k.a: War of the Worlds); “Me You & Us Too" (a.k.a : Wham Bam Thank You Mam)”; “Wide-Eyed Girl On The Wall”; “Call it Something Nice”; “Red Balloon”. Side B: “Fred” (a.k.a: Wrist Job); “Donkey Rides, A Penny, A Glass” ; “A Collibosher”; “Jenny's Song” (A.k.a. Autumn Song). 

As the group did not meet again to improve and expand the material that existed, partly because they were  in a world tour that began in Europe; In the month of february, while Glyn Johns trying to improve the live recordings made in Newcastle, he resumed work in 1862, and added: "Every Little Bit Hurts", as closing of the album to complete the B-side, and rescued too an instrumental piece from March´68:"Mind The Doors Please",  edited and placed at the end, like a hidden track, because it was not going to make mentioned in the future titles of the album´s songs.
Days after, the result was shown to Andrew Loog Oldman, manager of the group and to Inmediate Records, but they decided to wait as long as possible for its publication, to see if things were arranged in the group, because they were already in the process of separation; meanwhile as an advance to LP and without authorization from Small Faces, Inmediate released on March 7, 1969, a new single, in principle was going to be: "Wham Bam Thank You Mam" / "A Collibosher"; but  it was changed by an alternative version of "Afterglow", now as "Afterglow of your love" going to the B side: "Wham Bam..."
This annoyed the boys even more and precipitated things, a couple of days later, Steve Marriot announced that he was definitely leaving the group, for his dissatisfaction at the musical level with the rest of the group and formed: Humble Pie, disregarding what could happen to "1862", a hard blow for Inmediate Records, in a precarious situation, because the escape of artists in search of more substantial contracts, had placed her in a complicated position, now without Small Faces, even worse. The  rest of the group: Ronnie Lane, Ian McLagan and Kenney Jones, did the same and formed Faces with Ron Wood and Rod Stewart.
Andrew Loog Oldman, wanted that "1862", was published coinciding with the first dates of the summer, as it was, but it was not possible, because Inmediate wanted a  different Lp, with live material in one side from Newcastle tapes and the best songs from 1862 in other side. Finally it became a 2 lp "Greatest Hits"  with unpublished material in november of 1969, called "Autumn Stone".
Here I bring you, a reconstruction in MONO and STEREO, listened to a copy of the original acetate, of how, the unpublished or lost album "1862" of Small Faces was going to be, that I hope to put peace among those who shuffle alternative "line-ups" from the album and discuss and discuss in forums for many years of how it could have been and was not, even mixing themes of Humble Pie with Pete Townshend.
Finally, the cover is a photomontage of what it was really like, the boys photographed around the High Laver chapel.

Apenas un par de días antes de que su tercer álbum de estudio “Ogdens' Nut Gone Flake”, fuera publicado, un 24 de mayo de 1968, los Small Faces ya estaban reunidos de nuevo en los estudios Olympic de Londres grabando nuevas canciones con el productor e ingeniero Glyn Johns. El álbum, en principio, se iba a llamar “1862”, fecha que se correspondía con la que había grabada en una madera vieja de una capilla abandonada, cerca de la casa de Steve Marriott, en la villa de High Laver en el condado de Essex, Inglaterra. Lugar en el que había jugado de pequeño y que el artista quería comprar para convertirla en estudio de grabación.

Durante estas nuevas sesiones que se extendieron desde el 23 de mayo al 11 de septiembre de 1968, el grupo grabó apenas una docena de canciones, parte de ellas instrumentales. Al término de estas sesiones, en el que se quedó material pendiente por terminar, Steve Marriott facilitó al ingeniero de sonido Glyn Johns un orden alternativo de cómo quería que las canciones aparecieran en el álbum para que realizara un primer acetato.

Cara A: “Hello, The Universal”; “Blues Jam” (a.k.a: War of the Worlds); “Me You & Us Too" (a.k.a:Wham Bam Thank You Men”; “Wide-Eyed Girl On The Wall”; “Call it Something Nice”; “Red Balloon”. Cara B: “Fred” (a.k.a: Wrist Job); “Donkey Rides, A Penny, A Glass” ; “A Collibosher”; “Jenny's Song” (A.k.a. Autumn Song).

Como el grupo no se volvió a reunir para mejorar y ampliar el material que existía, con posterioridad, en parte porque estaba envuelto en una gira mundial que empezó por Europa;en el mes de febrero, mientras se intentaba mejorar las grabaciones en directo hechas en Newcastle, Glyn Johns añadió: Every Little Bit Hurts”, como cierre del álbum y como había espacio para completar la cara B, rescató una pieza instrumental grabada en marzo del 68, desechada entonces: “Mind The Doors Please”, la cual editó y colocó al final, pero de la que no se iba hacer mención en los futuros títulos de crédito del álbum.

El resultado se mostró a Andrew Loog Oldman, manager del grupo y a Inmediate Records, pero estos decidieron esperar todo lo posible su publicación, en vista de ver si las cosas se arreglaban en el grupo, pues ya estaban en proceso de separación; mientras tanto, sin la autorización de Small Faces, la discográfica sacó el 7 de marzo de 1969, un nuevo single, en principio iba a ser: “Wham Bam Thank You Men” / “A Collibosher” ; pero después se cambió colocando una versión alternativa de “Afterglow”, ahora como “Afterglow of your love” pasando a la cara B: “Wham Bam Thank You Men”.

Esto molestó bastante y un par de días después, Steve Marriot anunció que se marchaba definitivamente del grupo, por su insatisfacción a nivel musical con el resto del grupo y formaba: Humble Pie, desentiéndase así de lo que pudiera pasar con “1862”; un duro golpe para Inmediate Records, en situación precaria, pues la fuga de artistas en busca de contratos más sustanciosos, la habían colocado en una posición complicada, ahora sin Small Faces, todavía peor. Poco después, el resto del grupo Ronnie Lane, Ian McLagan y Kenney Jones, hacían lo propio y formaban Faces junto a Ron Wood y Rod Stewart.

Andrew Loog Oldman, quiso que "1862", fuera publicado coincidiendo con las primeras fechas del verano, tal y como estaba, pero no fue posible. Finalmente se convirtió en un grandes éxitos con material inédito en noviembre de 1969, llamado “Autumn Stone”.

Aquí os traigo una reconstrucción en MONO y ESTEREO,escuchado una copia del acetato original, de cómo iba a quedar el álbum inédito “1862” de Small Faces, que espero ponga paz entre los que barajan ordenes alternativos del álbum y discuten y discuten en foros desde hace muchos años de como podia haber sido y no fue, incluso mezclando temas de Humble Pie con otros de Pete Townshend.

Por último, la portada es un fotomontaje de cómo iba a ser en realidad, con los cuatro componentes de Small Faces fotografiados alrededor de la capilla de High Laver, con fotos de una de sus ultima sesiones juntos.

The Rolling Stones:   "Automatic Changer".

 "Automatic Changer" - later known as "Let it Bleed", it was going to be the summer lp of  Rolling Stones, but by different circumstances, it was postponed. The main  problem  was the continued absences of Brian Jones to the recording sessions and his manifest lack of interest in everything that had to do with the group. In view of this, tired of his attitude Mick Jagger, Charlie Watts and Keith Richards moved to Brian's house to communicate friendly that his services were no longer available; so they quickly set out to look for a substitute guitarist: Mick Taylor, introduced as the new member of the Rolling Stones, at a massive press conference in Hyde Park, London on June 13th..
The recording sessions for “Automatic Changer” officially started on February 9, 1969 at the Olympic studios in London with Jimmy Miller like a producer and engineer Glyn Jones; abruptly interrupted in the early hours of July 2, when they were informed by telephone that the Brian´s body found floating in the pool of his house. He was dead.
Two days later, the Rolling Stones gave a free concert in memory of Brian in the same place where just a month ago they had presented Mick Taylor, Hyde Park. Meanwhile, one acetate of the disc had already been made in monaural version, with an alternative "line-up", almost definitive. which ís presented here, it contained a total of 9 songs: "Midnight rambler"; "Love in vain"; "If you need someone - a.k.a" Let it bleed "," Monkey man ". On side B: " Give me some shelter - a.k.a "Gimmie Shelter"; “You got the silver now - a.k.a "You got the silver", these last two sung by Keith; "Sister Morphine"; "Loving cup" and "Country honk". Shortly thereafter, and with the most advanced recording sessions, the engineer Glyn Jones made a second cut of the album, where the songs sung by Keith were changed for Mick's as a vocalist and the song that closed the acetate:"Honky Tonk" was eliminated.
This new version was given for good, which was prepared for the final mixes with a view to publishing the album in mid-July under the title of "Automatic Changer". Robert Brownjohn following the title of Lp, had already made the cover; the famous cake that was the final artwork, although the album changed title. After Brian´s death, the group recording:"Honky tonk woman" in the BBC TV to "Top of the Pops" to promo a new single: "Honky tonk woman / You can not always get what you want #2”; The Hyde Park concert on July 5, the Rolling Stones and Brian's funeral on July 10 in Cheltenham who only accused Charlie Watts and Bill Wyman, the Stones did not return to the studio and dedicated themselves, after trying to recover from the sad news, to prepare the American tour.
Between October 17 and 26, at the "Sunset Sound" studios in Los Angeles, the Rolling Stones returned to the "Automatic Changer" project, but with the conviction that the title and content should change, because the declared summer of love had been especially bloody, like the murders carried out by the Manson family, against the actress Sharon Tate and a group of friends, or later on the marriage "La Bianca". The session on October 26 was the last dedicated to polish "Let it bleed". Then, they got into the promotional winter tour from November 6 to December 7 with an appearance on the CBS show: Ed Sullivan Show recorded on November 18.

The day after the publication of "Let it Bleed" on December 5, the Rolling Stones gave a concert at the Altamont Speedway, in Livermore, Ca. A free festival that included other groups such as Jefferson Airplane or Crosby, Still , Nash and Young. As closing to the show, The Rolling Stones .., but in the middle of the song "Sympathy for the Devil", a spectator, was assassinated in front of stage by one of the members of sure of the show, an "Hell´s Angel", scene that can be seen in the movie,

The “incombustible” Stones, were already involved in the new recording sessions of their future project: "Sticky Fingers", which will have a good account in the future, also with an alternative "line up", the result of another found acetate with alternate “line-up” in mono also .Now, enjoy the reconstruction, mono version, of the early "Let it Bleed" when it was called "Automatic Changer".



"Automatic changer” – posteriormente conocido como “Let it Bleed”, iba a ser el álbum del verano del 69 de los Rolling Stones, pero por diferentes circunstancias se fue posponiendo; la primera de ellas y el principal fueron las continuadas ausencias  de Brian Jones a las sesiones de grabación y su manifiesto desinterés por todo lo que tuviera que ver con el grupo. En vista a ello Mick Jagger, Charlie Watts y Keith Richards se trasladaron a casa de Brian para comunicarle amistosamente que ya no se contaba con sus servicios, por lo que rápidamente se pusieron a buscar un guitarrista sustituto: Mick Taylor, presentado como el nuevo miembro de los Rolling Stones, en rueda de prensa multitudinaria al aire en libre el 13 de junio en Hyde Park.

Las sesiones de grabación que habían empezado oficialmente el 9 de febrero de 1969 en los estudios Olympic de Londres con Jimmy Miller de productor y el ingeniero Glyn Jones, interrumpidas bruscamente en la madrugada del 2 de julio, cuando via telefónica se les comunicó que habían encontrado el cuerpo sin vida de Brian flotando en la piscina de su casa de campo.

Dos días mas tarde los Rolling Stones daban un concierto gratuito en memoria de Brian en el mismo lugar donde hacía apenas un mes habían presentado a Mick Taylor, el Hyde Park de Londres. Para entonces ya se habían hecho dos acetatos del disco en versión monoaural, con un “line-up” alternativo, casi definitivo. En el primero de ellos, el cual se presenta aquí, contenía un  total de 9 canciones: “Midnight rambler”; “Love in vain”; “If you need someone – a.k.a “Let it bleed”, “Monkey man”. Y en el lado contrario: “”Give me some shelter – a.k.a  “Gimmie Shelter”; You got the silver now – a.k.a “You got the silver”, estas dos ultimas cantadas por Keith; “Sister Morphine”; “Loving cup” y “Country honk”.

Poco despues, y con las sesiones de grabación más avanzadas, el ingeniero Glyn Jones hizo un segundo corte del disco donde se cambiaron las tomas de Keith Richards  como vocalista y se suprimió el tema que cerraba el álbum “Honky Tonk”.., siendo este el acetato que se dio por bueno, el cual se preparó de cara a las mezclas finales con vista a publicar el álbum a mitad de julio bajo el título de “Automatic Changer”.  En vistya a ello se le había encargado al artista Robert Blownjohn que bajo este título realizara el “artwork” , el de la famosa tarta que terminó siendo el definitivo pese a que el titulo del álbum terminó cambiando hacia el mes de noviembre. 

Tras la muerte de Brian, la grabación de “Honky tonk woman” en el programa de la BBC “Top of the Pops” para una posterior emisión en diferido; la publicación el día 4 del single: “Honky tonk woman/ you can´t always get what you want (versión 2), el concierto del Hyde Park del 5 de julio, los Rolling Stones y el funeral de Brian el 10 de julio en Cheltenham al que sólo acusieron Charlie Watts y Bill Wyman, los Stones no volvieron al estudio y se dedicaron, tras intentar recuperarse de la triste noticia,  a preparar la gira americana.

Entre el 17 de octubre y el 26, en los estudios “Sunset Sound” de Los Angeles, Los Rolling Stones volvían a retomar el proyecto de “Automatic Changer”, pero con el convencimiento de que  el titulo y el contenido debía cambiar, porque el verano declarado del amor había sido especialmente sangriento, como los asesinatos llevados a cabo por la familia Manson, contra la actriz Sharon Tate y un grupo de amigos, o posteriomente al matrimonio “La Bianca”.

La sesión del 26 de octubre fue la última dedicada a pulir “Let it bleed”. Luego se metieron de lleno en la gira promocional de invierno del 6 de noviembre al 7 de diciembre con una aparición en el programa de la CBS: Ed Sullivan Show grabada el 18 de noviembre.

Pero como las desgracias nunca se presentan solas, al día siguiente de la publicación de “Let it Bleed” el 5 de diciembre, los Rolling Stones dieron un concierto en el autódromo de Altamont, en Livermore, Ca. Un festival gratuito en el que participaron otros grupos como Jefferson Airplane o Crosby, Still, Nash and Yopung, cuyo plato fuerte, como cierre al espectáculo, eran los Rolling Stones.., pero en mitad de la canción “Sympathy for the Devil”, un espectador, era asesinado a cuchilladas ante el escenario por uno de los miembros de seguridada del espectáculo, un “Angel del Infierno”, escena que se puede ver en la película, “Gimmie Shelter.

Los Stones incombustibles, ya estaban metidos en las nuevas sesiones de grabaciónde su futuro álbum “Sticky Fingers”, del que tendréis buena cuenta en un futuro, también con un “line up” alternativo, fruto de otro acetato encontrado y tomas alternativas en mono también. 

Ahora no queda más que escuchar esta reconstrucción del álbum “Let it Bleed” y de los temas alternativos en MONO, cuando todavía vivía Brian, se llamaba “Automatic Changer” – tocadisco en español y el mundo vivía a las puertas del verano del amor.


Led Zeppelin:  "Houses of the Holy" - (Reconstructed early version).

1st album, fifth in the discography of Led Zeppelin, to bring a real title, after the previous were named for their publication order; also presents totally original material, no versions, with more "hard Rock" and less "blues"; brand a change in recording techniques, as has been done up to now. It began in December 1971, a couple of weeks after the publication of "Led Zeppelin IV".

Great part of the recordings were made in the spring of 1972 in Stargroves, a manor house of the county of Hampshire, residence of Mick Jagger during the first years seventy; thanks to the "mobile recording control" contained inside a truck, known as "Rolling Stones Mobile Studio", rented by other bands such as: Fleetwood Mac, Status Quo, Deep Purple or Ten Years After. "Olympic Studios" in London, were also used in several sessions in May 1972 and the "Electric Lady" too, of the unforgettable Jimi Hendrix, during the American tour that year.

Although the original disc was a commercial success, because contains mythical themes of the band : "The song remains the same"; "Over the hills and far away"; "No Quarter" or "The Rain Song", others did not receive very good criticism, being considered quite "mediocre" :“The Crunge” o “D´Yer Mak´er”; It has always been said that if these songs had been replaced by example: "Houses of the Holy" or "The Rover" (acustic version), this Lp would have climbed even more positions in the list of successes. Others like "Walter's walk", it was not even considered except for the residual "Coda".


The reconstruction that I bring you is made, from the original concept that Jimmy Page had in the beginning, before Robert Plant changed it towards a less conceptual and more commercial album, which did not mean that it was better.


Side A, starts with "The Overture", also known as "The song remains the same", in its later version with vocal accompaniment, here it appears as it should open the album, as an instrumental piece of guitar virtuosity Jimmy Page that ended up giving rise to an alternative mix of "The Rain Song"; followed by "Over the hills and far away" and "The Ocean", also under a different mix to the original. A conceptual side whose titles were perfectly linked to each other, like a "suite". However the other side, and although in general the album is focused on more banal and less mystical issues, the B-side deals more deeply with impossible, difficult, traumatic relationships with explicit requests for sex and dark messages contained in "No Quarter". A reconstruction, besides, made using information from the existing acetates, the setlist of the concerts; taking care as always the minutes of each side and taking into account the meaning of the lyrics of the songs too.


Side A: (22:42)


1. The Overture.(5:29)

2. The Rain Song.(7:44). (Alt.mix)

3. Over The Hills And Far Away.(4:51)

4. The Ocean.(4:39).(Alt.mix)


Side B: (19:05)


1. Dancing Days.(3:41) (Alt.mix)

2. Houses Of The Holy.(3:51) (Alt.mix)

3. No Quarter.(7:02)

4. Black Country Woman.(4:24)


The cover inspired by the end of the novel: "Childhood's End" by Arthur C. Clarke; It was the result of a collage of several photographs taken at Giant's Causeway, Northern Ireland, by Aubrey Powell, of Hipgnosis.

Here is one of the first unreleased ideas with two children, Stefan and Samantha Gates brothers, climbing naked this polymorphic rocky plateau; on the opposite side, which would give the back cover, appears Robert Plant and an indeterminate female model; but Atlantic Records dismissed it.


After having ruled out another one, that of the tennis racket, we opted for multiple collage with eleven children, although there were two, the gates brothers photographed in different positions. With the work done and approved, there was a printing error and it came out under reddish colors that gave the cover a more interesting aspect, since the result until that moment did not finish either to please.

To avoid that this cover was censored, it is authorized to place the title of the disc and the name of the group in a white band of paper that ingeniously hid some ass.


Although its launch was scheduled for January 1973, did not see the light until March 28, for the problems with the cover. When it finally came out, many of the songs were already known, because they had been played in concert, almost a year before.


I hope you like this new revision of the album "Houses of the Holy".



The Shining (1st part) - (Unreleased  "Deluxe" Edition).

In 2010,  coinciding with the 30th anniversary of the premiere of Stanley Kubrick's film "The Shining", an attempt was made to release a commemorative edition of the soundtrack that had not been reissued since the early eighties, let alone in a "deluxe" edition, where all the cuts that in one way or another were used by the director in the film, some excluded by space and others by rights, were included,  publishing a double disc in 1980 was discouraged given the nature of the content of the work, many of them adapted classic pieces and other old, old songs.

Unfortunately, with the director already deceased in March 1999, the project to carry out a special edition of soundtrack and the film, could not materialize, having no heirs of Kubrick an absolute control. As for the collector's edition on DVD, where for the first time all the different versions were going to appear together, including the so-called "Director's cut", with the alternative end of Wendy and Danny recovering in the hospital, of which only keeps a copy in Stanley Kubrick's archives, because he destroyed all.

And you will ask, why?.., the reason was another movie:"Friday the 13th", premiered a few days before in the United States, on May 9, 1980, whose end was very similar to the one proposed by Kubrick, which made that the director removed the few copies that were in its pre-release phase and was eliminated this ending "for life" and to make sure that it was never seen or added to a future copy, it ended up with all the copies, except one .

Be that as it may, the DVD edition was going to be something similar to what had already happened with other cult films like: "Close encounters of the third kind" by Steven Spielberg or the legendary "Blade Runner" by Ridley Scott.

The version that I bring, is the first part of a trilogy that will continue with another album with the unreleased remixes made for the film and finally a third with the original soundtrack discarded at the last moment by the director. Well, this one that I show you first, is a reconstruction, based on original documentation and research of how that special edition would be in a double CD or LP.

In the first one, the original soundtrack of 1980 is compiled, remastered; and in the second cd all those cuts that were left out, some for space, since publishing a double Lp, as I said, would have been in its day too reckless.

In the 2nd disc, dedicated to the additional material, it includes two songs by composers Wendy Carlos and Raquel Elkind: "clockworks" bloody elevators "- until recently unpublished on CD, whose music, Stanley Kubrick excluded from the film to use it as part of the "famous trailer", where a spring of blood springs from inside lifts; also in this edition in English, since it differs from the Spanish, it appears: "Nocturnal Valse Triste", not included in the film but  if in the documentary about "The Shining".

The soundtrack itself, despite being very successful, is somewhat sordid, dark and at times it becomes stressful and it is not advisable to listen to it alone and less at night because it causes its effects on the unconscious, and you can see things in the dark where there are none or if you relax a lot until you give a trip of those astral, because it contains many low, almost unnoticeable records that go deep inside. Don´t forget that part of the soundtrack used in the "Shining" is based on another one of equal tendency: "The exorcist" ..., you are warned.

Finally say that the artwork includes the original photo to back cover that was later censored for being declared of "extreme violence", changed by the other,but we know, as the plan to re-edit this classic: it was unreleased and forgotten until now.

Enjoy if you can, although I doubt it, this stormy and tormenting music of one of the horror classics .., I will tell you that compared to the remixes that I will bring you later it falls short.


Bob Dylan - "Blood on the tracks" - (Alternate line-up with different takes)

After "The Friends of Chile Benefit Concert", held at Madison Square Garden in New York on May 9, Bob Dylan began an extramarital relationship with an employee of Columbia Records, which marked the end of marriage with his wife Sara and the reason for the songs of what would be his next album "Blood on the tracks".

In the summer of 1974, he began to write many of them that he completed on the farm of his friend Bernstein in Minnesota, a total of 17 songs, considered by critics as the best love songs ever written. Before recording them in In the studio, Bod Bylan showed them to a couple of friends, including Crosby, Stills & Nash. Initially he thought of recording them with electric accompaniment for which he contacted Mike Bloomfield, but finally after a couple of tests, he gave up and opted for something simpler, acoustic.

After signing a new contract with Columbia Records on September 2, Dylan returned to the studios two weeks later. Thus the 16 in the "Studios A & R" of New York, recorded a total of 30 takes of songs like: "If you see her, say hello"; "You're a big girl now"; "Simple twist of fate"; "Up to me" or "Tangled up in blue" .., among others. But at the end of this first session, part of the musicians : Charles Brown III (guitar), Barry Kornfeld (guitar), Eric Weissberg (guitar), Thomas McFaul (keyboards), Tony Brown (bass), Richard Crooks (guitar) drummer), they gave up because at their discretion, Bob Dylan recorded at a high speed, going from one song to another with hardly any rest, so it was difficult to keep up with him. Something very similar to what happened in previous days with Mike Bloomfield.

The recording sessions lasted only four days, until 19, in which Bob Dylan was only accompanied by bassist Tony Brown (17 & 19), Paul Griffin (organ) (17) and Buddy Cage (guitar) (18). After the mixes, on September 25 a first acetate was made for Columbia. And a few days later, on October 8, a second, where the order of some of the songs was changed. But after the private audition of this new acetate by Bob Dylan's brother, David Zimmerman, his advice was to touch up some songs that were too dark, rough, not very polished, so he ran the risk that the album would not turn out to be commercial enough and will fail.

Bob Dylan listened to his brother and decided to re-record five of the ten tracks on the album, so two new sessions were hired at the "Sound 80 Studios" in Minneapolis, Minnesota. On December 27 and 30 for: "You're a big girl now"; "Idiot wind", "Tangled up in blue", "Lily, Rosemary and Jack of Hearts" & "If you see her, say hello". The album that was originally scheduled by Columbia for the end of November, but was delayed until January 20, 1975.

The reconstruction that I bring to you is done following the original order in which the songs were placed in the first two acetates. So Side A, follows the order of (2nd acetate, October 8) and B (1st acetate, September 25); besides including a good part of the alternative recordings to the ones published in the original LP of 1975. This shows a simpler and perhaps less refined album, but that compiles almost all the songs of New York of the month of September, with the exception of : "Lily, Rosemary and Jack of Hearts", remains  with the December 30 version. Two outtakes from New York sessions are included (bonus tracks).

The record, fifteenth in Bob Dylan's career, is considered one of the best, so enjoy it.



Tras “The Friends of Chile Benefit Concert”, celebrado en el Madison Square Garden en Nueva York el 9 de mayo, Bob Dylan inició una relación extra matrimonial con una empleada de Columbia Records, la cual marcó el fin del matrimonio con su esposa Sara y el motivo de las canciones de lo que sería su siguiente disco “Blood on the tracks”.

Asi, en el verano de 1974, comenzó a escribir buena parte dem ellas que completó en la granja de su amigo Bernstein en Minnesota, un total de 17 canciones, consideradas por los críticos como las mejores canciones de amor jamás escritas.Antes de grabarlas en el estudio, Bod Bylan se las mostró a un par de amigos entre los que se encontraban Crosby,Stills & Nash. Inicialmente pensó grabarlas con acompañamiento eléctrico para lo que contacto con Mike Bloomfield, pero finalmente tras un par de pruebas, desistió y optó por algo más sencillo, acústico.

Tras firmar un nuevo contrato con Columbia Records el 2 de septiembre, Dylan regresó a los estudios dos semanas después. Así el 16 en los “Studios A&R” de Nueva York, registró un total de 30 tomas de canciones como: “If you see her, say hello”; “You´re a big girl now”;”Simple twist of fate”; “Up to me” o “Tangled up in blue”.., entre otras. Pero al finalizar esta primera sesión, gran parte de los músicos de estudios contratados: Charles Brown III (guitarra), Barry Kornfeld (guitarra), Eric Weissberg (guitarra), Thomas McFaul (teclados), Tony Brown (bajo), Richard Crooks (bateria), desistieron porque a su criterio, Bob Dylan grababa a mucha velocidad, pasando de una canción a otra sin apenas descanso, por lo que era difícil seguirle  el ritmo. Algo muy similar a lo ocurrido en días previos con Mike Bloomfield.

Las sesiones de grabación duraron sólo cuatro días, hasta el 19, en la que Bob Dylan sólo estuvo acompañado del bajista Tony Brown (17 & 19), Paul Griffin (órgano) (17) y Buddy Cage (guitarra) (18). Tras las mezclas, el 25 de septiembre se hizo un primer acetato del disco para Columbia. Y pocos días después, el 8 de octubre, un segundo, donde se cambió el orden de algunas de las canciones. Pero tras la audición privada de este nuevo acetato por parte del hermano de Bob Dylan, David Zimmerman, su consejo fue que retocara algunas canciones que resultaban demasiado oscuras, toscas, poco pulidas, por lo que corría el riesgo de que el álbum no resultara lo suficientemente comercial y fracasara.

Bob Dylan hizo caso a su hermano y decidió regrabar cinco de los diez temas del álbum, por lo que se contrataron dos nuevas sesiones en los “Sound 80 Studios” en Minneapolis, Minnesota. Los dias 27 y 30 de diciembre para: “You´re a big girl now”; “Idiot wind”, “Tangled up in blue”, ”Lily,Rosemary and Jack of Hearts” & “If you see her, say hello”. El album que en principio estaba programado por Columbia para finales de noviembre, pero se retrasó su publicación hasta el 20 de enero de 1975.

La reconstrucción que os traigo está hecha siguiendo el orden original en que fueron colocadas las canciones en los dos primeros acetatos. Así la cara A, sigue el orden del (2º acetato,8 de octubre) y en la B (1º acetato, 25 de septiembre); además de incluir buena parte de las grabaciones alternativas a las publicadas en el LP original de 1975. Con ello se muestra un álbum mas sencillo y quizás menos depurado, pero que recopila casi todas las tomas de Nueva York del mes de septiembre, a excepción de:”Lily,Rosemary and Jack of Hearts”, queda tal cual, con la versión del 30 de diciembre. Como extra se incluyen dos descartes de las sesiones de Nueva York.

El disco, decimoquinto en la carrera de Bob Dylan, está considerado uno de los mejores, así que a disfrutarlo. 


E.L.O -  "Secret Messages"  - (Alternate line-up from unreleased version).

In December 1982, Jeff Lynne, "alma mater" of the "Electric Light Orchestra", E.L.O; He moved to the Dutch studios of Wisselord, inaugurated in 1978, which by then were reputed to have the latest advances in technology, for the recording of new themes. So between the months of December and January 1983, recorded a series of songs for his next album: "Secret Messages" ,title put with all the intention, since Jeff Lynne was more than tired of hearing that in his works used to intersperse hidden messages, some of them of satanic origin.

Hence this name so decisive and enlightening, it is more, on the back cover of the album placed a warning: "Warning: contains secret backward messages" ,and it was no joke, because the album It was full of them, even in Morse. I will mention some, in "stranger", you can hear: "You're playing me backwards".

Two acetates were made, or discs of tests of how the final album should be, this time in Allen Zentz Studios; one dated March 11 and another on April 3, when the final "line-up" was delivered to CBS Records, the label advised Jeff Lynne to reduce it to only one, since production costs, say .., due to the consequences that still dragged from the Second Oil Crisis, they did not make it advisable.

So of the 18 songs that made up the original version, I quote them following the order of the acetatos: "Secret messages; Loser gone wild; Bluebird; Take me on and on; Stranger; No way out; Beatles forever; Letter from Spain; Danger Ahead; Train of gold; Mandalay; Endless Lies; Hello my old friend; Four little dreams; Building have eyes; Time after time; After all; Rock'n'Roll is King "; only eleven of them appeared in the commercial version.

Six others were B-sides and two were unpublished. One of them, the famous "Beatles Forever", song that is still not published officially, at least until the date I write this. In this reconstruction is included as a "bonus track" , because it´s a "Rough mono mix", excluded from the final assembly that I bring for the low quality of it and replaced by "The Bouncer", although it is an "outtake" of "Time", it was B-side of "Four Little diamonds" in October of 1983, hence the alternative order.

Finally, on June 1 Jet Records, whose main distributor was CBS Records, released the penultimate album of the ELO, under a climate of tension, desertions within the band, such as bassist Kelly Groucutt and cancellation of the promotional tour . Four singles were extracted from it: "Rock'n'Roll is King"; "Secret Messages" "Four Little Dreams &" Stranger ". Another theme "Letter from Spain" was used as part of the promo of the Olympic Games of Barcelona´92.

Te "artwork", it´s the original  of the 18-track version.Ok.., for now it's all, here you have a good album, not the best one, of the Electric Light Orchestra, but it does not detract, especially the theme that closes the double album.

This is the alternative  from the original line-up of the unpublished version of "Secret Messages":

Side A:  Secret Messages - Loser Gone Wild - Blue Bird - Take me on and on.

Side B:  Stranger - No way out - The Bouncer - Letter from Spain - Danger Ahead.

Side C: Four Little Diamonds - Train of Gold - Endless Lies - Buildings have eyes - Rock´n´Roll is king.

Side D: Mandalay - Time After Time - After All (edit) - Hello My Old Friend.



 En diciembre de 1982, Jeff Lynne, alma mater de la “Electric Light Orchestra”, E.L.O; se trasladó a los estudios holandeses de Wisselord, inaugurados en 1978, que para entonces tenían fama de contar con los últimos adelantos en cuanto a tecnología,  para la grabación de nuevos temas. Así entre los meses de diciembre y enero de 1983, registró toda una serie de canciones destinadas a su próximo álbum: “Secret Messages” – mensajes secretos, titulo puesto con toda la intención, ya que Jeff Lynne estaba más que harto de escuchar que en sus trabajos solía intercalar mensajes ocultos, algunos de ellos de origen satánico. De ahí este nombre tan determinante y esclarecedor, es más, en la contraportada del álbum colocó una advertencia: “Warning: contains secret backward messages” – “adevertencia contiene mensajes secretos al revés”.., y no era ninguna broma, porque el álbum estaba lleno de ellos, incluso hasta en Morse. Citaré alguno, en “stranger”, se puede escuchar: .“You´re playing me backwards”. – me estas tocando al revés.

De todo el material, se hicieron dos acetatos, o discos de pruebas de cómo debería quedar el álbum final, esta vez en los Estudios Allen Zentz; uno fechado el 11 de marzo y otro el 3 de abril, cuando se entregó el “line-up” final a, CBS Records, la discográfica le aconsejó a Jeff Lynne que lo redujera a uno solo, puesto que los costes de producción, dicen.., debido a las consecuencias que todavía se arrastraban de la Segunda Crisis del Petróleo, no lo hacían aconsejable.

Así de los 18 temas que componían la versión original, os los cito siguiendo el orden de los acetatos:“Secret messages; Loser gone wild; Bluebird; Take me on and on; Stranger; No way out; Beatles forever; Letter from Spain; Danger Ahead; Train of gold; Mandalay; Endless Lies; Hello my old friend; Four little dreams; Building have eyes; Time after time; After all;  Rock´n´Roll is King”; solo once de ellos aparecieron en la versión comercial. Otros seis fueron caras B y dos quedaron inéditos. Uno de ellos el famoso “Beatles Forever”, canción que sigue sin ser publicada de manera oficial, al menos hasta la fecha en la que escribo esto. En esta reconstrucción se incluye como “bonus track” una mezcla monoaural del acetato, excluida del montaje final que os traigo por la baja calidad de la misma y sustituida por “The Bouncer”, que aunque es una “outtake” de “time”, fue cara B de “Four Little diamonds” en octubre de 1983, de ahí lo de orden alternativo.

Finalmente el 1 de junio Jet Records, cuyo distribuidor principal era CBS Records, sacaba a la venta el penúltimo disco de la ELO, bajo un clima de tensión, deserciones dentro de la banda, como la del bajista Kelly Groucutt y cancelación de la gira promocional. De el se extrajeron cuatro singles: ”Rock´n´Roll is King”; “Secret Messages” “Four Little Dreams & “Stranger”. Otro tema más “Letter from Spain” fue usado como parte de la promo de los Juegos Olimpicos de Barcelona´92”.

En cuanto al “artwork” se incluye la portada original de la versión de 18 temas, por ahora es todo, aquí tenéis pues un buen disco, no el mejor, de la Electric Light Orchestra, pero no desmerece, sobre todo el tema que cierra el doble álbum.

Este es el orden, alternativo de la versión inédita de “Secret Messages”:

Cara A:  Secret Messages - Loser Gone Wild - Blue Bird - Take me on and on.

Cara B:  Stranger - No way out - The Bouncer - Letter from Spain - Danger Ahead.

Cara C: Four Little Diamonds - Train of Gold - Endless Lies - Buildings have eyes - Rock´n´Roll is king.

Cara D: Mandalay - Time After Time - After All (edit) - Hello My Old Friend.


EAGLES LIVE  1976-80.  (Unreleased  version-sequenced correct).

First live album of the Californian group "Eagles", recorded during the promotional tour of the Lp "Hotel California" 1976/78 and the final tour of 1980 corresponding to the album "The Long Run", since the band was already in the process of separation .

This double Lp, published on November 7, 1980, was made by the commitment that was made with the label Elektra / Asylum Records. Five of the 14 songs that make up this live recording were rescued from the archives, as the Eagles had planned to publish their next work: "The Long Run" as a double album, where one part would be studio and the other live extruded of the concerts recorded in Los Angeles - The Forum in October of 1976, the days 19,20 & 21. But finally it only left the part of study in September of 1979.

The rest of "Eagles live" belongs to the three concerts held at the Santa Monica Civic Auditorium, on July 27, 28 and 29, 1980, plus an extra song "life in the fast line" of the contest on July 31 at the Long Beach Arena, a charity concert with a view to raising funds for the campaign of Democratic Senator Alan Cranstona; however it became the starting point that marked the end of the first season of the Eagles as a group since 1971, due to a very strong discussion between Glenn Frey and Don Felder. Declared from then and until many years after irreconcilable enemies. So much so that Frey refused to join the band to do the overdubs or even talk to his former colleagues, so the recording was done in an unusual way. With Glenn Frey and the rest of the group separated by distance. One in Los Angeles and the others in Miami, exchanging the material by mail: “Federal Express”.

As this double Lp did not bring anything new, since all the live versions had their study counterpart, the group was asked to register two new songs to include them in the album, but there was no way, they rejected it, despite the fact that he offered them a non-negligible amount of two million dollars of the time., a million per song. So it had to resort to an unreleased track recorded live: "Seven bridges road", which was also released on single.

By then, Glenn Frey had already made his own interpretation of this work, with an order closer to how the songs had been played live, since he wanted the recording to be as sincere as possible, at least as far as the setlist, fleeing the typical purely commercial live album, turned into a "Greatest hits".

But the record company ordered the final order, looking not only for the themes to fit in the space allocated on each side, but doing everything that Glenn Frey did not want something that annoyed him even more by charging everyone against having been put against him. , including producer Bill Szymczyk. But it did not matter, the Eagles separated definitively after the publication of this double Lp and did not return until 14 years later, with a new and second stage that ended in January 2016 after the death of Glenn Frey, founding member of the group.

Below is an unpublished remix of this fabulous live show by the Eagles that put an end to a whole series of successes and excesses as well. A great, great concert that should not be missed and less now that I present it to you as it was played live, remastered, remixed and without alterations in the order of the songs, as Glenn Frey had wished. Rest in peace.



 Primer álbum en directo del grupo californiano “Eagles”, grabado durante la gira promocional del Lp “Hotel California” 1976/78 y el tour final de 1980 correspondiente al álbum “The Long Run”, puesto que la banda estaba ya en proceso de separación.

Este doble Lp, publicado el 7 de noviembre de 1980, se hizo por el compromiso que se tenía con la discográfica Elektra / Asylum Records. Cinco de las 14 canciones que forman esta grabación en vivo fueron rescatadas de los archivos, ya que los Eagles tenían pensado publicar tras "Hotel California"; “The Long Run” un doble álbum, donde una parte sería de estudio y la otra en vivo, sacada de los conciertos grabados en el Forum de Los Angeles, en octubre de 1976, los días 19,20 & 21. Si bien.sólo salió la parte de estudio en septiembre de 1979.

El resto de "Eagles live" pertenece a los tres conciertos celebrados en el Santa Monica Civic Auditorium, el 27,28 & 29 de julio de 1980, mas una canción extra “life in the fast line” del certamen del 31 de julio en el Long Beach Arena, un recital benéfico con vista a  recoger fondos para la campaña del senador demócrata Alan Cranstona; sin embargo se convirtió en el punto de partida que marcó el fin de la primera época de los Eagles como grupo desde 1971, debido a una fortísima discusión entre Glenn Frey y Don Felder. Declarados desde entonces y hasta muchos años después enemigos irreconciliables, Tanto así que Frey se negó a unirse a la banda para hacer los overdubs o incluso hablar con sus antiguos compañeros, por lo que la evolución del disco se hizo de una manera inusual; con Glenn Frey  en Los Angeles y el resto del grupo en Miami,  intercambiándose el material por correo “Federal Express”.

Como este doble Lp no aportaba nada nuevo, ya que todas la versiones en directo tenía su homóloga de estudio, se pidió a los Eagles que registraran dos temas nuevos para incluirlos en el álbum, pero no hubo manera, lo rechazaron, a pesar de que se les ofreció una cantidad nada despreciable de dos millones de dólares de la época., a millón por canción. Por lo que se tuvo que recurrir a un tema inédito grabado en vivo: :“Seven bridges road”, que también se sacó en single.

Para entonces, Glenn Frey ya había hecho su propia interpretación de este trabajo, con un orden más cercano a como los temas se habían tocado en directo, puesto quería que la grabación fuera lo más sincera posible, al menos en cuanto al setlist, huyendo del típico álbum en directo puramente comercial, convertido en un "greatest hits".

 Pero la discográfica mandó sobre el orden final, buscando no sólo que los temas cuadraran en el espacio destinado en cada lado, sino haciendo todo aquello que Glenn Frey no quería algo que le disgustó todavía más arremetiendo contra todo el mundo de habeerse puesto en su contra, incluido el productor Bill Szymczyk. Pero ya daba igual, los Eagles se separaron definitivamente tras la publicación de este doble Lp y no regresaron hasta 14 años despues, con una nueva y segunda etapa que acabó en enero de 2016 tras el fallecimiento de Glenn Frey, miembro fundador del grupo.

A continuación se muestra una remezcla inédita de este fabuloso directo de los Eagles que puso fin a toda una etapa de éxitos y de excesos también. Un gran, gran concierto que no hay que perderse y menos ahora que os lo presento tal cual fue tocado en directo, remasterizado, remezclado y sin alteraciones en cuanto al orden de las canciones, tal y como lo había deseado Glenn Frey. Descanse en paz


Magical Mystery Tour -  Original Motion Picture Soundtrack.

With just a couple of days of separation between the end of the sessions of the "Sgt.Pepper", on April 21, began the Magical Mystery Tour sessions. So on April 25, in Studio 3 of Abbey Road, while working on the 2nd (control room monitor mixes) in the final cuts of the album "SGT.PLHCB", the first 3 takes of the song that would give name to the album, EP and movie, were recorded. 

1967, is recognized, in the history of the group, as the one of its greater creativity, the zenith of its race and also the one that would mark the beginning of the end, by two punctual facts; the death of his mentor Brian Epstein on August 27 and the fiasco of the premiere on BBC-TV of ​​the film MMT; where the general public realized that The Beatles were not infallible, they made mistakes.

During this time, the second "grace period", from the end of "Sgt.PLHCB" to the publication of EP MMT, with part of the songs included in the telefilm, the Beatles recorded some of the most popular and successful songs: "All You Need is Love", written for "Our World", a special program that inaugurated satellite broadcasts, an appearance that could be seen in 30 countries simultaneously with an audience of some 400 million viewers. It was June 25, 1967, a date to remember. After which the Beatles took a deserved vacation until August 22, when they returned to the studios, but this time to the "Chappel Recording Studios" in London, because the usual Abbey Road, were momentarily occupied by other artists , so with "Your Mother Should Know", Unfortunately, this return to work brought with it very bad news, the death of Brian Epstein.

Still shocked by Brian's sudden disappearance, on Tuesday, September 5 at Studio 1 on Abbey Road, they recorded 16 Tk´s of "I Am Walrus", followed in successive days by "The fool on the Hill", "Blue Jay Way"  and "Aerial instrumental tour - working title of" Flying ", and its corresponding reductions and mixes in monaural and stereo.

The second and last phase began on Monday, October 2, with 14 Tk´s from "Hello, Hello - working title " Hello Goodbye "and eight of "Shirley Wild Accordian ", on Thursday, October 12; along with more remixes that They spread throughout the month and the following .

The single "Hello Goddbye / I Am Walrus", published on November 24, followed by the Ep "MMT", on Friday, December 8, almost put the end point to a successful and incredible year of not having existed the film to premiere at the BBC, and of course the disappearance of Brian.

The film, supposedly a comedy, devised by Paul McCartney, began filming on September 11 until the 25th. The Beatles and a group of invited artists toured different parts of the United Kingdom, the so-called "West Country", visiting Devon and Cornwall, as the old RAF air base (West Malling) in Kent; although there were other scenes recorded in Nice,France, for "The Fool on The Hill" and the song of the "striptease" in London.

 After reviewing the more than 10 hours of material, a film was mounted that after several reductions was in 52 minutes, a movie made for television that was the most "in" of the moment turned out to be the most grotesque, although supposedly it promised, since the own Staley Kubrick lent some scenes discarded of the still to release "2001: a space odyssey", in "flying".

Broadcast by the BBC on December 26, 1967 in black and white, and a few days later in color for the second channel, it accumulated so many negative reviews that the North American television channels deprogrammed its broadcast and could only be seen a projection of it in New York in the Fillmore East during 1968 and in special pass. Falling into oblivion until the year 1974, in which he was rescued for certain passes by the United States due more to the curiosity and morbid aroused by this damn movie.

Prior to the completion of the EP, Capitol Records released an Lp with the same title to the American market; on the A side were the songs conceived for the film and on the B part of the material only available on singles, such as "Strawberry Fields Forever / Penny Lane", "All You Need Is Love / Baby You're Richman" and Hello Goodbye ",whose publication the Beatles authorized. But not the previous original soundtrack, where apart from the music of the Beatles, some in adapted versions, included other additional themes by George Martin and his orchestra or the song "Death Cab for Cutie" by Bonzo Dog Doo-Dah Band .

In this new reconstruction I bring you that discarded soundtrack, with some surprise, such as the remix 23 "I Am The Walrus", still to be officially published. The cuts of "Jessie Dream" or "Flying" (long version); or the recently released "Shirley Wild Accordian", discarded from this soundtrack unpublished until now.

Finally, I will talk a little about the "artwork", whose cover is also part of a discard. The only thing you have left is to listen and if you like to leave me a comment.

See you soon.



 Sin apenas un par de días de separación entre la finalización de las sesiones del “Sgt.Pepper”, el 21 de abril, empezaba las de Magical Mystery Tour. Así el 25 de abril, en el estudio 3 de Abbey Road, al mismo tiempo que se trabaja en el 2 en las mezclas finales y cortes del álbum “SGT.PLHCB”, se registraban las primeras 3 tomas de la canción que daría nombre al EP y a la película.

1967, está reconocido, dentro de la historia del grupo, como el de su mayor creatividad, el cenit de su carrera y también el que marcaría el principio del fin, por dos hechos puntuales; la muerte de su mentor Brian Epstein el 27 de agosto y el fiasco del estreno por televisión, BBC, de la película de no más de una hora de duración MMT, donde el público en general se dio cuenta de que Los Beatles, no eran infalibles, cometían errores.

Durante este periodo segundo “periodo de gracia”, que abarca desde la finalización de “Sgt.PLHCB”, hasta de la publicación del EP MMT, con parte de las canciones incluidas en el telefilm, los Beatles grabaron algunas de las más populares y exitosas partituras como “All You Need is Love”, escrita para “Our World”, programa especial que inauguraba las retransmisiones vía satélite, emisión que se pudo ver en 30 países simultáneamente con una audiencia de unos 400 millones de telespectadores. Era el 25 de junio de 1967, una fecha para recordar. Tras la cual los Beatles se tomaron unas merecidas vacaciones hasta el 22 de agosto, momento en el que regresaron a los estudios, pero esta vez a los “Chappel Recording Studios” en Londres, porque los habituales Abbey Road, estaban momentáneamente ocupados por otros artistas, así que con “Your Mother Should Know”, se retomó el trabajo para MMT, desgraciadamente, esta vuelta al trabajo  trajo consigo una muy mala noticia, la de la muerte de Brian Epstein.

Todavía conmocionados por la desaparición repentina de Brian, el martes 5 de septiembre en el estudio 1 de Abbey Road, grababan 16 tomas de “I Am Walrus”, seguida en días sucesivos de “The fool on the Hill”, “Blue Jay Way”, “Aerial instrumental tour – titulo de trabajo de “Flying” y sus correspondientes reducciones y mezclas en monoaural y estéreo.

La segunda y última fase empezó el lunes 2 de octubre, con 14 tomas de “Hello,Hello – titulo de trabajo de “Hello Goodbye” y ocho tomas de “Shirley Wild Accordian”, el jueves 12 de octubre, junto a mas remezclas que se extendieron a lo largo de todo el mes y del siguiente.. El single “Hello Goddbye/ I Am Walrus”, publicado el 24 de noviembre, seguido del Ep “MMT”, el viernes 8 de diciembre ponía casi el punto final a un existoso e increíble año de no haber existido la película por estrenar en la BBC, apenas un par de semanas después y por supuesto la desaparición de Brian.

La película, supuestamente una comedia, ideada por Paul McCartney, empezó a rodarse el 11 de septiembre y durante dos semanas, hasta el 25 del mismo mes, ultimo día de rodaje; los Beatles y un grupo de aristas invitados, recorrieron diferentes lugares del Reino Unido, el llamado “West Country”, visitando Devon y Cornwall, como la vieja base aérea de la RAF (West Malling) en Kent; si bien hubo otras escenas grabadas en Niza, para “The Fool on The Hill” y la canción del “striptease” en Londres. Gran parte considerado escenas desechables de lo más absurdas e inconexas, mezcladas con videos promocionales de las canciones; tras revisar las más de 10 horas de material, se montó una película que tras varias reducciones quedó en 52 minutos, una película hecha para la televisión que de ser lo más “in” del momento resultó ser de lo más grotesco, pese a que supuestamente prometía, ya que el propio Staley Kubrick prestó algunas escenas desechadas de la todavía por estrenar “2001, una odisea en el espacio”, para la canción “Flying”:

Emitida por la BBC el 26 de diciembre de 1967 en blanco y negro, y pocos días después en color por el segundo canal, acumuló tantas críticas negativas que las cadenas de televisión norteamericanas desprogramaron su emisión y sólo se pudo ver una proyección de la misma en Nueva York en el Fillmore East durante 1968 y en pase especial. Cayendo en el olvido hasta el año 1974, en el que se rescató para ciertos pases por Estados Unidos debido mas por la curiosidad y el morbo despertado por esta pelicula maldita. 

Previo a la realización del EP, Capitol Records sacó al mercado americano un Lp con el mismo título; en la cara A iban las canciones concebidas para la película y en la B parte del material sólo disponible en singles, como “Strawberry fields Forever/ Penny Lane”, “All You Need Is Love/ Baby You´re Richman” y Hello Goodbye”, cuya publicación si autorizaron los Beatles. Pero no la banda sonora original previa, donde a parte de la música de los Beatles, algunas en versiones adaptadas, se incluían otros temas adicionales de George Martin y su orquesta o el tema “Death cab for cutie"  de Bonzo Dog Doo-Dah Band.

En esta nueva reconstrucción os traigo esa banda sonora desechada, con alguna que otra sorpresa, como la remezcla 23 en estero de “I Am The Walrus”, todavía por publicar oficialmente. Los cortes de “Jessie Dream”,Flying” versión completa. o la recientemente publicada “Shirley Wild Accordian”,descarte procedente de esta banda sonora inédita hasta ahora.

Por último, hablaré un poco del “artwork”, cuya portada es parte también de un descarte. Lo único que os queda es escuchar y si os gusta dejarme algún comentario.

Nos vemos pronto.


The Monkees - Unreleased original "Greates hits nº.2" (1971)

Colgems Records was a record label that existed between 1966 and 1971, after the dissolution of Colpix Records. Belonging to Columbia Pictures and RCA Victor, he was in charge of promoting and selling the phenomenon The Monkees and other contemporary minority artists without much success; besides to reedit soundtracks like the one of Lawrence of Arabia, Casino Royal and Oliver among others.


Shortly before the Californian group: The Monkees was created from a casting where there were 500 candidates, including Stephen Stills, to fight and take advantage of the Beatle phenomenon in the United States, two of its future components had already been selected. by the record label: David Jones and Michael Nesmith, who used the "alias" of Michael Blessing. With "The Monkees", Colgem reached record goals, but after the fiasco of the movie Head and his consequent 1968 album, he began to have problems, so he tried to counteract them, with the album: "The Monkees Greatest Hits", in June 1969, while one of the group members, Peter Tork left; quickly new recording sessions were commissioned for the rest, while reviewing old material with the completion and release to the market of a new studio album for October and thus quell the rumors of separation; that's how "The Monkees Present" came, followed by a tour, the last one, after which another of its members: Michael Nesmith, who perhaps had the most musical talent .

The story was repeated and without much time and good material came "Changes", edited in June 1970, with only David Jones and Michael Dolenz; it was a real failure and took Colgem to a critical point that I try to save once again by recuencing a record of great hits: "The Monkees: Greatest Hits Nº.2"; of which a list of songs was made, 14 in total, seven per side, but unfortunately, it was unpublished when it could not overcome the record label, so much reverse, putting an end to its existence during this year 1971.

This new recording that I bring to the blog, is reconstructed as a result of the original acetate of the disc made by Colgem and that unfortunately never saw the light, because it did not even give time to catalog it. This is original line up:

Side A: 


1.(Theme From) The Monkees.(2:19).

2.Porpoise Song (Theme from Head).(4:10).

3.Someday Man.(2:40).

4.Good Clean Fun.(2:18).

5.Oh My My.(3:02).

6.What Am I Doing Hangin' 'Round?.(2:32).

7.D.W. Washburn.(2:49).


Side B: 


1.For Pete's Sake.(2:11).

2.Listen To The Band.(2:29).

3.It's Nice to Be with You.(2:52). 4.The Girl I Knew Somewhere.(2:39).

5.Tear Drop City.( 2:01).

6.Long Title: Do I Have to Do This All Over Again.(2:38).

7.Goin' down .(4:23).


In addition and as usual, the cover is included and so you have the full CD, always with the highest resolution and quality possible.

Once again to have fun.



Sgt.Pepper´s Lonely Hearts Club Band  - (Unknow 1 st. version).

In September of 1966, after the last concert of the American tour, held in San Francisco in the stadium of Candlestick Park, on August 29, last live appearance of the Beatles, not counting the concert on the roof, in January 1969.

After a deserved vacation, in November and with the rumors that they were in the separation phase, during the flight back to London Paul McCartney had an idea for a song, related to the Eduardina era that later became the concept of the album that we know today as the Sgt. Pepper. While the initial concept was born as Dr.Pepper, but to exist a refreshing drink with that name was changed by a sergeant.


The recording sessions of the album officially began on Thursday, November 24, 1966, at seven o'clock in the afternoon in Studio 2 of Abbey Road, with take 1 of "Strawberry fields forever". With producer George Martin and helped by sound engineers: Geoff Emerick and Phil McDonald.

During the six months that lasted the sessions were recorded very good songs like "Lucy in the sky with diamons", "Fixing a hole" or "A day in the life" .Others, "Only a northern song", were discarded.

On January 5, the psychedelic piece "Carnival of light" was recorded, a still unpublished song of the group of almost 14 minutes, but which was not planned for the album, but for a show of light and sound typical of the period called : "The Million Volt Light and Sound Rave". which was held between Jan.28 and Feb.4, 1967, where at least a couple of times this unknown piece of the Beatles was heard.


The recording period for the LP officially ended on Friday, April 21, 1967, with a final cut for the album, placed at the end of "a day in the life", called: "Inner Groove". A couple of days later, on Sunday, April 28, the final editing was made, a monaural version of the album and the next day, May 1, the stereo. Just a month later the album went on sale worldwide. Parlophone PMC 7027 (mono) and PCS 7027 (stereo).


But hey, the interesting thing about this new recosntrucción that I bring here is to be able to listen to the unknown version dated Thursday, April 6, 1967, where the order of the songs of the A side, was different from how it came out later. I also take to include the tracks: "Strawberry fields forever" and "Penny Lane" that did not appear on the album when they were released in February on single; George Martin always regrets it, recognizing until the end of his days that it was the worst and possibly biggest mistake of his entire career as a music producer.


Thus, assuming they were included, two others would have gone outside for space, these were "When I'm 64" and "Lovely Rita", considered all the available material the weakest. Attending this, I leave the alternative original order  of the


Side A: (19:52)


1. Sgt. Pepper´s Lonely Hearts Club Band.(2:02)

2. With A Little Help From My Friends.(2:44)

3. Being For The Benefit Of Mr.Kite!.(2:37)

4. Fixing A Hole.(2:36)

5. Lucy In The Sky With Diamonds.(3:28)

6. Getting Better.(2:47)

7. She´s Leaving Home.(3:35)


Side B: (21:53)


1. Within You Without You.(5:05)

2. Strawberry Fields Forever.(4:10)

3. Penny Lane.(3:03)

4. Good Morning, good morning.(2:41)

5. Sgt.Pepper´s Lonely Hearts Club Band (Reprise).(1:18)

6. A Day In The Life.(5:34)

7. Inner Groove.


The B-side that has never had double interpretations. 

As a personal touch, I include as cover, the original insert of the Lp made by the Danish "The Fool" as it was going to appear; inside the little book, the cover in red, pink and white that accompanied the original album cover in 1967, also made by "The Fool".

Well, nothing more, wish happy holidays, enjoy the good music and see you soon.Enjoy it!.



The Who - "Who´s Right? - The Lost 1970 album. (2nd part).(Original version & Summer EP).

The next two CD´s, are the 2nd and final part of the lost 1970 album from "The Who"; with The original set list on CD1  and the complet set list from the unreleased "Summer EP" from 1970 too, on CD two. With the complet artworks too.


CD 1: Original album:


Side A: (Jan/May 1970) (22:04)


1. The Seeker.(3:24)

2. Water.(4:40)

3. Naked Eye.(5:27)

4. I don´t know myself.(4:59)

5. Postcard.(3:32)


Side B: (Feb´67/Oct.68) (16:00) 


1. Early Morning Cold Taxi.(3:03)

2. Jaguar.(2:03)

3. Summertime blues.(3:34)

4. My Way.(2:28)

5. Little Billy.(2:17)

6. Young Man Blues.(2:53)  

CD 2 - The summer Ep with:

Side A: (12:04)


1. Water. (Young Vic´71).(6:25)

2. Naked Eye.( Young Vic´71).(5:39)


Side B: (13:10)


1. I don´t know myself.(Single version).(4:57)

2. Postcard.(EP version).(3:25)

3. Now I´m  A Farmer. (Alt.mix).(4:47)


Enjoy it, See you soon with more greatest lost albums, if you want.



The Who - "Who´s Right? - The Lost 1970 album. (1st part).(Reconstructed version).

Who´s right?. It´s a personal reconstruction of the lost studio album of the english group "The Who" from the early 1970s. And the story says that...


In january of 1970, the members of “The Who”: Pete Townshend, Roger Daltrey, John Entwistle & Keith Moon, met at the IBC studios in London to recorded new material; at the same time, the group begins a new round of concerts, with the aim of releasing an album live, after ruling out the possibility of taking something out of the more than eighty hours they had of the tour of 69. Two of those concerts were recorded. In Leeds University on feb.14 and the City Hall, from Hull, the next day; but due to problems with the bass that was not recorded correctly, they could only use the Leeds concert tapes.


In march, the record company asked them for new material to publish a single. They only had two songs: “The Seeker” written by Pete, recorded Jan.19 & “Here for more”, recorded on feb.10, one of the few composed by group vocalist Roger Daltrey.

This single. published worldwide on 21 march. Meanwhile, the live album: "Live at Leeds" was released in the U.S on may 16, by Decca/MCA and the U.K on may 23, by Track/Polydor. From this Lp came a single: "Summertime blues", a version of Eddie Cochran, on the B side was placed "Heaven and Hell", written by group bassist John Entwistle, recorded on april 13.


May, the Who returned, once again, to the studio, now "Eel Pie" to record more songs: At the end of these sessions, an acetate was made; so in the side A was placed a selection of the five best songs recorded since january to may. Leaving on the B side other unreleased tracks from feb.67 tp oct.68.


But finally this Lp was canceled, as the summer Ep  a few days after its publication in august. Some of these tunes (I don´t even know myself  &  Water)  were used to complete different singles or even as part of the new "lifehouse"  project; and the rest, appeared published on "Odds and Sods", an album from 1974 that consists of studio outtakes and rarities.

This personal reconstruction was made following the original set list that The Who played in their 1970 concerts.Enjoy it.

Side A: (19:05)


1. Heaven & Hell (Remix).(3:33)

2. Young Man Blues #2.(2:44)

3. Water.(4:40)

4. The Seeker (Edit).(3:13)

5. I don´t even know myself.(4:56)


Side B: (18:59)


1. Here For More.(2:24)

2. Postcard (Remix).(3:32)

3. Now, I´m A Farmer.(4:09)

4. Summertime Blues (Leeds´70).(3:24)

5. Naked Eye.(5:27)