Side A has the versions of “Seventeen,” “Satellite” (misspelled as “Satelite“), “No Feelings” (shortened to “Feelings“), “I Wanna Be Me” (or “Just Me“) and “Submission” recorded by Dave Goodman at Decibel Studios Mixes on July 30th 1976. Glen Matlock was still in the band at that time so he appears on bass (he was infamously kicked out of the Pistols in February ’77 because, according to Malcolm McLaren “he liked the Beatles” – this may or may not be true but it is funny). The last track on Side A is “Nookie” but it is actually “the rejected Dave Goodman-produced version of the band’s debut single “Anarchy In The U.K.,” recorded in October 1976″ (Discogs). It’s muddy, brutal, raw and more than a little bit evil.

Side B’s tracks were also recorded by Goodman, these a few months later on January 28th, 1977 at Gooseberry Studios. This was a bit over a month after the “Anarchy” single release and their controversial appearance on Bill Grundy’s TV show, the resulting fallout found them dropped by EMI. Like Side A, the titles vary from the official NMTB release: “God Save the Queen” is “No Future” (its original working title), “Pretty Vacant” is labeled as “Lots of Fun,” “EMI” shows up as “Who Was It” and “New York” gets the added subtitle “Looking For a Kiss.”

The post Sex Pistols “Spunk” appeared first on Vinyl From The Vault.

While this is not the same show, it’s probably around the same time in NY with a very similar set list:

The post The Cure “In-Cure-Able” appeared first on Vinyl From The Vault.

My favorite tracks are “Twenty-9″ (listed as both “Twenty Nine” and “Twentynine” on other releases – the version on A Reverse Willie Horton is also completely different to their official Crypt Style release), “Typecast,” “Lovin’ Up a Storm,” “’78 Style” and of course “40lb Block of Cheese” which always makes me laugh because I envision the origin of this song as the guys sitting around late-night in a dark NYC apartment in ‘91, Judah regaling Jon and Russell with tales of what it was like to grow up in Appleton, Wisconsin (“You walk into any grocery store and there’s, like, a 40 pound block of cheese staring at you”).

Here’s a couple of Judah Bauer photos, the first I took at a friend’s apartment in 1987 (Appleton) and the second is of me with him at a JSBX concert in 2012 (Milwaukee).

The post The Jon Spencer Blues Explosion “A Reverse Willie Horton” appeared first on Vinyl From The Vault.

Lion’s Share is a pretty decent bootleg – the sound quality is pretty good, especially since a lot of Germs bootleg material out there is pretty shitty. Side A’s tracks which include such songs as “Throw It All Away, “Now I Hear the Laughter” and “Lion’s Share” were produced by Jack Nitzsche (which explains the good quality – he won several Academy Awards and nominations for film score composition from films like An Officer and a Gentleman and One Flew Over the Cuckoo’s Nest). Side B is live Germs, recorded at the Starwood in 1980 and includes versions of a cover of PiL’s “Public Image,” “Shut Down” and “Richie Dagger’s Crime.” The band is a mess, especially Darby Crash, but again the sound is pretty good.

The post The Germs “Lion’s Share” appeared first on Vinyl From The Vault.

Side B begins with classical guitar-tinged “Back to the Old House” from the Sept. 14th ‘83 Peel session and it too appears on Hatful of Hollow. Another Peel session track, from ‘84, follows, the classic “William, It Was Really Nothing.” The final three songs are all from that session in Sept. ‘83 with David Jensen: “Reel Around the Fountain,” “I Don’t Owe You Anything,” and “Pretty Girls Make Graves.” For some reason this variation of “Reel Around the Fountain” sounds really rough and super funeral-dirgy. Granted it’s not an upbeat song to begin with but this version makes it feel like you’re being dragged through the mud right along with Morrissey. The recording of “Reel Around the Fountain” from the May 31 ‘83 session with Peel was the version included on Hatful of Hollow (and definitely the better choice).

About these BBC sessions, particularly the ones with John Peel, Johnny Marr said, “[They] pretty much became the definitive versions of the songs we recorded for John…What happened to us was that whenever a session came up, we wrote songs, because we needed them, especially for the session. ’This Charming Man’, for example, was written because we had a John Peel session and we didn’t have enough songs. The session was on a Friday, and on the Tuesday I just got out of bed and wrote this tune because we needed another song for the session.“

The post The Smiths “The Old Guard BBC Tapes Volume 2″ appeared first on Vinyl From The Vault.