The Doors - Boot Yer Butt Deluxe (Speak In Secret Alphabets Addendum)

Thanks to everyone for your enthusiasm for the last post Speak In Secret Alphabets: The Complete Doors recordings. Boot Yer Bett Deluxe completes their recordings - and also fills in many of the missing pieces.

I idea here is simple: use the recordings that the surviving Doors decided were worthy, which was released on Boot Yer Butt. The Deluxe version contains the COMPLETE bootleg, all in the exact date and order of performance. I'm posting this separately because these are bootlegs and though all of this is listenable, it is still far from the master quality of SISA. But, it's probably the best quality we're ever going to get.

Boot Yer Butt Deluxe is designed to fit with Speak In Secret Alphabets, so if you really want a deep exploration of, say, their pre-Light My Fire days or the final concerts before LA Woman, this is the place. Because it fits in with SISA, go ahead and add in including poetry and session recordings. It'll work.

234 tracks. 3 gigs. 22 1/2 hours long. All carefully chosen and taken from freshly converted FLAC files  This is the ultimate collection of The Doors' bootleg recordings.

Part One: YANDEX    ZIPPY

Part Two:  YANDEX    ZIPPY

Part Three:  YANDEX    ZIPPY

Part Four:  YANDEX    ZIPPY

Part Five:  YANDEX    ZIPPY

Part Six:  YANDEX    ZIPPY

Part Seven: YANDEX    ZIPPY

The Doors - Speak In Secret Alphabets: The Complete Recordings

Long story short, these are the complete Doors recordings in order of performance or release date
. 
01 - Studio Master Takes (mostly 40th Anniversary remixes with unique non-LP/single songs added by recording date [if known, if not, best-educated guess])

02 - Studio Alternates (alternate unique studio versions not included in parts 1,3,4,5 or 6 by recording date [if known, if not, best-educated guess])

03 - Spoken Word (studio recorded or filmed poetry recordings, but also
has a demo or two)

04 - Singles (original mixes by release date)

05 - Stereo LP Masters (original mixes by release date)

06 - Mono LP Masters (original mixes by release date)

07 - TV Appearances (unique recordings that aren't lipsynced or live concerts by recording (preferred) or air date)

08 - Live Multitrack (professionally recorded concerts by recording date)

09 - Live Soundboard (live inhouse concert recordings by recording date. Could be amateurs with multiple mikes and a mixing board [like The Matrix])

10 - Boot Yer Butt Deluxe (an addendum with the complete bootlegs of those included on BYB, in the best versions I could obtain, set by recording date)In all, there are ten parts with (little or) no repetition. All parts are interchangeable and can fit together in any combination you choose. I hope this will be the final word on the Doors' recordings. I will add to this if more recordings become available. Personally, I like parts one and seven combined!

My good friend Kwai Chang has agreed to write an overview of sorts about this collection. Thank you Kwai, thank you JCC, and thank you to the kind folks at Mild Equator for their help.

Kwai Chang - Okay, let's cut through the tinsel here. Is there ANY way to write about The Doors that will make somebody appreciate what kind of privilege this collection really represents? Let's throw this suggested narrative down the well and see if anything splashes! I wrote this to get readers interested in a story that tells itself completely through music. This story has never been as thorough and entertaining as it is here. Please don't think I can even begin to tell the story of The Doors. All I am trying to do is get you to play ANY part of it. As you know, everything is connected. This will connect with that and versa vice. And, if it bears any resemblance to the fairy tale that Los Angeles has always been, rest assured that it won't have ANYTHING to do with Hollywood production hyperbole. Tear up your S.A.G. cards and fire your agent. This story doesn't use 8"X10" promo shots. It is fully organic and when the music is over, the last slice of The West will have found its real identity and, in that, its true function. That this happened at all falls upon the shoulders of the highest-ranking bohemian ever to hitch-hike 'that-a-way'. Hopefully, this collection will realign the Jim Morrison mystique in a new way that gives him some overdue respect. Should we find that he actually is part clown...then at least we know that the tale was indeed reflective...especially to those who were THERE when it began.

West...the final frontier: This is the journey of the last modern Ubermensch to emerge from a culture in need of ideas. In need of vision. His five-year mission--to believe in possibility and to go where history has tried to go but could not. To boldly go where culture might never have gone otherwise. To play this drama out on the last sliver of playing field that the world had not yet ruined with tradition and gun-powder...oh, James Tiberius! When a rear admiral goes home at the end of the day...is he really brave enough to stand up to his wife? Even when the prime directive is to set examples...to be a role model that the offspring could believe in...Jim must have been witness to some very upper-middle-class hypocrisy. When the search for verification leads to the Library Of Congress and a heavy lean is placed upon Friedrich Neitzsche then the rear admiral becomes a mockery of those highest hopes he had for his children. He might have even envisioned a family tradition branching out into military limbs of a lineage belonging to a new chain of command.

Jim Morrison might as well have seen himself as the last William The Conqueror...Lewis And Clark...Ponce De Leon...as he set out from Tallahassee to find enrollment at the film school at the University Of California, Los Angeles--EVEN if he really was THEM! We don't really know the particulars of his journey Westward, but we DO KNOW what he was wearing. The recruitment film short that he starred in at FSU found Jim wearing the two-tone V-neck sweater that would grace so many of his early Doors photographs. It was pre-leather and it suited the segue that was about to commence. It seems ironic that a Beach Boys existence, identity, mentality had already befallen the promised sand of the Golden State...but, then we could argue that Murry Wilson was actually a non-military edition of George Stephen Morrison. But, Southern California clearly needed a real mascot whose representation wasn't dressed up in any stereotypical self-parody of patriarchal guidance. And what it got was already very anti-hero...dressed in clothes from the other side of the mirror. MOST groups take decades to accomplish what The Doors achieved in a blur of five(6) years. They are the only group to ever make me wish I was born a few years earlier than 1960. The Doors were unsuspecting champions who never ever expected the victories that would lay before them. They also didn't deserve the harshness that would befall them by the time it was over. We cannot overstate the brevity of the timing involved here...in addition to location, location, location. This collection puts the group into a perspective that is prismatic and allows for refraction of very simple events that would double-helix into the complicated role that Southern California would assume as their direct result. The West is the best! Get here and we'll do the rest. So, let us start with the sun rising on a casual metropolis that was about to realize the Truth about the striped Beach Boys shirts and how much California Girls don't even go to the beach! Corny ends where reflection begins. Los Angeles needed to BE the last vestige of American Freedom...the only missing component was a persona to demonstrate that it already WAS. World Conquest was about to become finalized and when it was over, L.A. would be the world's trendsetting example...forever hence.

The Gateway Arch? Since 1967, that's the freeway interchange in Los Angeles where the 101 meets the 110, the 10, the 5...and is the REAL line where East ends and the West begins. It is where the movie changes from B&W to full color! To think that it really started in Florida(perhaps the most frustrated of the 49 other states) at least makes sense. First of all, the weather is almost as nice as Southern California...but, overtly sub-tropical. That means humidity...never-ending UNEXPECTED rain...giant insects/reptiles...a long way to California. If being born on a military installation could ever mean indoctrination for anyone...perhaps it meant that for James Douglas Morrison. His long wait for Destiny to call him West was over and there was nothing in the way except 2,250 miles of rich Smalltown, U.S.A. subculture(individual indigenous lifestyles). This is the timing that EVERYONE was waiting for, and Jim Morrison didn't even know it. It doesn't matter what the calendar said. There's a little vagabond in everyone...especially in a military ascent to higher rank. So, until now, this had been a family matter with liberal amounts of Kerouac and Nietzsche. What else could a poor boy do already without rank as the son of a Rear-Admiral in the United States Navy? Now, the vagabond element would be self-realized and the need for parents would evolve itself into nothing. So, without dissecting motivation or wondering what the scenery might have revealed...James Douglas Morrison headed West in January of 1964. Musical influence is secondary at this point. Los Angeles was in dire need of a symbol to represent its own frustrated predicament...and, he was finally...'en route'.

Did Jim ever actually hear Rick And The Ravens? Now, there's a predicament. The group was already a honky-tonk version of the Beach Boys and within that parameter, we can hear a basic foundation on which The Doors would build their trademark identity. But, Rick And The Ravens bore no resemblance to it. A few You Make Me Real piano signatures and more hand-claps than drums or guitar. Thankfully, the main Raven(Ray Manzarek) will be redeemed by all of his hard work in The Doors' precursor band. It was the only way to start this. Ray should be commended on his ability to remain confident. He really was the perfect springboard from which Jim Morrison could launch himself. It was going to take time for Jim to catch up to Ray...but it would be an incredible transformation. But, in 1965 when The Doors went to World Pacific Studios to record some proper demos, that transformation had not yet transpired. The six demo tracks confirm little more than the group was still searching for its own trademarks. Somebody is honking on the harmonica with a confidence that is beyond that of the vocalist. And the Rick And The Ravens' honky-tonk beat seems to have slowed to a gallop as if to give the double-track vocals room to develop a texture of its own. That strategy is not realized here even though Morrison seems to have a desired direction for his vocal style. It just hasn't matured enough to be distinctive.

So, it seems odd that the Ford Motor Company wanted the group to provide the musical landscape for a 25-minute employee training film(Love Thy Customer). Without knowing the logistics that resulted in this production...it is clearly worth acknowledging that The Doors as we know them have found plenty of signature definition within the accompaniment of 'Thy Customer'. The best part is that it is a fresh and new sound that has NOT been heard before. Both Robbie Krieger and John Densmore command their unique respective presences in the musical discourse. What we hear is the real arrival of The Doors...Los Angeles' own rock band. The corny piped-in muzak sounds that open the film are in direct contrast to this new sound and the effect is unmistakable. The social reasons for this might even be related but, it is pure speculation. It is worth mentioning that concurrently, a strange chemical compound was being touted as everything from a religious sacrament to a possible cure for alcoholism...to an artistic enhancer...to mind-manifesting...to mind-bending. The substance was LSD-25 and whatever its actual value or danger...it is important to this story. It was also completely legal at this point in the chronology. That it seemed to go hand in hand with The Doors' reverse vortex arrival on the scene is just the best timing ever to befall a huge musical void and the social dysfunction that was Southern California culture, as well. In the film, Love Thy Customer, we can hear (the first?) real psychedelic musical vision happening organically. Perhaps Ford Motor Company was hip to the sounds because of a clearly new objective strategy in employment efficiency. We just don't know. So, the idea that the L.A. street scene had things to offer is not so far fetched. Was it a new way of thinking? Was there real tangible newness to be found in the seemingly legitimate voice of Youth?

Well, when we understand the mechanics of star-making machinery, it seems impossible that ANYTHING could be the product of counter-culture, especially when riding the pretense of righteousness and fueled by perfect timing. And yet, that is exactly what we are witnessing here. By May 1966, The Doors were still playing The London Fog...what were the expectations of Paul Rothchild or Jac Holzman or whomever Elektra Records sent to check their potential? We know that The London Fog release of a few years ago, is absolute proof, that The Doors had become a real band. Each member was in full display of their respective chops and that those chops were beyond the typical ambition of all other local acts. Each of the band members were adept in their style and the interplay shared between them was a language all its own. Remember, too, that the music industry was already in the habit of providing The Wrecking Crew template to all things of commercial potential. So, with The Doors...how sweet was the sound heard by scouting label recruiters? The resultant debut album that Paul Rothchild was able to produce at the end of 1966 was absolutely brilliant on nearly every level. Released in January 1967, this is the effort that would propel the group, the music, the genre, the locality, the group unit, and individualism into the highest prominence ever known to Los Angeles. That the first single, Break On Through(To The Other Side), fizzled as the group's first time out...it was still the most perfect selection to usher in the group and the album to the scene. It also defined the absolute objective that The Doors never fully verbalized...but, which the music, was undeniably about. This was an album that proclaimed its own virtues as it was basically a themed affair. That theme being the mystery and hopeful influence that can exist in the psychedelic dynamic...and, ANY other paradigm related to music.

The music was unique unto itself...it defied any hopes of comparison to all that came before it. It made no use of simple sappy romance...instead honing the Freudian lyrics to a cutting edge made of non-ambiguity. Straight for the heart, this scope was of a consistent aim on any prey to fall into its cross-hairs. All lyrics are specifically lethal in a very living way. The sound of the instruments are all reactionary to the message of the words. This debut could have been titled The Chain Of Command, I Read Too Much, Libido On The Sunset Strip...or a million other relevant inferences to the subject matter within. But, it was called The Doors and on that angle, the group became Los Angeles' own local pride. If the music industry was really in the habit if inventing/cultivating pop music mythology out of any band on its 'way up', what must it have thought of Jim, Ray, Robbie, and John? They were a complete item requiring no fabrication on any level. They were their own creators and had held on long enough to get corporate attention. They wrote their own songs...played their own music...and, were competent enough to set up the equipment and do it LIVE in any venue. Let us reiterate: THIS WAS NOT THE NORM in the Los Angeles radio culture. Now, the only thing missing would be national acceptance and this was accomplished with the second single release.

Light My Fire was released as a single on April 24, 1967. Recorded eight months earlier, and whittled down from the album's 7:06 to just under 3:00...the timing was again perfect. By the time the single caught fire on the airwaves, enough album sales had occurred to ensure its, and the group's, longevity. The best part was that the song was the last song on side one of the album. This allowed for a saturation level of consumer listening to the first half of the album. The rest of the defining victory was nailed down via live appearances for most of 1967. This might have been the end of the mega-flash as touring is hard work. To hear the group's performance at The Matrix club in San Francisco gives no hint about what they had already accomplished or what greatness still lay before them. Amazingly, the group spent most of their off time at Sunset Sound Recorders from May-August. This in itself is not spectacular...however, the result would dovetail to cement The Doors' role as the pride of Los Angeles...and the best rock and roll act ever to get national airplay in the United States. The worst fate ever to fall upon musical acts is to debut yourself with a masterpiece...tour de force...something so good-- NOTHING will beat it! Sound like anyone we know? In Los Angeles, The Doors might not have noticed all of this critical theory about timing. They were pretty busy in 1967. But, they had some huge shoes to fill. They only had one album. However great it was, they might have already conceded to an inability to better it. Throughout the history of popular music, there have been many masterpiece debuts. But the rarest commodity is a BETTER sophomore effort. And in September of 1967,

L.A.'s very own rock band, The Doors...cinched immortality with the release of Strange Days. A vanguard offering that was the logical progression of the debut album that was only 36 minutes long. And yet, it was the perfect complement of the first LP and in so doing defines the psychedelic music genre in a very final way. There would be many releases through the '60s and early '70s by other groups...all using the road paved by The Doors. But, the Westward Expansion was over. The real estate didn't allow for it and neither did the genre, the industry protocol, and the Southern California lifestyle/culture. ALL roads would lead back to Venice the same way that ALL things British led back to Liverpool. In The Doors, Los Angeles indeed found a fitting mascot to represent the state of The Golden State. From this moment forward, all musical real estate would be occupied by hints of yore...and all that would be offered as new was really something already done...regardless of the refurbishing that preceded it. The Doors were the real thing. They were so good that nowhere but Los Angeles could have provided them the fertile substrate to realize all that they have given to us. The remainder of their career is anti-climactic. Despite the greatness of their future releases, they would most effectively symbolize the exhale of the year 1967. Certainly, there is the story of how Morrison was ready to throw in the towel after the first album. And, rightly so! If Los Angeles is anything...it is EASILY bored. That hasn't always been the case, but in the life of the last real anti-hero ever to call it home, it was simply a situation where everything has already been said.

Time to move outward towards bigger ripples. What else is there? We should have gotten the arty Doors on their 3rd LP. The Celebration Of The Lizard was Jim's next point of focus...and yet, Paul Rothchild was still the producer and industry protocol had finally gained a firm grasp of all things Doors! Instead of arty, we got political and we got leftovers. We even got stuff that was sub-par. These are the obstacles to face when you have released a debut masterpiece and an even better follow-up. The music was indeed over and it would take three more LPs to turn out the lights.

The FINAL redemption was when Paul Rothchild was bored by the early versions of what became the L.A. Woman LP. The band would go on to produce that final effort without him...while he was coddling Janis Joplin's Pearl album. Well, at least we know who wasn't an L.A. Woman. The Doors' last album was recorded at the downstairs rehearsal space of 8512 Santa Monica Blvd in West Hollywood. That was the hub of the group's existence as it was their official designated OFFICE(upstairs) and the only address ever given by Morrison as a California Resident. The building was at the intersection of La Cienega...also the location of the Alta Cienega Hotel(Northwest corner) where Jim often stayed. Further up the street, at the top of La Cienega is the Whiskey A Go-Go(at Sunset Blvd). All of the locations within a five-mile radius of the 'Workshop'. The L.A. Woman album brought the group to a logical finish line musically. It was a return to the Blues that had been their staple back in the beginning when they wanted to be as big as Love. When they weren't yet good enough for the Whiskey A Go-Go. When poetry was just a pastime and NOT yet a paradigm.

This collection by BlankFrank gives the entire story of the greatest band ever to come from the U.S.A.! You can finally realize how important The Doors were, how important Los Angeles became...and how important creative archiving always will be!
Any questions???
KC

Part One: Studio Master Takes 1 Yandex

Part One: Studio Master Takes 2 Yandex

Part Two: Studio Alternates  Yandex

Part Three: Spoken Word  Yandex

Part Four: Singles Yandex

Part Five: Stereo LP Masters  Yandex

Part Six: Mono LP Masters  Yandex

Part Seven: TV/Radio Appearances  Yandex

Part Eight: Live Multi-track 1 (68-69)  Yandex

Part Eight: Live Multi-track 2 (1-4 1970) Yandex

Part Eight: Live Multi-track 3 (5-8 1970)  Yandex

Part Nine: Live Soundboard  Yandex

Part One: Studio Master Takes 1  Zippy

Part One: Studio Master Takes 2  Zippy

Part Two: Studio Alternates 1  Zippy

Part Two: Studio Alternates 2  Zippy

Part Three: Spoken Word  Zippy

Part Four: Singles  Zippy

Part Five: Stereo LP Masters 1  Zippy

Part Five: Stereo LP Masters 2  Zippy

Part Five: Stereo LP Masters 3  Zippy

Part Six: Mono LP Masters  Zippy

Part Seven: TV/Radio Appearances  Zippy

Simon & Garfunkel - The Dangling Conversation (1957-81)

The original idea of this set, which I started back in 2017,  is to look at Simon and Garfunkel's career from their first recordings to now, all of their output - as if they never broke up. it makes some sense, they used the same producer, same musicians and I suspect they knew pretty well what the other was doing. It'd be impossible not to. Looking at it now, I think their '81 reunion at Central Park serves as a natural break and would also allow me to finally finish this project.

The first volume contains all of their pre-fame singles, re-compiled from the Purple Chick set. It's nice to have these, but I believe few will be listening to this one often. The good news is on this volume, you'll have all of the pre-S&G 45s in one place.

Volume two is all of their US singles in mono, as compiled by Prof. Stoned. All I did was re-tag them all with original labels and sleeves. Thanks Prof!

The last two volumes are the most interesting: all of their single a-sides from 1972-80 along with selected b-sides and other treats. I've spun it and I'm (mostly) pleased with the way it turned out. A few performances from The Concert At Central Park finishes it all up. It's as if they never split!

All @ 320 and tagged with original sleeves/labels


The Dangling Conversation Vol 1 - The Pre-Fame Singles (1957-65)
1 Tom & Jerry Hey Schoolgirl (Big 613) [11-57] 2:17
2 Tom & Jerry Dancin' Wild (Big 613) [11-57] 2:21
3 True Taylor True Or False (Big 614) [1-58] 2:12
4 True Taylor Teenage Fool (Big 614) [1-58] 2:50
5 Tom & Jerry Our Song (Big 616) [2-58] 1:57
6 Tom & Jerry Two Teenagers (Big 616) [2-58] 2:23
7 Tom & Jerry That's My Story (Big 618) [5-58] 2:30
8 Tom & Jerry (Pretty Baby) Don't Say Goodbye (Big 618) [5-58] 2:03
9 Tom & Jerry Baby Talk (Big 618) [6-58] 2:08
10 Tom & Jerry Lookin' At You (Ember 1094) [5-59] 1:58
11 Tom & Jerry I'm Lonesome (Ember 1094) [5-59] 2:01
12 Jerry Landis Annabelle (MGM 12822) [7-59] 2:01
13 Jerry Landis Loneliness (MGM 12822) [7-59] 2:15
14 Artie Garr Beat Love (Warwick 515) [10-59] 2:10
15 Artie Garr Dream Alone (Warwick 515) [10-59] 2:21
16 Jerry Landis Just A Boy (Warwick 552) [5-60] 2:11
17 Jerry Landis Shy (Warwick 552) [5-60] 2:31
18 Jerry Landis I'd Like To Be (Warwick 588b) [11-60] 2:09
19 Jerry Landis Play Me A Sad Song (Warwick 619) [5-61] 2:19
20 Jerry Landis It Means A Lot To Them (Warwick 619) [5-61] 2:09
21 Artie Garr Private World (Octavia 800) [8-61] 2:50
22 Artie Garr Please Forgive Me (Octavia 800) [8-61] 2:34
23 Jerry Landis I'm Lonely (Cam-Am 13) [10-61] 2:16
24 Jerry Landis I Wish I Weren't In Love (Cam-Am 13) [10-61] 2:02
25 Tico & The Triumphs Motorcycle (Madison M169) [10-61] 2:07
26 Tico & The Triumphs I Don't Believe Them (Madison M169) [10-61] 2:05
27 Tom & Jerry Surrender, Please Surrender (Paramount 1036) [8-62] 2:09
28 Tom & Jerry Fightin' Mad (Paramount 1036) [8-62] 2:06
29 Jerry Landis The Lone Teen Ranger (Amy 875) [8-62] 2:19
30 Jerry Landis Lisa (Amy 875) [8-62] 2:04
31 Paul Kane (Jerry Landis) Carlos Dominguez (Tribute 128) [8-63] 2:50
32 Paul Kane (Jerry Landis) He Was My Brother (Tribute 128) [8-63] 3:06
34 Paul Simon I Am A Rock (CBS UK 201797) [7-65] 2:42
35 Paul Simon Leaves That Are Green (CBS UK 201797) [7-65] 2:31


The Dangling Conversation Vol 2 - The Classic Mono Singles (1965-70)
1 Simon & Garfunkel The Sounds Of Silence (Columbia 4-43396) [9-65] 3:04
2 Simon & Garfunkel We've Got A Groovey Thing Goin' (Columbia 4-43396) [9-65] 1:59
3 Simon & Garfunkel Homeward Bound (Columbia 4-43511) [1-66] 2:31
4 Simon & Garfunkel Leaves That Are Green (Columbia 4-43511) [1-66] 2:22
5 Simon & Garfunkel I Am A Rock (Columbia 4-43617) [4-66] 2:53
6 Simon & Garfunkel Flowers Never Bend With The Rainfall (Columbia 4-43617) [4-66] 2:13
7 Simon & Garfunkel The Dangling Conversation (Columbia 4-43728) [7-66] 2:38
8 Simon & Garfunkel The Big Bright Green Pleasure Machine (Columbia 4-43728) [7-66] 2:46
9 Simon & Garfunkel A Hazy Shade Of Winter (Columbia 4-43873) [10-66] 2:20
10 Simon & Garfunkel For Emily, Whenever I May Find Her (Columbia 4-43873) [10-66] 2:06
11 Simon & Garfunkel At The Zoo (Columbia 4-44046) [2-67] 2:16
12 Simon & Garfunkel The 59th Street Bridge Song (Columbia 4-44046) [2-67] 1:50
13 Simon & Garfunkel Fakin' It (Columbia 4-44232) [7-67] 3:14
14 Simon & Garfunkel You Don't Know Where Your Interest Lies (Columbia 4-44232) [7-67] 2:23
15 Simon & Garfunkel Scarborough Fair/Canticle (Columbia 4-44465) [2-68] 3:10
16 Simon & Garfunkel April Come She Will (Columbia 4-44465) [2-68] 1:51
17 Simon & Garfunkel Mrs Robinson (Columbia 4-44511) [4-68] 4:06
18 Simon & Garfunkel Old Friends (Columbia 4-44511) [4-68] 3:59
19 Simon & Garfunkel The Boxer (Columbia 4-44785) [3-69] 5:12
20 Simon & Garfunkel Baby Driver (Columbia 4-44785) [3-69] 3:14
21 Simon & Garfunkel Bridge Over Troubled Water (Columbia 4-45079) [1-70] 4:55
22 Simon & Garfunkel Keep The Customer Satisfied (Columbia 4-45079) [1-70] 2:39
23 Simon & Garfunkel Cecilia (Columbia 4-45133) [3-70] 2:40
24 Simon & Garfunkel The Only Living Boy In New York (Columbia 4-45133) [3-70] 3:59
25 Simon & Garfunkel El Condor Pasa (If I Could) (Columbia 4-45237) [8-70] 3:09
26 Simon & Garfunkel Why Don't You Write Me (Columbia 4-45237) [8-70] 2:48


The Dangling Conversation Vol 3 - Learn How To Fall (1972-75)
1 Art Garfunkel Traveling Boy (Single Version) (COL 4-46030) [3-74] 3:43
2 Paul Simon Duncan (COL 4-45638) [6-72] 4:43
3 Art Garfunkel Feuilles-Oh / Do Space Men Pass Dead Souls On Their Way To The Moon? (COL 4-45983) [12-73] 3:12
4 Paul Simon Mother And Child Reunion (COL4-45547) [1-72] 3:08
5 Paul Simon Peace Like A River (Paul Simon LP) [1-72] 3:17
6 Art Garfunkel Mary Was An Only Child (COL 4-45926) [8-73] 3:29
7 Paul Simon Me And Julio Down By The Schoolyard (COL4-45585) [3-72] 2:45
8 Paul Simon Kodachrome (COL4-45859) [5-73] 3:36
9 Art Garfunkel I Shall Sing (COL 4-45983) [12-73] 3:38
10 Art Garfunkel All I Know (COL 4-45926) [8-73] 3:51
11 Paul Simon (With The Dixie Hummingbirds) Loves Me Like A Rock (COL4-45907) [7-73] 3:34
12 Paul Simon Learn How To Fall (COL4-45907) [7-73] 2:48
13 Art Garfunkel Woyaya (COL 3-10020) [9-74] 3:20
14 Paul Simon American Tune (COL4-45900) [11-73] 3:45
15 Art Garfunkel I Only Have Eyes For You (COL 3-10190) [8-75] 3:43
16 Paul Simon Something So Right (UK CBS 2822) [11-74] 4:37
17 Art Garfunkel Second Avenue (COL 3-10020) [9-74] 2:53
18 Paul Simon & Phoebe Snow With The Jessie Dixson Singers Gone At Last (3-10197) [8-75] 3:41
19 Art Garfunkel Old Man (COL 4-46030) [3-74] 3:26
20 Paul Simon Take Me To The Mardi Gras (3-10197) [8-75] 3:31
21 Paul Simon & Art Garfunkel The Breakup (Paul Simon 1964-1993) [1975] 2:19


The Dangling Conversation Vol 4 - Reunion (1975-81)
1 Simon & Garfunkel My Little Town (COL3-10230) [10-75] 3:52
2 Art Garfunkel Rag Doll (COL3-10230) [10-75] 3:07
3 Paul Simon You're Kind (COL3-10230) [10-75] 3:20
4 Art Garfunkel Break Away (COL3-10273) [12-75] 3:37
5 Paul Simon 50 Ways To Leave Your Lover (COL3-10270) [12-75] 3:37
6 Art Garfunkel Disney Girls (COL3-10273) [12-75] 4:33
7 Paul Simon Still Crazy After All These Years (COL3-10332) [4-76] 3:27
8 Art Garfunkel Crying In My Sleep (COL3-10608) [9-77] 4:06
9 Paul Simon Slip Slidin' Away (COL3-10630) [9-77] 4:44
10 Art Garfunkel With James Taylor And Paul Simon (What A) Wonderful World (COL3-10676) [1-78] 3:32
11 Paul Simon Late In The Evening (WBS49511) [3-78] 4:01
12 Art Garfunkel In A Little While (I'll Be On My Way) (COL3-10933) [3-79] 3:27
13 Art Garfunkel Since I Don't Have You (COL3-10999) [5-79] 3:39
14 Paul Simon Stranded In A Limousine (COL3-10711) [3-78] 3:11
15 Art Garfunkel Bright Eyes (COL1-11050) [7-79] 4:00
16 Paul Simon One-Trick Pony (WBS49601) [10-80] 3:54
17 Paul Simon Oh, Marion (WBS49675) [2-81] 4:01
18 Simon & Garfunkel A Heart In New York (The Concert In Central Park) [8-81] 2:46
19 Simon & Garfunkel America (The Concert In Central Park) [8-81] 4:45
20 Simon & Garfunkel Old Friends (The Concert In Central Park) [8-81] 2:56

yandex

Parts 1-2 Zippy

Parts 3-4  Zippy

Dim All The Lights - Donna Summer Singles Collection (1968-2012)

You won't have to guess hard to see how I've been spending my month in quarantine. Funny thing is I really didn't know where to post this, so I figured I'd put this in a category I've never posted in.

For me, Donna Summer has always been a singer that transcended her genre. Like a very few others, like Hank Williams Sr, Patsy Cline or Bob Marley, Donna rose about these limitations and defied classification. Oh, you can be sure that I hated most disco back in the day. So mindless. So superficial. So in your face every day. Now my attitude about Disco has softened, but my love and respect for Donna has never abated. Just check out "Can't We Just Sit Down (And Talk It Over)". Originally the A-Side to "I Feel Love" (before it was switched), it is one of the finest vocals ever. Your comments are welcome! Disco is what put her on the map, but her talent is what kept her in the game.

This set was also one of the hardest to put together. Dance music is by its nature a remixer's world - many of these tracks can only be found on the original first-pressing vinyl singles. Different countries often had different mixes. reissue singles usually used the standard LP version. On a few occasions, there was no option but to recreate it. But whenever possible, I checked it against a YouTube or needle drop. Speaking of needle drops, there's a few here, especially in the very early tracks. As far I can tell, these have never seen a digital release.

So here is every Donna Summer single throughout her entire career, Both "A" and "B" sides, all (truthfully, nearly all) in their original 7" mixes. It's been a challenging project, but it has also been rewarding. It came out pretty good, IMO. Very listenable and hardly any drag. A nice mix of rarities and familiar, with much of the well-known stuff presented in an untypical way  I hope you give it try! All @ 320 and tagged with original labels or sleeves.

Dim All The Lights Vol 1: Let's Work Together (1968-75)
1 Donna Gaines und Ensemble Wassermann (Aquarius) (German Single) [1968]
2 Bernd Redecker, Gudrun Kramer, Donna Gaines Lasst den Sonnenschein (German Single) [1968]
3 Donna Gains If You Walkin' Alone (German Single) [11-69]
4 Donna Gains Can't Understand (German Single) [11-69]
5 Donna Gaines Sally Go 'Round The Roses (UK Single) [5-71]
6 Donna Gaines So Said the Man (UK Single) [5-71]
7 Donna Gaines The Hostage (UK Single) [10-74]
8 Donna Gaines Let's Work Together Now (UK Single) [10-74]
9 Donna Summer Full of Emptiness (German B-Side) [12-74]
10 Donna Summer Denver Dream (French Single) [1974]
11 Donna Summer Somethings In The Wind (French Single) [1974]
12 Donna Summer Lady Of The Night (German Single) [3-75]
13 Donna Summer Wounded (German Single) [3-75]
14 Donna Summer Love To Love You (Single Version) [4-75]
15 Donna Summer Need-A-Man Blues (LP Version) [4-75]
16 Donna Summer Love To Love You Baby (Part II) (Long Single B-Side ) [1975]
17 Donna Summer Virgin Mary (Dutch Single) [9-75]
18 Donna Summer Pandora's Box  (Dutch B-Side Single Edit) [9-75]
ZIPPY

YANDEX

Dim All The Lights Vol 2: Could It Be Magic (1976-77)
19 Donna Summer Could It Be Magic (BF Single Edit) [4-76]
20 Donna Summer Whispering Waves (US/UK B-Side) [4-76]
21 Donna Summer Come With Me (Euro B-Side) [6-76]
22 Donna Summer Try Me, I Know We Can Make It (BF Single Edit) [6-76]
22 Donna Summer Wasted (BF Single Edit) [6-76]
24 Donna Summer Winter Melody (Single Version) [12-76]
25 Donna Summer Spring Affair (Single Version) [12-76]
26 Donna Summer Can't We Just Sit Down (And Talk It Over) [6-77]
27 Donna Summer I Feel Love (Single Version) [6-77]
28 Paul Jabara with Special Guest Donna Summer Shut Out (Single Version) [7-77]
29 Donna Summer Theme From The Deep (Down Deep Inside) [8-77]
30 Donna Summer I Remember Yesterday (Part 1) [9-77]
31 Donna Summer I Remember Yesterday (Part 2) [9-77]
32 Donna Summer Love's Unkind (German Single) [11-77]
33 Donna Summer Black Lady (German Single) [11-77]
34 Donna Summer I Love You (Single Version) [11-77]
35 Donna Summer Once Upon A Time (BF Single Edit) [11-77]
36 Donna Summer Fairy Tale High (BF German Single Edit) [12-77]
ZIPPY

YANDEX

Dim All The Lights Vol 3: Heaven Knows (1978-79)
37 Donna Summer Rumour Has It (Single Version) [3-78]
38 Donna Summer Say Something Nice [3-78]
39 Donna Summer Last Dance (Single Version) [4-78]
40 Donna Summer With Your Love (Single Version) [4-78]
41 Donna Summer Back In Love Again (German Single) [5-78]
42 Donna Summer A Man Like You (German Single) [5-78]
43 Donna Summer Mac Arthur Park (Single Version) [9-78]
44 Donna Summer Once Upon a Time (Live Version) [9-78]
45 Donna Summer Heaven Knows [12-78]
46 Donna Summer Only One Man [12-78]
47 Donna Summer Hot Stuff (Single Version) [4-79]
48 Donna Summer Journey To The Center Of Your Heart (Single Version) [4-79]
49 Donna Summer Bad Girls (Single Version) [5-79]
50 Donna Summer On My Honor [5-79]
51 Donna Summer Dim All The Lights (Single Version) [8-79]
52 Donna Summer There Will Always Be A You [8-79]
53 Barbra Streisand / Donna Summer No More Tears (Enough Is Enough) (Single Version) [10-79]
54 Donna Summer My Baby Understands [10-79]
55 Donna Summer On The Radio (Single Version) [11-79]
56 Donna Summer Love Will Always Find You [11-79]
ZIPPY

YANDEX

Dim All The Lights Vol 4: Grand Illusion (1980-82)
57 Paul Jabara and Donna Summer Never Lose Your Sense of Humour (UK Single Version) [3-80]
58 Donna Summer Sunset People (Single Version) [6-80]
59 Donna Summer Our Love (Single Version) [6-80]
60 Donna Summer Walk Away (US Single Version) [8-80]
61 Donna Summer The Wanderer [9-80]
62 Donna Summer Stop Me [9-80]
63 Donna Summer Cold Love (Single Version) [11-80]
64 Donna Summer Grand Illusion [11-80]
65 Donna Summer Who Do You Think You're Foolin' (Single Version) [2-81]
66 Donna Summer Running For Cover [2-81]
67 Donna Summer Looking Up (Japanese Single) [4-81]
68 Donna Summer Who Do You Think You're Foolin' (Japanese Single) [4-81]
69 Donna Summer Love Is In Control (Finger On The Trigger) (Single Version) [6-82]
70 Donna Summer Sometimes Like Butterflies [6-82]
71 Donna Summer State Of Independence (Single Version) [9-82]
72 Donna Summer Love Is Just A Breath Away [9-82]
73 Donna Summer The Woman In Me [12-82]
74 Donna Summer Livin' In America [12-82]
75 Donna Summer Protection (Japanese-Euro Single) [12-82]
76 Donna Summer (If It) Hurts Just A Little (Euro B-Side) [12-82]
ZIPPY

YANDEX

Dim All The Lights Vol 5: Face The Music (1983-85)
77 Donna Summer She Works Hard For The Money [4-83]
78 Donna Summer I Do Believe (I Fell In Love) [4-83]
79 Donna Summer Unconditional Love (Single Version) [8-83]
80 Donna Summer Woman (Single Version) [8-83]
81 Donna Summer Stop Look And Listen (Single Version) [1-84]
82 Donna Summer Tokyo [1-84]
83 Donna Summer With Matthew Ward Love Has a Mind Of Its Own (Single Version) [4-84]
84 Donna Summer People, People [4-84]
85 Donna Summer There Goes My Baby [7-84]
86 Donna Summer Maybe It's Over [7-84]
87 Donna Summer Supernatural Love (Single Remix) [10-84]
88 Donna Summer Face The Music (US B-SIde) [10-84]
89 Donna Summer Suzanna (Euro B-SIde) [10-84]
90 Donna Summer Eyes (Single Remix Edit) [5-85]
91 Donna Summer It's Not The Way [5-85]
ZIPPY

YANDEX

Dim All The Lights Vol 6: Breakaway (1987-89)
92 Donna Summer Dinner With Gershwin (Single Edit) [8-87]
93 Donna Summer Dinner With Gershwin (Instrumental) [8-87]
94 Donna Summer with Mickey Thomas Only The Fool Survives (Single Edit) [11-87]
95 Donna Summer with Mickey Thomas Love Shock [11-87]
96 Donna Summer All Systems Go (Single Edit) [1-88]
97 Donna Summer Bad Reputation [1-88]
98 Donna Summer This Time I Know It's For Real [2-89]
99 Donna Summer Whatever Your Heart Desires [2-89]
100 Donna Summer I Don't Wanna Get Hurt (Single Remix) [5-89]
101 Donna Summer I Don't Wanna Get Hurt (Instrumental) [5-89]
102 Donna Summer Loves About To Change My Heart (Single Mix) [8-89]
103 Donna Summer Loves About To Change My Heart (Instrumental) [8-89]
104 Donna Summer Breakaway (Single Remix / Edit) [8-89]
105 Donna Summer Thinkin' Bout My Baby  (US B-Side) [8-89]
106 Donna Summer Love Is In Control (Finger On The Trigger) (Remixed Euro B-Side) [8-89]
107 Donna Summer When Love Takes Over You (UK Single Remix) [11-89]
ZIPPY

YANDEX

Dim All The Lights Vol 7: Carry On (1990-99)
108 Donna Summer State Of Independence (1990 Single Version) [11-90]
109 Donna Summer Love Is Just A Breath Away [11-90]
110 Donna Summer When Love Cries (Radio Remix) [1991]
111 Donna Summer What Is It You [1991]
112 Donna Summer Work That Magic (ISA Full Length Remix) [11-91]
113 Donna Summer Let There Be Peace [11-91]
114 Donna Summer & Giorgio Moroder Carry On (Original Mix) [1992]
115 Donna Summer La Vie En Rose (French Promo) [1993]
116 Donna Summer Melody of Love (Wanna Be Loved) (Original Version) [1994]
117 Donna Summer The Christmas Song [1994]
118 Donna Summer Any Way At All [1994]
119 Bruce Roberts & Donna Summer Whenever There Is Love [11-96]
120 Bruce Roberts & Donna Summer Whenever There Is Love (Instrumental Version) [11-96]
121 Donna Summer I Will Go With You (Con Te Partiro) (Radio Edit) [1999]
122 Donna Summer Love On & On (Hex Hector Single Remix) [1999]
123 Donna Summer Love Is The Healer [1999]
ZIPPY

YANDEX

Dim All The Lights Vol 8: Fame - The Game (2000-12)
124 Donna Summer The Power Of One [7-00]
125 Donna Summer You're So Beautiful (Tony Moran Radio Edit) [2003]
126 Donna Summer Dream-A-Lot's Theme (I Will Live For Love) [2004]
127 Donna Summer Power Of Love (Album Version) [2005]
128 Donna Summer I Got Your Love (Original Radio Edit) [12-05]
129 Donna Summer I'm A Fire (Solitaire Radio Edit) [3-08]
130 Donna Summer Stamp Your Feet [4-08]
131 Donna Summer It's Only Love (Digiral Single) [6-08]
132 Donna Summer Fame (The Game) [11-08]
133 Donna Summer To Paris With Love (Original Version) [8-10]
134 Donna Summer That's The Way [2012]
ZIPPY

YANDEX

Where The Hell Am I -The Steely Dan US-UK Singles

Back in 2017, I put the first version of this very quickly to help remember Walter Becker's passing. I've had this on the upgrade list for about a year and today's the day it got finally completed. For those who got it or remember it back in September 2017, here are the changes: "Hey 19" is now the "single" version, but I had to edit it myself as the actual single version still hasn't appeared anywhere. Also, I'm including  UK-only tracks have been added, as well as unique promos. Finishing up, I added a quad promo EP with actual quad mixes folded down (thank you Lupine Assassin!). Finally, I tagged each track with original artwork. It's a bit over 2 CDs long, @320 and there's quite a few here that are not currently commercially available. I'd like to see SD put out a set like this, including the quad promo as a separate disc. I'd buy it.

1 Dallas [6-72] 3:15
2 Sail The Waterway [6-72] 3:04
3 Do It Again (Single Edit) [10-72] 4:13
4 Fire In The Hole [10-72] 3:28
5 Reelin' In The Years [2-73] 4:37
6 Only A Fool Would Say That [2-73] 2:58
7 Showbiz Kids (45 Version) [7-73] 4:26
8 Razor Boy [7-73] 3:12
9 My Old School [10-73] 5:47
10 Pearl Of The Quarter [10-73] 3:49
11 King Of The World (Countdown To Ecstasy Jukebox EP)  [1973] 5:04
12 With A Gun (US Quad Promo EP) [1974] 2:16
13 Rikki Don't Lose That Number (US Quad Promo EP) [1974] 4:29
14 Barrytown (US Quad Promo EP) [1974] 3:20
15 Pretzel Logic (US Quad Promo EP) [1974] 4:29
16 East St. Louis Toodle-oo [1974] 2:50
17 Rikki Don't Lose That Number (45 Version) [4-74] 4:01
18 Any Major Dude Will Tell You [4-74] 3:08
19 Pretzel Logic [9-74] 4:33
20 Through With Buzz [9-74] 1:34
21 Black Friday [5-75] 3:41
22 Throw Back The Little Ones [5-75] 3:15
23 Bad Sneakers [8-75] 3:20
24 Chain Lightning [8-75] 3:01
25 Kid Charlemagne [6-76] 4:39
26 Green Earrings [6-76] 4:05
27 The Fez [10-76] 4:01
28 Sign In Stranger [10-76] 4:24
29 Haitian Divorce (UK A-Side) [11-76] 5:51
30 Peg [11-77] 3:57
31 I Got The News [11-77] 5:07
32 Deacon Blues (45 Version) [3-78] 6:39
33 Home At Last [3-78] 5:36
34 FM (No Static At All) (45 Version) [5-78] 3:49
35 FM (Reprise) [5-78] 2:54
36 Josie [8-78] 4:31
37 Black Cow [8-78] 5:10
38 Hey Nineteen (BF Single Edit) [11-80] 4:31
39 Bodhisattva [Live] [11-80] 7:45
40 Babylon Sisters (UK A-Side) [2-81] 5:51
41 Time Out Of Mind [3-81] 4:13

  ZIPPY

YANDEX