The Smiths - Unreleased Demos and Instrumentals.

You may have noticed a considerable amount of excitement in the mainstream media including The Word Magazine, Rolling Stone, NPR (American public radio) and the Los Angeles Times in the latter part of December along with a good number of fellow music fan sites regarding the 'release' of a double album vinyl bootleg called The Smiths - Unreleased Demos and Instrumentals.

Indeed such was the quality of this material, my first reaction when listening to it initially, was to check out if this was an official compilation and someone was having me on, regarding the material being a bootleg 'release'.

As a result of searching around online I have picked up a fair amount of additional information and my thanks go out to the many fans of The Smiths who have researched this (and whom I am unashamedly copying from in the details section below). The original vinyl rip was in mono and this is a vastly cleaned up version that improves the quality considerably. The 'informed view' is that the material must have come from somebody very close to the band, and be from source recordings (make of that what you will).

The original vinyl bootleg appears to have been a labour of love from persons unknown rather than any attempt to cash in on the bands unreleased material, the demand from fans and the knowledge that there are so many alternative versions gathering dust may have caused this well timed event to have occurred.

Source: Studio sessions (see details below).

Sound Quality: Very good stereo/mono mp3@320kbps.

Genre: Alternative rock, Indie pop and rock.

Sessions List:

01. The Hand That Rocks The Cradle (Demo)
02. Reel Around The Fountain (Demo)
03. Rusholme Ruffians (Demo)
04. The Queen Is Dead (Demo)
05. Sheila Take A Bow (Demo)
06. This Night Has Opened My Eyes (Demo)
07. Untitled One (Marr Instrumental)
08. Ask (Demo)
09. There Is A Light That Never Goes Out (Demo)
10. Is It Really So Strange? (Demo)
11. Frankly, Mr. Shankly (Demo)
12. Shoplifters Of The World Unite (Reprise)
13. Girlfriend In A Coma (Demo)
14. Death Of A Disco Dancer (Demo)
15. Paint A Vulgar Picture (Demo)
16. Untitled Two (Marr Instrumental)

Details:

As I understand matters Simon Goddard's book 'Songs That Saved Your Life' has been used to reference the following track by track information (with grateful thanks to the smiths recycle website from whom I have taken this in full).

1 The Hand That Rocks The Cradle (John Porter monitor mix)
Not much different from the final LP version, a monitor mix is a rough-and-ready mixdown done at the recording desk, mainly used by the band (and producer) to see what needs tightening/redoing (if anything) prior to the final mixdown.

2 Reel Around The Fountain (final Troy Tate mix)
Pretty self explanatory, the main difference between this blog's version and the bootleg version is the subtle guitar intro.

3 Rusholme Ruffians (early electric version, July 1984)
Goddard says the band originally attempted this in July 1984, several months prior to the main Meat Is Murder sessions. The very first July 1984 take stretched to nearly 7 minutes long (ding!), was much more rough/ready, and much more skiffle/rockabilly (ding!) than the final MIM track. Moz's vocal is really rough around the edges, it doesn't sound like he's fully worked out the melody or his phrasing, and the lyric itself isn't as tight as it would become. Based on this it can only be assumed the version here is the very same first take mentioned by Goddard.

4 The Queen Is Dead (original full-length unedited version)
Well, if the subtitle doesn't nail it down... the final album mix had several instrumental sections edited out at the last minute by the band and Stephen Street, as they felt it went on a tad too long. This is the full-calorie version.

5 Sheila Take A Bow (original John Porter recording, January 1987)
One of the more famous episodes in Smiths session history, this song was originally produced by John Porter, signed, sealed and delivered, ready to go. Then for whatever reason the band had a rethink, decamped to another studio with Stephen Street, and re-recorded the song (sampling some of Porter's guitar work in the process, to save time - which miffed Porter, understandably, since they never asked for permission). This original version is much more jangly, with Porter on emulated sitar, while the final Street take is all T.Rex'ed out. Honestly, I'd have to say I prefer the Street version, though that could be due to familiarity more than anything else (as I usually love Porter's stuff with Marr).

6 This Night Has Opened My Eyes (unreleased studio recording, June 1984)
The only released version of this song was recorded in September 1983 for a Peel session, at the BBC. For whatever reason the band chose to record a full-blown studio version in June 1984 during the William, It Was... sessions, but never did anything with it (it was meant to be a B-side along with the July '84 Rusholme Ruffians recording, backing a proposed-yet-binned Nowhere Fast single which also was recorded in June/July 1984). If anything, time gave Moz a chance to get a bit more confident with his vocal, but it's not significantly different overall. Still a nice find though...

7 I Misses You (unreleased instrumental, edit, December 1984)
Recorded during the final mixdown sessions for the Meat Is Murder LP. Goddard surmises that this may have even featured a Moz lyric at one point, but this is only supposition. A track that the band binned, honestly while interesting as any "new" Morrissey/Marr track might be, it would be moreso with a Moz lyric and is mostly forgettable.

8 Ask (probable first-ever take, 9 June 1986)
A very early, if not the first if Goddard's correct, run-through of this track missing most of the chiming/jangly guitars. This is a basic rough-and-ready bash it out take recorded by John Porter, with Marr and Gannon going at it on the rhythm guitars and Joyce getting all frenetic on drums. Wisely, a lot was tightened up as the session progressed; alas, this isn't the hoped-for "pre-Steve Lillywhite mix" fans hoped for (which sadly, according to Porter, doesn't exist because he never actually got the opportunity to mix it before Lillywhite got his hands on it and didn't understand the complex web of guitars Porter had built up).

9 There Is A Light That Never Goes Out (early take, September 1985)
A very early run-through with a relatively-confident Moz vocal, though it does feature the subsequently-omitted defining lyric "there is a light in your eye and it never goes out" during the final refrain. Missing most of Marr's overdubs, musically it sounds like a rough monitor mix of the basic Marr/Rourke/Joyce instrumentation, with the added synthetic string bits on the Emulator.

10 Is It Really So Strange? (unreleased studio take, June 1986)
Another track which has its only released version being a BBC session version, the known-and-loved release variant was recorded in December 1986 for John Peel at the BBC. Interestingly though, they did have a fully-recorded, mixed, release-ready take in the can, recorded during the Panic sessions in June 1986. For whatever reason it remained binned, to the point when it came time to select B-sides for the Sheila single in spring 1987, the band went to the (admittedly superior) Peel recording rather than the June 1986 studio take. This version is a bit more shimmery than the common version, and Marr's guitar is a bit more rhythmically choppy than the BBC take.

11 Frankly, Mr Shankly (unreleased Stephen Street "trumpets" recording, November 1985)
The story has it that when this song was recorded during the main sessions for the Queen Is Dead LP, with Street, there was a technical problem with the master reels for this track, necessitating an emergency call to John Porter to engineer an 11th hour re-recording in December 1985. What wasn't discovered (at least publicly), until Goddard dug it up, was that the "technical problem" was a bizarro trumpet part on the track. It does introduce an additional element of hilarity, but the final Porter recording nails it.

12 Shoplifters Of The World Unite (instrumental)
Goddard doesn't go into much detail into this track's session history, unfortunately. It's an instrumental, with some additional Marr-riffic guitars that are either obscured or wiped from the final recording, presumably due to Moz laying down his vocals on top. I do like Rourke's bass on this version however.

13 Girlfriend In A Coma (early take, January 1987)
While in studio with Street in January 1987 re-recording Sheila, the band took the time to lay down a couple takes of this track (prior to the main Strangeways sessions in April 1987). What sets this apart from the Strangeways version is the pronounced reggae-ness of the instrumentation (no, there aren't any steel drums). Goddard says the first two takes of this from the January '87 sessions featured this Jamaican interpretation, which we have here, and Moz's vocal is a bit rough around the edges (of course he'd tighten it up later on).

14 Death Of A Disco Dancer (first take, April 1987)
The find of the lot, in my book. This is markedly different from the final LP version, in that you can a) hear the song actually being structurally formed as it progresses, and b) Moz is audibly excited at the suspense and greatness of the track, this being the band's first run-through of it in studio, as per Goddard. All the musicians are in perfect synch with each other, you can just feel the bond between the members, as the song plays out. It's for things like this that I love the behind-the-scenes aspect of the recording business. If this were the only track leaked, I'd be happy.

15 Paint A Vulgar Picture (early take, April 1987)
Goddard says that this track went through several run-throughs before the final LP version, with entire Moz verses being chopped out. This doesn't feature the "missing Moz" which was compensated for by Marr's solo over that section on the LP version, but it does feature some unheard Mozwork with the title itself part of the lyric. If I read Goddard right, this take we have here would have been one of the very earliest ones.

16 Heavy Track (unreleased instrumental, April 1987)
Apparently this was recorded at the very beginning of the Strangeways sessions, before Moz turned up at the studio. It's the most musically different Smiths track of any of them, for all intents and purposes it sounds like Zeppelin (I can imagine Robert Plant wailing on top of it). Nothing shocking, nothing you'll kill yourself for not hearing over the past 23 years, it's still a nice one to have.

Website: Fan Site HERE. Morrissey Solo HERE.

Reloaded 25/May/2015 - download link in comments.

The Byrds - Bath Festival 1970.

The Bath Festival of Blues and Progressive Music took place at the Bath and West Showground in Shepton Mallet, England over the weekend of 27th and 28th June 1970. The line up included a good number of major American acts (inc Jefferson Airplane, Frank Zappa, Steppenwolf) and from the UK the likes of Led Zeppelin and Pink Floyd.

The festival suffered from some appalling weather at times and also from traffic jams getting to the venue which affected some acts. The original schedule of artists times for appearing went disastrously wrong and delays eventually meant acts appeared through both nights and into Monday morning.

The Byrds appeared on stage, in the early hours of Monday 29th June and the following from the festival archives site takes up the story - It was really late, something like 2 am . We were down the front, as the hordes of Zep fans had gone home. It was wet windy and cold, the Airplane had left the stage because of shocks from the mic's. But the Byrds were made of stronger stuff, they came on and Delivered in such a way that this acoustic set has stayed in my memory for over two decades as an amazing transcendent performance. We were of course, lucky to see Clarence White who was one of the best Byrds guitar players .What a line up ! McGuinn was centerstage , I seem to remember the band playing seated on stools. Rolling Stone said they played 8 -16 encores. Perhaps a slight overstatement , although there are lots of encores on the tape I have , but they did go down a storm with those who stayed up to watch. 

This show was the first ever Byrds acoustic show (at least that's what the band themselves state on-stage) and its amazing , a few rough edges here and there, but that's mainly due to the fact that they are really delving  into the songbook for stuff to play. They had intended to play an electric set , so the whole show was more or less an improvisation .Most of the time they sound as though they have been playing acoustic sets for years. There's a great jam on Eight Miles High that has the audience going into fits of ecstasy . There's a few funny spots, like where McGuinn announces they will play Willin' "you know, weed whites and wine ?" he asks, expecting a big cheer. Nothing . not a sausage from the audience, absolute quiet. So he asks again and there's still no response. Either we were all too numb to respond, or we just were all innocents who didn't know what he meant (and I refuse to believe that!)

At another point the compere gets up and says that they want to get Dr John on-stage soon and he is just shouted down by the audience who want more Byrds, so he eventually gives up. The show ends after numerous encores with the compere stating that the Byrds are worn out and their fingers are trashed . Mindful of his earlier verbal thrashing , he soft soaps us by saying  we are all nice people and will understand they can't keep on playing. We do, and with more cheers they depart after playing for two and a half  hours , according to the the music magazines (although my tape is only 90 mins long). The compere (Mike Raven?) is then heard saying that they will try to get the Moody Blues on and then Dr John , but apparently the Moodies were unable to play , despite being flown in by helicopter and it was the Good Dr who played the festival out in the damp dawn.

Source: Audience recording.

Sound Quality: Average/Good for audience recording of the time, mp3@192kbps.

Genre: Rock, pop, folk rock, psychedelic rock, country rock.

Set: Full Set.

Set List:

CD 1:
Its All Right Ma.
Ballad Of Easy Rider.
Willin'.
Soldiers Joy.
Goin' Back.
Baby What Do You Want Me To Do.
Drug Store Truck Drivin' Man.
You Don't Miss Your Water.
Jesus Is Just Alright.
Turn! Turn! Turn!
Mr. Tambourine Man
Eight Miles High.

CD 2:
Mary, don’t you weep.
Black Mountain Rag.
Just a Season;
Amazing Grace.
So You Want to Be a Rock 'n Roll Star.
You Ain't Goin Nowhere.
Old Blue.
Wasn't Born To Follow.
Glory Glory.
Take A Whiff On Me.

Line Up:

Roger McGuinn - guitar / vocals
Clarence White - guitar / vocal
Gene Parsons - drums / vocal
Skip Battin - bass / vocals

Website: The Byrds (fan site) HERE, Bath Festival Archive, HERE.

Reloaded 25/May/2015 download link in comments.

2011Candy - January Edition One

2011Candy takes up from where 2010FM left off, however this year we hope to expand the feature along with Beehive Candy in general. In the meantime the new music just keeps on coming and we are delighted to start of the new year with some fascinating artists and music from a variety of genres.

Background: Michael Lee’s debut EP Hold On Till Heaven is Lee’s first foray into original music, and he has a great supporting cast: John “Rabbit” Bundrick on keyboards (The Who, Pete Townsend, Roger Waters, Mick Jagger, The Rocky Horror Picture Show); Steve Bundrick handled production and added drum tracks and producer/engineer Kirt Shearer (Cake) handled the mastering. Lee plays guitar, bass and sings on the album, while exploring issues such as faith (“Believe”), vampires (“Lost In A Touch”) and the evil stench of Paparazzi (“Mind Your Own Business”) in wonderfully post-pop rock arrangements. Hold On Till Heaven is just an appetizer for what’s to come however, as the project took on a life of its own while Lee develops a yet-to-be-released full length album entitled No More Fairy tales.

When you see Michael Lee on stage he looks like a throwback to another era of rock n roll. Part rebel; part glam rock demigod, Lee swaggers onto the stage with his Flying-V guitar and takes it for his own in the name of rock n roll. Lee writes music that pleases him, and in the process he reminds us all what rock n roll was meant to be. Michael Lee hopes to inspire a new rock revolution, one fan at a time, infusing modern elements into classic rock forms to create not just songs but moments. Be a part of the moment with Michael Lee.

2011Candy Says: Others have called it retro 80's rock laced with pop, and words like mesmerising have been dropped into the chat, we hear a mixture of influences that include both David Bowie and Be Bop Deluxe, however there is enough unique elements and just great no nonsense rock guitar music going on to make this both fun and 'want some more please' rock and pop.

Listen: Believe. Web: Official.
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Background: Ziggy Franklin and James Curd's worlds collided many years ago when they were both cast in the same short film. Immediately the two knew that they would be friends. Ziggy was a unique and entertaining character whom Curd soon found out was not only a talented actor but was blessed with an amazing voice. Curd had just begun to achieve international success with his Greenskeepers singles and invited Ziggy to feature on his first full album as the host, and result was "The Ziggy Franklin Radio Show".

Through the years Ziggy has continued achieving growing recognition in the film world by being cast in films along side some Hollywood heavy weights such as Hilary Swank, Sam Rockwell, Josh Lucas, and Terrence Howard. Ziggy is always moving from one demanding role to another, so it was with great dedication and devotion that enabled this album to occur. With unguarded honesty, Ziggy put pen to paper to write the songs for the album "No Need To Fight About It".

No Need to Fight About It offers a glimpse of the period from '77 to '85 when the world had all but written New York City off, and artists had a brief moment to explore new musical boundaries. Genres were bended and blended, giving us post punk, new wave, no wave, hip hop, house and proto-everything we listen to today. Ziggy Franklin could easily have appeared at Mudd Club and No Need To Fight About it stands upright next to the greats from this golden era: Talking Heads, A Certain Ratio, Gang of Four, Brian Eno and Devo. Carefully crafted songs set to fast-paced, funk-driven bass lines and snappy dance beats atop a canvas of analog synthesizers, oddball instruments and understated production values all combine to create an instant classic - completely compatible for the modern world.

2011Candy Says: Try not to get hooked to early there is a whole album of this music and if the featured song appeals you will just love the rest. Like the previous artist there is an 80's feel within the music probably the synth and vocal styling but see that as a positive!

Listen: Shelter. Web: Label.
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Background: Every once in a while a new indie dance rock revolution pops up from the not so distant future to finish the war they started and lay claim to their territory. That revolution is right here, right now...and it's pink!

Moving Units have released a brand new single, "Pink Redemption" as part of their upcoming EP titled Tension War which will be self-released this Valentine's Day with the help of Post Modern and Indigenous.  "Pink Redemption" is a reinterpretation of "Pink Thoughts" from their previous album, Hexes For Exes.

"Not to be confused with 'Pink Thoughts', their quintessential break-up song, or Pink’s rendition of 'Redemption Song', this new track reflects the band’s ex cogitation on the difficulties of trying to 'harmonize the dualities in everyday life' — which I interpret as 'Why is life so damn hard sometimes?!?!'" - URB.com

2011Candy Says: It's just a fine little indie dance number that does exactly what it says on the tin.

Listen: Pink Redemption Web: Official.
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Background: San Diego’s Tape Deck Mountain first made waves by releasing their debut EP Sparks on the unconventional (but quite fitting for their name) medium, our old friend the cassette tape. Frontman Travis Trevisan wants it to be made clear however, that he doesn’t want this to become a “thing” and that he will be working in all formats.

Their Secret Serf EP is released today (11th January 2011) and the band have a west coast tour of the USA as follows:

Jan 16 2011 8:00P - Habitat House- San Diego, California
Jan 18 2011 8:00P - Silverlake Lounge- Los Angeles, California
Jan 19 2011 8:00P - Blank Club- San Jose, California
Jan 20 2011 8:00P - Arlene Francis Theater- Santa Rosa, California
Jan 21 2011 8:00P - Mississippi Studios- Portland, Oregon
Jan 22 2011 8:00P - Student Center Bistro @ Seattle University- Seattle, Washington
Jan 24 2011 8:00P - 1078 Gallery- Chico, California
Jan 25 2011 8:00P - The Hub- Sacramento, California
Jan 26 2011 8:00P - The Knockout- San Francisco, California
Jan 27 2011 8:00P - The Crepe Place- Santa Cruz, California
Jan 28 2011 8:00P - Muddy Waters- Santa Barbara, California
Jan 29 2011 8:00P - Prospector- Long Beach, California
Feb 16 2011 8:00P - Bar Pink- San Diego, California 

2011Candy Says: We featured the band a good few months ago and are impressed with this latest offering from the band which Lefse records have kindly allowed us to share with you.

Listen: It Goes Down. Web: Lefse Records.
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Background: Too Dark Records is set to release electro-pop duo Night Surgeon’s debut studio album Day For Night on February 15th, 2011.  The album was produced and mixed by Gabriel Espinosa (Blondie, Fischerspooner, Mobile) and showcases the bands ability to “create complex yet accessible songs that are deliciously effervescent without the throw away frivolity.” (Hayley Haufman, Oakazine Magazine)

Day For Night features nine original songs and was recorded at the Map Room Studio in Portland, OR.  The first digital singles, Brick Moon and Roman Error, were released in October and have already created a buzz within the blog community. Peter Menniti of Baeble Music told readers to, “keep your eyes and ears open for big things to happen” regarding Night Surgeon.  Also, the single Color Me Black and White has been featured on Portland’s KNRK’s HD radio station. The two members of Night Surgeon met in Boston while attending Berklee School of Music. Their sound is electronic and reminiscent of new wave and synthpop, but with an added layer of live drums and guitars.  Comparisons have already been made to Depeche Mode, Cut Copy, and Placebo, and while their music is very dense and layered in sound, the band still maintains a heavy drum and bass dance feel.

The band is currently gearing up for an album release show, slated for February 16 at the Someday Lounge in Portland, OR, followed by a west coast tour in the Spring.

2011Candy Says: We featured Night Surgeon back in November and were really impressed by the two tracks they sent us. Having now heard the entire album our enthusiasm for the band has grown further. Definitely one to watch out for in 2011. 

Listen: Brick Moon. Web: MySpace.
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Background: Music often goes beyond melodies, harmonies, arrangements, lyrics and live performances. There's that one thing that no artist in the world can manufacture formulaic-ally, and that something is energy. This invisible thing that comes directly from the veins, throats, and pores of the musician seeps from Brazil’s most promising indie-rock band, Some Community. Forming in 2009 the five piece that met in Prep School, has been combining delicious songs with an exciting presentation, and will drop a musical bomb on this years SxSW, so get ready.

The band consists of Juliana Vacaro who delivers charming and delirious vocals as well as: Veronica Vacaro (keyboards and guitar), Marco Frugiuele (percussion), Gabriela Gonzalez (guitar), and Fernando Fernandes, who brings lead guitar to the mix. This clashing of talent and instruments is augmented and punctuated by an array of casiotones and melodica (played by all) in arrangements sweet enough to give you a cavity, yet hard hitting enough to knock that tooth right out.

Some Community will be releasing a brand new single later this month, and will be traveling all the way to Austin for this years’ SxSW Festival! 

2011Candy Says: We are seriously loving the featured song from their 2010 EP RinoRino and eagerly await the new single. Excellent, vibrant indie power pop that has us jigging away!

Listen: Random Words. Web: MySpace.
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Background: Keith Canisius, American born (Cambridge, MA) living in Copenhagen, Denmark is determined to create beautiful, mood elevating, dreamy pop music sometimes with an explosive edge, and other times with a smooth and tender bedroom.  Stubbornly he’s been practicing and learning how to produce his music on his own, putting out records every year since.  Keith Canisius hates and loves genres so much, that he has decided not to worry about them anymore and just make whatever music he wants.  His newest album This Time It’s Our High released on Darla Records is his proudest work so far. The hard work and late night bedroom dreams are finally starting to redeem themselves he feels.  After releasing 4 albums, an EP, and contributing to various remix and compilation albums in 4 years, Keith Canisius is starting to wake up from a long dream where This Time It’s Our High is sounds like an interesting transition to a new one.

Keith Canisius is a self-taught musician and producer, who quit high school music and guitar lessons early on because he hated the rules and systems forced upon him.  In his work anything goes if it makes you let go.

2011Candy Says: There is something about Scandinavia and new music these days, we have big upped a good number of artists from Sweden and clearly it's no different in Denmark if Keith Canisius is anything to go by. Wonderful dreamy music, check him out.

Listen: Peoples Faces. Web: MySpace.
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 Background: (from Paper Garden Records) Brace yourselves, because nothing can get cuter or sweeter than this Dutch-French brother/sister duo The Narcoleptic Dancers and their infectious sugary sweet pop songs. This is the kind of cavity inducing sweetness that your dentist would drill you for.

With their track 'Not Evident' from the EP of the same name being released in Europe earlier last year, it IS evident that the band's time to break into North America is rapidly approaching.

The Narcoleptic Dancers take you on a care-free stroll into a world full of animated chirping birds and quirkilicious personalities... or is that just us?  Their simplistic instrumentation packaged with melodic vocals and endearing lyrics join harmoniously together to create a sound born to bring a smile to your dial. The Narcoleptic Dancers were first brought to our attention by French-based labels Bleep Machine & Capitaine Plouf and has been wearing off the digital ink in our iTunes player ever since.


2011Candy Says: We can't argue with 'The Lovely Hearts Club' at Paper Garden who sent us this wonderful tune. It just makes you feel good, simple as that.

Listen: Not Evident. Web: MySpace.
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Background: Tacoma, WA’s The Fun Police new album ‘You Better Run’ was recorded and produced by Conrad Uno (Mudhoney, Presidents of the United States of America) at Egg Studios in Seattle, WA. The Fun Police came equipped with a versatile arsenal primarily consisting of a viola, accordion, several vocalists, guitars, bass, drums, djembe and other secret weapons to create their unique blend of Rock, Folk, Punk, Country, and Reggae sound. The CD is officially out and for sale at cdbaby.com (physical and digital download), iTunes, and Amazon.

Of note, The Fun Police are back in the studio of their label, Hourglass Records, already working on a second album.

2011Candy Says: This is a great band to finish our first 2011Candy feature with! How can we describe The Fun Police? Well fun obviously and a little like a whirlwind has entered the room done it's thing and left you wanting another one. Bags of energy and some great songs.

Listen: Gringo Meringue. Web: Official.
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2011 Candy - Listen:

The Black Crowes - Southern Harmony Demo's

This is The Black Crowes during the making of their second album 'The Southern Harmony and Musical Companion' with some of the tracks close to the final album release versions and a few at an earlier stage.

The Black Crowes remain one of my all time favorite live bands and their studio offerings have never disappointed.On three of these songs I had to go back to the official release to check for any differences, there are, but not that much.

The Southern Harmony and Musical Companion is the second album by the The Black Crowes, released on May 12th, 1992. It was the first record by the band to feature Marc Ford on lead guitar, replacing Jeff Cease, who left the year before.

It features four hit singles; "Remedy" ( number 1 on the Album Rock Tracks chart for 11 weeks), "Thorn in My Pride" (number 1 on the Album Rock Tracks chart for four weeks), "Sting Me" (number 1 on the Album Rock Tracks chart for two weeks), and "Hotel Illness" (number 1 on the Album Rock Tracks chart for six weeks). It was a record for an album to feature four album rock number-one hits (previously set by Tom Petty in 1989, with three). The album itself reached the top spot of the Billboard 200 album chart, propelled by the success of these singles.

In 2006, the album was ranked number 100 on Guitar World magazine's list of the greatest 100 guitar albums of all time. 

Source: Studio sessions.

Sound Quality: Very good stereo mp3@192kbps.

Genre: Blues rock, southern rock.

Set:  Studio Sessions.

Session List:

1. Remedy (instrumental).
2. Black moon Creepin
3. Bad Luck Blue Eyes Goodbye
4. Hotel Illness
5. Darling Of The Underground Press
6. Sting Me
7. Thorn In My Pride
8. No Speak No Slave
9. Sometimes Salvation
10. My Morning Song
11 / 12. Bonus live jam tracks.

Website: Official HERE.

New file link in comments below - Re-uploaded 2012 (Stealth project).