Pink Floyd - The Bootleg "Under Construction" vs. The Wall Immersion Box Set

Under Construction

What Remains Unreleased

While I can’t figure out when Under Construction was “released,” some of the artwork informs us that most of this material ended up being traded around in 1999. Then in 2012, they re-released The Wall in an “Immersion” box set, containing 2 discs full of demos. You’d think that’s enough space to fit all of the material in this demo in, and you’d be right. However, there still remains some treasures unreleased found on this album. I went in and found what is and what is not released, or was edited up.

01 – In the Flesh?

                Released on Disc 5, track 36.

02 – The Thin Ice

                Released on Disc 5, track 37.

03 – Another Brick in the Wall

                Released on Disc 5, track 38 with more of an intro and the beginning of The Happiest Days of Our Lives at the end.

04 – The Happiest Days of Our Lives

                Released on Disc 5, track 39 with a shorter intro, which is found on track 38. Contains more outro found on the next track on the bootleg.

05 – Another Brick in the Wall

                Released on Disc 5, track 40 with less of an intro, which is found on track 39.

06 – Mother

                Released on Disc 5, track 41. Metronome not present.

07 – Goodbye Blue Sky

                Released on Disc 5, track 26. No ticking in the beginning.

08 – Empty Spaces

                Released on Disc 5, track 29.

09 – Young Lust

                Not released.

10 – One of My Turns

                Released on Disc 6, track 16.

11 – Don’t Leave Me Now

                Released on Disc 6, track 17.

12 – What Shall We Do Now?

                Released on Disc 6, Tracks 18 and 19 (Empty Spaces & Backs to the Wall)

13 – Another Brick in the Wall

                Released on Disc 6, track 20.

14 – Goodbye Cruel World

                Released on Disc 6, track 21.

15 – Is There Anybody Out There?

                Released, with more of an intro, on Disc 6, track 1.

16 – Vera

                Released, with more of an outro, on Disc 6, track 2.

17 – Bring the Boys Back Home

                Released, with more of an intro, on Disc 6, track 3.

18 – Is There Anybody Out There?

                Partially released at the end of Disc 6, track 2. The second half remains unreleased.

19 – Is There Anybody Out There?

                Unreleased.

20 – Comfortably Numb

                Semi-Released on Disc 6, track 5 and 15. Both tracks (possibly) use the same instrumental backing, with different vocals for each. Bootleg’s track 20 contains the guitar solo added in on track 15. Track 20 also includes different vocals.

21 – Hey You

                Released on Disc 6, track 4.

22 – The Show Must Go On

                Released, without the footsteps in the beginning but with a proper ending, on Disc 6, track 10.

23 – In the Flesh

                Released on Disc 6, track 6.

24 – Run Like Hell

                Unreleased instrumental without crowd chants at the end.

25 – Waiting for the Worms

                Released on Disc 6, track 8.

26 – Stop

                Unreleased.

27 – The Trial

                Unreleased.

28 – Outside the Wall

                Released, with a longer intro, on Disc 6, track 13.

And there you have it.

If you ever want to listen to the Under Construction album, I could possibly, maybe give it under request. No links will be on this website for that stuff, because the copyright police do not like that.

(Album) Flowers

Flowers

Released
June 26, 1967

How do I classify this? And where do I start?

Flowers is technically a compilation album, but it’s more than that. Not only does it contain unreleased songs from the Aftermath sessions, it contains songs only released on British editions of albums. It’s an album to tie up loose ends, and that’s just fantastic. It only took until 1967 for this to happen. I think the most important part of this album is that every album after this remained the same between regions. And that’s just wonderful.

An Ode to Loog

Many other things happened. In the Rolling Stones timeline of albums, this is the very last album to be produced by Andrew Loog Oldham (and that’s only because it’s an album of old recordings), a relationship that started with The Rolling Stones, staring Oldham and the Stones’ business manager Eric Easton as producers, before The Rolling Stones No. 2 became Oldham’s lead producer role.

The producer job was his first. Before the Rolling Stones, he was more of a publicist, promoting both Dylan and The Beatles in 1963. Oldham was also the one to sign the Stones up to Decca, trying to get an “anti-Beatles” band (and rightfully so, since Decca turned down The Beatles.)

Outside the band, Oldham lived on drugs and had a bad-boy reputation, as in he had a bodyguard to threaten people. The drugs part of Oldham’s life was one of the reasons for his departure with the Stones. Before his official departure, however, he had sold all his management position to Allen Klein, the master of stealing everything The Stones wrote pre-1971 and then defrauded The Concert for Bangladesh GEORGE HARRISON TRIED TO PUT ON A NICE CONCERT AND IT IS STILL ONE OF THE BEST AND YOU DID THAT.

How do The Rolling Stones see Andrew Loog Oldham now? According to credible source Wikipedia, who’s page on Andrew Loog Oldham is filled with missing citations, has this quoted from The Rolling Stones’ website, a quote that I couldn't find:

“Accounts regarding the value of his musical input to The Stones recordings vary, from negligible to absolute zero.”

The album has several things to note in it’s selection of music:

• Songs from British albums that didn't make it anywhere else in the American catalouge.
• An alternate mix of Out of Time, originally released in 1966.
• Songs from the Aftermath sessions saw their first release: My Girl (with strings overdub in 1966), ‘Take It or Leave It”, “Ride On, Baby” and “Sittin’ on a Fence”
• Brian Jones, master of exotic instruments, on a Koto.

So I’ll be writing some things on the new songs, and even less on the already-reviewed songs.

Ruby Tuesday

It’s on this album to draw attention. Both released as a single and in the American edition of Between the Buttons. Still as beautiful as before.

10 / 10

Have You Seen Your Mother, Baby, Standing in the Shadow?

Less popular than Ruby Tuesday, although on the album for draw value. Originally released on September 23, 1966 in the UK, 24th in the US, and again on Big Hits (High Tide and Green Grass). Still hard rocking. With those little trumpets.

8 / 10

Let’s Spend the Night Together

I guess I should expect this: it’s not a new album. It’s a compilation of good songs. At this point, however, maybe these songs are the main draw, and the “new” songs are a “thank-you” for buying. I was thinking it’s the other way around. Originally released in 1967, and then again in America on Between the Buttons. A bit weird separating this and Ruby Tuesday in exchange for a lesser known Have You Seen Your Mother, especially since these two were double A-side and fresh. The song, of course, is still the same.

9.5 / 10

Lady Jane

My sweet dulcimer. Released on both regions of Aftermath, and again on July 2, 1966 in the US as a b-side.

8 / 10

Out of Time

Originally released on Aftermath, this song (apparently) has a different mix than Aftermath. But it’s ok, because the US never got this song on their Aftermath. So now we have two versions of this out there, but it’s fine because the original mix was two minutes longer. The one thing I didn't like about the original was that it ran too long, and here we go, The Stones do know what’s right. So guess what, I’m giving this a higher rating. Because I like it.

9.5 / 10

My Girl

Now, My Girl is a great song for soul and blues artists. I like this song from Otis Redding. I like it from The Temptations. I don’t like Phil Collins’ version of it. The Stones version is pretty good. Thanks to headphones, the strings really do seem out of place. But other than that, I think the Stones did a good job on this cover. And that’s saying something because I've always seem to hate on their soul covers. There’s enough blues on this for the Stones to make it work. Jagger doesn't overdo it, and the backing vocals just add that soul flavor to it.

8 / 10

Backstreet Girl

Released on the British Between the Buttons, and brand new to the United States. This is a song I had trouble explaining last time, but I like how the mix of soft acoustic guitar and accordion brings in ease of mind. And Jagger is just soft and wonderful.

9 / 10

Please Go Home

Coming out of Backstreet Girl we go into another Between the Buttons, new-to-US song, but this time a hard rocker with tremolo guitar and ghostly echo vocals every time the title is sung. Some say the Stones’ first taste of psychedelic rock, but I say not yet.

8.5 / 10

Mother’s Little Helper

Great idea to throw this in here to keep interest in the album. I know my interest was starting to wane. On paper though, it does seem weird to separate it from it’s single brethren on the A-side, but I think it really draws out the power of this song.

10 / 10

Take It or Leave It

British Aftermath release, and it’s only here to tie up loose ends and to remind people this existed. Because I forgot. It’s aged well, and the organ keeps the song up to par with their current product, even if it is pushed to the back. The guitar has been doing much of the same as the rest of the songs without a big guitar part. But those drums or nice. (this larger talk was brought to you because I wrote nothing on it back in Aftermath. I am sorry.)

8.5 / 10

Ride On, Baby

This song makes more sense on this album than it would on Aftermath somehow. Probably the harpsichord. And speaking of exotic instruments, here’s the Wikipedia list for Brian Jones’ instruments on this song: Harpsichord, Marimbas, Autoharp, Congas, Rickenbacker 360/12, backing vocals. For that effort alone, this song deserves more than a throwaway release on Flowers. But to fit everything together with a rocking drum beat, it’s a shame it wasn't released earlier.

9.5 / 10

Sittin’ On a Fence

Originally given to Twice as Much, which they released in 1966 for a top 40 hit. It’s a very simple song, with the lead acoustic, played by Jones, copying the vocals of Jagger while doing it’s own thing, before giving way to a harpsichord because the limit for harpsichord hasn't been crossed yet. Other than that, it’s a nice acoustic piece to end the album.

9 / 10

107.5 / 120

Now time for my only complaint: this album is a US only release (until 2002.) That means that despite the catching up it attempts to do, it creates more missing songs for the UK.

But let’s look past that, like we've been doing for the rest of these albums that differ between US and UK. For a compilation album, it’s a must have. The Stones more recent hits, mixed in with “new” releases and semi-hits (Songs that weren't really hits per say, but songs that were delicately put together and that have enough power to hold up.) Tie this up with Big Hits and you've got a fantastic set of Stone songs, and enough to cover the entire Stones catalogue up to this point without buying actual albums.

And why wasn't You Better Move On not on here.

(Album) Between the Buttons (UK)

Between the Buttons (UK)

Released
January 20, 1967

Between the Buttons, released before the Rolling Stones’ main venture into Psychedelic music and after their releases of Rock and Roll and Rhythm and Blues. It’s an album in a tough spot, and even worse, the album was not even promoted properly. This results in Between the Buttons being almost forgotten, and even worse, without much of a backstory.

The only backstory this album has is that the songs were recorded here and there, and they had overdubs added on over and over again, creating an art easel with so much paint added on that the original idea was lost. However, what we do have is an album with a focus on perfection. Were they close to this idea? According to Mick Jagger himself, they were far from it.

The other part of the backstory comes from the album itself and not the songs. The album art comes from some fancy homemade filters and Brian Jones being a dick and not complying with the camera man. For some reason, the idea of Jones not caring is the exact opposite of what the “ethereal, druggy feel” is supposed to be.

Oh, and Jagger he hates everything about the album except for Back Street Girl, a song that ended up being excluded from the US release. Tough times for Jagger.

Yesterday’s Papers

(Every single song was credited to Jagger / Richards)

Although credited to Mick Jagger and Keith Richards, this song is solely written by Mick Jagger. Supposedly, this song is about Jagger’s ex-girlfriend Chrissie Shrimpton, who broke up after she caught Jagger cheating (she would later attempt suicide through an overdose.. Probably many times. The song also contains a repeating theme for Rolling Stones songs about women, a certain mistreatment and idea that women are disposable.

Finally, we can get to the music. I just needed all the backstory I could get. This song gives us a peek at where The Stones are going to, featuring vibraphones and harpsichords. There’s a couple of things to note on this song: of course the vibraphone with an echo, but also and a semi-solo played by Richards on a distorted guitar. On top of everything is Jagger’s vocals, soft and steady throughout the song (I’ll also mention I love the harmonizing in the backing vocals.) Yes, the harpsichord is there, but it’s not in a big enough role to really mention. All together, it makes for a nice song and a different, fresh sound.

9 / 10

My Obsession

Backstory? Mick Jagger kinda likes this song.

The first thing my ears were drawn to was the heavy bass, that I really wish was a little more prominent in the mix. The guitar mixes well with the bass as well. There’s not much else to say about this song, unfortunately. It has potential. I can see Jagger having fun with this song, but other than that there’s only potential and nothing else.

7.75 / 10

Back Street Girl

It’s a very interesting song in all the good ways. The lyrics can be interpreted as another attempt to put women down, but we’re going to look past that and instead try to explain the feeling of this song. The vibraphone comes into play, but it’s an accordion that makes this song, as well as a soft acoustic guitar. The song is something completely unexpected from the Stones, and instead sounds like something someone would hear in the streets of Italy. It’s peaceful, it’s new, and it involves a peaceful and somber Jagger, and for that I appreciate this song.

9 / 10

Connection

It’s a rock and roll song with a prominent piano and a simple rhyme scheme. As simple as the idea sounds, it works very well, and is a very well done rock song without it getting out of control. And a very good snap back into reality from these different songs.

9.5 / 10

She Smiled Sweetly

The organ this song has cannot help this song. Jagger’s vocals are weak, and the length is where it should be, but other than that the song is pretty average.

7 / 10

Cool, Calm & Collected

This song brings out some neat noises, with a great bass line, a guitar that rides along doing it’s own thing, and the piano that has followed all of these songs brings a kinda ragtime feel, which gets even better when a harmonica comes in and speeds the song up to the end.  Also, kazoo solo. We’re at that point in music where we’re getting kazoo solos, and I love it. It’s a rock song with a foot-tapping beat, and while I don’t care much for the chorus, It’s a fantastic song.

9.25 / 10

All Sold Out

It’s a weird song, to say the least. Weird in the composition sense. The guitar sounds very nice, and the drums finally get a chance to sound good. If only this song wasn’t mixed badly, because I’m sure there was a flute somewhere. It’s also not an impressing song. Good song for filler though.

7.75 / 10

Please Go Home

It’s an odd mix of blues rock and psychedelic influences. Two guitars play a hard, distorted beat while the drums keep on playing their rock noises. The chorus plays with echo, the verses play with blues, and Brian Jones plays with an oscillator. It’s fun to be had, although it’s nothing to get excited over.

8.5 / 10

Who’s Been Sleeping Here?

I have a question of my own, why does the first guitar sound like it was recorded poorly? The song features a small harmonica, and anything else (like that piano) has been mixed in with everything else. Its got silly lyrics and a bass that begs to be heard, but that doesn't mean it’s interesting.

7 / 10

Complicated

The song starts off with drums before going into a fuzz guitar. The most “psychedelic” sounding song in the album, with an organ that plays something beautiful, but at the same time it’s the quietest instrument in the song, and that’s a shame. Besides that, Watts plays a strong drum beat, the both sets of vocals fit perfectly, and the song flows perfectly.

9 / 10

Miss Amanda Jones

This song is easily compared to the songs that The Stones used to play early in their career, with a guitar playing fast power chords and a second guitar doing short riffs. Once again, an organ comes into play, but it’s hardly noticeable, and once again, that’s a shame. A great song.

8.5 / 10

Something Happened to Me Yesterday

Now this is a magical song. Not because it’s about LSD, no shh ignore that for now. There’s several strange things about this. It contains nonchalant whistling, Brian Jones on an amazing saxophone (accompanied by a bright brass section, and Brian Jones doing vocals on the chorus. It’s quite an amazing composition, with so much things to note. It really plays on the bright LSD-type feeling, both in lyrics and style of the song. And, a shock, everything in the mix works. Even Keith Richards, who fits right in with his lead vocal introduction. And finally, we get a spoken exit, which ends the album in an elegant manner, if only the whole album felt like this.

9.5 / 10

I entered the album with low expectations. Several things were stacked against this album: Jagger hating it, me being told it’s a bad album, and I haven’t even heard of the songs beforehand except for Yesterday’s Papers. What shocked me, however, is finding out this album is an underlooked Stones album sandwiched between two different periods. Their “transition” period, really.

Almost all the songs are unique enough and strong enough to hold their own. Between the dabbles in psychedelic / baroque and heavy filters, the album rose above my expectations going in and had solidified it as one of my favorite Stones albums since Aftermath, and that’s a large statement. The album is not without it’s problems, which mainly stem from the mixes of the song. I guarantee the original, pre-remastered songs were much worse off, but most times certain instruments are just lazily added into the song. The drums, which have been very strong as of lately, are barely noticeable. Interesting instruments, like the harpsichord and the organ, disappear in the mix despite them having an important part in the song.

That being said, the songs are either good or bland. Mick Jagger doesn’t sound as inspired as usual, and everything sounds so one-leveled. This is good for some songs and kills other songs.

92.75 / 120

The album is very nice and unique, but none of the songs really make a lasting impression. At the time of listening, however, it makes for a nice experience. All together, it’s a great mix of songs with a large selection of what to listen to.
I can't say I recommend it, though. The album won't be for everyone, and especially not for the casual Rolling Stones fan (I think, because by that I mean people who only ventured into their hits.) But if you're looking for something new, look no further.

(Single) Ruby Tuesday / Let's Spend the Night Together

Ruby Tuesday / Let’s Spend the Night Together

Released
January 13, 1967
January 14, 1967

Probably the most interesting Rolling Stones release so far for the UK, and I would say the same for the US if it wasn’t for Got Live If Ya Want It!. As bad as it is, you can’t deny that there’s a lot to say about it.

The reason for me saying that is that this release is a double A-side single. An interesting concept, coined by The Beatles for use in their single Day Tripper / We Can Work It Out, is not when both sides are hits, but rather when both sides were predicted to be hits (and promoted as such.) While before Day Tripper there were times when the B-side of a single charted higher than the A-side, they were still promoted as a b-side (but that probably changed when the record company realized they could make even more money from both sides.)

The Rolling Stones have every right to promote this as a double a-side. This single is special, and I’ll try my best to give you every piece of information on it that I care to read.

Ruby Tuesday

(Jagger / Richards [and Brian Jones])

A song written by Keith Richards (with no involvement by Jagger), and composition by Brian Jones,  about his current girlfriend Linda Keith. At this time, she had left Richards and went for Jimi Hendrix of all people, and started to venture with drugs. Richards, whom I’m sure had many encounters with certain  narcotics at this point, decided the best way to get her back is to tattle to her parents. Instead of going up to Richards and expressing her gratitude, like Richards probably expected, it gave her another reason why leaving him was a good idea.

Now we can get into the song itself, and what a song. And how do I even explain the beauty? It’s even harder to explain the way it was made. It involves Keith Richards and Bill Wyman on the same contrabass, accompanied by a piano played by Brian Jones and the Jagger’s vocals (as well as a recorder, also played by Brian Jones.) The song goes between these beautiful, soft verses to a soft rock chorus with drums and a slight 12-string acoustic. The instruments flow so naturally together, even the recorder is played to perfection and never steals the show. The contrabass shares lead to Jagger’s tender vocals during the verses, then makes way for the soft rock chorus (and a real bass.)

Ten out of Ten.

Let’s Spend the Night Together

(Jagger / Richards)

This song contrasts the other song, but has another interesting tidbit - a couple police officers noticed the front doors to the recording studio were open and walked in to see if everyone was ok, and Jagger ended up using their batons for a musical instrument. Finally, radio stations decided not to play this song too much because of sexual implications, but that really should be expected by The Stones at this point (but for some reason in 2006, China banned the use of this song during their performances.)

The song’s main focus is in it’s piano, played by Keith Richards. Sneakily played by Brian Jones is an organ, and despite having a relatively small part in the song, makes the song. The Watts’ drumming is fantastic, as it’s been for a while now, and it really carries the song along in a part as equally important as the piano. And finally, the vocals are as rocking as a rock and roll song should be.

However, I can’t help but feel something is missing. Maybe because it’s being overshadowed by Ruby Tuesday. Even without Ruby Tuesday, it just sounds like a rock song to me. Maybe it’s because Richards plays the bass and Bill Wyman is nowhere to be seen (that’s not the reason, but I just wanted to point that out.) Whatever it is, I just can’t put my finger on it. It’s still a great song, but I wouldn't call it perfect in any means (except in Watts’ drumming.)

9.5 / 10

I can safely call this single the greatest single the Rolling Stones have ever produced to this point. While I prefer several Rolling Stones songs over Let’s Spend the Night Together, the album itself has enough punch and power to be fantastic and trump other Stones singles. The publicity from their Ed Sullivan performance and the #1 spot in the charts for Ruby Tuesday only helped this single tenfold.

19.5 / 10 I would, and will, highly recommend

Also speaking of Ed Sullivan.

January 15, 1967:

The Rolling Stones go onto Ed Sullivan show to perform their recent release, and hit, Ruby Tuesday and Let’s Spend the Night Together. Since the song was too sexual for radio, mean old Ed Sullivan was also in the same boat and asked Jagger to change the lyric. Also, to play the songs with pre-recorded instruments to mime to (but live vocals.)

First is Ruby Tuesday, and he band is dressed to the fashion of 1967, and Brian Jones is forced to mime a recorder and Keith Richards is forced to the piano miming. In all honesty, Brian Jones does not look well. Watts is also not impressed, and I can’t say I like the idea of Jagger doing his flashy performance during this song. But I guess it’s what the people want. Actually, I hate it for this song.

Meanwhile Keith Richards plays his lonely contrabass. By himself. In sub-par synchronization with the music. And everytime the camera shows Charlie Watts, he looks like he wants to kill someone. Or be somewhere else, it’s the same face really. But I’d want to kill someone if I had to pretend to hit the cymbal without actually touching it. It’s hell.

Going into Let’s Spend the Night Together, I feel even more sorry for Charlie Watts. Also, everyone has their instruments again. And Jagger dances, but it’s acceptable now because it’s not a soft, sweet song.

Jagger rolls his eyes when he has to sing “Let’s spend some time together.” Because censorship. But he manages to throw in the original lyric, because  rebels. And the song cuts off and everyone looks silly. Because time restraints.

Finally, while we don’t have this on film sadly, I can tell you the slipped lyric wasn't the reason The Rolling Stones were asked not to return. It was because the next time they went on stage, they were dressed as Nazis. And now you know, and knowing is half the battle.

Decided to throw that little bonus in there for reaching this point.
And yes, I call it a contrabass. It's the proper way of calling it, and not a double bass. I've had an orchestra background for 7 years now, so go away.

So Much Younger Than Today (No download links, keep searching my brother)

*This is part of my ongoing, personal project of listening to every Rolling Stones material released, posted onto this blog for everyone to read and for opinions to flourish. The rating doesn't mean much, because I hate ratings, but might as well.*

I died, JP came back, but he caught Liperson’s disease. So here is this piece of nothing,first draft, hot off the google docs(Drive, but not the Cars song)  

(I apologize for breaking the track by track breakdown, I just feel like it would take away from this particular album.So, no rating, I'm sorry)

I am doing a review of a radio broadcast, and just let me give you the gist of the review : I am gushing hard over this on this album.

I have really dug this recording for a very long time. If they released this instead of Got Live, I wouldn't of minded the quality of the recording.

Not to say it is bad, I actually like all the audio fuck ups, like the weird stereo feedback on Mother’s Little Helper, or how you can hear the audio guys move. I dig it. In all honestly, considering the screaming crowd, the limitations of soundboard and speaker/PA systems, it a miracle that this recording is as good as it is.

The performances are actually really good, I would of thought for the final concert of the American tour, The Stones would just phone it in, and I wouldn't blame them for it.

They are energetic, and Keith Richards strums like a mother fucker on Paint It Black, and I love it. Jagger is a dick in a charming  way, he messes with the audience, and when he mocks Charlie Watts, Watts just says they are going to play a song they just played. Unfortunately, Wyman’s bass is a little muted, which really takes away from 19th Nervous Breakdown, but ‘tis life.

I found this recording to be interesting, just for the fact that these are fresh Aftermath tracks ( and if you read my Aftermath review you would know that I have a stiffy for it), so they play a lot of new tracks. They play Paint It Black without a stair,which bugged me for a while, but I wouldn't carry around a sitar just to play one song on it, so it’s fair that Jones plays the main line on guitar. The tone of the guitar is pretty good anyway.They do keep the dulcimer for Lady Jane, thankfully. Mother’s Little Helper is might be my favorite track off this one, Jagger just doesn't care with the vocals and Jones is fucking about with feedback, it’s great.

Tracks:

1.Not Fade Away (Has announcer intro)

2.The Last Time

3.Paint It, Black

4.Lady Jane

5.Mother’s Little Helper

6.Get Off Of My Cloude (That’s just what the track spells Cloud)

7.19th Nervous Breakdown

8.(I Can’t Get No) Satisfaction

You can say that this is a really brief and short concert, but it adds to the charm for me. Now I won’t lie, it is short, almost to a fault. It is barely half an hour. This was common back then though, and I can imagine that the radio station was only going to broadcast so many songs anyways.

So yeah, I love this broadcast.