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The Flying Party is Here (version 2)*

3 Oct

*Don’t look for version 1 because I didn’t write about it (yet).

The Flying Party is Here is what came in-between The Power of Suck and Under the Bushes, Under the Stars. There are a couple versions floating about, and apparently both were close enough for release that some promo tapes exist. Here’s a handy guide to help you keep this craziness straight… and the great thing about this version of the album is that an owner of an original tape copy has digitized it and made it available here.

The Flying Party is Here (version 2)
alt. titles in red, released titles in blue

  1. Fireball (Big Boring Wedding)
  2. Ex-Aviator (Why Did You Land)
  3. Unbeknown Meters (A Life in Finer Clothing)
  4. He’s the Uncle
  5. Deaf Ears
  6. The Official Ironman Rally Song
  7. Cocksoldiers (Sheetkickers)
  8. Systems Crash
  9. Post-Everlasting (Beneath a Festering Moon)
  10. June Salutes You
  11. Drag Days
  12. Bender’s Bluffing Muscles (unreleased)
  13. Delayed Reaction Brats
  14. It’s Like Soul Man
  15. The Key Losers
  16. Redmen and Their Wives
  17. Newton’s Hopeless Marriage (Take to the Sky)
  18. Don’t Stop Now
  19. Stingy Queens (The Ash Gray Proclamation)

Flying Party, much like Not in My Airforce, is a hodgepodge of studio-recorded tracks and some lo-fi home-recordings. The album hues slightly closer to the spirit of Alien Lanes than Under the Bushes does, thanks to short, punchy tunes like “Systems Crash,” “June Salutes You” and “Delayed Reaction Brats.” Power of Suck holdovers like “Redmen and Their Wives” and “Official Ironman Rally Song” supply a dose of melancholy beauty.

A big chunk of the album is made up of the songs that comprise the final six tracks of Under the Bushes. These are the songs that were released as a separate disc on the vinyl version, and unceremoniously tacked on to the end of the CD version. The story is, apparently, that Matador was so disappointed that these Flying Party tunes didn’t make the final cut on UTBUTS that they insisted on adding them to the album.

Most of the other songs ended up as b-sides or EP tracks, with only one remaining officially unreleased: the brief Tobin Sprout tune “Bender’s Bluffing Muscles.” “Beneath a Festering Moon” (which is a slowed-down version of “Pink Drink”) was released on a compilation, and “The Ash Gray Proclamation” ended up on Not in My Airforce.

Though it’s a very strong album (one of the best shit-canned albums, in my opinion), Under the Bushes still wins in terms of consistency, quality, and freshness. I imagine the leftover Power of Suck tracks seemed mighty stale at this point, especially to someone who had just written “Cut-out Witch” and “Underwater Explosions.” Though I would have shared Matador’s concern when he cut songs like “Drag Days” from the album, it’s understandable that Pollard decided to farm this batch of songs out to smaller releases and let his new stuff take center stage.

It’s interesting to consider how ill-suited Pollard was, even back then, to be beholden to a record label’s schedule of one album a year. Suddenly, GBV was a hot band, and Pollard is officially a full-time musician. As an artist, he’s constantly moving forward, pushing out new product to make room for something new. He had time to write and record a ton of songs, but couldn’t release it all in a timely fashion. Who knows what would have happened if he’d been able to self-release records at that point… maybe The Power of Suck, The Flying Party is Here, AND Under the Bushes would have all come out in some form, in the same year! But it just so happened that he had a long delay in which to endlessly tinker with the the follow-up to Alien Lanes, leaving behind a long trail of shit-canned goodness. 

Flying Party version #2 Track breakdown

Under the Bushes, Under the Stars
The Official Ironmen Rally Song
Don’t Stop Now

Under the Bushes bonus tracks
Big Boring Wedding
Sheetkickers
Drag Days
It’s Like Soul Man
Redmen and Their Wives
Take to the Sky

Plantations of Pale Pink
Systems Crash
A Life in Finer Clothing

Split with Superchunk
Delayed Reaction Brats
He’s the Uncle
Key Losers

The Official Ironmen Rally Song single
Deaf Ears
Why Did You Land?
June Salutes You

Compilation
Beneath a Festering Moon

Not in My Airforce
The Ash Gray Proclamation

Unreleased
Bender’s Bluffing Muscles

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Learning to Hunt (1988)

23 Oct

Learning to Hunt, an album that was mixed, mastered and ready to go into production before being cancelled, would have been Guided by Voices’ third album (it’s kind of funny for me to imagine a time when GBV had only three albums). Five of its tracks ultimately made it to Self-Inflicted Aerial Nostalgia, the rest mostly ended up on Suitcase 1 or King Shit and the Golden Boys.

1. Taco, Buffalo, Birddog And Jesus
2. Blue Gil
3. Slopes Of Big Ugly
4. Paper Girl
5. Turbo Boy
6. Soul Flyers
7. Let’s Go Vike
8. Dust Devil
9. Uncle Dave
10. Settlement Down
11. The Qualifying Remainder
12. Liar’s Tale
13. We’ve Got Airplanes
14. Short On Posters

As it stands, the band’s pre-Propeller albums are overshadowed by their more famous work from the 90s and onward. It makes sense, of course — Propeller is the album where the band’s own unique aesthetic solidified into something truly great — but I can’t help thinking of the minds that would have been blown to discover this completely unknown band from Ohio making records like Self-inflicted Aerial Nostalgia back in the 80s. Even the long-lost Learning to Hunt, left to gather dust in some Dayton schoolteacher’s closest for 20 years, is a remarkable work, charming for its flaws and mesmerizing for its strengths. Music that strives to escape its modest means, made by a band with talent, enthusiasm… and not much else.

Learning to Hunt is less darkly psychedelic than GBV’s first two albums, opening with the easy-going and whimsical “Taco, Buffalo, Birddog and Jesus” which immediately washes away the serious tone of their first couple of records. It’s not an overly silly or very playful record, but Learning to Hunt does seem more natural, like the band has dropped some of its previous affectations and is finally cutting loose. Pollard lets his his mid-western accent assert itself slightly, and there’s less post-punk/British invasion influence in favor of a more “classic rock” feel to some tracks (an influence that was mostly jettisoned for the more psych/post-punk Self-Inflicted Aerial Nostalgia).

“Taco, Buffalo, Birddog and Jesus” was always a highlight on Suitcase 1, and it makes for a great opening song. The melody is irresistible, and it just has a welcoming feel. Even the spoken word bridge is catchy and cool. It’s long one, at almost 3.5 minutes, so it’s not as quick or punchy as many Pollard opening songs. It’s one of the better songs from this period to never make it to an album, although the recording sounds a bit muffled.

Track two is a treat as well. “Blue Gil” is so good that the Boston Spaceships dug it out for their 2008 tour. A slow, gorgeous verse gives way to a indelible, singalong chorus. Lots of atmosphere of this one. Has a tad more 60s to it than the previous tune.

Tracks two and three were carried over to Self-Inflicted: the weird slow-burner “Slopes of Big Ugly” (which sounds better in this context because there’s more contrast with the previous tunes) into the perfect acoustic pop of “Paper Girl.”

“Turbo Boy” really shows the classic rock influence — something to do with Greg Demos sneering guest vocals on the bridge. The song really takes off on the chorus, which was later re-used in the great Power of Suck anthem “Pantherz.” “Soul Flyers” has a nice soaring melody and an even more soaring guitar solo courtesy of Steve Wilbur, who’d also go on to play the legendary solo on Self-Inflicted‘s “An Earful o’ Wax.”

The first half closes with the catchy, jaunty “Let’s Go Vike,” and the second half dips into darker territory. Tracks 8 through 11 have a harder, weirder edge. I love the riffs that open “Dust Devil,” “Uncle Dave,” and “Settlement Down.” Each has a different character, but they work well together. “Uncle Dave,” probably the rarest track on this set (only released on a split single with the Grifters), is one of the better post-punk songs from this era.

The King Shit opener “We’ve Got Airplanes” is a great pop song in the penultimate slot, and the amazing “Short on Posters” closes the album on a memorable note — the shortest song on the album, and one of the catchiest.

Learning to Hunt reminds me of the kind of albums Boston Spaceships made. To me, most GBV albums have an overall unified feel to them, in both sound and songwriting. The Spaceships were much looser; they took more detours on their albums, exploring more facets of Pollard’s songwriting and experimenting more with styles and arrangements. The young incarnation of GBV, casting about for a style to call their own, created albums that have a similar effect.

Make it your own
Self-Inflicted Aerial Nostalgia – Slopes of the Big Ugly, Paper Girl, The Qualifying Remainder, Liar’s Tale, Short on Posters
Suitcase 1 – Taco, Buffalo, Birddog, and Jesus, Blue Gil, Turbo Boy, Let’s Go Vike, Settlement Down
Suitcase 2 – Soul Flyers, Paper Girl (alt. version)
King Shit & the Golden Boys – Dust Devil, We’ve Got Airplanes
“Uncle Dave” – I’m not sure if you can buy this digitally anywhere, but I have the mp3!

Notes: You may want to try the full-band version of “Paper Girl” from Suitcase 2, though I prefer the harmonies on the acoustic album version.

 

Mustard Man & Mother Monkey (Power of Suck pt. 2)

18 Jun

The next chapter in the Power of Suck saga is this big ol’ double-LP.

According to James Greer, this is an early version of Power of Suck, “after it was already not Power of Suck but before we’d started recording – this was during the rehearsal stage in Kim [Deal]’s basement.”

This would place it at around February 1995. The great thing about this sequence is that we have a complete handwritten tracklist with lyrics!

Seen at the top of the lyrics sheet is a list of possible titles. In my opinion, the Mustard Man one suits this sequence best, because I like it the best.

Mustard Man & Mother Monkey
Titles in bold are songs carried over from the original demos. Titles in red are newly added Pollard-Sprout co-writes.

A
1. Pantherz
2. Imperial Racehorsing
3. Color Of My Blade
(snippet) No title/Is She Ever?
4. Redmen And Their Wives 
5. Sheetkickers
6. Beekeeper Seeks Ruth

B
1. Drag Days
2. Cocksoldiers And Their Postwar Stubble
3. The Winter Cows
4. Bug House
5. Key Losers
6. Big Boring Wedding

C
1. Pink Drink
2. Pluto The Skate
3. Are You Faster?
4. He’s The Uncle
(snippet) No title/Drag Me Down
5. Universal Nurse Finger
6. I Am Decided

D
1. Not Good For The Mechanism
2. The Official Ironmen Rally Song
3. Why Did You Land?
4. I Saw The Jackrabbit (formerly “Superwhore”)
5. Don’t Stop Now

Most of the new songs added here are Sprout/Pollard compositions that later ended up on either Sunfish Holy Breakfast or Tonics and Twisted Chasers. It seems reasonable to surmise that other Sunfish and Tonics recordings were made during four-track sessions with Sprout around this time. Interestingly, there are no Pollard/Sprout co-writes on Under the Bushes, Under the Stars. At this point, there are no songs on the album solely credited to Sprout.

Looking at this sequence, the first striking thing is track two. “Imperial Racehorsing” is the name of a song on Let’s Go Eat the Factory, GBV’s first album of 2012. However, the Power of Suck song by that name appears to bear no relation to the newer song. In fact, this version is noted to be an instrumental on the lyrics sheet. It’s unknown what this song was, or if it was ever released under a different name. It has been confirmed by Greer that it is not “Do the Collapse” AKA “Girl from the Sun,” an instrumental written and recorded during the Albini sessions, which this tracklist predates.

The next unusual feature is the “Drag Me Down” snippet on side C. This is probably the future Tonics track “The Stir-Crazy Pornographer,” which prominently features the phrase “drag me down” in the lyrics. The earlier “Is She Ever?” snippet on side A is also a Tonics tune. I imagine these snippets would have been quite similar to the “At Odds With Dr. Genesis” snippet attached to “Ester’s Day” on Bee Thousand.

“Pluto the Skate” makes its final appearance on a potential GBV sequence before bizarrely showing up (in original demo form, even, although augmented by additional overdubs) in 2009 on Boston Spaceship’s Zero to 99In the meantime, its signature riff was recycled into “Catfood on the Earwig,” a song briefly in the running for Under the Bushes and later considered for Isolation Drills!

Looking at the lyrics sheet, one of the most interesting things is a previously unknown section in “Why Did You Land?” Some history: In 1993, “Why Did You Land?” was a slow, beautiful tune that was considered for Bee Thousand. After being passed over for that album, the song was reconfigured for The Power of Suck. The Suck version, also passed over for the album but eventually released as a b-side, is more of a rocker, and it has a chorus not present in the early version. This PoS lyrics sheet reveals that the chorus wasn’t the only new part added to the song. At this point in time there was also a bridge that does not appear in any released version:

Explain to me the big blue sea
Or the place where certain stars collapse
The singer’s song is always too long
Like everything we taught you
To all Tarzans of rock & industry Janes
The song has been written & yes perhaps
The lucky pimps shall have the best
& let imagination rock you
Why did you land?

Owner of the original PoS demo tape, RichT, has described it as a “killer middle part with a completely different melody.” He also stated that this demo version was for Suitcase 3, although sadly it did not appear on that release. As it stands, this is still an unheard piece of The Power of Suck puzzle.

The case of “Why Did You Land?” also illustrates how, like Bee Thousand, much of The Power of Suck was comprised of bits and pieces of older songs. Not only was the original “Why Did You Land?” a Bee Thousand leftover, but the “new” chorus (“look at the photograph / nothing is real” ) was taken from an even older song: “Perhaps We Were Swinging,” a folky tune recorded in the late 80s (found on Matador’s Hardcore UFOs boxset). “Don’t Stop Now” was also a Bee Thousand leftover (as was “Postal Blowfish” and Sprout’s “It’s Like Soul Man,” although those songs are not yet a part of this album).

Some more examples: “Are You Faster?” seems to take its verse melody from a bit at the end of the Suitcase 2 version of “Dusty Bushworms.” “I Am Decided” is based on an older song known as “Whiskey on Your Breath.” “Sheetkickers” is based an an old instrumental called “Lion w/ Thorn in Paw” (heard on Briefcase 2). “Pink Drink” is taken from a Propeller-era tune called “Song of Below,” the same song that spawned “The Goldheart Mountaintop Queen Directory.” “Pantherz” borrows from an 80s composition called “Turbo Boy.”

Of course, this technique is not at all unusual for Pollard, and many of his albums are peppered with instances of “recycling.” It just seems that we have more pieces than usual for this particular album. The songs from this era are rich with connections and discoveries to make.

Mustard Man & Mother Monkey is a great listen, one of my favorite shit-canned albums out there. The four-track recordings have the warm, welcoming sound of Bee Thousand, while the Albini tunes sound like a more muscular take on the Alien Lanes style. The songs only available in demo form (“Are You Faster?,” “Pink Drink”) have a unique and pleasing quality about them as well. Although a finalized version of the album would lack these unpolished demos, they don’t sound terribly out of place of my reconstructed version.

For my version, I stick to the released versions of tracks when available. The mysterious “Imperial Racehorsing” is the only glaring hole. The Albini versions of “Pantherz” and “Bughouse,” are somewhat harder to track down, being released only on the vinyl bootleg Jellyfish Reflector. Though, I think it’s the same version of “Bughouse” on Suitcase 1, but you might want to separate it from the demo version that precedes it on the same track. “Superwhore” was only ever officially released on Briefcase 2. You can download these three hard-to-find tracks here.

Whew! OK. In the next installment of the Power of Suck tale, most of these songs get cut, and a bunch of new songs are added. And it stops being The Power of Suck.

In the meantime, make your own Mustard Man:

Sunfish Holy Breakfast – Beekeeper Seeks Ruth, The Winter Cows, Cocksoldiers
Tonics & Twisted Chasers – Is She Ever?, The Key Losers, The Stir-Crazy Pornographer, Universal Nurse Finger
Suitcase 1 – Pink Drink, Pluto the Skate, Bughouse, Pantherz (demo version)
Suitcase 2 – I Am Decided, Are You Faster?,
Motor Away single – Color of My Blade
Tigerbomb – Not Good for the Mechanism
The Official Ironman Rally Song single – Why Did You Land?
He’s the Uncle available on Amazon MP3 or on Matador’s Hardcore UFOs box.
Under the Bushes, Under the Stars – Redmen and Their Wives, Sheetkickers, Drag Days, Big Boring Wedding, Don’t Stop Now, The Official Ironman Rally Song

The Power of Suck pt. 1 – The demos

6 Feb

The most legendary unreleased Guided by Voices album is surely The Power of Suck, a proposed double-album that would have been the follow-up to Alien Lanes. Its story is only the first chapter in the convoluted history leading up to the eventual release of Under the Bushes Under the Stars.

There’s been some speculation that this album may one day get a proper release. Made during the peak of the classic line-up days, fans would certainly love to have it set in stone and enter the official canon. However, it’s unclear what form an official version would take. Many of the songs intended for the earliest version never made it beyond the demo stage, yet most of the album’s key tracks DID see the light of day on high-profile releases such as Under the Bushes, Under the Stars and Sunfish Holy Breakfast. Ultimately, there is no one clear way to resurrect the album with the known recordings that exist, and there’s no ONE track sequence that covers everything. I can’t even cover it all in one post! (For proof, here’s a handy chart put together by Jeff from GBVDB.com.)

Now that the classic line-up is back together and making records, there is hope that some crucial steps required to complete the album — i.e. finalizing the tracklist, finding lost recordings, or even making new recordings —  can be made.  As excited as I am about new GBV material, I would certainly welcome a re-visitation of The Power of Suck era, due to the wealth of high-quality songs that never got wide exposure. However, due to some overlap between The Power of Suck and Under the Bushes, I hope care is taken not to overwrite or undermine the latter album’s place in GBV history. Besides, it will be far more interesting to dredge up the past if most of it is fresh and new. Fortunately, there exists enough non-album material that, if it is allowed to diverge from known working sequences, a satisfying, complete, finished Power of Suck (or reasonable facsimile) can be created. I can’t wait to see what Pollard comes up with (if anything) but until then I’ve been tinkering with my own sequence — more on that later.

The earliest known incarnation of PoS is a partial reconstruction of Pollard’s  first demo tape, published in James Greer’s book Hunting Accidents. According to Greer, it contained 10-12 songs, including:
1. Pantherz
2. Debbie X (I Am Decided)
3. Drag Days
4. Trader Vic
5. Bughouse
6. He’s The Uncle
7. Sheetkickers
8. Pink Drink
9. Why Did You Land?
10. Don’t Stop Now
Soon thereafter, the number of songs doubled and a second demo was made, with all of the above songs still included (come to think of it, maybe the new songs were just appended to the 10-12 earlier demos). According to owner Rich T., this second Power of Suck demo tape (made late 94 or early 95) consists of guitar and vocal versions of each track.
1. Pantherz
2. In Previous Trials (AKA Stingy Queens)
3. Trader Vic
4. Bug House
5. Drag Days
6. Sheetkickers
7. I Am Decided
8. Pink Drink
9. He’s The Uncle
10. Speak Like Men
11. Sweeping Bones
12. Don’t Stop Now
13. Why Did You Land?
14. Superwhore
15. Redmen And Their Wives
16. Color Of My Blade
17. Are You Faster?
18. My Feet’s Trustworthy Existence
19. Cocksoldiers And Their Postwar Stubble
20. The Official Ironmen Rally Song
21. Amazed
22. Pluto The Skate
The titles in bold are recordings from this tape that have either been officially released or are circulating as bootlegs. Although we have all these songs in one form or another, we don’t have all the Bob-and-guitar demo versions, some of which may be quite different from their released counterparts. For example, owner of this tape Rich Turiel has stated that the demo of “Why Did You Land?” contains a “killer middle part with a completely different melody.” And it has been confirmed that “Amazed” is a faster version of a song that appears on the Nightwalker album In Shop We Build Electric Chairs. Also, I speculate that those are new versions of “My Feet’s Trustworthy Existence” and “Pluto the Skate,” since the Suitcase versions are allegedly from 1992.Having the complete set of these demos would be great, and provide some missing pieces of the puzzle, but it wouldn’t really be The Power of Suck. These are just the demos — a pool of songs to choose from, but not an album sequence. It’s the unreleased, unrealized songs make this list most interesting.

Stingy Queens
Trader Vic
Speak Like Men
Sweeping Bones
My Feet’s Trustworthy Existence
Amazed

None of these six survived to the next known sequence, which still predates any actual full-band recording sessions. “Speak Like Men” does appear on Suitcase 3 in full-band form, but it seems to be an earlier, pre-PoS recording (no date is given). No band recordings of any other of these tracks have surfaced.

“Stingy Queens” is a standout of these “lost” tracks. A dark, yearning ballad, it’s quite different in style and tone from anything on Bee Thousand or Alien Lanes. It’s too bad it never got the full-band treatment, because with some drums to help emphasize the shifting dynamics and some crunchy guitar to give the coda some added heft, it would be even better. It’s quite good in demo form, however, even when Pollard forgets the lyrics at one point.

“Sweeping Bones” is another epic song, though maybe a bit more rockin’ that “Stingy Queens.” This tune would have really benefited from a full-band arrangement because the main riff strongly recalls “The Goldheart Mountaintop Queen Directory.” I imagine with some bass, drums, and a second guitar in there it wouldn’t recall “Goldheart” quite so much.

“Trader Vic” is a joy, a pure Alien Lanes-style pop song with an incredibly catchy verse and a soaring chorus. The lyrics even reference a certain Ironman rally song: “We are the ironmen and we now command you to sing.”

“Speak Like Men” is another great pop song. It’s a casual, breezy rocker with a great chorus hook, and would have sounded right at home on Under the Bushes.

“My Feet’s Trustworthy Existence” and “Amazed” are more of a mystery, since we haven’t heard the PoS demos. The former is a mid-tempo acoustic number on Suitcase and it doesn’t seem to fit stylistically with the other PoS songs. I’d guess the demo version is reworked in some way to make it more in step with the others. It may be a new composition that incorporates elements of the older song. “Amazed” is another older song (the title of the Nightwalker album indicates it’s from 1993 or earlier). The Nightwalker version is also a mid-tempo acoustic song, but unlike the melodic folk of  “Feet’s,” “Amazed” is more experimental. The arrangement is heavy on droning keyboard and drum machine, and vocally it’s kind of a ramble, lacking a chorus but not without some appealing melodic elements. According to a post on the Disarm the Settlers message board, the demo version lacks the keyboard/drum machine and is guitar-based like the other demos. It’s the same basic song, but faster, and there’s a riff not present in the Nightwalker recording. It will be interesting to finally hear these if they turn up someday.

Ultimately, there’s too much Suck to be contained in one post. More will follow. Thanks to GBVDB’s Jeff for the help and resource material.

Track down the demos:

Suitcase 1
Pantherz, Bug House, Pink Drink (plus the older “My Feet’s Trustworthy Existence” and “Pluto the Skate”)

Suitcase 2
Stingy Queens, Are You Faster? (plus full-band “I Am Decided”)

Suitcase 3
Trader Vic (plus full-band “Speak Like Men”)

The Official Ironman Rally song — Free at robertpollard.net

Carefree Kitchens bootleg
I Am Decided, Speak Like Men, Sweeping Bones, Stingy Queens (all those plus Sheetkickers are also on 30 Songs)

Nightwalker – In Shop We Build Electric Chairs
(For non-PoS version of “Amazed”). Available on CD for $5 at The Factory and totally worth it!

Bee Thousand mk. IV

10 Jan

Cover of Bee Thousand: The Director's CutThough it lacks a snazzy alternate title like some other earlier drafts, this is my favorite working-version of Bee Thousand. It’s a great mix, with a handful of Bee Thousand favorites mingling with some of the best forgotten gems from King Shit and The Golden Boys.

Side 1
1. Demons Are Real
2. Echoes Myron
3. Ester’s Day
4. 2nd Moves to Twin
5. Deathtrot and Warlock Riding a Rooster
6. Don’t Stop Now
7. Postal Blowfish
8. The Goldheart Mountaintop Queen Directory
9. Buzzards and Dreadful Crows
10. It’s Like Soul Man
11. Peep-Hole

Side 2
1. Bite
2. Hot Freaks
3. Scissors
4. Indian Was an Angel
5. Awful Bliss
6. Smothered in Hugs
7. Kicker of Elves
8. Queen of Cans and Jars
9. Crayola (AKA Parakeet Troopers)
10. Please Freeze Me
11. Tractor Rape Chain

Like other proto-Bee Thousands, the short “Demons Are Real” is utilized as a pretty effective opener, and I like how it leads into “Echoes Myron” at track two. But the best part of Bee Thousand mk. IV is hearing how strong outtakes like “Postal Blowfish,” “Indian Was an Angel” and “Please Freeze Me” sound next to proper Bee Thousand tunes. Those last two in particular are some of Bob’s best acoustic songs and I love hearing them in the context of an album. Then there are the great early versions of  “Don’t Stop Now” and Sprout’s “It’s Like Soul Man.” Both appeared later re-recorded as Power of Suck/Under the Bushes tunes, but these versions have their own distinct four-tracked charm and sound right at home. “Postal Blowfish” was also re-recorded but sadly never made it to an album.

The flow and sequence of Bee thousand mk. IV is much better than King Shit and the Golden Boys, and I think “Deathtrot and Warlock Riding a Rooster,” “2nd Moves to Twin,” and even “Bite” (never a favorite) really benefit from this context. For instance, on Bee Thousand: The Director’s Cut, “Deathtrot” makes an extremely awkward track 2, and here it is much more welcome. The only part of the sequence that doesn’t really work too well is having “Tractor Rape Chain” as the closer. It’s still a great song of course, but it doesn’t feel like a last track to me.

It’s interesting to note that many King Shit tracks — “Indian Was an Angel,” “2nd Moves to Twin,” “Crayola,” “Bite” and “Postal Blowfish” — had appeared on every Bee Thousand sequence up to that point, but were all dropped from subsequent sequences. Until being cut, they were in the company of “Queen of Cans and Jars,” “Goldheart Mountaintop Queen Directory,” “Smothered in Hugs”  and “Scissors,” which also survived across every sequence but then made it to the final two drafts (with “Scissors” ultimately being replaced by “Mincer Ray”). “Don’t Stop Now” and “Please Freeze Me” make their first and only appearance here as Bee Thousand tracks.

Despite lacking a few of the most beloved songs from this era, i.e. “I Am a Scientist,” “Gold Star for Robot Boy,” and “Hardcore UFOs,”  this draft of Bee Thousand is pure ear-candy from start to finish. The final product is even better, but I think this version would have been a hit too.

Make Your Own!
Bee Thousand
King Shit and the Golden Boys
Not in My Airforce (for “Parakeet Troopers” AKA “Crayola”)
+ “It’s Like Soul Man (four-track version)” which is on the out-of-print Bee Thousand: The Director’s Cut. Track it down! It’s also recommended that you use the version of “Ester’s Day” from this release because it lacks Bee Thousand‘s “At Odds With Dr. Genesis” intro.