Page created by: jasonrh@ix.netcom.com All written content Copyright 1999, Jason Rhoden, unless noted. Do not copy without permission.
Changes last made on: Mon Jan 18 07:11:44 1999
As with virtually all groups, there are certain P&G tracks that are pretty difficult to find. Below is a (hopefully) helpful guide to what you can't find on the US LPs or on Gordon's solo LP.
"Long Time Gone" - issued on the UK "Peter and Gordon" LP in 1964. Currently available on CD on "The EP Collection".
"Roving Rambler" - issued on the UK "Just For You" EP. Currently on "The EP Collection" CD.
"A World Without Love (live)"* - issued on Columbia UK various artists LP "A Tribute To Michael Holliday". This track was recorded at the Prince of Wales theater.
"Barbara Allen" - from the UK LP "In Touch With Peter and Gordon". Currently available on the UK CD reissue of that album, which includes both the mono and stereo mixes.
"Ain't That Lovin' You, Baby" - Also from "In Touch...", and on the CD reissue. Gordon does Elvis, gotta love it...
"Leave Me In The Rain" - Another track from the "In Touch..." LP and CD.
"My Little Girl's Gone" - Again, available on "In Touch With Peter and Gordon" LP and CD.
"The Town I Live In"* - released, and quickly withdrawn, by Capitol as one side of the original 5740 single. It was replaced by "Morning's Calling" on most pressings, and, "Lady Godiva", with "Morning's Calling" along for the ride, became a smash hit. This track was also available on an Australian EP, entitled "Lady Godiva".
"Wunder"* - from a German 45 (Columbia C 23 442). A totally new song, unlike the French EP tracks, three of which are just French versions of already recorded songs. Both of the German tracks have a rock backing (bass, electric rhythm guitar, drums) as well as slight "dry" orchestration for "Wunder", and some jazzy horn parts for the b side.
"Liebe, Glueck and Treue"* - from the same German 45. Another totally new song, which is surprisingly well conceived and executed for a foreign language track (even if I can't understand what they're saying beyond "Love, Luck (or maybe "Bliss") And Faithfulness"). Both of these tracks are produced very well, and, in fact, sound as if a great deal more effort went into them than the French tracks.
"Devant Toi Je Suis Sans Voix" - from the French EP "Peter and Gordon Chantent En Francais". This French version of "I Told You So" is available on CD on "The EP Collection".
"L'Inconnue" - also on the French EP, this French version of "I Would Buy You Presents" is on "The EP Collection" CD.
"Le Temps Va Le Temps Court" - another French track, also on "The EP Collection"
"Ne Me Plains Pas" - "Don't Pity Me" in French, making Gordon sound all that much more wonderfully moody. Guess where you can find it...
[Gordon Waller]"Speak For Me" - The a side of Gordon's first single, issued in mid 1967 on Capitol in the US. Both sides of this disc were pretty big productions, in contrast to some of his later singles, which, even though the feature orchestration, are a little more subtle. There was a stereo mix prepared at the time of mastering the single, but it was left unused, as singles the world over were still in mono.
[Gordon Waller]"Little Nonie" - The b side of the above disc. Perhaps better than "Speak For Me", and certainly more P&G-ish. There was a stereo mix prepared, but left unused, for this track as well.
[Gordon Waller]"Rosecrans Boulevard" - Gordon's first UK solo single, issued in early 1968, but not in America, possibly due to the fact that the protagonist's love in the song died "in a non-combatant mission", not something most US labels were ready to deal with from a non "underground" artist, especially so soon after Tet. There was an unused stereo mix prepared for this track as well.
[Gordon Waller]"Red Cream And Velvet" - The b side to "Rosecrans Boulevard" was a solo version of this track, already released in a P&G version as the b side to "The Jokers". This version of the track can easily be discerned from the P&G version, as it is orchestra laden, while the P&G version is completely devoid of orchestral backing. Another track for which a stereo mix was made, but left unused.
[Gordon Waller]"Movin' On" - This time, a Gordon single only issued in Germany and France! I have no idea what US Capitol and UK Columbia were thinking, passing up on Gordon's solo discs all over the place! This is the only one that both the US and UK would pass on, mercifully for collectors. This song has been recorded by tons of people throughout the years. It's a pity that US/UK fans were denied a chance to hear this one, as it is one of Gordon's heaviest rockers, and is done quite well.
[Gordon Waller]"She Never Smiles Anymore" - The b side to the Germany/France only "Movin' On" single. Another excellent and catchy track that the US and UK should have gotten. Again, a stereo mix was prepared, but not used for this single.
"You've Had Better Times"* - Some versions of the promotional single for this track have a totally alternate, censored take, changing all references to supposedly too risque elements of the song. The promos that this is on give a catalogue number of PRO 4587 on the front, and, on the b side, 4606. Also, it is on the Starline "Lady Godiva"/"You've Had Better Times" 45.
[Gordon Waller]"Everyday" - This time the US/UK labels show a bit more intelligence, releasing this Buddy Holly written disc simulaneously on both sides of the sea. Sadly, though, interest was beginning to wane in all things P&G. There was a stereo mix made and left unreleased for this track, though the conversion to stereo singles at Capitol was imminent.
[Gordon Waller]"Because Of A Woman" - The b side to the above record. This is an excellent track, and possibly should have been considered as an a side, as it holds its own next to the Buddy Holly cover, something which is no mean feat. Yet again, a stereo mix for this track exists, but wasn't used. With all of these stereo mixes sitting around, it makes one wonder whether Capitol ever considered giving Gordon his own LP. After all, after the "Weeping Analeah" single, there would have been 10 tracks available that had already been issued, with only 4 of them seeing previous US release. Unfortunately, Capitol obviously did not give Gordon an LP, so we're left to search high and low for these singles, and when we get'em they're in mono. Oh, well...
[Gordon Waller]"Weeping Analeah" - Gordon's last single on Columbia, P&Gs UK label, was not issued by Capitol. There is absolutely no reason that involves logic or intelligence that this one never saw US release. Possibly the best of all of Gordon's solo singles. Another track that has a stereo mix, but which was only released in mono.
[Gordon Waller]"The Seventh Hour"* - This track was the b side to the UK only "Weeping Analeah" single of December 1968.
[Gordon Waller]"I Was A Boy When You Needed A Man" - Gordon's amazingly prolific solo career continued with this, his first disc on Bell Records, and the last issued while P&G were (at least in terms of contract obligations) still an active concern.
[Gordon Waller]"The Lady In The Window" - The b side to the above record. One month after it's issue, P&G's contract with Capitol/Columbia would be fulfilled with an excellent final single.
"Hard Time, Rainy Day"* - The a side to the final P&G record. Sadly, unavailable on anything except the US/UK 45s.
"I Can Remember (Not Too Long Ago)"* - The b side of the above record, which was the only P&G single released in stereo. In the UK, however, the 45 was issued in mono, but, mercifully, it was a reduction of the stereo mix, not a different mix.
[Gordon Waller]"You're Only Gonna Hurt Yourself" - The final Gordon single for Bell, issued about a year after the previous one. Both of these tracks are very close in style to those that would end up on the first side of "...And Gordon".
[Gordon Waller]"Sunshine" - The b side to Gordon's last single. Two years later, he would release an LP on ABC Records, entitled "And Gordon".
[Gordon Waller]"Poor, Poor Pharaoh/Song Of The King" - Gordon appeared in the London cast of "Joseph and the Amazing Technicolor Dreamcoat" in 1973, and a soundtrack, on MCA Records (and still available on MCA CD, catalogue number MCAD-399) was released a year later. Though there are a few other cast members on this track, its main feature is Gordon doing his best Elvis impression, which is quite good...
[Gordon Waller]"Stone The Crows" - This track from the "Joseph and the Amazing Technicolor Dreamcoat" soundtrack features Gordon as well as several other cast members.
"I Don't Want To See You Again (live)" - A 1964 Ed Sullivan appearance, released on the CD "The Sullivan Years: The British Invasion" in 1990 on TVT Records.
"Macleans Toothpaste Ad" - A twenty-five second ad, in which P&G extoll the virtues of "the toothpaste that cleans" (as, apparently, toothpastes that actually clean were not common in the mid 1960s), was run in the US on radio stations nationwide in 1965. A very bazaar little ad, and easily the strangest P&G track ever. It has been bootlegged onto a small hole 45 called "For Promotional Use Only". For more info on that disc, check the discography section.
"The Ballad Of Cat Ballou" - performed live by the duo on the "Hullabaloo" US TV show. Color footage of this does exist. Several of P&G's TV appearances featured (at least) live vocals, and were not lipsynched. Because such performances have not appeared on disc, and I can not verifiy that many in fact still exist, I have chosen not to include them at this point, unless they are on disc, or feature a track otherwise unreleased by P&G.
"Yesterday" - another Hullabaloo track, a cover of the Beatles song released less than two months earlier.
"Woman (live)" - recorded in Germany during the 1966 "Bravo-Beatles-Blitz-Tournee". Black and White footage broadcast by German TV still exists. Audio available on a Beatles bootleg CD entitled "Die Beatles In Deutchland, 1966!" on the "Invasion Unlimited" label.
"Let It Be Me (live)" - another live track from Germany, available on the above CD.
The study of alternate mixes on released discs is a very specialized field. These differences may not be obvious to the casual listener, but are indeed very interesting to anyone studying the work of the artists. For our purposes, though, we'll mainly look at how to avoid the ver present "Duophonic Menace".
Some words on "duophonic"...
What is "duophonic", you may ask? Well, my friends, Capitol Records were clever. In fact, they were REAL clever. They knew that, since mono LP's were cheaper than stereo ones, they had to entice buyers to stereo. When it was time to put a record on an LP, the label (usually) put the mono version on the mono record, and the remixed stereo version on the other. But what if Capitol is only sent a mono master? How do you fool the record buyer into thinking he's getting the best for his money? Simple. You fake stereo. These experiences in low-fi redefined what "bad mix" meant. Thus, preferable to these versions are the original mono versions, or, a true stereo remix. Below are some of the ways to get those P&G "duophonic" tracks in their full monophonic or stereophonic glory.
"Nobody I Know" was the first Capitol fake stereo mix, and it was an attrocious mix. To solve this problem, one has several options- the original 45 or the mono version of the LP (with, mercifully, a clear mono version), or a remixed stereo version, such as on Rhino's "Peter and Gordon's Greatest Hits" CD. One place to not go is to the "Collectibles" twofer CD reissue of "A World Without Love"/"I Don't Want To See You Again". Whether it be for reasons of historical accuracy, or just plain laziness, the "Collectibles" label chose to use the original stereo LPs (VERY clean LPs) for their source. The end result: they are not a source for any of the non "duophonic" mixes.
"I Would Buy You Presents" - While not duophonic on the "Knight In Rusty Armour" LP, this track is in an unbalanced stereo mix with a little more echo than on the single. For a clearer mono mix, seek out the 1964 single.
"True Love Ways" - Another "duophonic" mix, available on the CD "The Best of Peter and Gordon" in balanced stereo, or the mono LP in a relatively clear mono version.
"Woman" - Duophonic on the stereo versions of the LP, and heavily echoed on the mono version. Try "The Best of Peter and Gordon" CD for a crisp mono mix.
"Morning's Calling" - This great track is in duophonic on the US stereo LP. Surprisingly, this track's atmosphere is actually helped by this muddy fake stereo mix, gaining an almost "Byrdsy" quality. If you want the mono, it is on the common version of the Capitol #5740 single ("Lady Godiva") as well as the mono LP.
"Red Cream And Velvet" - Duophonic on the stereo LP. For a crisp mono mix, get the mono version of the LP, or the original 45. For a stereo mix, look for the stereo Canadian release of the "In London For Tea" LP, which includes an unbalanced stereo mix.
"Baby, I'm Yours" - Mono copies of the "Lady Godiva" LP have a mix of this track with a rhythm guitar half way through, and a lead electric guitar overdub at the very end, neither of which are present on the stereo version.
"Knight In Rusty Armour" - The original single featured an alternate mix of this song with a noticably different vocal by Gordon. This mix can also be found on the various artists CD "The British Invasion, Volume 8".
"Sipping My Wine" - A slightly longer mix of this song is on the mono promotional 45. The LP version is stereo.
These are tracks which are known to have been done, but were never made available on record. Some still exist, others (unfortunately) do not. If the entry doesn't state whether it exists or not, assume that somewhere, in some mammoth, locked vault, it is sitting, just waiting to be unveiled to the world (we hope...)
"Five Hundred Miles" - A version of this track was played by P&G at their artist test in late 1963. Apparently, producer Norman Newell liked it, as a different version of it ended up on their first LP. Never recorded, so, unfortunately, not in existence.
"Guess Things Happen That Way" - Another track from Peter and Gordon's A&R test. Sadly, the session was not taped, so none of the three tracks exist today.
"Lightning Express" - The final track done by P&G at their artist test.. Again, this track was not recorded. It was at this test that Newell decided that he did indeed like the group, but that they would need a strong first single before he would record them. Enter Paul McCartney...
"I Wanna Be Your Man" - In late 1963/early 1964, the Beatles seemed to be desperate to pawn this track off on anyone they could! P&G recorded a version, but were not satisfied with it, and never released it. The Rolling Stones would have a minor hit with it, though.
"Woman" - The original recording of "Woman" was produced by Paul McCartney, and featured "the cute Beatle" on drums (featuring some quite odd, even erratic, fills). Though the vocals were delievered with P&G's typical aplomb, the backing on this version was much softer than the released take, which was recorded after Peter and Gordon took home acetates of the McCartney version, and decided that the track would fare better with (as McCartney would later call it) the "full Peter and Gordon treatment".
[Gordon Waller]"So Long Dad" - Gordon's recording of the Randy Newman song was done on September 27, 1967, but never issued. This track had just been issued as a UK only single by Manfred Mann a week or so earlier. Gordon's version is in an extremely similar arrangement to the Manfred Mann version (including the extra verse), featuring an electric backing, with some orchestration and tack piano. It took 6 takes for Gordon to get this one down, and the 6th take is the master, although it remains an unreleased master. This was Gordon's second ever solo session, the first one taking place exactly 8 months earlier (on Jan 27), and producing both sides of the US only "Speak For Me" single. This one had a stereo mix made for some future use, though the track was never released at all.
[Gordon Waller]"Dayton, Ohio 1903" - Another Randy Newman song, recorded at the same session as "So Long Dad". Another one which had a stero mix made for some unknown reason. Gordon certainly has good taste...
[Gordon Waller]"Please, Mrs. Henry" - A Dylan cover, recorded on October 6, 1967, but never issued. It is interesting that Gordon would cover this song, as it would not be issued or widely available for a few years yet, though there was a ten song publishers acetate of tracks from the "Basement Tapes" circulating amongst the "in set", which included "Please, Mrs. Henry". Perhaps Gordon heard it there. Manfred Mann also recorded a version of this track around this time, but it is unlikely Gordon heard it from them, as their version was not released until long after the end of the British Invasion. A very fun romp, and again contemporarily mixed for stereo.
[Gordon Waller]"Reason To Believe" - The second song from Gordon's first October session was a cover of Tim Hardin's "Reason To Believe", later a big hit for Rod Stewart. It is curious that Gordon was recording so many covers, perhaps he planned one of these tracks for his second single (which ended up being a Buddy Holly cover, "Everyday"). This track is closest to the feel of "Everyday", with a very similar bouncy arrangement, but a bit more (mellow) orchestration. A stereo mix was created, but (as the track has never been released) never used.
[Gordon Waller]"Baby Please" - The final track from the October 6th session, written by Gordon. Features a very sophisticated arrangement, and is better written than any of his Capitol sides. Again, a stereo mix was made for future release (which, unfortunately, never happened).
[Gordon Waller]"Hard Luck Joe" - Gordon returned to the studio on the 24th of October, and recorded three more unreleased tracks (all of which would be mixed to stereo for future use which never materialized). This time, though, they were mostly self-written. This track is the exception, as it was written by Bobby Goldsboro. Particularly poignant is the story of "Hard Luck Joe" considering the drastic change in fortunes that P&G's career was taking towards the end of 1967.
[Gordon Waller]"Don't Pay Them No Mind" - Another track done on the 24th. Obviously, the search for a second single was a difficult one. This track may not be self-written, but nobody seems to remember who did write it.
[Gordon Waller]"I Can't See Too Much" - The final track done on the 24th, and, like all of the tracks in this section, never released anywhere. It is odd that with so many unreleased tracks in the can, the January 1968 UK only "Rosecrans Boulevard" single would use a version of "Red Cream And Velvet", even though the track had already been released (in a different version, of course) by P&G, as the b side to "The Jokers". Perhaps it had to do with publishing royalties, since so many of the other recorded tracks were covers, though still there were several Gordon written outtakes by this time. Finally, after all of these unsuccessful tries, both sides of the "Rosecrans Boulevard" single (as well as "She Never Smiles Anymore") would be recorded about 7 weeks later in a December 10th 1967 session.
[Gordon Waller]"Lady Came From Baltimore" - The only outtake to the session (on March 7, 1968) which finally did produce both sides of the second US or UK Gordon single (though it was the third worldwide, since the US & UK got different first singles), "Everyday" and "Because of A Woman". This track (like "Reason To Believe") was written by Tim Hardin. In all honesty, this could have been a much better track to issue as an a side than "Everyday". Again, mixed to stereo, but still left in the can.
[Gordon Waller]"(I Wanna Go) Bummin' Around" - This track was recorded at the same November 6th, 1968 session as the a side of the UK only "Weeping Analeah" single. Sometimes, it is referred to as "Bummin Around", and it was written by Sonny Curtis. Apparently, it was standard practice during Gordon sessions at EMI to mix tracks to stereo, whether they were meant for release or not, as this one had a stereo mix created for it. Such are the luxuries of being a star and getting cheap (or even free) studio time. The lead guitar line in the intro sounds just like the hook line from the Zombies "Friends Of Mine".
[Gordon Waller]"My Life Is Over With You" - another outtake from the "Weeping Analeah" session (which, again, was mixed to stereo). This one is sometimes called "My Life Is Over". After this point, Gordon ended up on Bell records, and the recording of unreleased tracks ceased. Maybe it had something to do with contracts (as, during the P&G years, he was never paying for studio time) and costs of studio time, but from here on out (until Gordon's final release in 1972), all that he recorded would be released. This would include two US/UK Bell singles, and a wonderful album for ABC. A fantastic track, that could easily have been an a side had "Weeping Analeah" generated enough interest to merit a follow up.
[Gordon Waller]"Race With Destiny" - Twenty-five years after Gordon's last release, he returned to record the soundtrack to a movie about James Dean, called "Race With Destiny". The movie was initially planned for a theatrical release, but ended up as a cable tv movie, frequently airing on the Romance Channel. There were plans for a soundtrack release of the eight tracks, but it has yet to have materialized. The title track is a fast moving rocker, with fifties overtones. Age has removed a little of the youthfulness from Gordon's voice, but this has only served to "Elvis-ize" his pipes. he manages to sound a lot more like Elvis on some of these tracks than he did 24 years earlier on the "Joseph And The Amazing Technicolor Dreamcoat" soundtrack, made all the more remarkable as on "Joseph...", he was supposed to be playing Elvis.
[Gordon Waller]"You Are The One" - Could be Elvis in Memphis, 1969. A fantastic track, with a strong fifties feel, co-written by Keith Allison. This is another track in which Gordon sounds eerily like Elvis.
[Gordon Waller]"Only For You" - The background of this one sounds like "It's Over" by Roy Orbison. Gordon duets with co-writer Tom McLear on this one.
[Gordon Waller]"Believe" - He sounds a bit more like the Gordon of old on this track. His voice sounds kind of like a mix of 3 parts 1960s Gordon and one part Randy Newman.
[Gordon Waller]"Eyes Of Fire" - He gets a bit Johnny Cash-ish on this one, with a Tex-Mex backing. This is another track which was co-written with Tom McLear, who also features on this track with backing vocals.
[Gordon Waller]"I Love You My Darling" - Features a long organ intro (lating about a minute), which fades to this track, which feels like a track from the first side of "And Gordon...". As the track goes on, it feels more and more like classic late 1960s Gordon. Fantastic. Midway into the track, there is an unobtrusive light orchestral backing added to the piano and two acoustic guitar backing.
[Gordon Waller]"Rebel Rider" - Rockabilly!!! Sounds like an Elvis Sun side. It's amazing that Gordon can so well capture a musical era (Memphis '54/'55) in which he was a pre-adolescent in a different country. Had he been doing this stuff in 1955, he would be remembered as one of the greastest early rock artists ever. However, he captures the feel of it so well fourty years later, that only the production values bely its 1990s origin.
[Gordon Waller]"Angeli" - A Gordon composed (primarily guitar) instrumental, which features in the film. All of these eight "Race With Destiny" tracks can be heard (frequently with all sorts of movie noises over them, and ended early) in the film, which does occasionally air on US TV. All of the "Race With Destiny" tracks are in stereo (a pretty obvious thing, considering the fact that it has been about thirty years since anybody was recording for mono!).
"Mountains High" - Listed as one of the tracks on the "In London For Tea" LP on the advertisement on the back of the "Hot Cold And Custard" LP. This track listing also listed "She Needs Love" as an "In London For Tea" track, though it was actually on "Hot Cold And Custard". In early 1999, Gordon Waller could not recall recording these songs, lending more than a little credence to the author's view that this was simply a Capitol Records typo.
"Put Me Through To Mary" - Another track listed on the back cover of "Hot Cold And Custard" as being on "In London For Tea". Some have speculated that perhaps this line up (which also had a completely different running order) was the early LP tracklist. However, like "Mountains High", Gordon Waller has no memory of recording this track. Unless they were Peter Asher demos (highly unlikely, based on Peter's virtual abandonment of music making in favor of production during this period), they would have to be a mistake on the part of Capitol Records.
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Page created by: jasonrh@ix.netcom.com
All written content Copyright 1999, Jason Rhoden, unless noted.
Do not copy without permission.
Changes last made on: Mon Jan 18 07:11:44 1999