The Velvet Underground: Instant 1969 Bootleg Collection

The first thing to say about this mix is that none of these performances appear on “The Complete Matrix Tapes” (November 26-27, 1969). 

This compilation is intended to be the second place to go for 1968-1969 live Velvet Underground, in the period when both Mo Tucker and Doug Yule were in the band. It contains a version of every composition that made it onto an audience tape, with one exception, and only three compositions are repeated. All songs are unreleased, except those from “The Quine Tapes.”

Practically speaking, this compilation replaces “1969 Live,” the glorious, old, murky double-LP, which was whittled down to four unique tracks, when the release of “The Complete Matrix Tapes” provided upgrades of all the other performances. Likewise, it upgraded nearly a third of the performances on “The Quine Tapes.” 

So, the live VU universe lies in splinters around the amazing soundboard monolith of “The Complete Matrix Tapes.”

I’ve tried to fix that with these 3.5 hours of lovingly selected audience tape performances.

Many of these selections are the only live recording of a song (at all), the only audience recording of it, or the only version in which the vocals are clear (enough) and the distortion low enough to deliver for real. That’s a sad truth about the poor quality of the few tapes that exist, but it’s also miraculous that so many songs actually exist in versions that you want to hear repeatedly. We got lucky in our unluckiness, I guess. 

I had really good, known- or seemingly-uncompressed sources for most of this material. I have applied no compression filters, and very, very little frequency-EQing. (i.e., No attempt has been make to make these diverse recordings "sound like" each other.) However, those who are familiar with VU recordings of this sort will find that I have significantly fixed the problem of wild volume variations among and within songs. It took fucking forever - hundreds of manual corrections, slicing songs into pieces at the right places to shift their volumes into alignment without revealing the shift. But it paid off; those too-quiet parts are louder, and those crazy distorted loud parts are tamed. 

The three volumes outlined below are zipped up together here, as 320kbps mp3s – 500MB total. 

A Complete Show: October 19, 1969 Dallas – 83 minutes

The leftover songs from “1969 Live” came from this show. It’s a great performance, and it is absolutely the best audience recording of the band in this period. It's the one, complete (non-Matrix) show that everyone should have. (If you already possess it in full, you might still appreciate some of the refinements I’ve made.)

  • Good Evening
  • Waiting for the Man
  • It’s Just Too Much
  • Band Intro
  • Some Kinda Love
  • I’ll be Your Mirror
  • Femme Fatale
  • Beginning to See the Light
  • I’m Set Free
  • After Hours
  • I’m Sticking with You
  • One of These Days
  • Pale Blue Eyes
  • Ocean
  • What Goes On
  • Heroin
  • Sister Ray

A Quiet Set (composite) – 59 minutes

Low-key VU – concentrated. More from the October Dallas stand, Lou Reed singing “Candy Says,” Doug and Mo singing “Rock and Roll,” the early days of “Lisa Says,” a fast live version of “I Found a Reason,” and – yes, truly – a “Sister Ray” that belongs in something called “a quiet set.” This is the only non-Matrix 1969 “Sweet Jane” (another fun variation) and the only live recording of “Ride into the Sun.” The “Ride into the Sun” demo is one of four tracks that were presumably an acetate at some point, two of the others having been officially released on archival sets (“Countess from Hong Kong,” and “I Found a Reason”). 

Caveat: I did my best to moderate the defects on “Jesus” and “That’s the Story of My Life,” which seem to be on all my VU fan friends’ versions as well.

  • Candy Says (12-12-68 Boston)
  • Jesus (10-18-69 Dallas)
  • That’s the Story of My Life (10-18-69 Dallas)
  • I Found a Reason (10-18-69 Dallas)
  • Sunday Morning (10-18-69 Dallas)
  • Ride into the Sun (unreleased demo)
  • Sweet Jane (11-69 San Francisco – Quine outtake)
  • Rock & Roll (10-69 Dallas – “after hours jam”)
  • Lisa Says (10-69 Dallas – “after hours jam”)
  • Over You (11-69 San Francisco – Quine Tapes)
  • Sister Ray (10-18-69 Dallas)
  • Ride into the Sun (11-69 San Francisco – Quine Tapes)
A Rock Set (composite) – 65 minutes

This set leads with the other unreleased 1969 demo/acetate recording, then works its way through all the rockers not represented by the October 19th Dallas show. Sound quality gets a little rough as it proceeds, but in terms of a balance between exhilarating crunch and listenable songs, these are the ones.

  • Real Good Time Together (unreleased demo)
  • It’s Just too Much (11-69 San Francisco – Quine Tapes)
  • Sweet Bonnie Brown (11-69 San Francisco – Quine Tapes)
  • I Can’t Stand It (11-69 San Francisco – Quine Tapes)
  • Move Right In (1-10-69 Boston)
  • Foggy Notion (11-69 San Francisco – Quine Tapes)
  • Run Run Run (8-2-69, Ringe, NH)
  • Follow the Leader (11-69 San Francisco – Quine Tapes)
  • White Light White Heat (12-12-68 Boston, MA)
  • Ferryboat Bill (3-13-69 Boston)

Bonus disc here.

Lost 4th album here. 

The Velvet Underground: Live Instrumental Edits (part 1)

I have started extracting improvisational material from the tragically murky audience tapes that tragically constitute most of the live documentation of The Velvet Underground. I’m taking the same approach as with my Grateful Dead “instrumental edits” – keeping everything but the vocals, so songs still start and end, but the songs themselves are never sung. 

This solves the biggest problem with those bootlegs: The songs are the weakest point, constantly reminding you how bad these tapes are. Vocals are distantly shouted, and often barely discernible. The contours of melodies and harmonies are lost. When the band settles into playing behind verses and choruses, it gets the most noisy, blurry, and boring.

However, the instrumental, improvisational stretches are mostly as listenable as VU’s second studio album, “White Light White Heat.” You can hear all four musicians, and you can rather easily pretend that the various “mixes” and distortion effects are intentional. It’s nothing but relentless VU jamming and extended Reed solos. You can turn it up and just dance to this rock and roll station.

Some songs are not susceptible to this treatment, or at least I haven’t found versions of them that are. But you never know. There’s a three-minute “Jesus” jam, so we can only imagine the many unique wonders we would be enjoying today, if VU had been recorded as assiduously as The Grateful Dead. 

The first show, below, is one of the higher fidelity ones, and it includes one of my favorite “Sister Rays.” The second one is one of the worst sounding ones, but it has its small share of gold – the extended “Jesus” and great long versions of the other two tunes I saw fit to edit. 

All files zipped up here. 58 minutes total time.

January 10, 1969 – Boston (Boston Tea Party)

  • Move Right In (2:12)
  • What Goes On (2:29)
  • I Can’t Stand It (3:23)
  • Run Run Run (5:35)
  • I’m Set Free (1:21)
  • Pale Blue Eyes (1:17)
  • Sister Ray (with vocals) (21:07)
  • White Light White Heat (3:02)

October 2-4, 1968 – Cleveland (La Cave)

  • Jesus (3:16)
  • I Can’t Stand It (5:44)
  • Foggy Notion (8:49)

The Velvet Underground: Unloaded (1969-1970)

Cover photograph by Henry Chalfant.

This is my late entry into the “lost fourth album” competition. VU completed its eponymous third album at the end of 1968, and then, in 1970, released a very strange final (actual fourth) album, “Loaded.” 

In between these documents, the Velvet Underground were peaking live and writing and recording new songs for two different labels. But the closing of the fourth album gate was deferred and deferred, until Lou Reed had actually quit the band, and the final batch of released songs only slightly represented what had transpired since December 1968. 

So, this is the space-of-an-album that I wanted to fill:

  • Ignore the MGM/Atlantic label divide that has segregated releases of archival VU recordings from this period. Follow the continuous trail of the art.
  • Demonstrate that this was a staggering year in Lou Reed’s songwriting and singing history. A “Blonde on Blonde” year. And these are only 20 of the songs he wrote that year.
  • Avoid the sudden, new moves presented on the released “Loaded,” and instead extend the vibe of the third album/1969 VU as far as possible. “Loaded” leans forward into the 1970s and a different VU that never happened; this leans backwards into one that did.
  • Capture the 1969 VU groove as far as possible. Quiet or loud, live or in the studio, they were a magical combo that only lasted a little while. Even the absence of Mo Tucker from most of the Atlantic sessions didn’t prevent Reed/Morrison/Yule from sustaining the 1969 band’s shimmery chug, much of the time. Amazing, definitive versions abound. 

This fake double album includes 20 songs, including three straight from “Loaded” and three live ones from “The Complete Matrix Tapes.” The other 14 are studio outtakes, demos, and alternate versions drawn from various vault releases. 

It’s a portrait of a band at its peak, happy to be here with you, appreciative of your ears – intimate, generous, unhurried. Do you want two short sets, or one long one? Anyone have a curfew? 

82-minute mp3 pseudo-album here

Side One:

  • Sweet Jane (live at the Matrix)
  • Sad Song (Atlantic demo)
  • Rock & Roll (Atlantic demo)
  • I Can’t Stand It (MGM, 2014 mix)
  • Foggy Notion (MGM, 1969 mix)

Side Two:

  • Andy’s Chest (MGM, 1969 mix)
  • Cool It Down (Atlantic, Loaded version)
  • Coney Island Steeplechase (MGM, 2014 mix)
  • Satellite of Love (Atlantic demo)
  • Countess from Hong Kong (late 1969, demo)
  • I’m Gonna Move Right In (MGM, 1969 mix)

Side Three:

  • Over You (live at the Matrix)
  • Lisa Says (live at the Matrix)
  • I’m Sticking with You (Atlantic version)
  • Walk & Talk (Atlantic demo)
  • Oh! Sweet Nuthin’ (Atlantic, Loaded version)

Side Four:

  • Ocean (Atlantic outtake)
  • New Age (Atlantic, Loaded version, full-length)
  • I Love You (Atlantic demo)
  • I Found a Reason (Atlantic demo)


Self-Impersonation: Bob Dylan 1970 Reconfigured (Vol. 3)

Let’s pretend that the music Bob Dylan recorded circa 1970 had resulted in a series of different albums than the ones we got. In the real world, those recordings are smeared all over the place: Self-Portrait, New Morning, Dylan, Greatest Hits Vol. 2, vault releases, and bootlegs. The point of this curation is not to include everything, but to finally give persuasive form to a period that remains blurry (based on commercial releases) and that is often derided as a low point. I consider it a high point, even at its weirdest points. This is my case, via four imaginary albums. 

Volume 3: The Boxer

“Still a man hears what he wants to hear, and disregards the rest.”

“What is this crap?” a famous critic famously asked, after being exposed to “Self Portrait.” 

This third volume of my 1970 reconfiguration is a journey to the center of the crap. I’ve piled it up until there’s a whole statement’s worth of it. It’s delightful. It coheres. It’s greater than the sum of its parts. It’s not a joke.

And it’s not crap at all, of course. Dylan’s not singing as Mr. Nashville, or taking on any fixed poses. He’s taking all of this seriously and covering a lot of ground. He’s putting quarters into his private jukebox. Next up, “Mr. Bojangles.” 

If he’d named these songs in an interview as what he was listening to, we’d find it fascinating, but his playing of them, and the way he played many of them, are often ridiculed: covers of contemporary songs, lightweight originals that sound like those contemporary songs, weird oldies, non-adversarial-Dylan approaches to interpreting it all, backup singers all over the place.

Yes, it is Dylan’s easy listening album from 1970, and aren’t you glad you can finally listen to it all the way through?

43-minute mp3 pseudo-album zipped up here

  • The Boxer (SP)
  • Early Mornin’ Rain (SP)
  • If Not for You (NM)
  • Can’t Help Falling in Love (D)
  • Gotta Travel On (SP)
  • Woogie Boogie (SP)
  • Bring Me a Little Water (ASP)
  • Spanish is the Loving Tongue (b-side)
  • Mr. Bojangles (D)
  • Lily of the West/Flora (D)
  • Mary Ann (D)
  • Winterlude (NM)
  • Big Yellow Taxi (D)

Additional notes: 

  • As many before me have said, this b-side version of “Spanish is the Loving Tongue” is one of Dylan’s greatest performances. The fact that I would dare to place it in the midst of this other stuff reflects my confidence that I can serve you four stacks of 1970 Dylan, and make you like every song in each one of them… including three versions of “Spanish is the Loving Tongue,” a lyric and melody that Dylan obsessively explored in this period, beginning with The Basement Tapes. It’s a song about the borderlands between acceptance and regret, choice and fate, true love and inadequate love. It makes perfect sense that Dylan kept circling around it in this period, and that he also dug out and seriously recorded his old song “Tomorrow is a Long Time” and wrote “Watching the River Flow.” They’re all versions of the same separation narrative, questioning whether the narrator has irretrievably lost something, or is just too weak to pursue it. 
  • Dylan can’t be credited or blamed for some of the overdubbed arrangements here, but unfortunately the material originally released on the album “Dylan” (1973) seems to be so hated that the compilers of the archive box “Another Self Portrait,” didn’t consider including any of it in a purer form. For all I know, some of them began as amazing solo performances, later to be encrusted by others.  
  • I haven’t included anything from the widely-bootlegged June 1, 1970 screw-around recording session on my four compilations. It’s one of those Dylan documents best left to be enjoyed in isolation, IMO, like the ’66 hotel tapes, ’69 Dylan/Cash sessions, and ‘78 Rundown sessions. Lots of fun to be had, but no knockout performances of anything. However, one of the high points of the 6/1/70 recording is a rendition of “Matchbox,” which reveals exactly where “Woogie Boogie” came from.

Self-Impersonation: Bob Dylan 1970 Reconfigured (Vol. 2)

Let’s pretend that the music Bob Dylan recorded circa 1970 had resulted in a series of different albums than the ones we got. In the real world, those recordings are smeared all over the place: Self-Portrait, New Morning, Dylan, Greatest Hits Vol. 2, vault releases, and bootlegs. The point of this curation is not to include everything, but to finally give persuasive form to a period that remains blurry (based on commercial releases) and that is often derided as a low point. I consider it a high point, even at its weirdest points. This is my case, via four imaginary albums. 

Volume 2: To Woody

This is the sub-plot of 1970-ish Dylan studio recordings that I most wanted to pull together – the record I always wanted “Self-Portrait” to be. It’s something like the return of folk singer Dylan, but with the wider, weirder scope of traditional music opened up by The Basement Tapes. Covers and originals sit together comfortably. 

At the edge of the imaginary stage, alone in the spotlight, is Dylan, with microphone, acoustic guitar, harmonica, and a nearby piano. He’s singing his heart out without raising his voice, inhabiting each song as though it’s the most important or delightful story he’s ever told. Additional musicians appear in various formations to provide reserved accompaniment for one song or another. 

If this had been the 1970 comeback concert or “Self Portrait," I think it would be revered. 

63 minute pseudo-album zipped up here

  • Alberta #3 (ASP)
  • Down in the Flood (GH2)
  • In Search of Little Sadie (ASP)
  • George Jackson (single, solo)
  • Song to Woody (bootleg)
  • Only a Hobo (ASP)
  • It Hurts Me Too (SP)
  • You Ain’t Goin’ Nowhere (GH2)
  • Copper Kettle (ASP)
  • Spanish is the Loving Tongue (ASP)
  • Thirsty Boots (ASP)
  • I Shall Be Released (GH2)
  • Days of ’49 (ASP)
  • Belle Isle (ASP)
  • Pretty Saro (ASP)
  • House Carpenter (ASP)
  • These Hands (ASP)
  • Tattle O’Day (ASP)

GH2 tracks and “George Jackson” were recorded in 1971. ASP songs are sometimes SP takes without the overdubs. 

Self-Impersonation: Bob Dylan 1970 Reconfigured (Vol. 1)

Let’s pretend that the music Bob Dylan recorded circa 1970 had resulted in a series of different albums than the ones we got. In the real world, those recordings are smeared all over the place: Self-Portrait, New Morning, Dylan, Greatest Hits Vol. 2, vault releases, and bootlegs. The point of this curation is not to include everything, but to give persuasive form to a period that remains blurry (based on commercial releases) and that is often derided as a low point. I consider it a high point, even at its weirdest points. This is my case, via four imaginary albums. 

Volume 1: The Morning After 

One reviewer called “New Morning” a mid-term report from a position of domestic tranquility. However, the final report card, based on original songs recorded in 1970 and 1971, is a much more unsettled communique.

The first volume of my 1970 reconfiguration attempts to turn “New Morning” into the most substantial possible album of originals recorded in this period. The result includes six songs from "New Morning," three alternate versions of "New Morning" songs, and four songs that weren't on the album. 

The object of thematic puzzling is time. Simplified into biography (which isn’t fair), the plot involves “Bob Dylan” fleeing himself and celebrity into domestic tranquility and artistic freedom in upstate New York, but ending up estranged from wife and self, that masterpiece he was going to paint colliding with not having much to say, the past a mixed-up confusion, the future a blank, the river of time continuing to flow by. The gypsy he goes to see in the end, and can't connect with, is the Bob Dylan he escaped from and now can’t find his way back to. He’s the restless wallflower in his own life. He’s half-inclined to consider religion. Or he's just a restless Bob Dylan, hanging out in the cafes and bars of upstate New York, taking notes. 

  • Act 1: Hopeful escape
  • Act 2: Bliss
  • Act 3: Ambivalence, boredom, regret, and resignation

It’s the mighty Bob Dylan album, hiding in plain sight, that marks the mid-point between the official mileposts planted by “John Wesley Harding” (1967) and “Planet Waves" (1973). This re-stacking should startle even those who are intimately familiar with this material in its original contexts, especially in the second half. 

42-minute pseudo-album zipped up here.

  • Three Angels (NM)
  • Day of the Locusts (NM)
  • When I Paint My Masterpiece (ASP)
  • If Dogs Run Free (ASP)
  • New Morning (NM)
  • The Man in Me (NM)
  • Watching the River Flow (single)
  • One More Weekend (NM)
  • Time Passes Slowly #2 (ASP)
  • Tomorrow is a Long Time (bootleg 6/4/70)
  • Wallflower (ASP)
  • Went to See the Gypsy (ASP)
  • Father of Night (NM)

Sidetrips: Elvis Costello – “Favorite Hour” (1994-2004 mix)

Born four years apart and releasing their first albums one year apart, Prince and Elvis Costello are artists that I also associate as eventually becoming capable of writing and singing nearly any kind of song exceptionally well.  

This mix is not intended to represent everything fantastic about EC 1994-2006 – not by a long shot.

It specifically curates the Costello development that proceeded from such early indicators as “Alison,” “Hoover Factory,” “Almost Blue,” “Boy With a Problem,” “Shipbuilding,” etc., and from Costello’s abiding interest in what can loosely be called American Popular Song. These are songs that might have originated in a musical, sung by a character, later to be picked up by others as a standard. 

This mix is also a celebration of the dynamic duo of Elvis Costello and pianist Steve Nieve, collaborators for nearly two decades by the time of the earliest recordings on this mix. Nieve appears on every, or nearly every song here. 

The selections come from the albums of the period (including expanded edition material), a series of EC & Steve E.P.s, and a little bit from bootlegs. The cover photo is from some years later, but I couldn’t find one that I liked better.

66-minute mp3 mix here

  • All This Useless Beauty
  • Still
  • Favorite Hour (Church Studios version)
  • Poor Fractured Atlas
  • Still Too Soon to Know
  • Just a Memory (live 1996)
  • When Did I Stop Dreaming?
  • That Day is Done
  • When It Sings
  • Let Me Tell You About Her
  • I Want to Vanish
  • World’s Great Optimist (demo)
  • All the Rage (live 1996)
  • Black Sails in the Sunset (live 1996)
  • Can You Be True? (live 2004)
  • Almost Blue (live 2004)
  • Baby Plays Around (live 1999)

Side Trips: A Certain Ratio (1979-1980 mix)

This post presents a very small slice of the earliest output of the band A Certain Ratio. It's intended for people who don't already know them well and who are generally into 1978-1982 postpunk, who like Gang of Four, Joy Division, or Public Image Limited, and/or who are interested in the Manchester, UK scene, 1977-1986. 

A Certain Ratio (ACR) was a Factory Records band-mate of Joy Division and others, produced (in their early years) by JD’s producer/studio-translator, Martin Hannett, for better and for worse.

ACR was and was not conducive to the Joy Division treatment. They were a postpunk funk band that was also very gloomy in their early years. Balancing the funk and the gloom was the challenge, and I judge the official results to be extremely mixed. The band complained that Hannett often took the sound too far from the live band’s ethos, and I’d say that they were correct. 

After/during the period documented here, ACR went to NYC on tour, inspired Talking Heads to funk it up, soaked up a ton of influences and percussion instruments – and leapt forward with their next LP, the postpunk masterpiece “Sextet,” in 1981, which is now available as a perfectly-executed double-CD. After “Sextet,” ACR would continue to evolve into a more mainstream funk band, sliding successfully into the “Madchester” scene. There is no release that documents their 1984-1986, 12-inch/EP output, but they gave New Order and Primal Scream worthy competition. They still exist, with their three essential/unchanging original members, releasing challenging music sometimes, and playing live sometimes. 

Despite being an ACR super-fan, who collected and later meticulously ripped all of the original vinyl and cassette releases, I can’t fully endorse their earliest output. The vibe is consistent, if you’re in the mood for it, but the songwriting and the groove are inconsistent. One song, or version of a song, will lock into a great place, while another will be a cold fish. They were a young, experimental band, and they got it exactly right sometimes.

With today's single, LP, Peel Session, and live options, you can play to the strong points. The only reason I'm posting this mix is that I've been trying to find it since the early '80s, and I think I'm very happy with this "less is more than more" approach.

If you're into it, ACR is re-releasing (in late 2017) their two major, early documents, “The Graveyard & The Ballroom,” and “…to Each," which contributed songs to this mix. 

32-minute zipped mp3 file here

  • Flight (The Graveyard, cassette rip)
  • Loss (live 10/80, Groningen CD)
  • Oceans (To Each vinyl rip)
  • Choir (Peel Session 1979, Early CD)
  • Forced Laugh (live 10/80, Groningen CD)
  • My Spirit (To Each vinyl rip)
  • The Fox (single, Early CD)
  • Shack Up (single, Early CD)
  • All Night Party (Peel Session 1979, Early CD)

Side Trips: The Clash – “Sandinista LIVE!”

I imagine that many fans of The Clash have taken a shot at reducing, expanding, or otherwise mutating “Sandinista!,” in search of whatever it is they feel needs finding in that album. To me, there’s an overcooked, dimly-lit lack of dynamism that keeps me at arm’s length.

This post’s live approach to the album’s (period’s) songs provides a decidedly different slant on things. None of the “Sandinista!” songs were played live before they were recorded for the album, and nearly half a year went by between its completion and their next live performance.

So, they had to learn how to play their slow-cooked studio songs live as a rock band, and then they knocked them out on stage alongside “Career Opportunities” and “Janie Jones.” Sandinista v2.

This compilation comes mostly from two performances from the first two months of that touring period (Amsterdam in May, a NYC Bond's show in June). I have added a few recordings from earlier and later to expand the coverage of relevant songs as far as I can. (Recording dates/locations are included on the song title tags.)

Halfway between the cubicle-gray (stoned all night in the mixing booth) vibe of the studio album and the immediacy of this chaotic live Clash is the “Sandinista!” that I like best. This period was the beginning of the end of the classic lineup with Topper Headon.

67-minute zipped mp3 file here 

  • The Leader
  • Somebody Got Murdered
  • Lightning Strikes
  • Bankrobber
  • Ivan Meets G.I. Joe
  • Charlie Don’t Surf
  • This is Radio Clash
  • One More Time
  • Broadway
  • Street Parade
  • The Call Up
  • The Magnificent Seven
  • Lightning Strikes
  • Corner Soul
  • Washington Bullets
  • Armagideon Time
  • Junco Partner
  • Police on My Back

Side Trips: Beck – “Beautiful Way” (1998-2014 mix)

Cover art by Odilon Redon.

I rate Beck as a major talent. Lyrically, he can break your heart or conjure up a startling, surreal image as well as anyone. He’s a great observer of relationships, emotional turmoil, and the weirdness of contemporary culture. Musically, he’s covered a vast spread of styles with excellent results. 

When he won a GRAMMY in 2014, it was for “Morning Phase,” an album made in his “lush beauty” style – which has a history going back to nearly the beginning of his recording career. It is possibly his most instinctual mode of songwriting, based on the quantity of songs in it and his frequent returns to it.

How to describe it? It has something of the 1969 Velvet Underground’s “Candy Says”/”Pale Blue Eyes” vibe. (The song “Beautiful Way” rips off the melody of VU’s “Countess from Hong Kong.") I’m also reminded, a lot, of Acetone’s later records. Nick Drake is in there somewhere, but this music also features vast-sounding arrangements and production that put you into late Beatles/George Martin territory. But then, there’s also a C&W twinge to most of it. It’s got rhythm, a groove even, but it’s narcotic. It is a giant, slow wave of beautiful sadness. 

I cherish this kind of Beck, but the same characteristics that make it consistently alluring also result in a sameness fatigue factor. I wouldn’t have given a GRAMMY to “Morning Phase,” but I fully support a GRAMMY for the music Beck has made in this style, across the years. This mix is my argument in support of that position. 

Sources: Morning Phase (4), Sea Change (4), Mutations (3), Midnite Vultures (1), The Information (1)

13-song, 55-minute, 320kbps, ripped-from-CDs, mp3 mix here

  • Blackbird Chain
  • Dead Melodies
  • Beautiful Way
  • Heart is a Drum
  • Paper Tiger
  • Turn Away
  • Lost Cause
  • Guess I'm Doing Fine
  • Waking Light
  • We Live Again
  • New Round
  • Nobody's Fault But My Own
  • The Golden Age