My latest hour long mix for Tak Tent Radio went live at the weekend. Tak Tent have been broadcasting out of Scotland on the internet since June 2020, with a range of contributors including the legendary Richard Youngs. The latest Bagging Area mix is my ninth for Tak Tent and contains solely music from this year. You can listen to it here or directly at Mixcloud. Don't let them tell you there's no good new music any more.
Alex Kassian: Lifestream
Marshall Watson: High Desert (Seahawks High Sky Remix)
Whitelands: Setting Sun (AR Kane Initiation Dub)
Dot Allison: Unchanged (GLOK Remix)
Dickie Continental: Simon Says (Congagong rework)
African Head Charge: Passing Clouds
Coyote: After All These Years
Steve Queralt and Michael Smith: Chaldean Oracle (GLOK Remix)
Jo Sims: Bass- The Final Frontier (David Holmes Remix)
Dot Alison's new album, Consciousology, is out at the end of July and to date the only song available to listen to from it has been Unchanged. Andy Bell in Glok mode has remixed that song, a deeply mashed up, weirded out and dubby take on Unchanged, a sort of fractured folk/ dub/ psychedelia that makes everything feel like its happening very slowly but speeding up too with echo, dub bass, cymbal crashes, stuttering drums and Dot's voice floating in and around. It has a similar feel to Brendan Lynch's epic 1993 remix of Paul Weller's Kosmos and some of Adrian Sherwood's productions.
The original version of Unchanged has Andy playing guitar alongside Dot, a song that manages to take in British folk music and The Velvet Underground.
Friday night in Cheetham Hill, just north of Manchester city centre with Strangeways prison dominating the after dark skyline, is a part of the city that stubbornly refuses gentrification. A ten minute walk up the main road from the back of Victoria Station brings you to a relatively new Manchester gig/ event venue, The Yard. Friday night's bill saw Wigan guitarist Mark Peters and Manchester ambient techno three piece Marconi Union playing. Mark stepped up to the low stage, clips from 1950s Western films playing behind him, in line with the North West England meets the wide open spaces of the prairies psychogeography of his albums (2017's Innerlands and 2022's Red Sunset Dreams).
With backing tracks playing through the laptop, Mark plays a wonderfully chilled set of tracks. The songs and his playing reflect the cosmische guitar sounds of Michael Rother, the delay and chorus fretboard work of Vini Reilly and his own ambient guitar styles. The opening song is a new one, Cinder Flower, and there are the windswept but beautiful soundscapes of Innerland songs Ashursts's Bridge, May Hill and Twenty Bridges. Alpenglow and Magic Hour, both from a just released EP, sound full and rich as the notes fill the converted 19th century building. Alpenglow is chiming krauty bliss, as if Neu! had been from Winstanley rather than Dusseldorf, and Magic Hour is indeed magical, understated but gently heroic, the spirit of early Verve intact. Towards the close of the set, just before Alpenglow, Dot Allison's voice drifts through the PA as her vocal from Switched On The Sky floats on top of Mark's guitar and then he soars into the spaced out version of the song, Switched On.
After a short break Manchester trio Marconi Union take the stage, three figures lined up behind a bank of keyboards, synths, laptop and machines. The laptop and synth stage right kick into life and the dark, brooding sounds fill the room, lots of texture and atmospherics but with melodies and purpose too- no floating ambient drift here, but tracks with intent. There is guitar centre stage, the notes another layer of sounds on top of the machine music, along with the sometimes mournful keys/ piano.
The films projected behind them- skyscrapers shot from below, a Manchester Metrolink tram gliding slowly past from left to right- add to sense of motion. Everything happens without explanation. There's no chat between the songs. It's impressive and weighty stuff and the room, pretty close to being sold out, is an appreciative audience. This is Strata Alt, from May last year, giving a good idea of what they do.
Back in 2011 they recorded a track called Weightless, an eight minute collaboration with sound therapist Lyz Cooper, field recordings, piano and guitar with tones specifically designed to induce a trancelike state and aid relaxation and sleep and reduce anxiety. It has been streamed millions of times on Youtube and if you want more there's a slowed down and stretched out ten hour version here.
On my way home, through a sequence of events I won't bother to go into right now, I met my wife (out on a separate night out) and we ended up at a party on Swan Street in the city centre, a party in a former chip shop now cocktail bar, and were dancing until 2am, the oldest people in the room. Later on we were wandering the wet streets of Manchester city centre looking for a taxi in the rain.
Last Sunday's One Dove mix was popular with a slice of this blog's readership and included calls for a follow up mix so due to popular demand here is a further forty minutes of One Dove, a dubbed out and spaced out selection.
Breakdown came out as a single ahead of the album Morning Dove White in October 1993, the Stephen Hague mix being chosen by the record company to push it towards radio play but the real treasure was to be found in the remixes and versions, two of which I've included here. The first is one of two by William Orbit (the other being the Cellophane Boat Mix, named after an infamous boat party in Rimini).
Squire Black Dove Rides Out is Sabres Of Paradise at their dubbiest, an epic remix that showed how far ahead Weatherall was in 1992. I wrote about it here a couple of years ago, on a sample spotting tip (and finding Shades Of Rhythm and Tranquillity Bass within it). In 1993 I had Breakdown on cassette single, these remixes, the Stephen Hague single version and the Cellophane Boat mix on one tape which often soundtracked the long bus journey to my first teaching practice placement in Failsworth, North Manchester. I still have the cassingle, one of the few tapes that survived various culls over the years. The song in all its versions is burned into my subconscious, from 1993 to 2023, from being a trainee teacher to one now only two and a half years from being able to take his pension.
Jolene was a superbly dubbed out and off kilter cover of Dolly Parton's 1973 single, which eventually saw the light of day in December 1993 on the 12" and CD single of Why Don't You Take Me.
Fallen (Darkest Hour) is the original, pre- Weatherall release when the band were Dove (the soap manufacturer didn't see the funny side of their name- I've no idea if Dove the soap manufacturers knew it was a drug reference or just didn't like their copyright being infringed. Either way Dove became One Dove). Fallen came out on Soma in 1991 with two other versions, Dawn and Dusk. Legend has it Dot managed to get Weatherall to listen to it, he proclaimed it record of the year and then offered to produce their album.
White Love is also a key One Dove song, not least the ten minute Guitar Paradise version by Weatherall and Sabres. The version here came out in the US only and then in very limited numbers as a promo 12", a remix by Jon Williams for Hardkiss, a hypnotic remix complete with chanting monks and oil drum thump of the drums and a loop of Dot's vocals. There is another Hardkiss remix, the ten minute Scott Hardkiss Psychic Masturbation version of White Love but as I'm trying to keep these Sunday mixes at around thirty to forty minutes that is a remix for another day.
After last week's Dot Allison mix I thought I should go back to the source and do a One Dove mix. One Dove's album Morning Dove White was finally released in October 1993 after a year of hold ups and wranglings about whose mixes and which versions should be on the final record, Stephen Hague's radio friendly sheen or Andrew Weatherall's lengthy dubby productions. We all know what history tells us about those kind of arguments. I bought it and played it a lot, an album that can transport me back to the flat I lived in then with a friend and the times we spent listening to it, the smell and hum of the gas fire, the ashtray filling up with cigarette butts. It sound-tracked our post- club arrivals back home, the winter of 1993- 94, a couple of break ups, us making our way into adult jobs, all that kind of stuff. I've listened to it ever since, an album that continues to give alternately shivers and a warm glow. Weatherall's production, on the back of Screamadelica, is expansive, restless, superbly chilled out but warped too and oddly timeless. The moody/ elegiac songs of Dot Allison, Jim McKinven and Ian Carmichael were clearly good to start with but once Weatherall and Hugo Nicolson got into the studio and began working on them they went somewhere else, sprinkled with the magic dust of the early 90s. Stephen Hague's mixes are possibly a little too shiny in places (and kept mainly for the CD version) but the vinyl is an album to rank alongside the best of the 90s. I once said here, many years ago, that it was brilliant but felt slightly flawed, like there was something missing. I'm not sure what that was or what I meant now. The album's cast included Weatherall's Sabres Of Paradise mates Gary Burns and Jagz Kooner, Jah Wobble's bass on There Goes The Cure, Phil Mossman (Sabres guitarist and future member of LCD Soundsystem) and Primal Scream's Andrew Innes. It's never been re- issued on vinyl. Copies on Discogs are currently starting at £80. Mine is most definitely not for sale.
Putting together a One Dove mix without just sequencing a bunch of songs from Morning Dove White pointed me towards the remixes and B-sides. I couldn't find room on this mix for either Weatherall's majestic dubbed out odyssey, Breakdown (Squire Black Dove Rides Out) or their spaced out cover of Jolene- a second forty minute mix should happen at some point- and there are several Sabres remixes of Transient Truth not included below, the mighty Old Toys and Old Toys Dub are both stunners. The ten minute Guitar Paradise version of White Love looks like a glaring omission too. And if Fallen feels little like it was just tacked onto the end, then that's because it was. I just couldn't not include it in one version or another.
Why Don't You Take Me is from Morning Dove White and was a single in December 1993, the now London Records owned Boy's Own label putting it out as the third single from the album and hoping for a hit. The Glaswegian dub reggae of Skanga was a B-side (along with Jolene, not included here).
Transient Truth was also from Morning Dove White and released as an official 12" (with the Old Toys mixes) and a white label promo, both in 1992. The white label contained four Sabres Of Paradise remixes of the song, the two included here plus the Paradise Mix and the Sabres Fuzz Dub. I've no idea if the Death Of A Disco Dancer remix is a reference to The Smiths song of the same name.
Underworld's remixes of Why Don't You Take Me are both up there with their best from the period, released on double blue vinyl along with a Secret Knowledge remix. Underworld's Up 2 Down remix is a long thumper. The one I've included here is dubbed out Underworld style and is magnificent.
Fallen is where the One Dove story starts, Dot's breathless vocal and the ambient/ dub/ acid house music initially built around a Supertramp sample which led to legal action and the offending harmonica being removed. Weatherall's remix for the 12" came with the title Nancy And Lee Mix, which sent many of us scurrying back to our parent's record collections looking for Sinatra and Hazlewood albums and singles. The version here is an edited one from a February1992 7" single and I include just because it's such a great song it can even survive having four minutes chopped off it.
Looking at all of the tracks I've left off this I think part two may have to come sooner rather than later.
A Dot Allison mix for Sunday, entirely songs from the post- One Dove years (a One Dove mix is something for another Sunday I think, maybe quite soon). It was only when I started thinking about this mix properly that I realised how many songs she's sung on with other people since One Dove, not to mention her various solo albums (Afterglow in 1999, 2002's We Are Science done with Two Lone Swordsman Keith Tenniswood, 2007's folky singer songwriter Exaltation Of Larks and 2021's Heart Shaped Scars all exist in one format or another round here). In the end, once I decided to include the Lee Perry remix and her two songs with Wigan guitarist Mark Peters from last year, it turned into a fuzzy, hazy Balearic, leftfield kind of selection- I tried some of the songs from We Are Science but they just didn't fit with the mood.
Switched On and Sundowning are both from Mark Peters excellent 2022 album Red Sunset Dreams with Dot on vocals. Switched On is a version of Switch On The Sky, the first single from the album, and Richard Norris remixed Sundowning twice for a follow up single, one ambient and one with drums.
Love Died In Our Arms was from a solo EP, Entangled, out a year ago. Lee Scratch Perry's remix was the final thing he worked on before his death. Dot had assumed Lee had died before being able to remix her song until she was contacted by Lee's widow and told otherwise.
Dirge was on the 1999 Death In Vegas album The Contino Sessions, the opening song and a single too. Apologies if the Adrian Sherwood remix version in this mix is a bit quiet- from memory I downloaded it from the Death In Vegas MySpace page (!) circa 2007 and it's a low bitrate compared to everything else here. You may have to turn the volume up.
Aftersun was recorded with Massive Attack in 2005 and included in the film Danny The Dog but not the CD soundtrack. It was available from Dot's website.
Mo' Pop was on Dot's debut solo album Afterglow and a single too. It is late 90s soul- pop perfection, with a superb Henry Olsen bassline. Message Personnel was on Afterglow too and also a single, which came with this very nice Arab Strap remix.
A mix for Monday, my seventh for Tak Tent Radio who broadcast out of central Scotland with a range of contributors and guests. This one, has music from a lot of artists who have graced the pages of this blog this year-Mark Peters with Dot Allison remixed by Richard Norris, Pete Wylie and Wah! The Mongrel from 1991, Pye Corner Audio remixed by Sonic Boom, Andy Bell remixed by David Holmes, Gabe Gurnsey, Jazxing, Jezebell's recent edit of Laurie Anderson, Carly Simon, Dirt Bogarde and Boxheater Jackson. In short- starts ambient, goes Balaeric and ends up dancey. Listen here or here.
Mark Peters and Dot Allison: Sundowning (Richard Norris Ambient Remix)
Pete Wylie and Wah! The Mongrel: Don’t Lose Your Drums
Pye Corner Audio: Warmth Of The Sun (Sonic Boom Remix)
Andy Bell: The Sky Without You (David Holmes Radical Mycology remix)
Mark Peters, guitarist/ multi- instrumentalist from the Wigan area, had a beautiful album out a few years ago called Innerland (follow by Ambient Innerland and then a remixes album called Routes Out Of Innerland too). Innerland was an album of guitar led instrumentals that sounded like windswept moorlands in the north west of England, captured as autumn turns to winter when dusk hits in late afternoon.
Mark's new album, Red Sunset Dreams, came out recently and suggests more of the same but transplanted slightly further afield than West Lancashire, into the American West. On two of the songs Mark asked Dot Allison to add vocals- Sundowner and the previously posted Switch On The Sky. On Red Sunset Dreams there is banjo, pedal steel and ukulele as well as the guitars and synths. And on new single Sundowning there are a pair of Richard Norris remixes, one with drums and one without, that relocate Mark's music from Wigan and Arizona to the Balearics. Utterly gorgeous, slightly forlorn, floaty ambience. Buy it at Bandcamp.
One of the general truths of travel is that it doesn't really matter where or how far you go, you take yourself with you. Writer Neil Gaiman said as such ('wherever you go, you take yourself with you') and fellow writer Haruki Murakami said something similar ('no matter how far you travel, you can never get away from yourself'). All three of us had moments while we were on holiday where Isaac's death hit us in some way. Going to a very hot island four hours away by plane and spending the time on beaches and by the pool wouldn't have floated Isaac's boat at all- he didn't like beaches, would have found it much too hot, wasn't great on planes and getting him up an down all the steps from the hotel to the street below would have been difficult. In some ways that's why we chose to go somewhere like Gran Canaria- it being so different from the car and ferry, French campsite holidays we'd done with him was all part of our thinking. We're still getting used to being a family of three- being somewhere a long way from home where you don't know anyone compounds this in some ways. No one we met or spoke to knew what had happened to us or what we brought to Gran Canaria with us. Lou says there are times when she wants to tell people, 'we're not a family of three, we're a family of four', but dropping it into conversations is really difficult- there's no easy way to do it and it goes off like an explosion, leaving people wrong footed, shocked and apologetic.
Last Saturday, 30th July, was eight months to the day since he died and we all felt it at different time during the day. It never leaves you does it? Grief and loss always find ways to come out of nowhere and punch you again. It still sometimes feels like being winded, a physical pain in the chest. I felt it sitting on the balcony one evening, music playing through the crappy speaker I'd brought with me, sun shining on me, cold beer in hand, and then, suddenly and unexpectedly, a wallop of pain.
Lying on a sun lounger on the beach and thinking back to the room in Wythenshawe hospital in late November, it all seemed a bit unreal again, that we'd ended up where we were/ are, and being away without him briefly felt wrong. We went to one of the beachside cafes for a beer and some chips and some shade. As we sat down we all noticed the TV screen hanging over the ice cream counter, showing one of Isaac's favourite programmes- Mr Bean (and bizarrely one of his favourite episodes too, the barber shop one). Sitting drinking a pint of very cold beer (price 1€ 50) and watching Mr Bean made us all smile, pulling us out of the loss and the tears we'd all felt a few minutes before. In some way, via Mr Bean, he'd come with us.
This song, Switch On The Sky, came out the day we flew. Mark Peters is a guitarist from Wigan. His Innerland album came out in December 2017, an instrumental/ ambient record with eight tracks all named after north- west landmarks. The following year a beatless ambient version was released and a remix album too called New Routes Out Of Innerland. All three were big favourites round here (you can listen buy at Mark's Bandcamp page). Switch On The Sky is the first single from the follow up, Red Sunset Dreams (out in September), and has Dot Allison (formerly of One Dove) on vocals. It's a gorgeous, slightly forlorn, gently psychedelic song with guitar, bass, pedal steel, synths, banjo and ukulele and masses of swirling reverb. If you buy the single at Bandcamp there's also a lovely hazy shoegaze/ dub reworking called Switched On.
It's our 27th wedding anniversary today, another first to go through. We were young when we got married (Lou 23, me 25) and we had no idea what lay ahead of us or the circumstances we'd find ourselves in all these years later but that's the way life goes I suppose. Here are a pair of 27 songs to celebrate, both from favourite bands of mine. First, an A Certain Ratio song from 1991, the early 80s Factory post- punk funk being updated with something much more early 90s (but still laced with a tinge of Mancunian melancholy).
Second, Half Man Half Biscuit and a song from their 2002 opus Cammell Laird Social Club, wherein Nigel's efforts at romance are repeatedly rebutted- 'I said '' would you like to go the zoo?''/ She said 'yeah bit not with you'/ 27 yards of dental floss and she still won't give me a smile/ I'm King Euphoria, she's Queen Victoria/ 27 yards of dental floss and she still won't give me a smile'
It's a friend's 50th birthday today and we're off to Edale in Derbyshire for some walking in the Peaks and a few pints. A blast of early February Peak District weather on exposed hillsides should give us a jump start.
A few thoughts on where I am with the aftermath of Isaac's death and grief. I'm trying to keep the blog largely music oriented but every now and then it helps to put things down in writing. Last week was really tough, it just seemed so gloomy all week and we were all very down. We went to a monumental masons last week to start the process of looking for a headstone. I'm not sure we've made any progress there. The whole thing seems to big to deal with at the moment- picking a stone and then text which will be literally written in stone and displayed in the cemetery for years, decades, centuries possibly, to come. The experience of going in and being shown catalogues and samples is very bizarre too, makes picking a headstone feel like buying a new sofa or a car. I don't think we have made any decisions yet, just narrowed down what we definitely don't want. These are not the things you expect to have to do as a parent and its only three months ago he was very much still alive and with us.
On Sunday we took Eliza back to university in Liverpool, a return to normality for her but one which was causing some anxiety all round. The early part of this week we felt ok but both of us have an odd feeling growing about the house suddenly being just the two of us. Going to work has become a routine again although I feel a bit like I'm just going through the motions, semi- detached from everything else that's going on there. I just turn up to teach my lessons and then go again. Then on Thursday as I was walking to the car park a wall of grief hit me out of nowhere, triggered by one thought that fleeted across my mind out of nowhere, the feeling that life was Isaac was getting further away every day. He died on 30th November and it's February already. Time ticks on and every day is a step forward I suppose but every day is a step further away from him too. That's how it felt at that moment.
The commute to work and back gives me time to dwell. Tuesday's are always hard. One thought on a Tuesday and in my head I'm right back in the room with him and the hours up to his death. It's all very vivid still. I can smell it and feel it. Those Nick Cave songs I was listening to last week are still reverberating round my head but I spent the first few days this week listening to Half Man Half Biscuit, Nigel Blackwell making me laugh out loud while driving.
Music- I don't think anyone was expecting this. Dot Allison, formerly the voice of One Dove and a much revered figure round these parts, had an album out last year called Heart Shaped Scars. I haven't listened to it enough and need to get back into it. Yesterday a remix of Dot's Love Died In Our Arms was released digitally, the last remix done by the legendary Lee 'Scratch' Perry before he died in August last year, Dot's poetic indie- folk rejigged in a reggae style. Buy it at Bandcamp for a pound.
This came out in 2003, a sumptuous electronic song from the turn of the millennium adorned with the vocals of Dot Allison, one of those songs that can leave feeling happy or sad depending on your mood when hearing it (and also that confused happy-sad state). King Of Woolworths was Jon Brooks who has more recently been releasing records as The Advisory Circle. The album Sell Me Back My Soul came from, L'illustration Musicale, also had contributions from Bob Stanley of St Etienne and Emma Pollock of The Delgados but I don't own a copy of it. Given the quality of Sell My Soul Back To Me and effect it has on me I have no idea why I have never bought a copy especially as I've got almost everything else Dot has sung on. The video below is fan made from a film called The Cell, which I haven't seen. The photograph is by William Eggleston and is perfect in ways I cannot describe.
I'd forgotten I even owned this- a remix of St Etienne's How We Used To Live by Dot Allison. Stretched and abstract, some drones, static and whirring noises, and some distance from from Bob, Sarah and Pete's usual sound. Nice though.
I've no doubt I will keep coming back to One Dove as long as I have the strength to lift the arm onto the vinyl or press play. Morning Dove White is one of the 90s high points, one of Weatherall's too. This was their poppiest moment, soft, sublime and enveloping- even Stephen Hague can't ruin it. It doesn't have as many of the gorgeous dub textures that are all over the album but it should have been a big hit. I don't remember seeing the video before, Dot and the boys miming in a pub/club. The bit where they get projected onto the pool table is a tad dated but no matter.
Tonight, while you are uncorking the wine and enjoying Friday night, I shall be enjoying/enduring the horrors of... the work residential. Hotel, meeting from 4 until 7, dinner, drinks and then another round of meetings on Saturday morning all the way through until 12.
As a result they will be no rockabilly tonight- I'm not having you grooving to the sounds of the Bagging Area Friday night while I'm suffering. I know that sounds selfish but that's the way it is.
Some songs recently appeared on Soundcloud- unfinished versions of songs for a second One Dove album, scrapped as the band split up while recording it. Shame. One Dove's Morning Dove White is a lost 90s gem, flawed maybe but a gem nonetheless.
If you go here there's a few more, tasters of what might have been.
Drew reckons giving up smoking has affected my hormones, what with the Dot Allison and Betty Blue posts over the course of last week. I don't know if he's right but I thought I'd post this picture of celebrity shoplifter Winona Ryder anyway.
That Dot Allison album I mentioned (Pioneer, out December last year- did it get any press at all?) is a belter- as well as the Keith Tenniswood song I put up a few days ago there are several others that are as good as anything she's done since the late 90s. This one, dance-pop co-written with Jagz Kooner (Sabres, Aloof), has a killer chorus and makes me throw my hands up in the air involuntarily, and wave them like I just don't care.
Since writing this morning's post I found a reference to a download only album at the end of last year called Pioneers with Dot and a whole host of electronica artists including Keith Tenniswood, Darren Emerson, Jagz Kooner and her hubby Christian Henson. It's up at emusic, iTunes and at other such digital emporia. I've not listened to anything other than this song yet which sounds very much like Keith Tenniswood in his Radioactiveman guise with Dot singing- it has got a very busy, driving bassline.
I was listening to Dot Allison's superb solo debut lp Aftermath the other day, especially the perfect single Mo' Pop which should have been a hit in every country with a chart. Then I listened to the follow up, We Are Science, which had an electro-clash flavour with some assistance from One Lone Swordsman Keith Tenniswood- some cracking songs but less satisfying as a whole album. Then I remembered I also had 2007's An Exaltation Of Larks- a much folkier affair with accordions and fiddles and acoustic guitars. Whispery and wistful music. She also released an album in 2009- Room Seven And A Half- which featured Pete Doherty and Paul Weller but I never got around to getting that one. Think I had Doherty fatigue by 2009. This was the single from An Exaltation Of Larks.
Posting that Death In Vegas song on Monday night prompted me to think that it's been ages since I posted any One Dove. So, plucking a track fairly randomly from the hard drive we get the Old Toys Mix of Transient Truth. There are half a dozen different mixes of this song, most of them by Weatherall and his Sabres Of Paradise cronies Jagz Kooner and Gary Burns. This one is a killer- 120 bpm with a deep dubby bassline, pulsing synthlines, squelches and bleeps, a bit of Dot. They used to call it Progressive House. It still sounds like progress.
I missed a comment left a month or so ago from a reader called J who was looking for this- Death In Vegas's Dirge (with the lovely Dot Allison on vox) remixed by dubmaster Adrian Sherwood. And though this may tip me towards the edge of the monthly bandwidth with Boxnet I'll stick it back up anyway. Dubbed out Monday nights.
A reader called Anthony James has made a request, 'on bended knee' no less (quite fitting with all this reverence for our dear Queen)- One Dove's Skanga. I'm only too happy to oblige with this majestic 12" B-side slice of dub-house with Dot's wonky vocals. Wonderful record.
I think I've mentioned this before but I can't understand why this song and their cover of Jolene weren't on Morning Dove White, instead of the multiple versions of Breakdown and White Love- they would have made it a different and better album.
