Monday, July 4, 2016

Buffalo Springfield – Stampede

Buffalo Springfield – Stampede
(soniclovenoize reconstruction)

Side A:
1.  For What it’s Worth
2.  Mr. Soul
3.  We’ll See
4.  Pretty Girl Why
5.  Down To The Wire
6.  Everydays

Side B:
7.  Sell Out
8.  My Kind of Love
9.  No Sun Today
10.  Bluebird

Happy Fourth of July!  What better way to celebrate the birthday of Murica with a bunch of expat Canadians who sang about the unfair treatment of peaceful protesters by the uptight US government!  This is a reconstruction of the unreleased Buffalo Springfield album Stampede.  The brainchild of more their label than the actual band, Stampede was to be released in the summer of 1967 to capitalize on Buffalo Springfield’s hit “For What It’s Worth”.  Due to internal band conflict—namely ego battles and the departure of vocalist/guitarist Neil Young and bassist Bruce Palmer—the album never materialized and instead the fractured Buffalo Springfield Again was released at the end of the year.  This reconstruction attempts to recreate what Stampede could have been, particularly focusing on full-band recordings rather than the assemblage of nearly-solo tracks as heard on the eventual Again.  This reconstruction is presented in mono and all songs are volume adjusted and sequenced for a cohesive whole.  And of course, as much Neil as possible! 

After a bidding war over the young Los Angeles band with stars in their eyes, Buffalo Springfield recorded their self-titled debut album and released it at the conclusion of 1966.  Although a powerhouse in the local LA scene, the album and its lead single "Nowadays Clancy Can’t Even Sing" made little impact.  It wasn’t until lead singer and guitarist Stephen Stills witnessed the Sunset Strip Riots in November, in which local law enforcement unfairly cracked down on the counterculture 'loiterers'.  Influenced by the emerging madness and civil unrest of the 1960s, Stills composed “For What It’s Worth”, a cautionary tale of a government policing its citizens who should otherwise have the freedom to peacefully assemble.   Recorded in December, the song was released in January 1967 and hit the Top Ten nationally, becoming a peace anthem as well as eventual history as one of the greatest rock songs of the 20th Century. 

While “For What It’s Worth” was the song that made Buffalo Springfield, it was also the song that destroyed them, as the young band was not ready to attain superstardom so quickly.  Neil Young had to briefly leave the group in January due to epileptic seizures, but returned in time for their first recording sessions of 1967 in New York.  After working on several new compositions for a second album tentatively titled Stampede (Still’s “We’ll See”, Young’s “Mr. Soul” and guitarist Richie Furay’s “My Kind of Love”), Palmer was arrested for marijuana possession and deported back to Canada.  Throughout the next six months, Palmer was temporarily replaced by a number of revolving bass players including: Ken Forssi of Love, Ken Koblum of The Squires, Miles Thomas of The Poor, Jim Fielder of Blood, Sweat & Tears and The Mothers of Invention... and not to mention Buffalo Springfield road manager Dickie Davis who famously mimed the bass parts on a television appearance! 

The band went in and out of several studios in February and March with Fielder on bass.  Although the label thought they were tracking Stampede, the bend felt they were just killing time until the turbulence subsided: Stills’ “Pretty Girl Why”, “No Sun Today” and “Everydays” and Young’s “Down To The Wire”.  In April, the band tracked “Bluebird” with session player Bobby West on bass, as well as more recording and mixing done to the January recording of “Mr. Soul” in attempt to compile a follow-up single to “For What It’s Worth”.  Meanwhile, Atlantic Records capitalized on the success of the top ten hit by re-issuing the band’s self-titled debut album, dropping “Baby Don’t Scold Me” for “For What It’s Worth”.  The move worked and the album shot up the charts, unlike its original configuration several months before.  The label then booked Buffalo Springfield to pose for an album cover photo shoot for the Stampede album they were pressured to be making throughout the turmoil.   While this picture itself became a classic—with Davis posing as the missing Palmer, face obscured—Stampede never did, as the album never was. 

Aside from the missing bassist and thus a lack of a solid foundation, a second variable was at play: Neil Young.  In-fighting had developed between Stills, Young and Furay, all vying to edge their compositions into the band, resulting in each member essentially producing the sessions for their own songs.  By June, Palmer was able to return to Buffalo Springfield but Young had already left, attempting a solo career free of the Buffalo Springfield.  Young was temporarily replaced by Doug Hastings of The Daily Flash and then briefly David Crosby of The Byrds.  More studio works was done to ‘kill time’ during the summer: Furay’s “A Child’s Claim To Fame” and Stills’ “Rock ‘n’ Roll Woman” and “Hung Upside Down”.  Buffalo Springfield’s trajectory had only increased after playing Monterey Pop Festival and the band was surprised to find that Neil wanted to rejoin.  Unfortunately the damage was already done and by August the band realized they needed to deliver an album to Atlantic.

Oddly enough, the fractured and reassembled Buffalo Springfield scrapped most of the material recorded throughout the tumultuous year, and instead cobbled together an album mainly consisting of solo recordings.  Chosen was: the Palmer-less “Bluebird” and “Everydays”; the Young-less “A Child’s Claim To Fame”, “Rock ‘n’ Roll Woman” and “Hung Upside Down”; Young offered his own recordings of “Expecting To Fly” and “Broken Arrow” originally meant for his short-lived solo album; Furay offered his own recordings of “Sad Memory” and “Good Time Boy” (the later which was sung by drummer Dewey Martin and session musicians filling out the rest of the instrumentation!).  Only “Mr. Soul” featured all of the classic Buffalo Springfield lineup.  Despite being full of fantastic material, Buffalo Springfield Again was incongruent and was hardly Buffalo Springfield as a band.  Are these faults something we can correct?

Many people have theorized and reconstructed what Stampede could have been, but due to the lack of any finalized tracklist—or even the confirmation that the band believed they were making an album in the first place—the results vary wildly.  Despite this, there are two chief methods to organize the album: it could have either been a collection of the songs Buffalo Springfield were working on in 1967 before Young quit, or it could have been a cash-cow album by the label using unreleased 1966 material as filler.  Here we will attempt the former, making an album that would chronologically follow their debut album and replace Again with a more unified “band-sound” with Neil, rather than a stopgap collection to stand alongside both Buffalo Springfield and Again.  Furthermore, we will make the assumption that the Stampede album would have touted “For What it’s Worth” and the debut Buffalo Springfield will remain as it was initially released in 1966 without it.  Finally, this reconstruction will be presented in mono, which is what the Buffalo Springfield preferred. 

Side A begins with “For What It’s Worth”, taken from the Buffalo Springfield boxset.  It’s followed by the rare single mix of “Mr. Soul” with a more upfront lead guitar and bass track, taken from a vinyl rip by Professor Stoned.  Next is “We’ll See” and “Pretty Girl Why” from the Buffalo Springfield box set, followed by Neil’s vocal version of “Down To The Wire” from his Archives Vol 1.  Side A concludes with the mysterious “Everydays” from the mono vinyl rip of Again by Professor Stoned.

Side B gently departs from my theme of not using the 1966 outtakes, using Neil’s fantastic “Sell Out”, taken from Archives Vol 1.  Recorded near the very end of the Buffalo Springfield sessions in September 1966, Neil plays all the instruments and the recording was meant as a publishing demo; regardless, it fits well in my Stampede (not to mention it being my favorite track on the album!).  Following is “My Kind of Love” and “No Sun Today” from the Buffalo Springfield box.  Ending the album is the rare 9-minute version of “Bluebird”, taken from a vinyl rip of the obscure 1973 Buffalo Springfield double LP, collapsed into mono to match the rest of the reconstruction. 

Sources used:
Buffalo Springfield (1973 Atco Records, noxid vinyl rip)
Buffalo Springfield (2001 Rhino Records 4CD box set)
Buffalo Springfield – Again (1967 Atco Records Prof Stoned mono vinyl rip)
Buffalo Springfield – Bluebird b/w Mr Soul (1967 Atco Records Prof Stoned mono vinyl rip)
Neil Young – Archives Volume 1 (2009 Reprise Records CD)

flac --> wav --> editing in SONAR and Goldwave --> flac encoding via TLH lv8
* md5 files, track notes and artwork included

Tuesday, May 31, 2016

Prince and The Revolution - Dream Factory

Prince and The Revolution – Dream Factory
(soniclovenoize reconstruction)

Side A:
1.  Visions
2.  Dream Factory
3.  Train
4.  The Ballad of Dorothy Parker
5.  It

Side B:
6.  Strange Relationship
7.  Slow Love
8.  Starfish and Coffee
9.  Interlude
10.  I Could Never Take The Place of Your Man

Side C:
11.  Sign o’ The Times
12.  Crystal Ball
13.  A Place In Heaven

Side D:
14.  Last Heart
15.  Witness 4 The Prosecution
16.  Movie Star
17.  The Cross
18.  All My Dreams

In honor of the passing of Prince, this is a reconstruction of what would have been his final album with The Revolution, 1986’s Dream Factory, which eventually evolved into Sign o' The Times.  Originally conceived as a double album with a significant amount of creative input from the band (at least compared to previous Prince releases), the album was scrapped after Prince broke up The Revolution in 1986.  Prince then turned his attention to a solo concept album Camille, which was also scrapped and combined with the Dream Factory material to create the unreleased triple album Crystal Ball.  Warner Bros Records then asked Prince to whittle the 3LP down, and the result was the double album Sign o' The Times, which many consider to be Prince’s masterpiece.  This reconstruction attempts to present what Prince originally intended the Dream Factory album to sound like, volume-adjusted and using the best possible masters—EQd to match a virgin vinyl rip of Sign o’ The Times—to  make the most natural-sounding album possible. 

Prince was truly the reigning star of the 1980s.  Armed with both worldwide smash hits,  musical chops and the artistic credibility to back it up, Prince also had the vision and determination to prove himself a modern music legend… But let's not forget he also had the band to back it up.  Even though Prince was a great songwriter, producer and multi-instrumentalist who had the ability to mastermind his own works and retain both commercial and critical success, his output throughout the 1980s grew to allow more collaboration from his backing band he formed in 1979.  The lineup of The Revolution seemed to be in flux at times, but after the transcendent success of Purple Rain in 1984 and their subsequent albums Around The World in a Day and Parade, the classic core of the band coalesced as guitarist Wendy Melvoin, keyboardist Lisa Coleman, keyboardist Matt Fink, bassist Brown Mark and drummer Bobby Z.  In working on the follow-up to Parade before it was even released, Prince invited members of The Revolution—although mostly Melvoin and Coleman—to contribute backing vocals, songwriting, instrumentation and even lead vocals to the material.  Reworking older songs as a starting point—the 1982 recordings of “Teacher, Teacher”, “Strange Relationship” and “I Could Never Take The Place of Your Man”—as well as the project's title track in December 1985, most of the work occurred in Prince’s newly built home studio on Galpin Boulevard.  By April 1986, Prince had created a rough cut of an album called Dream Factory that elevated both Wendy and Lisa as major players (although they later claimed they didn’t receive the credit they thought they deserved!).  At this point in time, Dream Factory was a single-disc album that included: “Visions”, “Dream Factory”, “It’s a Wonderful Day”, “The Ballad of Dorothy Parker”, “Big Tall Wall”, “And That Says What?” “Strange Relationship”, “Teacher, Teacher”, “Starfish and Coffee”, “A Place in Heaven” and “Sexual Suicide”. 

Work on the album continued throughout the summer with Prince often tracking all the instruments himself, although he also continued to work with Windy and Lisa in the studio.  A mountain of tracks began to collect and by June a double album had emerged.  Although songs such as “Big Tall Wall” and “That Says What” fell to the wayside, great and interesting new tracks such as “It”, “In A Large Room With No Light”, “Crystal Ball”, “Power Fantastic”, “Last Heart”, “Witness 4 The Prosecution”, “Movie Star” and “All My Dreams” were added to the running order as well as linking tracks “Wendy’s Interlude” and “nevaeH ni ecalP A”, the later based around “A Place In Heaven” played backwards and meant to introduce the title track.  Now a double-album, this sequence of Dream Factory went through further refinement over the month when more work was done to the songs.  By July, Prince had dropped “Teacher, Teacher”, “In a Large Room With No Light”, “Sexual Suicide” and “Power Fantastic” and replaced them with newly completed tracks “Train”, “Slow Love”, “I Could Never Take The Place of Your Man”, “Sign o' The Times” and “The Cross”.  A master was prepared on July 18th and Prince concentrated on the Hit n Run Tour, which would signal the closing of the Dream Factory. 

For the summer’s Parade/Hit n Run Tour, The Revolution was expanded to include former members of The Time as well as The Family—jokingly dubbed The Counter-Revolution.   This would include a full horn section, Melvoin’s twin sister Susannah (who was romantically involved with Prince) and a set of former-bodyguards-turned-dancers.   This created a strain in the relationship between Prince and his band members, who were questioning Prince’s artistic direction—why did the band nearly double in size?  Why are on-stage dancers getting more attention than the musicians proper?  Wendy was especially annoyed at the addition of her sister as an official member of the band and most of the core members of The Revolution attempted to quit, only for Prince to convince Wendy, Lisa and Mark to stay until at least the remainder of the tour in October. 

As fate would have it, the growing animosity between Prince and his Revolution was at least reciprocated.  At the end of the tour, Prince called in Wendy and Lisa to Paisley Park and fired them.  Bobby Z was replaced by Sheila E.  Allegedly out of loyalty to the rest of his band members, Mark quit.  With The Revolution over, the collaborative Dream Factory was shelved and Prince went back to his roots—being the sole maestro.  Prince promptly began work on a concept album called Camille, in which a vocally-manipulated Prince would perform as the character Camille.  Intending to fool the public, the album was never to be credited directly as Prince and the cover art was to be blank!  A master to Camille was prepared in October but that album too was scrapped and Prince rethought his strategy.  In a bold move, Prince combined the best of both the scrapped Dream Factory and Camille albums into one triple-album entitled Crystal Ball (not to be confused with the 1998 rarities boxset of the same name).  With The Revolution no longer existing, Prince generally mixed-out Wendy and Lisa’s contributions  from the Dream Factory tracks destined for Crystal Ball: “The Ballad of Dorothy Parker”, “It”, “Starfish and Coffee”, “Slow Love”, “Crystal Ball”, “I Could Never Take The Place of Your Man”, "The Cross" and “Sign o' The Times”.

In a final turn of events that makes the Dream Factory mythos even more complex, this 3-LP Crystal Ball album was ultimately rejected by Warner Brothers Records, and in December Prince was tasked to pair the album down to at least a more marketable double album.  After adding a more commercial single “U Got The Look”, the result was retitled into Sign o’ the Times and released as a Prince solo album in 1987.  Although not quite hitting the commercial peak that Purple Rain had three years earlier, Sign o’ The Times was universally critically acclaimed and recent revaluations fairly state it as his masterpiece. But to be fair, the album was the culmination of three other scrapped albums—Dream Factory, Camille and Crystal Ball—so it’s glory should come as no surprise.  But to truly see how Sign o’ the Times was manufactured, we must first see what it’s like in the Dream Factory.

While there were three different masters of Dream Factory prepared throughout the summer of 1986, my reconstruction will focus on its final iteration, using those specific mixes and track sequence; luckily all the tracks are available on both official and high-quality bootlegs.  In the name of creating the most natural-sounding reconstruction, I choose to use a pristine needledrop of an unplayed virgin vinyl copy of Sign o’ The Times (by thesnodger) for the songs also found on that release.  Furthermore, all of the tracks taken from bootlegs were EQd to match the mastering and EQ parameters of that unplayed copy of Sign o’ The Times.  The result is an attempt to preserve the sound originally intended by Prince in 1986 and to avoid the temptation for anachronistically maximizing specific frequencies (such as a certain, unnamed Dream Factory remaster with exaggerated bass frequencies). 

Side A begins with “Visions” taken from the collector's edition of Wendy & Lisa’s Eroica album, which hard edits into the unlisted “nevaeH ni ecalP A” taken from the Work It bootleg.  The original mix of “Dream Factory” appears here taken from the Work It bootleg but EQd to match the released version from the 1998 compilation Crystal Ball.  Following is the fantastic “Train” taken from the Work It bootleg but EQd to match the aforementioned vinyl Sign o’ The Times parameters.  Concluding the side are “The Ballad of Dorothy Parker” and “It”, both taken from thesnodger’s needledrop of Sign o’ The Times since the Dream Factory mixes are identical to the official Sign mixes.  Side B begins with the superior original mix of “Strange Relationship” that features Wendy & Lisa’s overdubs that Prince exorcised for the Sign album, here taken from the Work It bootleg.  “Slow Love” and “Starfish and Coffee” follow, mixes identical as heard on Sign so again taken from the needledrop (but with “Starfish”’s alarm removed, as per what is heard on Dream Factory).  “Interlude” follows, taken from the Work It bootleg and Side B concludes with “I Could Never Replace Your Man” a longer mix than on Sign, taken from the Work It bootleg but EQd to match the shorter Sign version.

Side B opens with the single version of “Sign o’ the Times”, taken from The Hits/The B-Sides compilation.  The closing drumbeat is hard edited into the opening beat of the jaw-dropping “Crystal Ball”.  The Dream Factory version is unfortunately an early mix that lacked Clare Fisher’s extraordinary orchestration.  Regardless, this mix taken from the Work It bootleg, is EQd to match the final version from the Crystal Ball rarities compilation.  The side closes with the original mix of “A Place in Heaven” from the Work It bootleg featuring Lisa on lead vocals.  Side D opens with the original mix of “Last Heart” from the Work It bootleg, EQd to match the final mix on Crystal Ball.  The admittedly less-than-stellar “Witness 4 The Prosecution” and “Movie Star” follow, both taken from the Work It bootleg and re-EQd.  The album closes with the double-punch of the fantastic "The Cross" from Sign and the legendary unreleased track many claim could have been a hit—“All My Dreams”, here taken from the Dream Factory bootleg on Sabotage Records, but EQd to match my own reconstruction. 

Lossless FLAC (part1, part 2, part 3)

Sources used:
Prince – Dream Factory (2003 bootleg CD, Sabotage Records)
Prince – The Hits/The B-Sides (original 1993 CD pressing)
Prince – Sign o’ The Times (1987 thesnodger vinyl rip)
Prince – Work It – Volumes 2 & 3 (2008 bootleg, GetBlue Records)
Wendy & Lisa – Erioca (1990 collector’s edition CD pressing)

flac --> wav --> SONAR and Goldwave --> flac encoding via TLH lv8
* md5 files, track notes and artwork included

Wednesday, January 20, 2016

The Who - Who's Lily

 The Who – Who’s Lily
(soniclovenoize reconstruction)

Side A:
1.  Armenia City in The Sky
2.  Mary Anne with The Shaky Hand
3.  Pictures of Lily
4.  In The Hall of The Mountain King
5.  Our Love Was
6.  I Can See For Miles

Side B:
7.  I Can’t Reach You
8.  Silas Stingy
9.  Glittering Girl
10.  Tattoo
11.  Relax
12.  Rael (1 and 2)

Continuing my on-going series of Who albums that never were, this is a reconstruction of the unreleased 1967 album Who’s Lily.  Standing as the working title of their follow-up to A Quick One—or Jigsaw Puzzle in my continuity—the album was revised from a loose collection of songs into a conceptual framework that mimicked a pirate radio broadcast and released as their seminal album The Who Sell Out.  This reconstruction attempts to reproduce what the original incarnation of the album could have sounded like, before the Sell Out concept.  Some new edits were created and several tracks crossfaded for continuity.   The album is again presented all in mono—as all early The Who should!—and uses the best possible masters for each track. 

As London entered 1967 and became a lot more swingin', The Who found themselves in a rapidly changing music scene.  Contemporaries Cream and The Jimi Hendrix Experience were laying the ground for a more wild sound and The Who’s mod image was beginning to seem outdated.  To keep up with their competition, The Who returned to IBC studios in early April to cut a handful of songs for a new single: “Glittering Girl”, “Doctor Doctor” and “Pictures of Lily”, the later being an exquisite specimen of power pop, concerning masturbation.  The song was just what The Who needed and shot up the charts, establishing The Who as a force that once again could be reckoned with in this upcoming year of musical change.  In keeping up with these tides, the band planned to follow the single with a purely instrumental EP and even recorded a duo of songs for it—the bass-driven “Sodding About” and a crazed rendition of Edvard Greig’s “In The Hall of the Mountain King” from Peer Gynt.  Although the duo of songs seemed to anticipate and embrace the forthcoming psychedelia craze, the results were less than satisfactory and the instrumentals were set aside, the EP concept scrapped.  The Who would have to go back to what they did best: writing great pop songs and performing them with gusto.

In May the band returned to the studio to cut a slew of new songs for their forthcoming third album, built around the previous month’s success of “Pictures of Lily”, making the album’s provisional title Who’s Lily.  Much had been learned from splitting the songwriting duties on A Quick One, and all Who members once again contributed original material: Daltrey offered “Early Morning: Cold Taxi”; Moon offered “Girl’s Eyes”; Entwhistle offered “Someone’s Coming”; Pete offered what he thought was his magnum opus, “I Can See For Miles”; and finally “Armenia City in the Sky”, a song written by Pete’s driver Speedy Keen (of Thunderclap Newman) which fully captured the current psychedelic era.   With half an album started, The Who turned their eyes across the Atlantic for a handful of shows in New York and a spot in the famous Montery Pop Festival, co-headlining with The Who’s chief British competition: The Jimi Hendrix Experience.  Briefly returning home to De Lane Lea Studios in July, The Who cut the basics for two more Who’s Lily tracks, “I Can’t Reach You” and “Relax”.  They immediately left for a three-month tour of North America with Herman’s Hermits and additional work on Who’s Lily would have to be done on the road, across the ocean.

The Who's seafaring seemed to be an influence on the new album, as Townshend unearthed a rock opera he had been composing since the beginning of the year, concerning a soldier from the fictional country of Rael who travels across the sea to battle the invading Chinese.  In an attempt to finish Who’s Lily for its proposed summer release, Townshend whittled his rock opera down from 30 minutes into a 10 minute opus; it was further whittled down as much as possible for consideration as a single!  “Rael” was recorded at Mirasound Studios in New York with Bob Dylan’s keyboardist Al Kooper, but it’s 6-minute run time excluded it from a single release and "Rael" was tossed into the batch of other album-contenders.  Two more songs were recorded at Mirasound with further August recording at Columbia Studios in Nashville for the single that “Rael” could not occupy: a balled called “Our Love Was” and another power-pop song about masturbation, “Mary Anne with The Shaky Hand”, the later released as a single in the US.  After more work was done at Columbia Studios to complete the unfinished tracks recorded throughout the year, as well as a September session at Goldstar in LA to complete “I Can See For Miles”, a total of ten album contenders were to be paired with “Pictures of Lily” (and possibly it’s b-side “Doctor Doctor” or session outtake “Glittering Girl”).  This was most certainly the Who’s Lily album, but was it the best album The Who could muster in this changing musical climate?  Was it a good idea to build an album around a straight-ahead power-pop song midst the increasingly colorful Summer of Love?  The Who gave pause to Who’s Lily and they would have to come up with the album’s selling point.    

Throughout 1967, The Who recorded various commercial jingles, including adverts for Coke in April and Great Shakes in May.  Perhaps the success of these adverts inspired The Who to use it as a framework for a redesigned Who’s Lily.  Upon returning home in October, The Who hit the studio and cut a number of ridiculous faux commercial jingles: “Medac”, “Top Gear”, “Heinz Baked Beans” and “Odorono”.  These jingles would be interspersed throughout the proper Who songs on their upcoming album, designed to replicate a pirate radio broadcast.  This sudden burst of inspiration fueled the band to pump out several more proper Who songs to trump the weaker material recorded earlier in the year: Entwhistle’s creepy character-study “Silas Stingy”; Townshend’s paced classic “Tattoo” and the atmospheric acoustic ballad “Sunrise”; updated versions of “Glittering Girl” (now with a stronger rhythm and Roger’s vocal), “Mary Anne with The Snaky Hand” (now acoustically laid-back) and “Rael” (now more typically power-pop but lacking the psychedelic majesty of the New York version).  Choosing the original “Rael” over the new version (although the final minute was edited off due to time limitations of the LP), several more jingles were cut—"Jaguar", “Premiere Drums”, “Rotosound String”, “John Mason Cars”, “Bag O’ Nails”, “Charles Atlas” and “Track Records”—and Sell Out was completed.  Released in December, it was a critical and commercial success, being one of the most obvious and intentional rock concept albums, one which pushed into the borders of pop-art.  But is there a way we can hear the original commercial-free version?

For this reconstruction of Who’s Lily we will (mostly) stick to the batch of songs prepared up until the end of the American tour, as that seems to be the point where Who’s Lily became Sell Out.  We will also exclusively keep the album in mono for two reasons: 1) a stereo “Pictures of Lily” does not exist and 2) early The Who simply sounds better in mono!  Side A of my reconstruction begins with “Armenia City in The Sky”, taken from the 2014 HD Tracks remaster of Sell Out, the most pristine source of its original mono mix.  Following is the original US single mono mix of “Mary Anne with The Shaky Hand”, a bonus track from the aforementioned HDTracks remaster.  The pseudo-title-track follows, “Pictures of Lily” taken from its currently best source, The Who Hits 50.  In a nod to the band’s brief initial concept of an instrumental EP, I have included a mono fold of “In The Hall of the Mountain King” from the 2006 Sell Out Deluxe; although admittedly this track probably would not have been featured on Who’s Lily, it serves as an interesting diversion and fits the psychedelic theme of the album.  Following is “Our Love Was”, using the much cleaner-sounding alternate mono mix found on the 2009 Sell Out remaster, and closing with the song that is essential to be heard in mono: “I Can See For Miles” from the 2014 HDTracks remaster but with the first few bars from the early mono mix (from the 2009 Sell Out) edited in to create a clean introduction. 

Side B starts appropriately with the 2014 mono remaster of “I Can’t Reach You”, but next I admit to making a grave anachronistic error:  I used three of the tracks recorded in October, when the album was undoubtedly Sell Out and would not have been on Who’s Lily.  But in an effort to 1) not let this reconstruction overlap with my previous reconstruction of Who’s For Tennis and 2) make this reconstruction a better album and fuller listening experience, I chose to include them (please forgive me!).  “Silas Stingy” from the 2014 HDTracks mono remaster is next, followed by the exquisite October remake of “Glittering Girl”, here a mono fold of the stereo mix from the 2009 Sell Out.  A personal favorite, I don’t think I could have done away with “Tattoo”, here taken from the 2014 HDTracks mono remaster.  The droning psyche-rock of “Relax” follows, also taken from the 2014 mono remaster, with the album concluding with the cleaner-sounding early mono mix of “Rael” found on the 2009 remaster, with its actual part 2 tagged onto the end as the song was meant to be heard in its full six-and-a-half minute glory.  Who's Lily's final touch is the psychedelic cover art by Mark Heggen, taken from the poster included with the original copies of Sell Out--truly a picture of Lily!  

Lossless FLAC (part 1, part 2)

Sources used:
Sell Out (1995 Polydor remaster)
Sell Out (2009 Polydor Deluxe Edition)
Sell Out (2014 HDTracks mono remaster)
The Who Hits 50! (2014 Geffin Records)

flac --> wav --> editing in SONAR and Goldwave --> flac encoding via TLH lv8
* md5 files, track notes and artwork included