7 Responses to 1965 Outtakes

  1. Bill Luther says:

    “That’s A Promise” was cut at the famous R.G. Jone’s studio in Morden, Surrey, U.K. where the original demo of “The London Boys” was cut (which sadly hasn’t made it onto the bootleg circut).

  2. On bootlegs there seems to be confusion regarding whether the song is called “Baby,” “That’s a Promise,” or “Baby, That’s a Promise.” Has any consensus been formed?

  3. AC Walker says:

    Any reason why Ruud’s otherwise-impeccable discography lists the extant copy of That’s a Promise as a 1966 Bowie and the Buzz recording whilst Pegg has it as a 1965 Lower Third? Just wondering if there are any opinions as to which of them is correct.

    • col1234 says:

      i think it’s a matter of the info just not being there, so all are reduced to educated guesses. I side with Pegg, as it sounds like a Lower Third track rather than a Buzz one, and the song’s relative crudeness, composition-wise, is more ’65 than ’66. Also, Bowie played it in a BBC audition in November ’65, which cemented my decision to put it next to “Glad I’ve Got Nobody” in the book.

  4. col1234 says:

    in retrospect this is by far the most half-assed post I ever did on this blog. & man, was I in a sour mood the morning I wrote it, evidently.

    • Vinnie M says:

      Haha. “[A]ll leading up to the most half-assed guitar solo recorded in the ’60s.”

      Your prose is fantastic where appropriate, but these songs surely don’t deserve much more. On the contrary, I would find it hilarious if you re-wrote and over-wrote this post, turning them into your another “The Motel”-length thought. Really ham it up and get as many unnecessary quotes as possible. I’m sure you could find something related to a serial-stalker in England circa 1965, and how the song reflects the time (etc.) Turn it into an hour’s read!

      Or don’t. Just don’t.

  5. billter says:

    Why is Al Gore playing with Bowie’s hair?

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