Love and Money--The Unreleased Music

Love and Money was fairly profilic when it came to releasing material. The sheer amount of non-album B-sides, live tracks and remixes the band released is fairly staggering. Given that the group never quite made a big enough splash to attract the attention of bootleggers, unreleased L&M is a hard thing to find. Some unreleased material has turned up, but first, let's look at points in their history where some unreleased songs might have been generated.

PRE-SIGNING DEMOS
In 1984, before the band was signed, like many fledgling acts Love and Money went into the studio and recorded some demo songs. Many of those early demos surfaced legally--for instance, the original "Candybar Express" was issued as a limited-edition 12-inch, and four pre-All You Need Is... demos appeared on the EP given away with an early issue of Cut, a Scottish music sheet that attempted to go national for a while in the later '80s. There may have been a few others demos from that era though, most likely of songs that ended up on AYNI, since all the released demos were previously unreleased songs.

POST-SIGNING STUDIO B-SIDES
B-sides are usually the haven of songs that got recorded and then left off an album. Looking at the B-sides released for AYNI, it seems doubtful that anything was recorded at the album sessions other than the album tracks. The first B-sides are dub mixes, live tracks and a few tracks ("Jane," "Desire," "Home is Where the Heart is") where the producer credit goes to Love and Money. This probably means that those studio B-sides were either more unused demos or (gut instinct here) they were recorded on an as-needed basis. Perhaps the band went into the studio for a down-and-dirty two or three day recording session and knocked out all three songs mentioned above. If they had been recording B-sides successfully on their own after recording AYNI, that would pave the way for convincing the record company to foot the bill for the complete re-recording of "Love and Money" that was released as the fourth single--produced by the band.

LIVE MUSIC
It's doubtful that the band worried about looking stupid when it came to releasing so-so material; take their live B-side renditions of "You're Beautiful" and "Rosemary"--please! James is an extraordinarily talented guy, but the off-key warbling that is memorialized here forever shows that the band was not against showing themselves for who they were, warts and all. There were a fair number of live tracks and remixes released during the early years, which may have made for some unreleased material. In 1989, Phonogram UK gave me a slew of photocopied pressing orders so that I could compile a discography for an article that was never printed. In those pages, I found orders for releases that may never have actually seen the light of day--among them, a 12-inch record of "Jocelyn Square" with different live B-sides ("Up Escalator" and "River of People") than what was released on either the normal or limited editions. Since it had the same catalog number as the limited edition, I think it was planned and then scrapped in favor of the released version, though of course, if you have one, I'd really like to hear about it.

Another indicator that they were writing songs on an as-needed basis is the fact that "Shape of Things to Come" first appeared as a live B-side to "Dear John" (I'll bet it was quickly dashed out because it steals the melody from "River of People"). When Gary Katz, producer of Strange Kind of Love, heard it, he insisted that the band record it for the second album. This wasn't the last time a L&M B-side would come back on a later album, so it seems that they were probably in a position where they didn't have a backlog of material to take B-sides from--in other words, they were specifically writing B-sides and although they came up with album-quality material, they had no choice but to put it out on the flip side of a single.

I'm told that a few fans taped concerts off the radio here and there, and who knows? The band may have tried out some new material live that never was recorded otherwise. If you have a live tape of the band, please drop me a line.

UNRELEASED DEMOS
Since demos are really musical sketches of what a song will be like when it's finally recorded properly, many bands don't like releasing them--or seeing them issued on bootlegs. L&M never released any demos of songs that appeared on albums, with the exception of the first "Candybar Express," and even that was only sort of a demo because it was recorded with the intention of releasing it.

In my interview with Robert "Bobby" Paterson, he mentioned that the band slaved over the demos that they recorded for SKOL, making them really good in the process. Of course, they were never released, which is a shame, because if they really were that good, us fans would have liked to have heard them.

As reported in Brian Hogg's The History of Scottish Rock and Pop, before recording Dogs In The Traffic, James wrote and demoed a pile of songs which were shelved because he didn't like them. Then during the recording of that album, Phonogram kept forcing the band to go back into the studio and record more material. Although the singles to DITT served up a whopping nine unreleased B-sides, there may well have been more music recorded and left in a vault somewhere.

Given that littledeath was recorded and released by a small independent label, it's probably safe to say that few if any extra tracks were recorded, if only for the sake of economy. The CD single would seem to bear this out, as out of the three B-sides, one is an album track, one is unreleased and one is a live cover of a standard (no need to pay royalties...).

ROUGH MIXES
Where did this tape come from? Well, a friend I had at Polygram in the late '80 passed it on to me the summer before SKOL came out. It's pretty interesting, but to tell the truth, it's not all that different from the final versions, because, well, they're rough mixes of the final recorded tracks. But there are some differences--some songs seem to go on slightly longer than the final renditions. "Up Escalator" has a slightly tougher feel without the keyboards, and "Inflamable" without vocals could easily be played over the speakers in your local supermarket--at the very least, it's as close to L&M Karaoke as we'll get in this lifetime.

What's interesting is that there's seven songs submitted to the record company here, and three of the four singles released from SKOL are absent. When the record company listened to this tape, did they go back to the band and ask for more singles, or was Love and Money merely taking its time with those tunes? It's interesting to note that "Shape of Things to Come" was considered a potential single--something that may have been planned given that all the songs which appeared on the U.K. 4-track promo CD at the album's debut became singles except for "Shape." Another fun thing to notice here is how a few of the song titles changed slightly before they were released. Again too, the band was in America for six months to record the record--were they around when this was mixed or when the album went through final mix? The tape and the date on the cover raise a number of interesting questions.

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