|Compilation album by Pete Townshend|
|Released||8 July 1987|
|Pete Townshend chronology|
|Rolling Stone||favourable |
Like Scoop released in 1983, Another Scoop features a multitude of demos, outtakes and unreleased material, many of which are songs by The Who. It was followed by Scoop 3 in 1994, the third and last Scoop collection. All three albums were 2-disc sets, and in 1995 a pared-down compilation of them all was released as Scooped. Remastered versions of the original albums were released in 2006.
Pete added liner notes to the release - "This is the second in a series of albums bringing together demo-tapes, home recordings and unreleased oddities produced during my career in and out of The Who.
I want to thank my friend Spike for her tireless energy raking through hundreds of hours of music to put together another interesting selection (she isn't even a Who fan!), and all the Who fans who've waited patiently while I garnered the courage to put it out. I also want to thank my friends at Atlantic records for making the space for me to release this record for collectors while I spend my time writing song for my next "serious" solo album."
The album is dedicated to the memory of Cliff Townshend.
All songs written and composed by Pete Townshend, except where noted.
|1.||"You Better You Bet"||5:19|
|2.||"Girl In A Suitcase"||3:26|
|8.||"Long Live Rock"||3:47|
|9.||"Call Me Lightning"||2:12|
|10.||"Holly Like Ivy"||2:54|
|11.||"Begin The Beguine" (Cole Porter)||4:10|
|3.||"Praying The Game"||4:17|
|6.||"Pictures Of Lily"||2:50|
|7.||"Don't Let Go The Coat"||4:00|
|8.||"The Kids Are Alright"||2:58|
|9.||"Prelude: The Right To Write"||1:36|
|10.||"Never Ask Me"||4:24|
You Better You Bet This is the reference mix I made straight after cutting the demo at my studio in Soho.
Format: 24-track, 30ips.
Instruments: The usual rock ensemble stuff. I used a Yamaha E70 home organ for the arpeggio synth track.
Venue: Eel Pie Studio, Soho, London (Engineer: Chris Ludwinski).
Date: March/April, 1980.
Girl In A Suitcase One of the songs submitted for and rejected from WHO BY NUMBERS. I suppose this is not really a typical 'Who' song at all, but it is about the road, groupies, inflatable women, etc. Most of all the rather crinkled family photographs we travelers all hand around.
Format: 16-track, 30ips.
Instruments: All acoustic except Fender bass.
Venue: Eel Pie Studios, Thames Valley, Berkshire (Engineer: Dick Hayes).
Date: 7 April 1975.
Brooklyn Kids I had a nasty vision one sunny afternoon - a beautiful girl walked past my studio window in a white dress, behind her walked a young black kid; hip and hungry. Their relative states of self-absorption produced the idea of the rape of a lonely girl by a lonely man. The piano demo was enhanced by a beautiful orchestral arrangement by Ted Astley (my father-in-law).
Format: 24-track, 30ips.
Instruments: Bosendorfer piano. Large string section. Woodwinds.
Date: September 1978.
Pinball Wizard A simple 2-track demo of the song I wrote towards the end of the recording of TOMMY. I wrote it to make sure Nik Cohn (who then reviewed for THE GUARDIAN) was kind to the album. Most of the demos for TOMMY were recorded very simply. I only had the early Revox G36 stereo recorders at the time - but when I had a good song it didn't matter. In reality it never does. I haven't played around recording for all these years just to sell songs; I've done it for fun and for myself.
Format: 2-track, 15ips.
Venue: Home, Twickenham, London.
Date: Early 1969.
Football Fugue Ted Astley composed this track over which I wrote a lyric. It reminded me of an orchestral battlefield, with the musicians wearing big heavy boots. Hence the analogy with football hooliganism.
Format: 16-track, 15ips Dolby.
Instruments: Large string section. Percussion.
Venue: Olympic Studios, Barnes. (Engineer: Glyn Johns).
Date: September 1978.
Happy Jack A nonsense song; one of the first I recorded in my studio in Soho built for me by an Australian called Jamie Hawter. Where are you Jamie? You didn't charge me enough!
Format: Vortexion CBL tape machines. 7-1/2ips.
Instruments: Cello, guitar, various percussion effects.
Venue: Home, Wardour Street, Soho.
Substitute I made this demo after hearing a rough mix of NINETEENTH NERVOUS BREAKDOWN by The Stones. When I read Dave Marsh's book BEFORE I GET OLD, I was amazed to read that I ripped off the riff - amazed because it was true; I had forgotten. Read the book to find out how, folks. The lyric, so applauded by rock critics, was thrown together very quickly. Smokey Robinson sang the word 'substitute' so perfectly in TRACKS OF MY TEARS - my favourite song at the time - that I decided to celebrate the word itself with a song all its own. Interesting that in eulogising two of my most important influences (and ripping off a few ideas) I should end up with one of the most succinct songs of my career.
Format: Vortexion CBL (2 machines: bouncing in stereo). 7-1/2ips.
Instruments: Harmony 12 string guitar.
Venue: Home, Old Church Street, Chelsea, London.
Date: Winter 1966.
Format: 1-inch 8-track with DOLBY. 15ips.
Instruments: Gretsch Chet Atkins, etc.
Date: 2 May 1972.
Call Me Lightning One of the oldest demos I have. Recorded with another song called YOU DON'T HAVE TO JERK at the flat my Art school pal Barney shared with me. The flat was on the floor above my parents' home. It provided a very safe independence; a phony rebellion until I moved to Belgravia in 1965. The song is a very clear example of how difficult it was for me to reconcile what I took to be Roger's need for macho, chauvinist lyrics and Keith Moon's appetite for surf music and fantasy sports car love affairs.
Format: 2 x Vortexion Mono recorders. 7-1/2 ips.
Instruments: Rickenbacker 3 pick up guitar.
Venue: Home, Ealing Common, London.
Date: Winter 1964.
Holly Like Ivy Written and recorded in Dallas after a post-show party at some restaurant at which a girl called Holly shook hands with me. I received a very large shock of static electricity at the time. I think I stood on her hair.
Venue: Hotel room, Dallas, Texas.
Date: Winter 1982.
Begin The Beguine This recording was featured on HAPPY BIRTHDAY, the London Meher Baba Group's first Disc/Magazine dedicated to the spiritual master. It was one of his favorite songs. The original records are hard to find, available now only from MEHER BABA INFORMATION BOX 1011, Berkeley, Calif.
Format: Revox stereo G36. 15 ips.
Instruments: Gibson J200.
Venue: Home, Twickenham.
Date: Sometime in 1969.
Vicious Interlude Sometime in the past when men were men.
Format: Vortexion CBL recorder. 7-1/2 ips.
Venue: Home, Chesham Place, Belgravia, London.
Date: Winter 1965.
Cat Snatch This is one of the many experimental sequences from SIEGE. (See ASK YOURSELF). The random bass part was carefully and tortuously transcribed and played by my Colombian friend Chucho Merchan. The other elements were produced almost by chance and embellished and mixed at my studio in Twickenham.
Format: Portastudio 4-track transferred to 16-track 30 tips 2-inch studio master tape.
Instruments: Prophet 10. Fender Telecaster (1952) via Roland Digital Delay. Roland Compurhythm via various cheap digital delays. (Including one miraculous device by Electro Harmonix called a 'Memory Man Chorus Delay').
Date: August 1982 through January 1983.
- Promo Video for "Ask Yourself" at YouTube
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