That Voice Again: Peter Gabriel - Album by Album

hmm. thanks for the info. i did see pg in 1980 and he did that song, but i dont know if he ever did it in subsequent tours. i have it on a 1980 boot, and it's good. would like to hear a better sounding live version. the obseessive collector in me wants to seek this out, even though by now there are so many gabe rarities i dont have...


and i really do love the original WOMAD "Music & Rhythm" 2LP set. really nice mix of stuff on there, including Gabriel's "Across the River". That record should be discussed in this thread too...

 

Raindrops Pattering On Banana Leaves and Other Tunes...A Womad Benefit Album...and here's the cover....

 

Raindrops Pattering On Banana Leaves and Other Tunes...A Womad Benefit Album

 

Hi thos Here ya go: page 10 is where we discussed Music and Rhythm and 'Across the River'
and on page 11 I posted in detail about the first WOMAD festival, though I'm not sure anyone noticed...

 

Birdy – Music from the film by Peter Gabriel
Charisma/Virgin CAS 1167
March 1985

WARNING: This record contains re-cycled material and no lyrics.

AT NIGHT
FLOATING DOGS
QUIET AND ALONE
CLOSE UP (from Family Snaphot)
SLOW WATER
DRESSING THE WOUND
BIRDY’S FLIGHT (from Not One of Us)
SLOW MARIMBAS
SKETCHPAD WITH TRUMPET AND VOICE
UNDER LOCK AND KEY (from Wallflower)
POWERHOUSE AT THE FOOT OF THE MOUNTAIN
(from San Jacinto)

Produced by PETER GABRIEL and DANIEL LANOIS
This is a real world production.

All titles written and performed by Peter Gabriel
with special musical contributions from:
JON HASSELL
THE DRUMMERS OF EKOME
LARRY FAST
TONY LEVIN
JERRY MAROTTA
DAVID RHODES
with additional material performed by:
Manny Elias
Morris Pert
and John Giblin

Recorded and mixed in the real world, England.

When I was asked to do this soundtrack, the intention was to build it out of elements of existing tracks. Some these Alan Parker had already chosen.

We worked for a couple of weeks with unorthodox explorations of some of the sounds, rhythms and themes of existing tracks. This provided many moods but I felt some new material was needed as well. So, what you have here, is a combination of both.

For those who know my records, I have included (in brackets) the titles which have obviously been raided. I do not wish anyone to be deceived by the sleeve. However, I am not revealing all my sources. I leave that for your detection.

There of these tracks did not make it to the last round – the film. But the music on this record was chosen to make a compatible collection of moods.

I would like to thank the Alans, Parker and Marshall, for guidance and encouragement. I would also like to thank my musical co-producer, Daniel Lanois, who, with patience and an endless supply of wonderful treatments, did some excellent work on this record.

I am very pleased to have done this soundtrack for my first attempt at a score. Birdy is a special film.

peter gabriel

The film was a great experience because it was a good film, and also it was good to work with a great director [Alan Parker] and explore looking at images in front of you and see how they change according to the sounds you put with them. It was a new science to me.*

The record, I like – even without the film. If I’m sending stuff to people who don’t know my work, ‘Birdy’ would be the first thing I’d send to them because it represents part of what I’m trying to do in instrumental terms – something that’s neglected because I’m a singer and songwriter.*

I didn't know anything about Daniel Lanois until I came to do the Birdy soundtrack, when one of my friends and musicians, David Rhodes, strongly recommended Danny for his work on the Harold Budd record. He thought Danny would be very good for the atmospheric pieces - as indeed he was. We got on well and he has good instinctive reactions to my music.**


*Quoted in Mike Gardner, “Peter Gabriel, What a very busy man,” Record Mirror, May 10, 1986, 24.
**Quoted in John Hutchinson, “Peter Gabriel: From Brideshead to Shrunken Heads,” Musician (July 1986), 74.

 

i noticed....

 

That's interesting; I was under the impression that Gabriel reused bits and pieces from his songs because he ran out of time to write a completely original score (being Peter Gabriel and all). Clearly it's been a long time since I read the sleeve!

I haven't heard the Birdy soundtrack in about 20 years; I should check it out again. I don't recall being that excited by it; in the film the most effective pieces of music are the snippets from "Rhythm of the Heat," "Family Snapshot" and "Wallflower." It definitely proved, though, that Gabriel had built up an distinct musical vision that was recognizable without his voice. The real significance of the record for the future is that it connected Gabriel and Lanois -- and gave Gabriel the experience he needed to create "Passion."

 

In the Bright biography, Alan Parker said that he had already put together a tape of material he wanted to use from the third and fourth albums when he first went to Gabriel to request he do the score. Then, during the collaboration sessions at Ashcombe House he got to listen to hours of the multi tracks and really waxed poetic about that experience.

I listened to Birdy quite a bit and there are still tracks I enjoy, 'Slow Marimbas' is gorgeous, and I love how it segues into 'The Heat,' which sounds great up to the middle part. I have always disliked how the latter track is mixed when before the drumming jam it's very grating. I also like the tracks with the Gabrielese, like 'Sketchpad' and the ambient tracks. It's fortunate, as Squealy has noted, that Lanois entered the picture now. Gabriel's next album would have been nowhere near the achievement it was, without the two of them working together as opposed to some of the others he was considering at the time (Nile Rodgers, for one).

4/5

 

I pulled out Birdy after not having listened to it since its release and it still doesnt really float my boat in any way. He manages great atmosphere and many interesting bits, but that material best works in the context of the film for me, its not a sit and listen Gabriel experience for me. One I'll probably never pull out again.

 

In my listening for the thread, it works better as a background or incidental music. If it wasn't for that funky mix on 'The Heat' that would be a go-to track just to crank, but the only one I'd consider even putting on a compilation now would be 'Slow Marimbas.'

The album's main significance is the entry of Daniel Lanois into Gabriel's "real world," and finding Gabriel ready, upon its completion, to take rhythm and texture one remove from pride of place in composition, performance, and production.

 

Yeah, I checked it out again and my thoughts hadn't changed. The first track comes closest to standing on its own. I tried out some karaoke vocals on "The Heat."

 

SO what we gonna talk about next?????....

 

Shouldn't So be next? Unless there is another single or soundtrack song out there I don't know about.

 

One never knows what Ere has up his sleeve...

 

No More Apartheid



"It all began with Biko," remembered Little Steven, when asked where he got interested in the intersection of music and the politics of the United Nations' cultural and sports boycott of the apartheid regime in South Africa. He first heard the song playing during the intermission in an art movie theater in 1980, and the song inspired him to learn more about the situation and what music and entertainers might do to help.

The detailed history of Artists United Against Apartheid and the single and album Sun City, can be read at Wikipedia. Among the dozens of music giants that stepped forward in early 1985 to collaborate and play on the record, Little Steven and producer Arthur Baker had some trouble tracking down Peter Gabriel and securing his participation. Earlier messages sent his way got lost, and it was only by coincidence that they found out he was in town as they were laying down tracks for the project.

Peter Gabriel was in NYC recording backing vocals for 'In Your Eyes' when he got the call from Little Steven to participate. Gabriel accepted instantly and came over from The Power Station and sang some backing vocals for the title track. But he kept going with vocal improvisations around the track's basic rhythm that ended up covering five tracks of the song's length. Arthur Baker and engineer Tom Lord-Alge built the song 'No More Apartheid' completely around the vocal improvisations Gabriel created. At Gabriel's suggestion, the Indian violinist Shankar added to the song; the drumming by Keith LeBlanc was and remains the definition of strong rock drumming. This song sounds as fresh and powerful today as ever and deserves to be played loud on a regular basis. Get it or get it out and crank it!

'No More Apartheid' became the second track on the Sun City album, which was released in December 1985. The single 'Sun City' was released in one month earlier and reached #38 on the Billboard Hot 100 chart a few weeks later. The album was released once on CD by Razor and Tie in 1993, but with the demise of the apartheid regime the next year has remained out of print.

The best place to find 'No More Apartheid' on CD is the also out of print but readily available as the second track on the single of 'Biko' from 1987, both on 12" vinyl and CD single, done to promote Sir Richard Attenborough's film Cry Freedom.

 

Here comes the new stuff / I come dancin' in...


So
May 19, 1986
Virgin PG 5
Geffen GHS 24088
UK CHART POSITION #1 . . . US CHART POSITION #2 . . .

1. Red Rain 5:35
2. Sledgehammer 5:09
3. Don't Give Up 6:29
4. That Voice Again 4:50
5. In Your Eyes 5:24
6. Mercy Street (for Anne Sexton) 6:18
7. Big Time (suc cess) 4:25
8. We Do What We're Told (Milgrams 37) 3:17
9. This is the Picture (Excellent Birds) 4:17 (Cassette and CD releases)

Produced by Daniel Lanois and Peter Gabriel
Engineered by Kevin Killen and Daniel Lanois
Original track recording by David Bascombe
Recorded between February and December 1985 at Ashcombe Studios, near Bath, England.
Percussion on ‘Mercy Street’ recorded in Polygram Studios, Rio de Janeiro. New York overdubs (‘In Your Eyes’) recorded at the Power Station.

Originally mastered by Ian Cooper at the Town House, London.
Remastered (2002) by Tony Cousins at Metropolis, London.
Cover photography by Trevor Key.
Sleeve design by Peter Saville and Brett Wickens.

Peter Gabriel, when asked about the album title So in 1987, said it "has a nice shape but very little meaning." RS87

When I completed the Birdy soundtrack I wanted my focus to shift to songs rather than to remain on rhythm and texture, which was dominant on Security. Having done a complete album of textures and sound with Birdy, I'd got that out of my system. Mus86

I'd actually been thinking of other people [besides Daniel Lanois to produce] this album, such as Nile Rodgers and Bill Laswell, but as everything was working out so well with Birdy, we carried on. Besides, he likes to create an environment where live performances can happen, and he makes sure they don't get lost once they're recorded. He and David Rhodes were my other ears during these sessions. Mus86

"I think part of the reason So worked so well was that that the band was really firing off each other, we had great sound and production team and it was sort of compact in a way, in the process and in the way it was put together."

"I think this is probably the most positive record I've made, in some ways. And, um...it's a little bizarre in some ways, because it came after one of the worst periods of my life. But maybe I needed to get some playful energy out there...I think it's easy for me, sometimes, to immerse myself in my work and sort of divert energy that perhaps should be going into personal things.

"I wanted some of this album to be more direct. Over the past few years, sort of, I tended to hide from some things, both personal and in my music. And so, if you like, it was part of a coming-out process." RS87


Red Rain
Drums: Jerry Marotta
Linn Programming: Chris Hughes
Hi-hat: Stewart Copeland
Bass: Tony Levin
Guitar, backing vox: David Rhodes
Guitar: Daniel Lanois
Piano, CMI, prophet: Peter Gabriel
"Red Rain is one of my favourite tracks too from that record and is a good example of of a band playing together with a lot of energy and again I think from Daniel Lanois input the sort of respect for the moment."
[This song relates to the Mozo story.]


Sledgehammer
Drums: Manu Katche
Bass: Tony Levin
Guitar: David Rhodes
Guitar, tambourine: Daniel Lanois
CMI, piano, prophet: Peter Gabriel
Voices: P P Arnold, Coral Gordon , Dee Lewis
Horns: trumpet, cornet: Wayne Jackson
alto, tenor and baritone sax: Mark Rivera
trombone: Don Mikkelsen

Ever since I was at school, Atlantic soul and Stax have been a pivotal influence on me, and I've always wanted to emulate them. In fact, I've been considering doing an R & B/soul album - it's still possible, and it's sitting on the shelf as a project. On "Sledgehammer" I had the opportunity to work like that. I consider my approach to be very similar to 60's soul…. I was definitely trying to borrow the style of that period, and it is no coincidence that the man leading the brass section is Wayne Jackson, who is one of the Memphis Horns. I remember sneaking out from school to see them at the Ram Jam Club in Brixton. It was probably the best concert I've ever been to. Mus86

[‘Sledgehammer’ was Gabriel’s first and only #1 single in the United States, when on July 26, 1986, it bumped ‘Invisible Touch’ out of the slot – their one and only #1 on the U.S. charts. The song reached #4 in the UK. A large part of its success was due to the innovative music video that saw heavy rotation in all markets for the next year or more.]

"I think the song would have fared okay, 'cause it did seem to work well on the radio," says Gabriel. "But I'm not sure that it would have been as big a hit, and I certainly don't think the album would have been opened up to as many people without the video. Because I think it had a sense both of humor and of fun, neither of which were particularly associated with me. I mean -- wrongly in my way of looking at it -- I think I was seen as a fairly intense, eccentric Englishman.

"I never really thought of myself in quite the way that I think other people do," he continues. "I do have quite a lot of fun with some of what I do, and I don't think that always comes through. But I think it did on this record and in the video. And that, if you like, got people interested in checking out the album, to see if they liked it." RS 87

Don't Give Up
Drums, percussion: Manu Katche
Bass: Tony Levin
Guitars: David Rhodes
Piano: Richard Tee
CMI, prophet, linn, piano: Peter Gabriel
Chorus CS80: Simon Clark
Guest vox: Kate Bush

I started off on that song singing both parts myself, but I thought it would work better with a man and a woman singing, so I changed the lyrics around. At one point I tried to work it up in a gospel/country style, and there are still echoes of that approach in Richard Tee's piano-playing. In "Don't Give Up" the lyrics were inspired by two things: one was a TV program on how unemployment has affected family life, and the other was a photograph taken by Dorothea Lange during the Dust Bowl Depression. The basic idea is that handling failure is one of the hardest things we have to learn to do. Mus86


That Voice Again
Drums, percussion: Manu Katche
Bass: Tony Levin
Guitars: David Rhodes
Guitars: Daniel Lanois
Violin: L. Shankar
CMI, prophet, piano, percussion: Peter Gabriel

There's a Byrds influence on "That Voice Again". I'd rejected twelve-string after Genesis, but I felt that ten years was long enough, so I explored the sound again. The innovation of the chorus pedal has made the effect very familiar, but it still doesn't compare with two live tracks of sound reacting with each other. Mus86
[This song relates to the Mozo story.]


In Your Eyes
Drums, talking drum, percussion: Manu Katche
Additional drum: Jerry Marotta
Bass: Larry Klein, Tony Levin
Guitars: David Rhodes
CMI, piano, synth: Peter Gabriel
Piano: Richard Tee
Guest vox: Youssou N'dour
Backing vox: Michael Been, Peter Gabriel, Jim Kerr, David Rhodes Bass vox: Ronnie Bright


Mercy Street
Surdu, congas, triangle: Djalma Correa
Bass: Larry Klein
Piano: Richard Tee
Processed sax: Mark Rivera
CMI, prophet, piano, CS80: Peter Gabriel

I rewrote the verses in "Mercy Street"; the B-side of the single, "Don't Break That Rhythm", is the original version of that song. It was one of the tracks whose rhythms I'd recorded in Rio with the Brazilian percussionist Djaima Correia. The rhythm, incidentally, is called "forro", which I understand the Brazilians developled at parties which were held many years ago by British and Irish railway workers. They would invite the Brazilians to gatherings "for all", and this became corrupted to "forro", which came to mean party-time at the British and Irish place. When I got back here I began to improvise with the triangle pattern, and once the original song was written around it--which, as I said, was "Don't Break That Rhythm"--I became dissatisfied with it. I had an idea that I could use an English folk melody that I'd been developing, and the new lyrics were based on the work of Anne Sexton, the writer. I'd intended to use them for another song. Once I'd got the fold melody locked in, I then strapped the "Mercy Street" lyrics onto it, and I tentatively added some great piano playing by Richard Tee, but that made the song too complex in terms of arrangement. There was a period when I was left on my own in the studio, and I started going at it again with the Fair- light. The percussion was put in then. I began with Fairlight "Page R", but I ended up doing it manually, because the inaccuracies and mistakes were giving the music more of a human, home-made touch, which I felt suited the song better. Mus86


Big Time
Drums: Stewart Copeland
Hammond, CMI, bass: Simon Clark
Drumstick bass: Tony Levin, Jerry Marotta
Guitar: David Rhodes
Surf guitar: Daniel Lanois
CMI, synth, prophet, linn: Peter Gabriel
Linn Kick: Jimmy Bralower
Voices: P P Arnold, Coral Gordon , Dee Lewis
Horns: trumpet, cornet: Wayne Jackson
alto, tenor and baritone sax: Mark Rivera
trombone: Don Mikkelsen


We Do What We're Told (Milgram's 37)
Drums: Jerry Marotta
Guitar: David Rhodes
Violin: L. Shankar
CMI, piano, prophet: Peter Gabriel


This Is The Picture (Excellent Birds)
Talking drums: Manu Katche
Bass: Bill Laswell
Linndrum, CMI, synclavier: Peter Gabriel
Guitar: Nile Rodgers
12 string guitar: Daniel Lanois
Voices: Laurie Anderson and Peter Gabriel

Love it or hate it, So did not stand for "sell out." I like both the third album and Passion better, but this album may rank as Gabriel's greatest achievement. I never get tired of 'Red Rain' or 'In Your Eyes,' and listening again to it for this thread am simply blown away again by 'That Voice Again.'
5/5

 

While it's undeniable that So is the Peter Gabriel album that it's safe to bring home to your mother, it's still a great album. I think the third and fourth albums are more original and slightly more consistent achievements, but there is something to be said for the popular appeal of this album -- it is a warmer, more human record than anything he had done previously.

"Red Rain" and "Mercy Street" are there to satisfy anyone's requirement for more arty, moody music from Peter -- the former in particular is extraordinarily dramatic and powerful and one of Gabriel's greatest ever vocals -- his voice had acquired a real gravity by this time. The blues/gospel influence on "Don't Give Up" was something of a surprise, but the song has a similar effect to R.E.M.'s "Everybody Hurts" for me -- more traditional than we are used to from the artist but also tapping into a deep well of emotion (and the vocal interplay between Kate and Peter is fantastic). "In Your Eyes" is pure joy, in particular Youssou N'Dour's vocals at the end.

The flak the record gets from some fans is usually focused on "Sledgehammer" and "Big Time," two tracks that seem specifically aimed at the marketplace in a way Gabriel had never really attempted before. Fans upset with Genesis' transformation into hitmakers probably weren't keen to hear Peter seemingly following in Phil Collins' footsteps. But Phil Collins didn't invent the horn section, and these songs are infectious and full of the interesting musical detail you'd expect from Peter (as well as a sense of humour that had been lacking from his recent records), and haven't dated badly as it may have seemed they would at the time.

Both sides end with tracks that are, not filler, but less impressive than the songs that precede them. "That Voice Again" is a solid song that meets Peter's standards, but there isn't anything particularly memorable about it to me (see Up's "More Than This" for a song I have a similar opinion of). The 12-string guitar is nice. The semi-instrumental "We Do What We're Told" is haunting but could just as well have been a B-side if Peter had had something else to put in its place. I also didn't feel like another take on "Excellent Birds" was needed (and this version smooths out the arrangement too much) but as this song wasn't on the LP I have always just thought of it as a bonus track anyway.

Sadly, I have heard So *so* many times I can't really listen to it anymore, but it remains one of my favourite albums from the mid to late 80s (and one of the signature albums of the 80s, period).

 

I had no business posting until now. So was the first Peter Gabriel album I ever heard and the only one I currently own besides Hit, the Sledgehammer 12 and Big Time single. Don't worry; I'll pick up the rest of them soon.

It's amazing how many audiophile turntable reviewers use Red Rain as a sampler. I remember hearing Big Time on a great system and turntable back in 87. So is apparently a jem on vinyl and I plan to pick it up once I replace my turntable. Of course, the hits are all great but for me, We Do What We're Told is a standout track, unique and eery for me at the age of ten when I flipped over Big Time. It would be a few more years before I heard any early Genesis but I realized then that there was much more to Gabriel than Shock The Monkey.
Please continue this excellent thread.
Bob.

 

"the rest is up to you"

One of my prized records is in the attachment below, which Gail Colson sent to me along with a thank you letter from PG after a successful divestment campaign I was involved in at the University of Rochester in 1987.

Credit for the photos attached to the above post: David Seelig/Star File, reproduced from: Dave Marsh, Sun City by Artists United Against Apartheid: The Making of the Record. Penguin Books, New York, 1985.

 

Like many people, I cut my teeth on Peter Gabriel's album catalog with So. I bought this CD during my senior year of high school, which was one of the more lonely, isolated, and otherwise difficult times in my life. I found it rather moving, and I curled up to listen to it on headphones on many a night.

The big hits..."Sledgehammer," "In Your Eyes," and "Big Time"...remain memorable staples of his catalog to date. (Was the space in "suc cess" in the subtitle of the last of those three intentional, or simply a typographical error in the booklet?)

"Red Rain" makes for a dramatic introduction, while "We Do What We're Told" is a climax every bit as dark (if not moreso) than anything from Peter Gabriel 3. And although it's technically a bonus track, I always liked "This is the Picture (Excellent Birds):" It makes for a positive coda at the end.

The key highlight, however, is "Mercy Street:" Lush, long, thematic, emotional, and perfectly balanced at once. The hit songs were what reeled me into the album, but the non-hits provided me with the means to find So as moving as I did.

If there's any real fault of the album, it's that the production (as well as the strong association of the hits with the context of the time) render it more dated than either Peter Gabriel 3 or Security today.

 

Gosh, SO...i friggin hated it when it came out and swore off my hero at this time. I could not believe he was getting so popular and playing Madison Square Garden and seemingly everyone was becoming a fan of his...so this record really bugged me and I didn't listen to it when it came out much and did my best to ignore it and its fan's at the time...

Still, I've grown to really love this album. What a terrific batch of songs...Don't Give Up, In Your Eyes, Red Rain, That Voice Again, even Sledgehammer...i love this album and after US came out I went back to SO and realized its brilliances. Yes I missed my PG 3 and 4 man, but what can you do, he did grow and executed some great material here, you can't deny it and for all the "pop" that came out in the 80s, man this one really leads the pack and holds up very well.

 

One of the best recorded music experiences I've had was sitting in the Omni Max Theater in the Museum of Science, in Boston, MA - waiting for the film, "Chronos," to begin.

The track "We Do What We're Told" came on and I was nearly overwhelmed by the sound quality - I've never heard anything like it since, anywhere.

The subtlety of the first minute followed by the surprising guitar had an amazing 3-D quality.
They later played the Cocteau Twins' "Treasure" cd - which was also very good.

I tracked down an employee after the film to ask what version of "So" they were playing, and, if I remember correctly, it was an early US Geffen. It could have been a Japan for US version, which I have, and sounds different to me - vocals much more up front.

Anyone have a favorite pressing of this? Both vinyl and cd?

 

That must have sounded amazing - especially the sustain on the last line
One dream........
I like this song as the end of the album, and in particular the more hopeful lyrics he added for the coda of this incarnation of it.

I tend to go to my original 1986 Geffen for Columbia House CD. Not that the remaster sounds bad (it's actually very good) but I don't care for how the song order was resequenced to make IYE come at the end, after 'This is the Picture.'

On vinyl, I love the twelve inch singles - in particular the promo only white label ones Geffen put out (well, 'Red Rain' had a red cover). Issued with the same font and design by Peter Saville and Brett Wickens as used on the album, there were ones for 'Sledgehammer,' 'Don't Give Up,' 'That Voice Again,' 'In Your Eyes,' and 'Big Time.' Fairly rare to find, especially TVA and IYE. Each song takes up the entire side of the slab, at 33 RPM you can literally see the space between the grooves. 'Red Rain' in particular sounds fantastic on this promo.

 

Yes, because now the album feels like it has THREE endings!

There was a "That Voice Again" single? In a particular country or...?

 

And yet they never released the best studio version of 'In Your Eyes' on CD! The 6:15 single mix with the extra verse at the end, which I would have thought he would have considered for the remaster as long as he was reworking things. This longer version was the one that made the song so popular, got released as the domestic commercial single, got lots of airplay, and sounds a lot better - the drum kicks in more, you can really hear the delicate twelve string guitar in the break, and it takes off into the heavens on the last third.

Only in the incarnation I described above, the Geffen twelve-inch double A-side "Promotional Copy. Not For Sale."


Pictured:
'Red Rain' Geffen Records PRO-A-2527 - LP version 5:32 both sides
'That Voice Again' Geffen Records PRO-A-2592 - LP version 4:52 both sides
'In Your Eyes' Geffen Records PRO-A-2558 - Side 1 non-LP single version 6:15 Side 2 "Special Mix" version 7:14 [both "Produced by Bill Laswell and Peter Gabriel. Remix Engineer: Jason Corsaro. Based on Material Produced by Daniel Lanois and Peter Gabriel. Engineered by Kevin Killen."] 'Biko' 8:36
'Big Time' Geffen Records PRO-A-2625 - LP version 4:24 both sides

note pictured:
'Sledgehammer' Geffen Records PRO-A-2462 - Side 1 LP version 4:58 Side 2 edit 3:58
'Don't Give Up' Geffen Records PRO-A-2689 - Side 1 edit 5:26 Side 2 LP version 6:30

There is a somewhat ragged copy of the promo 12" of TVA on ebay now.