https://youtu.be/oDomyEj2P60 Another song (for Odin) from that 1992 show in Southampton. I heard from Rich Levene, who was there and says his diary indicates there were 60 people at the show, which sounds/looks about right. They really were a wild, exuberant bunch, shouted incomprehensibly at us throughout the set. It was a good time, as you might be able to tell. "Let's Be Together Tonight" was our typical show opener in this era (succeeding "What Went Wrong"), written during, but not recorded in, the Milk Milk Lemonade sessions, late '91. Just before heading to Europe the following summer, we threw together a recording of it along with two other songs for a 7" called Strum und Bang, Live?! to be released by Munster Records in Spain, on the theory that it would be a good idea to have some release in Europe when we went there. That record was presented as "live at the Regal Beagle" -- the Regal Beagle being the bar frequently mentioned on the TV show Three's Company -- but it was actually recorded in a Berkeley 8 track garage studio called Smooth Papa's Greasy Groove Hut, though I'm not sure it had that name yet at the time. (I believe that this and Alex Sergay's Recording Emporium were same place, but the timeline eludes me, and I could well be wrong about that.) The crowd noise between the songs was taken from KISS Alive II, Blue Oyster Cult's On Your Feet or On Your Knees, the record of JFK's inaugural address, and a jazz record whose title I can no longer recall. We recorded another veresion almost as soon as we got back from Europe, in the same room (which had, in the meantime, acquired a 16 track deck -- I think) as a three piece since Jon von had left the band by that time. The Gun Crazy songs were recorded there in those same hurried session, as well as chunks of Our Bodies Ourselves a bit later. This version came out under the title "Together Tonight" on the Gun Crazy 7" and was tacked on to the end of the Our Bodies... CD. The song itself is a nice little pump-and-pummel pop song, and the slightly clumsy lyrical construction serves to enhance rather than degrade the wistful, pleading, confessional spirit of ingenuous romance-cum-regret-cum-horniness that makes it work. Or so I keep telling myself. I bet I could write the lyrics better now, but I doubt it'd be an improvement. So let's just leave it as it is, shall we? Praise Odin, share/like/comment/subscribe/follow, bang your face into your laptop till the blood voids your warranty, and check back next week for something new.
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