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1. PAID IN JAPAN (Kobayashi 12367-77-5902-02, 1985). A souvenir of Tap's aborted Japanese tour which ended This is Spinal Tap on such a triumphant note. Contains the complete Kobe Hall concert as seen in the film. This was put out in the aftermath of the release of TIST in Japan (whose title in Japanese was, roughly, Maximum Heavy Rocker Warrior Tour). Shortly after its release in Japan, the master tapes vanished. Some fingered as the culprit Joe "Mama" Besser. Accordingly, it is one of the rarest of Tap collectibles and changes hands for prices in the low two figures.

2. LISTEN TO THE FLOWER PEOPLE/RAINY DAY SUN (Independent Records, #I-569, 1967). Megaphone's American branch label thought this single would definitely not play in the USA. "Too British" was the rationale at the time. So they licensed a release to this small Los Angeles label. When the single broke, American Megaphone quickly rereleased it and its attendant LP, scoring the biggest hit of Spinal Tap's chart career. There are two things of note: 1) the label contains an error: the group is credited as Spinal Top, and 2) Rainy Day Sun, appears here in a truncated 2:30 version, applying what was known at the time amongst British artists as the "American fade"; the song was merely faded out at 2:30. It was not until Break Like the Wind's severely remixed version of RDS that I had heard that final 1:30, and oh what a 1:30 it is! (I would like to hear the original long mix someday, but I don't have $100 to blow on an original UK pressing of Tap's first LP!)

3. GIMME SOME MONEY/CUPS AND CAKES (shown as by the Dutchmen) (Disken Joie 45-22150006, 1965). Dutch reissue of their first single as the Thamesmen. Released during their stint in Holland with Jan van der Kvelk. Came in a (very rare) picture sleeve; unfortunately due to an error at the printing plant and bad translation, the picture sleeve contained a picture of the Regulars (originally the Originals, the East End London combo that forced Nigel and David to change their band's name to the New Originals), who may have been signed to Abbey Records at that time.

4. HIGH HEELS, HOT WHEELS/HEAVY DUTY (12" disco remix single) (Megadisco R12-566, 1976). An extra-long remix available to disco DJs only. Released to promote the quickly vanishing Tap Dancing disco remix LP — these were two different mixes not appearing on the album. Apparently issued in very limited numbers solely in France and Canada.

5. FLESH TUXEDO (bootleg LP). Recorded at two concerts in Ooverhoort, the Netherlands, and Liege, Belgium, during Tap's mid-Seventies heyday. These are audience recordings, but of fair quality. The only distraction is a fan near the recording device yelling "louder!" in French throughout the entirety of Side Two. Issued around 1975 in an edition of 2000, and later reissued in several extremely limited runs on flesh-colored vinyl.

6. HARK, BEOWULF: A FUSION OPERA BY DEREK SMALLS' JAZZ AVENGERS (Warren Brothers XCJ-12-3557-02). This obscure 1986 release is very odd. Although allegedly produced by Derek, he was probably not a member of the group. He is not credited with any playing or songwriting on this LP, a strange jazz/funk reworking of the myth of Beowulf. Although Derek, upon being shown the LP during a 1994 interview, stated that he could remember anything about it, he did not deny having any involvement either. "It was a bad time," Derek recalled. "That period is very hazy." What period? asked the interviewer. "The Eighties."

7. IT'S A SMALLS WORLD (Potato CD-12) (1992) A bootleg CD issue of Derek's never-issued solo LP from the late Seventies. Released to coincide with the release of Break Like the Wind. Contains bonus tracks in the form of several outtakes of the same period which were not intended to be on the LP. Less irritating than the bootleg LP, "It's a Dubs World," but not much. Also includes a couple of Skaface outtakes. For serious Derek-heads only.