Fast, frantic and full of r’nb riffing and skittery Keith Moon-esque drums, this is a right proper knee-trembler behind the bike sheds, the sound of The Marquee in 1964. No Ian Dury riff yet, but it’s ace!Ĭome In, Come Out John Leckie mix. This‘ll be one of those the frantically scrubbed skiffly versions – it’s less than a minute and a half long. All good in their own way.Ĭome In, Come Out Mick Moss acoustic version, recorded April 1987. Just be thankful those fans with the magpie-like tendencies and the studio engineers with the pile of C90s at the ready were around at the time. Hey, it’s better than many bands’ output, full stop. It’s good to know though, that even the stuff they considered below par is still a whole lot better than many of their contemporaries’ output. Of course, The La’s abandoned just about everything they ever put to tape. Frantically scrubbed skiffly acoustic versions. Of course, yer casual La’s enthusiast might struggle to hear the difference between any of the versions, but yer proper fully signed-up card carrying Dole Pay Me So Far La We Go La’s enthusiasts like myself can spot every little minutae of detail between the riffs. It’s the slinkier, groovier progeny of Captain Beefheart playing Ian Dury’s Sex & Drugs & Rock & Roll and personifies that La’s Rattle ‘n Roll tag that they were fond of banding about around 1988.Ĭome In, Come Out is one of only 20 songs officially released by The La’s – (count ’em!) – 12 on the album plus 8 assorted b-sides, but thanks to a combination of fans with magpie-like tendencies, generous studio engineers and the Go! Discs not-quite warts ‘n all box set from last year, there are numerous versions available to even yer casual La’s enthusiast. Come in, Come Out originally appeared on the b-side of The La’s T here She Goes 12“.
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