THIS BLOG IS ABOUT 7" RECORDS ONLY. YOU CAN NEVER HAVE TOO MANY. EVERY SONG IS CONVERTED TO MP3 FROM MY PERSONAL 45 COLLECTION, AND THERE'S NOT ONE THAT I WOULDN'T RECOMMEND YOU SEEKING OUT. ANY COPYRIGHT HOLDERS WHO DON'T WANT THEIR MUSIC HEARD HERE JUST LET ME KNOW, AND DOWN IT WILL COME. CLICK ON ANY IMAGE TO ENLARGE.
This is a very early memory for me – it was really a kids record yet in ’63 sat nicely with the early surf hits, like ‘Surfin’ USA’, ‘Surf City’ and even ‘Wipe Out’ depsite The Ran-dells hailing from New Jersey. A #16 Billboard Pop single, not so surprising – but also peaking at #27 on the magazine’s Black Music charts more of a shocker.
All my pals loved it. Listening these days, I can’t help notice that electronica moment at 1:27, as well as in the opening bit. Extra-terrestrial sounds were finding their way onto vinyl around this time actually. Joe Meek had just gone #1 globally with The Tornadoes’ ‘Telstar’ as well as releasing the UK EP, I HEAR A NEW WORLD.
The Cryin’ Shames ‘Please Stay’ was also from the haul that brought the Marsha Gee record into my collection. Unlike hers, this song I knew about and had a UK copy of. But finding a US pressing was quite an event.
The Drifters had a hit with ‘Please Stay’ in ’61, and their version of this Burt Bacharach classic is indeed great. This one however, has the added ambience of Joe Meek’s production.
Much has been deservedly written about Joe Meek, one of England’s first independent producers. In those days, late 50′s / early 60′s, all the producers were on the label staff. They did their job, and got their pay check. But it all began to change around ’63 and Joe Meek was a catalyst. This of course meant that, because he had built his own studio, he would not only produce the records but own the masters too. The labels didn’t like not owning their catalog, as Joe Meek and the other independent producers would license titles to the majors for a certain time period only. So he was always given terrible treatment.
Get one of the books about him. He was fascinating. And he had a real thing about other worlds. His huge international hit, ‘Telstar’ by The Tornadoes had his signature, haunting extra-terrestrial, almost frightening sound to it. Pretty much all his other recordings did too. You can certainly hear it on ‘Please Stay’, his last ever UK chart entry. Lead vocalist, Charlie Crane, had an amazing voice. One quite perfect for his Meeksville sound as well as this track.
For some time the Dick Clark footage had been embeddable via youtube. Now disabled, but still there. Go direct.
Joe Meek claimed to be possessed by the ghost of Buddy Holly, and on the anniversary of his death, February 3, 1967, he took his own life, along with his landlady’s. Horribly demonized by a lawsuit that left him penniless, his Tornadoes royalties tied up in litigation, one of the last records he made was by this same band: The Cryin’ Shames, titled ‘Nobody Waved Goodbye’. Yikes.
True story. I know you will think this is a lie, but I swear on a stack of Ramones albums that it is not.
UK manager Dennis Muirhead paid me his yearly visit at Columbia Records in the late 90′s. We’d met back in ’85 when I’d first joined Elektra and he always stopped by when he came through town. One of his clients at the time was Stuart Colman. Stuart lived then in Nashville and had produced many successful country acts, but had prior UK hits with Shakin’ Stevens. Dennis gave me a package including all his producers latest discographies which I browsed while catching up. I noticed Stuart had started his career in the 60′s with The Shadows. So I said to Dennis, hey this guy goes back a bit, is he English? Affirmative. I proceeded to say I wish these fellows would list all those really early engineering jobs they would have started out doing prior to that first producer opportunity. “I mean, Dennis, he could have worked on something obscure like…..Pinkerton’s Assorted Colours or something”. I just grabbed that fun, eccentric example out of my head.
Dennis looks me square in the eye and says “He was IN Pinkerton’s Assorted Colours”. Silence. Neither of us could believe what had just transpired. “You’re not kidding are you, well call him now”. He suggested one better, that I ring his place asking for him as a member of the band, which I did. I let Stuart know fairly fast that Dennis was there with me, and we had a very nice chat. I mailed him this jukebox tab, he autographed it and sent it straight back.
Above: Jukebox Tab signed by Stuart Colman
As for the group, I was interested because of the name. When I saw their first single ‘Mirror Mirror’ entering the UK charts, I had to hear them asap. But it wasn’t to be for ages. Even though released Stateside, it was nowhere to be heard or found. WMCR, the little station that gave me all those unwanted promo singles at the time, weren’t serviced by London, parent company of Parrot Records – home to Pinkerton’s Assorted Colours. Damn. I was jonesing by the time their second single hit. ‘Don’t Stop Loving Me, Baby’ limped into the UK Top 50 at #50 for one week. I love a good followup flop usually more than the previous hit, so this was reaching fever pitch.
Finally I was successful, finding it in a 25¢ bin at The House Of Oldies on Bleeker Street in NYC when my Aunt Nancy invited me along to visit some relative for a few days. I got a ton of London titles there – The Cryin’ Shames, Lulu & The Luvvers, The Gonks, Hedgehoppers Anonymous and Jonathan King among them – all nice orange swirl promos. This is a great double sider. Not overly special but a solid British staple. Actually, just tonight I realized some similarities to Dave Dee, Dozy, Beaky, Mick & Tich thereby explaining a lot of it’s appeal for me.
The B side ‘Will Ya’ is my favorite of the two, but just. That timid but still wildish fuzz solo is the tie breaker. Mike Goldsmith picked me up the stock copy pictured, only a few months ago, at Academy Records in Brooklyn. I had never seen nor heard of one being pressed as it seemed likely this would never have made it beyond the promo stage – but here it is.
As threatening live as the title implies, this would blow your hair back as well as your mind during their NY shows from the 90′s. Probably their most popular single (#3) when re-released in ’97, it’s this original version from ’91 (#31), that still holds a strong place in my heart.
What a great time the 90′s were for singles. Everyone had moved to cd’s, but faithfully the UK companies would always issue a 7″ counterpart – even for electronic stuff like this, that on vinyl, was desirable as a 12″ way more.
I was working at Discount Records in the early 70′s when this came in. Discount was a deep catalog chain between ’65 – ’75 or so. Their stores were concentrated in the northeast, and their home office was in Scarsdale. The location on the Syracuse University campus was always a haven for the most obscure albums, all the British and west coast names you’d heard of. When I finally got a job there in ’74, it was a real win. You see, each store could buy direct from the labels. So although it was a chain, you weren’t just allocated the hits. There was serious inventory maintenance and responsibility required. This was of course huge fun.
One weekend, I really got into the old BILLBOARD magazine collection and with intense detail, compiled a many-paged list of singles to order from each of the labels. The one that really came through was London Records. Unlike pretty much all the others, somewhere deep in their fulfillment warehouse were tucked sole copies of countless singles. I opened that big shipment box about a week after placing the order resulting from said weekend, to find crazy London, Parrot and Deram singles from years prior (Them, John Mayall’s Bluesbreakers, The Honeybus, The Attack, Hedgehoppers Anonymous, The Cryin’ Shames, Pinkerton’s Assorted Colours, Savoy Brown). Ah, the good old days.
But back to Betty Wright’s version of ‘Shoorah Shoorah’. I was very into The Meters around this time and hence insatiable for all things Allen Toussaint. Reading that he had written this one in the BILLBOARD singles review section that particular week, I ordered myself a copy. Smart move. It was a classic. I proceeded to get in a box, and with in store play sold them through nicely. Wish I had kept a few more.
Hard to believe, but once was a time when a color photo of a UK band was a big treat. Color usually wasn’t the first look you’d ever get of a new act in the mid 60′s. Coincidentally, the only exception I can think of is The Applejacks. They were pictured, in color, like all the other bands, on the cover of ENGLAND’S GREATEST HITMAKERS, a benefit compilation album issued by London Records in aid of the Lord’s Tavern Fund, which was an association that helped finance cricket fields in England. My how the causes have become rather more worthy through the years.
There was once talk that bassist Megan Davies was sister to Ray and Dave. The fact that they covered and released as their fifth single an obscure Ray Davies song fueled the rumour for years. Turns out it wasn’t true. But the potentially accurate info at the time made the agony of struggling to hear The Applejacks even more acute. Despite blagging promos from the local adult station, WMCR – and having some really good shops (Walt’s Records, Smith’s Records) that would stock three to five copies of just about any new English band, The Applejacks first few singles were very evasive. Years later, I guess in the early 70′s, I finally scored a coveted US stock copy of their first single ‘ Tell Me When’ (pictured above), which spent one short seven day run on BILLBOARD’s Bubbling Under The Hot 100 chart at #135 (6/6/64). And that was their entire chart history in the US. Don’t feel bad, I’m embarrassed too.
‘Tell Me When’ paralled the stereotypical Beat Group sound, leaning a little too close to Freddie & The Dreamers. Still at the time, the wait was so long (almost six months – then a lifetime), that all it’s Mersey leanings were forgiven once a copy arrived from my cousin Anne in London.
The real surprise was ‘Baby Jane’, it’s B side. More loud and bluesy, this was closer to The Spencer Davis Group or The Downliner’s Sect than any of their eventual tracks. ‘Baby Jane’ is also one of the first released songs from writers Pete Dello and Ray Cane, who would eventually form The Honeybus, so it’s historical value is quite high. I like to think this was indicative of The Applejacks live. Can you imagine how fun that would have been to see?
Listen: Three Little Words (I Love You) / The Applejacks ApplejacksThree.mp3
Their third single was also the last to make the UK chart (#23). ‘Three Little Words (I Love You)’ also became their finalt US release, for some reason retitled ‘I’m Gonna Send My Love (Three Little Words)’. Megan was a pretty swinging bassist, you’ll notice her carrying this one along too. The single came into the radio station, I recall seeing on the counter, but not in my stack of weekly rock discards, which would clearly have been headed for the rubbish bin until God put me on earth to save them all. I learned then and there to ask and you will recieve.
1965′s ‘Bye Bye Girl’, like ‘Baby Jane’, has a slightly heavier, early Moody Blues slant that I much preferred to their often Liverpool sounding tracks. By now, cousin Anne was well trained in grabbing The Applejacks’ 7′s week of release. She in turn, wanted The Mamas & The Papas’ singles. No problem. They were everywhere. A more than fair trade.
B side, ‘It’s Not A Game Any More’, was another early Pete Dello song. Clearly still finding his footing, practising you could say, on The Applejacks, there are a few signature Pete Dello twists and turns here – if you know his work, they’re easy to spot.
There are those who insist the album was never released in North America. Proof above otherwise. A cherished item.
Listen: Time Is On My Side / Irma Thomas IrmaTime.mp3
Believe it or not, things moved fast in ’65. Technology being what it was, it’s amazing that records were made in days, while presently, with FTPs galore, they take months – sometimes years.
The English groups were good at finding the latest RnB hits, and non-hits, from The US. In a blink, they’d release their own version introducing an insatiable white youth culture to music that was literally down the aisle from them at the local record shop. ‘Time Is On My Side’, with all due respects, was a great call on The Rolling Stones’ part. It was hidden on the B side of Irma Thomas’ ‘Anyone Who Knows What Love is (Will Understand)’, which peaked at #54 in the Billboard Top 100 on July 4. 1964.
Listen: Time Is On My Side / The Rolling Stones StonesTime.mp3
By October of that year, The Rolling Stones’ word for word, inflection for inflection, rendition (I’ve posted the actual single version above, which starts with organ instead of the guitar) was climbing to an eventual #6, their first US Top 10. Some say they stole her hit. I don’t agree. It was never going to get heard by a white teenage audience, or even liked by them most probably. To begin with, it was a B side. Still, as with Bessie Banks’ original of ‘Go Now’, the raw soul of it is hard not to love.
Without a doubt, this was a signature song to my Summer ’66 soundtrack. This guy’s voice was almost scary. Between that and the lyrics, it especially sounded powerful late at night. I spent a week in Brooklyn that August, glued to the various New York City stations and heard this often. Along with The Lovin’ Spoonful’s ‘Summer In The City’, this song faithfully brings me back to that un-airconditioned summer vacation of listening to the radio by night and dragging my Aunt Nancy round the record shops by day: The House Of Oldies, King Karol and Colony basically. I spent hours in them. Thank God for her patience. Colony was really well stocked, but very expensive – list price: 98¢! This was huge money for a kid in his single digits. Much more interesting were the shops in the East Village. Most of them sold promos for a quarter. Lots of white label Fontana’s, pink label Decca’s and the London Group’s orange swirls. You could spot those a mile away. I vividly recall getting Pinkerton’s Assorted Colours ‘Don’t Stop Loving Me, Baby’ in one such place.
Los Bravos, from Spain, big in England, well ‘Black Is Black’ was. Now big here. What a concept. Play good music on the radio, people buy it.
You still catch this one occasionally on the Oldies stations in smaller US markets and it does pop right out .
The UK followup actually did okay, #16. It was easily a song that band and producer Ivor Raymonde worked hard on. I still would bet my last dime they all knew it wasn’t quite good enough despite the almost good enough parts, yet my guess is they needed something out quick and just went with it, hoping no one would notice.
Their US label, London Records’ offshoot Press, did notice. It never got released Stateside.
Instead, ‘Going Nowhere’ was the US followup to ‘Black Is Black’. Not a big showing chartwise, it peaked at #91. In a very signature Ivor Ramonde production, it sounds identical to his approach with The Fortunes. He had his sound down. I heard this a bit around Christmas of that year (see chart below). Turns out lead singer Mike Kogel was German, adding a great accent to his Gene Pitney vocal style. Spanish band and the first ever to chart in Billboard, German singer, pretty exotic for the day.
What a surprise. Almost two years later, an eternity then, when no one expected it, Los Bravos finally really followed up ‘Black Is Black’ with a song equal in greatness. ‘Bring A Little Lovin’ sounded fantastic on the radio. I lit up every time I heard that intro. It was everywhere in Spring of ’68. Oddly, it didn’t chart in the UK, making the British pressing a very pricey item. Even US copies are hard to unearth now. Had they come with this straight after ‘Black Is Black’, the sky would’ve been the limit.
Reportedly Scotland’s Dream Police began as a psychedelic/progressive band that included future members of The Sensational Alex Harvey Band and The Average White Band. Signed to Decca in late ’69 on a tip from Junior Campbell, himself then on the label’s roster as a member of The Marmalade, their first (of three) singles for the label coincidentally included him as the band’s producer, arranger and conductor. Conductor?
The Marmalade had a sound, not unlike The Love Affair or Cupid’s Inspiration, and a whole bunch of lesser known ‘pop’ acts, all wonderfully over produced and clawing for a slot in the charts. Despite being considered manufactured fodder by the intelligent and/or hip music community, I found this stuff fascinating. Totally formula in it’s conveyor belt style, I still can’t get enough of it. Decca UK reigned king in the field. Always with a soft spot for inhouse producers or production deals, Junior Campbell, as with Jonathan King, Wayne Bickerton, Mike Hurst and others churned out endless pap to lap for the label. I’m still finding overdone stiffs from that period. One such example: Dream Police.
‘I’ll Be Home (In A Day Or So)’ could have indeed been a hit for The Marmalade (they recorded a version) had it been issued as a single. Junior Campbell’s production of the song for the Dream Police includes his obligatory rock lead guitar over the top of multi tracked vocals and string section bits galore. And quite frankly, the version deserved to be a hit.
Everyone was drawn to teenage death records, it wasn’t just me. They would even get radio play and chart on BILLBOARD. ‘A Young Girl’ did just that (US #51 in ’66), and got played heavily on my local Top 40, WNDR. Possibly helped onto the airwaves by his role in NBC’s The Girl From U.N.C.L.E., one of many b&w spy/comedies of the mid 60′s, or his famous Dad, Noel Harrison’s English adaptation of this Charles Aznavour song indeed still sounded both very French and rather menacing. If you told me The Pet Shop Boys were influenced by it, I’d believe you.
It was an ear catching song to hear on the radio in the day and has become a perfect period piece, frozen in time while simultaneously disappearing into the black hole of never-to-be-airplayed-again records.
There’s a great compilation titled GLITTER FROM THE LITTER BIN; 20 JUNK SHOP GLAM RARITIES. It’s a fun listen but it’s the message here that counts. Long snubbed as uncool, juvenile, manufactured, throwaway – you name it, I could never quite understand everyone’s problem with glam. The production was fantastic, drum and treble heavy, fun clothes and haircuts to match, and a threatening mix of androgyny (which indeed were assets to David Bowie, T, Rex or Roxy Music when convenient). No problem here. I was a proud fan and collector.
Kenny (band not person) churned out some hits, including these two masterpieces. Written by Bill Martin and Phil Coulter, as with all their material, ‘The Bump’ is a literal blueprint of glam. Fair enough, The Sweet, Slade, Sparks and Wizzard can equally claim such feats, but that doesn’t void out ‘The Bump’. Although released on Mickie Most’s RAK Records in the UK, Kenny flip flopped from pilar to post label-wise in the US. ‘The Bump’ was picked up by Jonathan King in the States, issuing it on his UK Records imprint through London. Sampled years later by The Space Raiders on their fantastic ‘Glam Raid’ (listen above), it verified some needed credibility to the song’s worth.
‘Julie Anne’ probably veered a bit more mainstream teen pop than glam, but the effervescent sound of super K was well intact. A pop classic.
The chances of hearing this on any US oldies stations these days seem pretty slim. It was not always the case. I came to appreciate ‘Maybe’ even more in the 70′s, a result of Janis Joplin covering it with her Kosmic Blues Band. I searched out The Chantels version desperately after she did a killer version at the Syracuse War Memorial in May ’69 – having no patience to wait for hers later in the year. Within weeks of that show, Janis appeared on the syndicated program, MUSIC SCENE, wearing the same crushed velvet outfit. It’s one of the few bits of footage that really captures her:
I was reminded of all this today, when finding a copy of The Chantels crazy rare album at an Episcopal Church Of Christ yard sale in a small upstate town, where we stopped for some lunch. It was a gem amongst many. Not to mention the sweet potato pies, the cornbread/mac & cheese/string bean platter from their food stall and a whole lot of 45′s.
One hit wonder – but what a hit. An early staple for many a London RnB combo in the mid sixties, ‘Fortune Teller’ proved essential for The Rolling Stones, The Merseybeats, The Who and The Downliners Sect.
Hailing from Florida, Benny Spellman had a foot in both blues and rockabilly, via New Orleans. It was writer Allen Toussaint who provided the song, somewhat reminiscent of Bo Diddley. I guess it was the maracas. Originally released by LA’s Minit label, word is Benny was signed during the thriving New Orleans RnB goldrush at the turn of the decade.
I woke up one day realizing albums by The Rolling Stones serve as introductory encyclopedias for figuring out the best American RnB and Blues originals. I felt really behind the curve at that moment, but considering it was still 1969, I caught up ok. The band, or someone in their camp, had impecable taste when picking this stuff. I still read the occassional story of their early visits to the US, whereby they’d all flock to now infamous record shops in Harlem or East LA just to buy all the black releases. Man, those stores must have been amazing. And where are all those records now? There were plenty of those original US pressings amongst the Tony King collection…..
Don Covay entered my world via OUT OF OUR HEADS. The Rolling Stones started side one of the US version with ‘Mercy, Mercy’. OUT OF OUR HEADS was their fourth and final US album to pressed initially (first run only) in the UK, then exported to the US and sleeved here. Just recently have collectors been alerted to this detail, but for years I was buying up those UK copies at garage sales for $1. They are particularly easy to spot. The font is obviously different than US London labels, but they’re also deep groove, and they indicate ‘Made In England’. Quite helpful. A few other London releases during the era (’64 – ’66) were intially pressed in the UK as well: Marianne Faithfull, Tom Jones and Them.
When I worked at Island in the late 80′s, Chris Blackwell signed Don Covay, who came by regularly to see Holly Furgeson and her office was next to mine. She did the A&R admin, and Don Covay handled all his own business. I remember him working diligently on the project only to have it shelved, a bad habit Island always had.
I was well pleased to find not only the original DJ copy of ‘Mercy, Mercy’ amogst Tony’s records, but a very nice UK reissue as well, both pictured above.
Back in the 70′s, many record stores bought direct from each label. Only the really small shops were forced to buy via a one stop, which were distributors that represented all the labels, a kind of middle man. I worked for Discount Records in ’74-75. Although a chain owned by CBS, they were deep catalog stores and centered around college towns and campuses, hence their two Syracuse locations. And each of these shops would buy direct from the various labels. Every Tuesday all the reps would stop by, bring the staff hot drinks and donuts, plus stacks of promos, T shirts and posters. It was heaven. One summer day, I went to the Syracuse University library, having been alerted to their complete bound collection of BILLBOARD magazines from the 60′s, to sit for hours and pour through them. I took a new marble notebook and dated each page to the corresponding issue then listed any facts of interest. Chart entries, new releases with catalog numbers, etc. Years later, I managed to find a magazine dealer selling a complete run of issues from ’64 – ’68. Perfect, I bought them all.
A few days later, I got this ‘why not’ idea. I ordered about one hundred long out of print 7″ titles on the London family labels from our rep, one copy each, using the newly acquired catalog numbers from my day of research.
I’d actually blanked and didn’t even think more about the order, being sure they’d never turn up. I mean how could they? This was ’75 and some of them had come and gone, most were flops, some ten years prior. But lo and behold, about a week later, the London order arrived, and one of the boxes was chock full of many, many of those very titles. Oh man, I was flying. Amongst them were all the Press singles from The Fortunes, not to mention The Small Faces, Los Bravos, The Pudding, The Gibsons and loads more. And those was just the ones on Press. I won’t even get into the Deram, London, Tribe, Hi and Parrot selections on this post. My immediate reaction was to order five copies of many that had turned up, which I did, but no more ever came. Obviously, these had been sitting on the shelves for literally a decade.
I think most kids considered The Fortunes sound to be manufactured, over orchestrated, adult leaning, the music your parents would like too. All true I guess, but I did love those big, ballad-y Greenaway/Cook and/or Les Reed boomers. ‘Here It Comes Again’ was a decent hit here, #27 in Nov ’65.
But the followup, ‘This Golden Ring’ struggled slowly, and perfectly, to a problem #82 in February ’66. The Fortunes were burned into my psyche as a wintertime sound. Most of their records remind me of the freezing cold walks to and from school with my little red transistor radio clamped to my ear, pre ear buds by decades.
‘Gone From My Mind’, despite it’s confident delivery, didn’t make a ripple. Never heard it on the radio in my life, and therefore really excited to find it amongst the others in that London shipment. No surprise, it’s ended up as my favorite.
Listen: Is This What I Get For Loving You? / Marianne Faithfull MarianneIsThis.mp3
They all wanted to produce like Phil Spector back then – even Andrew Loog Oldham. I’m not quite sure if Andrew ever really produced despite his label credits, and this comes from both conversations with him and his press, not necessarily my observation. As this single clearly demonstrates, there was more than good intention required in order to reproduce Phil’s special sound.
Having said that, I still love Marianne and Andrew’s version. It got some play in my hometown (see chart), always sounded great on the radio and I must have played this baby 500 times in the day.
More on Marianne down the road. We became close friends during my days at Island, made some great albums together and found time to have some fun rides. Soon come.
Talk about a name that sounded relevant 30 years later – this could easily have sat nicely in the 90′s Dance world. Having the privilege of being on the UK Decca/US London roster meant they were on my radar from the get go. Initially burdened by a safe folk, almost Kingston Trio, sound and look, but for their third single, and first hit ‘Concrete And Clay’, the image was suitably scruffed up – most likely due to earning no money and expected to slog round the UK in a damp van with at best a plate of eggs, beans and toast to sustain. They continued releasing similar sounding tracks for a few years. None with the same chart success as that hit, but all sounding pretty similar in a good way. ‘Baby Never Say Goodbye’ was my favorite. By the time of it’s UK issue (Winter ’66), US London had given up on them – as it was the first of their singles not to get a US release. In fact, never again did Unit 4 + 2 manage a record here. Even though they switched to the UK Fontana label and made some pretty impressive psych folk tracks – there was no interest from Fontana US and it was basically a no go in the States.
Did anybody see L7 on Lollapalooza in ’93? It’s as though the event was tailor made for these girls. By now ‘Pretend We’re Dead’ was near anthemic and despite sharing the festival with headliners Green Day and The Smashing Pumpkins, it was becoming tricky to top them.
Stupidly, I paid little attention to their show at The Marquee in NY a year earlier. How could one be so careless? Very regretful. The place was jammed, L7 was on the way up. Alago and I got there late, so by now we were in the back and that was that.
Yes a hot summer’s day at Jones Beach for Lollapalooza sobered me right up. I was suddenly in a panic to get the back catalog on vinyl, fairly routine in the 90′s, although clean copies of ‘Pretend We’re Dead’ weren’t easy, not the sleeve at least.
Even better was ‘Andres’, the first single from HUNGRY FOR STINK. Never will I forget their late night performances to promote it. Suzi Gardner singing lead, pretty handy as I’d become a serious, serious stalker. They played early in the day at Seattle’s Bumbershoot that August – on the big stage, meaning the huge arena on the grounds. Despite a few thousand kids, it still was desolate – for most bands that is. No worries, L7 delivered as though the joint was heaving. Their sheer power was relentless, a quality never lost.
Why they just stopped playing, threw in the towel, is frustrating and baffling. The last NY show was at Bowery Ballroom. Seems everyone went off boil, I couldn’t find one person to join me. The show may be in my Top 10 of life – it was that good.
L7 were just about to become the dependable pillar of punk, clawing up from a quiet patch, the live band you could always go see and never be let down. I dare say they were about the fill The Ramones’ shoes. Damn.
