Archive for the ‘Track’ Category

John’s Children

Wednesday, June 30th, 2010

Just What You Want - Just What You'll Get / John's Children

Listen: Just What You Want – Just What You'll Get / John's Children

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Desdemona / John's Children

Desdemona / John's Children

Listen: Desdemona / John's Children

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Smashed! Blocked! / John's Children

Listen: Smashed! Blocked! / John's Children

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Come And Play With Me In The Garden / John's Children

Come And Play With Me In The Garden / John's Children

Listen: Come And Play With Me In The Garden / John's Children

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Go-Go Girl / John's Children

Listen: Go-Go Girl / John's Children

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True story: In the early 80’s, I did a weekly 2 radio hour show called Import/Export for the mainstream rock station in Rochester, WCMF. It was tucked away at midnight on Tuesdays, and in today’s market it’d be deemed as a ’specialty show’, where all the bands/records that are left of center and on the way up, get a weekly spin. It was loads of fun.

When the station decided to leave the building they’d been housed in since the 60’s to a much smaller location, their massive record library needed to be eliminated due to space restrictions. Oddly, instead of inviting the staff to help thin it out (take whatever you want – we’re about to toss it anyways), give it away to the needy, or super serve their listeners with a free for all, they instead chose to rent a dumpster and fill it daily until the massive library was eliminated. How nice of them.

On that particular Tuesday, I left the station somewhere around 3am, as I’d always stay awhile and visit with Roger McCall, who was my co-host and did the normal overnight shift that followed. I just couldn’t resist having a look into that dumpster. I must tell you, the area and parking lot were a touch daunting anyways. Being in a very quiet part of town, and not the nicest either, I always made a quick dash to the car.

In fact, I vividly remember getting in, starting it and just staring at the dumpster heaving with records – the junkie in me came out. Suddenly of equal concern was getting caught. Seriously. There was a security camera affixed to the entrance area to allow the dj’s a look at who rang the bell before buzzing them in – and there had been a stern directive that no one was to pilfer through the discarded records. Nonetheless, I got out of the car, approached the dumpster, opened the heavy lid, and the very top album, I swear, was ORGASM by John’s Children.

Now if you’re a collector, you are well aware that this is a very, very valuable record. In 1967, it was pressed up promotionally, a result of their one and only US single ‘Smashed Blocked’ becoming a hit on the west coast, even a Top 10 in LA – as well a ‘Bubbling Under The Hot 100′ Billboard item (#102). Needless to say, the album title caused more resistance than it was worth and White Whale, the label, cancelled it’s release – hence it’s collectibility to this day.

I was purely convinced it was a set up – I was as critical and lippy of that station’s shit playlist then as I am of current US radio’s charts now. But fuck it – I wasn’t leaving this baby behind. By the time I arrived home, I was comforted in realizing there wasn’t a person at the station, other than Roger, with a thread of knowledge about credible music, not to mention something so obscure, and hence would never have known to place this album top of the heap to frame me. I slept soundly that night.

A few years ago, Vicki Wickham rang and asked if I’d like to join her and Simon Napier-Bell, one time manager of John’s Children, and later Marc Bolan who was in the band’s lineup, for a lunch. Vicki is the best at these things – she’s fed my record habit for ages and is always looking out for me. It was a quite fun hour – Simon, in New York for a few days, was only too happy to talk about his time with the band, providing I buy lunch, which I did. But sadly he informed me that when leaving the UK for Thailand, he tossed ‘boxes’ of 7″ singles by John’s Children as well as Marc Bolan ‘A’ labels. It was a pretty sobering moment.

The Who

Tuesday, June 8th, 2010

Listen: Happy Jack / The Who

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Pull this out and give it a spin. You’re bound to say, “Man I have not heard this in ages”. Well, my guess is you’ll say that. I loved all the singles up through and including ‘Pictures Of Lily’. Then came ‘I Can See For Miles’. Something about that one, it was good but didn’t hit dead center. Was a first real understanding of my body’s reaction to music. ‘I Can See For Miles’ may have been the record that set the template for an A&R career years later: if I didn’t love it – chances were good it’d be a huge hit. Hey, as long as you know how to read the indicators, that’s all that really matters. ‘I Can See For Miles’ was in fact their only ever US Top 10. Hard to believe I know.

Back then, The Who weren’t much different than The Small Faces or The Move when it came to US radio. You never heard them. Yeah radio was much better in the 60’s, but still fairly narrow. These bands just didn’t get national airplay – if they were lucky, regional exposure was usually the extent of it and then maybe a crossover….leads me to an interesting memory about The Who.

I and my Anglophile friends religiously bought every single by The Who. My teenage girlfriend and I missed our junior prom the night I got ‘Substitute’ it was so good – we just played it over and over and fiddled about, as someone once coined. It was the plan anyways.

There were a few shops around town that would get two to five copies of the non hits, or hopeful to be hits – like Walt’s Records or Smith’s Records or that huge record department in WT Grant’s on Salina Street in Syracuse. So starting with ‘I Can’t Explain’, we bought ‘Anyway, Anyhow, Anywhere’, every single right through and including the immaculate ‘Substitute’, ‘I’m A Boy’, ‘The Kids Are Alright’ and this one, the psychedelic ‘Happy Jack’, which actually did crack the Billboard chart peaking at #24 in ‘67. A few years later when TOMMY was released, everyone noticed a rock opera similarity between that and it’s predecessor, The Pretty Things S.F. SORROW, still we listened to them both regularly during several weekend Parcheesi matches. The Who finally made a return visit after opening for Herman’s Hermits a few years earlier. Even though in my opinion the glow of those earlier singles had dimmed down noticeably, of course I went along. TOMMY admittedly wasn’t bad.

After the show, a few of us waited around for autographs, brought albums, singles, the works. I wasn’t quite as fussed and brought nothing, but seriously, was there something better to do in Syracuse as a teenager than possibly say hello to The Who? When my best friend Denny went up to Pete Townshend proudly with his MY GENERATION album to get signed, the guy turned his nose away, dismissiveley refusing to sign anything. He proceeded to make his way toward their station wagon with band members including Keith Moon and Roger Daltry already inside waiting. Even Keith Moon jumped out of the car to oblige, looking at Pete with a ‘you asshole’ glare, I couldn’t resist. So I spoke up.

“Pete, you know those few copies of the older singles you used to sell in towns like this prior to your hits, we were were the kids that bought them.” As the car pulled away, plain as day, I recall him hanging out the window, wearing a coat that looked like a piece of ghastly ornate drapery, middle finger on both hands projecting at me and shouting “you got a show for your $6 prick”.

Hmm. Not really, you didn’t play any of the aforementioned songs I came to hear. Not one. Still it was rude, certainly embarrassing and I never bought another record by The Who. Big deal, basically my bitterness toward he and unfairly the other guys in The Who went unnoticed and I’m sure Pete Towshend never lost a wink of sleep because of me.

About 30 years later, he and then manager were doing the rounds of labels trying to hawk a new, not very good Pete Townshend album. We sat in my office and had a lovely conversation about The Marquee, The Creation, Track Records, Kit Lambert. I did not recap the story. Why bother? We were both kids then. Still, interestingly, Pete Townshend was kissing my ass. I was getting a second show, and this one didn’t cost me $6.

But guess what, I passed on the album and him, his talent to write those gems long ago withered in my opinion. Besides, I’d already experienced his temper. And I finally felt that injustice had come full circle.

Lesson learned: You meet the same people on the way up as you do on the way down. No one is immune. Be careful.

‘Happy Jack’ really is a terrific single.

The Heartbreakers

Monday, February 8th, 2010

HeartbreakersBornPS, The Heartbreakers, Walter Lure, The Ramones, Johnny Thunders, Track,

Listen: Born To Lose / The Heartbreakers

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The Heartbreakers were in London, playing The Marquee around the last week or so of March ‘77. It was luckily during a fortnight visit, seeing a band every night type trip, right at the height of punk. The Roxy was in it’s brief existence and having missed them there in order to see The Damned and Johnny Moped at the LSE, I was anxious to get in early. It’s funny when you go 3,000 miles to see a band that’s from your own backyard. They were both everything New York yet perfectly invented for England too. Recalling the show that night still gives me the shakes.

HeartbreakerOneTrackPS, The Heartbreakers, Walter Lure, The Ramones, Johnny Thunders, Track,

Listen: One Track Mind / The Heartbreakers

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To prove the point about England, they signed to a reactivated (I think just for them) Track Records. Seemingly dormant since the very early 70’s, suddenly Kit Lambert and Chris Stamp were dug up and cleaned off – good as new.

In ‘67, when the label began, those two must have been a real threat with both The Jimi Hendrix Experience and The Who on a roster that overnight put Track in the uh-oh we’re all in trouble now league. Thunderclap Newman and The Crazy World Of Arthur Brown didn’t help, while Marsha Hunt, John’s Children, The Eire Apparent and Cherry Smash made stubbornly difficult to find, must-have flops.

‘One Track Mind’, The Heartbreakers second single, had me thinking they could take over the world. My crystal ball obviously needed new batteries. But the guitar tones of Johnny Thunders and especially Walter Lure were a wall of sloppy sound live and for a brief moment I couldn’t get enough.

Walter played for years on The Ramones albums. His signature sound is a giveaway on TOO TOUGH TO DIE, and a perfect foil to Johnny’s.

Marsha Hunt

Friday, June 20th, 2008

I Walk On Guilded Splinters / Marsha Hunt

Listen: I Walk On Guilded Splinters / Marsha Hunt

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As much as I love Dr. John’s version of ‘I Walk On Guilded Splinters’, I love Marsha Hunt’s even more. The voice. Plain and simple. Much can be said about her interesting life. Let’s start with this fact: she moved to London and in ‘67 needed a visa – so she married Mike Ratledge of The Soft Machine. There’s more, but just go to Wikipedia for all that. I’m nuts about her handful of singles, and amazing pipes. My Dr. John post below suddenly reminded me I needed to hear Marsha’s version. That agonizing howl at the very end of the song proves it all.