Listen: Groovemaster / Arrow
Groovemaster

The Island offices on 4th Street, right above Tower Records, were a real hubbub of activity back in the late 80′s and early 90′s. Seems a day wouldn’t go by when at least someone from the roster would stop by. Julian Cope, Phranc, Toots Hibbert, Bootsy Collins, Melissa Etheridge, Etta James, Third World, Rakim, Marianne Faithfull, Anthrax. Seriously, there was never a dull moment.

Arrow lived locally, and seemed genuinely thrilled to have a group of friends at the company, all of whom attended his many in Central Park or SOB’s shows. He was forever a happy jolt to any workday.

Seeing him live was a quick trip to carnival, there was no way you could have a bad time. For an hour or so, everyone danced and laughed and got rid of all their troubles. Sounds all very patronizing I’ll agree, but it really did happen that way.

Despite some of the sonic trappings of his Mango releases, like those electronic drums for instance, overall I have the fondest memories of ‘Groovemaster’ and those days when it was a current single. Not being one for Latin music, like truly not at all, ‘Grooovemaster’ just slides by unscathed. Hey, after all, it was World Music. Most importantly, it’s only possible to remember the good times associated with all things Arrow.

Above: Jukebox Tab signed by Arrow

Listen: Cry Me A River / Marie Knight
Cry Me A River / Marie Knight

Hey thanks Vicki Wickham, for keeping this one since the 60′s. Yes, it was part of her 45 collection that I was gifted by Saint Vicki herself last fall.

You know, I love you Vicki Wickham.

Let’s talk about Vicki Wickham. We first met in ’89, when she managed Phranc during her Island days. I remember exactly where we first shook hands: backstage at the Beacon Theater, in the the very stairway where Ahmet Ertegan took his last spill. Phranc had just hired her, and was at that time on tour with The Pogues.

I was actually meeting thee Vicki Wickham. The one that booked READY! STEADY! GO!, managed Dusty Springfield, co-wrote ‘You Don’t Have To Say You Love Me’ with Simon Napier-Bell, produced Labelle. The one who not only booked the infamous Saville Theatre series, brought the Motown Review to England, worked at Track Records with The Who, Thunderclap Newman, The Jimi Hendrix Experience, Marsha Hunt, The Crazy World Of Arthur Brown, John’s Children, and yes, The Cherry Smash; but also knew Scott Walker…and Brian Jones. I was nervous and in awe. Vicki Wickham was a higher form of life.

Fast forward. Nowadays, we meet often for lunch, on 9th Ave and 44th Street at Marseilles, possibly her favorite restaurant. She always orders the asparagus omelette and eats about half. I grill her for details: RSG, The BBC during the 60′s, Rediffusion Television, Top Of The Pops not to mention every band and everybody she ever encountered. Did she visit the Immediate Records office, Deram, Philips, Fontana. What was the Ready Steady Go canteen like, did she know Tony Hall, Steve Marriott, Inez Foxx, Joe Meek, Dozy. When did she last speak with Andrew Loog Oldham, P.P. Arnold or Madeline Bell…..we cover, discuss, judge and trash tons of people. Yes, we are guilty. Needless to say, there’s never a loss for topics.

On one such occasion last year, she mentions having just found boxes of 45′s in storage, and the only one she can remember seeing in the whole bunch was the Bessie Banks ‘Go Now’ UK A label pressing. Was I interested in the lot? That’s like asking Alago, Duane, Joe and I if we’d like a free bump in the VIP bathroom at The Ritz in the 80′s. Ahh, yeah.

Vicki, you ARE a saint, and a beloved friend.

And you turned me on to Marie Knight. Praise be.

Listen: Move The Crowd / Eric B. & Rakim 05 Move The Crowd.mp3

There’s just something about a hip hop track when it’s on 7″ vinyl. Luckily, the 45 configuration was still pretty prevalent during the 80′s but far from the format of choice for the genre. Therefore, very few were manufactured, and even fewer sold. Now, not unlike Jazz singles, they’re fairly collectable and are almost like novelty items. I, for one, stock piled them all: Sugarhill, Def Jam, Wild Pitch, Rock-A-Fella, Tommy Boy etc. So yeah, really appreciative to have the Eric B. & Rakim stuff on 7′s.

In the day, these guys were usually hanging around the Island offices on 4th & Broadway, when the company was located above Tower Records. It was a pretty fun location. All the latest releases one floor down, and Keith Richards living in a duplex at the top – a constant hub-bub of activity. Island seemed to be a place the artists liked to visit, and milling about, sometimes all day. It was not uncommon to have say, Melissa Etheridge and Etta James talking in the hallway, or like one memorable afternoon on my office couch, Chris Blackwell with Phranc, Marianne Faithfull and Julian Cope.

Eric B. and definitely Rakim were often playing records in Kathy Jacobson’s office. Rakim in particular was a mensch, polite, humble and really smart.

I have played ‘Move The Crowd’ hundreds and hundreds of times. It sounds great in the car, on the headphones, definitely on the jukebox, seriously everywhere.

Listen: I'm Not Romantic / Phranc 02 I_m Not Romantic.mp3

Listen: I Enjoy Being A Girl / Phranc 02 I Enjoy Being A Girl.mp3

Fact: Phranc is a special artist. Artist as in art, you know, paint and stuff; as well as music. Go see any of her exhibitions, she’s tremendous. Buy her pieces or just give her money. She deserves it. Musically, we crossed paths when Chris Blackwell signed her to Island. I was her A&R person, and we hit it off big time. Let me tell you, in addition to all creative assets, she’s kind, fair, honest, generous, a friend for life. I love her.

Didn’t take long to realize she was in fact a real live protest singer (“Take Off Your Swastika’, Bloodbath’ – see video below). Who was doing that then (’91) or even now? And a pop writer all at once.

Never could appreciate most female singer/songwriters. Basically, if they weren’t as powerful lyrically and vocally as Joan Armatrading, I just couldn’t be bothered. All the Jewels of the world should have been exterminated. White girls moaning that their boyfriends had left them. Really, they should’ve just finished nursing school and proceeded with their true calling.

But Phranc is none of that. She is brave, and touching, and controversial. Oh yeah, and fucking funny as hell. Example – her self introduction live: “I’m Phranc, with a P H and a hard C”. Get any of her albums, they’re terrific.

Marc Marot, who ran Island UK, really liked the Phranc stuff when I played it for him on a London visit. He not only agreed to release the album (POSITIVELY PHRANC), but also to issue a single. He did it up right, full colour picture sleeve, B side from the previous album, promotional tour. It’s a great double sider, and not an easy one to find. A perfect single.

Watch: Bloodbath / Phranc

Listen: Charlotte Anne / Julian Cope JulianCharlotteAnne.mp3

This came out not long after I joined Island in ’88. Ron Fair was part of the A&R team, and produced the single (plus the album from which it came, MY NATION UNDERGROUND).

I hadn’t seen Ron for years, he went on to big success with The Black Eyed Peas and Keyshia Cole – good for him. But we did finally have a chance to reunite at a recent party in New York – and despite my praise of his work with Julian, he was pretty humble.

‘Charlotte Anne’ is such a classic British pop single. I remember sitting in the little parking lot behind Island’s St. Peter’s Square office in London back then, listening to it in Ron’s car. I loved the track that first time and still do.

Listen: Beautiful Love / Julian Cope JulianBeautifulLove.mp3

Luckily I had the privilege of getting to know Julian and his then sidekick/producer Donald Skinner. They were making one of his masterpieces, PEGGY SUICIDE. What a fucking fantastic work from start to finish that baby is. Soon after release, I ventured to Norwich and caught an early show on the UK tour in support of the album. No lie – it was the place to be in the solar system that night.

‘Beautiful Love’ is probably my all time favorite Julie single – reminds me so much of The Herd’s ‘I Don’t Want Our Loving To Die’. So what’s not to like.

Visiting New York for a few days press prior to the album’s US release, he stayed, as always, with his in-laws out on Long Island. It was a blistering hot July day, and into the office comes Julian wearing flip flops, a wide brimmed sun hat, shades and swim trunks just a touch bigger than your average sized thong. That’s it. He plopped onto the sofa in my office and proceeded to have a totally casual conversation with Phranc and Marianne Faithfull, neither of whom seemed to blink twice.

Island was one hell of a fun place to work at times.

Listen: Big Yellow Taxi / Joni Mitchell JoniBigYellowTaxi.mp3

When it came to folk, I stuck to the UK stuff. Even then, it was never high on my list. I did have a mad patch for Fairport Convention, especially around the time of FULL HOUSE and ANGEL DELIGHT. Plus there were moments when Lindisfarne or The Incredible String Band topped the list. As for the North American stuff, not so much. Songs here or there.

Warner Brothers started doing these double album samplers for $2 (including postage) around 1968, showcasing the spectrum of their varied roster. They had most of the good progressive acts, and one of the four sides was always skewed toward folk, including the likes of Pearls Before Swine, Tom Northcott, The Pentangle or Joni Mitchell. Often the songs were album tracks, but on this one occasion, ‘Big Yellow Taxi’ ended up a single. Despite my ambivalence toward female singer/songwriter voices in general (Joan Armatrading and Phranc excluded), I developed an unlikely attraction for Joni Mitchell’s. Her forays into other musical styles worked fine, better even, in my book.

Listen: Raised On Robbery / Joni Mitchell JoniRaisedOnRobbery.mp3

COURT AND SPARK was one of those albums that everyone loved. Like Carole King’s TAPESTRY, it was hard to find a non-believer. As a career step, she took that big one forward, proving her future would be long and respected. The album may be flawless.

‘Raised On Robbery’ got a lot of album rock play, but not much Top 40. Perfect. It proved her depth at a time when full length sales meant way more than the single. It was almost jazzy, who knew then it’s dixieland leanings would play out down the road as she took on Charles Mingus?

Listen: Help Me / Joni Mitchell JoniMitchellHelpMe.mp3

COURT AND SPARK gained such traction, and sold so well, there was no choice but for Top 40 to play the next single. ‘Help Me’ always sounded good over the air. I don’t believe I switched it off once. Deservedly, it climbed to #7 and became a staple for years.

Listen: Free Man In Paris / Joni Mitchell JoniParis.mp3

One night in the late 60′s both Joni Mitchell and Judy Collins played shows in Syracuse – at different venues. What were the promoters thinking? ‘Both Sides Now’, written by Joni and then a hit for Judy, lured me to attend the latter’s. I would say “mistake’, but to be fair, Judy Collins was great that night, mentioning her good friend was across town and thanking her for the hit.