Archive for the ‘Denny Cordell’ Category

GEORGIE FAME

Wednesday, March 3rd, 2010

Daylight / Georgie Fame

Listen: Daylight / Georgie Fame

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

I think this song may qualify as a bit of a guilty pleasure, as it is a touch schmaltzy, although my pal Phil, who has super taste in music, loves it – then again, it was written by Bobby Womack and now a sought after hit on the Northern Soul circuit. Plus Georgie has such a great voice, and the whole idea that he perfected his sound doing all-nighters at the Flamingo Club on Wardour Street in London during the swinging 60’s alongside Chris Farlowe & The Thunderbirds and John Mayall’s Bluesbreakers, is, well, all I really need. Basically he always emulated Mose Allison and conventiently helped invent mod-jazz in the process.

As with some of his early hits like ‘Get Away’, this was produced by the late, great Denny Cordell. When I worked at Island in the early 90’s, Chris Blackwell brought Denny in to oversee A&R. Most everybody got their noses out of joint by his arrival but not me – I mean this was the guy who had produced The Move (He did the whistle sound, fingers to mouth, on ‘I Can Hear The Grass Grow’), and help start Deram and Regal Zonophone, and then Shelter. So we hit it off immediately, and I often think of the many great times (and meals – he was a serious cook) I had with Denny. Plus he introduced me to so many people from the UK, all of whom would stop by to see him when passing through town. I remember when he brought Tony Colton into my office. He was the vocalist for Heads Hands & Feet (who I became an instant fan of when seeing them open for Humble Pie). Tony had also produced a then obscure, now kind of appreciated gem: ON THE BOARDS by Taste. So this was a big deal to me.

Yeah, Denny was a great great pal….he produced this track as part of the 2nd album Georgie made for Island that the company then proceeded not to issue – still! I mean what hasn’t been released at this point? Island was a great place in many ways, but they had a very bad habit of making albums and not releasing them. I know of a few still in the vaults from Marianne Faithfull, and unfortunately countless others from The Smoke to Don Covay.

So this track, ‘Daylight’, and it’s B side, ‘Three Legged Mule’ came out in ‘77 as a 7″ & 12″ single, and has finally been reissued as part of the ISLAND YEARS ‘74 – ‘76 anthology.

Denny Laine / Trevor Burton

Wednesday, February 10th, 2010

DennyLaineSayUK, Denny Laine, Trevor Burton, Denny Cordell, The Moody Blues, The Move, Balls, Deram, Epic
DennyLaineSayUS, Denny Laine, Trevor Burton, Denny Cordell, The Moody Blues, The Move, Balls, Deram, Epic

Listen: Say You Don’t Mind / Denny Laine

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

In 67, when The Moody Blues ditched the blues, they ditched Denny Laine with it. Lead singer extraordinaire, his voice is the one we heard on ‘Go Now’, ‘Everyday’ and ‘Stop’, three super favorites. Their version of ‘Go Now’ still holds it own against the Bessie Banks original. What were these guys thinking?

To this day, current members refuse to acknowledge that first lineup, excluding any of their tracks from Greatest Hits and anthology packages. Lighten up guys.

Still apparently signed to Decca, Denny resurfaced on their newly formed subsidiary Deram, this being the first of two singles and getting a US release. Denny Cordell, The Moody Blues original producer, went in the layoffs too – so decided to stick with the other Denny. Their work together was terrific. Just listen for yourself.

TrevorBurtonFightUSA, Denny Laine, Trevor Burton, Denny Cordell, The Moody Blues, The Move, Balls, Deram, Epic
TrevorFightUS, Denny Laine, Trevor Burton, Denny Cordell, The Moody Blues, The Move, Balls, Deram, Epic

Listen: Fight For My Country / Trevor Burton

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Within a year or so, Trevor Burton left The Move, teaming up with Denny to form Balls. Their lone single, ‘Fight For My Country’, was released in the US under his name, as a one-off for Epic. Unlike the UK version, which ran upwards of 5 minutes, the US promo and stock were edited down to under 3, making for a better track which would not have been out of place on SHAZAM. It’s power deserves the attention much lesser records have achieved, packing so hard a punch, it knocked the wind out of both the band and Trevor’s solo career.

The Pink Floyd

Sunday, January 31st, 2010

Arnold / The Pink Floyd

Arnold Layne / The Pink Floyd

Arnold Layne / The Pink Floyd

Arnold Layne / The Pink Floyd acetate

Listen: Arnold Layne / The Pink Floyd

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Tower 333. That was the US label and catalog number for The Pink Floyd’s first single, ‘Arnold Layne’. I heard it played on Dick Clark’s AMERICAN BANDSTAND Rate A Record segment, and taped it on my tiny GE reel to reel, complete with a palm sized hand held microphone and a happening aqua play button. I still have it – in fact I can see it as I type.

Oh fuck, did I want to own this single or what? It was a one-listen record. Like involuntary movement, I special ordered it on the phone that very Saturday afternoon from Mrs. Smith at Smith’s Records. And I would anxiously wait week after week – but it never did arrive. Took me a few years to get it at all, and then on a UK pressing. That US Tower single was so elusive. In fact, finding a stock copy took 39 long years. In the meantime, I did drive to NJ in a snow storm, a proper blizzard to be exact, with Steve Yegelwel, to buy a DJ copy complete with it’s promo-only picture sleeve for $150 in ‘90, a fire sale by today’s standards. I’d seen it listed in Goldmine the day the issue arrived, so I immediately call this guy who says he’s just sold it – I double his asking price of $75.00, offer to drive over the river despite the weather and pay in cash – he accepts. Steve was from Jersey and knew the way. We worked together at Island then.

But it was a few months later that I really struck gold when it comes to ‘Arnold Layne’. The catalog number is without a doubt embossed in my brain. I became obsessed with getting that single at the time and just ordered it from every shop I could. No one ever did get it, but I ended up knowing Tower 333 by heart. So, on June 23, 1990 (our wedding anniversary), I’m walking from the Astor Street subway stop toward the Island office on West 4th, which was just one flight up above Tower Records – the record chain not the label (in both Tower’s and Island’s heydays – a perfect place for a vinyl addict to be located), and across the street from the building entrance, almost to Broadway, I see a massive, and I mean massive, pile of discarded records, both in box lots and loose – all 45’s. Must have been an old music publisher’s office that got gutted and curbed, I never did get to the bottom of that one. There’s a few guys sifting through them. Well I went into a whole other gear – my heart revved up, I ran and I dug in. I gouged this pile – I don’t remember for sure but I think the others just backed off as I was acting so irrationally, taking anything remotely interesting, basically being a pig.

I was in a panic and luckily Island was in a doorman building so I motioned to Spike (said doorman) to come watch my heap while I ran upstairs for boxes and help. I’m pretty sure I dragged Yegelwel down, definitely Karen Yee (she still works at Island), Kathy Kenyon, Hugo Burnham and Denny Cordell too. I needed all of them – there was so much to carry. Even Chris wandered downstairs for some amusement when he heard.

Well the tricky part of this adventure was: a big chunk of these were test pressings. Most had, at best, a white label with little to no info hand written in. Then there were acetates, with only catalog and/or stamper numbers in the run-off grooves. Plus there were a couple thousand records so I’m trying to be a touch selective, checking them for any clues, details – and one of these acetates, sparkling purple-ish black in the morning sun has ‘T 333 A’ etched in it’s run off groove (look closely at the scan of it above). No way. Not possible. Don’t even go there. Still, I added it to my mountain just in case and kept it moving.

Later, in my office, I’m messing with all these records, some people are stopping by, wondering about the stupid commotion. We’re playing half a song, then hurrying on to the next single, there was so much obscure soul, multiple copies, enough for everyone. I’m losing it. Sorting through, I find that T 333 acetate and put it on the turntable, seriously not expecting anything as most of those were garbage.

Lo and behold, it’s ‘Arnold Layne’. And in stereo. I just froze.

As Russell and Ron Mael wrote on Sparks’ recent seminal single ‘Good Morning’: “Thank you God/For having thought of me/I know your time is tight/But still you thought of me”. So true.

Tir Na Nog

Saturday, October 3rd, 2009

tirnanogstronguk, Tir Na Nog, Chrysalis, Matthew Fisher, John Martyn, Nick Drake

Listen: Strong In The Sun / Tir Na Nog

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

I was desperate to see Tir Na Nog when they toured the US in ‘72. It never happened.

Although being the college concert chairman, having pushed through Rory Gallagher, Chicken Shack, Colosseum, Atomic Rooster, The Electric Light Orchestra, The Pretty Things and The Incredible String Band against everyone’s “who the fuck are these people” stances (in one school year, mind you) didn’t really allow me any more ‘puts’. By then, the budget was spent anyways. Otherwise, they’d have been there.

Tir Na Nog’s second and third albums were released in the States, and I particularly loved that third one, STRONG IN THE SUN. It was, well still is, a seminal folk era recording, right up there with the best from Tyrannosaurus Rex, John Martyn and Nick Drake (indeed the album includes a cover of his ‘Free Ride’, itself worthy of 7″ status). Tracks like ‘Cinema’ rivaled some of Pink Floyd’s tracks from MEDDLE for being…cinamatic, funny enough. If you’d told me Norman Smith, Denny Cordell or Peter Asher had produced some of this stuff, I’d have believed you. The album is that good.

Indeed, Matthew Fisher from Procol Harum was in charge of production, and, as with similar duties on Robin Trower’s BRIDGE OF SIGHS, did an A+ job.

When I up and headed for London during summer ‘73, I took a night off from The Marquee to see them play a small, sit-down-cross-legged room, God knows the name of it now. But the show remains a vivid memory.

There was a time, around ‘85, and Howard Thompson was looking at cover songs for 10000 Maniacs – I guess as a potential single, possibly a one-off film submission or something. I recommended ‘Strong In The Sun’. I thought Natalie Merchant would have really done it some beautiful justice and Tir Na Nog could have gotten some well deserved recognition. Didn’t happen. They chose ‘Peace Train’ instead.

There has to be someone out there in need of a great song to revive their sagging career: Nelly Furtado, Jewel, Anna Nalick, Five For Fighting, Vanessa Carlton, Paula Cole, or wait, Natalie Merchant.

The Move

Wednesday, July 1st, 2009

Night Of Fear / The Move

Listen: Night Of Fear / The Move

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

A reoccurring event: ‘Night Of Fear’ moving in and out of the slot known as my all time favorite single. THE BEST OF THE MOVE was the only cd in the car this past week, so when the iPod ran out of juice during a four day break out of town, in went the disc. ‘Night Of Fear’ had charted in England during December ‘66. Just after Christmas day I ventured to Smith’s Records, my local, to pour over BILLBOARD. The ‘Hits Of The World’ section to be exact. It was always a first stop once picking up any issue, as well, the singles review page and Bubbling Under The Hot 100. The record had jumped from #42 to #17, and with a band name like The Move – I was already sold. Unlike today’s just-a-click-away reality, the long wait to hear this one began then and there. I’m pretty sure the first time was on AMERICAN BANDSTAND in February, the ‘Rate A Record’ segment to be exact. I’d always have my reel to reel poised for this bit, you could count on at least one gem to be played. Thinking about the programming and record company politics of the day, I’m guessing ‘Rate A Record’ was much like today’s ‘Specialty Show’ play – where radio will squeeze in some not yet proven releases that deserve an airing. Regardless, I was ready, and played that taped version, with Dick Clark talking over the intro and outro, easily hundreds of times. I still hear his delivery subliminally during each play of the actual record – to this day.

I know Roy Wood hates it, he told me so. When I asked him to do me a jukebox tab, he was totally agreeable. But when I said ‘Night Of Fear’, a dreadful grimace crossed his face and he asked me to please pick any other song – I chose ‘Blackberry Way’ but prodded. Apparently, he never thought ‘Night Of Fear’ was very good at all, hated the recording and despised it being an A side. No amount of complimenting him otherwise changed his stance. What a shame. He should be so proud.

Well, I loved this song. All it’s twists and turns hold memories of the time, the weather, what was going on at school, what other records I was aching to hear and own, how fun life was just being a little kid. Lots of reasons to play it over and over 42 years later.

Phoebe Snow

Wednesday, April 1st, 2009

Poetry Man / Phoebe Snow

Poetry Man / Phoebe Snow

Listen: Poetry Man / Phoebe Snow

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

The nice thing about double A promo singles, up until the late 70’s, was you got an otherwise unobtainable mono mix on one side. Being a mono collector, these are now coveted.

I hated Phoebe Snow when this single was current. I went to see The Pretty Things in Niagara Falls during their SILK TORPEDO tour, and Carol Hardy, who worked promotion for Atlantic at the time, took me backstage to meet the band. I’d already booked them two years earlier at my college (in ‘73), which unbelievably was during their first ever US tour. Can you believe this seminal band didn’t tour here until ‘73! Still I was well up for hanging out with them. John Povey, Phil May and I got to talking about current favorites, and they proclaimed their love of ‘Poetry Man’ and Phoebe, who they’d not heard until arriving Stateside. I was mortified. How could The Pretty Things liked this record? Didn’t change my mind. I proceeded with nose in the air towards her for years.

But my tastes changed and one day, I just had to hear Phoebe Snow. Just like that. Snap.

Now I worship her voice, it’s huge and thunderous. I love all her Shelter Records releases. Leave it to Denny Cordell, bless him.

Wayne Bickerton Productions: World Of Oz / Clyde McPhatter / The Rubettes

Monday, December 29th, 2008

The Muffin Man / World Of Oz

The Muffin Man / World Of Oz

Listen: The Muffin Man / World Of Oz

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Baby You've Got It / Clyde McPhatter

Listen: Baby You’ve Got It / Clyde McPhatter

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Sugar Baby Love / The Rubettes

Listen: Sugar Baby Love / The Rubettes

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Seems the labels had a stable of in-house producers back in the 60’s. And many times they’d be given the new signings to whip into shape, and record in those infamous four or six hour windows. I’m guessing these producers were either on staff, or had production deals, similar to today’s consultancies. People like Denny Cordell and Mike Hurst come to mind, as does Wayne Bickerton. I first noticed his name on Decca and Deram releases. A very favorite was ‘The Muffin Man’ by World Of Oz. It got a lot of Top 40 play in the US for a few weeks during summer ‘68. Years later, in the Notting Hill Record & Tape Exchange, I stumbled on a copy with this very rare UK sleeve (above). My heart just about stopped. I’d no idea it existed – it’s not mentioned in any of the price guides and I’ve never seen another. ‘The Muffin Man’ was part of their rather lavish album, lavish for the time that is, apparently requiring a huge budget. I was lucky enough to meet Wayne about four years ago on a NY trip, and meant to ask that budget detail. I had many questions, and he was fantastic about filling in so many blanks, but that one slipped my mind. Always an admirer of his work, it was a fascinating hour or two.

Although an original member of The Drifters, Clyde McPhatter oddly moved to England, and even odder, signed to Deram. Luckily, Wayne was put in charge and produced his Northern Soul classic ‘Baby You’ve Got It’.

Occasionally I hear The Rubettes ‘Sugar Baby Love’ and it jumps out every time. A perfect combination of glam and maybe doo wop meets Four Seasons or something. Not only did he produce it, but co-wrote the song as well.

Beverley

Saturday, September 20th, 2008

Happy New Year / Beverley

Listen: Happy New Year / Beverley

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

It’s 1966 – and UK Decca are about to launch their hip subsidiary Deram. The first release was a now-period piece by Beverley, before she married seminal folkie John Martyn and became 1/2 of the Island act, John & Beverley Martyn. This was the first of 2 solo singles, both on Deram and both produced by Denny Cordell. The record is so ‘live’ and was mastered so loudly – it’s just the ultimate vinyl sound. Some very extreme production ideas – not out of line for Denny. Luckily I got to work with him years later at Island. He was just full of stories and info. Never a day would pass without him dropping some tidbit my way. He knew I was a trainspotter and fed it well. You know the loud techno sound in The Move’s ‘I Can Hear The Grass Grow’ at exactly 2:08? I asked him once how he got such an other worldy electronic sound back then. He simply raised his 2 little fingers to the corners of his mouth and whistled. Exactly like on the single. Awesome.

J. J. Cale

Sunday, June 22nd, 2008

Travelin' / JJ Cale

Listen: Travelin’ Light / J. J. Cale

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Harkening back to the winter ‘77 visit that Corinne & I made to England, finally meeting Howard Thompson and be shown the town by him nightly for 2 solid weeks (seeing every exploding band that mattered: The Damned, The Jam, Eddie & The Hot Rods, Ultravox, The Sex Pistols, The Heartbreakers, Sham 69, Siouxsie & The Banshees, so many I’m blank), we would start each evening in a happening pub with a happening jukebox. Howard introduced me to Andrew Lauder on one of these nights, and the three of us huddled over the box at The Hope & Anchor. This was playing. It made a lasting impression, mostly because I loved it, and still do. On further analysis, it was released by Shelter, Denny Cordell’s label, another plus. And it was probably a single simply to allow the B side, the very hip ‘Cocaine’, availability, as it was a true anthem of the drug culture. J. J. Cale wrote ‘Cocaine’ and Eric Clapton covered it a few years later. Still it’s this A side, ‘Travelin’ Light’, that I can play endlessly still, and never tire of.

The Move

Thursday, June 5th, 2008

Night Of Fear / The Move

Night Of Fear / The Move

Night Of Fear / The Move

Listen: Night Of Fear / The Move

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

The Move 1966

I think I first noticed The Move in the UK charts section of Billboard. In the 60’s, they used to print ‘Hits Of The World’ over one page, Top 10’s from all the countries, but always a Top 30 or 50 from the UK. This was of course, during the tail end of the British Invasion, January 1967 to be exact. My local shop, Smith’s Records, in Oneida NY, would save their week old Billboards for me, and on Fridays, when my Mom & Dad would do their shopping, they’d drop me at Smith’s and I’d get to play loads of new releases in the listening booth – and read Billboard at the counter. Just pouring over it, especially the ‘Bubbling Under The Hot 100′ section that was always a goldmine for me – ever changing, probably ‘bought’ mentions of new records all hoping to jump into the proper Hot 100 chart, and fast moving. Missing a week meant you might not be aware something was out. Then later – back home with last week’s issue – I’d really comb it over for details. I still remember seeing ‘Night Of Fear’ moving 17 to 2 up that British chart, by The Move. This was simply the best name for a band EVER. I needed to hear this, and see photos – which luckily, I quickly did: both sound and look represented the black & white, rainy England that we heard about as kids, an exotic place with the greatest bands, a new perfect band emerging almost weekly. My loyalty to The Move was blind, only lately can I admit they went downhill slowly but steadily, eventually bringing Jeff Lynne in to grind them to a Beatles influenced halt. But their beginning was never to be repeated for me. A week or so later, Dick Clark played the single on his weekly American Bandstand ‘Rate A Record’ 2 song competition. I have no recollection of the other single played, or which came out on top, but I still have my reel to reel recording of ‘Night Of Fear’ off the TV. I dove for the red record button, mike and recorder permanently positioned by my bedroom TV set. Technically I was a criminal then, that era’s version of file sharing I suppose….I listened to that tape hundreds of times. You couldn’t buy this record anywhere, London (Deram’s parent company) clearly wasn’t promoting (payola-ing) it – and hence the shops couldn’t stock it. In small town upstate NY, the stores all bought from one-stops, and they just stocked ‘the hits’. It always pissed me off when I’d read in the Melody Maker back then that The Move (or whoever) wasn’t big in America. They weren’t played!!! Kids here didn’t get to decide!!! So my record company letter writing continued. Someone at London in NY had a deal with me, I’d send him $1.50 per record (which was extortion in those days) and he’d send whatever I needed. He was selling promos thru the mail – genius. Worked for both of us. The stuff I bought off this fellow (The Cryin’ Shames, The Attack, The Syn, World Of Oz, The Honeybus, non-hits by Them, The Small Faces, Unit 4 + 2, The Zombies) – even then I knew I should get extras, but I didn’t have the cash. On this particular occasion he sent me a stock copy of ‘Night Of Fear’, not easily found then or now (see photo). Over the years, I’ve acquired many copies – US and UK. The Dutch picture sleeve above, Roy Wood signed when I got to meet him during Wizzard’s first and only US tour; then there was the time 10-ish years ago, somewhere on Long Island where my friend Duane & I were garage sale-ing very early one Saturday morning. Walking up the driveway I see a pile of singles on a table – the top one is on Deram. Probably White Plains or Procol Harum I think to myself….but it was ‘Night Of Fear’. I froze. I said, ‘Duane you need to buy this’ – he did. He already had it, so did I – I just couldn’t handle the high. He always helped me through those severe garage sale finds beautifully. Denny Cordell produced this immaculate classic. The mp3 post is from my overplayed original $1.50/extortion copy. And check out that picture of the band – if there’s a better shot of a band anywhere on earth, go right ahead and send it to me. The song’s included on the recently reissued, restored, remastered, re-’you name it’ version of The Move’s 1st album. A generously and lovingly packaged 2 cd set, overseen by (who seems to be) thee expert on The Move, Rob Caiger, with all audio meticulously preserved by Rob Keyloch (I’m guessing from original master tapes). Please buy one – Roy Wood and Ace Kefford deserve our money.