Archive for the ‘Columbia’ Category
Thursday, November 4th, 2010
Listen: Love Of The Common People / Paul Young & The Family PaulYoungCommon.mp3
Howard posted this off with a batch of new releases back in ’82. He worked at Columbia then, having transferred from CBS London to New York. Old habits die hard: he still looked after the UK roster Stateside. I think this was one of the British acts he picked up via an inter-company option, thereby releasing Paul Young & The Family in the US.
As in their homeland, this first version of ‘Love Of The Common People’ didn’t make much noise, and remained a non-chart single. It was of some interest due to Rico finding a seemingly new home as the group’s trombonist. Anything Rico touches just works perfectly. His first solo album, ’76′s MAN FROM WAREIKA is a must have.
Questionable pictures can be harmful. Despite the contemporary ska image of the band, Paul Young’s shirt on the single sleeve really put me off. He looked like a bad stylist’s mistake. I did like the record, but felt a little unhip admitting so.
Listen: Love Of The Common People / Paul Young PaulYoungCommonRemix.mp3
Bottom line is a great voice and equally great song are hard to keep down, despite all the sonic tricks of the moment being applied. That’s how I’d describe the remix, which revived the original single and thankfully kicked it into the charts. Well deserved.
Sounding a bit too glossy in hindsight, it’s down to The Belle Stars African background vocal style and ever dependable Rico saving the day. And of course, Paul Young’s (now sans The Family in typical major label Columbia Records ruthless style) voice.
Tags: CBS, Columbia, Howard Thompson, Paul Young & The Family, Rico, The Belle Stars
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Monday, November 1st, 2010
Listen: Jumpin’ Jack Flash (Mono) / Johnny Winter And JohnnyWinterAndFlash.mp3
Please remember, this came out at a time when blistering acid blues guitar solos were still pretty new and defiant. Mix that up with a skinny, skinny, skinny albino, silky straight white hair, a bloodless complexion, blue velvet jacket and voila: recipe.
Having made a few tame, more traditional blues recordings for labels like Imperial, Johnny Winter signed to Columbia during their great late 60′s renaissance. A time period that saw Big Brother & The Holding Company, The Chambers Brothers, Moby Grape, Al Kooper and Pacific Gas & Electric added to it’s roster.
The first two Columbia albums were pretty much in that trad blues vein, a touch more electrified. The touring to support them included making the rounds of Fillmore type venues in the US.
By album three, Johnny Winter, the artist, became Johnny Winter And. By infusing more Little Richard style wildness and covering a handful of RnR standards, they band and idea blew up.
They were so powerful live, that for a short time, I’m not sure anyone could top them at their game. Despite being consistently out of tune on stage (a result of the mania specific to this live show), no one cared. It was a tornado of sound and action. You couldn’t take your eyes off them nor sit still.
JOHNNY WINTER AND LIVE became the time tested true documentation of that period. Definitely one of the most exciting live recordings in my collection. The mono 7″ excerpt of ‘Jumpin’ Jack Flash’ edits out the second solo, a real shame. Definitely check the full length for that. Meanwhile, a single, like the live show from which it came, has rarely been hotter.
Tags: Al Kooper, Big Brother & The Holding Company, Columbia, Johnny Winter And, Moby Grape, Pacific Gas & Electric, The Chambers Brothers
Posted in Al Kooper, Big Brother & The Holding Company, Columbia, Johnny Winter And, Moby Grape, Pacific Gas & Electric, The Chambers Brothers | No Comments »
Saturday, October 16th, 2010
Listen: We Have Explosive (7″ Edit) / The Future Sound Of London FSOLExplosive.mp3
May ’97 in London had a few really rainy, cold days. You’d have sworn it was February. Perfect, just as England should be.
I know, I was there. I think it was a trip to hear the new Primal Scream album, maybe meet with them about releasing it through Columbia via Creation Records’ deal with us. And just by coincidence, The Cramps were playing two nights at The Astoria….just by coincidence. Working at major labels, where the entire senior staff were asleep at the wheel musically, did have it’s benefits.
‘We Have Explosive’ had peaked at #12 a few weeks earlier, and was still all over Radio 1. Can vividly remember shivering in Gary Crowley’s car, as he unsuccesfully atempted to coax heat out of the dashboad, on our way to Jakes from the Sony Building, via Marble Arch on a nasty day in nasty traffic, and this one lifting the mood 1000%.
Not only one of the best artist names ever, turns out FSOL were also tops at documenting a precise musical snapshot of that very moment in time.
Tags: BBC Radio 1, Columbia, Creation Records, Gary Crowley, Primal Scream, The Cramps, The Future Sound Of London, Virgin
Posted in BBC Radio 1, Columbia, Creation Records, Gary Crowley, Primal Scream, The Cramps, The Future Sound Of London, Virgin | No Comments »
Tuesday, October 12th, 2010
Listen: The Witch Queen Of New Orleans / Redbone RedboneWitch.mp3
Just a hunch here, but having worked at Columbia, Epic’s sister label, I’m betting the culture at those two companies in the 90′s and early 21st century was one that had prevailed back when Redbone were signed and molded for success. Keep it commercial. Even when they didn’t think they were doing just that….they were.
The marketing angle of a Native American band, named Redbone, was probably a bit risky, but could go off. Just polish it and get it onto the radio….it can happen. Now admittedly, the band’s music incorporated R&B, cajun, jazz, tribal, and Latin. Still, it always had a safe sheen to it.
Opinions on this will be extreme, but I’ll go to my grave believing that’s how the company saw The Clash. Punk that could be polished. It sure is how I saw them.
I recall when MTV had a daily interview/music show for a while. This would have been around the late 80′s, maybe early 90′s. No, I don’t recall it’s name. But one afternoon, The Ramones were the guests so I went along with them to the taping (Marc Almond was on that day as well). Band plays song, sits for interview like on Leno or whatever, then plays another song. That was the program’s format. It was quite good fun and really loud, with the audience full of fans.
One of the questions they asked Joey: “So you brought punk to England in ’76 and met the The Clash?”, implying that something about that meeting inspired The Ramones. His response was quick and simple “No, they met us”.
Sums it up perfectly, including my outlook on The Clash: corporate punk. Perfect for the CBS Records group.
And likewise, I’m sure Redbone would have, could have been way more earthy and dirty in the recordings, packaging and imaging if left to their own devices. Pick up an early album or two and just look at those song titles. They tell it all.
I’ve never met Redbone, or had conversation about them with anyone even remotely connected to the band. But my speculation is they were produced in every sense of the word, until the band, through the years, just gave in and went along. Eventually it paid off, hitting it out of the park with ‘Come And Get Your Love’, which I do love by the way, good pop single. Nonetheless, sadly the thing that was special about them was gone, and they comfortably blended into the assembly line of mainstream formula rock, which in two short years, would start to crack and crumble.
But the early singles, ‘The Witch Queen Of New Orleans’ being one, hint at a much darker sound and cryptic lyric that was still allowed to spill through a bit in the beginning.
Tags: Columbia, Epic, Joey Ramone, MTV, Redbone, The Clash, The Ramones
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Sunday, September 12th, 2010
Listen: Miles Runs The Voodoo Down (Single Edit) / Miles Davis MilesVoodoo.mp3
I can only thank late night FM disc jockeys from 60′s underground radio for artifacts such as these. It had to be the reason the majors pressed up 7′s for songs like ‘Miles Runs The Voodoo Down’. There could be no other reason.
A lot of worship is poured on BITCHES BREW, the album from which this edit was pulled. I have enjoyed it on occasion, but must admit, I like the edits just as much.
This was a very nice garage sale find on an early September morning. 25¢.
Tags: Columbia, Miles Davis
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Wednesday, September 8th, 2010
Listen: Blame It On The Bossa Nova / Eydie Gorme
Blame
Michael Alago got a pair of tickets for Frank Sinatra at Meadowlands in ’90 and made me crazy until I agreed to drive us over to New Jersey for the show. Am I ever glad he did. The seats were fantastic, maybe 6 rows back. The show was an event and in the round. One of the walkways was very, very close. Not that Frank ventured down them much. He was 75 and it was to be was his last area appearance ever.
Support act that night: Steve Lawrence & Eydie Gorme. Now they traveled those ramps a bit more, with between song banter that was risque, 50′s nightclub style and funny as hell. The music was easy listening, clearly catering to the demographic in attendance. Michael and I were the youngest people there without a doubt.
I was really hoping Eydie Gorme would break into at least a snippet of ‘Blame It On The Bossa Nova’, I mean it’s her biggest chart success ever (#7, ’62). When comically introduced as a bigger hit than husband Steve Lawrence ever had, she did what seemed like an extended version, shaking the dance down the ramp with her partner. Our evening was made…well not counting Nancy Sinatra sitting near us in the audience.
I remember ‘Blame It On The Bossa Nova’ from the adult radio station playing at Carmen’s Babershop, where I’d get my haircut as a little boy. Always a fascinating half hour or so of records that now fit in perfectly as bachelor pad classics, it was where I first heard the song.
Makes sense now why it caught my ear. Brill Building. It’s one by writers Barry Mann & Cynthia Weil, and they’ve written a lot of songs we all know. Basically, girl group stuff.
Also loved this short period for Columbia. The orange label and and matching sleeve didn’t last long.
Tags: Barry Mann, Columbia, Cynthia Weil, Eydie Gorme, Michael Alago, Nancy Sinatra
Posted in Barry Mann, Brill Building, Columbia, Cynthia Weil, Eydie Gorme, Michael Alago, Nancy Sinatra | No Comments »
Tuesday, August 17th, 2010
Listen: I’m Gonna Love You Too / The Hullaballoos
HullaballoosGonna.mp3
Do not mistake this British band as the resident pop group on the US HULLABALOO show from ’65 – ’66. They did appear, six times to be exact, but were only coincidentally sharing a similar name. Admittedly their second album, THE HULLABALLOOS ON HULLABALOO would confuse even the most attentive. Alas, the band’s name was indeed spelled differently than the program’s. So no – they were not the house band.
As with just about every group in those days, we saw their pictures way before getting to hear the music. I was too young to be aware of all the Buddy Holly similarities they shared, so to me, they were completely original. I vividly remember seeing the sleeve to ‘I’m Gonna Love You Too’ in a local shop and being instantly smitten. Bleach blond, all four – this was even more radical than The Pretty Things, who had the longest hair yet. Hullaballoos’ drummer Harry rivaled any member of The Pretty Things to date, not only in hair length but color too, hence out doing them in my book. My parents were aghast to find I planned to bleach my hair as well. It never happened – not yet that is.
Despite endless stories of infamous thievery directed toward Roulette Records, they did get their singles distributed and heard. ‘I’m Gonna Love You Too’ got played a bunch initially.
Listen: Did You Ever / The Hullaballoos
HullaballooosDidYouEver.mp3
The followup, ‘Did You Ever’ was played slightly less, but performed more than any other song on US television.
Listen: Learning The Game / The Hullaballoos
HullaballoosLearning.mp3
Unfortunately, ‘Learning The Game’, my favorite of the four, was not played at all in my hometown. The single made it to the Bubbling Under Billboard Hot 100 chart, peaking at #121 during a short two week run, so some play obviously was achieved. Once I got my copy, I cherished it all the more.
Listen: I Won’t Turn Away Now / The Hullaballoos
HullaballoosWontTurn.mp3
The very hard to get fourth single and sleeve, ‘I Won’t Turn Away Now’ is classic British beat. Little Steven played The Hullaballoos recently. I was in the car and thought, justice after all these years. God bless Sirius.
In the early 80′s, when I started working at Elektra, the lure of free phone calls to the UK were too much to pass up. I called Hull directory information, and secured two of the four Hullaballoos’ phone numbers. Ultimately, I only spoke with Andrew Woonton. Initially our conversation proceeded as follows:
“Hi is this Andrew Woonton?”
“Yes, who’s calling?”
“My name is Kevin, from Elektra Records in New York and I was wondering, were you once a member of The Hullaballoos?”
“Uuuuuum, aaaaah, yes why?”
I launched into being a fan, but later in the conversation he revealed his initial hesitation. Turns out he was still getting calls from creditors wanting payment for hotels, vehicles and other expenses obligated some 20 years prior by Roulette on behalf of The Hullaballoos.
Did this band get what they deserved in any way. No. In fact, their youtube footage recently had the audio removed, apparently by the song publishers. Come on, cut these guys a break.
And I’m still miffed at not seeing the shows they shared with The Zombies and The Nashville Teens back in ’65 at the Brooklyn Paramount.
Below my postcard from their fan club:
Posted in Andrew Woonton, Bubbling Under The Hot 100, Columbia, Elektra, Hullabaloo, Roulette, The Hullaballoos, The Nashville Teens, The Pretty Things, The Zombies | No Comments »
Tuesday, June 29th, 2010
Listen: Don’t Stop Loving Me, Baby / Pinkerton’s Assorted Colours PinkertonsDontStop.mp3
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.
Listen: Will Ya / Pinkerton’s Assorted Colours PinkertonsWillYa.mp3
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.
Tags: Decca, Jukebox Tab, Parrot, Pinkerton's Assorted Colours, Stuart Colman
Posted in Columbia, Dave Dee Dozy Beaky Mick & Tich, Dennis Muirhead, Elektra, Hedgehoppers Anonymous, House Of Oldies, Jukebox Tab, London Records, Mike Goldsmith, Parrot, Pinkerton's Assorted Colours, Stuart Colman, The Cryin' Shames, WMCR | No Comments »
Wednesday, May 12th, 2010
Listen: Take A Look / Aretha Franklin ArethaTakeALook.mp3
It’s well known that Aretha Franklin and her family’s musical beginnings were in Gospel. Yet in early 1960, she signed with John Hammond at Coumbia, a historically well respected A&R executive, but oddly a musical mismatch for Aretha. Despite initially scoring a few semi-hits on the Billboard Pop and RnB Singles charts, those initial results began a slow downward spiral of misjudged A&R song choices, bland jazz leaning arrangements, tiringly safe, and quite frankly, dull results. However, by the end of ’66, with little commercial success in those six years with Columbia, they threw her on the scrapheap, a policy that insensitively continued and in fact grew exponentially during my time there.
As the story goes, desperate for a sound of her own, she signed with Atlantic Records to work with producer Jerry Wexler. By ’67, Aretha Franklin issued her first Atlantic single, ‘I Never Loved a Man (The Way I Love You)’, a blues ballad that eliminated the safe musical stench Columbia forced her way, and introduced listeners to her original Gospel influences. Recorded in Muscle Shoals, Alabama, and produced by Wexler, the song became her true breakthrough single, reaching the Hot 100 Top 10 and holding the #1 spot for seven weeks on Billboard’s R&B Singles chart. In fact, the B-side, “Do Right Woman, Do Right Man”, charted on the R&B side as well, and again introduced a more Gospel element to Franklin’s developing sound. It also set a pattern for ballady bluesy B sides ahead.
Her next single, ‘Respect’, written and originally recorded by Otis Redding, instantly became her signature tune for life, reaching #1 on both the RnB and Pop charts—holding the top spot on the former for a then record eight weeks. In the next eighteen months, she released a number of singles we all know and love: ‘Baby I Love You’, ‘Chain of Fools’, ‘Since You’ve Been Gone’, ‘The House That Jack Built’ and ‘Think’, to name the cream of her early successful, now decidedly upbeat run.
Part of all that fun in the spotlight was, behind the curtain, Columbia’s attempt to ride Atlantic’s successful coat tails by releasing what sure did sound to me like records parallel with her now current sound – from their vaults. Finally, at least, Coumbia was doing some work on her, and doing it pretty well. With just about everyone from the label then now long gone, it’s impossible to ever know if it was astute planning or random desperation.
A first of these, ‘Take A Look’, was a good vault find, and to be fair, probably previously released as an LP track. It was during that summer (’67 – read past post on WMCR to understand) when the little local station, WMCR, was in the full-on groove of giving me all their non-easy listening singles during my regular Friday night visits to their studios. And I ended up loving it, as I did “Ain’t No Way’, B side of ‘Since You’ve Been Gone’ – both interestingly recorded and performed in an almost identical style.
Listen: Mockingbird / Aretha Franklin ArethaMockingbird.mp3
Despite the play to piggy back onto Atlantic’s marketing spend toward making Aretha Franklin a household name, ‘Mockingbird’ was a great choice on Columbia’s part to compete with, yet actually compliment the groove her hits were in.
Written by Inez & Charlie Foxx, who had a Top 10 of their own with it in ’63, Aretha shined on ‘Mockingbird’. Had it been released at the time, things may have turned out differently. A great song, it did Carly Simon no harm when she took it to #4 in ’74.
Listen: Soulville / Aretha Franklin ArethaSoulville.mp3
This was originally an A side Columbia issue (reaching #121) in ’64, then reissued in ’68, coinciding timewise with ‘Think’, where it dragged it’s way to a tired #83. But I admit, I picked up the original as a closeout (it’s pictured above) on it’s title alone. In fact it was to be my first Aretha Franklin single, price: 10¢.
Although Columbia tried issuing a few more 7′s, none charted and basically they retreated, tail between legs.
Tags: Aretha Franklin, Atlantic, Billboard, Carly Simon, Columbia, Inez & Charlie Foxx, Jerry Wexler, John Hammond, WMCR
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Saturday, January 23rd, 2010
Listen: Honaloochie Boogie / Mott The Hoople MottHonaloochieBoogie.mp3
‘Honaloochie Boogie’ was the first record I heard upon arriving in London, June ’73. My Aunt Tess collected me at Heathrow, we went back to hers, where she prepared me a traditional English fry-up, and then went to meet Uncle Mick at the pub. It was playing when we walked in. I was more excited about racing toward the jukebox than catching up with my relatives. Very wrong.
I knew of the single, it was one of many I planned to hear/acquire while there. Things were off to a great start.
Prior, I had really tried to love Mott The Hoople. Those four albums on Atlantic (Island in the UK) were a bit of a struggle for me – they just felt a little prog rock bloated. My roomates loved BRAIN CAPERS, and so did I. Well liked, not loved, that is. Suddenly the stars lined up for Mott and they were working with David Bowie. New sound and new label (CBS). They segued onto the glam bandwagon pretty seamlessly, no easy feat considering they weren’t young or thin or androgynous. Overend Watts, like Chris Squire from Yes, always looked pathetic in crotch high silver platforms and pastel colors. Plus ‘All The Young Dudes’ was, let’s face it, all about Bowie. Most importantly, they were now making singles.
The initial one from the second album, first post Bowie, was this. And it ignited a run of strong, quite fantastic records to follow: ‘Roll Away The Stone’, ‘The Golden Age Of Rock ‘n Roll’, ‘All The Way To Memphis’ to be exact. I guess ‘Honaloochie Boogie’ is the least heard and appreciated. Maybe it was the moment for me – not sure. I can tell you this, along with Wizzard ‘See My Baby Jive’, Thin Lizzy ‘Whiskey In The Jar’ and at least one Slade single, it was on every jukebox in every pub in London that summer.
I had finally arrived in my natural habitat.
Posted in Atlantic, CBS, Columbia, David Bowie, Island, Mott The Hoople, Slade, Thin Lizzy, Wizzard | No Comments »
Friday, January 1st, 2010
Listen: Rock On (Single Version) / David Essex DavidEssexRockOn.mp3
‘A record to cleanse the palate’ I believe was the Melody Maker review in a sentence. Very true. This one sat around for a while prior to picking up any notice in the States, but Columbia clearly smelled a hit from the get go. You could always tell when a picture sleeve was involved prior to 1977. I have a feeling a lot of people might remember the first time they heard it. The immediate response was ‘play it again’, a handy reaction when that initial listen is from your radio.
Forest Hills native Jeff Wayne’s fantastic production (he went on the score WAR OF THE WORLDS) could easily double as incidental music to a James Bond film. You simply don’t hear records this unique very often.
The local oldies station was having a 70′s weekend recently, replaying old Casey Kasem chart countdowns and this came on. Sounded more modern than anything on the modern rock station.
Tags: Casey Kasem, CBS, Columbia, David Essex, James Bond, Jeff Wayne, Melody Maker
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Wednesday, December 2nd, 2009
Listen: Mighty Mighty / Earth Wind & Fire EWFMighty.mp3
During the summer of ’74 – summer ’75, I worked at Discount Records, then a northeastern chain, owned by CBS, and heavily stocked in catalog. Most record shops in those days carried lots of….records. This was a time when all the excitement happened right there in the store as opposed any of the other shops competing for the youth dollar.
Today it’s known as an Apple Store. Both had genius bars, well no, that’s a lie. Record shops had counters populated by genius record experts. Same difference.
There were a couple of co-workers who relentlessly hogged the turntable, seemingly for the sole purpose of playing Earth Wind & Fire’s newest album, OPEN OUR EYES. I cringed at it’s polish having preferred their previous two Warner Brothers albums. They were way less refined and more street dirty. After all, leader Maurice White had started his professional career in ’69 as a session drummer at Chess, eventually joining The Ramsey Lewis Trio. Then something happened, literally in mid song, I realized I absolutely loved ‘Mighty Mighty’. It was the last track on one of the sides as I recall, and had just been released as a single. How perfect. It’s been a staple ever since.
Listen: Drum Song / Earth Wind & Fire EWFDrum.mp3
So once my guard was down, I started noticing a bunch of things in there, like LA’s latin sound, which War had coined a year or two prior, sentimentally grabbing my attention via a first visit in ’73. Plus new to me, African beats. Miriam Makeba’s ‘Pata Pata’, shockingly a pop hit several years earlier, was my only exposure at that point. B side of ‘Mighty Mighty’ and album track, ‘Drum Song’ became a favorite even. I was officially a fan.
Listen: Kalimba Story / Earth Wind & Fire EWFKalimba.mp3
Was I happy when ‘Kalimba Story’ was released as a 7″. It was almost too good to be true, being my other favorite from the album. I’ve noticed kalimba on every record they’ve ever made, at least all the ones I know.
Listen: Sun Goddess / Ramsey Lewis And Earth Wind & Fire EWFSunGoddess.mp3
Full circle to ’75, when Maurice White reunites with Ramsey Lewis to record what would become a #1 Urban classic. These guys had really hit their stride.
Tags: CBS, Chess, Columbia, Earth Wind & Fire, Maurice White, Miriam Makeba, Ramsey Lewis, War, Warner Brothers
Posted in CBS, Chess, Columbia, Earth Wind & Fire, Maurice White, Miriam Makeba, Ramsey Lewis, War, Warner Brothers | No Comments »
Thursday, October 29th, 2009
Listen: Forever Now / The Psychedelic Furs PsychedelicForeverNow.mp3
I’ve been meaning to get a dedicated section on this blog for ‘Songs That Should Have Been Singles’. Some day, one day, as The Seekers once sang.
So now I have to decide, if something was pressed up on 7″ for promotional use only, is it a single? Or is a single a record that was actually released on 7″ for the public to buy? The plot thickens, given that some labels in the 60′s would promo a single to radio, then only press retail copies if it felt like airplay was possible. Feel free to discuss but I’m thinking if I can hold it as a 7″ piece of plastic, then yes it is a single.
One such promo only 7″, in a classy, almost UK type sleeve, was the (unfortunately) unedited version of The Psychedelic Furs ‘Forever Now’ (the over produced, ‘dynamic and percussively textured middle breakdown’, to quote a wordy journalist from the period, should have, in my opinion, been zapped). Despite that, the track is possibly one of their best. To hear the guitars REALLY pop, wear headphones. I’ve been listening to it almost exclusively since seeing the band for the first time in years, a few weeks back. I will not leave it so long ever again.
It’s always helpful to look great as well as sound it. Richard and Tim Butler indeed look exactly the same as they did thirty years ago. It defies logic. As importantly, they sound fantastic. Despite being the only two originals left, those integral parts Vince Ely and Jon Ashton created on this song are well reproduced in person.
And it’s those bits that make this recorded version so vital. Drummer Vince Ely flawlessly provides incredible swing underneath it all as a result of an interplay with Tim Butler’s bass that’s impeccable. John Ashton’s razor sharp guitar tones make his anthemic playing powerful and perfect. Then there’s Richard Butler’s classic vocal inflections and one of a kind lyrics: “everybody’s busy listening and pulling blinds”, beautifully marrying David Bowie with John Cooper Clarke.
‘Forever Now’ was the last song of their final encore that night, proceeded by the crowd jaw dropper, an unexpected ‘She Is Mine’. The end to a perfect evening. Only the goodnight kiss from Marianne Faithfull could top it.
Tags: Columbia, David Bowie, John Ashton, John Cooper Clarke, Marianne Faithfull, Richard Butler, The Psychedelic Furs, The Seekers, Tim Butler, Vince Ely
Posted in Columbia, David Bowie, John Ashton, John Cooper Clarke, Marianne Faithfull, Richard Butler, The Psychedelic Furs, The Seekers, Tim Butler, Vince Ely | No Comments »
Tuesday, October 6th, 2009
Listen: What Am I Living For / Mark – Almond MarkAlmondWhatAmILiving.mp3
Listen: The City / Mark – Almond MarkAlmondTheCity.mp3
I was lucky enough to see one of the early shows John Mayall did in support of his then brand new album TURNING POINT, basically himself, Jon Mark, Johnny Almond and Steven Thompson. A fantastic drumless lineup – so different at the time. If you have the album, well the live show was exactly the same. A perfect evening.
Always on the move musically, John Mayall soon reinvented himself, possibly due to the formation of Mark – Almond. They too, were a super good act live. Several of the songs from their first two albums on Bob Krasnow’s Blue Thumb label were progressive radio staples, including ‘The City’. It was frankly shocking to hear it on a JetBlue flight recently via their Sirius radio feed. It had been years since that came out of any radio. Got to hand it to Sirius, they play a lot of great stuff.
Learn something everyday: I was completely sure ‘What Am I Living For’ had charted, even peaking in 30′s/40′s on Billboard’s Top 100. Not so. Never even entered. I heard it often as a current during the summer of ’72. It was a high point of the live show as well.
Mark – Almond double billed often with plain and simple guitar bands during their 4-5 year run. Despite the company, every audience listened and appreciated their undeniable musical superiority. Jon Mark, the consummate acoustic, 12 string player, with Johnny Almond at his side, swaying to the music, eyes closed. His seemingly euphoric state took up almost as much stage time as his playing, which by the way, was superb.
Listen: Solar Level / Johnny Almond Music Machine JohnnyAlmond.mp3
Prior to the John Mayall association and subsequent Mark – Almond period, Johnny Almond made a few albums for Deram’s jazz leaning long player roster (along with the likes of Henry Lowther, The John Cameron Quartet and The Mike Westbrook Orchestra). All highly desirable now, primarily for their sampling potentials, it’s interesting to think that the label would actually release singles from said endeavors, which even more oddly, I ended up liking a lot.
Listen: Night Comes Down / Jon-Mark JonMarkNightComes.mp3
Jon Mark, in fact, started years earlier, playing guitar on various Marianne Faithfull singles, like ‘Come And Stay With Me’ and ‘Summer Nights’. It was during that period (’65) that he too recorded a version of the Shel Talmy written ‘Night Comes Down’, which I post a few days back by The Mickey Finn in a much more psychedelicized style.
Tags: Blue Thumb, Bob Krasnow, Columbia, Deram, Joe Cocker & The Grease Band, John Mayall, Johnny Almond Music Machine, Jon-Mark, Marianne Faithfull, Mark - Almond, Patto, Shel Talmy, Sirius, The John Cameron Quartet, The Mickey Finn, The Mke Westbrook Orchestra
Posted in Blue Thumb, Bob Krasnow, Columbia, Deram, Henry Lowther, Joe Cocker & The Grease Band, John Mayall, Johnny Almond Music Machine, Jon-Mark, Marianne Faithfull, Mark - Almond, Shel Talmy, Sirius, The John Cameron Quartet, The Mickey Finn, The Mike Westbrook Orchestra | No Comments »
Wednesday, September 16th, 2009
Listen: Teacher Teacher / Rockpile RockpileTeacher.mp3
A hybrid version of Dave Edmunds’ Rockpile from 1970. Actually, Dave Edmunds had just broken up Love Sculpture and John Williams, that band’s bassist, came along to play on his solo album, which was preceded by, and also included, the single ‘I Hear You Knocking’. That single in the UK credits the artist as Dave Edmunds’ Rockpile, yet in the US, as with the UK and US album, it’s simply credited to Dave Edmunds. Add to that, Terry Williams (no relation to John) plays drums on the aforementioned recordings.
Ten years later, Terry is still playing with Dave and now, Nick Lowe is as well; and their band is called Rockpile. Confused? Then re-read the above.
Well this was probably their biggest hit, and despite the proven pop songwriting talents of both Nick Lowe and Dave Edmunds, ‘Teacher Teacher’ was actually written by Eddie Phillips and Kenny Pickett, flawless higher forms of life behind The Creation, as both members and songwriters. Glad to know they earned some money in the end. They sure could write a tune.
Tags: Columbia, Dave Edmunds, Rockpile, The Creation
Posted in Columbia, Dave Edmunds, Eddie Phillips, Kenny Pickett, Love Sculpture, Nick Lowe, Rockpile, The Creation | No Comments »
Tuesday, September 15th, 2009
Listen: Ruby / Kaiser Chiefs KaiserChiefsRuby.mp3
One of the best UK singles from this millennium, no lie. The background vocals are lifted, or influenced, beautifully from The Creation. Whether by design or simply by growing up hearing all but formula AOR music on the radio – it doesn’t matter. Great call.
I picture it here, even though I despise colored vinyl. I mean, seriously, I really hate it. Add to that, a sticker on the outside plastic sleeve (above top) affixed crooked. Makes my skin crawl. Records should be as God made them, black. But if it’s the only way to get a 7″ of ‘Ruby’, I will adjust. There’s always Lexapro.
Drummer Nick had the best haircut in rock, identical to Andy Bown’s of The Herd until this recent US tour. Not to worry, it should grow back fine. Turns out we know each other from years ago, when I signed Overseer to Columbia. Nick worked at the studio in Leeds where the album was made, and shared a house with Rob Overseer as well. Small world.
And I must say, nicer guys you won’t meet.
Tags: Andy Bown, Columbia, Kaiser Chiefs, Overseer, The Creation, The Herd
Posted in Andy Bown, Columbia, Kaiser Chiefs, Overseer, The Creation, The Herd | No Comments »
Tuesday, September 8th, 2009
Listen: Sweep It Out In The Shed / Tobi Lark TobiLark.mp3
This one’s from the latest batch of Kent 7′s, released by parent company Ace Records on a regular basis. Roger Armstrong has kept me up to date on these since single number one. They’re all still shelved together as a series – I’ve yet to have the courage of filing them separately like just about every other single I own.
Hey, this is the third Tobi Lark Kent single to date. In the current world, that’s a configuration privilege reserved for superstar artists. Does Beyonce even get three singles on 7? No.
‘Sweep It Out In The Shed’ was a very favorite from the DETROIT DANCERS comp CD, and it’s an absolute joy to have on a single. Not expecting it made for even more fun when I opened the package. It’s the kind of song someone should have found Aretha back in ’66 during her hitless Columbia streak. Or it could have worked just as perfectly being a Muscle Shoals production had Atlantic made the suggestion a year or so later. But to be honest, I’m glad no one did.
Tags: Ace Records, Aretha Franklin, Beyonce, Columbia, Kent, Muscle Shoals, Roger Armstrong, Tobi Lark
Posted in Ace Records, Aretha Franklin, Beyonce, Columbia, Kent, Muscle Shoals, Roger Armstrong, Tobi Lark | No Comments »
Saturday, June 20th, 2009
Listen: Empty Bed Blues (Part 1) / Bessie SmithBessieSmithEmptyBed1.mp3
At the height of Janis Joplin’s popularity, Columbia realized they had the entire Bessie Smith catalog down in the basement of 51 W. 52nd Street just collecting dust. Janis had name checked her endless times in the press and on TV (Dick Cavett) as her primary influence. Us rabid fans couldn’t get hold of that first double reissue, ANY WOMAN’S BLUES, fast enough. I became obsessed with the first three songs on Side 2: ‘I’m Wild About That Thing’, ‘You Got To Give Me Some’ and ‘Kitchen Man’. They are primal and hilariously suggestive, just like Janis. I played them repeatedly. In fact, some of Janis’ vocal inflections are so similar – well it’s actually rather eerie. To my severe disappointment, none of the three made it to 7″ single, but just for fun (I’m assuming, as Columbia couldn’t possibly have thought a hit awaited), ‘Empty Bed Blues’ was indeed issued on the handy single format. Musically, the calamity of the noisy Salvation Army meets Dixieland band aside, it’s the voice that deserves close attention. Were Bessie Smith and Janis Joplin one in the same?
Tags: Bessie Smith, Columbia, Dick Cavett, Janis Joplin
Posted in Bessie Smith, Columbia, Dick Cavett, Janis Joplin | No Comments »
Tuesday, February 3rd, 2009
Listen: Geraldine / Glasvegas GlasvegasGeraldine.mp3
Despite the colored vinyl (I hate the stuff – records should be black the way God made them), this single, well this band actually, are so good I had to be honest. I play this often. I liked, never loved, Echo & The Bunnymen – and many of the similar bands of that time. Occasionally a single would become essential. Is it fair to say Galsvegas harken back to that period sonically, I think so. That’s ok it’s been long enough now – 20-ish years. Maybe a more accurate comparison should be The Skids. Yes, The Skids. They puked up great 45’s .
The new Glasvegas single, ’Flowers & Football Tops’ is equally seminal. I’ll post it the very second a 7″ gets released.
Nice one Ollie Hodge for taking a chance on signing them. Makes everybody look good.
Posted in Columbia, Echo & The Bunnymen, Glasvegas, Ollie Hodge, The Skids | No Comments »
