Archive for the ‘Howard Thompson’ Category

Public Image Ltd.

Tuesday, June 30th, 2009

pil-pil, Public Image, Public Image Ltd., PIL, Johnny Rotten, John Lydon, Virgin

pil-pil-ps,Public Image, Public Image Ltd., PIL, Johnny Rotten, John Lydon, Virgin

Listen: Public Image / Public Image Ltd. PublicImage.mp3

It could have been awful, and left a nasty void, had John Lydon not delivered as powerful and contemporary a debut single for his new band as this. Do you remember the video that accompanied it? Equally great.

Johnny Ramone always planned to quit before the band got “fat, bald or lazy”. Despite everyone coaxing he and Joey back to the stage after their ’96 retirement, they did leave a timeless image of themselves, just as John planned, by never doing so. Whether by design or not, The Sex Pistols are in the same boat.

Lydon often hung out with Michael and Howard at Elektra around the time ALBUM was released in ’86. What a fucking hysterical guy. No question, he was a great night out.

The Fun Boy Three

Monday, June 29th, 2009

fb3lunaticsps1, The Specials, The Fun Boy Three, Chrysalis

Listen: The Lunatics Have Taken Over The Asylum / The Fun Boy Three FB3Lunatics.mp3

I never bought into Terry Hall’s vocals with The Specials. He may have been sincere, but his pouty photos were a put off, plus I preferred the ska originators over the revivalists.

This all may have been a bit harsh on my part looking back. Even at the time, it only took one listen to ‘The Lunatics Have Taken Over The Asylum’ and my whole view did an about face. In fact, that first play, coming out of Radio 1 early one rainy morning in Howard’s Hammersmith flat on Agate Road, set the perfect scenario.

I remember it vividly. Hot tea in hand, I just stood there until the record finished. It sounded so different, maybe even groundbreaking as they say, a bit like The Dixie Cups ‘Iko Iko’ mashed up with David Essex’s ‘Rock On’, although I doubt either played any part in it’s creation. I dare say it still stands out today.

n

Tuesday, May 12th, 2009

Miss Chatelaine (St. Tropez Edit) / kd lang

Listen: Miss Chatelaine (St. Tropez Edit) / k. d. lang
Miss

Never have I known k. d. lang to deliver anything less than a stellar live performance. From her very first New York shows, at The Bottom Line, that vocal stamina was jaw dropping. Initially, she claimed to be the reincarnation of Patsy Cline. Couple that with an outfit not unlike Granny Clampett and it reeked of novelty. Undoubtedly the reason Howard and Krasnow weren’t interested when I brought her into Elektra as a signing consideration. I was too inexperienced to see her potential, and as this was early ’85, I’d just started my A&R career, hence had no clue about fighting to get an act signed.

I feel foolish recalling the day she and her manager, Larry Wanagas, came by my office, only for me to tell them I was passing. What a idiot.

Deservedly, Seymour Stein, then a floor below me at Sire, saw her potential very differently and brought her greatness to the world.

She has many essential singles, most in classic picture sleeves. ‘Miss Chatelaine’ was a big hit in the UK, and it was fantastic hearing it on Radio 1 at the time. A particular hard one to find, it’s B side, the appropriately titled ‘St. Tropez Remix’ is equally vital, effortlessly bringing the tropics to your speakers.

Stereo MC’s

Monday, May 4th, 2009

Stereo MC's Connected Picture Sleeve

Listen: Stereo MCs / Connected StereoMCsConnected.mp3

Has there been a better funk/rock single since this? Probably not. I’ll never forget hearing it for the first time. It was at an Island A&R retreat in New Orleans during Jazz Fest in ’92. Jon Baker, who ran Gee Street, brought it straight in from the studio. Everyone’s mouth dropped.

Jon had invited me two years prior to see the band practice/showcase at a space in south London, just near Waterloo Bridge. They’d put one single out in the UK, and were about to be dropped. The rehearsal was spectacular. Just the three piece, with their live drummer Owen. It was slamming as they say.

Island did a deal for Jon’s Gee Street label, but it took a minute. After some dicking around, Jon was getting fed up and had planned to sign with Virgin, but came into my office for one last shot. He played me a new single by his other act, PM Dawn. Their ‘Set Adrift On Memory Bliss’ was a no brainer. Later that day, I went round the Gramercy Park Hotel to hook up with Jon, and meet the P. M. Dawn guys. I kept them there until around 2AM, insuring they’d miss their dinner with Virgin which was supposedly happening. I must ask Jon if that dinner date was really true. Whatever, Jon and I schemed to get Island’s committal quickly. I suggested Jon demand a substantial check within twenty four hours, and that if the label didn’t conclude the deal within one week he could keep the money. Island agreed to it the next day, once Chris heard ‘Set Adrift’. Bingo, two acts signed in one swoop, not to mention getting Jon Baker as part of the deal.

So we proceeded to deliver Stereo MC’s their first hit, in The States instead of England no less, with ‘Elevate My Mind’. Howard Thompson played Happy Mondays the single, and got Stereo MC’s the opening slot on their upcoming red hot US tour. A perfect storm.

Even better, ‘Connected’ was to follow.

The Smoke

Saturday, April 18th, 2009

My Friend Jack (Unreleased Version) / The Smoke

Listen: My Friend Jack (Unreleased Version) / The Smoke SmokeJackUnreleased.mp3

My Friend Jack / The Smoke

Listen: My Friend Jack / The Smoke SmokeJack.mp3

High In A Room / The Smoke

Listen: High In A Room / The Smoke SmokeHigh.mp3

Have Some More Tea / The Smoke

Listen: Have Some More Tea / The Smoke SmokeTea.mp3

Dreams Of Dreams / The Smoke

Listen: Dreams Of Dreams / The Smoke SmokeDream.mp3

Ride Ride Ride (Dick Turpin)/ The Smoke

Listen: Ride Ride Ride (Dick Turpin)/ The Smoke SmokeRide.mp3

Sugar Man/ The Smoke

Listen: Sugar Man/ The Smoke SmokeSugarMan.mp3

A good band that sticks to their sound isn’t necessarily a bad thing. Even when the world evolves, sometimes staying in your little place can be good, as long as you actually had something decent to begin with. Obviously, it’s how I feel about The Smoke. Now I hadn’t discovered them when they were current, I guess they didn’t quite get enough press attention, I missed out until a year or two later. And upon hearing ‘My Friend Jack’, I filed it right up there with The Creation. That guitar effect, in fact, sounded very Eddie Phillips to me. Still, it took ages to find all their singles. The 60′s releases were hard enough, being non sellers. And the 70′s singles, selling even less, were a real challenge. Thank God for the many trips I made to the UK on some label’s dime, because I’d have never found them otherwise.

Years later, I stumbled on some hardcore info – the original version of ‘My Friend Jack’ was recorded and made it’s way to acetates, but not issued due to explicitly drug obvious lyrics. The version that did come out being apparently toned down. On a trip to the UK, Howard returned with just that acetate, one of many gems he’d gotten off his uncle, a former Decca Records UK promotion guy. He just handed it over – a serious ass present. There aren’t many like Howard.

Chris Blackwell’s country house in Theale had an amazing dj equipped/record library in the loft overlooking his recreation room – with pool tables and the works down below. I always made my way straight up there at gatherings for the company. He invited Corinne and I to stay a long weekend, and drove us down from London late one Friday night. An always generous host, we had the run of the place. He said graciously, if I found any doubles in the loft, to help myself. This was a dream come true – and despite being tempted to pocket a few on a first visit – it proves honesty is the best policy, or good things come to those that wait…..whatever. He let me take whatever I wanted. Lo and behold, he had an extra of the one and only Island single by The Smoke. This was ’89, by which time I’d still never even seen a copy, not to mention in unplayed condition. Worth the wait. Thank you Chris.

Imagine my shock when finding ‘Dreams Of Dreams’ at the Notting Hill Gate Record & Tape Exchange, in it’s Revolution Records company sleeve, which until that moment, I hadn’t realized even existed. I guess the Revolution Records team expected big success for the imprint, thereby manufacturing stock sleeves. Mind you, the single was in the glass encased upstairs high end section but well worth the lofty price (around 75 GBP). Nice one.

By 1971, The Smoke had stubbornly, and wonderfully, not changed their sound much. As with all bands that began in the mid 60′s, they occasionally let their love of Motown show, as on ‘Ride Ride Ride’. Later still, despite the glam audio techniques poured all over ‘Sugar Man’, their one of a kind, signature sound could not be stifled, thankfully.

Ultravox

Sunday, March 29th, 2009

 Dangerous Rhythm / Ultravox UK

 Dangerous Rhythm / Ultravox UK

Listen: Dangerous Rhythm / Ultravox UltravoxDangerousRhythm.mp3

It was March ’77, Corinne and I had perfectly timed, as it turns out, our first trip to London. As chronicled in previous posts, Howard jammed what seemed like a year’s worth of record shopping and live shows into a fourteen day window. It was only a month prior that he’d sent the debut 7″ from Ultravox ‘Dangerous Rhythm’ pictured above, release date sticker still intact. We were ready.

They were playing The Nashville, we’re there. Visually a mix of New York, London punk and Berlin. Sonically jagged, metallic, white noise in parts yet cold and stark all at once. That early Ultravox lineup, their first album and a bunch of the singles following are never spoken of enough. In fact the whole John Foxx era is under appreciated. They were a great live band and a catalyst towards my appreciation of Neu, Can and many things German that I had previously overlooked.

The Only Ones

Tuesday, January 6th, 2009

Out There In The Night / The Only Ones

Listen: Out There In The Night / The Only Ones OnlyOnesOutThereInTheNight.mp3

Trouble In The World / The Only Ones

Listen: Trouble In The World / The Only Ones OnlyOnesTrouble.mp3

I’m a sucker for an atonal vocalist. So The Only Ones’ Peter Perrett is right up my alley. These two singles are by far my favorites from the boys. Never did get to see them, some arrest nonsense cut their US tour short, the one whereby they were playing my town. Hence not much to say about them, except I still love these records. Oh, hold on, the sleeve pictured for ‘Trouble In The World’ was sent along, at the time, by Howard Thompson. He A&R’d the band, by assignment as opposed to choice. He doesn’t reflect fondly on it all. Whether by coincidence or design, ‘Trouble In The World’ echoes Mott The Hoople, with it’s Sue & Sunny background female vocals. Seems like an HT influence to me.

For reasons unknown, the sleeve was scrapped allowing or forcing the record to be issued in a stock CBS bag. The label was quite good at making pitiful judgement calls when it came to picture sleeves. Unlike in the US, picture sleeves were quite uncommon in England until punk. So what did CBS do? They released a bunch of punk singles without them. Although the corporate waste exponentially accelerated by the time I was employed by Columbia in 1995, it seems seeds were planted decades before. Hey, let’s actually manufacture the sleeves then destroy them, why cancel it in the pre-production phase? Kill another tree. No problem.

But the records speak for themselves. Great stuff. And although spelled differently, you have to admit Peter Perrett was pretty hip to choose, for his surname, that of the great US label, Parrot, which included Them, The Zombies, Los Bravos, Lulu & The Luvvers and Pinkerton’s Assorted Colours amongst it’s roster.

Louis Jordan

Friday, January 2nd, 2009

Hardhead / Louis Jordan

Listen: Hardhead / Louis Jordan LouisJordanHardhead.mp3

I didn’t know much about Louis Jordan until John Anthony gave me a Best Of cd as a present one night. He’d been round with Howard for an evening of food and records, and it was a thank you thought. Little did he know I’d begin yet another quest to complete a 45 library on the guy as a result. Risque sexual themes often featured strongly in his work, notably the saucy ‘Show Me How To Milk The Cow’ for example. And I do love sleeze.

Ray Charles signed Louis Jordan to his Tangerine label in the 60’s – it was his last deal actually. ‘Hardhead’ is a terrific single from that period. There are many things to appreciate about the guy – go and Wikipedia him. Known as ‘King Of The Jukebox’, he still maintains the most weeks at #1 for any black performer: 113 (Stevie Wonder lags behind with 70, making him #2).

Clearly he kicked the door open for Little Richard, Screaming Jay Hawkins – so many.

Eddie & The Hot Rods

Wednesday, December 31st, 2008

EddieHotRodsPowerAndTheGlory.mp3

Listen: Power And The Glory / Eddie & The Hot Rods
Power

Either you have it or you don’t. Eddie & The Hot Rods always did, despite little commercial success in the US pointing otherwise. When they returned to tour during summer ’08, it was made clear their cult rep was well in tact, with a sizable audience of very young kids freaking out up front. And live, well as powerful as ever. Those that will remember can verify they could tear apart a stage in the late 70′s.

I stumbled on them during ’76, pre-punk. One of the Canvey Island bands that included Dr. Feelgood and Ducks Deluxe, their lightning speed attack was a huge attraction. I was the PD of WITR, Rochester Institute Of Technology’s radio station at the time. I dropped a quick letter to Island UK about the reaction we were getting from the band’s EP, LIVE AT THE MARQUEE. It landed with Howard Thompson who’d signed them. We became close friends as a result, and he eventually hired me at Elektra. I’d still be stuck in upstate New York had it not been for him and that letter.

As for Eddie & The Hot Rods, I became a bit of a stalker. Happy about that too as it meant getting to see them many times, at BBC sessions, UK TV shows, in the studio. Great guys and Barrie Master is still a pal. The great news being their power on stage has never waned. That hasn’t changed, and oddly, neither has Barrie. Not one less hair on his head nor one pound more on his bones. Voice as strong as in the day. He even wore the same pair of white jeans as he did at CBGB’s in ’77. Amazing.

The Screaming Blue Messiahs

Tuesday, December 30th, 2008

Bikini Red / The Screaming Blue Messiahs

Listen: Bikini Red / The Screaming Blue Messiahs ScreamingBlueBikiniRed.mp3

Bikini Red / The Screaming Blue Messiahs

Brilliant single. Please listen all the way through. Try to find one for your collection as well. Howard and I picked up their option from WEA UK, allowing us to release their records via Elektra. Not only were the albums great, so too were the guys. Bill Carter is one of the most talented fellows ever. They needed a tour to support the first US release in ’87. I had an idea. Ask Lux and Ivy if The Cramps would be interested in the band supporting their summer US dates. The answer: Yes! Bang, we killed two birds with one stone. The Messiahs had a hot tour, and Howard and/or I could use Elektra’s money to ‘cover’ as many dates as possible on behalf of the label. We ended up seeing the package many, many times. Well done.

THE JOLLY BROTHERS

Saturday, December 20th, 2008

Conscious Man / The Jolly Brothers

Conscious Man / The Jolly Brothers

Listen: Conscious Man / The Jolly Brothers 01 Conscious Man 1.mp3

There’s a story about this record, told to me many times by Duane Sherwood, who knows all there is to know reggae-wise. It forever gets cloudy in my memory, but here goes. There was a period when Lee Perry’s relationship with Island Records in London was going south as they were rejecting many of his submissions, due to the sheer volume of his output. It lead him to burn down his Black Ark studios, but not before making some of the most historic reggae recordings ever. One such rejection was The Congos album, an original Jamaican copy will set you back. It’s been beautifully reissued by Blood & Fire, but you can never replicate the sound of recycled Jamaican deep groove vinyl, hence the quest for the original.

Then there’s this, The Jolly Brothers ‘Conscious Man’. Scratch was so annoyed by Island, he apparently never even offered them The Jolly Brothers master. He just licensed it off to United Artists in England, and it became a hit. For whatever reasons, those early pressings don’t even credit his production, but it only takes one listen.

It was everywhere during an October ’78 London trip, when we’d stayed at Howard’s place in Hammersmith and did the town with him every night. I remember finding the picture sleeved copy at Harlequin Records just off Marble Arch. Never saw another.

The Psychedelic Furs

Monday, October 13th, 2008

Heaven / Psychedelic Furs

Heaven / Psychedelic Furs

Heaven / Psychedelic Furs

Listen: Heaven / Psychedelic Furs PsyFursHeaven.mp3

It was the Christmas break, 1979. Corinne and I went to stay with Howard in London for what turned out to be a Christmas to remember. He really did it up right, as always had countless things planned, on the go go go, especially hitting all the record shops. Went to see The Birthday Party at The Venue. Fuck they were, um, great. I did not appreciate it fully at the time, but in hindsight – yes, pretty great. And then there were the traditional English holiday parties. Not industry parties mind you, but family ones, like John Anthony’s Mom’s. That spread was fierce and her homemade trifle…..well we still talk about it to this day. The nights we didn’t eat our way through a party or see a band were just happily spent playing records in HT’s front room. The floor was literally covered with 45’s, row after row leaning against the moldings. An endless trove to flip through and pick from. Hours would just fly by, never a dull moment. And he had everything, all the latest releases – and there were many. Don’t forget, loads of great records were still coming out weekly. It was the tail end of punk turning into whatever the next thing was called…I really can’t remember actually. And often Richard and Tim Butler would be by. Howard had just signed them to CBS, and they were beaming about their first single ‘We Love You’, which Howard had just gotten copies of. In fact, they kept playing it over and over and over. But hey if they didn’t, we did. It was the start of a friendship that lasted years and brought loads of fun times. I realized only recently that The Furs were a really good singles band. I mean they have so many. I was very into TALK TALK TALK, not a bad track in my book, so always thought of them more as ‘albums’. But lately I’ve been rotating a bunch of the 7’s on my ipod and indeed – they were a solid singles band. I’m not sure many people rate ‘Heaven’ as one of their best but it sure is. I ran into Richard on the street about a month ago. He’s lived in NY for years. Picked up right were we left off, as if mid-sentence. We were shocked to think it’s been 29 years since that Christmas. Pretty amazing considering we’re both still 35.

Cast

Monday, July 7th, 2008

Free Me / Cast

Listen: Free Me / Cast
Free

I hadn’t realized Cast scored eight UK Top Ten’s between ’96 – ’99, and more chart success into ’01. I always thought this to be a pretty under appreciated record, but indeed it reached #7. Very good. Well deserved.

I suppose it’s a bit too early in their curve to hear the press singing praises just yet, but then again I don’t read most of it, well any of it to be precise, so they might be. Except RECORD COLLECTOR and MOJO, but haven’t spotted a Cast mention in ages. John Power was the guitarist for The La’s, and it’s all politically correct to like them so…

I’ve been very lucky, ever since Howard gave me that Elektra job, I’ve gotten to visit the UK many, many times. Always liked hearing Cast on the radio there, it just was a natural soundtrack. But I’ll never forget when this came on one morning. You know those moments when a song is an everlasting imprint of a time and place on the brain? I remember that moment, right down to the weather, what I’d just eaten for breakfast and the hotel room I was in while listening to Radio 1′s Breakfast Show, readying myself for work. It sounded modern and perfectly ’60′s at the same time. I had to have the record that day. I immediately called my pal, Jim Lahat, at BBC London and asked if he had a copy. Bless him, he always made sure I got everything, still does. He said, don’t worry, it’s in your pile, adding ‘why do you want it anyways?’. He’s a riot like that. We were seeing each other later at our usual haunt, EAT & 2 VEG, which, by the way, a is killer vegetarian joint just down Marylebone High Street from his office. And Jim outdid himself, getting his Polydor guy to bike over one of the promo-only vinyl pressings they’d done as a surprise. Jim has a heart of gold this way, always doing generous things for friends.

So ‘Free Me’ has great memories attached to it. Despite endless plays, I still can’t put my finger on exactly who this reminds me of, let’s say The Who and The Creation for sure. Anyways, it’s a classic.

Max Romeo / The Prodigy

Saturday, June 21st, 2008

Chase the Devil / Max Romeo

Listen: Chase The Devil / Max Romeo 03 Chase The Devil.mp3

Out of Space / The Prodigy

Listen: Out Of Space / The Prodigy Out Of Space (Edit).mp3

Back in ’76, I was the music director and program director of my college radio station. I’d returned to school after a few years of fucking off in England and working for a one stop record distributor, but remembered the tricks of the trade: get into the radio station pronto, and snag both MD and PD slots if possible (oh yeah, and become the concert chairman while you’re at it as well), thereby insuring ALL the records pass through your mitts first, allowing one’s self to keep the extra (and sometimes the only) copy received. Yes those were some of the brutal measures necessary when plagued by a record collecting addiction. I was very into pub rock then: Ducks Deluxe, Doctor Feelgood and especially Eddie & The Hot Rods. The Hot Rods were signed to Island UK, and because we were playing their LIVE AT THE MARQUEE EP, and it was selling a few at the local record shop, I felt quite justified in writing Island’s London office letting them know of this incredible success story, oh and um….looking for some freebies. Talk about a smart move. The letter, the first one about Eddie & The Hot Rods from the US as it turned out, was handed to the young A&R scout who had signed them, Howard Thompson. He rang me, we began exchanging letters, phone calls, the latest releases and ended up best friends for life. He gave me my first real job at Elektra 8 years later, hence the smart move comment. But back to ’76, I would wait in huge anticipation of his packages showing up, as they were always filled with the latest punk singles and Island releases. A turning point that got me into reggae, was when Howard sent over the Island compilation, THIS IS REGGAE MUSIC (Volume 3). It in itself is a classic reggae title. Every act on there being seminal (Lee Perry, Peter Tosh, Justin Hines & The Dominoes, Junior Murvin, Bunny Wailer, Burning Spear amongst them – and all great tracks as well). This was also Lee Perry heavy, as he either performed on, or produced most everything on the comp. And one of the tracks, ‘War Ina Babylon’ was by Max Romeo & The Upsetters. The note that Howard enclosed described this Lee Perry stuff as ‘almost psychedelic’, and no truer words have ever been written. Of course, I needed all the singles and full length albums by each of these acts, which Howard quickly and thankfully supplied (see Max Romeo single pictured above). Fast forward a decade or two, and sampling has started. I remember reading Bowie’s comments on the process, he loved it as long as he got paid. Most artists weren’t as adventurous, not wanting their music altered, chopped, processed etc. But Bowie, not surprisingly, loved the ability of reinterpretation it afforded. Fast forward again to mash ups….which brings me to this record by The Prodigy: ‘Out Of Space’. From their classic and ‘must own’ PRODIGY EXPERIENCE album, this may be the first ever mash up, before they were even called mash ups. If not, then it certainly samples Max Romeo’s ‘Chase The Devil’ generously, mixing their own song with his. From the looks of The Prodigy’s label copy, neither Romeo nor Lee Perry were credited at the time, but I can’t imagine that hasn’t been sorted since. Never mind. Both singles are great and stand up beautifully on their own.

The Georgia Satellites

Wednesday, June 18th, 2008

Battleship Chains / The Georgia Satellites

Battleship Chains / The Georgia Satellites

The NY Subway System and an iPod shuffle make for a great couple. I love when something comes up I haven’t heard for a bit, and it sounds so good you play it a bunch of times. Of course, in the subway, there’s no phone, no email, no distractions really from the music – not that I’m telling you anything you don’t know. My iPod rule is, only songs I love. At the least one I take on the subway. It’s filled with my favorites. So the other day, up comes ‘Battleship Chains’ from The Georgia Satellites first album. Now the two front guys of the band, Dan Baird and Rick Richards, they made a great couple as well. Danny pretty much sang lead on the songs, but occasionally Rick would, taking the roll of Keith if you will. And it’s Rick doing the singing on this one, with Dan’s signature harmonies making it very ‘them’. This band could set fire to any stage – that never failed – ever. I love this song, and their performance on it, so fucking much. It brings back the most incredible memories of great, fun times. I have a picture of the band and I on stage at London’s Marquee Club (during soundcheck) which is like the alter of life for me. I remember the second time I went down to Nashville to check them out. They were looking for a deal, and a bunch of labels were after them. Howard and I had pretty much decided we were signing them to Elektra, but for whatever reason, I made that second trip down as I think Epic were trying to close in on us. They played a bar, a restaurant really, called Margaritaville. Something was going wrong with their amps, and the guys were quite nervous probably thinking they’d blown their record deal. As the Epic fellows stood arrogantly at the bar, I just jumped on stage and offered everyone a valium. Jaws dropped (the courage you muster up on a valium is amazing). It probably clinched the deal. Even though Dan never did a drug, I’d bet he used his pill to negotiate something out of Rick relatively soon. I must remember to ask Dan about that next time we talk. Luckily, I still see both guys if I’m down south, or when they come to NY. Friends for life. Oh, an important piece of trivia: the natural wood coloured Strat that Dan played, and can be seen holding on this sleeve, was originally owned by Steve Marriott of The Small Faces. It’s the guitar he played on ‘Tin Soldier”.

Alan Vega

Tuesday, June 10th, 2008

Wipeout Beat / Alan Vega

Listen: Wipeout Beat / Alan Vega
Wipeout

1983, the year before Howard Thompson offered me my first real job doing A&R for Elektra, I was finishing an electrical engineering degree at RIT in Rochester. I was part of a popular local punk band and apparently a good candidate to anchor a two hour weekly show on the town’s AOR station. The program was called ‘Import/Export’. The point being to play all the very happening music the college and underground kids were devouring and giving the station a touch of needed cred, as well as allowing them to sell spots to local clubs promoting those bands as they passed through town, and charging the labels for some time buys on these releases without really having to play this uncommercial music during the earlier hours, when people actually listened. I was thrilled and should have appreciated it more, as no one has ever offered me a similar opportunity since.

When visiting town last year, I gave the station a listen. It’s an interesting, but sad, time warp, still playing ‘Iron Man’, Styx, J. Geils Band, things I can’t even remember now that dropped my jaw when they came on, a playlist that recently put some of the employees responsible for this programming out of jobs. Oh well, they stifled music culture for long enough. My show, hidden at midnight on Tuesdays. was hosted jointly by Roger McCall, a more wonderful person you just will never meet.

Roger and I would play ‘Wipeout Beat’ weekly for months. Like Marianne Faithfull’s ‘The Ballad Of Lucy Jordan’, it constantly gets overlooked when the press sites early music that helped start electronica and dance are sighted. Produced by Ric Ocasek, as was Alan’s band, Suicide’s ‘Dream Baby Dream’, Roger and I would not answer the constantly ringing request lines as we blared this on 11, a high point of the evening for us always.

When I joined Elektra a year later, Howard and Michael Alago, who signed Alan to the label, introduced me to him and we became amazingly close friends quickly, closing Danceteria almost nightly with booker Ruth Polsky, visiting UK bands like Sisters Of Mercy, The Smiths or New Order, Joey Ramone, Arturo Vega, Mickey Leigh, Monte Melnick, Marina Lutz, Duane Sherwood, a then, unibrowed, Madonna, and of course Howard and Micheal.

With Marty Rev, his other half in Suicide, you can save yourself a lot of time and money by seeing one of their very occasional New York shows. You won’t need to spend either much time or money on going out again. They are so powerful, it’s almost unbelievable. How the likes of Beyonce etc. aren’t lining up to get Marty’s beats onto their new recordings is shocking. Why acts get out of bed in the morning trying to compete with Suicide is quite baffling to me.

Unfortunately, the reality is that a few years back, Roger was cruelly and needlessly murdered. His killers are still unfound. Given that he worked at the station I refer to above, WCMF, for something like 30 years, I heard he may have been the longest employed DJ at any US rock radio station, I’m shocked that, despite the large voice and influence WCMF had in that market, they didn’t use it to bring any attention or help to finding the people who did this, not stopping until justice was served. But no, only more archaic music numbly being broadcast as though nothing had happened.

Brenda Lee

Thursday, May 29th, 2008

Is It True / Brenda Lee

Listen: Is It True / Brenda Lee
Is

Several months ago, I noticed someone on eBay selling six nice, clean Brenda Lee UK Brunswick singles in the original company sleeves for about $5 and figured, you can never have enough Brenda Lee. I’ve always really liked her, even though I don’t listen too often. The great news is she still sounds like a fireball kid with a monster voice to this day. So I went for it, they arrived and I was quite pleased to find when playing through them, that I just loved this one.

‘Is It True’ immediately sounded English to me. On closer examination of the label, I saw the track was written by Carter/Lewis, a pretty famous UK team who wrote many hits in the 60′s and even released records as The Ivy League and The Flowerpot Men to name a few. Google them.

I have now probably played this a few hundred times, faithfully converting the single to an mp3 on my turntable device (this year’s Christmas present from my dear brother-like friend Howard Thompson) and putting it onto my shuffle.

It came up on the subway yesterday and I just repeated it about a dozen times. So here it is.

A funny footnote, when filing away my new UK copy, I discovered I’d had a US pressing (I did admit I don’t listen enough), and it’s additional label copy indicates ‘Recorded In England’. My guess is she was steered toward jumping on the British Invasion train in ’64. Thank you to whoever suggested it.

Coincidentally, the single peeked at #17 in both the UK & US charts in Sept/Oct ’64 respectively.

Brenda Lee will be 64 in December. She’s still a baby, so hopefully she’ll play New York soon and I’ll get to see her.