Archive for the ‘Little Steven’ Category

Bobby Fuller Four

Saturday, December 26th, 2015

BobbyFullerLetHerDance, Bobby Fuller Four, Mustang, Liberty

Listen: Let Her Dance / Bobby Fuller Four
Let

Released during the summer of ’65, ‘Let Her Dance’ somehow made merely a dent (# 133) on BILLBOARD’s Bubbling Under The Hot 100, sadly getting airplay only in Southern California.

Amazingly, the single didn’t spread like wildfire. It’s not like Los Angeles airplay couldn’t break a record. I still can’t believe it wasn’t a hit.

Apparently, more than those at the original label, Mustang thought so too. They proceeded to license it to Liberty Records, clearly expecting to take the song national as Mustang did later in the year with ‘I Fought The Law’. Why it wasn’t re-released as the followup to ‘I Fought The Law’ remains a mystery, given a few trade mentions in March ’66 that indeed it was scheduled. I suppose Liberty insisted if re-released, despite passing on ‘I Fought The Law’ later that year, it be via them or some such wrangle.

To be honest, Little Steven turned me on to this about five years ago. He plays it regularly on his Sirius radio channel. Sounds fantastic on the air as it must have that summer while driving along the Pacific Palisades, surf boards popping out the back of pink or aqua woodies. Foolishly, I hadn’t paid much attention prior.

Missing this when originally issued is indeed an embarrassing admission, but one that makes for endless records to discover as life moves on.

‘Let Her Dance’ remains a haunting record with a suspicious streak, one that blossomed in an unfortunate way. I was never sure why the single appeared on both the Mustang and Liberty labels, so decided to do some research, stumbling on Aaron Poehler’s ‘The Strange Case Of Bobby Fuller’. It’s a must-read.

Them

Monday, May 7th, 2012

Listen: I Can Only Give You Everything / Them
I

This came on Little Steven’s Sirius station yesterday. I was in the car, literally flying down the FDR. It was a bizarre Saturday, as though New York had been deserted. There was no traffic. None.

Not only did the mere sound of Them completely lift my mood, it also reminded me I’d never heard ‘I Can Only Give You Everything’ on the radio in my entire life. Released during summer ’66 makes it a good four, going on five decades later that the record is finally getting some airplay. A mitzvah indeed.

Like ‘Gloria’ before it, I recall ‘I Can Only Give You Everything’ being covered by seemingly every American punk band during the 60′s. In so doing, Them were immortalized and, I guess to Van Morrison’s annoyance, tarred with those horrible garage band shackles.

Make no bones about it mind you, ’66 was a great year for Them when it comes to US singles. Four in all, and every one locking their place in music history as being perfect: ‘Mystic Eyes’, ‘Call My Name’, ‘Richard Corey’ and this.

So when the very first notes came through the dash, my involuntary reaction cranked the volume, and in a way too, purposely forced me to miss the 23rd Street exit, Bobbie Graham‘s drumming so driving I needed to keep speeding along to catch the song’s priceless dynamic moment at :47, when that Farfisa organ drops right as the second verse begins.

Seriously, the combination made me feel a little high. New York’s skyline almost overpowering the senses on a warm yet chilly spring day, hearing this long forgotten piece of musical perfection loudly and basically having the FDR entirely to myself at 70 mph.

The Creation

Wednesday, April 25th, 2012

How Does It Feel To Feel / The Creation

Listen: How Does It Feel To Feel / The Creation
How

The Creation, undisputed masters of British psychedelia. Eddie Phillips is as stellar a guitarist as he is a songwriter. He wrote, or at least co-wrote, most, if not all of their original material. Plus he was the first to use a violin bow on the instrument, combining his mastery of feedback with scraping, screeching chaos to ultimate effect. Jimmy Page later brought the technique mainstream on ‘Whole Lotta Love’, but fairly, has always credited Eddie Phillips for the idea. It’s also widely documented that indeed he asked him to join Led Zeppelin as second guitarist.

They recorded two versions of ‘How Does It Feel To Feel’ in summer ’67. Oddly, this one specifically for the US market, apparently deeming the violin bowed manic version more suitable to American programmer. Huh? Nonetheless, it’s a super version and top single to own and cherish, which I do.

In ’01, The Creation finally made it to America, playing The Warsaw Theater here in New York. I had injured my leg, it was a very cold November night, none of my friends wanted to attend, so I struggled along alone. The pain vanished when the musty maroon curtain lifted and there were The Creation, looking weirdly not a day older than those pictures from back when, sharp haircuts, great colored shirts and pants, but not dressed too young for their age. Sorta like if today’s Paul Weller would tone his image down a bit. Huge Union Jack backdrop. Sounding so powerful, my jaw dropped. Everyone’s did.

Bob Garner, original bassist and then sometimes singer, now permanantly on lead vocal, executing the red and purple spray paint free form psychedelic graffiti routine during the closing song ‘Painter Man’. Truly worth the 34 year wait.

Afterwards, I did my jukebox tab signing routine, Eddie and Bob both filling one out (see below). Flattered, appreciative, friendly, talkative, great, great guys.

Little Steven brought them back a few years later for his Randall’s Island Festival. Still powerful. Still one of a kind.

Above: Jukebox Tabs signed by The Creation. Eddie Phillips (left), Bob Garner (right)

Womack & Womack

Tuesday, January 31st, 2012

Listen: Celebrate The World (Radio Edit) / Womack & Womack
Celebrate The World (Radio Edit) / Womack & Womack

I’m a huge fan of Sirius radio here in the US. Certainly compared to our totally tuckered terrestrial stations, it’s an oasis in a very dry desert. You see, Sirius, via it’s many channels, provides endless variety, with easily one hundred or so to pick from. But put the whole lot up against the UK’s BBC Radio 2, and even collectively, they can’t compete.

Not sure why or how, but every last presenter on BBC’s various stations pack more excitement and personality into their on-air style than many of those from Sirius in America. Here, there’s this persistent problem of a time warp delivery rut. Well, funny enough, not Bob Dylan. Nor most of Little Steven’s crew. And yes, Sirius does have Andrew Loog Oldham, but he kind of counts as English to me, clearly weened on UK radio.

Basically, my preference and the opinions above boil down to one thing. Variety. Not necessarily variety over that one hundred or so channel options, each with a narrow genre to offer, but as in programming variety within each show throughout the day.

Yes, Radio 2 has dedicated programs: Sounds Of The Sixties, Sounds Of The Seventies, specialty country or blues shows and such. But otherwise, each host and their producer pick a wide range of genres to mix within their respective daily time slots.

My absolute favorite being Janice Long. Having started with the BBC in ’82, it was on 6 Music that I first found a real affinity to her via The Dream Ticket, whereby she chose a deep, multi decade variety of live sessions from the station’s library, assembling them into a…dream ticket. In essence, a concert lineup one could only dream of.

Joining Radio 2 a few years back, there’s rarely a week goes by when I don’t listen to her most recent shows on demand, all archived for up to seven days. Never a dull moment and always a surprise or ten musically. Do yourself a favor.

Today, I did some Janice Long catching up, and once again, shook my head in happy disbelief. From The Honeybus, Ivor Culter, Alexis Korner and The Maytals, amongst many, to Womack & Womack, all in the span of a few programs from last week.

And not ‘Teardrops’ by Womack & Womack either. Instead ‘Celebrate The World’, closing track and fourth UK single from their flawless CONSCIENCE album. In England, this 7″ release made it to #14 in ’89, and was a perfect live performance finale, whereby the entire Womack clan would pile onstage for an extended ramp with the audience. Wow, those shows back in the day were so good.

Working for Island at the time, like most of the US staff, I found great frustration by the lack of radio and/or media support here for such a worthy album. Back in the UK, where it went platinum, this was not the case.

Well Janice Long gave ‘Celebrate The World’ a play on one of those shows I soundtracked my afternoon with today, and let me tell you, it sounded superb.

The Beatles

Monday, January 9th, 2012

Listen: I Want To Hold Your Hand / The Beatles
I Want To Hold Your Hand / The Beatles

A few weeks from now will mark yet another anniversary of The Beatles’ ED SULLIVAN SHOW debut in ’64 on February 9. Yes, forty eight years have passed since. Forty eight years! Scary, especially if you recall it, like I do. I wasn’t alone, but will readily admit it changed my life, like practically everything about it, despite being a little boy in his single digits. I never thought the same way about what I wanted to do when I grew up after that night, despite endless lectures from school guidance counselors to become a Math teacher, and not peruse a career in the record business. I think some of them may still be employed giving out such insightful advice.

Apparently, that first appearance is now considered a milestone in American pop culture and the official beginning of the British Invasion in music. The broadcast drew an estimated 73 million viewers, at the time a record for US television.

The Beatles performed five songs that evening including their then, newly achieved, first US #1: ‘I Want To Hold Your Hand’. I might be accurate in saying I hadn’t heard this in a good five, maybe ten years. But leave it Little Steven on Sirius, suddenly there it was throbbing out of my dashboard. And it sounded fantastic. I got home and pulled the single right out, still practically untouched in it’s original picture sleeve above from so many years ago.

Not a hardcore Beatles admirer would be understating my self description for sure, but scanning over a singles discography as I did earlier, anyone would be an ignorant fool not to acknowledge their incredible run of endless stellar 45′s. Take a look sometime.

Prior to that US explosion, England was avalanched by Beatlemania during pretty much all of 1963. Having made their first appearance on Britain’s READY STEADY GO! that fall, logically, Vicki Wickham, the program’s talent manager and booker, who became the show’s producer, was serviced all the latest releases from the labels.

Fast forward to Thanksgiving weekend, 2010. Vicki, a dear friend nowadays, rang to say she’s found several thousand 45′s in her Manhattan storage unit, having completely forgotten they existed, and was I interested. Just try to guess how fast I tore over there and I’ll guarantee you it was twice that. Praise be, these were, and still are, the holy grail. I can’t even begin to describe it’s contents and revel in them constantly, filing these gems away ever so slowly. I never want it to end.

So pictured above, from Vicki Wickham’s original collection, not only the actual copy serviced to her at Rediffusion Television’s READY STEADY GO! offices, but one that very conveniently indicates the record’s November 29, 1963 UK release date. It’s also the copy streaming here, yes, the real thing.

Quite probably the same copy that secured them yet another booking on the program. I must ask Vicki to confirm that detail.

The Dictators

Friday, December 23rd, 2011

Listen: Sleepin’ With The TV On / The Dictators
DictatorsSleepin.mp3

A bit of a baffling one here. Got to know Andy Shernoff, who wrote this, quite well via Joey Ramone. They were close friends way before I knew either, having played shows together in the early CBGB’s days. Logically, and given the small world we live in, Andy’s close to Monte Melnick, Mickey Leigh and Lindsay Hutton as well. So the fit was natural. But most importantly, he’s a super guy with never a bad word to say about anyone.

And his lifelong bandmate, Dick Manitoba, well same story. A real testament to strength, business sense and flawless musical instinct. Even though we all socialized often for the past twenty years, it wasn’t until tonight did I realize I’d not heard ‘Sleepin’ With The TV On’ for almost as long. How could this be?

Simple, it’s an overlooked, not true to the purists, representation of The Dictators’ harder sound. Instead, I suppose it was power pop, not a genre that brings out my loyalty either.But having caught Manitoba’s Sirius radio show earlier tonight in my new satellite equipped car, it suddenly dawned on me that the first thing I needed to revisit upon arriving home was this single. Which I just did.

True to memory, ‘Sleepin’ With The TV On’, by song’s end and as a result of Andy’s picture perfect chorus, is something else. Now I recall why I loved it so during it’s time of release. Still, the record is an anomaly when it comes to the band’s signature sound, and to quote Little Steven, they were “the connective tissue between the eras of The MC5, Stooges, The New York Dolls, and the punk explosion of the mid to late 1970s”. What’s to disagree about?

They were that and the originators of this classic singalong.

Ronnie Spector & The E Street Band

Saturday, January 22nd, 2011

Above and below: Ronnie Spector & The E Street Band ‘Say Goodbye To Hollywood’ picture sleeve, front and back

Listen: Say Goodbye To Hollywood (Mono) / Ronnie Spector & The E Street Band
Say Goodbye To Hollywood / Ronnie Spector & The E Street Band

Matt recently told me of his experience discovering The Ronettes via Pandora Radio, just a few weeks back. It was his first exposure. I often refer to certain vocalists, like Ronnie Spector, as being from a time period when one had to really sing in order to make records. That technical ability resonated, and upon hearing ‘Be My Baby’ during Pandora’s random, computer logic song choice playlist, got up to check the LED read out. His story concluded with an exclamation of her undeniable singing abilities, and now knowing exactly what I meant.

Every once in a while, along comes a superstar to the rescue of an idol, feeling more than indebted to said legend. Such was the case in ’77 for Ronnie Spector, with Little Steven Van Zandt (using his beyond brilliant alias Sugar Miami Steve) and Bruce Springsteen getting involved.

Recording and releasing Billy Joel’s apparent Ronnie Spector tribute song, ‘Say Goodbye To Hollywood’, as the first single (posted above in promo only mono) from the forthcoming album (Epic PE 34683), a benchmark moment in 45 rpm history occurred. Lending The E Street Band’s entire line-up, signature sound (the group an obvious Phil Spector salute themselves) and services to her avail, a flop seemed clearly impossible. Not.

Leave it to US radio. No airplay was deemed worthy, despite the clout of Bruce Springsteen, Epic, Billy Joel, you name it. What a sacrilegious scar to every programmer involved.

Typically, in major label fashion, that forthcoming album (Epic PE 34683) was shelved, and back to the salt mines/oldies circuit went Ronnie Spector, frustratingly having made yet another timeless single and earning nothing. How fucked up.

The Damned

Thursday, September 30th, 2010

Listen: Smash It Up (Single Version) / The Damned DamnedSmash.mp3

The other day, my super pal Brian Traister maintained the real UK punk band, best ever, were The Damned. I agree.

Every single was just flawless, for ages. Their run on Chiswick being one of those career peaks, and they had several. Produced by Roger Armstrong, I forever hassle his memory cells for details of those sessions. Talk about endless stories of greatness.

When Joey’s Mom and brother Mickey still had the promised 50th birthday party for him, which he unfairly missed by a month and four days, The Damned were the only UK band that flew themselves over to honor what they maintained in the press since day one: The Ramones were the true fathers of punk – it proved who was the real deal from England and who were the money machines, copy cats and fakes.

Hearing the roar when Little Steven announced them (all the acts were kept secret but regardless, 4400 tickets were completely sold out in fifteen minutes to Joey Ramone’s well earned honor) still brings chills. Up came the curtain, and there were The Damned.

Some things were meant to be: Roger was in NY that week, and we made sure he sat right there, in the first box, with Joey’s Mom.

God bless The Damned.

Above: Jukebox Tab signed by Captain Sensible

New York Dolls

Saturday, March 20th, 2010

NYDollsMystery, New York Dolls, Mercury, Shadow Morton

Listen: Who Are The Mystery Girls? / New York Dolls NYDollsMystery.mp3

It shouldn’t have been possible – that being when The Dolls reformed a few years back, they’d be any good. Let’s face it, only two of them were left by the time the reunion gained any momentum, and the whole point in ’74 was being young and outrageous. But surprise surprise, I saw them at Randells’ Island with a slew of bands (Iggy & The Stooges, The Strokes, The Pretty Things, The Electric Prunes, Bo Diddley, The Creation) all presented in a one day festival setting by Little Steven, and they tore it up.

Seriously, David Johansen, so thin he made an Olympic runner look heavy, but with absolutely no muscle tone, a skirt type pant combination, pearls, red nails and long hair not unlike Harry Dunn out of The Hullaballoos. What more could you ask for? Now, just as in ’74, when they were sandwiched between Mott The Hoople and 3rd on the bill, Aerosmith, opening the show with ‘Who Are The Mystery Girls?’ nearly caused a riot – it was so powerful. On that day, August 14, 2004, The New York Dolls unquestionably put on one of the best live shows I’d ever seen.

The Standells

Sunday, May 3rd, 2009

The Standells - Sometimes Good Guys Don't Wear Black

Listen: Sometimes Good Guys Don’t Wear White / The Standells StandellsGoodGuys.mp3

Most people were disappointed by follow up singles, I was usually the opposite. Accepting that my tastes fell off the straight and narrow, the mid chart followups pleased me more every time. Like with this one, I always had wished they were the bigger hits. A real testament to this song’s quality came when The Cramps started covering it during the Kid Congo era.

I had seen The Standells open for The Rolling Stones, along with The McCoys, on July 6, 1966. While trolling backstage to nervously reacquaint The Rolling Stones with myself (as if they cared) – having gotten into their dressing room the previous October (see my Alvin Robinson post for the full story) – I stumbled on most of The Standells. They looked old and kind of fake to this little kid. Indeed, they weren’t true beat group long hairs and were slightly advanced in years having done the early 60′s LA circuit during the surf days. Never mind. I was way more interested in seeing The Rolling Stones. Years later I did regret not knowing enough about The Standells history at the time. Like, for instance, that Gary Walker from The Walker Brothers had once been a member. Missed opportunity, I’m ashamed to say.

This followup to ‘Dirty Water’ was all over my local station that summer (see local WOLF chart below). God, it sounded fantastic on the air. Bless him, Little Steven plays it on his Sirius channel, but unfortunately, it might be the remastered, digitally polished and shined stereo version. So just in case, here my friends, is the mono single, taken right off my original 7″ purchased at WT Grants that very summer.

WOLF charts 7 23 1966

Wailers

Tuesday, March 3rd, 2009

Out Of Our Tree / Wailers

Listen: Out Of Our Tree / Wailers WailersOutOfTree.mp3

Imagine growing up and hearing this stuff on the radio. It happened to me. See my post on The Riot Squad from two days ago (March 1) with the local Syracuse radio survey. Even I couldn’t believe all the seminal singles WOLF played when reading it over. Probably would have done better in school if hadn’t been for that station. I couldn’t concentrate.

It’d been ages since I pulled this one out of the shelf. The past several years have seen a religious honoring of 60′s garage rock – so much so that I don’t need to play much of it at home anymore. And now that Holly over at Sirius gave me a radio, Little Steven’s Underground Garage covers me totally. I heard The Hullaballoos on there last week. Last time I heard them on the radio was……1965.

‘Out Of Our Tree’ has to be at the top of it’s genre. Fuck me does it soar! Not many singles swing as hard as this one.

It eventually peaked at #3 at WOLF (see below – click to enlarge). Do you think any other station in the country, outside Tacoma, their home town, even played it?

WOLF 4-30-66