Listen: All We Need Is A Miracle / Judy Freeman & Blackrock

I spent most of Labor Day in my garage, which is not unlike an episode of Hoarders, because when it comes to records, that’s what I am.

It’s actually a fascinating storage space that I allow only a very few select friends near. I had it shelved out about twelve years ago. One day, a light went off in my head, and I just thought hold on, I can fill that whole garage with all my doubles and triples and collections I’d been buying yet never having time to file. Besides, the aforementioned were starting to envelop a lot of our home, and Corinne was getting pretty cranky.

Within days, I had industrial library shelving fitted and installed then hired some movers to put all those extras from the house into my new kingdom. Even though it’s about a 12 foot walk from the backdoor, it cost me $2000 to have the stuff moved, to give you an idea of how crazy it had all gotten. Presently, it’s hard to even move in there. Crazier indeed.

But now I was on the loose, grabbing as many records as I could find: church sales, rummages at the Jewish centers, yard sales, you name it. Even our local garbagemen started bringing me boxes that they’d find after seeing what was inside my trove one morning, still do. I always cover them with Dunkin Donuts on many a Tuesday. And Vicki Wickham started pimping around the UK for me, hitting up former music biz types eager to dump their singles from the 60’s ands 70’s.

So yeah, it’s all in there under heavy lock and key. This morning Corinne says, “Why don’t you chill out in the garage today, try to dump some of that stuff.”

“Yes! Score!” It was actually my secret plan, but not sure if it would fly.

And that’s just what I did. Separated easily 500 singles that I can definitely part with, in some sensible fashion. What exactly that process will entail is yet to be decided.

More importantly, I dug deep, pulling out boxes I haven’t look into for at least ten years, and ended up adding easily 50 titles to the permanent indoor master library. This Northern gem was one of them.

Now a lot of folks prefer ‘Hold On’, but ‘All We Need Is A Miracle’ is easily my favorite of her singles.

Do you know how many times I’ve bid on this and lost? Had it the whole time. What else have I bought that’s already in one those boxes. Shudder to think.

Listen: Hey Boy Hey Girl / The Chemical Brothers

Just to be clear, I started this blog so that the kids would have a diary of a lot of the things Dad did before I eventually drop dead. So occasionally, there’ll be a post like this:

I took Ping to see The Chemical Brothers yesterday. At 14, she was already on a high from iTune’s new social network having her nickname. Her friends were well impressed.

The first song she ever connected with at age 3 was ‘Hey Boy Hey Girl’. We used to go everywhere and I’d say “Hey Boy”, she’d reply with “Hey Girl” and then we’d keep it going thru the rest of the lyrics. In that case, all my friends were impressed that she was into something pretty hip musically. She hated soft rock and teen pop, which were the first things I thought she might like, but as soon as she heard The Chemical Brothers, she lit up, smiled like I’ll never forget. Ask Duane, he was there.

So last night as we struggled our way through not only the crowd, but also three hours of ghastly uninteresting dj’s and acts with not a new idea in sight, we finally made it to the edge of the barrier, literally right in front of where the band were about to be. As always, when their setup was wheeled out, 50,000 kids went berserk – they knew, like me, the rest of the nonsense that had proceeded them was about to be leveled by the real deal.

The Chemical Brothers hadn’t been in New York for three years – how did that happen? Everyone, especially the super crazies in the front, were more than ready. As usual, it was beyond the beyond, absolutely un-topable. And this time, the light show was even a step higher than prior, if those of you who have seen them can believe that. (Proof below, especially around half way through when both lights and lazers really kick in). For true.

One of the greatest moments of my life happened when the first notes of ‘Hey Boy Hey Girl’ started. Ping turned to me and smiled looking exactly like she did at 3 when she first heard it.

A second smile for ‘Hey Boy Hey Girl’ that I will never ever forget.

Unlike when 3, at 14, she had a one word comment, “Epic”.

Listen: Dance Round The Maypole / Acid Gallery

It was December 2000, and I was stranded in England for a few days. Actually, I was jamming to get home on the Friday, when early that morning I got a call from Will Botwin, then president at Columbia, asking very nicely if I could stay through Monday night for an Emiliana Torrini showcase. Will was always the greatest guy, awesome boss – how do you say no? I mean, he could have just told me I needed to do it. Period. But it was never his way.

So I suddenly found myself with three full days/nights on my hands. Reading the latest Mojo on the flight over, I was annoyed to be missing The Roy Wood Christmas Extravaganza Tour. I should have juggled the trip to take it in – by then it was too late. But hey, now that I’m here for a few days extra – let me check this out again.

Sure enough, that evening Roy Wood was a couple hours away, in Wolverhampton I seem to recall. Jackie Hyde in the touring/artist relations department at Sony got me tickets and passes God love her. And I was on the 6 pm train heading north I think – alone. No one was interested in joining me. Grass is always greener.

I get there around 8, and decided to try speaking with Roy Wood, why waste this backstage pass? The band/crew etc are all around and tell me Roy has gone down the road to the pub. Ok. I wander off down the wet, deserted street and find said establishment. Walk in, there propped up against the bar is a lone Roy Wood, nursing a pint. I proceed over, and no problem, he’s as friendly as I’d hoped. All talk about the past welcomed. Really fun guy.

I was always curious about the Acid Gallery single. He wrote and produced it, but it sure did sound like The Move to me. Was it? He confirmed his participation but no, it wasn’t The Move. Instead it was “some guys who were on Deram back then, name escapes me”.

Well was it The Syn, or The Eyes Of Blue, um, Tintern Abbey?

“No, these guys had a hit a few years later with ‘Yellow River’ “.

Bingo: The Outer Limits.

“That’s them” he confirms. “Nice piece of trainspotting”.

Listen: Just One More Chance / The Outer Limits

Actually The Outer Limits changed their name to Christie and had that smash. Main writer in both bands was Jeff Christie and he’d originally written ‘Yellow River’ for The Tremeloes but decided to record it himself after they dragged their feet. The rest is history, I guess. I loved that Outer Limits single, ‘Just One More Chance’ at the time, summer ‘67.

Listen: Great Train Robbery / The Outer Limits

But the follow up, ‘Great Train Robbery’, holy whatever…talk about British sounding. And on Immediate’s subsidiary imprint, Instant. Even better. Now why Immediate needed another in house label is pretty funny actually. Still very nice label and stock sleeve. Well done Andrew Loog Oldham.

The Roy Wood Christmas Extravaganza was a total treat that night. 12 piece, all female band. Sounding full scale, Phil Spector live. Reproducing all those Wizzard hits flawlessly. Roy kitted out in black teddy-boy jacket, purple lapels, purple streaks in the infamous do and a lavender Strat. Once a star, always a star.

The finale, ‘Blackberry Way’ and ‘I Wish It Could Be Christmas Everyday’ being sung along loudly by a full theater audience with fake snow falling on the stage. Doesn’t get much better.

One last closing bit to the Roy Wood pub conversation:

Will you fill out my juke box tab?

“No problem”.

Above: Jukebox tab filled out by Roy Wood

Listen: I Likes To Do It / The People’s Choice

Listen: Big Ladies Man / The People’s Choice

You may remember ‘Do It Anyway You Wanna’ form ‘75. It got The People’s Choice to #11 on the Billboard Top 100, the closest vocalist Frank Brunson got to a Top 10 with his band of rotating members.

This was the record that started it for he and them in ‘71, when the lineup included some infamous Philadelphia names from the local soul scene: David Thompson, Darnell Jordan, Johnnie Hightower, Stanley Thomas, Valerie Brown and Marc Reed.

Despite it too, shockingly, reaching Billboard’s Top 100 (#38), ‘I Likes To Do It’ has become a hard to get, Philly soul template, right down to the song title. Very nice recent garage sale find amongst a stack of John Denver, Olivia Newton-John and Bee Gees disco era singles. How did it get there, once again reinforcing the garage sale rule: don’t judge a stack of unsleeved singles by the top record.

Listen: Fever / Peggy Lee

Ever driven through the eastern tip of Maine and up to Nova Scotia? It’s like Norway. And if you haven’t been there, well they’re all basically greener and cleaner than anywhere else. Nova Scotia is particularly another world onto itself. An oasis of cool, almost fall-like weather in August, amongst many other exotic things.

Do the drive sometime, with absolutely no plan in place, stop and flop wherever. The bed and breakfasts are mindblowing. Family friendliness, spotlessly clean, overly comfortable, they’re heaven. And the food – be ready – you will over eat, happily. For some real fun, fire up the scan function on the FM wireless, something called a radio that was popular during the last century and interestingly still in most cars. Our scan gives you a ten second soundbite per station. That means they have exactily ten seconds to stand and deliver or it’s ‘next’.

To their credit, the things you’ll hear are shocking. Remember, this is Canada, and they generally tend to be a bit more English in many ways. Through the years, lots of the UK acts got exposure and traction there, hence into the Canadian charts they went. Now, the most unexpected songs can be found on their oldies stations. I like this.

Then there’s the AC stations – absolutely fascinating time warps. Even more bizarre and inviting than those oldies formats. Believe me, that ten second scan function will have you amused for hours.

Peggy Lee’s rendition of ‘Fever’ is certainly a well known classic, you don’t need me to let you know that bit. But have you heard it lately? Wow. When it came on, it sounded truly fantastic.

Standing out like nothing I can describe, the production and arrangement brought me right back to her live performance. I was lucky enough to get tickets for one of Peggy Lee’s last New York performances in the 90’s, at The Rainbow Room in Rockefeller Center, where she performed in a wheelchair. Didn’t matter. She blew everyone away.

All the lights went dark, and I mean pitch black, for ‘Fever’. The audience was ready, and religious. A single, intense, perfectly precise spotlight lit her snapping fingers as the extra long intro teased the crowd up to that first lyric. Sparsely lit throughout, beams highlighting just the right musicians, their musical body parts and instruments throughout. The visual direction was a work of art.

Listen to the song, your imagination won’t need to work hard to envision what went down. I really hope you all got to see her live too.

Unforgettable.

Listen: 13 Questions / Seatrain

Despite my preference for the British bands from the 60’s and 70’s, there’d many times be an American group as part of those three bands bills, so prevalent at the time. Like there were always three at The Fillmore. Three bands were kind of a given.

No recollection which bill Seatrain were part of, ‘13 Questions’ was current at the time and I remember liking the set.

Besides, I did fancy the look of the Capitol label around this time: those lime green with purple/black logo albums, then the circular orange and red with graphically matching blue/yellow bullseye 7″ label/sleeve combos. Plus, Capitol used a lot of recycled vinyl, whereby they’d grind up and melt down returns and defectives with the label still affixed, hence ‘Capitol surface noise’ as we all coined it. Example: did you EVER hear a Quicksilver Messenger Service album without it during the quiet patches? There you go – the proof.

I must admit, it made all those records by Joy Of Cooking, The Band and yes, Seatrain sound a touch desirable to one person at least. I liked Capitol’s particular sound of crackle.

Listen: I’m Willin’ / Seatrain

Seems ‘13 Questions’ had a fair share of airplay on the FM stations in it’s day. I know I heard it on occasion, as was the case with their version of Lowell George’s ‘I’m Willin”. Despite their genreal lack of lyrical ability, seems they were not alone. Lowell Geroge, on this particualr song at least, is clearly no poet – I mean, are these words supposed to be funny?

Still, I’d acquired a taste for violin in rock, when well done as in the case of Family, it can make one quite open minded. Then I saw The Flock support John Mayall’s Bluesbreakers, and Jerry Goodman was setting the place ablaze. Really good stuff. Likewise with Seatrain. Richard Greene was a much more subtle but classy violinist. His playing was never overdone. Live, they were pretty raw and earthy. In the studio though, with George Martin producing (no doubt wearing his signature shirt, tie and suit coat), they were sadly cleaned, polished and de-souled. He did have a knack for white washing things in the booth (see my post on The Action).

Got home that night after seeing the band and played both ‘13 Questions’ and ‘I’m Willin” a good half dozen times each, until I could stand the ‘Capitol surface noise’ no longer.

Listen: The Sounds / Ten Years After

Abrupt false ending followed by slight reprise, non-musical sound effects, over echoed background vocals: all quickly becoming standard psychedelic production ideas by ‘67/’68. Simple to observe now, but then…it was ‘pass the headphones’ stuff.

Mike Vernon, I believe signed Ten Years After to Deram prior to starting probably the best UK blues label in terms of both quality and success, Blue Horizon. I’m guessing it was this band’s original musical style that most likely drew them together.

‘The Sounds’, although recorded as a single during that short period between album one and two, and released spring ‘68 (UK B side / US A side), actually marked the beginning of a unique songwriting style that blossomed fully on STONEHENGE, their third full length and first of a flawless trilogy (SSSSH and CRICKLEWOOD GREEN).

Ten Years After were about to be on a roll, due to a wildly blistering performance at Woodstock of ‘I’m Going Home’. It’s original recording was released as a followup 7″ to ‘The Sounds’. Coupled with ‘Hear Me Calling’ meant it became a classic double sider. The Woodstock version made both the film and soundtrack album, hence Ten Years After enjoyed the perfect artist development curve making those (and other albums) deservedly successful and their live draw solid for years.

‘The Sounds’, at time of release, could be found nowhere, and surprise surprise, heard nowhere in the US – certainly not upstate. It took me years to snag a copy, around ‘74 I would guess, when then MCA salesman Ed Terracino (former London Records employee) gave me a stack of singles from his basement stash. I am forever grateful Ed if you’re reading.

Never did see them play this one, and maybe they never did. It must have been around SSSSH when they made their way to Syracuse, with Humble Pie supporting. It’s was Humble Pie’s first US tour, and although nowhere near as interested in their boogie rock as the music of the member’s previous bands (The Small Faces and The Herd), I went along, being a huge Ten Years After, but also with the possibility of meeting Humble Pie as a bonus.

I’ll admit, Humble Pie were surprisingly great live, still bean pole skinny, clad in lime, purple and pink velvet pants/suits and little girl blouses, America hadn’t influenced their wardrobe or haircuts yet, so it was well enjoyable.

Ten Years After, on the other hand, appeared bored and sullen. No biggie – it happens. Playing Syracuse understandably nothing to look forward to I guess.

Afterwards, I made my way backstage, really in search of Humble Pie to stalk them for Small Faces and Herd details, when I came across Chick Churchill moping dismissively against a wall. Probably an unpleasant day for the fellow, and I suppose me excitedly getting to the real point of our conversation: where are Humble Pie, didn’t help. Although I loved those Ten Years After albums mentioned above, he did throw a temporary wet blanket on my mission to covert any and all to his band.

Listen: June In January / Wes Montgomery & His Brothers

Having recorded initially with his siblings as The Montgomery Brothers, Wes Montgomery released his first few Fantasy singles continuing to include the boys. This is one.

I’ve many times thrown on a handful of his 7’s, or an album. They make for a good mood feel. I’d actually forgotten about finding ‘June In January’ in such perfect condition until doing some filing earlier this evening, so when deciding to share it, did some Wes Montgomery research.

Basically, he learned his craft by listening to and learning the recordings of idol, guitarist Charlie Christian and was known for his ability to play Christian solos note for note. As a result, he got hired by Lionel Hampton for this very reason.

According to Jazz guitar educator Wolf Marshall, Montgomery often approached solos in a three-tiered manner: He would begin a repeating progression with single note lines, derived from scales or modes; after a fitting number of sequences, he would play octaves for a few more sequences, finally culminating with block chords. He did not know scales or modes, let alone musical theory and used mostly superimposed triads and arpeggios as the main source for his soloing ideas and sounds.

Don’t ask me what the hell he’s talking about – I just like when Wes sounds like he’s showing off, even though he’s completely not.

Listen: Hello, Hello / Claudine Longet

A horribly under appreciated icon, such is Claudine Longet, former wife of Andy Williams (himself not given enough props). Why she is not respected or even revered as one of the great French vocal impressionists is extremely unfair.

It wasn’t always that way, as her first few A&M albums indeed sold well, charted Top 30 and spawned a few much played singles on the adult contemporary stations.

Her cover of this Sopwith Camel hit, ‘Hello, Hello’ in ‘67 was one such classic, a perfect mix of The Flying Lizards, Jo Ann Castle and Jane Birkin. As with most AC hits of the day, it struggled to a lowly pop #91 on the Billboard Top 100.

In good company though, as most of the great singles never got much traction on the US pop stations. Unfortunately, that hasn’t changed.

Listen: Call Me / Martin Denny

When I think of Julie London (see previous post), I think of Liberty Records, I think of bachelor pad music and then my trusty jukebox. The sum of those parts many times equals a Martin Denny single. Name a 50’s cocktail comp that leaves him off and you’re naming one that needs be left in the shelf.

What better than a remake of the Tony Hatch classic, ‘Call Me’. This Ramsey Lewis Trio influenced instrumental battles the Chris Montez hit version to the finish line as they both reach for that camp remake crown. It’s a tie says I.

Listen: Nice Girls Don’t Stay For Breakfast / Julie London

You can listen to Julie London for the rest of your life if you want, and probably find it hard to get intimately familiar with her entire recorded output: 32 albums. She’s so good, I say give it a try.

Signed to Liberty Records from ‘55 – ‘69, yet had only one single that made the Billboard Top 100. Now that’s a commitment to the artist.

But what a worthy choice. Endless suggestive song titles and double entendres, many hysterical now in the 21st century, surely at their time of release, they turned many a lonely guy on. Knowing her own vocal weakness, or strength in my book, she’s qouted as follows: “It’s only a thimbleful of a voice, and I have to use it close to the microphone. But it is a kind of oversmoked voice, and it automatically sounds intimate.” Now there’s a recording technique tip if I’ve ever heard one.

Wonderfully out of place in the ‘67 musical landscape, ‘Nice Girls Don’t Stay For Breakfast’ was even, in it’s day, a 50’s throwback to an era when, I guess, it was never talked about that even nice girls DID stay for breakfast. In fact, my guess is they probably were breakfast.

Never mentioned as one of her greats, and she has many, many greats, this single is most elusive. Yes, it’s the title of one of her final albums, but the 7″ – good luck.

Listen: Barracuda / Heart

Heart had the bad timing of critical mass appeal around ‘77, just as punk was our religion. Talk about a jinx. Heart were helium coated, corporate, Lee Abrams AOR gack. They were literally nauseating. And loathed. Well, not by the masses, but those of us who felt we were in the know, with proper taste.

In hindsight, they were fascinating, for every sonic reason listed above. Now their glistening studio perfection is bizarrely intoxicating, addictive even, very much like the Roy Thomas Baker Queen productions and almost alien.

As with most of the big bands of the day, the ones radio rammed down our throats (REO Speedwagon, Journey, The Doobie Brothers), I always ended up having a guilty pleasure or two by each and every one. Heart were no exception.

Listen: Nothin’ At All / Heart

I absolutely loved ‘Nothin’ At All’, right down to the apostrophy in it’s title, mainstream turned up to eleven production and all. Then there’s the picture on the sleeve. A styling faux pas representing everything that had gone horribly wrong with American AOR radio. Indeed, it exemplified why it eroded music as an important part of US culture. But I loved that single. Still do – more than ever actually.

Somewhere in the mid/late 90’s, there was a benefit at The Ritz, after it’s relocation uptown to where Studio 54 was once housed. Don’t recall the cause, but the headliners were Joey Ramone and the Wilson sisters from Heart. They had a side project at that time: The Lovemongers. And that’s who played on this occasion.

I went along with Joe. He had a bunch of friends backing him that night, playing some classics by other bands as well as a few from The Ramones, and was kinda in an ‘everyone come along for a laugh and a few beers’ mood.

Heart’s original road manager, Kelly Curtis, who went on to manage Pearl Jam, was with Ann and Nancy. Kelly and I became great friends in the early 90’s. He helped me out in life when I really needed it – in a big way and I’m always thrilled to see him, particularly as this was very unexpected (I think he was passing through town that day – or something). So he invited me into to meet Nancy and Ann.

By now, my venom for their music had long past, and it was a pleasure to sit and talk with these two incredibly lovely people. At one point, trying to make an extreme point, I quantified it with, “but don’t mind me, I love Dave Dee Dozy Beaky Mick & Tich”. Ann sits straight up and exclaims ‘I love Dave Dee Dozy Beaky Mick & Tich too’. Instant fast friends. We dug into songs, details and how we first heard them – as fans do. Somewhere in the conversation mix, I mention my other, at that time, obsession: Sunbeam mixers. Nancy’s guitar tech, in the room at that moment, whips round and says “You’re into Sunbeam – me too”. Ann says “He really is – show him”. So this guy takes off his T shirt, turns his back to me and proudly displays a ton of Sunbeam toaster tattoos across his torso. All the classic models.

Yes, hard to believe but every word of the above is true.

Listen: Stay With Me / Lorraine Ellison

I was thinking about my previous post (The Exciters) and a whole lot of Bert Burns details kept coming to mind, like one of his reportedly last songs, written with Jerry Ragovoy, being ‘Piece Of My Heart’. After being made super famous by Big Brother & The Holding Company, there really was no point in trying to compete with a re-recordings, although some did. Janis Joplin clearly had a definitive knowledge of the great RnB singers at that time. I remember her being interviewed by Dick Cavett and mentioning her favorite being Tina Turner. Neither he nor the silent audience knew who that was. She dug up and recorded greats by Garnet Mimms, Bobby Womack, Howard Tate and obviously Jerry Ragovoy (who wrote many of the aforementioned); undeniably making them hers.

There’s a cd compilation currently available, TIME IS ON MY SIDE – THE JERRY RAGOVOY STORY 1953-2003. I highly suggest getting a copy. It overviews an impressive array of styles, but mostly pure RnB. One of the songs it includes is ‘Stay With Me’ by Lorraine Ellison. Now oddly enough, I love her version even though I don’t love love love her voice. I like her an awful lot, but prefer a bit more husk. When combining her with Ragovoy’s songs though, it always works.

Now the following is a true story. If someone were to tell it to me, I wouldn’t believe them – it’s so far fetched. About 8 years ago, I went down to the village to meet Kate Hyman for lunch. She was looking at a small, really run down (needed gutting to be exact), brownstone and suggested we meet there (just off Carmine Street), have a look and go eat. I love looking at property and she knew it – so bang, we had a plan. A mutual friend, Glen Schiller, was the agent and he walked us through the then rotting, water damaged debris of a home – now renovated and clearly worth a fortune. I was a little timid about going up the stairs but followed along. There was literally nothing, and I mean nothing, in the building except a perfect, US promo copy of Lorraine Ellison’s ‘Stay With Me’ (the second issue – pictured at the top) propped against a bedroom wall. I know – you think I’m lying. I swear on my Mother’s life – this is true. I couldn’t believe it. There should have been a faint sound of ‘magic’ or ‘angels’ or ‘fairydust’ backgrounding my arm reaching down and chiming when as fingers met the sleeve, just in the movies.

This copy was mint. The sleeve factory fresh. What the fuck was this doing here? I asked Glen – he didn’t have a clue and said “Take it”. Well you only need to say that to me once. I did. So there you go – meant to be.

Listen: A Little Bit Of Soap / The Exciters

I’ve had this single for decades. It’s the version of ‘A Little Bit Of Soap’ that introduced me to the song in ‘66. I know The Jarmels actually had the big success with it several years earlier, but I was in diapers. Now, when I occasionally hear it on an oldies program, it’s always that Jarmels version – which for me doesn’t compare to this. I guess it’s Brenda Reid, The Exciters vocalist, that makes the difference, as she has exactly the kind of voice I love. The Exciters were clearly a Brill Building type of act, having covered songs written by/been produced by/signed by so many of it’s familiar names: Ellie Greenwich, Jeff Barry, Bert Russell, Lieber & Stoller and Bert Berns.

In the 80’s, while working at Elektra, Bob Krasnow our chairman had signed Bert’s daughter, Cassandra Berns, and put me in charge of A&R-ing her project. This turned into a real stroke of luck as I got to spend time with the Berns family down in Atlanta and heard many stories of the great days at Bang Records (the label he formed with Ahmet & Nesuhi Ertegun and Jerry Wexler). His widow (he passed away in ‘67) Eileen proceeded to run their record and publishing business.

Eileen was an absolute firecracker. I liked her so much, especially when she generously walked me through their studio complex, littered with 50’s and 60’s jukeboxes, which I’m guessing Bert had collected; then into a big closet full of 45’s and said, “Take whatever you want”. Now that is just not what you tell a record junkie.

Bang and Shout (Bang’s offshoot label) obscurities galore and indeed, where this copy originated. Wisely, she had future Bang artists cover this, and many of their catalog’s songs, with continued success. ‘A Little Bit Of Soap’ charted twice more in later years by Nigel Olsson and Paul Davis (both on Bang). One winter’s Saturday easily ten years ago, I gave it a spin for old time’s sake and was suddenly bitten by The Exciters bug which is not, by the way, treatable.

Listen: I’m Gonna Love You Too / The Hullaballoos

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

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

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

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:

Listen: The Walk / Jimmy McCracklin

His biggest chart hit, ‘The Walk’, was a result of an AMERICAN BANDSTAND appearance in ‘58, although the record was released in ‘57. Thus was the power of the very limited music outlets at the time. Then it was called television. Dick Clark’s weekly program must have been aggressively ‘worked’ for such precious exposure. To Dick Clark’s credit, many of the black acts, often who’s records were covered by white performers thus robbing them of the ‘hit’, were given shots. Jimmy McCracklin was one. It’s a great combination of RnB and Jump Blues, which he carried over from the release of his first single, ‘Miss Mattie Left Me’ in 1945.

He went on to record for a few labels including Imperial and Stax, where with Lowell Fulson, co-wrote the massive ‘Tramp’ as recorded by Carla Thomas & Otis Redding, and as recently as 2007 played the San Francisco Blues Festival for the sixth time.

Listen: Ain’t Nothin’ Goin’ On But The Rent / Gwen Guthrie

Anyone who says they don’t love this record is really missing out, maybe even lying.

Having previously made a handful good singles for Island, especially ‘Peanut Butter’, it was this Polydor 7″ that became her crowning moment. She did it all too. Produced, whereby Gwen Guthrie out Roger Troutman’d Roger Troutman. Not easy. And the lyrics – talk about coining every nuance in existence. They’ve never dated, never will.

Flawless.

Listen: Meet Me Boys On The Battle Front / The Wild Tchoupitoulas

Listen: Brother John / The Wild Tchoupitoulas

Listen: Man Smart, Woman Smarter / Robert Palmer

Turns out the legendary album by The Wild Tchoupitoulas was even more legendary than originally thought. It was a bit of a first in it’s day, critics choice and all that. I remember Kathy Kenyon sending an envelope of singles to my college radio station back in ‘76. She worked at Island then, left for several years and ended up returning when I started in the 80’s. Small world.

That package included these two Wild Tchoupitoulas 7″s and Robert Palmer’s ‘Man Smart, Woman Smarter’. Seems the label was going through a New Orleans fetish. Robert Palmer’s album (as well as Jess Roden’s then current one) were all recorded there with either The Meters, The Neville Brothers and/or Allen Toussaint contributing. When Chris Blackwell goes for something, he goes for it (reggae, world music, go-go).

Apparently, The Wild Tchoupitoulas project lead to the formation of The Neville Brothers, who until it’s recording, had never played together. Hard to believe they, not only as brothers but a band, started a long career as a result of that very album.

Listen: Tell It Like It Is / Aaron Neville

For some reason, they reissued the Aaron Neville single ‘Tell It Like It Is’ (originally on Stateside) in England. That pressing was also included in the package. That re-release reminded me of how much I loved it, not owning the original at the time. All in all, a pretty memorable watermark – thanks Kathy.

Listen: Accidents / Thunderclap Newman

Not enough people seem to appreciate Thunderclap Newman.

For such a British sound, they surprisingly had a pretty big US hit with ‘Something In The Air’. It, and their album HOLLYWOOD DREAM, were produced by Pete Townshend. Word is they were a studio concoction put together by Pete to help John ‘Speedy’ Keen, a roadie for The Who. Speedy Keen had indeed quite a talent for songwriting (doing just that for all but one song on the LP) and playing. He later released two solo albums, as well as some great singles including ‘Bad Boys’, a reggae style Chris Blackwell produced favorite of mine.

This track though, was the followup to ‘Something In The Air’. A 9:40 version of ‘Accidents’ can be found on the album, complete with kitchen sink psychedelics during a loooong middle part, but it’s the 7″ version that out-Englishes the Englishness of ‘Something In The Air’, if you can believe that. If not, just listen, Yes, heaven on earth.

Guitarist Jimmy McCulloch was noticeably great – his intertwining parts here (every song actually) are hugely melodic and make all Thunderclap Newman’s songs a little more special.

He later joined Stone The Crows and a very obscure band called Blue. They actually scored a minor hit, ‘Capture Your Heart’, when signed to Elton John’s Rocket label, but previously had two albums on RSO, the first of which included the single ‘Little Jody’, an absolutely perfect, must own pop record, made even more perfect by Jimmy’s playing.

I’m posting the mono single version of ‘Accidents’ here. A stereo version can be found on the cd reissue of that infamous HOLLYWOOD DREAM album, but for some reason they left off the mono. Sloppy….

Listen: Station Man / Fleetwood Mac

Much critical praise is deservedly lavished on the first incarnation of Fleetwood Mac: the Peter Green years. Many a great single came from that span (‘67 – ‘70). Then there’s the Buckingham/Nicks lineup from ‘76 onwards and their astronomical success. Yet it seems little to no attention is ever paid to the middle bit. It’s here where some of my favorite albums by them reside.

Ok, I loved THEN PLAY ON, after which Peter bailed – certainly leaving on a high. The Peter-less followup (literally the same lineup minus one), KILN HOUSE was pretty great too. First of all, the album cover was a beauty, and the abrupt shift away from blues toward the Jeremy Spencer preferred 50’s RnR was a nice change. ‘Station Man’, the B side to ‘Jewel Eyed Judy’, had such a swaggering groove, it really feels like a one take jam – in a good way.

Listen: Hypnotized / Fleetwood Mac

By ‘73, Bob Welch was established as a member and important songwriter – his haunting vocals and lyrics matched each other, and this band, pretty perfectly. By ‘73, he and Christine McVie were the consistent strong song components on MYSTERY TO ME. Very ying and yang but it worked. Like Bob Welch’s ‘Bermuda Traingle’, ‘Hypnotized’ was nicely eerie and luckily for the 7″ junkie, made it to a B side. I love having it on a single.

Listen: Heroes Are Hard To Find (Single Version) / Fleetwood Mac

The lead track from ’74’s HEROES ARE HARD TO FIND is hard to top. I still listen to it pretty faithfully some 30 years later. I’ve posted the hard to find, mono single version up top.