Side 1:

Listen: I’ve Been Loving You Too Long / Ike & Tina Turner
IkeTinaLovingYouToo.mp3

Side 2:

Listen: A Love Like Yours (Don’t Come Knockin’ Everyday) / Ike & Tina Turner
A

Listen: Respect / Ike & Tina Turner
Respect

In 1971, United Artists released Ike & Tina Turner’s tenth live album WHAT YOU HEAR IS WHAT YOU GET – LIVE AT CARNEGIE HALL in the US. Despite being a double record and rather too padded with current soul covers, it still peaked at #25 on BILLBOARD’s Top 200, their highest ever chart entry along with WORKIN’ TOGETHER from the previous year.

They were hot off their biggest (#4) and only US Top 10 single, ‘Proud Mary’, of which a live version was included.

But seriously, how lopsided are those details? Ike & Tina Turner had one Top 10 single and only managed to reach #25 in the album chart, despite being amongst of the biggest live attractions in America and around the world during the 60′s / early 70′s?

Well, their records didn’t get much mainstream exposure on Top 40 radio, a permanently damaging mark on Phil Spector’s career and psyche, although rumor has it his ‘River Deep – Mountain High’ production was blackballed by the then venomous payola demanding radio community.

Or possibly, Ike & Tina Turner’s act was just too raw, too suggestive and too hard hitting. Reality wasn’t always a friend of the mainstream.

Some of their previous, should have been hit singles were included on the double set. Two being ‘Ive Been Loving You Too Long’ and ‘A Love Like Yours (Don’t Come Knockin’ Everyday)’, both part of the three song jukebox only EP above.

Listen: Don’t / Marva Josie
Marva Josie.mp3

How this clocks at £200 in THE ESSENTIAL NORTHERN SOUL PRICE GUIDE is beyond me. Not being a dancer of any worth myself, I’m probably in no position to judge. Still, this doesn’t sound easy to hully gully to, even on repeated listens. And I thought that was the whole point of Northern Soul, hence all nighters and such. Oh well, learn something everyday.

I do love a voice, rich in gospel timbre, one that could’ve easily fleshed out as a rotating member of Phil Spector’s background vocalists or Ike Turner’s Ikettes even. Marva Josie possessed just that. In fact, this has a number of passages that had me slipping into The Crystals’ ‘Little Boy’ while humming it in my head earlier today, walking from the subway along 6th Avenue to my office. I must have played ‘Don’t’ twenty times last night when ending the weekend with a healthy unboxing/filing marathon and couldn’t get it out of my brain.

Listen: Mississippi / John Phillips
Mississippi

As unlikely as it gets in today’s world, Amoeba Music seems to be surviving, doing well even, despite basing a majority of their floor space to cd’s. I just pray I’m right. Last week’s Los Angeles visit meant several stops to their Sunset Blvd location. Unfocused on my bearings upon arrival, it was only when walking a block south from the hotel did I discover the store one further block west on Sunset. Miracle.

One of the location’s many highs includes the close proximity Amoeba’s 7″ department has to the front store windows, whereby you can literally browse singles and simultaneously watch the world go by along the fabulous Sunset Strip, as it’s referred to. In a car with friends, I’ll generally keep my mouth shut when it comes to spouting out landmarks along the patch between Doheny Road and the 101. Landmarks being where the various record companies and publishers housed themselves in the 60′s and 70′s. Other than me, nobody cares. But standing at the 45 rack in Amoeba while gazing left out the window, I could literally see the location of Phil Spector’s Philles offices just across the street, one block away. Yikes.

Right place, right time. A stocking clerk was busying himself away at the sorting table next to me and preparing to toss a small stack of jukebox tabs apparently found inside several of the newly acquired 7′s when I intervened.

“Take whatever you want” was the reply.

Now was this a dreadful oversight in the works or an attempt at intensely super serving one’s customers? I’m not really sure. But you only need to invite me once. I rescued the lot.

Given my geographic location on earth that very moment, what better example of the bunch than this? A whole sheet for John Phillips ‘Mississippi’ single, unscathed.

Despite a very out of place image and dreadful band name during The Mamas & The Papas’ successful patch, his songs were truly remarkable. John Phillips never lost his ability for a great one despite all the personal dramas and traumas. Just before his move to London in the early 70′s, what should have been the beginning of a successful solo career launched with ‘Mississippi’, a US #33 single. Seems the album JOHN, THE WOLF KING OF L.A., was a flop and off into a multi-millionaire’s drug jungle he went. Sounds like fun to me.

Listen: She’s Mine / The Chants
Chants.mp3

The Chants, despite a very ordinary name, were different than most from the British Invasion era. Basically a five piece vocal group with no musicians in their lineup, their real historical moment came late in ’62 when turning up at The Cavern Club for an audition without a band. The Beatles offered to fill in, but Brian Epstein objected. John Lennon overruled and The Chants made their Cavern dubut in November of that year with his band providing the backing.

Phil Ward turned me on to this one, having been hooked on it big time. At first, I mistook them to have Phil Spector involvement, given ‘She’s Mine’ could double for any number from The Crystals or The Ronettes songbook pretty easily with the arrangements and even production not unlike his.

Released in the US on Interphon got my curiosity up. Being Vee Jay’s subsidiary imprint, created exclusively for UK product, meant The Chants were English. Digging through my hardcore, only for obsessed collectors, research books allowed the plot to thicken and the above piece of trivia to be uncovered. Never knew it until recently.

Why didn’t Interphon market them via that Beatles connection? This was ’64, and anything Beatles was contagious. The label could easily have spread the rumor it was indeed them on the record. What a blunder.

Listen: The Lonely Surfer / Jack Nitzsche
The Lonely Surfer / Jack Nitzsche

Somewhere in this collection a US copy of ‘The Lonely Surfer’ lurks. Must have taken it out to dj with, because my recollection of it sounding huge and rather scary through the sound system at Brooklyn Bowl is quite vivid.

The sport of surfing was not big in the UK, nor was the musical genre, unsurprisingly. Given that UK pressings of surf singles are thin on the ground, finding this Jack Nitzsche 7″ in a tattered box of 45′s on a freezing October morning along the Portobello Road market indeed felt quite the anomaly.

Jack himself, well he was so entrenched in LA’s recording scene during the early 60′s that coining the ultimate surf anthem isn’t really a shocker. His many credits often included arrangements, something no one really does these days, not exclusively and certainly not for money. The guy kept a lot of plates in the air, working with Phil Spector at Philles, organizing THE TAMI SHOW, taking Doris Day to #1 in the pop charts, arranging for The Rolling Stones when they were at the RCA studios and managing to keep up a solo career on Reprise. There alone his array of releases included Chopin style renditions of then current pop hits to, well, surf anthems like ‘The Lonely Surfer’.

Having arranged and orchestrated Ike & Tina Turner’s ‘River Deep – Mountain High’ would be a pretty daunting accomplishment for anyone to top, but in many ways that’s exactly what he does on ‘The Lonely Surfer’. From the title to the eerie horns, he’s captured a dark and alarming side of the supposedly sunshine and fun theme. Sorry but this record has always reminded me of seedy old Hollywood, the unsolved Bobby Fuller murder and Sal Mineo’s as well.

By the way, ever noticed that some of the best surf records have the most unhappy horn bits on them.

Listen: Justine / The Righteous Brothers
Dear Delilah / The Righteous Brothers

Seems in the 60′s, with singles deals being the prevalent form of partnership between record company and artist, an act could basically be on two labels at once. Not an uncommon occurrence, particularly with the RnB and Soul acts. Therefore, the usual result being one label would have success, with the other forever limping behind, trying to trade off it’s back.

In the world of The Righteous Brothers, such seemed the case with Moonglow, an Atlantic imprint, and Phil Spector’s Philles Records. But in reality, they were signed to Moonglow proper from ’63 to ’66. During that time, Moonglow would also license their services to Spector. His releases were typical Wall Of Sound productions and the much bigger hits, whereas their more homegrown, raw RnB came out through Moonglow, consistently charting low as with ‘Justine’.

That single only reached #85 during July ’65, but got played into the ground on the Syracuse Top 40′s. It’s wild, Little Richard delivery a perfect showcase for the pair’s distinctive baritone grounded vs. tenor off the chain duets.

Listen: Now I’ve Got A Witness / The Rolling Stones
Now I've Got A Witness / The Rolling Stones

It’s well documented that The Rolling Stones were indeed extremely knowledgable American blues and RnB record collectors. What’s fun is to occasionally stumble on an obscure single with some uncanny resemblance toward an original song the band recorded, all the while fantasizing they picked up that very record during one of their excursions through the Mom and Pop stores of Harlem or East LA. I like to think ‘Justine’ was one such record, at least when listening to their ‘Now I’ve Got A Witness’ from the ENGLAND’S NEWEST HIT MAKERS album.

Listen: (You’re My) Soul & Inspiration / The Righteous Brothers
(You're My) Soul & Inspiration / The Righteous Brothers

The first single with new label Verve, after leaving both Moonglow and Philles in early ’66 was classic in more than one way. Clearly, Bill Medley (one half of The Righteous Brothers), paid close attention during his time in the studio with Phil Spector, thereby lifting every last technique off the master, and applying them to his very own production of their #1, ‘(You’re My) Soul & Inspiration’.

Yes, I loved the record at the time, but so wished they had their image down like The Walker Brothers for instance, who were coincidentally doing the exact same style of music but looked about one trillion times better.

Listen: I Wanna Be Your Man / The Rolling Stones RollingStomesWannaBe.mp3

Like every other kid, I was crazy about The Beatles after seeing their first Sunday night ED SULLIVAN SHOW performance, and that was quite by accident. I knew nothing of The Beatles prior to them appearing on the screen. My folks watched the program religiously, it’s how we ended the weekend basically, it’s 9pm broadcast, then off to sleep.

Most parents regretted the moment that band hit the airwaves, a nationwide frenzy occurred on the spot. Seriously, there was chaos in school that next day. It was like no one could concentrate, and Beatlemania literally avalanched the youth of America. Little did we know, the best was yet to come.

I have forever proudly said, “I loved The Beatles until one minute into ‘Not Fade Away’ on HOLLYWOOD PALACE.” For true, nothing can compare to The Rolling Stones’ US television debut. Suddenly, we’d been hit dead center, this time for real.

Two days later, by the Monday, I had somehow mustered up enough money to buy The Rolling Stones’ full length, ENGLAND’S NEWEST HIT MAKERS and their single ‘Not Fade Away’ at Perrin’s Drug Store. Having eyed multiple copies of each sitting unsold for several weeks prior, I was panicked all day Sunday they’d be gone. Luckily, there they sat, waiting. The album had the poster insert, and the 7″ was in the picture sleeve. I still tingle at the memory. How could I have been so stupid as to leave the others behind?

Along with the great black and whites being printed in 16 MAGAZINE and TEEN SCREEN, the articles mentioned the band’s previous single having been a Beatles song. And this I needed a copy of. Given my cousins were in the jukebox business, they became my prime target for as much Rolling Stones content as possible, and it was my Dad who convinced Uncle Dominick to search out more records for the little pest, me.

Low and behold, he delivered a copy of ‘I Wanna Be Your Man’, as an A side, a few weeks later. I had often asked about the record’s origination, and was told it came from his regular one-stop. Years later, when I got my first job in a one stop record distributor, it all became clear, as indeed there were always a few piles of promo 7′s in the office, said copies waiting to be auditioned and considered for bulk purchase. Bless them for rescuing this gem from the rubbish bin.

The official US commercial release of ‘I Wanna Be Your Man’ has forever been in question. Seems the choice was quickly overshadowed by ‘Not Fade Away’ and apparently very few copies, promo or stock, found their way to the public, making this even more cherished.

Listen: Stoned / The Rolling Stones RollingStonesStoned.mp3

As with ‘Now I’ve Got A Witness’ from ENGLAND’S NEWEST HIT MAKERS and ’2120 South Michigan Avenue’ from 12X5, B side ‘Stoned’ grabbed my ear. Where’s the singer?

Yes, I was at first disappointed with the lack of vocals, but there was always so much enjoyment coming off these instrumental tracks, you could just tell the band loved playing this stuff, almost like it was home to them. And having worked very early on with Phil Spector, it’s clear his blessing encouraged them, given so many of his singles by The Ronettes and The Crystals coupled throwaway (at the time) jams on their B sides. Quick on the studio time and easy as a publishing grab.

Listen: Stu-Ball / Ian Stewart & The Railroaders IanStewartStuBall.mp3

When Bill Wyman produced Bobbie Miller’s ‘Everywhere I Go’ for UK Decca in ’66, word is he assembled various Rolling Stones and the band’s life long silent member Ian Stewart for the session. In true Phil Spector fashion, the resulting studio jam yielded B side ‘Stu-Ball’, credited to Ian Stewart & The Railroaders. Unlike earlier instrumentals from The Rolling Stones, this copy took more than a few weeks to land. More like a few decades.

Listen: Step Out Of Line / Twice As Much TwiceAsMuchStep.mp3

Just as there was never any question in my mind who conquerd the decades old Beatles vs. Rolling Stones challenge, so too did that boil over and apply to their respective managers. Brain Epstein vs. Andrew Loog Oldham.

Opinions don’t matter. The facts are the facts.

Brain Epstein’s roster: The Beatles, Gerry & The Pacemakers, Billy J Kramer & The Dakotas, Cilla Black and The Remo Four.

Andrew Loog Oldham’s roster: The Rolling Stones, Marianne Faithfull, The Poets, The Mighty Avengers, Vashti and Twice As Much.

Then there was ALO’s Immediate Records roster: The Small Faces, The Nice, The Amen Corner, The Outer Limits, P.P. Arnold, Chris Farlowe and again, The Poets and Twice As Much.

Okay…..I will stop now and show some mercy.

Focusing on the clear champion had me thinking today about Twice As Much. In a constant quest to emmulate Phil Spector’s production style, ALO applied many attempts to the squeaky clean Twice As Much. Possibly going a touch too far by giving them a very California ’67 sound, a year earlier in ’66 funny enough.

On this second single, David Skinner and Andrew Rose were allowed to write both sides, unlike their first and much of their other records, which conveniently slotted in Jagger/Richards and Marriott/Lane songs.

Listen: Simplified / Twice As Much TwiceAsMuchSimplified.mp3

It’s this B side which is their real gem, maybe their best ever. Pretty dependable at picking hits, I’m not sure how Andrew fumbled hiding ‘Simplified’ on a flip side.

I recall my pal Denny getting a copy of this in late summer of that year, and we both played in relentlessly for weeks.

Listen: Roll Away The Stone / Leon Russell LeonRussellStone.mp3

Despite Denny Cordell cutting his teeth during the 60′s as producer of The Moody Blues, The Move, Beverley and Joe Cocker & The Grease Band, he seemed to take a nasty turn in the period that immediately followed. He set up shop in Los Angeles, forming Shelter Records. Other than issuing a few reggae singles in the States for Chris Blackwell (The Maytals, The Wailers), Denny pretty much shifted gears musically. To this Anglophile, he betrayed his own greatness, suddenly producing and/or releasing super Americana stuff like Phoebe Snow, JJ Cale, Mudcrutch…..and Leon Russell.

I despised everything about Leon Russell. I hated his country boogie blues singalongs, his clothes, his grey hair – every last thing about him. Mind you, I was hard core pro England. The Kinks were the ultimate, Glam was preferred, I was not a believer.

Isn’t it crazy how one’s tastes can change, or in my case, grow. Man, was I wrong about Denny and Shelter. Fast forward a decade, and I’m jonesing for every last act on that roster, catching up on filling in the record collection with the Shelter singles.

Leon Russell’s history ran way deeper than I originally knew, back to Phil Spector’s Philles days where he led his house band, and he performed in the TAMI show and was a regular on SHINDIG and….and….and. Check the writer’s credits on some of those Phil Spector B sides: Leon Russell. Seemingly overnight, I needed everything attached to his long, long discography of contributions.

Well there aren’t many things I like more than a UK A&M A label. All the busy conflicting fonts, the bright yellow label, the red ‘A’ and the onslaught of release date/time/publisher info (Reminder: click on any of the records pictured to enlarge). It became a quest to get all Denny Cordell / Shelter via UK A&M 7′s. Took years but now pretty much complete. One of the first to be issued back on the old 700 series: ‘Roll Away The Stone’.

Do you think Mott The Hoople ever listened to Leon Russell?

Listen: Little Boy / The Crystals CrystalsLittleBoy.mp3

How is it possible that ‘Little Boy’ was not a hit. It will always be one of the unexplained wonders of the world. No surprise Phil Spector flipped his lid. This (#92), ‘River Deep – Mountain High’ (#88), The Ramones ‘Baby I Love You (never charted at all). How appalling. What an embarrassment.

I do recall hearing the record a lot in my hometown though. All the Phillies singles seemed to get played upstate. And when ‘Little Boy’ was current, I neglected to get me a copy. It wasn’t until summer ’73 when I finally bought one for 35p at Graham Stapleton’s stall outside Cheapo Cheapo Records on Rupert Street in London’s Soho. What a bargain. As always, the label copy name checks included Larry Levine and Jack Nitzsche.

Fast forward to the late 80′s. I’m working at Island, A&Ring Marianne Faithfull. The company was searching for something a bit more current on the upcoming album. She’d done STRANGE WEATHER prior, and it’s old Europe Prague winebar angle was getting tired. I’d suggested New Order produce. Chris wasn’t feeling that. It was apparently too young a look. Somewhere in the mix, Jack Nitzsche became the possible candidate, so off to LA went Marianne to try writing with him, see if some result could develop.

He had just produced the soundtrack to THE HOT SPOT, a truly terrific album with John Lee Hooker, Miles Davis and Taj Mahal. There was even a single released, and that’s posted elsewhere on this blog.

Jack actually called me one day with an update, basically saying nothing much was getting done. Not the best news, but getting a call from Jack Nitzsche with any news at all was huge in my book.

No sooner did he ring than Marianne was on the phone.

“I need to get out of here. All he wants to do is fuck me”

“So do it”

“Kev!!!”

She was back in NY days later. So much for that collaboration.

Above: Jukebox Tab signed by LaLa Brooks

An added bonus this time round is the addition of the single’s B side and accompanying story.

Listen: What’cha Gonna Do / The Ikettes
ikettes.mp3

The Ikettes only Phi-Dan release came out in early ’66. This was around the time of Phil Spector’s involvement with Ike & Tina, not just producing, but also including them on his Big TNT Show, filmed in November of ’65. The lineup on this record, courtesy of the fantastic booklet from Ace Records’ recent Ikettes anthology, CAN’T SIT DOWN….’COS IT FEELS SO GOOD, was P. P. Arnold on lead vocals, with Tina, Brenda Holloway and her sister Patrice on backgrounds. I’m launching this blog with The Ikettes simply because it’s a record I’m currently nuts about. Actually, right now, I’m in a serious Ikettes phase, fueled by the aforementioned CD. I was in London last week with Matt & Kim, and staying with Roger Armstrong, a great friend who founded Ace. It was one of the discs he gave me, and I just poured over the booklet on the entire flight back home to New York. The CD is a must. And also try finding the single (the CD only draws from their releases on Modern Records). As you can hear, it’ll be worth the search. I picked it up off eBay a few months back having no idea it had existed. $65 later, it’s one of those great moments when you realize there’s always something else to add to the collection.

Listen: Down Down / The Ikettes
IkettesDownDown.mp3

On May 16th – just last week, I had the shocking honor of receiving an email from Rose Smith aka Rose Ikette. Rose, along with Pat Arnold (P. P. Arnold) were in the ’65 – ’66 lineup of the Ike & Tina Turner Revue featuring The Ikettes.

Rose had found the blog while searching for a copy of ‘What’cha Gonna Do’ and it’s flipside ‘Down Down’. She was at these sessions and as it turns out, does the lead vocal on ‘Down Down’.

What a fantastic song, it feels very gospel, almost religious. Apparently getting some decent airplay on LA soul radio at the time of release, Rose hadn’t heard it for years. I sent her an mp3 of the track, and we plan to talk, later today in fact. How’s that for a coincidence? She has kindly promised to share many details about the period, lineup, various sessions and her infamous trip to the UK when they shared a tour with The Rolling Stones. Pat never came back, but instead became P. P. Arnold, signed to Immediate and had a decent run of UK hits. Rose also hung around London long enough to contribute some vocals on various Immediate singles as well.

Meanwhile, here’s ‘Down Down’, with Rose and The Ikettes.

Did you know that Duane Eddy combined single-note melodies by bending the low strings and adding echo, a vibrato bar (Bigsby), and tremolo – thereby producing a signature sound unlike anything that had been heard prior – the sound that would be featured on an unprecedented string of thirty four chart singles, fifteen of which made the Top 40 and sales of over 100 million worldwide? Me neither. I read it on Wikipedia.

He was not alone in the creation. Then disc jockey Lee Hazelwood became his partner in 1954, taking on role of producer and co-writer. ‘Rebel-Rouser’ is one of those songs that probably every last human being has heard, but didn’t know it. Well I hope so at least. Peaking at #6, it was also his biggest chart success.

Listen: Stalkin’ / Duane Eddy & His Twangy Guitar DuaneEddyStalkin.mp3

It’s B side, ‘Stalkin” is a whole other story. Now this is more the dark side sound that helped invent one of the most potent threads in music, a line followed by The Gun Club, Tav Falco’s Panther Burns, The White Stripes and most importantly, The Cramps. And of those bands alone, there were endless unsuccessful imitators.

It just oozes of girls in tight sparkly capri pants and spiked heels, slowly grooving their hips to the the record as it spun in the jukebox at a local malt shop.

Listen: Your Baby’s Gone Surfiin’ / Duane Eddy DuaneEddySurfin.mp3

Everyone jumped on the surf craze in the early 60′s. For Duane Eddy, it actually was a perfect fit. He kind of invented the sound, a seamless musical transition from rockabilly to the white kid, carefree, silver spoon lifestyles of surfers. Despite ‘Your Baby’s Gone Surfin” hardly denting the Billboard Hot 100 (#93), I remember it vividly. Even bought the single, or had someone buy it for me more likely. Little did I know, his band, The Rebels, had become Phil Spector’s regular studio outfit. Makes perfect sense then that The Blossoms, also vocal backup regulars on Spector sessions, provided all the singing here. Yes, that’s Darlene Love you’re hearing, just as you might be suspecting.

Listen: Shuckin’ / Duane Eddy DuaneEddyShuckin.mp3

B side ‘Shuckin”, you gotta love the song titles, sounds like a routine jam with the sole purpose of churning out a flip to ‘Your Baby’s Gone Surfin”. Even so, the natural groove makes it a keeper. How many of these would they knock out in a day? I’m scared to reckon. Somewhere there are tape vaults….

Listen: This Guitar Was Made For Twangin’ / Duane Eddy DuaneEddyRepriseUSB.mp3

Once the Nancy Sinatra success train was powering full steam ahead, on her Dad’s Reprise label, with Lee Hazelwood ably handling all production and songwriting, my guess is he suggested Duane Eddy be added to the roster. A seemingly under thought covers album of then current day hits, THE BIGGEST TWANG OF THEM ALL, allowed for one original ‘This Guitar Was Made For Twangin”. Despite a basic instrumental re-write of ‘These Boots Are Made For Walking’, he retains full writer credit, well at least as far as the label copy reads. I have to believe behind the curtain, there was a handshake share with Lee Hazelwood, writer of ‘Boots’ – or maybe not. He was the producer, it didn’t sell, and who cares anyways. Luckily the track was issued as a single.

Listen: What’cha Gonna Do / The Ikettes Ikettes.mp3

May 24, 2009: one year since the launch of and first ever post on SO MANY RECORDS, SO LITTLE TIME.

What better way to celebrate the occasion than:

1) Improve the blog by creating expansion abilities to include new features over the next few months. And to achieve that, we’re moving to our own .com (bookmark this new address please):

SOMANYRECORDSSOLITTLETIME.COM

2) Re-post that original entry from May 24, 2008. The Ikettes / What’cha Gonna Do (music above/text below)

3) Take a week off. Never one to sit still, I’m going to Europe with Matt & Kim – and also acquiring one sick ass 45 collection in London – lots of amazing new records to write about as a result. My dear friend, and ska/reggae expert/addict Duane Sherwood will be filling in for the next week or so. Watch for his first post tomorrow!!!!

ORIGINAL POST FROM MAY 24, 2008:

The Ikettes only Phi-Dan release came out in early ’66. This was around the time of Phil Spector’s involvement with Ike & Tina, not just producing, but also including them on his Big TNT Show, filmed in November of ’65. The lineup on this record, courtesy of the fantastic booklet from Ace Records recent Ikettes anthology, CAN’T SIT DOWN….’COS IT FEELS SO GOOD, was PP Arnold on lead vocals, with Tina, Brenda Holloway and her sister Patrice on backgrounds. I’m launching this blog with The Ikettes simply because it’s a record I’m currently nuts about. Actually, right now, I’m in a serious Ikettes phase, fueled by the aforementioned CD. I was in London last week with Matt & Kim, and staying with Roger Armstrong, a great friend who founded and owns Ace. It was one of the discs he gave me, and I just poured over the booklet on the entire flight back home to New York. The CD is a must. And also try finding this single (the CD only draws from their releases on Modern Records). As you can hear, it’ll be worth the search. I picked it up off eBay a few months back having had no idea it existed. $65 later, it’s one of those great moments when you realize there’s always something else that needs to be added to the collection.