August 8th, 2011

Laura Nyro

Listen: Stoned Soul Picnic / Laura Nyro
Stoned Soul Picnic / Laura Nyro

It was hard not to notice the writer credit of Nyro in brackets below some of the most hybrid of song styles in the late 60′s and early 70′s. Always choosing to shy from the spotlight, which included endless TV appearance requests, gave Laura Nyro a mystique as attractive as her obvious grasp of everything from gospel to show tunes. Despite delivering her recordings in a brash neo-operatic vocal style, she was still full of soul.

Being the seldom mentioned, unsung performer at ’67′s infamous Monterey Festival is what really caught my attention. Why was everyone focused on all the other acts? Why was she never included in the footage? Every one of her early Verve Forecast releases and this, her debut Columbia single, became secret treasures. I badly wanted to see her the one weekend she played The Fillmore East, but it wasn’t to be.

In later years, Laura Nyro dedicated much of her time and money to the animal rights movement. Don DeVito at Columbia was very close to her, and spoke often of her kind and tender heart.

August 7th, 2011

Ike & Tina Turner

Listen: Tell Her I’m Not Home / Ike & Tina Turner
Tell Her I'm Not Home / Ike & Tina Turner

Embarrassing but true, during all the years I worked for Bob Krasnow at Elektra, I did not know of this record, although there were very many Ike & Tina Turner records I did know. In fact, the day Howard brought me in to meet him, essentially to get his blessing before joining the A&R staff, it was an Ike & Tina Turner single that probably helped get me the job.

I’d pretty much fumbled my way through some lop sided answer to his question, inquiring as to why I wanted an A&R job in the first place. Before leaving, I just had to get some details on one of the Ike & Tina Turner records Bob had produced, ‘I’ve Been Loving You Too Long’ from OUTTA SEASON, with it’s infamous white faced, watermelon eating cover art. It was clearly of great interest to him that I knew such a detail at all, and thus began our real relationship.

A year or so after young and foolishly leaving Elektra for Island, I stumbled on the UK stock copy, pictured above. How could I not buy any single by Ike & Tina Turner that I didn’t own, but as a great bonus, when the producer was Bob?

Easily, ‘Tell Her I’m Not Home’ stands the test of time as one of their finest, with it’s legendary spoken intro, and use of Tchaikovsky’s ’1812 Overture’ riff, beating The Move to it by a good six months. With both occurring before the song even really starts, what’s not to freak over?

I faxed a scan of the label to Bob’s office a week or so later, feeling a bit timid given we hadn’t had contact since I’d left, basically, complimenting him on my new found favorite song intro, to which he scribbled back something quite friendly. It was a nice moment.

August 6th, 2011

Margaret Explosion

Listen: Purple Heart / Margaret Explosion
Purple Heart / Margaret Explosion

There was a pretty daunting documentary on some sci-fi or mystery channel a few nights back, which I started watching at around 3:45 AM, trying anything at that point to cure my insomnia. Not only did the unsolved murders in North America theme fit the late, late hour, but so too did it’s soundtrack. Set to music which kind of replicated the old MYSTERY THEATER radio series theme but with more subtle menace, it made me wonder, were there any singles ever recorded that might indeed capture all this as well.

A few nights later, I was playing through stacks of around ten 7″ singles at a pop, throwing them onto my RCA changer. I really love that player, even if the permanent large center spindle eliminates UK 7′s altogether. Oh, and there’s one final detail about these machines, the last record in the stack, which ends up as the top one on the turntable, will play repeatedly until you manually shut off the device.

Last one in that stack: ‘Purple Heart’. Playing through for a third or fourth time, it suddenly struck me that song perfectly satisfied my quest for a 7″ with true sonic soundtrack paranoia qualities.

Play this alone in your country cabin during a thunderstorm and don’t be surprised by a visit from some Richard Speck wacko. ‘Purple Heart’ has the qualities to conjure up such thoughts.

August 5th, 2011

The 4 Seasons

Listen: Walk Like A Man / The 4 Seasons
Walk Like A Man / The 4 Seasons

Once upon a time, The 4 Seasons were unavoidable on radio. Top 40 right through the early ’80′s, then the oldies stations. Now I don’t think many, almost literally, any of their records get played at all. Mind you, other than hearing those oldies stations in the occasional diner, I never cross paths with them. Our kids hate the radio, and just try sitting through the local NYC version of oldies radio in the car. It’s unbearable, repeating a very, very short list of titles ad nauseam.

Suddenly The 4 Seasons popped into my head, catching a snippet by them coming out of the TV downstairs, apparently being used in some commercial. Wow. Did it sound good.

They had a bunch of slick but class singles on Philips just after their initial run on Vee Jay. But those first several, something about them just shimmers with the innocence of street corner teenagers from the 60′s. Not sloppy in any way, but not polished.

‘Walk Like A Man’, despite being a huge single (#1), usually got overlooked even on the oldies airwaves in their heyday.

August 3rd, 2011

Julian Cannonball Adderley & John Coltrane

Listen: Stars Fell On Alabama / Julian Cannonball Adderley & John Coltrane
Stars Fell On Alabama / Julian Cannonball Adderley & John Coltrane

Deciding to clean every number and letter contact in my Seeburg with alcohol and a cotton swab – by hand no less – is not at all within my character, but having let a jukebox tab slip between the speakers and turntable track basically necessitated the surgery, and ultimate sense of responsibility.

You see, I’ve had this baby, a pink, aqua and chrome Seeburg 222, one of my most cherished possessions, going on thirty years. And it still works like a charm. I dread the day this machine goes dead, as I’ve no idea where or to whom I need go for a fixing.

What I didn’t realize was F2, so caked with crud, hadn’t played in God knows how long. F2 in this case was ‘Stars Fell On Alabama’, by Cannonball Adderley & John Coltrane.

Now I remember exactly where this particular single was purchased: Two Guys Department Store, just off Route 81 in Syracuse, quite close to Thruway exit 36. They always had stacks on 10 for $1 cutout 7′s in large tubs for the sickos amongst us to paw through.

Corinne was in a very 40′s Silver Screen phase and pulled out loads of Judy Garland, Julie London, Eydie Gorme and even Keely Smith titles, boning up on our camp catalog. Well done.

I bought four copies of this one, there were so few Limelight singles that the stock sleeves were worth a dime each to me even then in ’74.

When I realized it had been ages since the single played in the box, I decided to pull a clean copy from the library – and sure enough, sticker still intact to prove the above remembrance, it sounded superb. This coming from a general non-fan of brass instruments by the way.

‘Stars Fell On Alabama’ is quite frankly the perfect va-va-va-voom record, the kind of song playing in a dive bar when a cheap perfume drenched Betty Page type in tight gold pedal pushers and fuck me heels is leaning over the jukebox making three choices for the quarter her sugar daddy had just inserted into the slot, if you will.

August 1st, 2011

Baby Washington

Listen: Hey Lonely One /Baby Washington
Hey Lonely One / Baby Washington

Born Justine Washington in 1940, Baby Washington began her recording career in ’56 as a member of The Hearts, but within a year, was confusing folks by issuing singles as both Justin Washington and Jeanette Washington. By the time she signed with Juggy Murray’s Sue Records in ’62, Baby Washington had settled in as her best known professional identity. Well, except for two of those sixteen Sue releases, when for whatever reason, Sue 797 (’63) and Sue 124 (’65) were issued as Justine Washington. Go figure.

Possible reason being, as Baby Washington, she may have had trouble getting live bookings. From what I witnessed yesterday when Baby Washington made a rare NYC appearance, she probably blew away all the competition on any of those stages back then. Even now, at 70 years old, it takes a lot of balls to follow her. Seriously, her poise and confidence were impeccable. She looked beautiful and then there was the voice. Do not miss her if you get the chance.

Luckily, through the years, I’ve managed to collect all but three of her US 7′s. Not a weak one in the bunch, plus it’s pretty hard for this completist to pass up anything on Sue. Far too many peaked at #90 or below on Billboard’s Top 100. Even more didn’t chart at all. God bless America is not applicable when it comes to Baby Washington.

‘Hey Lonely One’ (or ‘Hey Lonely’ as the early DJ copies read) spent one lonely week at #100 on 10/12/63. It wasn’t included in her all too short set yesterday, probably due to it being less familiar. I like to think it was out of her mercy for others on the bill.

July 31st, 2011

The Angels

Listen: Wow Wow Wee (He’s The Boy For Me) (Mono) / The Angels
Wow Wow Wee (He's The Boy For Me) (Mono) / The Angels

Some things are meant to happen. Two weeks ago, maybe more, I grabbed a random cd for the car, had some errands to run. The iTouch is a wonderful thing, light, thin, easy to transport. Easy to misplace too. Haven’t seen mine in weeks. Hence the cd, and out of alphabetized storage as well, therefore an artist beginning with A. The Angels.

Not to repeat myself from yesterdays re-post, but I was a fan, and let me tell you, ‘Wow Wow Wee (He’s The Boy For Me)’ sounds mighty great in the summer. I swear I’ve played it fifty times, between the car and having pulled out a copy for the upstairs RCA changer.

Like all things 60′s, it sounds best in mono. Why the majors dig out and polish up the stereo versions for their anthologies, I don’t get. Maybe the rest of humanity prefers to remember the music the way it didn’t sound. Not me. With the windows down, blaring, the stereo version was admittedly more than passable. But first rule is, once in the house, back to mono.

Days ago, Eric Mache emails a link for the girl group review doubling as a tribute to Ellie Greenwich at Lincoln Center, and who’s included but The Angels. The event was a non-stop cavalcade of impeccable voices, very RnB leaning. Five hours that flew by in a flash. Other than dashes to the signing tent for jukebox tab stalking, I never left my seat.

Above: Jukebox Tab signed by Jiggs Allbut

July 30th, 2011

The Angels

Jamaica Joe / The Angels

Listen: Jamaica Joe / The Angels
Jamaica Joe / The Angels

The girl groups from the sixties were the first to catch my attention. It all started really early with The McGuire Sisters’ and their hit, ‘Sugartime’, which had pretty high kid appeal. Then I noticed The Ronettes, The Shangri-Las…….and The Angels.

Their #1, ‘My Boyfriend’s Back’ seems to have survived decades of airplay, still spun a lot on the oldies formats. I know because it’s one of the few I can bare if forced to listen on a long trip or something.

The local Syracuse stations played a lot of Angels singles including the national non-hit ‘Jamaica Joe’. Seems they chose this one despite it being relegated to the B side as the sleeve suggests.

The actual promo copy doesn’t indicate an A side which could explain. Well I’m glad they did, I loved it for months at the time and still do. It was my first taste of ska on re-examination. And it went down a storm when I’d spin it out.

July 28th, 2011

Marcia Griffiths

Listen: Electric Boogie (Featuring Bunny Wailer) / Marcia Griffiths
Electric Boogie (Featuring Bunny Wailer) / Marcia Griffiths

Marcia Griffiths, she of Bob & Marcia from the early 70′s, also spent seven years as a member of The I-Threes, legendary background singers for Bob Marley & The Wailers.

This original version of ‘Electric Boogie’ with Bunny Wailer from ’83, initially turned up as a B side to her Mango single ‘Fever’ (top photo) but as a brewing party track, gained momentum. Within a few years, it was reissued on Island proper, this time as an A side.

Despite being a touch clumsy, possibly meaning rootsy to most, it’s a hard one not to like.

Listen: Electric Boogie / Marcia Griffiths
Electric Boogie / Marcia Griffiths

Like turned to love as a result of the 1989 remake with The Jerks, a sharp three man production team from Florida. Chris Blackwell had done a deal with them, hot off a success with Miami Sound Machine, and their biggest chart hit for Island (#51) came in the form of this new version, by now the signature song for the Electric Slide dance craze, well, sort of craze.

A DJ played this a few months back during an over the top birthday event held in one of those wonderfully generic party houses, complete with salty, over seasoned food, hoodwinking many into believing it was tasty. To be fair, the cake was super special, whipped cream instead of icing and lots of fresh fruit chunks and almond slivers folded in.

The floor lit up when ‘Electric Boogie’ hit the turntable, and I didn’t want it to end.

July 26th, 2011

The Others

Listen: Oh Yeah! / The Others
Oh Yeah! / The Others

Not to be confused with the Rhode Island band, who’s RCA single from ’65, ‘I Can’t Stand This Love, Goodbye’ could fool anyone into assuming they were indeed the same guys.

‘Oh Yeah’, issued in what seemed a lifetime prior, one year to be exact, was instead by the British band, The Others. It turned out to be their only release.

A possible songwriting inspiration for ‘Gloria’ by Them, this Bo Diddley composition, soon to be a US hit for The Shadows Of Knight, rivaled the later for being one of the most white sounding RnB remakes ever. It was never a hit for The Others, neither in the US or The UK. Unlike The Shadows Of Knight, who had a #41 Billboard placing with it, as the followup to their #10 version of ‘Gloria’. Talk about obvious.

The real fun detail specific to The Others US pressing from my collection is that I bought it for 2¢, which is actually even better than getting a copy for free to be honest. Years back, a friend had a record stall at a local indoor flea/junk/antique market, one of those caged in spots. Always chock full of good stuff, nicely displayed and fairly priced, it was a favorite stop. My pal was no slouch in the value department, but who can know everything. A large 3 for 5¢ bin heaving with 45′s was located just near the entrance. Quite frankly, there were almost too many to sift through. Still, in casual conversation, I sifted away. The only title of worth, even then an obscure garage collectable, was the somewhat worn copy above. I’m sure if time could reverse, and a second opportunity at that pile awaited, more than one choice would today emerge but that’s not happening.

So I make my way out, and hold up the single. His reply was, give me 2¢. Seriously, he rounded it up to the next even penny. I only had a nickel, so suggested he keep the change, which he did.

July 25th, 2011

Thunderclap Newman

Thunderclap Newman USA

Listen: Accidents / Thunderclap Newman
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 he put together 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. 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 long 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.

I dare say it’s a near perfect, or perfect plain and simple, record. Despite that, the single spent only one week in each the UK and US charts: #44 UK / #100 US.

Guitarist Jimmy McCulloch was noticeably great. His intertwining parts here, and on every song, are hugely melodic and make all Thunderclap Newman’s material 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 once he had departed, 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 his playing.

Later, he joined Wings, debuting on ‘Junior’s Farm’, undeniably one of their strongest singles.

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….

July 21st, 2011

Jimmy Gilmer & The Fireballs / The Fireballs

Listen: Sugar Shack / Jimmy Gilmer & The Fireballs
Sugar Shack / Jimmy Gilmer & The Fireballs

I’m guessing this was submerged into my childhood DNA, because I seem to remember it vividly despite having peaked at #1 in ’63. I can only assume my cousin Peggy played it a lot while babysitting. I get transported back to whenever each time I listen.

Certainly, the obvious similarities with Buddy Holly’s signature sound appeal to me greatly. Given this was recorded at Norman Petty’s Clovis, New Mexico studio, where Buddy Holly had previously launched his career, explains the similarities. But those are all positives.

What kind of keyboard is that anyways? Regardless, ‘Sugar Shack’ makes use of it as the song’s biggest asset, instead of the thousand and one US garage bands from the 60′s that should have been exterminated for just the opposite.

Listen: Bottle Of Wine / The Fireballs
Bottle Of Wine / The Fireballs

Dropping the Jimmy Gilmer moniker, but not Jimmy Gilmer himself, the band signed to Atco and in ’68, released a killer cover of Tom Paxton’s ‘Bottle Of Wine’, complete with finger on the pulse contemporary swagger, swing and sneer.

July 20th, 2011

The Jesus & Mary Chain

Listen: Just Like Honey / The Jesus & Mary Chain
Just Like Honey / The Jesus & Mary Chain

Delivering a lyric of questionable etiquette completely deadpan works every last time. Thus the case here.

The Jesus & Mary Chain debuted on ‘the best name ever for a band’ chart at #1. Everybody took notice. From the onset, they applied the cheap reverb drenched Wall Of Sound coverup technique to slowed down surf rooted songs, looked believably disinterested and boom, a career was born.

All the singles are worth having, most quite similar but never tiring. ‘Just Like Honey’ peaked the band’s Bobby Gillespie era for me. Pretty sure I went to their US debut at Danceteria and left impressed. Well…I think that’s what happened at least.

Really wish I had a large center hole copy for the jukebox.

July 19th, 2011

Moby Grape

Listen: Bitter Wind / Moby Grape
Bitter Wind / Moby Grape

Somewhere during the making of their second album, Moby Grape recorded a previously unreleased, very noisy rock version of ‘Bitter Wind’. That, along with said album and this single version, were included on the short lived double cd VINTAGE: THE VERY BEST OF MOBY GRAPE Columbia released about ten years back. Litigation or some such problem required it be withdrawn. Not sure exactly why, but seems this band is forever haunted by their questionable early business dealings.

Boy am I happy this original album track made it to the 7″ instead of that alternate version. It’s by far my preferred choice.

When they released that second album, WOW, the one with the free second studio jam disc, their sound and the recordings seemed to thin out compared to the first album’s messy collision of guitars. There was more space, and the stark emptiness, I guess you could say, really appealed to me. ‘Bitter Wind’ was the standout, I’d listen to Side One, from which it came, repeatedly.

Couldn’t have been more pleased to find it on the B side of ‘Can’t Be So Bad’, and in the originally released version. Despite the vocals pushing my tolerance ever so slightly, ‘Bitter Wind’ exemplifies the remnants of San Francisco’s summer of love exactly as I recall it.

July 18th, 2011

Carl Hall

Listen: The Damn Busted / Carl Hall
The Damn Busted / Carl Hall

Wikipedia has this to say about Carl Hall:

Carl Hall was an African-American singer, actor, and musical arranger. A member of Raymond Raspberry’s eponymous gospel group The Raspberry Singers, recording on the US Savoy Records label, he performed in theatre for three decades, beginning with Tambourines To Glory in ’63.

Beyond The Raspberry Singers, he recorded later that decade several singles for Mercury Records and cut the now much sought-after tracks, ‘You Don’t Know Nothing About Love’ / ‘Mean It Baby’ (Loma 2086, ’67) and ‘The Dam Busted’ / ‘I Don’t Want To Be Your Used To Be’ (Loma 2098, ’67) for the Warner Brothers subsidiary label, Loma Records, produced by leading producer Jerry Ragovoy. In ’73, he released a single on Columbia called ‘What About You’ (45813 ). Also appeared on Broadway in the stage production of the musical The Wiz among other shows.

The only thing I can add is his vocal delivery on the first lyric of the very first 45 I ever heard by Carl Hall told me everything I needed to know.

July 16th, 2011

The James Brown Productions: Bill Pinkney / James Crawford / Anna King

I Do the Jerk / Bill Pinkney

Listen: I Do The Jerk / Bill Pinkney
I Do The Jerk / Bill Pinkney

There was actually a period in the 60′s when an artist could get away with signing to more than one label at a time, sometimes under different names, sometimes not. Usually, these were all singles deals anyways, I’m guessing, whose shelf life may have been months instead of years. Give someone a few releases and if nothing clicked, keep it all moving and on to the scrap heap they’d go. Not everybody got away with it, specifically James Brown.

As the story goes, while still under obligation to King Records, he upped and signed to Smash, a subsidiary of the Mercury/Philips group. Pretty quickly it was squashed, but as he still owed Smash many sides, James was forced to record as an instrumentalist for the label, specifically playing organ. A big old Hammond at that, thereby helping create amongst other genres, mod jazz, well sort of, as his stuff was mostly a combination of soul & schlock. Kinda black muzak versions you could say. All great listens though, the perfect party soundtrack in it’s day or even now in trendy trust fund pads or retro club nights. Part of his deal with Smash included a production imprint, whereby he did just that, produced other artists for Smash, Mercury and Fontana (another sister label), many bearing the recognizable ‘James Brown Production’ logo. Most famous was Bobby Byrd, his loyal sideman for decades.

Not so famous, but musts nonetheless, found their way, despite little or no marketing/push, onto the Mercury Group’s release schedules.

Like Bill Pinkney’s cash-in, almost Young Rascals rocker, ‘I Do The Jerk’ on Fontana. This was when the Jerk was a dance de jour. Everyone did it, or claimed to know how. Never ever heard ‘I Do The Jerk’ at the time, but mind you, was way to young even if it was played. Most likely, the pop stations went nowhere close, although from tooling the annals of radio playlist history, God bless Google but be prepared to work, some very, very secondary Southern delta markets spun it occasionally.

Strung Out / James Crawford

Listen: Strung Out / James Crawford
Strung Out / James Crawford

The super great, and oddly James Brown similar, James Crawford, released the spectacular ballad ‘Strung Out’ on Mercury. Don’t bother closing your eyes and imagining, you won’t need to. This could easily be the man himself. Quite possibly, buried somewhere in the Universal master tape storage library, which sadly was partially destroyed by fire not that long ago, may exist a James Brown version. Or maybe a vocal guide demo version laid down by producer for artist. Meaning James Brown for James Crawford.

If Somebody Told You / Anna King

Back to Soul / Anna King

Listen: If Somebody Told You / Anna King
If Somebody Told You / Anna King

Which brings this post to the one time featured female vocalist from the touring version of The James Brown Revue. She being Anna King. Good voice, perfect look: processed hair, bullet proofed into place, body tight, sparkle floor length ensembles and no doubt, an onstage sizzling swagger.

She made a few singles, produced by James Brown for Smash. And even an album. As well, she did one 7″ with Bobby Byrd ‘Baby Baby Baby’, which was included on the UK only EP BACK TO SOUL.

July 12th, 2011

Jethro Tull

Listen: A Song For Jeffrey (Mono) / Jethro Tull
A Song For Jeffrey / Jethro Tull

A very close friend reminded me just the other day that the mention of Jethro Tull still conjures up a cringe amongst many. I get it, but everyone needs to section off their first two albums as being very different to what followed. Even the third, BENEFT, had strong songs in the same style as the previous pair, but the shift in attack on recordings began to reveal itself as softening at that stage.

BENEFIT sounded safe and small. Would bet money a remix that captures Jethro Tull’s wild abandon on stage in ’69 could breathe life into it still, although my guess is Ian Anderson would disagree. Quite soon after it’s release, bassist Glenn Cornick was gone, and the band never regained their sizzle. All soul had been zapped.

‘A Song For Jeffrey’, their UK debut A side single as Jethro Tull, was coupled with second UK single A side, ‘Love Story’ on their double sided US 7″ debut.

Listen: Back To The Family (Mono) / Jethro Tull
Back To The Family / Jethro Tull

The song that best represents this band’s live power at their peak, during the touring cycle for second album STAND UP, was ‘Back To The Family’. I wanted the track to be released as a single so badly then, I just may have beamed it into reality. What a thrill to find it initially mis-pressed on the B side of Reprise 0886, incorrectly labeled ‘Reasons For Waiting’.

July 11th, 2011

Van Der Graaf Generator

Listen: Afterwards / Van Der Graaf Generator
Afterwards / Van Der Graaf Generator

I can only guess the reason to press 7″ promo records in the 60′s and early 70′s for underground artists, as they were known, had a singular purpose. Focus the very close to the mic disc jockey and his music director on edited versions of the album’s more/most playable songs.

Sometimes though, like with ‘Afterwards’, the label opted instead for the full length track, providing it wasn’t over four or five minutes long. Mercury generally preferred un-edits to edits, if memory serves me well, as I have several from the era, all full album versions.

Our local stations, WAER and WOUR, played early Van Der Graaf Generator quite generously for a few good years. I particularly loved ‘Killer’ from their third album, H TO HE, WHO AM THE ONLY ONE, and always hoped it’s eight minutes and change would get chopped into a single, but that never happened.

Took me ages to find a copy of ‘Afterwards’ from their debut, THE AEROSOL GREY MACHINE, figuring a shorter version would be a fun listen, if only to see how someone, preferably producer John Anthony, thought to edit it up.

No, Mercury pressed the full length album track. Regardless, a nice item to score.

July 9th, 2011

The Moody Blues

Listen: Everyday / The Moody Blues
Everyday / The Moody Blues

Another case of one band name, but two completely different sounding lineups, making it easily possible to love/hate one and not the other, or something like that.

Me, I was into both. And it began logically, with the first of the two. The Denny Laine years I suppose you could say.

As lead singer, his tenure started May ’64 at their onset, lasting until Fall ’66. This was when you really had to be able to sing in order to get a deal and make records. Denny Laine trained himself on, you guessed it, soul and RnB. At this, he was winner.

All the singles released during his time are equally great. Most surprisingly weren’t hits, but still, they’re classics. The Moody Blues really stalled their momentum after the worldwide smash ‘Go Now’ by issuing a couple of dirge ballads that struggled for airplay. Hey, I loved them, but programmers didn’t.

After which, ‘Everyday’ came, but the mess had been made and it all slowly went flat for the Denny Laine lineup. Too bad. ‘Everyday’ is the kind of record that probably would have helped change their history a bit had it followed ‘Go Now’. All speculation here.

Another top Denny Cordell (not to be confused with the aforementioned Denny Laine) production though. Not that he totally agreed with me on that one. I met Denny at Island, and elsewhere on this blog there’s a more in depth post about all that. Let me tell you this. Denny was a blast, an absolute class act, had great history, impeccable musical taste and instinct, a wonderful soul. I’m still knocked out that we became good friends.

One time, in the days when we had pretty extravagant parties at our place, Denny came along, swirling in through the front door and b-lined toward the kitchen with a plan to whip up some Jamaican dish, and a bag of supplies for just that purpose. He simply crashed right into it all. That was Denny.

Later in the evening, Duane, with a you gotta hear this look on his face, nudged me toward he and Marianne sitting at the then, newly found 50′s wrought iron and glass patio set, a garage sale miracle with a story all it’s own, deep in stuffy English brogue conversation, so upper class thick, you literally had trouble deciphering what the fuck they were saying. The two of them were all giddy, reminiscing about the old days, smuggling hash into England, dishing through folks at Decca, Mick’s parents, you name it, no one was spared. I just sat right down, refilled their margaritas, listened in, a conspicuous fly on the wall. Cool as a cucumber on the outside, fourth of July fireworks inside. Exactly as anyone else would have felt.

July 7th, 2011

The Crazy World Of Arthur Brown

Listen: Devil’s Grip / The Crazy World Of Arthur Brown
Devil's Grip / The Crazy World Of Arthur Brown

If you’ve been reading these posts during the last few days, it’s obvious the July 4th weekend leaned prog rock. Our excursion into the depths of upstate New York had me driving randomly through small towns in search of the ultimate garage sale. Look and you shall find, or something like that. We stumbled on two with massive amounts of prog vinyl, about one hundred miles apart. Very unexpected and a bit baffling. At $1 each, it was hard to pass up stacks of valuables that included various Vertigo swirls and Harvest titles.

Forget all the lengthy album tracks that littered prog long players, even more bizarre are the 45′s from the genre, all attempting to make playable versions of non-songs into songs. Fun stuff.

The mid 60′s mod organ style, hugely influenced by both Jimmy Smith and Jimmy McGriff, was still evident on ‘Devil’s Grip’, the ’67 debut single from The Crazy World Of Arthur Brown. The record tipped toward it’s followup, ‘Fire’, which despite it’s shrill sonic onslaught, became a massive worldwide hit in summer ’68.

Turns out Vincent Crane’s Hammond shaped the band as much as Arthur Brown’s voice and theatrics. Their sole album is a struggle to listen to often, if ever, these days. The sleeve was great, and live, the band were a blast, but being perfectly honest meant everyone I knew regretted having laid out the cash to buy it.

‘Devil’s Grip’ may not be the greatest song, but at times, the non-LP track swings more than any other on the album.

Listen: Give Him A Flower / The Crazy World Of Arthur Brown
Give Him A Flower / The Crazy World Of Arthur Brown

Way more importantly, B side ‘Give Him A Flower’ is a gem. Borrowing from vaudeville and I’m guessing, coincidentally from The Bonzo Dog Band, the track may be their one and only example of getting a little loose in the pub before heading to the studio, sense of humor in tact.