July 6th, 2011

If

Listen: The Promised Land / If
The Promised Land / If

Jazz rock didn’t usually work for me. The description of If, a UK version of Blood, Sweat & Tears, was not inviting. But hey, they were from England, and when booked to open a show for The Faces who were still in their newly formed prime, I went along early.

No question, this was a live act almost like no other. The sheer power of two saxophones, part of their seven piece lineup, featured an incredible virtuoso in Dick Morrissey. Wow. Other than Family, Blodwyn Pig, Jethro Tull or Fairport Convention, my live experiences were strictly guitar based line-ups. Shortly thereafter, The Flock and Edgar Winter’s White Trash would pass through town, but at that moment, it was all new.

On record, things were a bit less spontaneous. Sounding more like Chase than the intended BS&T, If produced a rather controlled racket. Not unlike The Keef Hartley Band, occasional tracks or singles became favorites, especially some of those played live.

‘The Promised Land’ can still return me to that live show years later. Trust me, this one sounds way different having watched it up close.

July 5th, 2011

Chicken Shack

Listen: You Know Could Be Right / Chicken Shack
You Know Could Be Right / Chicken Shack

June 26, 1973. Arrive in England that morning, Chicken Shack that night at The Marquee. Also my first time stepping into the club, the one I had waited what seemed like a lifetime to visit.

Having booked them at college the previous year as part of a three band bill with Savoy Brown and Atomic Rooster, it was during this, their period on Deram, that my infatuation peaked. Had they been signed to say, RCA, most likely the interest level would have been less. Given the added bonus of in-house producer Neil Slaven, with his unmistakable cardboard packing box drum sound, Chicken Shack’s new found bent toward blues rock sludge became rather appealing.

Of all the Blue Horizon releases, ACCEPT, the last, topped my list of the band’s post Chris Perfect lineup. It was followed pretty quickly by the ’72 Deram debut, IMMAGINATION LADY. Keeping track of London band member’s musical chairs the late 60′s/early 70′s would leave your head swirling. I’d seen John Glascock play with Toe Fat just a year or so prior to his joining Chicken Shack for IMMAGINATION LADY. Meanwhile, the guys on ACCEPT, Dave Bidwell, Andy Silverster and Paul Raymond, all moved on to Savoy Brown debuting on STREET CORNER TALKING.

Must have been humbling for Stan Webb, career long Chicken Shack leader, to be 3rd on the bill that December ’72 to headliners Savoy Brown, whose lineup basically consisted of his old employees. Clearly, it doesn’t always pay to be the boss.

June 27th, 2011

Brenda Holloway / Vivian Green

brendahollowayuka, brenda holloway, tamla, motown, vivian green

Listen: Every Little Bit Hurts / Brenda Holloway
Every Little Bit Hurts / Brenda Holloway

Listen: Every Little Bit Hurts / Vivian Green
Every Little Bit Hurts / Vivian Green

Written by Ed Cobb, ‘Every Little Bit Hurts’ is nothing like his other massive hit, The Standells’ ‘Dirty Water’. With writing credits as diverse as The Chocolate Watch Band and Gloria Jones, it’s doubly impressive.

There was an HBO program several seasons back, AMERICAN DREAMS, all about Philadelphia in the 60′s. The daughter of the family it centered around was a dancer on AMERICAN BANDSTAND, so every episode featured a current artist kitted out as someone who had appeared on the show during that time period, and doing the same song originally performed. When they wanted Vivian Green, there weren’t many cover choices left as they’d already used material from Mary Wells and Tina Turner. The 60′s were an era of girl groups, but as Vivian was a solo artist, Motown acts like The Supremes or Martha & The Vandellas weren’t options. I suggested Brenda Holloway, never expecting them to go for it, but they did.

Doing the TV show was a two day affair. Day one, Vivian went in to record her vocal at Ocean Way Studios and on day two, she was dolled up in costume (looking exactly like Brenda Holloway to a T) and mimed the newly re-recorded version on a mock AMERICAN BANSTAND stage. It was a blast.

Vivian was completely prepared, plus being the flawless vocalist that she is, laid it down in one take. Everyone’s jaw dropped. The engineer said “You’re done” and her response was “I was only warming up. You mean I can’t sing it again?” Of course they let her, but also said if she wanted to bail and go shopping, they had what they needed. The above Vivian Green version is that first take.

Brenda Holloway actually called later that day, having heard the new version, to thank Vivian for a job well done.

June 23rd, 2011

Drafi

drafimarbleuka, Drafi, Decca, London, WNDR

drafimarbleus, Drafi, Decca, London, WNDR

Listen: Marble Breaks And Iron Bends / Drafi
Marble Breaks And Iron Bends / Drafi

The first time I heard Wreckless Eric’s ‘Whole Wide World’, I thought how nice of him to borrow the song off Drafi. They sure do sound similar, and if not by coincidence, I’d bet it was meant lovingly.

‘Marble Breaks And Iron Bends’ did well in the northeast during April/May ’66. A big hit in Boston, it spread to upstate New York, as was the pattern. Our tighter playlisted local Top 40, WNDR, played it (see proof below) – and as it was on UK Decca’s US imprint, London, I just assumed this was an English act. Certainly sounded it, despite the now noticeable strangely accented word or two.

The record climbed slowly during a four week run in the Bubbling Under The Hot 100 section of BILLBOARD, then entered at #98. Looking good, it jumped #88 to #80….then, gone. Never to be heard from again. How did these abrupt things happen? We could have used this one to go national.

Drafi Deutescher was actually German, and this was my favorite from a his handful of singles London released in the States.

wndr-5_11_66, WNDR, Syracuse, Drafi

June 22nd, 2011

Inspiral Carpets

Listen: This Is How It Feels / Inspiral Carpets
This Is How It Feels / Inspiral Carpets

Dare I say ‘This Is How It Feels’ is to the 90′s what The Damned’s ‘Grimly Fiendish’ was to the 80′s. I’ll go one further, the song has a remarkable sonic lineage to ‘Arnold Layne’ as well. Fightin’ words, maybe. Yet it’s always how I heard it.

Inspiral Carpets played The Limelight when they were in the limelight, I’m recalling around the time of this single. Signed to Elektra, one can only guess off the back of US success with Happy Mondays and such, a tour or maybe three brought them to town. I loved ‘This Is How It Feels’ so much, I went along. Visually similar to The Fleshtones (only one Three Stooges bowl cut necessary), the boys were a touch too reminiscent of The Swingin’ Medallions
at a time when I personally didn’t need that refresher button hit. But ‘This Is How It Feels’, no denying, it’s one hell of a massive tune.

June 20th, 2011

Ann Peebles

Listen: I Pity The Fool / Ann Peebles
I Pity The Fool / Ann Peebles

Even for ’71 with blues-rock in powerful fashion, a pure blues song charting mainstream and crossing over was very unlikely, especially for a black female. Despite the tide, Hi Records released ‘I Pity The Fool’ that year. Against all odds, the single became one of her three to register on BILLBOARD’s Top 100, eclipsing Ann Pebbles’ more well known releases like ‘I’m Gonna Tear Your Playhouse Down’ and ‘Breaking Up Somebody’s Home’, by reaching a meager #85, but charting nonetheless.

Any version of ‘I Pity The Fool’ is a welcome addition to the collection. Easily, Bobby Blue Bland’s rendition from ’61, being the most successful chart wise, gets thought of straight away. Or for the hardcores, The Mannish Boys’ expensive Parlophone pressing from early ’65. A beat group DOA, the band broke up fast, with David Bowie moving upward and onward, while band member John Edward went on to a very brief Pirate Radio career, prior to starting Hollywood Records in the late 70′s.

June 19th, 2011

Ike & Tina Turner

Listen: Nutbush City Limits / Ike & Tina Turner
INutbush City Limits / Ike & Tina Turner

Given that Ike & Tina Turner’s Bolic Sound Studio from the 70′s was quite near LAX, I asked my cab driver would he please cruise past it’s address, 1310 North La Brea, on our way to the airport yesterday. And of course, he did. Every Los Angeles trip I try to visit some historic location or landmark, most of the time only historic to me, usually bringing on the creeps, which is exactly the plan. More often than not, they now provide zero clues to the past. Like after an auto accident is cleared away, the street cleaned up, like it never happened. All that history just gutted, renovated, erased. It’s disgraceful.

Such was the case here. Given the early morning hour, it meant the area stood deserted, smoggy and still asleep. The building now connected to it’s legend only in address. Equal parts sad and eerie. What went on behind those walls in the early 70′s? What about the decor? What happened to all that equipment, furniture, or those wall hangings, plaques? I recall friends from United Artists working in the label’s office at the time, saying Ike Turner’s deal, which included large advances and complete studio funding, pretty much sank their ship. When you’re spending someone else’s dime, you tend to over-decorate I’m sure.

One thing was certain, there, right in front of my eyes, just a few yards away, stood the building where Ike & Tina Turner recorded and mixed a portion of their vast output. Lucky enough, we hit a red light. I had a solid minute to just stare and zone and imagine. Surely some priceless characters spilled out into the broad daylight, splat onto that corner, in who knows what outfits or states, after many an all night session. Not to mention, the boxes of promos arriving for each release. Where did they all go?

June 15th, 2011

The Kinks

Listen: Sitting In The Midday Sun / The Kinks
Sitting In The Midday Sun / The Kinks

June 26, 1973. The first day these two feet ever touched British soil or more accurately, the carpeting at Heathrow. Just dug through my sock drawer to verify. It’s where all the old passports are kept.

Three days later, ‘Sitting In The Midday Sun’ was officially released in the UK, according to the label copy on the demo pictured above. And that’s probably very accurate, given it was one of the first records heard when I finally, like finally, finally, finally got to hear BBC Radio 1. Believe it, in those days, the great radio of the UK was not a click away.

Now there are many priceless summertime songs, and one could opinion differently, but ‘Sitting In The Midday Sun’ is amongst the very best. Always overlooked, often for The Kinks’ own ‘Sunny Afternoon’, but don’t be fooled. This is the one. The tingle of hearing The Kinks new single on the radio that day in June ’73 was a grand privilege. Despite ‘Lola’ being a massive US hit just three years earlier, by ’73 The Kinks were relegated to finished, has beens, completely washed up by American programmers. But in homeland England, they were still being played on the radio, a kind of musical precursor to open source.

I know exactly the spot where this monumental moment occurred. It was about two hundred yards into Regents Park, sitting up against the first tree to the very left of the park entrance directly opposite the Great Portland Street tube station. This became my good luck spot for making a fake pillow (music was not allowed in the Queen’s Park, as a bobby once gently scolded) out of cousin Dinah’s large transistor radio and spending hours listening almost daily.

Dinah still has that wireless in her kitchen, and lives in the same flat a few blocks away on Cleveland Street, W1. I visit her and the radio every time I’m there.

That spot and that radio introduced Roy Wood ‘Dear Elaine’, Junior Campbell ‘Sweet Illusion’, Linda Lewis ‘Rock A Doodle Doo’, Dave Edmunds ‘Born To Be With You’, Kevin Ayers ‘Caribbean Moonshine’ and The Honeybus ‘For You’, amongst many, to this insatiable teenager.

All great singles but nothing near the direct hit ‘Sitting In The Midday Sun’ delivered. I was still in a swirl from up and moving to England without a plan in the world, and only $200 in my pocket. The beautiful insanity of youth, you have to love it. It was as though Ray Davies was speaking right at me, every last word. A little frightening in one way, given almost all of them applied. Thankfully the song’s calming conclusion helped keep the two pints I’d chugged en route at the Tower Tarvern on Clipstone Street down.

A little over two weeks later, The Kinks played a one day, outdoor festival at the White City Stadium in London. I didn’t want to go, it was expensive and other than Lindisfarne, the few UK bands playing were regulars at The Marquee. Besides, I recall a load of US groups as well, like Edgar Winter, by then quite polished and nothing like the soul review of Edgar Winter’s White Trash from a few years prior. I came to England to escape American bands. But how could I miss The Kinks, especially as I was now possessed by ‘Sitting In The Midday Sun’.

It was a cold day for July. Never will I forget exiting the tube at White City and thinking, “I don’t want to do this”. Literally did an about face and decided to go back, then stopped. What an idiot, coming all this way and already having bought the ticket. Still, something felt not right.

Turned out this was the day Ray Davies quit on stage, just like that. Said he was “Fucking sick of it all’ straight after playing ‘Waterloo Sunset’, and left to the horror of the crowd. Everyone literally looked at each other in fear, was this really happening? Days later, all the music press covers announced the bad news to the world. ‘Ray Davies Quits Kinks’, as the MELODY MAKER headline read. I still have my copy.

Radio 1 stopped playing ‘Sitting In The Midday Sun’.

Listen: Sweet Lady Genevieve / The Kinks
Sweet Lady Genevieve / The Kinks

It was not a good week. Family also announced their breakup. Two of my all time favorites, gone. Still, with glam in full swing, the mind did wander and life did go on.

Miracles can happen. What seemed like an eternity in reality lasted about three weeks. Ray Davies was now out of the hospital, where he’d gone directly following his stage exit that day for a stomach pumping. False alarm, The Kinks were in tact, with a new single in the wings even.

Was it the joy of having The Kinks back that made ‘Sweet Lady Genevieve’ sound even better? I don’t think so. We were all crazy about this record. Well, Corinne and I that is.

By Fall, both of those UK A sides were coupled as a US 7″ on RCA, and an American tour announced. We ventured to New York for the triumphant return of The Kinks at The Felt Forum, and somehow figured out the band’s hotel, The Warwick on 54th Street. So we booked a room there as well.

Never a shy one, she calls the front desk and asks to be connected with Ray Davies, and sure enough, he picks up the phone. Without hesitation, Corinne explained we had traveled hundreds of miles from upstate New York to see the show, and would he be so kind as to play ‘Sweet Lady Genevieve’. My jaw was on the floor.

Did you just talk to Ray Davies? “Yep.”

The Kinks didn’t play ‘Sweet Lady Genevieve’ that night, but between songs, during either one of his Rudy Vallee style renditions or some old dancehall classic, Ray Davies did a quick a cappella verse/chorus from ‘Sweet Lady Genevieve’, and we know to this day, it was just for us.

June 14th, 2011

Nina Simone

Listen: Save Me / Nina Simone
Save Me / Nina Simone

Coincidental but true. Just about every song named ‘Save Me’ ends up a favorite. Despite the fact that most of them share only the title in common.

Not the case with this version. Originally written and recorded by Aretha Franklin and included on her Atlantic album debut, it was Nina Simone’s 7″ version that seemed to fall out of the sky and into my possession within weeks of release. No recollection how or from where, but absolutely sure of the timing. Maybe WMCR included it in one of my weekly allocations, having been serviced a stock copy instead of the almost 100% promo copy only mailings they would usually receive. Regardless, ‘Save Me’ was by far the most swinging Nina Simone single I had yet to hear from her, and I’d heard several by then.

What a surprise when it came up on a Sirius channel during a recent JetBlue flight. If I lived in a car culture city, I’d absolutely be a subscriber.

June 13th, 2011

The Rolling Stones

Listen: Sad Day / The Rolling Stones
Sad Day / The Rolling Stones

A terribly under rated and overlooked Rolling Stones classic, ‘Sad Day’ got played as much as A side ’19th Nervous Breakdown’ in my bedroom growing up. It wasn’t even name checked on the US picture sleeve (above), and never included as part of a proper album.

Someone at Decca UK had the seemingly good sense/terrible judgement to make it a British A side in April ’73. Huh? Must have been a featured track on one of the many, theme-less compilations Decca were shoveling out at the time.

Corinne hates that I put my foot down recently and situated a small, 45 only, early 60′s RCA stacker on the headboard of the awesome blond Hollywood bedroom set I found at a house sale almost twenty years ago, in factory fresh condition. And ‘Sad Day’ has gotten many more plays in the past few weeks than it’s equally fantastic A side. Just for the record.

Always scour sleeves in used vinyl shops for jukebox tabs. It’s amazing the ones you will find, and the shops could care less about them. A warning though, once you start you’ll have a hard time stopping.

June 12th, 2011

Dee Jay & The Runaways

Listen: Peter Rabbit / Dee Jay & The Runaways
Peter Rabbit / Dee Jay & The Runaways

Recorded in their homemade Milford, Iowa studio, ‘Peter Rabbit’, originally released on the band’s own ILG label (ILG 103), eventually got the attention of Smash Records out of Chicago who reissued it during the winter of ’66. Having supposedly sold 5,000 copies locally in three weeks, it logically ended up attracting the interest of majors. The first of two singles for Smash, ‘Peter Rabbit’ eventually reached #45 nationally during that summer.

But by June 6, it was already #3 on my hometown Top 40 WOLF, the far superior station to rival, safer playlisted WNDR (see chart below). Garage band records populated the airwaves a lot during those 60′s summers. Who knew then they were garage band recordings at all. Or that their sound would find a place in pop history. They were just great singles.

Dee Jay & The Runaways’ Iowa Great Lakes Studio reportedly turned out to be a decent place, smack dab in the middle of nowhere, and became referred to as the house that ‘Peter Rabbit’ built. For aspiring local Iowa rockers, word is the boys offered a three hour recording session and one thousand 45rpm singles on either the IGL or the sister Sonic label, all in for $345. Probably most have appreciated much like Apple stock over the years.

I’d been humming ‘Peter Rabbit’ for weeks, and decided to do some digging, thereby discovering The Smash Records Story, part of bigger and great site, Both Sides Now. If you are looking for several hours of enjoyment, then click through.

June 10th, 2011

The Buffalo Springfield

Listen: Nowadays Clancy Can’t Even Sing / The Buffalo Springfield
Nowadays Clancy Can't Even Sing / The Buffalo Springfield

West coast soft rock, not a fan. It was the anti-christ to British music. Even as some of the UK bands got fascinated by it, started copying it, I still wasn’t buying in. But initially, The Buffalo Springfield looked as though they may have had promise. I wanted badly to hear their first single ‘Nowadays Clancy Can’t Even Sing’. The title made me curious, and I wasn’t sharp enough to be put off by the band’s name. There was Lothar & The Hand People, Quicksilver Messenger Service, Jefferson Airplane, Big Brother & The Holding Company, these guys seemed to fit into the nonsensical band name pocket just fine.

Digging through a massive bin of drilled, 39¢ closeout singles, I found a copy only a few months later. This was just before their third 45, ‘For What It’s Worth’, got traction and went Top 40. I got home and did not love this record later that night.

But I did like that a) it was a Bubbling Under The Hot 100 flop (#110), b) was on Atco and c) was an unlikely single.

a) There’s nothing like the endless gems that never reached the Top 100. In retrospect, countless seminal classics populated and peeked on BILLBOARD’s Bubbling Under The Hot 100 chart, within it’s #101 – 135 range. All struggling for airplay that never came. Where was the expertise programmers supposedly had in the 60′s and 70′s, we now wonder. Proof that some things never changed.

b) Atco was cool. The younger, but prettier step sister of Atlantic. Amongst it’s early roster of bands that never made it / looked like they weren’t going to: The Vagrants, The Who, The Groupies, The Spencer Davis Group, Julie Driscoll/Brian Auger & The Trinity and The Cream. Yes, this was in the day before groups like The Pink Floyd, The Cream and The Buffalo Springfield managed to drop ‘The’ from their official professional name.

c) There are few things more inviting than a single that made no sense being a single. Like just about any jazz 7″, certainly edited versions of tracks from Miles Davis’ BITCHES BREW album. Not that ‘Nowadays Clancy Can’t Even Sing’ came close to such an extreme, but it was a real surprise on first spin.

The Buffalo Springfield have now reformed, sans ‘The’, with the remaining living original members, and I would bet the whole house of cards they are not playing this first single live. Just like the setlist for The Cream’s reunion (sans ‘The’) omitted ‘I Feel Free’.

So I won’t be attending, but all said and done, I ended up liking ‘Nowadays Clancy Can’t Even Sing’ a lot.

Update (6/11/11): John Poole emailed to say they did play ‘Nowadays Clancy Can’t Even Sing’ during their first reunion appearance at the Bridge Benefit Concert last year. How awesome is that?

June 9th, 2011

Lightnin’ Hopkins

Listen: Mr. Charlie (Part 1) / Lightnin’ Hopkins
Mr. Charlie (Part 1) / Lightnin' Hopkins

Listen: Mr. Charlie (Part 2) / Lightnin’ Hopkins
Mr. Charlie (Part 2) / Lightnin' Hopkins

‘Mr. Charlie’, with a spoken word, pre-music setup that characterizes many a Lightnin’ Hopkins song, gets my vote for his best.

It had been eating at me the past 24 hours or so, ever since yesterday’s Willie Dixon post went live. I just knew there was something in the collection that had a similar feel, a record, once finally acquired, that got played so much, my loved one threatened divorce. Then I remembered it, while struggling through midtown during today’s stifling NYC heat, near the Sony building. Charlie, a formerly powerful yet loathsome executive popped into my head. Of course, that’s it. Lightnin’ Hopkins’ ‘Mr. Charlie’

This evening’s reward: a/c, ice water and ‘Mr. Charlie’ on repeat.

June 8th, 2011

Willie Dixon

Listen: Walking The Blues / Willie Dixon
Walking The Blues / Willie Dixon

Nowadays, especially if this were shorter, it would be known as an interlude. A lot of urban albums thread songs together with simple, stripped down stuff like this. But in ’64, ‘Walking The Blues’ was a single, how lucky for mankind.

The UK hipsters turned musicians of the day were insatiable for almost any US blues player. Stories of major rock band formations based on the love of American blues legends are endless. Willie Dixon was king. After all, he wrote “Little Red Rooster”, “Hoochie Coochie Man”, “Spoonful”, “I Just Want to Make Love to You”, “I Ain’t Superstitious”, “My Babe”, “Wang Dang Doodle”…the list goes on.

This B side makes for a nice, not overplayed, listen, complete with the original shop sticker on the company sleeve indicating point of purchase.

June 6th, 2011

Third World

Listen: 96° In The Shade (Single Edit) /Third World
96° In The Shade (Single Edit) /Third World

Summer ’77, this was one of our anthems. The single came along several weeks before the album. Not surprisingly, a longer version accompanied the long player, and it was certainly a treat to have the outro chorus repeated many more times. A beautiful slow fade that you kind of never wanted to end, like summer itself.

Oddly, the song’s a cappella intro, nicely edited off this 7″ version, was never ever loud enough. I’m shocked no one ever noticed, and wanted to change that in mastering when years later I had to put together a cd length history of Island’s best known reggae tracks for a New Music Seminar sampler, snapshotting it with the title 96° IN THE SHADE. Only now realizing I completely fumbled that one, totally forgot to make the needed improvement. Mistake.

One of the nice things about working for Island in the late 80′s and early 90′s, the company was fine with doing all kinds of promo only items, theme based compilations of reggae, ska, world, funk, dance. A particular favorite was one I slaved over for weeks: SALT & TABASCO, a gathering of latin leaning tracks from Los Van Van, Jorge Ben, Kid Creole & The Coconuts and Arrow, to tropical-ish remixes by The Gibson Brothers and Third World.

As with most, including the 96° IN THE SHADE sampler, which by the way Island later commercially released as GROOVE YARD, I was able to slip a promo only 7″ onto the release schedule for college servicing. We’d do a run of a few hundred to cover the A list stations on the panel, a handful for the UK and few boxes for the US office, most of which I would horde and covet not unlike the guilty substance abuser I was/am/will always be when it comes to 45′s.

The sleeve to said 7″ is pictured above (B Side: The Harder They Come / Jimmy Cliff)

June 5th, 2011

Alvin Robinson / Chuck Jackson & Maxine Brown

Listen: Something You Got /Alvin Robinson
Something You Got / Alvin Robinson

The voice. It’s why there’s not a song Alvin Robinson ever recorded that doesn’t hit dead center. Even though his steady income through the 60′s until the late 80′s was as a guitarist, it’s one of the wonders of the world that Alvin Robinson’s voice never took center stage, as in I wonder how that’s even possible. There are some great blog overviews of his recorded history, this one will lead you onto to others.

My first introduction to ‘Something You Got’ came via Them, one of the many highlights on THEM AGAIN. Not long afterward, my uncle gave me Alvin Robinson’s version, complete with the jukebox tab, basically unplayed, out of some malt shop account his vending company serviced. In most such locations, white rock soaked up kid’s dimes, bar only Motown mainstream hits when it came to anything black based. Not sure why he’d even take a chance on records like these, given jukebox companies needed to buy their records from one stops and seldom got anything but double A sided promos for free, which were clearly unusable in the players.

Listen: Something You Got /Chuck Jackson & Maxine Brown
Something You Got /Chuck Jackson & Maxine Brown

Years later, in a panic to get everything Maxine Brown centric, what did I discover but a version and vocal that could actually equal Alvin Robinson’s. A mid-chart (#55) Billboard Top 100 single in ’65, it was one of several duets they released together and their most successful. Three of the others, coincidentally, all peaked at #91.

June 3rd, 2011

Ohio Players

Listen: Funky Worm / Ohio Players
Funky Worm / Ohio Players

Sped up vocals, synced back into the original bpm of track were not that uncommon in the 60′s. David Saviile made an industry out of his concoction The Chipmunks doing just that, and through the decade, there were occasionally hits by others as a result.

Not only did The Ran-Dells ‘Martian Hop’ use just this gimmick, but in the process possibly documented the first audio moment that would eventually become techno. Then there was David Bowie’s ‘The Laughing Gnome’ originally recorded and ignored in ’67, yet eventually becoming a UK hit during the summer of ’73 when Bowie mania had it’s first peak. By that time, the technique was quickly becoming as dated as the Hula Hop is today in the world of toys.

Did The Ohio Players hear ‘The Laughing Gnome’ while touring England, or simply conjure up the sonic angle based on their very own talents? Quite possibly the later.

‘Funky Worm’ has the added twist of not only encompassing the studio effect described above, yet possibly stumbling on an early ‘feature’ single, this time with a Moms Mabley style voice as the guest vocalist. No, not really, but comically, slightly possible.

June 2nd, 2011

T. Rex

Listen: I Love To Boogie / T. Rex
I Love To Boogie / T. Rex

Everyone loves Marc Bolan. If you don’t, then you are not being honest with yourself. He made so many great records, never stopped trying in the early rejection years, and became a advocator for punk as it overtook glam in the later years. He didn’t get into that us-against-them frame of mind. Instead, he found love and warmth for the new voice of youth. He was never going to grow old. Did any of his peers invite The Damned on tour? We all know the answer.

‘I Love To Boogie’ was called throwaway by singles critics in the weekly UK music press. But critics tend to try dragging you into their poor, frustrated and unpleasant misery….if you let them.

‘I Love To Boogie’ has stood the test of time. It’s simplicity now a greater power than the most produced, orchestrated and probably commercially more successful tracks at the time by the likes of, say, Queen, The Electric Light Orchestra and Toto too.

Just as with Prince’s ‘Sign Of The Times’ or ‘Kiss’, less is more. Way, way more.

June 1st, 2011

Jona Lewie

Listen: You’ll Always Find Me In The Kitchen At Parties /Jona Lewie
You'll Always Find Me In The Kitchen At Parties /Jona Lewie

Do you remember when this was an anthem? Or was that just my small crowd of friends?

The lyric, the message couldn’t have been more universal. Who the fuck doesn’t hang out in kitchens at parties, or in general. It’s always nice when there’s a lounge, sitting area or den attached to/part of the kitchen but if not, then all bets are the kitchen is the place.

To be honest, I don’t recall if this was even issued in the US. If so, it would have only been on a promo 12″, but I seriously doubt it.

Jona Lewie stuck it out for a long while, having a one off hit with/as Terry Dactyl & The Dinosaurs, predating punk conveniently as part of pub rock, then stumbling onto the Stiff roster. Perfect timeline.

Never a mention of this one in any of those Best Singles Ever lists, just goes to show you their value.

May 31st, 2011

Joyce Bond / The Joyce Bond Review

Listen: Ob La Di, Ob La Da / Joyce Bond
Ob La Di, Ob La Da / Joyce Bond

Found yet another gem at Academy Records in Brooklyn, hysterically sitting peacefully amongst the 50¢ boxes: Joyce Bond’s version of ‘Ob La Di, Ob La Da’. A song seemingly written for the natural Caribbean bounce, it further validates the lightweight value of The Beatles. Again, I preferred The New Vaudeville Band when comparing equals.

To be honest, I had no idea this even got a Stateside release, so I admit needing to be more humble in my criticisms of the local vendors. But hey, Steel Pulse singles on MCA are not worth $10 guys.

Listen: Robin Hood Rides Again / The Joyce Bond Review
Robin Hood Rides Again / The Joyce Bond Review

Nonetheless, way more fascinating is the B side here. Policy usually meant a straight up instrumental of the single’s A side was the norm, or as the mid 70′s evolved, a dub version. Not so this time. A completely new track, instrumental, and clearly nothing to do with Joyce Bond in any way other than her label copy credit.

Produced by B. Lee. Was it Byron or Bunny? Seems Joyce Bond had musical affiliations with both.

If ever there were an expert on Ska/Rock Steady/Reggae/Dub, it’s Duane Sherwood. He’s the go to on this stuff for all things not previously grooved into my gray matter. Inconveniently in this case though, he’s not big on the pop end of the genres. Add to that, the records recorded in the UK as opposed to down the yard, of which this is one don’t grab his attention. But given, as he pointed out, Bunny Lee produced a version of Otis Redding’s ‘Mr. Pitiful’, released by Joyce Bond and Little John in ’69, one year after this issue, Duane guessed B. Lee to be the Bunny man himself.

A fun, sonically out of place on Decca or any other major label at the time, single. I can only imagine how few were pressed, not to mention, sold.