December 22nd, 2009
Listen: Don’t Ha Ha / Casey Jones & The Governors CaseyJonesHaHa.mp3
Casey (real name Duncan) Jones left Liverpool for London stumbling around with rotating-door lineups that included Eric Clapton and Tom McGuinness in his band The Engineers. Like a few before them, off to Germany they went. Why I’m not sure. I always thought England was the happening place in the 60′s. It was in Hamburg that Casey Jones & The Governors formed and had some success as a live band, basically reinventing RnR standards of the day with a Beat Goup twist.
I picked this up in one of those 39¢ bins of flop 45′s at a Two Guys Department Store near the Thruway in Syracuse back in ’74. It was a treasure trove, predominantly loads of Philips/Smash/Mercury/Fontana titles, for some reason.
Listen once and you’ll hear that it’s Huey Piano Smith’s ‘Don’t You Just Know It’. Smith is credited as writer and the title switch fooled me into thinking it was an original for years.
Posted in Casey Jones & The Governors, Eric Clapton, Fontana, Huey Piano Smith, Mercury, Philips, Smash, The Engineers, Tom McGuinness |
December 21st, 2009
Listen: Fascinating Rhythym / Bassomatic BassomaticFascinatingRhythm.mp3
William Orbit, the guy behind, or should I say, the guy who basically was Bassomatic, became the most in demand remixer/producer after ‘Fascinating Rhythm’ hit. For good reason. Despite it’s inability to live beyond the acid house goes mainstream period of 1990, when it peaked at #9 in the UK, it’s a pretty fantastic song. The accompanying SET THE CONTROLS FOR THE HEART OF THE BASS takes the prize as best-ever tongue in cheek album title, and quite frankly one that made me want to hear it. I did. I own the disc, but can’t remember if it was as great as the title implies. It may well be, but I didn’t give it much of a chance. Someday.
I was in London when ‘Fascinating Rhythm’ came on Radio 1. Gary Crowley was driving us along Holland Park Avenue from St. Peter’s Square during a bumper to bumper Friday rush hour in late September. We’d been to the pub and were desperate to get to Brown’s and see Jake. It was pouring but Oxford Street was hopping. And the radio was jamming with KLF, Andy Weatherall’s version of Primal Scream, Orbital, The Stone Roses and Deee-lite. Seems like all England wanted to do was dance. We got caught up. Almost didn’t want to arrive, it was like one great track after the other.
You’d return home and I learned as soon as that plane touched down at JFK, it was time to leave the great party on the radio behind. Back to the US airwaves it was.
William Orbit was then much like Mark Ronson is now. Had a few monsters so along comes all the politically correct and connected acts paying big bucks for the same magic wand to elevate them up the credibilty and financial ladder. These things always end in tears of course but some great remixes came out along that path.
Back to square one. Nothing by Bassomatic topped ‘Fascinating Ryhthm’ that I know of. And that is perfectly okay.
Posted in Andy Weatherall, Bassomatic, Deee-lite, Gary Crowley, Mark Ronson, Orbital, Primal Scream, The Stone Roses, William Orbit |
December 20th, 2009
Listen: Funky Broadway (Part 1) / Dyke & The Blazers DykeFunkyBroadway.mp3
Unrefined, impolite and uncouth. Some of the words used to describe Dyke & The Blazers as successful catalysts in the evolution of RnB into Funk. Traveling a parallel musical path to James Brown at the time, their records always maintained a homemade sound, and in fact most of the early 7′s like ‘Funky Broadway’ were just that. Rough, unpolished in-your-face lengthy jams with a focus on feel as opposed to precision, edited into singles – many as Part 1 and Part 2′s.
Having relocated to Phoenix, Dyke and band were always marketed as local, being originally from Buffalo. Luckily, that meant ‘Funky Broadway’ was ever present during what I recall being a very cold and snowy upstate winter ’67, though not until April did it make the Billboard chart. Peaking in one market, then spreading to the next, meant it’s chart high of #65 didn’t really represent the sizable hit the single actually was.
Worth getting are both the WE GOT MORE SOUL anthology cd and accompanying double vinyl edition which includes the extended versions of their biggest breaks, both on UK’s Ace Records label.
Listen: Funky Broadway / Wilson Pickett WilsonFunkyBroadway.mp3
Why waste a hit. Given the purity of Dyke & The Blazers’ chitlin’ circuit original, it wasn’t allowed full exposure on most Top 40′s. Even in ’67, a slicker produced, Motown-like, less street sound was required for airplay. In no time, Atlantic got the wicked Pickett to bring it home chartwise, hitting #1 RnB in autumn ’67, less than a year after the original first hit the charts earlier that same year.
Posted in Ace Records, Atlantic, Billboard, Dyke & The Blazers, James Brown, Original Sound, Wilson Pickett |
December 18th, 2009
Listen: Breakin’ Bread / Fred & The New J.B.’s FredWEsleyBreakinBread.mp3
It was hard to keep up with their constant and annoyingly slight, name changes. Does one file all Fred Wesley & The J.B’s singles together despite the little details, or by the exact artist name as it appears on the label? A dilemma for the meticulous record collector. I stuck to my rule: file exactly as the label reads. All record alphabetical by artist, then chronologically within each. Hence my Fred/J.B.’s singles are in several places on the wall shelves. I had to check a few spots before tracking this one down. Every time I file it away, I swear I’ll remember it’s exact location next play. Never happens.
As mentioned in prior posts, I’m a sucker for records about food. None better than this ‘NEW NEW SUPER HEAVY FUNK PRODUCTION BY JAMES BROWN’ to satiate that appetite.
Will Lord Warddd play this when he dj’s The Funk Hangover Party at Brooklyn Bowl on January 1?
Posted in Brooklyn Bowl, Fred Wesley, Fred Wesley & The New J.B.'s, James Brown, Lord Warddd, People, Polydor, The J.B.'s, The Lo Fidelity Allstars |
December 17th, 2009
Listen: Flowerman / The Syn SynFlowerman.mp3
In January ’06, original members Steve Nardelli (vocals), Gerard Johnson (keyboards) and Chris Squire (bass) put together a lineup (sans Pete Banks) of The Syn and toured America. Huh? Why? I suppose the drawing power via the Yes connection was enough to fill the small clubs they played. It certainly worked in New York. They were great when they clumped together three of the four songs that made up their two lone Deram singles from ’67. They sounded exactly like what the entire audience seemed to have waited almost three decades to hear, and thankfully didn’t try to squeeze into the orginal paisley coats and floral patterned trousers adorned in their youth. Perfect, gave us all tingles.
‘Flowerman’ was properly titled for that summer of ’67. Although perfect from the very start, it does go to eleven at 1:34, when the horn riff adds an unexpected and period piece sonic (a wonderfully typical studio staple from the Decca/Deram production handbook).
I even found the location of the picture sleeve shot: It’s in Fitzroy Square, just off Tottenham Court Road, when walking west toward Cleveland Street, in front of The London School Of Economics residence halls. Just happened to stumble on it one wet, deserted Sunday afternoon in November a few years back. I froze in my tracks.
Posted in Chris Squire, Deram, Flash, Pete Banks, The Syn, Yes |
December 15th, 2009
Listen: Dancing In The Streets / Martha & The Vandellas MarthaVandellasDancingStreet.mp3
What in the world is a Vandella? I’ve always wanted to know.
Okay, so why the hell am I posting this record? Because these labels look so beautiful, and there’s NOTHING like this track in mono, exactly the way God meant it to be.
Posted in Gordy, Martha & The Vandellas, Tamla |
December 14th, 2009
Listen: Pillow Talk / Sylvia SylviaPillow.mp3
Sylvia Robinson, owner and creative force behind Sugarhill Records, where rap began according to many. Makes sense she’d be the Lil Kim of her day. Every track was sexually provaocative. ‘You Sure Love To Ball’ (now there’s a long lost term: ball), ‘Had Any Lately’, ‘He Don’t Ever Lose His Groove’ and not forgetting this one, ‘Pillow Talk’, the hit (#3 Pop / #1 RnB). Word is she’d originally written ‘Pillow Talk’ for Al Green, who apparently turned it down for being too risqué, and against his religion.
I wish I could scan the PILLOW TALK album sleeve, it’s almost as good as James Gilstrap’s LOVE TALK for bad photography and complete lack of visual appeal – making both essential art. Google them.
An early example of prototypical disco, the vocals are replete with moaning and heavy breathing, predating Donna Summer’s orgasmic inflections on ‘Love To Love You Baby’. Although the album version of ‘Pillow Talk’ runs about a minute longer, fear not – the simulated climax is included on the 7′ ending as well. Even so, this was all over pop radio in spring ’73 – believe it. I was insatiable for it. By summer it had reached the UK, so I got to hear it constantly all over again.
Posted in Al Green, All Platinum, Donna Summer, James Gilstrap, London American, Sugarhill, Sylvia, Sylvia Robinson, Vibration |
December 13th, 2009
Listen: Just A Little Bit / Rosco Gordon
Just A Little Bit / Rosco Gordon
Who knew. Rosco Gordon is cited as having created a style of piano playing known as ‘The Rosco Rhythm’, placing the accent on the off beats, which is credited as the foundation of Jamaican bluebeat and reggae music. Besides which, he lived a few blocks away from me – something I also didn’t know until recently. Maybe I stood behind him Pathmark. How great would that have been?
‘Just A Little Bit’ was a well covered song by London’s Flamingo Club regulars. Even Rory Gallagher did a version around the time of TATTOO, which was eventually included as a bonus on the CD reissue.
Listen: What I Wouldn’t Do / Rosco Gordon
What I Wouldn't Do
His New Orleans blues stylings were way more obvious to me than bluebeat though, as on the single’s B side, ‘What I Wouldn’t Do’.
Posted in Flamingo, Roscoe Gordon, Stateside, Vee Jay |
December 10th, 2009
Listen: Tell Me When / The Applejacks ApplejacksTellMeWhen.mp3
Hard to believe, but once was a time when a color photo of a UK band was a big treat. Color usually wasn’t the first look you’d ever get of a new act in the mid 60′s. Coincidentally, the only exception I can think of is The Applejacks. They were pictured, in color, like all the other bands, on the cover of ENGLAND’S GREATEST HITMAKERS, a benefit compilation album issued by London Records in aid of the Lord’s Tavern Fund, which was an association that helped finance cricket fields in England. My how the causes have become rather more worthy through the years.
There was once talk that bassist Megan Davies was sister to Ray and Dave. The fact that they covered and released as their fifth single an obscure Ray Davies song fueled the rumour for years. Turns out it wasn’t true. But the potentially accurate info at the time made the agony of struggling to hear The Applejacks even more acute. Despite blagging promos from the local adult station, WMCR – and having some really good shops (Walt’s Records, Smith’s Records) that would stock three to five copies of just about any new English band, The Applejacks first few singles were very evasive. Years later, I guess in the early 70′s, I finally scored a coveted US stock copy of their first single ‘ Tell Me When’ (pictured above), which spent one short seven day run on BILLBOARD’s Bubbling Under The Hot 100 chart at #135 (6/6/64). And that was their entire chart history in the US. Don’t feel bad, I’m embarrassed too.
‘Tell Me When’ paralled the stereotypical Beat Group sound, leaning a little too close to Freddie & The Dreamers. Still at the time, the wait was so long (almost six months – then a lifetime), that all it’s Mersey leanings were forgiven once a copy arrived from my cousin Anne in London.
Listen: Baby Jane / The Applejacks ApplejacksBabyJane.mp3
The real surprise was ‘Baby Jane’, it’s B side. More loud and bluesy, this was closer to The Spencer Davis Group or The Downliner’s Sect than any of their eventual tracks. ‘Baby Jane’ is also one of the first released songs from writers Pete Dello and Ray Cane, who would eventually form The Honeybus, so it’s historical value is quite high. I like to think this was indicative of The Applejacks live. Can you imagine how fun that would have been to see?
Listen: Three Little Words (I Love You) / The Applejacks ApplejacksThree.mp3
Their third single was also the last to make the UK chart (#23). ‘Three Little Words (I Love You)’ also became their finalt US release, for some reason retitled ‘I’m Gonna Send My Love (Three Little Words)’. Megan was a pretty swinging bassist, you’ll notice her carrying this one along too. The single came into the radio station, I recall seeing on the counter, but not in my stack of weekly rock discards, which would clearly have been headed for the rubbish bin until God put me on earth to save them all. I learned then and there to ask and you will recieve.
Listen: Bye Bye Girl / The Applejacks ApplejacksByeBye.mp3
1965′s ‘Bye Bye Girl’, like ‘Baby Jane’, has a slightly heavier, early Moody Blues slant that I much preferred to their often Liverpool sounding tracks. By now, cousin Anne was well trained in grabbing The Applejacks’ 7′s week of release. She in turn, wanted The Mamas & The Papas’ singles. No problem. They were everywhere. A more than fair trade.
Listen: It’s Not A Game Any More / The Applejacks ApplejacksGame.mp3
B side, ‘It’s Not A Game Any More’, was another early Pete Dello song. Clearly still finding his footing, practising you could say, on The Applejacks, there are a few signature Pete Dello twists and turns here – if you know his work, they’re easy to spot.
There are those who insist the album was never released in North America. Proof above otherwise. A cherished item.
Posted in Decca, Freddie & The Dreamers, London Records, Megan Davies, Pete Dello, Ray Davies, Smith's Records, The Applejacks, The Honeybus, The Mamas & The Papas, The Moody Blues, Walt's Records, WMCR |
December 9th, 2009
Listen: Typical Girls / The Slits SlitsTypical.mp3
Did testing one’s musical tolerance begin in the 60′s via prog rock, or was it an on going process starting with jazz in the 50′s? It certainly hit full swing by the late 70′s. When art met punk, the first requirement seemed to be an inability to play. But the resulting cringe factor was admittedly addicting. There were a bunch of labels that bent over backwards to like the unlikeable, and then it started to spill to the majors.
I ended up being sucked into The Slits despite my intensions otherwise. A strong image, great sense of reggae/dub, spot-on producer choice (Dennis Bovell) and top packaging helped launch their Island period (about a year in length) during ’79. After all, they were the new GTO’s in my book, but to others, it all hid behind No Wave or some such genre.
Most of the plays I give ‘Typical Girls’ still result in a second spin, or lead me on to a couple of other tracks.
Listen: Man Next Door / The Slits SlitsManNextDoor.mp3
How does anyone resist a cover of John Holt’s classic ‘Man Next Door’. I love the original. I love Massive Attack’s and I love this.
Listen: Earthbeat / The Slits SlitsEarthbeat.mp3
Then there’s always ‘Earthbeat’, their fourth single. Have to say, I basically preferred this one. By now they’d absorbed the studio tricks Dennis Bovell had passed along, and working with Nick Launay and Dick O’Dell as producers, seemed to have replicated themselves successfully. It was a time when they were almost mainstream, and could’ve had a hit. After all, John Peel favorites like Killing Joke and The Fall were finding their way into the UK singles charts. Howard Thompson signed this to CBS, if corporate proof is needed of that possibility.
Listen: Earthdub / The Slits SlitsEarthdub.mp3
Definitely search out the 12″, as the B side, dub version, ‘Earthdub’, is worth owning.
Posted in Antilles, CBS, Dennis Bovell, Dick O'Dell, Howard Thompson, Island, John Peel, Killing Joke, Massive Attack, Nick Launay, No Wave, The Fall, The GTO's, The Slits, Y |
December 7th, 2009
Listen: Into The Valley / The Skids SkidsValley.mp3
It baffles to this day, how ‘Into The Valley’ never even got a US release. Sure it wasn’t going to get a fair shake at American radio, but if that were the criteria, we’d have a backlog of unused vinyl, enough to fill the Great Lakes. Virgin was releasing plenty of other records of much less likely potential then as well. Whatever, such a great single. They had several, but none to top this. Not for me.
Their trademark sound didn’t take long to prove it’s worth in The States, once leader Stuart Adamsom formed Big Country. Now I did hear Matt Pinfield play ‘In A Big Country’ the other day and it sounded great.
Posted in Big Country, Matt Pinfield, Stuart Adamson, The Skids, Virgin |
December 5th, 2009
Listen: You Can’t Sit Down / The Dovells DovellsCantSit.mp3
I may be wrong, but ‘You Can’t Sit Down’ seems to mix doo wop with hully gully and jitterbug rock, if there are such things. Preceding the English Invasion revolution, this sound was about to be exterminated. Still, during it’s brief moment, it was raucous and rocking.
In a previous post about The Vogues a few days back, I referred to Len Berry as having been a member. Wrong. Thanks to Chris Miller for catching my mistake. He indeed was with The Dovells, eventually going solo and having some hits. Everyone loves ’1-2-3′. Despite making the creative step forward, he was determined to keep that DA hairdo during the height of mop top. Too bad, even Lou Christie and Brian Hyland had loosened up.
Posted in Brian Hyland, Cameo Parkway, Chris Miller, Decca, Len Berry, Lou Chrisite, The Dovells, The Vogues |
December 4th, 2009
Listen: You’re The One / The Vogues VoguesYoure.mp3
One of the member’s vocal style bordered on yodeling and these guys looked not unlike The Four Seasons or The Righteous Brothers aka dreadful. But the early singles: hands down greatness. It’s hard to pick a favorite, as both ‘Five O’ Clock World’ and ‘In The Land Of Milk And Honey’ are close runners up, but I’m going with ‘You’re The One’.
The Vogues eventually moved to Reprise where the schmaltz sound and image got….worse. Suddenly they were more like The Letterman than ever before, although I can admit it, ‘Turn Around, Look At Me’ is an occasional guilty pleasure.
Posted in London American, Reprise, The Four Seasons, The Letterman, The Righteous Brothers, The Vogues |
December 3rd, 2009
Listen: Helpless / Kim Weston KimWestonHelpless.mp3
She made two of the greatest records ever. This and ‘It Takes Two’. Like Mary Wells, Tammi Terrell and Florence Ballard, she was, from time to time, my Motown Goddess. I can replay her performance of this on SHINDIG like it was yesterday. Even though the program was black and white, I remember it in color, I guess because I wanted to.
Posted in Florence Ballard, Kim Weston, Mary Wells, Motown, Northern Soul, Shindig, Tamla, Tammi Terrell |
December 2nd, 2009
Listen: Mighty Mighty / Earth Wind & Fire EWFMighty.mp3
During the summer of ’74 – summer ’75, I worked at Discount Records, then a northeastern chain, owned by CBS, and heavily stocked in catalog. Most record shops in those days carried lots of….records. This was a time when all the excitement happened right there in the store as opposed any of the other shops competing for the youth dollar.
Today it’s known as an Apple Store. Both had genius bars, well no, that’s a lie. Record shops had counters populated by genius record experts. Same difference.
There were a couple of co-workers who relentlessly hogged the turntable, seemingly for the sole purpose of playing Earth Wind & Fire’s newest album, OPEN OUR EYES. I cringed at it’s polish having preferred their previous two Warner Brothers albums. They were way less refined and more street dirty. After all, leader Maurice White had started his professional career in ’69 as a session drummer at Chess, eventually joining The Ramsey Lewis Trio. Then something happened, literally in mid song, I realized I absolutely loved ‘Mighty Mighty’. It was the last track on one of the sides as I recall, and had just been released as a single. How perfect. It’s been a staple ever since.
Listen: Drum Song / Earth Wind & Fire EWFDrum.mp3
So once my guard was down, I started noticing a bunch of things in there, like LA’s latin sound, which War had coined a year or two prior, sentimentally grabbing my attention via a first visit in ’73. Plus new to me, African beats. Miriam Makeba’s ‘Pata Pata’, shockingly a pop hit several years earlier, was my only exposure at that point. B side of ‘Mighty Mighty’ and album track, ‘Drum Song’ became a favorite even. I was officially a fan.
Listen: Kalimba Story / Earth Wind & Fire EWFKalimba.mp3
Was I happy when ‘Kalimba Story’ was released as a 7″. It was almost too good to be true, being my other favorite from the album. I’ve noticed kalimba on every record they’ve ever made, at least all the ones I know.
Listen: Sun Goddess / Ramsey Lewis And Earth Wind & Fire EWFSunGoddess.mp3
Full circle to ’75, when Maurice White reunites with Ramsey Lewis to record what would become a #1 Urban classic. These guys had really hit their stride.
Posted in CBS, Chess, Columbia, Earth Wind & Fire, Maurice White, Miriam Makeba, Ramsey Lewis, War, Warner Brothers |
December 1st, 2009
Listen: Big Yellow Taxi / Joni Mitchell JoniBigYellowTaxi.mp3
When it came to folk, I stuck to the UK stuff. Even then, it was never high on my list. I did have a mad patch for Fairport Convention, especially around the time of FULL HOUSE and ANGEL DELIGHT. Plus there were moments when Lindisfarne or The Incredible String Band topped the list. As for the North American stuff, not so much. Songs here or there.
Warner Brothers started doing these double album samplers for $2 (including postage) around 1968, showcasing the spectrum of their varied roster. They had most of the good progressive acts, and one of the four sides was always skewed toward folk, including the likes of Pearls Before Swine, Tom Northcott, The Pentangle or Joni Mitchell. Often the songs were album tracks, but on this one occasion, ‘Big Yellow Taxi’ ended up a single. Despite my ambivalence toward female singer/songwriter voices in general (Joan Armatrading and Phranc excluded), I developed an unlikely attraction for Joni Mitchell’s. Her forays into other musical styles worked fine, better even, in my book.
Listen: Raised On Robbery / Joni Mitchell JoniRaisedOnRobbery.mp3
COURT AND SPARK was one of those albums that everyone loved. Like Carole King’s TAPESTRY, it was hard to find a non-believer. As a career step, she took that big one forward, proving her future would be long and respected. The album may be flawless.
‘Raised On Robbery’ got a lot of album rock play, but not much Top 40. Perfect. It proved her depth at a time when full length sales meant way more than the single. It was almost jazzy, who knew then it’s dixieland leanings would play out down the road as she took on Charles Mingus?
Listen: Help Me / Joni Mitchell JoniMitchellHelpMe.mp3
COURT AND SPARK gained such traction, and sold so well, there was no choice but for Top 40 to play the next single. ‘Help Me’ always sounded good over the air. I don’t believe I switched it off once. Deservedly, it climbed to #7 and became a staple for years.
Listen: Free Man In Paris / Joni Mitchell JoniParis.mp3
One night in the late 60′s both Joni Mitchell and Judy Collins played shows in Syracuse – at different venues. What were the promoters thinking? ‘Both Sides Now’, written by Joni and then a hit for Judy, lured me to attend the latter’s. I would say “mistake’, but to be fair, Judy Collins was great that night, mentioning her good friend was across town and thanking her for the hit.
Posted in Asylum, Carole King, Charles Mingus, Fairport Convention, Joan Armatrading, Joni Mitchell, Judy Collins, Lindisfarne, Pearls Before Swine, Phranc, Reprise, The Incredible String Band, The Pentangle, Tom Northcott, Warner Brothers |
November 30th, 2009
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.
Posted in Darlene Love, Duane Eddy, Jamie, Lee Hazelwood, London American, Nancy Sinatra, Phil Spector, RCA, Reprise, Tav Falco's Panther Burns, The Blossoms, The Cramps, The Gun Club, The White Stripes |
November 29th, 2009
Listen: Time Is On My Side / Irma Thomas IrmaTime.mp3
Believe it or not, things moved fast in ’65. Technology being what it was, it’s amazing that records were made in days, while presently, with FTPs galore, they take months – sometimes years.
The English groups were good at finding the latest RnB hits, and non-hits, from The US. In a blink, they’d release their own version introducing an insatiable white youth culture to music that was literally down the aisle from them at the local record shop. ‘Time Is On My Side’, with all due respects, was a great call on The Rolling Stones’ part. It was hidden on the B side of Irma Thomas’ ‘Anyone Who Knows What Love is (Will Understand)’, which peaked at #54 in the Billboard Top 100 on July 4. 1964.
Listen: Time Is On My Side / The Rolling Stones StonesTime.mp3
By October of that year, The Rolling Stones’ word for word, inflection for inflection, rendition (I’ve posted the actual single version above, which starts with organ instead of the guitar) was climbing to an eventual #6, their first US Top 10. Some say they stole her hit. I don’t agree. It was never going to get heard by a white teenage audience, or even liked by them most probably. To begin with, it was a B side. Still, as with Bessie Banks’ original of ‘Go Now’, the raw soul of it is hard not to love.
Posted in Bessie Banks, Imperial, Irma Thomas, Liberty, London Records, The Rolling Stones |
November 27th, 2009
Listen: Invaders Must Die / The ProdigyProdigyInvaders.mp3
I heard this a few months back on Radio 1. Don’t ever dismiss a seminal act, they all go through if-y patches. So is the case with The Prodigy. For whatever reasons, all of their original label partners (XL, Elektra, Maverick) decided to throw them on the scrapheap. Well from the outside looking in that’s what seemed to happen at least.
Suddenly, the band was signing to Cooking Vinyl, an unlikey fit. Out comes the new album, from which
‘Invaders Must Die’ is from – and bang – straight to #1 in The UK. And man did this jump out of the radio and deserve such a result.
Posted in Cooking Vinyl, Elektra, Maverick, The Prodigy, XL |
November 22nd, 2009
Listen: Africa / Rico RicoAfrica.mp3
Listen: Afro-Dub / Rico RicoAfroDub.mp3
The last two weeks of March ’77 were pretty amazing. Corinne and I went to England together for the first time, bought into one of those airfare/hotel packages that landed us at a very low rent lodging near King’s Cross. Even today, it’s not the most upscale of areas, but then – forget it. NOTHING was open past 11pm. By day, there was a nearby, old style cafe serving traditional English fry ups for breakfast, and a cornershop or two with loads of Cadburys, bottles of industrial strength, just-add-water orange drink, greasy cornish pastries and battenburg cakes. It drizzled the whole two weeks, and was cold. There was no room service and the TV went off around 12:30. All the other Americans in our traveling group hated the place. We, on the other hand, were in paradise.
Howard Thompson and I had become fast friends the previous fall, a mutual bonding over Eddie & The Hot Rods, who he’d signed to Island. Every day and night in London was spent with him. We went to every club, every show that mattered, and got to hang out at Island. Just off the canteen in the back was the Island studio, which on one particular day, Rico and his band were rehearsing in. MAN FROM WARIEKA had just come out. All the punk fans loved reggae as well, we were no different. And Corinne really loved it. We sat mesmerized watching these guys. The room was thick with pot smoke, they were on fire and we were in England.
The first thing Howard handed me on our initial visit to his office at 22 St. Peters Square was this single. Even more than a great record, it’s a time travel back to two weeks of every kind of bliss imaginable.
Posted in Eddie & The Hot Rods, Howard Thompson, Island, Rico |
