October 15th, 2009
Listen: Benedictus /The Strawbs StrawbsBenedictus.mp3
I heard ‘Benedictus’ on my local Top 40 station, once, in the middle of the afternoon. It was WNDR, the tight playlisted one as well. Huh? It sounded so out of place – and indeed pretty great. In the mix of then current nastiness, like Three Dog Night and Jim Croce, it made me believe there might be hope for the radio again, for a good couple of months even. Not so. As much as I tried to catch it once more at least, I never did. And I could not find the single – no surprise. I’d seen The Strawbs’ albums in stores, and despite my then soft spot for English folk, I never did spring for one, until now. I had to have this song. Years later I found the above promo. Probably not all that rare, so if you see one, get it.
Listen: Lay Down / The Strawbs StrawbsLayDown.mp3
‘Lay Down’ was starting to indicate these guys just might be churning out some great 7′s consistantly. By now I was nicely ensconced at my college radio station, where everyone only wanted to play, and steal, albums, so the singles were a free for all. A&M would send out stock copies often instead of promos, and I was so happy when one arrived. Released simultaneously in the UK, where it reached #12, meant I had it before I even had to worry about getting it. I was jonesing to live in England by this point. To walk around the house or drive in the car and be able to hear this stuff on the radio – enough reason to figure out a way to get there. That was around the corner.
Listen: Part Of The Union / The Strawbs StrawbsUnion.mp3
“Part Of The Union’ might be one of those songs that folks in the UK still cringe at, simply because it was played everywhere, forever. A #2 in early ’73, it was still a pub singalong by that summer, when I finally made my way to London. Like Jeff Beck’s ‘Hi Ho Silver Lining’, I never did tire of it.
Just a few months prior, in April, I had to make a torturous decision. The Pretty Things and The Strawbs were playing the same night, at different venues. How fucked up was this? I chose The Pretty Things. Til this day, I have never seen The Strawbs.
Posted in A&M, Jeff Beck, Jim Croce, The Pretty Things, The Strawbs, Three Dog Night, WNDR |
October 11th, 2009
Listen: Havana Anna / The Crocheted Doughnut Ring CrotchedHavanaUKA.mp3
Listen: Happy Castle / The Crocheted Doughnut Ring CrotchedHappyCastle.mp3
Sometimes the great thing about a truly obscure band, one where none of the members went on to bigger fame and success, is just that. You get to keep them as a limited edition, private pleasure. Having changed their name and label in ’67 to fit in with the currant craze, psychedelia, I’m glad to report – or sadly for the fellows I suppose – they kept their obscurity intact despite a nice production from Peter Eden. Sounding similar to Decca’s Toby Twirl (that’s a good thing), they’re honorary members of CHOCOLATE SOUP type collections these days.
Listen: Gee Too Tiger / The Force Five ForceFiveGeeToo.mp3
Before their new found sound, label and name, most of them soldiered forward initially as The Force Five, recording five echo drenched RnB styled singles, this one actually getting a US release. A must for every decent collection, it clearly had high hopes of sitting beside singles from The Yardbirds and The Pretty Things, I’m guessing.
Posted in Ascot, Decca, Deram, Peter Eden, The Crocheted Doughnut Ring, The Force Five, The Pretty Things, The Yardbirds, Toby Twirl |
October 9th, 2009
Listen: Birds And Bees / Warm Sounds WarmSoundsBirds.mp3
In May ’67, my Mom went off to Ireland to visit her sister for a few weeks, armed with my 45 want list. She came back with some life-changers (see my post from October 7th, 2008 titled: The Move / The Who / The Small Faces / The Cream). An added unexpected bonus were two pull-out Top 50 charts from RECORD RETAILER, the UK equivalent of BILLBOARD. If I could scan them for you, I would. They’re too large, purposely made to hang on your shop’s wall so kids can easily identify their purchases. Sliding gently back from a #26 peak (to #27, then #28) was ‘Birds And Bees’ by Warm Sounds. It was on Deram. It had to be good.
The psychedelic summer of ’67 was just about to happen, and the great music that would define it was in full tsunami mode. Every week handfuls of ‘must hears’ were arriving in stores, at the radio stations and in trade magazine listings.
Before I could even worry about it, one of my local Top 40′s, WNDR, was playing ‘Birds And Bees’ (see chart below). Occasionally, they or the more loosely programmed, UK and garage band leaning WOLF, would add a gem that never went on to national success. Unlike WOLF, WNDR wouldn’t stick with them too long, but at least we’d have a chance to get a taste – and usually one of the local shops (Walt’s Records in particular) would stock 5 or 10 copies. You had to move quick to secure one though, there was fierce competition amongst us sickos.
Despite it’s rather mainstream pop leanings, it was undeniably English on first listen, the string breakdowns were perfectly LSD’d out, and the lyrics, so blatant (“don’t be afraid, come with me please, that’s all there is to the birds and the bees”).
I was in. Yet how did the program director not notice those lyrics?
Posted in Billboard, Deram, Record Retailer, Walt's Records, Warm Sounds, WNDR, WOLF |
October 6th, 2009
Listen: What Am I Living For / Mark – Almond MarkAlmondWhatAmILiving.mp3
Listen: The City / Mark – Almond MarkAlmondTheCity.mp3
I was lucky enough to see one of the early shows John Mayall did in support of his then brand new album TURNING POINT, basically himself, Jon Mark, Johnny Almond and Steven Thompson. A fantastic drumless lineup – so different at the time. If you have the album, well the live show was exactly the same. A perfect evening.
Always on the move musically, John Mayall soon reinvented himself, possibly due to the formation of Mark – Almond. They too, were a super good act live. Several of the songs from their first two albums on Bob Krasnow’s Blue Thumb label were progressive radio staples, including ‘The City’. It was frankly shocking to hear it on a JetBlue flight recently via their Sirius radio feed. It had been years since that came out of any radio. Got to hand it to Sirius, they play a lot of great stuff.
Learn something everyday: I was completely sure ‘What Am I Living For’ had charted, even peaking in 30′s/40′s on Billboard’s Top 100. Not so. Never even entered. I heard it often as a current during the summer of ’72. It was a high point of the live show as well.
Mark – Almond double billed often with plain and simple guitar bands during their 4-5 year run. Despite the company, every audience listened and appreciated their undeniable musical superiority. Jon Mark, the consummate acoustic, 12 string player, with Johnny Almond at his side, swaying to the music, eyes closed. His seemingly euphoric state took up almost as much stage time as his playing, which by the way, was superb.
Listen: Solar Level / Johnny Almond Music Machine JohnnyAlmond.mp3
Prior to the John Mayall association and subsequent Mark – Almond period, Johnny Almond made a few albums for Deram’s jazz leaning long player roster (along with the likes of Henry Lowther, The John Cameron Quartet and The Mike Westbrook Orchestra). All highly desirable now, primarily for their sampling potentials, it’s interesting to think that the label would actually release singles from said endeavors, which even more oddly, I ended up liking a lot.
Listen: Night Comes Down / Jon-Mark JonMarkNightComes.mp3
Jon Mark, in fact, started years earlier, playing guitar on various Marianne Faithfull singles, like ‘Come And Stay With Me’ and ‘Summer Nights’. It was during that period (’65) that he too recorded a version of the Shel Talmy written ‘Night Comes Down’, which I post a few days back by The Mickey Finn in a much more psychedelicized style.
Posted in Blue Thumb, Bob Krasnow, Columbia, Deram, Henry Lowther, Joe Cocker & The Grease Band, John Mayall, Johnny Almond Music Machine, Jon-Mark, Marianne Faithfull, Mark - Almond, Shel Talmy, Sirius, The John Cameron Quartet, The Mickey Finn, The Mike Westbrook Orchestra |
October 5th, 2009
Listen: The End Of The World / Skeeter Davis SkeeterEnd.mp3
Listen: He Says The Same Things To Me / Skeeter Davis SkeeterSaysSame.mp3
Can you believe these records were originally considered country instead of pop? Even though they made the Billboard Top 100 (‘End Of The World’ #2 in ’63, ‘He Says The Same Things To Me’ #47 in ’64), being produced by Chet Atkins probably meant Skeeter Davis and her releases were always found in the country section at the stores. Now sounding way more like early Blondie than Kitty Wells, I’m pretty sure the double tracked vocals were exclusive to country productions at the time. Check any Loretta Lynn, Dottie West or Patsy Cline single if you feel the need to verify that bit. Despite her record store geographical placement, she was certainly a successful crossover act, as I clearly remember both of these singles being played on my local Top 40′s.
Listen: The End Of The World / Personal Effects PersonalEffectsEnd.mp3
Years later, indie bands were unearthing great singles from, in the 70′s, only ten or so years prior. A lost art these days, but then hearing a favorite band pulling out an old gem and recording it was not unlike a DJ doing a slamming set, littered with snippets of classics, in a club come the late ’90′s.
A 7″ single that should have been, Personal Effects’ version of ‘The End Of The World’ was one Roger McCall and I played a lot on WCMF around ’84, back when we did what would be referred to nowadays as a ‘specialty show’. Not one to toss anything related to records, I found the above flyer inside the album THIS IS IT, from which the track comes. And given that it’s promo only, I definitely saved it.
Posted in Billboard, Blondie, Chet Atkins, Dottie West, Kitty Wells, Loretta Lynn, Patsy Cline, Personal Effects, RCA, Roger McCall, Skeeter Davis, WCMF |
October 1st, 2009
Listen: Night Comes Down / The Mickey Finn MickeyFinnNight.mp3
Often confused with the bongo player from T. Rex, this is actually a band, not that person. The Mickey Finn’s career highpoint, according to most, was a two single association with producer Shel Talmy. And if you want to have your heart freeze for kicks, check out his discography.
Out of that came ‘Night Comes Down’ / ‘This Sporting Life’, their only US release via World Artists. Seems Shel Talmy had some juice there, having produced a few big hits for Chad & Jeremy. Although not listed on the above discography, I do believe he also produced The Moments version of Ray Davies’ ‘You Really Got Me’ for the label. The Moments were Steve Marriott’s first band, predating The Small Faces. That single, as with The Mickey Finn release, are stupid rare, making them very fun items to have and hold.
I got an unsolicited call from Shel Talmy many years back, I think when I was either at Elektra or Island. He had moved to LA, and was looking for work, still in that has-been stretch, not yet having graduated to legend status. I foolishly didn’t follow up, not necessarily with getting him some work, but neither forging a friendship, something I do regret.
Listen: I Do Love You / The Mickey Finn MickeyFinnIDoLove.mp3
Of lesser notoriaty is the band’s ’66 single “I Do Love You’. And I’m not sure why. Even amongst those who live for all things underrated, this is very underrated. It starts out noticeably similar to ‘Heart Trouble’ by The Eyes Of Blue, and then proceeds to a perfect groove a la The Foundations. I’d give anything to know how many copies would have been pressed of a single like this.
Posted in Chad & Jeremy, Elektra, Island, Jimmy Page, Polydor, Ray Davies, Shel Talmy, Steve Marriott, T. Rex, The Eyes Of Blue, The Foundations, The Mickey Finn, The Moments, The Small Faces, World Artists |
September 29th, 2009
Listen: A Young Girl / Noel Harrison
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Everyone was drawn to teenage death records, it wasn’t just me. They would even get radio play and chart on BILLBOARD. ‘A Young Girl’ did just that (US #51 in ’66), and got played heavily on my local Top 40, WNDR. Possibly helped onto the airwaves by his role in NBC’s The Girl From U.N.C.L.E., one of many b&w spy/comedies of the mid 60′s, or his famous Dad, Noel Harrison’s English adaptation of this Charles Aznavour song indeed still sounded both very French and rather menacing. If you told me The Pet Shop Boys were influenced by it, I’d believe you.
It was an ear catching song to hear on the radio in the day and has become a perfect period piece, frozen in time while simultaneously disappearing into the black hole of never-to-be-airplayed-again records.
Posted in Billboard, Charles Aznavour, Decca, Giles Peterson, London Records, Noel Harrison, Talkin' Loud, The Girl From U.N.C.L.E., The Pet Shop Boys, WNDR |
September 28th, 2009
Listen: Everybody Plays The Fool / The Main Ingredient MainIngEverybody.mp3
I think there were some redeeming moments out of many seemingly formula soul acts, I guess you’d call them, in the early 70′s. They appeared pretty faceless to me then: The Chi-lites, The Dramatics, New Birth. I was very put off by the decade’s version of 60′s Motown fashion, by then having evolved into leisure suits of questionable pastel colors. On further investigation, there were some great singles in there.
I overlooked the image straight away when it came to The Main Ingredient. I mean the sleeves to their albums were almost psychedelic, some designs resembling Hypnosis. I doubt it was intentional, but those albums helped plant the acid jazz seed that years later dj’s like Giles Peterson and and labels such as Talkin’ Loud would coin.
‘Everybody Plays The Fool’ got and, still deservingly, gets heard. I never switch it off.
Posted in Giles Peterson, Hypnosis, New Birth, RCA, Talkin' Loud, The Chi-lites, The Dramatics, The Main Ingredient |
September 23rd, 2009
Listen: Teach Me Tiger / April Stevens AprilStevens.mp3
Listen: Teach Me Tiger – 1965 / April Stevens AprilStevens65.mp3
Doing her best Marilyn Monroe imitation, ‘Teach Me Tiger’ was too suggestive for 1958 programmers, resulting in little airplay and just making it to #86 on Billboard’s Top 100.
Not content, possibly renewed confidence took over after going to #1 with brother Nino Tempo via their rendition of ‘Deep Purple’ in ’63. April attempted another stab at ‘Teach Me Tiger’ with new label partner, Atco. ‘Teach Me Tiger – 1965′ starts with a rather awkward ‘Leader Of The Pack’ style intro, otherwise you’d swear it was the exact same version as the original. I had no idea this one existed until stumbling on it a few years back in a stack of promos at a garage sale. Still, what a fantastic track either way.
Why doesn’t anyone make singles like this nowadays? Shouldn’t someone like Duffy take a swing at this kind of camp?
And to think, she was from Niagara Falls.
Posted in April Stevens, Atco, Billboard, Duffy, Imperial, Marilyn Monroe, Nino Tempo |
September 22nd, 2009
Listen: Three Cigarettes In An Ashtray / Patsy Cline PatsyCline3Cigarettes.mp3
Listen: Three Cigarettes In An Ashtray / k.d. lang kdlang3Cigarette.mp3
It’s hard to believe that during her lifetime, Patsy Cline released 24 singles, with only one reaching Billboard’s US Top 10 Pop chart. A half dozen others did pretty well, but sadly she never saw that legendary star rise during her days on earth. ‘Three Cigarettes In An Ashtray’ always seemed like a standard, a well known smash, a hit. But it wasn’t. Never even made the Top 100.
Just as Patsy Cline belted out the final few song lyrics, so too did k.d. lang.
I’ll never forget being totally floored when she did this at The Beacon Theater, back in 1988, during the ANGEL WITH A LARIET tour. ‘Crying’ was an expected showstopper, yet somehow, this one surprised everyone even more. No one was ready. Corinne and I left there numb. This live UK B side gives you an accurate replica as to why.
Posted in Decca, k. d. lang, Patsy Cline, Sire |
September 21st, 2009
Listen: It Takes Two / Marvin Gaye & Kim Weston MarvinTammi.mp3
I don’t believe the general public hears this one enough. Seems to have slipped through the fingers of time. If I ever hear Marvin Gaye’s duets with Tammi Terrell (‘Ain’t No Mountain High Enough’, ‘Ain’t Nothing Lie The Real Thing’) again on stale, tired US Oldies radio, I think I’ll puke. I’m betting Sirius gives this one a spin occasionally though. Now don’t get me wrong, I love Tammi Terrell, but I really love Kim Weston. She had swagger and I had the hots for her as a teenager, saw her on one of those Dick Clark ‘Caravan Of Stars’ tour packages.
‘It Takes Two’ is also an oddly hard single to find, considering it reached #14 Pop in ’67. Hard to find in good condition that is. I didn’t pick it up on release, and only found a fairly clean copy a year or so back. Now one of my jukebox staples, I spent the day just hanging around the house, filing stacks of singles I picked up during the past two weeks busing around the States with Matt & Kim, playing it incessantly, pressing B9 every time I passed my trusty Seeburg.
Posted in Dick Clark, Kim Weston, Marvin Gaye, Matt & Kim, Motown, Seeburg, Tamla, Tammi Terrell |
September 16th, 2009
Listen: Teacher Teacher / Rockpile RockpileTeacher.mp3
A hybrid version of Dave Edmunds’ Rockpile from 1970. Actually, Dave Edmunds had just broken up Love Sculpture and John Williams, that band’s bassist, came along to play on his solo album, which was preceded by, and also included, the single ‘I Hear You Knocking’. That single in the UK credits the artist as Dave Edmunds’ Rockpile, yet in the US, as with the UK and US album, it’s simply credited to Dave Edmunds. Add to that, Terry Williams (no relation to John) plays drums on the aforementioned recordings.
Ten years later, Terry is still playing with Dave and now, Nick Lowe is as well; and their band is called Rockpile. Confused? Then re-read the above.
Well this was probably their biggest hit, and despite the proven pop songwriting talents of both Nick Lowe and Dave Edmunds, ‘Teacher Teacher’ was actually written by Eddie Phillips and Kenny Pickett, flawless higher forms of life behind The Creation, as both members and songwriters. Glad to know they earned some money in the end. They sure could write a tune.
Posted in Columbia, Dave Edmunds, Eddie Phillips, Kenny Pickett, Love Sculpture, Nick Lowe, Rockpile, The Creation |
September 15th, 2009
Listen: Ruby / Kaiser Chiefs KaiserChiefsRuby.mp3
One of the best UK singles from this millennium, no lie. The background vocals are lifted, or influenced, beautifully from The Creation. Whether by design or simply by growing up hearing all but formula AOR music on the radio – it doesn’t matter. Great call.
I picture it here, even though I despise colored vinyl. I mean, seriously, I really hate it. Add to that, a sticker on the outside plastic sleeve (above top) affixed crooked. Makes my skin crawl. Records should be as God made them, black. But if it’s the only way to get a 7″ of ‘Ruby’, I will adjust. There’s always Lexapro.
Drummer Nick had the best haircut in rock, identical to Andy Bown’s of The Herd until this recent US tour. Not to worry, it should grow back fine. Turns out we know each other from years ago, when I signed Overseer to Columbia. Nick worked at the studio in Leeds where the album was made, and shared a house with Rob Overseer as well. Small world.
And I must say, nicer guys you won’t meet.
Posted in Andy Bown, Columbia, Kaiser Chiefs, Overseer, The Creation, The Herd |
September 14th, 2009
Listen: Get Down / Gilbert O’ Sullivan GilbertGetDown.mp3
One of the enthralling things about the music business: your luck can change on a dime. That of course can be good and bad. But hey, life’s a crap shoot so may as well drive in the fast lane.
Type cast as a ballad/soft pop staple, Gilbert O’ Sullivan’s luck changed when he took a chance and basically rock and rolled out. I remember this one getting rock radio play. Suddenly he was cool. Well, after all, he was on MAM, London’s imprint famous for Dave Edmunds’ Rockpile. So by my standards, he already had an out of jail free card. The electric piano made for a nice groove, almost Stevie Wonder-ish. Years later, Ben Folds Five could pull this out and make it work.
One of life’s guilty pleasures.
Posted in Ben Folds Five, Decca, Gilbert O 'Sullivan, MAM, Stevie Wonder |
September 13th, 2009
Listen: Caught In A Dream / Alice Cooper AliceCooperCaught.mp3
I became pretty friendly with a couple of Syracuse University students, Fred Perry and Harry Fagenbaum, via their Sunday evening late night show on WAER, the student run radio station. It was as much a case of me finding them as them finding me.
I couldn’t sleep, it was late on a very cold Sunday night and despite school beckoning the next morning, I started fiddling with the wireless part of the TV/stereo/radio combination counsel, as much a piece of time period furniture as it was a media center. This was 1968, and I was so desperate to hear the new single by The Move, ‘Fire Brigade’, that I actually believed I’d find it on some far away radio station, beaming it’s way to me back when late night signals bounced to unlikely places. Lo and behold, I found my first ever college radio station, and was stunned. These two guys were playing some fantastic music: Ten Years After, John Mayall’s Bluesbreaker and The Kinks. I could not believe my luck.
Twenty minutes into the bliss, onto the air comes ‘Fire Brigade’ by The Move. Holy fucking shit. It was like I was possessed or something. Having tossed and turned, feeling frustrated to be growing up in a town and country where the radio stunk, I get out of bed and find what I was looking for. I know you’re thinking this is being exaggerated to make for better copy, but I swear, it’s true. Yes, be careful what you wish – it can be a little unsettling when it comes true.
So I made a low volume, long distance call to these DJ’s. Not only had I found a weekly oasis for my musical desires, they’d finally found a listener who wanted to hear the stuff. We agreed to meet up and talk English groups.
A year or so later, Harry became the Warner Brothers college rep, and would occasionally let me troll through his trunk full of promos, not anywhere near as often as I wanted, or as often as I’d have let him had the situation been reversed. Still, I was appreciative for the high.
One of those Saturday trunk scores included white label promos by Deep Purple ‘Strange Kind Of Woman’, John & Beverly Martyn ‘Road To Ruin’ and Alice Cooper ‘Caught In A Dream’, back when the name of the band, not the guy, was Alice Cooper. The Zappa partnership still seamed strong, with the WB label prominently including Frank’s Straight logo. Lots of good singles from Alice Cooper were still to come, but I think this one remains their best.
Posted in Alice Cooper, Deep Purple, Frank Zappa, Fred Perry, Harry Fagenbaum, John & Beverly Martyn, John Mayall's Bluesbreakers, Straight Records, Ten Years After, The Kinks, The Move, WAER, Warner Brothers |
September 12th, 2009
Listen: The Doctor / The Doobie Brothers DoobieBrothersDoctor.mp3
It rocks, as they say, with clinical precision. Not sure why this became such a favorite of mine. I don’t think any of my friends ever believed I was being serious. The Doobie Brothers represented the type of band and music that we all labelled ‘enemy’, as un-English as you could get. One can only imagine how much the band enjoyed hearing this final mix playback through big studio speakers.
Not unlike the occasional Journey, Heart or REO Speedwagon track, I still play this often.
Posted in Capitol, Heart, Journey, REO Speedwagon, The Doobie Brothers |
September 11th, 2009
Listen: Wham / Lonnie Mack LonnieMackWham.mp3
Listen: Suzie Q / Lonnie Mack LonnieMackSuzie.mp3
Often lumped with Duane Eddy and Link Wray, contemporaries of the day, Lonnie Mack’s musical distinction is the blues as opposed to a rockabilly instrumental slant. Not surprisingly, he’s widely regarded as a ground-breaking rock guitarist, whose artistic impact far outreaches his commercial accomplishments, although he had a few massive records. His first, ‘Memphis’ hit Top 5 in early ’63 on both Billboard’s Pop and RnB charts.
Things were clearly different in those days. It’s not the first time that a record, recorded quickly during some down time, post a proper session, somehow got released without the artist knowing, and ended up a hit – again to said artist’s surprise. Such was apparently the case with ‘Memphis’
‘Wham’, a followup, has significance for (a) being another unlikely instrumental success and (b) for actually describing a sound both unique and original at the time in it’s title. The culprit, a whammy bar, in reality a Bigsby tremelo arm. To further enhance the vibrato on his tunes, Lonnie Mack employed a variant of Robert Ward’s distortion technique, using a 1950s-era tube-fired Magnatone amplifier to produce a ‘rotating, fluttery sound’. Hence, the blues guitar revolution began, at least according to some.
Either way, this is a great double sider. Adults and children alike should own a handful of his 7′s for when the appropriate party moment occurs at one’s home.
I was quite excited back in September ’69 when Lonnie Mack was on the bill at The Fillmore East as main support to headliners Crosby, Stills & Nash. Opening that weekend: The Move. I just sent away for two tickets and announced to my Dad that he was either taking me or I was hitch hiking. Mind you, we lived in Syracuse and NYC was a good 300 miles away. To be honest, this was all about seeing The Move, but planning to stay long enough to gawk at Lonnie Mack and his wire-fire fingers.
Sadly, The Move never did play New York, so I exchanged my seats for another weekend’s triple header: Spirit / The Kinks / The Bonzo Dog Band. A life changing tradeoff, I can assure you.
Posted in Billboard, Creedence Clearwater Revivial, Crosby Stills & Nash, Duane Eddy, Fillmore East, Fraternity, Link Wray, Lonnie Mack, Robert Ward, Spirit, Stateside, The Bonzo Dog Band, The Kinks, The Move |
September 10th, 2009
Listen: Last Date / The Soul Runners SoulRunnersLastDate.mp3
Probably better known for their debut MoSoul single, ‘Grits ‘ N Corn Bread’, this followup doesn’t lean on a great song title to draw attention. To these ears, in fact, it’s Joe Zawinul’s ‘Mercy Mercy Mercy’, despite actually being a Floyd Cramer song. Who was scamming who here?
To thicken the plot, there are conflicting reports that The Soul Runners are actually an early incarnation of Charles Wright & The Watts 103rd Street Rhythm Band, although Charles himself claims otherwise. Regardless, their singles are great grooves, and must haves.
Posted in Charles Wright & the Watts 103rd Street Rhythm Band, Joe Zawinul, MoSoul, The Soul Runners |
September 9th, 2009
Above: Front Cover, Below Back Cover
Listen: Baby Love / The Supremes SupremesBaby.mp3
How many consecutive hits did they have once their amazing chart run began with ‘When The Lovelight Starts Shining Through His Eyes’? Somewhere between twenty and thirty, many after Diana Ross split – as though nothing had changed. It’s pretty hard to tire of those many singles, even the few that are overplayed.
Despite being their first US and UK #1, ‘Baby Love’ is always positioned to be the not quite as successful followup to ‘Where Did Our Love Go’. Hmm, my dime’s on ‘Baby Love’ as the favorite.
Beware, this picture sleeve is getting mighty scarce these days.
And by the way, Flo was the hottest. I have a feeling she was a real good night out.
Posted in Diana Ross, Florence Ballard, Motown, The Supremes |
September 8th, 2009
Listen: Sweep It Out In The Shed / Tobi Lark TobiLark.mp3
This one’s from the latest batch of Kent 7′s, released by parent company Ace Records on a regular basis. Roger Armstrong has kept me up to date on these since single number one. They’re all still shelved together as a series – I’ve yet to have the courage of filing them separately like just about every other single I own.
Hey, this is the third Tobi Lark Kent single to date. In the current world, that’s a configuration privilege reserved for superstar artists. Does Beyonce even get three singles on 7? No.
‘Sweep It Out In The Shed’ was a very favorite from the DETROIT DANCERS comp CD, and it’s an absolute joy to have on a single. Not expecting it made for even more fun when I opened the package. It’s the kind of song someone should have found Aretha back in ’66 during her hitless Columbia streak. Or it could have worked just as perfectly being a Muscle Shoals production had Atlantic made the suggestion a year or so later. But to be honest, I’m glad no one did.
Posted in Ace Records, Aretha Franklin, Beyonce, Columbia, Kent, Muscle Shoals, Roger Armstrong, Tobi Lark |
