January 24th, 2009

Free

Stealer / Free

Stealer / Free

Listen: Stealer / Free FreeStealer.mp3

Travellin In Style / Free

Travellin In Style / Free

Listen: Travellin In Style / Free FreeTravelin.mp3

Free had terrible luck with followups. I’ve always been a bigger fan of the single that came just after the big hit, there are endless examples. Used to say if I loved it – the act was in trouble – at least I know how to read my own barometer.

Free did it twice. ‘All Right Now’ was a monster global hit in May ’70. I still can’t listen to it all these years later – and I love the song. Unfortunately, you couldn’t escape it, almost to the level of ‘Good Vibrations’ or ‘You Can’t Hurry Love’ in being hammered into a negative impression by radio. FIRE AND WATER, the album from which it came, was full of classic Free. The followup long player, HIGHWAY, seemed prime to do even better. It’s a better record too – I still maintain that. ‘Stealer’ was the lead single, and everyone had high hopes. They were selling more tickets than ever, their sound was now signature, with Andy Fraser’s bass strutting the songs forward and Paul Rodgers voice unmistakeable. Even the US label A&M thought it was in the bag, ordering a full color picture sleeve to house the 7″, not common in those days. Then plunk – didn’t even chart in the UK. What a shock. It stalled at #49 here – US radio would never touch them again.

Despite some occasional, and solid UK hits (‘Little Bit Of Love’, ‘My Brother Jake’), it wasn’t until ’73 that Free scored another big rock UK Top 10, this time from their solid HEARTBREAKER album, a bit of a comeback, regrouped, rejuvinated Free. ‘Wishing Well’ was as stormer, and just a perfect bit eerie, reaching #7 in January. One of the many top songs from that LP, ‘Travellin In Style’ was chosen as the followup. It’s loose, bar room sloppiness felt right in the ‘My Brother Jake’ pocket. Oh no, again plunk. Not a blip of sell through. Oddly enough a hard one to find in good shape.

January 23rd, 2009

Scratchmo

Play That Thing / Scratchmo

Listen: Play That Thing / Scratchmo Scratchmo.mp3

Play That Thing / Scratchmo

I still get a kick out of this one-off. I don’t really remember who put it together, but Julian Palmer at Island UK signed/released it – and sent me an advance when I did A&R for the US company. Proceeding to pretty quickly schedule it as a 12″, I think he was shocked. Early mix of mashup and acid house, it all sounds a bit novelty now. Thankfully, Julian released this on 7″ as well as 12″. The Louis Armstrong angle attracted me. I was very in to his aqua kitchen that I’d seen pictures of at the time. Handy for Scratchmo that I was going thru a Satchmo phase.

January 22nd, 2009

The Cliches

Listen: TV Addict / The Cliches ClichesTV.mp3

Listen: Disposable Music / The Cliches ClichesDisposable.mp3

I’m just staying on my rule breaking roll of posting songs that weren’t issued on 7″. Back in the groove tomorrow though, promise – very crazy week here. Unlike the Slade post below, this ‘should’ve been a single’ wasn’t from an LP, it just never came out at all. An upstate band from the late 70′s, innocently influenced by all the records and groups you’ll spot first listen, they couldn’t get anyone to release this – and didn’t have the money themselves. The singer recently sent me these as mp3′s and I had totally forgotten how good they were. The lyrical naivete particularly is of charm. If considered a flaw, then totally made up for in hooks and that great guitar sound. It’s never too late. Just don’t put a photo on the sleeve.

January 21st, 2009

Slade

Do We Still Do It / Slade

Listen: Do We Still Do It / Slade SladeDoWeStill.mp3

I’m breaking my own rule here. The rule: this blog is only about 7″ singles. The rule breaker: ‘Do We Still Do It’, a track so good, so overlooked, so obvious a single. I can’t think of a better one – it’s always topped that list in my head. What was Warner Brothers thinking? At least ‘Do We Still Do It’ opened one side of STOMP YOUR HANDS, CLAP YOUR FEET, even if it was Side Two. This was Slade’s ‘hoping to break thru in The US’ LP. What a surprise, US radio wouldn’t play a band that dressed so colorfully and rocked so crazy. Really sorry about those pathetic US programers everyone. Still embarrassed by them. It took years, but they’re finally putting themselves out of business it seems. I heard today Clear Channel were firing 1500 radio people. Awe, aren’t you sad? Shouldn’t those 1500 stay employed so they can all play and say the same stuff day after day? How unfair, right?

Good riddance! Now flush the overpaid guys who forced the newly unemployed to play that tired stuff in the first place. No one’s listening – what part don’t you get? They say white men can’t dance. Similarly, when it comes to programming good radio, Americans can’t program – only the British can. Get over it.

I’d seen Slade one rainy night in fall ’73 at SUNY Fredonia. Corinne and I braved the back woods road to get to the gymnasium which I recall being pretty full. We elbowed our way right up front. Hey, we considered ourselves UK band fan royalty. I’d just come back from London, and fresh from my job of picking up empty pint glasses at the Marquee. So there.

Well Slade were way more powerful than ever expected. We loved the singles a lot, and the look – glam in general, but holy shit – this was ridiculous. The whole place went beserk. I mean, this had to have happened everywhere. Why didn’t they take off across the country? Baffling.

We left jaws dragging. Well, we didn’t exactly leave – we went to the only motel in town – and in the bar, there was Slade with their manager Chas Chandler. Now this was an unexpected treat. We had pot, they had stories. The next few hours were spent in Noddy’s room, talking to him and Chas (he had been in The Animals and brought Jimi Hendrix to England). All very recounted now, but not then. There was much I wanted him to tell, and he was only too happy in exchange for the good quality joints she was rolling. After a few hours, they were very stoned guys in a two horse town and the only female in sight was my girlfriend. So I figured – time to leave. Nice fellows though and a night to remember forever and ever and ever.

January 20th, 2009

Sonny & Cher

It's The Little Things / Sonny & Cher

Listen: It's The Little Things / Sonny & Cher SonnyCherLittle.mp3

You Better Sit Down Kids / Cher

Listen: You Better Sit Down Kids / Cher CherKids.mp3

Laugh At Me / Sonny

Listen: Laugh At Me / Sonny SonnyLaugh.mp3

Sonny jukebox tab

It’s hard to top ‘I Got You Babe’? Fuck that, ‘It’s The Little Things’ kills it. Splat. I’ve been listening over and over tonight, can’t think of a thing to say – I just keep repeating it. When Cher’s voice cracks at exactly 2:06 on “you’re STILL my guy”, I lose it. They were so in love then – it couldn’t be hidden. Incredible.

Running down a parallel track starting around ’65 was the train known as Cher’s solo career. ‘You Better Sit Down Kids’ was pretty heavy stuff, she even takes on the male role lyrically which always seemed a little off. Despite the song’s message, I still think they were in love though.

One night I was walking past The Bottom Line, the legendary NY club now gone. Out came Sonny with Chastity. Damn if I can remember who was playing that evening. I make a habit of carrying blank jukebox tabs and these are just the moments when I’m happy I do. Sonny was so gracious, and like everyone, and I mean EVERYONE, I have ever asked to fill one out he said “Nobody has ever asked me to do this before”. Neither of us could remember the B side. Chastity and Corinne were of no help.

The real genius behind Sonny & Cher, his tenure on the LA record making circuit with Phil Spector, Leon Russell, Al Kooper etc is now very obvious. He wore it humbly on his sleeve. A real unsung talent.

January 16th, 2009

Sharks

Kung Fu / Sharks

Listen: Kung Fu / Sharks Sharks.mp3

Being an avid fan of British bands during the 60’s and 70’s meant I’d find a way to hear just about everything. Working at college stations and record shops helped immensely. I’d give anything a chance, and having wide tastes allowed me to get excited about a whole slew of things that never got traction, many times despite deserving it. Sharks were a mini super group to us hardened Anglofiles. Andy Fraser from Free seemed at their core – and followers of Free know he was a key member, despite ‘only’ being the bassist. He wrote songs and his playing style was specific. Sharks benefitted from this recognizable strut. Add in Snips, a vocalist with a dash of both Jim Morrison and Paul Rodgers, plus Chris Spedding, a much accomplished guitarist who’d played with all the right people – and you’ve got something of a recipe. The NME and Sounds both anticipated their debut, and so did I. The two albums they made were patchy and there was little fanfare about the live shows. Missed them when they played The US – in fact don’t really recall it, but their bio says otherwise. Nonetheless, this single was a favorite and still is. The lyrics are a touch simple, but that never put me off. Don’t care much about lyrics unless they are particularly quotable. Block them out and just listen to the music – not a problem. The Asian slant was always pretty fun I thought, especially that piano line.

January 16th, 2009

Bette Bright

Hello, I Am Your Heart / Bette Bright

Listen: Hello, I Am Your Heart / Bette Bright BetteBright.mp3

Even in 1980, great singles were still coming out by the handfuls as a result of the renaissance known as Punk. Seems I remember Bette Bright was married to one of Madness or The Specials, or someone connected. No matter, Kate Nash and Lily Allen before there was a Kate Nash or a Lily Allen. No dis toward them, just a coincidental observation with their whole summer festival/reggae bounce styles. Reached #50 in England, surprisingly an under performer. Maybe she couldn’t cut it live – don’t know. She came and went pretty fast. Still a hard one not to love.

January 13th, 2009

The Spencer Davis Group

I'm A Man / The Spencer Davis Group

Listen: I’m A Man / The Spencer Davis Group SpencerDavisMan.mp3

No big story to tell. Just a record I don’t hear enough anymore, despite it being a Top 10 single in the US. Steve Winwood had to have been the envy of all his peers, he really did sound black. As hard as the others tried, only he could pull it off. Want a perfect intro? Here you go. A bass guitar has never sounded better?

January 12th, 2009

Tom Waits

Heartattack And Vine / Tom Waits

Listen: Heartattack And Vine / Tom Waits TomWaitsHeartattack.mp3

Frank's Wild Years / Tom Waits

Frank's Wild Years / Tom Waits

Listen: Frank's Wild Years / Tom Waits TomWaitsFrank.mp3

In the Neighborhood / Tom Waits

In the Neighborhood / Tom Waits

Dilapidated Hollywood motels like the long gone Sunset-Orange, where the vacancy sign’s on/off flicker kept you from sleeping all night (I tried it once), hookers doubling as strippers clothed only in pasties and G strings (check out the sleeve of his SMALL CHANGE album), the hangover after taste of a night in the French Quarter, that grizzly homicide in the Mohave desert near Las Vegas, the freeform delivery of The Last Poets, the acquired taste for Louis Armstrong’s voice, the romantically inviting booze, pills and dope cocktail. Just some of the images he conjures up in my pea sized brain. It must sound like I’ve just taken a continuing education class in creative writing. No, I’m just putting into words they way I hear Tom Waits, most of them are his. A more cinematic songwriter/performer I can’t really think of. Can you believe this recipe could make it onto several 7″ singles……what a great world we live in.

January 11th, 2009

Limmie & Family Cookin’

You Can Do Magic / Limmie & Family Cookin'

Listen: You Can Do Magic / Limmie & Family Cookin’ Limmie.mp3

Another UK hit from my summer ’73 spent in London. I’d wait for this one to come on the radio – couldn’t hear it enough. The English programmers loved US formula soul, still do. It wasn’t a huge hit back home. Not so in Britain, reaching #3 during July. Very much a daytime airplay staple, I’d always hear it doing my daily troll through the used/promo record stalls along Rupert and Berwick Streets, blaring out of all the vendor’s radios. Remember, there was only one pop station then, Radio 1, and no cassettes really – therefore everyone listened to the same thing.

Roger Armstrong and I sat at an outdoor cafe on Berwick Street and had tea a year or two back during the May bank holiday long weekend when I was over on some business. It was on the Monday. Soho was deserted, a true flash back to the days when the area wasn’t crowded and full of tourists, like in ’73. Do it sometime if you can.

‘You Can Do Magic’ is ripe to be revived. I bet it could do for someone what ‘Don’t Go Breaking My Heart’ did for Kiki Dee & Elton John, making a perfect duet.

January 7th, 2009

Stan Getz / Astrud Gilberto

The Girl From Ipanema / Stan Getz & Astrud Gilberto

Listen: The Girl From Ipanema / Stan Getz & Astrud Gilberto AstrudGilbertoIpanema.mp3

Why? Why is he posting this ubiquitous single? That’s totally what you’re thinking. At least I hope it is. A few reasons: a) it’s seminal b) where the fuck do you hear it these days and c) if and when you do – is it ever this single edit? NO. All those oldies stations with their digitally remastered, stereo perfect versions of ‘Homeward Bound’ or ‘Good Vibrations’. Come on. First of all, who needs someone to program these songs to us EVER again? We’ve been inundated with them for decades already, so much so that one simply needs to think about the track, and it plays in your head. Even worse, those lame stations don’t have a clue how to recreate that magical moment. AM hits, in mono, heard through transistors radios, accompanied by that beautiful crackle and treble-y eq – that’s what it was about. These bozos have it all wrong. Music through the laptop speakers actually works better for oldies than passe car FM. It’s one of the reasons listenership has plummeted.

So here it is, the mono, edited ‘Girl From Ipanema’, from my lovingly played 7″ vinyl, just as you remember it, no perfectly remastered stereo, no long jazz intro. Straight to the vocal and the hook.

Go see Astrud live. I did. She still has those bangs.

January 6th, 2009

The Only Ones

Out There In The Night / The Only Ones

Listen: Out There In The Night / The Only Ones OnlyOnesOutThereInTheNight.mp3

Trouble In The World / The Only Ones

Listen: Trouble In The World / The Only Ones OnlyOnesTrouble.mp3

I’m a sucker for an atonal vocalist. So The Only Ones’ Peter Perrett is right up my alley. These two singles are by far my favorites from the boys. Never did get to see them, some arrest nonsense cut their US tour short, the one whereby they were playing my town. Hence not much to say about them, except I still love these records. Oh, hold on, the sleeve pictured for ‘Trouble In The World’ was sent along, at the time, by Howard Thompson. He A&R’d the band, by assignment as opposed to choice. He doesn’t reflect fondly on it all. Whether by coincidence or design, ‘Trouble In The World’ echoes Mott The Hoople, with it’s Sue & Sunny background female vocals. Seems like an HT influence to me.

For reasons unknown, the sleeve was scrapped allowing or forcing the record to be issued in a stock CBS bag. The label was quite good at making pitiful judgement calls when it came to picture sleeves. Unlike in the US, picture sleeves were quite uncommon in England until punk. So what did CBS do? They released a bunch of punk singles without them. Although the corporate waste exponentially accelerated by the time I was employed by Columbia in 1995, it seems seeds were planted decades before. Hey, let’s actually manufacture the sleeves then destroy them, why cancel it in the pre-production phase? Kill another tree. No problem.

But the records speak for themselves. Great stuff. And although spelled differently, you have to admit Peter Perrett was pretty hip to choose, for his surname, that of the great US label, Parrot, which included Them, The Zombies, Los Bravos, Lulu & The Luvvers and Pinkerton’s Assorted Colours amongst it’s roster.

January 5th, 2009

Royksopp

Poor Leno / Royksopp

Listen: Poor Leno / Royksopp RoyksoppPoorLeno.mp3

Real drag about most electronic singles – they press them up on 12″ but seldom 7″. So collecting those occasional 7’s has become a bit of a mission. I even relax my ‘only US or UK pressings’ rule when it comes down to it. I feel damn lucky to have found this one. No bar code so I’m guessing promo only – although not indicated anywhere. Originally issued by Telle in Norway, later licensed to Wall Of Sound for Britain. Like WOS, Telle’s a well groovy label, owned and operated by Mikal Telle. Been lucky to become friends as well as business partners with him via Matt & Kim. He released their first album in Europe and has done much to help the band overseas. They don’t come better than Mikal.

‘Poor Leno’ is right up there as a seminal track in my book. I never play it less than twice in a row – a real indicator – and it sounds a huge cut above in clubs. Definitely pick up the 12″ – lots of great remixes included.

January 3rd, 2009

Eddie Harris

That Is Why You're Overweight / Eddie Harris

Listen: That Is Why You’re Overweight / Eddie Harris EddieHarrisOverweight.mp3

Back in ’74, I became quite friendly with the Buffalo WEA salesman, Jack Rhelie. At the time, the labels he repped were the absolute holy grail. He’d bring me massive boxes of promo singles – instead of tossing them. Glad I mentioned my 45 fetish to him – and he was glad to give them a decent home. I was an ardent jazz hater up to this point. Always joked jazz should be a controlled substance (the arrogance of youth). Many of the traditional jazz guys were incorporating funk into their newer material, and when edited, they’d occasionally make for potential single releases. So I started appreciating them more, essentially not sounding like jazz at all, they weren’t much different from Bobby Byrd or Fred Wesley tracks actually. And I loved that stuff. Eddie Harris caught my ear first with his ’74 track ‘Is It In’, getting a juvenile kick out of the title and lyric. Always a sucker for songs with food twists, I totally fell for ‘That Is Why You’re Overweight’. A nice period piece too. Another jukebox staple.

January 2nd, 2009

Louis Jordan

Hardhead / Louis Jordan

Listen: Hardhead / Louis Jordan LouisJordanHardhead.mp3

I didn’t know much about Louis Jordan until John Anthony gave me a Best Of cd as a present one night. He’d been round with Howard for an evening of food and records, and it was a thank you thought. Little did he know I’d begin yet another quest to complete a 45 library on the guy as a result. Risque sexual themes often featured strongly in his work, notably the saucy ‘Show Me How To Milk The Cow’ for example. And I do love sleeze.

Ray Charles signed Louis Jordan to his Tangerine label in the 60’s – it was his last deal actually. ‘Hardhead’ is a terrific single from that period. There are many things to appreciate about the guy – go and Wikipedia him. Known as ‘King Of The Jukebox’, he still maintains the most weeks at #1 for any black performer: 113 (Stevie Wonder lags behind with 70, making him #2).

Clearly he kicked the door open for Little Richard, Screaming Jay Hawkins – so many.

January 1st, 2009

Inez & Charlie Foxx

Listen: Come By Here / Inez & Charlie Foxx InezComeByHere.mp3

Starting the New Year off with a classic has to be good luck. There are about six desert island essentials by Inez & Charlie Foxx on my list – and ‘Come By Here’ is one. Now live, they were hard to beat. Crawling the sweaty chitlin circuit, crowds would urge Inez to even greater vocal heights while Charlie and the band drove a relentless groove. Their well oiled touring machine made for consistent studio performances. With it’s rich blend of blues and gospel, ‘Come By Here’ is one of the two songs they performed on Cleveland’s UPBEAT show in May ’67 (the other was ‘(1-2-3-4-5-6-7) Count The Days’ – see my post from 6/6/08 to listen). UPBEAT is a TV cult classic, and it would be huge if someone could free up all those episodes. Word is they still exist. There was a pretty weak website for the program at one time, but it focused on the bigger names (like The Beatles and The Rolling Stones) when in fact, many obscure acts were on as well (Love / The Seeds / The Hullaballoos / Terry Knight & The Pack / The Velvet Underground). A weekly hour long show, syndicated in many markets, it predated Shindig but then survived concurrently – and in short, any act passing through the Cleveland area got herded in to mime a couple of numbers. On this particular episode, Charlie, wearing a black shirt with matching carnation pink chino suit and tie, sang and danced on a small circular podium behind Inez. In her pink dress and heels, she sang a live vocal over the prerecorded bed, picking on a pink stratocaster and strutting not unlike The Duchess. Have mercy indeed.

Please God let this footage resurface.

December 31st, 2008

Eddie & The Hot Rods

EddieHotRodsPowerAndTheGlory.mp3

Listen: Power And The Glory / Eddie & The Hot Rods
Power

Either you have it or you don’t. Eddie & The Hot Rods always did, despite little commercial success in the US pointing otherwise. When they returned to tour during summer ’08, it was made clear their cult rep was well in tact, with a sizable audience of very young kids freaking out up front. And live, well as powerful as ever. Those that will remember can verify they could tear apart a stage in the late 70′s.

I stumbled on them during ’76, pre-punk. One of the Canvey Island bands that included Dr. Feelgood and Ducks Deluxe, their lightning speed attack was a huge attraction. I was the PD of WITR, Rochester Institute Of Technology’s radio station at the time. I dropped a quick letter to Island UK about the reaction we were getting from the band’s EP, LIVE AT THE MARQUEE. It landed with Howard Thompson who’d signed them. We became close friends as a result, and he eventually hired me at Elektra. I’d still be stuck in upstate New York had it not been for him and that letter.

As for Eddie & The Hot Rods, I became a bit of a stalker. Happy about that too as it meant getting to see them many times, at BBC sessions, UK TV shows, in the studio. Great guys and Barrie Master is still a pal. The great news being their power on stage has never waned. That hasn’t changed, and oddly, neither has Barrie. Not one less hair on his head nor one pound more on his bones. Voice as strong as in the day. He even wore the same pair of white jeans as he did at CBGB’s in ’77. Amazing.

December 30th, 2008

The Screaming Blue Messiahs

Bikini Red / The Screaming Blue Messiahs

Listen: Bikini Red / The Screaming Blue Messiahs ScreamingBlueBikiniRed.mp3

Bikini Red / The Screaming Blue Messiahs

Brilliant single. Please listen all the way through. Try to find one for your collection as well. Howard and I picked up their option from WEA UK, allowing us to release their records via Elektra. Not only were the albums great, so too were the guys. Bill Carter is one of the most talented fellows ever. They needed a tour to support the first US release in ’87. I had an idea. Ask Lux and Ivy if The Cramps would be interested in the band supporting their summer US dates. The answer: Yes! Bang, we killed two birds with one stone. The Messiahs had a hot tour, and Howard and/or I could use Elektra’s money to ‘cover’ as many dates as possible on behalf of the label. We ended up seeing the package many, many times. Well done.

December 29th, 2008

Wayne Bickerton Productions: World Of Oz / Clyde McPhatter / The Rubettes

The Muffin Man / World Of Oz

Listen: The Muffin Man / World Of Oz
The Muffin Man / World Of Oz

Seems the labels had a stable of in-house producers back in the 60′s. And many times they’d be given the new signings to whip into shape, and record in those infamous four or six hour windows. I’m guessing these producers were either on staff, or had production deals, similar to today’s consultancies. People like Denny Cordell and Mike Hurst come to mind, as does Wayne Bickerton.

I first noticed his name on Decca and Deram releases. A very favorite was ‘The Muffin Man’ by World Of Oz. It got a lot of Top 40 play in the US for a few weeks during summer ’68. Years later, in the Notting Hill Record & Tape Exchange, I stumbled on a copy with this very rare UK sleeve pictured above. My heart just about stopped. I’d no idea it existed as it’s not mentioned in any of the price guides and I’d never seen another. ‘The Muffin Man’ was part of their rather lavish album, lavish for the time that is, apparently requiring a huge budget. I was lucky enough to meet Wayne about four years ago on a New York trip, and meant to ask that budget detail. I had many questions, and he was fantastic about filling in so many blanks, but that one slipped my mind. Always an admirer of his work, it was a fascinating hour or two.

Baby You've Got It / Clyde McPhatter

Listen: Baby You’ve Got It / Clyde McPhatter
Baby You've Got It / Clyde McPhatter

Although an original member of The Drifters, Clyde McPhatter oddly moved to England, and even odder, signed to Deram. Come on, The Drifters were the definition of Harlem Doo Wop and such. Why did this guy pick up and go to London? Was he a closet Anglophile? Luckily, Wayne Bickerton was put in charge and produced his Northern Soul hit ‘Baby You’ve Got It’. Applying his trademark orchestration, the song became Clyde McPhatter’s strongest single ever.

Sugar Baby Love / The Rubettes

Listen: Sugar Baby Love / The Rubettes
Sugar Baby Love / The Rubettes

Occasionally I hear The Rubettes ‘Sugar Baby Love’ and it jumps out every time. A perfect combination of glam and maybe doo wop meets Four Seasons or something. Not only did he produce it, but co-wrote the song as well.

December 28th, 2008

Dave Dee, Dozy, Beaky, Mick & Tich

Zabadak / Dave Dee, Dozy, Beaky, Mick & Tich

Listen: Zabadak / Dave Dee, Dozy, Beaky, Mick & Tich
Zabadak

Last year around this time, Bob Lefsetz, who publishes a fascinating subscription letter you should all Google and sign up for, wrote about hearing The Box Tops during Christmas break in Vermont, ’67. It was a nice piece, time traveling me back to that Christmas/New Year’s week, growing up outside of Syracuse, a ten year old obsessed with records. I wrote him a response with much of the following, but don’t know if he ever read it. He never responded.

Everything happens for a reason. It motivated me to start my own blog, so all good.

Basically, I still like the winter weather as it reminds of that week off school as a kid. Everyone wants to escape it here in NY nowadays but I love staying home, hanging around the deserted city, having friends over especially if they bring Christmas cookies, keeping the fireplace going and hoping for snow.

Growing up near Syracuse was pretty drab but we had one remarkable perk: a Top 40 station, WOLF, that from ’64 – ’67 seemed to flawlessly play the good bits of BILLBOARD’s chart alongside national non-hits, most of them British, and many rightfully considered classics today, including several US flops each by The Who, Them, The Move, The Zombies, The Kinks, The Moody Blues, Unit 4 + 2, The Hullaballoos, The Pretty Things and Manfred Mann.

So I’d spend that whole week glued to the radio, crawling the record shops and record departments at W.T. Grants and Woolworths, collecting chart handouts, asking for discarded Billboard magazines and stocking up on deletions.

One of the UK bands whose label, Fontana, didn’t or couldn’t put the needed payola cash behind them on a national level, actually had hits upstate: Dave Dee, Dozy, Beaky, Mick & Tich. Some consider them too pop, or zany, but I just loved their image of paisley pants with flowered shirts and their music.

KHJ chart 1-24-68

Eventually, they switched US labels in late ’67, to Imperial, who made a big attempt at breaking them here and almost did. ‘Zabadak’ got a lot of play, charted in many markets and got great reaction. KHJ in Los Angeles took it Top 10. (See chart above). Both my local Top 40′s were spinning it, and even the adult contemporary one.

I was feeling liberated. Finally Dave Dee, Dozy, Beaky, Mick & Tich were having a hit, and The Small Faces too, ‘Itchycoo Park’ was doing equally well. US radio was about to be on pulse. I didn’t need to find a way to live in England after all.

Then thud. ‘Zabadak’ stalls at #52 on BILLBOARD’s Hot 100 (above). Seems it’s been all down hill ever since.

December 28th: it’s been 41 years today, the receipt is still in the sleeve, that I bought ‘Zabadak’ at Walt’s Records on Salina Street, doing my part. It’s a fantastic single. All jungle drums with haunting strings and chants. Sounded stunning on the radio then, like nothing else. A lot of stations played it for a few weeks. The kind of record that zaps me right back, hence I always remember the date and I’ll always remember that great record shop.

I can easily visualize the decor and it’s unique record shop smell. I wanted everything in the place, still do. One whole wall was lined with brackets that held 25+ copies of a single, where all the biggest sellers made it. But the obscure records, many of the ones I mentioned, would reside in the back on a four sided carousel that swirled, and had slot like pockets, each able to hold ten or so copies of a single. I would go straight to that unit every visit which was usually once or twice a month, having to decide which two or three singles I could afford on my dollar per week allowance. Some of the ones I had to pass up took me years to locate: The Small Faces ‘All Or Nothing’ with the picture sleeve and The Riot Squad ‘How Is It Done’ come to mind. But there were many I did get like Them ‘Richard Corey’, The Yardbirds ‘Goodnight Sweet Josephine’ and The Herd ‘From The Underworld’.

On December 28, 1967 I tore to that rack and there it was. ‘Zabadak’. My Aunt Nancy, a grand lady, had brought me shopping and kindly paid as a Christmas treat, thereby allowing me to spend my dollar allowance on Inez & Charlie Foxx’s ‘(!-2-3-4-5-6-7) Count The Days’. We went on to visit another relative that afternoon where I was tortured, staring at these jems, jonesing to get home and play them as they did not own a record player.

Now I’m convinced Hot Chip could do a killer remake of ‘Zabadak’.

Oh and one other tid bit about Walt’s. I ran there to buy Traffic’s ‘Hole In My Shoe’ the day after seeing them at Syracuse University’s Jabberwocky Club on their first tour. As I walked in, out came Traffic, with loads of soul and jazz albums. They patiently waited as I bought the single then signed it’s picture sleeve.