Listen: Johnny Remember Me / John Leyton
Johnny
Nothing quite like a Geoff Goddard written, Joe Meek produced early 60′s all black and white and damp and drizzly track on a cold November night.
November 14th, 2013
John Leyton
November 13th, 2013
Joe Perkins
Listen: Little Eefin Annie / Joe Perkins
Little
Having recorded for several small US labels during the early 60′s including King, as Joe Perkins & The Rookies, it was only his ‘Little Eefin Annie’ single for Sound Stage 7 in ’63 that charted at #76. Surprisingly, it was released later that year in the UK on London.
Eefin is basically a fast breathing and wheezing vocal technique, similar to later day beatboxing. An eefing piece called ‘Swamp Root’ was in fact one of the first singles recorded and released by Sam Phillips.
On ‘Little Eefin Annie’ though, it’s Jimmy Riddle, apparently the acknowledged master of the genre, who later brought eefing to national visibility on the television series HEE HAW, that’s doing the eefing. Joe Perkins does the rest.
November 12th, 2013
Lindsay Hutton / Desmond Dekker & The Aces
Listen: 007 (Previously Unreleased Version) / Desmond Dekker & The Aces
007
Is the problem that the majors will sell anything, or that we’ll buy it?
God bless Lindsay Hutton. Seriously, there is no better human being alive. I love him. The guy will do more than anything for a friend. I know, because I’m one, as Joe once wrote.
Desperate for the Record Store Day reissue of Desmond Dekker & The Ace’s ’007′ single, which sold out before the plastic had hardened, Lindsay went on a mission to find me a copy. Make that two.
Now I had no idea this was an unreleased version. Yes, I was aware Universal’s sloppy team had flubbed the fact that ’007′ was originally released in ’67 on Island’s subsidiary Pyramid, and now had mistakenly reissued the single on the label’s red and white label also from that era. And that Universal proceeded to embarrass themselves further by housing the single in the wrong pink stock sleeve. Never was a red and white label single shipped in a pink company bag guys and girls.
But I wanted it regardless. Sorry, one more thing, the horrific 180 gram vinyl pressing. What that 180 gram nonsense is all about, I’ll never figure out.
So months later, Saint Lindsay uncovers not one, but two copies. Here is one to view and hear. This may be a different mix, but a different version…?
Compare it please to this original Pyramid ’67 pressing below:
Listen: 007 / Desmond Dekker & The Aces
007
November 10th, 2013
Dave & Ansil Collins
Listen: Double Barrel / Dave & Ansil Collins
Double
Once Desmond Dekker & The Aces’ ‘Israelites’ became a US hit in ’68, occasional ska tracks began getting domestic releases, usually on small indies. Occasionally, as with Johnny Nash or Prince Buster, a major might take a chance, but not often.
Such was the case with Dave & Ansil Collins ‘Double Barrel’. Future Atlantic subsidiary Big Tree, then funded by Apmex Tape, took a shot, so to speak and ended up with a #22 US hit. And believe me, it cleansed the ear palate when it hit the airwaves back then, the song sounded fantastic.
By this time, I was blagging risqué RnB, soul and English rock singles every Friday evening from the local easy listening station, WMCR, who had absolutely no use for them, and certainly no use for ska. Half the fun of the impending weekend for me was tearing out of school right after last period and biking it to the station, rain, sleet or snow. Nothing stood between me and those 45′s. My pile was always waiting, and the anticipation was a buzz in itself. Size did matter here, the bigger the stack, the better.
Other than the evening DJ, and station owner Mrs. Warner, the place was deserted. She’d encourage me to sit in their production studio, complete with two turntables, full broadcast board, headphones, microphone, the works and just play the pile to my heart’s content. Clearly she got a charge out my hysteria for the records, and told me such many times through the years. Honestly, I don’t think records have ever again sounded as good as they did in that fluorescently lit, climate controlled, new equipment, newly pressed vinyl scented studio so many years ago.
Like when this would come on the air of the local Top 40′s after charting nationally, that first listen in the WMCR studio just wiped clean my ears. Ska, blue beat and reggae were in short supply then.
Listen: Double Barrel (Instrumental) / Dave & Ansil Collins
Double
My first knee jerk about the infamous instrumental B sides were that we were getting burned. I recall the flip to Napoleon XIV’s ‘They’re Coming to Take Me Away, Ha Haa!’ being the A side backwards. If ever there was an act I wanted to hear another song by, it was him, so it seemed cheating. Same with all those Philles B sides. No Ronettes or Crystals on the flips, instead dreadful instrumentals that took me years to appreciate. And so with this, on first look, I was annoyed.
Turns out the much anticipated dub B side was just ahead, and this instrumental ended up getting played almost as much as the A side that night, and at home. In fact, I probably choose it on the jukebox 2 to 1 over the A.
November 9th, 2013
The Pioneers
Listen: Long Shot Kick The Bucket / The Pioneers
Long
I caught the documentary bug this past week, uncovering several from the UK that I’d had no idea even existed. It all started with BBC 4′s PUNK BRITANNIA. Then noticing several other episodes in the series along the right hand column of the screen, well my free time suddenly evaporated. Each one so good, you almost want to speed them up a bit just to get onto the next.
The series’ producers coincidentally chose The Pioneers ‘Long Shot Kick The Bucket’ to open the REGGAE BRITANNIA edition. For me, it’s easily a song that time machines me right back to the day, or at least how I like to think it all was. Start watching this episode and trust me, you’ll be glued to the screen, much like the first time I recall hearing the record and being glued to the turntable just watching it spin. This was in ROCK ON, March ’77. The record was a common item at the time. And for 50p, it became mine.
Like several ska and reggae singles beginning in the late 60′s, ‘Long Shot Kick The Bucket’ became a UK hit, reaching #21 in ’69, then re-entering in’80 and peaking at #40.
In ’89, to celebrate 25 years of Jamaican Music, Island Records’ UK office compiled a seven LP box set, PRESSURE DROP, which included the track. ‘Long Shot Kick The Bucket’ was originally released on Island’s Trojan imprint in ’69, and as part of that 25 year celebration, it was one of four tracks chosen to promote the box via a 7″ EP on their reggae and world imprint, Mango. As part of Island’s normal policy, a Mango stock sleeve housed the vinyl inside a cardboard outer cover, both pictured above.
REGGAE BRITANNIA:
October 19th, 2013
Spirit
Listen: Mechanical World / Spirit
Mechanical World / Spirit
Luckily, despite the revolution in stereophonic sound that was going hand in hand with the album format of 1968, most singles were still issued in mono. Such was the case for Spirit’s first release, on both the promo (listen above) and stock copies. ‘Mechanical World’ epitomized the dark side of the LSD generation, and defined late night radio. I always had fantasies of this and many tracks by The Doors being the soundtrack to driving through a pitch dark desert in the early hours. God knows why, I’d never even been to a desert. There wasn’t one near Syracuse although I certainly felt like I was growing up somewhere equally deserted, hence the possible connection in my brain.
I loved Spirit from the get go. They didn’t sound English which was a strict requirement, but thankfully they didn’t sound Americana either. Plus they looked good. LA bands tended to.
Listen: I Got A Line On You / Spirit
I Got A Line On You / Spirit
Somehow rather quickly, Spirit had a hit with their second 45, ‘I Got A Line On You’. It was welcomed. Their albums were great and hearing them on Top 40 radio made us all feel liberated. Things were pretty good on the airwaves. The Who and The Cream were getting some play, as were Big Brother & The Holding Company, Iron Butterfly and The Crazy World Of Arthur Brown. I was rather content.
Listen: Dark Eyed Woman / Spirit
Dark Eyed Woman / Spirit
‘Dark Eyed Woman’ was the lead track and first single from the difficult 3rd album CLEAR. Difficult (as a second album is known to be these days) because they’d had a hit despite the ‘album band’ and ‘live band’ habitat from which they came. Top 40 was developing it’s evil lack of loyalty way back then, and ‘Dark Eyed Woman’ didn’t get much play. But FM radio, much like today’s Sirius satellite stations, made up for it. Touring in support of it’s release, I finally got to see the band live. Despite how fantastic they were, and believe me, fantastic is putting it mildly, I was reeling from the support act that night (October 19, 1969): The Kinks.
It was The Kinks first US tour after the three year musician’s union ban. They had just released ARTHUR, much of which they played along with tracks from THE VILLAGE GREEN PRESERVATION SOCIETY, ‘Waterloo Sunset’, ‘Autumn Almanac’, ‘Sunny Afternoon’, ‘Death Of A Clown’ and ‘Til The End Of The Day’, their opening song. Jawdropping. I walked out of the venue never to be the same again.
I digressed, sorry.
Listen: 1984 / Spirit
1984 / Spirit
Spirit released ’1984′, a non LP single, next. This was not a common move in the day. Still, it’s forever attached to Spirit’s CLEAR era, being of same time period. Actually, ’1984′ only ever appeared on LP once BEST OF SPIRIT was issued years later. The year 1984 seemed an eternity away on release and the record contributed to a political and ecological slant the band had taken from inception. Remember ‘Fresh Garbage’ from that first album?
Listen: Animal Zoo / Spirit
Animal Zoo / Spirit
Many rightfully consider the original lineup’s fourth and final album, THE TWELVE DREAMS OF DR. SARDONICUS, to be their art rock pinnacle. At least I read something to that effect recently. The two singles released from it are seminal. In fact the first, ‘Animal Zoo’, came out seemingly months prior to the album. I swiped it from a local album rock station whose late night dj occasionally let me visit. I honestly don’t remember their call letters, and he was a rather unpleasant know-it-all. I once recall him adamantly arguing with me about Humble Pie, claiming all their members, instead of just one, were from The Small Faces (wrong) and that none were from The Herd or Spooky Tooth (wrong), which I desperately tried to point out as incorrect for his benefit. He wasn’t having it, his loss. Nonetheless, I would tolerate him to get the records.
Listen: Mr. Skin / Spirit
Mr. Skin / Spirit
This became mine one summer night’s visit a month or so later, along with the Juicy Lucy, Sea Train and Vivian Stanshall singles.
October 6th, 2013
Carmen McRae & Herbie Mann
Listen: Cottage For Sale / Carmen McRae & Herbie Mann
Cottage
During the mid 90′s, I spent a ton of time in Seattle. We nearly bought a place there in fact. They were almost giving away 60′s houses back then. In one way, it might have been a great move. I could have bought even more records, and just left them in the new place. Because let me tell you, they were nearly giving away records then too.
Golden Oldies was the local chain that sold only used vinyl. There were like five stores in the greater Seattle area. And the main one, on NE 45th Street, was my shrine. I spent hours in the place.
Everything was beautifully organized, basically by genre. The jazz singles took the least time to scour. Not because of quantity. No, there were a ton. But they were all 50¢, tops. I bulked out a massive jazz singles library by default. Grabbed everything remotely interesting. Never left a Verve, Prestige, Atlantic or Blue Note single behind. And the jukebox worn copies, loved those too.
Combine that with a seemingly bitchy drug and alcohol abusing dame, doing lounge covers from the 50′s or 60′s, and I’m grabbing a copy. Not that Carmen McRae was necessarily any of those, but I can fantasize and did.
‘Cottage For Sale’, on Atlantic, black vinyl turning white from years in the jukebox of an old man’s bar for 50¢.
Sold.
September 30th, 2013
The Hollies
Listen: Jennifer Eccles / The Hollies
Jennifer
What on earth was Graham Nash thinking? Leaving this band?
Seems every once in a while, some visiting UK group lost a member to the lure of the Los Angeles folk contingent. None of that soft rock ever appealed to me, not to mention their unkept and drab dress sense. But probably in the 60′s, the modern living, mid-century designs that still prevail to this day were so magnetic, who could resist champagne bubble wall dividers, sparkle ceilings and aqua kitchens.
I can’t quite recall when he actually made the move, seems around ’68. Still somehow, The Hollies vocal sound didn’t really change. Not to my ears.
US radio were always very fickle when it came to their records. The wise man’s “be happy with life’s small pleasures” slogan applied here, and at least The Hollies got some airtime. I even recall, shortly after their switch to Epic, with ‘Carrie Anne’ going Top 10, former label Imperial re-released ‘Pay You Back With Interest’ as a 7″. It too got on the air, eventually charting in BILLBOARD (#28).
Luckily, all of the band’s records were played regularly on the upstate New York stations. Even WNDR, the most commercial Top 40 in Syracuse stayed loyal. ‘I’m Alive’ sounded massive over my little orange transistor, and ‘Jennifer Eccles’ was everywhere airwaves-wise during the Spring of ’68. Right there next to my other successful radio request line missions: The Small Faces ‘Lazy Sunday’, Grapefruit ‘Elevator’ and The Scaffold ‘Thank You Very Much’. Oh, and Madeline Bell too.
September 28th, 2013
Charlie Whitehead
Listen: Love Being Your Fool / Charlie Whitehead
Love
Given that Charlie Whitehead was discovered and signed to Musicor by Charlie Foxx, well that’s all I ever needed to know. I was in.
At Musicor, a long musical partnership resulted with Jerry Williams. And when he, as Swamp Dogg, moved to Island, so too did Charlie Whitehead.
And for a change, a switch to Island meant a hit record. Yes, ‘Love Being Your Fool’ made the BILLBOARD RnB chart in ’75.
I never did find out who at Island was responsible for the label’s mid 70′s infatuation with the strain of Delta soul that brought, not only Charlie Whitehead and Swamo Dogg to the roster, but also Robert Parker, The Wild Tchoupitoulas, Jay Dee Bryant and Tyrone Taylor.
September 27th, 2013
King Curtis & His Noble Knights
Listen: Beach Party / King Curtis & His Noble Knights
Beach
I’m struggling to find a King Curtis single that I don’t like. Even his questionable cover choices of current day standards during the late 60′s Atco run like ‘ Harper Valley P.T.A.’ and ‘For What It’s Worth’ are fun spins on a rainy Sunday. Plus they always sound good in the Seeburg.
But few compare to his Capitol debut from ’62 ‘Beach Party’. What other RnB act was segueing straight into the whiter than white surf craze? None. Ok, so James Brown pulled up to the bumper in time to do a ski party appearance, but King Curtis, he was first.
September 26th, 2013
Big Lucky
Listen: Stop Arguing Over Me / Big Lucky
Stop
Levester Carter, a native of Choctaw County, Mississippi, became Big Lucky in ’68 when local Memphis disc jockey A.C.’Moonah’ Williams put Big Lucky Carter, his then stage moniker, in touch with Hi Records boss Willie Mitchell, who demo’d him at the Hi studios.
Liking the result, he coupled ‘Miss Betty Green’ and ‘Stop Arguin’ Over Me’ as the first of two singles for the label’s subsidiary M.O.C. (MOC 670), released April 7, 1969, according to an old production schedule from Hi/M.O.C.’s parent label, London Records, that I have poured over for many hours through the years
His ‘I’ve Been Hurt’ (MOC 673) followed as an A Side on Dec 8, 1969. Local airplay limited both records’ reach, resulting in very few pressings, sales and available copies nowadays.
Therefore a rewarding find last week at Academy’s moving sale. Love that place.
September 25th, 2013
Henry Mancini & His Orchestra
Listen: The Party / Henry Mancini & His Orchestra
The
From the fairly obscure Peter Sellers film, THE PARTY. Henry Mancini & His Orchestra must have been the film industry’s go to during this period of the 60′s. It’s pretty hard to top his Pink Panther theme, but this one comes close. I had no idea there was even a soundtrack, but should have figured as much. An unexpected 50¢ discovery last week at Academy’s moving clearnace sale in Williamsburg.
Not sure if I laughed harder at any movie scene more than the bathroom episode below.
September 21st, 2013
Manfred Mann
Listen: Ragamuffin Man / Manfred Mann
Ragamuffin
Manfred Mann may hold the record for having massive success with not two, but three different lead vocalists. It’s usually big trouble when that original lead singer is suddenly gone. A few exceptions like AC/DC, Van Halen, The Move and maybe The Small Faces come to mind. But three different ones. Let’s see, that’s a pretty short list. I can only think of The Temptations and Manfred Mann.
Their Mercury/Fontana patch with Mike D’Abo, loosely referred to as Manfred Mann Chapter II, is my favorite, but just. To be fair, I love singles from all the lineups, so it’s probably my involuntary addiction toward anything released on the Philips/Mercury/Fontana labels that swings it. Honestly, I get the shakes around their pressings, especially the promos.
The last 7″ from the Mike D’Abo era, ‘Ragamuffin Man’ has forever been tarnished with fulfilling the final contractual commitment, by then Manfred Mann himself having decided on a jazz direction and new lineup, etc, etc. But seriously, it’s just as strong as the singles preceding it: ‘Semi Detached Suburban Mr. Jones’, ‘Ha Ha Said The Clown’, ‘My Name Is Jack’ and ‘The Mighty Quinn’. The record is great. I still play it a ton.
Got to hand it to him, Manfred Mann could not only pick songs but had a real gift of stamping his keyboard dazzle to every single they ever made. He might even be the earliest guy to successfully bring synths and Moog to mainstream radio.
And for the record, THE MIGHTY QUINN album, assembled for the US only just a few months prior to ‘Ragamuffin Man’ being released, is exceptional. They always used the long-play format to showcase a virtuosity and range of influences away from the world of pop singles. Despite not being an album recorded intentionally as such by the band, it plays like one, and combines all their assets nicely. It’s getting scarce these days, especially in a mint sleeve. I recommend everyone own a copy.
September 20th, 2013
Chris Farlowe
Listen: Air Travel / Chris Farlowe
Air
A perfectly beautiful late Sunday afternoon in London during November, for me means cold, damp and drizzly, with plenty of grey. It was one such day in ’07 that Roger Armstrong and I made our way to the long standing Agra Indian Restaurant on Whitfield Street just near the Warren Street tube station after a long day at his big wooden kitchen table, rigged up with a turntable, his 45 library room at arm’s reach, post that morning’s Record Fair on Great Portland Street.
Agra has been around for decades. By many standards, the place needs a proper remolding. Not by my standards though. A half step down off the sidewalk onto the tatty, sticky carpet, the main room complete with that old England smell would convince anyone the place has serious history. It’s too close to hundreds of historic music landmarks not to. Capitol Radio was just the other side of the tube, Jonathan King’s UK Records office on Warren at Whitfield, University College where David Bowie & The Lower Third, The Riot Squad and Timebox amongst so many others played, not to mention the square adjacent, the precise spot where The Syn did their photo shoot on the tarmac of Whitfield Place.
In addition, the food is great. Not all fusion fussy and overly decorated. Not decorated at all really, just old fashioned home style Indian. Despite being about two blocks from where I lived that summer ’73, it wasn’t until decades later that Roger introduced me to the place.
Upon our exit on that particular day, what better than to find Chris Farlowe at that very first table, right near the doorway, sitting in front of a spread fit for three people. Apparently, he lived with his Mom just down the block for years.
More history in the making, not unlike this miserably rare UK EP, released in ’66 off the back of his new found chart success on Immediate that summer. Assembled from the A and B sides of his only solo single for Decca plus two unreleased songs from the same time. That time by the way, was ’64. Seemingly lifetimes prior to said summer and sounding it too. Pretty interesting to hear how unblemished his voice was just those few years earlier.
September 18th, 2013
Greg ‘Stackhouse’ Prevost
Listen: Mr. Charlie / Greg ‘Stackhouse’ Prevost
Mr.
Electric charged potent vocal workouts could send this updated Lightnin’ Hopkins side hurtling toward a high spot on the best sellers charts. Aided by a lively jerk tempo, this showing could go a long way toward connecting spins and blasting sales at RnB as well.
September 17th, 2013
Ike Turner
Listen: She Made My Blood Run Cold / Ike Turner
She Made My Blood Run Cold / Ike Turner
Lux and Ivy profusely praised Ike Turner, despite the various mainstream accusations, as being one of the most important contributers to their raw and primal style. ‘She Made My Blood Run Cold’ is easily proof. No shortage of Screamin’ Jay Hawkins or ‘Fever’ similarities either.
Who came first and gets the trophy? We’ll never know.
September 16th, 2013
Johnny Paycheck
Listen: Take This Job And Shove It / Johnny Paycheck
Take
Never predicted it might happen but nowadays am finding myself intrigued by occasional styles of older country music. Other than all the 50′s and 60′s females, and the 70′s too I guess, I never did get hooked by many of the male singers. Similar to my early interest in soul, it was the female voice that grabbed me most.
So not counting the odd contradiction to the above, I find Outlaw Country as it seemed to be coined, hugely entertaining. And in the case of Johnny Paycheck, even more so. Probably not by design, but turns out he actually lived it. All the elements a trashy made for TV documentary would require apply: alcohol, drugs, divorce, problems with the IRS, guns and jail.
I couldn’t resist this trailer trash icon and his accompanying take on David Allan Coe’s trailer trash anthem ‘Take This Job And Shove It’.
If anybody has some preferably harsher, post Rockabilly, demented hillbilly recommendations, bring them on.
September 15th, 2013
The Dorsets
Listen: Pork Chops / The Dorsets
Pork
RnB food songs, especially when used as risque double entendres, well they get me every time.
‘Pork Chops’, was originally issued in ’61 as the first of four releases on the little known Asnes Records, which according to the label’s address was located just down the street from The Apollo. And man does it capture the soundtrack of Doo Wop morphing toward RnB to my ears.
Fantasize a Sunday afternoon matinee at that great theatre, full of hopeful young vocal groups just like The Dorsets, collectively scraping together barely enough for a greasy fry-up somewhere nearby afterwards. All the while, angling for that big hit single breakthrough, a miracle very few would ever experience.
For some reason four years later, by now supposedly a bit out of step musically, Sue Records in the UK released “Pork Chops’, possibly down to a most authentic vocal and delivery. It’s all pretty impossible not to love.
Who was that singer? And where did he end up? Damned if I ever found out. I’ll probably never ever know.
September 14th, 2013
The Thermals
Listen: Now We Can See / The Thermals
Now
The Thermals toured with Matt & Kim a few years back, and I would watch them every single night. Never failed.
Their first date on the routing was at Atlanta’s Masquerade. And I was keen to find out what everyone was talking about given several reliable friends lit up once discovering they were on the bill.
‘Now We Can See’ got me first listen that night in Atlanta. The only thing I could think about for the remainder of their set was that song, and was it a single.
Praise be. My hopes were rewarded. And so the tradition continues: you never stop finding great records on this planet called earth.
September 13th, 2013
Hedgehoppers Anonymous
Listen: Stop Press / Hedgehoppers Anonymous
Stop
Quite possibly the very first copy of BILLBOARD I ever laid my eyes on had Hedgehoppers Anonymous’ ‘It’s Good News Week’ at #48 in the Hot 100. I know because still have that edition.
Mind you, those early copies of the magazine were life changing. For a youngster desperately obsessed with English music during the 60′s, this publication was a tsunami of joyous information and statistics. BILLBOARD enabled me to actually see Britain’s Top 50 singles chart on a weekly basis. And believe you me, I gunned my way to Smith’s Records after school every Friday to pour over the current week’s edition, and to pick up last week’s now worthless copy from Mrs. Smith herself. I was her chosen charity. I suppose it was me or the rubbish bin, all pre-recycling of course. I cringe to think how many copies were tossed. Regardless, a week old BILLBOARD was useless to even Mrs. Smith in Oneida, NY. The world moved fast back then as well.
Now I’d already seen mention of this band, as with many others, probably in TEEN SCREEN or 16 MAGAZINE. Those publications would all dedicate a page or two toward reprinted miniatures of the record companies’ new band 8×10′s. And Hedgehoppers Anonymous were one such. Their name was hard to forget, especially for this youngster’s unblemished hippocampus.
And so with great excitement, and desperate catch-up, ‘It’s Good News Week’ at #48 made me desperate for an airing. Fate and luck were on my side. Local Top 40 WNDR ran a weekly Tuesday night program, ‘Echoes Of England’, whereby they’d spin all the singles they didn’t, wouldn’t and/or couldn’t play in regular rotation. It’s how I first heard Them, Ian Whitcomb & Bluesville, The Applejacks, The Pretty Things and on this particular occasion, Hedgehoppers Anonymous.
Years, although not that many, later I discovered they were produced and guided by Jonathan King, a big favorite of mine then and now. I honestly don’t recall when I acquired ‘Stop Press’. I’m guessing ’74-ish. Back then I would buy records, via snail mail, from UK dealers out of the set sale pages of, I think, TROUSER PRESS. Whatever, it turned up in the post, most likely all of two weeks and $3.00 (including post) later and I truly loved it. A total package complete with Mick Tinsley’s black and white drizzly English minor key vocal melody and all the noisy drum/tambourine stuff. Properly tagged as percussion, the sound felt like a first to me. Why on earth had no one thought of using that racket prior?
‘Stop Press’ is by far the band’s best and most English record, at least by my not so humble standards.
