December 26th, 2012

Jethro Tull

Listen: Driving Song / Jethro Tull
Driving

Don’t confuse this early lineup of Jethro Tull with what came later. By album four, AQUALUNG, leader Ian Anderson had completely diminished their original swing and power by either eliminating founding members, or torturing them away with a softer, fussy sound, noticeably devoid of any jazz or blues influences.

The Clive Bunker / Glenn Cornick rhythm section were so integral to the swing the band had on THIS WAS and STAND UP, well it was almost criminal seeing it be destroyed at the time. ‘Driving Song’, the B side to ‘Living In The Past’, recorded just prior to the STAND UP sessions, remained a strong example of the live sound, even after adding John Evan on piano, around the time of third album BENEFIT. That was sadly the beginning of the end for their great initial period though, as both BENEFIT and the US dates to promote it began to show signs of the soft rock rot which inevitably came thereafter.

A timeless complaint theme of band being overworked by label/management/agent, ‘Driving Song’ probably felt completely throwaway to the voting members of the team, but in hindsight like anything pre BENEFIT, aged better than all further releases.

December 20th, 2012

Basement 5

Listen: Last White Christmas / Basement 5
Last

My holiday contribution, but really just an excuse to post this, having weeded through the B’s this past weekend making room for a new bunch of James Brown UK presses, thereby stumbling on some neighboring singles. Been years since I’d played this, and unfortunately I never ever hear the record name checked nor credited. Almost like it never existed.

Although a pretty happening seasonal single in 1980 this one, complete with original Christmas wrapping paper sleeve. And what a marvel when cranked loud. ‘Last White Christmas’ may be one of the best holiday singles of all time, if I do say so myself.

Roger and I played this on the radio a lot that December. We particularly loved the “Ayatollah this and Ayatolla that” lyric. The whole affair unthreateningly meshed nicely with The Slits and Killing Joke. I guess no one informed Basement 5 they needed a non-stop drip of solid material. Given their encouraging beginnings, it was a surprise when the guys remained cold as soon as the snow melted.

Nonetheless, original intended punk/dub sonic onslaught generally accomplished.

December 14th, 2012

Linda Hopkins

Listen: Higher And Higher / Linda Hopkins
Higher

Today, Linda Hopkins turns 88.

Discovered by Mahalia Jackson at age 11, then seeing Bessie Smith at the New Orleans Palace Theatre one year later in ’36 sent her on a path full of so many accomplishments. Read MOTHERIN’ THE BLUES: LINDA HOPKINS – THE CONTINUING LEGACY OF THE BLUES WOMAN. Wow, I was riveted.

In the early 60′s, she cut several sides with Jackie Wilson for Brunswick, which lead to some solo singles of her own for the label as well.

Although ‘Little By Little’ preceded swampier soul by a few years, it still retains a traditional manic juke jump chaos. Her full voice overpowers any of the tracks lack of swing, and miraculously, that perfectly recorded snare drum gets some nice loud spikes in the mix.

December 3rd, 2012

Marva Josie

Listen: Don’t / Marva Josie
Marva Josie.mp3

How this clocks at £200 in THE ESSENTIAL NORTHERN SOUL PRICE GUIDE is beyond me. Not being a dancer of any worth myself, I’m probably in no position to judge. Still, this doesn’t sound easy to hully gully to, even on repeated listens. And I thought that was the whole point of Northern Soul, hence all nighters and such. Oh well, learn something everyday.

I do love a voice, rich in gospel timbre, one that could’ve easily fleshed out as a rotating member of Phil Spector’s background vocalists or Ike Turner’s Ikettes even. Marva Josie possessed just that. In fact, this has a number of passages that had me slipping into The Crystals’ ‘Little Boy’ while humming it in my head earlier today, walking from the subway along 6th Avenue to my office. I must have played ‘Don’t’ twenty times last night when ending the weekend with a healthy unboxing/filing marathon and couldn’t get it out of my brain.

November 19th, 2012

Wilma Burgess

Listen: When You’re Not Around / Wilma Burgess
When

I walked into the house after seeing Bassnectar earlier tonight at Terminal 5, and as much as I was wired beyond nuts from the relentless low, low, low end of the show’s live mix, my mood went unexpectedly gentle. Usually I’ll sleep a great show off, but tonight I just felt like a peaceful nightcap, and switched on the Seeburg, selecting one single blindly. The result couldn’t have been more perfect.

Enter Wilma Burgess. Producer Owen Bradley signed her as the potential successor to Patsy Cline back in ’64. As a result, we got some great singles from the two all through the decade.

Preceding k.d. Lang by a solid twenty years in battling her sexual preferences with a not so tolerant Country music business meant most of her records got very little airplay.

‘When You’re Not Around’ kept in character with her neutral genre lyrical song choices and was not a chart hit. In fact, it was the third of three flops, and almost ended her time with Decca until the fourth single, ‘Baby’ reached #7 in September ’65.

November 9th, 2012

John Cale

Listen: Dead Or Alive / John Cale
Dead

Met John Cale back in ’81 or so, when ‘Dead OR Alive’ was a current single from HONI SOIT. Roger McCall and I were playing it pretty regularly on our weekly show at WCMF, possibly the only play it was getting. The guy was irritated and in a very cross mood. Well so was I. Needless to say, it was not a good recipe. Pretty much steered clear of anything to do with him or his music since. Couldn’t even be bothered to listen to HELEN OF TROY era Island stuff despite a strong fondness for it as a result.

So recently, a friend from the UK sent me a link to this great piece on John Cale in The Guardian, a series of meeting celebrities in restaurants, mixing food with discussion. I was taken back by his intellect and poise. It led me to another current clip on FADER TV. Now I was mesmerized, suddenly so interested in his work, I couldn’t revisit it fast enough.

Being a record hoarder, of course I kept most of his releases, despite never listening. His EMI album from ’05, BLACKACETATE, is spectacular.

Full circle to ‘Dead Or Alive’. God I love this still. Mike Thorne was at his fifteen minutes of fame peak as a producer, having done Nina Hagen’s NUNSEXMONKROCK around then as well. Despite just about every record from this era sounding too 80′s sonically, you can’t beat John Cale’s vocal on this single. By the end, his delivery is some of the best ever committed to vinyl. And the song, well a great song is a great song.

November 6th, 2012

The Anglos

Listen: Incense / The Anglos
Incense

Who doesn’t love a mystery?

For decades, speculation has surrounded the origins of The Anglos’ lead singer on ‘Incense’, many claiming it to be Stevie Winwood. The single was eventually released on UK Island proper in ’65. Having previously been issued a number of smaller UK and US labels, the confusion is most likely clouded by the Jimmy Miller production. He was working for Chris Blackwell and Island, involved with The Spencer Davis Group, having produced both ‘Gimme Some Lovin” and the ultimate ‘I’m A Man’ masterpiece.

But in fact, the voice here belongs to Joe Webster, from Virginia, as were The Anglos. Frankly, if you listen closely, it’s quite obviously not Stevie Winwood, although I wouldn’t be surprised if he wished it were him.

On a late night trip from London to his country house in Theale, where Chris Blackwell had invited Corinne and I for a weekend, conversation turned to The Anglos. Chris, driving his Rolls and playing the then unreleased Womack & Womack album for us, revealed in no uncertain terms it was absolutely not Stevie Winwood, but instead said fellow, Joe Webster.

We soon pulled up to the Theale cottage, whereby Chris apologized that Jim Capaldi had lazily left his clothes and shoes all round the guest room, assuring us the sheets were clean.

November 5th, 2012

Spanky & Our Gang

Listen: Like To Get To Know You / Spanky & Our Gang
Like

God, I hated Spanky & Our Gang when they were current. As a kid, they just sounded like safe sonic sludge, a cross between The Mamas & The Papas and The Letterman. Being impatiently addicted to the English group image, this bunch were simply hideous visually, out of shape and way too American.

Add to that, they were signed to the US Mercury/Philips/Fontana labels. As far as I was concerned, any money and manpower directed toward them took away from The Herd, The Troggs, Manfred Mann, The New Vaudeville Band, The Pretty Things and Dave Dee, Dozy, Beaky, Mick & Tich. Trust me, this did not sit well.

Truth be told, I was kind of wrong. Indeed, they probably did rob those other acts of company resources, but musically, they were pristine. To be fair, as the years passed, I found Spanky & Our Gang to be a nagging guilty pleasure, and one that eventually carried no guilt. Their collection of hits and non-hits sound even better with age. In fact, very psychedelic, aided in no small way by some of the earliest stereo 7′ pressings I can recall.

Check out both the production and arrangement of any Spanky & Our Gang single, start with ‘Like To Get To Know You’. This was on the radio constantly in ’68 and rivals Richard Harris’s Jimmy Webb written/produced ‘MacArthur Park’ for the flowery mini symphony slot of the era.

November 4th, 2012

Zager & Evans

Listen: In The Year 2525 / Zager & Evans
In

Lucky me, I still hear ‘In The Year 2525′ every so often, probably because I have Sirius Satellite radio in the car, and pretty much fly exclusively on JetBlue, simply because they offer the radio network as part of their in-flight service. Not that I wouldn’t fly them regardless. Despite accruing over two million frequent flyer miles on American Airlines, they’ve turned into a ghetto in the sky. A flight attendant recently charged me $5.00 cash to go up front and get me the vegetarian meal I’d ordered but had been given to another customer. It was a New York to London flight, and I was famished. Still, I reported him as soon as we arrived.

Are there any songs more spot on about the future than this one? Talk about a crystal ball. Have mercy.

The record might even be scary in the right setting or state of mind. Seriously, it’s just impossible to tire of ‘In The Year 2525′. It still gives me the creeps.

November 3rd, 2012

Helen Reddy

Listen: I Am Woman / Helen Reddy
I

To think, in ’72, ‘I Am Woman’, a song about women’s rights, not only got airplay, but reached #1 on BILLBOARD’s Hot 100. With our US Presidential election only days away, a track like this might not get a chance to be heard for another four years if Romney wins. In fact, this blog might disappear for even saying that. Hopefully, you’ll all vote against such a threat.

Read about Helen Reddy on Wikipedia. Fascinating. Her first record deal in the US was with Fontana, but not until moving to Capitol did she get any traction. I recall Corinne and I being crazy about her around the time of ‘I Am Woman’, and standing for hours in the blazing sun to watch her up close at the New York State Fair summer ’74. Not only did we love the singles, but were knocked out by her words at the Grammy’s, whereby she concluded her acceptance speech famously thanking God “because She makes everything possible”.

November 2nd, 2012

Mable John

Listen: Don’t Hit Me No More / Mable John
MableJohnDontHit.mp3

What about these lyrics? I wonder if a label would even dare ask their artist to sing them in this day and age?

I recall seeing ‘Don’t Hit Me No More’ in the mark down bin at Woolworth’s and sprang for the 39¢. Besides, I’d seen but not heard one too many Mable John, sister of Little Willie John, singles by then, seemingly a new one every three or four months. Always a meager few neatly displayed in the RnB section at Walt’s Records, the downtown Syracuse shop that carried ten or so copies of anything English that had reached their charts and released in The US.

Likewise, the store was chock full of all the current deep blues and soul singles. Those hovering anywhere near the BILLBOARD RnB chart had their own real estate on the shelves as well. It was anybody’s guess which were the greats amongst them, but once they hit those discount bins, label, writer, producer and in this case, song title pointed this little kid toward many a cherished item all these years later.

October 22nd, 2012

Fotheringay

Peace In The End / Fotheringay

Listen: Peace In The End / Fotheringay
Peace

Turning October Island pink in support of curing breast cancer, I’m reposting Fotheringay from April 6, 2009:

Remember in the very early 70′s Warner Brothers did those $1 and $2 samplers you could send off for from the back pages of ROLLING STONE? Well A&M did one too, and only one if memory serves me well. Titled FRIENDS, it was nicely full of UK bands like Blodwyn Pig, Free, The Move and Spooky Tooth to name a few. Fotheringay were on there, this song in fact. ‘Peace In The End’ was my first taste of the band, which I was well anxious to hear.

I’d loved Fairport Convention, and when Sandy Denny left to join up with Trevor Lucas in Fotheringay, well there was more of them all to love basically. Unlike most fans, my most memorable Fairport Convention period followed her departure. FULL HOUSE, ANGEL DELIGHT and BABBACOMBE LEE were and are hands down favorites. The lineups with Dave Swarbrick and Simon Nicol are just perfect for me.

I didn’t fall in love with the Fotheringay album, but I sure did fall in love with it’s only single, ‘Peace In The End’. I must have played this hundreds of times.

Years later, during that first London trip Corinne and I made together in ’77, Howard Thompson brought us round to the Island offices, where he did A&R at the time. In the back, there was an up and running company canteen which did hot food all day for staff and whoever was in the studio at the time. It was still operational ten years later when I joined the label.

What an experience that was. Just envision, growing up and living in upstate New York, and to then be suddenly transported to London for a two week vacation, meeting someone in Howard who would unknowingly change our lives forever, well we literally died and went to heaven.

Rico and his band were there rehearsing downstairs, Simon Kirke from Free eating with Jess Roden, various members of Eddie & The Hot Rods and Ultravox. Over in a corner were Trevor Lucas and Sandy Denny. She was very quiet, but extremely sweet when I approached her for a hopeful talk. Her voice as angelic when speaking as in song. ‘Peace In The End’ will forever remind me of her aura on that day.

October 21st, 2012

Jah Lion

Listen: Soldier & Police War / Jah Lion
Soldier

Next time you scan a list or read an article spotlighting reggae’s masterpiece recordings, guaranteed you’ll find COLOMBIA COLLY by Jah Lion omitted. Despite being amongst Lee Perry’s most revered Black Ark productions during ’76 – ’77, along with albums such as The Congos HEART OF THE CONGOS or The Upsetters SUPER APE, it really is surprising this one is consistently overlooked.

My recollections of 4am listens, waiting for Corinne to get home from her night shift all those years ago, are as plain as day, or night, I suppose I should say. COLOMBIA COLLY was probably the most haunting record in my possession. At times, even in an only slightly paranoia state of pot and speed combination, my regular cocktail as a college kid, I’d seriously need to suddenly take it off the turntable. Combined with the eerie stillness coming through our un-air conditioned windows during those summer nights, the album occasionally gave me the creeps. It was, and still is, that powerful.

I was both shocked and thrilled when Howard Thompson included a newly released Jah Lion single in one of those early Island packages he’d regularly send from his London office. I mean, who exactly thought Jah Lion would sell singles? Chris Blackwell is my guess. God, those were the days, weren’t they?

So hot off the heels of the Lee Perry produced ‘Police & Thieves’ by Junior Murvin came this, his dub variation of that original track, retitled ‘Soldier & Police War’ and released as a British A side by Jah Lion.

But wait, there’s more. Island’s US reggae subsidiary, Mango, also issued this non-LP track as a single. Now this was surely not destined for big things on American radio, but instead released to serve the small but active Jamaican music buyers pocketed in various US cities.

In fact, I’ve never seen another domestic copy, bar the one pictured above, accidentally discovered in the New York Island mailroom amongst a long buried and very dusty 25 box of assorted US Island and Mango reggae 7′s during my years in A&R at the label, late 80′s. Yes, I froze in that discovery position for a good minute or two. And it wasn’t only this record that nearly had me leaving on a stretcher.

Apparently, for US consumers, the somewhat easier to remember title of ‘Police And Soldier’ was afforded it’s very own pressing.

In some ways though, this only further confused the situation, one whereby despite Lee Perry being pictured as the artist on the aforementioned COLOMBIA COLLY album, was indeed not. Jah Lion was actually Jah Lloyd, as Duane taught me. Apparently, as with artist identities, Lee Perry often shuffled songs titles as well.

October 14th, 2012

Wally Badarou

Listen: Theme From Countryman / Wally Badarou
Theme

This single sits front of the 7″ soundtrack section in a wall shelf that I pass everyday of my life, when I’m in town that is. Suddenly it occurred to me, I had no idea what it sounded like. Well that’s all changed. If ‘Theme From Countryman’ had lyrics, I could sing you every last one at this point, that’s how many times it’s been on repeat. One of many lessons learned: never dump a record, you just can not predict know when it may become a cornerstone in your collection.

As an unofficial member of Level 42, Wally Badarou held little interest to me, and his endless studio involvements somehow the same. Boy, was I stupid.

Firstly, his accomplishments are an eye opener: a member of The Compass Point All Stars with Sly & Robbie, Barry Reynolds, Mikey Chung and Sticky Thompson, the in-house recording team of Compass Point Studios responsible for a long series of albums by Grace Jones, Joe Cocker, Black Uhuru, Gwen Guthrie, Jimmy Cliff, Gregory Isaacs, Robert Palmer, Marianne Faithfull, Herbie Hancock, M, Talking Heads, Melissa Etheridge, Manu Dibango and Miriam Makeba. Yeah, gasp.

Secondly, a gifted composer of incidental film music, possibly even harder to do well than calculating a Top 40 hit.

The single lead me to pull out the full length COUNTRYMAN double album soundtrack, thereby discovering, upon a typical credit scour, that Kwaku Baah played a big part in the musician lineup. Currently obsessed with his annoyingly under appreciated and extremely scarce TRANCE album from ’77, credited to Kwaku Baah & Ganoua, I rabidly advise finding a copy. And while you’re at it, both the COUNTRYMAN soundtrack and it’s accompanying 7″.

October 8th, 2012

X

X - See How We Are

X - See How We Are

Listen: See How We Are / X
See

Let me tell you one thing. We are very, very lucky, because X still exist and tour regularly. In fact, they may be more powerful live than ever. The original lineup of Exene Cervenka, DJ Bonebrake, John Doe and Billy Zoom has been reunited for several years now and are doing deservedly great business. There’s a lot of sense in sticking out that long stretch that usually ends in legend.

Now X certainly are legends. So many reasons: right up there with Johnny and Ivy resides Billy for greatest guitarist, flawless and razor sharp at every given moment. DJ still the powerhouse metronome, Exene the most magnetic and perfect female front person of her generation, and John, one of the greatest voices ever with those ‘desert at night’ tones only Jim Morrison rivaled. When singing or harmonizing together, John and Exene would actually create a 3rd voice, their timbres meshing so perfectly. Two singers, three voices. Pretty unique. And as writers, forget it. Yes living legends. More honest, hard working, and appreciative people you will not find.

Back in the Elektra days, I was very lucky to be their A&R guy, making several albums with them, and over both lineups. After Billy left in ’86, Tony Gilkyson joined, fitting the bill effortlessly. An incredible player as well and guitarist on this track. When Tony left around ’97, Billy rejoined to present. A&Ring them was a two fold experience: always rewarding, always frustrating.

Rewarding because at the studio, you knew this was the best place in the solar system to be, watching John and Exene through the control room window mastering a vocal take on one mic live. Wow. It still gives me tingles.

But frustrating knowing how the promotion department would have a difficult time with programers, and most likely be forced to accept defeat while sharing a $100 bottle of wine with some pampered PD.

Like all the greats, X couldn’t get their fair shake from radio. Bob Krasnow loved this track when he heard it. He walked into my office late one evening around 9 pm. We were all still there, everyone stayed late. It was a company full of people who loved their jobs and glowed in the success of the label that all had contributed to in some way. No one ever got fired. We never worried about that. So Bob says “I hear you brought back some new X ruffs from LA. I want to hear them”. I handed him an unfinished version of ‘See How We Are’ on cassette and he left.

This track was actually started at Capitol Studios on Hollywood Blvd and it was haunting wandering around those halls with Exene, talking about the legends in framed pictures, that had recorded there prior. It was that work-in-progress version I had given him, and I knew the song was ace. Sure enough, ten minutes later he’s back at my door. “This is fucking incredible, they are the voices of rebellion. This, Kevin, is important stuff”.

I can hear his words as plainly now as when he spoke them, God love him. Words from the guy who had produced Ike & Tina Turner and Captain Beefheart & The Magic Band, and now in praise of X. For whatever reason, we released ’4th Of July’ as the first single from the SEE HOW WE ARE album against Bob’s instincts. He thought that was too commercial, too formula when played up against ‘See How We Are’, but the radio department felt it was more palatable, singable, like Springsteen. Actually, it was all those things and yes, it too should have been a hit. He said, “You always have to put your best foot forward, you only get one chance”.

He was right. Even though as Chairman, I don’t know why he didn’t force the team to go for this single but he didn’t. Although released as a 12″ to radio, the commercial 7″ was cancelled. Only a handful of finished sleeves (pictured) and three test pressings were made. I think Howard or Alago got the third. I have the other two. You always need a safety copy.

A dealer recently asked how much one was worth to me, he wanted desperately to buy it. I said “It doesn’t have a price tag but for everything else, there’s Mastercard”. He got nasty, called me an arrogant cunt. Seriously, he did. Not exactly the way to get that second copy off me despite his admittedly accurate description of my response.

Listen: Highway 61 Revisited (Again) / X
Highway

Thanks to reader Mark Deming, his suggestion to also post ‘Highway 61 Revisted (Again)’ was a superb one. All this time, I thought it had come out as a bonus reissue track or part of a cd comp. Wrong. So here it it for all X fans to worship, as I do.

October 1st, 2012

Marianne Faithfull

Listen: Sister Morphine / Marianne Faithfull
Sister

Seeing Mark Miller Mundy’s name mentioned on a Facebook friend’s page today, combined with the chill of Fall setting into New York’s weather, brought on the idea of a BROKEN ENGLISH listen. Chris Blackwell once mentioned during a company retreat that Marianne Faithfull was the perfect example of an Autumn/Winter artist, siting Toots & The Maytals as being more adapted to Spring/Summer releases. The concept always stuck.

Fact is though, a thick UK 7″ pressing sounds better than any album, any day. Disagree? Don’t even. A/B ‘The Ballad Of Lucy Jordan’ or ‘Broken English’ against their album counterparts and see for yourself. Most of humanity probably wouldn’t notice but to me, it’s blatant. So over to the singles shelf I went, and in the process, realized it’d been way long since the Island version of ‘Sister Morphine’, re-recorded during those BROKEN ENGLISH sessions, had made it’s way out my speakers.

Okay, so this clearly didn’t stand up to the rest of that album, despite the obvious logic that it’s subject matter might perfectly fit. When you think about it, the song was always anchored by a clunky blues arrangement. God love The Rolling Stones, but they’re basically boogie woogie to the bone. So whether it be their version or Marianne’s original with them on backing, the songwriting blueprint was hard to shake.

Mark Miller Mundy clearly couldn’t find a way round it either and this was therefore relegated to the outtake mausoleum at the time. Luckily, the scorn in her delivery made it a worthwhile B side not long later, in ’82, when ‘Broken English’ got a UK re-release, thus providing the single with it’s own little corner of history. And the picture perfect sleeve didn’t hurt.

September 16th, 2012

Keith West

Listen: Excerpt From A Teenage Opera / Keith West
Excerpt

Keith West, real name Keith Hopkins, had a budding psychedelic career in the 60′s, not only as a member of Four Plus One, The In Crowd and Tomorrow but also solo. When ‘Excerpt From A Teenage Opera’ charted in the UK, getting a copy became my mission. Luckily, my uncle’s jukebox vending office got a US promo pressing, and wow, it was even better than I’d imagined. Way too young to take, not to mention even find LSD, records like these became my way of tripping.

I would call our local Top 40, WNDR, relentlessly requesting this single. Basically, I was begging, completely convinced if only kids could hear it, even once, the record would instantaneously become a smash in America too. I’ll never know if the experiment would have gotten results, they never played it. Not once.

Thus began my suspicion, mistrust and ultimate despise of US radio.

September 11th, 2012

A Band Of Angels

Listen: Invitation / A Band Of Angels
Invitation

A Band Of Angels are possibly the most unique of any British Beat group. You see, they actually managed a national US television spot, yet never achieved a domestic release. Not even one single in America. True.

In early ’65, they were on Brian Epstein’s black and white UK segment of HULLABALOO, a weekly installment positioned as a live feed direct from England. It didn’t last long, but I recall a barefooted Marianne Faithfull, also interviewed post song and a bunch of suit/tied Merseybeat acts getting similar looks. Parallel with his management roster, he was very safe, dare I say, white. So forget about seeing anything with a blues or RnB influence in said segment. Never happened. Still, A Band Of Angels were a real treat to this little kid.

I’d seen their photo in 16 MAGAZINE, and was itching for a listen. They performed ‘Not True As Yet’, even crazier given the track was a B side of ‘Me’, a colossal UK flop on United Artists. One listen on that program, and I sang it for years to follow, almost ten, until I landed a copy for myself. That’s both how much I wanted to retain it and how strong the song’s hook was.

Jump forward to summer ’66, and the band’s recorded peak, ‘Invitation’, gets a UK release. The single has become more appreciated through the years, slowly revered in the Northern Soul clubs and deemed as one of Mike D’Abo’s best lead vocals ever. Now that’s saying something, given his later hits with Manfred Mann, like ‘The Mighty Quinn’ and ‘Semi Detached Suburban Mister James’ particularly.

September 10th, 2012

Wayne Fontana & The Mindbenders

Listen: Game Of Love / Wayne Fontana & The Mindbenders
Game

At this late night moment, other than Dave Dee, Dozy. Beaky, Mick & Tich’s ‘Hold Tight’, I can’t think of any other song with a more powerful intro. Well hold on, there’s Inez & Charlie Foxx ‘Count The Days’ and The Cramps ‘Human Fly’ and….

Regardless, no one can deny ‘Game Of Love’. Doesn’t matter what genre you prefer. This single is absolutely top. Admittedly overplayed for thirty odd years but now almost as scarce on the airwaves as the US picture sleeve above, ‘Game Of Love’ also challenges David Bowie’s ‘Heroes’ for most perfect use of a metallic tambourine as a no turning back now arrangement accelerator. When that moment occurs at 0:14, the song and the whole world just elevates up a notch. Fact.

September 9th, 2012

Jacqueline Jones

Listen: One Monkey Don’t Stop The Show / Jacqueline Jones
One

Here’s what I know about Jacqueline Jones.

She released one single in ’71 on San Francisco’s Loadstone Records. Both sides are on YouTube. And after you listen to the previously unreleased ‘One Monkey Don’t Stop The Show’ above, I can’t imagine you won’t go directly there to hear them both.

In ’99, this track saw light of day as a 7″ B side to Billy Garner’s ‘Brand New Girl and was also issued on BGP Records double album LIVING IN THE STREETS (WAH WAH JAZZ, FUNKY SOUL AND OTHER DIRTY GROOVES). The vinyl pressing of the compilation is a 21st century artifact, a must for every reputable record collection and luckily still available:

http://acerecords.co.uk/various-artists-living-in-the-streets