THIS BLOG IS ABOUT 7" RECORDS ONLY. YOU CAN NEVER HAVE TOO MANY. EVERY SONG IS CONVERTED TO MP3 FROM MY PERSONAL 45 COLLECTION, AND THERE'S NOT ONE THAT I WOULDN'T RECOMMEND YOU SEEKING OUT. ANY COPYRIGHT HOLDERS WHO DON'T WANT THEIR MUSIC HEARD HERE JUST LET ME KNOW, AND DOWN IT WILL COME. CLICK ON ANY IMAGE TO ENLARGE.
Just check my previous two posts. Not hard to guess, I’ve been picking through the various artists section of my wall shelf.
Weirdly enough, this is usually a head scratching process. I don’t do it often, but every time seems to unearth a multi-artist record, usually an EP, that I’d never really noticed before, suddenly falling into the ‘where on earth did I get this from’ category. And honestly, it happens every single time. One source, the UK weeklies, who for a few years there during the late 80′s/early 90′s were including free EP’s, whether it be NME, Music Week or Melody Maker, with each issue. I religiously grabbed every one and stuck them in that VA section for a rainy day. The entire chunk now being a treasure trove of both obscure and focus tracks.
When the Ensign label got all hot and bothered about the Sue Records catalog, which I’m guessing they could suddenly access via their 1983 Island distribution deal, they issued a series of four song EP’s religiously honoring the labels iconic history. Some were single artist compilation EP’s by Ike & Tina Turner or Inez & Charlie Foxx. Others were theme centric: SUE INSTRUMENTALS, THE SUE SOUL SISTERS and this, the latter’s partner, THE SUE SOUL BROTHERS. I played all three in the past few hours and basically did a blindfold drill to choose today’s 31 Days Of December – All EP’s post.
THE SUE SOUL BROTHERS, most likely by design, builds around much covered songs from Sue’s UK catalog. And there were many songs to choose from here, not forgetting, the Sue UK label issued the American Sue releases along with various blues and RnB singles from small and indie US labels. Initially, Juggy Murray, who owned Sue in the US was reportedly furious with Chris Blackwell and Guy Stevens, the day to day guy at Island/Sue in London. Apparently, neither had cleared the idea of picking up product from other US companies and slapping a Sue label on it for the UK.
As a result, other than the bothersome bad blood, Sue’s British catalog and discography rivaled the majors like Decca’s, who bolstered their output and image by repping Atlantic, Monument, Tribe, RCA, Coral and others in Britain. Island became the little indie that could, even harder in the 60′s, when swimming against the tide of Decca, CBS, EMI and Pye was near impossible.
And so, the team at Ensign picked some solid originals here that went on to become widely popular as covers. Loads of bands, including The Who and John’s Children released Derek Martin’s ‘Daddy Rollin’ Stone’ during the Mod era.
Canned Heat, blues experts themselves, took Wilbert Harrison’s ‘Let’s Work Together’ Top 40 in 1970, delaying their version to give the original a chance to sell and reach #32 on BILLBOARD. In a loose full circle chain of events, John Mayall chose to record Wilbert Harrison’s ‘Let’s Work Together’ for his fantastic, and I do mean fantastic, Island album, A SENSE OF PLACE from 1990.
By the time these two guys teamed up, they’d outgrown their hardcore, grimy beginnings, especially having to play the late, late, late night white blues and soul clubs that typified 60′s Mod. Georgie Fame & The Blue Flames and The Alan Price Set respectively had done their time in the all-nighter trenches of London’s Flamingo, and other even nastier spots around the UK. Miraculously, even though they were having mainstream hit singles, their labels allowed both to record what each clearly preferred, jazz funk and RnB.
But I guess hits meant tasting success and some money, so by the early 70′s, both Georgie Fame and Alan Price were involved with televsion, films and soundtracks. Somewhere in that mix, a suggested musical partnering reflecting their apparent camaraderie actually took way.
Great plan. Their voices sounded superb together, and the first single released as Fame And Price, Price And Fame Together landed them a #11 UK hit in ’71.
Fuck was I pissed ‘Rosetta’ never got airplay in America. Initially, the single was included in a pile gotten off Harry Fagenbaum, the Syracuse University college radio rep for Warner Brothers. Despite Harry being another Anglophile, he hardly mentioned it. Supposedly, this record was just too adult and schmaltz for him. He wrongly assumed I would agree.
Can recall vividly returning home that Sunday evening, having spent the day trolling the SU campus record shops, then hanging out at Harry’s dorm, listening to The Pretty Things GET THE PICTURE album. Seriously, we played it at least twice, as I still hadn’t scored my copy. That was a damn hard one to get even in ’71. Imports were starting to become more common, but not older titles. So I’d always run straight for it in his wall shelf.
I remember him trying to edge in Ron Nagle’s BAD RICE album, and Deep Purple’s ‘Strange Kind Of Woman’ 7″, both of which he’d just given me. My logic was to promise I’d listen once home, but in the meantime, let’s hear The Pretty Things. And I did check those out that night, as well John & Beverly Martyn’s ‘Primrose Hill’, yet it was ‘Rosetta’ that hands down stole the thunder.
True story. After playing this twice earlier, not to mention regularly for the past twenty eight or so years, I suddenly, for the first time, thought how much ‘Puss’n Boots’ reminded me of Phil Collins’ ‘In The Air Tonight’. Never before had the similarity occurred to me. Turns out he produced it. Man, did I feel like a dunce.
Nice one there Phil Collins. Despite those massive drum sounds spinning their dated wheels in the early 80′s, they sure do work perfectly for ‘Puss’n Boots’. This song is just full of hooks, as in both traditional songwriting hooks and production tricks.
Plus I do love all the sneaky metaphors that lyrically weave in and out behind the prominent lead vocal parts. Listen closely next time, you’ll see what I mean.
Although a #5 in Britain, I guess ‘Puss’n Boots’ was thematically too English for US programmers. They used to run so hot and cold that bunch. Now their power base has been zapped from under their stubborn musical policies and no one cares, but at the time, I recall being mortified by it’s lack of attention here, despite his overall success streak.
It’s happened hundreds of times through the years. Label takes chance on an act, issues a single or two with no results, then moves on. Same act gets another deal, sometimes only months later and blows up. Around this period, David Bowie bounced from label to label, Marc Bolan too, The Herd, a bunch of them. On the quick path were The Love Affair. Probably signed by Decca in-house blues expert Mike Vernon or assigned to him for production, a good cover choice (Jagger/Richards ‘She Smiled Sweetly’) was released almost simultaneously with The Rolling Stones’ own rendition from BETWEEN THE BUTTONS on February 10, 1967. By the end of the year, the band had moved on to CBS and that label’s debut ‘Everlasting Love’ entered the UK charts in the first few days of January ’68, ending up at #1. Someone had egg on their face, including me.
I was so excited to see a copy in a local department store, and without a penny in my pocket, I decided to shoplift it. Got caught, almost arrested. Threatened to call my folks, which they didn’t, but it did cure me of that one.
‘Everlasting Love’, like all their singles, was a cover, this one originally released by Robert Knight. Even U2 have taken a stab at it, but no one has one upped that version by The Love Affair.
The followup, ‘Rainbow Valley’, was just as powerful. In particular, it continued to make obvious the strength of lead vocalist Steve Ellis. I’m sure I’ve read many times that this patch of singles, all Top 10 in the UK, were indeed Steve Ellis with studio musicians, a persistant trend in the 60′s. Probably to great frustration, the calculated pop made the band member cringe but who can say.
New producer Mike Smith had a simple formula down, which with ‘A Day Without Love’, now included recording the songs of non-member, singer/writer Philip Goodhand-Tait.
Listen: Bringing On Back The Good Times / The Love Affair Bringing
What seemed to rub the more hip, progressive rock fan of the day wrong is exactly what attracted me to The Love Affair. Big, over the top productions, with loud brass and orchestration, almost Motown-esque, and a perfect showcase for that great Steve Ellis voice.
She never sat in my office at Columbia. Nina Hagen was before my time, but during Howard’s. I don’t recall his memories being flattering. Not unlike her records, she was apparently rather primal.
Her vocal styled in that walking dead voice always took the prize for best dynamic moment on any track, although I’d have to say Mike Thorne was best at dragging that out of her on NUNSEXMONKROCK from ’82, one album and one year prior to ‘Zarah’. In fact, my all time favorite Nina Hagen track from said album, ‘Born In Xixax’, never graced a 7″. Luckily, ‘Zarah’ came in a close second.
Good call on someone’s part paring her with Giorgio Moroder, and, the 80′s version of today’s Mark Ronson fifteen minutes of fame producer, Keith Forsey. The track is superb, soldiering along proudly in the shadow of Sparks ‘Beat The Clock’, another Giorgio Moroder production from three years earlier.
Man, remember when records began to sound really expensive? Looking back, ‘Zarah’ was totally in that fast lane.
Always the ultimate player, Brian Auger seems like he was a pro in the cradle. Go back to his earliest recordings, prior to the big success he had with ‘This Wheel’s On Fire’, billed as Julie Driscoll/Brian Auger & The Trinity. You’ll see his virtuosity was fully formed.
In the early 70′s, after Julie Driscoll went her solo route, he toured the world, initially as Brian Auger & The Trinity, quickly morphing into Brian Auger’s Oblivion Express, gaining US momentum the whole while. Sharing bills with every type of band (Bruce Springsteen, The Allman Brothers Band., Roland Kirk, Santana, Chick Corea, Led Zeppelin, Earth Wind & Fire, Kiss, Herbie Hancock), they provided just the right amount of high brow musicianship to ecstatically turn both jazz and rock audiences on.
Surprisingly, or unsurprisingly, their many records fell pretty short on US airplay, but sold well nonetheless.
Fast forward to the present, Brian Auger’s Oblivion Express is still playing, dare I say better than ever. I sat smack dab in front of him a few years back, when he shared a bill with an equally stunning Savoy Brown at B.B. King’s in New York, and you could hardly see anything but a blur from those hands.
They just don’t make ‘em like Brian Auger anymore. Sorry.
It’s safe to say Al Kooper is a soul fan from way back. Look into his early history of obscure singles. They’re as vital as the well known triumphs, most of which wouldn’t exist without him.
For instance, had he not helped Bob Dylan over his difficulty with ‘Like A Rolling Stone’, well who knows what might have happened, or more likely not.
The effortless version goes to prove the occasional unsung plaudits don’t come his way often enough. I can’t imagine it’s easy, or more accurately, possible to fake this one.
For the record, it’s basically Blue Mink’s rhythm section here, and both Claudia Lennear and Linda Lewis doing those female bv’s.
By the 80′s, reggae seemed to race forward technologically a little too fast, like Jamaica suddenly discovered electricity or something. The deep analog records from the mid 70′s got very syndrum and synth heavy by the end of the decade. Just about every followup to classic albums by Max Romeo, Justin Hines, Aswad or anything involving Sly & Robbie reeked with a shimmer that now is horribly dated.
‘Strong Me Strong’ was indeed so strong, those occasional sonic trappings couldn’t begin to destroy it’s greatness. A pretty brave record for 1984, given that slamming reggae wasn’t exactly in the pocket, or maybe it’s just what was needed. Good signing Howard.
Yellowman’s one off with CBS/Columbia meant white, alternative kids could take notice and rub shoulders with roots music all over again, like in ’77. Yellowman toured the US, playing the exact same venues as the college radio hot indie bands. Not a jaw was left shut once he finished mopping those stages.
This dub version B side is lightweight but fun, a difficult one to find anywhere but on the original vinyl (I think). Bill Laswell and Material do many things well, but obviously not dubbing. Worth having as a period snapshot though, and still pretty great loud.
Listen: Love Of The Common People / Paul Young & The Family PaulYoungCommon.mp3
Howard posted this off with a batch of new releases back in ’82. He worked at Columbia then, having transferred from CBS London to New York. Old habits die hard: he still looked after the UK roster Stateside. I think this was one of the British acts he picked up via an inter-company option, thereby releasing Paul Young & The Family in the US.
As in their homeland, this first version of ‘Love Of The Common People’ didn’t make much noise, and remained a non-chart single. It was of some interest due to Rico finding a seemingly new home as the group’s trombonist. Anything Rico touches just works perfectly. His first solo album, ’76′s MAN FROM WAREIKA is a must have.
Questionable pictures can be harmful. Despite the contemporary ska image of the band, Paul Young’s shirt on the single sleeve really put me off. He looked like a bad stylist’s mistake. I did like the record, but felt a little unhip admitting so.
Bottom line is a great voice and equally great song are hard to keep down, despite all the sonic tricks of the moment being applied. That’s how I’d describe the remix, which revived the original single and thankfully kicked it into the charts. Well deserved.
Sounding a bit too glossy in hindsight, it’s down to The Belle Stars African background vocal style and ever dependable Rico saving the day. And of course, Paul Young’s (now sans The Family in typical major label Columbia Records ruthless style) voice.
Apparently, The Marmalade’s ‘I See The Rain’ was one of Jimi Hendrix’s favorite records. Their most collectable release, considered a psych classic, on and on.
All good, a deserved single. Having released a few musically revered but consumer ignored 7′s, UK CBS decided they’d had enough. Onto their pop assembly line The Marmalade went.
Perfect. The more manufactured or schlock, as one friend arrogantly puts it, the singles became, the more I liked them. Indeed, pop/schlock 60′s and 70′s UK singles in general – especially non-hits by nobodies get me excited every time.
‘Baby Make It Soon’ was probably a song the band hated and most likely didn’t even play on. Who cares….it’s a period classic, and many a person’s guilty pleasure. That, I would bet my life on.
Phil and I spent the night trolling through boxes of 7′s looking for fun stuff to play this Sunday during Lord Warddd’s Happy Sundays at Brooklyn Bowl residency. As always, even if a record clearly won’t work for a particular dj event, sometimes you still need to listen. A Thelonious Monk UK single from ’62 being the perfect example. We agreed, given that neither of us are jazz fans and probably don’t know good from great, there are occasionally pleasant ones to listen to every so often. And we also agreed this was just that.
An edited version from some album, it makes for a very pleasant 2:58 on the ears, and doesn’t overstay it’s welcome. Like all jazz singles, one of the great things about them – is that they’re pressed up as singles at all.
‘A record to cleanse the palate’ I believe was the Melody Maker review in a sentence. Very true. This one sat around for a while prior to picking up any notice in the States, but Columbia clearly smelled a hit from the get go. You could always tell when a picture sleeve was involved prior to 1977. I have a feeling a lot of people might remember the first time they heard it. The immediate response was ‘play it again’, a handy reaction when that initial listen is from your radio.
Forest Hills native Jeff Wayne’s fantastic production (he went on the score WAR OF THE WORLDS) could easily double as incidental music to a James Bond film. You simply don’t hear records this unique very often.
The local oldies station was having a 70′s weekend recently, replaying old Casey Kasem chart countdowns and this came on. Sounded more modern than anything on the modern rock station.
Having scooped a UK release of ‘Son Of Your Father’ off Giorgio Moroder’s own German version, Chicory Tip ended up at #1 as a result. Not so in the US. Giorgio’s reached #48, while Chicory (as their name was shortened to for that one US single) peaked at #91. Despite the UK coup, Moroder wrote it, thereby still earning off every sale without having to schlep about in glam trousers and platforms, as the band did. In fact, Chicory Tip apparently hated their new found teen success, thus live, would deliver heavy blues rock instead. Bad career move.
Back in the studio, the Chicory Tip camp was smart enough to keep a winning formula going for a few more replicas of that lone #1, right down to having the band cover Moroder songs exclusively as A sides. A few charted, but despite heavy airplay from the influential Radio Luxembourg, BBC’s Radio 1 wouldn’t touch ‘Cigarettes, Women And Wine’, supposedly due to the cigarettes mention. Big cheat. They were a perfect mix of Glam and synth rock, and had they continued mixing the two elements, the result may have been much closer to what Manfred Mann’s Earth Band achieved, especially with Giorgio Moroder as producer.
Their sound certainly pointed to a whole musical revolution that wasn’t too many years away.
Did testing one’s musical tolerance begin in the 60′s via prog rock, or was it an on going process starting with jazz in the 50′s? It certainly hit full swing by the late 70′s. When art met punk, the first requirement seemed to be an inability to play. But the resulting cringe factor was admittedly addicting. There were a bunch of labels that bent over backwards to like the unlikeable, and then it started to spill to the majors.
I ended up being sucked into The Slits despite my intensions otherwise. A strong image, great sense of reggae/dub, spot-on producer choice (Dennis Bovell) and top packaging helped launch their Island period (about a year in length) during ’79. After all, they were the new GTO’s in my book, but to others, it all hid behind No Wave or some such genre.
Most of the plays I give ‘Typical Girls’ still result in a second spin, or lead me on to a couple of other tracks.
Then there’s always ‘Earthbeat’, their fourth single. Have to say, I basically preferred this one. By now they’d absorbed the studio tricks Dennis Bovell had passed along, and working with Nick Launay and Dick O’Dell as producers, seemed to have replicated themselves successfully. It was a time when they were almost mainstream, and could’ve had a hit. After all, John Peel favorites like Killing Joke and The Fall were finding their way into the UK singles charts. Howard Thompson signed this to CBS, if corporate proof is needed of that possibility.
Listen: Mighty Mighty / Earth Wind & Fire EWFMighty.mp3
During the summer of ’74 – summer ’75, I worked at Discount Records, then a northeastern chain, owned by CBS, and heavily stocked in catalog. Most record shops in those days carried lots of….records. This was a time when all the excitement happened right there in the store as opposed any of the other shops competing for the youth dollar.
Today it’s known as an Apple Store. Both had genius bars, well no, that’s a lie. Record shops had counters populated by genius record experts. Same difference.
There were a couple of co-workers who relentlessly hogged the turntable, seemingly for the sole purpose of playing Earth Wind & Fire’s newest album, OPEN OUR EYES. I cringed at it’s polish having preferred their previous two Warner Brothers albums. They were way less refined and more street dirty. After all, leader Maurice White had started his professional career in ’69 as a session drummer at Chess, eventually joining The Ramsey Lewis Trio. Then something happened, literally in mid song, I realized I absolutely loved ‘Mighty Mighty’. It was the last track on one of the sides as I recall, and had just been released as a single. How perfect. It’s been a staple ever since.
So once my guard was down, I started noticing a bunch of things in there, like LA’s latin sound, which War had coined a year or two prior, sentimentally grabbing my attention via a first visit in ’73. Plus new to me, African beats. Miriam Makeba’s ‘Pata Pata’, shockingly a pop hit several years earlier, was my only exposure at that point. B side of ‘Mighty Mighty’ and album track, ‘Drum Song’ became a favorite even. I was officially a fan.
Listen: Kalimba Story / Earth Wind & Fire EWFKalimba.mp3
Was I happy when ‘Kalimba Story’ was released as a 7″. It was almost too good to be true, being my other favorite from the album. I’ve noticed kalimba on every record they’ve ever made, at least all the ones I know.
Listen: Sun Goddess / Ramsey Lewis And Earth Wind & Fire EWFSunGoddess.mp3
Full circle to ’75, when Maurice White reunites with Ramsey Lewis to record what would become a #1 Urban classic. These guys had really hit their stride.
Basically Sunny has loads of history. Solo artist, one half of Sue & Sunny (both of whom were also members of The Brotherhood Of Man) and background voice on many, many, many hit singles (Dusty Springfield, Elton John, The Love Affair, Lulu, Mott The Hoople, T. Rex, Tom Jones, and Joe Cocker to name but a few bigger ones). She’s probably on more records than even she can remember – let alone you or me.
Often associated with the Cook & Greenaway writer/producer team, it was their song ‘Doctor’s Order’ (co-written with Geoff Stephens, himself claim to a long list of song credits: The Applejacks, Manfred Mann, Scott Walker, Dave Berry, Frank Sinatra, The Carpenters) that became a favorite for literally months in ’74. As into rock and soul as I was in ’74, the occasional pop track would bite me hard. I was never comfortable that Sunny’s version didn’t become the US hit version, it was better and smoother than Carol Douglas’. Rest of world though, the crown went to the awesome Sunny. I want to meet her someday.
In 1981, it was quite okay to walk about sporting a new romantic look. Wearing your hair like one of The Golden Girls seemed absolutely normal. Now we might look back and think, not so.
The tougher side of that image was probably Adam & The Ants. Maybe they even instigated the whole movement’s look, I can’t say. But along with their post punk image reinvention came their musical one. Jungle drumming became an integral part of the singles, starting with ‘Kings Of The Wild Frontiers’, a surprising UK hit upon release.
Several A sides later came ‘Ant Rap’, the most twisted, sparse sounding one yet. And it was a UK smash (#3). But wow does, it hold up today.
