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.
I think this song may qualify as a bit of a guilty pleasure, as it is a touch schmaltzy, although my pal Phil, who has super taste in music, loves it. Then again, it was written by Bobby Womack and now a sought after hit on the Northern Soul circuit. Plus Georgie has such a great voice, and the whole idea that he perfected his sound doing all-nighters at the Flamingo Club on Wardour Street in London during the swinging 60′s alongside Chris Farlowe & The Thunderbirds and John Mayall’s Bluesbreakers, is, well, all I really need. Basically he always emulated Mose Allison and conventiently helped invent mod-jazz in the process.
As with some of his early hits like ‘Get Away’, this was produced by the great Denny Cordell. When I worked at Island in the early 90′s, Chris Blackwell brought Denny in to oversee A&R. Most everybody got their noses out of joint by his arrival but not me. I mean this was the guy who had produced The Move. He did the whistle sound, fingers to mouth, on ‘I Can Hear The Grass Grow’, helped start Deram and Regal Zonophone, and then Shelter. So we hit it off immediately, and I often think of the many great times and meals we had together. He was a serious cook. Plus he introduced me to so many people from the UK, all of whom would stop by to see him when passing through town. I remember when he brought Tony Colton into my office. He was the vocalist for Heads Hands & Feet who I became an instant fan of when seeing them open for Humble Pie. Tony had also produced a then obscure, now kind of appreciated gem: ON THE BOARDS by Taste. So this was a big deal to me.
Yeah, Denny was a great great pal….he produced this track as part of the 2nd album Georgie made for Island that the company then proceeded not to issue, still. Seriously, what hasn’t been released at this point? Island was a great place in many ways, but they had a very bad habit of making albums and not releasing them. I know of a few still in the vaults from Marianne Faithfull, and unfortunately countless others from The Smoke to Don Covay.
So this track, ‘Daylight’, and it’s B side, ‘Three Legged Mule’ came out in ’77 as 7″ & 12″ singles, and has finally been reissued as part of the ISLAND YEARS ’74 – ’76 anthology.
Another in the short series of London Records / Seeburg jukebox EP’s from the mid 1960′s.
As with The Rolling Stones post on 12/18, all these 33 1/3 true stereo EP’s, made with the endorsement of Seeburg and basically designed for their machines, had blank, white back covers. The Seeburg 45/33 1/3 compatible boxes had four framed glass windows into which these covers were meant to slip, thereby providing maximum real estate for the featured mini albums. As a result, there was no need for a back sleeve, thereby saving on print costs.
Besides, jukebox tabs, like the one below, were provided with the EP’s, from which all the song selections could be had.
Marianne Faithfull was just beginning her descent as a successful US Top 40 singles act around the time of this EP, GO AWAY FROM MY WORLD, and her second US album of the same name. The previous single, ‘Summer Nights’ included here, was the last to receive blanket pop airplay, peaking at #24 on BILLBOARD’s Hot 100. The followup, ‘Go Away From My World’, despite it’s beautiful full color picture sleeve, got minimal exposure and only struggled to #89.
I love that description, struggled. Real chart nuts, ones that make me appear normal and perfectly acceptable for mainstream society, use it all the time. It so nicely sets a sombre tone. But I do recall how dark and gloomy ‘Go Away From My World’ sounded on the air. It was the whole point, and the whole appeal as well. Material ladened with misery always suited her the best.
She got a ton of radio play in upstate New York. In fact, even I thought her singles peaked higher nationally recollecting now on how concentrated the exposure was.
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″.
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.
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.
Listen: Chatty Chatty / Toots & The Maytals Chatty
By the time ‘Chatty Chatty’ was released in 1980, reggae seemed mainstream, at least to us collectors. Although the occasional US ska or reggae radio hit of the 60′s had long ended, and it’s resurgence in the 90′s still being a ways off, college stations were playing it pretty heavily. Plus the touring acts would hit all the punk and new wave clubs, drawing primarily the same audiences.
If ‘Chatty Chatty’ sounds similar to Bob Marley & The Wailers’ ‘Could You Be Loved’ it’s not surprising. Chris Blackwell produced both in that same year. On first listen I was convinced Toots & The Maytals had a mainstream smash on their hands, at least in the UK. Wrong. It never charted. None of his singles did. Seems hard to believe.
‘Chatty Chatty’ serves as the perfect springtime single, April 7, 1980 being it’s exact release date. That was something I learned from Chris. He many times saw a song’s first listen as being seasonal. Toots was spring and summer, Marianne Faithfull definitely autumn or winter.
The Island offices on 4th Street, right above Tower Records, were a real hubbub of activity back in the late 80′s and early 90′s. Seems a day wouldn’t go by when at least someone from the roster would stop by. Julian Cope, Phranc, Toots Hibbert, Bootsy Collins, Melissa Etheridge, Etta James, Third World, Rakim, Marianne Faithfull, Anthrax. Seriously, there was never a dull moment.
Arrow lived locally, and seemed genuinely thrilled to have a group of friends at the company, all of whom attended his many in Central Park or SOB’s shows. He was forever a happy jolt to any workday.
Seeing him live was a quick trip to carnival, there was no way you could have a bad time. For an hour or so, everyone danced and laughed and got rid of all their troubles. Sounds all very patronizing I’ll agree, but it really did happen that way.
Despite some of the sonic trappings of his Mango releases, like those electronic drums for instance, overall I have the fondest memories of ‘Groovemaster’ and those days when it was a current single. Not being one for Latin music, like truly not at all, ‘Grooovemaster’ just slides by unscathed. Hey, after all, it was World Music. Most importantly, it’s only possible to remember the good times associated with all things Arrow.
Listen: (The Lights Went Out In) Massachusetts / The Bee Gees (The
Recalling the first time The Bee Gees got played locally, the disc jockeys at WNDR were promoting the record’s 7PM unveiling for a solid day or two prior. The implication being a new double sided single from The Beatles. Instead, we got The Bee Gees US debut: ‘New York Mining Disaster 1941 (Have You Seen My Wife, Mr. Jones)’ / ‘I Can’t See Nobody’. In the end, a much better result.
Other than an unfair comparison to The Beatles, from that US premier until taking a dreadful left turn into disco during the mid 70′s, the band had a nice run of British sounding hits, despite growing up and starting their musical career in Australia. Nothing wrong with that by the way, but given they were originally the UK, it was clearly in their water.
During the late 80′s, while working at Island, I often tried to convince Marianne Faithfull to cover ‘(The Lights Went Out In) Massachusetts’. The song just seemed made for her timbre. At the time, she was living in Boston, but despite using that logic as ammo, she never did get round to it.
‘(The Lights Went Out In) Massachusetts’ is neck in neck with their UK only single, ‘World’, also from ’67, as my favorite. A slight embarrassment, this one only reaching #11 on BILLBOARD’s Hot 100, while achieving #1 pretty much around the world. Both a big accomplishment and a contributor to their astonishing, career spanning sales of 220 million records worldwide.
Only in France and Germany did they have the sense to release ‘Losing’ as a single, and on 7″. Well oddly enough, in Spain and Austria too.
If the world were a fair place, and work wasn’t so dirty, ‘Losing’ would have broken all previous watermarks for weeks at #1.
Duane and Howard introduced me to the orchestration and arrangements of producer Angelo Badalamenti via TWIN PEAKS, a television program I hadn’t followed. Immediately taken, I suggested to Marianne they should meet, with the possibility of writing together. She was instinctively in. Angelo had the same response.
Off they went for a few weeks, and in no time, returned with one of her milestone works, A SECRET LIFE.
I’ll never forget that phone call, saying she and Angelo were ready to play me the album. Next day, the three of us sat together in his studio, listening in it’s entirety. The two of them, confidant but humble. Me, near speechless.
If you think this is one powerful track, you’d best fucking duck when she performs it live. The entire room sat frozen, silent and in religious awe a few weeks back here in New York during it.
I was ready, but had an identical reaction. I will never forget it.
When we were introduced, Barry Reynolds seemed genuinely surprised by my interest in him being a member of Pacific Drift, or even knowledge of it. As with a handful of UK centric 60′s labels that I collected, Deram was one. Given his band were on the roster meant I had investigated all associated history. In an era of tuneless progressive rock, which was incidentally as equally addictive as Northern Soul with book values to prove it, Pacific Drift additionally had hooks. Turns out these were Barry’s formative writing days.
So upon meeting in the late 80′s, when I inherited Marianne Faithfull’s A&R duties after joining Island, he being her life long writer, band member, mentor and heart strong companion, we finally met. Humble and shy about Pacific Drift would be an understatement. Having gone on to write so many more songs of greater strength, clearly this stuff was too early, too underdeveloped for him to care about years later. Doesn’t mean I didn’t.
Besides, some records maintain their biggest strength in the ability to turn back time. So is the case with Pacific Drift. Being the young record fanatic that I was, I’d befriended an evening jock at the local Top 40 during summer ’70, intentionally hoping all roads could lead back to getting his promo cast offs. Initially this worked fine, until realizing his intentions leaned in other directions. The arrangement ended abruptly but not before a few trunk sized vinyl scores, one of which included Pacific Drift’s FEELIN’ FREE album and the accompanying ‘Yes You Do’ / ‘Tomorrow Morning Brings’ 7″.
Pacific Drift’s pressings went top of the pile, primarily due to Deram but also producer Wayne Bickerton’s involvment. I loved his recordings with The World Of Oz and given his Decca/Deram house producer status, this stuff I needed to hear. Lyrically, I’ve never worked out if ‘Tomorrow morning brings the afternoon’ is genius or embarrassing. But it was prog, all things made profound sense via the hash pipe.
Listen: Go Away From My World / Marianne Faithfull Go
If you watch early Marianne Faithfull clips on SHINDIG or HULLABALOO, there’s often a sole, seated acoustic guitarist accompanying her. That’s Jon Mark, or Jon-Mark as the name appeared on his solo single, later of The Mark – Almond Band, one of the highest calibre musicianship outfits of their day.
Despite the label misspelling, ‘Go Away From My World’ was his composition, and indeed seems tailor written for her, it’s doom ridden mood unknowingly predicating a fifteen year marketing treadmill for both her personal and musical direction. It couldn’t have been more perfect.
This US only single, in it’s seldom seen picture sleeve above, was her last to ever chart on the BILLBOARD Top 100 in late ’65 at #89.
With thankfully another birthday a few days away, I’m always reminded of my 37th, when Marianne organized an Indian dinner for Corinne and I and some friends, then while cutting the cake, sang me a bit of ‘The Ballad Of Lucy Jordan’, adapting the “at the age of thirty seven….” lyrical line to the occasion. How’s that for a birthday present?
Listen: Times Square (Live) / Marianne Faithfull Times
Over several nights, Marianne Faithfull recorded a live album at St. Ann’s in Brooklyn with an all star cast put together by Hal Winner. I was in charge of A&Ring it, and Marianne graciously gave me an Executive Producer credit on the album. I was beyond flattered and touched. She has a good heart.
A lot of the performances needed some serious weeding and occasionally required confrontation between myself and Hal. At the time, I was under appreciative of his input. But now I realize what an absolutely tremendous contributor and producer he was and is. Thanks Hal.
Playing the final mix of the terrific composition by Barry Reynolds, ‘Times Square’, for Chris Blackwell gave both he and I chills up the spine on that first listen. I will never forget the two of us simultaneously having involuntary spasms at exactly 2:19. Yes, Marianne Faithfull could be a higher form of life without even knowing it. Her performance on this occasion unanimously proved that.
Thankfully, Island Germany chose to release ‘Times Square’ as a picture sleeved 7″ single. I was thrilled and am forever grateful.
Another case of one band name, but two completely different sounding lineups, making it easily possible to love/hate one and not the other, or something like that.
Me, I was into both. And it began logically, with the first of the two. The Denny Laine years I suppose you could say.
As lead singer, his tenure started May ’64 at their onset, lasting until Fall ’66. This was when you really had to be able to sing in order to get a deal and make records. Denny Laine trained himself on, you guessed it, soul and RnB. At this, he was winner.
All the singles released during his time are equally great. Most surprisingly weren’t hits, but still, they’re classics. The Moody Blues really stalled their momentum after the worldwide smash ‘Go Now’ by issuing a couple of dirge ballads that struggled for airplay. Hey, I loved them, but programmers didn’t.
After which, ‘Everyday’ came, but the mess had been made and it all slowly went flat for the Denny Laine lineup. Too bad. ‘Everyday’ is the kind of record that probably would have helped change their history a bit had it followed ‘Go Now’. All speculation here.
Another top Denny Cordell (not to be confused with the aforementioned Denny Laine) production though. Not that he totally agreed with me on that one. I met Denny at Island, and elsewhere on this blog there’s a more in depth post about all that. Let me tell you this. Denny was a blast, an absolute class act, had great history, impeccable musical taste and instinct, a wonderful soul. I’m still knocked out that we became good friends.
One time, in the days when we had pretty extravagant parties at our place, Denny came along, swirling in through the front door and b-lined toward the kitchen with a plan to whip up some Jamaican dish, and a bag of supplies for just that purpose. He simply crashed right into it all. That was Denny.
Later in the evening, Duane, with a you gotta hear this look on his face, nudged me toward he and Marianne sitting at the then, newly found 50′s wrought iron and glass patio set, a garage sale miracle with a story all it’s own, deep in stuffy English brogue conversation, so upper class thick, you literally had trouble deciphering what the fuck they were saying. The two of them were all giddy, reminiscing about the old days, smuggling hash into England, dishing through folks at Decca, Mick’s parents, you name it, no one was spared. I just sat right down, refilled their margaritas, listened in, a conspicuous fly on the wall. Cool as a cucumber on the outside, fourth of July fireworks inside. Exactly as anyone else would have felt.
Blues singles are generally, well pretty similar. This coming from someone who has never claimed to study their intricacies, but more often, picked up on the ones that really caught my ear and enjoyed them in a different way. Essentially, getting lost in what life was truly like for the voice behind the recording became fascinating.
How did this guy live, and where, did he own a home, was it warm, what was the kitchen like, was it clean and have indoor plumbing, a record player, copies of his own records, did he have a family, did he love them, did they love him, how much could he really make touring, did he work odd jobs when off the traveling circuit, where, how much did his band make on tour, how the hell did they live when they got home, what type of vehicle did they all travel in, what were the hotels like, where did they do laundry, how often, where did they eat, what kind of food, did they stop at the Thruway restaurant near where I grew up, were they a mile or so away filling the tank with gas while I sat in my stroller or kindergarden class, did they drink, how the fuck did they feel the next day on long drives in uncomfortable smoke filled cars, did they get to shower often, see a dentist, ever meet Bessie Smith, was it all worth it?
Even more exotic is the answer to each and every one of those questions when it’s a female being listened to.
You see, suddenly the record can be filled with mystery and suspense. Try it sometime. Believe me, the blues will never sound the same again.
David ‘Honeyboy’ Edwards is one of the last living beings that can answer every question above and more. He claims to have been present the night Robert Johnson drank that bad luck glass of poisonous liquor. Who can challenge that claim? Who would want to?
My guess is this guy has more stories than Marianne Faithfull. Imagine that.
In June, he’ll celebrate his 96th birthday. And guess what he’s doing to get ready for that. Touring:
Friday, January 28, 2011 – Regency Ballroom – San Francisco, CA
Saturday, January 29, 2011 – Renee & Henry Segerstrom Concert Hall – Costa Mesa, CA
Sunday, January 30, 2011 – Anthology – San Diego, CA
Monday, January 31, 2011 – Campbell Hall at UCSB – Santa Barbara, CA
Tuesday, February 1, 2011 – TBA – Los Angeles, CA
Thursday, February 10, 2011 – Hill Auditorium – Ann Arbor, MI
Friday, February 11, 2011 – Orchestra Hall at CSO – Chicago, IL
Sunday, February 13, 2011 – MSU Riley Center – Meridian, MS
Thursday, February 17, 2011 – Music Center at Strathmore – North Bethesda, MD
Friday, February 18, 2011 – Berklee Performance Center – Boston, MA
There’s just something about a hip hop track when it’s on 7″ vinyl. Luckily, the 45 configuration was still pretty prevalent during the 80′s but far from the format of choice for the genre. Therefore, very few were manufactured, and even fewer sold. Now, not unlike Jazz singles, they’re fairly collectable and are almost like novelty items. I, for one, stock piled them all: Sugarhill, Def Jam, Wild Pitch, Rock-A-Fella, Tommy Boy etc. So yeah, really appreciative to have the Eric B. & Rakim stuff on 7′s.
In the day, these guys were usually hanging around the Island offices on 4th & Broadway, when the company was located above Tower Records. It was a pretty fun location. All the latest releases one floor down, and Keith Richards living in a duplex at the top – a constant hub-bub of activity. Island seemed to be a place the artists liked to visit, and milling about, sometimes all day. It was not uncommon to have say, Melissa Etheridge and Etta James talking in the hallway, or like one memorable afternoon on my office couch, Chris Blackwell with Phranc, Marianne Faithfull and Julian Cope.
Eric B. and definitely Rakim were often playing records in Kathy Jacobson’s office. Rakim in particular was a mensch, polite, humble and really smart.
I have played ‘Move The Crowd’ hundreds and hundreds of times. It sounds great in the car, on the headphones, definitely on the jukebox, seriously everywhere.
Just as there was never any question in my mind who conquerd the decades old Beatles vs. Rolling Stones challenge, so too did that boil over and apply to their respective managers. Brain Epstein vs. Andrew Loog Oldham.
Opinions don’t matter. The facts are the facts.
Brain Epstein’s roster: The Beatles, Gerry & The Pacemakers, Billy J Kramer & The Dakotas, Cilla Black and The Remo Four.
Andrew Loog Oldham’s roster: The Rolling Stones, Marianne Faithfull, The Poets, The Mighty Avengers, Vashti and Twice As Much.
Then there was ALO’s Immediate Records roster: The Small Faces, The Nice, The Amen Corner, The Outer Limits, P.P. Arnold, Chris Farlowe and again, The Poets and Twice As Much.
Okay…..I will stop now and show some mercy.
Focusing on the clear champion had me thinking today about Twice As Much. In a constant quest to emmulate Phil Spector’s production style, ALO applied many attempts to the squeaky clean Twice As Much. Possibly going a touch too far by giving them a very California ’67 sound, a year earlier in ’66 funny enough.
On this second single, David Skinner and Andrew Rose were allowed to write both sides, unlike their first and much of their other records, which conveniently slotted in Jagger/Richards and Marriott/Lane songs.
It’s this B side which is their real gem, maybe their best ever. Pretty dependable at picking hits, I’m not sure how Andrew fumbled hiding ‘Simplified’ on a flip side.
I recall my pal Denny getting a copy of this in late summer of that year, and we both played in relentlessly for weeks.
How is it possible that ‘Little Boy’ was not a hit. It will always be one of the unexplained wonders of the world. No surprise Phil Spector flipped his lid. This (#92), ‘River Deep – Mountain High’ (#88), The Ramones ‘Baby I Love You (never charted at all). How appalling. What an embarrassment.
I do recall hearing the record a lot in my hometown though. All the Phillies singles seemed to get played upstate. And when ‘Little Boy’ was current, I neglected to get me a copy. It wasn’t until summer ’73 when I finally bought one for 35p at Graham Stapleton’s stall outside Cheapo Cheapo Records on Rupert Street in London’s Soho. What a bargain. As always, the label copy name checks included Larry Levine and Jack Nitzsche.
Fast forward to the late 80′s. I’m working at Island, A&Ring Marianne Faithfull. The company was searching for something a bit more current on the upcoming album. She’d done STRANGE WEATHER prior, and it’s old Europe Prague winebar angle was getting tired. I’d suggested New Order produce. Chris wasn’t feeling that. It was apparently too young a look. Somewhere in the mix, Jack Nitzsche became the possible candidate, so off to LA went Marianne to try writing with him, see if some result could develop.
He had just produced the soundtrack to THE HOT SPOT, a truly terrific album with John Lee Hooker, Miles Davis and Taj Mahal. There was even a single released, and that’s posted elsewhere on this blog.
Jack actually called me one day with an update, basically saying nothing much was getting done. Not the best news, but getting a call from Jack Nitzsche with any news at all was huge in my book.
No sooner did he ring than Marianne was on the phone.
“I need to get out of here. All he wants to do is fuck me”
“So do it”
“Kev!!!”
She was back in NY days later. So much for that collaboration.
The below post, originally from 1/15/09, is worth revisiting. Firstly, one can never hear The Poets enough, and secondly, thanks to Lindsay Hutton from Next Big Thing, he snagged me the jukebox tab below, which is well worth sharing.
Probably by fluke, The Poets first single ‘Now We’re Thru’ perfectly captured what we Americans heard as the black and white sound of drizzle drenched England in a 2:13 sonic snapshot. Black and white? We only ever saw these bands that way. Color photos of brand new groups were thin on the ground. As for the magazines: newspaper style, with color covers at best.
Then there was TV. Who had a color set in ’65? Sure by ’67 TV, like everything else, went to eleven, to technicolor. But those early UK bands the world was insatiable for, all in black and white, and usually photographed on some wet cobblestoned street. Think about shots of Them, The Pretty Things, Manfred Mann, whoever, shivering from the damp.
‘Now We’re Thru’, it’s a minor key classic, a perfect balance of over echoed background vocals, cymbal free distant drums and that ever present Decca tambourine, possibly a non negotiable contractual boiler plate item. Andrew Loog Oldham produced their early releases, probably managed, obviously owned the publishing and gave them a leg up in many situations I’m guessing. A deal with Decca for starters. He even elbowed them on to America’s teen weekly SHINDIG:
“You want The Rolling Stones, take The Poets too”, just an educated guess mind you.
Above: Jukebox Tab signed by George Gallacher
He had a few others signed up at the time: Marianne Faithfull, Adrienne Posta, The Mighty Avengers, Vashti and clearly got a taste for his own label.
What the hell, let’s give The Poets credit for helping create Immediate Records. They certainly were the only act he took along but no one ever seems to mention that bit.
‘Call Again’ was issued as Immediate 006 (theoretically the label’s 6th release). By now that destinctive vocal sound of singer George Gallacher was in place. If only they’d had a chance to work extensively in a studio, OGDEN’S NUT GONE FLAKE style….if only if only if only.
This came out not long after I joined Island in ’88. Ron Fair was part of the A&R team, and produced the single (plus the album from which it came, MY NATION UNDERGROUND).
I hadn’t seen Ron for years, he went on to big success with The Black Eyed Peas and Keyshia Cole – good for him. But we did finally have a chance to reunite at a recent party in New York – and despite my praise of his work with Julian, he was pretty humble.
‘Charlotte Anne’ is such a classic British pop single. I remember sitting in the little parking lot behind Island’s St. Peter’s Square office in London back then, listening to it in Ron’s car. I loved the track that first time and still do.
Luckily I had the privilege of getting to know Julian and his then sidekick/producer Donald Skinner. They were making one of his masterpieces, PEGGY SUICIDE. What a fucking fantastic work from start to finish that baby is. Soon after release, I ventured to Norwich and caught an early show on the UK tour in support of the album. No lie – it was the place to be in the solar system that night.
‘Beautiful Love’ is probably my all time favorite Julie single – reminds me so much of The Herd’s ‘I Don’t Want Our Loving To Die’. So what’s not to like.
Visiting New York for a few days press prior to the album’s US release, he stayed, as always, with his in-laws out on Long Island. It was a blistering hot July day, and into the office comes Julian wearing flip flops, a wide brimmed sun hat, shades and swim trunks just a touch bigger than your average sized thong. That’s it. He plopped onto the sofa in my office and proceeded to have a totally casual conversation with Phranc and Marianne Faithfull, neither of whom seemed to blink twice.
Island was one hell of a fun place to work at times.
