Posts Tagged ‘Mickie Most’

Kim Wilde

Friday, July 6th, 2012

Listen: Cambodia / Kim Wilde
Cambodia

More Mickie Most productions. Boy, am I late on him. Stupidly never pursued meeting up during all those UK visits, searching for producers and what not. Now looking back, he’s risen to one of my all time favorites in the field.

Predating 21st century programmed/dance/electronic/whatever it’s called Pop, ‘Cambodia’ could have easily been a hit for Abba, or written by them even. No shame here in lifting their successful sound, a normal procedure in the days of Mickie Most’s earlier career timeframe.

Of all Kim Wilde’s hits, both with Mickie Most, ‘Cambodia’ captures the Joe Meek haunt, although probably without any intention. But I hear it loud and clear.

The Vibrators

Monday, June 11th, 2012

Listen: We Vibrate / The Vibrators
We

Not only did Mickie Most have probably the greatest name ever, he was unmatched as a record producer for many years. Listen to the way he weaves and mixes the instruments on Donovan’s ‘Sunshine Superman’ or how he recaptures Joe Meek’s haunting, other worldliness on Kim Wilde’s ‘Kids In America’. The story of his life and his list of production achievements is fascinating.

A consistently under mentioned work for him seems to be The Vibrators ‘We Vibrate’. Released on his RAK Records imprint, as with most of the label’s product, he produced. 100% devoid of studio polish, instead the value of how this single was recorded and approached is all about their stage sound. It’s easy to see how this early punk record was a direct descendant of The Arrows and Suzi Quatro before them, both on RAK and both his productions. The band sounded exactly like this live. I know, Corinne and I got to see them at Dingwall’s in early ’77. I want to say Chris Spedding was on stage, but honestly can’t recall.

They were about to sign with Epic and make a great debut album, apparently their RAK deal being only a one off 7″. Their followup single and first for the new label, ‘Baby Baby’ / ‘Into The Future’ came really close, but somehow didn’t quite surpass ‘We Vibrate’.

Lulu

Wednesday, February 1st, 2012

Listen: The Boat That I Row / Lulu
The Boat That I Row / Lulu

Mickie Most: producer. Mickie Most: never a moniker more perfect.

This guy’s name framed a 60′s pop music producer with total accuracy. Don’t know much about him, never got to meet. Yet his records from the ’66 – ’68 period really had a stamp. And the legacy continued into the 70′s, with his label RAK. But back to the 60′s….

Not sonically unlike Donovan’s ‘Sunshine Superman’ or ‘There Is A Mountain’, The Yardbirds’ ‘Goodnight Sweet Josephine and ‘Ten Little Indians’, as well Jeff Beck’s ‘Hi Ho Silver Lining’ and ‘Tally Man’, all of them Mickie Most productions, I’m guessing his secret was a magic wand chock full of studio compression. Not being an engineer, I can’t say for sure, but indeed there are similarities whereby certain instruments get maxed out in a most appealing way. Maybe that’s where a play on the word most, or Most, gets a little too clever. Sorry.

Seriously though, I do recall hearing ‘The Boat That I Row’ those first few times on my local Top 40. It was warm, springlike weather and wow, did this song jump right out of the sludge. I wanted Lulu to have a US hit for seemingly ages, and now, clearly, the moment had arrived.

Technically, this single reached #1 in the States, but oddly not as ‘The Boat That I Row’. Instead, the original B side, ‘To Sir With Love’ suddenly gained momentum, given the film had just successfully debuted in theaters and was on a tear. So radio stations flipped it, as it was referred to in those days, meaning they began playing the B side and shunning the A.

‘To Sir With Love’ scaled to that coveted #1 slot, but in my world, ‘The Boat That I Row’ was always the chart topper. I mean, it technically sat right there on the pointy part of the pyramid.

Terry Reid

Wednesday, April 6th, 2011

Listen: Stay With Me Baby / Terry Reid
Stay With Me Baby / Terry Reid

Other than ‘Better By Far’, a preview to BANG BANG YOU’RE TERRY REID, his first album, no further UK singles were issued from that or the even better followup, TERRY REID. Mickie Most was not only producing, but managing, if you can call it that.

Never got to meet Mickie Most, but had that opportunity occurred, inquiring into the lack of Terry Reid singles would have been the first words spoken. He’d have hated me pretty quickly, because I’m still steaming about it and probably would’ve remained unsatisfied despite his reply. Very obnoxious indeed, given the many terrific records he produced, most of which I own. Truthfully, I certainly would have behaved, shown respect. After all, there’d have been a lot to talk about and who the fuck am I compared to Mickie Most?

In the States, Terry Reid was the opening act for The Cream in ’68, and then The Rolling Stones on their ’69 tour. By that time, said classic second album, TERRY REID, was out. Epic had enough sense to pull a few tracks off the record and press up 7′s, if only to focus the underground disc jockeys, as they were known, toward the more obvious airplay choices.

‘Stay With Me Baby’ could’ve taken off, so give it a 7″ kickstarting chance. Why not? A mid chart hit (#64 in ’66) for Lorraine Ellison, the Jerry Ragovoy song (although wrongly credited on the label copy here to members of Savoy Brown, they too had a then current song titled ‘Stay With Me Baby’) seemed purposely written for Terry Reid’s voice.

Live, it was so powerful, almost frightening, a career moment, a show stopper.

Listen: Speak Now Or Forever Hold Your Peace / Terry Reid
Speak Now Or Forever Hold Your Peace / Terry Reid

He never did play near my home in upstate New York when I was a youngster. He seldom played the States at all really. After those initial two albums came out and miraculously underperformed, it was a few years before he ventured back. By then, the crazy teenager in me decided I could wait no more, and hitchhiked to NYC summer ’73, seeing him at Central Park’s Wollman Skating Rink during their yearly Schaefer Music Festival summer concert series. My lord, what a lineup that series had. It’s hard to read quickly, you’ll need to go slow.

Yes, I hitchhiked from Syracuse, along the New York State Thruway. No money in my pocket to speak of, about $30. And nowhere to stay after the show, I hadn’t even thought about that part. Post concert, I made my way down to The Village Oldies. They were open until 2am, stocked up on 25ยข unsleeved promo 45′s, had some pizza, then it was time to head back. Almost can’t believe I did it. My folks were in a true panic. Wow, crazy stuff. I should be dead, instead I was possessed, 45′s under one arm, the other with a thumb out along the West Side Highway.

Terry Reid played all the classics that night. The addicted amongst us were foaming up front, dangerously freaking out, like the messiah had arrived. There were moments, like during ‘Speak Now Or Forever Hold Your Peace’ when I could’ve sworn he had. Terry Reid was that incredible.

Kenny

Monday, July 27th, 2009

kennybumpus, Kenny, Jonathan King, UK Records, Phil Coulter, Bill Martin, RAK, Glam, Glitter From The Litter Bin, The Space Raiders

Listen: The Bump / Kenny KennyBump.mp3

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kennyjulieusa, Kenny, Jonathan King, UK Records, Phil Coulter, Bill Martin, RAK, Glam, Glitter From The Litter Bin, The Space Raiders" title="kennybumpus, Kenny, Jonathan King, UK Records, Phil Coulter, Bill Martin, RAK, Glam, Glitter From The Litter Bin, The Space Raiders

Listen: Julie Anne / Kenny KennyJulie.mp3

spaceraidersglamraid, space raiders, kenny, skint trcords

Listen: Glam Raid / The Space Raiders SpaceRaidersGlamRaid.mp3

There’s a great compilation titled GLITTER FROM THE LITTER BIN; 20 JUNK SHOP GLAM RARITIES. It’s a fun listen but it’s the message here that counts. Long snubbed as uncool, juvenile, manufactured, throwaway – you name it, I could never quite understand everyone’s problem with glam. The production was fantastic, drum and treble heavy, fun clothes and haircuts to match, and a threatening mix of androgyny (which indeed were assets to David Bowie, T, Rex or Roxy Music when convenient). No problem here. I was a proud fan and collector.

Kenny (band not person) churned out some hits, including these two masterpieces. Written by Bill Martin and Phil Coulter, as with all their material, ‘The Bump’ is a literal blueprint of glam. Fair enough, The Sweet, Slade, Sparks and Wizzard can equally claim such feats, but that doesn’t void out ‘The Bump’. Although released on Mickie Most’s RAK Records in the UK, Kenny flip flopped from pilar to post label-wise in the US. ‘The Bump’ was picked up by Jonathan King in the States, issuing it on his UK Records imprint through London. Sampled years later by The Space Raiders on their fantastic ‘Glam Raid’ (listen above), it verified some needed credibility to the song’s worth.

‘Julie Anne’ probably veered a bit more mainstream teen pop than glam, but the effervescent sound of super K was well intact. A pop classic.

Lulu & The Luvers

Wednesday, July 15th, 2009

luluforgetme, Lulu, Lulu & The Luvvers, Lulu & The Luvers, Decca, Parrot

Listen: Forget Me Baby / Lulu & The Luvers LuluForget.mp3

lulusatisfied, Lulu, Lulu & The Luvvers, Lulu & The Luvers, Decca, Parrot

Listen: Satisfied / Lulu & The Luvers LuluSatisfied.mp3

lulusurpriseuka,Lulu, Lulu & The Luvvers, Lulu & The Luvers, Decca, Parrot

Listen: Surprise Surprise / Lulu & The Luvers LuluSurprise.mp3

With a moniker like Lulu, it’s not too surprising if your powerful voice is overlooked. Shame. Lulu could, well still can, really sing. Does anyone honestly not love ‘The Boat That I Row’ or ‘Me, The Peaceful Heart’?

But even in ’65 the ruthless star making machinery was in aggressive full swing, preceding Clive Davis’ criminal dismantling of Big Brother & The Holding Company for a solo Janis Joplin by several years. Decca’s victims, although not as cleanly disassembled: Lulu & The Luvers or as sometimes listed, Lulu & The Luvvers. Initially known as The Gleneagles with Lulu as one of the vocalists, they played their brand of R&B regularly around Glasgow’s clubs. At 14, Lulu and band had their first hit with The Isley Brothers’ ‘Shout’, making theirs the definitive version in the UK. Pretty quickly peeling her away from a band setting began. But not before one more single as Lulu & The Luvers was released (after a few solo Lulu singles confused the process): ‘Satisfied’ / ‘Surprise Surprise’. They sounded like a hot band, even if they were part studio guys, and I wish Decca had afforded them an album before her solo career commenced. Plus the way their name alliterates off the tongue is just perfect.

Seems even Lulu forgot about the Luvvers, based on her jukebox tab below:

LuLuJukebox, Jukebox Tab, Lulu