Posts Tagged ‘Regal Zonophone’

Georgie Fame

Thursday, January 22nd, 2015

Daylight / Georgie Fame

Listen: Daylight / Georgie Fame
Daylight

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.

Tyrannosaurus Rex

Thursday, November 10th, 2011

Listen: Debora / Tyrannosaurus Rex
Debora

Never will I forget the sight of this first US single by Tyrannosaurus Rex. Their name was so foreign at the time, completely intimidating to all, particularly US programers. Yes, they were full of reasons back then to keep adventurous music off the airwaves too. Add to that the band’s warlock folk, as one reviewer called it. He couldn’t have conjured up a more tempting challenge.

A&M never did release either their first nor second album in the US when current, just this lone 7″, ‘Debora’.

The Los Angeles label had a deal with Regal Zonophone out of the UK, or maybe it was directly with Denny Cordell’s and Tony Secunda’s production company, Tarantula. Basically, the arrangement covered US representation for their UK artists: Procol Harum, Joe Cocker & The Grease Band, The Move and Tyrannosaurus Rex.

The latter two benefiting only from singles being issued in the US, and in the case of Tyrannosaurus Rex, just this one. WOUR were only too glad to have me cart their copy out of the building. That bunch literally had no clue. Bless their studipity.

Listen: Ride A White Swan / Tyrannosaurus Rex
Ride

What seemed like a generation later actually was one short year. Their third and fourth albums, UNICORN (’69) and A BEARD OF STARS (’70) were near perfect, still as exhilarating today as then. By this time, Bob Krasnow had picked up the band for his Blue Thumb label. He released both albums in quick succession plus ‘Ride A White Swan’ almost immediately after A BEARD OF STARS.

Although still using the full Tyrannosaurus Rex moniker in the US, Marc Bolan and Steve Peregrin-Took had officially shortened their name to T. Rex elsewhere, coinciding with their full on electric and pop path, not unlike Bob Dylan’s gear shift with BLONDE ON BLONDE, bar a name change to B. Dylan.

Almost simultaneously, Bob, as in Krasnow, joined Warner Brothers Records’ A&R department, bringing T. Rex with him. The rest is history.

Fela Ransome-Kuti & Africa ’70

Tuesday, June 1st, 2010

Listen: Egbe Mi O / Fela Ransome-Kuti & The Africa ’70
Egbe Mi O / Fela Ransome-Kuti & The Africa '70

It took the then mainstream famous Ginger Baker’s involvement to get a Fela 7″ released. He played on the live show recording from which this single was pulled. Some things never change.

I saw Fela once at the uptown Ritz. It was a loosely groovin’ show – all very enjoyable and comfortably rhythmic. At one point, he told the audience that his people had locked the doors and no one was leaving until he got his money. It was rather sobering, and took a while to resolve.

Recently Sly Stone pulled the same tired, I’m being ripped off by the promoters routine at Coachella, coming on five hours late after torturing the 600 (in a 5000 capacity tent) attendees with an hour long, screeching, fuck you, you’re lucky we’re here soundcheck. That crowd dwindled to 300 by the time Sly hit. Very disappointing and I would have thought, embarrassing.

It was old in the 60′s, and is beyond cliched now. As if Coachella singled out Sly Stone, and in the case of Fela, The Ritz did the same to him, insinuating the intention was let’s not pay these guys. It was just stupid.

Made the whole, we get stepped on routine very overplayed and tired.

Having said that, this was a fun single to find and own. I honestly think I have another Fela 7″ somewhere, but it’s not in the wall shelf filed properly at this moment – nor is it listed in the RECORD COLLECTORS PRICE GUIDE. Hmmm, a pleasant dream perhaps.

So I decided to post this – it’s clearly an edit but a nice one to have a toe tap to.

Listen: Chop And Quench / Fela Ransome-Kuti & The Africa ’70
Chop And Quench / Fela Ransome-Kuti & The Africa '70

Maybe more interesting is this B side. I do not have the live full length from which the A side was pulled, but this B side has no applause at the end. Maybe non-LP, despite it’s 7:56 LP length?