15 November 2017

Reupload - Charles Dumont - Le Fils Prodigue


Label: CBS
Year of Release: 1970

"You know, if you'd grown up listening to French pop music, I really don't think you'd be so keen on Scott Walker's albums" - my wife.

My wife, as you can probably gather from that above quote, doesn't like Scott Walker much, seeing his earliest work as being dull cherry-picking of adult French/ Belgian music productions - a Brel song there, a melodramatic orchestral arrangement there.  This is interesting if only because Walker himself largely rejects most French pop music, talking about it in extremely disparaging tones in most interviews.  I would further counter her argument with the observation that the Brel influence behind his work and occasional production flourish does not a continental breakfast make - a certain strand of French sixties pop definitely took the melodramatic, kitchen-sink route, but the most popular work (in its home country, at least) tends to be quite scuzzed up and messy. Jacques Dutronc, for example, doesn't really seem to immediately have anything in common with Scott Walker.

It is possible to find examples where the comparison fits, however, and this is one. "Le Fils Prodigue" has the same faint tinge of psychedelia about it, and the same strolling bass groove that Walker frequently utilised.  Wailing guitars undercut dismissive vocals, female backing vocalists coo their way melodramatically underneath, and the whole track is richly textured.  What's striking is that melodically there's not a great deal going on here - Dumont does not have a wonderful singing voice, and the song itself is not overburdened with traditional pop hooks. What stays fresh in your mind even after the first play are the flourishes, the details, the tiny sums of the parts.  The different elements interact beautifully.

Dumont was a prolific French songwriter who most famously penned "Non, Je Ne Regrette Rien" for Edith Piaf with lyricist Michel Vaucaire.  He still records and performs to this day, appearing most recently in "A Tribute to Edith Piaf" at the Beacon Theatre in New York.

Sadly, the flip "Ta Cigarette…" is still widely available, meaning I can't include it here.

12 November 2017

Deena Webster - Your Heart Is Free Just Like The Wind/ Queen Merka And Me



Label: Parlophone
Year of Release: 1968

Deena Webster has become something of a cult figure in folk circles in recent years. Her solitary LP "Deena Webster Is Tuesday's Child", recorded when she was a mere eighteen years old, was released in 1968 and sank without trace. Fans of the record are keen to point out her rich, appealing and innocent vocal delivery and interesting interpretations of established classics.

A number of singles were also issued throughout the period, of which the most popular among collectors is her version of "Scarborough Fair". This, her second release, is also worthy of some attention too, though, not least for her cover of Janis Ian's "Queen Merka and Me" on the flip, which combines rich orchestral arrangements with (towards the end) some absurd studio effects. Webster's voice is in fine form and the song gets increasingly giddy as it progresses.

Despite a small degree of media attention and a promising start, Deena Webster appears to have disappeared without trace not long after her last single "Things Men Do" was issued in 1970. However, her LP was recently reissued by Record Collector magazine. 



8 November 2017

Richard Stilgoe & Valerie Singleton - Suffering From Inflation/ Statutory Right of Entry



Label: BBC
Year of Release: 1975

Richard Stilgoe is one of those strange popular figures in British life who is famous despite never selling millions of records or having his own TV series.  Rather, his best known output was confined to regular brief appearances on television shows such as "Nationwide", "That's Life" and "Pebble Mill at One", usually singing light-hearted satirical ditties about the frustrations of the day. His gentle mocking of society began to seem dated by the early nineties, prompting the comedian David Baddiel to mock him with the character Richard Stillnotdead who sang the song "Why Do People Leave The Cap Of The Toothpaste Off?" on "The Mary Whitehouse Experience". Nonetheless, from that day to this, he has a loyal audience and fans, some of them rather unlikely figures such as members of cult indie bands or modern day poets and spoken word artists.

Stilgoe's media presence was arguably at its peak in the mid-seventies, when his bearded and somewhat casual Jeremy Corbyn-esque appearance cropped up constantly on early evening television. One of his prime achievements at this point - his "Bohemian Rhapsody" moment, if you will - was a song called "Statutory Right of Entry", which involved a cascade of multitracked Stilgoe vocals harmonising about a rather unlikely problem.

A "Nationwide" researcher had found out that numerous people in public jobs had a legal right to enter people's homes on demand. These included people working for the gas and electricity boards, and various other less likely characters besides. You would suspect that this wouldn't prove a problem for most home owners, but Stilgoe's ditty turns the situation into an epic and somewhat unlikely farce, with the home-owning Stilgoe character finding himself avalanched by public professionals cluttering up his property across the working week. The song gains comedy value tenfold if you can see the accompanying video clip, though, where an army of officious Stilgoes authoritatively dance and prance around.

For all the comedy value in the situation, it's hard to understand quite what either "Nationwide" or Stilgoe were worried about. If I had a broken gas meter or faulty wiring in my house, I wouldn't treat a public official appearing on the scene unprompted with any stress or anxiety. To be honest, I'd just be stunned by their efficiency. It also seems somewhat unlikely that they would set up camp in my home all week, unlike the builders I'm presently paying a small fortune to repair and renew my horrible, broken-down bathroom. Still, it's an incredibly memorable piece of melodic farce as a result of stretching the problem to breaking point, which is probably why people still remember it in the year 2017.

Less remembered is the actual A-side of this single performed with Valerie Singleton, "Suffering From Inflation". It has a strangely fifties arrangement, complete with harmonising bass vocals. Nonetheless, shorn of its original context, it's aged quite poorly as a piece of satire. Life in Britain in the mid-seventies (when it was the "sick man of Europe") was chaotic and unpredictable, and as an historical artefact the single is interesting, but it's low on laughs now compared to its OTT flipside. 

Thanks enormously to Tim Worthington for providing some background on this single in the fantastic "Top of the Box" book, which chronicles the facts behind every single that BBC Records and Tapes ever released. If you're a collector of odd and esoteric vinyl and don't have it on your bookshelves, you should remedy that immediately. 


5 November 2017

Community Chest - You Gotta Start Somewhere/ Get To The Point



Label: Decca
Year of Release: 1972

I highly doubt Community Chest were anything other than a studio based group created by jobbing songwriter Geoff Wilkins and South African singer Emil Zoghby. Both names feature prominently on the credits here, and their names also appear scattered across a wide array of other pop and glam flops throughout the early seventies. 

Don't click away just yet, though, because "You Gotta Start Somewhere" is actually a lovely piece of pop with one foot in a vat of seventies polish, and the other in late sixties songsmithery. The insistent, chiming organ throughout the track gives it a huge warmth and a strong hook which sounds more '67 than '72, and the slightly bubblegummy chorus is also a delight. This isn't a single that ought to have been a hit necessarily, so much as one that might have been with the right push. 

The B-side is actually OK too, with its central chiming riff and faint proto-pub rock delivery. I haven't bothered to investigate the other work of Wilkins and Zoghby in any depth until now, but this might prove to be my springboard for further research. 



1 November 2017

Reupload - The American Dairy Association of Mississippi - The Basic Milk/ The Poets - Fun Buggy



Label: Jazzman
Original Release Dates: The Poets - 1971, American Diary Association: ??


It's very difficult for me to even bother trying to claim any exclusivity with this one. Both sides of this disc are promotional adverts which were re-issued on Jazzman due to their sampled appearance on DJ Shadow's "Product Placement", and as such are rather old news. But still... their inclusion here is entirely under the justification that you're still hardly likely to tune a radio and hear either track in its entirety.

Side One is a piece of funk propaganda put out there by the American Dairy Association of Mississippi, encouraging people to drink more pure dairy liquid presumably through the power of dance grooves alone.  "Milk - the basic! Milk - the basic!" the singers insist persuasively whilst the basslines and rhythms cut powerfully through the mix. And it works. Just writing about this now, I'm persuaded to pull a bottle out of the fridge and glug it down my neck, and that's more than those frigging terrifying Humphrey adverts ever did for me as a child. If I ever find out that the population of Mississippi has a lower rate of osteoporosis than Britain, I will not be surprised.

For the sixties fans amongst you, Side Two is perhaps even more bizarre, consisting entirely of the (by then) washed-up Scottish band The Poets singing the praises of Barr's Strike Cola to an equally funky backdrop. The Poets had one minor hit in Britain in the sixties with "Now We're Thru" and a whole bundle of rather wonderful singles out as follow-ups which (for no good reason at all) fared less well. Presumably "Fun Buggy" was an attempt at getting some cash off the good people at Barr during a somewhat difficult time, but is astonishingly atypical of their other mod-pop fare, swaggering as it does and making Strike Cola sound like the favoured beverage of choice from somebody off "Starsky and Hutch", rather than Scotland's budget-line alternative to Coca Cola which it undoubtedly was.

Most records pressed as promotional items for products are embarrassing, unlistenable trash, filled with session singers trying their hardest to sound sincere about the wonders of petrol, double glazing or postage stamps. Both sides of this re-issue highlight the fact that actually, you can make a product sound amazing by doing little other than getting some funk out. If television advert breaks were filled with noises like this, I'd probably be heavily in debt by now.



29 October 2017

Mike Morton Sound - Jennifer Jennifer/ See You Around



Label: Plexium
Year of Release: 1969

If you were in a charity shop and saw this one in the 7" singles box on the floor (because they're always on the floor, don't you find? Ooh, the knee and calf pain) you might skim past it, believing it to be an easy listening single or covers project. This would be a fair enough conclusion, given that The Mike Morton Congregation were a band who were heavily involved in cheapo LPs featuring covers of recent big sellers such as "Non Stop Party Hits".

"Jennifer, Jennifer" is credited to the Mike Morton Sound, though, and appears to have been a bona-fide attempt on Mike Morton's part at creating a hit of his own before he ended up collecting session group paycheques. As beat-orientated pop goes, it's quite good too. It starts off with a summery bounce, then suddenly, quite without warning, erupts into an uproarious, Blackpool Ballroom organ infested chorus. It repeats this pattern throughout and lacks a great deal of progression, but is interesting enough to hold its own. If its release date had been three or four years prior to 1969, it may even have stood a chance as a minor hit.

Mike Morton's Congregation were later responsible for the single "Burning Bridges", which featured prominently in the soundtrack to the film "Kelly's Heroes". We featured that on this blog back in 2014.



25 October 2017

Sandra Bryant - Girl With Money/ Golden Hours



Label: Major Minor
Year of Release: 1967

One of many, many records that slipped out on Major Minor almost unnoticed in the sixties, "Girl With Money" is a brassy, bouncy and sassy record which has all the hallmarks of a mid-sixties beat pop (rather than 1967) production. Sandra Bryant's voice lets rip all across this and she pushes herself to the bluesy max, but it's possible that by this point the public's tastes were moving on to more progressive fare. It's a pity, as it's a strong piece of work which under other circumstances might have offered enough zest to succeed. 

Contrary to popular belief, the Sandra Bryant behind this disc is not the actress who appeared in "On The Buses", but a vocalist from Dagenham. She managed one other single on Major Minor, "Out To Get You", before disappearing from view. The label must have hoped that some of Sandie Shaw's local fairydust would land on Sandra's shoulders, but it clearly wasn't to be.


22 October 2017

Ray McVay Band - Genesis/ House of Clowns



Label: Parlophone
Year of Release: 1966

Ray McVay was something of an eager beaver in the sixties and seventies. He worked on arrangements for a wide number of rock acts, as well as issuing swathes of easy listening LPs. While none of the latter were enormous sellers, many were intriguing Easy interpretations of the musical fads and fashions of the day. From "Golden Country Hits" to "Reggae Time With Ray McVay", he issued tons of albums with saucy ladies on the cover which put his own spin on the top pops.

Suffice to say, then, that despite the title of "Genesis", this isn't some kind of psych or prog workout. It starts out with a slightly "Open University" sounding beginning, then progresses into some twangy, instrumental beat. Given that the capable songwriting of Greenaway and Cook is behind the tune, it's got plenty of atmosphere and feels instantly familiar. In fact, the incessant guitar twangin', snare drum rolls and the deep "a doo doobee doo" backing vocals will transport you back to those carefree, innocent moments in your life. 

Ray was touring with Eddie Cochran and almost sat in the car seat that claimed Eddie's life in that fateful car journey, but had to take alternative travel arrangements at the last moment. Cochran may have passed on, but Ray went on to have a very long career, and presently works in the current line-up of the Glenn Miller Orchestra.


18 October 2017

Reupload - Me Myself & Me Again - Blaze Away



Label: Antic
Year of Release: 1978

From the rear sleeve: "'Me Myself And Me Again' is actually Vivian Fisher, a 26 year old recording studio engineer and frustrated musician.  Despite dabbling in cornet, french horn, trombone and piano, Vivian really always wanted to play every instrument. Then, one day when recording a marching brass band in the street, he discovered that the sound was actually recorded in segments as the band moved past.  This gave him the idea of a multi-track recording of himself impersonating the sound and character of the different parts of a brass band - and 'Blaze Away' is the result".

I try to avoid blandly slapping the notes of record sleeves on to my blog entries, but I've been sitting here chewing my fingers for the last half an hour desperately trying to think of what to say about this disc, and I can't.  I just can't.  Ridiculing the contents would be too easy (and in any case, they are impressively done - you wouldn't be able to immediately tell they were entirely the mouth-work of a recording engineer). Praising this record as being a lost classic would be ridiculous, unless of course you are a fan of the military marching band oeuvre.  It is, however, an utter gem in the world of eccentric novelty records, and a triumph of decadent seventies music industry mayhem over common sense.  Perhaps somebody within Antic Records or Warner Brothers (their distributors) expected this to sell in large quantities, but it's hard to clearly understand why.

In subsequent years - and largely thanks to Danny Baker talking about it on his radio show - this has become a much sought-after novelty record, to the extent that a copy in VG condition sold on ebay for £26 earlier in 2012.  The market has subsequently become saturated with the little bleeders ever since, to the extent that you can pick up copies for a much more reasonable price now (as I did).  The demand is explicable in that there's an innocence and eccentric frivolity to this which perhaps manages to remind people of a time when lowly studio engineers could see their name up in lights with one single daft idea - these days, of course, this would probably just end up becoming one peculiar YouTube clip buried among the wobbling pile of online attention seekers.

The B-side attempts to explain how the record was made by breaking down the individual components, but in all honesty, it's not essential listening.  Should the conjuror really give away his tricks, in any case?

Vivian apparently now works as a Sound Operator in the West London studio centre of BSkyB, returning to the back-room world from whence he came - but for a certain segment of the population, he will always be the one-man military marching answer to the Flying Pickets.  The time when he records an album of covers of songs by Nirvana and The Sex Pistols surely can't be far off.



15 October 2017

Sydney Elliott - Who Dat Girl/ Strawberry Blonde



Label: Spark
Year of Release: 1969

In the late sixties, the sound known as reggae (or "The REGGAE, ow!" as Johnny Johnson and His Bandwagon confusingly referred to it) was scorchingly popular with crossover hits emerging left, right and centre. This led to numerous small British independent labels trying to sign whatever club acts were based in London at that time, with Beacon Records jumping on both a bunch of mysterious sorts called Brixton Market, and the initially ska influenced Black Velvet. A lot of this material was slightly popped up for mainstream consumption, to varying degrees of success.

Spark, on the other hand, had Sydney Elliott on their books, who turned out this cultishly popular little single in 1969. "Who Dat Girl?" isn't 100% authentic reggae either, having an overly strict arrangement which sounds very Anglicised. The track itself is a bouncy, joyful affair about women in miniskirts, though, which was an incredibly popular lyrical topic during this period. Sydney delivers it well, and while your classic reggae DJ probably isn't going to spin it, it's an interesting period piece. It throws a tiny chunk of bubblegum into the blender and sounds like a possible hit.

The flip "Strawberry Blonde" is, as you might have guessed, about the desirability of ladies with that particular colour of hair, even going as far as to praise their cooking abilities. I doubt he did a scientific study on their souffle making abilities before recording the track, so it's best to take his words with a large pinch of kitchen salt (while also hiding behind the excuse that this was 1969 and these ideas about women's roles in the home hadn't quite fallen out of fashion yet).

Sydney Elliott was a popular club draw in the sixties and seventies, issuing another record on Spark (the rather more soulful "If Music Be The Food Of Love") and another for CBS ("Desperation") before disappearing from the recording studio vocal booth. He later became the father of the considerably more successful Maxi Priest, and Jacob Miller of the reggae group Inner Circle.



11 October 2017

The Legends - Sometimes I Can't Help It/ Jefferson Strongbox






















Label: Heart 
Year of Release: 1970

I'm sure almost everyone reading this will be aware of Dan Hartman. He's the author of hundreds of songs, some of which have since become a lingering presence on oldies radio - "I Can Dream About You", "Relight My Fire", "Instant Replay" and "Free Ride" are among his most known and appreciated, but there's a cornucopia of songs beneath that surface. He enjoyed a fruitful stint as a writer and performer in the Edgar Winter Band, and acted as a producer for Muddy Waters among others.

If you associate Hartman with his most well-known disco singles, his rock output comes as something of a shock. But he was nothing if not versatile as a songwriter and performer, as "Sometimes I Can't Help It" proves here. The Legends were his brother Dave Hartman's band, and he sneaked into their ranks at the age of thirteen. They issued a number of records on small, independent labels before signing to Epic in 1972, including this self-released square shaped flexidisc - which I assume was either sold cheaply at gigs or given away as a promotional item.

"Sometimes I Can't Help It" has a growl and a roar to it not unlike Steppenwolf at their most raucous, and The Legends here sit neatly on the border of sixties garage and seventies rock. It's a brilliant listen and shows that even at this point, Dan Hartman had developed some serious songwriting chops.  The Legends would turn out not to be the stars the Hartman brothers hoped they would become, but within a couple of years Dan would join forces with Edgar Winter and taste actual success. By 1978, the unlikely allure of the disco beat would set in, and his career would take another twist with the success of "Instant Replay".

Sadly, he passed away following complications with AIDS in 1994, but the legacy he left behind is not just vast, it's rather varied too. Different periods of his career mean different things to different people, and this screaming little single is an example of how raucously Rock he could be.



4 October 2017

Jackie Lee and The Raindrops - There's No One In The Whole Wide World/ (I Was The) Last One To Know



Label: Oriole
Year of Release: 1962

Another Oriole obscurity, this time from blog favourite Jackie Lee, who has already appeared here twice (with the theme from "Inigo Pipkin" and the rather magical "Space Age Lullaby"). Jackie Lee's career is long and tremendously varied, and her attempt - with her group The Raindrops - to represent Britain in the Eurovision Song Contest in 1962 is often skated over. It shouldn't be altogether surprising that it's not very prominent on her CV. Failing to do well at Eurovision is a known career-killer, and failing to present Britain at Eurovision by getting past the "Song For Europe" heats is also often an embarrassing indignity (ask Justin Hawkins). Far from simply failing to represent the UK, this song actually finished ninth on the scoreboard, making it a complete no-hoper.

She's got absolutely nothing to be ashamed of here, however. "There's No-One In The Whole Wide World" is a beat pop ballad performed with the warmth you'd expect from her, adding an extra dimension to the otherwise fairly standard backing. It's sweet, innocent and trots along neatly, but is actually quite Beat by the Eurovision standards of the time, which may be why it didn't do very well. It pricked up John Lennon's ears at the time, though, and caused The Beatles to cover it a number of times during their 1962 gigs. So far as anyone is aware, though, the Fabs never demo'ed this in any way.

Jackie Lee's career would obviously continue throughout the sixties and the seventies, issuing a vast array of work including the Northern Soul classic "I Gotta Be With You" under the name Emma Rede. 



1 October 2017

Reupload - Off Side - Match Of The Day/ Small Deal



Label: Pye International
Year of Release: 1970


Since its introduction in 1970, the "Match of the Day" theme on the BBC has become one of the most instantly recognisable television themes in Britain - if not, according to the Performing Rights Society, the most recognisable. More suggestive and indicative than any news broadcast theme (even the BBC World News channel's bleeping ambient effort) or even the wailing harmonica of "Last of the Summer Wine", some of us were born with this theme and know, within the first few milliseconds of the first note, what it's representing.

Trying to listen to it with a fresh pair of 2017 ears strapped firmly to my ageing head, it does seem a strange choice for a tune despite its endearing familiarity, and I'm clearly not alone in thinking that - my Canadian wife when she first heard it burst out laughing at the absurdity of a celebratory Herb Alpert styled quasi-Mexican ditty introducing a modern British football programme. Clearly at the time of commissioning the piece had South American connotations which seemed entirely synonymous with the big game, but there's definitely something a little unlike Auntie Beeb about the whole thing. However, I for one am happy about the fact that it's what we've got - it's a happy, chirpy clarion call which you can imagine beckoning members of any British family in from their bedrooms, kitchens and even bathrooms, like some soccer orientated Pied Piper of Hamlet with, er... a football for a head.

Whatever your personal feelings on the piece, it's one of the few television themes which has wormed its way so much into the British psyche that it conjours up memories and emotions from even the the most steely hearted football fan. As Paul Whitehouse once observed on an episode of "The Fast Show" in the guise of Ron Manager - "Match of the Day? Da da da da da-da-da-da da? Somehow comforting, isn't it, you know?" In summary, then - do I expect any non-British reader to really get the appeal of this record? No, not really. In the absence of any context at all, it probably sounds like a cheery piece of easy listening and not much more (and I'd be really curious to read your thoughts on it if it's unfamiliar to you, actually).

The single you can hear below isn't, of course, the original theme commissioned by the BBC but a very close and crafty approximation recorded by Mike Vickers for the benefit of Pye Records. It wasn't a hit, but in recent years has become a massive collector's item purely due to the B-side, a Vickers-penned piece called "Small Deal", which has apparently become popular with DJs who are keen on the "funky loops" it offers. To my ears, "Small Deal" is a dramatic piece of library music which offers nothing especially outstanding, but my DJ'ing chops are definitely not adequate enough to be able to hear what possibilities it might afford.

Mint copies of this frequently go for £20 plus on ebay. As you can hear, mine isn't exactly mint, but it's good enough, and certainly gives you a fair idea of what's on offer. Not that, in the case of the A-side, you'd really need telling.


27 September 2017

Malcolm Mitchell - The Wanted Man/ The Blues



Label: Oriole
Year of Release: 1960

It's always worth snapping up an obscure Oriole single if you see one lying around, for the pure and simple reason that many sold poorly at the time, and the label had an appalling habit of wiping master tapes. Seemingly, they believed - as some would have considered reasonable in the fifties and early sixties - that passing pop fads were really not worth keeping in any sensible archive. Ouch. A lot of the Oriole tracks you can still buy are either re-recordings or needle-drops from unplayed or judiciously filtered vinyl copies. The slogan on their company sleeves was "Young - New - Exciting", and their corporate philosophy seemed to be that anything that wasn't new deserved erasing from history. 

Malcolm Mitchell's "The Wanted Man" is so obscure that hardly anyone online seems to know it exists, much less own a copy. Discogs doesn't log its existence, and 45Cat shows no known owners (apart from me). It's an odd attempt at a pop hit, being a cover of the Israeli standard "Shir Habokrim". The original lyrics are apparently a cowboy's lament to the desert, which on this single are translated to the tale of a fugitive on the run. It has familiar, clinical 1960 production values with lots of precise, professional performances which never quite let go of the reigns. In other words, this is slickly performed early pop with plenty of echo and buttoned up delivery, and certainly not rock and roll or skiffle. 

Malcolm Mitchell was actually a solid friend of Bob Monkhouse, who he occasionally collaborated with musically, and a major jazz and big band figure throughout the fifties and beyond, being the first British musician (apart from the Duke of Windsor) to perform with Duke Ellington. He also issued a number of shellac 78 recordings on Parlophone in the fifties, and had his own television series on both Southern and the BBC. He eventually developed a lasting career in commercial marketing and advertising, producing the arrangement for the iconic Hovis television commercials and also did session work for various commercial enterprises, such as the promotional disc for Green Shield stamps in 1972. 

Clearly not a man who hid away from the world, then, which makes the obscure nature of "The Wanted Man" rather unusual. It's almost tempting to suggest that Oriole demanded he should hide away in the manner of a real-life fugitive for the crucial weeks around its release. 

Sadly, Malcolm Mitchell passed away in 1998, leaving behind three sons and one daughter. 


24 September 2017

The La De Da Band - Come Together/ Here Is Love



Label: Parlophone
Year of Release: 1969

The La De Das were one of New Zealand's premier rock groups in the sixties, scoring regular top ten hits in their home country and styling themselves in a slick, mod fashion. Their 1966 number 4 NZ hit "How Is The Air Up There" has such a raw, raucous sound that it was an obvious shoe-in for the "Nuggets II" box set issued by Rhino Records, holding its own very comfortably alongside the garage and psychedelic rackets offered up by other international groups on the compilation.

In the manner of many groups "down under", they got itchy feet and began to seek out touring opportunities in the northern hemisphere by the late sixties. These plans included a stint in Britain in 1969, resulting in recording sessions which created this particular single. Clearly hearing an opportunity in the singles market place for a cover version of The Beatles "Come Together", this slick, reverb-ridden version emerged at the beginning of October 1969 (under the name The La De Da Band for some baffling reason) a mere week after "Abbey Road" was released, and a few clear weeks before The Beatles "Something/ Come Together" double A-side hit the shops. It's an interesting cover which doesn't take many liberties with the original arrangement, but somehow does have an unfamiliar, mellow warmth. While The Beatles version has a faintly threatening edge, this one beckons the listener into the studio jam in a welcoming fashion.

Suffice to say, most members of the British public were quite happy to wait until The Beatles version was released before parting with their money, and this single was a complete flop (and to be honest, even The Fabs could only get it as high as number four). The group eventually made their way back to New Zealand and continued to have a recording career there until the mid-seventies. They remain thought of incredibly fondly as one of New Zealand's most significant and popular homegrown rock bands, and were admitted into the Australian Blues Foundation's Hall Of Fame in 2003. 


20 September 2017

Rosetta Hightower - The Walls Fell Down/ Captain's Army



Label: Philips
Year of Release: 1973

Now here's an obscurity. Rosetta Hightower was an American singer of some renown in the early sixties who hit big in the USA with the girl group The Orlons. Her solo career was perhaps less eventful, however, with numerous respected and beautiful sounding singles emerging - not least her fantastic cover of "Big Bird", of which I've been seeking out a copy for years - but very few crossing over to the mainstream.

This cover of The Bee Gees "The Walls Fell Down" is one example of a single so scarce that it almost never turns up for sale. It is, as you would expect, a soulful and gospel styled take on the Gibbs at their most melodramatic. Rosetta pours all her efforts into it and makes it sound as if it was always meant to sound this way, with a production and arrangement so lavish that it's almost a little bit frightening. 

Rosetta's recording career ploughed well into the eighties, and she based herself in England following her marriage to the musician Ian Green. She also delivered numerous notable session performances, not least singing backing vocals on John Lennon's "Power To The People". 

Sadly, she passed away in Clapham in 2014, aged seventy years of age. 


16 September 2017

Reupload - Gaslight - Move/ And So To Sleep



Label: Jayboy
Year of Release: 1969

An odd and slightly mysterious one, this. "Move" has been picking up some attention lately as an otherwise largely ignored psychedelic obscurity.  Not without reason - this is slippery smooth psych, complete with close harmonies, grooving electric organ work, heavy basslines and slow dance floor beats. The chorus reverts to UK Beat type, urging us to "jump and shout" and momentarily disturbs the mood, but otherwise this slides along beautifully.  It's not wildly dissimilar to the work of The Dragons, another band who were utterly ignored at the same time the scented hippy candles were getting snuffed out but recently had their material issued on Ninja Tunes.  

Gaslight seem to have released this single then disappeared without trace, giving us absolutely no clues as to who they were or what else they did.  There is some speculation online that they may be another band signed to Jay Boy or their controlling label President operating under a pseudonym, but there are no clear indications.  Whatever the facts, their approach was largely wasted on the British public by 1969, and as everyone began to pick up their hard rock, blues and prog albums, there wasn't time for this kind of technicolour dancefloor action.  A shame - if it had been issued a couple of years before, "Move" may have made a much more significant impression, but even then I can't help but feel that this is a subtle little record which might not have ever had a chance of bashing its way through the radio to encourage the public to buy it in vast quantities.  Still, we can enjoy it now. Move, readers, and get yourself together. 


14 September 2017

Ann C Sheridan - I Want You (She's So Heavy)/ I'll Be Gone



Label: Bradleys
Year of Release: 1976

You know how you all love Beatles cover versions? And you know how it's always the most unexpected covers that seem to turn up, for inexplicable reasons? Well, here's something for your lugholes - a disco cover version of the epic, sprawling piece of "Abbey Road" bluesiness "I Want You (She's So Heavy)". 

Obviously, it doesn't incorporate the "She's So Heavy!" elements of the track, where The Beatles guitars collectively explore doomy, descending chord patterns. That's too much for the average dancefloor to handle. Rather, it discofies the more sensual "I Want You" elements of the track, with the vocalist Ann C Sheridan purring sexily as the disco beats pulse behind her. 

It's an interesting experiment, but not one that quite comes off. The track never manages to find new or exciting places to go, and by lopping off the only melodic variant in the entire Beatles song, it restricts itself to being a piece of fairly minimal disco boogie. This might be fine on the dancefloor with the one you love or lust after, but it doesn't quite work at home.

Ann C Sheridan was actually the French singer Ann Calvert operating under another name. This track did manage to pick up some cult popularity in mainland Europe.


10 September 2017

Anton - Shot Down In Action/ Mine All Mine



Label: Spark
Year of Release: 1975

It really does seem as if the vast majority of Spark's output throughout the sixties and seventies sold a few hundred copies (if, in some cases, even that) before being melted down. Their catalogue is littered with surprisingly good little singles which are astonishingly difficult to track down copies of now, and here's another example.

"Shot Down In Action" is a piece of dramatic seventies glam pop with a pounding intro, chiming piano lines, and an excess of drama. It's strident, catchy, flamboyant and has a surprisingly ambitious arrangement for a song of its type - this is no bonehead cruncher. If it's guilty of anything at all, it's perhaps being a little bit past its sell-by date by 1975, just as the spotlights were starting to dim on anything with a vaguely glam sound.

The flip "Mine All Mine" is a rather bland Barry Blue penned ballad, and not worth getting fussed about.

Anton appears to have been Anton Johnson, a man who later issued a cover of the deathless "Hey Baby" on Laser Records in 1980, though he failed to find the success with it that DJ Otzi later achieved. If anyone has any additional information, please let me know.


6 September 2017

Mr Joe English - Lay Lady Lay/ Two Minute Warning



Label: Fontana
Year of Release: 1969

Now here's a bit of an interesting find - an obscure and, so far as I can tell, almost completely ignored soul cover of a Bob Dylan track. This version of "Lay Lady Lay" is mellow, atmospheric, and filled to the brim with basslines so fat you could fill a jar with the drippings from them. With a relaxed, smoky vibe around it which almost recalls the pace and atmosphere of Dusty Springfield's "Son of A Preacher Man", Mr English's voice is expressive and takes the song to new and blissful places - in all, a cover worth looking out for.

The B-side has picked up a few fans online already, but also remains obscure. "Two Minute Silence" sounds like a bit of a funky studio jam, but definitely shows what English and his studio guests were capable of as soon as some energy was injected into proceedings. 

I have absolutely no idea who Joe English was. A man of that name turned up in Paul McCartney's Wings as their drummer, obviously, but this almost certainly isn't the same person. Nor is it the J English who turned up on Count Shelly records in 1973, who was Junior English, aka reggae performer Errol English, operating under another name. 

If anyone has any clues, please let me know. This is a lovely little single, and one of those moments where I've found myself wishing I had more material by the artist to investigate.



3 September 2017

Reupload(s) - The Bats - Listen To My Heart/ Stop Don't Do It/ Hard To Get Up In The Morning



Label: Decca
Year of Release: 1966


"Northern Soul", like Catholicism, is one of the hardest concepts to define, forever snaking its way out of your grip just as soon as you believe you've got the whole affair firmly nailed. Rather as the Vatican appear to sit and reinterpret matters now and then, so too do the divine faithful at the Soul Weekenders up and down the country, leading to some rather rum records landing on official (and unofficial, disputed) discographies. Is Count Five's "Psychotic Reaction" a Northern Soul record, for example? Not by my estimation it isn't, but that doesn't seem to have prevented some people from taking that line in the seventies (I have a bootleg repressing of the disc on the "Sound of Soul" label).

Nestling neatly on the Decca compilation "Northern Soul Scene" is a single by this South African band, The Bats (they're not Irish as the liner notes state). It only fits the genre due to its pounding, jogging rhythms, chiming piano lines and finger pops, but whether we're arguing about its standing in the official list or not, it's still a damn fine track. Effervescent, insistent and absolutely loaded to the brim with hooks, it's hard to understand where the chorus starts and the verses begin - listening to this record would inspire movement in even the most dancefloor shy of humans. Sadly, I haven't been able to include a clip of it in full, but it's available to buy on iTunes if you're that way inclined.

Truth be told, the B-side "Stop Don't Do It" is pretty good in a mod-pop way as well, and it remains a massive mystery why this record didn't chart in the UK. It's pure, absolute pop, being neither ahead of its time in its stylings nor awkward, and the start of a career should have been assured for the band. Sadly, it was not to be.







Label: Decca
Year of Release: 1967


So sadly, then, by the tail end of 1967 the game was up, and "It's Hard To Get Up In The Morning" was their final UK single. This is an entirely different proposition and sounds rather like a slice of bouncy, McCartney inspired whimsy - sweet and pleasant enough, but hardly the barnstormer "Listen To My Heart" is, nor powerful enough to have stood a chance in the charts.

What became of The Bats when this failed to do the business isn't clear to me, but if anyone has any information, please come forward. They deserve masses of recognition for their one club classic at least.





1 September 2017

Avenue Mews Festival, Muswell Hill, 9th September

I'll be DJ'ing alongside the by now almost legendary London spinmaster John The Revelator at the forthcoming Avenue Mews Festival, N10 3NP on 9th September.

You can see all the details to the left of this text, but the festival takes place in a shopping mews in North London, and features open artist studios, live bands, independent stalls, street food, craft beer and essentially everything anyone within at least a five mile radius (and arguably beyond?) could possibly want.

It's a busy event, it's free, and it's usually a chance to see a side of the area that's not always upfront and on display.

Come along and say hello to me if you bump into me on your travels. I'll be by some vintage record decks pumping out some old sounds.

For those of you who do Facebook, the event invite is here

30 August 2017

Ultrafox - Nine By Nine/ Stomping At Decca



Label: Deram
Year of Release: 1971

When Deram first started up, it seemed like Decca's default subsidiary label for anything slightly underground, progressive, or folk orientated. This reputation has only been bolstered over the years by the "Deram Dayze" compilation, which features psychedelic pop meanderings from across the label's late sixties catalogue.

Deram never was solely a hairy, beardy sort of label, though, and also issued easy listening and novelty numbers such as the immortal, unforgettable Whistling Jack Smith's output. And then, in 1971, this "for Gruggy Woof Productions" (apparently) which is essentially a note-for-note cover of the John Dummer Band's violin led "Nine By Nine" piece from the previous year. 

"Nine By Nine" had been very popular in some other European countries, even reaching number one in France, but had failed to chart in the UK, instead selling slowly and steadily (second hand copies for around the £3-4 mark are still a relatively common sight). Its an eccentric song, sounding as if it belongs on an old shellac 78, or as backing music on an episode of "Jeeves and Wooster". 

It's not clear why this cover version was necessary, but Philips failing to properly anticipate an upsurge in demand for the original version was probably partly to blame. Whatever, they caught on eventually and re-released the original, but no version of this ever charted in the UK - not Ultrafox's, nor John Dummer's. And as for who Ultrafox were, your guess is as good as mine. And my guess would probably be "a group created for a one day studio booking solely with the task of recording this quickie cover, then never heard from again". 


27 August 2017

Tony - Jumping On/ The Purchase/ The Club






















Label: Garcia
Year of Release: 1996

I spent most of 1993-99 living in Portsmouth, for various reasons I will not trouble you good readers with. During that time, I stuck my amateur journalistic beak into the local music scene, and tried to champion local bands as much as I could.

Portsmouth was at that time a rather poorly served local music scene lacking in credibility among most record labels. Some of this was down to the usual incuriosity of A&R representatives about any group not based in a major city (and especially London) but another factor was also the slight "islander's mentality" that tended to dominate Portsea Island at the time. The so-called "island" may well have had two major roads running on to it, one of which crosses a narrow creek of water you could probably wade through on a good day, but most of the bands seemed not to be very thorough at arranging gigs for themselves even as far afield as Southampton, and usually hadn't networked much outside their home town. Long-established and polished bands would play endless gigs around a tight circle of venues such as the Wedgewood Rooms, The Air Balloon and other assorted pub backrooms while never forging any associations across the tiny divide.

Some made it beyond Portsdown Hills to moderate success. Cranes are probably the most obvious example, and in addition, Pete Voss of NME cover stars Campag Velocet got around the whole problem by seemingly barely ever gigging in Portsmouth at all and basing his musical career in London. Similarly, Luke Haines of The Auteurs had associations, but disowned the place as quickly as he could.

Beyond those folk, a whole brace of local heroes popped up on limited run local compilations and sampler CDs and tapes, and Tony (who frequently adopted a bastardised Sony logo for their gig posters) made a strong impression on me when I heard their track "Mule" on the local "Elastic Fiction" cassette. Simple yet angsty, mournful and powerfully performed, it sounded like the work of a band who were accomplished and on the cusp of greater things. A fellow local band watcher tipped them to be Portsmouth's next major label signing, "if they actually get their shit together".

It's not for me to say whether their shit was got together or not, but this is Tony's solitary single, a limited 500 run pressing on the obscure indie Garcia Records. It gives a flavour of what they were capable of. The title track "Jumping On" is a high-powered bitchfest about The Beatles "anthology" project of the time, and the "Free Is A Bird" and "Real Love" debacle in particular. The group stab accusing fingers in the direction of McCartney, essentially accusing him of grave robbery. "It takes a stick to break the stones/ so let's go jumping on his bones" they sneer, later adding "Call in the expertise/ of the Traveling Wilburys" in an attempt to wound his pride.

Of course, it's doubtful Macca ever heard the record, but it's particularly salty single with an abrasive edge, and a sound akin to the harder edges of Britpop. Over on the flip, "The Purchase" appears to be a regretful chugging lullaby to the joys of hiring prostitutes. All this points towards the fact that Tony weren't common-or-garden indie chancers, who were ten a penny by this point, and had some slightly unusual and bitter world views in their arsenal.

It all amounted to nothing, of course, and this is the only official product we have to remember them by. It's possible that by 1996, record labels were cooling to the idea of anything vaguely Britpop in its sound, and Tony did tend to fit that bill at this point. They may also not have had sturdy enough management or external support, but that's pure speculation on my part based on the fact that most Portsmouth bands didn't. Whatever the reasons, we've been left with a rather obscure mid-nineties indie single which fell between the cracks at a point where just about any noise of this nature was guaranteed at least some publicity. It's a peculiar situation indeed.





23 August 2017

Drill - Juliet/ Pretty Girl



Label: RCA
Year of Release: 1979

While punk and new wave were often at opposite ends of the spectrum from British psychedelia in 1967, there's a much bigger debate to be had about some of the unacknowledged similarities too. The underground press, counter-cultural activity and the whole idea of the "kids doing it for themselves" were germane to both movements, though eyewitness accounts from 1967 often tend to dismiss that era's anarchy with the simple phrase "A bunch of rich kids pissing around with their parent's money".

Another two things both eras have in common is the fact that bands emerged, released one single or a select clutch of a few singles, then disappeared again - and a great many of the members of the groups would go on to much bigger and better things elsewhere. Take Drill, for example. The Chas Chandler managed group are barely mentioned anywhere these days, but featured the bass player and songwriter Chris Constantinou, who later went on to work with Adam Ant, Anabella Lwin, and Guy Chambers. 

Frustratingly, the details of the rest of their personnel are hard to come by, but this single is a real curiosity. The punk lovesong on the A-side "Juliet" is perhaps not the strongest offering here, being a bit 'boil in the bag punk' in places - there are only so many signposted references to "rebels" with "rings in their noses" you can take before you sigh "Yeah, we get it lads, you're those punks we've heard so much about". 

The B-side "Pretty Girls", however, is where the band get to play with the full sonic palette and end up sounding slightly akin to an XTC-less Barry Andrews doing his best nods to Eno and Talking Heads. It's essentially very yobbish, jerky New Wave, and an experience worth having.

Now, if only I could find their single with a punk cover of Gordon Lightfoot's "If I Could Read Your Mind" on the A-side, my year will be complete. 

The whereabouts of the rest of the group is not known, but Chris remains very active and is presently bass player with The Wolfmen on bass and vocals, and the punk supergroup The Mutants.