Not really but our pal in London Paul Owers has shared a groovy pic of some grafitti that's popped up across the street from the Holloway Road tube station. Much better than the usual ugly tagger stuff (usually the work of some white middle class moron above the age of 25):
Monday, February 28, 2011
THE EYES-"The Arrival Of The Eyes": The Immediate Pleasure/I'm Rowed Out/When The Night Falls/ My Degeneration E.P. U.K. Phillips 10035 MCE 1966
THE KINKS-Dead End Street/Big Black Smoke U.K. Pye 7N.17222 1966
It's tough for me to pick a favorite Kinks single, but I think the winner would ultimately be this killer two sider from Autumn 1966.
Back in the early 90's I was in a bad way for a few months and "Dead End Street" literally spoke to me, with a two roomed apartment on the second floor, a leaky kitchen sink (and ceiling), no job, no money, no long distance plan for my house phone, no cable, and heat that worked intermittently I was in quite a bad place. I liked the track even before then but it gave me some sort of "hope" shall we say and it became a mantra to sing to myself when it all got to be too much. I still see folks walking everywhere in the morning or riding their bikes up the highway while I'm driving to work in a nice warm Mini Cooper and feel like a prat for having it so good and I think back to when I didn't have it so good. This is probably the first Kinks record to utilize brass with it's subtle trumpet and the descending bass line/ main riff comes straight from the school of "Sunny Afternoon", lyrically Dickensian at it's best it still holds up all these years on and rates as one of Ray Davie's best fictional social observations, a genre he mastered so well.
On the flip is another great fictional "social observation" by Ray Davies, "Big Black Smoke". It's a jaunty tale of a small town girl who left her little life for the big city where she wound up turning tricks, giving her money to a cat named Joe and spending the rest on purple hearts and cigarettes (Ray seemed to write a lot about girls leaving home back then, "Polly" and "Rosie Won't You Please Come Home" are two that spring to mind). Years ago I dated someone who often held this utterly ridiculous idea that speed was okay in moderation and this track rankled her, I didn't date her very long. Oh back to the song....sorry....it retains a bit of "rocking" that steers it clear of the sort of knees up/music hall sound a lot of late '66-'67 Kinks records had (never a bad think but always refreshing when they showed they still had the stuff).
|The late great Pete Quaife 1966|
TRIVIA:Some copies (like mine above) were misprinted as "Deadend Street".
Hear "Big Black Smoke":
Friday, February 25, 2011
Roads less traveled on the way out of Lower Binfield....
1. THE BLADES-"Downmarket"
One night in a fervor of ale influenced nostalgia I trawled iTunes for lots of 80's mod bands I liked (more mod 80's than the '79 era) and stumbled upon stuff by this Irish band. I'd have to say the bulk of their material never grabbed me but they had four or five really amazing tracks and this was one of them. Much like England's The Truth, The Blades straddled that fence of "mod" and just ordinary contemporary pop. The difference was The Blades boasted a much better lead vocalist (Paul Cleary) and a kick ass horn section akin to early Dexy's records, no better exemplified by this track.
2. DAVID BOWIE-"Station To Station"
I've been reading alot on Bowie's cocaine years and the "Thin White Duke" period as of late and I dug this out for a "get reacquainted" session. The one thing that always amazes me, whether I like the results or not is Bowie will pick up on something, use swatches of it and come up with something totally of his own time and time again. There's bits of funky 70's soul on this as well as the seed of the illegitimate father of the New Romantics all wrapped up in one Nietzschian, Colombian marching powder fueled announcement that "Bowie's back".
3. THE BOOMTOWN RATS-"Someones Looking At You"
Songs, for me, are little snapshots or films of my life. In 8th grade a new kid arrived at school and we became friends. His favorite bands were The Ramones, Pink Floyd ("The Wall" I digress), Queen (shudder) and...The Boomtown Rats, this track immediately struck me and will always encompass that period in my life before mod came along and changed everything.
4. THE LEN PRICE 3-"With Your Love"
Thanks to Katja Koehn who turned me onto these guys at the end of last year I've been on a steady Len Price 3 diet. Granted musically they're not doing anything my friends The Insomniacs weren't doing twenty years ago, just way more punky (read "obscene" or "street" level) and, because of national identity: British. I love their "*uck you" angst and 90% of the songs on their "Rentacrowd" LP could easily be directed at an -ex, very laddish without too much misogynism.
5. THE SCAFFOLD-"Liver Birds"
I've had this Scaffold "Best Of.." CD for over a year now and just started to dig this track, it came up on my iPod on shuffle last week during a vigorous early morning constitutional in the park and I was struck how the bass and drums were so "90's Manchester". I'm surprised some crap band from that era didn't sample it's groove, catchy as *uck, I've had it in my head for ages, my one year old digs it too.
6. SONNY CLARK-"Melody For C"
A new discovery care of my main man and co-worker Ray who's been hipping me to a great deal of jazz over the past couple of years from the piano great Sonny Clark's LP "Leapin & Lopin'". Perfect Sunday drive music that flows freely and gets busy without losing you in the process.
7. THE ROLLING STONES-"The Lantern"
I guess what I like most about this "Satanic Majesties" track is that it easily sounds like something by The End, a British 60's psych band that Bill Wyman produced. I've often lamented that it's a shame he didn't produce The Stone's "Satanic Majesties" album because it would've sounded much better and I could've heard the brilliant horns and Hammond on this cut a little more clearly than the over miked guitar, still it's my fave on the LP which is a bit dodgy in spots....
8. BIG JIM SULLIVAN-"She's Leaving Home"
From the campy/kitschy classic "Sitar Beat" album, a perfect blend of muzak and sitar. Big Jim actually played the sitar quite proficiently, none of that, what I like to scoff as "Chopsticks"-sitar playing by Messers Jones and Harrison (plonk, plonk, plonk,) and of course the accompanying instrumentation is top notch. I rediscovered this LP whilst on a long drive (see photo at the top of the page) and I forgot how cool it is, perfect unobtrusive background music for a Sunday afternoon!
9. THE AUSTRALIAN PLAYBOYS-"Sad"
One of those records so rare they probably would charge you to be in the same room with it. But it's also actually very brilliant, un;like a fair portion of expensive 60's 45s. This was by some Aussie ex-pats, a one off monster freakbeat/proto psych on Andy Droog Loogy's Immediate imprint from 1966 full of high "West Coast" harmonies, technicolor guitar bursts of fuzz and lots of volume pedal action, think Fleur De Ly's meets The Action!
10. SIMON & GARFUNKEL-"A Hazy Shade Of Winter"
Long before Paul Simon became a world music magpie or culture thief he was half of this duo you see, and they made some pretty good records. The dreary winter here in these parts has made this number especially relevant these days. I love the near misanthropic cynicism Simon displayed in some of his early stuff, no better illustrated here.
Thursday, February 24, 2011
THE DAVE DAVANI FOUR-Tossin' And Turnin'/The Jupe U.K. Parlophone R 5490 1966
This was the third single by the unsung U.K. Hammond r&b Dave Davani, and his second for the Parlophone label.
"Tossin' And Turnin'" is a fairly pedestrian, perhaps even ill advised cover of the Bobby Lewis hit, not terribly interesting by any scope of the imagination. The musical backing is decent enough but the number is dead boring and Davani vocals sound thoroughly uninspired. But the B-side, "The Jupe", now that's where we're cooking, with gas kids. It's a brilliant organ fronted instrumental piece that's semi jazzy but catchy and fast enough to be danceable. In my estimation it's one of the great U.K. Hammond instrumentals up there with Zoot Money's "The Mound Moves", Georgie Fame's treatment of "Last Night" or The Graham Bond Organization's romp through "Wade In The Water".
The line up at the time of the recording of this single was: Dave Davani (organ, vocals), John Milner (guitar), Beryl Wayne (aka Mrs. Dave Davani,vocals and percussion), Mik Ewan (bass, harmonica) and Chaz Burton (drums).
Both sides were collected on the highly recommended Dave Davani Ace Records CD reissue of his LP "Fused" with bonus singles tracks and liner notes by our old pal Nick Rossi, no stranger to Hammond r&b/jazz.
|The Dave Davani Four, 1965 clockwise from bottom left:|
John Milner, Mik Ewin, Chaz Burton, Dave Davini & Beryl Wayne
Hear "Tossin' And Turnin'":
Hear "The Jupe":
Wednesday, February 23, 2011
A selection of groovy 60's Small Faces picture sleeve 7's (perhaps some of you now own these after buying them from me):
Sunday, February 20, 2011
A collection of 1960's Walker Brothers and related 7" picture sleeves from Japan:
|GARY WALKER & THE RAIN 45|
|THE WALKER BROTHERS E.P.|
|THE WALKER BROTHERS 45|
|THE WALKER BROTHERS 45|
|THE WALKER BROTHERS E.P.|
|THE WALKER BROTHERS 45|
|THE CARNABEATS featuring GARY WALKER 45|
|GARY WALKER and THE RAIN 45|
|THE WALKER BROTHERS 45|
|GARY WALKER and THE RAIN 45|
Saturday, February 19, 2011
Hear "Shing-A-Ling Stroll":
Hear "Don't Kick The Teenagers Around":
Hear "Don't Kick The Teenagers Around":
Tuesday, February 15, 2011
THE WAYS AND MEANS-Breaking Up A Dream/She U.K. Trend TRE 1005 1968
Written by George Alexander of Grapefruit (see "Anorak Thing" November 4, 2010 AND September 8, 2010 entries) ) and published by the Apple Records company, like many songs that were published by the Beatles company but not actually released on their label (joining the likes of brilliant singles by Legay, The Sands and even Fire's brilliant "Father's Name Was Dad"). "Breaking Up A Dream" was never cut by Grapefruit in the studio but they did perform it once in 1968 BBC session and it was given to the now forgotten Ways And Means for the fledgling (and short lived) Trend label. The Ways And Means were a group that specialized in more of the "Californian" surf-sunshine pop/harmony sound and had previously released two singles, one on Columbia (that coupled The Beach Boy's "Little Duece Coupe" with Jan & Dean's "Little Old Lady From Pasendena") and another on Pye. This would be their last. Presumably they came into contact with George Alexander through his Grapefruit bandmates who'd previously been members of Tony River's backing group The Castaways (who had made a name for themselves by being Britians first "surf-harmony" beat group).
"Breaking Up A Dream" has an almost raga feel to the underlying melody of the track and even the guitar lick at one point reminds me of something The Cedars (a Lebanese band who cut 3 singles in the 60's for Decca that utilized a Middle Eastern feel) would've used . It's thoroughly not something you'd expect for 1968 sounding alot like a milder freakbeat record from '65-'66 before things got "way out" but with some off kilter harmonies. "She" was reputedly written by Barry Class and like the A-side credits not the composer, but the music publisher in the song writing parentheses (Top Class/Sparta). I can't for the life of me recall what it sounded like!!
"Breaking up A Dream" has appeared on numerous un-legit comps but received it's first legit re-issue on RPM's CD comp "94 Baker Street:The Pop-Psych Sounds Of The Apple Era 1967-1969".
Hear "Breaking Up A Dream":
Hear their version of "Little Old Lady From Pasadena":
Friday, February 11, 2011
THE RIOT SQUAD-I Wanna Talk About My Baby/Gonna Make You Mine U.S. Roulette R-4621 1965
This was The Riot Squad's second 45 and their first of three U.S. releases (it appeared in the U.K. as Pye 7N.15817 in March 1965). It also came in a picture sleeve (see below) something my white label promo copy did not have. It was however from a time period where the band were led by future solo artist Graham Bonney and under the wing of Kinks associate Larry Page, the band's recordings with the legendary Joe Meek would not begin until early 1966. Indeed their final single ( "Gotta Be A First Time" b/w "Bitter Sweet Love" U.K. Pye 7N.17237) would also be Meek's final single, coming out a few weeks before his death.
"I Wanna Talk About My Baby" is a mellow but groovy little track with touches of jazzy sax, a groovy little organ solo and vocals obviously influenced by Georgie Fame's Mose Allison meets King Pleasure vocal style. Atmospheric and cool as hell, this to me exemplifies British 60's "mod jazz". The flip side is far more upbeat and more rocking with a cool sax solo and organ solo, equally "mod jazz" but also a tad "rock n' roll", or as they called it on the liner notes of a Georgie Fame mid 60's LP "rockhouse".
The Riot Squad at the time of this single's recording were: Graham Bonney (lead vocals), Ron Ryan (guitar/vocals), Brian Davies(bass), Mark Stevens (guitar), Bob Evans (saxophone) and John "Mitch" Mitchell (drums). For both sides of this single the vocal duties were handled by guitarist Ron Ryan (he'd also sung on the band's debut 45 "Anytime" b/w "Jump" U.K. Pye 7N.15752 January 1965).
Shortly after the single's release connections with Larry Page allowed them to join our r&b/Blue Beat heroes Mickey Finn & The Blue Men on a spring 1965 tour with The Kinks. This was cut short due to the infamous Mick Avory's cymbal VS. Dave Davies head incident!
The Riot Squad (Mitch Mitchell far left) 1965
Both sides appeared on Sequel's excellent "Jump!" CD compilation that collects all seven of the band's Pye singles as well as a slew of unreleased Joe Meek produced numbers (including the storming "Yeah Yeah Yeah" cut with Meek's favorite female product, Glenda Collins).
Hear both sides of the 45:
Rare U.S. picture sleeve copy of the 45 courtesy of:
We got these e-mails from bassist Brian Davies, cheers for writing Brian, we're always happy to have someone sort our facts out! :
can someone alter the write up on the riot squad please, the bass player was myself (brian davies)
the blonde one in the photo, some other write up,s also have a mike martin, he might have been
in the riot squad 2 which was formed after mitch,graham,mark, bob and myself disbanded.
By the way, graham and i are still in touch after all the years
hes living in germany where he is a big star, we lost mitch a few years ago,
but sax player bob lives in venezuela and has written a book about the riot squad,
a year after we disbanded we became the biggest selling band over there,
by that time everybody had moved on, graham had his hit record "supergirl"
mitch had joined georgie fame and i joined dave edmunds, mark stevens
we lost touch i think someone said he,s in america, i still play bass now and again
but i am live engineering as well, with "the american drifters" and phantom of
the opera star peter karrie,
Thursday, February 10, 2011
THE MIKE COTTON BAND-One Mint Julep/Midnight Flyer U.K. Columbia DB7134 1963
This was legendary U.K. jazz/r&b trumpet legend Mike Cotton's second single. The previous 45 "Swing That Hammer" b/w " Heartaches" U.K. Columbia DB 7029 was released earlier in 1963 and credited to Mike Cotton's Jazzmen, it was more of a "trad jazz" 45 ala Acker Bilk (and garnered them a #30 on the U.K. charts, Mike cottons only visit to the Top 40). I bought a copy of it for £2 and it was DEAD boring bearing no resemblance whatsoever to his next four brilliant singles on Columbia.
Our single in question today mark's Mike Cotton's first venture into the jazzy r&b being played by contemporaries like Georgie Fame & The Blue Flames, Chris Farlowe & The Thunderbirds and The Graham Bond Organization. The version of "One Minute Julep" is fueled by some very strong horns and though not as great as the Ray Charles
The band were, presumably for this single: Mike Cotton (trumpet, harmonica and lead vocals), John Beecham (trombone), Johnny Crocker (clarinet, tenor/alto sax), Stu Morrison (bass), Tony Pitt (guitar), Dave Rowberry (keyboards) and Jimmy Garforth (drums).
"One Mint Julep" appeared on the instrumental CD compilation "Instro-Hipsters A Go-Go 2". Both sides of this 45 appeared as bonus tracks on the bootleg CD reissue of their rare as hens teeth untitled LP on the Rocking Beat label, who though on the never never always turn out a great sounding product!
Hear "One Mint Julep":
Wednesday, February 9, 2011
A selection of groovy 60's Small Faces picture sleeve 7's from Europe (perhaps some of you own these after buying them from me, I was at least un-foolish enough to retain all of the French E.P.'s):