Mod Fun 30th Anniversary debut 45 pressing OUT NOW!

BREAKING NEWS: Get YOUR copy of Mod Fun's 30th anniversary pressing of "I Am With You" b/w "Happy Feeling" direct from the master tapes NOW:

http://www.discogs.com/Mod-Fun-I-Am-With-You/release/6426438?ev=item-vc

Ian McLagan In Memoriam May 12, 1945-December 3, 2014

Record Collector Bordentown, NJ 2/28/09

By now everyone knows that yesterday we lost the great Ian McLagan. To anyone who was fortunate enough to have met him they will all tell you what a lovely fella he was. Truly he was one of the best. It's not often that you get to meet your heroes but it's even rarer when they turn out to be so warm and wonderful. Even better when they remember you and treat you like a friend. To say he was genuine, friendly, patient and beyond cordial is just scratching the surface. I got to see and meet him many times (even closed a pub with him once, talk about the shit you'll be able to tell your grandchildren) . I first saw him live with The Bump Band at a then local record store and met him afterwards in February of 2009 and have seen and met him at least 4 or 5 times since. Each time he was an incredibly cheerful guy to talk and our conversations were never about the Small Faces oddly but clothes, soul music and B-3 Hammond jazz.

 In October (the 16th to be exact) my wife just was driving me to to pick up my car at the end of the day and had her usual Philly rock n roll station WXPN on and who's voice should emanate from the speakers but that of Mac. He was in the studio being interviewed and it transpired that he was playing in Sellersville, Pennsylvania that very night with The Bump Band. With the gig only hours away I was on the fence if I could get home, changed, round up someone to go AND get there by showtime! But my wife prodded me (thank god for that and her) and finally convinced me that I should go. After a few phone calls I found someone willing to join me. I was helped in reaching my decision to go see him when I discovered that the show that night would include his band (my previous 3 or 4 Mac gigs were just him solo or with his bassist Jon Notarthomas). My friend Joe accompanied to the show. We ran into Jon Notarthomas on the way into the pub adjoining the theater where the gig was to be held and he remembered me from previous gigs and said that Mac would be thrilled to see me and thanked us for coming out. The Bump Band put on a stellar gig that night with Mac's purple Hammond (an instrument he'd leave home on solo tours) filling the room with soul as they did lots of Ronnie Lane's Faces/solo tracks, a Small Faces cover and a healthy dose of his own material.



My friend Joe was a bit apprehensive about meeting him as he had never met him before. I assured him he would not be cagey (as John Mayall was when we'd met him a month earlier). After the gig he was seated out front and as we approached he lit up when he saw me like we were old pals and complemented me on my seersucker jacket and began telling a story about them being the "band uniform" in The Muleskinners. I mentioned that the last time I'd seen him I presented him with the Muleskinners(his first band) E.P. on Acid Jazz to sign which he had never seen before and was somewhat riled that someone had put it out without his knowledge (later assuring me that he took no offense in my buying it as if he were to get angry at any person who bought an authorized release of his he mused "I'd have no fans"). Always the fantastic story teller he proceeded to tell me that shortly after he was in the U.K. and someone came up after a gig and presented with a stack of the E.P.'s and a check for £200 for them. He mused that it was the most he'd ever made with The Muleskinners and that it was funny that a guy in New Jersey had to clue him on on a British record. I thanked him profusely for everything, wished him well on the rest of the tour and a safe return home to Austin and told him we'd catch him the next time he came around. Yesterday even more than on that night I was glad my wife convinced me I could make it to the gig.

Joe Oshman with Mac, Sellersville Theatre, Sellersville, PA 10/16/14

I don't wish to sound maudlin or pretentious but his death has hit me hard, like losing a friend. Anyone as into his music as I am and that's met him will know what I mean. I'm not a religious guy and I don't believe in anything after this mortal coil but if the believers are right I'd hope that I'm wrong and there is a heaven or afterlife and if there is that I hope Mac is there with his wife Kim and his pal Ronnie Lane who's music

he so lovingly kept alive by playing every time I saw him.

Cheers Mac, wherever you are.

Great Forgotten U.K. 60's Sides: George Martin's Theme One

GEORGE MARTIN & HIS ORCHESTRA-Theme One/Elephants And Castles U.K. United Artists UP 1194 1967

"The Move-Flowers In The Rain" is usually the answer to a pub quiz question  in England that asks "What was the first record played on Radio One"?.  This is not correct from what I have gathered.  At 7:00 A.M. on September 30, 1967 The B.B.C. launched Radio One, their first all pop music radio station (established in the wake of the outlawing of the popular Pirate Radio) and the first sound listeners heard was Robin Scott introducing an orchestral but modern piece called "Theme One" by George Martin. Former Pirate Radio DJ Tony Blackburn then came on and played "Flowers In The Rain" .

"Theme One" first came to these ears in 1996 when the big Easy/Kitsch/Theme tune music craze began (which perfectly suited my randy dandy boy about town self) and swallowed me whole. One of my first comps of many of this genre was  "The Sound Gallery 2" which "Theme One" so elegantly closed and was pretty much required party music in my abode for the rest of the 90's.

One is immediately taken by "Theme One" with it's '66-'67 Macca style bass licks, regal trumpets, sweeping strings all under this wonderful pseudo psychedelic wash called "phasing" (aka "skying", a month after The Small Faces "Itchycoo Park" used the same technique on  drum segment) . Classical music it is not. It was later covered by Van der Graff Generator (1972) and Cozy Powell (1979) .

The B-side "Elephants And Castles" is not nearly as swinging. Based around a kitschy organ riff it's pretty Muzaky and verges on elevator music (and not really in the cool "Sound Gallery" style of easy either).

"Theme One" was issued on the essential but out of print CD compilation 'The Sound Gallery Volume two" (which is where this track first came to my attention) and on a still available CD titled "Highlights From 50 Years Of Recording" a slimmed down version of an extensive collection of his material.

Hear "Theme One":

http://youtu.be/RQyFJAfdCWU

Hear "Elephants And Castles":

http://youtu.be/Jbz2ctecMzs

A Well Respected Odyssey

My first inkling of the Kink's came from their 1965 U.S. hit " A Well Respected Man" which I'd heard on an Oldies station that my mother always had on at some point in the late 70's . I'd no idea who this band singing were but I knew they sounded British.  I could only recall the melody after awhile as the words slipped from my brain.  There was no Internet, no iTunes, no YouTube, no Shazam and humming it to my parents and friends was about as useful as trying to get a four year old to translate ancient Hebrew. So I devised my own lyrics that I sang to myself to it's melody to keep it fresh in my head in the hopes that one day I'd discover it's true identity (I did the same for The Hollie's "On A Carousel"):

"with my monophonic electric double neck guitar I go driving past here house here in a big black shiny car"

Silly yeah I know but I was all of 12 or 13 .  It wasn't until a few years later I was humming it in school in the hall (it had a great echo down this one ancient corridor) and a teacher heard me.  Instead of reprimanding me he said "Kinks eh?" I'd like to think I said "I beg your pardon", but I was in my early teens so my answer was more than likely: "What?". The reply was something to the effect of  "the Kinks, they're a British group".  Conversation led to the divulging of this songs title and I scrawled it on the inside of a notebook: "A Well Respected Man" by The Kinks. As mentioned above there was no iTunes or way to instantly find this song, not that I had any money to do so anyway so it was all but forgotten until Xmas of 1982 or 1983 (in a time period where I'd reconnected myself with British 60's sounds that were from 1980 on dashed away by punk and '79 mod and ska bands). For Xmas my parents bought me a British Kinks compilation LP called "The Kinks Greatest Hits" (more than likely from Jamesway a department store chain who's record department always had loads of odd British LP's on Marble Arch, Pickwick and etc, you can read more on my Jamesway experience here).  They'd no idea whether I'd heard of them or not and to be honest I'd all but forgotten them till I heard that tune. It was an odd comp as it contained "A Well Respected Man" (which was not a hit in the U.K. just an E.P. track as mentioned earlier) as well as another E.P. tune "Wait Till Summer Comes Along".

"A Well Respected Man" first saw the light of day on the "Kwyet Kinks" E.P. (Pye NEP 24221 in September 1965). a month later it was launched as an A-side in the United States where it rose to # 13( the fourth Kinks single to break the American top 20, their next to last hit of the 60's here in the States). To me it epitomizes crucial trademarks of Ray Davie's 60's songwriting: social commentary and the distinction between the classes. The lyrics probably didn't mean much here in the States and it's probably the only time the word "fags" was used in the American Top 40 (though certainly not the derogatory phrase we Yanks know it as). It's lyrically cynical but it's bitterness is assuaged  by it's bouncy cheeky chappie delivery because of course Ray is merely taking the piss out of these morally bankrupt, decadent Toffs . Again I'm sure all this flew over everyone's heads here.

Kinda Kinky

I've borrowed the lyrics from one of those dodgy lyrics websites but they seem accurate to me.

'Cause he gets up in the morning,
And he goes to work at nine,
And he comes back home at five-thirty,
Gets the same train every time.
'Cause his world is built 'round punctuality,
It never fails.

And he's oh, so good,
And he's oh, so fine,
And he's oh, so healthy,
In his body and his mind.
He's a well respected man about town,
Doing the best things so conservatively.

And his mother goes to meetings,
While his father pulls the maid,
And she stirs the tea with councilors,
While discussing foreign trade,
And she passes looks, as well as bills
At every suave young man

'Cause he's oh, so good,
And he's oh, so fine,
And he's oh, so healthy,
In his body and his mind.
He's a well respected man about town,
Doing the best things so conservatively.

And he likes his own backyard,
And he likes his fags the best,
'Cause he's better than the rest,
And his own sweat smells the best,
And he hopes to grab his father's loot,
When Pater passes on.

'Cause he's oh, so good,
And he's oh, so fine,
And he's oh, so healthy,
In his body and his mind.
He's a well respected man about town,
Doing the best things so conservatively.

And he plays at stocks and shares,
And he goes to the Regatta,
And he adores the girl next door,
'Cause he's dying to get at her,
But his mother knows the best about
The matrimonial stakes.

'Cause he's oh, so good,
And he's oh, so fine,
And he's oh, so healthy,
In his body and his mind.
He's a well respected man about town,
Doing the best things so conservatively.

More U.K. Obscurities On U.S. Labels: The Spencer Davis Group Mk. II Part II

THE SPENCER DAVIS GROUP-Time Seller/Don't Want You No More U.S. United Artists UA 50202 1967

As discussed in an earlier entry here the 2nd line up of the Spencer Davis Group had a dual life as a pop psych band and an r&b act. Here we have another example that follows suit.

"Time Seller" was the new look S.D.G. line up's (discussed in our earlier entry) U.S. debut 45 hitting the streets in August 1967 (it's U.K. counterpart on Fontana TF 854 was released a month earlier). It's an amazing little pop psych number that starts with some VERY '67 sounds: sawing cellos, harpsichords and soulful vocals and an amazing melody (with some typically silly lyrics courtesy of band members Spencer Davis, Eddie Hardin and Phil Sawyer). This is the stuff that dreams are made of, especially in the "Summer of love" (god what an awful phrase, I hear it and I have to picture Monkey boots,  #2 crops and  Desmond Dekker until it goes away).

"Don't Want You No More" is typical pedestrian white boy '67 blues (when everyone and their brother wanted to be John Mayall and The Bluesbreakers).  Yawn.  The only treat is the cool organ solo, sadly offset by twangy blues licks and it's back to sleep.....

Both tracks can be found on their U.S. LP "With Their New Face On...".

Hear "Don't Want You No More":

http://youtu.be/j4bxZukeOuw

 Cool 1967 promo film for "Time Seller":

 

More U.K. Obscurities On U.S. Labels:The Swinging Sound of Jimmy James & The Vagabonds

JIMMY JAMES & THE VAGABONDS-Red Red Wine/No Good To Cry U.S. Atco 45-6608 1968

Sixties London night spot live sensations Jimmy James and The Vagabonds never troubled the hit parade in the U.K. but that didn't stop their U.K. label Piccadilly from issuing a slew of 45's there. Managed  by  mod kingpin Peter Meaden, who became their manager after being eased out of that role for The Who, they were a  band of musos oiled into a well drilled r&b/soul machine after initially playing ska/calypso. Like Geno Washington & The Ram Jam Band they worked hard, gigged daily, put on some energetic shows but fame remained elusive for them, no doubt like Geno et al owed to the fact that their material was for the most part, covers of U.S. soul/r&b.

This was their third single in the States, their second on Atco (who also released their LP "The New Religion"  as Atco SD 33-222 in 1967). A good year before Tony Tribe's reggae-fied version Jimmy James and Co. covered Neil Diamond's March 1968 track "Red Red Wine". It was released in the U.S. in September 1968, three months after the U.K. issue (their first on the Pye label as 7N 17175 ) with a different flip than it's U.K. counterpart utilizing the their previous G.B. A-side "No Good to Cry" as the underside here.

Jimmy James & The Vagabonds live 1968 c/o http://www.junkarchive.co.uk/wordpress/

"Red Red Wine" is delivered in a slow orchestrated manner.  It's not a bad tune and Jimmy James certainly has a great voice but it's purely M.O.R. stuff.  The real guts are on the uptempo soulful B-side "No Good To Cry".  The number was originally cut a year earlier in the U.S. on the Cadet label (5561) by a white soul band called The Wildweeds, once again illustrating the continuing "cover band" issue.  Jimmy James and the boys pull out all the stops but pretty much stick to the original arrangement, the only difference being the production on the Vagabonds version is a bit better but it's unfortunately nowhere near the original!

Both sides have been issued in a variety of compilations as Castle, who owns Piccadilly/Pye is pretty easy with their licensing. The best place is on a double CD of their material "Sock It To 'Em J.J.: The Soul Years" that is still in print and collects the best of their Piccadilly/Pye material.

Hear "Red Red Wine":

http://youtu.be/AqoRIMTk34U

Hear "No Good To Cry":

http://youtu.be/72AsvI-m7UQ

Jimmy Page Did Not Play On Every Cool Record Made In The 60's, BUT.....

This should provide some closure or perhaps further stoke the flames of conjecture on just what records Pagey DID play on.....

More U.K. Obscurities On U.S. Labels: Amen

AMEN CORNER-High In The Sky/Run, Run, Run U.S. Deram 45-7521 1968

Today's topic was Cardiff, Wales favorite sons Amen Corner's fourth U.S. 45 release issued in October 1968 . It was released previously in July in the U.K. as (DM 197) where it became their highest charting record reaching a respectable #6.  No such luck in the U.S.A where their name would never pop up in the Billboard chart readings.  Issued in conjunction with their U.S. Deram LP "Round Amen Corner"  it was one of the first numbers I ever heard by them and still remains a fave.

Amen Corner's strength in my book always lay with their strong horn section twin sax attack of Allan Jones and Mike Smith which in my estimation helped compensate for lead singer Andy Fairweather Low's occasionally strained voice. "High In The Sky" benefits from the strong horn section as well as a nice fairground style feel to their churchy Hammond and grooves along quite nicely. The pounding, fluid James Jamerson style bass line weaving in and around the horns and Hammond is a further indication of how shit hot this band was.

"Run Run Run" suffers from the above mentioned tendency  by Fairweather Low in the vocal department, who like Chris Farlowe always seemed to be given numbers with keys he could never quite hit.  And regardless of what the musical backing is like (it's not at all un-listenable) it's lame, the tune itself is pretty weak as well.

Both sides can be found on the Deram CD reissue of their LP "Around Amen Corner".

See a half assed mime attempt from German TV's "Beat Club" below:

https://youtu.be/CR5OwC5M8yk?si=-VSRmum7IyrDh37f

Hear "Run Run Run":

http://youtu.be/fAwPPDWTXTI

More U.K. Obscurities On U.S. Labels: The Cryin' Shames

THE CRYIN' SHAMES-(Don't Go) Please Stay/What's News Pussycat U.S. London 45-LON 100 1966

The Cryin' Shames sole U.S. release was their debut British single (Decca F 12340 February 1966), the Joe Meek produced cover of The Drifters 1961 opus "Please Stay". A minor hit at home (#26) it remains an obscurity here having failed to do anything. Curiously it was titled "(Don't Go) Please Stay" here.

Drenched in typical Meek echo induced organ "Please Stay" is a weak tune regardless who's playing it or who's twiddling the dials. The vocals sound like lead singer Charlie Crane has something in his mouth or has just had dental work and it's a sad example of how much crooner schlock Meek was wont to shell out whilst simultaneously recording monsters like The Buzz "You're Holding Me Down" (we profiled that one here).

The curiously titled "What's News Pussycat" bringing up the B-side (curious because the title does not appear in the lyrics) is far more entertaining.  It's a harmonica led bluesy/r&b thing with some downright Dylan inspired drawling lead vocals, far more listenable than the A-side and has zero to do with the Bacharach tune "What's New Pussycat".

"Please Stay" appears on Castle Music's double CD comp "Joe Meek The Alchemist Of Pop" whilst "What's News Pussycat" cropped up on their highly recommended CD comp "Joe Meek Freakbeat".

Watch "What's News Pussycat" on ABC-TV's "Where The Action Is":

Watch "Please Stay"on ABC-TV's "Where The Action Is"(embedding disabled by some prat):

http://youtu.be/DRIgpdNZEvA

Great Obscure U.K. 60's Sides:"Professor" Stanley Unwin's U.K. 45.

STANLEY UNWIN-Goldilocks/The Saucy Apprentice U.K. Pye 7N 15436 1962

Most of you here are aware of Stanley Unwin from his narrative on The Small Faces 1968 LP "Ogden's Nut Gone Flake", some of you may even have heard his 1960 spoken word LP "Rotatey Diskers" (Americans will perhaps know him from the film "Chitty Chitty Bang Bang" as The Chancellor of Vulgaria).  If you don't know of him he was an English comedian who created his own whimsical language called "Unwinese". "Unwinese" consists of throwing lots of endings on words (he was quite fond of "bold" or "load" on things, whereas "sing" would become "singbold" or "singload" or adding "Y" endings on words).  In a country that embraced numerous eccentric comedians, Unwin became quite famous and in demand eventually leading to a career and ultimately being asked to narrate The Small Faces LP after spending some time with them to pick up on their "dialogue".

It wasn't till record browsing at the end of last year that I became aware of his single which I dutifully snapped up (at an affordable price I might add).  I had heard a few things on YouTube from "Rotatey Diskers" so I was quite surprised that unlike the album both tracks on the 45 have a light jazzy backing as the LP is, from what I've heard, spoken word only. Stanley Unwin's "material" isn't something you'll listen to over and over again but it is amusing for a cursory look.

"Goldilocks" will certainly come as no surprise to Small Faces fans as he uses a few phrases recognizable from "Ogden's.." with some mild jazzy piano, stand up bass and muted trumpet tinkling away in the background whilst Stanley recites his interpretation of Goldilocks over the top.

"The Saucy Apprentice" follows the same formula with a jazzy backing that sounds at times, faintly like "Cheesecake" but the music is a bit more swinging making it sound like a wiggy beatnik record!!

Hear "Goldilocks":

http://www.stanleyunwin.com/audio/Goldilocks_Stanley_Unwin.mp3

Hear "The Saucy Apprentice":

http://youtu.be/Wknet-NDYnE

Stanley Unwin narrating in-between The Small Faces "Ogden's Nut Gone Flake" LP on the TV series "Colour Me Pop" 1968:



 For more clips please visit this website and click on "audio":

http://www.stanleyunwin.com/

The Moody Blues Mark One: In America Part Four- U.S. 45 Debut (Of Sorts)

THE MOODY BLUES-Go Now/Lose Your Money U.S. London 45 LON 9726 1965

The Moody Blues U.S. debut came in December 1964 when London issued their 2nd U.K. 45 (Decca F F12022) as 45 LON 9726, a cover of the Bessie Bank's tune "Go Now" (#1 across the pond in November 1964) with it's U.K. flip, a cover of the Lulu Reed/Freddie King duet "It's Easy Child". It stalled chart wise here upon it's release and was relaunched in January 1965 with a new flip, a group original called "Lose Your Money" which graced the flip of their U.K. debut single "Steal Your Heart Away" (a Bobby Parker track, issued in September 1964 as Decca F11971). When reissued it went to #10 in the U.S. hit parade becoming their highest charting U.S single until 1967's "Nights In White Satin" by an altogether different line up with a different sound. It featured the same catalog number as the first pressing with the earlier U.S. London purple and white logo (replaced by their new blue swirl label on later pressings like our specimen above).

"Go Now" is vastly different from the original thanks to the heavy echo that creates an almost drone effect on the backing vocals throughout the song and has a  nice up tempo touch to it courtesy of Mike Pinder's piano  moving from the soulful dirge of the original to an almost ragtime swing. It's been a bit played out by it's still a great version.

"Lose Your Money" has always been my fave Denny Laine era Moodie's track thanks to the surviving footage of them included on the first "Ready Steady Go" VHS compilation. It blew me away after I'd somehow overlooked it and re investigated it on the urging of my pal Mike Sin.  Shortly after reviewing the VHS again, my mind suitably blown by what I'd seen (see the clip below)  I immediately went out and purchased a dodgy picture disc LP of their early stuff titled "Go Now". "Lose Your Money" (written by Denny Laine and Mike Pinder) is driven by some well placed harp blasts and bluesy guitar licks with some subtle combo organ beneath it delivered at a very dance-able tempo. Nearly 30 years later it still sounds amazing.

Both tracks can be found on Deram/Decca's CD reissue of their U.K. LP "The Magnificent Moodies" which contains all of their Denny Laine era U.K./U.S. material and is still in print.

Hear "Go Now":

https://youtu.be/KV9W0YJV3Tc?si=gMh5sWK_eN09utFg

Hear "Lose Your Money":

 https://youtu.be/D_tUiE3NJgU?si=eori3KQOr6sdUp9v

The Moody Blues Mark One: In America Part Three

THE MOODY BLUES-Boulevard De La Madeline/This Is My House (But Nobody Calls) London 45 LON 1005 1966

The Moody Blues sixth and final U.S. single with the Denny Laine (lead vocals/guitar)/Clint Warwick (bass) line up was this single which was oddly issued in June 1966, a whole five months prior to it's U.K. release (Decca F 12498). Both sides were composed by the bands in house tune-smiths Denny Laine and Mike Pinder.

"Boulevard De La Madeline" is an interesting number, it's French accordion intro with Spanish style acoustic guitar is totally unlike anything they had ever recorded and it's near classical piano seems to anticipate their new "sound" they'd be exploring as The Moody Blues Mk. II (see this earlier posting for more on that). Laine's vocals are amazing and there's this oddly discordant volume pedal effect on the guitar that makes the feedback almost sound like a string section movement!

"This Is My House (But Nobody Calls)" is one of my fave Mk.I Moodie's records.  It's poppy but rocks along with characteristic high backing vocals and some bursts of bluesy/jangling guitar (that reminds me of the "folk rock" guitar on early Simon & Garfunkel albums) behind some barrel-house piano tinkling. This would be the band's last Denny Laine/Clint Warwick single in the U.S. with London choosing not to issue this line up's posthumous 45 "Life's Not Life"/"He Can Win" (U.K. Decca F 12543 January 1967).  The next time London issued a U.S. Moody Blues 45 the band would have a new sound and line-up with May 1967's "Fly Me High"/"I Really Haven't Got The Time" (London 45-20030).

Both sides can be found on the still in print Deram CD reissue of their debut U.K. L.P. "The Magnificent Moodies" as bonus tracks (contained with their entire U.K. Decca Mk.I discography)

Hear "Boulevard De La Madeline":

http://youtu.be/VLueWO4f4b4

Hear "This is My House (But Nobody Calls)":

http://youtu.be/2oJ9pBz0-60

We've Got A Record Label!!

Anorak Thing is proud to announce our new venture in the form of a 45 rpm record label called Pennytown Sound.  This fall we will be reissuing Mod Fun's 1984 debut 45 "I Am With You" c/w "Happy Feeling" direct from the original quarter inch master.  This will be the first time both tracks have been available on 45 rpm since 1984 and the first time "Happy Feeling" has been reissued ("I Am With You" was issued on Mod Fun's Get Hip CD compilation "Past Forward" and is slated to appear on Cherry Red's 4 CD mod compilation "Millions Like Us"). This will be a limited run of 500 copies as a 30th Anniversary edition of this exciting record.  For more details watch this space or go to our Facebook page (and please "
like" us!).

More U.K. Obscurities On U.S. Labels: The Fortunes Part Two

THE FORTUNES-Fire Brigade/Painting A Shadow United Artists U.S. UA 50280 1968

One questions the wisdom of the United Artists label having The Fortunes record a version of The Move's "Fire Brigade" for the U.S. market but it beat The Move's issue of the number on these shores by precisely a month hitting the streets in February 1968. It failed to garner any activity, as did the Move's subsequent release (on A&M 914) and remains, like The Idle Race's "Here We Go Round The Lemon Tree" one of those curious U.S. only releases by a British band that has folks wondering just what the hell their American labels were playing at. This was The Fortunes sixth U.S. 45 (we discussed their previous American issue here). "Fire Brigade" was also issued in the Netherlands (United Artists  US 25.748)

The Fortune's version of "Fire Brigade" is a slick affair, it's pretty much a carbon copy of the original right down to the jangly guitar, the Duane Eddy style bass line, the high backing "ooooo's".  Not by any means terrible just, well sort of pointless as it doesn't really deviate much from the original at all except the freaky extended jam at the track's end.  Obviously someone at United Artists or the band's management thought big things were in store for this as they made a promo film for it with the band clowning around  "Benny Hill" style on a vintage fire engine in fireman's gear with dolly birds which you can watch below!

"Painting A Shadow" is a slow, dirge like ballad that's positively dreadful schlock. Ack!

Both numbers have not been reissued to my knowledge.

 

More U.K. Obscurities On U.S. Labels: Farlowe Does D'Abo

CHRIS FARLOWE-Handbags And Gladrags/Everyone Makes A Mistake U.S. Immediate ZS7 5005 1968

Mike D'Abo's opus "Handbags And Gladrags" has been covered FAR too many times in my book. Farlowe's was the first hitting the streets in November 1967 in the U.K. as Immediate IM 065, it's American issue would not see a release until February 1968.

"Handbags And Gladrags" was not only written by then Manfred Mann lead vocalist  D'Abo but he produced it as well and a bang on job he did too in my estimation.  It's actually suited to Chris Farlowe's voice and the top notch arrangement with strings, recurring muzaky harmonica and some crashing drumming (possibly the work of Arthur Greenslade?) which do the tune massive justice.  My favorite part of the tune has always been subtle guitar lick played right after the main chorus that gives it a nice atmospheric, almost jazzy feel.

For me the money has always firmly been on the flip side.  "Everyone Makes A Mistake" got a lot of mileage from me on the turntable in my DJ days many years ago and the punters always seemed to dig it. Driven along by some great percussion (hand claps/conga and tambourine) and some gritty guitar, funky organ and a totally soulful melody that makes the number sound like something Farlowe would've cut in '65!

Chris Farlowe at The Star Club 1968

Both tracks are available on the Chris Farlowe Immediate records era compilation CD "Handbags And Gladrags: The Immediate Collection".

Hear "Handbags And Gladrags":

http://youtu.be/X3yN0JvG5co

Hear "Everyone Makes A Mistake":

http://youtu.be/zCKaf01-EGE

Maximum R&B: The Who Live at the Marquee Club March 16, 1965

Here's the Who in all their vintage glory at the heyday of their mod era live onstage at the Marquee filmed for French TV performing James Brown's "Shout And Shimmy", Garnett Mimm's "Tell Me Baby", Martha And The Vandella's "Heatwave", what appears to be a heavy take of Chester Burnett's "Smokestack Lightning". Enjoy:

More U.K. Obscurities On U.S. Labels: Wynder K. Frog

WYNDER K. FROG-Green Door/Dancing Frog U.S. United Artists UA 50156 1967

United Artists belated interest in plugging the U.K. Hammond instrumental combo Wynder K. Frog was no doubt inspired by their modest success on these shores with the Spencer Davis Group when "I'm A Man" reached #10 in the charts (though once that ball was rolling Steve and Muff Winwood had jumped ship but that's another story).

"Green Door" was the U.S. debut single by Wynder K Frog (we discussed one of their U.K. releases here and it's U.S. version here) released in May 1967 three months after it's U.K. counterpart (issued on Island WIP 6006 it was their third U.K. 7" release).

"Green Door" is a Hammond and horns instrumental version of a 1956 U.S. hit for Jim Lowe (later covered by The Cramps on their LP "Psychedelic Jungle").  Full of funky Hammond chops c/o organist Mick Weaver, "Green Door" is carried by some strong horns and lots of shouts and clapping giving a sort of party atmosphere to the tune (much like the same feel they'd use on their next 45, a turbo charged version of "I'm A Man").

"Dancing Frog" is equally as frantic with some well punctuated "Uhh"s inserted in between some jazzy Hammond trills and with some more subtle horns.  Minus the organ it formed the backing track for a Jimmy Cliff number called "Let's Dance". Both tracks have a long history of being staples for mod/soul DJ nights for the past 30+ years. It was previously issued on the band's debut U.K. LP (not released in America)  "Sunshine Super Frog" .

"Green Door" was issued on Wynder K. Frog's debut U.S. LP "Out Of The Frying Pan" (United Artists UAS 6695 in 1968) and "Dancing Frog" appeared on the U.S. soundtrack LP for the cheezy Swinging London film "The Touchables" ( 20th Century Fox Records S-42006 1968) as well as their debut U.K. LP (reissued on CD) "Sunshine Super Frog" .  As far as modern reissues go "Green Door" is available on the Edsel CD reissue of the LP "Out Of the Frying Pan" and a Northern Soul compilation 4 CD set titled "A Complete Introduction To Northern Soul". "Dancing Frog" is available on a  reissue of "The Touchables" soundtrack (along with another Wynder K cut "Blues For A Frog") on iTunes in the US.

Hear "Green Door":

http://youtu.be/nF3bhR5okRM

Hear "Dancing Frog":

http://youtu.be/4OfVcnhg1mM

The Moody Blues-"Fly Me High"

Way back when we first began we wrote about the debut 45 by the revamped Moody Blues "Mk. II" (as we called them) and their first single "Fly Me High". Through the beauty of YouTube I've discovered 3 separate live versions of it from French TV which I've posted here in chronological order (starting with a brilliant one a few months before the single was even released from late 1966):

1966

 

1967

  

1968

   

Ten More of the Most Monster 60's British Mod/R&B Records.....

Awhile back (two years ago) we dug up 10 British 60's mod/R&B 45's (you can see them here) and I think it's time we came up with ten more.....

Scan courtesy of 45cat.com

1. LISTEN-"Everybody's Gonna Say" U.K. CBS 202456/U.S. Columbia 4-43967 1966
Robert Plant's debut record was with this November 1966 45. This tune tucked on the bottom of a decent cover of The Rascal's "You Better Run" and is a pure raver. The first time I heard it to my ears it sounded like The Small Faces with a horn section and female backing vocalists. That was 1991 when I heard it (and it's A-side) on a bootleg CD called "Visions Of The Past Volume 3", I still stand by that impression. Sadly it's not been comped anywhere else that I'm aware of.

http://youtu.be/4AGFj9b2tIw


2. MIKE PATTO-"Love" U.K. Columbia DB 8091 1966
Recorded while Mike Patto was still fronting The Bo Street Runners (and prior to his joining Timebox) this 45 released in the final weeks of 1966 on the flipside of "Can't Help Talkin' About My Baby".  "Love" is an upbeat and almost poppy tune an aided by some incredibly cool Hammond via Tim Hinkley and of course Patto's soulful vocals.  It has cropped up on several compilation CD's which is in itself a testament to it's demand: "Rubble Volume 2: Pop Sike Dreams", "Take My Tip: 25 British Mod Artifacts From The EMI Vaults"  and Goldmine Soul Supply's "British Soul 2".

http://youtu.be/fj3kzE674y4

Scan courtesy of 45cat.com

3. ROBERT PLANT-"Laughin', Cryin', Laughin'" U.K. CBS 202656 1967
I debated on including two Robert Plant tunes in this list but to atone for the horror that is and was Led Zeppelin you can't have enough good things in your back catalog and this one, the B-side to his November 1967 single "Our Song" is too good to leave off. Backed by some solid brass and carried by Percy's Steve Marriott styled vocalizing it's a non-stop stormer from start to finish (with some over the top no expenses spared production as well).  My fave bit is the middle part where some atmospheric organ comes in when the whole thing slows down and Plant croons "and every day's blue Monday since you've gone away...".  Why and how this has never been reissued is just plain fucking criminal.

http://youtu.be/uWfVT3dX6HI

Scan courtesy of 45cat.com

4. TOMMY BURTON COMBO-"I'm Walkin'" U.K. Blue Beat BB 237 1964
The flip side of their lone Blue Beat 45  "Lavender Blue" (one of three white British bands to record on the label, the others were Mickey Finn and the Blue Men and Syko And The Caribs, whom are reputed to have been fronted by Christine Keeler's brother!) is this romp through the Fats Domino number with some gritty guitar, sax and mega raw vocals.  It's pretty lo-fi but in a charming sort of way sounding not unlike something Joe Meek might've cut in his bathroom or a bargain basement Graham Bond Organization at a date where they forgot the organ!  Another tune screaming for a reissue!

http://youtu.be/4kwQ-j9Yzm0

5. EDWICK RUMBOLD-"Come Back" U.K. CBS 202393 1966
Sadly relegated to Side B of the semi mediocre "Specially When" is this in demand ripping freakbeat meets mod/r&b tune.  Driven by some faint combo organ and in your face guitars pounding out a rocking rhythm for the soulful, impassioned vocals the track never lets up, dig the frenetic guitar solo!  Comped on the semi dodgy CD's "Echoes In The Wilderness" and "Portobello Explosion: The Mod Pop Sound Of Swinging London".

http://youtu.be/uyzQY_60a9A

6. OSCAR-"Club Of Lights" U.K. Reaction 591003 1966
The follow up to Pete Townshend penned "Join My Gang" was the up tempo monster recorded by Oscar Beuselinck (aka Paul Nicholas) written by Townshend's protege Speedy Keen (who also wrote "Armenia City In The Sky" on "The Who Sell Out" and later of Thunderclap Newman). Kicked off by some fantastic fuzz guitar and a driving beat the number seems to me to epitomize the commercial/cash in London night spot discotheque a go-go sound.  As contrived as that scene/genre may be this one really moves, especially when the horns kick in. Reissued on the CD (and appropriately titled) "Portobello Explosion: The Mod Pop Sound Of Swinging London".

http://youtu.be/227Lp0t6i7k

7. THE MIKE STUART SPAN-"Still Nights" U.K. Columbia DB 8066 1966 
This Brighton band was, for a time, a Hammond and horns r&b act before shedding that image and going on to be the heavy and extremely collectible act they are better known as. This number was the flip of their cover of The Drifter's "Come On Over To Our Place" written by lead singer Stuart Hobday. Powered by some seriously powerful horns (the band featured a four piece and later two piece horn section) it's a perfect melding of soulful r&b with tinges of what would be coined "freakbeat" (much like a similar formula employed by the Quik, The Richard Kent Style etc). Sadly the band's guitarist on this track, Neil Langham fell to his death whilst on L.S.D. charting a firmly anti-drugs direction for the band. Comped in the 90's on a bootleg CD "Purple Pill Eaters" it has luckily been captured on the M.S.S. CD retrospective "Children Of Tomorrow".

http://youtu.be/1vPtC21xjqE

8. THE UNIVERSALS-"Hey You" U.K. Page One POF 032 1967
A chunky, jaunty number that reminds me of an amphetamine version of the Move's "Wave Your Flag And Stop The Train" this B-side of the band's poppy/soul "I Can't Find You" this track is punctuated by some gritty feedbacking guitars, powerful horns reminiscent of The Richard Kent Style and a vocalist who sounds like a soulful John Sebastian! Reissued on the essential but dodgy "Echoes of the Past" CD/LP comp.

http://youtu.be/E_o-rpSjC3g

9. THE EXCEPTIONS-"The Eagle Flies On Friday" U.K.  CBS 202632 1967
The debut 45 by this U.K. trio is this hard driving number accented by some vibes, incredibly soulful vocals and a great but subtle fluid bass line. The vocals and vibes make it sound a bit like a Timebox track till the blistering freakbeat guitar solo comes on. Raw power! Comped on  the CD's "Chocolate Soup For Diabetics Volume Four" and "Rare Beat Tracks Volume 3".

http://youtu.be/G_TA0M-5KaQ


10. THE ORGANISERS-"The Organiser" U.K. Pye 7N 17022 1966
Tucked away on the flip side of "Lonesome Road" is this jazzy Googie Rene meets Booker T style instrumental with some incredible Hammond work, bongos and a guitar solo that'd do Alvin Lee proud! Long among the holy grail of British mod/r&b records no one seems to know a thing about these fellas. It's been comped on CD's on the very first volume of Sequel's "Doin' the Mod Series" (Volume One, " The Go Go Train") and "Instro Hipsters A Go-Go 3".

http://youtu.be/c5vaCxwsz3E

More U.K. Obscurities On U.S. Labels: The Mustang

THE MUSTANG-Why/Here There And Everywhere U.S. Ascot 2231 1967

File under "we haven't got a fucking clue". The Mustang "Why" is a quite uncommon U.K. 45 from 1967 (U.K. issue Parlophone R 5579 March 1967). I know nothing about the band or the record, in fact this was their only single that I'm aware of and I only knew the tune because my old pals in Minneapolis, Minnesota The Conquerors covered it back in 1998 on their Get Hip 10" E.P. "Turn On, Tune In, Drop Dead".

"Why" starts off with a cracking drum kick and bounces into a jaunty little ballsy beat number that sounds firmly '65 NOT '67! The driving bass and crunchy rhythm remind me of The Easybeats meet The Kirkbys and the vocals remind me of The Rutles!  Seriously have a listen!

As for the flip, well...The Fourmost and Episode Six covered "Here There And Everywhere" and none of them improved on it so why should anyone else, this is beyond pedestrian?!  'Nuff said.

Has it been comped anywhere? No. F*cking criminal isn't it?!

Hear "Why":

http://youtu.be/7hEM9o6GQ7o

"Just some Medway herberts having a go at being Booker T and the MGs...." .More Plugs For The Competition....

My old stalwart former fanzine editor now blogger over at Monkey Picks has posted a cracking interview with Allan Crockford of Prisoners/JTQ/et al fame which I HIGHLY suggest you pop over and read here.

John Mayall '65: Life Before E.C.

JOHN MAYALL AND THE BLUESBREAKERS-"Crocodile Walk"/"Blues City Shakedown" U.K. Decca F 12120 1965

John Mayall and The Bluesbreakers second 45 "Crocodile Walk" was released in April 1965, a live version was unleashed on the public the previous month on Mayall's debut LP " John Mayall Plays John Mayall: Live At Klook's Kleek" (Decca LK 4680).

At this point The Bluesbreakers ever changing line-up consisted of Mayall on leads vocals, harmonica and keyboards, Roger Dean on guitar, John McVie on bass and Hughie Flint on drums.

"Crocodile Walk" is best described as being from that brief Mayall/Bluebreakers "Flamingo/Klook's Kleek" mod/jazz period.  I write this because his material was still jazzier and akin to that of fellow artists Georgie Fame & The Blue Flames, Chris Farlowe & The Thunderbirds, Zoot Money etc and had not yet gone full on Chicago blues yet. It has some groovy but simplistic organ and subtle harp blowing and a great bluesy solo from Dean.  Mayall's voice  sounds a bit strained but it's a great tune regardless.  My fave of both sides however is the B-side. the  harmonica lead instrumental "Blues City Shakedown".  The melody/riff is incredibly infectious and is a serious ear worm for those who've never heard it!!

"Crocodile Walk" has been reissued on a Deram/Decca CD compilation of some of Mayall's 60's sides titled "Thru The Years" as well as on a compilation "As It All Began: The Best Of John Mayall and The Bluesbreakers". "Blues City Shakedown" is on  "As It All Began: The Best Of..." and the even more recommended collection "Looking Back", a CD reissue of an amazing 1969 compilation album of Mayall material '64-'67.

Hear "Crocodile Walk":

http://youtu.be/wErMvG4cxao

Hear "Blues City Shakedown":

http://youtu.be/xWgJ2wJqaQE

The Action-I'll Keep Holding On

THE ACTION-I'll Keep Holding On/Hey Sah Lo Ney U.K. Parlophone R 5410 1966

Few singles by The Action are as famous as their 2nd single released in February 1966, a coupling of The Marvelette's May 1965 A-side "I'll Keep Holding On" (Tamla T-54116) and Mickey Lee Lane's August 1965 A-side "Hey Sah Lo Ney" (Swan 4222)."I'll Keep Holding On" was my first introduction to the Action after hearing The chords version I had read about The Action and their 60's mod connection (where I'm not sure) and took a chance in 1982 with the Edsel 45 of "I'll Keep Holding" b/w "Wasn't It You". To be honest at the time I did not like their version of "I'll Keep Holding On" and it was a year or so before I got my head around it, much preferring "Wasn't It You" at the time.

Of course like most Action interpretations of soul tunes they strip "I'll Keep Holding On" down and rebuild it with trademark high backing vocals, kinetic drumming by Roger Powell and Alan "Bam" King and Pete Watson's layers of Rickenbackers and of course not to mention the soulful lead vocals of Reggie King.  My favorite part is 3/4's of the way through when Roger Powell starts putting his double bass drums to use and doubles the beat which adds to the intensity of the number in my book.

"Hey Sah Lo Ney" follows the same formula in that it's not a carbon copy of the original.  The Action ditch the lo-fi grittiness of Mickey Lee Lane's take and make it slick with some semi jazzy licks by Pete Watson introducing the melody on his twelve string Rickenbacker 330 and the band again bringing up the rear with some high backing vocals not at all unlike their heroes The Association and fluid bass playing by Mike Evans.

The Action onstage at their haunt The Marquee where they
clocked in 25 gigs during '65-'67

Of course both tracks are available on the band's essential CD "Action Packed" which is a reissue of all of their existing material recorded for EMI's Parlophone label during 1965 through to 1967.

Below is a clip the band filming miming "I'll Keep Holding On" filmed in London for American TV's ABC-TV program "Where The Action Is":

 

 Hear "Hey Sah Lo Ney":

http://youtu.be/XGKbs558oYM