Great U.K. 60's MOD 45's: The Lloyd Alexander Real Estate- "Gonna Live Again"

 

THE LLOYD ALEXANDER REAL ESTATE-Gonna Live Again/Watcha' Gonna Do (When Your Baby Leaves You) U.K. President PT 157 1967 

Hackney, East London's very own Lloyd Alexander Real Estate made just this one single, but what a glorious single it is! Long forgotten and buried until both sides of this killer 1967 President records single was unearthed on a CD comp in 2011 (see below) it's probably one of the most powerful slices of British 60's r&b.

The A-side, "Gonna Live Again" is a MONSTER track. It kicks off with some very ska-like skat/percussion vocalizing not unlike "Gun Of Navarone" or a '67 Prince Buster 45 and proceeds into this funky "I'll Be Doggone" style riff backed by some strong horns via their twin sax players and churchy Hammond organ and very slick but poppy sounding backing vocals. It's completely catchy and bears REPEATED listening. 

The B-side is a reading of Chuck Jackson's "Wat'cha Gonna Do (When Your Baby Leaves You)". It's not anything earth shaking to these ears in light of the absolutely earth shaking A-side but the powerful Hammond n' horns backing is powerful and completely solid and quite enjoyable nonetheless!!

After the band split in 1969 three of the members went on to form the group Audience, who are best known for providing a few tracks on the soundtrack of the famous "Bronco Bullfrog" film. 

Both tracks are available on RPM's three CD compilation "Looking Back: 80 Mod, Freakbeat And Swinging London Nuggets". 

Hear "Gonna Live Again":

https://youtu.be/_-_WHXlv4qE?si=PeR1kc6Ck34FWFs8

Hear "What You Gonna Do":

https://youtu.be/uO8WFf7bv1M?si=yczSY_-yhHilkdQm 

Mod Anthems Part One: The London Boys

DAVID BOWIE-The London Boys U.K. Deram DM 107 1966

Mod anthems...what IS a mod anthem? Is it the lyrics? The feeling? The music? When I was 13 or 14 my "personal mod anthems" changed from week to week and was often a combination of all of those and more. One week it'd be "Time For Action" or "Glory Boys" by Secret Affair , "Millions Like Us" by The Purple Hearts etc etc et al and who could forget the eternally pigeon holed "My Generation"!?!?

In the fall of 1983 I stumbled upon "The London Boys" on a London Records cassette comp called "Starting Point" during my quest to hear/own the rest of Bowie's non-LP Deram cuts. I had found my anthem driving late one night in a Triumph sports car through the fall swept rural roads of Bumf*ck, NJ feeling quite sorry for myself and it was a somber, sober bare bones mod torch song that leap from my shitty car stereo speakers and begged me to take notice. It was at that moment I realized that it was THE mod anthem. It was, and still is.. and much more. Bowie, despite his Anthony Newley pretensions was never a full on crooner. "The London Boys" was and is, an exception to that rule. From it's somber, glum beginning warble to the lifting full throttle cabaret ending (which David Robert Jones delivers like the Frank Sinatra of modernism) the number is a masterpiece. Restrained by a simple bass/organ backing with strains of brass (muted trumpet and tuba woodwinds) the song builds as the pitch of Bowie's plight reaches it's full descent. Lyrically poignant and proud despite the "against all odds" scenario of hopelessness, and failure faced by the song's young protagonist, "The London Boys" ages well (it was cheekily covered with some style and jazz/ska panache by The Times in 1985 on creepy  Mark Johnson's short lived mod Unicorn label). Unlike "My Generation" or any jaded/dated Secret Affair record this is the stuff of dreams, broken ones albeit, but dreams nonetheless. All of this while Bowie was still just 19 years of age. In a way it's a great social observation on one hand as Bowie was firmly tapped into the London scene (and was at the time gigging heavily at the Marquee Club with his backing band The Buzz at the time) but in a way was also as an outsider because despite a great deal of front he didn't actually live in London and when he was not couch surfing he was safely ensconced back home at 4 Plaistow Grove, Bromley at his parents home.

Originally it was demoed with Bowie's third band, The Lower Third at Pye records Marble Arch studios in the fall of '65. It was immediately rejected for release by Pye due to it's language about overt drug use(sadly this version is seemingly lost forever as unlike many other 60's Bowie tracks no version has surfaced among bootleggers or Bowie fans alike). The second version (which was used on the eventual single) was recorded in a demo session at R.G. Jones studios on October 18, 1966 as part of a series of demos in the hopes of ensnaring a record contract (Bowie had since been dropped by Pye after three brilliant but commercially unsuccessful singles). The trumpet was cut at this session and presumably the woodwinds were later dubbed in Decca/Deram's studio as the label was loathe to allow the use of outside studios to record obscure acts. The demos had their desired effect and David Bowie was awarded a contract with Decca's new Deram off shoot. "The London Boys" would surface as the B- side to his debut Deram 45 'Rubber Band" on December 2, 1966.

"Well, it tells the story of life as some teenagers saw it - but we didn't think the lyrics were quite up many people's street. I do it on stage though, and we're probably keeping it for an EP or maybe an LP. Hope, hope! It's called "Now You've Met The London Boys", and mentions pills, and generally belittles the London night life scene."
-David Bowie in "Melody Maker" in Feb. 1966

Hear "The London Boys" :

https://youtu.be/scFpxKdm2w4

EPILOUGE 2025:

In 2000 David Bowie began tinkering with "a 60's album", an entire LP devoted to re-recordings of tracks of his from the Sixties. Ultimately titled "Toy" the project was given a thumbs down by EMI/Virgin despite Bowie completing a dozen tracks which according to Tony Visconti caused Bowie to ultimately decide to leave the label. The project was posthumously released in 2021 and among it's tracks was a version of "The London Boys". Bowie had reintroduced the song into his live set in 2000 to wide acclaim and the then current arrangement was not terribly far from the original 1966 recording albeit some vocal phrasing differences (clearly David Bowie was not going to attempt to hit the notes he did as a 19 year old). Subsequently in 2022 there were multiple releases of an E.P., "You've Got It Made With All The Toys"  with selections from "Toy" including an absolutely breathtaking live version of "The London Boys" recorded at the Roseland Ballroom in NYC on June 19, 2000 complete with strings and clarinets, hear it here. I'm not usually a fan of re-recordings nor do I think much of "Toy" but I AM very impressed with this reworking. Hear it for yourself and decide.

*****This piece was originally published on Uppers.org on October 22, 2007****

December's Soul/R&B/Jazz 45's For Your Ears!

It's time for some more off the wall U.S. 45's from the 60's. All scans are courtesy of 45cat.com

1. JAMES BOOKER-"Gonzo" US Peacock 5-1697 1960

This is brilliant little slice of slightly "poppy" Hammond jazz, think of a jazzier Dave "Baby" Cortez with a groovy flute throughout the entire number. I know absolutely nothing about the artist or the label, but it looks like the latter had a mostly gospel output.

https://youtu.be/yX3UL31rTaM

2. ANTHONY & THE IMPERIALS-"The Flesh Failures" US Veep V-1293 1968

The hit making days for Little Anthony (now just plain "Anthony") and the Imperials were long gone by the time this version of a track from the hippie musical "Hair" eked out in 1968. Delivered at a 100mph groove that would make James Brown sweat you'd be hard pressed to recognize Little Anthony and Co. when listening to this insane soul burner!

https://youtu.be/6NZDPJw2FDQ

3. TAMIKO JONES & HERBIE MANN-"A Good Thing (Is Hard To Come By)" US Atlantic 45-2392 1967

Flutist Herbie Mann teams up with vocalist Tamiko Jones on this uptempo jazzy number found on the flip of their reading of The Fab's "Day Tripper. It's accented by some vibes and and a driving piano from their 1967 Atlantic LP "A Mann And A Woman" and of course an over the top solo by Mann as Tamiko sings with a husky but smooth voice.

https://youtu.be/ymx5cdUcNkA

4. SHAWN ELLIOTT-"Shame And Scandal In The Family" US Roulette R-4586 1964

This plastic calypso number was delivered by Puerto Rican born Shawn Elliott Santiago. It's a cover of a racey/tongue and cheek tune cut ten years earlier as a full on calypso number by Sir Lancelot and The Caribbean Serenaders.  The musical backing is tight and punchy and the risque lyrics are a gas and Elliott's vocals are convincing!

https://youtu.be/L7Wgk2vpSFc

5.  CHRISTOPHER CERF-"Sweet Music" US Amy 954 1966 

I was introduced to this number by the 60's Liverpool group The Koobas who cut this number. Little did I know it was a cover of a number released three months prior by Christopher Cerf.  Though not as powerful as The Koobas version the original has some punch. The vocalist reminds me a lot of Mickey Lee Lane and the musical backing is a full on affair with vibes, horns, strings and the kitchen sink. Some idiot has a copy up for $416 on Discogs right now because of course some meathead decided it was a "Northern soul classic" (fucking shoot me now).....

https://youtu.be/DMAU7NLWcBc

6. BABY EARL AND THE TRINI-DADS-"Everybody Do The Ska" US S.P.Q.R. 45-3317 1964

Here's another feux West Indian sound led by sax man Earl Swanson, this time it's ska given the plastic treatment. Though the record is too fast to actually be considered ska it's more like a Gary "US" Bonds party record with a chorus exhorting the listener to do the ska while a sax led instrumental with an occasional ska rhythm pumps away at a frenetic pace that's easy to imagine Bad Manners covering!

https://youtu.be/SkZ-Nhc3EgM

7. BILLY HAMBRIC-"New York City Baby" US Soho 5001 1965

This bluesy groover is delivered mid tempo with a semi frantic pace that's interestingly a kinetic musical backing mix of vibes and strings. It's hard to describe as vocally it's almost a blues number but the sophisticated backing is almost too refined and slick to be an r&b record. Regardless it's infectious and amazing!

https://youtu.be/LOnYPkF1_JE

8. ODELL BROWN AND THE ORGAN-IZERS-"Mellow Yellow" US Cadet 5570 1967

Donovan's material was frequently chosen to be covered by a variety of jazz artists. This reading of his 1966 hit  "Mellow Yellow" is turned into an amazing jazzy instrumental here with funky Hammond organ, congas, hand claps and and a wailing sax solo. 

https://youtu.be/Vr0RPh8QzCo

9. HANK JONES & OLIVER NELSON-"Winchester Cathedral" US Impulse 45-253 1967

Here's another reading of another pop hit from 1966, this time it's the New Vaudeville Band's "Winchester Cathedral". Vocalist Clark Terry sounds like Louis Armstrong on top of a funky arrangement by Oliver Nelson and a virtual who's who of jazz players providing the backing. For lovers of kitsch only!

https://youtu.be/GXo0emfSwko

10.  EDDIE & ERNIE-"Outcast" US Eastern 45-608 1965

Here's another one brought to my attention via the British invasion, this time it was The Animals reading of this mega obscure release by Eddie & Ernie. Though not nearly as punchy as the Animals version the original is a mellow, soulful duet that sounds like a poor man's Sam & Dave with some funky guitar licks and strong horns that are almost "poppy".

https://youtu.be/rNq0jLmQieY

More U.K. Obscurities On U.S. Labels: Geno Washington Part Two

 

GENO WASHINGTON AND THE RAM JAM BAND-Hi Hi Hazel/Beach Bash US Congress CG-273 1966

U.K. based American born singer Geno Washington burst onto the British music scene in 1965 with a rare as hell Columbia records cover of "Shake Shake Senora" before switching to Pye records in 1966 under the guidance of John Schroeder. Today's subject was his third UK 45 issued as Pye 7N 35329 in July 1966, a U.S. release arrived at the same time where it was his second American release. 

"Hi! Hi! Hazel" came from the pen of songwriter's Bill Martin and Phil Coulter. All of my research indicates that Geno and Co. were the first artists to record this number. Regardless of who did it first it's a god awful tune. It's mundane and tepid and ranks among one of the most unlistenable tracks by the band.

Fortunately there is redemption in the form of the B-side, a cover of a 1964 instrumental single by The Mar-Key's called "Beach Bash".  The Ram Jam Band's arrangement sticks fairly close to the original, though the horns carry less power. Of interest however is the fact that this version adds a ska back beat and a blistering bit of guitar (the reminds me of The Remo Four's amazing 1966 version of "Peter Gunn"). There's also an organ higher up in the mix, which the original lacks.

Geno and the boys tearing it up onstage somewhere in the U.K. 1966

Both sides are available on the highly recommended double Geno Washington and the Ram Jam Band CD retrospective "My Bombers My Dexys My Highs: The 60's Studio Sessions" on Castle Music.

Hear "Hi! Hi! Hazel" (or don't):

https://youtu.be/dWMVnDdUUT4

Hear "Beach Bash":

https://youtu.be/wzr69zT1jlc

Top 10 80's 45's Part Two: Britannia Rules The (Air) Waves!

Many years ago we profiled my ten favorite 1980's 45's here, in this post I have decided to explore a further ten. 

1. DEPARTMENT S-"Is Vic There?" US Stiff TEES 7-02 1981

I'm not entirely sure how I found out about this record, I suspect I had heard it on college radio but I know for a fact that my copy came from a U.K. pen pal (Debbie Jones phone home!), even more amusing as my copy is in American pressing. Regardless of how or where I first heard it "Is Vic There?" is unique and unlike anything else that was in the air (Spandau Ballet's "Chant No.1", Adam & The Ants etc). With a catchy beat backed by reverberating, jangling, feedbacking guitars, atmospheric organ, disinterested lead vocals by one Vaughn Toulouse and a haunting/hypnotic guitar lick "Is Vic There?" is not easily forgotten and entirely difficult to remove from one's head. 

https://youtu.be/YlbcNvlseVI

2. THE SPECIALS-"Ghost Town" UK Two Tone CHS TT17 1981

Music can be a time capsule and for me "Ghost Town" will always bring me back to my first trip to the U.K. in August of 1981 when this was just bumped off the #1 slot by Spandau Ballet. The nation wide riots were only days previously and things were still tense and everywhere I looked (in the Tube especially) there were packs of skinheads with the ominous tramp of boots and all the cops looked tired and freaked out. And along came the Specials with a Tchaikovsky "Swan Lake" style intro and the powerful horns playing off the flute and with the powerful lyrics painting a bleak picture of the then deplorable conditions in the U.K., not remotely ska it's the best thing they've ever done to this man's ears and will never be bettered.

https://youtu.be/RZ2oXzrnti4

3. DEXY'S MIDNIGHT RUNNERS-"Geno" UK Late Night Feelings R 6033 1980

I can't recall whether it was "Rolling Stone" or "Creem" magazine that sang praises of these guys and gave some background to this track for my impressionable young mind to absorb (the same article explained the phenomena of "Northern Soul" as well). "Geno" is a tribute to the American born 60's British soul legend Geno Washington, who with his Ram Jam Band wowed audiences all over the British Isles with their no holds barred r&b/soul music show. The power behind "Geno" is not it's powerful brass section (which interestingly sounds more like a marching band then a Stax horn section) but lead singer Kevin Rowland's impassioned delivery and lyrics. It speaks volumes of a personal conviction and the epiphany that was seeing Geno Washington play:

"Back in '68 in a sweaty club (Oh Geno) before Jimmy's Machine and the rocksteady rub (Ohhhh Geno) on a night when flowers didn't suit my shoes after a week of flunkin' and bunkin' school, the lowest head in the crowd that night just practicing steps and keepin' out of the fights.

Academic inspiration you gave me none, you were Michael The Lover, the fighter that won, and now just look at me as I'm looking down on you, though I'm not being flash it's what I'm built to do".

Powerful stuff.

https://youtu.be/Z5KgMUgvtig

4. DAVID BOWIE-"Ashes To Ashes" US RCA PB-12078 1980

David Bowie has often been accused of being sharp enough to anticipate a trend and stealing from it before it became mainstream, but he has also been credited with fostering lots of them. The bleak/nihilism of the so called "New Romantic/Blitz/Futurist" musical and fashion movement applied to Bowie in both of those situations.  He was canny enough to get in on the ground floor with the movement and used some of it's movers and shakers in the promo video for the track and yet without him one doubts the whole thing would have ever existed and therefore he played both parent and love child to movement. "Ashes to Ashes" is bleak, spooky and full of some positively eerie synthesizer parts whilst musically defiling the memory of dear old Major Tom from his first hit "Space Oddity".

https://youtu.be/HyMm4rJemtI

5. THE TIMES-"Red With Purple Flashes" UK Whaam WHAAM 2 1981

One time Television Personalities member Ed Ball started his own neo-60's influenced band The Times in 1981 where they burst onto the scene with this debut 45 on Dan Treacy of the TVP's brilliant Whaam label. Taking it's name from a description that the 60's band The Creation gave their music, "Red With Purple Flashes" is less 60's influenced than you would expect and at times suffers because of it's absolute shit production and recording but it's Ed Ball's clever lyrics and their attempts to make a very 60's record (fuzz guitar, phlanged drums and plenty of "doo doo doo's" in the chorus) that win the struggle, but only just barely.

https://youtu.be/z_PlHY-SUe8

6. BAD MANNERS-"Walking In The Sunshine" UK Magnet MAG 197 1981

Bad Manners were a different kind of ska band. They were pickled eggs and cream pies in the face to Madness pints of bitter or The Specials razor across the cheek. "Walking in The Sunshine" seemed like their first record that was "serious" after songs that almost sounded geared to appearances on "Tis Was" (a British children's TV program) like "Can Can" or their debut "Ne-Ne Na-Na-Na Na-Nu-Nu". It's powerful brass section and moody Hammond trills sound almost positively sinister alongside it's slightly funky rhythm that at times brings to mind UB40, all punctuated by lead singer Buster Bloodvessel's bellowing vocals. 

https://youtu.be/JG8LaDlUuo8

7. THE REVOLVING PAINT DREAM-"Flowers In The Sky" UK Creation CRE 002 1984

One of the earliest releases on Biff Bang Pow leader Alan McGee's Creation label "Flowers In The Sky" is probably one of the most psychedelic records of the 80's, certainly at least in Britain, outside The Dukes of Stratosphear of course (see below). The "Tomorrow Never Knows" drum beat, backing vocals and buzzing/backwards guitars evoke 60's British psychedelia at it's best while the wall of noise, airy vocals and production show where Ride and My Bloody Valentine AND Brit pop came from. 

https://youtu.be/WDXOLilMA3s

8. THE JAMES TAYLOR QUARTET-"Blow Up" UK RE-Elect The President FORD 1 1987

The James Taylor Quartet were formed from the ashes of Medway 60's influenced/garage legends The Prisoners with their keyboardist James Taylor and bassist Allan Crockford. The JTQ did a multitude of things, first off they introduced something that was distinctly non-80's sounding  and (most importantly) they gave lots of mods an introduction to Hammond jazz (myself included). Their Booker T. styled reworking of the theme for the film "Blow Up" led one mod to pump coins into a jukebox one Friday night at Maxwell's so that punters would have to hear it endlessly as he sipped his pint of Double Diamond. Taylor's Hammond and twangy guitars care of his younger brother David give it a distinct Stax feel, something that was positively lacking anywhere in the 80's, especially in the land of Jesus and the Mary Chain and The Smiths

https://youtu.be/nD2EUNtYBlc

9. THE DUKES OF STRATOSPHEAR-"The Mole From The Ministry" UK Virgin VS 763 1985

The most psychedelic record of the 80's came from the three remaining members of XTC and bassist Colin Moulding's brother on drums who decided to play 1967 dress up and created a fake psychedelic band that topped anything and everything that was aping the era. While bands from the Groovy Cellar like The Mood Six were dressing like The Move and making records that sounded like Talk Talk or A Flock Of Seagulls The Dukes were a full on legit 60's act with zero traces of 80's recording techniques or effects. "The Mole From The Ministry" is every bit as much as The Rutle's "Piggy in The Middle" as it is the Fab's "I Am The Walrus" but there's snippets of Pink Floyd '67 vintage as well as a host of other British psychedelic gems thanks to Mellotron, varispeed effects on singing and speaking, Lennon-esque vocals , backwards bits, hidden dialogue and the kitchen sink thrown in for good measure! Recorded on a lark it spurned and mini LP and a full length LP two years later.

https://youtu.be/X-fL68DbcQ0

10. THE BARRACUDAS-"Summer Fun" UK Zonophone Z5 1980

This number will always remind me of the last day of school in 1982 heading to the beach with a bunch of friends in the back of a pick up truck blasting this on a boom box on the way there. With their 60's American West Coast sound the Barracudas added something interesting to new wave and in a classic case of "Coals to Newcastle" (or in this case "Steel to Pittsburgh") their poppy surf beat and high Beach Boys harmonies towards the end of this number perfectly encapsulated an era long gone by while still sounding "modern". The Plymouth Barracuda commercial at the beginning is a gas and the "ba ba bap ba ba ba ba" chorus is totally infectious and those fucking harmonies man......wow!

https://youtu.be/Y4dBjjGeAWA

Only In America! 10 U.S. Only Pressings Of U.K. 60's 45's Part Two

1. GRAHAM GOULDMAN-"The Impossible Years" RCA Victor 47-453 1968

As a member of The Mockingbirds and author of a multitude of hits for The Hollies, The Yardbirds, Herman's Hermits etc, Graham Gouldman  had quite a high profile in the 60's. In 1968 RCA Victor issued an LP in the U.S. of his versions of his own material (several of the tracks previously recorded by other artists). Two U.S. only singles were issued from the LP, the first of which was this number, previously recorded/released in the U.K. by Wayne Fontana. Gouldman's version is far superior in my mind due in no small part to the lush orchestration/woodwinds beautifully arranged by John Paul Jones. Though Peter Noone is given production credits Gouldman asserts that Noone was never seen during the recordings.

https://youtu.be/ZqUvi3IBLcQ

2. JAMIE POWER-"Love's Gonna Go" Jamie 1307 1966

This was the B-side of U.K. r&b performer Duffy Power's second U.S. single for the Jamie label under the curious moniker of "Jamie Power" (the topside was a fairly mundane version of "There's No Living Without Your Loving", previously cut by Manfred Mann). "Love's Gonna Go" is a moody r&b ballad with some bluesy guitar, mild instrumental backing, a harmonica solo and Duffy's powerful blues belter of a voice. Strangely it was also used a the B-side to it's U.S. predecessor "She Don't Know" (Jamie 1299 1965).

https://youtu.be/8KB5lZQv2vw

3. THE IN-BE-TWEEN-"Security" Highland 1173 1966

Possibly one of the rarest and most sought after U.S. singles by an obscure U.K. group is this 45 by The In Between's (credited here as "The In-Be-Tween") who of course later became Ambrose Slade and then finally Slade. Their frantic, evisceration of Otis Redding's "Security" is pure full on freakbeat as the band plow through through it with their Black Country soul cover band beat gusto. Though uncredited on the label the record was produced by Kim Fowley. 

https://youtu.be/nkO7J1fwtJw

4. SMALL FACES-"Mad John" Immediate ZS7 5012 1968

Immediate records issued this U.S. 45 (it was also released in Canada and Australia) coupling two tracks from the band's "Ogden's Nut Gone Flake" LP (the B-side was "The Journey").  Both tracks are slightly edited with Stanley Unwin's narration removed from them. "Mad John" actually contains a longer musical passage at the end with Marriott's almost Celtic "aye diddley aye die die" repeated twice instead of once like the LP version.

https://youtu.be/zo9TMeI3Gp0

5. GEORGIE FAME-"Last Night" Imperial 66299 1968

Attempting to capitalize on Georgie Fame's sudden U.S. success with "The Ballad Of Bonnie And Clyde" on Epic records, his previous U.S. label Imperial pushed out this curious single containing an edited LP track (shortened by almost three minutes), a cover of The Mar-Key's  instrumental "Last Night" as an A-side. Curiously the edited mix had previously been utilized by the label as a B-side to their 1966 pressing of "Sitting In The Park" (Imperial 66220 December 1966). The edit retains the segment where the band launch into a few bars of The Rolling Stone's "(I Can't Get No) Satisfaction" and fades out prior to their going into snatches of Martha and The Vandella's "Nowhere To Run".

https://youtu.be/SUGCJLW2_qI

6. THE GROUNDHOGS-"Shake It" Interphon IN-7715 1965

Rock lore has it that British late 60's blues monoliths  The Groundhogs secured this U.S. only release thanks to intervention from the man himself John Lee Hooker, who they had backed on a U.K. tour. Regardless whether that's true or not "Shake It" is a frantic slice of primordial British r&b: wailing harmonica, bluesy "Baby Please Don't Go" style licks and driving Nicky Hopkin's style stride piano, a far cry from their later heavy monolithic blues.

https://youtu.be/LVktktxyKDY

7. HERBIE'S PEOPLE-"Semi Detached Suburban Mr. Jones" Okeh 4-7265 1966

Okeh launched this U.S. only cover of the Carter/Stevens tale of marital jealousy exactly at the same time that Manfred Mann's version was being released in the States on Mercury. Interestingly Herbie's People retained the original title while Manfred Mann changed the "Jones" to "James" so as not to sound like a kiss off to their recently departed lead singer Paul Jones. Though lacking the charm (and Mellotron) of the Manfred's version this one gets plaudits for it's effort.

https://youtu.be/bDr-a-fAoN8

8. FARON'S FLAMINGOS-"Let's Stomp" Columbia 4-43018 1964

Liverpool's Faron's Flamingos, like The Big Three were known as  "musician's musicians" and though their vinyl output was slim (just two singles in the U.K.) they were swept up in the A&R man blitz of Merseybeat and afforded one single in the U.S. (split with Rory Storm and The Hurricanes). Their version of Bobby Comstock's "Let's Stomp" is pure adrenaline acting as father/mother and midwife to The Sweet's "Ballroom Blitz" and later, The Milkshakes.

 https://youtu.be/1Tr--RyoSkM

9. PETER BEST-"I Wanna Be There" Original Beatles Drummer Best-800 1965

This is one of the many Pete Best 45's issued in the United States after Best and his  group were brought to NYC in 1965 by producer Bob Gallo (he also shipped The Undertakers over at the same time). "I Wanna Be There" is an almost soul tune of sorts, though the vocals are a bit rough by vocalist/bassist Wayne Bickerton (Pete Best was merely the drummer and sang on none of the New York recorded Gallo releases) but it's still a decent tune and shows promise. Bickerton and his then band mate Tony Waddington (guitar) would later go on to cut the track with the U.K. based South Carolina female soul trio The Flirtations for Deram released on both sides of the Atlantic in different configurations. Gallo shares writing credits on the label with Waddington though all Flirtations versions of it bear the Bickerton/Waddington song writing credits.

https://youtu.be/tUKGGfmClBc

10. .THE MOVE-"Yellow Rainbow" A&M 966 1968

A&M had been the outlet for all of the Move's U.K. Regal Zonophone singles ("Flowers In The Rain" and "Fire Brigade"). They did however pass on the band's debut untitled LP for a U.S. release but curiously chose "Yellow Rainbow", an LP track as their next U.S. single issued in August of 1968. "Something" was the B-side, which would wind up as the flip of the band's November U.K. single "Blackberry Way" (reused again in February '69 for the U.S. pressing of "Blackberry.."!!). "Yellow Rainbow" is an apocalyptic vision sung by the band's rhythm guitarist Trevor Burton full of backwards bits and thundering bass care of in house glamor boy Christopher "Ace" Kefford. It was not issued anywhere else as a single.

https://youtu.be/doDzdxAs0OU

"It Was 40 Years Ago Today": The Sound Of '79-Squire and "Walking Down The Kings Road"

Squire's second single "Walking Down The Kings Road" (released on October 5th 1979) will always loom larger over the heads (and shoulders) of it's peers in the ill fated '79 mod "revival" in my mind. It's distinctly Sixties feel of crunchy Rickenbacker chords and finger snaps and it's psychedelic ending is at odds with the Jam-inspired/punk anthems being offered by their contemporaries. Interestingly it was issued on Secret Affair's I-Spy label (which was distributed via Arista) and it was the label's second release, preceded by Secret Affair's August #13 chart hit "Time For Action" (both the band and the label's debut).

I had the opportunity to chat with Squire's founder and lead singer/guitarist Anthony Meynell recently to pick his brain about this iconic single that turns 40 years old today.

Anorak Thing: I guess to start out with was "Walking Down The Kings Road" something you had written a long time ago or was it penned in 1979?

Anthony Meynell: It was written in '77 or '78, but definitely in our set by '78.

A.T.:How did you manage to hook up with Secret Afffair and their I-Spy label?  Was it through playing with them at the famous Mods Mayday '79 gig at the Bridgehouse?

A.M: It was purely because they'd heard us at the Mods Mayday gig and while mixing the live tracks for the LP (Ed Note: Squire contributed three tracks to the album, "Walking Down The Kings Road" was among them). They wanted another band for their label, I believe their first choice was Back To Zero but they'd already been signed by Fiction so they went with us.

A.T.: I've always been struck by how psychedelic and Sixties influenced "Walkin..." was/is and that it seemed completely at odds with the majority of records by other '79 mod bands. Secret Affair's Ian Page and Dave Cairns produced it, did they have any input on the psychedelic effects and feel to the track or was that your doing?

A.M.: Once we recorded the main track Ian was keen to have an extended ending that he felt should reflect the aural experience of walking down King's Road past all the shops.

A.T.: Brilliant, I've always loved all the backwards bits and sound affects on the end of the track as it always reminded me of "Bike" by The Pink Floyd. Was the line up the same as on the Mods Mayday LP?

A.M.: No, the other guitarist (Steve Baker) had left by then and my brother Kevin came in as the new drummer (replacing Ross Di'Landa). Ian actually played harpsichord on it.

A.T: Was Enzo Esposito still on bass?

A.M.: Enzo was still on bass and and oh it was Ian on organ as well.

The Squire line up from the single: Kevin and Anthony Meynell with Enzo Esposito

A.T.: I'm still fascinated that Ian Page and Dave Cairns would craft such a trippy sounding, obviously Sixties influenced record as it was nothing like Secret Affair were doing and that they would include that on a record. You just finished a 40th Anniversary Mods Mayday tour with Secret Affair actually. I assume you played "Kings Road.."?

A.M.: I can't recall it being recorded at the same time as the music but we added finger snaps to the intro and Ian later went back and added the organ on the intro and the psychedelic coda later on afterwards. Ian was, and still is, quite a musical historian and though it didn't suit Secret Affair he was quite aware of my musical influences. We were just talking on the tour last week (by the way "Kings Road.." closed all of our sets on it) and Ian and I were talking about production and he said he saw Squire as more of a "Here We Go Round the Mulberry Bush" (Ed note: Spencer Davis Group/Traffic 1967 movie soundtrack) meets mod Buzzcocks sound so he still remembers what his original vision for the record was. He was also very aware of Bowie and has an encyclopedic knowledge of prog and psychedelia.

A.T.: Who were your influences at the time on the track?

A.M.: The original rhythm for "Kings Road" was influenced by Sam Cooke's "Chain Gang", at least that's how I explained it to the band but then my brother changed it to a different swing so it became more of a Small Faces "Whatcha Gonna Do About It" thing so it became different between the "Mods Mayday" album and the single version.

A.T.: On the subject of psychedelia,  your later single "No Time Tomorrow" (April 1982) was based it on. You're obviously a big fan of 60's psychedelic pop so was there anyone in particular that influenced that as well as "Kings Road"?

A.M.: I'm a huge fan of 60's psychedelic pop , I can't say any single band influenced "Kings Road" in the same way "No Time Tomorrow" was influenced, backwards solo etc. "Kings Road" was more of a beat group thing but there was always going to be a Beatles influence in there somewhere. It didn't have a middle eight so I suppose it was unusual and the long coda was there just not with all the embellishments at first so I suppose that's a throw back to long Beatles outros like "Hey Jude" or "Ticket To Ride" even.

Anthony with his Rickenbacker 325, 1979

A.T.: I'm a a huge Rickenbacker aficionado, what sort of Rick did you use on "Kings Road"?

A.M.: A 1964 Rick 325, that's the 3/4 scale one (Ed note: See photo above).

A.T.: One last question, I was once told that the boating blazer you had back then came from the same bolt of material that was used to make a suit for Brian Jones. Is that true?

A.M.: Yes, that's true, it's from the same suit he has on the cover of the "High Tide and Green Grass" album (Ed note see photo below).

Photo courtesy of Anthony Meynell 

A.T: Well thank you for your time and patience and talking to us! Anything to add in closing?

A.M.: Anytime! Yes, you might want to note that by Fall there will be a reissued "September Gurls" expanded LP (order here) followed by a re-release of our debut single "Get Ready Go To" (order here).  There's also a "Get Ready" album in the works of pre-Squire material the "Passengers On A Train" solo LP reissue and hopefully next year the "Smash" album will finally emerge! So I'm busy here, all the best!

Hear "Walking Down The Kings Road":

https://youtu.be/ElLiqkMmgfQ

Great Obscure U.K. 60's R&B Sides: Chris Farlowe Goes Ska

THE BEAZERS-The Blue Beat/I Wanna Shout U.K. Decca F.11827 1964

 

In 1964 ska was the "in" thing in Britain. The Beatles ("I Call Your Name") and The Hollies "("A Taste Of Honey") both employed ska rhythms on a track each, the horrendous Migil Five were issuing records with a ska beat, Mickey Finn and the Blue Men cut a ska version of Bo Diddley's "Pills" , Georgie Fame and the Blue Flames had been employing ska for awhile and cut an E.P. of ska tracks called "Blue Beat". Ahead of them all was Fame's fellow London r&b specialist Chris Farlowe who, on the sly (he was signed to Columbia at the time) cut a single on Decca as "The Beazers" to join the ska craze in January 1964 (this would not be the last time Farlowe cut a 45 on the sly as you can read here).

"The Blue Beat" starts with a strong horn section playing a ska rhythm (sounding impeccably "big band", no surprise as it was produced by top arranger/band leader Cyril Stapleton who co wrote it as well and it's his band doing the instrumental backing here) and Farlowe utilizing his r&b belter tones with no fake West Indian patois necessary here.

"I Wanna Shout" is nothing remotely connected to ska.  It's an awful early 60's American style pop number that straddles doo wop that is dreadfully reminiscent of The Diamonds/Maurice Williams abomination "Little Darlin'".

Both sides were collected on RPM's excellent Chris Farlowe and the Thunderbirds compilation "Dig The Buzz: First Recordings '62-'65". "The Blue Beat" was also featured on Deram/Decca's compilation "The R&B Scene".

Hear "The Blue Beat":

https://youtu.be/xHQEQZr_E9o

Personal Situations: My Road With The Jam 1979-1982

I recently got around to collecting a book on The Jam called  "Thick As Thieves: Personal Situations With The Jam" which is a fans eye view of the band via personal recollections, photos, memorabilia etc . Reading the impressions of others got the gears in my teeny brain moving and I decided to put mine down in print.

The Jam story for me began in Autumn 1979 when a new kid arrived at school in my 8th grade class.  We became friendly and the first time I went to his house his room was covered floor to ceiling with photos and clippings and posters of all sorts of bands.  Among them was a color photo of three guys in Union Jack suit jackets standing defiantly. One of them had granny glasses like Roger McGuinn. Now I had liked 60's music (The Beatles, The Rolling Stones, Herman's Hermits, The Monkees, The Animals, The Byrds, The Searchers etc) since 4th grade and was pretty much a devout musical Anglophile.  These guys were clearly British.  They were called The Jam. My friend, it would transpire, had never heard of them but got the picture from a magazine of full page photos of "punk rock" bands (the reverse side of the photo were four rough looking chicks called The Runaways). Years later he gave me the famous picture which I have to this day, full of staple holes from his wall and masking tape residue from mine (see a scan of it below). Next, if I recall correctly I bought an issue of a rock n' roll magazine called "Creem" with my then faves The Knack on the cover.  Inside were articles on The Jam AND another band I'd heard on TV (via "Saturday Night Live") The Specials.

I would not hear The Jam until July, 11, 1980 when they performed "Start" and "Private Hell" (which in the "keep the TV volume low so as not to disturb my sleeping parents" atmosphere thought they were singing "I'm In Hell") on ABC TV's legendary sketch comedy show "Fridays" (check it out here) . Powerful. Paul Weller wore dark green tinted round glasses and thrashed a Rickenbacker, chosen guitar of heroes The Beatles, The Byrds, etc. Sure the bassist looked like David Cassidy but the drummer was mean looking and had the highest hairline I'd ever seen. Countless times I'd bring his pic to the barber who'd tell me "Be thankful you'd don't have such a high hairline like him because he'll be bald before long". They moved around the stage, not staying still for a second.  In my life I'd hear the occasional lack luster Jam live performance.  This was not one of them. Weller and Foxton's vocals were tight and the band's playing was like a well oiled machine.  The following day I bought "Setting Sons". My parents had painted my room that day and to this day I can't listen to that album without thinking of being 13 and in that dark, feverishly hot room overcome by paint fumes, fascinated by what I'd heard. I found a huge Jam badge(see below) at a local t-shirt/badge/head shop and got a t-shirt of them (a horrible red print of three frames of barely discernible figures with "The Jam" in black stencil over the top of the muddy images).  My next Jam t-shirt was better, the three cartoon faces knotted together by their ties from the label of the "This Is The Modern World" LP label. Soon I'd have dozens of Jam badges, and patches (which I still have, preserved in a box in my dresser like some family heirloom or religious relics). The next thing I tracked down by The Jam was their LP "Sound Affects" which here in the States came with a freebie white label promo of "Going Underground" b/w "The Dreams Of Children". Which suited me just fine as I'd been knocked over the moon having seen the video for "Underground" on a short lived half hour music video show hosted  by the late Bob Welch called "Hollywood Heartbeat" (I kid you not!). Soon thereafter I acquired a cut out (top right corner missing) US pressing of "All Mod Cons".  I had to wait till the Summer of 1981 to go to the U.K. to purchase a double gatefold LP of "In The City" and "This Is The Modern World". I was Jam mad.  More great singles, "Funeral Pyre" (first heard live on NBC TV's late night talk show "The Tomorrow Show" (see it here) where they'd also done a funky version of "Pretty Green" where Weller added bits of Michael Jackson's "Don't Stop Till You Get Enough" and "Funeral Pyre" (with the end credits rolling over them). Then in early 1982 I bought a 12" E.P. with a live track titled "A Town Called Malice" and on the flip a drawn out disco jam called "Precious".  I was very confused.  For the first time in my life I'd heard a Jam record I didn't like and couldn't understand.  When "The Gift" came out the dilemma continued. 

 

The Jam, from my view, live at The Trenton War Memorial, May 1982

Lucky for my 15 year old self The Jam were playing an all ages gig at a concert hall in my great state capital Trenton, NJ.  My dad dropped my pal Rudie and I off at the Trenton War Memorial for the gig (large theater where they usually have symphonies, ballets, plays, ack!!) early (though not early enough to have caught their soundcheck). We wandered in (doors wide open, no one on them) and had evidently just missed The Jam's soundcheck. We made our way down this long hall towards the backstage area (as evidenced by all the industry suits in out of date clothes scarfing up buffet food) and a large West Indian man (who we later learned was "security") stopped us and said we weren't allowed beyond the area without a pass. We protested a bit and frustrated his patience. Along came this solid older rough looking fella with a graying quiff and Jam t-shirt. He nodded to the large gent and put his hands on our shoulders and introduced himself as Paul's dad and the band's manager. He asked if we'd be "good lads and hang out by the side exit door and maybe I'll see if I can get the lads out for an autograph, I can't have you back here, Bruce is in his underpants and I've got 50 c*nts from Polydor around" (said well in earshot of them!). We hesitated a bit then he said something like "C'mon be good lads and help me out" shook both our hands, said enjoy the show (after asking if we had tickets, which we did) and off we went. We never met The Jam but did notice Rick Buckler walk off the bus through the side door, we were too shocked to speak to him, both because we were star struck and at 15 years old taller than him AND he had this funky Devo t-shirt on! He looked at us and understood and grinned and nodded and said "How ya doin' lads?" (or "Alright then?"). Paul's dad did not introduce the band the night as we had expected, we were instead "treated" to an intro by a late night cable TV music show host who's name I forget (who was later bludgeoned to death Bob Crane style...) and they kicked off with "Running On The Spot".  I was deaf for two days after, seriously, I heard a high pitched whine for the first day at least, that's how loud The Jam were in the second row (we were in like row 15 and having noticed empty seats up front, grabbed them and no one cottoned to what we'd done)!  I used to have a scrap of notebook paper that I'd diligently copied their set list down on, but that's sadly lost to time, but they played a great, tight, well executed set.  Bruce played an acoustic guitar on "That's Entertainment", Paul played about 6 different Rickenbackers and a Telecaster on "Precious".  They did most of the tracks from "The Gift" and I remember a rousing "David Watts" with Bruce clapping his hands held aloft working the audience into a participation frenzy.  I'm sure there's a set list online someplace (actually the whole gig can be heard here).  I have a few pics that a friend of a friend took from the gig but I don't want to step on his toes by publishing them here without his consent.

 

My first Jam badge, placed on a Levi's jacket for scale reference.

Sadly the end came a bit too soon for my liking but in retrospect I was guilty of blind devotion to later Jam era things that now don't gel well with me.  We've trod that road already earlier here. But I will have to say that I never followed a band like The Jam.  I bought every record I saw by them (when I could afford to).  When Polydor reissued their 45's I traded all of my 60's Stones LP's for the lot when a friend offered the deal (those Stones LP's were beat to shit, I'll never know why he did that, generosity I guess). True I became an even bigger fan of The Small Faces and The Action, but The Jam were the last contemporary band I really followed like a sports team or a religion.  I'm glad they were around for me and though I don't listen to them with the intensity that I once did, they still have a place and their music is still, for the most part, enjoyable and relevant to me.

"Oh No Just Another Teenage Jam Fan": the author at home 1983