Sibling Rivalry

A selection of European Picture Sleeve 45's for Dave Davies brief "solo" career in the 60's:

Denmark

A well kiffed looking Dave, Holland

Portugal

Germany 70's issue

Germany 60's issue

Spain

Sweden

France

In Review: An Introduction To Syd Barrett

(Octopus courtesy of M)

An In Introduction To Syd Barrett CD EMI/Capitol

We here at "Anorak Thing" are easily exited by remasters, mono mixes, new stereo mixes etc.  There have been a slew of these resissues in the past few years that sound brilliant: the Mono mix of Pink Floyd's 1st album, the Stereo reissue of The Move's debut LP, the Mono mix of the Small Faces second LP on Immediate, the recent Beatle's British Mono box set and the Mono/Stereo mixes two CD set of David Bowie's debut LP.  So it should be no surprise that we here at "Anorak Thing"  should be all hot an excited at the new EMI CD compilation of Syd Barrett/Pink Floyd material.  Lovingly remixed (on certain tracks) and fully remastered under the supervision of David Gilmour the results of this 18 track CD is stupendous to say the least (plus one bonus download tune available for those who have purchased the CD of the previously unreissued Syd solo track "Rhamadan").  And you even get the lyrics to every track included in a little booklet (another reason why you should buy the actual CD and not the download).  This made for one or two lyrical surprise I can tell you!  Being a total anorak I'm going to go through this one with a fine tooth comb.

1. "Arnold Layne"

I don't notice much different here from the mix that came out on a "bonus" CD E.P. of the first three Pink Floyd singles back in '97 when there was a 30th anniversary Mono edition of the 1st album issued with this 6 cut "mini CD".  There are faint differences, for instance Syd's guitar is a bit more up in the mix bringing to light his "Zippo lighter" technique before and during Rick's Farfisa solo.

2. "See Emily Play"

Again I'm not hearing much, Syd's vocals are a bit more up front but other than that....

3."Apples And Oranges"

This is the first time I've heard this number in Stereo.  I never had the privilege of owning the original UK 45 and my French copy was beyond unplayable and my previous airings were on the Dutch EMI LP "Masters Of Rock" that I bought in 1985 and the Mono mix on the above mentioned "First Three singles" CD E.P.  The first thing that's apparent to me is how much of the track is dominated by Syd's multi tracked guitar bits, quite amazing considering all those dreadful "Syd stories" had him "completely mad" by this point in time.  Rick's organ really soars during the break and I've realised for the first time that bar the wiggy guitar work how much this track resembles The Moody Blues.

4. "Matilda Mother"

This is the alternate version that featured lyrics nicked from a poem by Hilaire Belloc and alternate lyrics by Syd.  It's in actuality the "original version" as it was recorded first and intended for the first album but because the rights could not be secured from Belloc's estate at the time of it's release it did not see the light of day until the 40th anniversary Mono box set reissue of the LP in 2007.  How it differs from the that version is that it's longer, the vocals and guitar work are also a bit forward in the remix.  The extended ending goes on for about a minute longer resembling a Doors track from their debut LP with Syd just noodling around on the E and G strings before Rick throws in some churchy/Ray Manzarek style bits.

5. "Chapter 24"

This track bears little difference to my ears from previous versions, the vocals, as is the case with everything I've heard on this CD, are more up front and Rick's piano is a bit up in the mix as well giving it a "chamber music orchestra" feel.

6."Bike"

Maybe it was the toxic air I breathed whilst driving to work when I first played this number (passing numerous sewage treatment plants, two to be exact) but I immediately noticed there is a slight delay in the double tracking in the vocals so that the Syd singing comes out of your right speaker is just ever so slightly followed by Syd's double tracked vocal from your left.  Trippy!  Rick's Johanna thumping is more easily discernible sounding like a piano lesson in a big empty Cambridge house added with the old pump organ, in fact I never realised how lost this track would be without his array of keyboard work!

7. "Terrapin"

One of Syd's most brilliant bits from his debut solo LP "The Madcaps Laughs", simple, unsure, awkward at times but nothing short of enjoyable.  I can't find much here different except maybe the guitar is a bit more "up" in the mix?

8. "Love You"

I've always viewed this as more of a throw away track, not unlistenable but not one I'd play all the time like "Octopus" or my all time Syd fave "Love Song" that seems to pre-empt Ronnie Lane's Slim Chance.  There's not much noticeably different here. It is however a typically Syd number in respect to it's completely out there lyrics.

9. "Dark Globe"

This one's always been a bit hard for me to hear sometimes.  It's sad and it's tragic especially if you read too much into the lyrics that seem to be a plea for help if you choose to interpret them in that way:

"Won't you miss me, wouldn't you miss me at all?"

10. "Here I Go"

Syd's Tele is way up in the mix on this remix.  You can really get a feel where Jerry Shirely was trying to desperately play along with Syd's ever changing-about-to stop-any-second delivery!  Truly a case of someone earning their "fee" to play on a session.  This number always reminded me of a drunk guy fronting a cheezy wedding band trio who aren't familiar with the song he wants to play and him making up the number as it went along. I was partly correct by all accounts I've read on the session(s).

11."Octopus"

This one's tasty, starts out with Syd's bare, single tracked acoustic guitar before the take dissolves and then it's starts up "proper".  Gilmour has done a fantastic job making these solo LP tracks breathe new air and this track is a shining example bringing Syd's gobbledygook lyrics to the fore (they're actually a William Burrough's style cut up of multiple pieces of poetry and children's story bits as pieced together brilliantly by Rob Chapman in his thoroughly essential book "Syd Barrett: A Very Irregular Head"). There's a completely different vocal take of Syd's brief "spoken word" part in the middle where he recites "isn't it good to be lost in the wood.." sounding almost like he's reading an official testimony here instead of the sing-song manner on the original take.

12. "She Took A Long Cool Look"

I'm going to own up, I never liked this track.  It's one of, sadly, a preponderance of examples where Syd's solo album "genius" is merely a fine line between "cutting room floor crap".  No remixing can shape this up.

13. "If It's In You"

As I mentioned above, some tracks just don't cut it from "solo Syd".  For the past 26 years this number has made me cringe the same as the very first time every time I hear this. The dreadful attempts at Syd trying to hit the opening vocal notes are both embarrassing and painful to hear every time.  Are they a record of how out there Syd was and how musically useless he was becoming?  Possibly. For completists only.

14. "Baby Lemonade"

Not much difference to be noted here other than that there's some more noticeable bass work/organ on the parts preceding the vocals.  More nonsensical lyrics from Syd only this time they're wrapped up in easily listenable vocals from the lad and as usual Jerry Shirely's workman-like drumming holds the whole balloon down.

15. "Dominoes"

This remix sounds vastly different from what I'm used to, the organ is more pronounced, the backwards bits in the background seem to come in earlier and Syd's vocals sound more downtrodden (if that's at all possible?!).  I've always enjoyed this track and it's even better now!

16. "Gigolo Aunt"

This track was one of my faves when I first bought the Harvest double packaging of Syd's two solo LP's back in 1984, I always thought it went on a bit too much but by then Syd was, by all accounts, coming close to the end of his musical AND mental tether. I was dismayed to discover y reading the lyrics he sang "thunderbird shale", for the past 26 years I'd always thought he was singing "thunderbirch ale" which I've long thought would've made a great name for birch beer flavored, high alcohol content mircobrew!!

17. "Effervescing Elephant"

Trivia time here kids, this is the earliest known Syd Barret composition (it was written in his mid teens) AND it's the only Syd solo track that features a "session musician" (outside Jerry Shirely and his ex-band mates) in the form of a tuba player.  Syd's child friendly lyrics and the night time "jungle" sound affects never fail to tickle me.

18. "Bob Dylan Blues"

Another Syd solo track that's composition dates from his pre-Pink Floyd days this number lay in the archives till discovered by David Gilmour a few years back.  Jealously written about Dylan who was then taking 1965 Britain by storm it's perfectly tongue firmly in cheek.  Why it was never used on his solo LP cringe worthy bits like "If It's In You", "She Took A Long Cool Look" or "Masie" were is beyond me.

The bonus point!!:

"Rhamadan"

Long discussed in writing and never heard on the bootleg circuit (to my knowledge anyway, though for quite some time "Lanky Pt. 1" was being circulated  around as "Rhamadan" till 1988's "Opel" came out with "Lanky.." and put all that business to rest) comes this download only track that you can get if you purchased the CD (if you get it via download from iTunes it's only available if you buy the whole bloody album!).  It took me a bit to figure out how because it's written in tiny teeny print on the back of the CD case that pretty much requires a microscope.  Anyway to get it, place your purchased CD in your drive, bring up your web browser and type in:

www.sydbarrett.com/bonus

They're ask you a few questions which you fill out and BAM then Syd's your uncle, for free!

The track itself is more of a long percussive jam that wouldn't have been at all out of place in a groovy early 70's horror film or soft core Euro porn flick(VERY reminiscent of "Vampryos Lesbos").  It's not as unlistenable as many have described it but I can also see why it never made it onto either of Syd's solo LP's, though I do find it unusual that it didn't make it on the Syd box set from way back because, well did we really need another version of "If It's in You"?  I rest my case.  Anyway at a staggering 20:18 it's pretty much bass, drums, percussion and organ/piano/Mellotron in a "free form jam" with the sound affects of a motorcycle tearing off .  Odd thing though, there's no guitar or vocals on it which leads me to ask: how is this a "Syd" track?

The Mojos Last Stand

THE MOJOS-Unitil My Baby Comes Home Again/Seven Park Avenue U.K. Liberty LBF 15097 1968

The Mojos were just another Liverpool band who by some miracle hung on by the skin of their teeth enduring personnel changes and retaining a record contract with Decca for four years before finding themselves out in the cold at the close of 1967. It is often stated in various places that the band broke up in '67, but as you can see by this label scan that was not entirely correct. By some grace and providence their got a one off deal with Liberty which resulted in this single which came out in June 1968.

"Until My Baby Comes Home" bears no resemblance whatsoever to the beat group who scored a minor hit with "Everything's Al' Right" in March 1964 (Decca F 11853), probably because it was four years later and The Mojos FINALLY got "with it", unlike their last Decca releases.  It opens with a melodic yet blistering guitar and some funky bass and electronic piano noodling.  The lead vocalist is purely Steve Marriott influenced.  The flipside, "Seven Park Avenue" is equally cool, repeating the same type of electric piano driven number with less freakbeat guitars with the lyrics concerning a boarder in a rooming house falling in love with his landlady.  The bass and electric piano interplay provides a good groove on this one that reminds me of The Zombies when they really got cooking/swinging on say, "It's Alright With Me" or "Indication".

Strangely only "Until My Baby Comes Home" has seen a reissue and that was on Psychic Circle's "Mix A Fix:U.K. Floor Fillers Volume Two" CD a few years back, which I find odd that such a brilliant track would stay relatively unknown for so long.

ADDENDUM:

Both sides appeared on the 2009 RPM CD Mojos singles retrospective "Everything's Alright". AND "Until My Baby Comes Home" is on the 2012 RPM 3 CD set "Looking Back".

 

Reader and original Mojo on this record Anthony House contacted us and wrote:

 

"Hi ,
 Just to put the record straight . The line up of the Mojos in 1968 was , Stu James ( vocals , piano , guitar ) Duncan Campbell ( vocals , bass ) Eddie Harnett (vocals , guitar ) Tony House ( drums ) . This was the line up that recorded the Mojos Liberty release in 1968 at Bob Potter Studios in Camberley , Surrey UK.

Kind regards

Tony House"

 

MANY thanks Mr. House!!!

Hear "Seven Park Avenue":

http://youtu.be/92bLcI_k-3A

Hear "Till My Baby Comes Home":

http://youtu.be/15FZXHjs4nA

The Poet's Debut

THE POETS-Now We're Thru'/There Are Some U.K. Decca F 11995 1964

The Poets hailed from Glasgow, Scotland and were the first Scottish "beat" group to make the U.K. Top 40, this single (August 1964). This was their debut single and sadly their only trip into the charts (the single reached #22). This enabled them to appear on all of the major British pop TV shows to plug their hit and even got them filmed for the cutting edge U.S. TV show "Shindig", who routinely filmed British bands in London for use on their show. The single actually even garnered a U.S. release on DynoVox label (DynoVox 201, August 1964). The group went through numerous line up changes throughout their brief six single history (1964-1967) .  The personnel for this 45 were: George Gallacher (vocals), Hume Patton (lead guitar), Tony Miles (rhythm guitar), John Dawnson (bass guitar) and Alan Weir (drums).

The dynoVoice U.S. pressing

Most 60's beat groups have pretty uninspiring tales of their claims to fame but nobody's can beat that of The Poets. In September 1964 Stones manager Andrew Loog Oldham flew up to Glasgow (how classy of him not to do it by bus, train or Comer van) to marry his 16 year old girlfriend Sheila Klein (16 was not the age of consent in England I'm guessing).  Whilst in the Glasgow airport he spotted a photo of them decked out in the frilly shirts and dark suits with an article in a local paper on The Poets, whom he duly investigated. Loogy signed them up ASAP after auditioning them and brought them down to London to record this smashing debut which he is credited with producing.

"Now We're Thru" first came to my attention in late 1984 or early 1985 when I scored a copy of the amazing Decca double LP comp "Hard Up Heroes" at Bleeker Bob's where it was nestled amongst my other first introductions to the likes of The Birds and Zoot Money.  It struck me immediately with it's monster echo and hypnotic over-amplified acoustic 12 string (courtesy of lead guitarist Hume Patton) and deliberately drawn out pauses on certain words. Lyrically it's an interesting number, like many 60's beat records it's a "boy loses girl" scenario only this time around the boy is actually acquiescing to losing "her" to another and suggesting she move on!  It's also one of the few 60's records that I think benefited from Oldham's studio ineptitude because it's possible that his desire to be Phil Spector and the resulting over use of echo gave this record it's charm.  And it's even a group original written by Gallacher, Patton and Myles, not many 60's beat groups got that option for their debut! The flip side, "There Are Some" isn't very interesting.  It's a slow piece with some piano, not much there really.  The only high point of the record are some interesting drum rolls which were actually the work of a session musician!

Both sides were also included on the dodgy "In Your Tower" CD comp of their material and the hard to get but much better Poets CD comp "Scotland's No. 1 Group".  Strangely neither track surfaced on any of the Decca/Deram "Scene.." CD compilations. In 2011 both sides were compiled for CD on The Poet's "Wooden Spoon:The Singles 1964-1967" which is, just that (no bonus cuts unlike "Scotland's #1 Beat Group").

***Special thanks to Lenny Helsing (Scotland's foremost 60's music expert) for his invaluable information that made this piece possible**********************************************************

Hear "Now We're Thru" :

https://youtu.be/C2PBoUBXY4w

In Defence Of The Mods From Merton Park......

The Merton Parkas.  Three words that are sure to start sniggering and guffawing in a room full of old mods, like mentioning The Mighty Bosstones around some real skinheads.

The Merton Parkas were slagged off back then ('79) by their peers.  I'm not quite sure why.  Sure "You Need Wheels" is a pretty dreadful record but beyond that I think the band's material is a pretty nice alternative to all the Jam aping "punks in parkas" bands of '79.  Brett "Buddy" Ascott of The Chords observed:

" I don't blame the Merton Parkas, I blame the people who bought it.  I mean come on-'You Need Wheels', that was really our 'Anarchy In The UK'?" ( from "Mod: A Very British Phenomenon" by Terry Rawlings)

I liked the mix of Fender Rhodes (and Hammond towards the end) on their stuff and the up tempo blokey feel of their music, like a sort of mod frat party band that liked Kilburn and The Highroads in addition to Georgie Fame and Motown.  I thought they looked cool as *uck on the cover of their LP on Brighton beach in their suits, hell they even turned me onto the concept of wearing red socks!

For me The Merton Parkas are a magical slice of my "defining moments of mod".  For Xmas 1981 I got their 1st LP.  The three guys I hung out with weren't mods, two were punks, the other did his own thing but they all sort of embraced the mod thing for one shining moment. We all had narrow ties and solid color shirts and parkas with obligatory badges (well only one guy had a parka the other two had US Army field jackets and I had some dark olive green cotton twill thing that looked like a cross between a pea coat and a field jacket, coated in WAY too many badges and patches).  We all trooped down to our friend's house (always our meeting place because his parents never seemed to mind us hanging around playing music till all hours) and his mom took us all to see "Ghost Story" the night after Xmas and we all got kitted out (another chum even wore his grandad's old vinyl black porkpie).  He and I had both gotten black suits for Xmas, granted they were two button but hey we were 15 what did we know?!  Our "host" had just gotten the Lambrettas "Beat Boys In The Jet Age" LP for Xmas and he made a cassette tape of tracks from it along with stuff from my Merton Parkas LP, Secret Affair's "Glory Boys", The Special's 1st LP, stuff from "Absolutely" by Madness and the "Odds Bods Mods & Sods" compilation LP (a big fave with my punk rock inclined crowd).  After coming back from the movies for some odd reason we took his boom box out to the curb and danced in the street beneath a streetlight.  No booze, no drugs, no chicks, just 4 morons in their early teens bouncing around without a care in the world.  And when I hear The Merton Parka's version of  "Tears Of A Clown" or "When Will it Be" I'm a 14 year old on that corner, under that street light, jumping around like a fool with my friends (two of whom are now all no longer with us).

Parka Power!  Lower Binfield, NJ
1982

Okay it's no "Millions Like Us" but it's the only Merton Parkas clip on YouTube.....

https://youtu.be/vWgX3Q3uizY

Cool Foreign E.P.'s Part Twenty Two

THE HOLLIES-Stop Stop Stop/It's You/Running Through The Night/I Can't Let Go E.P. Portugal Parlophone LEMP 1253 1966

Kenny Lynch Rocks Out

KENNY LYNCH w/ The Laurie Jay Combo-Shake And Scream/Harlem Library HMV POP 1260 1964

Kenny Lynch (O.B.E.) needs no introduction. Most of us here are familiar with his "hit" "My Own Two Feet" and his co-authoring numbers recorded by The Small Faces and The Game (as well as producing the first two singles by the latter). Most of his records are decidedly "square" because he came from an era that owed more to Matt Monroe than to Cliff and The Shadows. The Beatles and The Rolling Stones pretty much laid waste to "entertainers" like him and this 45 was no doubt a vain attempt by him to score some sort of "credibility" with "the kids".

"Shake And Scream" (complete with fake audience sounds dubbed in) is Kenny's cash in on Merseybeat.  It sounds a tad similar to the beat group fave "Twist And Shout", not in the tune itself but how it's structured. "Harlem Library" is clearly influenced by The Rolling Stone's interpretation's of Chuck Berry and American rock n' roll.  The lyrics are fairly ludicrous:

"I said no smokin' you're on private property..... you're not at a party Mister you're in Harlem library.."

What makes it exciting is the musical Rolling Stone's aping and the truly rocking groove that the 45 cuts!

"Harlem Library" has been reissued on the excellent EMI licensed Zonophone CD compilation "Take My Tip: 25 British Mod Artifacts From The EMI Vaults".

Hear "Harlem Library":

http://www.youtube.com/watch?v=oBkbyhrXJRw