Tuesday, October 10, 2017

More U.K. Obscurities On U.S. Labels: The Nashville Teens 2

THE NASHVILLE TEENS-The Hard Way/Upside Down US MGM K13483 1966

The Nashville Teens sole U.S. 45 of 1966 was an Ashford/Simpson/Armstead composition called "The Hard Way" issued here in March (previously released in the U.K. in January as Decca F 12316). I've yet to find any other versions of "The Hard Way" so I am left to assume he band heard it from a publishers demo.

"The Hard Way" is hard to define genre wise. Driven by the twin vocal attack of Art Sharp and Ray Phillips it's got appeal but is interestingly offset by some harpsichord and hard drumming.

"Upside Down" is a rarity in that it's a band original written by singer Art Sharp. It's not the strongest tune and sounds more at place two years prior during the beat boom with some barroom ivory tinkling by keyboardist John  Hawken and a nasty/gritty little guitar solo (by Mick Dunford).

Both sides, though uncredited on this U.S. release were produced by Mike Leander and can be found on two out of print Nashville Teens CD comps "Tobacco Road " and "The Best Of 1964-1969".

Hear "The Hard Way":


Hear "Upside Down":


Wednesday, October 4, 2017

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

THE SOCIETE-Bird Has Flown/Breaking Down US Deram 45-DEM-7517 1968

One of the many tracks introduced to me via Decal records brilliant 1987 Deram records compilation LP "Deram Days" was this excellent two sider by a Glasgow quartet called The Societe. Released in the U.K. in November 1967 as Deram DM 162 London records in the States waited to issue it under the Deram umbrella a full two months later in January 1968.

The band were: Dave Dougall (lead vocals/organ), Robbie Burns (vocals/lead guitar), Dave "Suzie" Struthers (bass) and Smiler Frame (drums). The band were recommended to the Hollies who were in the process of setting up a production company at the time and upon seeing the Societe live it was decided that Allan Clarke would produce them with the band coming down to London to record what would be today's specimen. Interestingly the so called Hollies Production company "Hollies Recording Company Limited" seems to have come to naught because outside of this single I can't find evidence of any further releases (though The Zombies have an interesting story about meeting The Hollies for lunch hoping to produce them and the Hollies, it transpires, wanted to do the same for The Zombies!).  Both sides of this single were group originals.

The Societe courtesy of 45cat.com

There has long been controversy over the A-side "Bird Has Flown" as there are rumors of Hollies involvement in the recording outside Allan Clarke's production.  His voice is clearly audible in the backing vocals, but I can't discern either Graham Nash or Tony Hicks in the mix.  That out of the way its a fantastic down trodden sounding pop record that would not at all be out of place on The Hollie's "For Certain Because" album. With its backwards cymbals, piano and precise harmonies all under some interesting key changes it's a pretty decent single.

The flip side "Breaking Down" is far more upbeat. Driven by an uptempo melody of guitar and piano in tandem and held together by some tight harmonies and "call and response" vocals it's a nifty little tune as well.

Sadly there would not be another 45 by the Society but members Dave Dougall and Dave Struthers joined Andwella's Dream in time for their name change to Andwella in 1970.

As mentioned earlier both cuts were compiled on the LP "Deram Dayze" but sadly only the A-side has seen further reissues on the fantastic 1998 Deram/Decca CD collection "The Psychedelic Scene" and on a 2005 double CD "The Decca Originals".

Hear "Bird Has Flown":


Hear "Breaking Down":


Saturday, September 30, 2017

September's Picks

We're back with more Anorak Thing picks after our Summer hiatus!

1. ART-"Rome Take Away Three"
From the ashes of mod/r&b aficionado's The V.I.P's came Art who cut just one 45 and an LP for Island before changing their name and adding New Jerseyite Gary Wright to become Spooky Tooth. This was the flip of their sole 7", a cover of The Buffalo Springfield's "For What It's Worth", it's powerful like The Creation's "Tom Tom" but with soulful vocals and WAY heavier than anything The V.I.P.'s would have done.


2. THE DRAMATICS-"It's All Because Of You"
Anyone who's read "Detroit 67" or saw this past summer's film "Detroit" will be familiar with the tragedy that befell the Dramatics after the release of this powerful track (which figures prominently in the previously mentioned flick). Their last before eventual stardom on Stax it remains their most powerful and most sought after 7 inch.


3. FROG-"Witch Hunt"
From the soundtrack to the trippy 1973 classic film "Psychomania" comes this wah-wah driven classic by the great John Cameron, totally witchy and spooky with ethereal female backing vocals blending in with the strings.  Pure magic!


4. SOUND DIMENSION-"Soulful Strut"
Sound Dimension were basically the Funk Brothers of Coxsone Dodd's Studio One label and played on more ska/reggae than we'd have room to list. This 1969 interpretation of the Young Holt Unlimited instrumental is one of my favorites by them.


5. THE BARRACUDAS-"Summer Fun"
Some songs are meant to be blasted loud in joyous celebration whether you're a teenager in the back of a pick up truck on your way to the beach in 1982 with this on a boom box on the last day of school or on an iPod by 50 year old dad who's savoring Japanese beer after getting the kids to sleep.


6. SAKER-"Hey Joe"
Cheers to the excellent "Piccadilly Sunshine" CD compilation series for constantly unearthing U.K. 60's pop/psych 45's like this interesting reading of "Hey Joe" from 1969 by one Bob Saker. You would think a pop psych treatment of "Hey Joe" wouldn't work with the requisite strings, brass, woodwinds et al but it does and the lyrics are altered slightly to turn it into an anti-war protest which is a nice touch!


7. PAUL REVERE & THE RAIDERS-"Indian Reservation (The Lament Of The Cherokee Reservation Indian)"
I remember lots of songs from my childhood but the first one that I really liked was this 1971 #1 (their only #1!) by Paul Revere and Co. (their last top ten hit as well). I was 5 or 6 and I was fascinated with Native Americans at the time and my dad explained the lyrics to me and I had my first experience of anger at injustice and social consciousness. The trippy fading strings and the Hammond at the fade still make the hairs on my neck stand on end 46 years later.

8. BO DIDDLEY-"I Can Tell"
It's hard to pick a fave Bo Diddley tune, but for me the $ has always been on this cooking little tune from 1962 found on the flip of the equally powerful "You Can't Judge A Book By The Cover". I think my favorite part of the tune is the powerful bass line that set the template for so many great British r'n'b tracks.


9. DEL SHANNON-"Mind Over Matter"
There are many sad stories involving Andrew Loog Oldham's Immediate records label but none sadder than him flying Del Shannon out to the U.K. in '67 and presenting him with the cream of the crop to back and him and a bevvy of amazing songs to record for an album that never was. This number is my fave of the bunch and was actually released as a 45 in the UK in '67.


From the 1967 U.K. Decca E.P. that saw Mayall and Co. collaborate with American Paul Butterfield "Ridin' On The L And N" is my fave track on the disc. It's hard driving, bluesy and superb, what you'd expect from Mayall.


Tuesday, September 5, 2017

More U.K. Obscurities On U.S. Labels: The Nashville Teens

THE NASHVILLE TEENS-Words/That's My Woman US MGM  K13678 1967

The Nashville Teens had one sole hit in the US, August 1964's "Tobacco Road" which reached # 14. By 1967 their ship had sailed both in the U.K. and the U.S. Their 8th U.K. 45 (Decca F 12542) "That's My Woman"/"Words"  was issued in Britain in January 1967.  Issued in the U.S. one month later MGM decided to flip the 45 putting the stronger "Words" on the A-side. It made little difference as it failed to chart.

"Words" is the stronger of the two in my book. Led by some slick horns and muted fuzz guitars and almost disembodied backing vocals that shriek out "Words!" it's probably one of the freakiest things they ever cut and certainly their most soulful.  The horns and fuzz guitars make it a strong contender for the "freakbeat" moniker.

"That's My Woman" had previously been tackled by The V.I.P.'s (curiously as a US only release as "The Vipps" on Mercury the previous year). Both versions share the same formula but the Teens version starts with the blistering fuzzed out "Love Is Strange" lick as an intro and though not as strong as the V.I.P's take it's still a decent version. Though uncredited on the US release Shel Talmy produced by sides

Both tracks can be found on two out of print Nashville Teens CD comps "Tobacco Road " and "The Best Of 1964-1969".

Hear "Words":


Hear "That's My Woman": 


Tuesday, August 29, 2017

10 Jumpin' Jack Flashes

1. THE ROLLING STONES U.K. 45 Decca F12782 1968
Nothing could prepare the world for the power that was "Jumping Jack Flash", the Stones first post psychedelia single and their first with producer Jimmy Miller.  From Keith Richard's zooming bass lines and his famous "open D tuning" guitar power chords the number kicks off any remnants of the flowery Summer of Love pretensions and puts the Stones back on top where they belonged. My favorite part is Bill Wyman's neo-classical organ trills towards the fade out.

2. LEON RUSSELL U.S. LP track "Concert For Bangla Desh" Apple SCTX 3385 1971
Part of a medley for the legendary "Concert For Bangla Desh (sic)" live gig/album Leon Russell and friends kick out the jams with a halfway decent version (considering the band had such a short time to prepare) that eventually slides into another song.


3. JOHNNY WINTER U.S. 45 Columbia 45 4-45368 1971
I know you're almost as surprised as I am....this live reading by Johnny Winter was issued as a single in 1971 from a live LP .  Starting off with a hysterical bellow of "rock n roll!" it doesn't really deviate from the Stones version but it's nastier, heavier and though the vocal histrionics are a bit O.T.T at times it's worth a listen.


4. GENO WASHINGTON & THE RAM JAM BAND U.K. 7" E.P.  track Acid Jazz AJX285S 2013
Recorded in 1968 but unissued until 2013 by Acid Jazz, this is probably the most interesting interpretation here because it eschews the Stones punky, sped up aggression by slowing it down. Starting off with some spooky/churchy Hammond and a bashing guitar chord almost reminiscent of Deep Purple's "Hush" it stays heavy AND funky and though it's not Geno's best vocal performance the Ram Jam Band delivers as always and the organ literally carries it.


5. ANANDA SHANKAR France 45 Reprise RV.20246 1970
First released on Ananda's untitled U.S. 1970 LP for Reprise records the number was nonetheless issued as a single in France (and as a result is pretty scarce to come back). Fed by his intricate sitar riffing it's wrapped in hand claps, funky proto synth/Moog, easy listening Dolly Bird backing vocals and comes together in this funky mix that's half porn film loop music and half post Swinging London incidental discotheque film music.


6. ALEX CHILTON U.S. LP track "1970" Ardent 7-1515-2 1970
In between the dissolution of The Box Tops and the forming of the legendary Big Star, Alex Chilton cut several sides in 1970 that would remain unreleased for several decades.  Among them was this raggy, aggro filled punky cover that seethes both power and sheer venom.  It's pretty hard to "out swagger" The Rolling Stones with one of their own cuts but Chilton pulled it off magnificently!


7. WYNDER K. FROG U.K. 45 Island WIP-6044 1968
Interestingly U.K. Hammond n' horns masters Wynder K Frog had previously worked with the producer of the Stones original, Jimmy Miller.  By the time they cut the track Jimmy had ceased working with them and it was over seen by Gus Dudgeon. Wrapped up in a frantic mix of intricate Hammond noodling, razor sharp brass and funky congas it's a solid groove from start to finish.


8. NORMAN T. WASHINGTON U.K. 45 Pama PM 749 1969
Predominantly a reggae/rocksteady artist, Norman T. Washington's reading musically is soulful, even though the horns sound slick (and possibly cheezy in a soul-less but nevertheless cool sort of way) enough to be John Schroeder or Alan Hawkshaw .  Since Hawkshaw was behind the label's Mohawks instrumental combo it's not too far fetched to assume he might be involved. Watson's West Indian accent contrasts the distinctly British backing music and in some strange way it works.


9. KING HARVEST Australia 45 RCA Victor 101922 1973
Not the King Harvest of "Dancing In The Moonlight " fame but rather a heavy Aussie band who cut just two singles for RCA down under. Their final 45 was a double sided extended take (labeled "Part's One" and "Two") that reminds me of the ham fisted simplicity of Alex Chilton's reading but with some cool harmony backing vocals and a very gritty delivery.

10. THELMA HOUSTON U.S. 45 Dunhill D-4212 1969
Easily my favorite cover is this powerful version from October of '69 led by Thelma's powerful pipes and the gospel style backing vocals.  Delivered at a pace not too dissimilar from the original the real gas besides the stellar vocals is the groovy strings that sweep in!

Sunday, August 20, 2017

More U.K. Tracks On U.S. Labels: Georgie Fame's US Epic Debut

GEORGIE FAME-Bidin' My Time (Cos I Love You)/Because I Love You US Epic 5-10166 1967

Georgie Fame switched from Columbia to CBS in the U.K. in 1967 which as a result saw him move from Imperial to Epic in the US. His March 1967 U.K. CBS debut was "Because I Love You"/"Bidin' My Time (Cos' I Love You)" (CBS 202587). It was curiously reversed for his US release in May. It needn't have mattered because the record did nothing chart wise here.

This 45 marked the second time two Georgie Fame originals graced the same 45 (credited to his real name Clive Powell). It was produced by Denny Cordell (who interestingly produced his 1966 work for his previous label in the UK Columbia, some of which were issued in the States by Imperial).

"Bidin' My Time (Cos' I Love You)" is an uptempo track that benefits from some funky congas and razor sharp horns with some interesting licks. There's an nifty break with a jazzy bass solo and congas reminiscent of a '67 Small Faces track (not too far off as both featured on some of the mighty mod foursome's '67 Immediate LP). The whole thing is pulled off in no small part by Cordell's production. Curiously there is no Hammond on the tune just piano, surely a precursor of thing's to come for "Fame In '67 On CBS" (as his U.K. label CBS promoted him with a distinct logo appearing on all his U.K. releases).

Fame with bassist Rik Brown

"Because I Love You" is a brilliant mid tempo ballad with layers of exquisite horns that weave in and out and propel it's infectious Motown inspired melody. Like the previous track it is also devoid of Fame's familiar Hammond.

Sadly Fame's next U.K. CBS release "Try My World" b/w "No Thanks" (CBS 2945 August 1967) would be passed over for a U.S. release and Americans would have to wait for the next Georgie Fame 7", the abominable "The Ballad Of Bonnie And Clyde", his last solo hit (#1 in the U.K. and #7 in the U.S.) in 1968.

Both cuts are on a variety of places including the CBS years UK CD compilation "Somebody Stole My Thunder" and the more recent (and essential) double CD reissue of his "Two Faces Of Fame: The Complete 1967 Recordings" (the 1967 LP in mono and stereo with 45, E.P. and unreleased cuts.

Hear "Bidin' My Time (Cos' I Love You)":


Hear "Because I Love You":


Watch "Because I Love You" live in 1967 on German TV's "Beat Beat Beat":

Monday, July 24, 2017

Euro 60's Obscurities On U.S. Labels: The Tages

THE TAGES-I Read You Like An Open Book/Halcyon Days US Verve VK 10626 1968

One questions the decision by Verve to issue the debut U. S. release by a Swedish group already at the end of their career. By the time of this single's U.S. December 1968 release The Tages were no more. They had already released a staggering 22 singles, 2 E.P.'s and 5 LP's in their home country in just under 4 years. The Swedish issue of today's specimen was their 23rd and incidentally final 7 "(released in September 1968 as Parlophone SD 6054 back home). Original lead singer and resident band heart throb Tommy Blom had went off as a solo performer and launched an acting career prior to the recording of this 45. After it's release the band splintered . Bassist and second vocalist Goran Lagerberg formed Blond (who not only released a U.S. single but an LP too) along with fellow Tages Danne Larsson (rhythm guitar) and Anders Topol (lead guitar), but that's another story for another entry.

"I Read You Like An Open Book" owes less to 1968 and more to the previous year with it's kinetic mix of Beach Boy's style harmonies of "Smiley Smile" and the studio whimsy of  "Sgt. Pepper's Lonely Hearts Club Band". It's a mid tempo tune punctuated by some intricate layered, harmonies and interesting tempo changes.

The flip side "Halcyon Days" is actually a Herd track titled "Our Fairy Tale" (issued in the States on their 1968 LP "Lookin' Thru You" Fontana SRF-67579 and as the flip side of their June 1968 U.S. single "I Don't Want Our Loving To Die", Fontana F-1618). I've yet to discover where it was re-titled by The Tages! Their version is slightly different with some fluid bass lines by Goran and strings accompanying the horns. Not their best 45 but certainly not their worst either. Both sides were recorded in the U.K. at Olympic Studios with producer Mike Hurst and featured session man extraordinaire Nicky Hopkins on organ.

Swedish pressing

Both tracks were included as bonus cuts on RPM's CD reissue of their incredible 1967 LP "Studio".

Hear "I Read You Like An Open Book":


Hear "Halcyon Days":


Thursday, July 13, 2017

More U.K. Obscurities On U.S. Labels: David Bowie's US Deram Debut

DAVID BOWIE-Rubber Band/There Is A Happy Land US Deram 45-DEM-85009 1967

"Rubber Band" was David Bowie's second ever U.S. 45 ( the previous honor went to Warner Brothers 5815 "Can't Help Thinking About Me"/ "And I Say To Myself" in May 1966). The June 1967 U.S. release of "Rubber Band" is interesting because rather than use the first version of it which was issued in the U.K. as his first Deram 45 in December 1966 (as Deram DM 107) London records (Deram's U.S. distributor) chose to utilize the re-recorded version found on his debut untitled long player . The LP was previously issued in the United Starts on April 20, 1967 as Deram DES 180 003 (or so I have been led to believe). I am curious as the U.K. LP was launched on June 1st, the same day as "Sgt. Pepper..", which would be odd that his debut came out months earlier in the U.S. The staff at London  were antsy about his U.K. "Rubber Band" flip side "The London Boys" owing to it's drug references and chose another track from the debut LP, "There Is A Happy Land" as the B-side. "The London Boys" would not surface in the United States until 1972's London double album "Images 1966-1967" (London BP 628/9) which collected all of his Deram era material.

David Bowie 1967 photo by Gerald Fearnley

"Rubber Band" is something of an odd duck.  With it's Victorian era brass band backing it's like the red headed stepchild of "Penny Lane" and "Dead End Street". Bowie half sings/half speaks in an upper crust intonation about his love leaving him while he's off in the "14-18 war" for the leader a brass band that plays in the park on Sunday afternoons. There's predictable parts of his phrasing that resemble Anthony Newley, which for better or worse is often attatched to his first album's material.

"There Is A Happy Land" is one of the most brilliant moments from his debut LP.  With delicate childlike piano and acoustic strumming by Pentangle's John Redbourn there's subtle brass weaving a wonderful melody as Bowie sings of childhood nostalgia with touches of innocence and cruelty:  "sissy Steven plays with girls, someone made him cry, Tony climbed a tree and fell trying hard to touch the sky. Tommy lit a fire one day, nearly burned the field away, Tommy's mom found out but he put the blame on me and Ray".

Both tracks are found on his debut LP, which was issued in both Stereo and Mono mixes a few years back.

Hear "Rubber Band" (LP version):


Hear "There Is A Happy Land":


Friday, July 7, 2017

The Sound of '67 :The Rolling Stones "We Love You"

THE ROLLING STONES-We Love You/Dandelion UK Decca F 12654 1967

1967 was probably the shittiest year for the Rolling Stones. It started with the controversy over their single "Let's Spend The Night Together", then they caused a furor over refusing to appear smiling and waving at the conclusion of the British variety program "Sunday Night At The London Palladium".  Then "Between The Buttons" was released to a lukewarm critical response and a month later the "News Of The World" ran a story about Mick Jagger openly doing drugs in a London night spot, of course it wasn't Mick but Brian Jones.  Mick appeared on TV and discussed the possibility of suing for libel. What immediately followed was the infamous police raid on Keith's house, Redlands, that saw Mick and Keith both facing drug charges (on a well placed tip from "News Of the World").  Brian too felt the long arm of the law and had his collar felt as well on the very same day while Mick and Keith were in court. After Mick and Keith's sentences were squashed in the appeals court the band continued work on their 13th single, a "thank you" to fans called "We Love You", the most psychedelic thing they ever recorded.

As photographed by Michael Cooper 1967

There are legions of people, myself among them, who sort of belong to this cult of Brian Jones.  The reasons why are too lengthy to devote here and are worthy of a separate piece on their own. One of the many reasons which we can discuss here is the color he gave many of the Stones records.  "We Love You" is among them and is like nothing anyone else did, ever.  Starting with rattling chains and a clanking prison door Nicky Hopkin's melodic piano piece begins with footsteps and the vocals (featuring anonymous Beatles John and Paul) and Jones quirky Mellotron. Various Stones bootlegs contain interesting takes of it where you can hear him cooking up what later became the finished masterpiece. It's seeped in layers of it that weave in and out of Hopkin's descending piano trills.  At times it sounds as though he's pounding out a rhythm on the keys, no mean feat as the Mellotron is played using keys that lack the "play" that a piano has and the thundering African drums giving it a worldly air.  Charlie's drums have never sounded better on a Stones record either!! The British 45 closes with vocal snippets of the flip side, "Dandelion", eerily playing backwards. Filmmaker Peter Whitehead shot an incredible promo film (see below) in July of 1967 with Mick playing Oscar Wilde, Keith as a judge and Marianne Faithfull playing Wilde's lover Lord Alfred Douglas interspersed with footage of the band working in the studio and infamously, Brian Jones out of his head barely able to keep his eyes open. "Tops Of The Pops" refused to air it citing it's like of suitability for their viewing audience. Their loss.

Brian during the "We Love You" sessions at Olympic with the Mellotron

"We Love You" charted at # 8 in Britain in August 1967 and a dismal #50 in the U.S. the following month where DJ's took to playing the flip side, "Dandelion" which eventually reached #14!! Curiously "We Love You" was not available on a Stones long player in the States until 1972's "More Hot Rocks: Big Hits And Fazed Cookies" compilation double LP that collected any remaining unreleased it the States Decca era cuts. It was on the 1969 octagonal shaped U.K. compilation album "Through The Past Darkly (Big Hits Vol Two)" but omitted from the US issue.

Special guest backing vocalist confers with Mick during the "We Love You" session

"Dandelion" was originally one of Keith's songs that first started life in 1966 as "Sometimes Happy, Sometimes Blue" and eventually evolved into "Dandelion", a pastoral play on both a child's rhyme and game of playing with dandelion flowers. Nicky Hopkin's harpsichord and Brian's oboe add a regal air to it meshing perfectly with the lush/high (in both ways) "Summer of Love" backing harmonies  care of Mick, Keith and Beatle's John and Paul. Charlie's thundering drums towards the fade out make for a brilliant conclusion when intertwined with the oboe and harpsichord and the chorus slowly fades like sunset on a sunny day. Trippy!

See Michael Whitehead's "We Love You" promo film:


Hear an early take of "We Love You" with Brian working out the Mellotron:


Hear "Dandelion":


Hear Keith's demo "Sometimes Happy, Sometimes Blue":


Monday, June 26, 2017

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

THE AMEN CORNER-World Of Broken Hearts/Nema US Deram 45-DEM-85201 1967

Amen Corner's second U.S. single was the October 1967 release of the Pomus/Shuman composition "The World Of Broken Hearts" (first cut by Sissie Houston in the US on the Congress label the previous year, which was arranged and conducted by Mort Shuman). The Amen Corner's first version was issued in the U.K. the previous month as Deram DM 151 where it reached #24 in the national charts.

"The World Of Broken Hearts" works for Amen Corner in no small part due to their excellent production by Noel Walker. Starting with some subtle organ and and bass and Andy Fairweather Low's vocal the brass slides in subtly in conjunction with strings  before exploding and then fading out again for the verses and bursting back for the chorus. The churchy Hammond and and powerful horn section are always an asset for the band on their Deram sides and this cut exemplifies that.

Photo by David Wedgbury

The Fairweather-Low original "Nema" ("Amen" spelled backwards geddit?) starts with a catchy little piano/Hammond lick and bursts into a frantic Hammond n' horns orgy . Like the A-side it has quiet parts that are jarred by the power of their brass section (later to form Judas Jump after the band's 1970 dissolution) and the swirling Hammond. There's an almost "psychedelic" feel to it all. The best part is near the ending at 2:43 that utilizes the same chord changes later to crop up as "Baba O'Reilly" by The Who. Here the horns and Hammond pound out a tough riff before Fairweather-Low chants "N is the first, E is the second, M is the third, A is the fourth glad you bought our record" and it all ends.

Both sides can be found on the CD issue of their debut Deram LP "Around".

Hear "World Of Broken Hearts":


Hear "Nema":


Monday, June 19, 2017

More U.K. Obscurities On U.S. Labels: Neil MacArthur aka Colin Blunstone

NEIL MaCARTHUR-She's Not There/World Of Glass US Deram 45-7524 1969

For those not in the know Neil MacArthur was none other than Colin Blunstone, formerly lead singer with The Zombies who had spent the last year out of the music business working in an insurance office following the 1968 break up of The Zombies.

Conceived by producer Mike Hurst the "Neil MacArthur" venture lasted just shy of a year and resulted in three singles for Deram, all of which were released in the U.S. as well as the U.K. "She's Not There" was the first, issued in January 1969 on both sides of the Atlantic.  It was a curious choice given that it was the debut track by The Zombies. It reached #34 in the U.K. charts, but did not chart in the U.S.

Banish any thoughts of the jazzy electric piano led British beat group sound of the Zombies original 1964 single and clear your mind. Starting with an ominous symphonic beginning reminiscent of David Axelrod , Blunstone's vocals sound similar to the way he sings in the original version.  But over the top of quirky little guitar licks and sweeping, easy listening (as in the freaky soundtrack sort) orchestration,vibes and the jazzy flute solo make it sound "way out". Ditto for the way the number abruptly stops with the strings spiraling down like the tape was stopped.  It's really the phlanging strings that make it sound over the top (in a good way!).

"World Of Glass" is a different bad entirely.  With it's tabla, harmonium and steel guitar it's like a trippy version of Ronnie Lane's Slim Chance (musically) or Donovan or Nick Drake on a good day. Sadly it's vocally not my thing as it sort of reeks of the early 70's "singer sing writer" feel and Blunstone's muezzin style chanting does nothing to endear it to me.

Oddly neither tracks have seemed to see any sort of reissue outside of "She's Not There" being on a the 1987 LP compilation "Deram Days"!

Hear "She's Not There":


Hear "World Of Glass" :


Tuesday, June 13, 2017

Class Of '67: 10 Great U.K. Long Players From 1967

1. THE ROLLING STONES-"Between The Buttons" UK Decca SKL 4852 / US London PS 499
Often slammed by critics, and in some cases The Stones themselves, "Between The Buttons" has been unfairly maligned as a collection of throwaways and B grade tracks (which it did contain like "Please Go Home" and the mundane "Miss Amanda Jones"). I beg to differ on the rest and to me if "Aftermath" was the band's "Rubber Soul" then this was surely their "Revolver".  As a fan of the so called "Brian Jones mystique" it's dotted with examples of his musical diversity and flavor . There's vibes on "Yesterday's Papers" and "Backstreet Girl" (both augmented by Jack Nitzsche on harpsichord), recorder on "All Sold Out" (and on his masterpiece only found on the U.S. issue: "Ruby Tuesday") saxophone on "Something Happened To Me Yesterday" and a host of minor bits and bobs on nearly every track.  Like "Aftermath" it was entirely comprised of Jagger-Richards originals and contained the prerequisite amount of chauvinistic put downs ("Yesterday's Papers", "Complicated" and the lushly orchestrated but utterly crass "Back Street Girl"). It's also interesting also because the band are sort of unsure of where they're going direction wise be it the Dylanesque "Who's Been Sleeping Here" or the '67 Kinks meet New Vaudeville Band acid trip documentation of "Something Happened To Me Yesterday". As mentioned previously there's "Please Go Home", a mundane Bo Diddley rhythm swamped in weird effects (left off the US issue with "Back Street Girl" in favor of "Ruby Tuesday" and "Let's Spend The Night Together") and "Miss Amanda Jones" which sounds like it was quite literally made up on the spot.  Fortunately these tracks are the exceptions to the rule and obliterated by the likes of Keith Richard's catchy and rollicking "Connection" (with great lines explaining the current life of The Stones like "My bags they get a very close inspection, I wonder why it is that they suspect.." ) and the somber but wonderful "She Smiled Sweetly" that contains only keyboards, bass and drums.

2. DAVID BOWIE-"David Bowie" UK Deram SML 1007 /US Deram DES 18003
Often it's started that the Dame's debut LP was released the very same day as "Sgt. Pepper". It wasn't, "Sgt Pepper" was issued on May 26th (in the UK anyway), "David Bowie" was launched on June 1st (the day after "Pepper.." was released in America) on Decca's new Deram offshoot (it's US release was not until August).  It has often been dogged by comparisons to Anthony Newley, though not entirely off the mark in some spots its unfounded for the bulk of its material. It opens with the woodwind backed paean to an aging momma's boy ("Uncle Arthur") and moves into a variety of delightful orchestrated tunes, many of which are brilliant social observations with lush musical backing (put together by Bowie and bassist Dek Fearnley, whose brother Gerald took the iconic cover shot). "There Is A Happy Land" plumbs the youthful nostalgia of childhood (also explored on "Come And Buy My Toys") , both with subtle acoustic guitar from Pentangle guitarist John Renbourn while "We Are Hungry Men" portrays a post apocalyptic society where cannibalism prevails (it was left off the US release for precisely that reason). Bowie's songs on this album are almost like little one act plays or short stories. There's a troubled war veteran with a soft spot for children whose kindness is mistaken for being pedophile and run out of town in "The Little Bombardier" and "Join The Gang" pokes fun at Swinging London and its "in" crowd (complete with sitar plonking and strains of "Gimme Some Lovin") while "Maid Of Bond Street" snappily chronicles the woes of a dolly bird model with jazzy guitar and accordion and the classic line "gleaming teeth sip aperitifs".  "She's Got Medals" is a rapid fire rewrite of "Hey Joe" (musically anyway) about a war hero who's really a woman who enlisted as a man and now a cause celebre at the local pub. The original version of "Love You Till Tuesday" (later re-cut as his 2nd Deram 45) gets it first airing whilst his Deram debut single "Rubber Band" is rerecorded with subtle differences (telling the story of a man who goes off to war and his girl falls for the leader of the band they would watch in the park on Sundays). The album ends on a macabre note with  "Please Mr Gravedigger", a spoken word soliloquy by a child murder who makes a graveside confession to a grave digger whom he then kills, beneath stormy sound effects.

3. THE PRETTY THINGS-"Emotions" UK Fontana TL 5425
Much like "Between The Buttons", The Pretties third long player "Emotions" is sometimes met with a howl of derision when mentioned from the band and fans alike. The augmentation of brass and strings with the band on several tracks is usually disowned by hardcore Pretty Things fans as "commercial" or "unnecessary" but without them most of the tracks seem utterly bare bones and lacking to my ears. There are a few duff cuts, the kazoo driven "Children", the Bee Gees pastiche of "Growing In My Mind" or the protagonist from the Kinks "Shangri-La" or Rupert's People's "Reflections Of Charles Brown" cast here on "House Of Ten". That said they are overshadowed by the utter brilliance of  the catchy/brassy "Photographer" (documenting a day in the life of David Bailey or David Hemmings in "Blow Up" perhaps?), more catchy social observation about the death of Guinness heir Tara Browne in "Death Of A Socialite" (one of many here that's hard to imagine sans the brass) and hypnotic 12 string guitar led "My Time" where The Hollies meet sharp brass backing of say...The Les Reed Orchestra. "One Long Glance" benefits from some subtle fuzz guitar and brilliant harmonies (thanks to new members John Povey and Wally Allen , late of The Fenmen). "Bright Lights Of The City" merge the uptown brass of a Tom Jones record with some tough soulful bass lines and "Out In The Night" would probably sound at home on a final Johnny Kidd '66 session with it's precise horns and strings. "Tripping" is an interesting track with some bluesy steel guitar and no orchestra or brass and of course the subject matter...well the Pretties never shied away from controversy right? By the time of it's release lead singer Phil May and lead guitarist Dick Taylor were the only original members left standing and the band defected to EMI where they began work on singles and later an LP that would give The Pink Floyd pause for concern.

4. THE HOLLIES-"Evolution" U.K. Parlophone PMC 7022/ US Epic BN 26315
The Hollies managed to commercially survive the transition from beat group to psychedelia, a feat managed only by themselves and The Beatles. Produced at EMI's Abbey Road under the guiding hand of Ron Richards "Evolution" (in it's psychedelic cover courtesy of Dutch art troupe The Fool) is layered in the band's trademark harmonies and pure orchestrated pop. The tracks were arranged and conducted by Mike Vickers and features the work of session drummer Clem Cattani and  Mitch Mitchell (Hollies stickman supremeo Bobby Elliott was recuperating from appendix surgery during the recording). Opening with "Then The Heartaches Begin" (which reverberates in shimmering psychedelic effects, fuzz guitars and the lot) it's clear that the days of beat ballads were dead. "Stop Right There", sung by Graham Nash has an almost gypsy feel to it with it's violin solo while the double entendre of "Water On The Brain" is probably the only pop track with a tuba solo! "Rain On The Window" is a bleak painting of a one night stand while "Have You Ever Loved Somebody" (previously covered by The Everly Brothers, The Searchers AND Paul & Barry Ryan) sounds like the '66 Hollies (albeit with heavily distorted guitar!). The album still veers away from being all out psychedelic, "Leave Me" is almost soulful with it's subtle combo organ while "The Games We Play"  and "When Your Lights Turned On" are boy lusts after girl pop tracks with heavy orchestration and great melodies. "Heading For A Fall" has echoes of 1966's "Hard Hard Year" but with tack piano and brass and "You Need Love" sounds like the jangly Hollies of '66. As expected the bands three part harmonies excel and prove a winning combination with Vickers arrangements and orchestration.

5. KALEIDOSCOPE-"Tangerine Dream" UK Fontana TL 5448
Written not with L.S.D. or pot as it's inspiration but copious amounts of cheap Spanish red wine in a suburban bedroom by two 21 year old members Peter Daltrey (guitar) and Eddie Pumer (guitar), "Tangerine Dream" is in many ways equally as trippy as anything else the more lysergically minded members of the Class of '67 could offer. The album has several psychedelic ditty's like "(Further Reflections) In The Room Of Percussion" (the dissolution of a relationship seen through psychedelic imagery) to perhaps the only song ever written about an accidental murder, the chilling "The Murder Of Lewis Tollani". There's the wistful beach scenes of "Holidaymaker" (with muted brass and seaside sound affects), lives thrown together in a plane crash on "Flight From Ashiya" and the story of the under appreciated watch repair shop keeper of "Mr. Small The Watch Repairer Man" (which would not sound out of place on the Kinks LP below and is orchestrated by Reg Tilsley, responsible scoring The Pretty Things LP listed above!) . "Dear Nellie Goodrich" is a love letter put to music with tack piano and acoustic guitar that's quite reminiscent of Pink Floyd's "Paintbox" and "The most way out track is "Dive Into Yesterday" which sings of  "battalions in baby blue are bursting beige balloons" and "oh swing and say the petals say.." on top of discordant, shimmering guitars and high harmonies. The album concludes with the jangly, folk rock with sharp harmonies feel of ""The Sky Children" which though amazing goes on a bit too long at seven minutes plus.

6. GEORGIE FAME-"Two Faces Of Fame" U.K. CBS 63018
Georgie Fame began 1967 with a fresh start. Having left EMI and at his management's urging cut the Blue Flames loose he began a lucrative career with a new label, CBS.  They launched their new charge under a publicity blitz featuring a logo with his profile and the slogan "More Fame in '67" on his subsequent releases on the label. His debut album for the label came in the form of "Two Faces Of Fame", with one side live and one side in the studio. Musically it was not terribly to far removed from the jazzy side of the Blue Flames and any hint of his semi M.O.R. approach on the label is not yet discernible but r&b/soul is firmly dead and buried. The live side features a virtual who's who of British jazz and r&b. Fame's band includes Blue Flames alumni Eddie "Tan Tan" Thorton on trumpet, former Manfred Mann associate Lynn Dobson on tenor sax, future Brian Auger Trinity bassist Rick Brown and former John Mayall's Bluebreakers drummer Hughie Flint, among others. Side A (recorded live at The Royal Festival Hall on March 18, 1967) opens with "Greenback Dollar Bill" where Fame belts it out in front of a big band. His jazz cred shines through brightly on "Things Ain't What They Used To Be", "River's Invitation" and the tongue twisting "Bluesology" (the later two sees him backed by the Harry South Big Band with the cream of British jazz including Tubby Hayes, Ronnie Scott , Gordon Beck etc in the ranks). The live side closes with Jon Hendrick's tongue and cheek  "Keep Your Big Mouth Shut" where Fame interjects names of friends like Zoot Money, and troubled but legendary British jazz drummer Phil Seaman (where he is also backed by The Harry South Big Band). Side two's studio side is a lesser affair without so many big names and sounds sparse with a jazz quartet formula of just bass, drums, sax and piano. Highlights include a faithful reading of Mongo Santamaria's "El Pussycat" , the somber "C'est La Vie" and "Do It The Hard Way". Not his best long player of the 60's, but it certainly wasn't his worst either.

7. THE KINKS-"Something Else" U.K. Pye NSPL 18193 / US Reprise RS 6279
The Kinks fifth studio LP, "Something Else" was released in September as the Summer of Love drew to a close.  The Kinks were never one to follow trends and there is nary an ounce of psychedelia or whiff of Flower Power on it (though "Lazy Old Sun", the closest the Kinks ever came to psychedelia, is on board with it's discordant brass, Ray's stoned vocals and plenty of angelic backing vocals). "Something Else" is full of classic quintessential Ray Davies vignettes, opening with the well known "David Watts", the tale of the boy at school everyone wants to be (based on a Rutland promoter of the same name who was terribly smitten with Ray's brother Dave), meddling mother in law's ("Situation Vacant"), the everyman in the office ("Tin Soldier Man"), the married mother who resents her swinging sister (actually written by Ray Davies about he and raver brother Dave) in "Two Sisters", a posh toff lamenting Summer's passing ("End Of the Season") and closes with the beautiful "Waterloo Sunset", possibly one of the finest pieces Ray has ever written. "Something Else" is also interesting because Dave Davies sings on quite a few numbers. There's his "solo" hit "Death Of A Clown" which is included as well as  "Funny Face" (written about Dave's first child, fathered when he was merely 15!!) and his tour de force "Love Me Till The Sun Shines" with tasty organ by Nicky Hopkins.

8. THE CREATION-"We Are The Paintermen" German Hit-Ton Schallplaten HTSLP 340037
The Creation were far more popular in Der Fatherland than back home in the U.K. so when their first two German singles, "Making Time" (July 1966) and "Painter Man" (March 1967) were sizable hits over there an album was deemed necessary. By this point the band had changed members with bassist Bob Garner replacing recently departed lead singer Kenny Pickett and ex-Birds member Kim Gardener coming in on bass. The album was a compilation of sorts as it consisted of both sides of the first two singles as well as their newest German 45 "Tom Tom" /"Nightmares" and their third British A-side "If I Stay Too Long" (that was coupled there with "Tom Tom") . There was little material actually ready made for the album with the exceptions being their covers from the current stage set including a tepid version of "Hey Joe", an equally uninteresting stab at The Capitol's "Cool Jerk" and a halfway decent version of "Like A Rolling Stone" fattened up with some tasty melodic riffs from lead guitarist Eddie Phillips and some high backing vocals. Also among the non 45 cuts was the powerful "Can I Join Your Band" (that was previously cut with Kenny Pickett) and saw Phillips return to his "violin bow on guitar" technique and some tongue in cheek lyrics ("can I join your band and go off to play with my new guitar and coat of suede, can I join your band I'm a hippie guy always stoned and eight miles high.."). The LP is rounded out by the powerful "Through My Eyes", featuring a distinctly Jimi Hendrix inspired guitar solo and the band's trademark high backing vocals.

9. SMALL FACES-"Small Faces" (Immediate) UK Immediate IMLP 008
The Small Faces 2nd LP (which like their Decca debut was untitled) will always be a sort of anachronism because according to Ian "Mac" McLagan in conversation several years ago, the tracks recorded for it were never played live and all but forgotten once it they were completed. It's a perfect illustration of the bands chrysalis from pill popping/dope smoking mod R&B band to worldly hallucinogenic psychedelic pop stars. It's also interesting because 5 of the albums 14 tracks are sung by Ronnie Lane and 1 by Mac (who also wrote the track, "Up The Wooden Hills To Bedfordshire", a child like tale of bedtime that's actually about drifting off in a hash induced haze). Two of the tracks, "All Of Our Yesterdays" and "Eddie's Dreaming" feature the horn section of Georgie Fame and The Blue Flames, whose trumpet player, Eddie "Tan Tan" Thorton, is the subject of the later.  There's a certain whiff of neo-psychedelic whimsy in the album with the subtle Mellotron (also heard on "Become Like You") and "turned on" lyrics of the LP's storming opening track "(Tell Me) Have You Ever Seen Me" and the trippy "Green Circles" (which got an even more way out remix for their U.S. LP "There Are But For Small Faces"). Lane's earlier mentioned Vaudeville "All Of Our Yesterdays" is fattened up by some jazzy horns where a Cockney East End knees up meets jazz time swing. The band's penchant for quick organ driven instrumental throwaways is fulfilled via the snappy "Happy Boys, Happy" and Ronnie's sublime "Something I Want To Tell You" ( originally considered for a single) is equally heavy on the organ with some great melodic trills by McLagan at the Hammond. Marriott shines on "Talk To You" and "My Way Of Giving", the last of the band's blue eyed soul belter/call and response backing vocals numbers. Lane fronts the band on the sublime "Something I Want To Tell You" (driven in no small part by Mac's piano/Hammond playing) and the delightful Mellotron/harpsichord mix on "Feeling Lonely" fills things out nicely.

10. THE REMO FOUR-"Smile" German Star Club 158034 STY
Liverpool's Remo Four made a modest career basing themselves in Germany and performing U.S r&b tunes before eventually shifting towards more jazzy r&b and soul. By the time their German label Star Club called for an LP in late 1966 they were a well oiled machine (and had been the house band for the German music TV program "Beat Club" for it's live seasons before it went to an all lip sync format in 1967). Known for selecting more obscure tracks to cover (as their choices on their one and only long player would show) they were soon rendered obsolete by the changing times . Despite it's 1967 release date the only thing "1967" about "Smile" is the cover logo. It opens with an uptempo version of Gloria Jone's "Heartbeat" complete with some jazzy guitar licks and nifty organ and smoothly glides into a funky reading of Dean Parrish's "The Skate" (complete with some groovy organ/twangy guitar interplay). A campy version of Chuck Berry's "No Money Down" plods along at an almost lethargic, but interesting pace with lead singer/organist Tony Ashton hamming it up. Their organ/jazz interests are covered in readings of Mose Allison's "7th Son", Jack McDuff's "Rock Candy" and Cannonball Adderley's "Jive Samba", all of which showcase the understated guitar talents of Colin Manley (check YouTube for some of their live cuts on "Beat Club" to see him in action).  The crown jewel of the album for me is their reading of Oscar Brown Jr's "Brother Where Are You" (the band had previously performed his "But I Was Cool" live on "Beat Club" ) which totally reworks Brown's arrangement and turns it into a smoky, yet hard hitting reading. The album closes out with an uptempo, amped up cover of The Miracle's "Nothing's Too Good For My Baby" that sounds extra funky thanks to Ashton's electric piano.

Tuesday, June 6, 2017

More U.K. Tracks On U.S. Labels: Peter Sellers & The Hollies

PETER SELLERS AND THE HOLLIES-After The Fox/The Fox Trot (Instrumental) US United Artists UA 50079 1966

Possibly one of the most ludicrous pop pairings of the 60's was The Hollies and Peter Sellers on a track cut for the 1966 film "After The Fox". Written by David Bacharach and Hal David it's a pretty innocuous track with Alan Clarke singing and Peter Sellers interjecting with spoken word bits in his varying voices in response. It's also notable as it featured Graham Bond Organization bassist Jack Bruce (Hollies bassist Eric Haydock was on his way out of the band at the time) and was recorded (May 10th, 1966) during his short time with Manfred Mann.

"The Fox Trot" instrumental though credited to "Peter Sellers And The Hollies", is presumably neither and sounds more like incidental film music. It strangely sounds a lot like klezmer music to my ears!

"After The Fox" appears on EMI's comprehensive Hollies 6 CD collection "The Hollies-The Clarke, Hicks & Nash Years" .

Thursday, June 1, 2017

More U.K. Obscurities On U.S. Labels: The Flowerpot Men

THE FLOWER POTS-Lets Go To San Francisco (Part 1)/Let's Go To San Francisco (Part 2) US Deram 45-DEM-7513 1967

The Flowerpot Men were a 1967 studio only concoction created by U.K. song writers and session vocalists John Carter and Ken Lewis (best known as two thirds of the vocal trio The Ivy League). The Flower Pot Men's vocal department was led by vocalist Tony Burrows along with other singers Neil Landon, Robin Shaw and Peter Nelson. Burrows would later simultaneously find fame with other studio only acts such as The First Class ("Beach Baby"), The Brotherhood Of Man ("United We Stand"), Edison Lighthouse ("Love Grows Where My Rosemary Goes"), White Plains ("My Baby Loves Lovin'") and The Pipkins ("Gimme Dat Ding").

Created to cash in on "flower power" , The Flower Pot Men (possibly named after a 1950's British TV children's program) issued just 4 singles on Deram in the UK (five if you count the trippy "Mythological Sunday" released under the moniker of "Friends"). Their touring backing band at one point included future Deep Purple members Nicky Simper on bass (formerly of the last line up of Johnny Kidd & The Pirates) and Jon Lord (formerly of The Artwoods) on keyboards. The band's August 1967 U.K. smash (#4) was simultaneously issued in the States but credited to The Flower Pots (this was corrected for the second and final U.S. release, "In A Moment Of Madness", Deram 45-85051 1969).

Pic by David Wedgbury

"Let's All Go To San Francisco" lyrically is about as equally deplorable as Scott McKenzie's hit reading of the John Phillips composition "San Francisco (Be Sure To Wear Some Flowers In Your Hair)". Both tracks of course sing of something that simply did not exist (or one would be led to believe, I was a year old at the time...) . Reality aside, "Lets All Go To San Francisco (Part 1)" is a full on U.S. West Coast Brian Wilson  harmony pastiche meets British psych pop ( with heavy use of Mellotron and regal trumpets). It's not a bad track regardless of it's intentions or hackneyed lyrics ("lets all go to San Francisco where the flowers grow oh so very high..") thanks to it's production and delivery. In fact one wonders how pissed off John Phillips must have been because the lyrics though not directly similar convey the exact same gist as his May 1967 hit!

"Lets All Go To San Francisco (Part 2)" is at first almost a different track, it has similar lyrics but it's slowed down and more "dreamy" before the Mellotron and Brian Wilson inspired harmonies burst forth to the chorus from the A-side and it becomes merely an extended version of the A-side.

Hear "Let's All Go To San Francisco (Part 1)":


Hear  "Lets All Go To San Francisco (Part 2)":


Monday, May 29, 2017

May's Picks

So we've decided to give our monthly picks the Summer off so this will be the last one until September (view it as a school vacation of sorts)! But stick around, we'll be back!


1. RONNIE LANE-"The Poacher"
There's a host of post Faces Ronnie Lane brilliance but none as powerful and sweet as "The Poacher" which sadly stalled at #36 in the Summer of '74 and was sadly his last chart appearance. Dig the above live clip from 1976 from the U.K. show "Supersonic".

2.  THE SELECTER-"(Who Likes) Facing Situations"
The Selecter were always my least favorite of the '79 ska bands, and I like their second album "Celebrate The Bullet" even less but one day while cooking I had my iPod on shuffle and this track came on and I cocked an ear and even played it twice!


3. TUTTI HILL-"He's A Lover"
Here's a nice little r&b obscurity on the tiny New York Arock label. It's a slow ballad but I dig it and it reminds me a lot of the soulful sides Sue was putting out in '62-'64.


4. JIMMY CROSS-"I Want My Baby Back"
After nearly three decades of enjoying The Downliner's Sect version I finally stumbled upon the original tongue and cheek death/car crash track! The Downliner's version is pretty much a note for note version and though I still prefer it it's cool to hear the original.


5. THE HOLLIES-"Too Many People"
From their untitled 1965 LP the Hollies turn out an original that's part folk rock and part beat music.  It's subtle with just acoustic guitars, bass and mild drums but of course is carried by their trademark precision harmonies and has a great groove to it.


6. GENE SIMMONS-"Haunted House"
Local New Jersey heroes The Swinging Neckbreakers covered this one frequently back in the day and I finally got around to checking out the original.  Though I'm not 100% sure it was this version that they heard I still dig the mix of country and r&b on it.


Though written by Joe South the first interpretation of this tune to hit the streets was this version by Billy Joe Royal from August 1967 which still has a certain charm for me.


8. LYDIA MARCELLE-"Everybody Dance" 
Yet another obscure soul 45, this time from Atco records in 1965. It's a sweet mid tempo groover with a lead line that calls to mind "The Game Of Love".


9. ALEX HARVEY-"The Sunday Song"
This rare 1967 Decca single by Alex Harvey displays none of the usual blue eyed soul belter feel that you're used to from Mr. Harvey.  There's a gob iron solo but the rest of it sounds like your typically groovy obscure U.K. '67 pop psych 45!


10. KEVIN AYERS-"Song For Insane Times"
From Ayer's legendary 1969 debut LP "Joy Of A Toy", "Song For Insane Times" is one of my faves from it.  Delivered in an almost detached manner that at times seems indifferent and others times heavily stoned, it's a stroke of mad genius.


Thursday, May 25, 2017


THE BONZO DOG DOO-DAH BAND-The Equestrian Statue/Intro To The Outro German Liberty 15 040 1967

The Bonzo Dog Band (or The Bonzo Dog Doo-Dah Band as our subject is titled) first came into my life via my local college radio station with "Intro To The Outro" (though it would be a good two or three decades before I knew it was them) and then eventually I witnessed them performing "Death Cab For Cutie" in the Fab's "Magical Mystery Tour" TV program.  But it wasn't until back in the age of MySpace that my friend Tom Davis had this cool Pathe color film of this quintessential English sounding track by a band miming it at the famous London night spot The Speakeasy on his profile page (see below!) and it was none other than "The Equestrian Statue" by The Bonzos! I was interested, very interested. Later that year I was gifted their first two albums for Xmas and my Bonzos journey had begun.

"The Equestrian Statue", written and sung by future Rutle Neil Innes, is a cheeky piece of whimsical English pop psych with it's harpsichord and brass band.  It's like a collision between the Edwardian whimsy of the '67 Kinks or a track of off the first Bowie album. The lyrics, like most Bonzo's tracks, are witty and satirical.

"Intro To The Outro" is a hysterical piece narrated by the band's lead singer Vivian Stanshall where he introduces first the band members and the instrument they play (where then said instruments join in) . He then proceeds for the rest of the song with a hysterical list of celebrities on other instruments as the instruments themselves add to the cacophony : "Adolph Hitler looking very relaxed on vibes", "over there Eric Clapton, ukulele", "Kenneth Park sax, great honor sir.." and "digging General Charles DeGuaulle on accordion, rather wild sir!"etc.

Both cuts can be found on their 1967 debut LP "Gorilla".

Hear "Intro To The Outro":