I BUY RECORDS

Unleash This Man-Malcolm Roberts-A Genius In Chains

2010-05-27T06:51:00.000-07:00

The cover is psychedelic; the back cover is square as square can be, and my emotions whilst listening to this album similarly veer from Wo! to No! in quick succession. The thing is this: I am totally knocked out by the voice of this cat, but the tired, overcooked material that he is given to interpret, leaves barely any room for him to bring anything fresh or new to the proceedings. I love the voice, I hate the lack of thought behind this debut...

Our Song- What a voice! Shades of Matt Monroe, even a bit of Scott Walker when Malcolm really opens up those pipes, but totally unique in any case-a perfect blend of study and soul. Love it, love it. A corker of a vibrato when he choses to unleash it, but never too much. I feel like one lucky boy sitting here in my London listening cave.

There Will Never Be Another You-charming orchestral opening, beautiful arrangement. Man! I love it. Mr Roberts oozes sophistication, charm and most importantly SINCERITY. I am a little bit in awe of this singer.

Be My Love-Mr Roberts comes in a little bombastically for my tastes on this, and in fact his delivery is just a tad too precise here; perfect West-End show style that doesn't sound quite so appropriate for a studio performance. A great show-case for his vocal power though-some really earth shattering notes, but the track just doesn't give me chills like the first two.

Laura-Malcolm Roberts is right back where I like him on this Johnny Mercer classic. With subtlety and mellowness, the vocals just work work work. Less is more guys, give us intimacy over power Mr producer....

All The Things You Are-A bit dull

The Night We Said Goodbye- a gently funkier groove, and great to hear the man trusted with some less familiar material. This is worth ten lackluster American Songbook exhumations.

Side Two:

Time Alone Will Tell- Too square for the man... The mandolins conspire to turn this into a wretched ice cream advert...

Misty- A clever arrangement idea has this kicking off with the middle 8 instead of verse 1. Despite another desperately unimaginative song choice, Malcolm does sing the hell out of it-with an amazing note plucked right out of the heavens at the start of the final verse. Top marks to the singer, bottom marks to the producer.

Where Or When- terribly dated, with a backing- vocal arrangement which would have sounded jaded in the 1940s let alone late 1960s.

My Foolish Heart- Stunningly sung, but again, I really really yearn for some less familiar material. Amazing singing at the conclusion...

Love Is A Many Splendored Thing- BORING, leave this overdone shit for any 2nd and 3rd league singers, give our Mr Roberts something cool. Of course he does a great job, but so would Michael Ball for chrissakes...

Tonight-A cool swinging tempo given to the West Side Story staple, and one can palpably hear the singer relishing the change of pace. Halfway through it, the arrangement gets a bit too London Palladium for me (frenzied rhythm section, wailing brass and one can imagine the cabaret cast and crew running out onto the stage to give their bows etc etc...) Yet another fantastic vocal tour de force at the end, leaving the listener in no doubt whatsoever about the vocal mastery on offer here, but very much in doubt over the point of constantly giving the record buying public new artists singing songs we could all sing in our sleep.

I believe in you Mr Roberts....

Details:

Artist: Malcolm Roberts

Album: Mr Roberts

Label: RCA Victor Mono RD 7940

Year: 1968

BACKWARDS MESSAGES, HORNY HOUSEWIVES AND BIRO

2010-05-05T04:33:00.000-07:00

I have a fetish for buying the kinds of records that were made to be sold only at gigs, probably cruise ships or working mens clubs. Often, when my magpie eyes spy them, they will be signed by the original artist (and there are few more poignant sights than a signed record by an unknown artist.)

The attraction of these recordings, is that they are not made for any artistic/creative purpose, generally they are intended to simply act as a straight recreation/ memento of the live show. And yet, human beings seldom do what they are expected to, especially when they get in the studio for the first time.

The disc that I turn my attention to today ticks all of these boxes.

Dave Arnold. There's Dave on the front with his trusty Gibson guitar and floppy bow tie.

And in blue biro, carefully written on the bottom right corner of the sleeve:

"To Rose, Love Dave Arnold." We'll never know the story behind the simple message, did he fancy her, was she grim, was her husband glaring at Dave from the other end of the bar as he scribbled the message. So many questions....

But I imagine Rose getting a little misty eyed when she puts on the EP and coyly relives the night she caught his show. Maybe, after a few too many sherries, she frantically forces the record backwards, desperately searching for hidden messages in the fade- outs... I know I have...

Try A Little Kindness Beautifully inappropriate synthesizer, gurgling and popping throughout an otherwise fine arrangement of this brisk country number, a hit for Glen Campbell. Dave plays and sings nicely. Something bad happens to the drumming just before the second chorus, but he catches up with himself again quickly enough.

For The Good Times Dave does a decent job on this Kris Kristofferson standard, once again Kelvin Futers commits dozens of sins on his keyboard rig. There seem to be a couple of rhythm issues every now and then here also, closer inspection reveals that the drummer is the brother of the synth player, the Futers brothers, Kelvin and Malcolm. According to the sleeve, Dave refers to his instrumental accompaniment as, simply, and poetically "Inspiration." Inspiring.

Top Of The World Nothing wrong with Dave's vocals, warm and happy, and always bang on tune. Even Kelvin the keyboard king reigns in his maverick tastes here, and intrudes rather less on these strictly MOR proceedings. The drumming is shocking.

Side 2:

Spanish Harlem/Spanish Eyes The cheeky medley. Keyboards again seem better behaved, maybe the producer had a word during the cigarette break in the parking lot, and begged Kelvin to give Dave's vocals more space. One can imagine the conversation

"Kelvin, for Christ's sake, this isn't Prog. We're simply making a nice demo disk for Dave to sell on the ships, why do you put all that weird shit over everything.." Whether or not this exchange or a similar one ever took place, there is a marked change in Kelvin's technique a few tracks in..

Bridge Over Troubled Water Sounds like the sustain pedal wasn't working properly during the keyboard/piano intro. But no fear, there is a string (synth) arrangement for Kelvin to get his teeth into. It sounds like a one- taker to me though. There are definitely a few keyboard licks that would have benefitted from a few re-takes. Not Dave's best vocal performance either, he just sounds too English on these lyrics; too chirpy, like he's doggedly grinning at all the old dears on the front row of the hall despite singing this ode to despair, fellowship and and deliverance. I bet Dave and "Inspiration" discussed whether or not to put the equally bombastic My Way on this EP, it would have had the same overwhelming result=underwhelming.

With a flourish on the cymbals, Dave and "Inspiration" leave the studio and head down the pub for a game of darts, some pickled onions and a flirt with the bar maid. Good on you Dave.

P.S on looking at the record label itself, I notice that none other than Kelvin Futers is credited as producer, which makes my imagined conversation between producer and Kelvin impossible. Or does it?

Details:

Artist: Dave Arnold

Album: Dave Arnold (EP)

Label: Stag Music MAG 0002

Year: 1975

OF DIRTY WEEKENDS AND MYSTICAL UNIONS

2010-05-05T02:42:00.000-07:00

I had never heard of them, I was intrigued that the album had to be played at the usual single spinning setting of 45rpm, I had never heard of Special Delivery Records and was also strangely moved by the thought that if my cousin Olly Pearson and I had made the record we used to fantasize about cutting when we were wide eyed, guitar strumming, harmony hurling teens, the cover would have probably looked a bit like this one (cheap, slightly awkward and totally Everly Brothers obsessed.) All of these things and more, conspired to make me take the platter to the nonchalant, nail painting girl behind the charity shoppe counter and part with the paltry £1.99.

I get back home, I slip unnoticed into the listening cave. I look at the back of the record sleeve. I recognize the producer's name. The older you get, the more stuff lingers on your neurological hard-drive. The Panic Brothers are produced here by Clive Gregson, he sounded familiar, hailing back to my days as a folk club kid, sitting with my uncle and his musician friends, usually in Hitchin Folk Club, Hertfordshire. I'm sure I'd seen Clive do his thing down there on more than one occasion. The record collectors' world truly is the smallest of worlds (and it spins and spins and spins.)

BIVOUAC Think Everly Brothers singing “Lucille” yet belting their lungs out about the negative aspects of cramped living accommodation. I was primed to mock it, but the enthusiasm and clever machine gun lyric spitting of the pair makes for an invigorating album opener. Ace twangy Duane Eddy style guitar, and vibrant rockabilly backing.

No News Kicks off the with the best Everly Brothers riff that never was. There’s more of an Elvis Costello/ Nick Lowe atmosphere on this one. And that’s good from where I sit. All finishes with the intro riff again, making everything right in this curious late 80s/ late 50s time warp.

I Made A Mess Of A Dirty Weekend What a title, what a song.

“A seaside town is the last resort

When you mess up a dirty weekend.”

Anybody ever heard the Everly tune “Poor Jenny.” Well this is like a dirty redux of that joyous romp through teenage misadventures. Musically, there is an authentic country/hillbilly stomp adding an insanely festive feel to this hymn dedicated to emphatically NOT scoring. If I ever have cause to DJ, (I can’t imagine anybody ever asking me) this will be one of the tunes I’ll cue at the end of the evening-and I’ll dedicate it to all the guys and gals who came to pull, but didn’t quite manage it

Repo Man

“Run if you can,

From the repo man.”

A more direct, less tongue- in- cheek approach here, all well played and performed. Fine folkie fiddle from Ed Korolyk, and more of that lovely twangy guitar from Clive Gregson. Nothing mind boggling though.

Almost As Blue As Hank Williams A pastiche cod country weepy, and to my mind the only weak moment on side 1. I can imagine it raising loads of laughter in some humour starved singer songwriter night, but not one that I’ll listen to for kicks again. Well sung, and well crafted however, as is pretty much everything on this forgotten long player.

Side 2:

In Debt A wee bit too similar to Bivouac, really fast lyrics and brisk acoustic guitars. The chorus is a sly borrowing of Roy Orbison’s Claudette (itself an Everly Brothers hit.) No doubt this one really cooked live, but it underwhelms a little in this recorded guise.

Later Than You Think More substance here. Again shades of Elvis Costello, intelligent lyrics, and an honest, 'played less for the laughs' quality to the voices

I’m Broke In Everything But My Heart It might just be me, but I’m beginning to get a tiny bit bored of the frequency of matters fiscal, debt and ruin. Compared to the glory of “I Made A Mess Of A Dirty Weekend” this is half -baked. Pleasant, but totally forgettable.

The Late Night Picture Show A more mellow intro, aside from the annoying wood block, a welcome change of pace. I feel we’re back on track here. Perhaps a little redolent of “Labeled With Love” from Squeeze, a fine, wordy, mid tempo piece. Nice accordion, fine double bass, reassuring melodic progressions and, we can take this much for granted by now, really well honed vocals.

I’ve Forgotten What It Is That I Was Drinking To Forget A real corker to finish this little gem of an album with. Just piano, the Panic siblings, a lovely tune and some awesome, heartfelt words

“I’ve been talking to myself ever since the day I was born.”

God, the harmonies here are just stunning, I hate to keep harping back to the Everly clan but that’s the easiest, and closest point of reference. I like this album a lot, and there are a couple of tracks here that I will most certainly seek out again, and herein lies the bewitchery of claiming someone else's discarded old records; we can only speculate as to what drew the original owner to possess the vinyl specimen in the first instance, yet we have a mystical union with them the moment the needle hits the groove, and just for a moment, we here, and them there, are united in listening.

The Panic Brothers were Reg Meuross and Richard Morton

Details:

Artist: The Panic Brothers

Album: In The Red

Label: Special Delivery SPM 1003

Year: 1987

It's All Greek To Me

2010-04-11T08:29:00.000-07:00

Given that my wife and I literally run a mile when on holiday, at even the slightest suspicion that the traditional Greek favourite and 'tourist participation required' "Zorba The Greek" might be about to happen and ruin everybody's evening, maybe Bouzouki & Brass-The Golden Fingers might seem like an odd purchase for me. But just look at the cover, it looks really hip. And the boast "Today's Songs With Tomorrow's Sound" which is printed both on the front and back covers, seduced me into parting with the hardly ex-zorba-rent £1.99, and quickly getting home to lock myself in my listening cave to masticate this disc of feta cheese and olives.

Aquarius-Let The Sunshine In The moody and minimalist intro got me all excited. Maximum cool electric bass, doubled by delicate electric organ. Wonderful. Reverberating percussion reminds me of Pet Sounds era Brian Wilson productions. Evocative bouzouki strums with mariachi horns adding vibrant sweeps of colour. And then the brass and tempo suddenly catapult into lunacy, completely undermining the languid, brooding mystery of the earlier musical scenes. And just when I wanted this split end of a track (get it? Hair?) to shed, all goes cool again. Back to the fore are the cool bass and organ interplay of earlier.

Suddenly the man on the bongos attempts to work his lunch off, and we segue into an eccentric reading of the "Let The Sunshine In" chaotically quickening tempos a la Greek Wedding, with bouzouki strings flying across the studio floor. A genuinely avant garde album opener. I can't wait to hear the next track.

Nostalgia Nothing nearly as interesting on this far more standard Greek taverna style tune. Waiter, bring me more wine, much more wine.

If You Go Away as with track 1, this one opens in a deceptively spare and understated way. With chimes, piano and of course bouzouki, sensitively feeling their way through this Jacques Brel classic. And then that damn brass band invade our personal space again, with brash, mousaka spraying flourishes. And then, almost as if the restaurant proprietor throws them out of his establishment, the calm of the opening sections mercifully returns. But like the hapless tourist who feeds the ferrel cat from the cafe table, only to have the skeletal specter paw at him for the rest of the meal, so the brass collective are destined to return once more, to finally and definitively destroy any potential left in the production. Lock the doors and pull down the blinds, these creeps are ruining our record.

Golden Fingers I would never go to a club of that name, but as an album title it'll do just fine. And once this tune gets into its groove, fearless bouzouki pilot John Stamatis certainly earns the right to the title "Golden Fingers." Furiously fast and adept playing, accompanied by a far more sympathetically arranged brass section this time. And whilst not a tune I will ever listen to again deliberately, in the context of this project, it's a fine centerpiece and showcase for the one and only bouzouki king Mr Stamatis.

Matsoukas (Greek Rhapsody) I'm getting bored now. The constant rhythm changes, and the ever chirpy bouzouki, like mosquito bites on a sunburned limb.

Side 2

Matsoukas Syrtaki God help me, this actually starts like Zorba The Greek. The baklava tastes stale...

Good Morning Starshine Much better, now we're back to the musical "Hair." The groovier less predictable changes of this, then contemporary pop, gives Golden Fingers and his chums more scope to make interesting music, at least from this ouzo drenched reporter's viewpoint. Not as triumphant as the album opener but this is still prime, Class A lounge music, versus the demonic package holiday hell of the tracks with Greek sounding titles.

Lovers Hasapiko I can't comment on these type of tracks anymore. Like seeing one ant in your hotel room, then seeing 5 then seeing 500. Time to run.

Don't Ask The Sea Starts off with a cool seaside sample, with boats chugging by etc. A nice touch, and I find the changes of this composition a little more arresting. Less in your face bouzouki. An unexpected bluesy/jazzy middle, with cool picked bass.

Those Were The Days Ancient Greece gave us philosophy, Homer gave us the Illiad and The Odyssey. Golden Fingers hands this down to the successive generations to cherish and study. Horrifying.

Details:

Artist: The Golden Fingers featuring John Stamatis

Album: Bouzouki & Brass The Golden Fingers

Label: Mediterranean Records Stero LPMS 779

Year: 1969

Funky Camp makes Randy Quakers

2010-03-26T08:11:00.000-07:00

Ok. On the cover they look like trainee dentists. White jackets, and white turtle neck sweaters. And indeed their oral hygiene can not be faulted, if anything the vocal arrangements are just too clean and tooth- decay free. Less brushing and a bit more candy should have been producer Al de Lory's brief. Still, there are some charming moments on this lp, and I'm pleased the fates led me to its temporary resting place in the charity shop on Walthamstow High Street. And so I place The Lettermen on my trustworthy record deck....

Side 1:

Put Your Head On My Shoulder featuring funkier drums than I would have expected, after the ultra MOR intro this Paul Anka penned ditty develops into a cool album opener. The Letterman vocals instantly striking an agreeable blend to these harmony loving ears. I particularly love the soaring high harmony arrangements here.

Light My Fire we're in classic kitsch late 60s bachelor pad territory. Anyone seen the Elvis movie Speedway? The one with Nancy Sinatra in it? Well, in the movie Elvis lives in a cool trailer with his sex obsessed buddy, and this Doors cover is exactly the type of groove that I can imagine emanating from that pad (and if the trailer is rocking, thou shalt not go knocking, eh?) Brilliant bass playing.

Harper Valley P.T.A The Tony Butala lead vocal lacks a bit of the necessary grit to really let this number truly swing, but once again, the bass kicks butt, and the brass arrangements lend a sassy vibe to this tale of sex in the suburbs.

Hello I Love You I was curious to hear how they tackled this one. It kicks off with the most rudimentary of piano riffs (basically the chorus melody, played in primary school fashion.) There is something really cool about the straight ahead Letterman guys crooning these trippy Doors lyrics, I'm imagining someone spiking the fruit punch at a Quaker meeting with Tequila, and the usually sedentary congregation floating around the Quaker Friends Meeting house with the raging horn. Albeit with gentle urges. Fun.

Gentle On My Mind I love Elvis' version of this track. But unlike the cosmic backwaters-Americana merry- go- around that the Elvis version takes us on, this sounds like an outtake from a particularly pious Christian musical.

Woman Woman The Letterman collective are so much more suited to this cut. Let's call it "funky camp." And, man, those voices sound lovely on those extended choruses "have you got cheating on your mind?" A great closer to side 1, and my personal favourite so far.

Side 2

From Woman Woman to Young Girl like the cycle of life but, er, backwards. Anyway, our chaps give the Gary Pucket and The Union Gap hit a pleasant run through, all a bit tame though, where's the tortured carnal call of the Pucket version? Oh yep, that wouldn't be appropriate for the dentist lab.

This Guy's In Love With You Really nice vocal arrangement, especially on the choruses. Not giving me goosebumps though, the mawkish strings and pedestrian backing underwhelm here.

Hey Jude. Oooof, Really mincing lead vocals here. Sorry Jim Pike. Bloody dreadful actually, rather than comforting words to little Julian Lennon, (as Macca intended) this comes across more like a creepy man in greasy rain coat asking little boy if he wants to come and see puppies. I feel violated, like an unpleasant image flashing up on a late night internet trawl, making you exclaim "oh no!" loudly and instantly deleting your search history, just to pretend it never happened.

Mary's Rainbow Starts out as a close cousin to Gentle On My Mind. Wonderful harmonies on the choruses, and then really cool tempo changes. In fact this is probably the most inventive arrangement on the album. Gently psychedelic.

Scarborough Fair/ Canticle Bold and beautiful vocals here. With the Lettermen themselves sharing a co-credit on the arrangement. Acapella. This comes much closer to the Brian Wilson world of harmony; dark, brooding and never unnecessarily fussy. A classy outro to the album. I would have preferred a few more haunting cuts like this over the frustratingly over obvious choices of 'done to death' Beatles and Bacharach.

Still, if ever I'm entertaining in my Speedway trailer, I'll be more than happy to slip a bit of this vinyl on to add a gentle groove to the proceedings.

Details:

Artist: The Lettermen

Album: Put Your Head On My Shoulder

Label: EMI/CAPITAL E-ST 147

Year: 1968

Nice One Ronnie

2010-01-21T07:09:00.000-08:00

In the days before my wife and I took a running jump onto the property ladder, and promptly hung on for dear life, we were insanely lucky to spend 5 years residing in Hampstead, London, literally seconds from the beautiful Hampstead Heath. Occasionally I would spy a very dapper gentleman strolling around this delicatessen dotted district, and was reliably informed by the local gossip that it was none other than singer Ronnie Carroll. The name didn't register, until I came upon this record a few weeks ago, in one of my regular charity shop rummages and at last I became acquainted with the stylish and eclectic talents of the man himself.

Ring-A-Ding Girl All a bit too camp for me, perfect then, when it comes to light that this was the UK entry for the 1962 Eurovison Song Contest. The singer is clearly worthy of weightier fare than this damp sponge pudding.

Speak Once shades of Nat King Cole and Matt Monroe, sensitive phrasing, and a well measured vibrato gracing the higher notes. Fine electric guitar coda. Presumably the songwriting credit "Carroll/Keyes" testifies that our boy is more than just a pretty face. Strong material.

Roses Are Red straying a little too far into cabaret material here for my taste, skillful Floyd Cramer influenced piano though.

Chain Gang a fine tribute to the genius Sam Cooke, and a bit of a revelation to hear Ronnie allowed to stretch out with something a tad cooler than the former track.

Mary Rose More MOR cabaret, tenderly sung however.

I Am .....a stunning vocal performance, and everything about this cries "class."

Side 2

Say Wonderful Things Another Eurovison candidate, this time from 1963 and the title of this collection. I can't help but feel once again though, that some of this material just isn't quite up to the abilities of the singer. Pleasant, but certainly not in my top 500.

Shiftin' Sands Of Time a far more rewarding listening experience, a warm and intimate vocal, and tastefully arranged track. Beautiful vocal finale from Mr Carroll.

Dear Heart a Mancini tune, though the way it's presented here, it would have sounded old fashioned in the 1850s. Nice, but candy floss= unsubstantial and makes your teeth feel weird after ingesting.

The Girls In Their Summer Dresses Much more fun, a bit Dean Martin here and there in the sly, wry, swoony delivery. One of the strongest cuts on the album, clever lyrics, and a cool treatsie on perving on the street corner.

Endlessly A nice change of pace, an almost soul- ballad vibe, (not surprising when the song's composer is the great Brook Benton) embellished or ruined depending on your mood, with some Bacharach infused mariachi trumpets. In fact the backing track could have been stolen from Gene Pitney's cutting room floor.

Without Love More gospel/soul ballad territory. Perhaps everything is a bit too well mannered here, I sense the arrangement is forcing Ronnie to keep from really letting rip. Which is a shame, but still a fine closer to a nifty sampler of Ronnie Carroll's work.

And so I leave the listening cave, to type up this report, ever humbly serving my fellow vinyl surfers...

Details:

Artist: Ronnie Carroll

Album: Wonderful Things And Other Favourites

Label: Wing/Philips WL 1108

Year: 1967

Barry Kirsch, I Want My Afternoon Back

2010-01-19T06:31:00.000-08:00

With the Moog switched to the BORING setting for almost all twelve cuts on this record, I am quietly confident that I will never have cause to listen to this super dull, sometimes shambolic piece of musical history ever again. But for all that, I'm glad I've got it, and I'm glad it exists.

And how could I not buy the record with a title like "Great Hits Of The 70s Moog Style."

The cover design too is worthy of mention. Not the most vibrant disco scene I've ever seen...

Aside from the one brave and possibly drugged protagonist in the centre of the cover, the remnants of the sadly forlorn club dance-floor are, to put it politely, flagging a little.

Side 1:

The Wombling Song. A fairly tight band performance. But what's the point? A dismal way to open up an album.

Waterloo (of course, of Abba fame) Tragic drumming at the start of this. Both drummer and the bass player appear to be drunk. And who can blame them.

Tie a Yellow Ribbon Round The Ole Oak Tree features the most un-Moog sounding Moog I have ever heard, more Bontempi to these ears. The percussion that assaults and indeed insults the listener, panned extreme right, sounds like a frisky geriatric making love to a blancmange.

Chirpy Chirpy Cheep Cheep So bad I love it. I have friends who I wish were in the room with me now as it plays. The band must have been pissing themselves whilst they recorded this beast. The drummer does his best to up the ante with some choice blue note-esque drum fills, but nothing will shift this track from the "file under C for crud" category.

Long Haired Lover From Liverpool. Shave him.

Billy Don't Be A Hero Cod military drums launch this turkey. The Moog sounds slightly cooler here, with a more reverby and expansive voicing. The electric guitarist plays the one lick they've given him, often and with feeling. A desperate feeling.

side 2:

Jambalaya A mess from the outset. As the guitarist pretends he's in the Eagles, the Moog shows off more choice settings. The flutter-tone catastrophe that's unleashed for the final bars of the tune really takes the biscuit; sounds like Buck Rogers drowning in a tumble drier.

You Won't Find Another Fool Like Me I believe you

Nothing Rhymed The Gilbert O' Sullivan tune. Could have been re-titled "Nothing Gelled." Solid drumming I guess. Until the end, where it isn't.

Daniel I just had a vision of kids playing "pass the parcel" to this. It's truly grotesque, out of tune and throughly depressing. The kind of record that could haunt the record player that played it.

I See A Star I don't, I see the neighbours coming 'round to ask what the hell I'm doing playing this record. The Moog seems to develop some kind of electrical fault on the latter stages of the track.

Amazing Grace. Without doubt the most experimental of the whole album, and to think it was the one I was looking forward to the least (let there be a life lesson here for all of us.) The track is comprised entirely by stacked up Moog parts. I like it. Like a poor man's John Baker (of BBC Radiophonic Workshop fame) though John Baker of course, achieved music light years beyond this, and in the pre- synth generation. Still, at least there is something vaguely interesting about it, unlike the other eleven tracks.

Details:

Artist: Barry Kirsch

Album: Great Hits Of The 70's Moog Style

Label: Contour 2870 413

Year: 1974

FIRST RECORD BUYING SPREE OF 2010

2010-01-04T04:52:00.000-08:00

January. The Monday morning of the year. The month to abstain, the month to pay for the excesses of the heady, happy hedonism of December. Or a fine time to do none of this, and have a quick, impromptu record hunt.

London today is cold. Everybody is immersed in their own private fog of breath steam, as they doggedly cross items off from their mental errand lists, rushing up and down and around the environs that make up the London E17 post code. I have already done the few things I left my cosy sanctuary for, and recognizing the sudden potential for a wee bit of record hunting, I, beating my gloved hands as I go, pound down the high Street to the good ship Oxfam, which is moored in all its glory at the foot of the noble and afore mentioned Walthamstow High Street.

The cranky, semi-automatic doors grind open with a wheeze. Inside, one endlessly good- willed Indian gentlemen is constantly badgered by his three kids to buy them everything or anything from the shelf of VHS videos. He seems to maintain a zen- like calm throughout these frenzied appeals. "Daad. Daad. Meeestaa Bean film. Daad, I haven't got this one. Look, Look. Please." And so on. Om.

As "Abba Greatest Hits" bubbles excitedly in the background, like a pan of boiling potatoes with too much water frothing over the rim, I once again dive into the murky waters of record collecting.

Something happens to the very fabric of time. I am sucked through a portal known only to those who regularly trawl through box after box of used lps, a place where worlds, cultures, fashions, aching knees and inner sleeves collide...

And then, the spell is broken, I have made my selections.

For £10 I leave the store happy with five albums. That's a lot of music for a tenner. Firstly I land upon the 1985 debut album by "The Kane Gang" called "The Bad And Lowdown World of.." My interest in this specimen is aroused initially by the dicovery of the "Kitchenware Records" logo on the record-the same label that the mighty "Prefab Sprout" recorded on. Has to be a sign...

I then chance upon two John Cale lps. 1982's "Music For A New Society" and 1979's "Sabotage/Live" it is always a thrilling moment when you get the sense that you're actually getting the spoils of someone's cared for collection, as opposed to random detritus from the neighborhoods' recycle bins.

My eyes then fell upon something a bit different. Don't laugh. "The New Strung Harp" by "Maire Ni Chathasaigh." A little bit of folky brew for the cold January nights, and on a label I don't recognize "Temple Records" anyone? I'll let you know how I get on with it...

Finally, I snatched a "Lyle Lovett" album from 1992, "Joshua Judges Ruth."

A fine, eclectic, possibly loopy batch of styles and visions to kick off 2010 with.

Happy New Year friends, and I will report back soon with more tales rotating at speeds of 33 and 45rpm.

Details:

Artist: The Kane Gang

Album: The Bad and Lowdown World Of

Label: Kitchenware Records KWLP2

Year: 1985

Artist: John Cale

Album: Music For A New Society

Label: ZE Records/ Island Records ILPS 7019

Year: 1982

Artist: John Cale

Album: Sabotage/Live

Label: Spy Records sp004

Year: 1979

Artist: Maire Ni Chathasaigh

Album: The New Strung Harp

Label: Temple Records TP019

Year: 1985

Artist: Lyle Lovett

Album: Joshua Judges Ruth

Label: CURB/MCA 10475

Year: 1992

Walthamstow Swings! Courtesy of The Johnny Scott Orchestra

2009-12-10T07:31:00.000-08:00

Sometimes, it's the album you most begrudgingly purchase that brings the maximum pleasure. Desperately needing to satiate my vinyl thirst one particularly gloomy Walthamstow afternoon, and all my usual secret sources of vinyl bearing me no fruit, I, heavy hearted, and no doubt with a slightly wild look in my eye, ventured into one of those charity emporiums on the high-street that usually forces me to leave empty handed (and don't we all hate doing that!?) due to its paltry box of records.

When, in this frame of mind, I know of only one technique that can salvage the abortive hunt, and that is identifying "the least worst purchase," and promptly buying it.

And so it came to pass that my eyes fell upon the only record that even half aroused my audio ardour. I applied my "least worst purchase" philosophy, and bought the blighter.

London Swings. The Johnny Scott Orchestra.

"Let's All Go Down The Strand" instantly fills my listening cave with amazing technicolour vibes-I suddenly feel like I'm starring in the opening credits of a swinging 60s movie. I improve my posture, and wish I was dressed smarter. A hip prelude.

"They're Changing Guard At Buckingham Palace" kicks off with a sly Mancinni Pink Panther rip off, then kicks into an easy swing. Some pretty awesome playing on this track. Cooking electric guitar. Madly inventive arranging.

"Chelsea Bridge" Have always loved this tune since Tony Bennett featured an instrumental version on his 1999 Duke Ellington themed collection "Hot and Cool" and Johnny Scott does a fine version here of the beautiful Strayhorn tune. Not sure Strayhorn was thinking of the same Chelsea Bridge that the Johnny Scott Orchestra is though...

"Knocked 'em In The Old Kent Road" Great brass work, this one really builds from a funky little understated number, to a real lip buster.

"The Trees In Grosvenor Square" I'm a glutton for this kind of thing, the title already had me won over. A fine composition, with stately strings accentuating the graceful modulations 'twixt major and minor. Impressionistic use of harp at the end too.

"Limehouse Blues" It must be panto-season at the Palladium at the start of this one. Imagine the music accompanying the slow reveal of the "Chinese Laundry set" and you'll have a rough idea... Great drumming, trumpets, trombones and saxes all buzzing neatly around each other in a densely syncopated score

Side 2

"London By Night" another track I've always loved and sometimes croon on the way home from a late night gig if I'm in a good enough mood. Tastefully handled by Johnny Scott here, with neat contrast between the various sections. Nice trumpet on the coda.

"Greek Street, Soho" One of Scott's own compositions here then, and a cool bluesy, late nite groove it has. Probably the most jazzy thing we've had so far. Solid bass work. Things go crazy in the middle, as the composer conveys the multi ethnicity in Soho through various musical syles (a Latin bit, a North African bit etc) some outtasight vibes playing too.

"A Nightingale Sang In Berkeley Sqaure" another London standard, requested in every piano bar in the Capital, if not around the world... Taken at a nice medium swing, all rather pleasant and tea dance-esque, especially when the full brass section kicks in on the bridge. A groovy vibraphone solo bubbles up the second time we get to the bridge however, which I fear would leave the tea dancers a bit disorientated. Class.

"Covent Garden Starts Early" One can almost hear cries of "Big Issue, Big Issue" on this cut. Another Scott original. Really captures the swarm of the crowd and the hustle and bustle of the area. What I love about this record, is that you the listener, never have time to get bored, Johnny constantly revises and embellishes his arrangements as he goes, so we hardly ever have to hear the same section played the same way ever again.

"Springtime In Piccadilly Square" Another fine original piece. This would have been fine as incidental music on an episode of the old BBC comedy series "The Good Life." But its no doubt worthy of far more than that. Great jazzy sax playing on the outro

"London Bridge Is Falling Down" Johnny Scott goes all Brian Wilson "Fire" from the fabled "Smile" sessions on the intro here. Discordant, and intense, a heavy impressionistic scene gives the nursey rhyme an adult re-dux.

This album has officially salvaged my afternoon, what an unexpected surprise. And, aren't they always the best ones...

Details:

Artist: The Johnny Scott Orchestra
Album: London Swings
Label: Columbia SX 6026
Year: 1966

Of Sex Shops, Associates, Hefner and My Guilt Complex

2009-12-06T07:58:00.000-08:00

Since my wife was catching up with some old university pals over a Sunday Lunch, I decided to do a spot of Christmas shopping, and at the same time make the most of the unusually rain-free December streets, and the vivid blue, cloud-free December sky.

After a couple of hours of browsing around the Seven Dials district of London (Mrs Nickoll has some expensive tastes) and having crossed off a few of the items from her Christmas list, I felt a sudden, powerful, guilt tinged desire (aren't most desires?) to pop into a few of the record stores on Berwick Street, Soho.

Much like the awkward looking American tourist, timidly darting into one of the many sex shops in this part of town, I began to feel somewhat depraved.

"How could I possibly be thinking about buying myself some records, when I'm ostensibly buying gifts for others?"

"Why must I constantly spend money on myself?" etc etc. And so the inner self lacerating dialogue continued, until I walked into Music & Goods Exchange, 75 Berwick Street, that is.

The store was happily busy for 2.30ish on a Sunday; an Italian chap leisurely flipping through the wracks whilst his girlfriend tried vainly to catch his attention, an 8 foot giant of a man, with two crutches, feverishly raping and pillaging his way through assorted cds like an angry Viking, and a couple of trendier types, more cooly hovering around the sections of the store that I don't usually dabble in (Drum & Bass, Dubstep...)

I quickly found my first 3 purchases, all being filed under "A."

A beautiful Japanese issue of "Sulk" by the Associates for a reasonable £15. Followed by a couple of Associates 12 inches, namely "Club Country" and "18 Carat Love Affair."

This is what I love about record shops in a nutshell. I haven't thought or listened to any Associates records for half a year or so, I love them dearly, but my neurological hard drive had temporarily removed them from my seasonal playlist to make room for other swarming bees in my bonnet. So, I must confess that my heart leapt a little when I spied these stunning specimens waiting patiently for me to bag 'em. And bag 'em I did.

Just before I dragged myself out of the store, I had a little look at the singles, and, my record collecting Guardian Angel (we all have one of those) rewarded me with a Hefner single "Half a Life." Since Hefner main man Darren Hayman lives about 2 streets a way from me in East London, and I very much admire his albums "Pram Town" and the "Great British Holiday EPs" I was delighted to come upon this Hefner vinyl.

And so with a receipt for £26 hastily shoved into the recesses of my wallet, I skulked out the door to join the rest of the Soho sinners.

Details:

Artist: Associates
Album: Sulk
Label: WEA/ Beggers Banquet Records P-11242
Year: 1982

Artist: Associates
Single: Club Country
Label: WEA/ Beggers Banquet ASC 2 T (A)
Year: 1982

Artist: Associates
Single: 18 Carat Love Affair
Label: WEA/ Beggers Banquet ASC 3T

Artist: Hefner/ Murry The Hump
Single: Half a Life
Label: Too Pure/ Pure 122s no. 2642
Year: 2001

O Brother Where Art Thou

2009-11-26T08:18:00.000-08:00

I've always had a thing for solo records made by guys who belong to a collective whose sum is greater than the parts, commercially speaking.

And this very bright and crisp November morning, Mr Postman once again had to face me in my dressing gown, to hand over yet another LP that has winged its way to my letter box. The eagerly ripped opened contents of the cardboard package revealed "Don Everly" the self titled solo album by the eldest sibling of the rock n' roll giants, the Everly Brothers. And what a great record it is. (And I'm not bragging, but I did snap up a white label promo copy of this classic from ebay for considerably less than a Chinese take-away..)

Even the briefest glance at the players on the album excites and intrigues; Ry Cooder on bottleneck guitar, Chris Etheridge on Bass, Jim Keltner on drums, Sneeky Pete Kleinow on Steel Guitar. Goes some way to show the esteem Don was held in back in the day.

I am firmly of the opinion that Don Everly has simply one of the best voices in pop, and like all the greatest vocalists of the 20th/21st Century, his vocal instrument is a rich mix of numerous genres; country, soul, gospel, blues etc. And yet his voice is unmistakably his own.

To the album.

You can hear Don relishing in the freedom this project has brought him from the Everly brand. It is a loose, vibey, after- hours, hip, soulful, stunning piece of work. Almost everything about it is effortlessly cool.

Let's look at the songs Don wrote first:

Eyes Of Asia Beautifully produced; clean and sparkling. With Sneeky Pete's steel guitar to the forefront, and group harmonies adding power to the choruses. This is a great little song, with a whimsical ambiguity to the lyrics. An impressive first taster of Don's songwriting craft here.

Don't Drink The Water Is a groovy, country- soul type number, Don in great voice, singing class material, great lyrics. Effective gospel style piano rumbling away. And the unmistakable bottle neck tones of Ry Cooder riffing all over this track. A really funky bass line too.

Safari The backing track reminds me a little of "There Goes Rhymin' Simon" era Paul Simon. Sophisticated, intelligent, yet always restrained. Brilliant backing harmonies, carefully arranged, a bit of a gem.

Omaha One of the most important cuts on the album. This is exactly the kind of song that I hoped one of The Everly Brothers would be writing, whilst fulfilling the never ending, grueling touring duties that being a member of one of the world's biggest acts entails.

"It's hard to remember Pittsburgh properly

It's hard to recall what I did in D.C

No vivid remembrance of things in L.A

The times and the places

Have all slipped away"

Great Production values on the later sections of this song, giving it almost a Phil Spector grandiosity.

February 15th-What a song. Could have come from the pen of a countrified White Album era John Lennon, it has that free form, stoned melodic haze. A triumph, and what a mind blower this must have been for any average Everly follower who bought the album expecting "Wake Up Little Suzie" etc. A real highlight for me.

My Baby Almost David Crosby early CSN feel here, imagine Don as part of Crosby's album "If I Could Only Remember My Name" and it might sound something like this. Great organ work and beautifully recorded acoustic guitars. A really challenging, trans genre composition, bold work.

I'm Thinking It Over Awesome, drum intro to this cut. Inventive chord changes, and Rolling Stones- ish (Exile On Main St era) vocals on the chorus. An unexpected rhythm change in the middle takes the listener by surprise too.

My Friend Another cracker. This would have worked a treat in a film like "Easy Rider," it has that droning, late 60s Byrds groove.

And so, on to the record's handful of covers:

Tumbling Tumbleweeds Those Crosby Stills and Nash harmonies are really evident here again. A prime example of just how innovative even the most hackneyed country standard could be under the direction of the eldest Everly. Every aspect of this performance is class, and Don sings the hell out of this chestnut.

When I Stop Dreaming This could be boring as hell on someone else's album, but the vocal and band performance launch it into the stratosphere. Don plays teases and corrupts the melody with a jazz singer's sensibility. A master-class in interpretation.

Sweet Dreams leads off with a charming musical nod and a wink back to simpler and maybe happier times, with its straight ahead Fats Domino style boogie piano. The track has always been one of my very favourite songs to come from the prolific pen of Don Gibson and in fact Don had already tackled it once before with his younger brother, on the dazzling though unimaginatively titled "Everly Brothers Sing Great Country Hits" album. Here, it is a great album closer, a triumphant band performance, and a soul charged yet respectful vocal from Don.

Had this been a debut record from a long haired singer songwriter residing somewhere in or around Laurel Canyon, and released precisely when Don unleashed this; this music would have caused more of a stir than it did, and might even find itself a regular in "important record" polls today.

Personally, I'm just glad Don valued artistic expression over guaranteed income enough to make this wonderful record. The Everly Brothers would and could never be the same again after the release of this album. I'll leave the final word to the only Everly brother absent on this record

"I don't really know what prompted Donald to do it."

Details:

Artist: Don Everly

Album: Don Everly

Label: Ode/ A&M SP 77005

Year: 1971

Smothered In Love By My Nanny

2009-11-25T04:10:00.000-08:00

Another piece of East London charity shop treasure exhumed at last...

The cover already had me beguiled, intrigued and yes, very, very excited. Any record that has

"Dedicated in Honour of the Royal Wedding of Prince Charles and Lady Diana" written on the cover, has to be a sign of something rather special. So too, does any album that has telephone numbers of the band printed on the back cover.

The band "Sound Ceremony." The album "Precious as England." Early 80s.

Ahh, and then there's the song titles, here's some of my personal favourites

"Nanny," "Giggle Amidst The Tears," and "Smothered In Love."

How to describe the music.

Track 1 (the afore mentioned "Giggle") reveals lead singer Ron Warren Ganderton's Lou Reed overtones. The track is a hearty slab of electric guitars and reasonably understated synths. And a weird rhythm change/ break down part, that has this listener squirming every time it occurs, convinced that the rhythm section will never make it through intact. But somehow they keep it together on a wing and a prayer.

Track 2 "Shame On You" adds a considerably more shambolic feel to the proceedings. It kicks off like a pub band version of John Lennon's "Whatever Gets U Thru The Night" and quirky yet spirited female backing vocals adding a touch of mayhem to the experience. Ron's voice goes a bit Dylan-esque on this jerky sermon on infidelity. We hear you Ron, "Shame On You."

Track 3 has a really cool electric guitar riff, with atmospheric moog and various other synths wailing all theremin- like over the track. Ron moans "got to find the way out somehow.." It hangs together, just.

That brings us to "Smothered In Love." Oh god, it sounds like he's having a wet dream at the opening of this track, or worse, maybe he's wide awake. "Does it bother you that I stare?" Oh shit he's definitely awake. "I can't get my breath..." Listening to this is a bit like receiving an obscene phone call. And for all that it's absolutely glorious. The guitars and synths have switched their instruments to the "porn setting."

"Nanny," has to be heard to be believed. Boy, he loves his Nanny. I'd love to hear this tune played in a really rough bar in Stevenage or somewhere, and just watch the reaction of the audience. With a Keith Richards style guitar figure, tight bass and more sci- fi synth work, this one is a 'left of field' gem.

"You're Breaking My Heart" features a truly dreadful mix, horrifying synth stings constantly undermining any virtues the song may feature. Which aren't many...

"Precious As England." Imagine Phil Lynott, Lou Reed and add a bit of Timmy Mallet extolling the glories of living in England. More of those peculiar female harmonies give the title track of the album a celebratory feel, and every now and then, they nail maybe one note, and then go awol again.

Side 2 kicks off with the rockier "On Broadway." I like it, I'm beginning to warm to the 'recorded live in a practice room' sound of this lp. I hope they didn't spend too much money on this work. The frenzied chromatic guitar and synth riff, loony drum rolls and those girls voices again. Great drumming on the fade.

"Rock You To Sleep."

"I'm gonna rock you to sleep, rock rock rock " Not the strongest moment on the record. With a bizarre, seemingly never ending intro. Oh gawd, just when I thought the track was just a minor let down, one of the female voices comes on, trying to be suggestive, sighing and groaning in a really bored fashion. Imagine a sex scene in a Radio 4 afternoon play, but so much worse.

"Whisper" an acid- country; Joe Meek producing Charles Manson extravaganza. I wonder if I'm the only person who has listened to this track this year.. oh quick, the bass player and drummer get jazzy at the end.

"What Time Is It"

"Hours, minutes, seconds!" The percussion cupboard raided for this one, this is Sound Ceremony stretching their sonic palette and boring the world in the process.

"Father Grandmother Brother Uncle" Ron returns to his family theme explored with such memorable results on "Nanny." Actually this one is quite restrained; cool bass and drum interplay, and naff synth doing cool "Yes"-like things. I liked it.

"Memories" Moments of this sound rehearsed. Moments don't. A neat chorus, and the harmonies cook pretty good here.

And the last track. "London Paris Rome New York New York" Kicks off like a school band playing "Not Fade Away." An underwhelming end to an overwhelming album.

Details:

Artist: Sound Ceremony

Album: Precious As England

Label: Celestial Sound Production Rwg 0123

year: don't know!

Signed Beach Boys Rarity

2009-11-23T15:11:00.000-08:00

Up until its closure for major refurbishment, I was the resident pianist/singer at The Savoy Hotel for 4 and a half years. In that time I met lots of heroes and made some priceless (to me anyway) additions to my music collection.

As a Beach Boys fanatic, I would have to put meeting one-time Beach Boy Blondie Chaplin, as a highlight. He was staying at the hotel with the Rolling Stones entourage, as he was playing guitar and singing harmony with the band (late 2007?) and since I knew he'd more than likely be popping into the American Bar (where I played) at some point during his stay, I sneakily kept a quite rare Beach Boys picture sleeve single (that featured Blondie on the cover) in my bag, ready to produce it for signing at an opportune moment. Actually the record is a beauty, and quite unusual, in that it features a unique Beach Boys lineup on the cover photo; (l to r) Blondie Chaplin, Al Jardine, Mike Love, Daryl Dragon, Dennis Wilson, Carl Wilson and Ricky Fataar.

I'm really not a pushy person, and the whole planned enterprise had me feeling quite uncomfortable to tell you the truth, but, record collecting does strange things to a person's character.

Anyway, the night in question arrived, and sure enough, Blondie and various other Rolling Stone band team members were cooling off at the bar.

My plan quickly fell into place.

Firstly, I played and sang my own hastily improvised version of "Hold On Dear Brother" which caught his attention, in fact he turned to the barman and said

"Do you know who wrote this tune? I did, man!"

As my set came to an end I retrieved the record from my bag, and nervously approached him.

He was charming, and more than happy to sign the cover (right above his picture) and commented that he'd never seen this particular record before. I blurted out what a fan I was of his contributions to the Beach Boys, and he in turn complimented me on my music! A most satisfactory exchange.

I went home on a high, and the signed record, pictured at the top of this page, is one of my most treasured.

Details:

Artist: Beach Boys

Single: Marcella/Hold On Dear Brother (pic sleeve)

Label: Reprise 14183

Year: 1972

Walthamstow Without Umbrella, Men Without Hats

2009-11-23T07:18:00.000-08:00

Walthamstow High Street. Much rain. Much soggy cardboard and sludge running in inky black rivulets down towards St James Street station. I needed to buy some records to re-point this bleak outlook. Oxfam sits at the very end of the pedestrianized market street, and I nearly always find a couple of records to warrant me wandering down this far into deepest, darkest, wettest East London.

Today I was rewarded with a satisfyingly seam- busting plastic bagful of vinyl beauties.

The one I'm listening to at the moment is the debut album "Rhythm of Youth" by Canadian band "Men Without Hats." I paid £1.99 for it. It has a great cover. It is in mint condition. I have never heard of them.

I retreat to my listening cave.

Lots of synths. I quite like it.

The vocals, (Ivan Doroschucks' I presume) remind me a little of Tim Finn's singing efforts for Split Enz. Occasionally wonderfully camp as on track 3 "Antarctica," and sometimes a bit 'Talking Heads-esque' as on the album's single and UK top ten "The Safety Dance."

Some of this stuff would go down a storm, loud and proud in some 'tight jeans' de rigueur Hoxton nite club.

The last cut from side 1 " I Got The Message" has just kicked off, and its really great. Almost an ELO feel to the chorus, a good tune and I dig the rhythm of the vocals on the chorus. Hmmm, my Monday afternoon mood has just been elevated. Will definitely listen to that one again

Onto side 2...

nice interplay between synths and guitars... some of the vocal lines on "Ideas For Walls" have a curious cod punk, folky sea shanty effect that I wouldn't want to hear too often.

"Things In My Life" is cooler again, more of a song.

Love the intro to "Cocoricci (le tango des voleurs)" sophisticated, and a sweeping soundscape, with posh hotel tinkling piano.

"The Great Ones Remember (Reprise)" sounds a bit like closing credits for a kids cartoon to me, and in my skewed sonic Universe, that really isn't necessarily a bad thing. A nice bubbly end to a cool listening experience. There are 2 or 3 tracks on here that I really enjoyed. Not bad for 2 quid eh? Will happily snap up more of this band if I spy any on my collecting safaris.

Details:

Artist: Men Without Hats

Album: Rhythm of Youth

Label: Backbeat Records BSR-5436

Year: 1983