Walthamstow Swings! Courtesy of The Johnny Scott Orchestra

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

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

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

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

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

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