SINGLE: Cliff Bennett & The Rebel Rousers - Got To Get You Into My Life (1966)

Image from my own collection. Click for a larger view.

UK: Parlophone R5489 (Aug 1966)

I once knew someone who was of the opinion that nobody, and I mean nobody, should be allowed to cover Beatles songs. EVER. His reasoning was that, since they were by the Beatles, they couldn't be bettered, so why bother? Never mind the fact that Yesterday is the most covered song in popular music history, he stood firm on this theory.

My response was: Have you ever heard Cliff Bennett & The Rebel Rousers' version of Got To Get You In To My Life? A version which, dare I say it, is better than the Beatles version?

Before enraged Beatles fans armed with torches and pitchforks drag me off to be sacrificed (which was pretty much his reaction), let me explain myself...

The song was originally envisaged as Paul McCartney's homage to the sounds coming from Motown, Stax and the like in the mid-60's. In an interview some time ago, he once bemoaned the fact that the Beatles' recording had never quite managed to capture what he heard in his head when writing it.

Jump forward shortly afterwards, and the fab four's Parlophone labelmates were in Abbey Road studios laying down their version. EMI staff producer David Paramor was assigned for the session, but the story goes that McCartney happened to be there that evening and decided to listen in.

Cliff Bennett's band had spent a good few years honing a powerful live act, playing just the type of music McCartney had been hoping to emulate with the song. If any group could capture the sound he had striven for, it was the Rebel Rousers.

As the session progressed, McCartney became increasingly hands-on, making suggestions and adjustments, apparently with the approval of both the group and Paramor. The end result was unleashed on vinyl in August 1966, reaching number 6 in the UK. An American release on ABC completely missed the US charts. Their loss.

The Beatles' recording, the penultimate track on Revolver, is a great, great record. However, Cliff Bennett & The Rebel Rousers send the song soaring into the stratosphere.

Here it is, in its slightly longer, original mono single mix. You lucky people. Play it loud.

SINGLE: FATHER JOHN MISTY - Chateau Lobby #4 (2014)

Getting a lot of play 'round here is this track from former Fleet Foxes drummer Josh Tillman, an infectiously catchy paean to his wife, with the kind of lush backing and chugging rhythm that made all those great Roy Orbison records so brilliant.

Chateau Lobby #4 comes from his second outing under the Father John Misty moniker, I Love You, Honeybear, out on February 10th in the UK through Bella Union, and Sub Pop in the USA. The deluxe vinyl edition looks a very tempting proposition indeed...

Meanwhile, the track is available as a FLAC lossless download from 7digital. (This blog doesn't do MP3 if it can help it). Click below to hear it...

SINGLE: Scars - All About You (1981)

 UK: PRE 014 (1981)

Modern musical history is littered with great singles which have underperformed commercially, somehow failing to become the megahits they should have been, and finding a place bubbling outside the top 20, 30, even 40. Greatness is often not rewarded, at least not in the short term.

Then, there are those fantastic records which inexplicably fail to chart altogether, despite sounding in retrospect like solid gold smashes. This is one such record.

Hailing from Edinburgh, Scars formed originally in 1977 and had already released three singles before All About You appeared on Charisma's PRE imprint in 1981. A scorching guitar intro, repeated throughout the track, plus a hypnotic pace and ghostly harmonies interrupting the verses... all of this should have been a surefire hit.

Alas, despite an appearance on BBC2's The Old Grey Whistle Test to promote the single, it was not to be, and the record buying public unfathomably failed to buy it.

A longer version appeared on their sole long player Author! Author! the same year before line-up changes signaled the beginning of the end. A support slot in Australia with The Church, as well as a double-page spread in Smash Hits magazine couldn't save the day, and Scars finally split in 1982. Well, let's face it - if you released a single as good as All About You, only to see it sink without trace, wouldn't you wonder if it was all worth the bother?

Thankfully, a reissue of their only album prompted a brief Scars reunion, and the track's inclusion on Cherry Red's seminal Scared To Get Happy collection has given it some long overdue attention. Somewhere in a parallel universe, this was a number one.

SINGLE: Dark Bells - In Head (2014)

UK: Record In Peace (digital download)


Following up last year's singles Wildflower and Want, Australian/UK trio Dark Bells come up with another psych-tinged corker, accompanied by this suitably trippy video - best enjoyed on a big screen.

There's sadly no vinyl version of In Head at the time of writing, but I hear it should on the b-side of a forthcoming release (yes!). This bunch are superb live - catch them if you can.

Now... when's the album coming?

Read more at darkbells.co.uk

SINGLE: Silver Trees - Karma Drama (demo) (2013)

Soundcloud Stream (no physical release at time of writing)

Everywhere I look at the moment, Psychedelia seems to be in the air, at least musically speaking. As someone whose record collection has a distinctly psych-bias to it, I'm certainly not complaining, and this piece is the ideal soundtrack for a hazy/sunny afternoon like today.

Silver Trees hail from the Billingham/Hartlepool region of north-east England, and were apparently described by one fan post-gig as "like a hybrid of The Stone Roses and Pink Floyd, but like absolutely off it", which gives you as good a reference point as any for starters. Think I might have to check this bunch out live if they're down my way - the advance word is good.




You can find out more at Silver Trees' Facebook Page.

COMMERCIAL BREAK: Maxell Tapes - Break The Sound Barrier (1981)

Maxell just might be responsible for the most memorable TV ads for the blank audio cassette ever made. There was, of course the classic late 80's ad featuring a mishearing of reggae favourite Israelites. However, this particular one is arguably the best known, and was used internationally. Produced as a new decade dawned, it would provide one of the most iconic images of the 1980's

In this UK version, none other than Peter Murphy of Bauhaus slips one of Maxell's tapes into his deck, and enjoys a rendition of Mussorgsky's A Night On The Bald Mountain. Such is the superior sound reproduction, that... oh, play the ad and see for yourself...

This wasn't the first version of the ad, however. The original US version featured a different model and Wagner's Ride Of The Valkyries. Here, for non UK readers or curious Brits, is that first variant...

A silhouette of the guy in the chair, being blown away in stereo still occasionally adorns the packaging on Maxell products to this day. Also, unlike many of their rivals, the company never entirely gave up on the cassette format. As the humble blank tape enjoys a revival in popularity, this might prove a canny move... More at Maxell Europe's site.

LIVE: Temples - Bournemouth Old Firestation 7/3/2014

James Bagshaw - vocals, guitar
Thomas Warmsley - bass, vocals
Sam Toms - drums
Adam Smith - keyboards, guitar, vocals

It's a slightly surreal experience for me looking around the crowd here tonight. Viewing the younger contingent, huddled up towards the front of the stage is a little like falling through a time hole and looking at myself with my mates 25 years ago. What makes the feeling more pronounced is that there is a real buzz around the band we are about to see, and it's infectious, feeling like that flush of excitement most of us get at some time in our lives when we realise that a band we really love, who seem to have been waiting on the sidelines, are about to make that major leap forward.

Frustratingly, Temples have found it hard to break through to mainstream radio to date (although BBC 6 Music have been championing them). They have an evident affinity with the psychedelic sounds of the late 1960's, but they are not a mere tribute act by any stretch. They pull off that very special trick of sounding very familiar, like an old friend turning up unexpectedly after a long absence, and yet sounding brand spanking new as well. They display their influences and reference points proudly, but are not in awe of them. Their music is not about lifting a lick or a riff, it's about capturing a feel, that same feel that all those great records you love have given you, a far more tricky proposition. That their first long-player has generally managed this beyond any reasonable expectation is nothing short of remarkable.

Looking further back across the crowd, it becomes apparent that there's a far wider spread of people here than initially meets the eye. Veteran gig-goers look on from further back, taking a possibly more cynical view. They've been stung plenty of times, frequently promised this year's next-big-thing, only to be greeted with this season's Emperor's New Clothes. "Right then", their faces seem to say, "show us what you've got". I realise, somewhat reluctantly, that I fall into this group by default, even though in my mind I'm still that same 18-year-old music fanatic I was all those years ago, looking for the next sonic thrill, and this band have got me genuinely excited.

The advance word has been positive to say the least, and from quarters as disparate as tonight's audience: NME gave the debut album, Sun Structures, an 8/10 review, whilst issue 37 of Shindig! had the four lads from Kettering on the front cover, hailing them as "psychedelia's brightest new stars" (I can't wait to see the debate on issue 38's letters page). Then there are the Bolan comparisons made when discussing frontman James Bagshaw. These are probably starting to get on his wick, but it has to be said that he does seem to share at least some of the quietly self assured aura that gave the T.Rex legend his very special star quality, never mind the curly locks.

So, we've established that they can make amazing sounds on record. The question is, can they pull off the same master stroke on stage?

In a word: YES. Opting to perform their LP in its near entirety would appear to be an easy route on the surface, but it's quickly evident that the songs and performances have taken on something of an extra edge on stage since being committed to vinyl. Where the recordings made in their tiny home studio have a carefully crafted perfection, tonight's renditions are altogether more visceral and engulfing. Move With The Season is particularly affecting, whilst A Question Isn't Answered sparks off a mass bounce in the crowd. Even Sand Dance, possibly my least favourite track on the album has been tightened and improved upon tenfold, although I would rather have heard one of my personal faves, The Guesser (ah, well). Meanwhile, a blistering performance of Ankh shows how easily a good track can be squandered on a b-side, managing to sound like glam-stomp and Meddle-era Floyd meeting head on.

Temples leave the stage with Shelter Song, whose appearance on YouTube kick-started this whole caboodle. They encore with the double whammy of Test Of Time and most recent single Mesmerise, and then it's all over, leaving a warm buzz up the spine.

Temples gather up lots of loose ends left behind, not just by psychedelia but anything and everything from glam to classic pop. They gather those loose ends into a ball, and they run with it. How far they can run with it remains to be seen, but they've made an impressive opening sprint. This thing could get big - it is to be hoped that Temples are left to grow organically with it, as there might be something very special here.

SETLIST:

* Colours To Life
* Sun Structures
* Ankh
* A Question Isn't Answered
* The Golden Throne
* Keep In The Dark
* Move With The Season
* Sand Dance
* Shelter Song

 ENCORE:

* Test of Time
* Mesmerise

SINGLE: Dark Bells - Wildflower (2013)

UK: Tape Club Records TCRSS002 (May 2013)

We caught Dark Bells live last night, supporting Temples at Bournemouth's Old Firestation, and those who arrived early were treated to some very psych tinged but also dark and heavy sounds. Their Twitter info describes them as having "the atmosphere of an act you might have found on 4AD in 1983", and they may well have fitted quite snugly on that label's roster of the time as there are echoes of Bauhaus and Cocteau Twins in the mix. Don't mistake them for a nostalgia outfit, though - there's something very fresh in the blend too.

Spotting singer/guitarist Teneil Throssell at the merchandise stall, I enquired whether Dark Bells have a CD out. The answer was something even better: this lovely piece of vinyl (coupling Wildflower with Run For Daze), which Teneil kindly signed for us. I can't resist a 7-inch single, especially one with eye-boggling artwork. A download code is also included, thus saving me the bother of plugging my turntable into the PC.

There's only a limited run of 300, so get your skates on...

You can get more info over at TapeClubRecords.com. The band's own site is at darkbells.co.uk, and the single is also available as a download at iTunes.

By the way, our copy accidentally came with two inserts, so if you're the unlucky owner of a copy missing the insert and download code, drop me a line and I'll be happy to send it on to you.

SINGLE: Temples - Mesmerise (2014)

UK: Heavenly (digital download)

Temples hail from Kettering, and their music can truly be called home-made, as they record in a small room at singer/guitarist James Bagshaw's house, which makes their big sound all the more impressive. This is another slightly psych-tinged offering from the Heavenly label, who have a very interesting roster of acts at the moment (see also TOY - Endlessly).

Mesmerise is the sort of record which seems to be over too quickly, thus making you play it again, then again... next thing you know, the melody of the chorus is firmly embedded in the brain, like the most pleasant of earworms.

The album Sun Structures (Heavenly's 100th album release!) is out on February 10th 2014.

Check out the Temples site at http://templestheband.com/, and download Mesmerise at iTunes.

Also, check out the Heavenly Recordings website at http://heavenlyrecordings.com/

SINGLE: TOY - Endlessly (2013)

UK: Heavenly HVN272 (digital download)

This has been getting played a lot on the Purple Patch stereo lately, providing a welcome antidote to the miserable January mornings.

Toy have been together since 2010, and hail from Brighton. Join The Dots is their second album, and that's where you'll find Endlessly. It's uplifting stuff, a slightly psychedelic, melodic wall-of-noise, kinda like The Jesus And Mary Chain singing with Doves, a combo which suits me nicely. Play it loud.

More info at http://toy-band.com/, and you can download Endlessly from iTunes.

SINGLE: Warpaint - Love Is To Die (2014)

UK: Rough Trade - digital download

Must say, I'm quite optimistic about new music lately, and the new year has already spawned a few tracks which have grabbed my attention. I plan to share a few right here, and open 2014's musical delights with this dreamy, hypnotic piece which has really grown on me.

I've heard a few say this has something of a 1990's feel to it, but I also feel a touch of 80's psych-inflected pop as well, slightly Cocteau Twins-ish, with a touch of The Cure's more drifting moments. I might even dare to call it a bit "shoe-gazey", but with something very fresh of its own.

Hailing from Los Angeles, Warpaint have been together since 2004, but have recently been generating a lot of interest with this track, perhaps in part due to its use in a Calvin Klein ad a few months back (not that you should let that put you off).

"Love Is To Die" is available as a download single, and also appears on Warpaint's self-titled album, just released by Rough Trade. The red vinyl edition looks particularly fetching...

More details at http://warpaintwarpaint.com/

SINGLE: The Ramones - Merry Christmas (I Don't Want To Fight Tonight) (1987)

UK: Beggar's Banquet BEG201 (Nov 1987 - B-side of I Wanna Live)
       Chrysalis CHR1725 (1989 - Brain Drain LP)

It doesn't matter how carefully you plan your Christmas shopping, there is always, always something you forget and find yourself desperately trying to find at the last minute.

In this year's case, I had made the faux-pas of forgetting to get custard. Not a big deal on the surface, but what if we decided to have a dessert over the festive period which required a topping of the creamy yellow stuff? And there was none in the fridge? Yes, I know, not exactly earth shattering, but: The wife wants custard, so...

Anyway, that is how I found myself in a local branch of Asda on Christmas Eve, negotiating my way around hordes of stressed parents with overexcited children, in search of a carton of Bird's Ready-To-Serve. That is when something quite wonderful happened...

Asda's in-store radio station started playing the Ramones. Not just that, it was festive Ramones.

How times have changed. It doesn't seem so long ago that the chances of hearing a Ramones record playing in your local supermarket were about as likely as finding Ted Nugent at a vegetarian's picnic. Now, their music has become so much a part of our cultural fabric that even this relatively obscure later-period track can get an airing in the grocery aisles. Only a few months ago, the Sainsbury's chain were selling Ramones t-shirts, alongside groceries and light bulbs. Part of me thought "great", whilst another part of me found it profoundly depressing.

A little while ago, there was a fashion piece in one of the Sunday papers in which some interchangeable minor female celeb (whose name understandably escapes me) was enthusing about how much she was loving her "retro rock t-shirt". A photo showed her modelling a garish pink top, with the Ramones logo printed in black. On it were printed the names of the members. It spelt Joey's name wrong.

J-O-H-E-Y

I can't have been the only person who looked at her, and thought: You have obviously never, I repeat never listened to The Ramones in your life. I hope a passing flock of Canadian Geese drop their load on you and your "retro rock t-shirt".

The transition of The Ramones from punk heroes to fashion label is a dispiriting one.

Still, back to Christmas Eve in Asda, where none of this mattered. This track came on and restored my will to live as I made my way through the checkout and headed home for a few days of festive crashing-out.

The custard's still sitting in the fridge, by the way. It's December the 29th.

COMMERCIAL BREAK: Vaseline Intensive Care Hand Lotion - Music By De Wolfe (1983)

So, what's this 80's ad doing here? Well, it's an interesting example of how the music from a classic horror movie can turn up in the strangest of places. See if you recognise it...

Yes, it's Paul Ferris' score for Witchfinder General being used to sell Vaseline Intensive Care Hand Lotion. On the face of it this might seem pretty bizarre, but there's a bit of a story to this one...

Upon completion of his score in 1968, Ferris offered the publishing and recording rights to the De Wolfe music library, one of several such outfits specialising in supplying ready made background, incidental and even theme music to television and film producers. Royalties to composers would be automatically paid out as library recordings were utilised, so for Paul Ferris the deal was probably a way of ensuring his music would continue to bring him some kind of revenue. After all, this low-budget horror film might well disappear without trace after its initial release...

Witchfinder General would, of course attain classic status as the years passed, and Ferris' score is one of Brit-Horror's finest. However, back in 1983 some advertising agency must have come across the music on a library album called Strange Location.

 Image from librarymusicinfo.com

On seeing this TV ad I thought it was some obscure piece of classical music I had not yet come across. It was only a few years later, when Witchfinder General eventually turned on on TVS' Friday Night Fright slot that the source of this sweeping theme became clear. It also started me on an exploration into the delights of the music library...

Along with Chappell, KPM, Bruton and others, De Wolfe were (and remain) one of the leaders in their field. As an example, the company's music can be heard all over Monty Python's Flying Circus, and the film Monty Python And The Holy Grail even carries the credit "Music by De Wolfe".

This resource of tens-of-thousands of recordings would also provide theme tunes to shows as diverse as Man About The House, Roobarb, Crown Court and Farmhouse Kitchen, whilst De Wolfe would also score a surprise UK number one hit in 1973 with a piece entitled Eye Level, when it was adopted as the theme to Dutch-set detective series Van Der Valk.

Then there's The Gonk, memorably employed by George A. Romero as the Zombies shuffle around the shopping mall in Dawn Of The Dead. That's another De Wolfe piece, as is Left Bank No. 2, used to accompany the gallery of pictures sent in by young viewers to the BBC's Vision On. For those of a certain age, the De Wolfe library has formed a very large part of the soundtrack to our lives.


The Witchfinder General soundtrack is now, finally available on CD from De Wolfe Music here.

Also recommended is Top Dog, a collection of 26 of De Wolfe's best known pieces, particularly to UK viewers - available here.

More info on British production music libraries and their discographies can be found at the fantastic www.librarymusicinfo.com.

SINGLE: The Kinks - Lola (1970)

UK - Pye 7N.17961 (Jun 1970)
US - Reprise 0930 (Jul 1970)

Image from my own collection - click for a larger view.

Performance from Top Of The Pops, BBC TV, 1970.

Typical start to a Monday, as I hazily made my way down to the car. It's getting well nippy of a morning round Dorset way, and my heater isn't of the most modern quick-starting type. Good job I had a thermal top on under my work shirt...

As usual, I had a struggle getting out of the driveway, as our road tends to get used as a short cut by half the local workforce and school-run drivers. As I eventually got out, and approached the traffic lights, they turned red. Coming to a stop, I reached down and switched on the stereo.

The last strains of the Stones' Gimme Shelter played. Great record though it is, not the sort to get you kick started first thing. It accompanied me through to the next set of lights. Then, something happened with the most perfect of timing. The lights turned green, as the next track kicked in...

Daaaaannnng...
Daaaaannnng...
Dang-Dang-Dang-Dang
Dang-Dang
Daaaaannnng...

Like divine intervention, The Kinks came to lift my spirits. You can't help but grin to this most perfect of rock n' roll moments. It's hard not to sing along too. Suddenly, the drive to work didn't seem such a chore. Hell, all the remaining traffic lights seemed to be going my way too. I had a clear run into town, and Ray Davies' low key vocal turned into a full on yell from him and brother Dave. I joined in. A small child in the next lane of traffic stared in bemusement.

On the final part now, nearly there... as I pulled into the car park, the track faded into the ether.

I turned off the engine, got out, locked the door and thought to myself: That's as good as it's gonna get for the next few hours...

I hate Mondays. God bless the Kinks.

SINGLE: The Searchers - Take Me For What I'm Worth (1965)

UK: Pye 7N.15992 (Nov 1965)
US: Kapp K-729 (Jan 1966)

Image from my own collection - Click for a larger view.

Stereo album version:

Late 1965 must have been a frustrating time for the Searchers. It must have been frustrating for a lot of British bands, come to think of it. The previous couple of years had seen a mass of artists from the UK conquer the USA, the much documented "British Invasion" having become a major chapter in modern musical history. However, the times were changing rapidly. Many a hitmaking band suddenly found themselves unfairly cast aside. Whilst The Beatles and The Hollies made the transition to the latter part of the decade in fine fettle, many others were not so fortunate.

The decline in The Searchers' commercial fortunes seems the unfairest of the lot in many ways. In that initial burst of Mersey Beat, they were by far the biggest chart rivals to The Beatles. They had also stylistically pre-empted the oncoming folk-rock movement. The previous year's acoustic-with-strings treatment of Malvina Jackson's anti-nuclear anthem What Have They Done To The Rain was ahead of the game in this respect, whilst the group's jangling guitar sound was undoubtedly the blueprint for The Byrds amongst others.

Interestingly, The Searchers had earlier come up with the idea of applying their trademark sound to Bob Dylan's composition Mr. Tambourine Man. They must have been gutted not only to hear that The Byrds had beaten them to it, but to then see them sail to number 1 on both sides of the Atlantic. It isn't stretching the imagination by any means to imagine that a version by The Searchers at that time would have sounded more than similar.

The Searchers were still releasing great records, but increasingly the UK record buyers were ignoring them. Goodbye My Love was their last top 10 hit here, the fantastic self-penned He's Got No Love stiffed at 12, whilst a folksy rendering of Bobby Darin's When I Get Home struggled to 35. Things must have been looking a bit pear-shaped for the band.

Which brings us to this one. It was written by P.F. Sloan, who was enjoying something of a purple patch (if you'll pardon the expression), sometimes in collaboration with Steve Barri. Eve Of Destruction had gone through the roof for Barry McGuire, Herman's Hermits had made a hit with A Must To Avoid, and the pair's own side project The Grassroots scored with Where Were You When I Needed You. On paper, you would have thought that Take Me For What I'm Worth was the perfect marriage of songwriter and group, and just what The Searchers required at that moment.

A driving performance, great production from Tony Hatch, fine lead vocal from Mike Pender, not to mention the fact that this was a damn good song... and it stalled at number 20. There must have been scratching of heads and puzzled expressions all round.

Mick Jagger and Keith Richards wrote their next single, Take It Or Leave It. That only made 31. When Have You Ever Loved Somebody, made to measure for them by The Hollies only scraped in at 48, The Searchers' chart days were over. What exactly had gone wrong?

The Take Me For What I'm Worth LP from late '65 might give a few clues. Whilst it did show a bit more confidence in the group's own songs, many of their contemporaries were putting much more self-penned work on albums. There was a pointless version of Be My Baby, plus R&B covers which were perfectly well performed but somewhat old hat by then. The group-written single b-side Too Many Miles perhaps pointed more at where they should have been heading, but it may have been too late.

Still, The Searchers continued to persevere. After an artistic Indian summer with the Sire label at the end of the 70's, and subsequent line up changes, The Searchers are still playing, and doing fantastic shows. Meanwhile, Take Me For What I'm Worth stands as one of their finest and most underrated releases, and would become a much-loved inclusion in their live set.

SINGLE: Eulogys - Hellespont (2013)

Hellespont is the opening track from this Dublin band's double EP, Kingfisher and the Hummingbird.

The melody carries a heavy whiff of traditional Japanese music, with a nice drifting quality to it. This sounds fresh, and yet there's something comfortably familiar about it too. The Hellespont of the title is actually a strait in northern Turkey, known today as the Dardanelles. In Greek mythology, it is where Leander swam to meet with his beloved priestess Hero. I'm assuming that's what the lyrics refer to.

Before this turns into a geography and history lesson, I'll just advise you to head to the Eulogys' page at BandCamp.com by clicking here. At the time of writing, you can get Hellespont and the rest of double EP as a free download.

SINGLE: redblue - Alive Or Dead (2013)

Debut single from this Canadian three piece, hailing from Halifax, Nova Scotia.

Pleasingly reminiscent of The Police's more introspective moments, with vocals which put me in mind of Alice In Chains' more mellow acoustic work. It's a refreshing combination, with a nice autumnal feel. Definitely a grower - a few plays and it'll stick with you.

Available from redblue's page at bandcamp.com.

SINGLE: The Hollies - Listen To Me (1968)

UK - Parlophone R5733 (Sep 1968)
US - Epic 5-10400 (Sep 1968)

Image taken from my own collection - click for a larger view.

It had been a frustrating 18 months for The Hollies. Whilst they were enjoying plenty of hits around the world, they were desperate to expand their horizons creatively. The songwriting team of Allan Clarke, Tony Hicks and Graham Nash were certainly hitting a peak, but the majestic King Midas In Reverse single failed to get the support of the record buying public, and whilst it did manage a respectable placing of number 18, it was a commercial disappointment by their previous standards - they had already enjoyed 12 top-ten hits in the UK. The ambitious LP Butterfly failed to chart altogether.

In need of a big hit, Clarke and Nash literally threw together Jennifer Eccles as a joke. The consequences must have been disheartening: not only did EMI deem it fit for release as a single, but it went straight to number 7, hitting the top 10 in several other countries. It was probably the final straw for Graham Nash, who announced that he was leaving.

Nash's farewell to the band was this release, by one of my favourite songwriters of the period, Tony Hazzard. Although not one of the group's most celebrated releases, Listen To Me remains a personal fave of mine. A great production job by the group's mentor Ron Richards, with Nash multi-dubbing his voice over the choruses, driven along by Bobby Elliott (one of the world's most underrated drummers in my opinion) and the piano of Nicky Hopkins. It quite unjustly stalled at number 11.

Graham headed off to the USA to join David Crosby and Stephen Stills. The Hollies recruited Terry Sylvester, and despite the predictions of some naysayers they continued to have hits, including He Ain't Heavy He's My Brother and The Air That I Breathe, and became something of a British musical institution. However, this underrated gem, very much marking the end of an era, is just the thing to brighten up a cold and damp November day, like the day on which I'm writing this, and listening to one of the best harmony groups the UK has ever produced.

More on this record and its various international releases can be found at 45cat.com

SINGLE: Lou Reed - Walk On The Wild Side/Perfect Day (1972)

UK - RCA 2303 (Nov 1972)
US - RCA 74-0887 (Feb 1973)

At the age of four, I was given my cousin's old record player. It was a small, black Fidelity portable, with a little built in speaker and a carry handle. Along with it came a few random records, passed on to me by relatives, presumably because they were worn out and couldn't be further spoilt by a four year old messing around with them.

One of them, bizarrely, was this. I had no idea what the words were about. Neither did anyone else in the UK at the time, I presume, as it was released uncut and nobody on the radio batted an eyelid. In the USA, it was trimmed down somewhat...

Along with the rest of that handful of singles, I played both sides of the record to death. To me, it didn't matter which side was the a-side. It still doesn't. It's just a perfect 7-inch single, and one of the coolest records ever released.

Oh, and when I did realise what all those lyrics were about... I couldn't believe I'd gotten away with playing it in front of my family for all those years.

I got a mint condition copy later on, but I have never had the heart to throw my original, scratched up copy in the bin. Too much sentimental value.

The music Lou Reed created throughout his life, both solo and with the Velvet Underground, would play an important part in my musical life. It still does. He could frustrate the hell out of me sometimes, but he was always, always interesting to follow and listen to. This single was where it all started for me. 

Thank you, Lou, and R.I.P.

MUSIC: Playlist - Purple Patch Halloween Party C90

A mix of classic favourites and more obscure cuts, it's the perfect soundtrack for any Halloween gathering, and designed as a kind of virtual C90 cassette :-) Hit the play button , light a candle in the pumpkin, and find out more about the tracks in the sleevenotes below...

01. BOBBY "BORIS" PICKETT & THE CRYPT KICKERS - Monster Mash/Monsters' Mash Party

The perfect Halloween party starter to kick off, but with a (Transylvanian) twist. Taken here from the original UK 45, it segues straight into the less-heard b-side, which picks up where the a-side left off. A US Billboard #1 in 1962, it failed to chart in the UK on its original release (partly due to a radio ban!), but eventually reached #3 in October 1973.


02. THE AUTOMATIC - Monster

A UK #4 in 2007, and The Automatic's biggest hit to date, ostensibly about the effects of over intoxication, and resulting hallucinations and/or mood swings.


03. CLASSICS IV - Spooky

Originally an instrumental, the Classics IV added lyrics and got a smash hit in 1968. Many covers have appeared over the years, but this remains the best. A US #3, but surprisingly stalled at #46 in the UK.


04. SCREAMING LORD SUTCH - Jack The Ripper

Nobody would play this Joe Meek produced record on the radio when it came out in 1964 - I wonder why? Could it be the screams, and the story of the titular killer? Quite possibly... Strong stuff for the time.


05. THE DAMNED - Nasty

Remembered by a whole generation of UK viewers from when the band performed it in an episode of The Young Ones in 1984 ("Yes, We've Got A Video!"). Turned up on the b-side of "Thanks For The Night" in 1984.


06. R. DEAN TAYLOR - There's A Ghost In My House

Possibly the only garage-psych-motown record ever. You can read my extended piece on this particular record here.

 
07. ROKY ERICKSON - Burn The Flames

Immortalised on film when James Karen threw himself into a crematorium in Return Of The Living Dead in 1985. Following its appearance on the soundtrack album, it would find a home on Erickson's  album Don't Slander Me.


08. LAIKA & THE COSMONAUTS - Psycko (Themes From "Psycho" and "Vertigo")

Combining these Hitchcock classic themes into one, in a surf guitar instrumental style. It takes some kind of genius, and this band from Finland had it in spades.


09. THE RAMONES - Pet Sematary

When Stephen King made several references to the Ramones in his novel, they returned the compliment by writing and recording the theme song to the movie.The movie was good fun, if a complete failure as an adaptation of the novel, despite King himself writing the screenplay. The track, however is a late Ramones classic.


10. THE RATTLES - The Witch

One-hit-wonders in the UK, they remain a popular act in their native Germany. This surprise UK hit put them at #8 in 1970. Wah-wah guitar, high-pitched vocals, spooky violins and timpani playing a twilight-zone-ish end of verse freak out - quite an oddity. Interesting fact: They played the Hamburg clubs around the same time as the Beatles, and played alongside them on three occasions in 1962.


11. THE WHO - Boris The Spider

John Entwistle's ode to a fear of insect, apparently written after a night drinking with Bill Wyman. Not a single, but appeared on their 1966 LP, A Quick One.


12. STEVIE WONDER - Superstition

US #1, UK #11 - Spookiness doesn't get funkier than this. First appeared on 1972's Talking Book LP.


13. REDBONE- Witch Queen Of New Orleans

A tale of a voodoo girl, who'll put a spell on you. US #21, but a UK #2, only held off the top spot by Rod Stewart's Maggie May in October 1971.


14. THE ADVERTS - Gary Gilmore's Eyes

When the murderer of the title left his eyes to medical science after his execution, underrated punk outfit The Adverts pondered what would happen to a patient who received them in a transplant operation... Managed UK #18 in 1977


15. THE B-52'S - Rock Lobster

I always thought that the B-52's debut hit sounded like the lobster of the title was probably radioactive and 10 ft tall at least. Whether that was the intention or not, it fits in to our mix perfectly. US #56 and UK #37 in 1979, but went to #12 on reissue in the UK in 1986.


16. MONSTER MAGNET - 19 Witches

From the 1998 album Powertrip, and not a single, but it fits in just nicely here - They'll hang me here, they'll make me pay, if I do what they don't like. So cast your sin quick and bite my lip, and screw my brain up tight...


17. THE SEARCHERS - Love Potion No. 9

A cover of The Coasters' tale of a mysterious Madame Ruth and her special mixture, this was never a UK single for The Searchers, and was included on their debut LP. Their US label had other ideas, and it became their biggest hit there in 1964, hitting #3.


18. BLUE OYSTER CULT - Don't Fear The Reaper

Here in its shorter single version (which I personally prefer). Apparently not an ode to suicide pacts (á la Romeo & Juliet), but an ode to not fearing death for love is everlasting. It gave BOC their biggest hit in 1976, US#12 and UK #16.


19. WARRON ZEVON - Werewolves Of London

Unbelievably, a UK flop, but a US #21. Later sampled by Kid Rock on All Summer Long.


20. THE CULT - Lil' Devil

Come on lil' devil, be my little angel... - It's the Cult. Enough said. UK #11 in 1987.


21. THE LEVELLERS - The Devil Went Down To Georgia

Taking the blueprint of the Charlie Daniels Band's original, the Levellers cranked up the juice in their version, and it remains a live favourite. Appeared on 1992's See Nothing, Hear Nothing, Do Something, a collection of UK singles and live tracks.


22. THE SKYHOOKS - Horror Movie

A big Australian hit, #1 in January 1975, but not released elsewhere at the time - there was still snobbery about a lot of Aussie music by the international record labels in the mid 70's. It actually refers to the state of the world, and how watching the TV news has become like watching a horror movie. More relevant than ever, you could argue...


23. THE CRAZY WORLD OF ARTHUR BROWN - Fire!

Brass and hammond organ driven psych fest, for those who haven't heard it (where have you been?) - A classic one-hit-wonder: A UK #1 (US #2), then not another sniff of the charts. Brown still continues to perform, remaining something of a cult figure.


24. MARILYN MANSON - This Is Halloween

Does what it says on the tin - Originally written for the film Nightmare Before Christmas, this version was recorded in 2006. The ideal way to end our C90 trip through Halloween hits and misses.



With thanks to all the original uploaders - see YouTube for further details