Suck –Aimless Lady/The Whip-Parlophone SPD 3027 (1971 South Africa)
With South Africa in the spotlight at the moment, here is another angle of kicking against the pricks with Hairy Freak mob SUCK. It seems that they had originally intended to replace the “S” with “F”, which would have curtailed their activities even further as Suck only recorded 1 LP (Time to Suck) in a 6 hour session and this was their only single. The album was mostly covers and the A side is the cover of a Grand Funk B side. It’s a wild and heavy affair and cranks up the power tenfold. The B side The Whip is the only band original and the heaviness reigns supreme with top lead guitars and tons of reverb. It’s a real shame the band disbanded after this without further any recordings as they would have been real heavy contenders on the international scene.
Jeremiah –Do It To Ya/Starlight Stampede –Artesia ACA 6562 (1975 US)
Do It To Ya was the lone record from this Houston band who pressed up this self-released single to give out at their shows. The A side finds the band honing their bar room skills from Hard Boogie to near Proto Punk. It’s a hooky energetic performance .that doesn’t pretend to be what it’s not, although the no-nonsense straight ahead riffing and 42nd Street mentions makes you think that they might have had The New York Dolls in their sights. The B side owes more to obvious 1975 Southern Rock influences.
Hear a full version of Do It To Ya
Bassist Jack Beasley was kind enough to give some background on the band and recording the single
Jeremiah was formed in 1972. Jack Beasley was the original bass player with Mike Rayburn on drums. There were two other guys on guitars, but as it turned they weren’t that serious about playing rock music. As those guys moved on to do other things, they were replaced by Jimmy Deen in 1973 and Tommy Mansell was added to the line-up in 1974. The early gigs were high school dances and proms. But they eventually started playing night clubs and private parties.
“In 1975, the band paid for some time at ACA recording studios in Houston. We recorded six original songs. I don't know who mastered the two tracks on the 45 or where the 45 was manufactured. The label name, "Artesia", was just something we made up. I think we had 600 45s made, maybe less, but no more than that...”
Although the ambition was there to break beyond the local scene and go professional, it didn’t pan out for the boys
“Our goal was to become rock stars. In the fall of 1975 we quit our day jobs and went on the road. We played mostly in Texas. We became friends with members of the band Point Blank, who were managed by the same guy that managed ZZ Top. This was in 1976 and we thought we were close to a record deal, but it didn’t happen. We played at the bigger clubs in Houston , Dallas and Fort Worth , among others. We played four to five nights a week, every week, just about. We did all we knew to do to get a record label to sign us, except leave Texas. That might have been the problem…”
What was the difference the 60s Texas Garage/Psychedelic bands and what was happening in the mid 70s?
“I believe that 60s bands, even in Texas were heavily into the psychedelic experience. They were trying to find new sounds, and a lot of experimenting was going on then, with their instruments, and also their minds (drugs). 70s bands just wanted to rock. To heck with experimenting. Find that groove. Turn up the volume. And create a sound that compelled your audience to move with the beat and play their air guitars. Although the guys in Jeremiah were somewhat influenced by the 60s music, I believe the stronger influences came from what was going on around us at the time. We covered many of the most popular rock bands of the early and mid 70s. We liked the melodic stuff, but it still needed to have that hard edge. You can hear that fusion in the original Jeremiah songs. Often in those songs, you have some very soft, melodic vocals or guitar segments, slammed up against a dynamic, hard-driving mix of guitar, bass and drums. We just couldn’t stay quiet for very long...”
Another long day...a smaller but perfectly formed bunch, no great bargains, but some top shelf stuff including a Dutch Jet Boy, German Masters Apprentices, The Norah single I was missing as well the striking German pic sleeve of Tame Me Tiger. I think this is the stereo mix which packs a lesser wallop, but the photo more than makes up for it. The Japanese Mott single couples Saturday Gigs with Foxy Foxy. The most surprising find was the South African Suck single.
All in all another great Utrecht. It has become much harder to find cheap copies of Glam stuff, the dealers have usually wised up, but that just makes it more challenging...
If all goes to plan look out for a mamoth ebay listing on Wednesday
It all started at 7:am...entrance by the side door...
So 7am until 5pm...pretty much non-stop walking up and down, back and forth...In fact Utrecht may be considered a personal marathon. As you can see I took16,344 steps today...
However Utrecht is not just about getting fit. It is also about getting fat...
Ladies and gentlemen...may I present you with the next best thing to congealed donkey semen...FRIKANDELLEN!
OK, OK, onto the records. In fact about half of these are spares which I will be listing next week...
Of the Michel "da capo" Terstegen, the only one I got was the good Dragonfly single. Celestial Empire. An inspired fuzzfest...
The first Rasputin (Jon Symon) single has a mean version of Spoonful and comes autographed with a promo photo included
Here we go again...tomorrow at 7am I'll be on the floor ready to dig. Of added interest this year is the fact that the Michel Terstegen collection has been purchased as a whole by a Swedish collective. http://collection-michel-dacapo.123website.nl/The Nederbeat section will be available at the fair along with a selection of other titles, although the prices are bound to be pretty "Swedish"
Hollywood Stars –Shine Like a Radio -Last
Summer Records LS1974HS (2013)
With the
release of the LP only days away, here is the background on how Shine Like a Radio
finally gained release as well as a track by track descriptor…
For me, It
all started back in 1975. Bomp magazine not only featured The Flamin’ Groovies
on the cover of the spring 1975 issue, but also a long piece written by Kim
Fowley on the next big thing that never was –The Hollywood Stars. It was a
tragic but fascinating story, they seemed just like the band we were crying out
for at the time. This band had it all - the looks, attitude, great song titles
plus the involvement of the king of Sleaze. When would I ever get to hear song like
Russia, Kings of The Night Time World or Shine Like a Radio? The song titles
alone promised so much, but as highlighted in the article the band was no more,
but the story behind the unreleased album got me dreaming.
Last year the
dream started to meld into reality. Terry
Rae (drummer) left a comment on the Flamin’ Groovies post about the Dutch issue
Shake Some Action (which he played on). I guess my second question to him was…do
you have the 1974 recordings? The answer was positive and he sent me a CDR of
the 1974 recordings along with the 1976 Neil
Merryweather demos (10 cracking from the Hollywood Stars MKII), for the
first time I was finally able to hear the tracks. The tape was very hissy and
some intros and endings were clipped, but I was in awe. Later Ruben De Fuentes sent me a remastered
version and although it was great to hear clearer versions, something was
missing, the sound was too brash and trebly. Still the thought of getting the
LP released was now becoming a concrete project. Later on a ¼” tape was
discovered in the hands of singer of Scott
Phares, and although missing a bit of top, this was the real deal and made the hairs on the back of my neck quiver.
You must
remember that the album was never really finished and Scott’s tape was a
collection of rough mixes they presented to the label. But I am glad these are
rough mixes as the rough edges provide an urgency which may have been subdued
by a proper mix. The LP was mastered and cut at Fluid Mastering in London http://www.fluidmastering.com and
it really sound perfect, loud, clear yet meaty and warm. After all these years,
I am very proud to have been instrumental in finally getting these great songs
and performances released.
1.Supermen
are Always Gentlemen
Loud
and brash rocker with cutting guitars to the fore. It’s a great first track as
it combines a rough and ready urgency with a great chorus hook with blistering
lead breaks and a fine tough vocal by Scott.
2.Kings
of The Night time World
Later
re-written and popularised by Kiss. The original is a great Stonesian rocker.
Particularly impressive is Marc Anthony’s tight Richards-like riffing which
chugs along under Ruben’s great lead. This one rocks supreme.
3.Tough
Guys Don’t Cry
A
Mars Bonfire tune. It’s another tough number with crashing powerchords underlined
by a stomping piano. Note the sitar-like guitar. A real cool touch…
4.Shine
Like A Radio
Angie
Bowie said it sounded like a number one hit and in a better world this would
have come to pass. Kim Fowley’s own version on Automatic didn’t bring out the
best in the song, however The Stars turn it into a real tour de Force. The
backing vocals are a real hoot to boot!
5.Russia
Another
classic Mars Bonfire song. The production is lush and more refined. It provides
the perfect backdrop to this tale of Teenage Spies and betrayal ” Bureaucrats and winter palace, army tanks
and ballerinas…” Astriking stand
out track
6.Don’t
Let The Kid Down
Mark
Anthony’s plea to the record business to give the Kids a Chance. It fell on
deaf ears, but this short and snappy statement of intent makes a great closer
to side one.
7.Escape
Some
songs are built around a killer riff, such as The Move’s Do Ya, the Velvet’s
Sweet Jane or Ducks Deluxe’s Fireball. This is one of the better examples of a riff song and a classic piece of brash
70s Rock. Alice Cooper recognised its
value as he later covered the song on the Welcome To My Nightmare LP. This original
version is far superior
8.Roses
and Rainbows
Roses
and Rainbows was a small hit for Danny Hutton and was an inspired choice
fora cover. From the way the song
emerges from Escape to the delightful backing vocals supporting Scott’s pure
and crystalline vocals, this is another performance which could have provided
The Stars withbona fide hit.
9.It’s
Got To Be Today
A
fine original capturing a perfect blend of outright rock with a certain Buffalo
Springfield appeal. Great vocals and guitar throughout.
10.Satisfied
Electric Fingers
What
this album is all about, energy, electricity and a great tune. The lyrics
allude that being a guitarist in a Rock and Roll band doesn’t always guarantee
being able tohold on to a special lady.
You don’t often get references to a Ringo solo effort, but you do here…
11.Last
Days of Rock n Roll
Although
a bit corny at times (Glenn Miller?), the song is a heart-felt ode to loss of
innocence. Nostalgia a vehicle to loss as valid then as it is now. There’s a
nice off hand feel to the overall performance and the backing vocals are
stellar.
12.Modern
Romance
Like
Mott The Hoople giving a nod to A Day in The Life. The song is supremely dramatic
with Scott’s vocal full of pathos. There’s nice line in Mellotron layering and
with Ruben lead sounding just like Mick Ronson; it’s a truly majestic tour de
force and a perfect album closer
Shine Like a
Radio should be reaching stores at the end of this month. 1000 copies (Vinyl
only!) are being split for distribution between Europe and the US.
Crushed Butler –Love is Around Me/Factory Grime –Emidisc Acetate (1970 UK)
Probably culled from Crushed Butler’s second demo session, these two tracks find Jesse Hector, Darryl Read (RIP) and Alan Butler at their raucous best and delivering one of the most essential examples of UK proto Punk. Love is Around Me is more melodic and might have been written by Glo Macari (Lou’s daughter) who strangely enough used those other Proto Punkers Slow Load on her Looking For Love single (1971). Factory Grime is a pure rough and ready bestial performance, like a wilder Third World War with Jesse at his most venomous. It’s all wonderful and inspirational stuff. I assume that these are the same takes and mixes as on the Uncrushed 10”, perhaps someone could confirm
Pentagram –Under My Thumb (Acetate) Omega Recording Services (1973 US)
Apparently this copy is one of only three acetates made of Under My Thumb for initial radio play. The later 2-sided single release was limited to 200 copies and was their third release following Be Forewarned and Hurricane. Anyhow Macabre/Pentagram became much later known as inspirational doom merchants, however this 1973 recording finds Bobby Liebling and band showcasing a more commercial aspect to their art. Bobby’s startlingly pure yet edgy vocals along with the twirling lead and rough and ready riffing make this a stellar performance in my book; updating the song yet, keeping its original intent and feel. It is worth remembering that the band only really released their first LP in the 80s, however their early 70s recordings often achieve a perfect balance of Proto Punk with heavy rock leanings (even reminding me of the MC5 at times).
Rarely has a rock documentary shown the rock bottom in rock in such honest fashion yet been so moving. The difficult journey from Junkie pulchritude to a semblance of near normality is gutsy yet heart-warming, like a more hardcore version of the Roky Erickson documentary (You’re Gonna Miss Me)
Hear a full version of Under My Thumb
PS: If anyone can help with a copy of the regular issue of this single, please let me know
The Good Vibrations –Call Me Lightning/Don’t Nobody Touch My Baby Ember Records 14515 AT (1969 German issue)
Nice bouncy rendition of The Who track. Produced by Mike Berry (Ning, Boots, Boneshaker etc…) it highlights his deep affection for all things Small Faces (listen to the backing vocal –just like Steve Marriot). A fine Mod romper 4 years too late, but a great performance here housed in a cool German picture sleeve)
As luck would have it, I had to be in Houston at the same time as the Austin record fair, so a 40 minute flight later, I got my second dose of Austin. This time it was only a fleeting visit, but I was very pleasedwith some of the finds, including this Fuzz Monster Bonehead classic by The Purple Sun.
The Purple Sun- Doomsday
Another nice purchase was this 1971 Stone Axe poster
Some more nice stuff...
Doug Hanners is as ever the perfect gentleman and host and although Austin caters mainly for the 50s and Soul/R &B crowd, there is enough (well tons) of the “other stuff to please a wider demographic.
Tomorrow a 6am flight and if all goes well I will be reporting back from another location, hopefully with further finds
Blue Amber – Good Morning Tuesday/We Got Love-Flush 7068 (1969 US)
Killer Ohio single on the cusp of Bonehead and heavy Psych. The guitar shenanigans are exemplary and reach the outermost of cool freak out without any overt musical pretentions.. Just pure fuzzed out feedback madness with a great level of Sky Saxon snottiness...Is that a toilet flush at the end? It would make sense when you think of the label’s name. This one really goes down well!
The Rag Dolls –My Old Man’s A Groovy Old Man/They Didn’t Believe Me –Columbia DB 8378 (1968 UK)
Again planned to feature on the Easybeats’ unreleased Good Times LP, it finally gained release by Bon Scott’s Valentines, Dr Marigold’s as well as this first version by The Rag Dolls. Although instantly recognisable as a Vanda & Young creation with its inventive chord progressions and structure, the song itself is more interesting artefact than arresting near masterpiece.
Hear a full version of My Old Man’s A Groovy Old Man
My Dear Watson –Elusive Face/The Shame Just Drained –Columbia 5687 (1968 Dutch issue)
The Shame Just Drained is yet another classic Vanda &Young composition. Pencilled in for inclusion on the Easybeats unreleased Good Times album, it first appeared on this Scottish band’s single. Both sides were actually produced by Vanda & Young (Staeb productions -‘Beats). Although it’s a nice production and performance, the vocals are not as personable as The Easybeats’ own version which finally surfaced on the 1977 on the odds and sods The Shame Just drained collection. Stay tuned for another instalment of Vanda & Young greatness from the same time period
Mike Furber –I’m on Fire/Watch Me Burn -Columbia DO 8970 (1969 Aus)
Great double-sider concept single written by Vanda & Young (their own Fire Suite?) for Mike Furber (Bowery Boys). Although sadly not a hit, the two songs stand proud with the best Easybeats material. Although their demo versions (later found on The Shame Just Drained and The Son of Son of Easyfever EP respectively) are fine performances, the Mike Furber versions are fully realised with neat pop production values and some surprisingly fuzzed-up guitar.
Wonderlick –Hey Joe/Come On People –MGM K 14510 (1973 US)
Straight from the Garage into the Bonehead. 7 years after hitting the charts with The Leaves; Bobby Arlin reappears in 1973 giving Hey Joe a mighty revamp. Lyrically, the gun has been changed to a joint and it’s all about turning on “the man”. Musically it’s Loud and raucous with some real scorching guitar, there are a few surprises - check out the left of field riffing and other supplementary chord changes This really works.. So all you Garage stalwarts – outgrow your greying moptops and fading paisley shirts and enjoy this greasy haired OTT update. 1973 rules…
David Ireland –Shoot The Family Man/ Coming Up Strong –Sovereign SOV 120 (1973 UK)
I couldn’t find much about David Ireland. He had at least two singles released in Holland, including this one that also garnered a UK release. The producer is Richard Pulin who was involved as producer/arranger with Pink Elephant in the early 70s. Both songs are strong acoustic based rockers, somewhere between John Kongos and Dave Edmunds with a little T. Rex thrown in for good measure. Simple, understated and waiting to be discovered...
Finally, thanks to Alan Kirkham’s visit to his loft, here
are the results of Stud Leather’s only photo session in Hampstead Heath in 1973.
Positioned in all their freaky glory atop of Roger’s Firebird, these great shots fit the insane
glory that is Cut Loose perfectly. Now is the time for some enterprising souls
to actually re-release the single in a great picture sleeve.
From Left to right
Dickie
Graves, Alan Kirkham, Johnny Aldrich, Hayden Gridley and Roger Cook
Emidisc Acetate –Further Away From You/Jailhouse Rock (UK 197?)
A complete mystery here, can anyone provide anyinfo? I expect this acetate only got as far being a hopeful demonstration tool which most likely got turned down by whoever was offered the opportunity to further their careers. The only clues are the names I. Hall and C. Patmore (it takes some guts or sheer stupidity to appropriate the song writing credit for Jailhouse Rock!)
Sonically, I would place the recording somewhere between 1972 and 1974, the overdriven fuzz guitar is full of intent, but low on delivery. Inept yet charged up to the max. The song and performance falls somewhere between rock and roll revival, Crunching Proto Glam and no holds barred dumb heads down Boogie. It may be stretching it a bit, but the version of Jailhouse Rock has a certain MC5Back in The USA feel to it. All high energy with dynamic drumming, although the guitars are far from any Sonic Smith/Kramer interplay. Any ideas?
The Friendly Persuasion – Apathy /Yours Truly Jack The Ripper–Mac-A-Lynne PRSD 2230 (1974 US)
The Friendly Persuasion seem to have been a surburban Detroit act and this was possibly their only release. Although featuring organ and mellotron Yours Truly Jack The Ripper sits on the right side of Gothic Prog thanks to its reliance on the hook and the restraint shown. No schlock horror here, but a damn catchy novelty opus. The A side is pants though….
Hear a full version of Yours Truly Jack The Ripper
Shakane –Dance of The Dead/Down Down Down –Sonopresse AG 45763 (1973 French issue)
Perhaps the most obscure single released by Bristol’s own Shakane. Although featured on the two different versions of their sole album, France appears to be the only territory where Dance of The Dead was issued as a single (although the track also appears on a split Swedish Jukebox EP). Dance of The Dead must rate as their heaviest and most rocking track with a great gritty and cutting guitars. This is something like Roger Bain produced Budgie revamped through Mike Leander’s early Glitter dreams with Redbone inflexions. It rocks fairly and squarely and sounds perfect as a stand-alone 45. (Note Trevor Burton’s Down Down Down was also issued as an A side in Germany). It’s really hard to keep up with the lack of continuity of Shakane’s release strategy… (UPC, Green Light, Sonet, Bellaphon, CBS, Youngblood, UA and now this!)
The Flamin' Groovies -Have You Seen My Baby?/Yesterdays Numbers -Kama Sutra 2013033 (1971 German issue)
Featuring two killer sides from their Teenage Head LP, this pic sleeve was only released in Germany at the time. This is only the 2nd copy I have seen; the photo is presumably from 1970 and a Kama Sutra promo shot. I believe that this must be the hardest Groovies cover to find, with the 2 versions of the UK 1972 Slow Death single coming in a close second.
Hetherington – (It’s Just a) Teenage Love Song/ That Girl’s Alright –Mowest MW 3007 (1973 UK)
Hetherington is in fact John Hetherington who released several singles on RCA, Uni and Neighborhood prior to being the first UK signing to Tamla’s Mowest imprint. Teenage Love Song is one those classic pop songs that will engrain itself into your head and linger. The song itself, the production and performance make this really something special and a sublime piece of British 70s Pop. which deserved hit status. The B side is more like uptempo Nick Lowe
Hear a full version of (It’s Just a) Teenage Love Song
Spode appears to have been a pop alias for Heavy rock band Toby Jug (Brotherhood) who prior to signing to D’art (Dart), released the mediocre Sing Along Song on Decca. However Cincinnati Woman is pretty amazing. The echo and reverb could place this song bang in the middle of a Holloway Road Joe Meek extravaganza and the galloping rhythm adds an overall Outlaws/Tornados feel. Very strange for 1971 indeed…
Reviews of tasty and obscure hook-filled rock'n' roll releases (Glam, Heavy Bonehead Crunchers, Powerpop, Pop/psych,Garage, Surf, 60s Girl Group Rock)...Plus any quirky musings that tickle my fancy...
I created this blog in order to stimulate interest, share discoveries and encourage people to go out and search for the original vinyl. Hopefully this blog might also encourage labels to actually compile some of this stuff officialy.
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