p001_Shindig_74.

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THE MOODY BLUES THE POPPY FAMILY

Back to the future |Out of the darkness

OUR
BEST OF
2017

THE

STRANGE
DAYS
ARE
HERE
AGAIN
INSIDE THE MAKING OF THEIR
LEGENDARY STUDIO ALBUMS
WITH PRODUCER BRUCE BOTNICK

ALSO!
ZOOT MONEY | MORTIMER | FOLK-HORROR ISSUE 74 • £5.50

MAXAYN | THE EASYBEATS | ROBERT WYATT

p002_Shindig_74.qxp 10/11/2017 15:22 Page 1
 welcome contents

Issue 74 December 2017

Howdy Shindiggers,

Whilst things in the “Real World” are undoubtedly going from

bad to worse, 2017 has been great for Shindig! It really does
60
feel like we have hit our stride and maintained pace. Risky
topics now feel less ominous, and quite often pieces on artists Features
21
less associated with what was once viewed as the magazine’s
forte have actually gone down best of all. It is, however, no Best Of 2017
surprise to discover readers like all manner of interesting things. Shindig!’s best of the year

28
Taste is always considered. Seeburg 1000
As it’s that feel good time of year I’d like to acknowledge The post war non-selective “industrial jukebox”
all who’ve written in, come to our events and tuned into the system minus rock ‘n’ roll
radio show. An even bigger thank you goes out to those who
buy the magazine on a regular [Link] you Shindig!
wouldn’t [Link] appreciate your valued and continued
custom.
Maxayn
Near forgotten psychedelic funk from the early ‘70s 32
There’s no Xmas silliness in this issue as we’ve done that
quite enough over the past couple of years. So, without
suggesting some suitably fun sounds to get you through last
The Moody Blues
How November 1967’s Days Of Future Passed opened
the door for a legion of ambitious and progressive acts
38
44
minute shopping and wrapping, we’d just like to wish you
a most cool Yule. Of course, we do offer our annual best of Mortimer
the year which may help you decide on suitable gifts for the New York’s unfortunate sons journey from The Teddy Boys to Apple

50
Shindigger in your life. And hey, why not treat that special Horror Folk
someone to a year’s subscription? What better gift is there for a Late ’60s/early ’70s horror cinema’s classical and folk motifs
music lover?
To close our 12 month celebration of 1967’s 50th
anniversary we look back at two key, and perhaps somewhat
known yet now overlooked [Link] was the last time
The Poppy Family
Vancouver’s husband and wife’s darkly beautiful
semi psychedelic concoctions appreciated
54
you listened to either The Doors’ Strange Days or The Moody
Blues’ Days Of Future Passed? Some time I suspect, yet both
stand the test of time and are certainly worth revisiting with
fresh ears, especially when considering remastered editions of
The Doors
In the studio with producer Bruce Botnick 60
each record are now available.
Enjoy the rest of the magazine and all of your festivities, Regulars
4 
whatever you’ll be [Link]’ll be back in the New Year with
a rather special celebratory issue. In the meantime, do please Shindiggin’
get in [Link] love to see What’s hot on the Shindig! turntable

6
your highlights of the year, Thoughts & Words 
views and thoughts on how Your letters and emails
you’d like the mag to evolve.

Stay warm, merry and happy.

It’s A Happening Thing
The Easybeats, Sharon Jones, Serpent Power, Electric Eye,
Julian Maeso, Martha High, The Hanging Stars
8
Happy Xmas,

Jon ‘Mojo’ Mills

Happening Right Now
The hottest new bands 24
26
Editor-In-Chief
Song Book
Robert Wyatt’s 1972 lyrical paean to a relationship break up

20 Questions
South coast soul legend, psychedelic saviour, rocker,
actor: the long and varied career of Zoot Money
34
Reviews
The best in reissues, new releases, books and live shows 71 
Shindig! listen to all music using the Teufel Kombo 62
Vinyl Art
Dutch pranksters’ The Fool’s art project becomes music 96 
and use Tidal and Roon. For more information go to
[Link], [Link] and [Link]
Prize Crossword
Win a copy of Numero Group’s new Acid Nightmares comp 97
3

SD74 pp03 Contents [Link] 3 12/11/2017 15:11

 The brand new releases, compilation standouts, old album tracks and dusty
45s rockin’ our world this month

CHER DION & THE BELMONTS

These Days My Girl The Month Of May
Jimmy Webb teamed up with Cher at the peak of her After parting company with The Belmonts in 1960, the
TV celebrity when her records, whilst artistically valid, next few years saw Dion beat heroin addiction (for the
were struggling commercially. Hated by critics, Stars first time) and achieve huge solo success before the
stalled at #153 in the charts, it’s bluesy rock, progressive group re-united for this overlooked album in ’66. Its
country and orchestrated balladeering capturing a closing track, the driving, sophisticated ‘My Girl The
surprisingly diverse range of material; a funky take on Month Of May’ had already appeared on the B-side of
Buffalo Springfield’s ‘Mr Soul’ of particular note. Cher’s the non-charting ‘Berimbau’, but fared better in the UK,
amazing voice is framed by Webb’s massive production finding its way onto industry charts and club playlists. Its
aided by members of The Wrecking Crew, Van Dyke Parks and even Jeff ‘Skunk’ Baxter, quasi-mystical melodies and allusive lyrics were picked up by The Alan Bown! and folk-rock
who plays steel guitar on Jackson Browne’s ‘These Days’. supergroup The Bunch, who both covered it.
Available on: Stars (Warner Brothers LP) Available on: Together Again (ABC LP)

THE MOODY BLUES ARTHUR VEROCAI

Leave This Man Alone Na Boca do Sol
Stalled on the variety club circuit but still ambitious Verocai skilfully combined jazz, funk, bossa and
and brimming with ideas, a string of non-album singles Tropicalia elements to create, on his self-titled 1972
charted the Moodies’ development from oddball blues- debut, one of the landmark albums of Brazilian popular
wailers to progressive art-rock mavens. Best of all was music. Glued together by genius spaced-out keyboard
this stomping B-side, a percussive mod-psych “get thee shifts, ‘No Boca do Sol’ showcases the versatility of his
behind me” to the sexual temptations and fantasies keyboard playing and his ear for an irresistible melody.
tormenting blonde-bobbed heart-throb Hayward, then Its miraculous fusion of styles encapsulates the vibrancy
just 20 years old. and immediacy of Brazilian musical artistry of the time –
Available on: Days Of Future Passed: 50th Anniversary Deluxe Edition  blissed-out cultural defiance in the midst of reactionary political crackdown.
(UMC 3-CD box set) Available on: Arthur Verocai (Mr Bongo LP)

THE CRUSADERS MAPACHE

Pass The Plate In The Morning Light
In 1971, after 10 years and 17 albums as The Jazz Twenty-somethings Sam Blasucci and Clay Finch
Crusaders, The Crusaders ditched the word Jazz are dazzling prodigious talents whose Everly-sweet
from their name and hit their fans with a new harmonies are matched by their intricate, duelling
crossover jazz-funk style. Newly added electric guitar acoustic guitars. ‘In The Morning Light’ takes both
and bass, from Pops Popwell and Larry Carlton vocals and guitars into the heavens. That Beachwood
respectively, gel seamlessly with Wayne Henderson’s Sparks Brad Rademaker and Aaron Sperske guest and
trombone and Wilton Felder’s sax, to make a new Dan Horne produces add further sun-kissed Canyon
streetwise sound. vibes. Sublime.
Available on: Pass The Plate (Verve LP) Available on: Mapache (Spiritual Pajamas LP)

SHIRLEY BUTLER THE LUXEMBOURG SIGNAL

Boogaloo Zoo Blue Field
There was a time when the Boogaloo and its close Membership dates back to Sarah darlings Aberdeen and
cousin the Shing-A-Ling was all the rage. A new comp Trembling Blue Stars, but TLS have forged their own
collects some of the best Boogaloo dancers that got identity on their second album of harmonic, guitar-driven
everyone grooving in mod clubs from Blow Up to pop. The title track is an absolute stunner, combining
Brighton Beach in the mid-90s. Amongst the familiar a Lush-ious pop backbeat with an earworm melody
tracks, a rarity from Texan Shirley Butler stands out. Her that hooks you in from first note to last. The textbook
‘Boogaloo Zoo’ was a tougher, funkier take on the more definition of “dancefloor-filler” – if the kids still go to
trademark Latino style. clubs to dance anymore.
Available on: Let’s Do The Boogaloo (BGP LP) Available on: Blue Field (Shelflife CD)

SHADOWY MEN ON A SHADOWY MILES DAVIS

PLANET A Tribute To Jack Johnson
Zombie Compromise Miles once famously cracked “I could put together the
First and best of the instrumental surf-rock revivalists, greatest rock ’n’ roll band you ever heard”. Riding the
Toronto’s Shadowy Men On A Shadowy Planet rip tide in the wake of the big bang set in motion by
combined the irresistible twang of Link Wray, The Bitches Brew, the album’s two lengthy explorations
Ventures and The Shadows with the crunching of groove-driven rock dynamics and moodily
directness of punk. Active from the mid-80s to mid- impressionistic and seriously deep funk on ‘Right Off’
90s, they released a series of amusingly packaged and ‘Yesternow’ were stunningly edited together from
singles and albums, and were favourites of John Peel. a number of studio jams by producer Teo Macero and
Originally released on the Wow Flutter Hiss ‘86 EP, ‘Zombie Compromise’ is a prime capture Miles and friends collectively putting the pedal to the metal on this, his second
slice of their meaty take on the genre, its menacing stomp of a riff providing the perfect venture into the world of film soundtracks, a suitably muscular salute to former world
soundtrack for a rocking showdown with the undead. heavyweight boxing champion Jack Johnson.
Available on: Savvy Show Stoppers (Yep Roc CD) Available on: A Tribute To Jack Johnson (Columbia LP)

Visit [Link] to check out Shindiggin’ playlists, podcasts and much more
4

SD74 pp04 Shindiggin' [Link] 4 12/11/2017 09:33

p005_Shindig_74.qxp 13/11/2017 12:23 Page 1

New releases for December

Listen People: The Graham James Carr Rhythm ‘N’ Bluesin’ By The Bayou Charlie Rich
Gouldman Songbook 1964-2005 The Dark End Of The Street C/W Livin’, Lovin’ & Lyin’ Too Many Teardrops: The Complete
CDTOP 1487 You’ve Got My Mind Messed Up CDCHD 1514 Groove & Rca Recordings
A five decade overview of the catalogue GOLDWAX 1 (7”) 28 top notch rhythm & blues tracks CDTOP2 1509 (2CD)
of one of the UK’s finest-ever pop To celebrate half a century of a genuine from South Louisiana, 11 of which are The Silver Fox’s complete Groove and
songsmiths. all-time classic record, Kent brings you previously unissued groovin’ goodies. RCA recordings in one place for the
a very limited edition, 45 rpm reissue. first time, including several new-to-CD
tracks and one previously unissued.

James Carr Bettye Swann Melvin Sparks Northern Soul’s Classiest Rarities
CDKENM 472/ KENT 513 (LP) The Money Masters I’m Funky Now Volume 6
James Carr is regarded by many as KENT 508 (LP) CDSEWD 161 CDKEND 471
the greatest soul singer ever. The CD The Original Los Angeles Sessions Previously unreleased album by A spicy mix of unissued, collector’s items,
contains 20 of his best recordings 1965-1968. the master guitarist, taken from the super-rarities and hard-to-find favourites.
Westbound vaults.

from the vaults

James Carr James Carr James Carr James Carr

The Complete Goldwax Singles You Got My Mind Messed Up A Man Needs A Woman A Man Worth Knowing: The 1990s
CDKEND 202/ DVKEND 202 (MP3) CDKEND 211/ KEND 211 (LP)/ CDKEND 215/ KEND 215 (LP)/ Goldwax & Soultrax Recordings
All 28 of James’ legendary Goldwax DVAKEND 211 (MP3) DVAKEND 215 (MP3) CDCHD 1120
singles: A- and B-sides. The legendary soul man’s seminal 1967 The Memphis legend’s second album is Quality 90s ‘comeback’ recordings
album, augmented by a further twelve every bit the equal of his first. from an undisputed 60s soul legend.
Carr killers.

James Carr James Carr Bettye Swann Charlie Rich

A Losing Game (Goldwax Rarities) My Soul Is Satisfied: The Rest of The Very Best Of It Ain’t Gonna Be That Way - The
LTDEP 019 (7” EP) James Carr CDKEND 438 Complete Smash Sessions
A limited edition of 1000 copies, CDKEND 231 The finest tracks from right across an CDCHD 1298
headlined by a recently-discovered The balance of James’ studio illustrious soul career. Charlie Rich’s mix of R&B, jazz &
alternate take of James’ big Northern recordings for Goldwax, Atlantic, country influences were rarely better
Soul floor filler. River City and Soultrax Records. The represented than during his glorious
ultimate JC collectors’ CD! 18-month stint at Mercury Records’
Smash subsidiary.

11
[Link]
 [Link]
jon@[Link]
[Link]/[Link]
@shindigmagazine

Editor-in-Chief:
STAR LETTER I found out the singer was Geddy Lee! That was really
something different!
Jon ‘Mojo’ Mills
jon@[Link]
I thought about throwing it away, but then I paid too 64 North View Road, London N8 7LL
THE CIRCLE GAME much for it. So, I put it on the turn table once more, and
Hi Jon, then again and again… Managing Editor/Reviews Editor:
As a kid, when I had little money in the early ’70s, I Now I’m a big fan of (Tom) Rush. Andy Morten
bought samplers rather than original LPs, such as the Greetings andy@[Link]
CBS-sampler Fill Your Head With Rock. There was this Toine Huijsmans
fantastic Tom Rush song on it, called ‘Driving Wheel’. Assistant Editor:
A few years later I had a bit more money, so I thought Now there’s a lesson Paul Osborne
to give myself a present by going to buy an LP of Tom for us all. A copy of paul@[Link]
Rush. I headed to the record store and saw a double LP the Esoteric reissue
by Rush. A bit of a weird cover, but who cares? Anyway, of the self-titled 1970 Editorial Assistant:
it had a fantastic title: All The World’s A Stage. Running Vertigo album by Phil Suggitt
home and putting the LP on the turntable, I scared Clear Blue Sky is on phil@[Link]
myself to death. Was this Tom Rush??? Looking better, the way.
Contributors:
Ben Adlam, Richard Allen, Joe Banks, David Bash,
PRAISE the one who played that. Grahame Bent, Christopher Budd, Louis Comfort-
Hi Jon, The solo was played by Elliot Ingber/”Winged Eel Wiggett, Del Day, Charles Donovan, Stuart Draper,
Finally, I’ve gotten around to doing what I should have Fingerling” a former member of Zappa’s band. Mike Fornatale, Greg Healey, Kate Hodges, Duncan
done years ago when I bought Vol. 2 Issue #2 in 2008. I’ve Thanks! Fletcher, Ben Graham, Lenny Helsing, Kate Hodges,
subscribed! I always thought of writing you a line to tell you Darryl Weaver, Atlanta GA USA Neil Hussey, Henry Hutton, Johnnie Johnstone,
what a great job you are doing and how much I enjoy your Dan McIntosh, Jon ‘Mojo’ Mills, Andy Morten, Gitte
mag but somebody, well just about everybody who reads Many thanks for the clarification Darryl. Morten, Kris Needs, Paul Osborne, Alec Palao,
Shindig!, does this anyway, so I guess add me to the list! Thomas Patterson, Jeff Penczak, Mark Raison, Paul
I always thought of asking about some obscure EVEN STAR Ritchie, Adam Scovell, Christopher Sheridan, Mike
psychedelic or progressive band to be written about too but Hi Jon, Sutton, Spenser Tomson, Chris Twomey, Michael
bugger me if Shindig! hasn’t delivered on that either! And, What a great interview with Janis Ian in #72, such an White, Lois Wilson
and, you cover the new stuff! Unreal! Thank you. intelligent articulate woman with a long career and not a shred
The high light of my life Shindig! of bitterness. I saw her in concert around 10 years ago and Publisher:
Rock ’n’ roll and psych out, met her afterwards when she signed my vinyl version of her Tom Saunders, Silverback Publishing
Peter Pfitzner, Australia Greatest Hits and commented she didn’t see many of her tom@[Link]
vinyl records these days to sign and told me that the white 14 Victoria Road, Sutton, Surrey SM1 4RT
Many thanks Peter, it’s wonderful to hear we’re getting it right! jacket she was wearing in the photo had been loaned to her Tel: 020 3752 2263
literally minutes before the shoot. She is also a very underrated
ANOTHER TIME guitarist showing that evening, a masterclass of technique. Director: Andy Crispin
Hi Jon, Also after reading the Sabbath interview, I revisited those
Kris Needs was not alone in becoming infatuated with Tom early “behemoth” albums proving that variety is certainly the Commercial Manager: Alan Thomas
Rapp’s music in the ’70s. Much like him, I accumulated all spice of life around these parts. Keep up the great work. alan@[Link]
Rapp’s albums – mostly from cut-out bins in Devon – and they Cheers, Tel: 07830 168076
occupied a special place in my heart. G.D Evans
For years, no-one really knew if semi-obscure musicians Subscriptions:
like him were alive or dead – all we had were rumours. So, Janis Ian and Black Sabbath. Variety is indeed the spice. subscriptions@[Link]
when I had my first experience of internet “surfing” in the Tel: 01778 392495
’80s, the first name I searched for was Tom Rapp. Amazingly, MEDIUM RARE
I found there was already a fan site devoted to Pearls Before Hi Jon, Design: Andy Morten, Martin Cook
Swine. I was not alone! It had an email address for Rapp. I Recently I have bought the Hocus Pocus box by Focus, one of
sent a message into the ether – and within an hour or two, to the greatest bands from The Netherlands. Yesterday I listened Printed by: Warners Group
my utter and lasting astonishment, I received an appreciative to one of the records, Hamburger Concerto. In the old days
and personal message back, from the man himself. I would have played this record around three or four times in If you have trouble finding Shindig! magazine in the UK
Now, decades later, my continuing joy at being able a week and now these pleasures have come again, a really please contact Warners Group Publications Plc on
to listen to his music is only tempered by the sadness of fabulous record. The skills of these men were terrific, especially 01778 391171, email: nikkim@[Link]
knowing that he is seriously ill. Van Leer and Akkerman. Hamburger Concerto has been
While every effort is made in compiling Shindig! magazine
Get well soon, Tom Rapp – we love you. remastered in a great way. It’s rocky, classical, jazzy, it’s got the publishers cannot be held responsible for errors or
Guy Hamilton pomp and it’s for me, one of their best. omissions. Readers are advised to pay by credit card when
That’s why I was surprised that Marco Rossi didn’t mention ordering goods off the page as they are regulated under
Both Kris and the team think it’s great to hear how Tom Rapp, Hamburger Concerto in his comments about the Focus box Consumer Act 1974, unlike debit or charge cards, which
one of the true underrated giants, has touched others. We at all. This record contains everything that made Focus this are not. All rights reserved. No part of this publication may
be reproduced or transmitted in any form or by any means,
should all wish him a successful recovery in his latest battle. great band: Akkerman’s guitar and lute, Van Leer’s yodelling electronic or mechanical, including photocopying, recording
and keyboards, Ruyter’s bass and Colin Allen, who had a or any storage or retrieval system, without the consent of
AN IRIDESCENT DREAM thankless job to replace Pierre van der Linden. They all did the publisher. Registered at Stationers Hall Copyright. Direct
Hi Jon, well. I recommend Marco to listen once more to Hamburger Input by Silverback Publishing Ltd.
Just read the story about Captain Beefheart’s Safe As Milk Concerto.
album by Johnnie Johnstone. By the way, I love your magazine, and luckily the availability
Thanks, but there’s a serious mistake in the around Amsterdam is good. Keep it up and cheers for Shindig!
accompanying article ‘Booglarized: A Beefheart Baker’s Greetings from Holland,
Dozen’. There, in describing the track ‘Alice In Blunderland’, Peter de Langen
the squalling rampage of a guitar solo is ascribed to Bill
Harkleroad/Zoot Horn Rollo, who’s a fantastic player but not I’m sure Marco will give it a second listen after reading this.

SD74 pp06 Letters [Link] 6 12/11/2017 09:34

p007_Shindig_74.qxp 10/11/2017 14:40 Page 1

CARGO COLLECTIVE

SPIRITUALIZED VIRGINIA WING / XAM DUO HATER VARIOUS ARTISTS

FUCKED UP INSIDE TOMORROW’S GIFT RED BLINDERS THE LOBSTER
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Recorded live in California on the North American Unravelling coils of oscillations & intermittent fragments Lush and tempered guitars are an almost Marr- LAKESHORE RECORDS LP / CD
‘Rollercoaster’ tour with the Jesus and Mary Chain; of semi-formed loops, electronic & acoustic instruments approved Smiths-like foil for Caroline Landahl’s Curated by Lanthimos and music supervisor Amy
issued in a limited edition embossed and foil- resonate gently against each other. With references beautifully accented and accentuated vocal. Ashworth, the soundtrack “brings the film’s edgy
blocked fold out gatefold card wallet. from the mutated world percussion of Holger Czukay, Intricate guitar-led dream pop. Stereogum’s Best tension & menace to the fore” (Screen Daily).
the transportive saxophone of Pharoah Sanders, & the New Bands of 2017. Featuring Nick Cave & The Bad Seeds & Kylie
devotional music of Alice Coltrane. Minogue & Sophia Loren with Tonis Maroudas.

THE ENID & ROBERT JOHN GODFREY DANIEL GADD WILD EVEL AND THE TRASHBONES THE DARTS (US)
THE MUSIC OF WILLIAM ARKLE AS IF IN A DREAM I DRIFTED AT SEA DIGGING MY GRAVE ME. OW.
AND OTHER RECORDINGS 107 RECORDINGS CD DIRTY WATER RECORDS LP / CD DIRTY WATER RECORDS LP / CD
INNER SANCTUM CD “Sure to rise...” FRUK “Mesmerising” **** MOJO Four Austrian freaks mixing sixties US garage punk All grrrl supergroup playing garage-psych-fuzz-
Originally composed by the visionary artist, spiritual “World class” ***** MUSIC REPUBLIC; for fans of with the spirit of Screaming Lord Sutch: fuzzed-out punk rock that delivers fuzzed out big bass
philosopher, painter, poet and teacher William Arkle Bon Iver’s For Emma, Forever Ago, Leonard Cohen, guitars, furious drumming, three-finger Farfisa and drummed Farfisa organ lo-fi goodness for the soul.
in 1968; realised and performed by Robert John Laura Marling. wild, howling vocals.
Godfrey and the Enid; now released on CD for the
first time in a fold out gatefold card wallet.

HARRY STAFFORD THE JUST JOANS TOM MCRAE BDY_PRTS

GUITAR SHAPED HAMMERS YOU MIGHT BE SMILING NOW… AH, THE WORLD! OH, THE WORLD! FLY INVISIBLE HERO
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Harry Stafford (Inca babies) releases ‘Guitar Cult Scottish miserablists return for the first time Tom McRae returns with his 8th studio album. Made “Reminiscent of imperial pop phase of Kate Bush”
Shaped Hammers’, Revenge Ballads, Funeral Blues, in a decade with an album of self-awareness and in Norway & New York the album is a very personal, - Clash… “Subtle harmonies and theatrics are
End of the world piano dub, punk jazz tales of self-deprecation exploring angst, heartbreak and contemplative response to a world gone mad. setting the Scottish duo apart.” – The Line Of
melodrama and murder. detachment. “McRae’s mordant wit & dark romance might make Best Fit.
him the perfect songwriter for these fucked up
times.” The Telegraph.

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SD74 [Link] 12/11/2017 15:19 Page 1

it’s a happening thing

Good Times
ANDY MORTEN attempts to tune his telly in to the other side of the world to witness a
new documentary on Australian rock’s greatest ever export

The TV Easybeats perform

‘For My Woman’ to the
delight of local teens

iven the sad passing of Maher, stated, “We’re massive Easybeats

G
Easybeats founder and fans so to be involved in bringing this
songwriter George Young incredible story to life is a real honour,
last month, the arrival of and something we’re both proud and
Friday On My Mind, a new excited to be producing.”
two-part mini-series Trailers released so far look
charting the formation and rise to encouraging. There’s plenty of attention
international stardom of “Australia’s answer to detail in the first, as the Easys amble
to The Beatles”, seems curiously prescient. onto a darkened, Cavern-like stage in an
While none of the members of the empty cellar bar and casually strike up
original Easybeats were Australian (two ‘For My Woman’, the song that would
Dutchman, two Englishmen and a Scot), become their debut single in March
the group coalesced in the migrant hostels 1965. The second sneak preview sees
in and around Sydney in the early ’60s. George and Stevie (Will Rush and
Their parents were put on housing lists Christian Byers) visit Harry and Dick
and sent out to work menial jobs, leaving (Mackenzie Fearnley and Du Toit
“hostel hillbillies” Stevie Wright, George Bredenkamp), only for George to hijack
Young, Snowy Fleet, Harry Vanda and Harry’s beloved Höfner guitar for a
Dick Diamonde to trade Chuck Berry spirited rendition of ‘Dizzy Miss Lizzy’
licks on cheap guitars and home-made that wins the duo over and hastens the
amps in gloomy canteens, while avoiding birth of Australia’s first internationally
the attention of local thugs. Within two successful rock band.
years the quintet had conquered – nay, Whether the show will chronicle the
invented – the Australian pop scene and Easys’ productive but frustrating London
were taking Vanda & Young’s anthemic sojourn of ’66-68 is unknown, but clearly
‘Friday On My Mind’ on a tour of Top those “rags to riches” first 18 months
10s around the world. culminating in ‘Sorry’ hitting the
This newly produced TV drama has Australian #1 spot will form the backbone
been financed by ABC TV, Playmaker, of a unique and dramatic musical story.
Photo by Tony Mott

Screen Australia, and Screen NSW and

boasts a team of young, up and coming Friday On My Mind airs on
writers, directors, actors and producers. ABC in early December with a
The latter, David Taylor and David digital release to follow
SD74 [Link] 12/11/2017 15:20 Page 2

, Snowy Fleet,
The real deal. Stevie Wright, Harry Vanda
London, 1967
Dick Diamonde and George Young in

“Trading Chuck
Berry licks on
cheap guitars
and home-made
amps in gloomy
canteens, while
avoiding the
attention of local
thugs”

A Very Special Man own. And it’s not difficult to envisage the
Easys’ eternal working class anthem
EP and the pivotal late ’66 / early ’67 Shel
Talmy sessions, through to the
‘Friday On My Mind’ as a musical cypher orchestrated riches of the Vigil era, there
GEORGE YOUNG, founder for the frontier spirit down-under. was constant innovation. But George and
Young hailed from a tough Harry wisely surmised that the simpler
member of The Easybeats Glaswegian background, one of seven records were the most effective. This
and one half of the hit brothers, all of whom were musically meant a certain quotient of bubblegum
Vanda/Young songwriting inclined (the older Alex in Grapefruit, the and schlock in the future, but at least one
younger Malcolm and Angus in AC/DC). of the prolific Vanda/Young post-Easys
and production team, Yet George was the one gifted with the noms de disque – The Marcus Hook Roll
passed away in late knack to create fully accessible pop that Band and ‘Natural Man’ – was cut of the
October. Easys fanatic maintained a firm rock ’n’ roll heart same creditable cloth as their signature
beneath. In the Vanda/Young partnership, rocker ‘Good Times’.
ALEC PALAO reminds us of Harry was the riff king, while George was Returning to Australia in ’73,
their importance invariably the wordsmith, with a the duo would emerge as quintessential
remarkable facility for concocting both backroom boys, eschewing the spotlight
When Serge Gainsbourg died in 1991, it nagging melodies and decidedly non for the mixing desk, yet happy to serve up
was a national day of mourning in France. sequitur arrangements. In interviews, he hit after hit for Ted Mulry, John Paul
One would wish for the same response in always had an interesting perspective: the Young and old compadre Stevie Young,
Australia for the late, great George Young, studio footage in the recently unearthed amongst many, many others. Let’s also not
the musically pugnacious foil to Harry vintage documentary Easy Come Easy Go forget successful side projects like Flash &
Vanda. One of ’60s pop’s great archetypes, is most instructive in this regard. The Pan, nor their able stewardship of
the brilliant songwriting and production The Easybeats’ early hits were an AC/DC, whose debut waxing ‘Can I Sit
work of Vanda & Young also made them appealing articulation of Beatles Next To You Girl’ is late period Easys in
the poets laureate of Antipodean rock ’n’ influence; their final efforts a prescient, if all but name. AC/DC are also one of the
roll. Though in 1964 The Easybeats were workmanlike, forecast of boogie-rock. In few hard-rock groups where you might
born a conglomerate of migrants in a between lies an unsurpassed catalogue. actually hear some rolling going on,
frankly hostile Sydney, Australia would be From the brilliant pre-emigration garage thanks no doubt to George’s fraternal
quick to proclaim them the nation’s very -rock of Volume Three and the Easyfever influence. He will be missed.
SD74 [Link] 12/11/2017 15:20 Page 3

it’s a happening thing

The Woman’s Soul
SHARON JONES was the embodiment of soul music, a powerhouse singer and
immensely talented performer whose vocals were by turns gutsy and tender and have
you crying and dancing all at the same time. As well as becoming a leading light in
the soul music revival that swept the globe in the early noughties, she also played a
key role in turning her record label Daptone into the world’s premier label for soulful
and funky sounds. Before her sad and untimely passing in 2016 from pancreatic
cancer, she recorded her final and arguably best album, Soul Of A Woman with her
friends and band THE DAP-KINGS.
Following the album’s recent posthumous release, and by way of tribute, Shindig!
asks her fellow Dap-Kings to pick some of their favourite moments from catalogue of
one of soul’s brightest stars
SAUNDRA WILLIAMS we had the song quickly move to the
(Dap-Kings backing vocalist and simmer section. It actually worked, and it
member of Saun & Starr) became one of those songs that we used
to play live for at least 10 minutes, and
Stranded In Your Love (Featuring Lee Sharon would bring up dancers and all. I
Fields) also always loved the line, “A happy do
(From Naturally, 2005) right good man.” 
“Is this romance, or
circumstance? Now I’m BOSCO MANN
stranded...” I first heard (Dap-Kings bassist, producer and
‘Stranded In Your Love’ Daptone co-founder)
while on one of my late-
night drives, listening to When The Other Foot Drops, Uncle
the Daptone Gold compilation and I looped (From 100 Days, 100 Nights, 2007)
it for the rest of the night. In a nutshell, same time. It sounds funny when you first This one was a sleeper, but one of my
this song showcases Sharon’s natural vocal hear it, like a joke Christmas song, but it’s favourites. The lyrics are actually
expressiveness. All at once she’s tough and actually a serious song, and the song asks a something I wrote about George W Bush
tender, suspicious, forgiving and even real question. When I first heard the final and his administration lying about weapons
sexy. Her nuances are so honest going version, I was immediately addicted, and of mass destruction in Iraq, among other
back and forth with Lee. To me, this will it quickly became my favorite SJDK cut. I things. It was really meant to be a protest
always be a classic expression of her in real still don’t know exactly how the whole song about his days being numbered. The
life – she was straight-no chaser but thing came together but I’m just happy to “Uncle” was meant to be lying Uncle Sam.
simultaneously, her heart would be on her be a part of it.  The expression is supposed to be “when
sleeve. the other shoe drops,” but I thought “foot”
HOMER STEINWEISS sounded better to sing. Or maybe I
Ain’t No Chimneys In The Projects (Dap-Kings drummer) couldn’t remember the expression
(Single, 2009) correctly. Either way… like every song,
I’m not exactly sure how Keep on Looking everybody seemed to assume Sharon was
this song came together (From 100 Days, 100 Nights, 2007) singing to a lover. I don’t know why
but I do know that we cut I remember working on this tune with people always assume that, even if there’s
the rhythm track without Tommy Brenneck (Dap-Kings Guitarist) not a single lyric about love in the tune. I
the song in mind. We cut in various hotel rooms while we were on remember in a review of the album
it for some reason or the road. We were trying to write a song someone even quoted the line “Your crafty
other, I loved it and then forgot about it. that would work well live. We used to little pencil/ Is running out of lead,” and
The next time I heard the track, it had play these James Brown covers that had said it referred to an impotent lover. Wow.
been laced by Sharon with these amazing long sections that would just simmer. It I love the song for the arrangement. I think
vocals and some really powerful words was like cooking beans, they’d come to a it’s one of the most distinct and well-
that she wrote. I love a song that can boil and then just simmer forever. So we executed studio recordings we ever did.
move you and manage to be funny at the wrote a couple of quick verses, and then Great background vocals too.

“I will never forget the energy that would come across the
venue as we would do what we all did best, which is back
Sharon and give her the musical bed to tell those stories and
sing her ass off for the people night after night”

10
SD74 [Link] 12/11/2017 15:20 Page 4

Photo by Jacob Blickenstaff

The Dap-Kings with their
queen, Sharon Jones
(front, middle)

NEAL SUGARMAN Sharon and give her the musical bed to wouldn’t fit in our show. We reworked it
(Dap-Kings saxophonist, producer tell those stories and sing her ass off for into a James Brown styled soul number. It
and Daptone co-founder) the people night after night. became one of the highlights of the show.
Sharon brought new energy to the lyrics.
If You Call STARR DUNCAN-LOWE Every night she introduced it saying she
(From I Learned The Hard Way, 2010) (Dap-Kings backing vocalist and now sang to the cancer in her body “You
This is a soulful minor member of Saun & Starr) get up and get out.” The song would
blues high lighting Sharon climax with her doing the shout, soul
Jones and the band’s Retreat! church style as she did so passionately. It
ability to play something (From Give The People What They Want, was never faked, it was always real and
so classic-sounding yet 2013) needed, and many nights it was the
being able to keep it fresh During one creative turning point between a good set and
and current. Hear Sharon telling the story recording session, an what had previously been a bad one.
in a classic bluesy plead, while waiting for interesting song comes
hours for her man to call only to never through our ears with real FERNANDO “BOOGALOO”
hear the phone ring, wondering what fire and purpose, the VELEZ (Dap-Kings percussionist)
could have been. words all made sense with
This performance is right up there with the power of the music and that song that Rumors
any of the greats. The band take their cues stood out was ‘Retreat’! WHAT A (From Soul Of A Woman, 2017)
from the likes of Bobby Bland, Ray RUSH!!!!! This was something that we Over the last 10 or so
Charles and Little Willie John. The song can all relate to and makes you think, years Sharon would bring
became an opener in our live set often “enough of this daily grind!” up that she always wanted
followed by a hyper show time musical to do a boogaloo
intro for Sharon, only to bring the music BINKY GRIPTITE sounding song. With that
down with the opening drum swell into (Dap-Kings guitarist) in mind, I brought the
the giant minor moody horn arpeggio. idea into a song writing session with
This really gave Sharon a chance to take Get Up and Get Out Homer and Cochemea. I hummed the
her time and do what she did best which (From Give The People What They Want, melody and hook and we started from
is reel in each audience member one by 2013) there. The guys were really into it and we
one till, by the end of the song, she would ‘Get Up and Get Out’ is a dramatic developed it and brought it to the studio
have everyone on the edge of their seat example of the difference between the for the recording sessions. We had a very
while the band would play the big end studio and the stage. Homer wrote this specific cadence and syncopation for the
cadenza with Sharon pleading “IF YOU quirky little tune about bedbugs. He had a song and showed Sharon that idea but
CALL, IF YOU CALL, IF YOU CALL.” country arrangement for it, kind of odd man, she took it and made it all her own
At that point in the show we could go any for us but Sharon took to it once Homer and absolutely crushed it.
direction. I will never forget the energy explained what it was about. It fit her
and the just straight out heavy vibe that voice and she sang it great. But when it Soul Of A Woman by Sharon
would come across the venue as we would came time to go on tour and play the Jones & The Dap-Kings is out
do what we all did best, which is back album, we knew that arrangement now on Daptone

11
SD74 [Link] 12/11/2017 15:20 Page 5

it’s a happening thing

Snakes and lads. Paul
Molloy and Ian Skelly

Welcome To Looneyland
Garage minimalism, Gothic horror and grandparents. All stops
on the incredible ride that is SERPENT POWER’s new long-player.
THOMAS PATTERSON climbs on board

was watching an interview with this guy who said he was an engineer for Phil Spector, he

“I
was probably a fruit loop, and he said he got a job for The Montauk Project and he told this
story about this lizard god that started getting pissed on the bleach that they used to spray
on the alien greys, because the greys apparently excrete urine through their skin, so they
stink. And it was hilarious, he was just telling it like it was normal, he was dead blasé.”

So says Ian Skelly, drummer for Liverpudlian psych-heads The Coral and co-conspirator with ex-
Zuton and current Coral guitarist Paul Molloy in brilliant, wigged-out psychedelic combo Serpent
Power. He’s describing the inspiration for the cover art he’s painted for the duo’s rollicking sophomore
album Electric Looneyland, which features a dayglo lizard man chugging a can of beer. It also
thematically fits in with the weird and wonderful world the pair are carving out for themselves, a
SD74 [Link] 12/11/2017 15:20 Page 6

world of B-movie oddness characterised was ‘Okay, let’s figure out where we can
with a fantastic neo-garage swagger that go with this.’ There was a conscious
retools the sounds of bands like The Seeds decision to go heavier, more minimal,
and sends them soaring into a neon-lit with less instruments on each song. The
future. Looneyland is a terrific rollercoaster rule was no more than four instruments at
of an LP, indebted to an ineffable sense of a time.” He continues, “Another one of
the strange and a love of unsettling the rules was ‘Let’s not try to play too
horror, as evidenced in track titles like good.’ I’d say to Paul ‘Play it like you’re
‘Howling’, ‘Witching Hour’ and the HP 16 and you don’t really know what you’re
Lovecraft inspired ‘Colour Out Of Space’. doing,’ for a lot of the guitar solos. We
“Obviously you hear in it a lot of really wanted to do a zombie sort of
horror references,” explains Molloy. “On garage band. A British version of The
this album, and a lot on the first one, Seeds.”
there are Lovecraftian, Edgar Allan Poe “We listened to loads of The Seeds,
references. I’ve been reading loads of that Axelrod, we absolutely went to town
stuff, I’m kind of obsessed. Obviously listening to that kind of stuff,” adds
‘Jekyll And Hyde’ is inspired by the Molloy. “A big favourite was Mass in F
Robert Louis Stevenson novel, and we’re Minor. Sounds Of Tomorrow was an album
trying to create a sonic version of a horror we liked a lot, a song called ‘Overnite
novel.” Run’, we loved the way the keyboards
Which isn’t to say this is a grim and sounded on that.” “I was listening to a lot
gruesome ride. Indeed, it’s anything but, of Lee Perry, and a lot of dub,” Skelly
the pair create a wonderfully deft and explains. “And Sounds Of Tomorrow. I
joyous atmosphere, not in least in their don’t know too much about them. They
choice of album title. “We had a few were a lounge band, a bit Joe Meek. That
different titles bandying around, and we was one of the ideas, we should be a like a
were working on ‘Gates Of Heaven’, lounge band, but with a sci-fi edge.”
doing the backwards guitars that sounded Despite their sci-fi aspirations, the pair
quite Hendrix-esque, and it just popped are inextricably linked to the past, not
into my head,” Molloy says. “It was a least in their choice of name. Serpent
flashbulb moment, and we just laughed Power is a form of tantric yoga, but it’s
about it for ages. The album title is also the name of an original San Francisco
fitting. It’s like a sonic theme park you can psych band from the late ’60s who
enter into. It’s all good fun. released a pair of well-regarded albums
“That’s important for me and Ian. A lot back in the day. “Our name doesn’t sit
of bands go out and bust their balls to try very well with some people,” Molloy
and take over the world and tours their explains, “but it’s a long time between
arses off. We just don’t want it to be that, them and us. That name just stuck. We
we want it to be fun. We want the music just grew into it, and it suits us. We’re a
to be first and foremost and to make a modern band, and I think it’s a bit
good album, and everything else is irrelevant. That original Serpent Power
secondary. And as long as we’ve had good are great, but it’s not like they were The
fun doing it, hopefully that’ll rub off.” Beatles. I don’t mean that with any
It certainly does, and joining in with disrespect. Ian came up with the name and
the fun is an elder member of the Skelly it certainly wasn’t plagiarism, It’s just one
family. “We got Ian’s grandad in because of those things that stuck.”
he’s such a great character,” Molloy “I decided to keep the name, because
elaborates. “His job is as the narrator of we couldn’t think of anything better,”
the record. We’ve got him in about three laughs Skelly. “And then people were like
passages on a few different songs, and we ‘There’s an American Serpent Power.’
thought it’d be really interesting to have And I thought, ‘Oh, so what?’ There was
him narrate it. A bit Stanley Unwin- a British Nirvana and an American
esque, but with a horror vibe. And it Charlatans, so I thought if Nirvana and
worked really well. We’ve given him a The Charlatans can get away with it, fair
name, we’ve called him Count Moriarty, enough!”
that’s his character now. It’s fun, it’s like Any lingering memories of the first

“There was a
our own world.” Serpent Power should be immediately
Fittingly, just as Serpent Power have dispelled by the fantastic Electric

conscious decision
created their world, their sound has Looneyland, and its madcap, patchwork,
evolved from their elaborate beginnings out-there designs; and if there’s one thing

to go heavier, more
on their 2015 self-titled debut. “There the pair want to make clear, this isn’t just a
was an intention to have a minimalist quick timeout from the day jobs of

minimal, with less

approach to this album as opposed to the playing guitar and drums in The Coral.

instruments on
first one,” Molloy explains. “We did a lot “Serpent Power isn’t just a side project,”
of arrangements on the first one, such as stresses Molloy. “It’s a serious thing we

each song. The rule

the brass on ‘Cherry Pie’.” want to take forward. We have to take it
“The latest album, there was more of a forward in a way that we can do it right

was no more than

clear idea of what Serpent Power was,” and give it the respect it deserves. We have

four instruments at
says Skelly. “The first album was more a very Serpent Power mentality!”
eclectic, there are all different styles on

a time”
there. The song we really liked on the Electric Looneyland is out on
first album was ‘Lucifer’s Dreambox’ 15th December on Skeleton
which went down really well live, so it Key
SD74 [Link] 13/11/2017 12:32 Page 7

it’s a happening thing

Don’t Eat The Berries
ELECTRIC EYE are just about to release their diverse third album.
SPENSER TOMSON thinks it could be an absolute blinder
ergen’s Electric Eye certainly “When we perform the music live, the ’70s that sound great.”

B
know their way around a groove. songs start to live their own life and we It’s this eclecticism that makes the task
With previous releases, they’ve make changes and explore different of describing them rather difficult. But
tended towards a wider-eyed versions. That’s partly to make it this doesn’t appear to concern the band
kind of space-rock, each interesting for our selves, not to play when asked about the words that have
instrument taking its time to exactly the same song over and over, and been used to describe their sound and
amble through the cosmos. On From the partly to make it interesting for the influences. “World music is a really
Poisonous Tree, their third album proper, audience. Jamming has always been strange term. All music is world music,
this voyage into space is powered by much important in our style of music.” just from different parts of it. But
larger rockets, the band are strapped-in, So above the motorik pulse that listening to cool music from Ethiopia
their focus is locked and their fingers are on underpins these eight tracks, the album from 1969 really helped to open my mind
the thrusters. Guitarist and singer Øystein captures a sense of exploration touching and you get a different view on the
Braut explains their musical connection. on prog, jazz and various styles of world society the music came out of,” explains
“We have been playing together in music. While fans of King Gizzard & The Braut. “We use an Indian sitar and a drone
different bands since we were 15 or 16 Lizzard Wizzard, The Black Angels and box called a Tanpura. Also we use tonal
years old, so we know each other really even Warm Digits will certainly dig, voicing of Indian traditional music and
well both musically and personally. there’s a freedom that propels Electric Eye lately we have been adding some funk
Trusting your buddies is key when it comes through much wider sonic landscapes. “I vibes inspired by those old records. I think
to playing together, and it makes jumping love listening to psychedelic-funk and it’s just a way of finding new inspiration
into unknown territories way easier.” rock from the ’60s and the ’70s,” explains that sounds fresh.” But the lead singer
Alongside Braut, there is Njål Braut. “There’s a wave of cool stuff being sums it up best with his final words, “Life
Clementsen on bass and vocals, Anders re-released on vinyl now. So you can find is too short to listen only to one genre.”
Bjelland on keys and Øyvind Hegg-Lunde fuzzy and weird stuff from Indonesia,
with the drums. Their sound feels like 40 Nigeria, Turkey, Thailand, all over the From The Poisonous Tree
musicians rather than four, so how exactly world. Also there’s a bunch of is out on 8th December on
do they conjure their vast kosmische haze? underground movie soundtracks from the Jansen

“Trusting your buddies is key when it comes

to playing together, and it makes jumping
into unknown territories way easier”

They’ve got their

eye on you

14
p009_Shindig_74.qxp 10/11/2017 14:41 Page 1

180 gram LP/CD & DL CD 180 gram LP/CD & DL

Crystal Jacqueline

Await The Queen

Black or Silver vinyl LP Double LP/CD & DL Red vinyl 12-inch EP/DL

180 gram LP with insert/CD 7-inch white vinyl LP/CD & DL

This lot and more available from [Link] and 11

SD74 [Link] 12/11/2017 15:20 Page 9

it’s a happening thing artifacts

Natural High
Who better to reboot some of the most enduring James
Brown productions than one of his original funky
divas? PAUL RITCHIE meets the legendary MARTHA HIGH

“He always
An exhibition about The Summer Of Love would

wanted the
suggest that we are revisiting a well-trodden path, but
the current offering at The New Mexico Museum,

world to
VOICES OF THE COUNTERCULTURE IN THE
SOUTHWEST, delivers a spin on the familiar tale,

know he had
focussing solely on the New Mexico area and the

powerful
young people who flocked to live under the big open
skies there. Using first person audio, documentary

women on
photography and artefacts, the curators show how
individual action can help shape political and social

stage that
causes, such as local Native American activists The
Black Mesa Defence Fund. Running until 11th February,

could hold
visitors are also invited to share their own stories in an

his crowd”
audio feedback booth.
[Link]

Fans of Swedish popular music will find a lot to enjoy

Soul deep. Martha in an exhibition currently on at The Museum Of
High in 2017
Gothenburg. MUSIC SCENE GOTHENBURG 1955-
2018 promises a tour through the arenas, clubs and
till in fine fettle vocal wise, also theatres up and down the east coast forgotten dance floors of the city, highlighting the

S
Martha High is one of the and we played one after the other. It was artists and bands that were part of the local scene. 
legendary soul sisters who five theatres that were very popular in the Exhibits about Tages, Doris, The Soundtrack Of Our
worked with James Brown along ’60s and ’70s starting at The Howard Lives and many more are in the bag! The exhibition
with the likes of Anna King, theatre, in Washington DC, The Royal in runs until 11th March.
Vicki Anderson, Lyn Collins and Baltimore, The Uptown in Philly, The [Link]
Marva Whitney. Her new album, Tribute Apollo in New York and The Regal in
To My Soul Sisters is a tender, loving and Chicago. We would be there for seven
ultimately funky homage with re- days at each theatre, performing six to
modelled versions of favourites such as seven shows per day, starting at one
‘Mama Feelgood’, ‘Unwind Yourself ’ and o’clock in the day, until 12 at night. As
‘Think (About It)’. The album sees High soon as one show was over the very next
accompanied by the irrepressibly authentic would start, wow! That was show
backing of Japan’s premier funk business! Nothing like now. I loved it!”
ambassadors, Osaka Monaurail. “Working All the women who worked with Mr.
with Osaka Monaurail in the studio was a Brown, as they called him, were close, as
beautiful experience” Martha tells Shindig!, Martha confirms. “We had a tight bond
“the fact that they are one of the best funk together through the years. I loved them
The British Library in London is currently displaying a
bands who can replicate the ‘Godfather’s’ very much. Lynn and I were inseparable, free exhibition about the development of recorded
band in the ’60s is a true statement.” Marva was my mentor, she was my sound from its invention in 1877. Entitled LISTEN: 140
And Martha should know. Her first favourite singer out of all that sang with YEARS OF RECORDED SOUND, it promises choice
group The Jewels first joined The James Mr Brown and Vicki, and she still is my sounds from the archives, rarely-seen players and
Brown Revue in 1964 and she went on to big sister whom I still love, and we talk recorders, and materials from The BBC Radiophonic
work with him as a vocalist for 30-plus and see each other whenever we can.” Workshop. There is also a specially commissioned
years. She was with him during the iconic How does it feel coming back to these audio installation and a programme of events and
’68 gig after Martin Luther King’s songs all these years later? “Being given the talks. On until 13th May, this should satisfy even the
assassination and by his side when he opportunity and the pleasure to perform most demanding audiophile punter.
performed at the renowned Rumble In his songs is my way of saying: thank you, [Link]
The Jungle event in Zaire. If you want to you’re not forgotten. To record the music
know more about her life with James of the Funky Divas, would mean a lot to If you’ve always wanted to know more about ELVIS
Brown, check out her recently published Mr Brown. He always wanted the world to PRESLEY’s second bout of success, here’s your
memoirs, He’s A Funny Cat, Ms. High: My know he had powerful women on stage chance to indulge in the spectacle of his 1969-77
32 Years Singing With James Brown. that could hold his crowd while he was off period, in an exhibition at The O2 in London. Elvis On
Martha was happy to reveal what it was the stage. They were just as powerful and Tour, which runs until 4th February, features over 200
like to be part of those famous Revue funky as he was.” artefacts from the Graceland archives, shown in the
shows. “We called it the ‘chitlin circuit’, UK for the first time. Get yourself down there if a bit of
we could only play certain places and Tribute To My Soul Sisters is tight-trousered rock ’n’ soul is your thing.
clubs, mostly in the South. There were out now on Record Kicks [Link]

16
p017_Shindig_74.qxp 12/11/2017 15:24 Page 1

The World Is Yours

RICHIE HAVENS THE McCOYS THE BYRDS THE BYRDS

Richard P Havens, 1983 Hang On Sloopy - Best Of Live At The Fillmore February, 1969 Byrdmaniax
FLOATM6332 FLOATM6328 FLOATM6294 FLOATS6326

THE ELEVENTH HOUSE THE LOADING ZONE SPIRIT MIKE BLOOMFIELD

Level One The Loading Zone Time Circle 1968-1972 Live At Fillmore West 1968-1972
FLOATM6315 FLOATM6320 FLOATM6322 FLOATM6318

PAUL KANTNER HOT TUNA POCO DINO VALENTE

Venusian Love Songs Live At New Orleans House, 9/69 Live At Columbia Studios, 30/9/71 Dino
FLOATD6293 FLOATM6313 FLOATM6314 FLOATS6291

Vinyl Frontier

COPPERHEAD - Copperhead POINT BLANK - Point Blank

FLOATLP6051 FLOATLP6139
11
[Link]
SD74 [Link] 12/11/2017 15:21 Page 11

it’s a happening thing goodnews

Having already established

Twisted Roots itself as a mainstream

outlet for classic vinyl
reissues over the last two
DEL DAY learns how to mix-up your influences and add a years, UK supermarket
SAINSBURY’S has just
dash of “Who knows what” with Spain’s hottest roots announced the launch of
rocker, JULIAN MAESO their own record label
(managed with the assistance of major label players
ne thing immediately “Since I started playing music,” he Warner and Universal). Adding kudos to their inaugural

O
striking when listening explains, “I’ve known, learned and played releases is none other than Bob Stanley, who has put
to Somewhere, Somehow, different styles to try and get the best of together two compilations Coming Into Los Angeles: A
the third album from out of them. Once you understand the Taste Of West Coast and Hi-Fidelity: A Taste Of Stereo
Spanish multi- roots, you find a need to mix them all Sound. The records come with essays by Stanley and
instrumentalist Julian while adding your own point of view. I striking, modernist artwork inspired by Sainsbury’s in-
Maeso, is that it’s an album so clearly don’t think too much about what I´m house design studio of the ’60s and ’70s.
embedded in sounds and influences of the gonna do, or if I’m going in the right [Link]
past, yet remarkably it manages to sound way, I just let myself go and then pick up
very much of the here and now. Listen to the pieces.”
this fine collection of songs and you’ll There’s integrity and a certain musical
hear Santana, Neil Young, the more purity that oozes from Somewhere,
bluesy reaches of The Black Crowes and Somehow. Maeso switches instruments
even The Doobie Brothers on ‘Back To effortlessly (predominantly between
Me, Back To You.’ guitar and Hammond), all the while
“To be honest, I know all those bands showing wonderful control over his
and I’ve listened to them all through the instruments. As Maeso is a such a gifted
years” points out Maeso. “I don’t have any multi-instrumentalist, Shindig! asks how
of The Black Crowes albums at home. I his songs are formed and shaped given
went to Chris Robinson’s last gig in their final multilayered incarnations?
Madrid, opened my ears and got the best “I use piano and acoustic guitar the The world’s greatest hangover band, Texan trio
of it, but I didn’t go much further. I don’t most for writing and composing. Then, KHRUANGBIN have announced the release of their
like to be too ‘influenced’ I guess. I still when the song is almost structured, I sit second album Con Todo El Mondo on 26th January.
sound close to the past but it’s always on the organ, drums and bass to go over Continuing their deep and groovy sound, influenced by
good to add a little more of ‘who knows the main groove or the arrangements. I’m ’60s and ’70s Thai funk cassettes, Con Todo El Mundo
what’ to take it into the future.” lucky to play with great musicians and co- also takes inspiration not just from South East Asia but
Embracing gritty rock, blues, funk, write the lyrics with my friend Lyndon similarly undiscovered funk and soul of The
psychedelic-jazz even, Maeso has no time Parish, and I have to give their work the Mediterranean and Middle East, particularly Iran. Lead
for stylistic restrictions. You get the feeling recognition it deserves.” single ‘Maria También’ highlights their melting pot of
that here we have a musician unwilling global influences and is available now.
to accept any form of sonic Somewhere, Somehow [Link]
containment and one that’s is out now on Sony
always looking to experiment. Music Spain Space-rock institution HAWKWIND have just
announced details of a show on 4th November 2018 at
London’s legendary Palladium Theatre. Subtitled In
Search Of Utopia: Infinity & Beyond the show will see
Dave Brock’s intrepid musical voyagers playing music
from their 49-year career with the accompaniment of a
full orchestra, and looks set to be a huge treat for their
ever loyal fan base. Tickets are on sale now.
[Link]

January 26th will see the latest three CD set from the
good people at RPM, this time focusing on New
Zealand’s under explored ’60s beat-makers. HOW IS
THE AIR UP THERE: 80 MOD, SOUL, R’N’B &
FREAKBEAT NUGGETS FROM DOWN UNDER
features the usual mix
of the familiar and the

“I don’t think too much

obscure from the likes
of Larry’s Rebels, The

about what I’m gonna do,

Underdogs and The

or if I’m going in the right

Four Fours, and takes
its selection not only

way, I just let myself go

from international

and then pick up the

labels such as RCA
and Philips but also

pieces”
local labels of the time like Action, Impact and Zodiac.
[Link]/rpm
p019_Shindig_74.qxp 13/11/2017 13:23 Page 1

11
SD74 [Link] 12/11/2017 15:21 Page 13

in the studio nextissue

Cosmicious Escape
As London’s country sunshine psych outfit THE HANGING
STARS finishe their second LP, DUNCAN FLETCHER gets a
sneak preview

hen you make

“W
an album you go
from one
extreme to the
other, one day
you think ‘We’re
absolute geniuses’, another day you think
‘Who am I kidding?’ So says The Hanging
Stars vocalist, guitarist and main
songwriter Richard Olson on making the
band’s new LP Songs For Somewhere Else. 1968: The Sights,
He needn’t worry. The band’s bittersweet
country-psych sound has been taken to a
Sounds And Smells
A year of turmoil: riot, revolution,
new level with the addition of two new
members. “We had a great line-up before assassination… pop and rock music
but having Patrick Ralla (guitar) and Joe Hanging Star Richard
divide… fashion loses its peacock
Harvey-White (pedal steel) in the group Olson cuts loose feathers to be replaced by downbeat
has added to our sound. It feels like rootsiness… politics and social
chapter two of the ascent.” features as well, he’s an incredible pedal messages prevail... change is in the air.
The bulk of the album was recorded steel player but very different to Joe. Joe JON SAVAGE surveys a year of
piecemeal over the last year at has got that young buck thing about his comedown in which commercial pop
Walthamstow’s Bark Studios with the playing, he’s a remarkable musician as is
help of famed indie producer Brian Patrick.” filled the charts whilst psychedelia still
O’Shaughnessy. Explains Richard, “We’ve So is there an overarching theme to the flourished underground… when both
had a long working relationship with album? “Our whole idea is to turn down hippie-rock and country-rock inspired
Brian, he tells us when we should shut up! the volume and focus on songs and the the Brits… and Motown got turned on
We have a very clear idea of what it is we feel of what we’re doing,” says Richard.
do and this album is in many ways a lot “The record has this blissful, sun-kissed
more focused on the feelings and feeling to it, but a lot of the lyrics are PLUS...
emotions that we wanted to portray. quite dark. We’re living in dark times THE BANANA SPLITS,
When we go a little too far out he starts and everybody in the group has
to pull us in line but essentially it’s The experienced deaths and horribleness in THE SUPREMES,
Hanging Stars producing it. our lives. A lot of the record is a means HIPPIE PULP FICTION,
“Some of the recordings were left over of escape.”
from the sessions for our debut LP, Over The icing on the cake was having the THE FREE DESIGN,
The Silvery Lake, that we did in LA with album mastered by Bob Irwin, founder of BUFFY SAINTE-MARIE,
Rob Campanella from Brian Jonestown Sundazed Records, the famed reissue
Massacre. ‘Pick Up The Pieces’ is label. “I’ve known him for a while, he THE JAMES HUNTER SIX,
completely from those sessions. We also does all the incredible mastering for the BLACK DELTA
had a few of our LA and West Coast Sundazed catalogue,” explains Olson. “I
friends that were over here touring play saw him in Nashville when I was out MOVEMENT
on the album,” says Richard. These guests there. I was like, “Oh god, would you NEW ALBUMS FROM
include Miranda Lee Richards who duets mind mastering our LP?” and he said, THE GREEN PAJAMAS,
on ‘How I Got This Way’, and Collin ‘Okay then, just shut up about it.’ He did
Hegna (Federale) who provides spaghetti it and the record was finished!” BLUES PILLS, THE STRAWBS,
western whistling on ‘Mean Old Man’. ALFA 9, HOOKWORMS
The record gains extra depth by Songs For Somewhere Else is REISSUES FROM
featuring not one but two pedal steel due out in February on
players. Richard explains – “Horse (from Crimson Crow, preceded by a single OTIS REDDING, THE MONKEES,

“The record has this blissful, sun-kissed

Dan Michelson & The Coastguards) ‘Honeywater’, out now ISAAC HAYES, ZOOT
MONEY’S BIG ROLL BAND,
feeling to it, but a lot of the lyrics are
WILSON PICKETT, BERT

quite dark. We’re living in dark times and

JANSCH, CHRIS FARLOWE,

everybody in the group has experienced

FUNKADELIC, THE GOLLIWOGS

deaths and horribleness”

AND MUCH MORE!
PUBLISHED 4TH JANUARY

20
18
SD74 Best Of [Link] 10/11/2017 16:24 Page 2

the best of 2017

2017
proved to be yet another thrilling year for music old and
new and here at Shindig! we’ve listened to, loved, learned
from and shared in an incredible variety of sounds from
every corner of our own musical Shindigverse.
Vinyl began to outsell digital music (it was only five years ago that digital sales
eclipsed those of CDs!) and pressing plants the world over were put into service as
classic reissues, new releases, bespoke singles and mammoth box sets flooded
forth. Music buyers are demanding the best and we’ve been right there with these
exciting developments, mirroring the changes and chronicling our favourites.
On the downside, we’ve lost many of our musical and artistic heroes. 2017 saw
the passing of Glen Campbell, Chuck Berry, Charles Bradley, Tom Petty, Fats
Domino, David Axelrod, Virgil Howe, Grant Hart, Holger Czukay, Jaki Leibezeit,
Walter Becker, Goldy McJohn, Greg Allman, Pete ‘Overend’ Watts, Allan
Holdsworth, J Geils, David Peel, Peter Sarstedt, Clem Curtis, Larry Coryell, Alan
Aldridge, John Wetton, Deke Leonard and Magic Alex. The world will be a less
colourful place without them.
So let’s celebrate their lives and the healing power of music by presenting our
pick of the year’s releases, as voted for the editors and writers at Shindig! and look
forward to a stratospheric 2018.

BEST REISSUE

=01 SUPER FURRY ANIMALS =01 PEARLS BEFORE SWINE =01 GIL-SCOTT HERON
Radiator One Nation Underground The Revolution Will Not Be Televised
BMG Drag City BGP / Ace

Super Furry Animals say: “Delving into the past PBS’s Tom Rapp says: “It's an honour to make the Compiler Dean Rudland says: “Well, well, well!
isn’t easy, with so much of it behind us, but it was a best reissue list. We were locked in a little recording This album, in its original incarnation, was the moment
privilege to revisit Radiator and remind ourselves and studio in 1967 and recorded the album complete in that the world began to look back and realise just how
others that an oasis of experimental pop existed on a four days, including the mixing. It cost $1,500 in total. important Gil's early recordings were. As such it was a
remote tip of Wales in the ’90s. Thanks to Shindig! for It has survived for 50 years and we thank you for this signpost to many future developments, and it is a
recognising that, to Kliph Scurlock and Donal Whelan recognition that good albums can be made this way. fitting tribute to Gil's genius that it’s named best
for handling the re-mastering process, BMG for Peace.” reissue. Thank you Shindig!”
releasing it and to everyone that gave it another spin.”

04 Big Star - Complete Third: Vol 3: Final Masters Omnivore

05 Serge Gainsbourg & Jean-Claude Vannier - Les Chemins Des Katmandou OST Finders Keepers
06 Piero Piccioni - Camille 2000 OST Blind Faith
07 The Solarflares - That Was Then And So Is This Damaged Goods
08 Derbyshire/Hodgson/Vorhaus - Electronic Silva Screen
09 Anne Briggs - The Time Has Come Earth
10 Brenton Wood - Oogum Boogum Craft

Bubbling under: Slade, Unicorn, John Wonderling, Terje Rypdal, Brian Eno, Rosebud, The Standells

21
SD74 Best Of [Link] 10/11/2017 16:24 Page 3

BEST NEW ALBUM BEST COMPILATION

(VARIOUS ARTISTS)
Great fun to make, and so glad we had the idea to put
it on vinyl after all. I guess the lesson learned is for me
not to sing on stuff in future!”

04 The Dials - That Was The Future Gear Discs

05 The Heliocentrics - The Sunshine Makers OST
Soundway
06 Little Barrie - Death Express Non-Delux
07 Flamin' Groovies - Fantastic Plastic
Sonic Kicks
08 Gentle Brent - Just Dandy Jigsaw
09 Robyn Hitchcock - Robyn Hitchcock Yep Roc 01 BOB STANLEY & PETE
10 El Goodo - By The Order Of The Moose WIGGS PRESENT ENGLISH
Strangetown WEATHER Ace
=01 GOSPELBEACH Bubbling under: The Parson Red Heads, The Bob and Pete say: “We're absolutely thrilled to win
Another Summer Of Love Alive Sundowners, Foxygen, Hannah Peel, Daniel Romano, the compilation of the year. We weren't really sure
The Clientele anyone would ‘get’ English Weather when we put it
GosepelbeacH’s Brent Rademaker says: “Wow, together, or if it was just a sound and an atmosphere that
what a thrill! On behalf of everyone involved with made sense to us. It's a great feeling to know that it not
Another Summer Of Love, please accept our humble BEST COMPILATION only makes sense but people really love it. Thank you.”
thanks for this honour. This is the record I have always (SINGLE ARTIST)
dreamed of making and to be selected as one of the 02 Function Underground Now-Again
best of 2017 by Shindig! is a total dream come true! 03 Running The Voodoo Down Festival
You are the coolest. Peace and love from California.” 04 Milk Of The Tree Grapefruit
05 Wayfaring Strangers: Acid Nightmares
Numero Group
06 Looking Forward: The Roots Of Big Star
Featuring Chris Bell Omnivore
07 Keb Darge And Cut Chemist Present The
Dark Side BBE
08 Transparent Days: West Coast Nuggets
Rhino
01 PP ARNOLD 09 Night Comes Down RPM
The Turning Tide Kundalini 10 Making Time: A Shel Talmy Production Ace

PP Arnold says: “I never dreamed that it would take

all these years for these recordings to be released, but BEST BOX SET
I never stopped believing that one day this work would
be heard. It’s as if time has stood still for this music
that was ahead of its time and that The Turning Tide
=01 THE LEN PRICE 3 has finally found its way into the hearts of the people.
Kentish Longtails JLM I’m so glad that I kept the faith. I’m truly humbled by
the response from the media and music fans
The LP3’s Glenn Page says: “Blimey! Thank you everywhere and I am so grateful to all of you music
kindly Shindig! It’s a real honour and great to be in lovers at Shindig! for all the support that you’ve given
such groovy company. Cheers.” me spreading the word and vigorously promoting
these long lost recordings of mine. Thank you so
much to all at Shindig! I love you guys and it’s such an
honour for The Turning Tide to be voted your 01 VARIOUS ARTISTS
compilation of the year.” One Way Glass RPM

02 The Creation - Action Painting Numero Compiler John Reed says: “I’m chuffed to bits
Group that as respected and prestigious a magazine as
03 The Beach Boys - 1967: Sunshine Shindig! has made One Way Glass its compilation of
Tomorrow Brother / Capitol the year. The loose concept - of prog bands making
04 Marian Segal & Jade - Fly On funky tracks - isn’t a new theme, by any means, but
Strangewings Cherry Tree / Cherry Red I’ve wanted to work that rich seam of early ’70s
05 The Stooges - Heavy Liquid Easy Action grooves for many years and never got round to it. I’m
06 Big Star - The Best Of Stax / Concord so glad that Shindig! ‘get’ the idea (not everyone has!).
07 Georgie Fame - The Two Faces of Fame: Thanks to the RPM/Cherry Red team for a cool
The Complete 1967 Recordings RPM design, excellent sound and the chance to indulge
08 The Detroit Emeralds - I Think Of You: The myself!”
=01 PAPERNUT CAMBRIDGE Westbound Singles 1969-1974 Westbound
Mellotron Phase: Volume 1 Ravenwood 09 Dion - Kickin' Child: The Lost Album 1965 02 Can - The Singles Box Mute
Norton 03 Pentangle - The Albums Cherry Red
Papernut Cambridge’s Ian Button says: “Wow! 10 Wild Silk - Visions In A Plaster Sky RPM 04 The Beatles - Sgt Pepper's Lonely Hearts
Super chuffed about this, especially as it wasn’t Club Band Apple
originally intended as a normal Papernut release (it 05 The Rolling Stones - Their Satanic
was conceived as a library album first and foremost). Majesties Request ABKCO

24
SD74 Best Of [Link] 10/11/2017 16:24 Page 4

BEST LABEL
06 Fairport Convention - Come All Ye: The Stuart says: “I am delighted that Shindig! has 01 ACE
First Ten Years Island / UMC chosen Memphis 68 as its book of the year. It’s the
07 10cc - Before, During, After UMC second part of an ambitious trilogy about soul music
08 Linda Lewis - Funky Bubbles Easy Action in an era of profound social change, against the
09 Grateful Dead - May 1977: Get Shown The backdrop of black power, The Vietnam War and inner- Ace’s Roger Armstrong says: “This is getting
Light Rhino city tensions. The book is framed by two major embarrassing winning label of the year again, but very
10 Van Morrsion - The Authorised Bang tragedies: the death of Otis Redding and the much appreciated and thanks to all at Shindig! for
Collection Sony Legacy assassination of Martin Luther King. I hope it bestowing the honour once again. We hope that we
fascinates your readers, it’s been a joy to write.” continue to entertain, inform, amuse and confuse
everyone in 2018 and beyond."
BEST SINGLE 02 In The Midnight Hour: The Life And Soul
Of Wilson Pickett - Tony Fletcher 02 Light In The Attic
Oxford University Press 03 Sunstone
03 The Cake And The Rain - Jimmy Webb 04 Numero Group
St Martin's Press 05 Esoteric
04 The British Underground Press Of The 06 Ghost Box
Sixties - James Birch & Barry Miles Rocket 88 07 Skeleton Key
05 I Scare Myself - Dan Hicks Jawbone 08 Stolen Body
06 In The Sixties - Barry Miles Rocket 88 09 Clay Pipe
07 In The Wings: My Life With Roger 10 Grapefruit
McGuinn & The Byrds - Ianthe McGuinn New
Haven
01 FUNKADELIC 08 Shadows Across The Moon: Outlaws, BEST FILM / DVD
Can't Shake It Loose / I'll Bet You Freaks, Shamans And The Making Of Ibiza
Westbound / Ace Clubland - Helen Donlon Jawbone
09 Otis Redding: An Unfinished Life -
Compiler Dean Rudland says: “Working with Jonathan Gould Crown Archetype
Westbound is one of the finest things I get to do and 10 1967 - Harvey Kubernik Sterling
this double-sider is an exceptional recording from both
the label’s and Funkadelic's earliest days. It's a great
honour for it to be recognised by Shindig!” BEST LIVE SHOW
02 Gene Pitney / Jacki Bond - Let The Music
Play / Reviewing The Situation Spoke
03 Travis Pike & The Brattle Street East -
Watch Out Woman / The Way That I Need You
State
04 The Schizophonics - In Mono / Clocks
Strikes 12Sympathy For The Record Industry
05 Wermod - Wermod EP Sunstone
06 Kaleidoscope - Holiday Maker / Mr Small 01 GIMME DANGER: THE STORY
The Watch Repairer Man Chelsea OF THE STOOGES
07 Eddie Parker - I'm Gone / Love You Baby 02 The Sunshine Makers
Kent / Ace 03 Danny Says: The Life & Times Of Danny
08 Green Seagull - Scarlet / They Just Don't Fields
Know Mega Dodo 04 Long Strange Trip
09 MNP - Beard / Ratto Nero Delights 05 It Was Fifty Years Ago Today! The Beatles:
10 Vivian Stanshall & biG Grunt - In Session Sgt Pepper & Beyond
Mega Dodo 01 THE HELIOCENTRICS
Rich Mix, London
BEST BOOK BEST RECORD SHOP
The Heliocentrics’ Malcolm Catto says: “Thank
you so much Shindig! for your continuing and much
appreciated support. This latest news really is the
Cadburys cream topping on what’s shaping up to be a
pretty good year.”

02 Dungen - Getty Centre, Los Angeles

03 George Clinton & Parliament Funkadelic -
O2 ABC, Glasgow
04 The Schizophonics - The Shed, Leicester
05 Sundowners, Cut Glass Kings, The
Mysterines - Cafe INDIEpendent, Scunthorpe
06 GospelbeacH - Moth Club, London 01 ROUGH TRADE EAST,
07 Walthamstow Electronic 17 - Mirth, Marvel & LONDON
Maude, London 02 Norman, online
01 MEMPHIS 68: THE TRAGEDY 08 The Limiñanas - Oslo, London 03 Honest Jon's, London
OF SOUTHERN SOUL 09 The Impressions - Union Chapel, London 04 Platform One, Bexhill-on-Sea
Stuart Cosgrove Polygon 10 Air - Days Off Festival, Paris 05 Probe, Liverpool

23
 Mapache
which fuses a bluegrass backing with a
melody that a less obtuse Fleet Foxes would
die for, the beautiful romanticism and
Californian haze of ‘Follow You Down’ and
the gorgeous closer ‘Nellie’, which recalls
PAUL OSBORNE gets lost in the Californian haze The Everly Brothers at their most heart-
wrenching.
of MAPACHE, charmed by the young duo who are The sound of the record is simple and
channelling cosmic country’s greatest on their debut uncluttered, allowing the harmonies and
long-player chiming acoustics room to breathe, with
understated embellishments of pedal steel

“I
guitar (courtesy of producer Dan Horne)
t’s pretty insane for our name to even accomplished song writing skills recalling and bass (played on ‘Saltillo’ by GospelbeacH
be mentioned in the same sentence the aforementioned Clark and Parsons main man Brent Rademaker).The fact that
as Gene Clark or Gram Parsons,” along with other giants of the genre such most of the album was cut live explains in
says Mapache’s Sam Blasucci.“They as The Byrds and The Everly Brothers. It’s part its warm and intimate sound, as Finch
are definitely the artists that brought the outstanding melodies and beautiful explains.“We did most of the tracks live
us together. Clay and I both love a lot of song writing that have already won them in three days at Valentine recording studio
different artists from different musical styles, some high-profile fans such as Shindig! faves and then spent the next couple of months
but I think we discovered early on that Beachwood Sparks and cosmic musical adding on and mixing the tracks at Dan
we could really relate to the country and voyager Chris Robinson.“We have been Horne’s [Link] wanted to keep the
folk style of music and it’s been easy for us to aided by a lot of great friends like Brent sound of the record pretty true to what we
fall deeper in love with [Link] have also been Rademaker, Dan Horne and Austin do live but we asked Dan to play pedal steel
listening to Mariah Carey’s Daydream a lot McCutchen, who all helped us get our first and bass on a couple tracks and some others
lately though.” record going,” Explains Blasucci.“All of to do percussion.”
Ms Carey aside, it’s easy to hear the the Beachwood Sparks guys too, like Benji Was it a conscious decision to make the
influence of the kings of country-rock on Knight and Chris Gunst, have showed us sound of the record more stripped back?
Mapache’s self-titled debut record. Blasucci, so much music and are always gifting us “A lot of our favourite music is very simple
along with his creative partner Clay Finch records and knowledge, so those dudes are and stripped down so we consciously want
are a formidable duo, conjuring up that rare like family now.” to take after that, but we’re also not opposed
chemistry which sees their vocal harmonies This help and support has paid dividends to playing with a full band sometimes,” says
melt together with effortless ease, and their on Mapache on tracks like ‘Mountain Song’, Blasucci.
Having been charmed by the dynamic
duo’s debut album, Shindig! wonders when
“Gene Clark and Gram Parsons are definitely the we might get a chance to see Mapache on
artists that brought us together. We discovered this side of the pond? “Well we don’t have
anything planned,” says Finch,“but playing
early on that we could really relate to the country anywhere in UK or Europe would be a
and folk style of music and it’s been easy for us to total dream.”With that we concur.

fall deeper in love with it” Mapache is out now on Spiritual Pajamas

24

SD74 pp24-25 HRN [Link] 24 12/11/2017 09:36

 happening right now

Edward Penfold
forgotten also characterises his [Link]
like ‘Conker’ suggest fuzzy childhood
memories and the realisation that parts of
your life are permanently [Link]
SPENSER TOMSON speaks to EDWARD PENFOLD about village sound, too, reinforces this bitter-sweetness,
halls, ringing ears and the road to Denny Isle Drive like the bleached windows of a disused

W
[Link] his first record, Caulkhead,
hen asked what he’s was a sharper-elbowed collection, this is
currently listening to, rounder and warmer. Penfold explains
Edward Penfold responds: what changed. “The production is most
“tinnitus”.This suggests obvious. Dom [Mitchison, co-producer]
that besides solo work, he’s and I spent a lot of time recording,
no stranger to louder projects. A member arranging and mixing. It would have been
of several bands, including Taos Humm, a lot easier to make a record in the same
he’s never feared a chunkier psych sound, way as the first – bit boring though.”
but new album Denny Isle Drive recalls the This willingness to experiment has
stripped-back lilt of Syd Barrett or Kevin succeeded; where previously he explored
Ayers. It’s very English somehow but an chillier melancholic climbs, here he
Englishness lost in the bottom of china kicks up the leaves of Autumn’s Almanac,
teacups or on the bric-a-brac stall in a local beckoning us down warmer avenues.
village hall. In fact, when we interviewed “There a lot of instruments in this one
Penfold, he was touring these compared to the last,” explains Penfold of
very venues. “They’re nice big this change, “bass clarinet, marimba, violins,
rooms with natural reverb, don’t violas and loads of other stuff. I tried to do
cost much to hire and they’re a Brian Wilson!”
everywhere. I’m getting to go If by “Do a Brian Wilson”, he means
to beautiful places rather than craft a bunch of beautiful tunes that refuse
going from city to city; meeting to come out from under your skin, then
and working with people from he’s absolutely right.
communities and learning the
history of the buildings I play in.” Denny Isle Drive is out now on Stolen
This connection with the faded and Body

The She’s
up the whole time we were
tracking, so instead of tracking
everything in a linear way we
were able to move around to
Channelling the freedom of their environment through each instrument whenever we
had a moment of inspiration
music, the Bay Area quartet THE SHE’S let PAUL OSBORNE bask and that led to a super
in their creative spirit flexible and creative recording

“W
environment.”
e’ve been around friendship, which is to music together sort of had a It’s the bands day to day
friends why we’ve been together for natural progression into playing environment in the bay area
since so long,” Eva Treadway, guitarist music together.” of San Francisco which has
we were with The She’s, tells Shindig! The closeness and musical proven to be inspiring, it’s
really “We all started to get really affinity that Treadway shares laid back ambience providing
young kids and I think this into music when we were in along with her fellow an atmosphere which has
band has always been centred our early teens and listening bandmates (bassist Sami Perez, inspired The She’s creativity, as
singer Hannah Valente and Treadway explains.“There’s
drummer Sinclair Riley) is a lot of really great music
evident on The She’s second coming out of the Bay Area
long-player entitled all female right now and I find that
rock and roll quartet (lower constantly inspiring. I also
case intended). It’s a fun and feel like it’s a pretty open
rewarding listen, blending an community when it comes to
alt-rock influence with a love trying new and different things.
of classic guitar pop and bands There will always be trends in
like The Donnas to create a rock music, but I think there
sound which should please is a ton of versatility in sound
hipsters and powerpop lovers in the bay right now and that
alike. gives musicians a comfort to
“This record was incredibly push the envelope a little bit.”
fun to make,” says Treadway.
“Grace (Coleman, producer) all female rock and roll
set up stations for different quartet is out on 19th
instruments that were set January on Empty Cellar

25

SD74 pp24-25 HRN [Link] 25 12/11/2017 09:36

 song book

All His Thoughts In Focus

SPENSER TOMSON examines MATCHING MOLE’S ‘O CAROLINE’ and wonders why, 20 years after
it was released, this oft-overlooked classic was the perfect cover for a bunch of weirdy
Welsh wonder kids

W
ritten in 1971 and
A man out of love.
Robert Wyatt in 1973 released as a single
the following year,‘O
Caroline’ is the musical
product of Robert
Wyatt and Dave
Sinclair, the latter having left Caravan (for
the first time), only to be coaxed back from
his travels via a telegram from the former.
While playing various bits and pieces to
each other in the early days of Matching
Mole,Wyatt heard Sinclair’s tune and asked
if he could provide the lyrics. Listening
now to their self-titled album, it’s almost
unimaginable that the words were ever
separate from melody – they seem bound
together, wrought from the same emotion,
destined for the same fate.
On the surface, it appears to describe
Wyatt’s love for Caroline Coon, an artist
and activist with whom he was sharing a
tempestuous relationship. Marcus O’Dair’s
superb biography Different Every Time
makes it clear that the early ’70s were an
incredibly difficult period for the ex-Soft
Machine [Link]’s gradual ejection from
the band resembled a love affair turning
cold, each party a magnet twisting from its
attracting pole towards the repellent. Kevin
Ayers had left, (albeit amicably, to pursue
his solo projects) and this indicated the
direction the rest of the band was headed.
While Daevid Allen and Mike Ratledge
were aiming for a more complex, jazzier
sound,Wyatt was very much into
developing his “pop” voice.
“When you form a band
like Robert did”, suggests
Coon,“you are in love
with your band, you
are the band. It is your
identity. And when the
band fractures, your
heart breaks and your
identity is pulverised.
It can feel like the most
crucial, fecund years
of your life are reduced
to nothing”.Wyatt himself
describes the song as “totally
metaphorical” and like “looking at an old
tattoo”. Indeed, if one were to remove the
chorus or replace Caroline’s name with that
of his old outfit, it would read like a letter
of unrequited love to Soft Machine, their
name instead of hers etched on Wyatt’s arm
below anchor or skewered heart. Indeed,

26

SD74 pp26-27 Songbook [Link] 26 12/11/2017 09:37

 Matching Mole about to record their debut
album, which includes ‘O Caroline’. L-R: Robert
Wyatt, Dave MacRae, Bill MacCormick, Phil Miller

the very name Matching Mole grasps at

two opposing emotions; as a phonetic pun
“If one were to remove the
on the French translation of Soft Machine, chorus or replace Caroline’s
Wyatt is reforming that outfit under his
own terms, a move possibly designed to
name with that of Wyatt’s
needle at his former collaborators. But at old outfit, it would read
the same time, it barely disguises his longing
and loss – a loving nod back to the creative
like a letter of unrequited love to Soft
bond they once shared. Machine, their name instead of hers etched on
There have been surprisingly few
covers of the song, possibly because of Soft
Wyatt’s arm below anchor or skewered heart”
Machine’s relatively niche appeal or perhaps
because the stark sentiment of its lyrics is Wyatt’ could be interpreted as an attempt post-party morning. Either way, its beauty
just too personal – perhaps a cover of the to construct their own version of Soft stems from the fact that it seems to concern
song would be like going for a drink with [Link] continues. “Importantly, the decision to boil a kettle.
your best friend’s ex – to put it mildly, a their first producer Alan Holmes was a Alan Holmes (the producer of Tatay
little bit awkward. But one or two brave very knowledgeable musician who loved mentioned previously by Williams)
souls have given it a try; besides a nice all these bands as well, and that led to a describes how he came to be involved.
version from early ’90s indie kids Horse lot of freedom in expressing ideas and “One day in ’92, Euros Childs phoned me
Latitudes and a niiiiiiiice take by France’s experimenting with recording techniques. to ask if I would produce their new album.
Orchestra National de Jazz, a lo-fi beauty It gave a sense of total freedom for the band Of course I jumped at the chance to work
of a thing appears on the Gorky’s Zygotic whilst recording at Gorwel Owen’s studio with them and Euros sent me a cassette of
Mynci album, Tatay. – so maybe they fed on the ‘perceived’ demos that included a version of Matching
It is a dazzling, weird and utterly bonkers historical notion of group freedom they Mole’s ‘O Caroline’. I was taken aback
collection of songs; released on Ankst in imagined would have existed in the that these young people had recorded a
’94, it comprises a heady mix of Welsh- original Canterbury Scene.” version of a song that was one of my very
language pop and wonky psych, some parts When asked about the appeal of Gorky’s favourites when I was their age, but had
of which were unaltered from home- version,Williams says, “The effect it thought to be long forgotten.”
recorded versions of the previous two years. physically has on me – from the first drum So, just as the original lyrics could be a
Alongside the Matching Mole cover there machine to the woozy organ, I’m helplessly coded love letter to his old band members,
is, confusingly, another piece named ‘O in thrall to it. I also love it because it’s the Gorky’s cover version of ‘O Caroline’ is
Caroline’ which is entirely different. “Euros’ original cassette demo version (done at itself a love letter to Wyatt, Ayers,The Soft
‘O Caroline’ might be a way of showing home) with minimal studio polishing – as Machine and Matching Mole, all of whom
he could write a song as beautiful as any of they couldn’t replicate the ‘feel’ and also the are owed a huge creative credit by GZM.
Wyatt’s,” says Emyr Glyn Williams, co- specific quality of the vocal sound.” By covering the song, they are not only
founder of Ankst Records. She continues, Where Matching Mole lead the listener highlighting the aesthetic connections to
“I remember them saying that Kevin Ayers’ up the garden path, Mellotron flute and which they aspire, but revealing an honesty,
Shoot At The Moon was the best record ever piano unfolding in the shade while an purity and wit that would come to define
made – so clearly they had a strong love for irregular metronome beat flutters like a their work up until their split in 2006.
the Canterbury/Soft Machine/Kevin Ayers heart being squeezed, Gorky’s version
period.” begins with a recording of the band ‘O Caroline’ appears on Bob Stanley
That fact that Tatay includes a cover bickering at what might be some ungodly & Pete Wiggs Present English
of ‘O Caroline’, their own tune of the hour. Perhaps it’s a tour bus, a recording Weather, out now on Ace and Shindig!’s best
same title and a song named ‘Robert studio or in the ethanol haze of an early, compilation of 2017

27

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 The Seeburg 1000. Mood
Muzak like no other

Whistle While You Work

Anonymous and unseen, but always reliable, THE SEEBURG 1000 system provided the
soundtrack for generations of shoppers and factory workers.
GREG HEALEY goes to work and finds out more

T
he Justus P Seeburg Company company’s first jukebox – itself a precursor in ’49, the obsolescence of the 78.26 rpm
was formed in 1902 in Chicago, of The Seeburg 1000 Background Music disc was assured. In spite of this, the trusty
USA, following the emigration System. The company would eventually old 78 would linger on until the ’60s.
of Justus P Sjöberg from his be renamed The Seeburg Corporation. According to some sources the last UK
hometown of Gothenburg Initially, at least until after The Second release of a 78 was the Elvis song ‘A Mess
in Sweden. Sjöberg had graduated World War, any dreams of developing Of Blues’ in ’60, but apparently in India
from the Chalmers Tekniska Högskola, music technology were stymied by this format prevailed long enough to host
relocated and, in the manner of the the dominance, due to technological The Beatles’ ‘Michelle, backed by ‘You
times, Americanised his name. He then limitations, of the 78 rpm format. Won’t See Me’, in ’66.
established a firm for the manufacture of However, as Trevor Williams explores The new 331⁄3 and 45 rpm records,
“coin-operated paper-roll playing electric in his book A Short History Of Twentieth with their narrower grooves, were part
pianos and orchestrions”. Within a few Century Technology, when advances came of the push to develop more reliable and
years the growing vogue for amplified with the introduction of Columbia cheaper music technology solutions that
sound, that occurred in the late ’20s, led Records’ 331⁄3 rpm Long Play format, in could be applied to a wider variety of
Seeburg to develop The Melatone, the ’48 and the RCA Victor 45 rpm format consumer applications. Peter Goldmark,

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 the man behind the development of corralled to explain away technological
Columbia’s 331⁄3 rpm Long Play format,
“Each machine held a deficiencies in the Wired Radio FM
even had an unsuccessful shot at an early total of 25 discs, with broadcast system that called for downtime
in-car entertainment record player system in the [Link] 15-minute on
that played discs at 162⁄3 rpm. As Peter
each disc containing 15 minute off blocks that Muzak was
A Soderbergh notes in Olde Records Price 20 tracks on each broadcast in were said to enhance what
Guide 1900–1947, the 45 and 331⁄3 rpm the boffins called “Stimulus Progression”.
systems were intended as competing
side, resulting in 80 Through this workers were said to be
formats and for a time at the end of minutes of music over able to gain the full stimulatory benefits
the ’40s consumers were unsure which of music whilst avoiding listener fatigue.
option would win out. In the end, as
40 tracks on each disc The truth was that the 15 minute intervals
we now know, both triumphed, though – approximately 37 and allowed Muzak’s transmitters to broadcast
in very different sectors of the market; alternatively to the different market
this was never the intention of those
half hours of music” segments, factory and office workers, the
two American industrial behemoths, company served. In this case it seems that
Columbia and RCA. Wired Radio’s claims for Muzak any Wired Radio had become a hostage of
Seeburg’s own propriety system self-respecting industrialist in the ’50s was its own pseudo-scientific evidence that
of nine-inch 162⁄3 rpm records was unlikely to ignore the possible productivity factory workers needed upbeat music and
developed for the ’59 introduction of boost of nearly 10%. Science was even office workers required mellow sounds.
The Seeburg Background Music System.
This replaced an earlier Seeburg system,
called The Seeburg Library Unit, that
played 45s. Different versions of the
1000 offered either built in amplifiers
and timers or simple playback units
that could be plugged into an existing
network of speakers. As Mat from the
Youtube channel Techmoan explains, the
origins of the number 1000 in the name
Seeburg 1000 stems from the number
of tracks each machine could hold and
play. Each machine held a total of 25
discs, with each disc containing 20 tracks
on each side, resulting in 80 minutes of
music over 40 tracks on each disc. Forty
multiplied by 25 etcetera, etcetera would
provide “approximately 37 and half hours
of music”. At the end of the process The
1000 “stacks them all up again and starts
back at the beginning”.
The background music phenomenon
came about due to “pseudo-scientific
studies” which highlighted the benefits
of playing background music in offices,
factories and shops. Sponsored by George
Owen Squier’s Wired Radio Company
Muzak System, these studies made liberal
use of pie charts and diagrams to elucidate
the inestimable benefits of playing music
at people as they went about their work
or leisure activities. Muzak originally
began by offering music over electricity
cables but the growing ubiquity of radio,
and free to air advertising supported
content, precipitated a move into
new areas such as Wired Radio’s own
subscription FM radio service. A unique
selling point of Muzak was that it offered
advertisement free music for hotels,
restaurants, department
stores and factories. The
remote broadcast nature
of Wired Radio’s Muzak
product would leave a
market gap into which
Seeburg plunged with the
1000 in ’59.
Despite the somewhat
shaky science behind

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 and assembly workers, there was the
Industrial Library. This provided music
Hands off! 1960s with a medium to fast tempo that would
promotional materials
keep spirits up and ensure there was no
slacking. There would be polkas, marches
and even “a light seasoning of vocals”,
with an emphasis on popular music. The
selection would be of an “over-all lively
character but never a [sic] rock ’n’ roll”.
The discs would arrive boxed and
numbered to indicate the order in which
they should be stacked so as to create the
desired effect on the shopper, hotel guest
or worker when played. Heaven knows
what would have happened if this carefully
calibrated offering was ever mixed up.
Communist revolution? Low productivity?
Indigestion? Every four months the owner
of a Seeburg 1000 would receive a new
batch of recordings, which amounted to a
quarter of the total sum of discs held by the
[Link] this package were detailed
instructions as to which records should
be removed and where the used platters
should be sent for destruction. Anyone not
returning these would be subject to an
increased monthly fee.
Essentially a large industrial jukebox,
The Seeburg 1000s were truly remarkable
Xxxxxxxx
machines. Looking like a cross between
a laboratory sterilisation unit and
something found on Tracey Island, the
enamelled blue and black metal boxes of
the austere Seeburg 1000 Background
Music Compact had a minimum of
controls, with switches for ON, OFF
and REJECT. There was also a small red
light to let you know it was powered up.
The machines were lockable, to prevent
interference. The Compact was the more
utilitarian offering, designed to do a job
with minimum fuss. For those of who
demanded a bit of glitz and glamour
(and an internal speaker) there was the
provide reliable, seamless and unobtrusive premium Seeburg 1000 Background
background music the Seeburg 1000 Music System. Chrome and glass, with
library offered three flavours of tunes. a more familiar jukebox aesthetic, this
Their Basic Library or Orange Label model was designed to be seen and
selection was completely instrumental admired.
music of an average tempo in a wide With their double sided styli for
variety of styles from a variety of orchestra playing the top and underside of the
sizes, incorporating the latest “suitable” discs, twin stylus cleaning brushes, lifting
show tunes. This package was designed for arms with the power to elevate the heavy
offices, banks, restaurants, stores, shops and pile of played records and simple onsite
airports. maintenance instructions, both editions of
The Mood Music or Blue Label Library the Seeburg 1000s were well designed and
provided the listener with “full-bodied, over-engineered for reliability.
smooth, melodic music” with an In time the jukebox record player style
“emphasis on stringed instruments”. Here system would be superseded by tape, CD
again there was preponderance of show and, eventually, digital streaming systems,
tunes and standards but with the specific but the heyday of these magnificent and
aim of providing “pure atmosphere unsung heroes of the modern world, that
The Seeburg Corporation chose to fly music”. This package was designed to ran from ’59 to ’86, is still impressive.
in the face of the research that prescribed suit the needs of customers found at For those interested in recreating
15 minutes silence for every 15 minutes department stores, hotels, motels, salons, the atmosphere of the ’60s department
of music and offered continual non-stop restaurants, night clubs, country clubs and store, motel or factory the seemingly
music. With their record player based cocktail lounges. infinite library of music from the Seeburg
system installed it was a case of plug it in, For those engaged in more manual collection is now available to stream at
switch it on and let it play. Designed to endeavours, like factory, production line [Link].

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p031_Shindig_74.qxp 10/11/2017 15:06 Page 1

11
 song book
Paulette Parker AKA
Maxayn, 1973

Trying For Years

MAXAYN, the psychedelic funk supergroup formed in 1971,
enjoyed a cult following and a warm critical reception for
their three albums which, after an initial print run, stayed
buried for 40 years.
Now, as CHARLES DONOVAN discovers, they’ve been exhumed

32

SD74 pp32-33 Maxayn [Link] 32 12/11/2017 10:10

 I
n 1971,Tulsa-born Paulette Parker was
on tour with Bobby ‘Blue’ Bland, having
completed a two-year stint as an Ikette.
At a show in Chicago, Andre Lewis and
Marlo Henderson of the Buddy Miles
Express were in the audience. Also present
was Donny Hathaway. All were keen to
meet Paulette, impressed by her one-of-a-
kind voice and conservatory-honed mastery
of the piano. Mr Hathaway offered to
produce her as a solo artist but Andre and
Marlo had a different proposition.“They
told me,‘Come with us because we’re going
into outer space’,” recalls Paulette, long since
known as Maxayn, a childhood nickname.
After recruiting drummer Emry Thomas,
and with Maxayn and Andre by now
married, the foursome formed a group, also Showtime in
known as Maxayn. Over the course of three the early ’70s;
albums for Warners-distributed Capricorn, those first two
albums
they established themselves as the most
street-smart, post-hippie, psychedelic funk/
rock band on the scene. Sly & The Family co-produced by Andre Lewis and Jack At this
Stone were deteriorating, while Rufus had [Link] songs, all group-composed bar point, with
yet to come [Link] timing was right. two Rolling Stones covers, had gestated over everything
Maxayn had grown up in Greenwood, a year in which the band was supported going for
dubbed “Black Wall Street”, an African by the patronage of Luther [Link] to them, there
American neighbourhood in Tulsa nearly their word, they’d voyaged into outer space, should have
destroyed by the race riots of ’21, in cloaking their fusion of funk, rock and soul been nothing
which businesses were burned and citizens in trippy, experimental [Link] in their way,
slaughtered by white supremacists. She signature song,‘Trying For Days’, was a but problems
trained at The Latimer Conservatory before civil-rights anthem with an insistent groove persisted, the most grievous being
enrolling at Oklahoma State University. and a combustible lead vocal from Maxayn, distribution hiccups. Maxayn would play to
Within weeks, she’d survived a racist assault, urging the downtrodden to keep going in ravenous crowds only to discover that none
managing to escape the clutches of gang the face of injustice. of the surrounding outlets carried their
attempting to bundle her into a car. She Maxayn’s second album, Mindful (’73), [Link] took action, gathering stock
came home and vowed never to return. was their near-breakthrough. It was a from Warners and sending it out themselves,
Thanks to a degree of local fame, word of concept work, dealing with aspects of life but it wasn’t a problem that four people
her musical ability spread and in ’67 she was seen through a psychological prism, from could hope to remedy.
invited to audition for Ike & Tina Turner, romantic travails to moments of epiphanic Recorded in Alabama, their final album,
whose revue was coming to town, short [Link] artwork depicted the Bail Out For Fun! (’74), was the most
of one Ikette.“Ernie Fields Sr, head of the group as semi-decapitated busts – “To show experimental yet, mixing electronic funk
musicians’ union in Tulsa, had given them us as open-minded,” Maxayn explains. with bossa nova, after which they signed
my [Link] said,‘We’re in Wichita, Guests included PP Arnold and Claudia with Emerson, Lake & Palmer’s Manticore
but we’re gonna be there soon and we’d Lennea. label. Halfway into their fourth album,
like to meet you’,” says Maxayn.“I thought, Not only did Maxayn stand apart from the deal [Link] participating in
I’ll go down to the hotel and see what the crowd because of their interest in Andre’s next project (he re-emerged as
happens. It’ll be fun to meet them. I stepped synthesisers and experimental production Mandré, with a series of disco/funk albums
out of the car and immediately broke the choices, they were also more interested in for Motown), Maxayn flourished as a
heel of my shoe, so I was walking like I philosophy than religion. None of their backing vocalist for Duran Duran, Bonnie
had a short leg. Murphy’s Law! I just told songs supplicated ‘The Lord’ or mentioned Raitt, Brenda Russell, Simple Minds, Bon
myself,‘Everything that’s gonna happen will [Link] prominent cover on the otherwise Jovi, Steve Marriott and innumerable
happen.’” band-composed Mindful, was ‘Check Out others. In fact, all four members of Maxayn
The broken heel turned out not to Your Mind’ – penned by Curtis Mayfield maintained notable careers, but the three
be a portent; she was hired on the spot and recorded by The Impressions after Maxayn albums – available again after four
and, with her parents’ blessing, set off on he’d [Link] Maxayn version turned this decades in deletion hell – capture them at
tour that very night. Five years on, having creditable ’70 single into an all-out funk a glorious, youthful crest in their talents.
extricated herself from a singles-deal with anthem with a sensual, polyrhythmic Had Maxayn gone with Donny Hathaway
Duke/Peacock, the label run by notorious [Link] band appeared on Soul at that critical juncture, she might have
executive Don Dietric Robey, Maxayn was Train, nudging it to #35 on Billboard’s Soul made a series of conventional soul albums
at the Record Plant, New York, putting the Singles listings, with the album breaking into with – whisper it – crossover appeal. But
finishing touches to the first Maxayn album, the Soul Top 50. by following her instincts and choosing
the riskier route, she kicked open the door
through which Labelle, Rufus, Mother’s
“The most street-smart, post-hippie, psychedelic Pride and many others followed.
funk/rock band on the scene. Sly & The Family
Maxayn Reloaded: The Complete
Stone were deteriorating, while Rufus had yet to Recordings 1972-1974 is out now on
come together. The timing was right” Soul Music / Cherry Red

33

SD74 pp32-33 Maxayn [Link] 33 12/11/2017 10:12

 20 questions

Operator’s Manual
ZOOT MONEY’s adventures in the ’60s music scene could, and should, fill a couple of
hardbacks. From his R&B origins with Alexis Korner and the Soho mod scene, through
psychedelia with Dantalian’s Chariot and countless dates with the likes of Eric Burdon,
Peter Green and Kevin Ayers, he’s become a much-respected foil and inspiration.
LOIS WILSON talks to a true renaissance man about 55 years in the business
Shindig!: How did you catch the R&B
XXXXX
bug?
Zoot Money: I hit 16 and bang! I got my
first taste of skiffle and rock ’n’ roll and once
I heard the icons – Chuck, Fats, Jerry Lee,
Little Richard – that took [Link] was
a television shop a few doors down from
where I lived on Christchurch Road in
Bournemouth and inside the shop was a
record counter. I was seeing the girl who
worked on it and I would ask her to get
R&B singles in on labels such as London
American and Columbia. I’d borrow them,
memorise them, rehearse them and start
playing them in local bands… I wanted
anything by Ray Charles. Ray is and always
will have the biggest effect on [Link]
I finally got my own record player, the
first records I actually bought were eight
records by Ray [Link] encapsulated
everything I was listening to; blues, jazz,
R&B. He made a songbook, but he kept
his own personality within it, and that
songbook became my dictionary, and a
gateway to discovering other artists.

SD!: Was there a pivotal moment that

made you think, I’m going to be a serious
musician, get off the local scene and make a
go at it in the capital?
ZM: I came up to London to see Ray
Charles in Finsbury Park and go to The
Flamingo all-nighter to see Georgie Fame.
By this time, I’d become a second-rate Ray
Charles playing around Bournemouth, but
then I saw Georgie and I thought, this is
what I want to do, play all-nighters in this
atmosphere in London. It was Georgie who
showed me how it could be done, that it
was all possible.

SD!: What did you learn from playing in

Alexis Korner’s Blues Incorporated in 1963?
ZM: It was my [Link] was
so much experience in that band and they
were like,“Who is this young oik who
thinks he can play?” But I impressed them
because I could play and I didn’t just get up
for one song, I stayed for the whole set. It
was a formidable line-up and I learned that
Zoot Money (right) and it doesn’t matter how well you plan things,
The Big Roll Band between even with amazing players, something will
performances at The Flamingo,
Wardour Street, 1965
come up, turn everything on its head so do
your homework, know what you are going

34

SD74 pp34-37 20 Questions [Link] 34 12/11/2017 10:13

 to play and how you are going to play it
Smoother operators. Zoot
and be proficient enough to adapt to the and band; ’66’s live Zoot!
different players you are going to run in to album; that sole hit single
and nothing will go too wrong. I was only
in them for a couple of months but when I
left I convinced The Big Roll Band – Andy
Summers on guitar, Nick Newall and Clive
Burrows on sax, Paul Williams on bass,
Colin Allen on drums – to come up to
London and get the band going properly.

SD!: Some amazing players have passed

through your ranks, including Andy
[Link] did you think when you
saw him achieve success with The Police?
ZM: We all knew Andy would do well and
I was incredibly pleased for him. He was
always going to be someone, he was never
without his guitar, never stopped playing it,
always concentrating, learning, even when
he was out of work in LA, and living in
The Chelsea hotel between Soft Machine
and Eric Burdon & The
Animals, he was practicing
six hours a day, he wanted
to absorb, absorb, absorb,
which is why we got on so
well. I’d play him a record,
the next morning he’d
have learned how to play
it – he was phenomenal, he
would woodshed all night.
I never needed two guitars
with Andy, he was so good
at layering, so multi-faceted.
He brought so much to The
[Link] wouldn’t have been half as “That ’60s scene was so exciting.
good without him. We were out of town lads coming
SD!: Georgie Fame told me that Zoot into the capital and at The
Money’s Big Roll Band was the tightest Flamingo you had the coming
band he ever saw at The Flamingo.
What are your memories of the Soho together of the people of the
scene and taking over as house band night; you had hookers, black GIs,
from The Blue Flames?
ZM: Funny, that’s what I thought of actors, musicians”
Georgie and his band. Seriously, I still
learn so much off him every time I go see talking to George Harrison about guitars; only perform for 20 minutes, and we were
his [Link] ’60s scene was so exciting. another night Count Basie and Dionne used to working up a frenzy over two hour
We were out of town lads coming into the Warwick would be sat watching the show. It sets. It also meant you travel a [Link] were
capital and at The Flamingo you had the was something to behold. doing 14 gigs a week some weeks, a radio
coming together of the people of the night; session in the morning, a couple of Meccas
you had hookers, black GIs, actors, musicians SD!: In July 1966, your single ‘Big Time and, if it was a weekend, then an all-nighter
– there was this free for all atmosphere and Operator’ hit #25. Did having a hit change as well.
open attitude. Anything could happen. One things for you?
night I was singing a Drifters song with my ZM: Momentarily, yes. I wanted to play SD!: When Chas Chandler collected
eyes closed, I heard this voice joining in, clubs forever but there was the chance you Jimi Hendrix from Heathrow on his first
sat on the bench next to me was Charlie might become invisible to the outside world visit to the UK on September 24th 1966,
Thomas of The Drifters. Nina Simone came so to keep a band together you needed a hit they came to see you [Link] do you
down and was freaked out by it all; how single to get the recognition. I put my heart remember of that meeting?
black and white people could sit next to and soul into the song; I was my own PR. I ZM: The Big Roll Band lived in Fulham,
each other on the same seats, that they were almost got a banner with my name on it on in two flats, one on top of the other and
allowed to be together, no segregation, and The Post Office [Link] got some mates Chas knew that either me or Andy would
no blinking of an eye. It was a utopia. Hank to dress as workmen but they got rumbled, know of somebody who could get Jimi a
Marvin and Bruce Welch would come when they couldn’t find a window that left-handed guitar that night so he could
down and report back to Cliff Richard would open to hang it out [Link] hit got us go on to The Scotch Of St James and sit in.
what was going on as he wasn’t allowed to into the Mecca ballrooms which was seen While Chas and I were discussing this, Jimi
step foot in an all night lunatic asylum, he as a stepping stone and it was more money. picked up my guitar, it was a really cheap
was too clean. Hank and Andy would stand But the reality really pissed us off as you one, a Wandre, an Italian fetish guitar, which

35

SD74 pp34-37 20 Questions [Link] 35 12/11/2017 10:13

 I’d got for free as it was in a state of disrepair, SD!: The following year The Big Roll SD!: Why only one single, September
and I’d only got it so I could start playing Band had become Dantalian’s Chariot. 1967’s ‘Madman Running Through The
a Chuck Berry number in our set – Andy You’d gone from playing soul and R&B to Fields’?
wouldn’t let me touch his. And Jimi started [Link] prompted the change? ZM: As far as the record companies and
playing and we were mesmerised. It was ZM: A combination of LSD and soul fans were concerned, it was,“Where is
funny, if he wasn’t playing guitar, it was searching, which goes hand in hand. Zoot?”We want the guy who jumps on
as though he was invisible, he was a very We were fed [Link]’d flown the flag the organ and takes down his trousers and
quiet man, but as soon as he picked one for US black music, but by this time, they could not adapt to it at all. So the
up, he was centre of [Link] guitar’s The Motown Revue had come over fans drifted away, and the money we made
currently up for auction now with a guide and some of the blues artists had started in two years as a successful soul band was
price of £10,000! coming over and working so you could lost in 10 months of being in Dantalian’s
see the real thing so why would you need [Link] were not really immersed in
SD!: Did 1966’s Zoot!, recorded live at to see us? All around us were bands like the counterculture, so when we realised we
Klooks Kleek, do The Big Roll Band Pink Floyd, reflecting their own lives in couldn’t make more of a living than we did
justice? their songwriting and, from an artistic before, we curtailed it.
ZM: It’s a very good representation of what point of view, it was [Link] were
we sounded like then. I actually listened to like, let’s have a go at this, let’s have the SD!: During 1968, you moved to the US
it the other day and I was still impressed best light show with overheads, oil slides, to join Eric Burdon & The [Link] it
with it sound wise. It’s a great example of strobe [Link] we all dressed in white a difficult decision?
an analogue recording capturing what a so there were no personalities on show ZM: No. I’d got married, taken on my
band sounds like en [Link] Decca studio and we became a moving [Link] wife’s two sons, suddenly I was a father and
was next door to the venue so they fed the painted all the equipment white, we had I had to get a proper job with a regular
wires through the windows. It was a really a white backdrop so we could project our wage. Eric had been bothering me for years
jolly night on and off stage and everyone psychedelic vision onto it. It was liberating to join and I was the first choice of course
was there – Eric Burdon, Brian Auger, Chas, in one sense as we could just freak out, for when Alan Price left The Animals. He
Georgie, Eric Delaney, Jackie Trent – Jackie although we still incorporated jazz and said,“Never mind The Big Roll Band.
and I knew each other in Bournemouth R&B into our sound, we just expressed it Join us, you’ll be immediately treated like
and it was her manager, also Alexis’ manager [Link] never played on acid though. the star that you are and we’re making big
who got me up to London to play with I only tried that once and never again, money in the States.” Of course that time I
Alexis. there lies madness. said,“No I’ve got to follow my own path.”
[Laughs]
“There are no distinctions… As someone said
SD!: In many ways Eric Burdon &
before me, there are only two kinds of music: The Animals’ Love Is could have been a
good or bad. Georgie Fame confirmed it when he Dantalian’s Chariot album.
ZM: We certainly utilised everything we
said to me that good music is always a mongrel” had learned from Dantalian’s Chariot. Andy
had joined by this time, he had been at a
Your chariot awaits. Zoot loose end after Soft Machine and he played
(second left) prepare to that guitar solo on ‘Coloured Rain’, which
go underground; mind- is just [Link] definitely stretched Eric
boggling ’65 festival bill; Zoot
(left) and Andy Summers out, and the band too. It was good times.
(second right) join Eric
Burdon & The Animals SD!: Did it mean anything getting a name-
check in Michael Moorcock’s 1969 novel
The Final Programme?
ZM: We loved it. Andy was the one to
notice it as he read the weird books. If
there was a weird book he’d have read it.
It validated our part in the zeitgeist, it was
like a mention in [Link] out
Michael Moorcock used to sit in the front
row at The Flamingo all-nighters. Peter
Vaughan did as well. He told me that when
I acted in the film version of Porridge with
[Link] freaked me out. I was so in awe
of him.

SD!: What was it like

working with Peter Green
on his 1970 album The End
Of The Game?
ZM: He called me one
night at 9pm. He said,
“I’m in the studio, I’ve got
to do one more record for
Warners before they will
let me [Link] you come
down and play tonight?”

36

SD74 pp34-37 20 Questions [Link] 36 12/11/2017 10:15

 He was really under Still rollin’. Zoot in 2017;
pressure. He didn’t with the Kevin Ayers band,
mid-70s; Ellis album
have any tunes, didn’t
know what to do. So
I jumped in the cab,
got to the studio for
10pm and there was
Alex Dmochowski
on bass, Nick Buck on
keyboards and Godfrey
McLean on drums
sat around. I went to
the piano and from
10:30pm to 3am we just
played, literally jammed
freeform, then jumped
in another cab and went
home. It was almost as
if I’d had a dream. A few
months after that, he
turned up on our doorstep and stayed on
our couch for 10 days. I now know he has
schizophrenia but then it wasn’t discussed,
no one knew. My six-year-old daughter
was running around him, I’d go out and
play a gig and he literally wouldn’t move. If
he did, he’d go to the corner shop and that
was it, he’d come straight back. At one point
he was wandering around with a cheque
for £68,000 in his back pocket, which
he’d been given for royalties. He just wasn’t ZM: We clicked immediately. He was Mariarty as I called him, through Alexis
aware of the importance of it. seeing one of my wife’s best friends, that’s Korner – he got me and Steve on a BBC
how we met and he was fed up with Love session with him and, first impressions, I was
SD!: What was it like being a part of [Link] label wanted him to go solo, bowled over by his voice. It was amazing.
Centipede, live and in the studio on 1971’s sing in front of orchestras; he wanted to do He had that high-pitched soul/gospel
Septober Energy? his own thing so I said,“Let’s do it!”We thing off really [Link] wouldn’t believe
ZM: Now you’re talking! Centipede was formed our own publishing company, and the power he had, he didn’t need a mike.
the most wonderful 50-piece travelling we were all in it [Link] was no Ronnie was a real talent too.
lunatic asylum and of course it wasn’t built hierarchy, other than me and Steve were
to last but you had Mike Patto, Boz Burrell, doing the [Link] had two years of great SD!: We think you must be the only person
Julie Driscoll/Tippett – what an amazing fun, which gave us two albums and it was to have both played The Fillmore (with Eric
singer – and Keith Tippett. Now he was a a cracking band – Andy Gee was a great Burdon & The Animals) and performed in
strange fish – he had such a wonderful brain, guitarist, we had Davey Lutton on drums. a play at The National Theatre (Line ’em,
he was so off the wall, a hippy before they We had several bass players, one was Nick alongside Phil Daniels). How do you split
invented the word. South, he’s now an editor on films, another your time between music and acting?
was Jim Leverton, who went on to play ZM: Quite probably. But it’s never been
SD!: How do you rate such avant-garde in Marriott’s Packet Of Three. But then I an either/or. I see the two feeding in to
collaborations – you later also worked with got invited to play with Kevin Coyne and one another. I got into acting when I was
Kevins Coyne and Ayers – compared to Kevin Ayers – to be the piano player, music in LA. I’d finished with Eric as he went off
Zoot Money’s Big Roll Band and the club/ director and sing a bit as well for them both. to work with War. I did my own LP, [’69’s]
dance music you’re perhaps better known Welcome To My Head, I did the West Coast,
for? SD!: Teaming up with Steve Marriott and then me and Andy went along to this acting
ZM: There are no distinctions… As Ronnie Lane for the Majic Mijits album in class, I thought it would help me extend
someone said before me, there are only 1980 must have been [Link] are what I already did, learn how to project
two kinds of music: good or bad. I’d been your memories? and learn more about [Link]
mixing and matching anyway since my ZM: I only did one gig with them. I got I came back to the UK, just after Ellis, I
Bournemouth days, sitting in on rock rowed out of the album recording, the little was introduced to an ad director, got myself
bands and trad jazz and modern jazz bands. tossers. I felt like a giant among midgets. in an ad, joined an agency and did pretty
Georgie Fame confirmed it when he said There’s one song from the gig we did in well. I did The Bill, Boon, Bergerac, London’s
to me that good music is always a mongrel, Canning Town, then the rest is from another Burning… I always played the red herring or
and the right mixtures result in wonderful gig in the same pub with Mick [Link] the comic relief.
things. It’s how and why as a musician, you pub was rough and ready. It was like the Star
never stop learning. Wars bar, like you’d gone to The Wild West. Contributors: Louis Comfort-Wiggett, Hugh
The opening act was Joe Brown, so it was Dellar, Jon ‘Mojo’ Mills,Andy Morten, Gray
SD!: Ellis. As far as the “supergroup” goes, all the cockney boys together. Newell
it could have been a [Link]
band was it (yours or Steve’s)? What was SD!: How did you first meet Steve Zoot Money’s Big Roll Band’s Big
your vision and why did it fizzle out Marriott? Time Operator box set is out on
prematurely? ZM: I met Steve, or the great and mad December 1st on Repertoire

37

SD74 pp34-37 20 Questions [Link] 37 12/11/2017 10:15

SD74 Moody [Link] 10/11/2017 15:58 Page 1

The Moody Blues Mk II prepare

for a bright future in 1967.
L-R: Mike Pinder, John Lodge,
Graeme Edge, Justin Hayward,
Ray Thomas
SD74 Moody [Link] 10/11/2017 15:58 Page 2

A NEW
DAY
BEGINS
THE MOODY BLUES entered 1967
in disarray.
It had been two years since ‘Go Now’
had topped the charts, its follow-ups
all floundering, and original singer
Denny Laine and bassist Clint Warwick
had quit to be replaced by new boys
Justin Hayward and John Lodge.
Then a chance opportunity to record
an album with The London Festival
Orchestra intended to demonstrate
Decca’s new Deramic Sound System
innovation arose and the starving,
demoralised group agreed.
The resulting DAYS OF FUTURE
PASSED would change their fortunes
forever and usher in a new era of
symphonic, progressively-minded pop

DAN MACINTOSH
steps back 50 years
to hear from those
who were there
 W
SD74 Moody [Link] 10/11/2017 15:59 Page 3

atch, if you dare, the old Hullabaloo TV show from 1964. An episode features
actor Dean Jones (remember The Love Bug?) introducing a group of serious
musicians dressed in suits and ties, singing a British Invasion-eque version of
Bessie Banks’ ‘Go Now’. In fact, if you look closely you can even spy Brian
Epstein, Beatles manager, looking in on the performance.
That band, in glorious black and white, is the pre-Days Of Future Passed Moody Blues. ‘Go Now’
would later appear on the band’s debut album, The Magnificent Moodies, a title that today seems
somewhat trite and dated, even for the time. It’s not, however, the sort of album title – nor, album
contents, for that matter – which would earn this young Birmingham band much critical acclaim.

Moody Blues psychedelic sonic

experimentation can be traced back to the
old saying of how necessity is the mother
of invention. “You know, the band was
originally formed as a rhythm ’n’ blues
band, and a couple of us were lousy at
rhythm ’n’ blues,” Hayward confesses.
“So, it really wasn’t working.”
In addition to the hit ‘Go Now’, a
rhythm ’n’ blues-ier Moodys can also be
heard singing the George and Ira
Gershwin standard, ‘It Ain’t Necessarily
So’ on The Magnificent Moodies, and
sounding quite uncomfortable doing so.
The album opens with ‘I’ll Go Crazy’,
written by funk originator James Brown.
Unlike The Rolling Stones and The
Animals, two groups that sounded so
American on their blues and soul
recordings, many have assumed incorrectly
they were actually Americans, The Moody
Hayward (left) and Lodge Blues come off as undeniably British.
(right) join, early 1967 “I thought Days Of Future Passed was a
very different kind of album at the time,”
The group’s debut album was produced by orchestral arrangements with a rock Hayward recalls. “So different that I
Denny Cordell, who would soon go on to group. And we just happened to fit the thought it had no chance commercially
work with fellow Brummies The Move, bill because we owed them some money. because there was no way that it was ever
Procol Harum and would helm soulful hit We were pretty cheap. I’d like to say there going to get played on the radio. And I
singles for the likes of Leon Russell and was a sort of master plan of what the was right; it didn’t. There was no avenue
Joe Cocker. Therefore, this early group had in mind, and what they wanted for it as a commercial album.” In
incarnation of The Moody Blues was that to do, but really, we were just young America, though, the album’s fate was an
of a youthful rhythm ’n’ blues act. (After people trying to make our way in the entirely different story. “That
all, “blues” was even in the band’s name.) world and trying to play music that we [commercial success] only happened with
As vocalist Justin Hayward recalls, these thought would express what was in our the birth of FM radio in America. Because
struggling musicians weren’t doing so well hearts and was in our minds.” it was so beautifully recorded, it fit into
with paying their bills either. So, when Despite Hayward’s “Awe, shucks” the FM radio concept, of having really
their record label, Decca, came to them remembrances of his Days recording nice stereo material. Where records at the
with an unusual proposition, it was an experience, it’s impossible to escape the time, were just made in mono. Even the
offer they couldn’t (afford to) refuse. time and the season’s impact upon this Beatles down the road were doing drums
This proposition was ultimately long player’s overall vibe. “The trees are on the right, vocals on the left. You know,
transformed into The Moody Blues’ drawing near me,” Hayward remarks that’s a very unimaginative kind of stereo.
breakthrough, pioneering album, Days Of during the song ‘Afternoon’, “I’ve got to So, I think a lot of things kind of
Future Passed. Hayward is downright find out why.” He then continues, “Those conspired to make it interesting. But
humble, though, when asked to recall the gentle voices I hear, explain it all with a certainly, commercially, it had no chance
days leading up to this pivotal album’s sigh.” Also, sonically, the track vacillates at all. And I thought it was just a very
creation. “Well, I wish that we could take between Knight’s orchestral flourishes, beautiful thing that would just pass by
credit,” he begins, “for all the events and the band’s pseudo-boogie rock. In unnoticed, except for a few stereo buffs.
surrounding that album, but I’m afraid we short, this song’s a trip. “I think some of Even the head of promotion at Decca, and
can’t. I would have to say that the idea was us, like a lot of young people do at that the independent promotion guy that they
instigated by Decca. And it was made – as age and certainly at the time,” Hayward hired, sort of did a Pontius Pilate and
you may know – as a demonstration adds, “were involved in a sort of search washed his hands completely of it and
record for their stereo system. And that’s for some kind of enlightenment. And that said, ‘Oh, I can’t plug THAT!’ And so,
what came first. And I think there were a fed into it as well.” that was that, really.”
couple of executive producers. One, “Things are the same, but they keep Thanks, in large part to American radio,
called Michael Dacre-Barkley, who was moving forward,” is how bassist John Days Of Future Passed (released in
actually pictured on the back of the Lodge summarises the message of Days Of November ’67), ended up being one of
album. He’s one of the people in the Future Passed. “It’s whether you look the most successful pop/rock albums that
picture. And then Hugh Mendi, who was backward or look forward, and I’m a year. It earned a Gold record and even
another of the executive producers, who ‘looking forward’ person.” reached #27 on the British LP chart.
had this idea to counter Peter Knight’s Part of the reasoning behind The Proving how some things take time to

40
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“I thought DAYS OF FUTURE

PASSED was a very different kind of
album at the time. So different that I
thought it had no chance
commercially because there was no
way that it was ever going to get
played on the radio”
catch on, the album made it to #3 on the Perhaps, the best example of the
US Billboard charts – but not until ’72. Moodies’ psychedelic experimentation can
One special song from the album, be found on In Search Of The Lost Chord,
‘Nights In White Satin’, made it to #19 in the album that followed in July ’68. One
the UK, but only #103 in America. At song, in particular, titled ‘Ride My See
the time of its initial release, the three- Saw’ was written by bassist John Lodge.
minute single was nearly a hard and fast Beginning with its trippy spoken word
rule. But in ’72, after radio embraced the intro, which is followed by driving guitar
never-ending Beatles’ song, ‘Hey Jude’, and harmony vocals, this could just as
and Derek & The Dominos’ ‘Layla’, with easily have been a track from an American
its extended instrumental portion, ‘Nights garage-rock band, as a ’60s British one.
In White Satin’ was reissued and became a “One of the things I actually love,”
hit, topping out at #2. comments Lodge, “is harmony. And
Although ‘Nights In White Satin’, there’s not a guitar solo or a keyboard solo
which closes the record, is a fitting in there, and the solo, is all harmonies.
conclusion to the LP, it was actually And I think that was a really psychedelic
written before the band had even planned era thing, those harmonies. ‘Ride My See
out the album. Rather, it was created to go Saw’ is where my life had taken me, and
with their live show. The goal, at the time, where it was at that particular time in my
was to write enough music so the music life.”
did all the talking. Just as the group wasn’t Another significant piece on In Search
comprised of natural R&B musicians, the Of The Lost Chord is ‘Legend Of A Mind’,
act also wasn’t so good at stage patter, such a song Ray Thomas wrote in tribute to
as telling between song jokes. LSD guru Timothy Leary. The album
The song’s melancholy nature is fitting, was recorded, not coincidently, right
as it came about for Hayward at the end around the same time as some of the
of a love affair. Hayward has said he was band took LSD for the first time.
given satin sheets by a girlfriend, which he Inspired by George Harrison’s
found to be impractical as he had a quite
heavy beard at the time, which made it A Belgian edition of
difficult to sleep on them. Not ‘Nights In White Satin’
showing the old band;
surprisingly, Hayward has described the UK issue; Record
song’s lyrics as the random thoughts and Mirror ad; the group
enters ’68 on top of
ideas from a very stoned 20-year-old the world
young man who was desperately sad for
himself over one love affair.
Days Of Future Passed is also cruelly
overlooked whenever the topic of concept
albums comes up. Sgt Pepper’s Lonely
Hearts Club Band and Pet Sounds are always
key when concept discs are seriously
discussed, but Days, a song cycle that takes
place over the course of a single day, also
belongs in this conversation. And, like
The Beatles and The Beach Boys, The
Moody Blues were incorporating strings
into their songs in ways few strictly rock
’n’ roll bands had ever attempted before.
Whereas The Beatles and Beach Boys
merely wanted to colour their recordings
with classically inspired strings, the
Moodies ambitiously attempted to create
something along the lines of Antonin
Dvorak’s New World Symphony. This takes
nothing away from what The Beach Boys
and the Beatles accomplished; however,
these releases have been lauded at the
expense of many other recordings – Days
Of Future Passed, included – that must not
be forgotten.

41
SD74 Moody [Link] 10/11/2017 15:59 Page 5

GOT THE BLUES

JON ‘MOJO’ MILLS picks five pre-1970 gems that tip their hats to the
Mellotron and harmonies of THE MOODY BLUES

BARCLAY JAMES THE TOYSHOP

HARVEST Send My Love To Lucy
Mr Sunshine (B-side, Polydor, 1969)
(B-side, Parlophone, 1968) The flip to these fly-by-
On their debut single ‘Eyes nights’ poppy Carter-Lewis
Of Blue’ – like many of the composition sees this
class of ’68 – BJH were in Stoke-On-Trent group,
thrall to Procol Harum. Flip which featured members of
over to the more pensive B– Hedgehoppers Anonymous,
side ‘Mr Sunshine’ and latch onto the vibe of
you’ll hear a gentle folk tune ‘Nights In White Satin’ with the grit of contemporary GRACIOUS
swathed in Mellotron that could have easily featured Family. They’d show up again as Alan Avon & The Once On A Windy Day
on Days Of Future Passed. Toyshop. (A-side, Vertigo, 1970)
As one of the great, but lesser regarded, ’tron bands
GENESIS Gracious soaked up the prog of King Crimson as
Barclay James Harvest Fireside Song much as anything, but on their second single, the
await the sunshine (From Genesis To Revelation LP, Decca, central Mellotron, acoustic guitars and sweet
1969) harmonies equal pure Moody Blues. A delightful
These young sound.
public-school
boys yet to CRESSIDA
become Winter Comes Again
progressive (Cressida LP, Vertigo, 1970)
behemoths
began their Of all the mentioned artists
career in love with The Bee Gees and it’s Cressida’s Angus Cullen
The Moody Blues. Already armed with that sounds vocally the
their own intelligent pop smarts – and most like Justin Hayward
afforded the orchestral budget of the and pens melodies that
Moodies on their debut album – the would so easily work for The
massively produced ‘Fireside Song’ Moody Blues. Although unafraid of dishing out high
does indeed sound a lot like the doses of ’tron elsewhere, on ‘Winter Comes Again’ it’s
missing link between Days Of Future the arch ’67-era Moodies that the band capture, and
Passed and Odessa. they do it beautifully.

fascination with Indian music, Hayward label, meant that, for the second album, Pepper. I don’t know, really. The only
also began experimenting with sitar Decca really trusted us with their studio, person that I knew was at all interested
within their music, and this unique and gave us two or three weeks of studio was a blues singer called Graham Bond.
instrument can be heard on ‘Voices In The time, and just said, ‘Get on with it and see He had one as well and I know Mike and
Sky’, ‘Visions Of Paradise’ and ‘Om’. what comes out.’ Because people seemed him were discussing that and sharing bits
Even before recording Days Of Future to like Days Of Future Passed as an album, and parts for… it was a mechanical thing.
Passed, it was one specific sonic element particularly in America, so we were given It wasn’t so much an instrument you
that helped determine the direction of The that opportunity to make another record.” played; it was a piece of machinery that
Moody Blues’ future. “The big difference Mellotrons are a type of keyboard that you engineered.”
for us,” says Hayward, “was when, early activates taped loops of a selected By incorporating Mellotron into The
on in ’67 – well before Days Of Future instrument that has been recorded at Moody Blues’ songs, this gave the band a
Passed – Mike Pender bought an different pitches. Unlike the synthesiser, unique sound. One that not only sent
instrument called the Mellotron that had the Mellotron utilises actual instrumental them leaps and bounds beyond their
some orchestral sounds on it. It was a recordings and, in the case of Days’ rhythm ’n’ blues roots, but allowed the act
sound effects instrument, which had some ‘Tuesday Afternoon’, for instance, these to experiment with a classical music/rock
orchestral elements on it, and Mike recorded loops replicated strings. What ’n’ roll intersection that few had
duplicated those sounds. And those are the gives the sound much of its charm is the attempted before.
sounds that became the identity of The wow and flutter in the tape loops as they In addition to the band’s classical-rock
Moody Blues. And I know that the play back. experimentation and psychedelic
Mellotron made my songs work, It wasn’t as though the band heard a association, many have also pegged the
somehow. Before that, it was just a bad Mellotron and suddenly decided, “Let’s Moodies as one of the progenitors of
thing of playing piano and Vox get one of those!” “No, in fact, I think prog-rock. “I think that whole prog-rock
Continental organ and being very Mike was the first person I ever heard play thing came along quite a few years after,
frustrated with it. But suddenly, with the it,” says Hayward. “I knew that there was maybe five years after, and [Pink] Floyd
Mellotron we had a kind of a voice and a one at Abbey Road, which was only down were around at the time, and when we
serenity and a grace about the sound that the road from Decca’s studios in West came to America, often the top of the bill
suited the songs that we were writing. And Hampstead. The Beatles had used it on Sgt would be a light show. Some sort of
we knew that we had something there, Pepper, but I hadn’t heard it at the time we psychedelic oil lights and that ‘Joe’s Lights’
and the fact that we had such a lousy were writing Days Of Future Passed. I’m would be at the top of the bill, and that
royalty while we were on a great record not aware that they used it before Sgt didn’t surprise anybody. It’s just a fact that

42
SD74 Moody [Link] 10/11/2017 15:59 Page 6

“Suddenly, with the

Producer Tony Clarke in Decca’s
Studio One; Timothy Leary,
summer ’67; the Moodies perform
Mellotron we had a ‘Nights In White Satin’ on German
TV, early ’68; Hayward and sitar
kind of a voice and a on the BBC’s Colour Me Pop

serenity and a grace

about the sound that
suited the songs that
we were writing. Before
that, it was playing
piano and Vox
Continental organ and
being very frustrated”

on our first tour of America, one of place, at the right time, and The
the first people that we met was Moody Blues certainly were.
Timothy Leary. Apart from searching However, these songs continue to be
for some sort of spiritual album oriented rock staples, not
enlightenment, some of us – me solely because they’re vintage
included, and two of the others – were experiments, but because they’re
interested in psychedelic experiences, as lovely, melodic, lyrically-obtuse and
well. And I think that fed into the ever so slightly psychedelic.
things that we were writing, absolutely. it’s doubtful Hayward even cares. This unique recording, with its at the
But I soon got over that, about a year With all this talk about Days Of Future time rarely used Mellotron, transformed a
after really, like you do at that age.” Passed, and the album’s special place in struggling R&B band into a confident,
By avoiding the trappings of youth, rock ’n’ roll history, it’s nearly impossible innovative and, lest we forget to say,
including drugs, The Moody Blues have to avoid the elephant in the room, which progressive rock band. As Hayward has
sustained a long and successful career. can best be described as The Rodney said, this album’s songs expressed what
While many of the band’s contemporaries Dangerfield Effect. And that is, The was in the hearts and minds of a talented
succumbed to the many temptations in Moody Blues don’t get any respect. group of young people. And maybe it is
rock ’n’ roll, or were relegated to the It’s impossible to avoid The Moody this factor, this factor of youth, more than
county fair and/or oldies circuit, the band Blues’ influence on bands and performers any other, which continues to attract new
soldiered on. In fact, the band had an that came after them. In the progressive Moody Blues fans, year after year.
unlikely resurgence with the Top 10 US realm, it’s difficult to imagine a Yes or Innocent ones immediately recognise
hit ‘Your Wildest Dreams’ in ’86, which Genesis, for instance, without a Moody innocence when they discover it, and
was #1 on Billboard’s Adult Contemporary Blues. Furthermore, would Jeff Lynne songs like ‘Nights In White Satin’ and
singles chart for two weeks. The song have been daring enough to deftly ‘Tuesday Afternoon’ are timeless musings.
became popular on MTV (to a generation combine rock ’n’ roll with classical in The poetry that opens ‘The Day Begins’ is
that had likely never even heard Days Of Electric Light Orchestra, had The Moody all the heart of a romantically explorative
Future Passed), and the song’s video won Blues not first entered these uncharted college student requires.
Billboard’s Video Of The Year. waters with Days Of Future Passed? This is why Days of Future Passed will
When it comes right down to his Looking back now, it’s amazing to always be a timeless treasure.
musical style of choice, Hayward states, “I consider how Peter Knight’s
like a good old pop song, to be honest. orchestrations took Hayward’s admittedly With thanks to Justin Hayward, Dorothy
And if I could have one decade of music simple songs and transformed these Howe and Mark Wood
in my life only, it would probably be the youthful words into the true rock classic,
’80s, which I adored.” And if that Days Of Future Passed. Sure, there’s Days Of Future Passed: Deluxe
statement bursts your psychedelic bubble, something to be said for being at the right Edition is out now on UMC

43
SD74 [Link] 10/11/2017 16:03 Page 1

YOU ONLY

Mortimer in NYC, 1967. L-R: Tony Van

Benschoten, Tom Smith, Guy Masson
SD74 [Link] 10/11/2017 16:03 Page 2

Albums sometimes get

cancelled before release.
But few bands have faced
the cancellation of two
albums by two labels in
two continents within two
years. Given that the
second cancellation was
by Apple in 1969, and
that said masterpiece
took almost half a century
to see the light of day,

DIE TWICE
with only a single band
member still alive to
enjoy its release, then
consider the plight of
MORTIMER, the New
York group to whom all
of these things happened.

MICHAEL BJÖRN gets

the full story from
surviving member Tony
Van Benschoten and
Apple Records
archaeologist Stefan
Granados
istening to Mortimer’s “lost” album On Our Way Home is like stepping into a time capsule.
Decades rip and crumble, the air vibrates as long gone pop sounds frozen in eager youthfulness
thaw and wake from their enforced beauty sleep. An early indication that there was indeed some
interesting Mortimer music in the Apple Records vaults came in 2008 with the appearance of
‘People Who Are Different’ on RPM’s 2008 compilation An Apple A Day. It would take almost
another decade for rumours about them having recorded a Beatles song, followed by an entire
album for the label, to prove themselves true.
Mortimer were of course not the only starstruck Americans to be sucked into The
Beatles/Apple madness of ’69 that wreaked havoc on everyone involved.
Another group that came to London from across the pond, recorded and album in the shadow of
their heroes and disintegrated was The Aerovons. “It was a similar story, yet it was different,” reflects
Apple biographer Stefan Granados. “They were committed anglophiles and sounded like that even
before they went to England.”
But Mortimer weren’t like that. Although Paul McCartney gave them an unrecorded Beatles song,
and although his former girlfriend’s brother produced them on his label, they stayed true to their own
individuality.
SD74 [Link] 10/11/2017 16:03 Page 3

Their story begins in the early ’60s in

Hudson Valley, upstate New York. The
band started out in a slightly different
configuration as an energetic garage-rock
outfit called The Teddy Boys and soon
attracted a loyal local following. They
even got to play at The New York
World’s Fair. They were then invited to
play at a Greenwich Village club called
Trude Heller’s 8th Wonder. Youngest
band member Tony Van Benschoten had
just turned 15 at the time, so a birth
certificate was forged to make him 16.
They played several sets each night,
mixing their own music with other songs.
“We did that for about a year, the four of
us,” remembers Tony. “We were sleeping
on friends’ floors at the time. But then a
lady called Sibyl Burton, who had been
married to Richard Burton the actor,
heard us. She had a discotheque called
Arthur and we were hired to be the group
there.”
This also meant they could afford
moving into The Chelsea Hotel, where
they spent almost four years around other
artists associated with the hotel, from the
Chelsea girls of Andy Warhol’s
eponymous film, and Edie Sedgwick who
lived just upstairs from them, to Bob
Dylan.
At this time, they did a couple of singles
and then got to record a full album for
Cameo-Parkway Records, but that album
was never released and has been lost to
history. “Cameo-Parkway was bought out
by Allen Klein, and his Abkco company,”
explains Tony. “It was basically an asset-
stripping operation. He came
in and got rid of probably
60% of all the people
signed and kept a few
and just sort of let it
go under and sold it
off.”
On his quest to re-
release the Mortimer
albums, Granados spoke
with a former Abkco
employee who shed some
light on the probable fate of
The Teddy Boys’ tapes. In 1972
this employee had been tasked
with cleaning out the tapes that
were stored in a Philadelphia
warehouse used by the now Tony, Guy and Tom during the
photo session for their ’68 debut
Klein-owned Cameo-Parkway. album; ’66 single as The Teddy
“They went down there one Boys; ’67 pop paper cutting
day, and just grabbed Chubby
Checker and stuff like that; they well-known drums, Tom Smith on guitar and Tony
threw it in the back of a van and British rock Van Benschoten on guitar and bass –
brought it back to New York. group finished the album. Musically, it was a
But they left tons of stuff manager Tony Secunda. Danny landed sharp turn from their previous garage-
behind, and then sold the building,” says them an LP contract with Philips but in rock to a high-energy acoustic sound with
Granados. “A Teddy Boys’ tape had no the middle of recording Bob Ronga vocal harmonies, guitar and conga drums
monetary value to them, so it may have decided to do his own thing. As it that was quite different from other bands
been thrown away.” happens, Ronga would be the only one to at the time. The new sound had taken
In ’67, after the album had been have a continued career in music, shape during late night rehearsals at The
scrapped, the band had a hard time and recording with Andy Roberts, Ian Chelsea – most likely due to hotel
nothing much was happening. Lead singer Matthews and Plainsong – but that’s restraints on electric guitars and loud
Bob Ronga wanted them to be managed another story. equipment. The self-titled album sold
by his parents, whereas the others wanted With a name change to Mortimer, the quite well and Mortimer appeared on
to go with Danny Secunda, the cousin of trio – now consisting of Guy Masson on American Bandstand promoting it.

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“I DON’T KNOW IF HE WAS HIGH OR WHAT,

BUT GEORGE HARRISON CAME DANCING IN,
SORT OF HOPPING AROUND, SPUN AROUND A
COUPLE OF TIMES AND SAID, ‘SIGN THEM UP!’”
After having spent several years clearing Incidentally, it would later turn out that two of the
up legal rights and hunting down bonus bonus tracks were actually from the yet to be
tracks, Stefan Granados helped curate a discovered master tapes for the Apple album sessions.
CD re-issue of the album in 2006 on Rev- “We took those off an unmarked acetate, so we didn’t
Ola. “It wasn’t clear who the owner was, know they were Apple tracks at the time…”
we were gong back and forth,” explains Although the Philips album did well, Danny
Stefan. “PolyGram couldn’t find the Secunda thought it would do even better in England
papers and they said, ‘Maybe we do, and wanted the band to go there. In London,
maybe we don’t.’ Eventually we licensed it Mortimer played a few shows promoting the album,
through their old manager, Danny including two gigs at The Marquee on Wardour
Secunda, as it was his production Street – one of these as opening act for a relatively
company. It was good that we were able unknown young band called Genesis, who were just
to get it out although we couldn’t find the starting out. But nothing much happened, even
master tapes.” though they extended their stay by going to France
SD74 [Link] 10/11/2017 16:03 Page 5

“MCCARTNEY
SAID, ‘LOOK, I’VE
JUST WRITTEN A
SONG WHICH I
THINK WOULD BE
REALLY GOOD
FOR THESE
GUYS,’ AND
GAVE THEM ‘ON
OUR WAY HOME’
TO RELEASE AS
THEIR FIRST
SINGLE”

Recording in Trident Studios, ’69;

the “lost” Apple album

in order to renew their permits. the songs on that demo would actually be
And then came the last day in England. recorded during the album sessions. The
Guy had heard on the radio that The rest of the material was brand new – and
Beatles were looking for songs for Mary better. We know this for a fact, as the
Hopkin. So they took their guitars, went demo still exists. “There are five tape
to Apple and after explaining that they reels,” confirms Granados. “Tom Smith
were leaving for the States the next day, had copies of them. It was all one take;
managed to convince a reluctant there are some flubs and some voices
receptionist to call A&R man Mike going off key and things break down. But
O’Connor. To everyone’s great surprise, it is pretty good.”
John Lennon had actually brought their So far, only one of the demo tracks has
album back from the States and had even appeared, namely ‘Second Floor’ on the weakest track on the album. Although no
played it to O’Connor. Rev-Ola sampler, The Rev-Ola Rock one in the band was particularly happy
They were asked to come straight up to Machine Turns You On. And while the with their take, they weren’t really in a
O’Connor’s office for an audition. As they quality of the recording is decent enough, position to refuse it. “I liked the song.
performed ‘Life’s Sweet Music’ sitting on the song does sound more in line with But I don’t think we did it justice,”
a couch, suddenly the door opposite them what was on the Philips album. Although muses Tony. “I don’t think we got a
opened and there was George Harrison. “I ‘Laugh Children Laugh’ and ‘Ingenue’s chance to re-record it. As I remember, it
don’t know if he was high or what, but he Theme’ were re-recorded during the was done and they were happy enough
came dancing in, sort of hopping album session, the only old song selected with it.”
around,” says Tony. “Maybe he was for the album was ‘People Who Are Still, had it been released as their first
meditating or doing a Hare Krishna hop, Different’. single, it would probably have given them
and spun around a couple of times. And The album sessions would expand the quite a boost, just like the ‘Come And Get
then he said, ‘Sign them up!’ We just kept Mortimer soundstage immensely. They It’ single did for The Iveys as they turned
playing and he spun around and danced bear all the hallmarks of Apple Records in into Badfinger.
out another door on the left.” ’69 – clean-sounding and with a rather While McCartney’s contribution may
And that was it, Mike thanked them and soft tuning of the trebles. Arrangements sound a little weak, the rest of the album
they left the office. They cancelled their were written by Richard Hewson, who is superb. The songs were mainly written
return flight tickets, and waited… Tony’s was working with everyone from The during a three-month stretch directly after
voice still echoes with tension. “It was just Beatles to Mary Hopkin, James Taylor having been signed and are melodically
a couple of days later that we got a phone and other artists too numerous to more mature while retaining that wide-
call and they said, ‘We’d like to sign the mention. There are choirs comprising 12 eyed energy. No wonder that Ron Kass,
boys’. It was great! Getting signed to singers, African drummers and an overall then head of Apple, was a big supporter
Apple Records was the whole point of feel of a top notch, no-expenses-spared and thought the album would become a
why we’d left this little town in upstate production. major success. “Even looking at the Apple
New York.” Halfway through the sessions, Paul catalogue, I’d put it up in the Top Five
Mortimer were installed in the McCartney decided he wanted to non-Beatle albums,” says Stefan. “It’s
downstairs room at Apple’s Savile Row contribute a song. According to Tony, definitely up there; not as good as
offices, where The Beatles kept all their Paul said, “Look, I’ve just written a song Badfinger’s Straight Up or No Dice, but
touring equipment. They could use the which I think would be really good for certainly as good as Mary Hopkins’ Earth
instruments and would come in every day these guys,” and gave them ‘On Our Song/Ocean Song.”
to rehearse as well as write new songs. Way Home’ to release as their first single The sound quality is exceptional.
Paul’s ex-girlfriend’s brother Peter Asher from the album. The song was later Whereas the Philips album reissue was
was assigned as their producer and, released as ‘Two Of Us’ by The Beatles. mastered from vinyl, this time the master
although he started off by recording a 39- In all fairness, Mortimer’s rendition is a tapes have been used. Tom Smith had
song demo with them, only a couple of little anaemic and it is probably the taped the album off an acetate mix with

50
SD74 [Link] 10/11/2017 16:04 Page 6

Photographed
for the Apple
album in Peter
Asher’s garden

orchestral Tom Smith and Guy Masson had sadly members was going to leave because he
arrangements passed away in the intervening years, and didn’t want to do it anymore. So they
more to the never got the chance to witness the tapes asked Tom Smith if he wanted to go with
fore but the being released. “It has been ongoing them if we did actually break up.”
final masters pretty much since 2002, so 15 years we Soon, it was clear where Apple was
were at long have been working on it,” concludes heading. “They were just going to
last recovered Stefan. concentrate on The Beatles and putting
from the No matter how easy it is to appreciate their stuff out,” says Tony. “Then it really
Apple vaults these recordings now, back in ’69 the went sour. Obviously, Paul couldn’t stand
and could be focus was completely on The Beatles as the guy. And I don’t think the other guys
used. the problems at Apple began. Mortimer’s really liked him, except for Lennon. I
Getting there took around 15 years. dreams turning into nightmares was a think Lennon saw Klein and all that stuff
Stefan Granados first met with Tom mere side-effect. “It was like being at as a way of getting out of The Beatles.” It
Smith in ’98 when working on his someone’s party. Everyone is having a also meant that Allen Klein signed
biography of Apple Records, Those Were good time, but there is a sense of chaos,” Mortimer’s death sentence. He had
The Days. The work on the book led him reminisces Tony. “You would hang cancelled their initial album recording as
to uncover acetates of unissued songs that around and then someone would say, The Teddy Boys back in ’66, and now, on
led to the release of the first of a series of ‘Let’s play some music downstairs.’ One a different continent and in a different
five Apple publishing compilation CDs, time when we were practicing in studio B, world he also cancelled their Apple
94 Baker Street. He then asked head of McCartney came in and said, ‘Do you album. Although they had survived the
Apple Corps, Neil Aspinall, about the mind if I just use the piano for a second? first blow, the second blow was too much.
unissued Mortimer album. “We don’t have Play along if you want to.’ He started Guy Masson appeared briefly on Van
anything,” was his reply, according to playing ‘You Never Give Me Your Morrison’s Moon Dance album but other
Granados. “But then I found some Money’ and we played along with him. than that, none of the three would ever
information about Apple tape box Obviously that was during the time when record professionally again, although their
numbers, and was able to go back and say, they were starting to break up.” love of music remained.
‘We do have tape box numbers. Can you And Apple would fall apart in perfect “We had two chances and each time we
take a look?’” synchronisation with The Beatles’ internal were shot down by Allen Klein. Maybe it
Apple now confirmed not only their troubles. “Usually, they weren’t there,” wasn’t meant to be,” ponders Tony.
existence but also that of the multi-track says Tony. “The last time I saw them “When I listen back to the music,
tapes. Apple might have had concerns together was the day they did the concert especially with earphones, I can hear what
about the rights to the tapes, or just came on the rooftop. We were all up there we were doing in the background. We’d
to the conclusion that releasing Mortimer listening to it and watching it.” be looking at each other, or, I can hear the
records would not make them any money. Allen Klein took over the reins, and mistakes that someone made and you’d see
Meanwhile, Stefan Granados managed to everyone who had championed Mortimer the smile on their face, like, ‘Oops,
license and re-release Lon & Derrek Van left in quick succession: Mike O’Connor sorry!’”
Eaton’s ’72 Apple album, Brother. Apple who had auditioned them, Peter Asher The band’s name was originally taken
was now headed by Jeff Jones (former who had produced, and Apple head Ron from London’s Mortimer Street but
head of Sony’s Legacy reissue label), who Kass. “It was like a ghost ship after that,” there’s an ironic twist there as it’s
took a much more pragmatic approach to muses Tony. Initially, artists were told to sometimes used to personify The Grim
the material in the Apple archive. This hang on while the new management took Reaper; mort meaning death in French.
provided an opening for Stefan to yet stock of the situation, but inactivity “Yeah, ha ha!” laughs Tony. “Maybe it
again ask about the Mortimer tapes. brought other problems. “We probably was the wrong name!”
Eventually, he was able to negotiate a deal caught The Beatles disease,” reflects Tony.
whereby Apple reverted the tape rights “Maybe we should do our own things? On Our Way Home is out now
back to Mortimer. Unfortunately, both Go off and change? One of The Iveys’ on RPM

51
SD74 [Link] 10/11/2017 15:36 Page 1

TWISTED
ROOTS
AND
SWEET
FRUITS
HARVEST HYMNS, A NEW 300-PAGE COLLECTION FROM
THE PUBLISHING WING OF ONLINE RESOURCE AND FORUM
FOLK-HORROR REVIVAL, LOOKS AT ALBUMS, ARTISTS,
SOUNDTRACKS AND THE ROOTS OF SOME OF OUR OLDEST
SONGS IN AN ATTEMPT TO UNDERSTAND WHAT MAKES A
PIECE OF MUSIC “FOLK-HORROR”.
IN THIS ABRIDGED EXTRACT, ADAM SCOVELL TURNS HIS
ATTENTION TO THE MUSIC THAT COLOURS TWO KEY FILMS
OF THE GENRE: WITCHFINDER GENERAL
AND THE BLOOD ON SATAN’S CLAW
ichael Reeves’ 1968 film Witchfinder General started off the boom in folk-horror

M production and was the first film in what has become considered as The Unholy
Trinity, along with Piers Haggard’s The Blood On Satan’s Claw (’70) and Robin
Hardy’s The Wicker Man (’73). However, it is not its commercial success that this
article is interested in, for Witchfinder General laid the groundwork for the future
thematic and aesthetic principles of folk-horror.
The film follows Matthew Hopkins (Vincent Price) as he roams the realms of East Anglia looking for
innocent women to burn as supposed witches. Already from this brief synopsis, it is clear that the film
fulfils the criteria of the folk-horror chain; its isolated rural locales leading to skewed belief systems
and horrific happenings. The reason for shying away from analysing Witchfinder General in more detail
is its largely uninteresting (at least for this essay’s focus) score by Paul Ferris.

52
SD74 [Link] 10/11/2017 15:36 Page 2

Angel Blake (Linda Hayden)

and Cathy Vespers (Wendy
Padbury) prepare to meet
the horned one while his
disciples look on in The
Blood On Satan’s Claw

Ferris’ music is mostly a product of its era, melody. This melody is what film’s music. On its first appearance, the
or more accurately, a product of a studio differentiates it from the horror films melody is played on a lute (non-
trying to keep up with its competitors, around it and hints at the aesthetic diegetically) as the two lovers have sex.
Hammer Horror. Interestingly, David potentials in this area of horror. The melody seems to be an almost
Huckvale attributes the later success of During scenes in which emphasis is fragmented motif of the piece’s most
our main case study to a Hammer film of given to two protagonists who are in love, famous section and, when the lute fades
this era, mentioned when analysing its a melody comes forth that feels extremely and leaves the strings, the score can’t help
score by Richard Rodney Bennett: different to the rest of the score. Its first but evoke a more simplified but equally
“Bennett’s last score for Hammer was appearance instantly marks it out as rural world of Ralph Vaughan Williams.
for The Witches, a tale of rural witchcraft different, explicitly so because of its By referencing a folk melody in such a
which, to a large extent, prepared the instrumentation (though it is later way, Reeves’ film hints that horror can be
ground for The Wicker Man Putting Ferris’ orchestrated). The melody shows melodic homegrown from tradition. The presence
music alongside any number of Hammer’s hints of the traditional folk of this melody could have been as
films from the same year leaves them nigh song ‘Greensleeves’ slightly altering the important a factor in the creating of
on indistinguishable barring one key melody as to fit in with the rest of the Reeves’ folk-horror as the rural setting,

53
SD74 [Link] 10/11/2017 15:37 Page 3

more on theatrical music, with the

soundtrack to The Blood On Satan’s
Claw being only his second film score. His
musical style is typified with being overtly
English in character, yet mixing unusual
instrumentation and styles to address the
themes of each film. Describing this style
as English could be problematic without
musical analysis but the music’s inherent
Englishness in its aural landscape will be
looked at further in the following section.
Wilkinson’s success with the score for The
Blood On Satan’s Claw would lead to a
further relationship with folk-horror.
Instead of the belief However, this success clearly made an
systems leading simply to impression on the makers of The Wicker
horrific actions and violence Man, who sought Wilkinson’s help and
on the part of the human input into Paul Giovanni’s folk songs and
Witchfinder General characters, this evil score. With this, we can get a sense of
director Michael Reeves
and composer Paul Ferris; eventually becomes physical what fed into Wilkinson’s music and how
the soundtrack album and is the first occurrence of that input eventually came out as a highly
an otherworldly force in our idiosyncratic score; this is a classical realm
case-study examples. The but with clear links to folk music
film is a product of the traditions and the avant-garde.
interest in reflecting the era’s To address the presence of musical
rebellious youth, an idea anachronisms in films of all types is a tricky
which sound theorist, Rick subject and potentially filled with
Altman, almost accidently problematic arguments. By addressing the
stumbles upon in his issue, other factors such as widespread
writings on genre: “During audience reception, cinematic trends and
the ’60s and ’70s, renewed audio-visual norms have to be generalised
the traditional interest in popular culture and its genres to the point where counter-arguments are
methods of was spurred on by two critical currents. easily formed. To address the relationship
torture, and the On the one hand, literary structuralism of anachronistic music in folk-horror is an
strange, twisted followed the lead of Vladimir Propp and equally troublesome area simply because
form of Claude Levi-Strauss in concentrating on the arguments could easily be extended to
Christianity used folk narratives without any apparent cinema outside of the sub-genre; if this is a
in the film to source other than the very audience of common trend in all types of cinema, why
justify the horrific actions of its main those narratives.” then focus on it when discussing the
antagonist. This melody’s appearance isn’t These “folk narratives” manifest specific audio-visual relationships of a sub-
simply a period decoration but a subtle through a rich vein of nihilism in the genre? The Blood On Satan’s Claw, however,
reference to the folk-horror chain; these genre. The film has the usual folk-horror presents a case of examples that are worth
musical practices have formed out of a tropes and makes particular use of the analysing, simply because the ideas of
culture in similar scenarios to the land around it from which the evil springs anachronistic musical traits can be read as
development of the horror in the film. If forth. It has sacrificial ceremonies, the informing and reinforcing particular
the horrific can be presented in this way hunting of potential witches, skewed strands of the folk-horror chain, whereas
then perhaps so can the overall musical belief systems and a strange mix of readings for thematic anachronistic
content of a folk-horror film as well. diegetic and non-diegetic musical presences of music in other genres may
Piers Haggard’s venture into folk- moments. As we will see, this supernatural perhaps be more general and to do with the
horror, The Blood On Satan’s Claw, has addition to the folk-horror chain will production of the films (and the
several relationships with the two others prove of subtle but vital influence on how assumptions they make of their audiences).
from The Unholy Trinity. Its production the film uses music. This sense of the As Wurtzler argues, “This position, so
is quite specifically based on the success of supernatural is played for real rather than important to the cultural label ‘realistic’,
Reeves’ Witchfinder General; made in the simply as fairytale as Young argues, hinges in part on the sound film’s ability
wake of the slow-build but positive suggesting that “there is a genuinely to posit a single, unitary audio-visual
commercial result of that film. What is malevolent magic at work here; and, as event that exists prior to its
essentially different about Haggard’s film in Witchfinder General, it is presented not as representation.” What then can we call
is a crucial aspect in understanding its fairytale, but as an eruption of terror in a anachronistic music in The Blood On
musical aesthetics and narrative community of working people.” Satan’s Claw and folk-horror? With The
eccentricities; unlike Witchfinder There are several parallels with the Wicker Man, the music in folk-horror can
General or The Wicker Man, The Blood On musical styles of the two films that often reflect the era it was made, a
Satan’s Claw features the confident, overt bookend it but there is also plenty of modern day setting allowing for the
presence of the supernatural. It follows a highly original moments of scoring influence of the counter-culture to enter.
small rural community in the English which, more so than The Wicker Man, Yet The Blood On Satan’s Claw does not
countryside during an aesthetically similar would help define what could be have a modern day setting. Like many
(but not quite the same) era to that described as an industry norm in the style folk-horror films, it is set in a very
of Witchfinder General. The discovery of and scoring of folk-horror film particular past. Because of this setting,
the remains of a strange creature while soundtracks. most classical methods of scoring are
ploughing the land leads to a rising of The Blood On Satan’s Claw has a score by going to be anachronistic to the period
occultism and the slow rejuvenation of Marc Wilkinson, perhaps most famous for setting, sometimes overtly, other times
The Devil himself by growing back its scoring Lindsay Anderson’s If.... (’68), and more subtly and only to the ears of a
skin on the young people of the has several interesting aspects to consider. musicologist. Witchfinder General is a good
community. Wilkinson’s history and work is based example of this logic with its 1645 setting

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“A DESCENDING MELODY
IS HEARD ON SOME
FORM OF FLUTE. A
SOUND APPEARS
ALONGSIDE THIS BUT
THE INSTRUMENT
The Blood On Satan’s
PLAYING IT IS Claw director Piers
Haggard and composer
AMBIGUOUS. Marc Wilkinson; the
soundtrack album
IT ALSO HAS THE SENSE
OF BEING ELECTRONIC, ALMOST LIKE A
SOUND EFFECT”
at odds with its modern orchestral score. instrument but it also has the sense of the more rural-
Even a film set around the same era but being electronic, almost like a sound effect. esque work of the
outside of the sub-genre places equal Its ambiguous nature again lends to composer in its
presence upon this type of music; for reading a sense of the uncanny. Put aural soundscape.
example Cromwell (’70). But there is together with this obviously folk- Both have
something very different about influenced melody, the music portrays two melodies that were
Wilkinson’s score for The Blood On Satan’s polar forces. Robert S Cantwell suggests (or at least
Claw – something that, when addressed, the following: “Thus the folk revival was tonally could be in
can also show why he was perhaps drafted neither reactionary nor revolutionary, the case of the score) taken from
in to advise on the initial musical writing though it borrowed the signs of other such traditional folk music and both evoke the
for The Wicker Man. movements and subcultures to express its aesthetics and traditions of the rural
Even to a non-musical viewer, the sense of difference from the parent landscape and countryside. This could
opening musical themes in The Blood On culture; it was, instead, conservative, or, easily be considered a similar pathway to
Satan’s Claw are clearly odd in some way. more precisely, restorative, a kind of Wilkinson’s score though may seem an
The influence of the counter-culture can cultural patriotism dedicated to picking up assumption without detailed analysis.
again be deduced from the basic the threads of a common legacy that the After all, the transcripts of the score are
instrumentation of the score, with lead parent generation had either denied or unavailable and Wilkinson, an obscure and
melodies given to a flute and the ensemble forgotten to reweave into history.” largely unappreciated composer, has left
being small and percussion heavy similar The film has already shown this clash to little discussion of his work. But the main
to a number of musical acts from the era. be present within its narrative but such a crux of the argument is that Wilkinson’s
After all, Haggard has stated this influence reading can be derived from the musical score does sound like it could potentially
to be heavy on the film as a whole: “I score as well. The descending flute can have been passed down from folk
think that I was trying to make a folk- represent the people, more precisely in the melodies. It could easily be a variation on
horror film in a way because we were all film’s opening moment, the lonely field some obscure folk theme as was the
interested in witchcraft, we were all a bit worker. The descending nature of melody popular method of Williams: “Other
interested in free love. The rules of the hints at a downwards movement, apt for composers such as Vaughan Williams, felt
cinema were changing.” (Gatiss, 2010, the visuals of a worker ploughing the deeply committed to the songs as well as
BBC). A moment happens within this fields. This melody seems very deliberate the singers who passed them down.
opening motif which is subtle enough to as the film is explicitly about the ground Variation has remained a popular genre.”
be difficult to single out but odd enough and the soil; what can come from The interest and emphasis on allowing
to achieve an effect of implying the underneath its supposed rural surface? this influence into the music can be seen

displaying an anachronistic, 20th century

uncanny. Though obviously having Alongside this “digging melody” there is as apt for the setting while ironically
emphasis on percussion, a shimmering the strange sound (with some diegetic
cymbal hit seems to have some form of sounds of crows calling) which can again interest; that of acknowledging and
electronic modulation upon it. represent the slight presence of something incorporating folk song into the supposed
Though this relationship would be more supernatural and out of place in the higher art of classical forms. From
overt over the years as the technology setting. It is lower in the mix but can be listening to The Blood On Satan’s
grew cheaper and more accessible, this seen to be come to the fore (along with Claw with emphasis on its connections to
brief but simple effect hints at something the previously mentioned electronic the film’s thematic material, it is clear that
being out-of-place within the narrative modulated symbol) when the field worker Wilkinson’s score not only adds to the
world of the film; this “something” being discovers the first remains of the creature. film but reinforces its already stark
read as the presence of the supernatural When showing a clip of the score connections with the folk-horror Chain.
(the final stage of the folk-horror chain). recently to a tutor, they remarked at how, By highlighting the potential in a film’s
Donnelly has perceived this relationship in essence, it reminded them of the work typical relationship with anachronistic
before in more general use of horror music of Ralph Vaughan Williams, albeit in an sounds and music, the score hints at new
suggesting that “Film music not only obviously more pulp setting. This territory while simultaneously being overt
seems to have an insistent irrational edge, composer was mentioned earlier in and extremely quintessential in its role as
but it also concretises this through its passing and this was somewhat deliberate, a folk-horror whose isolated, rural
power to manifest the supernatural.” to show that, of all British composers, it is communities conjure up something
Other strange moments occur earlier Vaughan Williams who, with his interest devilish from the landscape through their
within this motif, namely when the music in nationalist music and the use of easily swayed beliefs.
actually begins. A descending melody is traditional English folk melodies, shares
heard on some form of flute and a sound the most trends with the arguments of With thanks to Jim Peters
appears alongside this but the instrument this essay. The tutor was indeed
playing it is ambiguous. At first it could be correct; The Blood On Satan’s Claw does Harvest Hymns is published
construed as another type of woodwind have elements that can be found equally in soon by Wyrd Harvest Press

55
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The golden couple Susan and

Terry Jacks on stage with
The Poppy Family in 1970
SD74 Poppy [Link] 10/11/2017 16:08 Page 2

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 PYS
TOGER


W
Emerging from the thriving
Vancouver music scene of the mid-60s,
THE POPPY FAMILY left their contemporaries
in the dust, blossoming into a pop phenomenon that,
just briefly, threatened to eat the world.
At its centre was the husband and wife team of Terry
and Susan Jacks, whose movie star smiles and easy
bonhomie disguised a dark musical heart and a tale of
power struggles and control freakery that cast a long
shadow over their perfect pop concoctions.
ANDY MORTEN finds out
where they went wrong

hen pop culture commentator Kim Cooper likened

The Poppy Family to a hybrid of The Manson
Family and The Partridge Family in issue #3 of her
Scram magazine in 1994, she at once characterised
the opposing extremes of darkness and light that
ran through the veins of this Canadian act – the
stale winds of the ’60s comedown and the shallow
aesthetics of the entertainment industry. She also
unwittingly sent many a curious reader scurrying to
second hand record shops in search of the two
albums and half dozen singles they fashioned during their four-
year existence between ’68 and ’71. As if by magic, A Good
Thing Lost, a 21-track anthology of The Poppy Family’s
recordings appeared two years later and instantly found a home
in the hearts of fans of bubblegum, light psychedelia and even
outsider music, many of whom might have previously written
the Poppies off as tacky one-hit wonders, if they’d been aware
of them at all.
SD74 Poppy [Link] 10/11/2017 16:08 Page 3

That hit, ‘Which Way You Goin’ combine forces. The whole thing
Billy?’, remains the group’s calling evolved from the one appearance
card; a favourite on oldies radio the together. An opportunity would come
world over and one of the first records up to perform in a coffee house or
to break out of Canada after topping bistro and it gave us both a chance to
the charts there in late ’69, reaching make a little extra money. I continued
#2 in the US and #9 in the UK – to perform without Terry for quite a
almost a year after its initial release. while, using other musicians, but he
But, despite the awards and gold was persistent in wanting me to use
records, the record’s success and the him.”
inevitable flood of cash and accolades When the decision was made to
that followed undermined not only the expand into a group format, the pair
group’s creative heart but ultimately contacted Craig McCaw, whose band
the twisted love story that was its two The Club 63 Shadracks they’d met on
stars, Susan and Terry Jacks. the ’65 Let’s Go! Review tour.
“I knew Terry and I were doing well McCaw played guitar and sitar and
when we bought a beautiful home on was in thrall to The Beatles’ Rubber
the waterfront in West Vancouver and a Soul and Revolver, bringing some
ranch up near Whistler Mountain,” much much-needed hipness to what
Susan told writer Mark A Johnston. at this point was still a conservative,
“Terry was always pretty controlling covers-heavy repertoire.
and it got more intense the more m left; As The Summer Of Love
The Chessmen in 1965 with Terry, botto
in ’69 (below).
successful we became. Terry’s comments the original Poppy Family incarnation bloomed 1000 miles directly south of
McCaw
would start before the show and L-R: Satwant Singh, Susan, Terry, Craig the group’s rehearsal space at Terry’s

“There was never

continue on stage. He was extremely parents’ place in Shaughnessy,
abusive, verbally, about my singing and Vancouver, a new band name was settled

really any kind of

whatever else he could think of putting upon. “We decided to look in the

initial plan to
me down for. Most of the time, I learned dictionary,” recalled Susan, as so many

combine forces.
to shut it out, but sometimes I just have over the years. “When we came
couldn’t take it anymore.” Viewers across ‘Poppy Family: varied species of

The whole thing

witnessing this golden couple, particularly flowering plant…’ it sounded perfect and

evolved from the one

the dazzlingly attractive Susan, on stage or we all knew it. It gave us a symbol and, of
screen during this period, could have had course, it was the psychedelic era so it fit

appearance together.
no concept of the tension behind the in perfectly.”

I continued to
smiles. The Poppy Family began performing as
Terry Jacks’ “controlling” tendencies a trio in early ’67 before quickly realising

perform without Terry

had been brewing for some years. Born in their resolutely non-traditional line-up

for quite a while but

’44 in Winnipeg, Manitoba, he became de required some form of bedrock. McCaw

he was persistent in
facto leader of Vancouver garage-pop act introduced his friend Satwant Singh,
The Chessmen, writing and singing the whom he’d met while studying the sitar.

wanting me to use
bulk of their four singles released between Singh brought his tablas and the group

him”
’64 and ’66 on London and Mercury. As was complete. Not that having no
the group toured the States he became drummer and bassist wasn’t without its
adept at befriending music business problems. “We would show up on concert
moguls, most notably Dub stages with these giant stacks of Marshall
Albritten, Brenda Lee’s manager and amplifiers that were being used
a major player in Nashville. by other acts on the bill,”
Susan, meanwhile, cut her teeth McCaw remembered. “It was a
singing in and around Maple Ridge, bit intimidating at first.”
where she quickly floated to the Terry and Susan married on
top, presenting her own radio show November 27th and spent early
and singing on Music Hop, the local ’68 as regular guests on Let’s Go,
“pop” segment of the nationally which hosted two Poppy Family
broadcast CBC TV show, Let’s Go! specials for which session
Her $75 per show fee helped drummer Kat Hendricks
support her divorced mother and temporarily joined the group.
seven siblings. She was also a Terry also developed a penchant
member of short-lived trio The for presenting the show, which
Eternal Triangle, which also changed its name to Where It’s At
featured Tom Northcott (The Tom in June and began featuring up
Northcott Trio) and Howie and coming local rock acts like
Vickers (The Collectors), two The Collectors, The Wiggy
other strong vocalists from the Symphony, The Northwest
Music Hop scene, and whose sole Company, The Seeds Of Time and
single ‘It’s So True’ did well My Indole Ring. Plenty of footage
locally. survives on YouTube. The Poppy
The pair’s paths first crossed Family often look and sound
during one such appearance. “I strangely out of context as they
called Terry and talked him in to turn in jolly, teatime renditions of
play guitar for me at an Elk’s Club ‘Somebody To Love’, ‘Elusive
meeting in Hope, British Butterfly’ and medleys of Everly
Columbia. There was never really Brothers and British Invasion hits.
any kind of initial plan to It’s only when they approach

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Terry’s own compositions ‘Beyond The

Clouds’, ‘Shadows On My Wall’ and
‘Happy Island’ that a sense of something
unique begins to emerge.
Terry was clearly taking notes while
schmoozing Dub Albritten and his ilk –
his decision to fund The Poppy Family’s
first forays into the studio himself and
lease the resulting recordings to a record
company was both brave and far-sighted.
The dreamy ‘Beyond The Clouds’ and
dramatic ‘Free From The City’ were
recorded in a Vancouver studio and leased
to London Records, with whom Terry
had maintained a relationship since the Susan and Terry
break-up of The Chessmen, for the flank manager Dub
Poppies’ September ’68 debut. Typical of Albritten; Susan
Jacks: a rose
the era’s woozy, post-psychedelic pop, the among thorns; the
single attracted little attention beyond the first album and ’69
smash hit single
group’s local fanbase. But the sinister
undertones that
would become a
recurring motif in
Terry’s songs are perspective and was There can be little doubt that Susan’s
there in spades: about a guy who heartfelt delivery is a major factor in the
“Down was just had just broken up finished record’s appeal. What’s less clear
my state of mind,” with his girlfriend is why both McCaw and Singh weren’t
sings Susan in a and was looking for invited to the session. Terry played
crystalline voice a buddy to go hang rhythm guitar and session players were
that already oozes out with and ‘cry in hired, despite the song requiring very
more heartache his beer.’ To be little in the way of skill or dexterity.
than her 20 years honest, I didn’t McCaw and Singh were further
should have really like the song disparaged when Jacks put them on a
allowed. “All the very much when I salary prior to the record’s release,
ups are mine to find first heard it, but effectively cleaving the group into two
/ For the sun shines there was distinct halves. “It suddenly turned into
for those who look something really just another gig for me at that point,” rues
beyond the clouds.” strong about the McCaw, who had begun ensuring that his
The “Written and melody and I asked rooms were at the opposite end of hotels
produced by Terry Terry if he would to the Jacks’ as Terry’s verbal tirades
Jacks” credit hints at re-write it for a against Susan had become increasingly
the future. woman to sing. Of unbearable.
A second single course, we would Once again, the recording session was
coupling ‘What Can have to change the funded privately and leased to London.
The Matter Be?’, which Buddy to a guy’s name “‘Billy’ only cost us about $250 to
struggles somewhat so we looked for a record,” explained Susan, “so we
under the weight of its name that would sound borrowed the money from Terry’s
own message, and ‘Evil good. I was more grandparents. That gave us the freedom to
Overshadows Joe’, convinced it was a hit get something happening on the charts
largely cut by Terry than Terry was. I think first and have more bargaining power
during a pre-Family I knew it from the first when it came to signing a deal.”
sojourn to LA in ’66, time I started to sing Released in August ’69, it quickly shot
followed in April ’69 it… there was just to #1 on 10 Canadian radio station charts,
and similarly sank something about it.” before peaking at #9 in the RPM 100
without trace. “My initial inspiration chart, which reflected national sales. No
An early ’69 trip to LA for this song was generated matter – the previous 12 months’ work as
to drum up interest in the by the loss felt by a cottage industry was about to pay
band resulted in the Jacks thousands of women who dividends. The group carried away four
meeting The Beach Boys, were left behind when Canadian Juno Awards that year with
with whom they struck up their men were sent off to Susan being recognised as the first
a friendship. Nothing war in Vietnam,” wrote Canadian female vocalist to be awarded a
would emerge Terry in his track notes for Gold Record. Lurking away on the B-side
professionally from this A Good Thing Lost. He was a cover of Jody Reynolds’ ’58 death
encounter (until many then goes on to describe a disc, ‘Endless Sleep’, quietly furthering the
years later anyway) but, as night of fighting over the group’s cache of what Kim Cooper called
it turns out, The Poppy Family’s fortunes inadequacies of Susan’s vocal performance their “dizzying air of mystery and
were soon to eclipse those of the fast before she triumphantly nailed the song in hopelessness”. When Terry realised he
fading Beach Boys. one take in the morning. Susan begs to wasn’t making any money from The
“Terry played the demo of ‘Which Way differ. “We were all exhausted,” she states. Poppy Family’s recording of the song (B-
You Goin’ Buddy?’ for me and wanted to “We both decided to call it a day and start sides earned royalties too in those days,
know what I thought of it,” Susan afresh on the vocal tracks the next kids), he promptly kicked himself and
explains regarding the first time she heard morning. There were no arguments at removed it from the running for the
the song. “It was written from a male all.” group’s first album.

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Despite Jacks referring to follow-up and performed

a number of tracks having well in Canada and the US.
been “recorded in London TV appearances to
in ’70” throughout his A promote the ongoing sales of
Good Thing Lost notes, The ‘Billy’ continued throughout
Poppy Family’s first album – ’70, with McCaw and Singh
named, naturally, after the noticeable by their absence.
hit single – was actually The pair finally quit after a
released in November ’69 in series of live shows in Osaka.
Canada and the UK, “For many years I thought
although the group did Terry had let them go,”
travel to London that Susan rued, “but in recent
September to cut the balance years they’ve both told me
of tracks at IBC Studios with the fun had gone out of it;
The London Philharmonic in they were ready to leave
tow. ‘Beyond The Clouds’ anyway and had discussed it
and ‘Free From The City’ between themselves.” To all
were re-cut and joined by the intents and purposes, The
last two A-sides and eight Poppy Family was now a
further Jacks originals, two of duo comprising Susan and
which – ‘There’s No Blood In Terry. An appearance on
Bone’ and ‘For Running The Ed Sullivan Show was
Wild’ – had been cut in turned down by Terry,
fledgling form by The apparently because he
Chessmen in ’66. The former feared that his and Susan’s
is one of the album’s live vocals were not strong
highlights, a fuzz-heavy enough to be heard by the
groove featuring OTT show’s millions of viewers.
flanging, Susan’s With the original
otherworldly, soaring vocal group in tatters, session
and a queasy spoken musicians were brought in
introduction that finally nails for recording dates and concert

““Billy’ only cost us

those death obsessions to the mast: appearances, although the latter became

about $250 to record

“Marina walks her lifeless sleep / She fewer and fewer. “I felt like a solo artist,”
never looks above her feet / She never Susan remembers. “Terry wasn’t wanting

so we borrowed the
smiles nor does she speak.” “I turned the to tour and he was taking control more

money from Terry’s

tape by hand when we were mixing to get and more into his own hands. I don’t

grandparents. That
the freaky sound on the speaking vocal,” know what his plan was exactly. I was
Susan recalls. ‘Happy Island’, one of the devastated that Craig and Satwant were

gave us the freedom

first songs attempted by the group, was no longer in the group. Terry was no

to get something
reborn as a gloriously vivid psych-pop longer playing rhythm guitar on the
masterpiece, driven by elated sitar and studio tracks. I wasn’t totally happy with

happening on the
tabla runs and boasting a cartoonish the direction Terry was taking me [in] but

charts first and have

trumpet solo worthy of Herb Alpert. the main thing for me was to be able to
Those punters buying the album on the sing.”

more bargaining
back of the hit or the striking cover photo There were no new Poppy Family

power when it came

of three geeky guys and a ravishing Susan records that year but in February ’71 a

to signing a deal”
clad in a skin-tight red zip-up jumpsuit single coupling ‘Where Evil Grows’ and ‘I
(which quickly replaced the original cover Was Wondering’ appeared, returning the
shot of a lifeless solo Susan holding a duo to various #1 spots in Canada and the
giant paper poppy) were in for a shock as US Top 50. ‘Evil’ continues in the vein of
the group offered up oddly the Billy album with its electric piano
melancholic, sometimes toxic Susan and Terry motif and relentlessly doom-
ruminations on ecology, collect awards laden lyrics (“Evil grows in
for ‘Billy’; London
equality, death, isolation and Records promo cracks and holes / And lives
urban sprawl. mater ials focused in people’s minds”) and was
on Susan’s
‘Billy’’s success in Canada striking looks promoted as the topside in
forced London Records’ hand (above) some territories. Terry
and they duly released the single claimed the song took 47
worldwide. By June ’70 it had takes and that the lyrics were
reached #2 on the US Billboard inspired by his rage at local
Hot 100. By the end of the year corporate pulp mills’ “lack of
it had gained worldwide sales in regard for our environmental
excess of 3.5 million and made laws”. He would later become
Top 10 appearances in the UK a public and prominent
and South Africa. ‘That’s Where environmental campaigner.
I Went Wrong’, another More conservative deejays
monomaniacal ode to lost love flipped the single over for the
(“When it ends, there’ll be big ballad, essentially the first
nothing there for me / Cause of several vehicles for Susan
the only thing I care about, I’ve and a clear sign that Terry was
gotta live without”) was already cultivating his wife’s
plucked from the album as a nascent solo career.

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What lurks behind the

smiles? ’71’s second big
hit and second album

This was confirmed when he did end up selling 10

Poppy Seeds appeared. Not only million copies of ‘Seasons
were the couple pictured in In The Sun’ later that
separate shots on the album year, a song about – you
cover, there were very few duets, guessed it – death. “I
the majority of the vocals being own half the Poppy
left to Susan. There was also a Family recordings as well
distinct dip in the quantity and as half of ‘Seasons In The
quality of Terry’s songs – just six Sun’,” she adds, almost
of the 12 are his, the single ‘Good incidentally.
Friends?’ (notice the question “Unfortunately, Terry’s
mark) basically a re-write of paid me next to nothing
‘That’s Where I Went Wrong’, and ‘I’ll ’71 on the back of ‘Where Evil Grows’’s for over 35 years or so and
See You There’ employing tablas in a success but by the time The Poppy Family still refuses to give me any accounting of
futile gesture to the sound of yore. had appeared with Mike Nesmith at the royalties.”
However, one of the duo’s greatest Disneyworld on New Year’s Eve, the Remarkably, Susan is still open to a
triumphs is here. ‘I wrote ‘Tryin’’ for writing was on the wall. There would be reunion with Terry, with one caveat:
Tammy Wynette to sing,” Terry wrote. “I no more Poppy Family records. Instead, “Craig, Satwant and I have all agreed that
took it to her when she and George Jones Terry started his own label, Goldfish we could only do a reunion if it was on
were playing at The Queen Elizabeth Records, and set free his latent Svengali by our terms… no super egos or control
Theatre in Vancouver. Tammy said she’d immediately writing and producing issues allowed – just getting together to
listen to it after the show… later, when I Susan’s debut album, I Thought Of You make music.” Since this interview took
approached her, she said that she and Again, which sonically at least is Poppy place, Susan has undergone kidney
George were having a big fight. However, Seeds’ grown-up sister. transplant surgery and returned to the
I didn’t give up. She finally told me she The couple divorced in ’73 as a result of stage in fine fettle as The Poppy Family
didn’t want to hear my ‘F’n song’ and Terry’s extramarital indiscretions and Experience with Craig, Satwant and
would I please ‘Bugger off ’.” Tammy’s increasing megalomania. “Terry told me “religious fans” AKA members of The
loss was Susan’s gain as she turns in an that men were supposed to ‘conquer New Pornographers, Destroyer and Black
effortlessly sensual performance of this women’,” Susan states. “That was a big Mountain.
yearning, lonesome country ballad – one ‘heads up’ for me at the time – that Terry The final twist in the story? The
of the group’s undoubted pinnacles. Susan could be considered a male chauvinist.” brother who donated the life-saving
reserves one of her most heartbroken Incredulously, Terry also claimed that, “It kidney was Billy, the boy who
vocals for the delicate ‘Winter Milk’, was very important for him that he be unwittingly lent his name to that hit all
penned by Skylark guitarist Joe Fahrni, considered the most essential part of The those years ago.
who contributed to the sessions. Poppy Family. He often told me that
Elsewhere, renditions of Merle Haggard, anyone could sing what I was singing and With acknowledgments to
Sonny Curtis and Bob Lind tunes struggle that what he did was so much more Scram #3 and Mark A
to make themselves heard. important.” Johnston’s unpublished Susan Jacks
TV appearances continued throughout Clearly the man was deluded. Even if interview for this magazine

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BRUCE
LATITUDES
z
To close our 1967 celebrations, we finally spotlight
z

, the seminal love year’s most

revolutionary band who also reflected the darkness
and socio-political carnage of the rest of the decade.
There have been endless documents focusing on
their charismatic doomed singer over the
supernatural sounds The Doors produced together.
explores the band’s untouchable
musical legacy with BRUCE BOTNICK, the studio
genius who captured their wild muse on record, with
some help from guitarist ROBBY KRIEGER and late
keyboard magus RAY MANZAREK
z z

aking rock ’n’ roll to previously unchartered planes of mystery and

imagination, The Doors were the first US band to capture the seismic
social changes happening in America and the volatile mood on the streets.
While worshipped as cool pop stars, they became a microcosm and
embodiment of young America’s rising underground resistance,
providing a glorious soundtrack for when “the whole shithouse goes
up in flames”, while becoming a prime target for the establishment’s
paranoid retaliations.
Even from where the 12-year-old me was sitting in late 1966, there was something
darkly seductive about that first photo that appeared in the British music papers
before a note of music had been heard. Released in
January before any coming psychedelic milestones, The
Doors set new benchmarks for evocative lyrics, multi-
hued intelligence and studio-combusted sonic expression.
Mysterious, evocative and screamingly dramatic, no band
had sounded like this (or ever would), even if their
moody shimmer seemed birthed in the dark heart of the
blues at its blackest. The garage-rock organ tattoo of
‘Louie Louie’ had sprouted wings, jazz liberation was in
the picture and the singer was a brooding shaman.
That was only the start.
SD74 [Link] 12/11/2017 15:58 Page 2

Those were the days. Robby

Krieger, Ray Manzarek, Jim
Morrison and John Densmore
in LA, late 1967
SD74 [Link] 12/11/2017 15:58 Page 3

Sittin’ on the dock of the

bay around the time of
their ’67 debut

W
hen we spoke in 2007, Ray last year’s London Fog 1966), and would ‘The End’ gained its Oedipal
Manzarek beautifully summed dominate their first two albums. The band monologue one August night after (it’s
up The Doors after I made a even signed to Columbia before being been said) Jim ingested 40 times the usual
throwaway remark about swiftly dropped. At that time their only dose of Owsley acid. It slaughtered the
them seeming to fall from the ambition was to be as a big as Love, who crowd and got The Doors fired, but
sky 40 years earlier. “Maybe it did, man,” ruled the Strip’s happening scene. convinced Jac Holzman, there at the
mused this most affable man, whose “We had to play sometimes five sets a recommendation of Love’s Arthur Lee, to
enthusiasm and energy all but melted the night at the London Fog,” Manzarek told sign them to Elektra, America’s coolest
transatlantic phone lines even when me. “Night after night for virtually record label.
repeating stories he’d told hundreds of nobody. We got the opportunity to do Enter Bruce Botnick, resident engineer
times. “It’s possible it did just fall out of anything we wanted to fill up four or five at Sunset Sound Recorders, where The
the sky! Robby Krieger plays flamenco hours. So every night we would play ‘The Doors recorded their first two albums.
guitar with his fingers as he’s playing rock End’, ‘When The Music’s Over’, ‘Light Botnick was the vital studio catalyst that
’n’ roll. He’s also playing that wonderful My Fire’ and expand those things. ‘The so magnificently bottled the band’s
bottleneck guitar that comes out of his End’ had originally started off as a two or infernal psychedelic magic. While Paul
jugband days. Here’s the keyboard player three-minute love song and we just kept Rothchild brought his producer’s
who’s out of Chicago with blues roots but playing it while Jim started adding lyrics disciplines and direction to the sessions,
also studied classical music and was a jazz to it.” Bruce rolled the tape, created any effects
lover. You add that dark, Slavic soul to As the counterculture revolution and mixed it together as the band played
Robby Krieger’s snaky, crystalline ballooned in LA, The Doors’ reputation live in the studio, in essence like a fifth
bottleneck guitar and underneath you put and crowds grew during their next member.
John Densmore, this jazz drummer, who residency at The Whisky A Go Go. Now, The recent Singles box set and Strange
also played in a marching band. On top of as Ray said, “There were hundreds of Days reissue, which Botnick remastered in
that you float a Beat-French symbolist, people virtually every night because it was stereo and mono, are two more reasons
Southern Gothic poet singing some very, the Mecca of rock ’n’ roll so we’re playing why Shindig! is here today celebrating The
very interesting lyrics. Maybe it did just for a packed audience and our songs are Doors’ music rather than milking the
fall together. How does that sound get together now. It was ’66, the Los Angeles lizard king mythos. It’s also time to swing
made? Y’know, sometimes magic does summer of love. All the long hairs had the spotlight on the backroom man who
happen.” come to the Sunset Strip from all over LA. brought their unique latent alchemy to
As The Doors played Hollywood’s The freaks. We weren’t even called hippies eternal life in songs now branded into
clubs, notably a dive called London Fog, then. All the freaks had come together. To music’s very DNA. Bruce is the overseer
that magic was coaxed into an alien play for an audience like that aroused all of The Doors’ recorded legacy, although
inferno as they wrought their own songs the passion that we possibly had in our his CV also lists a spangled array of
to nudge out the blues covers (heard on bodies.” Elektra greats, including Love, David

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Ackles and Tim Buckley. (His next project z z

is re-mastering Forever Changes, which he
produced, for its own anniversary reissue.) “The booking came as drums, piano-bass,
Speaking over Skype from his office in
Ojai, near Santa Barbara, California, guitar, organ and vocal, with the organist
Bruce has obviously been asked to playing bass. I thought,
. They walked in the
comment on the deeply-trodden Doors
myths too many times but warms up
beautifully when Shindig!’s mission
becomes clear and I ask for his own story. door, set up and just started recording”
Hollywood born, Bruce benefitted by
having parents who were both musicians.
z z
His dad played viola and violin for movie Bruce’s growing reputation reached Jac 10,000 dollars a year, which in those days
studios like 20th Century Fox and Holzman, then looking for a suitable might as well have been a hundred
Columbia, and mum was a music copyist studio for Love to make their first album. thousand dollars.
for singers signed to Capitol, including His first Elektra assignment was Love in “With studio musicians recording live,
Frank Sinatra and Nat ‘King’ Cole. “I January ’66, followed by Da Capo and you’ve got to have it going at the first
would go to sessions when I was a little Tim Buckley’s debut. “It was great, a drop of a baton. I’d been working in
kid and was always more excited about wonderful time. We made those albums in Studio 1 for over three years; and I knew
what was going on in the control room three or four days maximum.” what it could do and where to put the
than the studio,” he recalls. “At around six In August he met The Doors, who drums, what EQ to put on them and
or eight years old I remember going to a Holzman had just signed after witnessing things like that. The same with vocal
session and they let me push the little the weird scenes at the Whisky. “I did not mics. I was basically ready to roll, but I
black button and say ‘Take one!’ The know The Doors from Shinola! Jac called had to tweak as the session got going. As I
power of pushing that button was to book the sessions and said Paul got more and more into their music and
overwhelming; I felt the call of the muse. Rothchild’s going to produce this act The started to understand where they were
I can’t even remember who was doing the Doors. Paul had produced the first Tim coming from, the sound would evolve,
session because the excitement of pushing Buckley album and by that time we were but not drastically. You’ve got to
the button overpowered everything.” friendly. The booking came as drums, understand, that when they came into the
At school, Bruce borrowed a tape piano-bass, guitar, organ and vocal, with studio everything was locked. The only
recorder and started taping everything. the organist playing bass. I thought, ‘This thing that wasn’t locked was creativity.
His future career path was cemented when is gonna be interesting.’ They walked in The songs were there. They’d already
a friend got drafted and left Bruce to look the door, set up and just started recording. rehearsed them. They and we knew what
after his Berlant Concertone reel-to-reel I’m a very reactive person. I don’t like to they were gonna do and they played most
machine and two Telefunken U47 put myself in front of what the music is. I of the songs for the first album live in the
microphones. Through dad’s connections, like to have music tell me what to do. studio.”
Bruce learned the ropes at Liberty That was the case with The Doors. Even heard now, The Doors seems
Records Recording Studio alongside “The first thing we recorded was on bathed in a lysergic sheen that turns
future Warners A&R supremo Lenny August 19th and I believe it was Robby Kreiger’s liquid guitar into
Waronker, son of Liberty Records ‘Moonlight Drive’. Then we did a couple luminescent glow-worms and coats the
founder Simon Waronker. He then served more songs and really went to town. I whole band in supernatural ambience. I
a two year apprenticeship working with knew they were something magical from burble this to Bruce, who fires back,
the likes of Jackie DeShannon, Leon the first note and totally different from “Because it was
Russell, David Gates, The Crickets and anything that was on the radio. We supernatural!”
many more (“Being that I was such a nerd, immediately hit it off on a one to one before crediting
the equipment was a natural.”) level. I related to the music and they were Sunset Sound’s
In ’62, when the Liberty studio all basically my age, although Ray was echo chamber
suddenly closed, Bruce walked down older. In those days they didn’t have a pot and hand-built
Sunset Boulevard and into Sunset Sound to pee in, so I took them out to dinner tube recording
Recorders, where he met its founder and things like that. I was making close to console.
‘Tutti’ Camarata, who in ’58 had
converted an old auto repair shop into
Walt Disney Records recording arm. “I
bullshitted my way through some stuff
about recording big bands and he hired
me on the spot. I built my career there,
which would lead to the Doors.” By ’65,
Bruce was working with Jack Nitzsche,
then involved with the Stones and Phil
Spector, along with recording backing
tracks for Motown in Detroit, including
albums by The Supremes and Marvin
Gaye (“It was a wonderful experience. I
loved doing Motown.”). He also worked
with Brian Wilson on Pet Sounds and ‘Good
Vibrations’. “At that time, Brian was
basically using The Wrecking Crew, so they
played everything. That was great, because
Brian would come in with his chord sheets
and work out the charts, have them play
what he wanted them to play and then we’d
do takes. We recorded everything live on
four track, except for vocals.”

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R
The decades have eroded most specific on the air and we could listen to it?’ He eleased that September,
memories of tracks being recorded, apart said, ‘Yeah, send it up, I’ll play it coming Strange Days caught The
from, maybe unsurprisingly, ‘The End’. out of the noon news then I’ll go right to Doors after breaking on
“It was two takes and Jim was chemically the next song and nobody’s gonna know through to the other side of
enhanced,” recalls Bruce before dispelling what happened.’ This happened many any summer of love
a popular myth. “You’ve heard the story times; we’d all pile into a car and turn up optimism and into the cold real world
about the TV set that Jim supposedly had the radio real loud and there it would be. where people look ugly when you’re
thrown through the control room We’d always be in shock because when alone. Musically, their whirling dervish
window? It never happened. There was a you heard things over the radio it sounded muses had coerced and alighted on a sound
little tiny TV that I was watching as the radically different. I did that a lot, not that indeed expanded on The Doors, coated
LA Dodgers were playing. We were only with The Doors.” in eerie hallucinogenic radiance and dark
recording and the song was so enveloping ‘Break On Through’ was the first single carnival weirdness drawn from LA’s city of
musically I had my eyes closed. I was just from the album before ‘Light My Fire’ night underbelly (as beautifully embodied
going with what was happening because joined ‘White Rabbit’ and Sgt Pepper as in Joel Brodsky’s street freaks cover shot).
I’m mixing live on the four-track; drums the predominant sounds of summer ’67, This time the closing epic was sign-of-the-
and bass on one track, guitar on one, the soundtracking riots, catalysing sexual times clarion call ‘When The Music’s
organ on one and Jim on one. That’s it, so revolutions and breaking radio traditions Over’, boasting a torrential guitar snake
I had to mix to get it all. Jim came out with its long version. The time to hesitate bombardment from Krieger.
during the Oedipus section, dancing was through. Now using a revolutionary eight-track
around and whirling, bumped into the The song was Robby Krieger’s first 3M tape recorder that Bruce had
stool and knocked over the TV. The set composition for The Doors, as he told me purloined from Wally Heider’s
was fine as I saw the end of the Dodger in 2007. “At first Jim was writing establishment, the band could experiment
game but later Ray, who was terrific at everything then one day we said, ‘Hey, and stretch out. Another ethos was
confabulation, said Jim threw it through we haven’t got enough originals.’ Jim says, instilled by Sgt Pepper. “In those days,
the window. That couldn’t have happened ‘Why don’t you guys write some too?’ most acts did two albums a year, even The
because it’s two pieces of ¾-inch thick That’s when I went and wrote ‘Light My Beatles,” says Bruce. “We could work
glass. You’d have needed a canon to get Fire’. I’m glad he said that! Up until then faster because we recorded live in the
through that! It was two takes and we The Doors were doing three-chord type studio. I’d been working with The Turtles
edited it together. One of them, Ray had songs that were pretty simple, like ‘I on ‘Happy Together’. One day they
his amplifier on for the bass and the other Looked At You’ or ‘End Of The Night’. I handed me a monaural acetate of Sgt
one he didn’t so when we cut it together I wanted to write something more Pepper, before it came out. I listened to it
had to do some adjustment in the mix to adventurous. I decided I was going to put and it blew my mind from the standpoint
make it sound like one entire piece.” every chord I knew into this song and that they had allowed themselves to be
With the parlous state of our own BBC did! There’s about 14 different chords in totally creative. They weren’t worried
then, it’s hard to grasp the day-to-day there. We said, ‘Let’s do it like Coltrane’; about reproducing live in the studio. I
importance of AM radio in the US. That’s A minor to B minor like on ‘My Favourite played it for the guys and Paul Rothchild
where The Doors broke first, initially Things’. As we played it over the next and we said, ‘Hey, this gives us a lot of
with the local AM Radio pop station year the solos got longer and longer. It freedom, maybe we can experiment?
KFWB. “In those days people and other was very organic. I wish I could say we We’re not gonna do Sgt Pepper but we can
bands would just come down to the planned it that way, but it just came out.” do The Doors and dramatically expand
studio. The Byrds were there a lot, just In its 45rpm form, ‘Light My Fire’ lost our horizons’. We already had these songs
hanging out because they were all friends. Robby and Ray’s solos to make the that were part of the original 24 Jim had
B Mitchel requisite radio length. When DJs started written way back.”
Reed, the main spinning the full version, it broke the set- Bruce now scatters the myth based
disc jockey at in-stone barrier for long songs. Bruce around The Doors recreating their live set
KFWB who recalls how thrilled he was; “You have to on their first two albums then the reserves
was an icon understand that, when you’ve done drying up. Doors historians may squeak
here in LA, something and it comes on the radio it’s a up but this is the first I’ve heard of Jim
had come big deal to hear it bracketed by The having 24 songs in his book; he’s usually
down to one Supremes or Elvis Presley. Everything we recalled singing ‘Moonlight Drive’ to Ray
of the did, we were very conscious that on Venice Beach that summer ’65
sessions. We commercial radio didn’t like anything over afternoon.
were talking two minutes and 30 seconds so they could “Both Jim and Ray told me so,” asserts
and I asked, get more music and advertisements in Bruce. “They sat on the beach together
‘Hey, if I gave their playlist. That’s why ‘Light My Fire’ and Jim sang all 24 songs, which were
you an acetate was edited down. Then some brilliant disc enough for the first three albums and into
reference disk jockey in the Midwest started playing the the fourth. One of the great things Paul
of a song is long version, the phones at the stations Rothchild did was think forward and say
there any started ringing off the hook, and that we don’t want to just pack the first album
chance you broke the mould in the US for long song with the best. As it turned out, everything
could play it versions with no editing.” was the best, but he was very smart when
z z it came to making sure that, if we’re
gonna do another album in two months
we better have something to record.”
“Jim was writing everything then one day we The trippy cascade of the title track
said, ‘Hey, we haven’t got enough originals. marks the only time The Doors used the
new Moog synthesiser, thanks to pioneer
Why don’t you guys write some too?’ That’s Paul Beaver arriving fresh from making
when I went and wrote ’LIGHT MY FIRE‘. I’m The Zodiac: Cosmic Sounds. “I knew Paul
Beaver from recording with him early on
glad he said that!” and mentioned him to Paul Rothchild
that he had this really interesting machine
z z that was out of this world, so he brought

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SD74 [Link] 12/11/2017 15:59 Page 6

Strange days indeed. Ray and

Robby chat to a journalist outside
Sunset Sound Recorders, LA;
Bruce Botnick at the controls;
producer Paul Rothchild and Jim;
John and Jim and another door;
Jim ponders the future
SD74 [Link] 13/11/2017 12:36 Page 7

Robby and trusty

Gibson SG in the
studio; ‘People
Are Strange’ 45

it down. We had already filled up the running fast and slow it became the around children’s
eight-track, and couldn’t print that effect atmosphere from something I visualised. albums in the
on the vocal on ‘Strange Days’. So I put That’s how most stuff was done in those afternoon and
Jim’s vocal into the Moog then mixed it days. Hand it to Paul Rothchild; he commercials in
back against his vocal and added reverb refused to allow Robby to use a fuzztone, the early
and a bit of delay. Jim would push the key wah-wah pedal or any of that stuff, so we morning.”
and it produced that effect. When it came had to organically create what we were

B
time to mix Strange Days for surround, I doing. Strange Days had three important y late ’67, The Doors were
was shocked that I hadn’t printed that, things; the Moog, manual tape becoming America’s biggest
even on a mono tape machine! You never manipulation and Robbie’s guitar solo on band with Jim finding himself
thought you’d be going back after the ‘When The Music’s Over’. Since we didn’t both counterculture icon and
album was out. I had to use plug-ins and have a fuzztone and he was playing teen idol. The bigger they
think I got pretty close to matching what through a small amp, I took the became, the more he rebelled and
we did back then. It’s the only time we microphone into its pre-amp, out of that retreated into the bottle, sparking
used the synthesiser and, after that Paul and into another mic pre-amp, so I was incidents like being arrested onstage for
Beaver went up to Mount McKinley: overdriving it. I got the tubes to glow public disorder in Newhaven,
20,320 feet, the tallest mountain in The between purple and orange so was Connecticut that December. As Ray so
United States, to commune with extra- probably close to blowing them up, but animatedly explained in 2007, “We had to
terrestrials while they refuelled their space that’s how I got that sound. Then receive Jimbo. Out of the bottle of
crafts. At least, that’s what he told me and recorded it. It’s basically just overdriving alcohol and occupying the personality of
I still believe him. We bought an entire tube electronics.” Jim was a besotted lout known as Jim-bo.
Moog when we moved to Elektra Studios. Incredibly, Bruce went from recording It was like, what the fuck? Jim? Just how
George Harrison came and visited. He Strange Days to Buffalo Springfield Again drunk do you intend on getting? Jim? Are
wasn’t really interested in what we were then found himself producing Love’s you there? Oh my God, it’s not Jim at all!
doing musically but he was interested in Forever Changes. All this in a few weeks’ it’s Jim-bo. That was weird, man. Strange
the Moog, so I spent an hour showing work! “They were great times with all the days had indeed found us at that point.”
him you can make cool noises with it.” music I was doing. I was in bliss. I wasn’t Ray says he nailed the Jimbo persona
‘Horse Latitudes’ saw Jim howl and married at that time. My studio was my when writing his autobiography at the age
shout his poem about oceanic equestrian woman. I’d sleep there. Luckily, they had of 50. “I began to realise there was a
murder over Bruce’s nightmare musique a shower! At the same time I was doing psychotic break here but, interestingly,
concrete. When I first played the album 50 The Doors, Beach Boys and Love, I was Jim Morrison always thought of himself
years ago I really had never heard such recording every kind of music for Muzak as a shaman. He talked about the shaman
sounds in my life. – Mexican, Chinese, you name it – plus (adopting uncanny Morrison drawl), ‘You
“That was all all done on analogue tape jazz for Pacific Jazz and children’s albums, know the Shaman’s got a crack, Ray. He’s
machine by hand,” he explains. “I had because Sunset Sound’s owner Tutti an unusual individual in the tribe but he’s
printed some tape hiss on tape and played Camarata was head of A&R for Disney kind of cracked, and out of that crack
it into the echo chamber. By manually Records. All the other music had to fit in comes his abilities to say things. As we say

66
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about a crazy person, he’s a little cracked.’ z z

I never thought Jim as insane but it was
there. That’s what made him so great. “At the same time I was doing The Doors,
That’s what made his poetry and public
performances so great. But pour alcohol Beach Boys and Love. I was in bliss. I wasn’t
into that crack and you don’t wanna see married at that time. MY STUDIO WAS MY
what’s gonna come out.”
Almost riding shotgun to ’68’s crawling WOMAN. I‘D SLEEP THERE.
socio-political chaos, third Doors album
Waiting For The Sun reflected both the Luckily, they had a shower!”
anti-Vietnam defiance on the streets and
rising against establishment oppression on
z z
‘The Unknown Soldier’ and ‘Five To felt that we couldn’t get another operatic steady track and it became a bit
One’, although recording was shifting live performance because Jim was dictatorial. That’s the best way to put it.
from spontaneous live combustion to inebriated most of the time. He really But I understood where he was coming
getting the best out of Jim when possible. didn’t enjoy the stardom and hid behind from. We tried to come out of it with
The set also boasted the masterful ‘Spanish the alcohol.” Morrison Hotel and if you hear the out-
Caravan’ and ‘Hello I Love You’, the His reaction to fame? takes of ‘Roadhouse Blues’, there are
resurrected early demo that became their “How many people that have made it several different versions from first take to
first UK hit single at the time of their first did like stardom? None of them! The final, so you can see the full arc. Even
UK visit to play The Roundhouse that ( July ’68) Hollywood Bowl is one of the though Jim was drunk as a skunk you can
September (and a Top Of The Pops very best Doors concerts ever and it’s hear in the first take it was more raw
appearance I remember as curiously mainly a lot of poetry. That was Jim’s and… roadhouse. That’s an approach
subdued. Far better was when Granada thing. He really would rather have done a where you get a bunch of beers and just
TV screened The Doors Are Open show with some songs, a bit of poetry, rave. That’s my favourite, because the final
documentary). more songs then poetry, and the band one is very regimented and straight. The
Inside the gatefold was Jim’s wanted to do that too. Instead, Jim guys knew that too but it led to us
‘Celebration Of The Lizard’ poem, became the monkey for the organ grinder; making LA Woman together.”
originally intended as the new epic but crank and the monkey’s got to jump During the trial period, Jim was
only the ‘Not To Touch The Earth’ around, scream and freak out. That stuff allowed to make The Doors’ only other
section made the album. Although it later came naturally because of his early UK appearance, in September ’70 at The
appeared on Absolutely Live, the existence experiments with LSD on stage and his Isle Of Wight Festival. Now he just stood
of a studio original was something I had insecurity about performing. For the and sang. The Doors started recording
to ask Bruce. longest time he performed with his back again that December, emerging with late-
“In between Strange Days and Waiting to the audience. After a while he had to period masterpiece LA Woman.
For The Sun, at the request of Paul perform. Bob Dylan said to me something Rothchild famously handed the
Rothchild, I took the guys into the old that other artists had said, ‘I don’t know production to Botnick and this is how
Liberty Records studio where I got my who they’re coming to hear; me or this Bruce remembers it. “It’s well published
start. We recorded a bunch of stuff so we guy who, in Jim’s case, is freaking out that we had gone into Sunset Sound
would have a better handle on what to onstage?’ In Jim’s case, the only place to Recorders to try and rekindle the flame.
record for the third album. ‘The hide was in the bottle.” Paul had just finished producing Janis
Celebration Of The Lizard’ was recorded Jim got so bad during the gruelling Joplin’s album Pearl and was on a high.
as a demo but, for some reason when we months it took to record The Soft Parade, During rehearsals for LA Woman, the guys
were recording for real, Paul rightfully combatting personal demons with were lackadaisical and didn’t want to be
escalating booze, Paul Rothchild directed and told what to do; they needed
Robby, Ray and Jim recording Stran
ge Days brought in brass and strings. Robby a collaborated experience. About an hour
wrote several tracks as the band had into the session, Paul put his head in his
basically recorded most of the original hands and said to me, ‘I can’t do this. It’s
24 songs and the well was running not gonna work. You can do it, you know
dry. They were still recording in them, you’re close to them. I’m outta
March ’69 when Jim got busted for here. I love everybody but I’ll probably do
allegedly flashing in Miami, casting more harm than good.’ He recognised
yet another shadow over the band. that. So we all went out to dinner at Mu
“They couldn’t tour so we basically Ling, a Chinese restaurant about half a
went in the studio and struggled with block away from the studio. After dinner
that album,” recalls Bruce. “It was a we came back to the studio without Paul,
very rough experience for all of us.” a bit stunned. They said, ‘What’ll we do?’
Despite ‘Touch Me’ hitting and I said ‘You guys like your rehearsal hall?’
Jim’s epic poem title track, The Soft ‘We love it there!’ ‘Great I’ll get some
Parade derailed The Doors’ gear, we’ll set it up and record the album
momentum as the obscenity trial there.’ They loved it.”
hung over them for 18 months For Bruce and The Doors it felt like a
before Jim got convicted for public fresh new buzz though reminiscent of the
profanity and indecent exposure. first album sessions. “The only thing I can
(The appeal never heard). compare it too is when I got out of school
The band still went into the for summer vacation; ‘Yay, I’m free!’ It
studio and, reacting against the was one of those moments.” This was the
strings and brass, returned to basic band’s wholehearted immersion in the
rock ‘n’ blues and their original blues that originally fuelled them and a
sound for February ‘70’s Morrison communal way of working that produced
Hotel. “After Miami happened, Paul immortal epics ‘Riders On The Storm’
felt it necessary to control and the monumental title track. Both
everything to keep everything on a sounded like freeway driving anthems, I

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SD74 [Link] 13/11/2017 12:36 Page 9

The Doors with a young rider on

the storm, ’69; the ’71 single;
their last with Jim Morrison

ventured to finished, I stopped the mix, rewound the that was unresolved. It caused him to
Ray Manzarek rain and thunder and music and, not drink, I’m sure, and God knows what he
– and he knowing where things were gonna come, was into in Paris.”
agreed! “Yeah, they all came in at the right place. Then I At 68 in 2007, Ray still felt passionately
it was kind of edited the mix together. LA Woman that The Doors had a place in the 21st
like driving music. It’s funny you should allowed The Doors to get back to that century and was playing that immortal
mention those two songs because they point of being reactive and not pre- music with Robby for a new generation.
were like a new way of writing. We all meditated; the old adage: don’t think, it’s “Just the young people walking the street
just played in the studio and those songs dangerous; and it’s true.” thinking, ‘Where did I come from? Why
just happened. We were just fooling Jim now made that last trip to Paris in am I here? What am I doing with my life?
around playing ‘Ghost Riders In The Sky’ February ’71 and died mysteriously in the I know some day I’m gonna die, where do
and suddenly Jim starts coming up with early hours of July 3rd. Ray still sounded I go after I die?’ Hopefully we can help
‘Riders On The Storm’. It just kind of puzzled and saddened 36 years later. you along with those questions; the idea
happened spontaneously.” “When he said, ‘I’m going to Paris’, I of freedom and that you can find a
“‘Riders On The Storm’ was created at thought, excellent, an American in Paris. freedom for yourself in The Doors’ lyrics
the studio,” illuminates Bruce. “They Hemingway, Scott Fitzgerald, Henry and music.”
always used to mess with ‘Ghost Riders In Miller, Jim Morrison. Carry on the In 2013, Ray left us and joined his old
The Sky’ and that became the influence. American tradition. Leave the groupies, friend Jim, leaving Krieger and Densmore
Jim basically had his lyrics and melody. leave the drinking buddies, go to Paris, eventually reconciling old differences and
It’s the way all The Doors’ songs came refresh yourself and start writing. Jim was Bruce Botnick to uphold The Doors’
together; he came in with lyrics and writing as fast as he could, working up towering legacy. He’s just finished re-
would hum a song and they would work some strong ideas. I have a lot of the stuff. mastering the 1970 IOW show with a
out an arrangement. The four of them Some of it’s very, very good. But there’s a legendary Copenhagen concert and
together – womp, a song. That song had sense of despair in there too. It’s like, Jim? second Matrix set to come.
been fiddled with for a year or two but What the fuck man? This is my buddy Listening to The Doors’ astonishing
never really became anything until we from film school. When we put a band supernatural flights and talking to their
were in the studio. together on the beach in Venice he sang telepathic earthly studio emissary half a
“We were recording ‘Riders’ and all of the songs to me and I said, ‘That’s brilliant, century after they first manifested, Ray’s
a sudden Jim goes ‘Hey, we should have let’s get a rock ’n’ roll band together. We’re impassioned “Y’know, sometimes magic
rain and thunder on this, it’ll be great!’ It going all the way with this thing. The does happen” resonates louder than ever,
kind went over everybody’s head but, Beatles, the Stones, in between are going as does his later musing about meeting Jim
come time to mix, I grabbed the Elektra to be The Doors!’ We got to Madison on the beach; “Maybe there were some
sound effects album that Jac Holzman had Square Garden and had the #1 song in angels pulling it all together that day.”
recorded of rain and thunder in New America. Yet in the writings in Paris there
York City, put it on a tape machine, hit was this note of despair. It was like, ‘What Strange Days: 50th
record and just played it wild. The do you have to despair over?’ And I don’t Anniversary Expanded Edition
thunder came at the appropriate points, know the answer. There was something and The Doors: The Singles are out
without me planning it. When the song eating at Jim. Some problem on the inside now on Rhino

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11
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 Reissues, anthologies and compilations

Going Round In Circles

ANDY MORTEN puts away his Dansette and embarks on a digital journey
through 50 years of 45 rpm offerings from our greatest surviving band

THE WHO run a mile from. ‘Dogs’ and ‘Magic Bus’ may illustrate in a bid to paint the most complete picture possible and,
Maximum As & Bs: The Complete Singles The Who’s annus horribilis but, almost 50 years down presumably, pad out the running time a bit; the five discs
★★★★ the line, they sound more charming than ever, while ‘The could have fit on four but the compilers wisely chose to
UMC 5-CD BOX SET Seeker’, often overlooked as a post-Tommy pre-Lifehouse introduce punctuation points after Brunswick, before
1966 was a messy year for The Who, even by their chaotic throwaway, is as taught and knowing as much of their Tommy but not, strangely, after Moon. Most of Disc Five
standards. It began with the group severing its ties (or so more celebrated work. is modern-day live recordings and those occasional post-
it thought) with former producer Shel Talmy and record But there were mis-steps too. Hey, this is The Who 2004 studio forays, which sound remarkably satisfying at
label Brunswick, who promptly took The Who to court we’re talking about! Although admirable in its ethic, this remove.
over breach of contract. Talmy’s ’65 recordings of the The Who’s take on the Stones’ ‘The Last Time’ – rush- Who sages Mark Blake, Chris Charlesworth and Matt
band – some of their most defining – would remain tied released in July ’67 to protest at Jagger and Richards’ Kent provide track notes in the curiously under-illustrated
up in legal red tape until late ’71, when their availability incarceration when actually The Who should have put out booklet, with modest photos of this most visual of bands
prompted the release of the still definitive early greatest ‘Miles’ and owned The Summer Of Hate here in the UK being relegated to the backs of the five wallets. There’s
hits set, Meaty, Beaty, Big & Bouncy. – lacks depth, conviction and, crucially, John Entwistle. no mention of mono or stereo provenance either, which,
One of the most curious upshots of this activity was Few aficionados would cry if they never heard ‘Relay’ given the nature of the 45 format, feels like an oversight.
that no less than eight Who singles were released in again and by the time we reach the final throes of Who Ultimately, such quibbles become irrelevant once the
the UK in ’66. Okay, only three of them were bona fide Mark II, you can hear the lights going out in Townshend’s music is on and booming, as rarely in the history of rock
new Who singles: that mind-boggling Reaction triptych head as the likes of ‘Athena’ and ‘Eminence Front’ music has such astonishing artfulness, grace, frustration
of ‘Substitute’, ‘I’m A Boy’ and ‘Happy Jack’, the latter are deemed single-worthy. The latter is one of several and aggression been pressed onto such a unique series of
vying as one of the most bizarre records ever to make the planned 45s that never materialised but are included here 45 rpm singles. And they’re all here.
British Top Three. The balance consisted of three spoilers
issued simultaneously by Talmy/Brunswick, and two
versions of ‘Substitute’ carrying not one but two different
“The screeching feedback and electronic
versions of ‘Circles’ (AKA ‘Instant Party’) on their B-sides, distortion on ‘Anyway, Anyhow, Anywhere’
whose releases were stymied while litigation ensued.
Bereft of any other new recordings, Reaction eventually
famously sent the white-coats at the pressing
issued ‘Substitute’ with a Graham Bond Organisation plant into a flurry before returning the ‘faulty’
instrumental entitled ‘Waltz For A Pig’ on the flip, credited
to The Who Orchestra. Confused? Good.
master tape”
‘Waltz For A Pig’ makes its first ever appearance on a
Who anthology here (it’s popped up on a couple of Bond
compilations over the years), along with every other Who
recording that’s found its way onto a UK seven-inch, 12-
inch, promo 45, digital single or proverbial flexidisc since
July ’64, when Messrs Daltrey, Townshend, Entwistle and
Moon first attempted to bottle lightning and capture their
unique energy on vinyl.
Though remaining the only band from the ’60s
Britpop vanguard never to have scored a UK #1 single
(‘My Generation’ and ‘I’m A Boy’ came the closest), The
Who nevertheless turned the humble seven-inch into an
art form that few, if any, of their peers would ever match.
The screeching feedback and electronic distortion on
‘Anyway, Anyhow, Anywhere’ famously sent the white-
coats at the pressing plant into a flurry before returning
the “faulty” master tape; the last 60 seconds of ‘My
Generation’ introduced the song’s third key change and
sounded like a fleet of Flying Fortresses dropping anvils
into a fireworks factory; ‘Pictures Of Lily’ compressed a
dizzying amount of dynamic and melodic shifts into less
than three minutes of fizzing Top Five powerpop; ‘I Can
See For Miles’ is tantamount to an explosive four-minute
drum fill overlaid with a single-note guitar “solo” and
the kind of ludicrously ambitious multi-tracked vocal
harmonies that The Kinks, Small Faces et al would have

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 THE ASSOCIATION BREAD
Live The Elektra Years
★★★ ★★★★★
VARESE SARABANDE CD RHINO 6-CD BOX SET
Originally a double As ubiquitous as the
recorded and released sliced variety’s The
in 1970, The Sound Of Bread
Association’s live compilation was a
effort is on the whole guilty secret in the
tremendous; a bristling ’70s.
attestation of their songs, the band as The songwriting axis and musical
vehicle for others’ songs, and mostly their chops of David Gates, James Griffin and
seven-part vocal artistry. Robb Royer added a McCartney-esque
A seven-man line-up responsible for class to West Coast folk-rock and sold
the “desert island disc”, Association, their records by the millions.
previous long-player, and still promoting The simplicity of ‘Dismal Day’ ‘Look
the cream of its tracks in this live set At Me’ and ‘The Last Time’ from 1969’s
(‘Goodbye Forever’ and ‘What Were The self-titled debut are reminiscent of Brewer
Words’ are commendable, tight versions; & Shipley’s richly layered and produced
whilst ‘Dubuque Blues’ is overworked/over- debut. Follow-up On The Waters treads the
rocked, and generally too tough to chew) is same path, adding harder-edged material
surely without fault. Sadly, there were a few and boasting ‘Blue Satin Pillow’ and ‘Call
tuning issues in Salt Lake City on the night; On Me’ – worthy of CSN. From thereon
sounding somewhat starker on this digital in thrall to Gates’ epic sentimentality, the
issue, the original vinyl’s warmth ironing-out band just got better and slicker, while
the occasional blemish. slowly eroding from the inside out. Obvious
He can drive
Hits ‘Windy’, ‘Mary’, ‘Cherish’, plus the hits aside – ‘Baby I’m-A Want You’ being your Carr
likes of ‘Seven Man Band’ and ‘The Time It the undoubted pinnacle – other classics
Is Today’ are faultlessly interpreted, and are include ‘What A Change’ from Manna

The Dark End

worth the cover price alone. and the Eagles-like ‘She’s The Only One’
Louis Comfort-Wiggett from ’77’s Lost Without Your Love, the
final chapter in a dazzlingly productive yet
relatively brief career.
BIRDS OF A FEATHER Richard Allen and Stax house musicians including
The Page One Recordings Steve Cropper, its reputation has
★★★ grown to rival Otis Blue and Lady
RPM CD CLARENCE CARTER Soul as one of the greatest soul albums
Signed to Larry Page’s Testifyin’ / Patches of the ’60s.
Page One label in ★★★ Redding’s gravelly histrionics won
mid-1969 after four KENT CD him the adoration of the record-buying
years of hard slog and Two fine platters of public, and those performances
a four singles as The Fame Records/Muscle certainly peppered his brow with
Chanters, sisters Shoals-cut southern voluminous beads of sweat, but
Doreen and Irene Chanter found themselves soul from 1969 and underneath the surface, James Carr’s
surrounded by Page’s studio team – Caleb ’70, brought together golden tones matched that intensity.
Quaye, Rick Wakeman, Roger Pope et al – on one CD. From If there seems greater control in
as they cut this, their sole album, in London Testifyin’, club classic and former best-of JAMES CARR Carr’s delivery, sounds can suddenly
in April the following year. leader ‘Snatching It Back’ will be the most The Best Of James Carr burst from those lungs as if untying
Page’s business partner was Dick familiar, a killer cut that only latterly ★★★★★ huge knots from his heart.
James, which meant that material from cemented Carter’s place in the firmament. KENT CD The highlights are many, including
James’ great white hopes Elton John and Box Tops fans will also have an opinion on a Carr began his career as a vocalist a gut-wrenching take of The Bee
Bernie Taupin was in plentiful supply; four comfortable reworking of ‘Soul Deep’. with Memphis gospel circuit groups Gees’ ‘To Love Somebody’, ‘I’m A
of their songs appear here, including the Patches is a more overtly commercial- The Harmony Echoes and The Sunset Fool For You’ – a sassy duet with
first released version of the Tumbleweed sounding affair, including a slick cover of Travellers, but was illiterate, suffered Betty Harris, the buoyant civil rights
Connection centrepiece ‘Country Comfort’. ‘Let It Be’, Carter’s unstressed delivery from depression throughout his life, anthem ‘Freedom Train’ and the
Doreen was a prolific writer herself, however never reaching the fever pitch of an and even his most celebrated songs boozy horns of ’68 45 ‘Life Turned
contributing five pieces that walk the line Otis Redding or the grit of a Wilson Pickett. failed to receive the popular recognition Her That Way’. Meanwhile the uptown
between gospel-tinged soul and brassy, The Swampers and co make light they undoubtedly deserved, taking up strut of ‘Your Love Made A U-Turn’
commercial pop. Chuck in a rollicking run work of both albums, though curiously only moderate chart placings. provides a contrast to the more solemn
through ‘Gimme Shelter’ and you’ve got a with quite different line-ups, showing off This superb 20-track anthology musings. That, alongside harder to
strong set that, coupled with the sisters’ their staggering depth of talent. Neither of sets the record straight. It features find cuts such as ‘(I’ve Gotta Go) Let’s
modish good looks, should’ve catapulted these discs will break the bank if you want seven songs from his seminal 1967 Face Facts’ which appeared on later
them into the spotlight. It didn’t of course, to hunt down original pressings, but with Goldwax debut, You Got My Mind extended versions of Carr’s other LP,
but this handsomely packaged reissue is extra tracks (interesting) and liner notes Messed Up, which not only featured ’68’s A Man Needs A Woman, are
nonetheless a welcome addition to the early (informative) this is an obvious purchase for the superb title track, a cunning ones to treasure, the latter closing
’70s femme-pop canon. soul fans. re-write of ‘That’s How Strong My proceedings here.
Andy Morten Christopher Budd Love Is’, but most impressively his Carr’s depression, described
peerless take of one of southern soul’s by Peter Guralnick as “a crippling
most enduring songs, Chips Moman paralysis of spirit, a graver and graver
and Dan Penn’s ‘The Dark End Of The malaise”, led to an increasingly
Street’, whose tale of illicit (possibly reclusive lifestyle before he finally
interracial) love would have been worth succumbed to lung cancer in 2001.
FOLLOW US ON TWITTER @SHINDIGMAGAZINE the admission fee on its own. With
flawless accompaniment from The
This provides a fitting testament to his
wayward genius.
Memphis Boys (Reggie Young et al) Johnnie Johnstone

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 SUZANNE CIANI to study computer-generated music at to some considerable acclaim throughout THE DINOSAURS
Help, Help, The Globolinks! Stanford before forming her own company the ’70s. By the end of the decade, The Dinosaurs
★★★ that provided futuristic sounds for a wide Menotti wanted to refresh the piece and ★★★
FINDERS KEEPERS LP range of TV advertisements and early sought out CIani to write and record a new BDR LP
Suzanne Ciani trained computer games, as well as such soundtrack, which is finally released here St Louis was not a city
in classical music, distinctive sound logos as the sound of a in its entirety. The musical equivalent of known for breakout
receiving her MA in bottle of Coca-Cola being opened and Terence McKenna’s DMT-induced machine artists at the tail end of
musical composition poured! elves, these two long pieces wibble and the ’70s, and The
from The University Of Help, Help, The Globolinks! was bleep away with some wit and no little Dinosaurs did nothing
California in 1970. an opera by Gian Carlo Menotti that squelch, should such things appeal. to change that. But
Around the same time, she became premieried in ’68. The work had strong Hugh Dellar they inhabit that well-worn spot in music
enamoured with synthesirers and went on ecological and sci-fi themes and toured history; in the room labeled “If Only These
Guys Had Had a Producer And A Little Bit of
Objective Advice”.

Bittersweet Symphonies
The songs are there. The guitars are
turned down to a clean-ish level, giving
the whole thing more of a ’60s feel than it
otherwise might have. And the singer is a bit
between an entrancing girlish falsetto CDs are devoted to three albums Lewis reminiscent of Tuff Darts era Robert Gordon.
and a seductive purr, Lewis could put out in the ’90s. They’re sweet LPs None of these are bad things. But – as was
rightly be considered this island’s of neo-soul, very much fitting into all too common in those days – someone
answer to Minnie Riperton or Patrice the Talkin’ Loud form of British soul marched them into a room somewhere,
Rushen, but arguably with a back that would come to the fore over the threw a couple of mics in front of a couple of
catalogue more eclectic and interesting decade, here re-sequenced and re- amplifiers, said “Okay, go” and that’s about
than either. titled, with ’70s funk stormer ‘Sideway it. I’m not blaming anyone. They probably
In a career that has now spanned Shuffle’ thrown into the middle for used exactly the resources that they had.
50 years, Lewis has turned her hand some reason. This is a band that was probably great
to funk, disco, psychedelic folk, been a The fourth CD, meanwhile, is a to watch. I want to give these boys four stars
member of psych-popsters The Ferris collection of rarities and off-cuts, for their work and for their massive display of
Wheel, provided backing vocals for including the aforementioned ’67 heart. I want to give zero stars to the entire
the likes of David Bowie, Rod Stewart debut, a few random Ferris Wheel late ’70s DIY ethic.
LINDA LEWIS and Cat Stevens, and even released a tracks, a collaboration with dance Mike Fornatale
Funky Bubbles version of Betty Everett’s ‘The Shoop mavens Basement Jaxx entitled ‘When
★★★ Shoop Song’ that hit the Top 10 in ’75. The Lights Go Down’ and a single from
EASY ACTION 5-CD BOX SET All of which makes Funky Bubbles a 2002 called ‘I Keep a Wish’. Again, THE DOORS
In 1967, the 16-year-old East End-born rather curious thing indeed. some lovely tracks, but all rather Strange Days: 50th
singer Linda Lewis released her Compiled with the assistance of arbitrary. Anniversary Deluxe Edition
debut single ‘You Turned My Bitter Lewis herself, and featuring a plethora The whole shebang is finished off ★★★★
Into Sweet’, a lovely slice of northern of rare photographs and an interview with a live CD recorded in Boston in RHINO 2-CD/LP
soul-tinged pop, overseen by Ian with Lewis in the accompanying ’73, showing off a gentle, acoustic side This LP, their second,
Samwell and Don Arden (and featuring chunky booklet, Funky Bubbles is a five to Lewis, making the box set a sweet was this band’s
contributions from Jimmy Page and CD compilation, subtitled 1967-2017, but baffling collection of an artist who masterpiece. Do not
John-Paul Jones on the B-side). With suggesting an overview of the singer’s instead deserves a thorough anthology. let anyone tell you
an incredible voice that could alternate career. Instead, however, the first three Thomas Patterson differently. And there
are many who will try.
Sweet soul. Linda There’s no denying that The Doors
in the mid-70s wrote a new language for contemporary
music. This LP delivered on the promise of
the first album, without any vestige of the
excesses of some of their (okay, okay, HIS)
later work. The title track is, simply, bone-
chilling. If the opening organ lick does not
make your blood vibrate, well, I do not know
what to do with you. And ‘Unhappy Girl’
could well be THE most underrated track by
any major artist in history.
This deluxe package includes
remastered versions of both the original
stereo and original mono versions. The
mono is well worth hearing if you haven’t.
It’s not radically different and there are no
revelations; but it’s typically punchier and
more up-front sounding than the stereo, as
most dedicated mono mixes of the day are.
Mike Fornatale

LISTEN TO

ON SOHO RADIO

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 FOCUS
The Focus Family Album
★★★
IN AND OUT OF FOCUS 2-CD
A collection of curios
from the Dutch
masters, including solo
cuts by each band
member, alternate
versions of pieces
from 2012’s Focus X, and session tracks.
We get the lovely pastoral flute work of
Thijs van Leer on two individual tunes, two
tracks of percussive workout from Pierre van
der Linden and a pair of solo acoustic guitar
pieces from Menno Gootjes. New bassist
Udo Pannekeet gets in on the act too with a
couple of slices of his bass explorations. In
other hands it could all be so overwrought,
and as it is this is far from light listening, but
somehow the band members keep a certain
charm and quality control in their work even
while wandering off down their various
excursions.
The group tracks feel less essential
somehow, obviously of more interest to
die-hard fans. But they’re so accomplished,
majestic (‘Victoria’) and deep (‘Raga
Reverence’), that they’re hard not to like.
Christopher Budd Looking back with Sonja Kristina

THE JOHNSTONS Grove, hanging out with Mick Farren and that’s a bold statement, since it arrived Added to this classic debut are the
Bitter Green/Colours Of The starring in the original London run of Hair. almost a year post-Elvis. But this is the tracks from the Beerdrinkers EP, wherein
Dawn/If I Sang My Song These influences all surface on this moment at which rock ’n’ roll finds its legs, Lemmy has a crack at ‘I’m Your Witch
★★★★ collection, which draws mainly from its heart, its mission statement. Yes, it’s more Doctor’, and there are seven previously
BGO 2-CD Kristina’s three post-Curved Air solo albums: than half made up of previously-released unissued cuts but the power and nerve
Britain may have had 1980’s Sonja Kristina, ’91’s Songs From The singles, but what singles. of the original album is where the focus
The Watersons, ISB Acid Folk and ’95’s Cloud 10. This two-disc set comprises the original remains.
and Pentangle but in If Disc One focuses on the soundtrack- LP plus 22 outtakes and alternates. The Henry Hutton
Ireland The Johnstons worthy romantic ballads, from a 2017 good news here, historically, is that they
were one of the top reworking of Hair’s ‘Frank Mills’ to a picked the right take for release every
acts of the ’60s folk harpsichord-drenched cover of Greg Lake’s time. But the alternate versions each bring THE PAUL BUTTERFIELD
revival, and the group in which Paul Brady ‘C’est La Vie’, then Disc Two showcases something great to the table and are more BLUES BAND
first came to national prominence. Their final upbeat rockers like ‘Devil May Care’ than worth your money. Born In Chicago: The Best Of
three studio albums are compiled here along and ‘Street Run’ as well as an acoustic, Mike Fornatale ★★★
with a raft of bonus tracks from singles and brooding cover of Motorhead’s ‘I Don’t VARESE SARABANDE CD
extended plays. Believe A Word’ and a version of Carl Orff’s Arguably one of the
Listened to chronologically the ‘O Fortuna’, alongside Curved Air’s Daryl MOTÖRHEAD most innovative
traditional and contemporary folk covers Way. But throughout it’s Kristina’s rich, Motörhead: 40th American groups of
give way to more satisfying baroque material velvet voice, swooping and soaring with Anniversary Edition the ’60s, The Paul
with Brady’s maturing songwriting yielding understated emotion, which keeps you ★★★★ Butterfield Blues
its best fruits on the final LP If I Sang My spellbound and enchanted. CHISWICK CD Band lived and
Song, by which time the group had become Ben Graham Kicked out of breathed, raw, authentic Chicago blues,
a duo, with only Brady and Adrienne Hawkwind for taking and while they’ve been the subject of
Johnston remaining. Of particular interest to the wrong kind of numerous compilations over the years,
Shindiggers is ‘Continental Trailways Bus’, LITTLE RICHARD drugs, despite Born In Chicago, their most recent Best
a hippy trail backpacker’s anthem, the sitar- Here’s Little Richard providing the vocal for Of, is a pretty decent effort.
strewn version of ‘Jesus Was A Carpenter’ ★★★★★ their one and only hit, It is in-depth enough to appeal to
and the introspective ‘December Windows’. CRAFT 20-CD Lemmy Kilmister teamed up with ‘Fast those au fait with the band, while being
Also noteworthy is the superb reading of There’s this guy you’ve Eddie’ Clarke and ‘Philthy Animal’ Taylor to accessible enough to perhaps win
‘Border Child’, sadly still as poignant and probably heard of, to produce some of the loudest, over those just beginning to immerse
relevant today as it was in 1972. whom most people amphetamine-edged sounds of the ’70s. themselves in the group’s catalogue.
Duncan Fletcher refer as “The King” or Produced by Speedy Keen and kicking While it fails to unearth any previously
“King Of Rock ’n’ Roll”. off with the self-referencing ‘Motörhead’, unheard recordings, its well thought out,
If you can listen to the the template for the band’s career is chronological track list does a great job
SONJA KRISTINA first three seconds of ‘Tutti Frutti’ and not immediately in place: swift bursts of ‘White of showcasing BBB’s evolution during
Anthology change your tune on that subject, then your Line Fever’-induced frantic rock – not quite their time with Elektra Records. Not only
★★★★ tune needs to be re-tuned. metal and not quite punk but somehow are all six albums represented, but there
CURVED AIR/CHERRY RED 2-CD I can’t and won’t diminish Elvis’s containing elements of both. Lemmy’s are also tracks from the Elektra sampler,
Before joining Curved importance. But come on. When you stand time lugging amps for beat groups leads What’s Shakin’; recordings made a whole
Air in 1970, Essex-born him up next to Little Richard, he sounds to an overdriven Yardbirds-plus attempt year before BBB would infamously back
Sonja Kristina cut her just plain weak. Know who agreed with me at ‘Train Kept A-Rollin’’, on which the Bob Dylan at Newport and begin to gain
teeth as a folk about that? ELVIS. lyrics are given scant attention over serious recognition in their own right.
performer and actor in Seriously, though, this LP was, for all attitude, vibe and dogged tonsil-shredding Christopher James Sheridan
late ’60s Ladbroke intents and purposes, Ground Zero. And enthusiasm.

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 PETER HOWELL & JOHN JACKIE SHANE
The Moody Blues FERDINANDO Any Other Way
reborn in ’67 A Game For All Who Know: ★★★★
The H&F Recordings Box NUMERO LP/CD
★★★★ The road to Soulsville is
GRAPEFRUIT 5-CD BOX SET littered with many
Students of the further hard-fought, against
adventures of The the odds tales. Yet few
BBC Radiophonic could match the story
Workshop will be rapt of Jackie Shane, a
with these transgender Canadian singer who dressed
re-pressings of five the gritty R&B of James Brown in a sparkly
ultra-rare semi-pseudonymous lo-fi ’70s Diana Ross frock.
albums from Peter Howell and collaborator This deluxe package is a fitting tribute,
John Ferdinando. coupling her singles with a stirring live set.
Alice Through The Looking Glass She tears strips off Ray Charles’ ‘Sticks And
is all clockwork psychedelia; reedy Stones’ and Barrett Strong’s ‘Money, the
keyboards and folky guitar interspersed trashcan drumming capturing the thrill of
with somewhat po-faced spoken and the moment on those raucous early singles.
vocal sections – the resulting sound not The funky blues of ‘Stand Up Straight And
unlike the seminal The Seasons. Tomorrow Tall’ was an obvious anthem of dignity from a
Come Someday grows the sound into singer who would no doubt turn heads.
bucolic, lyrical folk, and includes a lovely On the live set, Ms Shane exudes
Euro-tinged love theme. Agincourt’s Fly confidence and swagger, ad-libbing a defiant
Away feels like a “proper’”album, with an extended rap during ‘Money’, singling out
expanded percussive palette. It’s by turns those who dare to judge. “That don’t worry
jaunty and wintery, Lee Menaleus’ voice Jackie ’cos I know I look good, I’ve got money
at times taking on a genuinely eerie Trish and everything else I need”. Inspirational stuff.
Keenan-esque quality. Ithaca’s A Game For Paul Ritchie
All Who Know gets a bit more experimental,

Satin And Lace

Floydy and spacey, while Friends’ Fragile is
a gentler listen. THE SUPREMES
All these records have received prior The Ultimate Merry Christmas
reissues, but this is the definitive collection, ★★★
since ’64’s ‘Go Now’, and with front complete with extensive, fascinating liner REAL GONE 2-CD
man Denny Laine recently replaced by notes. Brilliant. In 1965, Motown’s
Justin Hayward, The Moodies agreed; Christopher Budd all-conquering girl
luckily the concept matched their group The Supremes
own ambitions, fuelled by keyboardist released their first and
Mike Pinder’s early adoption of the PHIL SEYMOUR only festive album
Mellotron and their equally precocious Prince Of Power Pop Merry Christmas, 12
LSD explorations. ★★★★ tracks of wintery cheer, including versions of
At the time the classical/ BIG BEAT CD such hoary holiday staples as ‘White
rock crossover was the album’s Premature death, Christmas’, ‘Silver Bells’, ‘The Little Drummer
selling point; an indicator that the missed opportunities Boy’, and ‘Rudolph, The Red Nose Reindeer’.
Moodies had evolved from Brumbeat galore, Phil Seymour’s And whilst it never quite hit the mistletoe
leftovers to Serious Artists. Now story is nothing if not heights of Phil Spector’s A Christmas Gift For
THE MOODY BLUES it’s the record’s least interesting tragic. A hugely You from ’63, it was still a cheery enough
Days Of Future Passed: 50th element, with The London Festival talented singer/ collection, perfect for chestnuts roasting on
Anniversary Deluxe Edition Orchestra and conductor Peter songwriter, his greatest claims to fame are open fires and drunken office parties.
★★★★ Knight’s contributions sounding like the US hits ‘I’m On Fire’ (as a member of The And now, 52 years later, comes the
UMC 2CD+DVD standard session-rate film score Dwight Twilley Band in 1975) and ‘Precious ‘Ultimate’ version of Merry Christmas. And
Hugely popular but never cool, The fare. Instead it’s the songs that stand To Me’, as well as prominent backing vocals when they say ‘Ultimate’ they mean Ultimate,
Moody Blues are the last remaining out: John Lodge’s ‘Peak Hour’, a on Tom Petty’s ‘Breakdown’ and ‘American because this set contains 50 tracks in total,
psych band whose original LPs you can solid rocker with shimmering, sharp Girl’. And that’s pretty much it… including mono and stereo versions of the
still find in charity shops for under a fiver. Mellotron flickers, and Pinder’s commercially speaking at least. original album, new mixes of a slew of the
Until this latest repackage that was the spare, percussive drone ‘The Sun Between ’78 and ’93, when he died songs alongside alterative versions and
only way to find the 1967 stereo mix of Sets’, which anticipates the rhythmic from cancer aged only 41, Seymour off-cuts. It’s a ridiculously comprehensive
this, their classic second album, but it’s textures and ‘exotica’ influences of amassed a wealth of solo material – which repackaging of a fun little Xmas LP – hardly
recovered and restored here, alongside post-punk, especially when shorn of has only recently been reappraised and essential, but more than enough to stave
the more familiar ’72 stereo mix, a orchestral overdubs as an extra track appreciated. This retrospective of Seymour’s away the winter blues.
5:1 surround sound mix and a 24-bit on Disc Two here. career, subtitled His Very Best + 11 Unissued Thomas Patterson
re-master of the ’67 version. There’s The overwrought orch-folk of Tracks, really hits its stride towards the end
also a three-song video clip of the band ‘Nights in White Satin’ is now part of when we’re re-introduced to belated lost
playing live on French TV in ’68, and all our cultural wallpaper, and remains Seymour pop gems such as ‘Better To Me MARK VAN HOEN
the singles, B-sides and BBC session perennially stirring, if curiously vacant, Than You’ and his brilliant Cheap Trick- Electronic Music 1982-1987
tracks previously included on the 2006 as kitsch as a model of the Great esque cover of the Linda and Rick Elias ★★★★
repackage. Pyramid fashioned from Angel Delight. classic ‘Don’t Take Your Love Away’. WOODLAND & WAYSIDE
The Moodies had the album’s As that final gong fades out, the Chris Twomey Mark van Hoen grew
title foisted on them by Deram, foundations of prog and pomp-rock up around Smethwick
Decca’s new “hip” imprint, along may have been inadvertently laid, but and his early
with the concept of recording with no one, including The Moody Blues, electronic works
LISTEN TO
an orchestra to demonstrate the would ever make an album quite like share a drifting
new “Deramic Sound” production Days Of Future Passed again. pastorality with
gimmick. Having not had a notable hit Ben Graham
ON SOHO RADIO
Continues over

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p077_Shindig_74.qxp 10/11/2017 15:08 Page 1

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All BGO Records new releases are available fro

om Amazon and all good recorrd shops or online
at [Link]-reco
g [Link]
For a free BGO Records text catalogue listing and
a order form, please email mike@[Link]
@ g
or call 01284 724
4406

BGO Records, 7 St A
Andrews Street North, Bury St Edmunds,
unds, Suffolk IP33 1TZ • Distributed in the UK by Proper Music
11
 several other Midlands artists associated out-there beatnik anthems, man.
The Status Quo in Technicolour with the Wayside & Woodland label, such The fact that some of the slabs of
as Epic45 and Charles Vaughan. Released delinquent dementia featured here will be
through Bandcamp earlier in the year as a well known to Cramps connoisseurs does
digital-only collection, W&W is now nothing to diminish the wild and warped
putting the bulk of these pieces on to vinyl genius of Round Robin’s ‘I’m The Wolfman’
with some previously unseen photography or the untamed teenage thrust of Charlie
to document his output between 1982 and Feathers’ ‘Tear It Up’, say, but it’s always the
’87. new old that excites the most. How I have
There’s a touch of the William lived this long without hearing the primitive
Basinski about it, particulary on ‘Fortified prowl of The Phaetons’ ‘Fling’ or the crazed
Hill’, which fills the double vinyl’s final comic cacophony of Jimmy Heap’s ‘Gismo’
side. Over 31 minutes there’s a feeling I’ll never know. Songs The Lord taught us
of entropy and decay, but not a rejection indeed.
of it – rather it is embraced, falling in Hugh Dellar
headfirst. Other tracks are much shorter,
although their effect is similar and ‘Locked
In A Cathedral At Night, Alone’ could quite VARIOUS ARTISTS
easily have been recorded at any time Let’s Do The Boogaloo
during the last 35 years. What a wonderful ★★★★★
compilation this is. BGP CD/LP
Spenser Tomson Ah yes, but which
boogaloo shall we do?
As this vibrant
VARIOUS ARTISTS collection shows there
Brown Acid: The Fifth Trip were at least two
★★★ distinct strands. The
RIDING EASY LP Latin boogaloo that sprung from the Puerto
Following hot on the Rican, Dominican and Cuban enclaves of
heels of Numero New York most readily springs to mind but

DoYou Dream?
Group’s devastating its origin was a soul dance craze initiated by
Wayfaring Strangers: Tom & Jerrio’s 1965 hit ‘Boo-Ga-Loo’ that
Acid Nightmares spawned countless follow-ups.
collection, and That track is absent here but the blend
The Village Green Preservation Society released on Halloween, naturally, the fifth of both the Latin and soul style hipshakers
all came roaring into life that year, volume in this increasingly legendary series on offer – classics and discoveries alike
whilst Can, Led Zeppelin and Black is further proof that there’s still plenty of – won’t have many mourning that loss
Sabbath all made their first marks on filthy lucre to be unearthed in the for long. Under this reviewer’s strict test
the world. Meanwhile, outside of the basements, thrift stores and vaults of the conditions, the irresistible jazzy rhythms
hit parade, things were ticking along US of A. of Mongo Santamaria, Hector Rivera and
quite nicely, as this new 78-track Managing to balance a slew of late Charlie Palmieri work more expediently
compilation of the year’s British psych ’60s heavy, post-freakbeat crunch with the loosening limbs than the backbone slipping,
tracks proves. kind of proto-stoner metal that emanated funky R&B stew of The Bar-Kays, Chubby
A follow-up to last year’s from smoke-filled garages and bars Checker and Lou Courtney but either, or
exemplary Let’s Go Down And Blow across the States throughout the ’70s, it’s preferably both, should be taken to relieve
Our Minds set, which explored ’67, obviously the earlier end of the spectrum stress and stiffness.
this is a collection that gives a broad that piques the interest of these ears. The boogaloo, whichever way it’s cut, is
VARIOUS ARTISTS overview of the year, gathering tracks The real showstopper is Finch’s ‘Nothing feel good party music. Let’s do it.
Looking At The Pictures which will be familiar to anyone In The Sun’, with its overdriven fuzz, Mark Raison
In The Sky: The British who’s ever picked up a Rubble comp, deranged ascending raga hammer-on,
Psychedelic Sounds Of 1968 alongside some even deeper nuggets and unexpected pop hooks, though Fargo
★★★★ (including some numbers I’ll confess ooze Lone Star State desert brain-fry, and VARIOUS ARTISTS
GRAPEFRUIT 3-CD were new to me). Captain Foam give some indication of what Lost Souls Volume 5:
Poor old 1968. Sandwiched between The collection opens with a The Who might’ve sounded like if they’d Garage, Psychedelic, & Rock
The Summer Of Love and the end of few obvious cuts, albeit ones of spent 1968 holed up in smalltown Ohio Oddities From Arkansas
the ’60s, it never gets much kudos. impeccable quality, including The with a stash of DMT. And Beyond 1966-1972
It didn’t have a Woodstock or a Factory’s ‘Path Through The Forest’, Hugh Dellar ★★★★
Monterey (it had the first Isle Of Wight Fire’s ‘Father’s Name Is Dad’ and PSYCH OF THE SOUTH CD
Festival, but that was small potatoes The Fleur De Lys’s ‘Gong With A With the utterly
compared with ’69’s extravaganza), Luminous Nose’. Elsewhere, scene VARIOUS ARTISTS outrageous ‘Brains In
and politically it’s best known for staples like Wimple Winch, The Pretty Jukebox In Crampsville My Feet’ by The Purple
escalating atrocities in Vietnam, the Things and The Status Quo all get ★★★★★ Canteen, and other
assassinations of Martin Luther King a look in. It’s once we’re past these RIGHTEOUS 2-CD fuzz-wailing delights
and Bobby Kennedy, and for Enoch heavily-recycled tracks, however, that The legendarily like The Chaps’ ‘Wait A
Powell’s ‘Rivers Of Blood’ speech. things get really interesting, lesser- voluminous record Minute’ – to name just two of the absolute
Hardly the stuff of rainbow-hued spotted artists like The Klubs, Anan collection of the late stand-outs – this latest instalment from
hippy daydreams. and John Ledingham (actually Irish great Erick Lee Psych Of The South label’s Lost Souls
Still, despite its reputation as folkie Jonathan Kelly) all bringing Purkhiser and his series is awash with gleefully torrid,
a dark mirror to ’67’s sunshine the heat. With exhaustive liner notes partner-in-crime Kristy grindingly groovy, and moody sounds
optimism, there were plenty of classic courtesy of David Wells, this is a nifty Wallace, better known as Lux Interior and throughout.
albums released to nonetheless intro to psych sounds of ’68 that Poison Ivy, is a gift that keeps on giving, All manner of other stylistic rock-based
ultimately mark it as a vintage year could possibly introduce experts to spawning a seemingly endless series of grooves are supported too, including
for music: Odessey & Oracle, Ogdens’ a few rarities that may possibly have compilations that bring together deranged thoroughly winsome and wistful Doors-ian
Nut Gone Flake, Electric Ladyland, passed them by. doo-wop, insane instrumentals, monsters melodies; genuinely primitive-style garage
The White Album and The Kinks Are Thomas Patterson and cavemen, canned laughter, loungecore
weirdness, raucous rockabilly and. like, Continues over

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 mundo exotico
GRAHAME BENT digs deep into a world of archival obscurities

Originally released in 1973 on of which her performances of ‘Dindi’, ‘Agua De Beber’ name La Banda Plastica that were likewise consigned
Odeon and long since out of print and ‘Meditacao’ are essential listening in anyone’s to oblivion. Stylistically these vintage explorations in
in Europe, JOAO DONATO’s language. DIY electronic psych feel every space age modulation
Quem E Quem makes a like the acid-inspired handiwork of a chance
welcome return to vinyl on And so to this month’s single most encounter between Jean-Jacques Perrey and Joe
Polysom (★★★★★). Effortlessly extraordinary Mundo release Meek. Captivating, trippy and impossibly exotic and
blending delicately understated post bossa styles with which almost deserves a column all from darkest Guatemala.
a deeply soulful mellow sound built on the of its own – an incredible one-off
foundations of Donato’s languidly melancholic vocals, collection of recordings which Habibi Funk: An Eclectic
a preponderance of Deodato-esque Fender Rhodes involves far out tales of late ’60s Selection Of Music From The
electric piano, beautifully understated arrangements LSD fuelled experiments with one of the first Arab World (★★★, HABIBI FUNK
and a pared-down compositional style Quem E generation of Moog synthesisers to make it to CD/LP) is guaranteed to shake up
Quem is the sound of a master at work. While some Guatemala and promotional tie-ins with local drinks widely held notions and
of the material exudes a calm, introspective quality companies. Sounds unlikely? Confused? Intrigued? It stereotypes of popular music from
– ‘Chorou, Chorou’, ‘Terremoto’,’Ahie’, ‘Nana Das all might sound like the stuff of a sci-fi film script but counties including Morocco, Algeria, Tunisia, Lebanon,
Aguas’ and ‘Ate Quem Sabe’- other selections this unlikely tale did actually happen and the proof is Egypt and Sudan. Put it this way the raw urgency of
including the vampy instrumental ‘Amazonas’, ‘A Ra’ EMILIO APARICIO MOOG’s Expansion Fadoul’s ‘Basama Hbibti’ or the wild, unrestrained
with its irresistibly inventive intersecting of piano, Galactica (★★★★, MENTAL EXPERIENCE CD) which, any garage-soul flavour of Bob Destiny’s ‘Wang Dang’
guitar, flute and non verbal vocal sounds, ‘Cala Boca way you care to try and get your head around it makes aren’t the sort of things you expect to hear kicking off
Menina’ and ‘Me Deixa’ demonstrate Donato’s ability for one incredible listen. Here released together for an anthology of predominantly North African music
to catch a vibe and his resourcefulness in making a the first time ever is the complete recorded output of from the late ’60s to the ’80s. The first half of Habibi
little go a very long way. Guatemala’s forgotten pioneer of DIY electronic Funk is a white hot riot of high energy rarities and
psychedelia. Rejoicing in titles like ‘Brujeria’ prized collectors items which take their stylistic cues
Something of a lost gem in the (‘Witchcraft’), ‘El Transformacion Del Iniciado’ (‘The from the all-conquering power of ’60s US soul and
annals of Brazilian psych, Transformation Of The Initiated’), ‘El Misterio De R&B, nowhere more obviously than on Belbao’s
FREE-SON’s one-off album Tihuanaco’ (‘The Mystery Of Tihuanaco’) and, ‘Casablanca Shuffle’ – a lovably shameless Moroccan
Banguele (★★★★, GROOVIE LP) somewhat prophetically, ‘Paren La Contaminacion novelty hi-jacking of Bob & Earl’s ‘Harlem Shuffle’,
was originally issued in ’71 in a Del Aire’ (‘Stop The Air Pollution’), the eight tracks which, despite its evident cash in appeal, incredibly
small private pressing on the were assembled at Aparicio’s home studio between never saw the light of day as a commercial release.
Solar Fidelity label and, having been a cult favourite ’69 and ’71, most of which were privately released as Compiled to offer an overview of Habibi Funk’s modus
and serious collectors’ item for some time, is only a series of five 45s titled Musica Electronica. And operandi and as a taster for the label’s future releases
now getting a long awaited vinyl reissue. Heavy on the here’s the real mindbender – these fabulously rare 45s the album also boasts a cover of Serge Gainsbourg’s
groove and taking its title from a dance practised by were never available commercially but were given ‘Mirza’ by Jalil Bennis Et Les Golden Hands along with
African slaves, Banguele’s 12 tracks come immersed away in exchange for four corks of the locally touches of Sudanese jazz, Algerian film music and the
in deep Afro-Latin and samba rhythms, and are produced tipple, Salvavidas Roja! Aparicio comparatively slick sounds of soulful Egyptian pop and
cloaked in a thick aromatic haze of contemporary subsequently released a couple of 45s under the disco and Tunisian soul-funk.
psychedelic rock influences. An eight-piece collective
rocking an impressive battery of drums, percussion, Maysa. “Full-bodied”
guitars and organ, for much of the time Free-Son
could pass for a Brazilian branch of the Santana
family tree while nevertheless still managing to retain
a sense of their own distinct cultural identity and
roots.

Released as a companion volume

of sorts for the recent Joao
Gilberto Antonio Carlos Jobim And
The Stylists Of Bossa Nova Sing
collection, Caterina Valente/
Alaide Costa/Maysa/Dolores
Duran: The Women Of Bossa Nova Volume
One (★★★★, ÉL 2-CD) repeats the formula but with
four distinctive female voices from the early formative
years of bossa. As a non-native, the uniquely versatile
Caterina Valente might not be the first name you’d
think when it comes to bossa but, as a big fan of the
music, she was an early European champion of the
sound and this set includes tracks recorded in Berlin,
London, Brussells and Cologne between ’56 and ’62
on which she can he heard singing a selection of
bossa classics in no less than five languages:
Portuguese, Italian, French, Spanish and English. The
real revelation here however is the gloriously
full-bodied voice of Maysa, once dubbed “The Edith
Piaf Of Brazil”, as heard on her repertoire of pre- and
early bossa selections from the Tom Jobim songbook,

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 shenanigans are also guaranteed. Other perfectly acceptable and now highly
elements which are praiseworthy include regarded long-players (Del Shannon, Rick
the guitarist’s time signature-defying breaks Nelson, Tommy Roe). Many didn’t; you
as heard on the Seeds-esque ‘Flyin’ High’ can almost hear the hairs bristling on Roy
by the highly obscure Saints Of Buddah and Orbison, Jay & The Americans and Bobby
the stab at The Fugs’ ‘War’, alongside the Vinton’s collective neck. Much of this stuff
solid, melodic ‘If You Like It That Way’, both is simply mid-60s teenbeat adorned with
courtesy of The Purple Canteen again. The sitars, phasing and quasi-mystical lyrical
gloomy-sounding ‘The Past Is Your Shadow’ allusion, but since when has that been a
by the superbly-monikered Your Local Tribe bad thing?
is also worth getting a little worked up over. And full marks to the compilers for
Lenny Helsing rating each selection by Far-Out Imagery,
Hallucinatory Sounds and Groovy Fun
Facts. Meet you in the yellow forest!
VARIOUS ARTISTS Andy Morten
Marshmallow Skies: 60s Pop
Stars Flirt With Psychedelia
★★★★ VARIOUS ARTISTS
TEENSVILLE CD Mirwood Northern Soul
For those of us who ★★★★
dig a bellyful of ersatz KENT LP
’60s hokum on a The LA label became
gloomy November a latter-day byword
afternoon, this “grey for northern soul
area” release from despite the fact that
Australia is the perfect tonic to keep the the region was not
cold out. The subtitle says it all. exactly renowned for
Look inside and you’ll find early soul music back in the ’60s. Despite this,

Kids In The Hood

’60s stars – from Bo Diddley and the house team of producer Fred Smith,
Chubby Checker to Neil Sedaka and the arranger James Carmichael and
Everlys – dipping their third eyes in the songwriter Sherlie Matthews, along with
candy-coloured stream. But not everybody
remedied here. The real Holy Grail, a spat out that foul liquid; some fashioned Continues over
second album recorded for Dot has
also not surfaced. “Where’s the
Aside from these lost opportunities, marshmallow?”
there’s no denying that the Childr’n were The Everlys
the best Airplane copy band amongst and friend
many, with Dyan Hoffman’s vocals a
dead ringer for Slick’s. (Unfortunately,
the guy’s voices are a bit dodgy.) The
album is full of eclectic garage-pop, from
whirling dervish opener ‘Up Down Turn
Around World’ and fuzz-fest ‘Feeling Zero’
to the Byrdsy ‘Please Leave Me Alone’
and insane rave-up ‘Chocolate Angel’.
Hoffman’s swirling keyboard flourishes
and Rick Bolz’ mesmerising guitar
pluckings are another plus, particularly
on the psychedelic masterpieces
‘Patterns’ and ‘Long Years In Space’. The
garagey, pop-psych rendition of ‘Over
The Rainbow’ and toytown pop of ‘Happy
Child’ are the icing on the cake.
The Maze are an entirely different
kettle of fish. The title track is a gloomy,
doomy minor chord dirge that sounds like
NEIGHB’RHOOD CHILDR’N a funeral procession from (or to) Hell. The
Neighb’rhood Childr’n groovy, organ-driven ‘So Sad’ is a slight
★★★★ improvement – imagine Jim Morrison
THE MAZE fronting Iron Butterfly – but there’s nothing
Armageddon new or exciting here. In a year or two,
★★ Sabbath and Bloodrock would be doing
BOTH SUNDAZED CD/LP this downer/stoner act to greater effect.
Sundazed already reissued these rare A few fuzz solos inject a bit of energy to a
psych collectables, so these “golden couple of tracks, but it’s too little, too late.
anniversary” editions are superfluous, Unnecessary bonus cuts include
not least of all because they’re two instrumental backing tracks (who
from 1968 and ’69 respectively. An ever thought this was karaoke material?)
expanded version of the former was and two jangly folk-rock outings cut with
also reissued 20 years ago, complete a female singer in ’67 when they were
with out-takes and demos that often known as Stonehenge. They’re akin to
surpassed the “official” album. Sadly, The Wee Five and would have made a
none of these included a scarce great single and are the best thing here.
pre-LP single, an oversight still not Jeff Penczak

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p081_Shindig_74.qxp 10/11/2017 15:12 Page 1

THE MOODY BLUES

DAYS OF FUTURE PASSED
R CD
R CD ++ DVD
DVD Box
Box Set
Set Edition
Edition of
of the
the landmark
landmark
psychedelic
psychedelic classic
classic
R Fully
R Fully restored
restored and
and remastered
remastered
original
original 1967
1967 mix
mix on
on CD
CD for
for the
the first
first time
time
R
R BBC
BBC sessions,
sessions, alternate
alternate mixes,
mixes, single
single versions
versions
R DVD
R DVD includes
includes 5.1
5.1 surround
surround version
version from
from
original
original 1972
1972 Quad
Quad mix
mix
R Also
R Also includes
includes previously
previously
unreleased
unreleased footage
footage from
from 1968
1968
R
R Repro
Repro ofof rare
rare poster
poster
R Also
R Also available
available on
on 180GM
180GM vinyl
vinyl

November 17th 2017

 veteran singer-songwriters Bob Relf and aforementioned titles, a feast of eclectic
Earl Nelson (Bob & Earl) strove to echo proportions is guaranteed upon purchase
their more celebrated neighbouring pop of RPM’s latest revelation.
producers in spirit. The group was given the sign of
Between them they conjured up a approval by Kinks / Who production
cocktail of relentless uptempo beats, mogul Shel Talmy, who has also given
pleading vocals and soaring string his blessing for this collection – at least
arrangements captured most spectacularly half of it previously unissued –to be made
on the anthemic ‘Oh, My Darlin’ by Jackie available now. High on quality songwriting,
Lee (aka Earl Nelson). This track and other all-round performances and inspirational
northern staples by The Olympics, Bobby production values, Wild Silk should be
Garrett (aka Bob Relf), Richard Temple redeemed as a valued prescription for
and The Belles make up the cream of this all discerning pop lovers. They endured
neat collection. a rigmarole around their releases; with
Most of these tracks have featured whom, where, on what label and under
heavily on CD compilations previously but which name their records might appear
it’s great to see them collected together, (Wild Silk; Little Big Horn; Cotton
where they belong, on vinyl. Socks). Irrespective of such industry-led
Paul Ritchie machinations, their soaring, seamless
vocals are here to knock you out, and the
driving force behind ‘Monday, Tuesday,
VARIOUS ARTISTS Wednesday’, ‘High Horse’, the astounding
Psychedelic Pop Israel: Rare ‘Just A Game’ is impeccable. Well worth
& Obscure Singles From the wait.
The Holyland Volume 1 Lenny Helsing
★★★
Pharoah searches
BLACK GOLD LP
for the Pyramids
It’s about time we CHRIS WOOD
received a Moon Child Vulcan

The Crown Jewels

compilation from The ★★★★
Holyland: seems like HIDDEN MASTERS LP
we’ve gotten one If you slept on last
from every other year’s Evening Blue
Egypt’, which in many ways set the country under the sun. Unfortunately, box set, here’s
co-ordinates for the future trajectory Psychedelic Pop Israel is very much a something of a
of Pharoah’s recording career. Like misnomer, as only two, possibly three second chance.
its predecessor, Jewels Of Thought songs could be considered psychedelic, Evening Blue is long
(’69) is primarily remembered for and even then one has to be generous sold out, but its centrepiece, the
one unforgettable epic track, in this with the definition. 40-years-later reconstruction of Wood’s
case ‘Hum-Allah-Hum-Allah-Hum- The silver lining is that there are 1978 album Moon Child Vulcan now gets
Allah’, which features the unearthly several cool songs herein, by bands that its own pressing.
vocal tonalities of Leon Thomas. virtually nobody has ever heard of, mainly And what a package – thick vinyl sits
Accompanied throughout by key because they never had a chance to alongside a 20-page book of meticulously-
collaborator Lonnie Liston Smith, record an album due to conditions in the compiled liner notes and unseen images.
bassists Cecil McBee and Richard Davis music business extant in the Israeli scene A download card leads you to 16 additional
and drummers Roy Haynes and Idris at the time. Most of what’s here ranges tracks.
PHAROAH SANDERS Muhammad, the album plays like a free- from the kind of sunshine-pop, hard-rock So what of the music? Fans who
Tauhid/Jewels Of Thought/ flowing incantation rich in Afrocentric or “adult” ballads you could have heard followed Chris Wood’s work in Traffic,
Deaf Dumb Blind (Summun touches and colour. on early ’70s Top 40 radio, and mostly in particularly the later post-John Barleycorn
Bukmun Umyun) Recorded and released in ’70 Hebrew, which gives them identification Must Die, more experimental era of the
★★★★ and comprising two tracks which with Israel. Again, its dearth of psychedelic band, will be totally at home here. Jazzy,
ANTHOLOGY RECORDINGS 3-LP BOX SET take up both sides of the album, the tracks notwithstanding, Psychedelic rootsy, polycultural, almost entirely
If John Coltrane mapped out the breathtaking title track and ‘Let Us Pop Israel is a worthy purchase for most instrumental, but with a lyrical musical
blueprint of what we have come Go Into The House Of The Lord’, Deaf Shindiggers. voice throughout, it’s the logical extension
to know as “spiritual jazz”, these Dumb Blind (Summun Bukmun David Bash of everything Wood had done up to that
three landmark albums by his one Umyun) finds Pharoah stretching his point. Why the top brass at Island felt
time apprentice represent enduring already potently Afrocentric sound this inclined to reject it in ’78 is anyone’s
touchstones of a movement which time in the exhalted company of Woody WILD SILK guess, but it was a bonkers decision. Snap
continues to resonate today. Now Shaw, Gary Bartz, Clifford Jarvis and Visions In A Plaster Sky: The this up.
reissued as a three-album set with a the aforementioned Lonnie Liston Complete Recordings 1968-1969 Christopher Budd
16-page booklet containing specially Smith and Cecil McBee. The effect ★★★★
commissioned commentaries on each here is like being overwhelmed by a RPM CD
of the albums, the Anthology edition sublimely fluid, trance-like cascade of This smile-enducing
arrives as a vinyl lovers passport to the ecstatically joyful sound – horns, piano compendium
heart of Pharoah’s trademark blending
of free and spiritual elements in his
and layers of percussion – that transport
all within hearing range upwards toward
provides another
feather in the cap for LISTEN TO THE
music. a transcendent, meditative sanctuary. In kingpin beat-psych
Tauhid (1967), Pharoah’s debut a word, this is the sound, the spirit and chronicler Alec Palao.
release on Impulse!, was recorded while the glorious legacy of ’Trane extended If you’ve bent an ear towards the British
Pharoah was still playing alongside forwards in time into a new decade by psychedelic scene via the Rubble series
his mentor Coltrane. Backed by an
ensemble including bassist Henry
arguably the greatest of his disciples.
Just one question though – why
then Wild Silk’s remarkably lush
quasi-orchestrated ‘Vision In A Plaster BROADCAST
Grimes and guitarist Sonny Sharrock,
the album is best remembered for its
lengthy opener, ‘Upper Egypt & Lower
isn’t Karma, Pharoah’s second album
for Impulse!, included in the set?
Grahame Bent
Sky’ may well have tickled your fancy. But
what of the wonderful trip-to-toytown
surge of that single’s flipside ‘Toymaker’?
ON MIXCLOUD
Whether you know and appreciate the

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 tune up
between ’58 and ’85, besides Mr Ra himself, featured
vocalists here include June Tyson, Hattie Randolph,
John Gilmore and other members of The Arkestra on
a collection crowded with highlights including
‘Interplanetary Music’, ‘Enlightenment’, ‘Walking On
GRAHAME BENT blows on some of the latest hot jazz The Moon’, ‘1984’, a soulfully funky ‘Space Is The
Place’, the unforgettable ‘Nuclear War’ and wondrous
releases curios like ‘The Forest Of No Return’ and ‘The Truth
About Planet Earth’.
The victim of a heroin overdose at At The Half Note (★★★★, HI Rather more challenging in content
the age of 31 in a New York HAT CD/LP) – a vintage WABC-FM is Thunder Of The Gods
shooting gallery in 1963, the radio broadcast from Manhattan’s (★★★, MODERN HARMONIC CD/LP)
criminally unsung SONNY Half Note club on February 5th which brings together three
CLARK had previously been a ’65. A veritable powerhouse of a previously unreleased
Blue Note recording artist in his band featuring Julian ‘Cannonball’ performances from the archives
own right best known for his 1958 album Cool Struttin’ and Nat Adderley, Charles Lloyd and Joe Zawinul, the of SUN RA historian Michael D Anderson. By some
and a sideman of note with Dexter Gordon, Grant sextet is heard riding high with some superb ensemble way the most accessible of the album’s three tracks
Green, Jackie McLean, Hank Mobley, Stanley playing on a repertoire that includes Quincy Jones’ is ‘Calling Planet Earth/We’ll Wait For You’ – a
Turrentine, Lee Morgan and a host of others. However, ‘Jessica’s Birthday’, ‘Cajvalach’ (from the soundtrack 23-minute segment of a live performance reportedly
despite having his career cut tragically short Clark’s of Fiddler On The Roof) and Duke Ellington’s ‘Come recorded in ’71 at Slug’s Saloon on New York’s Lower
contribution to jazz piano deserves to be remembered Sunday’, side by side originals including ‘Sewing East Side. If the somewhat chaotic mood of ‘Calling
and acknowledged. Consummately accompanied by Machine’ and ‘Work Song’. The inclusion of presenter Planet Earth’ is relatively mainstream compared with
George Duvivier (bass) and the masterful Max Roach Alan Grant’s hip intros and his brief exchanges with the rest of the album then the other two
on drums, The 1960 Time Sessions (★★★★, both Adderley brothers perfectly conveys the informal compositions ‘Moonshots Across The Sky’ and
TOMPKINS SQUARE LP) captures Clark in his element as a New York jazz club ambience on an album which offers ‘Thunder Of The Gods’ can only be described as
master of the piano trio. A personal favourite of Bill the listener the best possible seat in the house. sounding like they’re being transmitted from the
Evans, (the similarities with Evans style are here for remotest outpost of Ra’s cosmos. With both tracks
all to hear) Clark’s playing is at once cool and lyrical SUN RA & HIS dating from the Strange Strings sessions circa ’66
but also exhibits a vibrant swinging quality across the INTERPLANETARY VOCAL when Ra famously gave members of The Arkestra a
four sides of this deluxe double vinyl edition which ARKESTRA’s The Space Age selection of string instruments they were unfamiliar
unites the ’60 Sonny Clark Trio album, originally Is Here To Stay (★★★★, with and simply asked them to play, the results are a
released on Bob Shad’s Time Records, with six MODERN HARMONIC CD/LP) is a Sun Ra cacophony of miscellaneous scratching, scraping,
previously unissued studio out-takes and is here collection with a difference. The clattering and rattling which only the most
presented in a gatefold sleeve complete with Nat difference being this wonderfully packaged album experienced of Arkestra heads will be able to get
Hentoff’s original liner notes and an essay by former clad as it is in the vintage ’50s sci-fi artwork of “the their heads around.
New York Times jazz critic Ben Ratliff. father of modern space art” Chesley Bonestell (as is Art Yard make their latest
Thunder Of The Gods, also on Modern Harmonic) contribution to the seemingly
The impressive groove-laden firepower of THE focuses exclusively on those tracks within Sun Ra’s inexhaustible Sun Ra collectors
CANNONBALL ADDERLEY SEXTET in full flight vast discography where vocals occupy a central role. market with the highly desirable
is captured to perfection on Portraits In Jazz: Live With the spread of material covering the period limited edition double 10” vinyl
release of The Lost Arkestra
Sun Ra predicts Series Vol 1 & 2 (★★★★). Featuring different
another wave configurations of the Arkestra – some expansive and
of live releases others more stripped down – Vol 1 presents three
tracks (one long track on Side A with two shorter
pieces on the flip) recorded live in Paris and Milan in
’83 and ’78 respectively, while Vol 2 repeats the
format and complements this with another three live
recordings – two from Philadelphia’s Temple
University in ’74 and one from an unidentified venue
in May ’75 that were previously available on Art
Yard’s Cosmo Earth Fantasy (Sub Underground
Series Vol 1 & 2). Particular highlights here include
‘Along Came Ra’ and the rare quartet version of the
evergreen ‘We Travel The Spaceways’ from the
original Disco 3000 tapes.

SUN RA ALL STARS’ Live In

Berlin October 29th 1983
(★★★★, DOL LP) documents
something more than a little out of
the ordinary. During a two month
Arkestra European tour in the
autumn of ’83, Ra also played a handful of special
shows under the banner of The Sun Ra All Stars that
saw Ra and his trusty lieutenants John Gilmore and
Marshall Allen joining forces with special guests Don
Cherry, Archie Shepp, Richard Davis, Clifford Jarvis,
Philly Joe Jones and Lester Bowie and Don Moye of
The Art Ensemble Of Chicago. Originally broadcast on
West German TV, the relaxed freewheeling mood of
the recording which is arguably best captured on the
closing saunter through ‘Poinciana’ feels like a joyful
summit meeting of fellow spirits.

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 A multitude of new music

Acid Mothers Temple

39TH & THE NORTONS ACID MOTHERS TEMPLE & EUROS CHILDS COBRA FAMILY PICNIC
The Dreamers THE MELTING PARAISO UFO House Arrest Magnetic Anomaly
★★★★ Wandering The Outer Space ★★★★ ★★★
STOLEN BODY CD/LP ★★★ NATIONAL ELF SULATRON CD
What started as the BUH CD/LP I once enjoyed an From the opening
bedroom project of Credits include a intense series of fever NASA countdown on
Nick Wheeldon (Os midnight whistler, speed dreams after ‘Draags’, it’s clear that
Noctàmbulos) has guru, noodle god, and succumbing to a space is the place for
blossomed into a new “another dimension”. heavy Lemsip/ this Tucson,
line-up including Yes, the world’s most influenza doze while Arizona-based band.
members of Bootchy Temple and Jaromil prolific band (200-plus 20: Singles & EP’s ‘94–’96 by Gorky’s Their debut album sets out its sonic stall
Sabor. releases) return to wreak havoc and fry brain Zygotic Mynci gurgled through my upfront – rumbling bass, live-sounding
Though they’ve only been together cells with another collection of fucked-up headphones. drums, drifty Floyd-esque keys, fizzing
since the start of the year it’s clear this anthems from outer space. The 16-minute Similarly, it appears that with his shards of wah-wah guitar. But rather than
Paris-based quintet has some serious opener is like hurtling through the universe with 14th solo album, House Arrest, ex-Gorky head out into the void, Cobra Family Picnic
alchemy going on. a jet rocked up your bum while razor shards of Euros Childs has created a lo-fi keyboard are more about navigating the realms of
The sound of The Dreamers may lightning guitar runs, looped, disembodied masterpiece by looking only at the bits and inner space, and clearly wedded to the idea
have roots in garage-rock but there’s vocals, asynchronous avant skronk, and pieces found in his home and playing The of psychedelia as a trip rather than a
an optimism, an openness, a sense of migraine-inducing metallic noise fly by. To quote Beach Boys’ Holland through his cans. destination.
possibility and a passion here that’s not Chevy Chase, “Holy shit! Where’s the Tylenol?” ‘Monocle Guy’ cuts a Casio canter – Musically, they alternate between
often found in the genre. ‘The Targeted Planet’ is full of SETI-like lyrics like “Judy does a jigsaw / Of John broodingly insistent mantras and more
The songs are all melodically signals from the fifth dimension, arcade sound Denver on a mountain / His footing it is propulsive explorations – ‘Elysium’, which
memorable but what really sets them apart effects, and Jyonson Tsu’s extemporaneous unsure / And pretty soon he’s falling” features some scorching guitar towards the
is the genuine emotional delivery. In that Yoko Ono-isms that sound like we’re being suggest fantasies generated via an end, is a good example of the former, while
sense The Dreamers owes as much to soul visited by a sister from another planet. We evening playing various board games. the latter is best illustrated by the simple
or gospel as it does scratchy garage- probably are. Things settle down for the eerie However, the album’s first single ‘My modulation and driving beat of ‘Frost’.
punk. This is the third attempt at recording ‘Forsaken Moonman’, a navel-gazing moment Colander’ is a high point; balancing his However, songs sometimes struggle to
a follow up to 2012’s On Trial, the first of reflection on our place in the universe from odd humour with honeyed vocals, it sets achieve escape velocity, with the half-arsed,
two sets of recordings deemed not up to an astronaut left behind, 2000 light years from the tone perfectly for other wonky bangers stoned-guy-with-reverb vocals being the
scratch. It’s worth the wait. home. Tsu’s soothing “ooohs” are a comfort. such as ‘Life In A Jar’ and ‘Shower’, which album’s main weakness.
From the heart, strangely uplifting and The CD version adds a second suitably are equally harmony-rich and strange Fans of Lumerians, Moon Duo and The
an unexpected gem. cacophonous concoction of metallic mayhem. of wit. Myrrors will find much to like here though.
Duncan Fletcher Jeff Penczak Spenser Tomson Joe Banks

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 DODSON AND FOGG ELECTRIC EYE extremity stakes for so long, they’ve since The Red-Nosed Reindeer’ and occasional
Tales From The Hidden Village From The Poisonous Tree redefined their approach by explicitly harking stage fave ‘Blue Christmas’, before taking a
★★★★ ★★★★ back to the vintage age of “heavy”, soulful path with Sammy Kahn/David Holt’s
WISDOM TWINS CD JANSEN PLATEPRODUKJSON CD/LP something that is more apparent than ever ‘Christmas Blues’, Johnny Marks’ ‘Holly Jolly
Chris Wade has been Heavy but utterly on the excellent Wizard Bloody Wizard. Christmas’ and Hank Ballard-James Brown’s
charming us non-stop groovy, the fourth LP in ‘See You In Hell’ is a murderously- ‘Soulful Christmas’.
for the past five years, five years from these focused dirge, “21st century funeral boogie” Released on seasonal red wax for
and each new release Norwegian psych as they describe it themselves, the blues- RSD followed by CD/download, this
(this being his 15th) is rockers is definitely a rock behemoths of the early ‘70s dragged smile-inducing set excels as both cool
a cause for cut above most of their from their graves for one last bone-shaking performance artefact and the perfect hot
celebration. peers. After the hard-edged, 21st century stomp. The irresistibly gloomy yet hummable biscuit to blast on Christmas morning.
Lately he’s been handling all the chores space-boogie of opener ‘Sometimes You Got riffs of ‘Necromania’ and ‘Hear The Sirens Kris Needs
himself, and he starts off rocking harder To Jump To Lift Your Feet’, ‘Invisible Prison’ Scream’ offer a near-perfect simulacrum of
than ever with blaring alarms, strafing shifts gear into a funky prog masterclass that Black Sabbath circa Vol 4, along with a nod
riffage, and apocalyptic bombs on ‘You’re incorporates a global palette of sounds into to Uncle Acid. Finally, the monolithic chug of THE GALILEO 7
Killing Us All’. But then it’s back to familiar just over five minutes, without ever sounding ‘Mourning Of The Magicians’, with its ‘Come Tear Your Minds Wide Open!
territory with soothing acoustic dreamers cluttered or overblown. Together’ bass line, is The Beatles trapped in ★★★★
like ‘Are You Conscious?’, ‘I Don’t Mind You Killer guitar riffs are present and correct, heavy metal hell. DAMAGED GOODS CD/LP
Coming Round’ and ‘Try Any Time’ (spot the but Electric Eye don’t try to bludgeon you into Joe Banks Straight out of deepest
Yes riff!). Occasional flutes and percussive submission by turning everything up to 11; darkest garage land
effects also add a navel-gazing Eastern instead there’s light and shade and a sense (AKA Kent) come
tinge to the proceedings. of dynamics that owes more to Scandinavian TAV FALCO ne’er-do-well quartet
Wade revisit his blues side with ’You jazz than metal. The expansive acid-folk of A Tav Falco Christmas The Galileo 7 with their
Make Your Own Blues’, and the stomping ‘Turn Around, Face The Sun’ is augmented ★★★★ fifth album of
instro ‘Take A Trip’ rolls out the fuzz petals by sitar and synth, while ‘Serenity’ is a ORG/FRENZI CD/LP top-of-the-poppermost garage and psych.
for some good time Bolanesque boogie. brooding gothic western. Ending on the Following in the Taking their name from an episode of Star
The two-part ‘Seven Days In Never’ is quite spacey, hypnotic ‘Meditasjonen’, this has snow-prints of Elvis Trek, The Galileo 7 don’t boldly go where no
possibly his most beautiful instrumental to be one of the standout psych releases and Al Green, fellow man has gone before, their sound a tried and
effort yet. Unlike other artists this prolific, of 2017. former Memphis tested homage to psych hits of the ’60s and
Wade truly does seem to get better with Ben Graham resident Tav Falco the powerpop moves of the ’70s. And don’t
every release. fulfils his long-held they do it well.
Jeff Penczak ambition of releasing a Christmas mini-album Tear Your Minds Wide Open! is an
ELECTRIC WIZARD and reliving his childhood Christmases in the effervescent, day-glo delight, 12 tracks of
Wizard Bloody Wizard Arkansas backwoods. galloping tunesmithery that barely pauses
DUBI DOLZCEK ★★★★ Never one to do anything by halves, for breath as it barrels along with windmilling
Dubi In Space Part 1: The WITCHFINDER/SPINEFARM CD/LP/CASSETTE Falco and band including bassist Mike Watt, guitars and thumping drums that recall dear
Emerald Gauntlet In their early days, former Ennio Morricone session pianist old Keith Moon at his most propulsive.
★★★ Electric Wizard’s Francesco D’Agnolo and guitarist/producer Luckily, the Galileo lads have tunes
STOLEN BODY RECORDS monstrous, Mario Monterosso (plus backing chorale) by the bucket to match their retro stylings,
Formed from the drug-addled riffology entered Sam Phillips Recording Service album opener ‘Cold Hearted Stowaway’ a
loose collective of verged on the during this year’s scorching Memphis particular pop joy that would have stormed
Bristolian friends and avant-garde, such was summer and laid down spirited versions the charts were this 1967 rather than 2017.
musicians known as the brain-sucking density of their sound. But of ‘Santa Claus Is Back in Town’, ‘White Thomas Patterson
Bloom, Dubi Dolzcek realising that you can only compete in the Christmas’, ‘Jingle Bell Rock’, ‘Rudolph,
comes shrouded in a
degree of (slightly contrived) mystery. We Electric Wizard
are asked to believe that our main man is a
“daring pilot, intrepid explorer and seminal
crab anthropologist”, for instance!
Captured here on this second
full-length “album of his memoirs” is a
seriously somnambulistic 3am mélange
of Canterbury-styled progressive jazz,
ethereal doo-wop, lonesome keening pedal
steels, electronic zap and shimmer and
post-modern exotica. Imagine Trip-Hop
filtered through Martin Denny and Red
Rhodes’ Velvet Hammer In A Cowboy Band
LP, if you will. Or a lounge crooner in an
almost empty, burgundy-draped Venusian
bar accompanied only by a cheap ’80s
synthesizer and then beamed back to earth
via radio waves rife with static interference
and the white noise of advertising, whilst
a busker echoes saxophone riffs off the
inside of a nearby tunnel.
Hugh Dellar

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 GRINDING EYES VIRGIL & STEVE HOWE JIM JAMES KADAVAR
Grinding Eyes Nexus Tribute To Volume 2 Rough Times
★★★ ★★★★ ★★★★ ★★★★
OFF THE HIP CD INSIDE OUT CD ATO CD/LP NUCLEAR BLAST CD/LP
This dose of heavy, Completed earlier this This isn’t My Morning If Rough Times’ lyrics
psychedelic, slurred year but released Jacket front man Jim tackle “fake news”
garage is a following the sad and James’ first solo foray (‘Skeleton Blues’) and
globe-spanning affair untimely death of Little into the world of cover the very 2017 variant
– recorded in Sydney Barrie drummer and versions, following of an irrevocably
Australia but mixed in gifted all-round 2009’s Tribute To EP fucked-up era, the
France and, fittingly, mastered in Detroit. musician Virgil Howe, this collaboration with featuring the songs of George Harrison. attitude of this album is distinctly of the
The album bursts forth with a wailing his father, legendary Yes guitarist Steve, is a Indeed, My Morning Jacket have been known past, notably the late ’60s through to
mournful drone leading to echoey, almost fitting tribute to Virgil’s talents and also shows to showcase their interpretations of others mid-70s.
surf-tinged guitar. It’s as if Lee Hazlewood his father has lost none of his skill as a work both live and in the studio. This is, A few tracks, notably the two opening
channeled Duane Eddy’s sound through musician. however, the first full-length covers record by tracks touch upon 21st Century doom,
a giant, rattling Campbell’s soup can Put together from Virgil’s original the gifted songwriter/guitarist, and as usual his garage-rock and the heavy-blues from
of an echo chamber then added heavy compositions that find him handling renowned good taste and that voice means which Jack White and Dan Auberbach
psychotic pressure to the mix. There are keyboards, bass and drums, his father then that you’re never far from a moment of beauty. have made millions, but the heart of this
chiming off kilter moments such as ‘So added various electric and acoustic guitars Although the overall mood is one of imaginative album furthers Kadavar’s
Clear’ where the sonic fog lifts briefly across 11 tracks that move from cinematic hushed acoustics and reverb-heavy vocals, vintage tropes with even more focus on late
but the overall mood remains dark and to jazz to ambient rock with effortless when his opening take on The Beach Boys period psychedelia and progressive rock.
cloying. The foot comes off the pedal ease. ‘Hidden Planet’ is a fantastic piece of ‘I Just Wasn’t Made For These Times’ Sure, the Sabs still reign large but
slightly on ‘A House Is Not A Motel’ but the soundtrack-esque jazz that blends Virgil’s explodes into life on it’s ’60s sounding multi- on such tracks as ‘Die Baby Die’, vintage
phonic weight is consistent throughout the deep piano line with juddering drum and bass instrumental section, it’s a truly joyous thing psych acts like The Accent, Open Mind and
nebulous garage-punk soundscape and style drums and Steve’s sparse feedback, to behold. Elsewhere the bare acoustics of Andromeda spring to mind. ‘Tribulation
never completely lets up. coming on like a futuristic take on Roy Budd’s ‘Crying In The Chapel’ and Greg Lake’s ‘Lucky Nation’ borrows more than a riff from
The mood is relentless and Get Carter theme. Other highlights include the Man’ are haunting slices of heartache, and Stray’s ‘All In Your Mind’, ‘The Lost Child’
cinematically bleak dragging the listener dark and funky ‘Night Hawk’ and the beautiful the straight country take on Dylan’s ‘I’ll Be slows things down with a central keyboard
through edge of feedback horror via the piano and guitar work of ‘Astral Plane’. A fitting Your Baby Tonight’ is more than good enough motif and a gentle, drifting psychedelic
soundtrack to a bad trip in an elevator epitaph to a beautiful soul and an unbreakable to keep his hardcore fans from unleashing vocal, ‘A L’ombre du Temps’ sits
jammed on floor 13. father/son bond. the hounds. somewhere between Serge Gainsbourg,
Henry Hutton Paul Osborne Paul Osborne The Velvet Underground and Air.
A further refinement and progression in
heavy sounds. The wheel keeps turning.
Jim James Jon ‘Mojo’ Mills

KID MOJO
Shake Your Demons
★★★
FLICKNIFE CD
Former Gunslinger
guitarist Louis Davey
strides out with new
friends on this debut
release from Ipswich
outfit Kid Mojo.
Combining no-nonsense rock riffs (and an
occasional funky detour) with a vocalist
whose voice occasionally recalls Alice
Cooper circa 1971’s Killer, this six-track
release points to an exciting future.
Mixed by sometime Gunslinger and
onetime Hawkwind bassist Alan Davy,
this collection captures the undeniable
energy of a band already building a good
gigging reputation across the flat lands of
the east. Highlights include the powerful
live track ‘Rhythm To The Blues’ (where
the aforementioned Vince Furnier raises
his head) and ‘Not Enough’, with its urgent,
dirty Dr Feelgood vibe.

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 At their best when singer Dan Gallagher

Returning Legends
lets rip the challenge for them, as with
many bands, is how to capture their
onstage attitude in the studio – but from this
evidence they are pretty much there.
Greg Healey ED ASKEW guitar backdrops and, on ‘Quartet’’s with 15 accompanists to deliver an
Art And Life duet with Josephine Foster, autumnal album of elegant beauty full of
★★★★ strings. His voice has lost none of its gorgeous harmonies and swaying
LOS PLANTRONICS TIN ANGEL CD strange power on ‘Crazy Angels’ and melodies. This is the type of relaxed
The Worst Is Yet To Come: A Child In The Sun Radio ‘Clint Eastwood’. A Child In The Sun music that Leonard Cohen delivered
The Best Of 1995-2017 Sessions 1969-70 swells Drag City’s Askew catalogue right up to his untimely, but not
★★★ ★★★★ with post- Unicorn radio sessions unexpected passing last year.
JANSEN CD DRAG CITY CD almost 50 years earlier, boasting Perhacs certainly has the best
Hailing from the home Since 1968 urgent versions of ‘Fancy That’ and 75-year old vocal chords in the
of brown cheese and acid-folk cult ‘Marigolds’ along with enlightening business (at times, she sounds like a
black metal, a classic Ask The interview spots. little girl!) and the soft, gentle acoustic
mariachi-surf-rockabilly Unicorn, Ed Askew All cause for celebration and tunes leave the avant-garde trappings
band might seem a little occupied that destined for imminent further of her classic Parallelograms behind,
peculiar. However, Los special place in my expansion in these pages. although ‘Visions’ and the eerie title
Plantronics have been doing their Mexican heart reserved for the gloriously Kris Needs track revisit her vocal acrobatics and
wrestling-masked do for 22 years, and to obscure – and then he returned! kaleidoscopic arranging skills. Perhaps
celebrate, are bringing out not only a double Although there have since been Buffy’s Illuminations and Yoko’s more
best-of album, but also a photo book. archival and live-recorded sets, one of LINDA PERHACS accessible works are better signposts.
They sidestep cliches in a slick way; 2017’s most pleasant shocks is getting I’m A Harmony Nels Cline, Devendra Banhart
yeah, they do a cover of ‘Red Hot’, but they two albums in the same month; ★★★★ and members of Wilco may draw in
throw in a few bars of The Sonics’ ‘The including his first concerted studio OMNIVORE CD the kids, but those of us with long
Witch’ along the way. They hop genres like recording since Unicorn, both beautiful For only her third enough memories will listen in awe
a first-time fire-walker; ‘Cin-A-Delico’ is pure affirmations of this most eloquently album in nearly 50 that Perhacs hasn’t lost her spark.
soundtrack go-go, while ‘Let’s Go Boo-Ga- vivid songwriter. years, former Towards the end, Perhacs sings, “How
Loo’ is straight-down-the-line frat party rock. Art And Life boasts seven of dental hygienist amazing you’ve become” – I couldn’t
They’ve picked some interesting covers over Ed’s emotionally-charged graphic Perhacs agree more.
the years; there’s an unexpectedly speed- narratives, sung against rippling piano- surrounded herself Jeff Penczak
mariachi-ed version of Gene Clark’s ‘So You
Say You Lost Your Baby’ and a garagey take Looking Askew at the world
on The Dead Kennedys’ ‘Let’s Lynch The
Landlord’. The sleeve is lacking in detail –
there’s no indication of the chronology of the
songs – and it verges on the too-slick, but
bung it on and it should happily soundtrack
any party.
Kate Hodges

MAPACHE
Mapache
★★★★★★
SPIRITUAL PAJAMAS CD/LP
That Chris Robinson
rates these new young
kids on the block and
Beachwood Sparks
Brent Rademaker and
Aaron Sperske play on
this almighty debut album is more than
enough cosmic Cali kudos points to make
Mapache of immense interest to anyone
with a few Gram, Dead and CSN albums.
Twenty seconds into ‘Mountain Song’
that listener will then be in heavenly
rapture as the 11 songs effortlessly achieve ODESSEY & ORACLE pushed them into retro-futurist territories OJARD
what Sam Blasucci and Clay Finch title Speculatio of the ’70s to create a sound that recalls Euphonie
”conscious country”. If at first the distinct ★★★ nothing less than the soundscapes of ★★★
hippie sentiments of a stoned Laurel BONGO JOE CD/LP Sven Libaek and the sound effects of CONTOURS CD/LP
Canyon is felt, peel back the layers and the It’s been two years Barbarella wed to the stylings of Stereolab On his debut album,
duo’s perfect Everlys harmonies take the since Gallic trio and the Elephant 6 collective. Ojard (aka Maxime
music before The Beatles into the coffee Odessey & Oracle Album opener ‘Les Dessees’ sets out Daoud) a French
houses and beyond – as evidenced on their released their debut the album’s stall; five and a half minutes of multi-instrumentalist,
gracious rendition of the 1929 evergreen album Odessey & slightly meandering yet seductive psych serves up an
’Aquellos Ojos Verdes’. Oracle And The couched in floating French vocals, evoking intoxicating mix of
Every track is a winner, making it hard Casiotone Orchestra, a lovely collection of a lunar Garden Of Eden. Elsewhere, tracks cinematics, electronica and ambient music
to believe the duo have only been active baroque neo-psychedelia that owed more like ‘Sunflowers’ and ‘Grand Autodafe’ that places it somewhere between the likes
a year. Dan Horne (Allah-Las, Jonathan to Syd Barrett than the St Albans pop sport twirling harpsichords and fanciful of Air’s tasteful atmospherics, ’60s lounge
Wilson etc) provides a subtle production combo from whom they’d taken their synths, creating a mesmerizing albeit music and Brian Eno’s more ambient
centred on those honey-kissed voices and name. occasionally one-note sophomore album. excursions.
intricate guitar textures. For their follow-up, they’ve maintained Thomas Patterson
Jon ‘Mojo’ Mills the pastoral oddities of Barrett, and Continues over

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 and band mate Paul Molloy for some serious
Serpent Power
psychedelic moonlighting.
Building on the sonic template of The
Coral’s Distance Inbetween album, the duo
have cultivated a more esoteric version of
their cohorts’ neo-psychedelic grooves,
heavy on fuzz and ghoulish imagery. This
LP doesn’t veer too far from the out-there
effects, pop sensibility and overall sense
of bug-eyed fun conjured up on their
eponymous debut.
At 34 minutes long, it’s a short, sharp
trip, akin to the brevity of rollercoaster ride
with a dizzyingly array of thrills and spills
along the way. From the ascending climb
into another dimension on spectral opener
‘Golden Dawn’, careering through to the
acid nightmares of fuzzed-up freakout ‘The
Sleeper’, Electric Looneyland is a surefire hit.
Paul Ritchie

SHARON JONES &

THE DAP-KINGS
Soul Of A Woman
★★★★
DAPTONE CD/LP
On November 18th
2016, Sharon Lafaye
Jones, soul singer
extraordinaire and first
lady of Daptone
Records, passed away
after a lengthy battle with cancer. This then is
Recorded live with a minimalist the tremendous fizz of the title track and SCHIZO FUN ADDICT her posthumous swansong, and what a
approach to instrumentation, Euphonie does one or two more dense sound progressions The Sun Yard fantastic cap to a wonderful career it is.
a grand job in transporting you away to some which style and inform such as the ★★★★★ Eleven tracks of honeyed soul, stirring
place else, winding its way subtly around memorable, left-field hookiness of ‘Even If FRUITS DE MER LP gospel, and rough and ready R&B powerful
your subconscious. ‘Dormir’ is a good case in I Wanted To’ and the excellent ‘Stay Out of The “world’s smallest enough to sooth even the most savage soul.
point, its gentle electronic percussion laying My Dreams’. vinyl-only psych/prog/ Opening track ‘Matter Of Time’, written
a bed for analogue keyboards, understated Get walking. acid folk/krautrock/ by long time collaborator Binky Griptite,
clarinets and a drifting flute to lie down in. Lenny Helsing spacerock record label’ is a rousing, waltzing swinger of a start,
‘Regarde en bas où l’ombre est plus celebrates its 10th leading into 10 further examples of richly
noire’ is wonderful, the guitar line and birthday, and certainly orchestrated, powerful soul. Sweet floating
waltzing melody recalling the soundtrack to THE REMORSELS much else besides, with a re-release of tracks like ‘These Tears (No Longer For You)’
some beguiling piece of ’60s French cinema. Drowning In A Shallow Ponder Schizo Fun Addict’s own much celebrated and ‘Pass Me By’ recall The Chi-Lites at their
And if you feel like losing yourself completely, ★★★ album The Sun Yard. most potent, and despite Jones’ illness,
‘De Sang Bleu’ will have you wishing you SELF-RELEASED CD Originally birthed into the ether via Fruits her vocals remain as strong and strident as
were lying on deserted beach in paradise. Tim Cordell is a man of de Mer way back in 2013 this collection of ever, album closer ‘Call On God’ a moving
Paul Osborne many personas, some perfection is a condensed ball (or disc, – okay, testament to her unfettered power as one of
real, some imaginary. it’s a disc) of spaced out lo-fi psych wonder. the greatest soul singers of the 21st Century.
By day he works as a In glorious coloured vinyl (red or turquoise) Thomas Patterson
PROTEX freelance cartoonist and housed in a stencil and photo sleeve or
Tightrope and advertising clear vinyl bag, the vibe of this limited run of
★★★★ copywriter, by night – whoosh – he splits into 620 is, as with all FdM releases, extra special. THE SHE’S
BACHELOR LP Dandy Fop, Dizzy Dismal and Tommy Rot, all This album forms part of a playfully all female rock and roll quartet
This vinyl soirée members of East Finchley’s lo-fi psych-pop flirtatious relationship with fans, where the ★★★★
constitutes a brand combo The Remorsels. His reclusive shortest of short runs and uniquest of unique EMPTY CELLAR CD/LP
new set of recordings endeavours, which resulted in the 2014 artworks adds to the mythology. Look out for So far The She’s story
from Aidan Murtagh release of his home-recorded debut Wotcha, the moody electro-noodlings of the additional goes something like
and Dave McMaster’s have had a surprisingly far-reaching impact. track ‘Strange Storm’ and a free Christmas this: four San
legendary Protex, who BBC 6 Music and Frank Skinner on Absolute download. Franciscan
found good favour with tune-loving young Radio are fans, and there’s a reason for that… Greg Healey 12-year-olds form a
punks circa 1978. Cordell is very funny. band then make an
Since New York’s Sing Sing label Whilst his music clomps along in a album of shimmering ’60s-flavoured
uncovered the group’s long thought lost slightly apologetic “Have I got a tune here SERPENT POWER indie-pop in 2011 whilst barely 16. They wow
Polydor sessions as Strange Obsessions in or not?” fashion, his tongue-in-cheek tales Electric Looneyland the local scene but their previous US-only
2010, the reconstituted Protex have been draw you into a strange little world where ★★★★★ releases, including a follow-up EP in 2013,
up for it again and again, touring all over apples defy gravity and people laugh all the SKELETON KEY CD/LP keep them well-kept secrets. Until now.
including successful slots at the industry way to the food bank. In ‘Be My Second The seeds of Serpent The title of The She’s sophomore album
heralded SXSW festival. The template, as Hand’ Cordell nails British eccentricity in two Power concept were – their first to gain European distribution –
when the group first appeared, remains simple lines: “I want to live by the sea and the sown with Ian Skelly’s takes a light-hearted swipe at the reductive
the same despite the passing of several shifting sands / Get a three-legged dog and a debut solo album back nature of some of their publicity to date: four
decades; equal parts intelligent powerpop static caravan.” in 2012. Since then, young women equals novelty act, right?
panache married to lyrical smarts of grit ’n’ Chris Twomey The Coral drummer
romance. Witness ‘Waiting For The Sign’, has paired up with fellow cosmic Scouser Continues over

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p089_Shindig_74.qxp 10/11/2017 15:13 Page 1
 Couldn’t be more wrong. For starters they VARIOUS ARTISTS
Blues and Greens
produced this latest set themselves and Twelve String High: Another
their punchy-pretty songs, which can be Jingle Jangle Adventure
disarmingly acerbic in their lyrical content Vol. 2
(“Hate to hear how you treat the air like ★★★★
you’ll find your breath in it somewhere”), YOU ARE THE COSMOS CD/2-LP
are played with a refreshing looseness that The first volume of this
brings them much closer in spirit to, say, The series received such
Slits, than more polished (ahem!) all female stellar reviews that it
rock ’n’ roll quartets like The Donnas. was a no-brainer for
Chris Twomey You Are The Cosmos
to do a second
go-round.
VARIOUS ARTISTS Though overall it’s not quite as strong
All The Merry Year Round as the first one, it’s certainly well worthy,
★★★★ as Rickenbacker fans will have a lot to be
A YEAR IN THE COUNTRY CD joyous about, with (mostly) contemporary
Beautifully packaged artists representing five different
as always in separate countries.
“Night” and “Dawn” Highlights include ‘Magic Potion’ by
editions, this is the Jack Ellister, the Hitchcockian (Robyn,
latest artefact from not Alfred) ‘Magazine Street’ by Anton
excellent hauntological Barbeau, Frenchman Tommy Lorente’s
website A Year In The Country, operating like ‘Mirabelle’, the psychedelic ‘Not Like You
some sinister rustic arts and crafts And Me’ by Green Seagull, ‘Supervida’
movement manifesting online via a Wi-Fi by super Spaniards Monserrat, and two
connected scrying mirror. blasts from the past: a wonderful take on
An alternative calendar that draws Dylan’s ‘Forever Young’ by Starry Eyed & GLEN CAMPBELL MAN OF THE WORLD: THE
as much on the New Weird Anglia of TV Laughing, and the ‘newly discovered’ dad LIVE ANTHOLOGY 1972-2001 PETER GREEN STORY
and cinema as “genuine” folklore, the 12 of The Lemon Twigs, Ronnie D’addario, ★★★ ★★★★★
tracks here are ominous drones and twilight who’s ‘Time Will Tell On You’ is awash in MVD VISUAL DVD+CD WIENERWORLD DVD
murmurations that evoke the stone tapes Beach Boys harmonies. Live Anthology is a More than just
and astrological computers of ancient hill It’s not difficult to see where The DVD and CD set another survey of the
temples and long barrows. The titles alone Lemon Twigs boys got their talent. comprised of concert great man’s work,
tell a story: ‘Rigel Over Flag Fen’, ‘She David Bash performances from Man Of The World
Became Ashes And Left With The Wind’, the late Glen provides an insight
‘Azimuth Alignment Ritual’. Contributors Campbell, and while into the depth and
include United Bible Studies, The Hare THE WORLD OF CAPTAIN it’s a largely no frills warmth of feeling in
And The Moon, Sproatly Smith and The BEEFHEART package, it does the job. which he is held. With
Séance, whose closing ‘Chetwynd Haze’ is The World Of Captain Beginning with a hard cut to a interviews from
truly terrifying. For fans of Ghost Box, Coil, Beefheart Featuring Nona biographical pre-amble, the DVD opens friends, family and colleagues this generous
Broadcast and Demdike Stare: an almanac Hendryx And Gary Lucas with ‘By the Time I Get to Phoenix’, as over presentation, which runs at over two hours
of unearthly sonics to tide you through the ★★★★ the next two hours we are treated to a feast with significant additional material on top,
winter nights. KFR CD of Campbell classics. While bedrock hits combines fascinating detail with personal
Ben Graham As the sleeve notes such as ‘Wichita Lineman’, ‘Galveston’, perspectives. Former band mates from
attest, the world of ‘Rhinestone Cowboy’ and ‘Gentle On My Fleetwood Mac – Mick Fleetwood, John
Captain Beefheart is Mind’ are represented, there are almost as McVie and Jeremy Spencer – are joined by
VARIOUS ARTISTS “an odd and many selections that one may not associate the band’s former manager Clifford Adams
Beat Scene ’65 magnificent one”; with Campbell. The disc’s bonus content and producer Mike Vernon, alongside John
★★★ certainly a sound reflects the same pattern, with a variety Mayall and others, in exorcising the traumatic
ALLEY CLUB CD and a worldview not easily replicated. So of duets, medleys and instrumentals, ghosts of Green’s past.
Cambridge live night why try? Clearly Lucas, Beefheart forming a smattering of (at times) more Charting Green’s rise to brilliance,
The Alley R&B Club guitarist on the master’s final brace of leftfield material, including ‘The William Tell through the ranks of Mayall’s Blues Breakers
has been bringing the LPs, is driven by a passion his music, and Overture’, ‘The Entertainer’ and ‘Streets Of and onto Fleetwood Mac, the film then
sounds of the ’50s and is abetted quite wonderfully here by London’. examines in detail Green’s success and
’60s to the ex-Labelle vocalist Nona (cousin of Jimi) However, while the 1972-2001 subtitle the circumstances surrounding his mental
scooter-riding citizens Hendryx. suggests a more vast archive of material, breakdown, his departure from the band
of the fenlands since 2001. It seems strange, initially, to hear disappointingly, the entirety of the disc’s and difficult life thereafter. Archive footage
This round-up of bands who’ve played someone else singing these odd, selections draw exclusively from early to mid- and a rich catalogue of sounds are deployed
the venue is a snapshot of a thriving scene idiosyncratic songs, but Hendryx is 70s concert footage, a British performance to bring the unfolding narrative to life with
that includes the likes of 1979 mod band passionate and fearless, little short of from 1990 and a PBS special from 2001; a dexterity that remains both engaging and
The Face (this is their first ever release!) astonishing on the crazed and difficult omitting several years from Campbell’s sensitive. Interviews with Green himself
right through to the fresh countenances of ‘When Big Joan Sets Up’, her whooping, storied career. The accompanying CD form a central part of this film and he talks
The Baron Four. There’s a lot of Weller-love wise-ass vocals soaring beautifully over presents the entirety of the aforementioned frankly about his memories of the ’60s, his
running through the chosen tracks; The Lucas’s strafing guitar lines. British concert and adds a few gems not mental health problems and the treatment
Sha La La’s ‘Can’t Stop Losing You’ is pure She drinks from the same blues- included on the main feature. he received.
Sta-Prest soul, but there’s enough psych, flavoured spring as the Captain – mellower A word of warning would be that much Despite not pulling its punches, with
R&B and soul up this alley to keep things perhaps, with the abrasiveness toned of the footage has already been made some genuinely emotional testimony from
interesting. down, but none the worse for that. available throughout the years, so for some all concerned, the film is full of fascinating
Highlights are The Embrooks’ fuzzed Crucially, she knows these songs. She fans, this set may seem a bit of a re-tread. Of and often hilarious stories from the late ’60s.
freakbeater ‘Helen’, The See No Evils’ moody engages with them, and doesn’t attempt course, if you missed this material first time From sex toys on stage, to the ins and outs
‘Hooked On The Buzz’ and the casually to merely imitate. It isn’t Beefheart, that’s around, then this 2017 edition will certainly of recording sessions and touring, this DVD
wonky brilliance of The Baron Four’s ‘I’ll Be for sure, but this record is surprisingly suffice and works as a visual primer to the will interest any Fleetwood Mac or Peter
With You’. Now you’re talc-ing. good. great man’s body of work. Green fan.
Kate Hodges Neil Hussey Christopher James Sheridan Greg Healey

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 BALTIC FLEET It captures the band at full throttle, Hoffman exchange verses and insert an a conversation with an incantatory fax
Tuns EP their lean, mean sound delivered at a pace additional melody into an extended coda, machine. It’s disturbing, but good luck
★★★ that’d make Lewis Hamilton want to pull complete with backward guitars, as the trying to put down the handset.
BLOW UP off the track and have a good cry. ‘Wearing band throw in everything including l’évier Spenser Tomson
Strident bass lines and A Frown (Again)’ is a souped-up rhythm de cuisine. The result is wonderfully more
driving drum beats ’n’ blues stomper which manages to fit a The Style Council À Paris than All Mod
mark out time as catchy chorus, wailing harmonica and and Cons. THE RED PROPELLERS
sinister effects and a couple of guitar solos into its two minute Popincourt, led by Olivier Popincourt, Sandi Says / Johnny, Johnny
arpeggiated melodies span. the Boutik’s hired keyboard help, stay ★★★★
are cut through by ‘My Little Gem’ is a potential faithful to ‘Tonight At Noon’ and, whilst ROLLER COASTER
searing lead lines on a collection of four dancefloor filler – call and response less imaginative, and suffering a little from Rarely has a band
pieces that evoke the synth soundtracks of vocals, frantic bass line, with a smidgeon heavily accented English, it’s endearingly more beautifully or
’80s horror films. of backwards guitar. It’s a track worth any done. brazenly celebrated
Made up of three unreleased tunes mod’s jukebox money. ‘Got No Gouda’ may Mark Raison their obsessions with
from 2016’s Dear One album sessions this be a throwaway jokey tale about lacking The Velvet
EP feels, however, like anything but out- some Dutch cheese but it’s played with Underground and
takes. Hard-edged whilst moving between conviction and an attitude that would rival GRUMBLING FUR / New York City of 40 years ago than Bristol’s
the industrial, epochal and occasionally those rum punks from ’77. Neat, neat, neat! FATHER MURPHY Red Propellers, notably Patti Smith in singer
etherial, Tuns points to a possible new and Duncan Fletcher Doubleman / Deliverance James Dick’s semi-sung rapid-fire beat
exciting direction for the DIY producer, Paul ★★★ poems (he was in NY then so appreciates
Fleming. There has always been a frisson GOD UNKNOWN the significance of the scathing mutations
of dystopian disquiet to Baltic Fleet’s sound FRENCH BOUTIK / Over the last four bursting out over downtown) and early
but here, on this collection of supposed POPINCOURT years, God Unknown Television in the abrasive guitars.
leftovers, the mood is sealed in dirty The Place I Love / Records has For their latest lovingly-packaged missive
concrete and rusting steel. The track ‘Geven Tonight At Noon developed a the band pluck the two most immediate
Hill’, with its Peter Hook-like bass riff, recalls ★★★★ reputation for, as they rockers from their No Reprieve mini-album
Joy Division in particular – although given COPASE DISQUES put it, “bringing you (itself well worthy of investigation, especially
Fleming’s penchant for sumptuous pads, Originally recorded for the best heavy and far out sounds around”. the epic ‘As Rumours Abound’). ‘Sandi Says’
this stark vibe is quickly enveloped and Gifted: A Tribute To The This the latest from their singles club of split flaunts an audacious heist of Lou Reed’s
given a polished edge. Jam, a 4-CD set of releases, in this case between London’s ‘Sweet Jane’ riff to be used for their own
Greg Healey covers by various Grumbling Fur and Italy’s Father Murphy. means while ‘Johnny, Johnny’ revs up a
bands in aid of Daniel O’Sullivan’s cool, Gahan-esque pulsing, scrambled churn.
Specialized, raising vocals on ‘Doubleman’ is the square hole Along with last year’s ‘Images’ 10-inch
THE DEALERS funds for cancer research and support through which Grumbling Fur’s sonic fog debut, everything declares very loudly that
Turning Upside Down EP agencies, these tracks are now available is pushed and pulled, although the whole this band has plenty to say in a long-
★★★ on 45. thing is laced with a delicate frost that chills vanishing vintage style that deserves as
ACTION WEEKEND/BICKERTON French Boutik have deconstructed the ear on impact, as if delivered through a much support as psych.
This three-tracker ‘The Place I Love’ and thoughtfully rebuilt chilly morning fog. Kris Needs
from the Basque it from scratch. Out goes much of The On ‘Deliverance’ Father Murphy’s
country quartet is a Jam’s chopping and chugging and in offering has much more of a heat. It’s
black vinyl time comes a soulful, casually kicking leaves as though the listener has picked up THOR & FRIENDS /
capsule that mixes as the church bells chime, autumnal feel. a telephone to make a call, only to WOVEN SKULL
’60s British blues Translated into French (‘L’Endroit que discover that someone (or something) in Triangles / The Cracking
boom with a hint of freakbeat. Very 1965. j’aime’), Gabriela Giacoman and Serge another room is already halfway through Of The Limbs
★★★★★
GOD UNKNOWN
More treats from the
Excellent God
Unknown label,
bringing us a couple of
prime slices of freaky,
freewheeling
eclecticism.
Woven Skull have spent time in rural
Ireland – a good grounding, it seems, for their
blend of ritualistic folk-dance guitar melodies
backed by crushing metal riffs and rhythms.
It’s a strange kind of musical cut-and-shut, to
be sure, an odd combination that shouldn’t
work but absolutely does; music that makes
you want to dance naked around a Gypsy
campfire whilst head-banging. There’s even
a distant barking dog at the end.
Thor & Friends features Swans
percussionist Thor Harris, though this is
no Swans-style noise freakout. It’s eerily
hypnotic stuff built mostly from mallet
instruments, accompanied by gently urging,
resonant drums, drones, ghostly melodies
and wordless vocals – like Steve Reich
and friends getting naked in the forest and
freaking out on ’shrooms.
A wonderfully original, one of a kind
release.
French Boutik
Neil Hussey Xxxxx xxxx xxxx

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 reissue culture and the instant online
availability of all manner of precious private
press pieces are the norm, it must be hard
to imagine the thrill that these lists elicited
from ’60s obsessives stranded in, say,
1986, after the first rush of rabid enthusiasm
for Pebbles and Nuggets had worn off and
a hunger for Furthur had started gnawing at
the unconscious. Possessed of a passion
for what he dubbed “real people” records
as well as fuzz-psych screamers, Major was
among the very first to spread the word on
The Shaggs, Kenneth Higney, Morgen, Peter
Grudzein and many more who are only now
being fully appreciated.
Crammed full of memorabilia, tall tales
from the outer reaches of the record dealing
realm, the lovingly lurid and evocative
descriptions that filled Major’s mailing lists,
and the lowdown on countless personal
favourite finds, this book is essential reading
for all who know the thrill of magic in unlikely
places.
Hugh Dellar

GRAHAM BONNET: THE

STORY BEHIND THE SHADES
Steve Wright
★★★★
John McLaughlin catches a
EASY ON THE EYE
glimpse of the future
Best known for being
the voice of
EARTHBOUND: DAVID of the film’s soundtrack and the mysterious (from 1963), a series of appendices Rainbow’s FM
BOWIE AND THE MAN absence of any musical input from Bowie, including a discography of ’60s UK session radio-bothering
WHO FELL TO EARTH the film’s critical reception and it’s place recordings which alone runs to 18 pages rendition of Russ
Susan Compo within the subsequent evolution of Bowie’s and an abundance of vintage press ads Ballard’s ‘Since
★★★★ career. and previously unpublished images which You’ve Been Gone’,
JAWBONE Grahame Bent make Echoes From Then a fully-fledged Graham Bonnet’s life outside of AOR
Ever since its release companion volume to Bathed In Lightning. supremacy is a lesser known affair and,
in 1976 The Man Who At over 400 pages, Echoes From Then although there’s a pervading air of the
Fell To Earth has held ECHOES FROM THEN: is, like the book that spawned it, an underachiever about this story, this is one
a unique fascination GLIMPSES OF JOHN impressively dimensioned and intensely bloody good story.
for audiences thanks MCLAUGHLIN 1959-1975 detailed labour of love which thanks to Shades traces a “kiss me quick”
to the combination of Colin Harper the quality and range of its contents is adolescence in the Lincolnshire seaside
Nic Roeg’s distinctive ★★★★ thoroughly deserving of its place alongside resort of Skegness (or Skeggy, to those
visual style, the film’s MARKET SQUARE its parent volume on the bookshelf of all wot bin) where the young Bonnet cut a
subject matter and, of You can never get switched on McLaughlin/Mahavishnu fine figure as an above average guitarist
course, its main attraction – David Bowie as too much of a good devotees. and singer in a number of lounge and beat
the enigmatic extraterrestrial visitor Thomas thing but if anyone Grahame Bent groups, before a gradual rise towards largely
Jerome Newton. had told Colin Harper elusive success delivered Bonnet into the lap
With Roeg’s stock riding high in the that he would of the brothers Gibb as one half of their pet
wake of the success of Performance, ultimately wind up FEEL THE MUSIC: THE project Marbles alongside Bonnet’s cousin
Walkabout and Don’t Look Now, and having with two epic PSYCHEDELIC WORLDS Trevor Gordon. Follow that with a turbulent
become aware of Bowie when he saw volumes totalling OF PAUL MAJOR tryst with squeaky actress Adrienne Posta
Alan Yentob’s BBC Omnibus documentary over 900 pages Paul Major (resulting in a failed marriage and joint
Cracked Actor, The Man Who Fell To Earth when he started work on what has become ★★★★ ownership of the Dulux dog) and offers to
would prove to be a fruitful subject for Roeg the definitive study of John McLaughlin in ANTHOLOGY EDITIONS join both The Move and Stealers Wheel in
and the perfect vehicle for Bowie then keen the ’60s and ’70s, he would probably have Even for those of you practically the same week, this is an often
to develop his experience as an actor having dismissed it as pure fantasy. who have never heard funny, gritty and yielding memoir. Written by
previously tried to secure the film rights to Any John McLaughlin/Mahavishnu fans of him, the chances longstanding “fan-boy”, friend and Bonnet
George Orwells’ 1984 and Robert Heinlein’s familiar with Harper’s original study – 2014’s are that Paul Major confidante Steve Wright, whose fanzine
Stranger In A Strange Land. Bathed In Lightning: John McLaughlin, has had a sizeable Under The Bonnet had been his only prior
Despite the film being widely The ’60s And The Emerald Beyond will be impact on your life calling, this classy looking illustrated history
considered as one of the stylistic highpoints all too aware of his talents as an archivist, and listening habits. A is a huge step-up from the handmade and
of British cinema of the ’70s this is the researcher and as a music historian. Indeed, resident of the hand-stapled.
first book length study of this singular film so detailed and exhaustive was his approach deepest recesses of There’s a genuinely bittersweet feel to
to make it into print. Using Walter Tevis’ and such was his devotion to his subject that the psychedelic underground for some half a this tale, and episodes of naïve drunkenness,
’63 source novel of the same name as a Harper felt to compelled to make available century now, Major’s photocopied record rock ’n’ roll unruliness and even nakedness
departure point, Compo details the complete additional non-print material to the tune lists were, for a select enlightened few, a notwithstanding, Bonnet is largely pitched
inside story of the film from the writing of some 100,000 words in the form of an beacon of hope and light back in the dark as a nice guy, a good-natured vegetarian,
of the screenplay and its metamorphosis ebook. days of the ’80s, when access to obscure and someone who continuously suffers with
into the shooting script to the casting of Now this additional material is and unusual gems was obviously far more a lack of confidence. And then there’s that
the principal actors and the progression of presented here in updated and revised difficult to attain. voice.
the actual shoot in New Mexico while also form along with wholly new chapters, For folk who’ve come of age in the Louis Comfort-Wiggett
devoting chapters to the problematic issue the first ever John McLaughlin interview internet era and for whom today’s relentless

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p093_Shindig_74.qxp 13/11/2017 10:37 Page 1

Academy Events prresent

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, DHP
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BY ARRANGEMENT WITH NEIL O’BR
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4th MAY
GL ASG
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SATURDAY PLUS SPECIAL GUESTS

5th MAY
HOLMFIR
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THU 15 BIRMINGHAM O 2 A C ADEMY
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26th MAY S AT 17 LEEDS O 2 A C ADEMYEMY
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BY ARRANGEMENT WITH NEIL O

O’BRIEN
BRIEN EN
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THU 24 BRIGHTONN Concorde 2 THURSDAY

NICK HEYYWARD FRI 25 LONDON O2 Academy

Islington
THU 31 WAKEFIELLD Unity Works
JUNE 2018
FRI 01 BIRMINGHHAM O2 Academy2
TH
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LEGLEVIS
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URN
25 JANUARY 2018
BIRMINGHAM
TOWN HALL

SAT 02 LIVERPOOOL O2 Academy2 FRIDAY

THU 07 GLASGOW Oran Mor
26 JANUARY 2018
FRI 08 SHEFFIELDD O2 Academy2 America’s Greatest Living

FRI 15 OXFORD O2 Academy2

Guitar Legend LONDON
THU 21 CARDIFF The
T Globe
JAMES BURTON O2 SHEPHERDS
with
FRI 22 STURMINSSTER NEWTON RONNIE TUTT BUSH EMPIRE
(Drums)
The Exchaange and
THU 28 BATH Kom media GLEN D. HARDIN
FRI 29 EASTLEIGHH
((Piano, Keyyboards) SATURD
SAT AY
plus
The Concoro de Club Elvis’s Original Gospel Choir 27 JANUARY 2018
THE IMPERIALS BUXTON
(1969-73)
WOODLAND ECHOES
OUT NOW
featuring
TERRY BLACKWOOD
OPERA HOUSE
with
NICKHEY
HEYW
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[Link] DENNIS JALE
presents presents presents

THE AMY WINEH

HOUSE
EXPERIENCE
...A.K
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ULL 8 PIECE BAND)

PL US GUESTS
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PLAYYING THE BEST OF NOEL’S SOLO WORKK FRI 09 SHEFFIELD O2 ACADEMY2 FRI 20 BOURNEMOUTH
AND THE SONGS HE SANG WITH OASIS SAT 10 BIRMINGHAM O2 ACADEMY3 THE OLD FIRE STATION
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APRIL FRI 16 OXFORD
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SAT BIRMINGHAM O2 ACADEMY3 SAT 24 GLASGOW O2 ABC2 O2 ACADEMY2 ISLINGTON
SAT 24 FEB LIVERPOOL O2 ACADEMY2 APRIL 2018 FRI 27 NEWCASTLE O2 ACADEMY
SAT 03 MAR GLASGO
S W O2 ABC2
SAT 21
SA LIVERPOOL O2 ACADEMY2 FRI 06 BRISTOL O2 ACADEMY SAT 28 LEEDS O2 ACADEMY
SAT 10 MAR LONDON O2 ACADEMY2 ISLINGTONN MAY
M AY FRI 13 MANCHESTER O2 RITZ MAY 2018
FRI 23 MAR SHEFFIELD O2 ACADEMY2 FRI 11 NEWCASTLE O2 ACADEMY2 SAT 14 LIVERPOOL O2 ACADEMY2 FRI 04 LEWES CON CLUB
SAT 24 MAR BIRMINGHAM O2 ACADEMY3
SAT 07 APR LEICESTER THE SCHOLAR @ O2 ACADEEMY SSAT
AT 12 GLASGOW O2 ABC2
A By arrangement with THE SOUNDS THAT HISTORY SAVED AGENCY

presents presents prresents

PA
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KE R RAN G I N M ETAL
A HAM STE R

SO M E G UY

SO M E G UY

FEBRUARY 2018
WITH FULL LIIVE BAND

MARCH 2018
ELVANA:
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LVIS FRONTED
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RV
RVANA
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ANA
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PLUS SPECIAL GUESTS

UK TOUR 2018
A 03 LIVERPOOL O2 ACADEMY2
SAT A FRI 02 BRISTOL O2 ACADEMY SEPTEMBER R 2018 TUE 20 FEB NE
N WCASTTLE 02 ACADEMY2
A 10 OXFORD O2 ACADEMY2
SAT JUNE 2018 FRI 21 GLASGOOW O2 ABC
SAT 22 NEWCAASTLE O2 ACADEMY
THU
FRI
SHEFFIELD O2 ACADEMY22
11
LIVERPOOL O2 ACADEMYY2
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WED 28 FEB L ERPOOL 02 ACADEMY2
FRI 16 BIRMINGHAM O2 ACADEMY3
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B RMINGHAM 02 ACADEMY2
SAT MANCHESTER O2 RITZ
13
A 17 SHEFFIELD O2 ACADEMY2
SAT O2 ACADEMY2 SAT 29 LEEDS O2 ACADEMY THU BOURNEMOUTH
18
A 24 LONDON O2 ACADEMY2 ISLINGTON
SAT A 02 GLASGOW O2 ABC2
SAT OCTOBER 2018 THE OLD FIRE STTATION
FRI 02 MAR LON
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CASHBANDLOND
A [Link] FRI 05 LONDONN O2 ACADEMY ISLINGTON FRI 19 BRISTOL
O O2 ACADEMY [Link]

TICKETMASTER
[Link] & ALL USUAL
UAL AGENTS 11
 Arnold still feeling The First Cut

KRAUTWERK Before the duo sign off with a richly whilst showing most younger performers ACID MOTHERS TEMPLE &
Broadcast, Glasgow deserved encore one sharp witted punter how it should be done. THE MELTING PARAISO UFO
SUNDAY 8TH OCTOBER calls out for ‘Louie’. If only our esteemed Arnold is engaging, smiling and full of Broadcast, Glasgow
Kranemann & Grosskopf might sound German visitors had taken him up on his anecdotes about each song. And who else MONDAY 23RD OCTOBER
like a pair of visiting German research suggestion and rustled up an impromptu could get so many Weller haircuts nodding Encounters with Acid Mothers Temple
scientists, but those in the know are well radical reconstruction of the trusty garage- along to The Bee Gees standard ‘To Love are a bit like attending meetings of an
aware these two unassuming veterans rock standard there and then it might well Somebody’? underground psychedelic cult, such is the
are in fact krautrock royalty having have wound up as the show’s piece de A cover of Traffic’s ‘Medicated Goo’ is connection between band and audience to
previously been a founder member of resistance. As it was this remarkable fusion a highlight of a set that also includes great say nothing of the paraphernalia on offer
Kraftwerk, NEU! and Pissoff in the case of of the Dusseldorf and Berlin schools of renditions of ‘(If You Think You’re) Groovy’, at the band’s merchandising stand, which
Eberhard Kranemann (AKA Fritz Muller) electronica had already given the audience ‘Born’ (sounding more like a Jagger/ besides the usual extensive catalogue of
and a collaborator with Klaus Schulze and all they had hoped for and more. Richards cut than a Barry Gibb original) limited edition self-released CDs includes
former member of Ashra in the case of Grahame Bent and ‘Turning Tide’. The band (borrowed such esoterica as pendants, miniature hand
Harald Grosskopf. from Steve Cradock) are marvellously tight painted maneki-neko and hand decorated
And now under the banner of – understated and subtle in the right places distressed cymbals and bass drum heads.
Krautwerk, Kranemann and Grosskopf PP ARNOLD with great backing vocals from UK jazz and As ever, led by founding member and
deliver a live masterclass in their 229 The Venue, London soul songbird Coco Malone. resident guitar whirlwind Kawabata Makoto
performance of a series of all-enveloping WEDNESDAY 11TH OCTOBER Her version of the classic Cat Stevens along with fellow guitarist Tabata Mitsuru
electronic soundscapes. Back in town for one night only, Arnold song ‘The First Cut Is The Deepest’ is sung (a vision in full drag complete with feather
Working with a palette of keyboards, is here to perform some of the classic with real pain. How, after performing this boa and shocking pink wig), Acid Mothers’
synths, laptops, electronic drums, sundry tracks she first recorded under Andrew song thousands of times, can PP still make sound remains an ambitiously dense,
effects units and the odd customised Loog Oldham’s supervision, alongside it sound like a fresh wound? She also psychedelic haze of Syd-era Floyd at their
string instrument, the pair venture tracks from her barnstorming recently bestows us one of the greatest versions of most interstellar, Gong, Hawkwind, Can and
forth with a series of category defying rediscovered “lost” LP The Turning Tide. The Small Faces’ ‘Tin Soldier’ it has been a host of other familiar suspects.
compositions from their debut long player The first thing she does on stage is my privilege to witness (take a bow guitarist Somehow AMT shows always seem to
as Krautwerk. It’s far from po-faced avant pay tribute to Tina Turner by singing The Jake Fletcher, a man who looks like Mick work best within the compact confines of
gardening as Grosskopf shows when Ikettes’ stomper ‘What’cha Gonna Do Taylor in his heyday). small venues where it feels like the band’s
he quips, “all these screens are actually (When I Leave You)’. Any doubts about Maybe it’s time that Tina Turner sound soaks into the very fabric of the
medical equipment – I’m a doctor and I’m whether Arnold still has the voice is quickly supported PP Arnold, the first lady of our building, and tonight is no exception with
looking after this old guy,” while pointing dispelled with the first chorus of ‘River hearts. this tiny city centre basement packed to
at his comrade in experimental electronica Deep, Mountain High’, the range, depth and Ben Adlam capacity. The combination of intense heat,
Herr Kranemann. soul making 500 jaws hit the floor in unison volume, guitars drenched in a myriad of

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 The Lovely Eggs moving statues

effects and a low ceiling combine to induce sometimes surpass their early live sound. pop sensibilities yet also include huge, the UK. This time around, things onstage are
an almost hallucinogenic state in members The Syndicate are in good shape. Singer loud, punchy, addictive riffs and occasional heavier; Holly’s guitar is thick with effects and
of the audience. and guitarist Steve Wynn looks happy, guitar wig-outs. They never attempt to her unapologetically adenoidal vocals buried
As the show builds to its deep space healthy (and extremely youthful!), long-time bludgeon the audience with volume and the more deeply, although that might just be the
climax on the closing ‘Cometary Orbital drummer and bassist Dennis Duck and Mark sound is perfect for a small capacity venue. effect of the Lemsip.
Drive’ AMT’s dizzying wall of kosmiche- Walton are super tight, and the guitar-based Notably they chose to play two nights at The set draws heavily from forthcoming
psych borders on the levitationary, with sound is embellished by keyboard whizz The Lexington, rather than play a larger hall, album This Is Eggland, and new songs
Kawabata Makoto raising his reverberating Chris Cacavas, resplendent in shirt and proving that atmosphere and ambience are ‘I Shouldn’t Have Said That’ and ‘Wiggy
Strat ever closer to the ceiling. When tie. Guitarist Jason Victor comfortably fills as important to them as their audience. Giggy’ easily match the ear-worminess of
everything clicks, and AMT are as gloriously the shoes of previous guitarists Cutler and Phil Suggitt old favourites ‘Goofin’ Around’ and ‘Magic
on song as they were tonight it’s never just a Precoda. Onion’.
gig, rather a complete sensory experience. A perceptive critic observed that “The However. Holly, quite rightly, has an
Grahame Bent Dream Syndicate respect their past but don’t THE LOVELY EGGS issue. The front two rows of the crowd are
want to be stuck there” and that’s certainly The Haunt, Brighton enjoying the show, but cross-armed and
born out in tonight’s show. Unsurprisingly, FRIDAY 3RD NOVEMBER immovable. The party is three rows back.
THE DREAM SYNDICATE given the date, they open with ’82’s Holly Ross is feeling under the weather. She’s had enough; she demands that the
The Lexington, London ‘Halloween’. However, songs from their new She’s come on stage clutching a tissue and dancers move to the front, and the stony-
TUESDAY 31ST OCTOBER record How Did I Find Myself Here, such two cans of cider. “Strongbow and power faced “statues” give up their pole positions.
Towards the very end of their original as ‘Filter Me Through You’ and ‘Glide’, are through,” she says, in the first breather after She’s totally right to do so; immediately the
seven-year career, The Dream Syndicate equally well received by a devoted partisan a three song run. room seems to flex, shimmer and transform,
released 1989’s excellent double album crowd. The cottage industry that is The Lovely sweaty kids throw themselves a round,
Live At Raji’s. It’s a notable achievement Classic Dream Syndicate songs, such as Eggs has cranked into action; married couple grinning, and it’s a proper party. The band
that the current band, back together ‘That’s What You Always Say’ involve quieter, Holly and drummer David packing their son sucks up the energy, spewing it back in new
after more than 25 years, can equal and melodic periods that reveal Wynn’s melodic in the back of the van and heading off around song ‘Dickhead’ and Eggs anthem ‘Fuck It’.
In fact, they’re so energised, they play their
first encore in three years, a joyous ‘Don’t
“The party is three rows back. She’s had enough; Look At Me’.
Tonight these Eggs prove they’re no
she demands that the dancers move to the front, and flash in the pan, they’ve now gone from
beloved cult to national treasures.
the stony-faced ‘statues’ give up their pole positions” Kate Hodges

95

SD74 pp72-95 Reviews [Link] 95 12/11/2017 10:29

 vinyl art
“Irving Green, the
president of Mercury
Records, knocked on our
door and offered us a
recording contract after
hearing us play our
funny instruments”

musicians and always had ethnic instruments

at home to jam with our musician friends for
fun” Marijke explains.“It was not until after
our involvement with The Beatles, painting
the Apple Boutique and launching the Apple
fashion line, that one day Irving Green, the
president of Mercury Records, knocked on
our door and offered us a recording contract
after hearing us play our funny instruments.
This was an opportunity we could not refuse
so we set sail on the SS Rotterdam to arrive
in New York in May ’68.”
The Fool was recorded at The Record
Plant with Eddie Kramer engineering.
“Mercury gave us total free reign and
supported us 100% but since we were not
professional musicians they brought Graham
Bond as musical director and Graham Nash
as producer along as [Link] to these
great musicians the album turned out quite
groovy.

#60 The Fool

“We wrote all the material ourselves
and played all the instruments ourselves
with the exception of some organ action
by Graham Bond,” Marijke remembers.“It
The Fool Mercury, US, 1968 took us about three months to complete the
recording, after which I designed the cover,
CHRISTOPHER BUDD falls under the spell of a gloriously before going on a cross country radio tour
gaudy psychedelic folly and ending up in LA, where I have lived

T
since ’68.”
he history of rock music is replete Cream’s first American tour and made their The album’s amazing packaging makes
with musicians who wanted to costumes and PR material as well,” recalls full use of every surface:“I wanted to convey
paint their own album covers. Marijke,“at this point we had met Barry a sense of happiness and levity,” Marijke
Designers who formed a band Finch who became our PR/manager guy.” explains.“For the front cover we did a photo
may be somewhat less common, And then, of course, the group found their shoot for our images, which I cut out and
but Marijke Koger-Dunham is no most famous client in The Beatles, who superimposed on the paradisiacal landscape
ordinary [Link] her group The Fool she commissioned them for the cover for Sgt I painted in gouache. For the inner sleeve I
left a rainbow-coloured mark on the latter Pepper (ultimately unused; only their design used some existing pictures on the left side
half of the ’60s that even 50 years of clouds for the red and pink inner bag was retained). and the artwork on the right side I painted
haven’t managed to obliterate. Simon and Marijke’s deep association with in [Link] image represented the seven
“When I moved to London in 1966 with the Fabs is well documented – from guitars universal spheres of existence according to
my partner Simon Posthuma, I had already to furniture to shop fronts, in ’67 there was a Kabbalistic motto ‘As above, so below’.
designed several album covers,” explains almost nothing that the duo didn’t decorate We liked the idea of freedom and therefore
Marijke from her home in California, for the group, with their own particular chose to put The Statue Of Liberty on the
“Poezie In Carre, a recording of Dutch poets, brand of utopian, spiritual psychedelia. back side.”
and [Picknick by] Boudewijn de Groot, “We started to get a lot of work so and Sadly the record was not a financial
a Dutch pop singer” (this latter artwork I asked my Dutch girlfriend Yosha Leeger, success, and although Simon and Marijke
featuring a terrific Droste effect).The duo who was a talented fashion designer, to recorded together twice more as a duo, by
were quickly snapped up by Graham Nash come over because we could use some ’72 The Fool was no more, the other three
to design the cover (and clothes) for The help” Marijke continues.“We decided to members eventually relocating back to
Hollies’ Evolution (photographed by the call ourselves collectively ‘The Fool’ after Amsterdam. But Marijke’s work has now
brilliant Karl Ferris); by Joe Boyd for the the Tarot card, which represents creative and inspired a second generation, finding its way
sleeve for The Incredible String Band’s The cultural activities.” onto the covers of several recent Blues Pills
5000 Spirits…; and by Tony Secunda for the And almost inevitably, before too long the releases, and she herself has never stopped
fascinating artwork for The Move’s Move, as group made the leap to artistry of a different working, painting and exhibiting to this day,
well as outfits for the Brummie rockers. kind.“Simon and I had spent a lot of time her colours still bright.
“Then I painted the instruments for in Morocco where we played with the local With thanks to Marijke Koger-Dunham.

96
p097_Shindig_74.qxp 09/11/2017 09:22 Page 1

Prize Crossword
by Stuart Draper
“Lifted from the ashes of the acid-rock hellfire are 18 distorted tales of of dope fiends,
pill poppers and the baddest of trips”. No, not the new Marks & Spencer Christmas
ad campaign but the tagline from Acid Nightmares, Numero Group’s recent
Shindig!-approved foray into post-psych US
guitar noise. One lucky winner gets to win a
copy of the CD edition and terrify the kids.
To enter, simply send your completed
crossword to Shindig! #74 Crossword, 6
Stevens Lane, Frome, Somerset BA11 4AY or
email a legible scan of it to win@shindig-
[Link] with the words “SD74
crossword competition” in the subject line, no
later than January 4th. And don’t forget to
include your name and address!
1 2 3 4 5 6 7 8

10 11 12 13

14

15 16 17 18 19

20

21 22

23 24 25 26 27 28 29 30

31

Across 6
See 25
9 Maybe Thompson and McCartney for 7
Sounds like XTC really like the atom age (4)
Floribunda Rose (5,5,5) 8
Their first album was eponymous; their
10 Found Paradise Lost in 68 (3,4) second doubly so (4)
12 Thou shall have no other New York 11 Donovan's debut knew what's been did
psychedelic bands before them (3,4) and what's been this too (3)
15 Prolific project of Chris Wade, named 13 Procol Harum's was salty (3)
after Dickensian lawyers (6,3,4) 14 "Fuck the world damn straight _____ / It
20 Reverse of The Byrds' ‘My Back Pages’ may be just us who feel this way" - I Love
recently covered by The Pretty Things You, Honeybear, Father John Misty (7)
(11,4) 16 Carla Thomas and Dusty Springfield used
21 Is it a procession of the down-and-out for this measurement of strength (5)
The Four Seasons? (7,6) 17 What was Kevin Ayers' girl on? (5)
23 Lee Michaels' second album was a 18 Add De Lys for some Southampton
complete performance (7) rockers (5)
27 The Doors' days, Bolan's baby or Ditko's 19 The Marquis Of Kensington lamented the
Doctor (7)
31 The Lollipop Shoppe get accusatory,
changing of this (5)
21 Insect karma's gonna get you, Wand
Issue 73 crossword solution If you're reading
Salem-style (3,4,2,1,5) reckon (3) this then
22 What Uriel became once Steve Hillage
1
P
2
U P
3
P E
4
T
5
L I
6
T T
7
L E advertising works
Down went to college (3) 8
B N A R I O E
9
T in Shindig! To find
1 Worms whose first album has just been 23 Gruff, the Furries frontman (4) 10 11 out how we can
released by Castle Face (4) 24 See 5 I N T E R F E R E M I T C H
help you reach
2 Hangman's joint eulogised by Jeff Beck 25/6 Is it the correct colour for Natural R I T A G R I E
thousands of
(4) Acoustic Band? (4,4) 12

3 Lee Travis or Dee, one time co-presenters 26 Syd Barrett's time of night (4)
D E E A N D T H E Q U O T U M Shindig! readers
of 5 down (4) 27 Easybeats producer Talmy (4) S E M S R E please call
13 14 15
4 Could you do this to Dave Davies' hand? 28 How Dan Mangan arranges houses (4)
(4) 29 The people who brought you ‘Love, Love,
N
I C O R
A
R E
N
C T
H
H O O
A
K S
S
ALAN
5/24 Seminal German music programme Love, Love, Love’ (4)
helmed by Uschi Nerke (4-4) 30 Spark Records had a Liverpool one (4)
16
M O T O R
17 18
T H E F
19
O U R E THOMAS
Y H E C R N
on
Name
________________________________________________________________________________________________ 20
T H E E L E
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C T R I C F
22
L A G 07830
Address
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R D I
24
Y E H A E 168076
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1 97
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