P.F. Sloan



Born Philip Gary Schlein exactly sixty-nine years ago today, September 18th 2014, P.F. Sloan was barely out of his teens when he had written (some co-written with Steve Barri) a number of top pop hits for the likes of The Turtles ("Let Me Be", "You Baby"); Herman's Hermits ("A Must to Avoid"); Barry McGuire ("Eve of Destruction"); Jan & Dean ("I Found a Girl"); The Fifth Dimension ("Another Day, Another Heartache"); The Searchers ("Take Me for What I'm Worth"); Johnny Rivers ("Secret Agent Man"), to name but a few.  On top of that, Sloan and Barri wrote and performed several Grass Roots songs - "Where Were You When I Needed You" among those - by themselves since an actual band called the Grass Roots didn't really exist at the time!
Then signed as a singer-songwriter type solo act to Lou Adler's Dunhill Records label in the mid-'60s, Sloan recorded a couple of fine Bob Dylan-inspired albums which went largely unnoticed at the time in spite of the wealth of top quality material contained there within.  The controversial "Sins of a Family" (1965) became a minor U.K. hit for him.

 

Around this time Sloan was first institutionalised for mental health issues and had started dabbling in hard-core drugs, to which he eventually became seriously addicted.  He lost the plot, so to speak...

Problems of contractual and financial nature (i.e. he wasn't getting paid and they wouldn't let him go) with Dunhill ensued.  Consequently Sloan entered his "Lost Weekend" - which lasted for nearly three decades.

To find out more about all this and more, one can pick up P.F. Sloan's new autobiography "What's Exactly the Matter With Me?" (With S.E. Feinberg, Jawbone Press, England, 2014) - it's well worth it.  A fascinating journey through a remarkable life.  Yes, it's bizarre at times and often you're not quite sure exactly what to believe.

In some aspects one can't help but to draw parallels between the lives of P.F. Sloan and Brian Wilson; two tremendously talented young men struggling to retain their sanity in a world diluted with fame, drugs and unscrupulous characters of questionable morals and integrity.  Both, inevitably, couldn't stand the heat and became victims of a notoriously inhumane industry.  But instead of being guided and helped in their times of trouble, they were just continually used and abused - even by those nearest and dearest to them.  What a shame, and what a bloody waste.  Thankfully though, scarred and burnt, both eventually made it back from the darkness and are at long last doing what they should have been doing all along - making music.

The Turtles recorded several Sloan (& Barri) tunes, among them the original version of what is arguably P.F. Sloan's best-known song, "Eve of Destruction".  However, "Is it Any Wonder" is a hidden gem.

 



 

And The Association recorded the positively gorgeous "On a Quiet Night", one of my favourite P.F. Sloan tunes back in 1967...

 



 

....And then in 1971 they took a crack at "P.F. Sloan", written by Sloan's old friend Jimmy Webb, reportedly without even knowing there was such a  person as "P.F. Sloan"!



 

P.F. Sloan, recommended listening:

 

P.F. Sloan/"Here's Where I Belong; The Best of the Dunhill Years, 1965 - 1967"  (CDWIKD 277, Big Beat/Ace Records, U.K., 2008)

 

Various Artists/"You Baby; Words and Music by P.F. Sloan and Steve Barri" (CDTOP 1264, Ace Records, U.K., 2010)

 

Recommended reading:

 

P.F. Sloan and S.E. Feinberg/"What's Exactly the Matter With Me?" (Jawbone Press, 2014)

 

 

The Less Obvious List: Girl Groups

 

The Girl Group era produced some of the greatest and most enduring pop music ever.  No doubt about that.  "Will You Love Me Tomorrow", "The Leader of the Pack", "Be My Baby", "Tell Him", "The Loco-Motion", "It's My Party", I Only Want to be With You", "Da Doo Ron Ron", "Do Wah Diddy".  The list of classic pop songs in the genre is literally endless.  Nonetheless, in any era and genre, there always are a select few of the should've been kind.  And this here is my Girl Groups "Less Obvious" shortlist then. 

 

 

The Flirtations/"Nothing But a Heartache" (1968)  

 

Failed U.S. Girl Group The Flirtations emigrated to the U.K. in a desperate last ditch attempt at a commercial success.  And, after having met up with Scouse writing/production team Wayne Bickerton and Tony Waddington, formerly of the Pete Best Four and much later a successful songwriting duo behind the '70s success of The Rubettes, and brother-sister act Mac and Katie Kissoon, their "Sounds Like The Flirtations" LP was recorded and released to a lukewarm public response.  However, containing a classic of monumental portions in the single cut "Nothing But a Heartache", a semi-legendary status was assured...albeit 40 years later.  A soundtrack to a KFC TV advert in 2008 cemented just that.  Still, generally - in spite of that KFC thing, it's boggling just how little known this gem remains.

 



 

 

Beverley/"Happy New Year" (1966)

 

Beverley Kutner was an up-and-coming Brit songstress when she recorded this little ditty by then a little known U.S. songwriter named Randy Newman, backed by the likes of Jimmy Page and John Paul Jones.  Later on she married - and recorded with - John Martyn.  The stellar Brit-girl-pop of "Happy New Year" was the inaugural release on Decca's Deram subsidiary in 1966. 

 

 

 

 

Jackie DeShannon/"Backstreet Girl" (Officially unreleased demo, 1965)

 

 

The multi-talented Ms. DeShannon, along with her co-writer at the time Sharon Sheeley (Eddie Cochran's fiancée at the time of his death), wrote this for Carpax signee Diana Dawn, although, arguably, it is Jackie's original demo which remains the ultimate version...

 



 

 

Renarata & the Delrons/"Look in My Diary" (Recorded circa 1967/Released 1997) 

 

Probably best known in their native U.S. for the minor hit "Whenever a Teenager Cries" (1964), while in the U.K. they made the Top 20 in 1968 with "Captain of Your Ship".  All the while "Panic" (1968), as well as a seemingly tailor-made cover of the Four Seasons "Bye Bye Baby" (1965) should've hit big and hard, it is their inexplicably late release of "Look in My Diary" which is the winner in my book.

 



 

 

The Blossoms/"Stoney End" (1967)

 

Why The Blossoms never made it on their own is a mystery of gigantic proportions.  "That's When the Tears Start" (1965) should've made big waves, but instead it just made ripples.  The Blossoms had Darlene Love, and they had Gloria Jones.  At the same time!  But instead of hitting the big time on their own they "merely" sang back-up for the very best of them, from Elvis to Aretha, via Dionne, and Tom Jones.  And why their version of Laura Nyro's "Stoney End" is less well known than, say, Barbra Streisand's vast inferior interpretation, is the biggest mystery of them all. 

 



 

 

Madeline Bell/"Picture Me Gone" (1965)

 

U.S. born Madeline Bell arrived in the U.K. in the mid '60s and immediately became a sought-after backing vocalist for, most notably, Dusty Springfield.  It is, however, an enigma why her own solo recordings never found flavour with the record buying public since they invariably were of the highest quality.  One case in point is this Chip Taylor-penned and Dusty Springfield backed-up epic from her long playing solo debut, "Bell's a Poppin'".  Several years later though, Ms. Bell found long awaited and deserved fame with the "melting pot" of a group that was Blue Mink.

 



 

Recommended listening:

 

Reparata & the Delrons/"The Best of" (ACE CDCHD 1066) 2005 Ace Records.

Darlene Love and others/"So Much Love; The Darlene Love Anthology 1958 - 1998" (ACE CDCHD 1169)  2008 Ace Records.

Madeline Bell/"Bell's a Poppin'" (W/bonus tracks) (RPM 281)  2004 RPM Records.

The Flirtations/"Sounds Like The Flirtations" (W/bonus tracks) (RPM Retro 839)  2008 RPM Records.

Various Artists/"Break-A-Way; The Songs of Jackie DeShannon 1961 - 1967" (ACE CDCHD 1208)  2008 Ace Records.

Various Artists/"On Vine Street; The Early Songs of Randy Newman" ACE CDCHD 1186) 2008 Ace Records.

Darlene Love



After appearing as one of the subjects in the Oscar-winning documentary "Twenty Feet from Stardom", the name Darlene Love isn't likely to be forgotten any time soon.  Again, that is.  After having spent five decades in someone else's shadow, Ms. Love's time, seemingly, has finally come.  And although said shadows belonged to some fairly famous folks such as Elvis Presley, Cher, Aretha Franklin, Tom Jones, and Dionne Warwick, Ms. Love was just always somehow destined to become a star in her own right.

 

Once a member of the girl group The Blossoms, preacher's daughter Darlene Wright was spotted and singled-out by the incomparable Phil Spector in the early '60s.  He renamed her Darlene Love.  Soon thereafter she scored big hits with early Wall of Sound classics like "He's a Rebel", "He's Sure the Boy I Love" and "Zip-a-Dee-Doo-Dah".  Except they weren't issued under her own new-found name.  Instead Spector, apparently already the insufferable megalomaniac whom we've love to loathe, put them out under the names of already established girl group The Crystals, who were reportedly touring at the time, and Bob B. Soxx & the Blue Jeans, the latter of which comprised of Darlene along with fellow Blossom Fanita James and singer Bobby James (No relation).



After a couple of more mostly artistically unsatisfactory and frustrating years working for Spector, The Blossoms struck out on their own and quickly became known as the backing singers for hire on the U.S. West Coast, appearing regularly on T.V. shows such as Shindig as well.  From Doris Day to Marvin Gaye; if a trio of superb backing singers was needed The Blossoms were more than likely contenders.  Along the way, though, were the occasional one-off single releases under their own moniker, such as Laura Nyro's "Stoney End", which was issued on Lou Adler's Ode Records in 1967.  Arguably, it's their crowning achivement but it was sabotaged by both poor distribution and no promotion - not to mention Barbra Streisand's abominable cover hit version a couple of years later.



Spells working for the kings of Las Vegas, Elvis Presley, and Tom Jones, yet financially lucrative - momentarily at least - did little to further The Blossoms' career outside the back-up singing circuit.  Volatile relations within the group didn't help matters much and they had broken up by the early '70s, by which time Darlene had begun dating Righteous Brother Bill Medley, although that match made in music heaven didn't last.
The '70s Darlene spent mostly in the employment of diva Dionne Warwick, but an unexpected and needless to add, unwanted reunion with Phil Spector was imminent once he bought out her solo deal with Philly soul impresarios Kenny Gamble and Leon Huff in the mid '70s.  Back to square one, then.
By the early '80s Darlene Love had, perhaps understandably, all but given up on the music business and was making an honest living cleaning houses in Hollywood.  However, following steady gigs appearing on cruise ships, a mid-'80s Girl Group revival was ignited once the musical "Leader of the Pack - The Ellie Greenwich Story", in which Darlene Love had a starring role, briefly ran on Broadway and in return helped to properly re-launch her career.



Darlene's old pal from the '60s Cher quickly came calling for her expertise services, and all of a sudden things were looking up once more.  Further steady work came in the guise of Aretha Franklin, Luther Vandross, and others.  Also, annual appearances on the David Letterman Show performing what has become her signature song, the Wall of Sound chestnut "Christmas (Baby Please Come Home)" - one of the greatest Christmas songs of all time, have helped to keep her name afloat for a couple of decades now.  And let us not forget her acting role as Danny Glover's wife in the "Lethal Weapon" franchise!
So it really didn't come as a big surprise when somebody got the bright idea to make a documentary focusing on those unsung - excuse the poor pun! - heroes of the music business; backing singers.  And of course it didn't take a nuclear scientist to see that Darlene Love fitted the job description to a T...

Recommended listening:

"So Much Love - A Darlene Love Anthology 1958 - 1998" (Ace Records, U.K.  2008)
"Back to Mono, 1958 - 1969"/Various Artists (Phil Spector-produced) (ABKCO, 1991)

Recommended reading:

"My Name is Love".  Darlene Love with Rob Hoerburger (1998/2013)

Recommended viewing:

"Twenty Feet from Stardom".  Written & directed by Morgan Neville (2013)
"Girl Groups - The Story of a Sound".  A 1983 documentary based on the Alan Betrock book.



Harry Nilsson - in memoriam.

Last month it was twenty years since the passing of one Harry Edward Nilsson - often referred to as simply Nilsson, a singer-songwriter extraordinaire.
Over the past couple of years a renewed interest in the man and his music has resulted in a feature length documentary, a book, as well as a boxed CD set containing his complete RCA catalogue.
Although most fondly remembered as an excellent songwriter, it is all the more ironic that Nilsson's greatest successes as a performer came with songs written by other people, namely Fred Neil's "Everybody's Talkin'" and Badfinger's "Without You".  A number of artists also covered Nilsson's songs and it is my intention with this little tribute to highlight the best of those...in no particular order.

One of Nilsson's earliest admirers in the mid '60s was producer Phil Spector, who placed at least three of Nilsson's songs with artists he produced - although said songs were to remain unissued for 25 years.  Here are a couple of those:



Brian Wilson also loved this song and recorded his own version for a Harry Nilsson tribute album issued shortly after Harry's death in the mid '90s.

 

The Monkees were also early Nilsson fans via their then-producer Chip Douglas who had been a member of the Modern Folk Quartet before joining the Turtles for a short stint.  These couple of songs also appeared on Nilsson's first two solo albums for RCA:

 

British girl singers Lulu and Sandie Shaw also seem to have been listening to the first two proper Nilsson albums since each of them covered songs from those albums.  Unfortunately Lulu's excellent cover of "Without Her" (Renamed "Without Him" for the obvious reasons) is not available on YouTube. 

 

 



And Three Dog Night had a monster hit with Nilsson's "One" in 1969.  Undervalued Motown chanteuse Chris Clark covered it later that same year.  Aimee Mann also did a passable cover in the '90s.

 





Originally written for Welsh songstress Mary Hopkin in 1968, '70s teen idol David Cassidy took "The Puppy Song" all the way to number one in the U.K. in 1973, as a double A-sided single coupled with "Daydreamer".  Cassidy, clearly a massive Nilsson fan, also covered "This Could Be the Night" a couple of years later, and "The Story of Rock & Roll" a year or two after that.

 

Even Sinéad O'Connor has tackled Nilsson.  Her fine cover of "The Lord Must Be in New York City" popped up on the "You've Got Mail" soundtrack, which was a lot better than the movie itself.

 



 

"The Story of Rock & Roll" was, apparently, first offered to The Monkees although The Turtles ended up recording it - undoubtedly thanks to Chip Douglas.  Harry is rumoured to have played piano on The Turtles' studio version.

 

 

 

The Ronettes, The Shangri-Las and The Supremes all recorded a version of Nilsson's Girl Group opus "Paradise".  I have a tremendous difficulty picking one version in favour of the other two.  However, The Supremes' 1972 Jimmy Webb-produced possesses a certain understated charm...

 



 

In spite of all of the excellence entered above, it is better to start the excursion into all things Nilsson with the original source.  And as previously mentioned there are currently avenues aplenty to begin the journey.  Enjoy it.

 

Recommended listening: "Nilsson: The RCA Albums Collection" (17 CD's) (Sony Music/RCA/Legacy, 2013)

 

Recommended reading: "Nilsson: The Life of a Singer-Songwriter" by Alyn Shipton (Oxford University Press, 2013)

 

Recommended viewing: "Who is Harry Nilsson (And Why is Everybody Talkin' About Him)?" (Lorber Films, 2006)  Directed by John Scheinfeld.  DVD issued in 2010. 

  

 

The ABC's of Motown.

In spite of the massive commercial success the Motown record label enjoyed during the '60s, there's an argument to be made for the early '70s as being its most creatively successful era ever.  And I am not just talking about Marvin Gaye and Stevie Wonder here.
After gradually starting to move their main operation from Detroit to Los Angeles in 1969 (to be completed in 1972), there just was no way turning back.



Evidence A: The Four Tops.

Commercially on an undeserved downhill slide, the Four Tops issued their most artistically accomplished album to date in 1970.  Peaking just outside the U.S. Top 10, its title track "Still Waters" was a 2 minute and 41 second triumph.
Even better still was the Tops' cover of Tommy Edwards' late '50s standard "It's All in the Game", which became their biggest '70s hits for Motown, excluding a collaboration with the Supremes, before they left the company for greener pastures at ABC-Dunhill a couple of years later.
But perhaps the strongest cut on the album was a love song (of sorts) to Motown's new hometown, the gorgeous "L.A. (My Town)".

 

Never a proper single in its own right though, it belatedly appeared as the B-side to "A Simple Game" (1972), one of the Tops' last Motown singles until their return to the label in the late '80s.  

 

   

At ABC-Dunhill from 1972 to 1978, the Four Tops produced a fine body of work, especially during the first half of that period under the firm guidance of producers/songwriters Dennis Lambert & Brian Potter.
Arguably the greatest Motown vocal group of all time, The Four Tops' name will, as it should be, always be synonymous with Motown.

 

Evidence B: The Supremes.

 

After parting company with their charismatic leader - one Diana Ross - in early 1970, the Supremes' future prospects were somewhat in doubt.  Especially after Motown boss Berry Gordy had vetoed Ross' successor Jean Terrell and "washed his hands" of the group altogether. 

Nonetheless, the aptly named "Right On" L.P. appeared in the spring of 1970, its lead-off single "Up the Ladder to the Roof" having just previously hit the U.S. Top 10.

 

  

In hindsight at least the change was all good.  Prior to Ms. Ross' departure the Supremes sound had become stale and, notwithstanding the fact that their records did not always feature all of the Supremes, somewhat soulless.  Surely Las Vegas boomed, but at what cost? 

Further Jean Terrell-led albums followed: "New Ways, But Love Stays" (1970), "Touch" (1971), "Floy Joy" (1972), as well as an Jimmy Webb (mostly)written & produced album (all of which were collected on the marvellous "This is the Story - The '70s Albums, Vol. 1, 1970-1973 - The Jean Terrell Years" Hip-O-Select CD set from a few years back), not to mention several albums' worth of collaborations with the almighty and previously praised Four Tops.

 

 

And although the hits became fewer and appeared further in between than in their '60s Ross-led heyday, the excellence of said material is indisputable.  "Stoned Love", "Nathan Jones" and "Floy Joy", to name but few, all became size able hits in their own right.

To make a long story short, The Supremes continued to record for Motown well into the disco era, although with diminishing commercial returns.  But one of their most rewarding recordings appeared on their self-titled 1975 album and, as far as I know, wasn't even issued as a single: Lambert & Potter's perhaps aptly named disco-lite opus "It's All Been Said Before"...

 

 

 

Evidence C: The Miracles.

 

Another Motown vocal group left in the lurch by its fearless leader at the turn of the '70s, although Smokey postponed his amicable departure from the group after the then three year old Stevie Wonder catchy co-write "Tears of a Clown" surprisingly hit #1 hit on both sides of the Atlantic in 1970.

 





Three years later though, the inevitable could no longer be postponed.  A position as the vice-president of Motown awaited Smokey, as well as a looming lucrative solo career.

His replacement Billy Griffin made his recording debut as a Miracle on the "Renaissance" album in 1973.

A great yet unfairly overlooked album at the time, and so was its follow up "Do it Baby" (1974), although its funky title track became a Top 20 U.S. hit - the Miracles' first in three years.

 

 

But, as often is the case, the best was yet to come.

The Miracles' next album, 1975's "City of Angels" (Yet another Motown love letter to L.A.), is undoubtedly their strongest and also yielded their biggest post-Smokey hit in the disco stomper "Love Machine" - a U.S. #1.

 

 



Other highlights included the unintentionally hilarious early pro-gay paean "Ain't Nobody Straight in L.A.", which contains this unforgettable nugget: "Homosexuality is a part of society, I guess that we need some more variety..."   

 

 

In spite of having a number 1 single and a Top 30 album on their hands their next album, "The Power of Music" (1976), failed to follow up its predecessor's success and became the Miracles' swansong for Motown.  A move to Columbia proved to be a failure as well and by the late '70s this legendary act had pretty much fallen off the radar.

Nonetheless, their legacy remains undisputed and although their '73-'76 Motown tenure isn't as universally lauded as their late '50s - 'early '70s work with Smokey Robinson, it certainly deserves a reappraisal.

 







Reg Presley R.I.P.

Reg Presley 12 June 1941 - 4 February 2013.

(The author and Reg Presley in October 2008)


A little over a year ago I witnessed Reg Presley's last live performance with The Troggs.  I then promptly wrote about it HERE
It was both a sad and emotional event.  And the reaction of some of the audience, who thought Reg was drunk, only made it more so.
Reg had recently recovered from his stroke when he was diagnosed with cancer and that December night in Essen it was all too obvious the end was, as the song says, near.
A charismatic frontman for one of the great '60s Rock bands, he shall be sorely missed.

 

 

The Best of 2012 - A Tragically Unhip List.

 

The Explorers Club/"Grand Hotel" (EC Records/Rock Ridge)

 

Although a fairly fine album, their 2008 debut "Freedom Wind" was at times almost uncomfortably derivative (of the Beach Boys' so-called mid period) and one didn't really expect anything of substantial originality from those guys after that.  So, file under: Fondly Remembered, then...

Not so, though.  Of course they still wear their influences firmly on their collective sleeve - we wouldn't really want it any other way - but this time around they happen to be a bit more varied.  The Beach Boys have been joined by Messrs Bacharach and Mendes in The Explorers Club continuing pursuit of perfect pure pop past.

And it is an overall excellent and successful mission at that.  Haunting instrumentals melt nicely with melodic and nostalgic homages to timeless summers of the past, such as (of course) "Summer Days, Summer Nights" and "Run, Run, Run".



     

 

Without a doubt, in my book at least, the album of the year.  Nonetheless, another close contender just happens to be...

 

 

The Beach Boys/"That's Why God Made The Radio" (Brother Records/Capitol)

 

OK, when the news got out that the Beach Boys were celebrating their 50th anniversary with a reunion tour as well as a brand new studio album I don't think anyone was expecting their best LP for 35 friggin' years (Since 1977's "Love You").  As a matter of fact, I don't think anyone was expecting anything much at all.  Oh, but how wrong we all were...

 



 

"TWGMTR" was THE surprise of the year, as far as I'm concerned.  I played this CD to bits, aptly enough, during the summer.  And the icing on the cake for me personally was a once-in-a-lifetime opportunity to see the boys live in concert in Berlin in early August.  My favourite band in my favourite city - Yeah!

The "boys" may longer be exactly boys, but they sure did deliver the goods - with no small help from Brian's brilliant backing band of the previous 13 years.  They probably couldn't have done it (the album AND the tour) without Mr. Foskett & Co.  We thank you all.

But, needless to add, it didn't last.  Probably because it wasn't meant to.  Nonetheless, it was great while it lasted.  Mike, Brian, Dennis, Al & David....universally loved...and unexpectedly, the live band of the year.  

 

 

 

 

Graham Gouldman/"Love And Work" (Rosala Records/Absolute)

 

A massively successful songwriter in the '60s (Penning hits for Herman Hermits, The Hollies, as well as The Yardbirds), the '70s (As a member of 10 CC), the '80s (The duet Wax with his pal, the late Andrew Gold), and the '90s (Kirsty MacColl, Madness), Graham Gouldman has always known his way around a melody...to say the least.

Personally, I've also always loved his late '70s solo-should-have-been-a-hit, "Sunburn", from the Farrah Fawcett movie of the same name...

 



 

That being said, this new album was a surprise of some magnitude to me at least.  The hooks are many and infectiously memorable to boot.  And there's even an irresistible, instrumental Shadows (probably an early influence) tribute, "Black Gold", thrown in for a good measure.

The record is dedicated to the memory of his Wax-pal Andrew Gold, who died in 2011. 



 

 

And please take the time to check out Graham Gouldman's official website.  One of my main regrets of 2012 is that I let his 10 CC concert in Reykjavík slip by me...   



 

Susanna Hoffs/"Someday" (Baroque Folk)

 

Oh, Susanna's still alive!  And very much so, I must add.  Following 2011's fine Bangles outing, "Sweetheart of the Sun", here comes Susanna's first proper solo LP (she has done some excellent - for the lack of a better word - "concept" duet albums with another power pop icon, Matthew Sweet, in the meantime....and more to come!) since the mid '90s.  And, blimey, it's her best yet!

 



 

OK, so Mitchell Froom's production is somewhat understated and it doesn't pack as much punch - or power - as we're used to from the princess of power pop, but the tunes are still there in abundance...or so to speak; there's mere 10 of them.  But what they lack in quantity they make up for in quality. 

 

 







Another Christmas Rock & Roll!

Popular Christmas music.  I have to be honest here, I just don't like the stuff much - it's mostly overly sappy and sentimental.  Which is perfectly fine for the Elton Johns and Chris Rea's of this world (no offense). Therefore I happen to like my Yuletide muzak (’Cause, let’s face it, that’s just what it is…to be played in elevators and department stores) a bit more rocking and rolling...if you know what I mean.  Albeit with the proverbial tongue-planted-firmly-in-the-proverbial-cheek.  Nonetheless, not unlike many other music nuts, I like to make lists (AND check it twice, at least).  And now, for better or for worse and in spite of all my aforementioned reservations regarding the issue, it's time to reveal my Top 40 all time favourite Christmas tunes.  Obviously - and, given my fondness for nearly all things Spector, perhaps not all that surprisingly - as far as I'm concerned, the always amazing Darlene Love is the undisputed queen of Christmas.  Long may she reign.
So, here goes... (In no particular order, neither numeral nor alphabetical):

 

The Kinks/"Father Christmas"

  

Ramones/"Merry Christmas (I Don't Want to Fight Tonight)"

Duncan Faure/"This is Christmas", "Party on Christmas" + "Christmas Song"

 

 

Cheap Trick/"Come on Christmas"

Fountains of Wayne/"I Want an Alien for Christmas"

 

Steeleye Span/"Gaudete"

The Damned/"There Ain't no Sanity Clause"

Captain Sensible/"One Christmas Catalogue"

 

Bay City Rollers Starring Les McKeown/"Rock & Roll It's Christmas Time"

 

 

Billy Idol/"Yellin' at the Xmas Tree"

The Pogues & Kristy MacColl/"Fairytale of New York"

The Waitresses/"Christmas Wrapping"

 

Blondie/"We Three Kings"

Joan Jett & The Blackhearts/"Little Drummer Boy"

MUD/"Lonely This Christmas" + "Lean on Me"

John & Yoko/"Happy Xmas (The War is Over)"                                                                                      

Ertha Kitt/"Santa Baby"

 

Darlene Love/"Christmas (Baby, Please Come Home)" + "It's a Marshmallow World" + "Winter Wonderland" + "All Alone on Christmas".

Bruce Springsteen & The E-Street Band/"Santa Claus is Coming to Town" (Early '80s Live version)

U2/"Christmas (Baby, Please Come Home)" (Yup, the same song)

Gary Glitter/"Another Rock & Roll Christmas"

Sniglabandið/"Jólahjól"

 

 

The Monkees/"Riu Chiu"

Beach Boys/"Little Saint Nick" + "Winter Symphony"

Showaddywaddy/"Hey Mr. Christmas"

Band Aid/"Do They Know it's Christmas?"(The original)

Stevie Wonder/"Someday at Christmas"

Brenda Lee/"Rocking Around the Christmas Tree"

Bobby Helms/"Jingle Bell Rock"

 

Smokey Robinson & the Miracles/"Deck the Halls/Bring a Torch, Jeannette, Isabella".

Slade/"Merry Xmas Everyone"

Greg Lake/"I Believe in Father Christmas"

The Jackson 5ive/"I Saw Mommy Kissing Santa Claus"

Mike Oldfield/"In Dulci Jubilo"

Jona Lewie/"Stop the Cavalry"

Roy Wood & Wizzard/"I Wish it Could be Christmas Everyday"

 

And...the very best Christmas albums:

V.A./"The Phil Spector Christmas Album"(1963)

V.A./"A Motown Christmas"(1973)

 

Elvis Presley/"White Christmas" (Compilation, 2000)

 

 

OK, so I can be a bit sappy & sentimental myself after all ;-)

Here's wishing y'all Happy Holidaze...however you may celebrate.

 

PARTIAL PLAYLIST HERE!

 

 



(Revised and updated from a MySpace blog entry I did a few years ago)
(Updated once again December 25th 2014)