Ever Noticed....

...How much this song:

 

 

Sounds like this one:

 

 

So much so that someone should probably notify the Dream Police.

Just sayin'...

 

 

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.

 







Albums That Time NEARLY Forgot.

 

Heartbreakers/"L.A.M.F" (1977, Track Records)

 

 

 

The Heartbreakers' "L.A.M.F." (The original and, arguably, charming title of "Like a Mother Fucker" was aborted for this, most likely, record company sanctioned abbreviation) never got its due praise until a couple of decades later. 
Probably the second best punk album of all time.  Or, at least, of 1977.  No price for guessing the best one.  And, no, it's not The Clash's self titled debut - although that is a mighty fine effort as well.
"Mudded" mix has been blamed for "L.A.M.F''s original vinyl issue's lack of proper awe and respect at the time.  But it couldn't have been quite so simple.  Personally, I believe the origin of the Heartbreakers was somewhat to blame as well.  Although it may not have been a great sounding record, it was nonetheless a great record.



Formed from the ashes of the New York Dolls, by ex-Dolls Johnny Thunders and Jerry Nolan, to the coolest U.K. punks of '77 the Heartbreakers' was possibly not the most credible background around.  Being American probably didn't help matters much either - even though they did take the trouble to relocate to the U.K. 



The New York Dolls, although in the early '70s sounding like a fabulous and fresh cross between prime-era Stones and Mott the Hoople, by 1977 - and in spite of having an obvious influence on the likes of The Sex Pistols as well as Sham 69 (to name but two) - sounded a tad dated and worn.
Nonetheless, in the press and by the powers that were, the Dolls were touted as the predecessors of punk.  Remember those odd and opportunistic "New Wave" comps from circa '77, which collected artists as diverse as Ramones, Runaways, Flamin' Groovies, and, err, Little Bop Story?  Not to mention New York Dolls.  Well, those were the daze...

Fronted by David Johansen and Johnny Thunders, as the Jagger & Richards of their time, New York Dolls, in the early '70s, paved the way for mid '70s NY punks like Ramones, Blondie, Talking Heads, Television, etc.  But as The Clash declared "I'm so Bored With the U.S.A.", the U.K. punks were sceptical and eager to put as much distance between themselves and their U.S. counterparts.  Let's not forget that Ramones weren't even considered to be cool at this point in time.
That said, The Sex Pistols sonically and verbally attacked the NY wave with "New York"; The Heartbreakers aptly and ably responded with "London Boys".  Oh, well.  And this was 20 years prior to the limp Oasis Vs. Blur feud...
Around which time U.K.'s Jungle Records first saw fit to unleash the "proper" mix of "L.A.M.F".  Better late than never.  And since then there have been at least a couple of reissues of said mixes + rarities, demos, etc. and so on.  The last of which is a "Definitive" 4 CD box set, which, never mind the bollocks (in this case being pin badges), is as impressive and essential as they come....
  

 

 

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)

 

Albums That Time Forgot (2).

Paul Williams/"Someday Man" (1970)

 



Paul Williams.  My relationship with the man is complicated.
On one hand he has penned immaculate pop hits for the Monkees and Three Dog Night among others, while on the other his dreaded early '70s Carpenters-phase leaves me completely cold.  Not to mention Barbra Streisand.  Sorry.



However, towering above all that is his seminal debut solo album "Someday Man" from 1970.  This Soft Rock/Sunshine Pop classic has few equals in the genre.
In the mid-'60s Paul Williams was, by his own account, "An out of work actor who started writing songs for his own amusement."

 

By 1968, though, he had started writing songs with one Roger Nichols, who had the previous year recorded the "Roger Nichols & The Small Circle of Friends" album for A&M Records (Another Sunshine Pop classic, according to many).  But also by then Williams had formed the group The Holy Mackerel with his brother Mentor Williams - himself later a composer of Dobie Gray's fantastic 1973 Soul/Country hit "Drift Away" - and others, and they recorded their sole self-titled LP for Reprise in '68. 
Mixed male/female singing groups like Mamas & the Papas, The Sunshine Company and Spanky & Our Gang were all the rage during this era and The Holy Mackerel proudly placed themselves in that line.

 

But as far as The Holy Mackerel LP goes, it's an almost too eclectic effort mixing C&W with Psychedelic Soft Rock and the then-burgeoning Bubblegum sound.  So it's an understandably uneven album which sounds at times either frustrating and/or fascinating, but definitely not without its charms.

Mostly it's written by Williams alone, although one of it's stronger cuts "Bitter Honey" is a Nichols/Williams composition.

 



 

In the wake of the album's commercial failure there were a couple of non-LP 45s issued.  Among them was the Nichols/Williams penned "I Just Haven't Got What it Takes", which later resurfaced as "To Put Up With You" by American Breed and several others before Williams himself at long last recorded the definitive version for the "Someday Man" album.

 



 

After the inevitable break-up of The Holy Mackerel Nichols and Williams really hit their stride - although they merely enjoyed an "artistic success" to begin with.  Dobie Gray recorded a great version of "Do You Really Have a Heart" - later also to appear on the "Someday Man" album - while The Monkees had the first crack at "Someday Man" itself (both were issued in 1969).

 



 

But it wasn't until spring 1970 when the absolute Nichols/Williams artistic pinnacle appeared in the form of that first Paul Williams solo album, "Someday Man". 

Today, though, both Williams and Nichols claim it was much  more of a collaborative effort than that.  Perhaps, then, the credits say it all: Lyrics by Paul Williams; music by Roger Nichols; produced by Roger Nichols.

Basically, the record consisted of properly recorded versions of what had been their best publishing demos of the previous two years.

Although initially this record, as they say, disappeared without a trace, it's just incredible how many of its songs have been covered by other artists.  For instance, "So Many People" - a personal favourite of both of its writers - has no less than seven different versions listed on YouTube - but the original betters them all!



   



The title track has "only" five notable covers listed on YouTube, and again it's Williams very own version which tops the list...

 



 

Similarly, the aforementioned "Do You Really Have a Heart" inspired at least seven covers, none of which is quite worthy apart from Dobie Gray's original recording and Paul Williams' very own "interpretation".

All of which just goes to show how far and wide aforementioned publishing demos travelled.

Backed by bits of "The Wrecking Crew" (Hal Blaine, Larry Knechtel), "Someday Man" sounds superbly timeless and classic today, and it just beggars belief it was so overlooked at the time.

In the past decade people have awoken up to its charms though, most notably with Mojo magazine rightly claiming it to be a "lost classic" a few years back.

In the aftermath of that long overdue recognition a lovingly compiled "Deluxe Expanded Edition" CD re-issue was released in the U.K. by Now Sounds/Cherry Red a couple of years ago.  Needless to say it's an essential purchase.

By pure curiosity (I'd always loved the Monkees' version of the title cut, while also viewing Paul Williams merely as "the guy who wrote some songs for the Carpenters"), I was just lucky enough to stumble upon a nearly unplayed original vinyl copy of "Someday Man" some years ago and was I ever in for a revelation!

Since then it's been a constant companion, both enjoyed and admired regularly...   



 

Nov. 9th, 2012:  And they just made a movie about this guy.  Hooray for Hollywood!  Or something.