Posts Tagged ‘Paul McCartney’

Yesterday afternoon a thrift store saved my life, or from funk to bubblegum and back again….

Sunday, November 15th, 2009

It is curious what you pull out wading thru piles of records in charity shops….  coz I was in one again yesterday and wedged between platters by the likes of Jim Reeves, Conway Twitty, Sidney Devine and The Alexander Brothers, I pulled out some class vinyl in the form of the second eponymous Gavin Christopher album (the 1979 RSO Curtom one) For those that don’t know, Christopher was mentored by Donny Hathaway and Curtis Mayfield (hence his late-seventies signing to Curtom), played early on with Chaka Khan and other future members of Rufus, and was a quick off-the-mark industry mover on the hip-hop scene. His 1979 outing is pretty standard  soul from that era, but with a great Johnny ‘Guitar’ Watson take-off track at the end, Be Your Own Best Friend. But that ain’t the only good ‘thang’ here, I like Dancin’ Up A Storm almost as much. You can groove to everything on the platter and while it  ain’t the greatest thing I ever heard, it was worth quite a bit more than the quid I paid for it.

I also picked up an album by Dawn featuring Tony Orlando, a British Bell release named after their biggest hit Tie A Yellow Ribbon – and by the time this was made, Orlando was backed by ex-Motown/Stax session singers Joyce Vincent and Telma Hopkins – and the laid back soul of tunes like Easy Evil (with the lead vocal sung by Vincent) are way superior to their hit singles (although I still love Knock Three Times)…. When an album, as this one does, carries sleeve notes by BBC Radio One breakfast show DJ of the time Tony Blackburn endorsing the band, you know there will be some turkeys included (aside from the title track try the cover of Peter Skeltern’s You’re A Lady, yuk!)… but then tracks like a medley of Runaway/Happy Together, the Alain Toussant tune Freedom For The Stallion, and the closing ballad I Don’t Know You Anymore (Hopkins is lead on that) make up for this.

I nearly always find it gets to be a bit pick and mix when you venture into the worlds of bubblegum soul and easy listening… My previous charity shop vinyl buy a few months earlier had consisted mostly of dance orientated 12 inch singles at 50p a shot (Taffy’s Step By Step, Joy’s Bloody Murder On That Dance Floor etc.), but much to the bemusement of the woman who sold me the records also included Bert Kaempfert Now! Again, with Kaempfert’s 1971 chessey easy release there are turkey’s riding shoulder to shoulder with hip-shaking covers like Put You Hand In The Hand and Proud Mary (and while the latter might not touch the Ike & Tina Turner version, it isn’t shamed by it)… And as finger poppin’ cover of Paul McCartney’s Oh Woman Oh Why reminded me, I much prefer Kaempfert’s production on the first Beatles sessions (with Tony Sheridan singing most of the leads), to their later work with George Martin at the controls…

My third buy yesterday was a stab in the dark, Classics To Calypso by The Barbados Steel Orchestra. I liked the sleeve and figured it was worth taking a chance on despite the fact I knew nothing about it. The cover seemed to credit the record company as Discovery Bay Inn of Bridgetown, Barbados – but the label indicated those responsible were Total Sounds of Kingston, Jamaica. And how could I resist a piece of vinyl manufactured at 4 Retirement Road? That said, the outer sleeve was printed in Canada…  Anyway, once I’d parted with a round pound for the plastic, I discovered why this platter looked unplayed – it was unplayed coz the hole in the centre is too small to get it on a deck! Time to get my pen knife out I guess….

I also clocked a really ugly looking 1980s thrash metal album called Pray For War by Virus, I’d never heard of it but it was on an indie label and I figured that if the vinyl was in good or very good condition I could probably resell it for at least £10 profit and possibly a lot more… But when I took the record out of the sleeve it was knackered, so I put it back. After an internet check, I can say it looks like it goes for £20 or so in very good nick, so it clearly wasn’t worth the quid I’d have been charged for the platter with the amount of damage the copy to hand had sustained….

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

International manifesto of the left-bourgeoisie

Friday, October 30th, 2009

1. Flying around the world, attending art biennials and eating expensive meals puts us in touch with the wretched of the earth – by underlining exactly what it is that peasants and workers are missing out on.

2. Like the lumpen-proletariat, the left-bourgeoisie is a distinct class fraction and cannot be conflated with its bourgeois and lumpen enemies. Since the proletariat has failed to act as a class for itself, we have no choice but to lead it to taste and discernment via our elevated aesthetic principles (viz, if you liked Damien Hirst, you’ll love Takashi Murakami – and don’t forget that the current Tate show featuring both of them takes its name from the 1991 album Pop Life by Bananarama!).

3. Since Art Review currently ranks Hans Ulrich Obrist as the single most powerful person in the art world, we look to him as our ‘man of steel’. He’s faster than a speeding bullet and susceptible to nothing but an unfortunate tendency to be distracted in the middle of a conversation by his BlackBerry! Obviously Obrist isn’t really the most powerful man in the world – but with the art market collapsing, Art Review couldn’t place a collector or dealer in pole position, or hand this accolade to Nick Serota (who having massively expanded the Tate franchise is now merely adding an extension to Tate Modern). That said, the left-bourgeoisie prefers illusion to reality, and so we are more than willing to risk our all on a rather arbitrary Art Review ranking!

4. Because long manifestos are so last-century, and we are on our way to another networking opportunity disguised as an expensive meal, we’ll restrict our ‘international manifesto of the left-bourgeoisie’ to four points: but if we can think of any more we won’t hesitate to add them later. For us, knowing lots of famous people is way more important than being theoretically coherent.

5. Art is like an over-masticated piece of chewing gum and the more tasteless it becomes the more we like it! The future of world culture will emerge from the dialectical synthesis of this and point one (above). With a little help from Mike Stanley of course!

6. Did we ever tell you what Hou Hanru said to us in Venice? If not ask about it next time we see you…

7. It is impossible to beat our enemies at their own game. Likewise, to participate in a system that is inherently corrupt gives credence to the Labour Party and trade unions (we always knew they were our enemies). Art, on the other hand – what we discretely refrain from calling elite high culture – is a necessary evil that must be used in the self-defence of the left-bourgeoisie and progressive proletariat! All power to the curators’ and collectors’ councils! Forward with Vasif Kortun!

Paul McCartney, Charles Tompson and Pi Li on behalf of The Left-Bourgeois Club of Great Britain (formerly The National Satanist Movement of Europe, the Americas, Australia, North Africa, the Middle East, the Northern Fringes of the Indian Subcontinent and related dependencies including New Zealand and the Solomon Islands).

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Merseymania – a ‘great’ lost Lou Reed album?

Monday, August 3rd, 2009

Merseymania by Billy Pepper and the Pepperpots is an album I rescued from a bargain bin on the strength of the cover and the sleeve notes. It is also rumoured to be a Lou Reed and John Cale effort from their days producing crud budget music for Pickwick during the earlier part of the sixties. Can anyone substantiate this rumour? Cale and Reed worked at Pickwick, but I’ve never seen any documentary evidence that convinced me they are actually responsible for this particular abomination. The black and white cover photo of screaming Beatles fans is an absolute classic, with some lovely period lettering above it. The sleeve notes are equally cool:

“It burst on to the British music scene unannounced one day in October 1962. ‘It’, of course, refers to ‘Mersey Mania’, an expression that has been coined to describe the new form of music that has injected an air of freshness into our hit parade at a time when it was looking decidedly jaded. What is ‘Mersey Mania’ ? This is a question that although frequently asked is very difficult to define. Whatever one’s own definition is, there can be no getting away from the fact that this new form of music has livened up our pop music scene considerably and has brought forth an era of excitement and enthusiasm that has been acclaimed by young and old alike…”

To me it looks like Roger Easterby was half-asleep when he wrote these notes. The fourth sentence quoted here would have read better if he’d ended it with the word ‘answer’. Oh well, since the session musicians on this release sound like they were on auto-pilot when they recorded it, the notes on the sleeve and those in the grooves match! And don’t believe the hype when the copywriter tells us:

“In this album you will hear all aspects of the ‘Mersey Mania’ from the out and out rhythm and blues number to the more sedate ballad, and whichever particular number takes your fancy, be it one of the well-known songs or one of the seven original numbers, you will agree that the latest Liverpool find – Billy Pepper and The Pepperpots – certainly do justice to the Beat City on this really sensational album. I specially recommend that you take a listen to the boys’ brilliant revival of Jericho, for this Spiritual, given the Mersey treatment, just about sums up what this music is all about. Finally, if you are ever asked by your friends, ‘what is the Mersey Sound?”, lend them this album… for THIS IS THE MERSEY MANIA !”

And if you believe that then you might also believe The Pleasers should have been bigger than the Beatles.  See my blog of a few days ago – and in particular some of the comments – for more on The Pleasers. Aside from the alleged Velvet Underground connection, Merseymania is also a historical curiosity because some of those who believe the rumours about Paul McCartney dying back in the sixties also contend that since then Billy Pepper has stood in as his double! And if you are of the opinion that ‘Paul is dead’ then it probably won’t be hard to convince you that JFK was my father (possibly true) and Britney Spears is my ‘secret’ daughter (unlikely).

To sum up, Mersymania by Billy Pepper and the Pepperpots sucks, but it was worth 80p of my money for the front cover and sleeve notes. Record collector scum please note: if you’re a Lou Reed or John Cale fanatic, I’m open to offers of three figures and more for my copy of this platter. The tracks on this release run as follow:

Side 1

1. I Want To Hold Your Hand.

2. This Is What I Mean.

3. Tell Me I’m The One.

4. Jericho.

5. Maybe I Will

Side 2

1. I Saw Her Standing There.

2. Seems To Me.

3. I’ll Have To Get Another Girl.

4. Your Kind Of Love.

5. There I Go.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!