Hearing Aid Shop Around 17 |
|
I shan’t bore you with the details, but my hearing’s not been too good this week. For me, that’s caused all sorts of unexpected complications, and has scared the hell out of me. It’s
also made enjoying music a little strange. One of the things I have had
to fall back on is my collection of the early On-U recordings, which criminally
seem to be out of circulation. Now here’s a question for you. What’s the other film that features an old On-U number on its soundtrack? Yup, it’s Smithereens, which memorably has Richard Hell and Susan Berman slow dancing to 'Devious Woman' by Singers and Players (with Bim Sherman on vocals). I would understand if you didn’t get that one instantly, as Smithereens seems to have been lost along the way. But it’s a lovely film, a bizarre new wave twist on the Holly Golightly/Breathless line, and well worth tacking down on DVD. Ostensibly these days I guess it’s of interest due to director’s Susan Seidelman’s later work on things like Desperately Seeking Susan and Sex and the City, but it really has the coolest of soundtracks. Understandably there’s a few Richard Hell tracks, as he plays a dissolute wayward pop figure/chancer/loser and looks far better than he probably should have done. But better still there’s lot of use of songs from the Feelies’ Crazy Rhythms as incidental music, occasionally to heartbreaking effect. And there’s the Raybeats (ex-Contortions go surfing ripe for salvaging) and ESG’s 'Moody' being played in that same bar scene. There is actually a contemporaneous 99 Records connection here, as the Singers and Players’ War Of Words set was actually leased by On-U to the New York independent. Another early On-U recording I have rediscovered this week is Heart by Noah House of Dread, a showcase for Creation Rebel/African Headcharge percussionist Bonjo I. One gem contained in the sleevenotes is that back in the late ‘60s Bonjo I toured as part of Clem Curtis’ Foundations of 'Build Me Up Buttercup' fame. I love the idea of tracing that particular connection. I am sure somewhere along the way we can tie-in the early Sex Pistols covering that particular song. Actually the Foundations play an important part of what is another of the great untold pop stories, which is that of black and mixed race groups in the UK. The Foundations really were part of the UK soul scene, and not just bubblegum hit wonders. It’s the same snobbery/prejudice that others like the Equals faced at the same time. The Equals actually beat the Foundations to the top of the charts, but even with the Eddy Grant connection they are rarely given the credit they deserve. There’s a fantastic anthology out on Sequel, and is worth buying just to hear their original of Police On My Back as immortalised by The Clash on Sandinista! One good thing covered in the recent Mod NME Originals publication is the wave of live soul outfits so active here in the mid-60s and beyond. People like Jimmy James and the Vagabonds, of course, who were adopted and groomed by mod icon Pete Meaden after he lost The Who, and Herbie Goins and the Nightimers of 'Number One In You Heart' fame. The latter The Action referred to as consummate hard working hard drivin’ soul professionals, but The Action had that spark, that certain something, where they took the Tamla sound and created something new. If you move quick you may still get a copy of the limited edition set of archive BBC recordings by The Action on Circle. These feature immaculate covers of the Byrds’ 'I See You' and Coltrane’s 'India', and my dreams have often been about much less. Another group that has an amazing story that really needs telling is the Real Thing. We all know and love 'You To Me Are Everything' and 'Can’t Get By Without You'. They’re perfect pop. But the Real Thing has roots going back to the Cavern club, and Eddie Amoo’s are in the Chants whose 'Baby I Don’t Need Your Love' is much loved by Northern Soul fans. While I utterly approve of the Real Thing’s links to David Essex, it should be noted that they could also be a harder-edged funk/soul outfit closer to the Temptations and Curtis Mayfield consciousness than the pure pop they are known for. Look out for cheap cassette copies of their 1977 LP 4 From 8 which is an absolute classic and perhaps the greatest UK soul set ever. It’s certainly a precursor of the Young Disciples’ Road To Freedom. The 8 referred to in the title is Liverpool 8, and the set contains the classic Liverpool suite that includes the great 'Children of the Ghetto' (did Courtney Pine cover this back when he could have been a contender?). A bit of gritty realism, which I am sure got a few record executives hot under the collar. And the irony was that punk probably stole the set’s thunder when people like The Clash may have been saying many of the same things, but did the twain ever meet? © 2005 John Carney |