We Do Like To Be Beside The B-Side

- Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About , Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .



I was having a discussion with a friend the other week about how, in idle moments of boredom on Sunday afternoons, no time is ever truly wasted flicking through those 50p sixties singles you picked up at the local junk shop and just quickly checking what's on the flip side.  There's a modern aversion to the concept of the B-side, a lingering suspicion that the second division side of the disc will only be hiding rush-recorded, rush-written pieces of flannel, or something only the band's most ardent fans could love.  In truth, not only did B-sides in the sixties frequently hide some uncharacteristically freaky jams - as with Dave Clark Five's "Concentration Baby" above, the flip to the monotonous middle-of-the-road ballad "Everybody Knows" - they were also often the place where established acts would leave the dancefloor friendly material, or up-and-coming acts would showcase some of their other quality tunes for the kids out there who might be tempted to dial the 200+ numbers on a jukebox out of curiosity.

Sitting neatly within the dancefloor groover category is "Hey Hey Girl", the flip to Amen Corner's number one single "If Paradise Is Half As Nice".  The organ honks away on this like nobody's business, and the track itself has a repetitive, barn-storming energy which would be the envy of most sixties mod bands.  My copy of "Paradise" has worn grooves and a below-average sound on the A-side, but the B-side still sounds crisp, fresh and ready to create a party in my living room - whoever owned it before clearly didn't think to pay closer attention to its other half.  More fool them.

Taking their cues from the Dave Clark Five in the "somebody put something in their drinks" stakes are Dave Dee Dozy Beaky Mick and Tich of all people, with "The Sun Goes Down" resting on the B-side of "Zabadak". This is such an uncommercial piece of droning psychedelia that it's a wonder anybody at all captured it on disc, never mind DDDBMT.  I suspect their tongues were firmly in their cheeks at the time of recording it, but that doesn't stop it from being a hugely eccentric outing, a noise-fest which seems one part Beatles, one part Rolf Harris circa "Sun Arise", another part BBC Sound Effects LP.  Despite suffering from the reputation as being something of a mass-marketed "pop" act by the tail end of the decade, DDDBMT did actually issue a number of class singles - the lyrically interesting "Last Night In Soho" being a particular favourite of mine - but this is as psychedelic as they got.

Away from the stench of incense and back towards the sweaty, beery basements of London's swinging clubs, the flip side of Chris Andrews' rather oompah ridden piece of pop "Yesterday Man" is the distinctly more abrasive, howling rocker "Too Bad You Don't Want Me", which rips up a storm and makes the A-side seem like a limp entrant for "A Song For Europe".  Andrews squawks and screeches his way through a tune about a girl who doesn't want his company, whilst guitars twang merrily along and the groove concocted is entirely infectious.  Andrews wasn't averse to making loud, abrasive noises, and one of his later singles "Hold On" is well worth tracking down for this very reason - but the company "Too Bad" keeps itself in makes it seem like a decidedly pleasant surprise.  That 50p need not have been spent on a chocolate bar after all.

If you're lucky enough to own a copy of The Easybeats' "Friday On My Mind" (which still only seems to retail for around the £5 mark at the cheapest, despite its hit single status) you've already got one of the best pieces of sixties freakbeat there is - on its flip, however, is "Made My Bed Gonna Lie In It", a tune which admittedly fails to top the A-side (few things would) but is a damn good showcase for the band in itself, with Shel Talmy's production sounding spectacularly akin to his work with The Who in this instance.

We could talk forever around this topic, even excluding obvious artists like The Beatles who seldom wasted the space afforded on B-sides.  I could bring up The Kinks "Big Black Smoke", Herman's Hermits' surprisingly garagey "It's Alright" (not on YouTube yet, surprisingly), or any number of obscure artists whose B-sides represented their sound better than their Tin Pan Alley off-the-peg purchased A-sides - but perhaps I'll throw it over to you good readers for more suggestions, if you want to contribute in the comments.  The best thing about these flips is that even if you're rummaging around the record bins in a charity shop or find yourself in a second-hand record store with no bank notes, just loose change, they still give you a ray of hope that you  may walk out with something unexpectedly good.

I was having a discussion with a friend the other week about how, in idle moments of boredom on Sunday afternoons, no time is ever truly wasted flicking through those 50p sixties singles you picked up at the local junk shop and just quickly checking what's on the flip side.  There's a modern aversion to the concept of the B-side, a lingering suspicion that the second division side of the disc will only be hiding rush-recorded, rush-written pieces of flannel, or something only the band's most ardent fans could love.  In truth, not only did B-sides in the sixties frequently hide some uncharacteristically freaky jams - as with Dave Clark Five's "Concentration Baby" above, the flip to the monotonous middle-of-the-road ballad "Everybody Knows" - they were also often the place where established acts would leave the dancefloor friendly material, or up-and-coming acts would showcase some of their other quality tunes for the kids out there who might be tempted to dial the 200+ numbers on a jukebox out of curiosity.

Sitting neatly within the dancefloor groover category is "Hey Hey Girl", the flip to Amen Corner's number one single "If Paradise Is Half As Nice".  The organ honks away on this like nobody's business, and the track itself has a repetitive, barn-storming energy which would be the envy of most sixties mod bands.  My copy of "Paradise" has worn grooves and a below-average sound on the A-side, but the B-side still sounds crisp, fresh and ready to create a party in my living room - whoever owned it before clearly didn't think to pay closer attention to its other half.  More fool them.

Taking their cues from the Dave Clark Five in the "somebody put something in their drinks" stakes are Dave Dee Dozy Beaky Mick and Tich of all people, with "The Sun Goes Down" resting on the B-side of "Zabadak". This is such an uncommercial piece of droning psychedelia that it's a wonder anybody at all captured it on disc, never mind DDDBMT.  I suspect their tongues were firmly in their cheeks at the time of recording it, but that doesn't stop it from being a hugely eccentric outing, a noise-fest which seems one part Beatles, one part Rolf Harris circa "Sun Arise", another part BBC Sound Effects LP.  Despite suffering from the reputation as being something of a mass-marketed "pop" act by the tail end of the decade, DDDBMT did actually issue a number of class singles - the lyrically interesting "Last Night In Soho" being a particular favourite of mine - but this is as psychedelic as they got.

Away from the stench of incense and back towards the sweaty, beery basements of London's swinging clubs, the flip side of Chris Andrews' rather oompah ridden piece of pop "Yesterday Man" is the distinctly more abrasive, howling rocker "Too Bad You Don't Want Me", which rips up a storm and makes the A-side seem like a limp entrant for "A Song For Europe".  Andrews squawks and screeches his way through a tune about a girl who doesn't want his company, whilst guitars twang merrily along and the groove concocted is entirely infectious.  Andrews wasn't averse to making loud, abrasive noises, and one of his later singles "Hold On" is well worth tracking down for this very reason - but the company "Too Bad" keeps itself in makes it seem like a decidedly pleasant surprise.  That 50p need not have been spent on a chocolate bar after all.

If you're lucky enough to own a copy of The Easybeats' "Friday On My Mind" (which still only seems to retail for around the £5 mark at the cheapest, despite its hit single status) you've already got one of the best pieces of sixties freakbeat there is - on its flip, however, is "Made My Bed Gonna Lie In It", a tune which admittedly fails to top the A-side (few things would) but is a damn good showcase for the band in itself, with Shel Talmy's production sounding spectacularly akin to his work with The Who in this instance.

We could talk forever around this topic, even excluding obvious artists like The Beatles who seldom wasted the space afforded on B-sides.  I could bring up The Kinks "Big Black Smoke", Herman's Hermits' surprisingly garagey "It's Alright" (not on YouTube yet, surprisingly), or any number of obscure artists whose B-sides represented their sound better than their Tin Pan Alley off-the-peg purchased A-sides - but perhaps I'll throw it over to you good readers for more suggestions, if you want to contribute in the comments.  The best thing about these flips is that even if you're rummaging around the record bins in a charity shop or find yourself in a second-hand record store with no bank notes, just loose change, they still give you a ray of hope that you  may walk out with something unexpectedly good.

The Exception - Jack Rabbit

- Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About , Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .



Label: President
Year of Release: 1969

Birmingham based band The Exception are probably best known amongst aficionados of sixties beat for "The Eagle Flies On Friday" (quite unbelievably, there is a clip of The Exception live if you click on the link) an aggressive, snarling piece of work about threatening bosses with baseball bats which appeared on the "Chocolate Soup for Diabetics" compliation.  Their other output remains rather less well explored, and perhaps not without good reason - whilst they were capable of cooking a mean enough groove, not much of their work truly excels.

Their penultimate single "Jack Rabbit" is a neat enough piece of pop, however, which is snappy, to the point and urgent, getting its business over and done with in under two minutes.  For my taste, the B-side "Keep The Motor Running" is preferable as a really neat piece of mellow, bluesy work which manages to be moody and rock and roll in what must have seemed like a very retro way by 1969.  I won't pretend that either side is an essential piece of work, but the sound does pre-empt a lot of early seventies pop, with the flip almost (but not quite) coming close to Mungo Jerry territory.

Members Dave Pegg and Roger Hill later became members of Fairport Convention, with the whereabouts of lead singer Bugsy Eastwood being less well known.

Label: President
Year of Release: 1969

Birmingham based band The Exception are probably best known amongst aficionados of sixties beat for "The Eagle Flies On Friday" (quite unbelievably, there is a clip of The Exception live if you click on the link) an aggressive, snarling piece of work about threatening bosses with baseball bats which appeared on the "Chocolate Soup for Diabetics" compliation.  Their other output remains rather less well explored, and perhaps not without good reason - whilst they were capable of cooking a mean enough groove, not much of their work truly excels.

Their penultimate single "Jack Rabbit" is a neat enough piece of pop, however, which is snappy, to the point and urgent, getting its business over and done with in under two minutes.  For my taste, the B-side "Keep The Motor Running" is preferable as a really neat piece of mellow, bluesy work which manages to be moody and rock and roll in what must have seemed like a very retro way by 1969.  I won't pretend that either side is an essential piece of work, but the sound does pre-empt a lot of early seventies pop, with the flip almost (but not quite) coming close to Mungo Jerry territory.

Members Dave Pegg and Roger Hill later became members of Fairport Convention, with the whereabouts of lead singer Bugsy Eastwood being less well known.

These Animal Men - Speed King

- Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About , Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .



Label: Hi-Rise
Year of Release: 1994

Many years after the event, it feels odd to be talking about These Animal Men.  Odd in a "Did that really happen?" way.  The band smelled suspicious to many right from the very off, launching their career with a series of slogans such as "Never trust a crustie" and "Don't be ashamed of your adolescence", and subsequently ended up seeming like an exercise in hype and branding rather than a proper band.  The sleeve of "Speed King" followed this sensationalism neatly, including an amphetamine wrap (although Pulp would do something similar on "Sorted for Es and Whizz" a couple of years later to much greater effect).

With the benefit of distance, the whole phenomenon does seem a tiny bit silly and dated now (especially the references to speed - honestly, who on earth has seen such a thing recently?) but the band weren't incapable of sounding urgent when they wanted to, which gives everyone an inkling of how the music press hooked on to them.  "Speed King" isn't without charm, and rollicks its way along in such an urgent and aggressive way that you can almost believe the band were under the influence when they recorded it.  The NME tagged the act with the label "New Wave of New Wave" alongside S*M*A*S*H and Echobelly, but only the latter managed to get reassessed as a Britpop act as soon as the phenomenon died its predictable death nine months later, with dire consequences for the other contenders.  Most of their follow-up material was ignored, and is now widely available on iTunes for further investigation if anyone seems tempted by the idea.

Hitless until the end despite a Top of the Pops appearance, and seldom (if ever) referenced in the music press today, These Animal Men are a strange example of how hype can sometimes create a bright and powerful spark without causing the kindle to burn enough to create the flames of an entire career.

Ex-members later went on to form Mo Solid Gold with soul singer KA Hepburn, creating a new and rather more interesting sound.  Despite major label backing, this failed to go much further as well (and may prove another topic for another day).

Label: Hi-Rise
Year of Release: 1994

Many years after the event, it feels odd to be talking about These Animal Men.  Odd in a "Did that really happen?" way.  The band smelled suspicious to many right from the very off, launching their career with a series of slogans such as "Never trust a crustie" and "Don't be ashamed of your adolescence", and subsequently ended up seeming like an exercise in hype and branding rather than a proper band.  The sleeve of "Speed King" followed this sensationalism neatly, including an amphetamine wrap (although Pulp would do something similar on "Sorted for Es and Whizz" a couple of years later to much greater effect).

With the benefit of distance, the whole phenomenon does seem a tiny bit silly and dated now (especially the references to speed - honestly, who on earth has seen such a thing recently?) but the band weren't incapable of sounding urgent when they wanted to, which gives everyone an inkling of how the music press hooked on to them.  "Speed King" isn't without charm, and rollicks its way along in such an urgent and aggressive way that you can almost believe the band were under the influence when they recorded it.  The NME tagged the act with the label "New Wave of New Wave" alongside S*M*A*S*H and Echobelly, but only the latter managed to get reassessed as a Britpop act as soon as the phenomenon died its predictable death nine months later, with dire consequences for the other contenders.  Most of their follow-up material was ignored, and is now widely available on iTunes for further investigation if anyone seems tempted by the idea.

Hitless until the end despite a Top of the Pops appearance, and seldom (if ever) referenced in the music press today, These Animal Men are a strange example of how hype can sometimes create a bright and powerful spark without causing the kindle to burn enough to create the flames of an entire career.

Ex-members later went on to form Mo Solid Gold with soul singer KA Hepburn, creating a new and rather more interesting sound.  Despite major label backing, this failed to go much further as well (and may prove another topic for another day).

Double Feature - Baby Get Your Head Screwed On

- Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About , Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Deram
Year of Release: 1967

Whilst the Madchester/ Baggy revolution of the late eighties and early nineties is widely regarded to be the moment where psychedelia, guitar pop, soul and dance collided, in truth such dabbling around with the audio palette was occurring long before the Stone Roses and Happy Mondays.  There are tons of examples of singles released throughout the late sixties alone which tried to tick as many genre boxes as possible.

Cat Stevens's track "Baby Get Your Head Screwed On", for example, is given a particularly soulful psychedelic rendition here (or should that be psychedelic soulful rendition?) complete with parping horns, proto-Electric Light Orchestra styled string solos, and a gritty, gnashing vocal.  Whilst there's very little doubt that the track is actually quite ahead of its time, it falls just short of being brilliant by dint of the fact that the tune gets rather repetitive once they've set out their stall within the first minute.  There are very few fuzzy, psychedelic records of this era which will tempt you on to the dancefloor in a similar way, however, and for that reason alone it deserves the share of attention it has since had from aficionados.

The flip "Come On Baby" has an insistent groove which isn't dis-similar to The Equals, but again ploughs a similar furrow and fails to progress as much as it perhaps could do across its full two-and-a-half minutes.

Double Feature were a duo consisting of Bill Hall and Brian Lane who hailed from Birmingham, and following the failure of this and the follow-up "Handbags and Gladrags" to make a commercial impression they seemed to fade from view.  If anyone knows what happened after that or if they're up to anything now, please do pass the information on.

Label: Deram
Year of Release: 1967

Whilst the Madchester/ Baggy revolution of the late eighties and early nineties is widely regarded to be the moment where psychedelia, guitar pop, soul and dance collided, in truth such dabbling around with the audio palette was occurring long before the Stone Roses and Happy Mondays.  There are tons of examples of singles released throughout the late sixties alone which tried to tick as many genre boxes as possible.

Cat Stevens's track "Baby Get Your Head Screwed On", for example, is given a particularly soulful psychedelic rendition here (or should that be psychedelic soulful rendition?) complete with parping horns, proto-Electric Light Orchestra styled string solos, and a gritty, gnashing vocal.  Whilst there's very little doubt that the track is actually quite ahead of its time, it falls just short of being brilliant by dint of the fact that the tune gets rather repetitive once they've set out their stall within the first minute.  There are very few fuzzy, psychedelic records of this era which will tempt you on to the dancefloor in a similar way, however, and for that reason alone it deserves the share of attention it has since had from aficionados.

The flip "Come On Baby" has an insistent groove which isn't dis-similar to The Equals, but again ploughs a similar furrow and fails to progress as much as it perhaps could do across its full two-and-a-half minutes.

Double Feature were a duo consisting of Bill Hall and Brian Lane who hailed from Birmingham, and following the failure of this and the follow-up "Handbags and Gladrags" to make a commercial impression they seemed to fade from view.  If anyone knows what happened after that or if they're up to anything now, please do pass the information on.

Rum Do - 12 March

- Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About , Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .



London dwelling readers might be delighted (or horrified) to learn that I've been invited to do a DJ set at the long-running "Rum Do" event at The Castle in Whitechapel on 12 March.  Naturally, I'll be working within the rubric of the evening which tends to be sixties mod pop, Northern Soul and rock and roll, although I'm sure I'll find a way of sneaking in some beat and popsike as well.  

Sadly, this means that anyone expecting to hear hot toe-tapping discs by the likes of Nanette Newman, Bernard Manning, Julian Clary and Big Cherry is going to walk out very disappointed, but I wouldn't suppose that many of you were (and I'm not sure what night you'd go to if you genuinely wanted to hear stuff like that, but if you ever find a venue, please let me know).

Also on the bill are "Dylan Moran's favourite band" The De Selby Codex, Wol and a special secret guest.  The Facebook invite and details can be found here, but just in case you can't access that, the details are:

Rum Do, The Castle, Whitechapel, London, E1 1LN


8:30pm - midnight


Saturday 12 March

Come over and say hello if you make it down.

London dwelling readers might be delighted (or horrified) to learn that I've been invited to do a DJ set at the long-running "Rum Do" event at The Castle in Whitechapel on 12 March.  Naturally, I'll be working within the rubric of the evening which tends to be sixties mod pop, Northern Soul and rock and roll, although I'm sure I'll find a way of sneaking in some beat and popsike as well.  

Sadly, this means that anyone expecting to hear hot toe-tapping discs by the likes of Nanette Newman, Bernard Manning, Julian Clary and Big Cherry is going to walk out very disappointed, but I wouldn't suppose that many of you were (and I'm not sure what night you'd go to if you genuinely wanted to hear stuff like that, but if you ever find a venue, please let me know).

Also on the bill are "Dylan Moran's favourite band" The De Selby Codex, Wol and a special secret guest.  The Facebook invite and details can be found here, but just in case you can't access that, the details are:

Rum Do, The Castle, Whitechapel, London, E1 1LN


8:30pm - midnight


Saturday 12 March

Come over and say hello if you make it down.

Re-upload: Beacon Street Union - Speed Kills/ South End Incident

- Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About , Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .



Label: MGM
Year of Release: 1967

The Boston-based Beacon Street Union were a psychedelic rock band who achieved some moderate and very culty success in America in the late sixties, and pop up on compilations rather less frequently than you'd expect for some baffling reason. They weren't half bad in their arty, hippy-ish ways, as the "Speed Kills" side of this single proves, whose 1:45 two chord rush actually predates some of Wire's more interesting miniatures by a whole decade.

According to other online sources, the band used to enjoy throwing bags of flour around on stage to create a low budget "fog" effect (is this what Fields of the Nephilim were also trying to do, then?) and messed with the audience's ears where expectations of volume were concerned, blasting eardrums out frequently without warning. They had enough of a following to get a few albums out in their career, and they certainly had their fans, but ultimately never achieved much in the USA apart from some very low-rung Top 75 placings.

In Britain it's safe to say they achieved even less, although somebody clearly cared enough to get this single imported - the hole through the middle of the label indicates that this was shipped over rather than purchased on holiday. Perhaps they were a Southend-on-Sea resident who had their own interpretation of the "South End Incident" side, which is drenched in sheer paranoia and foreboding, very much like the Honeycombs "Eyes" track I placed on this blog not too long ago.


(This blog entry was originally posted on 9 October 2008.  Since that time, somebody has left an anonymous comment to suggest that Beacon Street Union only used flour on stage once.  Presumably that's once more than is strictly advisable).  

Label: MGM
Year of Release: 1967

The Boston-based Beacon Street Union were a psychedelic rock band who achieved some moderate and very culty success in America in the late sixties, and pop up on compilations rather less frequently than you'd expect for some baffling reason. They weren't half bad in their arty, hippy-ish ways, as the "Speed Kills" side of this single proves, whose 1:45 two chord rush actually predates some of Wire's more interesting miniatures by a whole decade.

According to other online sources, the band used to enjoy throwing bags of flour around on stage to create a low budget "fog" effect (is this what Fields of the Nephilim were also trying to do, then?) and messed with the audience's ears where expectations of volume were concerned, blasting eardrums out frequently without warning. They had enough of a following to get a few albums out in their career, and they certainly had their fans, but ultimately never achieved much in the USA apart from some very low-rung Top 75 placings.

In Britain it's safe to say they achieved even less, although somebody clearly cared enough to get this single imported - the hole through the middle of the label indicates that this was shipped over rather than purchased on holiday. Perhaps they were a Southend-on-Sea resident who had their own interpretation of the "South End Incident" side, which is drenched in sheer paranoia and foreboding, very much like the Honeycombs "Eyes" track I placed on this blog not too long ago.


(This blog entry was originally posted on 9 October 2008.  Since that time, somebody has left an anonymous comment to suggest that Beacon Street Union only used flour on stage once.  Presumably that's once more than is strictly advisable).  

Second Hand Record Dip Part 70 - Nanette Newman - "Fun Food Factory"

- Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About , Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .



Who: Nanette Newman
What: Fun Food Factory (b/w "Morris (The Studio Mouse)")
Label: B&C
When: 1977
Where: Wood Street Market, Walthamstow, London
Cost: 50p

I have wandered through life oblivious to many things until they've been right under my nose.  I didn't know or believe, for example, that New Zealand truly was a breathtakingly beautiful country until I actually saw it with my own eyes.  I also didn't know that you couldn't really feed dogs bread until I gave a friend's "standard" poodle more than a fair amount then watched as, a mere couple of hours later, he emptied the contents of his stomach all over the front room floor from both orifices.  And I never, ever knew that Nanette Newman (or "The Fairy Liquid lady" as she seems to be known to most) had put a single out.  I'm not sure where that fits in the grand scale of things, but I think it's safe to say it's not an unpleasant discovery - neither as nasty as runny poodle vomit and excrement nor as breathtaking as Kaikoura.

"Fun Food Factory" is the theme tune to a TV show Newman hosted at the time, which involved lots of children getting messy in cookery orientated fun.  According to the TV Cream website, there was a large "danger" sign on the back wall of the studio which would flash whenever the children handled a sharp object such as a knife, to alert the kids to the potential problems such things cause.  I have never seen an episode myself, but the theme is irrepressibly chirpy, and makes a visit to the Fun Food Factory sound like a visit to some neon-coloured corner of Willy Wonka's Chocolate Factory.  "There's something there for you to make/ funny fruit and carrot cake!" the children exclaim, which makes me wonder what they're on about.  "Carrot cake" is, of course, a perfectly ordinary thing to make, but how would one create either bemusing or amusing fruit?  Was Nanette playing God here, growing phallus-shaped future-fruits in the studio with the help of several genetic scientists whilst in desperate search of ratings?    Or was the fruit in question in some way hallucinogenic?  Thank God the woman was stopped after one series and forced to sell magical long-lasting washing up liquid instead.

The B-side "Morris The Studio Mouse" is a woeful ditty about one mouse's failure to get a career in Hollywood, with parts for mice having apparently all but dried up.  There's a weedy, self-pitying tone to the rodent's high pitched squealing which predates Orville by some years, and I'm not crying "Keith Harris is a plagiarist" here - for all I actually know, he may have had some uncredited involvement in this creation - but it all seems a bit too much of a coincidence.  Nanette sounds so despairing and thoughtful throughout that it's hard not to be moved despite the ludicrous nature of the tune and the character.  Interestingly, this particular track was co-written with Mike Vickers, who also worked with Kenny Everett.  Presumably Kenny didn't take up the option on the song first.

Who: Nanette Newman
What: Fun Food Factory (b/w "Morris (The Studio Mouse)")
Label: B&C
When: 1977
Where: Wood Street Market, Walthamstow, London
Cost: 50p

I have wandered through life oblivious to many things until they've been right under my nose.  I didn't know or believe, for example, that New Zealand truly was a breathtakingly beautiful country until I actually saw it with my own eyes.  I also didn't know that you couldn't really feed dogs bread until I gave a friend's "standard" poodle more than a fair amount then watched as, a mere couple of hours later, he emptied the contents of his stomach all over the front room floor from both orifices.  And I never, ever knew that Nanette Newman (or "The Fairy Liquid lady" as she seems to be known to most) had put a single out.  I'm not sure where that fits in the grand scale of things, but I think it's safe to say it's not an unpleasant discovery - neither as nasty as runny poodle vomit and excrement nor as breathtaking as Kaikoura.

"Fun Food Factory" is the theme tune to a TV show Newman hosted at the time, which involved lots of children getting messy in cookery orientated fun.  According to the TV Cream website, there was a large "danger" sign on the back wall of the studio which would flash whenever the children handled a sharp object such as a knife, to alert the kids to the potential problems such things cause.  I have never seen an episode myself, but the theme is irrepressibly chirpy, and makes a visit to the Fun Food Factory sound like a visit to some neon-coloured corner of Willy Wonka's Chocolate Factory.  "There's something there for you to make/ funny fruit and carrot cake!" the children exclaim, which makes me wonder what they're on about.  "Carrot cake" is, of course, a perfectly ordinary thing to make, but how would one create either bemusing or amusing fruit?  Was Nanette playing God here, growing phallus-shaped future-fruits in the studio with the help of several genetic scientists whilst in desperate search of ratings?    Or was the fruit in question in some way hallucinogenic?  Thank God the woman was stopped after one series and forced to sell magical long-lasting washing up liquid instead.

The B-side "Morris The Studio Mouse" is a woeful ditty about one mouse's failure to get a career in Hollywood, with parts for mice having apparently all but dried up.  There's a weedy, self-pitying tone to the rodent's high pitched squealing which predates Orville by some years, and I'm not crying "Keith Harris is a plagiarist" here - for all I actually know, he may have had some uncredited involvement in this creation - but it all seems a bit too much of a coincidence.  Nanette sounds so despairing and thoughtful throughout that it's hard not to be moved despite the ludicrous nature of the tune and the character.  Interestingly, this particular track was co-written with Mike Vickers, who also worked with Kenny Everett.  Presumably Kenny didn't take up the option on the song first.