Bill Kenwright - Tiggy/ House That Fell On Its Face

- 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: 1969

Bill Kenwright CBE is a man who has beavered away for many decades in entertainment, a name as likely to pop up in the background as well as the foreground of popular culture. During the late sixties just before this single was issued, he was busy playing the Coronation Street character Gordon Clegg, who ended up being woven in and out of the soap's plots over the next few years whenever the man's availability would allow. Prior to that - and perhaps unbeknownst to many viewers - he had a moderately successful singing career in the clubs and a number of singles were issued.

To say "Tiggy" is an unexpectedly epic example of his work would be an understatement. It starts with an urgent morse code riff, flows neatly into an urgent sounding verse then an epic, steamrollering chorus - like "Eloise", the track tries to slap you into submission, with all the fire alarms activating and water jetting down from the emergency sprinkler system. Whoever "Tiggy" was, Kenwright was manically keen to get her attention, though I'd personally have been a little afraid; but nobody can deny the overpowering first impression the track makes. It's a testament to producer Eddie Tre-Vett's usual skills in creating a powerful yet considered racket when needed, and it's somewhat surprising this didn't manage to at least become a minor hit.

The B-side "The House That Fell On Its Face" is also of interest to aficionados of popsike, being penned by producer Eddie Tre-Vett's boy wonder John Pantry. In total contrast to the A-side, it's one of Pantry's delicate, mournful pieces about a disintegrated relationship, closer to "Glasshouse Green Splinter Red" than anything by The Factory. Kenwright appears to be doing an impersonation of Pantry's vocal style throughout, suggesting that it may have been quickly recorded after hearing a rough demo.

Kenwright is yet another one of the lucky sods on "Left and to the Back" whose career we really don't have to examine too closely in terms of what might have been. He became a producer of many successful West End musicals (notably "Blood Brothers" and "Scrooge - The Musical" as well as the "Joseph and his Technicolour Dreamcoat" tour) and is the present Chair of Everton football club. Besides that, he runs his own record label (Kenwright Records), and is married to actress Jenny Seagrove. Having achieved more in one lifetime than most people could deem possible, I doubt he's much bothered about "Tiggy" failing to chart in 1969.

Label: MGM

Year of Release: 1969

Bill Kenwright CBE is a man who has beavered away for many decades in entertainment, a name as likely to pop up in the background as well as the foreground of popular culture. During the late sixties just before this single was issued, he was busy playing the Coronation Street character Gordon Clegg, who ended up being woven in and out of the soap's plots over the next few years whenever the man's availability would allow. Prior to that - and perhaps unbeknownst to many viewers - he had a moderately successful singing career in the clubs and a number of singles were issued.

To say "Tiggy" is an unexpectedly epic example of his work would be an understatement. It starts with an urgent morse code riff, flows neatly into an urgent sounding verse then an epic, steamrollering chorus - like "Eloise", the track tries to slap you into submission, with all the fire alarms activating and water jetting down from the emergency sprinkler system. Whoever "Tiggy" was, Kenwright was manically keen to get her attention, though I'd personally have been a little afraid; but nobody can deny the overpowering first impression the track makes. It's a testament to producer Eddie Tre-Vett's usual skills in creating a powerful yet considered racket when needed, and it's somewhat surprising this didn't manage to at least become a minor hit.

The B-side "The House That Fell On Its Face" is also of interest to aficionados of popsike, being penned by producer Eddie Tre-Vett's boy wonder John Pantry. In total contrast to the A-side, it's one of Pantry's delicate, mournful pieces about a disintegrated relationship, closer to "Glasshouse Green Splinter Red" than anything by The Factory. Kenwright appears to be doing an impersonation of Pantry's vocal style throughout, suggesting that it may have been quickly recorded after hearing a rough demo.

Kenwright is yet another one of the lucky sods on "Left and to the Back" whose career we really don't have to examine too closely in terms of what might have been. He became a producer of many successful West End musicals (notably "Blood Brothers" and "Scrooge - The Musical" as well as the "Joseph and his Technicolour Dreamcoat" tour) and is the present Chair of Everton football club. Besides that, he runs his own record label (Kenwright Records), and is married to actress Jenny Seagrove. Having achieved more in one lifetime than most people could deem possible, I doubt he's much bothered about "Tiggy" failing to chart in 1969.

Reluctant Stereotypes - Confused Action/ School Life

- 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: WEA

Year of Release: 1980

Coventry's ska scene was big news by 1980, with The Specials and the Two Tone label propelling many records towards the charts and Top of the Pops slots. As always, for every winner there had be at least a few losers, and indeed The Reluctant Stereotypes, despite their major label deal and sharp looks, tend to be tipp-exed out of most written histories of the revival.

A quick spin of "Confused Action" hints towards why they might have sidelined. While most of the popular output of the time had grit and edge and rattled along at a breakneck pace, this single ebbs and flows smoothly, topped off with clean, sweet and considered vocals. Nonetheless, despite this it's an enjoyable record and - even if it doesn't sound like a top ten hit - has more than enough charm to see it through.

The B-side is much more curious. "School Life" muses on the usual obstacles of a schoolboy's existence, but ends on some rather Derek and Clive-esque musings on peadophile schoolteachers. One to file away carefully in the "You probably couldn't get away with it nowadays" box.

While the Reluctant Stereotypes never managed a hit, Paul Sampson later went on to join Coventry indie stars The Primitives while Paul King went on to form the flamboyant 80s pop band King, who were an inescapable proposition in 1985. There's a huge article in the Coventry Telegraph about the Reluctant Stereotypes which reveals a lot more about their music and their history - if only local London newspapers bothered to go into such detail about the city's musical heritage…

Label: WEA

Year of Release: 1980

Coventry's ska scene was big news by 1980, with The Specials and the Two Tone label propelling many records towards the charts and Top of the Pops slots. As always, for every winner there had be at least a few losers, and indeed The Reluctant Stereotypes, despite their major label deal and sharp looks, tend to be tipp-exed out of most written histories of the revival.

A quick spin of "Confused Action" hints towards why they might have sidelined. While most of the popular output of the time had grit and edge and rattled along at a breakneck pace, this single ebbs and flows smoothly, topped off with clean, sweet and considered vocals. Nonetheless, despite this it's an enjoyable record and - even if it doesn't sound like a top ten hit - has more than enough charm to see it through.

The B-side is much more curious. "School Life" muses on the usual obstacles of a schoolboy's existence, but ends on some rather Derek and Clive-esque musings on peadophile schoolteachers. One to file away carefully in the "You probably couldn't get away with it nowadays" box.

While the Reluctant Stereotypes never managed a hit, Paul Sampson later went on to join Coventry indie stars The Primitives while Paul King went on to form the flamboyant 80s pop band King, who were an inescapable proposition in 1985. There's a huge article in the Coventry Telegraph about the Reluctant Stereotypes which reveals a lot more about their music and their history - if only local London newspapers bothered to go into such detail about the city's musical heritage…

Epic Splendor - A Little Rain Must Fall/ Cowboys and Indians

- 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: Hot Biscuit Disc Company

Year of Release: 1967

The Epic Splendor were formed from the ashes of the New York based act Little Bits of Sound, and we've already covered their excellent and supremely under-rated single "It Could Be Wonderful" elsewhere on this blog. They were signed to the short-lived (and million dollar funded) US Capitol subsidiary Hot Biscuit and this was the first single the label issued.

"A Little Rain Must Fall" is generally treated with either huge enthusiasm or shrugging indifference by a lot of collectors these days, being regarded as a lost Northern Soul floor-filler by some commenters, or a slice of summery, breezy bubblegum by others. For my money, it's a beautiful, life-affirming little disc and I'd actually spent the last few years looking for a copy at a reasonable price. The lyrics are filled with gentle picture poster philosophy, filled to the brim with observations about how a "little rain must fall" before we get to enjoy the sunshine, but it's delivered with such spring and zest, and such an uptempo light soul arrangement, that it does indeed mirror the heartbreak and the passion necessary for a top northern soul spin. Its slightly gentle production may doom it for some in this respect, though - I can fully understand how it won't (and doesn't) win the rubber stamp of approval from everyone.

The B-side "Cowboys and Indians", on the other hand, is sneery outsider psychedelic pop about the marginalised life of a man with an alternative lifestyle, at total odds with the top side. "I suppose the way I live would blow people's brains/ but then the way they live has always blown mine" sneers the vocalist, bringing back images of an "Easy Rider" character on the dusty highway. 

Whatever you expect from sixties music, either the A-side or the B-side is bound to be a winner for you. 

Aside from this and "It Could Be Wonderful", there were no other releases from the Epic Splendor. "A Little Rain Must Fall" started out seeming like a likely hit, but in the end only managed to climb to number 87 in the Billboard Chart. An injustice, but the late sixties were flooded with so many astonishing records that it was far from the only one. 

Label: Hot Biscuit Disc Company

Year of Release: 1967

The Epic Splendor were formed from the ashes of the New York based act Little Bits of Sound, and we've already covered their excellent and supremely under-rated single "It Could Be Wonderful" elsewhere on this blog. They were signed to the short-lived (and million dollar funded) US Capitol subsidiary Hot Biscuit and this was the first single the label issued.

"A Little Rain Must Fall" is generally treated with either huge enthusiasm or shrugging indifference by a lot of collectors these days, being regarded as a lost Northern Soul floor-filler by some commenters, or a slice of summery, breezy bubblegum by others. For my money, it's a beautiful, life-affirming little disc and I'd actually spent the last few years looking for a copy at a reasonable price. The lyrics are filled with gentle picture poster philosophy, filled to the brim with observations about how a "little rain must fall" before we get to enjoy the sunshine, but it's delivered with such spring and zest, and such an uptempo light soul arrangement, that it does indeed mirror the heartbreak and the passion necessary for a top northern soul spin. Its slightly gentle production may doom it for some in this respect, though - I can fully understand how it won't (and doesn't) win the rubber stamp of approval from everyone.

The B-side "Cowboys and Indians", on the other hand, is sneery outsider psychedelic pop about the marginalised life of a man with an alternative lifestyle, at total odds with the top side. "I suppose the way I live would blow people's brains/ but then the way they live has always blown mine" sneers the vocalist, bringing back images of an "Easy Rider" character on the dusty highway. 

Whatever you expect from sixties music, either the A-side or the B-side is bound to be a winner for you. 

Aside from this and "It Could Be Wonderful", there were no other releases from the Epic Splendor. "A Little Rain Must Fall" started out seeming like a likely hit, but in the end only managed to climb to number 87 in the Billboard Chart. An injustice, but the late sixties were flooded with so many astonishing records that it was far from the only one. 

The Colours - The Dance/ Sinking

- 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: Loco

Year of Release: 1983

While the early eighties are generally remembered as being a time of enormous musical progress - be that through groundbreaking developments in synthesised sound, increased glossy production values, or the more interesting ideas in prog getting absorbed into the more commercial strain of New Pop - it was also a time of enormous revivalism or adaptions of pre-existing sounds. And certainly, out there in indie-land, it was considerably easier for a band with basic, stripped back ideas to get the sound they wanted out into the shops than for an act with aspirations towards the big, expensive Trevor Horn sound. Away from the Woolworths racks, the basic guitar pop sound often reigned. 

The Colours, then, hailed from Newport and were one of many, many bands during the period to clearly be inspired by the sharp, snappy immediacy of the mod revival sounds going on around them. "The Dance" is actually a very smart example, too, having a kicking edge to it that all the best examples of that period did as well as a highly memorable chorus. Their restricted studio budget may even have actually helped keep a necessary roughness to this. There's a firm Dexys edge here, as well as a confident, aggressive swagger. 

This was their only single, and it's very tricky to find any details about their full line-up. However, apparently the Parfitt in the "Parfitt-Rose" songwriting credit is Richard Parfitt who went on to join the moderately successful The Truth, leading to The Colours demise. Perhaps more notably, he was also a founding member of cult nineties indie band 60ft Dolls, and once they split became a session musician and songwriter, both performing for and penning numerous tracks for fellow Welsh popstar Duffy. In fact, Duffy credits Parfitt with discovering her and "changing her life". 

This really isn't the usual "Left and to the Back" sob story, then, and if this record hasn't really been re-released anywhere since it's possibly because one of its main writers has bigger fish to fry. Still though, I like it a great deal and I think it deserves more attention than it's had. Somewhere amidst the brass and bounce you can actually hear a slight 60ft Dolls element as well, I swear. No bad thing. 

Label: Loco

Year of Release: 1983

While the early eighties are generally remembered as being a time of enormous musical progress - be that through groundbreaking developments in synthesised sound, increased glossy production values, or the more interesting ideas in prog getting absorbed into the more commercial strain of New Pop - it was also a time of enormous revivalism or adaptions of pre-existing sounds. And certainly, out there in indie-land, it was considerably easier for a band with basic, stripped back ideas to get the sound they wanted out into the shops than for an act with aspirations towards the big, expensive Trevor Horn sound. Away from the Woolworths racks, the basic guitar pop sound often reigned. 

The Colours, then, hailed from Newport and were one of many, many bands during the period to clearly be inspired by the sharp, snappy immediacy of the mod revival sounds going on around them. "The Dance" is actually a very smart example, too, having a kicking edge to it that all the best examples of that period did as well as a highly memorable chorus. Their restricted studio budget may even have actually helped keep a necessary roughness to this. There's a firm Dexys edge here, as well as a confident, aggressive swagger. 

This was their only single, and it's very tricky to find any details about their full line-up. However, apparently the Parfitt in the "Parfitt-Rose" songwriting credit is Richard Parfitt who went on to join the moderately successful The Truth, leading to The Colours demise. Perhaps more notably, he was also a founding member of cult nineties indie band 60ft Dolls, and once they split became a session musician and songwriter, both performing for and penning numerous tracks for fellow Welsh popstar Duffy. In fact, Duffy credits Parfitt with discovering her and "changing her life". 

This really isn't the usual "Left and to the Back" sob story, then, and if this record hasn't really been re-released anywhere since it's possibly because one of its main writers has bigger fish to fry. Still though, I like it a great deal and I think it deserves more attention than it's had. Somewhere amidst the brass and bounce you can actually hear a slight 60ft Dolls element as well, I swear. No bad thing. 

Reupload - John Bryant - A Million Miles Away/ It's Dark

- 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: Fontana
Year of Release: 1967

This, seemingly, is one of the rarest records in my collection. We've had these discussions before, of course - rare does not necessarily equal "valuable" or even collectible, so this in itself isn't a terribly impressive statement. On many occasions I have placed this single in the pile to go to the charity shop only to remove it and return it to the box from whence it came, purely because it's the only copy of it I've ever seen and to just brutally discard it in an unsentimental fashion runs against every instinct I have, however downright daft those instincts may be.

I have other sentimental reasons besides. This record was originally a joke gift to my father from a friend of his. Given that my Dad's name is John Bryant, he thought it would be highly amusing to ask why he'd hidden his talents for so long. The single became a family joke for a long time after that, with my Dad winding me up as a gullible five-year old by declaring to me, with apparent sincerity, that it was him singing. This felt astonishing to me. I loved records as much then as I do now, and the "fact" that my Dad had once released one made him almost superhuman in my eyes and I spun it on our chunky old record player (complete with sliding cabinet doors) on many occasions. Later being informed that I was, in fact, the victim of a cruel hoax was probably the first lesson in the long chain of life lessons we have to endure to eventually realise that our parents are not Godlike creatures after all - neither faultless nor all-knowing nor flop Fontana recording artists. Maybe the seeds of this blog were actually born the very day I was told the truth. Only a shrink could confirm that one.

Nonetheless, I rescued this record from a box of unwanted vinyl my parents were going to give to a charity shop in the nineties, and it's stayed in my collection ever since... and then I was slightly shocked to learn that a copy of it sold on ebay recently for £162. Apparently collectors of the Fontana label have huge trouble tracking this one down, and it's a sought-after release for that reason alone.

As for what it's actually like, back in September 2008 when I originally uploaded this record, I wrote the following:

"Even though I don't actually think this single is a masterpiece, it's the only release that's ever caused my entire family (rather than just me) to collectively puzzle and ponder about the whereabouts of the artist, and wonder if he possibly might be a distant relative. A quick google search and scour around some sixties sites reveals that John Bryant had three singles out on Fontana in the sixties, and one on MCA entitled "I Bring the Sun" which the "Happening 45" online store says is "Psychedelic pop manna from heaven, with mellotron, wah wah and tripped out daydream lyrics."

"A Million Miles Away", on the other hand, is most definitely not psychedelic. John Bryant sounds rather like one of the many folk singer-songwriters of the period who got rushed into major label studios to have an orchestra bunged behind their compositions, and I'll be frank, this really isn't anything much to flip your wig about. It's a perfectly pleasant three minutes, with his rich, deep voice musing upon the pleasures of solitude on the harbour, but anyone expecting a find on a par with Bill Fay is going to be sorely disappointed. The flip side "It's Dark" is rather more bouncy and perhaps more interesting, but there's not much in the contest."

John Bryant - now largely known as John D Bryant - came forward from the shadows and pointed me in the direction of his website, where more songs can be found as well as his other media projects. He seems to be something of an entertainment industry mover and shaker these days.

Anyone wanting to buy "A Million Miles Away" from me - and it is slightly scuffed due to my enthusiasm as a small child, as you can hear - you might have to wait. I'm not that interested in selling it yet, but I am about to embark on a very expensive house move, so who knows how I'll feel in the next few months…

Label: Fontana
Year of Release: 1967

This, seemingly, is one of the rarest records in my collection. We've had these discussions before, of course - rare does not necessarily equal "valuable" or even collectible, so this in itself isn't a terribly impressive statement. On many occasions I have placed this single in the pile to go to the charity shop only to remove it and return it to the box from whence it came, purely because it's the only copy of it I've ever seen and to just brutally discard it in an unsentimental fashion runs against every instinct I have, however downright daft those instincts may be.

I have other sentimental reasons besides. This record was originally a joke gift to my father from a friend of his. Given that my Dad's name is John Bryant, he thought it would be highly amusing to ask why he'd hidden his talents for so long. The single became a family joke for a long time after that, with my Dad winding me up as a gullible five-year old by declaring to me, with apparent sincerity, that it was him singing. This felt astonishing to me. I loved records as much then as I do now, and the "fact" that my Dad had once released one made him almost superhuman in my eyes and I spun it on our chunky old record player (complete with sliding cabinet doors) on many occasions. Later being informed that I was, in fact, the victim of a cruel hoax was probably the first lesson in the long chain of life lessons we have to endure to eventually realise that our parents are not Godlike creatures after all - neither faultless nor all-knowing nor flop Fontana recording artists. Maybe the seeds of this blog were actually born the very day I was told the truth. Only a shrink could confirm that one.

Nonetheless, I rescued this record from a box of unwanted vinyl my parents were going to give to a charity shop in the nineties, and it's stayed in my collection ever since... and then I was slightly shocked to learn that a copy of it sold on ebay recently for £162. Apparently collectors of the Fontana label have huge trouble tracking this one down, and it's a sought-after release for that reason alone.

As for what it's actually like, back in September 2008 when I originally uploaded this record, I wrote the following:

"Even though I don't actually think this single is a masterpiece, it's the only release that's ever caused my entire family (rather than just me) to collectively puzzle and ponder about the whereabouts of the artist, and wonder if he possibly might be a distant relative. A quick google search and scour around some sixties sites reveals that John Bryant had three singles out on Fontana in the sixties, and one on MCA entitled "I Bring the Sun" which the "Happening 45" online store says is "Psychedelic pop manna from heaven, with mellotron, wah wah and tripped out daydream lyrics."

"A Million Miles Away", on the other hand, is most definitely not psychedelic. John Bryant sounds rather like one of the many folk singer-songwriters of the period who got rushed into major label studios to have an orchestra bunged behind their compositions, and I'll be frank, this really isn't anything much to flip your wig about. It's a perfectly pleasant three minutes, with his rich, deep voice musing upon the pleasures of solitude on the harbour, but anyone expecting a find on a par with Bill Fay is going to be sorely disappointed. The flip side "It's Dark" is rather more bouncy and perhaps more interesting, but there's not much in the contest."

John Bryant - now largely known as John D Bryant - came forward from the shadows and pointed me in the direction of his website, where more songs can be found as well as his other media projects. He seems to be something of an entertainment industry mover and shaker these days.

Anyone wanting to buy "A Million Miles Away" from me - and it is slightly scuffed due to my enthusiasm as a small child, as you can hear - you might have to wait. I'm not that interested in selling it yet, but I am about to embark on a very expensive house move, so who knows how I'll feel in the next few months…

Dave Travis - Angela Jones/ Alberta

- 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: Spark

Year of Release: 1975

Yes, I know. We all want this to be a cover version of "Angela Jones" performed by ex-Radio One DJ Dave Lee Travis. You do, I do… everyone wants to get stuck in to the absurdity of that particular scenario. Sadly, though, that's not who this record is by. Rather, Dave Travis was (is?) a versatile British guitarist and singer who has sessioned for a wide variety of rockabilly artists including Charlie Feathers and Buddy Knox. 

Despite the lack of novelty factor, this version of "Angela Jones" is OK, taking a lot of its cues from the Joe Meek produced minor sixties hit for Michael Cox and adding little new apart from Travis's much more confident, deeper and more rounded vocal. Why it was seen as a cover version which might be ripe for the mid-seventies market is anyone's guess, but clearly it wasn't as it totally failed to chart despite the forest of naffness that surrounded it in the British music scene at that time. 

Dave Travis released a few other singles on Spark and continued to gig and play and release albums until well into the late eighties. A popular live draw on the rockabilly revival circuit at that time, unfortunately his present whereabouts aren't clear to me - but it wouldn't surprise me at all to be informed that he's still going strong. 

Label: Spark

Year of Release: 1975

Yes, I know. We all want this to be a cover version of "Angela Jones" performed by ex-Radio One DJ Dave Lee Travis. You do, I do… everyone wants to get stuck in to the absurdity of that particular scenario. Sadly, though, that's not who this record is by. Rather, Dave Travis was (is?) a versatile British guitarist and singer who has sessioned for a wide variety of rockabilly artists including Charlie Feathers and Buddy Knox. 

Despite the lack of novelty factor, this version of "Angela Jones" is OK, taking a lot of its cues from the Joe Meek produced minor sixties hit for Michael Cox and adding little new apart from Travis's much more confident, deeper and more rounded vocal. Why it was seen as a cover version which might be ripe for the mid-seventies market is anyone's guess, but clearly it wasn't as it totally failed to chart despite the forest of naffness that surrounded it in the British music scene at that time. 

Dave Travis released a few other singles on Spark and continued to gig and play and release albums until well into the late eighties. A popular live draw on the rockabilly revival circuit at that time, unfortunately his present whereabouts aren't clear to me - but it wouldn't surprise me at all to be informed that he's still going strong. 

Panic - She's Not There/ Ticket To The Tropics

- 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: PRT

Year of Release: 1982

I recently went on an experimental binge-buy of obscure eighties synth-pop singles. There are some good reasons behind this - firstly, when the genre hit its highs, it really produced some absolutely corking singles (some readers of this blog may not agree with that sentiment, but I grew up at just the right time to find it truly other-worldly. These days, of course, it just sounds like fantastic pop when done correctly). Secondly, I'm in the process of trying to buy a house and it's probably one of the cheapest vintage genres to buy for the cash-strapped record collector, occupying the same kind of budget slot that obscure glam rock records held in the nineties. You can pick all sorts of interesting tracks up for a mere 99p.

Take this version of The Zombies "She's Not There" for example. Synth-pop versions of classic sixties records were none too unusual - we've already had "Summer In The City" and "Day Tripper" on this blog - but this one takes the original and utterly remodels it, noting the extreme eeriness of the sixties version and turning into an icy futuristic blast. Some people will consider it to be sacrilege, but it's definitely an interesting piece of work, and certainly not a lazy cover. The Dub Version on the B-side in particular takes matters forward and creates a spacey, atmospheric and largely instrumental piece of work which moves so far from the beat blueprint that you'd almost struggle to identify it.

(Entry continues beneath the sound files).

Label: PRT

Year of Release: 1983

Panic's follow-up single "Ticket To The Tropics" was an original group composition, and is a fatter, fuller piece of work, dropping the cold minimalism and padding itself out into sophisticated eighties pop. Again, though, the remix on the flip side takes the track into more interesting directions, adding echo, and a doomy atmosphere. Panic really seemed to excel at mysterious soundscapes if these two singles are anything to go by.

Unfortunately, anyone wondering who they were isn't going to find any answers from me. I have no bloody clue. 45cat didn't even have these singles listed on their usually ridiculously comprehensive website (I've remedied that) and the rest of the Internet isn't helping me out much either. The fact that Panic is a horrible name for the purposes of Google is also hindering me. If you know more, please do drop me a line.

Label: PRT

Year of Release: 1982

I recently went on an experimental binge-buy of obscure eighties synth-pop singles. There are some good reasons behind this - firstly, when the genre hit its highs, it really produced some absolutely corking singles (some readers of this blog may not agree with that sentiment, but I grew up at just the right time to find it truly other-worldly. These days, of course, it just sounds like fantastic pop when done correctly). Secondly, I'm in the process of trying to buy a house and it's probably one of the cheapest vintage genres to buy for the cash-strapped record collector, occupying the same kind of budget slot that obscure glam rock records held in the nineties. You can pick all sorts of interesting tracks up for a mere 99p.

Take this version of The Zombies "She's Not There" for example. Synth-pop versions of classic sixties records were none too unusual - we've already had "Summer In The City" and "Day Tripper" on this blog - but this one takes the original and utterly remodels it, noting the extreme eeriness of the sixties version and turning into an icy futuristic blast. Some people will consider it to be sacrilege, but it's definitely an interesting piece of work, and certainly not a lazy cover. The Dub Version on the B-side in particular takes matters forward and creates a spacey, atmospheric and largely instrumental piece of work which moves so far from the beat blueprint that you'd almost struggle to identify it.

(Entry continues beneath the sound files).

Label: PRT

Year of Release: 1983

Panic's follow-up single "Ticket To The Tropics" was an original group composition, and is a fatter, fuller piece of work, dropping the cold minimalism and padding itself out into sophisticated eighties pop. Again, though, the remix on the flip side takes the track into more interesting directions, adding echo, and a doomy atmosphere. Panic really seemed to excel at mysterious soundscapes if these two singles are anything to go by.

Unfortunately, anyone wondering who they were isn't going to find any answers from me. I have no bloody clue. 45cat didn't even have these singles listed on their usually ridiculously comprehensive website (I've remedied that) and the rest of the Internet isn't helping me out much either. The fact that Panic is a horrible name for the purposes of Google is also hindering me. If you know more, please do drop me a line.