Reupload - London Pleasures - Summer of Love/ London Pleasures

- 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: Paperback
Year of Release: 1982

This one has been stuck in my "to upload" pile ever since I started this blog, but I've never got around to it purely because... well... the strength of feeling was never quite there, I must be honest. Despite the fact that this single has been listed on several collector's sites (and record stores) for rather ambitious sums of money, I've never quite understood what anybody might be seeing in it beyond the fact that it's yet another reasonable early indie single with a limited pressing.

The London Pleasures were indeed a London-based band (despite this coming out on a Peterborough based record label) who consisted of Mark Wragg on guitar, Brian Thorpe on Bass, Paul Addie on Drums and Phil Brammer on guitar and vocals. Judging from the two sides presented here, their particular schtick was a slightly new wave styled noise with sixties influences tacked on. Like a great many bands of their ilk, however, they were cursed with ultra-cheap production values which mean that neither track seems to rise much above demo tape quality, and frequently doesn't even hit the highs of the decade eighties recording technology was supposed to supersede. By the time the messy, noisy basics of punk had faded away, the DIY approach of many a bedroom indie label was left looking rather exposed when bands tried to record more complicated material.

Still, there's some nice ideas going on throughout the disc, and a sense that if they'd been given a bigger budget to play with and further releases, something more striking might have come out of the London Pleasures camp. Their theme tune "London Pleasures" is timeless lyrically at least (as well as being the stronger side), bemoaning the impossibility of anybody young actually living a swinging life in the hostile capital, whilst "Summer of Love" apes psychedelia and marries it with a fat, beefy bassline, a pleasing riff, and more lyrics protesting about the fact that the eighties were basically the evil yin to the sixties yang. There's also a gentle groove going on here which would probably have pleased Edwyn Collins and his Orange Juice cohorts more than the numerous piss-poor Postcard copyists who littered the indie scene for years afterwards. 

Sadly, nobody rushed forward to finance any further releases, and this seems to be the sole offering from the band. Paperback Records apparently released one other single by another act before giving up too (although the Internet doesn't seem to have any data as to who this was by) and what we're left with is a whole bunch of guesswork about both the band and label. Still, don't go off and pay fifteen quid for this, for God's sake, just download it below. 


(So why reupload it then, you may ask, given that you said the above on 10 April 2009?  Well, purely and simply due to the fact that a couple of people felt that this was a perfectly good example of early eighties indie with elements of psychedelia that acts on Creation would adopt a few years later, and that my original assessment above was downright harsh.  So here it is again, being given a bit more of a fighting chance).  

Label: Paperback
Year of Release: 1982

This one has been stuck in my "to upload" pile ever since I started this blog, but I've never got around to it purely because... well... the strength of feeling was never quite there, I must be honest. Despite the fact that this single has been listed on several collector's sites (and record stores) for rather ambitious sums of money, I've never quite understood what anybody might be seeing in it beyond the fact that it's yet another reasonable early indie single with a limited pressing.

The London Pleasures were indeed a London-based band (despite this coming out on a Peterborough based record label) who consisted of Mark Wragg on guitar, Brian Thorpe on Bass, Paul Addie on Drums and Phil Brammer on guitar and vocals. Judging from the two sides presented here, their particular schtick was a slightly new wave styled noise with sixties influences tacked on. Like a great many bands of their ilk, however, they were cursed with ultra-cheap production values which mean that neither track seems to rise much above demo tape quality, and frequently doesn't even hit the highs of the decade eighties recording technology was supposed to supersede. By the time the messy, noisy basics of punk had faded away, the DIY approach of many a bedroom indie label was left looking rather exposed when bands tried to record more complicated material.

Still, there's some nice ideas going on throughout the disc, and a sense that if they'd been given a bigger budget to play with and further releases, something more striking might have come out of the London Pleasures camp. Their theme tune "London Pleasures" is timeless lyrically at least (as well as being the stronger side), bemoaning the impossibility of anybody young actually living a swinging life in the hostile capital, whilst "Summer of Love" apes psychedelia and marries it with a fat, beefy bassline, a pleasing riff, and more lyrics protesting about the fact that the eighties were basically the evil yin to the sixties yang. There's also a gentle groove going on here which would probably have pleased Edwyn Collins and his Orange Juice cohorts more than the numerous piss-poor Postcard copyists who littered the indie scene for years afterwards. 

Sadly, nobody rushed forward to finance any further releases, and this seems to be the sole offering from the band. Paperback Records apparently released one other single by another act before giving up too (although the Internet doesn't seem to have any data as to who this was by) and what we're left with is a whole bunch of guesswork about both the band and label. Still, don't go off and pay fifteen quid for this, for God's sake, just download it below. 


(So why reupload it then, you may ask, given that you said the above on 10 April 2009?  Well, purely and simply due to the fact that a couple of people felt that this was a perfectly good example of early eighties indie with elements of psychedelia that acts on Creation would adopt a few years later, and that my original assessment above was downright harsh.  So here it is again, being given a bit more of a fighting chance).  

Black Velvet - Clown/ Peace and Love Is The Message

- 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: Beacon
Year of Release: 1969

Right at the start of this year I uploaded a couple of Black Velvet singles - including the astounding "African Velvet" - and announced that I'd drawn a total blank on the band.  I asked for more information, but the only answer I've received so far is from the DJ Pete Jennings who declared them to be a brilliant live act.  Nobody else came forward, and thus they remain an elusive act despite the fact that a number of records of theirs were issued.

This particular one is perhaps the most unusual of them all.  The A-side "Peace and Love Is The Message" is a decent enough slab of hippy-infused soul, the type of which was cropping up regularly towards the tail end of the decade.  It's the flip which is beginning to attract attention for its warped and peculiar tones, however.  "Clown" is a shimmering, discordant piece of psychedelia with demonic laughter, swirling organs, out-of-tune whistling, and descriptions of a "happy, smiling" clown I never want to meet in my life.  Chipper and cheerful in the way that Alexei Sayle was in the introductory sequence for his "Merry Go Round" series, "Clown" is black-streaked psych with a smile on its chops and evil in its heart, more Papa Lazarou than Ronald McDonald (although it's a fine line).

And come on, somebody out there must know who this lot were and what became of them.

Label: Beacon
Year of Release: 1969

Right at the start of this year I uploaded a couple of Black Velvet singles - including the astounding "African Velvet" - and announced that I'd drawn a total blank on the band.  I asked for more information, but the only answer I've received so far is from the DJ Pete Jennings who declared them to be a brilliant live act.  Nobody else came forward, and thus they remain an elusive act despite the fact that a number of records of theirs were issued.

This particular one is perhaps the most unusual of them all.  The A-side "Peace and Love Is The Message" is a decent enough slab of hippy-infused soul, the type of which was cropping up regularly towards the tail end of the decade.  It's the flip which is beginning to attract attention for its warped and peculiar tones, however.  "Clown" is a shimmering, discordant piece of psychedelia with demonic laughter, swirling organs, out-of-tune whistling, and descriptions of a "happy, smiling" clown I never want to meet in my life.  Chipper and cheerful in the way that Alexei Sayle was in the introductory sequence for his "Merry Go Round" series, "Clown" is black-streaked psych with a smile on its chops and evil in its heart, more Papa Lazarou than Ronald McDonald (although it's a fine line).

And come on, somebody out there must know who this lot were and what became of them.

Medium Wave Band - Radio

- 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: 1974

The hiss and crackle of the BBC Light Programme through a Bakelite radio set, the treble-heavy brass and string sounds, the light-hearted, humorous lyrics about far-flung colonial outposts... the pop music of the early part of the twentieth century may seem to have been revived relatively infrequently, but there have been patches of activity here and there.  The Bonzo Dog Band are the most obvious example if we're naming revivalists, but the classic pre-45 rpm pop obsessions of Tiny Tim, the New Vaudeville Band, The Pasadena Roof Orchestra, and even odd rogue examples like Sting's "Spread a Little Happiness" have all echoed that era.  And if you really thought it was safe to avoid now, a new craze for Shellac Discos is sweeping London, where the DJs play only 78s.  The old music hall and showtime world is, for all its seeming irrelevance, fairly irrepressible.

The Medium Wave Band here demonstrate how to do it with a reasonable degree of faith, trying their hardest to recall the production values of those days where dogs stared down gramophone horns and after-dinner sherries were supped before cranking up the player.  It's not quite up to the Bonzo Dog Band standards, but it's still a charming oddity which sings the praises of radio.  Queen's rather more orthodox attempt at lionising that form of broadcasting was considerably more successful, however, and this novelty item failed to fly out of the shops.  Still, enough copies of it turn up to convince me that it can't be too rare, and therefore must have shifted some units at the time.

Who The Medium Wave band are or were is less clear, and my guess would be that they were session musicians pulled into Southern Studios with the aim of performing on a novelty record.  They are almost certainly not the sixties pop act Davey Payne and The Medium Wave.  As ever, if you know who they are, get in touch.  This tune has been cheering me up lately, as it's utterly impossible not to warm to a record that mentions "Housewife's Choice" and "Hancock's Half Hour" in a polite, chipper tone.

Label: Spark
Year of Release: 1974

The hiss and crackle of the BBC Light Programme through a Bakelite radio set, the treble-heavy brass and string sounds, the light-hearted, humorous lyrics about far-flung colonial outposts... the pop music of the early part of the twentieth century may seem to have been revived relatively infrequently, but there have been patches of activity here and there.  The Bonzo Dog Band are the most obvious example if we're naming revivalists, but the classic pre-45 rpm pop obsessions of Tiny Tim, the New Vaudeville Band, The Pasadena Roof Orchestra, and even odd rogue examples like Sting's "Spread a Little Happiness" have all echoed that era.  And if you really thought it was safe to avoid now, a new craze for Shellac Discos is sweeping London, where the DJs play only 78s.  The old music hall and showtime world is, for all its seeming irrelevance, fairly irrepressible.

The Medium Wave Band here demonstrate how to do it with a reasonable degree of faith, trying their hardest to recall the production values of those days where dogs stared down gramophone horns and after-dinner sherries were supped before cranking up the player.  It's not quite up to the Bonzo Dog Band standards, but it's still a charming oddity which sings the praises of radio.  Queen's rather more orthodox attempt at lionising that form of broadcasting was considerably more successful, however, and this novelty item failed to fly out of the shops.  Still, enough copies of it turn up to convince me that it can't be too rare, and therefore must have shifted some units at the time.

Who The Medium Wave band are or were is less clear, and my guess would be that they were session musicians pulled into Southern Studios with the aim of performing on a novelty record.  They are almost certainly not the sixties pop act Davey Payne and The Medium Wave.  As ever, if you know who they are, get in touch.  This tune has been cheering me up lately, as it's utterly impossible not to warm to a record that mentions "Housewife's Choice" and "Hancock's Half Hour" in a polite, chipper tone.

Can't Buy Me Love

- 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. .

Just a quick update to let you all know that I'll be DJ'ing at the Vintage, Crafts, Jumble and Flea Market "Can't Buy Me Love" on Saturday 28th May from 1:30pm - 3:30pm (or thereabouts. I don't think anyone will have their finger on a special retro clock timer). 

It's taking place at:
The Boogaloo
312 Archway Rd, N6 5AT
London

And the Facebook details are all here.


Also spinning discs on the day will the be the DJ John The Revelator.

For me personally, events like these serve a number of purposes. You can turn up and browse and buy to a great soundtrack, have a swift drink and then disappear off into the daylight, having had a more fulfilling time than you might had you chosen to join the hordes along a usual shopping street on a Saturday afternoon. Or alternatively, you can turn up, browse, find nothing you want, but decide to stay and have a few drinks and listen to some great music in a fantastic pub anyway. It's a win-win situation - there is no way you can lose. Unless you expect me to play novelty glam records.  Or indeed sell my stash of them.  

See you there, maybe?

Just a quick update to let you all know that I'll be DJ'ing at the Vintage, Crafts, Jumble and Flea Market "Can't Buy Me Love" on Saturday 28th May from 1:30pm - 3:30pm (or thereabouts. I don't think anyone will have their finger on a special retro clock timer). 

It's taking place at:
The Boogaloo
312 Archway Rd, N6 5AT
London

And the Facebook details are all here.


Also spinning discs on the day will the be the DJ John The Revelator.

For me personally, events like these serve a number of purposes. You can turn up and browse and buy to a great soundtrack, have a swift drink and then disappear off into the daylight, having had a more fulfilling time than you might had you chosen to join the hordes along a usual shopping street on a Saturday afternoon. Or alternatively, you can turn up, browse, find nothing you want, but decide to stay and have a few drinks and listen to some great music in a fantastic pub anyway. It's a win-win situation - there is no way you can lose. Unless you expect me to play novelty glam records.  Or indeed sell my stash of them.  

See you there, maybe?

Southern Sound - Just The Same As You

- 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: Columbia
Year of Release: 1966

Southern Sound were just one of many sixties bands who released one extremely interesting single before the record label seemingly told them "No more - your record didn't sell and this isn't working.  Back to the pub circuit with you".

Unlike so many of those one release wonders, Southern Sound were an abrasive mod band from whom further releases would have been welcome.  "Just The Same As You" is, in itself, impressive - all shimmering yet abrasive guitar work, defiant lyrics about living the high life on the dole (way before Wham! had the same idea but made it sound less exciting) and a slowly building menace.  Like a number of mod discs, this is almost punk before its time both in delivery and message, both the band and their audience being made to sound like vampiric club-dwelling outcasts.  When they sing "We're just the same as you" it doesn't sound reassuring so much as daring the audience to disagree.

The flip side "I Don't Wanna Go" is also bloody-minded, and almost psychedelic in a Joe Meek-esque way (although he had nothing to do with the release).  A hollow, minimal arrangement places thundering drums not far behind the sneering rock and roll vocals in the mix.  Pop art?  Not 'arf!

For a 1966 release this is actually quite progressive stuff, but only one member of the band (so far as I'm aware) Robbie Blunt went on to any success, working in Robert Plant's band and also playing with Edie Brickell and the New Bohemians.  That kind of material is a far cry from this.

Label: Columbia
Year of Release: 1966

Southern Sound were just one of many sixties bands who released one extremely interesting single before the record label seemingly told them "No more - your record didn't sell and this isn't working.  Back to the pub circuit with you".

Unlike so many of those one release wonders, Southern Sound were an abrasive mod band from whom further releases would have been welcome.  "Just The Same As You" is, in itself, impressive - all shimmering yet abrasive guitar work, defiant lyrics about living the high life on the dole (way before Wham! had the same idea but made it sound less exciting) and a slowly building menace.  Like a number of mod discs, this is almost punk before its time both in delivery and message, both the band and their audience being made to sound like vampiric club-dwelling outcasts.  When they sing "We're just the same as you" it doesn't sound reassuring so much as daring the audience to disagree.

The flip side "I Don't Wanna Go" is also bloody-minded, and almost psychedelic in a Joe Meek-esque way (although he had nothing to do with the release).  A hollow, minimal arrangement places thundering drums not far behind the sneering rock and roll vocals in the mix.  Pop art?  Not 'arf!

For a 1966 release this is actually quite progressive stuff, but only one member of the band (so far as I'm aware) Robbie Blunt went on to any success, working in Robert Plant's band and also playing with Edie Brickell and the New Bohemians.  That kind of material is a far cry from this.

Off Side - Match of the Day/ Small Deal

- 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: Pye International
Year of Release: 1970

Since its introduction in 1970, the "Match of the Day" theme on the BBC has become one of the most instantly recognisable television themes in Britain - if not, according to the Performing Rights Society, the most recognisable.  More suggestive and indicative than any news broadcast theme (even the BBC World News channel's bleeping ambient effort) or even the wailing harmonica of "Last of the Summer Wine", some of us were born with this theme and know, within the first few milliseconds of the first note, what it's representing. 

Trying to listen to it with a fresh pair of 2011 ears strapped firmly to my aging head, it does seem a strange choice for a tune despite its endearing familiarity, and I'm clearly not alone in thinking that - my Canadian wife when she first heard it burst out laughing at the absurdity of a celebratory Herb Alpert styled quasi-Mexican ditty introducing a modern British football programme.  Clearly at the time of commissioning the piece had South American connotations which seemed entirely synonymous with the big game, but there's definitely something a little unlike Auntie Beeb about the whole thing.  However, I for one am happy about the fact that it's what we've got - it's a happy, chirpy clarion call which you can imagine beckoning members of any British family in from their bedrooms, kitchens and even bathrooms, like some soccer orientated Pied Piper of Hamlet with, er... a football for a head. 

Whatever your personal feelings on the piece, it's one of the few television themes which has wormed its way so much into the British psyche that it conjours up memories and emotions from even the the most steely hearted football fan.  As Paul Whitehouse once observed on an episode of "The Fast Show" in the guise of Ron Manager - "Match of the Day?  Da da da da da-da-da-da da?  Somehow comforting, isn't it, you know?"  In summary, then - do I expect any non-British reader to really get the appeal of this record?  No, not really.  In the absence of any context at all, it probably sounds like a cheery piece of easy listening and not much more (and I'd be really curious to read your thoughts on it if it's unfamiliar to you, actually). 

The single you can hear below isn't, of course, the original theme commissioned by the BBC but a very close and crafty approximation recorded by Mike Vickers for the benefit of Pye Records.  It wasn't a hit, but in recent years has become a massive collector's item purely due to the B-side, a Vickers-penned piece called "Small Deal", which has apparently become popular with DJs who are keen on the "funky loops" it offers.  To my ears, "Small Deal" is a dramatic piece of library music which offers nothing especially outstanding, but my DJ'ing chops are definitely not adequate enough to be able to hear what possibilities it might afford.

Mint copies of this frequently go for £20 plus on ebay.  As you can hear, mine isn't exactly mint, but it's good enough, and certainly gives you a fair idea of what's on offer.  Not that, in the case of the A-side, you'd really need telling.


(Sorry for all the horrible typos this entry had when it went live this morning - I've been having a bad week.  Which isn't much of an excuse, but still...)

Label: Pye International
Year of Release: 1970

Since its introduction in 1970, the "Match of the Day" theme on the BBC has become one of the most instantly recognisable television themes in Britain - if not, according to the Performing Rights Society, the most recognisable.  More suggestive and indicative than any news broadcast theme (even the BBC World News channel's bleeping ambient effort) or even the wailing harmonica of "Last of the Summer Wine", some of us were born with this theme and know, within the first few milliseconds of the first note, what it's representing. 

Trying to listen to it with a fresh pair of 2011 ears strapped firmly to my aging head, it does seem a strange choice for a tune despite its endearing familiarity, and I'm clearly not alone in thinking that - my Canadian wife when she first heard it burst out laughing at the absurdity of a celebratory Herb Alpert styled quasi-Mexican ditty introducing a modern British football programme.  Clearly at the time of commissioning the piece had South American connotations which seemed entirely synonymous with the big game, but there's definitely something a little unlike Auntie Beeb about the whole thing.  However, I for one am happy about the fact that it's what we've got - it's a happy, chirpy clarion call which you can imagine beckoning members of any British family in from their bedrooms, kitchens and even bathrooms, like some soccer orientated Pied Piper of Hamlet with, er... a football for a head. 

Whatever your personal feelings on the piece, it's one of the few television themes which has wormed its way so much into the British psyche that it conjours up memories and emotions from even the the most steely hearted football fan.  As Paul Whitehouse once observed on an episode of "The Fast Show" in the guise of Ron Manager - "Match of the Day?  Da da da da da-da-da-da da?  Somehow comforting, isn't it, you know?"  In summary, then - do I expect any non-British reader to really get the appeal of this record?  No, not really.  In the absence of any context at all, it probably sounds like a cheery piece of easy listening and not much more (and I'd be really curious to read your thoughts on it if it's unfamiliar to you, actually). 

The single you can hear below isn't, of course, the original theme commissioned by the BBC but a very close and crafty approximation recorded by Mike Vickers for the benefit of Pye Records.  It wasn't a hit, but in recent years has become a massive collector's item purely due to the B-side, a Vickers-penned piece called "Small Deal", which has apparently become popular with DJs who are keen on the "funky loops" it offers.  To my ears, "Small Deal" is a dramatic piece of library music which offers nothing especially outstanding, but my DJ'ing chops are definitely not adequate enough to be able to hear what possibilities it might afford.

Mint copies of this frequently go for £20 plus on ebay.  As you can hear, mine isn't exactly mint, but it's good enough, and certainly gives you a fair idea of what's on offer.  Not that, in the case of the A-side, you'd really need telling.


(Sorry for all the horrible typos this entry had when it went live this morning - I've been having a bad week.  Which isn't much of an excuse, but still...)

Chris Andrews - Hold 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: Decca
Year of Release: 1967

"Babeeee you're just tooooo much!" screeches Chris Andrews at the start of this record, before seductively uttering: "And I waaaaant you".  Hearing such lines over the years has frequently made me wonder just how much self-confidence you'd need to have, either in the studio or on stage, to deliver bold sexual declarations without the slightest hint of irony.

In the context of this record, all is forgiven.  "Hold On" is such a needle-into-the-red mod screecher that it seems entirely appropriate that the lyrics should essentially be a human version of a mating call.  It's yet another example of a sixties record which really acts more as a declaration of sexual frustration for teenagers everywhere than a studied, lyrically thoughtful piece of work.  Guitars squeal and wail, the chorus hammers itself into your cranium, Chris is so unsubtle in his delivery that he may as well be beating his chest, and its so relentless that you can only jump around along to it whether you sympathise with the bedroom related plight of Mr Andrews or not.

Of course, Chris Andrews had a successful career prior to this record, writing many of Sandie Shaw's biggest hits ("Girl Don't Come", "I'll Stop at Nothing") as well as working with The Mamas and The Papas and Adam Faith.  On top of that, he'd managed hits of his own with "Yesterday Man" and "To Whom it Concerns".  Despite this, his career begin to stall once the music of the period became more diverse and experimental, and like so many beat boys before him, could only watch helplessly as the flops piled up.  "Hold On" was his last single for Decca who by 1967 had clearly given up all hope of him having any kind of mainstream presence again.  One has to wonder whether the record was in some way nixed by the label's pessimistic attitude towards it, as "Hold On" sounds to my ears like one of his finest recordings - it's brittle, punchy and incredibly addictive, and is an astounding track to blast loudly around a room.  I've yet to hear the record played once in a club, but I'd be willing to place money that any DJ who dared to spin it would get a favourable reaction.

Irrespective of my personal views, the public didn't take to it at the time, and Andrews moved to Pye Records to deliver three more flops.  A comeback of sorts was attempted in 1977, but once again nobody bit, and the utterly astonishing "Nothing Less Than Brilliant" single he co-wrote with Sandie Shaw in the eighties also found little appreciation outside of late-night Radio One play.  Hopefully the royalties he receives from his prime hits are enough to keep the wolf from the door - he certainly deserves the security, as many of his records are actually supremely under-rated in the UK, and he's surely due a major reappraisal soon.

Label: Decca
Year of Release: 1967

"Babeeee you're just tooooo much!" screeches Chris Andrews at the start of this record, before seductively uttering: "And I waaaaant you".  Hearing such lines over the years has frequently made me wonder just how much self-confidence you'd need to have, either in the studio or on stage, to deliver bold sexual declarations without the slightest hint of irony.

In the context of this record, all is forgiven.  "Hold On" is such a needle-into-the-red mod screecher that it seems entirely appropriate that the lyrics should essentially be a human version of a mating call.  It's yet another example of a sixties record which really acts more as a declaration of sexual frustration for teenagers everywhere than a studied, lyrically thoughtful piece of work.  Guitars squeal and wail, the chorus hammers itself into your cranium, Chris is so unsubtle in his delivery that he may as well be beating his chest, and its so relentless that you can only jump around along to it whether you sympathise with the bedroom related plight of Mr Andrews or not.

Of course, Chris Andrews had a successful career prior to this record, writing many of Sandie Shaw's biggest hits ("Girl Don't Come", "I'll Stop at Nothing") as well as working with The Mamas and The Papas and Adam Faith.  On top of that, he'd managed hits of his own with "Yesterday Man" and "To Whom it Concerns".  Despite this, his career begin to stall once the music of the period became more diverse and experimental, and like so many beat boys before him, could only watch helplessly as the flops piled up.  "Hold On" was his last single for Decca who by 1967 had clearly given up all hope of him having any kind of mainstream presence again.  One has to wonder whether the record was in some way nixed by the label's pessimistic attitude towards it, as "Hold On" sounds to my ears like one of his finest recordings - it's brittle, punchy and incredibly addictive, and is an astounding track to blast loudly around a room.  I've yet to hear the record played once in a club, but I'd be willing to place money that any DJ who dared to spin it would get a favourable reaction.

Irrespective of my personal views, the public didn't take to it at the time, and Andrews moved to Pye Records to deliver three more flops.  A comeback of sorts was attempted in 1977, but once again nobody bit, and the utterly astonishing "Nothing Less Than Brilliant" single he co-wrote with Sandie Shaw in the eighties also found little appreciation outside of late-night Radio One play.  Hopefully the royalties he receives from his prime hits are enough to keep the wolf from the door - he certainly deserves the security, as many of his records are actually supremely under-rated in the UK, and he's surely due a major reappraisal soon.