V/A - T-Bird Party! A Swangin' Slew of Greasy R&B - 1957-64

Label: Lido (Official?); Year: 1995; Format: Vinyl LP

Not too long ago I took a short bus trip to a relatively new record store in the suburbs of Buffalo, NY and returned home with a nice haul of interesting records, one of them being the compilation reviewed today. First and foremost though I learned that T-Bird is a colloquial for Fort Thunderbird, a personal luxury card entering the market in 1955. Considering the fact that the songs contained on this LP are all from 1957 through 1964 my guess is that a T-Bird Party would involve a drive-in restaurant where people gathered around their cars and fast food being served by girls on roller skates. It would also make sense that people attending those parties came up with ideas to start bands, after all it was the beginning of the Rock'N'Roll era and excitement was in the air. Unfortunately as with many of these compilations there is absolutely zero information provided about the artists featured, which is a big shame as this record seriously kicks ass and is still widely available on vinyl as well as on all streaming platforms. I really don't know whether Lido was actually a real record label, and I seriously doubt it. Regardless, the little information I have been able to find, mainly through discogs, is all I have and it will have to do. "A Swangin' Slew of Greasy R&B" actually describes all the songs fairly accurately as each one of them will take you on a wild trip to a time that in my imagination must have been much more exciting in many ways as the modern world we know and live in was just starting to take shape and music was part of that whole evolution. By the Mid-50s Rhythm and Blues has contributed to the development of Rock'N'Roll and the seventeen songs on this record highlight how exciting it must have been to be part of such an incredibly important period in our more recent history. Some of my favorite tracks to be found on this platter are 'Chewing Gum' by Danny Brown, 'The Kangaroo' by Charles Sheffield or 'The Chase' by Davey Jones. If you are interested in finding out how modern music has evolved over time, do yourself a favor and pick up this record or many others in this vein as they will not only enrich you musically but also culturally when it comes to the rich and vast history of African-American artists.

Tom Waits - Closing Time LP

Label: Asylum Records; Year: 1973; Format: Vinyl LP

Well, first and foremost I am back to writing reviews for the blog after a lengthy spell on the sidelines due to other commitments. Initially I had planned on jumping right in with a review of an ancient hardcore punk smasher, but truth is that my mood, mind and my local record store had other plans in store. I guess you could say that Tom Waits' first LP had found me at the right time as Mr. Waits is someone I had on the radar for years, but it wasn't until this past Saturday I had finally bought one of his releases. And let me make it as clear as possible that I am thankful 'Closing Time' is in my collection now as it is simply a beautiful record. But let me not get ahead of myself and give you a very brief introduction as to the early stages of Tom Waits' life and career. Waits was born in Whittier, Southern California in 1949 and after his parents had separated when Tom was just ten years old he moved with his mother to Chula Vista, a suburb of San Diego. After developing a love for R&B and Soul singers as well as Beat Generation writers like Kerouac, Ginsberg or Burroughs Waits began to frequent folk music venues around San Diego until he eventually became part of the circuit by the late '60s. In his early days Waits often covered songs by Bob Dylan or country singer Woodrow "Red" Sovine but little by little he started to write his own material, lyrically often influenced by his relationships with various girlfriends. At some point Waits realized that San Diego wasn't offering him enough exposure and as a result of that he started to take more and more trips up the Pacific Highway to the Troubadour in West Hollywood, Los Angeles. It was at the Troubadour where Waits came to the attention of Herbert Cohen who surely had a word with David Geffen, a transplant from Brooklyn and co-founder of Asylum Records in 1971. Closing Time was released in 1973 and word is that Waits' intention was to create a piano-led jazz album while the producer pushed it in a more folk-oriented direction. In my opinion the different directions this album is a result of worked perfectly and fifty years on since its release this album not only stands the test of time but should really be regarded as one of those essential albums to be heard by everyone with good taste in music. Phil Scarisbrick, writing for UK magazine Secret Meeting had the following to say about Tom Waits while reviewing 'Closing Time': 

Drenched in whiskey and the foggy aroma of tobacco, Waits plays the part of a lounge singer in the last dive bar in town. You can picture him crouched over a worn out piano, with a worn out suit and worn out trilby hat. A fading Marlboro red cigarette hanging from his mouth, he places his liqueur on top of the piano and starts to play. For all this bleak imagery, the music we hear is utterly beautiful. There is a quote often attributed to Waits where he says, "I like beautiful melodies telling me terrible things." Closing Time fits this description perfectly.

Trust me, I certainly couldn't have described it better hence I rather give you someone else's quote that couldn't have been more perfect. When I sat down to listen to 'Closing Time' last night I made sure I sat comfortable in my recliner. From the moment the needle hit "Ol' 55", being the opening song of Side A, I was basically not just mesmerized, but instantly taken back in time to a world which was much slower, less hectic, less healthy and much boozier. Waits' music has the gift to not just evoke all kinds of emotions, but to lift you into a state of euphoria and depression at the same time. Songs like "Martha", "Lonely" or "Midnight Lullaby" to name a few, have the ability to take you on a trip down memory lane enabling you to reconnect with lost memories while enjoying simply beautifully crafted songs. No matter what music genre you really prefer, there are records that just speak to everybody and in my honest opinion 'Closing Time' is one of them. The fact that the album didn't sell very well back in 1973 just tells me that quite often brilliant artists are overseen early on in their careers and Waits certainly proved to the world how multi-talented of an artist he is. I shall make sure to seek out more of his music in the future so stay tuned until Closing Time. 

Ace - Five-A-Side LP

Label: Anchor Records; Year: 1974; Format: Vinyl LP

So, here a bit of a peculiar one in the sense that I probably would never have gotten this LP unless I stumbled upon it somewhere. The reason I have a copy now is thanks to a friend of mine in Switzerland (Thanks Pat!) who was kind enough to think of me when he spotted a copy at a record shop in Europe knowing that as a Liverpool FC supporter I would appreciate the gesture, which I absolutely do and even more so since he's an Arsenal FC supporter. He kindly told me that with that front cover he couldn't help himself but that most likely the music sucks to which I replied that we shall see and I'll post about it. So this week I familiarized myself not just with Ace's music, but a little bit with their history as well. The band formed in late 1972 in Sheffield, UK and had somewhat of a successful stint during the '70s, mainly thanks to their hit single "How Long", which I must have heard a million times on the radio not knowing who it was. I must say that as skeptical as I was sitting down to listen to the LP I came away thinking that it's not a bad LP at all. As a matter of fact in my opinion there is a real hidden gem to be found on the record with "24 Hours", a really strong heavy Funk number of which I wish the record had more of. Also quite enjoyable are the first two tracks "Sniffin' About" and "Rock & Roll Runaway", both decent Pub Rock songs leaning on the tame side but never the less still rockin' and rollin'. The rest of the LP is listenable but let's be honest somewhat forgettable. Interestingly enough two of Ace's members used to be in the '60s Mod band The Action, a band whose catalogue I might explore at some point. Ace relocated to the United States in the '70s and released their third and final LP on this side of the pond disbanding in 1977. Paul Carrack who was the main singer and pianist in Ace went on to have a successful solo career as well as joining Mike & The Mechanics during the '80s. His re-recording of "How Long" in 1996 landed the song in the charts again and must be bankrolling him up to this day. Since I became a Liverpool FC supporter around 1983 as far as I remember I looked up the team of 1974 recognizing players like Ray Clemence, Emlyn Hughes and of course Kevin Keegan amongst others. Judging by the five white and blue scarfs waving Ace members plugged into the sea of Liverpool supporters on the front cover I would assume the band were Sheffield Wednesday FC fans and with that I just say "You'll Never Walk Alone". 

Blue Angel - S/T LP

Label: Polydor Records; Year: 1980; Format: Vinyl LP

A few months ago when on a quick visit to New York City my wife and I went to an interesting photo exhibition called 'New York New Music 1980 - 1986' highlighting photos, flyers and other artifacts from that time period, presenting all kinds of music of different genres, including of course punk rock. But, this entry isn't about anything punk rock related but rather about Cyndi Lauper and her first band, Blue Angel. The reason I am bringing up the exhibition is that photos of Blue Angel gigs were on the wall and reminded me that I finally need to get a copy of the LP as I have been an admirer of Cyndi since the '80s. Just this past weekend I went to a garage record sale up the street from our house and guess what, for a few bucks I got a mint copy of the Blue Angel album. Recorded and released in 1980 it is very much a New York record encapsulating the mood and state of the Big Apple in said year. With a new decade on the horizon and a fresh start palpable in every possible way it truly is a positive record in the sense that the twelve songs will instantly lift your mood, which is never a bad thing. I listened to the record this morning being off from work for Juneteenth while doing my stretching exercises to help with my joint problems, and instantly felt better, okay it's a slight exaggeration folks. Truth of the matter is though that it's a great pop record, while also being a good power pop, new wave or rockabilly record as it stylistically draws from all those genres mixing them seamlessly from one song to the next. Cyndi Lauper started to sing at the age of twelve and by the time this record was released she was already twenty-seven years old, hence there were many years in between even though at some point she was told by doctors she would never be able to sing again after having damaged her vocal cords. Needless to say those doctors were wrong, very wrong...Having grown up in the pre-Beatles era it is clear that Cyndi must have been fascinated by early Rock'N'Roll as the Rockabilly influence on this record is to be heard on several tracks. But, at the same time let's not forget that Blondie and the B-52's had already released several albums by 1980 and it would be wrong not to mention that there is a vibe throughout this record closely reminiscent of those two bands. Unfortunately, or as in the case for Cyndi actually more fortunately, the band didn't last too long as they broke up after a fall out with their manager. As a result of that the band was sued for a large sum of money which forced Cyndi to pick up odd jobs at stores and such. In 1981 while singing at a New York bar she was discovered by David Wolff, who would become her manager and the rest is history. I highly recommend tracking down a copy of this, you won't regret it. Cyndi Lauper is turning 70 years old later this week - Happy Birthday! 

Cyndi Lauper with Blue Angel (Photo taken at NY New Music 1980-1986 exhibition)

Little Richard - Here's Little Richard LP

Label: Specialty Records; Year: 1957; Format: Vinyl Stereo LP

Let's face it, if it wasn't for Little Richard, born on Christmas Day in 1935 in Macon, Georgia, I most likely wouldn't be writing about all these exciting records that were released way later then this one here,  dating all the way back to 1957. It all has to start somewhere and when it comes to Rock'N'Roll then Little Richard is often referred to as the "Architect of Rock'N'Roll", and I for one certainly don't think that to be an exaggeration. I got this LP not all that long ago and it's definitely seen better days, but it's tough to come across Little Richard LPs out there in the wild hence I was happy to shell out three bucks for a somewhat beaten up copy which still plays perfectly fine though. And let's be honest here; I am far more excited to buy old records than reissues as the smell and feeling of the old ones just can't be beaten. But back to Little Richard now, who I am sure most of the losers reading this blog will be familiar with, and if not, then I seriously have to ask myself under which stone you were hiding for the last god knows how many decades. I think what fascinates me most about Little Richard is the fact that he was one of the earliest black artists bringing people of all races together, and let's face it back in the roaring fifties that was a big deal as segregation here in the United States was unfortunately a daily thing. I hear the words 'game changer' way too often these days and honestly I really don't like them and never use them, but there are exceptions as to when they can be used and this is one of them. Little Richard transformed popular music and had a huge impact on so many artists and bands that the list would be endless. Lemmy of Motorhead for instance is just one of many who always made sure he mentioned Little Richard when asked about his main influences. The world of Rock'N'Roll, Soul, Funk, Rhythm & Blues and the list goes on was changed once and for all by Richard Penniman and we should all be thankful for that. Oh right, what about the record? Well, all of you will have heard "Tutti Frutti" or "Long Tall Sally" at some point in your life, but the rest of the LP is just as good, if not even better. My favorite is "Rip It Up". Little Richard lived a long life and passed away in the spring of 2020, RIP. Luckily his music lives on forever.  

The Jam - In the City LP

Label: Polydor (Spain); Year: 1977; Format: Vinyl LP

Many, many years ago when I got into Punk/Hardcore Punk I scoffed at bands like the Jam or even the Clash for that matter. I was of the opinion that those were nothing else than boring rock bands trying to sound somewhat punk rock. Throughout the decades though my taste and understanding of music has gradually changed to the point where I eventually reached the point of exploring the Jam catalogue. The band's history is interesting in the sense that it starts as far back as 1972 when school friends Paul Weller and Steve Brookes set out to start a band in the unassuming London suburbs of Woking in Surrey. Their early live shows often happened at youth clubs or workin men's clubs and consisted of mainly covers of fifties rock'n'roll acts, but they did have some of their own original numbers as well. Another intriguing fact is that from very early on Paul's father, John Weller, a featherweight champion and cabbie, was heavily involved in the music career his son would go on to have. Unlike many other parents of that time he was very supportive of what Paul was doing and through some of his boxing contacts things started to come together for the band as by 1974 the band started to play in London and landed a supporting slot for Thin Lizzy at Croydon's Greyhound. By 1976 Paul Weller was exposed to the nascent Punk Rock explosion happening in London and things started to take off for the Jam, now a trio of Paul Weller on guitar/vocals, Bruce Foxton on bass guitar and Rick Buckler on drums. According to Alex Ogg's punk bible "no more heroes" it was actually devoted fan Shane MacGowan of Nipple Erectors and later the Pogues who pushed the Jam to Chris Parry of Polydor. Their first LP, released in 1977 is in some ways an odd record in the sense that it is definitely not a pure punk rock record, but neither is it a Mod record. Nevertheless what counts most is that it is a good record, built on the Jam's live performances and recorded in just eleven days. Paul Weller has never made it a secret that he will forever be loyal to his love of '60s music, be it the Who, the Beatles or Motown. And that's exactly what you can expect from this album as the raw energy of punk rock collide with the pop sentimentality of Paul Weller's songwriting resulting in great songs such as "In The City" or my favorite "Away From The Numbers". In many ways this first album only foreshadows as to what was to come and should be viewed merely as an appetizer when it comes to the talent the Jam had. Stay tuned for more from the Jam down the road. 

Mitch Ryder and the Detroit Wheels - Wheels of Steel 10"

Label: PRT Records; Year: 1983; Format: 10" Vinyl

Today I've had a long and busy day at work so when I got home I just wanted to have a bite to eat and kick back for a little while. I promised myself that I would do another entry for the blog tonight but when it came to it I wasn't particularly in a punk rock mood so I opted for something lighter and more soulful so to speak. Mitch Ryder (nee William Lewis Jr.) is a Detroit Rock'N'Roll legend who recently turned seventy eight years young. From 1964 to 1967 Mitch Ryder used the Detroit Wheels as his back-up band releasing a number of Top 20 hits. This little 10" that came out in 1983 on PRT (Precision Records and Tapes, formerly known as Pye Records) in the UK collects some of the bands greatest hits such as "Jenny Take A Ride", "Sock it to Me Baby" or "Little Latin Lupe Lu" to name a few. It's a great little compilation when it comes to the music, but not so much when it comes to the packaging as there is absolutely no info about the recordings to be found. I suppose the people behind Precision weren't so precise and forthcoming about that and expected the music hungry consumers to make a trip to the library to find out about Mitch Ryder but in all fairness not much has changed to this day except that we have the intranet and can find everything with a few clicks. Well, goal achieved for tonight. I had a good twenty minutes of shaking my arthritis ridden knees to the soulful rock'n'roll smashers coming out of Motor City and that put a smile on my face. Keep on wheeling! 

V/A - Fizzy Soul Cocktail Vol. 2

Label: Cheeky Monkey Records (Unofficial); Year: ?; Format: Vinyl LP

Just like the Killed By Death volumes for rare worldwide punk rock many other musical genres have their own various compilation series when it comes to hard to find records. This particular LP must have been pressed in the UK as I got it dirt-cheap while I lived in London and the few copies that are available through Discogs seem all to be from sellers in the UK. Anyway, this is a great compilation of hard to find soul/funk hits which all seem to have originally been recorded in the '60s. The packaging is typical for a bootleg in the sense that it lacks any information about the artists but the sound quality is good so I won't complain too much. In all fairness it truly is a great record as all twelve songs are above good with some being plain superb. Without wanting to go into all the songs I am going to give you a few teasers so maybe you would want to seek them out on YouTube or such. 'I'm in love with your Daughter' by '60s rhythm'n'blues band The Enchantments from Los Angeles is a beautiful track originally released on Faro Records as a single back in 1965. West Virginia born Turley Richards gets you dancing and grooving with the upbeat smasher 'I feel all right' originally released on Columbia in 1966 while Johnny Robinson's 'Funky Feet' from 1970 is exactly what the song title suggests. Maybe the best song on this compilation is 'Two sided thing' by Johnny Mae Mathews also known as the Godmother of Detroit soul. Miss Mathews founded the Northern Recording Company back in 1958 and many more record labels thereafter. Her song on this platter originally came out in 1968 on Big Hit Records. I will see if I can find the first volume of this compilation at some point as I imagine it'd be equally strong. If you are looking to dance your night away don't hesitate to grab a copy of this one. Have some Boogaloo!

V/A - The Stars of Fame Records EP

Label: Kent Soul (Ace Records); Year: 2011; Format: Vinyl EP

This EP came out for RSD 2011 and contains four songs of fine Southern Soul from the mid- to late '60s. According to the liner notes none of these songs have been previously released, hence even more reason for you die-hard soul fans out there to own this limited piece of history. I am by no means an expert on soul, but I can guarantee you that I will be reviewing more records from that genre as I do like to listen to it a lot. All four songs on here are great, two of them more upbeat, whereas the other two are slow and beautiful. All of these crackers were recorded at the FAME Studios, home of the Muscle Shoals sound. I am sure someone more knowledgable could write quite a bit about this, whereas I just bought this one as I fancied it, and certainly haven't regretted my decision.

Specials - S/T - LP

Label: Chrysalis Records; Year: 1979; Format: Vinyl LP

Google this album and you will come up with a million and one stories in regard to the Specials and the 2-Tone label and movement. I will spare you any lengthy review here, but have to say that I have given this album a spin not too long ago, and have thoroughly enjoyed it. The Specials were maybe the 'punkiest' out of all the 2-Tone bands, and one of their members, Terry Hall, was even a member of Coventry punk outfit Squad. I shall review their 'Red Alert' single at another point, but that was just a little side note. The songs on this 14-song long-player range from upbeat to slow, but never disappoint as they combine danceable ska and rocksteady to perfection. "Too much too young" even reached No. 1 in the UK, and at one point the band shared the same management with the Clash as they were supporting them on a tour. No matter whether you're into punk, ska, rocksteady, or whatever, I think we can all agree that this is a classic album and should be found in everybody's record collection.