Showing posts with label 45. Show all posts
Showing posts with label 45. Show all posts

Saturday, March 21, 2009

Nimbo - Maisie Jones / Forget Her



Nimbo - Maisie Jones


Nimbo - Forget Her


Nimbo sounds exactly like Badfinger on this 1971 single. The harmonies are very Pete & Tommy and the upfront bass playing very McCartney. Nimbo released two 45's on Pye. I haven't yet found a copy of their second 45, a cover of The Bee Gees' "When The Swallows Fly" b/w "Noticeingly By". After the two singles on Pye, they switched to the Motown subsidiary Mowest and changed their name to The Rockits for another couple of 45's. Nimbo members John Wilson and Dave Powell then joined up with Bob Jackson and Tommy Evans of Badfinger to form The Dodgers. Tommy must've heard "Maisie Jones".

Sunday, June 29, 2008

Big Wheel


Big Wheel - Curly Girl (Metronome) 1970

If the Jook gets you off then this should really take your head off. What am I saying - it'll take anybody's head off. Starting out with a crazy siren-slash-pickslide that bounces left and right in stereo. It's brutal glam in the Hammersmith Gorillas vein with some tremendous Keith Moon frantic drumming. It wouldn't sound out of place on Bowie's Pin-ups because the basic track has this 60's Troggs/Kinks brutality to it but the spacey effects, blistering Ronson lead guitar and Bowiesque singing are undeniably 70's. This group has nothing to do with the Big Wheel that ended being comp'ed on the Velvet Tinmine CD. This one is Dutch is related to the band Unit Gloria.

Peter Noone sings Tony Hazzard

Peter Noone released a handful of good singles on RAK in the early 70's. After RAK, he made only one single on Phillips before moving on to Casablanca records: 

(I Think I’m Over) Getting Over You / All Sing Together - Phillips 1973. The A-side was written by the great Tony Hazzard. 

Here's what Alan Betrock had to say about this single:
Peter Noone - "(I Think I'm Over) Getting Over You" (Phillips)
By Alan Betrock, Phonograph Record Magazine, January 1974

How could Peter Noone make a comeback if he's never really been away? After Herman's Hermits disappeared from the American charts, they continued to have mild success in their homeland, and Peter, on his own, recorded some wonderful solo singles. One, David Bowie's "Oh You Pretty Things" even dented the British Top 30. Having been a pop star at the tender age of 15, Peter is one up on the Gerry Marsdens, Freddie Garrity's and Billy J. Kramers of the world, who are all at least a third of a century on in years.

Noone's freshness, vitality and appeal stems from this youthfulness. This is his trademark, and his unrestrained versatility makes him a prime choice for guest spots on British variety shows. He can be seen every week on the "telly" - a well rounded vaudevillian much like Davy Jones - who can appeal to the tots, the teens, and the 'mums and dads'.

On this side of the Atlantic, Peter is still quite an unknown entity. His commercial resurgence began with the British Invasion Package Tour which showcased Noone's professionally entertaining and endearing stage act. He took the critics and audiences by storm, gathering raves from most corners. His television appearance on Mike Douglas, Merv Griffin, and Midnight Special have not been so stellar as the nature of the medium tends to cram Peter's one-hour performance into six minutes. But at least these shows help to get Peter's name known again, and his recent Sonny & Cher gig gave him more valuable exposure.

All of this is nice, but Peter will never really be back until he can rid himself of "Mrs. Brown," "A Kind Of Hush" and all the others. If he is pigeon holed as a mere revival act, the novelty will quickly wear off, then it's back yo the pubs again. So Peter has taken a major step in attempting to establish himself as a current performer. He has shelved his old label, hired a new producer, and released a new single.

The result is available on Peter's debut Phillips release. Writer Tony Hazzard (remember "Ha Ha Said The Clown", "Fox On The Run", and "Goodnight Sweet Josephine"?) penned this ditty, and Tony Atkins produced it. It's a good combination of styles, and melodic too, with Peter's double-tracked voice soaring throughout. A steady piano rhythm carries the song which is accented by a nice use of strings. This use of strings is most thankfully tasteful, avoiding the usual pitfall of overdramatic and unneccessary arrangements. "Getting Over You" combines Noone's Bowie phase with middle Bee Gees, and adds a great high falsetto of his own. This is a good start and if Peter keeps putting out strong records, and getting airplay, he just might be back - this time to stay.

Extra: Because You're There, a Graham Gouldman-penned B-side from 1972.


Tuesday, June 24, 2008

The Matchmakers Picture Sleeve Gallery


Ricky Wilde 45 reviews




Ricky Wilde is a favorite here at pop45. He is the son of pre-Beatles British rocker Marty Wilde and the younger brother of Kim Wilde. He made records on Jonathan King's UK label before he was even a teenager.

I Am An Astronaut/Hertfordshire Rock
UK Records #18 - 1973
Ricky was only 11 when this record was released. The A-side is a really catchy novelty song with lots of bizarre sound effects and an inventive arrangement. The tune reminds me of "Neanderthal Man" by Hotlegs with the sounds from "Space Oddity". Dr. Demento has played this one on his novelty radio show.

Hearing the B-side, "Heretfordshire Rock" for the first time is an intense experience. The arrangement is really vicious, with feedback, crunching guitars and drums and loud handclaps. Ricky sounds like a teenie Suzi Quatro on this one. the lyric "Heretfordshire Rock" sounds more like "I'll Treat You Rough".

Mrs. Malinski/Cassette Blues
UK Records #59
We have never heard this single. Somebody please send us a copy!

Teen Wave/Round & Round
UK Records #63
"Teen Wave" is a (pre)teenage rock n' roll anthem in the vein of Eddie Cochran's "Summertime Blues" or the Jook's "Crazy Kids". The arrangement sounds like a Giorgio Moroder/Chicory Tip song because of the early use of synthesizers. It really has a great Glitter chorus with the backup singers yelling "NO!"

"Round and Round", the B-side, is a cool little song with acoustic guitar, tom tom drumming and bells.

I Wanna Go To A Disco/Bad Boy
UK Records #70
"I Wanna Go to A Disco" sound even more like Chicory Tip than "Teen Wave' does. The synth upfront and like the Chicory Tip song "Good Grief Christina", it sound like an updated Beach Boys surf song. The "Oo Ba Ba" backup vocals emphasize this. I can really relate to "Don't cut my hair..." part.

I have the DJ promo, so it doesn't include "Bad Boy", which is a cover of Marty Wilde's biggest Fifties hit.

April Love/Round And Round
UK Records 45-49013
"April Love" is a cover of Pat Boone's hit song. They probably thought that Donny Osmond's revival of "Puppy Love" made this a good idea. It wasn't.

Martin Cerf on MHRB - Natural Man

Marcus Hook Roll Band - NATURAL MAN (Vanda-Young)
Produced by Wally Allan
Regal Zonophone RZ 3061
Time (very long)
Flip -Boogalooing Is For Wooing

By Martin Cerf - Phonograph Record Magazine - Jan. 1973 - 45 revolutions Per Minute Column

I'm not really concerned that this record hasn't been released in the United States any more. Well, mebbe juz a little. You see, I'm in an interesting position. A lucky one for which I'm grateful. If I come across a great single, or group, I get to call it to the attention of this here record company called United Artists who presumably will check it out. There's a couple others around who hold a similar relationship. Like Ralph Gleason at Fantasy, Don Heckman at RCA, Ed Ward (with all good companies) and others. And why not use our good sense? Rockridics like Ed Ward know what they're talking about...He's documented the subject matter for so long, obviously he's able to analyze the demographics of a specific recording and judge its worth against the competition.

(Ward's tastes have brought Asleep At The Wheel, Mott The Hoople and Commander Cody to the surface. And John Mendelsohn was tellin' us consistently about the Kinks, David Bowie, the Move and Christopher Milk so long ago I almost forget I'm teenage.) Which brings me to the matter at hand, the Marcus Hook Roll Band. Where did I first hear Natural Man? Over the phone, from this guy, Ron Eyre, who works out of UA in New York City. He wanted to know what I thought...He's always playin' stuff on the phone and sending tapes and what not...But most of the material he sends is second rate (which is only natural as quality, innovative stuff numbers few)...Ron said "Ya know who these cats are don't cha? It's Vanda and Young, and they made a lot of money for United Artists back in 1968." Sure, Vanda and Young, they were to the Easybeats what Wood and Lynne are to the Move. And in some ways they're a better combination (since they have been able to stick together for so long).

Eyre said Capitol Records had turned down the master, wasn't interested in another foreign act... You see Capitol has first option on all EMI material in the States. Then it comes to VA. Well, I asked Ron to send out the single to Bill Roberts (my partner) or myself and we would listen close up.

It was about fourteen days later when one of the faces from the VA A&R Dept. plodded into my office with the single and expounded lazily, "Ah, say, here's that Marcus record from England you wanted to listen to..." Our A&R wizz-kid wasn't keen on this record, "Take a listen to it and see if it's any good." To say he wasn't motivated is to say little.

So, I call trusty ol' Greg Shaw, anglophile expert that he is, into my domain. With the A&R hopeful still present, I inform Greg who we were. gonna listen to then Dropped the cartridge. Hearing that repetitive fender staccato chording intro, Greg and I were, fifteen seconds in, jumpin' up and down to the music of the Easybeats reincarnated. All the promise Vander and Young implied with Gonna Have A Good Time Tonight in 1969 they live up to here. If you can imagine what the Easybeats would have sounded like four years on should they have stayed together, then you know what Natural Man is all about.

Wazit sound like? It's got a snare that tears speakers. It's got protest lyrics. It demands you dance. It's got Beatle harmonies. It's got a riff the best this side of the Hollies' Long Cool Woman and Heaven Knows by the Grass Roots, and a hook, well, now I know the reason for the group's name…Towards the end of the record the riff slows; then stops, then builds through the use of: (1) a nasal lyric, (2) Cow Bell, (3) Sizzlin' guitar progression and, and, and... Then it leads into the most inherent repetitive verse: "In-it to the rhythm, in it to the top, everybody 's talkin' to ya never gonna stop, well don't cha worry bout me, I'm a Natural Man... in it to the rhythm; in it to the top... " etc.

As is obvious, Greg and I beseeched the A&R people to jump on the side immediately, pick it up for our heroes, United Artists... Well, I'm not about to categorically list all the events that followed, all that matter~ is UA don't have it. And those folks who originally turned the side down, Capitol, they have decided to exercise their option after all...

But something real curious happened the other day though. Capitol's greatest asset, Ken Sasano, told me they reversed their decision once more and they didn't want the record after all. So I put in a call to the head of International A&R at the Tower and lightly queried him as to the company's position on the recording..."Where the hell did you hear we weren't releasing the record. I heard Natural Man in July while in England and decided then to release it on Capitol. So whoever said we weren't puttin' it out, is crazy"...My, my so defensive...The cat seemed really pissed there Was any question at all...Why he was so adamant that I absolutely freaked when .I found out the record still isn't released and it's now three months since they picked up the master. Rumor has it the record is comin' out sometime in January. Such priority.

So, in the meantime, you can only get Natural Man as an import on the EMI sub label Regal Zonophone. And it's worth the 2 bucks you'll have to lay down for it...The B side, Boogalooing Is For Wooing is a whole other subject...It's so great, I might just save it for the next column. (89 points, both sides.)


Alan Betrock on The Jook


The Jook "Alright With Me/Do What You Can" RCA 2279 (UK)
The Jook "Shame/City & Suburban Blues" RCA 2344 (UK)
The John's Children saga never dies!!! Here we find The Jook, a new London quintet, being managed and produced by John Hewlett---late of John's Children---. And who is the drummer in this very same Jook? None other than Chris Townsend, the notorious skin-beater for John's Children!!!!!! While John's Children went thru various phases of image-making: the mod look; the short-hair look; the nude look; etc., The Jook seem to be experiencing the same kind of molding. They started out as a "long-hair" band, but now have embraced the short-hair look. Coupled with that is the return to 1967 Mod clothes, combined with the futuristic garb sported by David Bowie. Picture if you will a combination of the mod and rocker aesthetic and enter The Jook. Their first record, "Alright With Me" is a commercial sing-along rocker with some early Slade production bits thrown in---the highlight, tho, is the killer 1967 psychedelic guitar solo ala Pete Townshend!! It probably goes over quite well in concert….

The second Jook release "Shame" doesn't live up to the promise indicated by their premier effort. An updating of the Willie Dixon song doesn't really get anywhere, and lacks power & punch---however, there is another "My Generation" guitar break which almost make the whole thing worth having…
By Alan Betrock The Rock Marketplace no.2 July 1973

The Jook "Oo Oo Rudi/The Jook's On You" RCA 2368 (UK)
Undeterred by their lack of record-selling success The Jook return with "Oo Oo Rudi" which is clearly their most commercial release to date. An anthem-like guitar riff weaves its way throughout, conjuring up visions of the Jook marching thru the streets followed by their legions of space-mod fans. The melody line is too simplistic and a bit overbearing, but the lyrics continue in the 1967 Mod-rebellion style: "All we hear and all we see/And everything we learn from/Is planned by the older Generation"….."If they knew/If only they knew/What we're all about/Maybe then they'd understand that their way won't last…." And yes, they do treat us to some more killer guitar breaks.
By Alan Betrock The Rock Marketplace no.3 October 1973

Also coming next issue: …our friends the Jook keep on coming with two newies! Speaking of the Jook, they've just been signed to backup the British Sweet tour, so perhaps they will finally burst onto the charts. Their next single is rumored to be a 1974 mod classic---the working title of which is: "Bish, Bash, Bosh". Not exactly as original as Creation's "Biff, Bang, Pow", but a great move nonetheless…
By Alan Betrock The Rock Marketplace no.5 April 1974

The Jook "King Capp/Rumble" RCA 2431 (UK)
The Jook "Bish Bash Bosh/Crazy Kids" RCA 5024 (UK)
The Jook have issued two new singles since we last checked in with them. The first "King Capp" was a rather plain rocker which saw little action. Perhaps that's why they switched producers to John Burgess for "Bish Bash Bosh". This is one of the groups most commercial singles to date, a driving rocker with an upfront vocal and backing vocal chorus. The drums are especially well recorded, and if it wasn't so repetitive, it might have been a big hit. The flip is one "B" side that the group took seriously, and I really like it more than the "A" side. It shows that the group finally are developing a sound of their own, as well as a confidence and lack of imitative pretense which marred much of their earlier work. The lyrics are fine, the beat is strong, and the hook chorus is their most commercial and memorable one to date. It's too bad that the group broke up after this single was released because they showed signs of finally breaking thru. But there are rumors that they may reform with some new members. Let's just hope they pick up from where they left off.
By Alan Betrock The Rock Marketplace no.6 July 1974

Then came The Jook, whose story has been recounted in these pages over the last few issues. Basically Chris Townsen formed the group, and John Hewlett managed and produced them. Whether consciously or not, the group image-wise and music-wise was a 1970's version of John's Children---short hair; matching mod clothes; driving guitar-drums music; and teenage rebellion lyrics. But the Jook, like John's Children, never caught on in a big way (although they did release 5 singles within a year, just like John's Children) and in May of this year, after recording their acclaimed new single "Bish Bash Bosh", the Jook split up. Two Jook-ers joined Sparks, but now after a few weeks in limbo, the Jook have reformed anew and the personnel seems to have been finalized. It is: Chris Townsen (ex-John's Children-drums); Martin Gordon (ex-Sparks-bass); David O'List (ex-Nice-guitar); and yes, folks, Andy Ellison (ex-John's Children) on lead vocals!!! If this band can stay together and get some money behind them, the musical results are endlessly fascinating. With a slew of new bands, (Cockney Rebel, Sparks, Arrows, etc) making serious and important inroads in the British music scene, the new Jook stands and excellent chance of making it. The talent, creativity, and experience are all there, that's for sure…
By Alan Betrock from John's Children Article in The Rock Marketplace no.6 July 1974


Greg Shaw on The Hudson Brothers, PRM 1975


THE HUDSON BROTHERS -"Lonely School Year"- Rocket 40464
It seems to me that if American kids wanted something like the Bay City Rollers, they would have picked up on the Hudson Brothers by now. They're a little older, but they're cuter, and they make equally appealing pop records. In fact, England could use them too. Particularly this record, their concession to the disco beat and a radical change from their usual wham-bam approach. The subject matter is refreshingly wholesome (I, for one, prefer to hear sex discussed in romantic metaphors rather than in graphic detail--at least in a pop record; that's what I always liked about the Troggs ) and surely there must be a couple million kids out there who would find this record enormously relevant to their condition.
By Greg Shaw - Jukebox Jury column, PRM Nov. 1975

Tuesday, May 10, 2005

Caspar - Fabulous Powerpop Two-sider


This one's a bit Twilley and a bit Eric Carmen. Caspar Giles McCloud is American but this single was recorded at 10CC's
Strawberry Studios. My friend Andy found this one a few years back. I have Caspar's Lp on Atlantic from a few years later and it's not very good. Notice how the intros to the two tunes are virtually identical...