Jeff Beck - "Tallyman" b/w "Rock My Plimsoul" 45prm single, yellow vinyl, 1967/2015 (Epic/Sundazed)

Jeff Beck always appealed to me due to his clothes sense, physical looks, and of course, his guitar playing.  There is something no-nonsense concerning his approach to music-making.  I admire that and being a fan of The Yardbirds, I feel a devotion to his time in that band.  Still, in 1968, when I purchased his album "Truth" I was disappointed in its conservative approach to rock.  I loved the craziness and wildness of The Yardbirds singles and their manic quality.  Beck, on his own, was a tad tasteful.   He had a great band, with such talent as Rod Stewart, Ron Wood as the bassist, and Mick Weller as a drummer - plus the presence of the great Nicky Hopkins.  Still, there was something missing in the mix, and I think that was due that Beck is not a songwriter.  Also, he's not a great arranger like Jimmy Page, who by the way, I don't think he's a songwriter as well.  But he knows a great tune if you get my drift. 

"Tally Man" is an interesting record/song by Beck. Written by the great Graham Gouldman, who wrote hits for The Yardbirds as well as Herman's Hermits, and produced by Mickie Most.  I believe it's Beck on lead vocals, and it's a wonderful pop song done in that Beck manner to make it heavy.  A one-off single before the album, or before he got the band together.  

Graham Gouldman - "The Graham Gouldman Thing (Vinyl, Album, Stereo, 1968 (RCA)

My interest in figures who somehow made pop music culture, yet remain in its shadows is an obsession of mine. For instance, songwriters who wrote numerous hit songs for various artists, and yet, they made their album. Does one wonder if they had hopes of being successful without fronting other music artists? Graham Gouldman wrote hit songs for The Yardbirds and Herman's Hermits, among others. He eventually formed and became a member of 10cc. Eric Stewart, his co-band member, was also from the British Invasion era. He was a member and songwriter for The Mindbenders (with and without "Wayne").

I'm an admirer of these 'pop' songwriter albums such as "The Graham Gouldman Thing" as well as Tony Hazzard (wrote songs for The Yardbirds as well as Manfred Mann) and Boyce and Hart (they wrote classic hits for The Monkees). All albums are of great importance, mostly due that they have their 'hit songs' on them, and it's interesting to compare the recordings between their recorded version and others by the bands who did their songs.

Gouldman's album was co-produced by Peter Noone (Herman of Herman's Hermits) and himself, as well as John Paul Jones handling the arrangements. It is released in 1968, a tad later than The Yardbirds's "For Your Love" this is very much a showcase of Gouldman's songs and his ability to carry these tunes under his name. The hits (made famous by others) are "For Your Love" (The Yardbirds), "Bus Stop" (The Hollies), "No Milk Today and "Upstairs and Downstairs" both by Herman's Hermits. If there is a Gouldman aesthetic, it seems his songs relay sort of mid-20th-century British culture, that is a snapshot of life as it happens, with a touch of the Harold Pinter/John Osbourne observation of British everyday life. When he started working with 10cc, his songs, as well as the others in the band, became still, observational, but with a savage sense of humor. Here in his early works, it's more of a reflection that has traces of sadness and romantic disappointment. Gouldman wrote the hits, but I feel he left an enormous amount of DNA of his personality and thoughts in these commercial works.

Tony Hazzard - "Tony Hazzard Sings Tony Hazzard Vinyl, LP, Reissue, 1969/2016 (You Are The Cosmos)

I have favorite songs that I can't get enough of:  "Goodnight Sweet Josephine" and "Ha! Ha! Said the Clown."   Both were recorded by the Jimmy Page era of The Yardbirds, as well as Manfred Mann who actually had the hit with "Ha! Ha! Said the Clown."   My life goal is to get every recorded version of "Ha! Ha! Said the Clown." It's interesting to note that two blues related bands of that time recorded the most pop of the pop song possible at that time.  And I know there are Yardbirds fans who must that song and "Goodnight Sweet Josephine," but I love them to bits because they are provocative in the sense that its throw-a-way pop song, but brilliant at the same time.  The author of those two songs is Tony Hazzard, a songwriter from Liverpool.  

"Tony Hazzard Sings Tony Hazzard" is an interesting album, not only due that he wrote two perfect pop songs, but also he was one of the last songwriters whose existence is to write songs for other artists.  1969 is pretty late in the game for the pure pop songwriter when artists like Manfred Mann and Yardbirds were also writing their own material, and one presumes that the producer or record company made these bands take on Hazzard's professional material.  Also, The Yardbirds and Manfred Mann were slowly fading to of course change to Led Zeppelin and Manfred Mann Chapter Three.  Still, it was the last dying grasp that these bands recorded the Tony Hazzard songs. 

If one needs to compare Hazzard with another singer-songwriter it would have to be Graham Gouldman of 10cc fame, but also a very prominent commercial songwriter for a lot of beat bands during the early 60s, including The Yardbirds, The Hollies, and Herman's Hermits.  I don't know Hazzard's history, but I feel that he was the last 'echo' of that type of British songwriter such as Gouldman. 

Listening to Hazzard's record is odd, and it must have been odder to hear it when the album was originally released in 1969 when things got heavy, yet, this is an album of consistent pop songwriting techniques.  Clearly an album by a man who knows how to put a song together.  One thing that stands out in the recording is the 12-string acoustic guitar which is very strong in the mix.  There is psychedelic phrasing of the electric guitar - which may be a nod to the Jimmy Page touch, and in fact, maybe Page is on this album?   My obsession with British music is very much my interest, and Tony Hazzard fascinates me within that's context.   For those who love British pop, I do suggest checking this album out.  

V.A. - "Sounds of New Music" Vinyl, LP, Compilation, Limited Edition, Reissue, 2017/1957 (Modern Silence)

A remarkable album (document) from 1957, but recently reissued by the excellent record label Modern Silence.  Folkways Records put together a compilation of new experimental music, mostly focusing on the work of Vladimir Ussachevsky, who had a sound studio in Columbia New York, where he and fellow composer Otto Luening experimented with organic and electronic sounds to make music.  I have a small collection of both of these composers, and they never fail to give me great listening pleasure.  

The album is divided by the two sides.  The first side is focusing on experimentation but with real instruments, but often played in a new way.  For instance, the big two stars here are John Cage and Edgard Varese.  Cage is of great interest in this package because of "Dance" which is work on a prepared piano.   The composer attached rubber, metal and wooden objects to the piano strings which gives it a gamelan orchestration sound.  It's a beautiful piece of work that borders on exotica.  Varese is an orchestration ("Ionization") which uses siren but with different pitches.  The work here that really turned my ears around is Henry Cowell's "Aeolian Harp" which is a work for piano, but him or the performer playing the instrument by leaning fists, arms and palms across the keyboard, as well as plucking the piano strings.   This is the only work here that has a strong sense of melody.  Listening to "Aeolian Harp" reminds me of The Yardbirds' "Still I'm Sad."   Almost the same melody and I wonder if the band was familiar with Cowell's work.  

On this side is a work that I know of, and that's Otto Luening's "Fantasy in Space."  It's a flute piece that is manipulated by tape recorder.   It reminds me very much what Brian Eno did with Roxy Music, but this is twenty-something years earlier.    It's a piece that borders on exotica (now that's a genre that mixes quite well in experimental music) and of course, deals with the thought of space travel.  Perhaps finding that utopia that we can't have here on Earth.  Side one starts off with an early piece of music from Russia that sounds very much like Spike Jones, but more animated sounding - like Warner Brothers cartoon music.  And then there are orchestrations where they imitate the sounds of the factory, for instance, a steel mill.   There is nothing gimmicky about any of this music.  The roots of industrial music, recorded in the Twenties. 

Side two is more instructional where we can hear how a tape machine can change a sound, either by pitch or other filters.  Most of the work here on side two is by Ussachevsky, and like Luening's work, it's a remarkable set of beautiful sounds.  The album ends with an actual narration explaining how the composer Henry Jacobs made his "Sonata for Loudspeakers."  I'm not a huge fan of recorded lectures but this of great interest to anyone who's into the recording as a craft or art form.  Surely the first strains of sampling here.  And the final product (the composition) is really fantastic.  

Manfred Mann - "This Is... Manfred Mann" Vinyl, LP, Compilation, 1970 (Philips)

The Paul Jones era of Manfred Mann is what I know best of this band.  When Mike D'Abo took over as the lead vocalist, I either lost my attention to them, or more to the fact, that they became very European orientated with respect to marketing and didn't follow them just due to that fact. Although they had a massive hit here in the States with Bob Dylan's "Mighty Quinn" it was a one-shot deal for me and my ears.  Alas, there are hidden treasures in the later Mandred Mann world.  

At heart, and what makes Manfred Mann the band interesting is that they are basically blues players with a healthy appreciation for jazz. Mann was always a jazz keyboard player who happened dip his toes into the world of pop.   Paul Jones (to this day) had an organic appreciation of the blues and was once considered to be the lead singer for the Rolling Stones, due to his friendship with Brian Jones.  When D'Abo took over vocal duties, this led the band to a more pop format.   And here on this compilation album is the highlights of the D'Abo years with Manfred Mann.  I, for one, is a huge fan of the song "Ha Ha! Said the Clown."   The Yardbirds (with Jimmy Page) also recorded this song around the same time that Manfred and crew recorded it.  There is not a huge mega difference between the two recordings, except Manfred does have a jazz feel for his material, even if it's a straight ahead pop song. 

Side two is the real deal for me.  For the sole reason, there are three Manfred Mann instrumentals.  I suspect that these were recorded between lead singers, and they had to release something in the meantime.   They do "Sweet Pea" (by Tommy Roe), "Wild Thing" (the Troggs legendary song), and the French classic "Autumn Leaves."  Here we get the hardcore Soho London jazz version of the band, which I suspect is the real Manfred at work and play.  I wrote about their EP that they released in 1968, that was all instrumental.  "Wild Thing" was part of that package, but the other two were not on the EP.   Their version of "Sweet Pea" is essential Manfred listening experience.  Mann is an excellent organist, and the band is having a great time exploring this song up, and then putting it back in its proper pop mode.    The British Invasion Manfred Mann was a great band.  They also had inside track into Bob Dylan songs, and I think that when they handle a Bob piece, it's the best version of that song.    Not the easiest album to find, but worth while, if only for their jazz instrumentals.  And yes, of course, "Ha Ha!, Said The Clown." 

The Yardbirds - "Little Games" Vinyl, LP, UK, 1967 (Fame)

I have been avoiding The Yardbirds' album "Little Games" due that I love the b-sides of the singles of the Jimmy Page era Yardbirds.   To my surprise, I found another version of the album with the additional b-sides on it.  Bingo! Now my life is complete (in theory).  The band at this time was in a weird frame of mind.  I think everyone was thinking about their future while recording this album.  That is expressed by the duality of the songs on the album.  On one end of the spectrum you have the rockin' blues Yardbirds that is very close to their R n B roots, but then there are the sneaky ultra-pop songs of that year (1967) as well.   Me being perverse, prefer the pop material.  "Ha Ha Said the Clown" and "Goodnight Sweet Josephine" (both written by a Tony Hazzard, must make a note to check him out) are works of genius.  The muscular sound of the Yardbirds (especially Jimmy Page) adds a nervous tension to these pair of melodic songs. 

"White Summer" is Led Zeppelin just right around the corner, as well as "Think About It," but then you have Nilsson's "Ten Little Indians" or "Little Soldier Boy."  Mikie Most produced the album and b-sides, and it's interesting to note the sonic and aesthetic difference from the Jeff Beck years to this.  Which is confused, but that's OK.   In parts, the album reminds me of being a little bro to the Stones' "Between the Buttons."  I think 1967 was a year where musicians didn't only stretch out in the studio but also brought variety to the album package/sound.  Which can work, but I think The Yardbirds true nature is to have a guitar rave-up than say a retro British Music Hall "I Remember the Night."   By no means a masterpiece, but a splendid album.  

The Yardbirds - "I'm a Man"/"Still I'm Sad" 45 rpm Single (Epic Records) 1965

I distinctly remember that my first 45 rpm single that I purchased was The Yardbirds' double sided A-side hit "Still I'm Sad" and on the other side "I'm a Man."   I must have been around nine-years-old, and since I didn't have a job at the time, I'm going to presume that one of my grandmothers gave me the money to purchase the record.   "I'm a Man" (written by Bo Diddley) to this day gives me goosebumps in my lower back.  The way it starts off with the ugly sound of the guitars, and then slowly building up to this intense rave-up where it becomes noise.  Without a doubt, one of the first recordings that had a strong effect on my sensibilities at the time, and still, today. 

Then when I turned to the other side, the music is not only sad (of course) but also scary.  I heard this song on the radio as well as "I'm a Man," and it's the ying-yang or either/or of the pop music world of 1965.  Usually, for me, the album gives me the full narrative picture, but this 45 rpm single had a full narration for me.   One is very sexual, and the other is pensive.  

There are a lot of guitar bands that I like, but none sounds like The Yardbirds -except Television.  The Yardbirds went through three legendary guitarists in that group's history.  Eric Clapton.  Jeff Beck.  Jimmy Page.   By far my favorite is Jeff Beck.  Flashy yet detached.  I'm presuming that it's him playing on "I'm a Man," and not Clapton - but I'm not super sure about that. But I like to think it's Beck, because of the noise, in the end, seems so much up his alley.  Violent, sexual, and cool at the same series of seconds.  

The forgotten hero of The Yardbirds are not any of the three guitarists or even the singer Keith, but their bass player Paul Samwell-Smith.  He arranged the songs and did some of the engineering/production as well.  He worked with Mickie Most and Simon Napier-Bell. Eventually, he produced the classic hits of Cat Stevens in the 1970s.   I recently bought this single again for $1, and it sounds like a $1,000 to me.  Excellent record.