V.A. - "The Freakbeat Scene" 2 x Vinyl, LP, Compilation, 2019 (Decca)

I'm a firm believer in book publishers as well as record labels.  If the label has some history or vision, I will buy that record.  Decca, which is enormous, always been of some interest to me.  Especially anything released in the 1960s and British.   Decca this year and the previous 12 months have been releasing these compilations focusing on the Mod and Psychedelic British 45 rpm singles, that if one tries to trace down would be very expensive and time-consuming.  So, the Decca compilations are very good and overall excellent for the pocketbook.  "The Freakbeat Scene is 25 songs by various bands, that mostly failed in getting that hit.  This is a collection of songs that didn't even get close to getting airplay in the UK, or on the charts.

Still, genius is in the details, and there is a lot of brilliant series of moments on this double-album.  Some are so-so, but that only adds to the excitement when you hear an incredible song.  Freakbeat by definition is the crazy part of The Who when their guitar goes all feedback, Keith Moon is slashing at the drum cymbals, and distorted bass.  On the other hand, The Who is not on this compilation, but we do have The Small Faces, who are always magnificent.  Beyond that, everyone here is very obscure.   Which is not to say that their recording deserves a wider (and wilder) audience, but fate is sometimes someone asleep at the wheel or the entrance to success.

The genius track here is by a band called The Fairytale, and it's "Run & Hide."  A very ugly song lyric about a girl who is 'bad' and the male singer sounds psychotic, still a remarkable record.  I have their other three songs in other collections and formats since they only released two 45 rpm singles.  Then they disappeared.   In fact, most of the bands here disappeared, but there were some successes in later life, for instance, Chris Squire and Peter Banks who were members of Yes, but here they're The Syn.  And although there is no clue to the future sound of Yes, still an excellent record. Even a young Marc Bolan has a song here, but one would not recognize the Bolan vocal, until the chorus where you can hear that vibrato in his voice.

The mystery track here is by Shel Naylor, which one suspects is Dave Davies of the Kinks, with Jimmy Page on guitar.  Naylor himself is a phantom.  In fact, this album is full of ghosts and spirits.  "Come on Back" by Paul & Ritchie & The Cryin' Shames is a Joe Meek production.  So that's always good.   It's excellent that Decca, such a mega-label, still had the nerve to release somewhat weird records.

The Rolling Stones - "Between the Buttons" Vinyl, LP, Album, Germany, Reissue, 1967/1982 (Decca)

"Between the Buttons" is the height of The Rolling Stones as songwriters as well as making one of their perfect albums, such as their previous "Aftermath."  I have two versions of "Between the Buttons," the American mono release as well as this German stereo reissue that came out in 1982.  I'll let the audio freaks argue what is better, but for me, the Stones always sounded great in mono.  Still, I love all of their European editions than the U.S. releases due to the slight order or addition of songs.  

There is a Dylan "Blonde on Blonde" influence that comes through, especially on "She Smiled Sweetly" and "Who's Been Sleeping Here."  Then again, what wasn't influenced by Dylan in the mid to late 1960s?    The songwriting craft comes to focus for the Stones, where their voices become a distance from their R n B roots into a more pop format.  Perhaps under the influence of Andrew Loog Oldham, or whatever was being pumped in the air during those heady times.  Still, a remarkable presence at the time, where one would buy a Beatles record, then a Stones, a Dylan - in a way it became a dialogue between these artists, and us listeners were invited to overhear their musical chat. 

"Aftermath" wowed me, but "Between the Buttons" gently whispered into my ears, and it became one of favorite Rolling Stones albums.  I have always loved the music hall touch in The Beatles, as well as in The Kinks, and The Stones embracing that world in the songs "Cool, Calm, and Collected" and "Something Happened to Me Yesterday" is a total delight.  Those two have a Dylan feel but mixed in with British culture, which makes them unique and a lovely aural/sensual cocktail.  

The rockers "All Sold Out," "Connection," "Miss Amanda Jones" (a Dylan type title of a song), and "My Obsession" are remarkable works.   The Jagger/Richard songwriting is at their most wonderful peak.  It's a reflective album, then a diary or journalistic approach to the world around them.  For that reason, as well as the quality of the songs, "Between the Buttons" is an important album to me, and I hope to other listeners.  

Joe Meek - "The Joe Meek Story" Compilation, 2 x Vinyl, LP, 1977 (Decca)

My first Joe Meek recording I have ever heard was The Honeycombs "Have I The Right," in 1964.  I was ten-years-old at the time, I knew nothing of the world of the record producer, or even aware of the identity of the songwriter.  I knew the artists that were The Honeycombs and they had a girl drummer.  Did I need to know more?  It wasn't until my year-long stay in Japan that I found a Joe Meek compilation at a swanky music store in Roppongi called 'The Wave.'  I was intrigued to hear more sounds similar to The Honeycombs, which from the very first time of the hearing, I was a life-long fan of that unique echo sound.  

Shortly I became a Meek addict, especially when I read his biography in various publications.  I have always had an interest in the Gay subculture in London, and Meek is a character that was very much part of that world.  Also the fact that he was insane and killed his poor landlady, and then committed suicide.  A tragic incident, but one can hear traces here and there in his recordings that expressed his interest in the after-life, UFOs, and perhaps hidden messages between men.  Meek, perhaps even more important, was a sonic genius.  Once you hear the sound of Meek, you will never forget it.

Over the years there have been numerous compilations on Meek's recordings, which in theory, is difficult to pull off, due to the fact that the record's ownership is often in question, due that Meek often licensed his recordings to other labels.   Therefore we have this Decca Records release "The Joe Meek Story" which is very good, but not complete by any means.  What excited me to have this record is to obtain Meek recordings that are not digitalized for the CD format.  It's not that difficult to find an original Meek production as a 45 rpm single, but locating vinyl compilation of his works is rather difficult.  Except for a handful of original vinyl releases, most of his work came out as singles. 

The plus side of the Meek compilations is that one comes upon a song or recording never released on another compilation.   I have at least 10 compilations of Meek's (all on CD) and often they don't repeat their songs/recordings.   "The Joe Meek Story" is missing some famous recordings, but it's the obscure tracks that I find totally fascinating and great.  Mike Barry and The Outlaws' (featuring Richie Blackmore on guitar) captures the essence of Meek's obsession with Buddy Holly as well as a weird outer-space version of Rockabilly.   Most of the songs here were written by Meek, and as a songwriter, he's never consistent.  But his productions never fail.  Someone like Phil Spector is more consistent with quality, but every Meek record has a tinge of weirdness or eccentricity.   Which is one of the reasons why I like to collect Meek, both on CD and more importantly on vinyl.  I feel each recording by this lunatic expresses a sense of hysteria and desire.  Meek was very much of his culture of the 1950s, that he rebelled against by becoming an independent producer with his own studio - mostly built by his own hands.  The majority of his work is from the early 1960s, yet there is something distant and far away from his music for that era.   He was an artist that wasn't attached to the times, compared to The Fab Four or the work of Andrew Loog Oldham.  Meek is or was very much an outsider artist.

"The Joe Meek Story" comes with fascinating liner notes.  A small biography as well as a breakdown of all the songs selected for this compilation.   The one odd thing is mentioning the suicide (not in detail), and staying away from the fact that he murdered someone before shooting himself in the head.   Art comes with darkness, like life itself. 

The Who - "Live At Leeds" Vinyl, LP, Album, 1970 (Decca)

My copy of The Who's "Live AT Leeds" is battered and well-played by my guess, a teenager.  If one used a DNA test on the vinyl surface, my assumption that they would find body fluids as well as various meals, and traces of dope.  I bought my copy at Rockaway Records in Silver Lake, and it was appropriately priced due to its condition.  It also had some, not all of the inserts.  For instance, the black and white photo image of The Who was missing, as well as the other photographs, including the poster.   I have to presume that more likely the original owner probably placed the photos as well as the poster on their bedroom wall, but the contracts and other paper stuff is still intact. 

Since the original release, it has been remastered, remixed, and more songs added to the package, but still, I prefer the old scratched version of this early live masterpiece.  This is The Who stretching out as a band, and it's interesting that side two only lasts around 14 minutes, when side two's "My Generation" lasts for 14:27.  And it includes a 7-minute version of "The Magic Bus."  "Live At Leeds" represents not only the live Who but a very heavy sounding Who.  One can imagine that the volume for one, must have been like a Jet taking off in a closed room.  As you can gather, The Who consisted of a lead singer, lead guitarist, lead bassist, and of course, the lead drums.  No one in the band holds back.  It's full-frontal attack that only ends in quiet dynamics of a song piece, or at the end of the show. 

"Live At Leeds" by no means is my favorite Who album, but still, it represents the year 1970, and what that meant in rock.  Clearly an important documentation of a live album, and it's aesthetic.  Songs are not intended to ape the recordings, but actually, a re-thinking of the original records or maybe the live version is the original, and the studio recordings were a softer xerox.  Nevertheless, listening to my version of this album puts me in place when I was 15 years old, and I think I actually know the kid that owned and played this album - in theory at least! 

Lionel Bart - "Bart For Bart's Sake" Vinyl 10" Album, 1959 (Decca)

My obsession with London pop culture before The Beatles hit the scene goes overdrive in certain periods in my life.  Reading Andrew Loog Oldham's memoirs as well as others, one name comes up again and again, and that's Lionel Bart (1930-1999).   Bart was the ultimate insider of the British music and theater world.  He also was a painter, so he had a foot in the visual art world as well as in the theater in West End of London and beyond.  And of course, he's famous for his musical "Oliver."

Bart, who never learned to read or write music, wrote "Living Doll" for Cliff Richard, as well as writing "From Russia With Love," the central theme of the Bond film.  One of the interesting aspects of Bart's work is the use of the Cockney language or accent in his lyrics.  Apparently used in his first  'solo' album "Bart For Bart's Sake."  Released in 1959, this is Bart right in the middle of the Rock n' Roll presence in the U.K.  Artists like Tommy Steele and Cliff Richard becoming the British wave, due to Elvis not touring the U.K.  This is not a rock n' roll album, but a set of songs from the Theater, but all from the source that's Lionel Bart. 

"Bart For Bart's Sake" is a superb snapshot of London showbiz, but with the presence of satire, and again, the use of Cockney rhymes and accent. Also noted, is his awareness of the album format, which he gives every song here an introduction of sorts, even commenting to the listener you're on side two of the record.  Most of the songs on this 10" album come from an obscure Bart musical - but clearly, makes commentary on the sexual landscape of that culture.  It borders on the "Carry On..." films of the late 50s and 60s.  It's a total performance piece, with a strong presence of Laurie Johnson's arrangement, who is famous for the (British) Avengers TV series soundtrack.   This is very much the root of the swinging 60s, which Bart fully participated in with great force, but with some destructive side-effects on his mental and physical health.  

Bart knew everyone from Larry Parnes (the ultimate music manager of his time) to David Bowie.  He had his finger on the pulse of London music culture, and now, sort of a cloudy individual of that world - especially in the United States.   I suspect that if someone wrote a full biography on Bart, it would be one of the great showbiz biographies of them all. 

Billy Fury - "The World of Billy Fury" Vinyl, LP, Album, 1971 (Decca)

This once good-looking young man was the best to come out of the United Kingdom/Pre Beatles.  A Liverpool citizen who can rock like Elvis, but made more hits by singing perfect pop songs.  Billy Fury (incredible name) was the real deal.   A lot of British rock/pop singers before the Fab Four came on the scene, were manufactured by various managers.  Fury was part of that school, yet he also wrote his own songs as well.  I can never understand why Fury wasn't a star in the States, except perhaps the presence of Elvis kept others out of the U.S. market.   

Decca throughout the years has put out "The World Of..." series.  Mostly cheap or budget best hits type of albums, but all of them had a formula graphic design, and in actuality, quite nice.  Morrissey, of course, is a fan of these series of albums that came out during the 1960s and 1970s.  This is a very pleasing collection of Fury's major hits from the early 1960s.   Fury had a lot of drama, both in his life, due to a poor working heart, and the song choices.  "I'll Never Find Another You," "Nobody's Child," and "Like I've Never Been Gone," have a tragic presence that is heightened by Fury's vocal delivery.  Women must have wept at his shows. 

The standout track for me is "Nobody's Child."  A simple arrangement, almost like a movie cowboy song, yet the lyric is almost painful to hear.   An amazing song that I'm surprised no one in the modern pop world have done a cover yet - at least as far as I know.   There are better best of Billy albums out there (mostly on CD), but this one is an excellent introduction to the wonderful Billy Fury. 

Erik Satie/Alan Marks - "Vexations" CD Album, 1990 (Decca)

This piece of music by Erik Satie is one of keen interest.  To quote the liner note:  "It consists of a single page of music, only three lines long, and its full duration is calculated to be a whole day and night."   This, of course, is a masterpiece.  Satie wrote "Vexations" in 1893, yet it took John Cage to give the music its world premiere in 1963.  Cage did an 18-hour performance of the piece using various pianists throughout the day and night.   Which in theory, the piece should last for 24-hours, but alas economics and intensity of the promoters of such a work would be a great challenge.  "Vexations" is made for the CD format.  A regular 12" vinyl usually lasts for 40 minutes, but a CD can last for 80 minutes, and you don't have to change sides, like what you have to do with vinyl.  Still, to be true to Satie's vision, it would take 21 CDs to complete the official work.  Us Avant-Garde fans are waiting for the boxset.  

The late pianist Alan Marks did a 70-minute version, and as far as I know, this 1990 release is the first recording that lasts that long.  There was a vinyl edition made by another artist, and recently there is a recent CD by Stephane Ginsburgh which is one hour and nine minues long.  Nevertheless, all the versions I have heard (Ginsburgh and Marks) are exquisite.  

Whatever Satie meant this piece to be a joke or a serious statement on an aesthetic and the philosophy, we may never know.  The truth is this piece of music is one of the great ambient works on disc/CD.  I play Marks/Vexations to stamp out the world outside my head.  It's a perfect time length to focus on either the music or if you are doing some writing or creative work.  I can imagine just playing the music while you're mopping the floor would be OK as well.  Yet, the piece due to its length is a very demanding work.  For the musician, it must be either a sense of hell or enlightenment. For the listener, it is music that draws you into its world.  There are pieces like "Discreet Music" by Eno that is furniture or wallpaper music, but there is something more demanding in "Vexations."  Perhaps the live aspect that the work lasts so long with a living musician actually following the instructions of the pace, which is slow, or just how one can take so much repetition in a work of aural art.   For me, it's music that makes me both focus on the music lines, but also clears my head to focus on my writing.  It's crucial work.   Joke or art, or both, Satie's "Vexations" is one of the great wonders on this planet. 

Dirk Bogarde - "Lyrics for Lovers" Vinyl, LP, Album (Decca)

I'm such a Dirk Bogarde fan that I have this album on CD, and the original vinyl mono disc as well.   I remember going to The Last Bookstore's vinyl department, and finding this in the "B" section.  It was a great moment because I have been looking for this specific album on vinyl for years. The right price and of course the right Dirk Bogarde album.  Recorded and released in 1960, this was made between heartthrob teen idol Dirk and dark, decadent Dirk.  One of the great British actors - there is not one bad film with him in it.  That, I know is saying a lot concerning one's filmography - and one I'm sure Dirk had a lot of misgivings about their quality.  Overall he can turn something mediocre into a gem.   And his later films with Visconti and Losey are, of course, complete masterpieces.  Now, this album is... not a masterpiece.  More of an afterthought on Bogarde's career.   I'm imagining that the powers to be insisted on him doing this album of classic pop songs.  He doesn't sing, which is a disappoint, but what he does do is recite the lyrics in a very cinematic manner. 

"Smoke Gets In Your Eyes" starts off Dirk lighting a match and off he goes.  Low volume orchestration backs the recital on all songs.  Dirk does the lyrics in a very hammy conversational tone as if he is talking to you the listener.  For me, it is just a remarkable document of a time when stars had to reach beyond their abilities.  Still, this is very much in all, a Dirk Bogarde performance.  Which is a very good thing indeed. 

Anthony Newley - "The Decca Years 1959 - 1964

Anthony Newley - The Decca Years 1959 - 1964

CD, Compilation, 2008

Decca Records

My strong interest in U.K. life right before The Beatles hit the world made me buy this collection of Anthony Newley early recordings.   I knew of him, because he was on American TV a lot during the late 60s and 70s.  Also years later I read that David Bowie was a fan of his, due to the fact that he sang with an English accent, just like his other singing idol Syd Barrett.  

Newley is an interesting figure in 20th Century pop.  Hardcore show biz figure but one with a lot of personality, especially in the songs he wrote and covered.  He had a personal touch, the voice always had that quiver quality but I feel he was singing for the great masses and not to that one sole individual in the audience or by the record player.  He was the Cockney version of Sammy Davis Jr.  A true song and dance man in the world of the swinging 60s. 

 “Bee-Bom” is a fantastic piece of recording.   A fantastic piano riff is played with Newley doing a British version of Broadway doing rockabilly.  Overall his music is very conservative but still, there is something ‘there’ that is interesting.  In my imagined world, Bowie would have produced him.   Or maybe even Morrissey?   If you are going to get a Newley album, I think this is the one to get.  Also on a personal note, I bought this CD at HMV on Oxford Street, while working on the “Sparks-Tastic” book, so it has deep importance to my life