7 inch single collection: The Hollies - Stop, Stop, Stop

One of the finest bands of the 60's...

The Hollies

A: Stop, Stop, Stop

B: It's You
(Parlophone 1966)

Here we are then The Hollies - often overlooked amongst the big hitters of the 1960's, and yet solidly performing and producing great records throughout the decade, into the next and beyond. A good variety of sounds and a willingness to experiment from the early beat sounds to magnificent ballads like He Ain't Heavy, the cutesy sounds of Jennifer Eccles and the steel drums of Carrie-Anne - all of these kind of things give a twist to what are otherwise solid pop songs, and raise them beyond the mundane. Possibly they are the best band of the 60's (and 70's) that have fallen out of popular public consciousness. I recall listening to the radio (many, many moons ago), and the DJ commenting that The Hollies were considered "The group's group", in that all the other well-known groups liked and respected The Hollies. Granted the DJ who said that was Jimmy Savile, but I think the point still stands, and I'm sure that I've heard other, less contentious, personalities independently say the same thing.

The Hollies had been established several years by the time Stop Stop Stop was released, and had already become a popular hit machine including a number one record with I'm Alive. So it's unsurprising that this record also ended up in the upper reaches of the hit parade. I mentioned earlier about giving pop songs a twist, and this is no different - instead of this tune being led by the now common-place sounds of the electric guitar, it is, instead underpinned by a banjo. This lends the whole song an slightly other-worldly air, as if the whole thing is taking place in a Gypsy carnival. The continually speeding up of the music building to crescendo in the chorus is like a wild waltzer ride at the funfair*. It's only only the chorus that it comes up for air, takes a chance to breath, and then grows again in the next verse. It is, of course, completely brilliant.

It's You on the flip-side does that very mid-60's thing of opening with a harmonica riff. It is a lesser tune than Stop Stop Stop - but that's why it's on the b-side. It's a fairly standard light mid-tempo beat tune - a dime a dozen in this era - however The Hollies manage to lift it from potential mediocrity simply through some fine vocal work - not only from the lead singer, but the harmonies are really special, and give this otherwise slight song a boost.

I've yet to hear a song from The Hollies that wasn't, as a minimum, very good, and I don't think that I ever will - so all in all an excellent little record.

*Ironically their very next single was "On A Carousel"

Next Time rock music from the stone age...

7 inch single collection: The Maisonettes - Heartache Avenue

One hit wonders ahoy!

The Maisonettes

A: Heartache Avenue

B: The Last One To Know
(Ready Steady Go! 1982)

You know I was in a bit of a quandary as to which YouTube link to add on this one. The official video - which is just the band performing, or the Top of the Pops, which is the band performing with added balloons, fashion victims and David 'Kid' Jenson. If you've followed the link you'll know I've made the right decision.

There is a studied "cool" about this band from stark clean lines of the black and white clothing, to the supercilious sneers of the two female singers on the sleeve of the record. Talking of those two women, the prominence of them in that picture may lead you to think that this band is fronted by two aloof young women, with a backing band made up of white guys with afros. This is the wrong impression - in fact the bearded fellow in the white jacket handles the lead vocals, with the women doing little more than oohing and ahhing in the background. In terms of visual marketing it was probably the right thing to do; in terms of sexual politics it's definitely a step backwards.

The deliberate evocation of a sense of "cool" is down there in the music too. Heartache Avenue delivers a stylised blue-eyed soul - laid-back, with a touch of melancholy. A smooth bass groove provides a swaying rhythm, with a sparkling keyboard bringing a glossy sheen to the whole. I remember the first time that I heard this song; I was watching the TV, and there they were - it might have been the linked clip, or else some Saturday morning kids show (Swap Shop or Saturday Superstore - whichever one was on in '82) - it stood out and had a hypnotic sound, and the visual image was striking and memorable. It stood out as being a little bit different, a bit more adult, and at the time I was enticed. In hindsight, it still has some charm to it, but there's little that makes it exciting.

If Heartache Avenue is laid-back then The Last One to Know, on the flip-side is positively horizontal. It start slow and shimmery, like a mirage on tarmac on hot Sunday afternoon. It's a smooth jazz/pop number with echoes of Sade (the singer, not he Maquis). The sound turns from a hot afternoon, to a rainy night - if you can picture that. If I were to make a video it would be in black and white and feature lampposts in the drizzle - it's that kind of song. Generally it floats around listlessly for three minutes then drifts of aimlessly.

A record of two halves then - something stylish and something bland. The a-side is worth hearing once, but not something that's likely to incite a rabid fandom.

Next time we briefly escape the 80's and listen to one of the best and most under-rated of the 60's groups.

7 inch single collection: Slide - Why is it a Crime

Turn of the 80's British rock...

Slide

A: Why is it a Crime

B: Never Ever
(Mercury 1989)

Before we get down to the frivolous business of me telling you what I think about this record, I'd like to make a serious point about grammar. You may well think it looks aesthetically pleasing to have your band logo being all capital letters apart from the middle one (and, to be fair, it does), but it's wrong. Just wrong. Slide or SLIDE or slide, but never ever SLiDE.
And while we're at it it "Why is it a Crime" - ever hear of question marks? (see - there's one, just there). This hasn't started well for me...
Just look at them there on the record sleeve, the jackets, the hair,the moody looks. Obviously they think they look cool, and obviously they don't. I know, because I looked like that in 1989 (maybe with an impish grin rather than the enigmatic scowl) - and I was never cool; have you seen my record collection? I'm still not, but I've learnt to embrace it.

Why is it Crime? Why is what a crime? Apparently "...to believe in me" - well it isn't, (unless you're running some kind of scam - then you're the criminal -not the person doing the believing), but this literal reading of the lyrics,of course is daft, and is diverting me from describing the record. You know Big Country, or Runrig or even a rockier Del Amitri ? This sound s a bit like them - there is something of the Celtic rock about the, and if these fellows turn out to be Scottish it wouldn't surprise me in the least. The intro lulls me into thinking that this record is not going to be as rocky as I think it should be, but then the drums kick in and there we go - you can almost tell what is sounds like from that sleeve. The drums carry the verse, with the singer's pleasant rock voice taking the melody, with the guitars adding an accent in the chorus. I can pick out some little organ details for colour on the background, then the instrumental break goes all 80's rock, in a polite, and non-raucous way. Then it ends. It's a little mundane, but perfectly serviceable.

The b-side is not a cover of All Saints Never Ever - which is a shame - that would have been a little more interesting - if unbelievable, as this pre-dates that song by a few years. It's got a strong, upbeat strummed acoustic intro, and this time the singer has added a bit of rasp to the voice - and that whole Celtic Rock vibe becomes even more apt. I quite like the bass line on this track, and as with the other side, when the electric guitars do come in, it feels like they're just adding a little more colour rather than rhythm or melody.

Overall this is a case of it'll do - not too bad, but nothing that would ever, or indeed did ever set the charts on fire.


Next time something of a one-hit-wonder with a jazz/soul vibe...

7 inch single collection: A Girl Called Johnny - Hello It Isn't Me

Something from the 80's you've probably never heard of...

A Girl Called Johnny

A: Hello, It Isn't Me

B: Shallow
(10 1986)

Sorry, no YouTube or equivalent link for this, so you're just going to have to take my word for this one.

Regular readers of this blog (if such a thing existed) will know that this is all about feelings and memory - and I shun research for facts and figures to fill this bit up with some kind of vaguely readable text. Well dear reader, I failed miserably this time - largely because I really like this record and wanted to know more about this band, and if they released anything else.

Let me share with you what I found. There's a song by The Waterboys called "A Girl Called Johnny" (but I knew that already), and there are at least two other bands with the same name. All I could find out about this band was some information about this specific record on Discogs.com. The only new information on this are the names of the band members. All of which confirms my prejudices on bothering to do any research for this folly of mine.

I can see why I bought the record - look at that sleeve, an attractive, if slightly mood, young woman hugging a beautiful guitar. I'm sure many people would love to be the place of that guitar, and I'm sure just as many would like to be in her place - it is a very lovely guitar.

Coming back to the point - what does Hello, It Isn't Me sound like. It's got a vague 80's indiepop feel - without much of the attendant spikiness and misirablism. It's got a lightweight bounce that reminds me of the likes of Aztec Camera and Orange Juice. The singer, who according to Discogs, isn't called Johnny, but Fiona, has a lovely warm voice. the chorus builds assertively without being aggressive, which builds further still to an delicate but explosive instrumental break. The guitar sound, hopefully that lovely looking Gibson on show, has rich fuzzy undertone. The tom-toms in the background of the latter verses add an extra little something.

We turn over the platter and find a song called Shallow. This has strong start with a jangly descending intro which leads us into a strong beat. The vocal on this side is slightly harder and more insistent. It's the same band with the same kind of sound - but this side is different enough from the a-side to make it interesting and stand-out on it's own merit. In fact I think this could have easily been an a-side too. The chorus is the kind that makes you nod your head to it whilst shouting along.

This is not the greatest record in the world , but I like it very, very much indeed - if the band had made an album I would have gone hunting for it.  I wouldn't say you should go and hunt it down - but if you do get the chance to hear it, do so. I've still got both songs in head, and over the years both have popped up randomly, and unbidden, but always welcome.

Next time - some British guys play have a go at rock...

7 inch single collection: J.Geils Band - Centerfold

Rocky, catchy and a bit dodgy...

J.Geils Band

A: Centerfold

B: Flamethrower
(EMI America 1981)

Oh, come on- you know this one, surely! It was very popular in 1981 and even got to number one here in the UK - can't say for the rest of the world - but I suspect it did pretty well.

What can I tell you about the band - not much. The singer's surname was Wolf - which feels pretty appropriate, and J. Geils himself (the guitarist) passed away quite recently (2017, I think)

You can tell that I'm trying to put off reviewing the record, because I'm not really sure what to say. Yes, Centerfold is a load of big and bouncy fun! It's got a good hook, and great sing-a-long, punch-your-fists-in-the-air chorus. The lyrics are simultaneously pervy and self-righteous and definitely full dodgy double standards. I'm paraphrasing the chorus and the latter half of the song but it goes something like this:

"I was shocked to see a girl I used to fancy at school in a pornographic magazine that I was reading*/looking at/using. I hope next time I meet her in real life she's got all her clothes on. Then I can take her to a motel, and take off all her clothes, and have sex with her, 'cos she's obviously gagging for it."

Then there's that god-awful squeaky synth sound that ruins so many rock records of this era. The whole thing is cheesier than the deli counter at Tesco.

I'm not sure what to expect when I flip the disc to Flamethrower. I've no memory of listening to this, although I know I must have done. I was expecting more of the same - and wasn't too surprised with what I found. It starts off with a clattering of drums, then those 80's squeaky keyboards come in. It's got a slightly funkier feel that the other side, and a long, daft instrumental break broken up with "Huh's" and yelps. It breaks down at the end into a sax and keyboard mush, which then tails off.

Obviously it's a terrible, but enjoyable record. I feel a little sullied after listening - but it's going to be an earworm for ages.

*For the articles obviously...

Next time some fairly obscure mid-80's British guitar pop...

7 inch single collection: The Distractions - It Doesn't Bother Me

Something a bit post-punk new wavey...

The Distractions

A: It Doesn't Bother Me

B: One Way Love
(Island 1970)

Who these guys are I don't know, and whether this single bothered the charts or not I don't particularly care. What's important (to me!) about this record is that it's on white vinyl. That is almost certainly the thing that attracted me to this record in the bargain bin. I'm a complete sucker for something a bit different to get me to part with cold hard cash for a record.

When leafing through my record collection the impression that I get whenever my eyes alight upon this particular specimen is a feeling of - it's good and I like it - but inevitably it will get passed over for a listen for something else.

It Doesn't Bother Me is a bright upbeat  slice of post-punk power-pop. It's upbeat with a crisp and clean guitar sound , with an unusual and welcome background organ punctuation. I bounced along to this song, and sang along with the chorus. There was a good false ending, on which I particularly enjoyed the drum sound.

Flipping this lovely milky white disc over we find One Way Love (not the 60's big, bold, brassy pop song by Cliff Bennett and The Rebel Rousers, for those of you who were wondering - I was).  It's equally up-tempo, with the kind of four-square rhythm that almost forces you to clap along with. It terms of overall sound it's not that different to the a-side, but that's no bad thing. Then it stops before it has the chance to go on to long and bore you..

This was a really enjoyable record, that three minute after I'd finished listening to it I couldn't remember the tunes or the words - they'd just gone. It was, appropriately, a distraction, but a welcome one. I expect next time I'm flicking through my record collection I'll see it and nod and smile in recollection of a good record, but still won't play it.

Next time a bit of dodgy 80's American rock...

7 inch single collection: The Farm - Stepping Stone

As promised, over 3 years ago some baggy Scousers...

The Farm

A: Stepping Stone

B: Family of Man
(Produce 1990)

I don't anything about the history of The Farm, but if any artist screams "We're jumping on to indie/dance (Baggy) Bandwagon" more loudly then I can't think of then.* Just look at that record sleeve - surely even the designer is taking the mickey: its a sheep! A sheep wearing the silly hat, baggy jeans, and trainers uniform of the baggy crowd. Just in case you're thinking, but they're called The Farm, and it's a sheep - surely that's reasonable? Just go and find the album cover - it's designed to look like generic brand washing powder - it's basically saying here's some more similar product to go on the shelves.

Let's not worry about that now; what else do I know about this band. Not much except I can tell you they made one good record and one famous one - this record is neither...

You may recognise that name - Stepping Stone - it's that song beloved of many a garage band in the late 60's. Most famously recorded by both The Monkees and The Sex Pistols. The songs starts off with some fake phone call samples a twang of bass, and then a twang of guitar - and sounds quite promising, then the drums break into a slouchy shuffling rhythm that persists throughout the song. At the same time an insistent bell-like ringing noise kicks in and just doesn't stop - it's like rhythmic tinnitus. Once the band is locked into this lolloping groove it's not too bad, until the singer starts up. You may be familiar this song - lyrically it can be interpreted as arrogant and aggressive, or alternatively, painfully self-delusional. The Farm have decided to interpret is as boredom - because there's no energy or passion in the singing, just "Ho, Hum - you're using me then, fair enough". I'm a big fan of taking an old song and doing something new or different to it - but this feel more like nicking someone else's lyrics and sticking them to your own tune out of sheer laziness.

It's a double a-side, this time, and on the other a-side is Family of Man. This starts off with some house-style piano, and a pretty good, if slightly generic baggy groove gets going, and then, as before, the singer starts up, and the whole thing falls a bit flat. The overall effect is dullness. I kind of stopped listening until a few seconds before the end when from out of nowhere, this screaming hard-rock style guitar solo bursts in all very showy and completely incongruous. Just, NO!

It's not the worst record in my collection, and I was rather fond of it back in the day, but that fondness has diminished over time, and now it's one of those records that commits the cardinal sin of being a bit dull really.

*Yes, I can actually - it's Northside (eventually to be covered in a later blog)

Next time a bit of obscure pop-punk/new wave from the turn of the 70's...