Five Thirty - EPs (WTS Popkid No.5)

 

As I have written many times before, I grew up in the '90s. Specifically, in 1990, I started middle school and was 12 years old. Although I tried to keep up with all the latest releases, it was very difficult in the pre-internet era unless you lived in a big city with specific radio stations and imported magazines and newspapers. Nevertheless, I presented my own radio show through which I tried to introduce as many people as possible to the music I thought was the 'best'. I clearly remember being very hostile towards dance music, especially techno (although that changed rather swiftly when 'Screamadelica' landed). I was completely immersed in '70s punk rock, and my life had just been transformed by discovering The Ramones, the Sex Pistols, and Johnny Thunders and The Heartbreakers.

It was only much later that I discovered those 5:30 guys. I was all about Cool Britannia and Britpop, and when that scene came to an end, I was anxious to unearth hidden gems or forgotten jewels from that era. And, of course, this came through fanzines. I remember there being an indie record store in Athens dedicated to British music. Sometimes imported fanzines were displayed on its shelves as well, so I grabbed them. Alongside bands such as Studio 68!, the Aardvarks and the Stairs, Five Thirty combined the '60s garage punk that I had discovered only a few years earlier through bands like the Lyres and the Chesterfield Kings with the sounds of the Jam, the Small Faces, the Who and even the Stone Roses! Before these bands, I thought 'mod' meant looking casual. Of course, I used to wear Adidas trainers, Levi's jeans and football shirts. Actually, I still do.

Anyway...

5:30's sole album ('Bed') is a true lost classic. It sits comfortably alongside other UK and US albums that went massive, yet has bizarrely received no recognition from the crowd. The same was true of all the EPs that were released (remember those 12-inch records with their superb sound?). Their first material was dated in the mid/late '80s, but returned in 1991 as a mod and psych-influenced band wearing suits, striped trousers and Chelsea boots. Five Thirty's music was tough, gritty and rockin', yet highly melodic. They favoured a punky, edgy pre-Britpop/snot power pop sound with lots of the era Madchester influences and a gifted arsenal of two frontmen/songwriters plus a drummer as good as Keith Moon. Three years before Oasis, they exuded a rock’n’roll arrogance that rubbed people the wrong way and perhaps they were too mod for the times (mind you Paul Weller was still label-less back then). With their sharp edges and sub three minute songs, this band was clearly at odds with the early '90s shoegaze sound of their hometown (Oxford). In fact, they predated acts such as These Animal Men and S*M*A*S*H, who are often cited as the forerunners of Oasis/Supergrass/Manic Street Preachers/Libertines kind of supercharged pop and rock'n'roll.

I think you've got the idea - I won't bore you with more details. All their 'singles' (actually EPs) have been gathered here, along with some bonuses from recent reissues. 

PS: Don't be fooled by the awful production of this era on the mid-80s, third league, teenage punk debut that starts this compilation. By the time they re-emerged in the '90s, this band had exploded like a supernova.

The Lost Minds - Jerky Motions: Complete 1995-96 (WTS Popkid No.4)

Emerging from the ashes of the legendary Bogeymen, the Lost Minds have picked up where the Creeps of the 'Now Dig This' era (or perhaps the Prime Movers' debut) left off. They only released three records for the long-established garage mod label Detour: two singles and a full-length album. I remember reading reviews at the time recommending them to fans of Ocean Colour Scene or Paul Weller, but that wasn't really the case. These former garage punks had updated their sound to be more soulful, mod -beat and Hammond-driven, in a way that The Prisoners or the JTQ had previously done. And Laurent Bauer had a prodigious voice, typically associated with white (trash?) soul singers in the tradition of Robert Jelinek and Graham Day.

In my opinion, the comparison with the aforementioned Creeps is very apt. There are definitely more similarities with The Small Faces than with The Who during this period, particularly with regard to their Bogeymen days. Expect crunchy, organ-heavy grooves, foot-stomping tunes with funky strummed guitar and a soulful rhythm section eager to outdo the other instruments.

Various Artists - Psychedelic Mod, Funky Prog, Acid Soul and Freakbeat

 

OK, I've just made another compilation and I couldn't wait to share it, even though there are other posts already waiting in the pipeline. That's how excited I am! Having listened to a lot of acid jazz recently, I decided to compile a playlist of British bands and songs from the late '60s that undoubtedly influenced the creation and development of the genre in the early '90s. At least, from my point of view.

Anyway, by the time this booming decade was coming to an end, psychedelia was also in troubled waters, and musicians were looking for new sounds to take its place. Some turned to jazz, some amped up the blues, while others started heading in the direction of a more progressive sound, yet still funky. And quite many fearless musicians tried to combine all these elements to create something new. Most of them (if not all) were ex-mods already accomplished by the groove of black Americans and the mighty Hammond organ was now at the forefront, leading the way. Many of them mods also collaborated with each other in one or more bands, and many of those collaborations can be found here.This new sound had a grittier, nastier, smooth and manic at the same time overtone, with fuzz guitars polluting the area and rumbling organ and horns wailing all over.

Was it psychedelic mod, funky prog, acid soul or just another variant of what later was called freakbeat? Probably all of these and more! Sometimes it's tricky to put into words what you're hearing, but it's not hard at all to get excited about it and dance! I chose to stay in the old Albion because dealing with the US would have been a far greater challenge (Funkadelic, Betty Davis, etc.). See you soon! Cheers!!

1. Don't Want You No More - The Spencer Davis Group
2. My Friend Jack (Demo Version) - The Smoke
3. Anymore Than I Do - The Attack
4. Speak Your Mind - The Lion Tamers
5. Gone Is The Sad Man - Timebox
6. Your Love is Burning Me - Thane Russell & Three
7. Baby I Need You - Curiosity Shoppe
8. Jumping Jack Flash - Wynder K. Frog
9. Somebody Stole My Thunder - Georgie Fame
10. Emmaretta - Deep Purple
11. Egyptian Tomb - Mighty Baby
12. Don’t Be Afraid - Keef Hartley Band
13. Lola (Instrumental) - The Kinks
14. My Mind Can Ride Easy - Killing Floor
15. Indian Rope Man - Brian Auger & Julie Driscoll and The Trinity
16. Call You Liar, Liar - Satisfaction
17. Crazy Feeling - Carl Douglas & The Big Stampede
18. Pineapple & The Monkey - The Faces
19. Solar Level - Johnny Almond Music Machine
20. (If You Think You're) Groovy - P.P. Arnold & The Small Faces
21. My Time (Brass-Free Version) - The Pretty Things
22. It's a Crime - The Kirkbys
23. Eiderdown Clown - Scots Of St. James
24. In The Deep End - The Artwoods
25. Evil Woman - Guy Darrell
26. Which Way - The Sorrows
27. Big Boss Man - Dave Davani
28. Loot - Steve Ellis
29. I'm Alive - Don Fardon
30. The Cheat - Sutch Lord
31. Midway Down - The Creation
32. Follow Me - The Action
33. In a Broken Dream - Python Lee Jackson ft. Rod Stewart
34. Snowy Wood - John Mayall & The Bluesbreakers

Various Artists - Downtown Soulville, Mr. Fine Wine's Top 45s (WTS Soul No.8)

 

This is my first post of 2026, and it's already under difficult circumstances. I would like to wish each and every one of you a happy new year, but I can't see that happening. I mean, really now people of the US of A, what were you thinking when you elected this idiot, fascist, schizoid piece of shit? (MAGA loonies can kiss my arse. Don't bother leaving comments — you'll never see them posted, GET THE FUCK OUT OF THIS BLOG!). Anyway...

When it comes to soul music, no one can beat a Detroit native. Matt Weingarden - to his friends and fans, Mr Finewine - is a DJ and record collector renowned for his in-depth exploration of rare soul, funk and R&B 45s. It was the 'Downtown Soulville' show on WFMU that introduced me to obscure (or not) grooves more than two decades ago, and I'm not exaggerating when I say this guy's changed my life for better! 

I can't remember how or where I found a list of his most precious and beloved items, but I printed it out. This piece of paper was a map for what I was going to hear or chase over the next years. I've still got it, actually. I've put together this new collection using that old A4 wrapping in exactly the order in which he presented those 45s. So, if you're planning a party anytime soon, don't forget to bring this playlist along. Trust me! And make sure you'll send any fascist, racist scum to hell...

1. Downtown Soulville - Chuck Edwards
2. My Baby Likes To Boogaloo - Don Gardner
3. Peanut Duck - Marsha Gee
4. Your Sweet Love - Nelson Sanders
5. Don't Use Me - George Jackson
6. I'm Gonna Do It By Myself - Jimmy ‘The Preacher’ Ellis
7. You'll Always Be In Style - Sidney Barnes
8. From Now On - Nathaniel Mayer
9. Ride In My 322 - Spyder Turner
10. Moaning, Groaning, And Crying - Fuller Brothers
11. Quittin' Time - Big Maybelle
12. I'm Drunk And Real High - Ada Richards
13. Soul Dance Number 3 - Pervis Lavawn & The Commanders
14. Mellow Fellow - Etta James
15. Get Down With It - Bobby Marchan
16. Go Go Train - Jackie Paine
17. Hump Back - Eldridge Holmes
18. Souvenirs of a Heartbreak - Thelma Jones
19. You Were Meant for Me - Young Jessie
20. Soul Sister - Sam Dees
21. Welfare Cheese - Emanuel Laskey
22. Baby Do The Philly Dog - The Olympics
23. Rattlesnake, Baby, Rattlesnake - Joe Johnson
24. Oo-Ma-Liddi - J.J. Jackson
25. Loose Me Love - Virgie Till
26. That's My Girl - Dee Clark
27. The Queen - Big Ella
28. I'm Stuck On My Baby - Irene & The Scotts
29. Nerves Of Steel - Gino Parks
30. Soul Circle - Spot & The Blotters

The Upsetters - The World Famous Upsetters (White Trash Soul R&B Series No.22)

 

The Upsetters were one of the hottest bands in R&B and rock'n'roll history and King Richard Penniman's touring outfit during the Specialty years, yet they were sorely undervalued and poorly chronicled. They backed Little Richard on some of his greatest and wildest sides and were also featured on Don Covay's debut Atlantic single, 'Big Bop Bip', in 1958 or Dee Clarke's 'Oh Little Girl'. The King and Queen of rock'n'roll served as the uncredited lead vocalist on some of the Upsetters' Little Star singles in the early '60s in one of his many moments of finding God and then losing him again. The band's line-up at periods included the powerful saxophonist Grady Gaines, who was also featured as a leader on some releases. The nuclear powered Ricardito's recordings exuded nightly in the mid-50s must have rubbed off on Grady Gaines. Mind you that Little Richard had a big argument with the owner of Specialty Records, Art Rupe because he wanted to record more songs with The Upsetters who favored over the studio session players.

The early Upsetters sessions reveal a band with a raw sound, lacking in studio polish, but with volcanic rhythmic creativity. Upsetters drummer Charles Connor is credited by James Brown with facilitating the rhythmic transition from '50s rock 'n' roll to '60s funk. Anyway, during this period, they were considered by many to be the greatest touring rock'n'roll band on the planet! Connor claimed in a Ponderosa Stomp piece that 'Keep a Knockin' was the first four-bar drum intro on a rock'n'roll record:

“Richard was saying, ‘I want the guitar to play the four-bar intro.’  So the guitar player, he tried it.  Then Richard tried it.  He said, ‘I don’t like that.’  Then he let the saxophone play the four-bar intro.  I said, ‘Wait a minute, Richard.  Let me do something.  Let me do a four-bar intro because this has never been played on a rock and roll record!’  It had never been played on a rock and roll record.  So I came up with a ‘tat-tat-tat-tat-tat-tat-tat-tat’ . Richard gave me a thousand dollars for that idea, and that was a lot of money in those days.”

The Upsetters remained intact long after Richard left in 1957 to become a minister and they toured or recorded (or both) with Little Willie John, Sam Cooke, James Brown, Jackie Wilson, Joe Tex and Larry Birdsong. Band's saxophonist Wilbert Smith became the vocalist and performed under the name Lee Diamond on their own releases. He was from New Orleans (Upsetters were coming from Macon GA as Little Richard of course). Smith was in the horn section for James Brown and the Famous Flames' 1956 breakout hit, 'Please Please Please'. Further sessions and releases followed at Vee-Jay and Fire in the next years. 

As you might have guessed from the above, the Upsetters cut many excellent records independently, as well as backing some of the greatest R&B singers of the era. This homegrown compilation showcases the best (I believe) of the Upsetters' releases under their own name, as well as their backing work. I tried to delve deeper into their history than their heyday in the '50s and early '60s. Some of their instrumentals are pure gritty and sleazy strip-tease stuff, while other are hyperspeed and primitive rock'n'rollers or soul funky dancers and it's a damn shame they're only known to R&B and rock 'n' roll diehards. I left out the Specialty Little Richard stuff because, well, it's already very well documented (don't worry, the King is still here, lending his fingers to the piano and his voice to the Little Star singles). I tried to compile almost all of their singles and songs, and I only included a handful of recordings that served as the backing unit. If I had a copy of a recording made from vinyl rather than a digital format, I obviously preferred the former for the collection you will hear. Who doesn't love those crackles, anyway? 

Steve Cropper (1941-2025)

 

Steve Cropper: the MG, the Cobra, the Royal Spade, the Mar-key, the Blues Brother. A HUGE chapter in one of the greatest record labels ever as a co-writer, producer, and above all, lead guitarist for their legendary house band. An absolute giant! Come to think of it, it's incredible that 'Green Onions' was simply the result of a few guys goofing around in the studio. With a lethal Telecaster in hand, he has produced the most self-effacing, funky sounds ever, with metronome-crisp timing, deadly accurate chops, earth-moving bottom-line riffs and sharp, nasty little licks. So, in the name of Chuck Berry, Bo Diddley, Link Wray, Johnny Thunders and Steve Cropper, let me preach one more time and tell you to keep all these Eric Claptons, Richie Blackmores and Stevie Ray Vaughans to yourselves. Here's to the lean, mean and understated fingers of the best ever. Safe travels motherfucker. 

The Throb - Meet The Throb (White Trash Soul 60s Punk No.4)

 

The Throb were an R&B/garage band from Sydney, Australia. They existed for just two years, starting from 1965 and briefly shot to national prominence. Despite their short tenure, the group's punkish potential is evident in their two superb singles. The first is their snarling garage-punk version of 'Fortune Teller', which smashed its way to the top of the national charts in early 1966. The second is their arrangement of the traditional folk song "Black (Is the Colour of My True Love's Hair)". A slashing, feedback-drenched rendition, which pop culture historian Ian D. Marks calls "the most adventurous pop recording made in Australia in 1966".

Their take on "Fortune Teller' was obviously based on The Rolling Stones and not on the Allen Toussaint original and if I remember correctly, their leader, John Bell (vocals, guitar and harmonica), was The Easybeats' original singer for a while and he was friends also with the duo of Harry Vanda and George Young (for those not in the know, George was the older brother of Malcolm and Angus from AC/DC). Anyway, on stage the group had a wild, leather-clad presence that rivalled the Easybeats for sheer euphoria and their debut record and subsequent live shows were unqualified successes. 

Searching for a follow-up to 'Fortune Teller', the group recorded two tracks at Bill Armstrong’s new studios in South Melbourne: a cover of The Kinks' B-side 'I Need You' and a John Bell original called 'One Thing To Do'. However, both tracks were ultimately shelved and did not see the light of day until the '80s when Raven Records included them on Volumes 2 and 3 of the original Ugly Things LP series. Their management eventually selected John Bell's proto-power pop original, 'Turn My Head', and the radical reworking of 'Black' which surpassed the brilliance of their debut, although it was reportedly too shocking for some audiences and radio types in 1966, and didn't perform as well. By the time 'Black' was released in August 1966, some band members were tired of constant touring and after a few lineup changes, sometimes playing as a three-piece, they called it quits. 

All Throb seven known recorded tunes are gathered in one place by me for your listening pleasure. Throughout their short lived existence, Throb were renowned for their wailing harmonica and tormented performances. A 60s punk delirium with howling guitars crying out against suffering vocals that could rightly be placed alongside those of The Missing Links, The Purple Hearts or even The Easybeats. 

David Peter and the Wilde Sect - The Tornado Sessions" & Out Of My Mind / Don't Leave Me (White Trash Soul R&B Series No.21)

Hailing from Copenhagen, Denmark, David Peter and the Wilde Sect tread the line between old-school beat and garage. Their music was fast, raw and loud, authentic sixties-based R&Beat, with beforehand guitars, pounding and steady traps with an added and impressive harmonica wailing. This was rock 'n' roll played the way it's meant to be, as it was by outfits such as The Milkshakes in the recent past or by the early Stones and as their name betrays, the Downliners Sect more than half a century back. Chuck and Bo's ghosts are everywhere, and of course that's a compliment! During their brief lifetime, they only released an EP and a single, and both were gathered by me for your listening pleasure. I wish they had done more.

Various Artists - Wau Y Los Arrrghs Under Influence

I had no idea who Wau Y Los Arrrghs were until these lunatics took the stage at Slovenly's first 'WE'RE LOUD' festival in Athens, Greece, back in 2015. I was mostly there for my teenage crush, the New Bomb Turks, when all of a sudden... BOOM! Yep, just like the Sonics one! I couldn't believe what I was witnessing: the most insane, manic garage PUNK I had ever seen and heard in my life and the most Back from the Grave-influenced outfit since the days of Gravedigger V or the Gruesomes! Naturally, I spent most of my money on their merch and I had to rely on my cousin, who I had dragged along, to provide the rest of the night's booze and it's needless to say also that ever since I have never missed a release of theirs.

Anyway, half (if not most) of their songs are covers of sixties punk and surf instros classics, given Spanish titles and lyrics. In fact, even Los Arrrghs' originals are built on quite many knicked riffs and rhythms. The end result sounds like the Trashmen and the Sonics enjoying paella and sangria at a drunken fair in a small Spanish village in a province full of savages. As mentioned, many of these 'spanishised' songs are a good source of trivia, even for those familiar with the garage, beat or surf genres and here's another 'Under Influence' compilation that's sure to annoy your neighbours!

1. Demolición - Los Saicos
2. Searching - The Omens
3. King of The Surf - The Trashmen
4. Girl (You Captivate Me) - ? & The Mysterians
5. My Brother The Man - We the People
6. I've Been Thinking - Paul Bearer & The Hearsemen
7. It's Great - Jonah & The Whales
8. Yes I Do - The Hatfields
9. They Can't Hurt Me - The Lyrics
10. Help Me Find Myself - The Troyes
11. Can't Be A Lie - Los Mockers
12. Time Will Tell - The Kinks
13. Your Body Not Your Soul - Cuby & The Blizzards
14. On My Mind - Mike Berry
15. One Fine Day - Shel Naylor
16. Sur Une Nappe De Restaurant - Jacques Dutronc
17. Yo Grito - Los Sirex
18. Ace Of Spades - Link Wray & The Raymen

Gary “Mani” Mounfield (1962 - 2025)

Shocked and devastated upon hearing the tragic news. Mani's basslines soundtracked my boyhood. Our boyhood. When he joined The Stone Roses, he was the missing piece that made their star shine. He brought the funk and the groove to their psychedelic indie dance rock 'n' roll. In the annals of rock 'n' roll history, Mani's transition from Roses to Primal Scream stands out as a monumental shift, one of the most significant moves in the genre's storied past. Drawing on his own post-punk background, he gave Bobby Gillespie and his bandmates a new dark twist in a bold second act. 

He was a Manchester music icon and a passionate lifelong United fan. He died on the honest side of history, unlike so many others. He was a massive talent and a top Red, both in football and political terms. A proper geezer and a working class hero. Safe travels motherfucker.