Sex Pistols - Ever Get The Feeling You’ve Been Cheated? (White Trash Soul Real R'n'R No.11)

 

Why am I posting this? To be honest, I'm not sure. I suppose everyone should already be aware of the Sex Pistols and Malcolm McLaren's influence on pop culture. They weren't playing anything new and they didn't play it necessarily better than The Who or the Small Faces. But punk rock went public with these Brit snots, and it was clear to everyone. I was captivated by the Sex Pistols long before I had heard of The Sonics or The Ramones. It was just a picture of Paul Cook wearing the iconic "I HATE PINK FLOYD" t-shirt that first caught my eye. I mean, I REALLY hated Pink Floyd when I was young, there was a time at school that almost everyone around me had "The Wall" patches on their denim jackets. I still do hate 'em, actually, except for the Syd years - but that's another story. All these Pistols recordings remind me of my younger self, who was completely captivated by Rotten's snarl, Jones' fierce guitar assault (which I later discovered he had stolen from Johnny Thunders, who in turn had stolen it from Chuck Berry) and the savage railroad backbeat of Cook and Matlock, who were doing their best to keep the train on tracks. And poor Sid... Oh mate, I love him! I don't care if he wasn't able to play a few notes, he was such a figure! I still think of him as a great punk vocalist, he did an excellent job with these Eddie Cochran songs and I wish he had recorded more with Jerry Nolan and the rest of the New York City wild bunch, properly. (There are lots of no-fi bootlegs that support this opinion).

Pistols were probably everything a young lad always wanted from a rock 'n' roll band: Anger, confusion, a sheer force with a bratty desire to piss everyone off! The Neanderthal iconoclasts and the street preachers. I don't care if this band/project was originally created in a fashion boutique (or not), because it worked perfectly as a cultural strength. And it still works, which makes me think that I'm right about what I'm thinking and typing right now to you. I don't care if John Lydon was always a Tory cunt, beacuse he's the Dr Jekyll of this story. The Mr Hyde persona of Johnny Rotten, who spontaneously begins to take control without filtering his words, is what's left of him worth. Even ol' Neil sang about it by juxtaposing Elvis, who had just recently deceased with Johnny Rotten who was 'born' right after. 

Once again, I haven't put together the kind of compilation most people might be expecting. In any case, the Pistols haven't left behind a massive body of work, despite the countless compilations that exist. However, I chose the ones that I definitely consider to be their best. Believe it or not, the first time I heard "Never Mind the Bollocks", I wasn't hooked by 'Anarchy in the UK' or 'God Save the Queen', but by 'Bodies' ('Screaming bloody fucking mess!'). To this very day my fave Pistols song along with 'New York'. The opening harsh guitar noise is just a feint and it has an inhuman roar. As the first chord begins to fade, Rotten bursts: "She was a girl from Birmingham, she just had an abortion" and a short while later, there is another fake stop/start, during which he loses completely his temper: "FUCK this and FUCK that, FUCK it all and FUCK the fucking brat!". In terms of fierceness, performance and delivery, there's no other song that comes any close in rock'n'roll history. 

Did I say 'New York'? The aim of this rambling, immature and bigoted diatribe was therefore clear: a direct attack on the New York Dolls, implying that they were American middle-class kids trying to imitate British monsters like the Rolling Stones. The response given by Johnny Thunders on 'London Boys' (with Jones and Cook playing in) was, of course, just as delightful! I've included a rough demo recording of 'Belsen Was a Gas', which captures the rare event of Sid Vicious playing a whole song without interruption. As it turns out, he wasn't that bad on bass after all! There are also a fair number of songs from the 'Swindle' era, which I found to be underrated, such as the eponymous one, with the amazing vocal delivery by Edward Tudor-Pole, backed by hooligan Chelsea FC like chants (by Cook and Jones?). The blasphemous lyrics ("Hiya boys, I'm the chosen one, can't you fucking see? I'm a jealous god and I want everything and I love you with a knife") are 100% in the Sex Pistols habit. Other highlights include the fantastic rendition of the traditional seafaring and hilarious drinking song 'Friggin’ in the Riggin', the glam-punk thugness of 'Black Leather' from the Ex-Pistols period, and the lost Jones/Cook power pop jewel 'Lonely Boy'. I don't want to bore you with further details, but the whole thing I've cooked up is a mixture of rough mixes, outtakes, remastered tracks and original well-known takes, all put together as a lethal cocktail.

The Sex Pistols self-destructed with self-awareness and played an essential role as sufferers on the unholy altar of rock'n'roll's resurrection. They challenged every aspect and principle of mainstream music thereby inspiring countless bands to follow in their footsteps. Their confrontational and nihilistic public image, coupled with their socio-political lyrics, continues to set the tone for punk bands to this day. In the end, the Pistols created undeniably essential rock'n'roll music (as Lord Chuckster said first) that has stood the test of time and still sounds just as thrilling and powerful. 

Choo Choo Train - "Supersonic Pure Pop Sounds" (WTS Popkid No.11)

 

The American pop tradition was and still is protected by Ric Menck, its original flame keeper. Best known as the drummer for the cult power pop band Velvet Crush, Ric has also released countless singles under various names, including indie pop darlings The Springfields and Choo Choo Train, for legendary labels such as Sarah and The Subway Organisation. Along with his long-time partner in crime, Paul Chastain, he is the quintessential manufacturer of modern US pop nuggets. I mean, whenever a copy of Ugly Things magazine lands on my doorstep, I read Ric's column first. He's the one who first got me into Big Star, and he's the one who made me think differently about 60s psychedelic pop. Before I'd even heard it, I used to hate this genre, thinking it was just hippie nonsense. What a moron I was! So, as you probably imagined Ric's a very important figure to me, just like Greg Prevost or Bobby Gillespie.

Menck formed Choo Choo Train with Chastain in the late '80s and with a tiny budget (a $500 loan from a good friend) they recorded most of these compilation's songs. These tunes are now highly regarded (and rightly so) as a cornerstone of late '80s Powerpop and Indie Pop! I can still clearly remember the first time I heard 'Briar Rose', I was completely floored... It was half "Pet Sounds"-era Beach Boys and half 'Sally Cinnamon'-era Stone Roses! Future generations of Lenny Kayes will be amazed when they compile it. 

If someone were to ask me why I created this compilation when similar ones are already available officially, I would simply say that the reason is that they don't include everything! I put together this collection as a love letter to the Menck/Chastain songwriting partnership and I believe it contains all the material that this underrated yet astonishing duo released under that name (including singles, b-sides, EPs, stray or flexi tracks etc). The sleeve was also designed using elements from their singles artwork and fanzine pieces about them.

Listening to the songs in the chronological order they were released is a constant exploration of pop culture. Monsters from the '60s coexist with their '70s and '80s counterparts. Syd Barrett with Alex Chilton, Brian Wilson with Paul Collins, and the Left Banke with New Order! Man, there's also a live rendition of an Iggy Pop track from his still underrated "Party" album! 

Anyway, if you're into Anglophile, tambourine-heavy, Byrdsian psychedelic pop with ringing guitars and sugary harmonies, here's your fix. 

The Action - The Complete Rolled Gold Era, 1967/1968 (White Trash Soul 60s Psychotropia No.4)

 

Some things in life are just not meant to be. Whenever any lost recordings by a hugely influential band or artist are unearthed, the cliché of the 'lost classic' is the first thing you read. In most cases, at least in my opinion, they're not but the mystery of the unknown or better still, the unheard, leads us to these hyperbole filled early conclusions. Sadly, this is the bitter truth for the highly revered 60s mod band, The Action and their 1967 and 1968 recordings.

The "Rolled Gold" reels are the long-lost masterpiece that nobody was ever allowed to hear until the guys at Dig the Fuzz Records got their hands on them back in the mid-90s. Despite being signed to legendary Beatles producer George Martin's AIR label and enjoying strong support in clubs, the Action strangely never had a hit record. No one before or since has recreated the Tamla sound quite so brilliantly. As Steve Marriott famously said: "We all tried our hand at getting that (Motown) sound you know, all the bands in the mid ‘60s. The best ones at it were the Action... They were an amazing band!" Some things are not meant to be, indeed... 

I talked previously about the changes in sound and attitudes of the 'in crowd' bands on the few freakbeat compilations I made for this space. As the mods became interested in more psychedelic drugs, their sound evolved accordingly. 'Never Ever', their self-penned pop masterpiece showcasing astonishing three-part harmonies (not unlike those of the 'other' band Mr. Martin had under his wing), was released in February 1967... Their final single, the acid pop brilliance and most adored by yours truly 'Shadows and Reflections', was recorded in early March and subsequently released two months later. Although it received rave reviews, mysteriously failed to sell enough. Again...

During this period, Pete Watson, one of their guitarists gave up. The remaining members continued as four-piece. At one point, they even asked Keith Emerson to join them on Hammond organ, but he declined. The Action were already in search of new lands. A version of John Coltrane's 'India', recorded for the BBC, has proven this clearly. The "Rolled Gold" material was started and the process was underway. Although they weren't signed to Giorgio Gomelsky, they did use his studio and Reg King was at the top of his game. He was in charge of everything, producing, singing and writing most of the songs' parts. 

The 'Rolled Gold' demos, supposedly named after the tapes kept in a handmade gold sleeve, were played to George Martin. He chose 'In My Dream' as a potential single, and the band re-recorded it with him at De Lane Lea Studios. EMI (AIR's distributor) showed no interest and the tracks were shelved. The band tried to persuade another label to provide the funding to record the album properly but unfortunately and for reasons The Action members cannot remember, Polydor decided to pass also. And that was the final nail in the coffin. Reggie left the band to work on a solo album after Rod Stewart's advice (with all Action comrades playing in), while the rest of the group slowly morphed into Mighty Baby. 

In the summer of 1968, the remaining Action members put on tape five final songs under that name. The absence of Reg's voice led many to refer to these recordings as Mighty Baby, but they are not. All these songs embrace a brilliant Mods-meets-Byrds approach, rather than the Baby's known occult prog material. Personally, I rate them as highly as any of the previous Action recordings. Whiteman and Bam sing like any other West Coast band of the era, and as beautifully. I would even go so far as to say that these songs would easily have made it onto any Byrds LP or Syd's Floyd. Anyway...

I'm still trying to understand why this masterpiece was never given a chance. In those demos, the band definitely went psychedelic and clearly they were still in love with Soul and R&B. Don't be intimidated by the term 'demo', the recordings are as rough and clean as they need to be and so unbelievably ahead of their time! "Rolled Gold" is more direct than Who's "Sell Out", more adventurous than Small Faces' "Ogden's Nut Gone Flake" and more concise than The Byrds' "Fifth Dimension". Believe me people, these songs are as fruitful and vibrant in their raw form as any comparable finished material of the era!

The Prisoners - Live (White Trash Soul Real R'n'R No.10)

 

For those who for some reason haven't yet understood from any of the many previous posts and mentions, how fanatical I am about the Prisoners, let me state it again succinctly: VERY! To me, they were by far the best of the 80s garage revival and just take a moment to think about all the incredible bands the world had at that time (Tell Tale Hearts, The Creeps, Crimson Shadows, The Last Drive, The Stems, Miracle Workers, Chesterfield Kings etc). The Prisoners were a bone-juddering affair. The group came together at the close of the mod revival thing or the dawn of the new garage-psych resurrection and despite being perfect for both scenes, the group remained largely snobbish about such trends. In fact, they even snubbed their hometown and their friend Billy Childish by rejecting the Medway's recording methods.

If they had been willing to change their approach, the outcome might have been different. However, the band was set on doing things their own way and refused to heed any advice on how to achieve success. Consequently, The Prisoners never graduated from playing in smaller London venues. Quality over quantity, fuck you very much!

As you can see for yourself, I used the legendary "Live at Leeds" by The Who as a pattern for the cover of this compilation of live recordings of the Prisoners from a time when they and I were very young. Their sound brings more to mind, though, the Rolling Stones of the "Got Live If You Want It" era, if the latter had had a Hammond in their line-up and Steve Winwood on keys shortly before he left to join Traffic.

So, the idea behind this concept was simple, yet it has not been officially implemented until now. Every legitimate released live recording of them had to be collected, whether from the relatively rare split LP with the Milkshakes or the stray tracks included as bonus material on the CD reissues of the ever-top Big Beat/Ace label. The end result was a set of 18 songs, none of which had been used twice (except one, OK) and a time period that it seems to be their absolute peak: 1983–1988 (most probably, in some cases I wasn't sure about the date of recording). I made this to try and deceive myself since I never had the chance to see them live. 

I chose the order of the tracks purely chronologically, and I listened to it several times before posting it (as usually). I always try to consider every possible detail, such as sound matching and flow, as if it were an official release (I have quite a few issues with OCD, I am aware of that). You know what? I really enjoyed it and I hope you did too! Here's just another labour of love from this blog to some of the heroes of its youth.

Various Artists - Get Happy: Indie and Jangle Psychedelic Pop from the 80s Underground (WTS Popkid No.10)

I have always thought of the C86/indie pop scene as punk's softer, more delicate offspring. Both shared a DIY attitude, making their own rules and not caring what others might think. They printed their own fanzines, recorded their music (sometimes primitively/lo-fi) and most importantly, released it themselves. And the women who participated weren't just there for eye candy... It looks punk rock to me for sure. 

The term 'C86' was first coined by the legendary Brit newspaper, NME, for its eponymous 1986 cassette compilation, created to showcase new bands from the thriving underground pop scenes in England and Scotland. The term not only describes the groups' jangly, overblown sound, but also the shambling and emotionally fickle mentality behind it. I know it's hard now to imagine how a simple mail order tape could become such a controversial document but that's exactly what happened. 

And that was just the tip of the iceberg. Jangle pop wasn't just a British phenomenon, nor did it emerge out of nowhere. The US made a significant contribution to this sound, with bands such as those in the Paisley Underground scene and some of the early '80s garage revivalists showcasing their milder side. Gene Clark-era Byrds and Big Star were genuinely worshipped on both sides of the Atlantic (along with Velvet Underground of course). As with their punk rock forefathers, another crucial element of their sound was their admiration for the Nuggets garage outfits. 

I'm not here to recount the whole story, which is rather long and has given rise to many subgenres (such as twee pop, dream pop, noise pop, chamber pop etc). Nor am I trying to create an authentic indie pop treasury. There are myriad around the market who hold the genre in higher esteem. My goal is to provide you with a compilation of jangle and indie pop songs from that period which draw heavily on '60s garage and psychedelic sounds. Some of the bands you'll hear didn't stick to indie pop and proved to be adventurous. Some were never indie or jangle pop to begin with but recorded a few songs in that style and finally, a few others, though they remained true to their roots, never hid the fact that deep down they were mod rockers with more sensibilities than they would have liked. 

Here you’ll find bands and songs from all the iconic labels of the era: Sarah, Flying Nun, Creation, Subway Organization and Lazy, to name a few. There are well-known tracks such as 'Just Like Honey' by the Jesus and Mary Chain with the legendary Ronettes-like intro, as well as b-sides that should have been on the other side, such as 'On the Hill' by House of Love featuring Andrea Heukamp's wonderful, Nico-esque vocals. There's also a lost track by the Stone Roses that never made it past the demo stage for a strange reason (it would easily have fit on their debut album and stood out!). The moment when Reni and Ian Brown sing a cappella is electrifying, especially for a rehearsal performance! 

There's the head honcho band of Creation Records, Biff Bang Pow, who should have been bigger. Then there's the embryonic and cutesy at this stage Primal Scream, my beloved Razorcuts, who took their name from Buzzcocks and sounded like if the Prisoners were trying to play the Beau Brummels and the one-offs The Clouds, who issued just a single with three fairly killer songs (and a young Teenage Fanclub member on their roster). There's also The Springfields, a short-lived but highly influential American indie pop bunch who were the first foreign group to release a single for Sarah Records and was led by Ric Menck and Paul Chastain, who would later find fame with the Velvet Crush. Or The Nashville Ramblers, whose members were previously involved in well-known San Diego garage punk bands such as The Crawdaddys, The Gravedigger Five and Mystery Machine. There are tons, anyway, of well-known and lesser-known bands that you should definitely search for if you're not already familiar with them and If I had the time, I could write a thick booklet about them. Have a look at the list below and I'm sure you'll get what I mean...

The cover I designed, the title of this comp and the overall aesthetic are a blatant rip-off of the fanzines of that period and scene (Are You Scared to Get Happy, Woosh, The Fine Art of Shoplifting, etc). 

As always, all the tracks have been ripped or taken from the best possible sources, for your listening pleasure. Over an hour and forty minutes of Rickenbackers doing the Pop!

1. Someone Stole My Wheels - Biff Bang Pow
2. Solace - The Sea Urchins
3. All Fall Down - Primal Scream
4. Turn It Around - Mod Fun
5. Get Out Of My Dream - The Clouds
6. Tomorrow's Time Today - The Reactions
7. Kim The Waitress - The Green Pajamas
8. Thru The Flowers (Single Version) - The Primitives
9. Just Like Honey - The Jesus and Mary Chain
10. Secret Goldfish - Baby Lemonade
11. Sunflower - The Springfields
12. The Last Picture Show - Razorcuts
13. Love Is Blue - Hangman's Beautiful Daughters
14. Sun Still Shines (Demo) - The Stone Roses
15. The Trains - The Nashville Ramblers
16. Talulah Gosh - Talulah Gosh
17. Million Tears - The Pastels
18. Strawberries Are Growing in My Garden (And It's Wintertime) - The Dentists
19. In Love In Too - The Three O'Clock
20. Changing Every Day - The Nuthins
21. You Opened Up My Eyes - Fat Tulips
22. On The Hill - House of Love
23. Rolling Moon - The Chills
24. Sad Eyes Kill - Rain Parade
25. Kiss The Eclipse - My Bloody Valentine
26. Emma's House - The Field Mice
27. Honeypearl - The Summer Suns
28. In The Afternoon - Revolving Paint Dream
29. Heaven Sent Me an Angel- The Times
30. My Favourite Wet Wednesday Afternoon (Live BBC) - The Siddeleys
31. Back Between Places - East Village
32. It's Over - The Things