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

The Beach Boys - Ma SMiLE (WTS Popkid No.9)

 

Never ever trust the so-called "rock critics". They’re idiots, clueless, self-centered (I'm talking about the older ones who were worth their salt - today's are unworthy of any further mention) and all they care about is pushing the stuff for the right amount. I'm writing all this as a review junkie of sort (isn't human existence a contradiction anyway?). In the pre-Napster, Limewire, Soulseek etc days, "Smiley Smile" was the most tangible thing anyone had and the closest to the legendary and aborded "SMiLE". And many of those wankers had smashed it. Today and by having listened to countless bootlegs of every quality, countless remixes (some by fans I dare say are particularly imaginative), as well as the official release of the sessions and Brian Wilson's reinterpretation without the Beach Boys, I consider "Smiley Smile" a near-masterpiece! In some cases I find the songs creepier and weirder, which I think is a cool thing for a pop record. 

I was sitting the other day doing nothing, just fooling around the net and came across a debate about "SMiLE" and "Smiley Smile". Honestly, I enjoy those clashes as much as any classic battle in football (or soccer, for my US readers). Then I thought it would be interesting, if not a good idea, to try rebuilding an album containing recordings from both officially released issues. And so I did! It was much easier than I thought it would be. In fact, I spent more time designing the cover for this one because I already had a clear idea of what I wanted in. So here's a mixture of brilliant peculiarities ("Smiley Smile") and the stunning and intricate production that Brian was working on before it became too overwhelming for him ("SMiLE Sessions"). 

PS: I believe the "20/20'"versions of 'Our Prayer' and 'Cabin Essence' are better, but then again this one began as a dispute over two albums.

Various Artists - Nothin': Sixties Wild Punk and Raw R&B (White Trash Soul 60s Punk No.5)

 

Sometimes I feel like I'm repeating myself and I know I actually am. It's like listening to The Ramones and Motörhead albums basically, but I secretly hope that all of this is just as enjoyable for you as the songs by those legendary bands. I mean, what else is there to write about '60s garage punk that hasn't already been said? The same thing happens quite often with the songs I choose to take in. I can't and don't want to remember whether I've included them before or elsewhere and obviously I'm probably not introducing you to anything you don't already know or haven't listened to before.

I'd like to think that there will always be younger listeners and visitors, and that they will always find something new here. There's really no reason for this blog to exist if not to present something to people that might make their lives a little better. Yes, I'm one of those hopelessly romantic fools who believes that books, records and films can improve our miserable reality. Fortunately for me, it works still. Sometimes. Isn't that the essence of art after all, its offering and its necessity? Obviously, I consider rock 'n' roll to be an art form, especially when performed by teenagers who have the minimal of potential and are brimming with adrenaline, hormones and anger - emotions that they don't know how else to channel.

I've had this compilation on my phone and iPod for a while now. While I don't think there's anything here that fans of the genre don't already know or have on their shelves, I still think they'll enjoy it because it's been put together like a DJ set in a smoky basement club or something. For newcomers and youngsters who haven't already been immersed in BFTG - like series, this will be quite a wild ride. When I started picking out the songs, I wanted them to be as R&B and black rock 'n' roll-based as possible. I was keen for them to have harmonicas, maracas and tambourines maybe even more so than fuzz guitars or trashy organs. I wanted to hear Bo Diddley rhythms and Elmore James slides played by white punks out of their minds and had been raised in hell. And I wanted there to be plenty of snotiness. There are bands from all over the world, USA, United Kingdom, the Netherlands and Oceania. Grab a beer and let's get started! 

1. Keep Me Covered - The Frays
2. You Got What I Want - The Boys Blue
3. I'll Be There - The Sons Of Fred
4. She'll Be Sweeter Than You - Nix Nomads
5. Things She Says - The In Crowd
6. Come Back Baby - Screaming Lord Sutch
7. Let's Make It - Cuby + The Blizzards
8. What'cha Gonna Do About It (Alt. Version) - The Small Faces
9. Please Go Home - The Rolling Stones
10. I Want You - Belfast Gypsies (Them)
11. 80-96 - The Dantes
12. Bad Little Woman - The Shadows Of Knight
13. Dance Girl Dance - Greg Barr & The Barr Association
14. I'll Make You Sorry - Our Mothers' Children
15. In And Out - Larry And The Blue Notes
16. You Don't Love Me - The Little Boy Blues
17. We're Pretty Quick - The Chob
18. Hate - The Stoics
19. Ugly Thing - The Creatures
20. I Need You There - The Chessmen
21. Project Blue - The Banshees
22. Hot Gully Wind - The Master's Apprentices
23. Cry (Over Her) - The Malibus
24. Like What Me Worry - 006
25. Nothin' - The Ugly Ducklings
26. Double Decker Bus - The Count Five
27. I'm Walkin' Babe - The Unusuals
28. Get Your Baby - Mark & The Escorts
29. Caught You Red Handed - Jolly Green Giants
30. Don't Go I'm Beggin' - The Untouchables
31. Don't Crowd Me - Keith Kessler
32. Hidden Charms - Link Wray And His Ray Men
33. Born In Chicago - The (Dirty) Wurds
34. Sitting There Standing - The Chocolate Watchband
35. At The River's Edge - The New Colony Six

The Chesterfield Kings - The Greg Prevost Years, 1978-2002 Singles and EPs (White Trash Soul Real R'n'R No.9)

As I've said many times before, I'm just a rock 'n' roll nerd who likes to share my thoughts on artists who I think should be more well-known. I'm not preaching to the converted either. Most of the time, when I sit down to write I don't know how to start or finish the piece you're reading, but I do know that I don't want to be just another person telling the story of these artists. If you weren't aware of them but like them, then get off your lazy arse and do something, we're in the internet age for fuck's sake and everything's just a few clicks away, if you are not on magazines and fanzines already (too bad for you). So, I'm not going to tell you The Chesterfield Kings' tale.

I listened to the latest Kings album the other day. It wasn't bad, but it wasn't The Chesterfield Kings either. I don't know how Andy Babiuk should call his 'new' gang, but to me it's simple: No Greg Prevost - no Chesterfields! End of discussion, thanks for your attention. To be honest, I don't care who owns the rights to the name, although I'm pretty sure it was Greg who set up the band in 1978 in Rochester, ΝΥ. Prevost is a very important figure to me, even if you are trying to put aside the Chesterfield Kings. A culture vulture and rock 'n' roll enthusiast of the highest order, he has written hundreds of essays for legendary magazines such as Ugly Things and Kicks, as well as his own fanzine, Outasite. He liked the same way the 60s garage punk unknowns and the Brian Jones-era Stones as the New York Dolls and The Heartbreakers or Motörhead, Alice Cooper, Muddy Waters and Nancy Sinatra. To me at least he is as important as Lux Interior.

This compilation is a pissed-off take. Don't get me wrong, I love Andy almost as much as Greg, but I'm not going to change my mind. The Chesterfield Kings ended the day Greg walked away. And here's the epitaph. A much needed (I believe) compilation, encompassing all of their singles and extended plays, including those that that went unreleased or were bootlegs. Most of them (if not all) have been out of print for like ages, so if you're new to their game you won't be able to find them easily or at an affordable price. This is the Chesterfield Kings' heritage as recounted by one of their most devoted fans.

Various Artists - Introspection: Lysergic Mod Echoes (White Trash Soul 60s Psychotropia No.3)

So, here’s another installment in my series about all things Mod becoming freakier and punkier. It is certainly nothing new for connoisseurs, but it's definitely worth checking out if you're new to these sounds. I'd like to remind you that I create these compilations primarily for my own enjoyment, not to demonstrate my extensive knowledge or to seek out the least known band. I mean, I used to like to be a snob bastard once but I'm not interested in that anymore. And of course I'm no expert in anything...

In this new volume, I have also included some bands from the US that are better known as garage punk acts that they were tempted to replace methamphetamines with LSD, and they definitely fit in with these Brits. Speaking of this, there’s a psych update on 'Gloria' as 'Gloria ‘69' for example by the Shadows of Knight with guitar and bass overdubs and without the consent of the band that I have to admit I like it so much! Or a 1967 release of the mighty Attack with their take on a Standells' hit from 1966. Or 'Baby I Need You' a fantastic one-off release by the The Curiosity Shoppe (what a name!) with a heavy organ-driven sound and fuzzy guitars, often compared to the early Deep Purple (I have the same aversion to Deep Purple that I have to Pink Floyd, with one exception: I think of their embryonic Mark1 phases as totally different and brilliant!!).

Of course, I had to include The Action and their full-length version of 'Brain'. Every time I listen to the "Rolled Gold" demos, I try to understand why this amazing band didn’t have the chance to properly record these tunes. They're up there with the Beach Boys' "Pet Sounds" and the Beatles' "Revolver" and fuck you very much if you disagree. Reg King was, without a doubt, the best vocalist on both sides of the Atlantic and this music, man, I mean ouch! - psychedelic but obviously still in love with Soul and R&B, so much ahead of their times! The End's 'Introspection', parts 1 and 2, which gave this compilation its name, is another example of the era's 'what the fuck?'. Produced and championed by Bill Wyman and Glyn Johns of the Rolling Stones, it is the equal of "Their Satanic Majesties" or "S.F. Sorrow", and far better than "Sgt. Pepper's" (to this day, I still wonder how the Fab Four managed to record such a terrible album that is still widely regarded as a classic - give me a break). Both parts has intricate harmonies, heavy Hammond organ, wild guitars and of course as a previously Mod band, a hard hitting soul groove!  

I can go on forever for Loose Ends’ amazing rendition of ‘Taxman’ with the added organ and the dancefloor friendly sound or Sharon Tandy’s and Les Fleur De Lys ‘Daughter of the Sun’ haunting, occult-themed freakbeat monster or Powder’s take on The Who even though they were from San Fran, or In Crowd’s demo for "Blow Up" before The Yardbirds stole their thunder, but I need to work also, even if I don't want to...

Note: I know I've used some of these songs in previous compilations before, like 'Grounded' by The Syn on Lyres' Under Influence, or different mixes of them like with Pretty Things' 'My Time' in its original form with the brass section this time, but I had to 'cause, you know what, I really fuckin' love them and I wouldn't want it any other way.

1. Barricades - The Koobas
2. Try It - The Attack
3. For All That I Am - The Creation
4. Children Of The Sun - The Misunderstood
5. Evil Woman - The Troggs
6. Baby I Need You - The Curiosity Shoppe
7. Grounded - The Syn
8. Introspection Pt. 1 - The End
9. Introspection Pt. 2 - The End
10. Brain - The Action
11. My Time - The Pretty Things
12. What Shall I Do - The Artwoods
13. Wooden Spoon - The Poets
14. Taxman - Loose Ends
15. Daughter of the Sun - Sharon Tandy & Fleur De Lys
16. Walking Through The Streets Of My Mind - Timebox
17. Don’t Know Which Way To Turn - Force Five
18. I Can See Your Face - Pneumania
19. Just Help Me Please - The Outer Limits
20. Blow Up - The In Crowd
21. Gloria '69 - The Shadows Of Knight
22. Hate To See Her Go - Powder
23. Purple, Purple - Spontaneous Generation
24. Down Down - The Silence
25. A-Minor Explosion - Don Shinn & The Soul Agents
26. Hush - Kris Ife
27. Black Cat - Brian Auger
28. Groovin' Slow - The Sound Barrier
29. I Must Be Mad - The Craig
30. Searchin' In The Wilderness - Allen Pound's Get Rich

Big Boy Pete (Miller) - Cold Turkey: The Sixties Recordings (White Trash Soul 60s Psychotropia No.2)

 

Big Boy Pete (real name Pete Miller) is an innovative guitarist from Norwich who recorded some eccentric and wacky tracks in the '60s. These have gained quite a reputation among psychedelic and freakbeat collectors over the years. He started out as a member of the relatively unknown Peter Jay & the Jaywalkers before going solo in late 1965 with 'Baby I Got News for You', a song that's featuring lots of punky, fuzzy and distorted guitar (I wonder if Jeff knew about it, this tune wouldn't have been out of place in a Lyres' set or record). Miller was joined by Peter Frampton and members of the Herd, at least for this and over the next few years he wrote and recorded demos for his own pleasure. In 1968, a second single came out, the largely unheard at the time 'Cold Turkey' under the name Big Boy Pete, a much compiled mod-psych nugget by now, and eventually relocated to San Francisco to work as a producer and engineer, occasionally releasing albums on small labels mostly. 

The above pretty much sums up his life. Miller's recorded output started being released in 1998 and has since gained a cult following with a good reason: This guy had recorded some seriously quirky garage psych stuff! Really now, Pete Miller is a criminally underrated artist and producer. When you hear his stuff from the '60s, it's as if you're witnessing a secret session with Syd Barrett fronting the Kinks, with Joe Meek pushing the knobs and running the tape. Many compilations have been released since then, most of which are worth your hard-earned money, but I have chosen to focus on recordings he made from the '60s. 

The Raveonettes - Rave On (WTS Popkid No.8)

 

The Raveonettes sound ingredients: '50s rock'n'roll, Jesus and Mary Chain's noise pop, Phil Spector's Wall of Sound, The Everly Brothers' harmonies, Buddy Holly's ghost and Velvet Underground's dark, a little bit of C86 jangle just for spice and the '90s love for electronica of Primal Scream. Now, mix all these elements together with cult noir movies and '70s VHS wild b-movie erotica. This Danish duo certainly look like they could have come straight out of the Andy Warhol Factory, don't they? Have you ever pondered what the outcome might have been if Sonic Youth had been a Cramps tribute band or if The Ronettes had been the singers for Suicide? I suppose you can already see where this is going...

Following the huge success of 'Love in a Trashcan', The Raveonettes could have repeated the formula that brought them fame and fortune without losing their charm. However, they chose to delve even deeper into their darkness, continuing to produce small masterpieces to this day. Rather than stealing glances backwards, they pick up where they left off. Even when tragedy struck. (Sune Rose Wagner was in a long-term relationship with the late American fashion designer, Katie Gallagher. Gallagher was found dead in her Manhattan apartment in July 2022, just one day before Wagner's 50th birthday. Since then, Wagner has spoken publicly about the trauma of her loss.) As Samuel Beckett said, "I can't go on, I'll go on".

Like usual, here's an unofficial compilation of what I think are their best compositions and recordings, which, as far as I know doesn't exist in any form, especially with these songs.

Jubilee - Genuine Nineties Manchester Snot Pop (WTS Popkid No.7)

               

Alright! I'm obviously in a 90s mood and I guess this is something every middle-aged man goes through as he rediscovers and re-embraces his memories of the parties, the booze, the girls, the music, the past glories in general. Judging by the comments and visits, this blog's fanbase mainly like their music from other decades, but I don't really care. If you're smart enough, just listen to what I'm offering - you won't be disappointed!

Formed in 1994, Jubilee were a popular live act in Manchester, regularly packing out venues across the city. Managed by former Hacienda and Stone Roses manager Howard Jones, they were local superstars and championed by the music press as Manchester’s answer to more popular britpop bands such as Supergrass with influences ranging from the Small Faces and the Sham 69 to Syd era Pink Floyd and of course, the Stone Roses (in fact, the pair of main tracks on their singles were much more reminiscent of Oasis' punkier tunes, such as 'Bring It On Down'). Jubilee's snot pop sound proved very popular with the city's student population and Silverstone Records signed them in 1995. Both of their EPs are issued by Mono subsidiary and both releases scraped the Top 50 in 1996. 

Conflicts soon arose within the management, with the band becoming disillusioned with Jones after he pushed Andy Couzens (his collaborator and former member of the Stone Roses) to produce their first single. The band was upset with the end result and the fact that Jones had let an inexperienced producer to work on their record. Typical stuff I guess. Jubilee decided not to provide Silvertone with any more recordings, considering that the record company had not fulfilled its contractual obligations and that there had been insufficient promotion of their second and last move with 'Shake and Shiver'. Jubilee and Silvertone parted ways in 1997 amid bitterness and bad blood. Although they continued to play for a year, the momentum had clearly been lost. As you already have guessed, here you’ll find their two releases for Mono. 

The band is now considered as a junkshop britpop act but believe me they had much more to offer than mediocre outfits that were relatively or hugely successful, such as Menswear or the Bluetones.

The Solarflares - That Was Then: Their Best 1999 - 2004 (WTS Popkid No.6)

From 1999 to 2004, some really intriguing music was produced down in Kent, England. Half of the Prisoners or three quarters of The Prime Movers, have formed the Solarflares and by blending the influences of the hard-edged, late 60s mod soul-psych-garage sounds with strong '78 guitars, swirly Hammond organ, pounding Mitch Mitchell like drums and John Entwistle bass lines, plus Graham Day’s white soulboy shouting, created a sonic mayhem that could only be matched by their younger selves! In other words, the essence of the Prisoners is realised in the Solarflares, ladies and gentlemen. 

This quartet faced their mid-life crisis head on, took a handful of amphetamines as in the old days and hit it on again. In fact, this is some of the strongest material these guys ever put their names to. Sometimes I even have the blasphemous thought that they might be better than my beloved Prisoners, but I immediately dismiss it so that it doesn't become an obsession. But they were definitely better than 80% of the music of that period (I remind you that the late 90s/early 00s were indeed a good era), even if you didn't read about them in the media or the press and even if bands that had stolen everything they could from them, were glorifying them. It was no mean feat trying to create an unofficial 'best of' compilation about them, which had been missing for some time, but as usual I gave it my best shot. Cheers!

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 (White Trash Soul 60s Psychotropia No.1)

 

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