FESTIVE FIFTY YEARS AGO 1965 Further Listening – Nos 30-21

Every year here in Retro Beat City we put together an end of year chart featuring some of the great tunes of the year.

In the spirit of the late great John Peel’s Festive Fifties you will hear a combination of hits, less well known songs and downright obscure tunes.

You can stream or download the chart rundown completely FREE in two parts:

Festive Fifty of 1965 Nos 50-26

Festive Fifty of 1965 Nos 25-1

30. THE FOUR PENNIES “Black Girl (In The Pines)”

Blackburn’s The Four Pennies with a traditional American folk song from the Appalachian mountains made famous by Leadbelly

which sounds excellent with a British Beat Group arrangement.

Nirvana apparently did it a few years later under the name Where Did You Sleep Last Night.

29. MARTIN CARTHY “The Queen Of Hearts”

“The Queen Of Hearts” is taken from folk singer Martin Carthy’s self-titled debut album which consists entirely of his settings of traditional folk songs.

Martin Carthy should really be better known among music fans in general – although in folk music circles he’s pretty much royalty, both in his own right and in having married Norma Waterson of the Waterson clan. He still regularly performs and records to this day often with Norma or his daughter Eliza.

His adaptation of the traditional balled “Scarborough Fair” was copied by Paul Simon (without credit) on Simon And Garfunkel’s “Parsley Sage Rosemary And Thyme” album in 1966. Good old Paul, when he steals, he steals from the best.

This is another track from the album, “High Germany”

28. JOHNNY NASH “Lets Move And Groove”

A slow soul stormer which barely dented the US charts on its release in September 1965, one of a few soul records in the Festive Fifty of 1965 that could reasonably be said to be ten years too early.

There was a rather overblown version of this song by Byron Latimore that featured in Piper’s striptease scene in “Orange Is The New Black” but you’re probably better off watching that with the sound turned down.

Johnny Nash would become more famous for his reggae hits in the late sixties and early seventies including this Bob Marley cover:

27. JOHN FAHEY “I Am The Resurrection”

John Fahey was a unique and uniquely influential guitarist, blending the old tyme picking style of old folk and bluegrass with the sonic palette of 20th century classical composiers like Bela Bartok and Charles Ives. His 1965 album “The Transfiguration Of Blind Joe Death” refers to his sometime alter-ego on record.

This is another track from the album, called “The Death Of The Clayton Peacock”. As one of the Youtube comments points out, it actually does sound like a dying peacock.

26. DUSTY SPRINGFIELD “I’ve Been Wrong Before”

When people think of Dusty Springfield albums these days they tend to go for 1968’s “Dusty In Memphis” which has all the hip criteria of being recorded in Memphis with the Muscle Shoals house band some of the best soul producers of the era (Tom Dowd and Jerry Wexler)

However, 1965’s “Everything’s Coming Up Dusty” (that couldn’t possibly be an ironic double-entendre, could it? Could it?) is for me her greatest album. If you overlook an ill-conceived, by-the-numbers take on “La Bamba” the album is wall-to-wall gold.

Her cover of Randy Newman’s “I’ve Been Wrong Before” is comfortably the best version of that song, and you could say the same about “Oh No Not My Baby”, Rod Stewart notwithstanding.

25. THE ZOMBIES “Sticks And Stones”

A track from the Zombies debut album “Begin Here” which also features their debut hit and best-known song “She’s Not There”, covered later by Santana. Whether you prefer that version or this one is down to whether you like guitars better than keyboards I suppose.

24. THE RATS “Rats Revenge Part Two”

For completeness’ sake here is the equally deranged “Rats Revenge Part One”.

There were at least three bands called The Rats who got to make records. One was a punk band from Portland, Oregon active from 1980-1984 or thereabouts. One was a psychedelic band from Hull which featured future Bowie sideman Mick Ronson on guitar and recorded “The Rise And Fall Of -Bernie Gripplestone” in 1967. Its nowhere near as good as its title.

23. FELA KUTI “Igba l’aiye”

This track comes from a session by Fela Kuti and his Koola Lobitos recorded for Leo Sarkisian’s then-relatively new Music Time In Africa show (available on the Voice Of America and going strong to this day under the care of the excellent Heather Maxwell)

Click Fela Kuti 1965 Session for Music Time In Africa for more details and further tracks.

22. THE RAMSEY LEWIS TRIO “The ‘In’-Crowd”

Fifty years ago, the Ramsey Lewis Trio sat in a Washington, D.C. coffee shop, musing over what it could add to its set that evening. It was booked for a run at Bohemian Caverns — the group had issued a live album made at the nightclub, and it was gearing up to record a follow-up live album. Over walked a waitress, who inquired about the band’s predicament.

Fifty years later, Lewis still remembers her name: Nettie Gray.

“She had a jukebox,” Lewis says. “Jukeboxes in coffee shops — people don’t know about that any more, but she went over to the jukebox and played: ‘You guys might like this! Listen to this!'”

Her recommendation was “The In Crowd,” sung by Dobie Gray — a popular hit at the time. Lewis and the band worked out an arrangement quickly, then ended their set with it that evening, to wild applause.

Fifty years later, that song remains Ramsey Lewis’ biggest hit.

“If somebody had come up with another song that fit the style of what we wanted, there would not have been an ‘In Crowd,’ ” he says.

A much-covered song, I’m quite partial to Bryan Ferry’s Roxyfied – if not Enossified – take on it from 1974.

21. THE STRANGELOVES “I Want Candy”

Although producers Bob Feldman, Jerry Goldstein and Richard Gottehrer used their real names in the writing and production credits of this single, they claimed The Strangeloves were actually three Australian brothers (and ex-sheep farmers) named Giles, Miles and Niles Strange. Feldman, Goldstein and Gottehrer dressed up in shaggy wigs and exotic clothing for publicity photos as The Strangeloves.

They hoodwinked enough American teens with their phony story, “Aboriginal” drums and cheap Beatle wigs in 1965 to send “I Want Candy” to number 11 on the US charts. For some reason it failed to trouble the scorers in the “brothers”‘ supposed “native” country, Australia.

If they’d never recorded anything else, the Strangeloves’ footnote in music history is assured. “I Want Candy” is a revelation – a Bo Diddley jungle beat, jazzy guitar line, and massed, slightly out of tune vocals sounding like a fraternity at the most drunken part of the evening.

Bow Wow Wow did a great version in 1981. Sorry if it reminds you of that fecking Candy Crush advert. #notsorry

Previous

Festive Fifty of 1965 Nos 50-26 FREE download

Festive Fifty of 1965 Nos 25-1 FREE download

Follow Beat City on Twitter

Beat City Youtube channel

Beat City on Facebook

FESTIVE FIFTY OF 1965 Further Listening – NUMBERS 40 – 31

Beat City Blog

Beat City on Twitter

Beat City on Facebook

Beat City on Youtube

The second of five blog pieces taking you a little bit deeper into the Festive Fifty of 1965.

Click here if you missed Blog Part One – Numbers 50-41

Download the two parts of the actual podcast here:

Download Festive Fifty of 1965 nos 50-26 here

Download Festive Fifty of 1965 nos 25-1 here

This of blog posts gives a bit more background to each track, plus links to other related tracks worth hearing.

Enjoy!

40. THE CONTOURS “First I Look At The Purse”

Three years – an eternity in terms of the pop charts, both in the sixties and now – had passed since The Contours’ “Do You Love Me” went global, and while only lead vocalist Billy Gordon remained from the line-up that cut that record, and even though the group were strictly second division in the Motown pecking order, the band’s sound and output was still carefully controlled to ensure a direct line, sonologically speaking, between The Big Hit and all subsequent releases.

This song was written by Miracles Smokey Robinson and Bobby Rodgers and managed a reasonably creditable #57 on the Billboard Hot 100.

The J Geils Band did a superb garagey version of this song in 1970, by the way – worthy of The Band themselves and a million miles from their early 80s hits.

39. PRINCE BUSTER “Wash Wash”

Featuring Georgie Fame on organ and the Les Dawson Combo (the Jamaican ska group not the dour Yorkshire comedian although I reckon he could have probably handled the organ part on this)

The song is “based” on an old Frankie Laine number “That Lucky Old Sun” from 1949, but you do have to do whatever the aural equivalent is of “squint” in order to hear it.

38. AFRICA FIESTA “Minge Rhumba Fiesta”

L’Orchestra African Fiesta, often known simply as African Fiesta, was a Congolese soukous band started by Tabu Ley Rochereau and Dr. Nico Kasanda in 1963.

Tabu Ley and Dr. Nico were originally members of the seminal band Grand Kalle et l’African Jazz. They left African Jazz and started their own group, African Fiesta, with which they helped elevate the genre of African rumba into the genre now known as Soukous.

This track and many others equally as great can be found on the compilation “Rochereau et l’African Fiesta National 1964/1965/1966” under Tabu Ley Rochereau’s name (there were ructions between the two founder members which led to Nico Kasanda leaving the group and setting up African Fiesta Sukisa)

The track “Jaloux Jaloux” is just beautiful – listen to the singing on this.

37. SMALL FACES “Whatcha Gonna Do About It?”

The debut single and the debut hit from the peerless Small Faces – although the band weren’t that enamoured of the song and preferred the B-side “Whats A Matter Baby?”

36. DONOVAN “Universal Soldier”

In an era of many protest songs (notably Barry McGuire’s “Eve Of Destruction”) Buffy Saint-Marie’s gentler-sounding song stood out, as rather than an angry rant at generals and war in general it pointed the finger at the men who actually went off to war, and questioned their choices directly. A masterpiece of a song given a good treatment by Donovan

Here’s the original, with an introduction by Buffy Sainte-Marie describing the inspiration behind the song:

35. BRENDA HOLLOWAY “You Can Cry On My Shoulder”

Nothing I can say about this song, or indeed about Motown’s finest singer Brenda Holloway, that can’t be said better by Motown Junkies on Brenda Holloway

and then check out this dark, dark tale of a bad relationship:

34. THE WHO “My Generation”

According to Pete Townshend in a later interview “My Generation” started out as a talking blues folk song record, Townshend being hugely affected by Bob Dylan at the time.

You can just about discern this when you listen to it, in amongst the thunderous Keith Moon drums, the bass solo(!) from John Entwistle and Roger Daltrey’s stuttering pillhead vocal delivery.

Time has rendered this safe by repeated plays and listening – there’s probably an oldies channel near you playing it right now – but have a listen to it in context of some of the songs around it at the time (it was kept off no 1 by the Seekers’ “The Carnival Is Over”, while Ken Dodd’s “Tears” was still in the Top Ten) and you can get a hint of just how explosive that final descent into feedback would have sounded at the time.

The B-Side, a cover of James Brown’s “Shout And Shimmy” was none too shabby either.

33. THE YARDBIRDS “For Your Love”

Written by future 10CC founder member Graham Gouldman, “For Your Love” marked a bit of a change of direction for The Yardbirds away from straight blues / R and B numbers. Guitarist Eric Clapton hated the song and barely plays on it – he would leave the band soon after, paving the way for the more open-minded Jeff Beck.

“For Your Love” had an unusual chord structure and instrumentation – it features bongos and harpsichord, the latter played by Brian Auger as it was the only keyboard available in the studio. Auger’s parting comment was “who in their right mind would buy a single with a harpsichord on it?”

Turns out the answer was “quite a lot of people” as it reached #2 in the UK and #6 in the US and remains the band’s biggest hit.

The B-side was a more standard blues instrumental called “Got To Hurry” – sounds like Clapton’s enjoying himself a bit more here. (as an aside, check out the Youtube comments below it – the eternal “Who’s the greatest guitarist” arguments rage on and on and on …)

32. THE ROLLING STONES “(I Can’t Get No) Satisfaction”

The release of this record with its instantly recognisable introductory riff (which incidentally came to Keith Richards in a motel in Clearwater, Florida – they’ve probably got a plaque up or something). Keith didn’t see the possibilities of the riff even after Mick Jagger had gone away and written the lyrics and the band had recorded it.

Up until “Satisfaction” the Stones’ sound was recognisably white boys playing black music. From this point on, they played the Stones’ music.

The follow up was “Get Off My Cloud”, and you can almost taste the confidence with which they play it, knowing they’ve just blown the competition out of the water with “Satisfaction”. This is the point where the Stones really started to strut.

31. THE POETS “That’s The Way Its Got To Be”

Managed by Andrew Loog Oldham (who also handled the Rolling Stones), with a nice line in self-penned songs and a sound that just took the British Beat Group sound that little bit further into what would soon be called psychedelic rock, the Poets seemed to have everything going for them in 1965 releasing singles like “Thats The Way Its Got To Be” and “I Am So Blue” (below) but they never had a single reach higher than their 1964 debut “Now We’re Thru” (stalling at #31) and indeed never got to make an album. They were huge in Scotland though

Festive Fifty of 1965 Numbers 50-41

Beat City Blog

Beat City on Twitter

Beat City on Facebook

Beat City on Youtube

Celebrating African Music and other radio highlights

I’ve always sensed there’s a massive difference between the BBC 6 Music audience in the week and at the weekends.

Don’t get me wrong, I love the station to bits but like all other stations, it has its playlist favourites and house style, focussing on a particular strand of cool white music, mainly from the 90s onwards but delving back from time to time as far as the Specials and occasionally the Doors.

There is room for a lot more experimentation and variety at the weekends, and this weekend sees their bravest move yet as they are devoting much of the weekend to African music.

Everywhere you look there are intriguing-sounding programmes, so here’s a few that sound unmissable, plus a couple of other radio highlights this week.

Chris Hawkins (Saturday 7.00 am)

Chris Hawkins has Rokia Traore as a special guest, and also features some great archive tracks and jams, including Tinariwen, who have a new single out :

 

Gideon Coe – Virtual road trip through Africa (Saturday 3:00 pm)

This is the sort of themed show Gideon Coe does really well, and I’m really looking forward to this one.

” From the Desert blues of the Sahara to the deep funk of Fela Kuti the music of Africa has long moulded our musical cannon. For this 3 hour special Gideon Coe restores African music’s place at the centre of the story, hitting the road with Rita Ray to unearth tracks from the townships of South Africa to the plains of Mali. We hear from Damon Albarn about the musicians who inspired him to work in Africa as well as Fela Kuti’s legendary drummer Tony Allen, Dave Okumu from the Invisible, Nigerian born African Boy as well as great Senegalese crooner Baaba Maal on their favourite tracks from the continent. With their help we trace a path from the biggest African artists to the western music they gave rise to, from funk to folk and back again.”

Gemma Cairney in Mali (Sunday 1.00 pm)

Presenter Gemma Cairney travels to Bamako in Mali to discover more about the music and artists there, and how it has been affected by the music ban which was in place due to the recent troubles in the north of country.

Mali, for so long a musical powerhouse with some of Africa’s finest performers has seen its music scene damaged by the coup, the collapse of the country and the Islamist takeover of the north. Incredibly, music was banned for several months in much of this nation that is so entwined with its musicians.

Gemma meets local musicians including Naba TT and Afel Bocoum who talk about their experiences of the ban and living through this very difficult time.

Sound Of Cinema “Filthy Lucre” – Radio 3 (Saturday 4.00 pm)

Matthew Sweet introduces film scores on the subject of money by Max Steiner, Ernest Gold and others, and profiles the music for the new cinema release from Martin Scorsese, “The Wolf of Wall Street”.

“There’s nothing quite as wonderful as money on the this week’s Sound Of Cinema – except of course when it’s dirty, filthy, stolen and the root of all evil.”

The programme features music from – amongst others – “Rogue Trader”; “The Treasure of the Sierra Madre”; “Indecent Proposal”; “Glengarry Glen Ross”; “Trading Places” and “Wall Street”

Matthew’s Classic Score of Week is Ennio Morricone’s “The Good, The Bad and the Ugly”.

Bet there’s nothing from “The Great Rock’N’Roll Swindle”. I’d die a happy man if I could hear the Sex Pistols on Radio Three.

The First Time with Marianne Faithfull (Thursday 2.00 am)

Series in which figures from the world of music discuss the important musical milestones in their lives. The format is as old as radio itself, but what saves it from being merely a hipper Desert Island Discs is the excellence of Matt Everitt’s interview technique. Engaging and knowledgable, Matt’s got a genuine fan’s love of his subject, but the questions are intelligent and far from fawning.

This episode is one of the best – Marianne Faithfull is a loverly interviewee.

Matt leads Marianne through a warm, engaging look at a career spanning over five decades. She has worked with many great musicians including David Bowie and Dr. John, and, more recently, Blur and PJ Harvey.

Marianne discusses the music she grew up with – including Chuck Berry and The Everly Brothers – and the way it influenced her solo work. She also covers her forays into country music, her love of jazz, and explains why she received a credit on The Rolling Stones’ song Sister Morphine. The singer also talks about her past drug problems and the way that she has now made peace with difficult periods in her life. This is one of her best.

Adrian Longhurst “Let The Good Times Roll” (Angel Radio, 6pm Friday)

Finally a recommendation for an excellent station I discovered completely by accident.

Angel Radio (“Pure Nostalgia”) can be found online and on DAB, and on 101.1 FM in certain areas (Hampshire and the Isle Of Wight among them).

The show I heard was really excellent – “Let The Good Times Roll” presented by Adrian Longhurst, which featured jazz and swing. Particularly nice to hear Louis Prima and Keely Smith on the radio in the Friday rush hour.

Call me idealistic but I swear you’d get rid of road rage overnight if you made this station compulsory. A real find.

http://angelradio.co.uk/

Malawi Mouse Boys

Malawi Mouse Boys – Boogaloo, Highgate

Thursday 25th July

Musical influences between the First and the Third World go in both directions. For every whiteboy English R&B band of the sixties lifting old blues tunes from the Mississippi delta there’s an Indian band doing playback covers of The Beatles.

See me a Paul “Oh No, Hide The Rhythms, Quick” Simon scouring South Africa to rejuvenate his career and I’ll raise you Biggie Tembo of the Bhundu Boys covering “Hotel California” with passion, love and a complete absence of irony.

Music is music, all musicians are influenced by what they hear and in a shrinking global community the Malawi Mouse Boys are prime examples of this.

The name is not some cute gang moniker, referring to the day-job the guys in the band have held since they were boys. They sell mouse kebabs on sticks to passers-by at the side of the road, mice being something of a delicacy in Malawi.

 

Last year they recorded an album produced by Ian Brennan (Tinariwen), recorded mostly outdoors in Malawi.

The album is wonderful, music that relies purely on passion and emotion to carry it through. It’s basically an African gospel album with a stripped-back sound and straight-up Christian lyrics which both hark back to a previous age. The musical palette also encompasses loping old-school reggae rhythms and  some unexpected, and welcome bluegrass notes. It does get a little but samey towards the end on first listen, but stick with it – the beautiful vocal interplay improves on repeated plays.

Tonight is their first ever gig in the UK as they prepare for an appearance at this weekend’s WOMAD festival.

Jaw dropping. Four guys from Malawi on their first day abroad, let alone in LDN. They’ve been shopping in Camden Market and  have bought Wonderstuff merchandise. I know Kenny Rogers and the Eagles are huge in Africa but Miles Hunt and the boys? Weird …

Legend has it that there were only twelve people at the first British gig by  Zimbabwe’s Bhundu Boys circa 1987.  Social media and the release of the debut album last year mean the Mouse Boys have a much larger audience for their foreign debut. The Boogaloo is pretty much packed. An enthusiastic, encouraging crowd is here.

Instrumentation – two guitars, one home-made. But it’s the voices that grab the attention. They begin their first gig away from their home country with an accapella number, a clear, confident statement of intent.

Lead singer Zondiwe Kachingwe has a sweet voice reminiscent of Levi Stubbs of the Four Tops but it’s the vocal interplay between all four band members takes the music to another place.

Four strong, beautiful voices singing close harmonies with that incredibly “up” quality you hear in the likes of Toots And The Maytals,  and the Beach Boys – and, it has to be said, driven by religious belief.

The devil has the best tunes? Nah. Theres a subject I need to return to some time…