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So after my success* at persuading the MC50 to let me DJ with a 1968-themed setlist I have done a similar exercise for 1974. This is because next April’s Mott The Hoople Class of ’74 gigs are going to focus exclusively on the material they recorded that year. I have already written to Ian Hunter via the excellent Horses Mouth feature on his website to see if I can DJ at one or both of the Shepherds Bush gigs.

My next step was to see what 7” vinyl singles I have from that year. The list follows, and it is a more interesting selection of songs than I imagined. Glam was almost over, The Faces were on their last legs, pub rock was coming up fast but a quiet year from some of my long term favourites with nothing contemporary from The Kinks or The Who. Of course the big omission is the final run of Mott singles – Golden Age of R’n’R, Foxy Foxy and Saturday Gigs – but I hope we’ll be hearing these live!

Usual rules apply: all tracks must have been released on 7” vinyl as an A or B side somewhere in the world in 1974. So what have I missed ?

Blue Oyster Cult – ME 262 / Career Of Evil

David Bowie – Rebel Rebel / Diamond Dogs / All The Young Dudes

Brinsley Schwarz – (What’s So Funny About) Peace, Love And Understanding

John Cale – The Man Who Couldn’t Afford To Orgy

Dr Feelgood – Roxette

Ducks Deluxe – Love’s Melody / Fireball

Eno – Seven Deadly Finns / Fever

Faces – You Can Make Be Dance… / As Long As You Tell Him

Bryan Ferry – The In Crowd

Flamin’ Groovies – Grease / More Grease

J Geils Band – Musta Got Lost / Funky Judge

Grin – You’re The Weight / Beggars Day

Roy Harper – Home

Ronnie Lane – The Poacher

Lulu – Watch That Man / The Man Who Stole The World

Andy McKay – Wild Weekend

New Your Dolls – Who Are The Mystery Girls ? / Stranded In The Jungle

Raspberries – Overnite Sensation / Party’s Over

Lou Reed – How Do You Think It Feels? / Caroline Says

Rolling Stones – Through The Lonely Nights / Dance Little Sister / Ain’t Too Proud To Beg

Mick Ronson – Slaughter On Tenth Avenue

Roxy Music – All I Want Is You / The Thrill Of It All

Todd Rundgren – A Dream Goes On Forever / Heavy Metal Kids

Bob Seeger – Get Out Of Denver

Sensational Alex Harvey Band – Anthem

Sharks – King Fu

Slade – How Does It Feel / Everyday / Far Far Away

Steely Dan- Rikki Don’t Lose That Number

Who – Postcard

Neil Young – Walk On

* total failure – apparently Mick Jones from The Clash got the gig





MC50 Shepherds Bush Empire 12/11/18

Fifty years on from the live recording of the MC5’s incendiary Kick Out The Jams debut LP Wayne Kramer fronted a five-piece band who reproduced those eight tracks with a professionalism the original 5 could never muster. In addition to Wayne on trademark Stars ‘n’ Stripes guitar the band was Kim Thayil (Soundgarden) on rhythm guitar, Brendan Canty (Fugazi) on drums, Billy Gould (Faith No More) on bass and Marcus Durant (Zen Guerilla) on vocals, looking unnervingly like Mick Farren. Ramblin’ Rose and Kick Out The Jams made for a knockout opening duo and if Starship remains a sub-Hawkwind dirge then Borderline and Rocket Reducer 62 more than compensated.

Support Michael Monroe (ex-Hanoi Rocks) leant his pink saxophone to the coda of a sizzling Sister Anne and stayed on for the ballad Let Me Try, a welcome change of pace. Absent comrades Fred Sonic Smith. Michael Davies, Dennis Thompson and Rob Tyner were all saluted and the set concluded with a ferocious cover of Van Morrison’s I Can Only Give You Everything and a politically charged encore of Looking At You. Brother Wayne at 70 – still testifying, still dancing and an example to us all.

Review written for Record Collector magazine

Picture Credit: Simon Nicholl

And here are the first three songs from the gig

The most arresting opening line in pop history

Yes, even more than “I am an antichrist”.

Try this: “Who cares if you’re Jewish and your breath smells of garlic and your nose is a shiny red light…”.

It actually gets worse after this.

The song When I Turn Out The Living Room Light comes from a time when Ray Davies was writing extraordinary songs at such a rate that there was no room for them on regular Kinks LPs. So the first time I heard this delicate melody was on the now impossibly rare vinyl LP The Great Lost Kinks album. Thankfully the track has been added to the excellent  expanded re-issue of The Village Green Preservation Society so now everyone can hear it and be gobsmacked. Only right at the end of the song do you realise that the singer is equally challenged in the physical attraction stakes and so we have that rarest of things, a love song that involves real people. Or as Todd Rundgren was to put it a few years later “But love between the ugly is the most beautiful love of all”.

Laugh in a slightly embarassed way as you listen here 




























The Sound Of 1968

Looking forward to the MC5 gig at London’s Shepherds Bush Empire on Monday ? Me too. I was hoping to be your DJ for the evening but I lost out to someone rather better known…

Had I got the gig I planned to play only 7″ singles released in 1968, this gig celebrating the 50th anniversary of Kick Out The Jams. So there follows a list of what I would have been playing. Seem to me that 1968 was not such a vintage year for singles as 1966 or 1967. Some great tracks, but lacking the depth of the previous two years. Why should this be ? A growing emphasis on the LP, FM radio playing less chart singles, changes in drug consumption – who knows?

Let me know what tracks I’ve missed! Must have been released as the A or B side of a single during 1968…

Amboy Dukes – Journey To The Centre Of A Mind

Beach Boys – Never Learn Not To Love

Beatles – Revolution / Helter Skelter / While My Guitar Gently Weeps / Birthday / Back In The USSR

Jeff Beck Group – I’m Drinking Again

Boxtops – Cry Like A Baby

Eric Burdon and the Animals – Sky Pilot

Byrds – You Ain’t Going Nowhere

Canned Heat – On The Road Again / Going Up The Country

Cream – Anyone For Tennis / Crossroads

Dave Davies – Lincoln County

Deviants – Let’s Loot The Supermarket

Doors – Hello I Love You

Julie Driscoll / Brian Auger Trinity – This Wheel’s On Fire

Easybeats – Falling Off The Edge Of The World

Fleetwood Mac – Need Your Love So Bad / Shake Your Moneymaker / Black Magic Woman / Albatross / Jigsaw Puzzle

Grateful Dead – Dark Star

Jimi Hendrix Experience – All Along The Watchtower / Crosstown Traffic

Honeybus – I Can’t Let Maggie Go

Kinks – Days / She’s Got Everything

Monkees – Valleri

Tommy James & The Shondells – Mony Mony

Move – Fire Brigade

Nazz – Open My Eyes

Nice – America

Nirvana – Rainbow Chaser

Rolling Stones – Jumping Jack Flash / Child Of The Moon

Sly & The Family Stone – Life / Everyday People

Small Faces – The Universal

Spirit – I’ve Got A Line On You

Steppenwolf – Born To Be Wild

Syndicate Of Sound – You’re Looking Fine

Traffic – Feelin Alright?

Turtles – Sound Asleep / Elenore

Velvet Underground – White Light/White Heat

West Coast Pop Art Experimental Band – Smell Of Incense

Who – Dogs / Magic Bus

Yardbirds – Think About It

Zombies – Time Of The Season



Re-imagining Tom Petty

The recent release of the 4CD set An American Treasure has bought some new outtakes and alternate versions into the public domain. Whilst I regard some Petty LP’s as unimproveable (Hard Promises fits into this category) there are others that I think could use some help. By also utilising tracks from the earlier Playback set I have reconfigured two LPs which at the time of release I found disappointingly inconsistent.

Long After Dark Revisited

  1. A One Story Town
  2. You Got Lucky
  3. Deliver Me (alt)
  4. Change Of Heart
  5. Finding Out
  6. Keep A Little Soul
  7. Straight Into Darkness (alt)
  8. Turning Point
  9. Between Two Worlds

Tracks 1, 2, 4. 5, 8 and 9 from the original Straight Into Darkness (1982)

Tracks 3, 6 and 7 from An American Treasure (2018)

Tom Petty and the Heartbreakers were in fine form when they toured this LP around Europe in 1982 but for me the original LP rather ran out of steam after Side 1.  Adding Keep A Little Soul – the best unreleased track from An American Treasure – and the tougher live TV version of Straight Into Darkness makes for a better listen. The band really like another outtake called Keeping Me Alive which is included on both An American Treasure and Playback but it means nothing to me. Talking of which…

Southern Accents Revisited

  1. Rebels (alt)
  2. Walkin’ From The Fire
  3. Southern Accents
  4. Dogs On The Run
  5. Trailer
  6. Cracking Up
  7. The Apartment Song (demo)
  8. Big Boss Man
  9. The Image Of Me
  10. The Best Of Everything (alt)
  11. Don’t Come Around Here No More

Tracks 1, 2 and 10 from An American Treasure (2018)

Tracks 3, 4 and 11 from the original Southern Accents (1985)

Tracks 5, 6, 7, 8 and 9 from Playback (1995)

Southern Accents was originally planned as a double LP and it could have been terrific, it could have been their Exile On Main Street. What eventually emerged was a mess. Whilst Dave Stewart did a brilliant job on Don’t Come Around Here No More – only placed last here because of over-familiarity – the other three tracks he produced were total turkeys. However the LP also contained two of Tom Petty’s best ever ballads in The Best Of Everything and Southern Accents. Adding the more country/roots orientated material such as the cover of Nick Lowe’s Cracking’ Up delivers a more consistent listen.

So sacrilege or creative improvement ? Let me know…


It’s Here Luv! Rolling Stones Live 1965-66

A new vinyl release on the 1960s Records Limited label is worthy of your attention

Let The Airwaves Flow 1 : Live At Olympia , Paris 1965-66 – The Rolling Stones

Side One

  1. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  2. Around and Around (Berry)
  3. Off The Hook (Nanker, Phelge)
  4. Carol (Berry)
  5. Little Red Rooster (Dixon)
  6. Route 66 (Troup)
  7. I’m Alright (McDaniel)
  8. Crawdad (McDaniel)


Side Two

  1. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  2. The Last Time (Jagger, Richard)
  3. The Spider And The Fly (Jagger, Richard)
  4. 19th Nervous Breakdown (Jagger, Richard)
  5. Hang On Sloopy (Berns, Farrell) / Get Off My Cloud (Jagger, Richard)
  6. (I Can’t Get No) Satisfaction (Jagger, Richard)


Recorded live at the Olympia, Paris for RTL Radio

Side One 1-8 and Side Two 1-2 First Show April 18th 1965

Side Two 3-6 Second Show March 29th 1966


Mick Jagger – lead vocals, harmonica

Brian Jones – guitar

Keith Richard – guitar, backing vocals

Bill Wyman – bass

Charlie Watts – drums

Sleeve Notes

The lengthy career of the Rolling Stones divides fairly neatly into three eras, each defined by the identity of their second guitarist. So 1962-1969 is Brian Jones: 1969 – 1974 Mick Taylor and 1975 to date Ronnie Wood. Whilst we have an abundance of good quality live releases from the Taylor and Wood years there are virtually no good quality live recordings from the Jones period. Admittedly there is the Got Live If You Want It EP from 1965 and a selection of BBC Sessions, released in 2017 as On Air: both are welcome but the former is primitively recorded and the latter lacks an enthusiastic audience. So the real value of the record you have in your hands is that it is well-recorded and delivers an accurate representation of the mid-60’s Stones live set delivered to a very vocal and largely female audience. It is simply the most exciting live record of the Brian Jones era yet to emerge.

A brief snippet of Everybody Wants To Someone To Love acts as the introduction to a rockin’ Around And Around, Jagger’s vocal exuberance matched by the Richards / Jones guitar team tearing into the solos. The loping rhythm of overlooked B-side Off The Hook highlights the dexterity of Watts and Wyman. Carol kicks off with an electrifying intro from Keith Richards, whilst  Brian Jones’ slide guitar is the focus of Little Red Rooster (introduced here by the rarely-vocal Charlie Watts). Sheer punk energy drives Route 66.

A lengthier Everybody Needs Somebody To Love kicks off Side 2, Jagger really testifying here. The Last Time features Richard’s distinctive backing vocals. Then it’s a flashback to the Crawdaddy club in Richmond for two rarely-played Bo Diddley covers I’m Alright and Crawdad itself, both of which have the desired effect of making the crowd go completely bonkers.

Finally we have four Stones originals from their return to Olympia the following year. The wry Spider And The Fly is the second ace B side to receive an airing. Next up is a driving 19thNervous Breakdown that features more Keith Richards harmonising, giving the middle eight a country feel. Get Off My Cloud is preceded by the intro to Hang On Sloopy but it is a momentary distraction. The intertwined twin guitars really come into their own here, beautifully complementing the call-and-response vocals. Finally the unmistakable riff of Satisfaction brings the set to a close, a role the song is still performing 52 years later!

The NME review of the 1965 gig was published on April 24th. Jack Hutton reported that he band performed “exceptionally well and they got wild acclaim”. That was it for the music – the remainder of the 600 wordarticle was spent criticising French bouncers, although the Stones are described as “producing mild pandemonium” and Jagger’s “latest innovaton in the leaping and jumping department brought ecstasy and uproar”. Nicole Portier in Disc (April 24th) was more circumspect in her assessment that “four days in Paris with the Stones seems like a couple of years”. Paris would remain a Stones stronghold, with audience reaction at their most recent shows in October 2017 proving equally adulatory.

Sleeve notes: Elmo Lewis











All The Way From Memphis: The Rehabilitation of Give Out But Don’t You Give Up



Primal Scream releasing The Original Memphis Recordings 2CD (Sony) provides a heaven-sent opportunity for a record geek like me to re-write history and create my own alternate version of the record.

Short history lesson: these sessions were thoroughly mucked around with in post-production by George Clinton, George Drakoulias and Jimmy Miller and ended up on the murky Give Out But Don’t Give Up LP (1994), the follow up to the titanium-bright Screamadelica (1991). I saw the band give a memorable performance in Manchester on the Give Out… tour, as captured for Radio 1 on the Rocksucker Blues CD (recommended). So the mood of indolence and creative confusion that permeated the original Give Out…came as a disappointment.

Hearing these tracks for the first time as they came out of Ardent Studios, Memphis in June and July of 1993 shows a band at the top of their game, consistently hitting the groove laid down by the house rhythm section of David Hood and Roger Hawkins and ably supported by the Memphis Horns and Tom Dowd’s sympathetic production. Of the nine songs only Free remains underwhelming, although I do prefer the version here sung by Bobby Gillespie rather than the Denise Johnson version that was released on the original Get Out…. What the track does spotlight is Duffy’s phenomenal piano playing, a complete Nicky Hopkins throughout – check the coda at the end of Jesus.

There is also an additional CD of outtakes, interesting rather than essential. The medley of Billy (Pat Garrett & Billy The Kid ost) and To Love Somebody (Burritos) is fun, the latter performed in the style of Ooh La La-era Face as confirmed by the guitar picking out the riff from I Wish It Would Rain.

So here is my suggested tracklisting, which makes for a great 45 minute LP (CD), five tracks a side. What’s yours ?

Get Off But Don’t Nod Out – Primal Scream


  1. Rocks  (Jimmy Miller)
  2. Jailbird – (Tom Dowd)
  3. Everybody Needs Somebody  (Tom Dowd)
  4. Sad & Blue (Tom Dowd)
  5. Big Jet Plane (Tom Dowd)

Track 1 from Dirty Hits 2CD version

Tracks 2-4 from The Memphis Recordings

Track 5 from Give Out But Don’t You Give Up



1.Call On Me  (Drakoulias)

2. Jesus (Tom Dowd)

3. Cry Myself Blind  (Tom Dowd)

4. How Does It Feel To Belong (Primal Scream)

5. Billy / To Love Somebody (Tom Dowd)

Track 1 from Give Out But Don’t You Give Up

Tracks 2-3 and 5 from The Memphis Recordings

Track 4 from Star 4 track EP

You will note that I favour the Memphis Recordings version of the ballads. The exception here is Big Jet Plane where I go for the Give Out…version partly because of the presence of Jim Dickinson and partly because of how Bobby sings “Jesus Christ!” at the fade ( I do wish the guitar intro sounded less like Octopus’s Garden). Of the rockers, Jimmy Miller made Rocks even more Stones-like by sharpening up the drum sound and replacing the horn section with a wailing harmonica a la Magic Dick (probably Charlie Jacobs). George Drakoulias delivered a faster, snappier version of Call On Me which just edges it over Tom Dowd’s more relaxed swing through the song. And whoever took the horns off Jailbird should be shot – the Memphis Recordings version reinstates them to Exilent effect. How Does It Feel To Belong was cut at the abortive Roundhouse sessions that preceded the move to Memphis – it is a strange VU ballad that no-one can remember recording, with the closest reference point being Big Star Third (also recorded at Ardent).