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Twenty Seven Glorious Years…

Walk This Way…

The Seven Dials Club, Covent Garden, London WC2

Friday 9th September 2022

Simon Wright celebrates 27 years as a consultant working with sustainable food and rock’n’roll

“Hello everyone

Thank you all so much for coming out tonight. After attending a brace of funerals over the summer plus the Queen dying so suddenly yesterday I have been thinking a lot recently about loss, community and friendship. I imagine that within this room there is a spectrum of views, ranging from staunch royalist to ardent republican. What I hope we can all agree on is the importance of celebrating friends and colleagues whilst they are still with us.

Things tonight is not:

  • It is not a birthday party
  • It is not a retirement party
  • It is not a launch party

It is a thank you, pure and simple.

When I announced I was having a works do the most common response was “what are you celebrating?”. The answer is “twenty seven years as a consultant, working with great people in food and music”. Many – but sadly not all – of those great people are here tonight. It was actually meant to be a twenty-fifth anniversary party but Covid necessitated a two year postponement. Those of you with good memories and robust constitutions might recall my tenth anniversary party, held upstairs at The White Horse in Parsons Green a mere seventeen years ago.

So here is the history bit which explains why food and music are so intertwined in my life. I was deposited on St George’s Hill in Weybridge at the tender age of 17, a hopelessly naïve student at the National College of Food Technology. I soon decided that being a rockstar would be more fun than being a Food Technologist. The result was Trash, a short lived band that amazingly recorded two singles for Polydor, copies of which are on the Nature Table, please do not nick them.  

I realised my limitations as a vocalist quite early in and when Trash split I decided to shift my attentions to writing about music. Luckily the editor of seminal London music magazine Bucketfull of Brains lived round the corner so I started writing reviews and articles for the mag. The internet did for Bucketfull eventually but the last ever edition is on the Nature Table. Following the demise of Bucketfull I started writing a music blog as onlyrockandroll.london which continues to this day. I also graduated to writing live reviews and occasional articles for Record Collector magazine.

These days my other musical outlet is 1960s Records, a vinyl  reissue  label that puts out music that has previously been overlooked. Again examples of our output are on the table. We have just released our tenth Rolling Stones LP, helping to make up for the time and money I have spent on seeing them all over Europe on every tour since 1976.

My vinyl habit has grown through the years. With a collection of over 1100 7” singles I started up as an old school vinyl DJ, graduating from playing at birthday parties to DJing at The Roundhouse, Shepherds Bush Empire, Koko and The Band On The Wall.  I have supported the Cheaters, the Replacements, Mott The Hoople  and The Only Ones. Of all the bands I have met whilst writing about music The Only Ones remain my favourite and I am currently planning the publication of my book about the making of their first LP.

Al this music stuff is great fun but it does not pay the mortgage. To do this I had to resume my food career. First up was getting a degree  which ended up taking ten years and three different colleges. Then I needed a proper job. Reading  The Telegraph one day in the library of Oxford  Poly I found a job  advertised by a company I had never heard of, Whole Earth Foods. After an inspiring visit to the factory in Warrington I accepted the challenge and so began a fascinating 8 years where I learnt so much. Whole Earth was very much ahead of its time, early advocates for organic and Fairtrade. I had found my tribe. During my time as Technical Director I started working with fellow food insurrectionists  such as the Soil Association, the London Food Commission and the Fairtrade Foundation. I was also part of the team that launched Green & Black’s chocolate

On the 6th February 1995 I went freelance and formed my own consulting company to work with sustainable foods – organic, Fairtrade, Free From and more and that is what I have done ever since. There has been far too much fun to mention it all but highlights have included 

  • Ben Elton and Tony Robinson agreeing to fund the launch of the Divine chocolate range over dinner at Kettners
  • Going to Malawi to explore the possibility of Fairtrade tobacco for the much-missed Simon Dunn
  • Running The World’s First Organic Cocktail Bar for Sainsbury’s in Cirencester
  • Helping to organise the Whole Earth Foods 20th Birthday Party at the Groucho Club
  • Having to speak after Prince Charles at a Lancaster House conference
  • Launching The Handbok of Organic and Fairtrade Marketing at a very upmarket hotel in Paris

I have collected together some photos from throughout my working life and these are on rotation on the TV screen – you might even see yourself!

Today I have gone plural, as Alan Leighton so memorably put it. Amongst other projects I run the Gluten Free Industry Association for the FDF, building on my interest in Free From foods which stems back to some very indigestible dinner parties in the early days of the Food Matters magazine.

I Chair the judging for the Quality Food Awards, a job I have done for decades but a job that keeps evolving. Basically this involves eating and talking, though ideally not at the same time.

And there is Abundance Southfields, the community cider producers where we take fruit that would go unpicked and turn it into delicious cider. Our commitment to terroir is so great that for every bottle we can tell you which back garden grew the apples. A delicious way to combat food waste in Wandsworth, and one that has been praised in the House Of Commons by our excellent local MP.

For the last 12 years it has been my privilege to work for Icam, a family-owned chocolatier based outside Milan in Italy. Icam are major processors of organic and Fairtrade cocoa, so this fits with my interest in the ethical manufacturing of food and drink. We make private label chocolate bars for nearly all the U.K. supermarkets so I spend a lot of time with supermarket buyers, always a pleasure. Considering my very first job at the Leatherhead Food Research Association was trying to make a better mint imperial I really have not travelled very far.

Everyone who is here tonight has helped me in some way and I thank you all. But I have talked for long enough. I have asked a couple of friends to each relate a short anecdote or story that I hope you will find illuminating and / or entertaining. If this proves not too ghastly I might ask for further contributions from the floor. Then we will have a toast and then we can all get on with the serious business of drinking and gossiping.

(Cliff Moss of Healthy Sales & Marketing, Nick Duckett of 1960s Records and Craig Sams of Whole Earth Foods / Green &n Black’s all spoke)

So a toast. In the words of my beloved Big Star

“Thank you, friends
Wouldn’t be here if it wasn’t for you
I’m so grateful for all the things you helped me do”

It’s on Big Star Third if you want to hear the full version

And a very special thank you to Wendy, who has been at my side all the way and has been a constant source of massive support and constructive criticism, both of which have been invaluable.

So please raise your glasses – the toast is “Friends”.

And here are the friends who came:

Abundance Southfields

Richard Konig

Simone Konig

Serena Potter

Bucketful Of Brains

Nick West

Alan Hauser

Chocolate

Gareth Broom

Sadhbh O’Connor

Chantal Cody

Silvija Davidson

Fairtrade

Ian Bretman

Free From

Michelle Berriedale-Johnson

OF+ Consultancy

Lee Holdstock

Tim Lang

David and Teresa Church

Justin Hopper

Adrian Whitefoord

Tracy Kane

Peter Langsam

Richard Austin

Diane McCrea

Quality Food Awards

Jane Milton

Katie Theofanos

Atma Hyett

Beth Treleaven

Beckie Dart

R ’n’ B Records

Nick Duckett & Mandy

Jai Rathbone

Rolling Stones Fans

Chris Davies

Julia Kostic

Mike Baess

Paul Monk

(ex) Sainsbury’s

Melissa Addey

Trash

Keith Steptoe & Sue

Wendy Rose

Wendy Rose

(ex) Whole Earth Foods

Cliff Moss & Lee

Craig Sams

Jo Fairley

Bill Henry

Robin Bines

Renee and Brian Elliott

Photos taken by Chris Davies, for which many thanks

Fleetwood Mac, Taste, Janis Joplin, Rolling Stones – three vinyl LPs, one 2CD set out now

All releases available from http://www.1960s.london

Fleetwood Mac 

Radio and TV 1968-69

Side One

1. If You Be My Baby (Green, Adams)

2. Wine Whiskey And Women (Lightfoot)

3. Peggy Sue Got Married (Holly)

4. Evenin’ Boogie (Spencer)

5. Intergalactic Musicians Walking On Velvet (Spencer)

6. Sheila (Roe)

7. Bee-I-Bicky-Bop Blue Jean Honey Babe Meets High School Hound Dog Hot Rod Man (Spencer)

Side Two

1. Shake Your Moneymaker (James)

2. Lazy Poker Blues (Green, Adams)

3. My Baby’s Sweet (James)

4. Love That Burns (Green, Adams)

5. Oh Well (Green)

6. Like Crying (Kirwan)

7. Linda (Spencer)

Recording Dates

Side One.

Tracks 1– 7 recorded and transmitted for BBC radio Top Gear in 1968 as follows:

Recording Dates:

Tracks 1 & 2 August 27th

Track 3: April 9th  

Tracks 5 & 6: May 27th

Track 7: January 16th

Transmission Dates:

Track 1: November 24th

Track 2: October 13th

Track 3: April 13th

Track 5: June 2nd 

Track 6: July 7th

Track 7: January 21st

Side Two

Tracks 1 – 7 recorded for TV as follows:

Track 1 Bluesology Festival, Droitwich, September 2nd 1968

Tracks 2- 4 Colour Me Pop, BBC, 19th July 1968

Tracks 5 – 7 Monster Music Mash, BBC, October 7th 1969

Personnel

Peter Green – guitar, vocals, harmonica

Jeremy Spencer – slide guitar, piano, vocals, maracas

John McVie – bass

Mick Fleetwood – drums

Danny Kirwan – guitar, vocals ( Side One, Tracks 1 & 2: Side Two Tracks 1 & 5 – 7)

Christine McVie – keyboards, vocals (Side One, Tracks 1 & 2)

Sleevenotes

This a fine depiction of the band described by Brian Mathews as “undoubtedly the most versatile group in Britain” as they convincingly play r’n’b, electric blues, acoustic blues, psyche and 50’s US pop.

If You Be My Baby is a song from second LP Mr.Wonderful, jointly credited to Peter Green and manager Clifford Davis aka C.G. Adams. This version is slower and has a simpler arrangement than the original. Wine Whiskey And Woman was originally released by Papa Lightfoot on a 78rpm 10” disc in 1954. Fleetwood Mac up the tempo and add a convincing Spencer vocal with Peter Green on harmonica. These two tracks feature the guest keyboards and vocals of Christine McVie, nee Perfect. Next up are two examples of Jeremy Spencer’s Buddy Holly fixation.  Peggy Sue Got Married was written by Holly himself whilst Sheila was written by Tommy Roe in 1962 as a Holly pastiche. Both are performed with much affection and authentic Lubbock arrangements.  Spencer’s fixation on USA 50’s rock’n’roll reaches its apogee with the next track, most easily referred to as Hot Rod Man. The epic title contains elements of Gene Vincent’s “Bi-Bickey-Bi, Bo-Bo-Go” and “Bluejean Bop” whilst the song itself features doo-wop vocals and period piano. “A classic” opines host John Peel. Evenin’ Boogie is also from Mr Wonderful and is an instrumental written by Spencer in the style of Elmore James and features his slide guitar prominently. Finally with Intergalactic Musicians Walking On Velvet Fleetwood Mac enter Bonzos territory to give their verdict on the burgeoning Progressive ‘scene’ with all manner of sonic weirdness and vocal profundity. An interesting curio, but Jeremy Spencer would hit his target more accurately on his 1970 solo album with Take A Look Around Mrs Brown.

Elmore James’ Shake Your Moneymaker  was a highlight of the first Fleetwood Mac LP and this version was recorded at the wonderfully-named Chateau Impney, Droitwich. Green tunes to a harmonica before the band launch into an impressively raunchy work-out, lead by Spencer on slide. The next three tracks are taken from the innovative BBC show Colour Me Pop, which existed between May 1968 and August 1969. In many ways the prototype for the better known The Old Grey Whistle Test, Colour Me Pop featured everyone from The Tremeloes to Giles, Giles and Fripp. Lazy Poker Blues and Love That Burns are both Green / Davis cowrites from Mr. Wonderful. The former shows Green capable of emulating the extended blues innuendo (“she puts some coal on the fire so I can keep my poker hot”) whilst the latter intersperses his powerfully understated vocal with equally sparse lead guitar. Homesick James’ My Baby’s Sweet was a regular live favourite but was never included on a studio LP. Guitarist Danny Kirwan joined the band in August 1968 and he is heard on the last three tracks on Side Two. Monster Music Mash was another shortlived BBC TV music programme, running through October and November 1969 and hosted by Alan Price. The show was described by the Radio Times as “Pop, Blues, Folk, and Whoopee!”. Not much “Whoopee!” in this performance of Oh Well, instead a brooding performance of the first part of the single. Peter and Danny recreate the latter’s Like Crying as a duet and it is a delight. Finally a performance of Spencer’s Linda, again very much in the style of Buddy Holly – it would appear on his solo LP the following year.

Brian Mathews’ verdict is ”marvellous and beautiful”– an accurate summary of Fleetwood Mac, captured here at their peak.

Sleevenotes: Albie Tross

Taste

Radio and TV 1968-69 

Side One

1. Same Old Story (Gallagher)

2. Blister On The Moon (Gallagher)

3. Dual Carriageway Pain (Gallagher)

4. Norman Invasion (Gallagher)

5. Born On The Wrong Side Of Time (Gallagher)

5. I’m Moving On (Snow)

6. Sugar Mama (trad. arr. Gallagher)

Side Two

1. Leavin’ Blues (Ledbetter)

2. Hail (Gallagher)

3. Wee Wee Baby (Johnson, Turner)

4. Blister On The Moon (Gallagher)

5. Sugar Mama (trad. arr. Gallagher)

Recording Details

Side One

Tracks 1-5 recorded for BBC Radio Top Gear August 5th 1968. Tracks 1-4 transmitted August 25th, track 5 transmitted October 27th.

Track 6 recorded for BBC Radio Top Gear on February 17th 1969 and transmitted March 9th.

Side Two

Tracks 1-3 recorded for BBC Radio Top Gear on February 17th 1969. Tracks 1&2 transmitted March 9th. Track 3 transmitted April 20th.

Tracks 5&6 recorded live at Bilzen Jazz Festival August 22nd 1969 and shown on BRT German TV

Personnel

Side One Tracks 1-5

Rory Gallagher – guitar, vocals

Eric Kitteringham – bass

Norman Damery – drums

All other tracks

Rory Gallagher – guitar, vocals, harmonica

Richard “Charlie” McCracken – bass

John Wilson – drums

Sleevenotes

Today The Jimi Hendrix Experience and Cream are lauded for their inventive songwriting and innovative onstage playing: Rory Gallagher’s fellow power-trio Taste have never received the same acclaim. Record company neglect and poor management have both played their part. The tireless efforts of Donal Gallagher – Rory’s brother  – resulted in the 2015 box set I’ll Remember which finally represented their studio and live prowess but even this did not include all the great material the band recorded for radio and TV. With this LP we are delighted to fill in some of the gaps.

Guitarist Rory Gallagher started off his live playing in Irish showbands, touring Ireland, the UK, Spain and Germany. In 1966 the teenage Gallagher recruited  Norman Damery and Eric Kitteringham, the rhythm section from Cork’s The Axills, to form The Taste. The band settled in Belfast where manager Eddie Kennedy had arranged a residency at the Maritime Hotel, the venue where Them had earlier established their live reputation. In 1968 Taste headed for London, soon selling out The Marquee and being talked up by John Lennon and Eric Clapton – the latter would ensure that Taste supported Cream’s farewell Royal Albert Hall gigs and insisted they join Blind Faith on their ill-fated US tour. John Perry of The Only Ones saw Taste regularly at the Bath Pavilion. “Taste gigged hard, very like Fleetwood Mac. We thought Gallagher easily the best of the younger new guitarists, the next generation following Clapton, Green and Beck. Definitely the find of Spring ’68. These were the days of Marshall stacks, or double Marshall stacks, bigger and bigger amps. And there was Rory playing his Strat through a little Vox AC30 amp and a treble booster. Even at the Isle of Wight, with a crowd of 600,000, just a single AC30 … and a fabulous tone.”

When Taste played the Woburn Abbey Festival on July 7th 1968 John Peel was so impressed that  he offered the band a session on his radio show even though they did not yet have a recording contract. From this session Same Old Story features a catchy riff and fluid Gallagher solos. The forthright Blister On The Moon is Gallagher’s proclamation of independence and self-determination where the conviction of his vocal is backed up by the muscularity of the backing. Duel Carriageway Pain is more upbeat, the title a reference to touring the UK before motorways existed. The snappy instrumental Norman Invasion did not appear on either of the two Taste studio LPs. Born On The Wrong Side Of Time includes a thoughtful middle section with near-spoken vocals before the riff comes crashing back.

Throughout the rhythm section provides excellent backing to Gallagher’s guitar and vocals. So it was a surprise to everyone when on the verge of Taste signing to Polydor Records, Kennedy sacked Kitteringham and Damery. Their replacements were Richard McCracken on bass and John Wilson on drums: both came from the band Cheese, also managed by Kennedy. The new line up recorded a further session for John Peel. Their swinging acoustic version of Hank Snow’s I’m Moving On is closer to the country original than the better known version recorded by The Rolling Stones. The more traditional twelve-bar structures of Sugar Mama and Leavin’ Blues both demonstrate Gallagher’s ability as well as his restraint. Hail is another acoustic number, performed solo by Gallagher. Wee Wee Baby is a Joe Turner song also recorded by Muddy Waters which features Gallagher on harmonica. Our final selection is  two tracks recorded live for German TV in the of summer of 1968. The intense version of Blister On The Moon features a call-and-response between Gallagher and McCracken whilst Wilson plays a drum kit that says Blossom Toes.  This version of Sugar Mama gives Gallagher plenty of room to solo.

By 1970 Kennedy’s mis-management meant that the band were on the same meagre salary as when they had begun, despite having chart records and headlining festivals throughout Europe. Taste played their final gig in Belfast on New Year’s Eve 1970. Freed from Kennedy’s management, Gallagher established himself as a successful solo artist although his work never deviated far from the template he established with Taste. He died in 1995.

It seems a shame to even suggest that Taste be classed in any way with that great puddle of British blues bands. Everybody else is just woodshedding – Taste have arrived.” Lester Bangs, Rolling Stone magazine

Sleevenotes: Catherine Fish, with thanks to Gath Cartwright

Janis Joplin 

Radio & TV 1969 – 1970

Side One 

  1. Try (Just A Little Bit Harder) (Ragovoy/Taylor) 6:21
  2. I Can’t Turn You Loose (Redding) 7:51
  3. Combination Of The Two (Andrew) 5:52
  4. Ball And Chain (Thornton) 6:41

Side Two

  1. To Love Somebody (Gibb B/Gibb R) 3:16
  2. Maybe (Goldner/Barrett) 3:39
  3. Little Girl Blue (Rodgers/Hart) 3:49
  4. Raise Your Hand (Cropper/Floyd/Isbell) 3:28
  5. Move Over (Joplin) 3:47
  6. My Baby (Ragovoy/Shuman) 4:07

Recording details

Side One – Radio

Concertgebouw, Amsterdam April 11th 1969, broadcast by Radio VPRO

Side Two – TV

1 The Dick Cavett Music Show, broadcast July 8th 1969

2 The Music Scene show, broadcast September 8th 1969  

3 & 4 This Is Tom Jones show, broadcast December 4th 1969

5 The Dick Cavett Music Show, broadcast June 25th 1970*

6 The Dick Cavett Music Show, broadcast August 3rd 1970*

Personnel

Janis Joplin & The Kozmic Blues Band

Terry Hensley – trumpet

Terry Clements – tenor sax

Cornelius ‘Snooky’ Flowers – baritone sax, vocals

Richard Kermode – organ

Sam Andrew – guitar

Brad Campbell – bass

Roy Markowitz – drums

Except* Janis Joplin & The Full Tilt Boogie Band

Richard Bell – piano

Ken Pearson – organ

John Till – guitar

Brad Campbell – bass

Clark Pierson – drums

Sleevenotes

Janis Joplin was born on January 19th 1943 in Port Arthur, Texas. Janis hated Port Arthur. “In Texas I was a beatnik, a weirdo. They don’t treat beatniks too good in Texas”. At 17 she hit the road and was in San Francisco by 1966. There she met Big Brother and the Holding Company, the house band at the Avalon. Travelling to Chicago they signed to Mainstream Records and released their self-titled LP for which they received precisely no money. However playing the Monterey International Pop Festival in August 1967 proved to be Janis’s big break, as she impressed both Clive Davis, then president of Columbia Records, and respected manager Albert Grossman. Big Brother signed with Grossman in January 1968: second LP Cheap Thrills was released by Columbia in September 1968 to both critical acclaim and commercial success. Janis played her last gig with Big Brother on December 1st. Her new band – known as either Main Squeeze or the Kozmic Blues Band – retained only Sam Andrews from Big Brother and did not go down well at its debut at the annual Memphis Sound Party on December 21st. The other acts on the bill were hard-core Memphis soul acts such as Eddie Floyd and Carla & Rufus Thomas, all given to flash and show biz: compared to them, Janis and her musicians seemed out of place. Ralph J Gleason called her new band “a drag, although they can play OK.”

By the time Janis toured Europe the following spring, a new brass section and further live work had helped pull the band together. Try (Just A Little Bit Harder) was the first track on Janis’ first solo LP I Got Dem Ol Kozmic Blues Again Mama! (September 1969), the version here driven by Brad Campbell’s bass. Originally recorded by Lorraine Ellison, this version illustrates Janis’s journey from the psychedelic rock she sang with Big Brother towards more R&B. An uptempo version of Otis Redding’s I Can’t Turn You Loose is performed here as a soul revue duet with Snooky Flowers and gets the audience clapping along. Combination Of The Two is a Big Brother number and features writer Sam Andrews’s guitar prominently. Ball And Chain was written and performed by Big Mama Thornton and had been a highlight of Janis’s Monterey performance. Janis had seen Thornton performing the song at a bar in San Francisco and the lyrical message of how her love for a man is tying her down seemed to resonate.

The brief spring 1969 European tour was ecstatically received by fans and critics. The Daily Telegraph described the London date at the Royal Albert Hall on April 21st as one of the most electrifying ‘happenings’ since the first great international poetry reading in the same hall in June 1965. Forget all you may have read or heard. Here in fact was the comfortingly embodied voice of love, pain, yearning, freedom and ecstatic experience, a fire that speaks from the heart of warm, rounded flesh.” Janis was less impressed, claiming to Dick Cavett on his TV show that in Europe “nobody gets loose…they are all too cerebral”. Janis was a regular guest on Cavett’s show, performing her version of the Bee Gees To Love Somebody on her first appearance and transforming the song into a slice of deep soul. Maybe was first released by the Chantels in 1957: a tight arrangement highlights Janis’s passionate vocal, ably supported by the horns and Kermode’s organ. By the time Janis appeared on Tom Jones TV show, he was very much the all-round family entertainer, but his roots were in R&B,  so he was the ideal host for Janis. According to Jones, she didn’t fancy performing amidst plastic raindrops, so together they dismantled that part of the set.  Janis performs a restrained solo version of showtune Little Girl Blue beforeduetting with Jones ona rousing rendition of Eddie Floyd’s Raise Your Hand, where they are both clearly having a great time despite being surrounded an audience of appallingly naff dancers.

Janis Joplin played her last gig with the Kozmic Blues Band at New York’s Madison Square Gardens on December 29th. On June 12th she debuted her new Full Tilt Boogie Band in Kentucky. The horns were no more, as can be heard on two further performances from The Dick Cavett show. Move Over is a rare Joplin composition, addressing male-female relationships in unflattering terms: it would appear on Pearl, the second solo LP that would be released after Joplin’s death in October 1970. Finally we have the August 1970 performance of My Baby, originally released by Garnet Mimms.

In 1981 Ellen Willis wrote in Rolling Stone magazine “among American rock performers Janis Joplin was second only to Bob Dylan as a creator / recorder / embodiment of her generation’s history and mythology. She was also the only woman  to achieve that kind of stature, in what was basically a male club, the only Sixties culture hero to make visible and public  women’s experience of the quest for individual liberation, which was very different from men’s.” This LP shows Janis at her best – a strong interpreter of songs, a soulful vocalist, a dynamic performer and a harbinger of the future.  

Sleevenotes: Mercy, Des, Ben & Ben

The Rolling Stones On Tour ’66 2CD set

CD One

1.       The Last Time  (Jagger, Richard)

2.       Mercy, Mercy  (Covay, Miller)                                       

3.       She Said Yeah  (Jackson, Christy) 

4.       Play With Fire (Jagger, Richard)

5.       Not Fade Away (Hardin, Petty)              

6.       That’s How Strong My Love Is (Jamison)           

7.       Get Off Of My Cloud (Jagger, Richard)

8.       (I Can’t Get No) Satisfaction (Jagger, Richard)

9.       (I Can’t Get No) Satisfaction (Jagger, Richard)        

10.   As Tears Go By (Jagger, Richard)  

11.   19th Nervous Breakdown (Jagger, Richard)          

12.   Not Fade Away (Hardin, Petty)

13.   The Last Time (Jagger, Richard)    

14.   Paint It, Black (Jagger, Richard)      

15.   Lady Jane (Jagger, Richard)            

16.   Mothers Little Helper (Jagger, Richard)    

17.   Get Off Of My Cloud(Jagger, Richard)      

18.   19th Nervous Breakdown (Jagger, Richard)            

19.   (I Can’t Get No) (Satisfaction (Jagger, Richard)        

20.   Paint It Black   (Jagger, Richard)    

21.   Lady Jane (Jagger, Richard)            

22.   Have You Seen Your Mother, Baby, Standing In The Shadow? (Jagger, Richard)            

23.   19th Nervous Breakdown (Jagger, Richard)            

24.   Interview with Eamonn Andrews

CD Two

1.       I Am Waiting (Jagger, Richard)      

2.       Under My Thumb (Jagger, Richard)           

3.       Paint It, Black (Jagger, Richard)      

4.       The Last Time (Jagger, Richard)    

5.       19th Nervous Breakdown (Jagger, Richard)            

6.       Get Off Of My Cloud (Jagger, Richard)      

7.       (I Can’t Get No) Satisfaction (Jagger, Richard)        

8.       Mercy, Mercy (Covay, Miller)                                      

9.       She Said Yeah (Jackson, Christy)     

10.   Play With Fire (Jagger, Richard)    

11.   The Spider And The Fly (Jagger, Richard)  

12.   Time Is On My Side (Meade)          

13.   I’m Alright  (McDaniel)         

14.   Around And Around (Berry)

15.   I’m Movin’ On (Snow)    

16.   Mercy, Mercy (Covay, Miller)    

17.   She Said Yeah (Jackson, Christy)   

18.   Play With Fire (Jagger, Richard)    

19.   Not Fade Away (Hardin, Petty) 

20.   The Spider And The Fly (Jagger, Richard)  

21.   That’s How Strong My Love Is (Jamison)    

22.   Get Off Of My Cloud (Jagger, Richard)      

23.   19th Nervous Breakdown (Jagger, Richard)            

24.   (I Can’t Get No) Satisfaction (Jagger, Richard)        

25. The Stones in Australia –  Feature / Interview          

26.   Have You Seen Your Mother, Baby, Standing In The Shadow? (Jagger, Richard)   

                       

Recording Details

CD One

Tracks 1 – 8 recorded live at the Palais Theatre, Melbourne for Radio 3 UZ on February 24th

Tracks 9-11 recorded for The Ed Sullivan Show, New York City, February 13th

Tracks 12-19 live at the Honolulu International Centre, Hawaii on July 28th and broadcast on Radio K-POI

Tracks 20-22 recorded for The Ed Sullivan Show, New York City, September 11th

Tracks 23 & 24 recorded for the UK TV ABC The Eamonn Andrews Show, February 6th

CD Two

Tracks 1-3 recorded for UK TV Ready Steady Go, Studio One, Wembley, May 27th 

Tracks 4 – 13 recorded live at the Olympia, Paris for RTL Radio

March 29th (Second Show)

Tracks 14 & 15 recorded live at the Olympia, Paris for RTL Radio March 29th (First Show)

Tracks 16-24 recorded live at the Commemorative Auditorium Showgrounds, Sydney, Australia (first show) on February 18th and broadcast by Australian 2UW FM Radio

Track 25 recorded for UK TV at Sydney Airport on February 16th plus an interview with Austin Ward for 2UW FM radio, also February 16th

Track 26 recorded for BBC TV Top Of The Pops on December 17th and transmitted on December 22nd

Personnel

Mick Jagger – lead vocals, harmonica

Brian Jones – guitar, sitar, dulcimer, marimba

Keith Richard – guitar, piano, vocals

Bill Wyman – bass

Charlie Watts – drums, percussion

Sleevenotes

Strap yourselves in, it’s going to be quite a ride…

We start our review of the Stones busiest-ever year with a live vocal performance of 19th Nervous Breakdown, recorded in February for Eamonn Andrews’ mainstream TV programme. The preceding interview with Jagger inconclusively discusses the meaning of the song and the issue of social responsibility. Next stop New York, for The Ed Sullivan Show later the same month. Ed Sullivan introduces the opening performance of (I Can’t Get No) Satisfaction as for “all the youngsters in the country and Canada” and certainly the youngsters in the audience are entranced, even if Charlie Watts is not. Just Mick and Keith appear for a rare acoustic version of As Tears Go By which can just about be heard over the screams. The full band are back in imperious form for 19th Nervous Breakdown,Bill Wyman’s dive-bombing bass runs to the fore.

The February Australian tour is represented by concerts from Sydney and Melbourne. The Sydney show was performed on a rotating stage that was handcranked by stage hands – at one point an exasperated Jagger says “Will you stop this thing going round?”. Mercy Mercy and a brief She Said Yeah get the set off to a scream-drenched start before Play With Fire provides a rare moment of calm. Not Fade Away restores the pace with Jagger’s vocal a call-and-response to Jones’ harmonica. The Spider And The Fly is the second brilliant B-side to be played before Jagger totally convinces on That’s How Strong My Love Is. Despite starting well Get Off Of My Cloud falls to bits towards the end. A strong version of 19th Nervous Breakdownwith some potent dual vocalsrestores the set’s momentum before set-closer Satisfactionincreases the scream-level still further. Jagger gets lost in the song early on (“Where are we?”) but recovers well. Eye-witness accounts suggest that The Last Time was played as the opening song that night, but this is unconfirmed. The song was certainly played in Melbourne six days later as you can hear. Also included here is a report on then Stones arrival at Sydney Airport and a radio interview from the same day.

Paris was always a stronghold for the Stones as can be heard from the crowd reaction on the two radio broadcasts from L’Olympia in March. Covers of Around And Around and I’m Moving On are taken from the first show, the other eleven tracks are from the second show. The latter features some classy slide from Brian Jones and fine harmonica from Jagger. A brief snatch of Hang On Sloopy acts as the introduction to Get Off Of My Cloud. It’s followed by I’m Alright, a rare return to the Crawdaddy and a chance for Jagger to really work the crowd and generate some screams.

By July the Stones were in Hawaii, the last gig on their fifth North American tour. Also on the bill were Herman’s Hermits and Johnny Green and the Greenmen. Ticket prices ranged between $2.50 and $6.50. It would prove to be Brian Jones’ final appearance in the USA. A flavour of the gig is given by a florid live review from the Toronto Star earlier in the tour. “The young nubiles surged forward, arms undulating like tentacles of sea anemones writhing in warm fluid. Mick is a phenomenon of utter sexuality, beyond simple distinctions of maleness or femaleness”.

Not Fade Away makes for a great, up-tempo set opener. By now original songs such as The Last Time are greeted with screams of recognition from the audience. An uptempo Paint It, Black trades subtlety for intensity. Charlie Watts then makes a rare song introduction. Unfortunately he introduces The Last Time, which they had already played, instead of Lady Jane.  Lady Jane is the only non-raver in the set and the crowd are noisy throughout, but the intricate acoustic arrangement shines through. Mother’s Little Helper was released as a single in the US and makes for a great live song, with both guitars playing the riff in unison and more effective Jagger/Richard joint singing. Get Off Of My Cloud features powerful shouted backing vocals, 19th Nervous Breakdown is taken at breakneck speed and Satisfaction sounds like the soundtrack to a riot, from Richard’s heavily fuzzed intro to the relentless Charlie-driven outro.

Back to London in May for a  live performance on legendary TV programme Ready Steady Go! I Am Waiting receives a sensitive interpretation with Keith on acoustic guitar and Brian on dulcimer, and even a brief glimpse of Sixth Stone Ian Stewart. Under My Thumb returns us to more familiar up-tempo territory with Brian emphasising his versatility by playing the marimba, moving to sitar for Paint It, Black. Talking to Andy Neill, director Michael Lindsay-Hogg cites the latter as his favourite Stones RSG appearance. “I’d had this idea that after every verse we’d take out a bank of lights in the studio and by the end, it would just be a light on Mick alone and the rest of the place in darkness. What also makes it great is that you can’t hear Mick singing at the fade, his mike lead had gotten kicked out, but you can hear the music going on and this kind of raga beat. The whole thing is really mysterious…”.

The Stones second appearance with Ed Sullivan followed recording sessions at RCA Studios in Los Angeles. Paint It, Black features Brian Jones playing a sitar cross-legged, and despite a truly appalling haircut Jagger is in fine form vocally. Lady Jane provides an acoustic interlude, Brian on dulcimer and chalk-stripe suit. Charlie stands up to play vibes, or possibly hide an ill-advised moustache. Have You Seen Your Mother, Baby, Hiding In The Shadow? restores the Stones raunch. Keith pretends to play piano and provides his characteristic backup vocals. We finish back where we started, in London where the band record a live vocal version of Have You Seen Your Mother, Baby, Standing In The Shadow? for the BBC TV programme Top Of The Pops.

Fifty tracks, five countries, one year. They also released 4 singles and two LP’s (and recorded a third). The Stones would never again do so much, so quickly and in so many places. Listen and be amazed.

Sleevenotes: Nat & Faye d’Away

My Rolling Stones Hyde Park Review in the new edition of Record Collector magazine

September 2022 edition – part of a double page spread shared with Kris Needs

Trash in NME!

A question from Mike Warth, currently writing a history of rock in Reading 1977-1987, got me raiding the Trash archives for the only national press coverage we ever received. Wily Nick Duckett persuaded us to play a party in the garage of his house in Caversham Heights and then sent a review of our performance to the NME claiming that The Garage was a new venue. They fell for it and published the piece, reproduced below together with a picture of me and Mick from the gig itself.

February 1978 – so just the 44 years ago…

New Live LPs from Fairport Convention and The Beach Boys

Available now from http://www.1960s.london

The Broadcast Album 1968-1970 by Fairport Convention

Tracklisting 


Side One

1. Time Will Show The Wiser (Emmitt Rhodes)
2. I Still Miss Someone (Johnny Cash/Roy Cash Jnr.)
3. Bird On A Wire (Leonard Cohen)
4.If It Feels Good, You Know it Can’t Be Wrong (Richard Thompson/Ashley Hutchings

5. I’ll Keep It With Mine (Bob Dylan)

Side Two

1. Sickness And Diseases (Dave Swarbrick/Richard Thompson)
2. Sloth (Dave Swarbrick/Richard Thompson)
3. Billy The Orphan Boy’s Lonely Xmas (Richard Thompson)

4. She Moves Through The Fair (Trad. Arr. Fairport Convention)


Recording Details

Side One

Track 1 French TV Bouton Rouge, April 27th  1968

Tracks 2-5 VPRO Dutch TV Amsterdam, September 1968

Side Two

Track 1 BBC, Sound of The Seventies, recorded November 12th 1970, broadcast November 19th

Track 2 Radio WHPK Chicago, broadcast May 27th 1970

Tracks 3-4 BBC Top Gear, recorded December 9th 1968, broadcast December 22nd

Personnel

Ashley Hutchings – bass guitar, vocals

Richard Thompson –  guitar, vocals

Simon Nicol  – guitar, vocals

Martin Lamble – drums (Side One Tracks 1-5, Side Two Tracks 3-4)

Judy Dyble – vocals (Side One Track 1)

Sandy Denny – vocals, guitar, piano (Side One Tracks 2-5, Side Two Tracks 3-4)

Ian Matthews – vocals (Side One Tracks 1-5, Side Two Tracks 3-4)

Dave Swarbrick – fiddle, vocals (Side Two Tracks 1-2)

Dave Mattacks – drums (Side Two Tracks 1-2)

Dave Pegg – bass, vocals (Side Two Tracks 1-2)

Marc Ellington – vocals (Side Two Track 3)

Sleevenotes

In this release we navigate the uncharted waters of Fairport Convention’s early voyages across the UK, European and American airwaves. Fairport initially focused on covers of future classics by US/Canadian singer-songwriters such as Joni Mitchell, Leonard Cohen, Richard Farina and Bob Dylan, but delivered these covers in increasingly extended electric versions, becoming England’s answer to Jefferson Airplane. Within two years the band evolved into the prime-movers of British electric folk-rock, mixing electrified traditional songs with outstanding original material provided mainly by Sandy Denny and Richard Thompson. Between June 1968 and July 1970 Fairport released five LPs: Fairport Convention, What We Did on Our Holidays, Unhalfbricking, Liege and Lief and Full House(July 1970) – six if we include Heyday: the BBC Sessions 1968-1969, a selection from the many BBC sessions recorded by the What We Did on Our Holidays line-up.

Fairport Convention had been formed in 1966 by Ashley “Tyger” Hutchings (bass) with Richard Thompson (guitar), a very young Simon Nicol (guitar), and Martin Lamble on drums. This first classic Fairport Mark 1 line-up was completed by the addition of Judy Dyble and Ian Matthews on vocals. This line-up released Fairport Convention and is heard here on a rare live performance of Emitt Rhodes’ Time Will Show the Wiser from French TV in April 1968. In May 1968 , the band sacked Judy Dyble and replaced her with Sandy Denny, already a major force on the UK traditional folk scene and an established singer-songwriter in her own right. The Fairport Mark 2 line-up released the two classic LPs What We Did on Our Holidays and Unhalfbricking. Heard here on Dutch TV from 1968, three of these songs were never released on a studio LP – the Johnny Cash and Roy Cash Jnr. song I Still Miss Someone; Leonard Cohen’s Bird On A Wire; and If It Feels Good, You Know it Can’t Be Wrong, a rare song-writing collaboration from Fairports’ lighter side by Richard Thompson with Ashley Hutchings. The band’s understated arrangement of Dylan’s I’ll Keep It With Mine  was originally released on What We Did on Our Holidaysas was their haunting arrangement of the traditional folksong She Moves Through The Fair, heard here from a December 1968 BBC radio session. From the same radio session comes the only known performance of mysterious Fairport Christmas joke song Billy The Orphan Boy’s Lonely Xmas featuring a guest appearance from Marc Ellington as “Judge Jackson”.

Fairport had from the very beginning devoted themselves to relentless gigging, playing around 275 concerts between 1967-1970. On 12th  May 1969 the band were travelling back down the M1 after a gig in Birmingham when their van came off the motorway. Martin Lamble was killed outright, as was Richard Thompson’s girl-friend Jeannie Franklyn. Sandy Denny was not involved in the accident – she had travelled back from the gig with her boyfriend Trevor Lucas. The surviving band members suffered major and long-term psychological traumas. To honour the memory of Martin they decided to carry on, but could not face playing their old material. Ian Matthews left to form Matthews Southern Comfort. Fairport brought in Dave Swarbrick on fiddle, and Dave Mattacks on drums – a very different drummer to Martin – and at the end of 1969 the Fairport Mark 3 line-up released Liege and Lief, now widely acknowledged as the first classic LP of electric British folk-rock.

In December 1969 the band sacked Sandy Denny following her no-show for a short tour of Denmark. Ashley Hutchings then left to form Steeleye Span and was replaced by Dave Pegg. Fairport Mark 4 comprised Richard, Simon, Dave Swarbrick, Dave Mattacks, and Dave Pegg, releasing Full Housein July 1970. This LP contained Sloth, a military allegory of a failing relationship. The version here was recorded at a May 1970 concert in the US and features extended interplay between Richard and Swarb. The Mark 4 line-up also contributes another Swarbrick/Thompson classic Sickness and Diseases, a touching tale of STDs. This was originally released on Angel Delight in June 1971 by the Fairport Mark 5 line-up, sans Richard Thompson who had left in January 1971.

Most of the members of the Fairport family have remained closely and confusingly intertwined over the five and a half decades of the band’s existence. As Simon Nicol helpfully explained “Richard left Fairport Convention in early 1971 and has been playing with us ever since.” Richard continued to tour with Sandy, and played on all her four solo LPs.  Richard’s bands have often included Simon Nicol, Dave Mattacks and Dave Pegg. Since 1976 Fairport have run their annual reunion Cropredy Conventions. They continue to tour regularly and release a new LP every two or three years containing consistently strong and distinctive material. We are very lucky to still have them.

Sleevenotes: Admiral Sir Patrick Spens (retired)

Live In Paris by The Beach Boys

Side One

1. Darlin’ (B Wilson, Love)

2. Wouldn’t It Be Nice? (B Wilson, Love, Asher)

3. California Girls (B Wilson, Love)

4.I Can Hear Music (Barry, Greenwich, Spector,)

5. Medley

Warmth Of The Sun (B Wilson, Love)

/ Don’t Worry Baby (B Wilson, Christian)

/ Please Let Me Wonder (B Wilson, Love)

/ Surfer Girl (B Wilson)

/ In My Room (B Wilson, Usher)

6. I Get Around (B Wilson, Love)

7. Sloop John B (Traditional)

8. Do It Again (B Wilson, Love)

Side Two

1. Break Away (B Wilson, M Wilson)

2. The Nearest Faraway Place (Johnston)

3. Cotton Fields (Ledbetter)

4. Barbara Ann (Fassert)

5. God Only Knows (B Wilson, Asher)

6. Their Hearts Were Full Of Spring (Troup)

7. Good Vibrations (B Wilson, Love)

8. Johnny B. Goode (Berry)

Recording Details

All tracks recorded live on June 16th 1969 at L’Olympia, Paris and broadcast on Musicorama French TV

Personnel

Mike Love: vocals, tambourine, electro-theremin

Carl Wilson: vocals, lead guitar

Al Jardine: vocals, rhythm guitar

Dennis Wilson: vocals, drums

Bruce Johnston: vocals, bass, organ, piano

Daryl Dragon: piano, organ, bass

Ed Carter: bass, tambourine, lead guitar

Mike Kowalski: percussion

Sleevenotes

During the 1960s Brian Wilson steered The Beach Boys to international success, his melodic abilities culminating in Pet Sounds (1966). Although widely praised and a best seller in Europe, the LP received only indifferent reviews in the US and got no higher than number 10 on the Billboard charts. Thus began a period where the band was more popular in Europe than in their native America. Their standing was not helped by the flow of inconsistent albums that followed Pet Sounds: Smiley Smile (1967), Wild Honey (1967), Friends (1968) and 20/20 (1969).

By the time the Beach Boys recorded a live show for French TV in June 1969 Brian was no longer touring with the band. In his place were Bruce Johnson and three additional key extra players, plus horns and strings as required. The end result was a surprisingly versatile and adept live band, topped with the Beach Boy’s characteristic four-part vocal harmonies. Visually they still looked out-of-step with contemporary fashion: everyone except Mike Love was wearing suits, some with cravats. Hair was strictly mid-length. Mike Love sported floor-length robes reflecting his enthusiasm for more spiritual matters such as Transcendental Meditation. After some songs the band took a synchronised bow. The Edgar Broughton Band this is not.

Darlin’ makes a strong set opener with organ high in the mix together with the guitars of Al Jardine and Carl Wilson. An impressive recreation of Wouldn’t It Be Nice is short and sweet. California Girls features two solo tambourine players and finishes unexpectedly. This tour was to promote the LP 20/20, itself a compilation of outtakes and leftover tracks from other LPs. One of the singles from this LP was a cover of the Ronettes I Can Hear Music, played here with the complex vocal middle eight intact. A five-song medley (“slow songs”) is proof of Brian Wilson’s early song writing skills and the bands ability to sing his melodies. Over minimal backing, delicious extracts from Warmth Of The Sun, Don’t Worry Baby, Please Let Me Wonder, Surfer Girl and In My Room are delivered.  A lively I Get Around is only slightly marred by Mike Love’s impression of a car and features more of that groovy organ. Sloop John B is boosted by a five piece brass section. Do It Again rocks with Dennis really walloping the drums on the intro.

Break Away is introduced as a forthcoming single, Carl sings it beautifully with a coda that vanishes into its own echo. A surprise comes with Bruce Johnston’s solo piano performance of instrumental The Nearest Faraway Place, another track from 20/20. Al Jardine leads on a version of Leadbelly’s Cotton Fields whilst Mike Love attempts to turn Barbara Ann into “Pom Pom Pompidou” but common sense prevails. God Only Knows features another great Carl vocal, with the wonderful backing vocals precisely delivered and an orchestral arrangement that closely follows the studio version. The seated and rather sedate audience respond enthusiastically. An acapella version of Bobby Troup’s Their Hearts Were Full Of Spring shows off the band’s immaculate harmonies. Warm applause greats the distinctive organ intro to set-closer Good Vibrations and the audience clap along. A rocking encore of Johnny B.Goode is an effective return to the band’s roots with the addition of support band Paul Revere & The Raiders.

The rehabilitation of the Beach Boys as a live act would continue after this tour.  By 1971 they were playing the Fillmore East, sometimes in the company of the Grateful Dead. Then came the release of Surf’s Up, with its fashionable eco theme and Brian Wilson’s evocative title track. The 1972 concerts they gave at Carnegie Hall in New York are regarded by many fans as their live peak. Whilst subsequent studio recordings have only been intermittently rewarding, the critical reputation of the run of LPs from Pet Sounds to Surf’s Up has continued to grow. This record documents the start of the Beach Boys artistic renaissance.

Sleevenotes

C.Hofftoons

New Rolling Stones Live EP and LP

Now available from http://www.1960s.london

Ed Sullivan 1969 – The Rolling Stones

Tracks

  1. Gimme Shelter (Jagger, Richard)
  2. Love In Vain (Johnson)
  3. Honky Tonk Women (Jagger, Richard)

Personnel

Mick Jagger – vocals

Keith Richard – guitar

Mick Taylor – guitar

Bill Wyman – bass

Charlie Watts – drums

Recording details

All tracks recorded live on November 18th at Studio 50, New York City,  and broadcast on November 23rd on The Ed Sullivan Show (CBS US TV)

Sleevenotes

In November 1969 the Stones appeared on Ed Sullivan’s influential show for the sixth and final time, sharing a bill with Ella Fitzgerald. Jagger was resplendent in a silver and black choker and a fringed cloak whilst Richards hair was in the ascendent, complementing his see-through Dan Armstrong guitar. Wyman and Watts looked impassive throughout, Taylor sported an acoustic for Love In Vainbut reverted to a Telecaster for recent single Honky Tonk Women and for Gimme Shelter. Sullivan announced Gimme Shelter as being from the band’s new album Let It Bleed, to be released in the US the week after the broadcast. Some pictures of the band on the Ed Sullivan set show Wyman replaced by pianist / road manager  Ian Stewart. These photos were taken during rehearsals on November 17th when Wyman was unwell and Stewart took his place.

Sleeve notes:  Dee Leah-Smith

Let The Airwaves Flow 10: Live In Honolulu and Sydney 1966

The Rolling Stones

Side One

  1. Not Fade Away (Hardin, Petty)
  2. The Last Time (Jagger, Richard)
  3. Paint It, Black (Jagger, Richard)
  4. Lady Jane (Jagger, Richard)
  5. Mother’s Little Helper (Jagger, Richard)
  6. Get Off Of My Cloud (Jagger, Richard)
  7. 19th Nervous Breakdown (Jagger, Richard)
  8. (I Can’t Get No) Satisfaction (Jagger, Richard)

Side Two

  1. Mercy, Mercy (Covay, Miller)
  2. She Said Yeah (Jackson, Christy)
  3. Play With Fire (Jagger, Richard)
  4. Not Fade Away (Hardin, Petty)
  5. The Spider and the Fly (Jagger, Richard)
  6. That’s How Strong My Love Is (Jamison)
  7. Get Off Of My Cloud (Jagger, Richard)
  8. 19th Nervous Breakdown (Jagger, Richard)
  9. (I Can’t Get No) Satisfaction (Jagger, Richard)

Recording Details

Side One

All tracks recorded live at the Honolulu International Centre, Hawaii on July 28th 1966 and broadcast on Radio K-POI

Side Two

All tracks recorded live at the Commemorative Auditorium Showgrounds, Sydney, Australia (first show) on February 18th 1966 and broadcast by Australian 2UW Radio

Personnel

Mick Jagger – Vocals, maracas

Keith Richard – Guitar, vocals

Brian Jones – Guitar, harmonica

Bill Wyman – Bass

Charlie Watts – Drums

Sleevenotes

1966 was the live peak of the  Brian Jones-era Stones as they toured extensively and played more exotic venues, illustrated by this brace of radio broadcasts from Australia and Hawaii. Setlists featured more of the band’s own material, and cover versions tended to be soul or R&B numbers rather than the blues covers of their early years.

The Sydney show was performed on a rotating stage that was handcranked by stage hands – at one point an exasperated Jagger says “Will you stop this thing going round?”. Mercy Mercy and a brief She Said Yeah get the set off to a scream-drenched start before Play With Fire provides a rare moment of calm. Not Fade Away restores the pace with Jagger’s vocal a call-and-response to Jones’ harmonica. The Spider And The Fly is the second brilliant B-side to be played before Jagger totally convinces on That’s How Strong My Love Is. Despite starting well Get Off Of My Cloud falls to bits towards the end. A strong version of 19th Nervous Breakdown with some potent dual vocalsrestores the set’s momentum before set-closer Satisfaction increases the scream-level still further. Jagger gets lost in the song early on (“Where are we?”) but recovers well. Eye-witness accounts suggest that The Last Time was played as the opening song that night, but this is unconfirmed.

The Hawaii gig was the last date on the Stones fifth North American tour. Also on the bill were Herman’s Hermits and Johnny Green and the Greenmen. Ticket prices ranged between $2.50 and $6.50. It would prove to be Brian Jones final appearance in the USA. A flavour of the gig is given by a florid live review from the Toronto Star earlier in the tour. “The young nubiles surged forward, arms undulating like tentacles of sea anemones writhing in warm fluid. Mick is a phenomenon of utter sexuality, beyond simple distinctions of maleness or femaleness”.

Not Fade Away makes for a great, up-tempo set opener. By now original songs such as The Last Time are greeted with screams of recognition from the audience. An uptempo Paint It, Black trades subtlety for intensity. Charlie Watts then makes a rare song introduction. Unfortunately he introduces The Last Time, which they had already played, instead of Lady Jane.  Lady Jane is the only non-raver in the set and the crowd are noisy throughout but the intricate acoustic arrangement shines through. Mother’s Little Helper was released as a single in the US and makes for a great live song, with both guitars playing the riff in unison and more effective Jagger/Richard joint singing. Get Off Of My Cloud is more successful than in Sydney with powerful shouted backing vocals. 19th Nervous Breakdown is taken at breakneck speed and Satisfaction sounds like the soundtrack to a riot, from Richard’s heavily fuzzed intro to the relentless Charlie-driven outro.

Introducing the gig, the exceptionally annoying Radio K-POI announcer refers to the Rolling Stones as ‘exciting’ and a ‘swinging group’. Exciting definitely but swinging? Pounding more like. Unleashing a barrage of uptempo short, sharp songs of the type you hear on this disc would not be fashionable again for another ten years, and then it would be called punk. As is so often the case, the Stones got there first.

Sleevenotes: Fiji Jim

The Rolling Stones – London Hyde Park One Saturday 25th June and Sunday 3rd July

Review written for Record Collector magazine

View: Diamond VIP both nights (Keith’s side)

Merchandise: Stones At Hyde Park T Shirt (£35) and Lithograph (£60)

The Stones were visibly delighted to be back in London as part of their Sixty (years) tour. Out Of Time has been disinterred for these dates and inspired the first audience singalong, masterfully orchestrated by showman supreme Mick Jagger, in his element in front of 65,000 enthusiastic fans. An early highlight of the June 25th gig was a delicate She’s A Rainbow, whilst the rarely performed Can’t You Hear Me Knocking was a wonderful surprise and the spare rhythms of lock-down single Ghost Town worked well. New drummer Steve Jordan did not attempt the jazzy fills that his much-missed predecessor Charlie Watts brought to the track but his more straightforward style is now well-assimilated within the band and his slightly faster tempos gave several venerable tracks a crisper feel. Keith Richards was on great form, sharing the guitar parts more equally with Ronnie Wood. Richards solo spot combined an elegant and understated Slipping Away with a rousing lurch through Connection. A lengthy Midnight Rambler featured a snatch of Come On In My Kitchen whilst Jagger added a snappy coda to You Can’t Always Get What You Want.

The following week saw six different songs played, a welcome gesture to fans who attended both gigs. Get Off Of My Cloud was an urgent set-opener: following with 19th Nervous Breakdown delivered a great ‘60s double punch.  A reflective Angie was beautifully sung, You Got Me Rocking and Dylan’s Like A Rolling Stone were rapturously received. Keith changed his solo spot so we got an acoustic duet with Ronnie on You Got The Silver and a raucous Happy. Sympathy For The Devil made for an effective encore: the Satisfaction that followed went on for too long as Jagger worked the crowd one last time. I could do without Darryl Jones’ bass solo on Miss You but any criticisms are minor: overall these were two great performances from a band that just won’t quit, and for as long as they keep performing at this stellar level nor should they.

Photo credit: Stones official

Setlist – 25th June

Charlie Watts Tribute
01. Street Fighting Man
02. 19th Nervous Breakdown
03. Tumbling Dice
04. Out Of Time
05. She’s A Rainbow
06. You Can’t Always Get What You Want
07. Living In A Ghost Town
08. Can’t You Hear Me Knocking
09. Honky Tonk Women
10. Slipping Away
11. Connection
12. Miss You
13. Midnight Rambler
14. Paint It Black
15. Start Me Up
16. Gimme Shelter
17. Jumpin’ Jack Flash
18. Sympathy For The Devil
19. (I Can’t Get No) Satisfaction

Setlist – 3rd July

Charlie Watts Tribute
01. Get Off Of My Cloud
02. 19th Nervous Breakdown
03. Tumbling Dice
04. Out Of Time
05. Angie
06. You Can’t Always Get What You Want
07. Like A Rolling Stone
08. You Got Me Rocking
09. Honky Tonk Women
10. You Got The Silver
11. Happy
12. Miss You
13. Midnight Rambler
14. Paint It Black
15. Start Me Up
16. Gimme Shelter
17. Jumpin’ Jack Flash
18. Sympathy For The Devil
19. (I Can’t Get No) Satisfaction

The IORR Band @ The Hope & Anchor

Islington 25.06.22

(review written for Record Collector magazine)

Four years since they last played here the IORR Band stormed a packed Hope & Anchor with a brilliant selection of well-known and less well known Stones covers. The band formed via the famous iorr.org Stones fan website and come from as far afield as Norway and Chile. They only meet the night before a Stones gig. They never rehearse but are such great musicians that gigs like this seem to happen instinctively. A twenty song set took in some rarely played material like The Spider And The Fly, Sway and Parachute Woman.  Bluzdude enlivened Little Queenie and the closing Stop Breakin’ Down was a triumph. So take a bow DandelionPowerMan Mathjis, Mr_dja, IrwinH and 71tele plus guests djgab (mandolin) and WildSlivovic (harmonica). And a shout-out to a great audience: ManOfWealthOfTasteSilverDaggerSomeTorontoGirl, Beast and many others.

Photo credits: Mike Baess and Chris Davies

Setlist

  1. Under My Thumb
  2. Dancing With Mr D
  3. Dead Flowers
  4. Love In Vain
  5. Parachute Woman
  6. The Spider & The Fly
  7. Time Is On My Side
  8. Let’s Spend The Night Together
  9. Hang Fire
  10. Down In The Hole
  11. Going To A Go Go
  12. Little Queenie
  13. Miss You
  14. Midnight Rambler
  15. Sway
  16. Can’t You Hear Me Knocking ?
  17. Honky Tonk Women
  18. Brown Sugar
  19. Jumpin’ Jack Flash
  20. Stop Breakin’ Down

New LP Releases – Rolling Stones 1965, Fleetwood Mac 1970

Available now from http://www.1960s.london

Let The Airwaves Flow 9: On Tour’65 Volume II

The Rolling Stones

Side One

  1. The Last Time (Jagger, Richard)
  2. Little Red Rooster (Dixon)
  3. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  4. Oh Baby (We Got A Good Thing Going) (Lynn)
  5. (I Can’t Get No) Satisfaction (Jagger, Richard)
  6. Down The Road Apiece (Raye)
  7. Time Is On My Side (Meade)
  8. What A Shame (Jagger, Richard)

Side Two

  1. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  2. Pain In My Heart (Neville)
  3. Around And Around (Berry)
  4. The Last Time (Jagger, Richard)
  5. Time Is On My Side (Meade)
  6. It’s All Over Now (Womack, Womack)
  7. (I Can’t Get No) Satisfaction (Jagger, Richard)
  8. Everybody Needs Somebody To Love (Russell, Burke, Wexler)

Recording Details

Side One

Tracks 1-3 Recorded and broadcast on the ‘Ed Sullivan Show’, New York 2.5.65

Tracks 4 & 5 Recorded for ‘Yeh Yeh’ with Tony Hall, BBC Light Programme, London on 20.8.65 and broadcast on 30.8.65

Tracks 6 – 8 recorded and broadcast on ‘Ready Steady Go’, Studio One, Wembley (ARTV) on 15.01.65

Side Two

Tracks 1 –  4 recorded live at Wembley Empire Pool, London on 11th April 1965 and broadcast on April 18th as “The Big Beat ’65” (ABC and ITV)

Tracks 5 & 6 Recorded live at the Olympia, Paris for RTL Radio, First Show April 18th 1965

Track 7  Recorded for ‘Shindig’, Los Angeles on 20.5.65 and broadcast on 26.5.65

Track 8 recorded and broadcast on ‘Ready Steady Go’, Studio One, Wembley (ARTV) on 26.02.65

Personnel

Mick Jagger – lead vocals, harmonica

Brian Jones – guitar

Keith Richard – guitar, backing vocals

Bill Wyman – bass

Charlie Watts – drums

Sleevenotes

1965 was the year that the Stones exported their domestic success to the rest of the world: the tracks here comprise radio and TV broadcasts from the UK, France and the USA.

London’s Ready Steady Go! was the Stones televisual home from home. Under the slogan “The Weekend Starts Here!” and fronted by uber-mod Cathy McGowan this is where the Stones learnt to play to the cameras. Mick Jagger: “RSG! wasn’t safe, it took risks and waded right into the wonderful chaos of the times. It was the best rock’n’roll show of all time”. January 1965 saw the Stones playing their own What A Shame as well as covers of Time Is On My Side and Don Raye’s Down The Road Apiece. By now female screams were continuous, overwhelming the quieter passages. During the February 1965 performance of Everybody Needs Somebody To Love Mick was dragged offstage by female members of the Stones fan club.

The success of RSG! spawned similar shows in America such as Shindig and Hullabaloo.  The Stones recorded (I Can’t Get No) Satisfaction for Shindig in May 1965. Brian Jones sports an atypical acoustic guitar whilst Richard opts for a tougher looking Firebird. Equally influential was The Ed Sullivan Show. On their May 1965 appearance The Last Time seems to take Charlie by surprise as he is still setting up when the song starts. Brian sports his trademark white Vox Teardrop but it is Keith that solos. Brian’s slide provides the focus of Little Red Rooster, duetting with Jagger’s harmonica at the end of the song. Jagger vamps his way into Everybody Needs Somebody To Love, the audience screaming louder in response to his pointing at them during the “you, you, you” sequence. Remarkably the band still bow at the end of each number.

A short-lived BBC radio programme was “Yeh Yeh” was hosted by Tony Hall and featured the Stones in August 1965. Versions of Oh Baby (We Got A Good Thing Going) and(I Can’t Get No) Satisfactionare different to those on the official BBC On Air release. In April 1965 the Paris Olympia was the venue for an exhilarating gig, thankfully recorded in good quality by French radio and represented here by Time Is On My Side and It’s All Over Now. Despite a very lively crowd Jagger delivers Time Is On My Side with complete conviction, aided by strong backing vocals. The guitar solo in It’s All Over Now is lyrical and concise.

Amidst this international success the UK was not overlooked. Bill Wyman remembers “On 11th April we played our first UK show in three weeks at the Empire Pool, Wembley. It was ‘The NME Poll Winners concert’ in front of a capacity audience of 10,000. Other acts included the Moody Blues, Georgie Fame, the Seekers, Donovan, Them, the Animals and the Beatles. We closed the first half and the Beatles closed the show.” Everybody Needs Somebody To Love is performed at a slower pace than usual and forms a medley with Pain In My Heart . Around And Around features a pair of densely interwoven guitars whilst the start of The Last Timeis greetedwith female screams and benefits from distinctive Keith Richards backing vocals. At the concert the Stones picked up awards for Best New Group, Best British R’n’B Group and Mick Jagger won Best New Disc Or TV Singer.

From February 1964 through to November 1965, the Stones were frequent performers on mainstream radio and television. It was like having them in your living room: they would never offer this easy access again.  From 1966 onwards the increasing fragility of Brian Jones would result in the Stones gradually cutting back on their live performances, both in person and on TV. Once 1967’s “Summer Of Love” was safely out of the way the Stones would resurface in the darkly menacing video for Jumping Jack Flash, all tribal make up and bug-eye shades.

The weekend would no longer start here, because the weekend would never stop.

Sleevenotes – Nell Cote

Live in Seattle 17.01.1970

Fleetwood Mac

Tracklisting

Side One

  1. Let Me Love You (Ling & King)
  2. Like It This Way (Kirwan)
  3. Only You (Kirwan)
  4. Madison Blues (James)
  5. Baby Please Set A Date (James)

Side Two

  1. Homework (Rush, Perkins & Clark)
  2. Stranger Blues (Lewis, Levy & James)
  3. The Sun Is Shining (James)
  4. World In  Harmony (Kirwan & Green)
  5. Great Balls Of Fire (Hammer & Blackwell)

Side Three

  1. Rattlesnake Shake (Green)

Side Four

  1. Jenny, Jenny (Johnson & Penniman)
  2. Teenage Darling (Spencer)
  3. Ready Teddy (Marascalco & Blackwell)

Personnel

Peter Green: vocals, guitar

Danny Kirwan: vocals, guitar

Jeremy Spencer: vocals, slide guitar, congas, percussion

Mick Fleetwood: drums, percussion

John McVie: bass

Recording details

All tracks recorded live at the Eagles Auditorium, Seattle on January 17th 1970 and broadcast on KOL-FM “Great Nights At The Eagles

Sleevenotes

In August 1967 Fleetwood Mac were a diffident group of Chicago-blues purists, playing their first gig at the seventh annual Windsor Jazz and Blues Festival. Much had changed by January 1970, when they toured the US in support of Then Play On, the 1969 LP that was their creative highspot. Mick Fleetwood’s memories of a night supporting the Grateful Dead gives a flavour of the tour.  “That Dead song with the line ‘busted down on Bourbon’, that was the night that Fleetwood Mac played with them at The Warehouse in New Orleans. Owsley had spiked the water fountains and after our set, John McVie was out of it, so he stood in the audience while the rest of us jammed with the Dead. The audience loved it – a massive freak-out. We were following their car back to the hotel, absolutely out of it on acid. I drove the car from the back seat with my feet while somebody else worked the pedals from the side – nobody was in the driver’s seat. We got lost, and by the time we arrived, they’d been busted . . .”

Thankfully Fleetwood Mac reached Seattle intact and unbusted, playing on both  January 16th and 17th. The latter gig was recorded on a reel-to-reel recorder using two microphones hung over the stage, the excellent quality results were broadcast on Radio KOL-FM. Because of this we can now enjoy the band at the height of their virtuosity as they balance their love of the blues with extended versions of their own songs, leavened by a smattering of 50’s rock’n’roll classics.

The set begins with a leisurely stroll through the slow blues Let Me Love You, originally recorded by BB King. Green revered King: King reciprocated, saying of Green: “He has the sweetest tone I have ever heard. He was the only one who gave me the cold sweats.” The focus switches to Danny Kirwan with a lively rendition of his Like It This Way. Although it never appeared on a Fleetwood­­ Mac studio LP it was included on the Blues Jam at Chess LP and was a frequent live number showcasing intertwined Kirwan and Green guitar parts. Only You is a more obscure Kirwan composition: it would not receive an official release until his solo album Hello There Big Boy (1979). Both these songs would have enriched Then Play On. Jeremy Spencer loved Elmore James, and two covers of his songs feature next, a raunchy Madison Blues is followed by Spencer’s plaintive plea of Baby Please Set A Date. Otis Rush’s Homework features a tough Peter Green vocal and an infectious workout from the whole band with McVie’s bass prominent. Although not featured on any studio LP Stranger Blues was frequently played live, as was The Sun Is Shining. This track was originally released as the B side of the Black Magic Woman single (1968): its slower tempo provides the opportunity for Spencer to excel on slide. The delicate passages of instrumental World In Harmony highlight the harmony guitars of Kirwan and Green whilst Jerry Lee Lewis’ Great Balls Of Fire gives Spencer a chance to indulge his Elvis fetish.

Thus far the set has been relatively disciplined, but Rattlesnake Shake gives the band a chance to stretch out. Often this involved a detour into the instrumental Underway but not tonight, as the band stick closely to the basic riff throughout with Mick Fleetwood keeping up a punishing pace through multiple guitar solos whih show this incarnation of the band at their improvisatory peak. The song builds to an impressive crescendo before fading at the 22 minute mark: in an alternative universe they are probably playing it still.

The set ends with a trio of rockers. Little Richard’s Jenny, Jenny is played long and heavy. Teenage Darling sounds like a 50’s original but it was written by Jeremy Spencer and was the B side of his 1970 solo single Linda. With a spoken introduction and some doo wop backing vocals the song simultaneously parodies and celebrates the genre. Finally another Little Richard song Ready Teddy has Spencer in full Presley rockout mode again. The audience clap along whilst the band take the song down and then roar back up again, making for a breathless set closer.

Peter Green would leave Fleetwood Mac in April 1970. The band spent years in the commercial wilderness before their unlikely re-invention in 1975, when  Buckingham Nicks’ catchy melodicism was grafted onto the sturdy Fleetwood Mac rhythm section.  The trademark eclecticism of Fleetwood Mac v1 would not survive the transition, so we are fortunate that their onstage exuberance was captured by recordings such as the one you are holding now.

Sleevenotes – Mrs. Brown

Sabre Dance – Five Song Demo

photo: Felix Pilgrim

Whilst organising the music for the Elsenham Street Jubilee Party I discovered we had a fine band living at the end of our road. Siblings Phoebe (vocals)  and Conor McFarlane (guitar) write the songs for Sabre Dance, backed by Alex Maynard (bass), Andy Campbell Smith (drums) and Sarah Assaf (synth). Their May 2022 demos show great promise.

Phoebe’s pure and plaintive vocals are supported by sympathetic instrumentation  and evocative backing vocals. And the songs are very hummable: the lyrics are not always easy to decipher but  the melodies are strong enough to carry the songs. Arrangements are concise and serve the songs. Some of the songs are a bit polite for my tastes but Wired does the quiet/loud thing well with an instrumental section that sounds like a record jumping. Distant Halves would be a fine set opener. No Pressure sounds like a single to me.

The band is playing live  with recent gigs include the O2 Academy2 Islington and a headline slot at Camden Assembly. Keep an eye on their Instagram for more dates