Sony Legacy 2CD
The Kinks most ungainly LP title just got even more awkward. Predictably any chance of 50th year anniversary gigs seems to have dribbled away (maybe next year?) so aside from the play Sunny Afternoon the focus is re-releases. A 5CD box set has waddled into sight, which despite restricting itself to the Kinks Golden Years of 1964 – 1971 still manages to avoid including anything interesting to the HardKore Kollector. So instead let me recommend this more modest proposition – an expanded version of the 1970 Lola LP which now includes the soundtrack to the ill-fated film Percy. The 13 tracks from the original Lola… release benefit from a sparkling digital remaster courtesy of Andrew Sandoval and the additional sonic detail shows what a great studio band the Kinks had become, particularly noticeable on the instrumental version of The Contenders where Dave Davies really lets rip. John Goslings organ is prominent (a very KInky thing to say), and the sometimes rickety rhythm section of Mick Avory and John Dalton is bang on throughout. Whilst Ray skewers the music biz on Denmark Street, The Moneygoround and Top Of The Pops Dave provides one of his most tender ballads in Strangers. Extra tracks add real value. Best is a new-to-me song called Anytime, which would have been a catchy addition to the original LP. Lovely joint lead vocals from Ray and Dave and almost country picking on the guitars. The other new song here The Good Life has a plodding Stonesy rhythm and a mundane Ray lyric. An alternate version of Lola is all the poorer for missing those familiar strident opening chords but an unreleased Apeman has lots more Dave (including a Chuck Berry break in the middle) and is more fun than the familiar version, if less commercial.
Lola gave the Kinks their biggest hit for 4 years so what did their legendarily-useless management do? Saddle them with writing the soundtrack to the film Percy, a vehicle for Hywel Bennet whose dismal plot is based around a penis transplant. The complete commercial failure of the film has resulted in the Kinks soundtrack LP being the most overlooked in their career. None of the tracks appear to have any lyrical relationship to the film itself, making me wonder how much material was written to order as opposed to being stray songs that Ray had lying around. It is patchy, in the way of most soundtracks but there are some real gems. Pye released a terrific 4 track EP in 1971 containing God’s Children, The Way Love Used To Be, Moments and Dreams and these four tracks are indeed the best songs here by some distance. You do need to hear John Dalton extolling the virtues of Willesden Green, but you only need to hear it once. Completely shows the Kinks could play a 12 bar blues just as boringly as could any of their contemporaries.
Percy freed the KInks from their straightjacket of a contract with Pye and they fled to greater artistic freedom at RCA who in 1971 released Muswell Hillbillies, which sleevenote writer Peter Doggett describes here as “magnificent”. I never liked the cod music-hall and country-and-NorthLondon of that LP and I liked the interminable concept albums and Amerikan Orientated Rock that followed even less. Aside from an occasional gem (Celluloid Heroes, Sitting In My Hotel Room) Lola.. and Percy marked the end of my fascination with the Kinks. This release does those two records proud and brings the Pye era to a dignified close.
Angel Air SJPCD450
Recorded live at the Royal Albert Hall on April 8th 2004 this 39 track 2CD set offers an encyclopedic overview of songs written by or associated with the much-missed Ronnie Lane. It’s a fabulous body of work, with equal emphasis placed on Ronnie’s time with the Small Faces, Faces and his solo career with Slim Chance. The expected classics are here but a spotlight is shone on overlooked gems such as B-side Done This One Before, here faithfully reproduced by Ocean Colour Scene. The atmosphere of the evening does not transfer to CD so we are left with the performances only. Unfortunately too many of these are respectful but pedestrian pubrock, the exceptions being the most experienced performers. Paul Weller fronts a careful reading of The Poacher, where the original intricate arrangement is accurately recreated live. Pete Townshend revives Heart To Hang On To from Rough Mix, the album he made with Lane, and it’s a fine passionate performance done here with Sam Brown. Steve Ellis manages the tricky Afterglow well whilst Chris Farlowe is an inspired choice to front an emphatic encore of All Or Nothing. Ronnie Wood revisits his Plynth intro for Stay With Me, but the rest of his performance lacks lustre. All credit to tireless Small Faces promoter John Hellier for pulling the evening together. If you were there this makes a great souvenir but otherwise it’s likely to drive you back to the originals.
By guest writer John Perry
Bantam
Press 366p £20
So many new books about the Rolling Stones are published each year that duplication becomes the norm. Most simply recycle the familiar story from other, older Stones histories. Myth accumulates, errors proliferate and the quality of information is degraded. Paul Trynka’s biography of Brian Jones is something quite different: a thorough and, above all, well-researched trawl through the old, old story. The author speaks to most of the primary sources still living and turns up enough new information to satisfy hardened Stones-watchers.
Brian Jones has not been especially well-served by biographers. With so much futile energy expended on his unresolved death – and silly conspiracy theories developed to help sell second-rate paperbacks – it is good to read an account that focuses upon Jones’ part in bringing Blues and R&B into the mainstream. Brian’s is a complex personality to unravel. Almost universally liked by his contemporaries (McCartney, Hendrix, Townshend et al) and almost universally disliked by his own band; only Bill Wyman ever seemed to have a good word to say for him. Trynka is sympathetic to Brian; rather less so to Jagger/Richards, the victors in the slow-burning, internecine struggle that saw Jones gradually sidelined, ridiculed and rendered obsolete in the band that he’d founded. The author rightly points out the almost Stalinist revisions that saw Brian’s contribution written out of the band’s 50th anniversary celebrations. One can only speculate why, even after 50 years, the two principal Stones still feel the need to dismiss Jones’ achievements. No money in it, perhaps.
Jones’ number was up the moment Andrew Oldham entered the picture. Oldham took an almost instant dislike to him at the Crawdaddy Club and lost no time promoting Jagger/Richards as head Stones while giving Jones the freeze out. Ironically, had Brian lived into the 1970’s, he would probably have haunted the same diminishing circles as Loog Oldham; forever doomed to try and top his earlier work. Second acts aren’t unknown in rock’n’roll but striking gold twice is unusual.
When reading biography, one generally skips the early years, passing over childhood and school and starting where the action begins. Not the case here. Paul’s account of Brian’s Cheltenham childhood (and quite remarkably fertile) teens is one of the most original parts of the book and every bit as readable as more familiar scenes in Morocco and Monterey. Without making excuses for Brian’s many failings the author examines Jones’ evident self-destructiveness and his crippling lack of confidence. There are two schools of thought here. One, the Stones Authorised Version supported by Glyn Johns and the late Ian Stewart, holds that Brian was two-faced and brought about his own fate through reckless drug use and lack of self-discipline. The other camp maintains that Jagger/Richards and Andrew Oldham quite deliberately ground Jones down, once they’d taken from him everything they could use. As George Harrison puts it, there was nothing much wrong that wouldn’t have been cured by a little kindness.
There are a couple of points where I take issue with Paul. The first is the claim that it was Jones, not Ry Cooder, who taught Keith Richards open G tuning – the guitar sound that defines the Stones from ‘Honky Tonk Women’ on. Yes, Brian played slide guitar in open G as far back as ‘Little Red Rooster’ (1965) and probably much earlier. The Chess Records sessions are dominated by this style – but Brian plays a straight Muddy Waters-style open G (c.f. ‘I Cant Be Satisfied’) not the staggered, syncopated 5-string version of open G that Richards unquestionably adapted from Ry Cooder. This latter style, with it’s strange new chord shapes, first appears in 1969 and is fundamentally different in conception and execution. That Cooder is the true source is easily demonstrated; try and find one Stones recording with that ‘Honky Tonk Women’ style, that predates Ry Cooder’s 1968 sessions for the band. You won’t. Cooder is hired; Richards figures out his chord shapes, does a sponge job on the tapes, and in a flash the Mark 2 Stones sound arrives, fully formed.
None of this diminishes Brian’s earlier role. As the author points out, in 1962 England, Jones and Alexis Korner were probably the only people playing bottleneck blues. Within five or six years the Great British Blues Boom was in full plod as a thousand Beat Groups morphed into ‘Blues Bands’, thumping out clunky versions of Elmore James. The trail leads back, through folk clubs and blues societies, to Brian’s pioneering bottleneck. That Jones was hounded by the cops and the gutter press is undeniable. Those who wished to see the upstart Stones done down, quickly realised that Jones was the weakest link; a much easier target than the well organised Mick Jagger and the mentally tougher Keith Richards. Jones was systematically harassed until his nerve broke. Trynka covers the busts and trials in convincing detail. I wish he’d used the term ‘the Establishment’ a little less freely: some less vague and emotive term such as ‘the authorities’ might have been better. Nobody doubts that some very dirty work went down in the reaction to 1967’s flamboyant displays – Chelsea nick might as well have been Chelsea Flower Show as far as planting was concerned – but sometimes bent coppers are just bent coppers looking for a bribe; not every duplicitous nark is a part of an Establishment plot. Indeed, if you look at the Lewes trial that followed the infamous 1967 Redlands bust, the ‘Establishment’ figures are mostly in the Stones camp. Their barrister, Sir Nigel Havers QC and William Rees-Mogg, the Times editor who penned the influential ‘Who Breaks A Butterfly’ first leader, were infinitely more ‘Establishment’ than the Sussex coppers and the rather silly Judge Block – leading light of the Horsham Ploughing and Agricultural Society, whose summing up in the trial violated so many basic tenets of jurisprudence that a successful appeal was almost guaranteed.
There are some minor errors in the account of Brian’s drug use. Pharmaceutical cocaine was never legal (in Jones’ lifetime) except on prescription. And Mandrax, that archetypal late-60’s drug, was not a sleeper but an hypnotic; an important distinction since Mandies effectively allowed people to walk around whilst asleep. The drug became synonymous with people falling downstairs, crashing into walls, and knocking out teeth, but Trynka correctly dates the acceleration in Jones’ decline to his switch from barbiturates to Mandrax. Those bloated, zombie-like photos of late-period Brian convey the message perfectly. But these are very minor quibbles.
You should read this if you love the Stones first line-up, recognise Brian Jones for the star he was, or enjoy the ease with which he moved between accordion, harpsichord, sitar, dulcimer, marimbas, recorders, vibraphone and mellotron, transforming some pretty prosaic songs into magical recordings. Paul’s book seems likely to become the standard work.
John Perry, Somerset 2014
Iggy and the Stooges guitarist James Williamson has just released his Re-Licked CD (Leopard Lady Records), featuring a selection of vintage Stooges songs that have never previously been captured in a studio to James’ satisfaction. Vocals on these new recordings are supplied by a variety of guests, with James on lead guitar throughout.
“Most of these songs were written after Raw Power was released and we had been dropped by Mainman and we were beginning to tour the US under new management. We were still under the belief that CBS/Columbia Records would pick up their option for us to record a second album for them. All of this was around the1973-74 timeframe. We wrote these songs fairly quickly and were playing them live, as was our usual way. Of course, they would be bootlegged as was very common in those days. However, the record company decided not to pick up the option for us to do the album, so all that remained was the bootlegs, although a couple of things like Johanna did show up on the Kill City LP. There are also a couple of songs included on this album from early demo sessions before Raw Power, namely I Got a Right and I’m Sick of You, one of the earliest songs I ever wrote with Iggy.”
So why do this project now? “I have always wanted to hear these songs recorded properly, I feel that they are some of our best writing, certainly a tribute to the song writing of Iggy Pop and James Williamson. Iggy and I discussed doing this before we did ‘Ready to Die’ in 2013, but decided against it as the obvious comparisons between the young Stooges and the older Stooges would surely be drawn. Instead after our final tour date last September, I decided to try a new arrangement of ‘Open Up and Bleed’ that I had come up with while on tour. I sought out a female singer who could really belt out a song the way the Janis Joplin used to and found Carolyn Wonderland, who is a singer with the voice that Janis would have wished she had had. Once that went so well, I decided to go ahead and do a full blown album of all of this material.”
Re-Licked is a comprehensive collection of the pre Kill City material. “I did pretty much all of the songs from that period of time, at least the ones that were do-able. I selected the singers based on their own styles, availability, interest and enthusiasm and was very pleased with the results.” The singers James selected include Lisa Kekaula from the BellRays, who performed a similar role in the MC5 / DKT touring project. “I had heard about DKT only after I had already done the track with Lisa. It’s a cool concept that works really well with the right singers…in my case, I wasn’t trying to make this a version of the Stooges but rather an interpretation of the songs.”
Re-Licked contains some gems, but inevitably it is an uneven selection. The lead-off single ‘Open Up And Bleed’ is a highpoint, Carolyn’s’ soulful wail counterpointed by some delicate accoustic guitar picking. Slower, less well known songs such as She Creatures Of The Hollywood Hills and Til The End Of The Night do better than the likes of Cock In My Pocket and other raucous rockers. The only uptempo track that convinces is Wet My Bed where James flaunts his best Chuck Berry riffs. Also recommended is Wild Love, where Mark Lanegan and Alison Mosshart channel a sleaze-rock Sonny and Cher. Overall Re-Licked is well worth a listen: properly recorded and no longer mired in sub-bootleg mire, the songs do indeed shine through.
Sadly a live version of Re-Licked seems unlikely. “Well, I would love to play this material live, but with 14 well known working singers, it’s nearly impossible logistically. That said, if some promoter wants to put together a showcase in a major city like London, Paris, NYC, LA or Sydney…I’d be thrilled to do it as I know the singers and musicians would be as well. We could tour as James Williamson And…” Apparently Iggy views the project with mixed feelings. “Well, he has vacillated from wishing it all success, to saying he was never asked, to back to wishing it well and thanking all the singers…he’s likely heard the singles so far, but very few people have heard the album yet. I’ll send him one after it gets released. Just for the record he has been asked to participate but has not responded.”
And why is James known as Strait James Williamson these days? “It’s a kind of inside joke. In the song ‘The Dum Dum Boys’ Iggy sang the line “James, he’s gone straight”…so I named my music publishing company Strait James Music, Straight isn’t distinctive enough for a publishing name” .
A trip back to 1977 for an audience who were in the most part too young to have seen Television the first time around. Despite zero stagecraft ( static lights, bare stage, no-one leaping around) a packed Empire was transfixed by a 90 minute set that featured the entire Marquee Moon LP. Little Johnny Jewel gave guitarists Tom Verlaine and Jimmy Rip (channeling original guitarist Richard Lloyd) room to stretch out, secure in the knowledge that the peerless rhythm section of Billy Ficca and Fred Smith would underpin their every move. The ’74 ballad “I’m Gonna Find You” was introduced as having been being dropped from Marquee Moon but still sounded great, as did the ultra-slow version of Psychotic Reaction played as a second encore. Highlights were the 13 minute Marquee Moon itself and Verlaine exchanging wisecracks with the front row – now that wouldn’t have happened in 1977…
The London premier of a new documentary on the life of Johnny Thunders “Looking For Johnny” attracted a full-house of Thunders acolytes including John Perry, Peter Perrett, Patti Palladin, Anita Pallenberg and Bobby Gillespie. Introducing the film at the Prince Charles cinema were Alan Hauser of Jungle Records and Danny Garcia, the film’s producer.
Danny’s fascination with Thunders goes back a long way. “I first came across Johnny Thunders in the ‘80s as a teenager living in Spain. I used to buy records compulsively, every day, go down to the record shop, spend my breakfast money on second-hand records. I came across a New York Dolls compilation Night Of The Living Dolls. I totally fell in love with Thunders sound and his music, from there I started collecting his albums. I only saw him live once with the Oddballs, and it was a great show.”
Garcia’s motivation to make Looking For Johnny was to move the focus away from Thunders junkie lifestyle and focus on his many musical talents. “I just wanted to show that Johnny was a great songwriter / entertainer / musician who had some substance abuse problems. What interested me was the music, always. The film is called Looking For Johnny because I never met him so I’m just trying to find out about him, who was this guy: his music and his songs and what’s going on in his head. I was interested in looking at his musical talent, explaining where that came from, understanding why his guitar sounded the way it did.” Thunders private life is also included where relevant. Thunders’ Father walked out on the family when Johnny was a small boy which goes some way to explain his relationship with New York Dolls drummer Jerry Nolan “He was always looking for that father / elder brother figure and Jerry took that role. They were brothers-in-arms, they loved each other. “
The movie is structured around fifty specially recorded interviews, interspersed with live footage taken from throughout Thunders career. Notable absentees are David Johansen, Richard Hell and Patti Palladin, none of whom replied to Danny’s emails. The conversation at the Phoenix Club after the screening was whether there should have been more music and less talking. Danny is unrepentant. “There are plenty of live Thunders shows on video and YouTube. This is a documentary about his life, if we had put in more live footage it would have been over two hours long. A lot of the live footage like the Don Letts material is only twenty seconds long, that’s all I could use. The Heartbreakers performing Get Off The Phone and Can’t Keep My Eyes On You – that’s newly unearthed footage, never seen before.”
Why make a film about Thunders today? “I am doing this now because in twenty years I won’t be able to. It was very important that I got to film Leee Black Childers and Marty Thau before they passed away. The number of musicians influenced by JT is humungous. Steve Jones, the ‘punk guitar sound’, all those ‘80s LA Hair Metal bands with their Thunders lookalikes. We know this, maybe the mainstream doesn’t but in a hundred years time people will know where it all came from. I loved every minute of doing this film. I’ve been to many places that I would never have dreamed I would visit, meeting wonderful people everywhere I go – I owe a lot to Johnny Thunders.”
“There is so much information online now that kids are kind of lost. It used to be that you read an interview and it would make you think. People who had something to say and who were rebelling against the system, Now there is more reason to rebel against the system than ever and there’s nothing going on, everyone is content, everyone has their high band internet connection and doesn’t give a fuck about anything. There is no-one around today who can have the same impact as Johnny Thunders. I don’t see icons, like Thunders or Joe Strummer or Ian Dury, people with the attitude “Here we are, this is how we are, fuck you if you don’t like it.”
Danny cites Nina Antonia as being crucial to the success of Looking For Johnny. “She knows everything. She was very supportive from day one so I am really thankful to her.” Nina was at the screening, and found it “quite an emotional experience; not just for the loss of dear friends but also it stands as a testament to a rock n’ roll generation. After the screening I did a Garbo and went home with my memories. Danny’s documentary ensures Thunders and Nolan’s musical legacy and conveys their story to a wider audience who may not have been there the first time around.”
Further evidence of renewed interest in Thunders is the news that Nina’s official biography In Cold Blood will form the basis of a forthcoming biopic with the working title of ‘The Dangerous Life of Johnny Thunders’ . “We couldn’t call it ‘In Cold Blood’ because of the Truman Capote adaptation. There have been many previous approaches from film companies to adapt the book for a biopic but LAMF Films, who are a Hollywood independent headed up by Thunders aficionado, had the aesthetics that are so important to such a project. I’m a consultant on the film and it’s taken the best part of a year to get the script completed, now the big question is who is going to play JT?”
Jungle Records has a long history of releasing material that enhances Thunders’ reputation, such as Looking For Johnny. After the screening Alan Hauser reflected that “it was very strange to see it up there, after all this time. Danny first approached us in 2010, once he started in 2012 he planned to finish it by the end of that year, but kept finding people and things to add to it. Danny is great; he has a lot of energy and a vision of what he wants to do. Generally he gets it all done. And he already had detailed knowledge of Johnny’s life.”
The forthcoming DVD will feature extra material, still to be decided. “Danny knows better than me – all he’s confirmed to me is that there’ll be more of his interview footage and at least three full music clips. The full versions of ‘Alone In A Crowd’, ‘All By Myself’, and a video promo of Stevie Klasson’s ‘Looking For Johnny’ title-track song. The DVD will be released, along with a soundtrack album, by Jungle in Europe, and MVD in North America.’ And there is more Thunders to come from Jungle. “There is another release that had to be postponed to avoid clashing with the film which we can’t announce just yet. There’s certainly ebbs and flows of interest in Johnny. We try to do our best to create interest with the catalogue we hold, like the box set version of ‘L.A.M.F.’ As time goes on the original audience may be more inclined towards nostalgia. I realise at this distance he becomes almost a mythological figure. Presenting the history of Johnny’s life is a responsibility we take seriously.”
Also at the Prince Charles was long-term Thunders fan Pedro Mercedes “A mutual friend introduced us whilst John was spending a week in London just taking a break. At that juncture Johnny was in an exceptionally great place, at ease with himself, relatively clean, and such mischievous fun to hang out with you just would not believe me. Johnny had no idea that I knew who he was, we just clicked initially thanks to a shared obsession with Scorsese films and the Stones, and for that week there was no reason for him to know he was my ‘hero’. At the time I co-promoted a club night called ‘The Pipeline’ located in a Soho basement club called Gossips. Six months after we met I asked Johnny if he’d do a short acoustic set at the club, which he agreed to do as a favour for chump change. I got the feeling he felt a bit awkward having to be ‘Johnny Thunders’ when I’d been around his carefree ‘John’ persona.”
Pedro has a new Thunders-related project, Remarquable Records. “Throughout the ‘80s I was amongst those who helped Alan Hauser with his various LAMF reissues – it remains my favourite album of all time. Around four years ago I found loads of Johnny stuff from ’78 which I had not looked at or listened to in decades. As soon as I checked them out I found myself as electrified as when I first heard them. If I rewind back to 1979, I was a frequent visitor to Real Records, on Floral Street, in Covent Garden, my favourite record label offices and the label that released Thunders first and best solo LP So Alone. Wendy Dancey worked there for label boss Dave Hill, and she always entertained me and was very sweet. I would have a hundred questions about Johnny, and the Pretenders – around that time they had a residency at the Marquee and I thought they were the best new band in the land. Wendy would give me promo stuff and I would see Dave Hill doing business and looking dapper, it was a really cool place. Members of the Pretenders would drop in and when they’d go to the States with the band they always brought back Thunders gig posters or somesuch for me which was just brilliant.”
“Around the time I had met Johnny, Real were in the throws of calling it a day from their offices in Broadwick Street, I was living round the corner in Wardour Street. One day when they were packing up I hounded Dave into submission and he let me hear some Johnny outtakes from ‘So Alone’ from the reels lying around his shelves. WOW! There were things I had never heard before. Whilst Dave lectured me in a fatherly way about being doe-eyed about Johnny, with stories of how Johnny had fallen over mid-take at sessions etc I really didn’t hear him. The tapes Iheard were incredible – different mixes with even more guitar licks and outtakes like ‘The Wizard’ and ‘So Alone’. When Johnny died his sister and her manager got in touch with me and I tracked down both those tracks for inclusion on the CD issue of ‘So Alone’. “
Remarquable’s first release will be previously-unheard Thunders studio tracks. “With the help of Bucks Music I contacted the people who had recorded with Johnny in 1978: Paul Gray, Steve Nicol, Dave Philp and Steve Lillywhite have all just been amazingly supportive with their time and recollections. Phil Lynott’s mate Paul Mauger pointed me in the direction of the particular tape that has the tracks on the first EP that’s coming out. By coincidence Bucks Music were formerly Essex Music, and the Heartbreakers’ first recording session in England took place in their company office basement studio in February 1977 – Leee Black Childers has photos from the session, with the band alongside Chris Stamp. “
“ ‘Never meet your heroes’ is the usual word to the wise, but I could not be happier that I did, it was just at the right time and in the right place for both of us. Johnny’s legacy orbits around the cliché that he incessantly turned people onto Stuff. I was no exception in that case, he turned me onto fresh rainbow trout. I’d never eaten freshly cooked fish until the day Johnny took me to lunch. I’ve never quite kicked the habit ever since. How rock’n’roll !”
Jungle Records will be releasing Looking For Johnny on DVD ( www.jungle-records.net).
The Thunders 1978 EP is due in August ( www.remarquablerecords.com).
Nina Antonia’s latest book is a new volume of Pete Doherty’s diaries entitled “From Albion To Shangri La” ( www.thinmanpress.com )
Transcribed and edited by Nina Antonia, with original illustrations by Peter Doherty Thin Man Press (2014) Veteran biographer of assorted cults Nina Antonia has collaborated with Babyshambles’ Pete Doherty for her latest book. These diaries encompass the period 2008-13, a time when Doherty was constantly on the move and indulging in the traditional recreational habits demanded by his public image. The book is in three parts: a meandering chronicle, tour diaries and finally a Q&A between Nina and Doherty. Of these it is the Q&A that works the best, providing some much-needed structure. Elsewhere it is a lot of drugs (less fun then you might expect), some sex and surprisingly little rock’n’roll. If you are in thrall to Doherty’s visions then you will get much from this book. For true-believers only.
Only Rock 'n' Roll 