On Twitter I often mention records I'm currently listening to and enjoying but I almost never follow that up on my blog. So here's some LPs I've been digging in 2019. This first one is a compilation released on the fabulous Strut Recordswhich I totally missed last year. I discovered it on bandcamp a week ago and tweeted about it that day. The grooves on Disque Debs International Volume 1. An Island Story: Biguine, Afro Latin & Musique Antillaise 1960-1972 are soo infectious. These tunes are very well suited to the absurd heatwave we've been having here in the Antipodes. If you liked that Soundway Records compilation from a few years back,...er...that's 10 years, Tumbélé: Biguine, Afro & Latin Sounds Of The French Caribbean 1963-74you are gonna dig these sweet tropical vibes.
The fantastic record label Awesome Tapes From Africa reissued this in 2016. In need of some healing loose soulful grooves the other day in the immense Australian summer heat I pulled out Wede Harer Gazo and claimed it to be just about the best album ever recorded. I stand by that statement. Wede Harer Gazo is a 1978 recording from Hailu Mergia & The Dahlak Band. This is hypnotic jazz funk in a state of delirious torpor with a blurry organ giving it a frayed psych vibe. The LP comes from the golden age era of Ethiopian music so if you like your Mulatu Astatke or Éthiopiques compilations you are bound to appreciate this beautiful languorous music.
Hailu Mergia also played on this brilliant obscure tape from 1975 Asnakech by Asnakech Worku also featuring Temare Haregu, which was reissued last year by Awesome Tapes From Africa. I think it's a bit odd to give something that was originally a hissy 70s tape the deluxe vinyl treatment. Suffice to say I only bought the digital version but they did reissue it on tape as well. This album was included in my best reissues of 2018 list but Asnakech is still in high rotation around these parts. Like the aforementioned French Caribbean music, golden age Ethiopian music suits summer perfectly. Worku, a 20th century icon, was a famous actor, dancer, singer and master of the krar. The krar is an ancient Ethiopian harp that has 6 strings and sounds a bit like a brittle rusty banjo. Asnakech Worku will have you mesmerised with her off kilter free krar playing intermingled with Mergia's blurry organ swirls. Strange and enchanting. Also check out Éthiopiques 16 (2003).
I know I'd heard Juana Molina on the radio before but I just filed her away in the back of my mind as someone to investigate one day. Something on youtube prompted me to finally check her out properly and what a fool I've been for the last 15 years. Son from 2008 is a modern experimental psych folk masterpiece. Musically it's somewhere between Linda Perhacs, the Canterbury Scene, miscellaneous experimental vocal scientists and a whole lot of Molina's idiosyncratic vision. There are a handful of other Juana Molina LPs either side of this one that are highly rated so I can't wait to track those down.
Kamikaze 1989 is the soundtrack to Fassbinder's 1982 film. How the hell did this even pass me by? Anyway I've found it now and it's a bewdy. I rate EdgarFroese's other six LPs recorded between 1974 and 1983. Froese's last classic solo LP Pinnacles was released in 1983 so I am absolutely flummoxed as to how I didn't know this existed until the other day. Kamikaze 1989 is classic early 80s synth soundtrack action from the Kosmiche maestro of Tangerine Dream fame. This puts to shame all of the 2010's synth-wave pretenders. Splendid stuff.
Moon Wiring Club's 2016 LP Exit Pantomime Control is one of their best. I guess it got a little overlooked*, by me at least, as it was released at the same time as their massive triple cd of archival material When A New Trick Comes Along I Do An Old One. Anyway I've been listening to this constantly for the past three months and it just doesn't get old. Their catalogue is full of treasure and I would place Exit Pantomime Control somewhere in the top 5 of all time Moon Wiring Club releases which is high praise indeed.
*Surely they, well Moon Wiring Club are a one man band that is Ian Hodgson, are one of the most overlooked musical entities of the past 12 years. Due to Mr Hodgson's release schedule of always issuing his new product in early December, as a Yuletide treat, has put him in a peculiar critical position. By the beginning of December most music websites and magazines have usually compiled their albums of the year lists. He really is on the outside of things. I'm not fully aware of how often he is reviewed. I've occasionally seen him reviewed in The Wire and @FACT but a quick search @Pitchfork reveals "No Results'. So I'm guessing he doesn't get a hell of a lot of media attention outside of the dwindling music blogosphere (paid music writers, eh?).
I used to write about music quite a lot here on me blog and Australian Post-Punk was a favourite topic of mine. The real stuff, I mean, that happened in the late 70s and early 80s. None of this faux shit from the last 20 years. Anyway there has been some activity over at Jonny Zchivago's legendary Blog Die or DIY? with some posts of stuff that's never been reissued since those olden days ie. Philip Brophy's Tsk Tsk Tsk. I've never been able to find their records in physical form or in a file format. So go here to find the Venitian Rendezvous EP, Nice Noise EP, Caprice EP and Spaces LP.
While you are over at Jonny's site don't forget to check out some other choice Antipodean post-punk. He has posted a bunch of Sydney stuff including a stack of seminal compilations on the Terse Tapes label, a coupla things from the M Squared label, some primo Slugfuckers, a Negative Reaction tape and miscellaneous Systematics releases.
There's also some other seminal Melbourne experimental post-punk but those records have been reissued in the last few years so you've probably got those Essendon Airport, Asphixiation and Primitive Calculators LPs/cds.
MIRAGE - CAMEL (1974)
I'm no expert on UK prog, I know more about French, Italian, German, Australian and Swedish progressive rock. I've hardly checked out Pink Floyd post Saucerful Of Secrets since I was a teen. I know me King Crimson Larks' Tongues In Aspic/Red/Starless & Bible Black era due to my brother, some primo Van Der Graf Generator and Gong (I guess they're more like an international prog supergroup) but that's about it. I've been totally diggin' Mirage though, every song's a winner. Some choice keyboard workouts and impressive wayward guitar parts. Very enjoyable.
IN THE LAND OF GREY & PINK - CARAVAN (1971)
I guess this one's still pretty psych in parts but kinda jazzy with a great rhythmic sensibility, fey vocals and hints of pastoral folk. In The Land Of Grey & Pink is particularly delightful in that whimsical British sense. Hatfield & The North and Egg await.
ACQUIRING THE TASTE - GENTLE GIANT (1971)
This is an incredibly inventive album with intriguingly unlikely musical juxtapositions and haunting visions. One of Tony Visconti's finest production achievements. As the title suggests this is an acquired taste you'll either be seduced by this eerie madness or hate it with a passion....er...I'm in the former camp. I can imagine Scandinavian black metal bands diggin' on these ghostly medieval(?) vibes interspersed with heavy psych-prog guitar interludes, outlandish percussion and mysterious ye olde folk with jazzy undercurrents.
FRAGILE - YES (1971)
I can't believe how much I've been enjoying Yes. I was always led to believe that they were naff. I didn't realise how influential they were/are on the likes of Rush, 70s corporate radio rock, prog-metal and maybe even some indie rock. Exceptionally surprising pop hooks amongst the proggy and neo-classical jams. Love the psych-fuzz and Wah-wah on The Fish.
I was listening to this the other day through the computer which was transmitting to a stereo system via bluetooth. The bluetooth wasn't functioning so great with interference, static, clicking, distortion and kept cutting out. Before I got around to pairing the computer to the stereo again I kept listening. If I'd just walked into the room and heard these sonic textures I would have asked 'Is this the new Ekoplekz album?' so I just listened to the rest without fixing the bluetooth connection.
Ekoplekz might be a fan of this for all I know. It's got all that pre-industrial electronic stuff going on and I guess it's not that far removed from your industrial/pre-post-punk of Cabaret Voltaire, Throbbing Gristle, Residents etc. This is the sort of stuff (Egisto Macchi, Moggi, Bruce Haack, Gyl Trythall, M Zalla etc.) I was heavily into in the mid/late 00s via sharity blogs. Later, reissues started popping via The Omni Recording Corporation and a bunch of other record companies. Anyway amongst Garson's catalogue are a couple of other classics, specifically the pastoral loveliness of Mother Earth's Plantasia and the mischievous sinister sounds of The Unexplained: Musical Impressions of The Occult under the pseudonym Ataraxia.
*This has been reissued in the last month according to discogs.
1976. Here's an LP that is amazing. Power trio shit up there with Blue Cheer, ZZ Top, Rush and whoever. This group is sometimes so in the pocket I can't believe it. I'll analyse it later but for now just enjoy. Sometimes it even reminds me of Television, perhaps it's just the guitars they use I dunno. Rock on!
Now this is what I'm talkin' 'bout. Heavy-psych/sludgey-acid-prog-blues man. This is pure early 70s gold. Get out yer bong or drop some acid, you decide.
Moog driven heavy space prog jam. If there's similar shit like this out in the world please let me know. Sometimes I think 1971 is the best year in music ever. That's probably not a very cool thing to say but I don't give a fuck. This tune blows my fucking mind man. This band is a band. Everyone's contributing good stuff. The rhythm section is cookin' while that keyboard goes mental. The singing and guitars are perfectly complimentary too.
Now this one gets pretty far out into almost drone territory in the middle. Then they pick up the momentum and it comes back into an amazing heavy psych-prog climax with a bass sound from outer space. Incredible shit. I don't think this even got a mention in Japrocksampler as far as I recall(?)
There is something very business like about certain metal. The way they trade singers and guitarists like it's a fucking football draft. The bands don't necessarily feel organic or like a gang.
Somewhere on the internet the other day someone mentioned the lead singer of Whitesnake had been in Deep Purple. I always just thought they were an American poodle hair metal band. I did only know a couple of 80s Whitesnake music videos featuring scantily clad ladies. My metal knowledge is somewhat lacking. I guess I'm more into your 70s hard rock, proto-metal, heavy prog and space rock with huge blind spots when it comes to conventional heavy metal and NWOBHM. I've never been able to get into Iron Maiden or Judas Priest like I have with say the likes of Blue Oyster Cult, Truth & Janey, Thin Lizzy, Motorhead, Scorpions or Venom (maybe one day but I'm not holding my breath). Where the hell do bands like Accept and WASP fit in? I guess I need to do some research. Actually I've watched all those Banger docos so I suppose I've just forgotten about the shit groups that I don't care about.
I like Deep Purple (LPs like In Rock, Machine Head, Live In Japan etc.). I only really started to recognise their charms when I got old. They do tend to get overlooked as metal pioneers in favour of your Led Zeppelins and Black Sabbaths, particularly these days. It's weird that I know fuck all about them except maybe they recorded once in a castle in Germany and it burt down or something or nothing (?). I guess I know more about the post-Deep Purple activities of Richie Blackmore because I quite liked Rainbow due to several live videos that used to get played on Rage in the late 80s when I was a teenager. Their 1976 LP Rising is a classic.
Then there was Rainbow's Ronnie James Dio who later joined Black Sabbath for a couple of albums in the early 80s. Not that I know much about him either. I was somehow aware that his first couple of solo records were rated by metal heads and then Henry Rollins once mentioned him in a stand up comedy routine in the early 90s.
Anyway what I'm trying to say is the stories of these people David Coverdale (singer of Deep Purple and Whitesnake), Richie Blackmore (guitarist of Deep Purple and Rainbow) and Ronnie James Dio (Vocalist extraordinaire of Rainbow, Black Sabbath & solo) are all relatively interesting. Why don't Mojo and the like cover this sort of stuff instead of going over and over the minutiae of Bob Dylan's motor bike spokes (Sure I haven't flicked through an issue for years but I assume....)
Maybe I have to start reading the metal equivalent to Mojo or maybe a history of metal. Any recommendations out there? I did read that Chuck Eddy book on 500 metal albums but that was hardly an overview of orthodox metal. More like one dude's trip into heavy music that pissed off many an orthodox metal head.
Go to my twitter for more tributes to the great man. I'm trying not to double up on the stuff I've already posted there. I also don't wanna use all those same words that have been used to describe Mark E Smith and The Fall over and over again throughout their existence. So here are just a handful of tunes and videos from the first ten years of The Fall's recorded output.
1957 - 2018
Recorded in 1977 and released in 1978.
1979's Rowche Rumble is the 3rd Fall single and what a cracker.
B-side to Fiery Jack. The Fall's B-sides were often as good as the A-sides and usually didn't feature on the LPs.
Single number 6 which was also not included on their album of the time. This is why Fall compilations are such an integral part of their discography. Is Totally WiredThe fall's finest moment? It's fucking exhilarating. Has a song title ever fitted a song's sound so literally?
My Favourite Fall LP (well for today anyway, interchangeable with about seven others), released in 1980 on Rough Trade.
Another great stand alone single from November 1981. This is peak period Fall right here folks.
This was the B-side to Lie Dream Of A Casino Soul from 1981. You got bang for your buck with Fall 7"s back then. I guess these were more like double A-sides, doncha reckon?
The B-side to another non-LP single Look Know from 1982. Just to clear up any confusion it was later included as a bonus track on the expanded cd version of Hex Enduction Hour.
C.R.E.E.P from 1984. Another mighty era for The Fall. This is when Brix Smith became an indispensable member of the mid 80s Fall line-up. The shiny new Fall now had boy/girl vocals, hooks galore and rhythms for the dance-floor.
Cruisers Creek a 1985 single. V dodgy vhs transfer of the film clip. Remember when youtube was just a bunch of old shonky vhs tapes?
LA is quite possibly the coolest tune in rock history. It's all happening here: the band, the production, the inspiration, the synergy.....spellbinding! They were not only top of their game, they were top of THE game. Taken from 1985's musical triumph This Nation's Saving Grace. LA is also AA-side to Cruiser's Creek.
1987 single which was a cover of an old 70s tune, maybe a Northern Soul or Motown number. I remember hearing it on a soul radio show 10 years ago and freaked out because I always thought it was a Mark E Smith tune.
There were a bunch of versions of this ecstatic dance-floor anthem. Which one is this? I dunno. Hit The North should have been a global No. 1 with a bullet.
*There is so much more to The Fall than just this motley selection of tracks. I could go on for days. I haven't even posted any live numbers or Peel Sessions. If you really get into The Fall it can be a captivating passion.
Deep in a rabbit hole on the youtubes last night I discovered this lost gem of psych tinged afrobeat from the early 70s. Some of these dudes were from Fela Kuti's 60s group Koola Lobitos.Position Pass Power is on the Shango Dance Band LP which was reissued last year.
I'm amazed that there is any undiscovered stuff from 70s Nigeria left after the massive excavation of the last 20 years. They made a hell of lot of great music in those parts during that era. I still haven't got around to listening to Now Again's Ten years in the making 4 LP compilation from 2016 Wake Up You: The Rise & Fall of Nigerian Rock 1972-77.I thought that was probably going to be the epic final chapter in Nigerian 70s archival sets but maybe not. Let's hope the gems continue to be unearthed.
According to Turn The Beat Around: The Secret History of Disco, Peter Shapiro's excellent 2005 book, this was the first disco mix released commercially on a 12". Walter Gibbons was to go from strength to strength in the remix department. Ten Percent was an auspicious start.
This is taken from the Soul Jazz comp Venezuela 70 which was released this year. I don't think I'd ever heard anything from Venezuela before. I have many records from Brasil, Columbia & Peru but this is a new territory for me. The above tune is the outstanding one for me on that collection - South American space synth jam dedicated to Klaus Schulze.
This one's on Venezuela 70 as well.... pretty good too. Details about Rada on the web are v sketchy. He was in the band Gas Light then went solo. He studied music in Germany in the 70s. That's about it.
Wow...this tune is not on the Soul Jazz compilation but is incredible. Upadesa puts me in mind of an even stranger Illitch if that's possible. This is fabulous lost Kosmische synthesiser music. A musical revelation to the eardrums. So all of the above tracks were on Angel Rada's record Upadesa released sometime in the 70s (???). This is the kind of thing that would have been posted on Mutant Sounds back in the day. Is there more unheard gold out there?
I loved this when it came out. I would have only been like 8 but it got played to death on the regional radio station of my childhood 3MA when I lived in Buronga. Of course I wouldn't have realised the Stevie Nicks connection. Maybe I thought it was Fleetwood Mac though, I mean it's co-produced by Lindsay Buckingham. I think I actually only learnt that a year or two back!
This was on a hits compilation (Chartbusters?) when I was like 10. I wouldn't have realised who he was until at least 5 years later. I remember my sister thinking he was a bit of alright. I dunno though, he's stacked on a few pounds and isn't as cool as he was during the Rumours/Tusk era or even circa The Dance. Is this a good tune? I have no idea. I can't get it out of my head though.
Surely Friday On My Mind should be Australia's national anthem. Strangely, I had written an entire post about this song for my 2015 wrap up but never posted it because I thought it was too negative. It was about how this tune ceased to be my weekly anthem as I'd given up the booze and finishing work on Friday had become something to not look forward to....blah blah blah...anyway after a couple of years I decided to have a wee drink on Friday nights again and well...the song's status may well be restored soon, I hope. Stevie, the lead singer of The Easybeats, died a few days ago. He had hedonistic demons that nearly destroyed him at one point. Wright suffered brain damage due to controversial treatment of his addictions in the 70s. He made several comebacks though. I saw one of these appearances that he made on the telly late one night and it was heartbreaking yet triumphant at the same time. That brought me to bittersweet tears which is no mean feat for the hard arse I thought I was at the time. So this guy touched me like few artists ever have plus he was fucking awesome! RIP.
I was filling in a questionnaire about best LP covers the other day and found it really hard. My conclusion in the end was that movie posters are much better pop art than album covers. What surprised me most was how much I didn't give a fuck about the artwork for albums. Perhaps movie posters are better because they promise so much yet the actual movie rarely delivers on that promise. Movie posters as an entity unto themselves seem like a much more successful artform than the poster as part of the combination with the movie or album artwork by itself. Album artwork really seems to be an afterthought doesn't it? Music doesn't need it's sizzle to be sold because it speaks for itself.
Sure I had a few other favorites but below are my top three LP covers of all time and the music is awesome too...just slightly magnificent.
Big Fun is surely the best LP cover ever. The soundz within are bloody exceptional too!
In Concert is quite possibly my fave Miles record.....uh and that cover!
An amazing trilogy of funky ghetto pimp shit that really suits the tunes. The album sleeves for In Concert & On The Corner were once described as 'tastelessness' by Canadian jazz magazine Coda, ha...the last laugh is on you Coda, tastelessness never tasted sooo good. Don't you love how people with a different taste to you describe it as no taste as if there couldn't possibly be an alternative to their specific tastes. Stupid. I love these Corky McCoy cartoon covers more than the covers Mati Klarwein did for Miles Davis but they're great too (see below), if a little tasteful.
How good is the Live/Evil one? Fucking mental.
The two different styles of cover art really sum up where Miles was at, at the time. A culture clash of high culture and trash. Davis was making mercurial epoch defining art and designing sonic templates for future genres to plunder but he also really wanted to be down with what was happening on the bad ass fonkay streets. He wanted to eat his cake. I think he did and then some.
The fog has lifted slightly but I feel like I can barely string a cohesive sentence together. I'm strugglin to get past 'I like/don't like' sort of writing at the moment. Deep analysis might be out the window until my brain gets flowing again. Sometimes it seems you need to be a musicologist to review this (above) kind of shit but no, I'm gonna give it a Space Debris crack. This is very bloody good. Before we had jungle we had the polyrhythmic mentalness of this Latino shit. Some of this music is as outre as Miles in the 70s while some of it sounds like it could have been off the soundtrack to The Love Boat. Many a legend is to be found on this comp that came out 20 years ago including Palmieris Charlie & Eddie, Joe Bataan, Ocho, Grupo Folklorico etc. This new version has an added cd with 8 tracks that weren't on the original collection. Do I need to mention Cuba, Boogalooo, Salsa Classic, Puerto Rico, New York, Fonkay or whatever? This is Superfly, sometimes soulful, jazzy, summertime and everything else in between! Makes you want to drink cocktails in the sun and dance like you think you are the greatest dancer ever.
LIVE IN ALCALPULCO - DDAA (1981) (Tape 2)
Well I was not expecting this. I had previously heard DDAA's Nouvelles Construction Sonores Sur Fondations which was a lengthy drifting sonic art collage released in 1991. When the opening tune Ready With The Answer came on with it's rubbish bin percussion and mental guitar I was so shocked I thought this was a different group altogether. It caused a flurry of research and no it wasn't two different groups, it was the one and only DDAA. As far as I can tell they were a 3 piece who had formed in France in 1979. This release is surely where Sun City Girls got all their inspiration. Live In Alcalpulco is fabulously minimal stuff that sometimes sounds like a Middle Eastern no-fi Slint gone acoustic with drums made of cardboard. Then it goes psych post-punk like a No-Wave group stranded in the desert jamming while imbibing mushrooms then incredibly inventive drones, space invader noises and gamelan-esque percussive sounds enter the fray. The crowd of two like it a lot and clap enthusiastically (surely this is a faux-live record). I thought I was hip to all the under-underground classics by now, but no way, I was not even aware of this double cassette until today. Subterranean Gold!
I have been waiting for a new release from Gesaffelstein since his classic Aleph from 2013. I guess this isn't the true follow up to that masterpiece of 'beautiful paranoid atmospheres, bangin streamlined EBM and Cold Rushes.' It does have the cold and paranoid atmospheres but not so much the bangin club tunes. I assume Maryland is a horror film because this is quite the grim soundtrack. An hour earlier my brain had been comparing Burzum's ambient black metal tunes to those of the mid 90s electronic doom/gloom-core variety ie. Miro, The Mover, Reign etc. so it was weird that this turned up as surely Gesaffelstein loves all that stuff. Wall Of Memories could be a Burzum track with it's simple but bizarre piano phrase that is chilling to the (hard)core. Could a horror score be album of the year two years in a row?
*The Space Debris airwaves have been featuring the aforementioned Burzum plus the likes of Bathory, Ulver, Celtic Frost, Wolf Eyes (??), Bene Gesserit, Skin, Swans, Crime & The City Solution, Clint Ruin & Lydia Lunch, Terror Danjah, Isolee, Ricardo Villalobos, Arthur Russell, Future, Young Thug and er.....Gong. A little old school hip hop has been on the decks too including the likes of LL Cool J, Schooly D, EPMD, Slick Rick, NWA, Public Enemy, Beastie Boys, Dr Dre etc. with a blog post coming up on these ye olde artists and the current state of Hip-Hop.
I've gotta say 2015 has got to be the worst music year since fuck before the 2nd World War, I reckon. I'm stuck in 90s musical zones (see above) myself and don't particularly care that my listening isn't drifting back to the now. In fact I want to stay right in those places when and where the possibilities seemed endless. Me and the Mrs discussed a furniture shop closing down near our house the other day and ended up in the terrain of "Is that it then? Music's finite so i guess furniture is too." I was saying how these retro interior design shops had become so uninspired and formulaic, why would anyone want to spend money on this new old shit when there's plenty of old shit anyway?. The retro eclecticism, of the products in these shops, is disappearing up it's own arse at an accelerating rate. Is it that no one is game enough to say right here's a new style? So we just continue down these tasteful but conservative aesthetic avenues? Nobody's killing their idols. There's way too much reverence. We lived through a modernist time but that has gone. Where are the generation gaps? The kids don't even want one. Teenagers don't seem to exist anymore, kids don't leave home until they're over 25 now. You used to leave home and disassociate yourself from your family and become a whole new you, severed from the past. Emma went to the Bowie exhibition in Melbourne last weekend and said there were kids sans parents there. I thought what the fuck? These youngsters are going back 40 years. In 1985 diggin the 60s seemed old but it had only ended 15 years prior. When I was 17 (by then we had Public Enemy, The Pixies, My Bloody Valentine, Sonic Youth, Dinosaur Jnr., Acid House, Hip-Hop etc.) I wouldn't have been caught dead being interested in a culture that was 40+ years old. Strange days indeed.
*This is raw thought data that's still being processed in my mind.
**A retro curio in itself. First issued in 1971 (maybe the year I was born) on his Hunky Dory LP then was later released as a single in 1973 when Bowie had reached stardom. It became a massive hit in the UK.
'I love Rolling Stones/I love Led Zeppelin.'
*Funnily enough after that last post about The Doors I went to bed and put on this album for some reason and this is the first track. So this is Panbers from the fabulous compilation released a few years back (2011) by NowAgain Records called Those Shocking Shaking Days:Indonesian Hard, Psychedelic, Progressive Rock & Funk 1970-1978. Anyway this is my 3rd perhaps final contribution to Blissblog's Music Music series. Great tune eh?
Who knew Mud started in the 60s? I thought they must have formed in about 1972 as a bunch of charlatans jumping on the glam bandwagon to make a fast buck. They obviously had deep talent and a love for for music though. This was released in 1967 and didn't bother the charts but it stands the test of time, reminiscent of contemporaneous influences The Bee Gees. I don't know what they did between 67 and 73 but that's a big wait for success innit? I know they released several singles on different labels but with no chart action. For some reason they kept on truckin. Mickie Most saw something in them in 1973 and signed them to his RAK label. Mud finally hit pay dirt with 3 singles from 1973 all Chinnichap productions and compositions. These are the following three videos of which two were top 20 hits and Dynamite reached no 4.
This is fucking fantastic. Mud could have been a serious proposition. I mean I guess they were were with huge record sales by the mid 70s. Lead singer Les Gray was so charismatic. But they kinda had a bit of the class clown about them which wore thin after less than a couple of years. Then again Glam was all about good times and having a laugh was it not? This one carries over a bit of freak beat into glam as well as almost inventing new wave at the same time. One of the coolest tunes ever surely. Talk about atemporal. Absolute classic!
Hypnosis puts me in mind of like a cross between Love and Abba. Who would have thought that would have been a good combo? I'm not even sure if Abba had records out by that stage, anyway who cares this a tuuune and and half.
Classic glam jam right here. Gee the Chinnichap team had a winning formula didn't they?
The Cat Crept In was released in April 1974 and reached number 2 on the UK charts. Les's Elvis-isms start creeping in at this point and would really come to the fore on their Christmas No 1. Lonely This Christmas later that year. Although there was quite a bit of The Big O on that one as well. I guess the use of Lonely in the title was a bit of a giveaway. I can't bring myself to post it though. All those years of waiting to make the big time and by their 7th hit, the aforementioned Christmas single, they'd lost it. They were still reaping in the rewards though weren't they?
This one actually reminds me a little of one my old band's tunes which I didn't write, Greg our drummer did, maybe he was referencing it. The only song of Mud's I vaguely knew back (Youtube not yet invented) then was Tiger Feet from when I was little which must have been on some kind of mid 70s hits compilation. I certainly wouldn't have known who it was by. Mud mustn't have been as big in Australia as Slade, Sweet, Suzi, Marc, Gary Glitter et al. Anyway Rocket's got more Elvis inflections in the verses here. This was issued in 1974 and hit the number 6 spot in the UK.
Undeniably infectious pop smarts are displayed on their early 1974 single Tiger Feet. which became their first UK No.1 smash. Tiger Feet stayed on top spot for 4 weeks running. This tune brings out the shoulder jive moves when heard amongst the company of my wife's side of the family who come from North Wales.
Anyway a good little run of tunes over an 18 month period, I reckon. Better than anything Blur or Oasis could come up with.