Welcome to the RPM Seven Day Soundtrack, week ending Friday 14th January 2022. Here's the week's hot tunes to banish the January chills...over to...

Nina -

"Hi Folks. Here he goes, here he goes, here he goes.. or not?

We'll see, but I certainly bloody hope so! Way past time BoJo the clown was held to account. Am I alone in thinking we need a proper, anarchic dust up in this country? Storm the Commons? Could put the flaming torches from last Saturday's Elsing wassailing to good use..

3 to reflect current events, as of late Wednesday night. Take care, comrades."

Tony -

"Here are my 3 for the week, continuing my theme from last week regarding a special issue 78rpm series.

I forgot to say last week that I enjoyed Philip's movie quiz but only knew the "Nobody's Perfect" quote without cheating because it's one of my favourite movies of all time. All the answers were fairly easy to find on the interweb though.

I've just heard that a gig at the Waterfront which I booked in 2020 is scheduled for a third try in July this year - yippee! (hope I can find the e-tickets). Best wishes to all you RPMers. Cheers."

Three Steps To Heaven c/w Cut Across Shorty by Eddie Cochran (on 78rpm) -

"This pairing was recorded in 1960 the same day before he set off for the UK on his last ill-fated tour with Gene Vincent. Whether it actually exists as a UK. released London 78 rpm pressing is unclear as explained in this 45 Worlds website entry but I've seen a South African pressing make several hundred pounds.

The "interesting site" Link given below about late London 78s appears to have been written in 2011 and relies on information given in the Record Information Services London singles catalogue by Paul Pelletier published in 1982. I note that the RIS website has recently updated information on the late London 78s, http://www.record-information-services.info/corrections/london_additions.html, and concludes that this Eddie Cochran coupling was NOT issued as a 78, along with several others previously thought to be so in that 1982 publication (and which, incidentally, the website says has just been reprinted because of demand).

As far as the rarity of late UK London 78s is concerned, apart from the obvious breakage factor and probably relatively small batches pressed, UK collectors overlook the fact that UK London pressings were exported to various other countries (hence the variable 3rd letter on the HL catalogue number prefix) and it may well be that the late UK-pressed London 78s were primarily for export, although made available to UK record shops if ordered. By 1960, 78s were associated with people living in areas without an electricity supply and thus relying on wind-up gramophones, and if UK-pressed late London 78s were ending up in such "primitive" places mostly overseas, then no surprise they cannot be easily found, if at all, in the UK. I have contacted the RIS website and asked if they have any idea to what countries London records were exported, I have been told to expect a list, circa 1960, to appear on the London Corrections page shortly, which may give serious collectors some holiday ideas.

I was able to visit the spot where Eddie crashed while serving at HMS Royal Arthur near Calne, Wiltshire in 1972. Dave Dee of DDDBM&T fame was a police cadet on duty at Chippenham police station on the night that Eddie was fatally injured and was entrusted with his belongings (including his Gretsch guitar) until they could be shipped back to relatives in the USA.

Finally, The recording session records show that Eddie was accompanied on this last recording sessopm by Sonny Curtis and Jerry Allison on guitar and drums and Conrad 'Gybo' Smith on electric bass."

Alan -

"Some fine choices to start the year last week and, as a bonus, we bumped into Piers and Jayne in Cromer last Friday. After a year of not seeing a familiar face it was great to chat for 15 minutes or so before the wind started to chill the marrow. A mixed bag this week for your delectation (with plenty of notes especially for Jayne!!) Stay safe."

Electricity by Captain Beefheart and his Magic Band - (from 'Safe as milk' LP released June 1967. Pye International label) - "The Captain (A.K.A. Don Van Vliet) was an associate of Frank Zappa's earliest forays into music when Frank was drummer for the Blackouts. Frank and the Captain had started recording together at High School and, later, several tracks were completed at Franks Studio Z in Cucamonga which were released in 1996 as the 'Mystery Disc' by Zappa. However, the Captain soon stamped his own mark on music when he joined Alexis Snouffer's Magic Band who regularly gigged with the Blackouts in 1964. As lead vocalist (and probably due to the sheer force of his personality) the band were re-christened to the more familiar title and were signed to Herb Alpert's A&M label where they released a brace of singles with the second, 'Moonchild', being written by David Gates. The band presented demo's for much of 'Safe as milk' to A&M but these were rejected, allegedly because Jerry Moss (the 'M' in A&M) had played 'Electricity' to his daughter who described the track as 'too negative' (sic). The band moved to Buddah (in the US) and Ry Cooder was drafted in on lead guitar by Beefheart to complete the album. On its release the album was quickly picked up by the 'underground' radio network and, here in the UK, Fab Two John and Paul waxed lyrical about the album. Lennon even displayed two of Beefhearts promotional 'baby bumper stickers' on his sunroom window and, later, expressed a desire to sign the Captain to the Apple label. Despite this, Beefheart regularly maligned the Beatles (most cruelly with the 'Strictly Personal' album track 'Beatle Bones n' Smokin' Stones'), and particularly after Lennon didn't acknowledge Beefhearts public support during the much criticized Lennon/Yoko bed-ins. The band were scheduled to promote 'Safe as milk' with an appearance at the Monterey Festival but this was canceled after 'Electricity, the band's set opener at the warm up gig at the Fantasy Fair and Magic Mountain Music Festival on Mount Tamalpais proved to be the sets closer too. Beefheart allegedly walked off stage at its completion and collapsed face down in the grass, later saying this was due to his seeing a girl in the audience turn into a fish and begin blowing bubbles out of her mouth!! Cooder immediately left the band and thus began the ever continuing roundabout of members of the Magic Band. Plans for a second (double) album never materialised and the eventual follow up album ('Strictly Personal') was treated with perhaps the densest 'phasing' ever known to rock music which alienated many early fans. 'Electricity' stands apart from 'Safe as milk's' blues soaked tracks and it was perhaps for that reason that Buddah released the track as a US only single in mid 1967. Legend has it that the force of Beefhearts vocals shattered the microphone during the recording process of this song."

https://www.youtube.com/watch?v=HE32tcojArI

You Don't Love Me by Gary Walker (7" single released February 1966. CBS label) - "Gary Leeds (A.K.A. Walker) is often seen as a minor light in the Walker Brothers story but he played an important part in the admittedly short lived success of the group. John Maus and Scott Engel had progressed separately through T.V. appearances and surf and pop groups in the early sixties before Maus formed a locally popular duo with his sister. Engel had been a session bassist in LA before joining the Routers, soon to hit with Frat/footie favourite ''Let's go (Pony)' which was followed by a short stint backing Maus and his sister. Engel then toured as a member of the Surfaris in a group put together to cash in on the success of 'Wipe Out' before he and Maus decided to form the Dalton Brothers and then founding the initial version of the Walker Brothers, with Al 'Tiny' Schneider on drums. Leeds meanwhile had been the drummer and second vocalist for the US charters the Standells before signing to tour the UK at the height of Beatle-mania as drummer for P.J.Proby. Maus and Engel secured a deal with Mercury and released a single prior to meeting Leeds in an LA club where Leeds, and new best friend Brian Jones, persuaded the duo to relocate to London. Once there they recorded the turntable hit 'Pretty girls everywhere' before hitting the top 30 with 'Love her' and becoming the UK 'scream-agers' new favourites whilst the Fab Four were exploiting their success just about everywhere else on the planet. With music progressing and incessant UK touring tearing the band apart (the final tour had the Brothers headlining over Jimi Hendrix, Cat Stevens and Englebert Humperdink!!) the group went on to separate careers. Leeds had signed a solo deal with CBS before the groups eventual demise and, in common with Scott and John, began a parallel recording career with this heavy r&b effort, jointly produced by his 'brothers', and was rewarded with a UK top 30 placing. The excellent guitar on this track, by the way, is by Billy Bremner, late of Leeds United (😉), the Luvvers, Neil Innes Fatso and, later, Rockpile. There was a follow-up minor hit before Leeds decided to milk the Japanese market with his excellent new backing group, The Rain, featuring Joey Molland on vocals who would later find success with Badfinger, and a mysterious bassist called John Lawson!! Leeds and the Rain were rewarded with several hits in Japan and released a Japan only, much sought-after, album (entitled 'No 1') before splitting in 1969."

https://www.youtube.com/watch?v=6Gq2ihjWh9Y

After the Flood by Van Der Graaf Generator - (from 'The least we could do is wave to each other.' LP released February 1970. Charisma label) - "Digressing slightly, in 1962 I read 'The Drowned World' by J G Ballard, a novel describing a post-apocalyptic future in which global warming had caused the majority of the Earth to become uninhabitable. At the time this was almost unique in its subject matter and seems very prescient, especially as it is set in what is now almost the present era, the fast approaching 2145. The book was well received at the time, even though this was only Ballards second book. Kingsley Amis called Ballard "one of the brightest new stars in post-war fiction," and described the book as containing "an oppressive power reminiscent of (Joseph) Conrad." whilst his son Martin later opined "it is the measure of [Ballard's] creative radicalism that he welcomes these desperate dystopias with every atom of his being," So, just what does this have to do with 'After the flood'? The title is probably the giveaway as Peter Hammill looks towards what, in 2022, seems our impending and inevitable doom which is followed in the song by the final extinction of mankind when the water recedes. This final verse contains a quote from Albert Einstein about his concern over the then nuclear threat which Hammill delivers in a highly distorted, terrifying voice, ending the album on a truly apocalyptic note . 'The least we can do....' is perhaps my favourite VDGG album (in fact it's in my top 5 favourite albums of all time) incorporating a myriad of themes including both personal and romantic relationships, witchcraft and the Malleus Maleficarum, the terror of school homework (!) and Hereward the Wake and numerology. Not yer average pop songs then, and coupled with new member Dave Jacksons 'twelve tone figure' played in a 'variety of different mood and style changes' on this track, the album does demand a modicum of concentration by the casual listener to appreciate its beauty. The album was recorded in mid December 1969 and was initially mixed by John Anthony before the band requested a remix by Shel Talmy. Still dissatisfied, the band requested a further remix by Anthony but it was Talmy's mix which escaped on the initial few hundred collectable copies before the second remix was sanctioned. A remix of fan favourite 'Refugees' (with added orchestration) was even issued as a single and the band promoted the album with a BBC session and an appearance on German TV's Beat Club*."

https://www.youtube.com/watch?v=VvuCY23bsu8

Jackie -

"Remembering Ronnie Spector."

Jean -

"Have a good week everyone and keep safe. Cheers."

Philip -

"Greetings and best wishes to all RPMers. I thought I should start this week with a tribute to Ronnie Spector, and then it's two golden oldies I happen to have heard this week, one being played (and sung along to by Jacquie) in the kitchen, and one in a Sky Arts documentary.

BTW, is "I thought it was a work event" the new "I was testing my eyesight"? "

John -

"Hello Everyone, I hope you're all safe and Covid-Free. This week I've been listening to a number of albums I haven't played in ages. Here are my selections."

Jayne -

"Three gentle tracks to continue to ease us into the year (It is still a bit new isn’t it?). Keep well, kind RPM comrades."

Dave -

"Hi everyone, hope you are all well. Enjoying your tunes thanks. Here’s my 3 this week."

Piers -

"I have spent a lot of time this week Using a cold chisel and lump hammer to chop an old cast Iron Parkray out of a brick chimney breast, to disconnecting the pipes which used to connect the back boiler to the C/H system, before roving it outside. So I have been breathing a mixture of dust, soot and vermiculite, I have needed something cool and groovy to keep me on an even keel...

Next week. I hope to hear Eve Adams new album... 'Metal Bird' but until I do this will have to suffice... "

Tim -

"My topical 3..."

'Til Next Time...