Friday, 13 April 2018

Angels and Devils

My latest obsession, thanks entirely to Bob at Dead Wax, is Mrs. Lila F. Daniels, also known as Lila Winton Daniels, but recognised professionally as Lillay Deay.

I can tell you next to nothing about her, apart from that she seems to have been riding on the coattails of Elva Miller and, like her, only attempted to establish a career as a singer in her dotage. The big difference though is that Mrs. Daniels wrote her own songs.

Born in 1896, she began her writing career in 1959 with The Christmas Star. In 1966 she penned the patriotic Lady of Liberty, and in 1967 she registered copyright in four songs, Appreciation, Our Beautiful Lady and Los Angeles, as well as Dancing Prancing Reindeer, the latter of which was recorded and released in 1969 (backed by Christmas Star) by the Daniel Singers or the Daniels Singers, depending on which pressing you ended up with. The ‘group’ was in no way related to the gospel vocal act of the same name. Christmas was a recurring theme for Lila. In 1969 she penned Is Santa the Man in the Moon, and 1973 brought Santa Clause Sweetheart.

Other songs I’ve found credited to Lila/Lilay include the 1968 composition I’ve Hurt All I Can Hurt; in 1970 she wrote the songs He’s No Angel and Don’t Start What You Can’t Finish. I can’t help wondering if He’s No Angel is the same song (or at least is related to) the song that first introduced me to Lillay, He’s A Devil. In 1974, she composed the music for the songs Have a Happy Birthday and the Happy Birthday Clown; the words for both of these were written by Daisy Blackwood.

Lila and her husband William hailed from Houston, Texas and had two sons, Robert and Dan. It appears that, in her 60s, she and her husband retired to California, as it was there that she set up her own record label: the few discs known to exist were issued by her own Timely Records, based in Tujunga, in the San Fernando Valley region of Los Angeles. Timely released at least three 45s, Our Beautiful Flag is Crying, Dancing Prancing Reindeer/Christmas Star and I May Look Too Old, backed with the amazing He’s A Devil (credited on the accompanying picture sleeve as You’re a Devil).

And that’s all I’ve got. If you know anything more about her, or have any more music by her, please do let me know. Here are a couple of tracks to send you on your way: the amazing He’s A Devil (stolen, with heartfelt thanks, from Bob at Dead Wax), and Our Beautiful Flag is Crying, cribbed from YouTube and cleaned up a little by my own fair hands.

Enjoy!

 Download Devil HERE



Download Flag HERE

Friday, 6 April 2018

LMW 281F

A couple of tracks today from Bill Shepherd: songwriter, producer, arranger, orchestra leader and quite possibly Paul McCartney Mark II.

Yes, even today there are still many ridiculous conspiracy theorists who claim that Paul is Dead, and that Faul (the fake Paul, geddit?) was replaced by one William Shepherd, a nascent singer and songwriter who previously led Billy Pepper and the Pepper Pots. It’s not a huge jump from Billy Shepherd to Billy Shears, and from Billy Pepper to Sgt. Pepper, after all.

The clues are out there: Paul’s mysterious wonky eyebrows and his ‘are they/aren’t they’ attached earlobes; the photo of Faul from the back on the cover of Sgt Pepper, and the barefooted march across the cover of Abbey Road; cranberry sauce… Sadly, the Billy Pepper/Shears/Shepherd these idiots promote as Macca’s replacement died himself in 1988, which kind of blows their theory out of the water, ne-c’est pas? Never mind that Billy Pepper’s own singing voice and compositional skills leave rather a lot to be desired. There is no way that this man could have ever written anything as sublimely beautiful as For No One.

No, it seems that our Billy Shepherd was the same composer and arranger who later went to work for the Bee Gees. Bill Shepherd was born in Surrey in 1927, and early in his career he worked with JoeMeek, when Joe was an in-house engineer at Pye. Shepherd first achieved notice in 1959 with his work as producer/composer on the Anthony Newley comedy Idle on Parade. He worked with Peter Sellers at Parlophone (with George Martin, Beatles obsessives!) and with the Shadows, penned the B-side to Jackie Lynton’s Over the Rainbow, and worked with Gene Vincent on his single The Beginning Of The End.

Shepherd had often been called on to produce quick knock off versions of TV themes and current instrumental hits, and in early 1964 he assembled a studio group, dubbed Billy Pepper and the Pepperpots, to record a clutch of tracks in the style of the Beatles for a couple of budget price cash in albums, Merseymania and Beat!!! More Merseymania. With each album featuring nasty cover versions of a couple of Beatles tracks, plus up to eight originals written in a similar style, the cheap discs were often picked up by gullible parents wanting something Beatle-y for their kids. Both albums sold well, and have been endlessly repackaged over the years, with the band often being renamed. Billy Pepper recordings have been released under the names the Beats, the Mersey Beats of Liverpool (not The Merseybeats) and the Liverpool Beats.

Shortly after the Merseymania recording sessions, Shepherd moved to Australia and joined Festival Records, where he began his relationship with the Gibb Brothers, a relationship they would renew after the group and the arranger both moved back to the UK – independently of each other - in 1966. He was responsible for many of their arrangements, and remained closely involved with all of the group’s work until 1973, when the Gibbs relocated to Los Angeles. During the same period he also worked with the Beatles protégés Grapefruit, Ritchie Havens, Gene Pitney, the New Seekers and Arthur Mullard. He died in L.A. in 1988.

Just to add fuel to the fire, a Billy Shepherd was also wrote one of the very first books on the Fab Four, The True Story of the Beatles, published in 1964 by Beat Publications, publishers of the Beatles Book Magazine. It seems that most of the conspiracy theorists have either forgotten or conveniently ignored that. But then again it has been conclusively proven that that Billy was not our Bill, (or Paul, or Faul either for that matter); that particular Billy Shepherd was, in fact, one of the many pen names utilized by Peter Jones, a music journalist who wrote for the Record Mirror and, later, Billboard. Jones, under the pseudonym Pete Goodman, would also write the first book on the Rolling Stones.

Anyway, enough of this nonsense; here is Billy, along with his Pepperpots, with their dreadful, atonal cover of I Want To Hold Your Hand and Bill Shepherd’s own composition, the frighteningly awful Seems to Me. Oo-wee-ee-oohh indeed! If you honestly think that a Beatle would have come up with a song as bad as this you need your bumps felt.

Turn me on, dead man!

Download Hand HERE


Download Seems HERE

Friday, 30 March 2018

Alice in Blunderland

Now, I loved the Stranglers, although I’ll admit I’ve no time for their post-Hugh output. For me it was all over once he left. The first post-Hugh album, In The Night, is just horrific (‘It’s in your brainbox/It’s in your dreadlocks/It’s in my red socks’) and I gave up at that point, but I’ll happily hold my hands up and say that they were a fine singles band – one of the best of the post-punk era – and they produced some classic albums. 

Most fans will probably go for Stranglers IV (Rattus) or Black and White, but for me The Gospel According to the Men In Black and Feline are where it’s at. I just love those two records. Fans will always argue about which album is the best (or their personal favourite) from the classic line up, but the one that will always remain on the bottom of the pile is the atrocious Aural Sculpture. 

Bless them, you can appreciate that they are trying to do something different, and follow up the low key and laid-back (but rather successful) Feline with an album that takes them even further away from their punk roots, but the horrible mishmash that is Aural Sculpture should never have seen the light of day. Feline was their first Top Five LP since the Raven: Aural Sculpture saw them struggle to get in to the Top 20, and of the three singles issued, only one was a reasonable hit. 

It would have made a great mini-album, or even EP. The collection has a couple of decent numbers, notably Ice Queen, No Mercy and lead single Skin Deep, but for the most parts it’s flabby and the addition of a horn section was a shocking mistake. It’s clear that the group are going for a more soulful groove here, but many of the lyrics are of 14 year-old schoolboy level, and nowhere is that more in evidence that the absolutely dreadful Mad Hatter. Even if you can live with the obtrusive horns, and even if the more tranquil tracks on La Folie or Feline had warned you that things were indeed changing nothing – but nothing – can prepare you for the horrendous backing vocals.

Listening back to the album today, it’s actually aged pretty well, but Mad Hatter still makes me want to reach for a bucket. The group paved the way for the album with the pompous, pretentious and frankly ridiculous Aural Sculpture Manifesto, issued as a one-sided freebie with some copies of Feline and played as opening ‘music’ at live dates to promote the album. I saw them on that tour… and believe me when I tell you that it didn’t go down well with the ‘traditional’ Stranglers audience. Trivia fans might like to know that the cassette version of Aural Sculpture included a ZX Spectrum computer game, Aural Quest, which could be loaded using the Spectrum’s usual tape loading method.

Anyway, see what you think. Here’s Mad Hatter and Aural Sculpture Manifesto... the nadir of the 'real' Stranglers' career.

Enjoy!

Download Hatter HERE


Download Sculpture HERE


Friday, 23 March 2018

The Wild One

From acting and film royalty (grandfather was the great actor-manager Sir Herbert Beerbohm Tree; his uncle was the film director Sir Carol Reed), Robert Oliver Reed (13 February 1938 – 2 May 1999) was an English actor known for his upper-middle class, macho image, hellraiser lifestyle (he was close friends with, among others, Keith Moon), and tough guy roles.

Although in his home country he’s best remembered for his many embarrassing drunken appearances on British chat shows, Reed was a talented actor whose appearances in several swinging 60s classics (including The System (1964), The Trap (1966), and the career-defining role of Bill Sikes in Oliver!) helped define the era. Closely associated with the films of Ken Russell - Women in Love (1969), The Devils (1971), and Tommy (1975) – he also starred as Athos in The Three Musketeers (1973), and as pervy author Gerald Kingsland in the dreadful Nic Roeg film Castaway (1986).

Reed made his film debut in 1955, as an extra in the Diana Dors vehicle Value For Money. As well as making many minor (and often uncredited) television appearances over the next five years he appeared in a dozen movies, such as the Norman Wisdom comedy The Square Peg (1958), as an over-the-top camp chorus boy in The League of Gentlemen (1960) and as a nondescript teen in the cult musical Beat Girl (1960). By now he was beginning to make waves, and over the next two years would appear in bigger and bigger roles in a succession of bigger and bigger hits: he played a bouncer in The Two Faces of Dr. Jekyll for Hammer, the leader of a gang of Teddy Boys in another Wisdom film, The Bulldog Breed, an artist in the Tony Hancock comedy The Rebel and as Lord Melton in Hammer Films’ Sword of Sherwood Forest.

Good looking in a brutish sort of way, naturally the record companies soon came a-calling.

Ollie first stepped in to a recording studio in 1961, laying down two tracks for a Decca single: the Jim Dale-penned The Wild One (a song he would perform, drunk, on TV in the 80s), and Lonely For a Girl. Both are excruciatingly awful: the production and arrangement of The Wild One owes a great deal to Joe Meek (and, in turn, owes a lot to Buddy Holly), but that’s about the only thing the plug side has going for it. The B-side is worse: Ollie can’t hit the notes, and the little spoken interlude is diabolical. Wonderful! Was written by Mitch Murray who would go on to write How Do You Do It, recorded by two groups from Brian Epstein’s stable. On both tracks Reed sounds uncannily like another of Decca’s singing stars, Jess Conrad.

The Decca single sank without a trace. Unperturbed, Reed’s management hustled him over to Pye, where he cut a couple of sides for their Piccadilly imprint: Sometimes was written by Dave Clark and Ron Ryan (the Dave Clark Five were signed to Piccadilly around the same time), while the B-side – Ecstasy – was a cover of the song written by Phil Spector and Doc Pomus, and first released by Ben E. King. If anything, its worse than the Decca 45.

Next was a dreadful ‘comedy’ cover of Baby It’s Cold Outside, sung as a duet with Joyce Blair… who, of course, would go on to release Christine – a novelty single inspired by the Profumo affair - under the pseudonym Miss X. Ollie only appeared on the A-side.

That was it. He would appear on the soundtrack to the movie Oliver!, and as the narrator on a version of The Ancient Mariner, but no more pop singles would be issued under his name until the 1990s, when he released a horrible version of the Troggs’ classic Wild Thing, a recording that even featured a guest appearance from snooker legend Alex ‘Hurricane’ Higgins. But by that time he had become better known for falling over drunk and insulting women on chat shows than for his acting ability. Starring roles in shockingly bad movies such as A Touch of the Sun (later re-released as No Secrets!) did nothing to improve his lot, although his reputation was somewhat salvaged with his final on-screen appearance, as Antonius Proximo, the gruff gladiator trainer in Ridley Scott's Gladiator. Released posthumously, Reed would be nominated for the BAFTA for Best Actor in a Supporting Role.

Here, for your delectation, are all five of Ollie’s stabs at 60s pop stardom.

Enjoy!

Download Wild HERE



Download Lonely HERE



Download Sometimes HERE



Download Ecstasy HERE



Donload Baby HERE

Friday, 16 March 2018

This could be a job for Mulder and Scully

Gillian Anderson: actor, activist, writer… pop star?

Released in 1997, Extremis was Gillian’s only credible stab at the pop charts. The actor met musical collective Hal when Gillian narrated BBC documentary series Future Fantastic. Hal - a quartet that included house producer Pascal Derycke, Duncan Lomax – a.k.a Savage - Padi Staid and Raheem, the stage name of the late Paul Gallagher – produced the soundtrack for the series and Gillian let it be known that she would like to work with them. Extremis, built around a tune the musicians had already composed for the title sequence, was the result.

It’s not actually that bad, in a Madonna Erotica kind of way, but it doesn’t really go anywhere, and the lyrics are just awful:

A melting of minds, a cerebral mesh,
A union of liquid and virtual flesh.

Automaton love, your caress is pneumatic.
I'm a slave to your touch, my response automatic.

The circuits burn out, and the paradigm shift,
It’s elision. My emotions drift.

Two of the band appeared with Miss Anderson on TV to promote the single. As Gillian told it: ‘I don’t sing [but] Virgin was interested in doing something if I put down some sort of vocal something… it’s their music and I just kind of slipped in and put down a few words.’ The original release featured four different mixes of the same song. Thankfully the team decided not to reunite for a follow up, although Anderson did compile a double CD of electronica, which featured the track as well as other music by Brian Eno, Harold Budd and others.

Released at the height of X-Files mania, Extremis made the UK Top 30 and, apparently, did rather well in a number of other countries. It was denied the Number One spot in Greece by the Spice Girls. Derycke, as Halspirit, is still making ambient music today.

‘We had a lot of fun, and that, basically, is what this has been about,’ Gillian told Rodrigo Stecher of Axcess magazine. ‘It’s not about me putting out a single, and it’s not about me and my song, and it’s not, “Hey, look at me, I have an album,” you know? It’s got nothing to do with that. It was just an idea that expanded and expanded and we have a little song. I did not for one second feel that this is the beginning of a pop career, nor do I want it to be.’ I like her attitude.

As there's only one track today, I've also included the video. 

Enjoy!

Download Extremis HERE



Friday, 9 March 2018

Statement Free

Time for some classic outsider madness!

Norwegian legend Arvid Sletta has issued nine albums to date. The latest, Fast And Slow, is credited to Arvid Sletta and his regular collaborators Anders Sinnes and Oddbjørn Tvervåg, and was released earlier this year. Sinnes and Tvervåg are accomplished musicians, and their sheen adds an interesting polish to his work, but I prefer the oddball earlier works, all solo and all utterly mad.

Born in January 1960, Sletta began his music career in the mid 1980s in the band Easy Riders with his brothers Reidar and Øyvind. The band – according to Wikipedia, anyway - issued one 45 (Call Me Tonight/You Drink Too Much) and two cassette-only collections Brilliant Kind Of Works (1988) and In Love (1990), although they all appear to have been incredibly limited. However you can find much of their output on YouTube, if you search for 'Easy Riders (Frøya)'. 

The band split in the early 1990s, by which time Arvid had already issued his debut solo album. His music has been featured in the short films Size 5, No Coke, Statement Too (a documentary about Arvid which was dong the international Film Festival circuit a couple of years back) and Little Red Hoodie.

Here are a couple of tracks from his rather wonderful early work, his debut LP Statement and second album Name. Issued in 2005, a full 15 years after Statement, Name features 31 tracks, many of them under a minute in length and only two over two minutes long. Statement is the only one of Arvid’s albums to appear on vinyl, all of the others have been self-published on CD. If you want more there’s plenty on YouTube, Spotify and iTunes for you to discover.


Enjoy!

Download I Love You HERE


Download Sexism HERE



Friday, 2 March 2018

Touched by the Hand of George

A rogue, a cad… immortalised on the silver screen in countless iconic roles, including the brilliant Addison DeWitt in All About Eve (for which he won an Academy Award), married to a Gabor, the voice of Shere Khan, Batman’s Mr. Freeze… George Sanders was a true star.

Russian-born but raised in Britain and of aristocratic stock, Sanders and his family fled to Britain in 1917. He began his career on the stage in musicals, after his friend Greer Garson suggested he take up acting. Prior to that he had run a tobacco plantation and worked in advertising. His first recording, Regency Rakes, was from the 1934 production of Noel Coward’s Conversation Piece.

He appeared in several British movies during the 30s, but it was when 20th Century Fox cast him as the villain in Lloyds of London that sanders started to attract attention. Lloyds of London was a big hit and Fox put Sanders under a seven-year contract. His first leading role came the next year, in Lancer Spy. Next he was cast as The Saint in a series of movies, and began a successful association with Alfred Hitchcock, appearing in both Rebecca and Foreign Correspondent. When RKO, the producers of The Saint series fell out with author Leslie Charteris, they created the role of The Falcon for Sanders.

He bore a striking resemblance to his elder brother, Tom Conway (real name Thomas Charles Sanders), and the latter was often cast in Sanders-esque roles. Conway took over the role of The Falcon from his George, the two of them appearing together in that film. The only other time they appeared together on screen was in Death of a Scoundrel (1956), in which they also played brothers. Tom Conway died, of alcoholism, in 1967. His career never reached the same heights as his brother, but like him he had also worked for Disney, voicing two minor characters in 101 Dalmatians.

Released in 1958, The George Sanders Touch is not the worst singing actor album you’ll hear, but it is still awful. The lush orchestrations – by Nick Perito (who was closely associated with Perry Como for much of his career) and Don Costa (best known for his work with Sinatra and Paul Anka) – are gorgeous, but Georgie boy is out of his depth. His bass-baritone croon is ok, and he just about gets away with it on Try A Little Tenderness, but his range is severely limited, as you can hear for yourself on the dreadfully out-of-tune As Time Goes By. It’s all downhill from there. He murders September Song, one of my favourite songs, with a ridiculous (and, frankly, obscene) spoken word intro that lifts him in to the stratosphere that will later be occupied by Barbara Cartland. Rather appositely he performs If You Were the Only Girl In The World, massacred by Dame Babs herself on her Album of Love Songs. The song Such Is My Love, was composed by Sanders himself. 

In later life Saunders suffered from dementia. He became deeply depressed and, when he found that he could no longer play his grand piano, he dragged it outside and smashed it with an axe. On 23 April 1972, he checked into a hotel in , a coastal town near Barcelona. He was found dead two days later, having gone into cardiac arrest after swallowing the contents of five bottles of the barbiturate Nembutal. He left behind three suicide notes, one of which read:

Dear World, I am leaving because I am bored. I feel I have lived long enough. I am leaving you with your worries in this sweet cesspool. Good luck.

Sanders’ last role was in the low-budget British horror movie Psychomania (released in the US as The Death Wheelers), which hit cinemas in 1973.

Here’s George crooning a couple of tunes. Enjoy!

Download September HERE



  Download Time HERE

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