Friday, 28 January 2022

It's Time For Eddy

Back in 2015, I posted on this here very blog about a disc I was desperate to track down, something I had heard short clips from on eBay but had missed out to another buyer when bidding. Now, after almost seven long years and another round of being outbid in the dying seconds of an online auction, I finally own a copy of the magnificent Sweetie Pie, Sweetie Pie by the elusive Eddy Walker.

 

Issued by the New York-based Aries Record Company, both sides of the disc were written by the performer, as Edward J Walker, who I am led to believe came from Montana. Well, whichever city or state may have hailed from I am forever grateful, for both sides of this fine recording are wonderful: wonderfully off, that is.

 

On Sweetie Pie, Sweetie Pie and the flip side, It’s Time For Love, Walker’s voice is reed-thin and as flat as the proverbial pancake and, in spite of some sterling work on the A-side, the band playing on the flip is tired and bored. I played this one-take wonder on The World’s Worst Records Radio Show earlier this week, and my friend and fellow Sheena’s Jungle Room presenter DJ GeorgyGirl was immediately struck by how much that off-key trumpet player conjures up images of the great Harry Arms, the hysterically funny horn player with the George Garabedian Players.

 

The Aries Record Company was almost certainly a vanity outfit, and appears to have only issued this one single, and this was just one of a number of different Aries companies that have existed over the years.


There was an Aries Records label extant in California in the late 1960s, co-founded by Shelley Fisher but I’m certain this was a different outfit, as this disc almost certainly originated in New York: the matrix prefix (ZTSP) indicates it was pressed by Columbia in New York, and the six-digit suffix would suggest that it was issued around 1967, four years earlier than I had originally believed. This particular Aries was distributed by a company called Argus Record Distributors, who worked out of an address on West 46th Street, New York. Owned and operated by Rose Saggio since at least 1964 (at that time they were on 10th Avenue), the company had several independent labels on their books, including Juno, Criterion, and Spiral.

 

Both Sweetie Pie, Sweetie Pie and It’s Time For Love were published by Tyhill Music, another New York-based company owned by Elizabeth Doll Hill, who also wrote songs under the name Lisa Harrison and Betty Hill – which is where the name (Bet)Ty Hill comes from. As a songwriter, Betty Hill was most productive during the early 1960s, copywriting several songs in 1963 under her full name. And that’s about as much as I’ve got. There are a myriad Eddie Walkers and Edward J Walkers out there but none seem to be our Eddy. If anyone has more info about this wonderful record or the man who wrote and performed it, please do let me know.

 

Enjoy!

 

Download Sweetie HERE

Download Love HERE

Friday, 14 January 2022

Another Trip to Venus

A short post today, but an interesting one (I hope).


Last April I wrote about a disc I was desperate to source, a little thing called Venus, Land of Love, composed by Lawrence Milton Boren and recorded by George Daines and Gloria Anne, as Kyra of Venus. Sadly, despite extensive searching and even the promise from one blog reader to rip MP3s of both sides of the disc I have still been unable to track the tracks down.


Well, just after Christmas, friend Bob of the always-excellent Dead Wax blog got in touch. He informed me that a related single was being offered for sale on a popular and well-known auction site. Needless to say, your intrepid blogger immediately purchased said disc. I should have waited: it cost me well over £20, including shipping from the States, and there's a copy right now on Discogs that I could have had for under a fiver! Ah well, here it is anyway, for all to enjoy.


It seems that, in 1978, almost 20 years after his first attempt to get his musical off the ground, Larry Boren had the idea to relaunch it, this time adding a disco beat to his songs in an attempt to make it more attractive to a contemporary audience. Originally titled From Venus, With Love, but now called Far Out Encounters, a band calling themselves the Wizards of Wonder recorded two new versions of Venus, Land of Love, an instrumental and a vocal, the latter featuring a duet from the mysterious duo of R. Parnes and H. Daveen. The disc was the only release from Golden Age Records of Hollywood... I assume 


That's all I've got: there is absolutely no information whatsoever on the 'net about Larry Boren's second attempt to get his Venusian musical launched, or about the two mysterious singers credited on the A-side. As always, if anyone knows anything more, please do let me know.  


Download Duet Version HERE

Download Instrumental version HERE 

Friday, 7 January 2022

Mavin James Revisited

I’ve written about Mavin James before, both here and in my book The World’s Worst Records Volume 1, but to accompany the recent discovery of a previously-unknown fourth single release, here’s a bit of a recap. 

I was first introduced to the delights of Mavin James via Music For Mentalists, a CD compiled by Mick Dillingham and Nick Saloman of the Bevis Frond. It’s a great compilation, but by far and away the best track on the disc is Together In Iceland by one Mavin James.

Together in Iceland was originally the B-side to My Dad, Mavin’s third single, issued by Havasong Records, of Rochester, Kent in 1986. There's something utterly beguiling about Mavin's delivery of the A-side; it's a sweet, naive little ditty that you could easily imagine being performed by Clive Dunn. However, nothing can prepare you for the B-side. Drenched in reverb and redolent in blippy organ sounds, Together in Iceland comes across more like a lost Joe Meek masterpiece than the mid-80s electro-pop you would assume Mavin was going for.

Through the sleeve notes to his singles we get to learn a little about Mavin, and with a mixture of self-mockery and self-aggrandisement he lets us into his rather odd world. Once fined 15 shillings for having left his car more than 20 minutes in a 15-minute waiting zone (something Mavin does not refer to once in his sleeve notes, but it’s just about the most interesting thing about him prior to the launch of his recording career), on the back of the My Dad sleeve he informs us of how he came to be living in Rochester and how he started writing and performing, but it is via the notes on the reverse of his first 45, the oddly titled He-Be - Har-Be/Me Me and You, we begin to learn something of the great man’s formative years (reproduced here exactly as they appear on the sleeve itself): 

'Mavin James was born and at the age of only two years following the positioning of his high chair near the piano, soon found he could master the theories of music. Within a very short time original melodies were flowing from his toes and his future seemed assured. However the advent of shoes ruined this promising career and he was a has-been at the age of two and a half.

'Later in his life having found that fingers play better than toes he continued to play piano but eventually settled on playing the organ to the consternation of his family and friends. Discounting the first fifty tries which didn’t really count he sat down to write and play his debut record and at first try completed He-Be – Har-Be, Immediately following up with his disco ballad Me-Me And You, which is particularly suitable for close dancing when you’re in a don’t care mood.’

On that first 45 Mavin was joined by the Venatics, a band whose members are listed on the label as Russ, Joan and Neill. I assumed at the time that these people were related to Mavin in some way, and I now know that Russ was his son, Gary Russell Hirst-Amos. The single’s flip, Me Me And You (a ‘disco/ballad’ apparently), is a sweet little love song with some nicely atmospheric slide guitar touches, but disco it most certainly ain’t. The production values on this first single are a cut above the rest of Mavin’s catalogue – he’s clearly gone into a professional studio and had some help with mixing and multi-tracking. Sadly, or perhaps happily for lovers of the perverse and peculiar, the rest of his catalogue – including second single You’re Just Like a Bubble In Wine/Nothing to Do - was recorded direct to two-track: no overdubs, no guest musicians or backing vocalists, just Mavin and his trusty Bontempi organ.

Mavin, on the surface at least, appears to have been a rather lovely middle-aged guy who simply wanted to make the world smile a little. His fourth and last single, The Soldier on His Horse was issued in 1988, and by that time he had run out of steam. The flip side features an instrumental version of the plug side, Drum Beat and Music Track, and in the sleeve notes Mavin refers to the fact that this is only the seventh song that he had written and recorded. Perhaps more recordings followed, but nothing appears to have been released. Maybe somewhere in Rochester there is a battered old cardboard box containing the tapes of his unreleased album?

It could happen, as that’s exactly how I managed to get hold The Soldier on His Horse. Neil Pearce, the son of one of Jim’s friends, found a box in his late father’s garage with a handful of Mavin James 45s inside, including the copy of The Soldier on His Horse you can hear here. Perhaps one day, just like Joe Meek, someone will purchase a tea chest full of material at auction and slowly piece together a fuller picture of Mavin’s creative genius. What was once the home of Havasong Records, Mavin’s label, is now a car park; not that that fact will upset him. For the truth of the matter is that there never was a Mavin James.

Born in 1931, Jim Amos, or, to give him his full name James Mavin Hirst-Amos, was - according to drummer, songwriter and graphic artist Bruce ‘Bash’ Brand – ‘a television tube repair man by trade… who claimed on numerous occasions that he once wrote a song for Georgie Fame.’ He was, Neil tells me. also a keen snooker player and a bit of a gambler. Switching his first two given names and assuming the nom-de-plume Mavin James, Jim set up his own company – the jauntily-named Havasong – to publish his own compositions. Havasong swiftly mutated into a record company of sorts, issuing the four Mavin James singles already mentioned and working with a number of local acts, chief among them the Prisoners, the Milkshakes and the amazingly prolific Thee Headcoats – the last two of which featured Billy Childish and Bruce Brand.

Jim Hirst-Amos died in 2003 (wife Jean joined him in 2012), blissfully unaware of the notoriety his records would one day gain in collectors’ circles. I hope he’s up there somewhere, sitting at his organ, watching over us all and smiling. I know that his grandchildren are proud (and rightfully so) of his recorded legacy. Maybe, if they ever get to read this, his family will open up those boxes sitting in the corner of their garage and dust them off.


Download Soldier HERE 

Download Drum HERE

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