"In the Lap Of the Mods": Now A Reality!

If, like me you reserved a copy of the upcoming book on our 60's mod heroes The Action "In The Lap Of The Mods"  AGES ago on the book's website and heard fuck all from them about it as people all over the U.K. were writing about it and turning us green with envy and purple with frustration.....................

Well thanks to my old pal Johnny Bluesman today I discovered that you can now order it online in both standard or deluxe edition (deluxe comes in a black cloth bound slipcase with the added addition of a mock acetate 7" of  the band's 1965 recording of "Girl Why You Wanna Make Me Blue" AND a bonus 96 page book "Where The Action Is", detailing their day to day gigs, TV/radio appearances etc). Both might seem a bit steep in price BUT if you REALLY well and truly dig this band, well.....it's not like buying a $24,000.00 Rickenbacker right?

Well kids, your troubles are over and you can order one here:

http://www.theactionbook.com/Order%20now.html

Breaking Up Is Hard To Do: The Jam 30 Years Gone

I still can remember it like it was yesterday, 16 year old on a cold boring Friday night in November (or was it December?)stuck home with fuck all else to do laying on my bed staring at the ceiling with my local college radio station WPRB on and the DJ  remarks that he'd just read that Paul Weller announced that The Jam were splitting up.  I wish I could say I was gutted, but I wasn't.  I worshipped The Jam and in a way I wanted them to go on forever but I was honestly so far up my own ass in teen angst that their existence was almost superficial to me.  In retrospect it marked the last contemporary band I devoutly followed in my life. Maybe I was broken up, I honestly don't know, I was more concerned with the usual shit a 16 year old thinks about: chicks, getting into with their parents, hating school and nearly everybody there.

Looking back the post "Sound Affects" Jam wasn't my favorite period, it wasn't then and it still isn't. Honestly I had more important things to listen to in 1982.  I'd fully absorbed nearly all of the 60's tracks The Who had to offer and was buying Small Faces LP comps with a ridiculous practice of obtaining them for a few tracks I didn't have and 60's Bowie was just around the corner as was The pink Floyd and a more in depth look at The Kinks.  When I play "The Gift" or any of the band's output from 1982 I'm left cold about a lot of it, the horn section in my estimation was the first indication it was going horribly wrong.  Certainly there ARE exceptions, The Kink's-ish "Just Who Is the 5 O'clock Hero?", the moody jazziness of "Shopping" (my fave '82 Jam track) or "Running on The Spot". Bands are never the same when you start adding new members or augmenting existing ones. I recoiled in horror the first time I'd heard "Precious" on a black and purple striped 12" maxi single (now there's an 80's anachronism for you).  It was like Pigbag for god's sake.  And that awful dreadful soprano saxophone.  Augh. Maybe it's best The Jam split because well, god knows they'd have gone to record "Long Hot Summer".  I still have the greatest respect for Weller for just walking away from it all, the only way he could've done it better was if maybe he'd walked up to the beach after their final gig in Brighton and kicked his shoes off on the shingle and walked straight into the ocean leaving a pair of loafers behind as the band's legacy.  Of course I'm being dramatic and symbolic, I'm not honestly suggesting Weller should've topped himself but I think you get what I'm driving at.  When an artist ceases to truly be inspired by what they're doing you become Pete Townshend and play the same tired boring shit for 50 years to the numb and dumb. In a way Weller ensured that wasn't happening.  Think about it, The Beatles and The Jam are perhaps only the two hugely successful bands I enjoy who said 'No!" every time the dreaded "reunion" issue was brought up.  I think that in itself speaks for something.  That said it couldn't have been easy for Messrs. Foxton and Buckler to carry on the show after knowing a pink slip awaited them (as evidenced by the "T.O.T.P." clip below where they look well and truly pissed off as Weller practices his soul-less white boy dance moves looking naked without a Rickenbacker to hang onto).



For the past 30 years there's been that ugly topic of Jam reunions.  I think Paul fobbing off suggestions of a Jam reunion are funny given the fact that he was on "Jimmy Kimmel Live" bashing out "Running On The spot" (the number the Jam opened with at the one and only gig I'd ever seen them do, Trenton War Memorial, May 1982) and peppers his sets with Jam tracks, but since he wrote all of them why the fuck not right?  For the longest time I was the world's biggest From The Jam basher. When they were due to come around I watched some live footage of them with some friends and we decided that for $17 it'd be worth it to check them out even if their lead singer is merely a first rate Paul Weller impersonator.  The tour was scrubbed though.....but I'm glad The Jam never reunited.  Band reunions are always spotty affairs that go go a variety of ways, all too often in a route that's not very positive. And I'm glad The Jam aren't on the list like that travesty out there now called The Zombies or one of those joke bands they never quit like the Rolling Stones.  I do feel for people who weren't old enough to see the real Jam or got into them too late or whatever the case may be but between Weller playing a set that's 10% Jam tunes and From The Jam playing at set that's 90% Jam tunes I think you can get an idea.  The Jam's break up wasn't the end of the world, it was a milestone in a way and a millstone for Paul Weller to shake.  Could The Jam have pulled off mot of those early Style Council records? Indeed I'm certain, but I'm glad they didn't because I'll gladly take "Precious" (which I've kind of come to enjoy in bits...if I can blot out that Kenny G sax) any day over "The Money Go Round".

You can read about my Style Council experiences here and here and the most recent Weller gig I caught here.

Mod Mod Mod Mod......

Nice bit by Don Letts

October's Pick's

1. BRUCE FOXTON-"Senses Of Summer"
I'm a bit confused by Bruce's new "solo" LP as it's basically Bruce and his two band mates in From The Jam, so much so that their lead singer Russell Hastings sings nearly all of the tracks, including this groovy Mellotron laden number that comes across like "Sound Affects" era Jam meets Plasticland jamming with The La's!


2. GENERATION X-"The Invisible Man"
One of the few tracks chopped off the American edition of their untitled debut LP (and replaced by lots of powerful 45 rpm A-sides) is this number that I've taken an instant like to it's '65 Who via 1977.  People are always on about how "mod" The Jam were in comparison to the rest of the Class of '77 and too many times overlook the image of this band who's music was just as much, if not more "mod" to my ears.

3. THE CREATION-"How Does It Feel To Feel (U.K. Version Mono)"One of my fave tracks by The Creation has always been this menacing ode to nightmares and death with it's pop art barrage of guitar power, thundering drums, ominous droning groove (topped off by a very Hendrix inspired guitar solo...it was '67 after all) and catchy powerful chorus "how does it feel to feel..."

4. PETER & GORDON-"Morning's Calling"Lois and Mole Embrook turned me onto this one, not what you'd expect from these guys, a really jangly folk rock number that wouldn't be at all out of place on the first Association album!

5. THE MOONS-"Jennifer (Sits Alone)"
One of the several groovy tracks on the latest "Mojo" freebie CD "Move On Up" (which in most cases I bin immediately) is another number that like the Bruce Foxton track listed at #1 benefits from Paul Weller's studio and Mellotron.  There's something about this number that has snatches of '67 Hollies or Paul and Barry Ryan's "Two Of A Kind" album (which is never a bad thing) that just bowls me over!

6. SCOTT WALKER-"The Look Of Love"From Scott's horribly rare (never reissued) 1969 long player "Scott Walker Sings Songs From His T.V. Series" comes his take on the Dusty Springfield "classic", though not a patch on old black eyes version Scott manages to pull it off because, well he was a crooner and his A&R folks were no slouches (and in some instances were the very same people who worked with Dusty).

7. HARDIN & YORK-"Little Miss Blue"
One of the MANY great things about RPM's "Looking Back" 3 CD set from earlier this year is it widened my knowledge about quite a few bands I'd never heard music by before like this ex-Specncer Davis Group Mk. II offshoot duo of Eddie Hardin & Pete York.  It's soulful Hammond grooviness is not to far removed from the S.D.G's '66-'67 mod/r&b pre-pop psych sound and thus easy to get my head around.

8. OTIS REDDING-"Look At That Girl"
Every now and then I stumble upon something playing at Starbucks that boggles my mind and luckily the "Shazam" app on my phone identifies it for me immediately (usually then progressing to an iTunes visit to purchase said tune).  Case in point this, Otis Redding track I'd never heard before from his posthumous 1969 album "Love Man" which was actually cut in '67, brilliant stuff.

9. YUSEF LATEEF-"The Plum Blossom"
I just finished reading Pete Townshend's autobiography last week and he mentioned this tune that Cat Stevens had nicked for "I Love My Dog" and duly tracked out down.  It's a pleasant track from his 1961 LP appropriately titled "Eastern Sounds" that seems to fit Autumn perfectly with his exotic sounding Chinese flute. According to Pete Yusef now gets royalties from the Cat Stevens track!

10. WILKO JOHNSON-"Can You Please Crawl Out Your Window"
Dr. Feelgood's string puller leaves behind the Mick Green homage style to go almost jangly/Byrdsy in this spirited take on a Dylan tune from his solid rocking 1981 solo LP "Ice On The Motorway". Totally out of character but full of character!

Rudy's Dead

LITTLE GRANTS & EDDIE-Rudy's Dead/Everything Is Alright  U.S. President PT 107 1968

Filling the "we don't have a fucking clue" zone comes today's specimen.  This 1968 45 (1967 in it's original U.K. issue on President PT 159) is no doubt the work of Equals lead guitarist/song writer Eddie Grant.  One suspects by the title and credits that it was perhaps the case of fame opening the door for relatives.  I'd like to think Eddie called upon some younger siblings to make this record after he began riding high with The Equals.  But that as we say, is merely a stab in the dark.  Any enlightenment from those of you out there would be much appreciated.

"Rudy's Dead" sounds like a Musical Youth of 1968.  I don't mean that as a put down, it's certainly no "Pass The Dutchie" (and that my friends is a good thing).  What draws the comparison is the sound of the vocalists, they're obviously young kids but it's groovy with the spoken words (Prince Buster style) in patois about Rudy, who alas, is "dead and gone". The music has a distinct '67 rocksteady feel, but you can hear from the tone of the guitar that it's obviously Eddie Grant and perhaps his band mates and full on reggae, something The Equals would never dip their toes in. In fact the guitar line bears more than a striking resemblance to "Baby Come Back" in it's sounds.

"Everything is Alright" starts out with a groovy reggae-fied lick straight out of Stevie wonder's "I Was Made To Love Her" and sadly degenerates into a twee/fey number owing to the too youthful playground vocal antics of the Little Grants.  Grating.

I don't know if either side has ever been reissued, but copies of it, both U.S. or U.K. pressings seem fairly easy to come by.  They had one more single in the U.K. "Rocksteady '67" b/w "Bingo" (President PT 172 December 1967) which combines both the pro's of this A-side (good groove and Prince buster style toasting) and cons of the B-side (the childlike caterwauling).



Eddie Grant in between smelling the roses and producing Little Grants and Eddie.

Hear "Rudy's Dead":

http://youtu.be/a7qn2t-yw28

Hear "Everything Is Alright":

http://youtu.be/XtdTqjx2eQg

Oscar

Before playing "Cousin Kevin" in "Tommy" or his atrocious 70's disco hit "Heaven On the Seventh Floor" Paul Nicholas cut some 45's for Robert Stigwood's label Reaction as "Oscar" (one of which you can read about here), and, by the looks of this, liked to run his mouth......

Big Jim Sullivan R.I.P.

We here at "Anorak Thing" are gutted to read of the passing of U.K. session guitar slinger extraordinaire Big Jim Sullivan.