Friday, July 22, 2022

"It Was Easy, It Was Cheap" Dept. - Nobby's Guide To Sticking It To Hitsville U.K.

Television Personalities, yesterday


No slimy deals with smarmy eels In Hitsville UK So sang the well known CBS recording artists, The Clash, with a nod to Motown and in praise of the new independent DIY record label explosion, which they never joined.


Between 28 December1976 and 29 January 1977 Buzzcocks recorded, pressed and distributed their Spiral Scratch ep, entirely self financed at a cost of £500. This had followed Stiff Records, the previous August, famously financed by a loan of £400 from Lee Brilleaux of Dr Feelgood. A punk fanzine, Sideburns (not Sniffin Glue as everyone usually attributes it too) had famously shown everyone how to play three chords and form a band [left - Ed.]. So having learned the chords you could all now go out and make a record. "It was easy, it was cheap...(£153)... go and do it" extolled The Desperate Bicycles on their record sleeve in March 1977. The T V Personalities' "Where's Bill Grundy Now" e.p. also spells out the various costs involved. The following is a selection of  songs which appeared over the next few years from the bands that did just that, or at least signed up to an independent label that had already done it. Because I am fond of a lyric that doesn't take itself too seriously I have concentrated on the ones that represent what I have seen described as "the under appreciated world of bizarro post punk". I had never come across the term before but I rather like it.

Sadly none of them became hit records, and many of the performers didn't carry on in the music business, they just had fun while it lasted and then got on with the rest of their lives.

Not sure how many of the 4 or 5 of you will be familiar with these, maybe you know them all, maybe you don't know any. I bought them all (bar one) over 40 years ago and I rate them all highly. The only one I don't own is the first one "Bloody", which somehow passed me by at the time, but is now my favourite. If you don't listen to them all, at least give that one a go, once heard you'll not get it out of your head.


Bloody : The Golinski Brothers : Attrix Records : 1979

"Well, this is the best record in the world for this week..... People have been given the OBE for less, a lot less” John Peel

Name me a song with a better opening line than this:

"I want to go where they've never seen snow, send my giro to Cairo"

Then name me a song with a better chorus than this:

"What am I bloody well supposed to do, got my bloody well self, bloody stuck on you"

Named after their guitarist Bob, the rest of the band weren't brothers but seem to have adopted his name like wot the Ramones did. Originally on a compilaiton called Vaultage 79 ftom Attrix Records, highlighting bands from Brighton, there was also Vaultage 80 and 78, see later.

Bob Golinsky went on to become a well respected barrister but passed away in 2020, if you look him up, there has been some very nice tributes paid to him.

Playing Bogart : 23 Jewels : Let's Call It Temporary Records : 1979

A great example of a low cost noisy mess of a record that just captures something magical, a bit like Medicine Head's early single "His Guiding Hand" (the magic not the style). Simpson went on to a career in classical music apparently.

"I had been working at WH Smiths in Manchester, it struck me for the first time, going in and out of town on the bus, how people geared themselves up for a Friday night out; I was single, probably a bit lonely, and saw the whole thing as a bit of a charade". - Nick Simpson


The Baby She's On The Street : Jona Lewie : Stiff Records : 1978

His real name is John Lewis and he had been in Brett Marvin & The Thunderbolts who had a hit single with "Seaside Shuffle" when they were masquerading as Terry Dactyl & the Dinosaurs. So many nom de plumes that I'm surprised there aint a statute to him on th' IoF©. Suggested statue at left [left - Ed.].

Of course he went on to fame and fortune with " You'll Always Find Me in the Kitchen at Parties" and "Stop the Cavalry". You will notice  his habit of slurring his words here which is even more apparent on a B side of his "I'll Get By in Pittsburgh" where the whole lyric is a mystery as he sings it like a badly recorded blues singer from the 1920's.


Lord Lucan is Missing : The Dodgems : Attrix Records : 1978

To the non-anglophiles here, this is the story of one of our aristos [left - Ed.] who alledgedly [allegedly my arse - Ed.] murdered the nanny after mistaking her for the wife. He then disappeared, sparking tabloid interest to this day wondering whether he topped himself or was spirited away by his friends in high places. From the compilation Vaultage 78.

Showing Off To Impress The Girls : The Art Objects :Heartbeat Records : 1980

"Look at all those shy young boys, who don't even know they are shy" it begins and then continues with a girl's eye view of the chaps setting their caps at her.

Toe Knee Black Burn : Binky Baker : Stiff Records : 1978

The only thing I know about him is that he is the husband of Anne Nightingale, the radio one D.J. The lyrics are an in depth evaluation of the life and career of that other BBC radio one DJ, Tony Blackburn.

Love and a Molotov Cocktail : The Flys : Zama : 1977

From their self financed "Bunch of Fives" e.p. They were picked up by EMI who released a couple of lps and were championed by John Peel, doing three sessions, but they never took off and soon split up. Singer Neil O'Connor joined his sister Hazel's band.

Wot's For Lunch, Mum, Not Beans Again : The Shapes : Sofa Records : 1979

From Leamington Spa, with the gloriously named Seymour Bybuss on vocals. If I ever do a follow up compilation it will feature another song ftom the same e.p. "I Saw Batman in the Laundrette"

Max Bygraves Killed My Mother : The Atoms : Rinka Records : 1979

Didn't know until starting my research that this was actually the subsequent comedian Keith Allen, father of singer Lilly.

Happy Birthday Sweet Sixteen : Clive Pig and the Hopeful Chinamen : Waldo's Records : 1979

Apparently he is now a succesful modern day troubadour, telling stories, reading poetry and singing songs at schools around the world

Iggy Pop's Jacket : Those Naughty Lumps : Zoo Records : 1979

Frontman Pete Hart was a librarian at Liverpool Poly when I was there in the days when you used to get your books stamped as you borrowed them (maybe you still do, it's a long time since I've been in a library). He is now a world famous historian at The Imperial War Museum


Part Time Punks : T.V. Personalities : Kings Road Records : 1978

From the ep "Where's Bill Grundy Now" [left- Ed.], their most famous song beautifully captures the moment when a movement implodes :

"Then they go to Rough Trade
To buy Siouxsie and the Banshees
They heard John Peel play it
Just the other night
They'd like to buy the O Level single
Or Read about Seymour
But they're not pressed in red
So they buy The Lurkers instead"

Let's Go : Blitzkrieg Bop : Lightning : 1977

From Middlesborough, a little ditty about those goddamn hippies in San Fransisco, probably never been out of the north east of England in their lives but you know "Never trust a hippy" as we were told at the time.

Sheepdog Trials In A Babylon : Shoes For Industry : Fried Egg Records : 1980

A theatrical group from Bristol with some splendidly daft songs., including this bit of cod reggae nonsense. They also recorded an lp with more of the same, including "Invasion of the French Boyfriends", which some of you may remember if you downloaded my holiday mixtape from a few weeks ago. (Still available at no extra cost Hallelujah Europa.rar https://www.imagenetz.de/eiLqg )

Don't Crush Bees to Death with your Walking Stick : Wavis O'Shave : Company Records : 1979

From his first e.p. "Your Denis smokes Tabs" (tabs = geordie slang for cigarettes). He later gained some tabloid headlines with his lp "Anna Ford's Bum", the subject of which was an English newsreader at the time, all deeply satirical stuff, you know.

She Goes to Fino's : Toy Dolls : Volume Records : 1980

To round off we have this lot from Sunderland singing about a local nightclub. They had a hit single later with their punked up version of Nellie the Elephant, and are still going strong, being very popular in Japan in particular.









 

89 comments:

  1. {nerdy tech comments deleted!}

    Epic Screed Award, Nobster! And a swell comp. Here's the link:

    https://www.imagenetz.de/bersZ

    (Babs?)

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    1. Today's subject for mass debate is:
      What are your favorite movie soundtrack albums?

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    2. The James Gang sequence in the film is great

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    3. Elmer Bernstein's "Sweet Smell of Success" done by Chico Hamilton

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    4. Forgot about that one, Clar.

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    5. Another movie staring Bernard Schwartz, that has a good soundtrack, by Elmer Bernstein is The Rat Race

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    6. Yes! Ever heard the 45 by Richard Maltby?

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  2. Ooh! Ooh! I know this! Lalo Schifrin's "Bullitt".

    https://falsememoryfoam.blogspot.com/2019/09/pandering-to-bass.html

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  3. One of the stranger DIY records was John Trubee's "A Blind Man's Penis." I don't know if you had this particular borderline scam in the U.K., but there used to be companies that would, for a fee, put your poems to music. You think you're a lyricist but those three chords up there are too difficult? Well, these jokers would bash out a stock arrangement and sing your words.

    Trubee did a practicle joke: he wrote a lyric that he thought would get an angry rejection letter at the least, and maybe a call to the police at the best. To his surprise, the company would produce his song (for a fee).

    So he paid, and then pressed it up as a record. Now...they did change ONE of the lyrics...Stevie Wonder was changed to the generic "a blind man."

    What bugs me about this record is that this is an idea that I should have had...I saw these ads...but wasn't smart enough to execute the idea.

    https://www.youtube.com/watch?v=czzg-F4tLYM

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    1. Not come across that before!
      I am interested in the diy record making experience in the US. I read that Dave Robinson set up Stiff Records based on small record labels in the USA where he claimed every city had them. Was that the case? Is that where all the garage bands recorded in the sixties? Also did any bands just do it themselves and if so how did they get the exposure?

      In the UK we had John Peel on Radio One. Send him a record and you had national exoosure straight away, which is where I heard every single one of these. Did that happen in the States, even on a local basis?

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    2. Getting into 1960s US garage bands is addictive. Yes, many, many small, local labels and many, many acts from each state.
      We're talking thousands upon thousands of tracks.

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    3. It's great isn't it, we are so parochial in our tiny island, but maybe that's why we could come up with a music scene to rival (dare I say, better) the whole of the USA?

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    4. Here you go, Nobby - a collection of 50 very obscure garage bands from various states.
      This isn't a toe in the water - this is just the mitochondria from the cell on the very tip of your toe.
      I got this from http://tommentonenlacuadra.blogspot.com/ a few years ago. there's tons more "out there"!

      https://workupload.com/file/EjTKRqWU8Ls

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    5. Thanks -it's going on the digital jukebox!

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    6. A few are well-known. Perhaps those states were a bit 'thin' on garage bands.

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    7. I don't think there was anything comparable to John Peel. While there were national radio networks there were no national music stations. A few networks carried a national deejay like Casey Kasem, but the format was a Top 40 Countdown, he wasn't playing records that he'd personally picked.

      In the late 70s/80s, "college radio" on the FM dial did a lot to promote interesting bands. The stations had a very limited reach. In San Francisco we had KUSF, Berkeley had KALX, and there was another down in the South Bay....but reception outside of a 10-15 mile radius was dodgy. College radio played demo tapes, local singles, etc.

      In the 60s, there were lots of local record labels that would record local talent and then license the record to a major label if it became a local hit for a stab at the national charts. By the late 70s most of those were gone, and it transitioned to bands putting out their own records. I'm not sure of the details there because we never put out a record...we did four songs at an 8-track studio but promptly broke up after finishing them. While there were some labels (Dangerhouse, Ork, Posh Boy, Alternative Tentacles...) that were real record companies, there were even more "labels" that were a one-off creation of the band.

      And to Nobby's point, heck yeah, I'd say the U.K. rivals the entire U.S.A. I think the U.K. actually has a geographical advantage. A lot of this country is a whole lot of empty space. Los Angeles to Boston is 3,000 miles....about the same distance as London to Jerusalem. Bands...when starting out in America....are limited by that geography. "Southern rock" wasn't just a musical style, the bands based there are limited by distance to a certain circuit of clubs and halls.

      The West Coast had a Vancouver/Seattle/Portland/San Francisco/Los Angeles circuit, with each city being two to ten hours apart....but then look to the east. It's a LONG way before you find another city with a rock music scene.

      There was a similar East Coast circuit, bands playing Boston/NYC/Philly/Washington, and west to Pittsburgh and Cleveland.

      The UK is more densely populated than the USA, it's easier to get a band from one big city to the next. Fewer miles between them.

      And as I love Australian bands...jeez, just imagine what it's like being band in Perth!

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    8. Very interesting to read your analysis. You've confirmed what I have always thought about the UK scene.

      Because the UK developed over a couple of thousand years where travel was initially very difficult it resulted in distinct areas developing even though they are relatively close together. These are still in existence today so you have Scousers, Geordies, Brummies, Mancs, Cockneys etc all retaining their distinct cultures.

      So when travel develops through the train and then the automobile and technological advances in broadcasting, you have these distinct areas but the country is small enough for them to easily be served by national tv and radio and easily reached by road and rail. You therefore get different groups developing in the regions, with their own take on life and music but they are available for all to hear, either through national TV and radio or through gigs because all towns are within reasonably easy travelling distance.

      I think the British music scene in the 60s and 70s was a product of the travel and technology of the time. Since the internet I think that's all gone and can never be replicated, but hey ho something different might turn up, who knows.

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  4. This is one cool collection you got here. Be a shame if sumething happened to it. ( lol ) I really like the BURNING AMBITIONS punk rock collection. Or the URGHH a Music War album.

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    1. That sounds a bit ominous! Just checked out both collections you mentioned, some of the tracks are close to the diy spirit I was aiming for and are good next door neighbours to this lot.

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  5. Replies
    1. This, I have to see ...

      https://www.youtube.com/watch?v=tj_OjjR-a70

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    2. Wowza, I'll give this a look, not sure I'll last the duration?

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    3. Discogs.com informs me that the title track was performed by the Wild Ones, who originally covered "Wild Thing" before the Troggs did.

      https://www.youtube.com/watch?v=9rxDOncgSrY

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  6. I remember being partial to Repo Man OST at some point in my life. Or maybe it was someone else's life. . . . who can say?

    --Muzak McMusics

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  7. What does it say about me that I'm trying to work out how to download this while playing The Hagers - The Complete Capitol Albums

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  8. Duh... just realised that I forgot to send my carefully arranged collage of the records. If its too late for Farq to add it, then here's a link to it.
    https://www.imagenetz.de/gdiEV

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  9. Thanks Nobby, this looks very interesting. I woke one morning to find my answermachine - one with the little tape inside - had a message, upon playing message, Toe Knee Black Burn by Binky Baker was playing, a drunken friend had left message/song in the middle of the night. That was the first time of hearing it, I look forward to the reminder.

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    1. Like it, what you should have done is send him back Wavis O'Shave's "Your Dennis Smokes Tabs" as mentioned in screed.
      Sound of phone ringing, man picks up (presumably Dennis's father) and says "hello", boy's geordie voice says "Your Dennis Smokes Tabs" above and slams phone down.

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    2. :-) It was actually a female friend, who now is a pillar of the establishment around here. Those were our 'mad dog drinking days', at the turn of the century.

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  10. This is great - I've only heard two of these acts, but your screed makes me want to hear them all! Many thanks, Nobby!

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    1. Jona Lewie's a very odd bugger, he seems to be quite happy living off the royalties from his Christmas single and his ikea advert.
      The Flys were a great band with some very catchy power poppy songs, just one of many that never turned the corner to mega stardom.

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  11. Soundtrack?

    The Ipcress File - although I'll probably change my mind tomorrow..

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  12. Favorite movie soundtrack
    Vangelis - Blade Runner or
    Grant Green - The Final Comedown
    also slightly cheating
    Otis Redding/Hendrix - Monterey split LP reprise 2029
    or Woodstock those initial triple and double albums

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  13. Soundtrack - The Harder They Come
    Plus a bit of a cheat - there was a film called Scandal about the Profumo affair (Non Brits may have to look that up) there was a soundtrack album featuring Dusty Springfield and "Nithing has been proved" .However, there was an alternative one issued by Island with appropriate ska music from that time called Scandal Ska which is terrific.

    https://www.discogs.com/release/1581691-Various-Scandal-Ska

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    1. Saw it 1973,at an art house theater, in New York. Pretty much my introduction to Reggae.
      Fun Fact: The first movie in English language film, with English subtitles.

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    2. I had to put the subtitles on to watch The Sopranos!

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    3. i put the subtitles on for everything!

      my hearing is fine. i blame modern tv and movie sound engineers.

      they stink!!
      i can understand every word of a bad print of a movie made in 1930.

      film recorders are carried away with 52 track junk a phonic sound that no one gives a rats ass about.

      you can hear a fly buzzing in the next room but not a damn word of an important plot point.

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    4. The copy of The Harder They Come that I saw here in Berkeley back in 1975 was subtitled, and it was still hard to understand. I usually have no problem with various British accents, but yeah...if the sound is unclear, I'll put on the subtitles. Scots is particularly difficult, even with subtitles.

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    5. Try listening to Rab C Nesbitt (Glaswegian) without subtitles!
      https://www.youtube.com/watch?v=DQuuDiygbYs

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    6. Yeah, that's not easy. I get a big chunk of it, though, but I watched a lot of British television, PLUS the classes in Chaucer and having to read Beowulf in the original helps a bit. I have to sort of shift my perceptions about sounds so it gets easier the more I hear it.

      I've got a Californian accent, but a northern one. You won't catch me putting a definite article in front of the number of a freeway like those guys in SoCal. It's the 101, not "the 101."

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    7. Chaucer and Beowulf thats impressive, I remember trying to do that at school in the process of failing my English Lierature A level. I haven't looked at The Clerks Tale since then :
      As leene was his hors as is a rake, And he nas nat right fat, I undertake,

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    8. As a party trick I used to recite the first 18 lines of the Canterbury Tales. I could also do the last verse of Phil Manzanera's Miss Shapiro, the one that goes "Dalai Llama lama puss, puss, stella maris missa nobis." Chaucer was not too difficult, that's my language even with all the changes. Beowulf was difficult; I took Spanish which was no help at all, except for educating me that other languages do ridiculous things with verbs and gender. Of note: a few years ago I ran across this...a song in Frisian. It SOUNDS very much like English, the tones, the consonants...it's like I'm on the edge of comprehension but at the end, there's no understanding. Unlike your Glaswegian comedy...I get no words out of it. But it SOUNDS like I should understand it: https://www.youtube.com/watch?v=jVZgOjo6DK8

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    9. My party trick was The Lambton Worm -lyrics and story behind it courtesy of wikepdia

      https://en.wikipedia.org/wiki/Lambton_Worm

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    10. I've spent the last half hour scouring youtube for a good rendition of The Lambton Worm, and whilst there are versions by Alan Price and Bryan Ferry (he was born just round the corner from where it took place so his should be the most authentic) the one that is closest to the spirit (i.e. it must be recited without musical accompaniment at Christmzs time, after you've had a few drinks and you get the verses in the wrong order and the words mixed up and then abandon it half way through as a bad lot) is this old chap :
      https://youtu.be/fgnz5jL6pso
      If you want a more polished version there's loads to be had...

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  14. Shoes for Industry? They must have been Firesign Theatre fans.

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    1. I wondered that when Farq mentioned Shoes For Industry a while back. I got all excited when I thought someone else was a fan of this obscure Bristol group!

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    2. https://www.youtube.com/watch?v=Metv95k5VrY

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  15. OFF TOPIC -------------------
    I've just noticed the BBC are repeating some of the Sight and Sound In Concert series from 70/80's. The Brits amongst us may remember the excitement of putting on your tv and hi-fi at the same time, to hear the sound through the stereo radio and the pictures on tv. Jethro Tull, Ian Dury and Bruford (with Annette Peacock) are ones I remember, but tonights episode on BBC is Gilbert O'Sullivan and Chris de Burgh in 1978 at the Golders Green Hippodrome, maybe not so exciting. Next week is a full hour of Joan Armatrading.

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    1. Gilbert's OK - depending on the material. He can write some great songs. de Bluuurrgghh? Dreadful, dreadful pap.

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    2. performance and harder they come.

      has the performance sndtrk ever been remixed? gone dead train is an ass kicker but has a flat mix.
      ry cooder and his magic slide ( with him not singing, thank god! ) punctuates the proceedings. memo from turner is still a great song.

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    3. The rip I have is from a CD - as far as I know it's only been issued once on CD. Doesn't sound too bad though.
      See what you think.

      https://workupload.com/file/z64e8wADdRd

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    4. I see now it's from a Ry Cooder soundtracks box set, so perhaps it was spiffed up for that.

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    5. thanks you!
      this is night and day!
      really spiffed!

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  16. As soon as Showing Off To Impress The Girls : The Art Objects started playing I thought, 'hang on that's the bloke out of Blue Aeroplanes'. Sure enough, it was, great to hear this.

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    1. Know nothing about Blu Aeroplanes but I'm impressed that you made the connection from just his voice.
      Whilst researching the screed I found out that they released an album in 1979 called Bagpipe Music, I haven't had a chance to listen to it yet, but I can upload if you are interested.

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    2. Thanks for the offer Nobby, but I'm struggling to listen to so many things atm. Blue Aeroplanes are still going, but were quite popular late 80's/mind 90's.

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  17. Casino Royale (1967 version)
    Wattstax - The Woodstock of Soul music
    Sorcerer - Fine electronica courtesy of Tangerine Dream (if you haven't seen the film, you should)
    Dance Craze The Best Of British Ska Live!

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    1. Sorcerer (movie & OST) are both top-notch.

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  18. Clive Langer ao 'Brothers Of The Head'
    Elliott Rosenthal ao 'Heat'
    Howard Shore w Ornette Coleman 'Naked Lunch'
    Tangerine Dream 'Thief'
    Carmine Coppola ao 'Apocalypse Now'
    Ry Cooder 'The Long Riders' ('Southern Comfort' could do with a complete release)
    Ligeti ao '2001'

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    1. Rosenthal? GOLDENTHAL, you twerp.

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    2. Naked Lunch...ditto my Babs Sorcerer comment.

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    3. Been watching NL again lately first time in years. Unpleasant at times but brillo. Incredibly(?) the film got a double-spread preview in one of the UK tabloids around release time with pics of many of the horrors therein, and not in a "Ban this filth" way.

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  19. This seems like a good place to drop a link to my Voodoo Wagon post about the Cory Band's cover of "Stop The Cavalry." My wife's from Seattle...where that record has become a regional Christmas favorite. A link to download is in my post: https://voodoowagon.blogspot.com/search?q=stop+the+cavalry

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    1. And there you have it, in the UK there is no such thing as a regional Christmas favourite, Stop the Cavalry is a Christmas favourite throughout the UK.

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    2. I take it you mean the Lewie version? And yeah, that's the thing about distance and how far a radio station can reach....there's no way to pick up a Seattle radio station in San Francisco. Somehow the Cory Band's version made it to Seattle (the record was never issued in the USA domestically)...and became a hit. This website says he repressed the record off of a vinyl rip. In the Bay Area....we'd never heard of this record. https://pugetsound.media/2017/11/28/repost-stop-the-cavalry/

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    3. draftervoi - does this explain the amount of radio syndication in the US?

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    4. What a great story and further explanation of why Jona can just sit around living comfortably of one song ! Maybe someone should get an old blues guy to record I'll Get By in Pittsburgh
      https://www.youtube.com/watch?v=AD-O2bb_hMY

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    5. Actualy, SteveShark...given that my blogging "gimmick" is digitizing syndicated radio shows, I'm embarrased to say that I've never really thought deeply about why there are lots of American shows and very few from the UK. There are Canadian versions of the SuperGroup shows, and some unique reworkings by TBS Syndications called "Live From Central Park" (they weren't...). But the only UK shows I've run across are a very rare early 80s show called "The 7-Up Music Machine."

      There are those BBC Transcription discs, of course, but my understanding is those were for overseas markets, not Britain itself.

      So...one thing to think about it the number of stations. I've seen print ads touting the number of stations...On Stage Tonight had 164, SuperGroups 300, Superstar Concert 400... As these shows were supported by national advertising, there's bound to be some lower limit beneath which a brand like Coca-Cola or Miller Lite would not be interested in the ad buy.

      That theory begs the question of how many stations were there in 1985 that would have run a syndicated live broadcast with advertising in the U.K.? The same theory would apply to Australia.

      Canada is a special case, as all of the discs I've seen are reworkings of American shows; i.e., they'd already done the work of recording, engineering, and editing for the larger American market, so a slight reworking for Canada would be profitable (plus, American national advertisers sell their products across the border, too).

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    6. This Brit, i.e me, has no concept of what a syndicated radio show is! We are so bogged down by the British Broadcasting Corporation, that we don't really understand how other systems work. Yes we do have radio stations with adverts (shock horror) but in general the BBC rules the airwaves even now but especialy in the 70s and prior and everyone listened to it. We pay for a tv licence every year (current price £159 or £53.50 for black and white) which includes the radio, and it is a criminal offence to watch TV if you aint got one.

      In a company I worked for a few years ago, we had an Australian, who found this so weird that she framed her licence and hung it on the wall, but we've grown up with it and accept it as the norm.

      I know the Elvis Costello at the Hope & Anchor show I put up a few days ago was different as this must have been sold to the BBC and other stations around the world for broadcast, but this was an exception. Most of the concerts were put on by the BBC and stem from the old needletime restrictions where the Musicians Union only allowed them to play 5hrs a day of records even in 1967. This explains all the John Peel sessions and Beatles at the Beeb recordings as well. Not sure if this is all old hat to you but I'm using it to show my ignorance of syndicated shows!

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    7. Further thoughts -
      Commercial radio exists in the UK but only on a local level. In 1976 I saw Kevin Coyne in Middlesborough on a tour that was being recorded for transmission on local commercial radio stations. I know there was one in Newcastle but I didn't manage to tape it, but my mate taped the Middlesborough one, and there were others around the country. The double lp "In Living Black and White" was produced from these recordings. I don't know if there were any other examples like that.

      BBC transcription discs were used to sell broadcasts overseas with a licence to broadcast them for 2 or 3 yrs at which point they had to destroy them. A by product of this was that The BBC Transcription service kept copies of them in the UK and this is now the chief source of old recordings as the BBC themselves didnt keep the original broadcasts.

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    8. Hi, Nobby! I'm similarly ignorant about British radio. Over the years I've come to understand how important John Peel was (and still is...), and that government control of a large part of British radio opened an opportunity for the pirate stations. And by looking at a map it seems like an AM station would cover a lot more cities than out here in the west of north America.

      Anyway....radio syndication: The airwaves in the USA are licensed to private companies. While there is "public radio" (owned by a non-profit corporation), most of the stations are companies trying to make a profit. There is no "government channel." Most stations were independent, but there were companies that owned "networks" of stations in more than one city. Even so, most programming was done at a local level, so that even the networked stations had different playlists.

      A national advertiser had to negotiate rates with dozens of stations, and get the advertising copy (or a recording of the ad) to the station. Lots of work.

      The local radio station didn't have the resources to put on live broadcasts. And for a station in, say...Kansas to pitch a campaign to an ad buyer in New York was difficult. It was not cost effective to send an ad salesperson on a 2,000 mile trip, and even the phone calls were expensive due to long distance rates. Most stations hired a "rep firm" in the big city, but they repped lots of stations and often didn't do a good job of getting the national ads.

      This opened up an opportunity for the national advertisers, the local stations, and the bands. Companies like King Biscuit and Westwood One would record a band, edit in national ads every fifteen minutes or so, leave time available in the 1 hour or 90 minute running time for the local station to insert their local ads, press up the show on vinyl, and mail the records to the stations. The stations had to fill out an affidavit testifying they had broadcast the show.

      The local station gained access to unique live content that their competition didn't have. The national advertiser got a spot on hundreds of local stations with a single buy. A band got to take over a station for an hour to an hour and a half with their music. And the syndicating company made money. Everyone wins!

      The King Biscuit Flower Hour was the first company that really made this concept work, followed the BBC Rock Hour, and by Westwood One. There were others that came and went over the years, usually lasting just two or three years: Rock Around The World, Captured Live!, and NBC The Source.

      Westwood One was even more successful than King Biscuit, branching out into multiple shows. They had the Superstar Concert, In Concert, Live From Gilley's (for country artists), the Budweiser Concert Hour (funk and R&B), High Voltage (Heavy Metal), plus syndicated interview shows.

      While a lot of the shows are a band doing the usual "hits plus songs from our new album"' set lists, some artists took the opportunity to do something interesting. Tom Petty included covers of songs by the Clash, Bo Diddley, and Conway Twitty. John Mellencamp covered Richard Thompson's Shoot Out The Lights.

      All of this slowly fell apart in the 2000's as we stopped listening to radio. I'm not sure of the exact dates, but King Biscuit stopped around 2006, and Westwood One around 2011-2012.

      I'll take a look at that Hope & Anchor show later tonight. I think it may have been part of a King Biscuit broadcast.

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    9. Hey thanks, Draftervoi, its all making sense now.
      The EC show does seem to be part of King Biscuit Hour, but the BBC version gains one track presumably because of the lack of adverts.
      http://www.elviscostellofans.com/phpBB3/viewtopic.php?t=11191

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    10. This comment has been removed by the author.

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  20. Looking forward to listen to this collection, Jona Lewie rules!
    Favourite soundtracks: Paris Texas, Black Hawk Down, and a few more I can't think of right now...

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  21. An OST that fits well with Nobby’s offering:
    The Decline of Western Civilization 1
    A cheesy movie with a soundtrack for the 4 o’ 5:
    1969 (Hendrix, Cream, Moodies, Canned Heat, Zombies & much more)
    If you love No Wave like I do:
    Downtown 81
    For those who love The Harder They Cme, try:
    Rockers
    My favorite:
    Sukiyaki Western Django

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  22. My favorite soundtrack
    One From The Heart
    Zabriski Point
    West Side Story (original of course)

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  23. You have amazing musical knowlege for a fine old English gentleman.

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    1. I think the gaps in my knowledge are greater than the bits filled in. I mean to say I've never heard of Richard Maltby before.

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    2. That was a one-hit wonder. He usually did tame big band albums.

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  24. Best Score (electronic): Blade Runner
    Best Score (orchestral): Dances With Wolves

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  25. One of my fav osts : Alain Goraguer's music for "La planete sauvage"
    Made for Roland Topor's animations, very trippy for 1973.
    Din't know Lee Brilleaux funded early punk records. But then punk owes a lot to Dr Feelgood.
    If you check this performance Steve Diggles makes for a great Wilco Johnson.
    Cheers. Diego.
    https://www.youtube.com/watch?v=r_U52RbZMjU

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  26. Clive Pig and the Hopeful Chinamen
    https://www.youtube.com/watch?v=2WaAKSJ5mG4

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    1. Hey thanks, Theo, since starting this compilation I've discovered albums by The Shapes, The Dodgems, The Art Objects and now Clive Pig. Great stuff.

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