'Vinyl Rules!' Episode Four - Wilko Johnson

Regular readers (assuming of course that I have any!) of these hallowed pages will be well aware of my admiration for the guitar playing talents of Wilko Johnson. I first became aware of the great man's playing when I came in from school one day early in 1975 to be confronted by the sight of Dr. Feelgood on 'The Geordie Scene'. From the moment I saw him flailing at a Fender Telecaster with a maniacal bug-eyed stare whilst careering jerkily across the stage I was hooked - and the rest of the band weren't too bad either. I discovered that the band came from a semi-mythical place called Canvey Island and had released an album called 'Down By The Jetty' which was clad in a stark black and white sleeve and had been recorded in mono. I loved it. My mates didn't and thought I was mad. I've followed his career avidly ever since.

After he left Dr. Feelgood in 1977 he put together The Solid Senders and released a single and an album on Virgin Records. The 'Solid Senders' album is readily available on CD and very good it is too, especially when you factor in the six-track live album that accompanied the first vinyl pressing and is included on the CD re-issue. Sadly this edition doesn't include the single 'Walking On The Edge' which is a shame since it's a terrific reworking of a track that first appeared on the final 'Feelgoods-with-Wilko' album 'Sneakin' Suspicion'. The B-side saw the first appearance of the Wilko classic 'Dr. Dupree' which later featured on the album in a slightly different (remixed?) form. It remains unique in the Wilko cannon with it's reggae-inspired rhythms and somewhat surreal lyrics penned by Hugo Williams. It's importance as a Wilko song is underlined by it's appearance in virtually every live performance since it's release (an accolade also bestowed upon 'Everybody's Carrying A Gun' from the album) and it's an audience favourite to this day. Overall a great single - and there's apparently a promo video for the A-side although I for one have never seen it. Maybe one day? In the meantime click here for some marvellous live footage of the band around this time (which was when I first saw him play, having been just a bit too young to catch him in The Feelgoods) and links to footage from the rest of the show.

With the demise of The Solid Senders Wilko joined Ian Dury And The Blockheads for their 'Laughter' album and tour before teaming up with Lew Lewis to form (you've guessed it!) The Wilko Johnson / Lew Lewis Band. I saw them a couple of times and they were as great as you'd hope they'd be, but sadly the partnership was to be short-lived - Lew didn't stick around but Wilko continued with Russ Strutter on bass and Alex Bines on drums, releasing the 'Casting My Spell On You' / 'Looked Out My Window' single and the 'Ice On The Motorway' album. I think the album might well have been available on CD at some point (Wilko's back catalogue is very difficult to pin down!) but I'm fairly sure that the single tracks remain vinyl only. The A-side takes it's cues from the version recorded by The Pirates way back in 1963 (it came out the next year along with 'My Babe' as their 'solo' single released when they were backing Johnny Kidd; have a listen to it here - the influence of the late great Mick Green on Wilko's playing is all too apparent as you hear here) while the b-side made it into the live set for the next few years with a particularly fine version appearing on the excellent 'Watch Out!' live set. The 'Ice On The Motorway' album is well worth a listen (if you can find it!) and again several of the songs have been live staples ever since.

From there Wilko teamed up with uber-bassman Norman Watt-Roy (who he still works with today) and drummer Salvatore Ramundo to form what for many was the classic line-up of The Wilko Johnson Band - click here for a fabulous clip of them in action. These days Dylan Howe is behind the kit, and they remain one of the best live acts that it's possible to witness. In the wake of the brilliant 'Oil City Confidential' documentary he's getting more recognition than ever these days, even appearing in the T.V. series 'Game Of Thrones' playing a mute assassin (!) as well as being the subject of a Facebook campaign for him to replace Patrick Moore on 'The Sky At Night'. Strange but true. He remains a  brilliant musician and an iconic live performer who has stayed true to himself and the music he plays. The outpouring of support that followed the announcement that he's suffering from terminal cancer shows just how much he and his music mean to many people, and with the farewell shows on the horizon the level of interest in his work will surely only increase.

NB - I actually wrote most of this a couple of days before the announcement earlier last month that Wilko is suffering from terminal cancer. I'd intended to post it in early January, and after much musing in the meantime have decided to leave it more-or-less as originally written, adding only the last line and tidying it up here and there.

'Vinyl Rules!' Episode 3 - Laurel Aitkin / The Screamin' Lobsters / Choir Militia

Time at last for a very belated episode 3 of 'Vinyl Rules!' - here are three 7" singles, all of which feature the talents of Paul Fox on guitar.

Spring 1980, and with The Ruts in limbo as singer Malcolm Owen battled heroin addiction Paul, Segs (bass) and Dave Ruffy (drums) backed Laurel Aitkin on two singles - 'Rudi Got Married' / 'Honey Come Back To Me' and 'Big Fat Man' / 'It's Too Late'. The band were credited as The Unitone, and both were released on Secret Affair's label I-Spy Records; I've not got the first one but I have the second one, which was produced by Paul and John Sparrow. It's something of a curio from my point of view (I'm not much of a ska fan to be honest) but the band play it well, and if nothing else it shows that they were capable of turning their hands to pretty much any style of music with ease. They also recorded a John Peel session with him around the same time, although things changed irrevocably for the band in July when Malcolm died from an overdose. They regrouped as Ruts D.C. and made some very fine music - but that's another story for another time...

When Ruts D.C. finished in 1982 Paul formed the splendidly-named Foxes And Rats with Rat Scabies from The Damned on drums and Martin from Watford (!) on bass; I saw them at (you've guessed it!) The Fulham Greyhound where their psychedelic power trio set (think Hendrix, Cream and, er, Steppenwolf and you'll get the idea) left the mainly punk-powered audience somewhat bemused. After that he and Martin stayed together in The Screamin' Lobsters, who were basically a rock'n'roll band that mixed a few original numbers among the old classics. One such original song was 'Lobrock' which emerged on a single in 1983. It rocks along in a suitably cheery 'we're-not-taking-this-too-seriously-and-nor-should-you' manner as did the doo-wop styled B-side 'Oh Oh I Love You', and as such is a good representation of the band. I saw them a couple of times (I bet you can guess where!) and they were an entertaining bunch although once again Ruts fans were seen leaving the venue with furrowed brows.

Paul's next move was to team up with the Lob's singer Harry Matthews to form a rather more commercially orientated act which went through several names (The Cut, Wildlife and The Big Boys among them) before settling on Choir Militia. Their only single 'Sharpen The Knife' / 'Nothing That Would Interest You' came out in 1986. The A-side is interesting in that it's a re-write of an unfinished Ruts D.C. song that was colloquially known as 'Jangly Boo' when it opened their live sets in an instrumental form in late 1981. The single itself follows the same basic structure (it's since been issued as 'Last Exit' on various Ruts compilations) and sounds very much 'of it's time', with slap bass, string synthesizer and a huge 'gated reverb' drum sound that could only have been recorded in the mid-80s. To my ears it sounds a bit dated next to the stripped-down sound of 'Lobrock' which ironically hasn't dated quite as much, but it's still a pretty good record with some great playing from Paul. The b-side's not bad either, although the band had several better songs like 'Bombs Away' and 'Take It Out On You' that would have made better records in my opinion - I remember hearing studio recordings of them at the time but I fear they'll never get heard now. Shame! Oh and before you ask, yes I did see them at The Fulham Greyhound (and very good they were too) and indeed The Price supported them a few times early on in our (ahem) career which meant a great deal to me personally as Paul was and indeed still is one of my all-time favourite guitarists. (I stayed in touch with him right up to his untimely death and was involved in his final gigs, the story of which can be found in the July 2007 section of these hallowed pages.) In the meantime these singles show a very different side to his playing in than was heard in The Ruts, and are all far better than their current obscurity suggests.

And it's the 4th annual Paul Fox tribute night at The Breakspear Arms in Ruislip on Saturday 15th October - I can't be there myself but it should be a good night...

We got a hit!

So there we are then - we've had over 12,000 viewings of the Balcony Shirts song for Queens Park Rangers on YouTube and are in the top 30 country music downloads on iTunes as I type this, as well as getting a revue in no lesser publication than The Guardian! We'll be playing it live on the centre spot before for the first home game of next season at this rate!

Your humble narrator wasn't expecting to have any gigs over the weekend just gone, and so was readying himself for another episode of the all-too-sporadic 'Vinyl Rules!' column as I'd have time to transfer some more records over to digital format - however sometime on Wednesday I was asked by the long-suffering Shirley if I would like to contribute to a charity evening that she's involved in at The Battle Of Britain Club in Uxbridge on Friday. 'They're having a 'Britain's Got Talent' theme and Nick the organiser wondered if you'd like to do some solo guitar in the interval, maybe 10 minutes or so?'

What I should of course have said is something like 'I haven't really got time to get anything together at such short notice' - you and I both know I didn't say anything of the sort...

With Voltarol's radio show playing in the background (he played a 'Tommy' medley by Victor Biglione for me as well as mentioning this blog! Thanks Mr. V.!!) I re-strung my acoustic guitar and wondered just what I'd let myself in for. Solo acoustic guitar pieces are generally not very long - well the ones that I can play aren't anyway! - so I'd need five or so to manage the allotted time. Well there's the stuff that I played a Dave's funeral last week, and there's an Ike Isaacs piece called 'Just Funky' that I had a go at ages ago and might be able to remember, and I've been looking at 'Some Summer Day' by John Fahey, and there's that little idea of mine that I've been working on, and I've always fancied a go at 'Bron Yr Aur' by Jimmy Page... that should be enough shouldn't it?

As it turned out it was more than enough. I would estimate that 95% of my audience were young bank employees (Nick is a bank manager) unlikely to be interested in the likes of Isaacs and Fahey (I didn't bother playing either of their pieces - oh well, maybe next time?) even if they hadn't been queuing for their meals. Up until that point in proceedings they'd been entertained by 5 acts in 'Heathrow's Got Talent', although a better description of things might be 'watched some of their workmates make idiots of themselves and watch some others be surprisingly good at singing / dancing / comedy etc'. That said there were a few people listening, and a mention of Mr. Page got a beery cheer from the darkness to my left; I was just about to start said tune when a large gentleman came up to me repeating a car number plate several times in my general direction then demanding that I tell the driver to move it immediately. I referred him to the D.J.... I left the stage to what I thought was total indifference and thinking something along the lines of 'huh - I've been ignored by bigger and better audiences than this lot'; however quite a few people came over to say that they'd enjoyed it, and the long-suffering Shirley (who by now had been given the job of distributing the aforementioned food!) said that plenty of people had been listening. From my point of view I was relieved that I hadn't been as nervous as I'd been at Dave's funeral, and I played quite well although I feel there's still a long way for me to go before I (ahem!) launch my solo career - if indeed I ever do!

After the show Shirley and myself made the short journey to The Gardeners Arms to catch an hour or so of the Ace! club night, and very good it was too. Scott from Balcony Shirts basked in the glory of The Guardian piece, Shirley's brother Trevor introduced us to what felt like everyone in the place (he's a regular there, fairly obviously) and every record that was played was a classic. A good first night for Darren and Simon - let's hope there are many more to come.

In the meantime it's been very busy in the shop - maybe thanks to the song, maybe not? - and there is more acoustic guitar playing on the horizon this week. Following on from our impromptu performance last month I'm teaming up with Alan and Pete from The Good Old Boys for a performance at - you've guessed it! - The Load Of Hay next Sunday. Now officially christened The Rikardo Brothers (don't ask me, I only work here etc) we're rehearsing this evening- not entirely sure sure what material yet, but it should be fun...

'Vinyl Rules!' Episode Two - The Gas

Time for another look back to those far off days of 7 and 12 inchers (oo-er missus etc) with a chance for your humble narrator to rant and rave about one of his favourite bands of all time - ladies and gentlemen, I give you, The Gas.

If ever there was a band that should have been massive - and I mean MASSIVE - it was The Gas. I'm fairly sure that I first saw them supporting Ruts D.C. at The Lyceum although I'd already got their first single 'It Shows In Your Face' by then, not least because it had been produced by Paul Fox which was more enough to recommend it to me. It was and indeed is a fabulous piece of power pop, and their second single 'Ignore Me' was even better; add to this the fact that they were signed to a major record label (Polydor) and World domination seemed to be almost a foregone conclusion. So - what went wrong? To be honest, I don't really know. They seemed perfect - a trio of fine musicians (singer / guitarist Donnie Burke and bassist Dell Vickers had previously been together in Sneeky Feelin's while drummer Les Sampson worked with Noel Redding) who when equipped with Burke's brilliantly catchy songs combined to create an absolutely dynamite live act also capable of subtlety in the studio. Their first album 'Emotional Warfare' received good revues (rightly so as it's a total classic from start to finish) and their radical-for-the-time move of making a video version with a hired camcorder got them an amount of positive press attention (and therefore publicity) that most acts would have killed for - but the album was all but ignored by the record buying public. Listening too it now (and I mean now as it's playing as I type this) it sounds superb - producer Nigel Gray got both a great sound and some fabulous performances out of the band, and it's certainly stood the test of time. Maybe Donnie's lyrics were a bit too embittered, a bit too personal - the opening lines of 'Wasted Passion' are 'if our two heads collided, you would not bat an eyelid', which more-or-less sums up the tone of things - either way it got nowhere near the sales that it deserved and after a single 'Breathless' they left Polydor. Their second album 'From The Cradle To The Grave was recorded in Canada and emerged on Good Vibrations Records in 1983, although by then good reviews had turned to bad (I remember a particularly nasty one in, I think, Melody Maker) and the album remains something of an obscurity. It's not as good as the first one, but it's not a disaster either, although by now the band were falling apart. Burke and Vickers re-emerged in Boy Cry Wolf (I saw them at The Fulham Greyhound and they were really good) although I don't think that lasted very long - these days Donnie can be found in The Roadhouse Dogs and Doc Bowling and his Blues Professors (great names!) both of whom who I must get around to checking out one day.

When I played 'Emotional Warfare' through for probably the first time this century (shame on me!) I realised just how much of an influence The Gas were on The Price - and yet I'm fairly sure that no member of our band apart from me has ever heard them, or indeed heard of them. Being great doesn't guarantee success, but The Gas were definitely great - it's such a shame that they didn't get the recognition that they so richly deserved. Still I don't think they've been totally forgotten - certainly not by me anyway.

'Vinyl Rules!' Episode One - The Chairs

Proof (were it needed) that I've had far too much time on my hands this week comes with the news that I've bought myself one of those turntables that allows you to convert records into mp3's which you can then make into CD's, put on an iPod and probably do lots of other things with that I'm not clever or indeed young enough to know about. I've been thinking about getting one for a while, as there are quite a few records in my collection that are sadly unlikely to ever emerge on CD and this seemed to be an obvious way for me to transfer them across to the digital world. It's also a chance for me to re-discover some of these recordings, and in doing so it occurred to me that it would be fun to write about them here. So let's start with a band that could have been, and indeed were contenders - I refer of course to The Chairs.

I think I first saw The Chairs at the late and much-lamented Fulham Greyhound (well it's certainly lamented by me although I can't find much on the Internet about it!) sometime in 1988. I guess they were supporting someone but I can't for the life of me remember who, a fact which amply sums up the impact that they had on the evening. They were simply tremendous. I'd been a huge fan of much missed Medway magicians The Prisoners who I'd seen many times and who I always thought should have been massively successful, but here was a band who had all their best elements (great songs, loads of energy and a Hammond Organ that sounded like the loudest and therefore greatest thing on Earth) but who somehow seemed to be an altogether more commercial proposition. They looked good, sounded great and such was their overall brilliance that I somehow overcame my innate shyness and struck up a conversation with one of them, who directed me to their larger-than-life manager Jim - I left for home that night with a copy of their first single and a masterplan that somehow meant that The Chairs and The Price were somehow going to take over the World together. I may have been a little drunk...
The next morning (afternoon?!?) I played the single - the A-side 'The Likes Of You' was brilliant, the b-side 'Something's Happening' was if anything even better, and the band were clearly as wondrous as I'd decided they were the previous evening. By the time their second single came out (the magnificent 'Size 10 Girlfriend' / 'Cut 'n' Dried', probably my favourite of their releases) they'd established themselves as a popular live act and were in hot pursuit of a record contract. Over the next couple of years this became something of an obsession within the band, as there always seemed to be a label or labels interested but no one would bite the bullet and sign them. I remember singer / guitarist / songwriter Paul Sullivan once saying to me words to the effect of 'all that matters is us getting a record contract, we can work everything else out from there', which is a measure of how much it meant to him. Their third single 'Honey I Need A Girl Of A Different Stripe' / 'I Can't Say I'm Sorry' kept up the pressure, as did their live shows which continued to be superb although by their fourth and last single 'Crestfallen' / 'Sometimes It Takes A Hammer' I remember thinking that the atmosphere in the band had changed - the music was still excellent but the mood seemed somehow darker. And then, suddenly, they were gone, leaving just 4 singles and an almost limitless amount of potential that appeared to evaporate almost overnight. Paul went on to play with The Crowd Scene and The Liberty Takers as well as making some solo acoustic appearances but I'm not sure what he (or indeed the rest of the band and their mercurial manager Jim) gets up to these days. I hope they're all still involved in music, but in the meantime there are any number of unreleased songs that remain in the memory banks from live shows - 'Boys From Slumberland', 'Brave Little Soldier', 'All I Need To Know' (inspired by Albert Goldman's controversial book 'The Lives Of John Lennon' - Paul's a huge Lennon fan, and judging by this song is not too enthusiastic about the book) and 'Neck Of The Woods' among them as well as a cover of Elvis Costello's 'Beaten To The Punch', all doubtless destined to remain unheard unless a retrospective compilation magically appears.

Well I've made my compilation from the singles and I've hardly stopped playing it since - 20-odd years on they sound as great as ever. It's good when that happens. Sit on that music!