It’s eye-opening, the link fashion and music can play. One day you are watching the film Quadrophenia, then the next you are heading out to buy a new set of threads so you can fit in with the style that has made such an impact on your thinking. This is especially the case for teenagers, desperate to find an identity, an identity which might live with you for the rest of your life. I remember first picking up on this film being talked about in the playground of my primary school, hearing of its cool, but not watching the film until a couple of years later. Renting videos was the only way of accessing a film if you weren’t of age, and even then there was the barrier of the video shop clerk. When I did, all the talk had been right on the nail. The performances offered by actors Sting, Toyah, Leslie Ash and Phil Daniels et al, lodged in my psyche. Even though my fashion leanings may have changed more than once, my love of its soundtrack is something that remains.
Eddie Piller is a British DJ, radio show host, and the founder/managing director of Acid Jazz Records. This is a record label that possesses similar memories, a label with its ‘own’ cool, Dee C Lee, Jamiroquai and Matt Berry, among many artists who have signed with them over the years. My first encounter with Acid Jazz was shortly after having started as a freelance writer when press company Realtime Promotions sent me a copy of Mother Earth’s second album ‘The People Tree’ and my journey had begun.
Eddie’s latest project is one of assembling this collection of 100 tunes for Demon Music and is testimony to his knowledge of the scene. His ability to put together a set of tunes that would ride high on any playlist of diehard fans of 60s R&B follows his 2023 collection, British Mod Sounds of The 1960s. The artists and bands featured here may first come as a hotchpotch to those unfamiliar with the scene, but with the likes of big guns James Brown, Otis Redding, Ike and Tina Turner, Sam and Dave, Otis Redding and Marvin Gaye, being among those that might immediately strike a chord when looking at the track listing, your thoughts will be – let’s get this party started!
From the opening bars of Doris Troy’s ‘What’cha Gonna Do About It’, familiarity will become a friend and your feet will thank you for it, as the groove takes you deeper. Doris was the daughter of a minister, and a singer who had cut her teeth performing in her father’s choir. Her parents disapproved of the subversive forms of music she gravitated toward but, having uncovered the beauty of James Brown, this was one train that was not stopping.
Troy’s is only the first of a further 99 tunes that will leave your feet itching to take part and as Hank Jacobs’ Hammond organ comes into earshot on ’So Far Away’, it’s clear that the only way you are going to scratch this itch is by letting your body fall under the control of the tunes. The Blues Brothers film was a good start, but this collection takes it to another level. The High Keys have their version of ‘Que Sera Sera’ lending a South American vibe to the tune Doris Day made familiar during the 1950s, although this version is less candy-sweet, possessing a greater street credibility than Ms Day’s ever did. Continuing, if you are unfamiliar with Rufus Thomas, his song ‘Walking The Dog’ should bear synaptic fruit. A playful element is present within its infectious structure, as horns, electric guitar and a beat that tiptoes around the number are offered and is joyful. Then its lyrical ambiguity hits, allowing audiences from all generations to find new meaning within the song. Then again, it is also a damn good dance hall favourite. While we’re talking about dance hall favourites, then Ike Turner was one hell of a songwriter and the number included here, ‘I Can’t Believe What You Say’ performed with his then-wife Tina Turner, demonstrates their ability to bring sounds off the turntable and into the room. In fact, in this sea of fantastic tunes, The Larks song ‘The Jerk’ displays just how music production adds to the songs, with exceptional sound staging provided, it was songwriter Don Julian’s only chart hit and reached number 1 on both the Billboard R&B and Cash Box R&B charts. Of course, ‘Everybody Needs Somebody To Love’ will be familiar to anyone having seen the Blues Brothers film, so well written by Solomon Burke, Jerry Wexler and Burt Berns, that it will have you singing its chorus shortly after having been introduced; this is truly heavyweight R&B.
James Brown introduces the second disc, as funk becomes the order of the day with ‘Out Of Sight’. A song that was released 60 years ago and is noted by Brown as being “…another beginning, musically and professionally…”, as his 12-bar blues moves “…in a whole other direction rhythmically. The horns, the guitars, the vocals, everything was starting to be used to establish all kinds of rhythms at once…” and is noted as being an important evolutionary step in the development of funk music. The 25 songs on disc 2 show a familiarity that while the artists may not at first be recognisable, their songs will be etched into you, as Don Covey’s ‘Mercy Mercy’ is heard following that of Brown.
Further on, ‘Go Now’, possessing a jovial turn is sung by Bessie Banks, released in 1964, which became her best-known song. This may have been down to the fact The Moody Blues was to cover the number later that same year, with both artists making this the ultimate break-up song. You may find that ‘You Can’t Sit Down’ by the Phil Upchurch Combo does exactly as it says on the label before Jackie Lee’s ‘The Duck’ comes into earshot, and you really won’t be able to sit down. This set of tunes is taking itself to a whole new level, as those feet just won’t be able to stop. Bobby Sheen’s ‘Dr. Love’ strikes the perfect note, whereas The Poets ‘She Blew A Good Thing’ tells of the mistake she made, as the rhythm appears to whip the cream on top of her coffee. Audio production on Johnny Nash’s ‘Love Ain’t Nothin’ (But A Monkey On Your Back)’, is another winner, as this soul and reggae singer performs his lovelorn number. The song most will recognise this artist for is ‘I Can See Clearly Now’, but this was released later in his career. One track I’m pleased has been included is Nina Simone’s ‘Don’t Let Me Be Misunderstood’, a song that should be added toward the end of an evening’s dancing and might be considered the ultimate wind-down. Ramping up proceedings – and we’re not even at the end of the second disc – is Jimmy McGriff’s ‘I’ve Gotta A Woman’ which features one of the best Ham’ organ solos you are likely to encounter, that’s 2’ 35” that will send any Northern Sol boy into raptures and their feet into the wildest moves; you just can’t help it. Another number where audio depths can be experienced is Shades Of Blue’s ‘Oh How Happy’, a track written by Edwin Starr, a love song, but maybe filled with religious connotations. However you choose to hear this song, it’s made the vocalist extremely happy and will leave you smiling too, as your feet get ready for more. Howard Tate’s ‘A’int No Body Home’ allows those feet to shuffle across the dance floor, as Jimmy Radcliffe tells his listeners ‘Long After Tonight Is Over’, while informing his chosen one that they will “…mean everything to me…”, it is filled with the sweetest sentiments and the coolest groove, as The O’Jays ‘Lipstick Traces’ closes this second disc, the lead vocalist, pleading with his lover not to leave, as she leaves only lipstick traces. These are gentle songs, that conjure memories, either lived or remembered through another’s misadventures.
I have a fondness for how Disc 3 begins. Like a black and white gangster movie, as Bunny Siger’s ‘Let The Good Times Roll – Feel So Good’, makes its presence felt. The horns strike up, and a solid rhythm begins. These are good times, I’m left thinking. Then it’s The Incredibles who take to the floor, with their ‘There Is Nothing Else To Say Baby’. The recent film franchise makes it incredibly difficult to research the band, but the song is memorable enough that it will have your loafers sliding across the floor. What follows is, for the second time, ‘Hole In The Wall’, here performed by The Packers, whereas on the first disc, it was George Stone. The two numbers bear an incredible similarity to one another, the second running slightly longer. Both are instrumental, heavy on rhythm and the sound of piano, both comprising what sounds like the general hum of partygoers, making both ideal floor fillers. Gloria Jones, otherwise known for her role in the 1970 musical Hair, being Marc Bolan‘s partner, and recognised as “The Queen of Northern Soul” is in fine voice on ‘Finders Keepers’, this number screams from the rafters ‘Northern Soul’, although I could have heard more than 1’50”. Ramsey Lewis, the Jazz Pianist plays on ‘The In Crowd’ and is another classic, that oozes charm. A purely instrumental version, but you will be forgiven for adding vocals where appropriate. Fontella Bass provides ‘Rescue Me’, this the original recording, but a recognisable song that has been recorded by many, but perhaps none better than this. The audio production on another number here is simply sublime. Bettye Swan performed on ‘Make Me Yours’ and was a single that was her breakthrough number, reaching number 1 in the US R&B chart. But it’s the sound production of both vocal and band that makes it shine. Sam and Dave’s ‘You Don’t Know Like I Know’ is another that many who are unfamiliar with this scene will recognise, and Otis Redding’s ‘Mr Pitiful’ is another that will surely strike a chord. It was co-written by Redding and guitarist Steve Cropper and came out of a statement made of Redding by disc jockey Moohah Williams, calling Redding “Mr. Pitiful”, due to how he sounded when singing his ballads. No bad thing, having crowned a career out of doing so, and the horns on this number are to behold.
Many of these numbers are recorded so well, that sound staging shows the singers and bands in great texture. That is certainly the case with Rosco Robinson as disc 4 begins its offering. The horns provide this number well, just as the backing singers offer the perfect cradling of Rosco’s lead vocal. Much the same as on The Magnificent Men’s ‘Peace Of Mind’, but this time slowing the number right down, as the orchestration does its best to serve the vocals.
From listening to this set of songs, I feel that this is where popular music began. From that, I mean that even today these tunes are being referenced when artists have written songs or pieces of music. For instance, when I reached Bob & Earl’s classic ‘Harlem Shuffle’, I was hardwired to reference House Of Pain’s ‘Jump Around’, and even Busta Rhymes uses the song on his ’Calm Down’, but as a Northern Soul dance floor filler, this is just the coolest thing you have ever heard. These tunes have a longevity, that even listening on this side of the 21st Century, has its place. Titan Marvin Gaye is heard on ‘I’ll Be Doggone’, right down to Slim Harpo’s ‘I Got Love If You Want It’, a song performed by an original American blues musician and exponent of the swamp blues style. A method which incorporates styles from other genres, Harpo is said to be “one of the most commercially successful blues artists of his day”, suggesting that mashing up styles is nothing new. I can’t leave without mentioning Jimmy Smith’s ‘The Cat’, a tune which for me conjures memories of Austin Powers, so much so that I can’t help ‘doing the dance’ in the centre of my living room, blinds closed of course. Finally and saving the best ’till last, it’s ’Soul Finger’, used memorably in the film Blues Brothers, a film which I’m sure introduced many to the sound of blues music.
Before we rest this release, I can’t leave without commenting on how this set of tunes came about. All is brought to the listeners’ attention from within the 30-page booklet, which shed quite a surprise on certain aspects. Eddie starts by bringing a little background to the story and by introducing the Ace Face for this purpose, Randy Cozens. It is explained that Randy, an original mod, inhabits the scene and frequents the coffee bars in the late 50s. It’s then explained that whilst Randy had grown up in Notting Hill, he had been relocated in his early teens to the leafy North London suburbs of Winchmore Hill. Fast forward to 1981 and this sees he and his friend Ady Croasdell, (an exile of my hometown) publishing the fanzine Randy and Ady Present: 6T’s, The Early Years, Part 1, a look into the minutiae of Randy’s early life as a Mod. The booklet includes various photographs of both Randy throughout the 1960s, which show this sharp-dressed man (and I realise I am mixing musical genres here) as well as clippings taken from newspapers, magazines and images of stickers taken from seven inches featured here. Randy sadly passed in 2003, but Eddie has included copies of the notes from Randy’s original 1979 list, within the 18cm media book. If the 100 songs provided weren’t enough, the cherry on the cake is this book, allowing the reader to inhabit the scene that rivalled the rockers in the 1950s and 60s. Therefore, my last question has to be, were you a Mod, or a Rocker?
https://youtu.be/2h5-Awtbmv0?si=bDO_91VA3ZIjtnKQ
