SEPTEMBER PLAYLIST

1.  Barbara & The Browns – ‘I Don’t Want Trouble’ (1965)

Straight down the line Sticks and Stonesy R&B dancer from Barbara and her Brown brothers and sisters for Stax.

2.  Chuck Jackson – ‘What’s With This Loneliness’ (1965)

What a voice, what a track, what a man.

3.  Nico – ‘These Days’ (1967)

I’ve always liked some of Chelsea Girl but struggled with it as an album until this month when, finally, the penny dropped. Might crack The Marble Index soon.

4.  Bobbie Gentry – ‘Recollection’ (1968)

As someone who’s only previously chicken-scratched the surface of Bobbie Gentry, the lavish new 8-disc box set The Girl From Chickasaw County: The Complete Capitol Masters is proving a revelation. Featuring her seven albums from 1967-1971, all remastered with bonus demos and unreleased tracks, and an eighth disc of live BBC performances, it’s packed with delightful diversity: Gentry offering her unique take on - and blurring the boundaries of - country, blues, soul, pop. The gothic poetry of ‘Recollection’ from her third album, Local Gentry, stuns and haunts in equal measure and it’s far from the only track to do so. Fantastic collection.

5.  John Williams – ‘Can’t Find Time For Anything Now’ (1967)

This John Williams was a member of the Authentics whose claim to fame was supporting the Yardbirds at the Marquee before Williams ventured out on his own. The A-side to this Columbia release, ‘Flowers In Your Hair’, is a good ray of sunshine pop with a hint of cynicism in the lyric. On the flip that turns into full-blown depression. The catchy cello parts subsequently borrowed (to my ears) by Thomas Fersen on his brilliant ‘Encore Casse’ in 2017.

6.  Mulatu Astatke – ‘Kulunmanqueleshi’ (1972)

Vibes, woodwind, wah-wah and subtle rhythms conjure sheer magic from Mulatu of Ethiopia.

7.  Caesar Frazier – ‘Hail Caesar!’ (1972)

This month’s funky soul-jazz Hammond groove spot is captured by Caesar Frasier.

8.  Paul Orwell – ‘Speak of the Devil’ (2018)

'Speak of the Devil’, the first taste of long awaited second proper album, Smut. finds Orwell donning a leather jacket to join a motorcycle gang for a glamorama glory stomper, leaving Carnaby Street for dust as he swings into Devilgate Drive. A horny Bolan boogie for howling children of the moon.

9.  The Coral – ‘After The Fair’ (2018)

The Coral save the best track until last on their middling Move Through The Dawn. This fingerpicking acoustic number embellished with strings prompted me to dig out Everything But The Girl’s version of ‘English Rose’ afterwards. 

10.  Paul Weller – ‘Aspects’ (2018)

True Meanings is built for quiet contemplation and nowhere is it more moving than here.

"I DON'T KNOW" by THE SHOOTS (2017)

After months of teasing The Shoots finally release their debut single.

The band are, in effect, the latest Paul Orwell project with lead vocal duties handed to Lord Essien.

‘I Don’t Know’ is two breathless minutes of the good Lord grabbing ya by the short and curlies as the combo snap and snarl like rabid dogs before Orwell unleashes the wildest onslaught of manic freakbeat guitar. On the flip they ‘Do The Jerk’ which could be very dangerous if you’re in close proximity.

Available only as a 7-inch single, with painstakingly period detail, on Heavy Soul Records. Limited to 300 copies, get ‘em while they’re hot. Out today.

FEBRUARY PLAYLIST

1.  The Sinceres – ‘Please Don’t Cheat On Me’ (1961)

Prolonged exposure to doowop can make me feel like I’m trapped in an episode of Happy Days with only Ralph and Potsie as company but it’s worth slinging a dime in Arnold’s jukebox occasionally. 

2.  The Emperor’s – ‘I Want My Woman’ (1965)

The Emperor’s what? Sore throat? This growling garage prototype stalks menacingly for two and half minutes while said woman presumably hides in a cave.

3.  The Grass Roots – ‘Heaven Knows’ (1969)

Difficult to not sing parts of the Box Tops’ ‘Soul Deep’ through this equally infectious ray of sunshine.

4.  Manfred Mann Chapter Three – ‘One Way Glass’ (1969)

Anyone encountering Manfred Mann Chapter Three on a night out expecting to hear ‘Pretty Flamingo’ would’ve been in a rude awakening. Mann and Mike Hugg led this line-up down a progressive jazz route and there are plenty of freaky, squalling moments on their eponymous debut LP. The trippy, horn laden ‘One Way Glass’ isn’t at the extreme end and makes for an ideal psych club tune. Both their albums worth investigating.

5.  Grant Green – ‘Jan Jan’ (1971)

Blue Note had so many Grant Green recordings they ended up with a backlog of stuff that either never got released or had to wait many years, as in the case of Live At Club Mozambique. Recorded in January 1971, but only issued in 2006, Houston Person (tenor), Clarence Thomas (tenor/soprano), Ronnie Foster (organ) and Idris Muhammad (drums) join guitarist Green (pictured above) for a thrilling club set.

6. Richard Caiton – ‘I Like To Get Near You’ (1969)

Sweeping soul out of New Orleans from local lad Caiton.

7.  Frederick Hymes III – ‘Time Ain’t Gonna Do Me No Favor’ (1970)

Only available from Hymes at his gigs this super-collectable 45 is a gem. ‘Tighten Up’ style guitars, funky drumming, punchy horns and a fantastic vocal.

8.  El Michels Affair featuring The Shacks – ‘Strange Boy’ (2016)

Wow! Love this collaboration between two acts on New York’s Big Crown Records: the instrumental funk band El Michels Affair and the breathy boy-girl duo The Shacks. Absolutely gorgeous and more than a touch of Camera Obscura about it.

9.  Paul Orwell – ‘Loaded Street Syrup’ (2017)

I presume the four tracks on Paul Orwell Presents Hard Shakes were leftovers from Paul’s Organized Blues phase. Like the tracks on that LP these are short, in-your-face, fuzz and Farfisa instrumental nibbles. All good fun but merely a tasty snack before the more substantial offerings of Paul’s The Shoots project – coming soon - and his second ‘proper’ solo album. Trust me, I’ve had sneaky preview, these are gonna be the real deal.

10.  Pasapogas Hammond Quartet – ‘Modern Hall’ (2017)

Pasapogas Hammond Quartet are Ángel Soriano - Hammond Organ, Jero Colomina - guitar, Santiago Vilella - drums, Riard Chumillas - tenor sax and flute, J.M. Maldo – percussion, and what these Spaniards lack in arithmetic they make up for in slick soul-jazz. With three very stylish EPs to their name (check the artwork), Modern Hall the lead track from their latest. Fans of JTQ and even early Style Council form a queue.

MONKEY'S WANDERING WIRELESS SHOW - SUNDAY 18 SEPTEMBER 2016

UPDATE: To catch up with this show, and to hear Paul Orwell's exclusive and incredible track recorded especially for the show, go here: MWWS on FUSION.

“When are you next doing your radio show?” you’ve both asked. Thanks Mum, thanks Dad. Well, the wait is nearly over as this Sunday, Monkey’s Wandering Wireless Show returns to the airwaves of the hippest station on the dial, Fusion.

If you’ve listened before don’t let that put you off and if you’ve not done so it’s one hour of songs you know and songs you might not all thrown into a big aural pot of monkey magic. Spanning about 60 years and they’ll all be great of course.

I’m still finalizing the playlist but fans and admirers of Paul Orwell should definitely tune in… 

Ensure you click on mixlr.com/fusion-on-air for an 8.30pm sharp start. If you want to join Mixlr beforehand to join the chat/abuse with the Fusion family as the show goes on help yourself but not essential to listen. See ya there comrades.

Fusion runs every Sunday night 8.30-9.30pm with different listeners selecting a playlist. An essential, and great fun, end to the weekend.

PAUL ORWELL PRESENTS ORGANIZED BLUES (2016)

The organ bursting into flames depicted on Paul Orwell Presents Organized Blues won’t win any award for design but amply illustrates what’s inside the sleeve of Orwell’s latest album; the dozen tracks baked to the heavy vinyl of his second LP will singe the ears and limbs of unprepared listeners.

Last year’s spectacular debut Blowing Your Mind Away covered much ground – from Spectoresque pop to freakbeat phantoms – but here Orwell, mindful of his claim to be an artist rather than genre, takes a different approach and serves up a whole LP of fiery instrumentals.

When creating an album of instrumentals there can be a temptation to make it like an imaginary film soundtrack with different moods conjuring open-top sports cars coasting around the alps, a love scene, a chase, a fight and the obligatory club scene. Not so here as Orwell goes straight to the club scene and keeps the dancefloor packed for the duration. It’s breathless stuff, played at a frenetic pace, causing old studio engineers in white lab coats to pull out what remains of their hair as Orwell records everything into the red. More organ! Louder! More!

‘Don’t Do As I Do (Just Do As I Say)’ sets the pace, teetering on the very edge of distortion until a guitar solo sears through the track; ‘The Wild Walk’ is the sound of go-go dancers jiggling down the street; ‘Grave Robber’ is ‘C.C. Rider’ rode on the fastest horse out of town; ‘Ten Pieces of Ice’ could be the Prisoners playing ‘In The Midnight Hour’ after mainlining amphetamines; ‘Stiletto’ might’ve been how Booker T. & the MGs would’ve played with pointy heels stamping on their toes; and ‘Action’ is Memphis Soul Stew brought to the boil. And that’s simply half of it.

Like a budding Alan Hawkshaw, Paul Orwell has created the soundtrack to the hottest, most swingin’ party imaginable. Warning: please ensure all combustible material is stored in a safe place for the duration of this record. Paul Orwell’s on fire.

Paul Orwell Presents Organized Blues is out now on Heavy Soul Records. Vinyl only. Very few copies left so be quick!

PAUL ORWELL, THE MAGNETIC MIND, THE SEE NO EVILS at the PLOUGH & HARROW, LEYTONSTONE

Heavy Soul Records celebrated their tenth birthday on Saturday with a showcase of three acts on the label.

The See No Evils released their debut album, Inner Voices, last month and opened the evening with a scorching set of straight-ahead no nonsense garage punk. I love the unabashed clarity of vision of these oiks. Grab the Pebbles albums; early Pretty Things, Yardbirds and Kinks 45s; a bunch of simple rhymes; some throat shredding screams; and set fuzz and fury to them.  Even throw in a cover of ‘Gloria’. This is garage punk in its purest, untamed form and utterly irresistible. Their vocalist looks like Phil Collins after breaking up from his wife and sleeping on a park bench for a week and sings with all the snotty resentment that brings, his face becoming redder with every exaggerated vowel. It’s a wonderful thing to behold. ‘Hooked On The Buzz’, ‘Hanging Around’, ‘You Make Me Move’ and ‘Sweet Thing’ among the highlights of a faultless set.

The Magnetic Mind move the music calendar on a couple of years. With singer Ellie’s appearance, vocal style and the band’s multi-part harmonies they’re always going to willingly draw immediate comparisons to Jefferson Airplane and whilst that’s undeniable they’re slightly sprightlier and poppier in places than their San Franciscan ancestors. Their ‘Should Have Listened To You’ being a prime example, with a neat pop hook and breezy melody. I say it’s theirs, could be a Mamas & Papas album track, in which case I stand corrected. A version of The Carrie Nations’ ‘Sweet Talking Candy Man’ from Beyond The Valley of The Dolls added to tracks from their …Is Thinking About It album.

The jewel in Heavy Soul’s crown is Paul Orwell. His records have been pouring out of the label for the last year or so, selling out immediately, and his Blowing Your Mind Away one of the albums of 2015. His live shows have been few and far between and this gig was advertised as an acoustic set. Thankfully that turned out not to be the case and although there was no organ as featured on some of his records, Paul was joined by regular bassist Mikey and possibly Luke Goss from Bros on drums. All black leather jacketed-up – part Beatles/part Libertines - Orwell and gang set about whipping up a storm.

Fired up from the start an extended ‘Payback’ thumped and kicked a well-aimed pointy boot in the bollocks. It didn’t let up from there. The trio attacked the songs at full pelt, even the usually more measured 'You’re Nothing Special’ given extra power. Other biting 60s-pop style singles ‘Little Reason’ and ‘Tell Me, Tell Me’ followed a similar path.

Orwell is not one to hide his light under a bushel so whilst The See No Evils might imagine shaking maracas at Eel Pie Island, the Magnetic Mind turning on the freaks at the Avalon Ballroom, Paul – with his “let’s see those hands in the air” and leaving bandmates to play as he dumps his guitar to jump in the audience – doesn’t see a Leytonstone pub in front of him, with posters for tribute act Motorheadache on the walls, but his mind’s eye conjures visions of Wembley Stadium. Gotta kinda admire such confidence. Fortunately his undoubted talent and ability just about let him get away with it.

Such talent is evident by the quantity and quality of tracks he’s released and already recorded so whilst a furious take on Larry Williams/The Jam’s ‘Slow Down’ was fine, to follow it with another three covers in a row – James Brown’s ‘I Got You’, Benny Spellman/Artwoods ‘I Feel Good’, and Billy Lee Riley’s ‘Red Hot’ - was slightly strange. Nothing wrong, as such, with any (‘Red Hot’ was indeed that) and Paul was simply cutting loose and having fun, yet felt unnecessary to fall back on so many fast tempo covers - like an early Strypes - when his own material is strong enough. Next time Paul, next time. Despite that journalistic nitpick it was a superb end to the night. 

JANUARY PLAYLIST

Joy Marshall goes shopping. 

1.  Charles Mingus – “Moanin’” (1960)

I was fortunate to catch the Mingus Big Band twice at Ronnie Scott’s this week. Sounds extravagant but I’m pleased I did as each 90 minute set only had time for half a dozen treatments of Mingus material in a Big Band format. They were fantastic on both occasions (different sets) and I guess Mingus himself would’ve approved of hearing his music arranged and presented in a way which wasn’t always practical in his lifetime. Among the numbers aired were Gunslinging Bird, Song With Orange, Diane, Bird Calls, Sue’s Changes, The Child’s Hour of Dream, So Long Eric, Goodbye Pork Pie Hat, Fables of Faubus (retitled Fables of Trump) and one of my favourites, from Blues & Roots, Moanin’.

2.  John Ashley – “Little Lou” (1960)

Ashley featured in many late 50s/early 60s TV shows and films (ones containing cars, werewolves or beaches appear to have been favourite) but it’s this rocking teen-drama which is of most interest. He’d later go on to produce the first four series of The A-Team and it’s his voice that narrates the introduction, fact fans.

3.  Little John – “Just Wait And See” (1965)

Fat horns, clinking keys, punching drums, call and response vocals, thumping, dog’s dangly bits floorfiller. Don’t even think about trying to find an original on Gogate. Sensational.

4.  Joy Marshall – “And I’ll Find You” (1968)

Recorded shortly before Marshall’s untimely death, Vicki Wickham’s sumptuous production for her Toast Records makes this fall somewhere between Dusty Springfield and Dionne Warwick.

5.  Glass House – “Touch Me Jesus” (1971)

Holland-Dozier-Holland get sanctified on their Invictus label with a 45 aimed at the dancefloor more than pulpit. The fact no members of Glass House appeared on the record, which was in fact recorded by Darlene Love’s group the Blossoms, didn’t appear to trouble their conscience.

6.  The Miracles – “Ain’t Nobody Straight In LA” (1975)

From the LP City of Angels which provided the Miracles biggest ever hit, “Love Machine”, this was a bold move. It took a couple of listens to catch which side of the fence they were with sitting – sounded like a piss take at first (“homosexuality is a part of society, well I guess they need more variety”) - but it’s supportive, embracing of diversity, with the group deciding “gay people are nice people too, man” before heading off to a gay bar. Cracking tune too.

7.  George Jones – “If Drinkin' Don’t Kill Me (Her Memory Will)” (1981)

From the song’s Wikipedia entry: The upswing in his professional life brought little peace to his personal one; dogged by a years-old cocaine addiction and a near thirty year drinking problem, he continued to miss shows, engage the police in high speed chases, and show up at award shows obviously inebriated to accept honors. The despairingly hopeless "If Drinkin' Don't Kill Me (Her Memory Will)" verged on topicality as Jones sang about falling out of cars at four in the morning and drinking "twenty bottles."

8.  The Stairs – “I Remember The Day” (1988)

Recorded by a young Edgar Summertyme during his time on a YTS scheme at Attic Studios with early evidence of his Syd Barrett/Strawberry Fields leanings. Now featured as one of many curios on a new odd and sods Stairs compilation, The Great Lemonade Machine In The Sky.

9.  Spiritualized – “She Kissed Me (It Felt Like A Hit)” (2003)

Hold tight as J. Spaceman launches this rocket.

10.  Paul Orwell – “Attack” (2016)

The songs are pouring out of Paul Orwell at the moment and Heavy Soul are catching them in a bucket and sticking them out as fast as their little arms and legs are able. This latest blink and you’ll miss it 45 is a simple yet effective acid rock Bolan boogie.

CONFESSIONS OF A TEENAGE MOD: FIVE ALBUMS THAT CHANGED MY LIFE

Those fine people at Adaptor Clothing – purveyors of modernist garb from Mikkel Rude, John Smedley, Brutus, Fred Perry, Bass, Baracuta and so forth – have scooted up and asked for five albums that inspired me from the “Mod subculture”. Never one to turn down an opportunity to chat about records, Mods and myself, I thought it’d make any interesting post, so let’s see.

All five on the list were acquired during the formative stages of my Mod conversion, a long time ago, during the early to mid-80s, and all provided a bedrock which sustains to this day. Back then Mod adhered to a very strict set of rules. Things were or weren’t Mod and no one had much difficulty with it. It felt a unified scene; there was a kinship with others, as you shared the same values and passions. It was a wonderfully exciting time. Non-Mods hated us and it only added to our sense of righteousness and air of superiority.

Mod today is wide open. There are a multitude of factions; people have individual takes on what it means and it’s been assimilated into the mainstream. It is now possible to pick and mix elements and different generations put their own spin on it: it stretches from the late 50s/early 60s modern jazz of John Coltrane or Tubby Hayes to current young guitar band The Spitfires and talented individuals like Paul Orwell. There are parts I feel no connection with but at the same time it’s been at the core of nearly everything I’ve enjoyed over the years. It’s led to the best nights out, with the best dressed people, listening to the best music, and it still steers into new areas of discovery. All of that can be traced back to the influence of these five albums, listed in the order I encountered them.

THE WHO - MY GENERATION

It’s testament to Townshend’s understanding of his young Mod audience that Mods continue to love The Who even long after the band moved from participants to occasional observers in the scene. Their debut LP is a record full of macho swagger, feisty attitude and flickers of vulnerability.

I’ll sheepishly admit to miming with a tennis racket in my bedroom mirror to ‘It’s Not True’, ‘The Kids Are Alright’ and ‘La-La-La-La-Lies’ (I skipped most of the bluesy tracks). They made me want to be in a band. Many years later when I was, playing my second ever gig, I attempted to do-a-Townshend during the final song in the set. After ramming my cheap guitar into the amp I tried smashing it on the stage. What I hadn’t considered was the stage was built of plastic beer crates and when I axed it to the floor it immediately bounced up, almost whacking me in the face. It didn’t look good, the guitar survived unscathed and I never tried it again.

The sleeve perfectly fits the record: the military-style stencilling; David Wedgbury’s photograph showing them stood next to highly inflammable propane drums; hair dyed orange and black; the clothes; jackets made of union jacks draped over their shoulder; Keith Moon with the face of an innocent cherub. They’re extraordinary looking geezers, especially Roger Daltrey who fixes the camera with a mix of frown and smirk. He’s telling the onlooker to f-f-f-f-off. What teenager couldn’t relate to that? I was lucky enough to get the album signed by Daltrey and he couldn’t have been friendlier or more accommodating. “You guys look great,” he kept saying to my group of friends.  It meant the world to us. We tried to approach Pete Townshend but he screamed “Argh, Mods!” and darted down the stairs. Even that felt like a compliment.

GEORGIE FAME – 20 BEAT CLASSICS

If you’re going to “do Mod” you need to assume a position of cool. Not everyone can do it. Some try hard and if you have to try hard you’re not cool; it’s one of life’s unfortunate truths. Coolness radiates from Georgie Fame. Whereas The Who turned up the volume, thrashed instruments, demanded attention, Georgie sat behind his Hammond – which he made the Mod instrument - and with the minimum of fuss served up a selection of soul, jazz, bluebeat and threw in a few pop touches. This was a Mod diet and this compilation served as an invaluable entry into those worlds. And look at the photograph here. Poised to light his fag, sleeves rolled up and about to get to work. Georgie means business. I love the look: the way his hair is cut in a French Crop and he’s wearing a simple pink button-down. It’s understated, there’s no need to overdo anything. Georgie Fame had exquisite taste in clothes and in the music he adopted. If you want a neat definition of Mod, there’s one right there.

VARIOUS ARTISTS – MOTOWN CHARTBUSTERS VOL. 3

Imagine a world without Motown. Makes me shudder. With a $600 family loan Gordy built his empire of labels which continue to fascinate and inspire. Even now previously unreleased gems surface and that’s in addition to absorbing all the rarities hidden in the dark recesses of Hitsville’s vast series of releases. Someone at school also gave me Tamla Motown Presents 20 Mod Classics which was equally important – it’s probably a better LP  - but Motown Chartbusters Vol. 3 was one of only a few records I managed to “borrow” from my parents and being an original 60s copy felt more authentic and treasured. It has this amazing silver and glittery sleeve, as if Tamla Motown knew what a special record it was so threw extra money at it. It’s full of classics: ‘Roadrunner’, ‘I Heard it Through The Grapevine’, ‘Stop Her On Sight’, ‘Get Ready’ etc. Songs built to last. Who can ever tire of listening to Smokey Robinson and the Miracles’ ‘The Tracks of My Tears’? For all the incredible records and songs I’ve unearthed in a never ending quest to discover something new and exciting, sometimes the very best are right there in plain sight. It’ll be one hell of day I find anything to top ‘This Old Heart Of Mine’.

VARIOUS ARTISTS – ON THE SOUL SIDE

One of the earliest Kent compilations and the first one I bought. Soon after, in the school holidays, I attended my first all-nighter, at the 100 Club. It is incredible those all-nighters are still running and although I’m no longer a regular I still dip in and out. Ady Croasdell, for his efforts with Kent and the 100 Club all-nighters, isn’t a musician but his influence on me – and many, many others - has been immeasurable. To Ady, it’s always been about the artists, not the DJs, a point too frequently forgotten with the who-played-what-where-first debates. It’s interesting to note there are no references to “Northern Soul” on this LP – it’s all “60’s Soul”. To me, 60’s Soul is pure Mod and Northern Soul is something else. There’s plenty of overlap of course between scenes and sounds but my mind’s eye associates the former with sharp dressers doing The Block and the later conjures visions of vest wearers performing handstands. That aside, soul music – as a whole, in all its forms – is a satisfyingly deep well. Over time it becomes more difficult finding truly exceptional songs but that increases the joy when it happens. Don’t stick with the familiar: keep on pushing.     

THE ACTION – THE ULTIMATE ACTION

The most played LP in my collection by the longest piece of tailor’s chalk. When I bought this from The Merc off Carnaby Street in the mid-80s little did I know how it would remain a constant in my life. The Action are my favourite band of all time. Back then there was a great mystery about them, which undoubtedly added to their appeal. All the information the young kids of my generation had were the photos on the cover and inner sleeve and a few paragraphs from Paul Weller to accompany The Action’s small output. Since then I’ve watched with delight every time a new piece of information, a new photograph, even previously unheard recordings have been made available. I’ve had the honour of having articles published about them, interviewed them, seen them reform and play live, been invited in to some of their homes, written liner notes for Reggie King releases on Circle Records, and with deep sadness attended Reggie’s funeral where hearing ‘Since I Lost My Baby’ in a tiny chapel provided a profoundly moving and privileged experience. I remain in awe of The Action: they had style, class, looks and talent in abundance. My life has been enriched beyond words thanks to the day Jimmy at The Merc passed me this record.

What albums influenced your initiation in to the world of Mod?

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PAUL ORWELL DISCUSSES HIS DEBUT LP “BLOWING YOUR MIND AWAY” (2015)

As we reach the halfway mark, Paul Orwell has stumped a ruddy great stake in the ground to waltz off with many people’s Album Of The Year choice following the release this month of Blowing Your Mind Away.

Such has been the buzz generated by this young songsmith, after two singles (“Little Reason” and “You’re Nothing Special”) were snapped up by frenzied record hounds, the LP sold out before it even hit its release date on pre-orders alone. It didn’t even see the inside of a shop record rack. Five hundred copies gone in an instant; without anyone hearing it. Those savvy enough to have been paying attention and who got in quick have been duly rewarded with a stunning collection to proudly sit alongside the classic 60s records which so inform Blowing Your Mind Away. There’s no one dominant influence as Orwell fills his pick and mix bag with goodies from all over the shop: some wild freakbeat guitar breaks; bit of the Eyes riffing here; Blues Magoos organ there; a hint of Between The Buttons; some Hollies; the Animals; Syd Barrett; is that a Jacques Dutronc fuzz guitar line? A touch of first album Horrors?

Monkey Picks had a word with Paul and tried to pin him down on his biggest influences. “The Beatles, Stones, Phil Spector, Joe Meek,” he says, “the usuals really”. The mention of Phil Spector and Joe Meek are most telling and give the biggest indication of where Paul’s coming from, especially the DIY/record at home ethic of Joe Meek. All the tracks on the album were written, produced and played by Paul (with the exception of the drums) and recorded in his bedroom. Not that it sounds like it and not that finding a release was initially uppermost in Paul’s mind.

“I wrote and produced a series of tracks, never really intended to see the light of day. My best friend Michael [Parrett], who is the band now, heard it and said I should release it. So I continued to try and make something where each track could be an A side single release. I'm not too sure how many tracks I wrote, but I kept cutting and changing until the best fourteen where finished.”

Those eventual fourteen – all short and without an inch of wasted fat – don’t contain a single duff track among them – the benchmark of a great album rather than a very good one. Even on first play it sounds like a Greatest Hits collection. It’s that immediate. “Very kind of you, this is what I really hoped to achieve. So for you to say that really means a lot.”

With the record already a sought-after collector’s item I wonder if Paul’s sold himself short by only releasing a limited edition vinyl LP. “As a vinyl collector it made sense to have a real release. I couldn't really see the point of releasing MP3 or CDs without a big promotional campaign behind it.” Any plans for a repress or to make it more widely available? “If a big label or good indie label had the funds to do it justice then I could go with the flow. A repress would be good, especially to get it around the world more and into shops.”

With a sold out album, promotional gigs hardly seem necessary but Paul’s keen to get back out playing. “I’m auditioning members at the moment. All I wanna do is play again. It’d be great to play “Fangz”, “Bad Blood” and “Here and Now” live and raw.  It's frustrating to have to rely on other people to do shows and things. I sometimes wish I’d started an acoustic album so I could just be the loner I am.”  

There’s another issue to sort. “I really want a publishing deal; I am song writer more than anything else. I would like to get into writing more and more. I have hundreds of songs I’ve started in different genres; I’ve hoarded stuff for far too long. So hopefully I’ll get it all out before I’m gone.”

I’m sensing a very determined individual. “I am," Paul confirms, "and anyone who stands in my way or holds me back can just do one.”

Blowing Your Mind Away by Paul Orwell is released on Heavy Soul Records. Tape it off a friend. 

APRIL PLAYLIST

On the decks this month...

1.  Jim Doval and The Gauchos – “Mama, Keep Yo! Big Mouth Shut” (1965)

Stalking garage version of the Bo Diddley classic. Love the lead guitar almost as much as I love the mangling of the rules of punctuation. That’s punk rock for ya man. What’s also punk rock is the record has the most sudden ending I’ve ever heard; like someone’s whipped the needle off in disgust. For that, I’ll turn a blind eye to their ponytails.

2.  Brother Jack McDuff – “Snap Back Jack” (1967)

Brother Jack on the Hammond, flanked by the horns of Leo Johnson and Danny Turner, Melvin Sparks on guitar and Ray Lucas on drums open Jack’s third of four albums for Atlantic, Do It Now! There’s nothing surprising about the LP - it's standard McDuff fayre - but no less tasty for it.

3.  Neil MacArthur – “World Of Glass” (1969)

This 45 on Deram, sung by Colin Blunstone and written and produced by Mike Hurst, is utterly exquisite. If you’ve never heard it, prepare for your mind to be blown with its beauty. If you have, listen again and marvel in fresh awe.

4.  C.C.S. – “Boom Boom” (1970)

Tucked away on the flip of “Whole Lotta Love” (the old Top of the Pops theme), Alexis Korner leads the Collective Consciousness Society through a big fat take on the John Lee Hooker chestnut.

5.  John Cale and Terry Riley – “Church of Anthrax” (1971)

Ten minutes of rumbling bass, squiggly harpsichord, soprano sax, pulsating rhythms, viola and goodness knows what else manages to be both hypnotic and invigorating.

6.  The Soft Boys – “Kingdom of Love” (1980)

Robin Hitchcock’s love of Syd Barrett clearly worn on his sleeve on this single from Underwater Moonlight. I say single but more accurately it was the first track on their Near The Soft Boys EP which also includes a great version of Pink Floyd’s under-the-counter “Vegetable Man”.  

7.  Yoshida Brothers – “Storm” (2003)

According to Wikipedia the Yoshida Brothers are “performers of the traditional Japanese music style of Tsugaru-jamisen which originated in northern Japan”. Now, I dunno much about Tsugaru-jamisen but the Brothers’ use of synths and drum machines behind their shamisen playing probably upsets a few purists but that’s no concern of ours, this is pretty damn cool.

8.  Mavis Staples – “See That My Grave Is Kept Clean” (2015)

Your Good Fortune is Mavis’s new 4-track EP and finds her in fabulously form, real deep soul that draws in the listener to every heartfelt word, and with a slightly more contemporary accompaniment than usual. It works beautifully, especially on this old Blind Lemon Jefferson number.

9.  Paul Orwell – “You’re Nothing Special” (2015)

Latest sold-out 7 inch from Paul Orwell – who, incidentally, plays, sings, records and produces everything himself – is a double-sider in the truest sense of the word and shows he’s less a one trick pony and more a talented ringmaster of his own rock and roll circus. “Like I Did Before” is a kicking bundle of beat-psych with punchy organ and a fighty guitar break, whilst “You’re Nothing Special” is built on Brill Building pop classicism with simple yet effective lyrics and a melody so strong one could hang a floppy hat on. As Orwell so succinctly said recently, “I’m an artist, not a genre”.

10.  Joe Sarakula – “Northern Soul” (2015)

Joel Sarakula takes a tired Wiganesque northern soul template and creates a slick and stylish modern soul mover with precisely the right amount of out-of-reach anguish. It’s truly superb. Only surprise is it’s released on the tiny independent Heavy Soul label (full credit to them, and for the Orwell release too) as to me it sounds like something with wider commercial appeal.  

PAUL ORWELL - "TELL ME TELL ME" (2014)

Watching the new video from Paul Orwell & The Night Falls three things spring to mind. In order: good hair, good footwear, good tune. That’s always a winning hat-trick in my book especially if I can hear elements of both The Animals and Paul Revere & The Raiders.

London based Orwell writes, plays, records and produces his own material which has yet to be released in any physical format but if "Tell Me Tell Me" and his earlier "Little Reason" are anything to go by, it won't be long before an enterprising label sticks his stuff out. It should be worth waiting for.

AUGUST PLAYLIST

A day late but here's a selection of tunes popular in Monkey Mansions over the previous month.

1.  The Hammond Brothers – “Thirty Miles of Railroad Track” (1962)

Burt Bacharach was on a hot streak in 1962 (“Any Day Now”, “Don’t Make Me Over”, “Make It Easy On Yourself”, “Only Love Can Break A Heart” etc) yet this chugging cut written with Bob Hilliard for the Hammond Brothers on Abner Records slipped through the net. Makes a great club 45 now.

2.  The Mamas and Papas – “Straight Shooter” (1966)

America didn’t mind (or notice) John Phillips’ ode to dope smoking but it did get upset If You Can Believe Your Eyes and Ears featured a toilet on the sleeve, declaring it obscene and forcing a hasty withdrawal from record stores.

3.  Wade Flemons – “Two of a Kind” (1967)

The follow-up to the thumping northern monster “Jeanette” and there’s no denying a touch of showbizzy pizazz but I can’t help like it despite imagining Tarby, Brucie or Leslie Crowther performing it as a game show theme tune. This was the last of Wade’s solo 45s before joining the embryonic Earth, Wind and Fire: the Salty Peppers.

4.  Nina Simone – “House Of The Rising Sun” (1967)

Squillions of version of this – Nina herself cut a slow one five years previously – but the pulsating, thigh-slapping take on Nina Simone Sings The Blues is the one to slap your thighs to.

5.  The Gaylets – “That Lonely Feeling” (1968)

Outstanding Jamaican soul music making loneliness sound like the most joyous feeling in the world.  

6.  Dion – “Purple Haze” (1969)

I stumbled across this on a site I can’t now find but they flagged it up as an example of one of the worst records ever made. How very, very wrong! I love it. Almost unrecognisable from the original, Dion gives it a breezy, flute backed, Fred Neil/Tim Hardinesque folk treatment. Genius. The whole Dion album is like this and suitably wonderful. 

7.  Paul Williams – “Someday Man” (1970)

Williams is better known for his songs written for others; from teh sublime (Kermit the Frog) to the ridiculous (David Bowie). “We’ve Only Just Begun” was in the charts for the Carpenters the year Williams put out his version of “Someday Man”, already recorded and released by The Monkees.

8.  The James Taylor Quartet – “Car Chase” (1989)

From the soundtrack to their imaginary film The Money Spyder. Listening to it again now it’s easy to hear how they kick started the whole Acid Jazz movement and a frenzy of Hammond organ LP purchases; few – if any – were as good as this album.

9.  Kings Go Forth – “Now We’re Gone” (2010)

Fatback funky soul from this Milwaukee ten-piece outfit’s The Outsiders Are Back led by the smashingly named Black Wolf.

10.  Paul Orwell – “Little Reason” (2013)

The sunny psychedelic summer squeezes out one more groovy tune before the nights draw in. Not officially released anywhere yet but can be heard on soundcloud.