MONKEY PICKS HIGHLIGHTS OF 2012

Seeing how everyone else is doing one I’ll follow suit with a review of the year; after all it’s a quiet week and easier than writing anything new. Think of it as one of those television shows cobbled together from previous episodes after a main character dies or someone has a dream remembering – in soft focus – all the fun times they had. Cue hazy screen…

The uncovering of only the second piece of film footage of The Action – doing "I'll Keep On Holding On" outside the Royal Albert Hall – was the start of fruitful year for fans of this most treasured band which culminated in the long awaited publication of Ian Hebditch and Jane Shepherd’s superb biography The Action: In The Lap of the Mods and the release of a previously unheard recording. In between those landmarks I was lucky enough to interview drummer Roger Powell and we spent a couple of hours chatting about the band. I was especially interested in the way he compared the mod Action period with the underground Mighty Baby period that followed. If the launch party for the book felt like the final chapter in the Action story, fear not: I can reveal that Circle Records will on the 18^th February 2013 release Reggie King’s Looking For A Dream, a fifteen track compilation of recordings he made circa 1969, mostly with his ex-Action bandmates, which will elevate him even higher in people’s estimation. Mark that date on your diary now.

The Action were firmly established at the top of my loves but 2012 saw a new name, Rodriguez, enter high on that list. Somehow he’d evaded my radar until the Searching for Sugarman documentary hit cinema screens in July but now he’s up there as a firm favourite. The film has this month been released on DVD and I can’t urge you enough to watch it. It’s brilliant and incredibly moving, as are the best tracks from his two albums Cold Fact and Coming From Reality. It was a real privilege to see Rodriguez at the Royal Festival Hall.

This week has seen the passing of soul sisters, Marva Whitney and Fontella Bass. I don’t usually mark these events as new entrants to the Rock and Soul Heaven Choir are so frequent it would make Monkey Picks read like the back pages of the Eastbourne Church News but I was genuinely saddened by the death of Michael Davis of the MC5 and the indomitable Etta James. The MC5 with Primal Scream show in 2008 is one of the best gigs I’ve ever been to and back in 2004 myself and friend were in New York when we saw that Etta was due to play B.B. King’s club in a couple of weeks’ time. We seriously toyed with the idea of returning especially to see her. We didn’t and I’ve regretted it ever since. Special mention here to the Independent newspaper for making her front page news with a massive photograph. If you’ve not read Etta’s autobiography Rage To Survive you’re missing out.

On the subject of books, Dougal Butler’s ludicrously funny Moon The Loon, telling of his time with Keith Moon, saw print again as Full Moon and also made it as a “talking book” read by Moonie’s mate Karl Howman. Dougal, forever the storyteller, entertained us – quite candidly at times - one Sunday morning as we conducted a long interview with him about Keith Moon and his role in attempting to keep his employer out of too much trouble. We (Mrs Monkey and I) met with Dougal a couple of other times, most notably at Pete Townshend's Q&A session down Brick Lane to promote his autobiography Who I Am (still not read it). That night turned out to be a mod episode of Stella Street with Pete, Dougal, Richard Barnes and  supporting cast of us who followed in their desert boots.

On the hobnobbing front it felt slightly surreal talking to Public Enemy's Chuck D and Flavor Flav in my local record shop but a chance encounter with the Manic Street Preachers' James Dean Bradfield was something of a dream come true and Mr Bradfield was as lovely a man as I always thought/hoped he’d be.   

Every band you’ve long forgotten has reformed during the last few years but the one I’ve been most taken with is the gradual re-emergence of The Primitives. No big fanfare, just a gentle easing back into view with a gloriously infectious and upbeat album Echoes and Rhymes and a a terrific gig at the Borderline.

The Primitives didn’t in any way feel nostalgic but the same couldn’t be said for early 80’s mod favourites The Truth who played the same venue. It did though give me an opportunity to recount my young mod story and judging from the reaction it received it was an experience shared by many. A rare UK appearance by Todd Snider ("Who?" you ask) was a gig highlight but although I’m always searching for new bands its apparent most of the gigs I saw was by acts over a certain age so I need to make a concerted effort to check younger bands next year. One especially young band I did see was The Strypes and all eyes will be on them during 2013 to see if they make the transition from outstanding covers band to creating something of their own.

One new band who made a huge impression on me were Kontiki Suite and I’ve already banged the drum loudly for their stunning debut album On Sunset Lake which gets a full release in the next couple of weeks. Shrag’s Canines album is the other one which has most impressed me. It’s difficult to describe but it’s a grower and once under the skin stays there. I caught Shrag with The Lovely Eggs at the London Palladium when DJing during a memorable night put on by Idle Fret records.

For twenty of the most memorable songs of 2012 check the 2012 Spotify Playlist.

Roll on 2013.

TODD SNIDER at the BORDERLINE, LONDON

I wasn’t planning on writing about Todd Snider’s gig from last week but it would be remiss of me not to mention it; especially as I’m being nagged by Monkey Brother who was beside himself with excitement beforehand (“pissing my pants” was what he actually said) at the rare opportunity of seeing Oregon’s Snider this side of the pond. I warned against building his hopes too high. I needn’t have worried.

I’m never entirely sure what defines the genre “alt-country” but I think its contemporary country music without Stetsons or syrups. Kris Kristopherson once said “If it sounds country, man, that’s what it is.” Snider sounds country most of the time even though he described himself on Wednesday as a “stoner folk singer”. That tag seems more on account of his slightly drawled vocal, hippy idealism, leftish politics and tiny slits for eyes rather than his work ethic. His discography bears testimony to that with an album almost every year since his debut Songs From The Daily Planet back in 1994, none of which have been released in the UK.

Those albums mostly feature a back-up band but this gig was just Todd standing centre stage with a guitar, a harmonica and a bunch of songs. He’s a storyteller and an inventive lyricist; it was hard to second guess the lines as they veered off in unexpected directions, some with a simple knockabout quality, others long, winding, talking blues packed with ideas and rants. Stripped of the more overt country styling of his earlier records, those lyrics were to the fore and it wasn’t all heartaches and hangovers. In one song alone he told the story of The Kingsmen recording "Louie Louie"; Marilyn Manson laying "weird chicks"; dead bodies on television reports; and threw in a snatch of "Let's Get It On". Not your standard country fayre by any stretch of the imagination.

Whether tender or as the self-deprecating outsider Todd’s sense of comic timing bought many a chortle during the songs or the banter in between. It was a masterful performance. There are occasions when one watches artists (or anyone at the top of their profession) and think that’s as good as it gets. Every so often Monkey Brother and I glanced at each other, shrugged, raised our eyebrows and shook our heads. There wasn’t anything to say, it was just an acknowledgement that yep, that’s it. Just it. When I think of the time and money I’ve spent on other would-be troubadours I wouldn’t trust to deliver a letter let alone a song, it makes me feel the waster.

The first half of his set spanned his career from his debut right up to the forthcoming Agnostic Hymns and Stoner Fables before playing audience requests during the second half. His promise to play them all went unfulfilled but after 95 minutes and ending with "Conservative Christian, Right Wing Republican, Straight White American Male" he’d earned his corn. If I were a “stoner folk singer” I’d be putting my dope back in the tin and hanging up my guitar.

FEBRUARY PLAYLIST

A selection of tunes the neighbours have been treated to the last couple of weeks.

1. Floyd Tillman – “Drivin’ Nails In My Coffin” (1949)
Let’s share the thoughts of William Burroughs from his book Queer: “Now there was nothing but this awful Oklahoma honky-tonk music, like the bellowing of an anxious cow: “You’re Drivin’ Nails In My Coffin” – “It Wasn’t God Made Honky Tonk Angels” – “Your Cheatin’ Heart””. Not a fan then Bill.

2. Oscar McLollie and his Honey Jumpers – “Wiggle Toe” (1954)
If you went to the hop in 1954 you can bet there was some ridiculous dance to this swingin’ humdinger.

3. The Valadiers – “I Found A Love” (1963)
Quiz question: Who were the first white group signed to Motown? Answer: The Valadiers. A sprightly doo-woppish 45 recorded in ’61.

4. Jimmy Rushing – “My Bucket’s Got A Hole In It” (1963)
Mr Five by Five they called him. Five feet high and five feet wide, he made his name hollering for Count Basie and could swing with the best of them as shown on this big band treatment of the old Hank Williams tune.

5. Clydie King – “The Thrill Is Gone” (1965)
Not the BB King song but a truly stunning Spectoresque weak-at-the-knees soul heartbreaker. I’ve said it before but if there’s a more gorgeous voice than King’s out there I’ve yet to hear it. Don’t forget “Missin’ My Baby” either. Or “My Love Grows Deeper”. Or “If You Were My Man”. Or, Christ, near nuff all of them.

6. The Kinks – “Two Sisters” (1967)
Once met a bloke in a San Diego bar who was raving about the time he met Ray Davies and how he’d been a fan since the beginning. “Oh yeah, what was the first record you bought?” I asked. “The first one, Schoolboys In Disgrace” he said, all chuffed like. Quite what he would have made of Something Else from nine years earlier I can’t imagine.

7. Pearls Before Swine – “Uncle John” (1967)
Much of One Nation Underground comprises of off-kilter psychedelic folk sung with Tom Rapp’s prominent lisp (that’s tempted you). “Uncle John” is delivered with more gusto in a Highway 61 Revisited meets the 13th Floor Elevators kinda way.

8. MC5 – “Baby Won’t Ya” (1971)
The magnificent MC5 out-Face the Faces, out-roll the Stones and out-boogie Bolan in five and half minutes of sheer exuberant joy. As you can see from the profile picture I managed to meet bassist Michael Davis the other night at the Dirty Water Club and spent about half an hour chatting away (see picture above - that's Davis on the left!). Wonderfully open chap with an impressively level attitude. Top man.

9. Sandy Denny – “It’ll Take A Long Time” (1972)
I’ve never got on with those supposed classic Fairport Convention albums but thought I’d try Denny’s acclaimed solo stuff. Still don’t dig it. Her voice grates on me; it’s a shame because musically it’s quite beautiful in places. “It’ll Take A Long Time” is a good case in point, had Ronnie Lane sung it, it’d be almost perfect.

10. Todd Snider – “Iron Mike’s Main Man’s Last Request” (2004)
On a LP (East Nashville Skyline) that’s chockablock with clever/intelligent/amusing lines, none catch the ear quite like “You’re still the champion and everybody knows you are/ Come on Iron Mike, let’s take the Porsche to the titty bar”.