THE HIGHER STATE - VOLUME 27 (2016)

The Higher State return for album number five with a reshuffled line-up (most notably the departure of Mole from the drum stool) and the bit held firmly between their teeth. After the chime and jangle which characterized 2013’s The Higher State, this is a tougher, more abrasive effort and recalls the work mainman Marty Ratcliffe did back in the era of The Mystreated, particularly their Ever Questioning Why period, when Farfisa, folk, fuzz and fuckedoffness was the order of the day.

All of that is here again plus, as always, resolutely authentic garage recording techniques, equipment and (lack of) production creating a thick, claustrophobic air – far more Austin, Texas (home of their record label, the 13^th Floor Elevators and the Golden Dawn - how they must love that association) than Sandgate, Kent (where they rest their heads).

Ratcliffe is in snarling and scathing mood - always his most effective setting - taking pot shots at former relationships in ‘Long Someways To Go’ and the scornful ‘I Suppose You Like That Now?’ while artist-in-his-own-right Paul Messis pens four of the twelve tracks, including the two wildest rockers, ‘Forest Through The Trees’ and the scorching ‘Smoke and Mirrors’.

Best of all for bitterness – and no coincidence the album’s highlight - is the acoustic ‘When We Say’ which launches these lyrical rockets: “I’d rather be weak and have feelings than be just like you, strung up and cold” before concluding with “There’s no accounting for taste, but at least I have some”. Ouch.

A couple of tracks on side two don’t cut such a deep impression but overall Volume 27 is filled with spite, rage and good old garage grumpiness.

Volume 27 by The Higher State is out now on 13 O’Clock Records. Available here.

JOAN COLLINS GOES SNORKELLING

Apologies for lack of posts recently but busy with other stuff and the football's on. Got a few new albums, either out now or coming out soon, which I'll try and do some short reviews for in the week  but in the meantime here's Joan Collins in her snorkelling gear.

DISGUISES - ISSUE 4

Fans of The Jam and all things loosely related may be interested in the latest issue of Disguises.

This is the first issue I’ve seen but enjoyed both its positive spirit and range of short articles covering a broader scope than expected. Among the features are a round-up of recent and forthcoming activity connected with Weller and his cohorts (news of Paul’s mooted television series is a tantalising prospect); a look at the enduring appeal of Mod; an interview with current artist Persi Darukhanawala who paints "responses" to songs; a tribute to Jam security guard Joe Awome; and a first-hand account of The Jam’s appearance on The Tube (as in Channel 4, not station at midnight).

There are also other bits and bobs across 32 colour A5 pages.

For ordering details see Disguises fanzine.  

RAHSAAN ROLAND KIRK: THE CASE OF THE THREE SIDED DREAM (2014)

Rahsaan Roland Kirk played multiple instruments simultaneously. Such was his phenomenal musical brain, imagination and showmanship he could blow on three horns – fingering different melodies on each - and still have time for a quick blow on a whistle and a blast of nose flute.

Adam Kahan’s 2014 documentary The Case Of The Three Sided Dream tells Kirk’s story through interviews, the use of animation and, best of all, via footage of Kirk in action during the late 60s until his death in 1977. It’s the music that drives the film and the music is bold, funky and soulful. I always appreciate jazz much more when I can see, as well as hear, it played so the footage here adds real value.  

The clips are generally longer than the usual snippets afforded in most documentaries and although there are biographical brushstrokes – how Kirk went blind as a baby, his civil rights activism, his efforts to force jazz (or, as he called it, “Black Classical Music”) onto American television, and the defence against gimmickry – it doesn’t get bogged down in detail. There’s next to nothing about significant releases or recording sessions, record labels, fellow musicians or his private life; it’s more concerned with painting the soul of the man.

Well worth checking out, it’s available now to rent (£3.99 for 48 hours) or buy from Vimeo.

KEEP LOOSE - JIMMY McGRIFF (1968)

Here's Jimmy McGriff and his trio in Paris in, by my reckoning, 1969. The group consists of McGriff (organ), Leo Johnson (tenor sax), Larry Frazier (guitar), Jesse Likpatrick (drums).

The track 'Keep Loose' is taken from his super-funky '68 LP, Jimmy McGriff Organ and Blues Band Plays The Worm.

MAY PLAYLIST

1.  Nolan Strong and the Diablos – ‘Daddy Rockin’ Strong’ (1955)

Pre-dating ‘Daddy Rollin’ Stone’ is this raunchy stroller written and performed by Detroit attraction Nolan Strong and the Diablos. Strong was a big influence on young Smokey Robinson and later doowop loving Lou Reed.

2.  The Beach Boys – ‘Don’t Worry Baby’ (1964)

Brian Wilson, with Al Jardine, played the London Palladium this month and did the whole of Pet Sounds plus a load of other stuff including this, sung on the night by Al’s son Matt. Brian should give Matt Jardine more songs as this was exceptional. Famously one of Keith Moon’s favourite songs, he wasn’t so daft after all.

3.  Judy Stone – ‘4,003,221 Tears From Now’ (1964)

Okay, this isn’t a great record – far too jaunty for someone with that amount of tears to shed - but gotta admire that precise prediction. Reached number 11 in Australia, fact fans.

4.  Tawny Reed – “I Got A Feeling” (1965)

Tawny came outta South Wales aged 17 seeking fame and fortune in London. She was soon back singing in the Cardiff clubs but not before cutting this supercharged version of the Baby Washington’s Sue 45. Now featured on new comp, Scratch My Back: Pye Beat Girls.

5.  Lulu – ‘People In Love’ (1970)

Got to hand it to Lulu for her New Routes album, her first for Atco. Recorded at the end of ’69 in Muscle Shoals Sound Studio with all the Swampers and plus Jerry Wexler and Arif Mardin at the controls. Tremendous stuff.

6.  Gilbert O’Sullivan – ‘Alone Again (Naturally)’ (1972)

I remember this as a kid and didn’t think too much of it, it was just another song on the wireless, yet listening to it properly it’s real tear jerking stuff. Truly heart breaking. There can’t be many sadder songs. Brace yourself and have another listen.

7.  Poco – ‘Brass Buttons’ (1973)

Nothing will beat the Gram Parsons version - Evan Dando has a good stab but does a straight copy – yet Poco alter it but still keep the beauty. Taken from the album Crazy Eyes, the title track also paying homage to Parsons.

8.  Richie Havens – ‘Going Back To My Roots’ (1980)

The Lamont Dozier original was okay, Odyssey’s disco smash was shit, but this is fantastic. Not only does Havens sing it with sincerely and emotion but the opening couple of minutes of funky piano build the foundation of House music. One love. 

9.  Violent Femmes – ‘Good Feeling’ (1983)

‘Blister In The Sun’ has previously put me off going anywhere near Violent Femmes but this is more Velvet Underground and Nico and far less irritating.

10.  Manic Street Preachers – ‘No Surface All Feeling’ (1996)

The Manics have been out commemorating the 20^th anniversary of Everything Must Go and I’ve been celebrating 25 years of going to see them. Thing is, I did take a couple of years out when this was released due to the combination of not wanting to see them without Richey and not wanting to see them in super-sized megabowls with herds of newbie fans who didn’t know Richey Edwards from Glyn Edwards. So it was nice to see them at the Royal Albert Hall romp through the album – a stone cold classic – the other week. ‘No Surface All Feeling’ over the years pushing its way up the all-time great Manics songs. 

FOR THE LOVE OF THE ACTION

Those of you who do the social media thing might’ve come across @theactionmod on Twitter posting bits and bobs about The Action. Knowing I was quite a fan they wanted to ask me a few questions and, not needing much encouragement to gush about one of my pet subjects, I was only too willing to answer them. Worth mentioning here also about an excellent Facebook page Mighty Baby & The Action 1964-1971 which consistently posts interesting stuff and has the added attraction of memories from people there at the time and even occasional posts from band members. Anyway, here's the Twitter thing for those not on it. 

Hi Mark, Thanks for your time, how are you?

Pretty good thanks. Always happy to chat about my favourite band.

You've been a follower of The Action for many years now, can you me tell how and when you first heard them?

Like many of a similar age, via Edsel’s The Ultimate Action compilation. As a young Mod in the early to mid-1980s I used to hang out on Carnaby Street on Saturday afternoons and clearly remember buying the LP from The Merc. I guess I knew they were supposedly a Mod band from the 60s and that was enough to invest some pocket money.

Were you a fan of just The Action’s music or did their Mod look also appeal? If so, which threads specifically?

I’m sure I would have gotten around to them eventually anyway but it was their Mod connection that initially introduced me to their music. That said, even though I still pretty green to the world of Mod - I was about 14 - I could tell they sort of lived slightly to the side of it. Songs like ‘Shadows and Reflections’ pushed into more interesting territory to discover. The photos inside the album showed Reggie King in a flowery penny-collared shirt and Alan King’s trousers have a bit more of a flare to them and they’ve both got on these great shaped shoes. I was still wearing clothes more closely associated with The Jam so it was a big influence to see this slightly post-Mod look.

Can you tell us what are some of your favourite tracks by The Action?

‘Since I Lost My Baby’ isn’t just my favourite track by The Action, it’s one of my favourite tracks ever. I love it, absolutely love it. The 12-string intro, Reggie’s lead vocal, the harmonies, oh man. It’s a superb song anyway – credit to Smokey Robinson and Pete Moore – but to improve on the original took some doing, but they did. Other favourites: ‘For Once In My Life’, ‘Wasn’t It You’, ‘Shadows and Reflections’, ‘ ‘In My Lonely Room’.

You have interviewed all the members of The Action including the sadly missed Reg King and Mike Evans. Do you have any further stories you can add from the interviews you have done with the band?

I don’t know about stories but it was a real honour to chat to them over the years. I’ve not interviewed Bam yet, I should try to complete the set. Pete Watson and Reggie King were first, and they were a while before the reformation came to pass. Pete was in temporary accommodation but invited us to his digs and while most of his stuff was in storage he still had his Rickenbacker with him, 25 years after leaving the band. To hear his stories, and have him play a couple of chords then let me touch this sacred artefact was amazing. Reggie was quite a character who I met a few times and on the last time told him how much ‘Since I Lost My Baby’ meant to me and how I thought it better than the Temptations’ version. Reggie didn’t agree and thought I was putting him on at first but once he realised I was being totally serious he was very gracious and, I think, a little bit secretly touched. The song was played during Reggie’s funeral service and the circumstances and the acoustics in the small chapel made hearing his voice like that incredibly moving.

Along with Steve Marriott, Steve Winwood and Eric Burdon, would you say Reg King is as great a white English soul singer?

I don’t think race, nationality, genre, gender or comparisons are relevant or necessary; Reggie King was a great singer, full stop.

Why do you think The Action didn't have the success of The Small Faces, Spencer Davis etc?

It’s been debated a lot but I think they got off to a slow start with their writing, it wasn’t until their fourth single they put out an original song. They were first and foremost a live band. Playing the clubs, taking existing material and putting their own twist on it was great and what they loved doing but it wasn’t the same as having a Marriott/Lane type song writing team. It’s a shame because things like The Boys’ ‘It Ain’t Fair’ showed massive potential even before the Action, and afterwards when Reggie was doing his own things (see Looking For A Dream collection) proved he and they should’ve focused more. But in their defence I don’t think commercial success was especially high on any of their agendas. It’s another thing I like about them, it wasn’t about the fame and fortune, it was about doing something they loved. That’s how I like to think of it anyway.

You were fortunate enough to have seen The Action when they reformed? Was that a dream come true?

If I’m honest, no, it wasn’t. I was contacted early on by Doug Bannon from the New Untouchables as I had a few phone numbers and stuff but I told Doug I didn’t think it was a good idea. Some of them had been out of music for decades and I couldn’t see it working. One of the things I loved about The Action was their mystique and how they were perfect from their recordings to their photographs. I’m not keen on bands reforming at any time, let alone one I treasure so much, and potentially spoiling their legacy. I should stress I realise this is a very selfish attitude and one I changed over time in relation to The Action. It was fantastic for them as people to reconnect and play some shows. I’m pleased they did it and that they were able to do it with all the members present; all fabulous blokes. Those shows feel all the more poignant now, sadly.

Are you hoping for further unseen/unheard The Action delights to be unearthed?

Of course. It’s been incredible over the years for all the additional things to surface: the Rolled Gold material, the things Circle Records and Top Sounds have put out, some old footage, the In The Lap Of The Mods book and such like. I still get a massive buzz just to see a different old flyer or gig advert or the tiniest press cutting reveal itself. The Holy Grail would be for the Ready Steady Go appearances to miraculously appear on-line. I’ve dreamt about it. One day, one day…