Sha-La-La-La-Lee, etc.

What we have here is a three-track "Maxi-Single" issued in 1977 including the third, first and fifth of the Small Faces' A-sides: 'Sha-La-La-La-Lee', 'What'cha Gonna Do About It' and 'All Or Nothing'. I'm far from the biggest Faces fan, but knew and liked the songs and thought it worth the outlay of a pound to give them another hearing.

The label bears a few words that might strike fear into a purist's heart: "Electronically Re-processed Stereo" (though this only applies to 'What'cha Gonna Do About It'). To this casual listener's ears, however, it all sounds excellent: no-one involved in the recording, mastering or pressing can have put a foot wrong, and these songs practically jump off the disc, very much alive.

'All Or Nothing', in particular, here relegated to the B-side, sounds outstandingly good. Wikipedia tells me: "according to Kay Marriott, Steve's mother, Steve wrote this song about his split with ex-fiancée Sue Oliver, though first wife Jenny Rylance states that Marriott told her he wrote the song for her as a result of her split with Rod Stewart. Both statements are said to be correct."

A note to the imaginary reader: up to this point, all entries on this blog have been "randomly" selected, as per the strapline, courtesy of the Discogs "Random Item" link. I have done some steering, inasmuch as rejecting choices that would duplicate mention of artists/composers already discussed, with a little subsequent sorting of the choices to maximize variety. The random items are now turning up duplicates annoyingly too often, so for the remainder of this blog's short life I'll be providing the "randomness" myself.

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All Wrapped Up

Here's another of the compilation cassettes I bought this summer, having taken home a Denon twin-deck hi-fi cassette player from the local charity shop. All Wrapped Up is a 1983 compilation of singles by The Undertones, with Side One filled with A-sides, and B-sides on Side Two. A cassette must be the least desirable medium for such an arrangement, with a long rewind required if one just wants to hear the hits repeatedly. The Undertones were unapologetically provincial and anti-fashionable, with their songs sharply-written slices of life that pointedly avoided any mention of politics, or of the then-continuing violence in their native Derry. My favourite tracks are the obvious choices: 'Teenage Kicks', 'Jimmy Jimmy', 'Here Comes the Summer', 'My Perfect Cousin' & 'Wednesday Week'. Their later singles showed increased sophistication but lack the some of the straightforward charm of their earlier work. The B-sides, not unexpectedly, are mo

In Heat

Having acquired the soubriquet "the walrus of love", Barry White thereafter became something of a figure of fun, something that misled me (and presumably others) into disregarding his music. Only within the last few years have I begun to pay it more attention. After picking up a copy of his '74 album Can't Get Enough last summer, which I loved, I sought out some of the music by his protegés Love Unlimited. From a Discogs seller I ordered well-used copies of Under the Influence of... ('73) and In Heat ('74) for only £6.25. The only unappealing thing about In Heat is its awful title. The songs and the singing are strong; the arrangements rich & warmly enveloping. As one would expect from White, the thematic focus is firmly fixed on amatory matters. The opening number 'Move Me No Mountain' (the only one on the record not written by White) offers a refreshing rebuttal to the kind of lyrical hyperbole in songs like 'Ain't No Mountain High E

Bananas Are Not Created Equal

I knew Jay Berliner's name from his contributions to Van Morrison's Astral Weeks and Charles Mingus' The Black Saint and the Sinner Lady , so when I saw this curiously-titled LP at the local charity shop I was intrigued, and bought it even though I had no idea what kind of music it might contain. This was after the days when one could still buy records there for a pound apiece, but I don't think I paid more than a fiver for it. The music turned out to be an all-instrumental blend of funk, soul & jazz. Berliner's virtuoso lead guitar is only one of many attractions here. The band of first-rate session musicians behind him are all uniformly excellent too, and, crucially, sound like they're having a blast. Cornell Dupree's supporting guitar work, while less showy than Berliner's, is beautifully-judged, and the rhythm section is terrific. Arranger/conductor Wade Marcus was no slouch either, judging from the way everything comes together. Two of the funk

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