23 April 2017

Muff - Sexy Sexy Lady/ Burnin'



Label: Bell
Year of Release: 1974

One of the unfortunate things about Operation Yewtree and its associated glam rock/ seventies pop investigations and arrests is that everything has been poisoned. Everything. For instance, we all know that a lot of glam rock artists were drawing on fifties rock and roll traditions for their lyrical inspiration, so it's not unsurprising that you will occasionally find songs about hanging out at the "hop" with the teenage boys and girls. None of these were indicative of any Savile-styled "hiding in plain sight" indidents, or anything else sinister. They were just teen bop hits, that's all. 

"Sexy Sexy Lady" by Muff, though, is highly unlikely to get any airplay today. For a start, the performer's name is subject to huge misinterpretation, and in combination with the song title might even get this blog internet visitors for all the wrong reasons (hello newbies! Soz, no lady pics here). Then there's the lyrical content, about a girl who is "hardly" sixteen, and is still at school, and drinks gin on the rocks, and is a "sexy sexy lady". Mmmmm. Possibly unlike the girl in question, this hasn't necessarily aged well, but these recordings do have to be put into some kind of context. They were targeted at a teen audience and tried to strike a chord with teenage lifestyles. At the time, nobody would have batted an eyelid. Imagine it in the soundtrack to "Grease" and you're in a more appropriate ballpark. 

Still, that thumping, thwacking glam beat and those keen guitar lines are indicative of a great noise, and something which possibly could have been a hit at the time. Bell Records were churning out smash after smash at this point in the seventies, and more sympathetic airplay could have pushed this one on to Top of the Pops.

As for who Muff is, it's almost certainly Muff Murfin who owned a recording studio in Kempsey, Worcestershire around this time, and also worked occasionally with songwriter Rod McQueen. Muff is a highly successful radio station mogul these days, who also writes radio and advertising jingles, and also co-ran a record label (Birds Nest) with Elektra/ Dandelion man Clive Selwood in the seventies. A fascinating and varied career, then, and while he may have had no actual hits despite having several other singles out in the seventies, he's a lot more successful than most other people who have featured on this blog. 


22 April 2017

DJ'ing at Earl Haig Jumble Sale, Muswell Hill, Sunday 30th April

Calling all readers who are fans of both shopping for vintage clothes, second hand records, books and listening to soul, freakbeat, rock and roll and mod pop being played on vinyl in the, er... "old traditional way"...

It's been a long time, but the Earl Haig Hall in Crouch End is having another vintage jumble sale on Sunday 30th April, and I'll be there again along with my good friends Jody "Jon The Revelator" Porter and Sean "Hey Kids Rock and Roll/ Time Tunnel" Bright spinning various sounds on the decks while you shop and mooch around. (Incidentally, do check out Sean's etsy shop here, which includes Roxy Music and Delia Derbyshire toys, a B52s felt play set, and an Alan Bennett felt doll).

Besides having the opportunity to rummage vintage stock, there's an old fifties pinball machine, roast dinners next door, booze aplenty, goodie bags (if you get there early enough) and the chance to lounge around and socialise. What else are you going to do on a Sunday afternoon?

The event runs from Noon - 5pm on Sunday 30th April, and you can find us at 18 Elder Avenue, London N8 9TH. The Facebook details are here. Come up and say hello.

Follow up events are planned for the same venue on 28th May and 25th June. 

19 April 2017

Drew Ross - Close Your Eyes And Go To Sleep/ Let It Be



Label: CBS
Year of Release: 1970

In common with almost all the solo artists I seem to be finding singles by at the moment, I really can't find a scrap of information on Drew Ross. I know that he had two 45s out on CBS, this one and the 1971 follow-up "I'm Going Home". I know that both records sold poorly and are difficult to find copies of these days. Beyond that... nothing. Nowt. Nada. Zip. My best guess would be that he was a keen cabaret/ working man's club performer who got the chance to release a couple of singles on a major label, but that's based on the laws of probability rather than the conclusive results of my research.

I can't speak with any confidence about any of his other recordings, but "Close Your Eyes..." is really rather good. It starts off with a similar pounding gusto to Love Affair's "Everlasting Love" and continues in a similar plastic Northern Soul vein. Packed with optimistic brassy blasts and bouyant drumming, it's actually something of a tonic - a skippy, bouncy record, and the kind of bright, immediate sixties pop that absolutely nobody seems to be either attempting to emulate or take seriously anymore. It could have been a hit at the time, but quite clearly wasn't.

The flip is a rather pedestrian cover of The Beatles "Let It Be", which really doesn't add anything new to the song, and isn't as worthy of your time. 

If you're Drew Ross, or you know who he is, please do let me know. 



18 April 2017

A Little Bird Told Me...

Finally, after nearly a decade of this blog being active, we've joined the 21st Century and got our very own Twitter account. Please do join us over here and get the latest news and information on obscure and lost music, new blog entries, recommended reading, buried YouTube videos and other such bountiful things.

"Hang on," you're probably thinking to yourselves, "didn't you already have a Twitter account?"

That's correct - the 23Daves account was originally set up to tweet mostly about this blog and other subjects relevant to it, but sadly I found myself getting sucked into Twitter's rabbit hole, and began getting involved in discussions about politics, "Top of the Pops" repeats on BBC4, comedy, poetry and writing, and these started to dwarf the actual tweets I was writing about obscure vinyl finds. This cheesed off some of the original followers who followed me mainly to read about singles on the Pye label which had only sold 34 copies, and a lot of them huffed off like ignored guests at a house party. So the new account is properly tied to this blog and will be purely be about obscure music with all the distractions and obstacles stripped away. Like a social media version of "Just Juice", this will have all the lumps and bumps removed so you won't gag on my opinions about the dancers on "Top of the Pops" or Jeremy Corbyn ever again.

Of course, if you want to read my views on "Top of the Pops" and everything else besides, feel free to follow me on both accounts, and the world will be your oyster. 

16 April 2017

Reupload - Orphan - Julie Isn't Julie In The Bath/ Timebombs























Label: Brilliant
Year of Release: 1983

Sometimes a record catches my eye in a record store or ebay which I'm aware already has a bit of a low-level internet buzz about it. By this, I mean that a simple Google search reveals all kinds of questions about its origins or raves on internet forums, but no actual real information.

This is one such (well, I wouldn't have bothered with that opening paragraph if it weren't, not unless I was trying to be all post-modern and clever).  I must admit to being aware of its reputation but never having heard a single note of it until the needle hit the groove.  It soon became apparent what the fuss was about - this is pristine eighties pop with a distinctly post-punk and psychedelic twist.  Strict and even yet somehow quirky beats and synth splashes rub up against smooth guitar riffs, utterly peculiar lyrics (why Julie isn't Julie in the bath is never quite explained) and a faintly uneasy, film noir atmosphere.  A subtle chorus also creeps up on you more and more with each play, until the entire thing has infected your brain and won't leave.  It's unassuming to begin with, then all-consuming.  Only the squeaky synth instrumental section spoils the production values, but I suspect that probably seemed cutting edge when the song was recorded in 1981.

It would seem that Orphan formed in Birmingham at some point around 1978 or 1979, containing members Phill Dunn, Phil Campion, Pete Dunn, Phil Vickers, Keith Jones, Trevor Wigley and Steve Leighton.  They had become a solid fixture on the Birmingham gig circuit by the early eighties, and seemed to get themselves attached to the label Swoop, which was run by Lee Sound Studios in Walsall.     At least three singles ("RSVPU", "Nervous" and "Love on the Lichfield Line") slipped out on this imprint, but in the manner of most boutique labels run by recording studios, the connection failed to generate any hits for them.  It seems as if this track was then licensed to Brilliant Records in 1983 in an attempt to generate a better chance of chart action. Far from being a super major with clout, though, Brilliant was an indie distributed by Spartan, and the deserved outcome of a hit single never materialised. Also, by 1983 there's a chance that the woozy New Wave sounds on display here were starting to feel a bit dated, and had it been released in 1981 when it was actually recorded, the outcome may have been different.

However, we are where we are.  The band seems to have packed it in shortly afterwards, and Phill Dunn moved on to become a film director in Singapore, still occasionally recording music with his new psychedelic rock inspired band Roxy Rejects.

Assuming this was Orphan's last release - and I can't find anything to suggest otherwise - it would seem as if they left the music business at least having given it their best shot.

(I originally uploaded this entry in December 2013. Since then, someone has pointed out to me - quite fairly - that the "Julie" in the song is probably a cross-dresser. Lyrical mystery solved.)