Sunday 29 November 2009

Seasons in the pun: 20 painfully punning album titles

1. There’s a Whole Lalo Schifrin Going On - Lalo Schifrin

2. A Salt with a Deadly Pepper – Salt ‘N Pepa

3. You Can Tune a Piano But You Can’t Tuna Fish – REO Speedwagon

4. Black & Dekker – Desmond Dekker

5. Tripping the Live Fantastic – Paul McCartney

6. Allman & Woman – Cher & Greg Allman

7. Sex Cymbal – Sheila E

8. Deep Sea Skiving – Bananarama

9. Orbisongs – Roy Orbison

10. Fishcoteque – Jazz Butcher

11. Piece of Mind – Iron Maiden

12. Subs Standard – UK Subs

13. Eat Me In St Louis – It Bites

14. Nursery Cryme – Genesis

15. Aladdin Sane – David Bowie

16. ‘Til Deaf Us Do Part – Slade

17. Licensed to Ill – Beastie Boys

18. Beginning of the Enz – Split Enz

19. Tongue in Chic – Chic

20. Cunning Stunts – Caravan

Magnus Shaw, 2010

Thursday 26 November 2009

The perfect pop song

1. Never, ever, let it run for more than three minutes. Two minutes and fifteen
seconds is ideal.

2. Remember – verse, chorus, verse, chorus, middle eight, chorus, fade.

3. Employ a jingly jangly guitar.

4. In the real world, nobody refers to a woman’s ‘charms’, so find another rhyme for
“take me in your arms”.

5. Chapman and Chinn.

6. If your record company wants to bring in Tony Visconti to remix your song,
remember they know the business. Welcome him into your lives. However, if the record
company wants to bring in Woody Woodmansey to remix your record, remember they
don’t know the business. Run for the hills.

7. On first hearing your song, the listener should not be sure if the singer is a girl or boy.

8. A brief sax solo is always a welcome companion.

9. Consider including a line about a radio personality. Start rumours about which
broadcasters inspire you. Tell the Daily Mail you wrote the song about Chris Evans. Tell
The Guardian it’s about Lauren Laverne.

10. No bagpipes.


Terence Dackombe, March 2010

Sunday 22 November 2009

The Doobies & The Poodles

In this piece, London's Simmering, a few weeks ago, I did give fair warning that we would simply have to return to Praed Mews in Paddington, mid 1970s London, and the then emerging world of pop/rock booking agencies. The agency for whom I worked, (before I decamped to Chrysalis, and then Charisma) had been taken over by a couple of record producers from Pye, and as they tried to build up a stable of credible acts, we had to contend with the previous proprietor’s list of talent, most of whom, in career terms, had seen better days. The agency had been running since the 1940s and prior to the take-over, had built its reputation upon supplying music hall acts in the golden post-war era. At first the ‘golden era’ artists were little more than a nuisance to us young (I was eighteen), full-of-ourselves bookers, as we sought to find college gigs for Sassafras and Keith Christmas, but eventually, it became part of the daily routine to find Miki & Griff, or Los Aquanitos (a pair of comedy acrobats - two words not often combined these days) puffing their way up the stairs to check, usually in vain, if any work had come in for them.

These older acts were generally from an age before the widespread use of telephones and so it had become their habit to drop in, rather than phone in. In some cases, I think it gave them somewhere to go after lunch. One of the more agreeable aspects of the take-over meant that we inherited the part of the business that looked after acts coming over from America, to tour the UK. So whilst one of the Doobie Brothers was in asking where they could find a music store to buy new guitar strings, or Tower of Power’s horn section arrived to drop off their passports, they more often than not shared office space with Terry Hall (No - not that one!) and Lenny The Lion, or Frank Strong (who had “You Can Never Go Wrong With A Smile And A Song” printed on his 10”x8” promotional photos). This usually led to some bewildering, yet fascinating conversations, as a member of Graham Central Station swapped tour stories with Yootha Joyce. Burnt into my memory from those days is my favourite ex music hall act, Hilda and Her Performing Poodles (all ten of them). Hilda would come in and visit us, at least once each week, usually with a handful of poodles simpering along for the pleasure. By this time, Hilda must have been in her seventies, and most of her poodles were probably of similar vintage in dog years. We never had any bookings for her.

Hilda was very kind hearted, yet persistent that I should come along and see her act, so eventually, I agreed that I would turn up at one of her ‘concerts’ at what, in those days, used to be called old folks’ homes. For moral support, I took along Wilf, UFO’s legendary roadie, and a passing member of Ducks Deluxe. I doubt they have forgiven me to this day.

Nothing prepared us for the spectacle of that lunchtime matinee. Hilda wore a pink tutu, and so did each of her ten poodles. During what felt like a lifetime, but was probably thirty minutes, Hilda coaxed her reluctant pooches to jump over various obstacles and leap through hoops, which were placed at a less than death-defying three inches off the ground. “Allez-oop” she would cry repeatedly (and I do mean repeatedly) each and every time a poodle could be arsed to stumble through the pink-ribboned hoops. The audience of about fifteen elderly residents were becoming rather weary at the obligation to give a round of applause at each ‘allez-oop’. They had the appearance of a group of people who were of the one thought - that they were missing Crown Court and Out of Town with Jack Hargreaves for this. Happily for all parties we reached the big finale. Hilda’s disinclined poodles formed a circle around her, and each had their front paws on the hind of the poodle in front. They began to ‘dance’ in this sort of ‘circle of doom’ formation. Whether they had decided amongst themselves to put on a special show, or whether it was the wrong time of the season, I’m not sure, but this front paws on the hind of the poodle in front business, led to some rather vigorous friskiness and attempts at romance between several of the canine participants.

As Hilda hustled her charges out of the room, incontinence then became a factor. Not for the residents, but for the now over-excited poodles, some of whom clearly felt that peeing against chair legs was to be their encore. After a considerable fuss, Hilda led her poodles into her Mini Clubman Estate. I imagine it unlikely that she received a repeat booking. I thought it was time I moved to Chrysalis.

Terence Dackombe, January 2010

Thursday 19 November 2009

Social Death Cult

"I've peed myself."

"No problem it happens to the best of us."

"I'm having an affair with your wife."

"Excellent! Good luck with that!"

"I really like The Cult."

"On my God! What are you? Some kind of weirdo?"

"That's a bit harsh. What's wrong with The Cult?"

"The poor man's Led Zep? They're so derivative."

"If you're looking for a derivative outfit, Led Zep would be the one. Took everything from old blues riffs. The Cult simply recognised the way Page and Plant zapped the head, heart, groin and feet - and did a remarkably good job of stirring up some more of that good stuff. Besides, that only kicked in on third album 'Electric'. Before that they served up a heady mix of tribal drums, psychedelia and power goth. And did a remarkably good job of that too."

"But they sold out, ditched their politics for stadium rock."

"Well, if we're measuring bands by political integrity, we'll have a list with one word: 'Crass', written on it. Sure, The Cult could have done a dozen albums of Apache punk, but you'd be laughing twice as hard at that. They did what most punks did - and soon realised that music beyond the UK Subs could be exciting, theatrical and thumpingly good. The Clash adopted rockabilly, jazz and hip-hop, The Cult adopted Steppenwolf, The Doors and Cream. Both bands sounded all the better for it."

"Yes, but they looked so daft!"

"No they didn't. They looked the part. In just the same way Bolan looked like a cosmic pixie and Bowie a coked up alien, they dressed to emphasise their sound. And while we're at it, what ever happened to bands dressing up for the stage? I mean, the Arctic Monkeys hardly look like the rock bands of our youthful dreams, do they? I like a group that looks outlandish, fantastical and ... well ... rock and roll. It's the way things should be."

"But those lyrics ..."

"Okay, Astbury loved a long string of 'Baby, baby, baby' but the untouchable Radiohead still managed 'Karma police / Arrest this man' and everybody seems to think that's okay. This isn't romantic poetry, it's rock music and dumb lyrics are part of the appeal. Besides, 'She Sells Sanctuary' is a fantastic title for a single."

"Actually, I really enjoy 'She Sells Sanctuary' when it's on the radio."

"Course you do - and you should. Then you can apologise."


Thursday 12 November 2009

Don't look back, you can never look back

Why do they do it? Solo artists who have long since departed, if not this world, then at least as far as the west coast of Ireland or to a quiet cove in Mallorca?

The band who long ago split up because of fierce arguments over royalty points and publishing rights. Why?

Divorced couples rarely wake up ten years after the decree absolute and call each other to give it another shot. Bobby Charlton has (we can safely assume) no burning ambition to wear, once more, the Manchester United number ten shirt. Mrs Thatcher (and I promise you this) is not for returning. Yet, in the underworld of popular music, singers and groups have an innate drive to bolster the retirement fund, and dismiss the ravages of time and reality as mere flotsam and jetsam on the shipping lane to Treasure Island.

Sadly, the motivation to put in the minimum required effort to take their reputation and career to a higher level was left behind, many years ago, backstage at the Mean Fiddler. So, at best, we are regaled with a re-re-re-packaged ‘greatest hits’, (“Let’s re-record them!” “Wait! Let’s go acoustic!”) with the obligatory two ‘additional tracks’, written by the guitarist on the way to the studio, where the arguments about royalty shares surface once more – the conciliatory meeting in The Flask two months ago now long forgotten.

Surrounded now by those whose very employment depends on their ability to say precisely what is required to sustain the hyperbole that a return to the heights of the musical universe is just one minor chord away, the myth is propagated.
Two hundred and seventeen followers are to be found on the Twitter feed. Seventy eight fans sign up for the new forum on the revamped website.

But all of those seventy eight fans download the two new tracks through file sharing. The reunion is featured on Never Mind The Buzzcocks, accompanied by a photo montage of a blubber whale scooping up dollar bills as if so many plankton.

Alexis Petridis reviews the showcase reunion gig at the Dublin Castle and likens it to having his ears removed by Edward Scissorhands wielding a chainsaw whilst high on acid. The self deception is complete; the illusion shattered like a thousand remnant CDs in a junkyard crusher.

So why do they do it? Is it the adrenalin rush; the memory of acclaim and recognition; or simply the vanity of hope and the dismissal of reality?

Why do they do it?

Terence Dackombe, November 2009

Monday 9 November 2009

Sell it again

Hmmm.... what next to save the music industry?
iTunes, Spotify, Rhapsody, file-sharing, cherry picking tracks from an artist’s canon; everything changes so quickly. A CD is no longer an entity, a whole. It’s a selection box. Leave the Milky Way, choose the Snickers.
So the music megacorps are left searching for the Next Big Thing. The equivalent of Blu-ray, High Definition or 3D.
So, as they sit, wearing their button down collars, and staring archly out onto Soho Square, I bring good tidings. I have the answer.
We need to find another way to sell the same music to everyone all over again. Now it’s true, we will have to wait a year or so, until they’ve played the Beatles Remasters to death, but I promise you, they won’t be able to help themselves. They’ll buy it all again! Yes, I know. They already have the vinyl, cassette, CD, re-issued CD with ‘additional tracks’ and the remastered CD, but (trust me on this) we can squeeze another few dollars out of our highly respected consumers, yet one more time.
Market an album, enable the option of receiving the full eight track recordings of (for example) Abbey Road from the original mix, sell simple ‘home studio’ software and give the consumer the ability to remix individual songs. These home studios are already easily available from musical instrument or computer stores, and equally easy to use.
Let the customer choose to drop the gospel choir, or bring the bass to the front of the mix. Let them double up the harmonies, but lose that irritating snare.

The big market for our new innovation is, happily, back catalogues. The ‘re-buyer’ may not have much zeal for re-working Susan Boyle’s album, but finally we can offer the opportunity to fix Richard Carpenter’s over-elaborate Las Vegas productions that so often distract from Karen’s exquisite vocals. Hooray, we can sell them the Bee Gees and they can drop Barry’s falsetto!
Let’s all gather together and see if we can do a better job than Phil Spector on Let It Be. What would Bridge Over Troubled Water sound like if pared back to basics?

The more enthusiastic and experienced can mash, mix, chop, and indeed, change. Neneh Cherry mashed into Cliff Richard; Cheryl Cole with Marvin Gaye. Everything is possible.
Music will become a new adventure of endless listening possibilities. Get over-familiar with a favourite track – re-mix it with a few clicks of your mouse.
So, let’s give it a year or so, and we can sell them the same old stuff yet one more time.
There. I’ve just saved the music industry. See you at the launch?