Various Artists - Joe Meek: 1962 - From Taboo To Telstar, Hits, Misses, Outtakes, Demos and More

From Taboo To Telstar is the latest in the outstanding series on Cherry Red Records dedicated to recordings from Joe Meek's infamous Tea Chest Tapes.  Unlike the previous releases, this is the first in what will be a series of chronological releases dedicated to his work by year and covers the year 1962.  Meek recorded over 150 songs that year and this three disc box set contains 93 of them, including 52 that are previously unheard.

  

His biggest song that year, and for that matter his career, was “Telstar” by The Tornados. That unique, way before it’s time, predecessor to space rock, instrumental is the perfect example of Meek’s studio experimentation.  It not only topped the UK Singles Chart, but also was the first British song to reach number 1 on the US Hot 100 Charts.    In addition to an alternate take by The Tornados, it is also represented here with Meek’s demo where he is singing the part that would eventually be played on clavioline (an early keyboard instrument similar to a Moog synthesizer), and in a demo of Kenny Hollywood’s “Magic Star,” a vocal version of the song (several other tracks from The Tornados appear here and never fail to show that Meek influence).  While that song became the one he’s identified with more than any, as you make your way through these three discs, it’s amazing the diversity that he managed to pump out of his studio at 304 Holloway Road in that one year.  The other half of the album’s namesake, The Charles Blackwell Orchestra’s take on “Taboo” gets things rolling and while it’s swinging jazz will get you moving, the flipside is the infectious “Midnight In Luxembourg”, a spacey jazz pop tune reminiscent of Esquivel.  Of course, there were also instrumentals from Meek’s original studio band The Outlaws (The Tornados were actually created to lessen their recording load), as well as Peter Jay & The Jaywalkers and The Packabeats (including their outstanding jazzy surf “Theme From The Traitors”).  Don Charles and Michael Cox were more traditional singers of the era, singing ballads that were fifties and early sixties sounding pop and rock, while Mark Douglas and Neil Christian had songs with more of the sixties “beat” pop with that Joe Meek touch.  The influence of Buddy Holly is very strong at times with Mike Berry on “It’s Just A Matter Of Time” and “Don’t You Think It’s Time” along with John Leyton on “Lone Rider” (his “Down The River Nile” is definitely on of the highlights here). On the other hand, Danny Rivers & The River Men often brings to mind Eddie Cochran, and The Dowlands were two brothers with strong vocal harmonies that were quite reminiscent of The Everly Brothers.  The instrumentals from The Stonehenge Men are horn-driven dance tunes, while The Moontrekers harken back to the effects heavy space sounds of his I Hear A New World album with The Blue Men.  Those quirky space effects are also here on Pat Reader’s novelty song “Cha Cha On The Moon”, while her “May Your Heart Stay Young” is a more traditional orchestrated ballad.  There is early rock ‘n’ roll from Tony Victor with “Dear On” and R&B and rockabilly from Cliff Bennett & The Rebel Rousers with The Peppermints.  Often with orchestrated strings and effects, Andy Cavell’s tunes tend to have a cinematic feel to them, and with Houston Wells and the Marksmen, Meek dabbled in the world of country music, although as can be heard on the “North Wind”, which was not traditional “country music”, they were enhanced further with that Meek production.  On the quirkier side there’s Alan Klein with the skiffle of “Striped Purple Shirt” and “Three Coins In The Sewer”, complete with sound effects provided by Clem Cattini dropping marbles in the toilet, and Ray Dexter & The Layabouts with the “especially dirty for 1962” “The Coalman’s Lament”.

Unlike the majority of the songs on discs 1 and 2, which were released as singles or album tracks (although many of the ones here are alternate versions), most of disc 3 is previously unreleased.  There are five demos featuring Geoff Goddard, who released four singles as a solo artist, but was best known for working with Meek as a songwriter.  His performance of “Thunder Mountain” has hints of “This Land Is Your Land”, while the Buddy Holly influence can be heard on “Lover, Lover” and “Guess That’s The Way It Goes.”  There are unreleased songs from several other artists that weren’t on the previous discs.  Among these are four demos from Kenny Hollywood, including his aforementioned vocal demo of “Magic Star” and his demo of “Ill Cry Tomorrow”, which was later recorded by The Honeycombs.  There is also a stereo version of the instrumental “Oh What A Charlie” from The Flee-Reckers, a couple of really strong cuts from Ricky Wayne, the dramatic “Two Brothers” from The Ferridays (how does a song like this go unreleased), and “It’s Almost Tomorrow” from The Foresters, at times strangely sounding a little like “Puff, The Magic Dragon” (also recorded in 1962).  Cuts from Billie Davis (here singing “Merry Go Round”, a song that would be released the following year by Meek artist Gunilla Thorn), Geri Harlow and a third from an unknown artist all originally appeared on Do The Strum, the Tea Chest Tapes compilation of female artists that Meek worked with.  There is also an alternate mix of Jenny Moss’ “When My Boy Comes Marching Home Again” that appeared on that compilation in its original version, as well as “Time To Go”, a whispery ballad from Jackie, another female vocalist he worked with that year, but whose work did not appear on that compilation.  Some of the other highlights on disc three include a couple of really strong demos from Cliff Bennett & The Rebel Rousers (“I Get Up In The Morning” and “Avenue Of Loneliness”), the country-tinged surf tune “Outcast”, from The Stonehenge Men and Mark Douglas’ “Riding The Rails”.  From Taboo To Telstar (1962: A Year In The Life Of 304 Holloway Road) is a fascinating glimpse into the diverse world of Joe Meek in 1962 that really has me looking forward to future comps from the following years.  

(Cherry Red Records)

Death Sells - Death Sells

Following last year’s debut single “Cold Heat”, the Dutch band Death Sells are back with their eponymous debut EP.   They kick things off with “Confusion”, which was the EP’s first single.  It's loud, aggressive noise rock with a raw punk energy, that does a great job of relaying a sense of panic through its intensity and Michaela Nitsotoli’s vocals.  “Dark Gloves” is up next and while it’s a heavy rocker, the hypnotic, swirling guitars and pop hooks will have you bopping your head uncontrollably.  Shifting in the complete opposite direction, “Cool Homicide” is a slow, dark and extremely intense tune about a woman who kills her boyfriend after he cheats on her, bringing to mind elements of bands like Black Sabbath and Type O Negative.  Opening with a thumping bass that continues throughout the track, “MF” is raw, out of control noisy punk.  Next up is “Despair”, a pummeling blast of explosive noise interspersed with taut, almost introspective sections punctuated by short guitar blasts and near spoken word vocals.  Rounding out the EP is “State Of Mind”, which once again brings out the band’s more melodic side, but with a dizzying, high intensity drive.  If you like your music loud, raw and intense, but with a side of melody, then Death Sells may be just what you need.   

(This Could Be Your Music Label) (Death Sells)

Slik - The Complete Slik Collection

After numerous personnel changes, and a shift away from hard rock to pop, in 1974 the Glasgow based band Salvation settled on a four-piece lineup and changed their name to Slik.  At this same time, The Bay City Rollers were ending their relationship with songwriters Bill Martin and Phil Coulter, who had been responsible for most of their hit songs.  This led to the four-piece, now consisting of Jim (Midge) Ure on guitar and lead vocals, Jim McGinlay on bass, Billy McIsaac on keys and Kenny Hyslop on drums, signing to the Martin-Coulter Productions company.  Over the next three years, they released one eponymous album and numerous standalone singles (many written by Martin and Coulter), including the UK hits "Forever and Ever" and "Requiem", hitting number one and twenty-four respectively, on the UK charts.  These are all included here as well as some bonus tracks from three bands that members formed after Silk.  While they definitely had plenty of songs that were reminiscent of the poppy glam of the Rollers (“Boogiest Band In Town”, “The Getaway”) and the more glam rock sound of the extremely catch “The Kid’s A Punk” (complete with sax), there was really a lot more diversity in Slik’s sound.  For starters, the two hit singles both had strong elements of prog but mixed in glam (“Forever and Ever”) and Beatles-like pop (“Requiem”).  There are also New Wave pop tracks like “Do It Again”, “Don’t Take Your Love Away” and “It’s Only A Matter Of Time” and ballads like the Beatles-esque “Darlin’” with its great harmonies and “Better Than I Do”, which is more of a power ballad.  “Everyday Anyway” found them dabbling in reggae, “Again My Love” is almost easy listening, and there were even dance tunes like “Dancerama”, which is pretty much disco, and “Bom-Bom”, a calypso cover of an Exuma song that also includes what sounds like a talkbox.  By the time the band recorded their last single they were starting to embrace the punk scene, something that is on full display on the b-side “No Star”.  Right before their last tour as Slik, McGinlay left and was replaced by Russell Webb, followed a short time later by their decision to change their name to P.V.C.2.  Under that moniker they released an outstanding three track single of raw, aggressive punk that’s included here among the bonus tracks.  By the time the single was released, Ure had left the band to join the Rich Kids, and the remaining members teamed up with singer / guitarist Willie Gardner to form Zones.  Rounding out the bonus tracks are a couple of Zones songs showcasing their infectious new age / power pop and the Rich Kids version of P.V.C.2’s “Put You In The Picture”, which is a little more polished than the original, but loses none of that raw punk edge.  While their time in the spotlight was very short, The Complete Slik Collection showcases a band that had alot going for them with song after song full of infectious hooks and strong harmonies.    

(7T's)

Max Koste - 1999

I’ll start off by saying that beyond the fact that he’s a Swedish multi-instrumentalist and producer, I know virtually nothing about Max Koste.  That’s not for lack of trying, I scoured the internet and could find almost nothing about him.  What I can tell you is that his new EP 1999 is a fantastic collection, which makes the fact that his internet presence is pretty much non-existent that much more confounding.  “Funk Baby” gets things started and is a massively infectious track with a laid-back, soulful psychedelic groove that digs in and sticks until the end.  That psychedelia is present throughout the EP from the indie pop of “Love Is A Game” and the shoegazer “Something In The Air” to the slow burning rockers “Never Knew How Much I Needed You” and “Nothing To Lose” (this one has a hint of The Pixies).  I would highly recommend hunting this one down.  

The Aerovons - World Of You: The Complete Recordings

In late 1963, 12-year-old Tom Hartman was captivated by The Beatles after seeing a news story about them on TV.  As a result of this he ended up spending hours and hours with his guitar learning how to play "I Want To Hold Your Hand".  After a stint in the local St Louis band The Dartels, in 1966 Hartman formed his own band, The Aerovons.  That initial lineup went through some personnel changes and in late 1967 consisted of original members Hartman (lead vocals, guitar, piano) and Bob Frank (rhythm guitar) along with Nolan Mendenhall (bass) and Mike Lombardo (drums).  Tom's mother (also their manager at this point) told them the best thing for them to do was record an original song, so they booked a studio and recorded "World Of You" accompanied by a hired cellist. A short time later a rep from Capitol Records stopped by the studio, heard the demo, and asked if they wanted to go to LA to audition.  Hartman said he would prefer to record in London at Abbey Road, where The Beatles record.  Capitol put them in touch with EMI's UK chief Roy Featherstone and in January 1968 they went to London to meet the band.  In the fall of that year they were signed.  The label told them they wanted them to wait until March to record and to go home and write songs.  By the time they got to the studio there had been more lineup changes with Billy Lombardo (Mike's brother) now on bass and Phil Edholm on rhythm guitar.  Featherstone had decided that they had enough good songs to release an album, but the band ended up recording them as a trio after getting rid of Edholm, who was complaining that they didn't consider his songs.  The album was finished in June 1969, and they headed back to the States, but before they could return to London for the album launch, drummer Mike Lombardo left the band after dealing with personal issues in his marriage.  This left them with only two members, and while they did end up releasing two singles, since that meant they couldn't promote the record, the label canceled its release.  Fast forward to 2001 and the album finally got a vinyl release, followed by a CD release in 2003, which included four bonus tracks.  Now with the new 2 CD set World Of You: The Complete Recordings all of those tracks have been reissued, along with outtakes, demos, alternate version and more, including eleven previously unreleased tracks.

As you make your way through the album and singles on disc one, it is more than apparent how much of an influence The Beatles were on tracks like "With Her" and "Something Of Yours", which are primarily guitar, vocals and drums with a little keys on the latter.  There are also a few where it’s more than that.  Apparently, an EMI engineer let Hartman hear “Across The Universe” and “Oh Darling” before they were released and he said he heard them a little too well, resulting in “Resurrection” and “Say Georgia” sounding extremely similar to those two songs.  Having said that, songs like their debut single "The Train" draw strongly from early Bee Gees (flipside “A Song For Jane” is a gorgeous, acoustic psychedelic tune that was strong enough to be the A-side), while the second single, the gorgeous baroque pop tune "World Of You" walks the line between both The Beatles and Bee Gees (the 1967 demo, with just a cellist they hired instead of the full string section, is also included here).  They showcase their vocal harmonies on “Words From A Song”, a slower tune with a nice arrangement that brings to mind The Lettermen, and “Quotes And Photos” is a slow, kind of lazy, blues track with some great guitar work.  Some of the other tracks that bring to mind The Beatles include "She's Not Dead", which has a bit of a jazz beat, the bouncy "Everything's Alright", that has a chorus a bit like "With A Little Help From My Friends", and the captivating psychedelic suite "The Children" (there is also an alternative version with Edholm on vocals).

The second disc contains a demo Hartman wrote upon returning home after the band broke up, his solo single that was released in 1971, some songs he recorded over the years from 1980 to 2020 and then released as an album in 2021, and a handful of previously unreleased songs he recorded after 2020.  For his solo single "Sunshine Woman", Hartman went in a more hard rock direction than his previous work, sounding a bit like the Stones, while the flipside "A Little More" was a very McCartney influenced ballad.  The songs on the 2021 album still have a lot of that McCartney sound, but often with elements of power pop that weren’t really present on his earlier work.  The influence of Jeff Lynne and ELO can be heard at times, especially in a song like “Shades Of Blue”, while “The Things Went Tonight”, with its fantastic harmonies, has The Beach Boys written all over it.  There isn’t a bad cut among these eight cuts, but the definite standout to me is the brilliant “Swinging London.”  The final six cuts were recorded after 2020 and while they are more polished and produced, they still continue down the path he laid over fifty years earlier.  “Here” is a gorgeous Beatles-ish ballad, “Airline 59” harkens back to early Bee Gees, “Mary’s Purple Village” has that late sixties psychedelic sound and “Little Red Rocket” is pure power pop.  This two-CD set is an outstanding release that not only shines the light again on this once largely undiscovered band, but also does a great job of showing what mainman Tom Hartman has been up to over the years.  Per the liner notes, The Aerovons advertised themselves as “the fabulous group with that ‘smashing’ English sound” – were influenced by The Beatles, but also by The Who, The Bee Gees, The Kinks and, in Tom’s own words, “others who were masters of the hook-laden single”, which absolutely describes them perfectly.  

(Grapefruit)

Tracey Thorn: A Distant Shore, Expanded Edition

In 1982, 19-year-old Tracey Thorn, who was soon to become half of Everything But The Girl, recorded some songs with Pat Bermingham in his garden shed studio where she had previously recorded the Beach Party album with her band Marine Girls.  She sent the songs, which were recorded for 138 pounds, to Mike Alway, the A&R rep who signed her to Cherry Red (the label that had released the Marine Girls album).  She thought they were basically demos, but he said he felt they were perfect and should be released just as they were, resulting in her debut solo release A Distant Shore.  The album, which has been newly mastered at Abbey Road Studios for this reissue (available on CD and vinyl), is a gorgeous piece of work presenting the music at virtually its most basic with nothing but Thorn’s beautiful vocals accompanied by her guitar work (usually acoustic).  Along with seven originals, the album has a brilliant interpretation of Velvet Underground’s “Femme Fatale”, which she turns into more than just a cover with her unique delivery.  This reissue also contains five previously unheard demo recordings that Tracey found in a box of cassettes.  “Lucky Day” is a song that was recorded during the same session but was left off the album, while the remaining four were recorded at a later session and actually ended up being re-recorded for the debut Everything But The Girl album, Eden.  These bonus cuts flow seamlessly with the rest of the album and are a fantastic addition.  It’s also interesting to hear the future Everything But The Girl tracks in their infancy, especially “The Spice Of Your Life”, which is more intense than the mellow, jazzier version that came later.   

(Cherry Red Records)

Interview with Harley Olivia

Harley Olivia has gone from flight attendant to vocalist with both the metal band Anthems In Ashes and circus punk band Mineta, to now releasing her debut solo EP Hiding Little Pieces. I recently interviewed her and we covered all that as well as her theater and opera background, her Youtube covers, her work as a voice teacher and much more.    

I read that you were a flight attendant before you focused on singing.  What motivated you to take that step and make that career change?

I worked as a flight attendant for about 10 years. In the beginning, it was really exciting and I enjoyed traveling a lot! However, I knew it wasn't what I was put on this earth to do. Singing and performing have been my greatest passions and over time I realized that if I stayed in my job, my life would pass me by, and I'd never get to see if music would have worked out for me. I was afraid to quit but eventually staying in a job I didn't want to do began affecting my mental health - I got very depressed, and it became clear to me that I had to leave the airline behind and dive into music.

You graduated from Humber College’s Theatre Performance Program and then continued your voice studies as an apprentice to contemporary opera legend and author Fides Krucker.  Do you think that theatre and opera background has helped in your rock career?

Absolutely! The performance coaching I received at Humber was amazing and it helped an anxious person like me feel confident on stage. I also use my theatre training when practicing my songs and have learned to analyze them like I would a script. I decide who I'm talking to, what the story of the song is and perform it that way on stage, so it feels more authentic to me. I also learned a lot of vocal health tips and techniques so I can take care of my voice for years to come.

Your bio refers to you as a neurodivergent, alt-rock artist.  Are you comfortable to further elaborate on that?

Sure! For years, I thought I had depression, but it turns out I had undiagnosed ADHD and anxiety. I've always been a big dreamer with lofty goals but struggled with all the necessary skills to bring those dreams to fruition, so I was in a constant state of frustration which led to depression. I went through a period of time where I couldn't get out of bed because my mood was so low, everything felt impossible, and I didn't know how to verbalize what was going on in my brain. Getting diagnosed with ADHD as an adult was really validating and over time, I got better at managing it. I have a great support system now and I write songs about my annoying, spicy brain instead of succumbing to it. Of course, I still struggle and have down days but writing about my experiences and finding other neurodivergent people has been really healing.

You’ve previously fronted metal and circus punk bands like Anthems In Ashes and Mineta.  What made you decide to go the solo route?

I really loved being a part of those bands but unfortunately during COVID, they dissolved. During the pandemic, I was listening to a lot of catchy indie rock and pop rock music, and I ended up writing a bunch of songs that were more upbeat and catchy. That's when Siegfried and I started collaborating and my EP was born. 

I think what you are doing on the EP allows you to really showcase the power and versatility of your vocals more than those bands.  Was that a motivating factor behind doing a solo release?

Thank you! I actually sang the first dance song at my sister's wedding and it was the most scared I've ever been for a performance. I couldn't hide behind electric guitars or lean on my screaming if something went wrong. I realized I have always gravitated towards performing metal and heavy rock music and even though I love it, it became a crutch. I wanted to push myself vocally and tighten up my technique and not hide behind screams or growls when I was vocally tired. I wanted to see what my voice was capable of.

You worked with JUNO award-winner Siegfried Meier, who has worked with a multitude of bands including Kittie and Face To Face.  Can you tell me a little about working with him?

Siegfried is awesome! He has such a passion for music and is really fun to work with. He built this amazing recording studio called Beach Road Studios and it has incredible views of Lake Huron. We do all our writing and recording there and it feels magical and inspiring. We really understand the vision for the music we write and that allows us to work fast and effectively.

I notice most of your songs have been co-writes with Meier.  How does that process tend to work?  Have you also written in the bands you’ve been in?

Yes, I’ve always written in the bands I’ve been in, but the writing process was a little different than it is now. In previous bands, the instrumentation was usually written first and then I’d write my vocal melodies and lyrics after, but in my solo project, I write my vocal melodies and lyrics first. Once I have a verse, chorus and beginnings of a bridge, I’ll bring it to Siegfried and he will write the guitar and bass parts and then we’ll really fill out the song's instrumentation from there. It's my favourite way to work because I get to see each song grow from a just little melody in my head.

Your lyrics sound like they may draw a lot on real life experience.  How much is real life versus fiction?

They are all based on real life experiences. I may exaggerate, use metaphors or indulge in my feelings at times to make the song more dynamic but they all develop from real feelings which came out of some true event in my life. 

Compared to the heavier sound of Anthems In Ashes and Mineta, which reminds me a lot of the craziness of Mr Bungle, the songs on the EP tend to have more of an alt rock edge, but there is a much stronger pop side as well.  Is that something you were striving for?

Yes! I’ve always loved both heavy music and pop music, respectively.  I have a lot of experience in heavy bands, but I wanted to showcase another side of myself that I've never shared before. The cool thing about being in a solo project is you get to really be your authentic self and show all the dimensions of your personality and music tastes.  In Anthems, I always felt like I had to be heavy and dark, but in reality, I have this funny, mischievous side to me. I'm really enjoying stepping out of my comfort zone and sharing that side of me now.

The EP opens with “You’re Not Ready”, which has a rock edge, but also that pop side.  Then, to me, as you make your way through the EP, each song seems to get a little heavier, and by the time you get to closer “Haunted”, a lot darker.  Was the song order planned that way, or did that just happen?

That was definitely intentional! I wanted to lure people in with a catchy pop rock hook and get heavier and more emotional as the EP builds. I’m stoked you picked up on that!

I don’t know if it’s just me, but I hear touches of an Eighties influence on several cuts.  “You’re Not Ready” has some keys that remind me of The Cars, the opening of “Cherries” brings to mind Alphaville’s “Forever Young” and “Diggin’” also has some moments with that electronic music vibe.  Would you agree with that?

Yes! We love the synth from "Just What I Needed" by The Cars and Siegfried had the awesome idea to use a similar sounding synth in the bridge for “You’re Not Ready”. Sieg grew up in the 80s and I love Lady Gaga so we both gravitate towards that retro 80s synth vibe. We also felt that including that electronic element elevates our rock sound and keeps things a little interesting!

I love the pop punk sound of “Cherries” and how it perfectly encapsulates getting older and reminiscing.  Can you tell me about the inspiration for that song?

Yeah, so Cherry Colas was a bar in Toronto that I spent a lot of time in during my 20s. It was this sexy, underground burlesque bar with red walls and a tiny stage. I played there a lot in my previous bands and saw a lot of my best friends play there too. It was a hub for the rock and metal music community, and I felt at home there. Shout out to Cherish! During the pandemic, it unfortunately closed and I had moved out of the city. One night after the pandemic, I was back in the city and found myself walking by Cherry Colas. I felt super nostalgic for all the memories I'd had there during my "glory days" but I was also proud because I realized my life had changed so much and I had grown up a lot since then. I wasn't drinking and partying every night anymore. I was now dedicated to my music in a way I hadn't been before, and I felt proud. That complicated feeling of nostalgia, loss and empowerment is what started me humming the melody of "Cherries".

“Diggin’” is such a massively infectious song and has a kind of dirty swagger to it that really sets it apart.  Can you tell me a little about that song?

Yeah! 'Diggin'' is definitely a crowd favorite. I wrote it after breaking up with someone who tried to make me out to be the bad guy. At first, I felt sad, guilty, and horrible about the situation. But over time, this ex showed their true colors, becoming vindictive, cruel, and spreading rumors. The song captures the moment I let go of that shame, realizing it wasn’t mine to carry. It's also a warning to that person to back off because I see what they’re doing, and now, I’m standing up for myself.

Can you tell me about the production on “No More Tears” and “Haunted”?  Unlike the rest of the EP, those two songs are moodier, and in the case of “Haunted”, a lot darker.  I would say they are also the most elaborately produced songs on the EP with strings and a lot of layers.  

Yeah, I’d agree with that. The strings in 'No More Tears' always hit me emotionally because they come in at such a pivotal moment. When Siegfried created that string part, it really moved me; they sound like a string quartet you'd hear at a wedding, which added so much emotional weight to a break-up song. Sieg is a genius when it comes to adding those elements that really tug at your heartstrings.

For 'Haunted,' the concept was that my mind is like a horror movie, and my thoughts and anxieties are the ghosts haunting me. We wanted it to feel more cinematic and intense. The ghostly “ahs” I sang at the end of the song that follow the melody of the bridge really heightened the emotion and tied into that haunting theme perfectly.

  

You do a lot of videos of cover songs on your YouTube channel, but you chose Audioslave’s “Like A Stone” to include on the EP.  What was it about that song that made you include that? (Just a note - Kudos to whoever is playing for guitar for nailing one of my favorite little solos)

I absolutely love the lyrics of that song, and Chris Cornell’s melody is so haunting. I felt it fit perfectly on the EP because it’s emotional and introspective but also has that heavier edge. 'Haunted' is my darkest song, and 'Like a Stone' compliments it really well, adding depth and intensity that enhances the overall darker tone of the EP.

Speaking of your covers videos.  Most of them are songs that people would be familiar with, but then you do a cover of Bif Naked’s “I Love Myself Today”, which is great. I’ve always loved her music since hearing her debut all those years ago, but unfortunately, she never got much recognition here in the States.  Can you tell me about deciding to cover that?

I'm Canadian so I love Bif Naked. I grew up watching her music videos on Much Music. I used to sing "I Love Myself Today" in a band when I was about 16 years old so when I was thinking of songs to cover that was one of my first choices. I also thought it would be a fun video idea to perform a Bif Naked song while naked.

You have a video for almost every song on the EP, and most of them have a bit of humor to them.  How involved are you in the concept and production of the videos?

I'm very hands-on when it comes to my music videos. For 'No More Tears,' 'Cherries,' and 'Haunted,' I created the concepts, produced, directed, set dressed, costumed, edited, and starred in the videos myself. For 'Diggin',' I co-created the concept, brought in all the props/set pieces and designed all the looks I wore. I really love making music videos and even went to film school a few years back, so I enjoy adding another layer of depth to the songs through video. It allows me to use a different aspect of my creativity.

Do you have a consistent band or does it change based on their availability?

I always perform with Siegfried Meier as my guitarist on stage. We wrote the songs together so he really gets them and he is a fantastic, energetic guitar player. We have a rotating cast of drummers based on their availability, but we have chosen the best of the best! We play with Nathan Bulla of Intervals and Auras, Melvin Murray of Texas King, Mercedes Lander of Kittie and Kaelin Chase of Full Throttle. They all bring something a little different to the table, but they're all amazingly talented.

Do you have any plans to do any touring down here in the States?

Yes, I would absolutely love to tour the States. It's definitely part of the plan! Right now, I'm playing as many shows as I can and as I build momentum, it's slowly taking me farther and farther away from home base. I'm hoping to make the leap across the border some time next year.

In addition to being a performer you are also a voice teacher.  Can you tell me about that?

Yes, I am really passionate about the voice! I get a lot of satisfaction from coaching other vocalists and helping them achieve their goals. I especially love helping artists that want to focus more on their technique in preparation for the studio or a long tour. It's awesome because I'll get these random texts or phone calls at odd hours of the night from my students after they've finished their gigs because they're excited they achieved something. That is the best feeling!

I read an older story about you that said the EP was originally coming out in October, 2022.  What happened that it’s now being released almost two years later?  

Well, this is my debut EP and I learned a lot about the process as I went along. There were some scheduling delays and I didn't want to rush the release. I'd rather take the extra time to make it exactly how I'd envisioned it.

Now that the EP is out in the world, what’s next for you?

The digital release of 'Hiding Little Pieces" is out now, so that's super exciting! The vinyl for the EP will be releasing early November so I will be putting that up for purchase on my store when it's ready! I also won the Rising Sun Award at the Gussapolooza Music Festival this past September, so I'll be back on the main stage next year. Come January, I begin recording my next EP and I just found out that The Ontario Arts Council awarded me a grant for that, so I'm really excited to get back in the studio to record! Other than that, just lots and lots more shows and content!

Is there anything else you would like to share with readers?

I just want to thank everyone who has taken the time to listen to my new EP. As a small, independent Canadian artist, it can be challenging to reach the right listeners who truly connect with my music. I love when new listeners reach out because they often have a personal story or reason why my songs resonate with them, and we end up chatting and becoming friends. Social media can be daunting, but it’s moments like those that make it so rewarding. So, if you're an anxious, neurospicy human like me, love cats and love rocking out at shows - come say hi!

(Harley Olivia)

Fanny - The Reprise Years 1970-1973

Born in the Phillippines to an American naval officer and a Filipina socialite, June and Jean Millington moved to Sacramento in 1961.  As a way to help them cope with being surrounded by strangers in their new country, they took up music and started working together as a duo in High School.  They then formed the all-female quartet The Svelts, playing shows along the West Coast and Nevada.  After going through various membership changes, in 1968 the band consisted of the Millingtons, guitarist Addie Clement and drummer Alice de Buhr.  Later that year Alice and Addie left the band and formed another all-female band Wild Honey, who did some touring in the midwest before coming back to California and teaming back up with the Millingtons under that name.  In 1969 they headed to LA, and on what they thought would be their last night there before moving back home, they were seen at the Troubador by producer Richard Perry’s secretary and ended up signing a multi album deal with Reprise Records.  A few months later Addie left the band and June shifted to lead guitar.  They continued recording as a three-piece and changed their name to Fanny, while still looking for a fourth member.  They eventually added Nickey Barclay on keys, and even though their first album was finished, after adding her they went back into the studio and recut six songs, resulting in their debut album.  Over the next four years they would record three more albums for Reprise Records.  These four albums, along with thirty-eight bonus tracks (eight of which have never been on CD) have now been compiled in the new four CD box set The Reprise Years 1970-1973.  

Their self-titled debut was produced by the aforementioned Perry and opens with “Come And Hold Me”, an upbeat, sunshine-y West Coast folk rocker.  They kick things into gear with the gritty, swagger filled bluesy “I Just Realized,” a track that is really enhanced by Barclay’s piano playing, as is the easygoing midtempo rocker “Candlelighter Man”.  As lyrically relevant today as it was then, “Conversation With A Cop”, about a lady walking her dog late at night and running in the cop who is suspicious of her being out, is a really nice, laid-back soulful ballad.  Next up is the first of two covers on the album, a fantastic take on Cream’s “Badge”, that’s a little more upbeat than the original and is highlighted by some great guitar work (check out June’s solo) and keys.  After opening with a slow, rambling piano, “Changing Horses” shifts into a raw, hard driving rocker.  “Bitter Wine” is a more laid-back, somewhat melancholy song that at times hearkens back to that West Coast sound.  Throwing in a hint of country, “Take A Message To The Captain” has a laid-back groove and some nice slide guitar.  The second cover is “It Takes A Lot Of Good Lovin’” (written by Booker T Jones and Al Bell), which in their hands becomes a good midtempo rocker with a strong funk and R&B undercurrent.  “Shade Me” is another funk-tinged rock tune but also adds some Latin influence to the mix.  It has a loose, jam vibe and contains a solo from each member allowing them all to showcase their talent. Closer “Seven Roads” opens with an organ solo that wouldn’t be out of place on a Deep Purple album, then the guitar riffs come in along with the powerful rhythm section for one of the heavier songs on the album.  Overall, the album is quite diverse and makes for a more than promising start.

Perry was once again in the producer chair for their sophomore release Charity Ball.  The album opens with the title track, which hit number forty on the US singles charts, and is a massively infectious song with a touch of boogie.  It's full of rollicking piano, handclaps and "oohs" that make for an incredibly fun listen.  “What Kind Of Lover” is sassy and dirty with a strong funk undercurrent, followed by the raw, high-energy, no-frills rocker “Cat Fever”, which has some great “rock star” guitar and hard pounding piano.  Walking the line between funk and country, and including some great slide guitar, “A Person Like You” is another really fun track.  With their cover of Buffalo Springfield’s “Special Care” they take what was a somewhat mellow tune and turn it into a harder edged rocker that ends with a powerful instrumental jam.  "What's Wrong With Me" is a pretty ballad that's largely acoustic guitar and organ with some great vocal harmonies, while "Soul Child" is a super funky track with a rock edge that's highlighted by some very creative organ playing.  With Barclay’s keys bringing to mind the sound of The Doors’ Ray Manzarek, “You’re The One” is a bouncy, somewhat midtempo, rocker with really strong hooks.  Following “Thinking Of You”, an easygoing, laid-back ballad that is probably the albums weakest cut, “Place In The Country” is quite possible one of their finest moments.  It’s a stellar gritty blues rocker full of intensity and aggression.  Closing the album out is “A Little While Later”, a strong rock ballad that builds and builds to a big climax before ending with a short harpsichord solo. 

Their third album, Fanny Hill, was again produced by Richard Perry, but this time they recorded at Apple Studios and it was engineered by Geoff Emerick who had worked there with The Beatles on Revolver, Sgt. Pepper's Lonely Hearts Club Band and Abbey Road.  It also featured additional instrumentation on some tracks, like strings and brass, although the band apparently weren't all that excited with them.  Their outstanding cover of “Ain’t That Peculiar” gets the album going with a bang.  They completely make it their own, turning it into a raw, bluesy rocker complete with some great slide guitar from June.  “Knock On My Door” has a string section and is a somewhat dark and mysterious rock ballad that’s really unlike anything they’d done before.  Another of their strongest and heaviest tracks is “Blind Alley”, a straight-ahead rocker that let them really just let loose.  It also contains a guitar solo that could pretty much be considered “metal”.  With lyrics detailing a single mother’s conversation with her child, “You’ve Got A Home” is a beautiful ballad, stripped down to just acoustic and slide guitar, bass and vocals.  Following the gentle, easygoing “Wonderful Feeling” and the more straight-forward rock of “Borrowed Time”, which is fleshed out with horns, is their cover of The Beatles’ “Hey Bulldog”.  Their version is a powerful, more muscular take with strings, that also includes extra lyrics.  The laid-back “Think About The Children” has some elements of the West Coast rock that was present in their earlier work, along with some psychedelia (especially with June’s wah wah).  Drummer de Buhr has her first lead vocal on “Rock Bottom Blues”, a soulful, bluesy rocker with horns, while the midtempo country tune “Sound And Fury” brings us to closing track “The First Time”, a big sounding bluesy ballad with gospel choruses, horns and more great piano work from de Buhr.  Peaking at 135 on the Billboard Album chart, it became their highest charting album on Reprise Records.  

For Mother's Pride, their last album on Reprise, they changed producers, going with Todd Rundgren, whose stipulation on producing was that he could mix the album himself with no input from the band.  Because of this some band members felt it was overproduced when they wanted a rawer, live sound. They once again went with a cover to open the album.  This time it was Randy Newman’s “Last Night I Had A Dream”, and the result is a really cool version with the music fitting the lyrics about a nightmare perfectly, especially the haunting guitar work.  The largely acoustic “Long Road Home” is a pretty, somewhat melancholy tune with a West Coast country folk vibe.  The second cover on the album is Uncle Dog’s “Old Hat,” another really laid-back ballad.  The tongue in cheek “Solid Gold” (later covered by Keith Moon) is delivered with a strong sense of humor and off kilter vocals from drummer de Buhr, supposedly recorded while she was drunk.  The unique sounding “Is It Really You?” has a lot of swagger and mixes up country, rock and ragtime into an infectious mix.  Another change of pace for the band was “All Mine”, which is more of an easygoing dance tune and includes male backing vocals and sax (Rundgren's touch is very evident here).  Just as the title says, “Summer Song” is an upbeat, bouncy tune that is perfect for the summer, while “Polecat Blues” is another completely different tune for them.  It’s a bouncy, bluesy cut with a bit of a ragtime feel featuring horns and barroom piano.  "Beside Myself" is an absolutely stunning ballad with a powerful, very emotional vocal performance from Jean, that has should've been a hit written all over it.  The strong vocal harmonies, acoustic and slide guitar really enhance the sunshiney pop of “Regular Guy.”  After opening with heavy, almost droning keys that continue to run under the music through the rest of the song, “I Need You Need Me” is a stunning track, and another highlight, that at times could be called heavy glam.  At just under two minutes, “Feelings” is a softer tune with hints of English folk enhanced with delicate piano and flute.  “I’m Satisfied” closes the album out and is a strong, no-frills rocker with a sound that is somewhat reminiscent of Joan Jett with more outstanding organ work and big thumping percussion.

In addition to the four albums, the box set also contains an incredible thirty-six bonus tracks (eight of which are on CD for the first time) including single versions of album tracks, B-sides, demos and live tracks.  When their debut was released in Canada they used the wrong set of master recordings.  With the exception of two that are not included (“Changes" and an early version of “Charity Ball), six of these songs and mixes are among the bonus tracks.  These include covers of Martha and the Vandellas “Nowhere To Run”, which is really kind of so so, and a soulful version of “One Step At A Time” (originally by Maxine Brown) with really strong vocals and harmonies.  There are a couple of originals, “Lady’s Choice”, a laid-back track with a jazzy funk vibe, and the breezy “New Day”, which has some jazz drumming and even some harmonica.  Lastly, there are alternate takes of “Seven Roads”, missing the organ intro and with the organ also a little more under the mix, and “Place In The Country”, which is slower and a little funkier than the version that would be on the next album.  As for the demos, “Queen Aretha” goes all the way back to the Wild Honey days and has that sunshiney West Coast sound.  It also shows how well they already had their great harmonies down.  There are also three demos from the Mother’s Pride Sessions.  “Lonesome Pine” and “Old Milwaukee” didn’t make the album and are respectively a raw, bluesy tune with a very passionate and soulful vocal, and “Old Milwaukee” (written by Tret Fure), a fun, kind of lazy funky blues song.  Then there is a demo of “All Mine” that shows a different side of the of the track before Rundgren added all his flourishes.  Although not listed as a demo, there is “The Kitchen Tapes” version of “Candlelighter Man” that is a stunning take, stripped down to just acoustic guitar and vocal.  Their cover of Ike Turner’s “Young And Dumb” was released as a non-album single and is somewhat reminiscent of a heavy, bluesy Cream.  It shows all the pieces coming together perfectly with raw, soulful vocals, killer guitars, great bass playing and inventive keys.  Another cover, their take on the Holland-Dozier-Holland song “Back In My Arms Again” (a hit for The Supremes) is rooted in the R&B sound of the original but adds a rock edge.  “Tomorrow” is a pretty acoustic tune with a somewhat classical influenced guitar that sounds like it may have been influenced by The Beatles, and “No Deposit, No Return” is a fun track that shows them pulling out a little honky tonk country.  The live tracks, five from Philadelphia and four from Cleveland, show what a tight band they were and just how incredible they were live with performances that were high energy and raw and also displaying top notch musicianship.  Lastly, there’s the original version of “Rock Bottom Blues”, as well as a recording of the backing track and ten tracks that are single versions of album tracks.   

Not long after the release of Mother's Pride, Alice and June left the group and were replaced by Patti Quatro (big sister of Suzi) on guitars and vocals and Brie Brandt (originally Berry), who had been a member of the pre-Fanny band The Svelts, on drums.  This incarnation recorded one more album, Rock And Roll Survivors, released on Casablance Records, so not included here.  That album contained the single "Butter Boy", which hit number twenty-nine on the Billboard Singles Chart, but the band had already broken up by then.  Jean and June have remained active in the music world and have even released a few albums together as well as a 2018 album under the name Fanny Walked the Earth with former drummer Brie returning along with a who's who of special guests including Alice De Buhr.  Unfortunately, one week before they were supposed to play their first live show to support the album, Jean had a severe stroke that paralyzed the right side of her body.  The band was also profiled in the fantastic 2021 documentary Fanny : The Right To Rock, which is highly recommended.  It's unfathomable to me that a band this good isn't a household name.  The musicianship, vocals and songwriting found on this box set is incredible.  

(Cherry Red Records)