So it all started, long ago, with a desire to make a mix, based on the Stones' Exile on Main Street, 
a most influential work, in my opinion. It was indeed, a major influence on the more laid back swagger of future ensembles, as collected here. Bands were now told they were allowed to be messy. Hip, very talented, but messy.
The Stones most favorite cousins were The Faces, one of The Best rhythm sections to be born in Britain. They ran with the banner, flew it from great heights, Rod, the Ronnies, Wood & Lane and co, with their fully stocked bar on stage, blokey matey banter and the odd soccer ball forthwith. Their tune You're So Rude features Ronnie 'plonk' Lane on vocals, an extremely rough and tumble character whose presence in the Small Faces, the Faces and later with Slim Chance beget some of the finest character filled tunes of the '60's and '70's. 
My long time faves Mott the Hoople, and their sublime vocalist Ian Hunter, whose vocal strut rang strongly and defiantly in my teenage times are represented with a track each. The Hoople track is a rare concession on my part, as I usually can't stand songs with the words Rock and Roll in the title, but this one, along with the Velvet's Rock & Roll and Lou Reed's Rock and Roll Heart are rare exceptions. The track is pure magic, as is Ian's Once Bitten Twice Shy, from his 1st solo album, one that was thrashed in my teens.
We venture into, what the Americans were calling New Wave as early as '74, then given the British tag Punk (a nasty put down in the US), then, after Punk had (officially) died everybody was either Post Punk or New Wave (ironically). Anyhoot, folks like The Only Ones and their vocalist Peter Perrett, dear friend of Keef, were swept amongst the tide of New Wave, though their guitar solos and the epic grandeur of their songs rang the sounding bell of that same cool Stonsey swagger.  
This comp is jam packed with incredible artists from the States and the UK who looseness matched their irreverence and idiosyncratic tendencies. From Memphis you have Alex Chilton, recorded in 1970, stranded between the Box Tops and Big Star, Alex tears open the Stones Jumpin' Jack Flash in such a terrifying fashion that it leaves latter messes like Johnny Thunders seeming tame. Alex's Memphis buddy and studio cohort Terry Manning defies order with his offering of Choo Choo Train, what a glorious sloppy racket! Original member and co-songwriter of Big Star Chris Bell kicks off the proceedings, with help from Tav Falco, for a full Memphis welcome.
Television and their guitarist Richard Lloyd get an airing to strut their NYC style, Television with Ain't That Nothin' from their magnificent second album Adventure. Richard Lloyd recites the Stone's Get Off My Cloud as though playing with razor blades instead of guitar picks, the original 7" single, on Ork Records, has emblazoned on the cover "For Keith". A very popular sentiment back in NYC, check Patty Smith's hair. For example.
The rest of the cast here are not to be sniffed at (Grateful Dead pun). Wild, passionate souls who all had great songs and chops, but weren't afraid to get real loose.

This compilation is dedicated to one of the best friends I could ever have had.
With whom I had innumerable sessions spinning tunes like these, whose love for that loose effortless swagger was permanently imprinted into me.
To Christian Houllemare with love.


1. Chris Bell - I Got Kinda Lost - I am the Cosmos
2. Rolling Stones - Happy - Exile on Main Street
3. Todd Rundgren - Parole - Runt-The Ballad of Todd Rundgren
4. Alex Chilton - Jumpin' Jack Flash - Free again, the 1970 Sessions
5. Ian Hunter - Once Bitten Twice Shy - S/T
6. Dwight Twilley - Alone in my Room - Twilley
7. Television - Ain't that Nothin' - Adventure
8. The Flamin' Groovies - Jailbait - Flamingo
9.The Faces - You're So Rude - A Nod is as Good as a Wink...
10. The Grateful Dead - Casey Jones - Workingman's Dead
11. Little feat - Crack in yor Door - S/T
12. Neil Young - Walk On - On the Beach
13. The Only Ones - City of Fun - S/T
14. Eddie and the Hot Rods - Do Anything You Want To Do - Life on the Line
15. Richard Lloyd - Get Off My Cloud- Ork Box
16. Bram Tchaikovsky - Girl of my Dreams - 7"
17. Mink Deville - Savoire Faire - Le Chat Bleu
18. Tom Petty - What are you doing in my life - Damn the Torpedoes
19. Mott the Hoople - The Golden Age of Rock and Roll  - Mott
20. The Move - Down on the Bay - Split Ends
21. Terry Manning - Choo Choo Train - Home Sweet Home
22. Chris Stamey and the DB's - (I thought) You Wanted to Know - Ork Box


It's been a heck of a long time since I got a mix together for you gang.
I want to make up for that by giving you the grooviest mix possible.
It's Fast
and it's Bulbous
Yes...that's right!

 Fast and Bulbous

It's a roller coaster ride of fabulous fun
So, charge up your energy dome
put on your trout mask
get ready to connect the dots
then download Fast and Bulbous 

1. Devo - Sloppy
2. Wire - Two People in a Room
3. The Reels - Depression
4. Pere Ubu - Untitled/Modern dance
5. The Monks - Blast Off!
6. Captain Beefheart - Ice Cream for Crow
7. Silver Apples - Program
8. Alex Chilton - Like Flies on Sherbet
9. The Tubes - White Punks on Dope
10. Todd Rundgren - You need Your Head
11. CB - Pena excerpt
12. Captain Groovy - Captain Groovy and his Bubblegum Army
13. The Modern Lovers - Modern World
14. The Buzzcocks - Fast Cars
15. Chi Pig excerpt
16. XTC - Jumping in Gomorah
17. Frank Zappa - I'm So Cute
18. The Stooges - Shake Appeal
19. Brian Eno - Needles in a Camel's Eye
20. John Cale - Chicken Shit
21. David Bowie - Repetition
22. The Velvet Underground - A Foggy Notion
23. Chi Pig excerpt
24. The Ramones - I Don't Wanna Walk Around With You
25. The Archies - You Make Me Wanna Dance



This is a mix I did a while ago that I thought should see the light of day.
So it's not really the first mix of 2017, that's still to come.
Here's very chilled two hours of wonderful psychy, proggy, folky loveliness.
Some tunes have appeared on previous mixes, but most haven't.
Let Daevid, Syd, Lou, Mr Wyatt, los Beatles, the Zombies, Pink Floyd 
ISB andmoreagain take you on a very pleasant trip.

Here's your ticket

1. Gong Synth Intro
2. Beatles - Flying
3. Byrds - Dolphin's Smile
4. Pink Floyd - See Saw
5. Matching Mole - Instant Pussy
6. Incredible String Band - Koeeoaddi There
7. Tim Buckley - Hallucinations
8. Joe Byrd & the Field Hippies - Moonsong Pelog
9. Spirit - Green Gorilla
10. Gong - Prostitute Poem
11. Syd Barrett - Dominoes
12. Fairport Convention - I Don't Know Where I Stand
13. McDonald & Giles - Is She Waiting
14. Left Banke - Dark Is The Bark
15. The Monkees - Porpoise Song
16. Caravan - A Hunting We Shall Go
17. Alain Goraguer - Heshominisation
18. Kevin Ayers - Lullaby
19. Jackson C Frank - Gold & Silver
20. Trees - Sally Free and Easy
21. Pink Floyd - Heart Beat Pig Meat
22. Strawberry Alarm Clock - Shallow Impressions
23. Beach Boys - Our Prayer
24. Pretty Things - Parachute
25. Shelagh McDonald - Dowie Dens of Yarrow
26. Beatles - The Inner Light
27. Kevin Ayers - Song For Insane Times
28. Vashti Bunyan - Winter is Blue
29. Incredible String Band - You Know What You Could Be
30. Nick Drake - One of These Things First
31. Mu - The Clouds Went That Way
32. Spirit - Why Can't I Be Free
33. Robert Wyatt - Solar Flares
34. John & Beverley Martin - Would You Believe
35. Dino Valente - Everything Is Gonna Be OK
36. Love - Andmoreagain
37. Kak - Lemonade Kid
38. Faust - Chere Chambre
39. Velvet Underground - Jesus
40. Colin Blundstone - Misty Roses
41. Music Machine - Discrepency
42. Gary Higgins - Unable To Fly
43. Kevin Ayers - Girl on a Swing
44. The Zombies - Beechwood Park
45. Moby Grape - It's a Beautiful Day Today

Teenage Kicks

With this mix, what I'm doing is an encapsulation of the sonic landscape of my world 1972 - 1975, compiling tracks that were played, owned and enjoyed regularly at my childhood home of 42 Eastern Ave Revesby.
There has been tons of amazing stuff that I have discovered from that period since then, but for the purpose of this mix I shan't cheat. 

The cool thing about being a teenager in the early 70's, in my neck of the woods anyhow, was that it was a perfect time to be a teenager in the 20th century. Well at #42 with three fairly hip older siblings, a loving and fancy free mother and a mostly invisible dad, we were free to be free a heck of a lot of the time. With the boom in the teenager market there was crazy cool stuff everywhere: movies, mini bikes, skate boards and rock mags, jeans, boardies and Golden Breed T's. Life was pretty nice. The beach was a constant. Music was essential.
You might say that stuff was already around, but my gen had more time to enjoy them.
Another thing about my world at that time was that there was an expansiveness in what people dug listening too. We didn't seem to have the same need, as in the US, to no longer listen to music a year or two older, we listened to a really wide range of musics, so it wasn't uncommon to have Relics, A Hard Days Night, Ziggy Stardust, a few Reggae and 60's pop singles and Close to the Edge sitting in the 'recently listened to' pile. There was very little discrimination between styles, you could easily listen to prog, glam, rock and country blues in one sitting. 
My big brother took me to his mate's five years older parties, where the Stones, Faces, Free, Cream, Hendrix and Zeppelin reigned. My own friends loved Bowie and Reed, Roxy and Mott, which were regarded as teenage music, but just about anything went if it rocked, or sent the right tingles. We'd go to the Horden, see Jethro Tull, Tangerine Dream and Uriah Heap. Go to the Liverpool Speedway to see the Doobie Brothers with the Aztecs, or Hush and Timepiece at the school dance. All of it was interconnected.
There, in my brother and my room, amongst the Barbarella, felt "glow in the dark", Pink Floyd and Easy Rider Posters, the wardrobes covered in beatnick, hot rod and Mad Magazine stickers and decals, were 2 turntables and an 8 track, which flashed its many coloured lights in the dark. This was our special world, excepting when the folks went away, then, the 3-in-1 in the loungeroom would be cranked up. Out would come the 7"s, fave LPs like Pet Sounds, Hunky Dory or even the Clockwork Orange soundtrack would fill the sweetly scented air. 

That said, this mix doesn't cover the whole gamut of sounds experience at #42, that mix would go for about six hours. All of the tracks are from significant albums released around this time period, with an emphasis on some of tunes that had a big effect on me at the time. 

The artists:
Led Zeppelin. One thing I loved about them was their sort of middle eastern/Celtic folk melody ideas fused with mellotron laced psyche. John Paul Jones' brilliant arrangements knitted this very unique combo of musician's work into something quite extraordinary. I've always loved lll and Houses of the Holy best, especially the more folky tunes.
Yes, one of my favorite bands of the time, have, since the late 70's, been tarnished with the brush of Prog excess, but, for me, then as now, I find their work, especially during the Wakeman period, to be sparklingly illuminated magic music, that also rocks like a mofo. 
The track I've chosen, though really long, is a fab example of them at their best, shifting from gorgeous folk through to fierce driving rock. No flummery or fanciness here. Chris Squire's bass and Bill Brufords drumming have hardly anything to do with the finger pointing and criticism one usually hears about this remarkable band.
Alice Cooper's School's Out was the first LP I ever bought, when I was twelve. I listened to that album endlessly. It's combination of Detroit Punk spirit, great songs, Alice's and the band's super cool presence and its spine tingling production made it one of my favorite albums. I could look at it's school desk cover for hours, an interesting juxtaposition to the fact it was my first year in High School, which was a thing I could not relate to, till the day I left, four years later. There was a big party after school finished in '75 for kids in my form and I'll always remember School's Out being played loud, big smiles and hugs. If only the previous four years had been that good. 
The Beatles and their subsequent solo albums were a major ingredient in my youth. From their first singles, going to the screening of 'A Hard Day's Night' and Help, through to Sgt. Pepper and on to Let it Be, the Beatles were our fave band. I've chosen a track from Let it Be as it was a 70's thing and I chose this track cos I've always loved it. It's not their best track but it's one that reminds me of the early '70s. I love the title, its absurdity. How do you dig a pony? I've also include a track from Imagine and All Thing Must Pass as well. Two major albums that were as present as air and water at the time. Both tracks (sadly/humorously) are predominantly about Paul McCartney. That's not why I chose them though, more their resonance, the way they transport me, as well as Phil Spector's production and their tingle value.
Marc Bolan and T. Rex were a thing a teenager could get. It was an education, not taught at school. It was about cool and about sex. You could do your slow Sharpie dance to it. You could lay back, staring at the cover, dreaming all those warm dreams of youth. The way Bolan sang and played was filled with all of the sparkly bits I hoped to one day acquire.
One of the more dangerous things I did in my youth was to pinch a cassette copy of Electric Warrior from a Hi Fi shop in Bankstown in '72. It was just sitting there. I had to have it. This may have enhanced the illicit nature of the music. Every one else could have Pilot and Marmalade, I had T.Rex! 
Lou Reed entered my life in '73, via big bro, quickly becoming one of my top faves. I'd buy the in between LPs he didn't have. This quickly led to discovering the Velvet Underground, a band I rate in the top 5 of all time. A major influence that I am still discovering more of.
The Lou track I've chosen, taken from Rock n Roll Animal, is definitely not the best thing he ever did, but the effect of Intro/Sweet Jane had an almost drug like effect on me every time the stylus hit the record (or the 8track clicking and shuffling into play). The dual guitars, the whistles and squeals of delight as Lou hits the stage, the grit of his voice, his New York swagger, electrifying me, shivers down my backbone.
Jethro Tull were and odd thing for a kid to be listening to, stories old snotty men and rabbits. I suppose with Monty Python and the Goons I already had some appreciation of absurdity, also there were a lot of old snotty men around. Their use of UK traditional folk marked their difference, combining it with raw blues, strange time changes, killer playing and ridiculous outfits. I loved them. The album Benefit was my first of theirs, less thematic than other later albums, it captured and intense and defiant spirit. The track here 'Son' was a fave. Its conjuring of imagery, the young boy, his yearning quashed, adults portrayed as the bastards they often are, denying the most rudimentary of natural needs. Great inspiration for a lad who saw this reality daily, to kick against the pricks.
Bowie, David Bowie, good lord, what an enormously huge effect he had on me and just about every one around me. Taking Japanese theatre, mime, theatre of the absurd, Rock and Roll, sexual androgyny, Brecht and Soul. He tunneled them all, creating personal visions, esoteric creations. A wonder, a mystery. You could be highly attracted to him, but not sexually. It was the alien other, the id. His songs from Space Oddity to Scary Monsters were as potently real and important as they were distant and unknowable. Rockin' good fun, yet disturbing. I've picked two tunes, 'Panic in Detroit' from Aladdin Sane, an album on high rotation at #42. This was a song, complete with the Bo Diddley groove, that shook your very foundations. Mick Ronson's guitar and arrangements, terrifying. In the background the voice of Linda Lewis, who I would discover decades later, making the most wonderful noises, tingle tingle. The other is from Man Who Sold the World, entitled 'All the Madmen'. This album was my private joy. Not a record that was commonly known, there were no hits and it's a very dark album, with a spirit returned to on Diamond Dogs years later. I loved having albums that, as far as I knew, no one else had (in my mind), listening to tracks, like this that took you to very strange places. The way it goes from the narrative, concluding with the little girl saying "can I keep him?" into Mick's slide, tearing across the speakers, back into Bowie's ode to madness. A theme he was to return to over and over.
Roxy Music appeared in my life one night when, whilst watching Night Moves on telly, strangely enough, with my dad in the room, Roxy Music came on and did 'Do the Strand'. Krikey! it sent me into a state of sheer exhilaration. It was way too poofy for dad, staring in disbelief. There was Brian Ferry, a totally new type of front man and, good lord, Brian Eno, resplendent in boas and sparkle, playing god knows what strange things, squelching and squidjing. The whole band was amazing to look at and that incredible song pushed me into a world of musical pleasure, with Roxy as a major fave and Eno and Phil Manzanera as key identifiers for record buying for decades to come. If they're on it it's gotta be good.
Mott the Hoople were another fave of the time, the Bowie connection I guess. Their sound was kinda similar but then again different to bands like Roxy, their 50's Rock n Roll influences, mixed with strange theatrical twist and turns. Ian Hunter's voice was really something, all close and taunting, manic laughter, rough yet beautifully soulful. I loved their shit.
Pink Floyd appeared in my life one day in '73 when my brother brought home an 8Track bootleg of Dark Side of the Moon. He took me out to his car, we settled in and he pressed the play button. Kapow! A Floyd fan was born. Pink Floyd and their oeuvre became a staple, colouring our surfing journeys down the coast, sunsets, daydreams and late nights. It was beautiful. The track I chose, from Obscured by the Clouds was always a fave, Dave Gilmour's guitar soaring like no other guitarist before of since, with its sub bass distorting the speakers, its sentiment, steeped in old age and death, heavy  shit in retrospect...I don't know, you can't think in adult terms when thinking about the young mind, I never really tried to figure out lyrics, I guess I just thought they were talking about stuff that was the stuff cool people figure out, so it's cool... and in actual fact, it was.
Frank Zappa entered my life in '73, when I asked my brother for a list of records to buy with my birthday money. He suggested Yessongs, Dark Side of the Moon and out of left field, Hot Rats. I went to Anthem, inside Town Hall Station and laid my money down. Accidentally I bought Waka/Jawaka, as it had Hot and Rats written on the tap handles on the cover. I took them home and cranked em up. Never having been exposed to any form of music like this crazy disc, I was most thrown. I persevered though and lo and behold I grew to love it. I then got the real Hot Rats, as well as Mothers Live at Fillmore East and as the '70's progressed, many more discs of his fab gear. This track is still a knock out, after all these years and the album still one of my Frank faves.
The Rolling Stones were always there, like the Beatles. I suppose for most of my youth the Beatles were the winner of that tired old battle, but as the 70's progressed, with Sticky Fingers, Goats Head Soup and Exile on Main St entering the picture, the Stones became more and more a part of our soundtrack. I always loved the ballads, even Angie, something about them was real, they touched deep. Yet the Stones were untouchable, ultra cool. Like all the older cats I admired, I thought they were something I'd be one day. Thank christ I didn't, another sad junky wanting to be Keef. This track, with it's gorgeous arrangement and de riguer Spector/Visconti style strings still sends lovely shivers.

 Enjoy your Teenage Blitz Mix

1. Led Zeppelin - Friends - Atlantic
2. Yes - Roundabout - Atlantic
3. Alice Cooper - Alma Mater - WB
4. John Lennon - How Do You Sleep - Apple
5. T.Rex - Ballrooms of Mars - EMI
6. Lou Reed - Intro/Sweet Jane - RCA
7. Jethro Tull - Son - Chrysalis
8. George Harrison - Wha Wha - Apple
9. David Bowie - Panic In Detroit - RCA
10. Roxy Music - Do The Strand - Virgin
11. Mott The Hoople - Marionette - CBS
12. Pink Floyd - Free Four - Harvest
13. Led Zeppelin - Over the Hill and Far Away - Atlantic
14. David Bowie - All The Madmen - RCA
15. Alice Cooper - Halo of Flies - WB
16. Frank Zappa - Peaches En Regalia - Reprise/Bizzare
17. The Rolling Stones - Moonlight Mile - Rolling Stones Records
18. T. Rex - Mambo Sun - EMI
19. The Beatles - Dig A Pony - Apple  

Let Me Slide

Wild, Wild, Screamin' Rock and Roll! 

That's what the kids of today are listening too.
Music that would make any sane young person go mad and it tear up

This mix is a warning, an alarm bell, about what can happen to an innocent teenager exposed to this new driving primitive BEAT!

Kids on the street in greasy leathers, hangin' on corners, stirring up trouble

Juvenile Delinquents !

Enter at you peril, into the world of wild and dangerous, savage, American teen beat, 
wailin' Rhythm and Blues, savage instrumentals and hell bent Rockabilly
Crazy youth, screaming the heebie jeebies!

Surfers, Hot Rodders, Rockers, Bikers, Freaks and trouble makers, they're all here

Let it slide they say, Let it Slide!

the LinK

1. Mickey Hawks and the Night Raiders - Cottonpickin' - Dee - Jay Jamboree
2. Little Richard - Keep A Knockin' - Specialty
3. The Swanks - Ghost Train - Charm / White Label
4. Bob Calloway and the Spiro Hep Cats - Tick Tock -  White Label
5. The Crossfires - Out of Control - Rhino
6. The Rangers - Justine - Challenge / Ace
7. Jerry Lee Lewis - Wild One (Real Wild Child) - Sun
8. Jimmy Patton - Let Me Slide - Sage and Sand / Rollin' Rock
9. Rick West - Cop Car - White Label
10. Ron Thompson and the Brougham's - Switchblade - Soma / White Label
11. The Citations - Headache - White Label
12. The Sonics - Psycho - Beat Rocket
13. Don and Dewey - Bim Bam - Specialty
14. Bo Diddley - Mumblin' Guitar - Chess
15. Reggie Perkins and his Rockin' Maniacs - Saturday Night Party - Gem
16. Tommy Louis - Wail Baby Wail - Wilderness
17. Larry Williams - Slow Down - Specialty
18. Davie Allen and the Arrows - Another Cycle in Detroit - Sundazed
19. The Wailers - Out of Our Tree - Norton
20. Big Danny Oliver - Saphire - Trend
21. Larry Terry - Hep Cat - Testa
22. Jay Haggart and the Jubileers Band - Tom Cat - Daja / White Label
23. Mack Self - Vibrate - Sun
24. Terry Daly - You Don't Bug Me No More - RMA

Soft Life

Here's a mix I've had bubbling under for some time. Held back by the unavailability of some of the key tracks, which have now been re-released, in particular the Strawberry Alarm Clock, Left Banke and the Daisy Chain via Sundazed Records, plus the sounds of Inner Dialogue, Joe Byrd and other delights I have joyfully stumbled across.

The genesis of this mix was about 12 years ago when my mate Lyndon Pike gave me an eclectic mix CD of 60's / 70's gear, containing tracks and artists, almost all of which I then proceeded to track down or add to my long list of must haves.
Some of the tracks on the comp, like Dark is the Bark by Left Banke introduced me to the dreamier / darker side of Sunshine pop. I've included several tracks from that mix. Thanks L.

Sunshine Pop, that odd AOR title that has stumped most pop rock enthusiasts. Associated with a clean cut, all American, cravat wearing type. Most likely nice Christian people.
The sound of Burt Bacharach was my reference point, Butch Cassidy and all that, along with the themes to 'Love American Style' and many other "doo doo da doo" styled swingers from movies and television. I knew and loved that sound, it reminded me of being 10.

Around 2004 I was working for Didgeridoo Records as a buyer when I received a package of samples from the label Siesta from Spain. The albums that really stuck out were the reissues of Free Design and Margo Guryan. I was mad for them and wanted to tell the world about them. At that stage the world wasn't ready and we hardly moved any copies, but then Light In The Attic released the Free Design catalogue, beautifully produced chunky vinyl and gatefold sleeves. Sundazed later followed with Margo. It would be a push to say that either act has seen great sales from this, underground kudos maybe, but at least the albums have got out there, not lost somewhere in a vault.

Checking through the Sundazed new releases a few weeks ago I was blown away by seeing the Strawberry Alarm Clock's albums being reissued by Sundazed, including their last album 'World in a Seashell', a title I've been trying to get for an eternity. Disliked and dismissed by the band's members, Seashell boasts the track 'Barefoot in Baltimore' sounding more like Stereolab or Jim O'Rourke in their more swingin' forms. The album is a stone Sunshine Pop classic.

I've focused on the more dreamy and dark side of this genre, though usually these genres only exist in hindsight. In reality the bulk of these tunes and the artist producing them exist in a world of their own. One could not put the Beach Boys, Judee Sill and the Everly Brothers in the same dressing room let alone genre. There must have been something in the water in those days because the sonic connection is there.

Apart from the folks mentioned we have have a super groovy line up of the Association, the Monkees, Nilsson, Sagitarrius, the Cowsills, the Moon and the Mamas and the Papas all soaked with that mysterious sunshine sound. I've slipped in Serge Gainsbourg, from the Cannabis soundtrack, plus an interesting question from the sunshine sage Rod McKuen "do they still make turtles?"

Enjoy Soft Life

1.   Inner Dialogue - Yesterday the Dog Ate the Turtle
2.   The Association - Birthday Morning - Warner Brothers
3.   The Strawberry Alarm Clock - Barefoot In Baltimore - Uni / Sundazed
4.   The San Sebastian Strings, w/- Rod McKuen - Body Surfing With the Jet Set - Warner Brothers
5.   Harry Nilsson - Without Her - RCA
6.   Joe and Bing - Summer Sound - Rev-Ola
7.   Mamas and the Papas - People Like Us - ABC Dunhill
8.   Tony Mottola w/- Free Design - Kites Are Fun - Project 3
9.   Everly Brothers - Illinois - Edsel
10. Daisy Chain - Run Spot Run
11. The Monkees - Porpoise Song - Colgems
12. Tomorrow Your Heart - Honey Ltd - LHI / LITA
13. Serge Gainsbourg - I Want To Feel Crazy - Phillips
14. The Moon - Give Me More - Rev-Ola
15. The Cowsills - Father - MGM
16. Left Banke - Dark Is The Bark - Sundazed / Smash
17. The Beach Boys - Surfs Up - Capitol
18. Judee Sill - The Kiss - 4 Men With Beards
19. Free Design - Dorian Benediction - LITA
20. Joe Byrd and the Field Hippies - Moonsong Pelog - CBS
21. Linda Perhacs - Chimacum Rain - Sundazed / Kapp
22. Bergen White - The Bird Song - Rev-ola
23. Rod McKuen - Happy Times - High Fidelity Records
24. The Beach Boys - Water - Capitol
25. Strawberry Alarm Clock - Sea Shell - Sundazed
26. Sagitarius - Blue Marble - Sundazed
27. The Gates of Eden - No One Was There (Requiem) - WEA

Goodnight Lou, Goodnight

When I was 14, my brother Mark, who was 18 introduced me to Lou Reed. Not just a hit singles worth but everything he could get his hands on. 
Caravan park at midnight, 1973, mushroom candle and incense burning, buddah burning, my mind burning as Lou Reed, Lou Reed spins around. The baby bird, the wave. Transformer. Fuck! Lou sneering through valves of white light, Mick Ronson at the helm, perfect pop for now people. We stared at the banana refusing to peel. Lou, Sterling, Maureen, John and Nico. Lou's words, his otherness. Our Lou collection grew, with me tending to buy the inbetween albums : Berlin, Velvet Underground S/T and later Sally Can't Dance and VU Live in 69. We were, to our knowledge, the biggest fans in our neck of the woods, well Revesby anyway. And we loved it. Cruising the coast with Lou on the 8 track and several packets of Ardaths. Feeling cool. I had a black Sloppy Joe printed with a close up of the photo above. We were there for the Sally Can't Dance / Rock and Roll Animal period show at the Horden Pav, Lou peroxide gold, me in sequined black cape... and I really don't care any more about all the Jim Jims in this town... Lou's slappin the mic stand. Rock and Roll heaven!
Well that shit was real because Lou was real. He wasn't some pop star wanna be, he was like old school. He was a 40's 50's cat, a stone post war outsider. His forays to the Big Apple in the 50's took him places noone should go, experimenting with life in all it's far out and freaky ways. He was already happening way before he was happening. His own underground University radio show, causing aural havoc, his early recordings and work at Pickwick Records leading to his meeting the great John Cale. The two of them fused their interests in the avant garde, free jazz, Mowtown and stomping party music, Bob Dylan and probably some Celtic flavors from John and some Jewish colours from Lou.
This was the beginning of something amazing, one of the 2 or 3 best ever debut albums.
Somehow people though Andy Warhol had a lot to do with that record, probably because his name is on the cover. Yes he did do the cover, but the best thing he did was nothing. He told the engineer to let them do what ever they wanted to do and he encouraged Lou to be naughty that's all, but that was enough to take them over the edge, enabling them to create a masterpiece that might have been subdued under normal circumstances.
So the groundwork was laid. Everyone who encountered the Velvets knew there was something else going on with these guys. Most of the public didn't want to know about these scary people and their dirty words. The few that did were loyal and traveled from show to show, like Robert Quinne, whose recently released bootleg recordings are both revealing and thrilling. 
The band continued on year after year, making astonishing albums, playing great shows, but continuing to ride along in a relatively low key style than their merit deserved. The old story.
Lou split in 1970, the game was up, there's only so much food you can buy on a cultish income.
One thing lead to another and with a bit of help from David Bowie, Lou kicked off his solo career.
That was 42 years ago!
42 years of making music, thrilling fans, upsetting journalists, giving himself totally to his art, for us!
Lou Reed didn't make music to stay in the charts, he made it as he had no choice, as with most of the great artists, mostly wallflowers, uncomfortable in public, but in private an electric mind that will not give up.
So I'd like to say, thank you Lou, for all you've done, all you've given, all the gigs, the albums and very much more. 
As Captain Beefheart said on being asked did he miss music (meaning performing) he replied "No, because that is a hell of a thing to ask somebody to do...to give blood like that"
Thanks Lou