Explore the London Pub Rock Scene of the 70’s and dive into the world of Britpop with two of our carefully curated compilations out today on this #NewMusicFriday. If that’s not enough to keep you busy we’ve also got two fascinating box sets looking at crucial periods in the careers of David Sanborn and Brian Protheroe. Find out more…
• Sequestered in Kentish Town to record an album with Hendrix/Slade producer Chas Chandler, in the spring of 1971 exiled American band Eggs Over Easy persuaded the landlord of local pub The Tally Ho to let them perform at the venue.
• Though the band were back in America by the end of the year, they inadvertently became the catalysts that sparked the pub rock revolution, with the likes of Brinsley Schwarz, Ducks Deluxe and Bees Make Honey playing a burgeoning circuit that included The Kensington in Russell Gardens, The Lord Nelson on Holloway Road and The Nashville in West Kensington.
• Surrender To The Rhythm charts the origins and development of the London pub rock scene throughout the Seventies, featuring all of the aforementioned bands as well as such key names as Dr. Feelgood, Ace, Kilburn & The High Roads, Dave Edmunds, Graham Parker and Elvis Costello.
• We follow the scene into the late Seventies and the Stiff/punk era with the arrival of new, younger blood that included Eddie & The Hot Rods, The 101’ers, The Jam and Squeeze.
• Naturally, we also round up a whole host of bands who underpinned the scene but failed to cross over to mainstream success: National Flag played an extraordinary 24 times at the Marquee in the space of fifteen months, Bearded Lady were headlining the night that support band The Jam were spotted by Polydor, and Brewers Droop featured an earnest young guitarist by the name of Mark Knopfler.
• With so many pub rock bands of the era having not recorded, we’ve plugged the gaps with a few acts (Status Quo, Mott, SAHB, Thin Lizzy) who had an agreeably down-to-earth, spit’n’sawdust mentality even though they were too big to play the circuit. After all, pub rock is a state of mind as much as a physical location…
• With four hours of vital, vibrant music – including several previously unreleased tracks – bolstered by a 48-page booklet crammed with photos, memorabilia, anecdotes etc, Surrender To The Rhythm is the definitive aural document of a movement that would revolutionise the British music scene.
• From the makers of Sharon Signs To Cherry Red , further inspired by its own Junkshop Glam series and genre defining box set “All The Young Droogs”, RPM follows up with Super Sonics. A celebration of the multi-faceted British alt. rock/pop scene which flourished 1992-1998, midway through attracting the term Brit Pop.
• Compiled by DJ, curator and contemporary scenester Martin Green, who ran the London club Smashing during the period. Artists such as Blur, Oasis, Pulp were all attendees, and the club became a breeding ground for many future bands. In parallel Martin compiled and co-produced the genre defining Loungecore compilation The Sound Gallery released on EMI in 1995, using many tracks which had populated the early club sets. Martin tells the full story in the booklet.
• Capturing the scene then as Time Out’s nightlife editor, and representing it now with his images on our front cover and inside the booklet is renowned pop culture journalist and club photographer Dave Swindells.
• The scene was a fusion. Grunge was out Glam was in. 70’s charity shop tops, jeans went skinny, fringes floppy and sportswear vintage donned. Soundtracks, TV themes, Moog grooves, Punk, Indie, Hi Nrg, Glam and New Wave hit the decks. Different aspects of 20th Century musical culture collided to create something new. Super Sonics is a slice of ‘single’ heaven from across the range of musical styles which sprouted. Such styles were referred to as the New Wave Of New Wave, The Scene That Celebrates Itself and more until Brit Pop was coined to cover it all.
• The criteria for a successful collectors ‘Junkshop genre’ to evolve is a music scene happening when ‘singles’ were currency, and a tier of artists who didn’t necessarily progress up the charts or into albums but who were fully involved in the scene. Super Sonics includes representations from other key scene clubs such as Blow Up (the label from which is still going today) and Fantasy Ashtray whose nightly host was Davina McCall. Other scene alumni include radio presenter Lauren Laverne – famously emerging from Kenickie; Louis Elliott from Rialto who founded the Port Elliott festival; Ella Guru of the Voodoo Queens – a leading artist of the Stuckist art movement; We Are Pleb (whose track here is previously unreleased) begat TV sensation Dennis Pennis by way of singer Paul Kaye and Paul Jones guitarist with Linoleum and later Elastica who now guides today’s artists as A&R at Rough Trade Records.
• In Super Sonics Martin Green has compiled a compelling listening experience. And it’s very Brit: Dave Devant is the 90s Alan Klein (the 60s Londoner whose LP “Well At Least It’s British” inspired Damon Albarn’s “Modern Life is Rubbish”); other songs dwell on London Girls, the virtues of Pimlico and a Penthouse in Belgravia; and Earl Brutus request Take me to your Harvester…
Over an astounding career that began as a blues sideman at age14 then evolving into one of the most in-demand and imitated musicians across genres, saxophonist David Sanborn is a living legend. Distinguished by a biting, ear-bending tone and a penchant for soulfully explosive runs, Sanborn’s sound has graced great recordings by artists that include David Bowie, Stevie Wonder, Elton John, Donny Hathaway, Chaka Khan, The Temptations, Jaco Pastorius, Kenny Loggins, Todd Rundgren, Esther Phillips and Bob James. As an artist, Sanborn earned 8 gold records, a platinum-seller, won six Grammys, and topped international critics and readers polls.
• On July 30, David Sanborn turns 75-years-old while 2020 additionally marks the 45th anniversary of his debut LP as a leader. In honor of these milestones, SoulMusic Records proudly presents this 3-disc “audio travelogue” that covers the arc of his artistry like no other. “David Sanborn – Anything You Want: The Warner-Reprise-Elektra Years (1975-1999)” salutes Sanborn by taking a deep dive into the 17 albums he recorded as a solo artist within the highly impressionable 25-year period he was earning a reputation for world alto saxophone dominance. From Taking Off (Warner – 1975) to Close-Up (Reprise – 1988) through Inside (Elektra – 1999).
• Produced by Los Angeles-based musicologist A. Scott Galloway with co-production by SoulMusic.com founder David Nathan, this deluxe package explores David Sanborn’s catalogue in an artful approach – an immersive 45-song experience, filled with cherry-picked radio edits, rare mixes, live versions and overlooked album cut gems that present Sanborn at his eclectic, emotive finest. Each of the three discs covers a specific aspect of Sanborn’s vibe, offering a variety of palate-pleasing styles that plays out like three 15-song feasts in one.
• Disc 1, New York Dave & The Cali-Crossover Express, primarily explores the Florida-native’s early experimental years. This disc moves from the thrilling opener ‘Flight’ (Dave dueling with strings over a hotbed of percussion) into anomalies such as the only song he ever sang lead on, his first solo compositions, a co-write with Michael McDonald and a song arranged by mentor Gil Evans to hits such as Michael Sembello’s ‘The Dream’, ‘Lesley Anne’, ‘As We Speak’, Leon Russell, James Taylor, Paul Simon and Carly Simon covers, and an orchestral rendition of the folk song ‘The Water is Wide’ featuring Linda Ronstadt.
• Disc 2, Sanborn: Soul Man showcases David at his soulful, funky best on jams such as ‘Chicago Song’, ‘Snakes’, ‘I Told U So’, a slammin’ live cover of Al Green’s ‘Love and Happiness’ featuring singer Hamish Stuart, his sumptuous take on Gladys Knight & The Pips’ ‘Neither One of Us’ featuring Luther Vandross as a background singer, a rare hip hop remix of his version of Marvin Gaye’s ‘Got to Give it Up’, the digital debut of the dance mix of ‘Believer’, plus two notoriously quirky classics: ‘Wake Me When It’s Over’… and ‘Duck Ankles!’.
• Disc 3, Evening Ember Essence, is a musical massage of Sanborn’s blues, jazz, quiet storm and avant-garde’ leanings blended into a butter-smooth brandy snifter of navel-gazing groove. This moody masterpiece moves from atmospheric pieces such as ‘It’s You’, ‘Naked Moon’, ‘Lotus Blossom’ and the standards ‘Come Rain or Come Shine’ and ‘For All We Know’ to brilliant top shelf interpretations of songs by Lou Reed, Aretha Franklin, Randy Newman, Sade and Wayne Shorter.
• Anything You Want comes complete with tasteful artwork by Roger Williams, exquisite mastering by Nick Robbins, track-by-track credits detailing all the A-list musicians and singers, and an in-depth essay by A. Scott Galloway abundant in exclusive, richly illuminating new commentary by Mr. David Sanborn, primary collaborator Marcus Miller, producers Hal Willner and Robert Margouleff, plus peers Randy Brecker, Steve Khan, Hamish Stuart and Ronnie Foster.
This 39 track 3 CD set covers all the solo releases by the multi-talented Brian Protheroe for Chrysalis Records between 1974-76.
• Disc 1 is debut album “Pinball” which contains the UK No.22 hit single of the same name. Also features follow up 45 ‘Fly Now’ plus the previously unreleased ‘Play’.
• The second disc is 1975’s “Pick Up” album which features the singles ‘The Good Brand Band’ and ‘Running Through The City’. Now has the bonus of the previously non LP B-side ‘Back Away’.
• Disc 3 is the “I/You” album which now comes with two bonus 2019 remixes by Brian. Also added especially for this box set is a 2020 remix of the ‘Fly Now’ single.
• Brian has been fully involved in the project and has contributed to the sleeve notes by History Of Rock editor Michael Heatley.
• As well as a successful recording career Brian has also enjoyed considerable acting acclaim appearing in TV show such as Holby City, The Bill and EastEnders as well as numerous West End stage shows like Leave Him The Heaven and Pump Boys & Dinettes. He is also currently the narrator of hit TV show First Dates.
• Promo copies will be sent out to all the monthly rock press and on-line media and will be heavily promoted on Brian’s own social media outlets.