As the Servants Neared Retirement...

I hope everyone has been enjoying JC's Sunday series on the Auteurs. You will find only 'New Wave' and 'Now I'm A Cowboy' on my shelf, meaning things are about to get really interesting for me at the (new) Vinyl Villain as we move beyond that era. Being a fan of '80s indie pop, it probably won't surprise you my interest in Luke Haines has more to do with his connection to the Servants than the Auteurs, Black Box Recorder or his vast solo work. Even I realize this is ludicrous since his time with that band was so brief and, let's face it, the Servants were much more the vehicle for the brilliant David Westlake.

If you know the Servants at all, chances are your in was either hearing "Transparent" on NME's 'C86' comp or picking up the singles "She's Always Hiding" and "The Sun, A Small Star," both minor indie-chart hits in 1986, peaking at No. 25 and No. 47, respectively. Through the years, it's "The Sun, A Small Star" that has become the band's signature tune, appearing on comps and even getting a 7" reissue last year on Optic Nerve Recordings. The point I'm trying to get around to is Haines didn't appear on any of those recordings. He didn't come around until after the band's lengthy recording hiatus ended in 1989. One footnote: Westlake did release a largely ignored solo album put out on Creation in 1987.

Here is Westlake and Haines together. This 1989 single was done for Dave Barker's Glass Records in both two-track 7" and four-song 12" forms. Glass didn't have many releases, but the bands they did work with during this period were epic, the Pastels, Jazz Butcher and Apartments being among the best of the bunch. Barker would shutter Glass shortly after this one and revamp as the excellent but also short-lived Seminal Twang label in the early '90s, but here I go on another tangent. Let's listen to the "It's My Turn" single in its entirety.

It's My Turn
Afterglow
Faithful to 3 Lovers
Do or Be Done

In 1990, the Servants would release a single and the 'Disinterest' album for Paperhouse. As Haines wrote in the liner notes for another of the band's releases, the label was just that, disinterested, as they had all their eggs in the Teenage Fanclub basket at the time. There was another album after 'Disinterest' with quite a different sound that upon completion Westlake and Haines felt would probably get shelved. They were so right. 'Small Time' finally saw the light of day two decades later via Cherry Red. Haines called it the Servants' best album, adding that "it's a strange and wonderful thing, and we're lucky that it is now in the world." Here's one from 'Small Time.'

Everybody Has a Dream

When a Shangri-La Emerged From the Shadows

The other day our pal Drew had a fun read on finding a Red Bird comp in the most unlikely of places... and on vinyl to boot. That, of course, got me listening to the Shangri-Las and then on to one of my favorite albums from this century. With the exception of a couple of very brief on-stage reunions, Mary Weiss had been out of the spotlight since the Shangri-Las called it quits in 1968.

In 2007, seemingly out of nowhere, Mary teamed up with Memphis garage rockers Reigning Sound for 'Dangerous Game.' The album's best songs were composed by uber fan and Reigning Sound frontman Greg Cartwright, and he turned out to be the perfect partner to bring Mary back to us. Here were the two singles... a blend of organ-heavy mid-'60s power pop, drama and modern flourishes. As for Mary, she was in great voice. A dozen years later, I'm still hoping for another comeback.

Don't Come Back
Stop and Think It Over

While we're here, how about something from the Shangri-Las? Written and produced by the legendary Shadow Morton and appearing on the iconic Red Bird label, here's a No. 18 hit from 1964 that appeared on 'Leader of the Pack.'

Give Him a Great Big Kiss

How Come You're Such A Hit With The Boys?

I professed my love for the Go-Go's on these pages last year, and I was pleasantly surprised I wasn't raked over the coals. This post is certain to test your kindness, but I pulled out these 12" singles on Saturday night and danced like a teenager. Well, at least until I got winded. Perhaps I should have gone with the 7" versions.

Belinda Carlisle got the attention, but Jane Wiedlin was my Go-Go. "Rush Hour" was her one solo smash, cracking the Top 10 in 1988. Five years earlier, "Cool Places" was the lead single from Sparks' album 'Outer Space.' During the Go-Go's heyday, Jane's involvement helped propel this one to No. 49 on the Billboard Hot 100, Sparks' highest ever charting position for a single before or since. Even with Sparks here for a little legitimacy, I realize these two singles are fluff of the highest order. I just don't care. C'mon, go with it. A good time will be had.

Cool Places (Long Mix)
Rush Hour (Extended Remix)

...And a Partridge That Was Practically Free

I have been spending all kinds of time with the new four-song EP 'Planet England' from heroes Robyn Hitchcock and Andy Partridge, and that also has me exploring the recesses of the Partridge discography. Those twists and turns brought me to "It'll End in Tears," the second of three singles from the Lilac Time's 1990 album '& Love for All.'

Partridge produced much of the lush long player with help from John Leckie. Until about a year ago I had nothing from the Lilac Time and only a 12" single from Stephen Duffy's "Tin Tin" days... well, outside of the sublime "She Loves Me" from the 'Some Kind of Wonderful' soundtrack. That all changed while thumbing through a bin of singles with no clue what I was about to find. Jackpot! Obviously, someone had come in recently with a stack of Duffy's work, and they were all $1 each. Sure, they were a little scratchy, but I took the lot with no regrets. It was one of those moments those of us with a passion for digging in a record store never forgets. Do you hear any of Partridge's flourishes in this one? I do. '& Love for All' is a gem I wish I had discovered about a quarter century earlier.

It'll End in Tears

A Smashing Time for More Than Just the Mods

Here's another one of those mid-'80s pop bands you tend to hear a lot on these pages. The Reflection hailed from Essex, and they got started in 1985 with a mess of Hammond organ and a couple of trumpets to go along with that jangle. Covers by the likes of the Action and Dobie Gray on stage helped gain a following with the mods, and there was a seven-song cassette of originals in late '85 featuring the excellent "No Compromise" you could pick up at their shows.

In 1986, the brass section was beefed up with some sax, making them a seven piece at that point, and their name was altered slightly to the Reflection A.O.B. to avoid confusion with another band that had a similar moniker. The band had some monumental slots opening for Makin' Time, Howlin Wilf & the Vee-Jays, the Kick, the Moment and even the legendary Geno Washington. A couple of these shows were at the 100 Club.

Principal songwriters Harks and Rich Drury whipped up four songs for the self-released "Only In My Dreams" 12" EP. It's one of those releases that should have raced up the indie charts, at the bare minimum, but it was not to be. Perhaps there is such a thing as being too indie, and coming out on the band's own Keep It label may have made it a tough find at the shops. In late '86, they become an eight piece with the addition of Sarah Beale on tenor sax. Alas, life began to get in the way, and members started defecting. The Reflection A.O.B call it quits in late 1987.

Fast forward to 2011-12 and members of the band assembled 'The Complete Collection 1985-1987' as a digital download. The Reflection A.O.B. were a perfect fit for Firestation Records, and they picked up the compilation for physical release in 2015. The vinyl is out of print, but you can still get the CD from the German label. You'll hear some Dexys Midnight Runners in there (especially on "Paint Some Colour") and maybe even a little of the Jam. Based on the bands they opened for, you get the picture, but the Reflection A.O.B. were really doing there own thing. These ears are quite taken with their sophisticated sound. "Only in My Dreams" is a pop classic, and the instrumental "Mind the Gap" should be on your next mix when you take out the scooter.

Only in My Dreams
Mind the Gap

The First Time Ric Parked the Cars

As mentioned on these pages in 2016, the Cars were one of my favorite bands in middle and early high school. What I liked most about them was how they were common ground for every clique in class. Hoods and new wavers were especially in agreement on the first two albums. The self-titled debut is perfection. The biggest hits were on the A-side, but the B-side trifecta of "Bye Bye Love," "Moving in Stereo" and "All Mixed Up" was where I always went. A kid at a summer camp I went to when I was 13 had the cassette and played it on his boom box several times a day. I was hooked.

With the passing of Ric Ocasek, the accolades have been pouring in, and rightly so. I'm pleased so many are remembering him as a crack producer as well. There has been talk about how he influenced the sound of those he worked with behind the glass, and it got me thinking about a song where I think the opposite occurred. In 1982, between the 'Shake It Up' and 'Heartbeat City' albums, Ocasek released his first solo album. 'Beatitude' featured the safe single "Something to Grab For," and the song sounded a lot like, well, the Cars. It was album opener "Jimmy Jimmy," however, that I hope will be remembered. It has a real Suicide vibe, and I imagine it's no coincidence that Ocasek had produced 'Suicide: Alan Vega · Martin Rev' in 1980.

Jimmy Jimmy

I saw the Cars once, and it was at the band's zenith. It was on Aug. 6, 1984, at an outdoor theater in Chicago. A friend's mom took us. Wang Chung opened. What I will always remember was that they played "Jimmy Jimmy." It was a bold and surprising choice that I learned much later was a mainstay throughout the 'Heartbeat City' tour. Playing 'Beatitude' again today after so many years was special, but I wish the circumstances for remembering it was different. Rest easy, Ric.

Summer of Subway: The Flatmates

This one is for a pal of ours in Germany. Dirk, you have waited patiently these 17 Saturdays to get to the heart and soul of the Bristol label, and your patience will be rewarded.

When I think of the Subway artifact I hold most dear, Subway One from Shop Assistants is what springs to mind first, but the next five would all be by the Flatmates. If we bump into each other on the street, ask me their assigned numbers and I'll run them off like a winning lottery ticket... 6, 9, 14, 17, 21. Those are the band's five Subway singles, and I love them all. They were big indie hits too. Four of the five made the top 10, and the one that petered out at No. 18, "I Could Be in Heaven," is the song most revered on indie-pop compilations in the 21st century.

The seeds of label boss Martin Whitehead's own band were planted in 1985 when he met a drummer named Rocker (as nicknamed by the Blue Aeroplanes for the way he danced) at a show in Bristol. Rocker's flatmates Kath Beach and Debbie Haynes were later added on bass and vocals, respectively. Thus, the band name. Kath was replaced rather quickly by Sarah Fletcher, and the Flatmates were off and running. Because Martin and Rocker were indie-show promoters in Bristol, the Flatmates were able to pencil themselves in as opening acts for the likes of Half Man Half Biscuit and the Wedding Present. Their sound on stage was quite a bit harder than how they came off in the studio, and Martin has said more than once that their quick cover of Ramones' "I Don't Care" on the B-side of the "Happy All the Time" 12" probably came the closest to the way they were live.

You may wonder why the guy that controlled Subway never put out a long player of his own band. As Martin tells it, after the success of the "You're Gonna Cry" single, the band got representation. Management said to wait on an album until the big boys came calling. London Records showed interest in the band and even paid to have some demos laid down. Unfortunately, the band had a big row on stage at a huge London University show in front of major-label brass. All their momentum came to a screeching halt. The Flatmates called it quits soon after. Martin has resurrected the Flatmates name for most of this decade, but that's a story for another day.

I have featured my two favorite singles, "I Could Be in Heaven" and "Shimmer," before. Let's listen to the other three today. Other tidbits to consider while listening: "Heaven Knows" is the only single, EP or proper album to get released on CD during the active years of Subway. Fortunately, I have the 7" vinyl edition. "You're Gonna Cry" was written by Rocker, his only A-side, but he didn't even play on it. He left and was replaced by Joel O'Beirne after the second single. As a little bonus, I'm including "Trust Me." Had the Flatmates continued, this was going to be the sixth single. It can be found on Cherry Red's 2005 compilation 'Potpourri {Hits, Mixes, Demos '85-'89}.' A must for fans.

Finally, I wanted to include my favorite promo photo of the band. This is an insert from the single "You're Gonna Cry." Fall approaches. I hope you enjoyed the Summer of Subway.

Happy All The Time 12" SUBWAY 9T (Apr 1987, No. 3)
Happy All The Time
You're Gonna Get Hurt
Thinking Of You
I Don't Care

You're Gonna Cry 7" SUBWAY 14 (Oct 1987, No. 5)
You're Gonna Cry
Life Of Crime

Heaven Knows 7" Subway 21 (Oct 1988, No. 10)
Heaven Knows
Don't Say If

And from the aborted sixth single...
Trust Me

The Complete Summer of Subway series:
The Flatmates
The Chesterf!elds
Razorcuts
The Groove Farm
Pop Will Eat Itself
Cowboy and Spin Girl
Choo Choo Train
Fastbacks
Sex Clark Five
The Charlottes
Bubblegum Splash
Shop Assistants
The Soup Dragons
Rodney Allen
The Rosehips
Korova Milk Bar
The Clouds

Summer of Subway: The Chesterf!elds

If not for the fact the Rosehips appeared fairly early in this series, you might say I have been saving the best for last, and today and next Saturday feature just about my favorites from the Subway label.

The Chesterf!elds go way back with Martin Whitehead as the pride of Yeovil appeared on a flexi he put out in his fanzine in 1985. Many of the bands on Subway popped in for a quick single or an LP and were off again. With that history in mind, the Chesterf!elds were downright prolific in 1986 and 1987, releasing three singles/EPs, a long player and a compilation. They also appeared on both of the label's samplers.

The band is often described as "breezy" or "lightweight." Indeed, the Chesterf!elds during the Subway era were of the jangle that gets the head bobbing and the toes tapping, but the real strength of the band could be found in the wit of the words. I always sing along to lines like "Sir Edmund Hillary hasn't got a patch on me" from "Love Mountain," "here come the saviors, and they come with electric guitars in their hearts!" from "Completely & Utterly," "well if you'd like to know what pop stars have for tea, ask Johnny Dee" or "I really can't manage the twelve-inch version, what's your perversion?" No, they may have never hit the big time, so to speak, somebody out there must have really liked them because everything the Chesterf!elds released spent time on the indie chart.

The rotating cast of characters continued to put out music on their own Household label in the late '80s before calling it quits. In the ensuing years, fans in Japan kept the Chesterf!elds name alive, and Vinyl Japan reissued the music. There would be a best of put out by Cherry Red in 2006 that brought the Subway and Household work together and, yes, there would even be reunion shows in recent years headed up by original member Simon Barber and sometime member Andy Strickland (yes, from the Loft). One of my biggest regrets is not making the 3,000-mile trek to see them at the 2016 NYC Popfest. I know a couple of people who were there, and they called it a special night. Jerks. Ha! Tough to decide what to play today. I went for the three singles. Wise choice, I think.

A Guitar In Your Bath EP 7" (Subway 3, peaked at No. 19)
Sweet Revenge
What's Your Perversion?
Love Mountain
Best Of Friends

Completely & Utterly 7" (Subway 7, peaked at No. 16)
Completely & Utterly
Girl On A Boat

Ask Johnny Dee 7" (Subway 11, peaked at No. 4)
Ask Johnny Dee
Pop Anarchy!

So far in the Summer of Subway series:
Razorcuts
The Groove Farm
Pop Will Eat Itself
Cowboy and Spin Girl
Choo Choo Train
Fastbacks
Sex Clark Five
The Charlottes
Bubblegum Splash
Shop Assistants
The Soup Dragons
Rodney Allen
The Rosehips
Korova Milk Bar
The Clouds

Summer of Subway: Razorcuts

The end is drawing nigh, my friends... for the series and the summer. In fact, I thought this would be our last Saturday. The initial idea was 15 Subway bands in 15 Saturdays, but I ended up including very minor players in the label's story I didn't plan to highlight, such as Pop Will Eat Itself never having an actual release but appearing only on a Subway sampler. The final tally will end up being 17 bands in 17 Saturdays, which still works since summer doesn't actually end until Sept. 23. So, for the few of you who still remain, here is the antepenultimate post.

Razorcuts have appeared on these pages so many times in the last decade there isn't much more to say. You already know their name comes from the Buzzcocks' classic "Love You More," and you regulars certainly realize Gregory Webster is one of my heroes. Don't give me any crap about whiny vocals either. His pipes are perfect. I have followed him throughout his career, especially around the turn of the century when he assembled indie supergroup Sportique with Amelia Fletcher, Rob Pursey and Mark Flunder. I admit, for me, part of the the appeal of Razorcuts is their label pedigree. They split a flexi with Talulah Gosh for Matt Haynes on Sha La La just before he co-founded Sarah Records, had a single on Flying Nun's UK arm, released two long players on Creation during Alan McGee's golden age and even dug up a handful of delightful early demos for Bob Stanley's Caff Corporation just as the band called it quits.

That's the stuff of legends, and I love every one of those records dearly, but it's the two for Subway I spin the most. What can I say? The jangle of '86 will always warm the cockles of my heart. You'll notice plenty of '60s folk-rock influences (think Byrds), which is also in my wheelhouse. Here's the band's entire Subway output. "Big Pink Cake" peaked at No. 44 (absurd!), and "Sorry to Embarrass You" raced to No. 10 and hung around for 13 weeks on the UK indie chart. Now that's more like it.

"Big Pink Cake" 7" (Subway 5)
Big Pink Cake
I'll Still Be There

"Sorry to Embarrass You" 12" (Subway 8T)
Sorry To Embarrass You
Summer In Your Heart
Snowbirds Don't Fly
Mary Day

"Take The Subway To Your Suburb" sampler (SUBORG 1)
I'll Still Be There (Re-Mix)

So far in the Summer of Subway series:
The Groove Farm
Pop Will Eat Itself
Cowboy and Spin Girl
Choo Choo Train
Fastbacks
Sex Clark Five
The Charlottes
Bubblegum Splash
Shop Assistants
The Soup Dragons
Rodney Allen
The Rosehips
Korova Milk Bar
The Clouds

Summer of Subway: The Groove Farm

I'm an idiot. As much as I loved the Subway Organization, I didn't really get into the Groove Farm back in the day. I think it was because I hated their name. I associated it with hippies when I was all about the jangle. I did realize my mistaken assumption and came around, however, and I know what did it. For those uninitiated, just give their 1987 single "Surfin' Into Your Heart" (SUBWAY 15T) a listen. It'll change your life. Well, maybe not, but after that two-minute indie-pop anthem you will want everything the Bristol band ever made. I have all of their Subway stuff now, but I still need a couple of things from their own Raving Pop Blast! label. I'll get there. Turns out their moniker was apropos because once they get that groove going you'll have goosebumps. Try the instrumental "Expanding Rendeer" and you'll hear what I mean.

From everything I have ever read, I got the impression the lads weren't all that happy with how things went while on Subway. It seems it had to do with differences in recording styles and all of the little details Martin Whitehead would sweat over when the band was all about recording quickly, cheaply and completely DIY. Perhaps the Groove Farm were more laid back. In other words, they were made for self releases, and the band went back to their Raving Pop Blast! label after one long player and a few singles/EPs. They called it quits in 1990, but they reunited for an album earlier this year that has been very well received. Give it a listen.



Like so many of my favorite bands from this time period, the Groove Farm was obsessed with '60s music, particularly garage, surf and psychedelia but coupled with poppy-punk influences such as Buzzcocks. These days, my favorite Subway release by them is the four-song "Driving In Your New Car" 10" (SUBWAY 22N, 1988). The original version of "Driving In Your New Car" can be found on the 'Alvin Is King' album. This sounds like something straight from the Pebbles series. It's the organ that really grabs me. That last song is a cover penned by Donovan.

Driving In Your New Car (Mini Mix)
Expanding Reindeer
I Can't Dance With You
Epistle To Dippy

So far in the Summer of Subway series:
Pop Will Eat Itself
Cowboy and Spin Girl
Choo Choo Train
Fastbacks
Sex Clark Five
The Charlottes
Bubblegum Splash
Shop Assistants
The Soup Dragons
Rodney Allen
The Rosehips
Korova Milk Bar
The Clouds

Weddoes Return to Well and Pull It Off... Again

When I heard about the 30th anniversary re-recording of 'George Best,' I was suspicious of the entire endeavor. What I did find intriguing was that it had been produced by Steve Albini around the 20th anniversary of the album. Of course, there turned out to be nothing to worry about. In fact, I might be with our pal Drew when he admitted to me, "I think that I may (whispers) prefer the 30th anniversary version of George Best over the original."

You would think I had learned my lesson, but I was worried once more when I heard about the 30th anniversary re-recording of 'Tommy,' just out on Scopitone in the UK and coming to HHBTM Records for U.S. fans this fall. There would be no Albini this time around, and the songs were tackled quite recently, after the 'Tommy' 30th anniversary concert tour, not way back in 2008 like the 'George Best' Albini sessions. After giving the entire endeavor a listen tonight, I have to give the folks in the PR department credit for describing the redo perfectly:

"The band felt, during a Tommy 30th anniversary concert tour, that the songs had grown and evolved. Enter a more confident vocalist... an altogether growlier guitar. A bigger sound. The urgency of a 25-year-old Gedge is replaced with a charming vocalist with years of experience. Everything's warmer and, maybe, gentler... but in a satisfying way." The production sounds contemporary and with a certain crispness and cleanliness not found on the 1988 edition. As the press release intimated, however, it's Gedge's vocals where you'll find the biggest contrast. He's right up front now. Give "Go Out And Get ’Em, Boy!" a listen, and you'll hear what I mean.



Americans may preorder 'Tommy 30' in a variety of options, including a deluxe version on translucent blue vinyl that includes square album art badge, screen-printed tote and screen-printed mini-poster. This boy can't wait. The rest of you should be able to pick it up at your local mom-and-pop shop right now.

In Other News...

Oh, that Ian at Optic Nerve Recordings is such a tease! For those of us on his mailing list, he has been unveiling titles to whet our appetites for the next installment of Optic Sevens, set to kick off this November. In case you have no idea what I'm talking about, Optic Sevens is a six-month subscription series that features 12 singles of the 7" variety gleaned from the golden age of indie pop. Here's a quick description of what went on the last time Optic Nerve hosted on of these things. We know five of the 12 titles so far for the next go around, and the series is shaping up to be every bit as good as last time...

James Dean Driving Experience - "Sean Connery"
The Vaselines - "Son of a Gun"
The Primitives - "Thru the Flowers"
The House of Love - "Shine On"
BOB - "Convenience"

Just like last time, each colored-vinyl single comes with a poster and postcard. Start saving your shekels because that pre-order button could be popping up any day now. If you're scratching your head and wondering why someone would get so excited about a reissue, chew on this. The five "Sean Connery" singles available on Discogs are currently going for between $48 and $105. I'll try to give you another update on this one when we know a few more titles.



In Other News...

Since discovering her "Downhearted" single in 2016, I never miss a chance to tout the talents of Molly Burch. Her magical voice is a little bit Patsy and a little bit Dusty but all her own at the same time. I can't get enough. Thankfully, she has kept my between-album hunger sated with a couple of new songs on a 7" Burch is calling "Ballads." I picked it up last week, and these slow burners are absolutely beautiful and essential. Give 'em a listen.



Back with more headlines in a bit.