Miracles' 1965 smash "The Tracks of My Tears" is 2:56 of '60s R&B
perfection — and its is, no doubt — then an extended version with more than an
additional minute of music would be even more perfect, right?
available version of the Motown Records classic, premiering at USA TODAY, is
included in boxed set tied to the public-television rebroadcast of NBC's 1983
"Motown 25: Yesterday Today Forever" special. The seven-disc
collection contains two dozen extended versions of familiar Motown hits,
include Martha & the Vandellas' "Heatwave," the Four Tops'
"Bernadette" and The Temptations' "Get Ready."
often the songs went much longer than the fades we are used to hearing,"
says MY MUSIC creator/executive producer TJ Lubinsky, who compiled the
"Motown: Big Hits and More set," "and sometimes even extra
verses were uncovered, like Smokey Robinson and The Miracles ad-libbing the
line, 'the tracks of my tears, I've been crying for years,' which has never
been heard before, because it was on the original session tapes past the
fade-out on the 45."
25," which celebrated the 25th anniversary of the legendary Detroit record
label, began airing on public television last month. It was the first broadcast
in more than 30 years for the special, which featured a reunion of many Motown
acts from the '60s and '70s and also introduced Michael Jackson's moonwalk dance
step, which, combined with the release of his album "Thriller" a few
months before, helped catapult him to a new level of popularity. "Motown:
Big Hits and More" is available as a pledge-item premium for viewers who
donate to their local public television stations.
Tacoma in the early ’60s, before rock really got weird, The Sonics secured a
place in history with “The Witch,” “Psycho,” and “Strychnine”: an unholy
trinity of unhinged stompers credited with spawning punk, metal, and grunge.
All three feature a muddy guitar-and-sax attack and lyrics that might read like
Halloween camp were they not howled with such startling, joyful lunacy by
singer and keyboardist Gerry Roslie.
half-century later, those recordings still sound subversive and bizarre in ways
other ’60s garage rock doesn’t. Play a teen punk fan 1965’s Here Are The
Sonics, and they might dig it for the same reasons Bruce Springsteen, Kurt
Cobain, and the guys from Mudhoney did.
been touring alongside saxophonist Rob Lind and guitarist Larry Parypa—fellow
members of the quintet’s classic lineup—since rebooting the band in 2007. This
Is The Sonics is this classic lineup’s first proper studio album since 1967,
and despite all the goodwill stemming from vintage material and recent live
shows, the players come into this project with their work cut out for them.
recording with someone like Jim Diamond—a Detroit garage lifer who’s played with
The Dirtbombs and produced just about every neo-Nuggets band worth knowing—the
21st-century Sonics risk losing the dank wallop so central to their ’60s
favorites. How do a bunch of 70-something dudes reconnect with whatever
wild-eyed spirit compelled them to cut singles about wishing for death and
swilling poison for kicks?
problem isn’t much of one, since Diamond keeps his analog production about as
primitive as a modern professional can. Relative to the early stuff, there’s a
little more separation between the instruments, but it’s a long way from slick.
As for material, the group leans heavy on covers, just like back in the day,
and still excels at roughing up old blues and R&B tunes.
recorded by Ray Charles in 1966, opener “I Don’t Need No Doctor” is a ripping
showcase for Parypa’s gnarled guitar, Roslie’s frenzied piano plinks and
still-mighty screams, and Lind’s strip-joint horn. With handclaps, harmonica,
and Little Richard yelps, “Leaving Here” combines the best of Eddie Holland’s
1963 Motown original and Motorhead’s 1977 cover. The only thing better is the
punk-soul dance party “Sugaree,” penned by country great Marty Robbins.
weakest tracks are the originals, if only because they don’t stand up to the
band’s signature singles. Bassist Freddie Dennis, formerly of The Kingsmen,
does his best to recreate “Psycho” with “Livin’ In Chaos,” but he’s like Sam
Kinison on a Raw Power trip, and the whole thing feels forced. Lower stakes
yield a higher payoff on “Bad Betty,” a bluesy romp about a mean momma in a
Coupe De Ville. Whether it’s ’65 or ’15, the truly killer Sonics tunes sound
the least premeditated.
on the sartorial passion and commitment of young British Mods in the
twenty-first century, 'The New Faces' is a documentary showcasing the
continuing popularity of the sixties-born youth cult. A study of eight Mods
bound together by a shared passion for smart dressing, rare soul, socialising
and dancing, this film short is directed by photographer and filmmaker Dean
It has a
starring role in the classic movie The Italian Job – in one of the most
memorable opening sequences in cinema history.
orange supercar races through the Alps, before disappearing into a tunnel.
Then, in a heart-breaking moment for car fans, the Lamborghini Miura crashes in
a ball of flames. The smashed up wreckage is dragged out of the tunnel by the
mafia and pushed into a ravine by a bulldozer – followed by a wreath for the
millions who have seen the iconic film since it was made in 1969 must have
assumed the car was an irrecoverable write-off, never to be driven again.
The Mail on Sunday can reveal the car seen powering through the Alps has been
found in pristine condition – and is worth more than £1 million. Described as
‘the holy grail of supercars’, it has been tracked down by two British
new co-owner, Iain Tyrrell, received a tip-off at Christmas that the Miura had
‘I was initially sceptical because no one had seen it for 46 years. But my
source was a credible one so I started to pursue it.’
invited to see it – but given just three hours to verify the vehicle as the
genuine article. ‘It was all very James Bond-ish – I had to go to Paris to
inspect the car in a secret underground car park,’ he said.
learned that the thrilling sequence that opens The Italian Job was shot using
two cars – both supplied by Lamborghini, but one of them was already smashed
It is the
first, intact, car that has now been found. Mr Tyrrell said: ‘The Italian Job Lamborghini
is the holy grail of supercars precisely because no one knew what happened to
it after the film. I have a life-long passion for these cars but I just assumed
this particular vehicle was out of reach.’
Miura is still in near-mint condition, Mr Tyrrell – who owns Cheshire Classic
Cars – was able to cross-reference its original features with stills from the
film. He has also checked the car’s history at the Lamborghini archive. He
said: ‘After inspecting the car, there is no doubt in my mind that it is the
Miura from The Italian Job.
certain quirks within the interior of the car, such as the trim and the
stitching. They are like a fingerprint or a birth mark. They can’t be
has uncovered that the filmmakers, Paramount, hired the car from Lamborghini
and after filming it was sold to a dealer.
then sold the Miura to an unidentified buyer. In 2005, after it had changed
hands a few times, Norbetto Ferretti, a luxury yacht manufacturer, bought it.
This transaction brought a remarkable coincidence to the saga – as Mr Ferretti
was the son of the dealer who originally bought it from Lamborghini after The
Italian Job. Incredibly, it seems that both he and its previous owners had been
completely unaware of its role in the movie.
and his friend and co-owner, Keith Ashworth, now plan to display the
Lamborghini around the world, although they have not ruled out selling it on.
The car’s value is likely to increase substantially in the light of its
Miura mystery has not been entirely solved. The smashed -up Lamborghini,
vanished without trace after it disappeared down the mountainside.
said: ‘When the production team went back to salvage the remains of the crashed
car the next day it had gone. The whole car had disappeared and had obviously
between 1966 and 1973, the 170mph Lamborghini Miura is widely credited with
kick-starting the trend for high performance two-seater sports cars.
Top Gear magazine voted it the coolest car in the world.
singer Roger Daltrey has claimed that bandmate Pete Townshend wants the group
to record another album.
released their last studio album 'Endless Wire' in 2006, with Daltrey now
stating that Townshend "wants to make another record".
told Rolling Stone: "He's just talking about it. I've heard a couple of
tracks, which are great. There are loads of things we can do in the future, but
we can't keep doing this sort of tour. This bit of our career is closed, but
maybe two more doors open up. Pete is an incredibly vibrant musician. I could
see us playing acoustically in some ways."
current The Who Hits 50 jaunt, which stretches throught the year and includes a
show at London's Hyde Park on June 26, was thought to be the band's last ever
tour. However, now Daltrey has stated that he would be open to more shows.
people want to add shows and we still feel great, then it will go for a while
longer, but not that much longer. It might last two years," Daltrey said.
frontman, though, would prefer the band to go out on a high. He added: "We
have to be realistic. I want us to stop at the top of our game when we are
still really good at what we do. The quality of the music is really what this
is all about."
brought their 50th anniversary tour to London's Royal Albert Hall last week as
part of the Teenage Cancer Trust Concert gigs.
performed a two-hour set of tracks and hits spanning their entire career in
front of an audience which included artist Peter Blake, who famously created
The Beatles' 'Sgt Peppers' Lonely Hearts Club Band' album cover, and former
Charlton Athletic manager Alan Curbishley, whose brother Bill is the band's
dancing through the night as part of a nationwide charity event this weekend.
Gardeners Retreat, on Boothen Green in Stoke, was taken over by fans of the
subculture as part of Mods on the March, a UK-wide fund-raising celebration for
the Teenage Cancer Trust.
bands such as The Jam and The Who donned their finest outfits and headed for
the 14-hour party, which saw seven bands banging out classic hits and also
included a charity auction of mod memorabilia.
Bridge, a mod for more than 40 years, helped to organise the Mods on the March
fund-raiser, which was the first event for the national campaign ever held in
53-year-old, of Union Street in Hanley, said: "It's one of the big
national things that goes on, and when I noticed we'd never had one in the
Potteries before I thought it would be great if we could bring it here.
a massive mod following around here, and I wanted us to be represented, so I
jumped at the chance to do something here.
a big Stoke City pub, but as they didn't have a match on this weeke it was the
perfect time to do it.
taken four or five months to plan everything, so we'd like to raise a lot of
the weekend will have raised over £1,000 for the Teenage Cancer Trust. He said
he was partly inspired to bring in a big total following his own cancer scare.
before Christmas a routine dental appointment led to the discovery of a lump in
his mouth, which he had removed last week.
added: "Finding the lump made the whole thing much more relevant to me. We've
had a lot of support, and we've a lot of people to thank."
mod veteran Mick Keetley, aged 50, helped Stan to put on the event.
"Everyone comes here for the music, but there's real support for the
charity side of things too.
mod community is very close, we all like to come and help each other out."
McIntosh, aged 37, has been running The Gardeners Retreat for more than three
years, and said he was delighted the pub hosted the first-ever Mods on the
March event in the Potteries.
"Everyone has been a big help, right from the bands coming here and
playing for free to all the people who've donated things for the auction.
People have been really generous, and it's good to get everyone together.
pub has got a lot of history of being a live music venue in Stoke, it's
something we like to put on for everyone.
lot of the music I like is quite mod-orientated too, so it's really good for me
to have this event on here. I know we can make this a big success."
James wanted a mod-style dress for a night out in Leicester as a teenager. So,
she asked her mum to make one, and it was the start of a love affair with
sewing and all things '60s. Becky Jones finds out about her new clothing line.
Melanie James wasn't born until the 1970s but, for her, no other decade
compares to the swinging '60s.
love she's inherited from her parents, who brought her up on a musical diet of
The Beatles, The Who and The Kinks.
went through a phase of listening to chart music but there was something about
60s soul music that grabbed me from a really young age," she says. "I
rarely listen to anything else now.
something so free about the 60s. Everything was really strict before that. It
was the first generation where people were so expressive, with their fashion
and their music. I don't think anything's really been the same since
fitting then, that the 36-year-old is becoming renowned for her fabulous
60s-inspired mini-dresses, each bearing a name popular in the decade, such as
Nancy, Cynthia and Jacky.
previously sold all of her creations on eBay, Melanie is now supplying her
"Love Her Madly" dresses to shops, including Mod For It, in Leicester's
figure-hugging tunic style, short hemline and largely monochrome design,
Melanie's dresses epitomise the 60s. You can almost imagine them being worn by
the likes of Twiggy and Cilla as they strutted down Carnaby Street at the
height of their fame.
the dresses all the more impressive is the fact that they've been made by
someone who, until eight years ago, had never used a sewing machine.
Melanie chose to study ceramics rather than textiles and, at home, though her
mum and sister enjoyed sewing, she simply wasn't interested.
mum had a sewing machine and just looking at it filled me with fear," she
As a teen,
Melanie didn't know what she wanted to do with her life, so rather than
"pick a course just because it sounded like a fancy one to do" she
opted to leave school at the age of 16.
liked the idea of freedom and having money," says Melanie, who got a job
working in a restaurant bar.
knew I wanted to do something creative but I didn't know what that was."
the fact her mum and aunt worked in the hosiery industry, pursuing a career in
fashion wasn't something that occurred to her. Her dramatic change in career,
from bar worker to dressmaker, came about after a night out at the University
was 27, I'd quit my job, I didn't know what I wanted to do, but I knew I didn't
want to carry on working in a bar," she says.
used to be a night at Leicester Uni called Brighton Beach and I used to go to
that. I desperately wanted a Mod-style vintage dress to wear there, but I
couldn't find one anywhere, so I asked my mum to make me one.
used to make all her own clothes in the 60s.
made me this little black and white dress and that night I had so many girls
come up to me and ask where I'd got it from. They said if they could buy
something like it, they definitely would."
Melanie, was her light bulb moment.
not have been interested in sewing before – but here was a way to explore her
creativity, indulge her love of the 60s and make a living.
got my mum to teach me how to make a dress. We got an old pattern and adapted
it a bit and she helped me cut out the fabric.
just completely fell in love with it and picked it up so easily. I never
thought I'd be able to do it, but it went really well – apart from the second
dress I made, where I sewed the arm on to the neck."
number of lessons from her mum and aunt, and many hours of practice, Love Her
Madly was born.
Her Madly was the name on my eBay account, which I opened before I started
making dresses. I was 21, completely in love with Jim Morrison and thought it
sounded like a cool name for an eBay handle.
I started making dresses, I used the name 'Moddest' for them, but everyone said
Love Her Madly was a much better name – and I agreed."
years on, Melanie can't imagine a life without dressmaking.
in a converted studio in Braunstone, weaving her magic using a vintage Frister
and Rossmann sewing machine.
60s patterns and takes inspiration from old music videos and footage from
Carnaby Street and other famous 60s hangouts.
the first year-and-a-half I made a point of never making the same dress twice,
so every single dress was completely different, but I got to the point where I
was exhausting myself of ideas and the designs became so popular I had to start
making them again," she says.
mainly uses a colour palette of black, white, red and navy.
coming into summer, I might find some fabric in other colours, but I like those
colours and they suit me so I tend to stick to them."
fabric is sourced from Leicester Market, while the buttons and zips are bought
from local haberdashery shops such as Button Boutique, in Malcolm Arcade.
important to keep it local," says Melanie. Mod For It, with its similar
attachment to the Mod subculture, is a perfect fit with Love Her Madly, she
pleased it's in her hometown.
shops have now signed up to sell Melanie's creations: Dolly Mix, just off Brick
Lane, and Sherry's, off Carnaby Street. "I've been selling on eBay for
eight years (during which time she's sold more than 2,000 dresses) and although
it's great because I can get to a massive market worldwide, it's nice to be
able to actually see my dresses in a shop," she says. "It feels more
felt quite nervous seeing them in a shop for the first time, to be
As well as
the dresses available in the shops and through eBay, Melanie also takes on
cost about £40 – which for a handmade, bespoke dress, sounds like a bargain.
next for Love Her Madly?
don't want to become a massive big brand.
was going to have my own shop, I'd have to go to somewhere like London or
Brighton, where there's a bigger scene.
stuff I do is so specific.
like the idea of it just being in a few exclusive shops. Who knows what will
happen in the future, though."
stars try to stay in shape as they get older. It’s a commercial imperative. But
gigs can also be susceptible to middle-age spread. A rambling anecdote here, a
leisurely guitar tune-up there – when you’re cushioned by a decent back
catalogue, why not luxuriate like Cleopatra on a gilt chaise longue? Leave
urgency to the new breed still scrambling for success.
Weller is no Cleopatra. At 56, his default performance mode remains more
gladiatorial than anecdotal. On the last night of a bespoke tour ahead of his
12th solo album, the closest Weller gets to spinning a yarn is when he mentions
the first time he played Edinburgh’s grand old Playhouse: in 1977, the Jam
supported the Clash on their White Riot tour. It’s not even a story – all he
says is “that gig started seated and ended up with everyone standing”.
be interpreted as a threat if the wiry Weller and a phenomenally well-drilled
five-piece band, including his long-time touring guitarist Steve Cradock – from
Ocean Colour Scene – didn’t spend the next 100 minutes rattling through a
persuasively energised 25-song set with barely a heartbeat between tracks.
opening salvo that leans heavily on Weller’s debut solo album, they hit a
fertile groove of maximalist R&B, from the tipsy melody of When Your
Garden’s Overgrown to the tooth-rattling rocket of From the Floorboards Up. The
closest thing to a lull is caused by a guitar pedal malfunction, but even then
Weller doesn’t hang around, pivoting to the piano for two songs from his
Britpop-era commercial peak, You Do Something to Me and Broken Stones, an
improvised double bill that delights the crowd.
forthcoming album has a cosmic title, Saturns Pattern, but judging by the five
tracks he plays here, it’s Weller proving he can go as loud and raw as the
White Stripes or Royal Blood. The motorik-riffed Long Time throbs like the
Stooges, while even the wistful I’m Where I Should Be rattles along to a
a rush, Weller’s dual encores feel a little slacker than the main set, but
everything snaps back into focus for The Changingman, his signature hit from
two decades ago. The majority of the audience are on their feet, the packed
balcony creaking and swaying. So when he returns for an unexpected third encore
to play A Town Called Malice, the place explodes, presumably just like it did
are on the march again... coming to the defence of their idols The Who when
they almost lifted the roof off the old Industrial Club (now The Talk) in
Norwich 50 years ago.
for all your memories of the club in Oak Street now celebrating its diamond
anniversary and it was a letter from Australia which got the former Mods mad.
Moore wrote to say he and others went to watch The Who at the club in 1965
after they had just released My Generation. Drummer Keith Moon was ill so Viv
Prince of The Pretty Things took over the sticks.
they were pretty bad,” said Steve and his brother Nick wrote an angry letter to
The Record Mirror. The paper ran it under the headline The Who – Painful Sounds
which upset one Pete Townshend. Not a wise move!
Gerrard, of Thorpe Marriott, along with other Who fans, have recalled it was a
his memory had been playing tricks on him after he read our story but he
checked with other Mods who all said The Who were brilliant.
just got some of the loudest Marshall Amps available and when they turned the
distortion and feedback were fantastic. The swearing at the audience referred
to was all good banter and typical of The Who.”
added: “The only disappointment of the night was the fact that Keith Moon was
sick, so the sound would probably have been even louder as Pete Townshend once
described the first time Keith played with The Who it was like a 747 taking off
they counted themselves very fortunate in the 60s to have seen other
world-famous bands in Norwich, the likes of The Kinks at Earlham Park, The
Small Faces and the original Manfred Mann band with Paul Jones. Did you know
his father had been manager of the Assembly House?
Prestonians are being urged to celebrate England’s patron saint as much as they
might celebrate Ireland’s.
As part of
a massive St George’s Day Festival, bosses at the Guild Hall are welcoming the
move to commemorate the date on April 23, with a line-up of Mod and Northern
Soul favourites to celebrate with a great night out, in the same way many do
for St. Patrick’s Day.
Burns, of Guild Promotions, said: “We were very keen to include the Northern
Soul element to our program of events here at the Guild Hall, and what better
day to introduce this than on St Georges Day!
wanting to make more of a weekend of entertainment next year, but thought we
couldn’t let this year go without marking the occasion.
close ties with a few avid fans of this genre of music and they have given us
the thumbs-up for the chosen line up, so we are happy that this St Georges Day
Festival will be authentic to the style of music we have decided to go with.
added: “We want to put time and effort into growing this event and hopefully in
a couple of years it will be a firm favourite date in the Northern Soul / Mod
one-day festival, Mod revival band Secret Affair will headline at Preston Guild
Hall. The line-up will also include favourites The Lambrettas.
lead singer with Secret Affair, said it should be important to celebrate the
dragon-slaying George. He said: “Like many English people, I am always
surprised that the other home nations seem to embrace celebrating their patron
saints, while we almost seem embarrassed to do so because it might be seen to
have certain connotations. But it should be celebrated and we’re certainly
going to give it a good show.”
open at 7pm with the show starting at 7.30pm.
are on sale now. For more information see the Guild Promotions Facebook page or
follow @guildpromotions on Twitter.
artwork collection paying homage to one of Britain's biggest 1960s rock bands
is being displayed at a historic gig.
legends The Who were at the forefront of the Rock n Roll culture and the
seminal 1973 album Quadrophenia formed the unforgettable soundtrack of the hit
film of the same name featuring epic battles between the infamous Mods and
Hampshire man who owns a £1.8million collection featuring rare paintings
inspired by their music and original merchandise from the film is exhibiting
artefacts in London.
paintings, along with antique Vespa scooters, Mod suits and a parka coat signed
by one of the cast, are currently on show at two landmark gigs by the band at
the O2 Arena last night and today Paul Kelly, from Southampton, is exhibiting
his entire Whofreak Artwork at what is the band's 50th anniversary tour.
Turns 50 tour initially launched last year but the final shows were postponed
when singer Roger Daltrey fell ill with a throat infection. Now diehard fans
have a fresh chance to watch the rock legends and see the exhibition.
51, initially inherited the paintings - which feature Egyptian motifs and
abstract designs - after his best friend the artist John Davis died in 2006.
originally from Shirley, was commissioned in 1969 by the Who to do the artwork
for their first book 'A Decade of the Who', eventually released in 1977.
illustration collection was valued at £500,000 in 2008 and last year Mr Kelly
signed a deal with the band's official merchandising company Bandmerch to
create limited edition and order versions of them.
along with a collection of scooters, clothing and limited edition records,
means the whole collection is worth an estimated £1.8m.
after he initially tried to sell the paintings for £165,000 on global internet
auction site in 2009 but received no takers.
who has often displayed the merchandise at The Who conventions, said: “It's an
opportunity for people to see some rare merchandise, items from the film and
1960s culture representative of Britain in 1964.
of the British culture and they can reminisce about things that happened those
Davis who he met at a history re-enactment society in Fordingbridge in 1991, he
said: “Pete was a very close friend and the band all knew him well.
leaving me the artwork I am keeping his name alive and all the Who fans really
appreciate what I've done.
they didn't sell and I've been able to do this over the last eight years.”