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  • Ian dury

    anyone got any ian dury tips? just heard 'jack shit george' off their 2002 'Mr Love Pants' and it's wicked, nice and fat with a tough percussion break and some good organ.

    any tips?
    Chops for show, groove for dough.

  • #2
    Now you're talking, sir!

    The obvious:
    Hit Me With Your Rhythm Stick
    Reasons To Be Cheerful

    The less obvious:
    Wake Up And Make Love To Me (the first super funky cut they did, killer Chas Jankel solo on it, too)
    The Inbetweenies (from DIY, although there is also a collectible 12-inch that came out in France, ridiculously funky)
    Spasticus Autisticus (you need the 12-inch, though, because there's a great potty dub on the B-side; now pretty collectible)
    Really Glad You Came (Long Version)
    Girls Watching (from Lord Upminster, pure hip hop groove as played by Sly & Robbie)

    The daft:
    There's also a disco version of Sex & Drugs & Rock'N'Roll and Wake Up And Make Love To Me. It was done (at a guess) by some London session musicians having a laugh. The artist is credited to Patrick Duvet & His Sweet Perversions and it's on Disques Clouseau...


    • #3
      Not posted before but here goes

      I would recommend a tune by the band without Ian its called “no other high”  its on a lp by Loving Awareness it never got an official released but there are a quite few copies doing the rounds.


      • #4
        Originally posted by [b
        Quote[/b] (dimondt @ Jan. 21 2004,16:17)]Not posted before but here goes

        I would recommend a tune by the band without Ian its called “no other high”  its on a lp by Loving Awareness it never got an official released but there are a quite few copies doing the rounds.
        Hi Dimnodt. Have you got any more details about this, i.e. when it was released, etc?


        • #5
          Everything Lord Grimsby says.

          By shear quirk of fate, the office radio blasted out 'Rhythm stick' earlier on today. I'm telling ya.......that is one mighty fine bassline.

          Definitely concur 'Spasticus'.


          • #6
            can't believe no one has mentioned 'what a waste' , brilliant track as sampled by A Tribe Called Quest.


            • #7
              Originally posted by [b
              Quote[/b] (ladyboygrimsby @ Jan. 21 2004,16:24)]
              Originally posted by [b
              Quote[/b] (dimondt @ Jan. 21 2004,16:17)]Not posted before but here goes

              I would recommend a tune by the band without Ian its called “no other high”  its on a lp by Loving Awareness it never got an official released but there are a quite few copies doing the rounds.
              Hi Dimnodt. Have you got any more details about this, i.e. when it was released, etc?
              ill check my copy tonight but from memory its early 70's came in a plain white or black gatefold sleve and the record label was love or something along those lines


              • #8
                Originally posted by [b
                Quote[/b] (ladyboygrimsby @ Jan. 21 2004,15:57)]Wake Up And Make Love To Me (the first super funky cut they did, killer Chas Jankel solo on it, too)
                "What happens next is private. It's also very ruuude."

                I like that tune. The Blockheads are a right tight band.


                • #9
                  got this from the All music guide

                  by Bruce Eder
                  Quartet organized by pirate radio pioneer Ronan O'Rahilly out of the remnants of Skip Bifferty, Arc & Bell and Arc, three late '60s/early '70s bands with overlapping memberships—Mick Gallagher on keyboards, John Turnbull on guitar (both ex-Chosen Few and Skip Bifferty), and Norman Watt-Roy on bass, with Charlie Charles joining up months later as the group's permanent drummer. The group cut an album in California during 1976, and with O'Rahilly's connections they should have gotten a lot of press very easily, but an injury to Turnbull's hand shortly after their return to England sidelined the band for weeks, and they never regained their momentum. Watt-Roy and Charles became the core of Ian Dury's Blockheads soon after, and Gallagher and Turnbull joined up alongside of them one album later

                  ive herd skip bifferty arnt to bad but I am yet to find the LP at a reasonable price


                  • #10
                    You might be interested in this. It's an interview I did with Chas Jankel about two years ago. He mentions Loving Awareness. It's a transcript so there could be typos and spelling errors.

                    WhatÂ’s your earlist memory of music?
                    Lonnie Donegan. I was about 6 or 7 years old. I saw him on a record cover or magazine holding an acoustic guitar and I thought, ‘wow that looks good, I like the look of that’. Somehow I managed to get my parents to buy me a Spanish guitar, they gave me some guitar lessons. I seem to remember my first teacher was a Spanish lady who spoke no English. It was a little tricky.

                    Did you come from musical family?
                    No. My parents liked music, they bought 45s, Glenn Miller, Bill Haley and a few others. Later on, my cousin married Joe LossÂ’s daughter and then that was the first musician who entered the family, which was handy because he was very encouraging every time he came over to us at a family occasion. Told my dad to encourage me.

                    Whereabouts did you grow up?
                    I grew up in Stanmore, in Middlesex, near Wembley. Went to a boarding school in Mill Hill. It was a pretty horrendous place, but it gave me a chance to get deeper into music. I started playing guitar when I was 7, well a few months later I got into piano. IÂ’ve been playing both instruments since.

                    Was one easier than the other?
                    They both offer something slightly different. I hope I have a natural aptitude for both. With guitar, I tend to get more into the funk, Latin blues, that sort of area. With piano, IÂ’m more sort of harmonically based these days, trying to extend my knowledge of harmony. Currently. IÂ’ve been putting a jazz quartet together. So IÂ’ve gone back to late 50s, early 60s style of Blue Note.

                    What was the first record you ever bought?
                    Probably Cliff Richard and the Shadows. Then I got into the Beatles. When I was about 14, I heard a Lee Dorsey record called ‘Get Out Of My Life Woman’ and it had the most fantastic drums in it. It’s what people would think of as a hip hop rhythm now - bum-bop-de-bum-bum-bop - the whole thing started with this rhythm. I thought, that is it. So I started tuning into R&B from there and that lead onto me discovering Sly & The Family Stone. They were my heroes, that band. I think I brought that influence into the Blockheads. When I met Ian, I was heavily into Afro-American music.

                    Were you a record buyer or just a musician?
                    As far as my budget allowed I bought records, but I wasnÂ’t an anorak. There were certain records that I heard that I just had to have. IÂ’d go to record stores and thumb through the latest US imports. IÂ’d buy things like Isley Brothers, Staples Singers, anything with a funky bassline, War.

                    What did you do when you left school?
                    I went to St. MartinÂ’s Art School. Happy there, everything was fine. I started doing a foundation course and in the midst of it all I was offered a place to do graphics. But at the same time, IÂ’d started to play with a band outside of college called Byzantium. They started getting gigs, and got a management contract. They also managed Rod Stewart & The Faces.

                    What style of music did Byzantium play?
                    Folk-rock, which was becoming a bit of a bone of contention, really. I was much more into soul. I remember one gigÂ… I was convinced I was a soul brother. I had this outfit hand-made in a little boutique off Carnaby Street. It was sleeveless with white satin flares and red satin inserts.

                    You were a one-man OÂ’Jays!
                    Yeah! It would have been fine if we were all into that kit, but the rest of the band were wearing jeans and had long hair. I looked as if I’d lost my band. I clearly remember doing a gig at Dingwalls and I felt great, but every time I looked across I thought, ‘Oh no, this doesn’t look right at all’.

                    How did the rest of the band feel about your sudden conversion into an OÂ’Jay?
                    Slightly perplexed, really.

                    I think they saw it coming, because every time it was my turn to select a tape for the tour bus I always used to opt for Sly & The Family Stone’s Greatest hits or something. I didn’t only listen to that, we listened to the Band. Surf’s Up by the Beach Boys. Eventually, we parted ways. I was in them for about two or three years, from about 1970 to 1973. After that folded, the publishing side of that deal we had - we had a record contract with A&M. The management company also had a publishing side and they retained me at £15 a week. Post-Byzantium, I played with a few people like Jonathan Kelly’s Outside. He was really into Curtis Mayfield. I went for an audition (or jam) with Van Morrison. It was horrendous, actually. A friend of mine called Pete Van Hook had been touring with Van and asked me to come. We all headed for our instruments at the same time as Van. I made for the piano. At the end of the number, he got up and walked out the room. And that was it. He didn’t say hello, goodbye, nothing. Many years later, he met Ian Dury, he may have known who I was, and Ian said, ‘Van says hello’. I don’t know whether that was a strange sort of apology.

                    How did you meet Ian, wasnÂ’t it in a piano shop?
                    I bought a Wurlitzer piano in Maurice Plaqué (SP?) in Shepherd’s Bush and having purchased it, I didn’t have a gig. This must have been 74 or 75. I said to the manager, if anybody needs a keyboard player give them my telephone number, because I had nothing going on at the time. The guitar player from Ian & The Kilburns went into the shop and said their keybaord player had just left. So I got a call saying they were playing at the Nashville. I went down there and watched in awe as they played their set. It was more like a circus than music. Cabaret, but very dark cabaret. Ian was wearing a Tommy Cooper fez, the guitarist looked like Frank Zappa. It was very offbeat. I was hypnotised. After it was over, I walked like a zombie towards the stage and followed the band to where they’d gone. I was halfway down the tunnel, when they told me to get back. Anyway, I went round the other way and got to the door. They’re all sweating from having finished playing and there was one person facing the door: Ian. He saw me coming and said, “’Ere mate, do I know you? Well fack off then!” And I stood there like a rabbit dazzled by headlights. Then I backed off and the guitar player said, “You’re not Chas Jankel are you? Oh, sorry about that.” Anyway, I got the gig.

                    When did they go from Ian & The Kilburns to Ian Dury & The Blockheads?
                    Well we kept the band together for about three or four months doing the pub circuit as Ian & The Kilburns, but I felt there was something ambitionless about the group. Ian was ready for a change. One day, I whispered into his ear: how about disbanding the group, or why don’t we write some songs and he said, yeah, that’s a great idea. So we knocked the band on the head and started writing. We originally wrote in his flat in the Oval. We did ‘Sex And Drugs And Rock’N’Roll’ there. Then we started to assemble New Boots And Panties.

                    How did all of this come together. Did you put a band together to record the album?
                    Well, what happened we were demoing material, prior to New Boots And Panties. We were doing it in a studio called Alvic in Wimbeldon. Ian and I were playing everything and we weren’t world class, to put it mildly. Vic, the engineer, said I know this great band. Next time we demoed down there we got hold of Charley Charles and Norman Watt-Roy and we listened to a playback of ‘Blockheads’ and Charley was reading the lyric and it said “and shoes made from dead pig’s noses” and he said, “Blimey, Ian, that’s me.” And Norman very quickly says, “Yeah, we’re the blockheads.” That’s how the name came about. After we’d finished polishing the songs we went down to this dank studio in Bermondsey which was occupied by Philip Bagenall. We demoed all the material there, and then recorded it at the Workhouse in the Old Kent Road with Laurie Latham engineering.

                    Did you have a deal?
                    No, but IanÂ’s manager was in the same building as Stiff Records. He went round to the majors and no-one was interested but Stiff said theyÂ’d put it out. Then they asked us to tour so we asked Charley and Norman and they said, yes, but only if they could bring the rest of their band, because theyÂ’d been playing for Loving Awareness. The other members of the band were Micky Gallagher and Johnny Tunbull, so they came and then Ian brought in Davey Payne who played sax in Kilburn & The High Roads.

                    There’s quite a difference between that album and onwards from ‘What A Waste’. The difference between the first and second albums was astounding. What happened?
                    Well, I didn’t write ‘What A Waste’, but I played on the record. I brought a bit of my skanking Hammond to it. I think Ian became more open to the musicians’ musical influences. Before that, he came in with his love of Gene Vincent and Chuck Berry and I brought in my hard funk edge with things like ‘Wake Up And Make Love’.

                    You know, the keyboards were very spacey and that style of music really stood out among the rest of punk and new wave music of the time. It was really musical.
                    Well, I think the sameÂ’s true today. I donÂ’t think many English bands draw from Afro-American music. The only person I can think of is Jamiroquai on a band level. Eminem plough that field, too, I guess, but itÂ’s more rap.

                    Ian had had the whole of his life to write New Boots And Panties and it got to the next album and there was pressure on us to write another album and he didn’t have many lyrics. So I would suggest little musical ideas to him and ‘Inbetweenies’ was one of the first ones. It was quite unique on a technical level because Ian had to sing on the 2nd beat of the bar, which was anathema to him, because what it meant was the music coming first and him fitting in on the landscape that had already been plotted. He eventually came round to it and we sang the song for many years. I don’t think Ian was entirely happy with this. I think he was happier with the rockers, though we did find a happy medium with ‘Hit Me With Your Rhythm Stick’, which really brought the funk, the jazz and his wit and coalesced it. Ian was really into jazz. But like really Mingus and that era, Art Blakey. At that point, I wasn’t, I was more into latin-jazz.

                    Were you aware of the disco and R&B stuff of that era, because the music seems like it was influenced by it somewhere along the line?
                    Yes, definitely. I was really into Earth, Wind & Fire, Rose Royce, and I still get a buzz when I hear that stuff now.

                    When you made the first album, Chas Jankel, you were still in the Blockheads werenÂ’t you? How did that come about?
                    One night in 79 we played in Amsterdam and after the gig, which was amazing, we went back to the Hotel American and weÂ’d acquired some rather attractive female company to accompany us back.

                    To discuss music, of course.
                    And poetry. As you do. Suddenly I’m in my hotel room with this beautiful Dutch model. Everything astrologically was happening for me that night. And she said, ‘would you like bit of this and that?’ (I won’t say what it was). Next thing, suddenly, this melody pops into my head, so I went to my guitar to check what key it was in. I called Norman and said come and check this out…

                    And the model was still there?
                    Yes. Ingrid Koelhoven was her name in case she’s reading this. Tell her I’ve got a website, she can get in touch with me! I realised that the melody wasn’t suitable for the Blockheads, it was getting more and more melodic. I needed time away from the blockheads. Ian, love him dearly, but he was very demanding and intense. I needed time to express my other musical ideas, which weren’t so English, more Latin and more jazzed out. Johnny Turnbull had a friend, Dick Leahy, who had a publishing company and Johnny’s girlfriend worked at A&M. She plays this song, ‘Ai No Corrida’… Oh, I’ve jumped a step. I haven’t told you how the lyric got written have I? Well, just prior to that. Peter Van Hook took me to meet Kenny Young, who’d co-written ‘Under The Boardwalk’. He was from Brooklyn originally, but living in Oxford. IO took him a couple of melodies on cassette and one of them was ‘Ai No Corrida’. Anyway, he calls me from MIDEM. ‘Chaz, I’ve got this great idea for your melody: Ai No Corrida, that’s where I am…” I had no idea what he was talking about. So he told me all about this movie by Oshima which was a true story about a geisha who fell in love with the madame’s husband but because of the class system there was no chance they could have a relationship.

                    The movie was called In The Realm Of The Senses, and the Japanese name was Ai No Corrida. Kenny Young had seen this movie and this phrase happened to fit with my melody. In their sexual encounters, the woman would strangle the chap to the point where just before he passed out. One day, in their depression at the fate of their relationship she kept pulling on the knot and he died. She was so distressed, she cut off his meat’n’two veg and put it in her pocket. She was wondering the streets, completely off her head and got locked up and stayed incarcerated for about 30 years. She became feminist icon and when she came out in the 70s Oshima made a movie about her. That was the premise for the lyric, but I tried to dumb it down. Funnily enough, I was in Spain around the time it came out doing a promo and a photographer puts his arm round me and says, “Chaz! I love bullfights too” and I’m like, what? And it turns out that Ai No Corrida means No More Bullfights in Spanish. So anyway, back to Dick Leahy, Rod Temperton was the boyfriend of the girl working for Dick Leahy and he was looking for material for Quincy Jones’s last Warners Bros. Album.

                    Ah, so RodÂ’s the link.
                    Yes. Did you know Quincy calls him Worms?

                    Really? Why?
                    Because he used to live in a town in Germany called Worms.

                    So that was a bit of a stroke of luck for you?
                    Well, to be honest nothing ever happened with it. IÂ’ve never had any other songs covered. But I havenÂ’t pushed it. I got to meet Quincy though and he took me to a Jacksons concert where my hero, Sly Stone, was sat right behind me at the LA Forum.

                    You ended up doing joining up with Ian again to do Lord Upminster, didnÂ’t you? How did that happen?
                    Chris Blackwell, head of Island, thought it would be a good idea for him to work with Sly & Robbie and Ian took me along as co-writer, though we didn’t actually have any material prepared. We had a couple of days before the session started to work on material and the first song he sung me was ‘Spasticus Autisticus’. I just put a guitar riff with it. The problem was it was all done hastily and I don’t think that record’s producer very well. Although ‘Spasticus Autisticus’ stayed in our set and ended up as one of Ian’s favourite songs.

                    What was the inspiration for ‘3,000,000 Synths’?
                    I was just playing around with synths at the time, Oberheim synthesisers, and I just followed my instinct on that. There was no real plan. There were a lot of synths that ended up on that track.

                    But not 3,000,000, though surely!
                    Not 3,000,000. But Philip Bagenall, who helped me build my studio. What happened was the money I got from my record advance from A&M, they signed me on the strength of Ai No Corrida, their advance was sufficient combined with the royalties I’d got from working with Ian to build a studio. Together we started this studio, Eastcote Producrtions. Because we needed a bar count all the way through, just so we’d know where we were in the song, he counted ‘one, two…’ I thought it was quite Kraftwerky to leave the counting in so we left it. So it was the counting and number along with the synths that gave us the title.

                    When you did, what were your expectations of it, because itÂ’s very odd and leftfield?
                    IÂ’ve always been heavy into the groove and it was based on a fat groove. And then we played about with the synths on top.

                    It reminds me of a bizarre ‘Funkin’ For Jamaica’.
                    Yeah, the bassline does sound like ‘Funkin’ For Jamaica’. I remember hearing it in a bar in New York. It was on a jukebox which was quite a surprise.

                    Did you realise it was big in clubs at the time?
                    I knew ‘Glad To Know You’ was big. Going back to Lord Upminster. I was in the Bahamas and Sly Dunbar had Music Week and he says, ‘Hey Chaz, there’s a song of yours in the dance charts” And ‘Glad To Know You’ had gone in the dance charts. It got to number one and stayed there for 9 weeks. I flew to New York and went to Studio 54 and hung out with the DJs. It was a good time. I knew that ‘Questionnaire’ and ‘3,000,000 Synths’ were also on the 12-inch, but I never actually heard them play ‘3,000,000 Synths’. ‘Glad To Know You’ I heard a lot, but not that.

                    When did you go to Studio 54?
                    It must have been after ‘Glad to Know You’ had been released as a 12-inch in America, which must have been about 83 or 84. I was given an award, Dance Artist of the Year, by Music Week. It’s that phallic looking thing over there.

                    Who actually played on ‘Glad To Know You’?
                    Pete Van Hook played drums, although they’re programmed. It was one of the first Linn drum machines that we were using. I played guitar and piano. I played bass on the break. I played everything in those days. I was a busy bugger. I think Prince saw me and thought, ‘Yeah, maybe I could everything as well’. And, possibly, Stevie Wonder. Tessa Niles is singing BVs. After we’d finished that track and there was talk of putting out a 12-inch in the States, we did two mixes of that track and we put a delay on the guitar on the second. After we’d mixed it, Philip said, ‘Well, actually Chaz, I have to say that I think the delay is really rather vulgar.” So I took both copies to New York and I asked the cutting engineer and he said he liked the delay.

                    How did the Kitty Grant record come about?
                    Which songs?

                    ‘Glad To Know You’
                    Really? Was she white or black? I havenÂ’t heard it.

                    OK. ‘Rêve De Chèvre’. What about that, then?
                    We used bizarre titles for our records and IÂ’m desperately trying to remember which one that was!

                    It sounds like an odd proto-house record with dubby piano.
                    Ah, it was a remix of ‘Questionnaire’ with all of the music taken out and the percussion left in.

                    Why was it called ‘Goat Dream’?
                    It was probably PhilipÂ’s idea. If I didnÂ’t have a name for it, heÂ’d think up these odd names.

                    What was the inspiration for these tracks, because theyÂ’re very odd, especially since theyÂ’re nestling between more pop-oriented things.
                    I suppose I was trying to make my records accessible, but when it cam to doing the 12-inch or a B-side, the pressure was off, so you could let your hair down a little and have fun. I think my stuff was always quite soulful based. Ian would co-write with me, he co-wrote ‘Glad To Know You’. There was a song called ‘Boy’ which, apparently was a rare groove record. I was working with this woman called DJ Elaine at the time about 15 years ago.

                    What were you doing from your last album up until Mr Lovepants?
                    In the early eighties, I did the music for a movie called An Unsuitable Job For A Woman. That was the first score I did. Then mid eighties I did another movie Making Mr Right with Susan Seidelman who did Desperately Seeking Susan. In 1985, A&M decided they didnÂ’t want any more albums.

                    It might have been the haircut on the cover that did it, Chaz. It looks like a diving board.
                    Well, the album artwork was diabolical. I don’t want to digress or anything but the artwork… We’ll come back to the Lost Years in a minute. So A&M didn’t want my 5th album, there’s a track from this album called ‘You’re My Occupation’ which I recorded with Brenda Jones, which went to radio. I got together with Willie Colon on that album as well. It’s not a particularly good record, really. In 1986, my sister Annabel and her partner Rocky Morton, were living in America and they’d made a TV spectacular called Max Headroom. They went to the States and got a three picture deal with Touchstone. The first picture was a remake of D.O.A. I went out for three months and stayed with Rocky and Annabel doing the music for it. Jeffrey Katzenberg, head of Touchstone, comes down to the review theatre to watch it. At the end of the movie he collects everyone who worked on the movie and asks, “Now who did the music?” [DISK ENDS AND OMINOUSLY STUFF AT START OF NEXT IS WIPED]

                    What stuff are you really happy with?
                    ‘Rhythm Stick’ has got a groove to it; I really like that. I really like ‘Dance Little Rude Boy’. There’s a piece on my new jazz album called ‘First Day Of Spring’, which I’m happy with.

                    What about making modern dance records, does that appeal to you?
                    Yeah, it does. IÂ’d really like to put together a heavy duty R&B thing together and I might rope in some of the Blockheads for that. IÂ’m also working with a really good songwriter called Alex Watson. You know since IanÂ’s passed away, IÂ’ve got myself a publishing deal with Famous Music and they put me in contact with another writer and she writes great lyrics and a brilliant singer. She wants to make her own record now. WeÂ’re co-writing for other artists and for her album. SheÂ’s also in another band called Iron Eye, who are about to put out their first record. So IÂ’m very energised on the dance tip. It wonÂ’t be house. IÂ’m more into mid-tempo grooves and R&B.


                    • #11
                      'If I was with a woman' is essential!! (Cant think which LP its on off the top of my head though)

                      I suppose it could be described as punk funk??
                      "I've learned from my mistakes......& Hopefully I Can repeat them exactly"


                      • #12
                        My Old Man : from New Boots & Panties
                        sweet & slow
                        The Garden Facebook Blog


                        • #13
                          New Boots & Panties is definitely their best, and funkiest LP


                          • #14
                            Originally posted by [b
                            Quote[/b] (Nick Cope @ Jan. 22 2004,12:13)]New Boots & Panties is definitely their best, and funkiest LP
                            Er, no it isn't, not by a long chalk. It's their best known and I like it a lot, but funky? What A Waste and Wake Up are indisputably funky, but there are far too many Sweet Gene Vincents and Clever Trevors on that album for it to be classed as funky. DIY is funky just about all the way through.

                            I remember going to see them before DIY came out and then at Hammersmith Odeon when they were promoting it and the difference was remarkable. Suddenly everything they did seemed a bit funky.


                            • #15
                              I stand corrected then!