The list below first appeared on The Opinionated Diner in March, 2006, and appears here as an archive, pretty much unedited, aside from a mistake or two corrected.
This is not a best 45s ever released list.....
There is something about the seven inch vinyl single, something that the CD single, and the cassingle (which must be the silliest, most useless format ever - at least the CD is convenient and usually works as it's designed to) could - and can - never aspire too. Both are unappealingly pointless and instantly irrelevant as a keepsake. The small round, iconic seven inch however, as rough as it sounds sometimes (and that, of course, is a part of its joy, the audio shittiness bought on by its intended disposability) defines the pop song and is the philosophical parent of the mp3 in its disposability. Something the record companies still don’t get....
I’ve got thousands of the ridiculous things and I still buy the odd one. In reggae, indie rock and other niche styles it still thrives albeit on the edge of the public consciousness - to whom it is mostly a museum format. One of my favourite records of last year, Ice Cream by New Young Pony Club, was only on 7”. But you can’t deny that the 7” was a record that completely defined its time - and that its time is largely gone. Hence this list mostly derives from my most frenzied seven inch buying period - from about 1974 through to the mid eighties - plus a bunch of records from the sixties that came firstly from the jukebox leftovers my dad used to bring home in the late sixties, and thence after from my fevered and addicted rustling through the junk shops of the nation over the next decade or so.
Similar rules apply to this list as did to my 12’’ one earlier - I have to own the physical copy, the cut-off is 2000, and there was only to be one from each act.
This list is noticeably whiter (or perhaps less black) than the earlier twelve inch list, reflecting my punk and beat roots (although I had a big jazz fixation as a late teen and I also eagerly swooped on every soul and r’n’b single I could find, but in mostly monochromatic New Zealand, Motown aside, these were rare beasts) but also the fact that soul & hip-hop singles and the such, after 1977 or so were largely 12” formatted, with the 7”version being an aside for chart purposes.
And, like the 12’s, this makes not claim to strive for a list of the greatest seven inch singles ever, it's just my list: the records that I look at with some joy and reverence when I come across them on a day; a gathering of little round black things that rocked or changed my world.
I’m not trying to create a definitive list of anything. And I'm realy doing it for me.
There are the obvious records here for sure, but nothing like the scarily obvious and pointless list that US journalist Dave Marsh did of the 1001 essential singles. I hate that sort of thing.
So, once again, in no real order except a vague alphabetical one (and when I note the B side it’s because it matters as much as the top side to me):
- Alice Cooper – Eighteen (Warner Bros) Suburban schmuck punk from somewhere in the middle of middle America’s ugly dream. This band is often overlooked in the story of punk as less than righteously cool perhaps because of that. In truth nobody bought the New York Dolls in 1974 - they just pretended they did later on. Maybe Alice sold too many records to ever be cool, but this is the song Lydon used to audition for the Pistols.
- Altered Images – Don’t Talk to Me About Love (Epic) I used to be in love with Claire Grogan - most males my age then were - a combination perhaps of that ridiculoulsy cute scar and the tartan miniskirt.
- Ann Peebles – I’m Gonna Tear Your Playhouse Down (Hi) Despite my affection for this I actually didn’t mind the tacky Paul Young cover version. But - of course- the Willie Mitchell produced original single from about 1971 is on another level altogether. Why this remains, to the public at large, relatively un known when Al Green is on every second TV advertised compilation is beyond me.
- Ardijah – My Love is Blind (Pagan) Betty and Ryan Munga were clearly - and profoundly - influenced by the likes of the SOS Band, Mtume and The Gap Band, and this, their first single was their stab at that sound. They got it rather wrong and that’s part of the charm of this disc. Its naïve, rough and almost clumsy, but Betty’s incredible voice more than adequately rescues it. A South Auckland classic.
- Arthur Alexander – Anna (Stateside) The common wisdom seems to be that The Beatles' version of this isn’t much chop. Twaddle - it's utterly charming in a naïve boys-from-the-hood way, but it can’t hold a candle to the implicitly sensusal original. That Lennon had the supremely good taste to cover it is enough.
- Badfinger – Name Of The Game (Apple) Now I’m massively cheating as this is a what-if. This is the unreleased - at the time - fabulous brass and strings drenched mix of the track, which I first heard on a greatest hits. It was intended for a single but didn’t make it for some reason. I imagine since they were on a radio roll, it would’ve been a hit - and that it wasn’t is just another facet of the tragedy that surrounds this band. I guess the best part of about doing a list like this is the ability to break any rule I want with impunity.
- Ben E King – Supernatural Thing Pt.1 (Atlantic) This was a big radio hit in the mid-seventies in Auckland and it reminds me of my much missed late friend, Mark Baron - he and I used to sit around for hours listening to this sort of stuff in Parnell and Courtville Apts in the early to mid '70s.
- Blam Blam Blam – Call for Help (Propeller) This was lifted off the Blam’s only album and was released as a single only at the insistence of the distributor. Don had such a wonderful light but funky touch back then, something he’s, despite his much deserved success later, never really returned to since. Arguabley the best Blam Blam Blam single complete with a very cool, Len Lye-ish video made - I think from memory - by Don’s then girlfriend, Jenny Pullar.
- Blue Magic – Sideshow (Atlantic) I first heard this fragile melody on Auckland's Radio Hauraki - of all places - back in about '75 and was totally smitten. Was it a hit in New Zealand? Maybe - but I somehow doubt it, as I can’t imagine any radio station in NZ beyond the once very adventurous 'good guys' on 1486 playing something this black.
- Cabaret Voltaire – Do The Mussolini Headkick (Rough Trade) This was actually from an EP, but I first heard this on a Cherry Red compilation and found myself hunting out the 7”. A post-punk rule bender - like much of the better Cabs' work.
- David Bowie – Golden Years (RCA) I can’t choose a single seven inch single from Bowie. This could just as easily be Fame or Jean Genie or Starman or Heroes or Ashes to Ashes or... David Bowie changd everything, not once but over and over throughout the 1970s.
- Desmond Dekker – 007 (Pyramid) Bargain shop hunting about '73 got found me sorted with this. There was, to the best of my knowledge no ska, rock-steady or reggae market in New Zealand at that time so how it managed to get into a Salvation Army shop in Ponsonby is beyond me.
- Devo – Jocko Homo (Stiff) My best friend at the time, Jonathan, first played this to me in a house in Greenlane. Nothing I’d heard before sounded like this did the very first time.
- Dragon – Rock n Roll Ponsonby (Vertigo) A song about baddness in Auckland. In the mid seventies so few local acts made singles that each one was a treasure. We'd hunt every release out and play them over and over. The opening break is a killer that crys out to be sampled.
- Dusty Springfield – All I See Is You (Phillips) Why has Dusty gone when Jon Bon Jovi survives? Another which-one-do-I-choose artist. From the early solo singles to the gorgeous duet with The Pet Shop Boys they are all, with the possible exception of her ill advised disco period, magnificent.
- Elvis Costello – Alison / Welcome to the Working Week (Stiff 1977) Columbia in the US felt the need to add strings to their release of this. Why?
- Fatal Microbes – Violence Grows (Small Wonder 1979) For years I wondered what ever happened to the bleached punkette Honey Bane, who sang this. They make a couple of really gnarly indie singles, and on the strength of those they get signed to EMI, chewed up, and disappear. Thank you Wikipedia. She married and went to the USA, that’s what.
- Fire Engines – Candyskin (Pop: Aural) Indie noise from some Scottish garage a long time ago. People used to describe this sort of thing as 'dark'. It wasn't.
- Fun Boy 3 – The Lunatics Have taken over the Asylum (Chrysalis) The lyrical sequel to The Specials Ghosttown - so perhaps it wasn't Jerry Dammers.
- Gang of 4- At Home He's A Tourist / It's Her Factory (EMI) Try as I could I couldn’t get my hands on a 7” version of their 1978 Fast EP (I have it on a Fast album compilation).This was a dancefloor filler for mewhen I briefly DJed in Sydney in '79, but - at the time - I don't think anyone would have been able to work out just how influential this brutal little beastie would be.
- George Harrison – My Sweet Lord (Apple) I love this for the production as much as anything, the chiming guitars, the way it breaks out about half way through with the fake gospel tambourines and choir. So plastic, so Spector, so cool...
- Herco Pilots – Essential Services (REM 1981) Off the glorious Wonder Book EP. Rough post-punk fuck-you from the moneied hills of Remuera, Auckland, New Zealand, this label ony had three releases.
- Jah Wobble – Betrayal (Virgin) I adored the album this was from but especially I loved this uber-clumsy, utterly disarming single from the former PIL bassist and conceptualizer. Much of what made both punk and house (and its Detroit cousin) special was that untrained musicians can - rather often - make such wonderful records purely by accident.
- James Brown – Bewildered (King) I don’t own many JB records on 7” - at least not many that were bought pre-86. But this is one I do, and another junk shop purchase it was. I included this on some old lounge compilation I did for PolyGram a decade or so ago and was told by the then head of the label it was too 'black'. .I’ve always loved James doing ballads and this is amongst the best of them.
- Jimi Hendrix – Purple Haze / 51st Anniversary (Track) When I started at boarding school some guy asked me if I liked heavy music. I guessed later that this is what they meant. With reserb=vations I do and I did - up to about '74 when, as is the way with most innovative pop movements, it all went sideways - this time into the US stadium circut. ....You must be losing your... [sniff]... sweet little mind.
- John Holt – Ali Baba (Treasure Island) We can no longer make - in the digital age - records that sound like this. The vocals lazily drawl, the riddum is cheap and cheerful and the it's fucking wonderful. Probably cost nothing to make.
- Kraftwerk – Autobahn (Vertigo). An album track in its full glory - of course it is. But hearing this on New Zealand commercial radio in the mid seventies was a huge something: that was Olivia Newton John - now this is Kraftwerk Fuck...
- Lord Creator – Kingston Town (Clan Disc) I was gutted when I heard the awful UB40 remake of this, but I guess the original survived it. A lovely few minutes of warm nostalgia for a life left behind
- Lovin’ Spoonful – Daydream (Karma Sutra) John Sebastian wrote so many tight little pop anthems - deceptively simlple songs that grew and grew in complexity the more you listened to them. This really does evoke a briefly transient aural daydream...
- Magazine – Shot by Both Sides (Virgin) This is all about the 45 version as the album (and usually compiled) version is the lessor album take. One of the greatest opening guitar lines in British pop. Howard Devoto is a perplexing case of unfulfilled promise.
- Marching Girls – True Love / First In Line (Propeller) Thisfirst came out on Bruce Milne’s Au Go Go label in Melbourne first before I released it a month or so later. From noisy punk covers to power pop supreme in little over a year and then it was all over. If not the greatest kiwi pop single, certainly the most perfectly formed.
- Marvin Gaye – Hitch Hike (Tamla Motown) Early Marvin, the manufactured (albeit in a classic Motown way) pop period, is often ignored for the tragic artist period and that in itself is tragic.
- Modern Lovers – Roadrunner Once / Roadrunner Twice (Beserkley) With the John Cale produced version (the better known one) on the flip, and a later take on the A side. Boston’s favourite nutter before he headed off to endless kiddy songs about ice creams and dinosaurs.
- Neil Diamond – Girl You’ll Be a Woman Soon (London) A single my father brought home from the jukebox at work. Neil peaked early - songs about seagulls and flowers beckoned. That's what too much weed does to a talent...
- Nick Lowe and His Sound – What’s So Funny About Peace Love and Understanding (Radar) I really liked the way that Nick quickly released an EP called Bowi - because Bowie released an album called Low. This is a cheat track, as, despite the credit, it is in fact the original Elvis Costello and The Attractions release of this cover of the old Brinsley Schwartz tune, coming out, unheralded, on the B side of Nick’s American Squirm.
- Nilsson – Everybody’s Talking (RCA) I guess this is because of Midnight Cowboy, still after all these years, one of the greatest films I’ve seen and so perfectly matched by the pathos in this song. Considering he was such a great songwriter its odd how most of Harry’s hits were covers.
- Oasis – Live Forever (Creation) I bought this on 7” mostly because it just seemed like it needed to be heard on a small round crackly vinyl to do it justice. Mostly I'll pass on Oasis after the first album, but I adore the Fab 4ness of the guitar on this.
- Orange Juice – Simply Thrilled Honey (Postcard) I saw these guys described recently as The Four Tops meet The Clash and it’s not far from the truth. I literally bumped into Edwyn Collins outside a theatre in London after a soundcheck about 1984 and was too starstruck to say anything. I'm a huge fan and a completeist.
- Otis Mace and Rex Rental – Mecca (Ripper) A slightly nutty one-off cover of an old Gene Pitney record. Produced, as I recall, by Don McGlashan, I don’t think anyone remembers this apart from me.
- Parliament – Chocolate City (Casablanca) When I first heard this, at a record shop - long demolished - in Auckland’s criminally lost Swanson St., I just stopped. I asked what it was, and I bought it. It has a loud click near the end of the A side and I always meant to take it back. Now the CD sounds odd without it.
- Paul McCartney & Wings – My Love (Apple) A guilty pleasure, for which I attempt to compensate with:
- Plastic Ono Band – Instant Karma (Apple)..wasn’t this written, recorded, pressed up and released all in a week.
- Proud Scum- Suicide 2 / The Terrorways- Short Haired Rock And Roll (Ripper) If any record defined the ethic that was punk rock it was this, on Bryan Staff’s deservedly legendary label out of the back room of his smelly club in Auckland’s Airedale Street. Sounding like they were recorded in a cardboard box, but wonderful nevertheless. Jonathan Jamrag once gave my poor cat, George, a Mohawk...
- Public Image Ltd – Public Image (Virgin) Forget God Save The Queen or Anarchy, this was Lydon’s greatest punk single, bar none. The moment when he stood up and became everything the hype macine had touted him to be in the Pistols - and it came with a free newspaper.
- Richard Hell & The Voidoids – Love Comes in Spurts / Blank Generation (Sire) An incredible double A sided single out of the NY punk scene, from the man who was responsible for creating so much of what changed the audible world in the early to mid seventies and beyond. Strident.
- Rose Royce – Love Don’t Live Here Anymore (Whitfield) I used to lie in bed in my flat in Parnell, Auckland, in the morning - before I went to work in the record store in the late 1970s, waiting for this to come on the radio, which for a few months, it seemed to with some regularity. Those syn-drums..
- Roxy Music – Virginia Plain (Island)..me and you / just we two / got to search for something new...the first three Roxy albums are as revolutionary as any clutch of records by any act ever, and nowhere more so than the two accompanying non-album singles, this and Pyjamarama. It all went rather wrong after that.
- Sandie Shaw – Hand in Glove / I Don’t Need You Anymore (Rough Trade Iit was a tough call between Girl Don’t Come, Wight is Wight (a charming long forgotten cash-in ode to the Isle of Wight Festival that never makes the greatest hits collections), and this, but the fact that this was also a de-facto Smiths single too tipped the balance. Johnny Marr’s almost fairground intro on I Don’t Need You Anymore is one of my favourite moments in pop. And Sandy was / is a more invigorating and inspired vocalist than dour old Morrissey ever was.
- Sandy Posey – Born a Woman (MGM) I bought a vastly overpriced CD collection for this one song and it still doesn’t sound as good, as crackly and phat, as my Dominion Road junk shop five cent baby. Nick Lowe did a very nice - ironic - cover of this too...
- Sardine V – Sudan (White Label) A dour indie single out of somewhere - god knows where - in Australia, that I found in a bin a Festival Records’ back room sometime in 81 or so, and played to death, berating anyone that would listen with the joys of it. I think was alone....
- Siouxsie and the Banshees – Metal Postcard (Mitageisen) (Polydor) I think this was only ever released in Germany as a single. I usually found The Banshees rather one dimensional and the fact that they gave birth to the nihilism of the gothic movement - and then happily immersed themselves in it - is another negative too. Their other essential moment was the The Staircase (Mystery) with it's shards of acidic guitar that bounce from speaker to speaker. Siouxsie is another perhaps who should've grown up years ago - stuck in a image warp from decades back.
- Sisters Love - Give Me Your Love (Mowest) From a junk shop in Camden about 1983 or 84, I’d never heard it before and didn’t hear the great Danny Krivit re-edit until many years later. A wonderful Curtis Mayfield tune also nicely covered by Ruth Joy (who wrongly credited it to her producer Mantronix).
- Sly and The Family Stone– Running Away (Epic) It could be any Sly single but this is the only one I own on 45 so it gets the hike. I was besotted with Sly after I - as a lad - slipped into the R18 rated Woodstock at the Regent in Palmerston North in 1970. Sly’s story is so very very sad and you can hear it here. Or is that hindsight?
- Small Faces – Afterglow (Immediate) The perfect sixties pop band in every way, they never really lost their raw snottiness unlike so many of their peers. I love the crashing intro and the way Stevie Marriott’s vocal comes in so plaintively - he sounds like he's spent years crawling through the wreckage of a life, and yet he's only in his early 20s. The greatest vocalist of the UK beat era, and one of the holy trilogy of UK beat bands (with The Beatles and The Who).
- Special AKA – Gangsters (2 Tone) I inadvertently left Ghost Town off my 12 inch list so hopefully this will make personal amends. We are continually told things are moving at an ever faster rate than before. That's not completely true. Musically, post punk trends blew up, produced a clutch of bona fide classics - such as this - and then imploded under their own weight a few months later.
- Split Ends – No Bother to Me (White Cloud) I bought this on the day of its release back in 1975 from an electrical shop in Auckland’s Glen Innes that stocked a few records. I’d had it on order for some time and rang or went in every few days, driving them nuts. This single was largely overlooked at the time, which was unfortunate as these guys were about to peak (with their debut album). Perfectly realised pop before the edges were smoothed off. Split Enz may've sold many more records from the late '70s onwards but they were never this interesting again.
- Stiff Little Fingers – Alternative Ulster (Rigid Digits) I can’t believe these guys are still touring. It’s rather sad actually. Fucking great single though....
- Style Council – Speak Like a Child (Polydor) It seemed at the time to follow on seamlessly from the last Jam single, the glorious Beat Surrender, which was so much just a Weller solo record - there's a fantastic slice of live (on The Tube) footage of the band from the last few months which underlines the obvious chasm between him and the other two - he was The Cappucino Kid by then and they were still besuited mods.
- Suburban Reptiles – Saturday Night Stay at Home / 45 Single (Vertigo) I had much more to do with the first Reps single but this was the better of the two by a margin and it remains a New Zealand classic. That it was ignored by the NZ APRA top 100 is just one of about 50 holes that made that much manipulated and post-vote reworked listing look silly.
- Teardrop Explodes – Bouncing Babies (Zoo 1980) An unpolished psychedelic post-punk masterpiece from a man who promised big things but teetered away. He writes well though..
- The Adverts – One Chord Wonders (Stiff) I love this - and I really don’t know why as its really not that great a single - but time and place I guess...
- The Avengers - Everybody's Gonna Wonder (HMV) Sweet understated psychedelia from the bountiful studios of EMI in Wellington, where, for the best part of a decade, producers like Peter Dawkins, Alan Galbraith and Howard Gable produced what seemed like an endless stream of quite perfect pop singles.
- The Beach Boys – Don’t Worry Baby / I Get Around (Capitol 1964) Tthe greatest American singles band, and one of the greatest, if mostly unhailed beyond Pet Sounds, album bands of their era. This double A side was the peak of their mid period, when they first evolved beyond surf by numbers. Pretty much Brian Wilson with a bunch of session musicians and vocals from the band, the opening seconds of Don't Worry Baby provide pop's greatest introduction.
- The Beatles – Paperback Writer / Rain (Parlophone) Ha! I’d happily fill 22 places in this list with Beatles' singles but I’ve made rules so.. This gets in for five reasons: firstly it couples one of John’s finest compositions with one of Paul’s; secondly, it was, when put next to its predecessor, a far more revolutionary single in both its construction and recording techniques than any other one fab45 (more so than Strawberry Fields / Penny Lane which draws a direct line from this) - and that in a career where almost every single smashed the rules; thirdly, its so wonderfully concise - just bang, bang, bang and thank you, goodbye; fourth, it came with that still stunning promo clip; and finally, and arguably irrelevantly although this is pop, as seen in those videos, in early 1966, they really just looked so bloody cool .
- The Bee Gees – How Can you Mend a broken Heart? (Spin 1972) Is it a cool record? Who the fuck cares. Al Green thought enough of it to record his own take, and that’s good enough for me. I’m a sucker for early Gibb tunes, from the soft-psychadelia of Oddesa back to the early buck-toothed days in Australia.
- The Birthday Party – Nick the Stripper (Missing Link) Seeing The Birthday Party live in 1980 and 1981 in Melborne was quite a life-changer. This was their finest moment on single, groaning and threatening. Years later I still think Nick Cave, peaked about then with the Prayers on Fire album - I've found him to be something of a self-obsessed caricature these past years.
- The Buzzcocks – Spiral Scratch (New Hormones) Do I really need to say anythng about this one?
- The Casuals – Jesamine (Decca) A unny one this. I used to think I was soft for having a spot for this late sixties throwaway. And then Paul Weller put it on his Under The Influence album. So everything’s alright now...
- The Chills – Pink Frost (Flying Nun) Martin Phillips' finest moment and he’s had quite a few. If this was not a 7” list I guess I Love My Leather Jacket might sneak in instead. NZ's best songwriter of the post-punk period.
- The Clash – White Man in Hammersmith Palais / The Prisoner (CBS 1978) I admit to tears when Joe died. I love The Clash and they defined so much of my life - not just the music although there is that of course, but the philosophy, the fuck you, the chaos, and the doors they offered. So how can I possibly name one record? I can’t of course, but this is genius.
- The Clean – Tally Ho (Flying Nun 1981) FN were responsible for dozens of astounding records, quite a fewof which were defiantly on 7”. I think the $50 recording bill is a myth, but it’s a good one, worth repeating just to keep the legend alive. The keyboard riff was borrowed from an old Subway Sect tune and at the time we all went 'we know where you nicked that from..'
- The Cure – 10.15 / Killing an Arab (Small Wonder) When I bought this from a small import shop in Sydney in 1979 and obviously had no idea who or what these guys were or, of course, what they would become. Still their best single, although their best work was to come on the very dark Pornography album a few years later. Another band though, that turned into a self parody. Robert Smith looked absolutely ridiculous by 1990 and yet he’s still doing it...
- The Damned – New Rose / Help (Stiff) The first UK punk record to be released in New Zealand, and the first I bought. We were absolutely isolated from virtually everything in the mid seventies so this sounded like a mind fuck - and even more so the B side, which was absolutely nothing like the original Beatles hit.
- The Dramatics – In The Rain (Stax) A pivotal part of my conversion to the joys of soft soul, and another junk shop find back in the mid seventies. Keith Sweat did a wonderful, Teddy Riley produced, version of this on his first album. And there is - as Spector and Shadow Morton knew - something about records with weather effects too...
- The Fall - Fiery Jack (Step Forward) Beyond the first few singles I’ve never liked grumpy Mark E Smith that much, and I’ve always thought The Fall were a pre-punk hippy band, a kind of latter day Gong if you will, stuck in the wrong era - and their influence has been mostly unfortunate. That said, the first few singles really were the bomb, and this and Elastic Man are the best of them.
- The Features – City Scenes / Do You Want To Know a Secret / Police Wheels (Propeller) The first single I released on Propeller and recorded on a whisper and a prayer. A truly extraordinary band that would only ever make two singles - although Jed Town was to realise many of his earlier ideas in Fetus Productions. The remake of the Fab’s Do You Want To Know a Secret on the B side turned it from a happy - but naïve - love song, into a stalker’s threat.
- The Flaming Groovies – Shake Some Action (Sire) The 45 mix was a completely different recording to the much better known album mix - the guitar riff is even more surreal, if that's possible. I had quite a Groovies fetish at one time.
- The Fourmyula – Nature / Home (HMV) The topside may have be named the APRA best NZ song ever but this was really all about the B side for me, an almost desperate few minutes of longing for the nest that often used to come back to me as I caught the 159 bus down a rainy Abbey Rd (where it was recorded) all those years back
- The Gordons – Futureshock EP (self released) I distributed this when it first came out, long before Flying Nun reissued it some years later. It caught the band's massive wall of amplified live noise so well - perhaps because of the primitive way it was recorded. Technology does not always improve...
- The Heartbreakers – Chinese Rocks (Track) .I don’t like junkies and yet I guess this is the ultimate 70's junkie anthem. But there was something Eddie Cochran about Johnny Thunders and the both the LAMF and So Alone albums. Iindicative of the uglier side of the punk scene - one still wonders why smack had that aura of cool. But, for all that, it has a killer riff, and takes few prisoners gettingto the message, going a long way to show why the best Ramones songs were always by Dee Dee
- The Jackson 5 – I Want You Back (Tamla Motown) I bought this and The Osmonds’ fine faux Stax single One Bad Apple for my sister in about '72 and ended up keeping both for myself.
- The Jam – Strange Town / Butterfly Collector (Polydor) Single after single, classic three minute anthems one after another, bang bang bang. Every couple of weeks, or so it seemed at the time, Paul Weller would release a two headed killer. This is my favourite Jam single, but only just, and only this week. A frantic tale of new-town alienation on one side and a vicious attack on a long forgotten (but oh so typical) record company staffer on the other.
- The Kinks – Waterloo Sunset (Pye) Yeah I know, obvious as fuck but it’s still THE London song. Try walking across Waterloo Bridge as the sun slips down and tell me that it ain't....
- The La De Das – How is The Air Up There (Zodiac, via Phillips) Simply because it has the best, most fuck-you intro of any single I’ve ever heard - .and it was made in Herne Bay, Auckland, New Zealand, less than a kilometre from where I lived for the past decade. I applied to Eldred Stebbing once for a job, but was turned down because I wasn't into the fake Hawaiian beach albums that he was churning out in the early 1970s. I suspect that he never really liked this.
- The Mighty Diamonds – Stoned Out of My Mind (Channel One) The first time I had the courage to venture into the strange world of Dub Vendor in Ladbroke Groove I bought this. There are no bad versions of this song.
- The Miracles – Ooh Baby Baby (Tamla Motown) There are all the clichés of course about America’s greatest living poet and such, but none of them come close to describing the sound that Smokey crafted on all those wonderful, wonderful singles, both for himself and those blessed to be gifted a song or a production by the man.
- The Mockers – Murder on Manners Street (Mocker Music) There are too few great songs about New Zealand - about the places we grew up and know. Americans, British and even Australians don’t seem to balk at writing about the places they love. This very limited single, in a plastic bag with a crudely photocopied insert is a lost gem. When they became pop idols, The Mockers re-recorded it but this rough as guts garage 45, financed by their then manager, Don Mackay, is the vastly superior take.
- The Normal – TV OD / Warm Leatherette (Mute) A minor revolution in retrospect. For all the influence Moroder and Kraftwerk had on the future, rough little singles like this from low tech UK recording studios, which owed so much to the Europeans of course, in the late seventies had as much impact. Without Daniel Miller the aural world thereafter would be a very different place.
- The O’Jays - Backstabbers (Philadelphia International) A completely perfect single, beyond sane uncriticism - and a stunning production, just listen to the space. My other great O’Jays 45 moment is the lovely Lipstick Traces from a much earlier era
- The Pretenders – Stop Your Sobbing (Real) If I’d known when I first heard this how absolutely annoying Chrissie Hynde was and would become I might’ve ignored it. But, when Terry Hogan, graphic designer extraordinare and WEA employee, bought the promo down to the record shop I was working in at the time I had no idea about any of that and we thrashed this for weeks.
- The Ronettes – I Wish I Never Saw The Sunshine (Phil Spector Int.) One of the lesser known Ronettes’ anthems but oh, oh, oh my god, Spector heaven. The verses - with Ronnie’s plaintiff, always so completely vulnerable, voice - are so disarming and then it explodes into this massive crescendo of a chorus. Devastating, intense, and beyond criticism - the fade with Ronnie moaning I wouldn’t mind the pain / I wouldn’t mind the rain is utterly exhausting. Oh, and I'm cheating - this remained unreleased in the '60s and I found it on a promo 7" released about '76.
- The Shangri-Las – Past Present and Future (Red Bird) ...there were moments when / well there were moments when... I love Phil Spector - as long as he’s not shooting starlets - but spare a moment for the great Shadow Morton, completely, excuse my phrase, in the shadow of Phil. This record is such a litany of clichés it couldn’t help but be brilliant ....don’t try and touch me because that will never happen...again / shall we dance.. the insertion of the word again in there is the single defining moment in all girl group pop.
- The Slits – Typical Girls / I Heard it Through the Grapevine (Island) I love the A side, but I really love the flip, an irreverent post-punk mutation of the Motown classic.
- The Spinners – Ghetto Child (Atlantic 1973) I find most of the Spinners stuff too fluffy and lightweight but there is enough gorgeous charm about this record to overwhelm the sugar.
- The Subway Sect – Ambition (Rough Trade) Cheap keyboard bliss from always odd Vic Goddard. The part - at about 2.30 - where it drops down and then, with a swell of tinny keys, crazily bounces back is well worth the entry fee alone.
- The Techniques – Queen Majesty (Treasure Island) Originally - in the grand JA tradition of steal and plunder - an adaptation of an old Curtis Mayfield tune. Some UK émigré clearly bought a bunch of these singles out from the homeland and they ended up in a junk shop in Auckland in the mid seventies - whoever you are: I thank you..
- The Undertones – Teenage Kicks / True Confessions (Sire) John Peel was right about TK but everybody ignores the flip side (it was actually a 4 track EP but these are the two that matter) which is just as good. Another one given to me by my old friend Terry Hogan (the guy who designed the AK 79 cover) from Warners. Fuck - everyone knows this, surely?!
- Thomas Leer – Private Plane (Oblique) Another friend, Nadine, sent me this from Australia way back when. The early, quirky, indie, rudimentary electronic pop singles always appealed to me and this has been a massive personal record since I first pulled it out of the cardboard, in 1979.
- Throbbing Gristle – United (Industrial) .Harry (Hercos) and his brother Nigel (Spelling Mistakes / Car Crash Set), Russell first played me this. We used to talk about obscure indie pop records for hours and get slightly obsessive - but that is the nature of silly young men and music.
- Timebox – Beggin’ (Decca) Big brassy, dramatic beat-pop from London, that, I think, went absolutely nowhere at the time but has somehow survived to gain a reputation as a post Swingin’ anthem. It builds and swirls and crashes and then it does it all over again and again.. fantastic
- Toy Love - Rebel / Squeeze (Elektra) I think I rambled on about this in my Toy Love blurb elsewhere on this blog, so I’ve already told a story or two about it. It’s sufficient to say that the failure of this to appear in the APRA Natures Best list, just underlines the comments I made above.
- Vivien Goldman – Laundrette (Window) Produced by John Lydon and Keith Levine, records like this pioneered the philosophy, the beliefs, the rough bashing together of whatever is happening on the street, that still drives so much great English underground pop and electronic music.
- Yazoo – Situation / Only You (Mute) Mainly for the B side (Situation) really although the A is a pleasant enough piece of light electronic pop. Neither Vince Clarke nor Alison Moyet ever came close to the Upstairs at Eric’s album again sadly. The Francois K 12” mix of Situation is also pretty nifty but takes it somewhere else altogether and should be treated as another record.
There are - of course - massive gaps in this list (off the top of my head: Alternative TV / Chuck Berry / Aaron Neville / Chris Knox / Ramones / The Temptations / Mary Wells / Benny Spellman / Max Merritt / Japan / Gladiators... and on and on and on), some of which I address in the album list and the 12" list, but realistically this thing could go on forever, but that is the nature of random lists like this....