(MIG) 15 tracks Die Partnerschaft zwischen Alan Price und Georgie Fame begann in einer Novembernacht 1970 im Londoner Revolution Club. Es herrschte eine positive Stimmung unter den Georgie Fame Fans bei einem seiner seltenen Konzerte. Wenige von ihnen waren jedoch auf das bevorstehende musikalische Feuerwerk vorbereitet. Als Georgie Fame den alten Animals-Klassiker ´´Bring It on Home´´ aufgriff, war es für den ehemaligen Organisten Alan Price vorbei. Als Georgie - der Alan Price im Publikum erkannte - ihn einlud, auf die Bühne zu kommen, nahm er sein Angebot gerne an. Beide lieferten eine Rock-Show vor einem atemberaubenden Publikum ab, die man nur selten erlebt. Songs wie ´´Rave On´´, ´´Great Balls of Fire´´ und ´´Oh Boy´´ waren voller Energie und der ganze Club war begeistert. Die Fortsetzung dieser Partnerschaft war eine logische Konsequenz. Wer diese Zusammenarbeit auf seinen Hit ´´Rosetta´´ beschränkt, macht einen großen Fehler. ´´Gemeinsam´´ beweist, dass dieses Duo noch viel mehr zu bieten hat.
Hung, ein mächtiger Triadenboss in Hongkong, hat einen Sohn namens Georgie. Das Problem ist nur: Georgie ist schwul. Von seinem Vater wird er nach Thailand geschickt und darf erst zurückkehren, wenn dieser das Zeitliche gesegnet hat. Nach Hungs Tod wird Georgie nach Hongkong geholt und soll nun lernen, sich wie ein richtiger Gangster zu benehmen. Es ist jedoch Georgies Freund Sam, der sich als Sohn des Triadenführers ausgibt. Auf Hungs Beerdigung wird es brenzlig, denn unter den Besuchern befindet sich Chow Siu, der die Ambition hat, selbst die Triaden zu übernehmen... Produzent Jackie Chan krönt den Comedy-Action-Hit mit einem Gastauftritt.
(See For Miles Records)) 26 tracks Stateside & Columbia - It was in June 1967 that the ´Atlantic Soul Review´ hit Amsterdam to play a concert at its renowned concert hall, the Concertgebouw. The star studded pack-age featured some of the finest talent from the Atlantic and Stax labels such as Sam and Dave, Eddie Floyd, Carla Thomas, Arthur Conley and Booker T and the MG´s. Wilson Pickett had been announced as the headliner of the show, but he appeared to be indisposed and was replaced by Lee Dorsey at the last minute. I had recently been installed as the label manager for the Stateside label at Bovema, the Dutch company that represented EMI Records. Lee´s recordings on the American Amy label were released on the Stateside label in Holland. I was duly consigned to perform the usual hospitality ritual bestowed on visiting international artists that the record company represented. In the case of Lee Dorsey, this proved to be a delightful job. Lee was a happy and easy going character with an infectious grin and chuckle. I spent one of my better nights out, introducing Lee to the various delights that Amsterdam had to offer during the late 1960´s, and I can assure you that he was great and appreciative company. The next evening he proved to be a consummate showman and hard worker as the only non-Atlantic/Stax artist in the ´Atlantic Soul Review´. Lee stole the show and won the hearts of the Dutch soul fans with his segment in the show, culminating in his suggestive and humorous rendition of ´Ride Your Pony´, which caused a near riot in the usually sedate Concertgebouw. Irving Lee Dorsey was born in New Orleans on December 4, 1926 and moved to Portland, Oregon at the age of 10. During the late 1940´s and early 1950´s Lee was a successful lightweight boxer, operating under the nickname ´Kid Chocolate´. He survived a four year stint in the Navy after which he resumed his boxing career. Lee hung up his boxing gloves during the mid 1950´s when he returned to New Orleans. Circa 195658 he met Allen Toussaint, either at a party or in a studio to which he had taken a page of verse in the hope of making a record out of it. At that time the younger Toussaint, born in New Orleans in 1938, had already passed through the R&B group leader and touring accompanist stages to begin his climb through the ranks of local session musicians. During the late 1950´s Lee made his first recordings for Joe Banashak´s Instant label. One of these singles was ´Lottie Mo´, which became a regional hit on which he was backed by Allen Toussaint, who also arranged the track. Marshall Sehorn, who was Southern promotion man, talent scout and sometime producer for Bobby Robinson´s New York based Fury label, heard ´Lottie Mo´ on the radio during one of his visits to New Orleans in 1960. Marshall was duly impressed by the record and Lee subsequently signed to the Fury label. ´Ya Ya´, Lee´s first Fury single, exploded and went to No. I R&B and No.7 Pop on the Billboard charts in September 1961. Petula Clark covered the song as ´Ya Ya Twist´ for consumption on the European market, and reached the UK Top 20 with it. Fury followed ´Ya Ya´ up with ´Do-Re-Mi´ in December 1961 and again Lee scored a considerable hit, peaking at No.27 Pop and 22 R&B on the Billboard chart. ´Do-Re-Mi´ was regularly performed by Georgie Fame and Dusty Springfield. Lee recorded another 3 singles for Fury, but the hits had dried up. A subsequent Fury album contained 15 tracks, Lee´s total recorded output for the label, recorded in New Orleans in 1961 and 1962. Allen Toussaint who wrote, arranged and produced hits for Joe Banashak at this time, also freelanced and almost certainly arranged and co-produced with Marshall Sehorn all of Lee´s Fury sides. Toussaint did not play piano on ´Ya Ya´ according to Kurt Mohr´s Lee Dorsey discography. The backing on ´Ya Ya´ was provided by: Marcel Richardson, piano; Melvin Lastie, trumpet; Harold Battiste, tenor sax; Red Tyler, baritone sax; Justin Adams, guitar; Chuck Badie, bass and John Boudreaux, drums. The back-up on ´Do-Re-Mi´ consisted of: unknown horns, Allen Toussaint, piano; Roy Montrell, guitar; Richard Payne, bass; and John Boudreaux on drums. The Fury label collapsed in 1963 and Allen Toussaint was drafted into the army at the same time Lee returned to his car repair business while his recording career temporarily stalled. During the next few years Lee, still managed and produced by Marshall Sehorn, had a single released on the Smash label and
(Warner bros.) 12 tracks - Original 1975 ´Warner Bros.´ LP album Scaffold are a lovesome thing, God wot sort of a liner-note is this going to be? I thought they had gone out of style. (They had, but theyce back, along with ration-books grinning and bearing it cheer up it could be worse. ´Oh´.) So, Scaffold recorded this album in Stockport mostly, a bloody nice town Stockport. It´s no Liverpool, but it´s A-OK. The band ioCC have studios there, Strawberry Studios, on a hill, near the station and nearer a pub. Mr. McCartney produced brother McGear´s album McGear of the same name there for wondrous Warner Bros. and Neil Sedaka records there, likewise 10CC. Good old Stockport. Thy ´eart beats strong and thou hart more than ´atmakers. Lol Cream of ioCC plays gysmo on this album, which is one way of introducing you to some of the performers. Arise Roger McGough, John Gorman and Mike McGear from the blazing success of your single Liverpool Lou, and be acknowledged as fine album makers. Roger is a poet, a major poet and you know that. Is John Gorman the masked poet? He has to be unseen to be disbelieved and even then ... Christ! Michael McGear is a poet and singer. I recently squired him around America and it was a pleasure. They are a happy lot and they have had their ups and downs but for ten years they have pleased, probably millions, certainly hundreds of thousands of very choosy people with a curious, inimitable pot of scouse. They have had a lot of hits, made quite a lot of money, blew most of it on a Generous Arts Venture, but they survived and blended into Grimms another odd, but brilliant combination of music, words and fun from whence for this album they culled wry Andy Roberts (electric and acoustic guitar). Andy has played in bands (like Liverpool Scene, Grimms and Plainsong), alone, and on good sessions. Step forward, with a grin, zany Zoot Money, you from Georgie Fame so long ago, and Big Roll Band and much other music besides, on electric piano. His WC Fields is good as anyone else´s, too. Zoot Money toured America with Eric Burdon. He is an asset. Another good plus is mad lead guitarist Oli Housal of Patto fame and presently with Kevin Ayers´ band, much admired by musicians, much loved by Scaffold. Dave Richards, on bass is an old Grimms pal, was with Andy in Plainsong (on the subject of which it might be said, pity Plainsong didn´t score ... they wuz good lads). From Family, dear Family, Scaffold drew Rob Townsend, an excellent drummer and a charming man, great husband and father. (Pity Leceister aren´t having a good season). If your ears discern percussion on the track ´Potato Clock´, as well they might, (recorded at IBC Studios eng. by Mike Claydon) you will hear Frank Ricotti, and on a flying visit to Strawberry Studios, Helen Cox (who is married to Martyn Cox, a splendid Warner´s promotion man working the middle of England) said, ´Ah Ahs´ on the Okey Cokey. Once upon a time she sang ´Wild Thing´ did it well and it did well. Brian Jones plays a mean saxophone ... Gerry Conway, superb on drums, works oft times and well with Cat Stevens. So to Meggo ... John Megginson, who produced the album with Mike McGear. Meggo is a special case. He looks as if he couldn´t put his foot through a wet Echo (regional joke) but he is a clever young man of some modesty. He plays lovely piano on the album and did a lot of worrying with Mike to get things right. He was famous from Renshaw Street to Goodison as a member of Casper´s Engine, and he has a most awful voice. On Liverpool Lou, a nice top ten surprise in 1974, you will hear Denny Laine, Linda McCartney and Jimmy McCullough of whom it has been said. Thanks to them and salaams to Paul for producing that track. In conclusion, ladies and gentlemen and little children, it gives me great pleasure ... this album. Scaffold give me great pleasure. Ain´t nobody like them ... Give them a big hand, but first put it in your pocket. This is good value for fifty bob. Can´t get a decent Chinese meal for two for dat dese days.´End´. Liner notes by Derek Taylor.