K's UK PUB ROCK SPECIAL VA - Cheers! A Pint of Your Best Pub Rock, Please! 200 Cream of the Crop London Pub Rock Scene Classics [2023] (9x CDs)

 

K's UK PUB ROCK SPECIAL

VA - Cheers! A Pint of Your Best Pub Rock, Please! 200 Cream of the Crop London Pub Rock Scene Classics [2023] (9x CDs)

Three Courage Best Ads:    https://youtu.be/w6rsPPqSAuk

Pub Rock - We'll Drink to That! Record Collector article:

https://recordcollectormag.com/articles/pub-rock-well-drink-to-that

Pub rock is a rock music genre that was developed in the early to mid-1970s in the United Kingdom. A back-to-basics movement which incorporated roots rock, pub rock was a reaction against the expensively recorded and produced progressive rock and flashy glam rock scenes of the time. Although short lived, pub rock was live rock played in small traditional venues like pubs and clubs. Since major labels showed no interest in pub rock groups, pub rockers sought out independent record labels such as Stiff Records. Indie labels used relatively inexpensive recording processes, so they had a much lower break-even point for a record than a major label.

With pub rock's emphasis on small venues, simple, fairly inexpensive recordings and indie record labels, it was the catalyst for the development of the British punk rock scene. Despite these shared elements, though, there was a difference between the genres:

while pub rock harked back to early rock and roll and R&B, punk was iconoclastic, and sought to break with the past musical traditions. Pub rock was deliberately nasty, dirty and post-glam. Dress style was based around denim and checked shirts, tatty jeans and droopy hair. The figureheads of the movement, Dr. Feelgood, were noted for their frontman's filthy white suit. Bands looked menacing and threatening, "like villains on The Sweeney". According to David Hepworth, Dr. Feelgood looked as if they had "come together in some unsavoury section of the army". Pub rock groups disdained any form of flashy presentation. Scene leaders like Dr. Feelgood, Kilburn and the High Roads and Ducks Deluxe played simple, "back to mono" rhythm and blues in the tradition of white British groups like The Rolling Stones and the Yardbirds, with fuzzy overdriven guitars and whiny vocals. Lesser acts played funky soul (Kokomo, Clancy, Cado Belle) or country rock (The Kursaal Flyers, Chilli Willi and the Red Hot Peppers). While pub rockers did not have expensive stage shows, they took inspiration from early R&B and increased the dynamism and intensity of their live shows. Pub rock allowed a variety of singers and musicians to perform, even if they did not adhere to a clearly defined musical genre. Major labels scouted pub rock acts,thinking they might find the next Beatles at a local pub; however, A&R representatives decided that pub rock did not have potential for mass market hits. With no interest from major labels, pub rockers put out their records through small independent record labels such as Stiff Records and Chiswick Records, both of which also went on to flourish in the early punk rock period, signing bands like Motörhead, Johnny Moped, Joe Strummer's 101ers, and Jesse Hector's proto punk garage rock band The Hammersmith Gorillas.

By 1975, the standard for mainstream rock album recordings was expensive, lengthy studio recording processes overseen by highly paid record producers, with the goal of creating highly polished end products, with overdubs, double-tracking and studio effects. Some mainstream bands spent months in the studio perfecting their recording, to achieve a meticulously crafted and perfect product. Pub rockers rejected this type of costly, complex recording process; instead, with pub rockers, the goal was simply to capture the band's "live" sound and feel in the studio. The difference between mainstream rock and pub rock recording approaches not only produced different sounds (polished vs. raw), it also had a significant impact on the economics of each rock genre. With mainstream rock, the costly sound recording process meant that the break-even point for the record label was around 20,000 records; with pub rock, the less expensive recording process meant that pub rock labels could break even with as few as 2,000 records. This means that pub rock labels could afford to put out records with a tenth of the sales of mainstream bands. The pub rock scene was primarily a live phenomenon. During the peak years of 1972 to 1975, there was just one solitary Top 20 single (Ace's "How Long"), and all the bands combined sold less than an estimated 150,000 albums. Many acts suffered in the transition from pub to studio recording and were unable to recapture their live sound. The genre's primary characteristic is, as the name suggests, the pub. By championing smaller venues, the bands reinvigorated a local club scene that had dwindled since the 1960s as bands priced themselves into big theatres and stadia. New aspiring bands could now find venues to play without needing to have a record company behind them.

The Faces were the greatest rhythm'n'booze band that ever stumbled and strummed across the face of the earth. The Faces could play it all - blues, soul, funk, country, boogie - and they played it like the world was their barstool and it was never closing time.

Ah yes, the drinking. At a time when bands were cosmically tripped-out and marijuana was the sweetest scent, the Faces were the drinking person's band who kept jamming while you went to the bar. Rod Stewart recalls of booze-fueled fun-times and running off stage to pee in a bucket. Not surprising then they formed in a pub in 1969 when Jones asked Stewart -- then in the Jeff Beck Group with guitarist/bassist Ronnie Wood, a longtime Stone these days -- if he wanted to join their band, the remnants of the Small Faces after their singer Steve Marriott quit. 

Pub rock was generally restricted to Greater London with some overspill into Essex, although the central belt in Scotland also produced local bands such as The Cheetahs and The Plastic Flies. Pub rockers believed that mainstream stars who played at arenas had lost touch with their audiences. Instead, pub rock groups preferred intimate venues, which were essential to creating meaningful music and connecting with the audience. Pub rock's small venue approach increased the importance of good songwriting and well-written lyrics, in contrast to mainstream pop which had marginalized both elements. The UK pub rock scene wound down by 1976. The record industry was already looking into early punk, thinking it might be the next "big thing". In 1976 and 1977, some pub rock labels (such as Chiswick Records) were putting out both the harder-edged pub rock acts like Jesse Hector's thug Mod band, The Gorillas (originally named The Hammersmith Gorillas) and early punk bands such as Johnny Moped and The Damned.

Most of the venues were in large Victorian pubs "north of Regents Park", where there were plenty of suitable establishments. One of the most notable venues was the Hope and Anchor pub on Islington's Upper Street, still a venue where The Stranglers often performed and also recorded their much-acclaimed album: Live at the Hope and Anchor on 22 November 1977. Formed as the Guildford Stranglers in Guildford, Surrey, in early 1974, they originally built a following within the mid-1970s pub rock scene. They soon dropped the geographical prefix and the name, The Stranglers, was registered as a business on 11 September 1974 by drummer Jet Black.  In February 1978 the Stranglers began a mini-tour, playing three secret pub gigs as a thank-you to those venues and their landlords for their support during the band's rise to success. The first was at The Duke of Lancaster in New Barnet on Valentine's Day,

with further performances at The Red Cow, Hammersmith, and The Nashville Rooms, West Kensington, in early September.  Following the Tally Ho and the Hope and Anchor came the Cock, the Brecknock, the Lord Nelson, the Greyhound in Fulham, the Red Lion, the Rochester Castle, the Nashville in West Kensington, the Pegasus Pub on Green Lanes, The Torrington in North Finchley, Dingwalls and the Dublin Castle in Camden Town, the Pied Bull at Angel, Bull and Gatein Kentish Town, the Kensington near Olympia, the Newlands Tavern in Nunhead, the Cricketers at Kennington Oval, Half Moon in Putney and Half Moon in Herne Hill (south London outposts) and The Sir George Robey in Finsbury Park (The Sir George Robey was also well known for showcasing roots reggae rockers sound systems at the time, and continuing to do so, well into the 1990s). Out of London, venues included the Dagenham Roundhouse, the Grand in Leigh on Sea and the Admiral Jellicoe on Canvey Island. This network of venues later formed a ready-made launch pad for the punk scene.

In 1974, pub rock was the hottest scene in London. At that point it seemed that nearly every large pub in London was supplying live music, along with hot snacks and the occasional stripper. The figureheads were Essex-based R&B outfit Dr. Feelgood.

By Autumn 1975, they were joined by acts such as Lemmy's first incarnation of Motörhead (who at the time featured Larry Wallis from proto punk Garage Rock band, The Pink Fairies), thug Mod rockers Jesse Hector's band Hammersmith Gorillas, Joe Strummer's 101ers, Eddie and the Hot Rods, Johnny Moped and The Count Bishops.

Pub rock was rapidly overtaken by the UK punk explosion after spawning what are now seen as several proto-punk bands. Some artists like Jesse Hector's band The Gorillas were just on the cusp of tasting success when punk broke, radically transforming the music scene they and the other leading pub rock acts had established themselves on; others were able to make the transition by jumping ship to new outfits, notably Joe Strummer, Ian Dury and Elvis Costello. A few stalwarts like the Radio Stars or Wreckless Eric were later able to realise Top 40 chart success with singles like 'Whole Wide World' which achieved a cross over success with punk rock and new wave music audiences, but the moment was gone. Many of the actual pubs themselves survived as punk venues (especially the Nashville and The Hope & Anchor), but a range of notable pubs such as the George Robey and the Pied Bull have since been closed or demolished. The Newlands Tavern survived and is now called The Ivy House.

So, after exhaustive and extensive online research, plus my own recollections and memories, here is my personal compilation of what I consider to be the 200 best and most important tracks from the original London, UK pub rock era. This fully packed 9CD set contains many rare and extremely hard to find tracks, with quite a few featured in their original 7" 45 single form. Only the original studio mixes are included. No later remixes, 'stereo enhanced' or live bootleg versions here! Compiled as always using the very latest and highest quality digital remasters, with a considerable number of tracks sourced from the original master tapes for superior sound quality and enjoyment.

K

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Pt.1     Pt.2    Pt.3 

Pt.4     Pt.5 

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Track lists

CD1

01 Ian Dury Billericay Dickie 4:15

02 Chas & Dave Ain't No Pleasing You 4:10

03 Clover Ain't Nobody Own Nobody's Soul 3:50

04 The Motors Airport 4:37

05 Help Yourself Alabama Lady 4:03

06 Elvis Costello Alison 3:24

07 Roogalator All Aboard 5:45

08 Elvis Costello (The Angels Wanna Wear My) Red Shoes 2:48

09 Stray As Long As You Feel Good 3:51

10 Dr. Feelgood Baby Jane 2:58

11 Jo-ann Kelly Baby What You Want Me to Do 2:13

12 Dr. Feelgood Back in the Night 3:18

13 Graham Parker & The Rumour Back to Schooldays 2:56

14 Frankie Miller Be Good to Yourself 3:01

15 Chris Spedding Bedsit Girl 2:02

16 Graham Parker & The Rumour Between You and Me 2:24

17 Kilburn And The High Roads Billy Bentley (Promenades Himself in London) 3:02

18 Brett Marvin & The Thunderbolts Blow Me Down 3:12

19 Lew Lewis & His Band Boogie on the Street 3:24

20 Bees Make Honey Booterstown 3:12

21 Gonzalez Brandy (You're a Fine Girl) 3:18

22 Chilli Willi And The Red Hot Peppers Breathe a Little 2:46

CD2

23 Legend Cheque Book 3:24

24 Roogalator Cinicinnatti Fatback 6:06

25 Ducks Deluxe Coast to Coast 3:12

26 Ian Gomm Come On 2:51

27 Squeeze Cool for Cats 3:15

28 Brinsley Schwarz Country Girl 3:09

29 Nick Lowe Cracking Up 2:59

30 Dave Edmunds Crawling from the Wreckage 2:53

31 Billy Bremner The Creature from the Black Lagoon 4:06

32 Nick Lowe Cruel to Be Kind 3:29

33 Darts Daddy Cool/The Girl Can't Help It 2:31

34 The Motors Dancing the Night Away (Original 1977 7" Single Version) 3:15

35 The Winkies Davey's Blowtorch 3:24

36 Chilli Willi And The Red Hot Peppers Desert Island Woman 5:25

37 The Inmates Dirty Water 3:03

38 Eddie And The Hot Rods Do Anything You Wanna Do 4:03

39 The Pirates Do the Dog 2:37

40 Ernie Graham Don't Want Me Round You 4:28

41 Moon Don't Wear It 3:30

42 Dr. Feelgood Down at the Doctors 3:14

43 Kursaal Flyers Drinking Socially 3:36

CD3

44 Sniff 'n' The Tears Driver's Seat 4:01

45 Nine Below Zero Eleven Plus Eleven 2:19

46 Graham Parker & The Rumour Empty Lives 5:09

47 Eggs Over Easy The Factory 3:02

48 Ducks Deluxe Fireball 3:43

49 Chris Rea Fool (If You Think It's Over) (Original 1978 7" Single Version) 3:35

50 Fumble Free the Kids 2:35

51 Chilli Willi And The Red Hot Peppers Friday Song 3:58

52 The Rumour Frozen Years 3:35

53 Eggs Over Easy Funky But Clean 3:29

54 Chas & Dave Gertcha 3:50

55 The Stranglers (Get A) Grip (On Yourself) (Original 1977 7" Single Version) 4:02

56 Dr. Feelgood (Get Your Kicks On) Route 66 3:24

57 Dave Edmunds Girls Talk 3:24

58 Clancy Good Judgement 6:23

59 Squeeze Goodbye Girl (UK Single Version) 3:04

60 Matchbox Gunning for the Dog 2:29

61 The Stranglers Hanging Around 4:25

62 Brinsley Schwarz Happy Doing What We're Doing 4:44

63 Steve Ellis Have You Seen My Baby 3:02

64 Nick Lowe Heart of the City 2:03

CD4

65 Ducks Deluxe Heart's on My Sleeve (Early Mix) 2:53

66 Graham Parker & The Rumour Heat Treatment 3:09

67 Dave Edmunds Here Comes the Weekend 1:56

68 Graham Parker & The Rumour Hey Lord, Don't Ask Me Questions (Original 1978 7" Single Version) 3:51

69 Bees Make Honey Highway Song 3:40

70 Wreckless Eric Hit and Miss Judy 4:37

71 Graham Parker & The Rumour Hold Back the Night 3:03

72 Ian Gomm Hold On 2:58

73 Ace How Long 3:23

74 Ace I Ain't Gonna Stand for This No More 3:23

75 The Count Bishops I Ain't Got You 1:51

76 Dr. Feelgood I Can Tell 2:45

77 Kokomo I Can Understand It 3:38

78 Charlie & The Wide Boys I Don't Mind If I Do 2:21

80 Nick Lowe I Love the Sound of Breaking Glass 3:14

81 Eddie And The Hot Rods I Might Be Lying (Original 1977 7" Single Edit) 2:58

82 Flip City Imagination (Is a Powerful Deceiver) 3:39

83 Frankie Miller In No Resistance 3:01

84 Johnny Moped Incendiary Device 2:11

85 Byzantium It Could Be Better 3:12

86 Plummet Airline It's Hard 3:04

87 Razorbacks Jailbreaker 4:23

88 Ian Hunter Just Another Night 4:36

CD5

89 Dr. Feelgood Keep It Out of Sight 3:03

90 The 101'ers Keys to Your Heart 3:43

91 The Hammersmith Gorillas Leavin' 'Ome 3:33

92 Elvis Costello Less Than Zero 3:18

93 Graham Parker & The Rumour (Let Me Get) Sweet on You 2:38

94 Wreckless Eric Let's Go to the Pictures 3:09

95 Eddie And The Hot Rods Life on the Line 4:04

96 Kursaal Flyers Little Does She Know (Original 1976 7" Single Version) 3:45

97 Graham Parker & The Rumour Local Girls 3:40

98 Streetband Loud Music 2:59

99 Billy Bremner Loud Music in Cars 2:45

100 Roogalator Love and a Single Girl 3:19

101 Charlie & The Wide Boys Love Me Real 2:36

102 Ducks Deluxe Love's Melody 3:34

103 G.t. Moore & The Reggae Guitars Madman 4:46

104 Graham Parker & The Rumour Mercury Poisoning 3:10

105 Bearded Lady Midnight Flight 3:55

106 Sean Tyla & His Gang Midnight Moon 2:48

107 Dr. Feelgood Milk and Alcohol 2:48

108 The Fabulous Poodles Mirror Star 4:31

109 Starry Eyed And Laughing Money Is No Friend of Mine 3:21

110 Chris Spedding Motor Bikin' 2:39

CD6

111 Motörhead Motorhead (Original 1976 Rockfield Studios, Monmouth, Wales 'On Parole' First Recording) 2:52

112 Mickey Jupp Nature's Radio 3:22

113 National Nervous 3:35

114 Radio Stars Nervous Wreck 1:58

115 Chris Spedding New Girl in the Neighbourhood 2:32

116 The Monks Nice Legs Shame About Her Face 1:59

117 Mickey Jupp Old Rock 'n' Roller 3:09

118 Starry Eyed And Laughing One Foot in the Boat 4:14

119 The Winkies Out on the Run 4:30

120 Jona Lewie Piggy Back Sue 2:42

121 Brinsley Schwarz Play That Fast Thing (One More Time) 4:23

122 Chris Spedding & The Vibrators Pogo Dancing 3:10

123 Faces Pool Hall Richard 4:26

124 Dave Edmunds Queen of Hearts 3:19

125 Eddie And The Hot Rods Quit This Town 2:28

126 Chas & Dave Rabbit 2:21

127 Elvis Costello Radio Sweetheart 2:29

128 The Boomtown Rats Rat Trap (Original 1978 7" Single Version) 4:56

129 Wreckless Eric Reconnez Cherie 3:09

130 Roogalator Ride with the Roogalator 3:56

131 Dr. Feelgood Riot in Cell Block #9 3:40

132 The Pleasers Rock 'n' Roll Radio 2:40

133 Ace Rock & Roll Runaway 3:08

CD7

134 Ernie Graham Romeo and the Lonely Girl 2:32

135 Kilburn And The High Roads Rough Kids 2:23

136 Dr. Feelgood Roxette 2:58

137 Strapps Schoolgirl Funk 4:27

138 Ian Dury Sex & Drugs & Rock & Roll 3:12

139 Meal Ticket The Shape I'm In 4:06

140 Dr. Feelgood She Does It Right 3:20

141 Dr. Feelgood She's a Windup 2:01

142 The Gorillas She's My Gal 2:49

143 Heavy Metal Kids She's No Angel 3:39

144 The Jam Slow Down 2:39

145 The Pink Fairies The Snake 3:56

146 Dr. Feelgood Sneakin' Suspicion 3:50

147 Nick Lowe So It Goes 2:30

148 Ducks Deluxe Something's Going On 3:03

149 Graham Parker & The Rumour Soul Shoes 3:06

150 Mink Deville Spanish Stroll 3:37

151 Kursaal Flyers Speedway 5:03

152 Faces Stay with Me 4:39

153 Cado Belle Stone's Throw from Nowhere 4:49

154 Help Yourself Strange Affair 3:24

155 Dire Straits Sultans of Swing 5:48

CD8

156 Brinsley Schwarz Surrender to the Rhythm 3:26

157 Ian Dury Sweet Gene Vincent 3:35

158 The 101'ers Sweet Revenge 2:57

159 Nick Lowe Switchboard Susan 3:48

160 Squeeze Take Me I'm Yours (Original 1978 7" Single Version) 2:48

161 Man Taking the Easy Way Out Again 4:22

162 Rockpile Teacher Teacher 2:36

163 Eddie And The Hot Rods Teenage Depression 2:55

164 The Count Bishops Teenage Letter 2:22

165 Ian Dury And The Blockheads There Ain't Half Been Some Clever Bastards 3:03

166 Racing Cars They Shoot Horses, Don't They (Original 1976 7" Single Version) 3:41

167 Wild Angels Time to Kill 3:08

168 The Motors Today (Original 1978 7" Single Version) 4:00

169 Tom Robinson Band Too Good to Be True 3:35

170 Writing On The Wall Tripsy Lady 3:59

171 The Steve Gibbons Band Tulane 2:57

172 Kursaal Flyers Ugly Guys 3:08

173 Brinsley Schwarz The Ugly Things 2:48

174 Tom Robinson Band Up Against the Wall 3:35

175 Kilburn And The High Roads Upminster Kid 5:16

176 Ian Dury Wake Up and Make Love with Me 4:21

177 The Inmates The Walk 2:47

CD9

178 Love Sculpture Wang Dang Doodle 3:29

179 Elvis Costello Watching the Detectives 3:46

180 Chilli Willi And The Red Hot Peppers We Get Along 3:05

181 Ian Dury And The Blockheads What a Waste 3:25

182 Brinsley Schwarz (What's So Funny 'Bout) Peace, Love, and Understanding 3:33

183 Brewers Droop Where Are You Tonight 4:07

184 Graham Parker & The Rumour White Honey 3:34

185 Wreckless Eric Whole Wide World 2:54

186 Stretch Why Did You Do It? 3:33

187 Deep Feeling Why, Lady, Why? 3:35

188 Chris Spedding Working for the Union 2:54

189 Eddie And The Hot Rods Writing on the Wall 2:43

190 Kursaal Flyers Yellow Sox 3:24

191 The Motors You Beat the Hell Out of Me (Original 1977 7" Single Version) 2:53

192 The Jess Roden Band You Can Leave Your Hat On 4:05

193 Dave Edmunds You Kept Me Waiting 3:10

194 The Merton Parkas You Need Wheels 2:45

195 Smooth Loser You Said It Would Be 2:44

196 Mickey Jupp You'll Never Get Me Up in One of Those 3:14

197 Supercharge You've Gotta Get Up and Dance 2:57

198 Philip Rambow Young Lust (Demo Version) 4:58

199 Ace 24 Hours 4:02

200 Tom Robinson Band 2-4-6-8 Motorway 3:16

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