Musical 'F*** my Hat, I didn't know that!'

[pupshaw]

Kate Bush was backed on her first two albums by an ex-member of the Bay City Rollers

https://en.wikipedia.org/wiki/David_Paton

[Satchmo Distel]

'Her Majesty' is not listed though. Technically it's a hidden track:

https://ultimateclassicrock.com/beatles-original-abbey-road-medley/

[Better Midlands]

Kate Bush was backed on her first two albums by an ex-member of the Bay City Rollers

https://en.wikipedia.org/wiki/David_Paton

Rob Davis from Mud went on to write vocals on several 90's dance hits including #1s Fragma - Toca's Miracle and Spiller - If This Ain't Love as well as cowriting Can't Get You Out Of My Head with Cathy Dennis.

[famethrowa]

Kate Bush was backed on her first two albums by an ex-member of the Bay City Rollers

https://en.wikipedia.org/wiki/David_Paton

But to be fair, that guy's a bit of a journeyman gun for hire by anyone. Interesting that he appeared on both Elton's worst album and best album, quite an achievement!

[famethrowa]

Thanks to the Chart Music chaps, I found out something today: Joe Jackson (early 80's singer, not Tito's dad) is not American, did not grow up in America but rather in Portsmouth UK. I always assumed he was from Noo York and was signed as a USA answer to Elvis Costello. Guess not!

[Artie Fufkin]

Thanks to the Chart Music chaps, I found out something today: Joe Jackson (early 80's singer, not Tito's dad) is not American, did not grow up in America but rather in Portsmouth UK. I always assumed he was from Noo York and was signed as a USA answer to Elvis Costello. Guess not!

Field Of Dreams, anyone?

[phantom_power]

The Carpenters "It's Only Just Begun" was co-written by Little Enos Burdette from Smokey & The Bandit.
Although it seems every fucker from those films was some sort of Country & Western style singer so my hat may only be half-fucked.

He also wrote the songs for Bugsy Malone and loads of other great songs as well as being in Baby Driver

[Satchmo Distel]

"When A Man Loves A Woman" by Percy Sledge was recorded with out of tune horns. Jerry Wexler had a corrected version recorded, but the first recording was released in error.

Trained musicians can tell that the horns on this song are out of tune, and this didn't escape the ear of Jerry Wexler at Atlantic Records. He sent back the original version so this could be fixed, but the fix never made it to the shelves. David Hood, who became the bass player in the Muscle Shoals Rhythm Section, told us: "Wexler thought the horns on the original version were out of tune - and they were - and he wanted them to change the horns. They went back in the studio and changed the horns, got different horn players to play on it. But then the tapes got mixed up and Atlantic put out their original version. So that's the hit."

https://www.songfacts.com/facts/percy-sledge/when-a-man-loves-a-woman

[alan nagsworth]

Daniel Lopatin (Oneohtrix Point Never) played the synths on "Out of Tune" by Real Estate. Just one of the many wonderful little nuggets of info that are a joy to discover in the sleeve notes of your favourite albums.

[non capisco]

I'm also going to pretend he played lead guitar on that album.

[kalowski]

Might only be me who cares about this. Three surprises I got today.
Bob and Earl, who had a big hit with Harlem Shuffle were originally Bobby Byrd and Earl Nelson. Not Bobby Byrd of James Brown fame, a different guy altogether who also called himself Bobby Day, and had a big hit with Rockin' Robin.
Earl also performed under the name Jackie Lee, singing The Duck and Do The Temptation Walk.
Amazingly (to me) Byrd was replaced by another Bob, Bob Relf who also recorded the Northern Soul stomper, Blowing My Mind to Pieces.

Hat is fucked here.

[Bobby Treetops]

Might only be me who cares about this. Three surprises I got today.
Bob and Earl, who had a big hit with Harlem Shuffle were originally Bobby Byrd and Earl Nelson. Not Bobby Byrd of James Brown fame, a different guy altogether who also called himself Bobby Day, and had a big hit with Rockin' Robin.
Earl also performed under the name Jackie Lee, singing The Duck and Do The Temptation Walk.
Amazingly (to me) Byrd was replaced by another Bob, Bob Relf who also recorded the Northern Soul stomper, Blowing My Mind to Pieces.

Hat is fucked here.

A whole plethora of fuck my hat there.

[Dewt]

Apparently Walk On Water by Ozzy isn't an old song just included in Beavis and Butthead Do America, it was actually exclusive to the movie.

[lazyhour]

Brian Eno's full name is...

Brian Peter George St John le Baptiste de la Salle Eno

[Pseudopath]

Brian Eno's full name is...

Brian Peter George St John le Baptiste de la Salle Eno

To be fair to his parents, he was born Brian Peter George Eno and added the other bits as his confirmation name. De La Salle was the name of the Catholic order who founded his college.

[lazyhour]

Oh, that's cheating!

[Pseudopath]

Still a lot better than Dido's real name Florian Cloud de Bounevialle O'Malley Armstrong.

Dido considers hers as her real name, not simply a stage name or nickname.

No shit.

[Better Midlands]

Still a lot better than Dido's real name Florian Cloud de Bounevialle O'Malley Armstrong. Q

And her brother Rowland Constantine O'Malley Armstrong from Faithless.

[famethrowa]

Fair dos, because cool-named dude Aloe Blacc is actually Egbert Nathaniel Dawkins III.

[non capisco]

Never knew before he died this week that Tony Allen played drums on Sebastien Tellier's 'La Ritournelle'. Seems so obvious now!

[Hand Solo]

Venus by The Shocking Blue is just a new lyrics  to The Big Three's Oh Susanna (aka The Banjo Song), itself a major re-working of an old folk song.

[DJ Bob Hoskins]

Never knew before he died this week that Tony Allen played drums on Sebastien Tellier's 'La Ritournelle'. Seems so obvious now!

Same here. My hat was similarly fucked a few years ago when I heard this track for the first time and realised that Radiohead's Reckoner is similar to the point of sounding like a shameless rip off. Always wondered how they got away with that.

[famethrowa]

Venus by The Shocking Blue is just a new lyrics  to The Big Three's Oh Susanna (aka The Banjo Song), itself a major re-working of an old folk song.

Good lord. What a ripoff!

[Pseudopath]

The Farm's All Together Now was produced by none other than Suggs.

[buzby]

The Farm's All Together Now was produced by none other than Suggs.

Suggs produced (and sang backing vocals on) three tracks from their debut Hearts and Minds EP in 1984, which was recorded in Madness' Liquidator Studio (the fourth track, Same Old Story, was produced by Heaton & Cullimore of the pre-fame Housemartins). He had met the band and their manager (Kevin Sampson, who had been a Madness fan since they first played Eric's - Suggs had lived in Liverpool for a while in his childhood) when The Farm and Madness both appeared on the same episode of The Oxford Road Show in 1983. After that, The Farm petered out for a few years and Sampson moved down to London and became a close friend of Suggs.

Suggs had a starring role in the 1989 Channel 4 film The Final Frame (as a rock star who gets murdered onstage at an animal rights benefit gig). The film was  produced by Sampson and filmed in Manchester, and needing a band to play onstage for one of the scenes Sampson asked his old friend Peter Hooton, as The Farm had recently reformed. The band and Suggs were reaquainted on the set, and at the beginning of 1990 the band travelled to London to see Suggs and Sampson. They agreed to become the band's co-managers, set up their own label Produce and Suggs would produce their records at Liquidator. Terry Farley was signed up to produce the club remixes.

They first recorded a cover of Stepping Stone and one of their own songs Family Of Man. These were produced by Suggs and Terry Farley, and released as a double A-side single in April 1990. It never made the Top 40 but did well in the indie charts and clubs (it was the prime 'Baggy' period), so they then decided to recorded a full album, again with Suggs at Liquidator.

The album Spartacus was released in March 1991 and got to #1 in the album charts, and was preceded by two singles that were Top Ten hits, Groovy Train (#6 in August 1990) and Altogether Now (#4 in Novemeber 1990), and a Top 40 single after it's release (Don't Let Me down, #36 in May 1991). The album also included remixed versions of Hearts And Minds and Same Old Story (renamed Tell The Story) from their debut EP.

For their second album Love See No Colour in 1992 Suggs co-produced with Mark Saunders, but they decided to licence their output to Sony (instead of selling out the Produce label they reactivated the End Product label that their first EP had been self-released on). By this time 'Baggy' was on it's way out though, and none of the singles got into the Top 30 except their Saunders-produced cover of The Human League's Don't You Want Me (#18 in October 1992). The album failed to chart.

They went on to record a third album, Hullabaloo, for WEA/Sire in 1994 with dance producer Gary Wilkinson (who had been engineer on Groovy Train)but it was not a success, and promotion was stopped after the first single Messiah stalled at #94 in August, and the band petered out again.

[Pseudopath]

#TheMoreYouKnow

Cheers (as ever), the mighty buzby.

[The Culture Bunker]

I'm sure it wouldn't fuck anyone's hat to know their version of 'Don't You Want Me' was crap.

I wasn't mad keen on Sampson's Britpop novel 'Powder' either, or that nonsense about football thugs.

[Fr.Bigley]

Bryan ferry doesn't work for P&O

[MiddleRabbit]

Suggs produced (and sang backing vocals on) three tracks from their debut Hearts and Minds EP in 1984, which was recorded in Madness' Liquidator Studio (the fourth track, Same Old Story, was produced by Heaton & Cullimore of the pre-fame Housemartins). He had met the band and their manager (Kevin Sampson, who had been a Madness fan since they first played Eric's - Suggs had lived in Liverpool for a while in his childhood) when The Farm and Madness both appeared on the same episode of The Oxford Road Show in 1983. After that, The Farm petered out for a few years and Sampson moved down to London and became a close friend of Suggs.

Suggs had a starring role in the 1989 Channel 4 film The Final Frame (as a rock star who gets murdered onstage at an animal rights benefit gig). The film was  produced by Sampson and filmed in Manchester, and needing a band to play onstage for one of the scenes Sampson asked his old friend Peter Hooton, as The Farm had recently reformed. The band and Suggs were reaquainted on the set, and at the beginning of 1990 the band travelled to London to see Suggs and Sampson. They agreed to become the band's co-managers, set up their own label Produce and Suggs would produce their records at Liquidator. Terry Farley was signed up to produce the club remixes.

They first recorded a cover of Stepping Stone and one of their own songs Family Of Man. These were produced by Suggs and Terry Farley, and released as a double A-side single in April 1990. It never made the Top 40 but did well in the indie charts and clubs (it was the prime 'Baggy' period), so they then decided to recorded a full album, again with Suggs at Liquidator.

The album Spartacus was released in March 1991 and got to #1 in the album charts, and was preceded by two singles that were Top Ten hits, Groovy Train (#6 in August 1990) and Altogether Now (#4 in Novemeber 1990), and a Top 40 single after it's release (Don't Let Me down, #36 in May 1991). The album also included remixed versions of Hearts And Minds and Same Old Story (renamed Tell The Story) from their debut EP.

For their second album Love See No Colour in 1992 Suggs co-produced with Mark Saunders, but they decided to licence their output to Sony (instead of selling out the Produce label they reactivated the End Product label that their first EP had been self-released on). By this time 'Baggy' was on it's way out though, and none of the singles got into the Top 30 except their Saunders-produced cover of The Human League's Don't You Want Me (#18 in October 1992). The album failed to chart.

They went on to record a third album, Hullabaloo, for WEA/Sire in 1994 with dance producer Gary Wilkinson (who had been engineer on Groovy Train)but it was not a success, and promotion was stopped after the first single Messiah stalled at #94 in August, and the band petered out again.

Stepping Stone also had a sample from Snap's The Power, and was a hit prior to Snap's re-release.  I wonder if that's happened since?

[the]

Stepping Stone also had a sample from Snap's The Power, and was a hit prior to Snap's re-release.  I wonder if that's happened since?

It's not a sample from The Power, it uses the same beat that was also sampled in The Power. It's from King Of The Beats by Mantronix, and the beat itself is mostly a cut-up of the Take Me To The Mardi Gras break (Bob James).