Friday, October 17, 2008

CHAZ JANKEL (also known as Chas Jankel)

"An original and integral member of Ian Dury's Blockheads, he cowrote most of their major hits and his feel for pop and funk gave The Blockheads a different edge when new wave was the rage."

"Keyboardist Chaz Jankel brought a funky sensibility to the new wave era, earning a reputation as a forward-thinking artist with creativity to spare."

Funk/Soul,Electronic Reggie, Pop, Rock
Synth-Pop,New Wave,Dub, Pop Rock, Disco,Electro

Real Name:
Charles Jeremy Jankel

"N 1."

BYZANTIUM - Byzantium (1972)

Robin Lamble (ex-Shot in the Dark) - vocal, bass
Chas Jankel - vocal, guitar, keyboards
Nico Ramsden ( - vocal, guitar
Stephen Corduner (ex-Nasty Pop, Twist) - drums

Guest musicians:
Jamie Rubinstein - guitar (track 03) /Alan Skidmore - tenor saxophone (track 07)/Frank Riccotti - timpani (track 08)


01 What Is Happening?
02 I Am A Stranger To My Life
03 Come Fair One
04 Baby I Can Hear You Calling Me
05 Trade Wind
06 Into The Country
07 Lady friend
08 Why Or Maybe It's Because

Link to download:

Product Description
Extremely rare Japanese CD pressing of Byzantium's debut album from 1972. Tracks: What Is Happening?, I Am a Stranger to My Life, Come Fair One, Baby I Can Hear You Calling Me, Trade Wind, Into the Country, Lady Friend, Why or Maybe It's Because.

"These Byzantium albums are so hard to find today, and have never been issued on CD that I know of. If someone knows how to get any of them (especially the first) on CD please post to as I’m sure there are some progheads who would be glad to get their hands on them. This one isn’t quite as rare as the first since it was released on A&M, but their first is just impossible to find.These guys are more of a heavy rock band with some progressive tendencies, not really a full-fledged prog band. Think Uriah Heep with a little Wishbone Ash sprinkled on the top and you get the idea. They started out as an acoustic band and there’s plenty of acoustic guitar on this release, but also electric guitar, keyboards and brass (mostly saxophone). The tracks range from fairly heavy to nearly ballad-like, with pretty much all of the songs heavy with three-part harmony vocals from bassist Robin Lamble, guitarist/keyboardist Chaz Jankel, and guitarist Nico Ramsden.A few songs stand out. “Trade Wind” is very Wishbone Ash-sounding with great vocal harmonies and those early seventies partly mystic/partly hippy lyrics. “Into the Country” is one of those early seventies ‘let’s all frolic in the meadow’ kind of songs with a bit of a dark edge to it. “Lady Friend” has a pleasant rolling rhythm wrapped in a love song with romantic saxophone, a nice tune but out of character with the rest of the album.But the marquee track is the sometimes experimental and tempo-shifting eleven minute mini-epic “Why or maybe it's Because”, full of synthesized strings, staccato piano, and more ‘For my Lady’ type lyrics. This is the kind of tune that would have played very well live back then (and probably today for the right audience), although the repetitive and extended closing riff does get a bit tedious after several minutes.The members of the band all seem to have been journeymen, with most of them going on to fruitful music careers. Following the band’s breakup a year later Jankel would begin a long relationship with Ian Drury’s various lineups, and earned himself a nice nest egg by penning “Ai No Corrida” in 1979, which became a major R&B hit for Quincy Jones on his 1980 ‘The Dude’ release. One of my favorite Quincy Jones tunes and his best album, by the way. Lamble returned to Al Stewart’s camp for several albums; and Nico Ramsden would appear on Mike Oldfield’s ‘Platinum’ release as well as appear with Gong and Rick Wakeman in the latter seventies. In all this is a solid album, but certainly not essential. Three stars is an accurate rating, but it would be interesting to hear this album with a decent remastering treatment and CD reissue. Recommended to early seventies heavy prog fans."(

"The first track has a good funky sound, with most of the side 1 having close harmonies, not too dissimilar toCrosby Stills and Nash. Final track s1 is the most interesting guitar wise. Side 2 changes direction slightlyafter track 1,, with the orchestration dominant on the final 2 tracks. A well produced album."(

BYZANTIUM - Seasons Changing (1972)

Robin Lamble - vocal, bass
Chas Jankel - vocal, guitar, keyboards
Mike Barakan (aka Shane Fontayne,see: - vocal, guitar
Jamie Rubinstein - vocal, guitar
Steve Corduner - drums

Guest musicians:
Frank Riccotti - conga, conbassa /B.J. Cole - pedal steel guitar /David Hentschel - synthesiser/Robin Sylvester - synthesiser


01 What A Coincidence
02 My Season's Changing With The Sun
03 Show Me The Way
04 I'll Always Be Your Friend
05 October Andy
06 Something You Said - A Trilogy
Part 1 / Something You Said
Part 2 / I Can See You
Part 3 / Morning

Link to download:

"Excellent melodic, progressive folk-rock. Chaz Jankel sang and played keyboards and guitars on this. The A-side features some wonderful tunes spilling over with great vocal harmonies and winsome melodies. The ballad-y “Show Me the Way” and the upbeat “I’ll Always Be Your Friend” (with its slightly Rick Wakeman piano/organ parts) are the high points. The B-side is taken up by “Something You Said: A Trilogy,” which is an explorative song-cycle with an intriguing, brooding style incorporating some textural experiments with synthesizer.
One of the more interesting forgotten British items from this time period. For sure worth tracking down!"

"Did once own this wonderfull album and played it a lot in 74/5 alongside Early Morning Onwards, Sassafras Gong and Zep... it always stood up through very good sound production and its melencholic feel,, Did see this lot once in a 1000 capacity sit on floor gig and they where brilliant, and remember liking them more than say Beggers Opra or Caravan who wher similar but without the "scary side" Tthis was a "green attitude " fueled lament on modern war toys and industrial growth and its pollution, and sounded like was played in the middle of the night mostly as well as quite eirie. TX paul J "(

Biography of Byzantium
The seeds of BYZANTIUM were sewn in 1970, with Jamie Rubenstein and Nico Ramsden (who wouldn't appear until the second album) as an acoustic duo. Some recording was done with the help of friend Robin Sylvester, but sales were at best disappointing. Soon they were joined by vocalist Beverly Baxter (who it seems, never actually followed them into the studio), and Robin Lamble on bass. After some success with live gigs, Steve Corduner (a former band mate of Nico and Robin) joined on drums. Now hey had a viable band assembled. However, Jamie had reservations about the whole thing, and left. Chaz Jankel came along to fill the void. With this lineup, they were set for success. They scored a contract with A&M, and it seemed as if the rock and roll dreams were coming true. But, as in every good rock story, problems arose. Just as the debut album (on which Jamie does appear as a guest) was released, Nico left, citing "musical differences." During this time, Jamie had been playing with Mick Barakan (another friend from school). Back through the revolving door he went, with Mick in tow. This resulted in their second album, "Seasons Changing." This time the theme was group effort, as everyone contributed to writing. Chaz was not pleased with the new direction, and left the band (he would end up backing Ian Drury). A&M seemed to share Chaz's opinion, and dropped BYZANTIUM from the label.They toiled on their own for a while, even pressing another album, that was unfortunately never available for sale. They toured, and continued to draw crowds. In 1975 they played their last show where they started, at the Roundhouse. After that, it was time to call it quits. H.T. Riekels

What did you do when you left school?

"I went to St. Martin’s Art School, but at the same time, I’d started to play with a band outside of college called Byzantium."

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 gig… 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 O’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 O’Jay?

"Slightly perplexed, really. Eventually, we parted ways."

More info:

IAN DURY - New Boots And Panties!! (1977,Remaster released: 2004)

Bass - Norman Watt-Roy (
Drums - Charley Charles
Guitar [Ballad] - Edward Speight (
Guitar, Keyboards - Chas Jankel
Keyboards [Moog] - Geoff Castle (
Photography - Chris Gabrin
Producer, Recorded By - Laurie Latham ( , Peter Jenner ( , Rick Walton Saxophone - Davey Payne (
Vocals, Written-By - Ian Dury
Written-By - Chas Jankel (CD1: 01 to 03,06 to 08, 11, 12/ CD 2:01-03,05,07,10-17) , Steve Nugent (CD 1: 04, 05,09,10/ CD 2:08,09), Melvin (CD 1: 14/ CD 2:04),Hardy (CD 1:13/ CD 2:06)

"Sex & Drugs & Rock & Roll"

"Wake Up and make love with me"

CD 1.

01 Wake Up And Make Love With Me
02 Sweet Gene Vincent
03 I'm Partial to Your Abracadabra

04 My Old Man
05 Billericay Dickie
06 Clevor Trever
07 Is I Was With a Woman
08 Blockheads
09 Plaistow Patricia
10 Blackmail Man Bonus
11 Sex & Drugs & Rock & Roll
12 Razzle In My Pocket
13 You're More Than Fair
14 Englands Glory (live)

CD 2. (Bonus Tracks)

01 Wake Up And Make Love With Me (Demo Version)
02 Sink My Boats (Demo Version)
03 Apples (Demo Version)
04 England's Glory (Demo Version)
05 Tell The Children (Demo Version)
06 I Made Mary Cry (Demo Version)
07 Sweet Gene Vincent (backing track) (Demo Version)
08 Blackmail Man (Demo Version)
09 My Old Man (Demo Version)
10 Something's Going To Happen In The Winter (Demo Version)
11 Wifey (Demo Version)
12 Sink My Boats (alternate version) (Demo Version)
13 I'm Partial To Your Abracadabra (Demo Version)
14 If I Was With A Woman (Demo Version)
15 Sex & Drugs & Rock & Roll (Demo Version)
16 Clevor Trever (Demo Version)
17 Blockheads (Demo Version)

Links to download:


Ian Dury, who has died of cancer aged 57, was one of few true originals of the English music scene, the only man to successfully combine the energy and excitement of rock 'n' roll and funk with the bawdy humour, wit and home-spun philosophy of music-hall and of his native Essex.

The man responsible was born in Harrow. His father was a bus-driver and later a chauffeur, who split up with his university-educated mother soon after the war. The young Ian went to live in Upminster with his mum, but was struck down by polio at the age of seven. He spent several years in hospital and at a school in Sussex for the disabled, and then moved to the Royal High Wycombe Grammar School. He left with three O-levels and moved back to Essex, to Walthamstow Art School.
Then came the Royal College of Art, a stint teaching art in Canterbury, and in 1970 the formation of his first band, Kilburn and the High Roads ( They developed a minor following on the emerging London pub-rock scene and their first album, Handsome, in 1974. It included some distinctive Dury lyric but was not successful. Dury had yet to fully develop his exaggerated Cockney stage persona.
The transformation came after Dury started writing with pianist Chas Jankel (first as Ian Dury & The Kilburns,later as Ian Dury & The Blockheads) and signed to the independent Stiff label, co-founded by David Robinson, one of the great showmen and the godfather of British funk.

Continuing to work with Kilburn and The High Roads's pianist and guitarist Chaz Jankel to write new songs, Dury in 1977 secured a contract with Jack Riviera's new indie label, Stiff Records. Joined by Jankel, whose compositions now suggested a move away from solid rock toward a lighter, jazzy style, Dury gathered a variety of session players and pub-rock veterans for studio work. Many of the participants--including former Kilburn saxophonist Davey Payne, drummer Charley Charles, and bassist Norman Watt-Roy--would become The Blockheads. During the recording sessions, Jankel's musical sophistication, along with Dury's earthy delivery and a skilled backing band, resulted in a formula that was to produce some of the singer's biggest hits.
In August of 1977, Dury released his first solo record, "Sex and Drugs and Rock and Roll," a single that became the definitive statement on the rock 'n' roll lifestyle that also appeared on New Boots and Panties, released in November. Widely hailed as a brilliant debut LP, New Boots and Panties demonstrated Dury's talent for writing punchy couplets and music-hall parodies ("Billericay Dickie" and "Clever Trevor"), showing his street smarts and rougher edge ("Blockheads" and "Plaistow Patricia"), and creating the ultimate rock tribute ("Sweet Gene Vincent"). The album went gold, reaching number five on the United Kingdom charts thanks in large part to a punishing touring schedule.
By this time, Dury had added keyboard player Mickey Gallagher and guitarist John Turnball to the Blockhead lineup. After playing the inaugural 1977 Stiff Records package tour dubbed "Stiff's Live Stiffs" alongside Elvis Costello, Nick Lowe, and others, followed by a headlining slot with the "Dirty Dozen Tour," Ian Dury and The Blockheads traveled to the United States as the opening act for Lou Reed. However, audiences in America met The Blockheads--decidedly a very British band--with a mixed reception. While songs off New Boots and Panties did receive some airplay on college radio stations and eventually breached the United States album charts at number 168, most mainstream listeners found Dury's clever wordplay and inherent "Englishness" incomprehensible. Moreover, Stiff failed to organize adequate distribution for the U.S. market. Therefore Dury, like so many of his contemporaries, most notably Dave Edmunds and Nick Lowe, never really had a chance to establish much more than a cult following in the States.
But back home, Ian Dury and The Blockheads had evolved into one of the most powerful bands in Britain, touring almost constantly throughout Europe. Their sets, usually lasting two hours or more and featuring Dury decked out in all the fancy trappings of a pop star, delighted audiences. The band never played the same list twice, and during Dury's peak years, it is said that no band could follow up The Blockheads' atmospheric performances, no matter how hard they tried. Whether clad as a pearly king, prince of darkness, used car salesman, or a cockney wildman, Dury commanded attention. The combination of his onstage alter-egos, riveting performances, and stark balance of cheerful and dark material always made an emotional impact. But on the downside, Blockhead gigs were exhausting affairs and would eventually prove detrimental to Dury's health.

How did you come across Ian?

"Through an ad in a piano shop. The guitar player from Ian & The Kilburns went into the shop and said their keyboard 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. 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 Chaz 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 foe 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."

Did you have a deal?

"No, but Ian’s manager was in the same building as Stiff Records. He went round to the majors and no-one was interested but Stiff said they’d put it out. Then they asked us to tour so we asked Charley Charles and Norman Watt-Roy and they said yes, but only if they could bring the rest of their band, because they’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."

"Rising to public awareness during the midst of the UK punk scene in 1977, it was inevitable that Dury, with his bawdry lyrics, would be branded punk alongside the Sex Pistols and Clash by the ignorant press. Of course Dury was anything but. Crippled from polio as a child (Ian Dury - Injury, geddit?), Dury was an accomplished artist and friend of Pop Art guru Peter Blake (Beatles Sgt Pepper's sleeve), as well as being a long-time live pub-act under the name of `Kilburn And The High Roads'. `The High Roads' becoming `The Blockheads', Ian's debut album crackled with the underproduced sound of the punk era, but his wordsmithery elevated him above the wholesale riff-raff that were spitting their way across England. Witty, astute, and often risqué, Drury's songs were part working-class folk-tales, part vaudeville extravaganzas. The New Boots And Panties set highlights Ian and the Blockheads testing out their ever-increasing musical talents, looking punk straight in the eye, and easily outdoing it. A non-punk punk-classic."

"Ian Dury's primary appeal lies in his lyrics, which are remarkably clever sketches of British life delivered with a wry wit. Since Dury's accent is thick and his language dense with local slang, much of these pleasures aren't discernible to casual listeners, leaving the music to stand on its own merits. On his debut album, New Boots and Panties!!, Dury's music is at its best, and even that is a bizarrely uneven fusion of pub rock, punk rock, and disco. Still, Dury's off-kilter charm and irrepressible energy make the album gel, with the disco pulse of "Wake Up and Make Love With Me" making perfect sense next to the gentle tribute "Sweet Gene Vincent," the roaring punk of "Blockheads," and the revamped music hall of "Billericay Dickie" and "My Old Man." [In 2004, Demon released a double-disc deluxe edition of New Boots and Panties!!; the following year, Fuel 2000 released the set in the U.S. The deluxe edition retains most of the bonus tracks from Repertoire's 1996 CD — "Sex & Drugs & Rock & Roll," "Razzle in My Pocket," "You're More Than Fair," and "England's Glory" are here, but "What a Waste" is not — and the second disc contains 17 demos. Most of the songs on the proper album are presented here in demo form, and these demos aren't all that different musically, even though "Wake Up and Make Love With Me" does have different lyrics. The rest of the disc contains songs that did not make the record, and apart from "Sink My Boats," which appeared on the second album, Do It Yourself, these songs were not re-recorded by Dury & the Blockheads. That means this disc contains new, unheard songs — "Tell the Children," "I Made Mary Cry," "Something's Going to Happen in the Winter," "Wifey," and "Apples" (which did show up elsewhere on a compilation) — and that's what makes this a truly essential disc for Dury fanatics. Musically, these songs aren't all that different from what was on New Boots — it's lite white funk or '50s rock & roll pastiche — and in spirit, they're often closer to Dury's previous outfit, Kilburn & the High Roads, than the Blockheads (in his excellent liner notes pub rock expert Will Birch does reveal that the macabre "I Made Mary Cry" is a Kilburn leftover). Dury may have decided these tunes were not up to snuff to make it to his debut, but years later they sound like lost gems, and they make this deluxe edition something truly special.]"

"This is a great testament to the do-it-yourself spirit of '77. In 1976 punk exploded in the UK and everywhere new bands sprung up to demand their fifteen minutes of fame. Ian Dury had been knocking around the pub s
cene since 1973 and basically this was his and his ace band's (The Blockheads) well recieved, finely honed, 9:00 evening set. There probably wasn't much involved in putting these tracks on vinyl;The sound is immediate and unpolished. But what songs! The wicked wordplay and sinuous beats combined to provide a heady danceable stew. Sex and Drugs and Rock and Roll was the signature song and it provided a rallying standard for the first wave of snotty brit punks. The real gems of the album were a couple of numbers where Ian pays tribute to tragic rocker Gene Vincent and his late father. Here we see the humanity behind the winking mug. For sheer butt shaking grooves, Wake Up And Make Love To Me and Clever Trever are very clever indeed. I was but a teen when this album came out, I'll tell you the truth- every now and again, I put this album on to shake some of the gray out of my hair, and to remember those wonderful days when radio was king and MTV was just a distant dream in some slick marketers eye. This is timeless stuff. Get it and see if you don't agree."

"Ian's death certainly left a void in the music world. Ian introduced a break-water ripple to the new wave scene. That is, Ian is the master of good fun "pub punk." What Benny Hill is to British comedy; Ian Dury is to music -- cleverly provacative and entertaining. Ian Dury employed a mixture of lyrics and music to generate songs that either increased awareness on a social issue (such as "Sex and Drugs and Rock and Roll") or were simple pub tunes to cheer you up -- such as "Reasons to be Cheerful" and "Hit Me With Your Rhythum Stick." This CD features rarities of some of Ian's classis. You will love the way Ian effectively uses his deep voice to create the English "pub singer" atmosphere. True, Ian's voice is "limited." But, he uses it to absolute perfection. I definitely recommend this CD. After one listen, you will be hooked on Ian Dury and the Block Heads."

"I originally bought this album in 1979. A classic then, a classic now! Ian Dury was an extremely intelligent, talented and witty songwriter. 'New boots and Panties' was never going to get popular radio airplay, the subject matter generally too risque. This is working class music at it's best. I was a bit disappointed 'Clever [...]!' wasn't included from the original album, but, oh well, still excellent."

More review:

IAN DURY AND THE BLOCKHEADS - Do It Yourself (1979,Remaster released: 2004)

Ian Dury - Vocals
Chaz Jankel - Keyboards, Guitars, Producer
John Turnbull ( - Guitars
Mick Gallagher ( - Keyboards
Davey Payne - Saxophones
Norman Watt-Roy - Bass
Charley Charles - Drums
The Breezeblocks - Backing Vocals
Co-producer - Chris Warwick , Edwin Cross , Ian Horne
Engineer - Laurie Latham

CD 2 tracks 7 to 17 are all from the "Stiff's Live Stiffs" tour 1977.

"Hit Me With Your Rhythm Stick"

CD 1

01 Inbetweenies
02 Quiet
03 Don't Ask Me
04 Sink My Boats

05 Waiting for Your Taxi
06 This Is What We Find
07 Uneasy Sunny Day Hotsy Totsy
08 Mischief
09 Dance of the Screamers
10 Lullaby for Francies
11 What a Waste
12 Hit Me with Your Rhythm Stick
13 There Ain't Half Been Some Clever Bastards
14 Reasons to Be Cheerful, Pt. 3
15 Common as Muck
16 Reasons to Be Cheerful, Pt. 3 [12" Version]

CD 2.

01 This Is What We Find [Demo Version]
02 Boogie Woogie (Duff 'Em Up) [Demo Version]
03 Quiet [Demo Version]
04 Inbetweenies [Backing Track][Demo Version]
05 Babies Kept Quiet ... [Early Version of Uneasy Sunny Day Hotsy Totsy]
06 Blow [Instrumental][Demo Version]
07 Sex & Drugs & Rock & Roll [Live]
08 I'm Partial to Your Abracadabra [Live]
09 Wake Up and Make Love with Me [Live]
10 Clevor Trever [Live]
11 Sweet Gene Vincent [Live]
12 Billericay Dickie [Live]
13 My Old Man [Live]
14 If I Was With a Woman [Live]
15 Blockheads [Live]
16 Plaistow Patricia [Live]
17 Blackmail Man [Live]

Links to download:


In the meantime, Dury and his band landed on the United Kingdom singles chart for the first time in April of 1978 with "What A Waste," which peaked at number nine. An even bigger hit followed in December of 1978 with "Hit Me With Your Rhythm Stick," which rose to the number one position in January and remained at the top of the charts for two weeks. It was Stiff's first number one hit and first million-selling record and set the scene for a second LP, Do It Yourself, released in May of 1979. Although it made less of a long-term impact than New Boots, Do It Yourself was an instant success, rocketing to number two on the U.K. album chart within weeks of its release and climbing to number 126 in the United States later that summer. In addition, Ian Dury and The Blockheads, despite their undeniably English style, enjoyed increasing popularity throughout Europe, especially in Germany. "Rhythm Stick" charted at number 24 in March of 1979, New Boots and Panties followed on the German album charts at number 29, and Do It Yourself sold steadily as well, peaking at number 23.
In September of 1979, Dury and his group arrived with another hit, the jazzy stream-of-consciousness single "Reasons To Be Cheerful (Part 3)," which climbed to number three in the United Kingdom. But after another tour in support of Do It Yourself, Dury's fortunes began to wane. Upon its conclusion, Jankel decided to move on to solo work, feeling that his contributions to the band had not been fully appreciated. This would prove a devastating blow because Jankel had served as the musical inspiration behind Dury's lyrics.

Product Description
Features the Remastered Original 1979 Album plus Six Excellent Bonus Tracks on Cd1 and Six Demos and an Eleven Track Live Set on Cd2, all but Two Being Previously Unreleased.

"Ian Dury's music always bordered on the functional, since it was used as a backdrop for his wry vignettes and stories, but on his second album, Do It Yourself, that aspect came to the fore. Largely abandoning the punk inflections that were scattered throughout New Boots and Panties!!, Do It Yourself
is a record of mid-tempo pub rock disco — competently played, but rarely engaging. Dury's stories are all wonderful, filled with humor and penetrating detail, but only a handful of tracks, such as the terrific "Inbetweenies," are married to actual hooks, and by the end of the record, the steady disco throb has become a little numbing. Even with these faults, Do It Yourself remains one of Dury's very best records, since his lyrical facility throughout the album is simply amazing. [Repertoire's 1996 CD reissue of Do It Yourself improves the album considerably by adding several singles — "Hit Me With Your Rhythm Stick," "There Ain't Half Been Some Clever Bastards," "Reasons to Be Cheerful, Pt. 3," "Common as Muck," "I Want to Be Straight" — that are far more successful disco/pub rock fusions than anything on the album.]"(

"This release best captures the spirit of the times with its quirky sound of fused punk, new wave and disco. Most people know the song "Sex and Drugs and Rock and Roll," another Dury song that captured the era, but the songs on Do It Yourself blended the mental state of the club kids I best knew at the time. Alienited(sp) and counter-culture but not wanting to do much more than spend the evening on the dance floor. I regard this album along with Remain In Light by Talking Heads, and the first B-52's album as the best reflection of the care-free times of my college days. ***Also: give Ian's son Baxter Dury a listen. His debut CD is fantastic.***"

More review:

CHAS JANKEL - Chas Jankel (1980)

Bass - Kuma Harada (from The Breakfast Band) (tracks: 03 & 04) , Paul Westwood (tracks: 01) Engineer - Chris Jenkins , Mick Glossop , Philip Bagenal , Steve Prestage
Other [Art Direction] - Michael Ross /Other [Design] - Simon Ryan /Photography - Mike Putland
Producer, Drums, Percussion, Photography - Pete Van-Hooke (
Producer, Synthesizer [Programming], Percussion - Chris Warwick
Producer, Trumpet, Saxophone [Soprano], Synthesizer - Mark Isham (
Producer, Vocals, Keyboards, Guitar, Synthesizer, Percussion, Other [Sleeve Concept] - Chas Jankel
Saxophone [Alto & Tenor] - Chris Hunter (
Written-By - C. Jankel (track 01-04,06-07),Kenny Young (track 01),Mandy Newton (track 03,06),Bob Carter (track 03,06), Mark Isham/P. Van-Hooke (track 05)

"Just A Thought"


01 Ai No Corrida (9:10)
02 Peace At Last (2:50)

03 Just A Thought (5:16)
04 Lenta Latina (3:53)
05 Fuse (0:35)
06 Am I Honest With Myself Really ? (14:51)
07 Reverie (3:46)
08 Ai No Corrida (12 Inch Mix)
09 Ai No Corrida (Intro Edit)
10 Ai No Corrida (Peechboy Edit)

Link to download:

Another song I wanted to ask about was ‘Ai No Corrida’. The backstory to the title is particularly interesting.

"It’s the Japanese title to a film that is known in England as In the Realm of the Senses. It’s based on the true story of a hotel maid who was having an affair with the owner. They were into this asphyxiation thing that killed INXS’ lead singer—Michael Hutchence. Like Hutchence, the hotel owner died during sex. The maid ended up cutting off his manhood, putting it in her pocket and wandering the streets, completely out of her head, until the police picked her up. While she was in jail, she became a feminist martyr figure.
In the late ‘70s I had this melody in my head and my friend Pete Van-Hooke introduced me to Ken Young, who took it. He then calls me from this music conference MIDEM that’s held in France each year, all excited. “Chaz, I’ve got a great idea for that melody! Ai No Corrida!” I had no idea what he was talking about and stupidly said: “I know who?”
He explained the story and, to be honest, I felt a bit uncomfortable about using it. I just wanted him to write about a girl missing a bloke or vice versa. To distance myself from it my version has a hum at the beginning of the track, which is the sound I used to hear when I was a kid drifting off to sleep in the suburbs of London—the buzz of the motorway. The idea is that I’m dreaming about the story, not identifying with it. [laughs]
I always knew that track was going to be massive. When I got the call from Quincy Jones’ secretary, asking if he could record it I still fell off my seat but I always had a feeling someone was going to take it off my hands."

When you made the first solo album, Chaz Jankel, you were still in the Blockheads weren’t you? How did that come about?

"One night in 1979 we played in Amsterdam and after the gig we went back to the Hotel American and we’d acquired some rather attractive female company to accompany us back."

To discuss music, of course.

"And poetry. Suddenly I’m in my hotel room with this beautiful Dutch model. Everything astrologically was happening for me that night, I can tell you. Next thing I know, this melody pops into my head, but I realised that the melody wasn’t suitable for the Blockheads. I gave a cassette with the melody on to Kenny Young, who’d co-written ‘Under The Boardwalk’. 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, In The Realm Of The Senses (the Japanese name was Ai No Corrida). It 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."

In their sexual encounters, the woman would strangle the chap to the point where he nearly 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 a feminist icon and when she came out in the 70s Oshima made a movie about her. 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. "

Product Description
Born in North London, Chas was in his late teens when he met Ian Dury and became an integral part of Dury's first band Kilburn & The High Roads. The group morphed into the Blockheads by the mid-1970's, and Jankel contributed to Dury's first hit 'Sex & Drugs & Rock 'N' Roll' in 1977 by co-writing and playing keyboards and guitar on it. The 1978 album that followed, New Boots & Panties, gave him a platinum award for his co-writing and arranging. His first club success came the following year with 1979's 'Hit Me With Your Rhythm Stick'. Jankel once again did the arrangements, keyboards and guitar work on the British #-1 hit. By 1980 Jankel was primed for a solo career. The self-produced album Chas Jankel was released by A&M records and spawned his first solo 12 inch single hit, 'Ai No Corrida'. First time ever on CD!

" really don't like giving this LP 2 1/2 stars. It has 2 of the finest songs YOU have never heard! "Ai No Corrida" which is 8:42 of fun will make you want to move your feet. ( This song was recorded by Quincy Jones as well but not near as good.) It's funky, powerful, moving and just so much fun. Great arranging, scoring and solos. "Fuse/Am I Honest With Myself" is 15:19 of really unique stuff. Good keyboards, synth, and trumpet filling up most of side 2 of this LP. These two songs alone are worth the LP. This LP is VERY hard to find but when you hear it I am willing to bet you will agree with me. Oh if it were only available on CD......."

"Ian Dury & the Blockheads were at their height when songwriting keyboardist Chas Jankel inked a deal for a solo album with A&M. With a winner on their hands, the label gave the artist total control, and all on the strength of two demos -- "Ai No Corrida" and "Am I Honest with Myself Really?" The former was to become a huge hit on both sides of the Atlantic, just not for Jankel; instead his song stormed into the chart via a cover by Quincy Jones. That bares little resemblance to Jankel's own version, an extended get-in-the-groove club extravaganza that bounces gaily along, signposting the way to Frankie Goes to Hollywood's "Relax," early Wham!, the Pet Shop Boys, and every subsequent Euro-trash hit you can name. Yeah, it really is that good. "Honest" is the flip of the same coin, a 15-minute-plus excursion down a jazzier groove that flares up with intense flashes of funk and flips into dramatic guitar solos and white-hot brass passages while Jankel's shimmering keyboard work subtly shifts the moods and styles around and while the supple rhythm keeps you dancing on and on and on. A quarter of a century on, you'd be forgiven for confusing it with any of the latest club hit remixes currently taking the Europe by storm. Beyond those two blistering numbers comes a clutch of softer, moodier pieces, all understated in intend, each supple in composition, style, and atmosphere, every one lovely and limpid in its own unique way, but all quite overwhelmed by the smoldering power and rousing originality of "Corrida" and "Honest." In that respect, the album was sure to disappoint, although better sequencing would have helped. As that pair take up almost half the album (throw in "Fuse" as well, since it's merely a short intro to "Honest"), it would have worked better to place them on the A-side, and the rest on the flip. That flaw aside, this is an intriguing set to say the least, with the CD reissue adding the Dury/Jankel-composed "Little Eva," which is given a fine funk workout in a new wave context, the only track within that overtly hints at the keyboardist's Blockhead background." ~ Jo-Ann Greene, All Music Guide

"At the very start of the 80's this member of Ian Dury's Blockheads (who made wonderful contributions to their Do It Yourself a year earlier) made his dent into the emmerging (Brit-Funk) scene. 'Chaz Jankel' has nothing to do with the music of Ian Dury and really bares little relation to a lot of early British funk. For one Chas go for a very quirckier,more idiosyncratic sound then usual for this genre. Take "Ai No Corrida" for example-Quincy Jones popularized this song but Chas's version couldn't be any more different. Chas's version has an errie,far away vocal and much more unrelenting latin perussion. The electro funk aspect of the song is also played up to the nines so this is a far funkier version then the one Quincy smoothed out.There are three "piano solo" instrumentals here,all in very stark settings-my favorites are "Peace At Last" and "Reverie" which take on a surreal lounge feeling."Just A Thought" is what I'd like to call "blue eyed Brit-Funk"-it even has a bit of lite Carribean/Latin influences thrown into it.Chas finds the time to make room for another stomping disco-funk monster in the ultra long "Am I Honest With Myself Really?" which,for almost 14 minutes just keeps delivering on whatever grooves and messages it begins with.The brief "Fuse" suggests an (as usual all too brief) forray into pure electronica.The bonus track "Little Eva",with it's 80's pop/R&B sound really sounds as if it came from another album at a later time period,but it still nice. Along with so many albums from all over the world 'Chas Jankel' reminds me of what my friend Henrique and myself refer to as an "unexplorered direction in funk"-it certainly qualifies.But at the same time it's just really good to see the 'Chas Jankel' album available on CD for people who'd love to hear it."

"This album was unexpectedly excellent when I picked it up years ago at a thrift store and thought I would take a chance after reading the inserts. Quincy Jones thought so also . He featured Ai No Corrida on one of his albums. This album blends dance, latin,and jazz themes throughout and has three very affecting instrumentals that alone make the album worth buying. I have several of his albums and this one is the best."

CHAS JANKEL - Chasanova (1981)

Backing Vocals - Jo Collins (tracks: 03, 05, 07) , Laura Weymouth (from Tom Tom Club) (tracks: 01, 04, 07) ,Pepe Lemer (from Turning Point,singing teacher now) (tracks: 03, 05, 07) , Tessa Webb ( (tracks: 03, 05, 07),Ingrid Mansfield Allman ( still doing gigs across the uk. Mostly at the jass cafe in camden town)(track 02,05) Backing Vocals - Alan Carvell (, Mick Leeson ( , Pete Vale* (track 03),Janie Romer ( (tracks 04,07)
Bass - Norman Watt-Roy ( 01, 03, 06, 07),Kuma Harada ( (track 04),Chas Jankel (track 05)
Co-producer - Chris Warwick , Mark Isham
Drums - Peter Van Hooke (tracks: 01 to 03, 05, 08)/Cecil Roy-Doeman (track 04),Drums - Charlie Charles (from Ian Dury & The Blockheads) (track 06)/Bongos, Drums, Timbales - Charlie Charles*(track 07)
Synthesizer - Pete Van Hooke (track 05)
Guitar - Chas Jankel (tracks: 01 to 03, 06),Mick Jacques (track 04)
Keyboards [Obx] - Chas Jankel (tracks: 01 to 06, 08)
Lead Vocals - Chas Jankel (tracks: 01 to 07)
Clavinet - Chas Jankel (track 01)/Electric Piano - Chas Jankel (track 06,07)/Percussion - Chas Jankel (track 02,04),Groko (track 04)
Trombone - Rico Rodriguez ( (track 04),Malcolm Griffiths (track07)
Trumpet - Dick Cuthell ( & Martin Drover (track 07)
Saxophone [Alto] - Bob Sydor ( (track 07)
Saxophone [Tenor] - Bill Skeat ( (track 07)
Bells - Peter Van Hooke (track 07)/Maracas - Juan Carnache (track 07)
Lyrics By - Ian Dury (tracks: 02 to 05, 07)
Mixed By - Steve Prestage (
Mixed By, Producer - Peter Van Hooke
Mixed By, Producer, Recorded By - Philip Bagenal
Mixed By, Producer, Written-By - Chas Jankel
Organ [Hammond] - Chas Jankel (tracks: 01 to 03, 05, 06) /Piano - Chas Jankel (tracks: 01, 03, 05 to 07)
Programmed By [Oberheim] - Chris Warwick (tracks: 02, 03, 08)
Music By - Charlie Charles* , Norman Watt-Roy (track 06)
Vocals, Lyrics By - Philip Bagenal ( (track 08)
Written By Jankel,Dury (tracks 02-05,07)

"Glad To Know You"

"3,000,000 Synths"


01 109 (3:53)
02 Johnny Funk (4:57)
03 Now You're Dancing (3:39)
04 Magic Of Music (4:53)
05 Glad To Know You (3:40)
06 Boy (3:53)
07 Questionnaire (5:18)
08 3,000,000 Synths (6:27)
09 Glad To Know You (Disconet Remix)
10 109 (Give Me Something I Can Remember)(12 Inch Mix)
11 3,000,000 Synths (U S 12'' Mix)
12 Glad To Know You (12inch Version)
13 Glad To Know You (Todd Terje Re-Edit)
14 3,000,000 Synths (Sean P Edit)
15 Glad To Know You (Ben Liebrand Mini Mix)

Link to download:

What was the inspiration for these tracks, because they’re very odd, especially since they’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 and she told me."

"To be honest I did the whole thing in the room that I’m standing in right now—a converted attic in my house. In the old days, I recorded in a proper 24-track studio, so I’m amazed it actually stands up to that stuff! When I recorded ‘3,000,000 Synths’ it had quite a lot of effects and a whole lot of dubbing going on. I did that one with Philip Bagenal, who was responsible for all of the production. What I’d like to do on my next record, is to combine modern production techniques with some of those dub-style effects. "

I’m wondering about the title to ‘3,000,000 Synths’. Was that just a reference to how many effects were on it?

"It was just one of those things, you know? Someone says, “What should we call it? We’ve got to put a name on the box”. It was the first thing that I thought of, mainly because there were loads of synths on it. I suggested it thinking I’d give it a proper title later. But later never came!"

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. We needed a bar count all the way through, just so we’d know where we were in the song, so Phillip [Bagenall] 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. I’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."

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."

"I always thought 3,000,000 Synths was a pretty brilliant piece of dance music too. I may be mistaken (the memory is not as good as it once was) but I believe it got a bit of airplay on NYC radio back in the early 80s."

"This was a great album. Had his two gigantic hits, and a lot of pretty good tracks as well. On my scale from 1-10, this should have album gets a 10

"The album is a nice combination of Police-like reggae and some elements of OMD"

"109" is very very Tom Tom Clubesque,with back.vocal by Laura Weymouth from Tom Tom Club!There are two "top quality soul music" on this great album,"Magic Of Music" and "Boy" ("I spoke to chaz personally about what inspired it, he's not Gay, the song was written with a women in mind to sing it, what we hear here was meant to be the "Guide" vocal.") "

IAN DURY - Lord Upminster (1981)

Arranged By - Chaz* , Robbie* , Sly* Backing Vocals - Chas* , Gina, Harold , Laura Weymouth (from Tom Tom Club), Tina Weymouth (from Talking Heads/Tom Tom Club),Tyrone
Bass - Robbie Shakespeare (from Sly And Robbie,see:
Directed By [Casting] - Adrian Boot
Drums - Sly Dunbar (from Sly And Robbie,see:, Mixed By - Steven Stanley /Engineer, Mixed By [Assisted By] - Harold Dorsett Guitar, Keyboards - Chasz Jankel*
Keyboards [Clavinet, Prophet, Steinway] - Tyrone Downie (
Photography [All Other Photographs] - Adrian Boot /Photography [Cover] - Paul Kaye Producer - Chasz Jankel* , Ian Dury , Steven Stanley (
Written-By - Jankel* (tracks: 1,2,4-8) , Dury* (tracks: 1,2,4-8), Sly Dunbar (track 03)

Recorded At: We Love You Compass Point, Nassau, Bahamas, April-May 1981.

"Spasticus Autisticus"


01 Funky Disco (Pops)
02 Red (Letter)
03 Girls (Watching)
04 Wait (For Me)
05 The (Body Song)
06 Lonely (Town)
07 Trust (Is A Must)
08 Spasticus (Autisticus)

Link to download:


Some about the legendary Compass Point Studio (Grace Jones,Talking Heads,Tom Tom Club..): and

After going solo, you re-joined Ian to make Lord Upminster. 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 produced very well. Although ‘Spasticus Autisticus’ stayed in our set and ended up as one of Ian’s favourite songs."

"When Ian Dury left Stiff Records, he also left the Blockheads behind, recording Lord Upminster with reggae superstars Robbie Shakespeare and Sly Dunbar as producers. Lord Upminster turned out to be a set of uninspired funk that lacks the joyful energy of his three previous records."(

"I've been waiting for this album to appear on disc for quite a while. This pairs the wordsmith/lunatic Dury with the unshakable Riddim Twins. This album wasnt well recieved when it originally was released with the exception of "Spasticus Autisticus" featuring Tina Weymouth in a cameo vocal. The vibe is laid back lunacy. The last great Dury album."

"Dury was in Nassau with long time coconspirator - Chaz Jankel, to record the ‘Lord Upminster’ album and their post-punk-funk take on Kirk Douglas’ ‘Spartacus’ was originally banned in the UK due to it’s controversial lyrical content towards the disabled. ‘Spasticus’ was a hit on the American billboard as well as a smash in the clubs due to Sly and Robbie’s bass work. This is none more apparent than on the flipside dub ‘Version’. The fact the recordings ran alongside the Tom Tom Club’s sessions resulted in other such connections as Chaz Jankel’s sister (Annabell Jankel) was to go on and direct the ‘Genius Of Love’ video."(

CHAS JANKEL - Chazablanca (1983)

Neil Richmond - Synth Programming
Laura Weymouth (from Tom Tom Club) ,Jamie Romer - Vocals
Kendal Stubbs ( - Bass, Percussion
Jamie Lane - Drums & Synths
Philip Bagenal,Steven Stanley - Engineer
Chas Jankel - Guitar, Keyboards, Vocals, Percussion
Mixed By - Chas Jankel , Philip Bagenal, Paul Etenne, Mark Wade
Written By Chaz Jankel,Ian Dury (track 07)/Written By Chaz Jankel & Laura Weymouth (tracks 02-06,09)

"Without You"


01 Theme To Chazablanca
02 Without You
03 I Can Get Over It (If You Can Get Over Here)
04 Tell Me
05 Pretty Thing
06 Whisper
07 All I Want To Do Is Dance
08 Davis
09 Thank You Very Much
10 To Wou Lady Kong (6:18)(B-side of Without You 12" 1983)
11 Without You (Extended Version)

Link to download:

"Chaz Jankel Feat. Laura Weymouth - Whisper:Another ‘Love In’ between these two parties was Jankel and Weymouth themselves who became romantically involved. Also check out Chaz’s AMAZING ‘Chazablanca’ solo LP (A big favourite of Baggy and Niles) which was written during this period and also recorded at Compass Point. Their duet on ‘Whisper’ is a sentimental piece where Weymouth came up with the lyric ‘When there’s shouting all around, it takes a whisper to be heard’ which the rest of the track was built on.(

"Without You" is again a Tom Tom Club influenced song,yes it was written by Chaz and Laura Weymouth (Tom Tom Club)

CHAZ JANKEL - Looking At You (1985)

Artwork By [Art Direction] - Michael Ross /Artwork By [Design] - Helen Backhouse , Jeremy Williams
Bass - Norman Watt-Roy
Cello, Arranged By [Strings] - Caroline Lavelle
Engineer [Assistant] - Keiron De Lancey-Wheeler*
Keyboards, Drum Programming - Robbie Taylor*
Mastered By [At A & M Mastering Studios] - Bob Carbone /Mastered By [Originally, At The Master Room] - Aaron Chuckraverty
Percussion [Additional] - Charlie Charles /Percussion [Latin] - Chris Taylor, Geraldo, Martin Ditcham
Saxophone - Jeff Daly (track 01)/Saxophone [Solo] - Andy Macintosh (track 01),Tim Sanders ( (track 08)
Trumpet, Arranged By [Horn Arrangement] - Derek Watkins( (track 01)
Drum Programming [Simmonds Tom Fills] - Pete Van-Hooke (track 06)
Remix [For M H B Productions] - Michael Brauer (track 06)
Drums - Charlie Charles (track 09)
Photography - Richard Haughton
Producer - Zeus B. Held (
Producer, Engineer [Sound Engineer], Edited By - Philip Bagenal
Programmed By [Fairlight Programmes] - Paul Samuelson , Steve Rance , Zeus Held
Viola - Andy Brown /Violin - Johnny Rees* , Liz Layton
Vocals - Germaine Johnson , Tessa Niles (
Vocals [Additional] - Kenny Young , Terry Roberts (track 10)
Vocals, Guitar, Keyboards, Percussion, Drum Programming, Producer - Chaz Jankel*

"You're My Occupation"


01 Hard Music (5:40)
02 Tonight's Our Night (4:11)
03 Rhythm In My Life (4:08)
04 Little Eva (5:00)
05 Eastern Light (4:15)
06 Number One (7:18)
07 Tell Me, Tell Me (4:14)
08 Looking At You (5:28)
09 The Boy On The Bridge (4:16)
10 Love Rhythms (4:03)
Chaz Jankel* Featuring Brenda Jones - You're My Occupation (12" 1986)
11 You're My Occupation (Extended) (7:05)
12 You're My Occupation (Dub) (6:30)
13 No. 1 (12 Inch Extended Club Version)
14 No. 1 (Instrumental. Re-Edit)

Link to download:

The first time I ran into your music was ‘Number One’ in the movie Real Genius rather than the more obvious Blockheads route. How does it feel to be rediscovered by a whole new generation of fans?

"It’s wonderful. Every time I get an email from someone saying something like: “I always wondered who recorded ‘Glad to Know You’,” it amazes me. I never realized how excited people got about those songs. When you’re writing, you’re obviously doing it with an optimistic spirit, but you don’t know who is actually buying the records. Most of my stuff was written before email existed, so I never found out who my real fans were.
The funny thing about Real Genius, is that I’ve never actually seen the film. [laughs] I keep meaning to rent it. At the time, though, ‘Number One’ did well. It went to #1 in the clubs in France, and I went out and did some PA’s over there. This was ’84."

It’s definitely one that’s stuck with me.

"I always thought it was a strong track. Michael H. Brauer, who worked with the band Change, mixed it in New York City and gave it a real Big Apple vibe. I take my hat off to him—it was a brilliant mix. He inserted some beats in the middle that weren’t there originally. What he did was seriously inventive and way beyond the call of duty.
It didn’t do so well in the UK but Americans really picked up on it. A lot of my stuff back then had a very US feel, actually. ‘Glad to Know You’, for instance, was a massive hit with Larry Levan. He used to play it at the Paradise Garage."

IAN DURY AND THE BLOCKHEADS - Warts 'N' Audience [Warts 'N' Audience...Plus!] (1991)

David Corio - Photography, Cover Photo
Ian Dury - Vocals, Vox Organ
Dave Edmunds - Sounds/Dave Eringa - Assistant Engineer/Colin Fairley - Mixing
Mick Gallagher - Keyboards
Ian Horne - Sounds
Chas Jankel - Guitar, Keyboards
Peter Jennings - Lighting/Mick McKenna - Engineer
Steve Monti (former Curve and The Jesus and Mary Chain drummer) - Drums
Willie Parnell - Percussion
Davey Payne - Saxophone
Merlin Rhys Jones - Guitar
Paul Riley - Keyboards, Coordination, Mixing
John Turnbull - Guitar
Norman Watt Roy - Bass


01 Intro
02 Wake Up and Make Love With Me
03 Clevor Trever
04 Inbetweenies
05 If I Was With a Woman
06 Billericay Dickie
07 Quiet
08 My Old Man
09 Spasticus (Autisticus)
10 Plaistow Patricia
11 There Ain't Half Been Some Clever Bastards
12 Sweet Gene Vincent
13 What a Waste!
14 Hit Me With Your Rhythm Stick
15 Blockheads
16 Reasons to Be Cheerful, Pt. 3

Link to download:

Product Description
Beautifully repackaged reissue of 1991 release for the late great and the splendid blockheads. A sparkling performance recorded live at the Brixton Academy on December 22nd, 1990. Remastered and featuring two bonus cuts, 'Inbetweenies' (prev. only available as a free 7') and the never before released and thought to be lost 'Reasons To Be Cheerful Pt.3'. 78 minutes of music at a great price. 2000 release. Standard jewel case.

"Warts 'n' Audience captures a Christmas 1990 concert at Brixton Academy from Ian Dury & the Blockheads. The band is in good form, turning out energetic versions of such familiar items as "Wake Up and Make Love to Me," "My Old Man," "Billericay Dickie," "There Ain't Half Been Some Clever Bastards," "Sweet Gene Vincent," "Blockheads," "What a Waste" and "Hit Me with Your Rhythm Stick." Ultimately, the record isn't more than a souvenir piece for hardcore fans, but those fans should find Warts 'n' Audience quite entertaining."

"Warts N' Audience is the only formal recording of Ian Dury & the Blockheads live in concert, and it's a testament to a wonderful and energetic performer, a stage animal really, at the height of his short career, as well as a collection of some of his best songs (even though it does lack two of his biggest hits and finest songs, 'Sex & Drugs & Rock N' Roll' and 'Reasons to be Cheerful, Part 3'). Dury was an oddity, in his persona, his music and his performance, but in this recording you can clearly hear how captivating he was; the songs are sophisticated an original to the point of being progressive, yet they are also catchy, groovy and danceable. Though any comparison is hard to make, Dury's music is probably closest to that of David Byrne and the Talking Heads, and like Byrne he is absolutely ecstatic on stage, and sounds better with an audience than he ever did in a studio. The Blockheads are great too; there aren't really any virtuosos in the group, yet they're a tight band of musicians with a perfect groove, that make the rhythmic numbers like 'Spasticus Autisticus' and 'Hit Me With Your Rhythm Stick' a captivating pleasure. The cabaret bits like 'Billericay Dickie' and 'My Old Man' are done with perfect grace, showcasing Dury's unique sense of humor as well as his band's musical range. If you're familiar with the Blockheads, Warts N' Audience is a must. If not, it's a good place to start, as their songs sound terrific here and the sound quality is surprisingly good. Pick it up to hear a great band which is truly unique in time and place."

"Ian Dury and the Blockheads were one of the most unique acts in the history of late-Seventies/Eighties British rock. Bawdy, punky, dancey pub-rockers with the funkiest white rhythm section of all time (Norman Watt-Roy and Charlie Charles), all led by the lascivious sense of humor of our favorite cockney-to-the hilt imp Ian. As someone who saw them at the Bottom Line in New York (they did four nights there one incredible week in '79) and also saw them open for Lou Reed at the Capitol Theater in Passaic, New Jersey about six months later plus a show at NY's Peppermint Lounge a year or two later, they were as good as a live act gets. You were entertained, overwhelmed, prodded, punked and pimped until the Blockheads turned your entire body into their own personal rhythm stick. This set is a completely satisfying show (not going to get into reviewing each individual song) that almost matches (but not quite) the raw newness the band had a dozen years earlier at their inception and I would have given this cd five stars but "Sex and Drugs and Rock and Roll" (their anthem) is nowhere to be found. What gives with that? They used to do that song every set. Had to have been a technical problem with that one or it would have been on there. If it had been, this would have gotten the max rating. Still looking for a great-sounding set from their heyday of '77-'80 but can't find one anywhere. Now THAT would be an all-time cherished item. We miss you Ian. A LOT. Thanks for the fabulous music from a true original."

More review:

IAN DURY & THE BLOCKHEADS - The Bus Driver's Prayer & Other Stories (1992,re-released in 2004)

Ian Dury - Lead Vocals
Mick Gallagher - Keyboards
Merlin Rhys-Jones - Guitar
Chas Jankel - Guitar, Keyboard
Micheal McEvoy (
Steve White (
John Turnbull - Guitar
Davey Payne - Saxophone
Will Parnell - Percussion
Ray Cooper (
Chris London
Simon Osbourne, Ian Horne - Engineers
Bruce Ingman - Cover Painting (from a design by Mike Krage) /Jon Millar - photographs

The album sleeve does not give information on who plays what on what tracks.


01 That's Enough of That
02 Bill Haley's Last Words
03 Poor Joey
04 Quick Quick Slow
05 Fly in the Ointment
06 O'Donegal
07 Poo-Poo in the Prawn
08 London Talking
09 Have A Word
10 D'Orine The Cow
11 Your Horoscope
12 No Such Thing As Love
13 Two Old Dogs Without A Name
14 Bus Driver's Prayer (Traditional, arranged and adapted by Ian Dury)

Links to download:

The Blockheads ReunitedAlthough Dury's musical career appeared at rest for good, he suddenly reformed The Blockheads at the end of 1990 to play some reunion benefit gigs in memory of Charley Charles, a victim of cancer. These shows proved so successful as well as enjoyable that the group continued to perform on occasion, and Dury began collaborating again with Jankel. Their efforts resulted in the 1992 release The Bus Driver's Prayer and Other Stories, Dury's first new LP in nearly ten years. Hailed as one of his best since Do It Yourself, the album featured many of the old Blockheads, including Jankel, Gallagher, Turnbull, and Payne.
In 1990, the Blockheads came together again, initially to play a benefit for their former drummer Charlie Charles, who was suffering from cancer. The reunion was so successful that further shows followed over the next two years, and several members of the band collaborated on Dury's 1993 album, The Bus Driver's Prayer And Other Stories. Then, just as his career was heading for another upswing, Dury was diagnosed as suffering from cancer. In 1996 a tumour was removed from his colon, but two years later, further tumours were detected on his liver.(


"Picking up where Apples left off -- it even includes that record's "The Bus Driver's Prayer," a clever cockney rewrite of the Lord's Prayer, as the title track -- The Bus Driver's Prayer and Other Stories is an engaging collection of character sketches and stories from Ian Dury. The album may lack strong hooks and melodies, yet Dury diehards will find that his wry observations are just as subtle and humorous as ever. [JVC Japan issued a two-disc edition in 2008.]"All Music- Stephen Thomas Erlewine

"A Poet and one of the first to show that he was a cockney and do it with class. insightfull clever and definatly hillerious lyrics at times buy evry thing they done its nearly all pukka R.I.P MR IAN DURY"

"'The Bus Driver's Prayer' is, like all of Ian Dury's albums, quite distinct from anything else out there. Musically, it follows the usual approach, frothing with funk and touches of jazz. Played against his early material, it sounds a little sluggish. Like all artists, time blunts energy. Lyrically, there are still surprises and Dury remains more imaginative than most of his contemporaries, but it would be self-deluding to suggest his inspiration is as fertile as on earlier material. There are the usual carefully-inserted expletives and references to bodily functions, while food hygiene is a new topic. But Dury also uses more cliches than is comfortable, something he never used to do. 'Fly In The Ointment' seems to feature this as a conscious ploy, but cliches can be found on other tracks too.
This album then is well worth buying if you like Dury's work in general, but it doesn't come close to his 1970s output."


"I've been listening to this cd now for two months staight and NEVER tire of it! Ian Dury reminds one of Zappa with his humor, Randy Newman with his unique chacacters, But the MUSIC..some of it could be Eric Clapton at his best, or dare I say it Hendrix. As always no one matches Dury's take on life. Playfull as ever in some cuts, and warts and all sad in others, Dury has the advantage of some really strong players behind him who allow him to effortlesly portray all the different palletes he chooses to send up. I especially like "Poor Joey." Can't listen to that one without feeling it's Ian in there. "Have a Word" and "No such thing" are in my opinion the strongest work here followed by"Your Horiscope,""London Talking" "Fly." Get this CD, you won't stop listening to it. I promise you! That's enough of that!"


John Bailey - Engineer, Mixing/ Rupert Coulson,Kevin Paul - Engineer
Sam Brooks - Photography, Assistant, Cover Design/Rupert Truman,Duncan Poundcake - Photography/Storm Thorgerson - Cover Design /Hannah Evans - Assistant, Cover Design/Jon Crossland - Graphic Design, Illustrations
Ian Dury & the Blockheads - Producer
Ian Dury - Vocals
Mick Gallagher - Keyboards
Chas Jankel - Guitar, Arranger, Keyboards
Laurie Latham - Mixing
Steve Monti - Drums
Davey Payne - Flute, Saxophone
John Turnbull - Guitar
Norman Watt Roy - Bass


01 Jack Shit George
02 The Passing Show
03 You're My Baby
04 Honeysuckle Highway
05 Itinerant Child
06 Geraldine
07 Cacka Boom
08 Bed 'O' Roses No. 9
09 Heavy Living
10 Mash It Up Harry

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In 1996, Dury was diagnosed with colon cancer. After an operation, secondary tumors appeared on his liver, signaling that his condition was terminal. In addition to Charles, Dury's first wife, Betty, had also died of the disease in 1994. Though they had separated in 1985, Dury was greatly grieved by her death. Rather than dwell on what was to come, Dury instead chose to make the most of his situation. "I haven't shaken my fists at the moon," he said, as quoted by the BBC Online. "I'm not that sort of geezer. I'm 56 and mustn't grumble. I've had a good crack, as they say." Soon after his diagnosis, Dury married Sophie Tilson, a sculptor and mother of his two youngest children, then decided to record a new album. Mr. Lovepants, issued on Ronnie Harris Records in 1998, was met with praise from critics and fans alike.
Dury maintained a high profile even while his condition worsened. His health progressively deteriorating, Dury toured in support of Mr. Lovepants beginning in the fall and made a trip with UNICEF, for whom he served as an official ambassador, to Sri Lanka promoting polio vaccination with pop star Robbie Williams. In 1999, he started recording material for a new album with The Blockheads. Sadly, however, Dury passed away on March 27, 2000, before the material saw the light of day. One of the songs, "You Are the Way," was played at his funeral.

Product Description
This is the First Album Together with the Original Blockheads in Seventeen Years and Continues to Show the Overwhelming Creative Talent of the Music Industry's Most Loveable Character.

"The most remarkable thing about Ian Dury's 1998 reunion with his legendary Blockheads is that it sounds like the 15 years separating Mr. Love Pants from their last album haven't happened at all. Sure, the production might be a little cleaner and modern, but, musically, they still kick out disco-ized funk grooves, mild new wave pop, and relaxed pub rock that provides the perfect setting for Dury's clever tales and character sketches. No, they don't rock nearly as hard as they did during the New Boots & Panties era, but it's not missed, because there's a genuine warmth to the performances that gives real resonance to this familiar sound. Better still, the songs are considerably better than those that made up the last proper Blockheads record, and they're better than those on Dury's solo records. There aren't any classics along the lines of "Sex & Drugs & Rock & Roll," "I'm Partial to Your Abracadabra," "Common as Muck," or "Hit Me with Your Rhythm Stick," but they're all charming examples of Dury's strengths as narrator and the band's supple musicianship. Sadly, Mr. Love Pants turned out to be Dury's last recording, but his body of work is much stronger with this as his final album."

"Ian Dury & The Blockheads describe the humourous and tragic aspects of living in Satellite town Suburban England better than any band yet produced. It's a testament to their wit and virtuosity that they can switch so easily between the scathing hilarity of songs like "Mash It Up Harry", and "Itinerant Child" and the touching sentiment of "You're My Baby". They still write the most amusing, original, incisive lyrics, are still one of the most imitated ( but never bettered ) bands of all time ( see Blur, Carter U.S.M. )and still possess one of the most original frontmen of all time. Give this album a listen and you'll see what I mean. Slick stuff. Mr Durys still got one of the most mellifluous voices I've ever heard and it's put to great use here. All the best chaps. An album you can be well proud of."

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IAN DURY AND THE BLOCKHEADS - Straight From The Desk (2001)

Ian Dury - Vocals
Chas Jankel - Guitar, Keyboards
Norman Watt-Roy - Bass
John Turnbull - Guitar
Davey Payne - Saxophones
Charley Charles - Drums
Mickey Gallagher - Keyboards
Written-By - Jankell* (tracks: 1,2,4,7-12,14,15) , Dury* (tracks: 1,2,4,7-12,14,15)

Live At Ilford Odeon December 23rd 1978


01 Wake up And Make Love With Me
02 I'm Partial To Your Abracadabra
03 Upminster Kid
04 Clevor Trever
05 This Is What We Find
06 You're More Than Fair
07 Blackmail Man
08 Billericay Dickie
09 Hit Me With Your Rhythm Stick
10 There Ain't Half Been Some Clever Bastards
11 Plaistow Patricia
12 I Made Mary Cry
13 What A Waste
14 My Old Man
15 Sex And Drugs And Rock And Roll

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IAN DURY AND THE BLOCKHEADS - Ten More Turnips From The Tip (2002)

Gilad Atzmon ( - Saxophone
John Bailey,Rupert Coulson,Kevin Paul - Engineer
Peter Blake - Collage, Watercolor Artwork/Barney Bubbles - Artwork, Design, Logo Design/Terry Day - Paintings
Blockheads - Producer
Ian Dury - Vocals, Drawing
Jill Furmanovsky - Photography/Gordon House - Artwork/Humphrey Ocean - Paintings, Drawing
Mick Gallagher - Keyboards
Dylan Howe (,Steve Monti - Drums
Chas Jankel - Guitar, Keyboards, Vocals
Laurie Latham - Producer, Engineer, Mixing
Davey Payne - Flute, Saxophone
Jock Scot - Poetry
John Turnbull - Guitar
Norman Watt Roy - Bass


01 Dance Little Rude Boy
02 I Believe
03 It Ain't Cool
04 Cowboys
05 Ballad Of The Sulphate Strangler
06 I Could Lie
07 One Love
08 Happy Hippy
09 Books And Water
10 You're The Why

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"Ian Dury & The Blockheads' final studio album is an assortment of songs recorded between 1996 and 2001. When opening track "Dance Little Rude Boy" breaks into that "Hit Me" rhythm schtick - Chaz Jankel and Mick Gallagher working up a familiar jazz-funk swirl, Dury's guttural chatter mixing social observation with toilet humour and paternal advice - we're instantly in familiar territory.
Related Results From then on, it's downhill into rinky-dink country and cheapo pub rock. It's poor etiquette to speak ill of the dead, but making allowances at the expense of truth is the greater crime, and Dury's kindergarten rhyme schemes ("I'm a happy hippy/They call me Mr Whippy/And everything is trippy/Yippee!") are simply naff. However, the fact that Robbie Williams croons the closing number, "You're The Why", should be enough to keep Ian's family in new boots and panties."



THE BLOCKHEADS - Straight From The Desk - 2 (2003)

Guitar ['knife & Fork' Fuzz Box Guitar] - Wreckless Eric (tracks: 6)
Mixed By [F.o.h. Sound Mixing] - Ian Horne
Other [Stage Monitors] - Dave Chamberlain
Performer - Chaz Jankel* , D. Draw* , Dylan* , G. Atzmon* , Johnny T* , Lee Harris , Mick Gallagher* , Norman Watt-Roy Photography - Keith Curtis Saxophone - Dave Lewis (2) Vocals - Derek The Draw* , Wreckless Eric (tracks: 6, 7)

Recorded straight from the desk on to cassette at Patti Pavillon Swansea March 23rd 2002. Special thanks to: Lee Harris for persistence, Derek Hussey for continuity, Ian Horne and Dave Chamberlain for expertise & loyalty. Thanks to Ben Evans at Write Off Records for initial compilation work. Transferred at Seaview Studios, London.


01 Reasons To Be Cheerful Part 3
02 Feel The Funk
03 I Believe
04 The Ballad Of The Sulphate Strangler
05 One Love
06 Clevor Trever
07 Blockheads
08 You're More Than Fair
09 What A Waste
10 Books And Water
11 Sweet Gene Vincent
12 Hit Me With Your Rhythm Stick

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CHAZ JANKEL - My Occupation - The Music Of Chaz Jankel (2007)

Tessa Niles - Choir, Chorus, Soprano (Vocal) /Kendal Stubbs - Bass /Peter Van Hooke - Drums, Drum Programming, Linn Drum, Simmons Drums /Chris Warwick - Synthesizer, Programming, Percussion, Oberheim, Field Recording /Paul Westwood - Bass, Soloist /Laura Weymouth - Choir, Chorus /Ray Mang,Sean P - Editing/Stephen Stanley - Engineer /Brenda Lee Jones - Vocals, Vocals (Background) /Norman K. Anderson - Vocals /Philip Bagenal - Engineer, Mixing, Dub Engineer, Saxophone Arrangement /Bob Blank,Zeus B Held - Engineer /Michael Brauer - Mixing /Charlie Charles - Drums, Timbales/ Jo Collins - Choir, Chorus /Steve Ferrone - Drums/ Mick Glossop - Engineer, Mixing /Mick Jacques - Guitar (Electric)/ Chas Jankel - Synthesizer, Percussion, Piano, Guitar, Linn, Linn Drum, Instrumentation, String Programming, Mixing, Fender Rhodes, Steel Pan, Engineer, Choir, Chorus, Vocals (Background), Vocals, Organ (Hammond), Drums, Bass /Jamie Lane - Drums /Pepi Lemer - Choir, Chorus /Tramaine Hawkins - Vocals /Mark Isham - Bass, Guitar, Trumpet, Piano, Wah Wah Guitar, Synthesizer Programming, Oberheim, Vocals (Background)/ Willie Colón - Trombone, Arranger


01 To Woo Lady Kong (6:09)
02 Glad To Know You (6:33)
03 You're My Occupation (6:54)
04 3,000,000 Synths (4:45)
05 Number One (7:17)
06 Feel Alone (6:11)
07 Reve De Chevres (2:58)
08 Ai No Corrida (8:35)
09 Get Myself Together (4:37)
10 Oh Pretty Young Thing (5:21)
11 Without You (5:17)
12 Am I Honest With Myself Really (8:27)
13 Call Me (Bonus Dub) (4:06)

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So tell me about how My Occupation came to be. How did Tirk get in contact with you?

"It started about five years back. I was approached by Strut Records’ Toni Rossano, who originally wanted to put together an album of Blockheads dance tracks including; ‘Reason to Be Cheerful’, ‘Hit Me With Your Rhythm Stick’ and possibly some of my stuff. The problem was there weren’t enough tracks to make an album.
Toni and I became good friends though and we started discussing doing a project with my solo work, which was actually on 24-track, 2-inch tape. I had a lot of unreleased material which hadn’t been on my four A&M albums. So we went through the tapes in my garage and decided which songs we should try to put out."

But then Strut went under.

"Yeah, sadly, they were out of business for a bit. Toni was friends with Sav Remzi of Tirk and he was keen on picking up the threads and running with it.

‘Get Myself Together’ was a new track, though. Have you done other stuff like that recently, or was that a one-off for the compilation?

"No, I haven’t. But oddly enough, I’ve decided that I’m going to make a dance album, based upon the fact that there seems to be so much interest in the style of music I used to make."

Product Description
Retrospective album charting the solo career of the UK's legendary keyboardist/guitarist/singer/composer Chaz Jankel (Ian Dury & The Blockheads). Encompassing sounds including disco, new wave, electro and pop, Chaz Jankel was also Ian Dury's writing and performing partner in The Blockheads. This album covers Chaz's solo career, including hits such as the platinum selling "Glad To Know You" (6 weeks atop the Billboard Hot 100) and "Ai No Corrida." Also included are exclusive, previously-unreleased alternate versions and mixes. This album will appeal to existing fans of Chaz and The Blockheads, disco heads, and fans of Tirk's contemporary output, where Chaz's influence is most certainly felt.

"Someone behind this release knew what they were doing (for a change). While I was crossing my fingers, my expectations was for a collection of short edits of Jankel's biggest dance and electronica tracks, many of which have never been on CD before. What I'd hoped for, and got, was many full length LP versions and 12" single versions with excellent sound quality. The only real let down for me is the 4:45 length of 3,000,000 Synths (as compared to the 6:30 LP version), and the absence of the #8 Billboard dance hit "109"."

"Chaz Jankel is one of my biggest heroes. He started his career in the late 70s as the keyboardist and guitarist for Ian Dury & The Blockheads, lending co-writing talents on some of their biggest hits like "Spasticus Autisticus" and then later... expand review producing his own solo jams, which remain timeless today. So good in fact, that he's still producing futuristic jams over 30 years later for Tirk records and even getting remixed by cutting edge groups like Hercules & Love Affair. This new collection combines some of his best known hits like "Ai No Corrida(1)" (which was covered by mf'n QUINCY JONES), "Glad To Know You(2)," which to me sounds like where Chromeo got a lot of their sound (made in 1981), and "3,000 Synths(3)" an uncatagorizable futuristic synth jam with mean bass and epic movements. There's a lot more classics, but let’s move on to the new stuff. Check the smooth yet hard groove on the title track, "You're My Occupation(4)," the undeniable pop disco groove on "Get Myself Together(5)," and the reggae infused instrumental jam that pays homage to "Glad To Know You," "To Woo Lady Kong(6)." If you're into new disco, Chaz Jankel is like required listening. He's not only an influence to many influential artists, he's living proof that dance music can be timeless. Recommended. -C'mish (

"My Occupation: The Music Of Chaz Jankel is a great compilation, top to bottom, revelling in glitzy disco and off-kilter experimentation. The old songs still sound as vital and fresh today as they've always been and the new stuff (the reggafied version of 'Glad To Know You', entitled 'To Woo Lady Kong', released as a 12" on Tirk earlier in the year and 'Get Myself Together', a new composition in collaboration with Blackbeard and Yamwho?) doesn't at all feel like it's been tacked on. This one's a must-have for anyone with even a passing interest in disco music or just great, funky pop music in general."

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KOTEY EXTRA BAND Feat. CHAZ JANKEL - Sooner Or Later (2007)

Dub, Deep House, Disco

Artwork By - Benedikt Laube
Drums - Dave Barbarossa (
Mastered By - Nilz*
Music By, Vocals - Chaz Jankel*
Producer, Executive Producer - Stevie Kotey ( By - Mark*
Written-By - Giorgio Moroder , Pete Bellotte


01 Sooner Or Later (Original Mix)
02 Sooner Or Later (Chicken Lips Dub Deluxe)
03 Sooner Or Later (Chicken Lips Instrumental)

CHAZ JANKEL - You're My Occupation (12") (2007)

Style: House, Disco

Guitar, Synthesizer [Obx Synth], Electronic Drums [Linn Drum], Piano, Backing Vocals - C. Jankel*
Programmed By [Synth, Drum & String Program] - C. Jankel* (track 03)
Drums - Steve Ferrone
( (track 01)
Bass - Norman Wattroy* (track02)/Drum Programming - Pete Van Hooke*(track02)
Vocals - Brenda Jones ( ) (track 01)
Saxophone [Sax Player] - God Knows
Mixed By - Yamwho* (track 01)/Recorded By - Philip Bagenal , Zeus B. Held (track02)Programmed By [Sax Program] - P. Bagenal*(track03)/ Recorded By, Mixed By - Philip Bagenal (track 03)/Mastered By [Premastered] - Jeff* /Written-By - C. Jankel*


01 You're My Occupation (2007 Take) (6:56)
02 Number One (DJD's Ichiban Re-edit) (7:56)
03 Call Me (Bonus Dub) (4:06)

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MAKING MR.RIGHT (Soundtrack) (1987)


01 Chemtech Promo Video
02 Ulysses' Escape
03 Night Visit
04 Frankie's Drive
05 Ulysses
06 In the Lab
07 Sondra and Jeff
08 Mr. Right
09 Wedding Reception
10 Parting Glance

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Info: and

D.O.A (Dead on Arrival) (Soundtrack) (1988)


01 Opening (04:08)
02 D.O.A. (02:20)
03 The Phone Call (02:56)
04 Office Wreck (01:51)
05 The Office (02:03)
06 D.O.A. (02:57)
07 The Nail Gun (01:58)
08 Gail's Gift (01:42)
09 Fight (01:30)
10 Love Scene (03:09)
11 Gail Is Killed (01:26)
12 The Alley (02:59)
13 Suicide (01:05)
14 Murder (01:06)
15 Tar Pit (01:23)
16 Elaine Tells Dex (02:53)
17 Walking Dead (02:58)

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Info: and


KIERAN WHITE - Open Door (1975)

Roger Bunn - Bass
Geoff Driscoll - Wind
Chas Jankel - Guitar, Keyboards, Vocals
Dónal Lunny - Synthesizer, Guitar, Vocals
Dave Sheen - Bass, Drums
Tim Staffell - Vocals
Kieran White ( - Bass, Guitar, Harmonica, Vocals


01 Open Up Your Door (3:40)
02 Cajun Moon (3:38)
03 Cold City Night (5:12)
04 I May Be Wrong (4:56)
05 Lay Your Love Down (4:38)
06 Cadillac (4:28)
07 Stone Ground (3:34)
08 Janie (5:55)
09 Dark Star (4:33)
10 Cargo County (3:38)

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"Kieran White's Solo outing after leaving Steamhammer (
Excellent album if you enjoy the lighter side of Steamhammer & Kieran's vocals. Great version of Cajun Moon. An album you keep playing every now and again. Medium quality production but deserves a listen if your a fan."

"the singer of Steamhammer with a beautiful solo work that has nothing in common with the steamhammer sound.Singer songwriter album with cajun feeling. "janie" is very beautiful."

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Non-Music, Rock
Comedy, Punk, Parody

Arranged By, Producer - Chaz 'Wünderkind' Jankel
Engineer - Laurie 'Knobs' Latham (
Keyboards, Vocals - Chaz Jankel
Percussion - Bruce Mitchell (
Saxophone [Tenor] - Roger Ruskin Spear (, Brass [Samovar] - Les Prior
Vocals, Guitar - Jimmy Hibbert (
Vocals, Guitar, Bass - C.P.Lee ( , Simon White, Tony Bowers (
Vocals, Guitar, Keyboards - Bob Harding
Written-By - N. Sleak* (tracks: 01, 02, 04, 05, 06, 07, 11),Pete Seger (track 03,09),B. Harding (track 08) Written-By - Matlock* , Rotten* , Cook* , Jones* (track 10)


01 Juan Lopez (4:20)
02 Mother Superior (3:05)
03 Where Have All The Flowers Gone (3:10)
04 Heads Down, No-Nonsense, Mindless Boogie (2:40)
05 23 (4:50)
06 Peter Parker (5:05)
07 Rockin' Sav'Yer (3:15)
08 Thank You (2:15)
09 Where Have All The Flowers Gone Dub (3:10)
10 Anarchy In The U.K (2:25)
11 God Is Mad (3:40)

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Alberto y los Trios Paranoias was a comedy rock band formed in Manchester, England, in 1973 by singer Les Prior, singer/guitarist C.P. "Chris" Lee, singer/guitarist/bassist Bob Harding, guitarist Simon White, guitarist/bassist Tony Bowers, singer/bassist Jimmy Hibbert, and drummers Bruce Mitchell and Ray "Mighty Mongol" Hughes. They mounted a play, Sleak, about a rock star talked into committing suicide on-stage, with an accompanying EP, Snuff Rock. In 1978, they scored a number 47 hit in the U.K. with "Heads Down No Nonsense Mindless Boogie" (a parody of the popular British hard rock group Status Quo). ~ William Ruhlmann, All Music Guide


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STREETBAND - London (1979) (Paul Young related)

Pop Rock

John Gifford - Guitar (Rhythm),Vocals,Producer
Jools Holland ( - Guitar, Keyboards
Chas Jankel - Guitar (Acoustic), Keyboards,Vocal,Producer
Roger Kelly - Guitar, Percussion, Vocals (bckgr), Producer
Mick Pearl - Bass, Vocals (bckgr)
Trevor Rabin ( - Guitar, Keyboards
Vince Chaulk - Drums
Paul "Mighty Paul" Young ( - Harmonica, Percussion, Keyboards, Vocal



01 You're All I Need
02 Happy Families
03 Truth Without Lies
04 Things Are Never Quite What They Seem
05 It Takes a Thief
06 Toast
07 One More Step
08 Any Decision
09 Mystery
10 His Finist Hour
11 Love Sign
12 Loud Music

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"Before Paul Youngwas a chart-topping star, he was part of this band. This album is a complete collection of both of their albums and their singles. Included is their novelty hit (in the U.K.), "Toast," which is four minutes of Young that he never repeated again. It is Monty Python meets Squeeze. Wonderful stuff. A lot of the music sounds dated and derevative. It is not entirely original music and ultimately not very interesting. Young had not yet found his voice, and although artists such as Jools Holland and Chaz Jankel contribute, it still remains an average album. Worth note, all of the tracks were recorded at the Kinks' Konk studios." ~ Aaron Badgley, All Music Guide

"Steetband-Toast/Hol On:'Hold On' was the intended A Side of this single, but in truth it wasn't very good. Some DJ somewhere discovered 'Toast' and started playing it. In time Radio DJs everywhere were playing this ode to the joys of eating toasted bread, and it became a top 20 hit peaking at number 18. The drummer with Streetband was Vince Chaulk, who was once the drummer with Mr Big, the band who had a top 5 hit with "Romeo" in 1977. But there was a more famous person in this band, the lead vocalist was Paul Young. Over the following 12 months Streetband released a further four singles and two albums without success. Just before the end of the decade they split, so Paul and Bassist Mick Pearl formed the Q-Tips. The Q-Tips had a great reputation for their live shows but without commercial success. They split in the Summer of 1982 ad Paul decided to go solo. The rest is history."


Dr.JOHN - Such A Night,Live In London (1984)

Funk / Soul
Rhythm & Blues, Bayou Funk

Backing Vocals - Linda Taylor (ex-Abbacadabra)
Bass - Pete Scott (
Drums - Kieran O'Connor (died in 1991)
Engineer - Neil 'In A Flash' Richmond
Guitar - Mac Rebennack (Dr. John - his real name is Mac Rebennack), Richie Brunton (
Organ [Hammond] - Chas Jankel
Photography - Dave Peabody
Piano - Diz Watson (, Mac Rebennack
Producer - Peter Van Hooke Saxophone - John Altman (
Trumpet - Digby Fairweather (
Vocals - Mac Rebennack

Recorded at the Albany Empire Theatre, London. November 4th 1983

"Such A Night"


01 The Honeydripper
02 Georgia on My Mind
03 Tipitina
04 Life
05 I Got Mine
06 Junco Partner
07 Right Place, Wrong Time
08 Such a Night

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"Dr. John’s distinctive brand of "voodoo" blues, combining his inventive piano playing, gravely voice and the pure essence of New Orleans, has made him both a much-admired and much-loved character in a career that stretches over 40 years."

"Dr. John is at his best when he doing what he does best, being a barroom piano player. The sound here is fairly clean. His piano playing and the background musician is what makes this album works. It have energy and it is fun. It is very hard to listen to and not end up tapping your toes to the music. I am sure it will never show up on a list "to die for" or Music awards. It is what it is, a great piano player, playing."

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MARIA MULDAUR - Live In London (1985)

John Altman - Horn Arrangements
Matthew Fisher - Engineer/Neil Richmond - Engineer, Mixing
Mo Foster
( - Percussion, Organ (Hammond), Producer, Licensing
Malcolm Griffiths - Trombone
Chas Jankel - Organ (Hammond)
Henry Lowther ( - Trumpet Nick Milo ( - Keyboards
Ray Russell ( - Guitar (Acoustic)
Steve Sidwell ( - Trumpet
Simon Smart - Digital Remastering
Linda Taylor
Roly Salley ( - Vocals (bckgr)
Peter Van Hooke - Percussion, Producer, Licensing Ray Warleigh
Tim Whitehead (,
Bob Sydor ( - Saxophone Archie Williams ( - Guitar, Vocals


01 Talk to Me
02 There Must Be a Better Word Somewhere
03 It's in the Book
04 Sweet and Slow
05 Rio de Janeiro Blue
06 Ain't No Man Righteous, No Not One
07 Never Make a Move Too Soon
08 What About the Price

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Loud and energetic, this album never quite gets past passable, although not through lack of effort — maybe too much effort. Starting with a Bonnie Raitt tune was a good idea, but it's downhill from there. (

"Maria Muldaur's musical roots are as varied as Greenwich Village, USA - the place where she was born. She was raised on blues, folk, jazz and bluegrass. In 1974 she released her debut album which went Platinum and included 'Midnight At the Oasis' which remains a favourite to this day on multi-formatted radio. During the 70s she released a further four albums including the critically acclaimed 'Waitress In A Donut Shop'. During the 80s Maria recorded two critically acclaimed jazz albums, two gospel albums and a collaboration with Dr. John. 'Live In London' was recorded during 1984 using the Manor Mobile at Ronnie Scott's Club with an array of musical talent including Mo Foster and Chas Jankel with additional recording carried out at Matthew Fisher's Old Barn Studios. In recent years Maria has continued to perform and record, including appearances in a number of musicals. She has just finished a lengthy run of performances in San Francisco 'Love Chaos And Dinner', an innovative show that blended live music,circus and theatre."(

"Start with a dollap of searing hot guitar,season in super soulful horn riffs, add liberal doses of Reggea, country, jazz and blues, and let the gorgeous brunette Maria Muldaur stir up this gumbo! A live recording from 1984 at Ronnie Scott's Famous Jazz Club finds the sexy,sultry singer movin' and groovin' to the great American song book. My only complaint-since Muldaur has not recorded enough live and intimate occassions-please make it longer. Rockin'!"

"In the U.S., Maria Muldaur will always be associated with her huge debut single "Midnight at the Oasis," but her talent for picking a great song and singing the life out of it is virtually unknown to those who are only familiar with her debut. Truth be told, Ms. Muldaur's voice, while striking in her early years, became a richer, more expressive instrument as the years passed, and this recording, taken from some U.K. shows in the early '80s, when her popularity was bigger overseas, takes matters further by presenting Muldaur as an exciting live performer who could grab hold of an audience. The track "Sweet and Slow" is a particular standout."

More info:

Chaz Jankel, also known as Chas Jankel (born 16 April 1952, Stanmore, North London), was a keyboard and guitarist with Ian Dury and the Blockheads, acting as a co-writer with Dury on the bands best known songs during the British funk/new wave band's commercial peak (the late '70s). Jankel was responsible for much of the funk influences in the Blockheads music, and that love for rhythmic music was a large part of his solo career. He released several solo albums in the early 80s, including Chasanova, Questionnaire, Chazablanca, and Looking At You. He hit #1 on the Hot Dance Music/Club Play chart in 1982 with the triple A-side "Glad to Know You"/"3,000,000 Synths"/"Ai no Corrida."
First hooking up with Dury as part of the pub group Kilburn and the High-Roads in the early part of the 1970s, Jankel was asked by Dury to join his new outfit, and appeared on such Blockheads releases as 1977's "New Boots and Panties!!" and 1979's "Do It Yourself", before leaving the group. But in 1981, Jankel teamed up once more with Dury (sans the Blockheads), for the release "Lord Upminster", which spawned the U.S. Top 40 dance hit "Spasticus Autisticus." But by this time, Jankel had become more interested in pursuing a solo career and he issued several releases for A&M from the early to mid-'80s: 1980's self-titled debut, 1981's "Chasanova" and "Questionnaire" (the latter of which contained the U.S. dance hit "Glad to Know You," a collaboration with Dury), 1983's "Chazablanca", and 1985's "Looking at You". But after the flurry of recording activity, little was heard from Jankel again.
Quincy Jones had a UK chart hit with his version of "Ai no Corrida" which reached #14 in April 1981.
Jankel returned to The Blockheads after his solo career in America, and worked with Dury on his final two albums (Mr. Love Pants, Ten More Turnips From The Tip). Jankel continues to perform and write with the Blockheads today, after Dury's death in 2000.
Jankel has several composer credits for films, including D.O.A. and K2, and best known to many people as the performer of the song "Number One" from the soundtrack of the film Real Genius.(


with Byzantium:
Byzantium (1972)
Seasons Changing (1973)

Chas Jankel (1980)
Chazanova (1981)
Questionaire (1981)
Chazablanca (1983)
Looking At You (1985)
Out of the Blue (2001) (
Zoom (2003) (
My Occupation: The Music of Chaz Jankel (2007)

His soundtracks:
An Unsuitable Job For A Woman (1978)
Making Mr Right (1979)
War Party (1985)
DOA (1986)
Killing Dad (1986)
The Rachel Papers (1987)
Tales From The Darkside:The Movie (segment "Cat from Hell") (1987)
War Party (1988)
Earth Girls Are Easy (1988)
Killing Dad or How to Love Your Mother (1989)
The Rachel Papers (1989)
K2 (US version) (1990)

with Ian Dury
New Boots & Panties!! (1977)
Lord Upminster (1981)

with Ian Dury & The Blockheads
Do It Yourself (1979)
Warts 'n' Audience [live 22 December 1990]
The Bus Driver's Prayer & Other Stories (1992)
Mr. Love Pants (1998)
Straight From The Desk (Live At Ilford Odeon,December 23rd 1978, 2001)
Ten More Turnips From The Tip (2002)

with The Blockheads
Straight From The Desk 2. (Live At Patti Pavillion, Swansea March 23rd 2002, 2003)
Where's The Party? (2004)

More info (Chaz Jankel):


More info (Ian Dury):


Anonymous Anonymous said...

1000 Thanks for reposting Trick 17
you made me very happy.
take care of you and go on!

3:59 AM  
Blogger Ellaguru said...

great post about chaz jankel...very exaustive.

3:49 PM  
Blogger Gianni aka Cesare Barbetta said...

excellent discography.
thank you for this special and great post!

11:13 AM  
Blogger Maestro said...

Hello Friends,
I have a request and it's about a rare album.
Let me know if you can share t5his album:

Patrick Remy(France)
Constellations (1981)


1:29 PM  
Anonymous Anonymous said...

wow! thanx for sharing!

8:27 PM  
Anonymous Anonymous said...

Thanks for your amazing blog!!

Could you please check the link fot the cd1 of ian dury's do it yourself
( It gives me the message
Firefox can't find file in

Thanks again


3:37 AM  
Blogger Maestro said...

Dear Salty,
I have a suggestion.
What do you think of having a Request Post in this blog.
I mean,something like Paul Durango has done in his blog here:

For example someone in one of your comments said that he had the album THE EVIDENCE and I asked him to share it.
I bet he didn't check that post anymore as he was not noticed about my request.

So I think if you make a Request post and put some Rare albums in it,that would be great.

It's just asuggestion and if you think it's not neccessary just forgive me in ths case.

Best Regards,

1:30 AM  
Anonymous Anonymous said...

@all posters

thanks for your messages!

it seems ok to me,but try thiy with rapidshare:


hi,i dont have Patrick Remy but it is also on my wanted list.So whenever i get ,i will share.
Your idea is good,so if you send your wanted list i will make an entry with it :)


2:16 AM  
Anonymous Anonymous said...

this is an abosolutely fantastic collection. really... wow. my favourite are the two byzantium albums, BUT the second one, seasons of changing, is messed up! @.@

certain parts of songs are cut. i.e., the end of like the end of "show me the way" ends a few seconds too early, abruptly. and "something you said pt1" cuts abruptly at the end. and in "something you said pt2", it skips abruptly at 3:45-3:46. it's no big deal, but i can't seem to find the album anywhere else, and if it was just a uploading flaw, i'd GREATLY appreciate a link to a perfect upload of the ablum.
you can contact me at my wordpress page.

12:27 AM  
Blogger Unknown said...

Impresionante vuestro post!
Muchísimas gracias
Profesor Kandeal

11:36 AM  
Anonymous winston said...

Hey thanks for all that!
Does anybody have the New York '85 Mix of 'Ai No Corrida' that appears in this video (

1:43 AM  
Blogger JIRO said...

Fantastic post, always liked the funky elements of the Blockheads but always assumed it was all the work of Ian Dury.


11:34 AM  
Anonymous Anonymous said...

Great post. Any chance of a new link for 'straight from the desk 1 & 2' thanks

9:57 AM  
Anonymous Health News said...

I can't believe how much of this I just wasn't aware of. Thank you for bringing more information to this topic for me. I'm truly grateful and really impressed.

3:39 AM  
Anonymous German Klauss said...

Hello. Wonderful post, but the link for CHAZABLANCA (1983) is dead. Could you reupload this album, please? Thank you in advance!

5:42 PM  
Blogger ron said...


12:48 AM  

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