Cook da Books (1985)

In March 1985 Cook da Books (Moran, Prescott, Deary and Leggett) released their sixth single, featuring a new track backed with a re-recorded version of Piggie in the Middle 8 (coupled with a long version of Low Profile for the 12” version). This was to be the last release as Cook da Books.

cdb - hurt

Cook Da Books (1984)

In 1984 Cook the Books (Moran, Prescott, Deary and Leggett) issued two more singles. The first to appear was Caress Me like a Flower, in February:

- Caress Me like a Flower (1984):

- Caress Me like a Flower

- Say Something Good

(The 12” version also included Caress Me Like A Flower (Snorkel Jacket Mix), In The Papers and In The Papers (MK- 2)) (see here)

Later that year, in November  the band’s fifth single came out, Golden Age.

 

Golden Age (1984)

- Golden Age

- Soho

(The 12” version also included Golden Age CD mix and Up in Smoke)

goldenage

(Thanks to our friend Mikeyten and his great fade2gray blog)

Cook Da Books (1983)

In 1983 Cook Da Books (Moran, Prescott, Deary and Leggett) became quite big in France after providing a bunch of songs for the teenage movie La Boum 2 (namely Your Eyes, Get it Together, Silverman). Your Eyes went straight to number one. This unexpected success pushed them to plan and release an LP for the French market:

Outch (1983):

- Heart Of Fire
- Rich Men Don’t
- Wouldn’t Want To Knock It
- Sankapou
- Falling
- Piggie In The Middle Eight
- Who Are You To Cry?
- Soho
- This Is Not The Time
- Up In Smoke
- Say Something Good 
(see here)

In the same period they re-release their first single (Piggie in the Middle Eight, this time backed with I Wouldn’t Want to Know it) expressly for the French market. For their Kiteland label they re-released their second single, just reversing the order of the tracks (Low Profile b/w Rich Men Don’t), and in September they put out their third single:

I Wouldn’t Want to Know it (1983)

- I Wouldn’t Want to Know it

- Up in Smoke

- In Da Papers

(see here)

boum-ost

(Thanks to our friend Mikeyten and his great fade2gray blog)

Cook Da Books (1982)

In 1982 Cook the Books (Moran, Prescott, Deary and Leggett) became Cook Da Books. In May the band provided a song for the compilation cassette Crackin’ up at the Pyramid (this Is not the Time, then re-issue on their fist LP) an in October they released their second single:

Rich Men Don’t (1982)

- Rich Men Don’t

- Low Profile

(Curiously, the single will be re-released in 1983 featuring Low Profile as the a side and Rich Men Don't as the b side.)

Here’s how The End Fanzine (#9, November 1982) reviewed the single:

‘Cook Da Book have their second single out, it’s on their own Kite label. It’s called Rich Men Don’t. Which is one of the strongest songs, and it’s well produced. But I actually prefer the B side, Low Profile. Which is great. So go out and buy this one, ‘cos you’ll be getting two very good tracks, and you’ll be giving them the push they need. It’s easily as good as Piggy in the Middle Eight. Good sounds!’

here

Cook the Books (1980-1982)

Cook the Books was formed in 1980 in Kirkby by former members of The Dogemz and Brooklyn (both bands of the pub/cabaret circuit). The original line-up included Kevin ‘Kunky’ Kelly (former Brooklyn, later Lager Lager, guitar and vocals), Peter ‘Digsy’ Deary (former Brooklyn, vocals, guitar), Owen Moran (bass, vocals), Tony Prescott (later Steppin’ Razor, keyboards), and John Leggett (drums). In 1981 Kelly left the band, and in 1982 the band released the fist reggae-flavoured single, inspired by the 1981 Toxteth riots and other local scandals (with lyrics penned by John Smith, the band manager, and production by Denis Bovell).

Piggie in the Middle Eight (1982)

- Piggie in the Middle Eight

- Gone to Black

Here’s how Merseysound (#22, March 1982) reviewed the single:

‘Cook the Book song of the summer of 81. Guitars chink, organs swirl uneasily as the lyrics sway from anger at the press to pictures of streets of fire. Much of the passion is lost in the mix. The dub b side is much more satisfying musically, the group spreads its wings taking us on a search through the archive of T.V. cop theme tunes’

piggie

Mr. Amir - Dawning (1984)

Toxteth born reggaeman, Graham Amir (former Cross Section) started his solo career after the split of Cross Section in 1983, under the pseudonym of Mr. Amir (later Amir). He “plasys (nearlu) every position himself all the time achieving some impressive results; sensitive lyrics and Spartan melodies” (Jamming Magazine, June 1983).

About his new solo career he conceded:

‘Going solo was like starting again. With Cross Section a vast amount of energy was generated and we did some good gigs but my head wasn’t very well together then − you have to know, not guess where you are going. I need to be able to work be myself before I can work with other people, and even then, I can’t see myself being part of a band again. My music isn’t as complex as it used to b: I like to exploit the chemical suitability of a basic rhythm, catchy melody and simple verse and refrain. Reggae is essentially a folk medium and I want to put some of my environment into it.’ (Next 14 Mag. May 1985).

After a single released in late 1983 (Reasons to Live b/w Oh No Oppressor), Mr. Amir licensed his first long player in mid-1984, playing all the instruments himself:

Dawning (1984)

- Love with Ease

- Deep Inside

- Deep in Music

- Will We Ever Know

- Love with Music

- Mystery Overture

- Mystery of Mine

- Reasons to Live

- Dawning

- Running out of Time

About the album Next 14 Magazine wrote:

‘If this had come out of Jamaica, everyone from Sting to Keith Richards would be clamouring to play on his next album, Eric Clapton would record Love with Ease and have a number one hit with ti in America and the Melody Maker would put him on the front cover and call him the new Bob Marley.’

In 1985 Mr. Amir released a mini-LP (No Place to Go) and in 1987, as Amir the single Lines of Love (with Lee Marles on guitars and Steve Brown on drums).

dawning

Cross Section (1978-83)

Liverpool’s first reggae band, Cross Section was formed in late 1978 by Graham Amir (later Mr. Amir): ‘[Since then] his single-minded devotion to the idea [and the band] has been the one continuity even through periods when equipment was sparse, rehearsals were uncertain or when simply nothing was happening. Around Graham has accumulated a group of musicians and as the story unfolds it’s clear how many others didn’t stay the course often for the very obvious reasons that they couldn’t put in the time and effort to make it work or because they weren’t committed to that special quality of local reggae which had been the driving force of the band more commercial sounds, some to toy with harder-line Jamaican reggae sounds.’ The line-up consisted of Graham Amir (Graham Amir (lead vocals, rhythm guitar), Julie Reid (keyboards, vocals, saxophone), Jr. Spence (drums), Neil Innes (percussion, backing vocals, former Pink Military) − who all joined in 1980 − Steve Welsby (percussion, backing vocals), Llyod Masset (a.k.a. Dickie Rude, bass), Roddie Gillard (lead guitar, who joined in 1982), and the band became the house band at the Wharehouse. They released two tapes in 1981, the first issued in April and the second in August (featuring ‘Psychic Hitmen’, ‘New Day’, ‘Stealin’ My Feelings’), and in March 1982 the band also recorded a Radio One Session for John Peel (‘Wounds Are Too Deep’, ‘The Dole’, ‘Too Many Hills’, ‘Where Is The Love’).  In July 1982 cros Section released their first and only single:

Wake up in the Morning (1982)

- Wake up in the Morning

- Psychic Hitmen

In 1983 Cross Section disbanded and Graham Amir went solo as Mr. Amir

cross section