Shadows And Reflections with Tandyn Almer and Larry Marks

Tandyn Almer

Tandyn Almer and Larry Mark's composition "Shadows And Reflections" is best known to most of our reader's for The Action's version which was released as their final single in June of 1967. What some people don't realize is that the track was cut by a small host of other acts with interesting differences.

It all begins with Twin Cities born wunderkid Tandyn Almer who at the age of 23 became instantly successful and wealthy when his tribute to cannabis indica "Along Comes Mary" by The Association shot to #7 in the US singles charts. Almer also co-wrote "The Message Of Our Love" with the band's producer Curt Boettcher on their debut LP "And Then...Along Comes The Association".  You would have expected him to become a frequent visitor to the hit parade after such a smash but alas he was never, unfortunately, to revisit the Top 40 again. Though denied further commercial success tracks by him appeared continuously on both sides of the Atlantic throughout 1966-1967. His next double entendre, "Alice Designs" (LSD get it?), came out in first in October '66 across the pond by a British act called The Sugarbeats on Polydor 56120 (it was later covered in the States the following year by Mr Lucky And The Gamblers as Panorama 52). At nearly the same time a US group called The Purple Gang (not to be confused with the UK act of "Granny Takes A Trip" fame) released a composition of his called "Bring Your On Self Down" (MGM K 13607) and a track of his called "Poor Old Organ Grinder" was issued by Billy Elder (Patheway 101) in '67. Californian ensemble The Garden Club which featured Mike Brewer and Tom Shipley (later to find fame as Brewer & Shipley) and the composer of The Association's blockbuster "Windy", Ruthann Friedman issued a composition Almer co-wrote with  John Walsh called "Little Girl Lost And Found" as A&M 848 in April 1967 (a British version was cut by Peter And The Wolves on MGM 1352 around the same time). Larry Marks was less prolific during this period with no tracks written by him being released until 1968!

In June 1967 two different versions of a track written by Almer and Marks called "Shadows And Reflections" appeared on both sides of the Atlantic by two different acts. The US release was by The Lownly Crowde on MGM, the UK version by The Action on Parlophone. There would be further versions of the track as well.......

THE LOWNLY CROWDE-"Shadows And Reflections" US MGM K 13740 1967
Though there is some debate on whether The Action heard this version before recording their interpretation. The timing is tight as both recordings were issued in June of 1967 (The Action's reading being issued on the 23rd, The Lownly Crowde version's released date is unknown). Regardless The Lownly Crowde reading is extremely similar in tempo and arrangement to The Action's.  What makes it very different is there are strings  and horns throughout the track and the vocals are shared by a chorus of male and female voices adding more of an M.O.R.  feel to it.  There's also a groovy flute that pops in at one point and a cello solo.  The flip side was an instrumental version of the track minus the vocals with horns pushed up further in the mix.

Vocal version:

https://youtu.be/b90LQlJyvXY

Instrumental version:

https://youtu.be/84f2-S4ow4M

THE ACTION-"Shadows And Reflections" UK Parlophone R 5610 1967
British mod/soul interpreters The Action were well into their path away from soul/r&b and veering towards American West Coast sounds when they issued this, which would sadly be their very last official release. Leading off with George Martin's baroque harpsichord this version is, in my estimation, the definitive one.  Lead singer Reg King's vocals carry the water on this one as do the band's backing vocalists and though the musical backing is rather sparse when compared with The Lownly Crowde (just guitar bass, drums and harpsichord here) it works in no small part due to their delivery. There's a horn solo where the backing vocals are showcased before drummer Roger Powell thunders in to announce the return of the lead vocals.

https://youtu.be/tZcnItgSrLw

EDDIE HODGES-"Shadows And Reflexions" US Sunburst 773 1967
The third version of "Shadows..." was cut by former child actor turned musician Eddie Hodges. Curiously this arrangement seems to contain elements of both The Lownly Crowde AND Action readings.  Propelled by piano, soaring Beach Boys style backing vocals, and subtle brass and vibes it has a perfect California '67 sunshine pop feel to it. The solo is a mild keyboard with a spooky chorale intertwined. Hodges would later co author two tracks in 1968 with Tandyn Almer  for a single by The Paper Fortress "Butterfly High"/"Sleepy Hollow People" (VMC V719 March 1968).

Ignore the Byzantine Empire photo in the video, this is the Eddie Hodges version:

https://youtu.be/j18ecWxzOVQ

Scan courtesy of https://ironleg.wordpress.com

THE BYZANTINE EMPIRE-"Shadows And Reflections" US Amy A-11,046 1968
University of Michigan act The Byzantine Empire cut three 45's for the Amy label, their final "You" issued as "Byzantine Empire" saw "Shadows.." released on the B-side. It's arrangement is far different than any of the previous versions. It starts with some woodwinds and is far harder hitting than any of the others having a pace that calls to mind The Kink's "Dead End Street".  The harmony vocals clearly are indebted to the vocal style of The Association (whom one could easily envision doing the track) and there's a groovy Farfisa playing the main riff throughout the track while the solo is handled by a flute.

  https://youtu.be/QUIFRJ2gMow

THE JACKPOTS-"Shadows And reflections" Sweden LP track "Jack In The Box" Sonet SLP-68 1968
The Jackpots could best be described as Sweden's cross between The Four Seasons and The Association. Their version of "Shadows..." is probably the most heavily produced version of all of today's selections. The band utilize their excellent harmonies to great effect and the vocals going through a Leslie speaker on the chorus is a very cool touch!

https://youtu.be/5iyMXuiG7OE

MARC ALMOND-"Shadows And Reflections" UK LP track "Shadows And Reflections" BMG 538310851 2017
Former Soft Cell front man Marc Almond not only chose to cover our track but also made it the title of his 2017 LP/CD (where it nestles amog covers of tracks by Julie Driscoll, The Herd, Dusty Springfield etc). I stumbled upon it on Spotify recently and was pleasantly blown away! Musically it reminds me of something off of one of Andy Lewis' Acid Jazz albums and rather than try to recapture Reg King's soul Marc sings it in his own way and it really works because his delivery is slow, precise and very "English".

https://youtu.be/q4k-bV0Ktys

Sadly Almer's battles with ADHD and bipolar disorder kept him from writing a lot of the time and though he continued to do so on occasion, his spark never burned as bright as it did in '66-'67 when so many pop records bore the songwriting credit of "T. Almer".

10 More Groovy (Or Not So Groovy) Small Faces Covers

Scan c/o 45cat.com

1. THE BIRDS (Australia)-"Rene" Australia 45 Clarion MCK-3474 1970
Two former member's of a late era line up of Ron Wood's band The Birds (and were also allegedly members of The Clockwork Oranges) relocated to Australia where through guile or outright chicanery they started a band there called The Birds who cut three singles for the Clarion label (all of which were covers). Their second 45 was a limp version of Marmalade's "I See The Rain" backed with this reading of "Rene" from "Ogden's Nut Gone Flake". It's not very interesting because it sounds like a drunken sing-along, in every sense of the word complete with someone playing spoons, kazoo (or is it a comb and paper), jars and vocals that sounds like one of those records a footie team made in the 60's. Sadly there's no version of YouTube so you'll have to take my word for it (I heard it on a CD EP of the bands three Clarion singles).

2. TONY JACKSON GROUP-"Understanding" Portugal E.P. Estudio EEP 50 013 1967
Ex-Searcher Tony Jackson cut this raw version of "Understanding" for a rare as hell 1967 Portuguese E.P. on the primarily fado label Estudio. I daresay there hasn't been such an amazing Small Faces cover out there as this one! Interestingly the band's Dennis Thompson had played with Steve Marriott in his first band The Frantics.

https://youtu.be/krX7wwerdxE

Scan c/o 45cat.com

3. RONNIE BIRD-"Hey Girl" French E.P. track Phillips 437.239 BE 1966
Gallic singer Ronnie Bird's weak French language version of the band's fourth single is fairly uninspired save the musical backing which at one point kicks into a Who inspired barrage of slashing guitar, thrashing drums and some Nicky Hopkin's style piano. Not the best but worth a listen.

https://youtu.be/1sUEQoN18aU

4. TEDDY ROBIN & THE PLAYBOYS-"All Or Nothing" LP track Hong Kong "Not All Lies" Diamond SLP-1030 1967
Hong Kong's Teddy Robin & The Playboys included this competent note for note cover of the band's first #1 as a track on their debut LP. It's not at all un-listenable and reminds me of a lo-fi American garage pop reading.

https://youtu.be/7wEaEWR8oWg

5. TWICE AS MUCH-"Green Circles" UK LP track "That's All" Immediate IMCP 013 1968
Immediate record duo and in house songwriters David Skinner and Andrew Rose tackled the trippy 2nd LP Faces tune on their 2nd and final appropriately titled LP "That's All". Wrapped in beautiful orchestration it distances itself from the psychedelic whimsy of the original and transforms itself into a pop-psych masterpiece.

https://youtu.be/PVmA9b4HmE4

Scan c/o 45cat.com

6. PUSSYCAT-"Ce N'est Pas Une Vie (Sha La La La Lee)" French E.P track  RCA Victor 86.161 1966
Gallic ye-ye groover Pussy Cat cut this French language version of the band's third single on her first E.P. in 1966 alongside covers of tunes by The Moody Blues and The Swinging Blue Jeans. Not too shabby and certainly above Ronnie Bird's piece of merde cover of "Hey Girl".

https://youtu.be/64NOqGQODC4

7. THE BARRON KNIGHTS-"An Olympic Record (Track 1)" UK 45 Columbia DB 8485 1968
The U.K.'s comedy beat group The Barron Knight's took their usual knack for re-writing tracks for laughs by changing the lyrics to "Lazy Sunday" to a tune about the Olympics. It's only about a quarter of the song itself as their numbers are usually just medley's of a variety of pop standards of the day given new words, and this ones no different.

https://youtu.be/9cV29VjtVTQ

8. THE LITTER-"Whatcha Gonna Do About It" US LP track "Distortions" Warick 671 1967
Also cut by Florida's The Evil the same year (on Living Legend 108 and a few months later as Capitol 2038) Twin Cities, Minnesota garage legends The Litter included this raw reading of the SF's debut 45 on their album "Distortions".

https://youtu.be/UV70UbSCRAg

Scan c/o 45cat.com

9. THE STILLROVEN-"Have You Ever Seen Me" US 45 August 102 1968
Minnesota's Stillroven were some of the United States most devoted Anglophiles and followed their 7 inch of a mondo obscure Simon Dupree and The Big Sound cover "Little Picture Playhouse" (August 101 in November 1967) with this track found on the SF's debut US LP "There Are But Four Small Faces". Vocally it's a bit weak as it's out of the lead singer's key but the backing is tight and the enthusiasm is 110%.

https://youtu.be/N4ehduxMgY4

10. GEORGE MARTIN-"Itchycoo Park" UK LP track "British Maid" United Artists SULP 1196 1968
Alongside covers of tunes by The Beatles, Traffic and Procol Harum Sir George and his "orchestra" cut a cover of the Small Faces hit for his UK LP "British Maid" (titled "London By George" in the US). It's slightly muzaky but the surprising organ and regal woodwinds among the strings and horns add a "Swinging London" feel to the groovy kitsch going's on here. Unfortunately there's no video on YouTube.

HOLY HOLLIES

The Hollies songwriting team of Allan Clarke, Graham Nash and Tony Hicks (also known as "L. Ransford" on early release credits) began in earnest writing the odd LP and E.P. track and even an A-side once or twice  early in the career but it was not until 1966 that other artists began covering their material more frequently.  With a wealth of covers of their material it was difficult to pick just 10 so here goes..... Enjoy!

1. THE EVERLY BROTHERS-"Hard Hard Year" US LP track "Two Yanks In England" Warner Brothers WS 1646 1966
The Everly's reached out to the Hollies in 1966 for assistance in recording an LP that ultimately would feature 8 Hollies compositions among it's 12 tracks. All of them are stellar interpretations but this version is my fave of the lot with Phil and Don's beautiful vocals pierced by a screaming guitar solo.

https://youtu.be/vWu2bHKjVT8

2. WHAT FOR?-"So Lonely" US Rampage RR-1701 1966
Hollies covers in the US in the 60's are pretty far and few between so this one is definitely a curiosity. This December '66 version of "So Lonely" turns the somber, down trodden mood of the original into an upbeat/uptempo beat number that's actually enjoyable.

https://youtu.be/78uHuNxPgG4

Scan c/o 45cat.com

3. THE LEE KINGS-"Coming From The Ground" Sweden RCA FAS 796 1967
Sweden's Lee Kings had a host of decent 45's (and an LP) behind them before going to England (like The Tages would later do) to cut a record.  "Coming From The Ground" was written and produced by Clarke and Nash (and their distinct backing vocals are clearly audible on the chorus).  It's an incredible track with a gritty solo, brilliant harmonies and above all was never recorded by the Hollies themselves.

https://youtu.be/J1XWtk4Ml1Q

4. MARY McCARTHY-"You Know He Did" UK CBS 2832 1967
A big thumbs up to Rob Bailey and N.U.T's gang for unearthing this powerful reading of one of the Hollie's earliest original compositions (which first saw light as a B-side in '65) and placing it on the first (and best in my opinion "Le Beat Bespoke" CD compilation). This version was a B-side of her debut 45 backed by a cool brass n' guitars mesh and a chirpy girl group sound with great harmonies!

https://youtu.be/cRTiEHBzJrY

5. THE TWILIGHTS-"What's Wrong With The Way I Live" Australia Columbia DO-4764 1967
Australia's Twilights included future Little River Band vocalist Glenn Shorrock and Tina Turner songwriter Terry Britten ("What's Love Got To Do With It" and "We Don't Need Another Hero").  But in the 60's they were tandem vocalists in a shit hot r&b/beat/mod group who took this note for note cover of a "For Certain Because" LP track into the Aussie charts in 1967. It's been stated that the Hollies wrote it for them but in an interview by an acquaintance with Graham Nash in the 90's Graham stated he'd never heard of The Twilights!

https://youtu.be/kcSJoIV-Deg

Scan c/o 45cat.com

6. NICKY JAMES-"Would You Believe" UK Philips BF 1635 1968
Nicky James was a Brummie associate of the Moody Blues who made a slew of beat and pop psych 45's in the 60's on various labels before singing to the Moodie's Threshold label in the 70's. This cut from the Hollie's LP "Butterfly" was an over the top affair with horns and strings owning more to Gene Pitney than pop psychedelia but still worth a listen.

https://youtu.be/f3Bi41vFHKc

7. THE YOUNG IDEA-"Peculiar Situation" UK Columbia DB 8132 1967
U.K. pop duo The Young Idea were akin to fellow British acts Twice As Much or Paul and Barry Ryan.  Their stab at this track from the Hollie's "For Certain Because" album did little to deviate from the original save adding strings (care of Arthur Greenslade) and female backing vocals to this ode to the joys of a platonic relationship.

https://youtu.be/3vZVP-W6xyM

8. PAUL & BARRY RYAN-"Fifi The Flea" UK LP track "Two Of A Kind" Decca LK 4878 1967
Twin brothers Paul & Barry had a go at Graham Nash's poignant ballad "Fifi The Flea" on their incredible debut album "Two Of A Kind" (that saw it sit among covers of tracks by The Yardbirds and The Pretty Things). It works thanks to the addition of somber harpsichord (that sounds both regal and baroque) in place of the original's bare bones acoustic guitar.

https://youtu.be/yA097CRydqw

Scan c/o 45cat.com

9. DANA GILLESPIE-"Pay You Back With Interest" UK Pye 7N 17280 1967
Buxom U.K. female belter Dana Gillispie tackled this track from "For Certain Because" (and a single in the US for The Hollies!) as her third and final single for the Pye label. It works thanks to its slow burner build up and her phrasing. Compare with other U.K. versions by Paul & Barry Ryan (who did a hefty number of Hollies covers) and The Corsairs.

https://youtu.be/5iTjaWf7Mos

10. THE SEARCHERS-"Have You Ever Loved Somebody" UK Pye 7N 17170 1966
Along with Paul & Barry Ryan and The Everly's Liverpool's Searchers had a crack at this before The Hollie's version was to surface on the legendary dip into psychedelia "Evolution". Though not as raw as the Hollie's take it's still half decent, thanks in no small part to their vocals and the rough little guitar lick throughout and some kick ass drumming by Chris Curtis recent replacement, the Keith Moon influenced John Blunt.

https://youtu.be/wnJK7aQ3eU8

Lynne Randell "That's A Hoe Down"

LYNNE RANDELL-That's A Hoe Down/I Need You Boy US Epic 5-10197 1967

British born, Australian raised Lynne Randell is best known for her  monster "Stranger In Your Arms", a track that was later hugely successful on the Northern soul scene. "Stranger..." was her American debut and today's subject was it's follow up issued in August 1967 (a cover by the Fleur De Ly's under the moniker of Shyster followed in the U.K. a month later on Polydor).

Written by Albert Hammond, "That's A Hoe Down" incorporates licks from several Monkees tunes  ("The Last Train To Clarksville" and "A Little Bit Me, A Little Bit You" along with "These Boots Are Made For Walkin'") at each of the breaks as she had recently accompanied them on a US tour that briefly also featured The Jimi Hendrix Experience. It's a complete 100% up tempo killer with lyrics describing an all night party/rave up.

The flip, "I Need You Boy", is dreadful pop pap crap from the pen of Artie and Kris Resnick. I've only ever listened to it once straight through.

A pensive Lynne with Peter Tork, 1967

Both tracks were collected by Raven records for their 1986 Lynne Randell anthology album "Ciao Baby". "That's A Hoe Down" appeared more recently on the 2015 RPM CD ludicrously titled collection "Come See Me....Dream Babes And Rock Chicks From Downunder".

Hear "That's A Hoe Down":

https://youtu.be/Te0r_DvLOWM

Hear "I Need You Boy":

https://youtu.be/oJ9afupjcnc

Ready Steady Go in Color!

Great Obscure U.K. 60's Sides: The Robb Storme Group

THE ROBB STORME GROUP-Here Today/But Cry UK Columbia DB 7993 1966

British vocalist Rob Storme recorded a host of singles in the UK starting way back in 1960 and sadly I can't tell you much about him.  Today's subject was only released under the moniker of "The Robb Storme Group" (previous issues were either solo billing or with backing by The Whispers).  This was also apparently his last.  I've little idea who he was or what became of him.

The A-side is a Beach Boys cover released at a time when Britain was in the throes of Beach Boys mania with a host of other Beach Boys tunes being issued at an astonishing rate in 1966 Britain (especially from "Pet Sounds" where this number originally appeared).  Brit harmony act The Factotum's issued their own reading a month prior (Piccadilly 7N 35333). The Rob Storme version is a tad faster than the original and is wrapped in powerful harmonies (eschewing the orchestration of the original and relying on more harmonies and an organ brought up in the mix). I was never really a fan of the track no matter who is doing it to be honest.

For me the money has always been the B-side, "But Cry". It's a poppy tune but there's a hard edge to it that when meshed with the superb harmonies and subtle keyboards in a wonderful mix. It was written by producer/arranger Will Malone later of The Orange Bicycle (who arranged both sides of the 45 actually).

The 45 was issued in an astounding number of countries including Canada, Germany, Sweden and the USA!

Swedish 45 c/o 45cat.com

"But Cry" was recently unearthed for the "Beatfreak 6" CD collection and both sides were also reissued on a slightly non-legit Japanese 45 reissue in 2002 replicating a German pressing.

Hear "Here Today":

https://youtu.be/NhSoApGOsBg

Hear "But Cry":

https://youtu.be/O2cHkjbv9uQ

The Vapors Live In NYC 10/21/18

The Vapors at the Mercury Lounge, NYC photo c/o Michelle Lyons Buckner

Band reunions are always a dodgy affair, especially ones from the 80's. There's two versions of the Beat out there (depending on which continent you're on) each fronted by one original member and a host of young faces in the line up with no other originals in the line up. Then there's that farce called Big Country sans deceased original lead singer Stuart Adamson (ditto for a Jez Bird-less Lambrettas) a Members without Nicky Tesco, a Stranglers with two original members (one of them is NOT Hugh Cornwell) and don't even get me started on From The Jam and what are there like two original members left in The Specials these days?!

So with all that said I was cautiously skeptical when it was announced on Instagram that The Vapors would be coming to NYC. But the photos looked promising with lead singer/rhythm guitarist David Fenton on board with lead guitarist Ed Bazalgette and bassist Howard Smith with "new guy" Michael Bowes occupying the drum seat.  But like me the rest of the East Coast jumped at the chance to see them so much that three nights in a row at NYC's Mercury Lounge were sold out almost immediately as they went on sale.  I had not been to the Mercury in almost two decades and the trek in to the Big Apple was long, but it would be worth it.

Opening act The Split Squad's line up read like a Who's Who of power pop with Plimsoul Eddie Munoz on guitar, Fleshtone Keith Streng on guitar, Blondie's legendary Clem Burke on skins,  Josh Kantor, an organist from the Boston Red Sox on keyboards and a gent named Michael Giblin on lead vocals and bass. They were a tough act to follow playing a raucously delightful set of some heavy duty power pop (with a cool cover of The Small Face's "Sorry She's Mine" in there) and kept it short and very sweet.

The Vapors at the Mercury Lounge, NYC photo c/o Michelle Lyons Buckner

And so it was following such a heavy opener that the Vapors bounded onstage to a thunderous applause from the largest gathering of 50-somethings I'd seen since my last Paul Weller show 3 or 4 years ago.  Clearly by the looks of the young guitar player they were down to two original members (lead singer David Fenton later mentioned mid set "you may have noticed that Ed Bazalgette isn't with us, he couldn't come so this is my son Dan").  Despite a bit of O.T.T. onstage swagger Dan didn't miss a note and complimented the band perfectly in the music department. They launched into their first number, "Bunkers" like a well oiled machine and all around I noticed wide eyed, jaws agape punters who like me were in the process of being blown away. Throughout the gig I realized how intricate and melodic their material always was, clearly The Vapors were NEVER four chord wonders! Their 18 track set included just two new numbers as they played a host of tunes from their two LP's "New Clear Days" and "Magnets" and some B-sides as well (yes I'm a bit of a Homer Simpson when it comes to that: "play the old crap!") !  Highlights were a brilliant "Silver Machines" with it's complex melodies, the moody and bleak "Magnets" and my favorite "Waiting For The Weekend". They played "Trains", "News At 10",  "Jimmie Jones" and even their only US hit "Turning Japanese" (something of a stereotype and a bad punch line for idiots who slagged them off back then). They all sounded amazingly fresh. The whole set was brilliant and executed with precision and flawlessly performed and best of all David Fenton's voice sounded the same as it did 38 years ago. The band were clearly bowled over by their reception and their playing certainly showed it! Let's hope they're back again soon because in another 38 years...

Mercury Lounge 10/21/18 Setlist:
Bunkers
Live At The Marquee
Somehow
Trains
Sunstroke
Silver Machines
King L
One Of My Dreams
Magnets
Spring Collection
Jimmie Jones
Waiting For The Weekend
Letter From Hiro
Turning Japanese
Prisoners
News At Ten

Encore:
America
Here Comes The Judge

The Action Is Here! The Action's "Shadows And Reflections" new box set reviewed!

Apart from Monkeypicks  I don't think there's a bigger Action fan in the world like me so when it was announced that there was going to be a four CD set of their entire catalog I freaked. Not since their excellent tome "In The Lap Of The Mods" Action book have I been so excited to see a package arrive at my door!

Rather than give you a blow by blow account of all 86 tracks on this four CD set I figured I would give you some highlights. In 1990 when Edsel issued the very first Action CD all of their EMI recordings the tracks were remixed for some inexplicable reason (their ground breaking 1980 vinyl "Ultimate Action" comp  album on Edsel was taken direct from the masters) . Over the past three decades subsequent CD reissues of the band's EMI catalog (and tracks on various artists CD compilations of the bands EMI recordings) have used the same atrocious mixes.  Grapefruit/Cherry Red's new box set has atoned for that with compiler Alec Palao gaining direct access to EMI's master tapes giving The Action their very first "direct from the original masters" CD compilation ever. Sadly there are no unreleased songs in the EMI archives that we haven't already heard, but that said there are several alternate versions, backing tracks, rehearsal takes and previously unheard Stereo mixes of all of their EMI recordings. Also included are the band's 1967-1968 recordings (previously issued as "Brain/Rolled Gold") including full length versions of "Brain" and a previously unedited version of "Really Doesn't Matter Anymore", all the BBC tracks compiled for Circle's 2004 collection "Uptight And Outtasite", the 5 cuts recorded in '68 after lead singer Reg King's departure and a few months before they became Mighty Baby and issued in 1985 as the "Speak Louder Than" mini LP, both sides of their 1964 single as The Boys and the four tracks issued on 2014's E.P. on Top Sounds. Curiously the dreadful Edsel mixes are consigned, unnecessarily, to disc four.

Looking baked at the Speakeasy, early 1967

The real treat for me were the backing tracks, rehearsal takes and alternate mixes. The backing track take of "Shadows And Reflections" sans lead vocals bears an eerie almost Pink Floyd sounding Farfisa playing scales alongside George Martin's harpsichord that's unnoticeable on the standard 45 version. Action members are notoriously dismissive of the band's sound once lead guitarist/backing vocalist Pete Watson left at the end of 1966 and claimed they sounded "thin" without his guitar and backing vocals.  To this I say balderdash and so shall you when you have a gander at the Association like backing vocals weaving their magic on "Shadows.."!! A rehearsal of "Shadows" flip "Something Has Hit Me" sounds positively amazing with Alan "Bam" King's chiming Rickenbacker noticeable with the backing vocals absent and lead singer Reg King's soulful tones are perfectly accented in an alternate take of the Righteous Brother's "Just Once In My Life" that strips away all the backing vocals . A backing track of "The Place" (written by US r&b singer Jack Hammer best known for "Down In The Subway" who was apparently on hand for the session) highlights Watson's chiming 12 string Rickenbacker meshing with King's 6 string Rick minus George Martin's harpsichord as does the backing track for "Come On Come With Me", which stripped of it's vocals shows how Motown-esque the chord/key changes were. A rehearsal take of band original and the first post Pete Watson single "Never Ever" (minus horns and backing vocals) is a beautiful glimpse of the rhythm section of bassist Mike Evans and drummer Roger Powell, especially the later who is on fire on the cut.  And of final note is the rehearsal take of "Something Has Hit Me" with Alan "Bam" King's chiming electric almost Byrdsy guitar making the track far more ballsy than the finished product which instead utilized an acoustic guitar.

There are never before heard Stereo mixes of 15 of the band's 17 EMI recordings that offer a clearer investigation into the vocals (especially the backing vocals which sound higher in the mix to my ears than the mono versions) in addition to the original mixes of all 17 tracks cut with George Martin for EMI.

Ready! Steady! Go! 1966

There's a nice booklet included with liner notes by David Wells, an intro by our favorite "Mojo" scribe Lois Wilson and an annotated run down by Alec Palao of all the recording information for all 86 tracks in chronological order. Palao has also compiled a a vinyl LP titled "New Action" 12 tracks of the band's '65-'67 EMI material direct from the master tapes.

More U.K. Obscurities On U.S. Labels: The Roulettes US Debut

THE ROULETTES-Soon You'll Be Leaving Me/Can You Go US United Artists UA 718 1964

Britain's beat quartet The Roulettes are little known in the United States and if they are its only as a minor footnote in backing singer Adam Faith on his sole U.S. "hit" "It's Alright" (Amy 913 October 1964) which reached #31. The band, comprised of Russ Ballad (vocals/guitar), Peter Thorp (lead guitar), John "Mod" Rogan (bass) and Bob Henrit (drums) had previously backed Faith on an early US release ("We Are In Love" Amy 899 February 1964) and today's subject. "Soon You'll Be Leaving Me" was the band's first US release sans Adam Faith. It was issued in May of 1964 (previously issued in the UK in November 1963 on Parlophone R 5072). Interestingly the UK issue featured "Tell Tale Tit" on the flip while the American issue featured "Can You Go" (pinched from the flip of their March 1964 UK 45 "Bad Time", Parlophone R 5110).

"Soon You'll Be Leaving Me" is a storming beat group number starting with a cracking drum intro and some Beatle-esque chord changes and excellent harmonies. The Roulettes always brought their A-game when it came to powerful vocals and tight musicianship and this 45 is no exception.

"Can You Go" is not as good as the top side with some hokey lyrics but its still spirited and has a rousing delivery in standard up tempo beat group abandon.  Both sides were penned by songwriter/singer Chris Andrews

The Roulettes would have one more US 45 on their own which you can read about here.

Both sides are available on a now out of print BGO CD reissue of their LP "Stakes And Chips" (which is one of the rarest British 60's albums with copies fetching an excess of $1,000!).

Hear "Soon You'll Be Leaving Me":

https://youtu.be/WEHDN5CIEsw

Hear "Can You Go":

https://youtu.be/UDHiYReMvS8

More U.K. Obscurities On U.S. Labels: Sounds Incorporated

SOUNDS INC.-I Am Comin' Thru/On The Brink US Liberty 55844 1965

Multi-instrumentalist's Sounds Incorporated were a 6 piece British combo who had been around since the early 60's. There first singles were on the Decca label (where they cut a one 45 with the legendary Joe Meek) before moving to Columbia.  Best known to American's as the band behind the brass on The Fab Four's "Good Morning Good Morning", they also opened for the Beatles in a 1965 US tour with an entire set filmed during their opening slot at the legendary Shea Stadium gig in August. In an effort to capitalize on their fame from that tour Liberty records issued the band's latest 45 in both the UK and the US at the same time in October 1965. Issued in the UK as Columbia DB 7737 it remains one of their most sought after 45's.

"I Am Comin' Thru" was previously written and issued by Billy Preston on his legendary 1964 album "The Most Exciting Organ Ever".  I'm rarely one to claim covers are better than the originals but in this instance I am firm in my conviction that the Sounds Inc version easily trumps the Billy Preston version.  It's faster, ballsier and heavier thanks to the bands powerful horn section. Where the original is a soulful slow burner this version is a 100 mph organ/horns party tune, full on.

The B-side, "On The Brink", was the debut 45 by Mike Vickers after leaving Manfred Mann and had already been issued by him in the UK in August (on the same label as Sounds Inc nonetheless!). Though lacking the kitschy/frenetic feel of the original this version is still amazing thanks to the bands strong sax playing, hard hitting drumming (care of future session man extraordinaire Tony Newman) and solid instrumental precision.

"I Am Comin' Thru" has been compiled on an untitled See For Miles collection  but "On The Brink" has yet to grace any collections, unfortunately.

Hear "I Am Comin' Thru":

https://youtu.be/vLp4vPIQZhQ

Hear "On The Brink":

https://youtu.be/Os9mKBoNxtk

The Genius Of Scott Walker

Before his slapping frozen meat for percussion and making questionable and unlistenable recordings for the past four decades Ohio's favorite melodramatic singer/songwriter U.K. transplant cut some of the most brilliant, wonderfully orchestrated pop melodramas of the 60's (and 70's). I decided to chronicle my favorites. Enjoy! All releases are UK pressings unless otherwise noted.

1. "The Plague" B-side Phillips BF 1628 1967
The flip of Scott's solo debut 45, a reading of Jacques Brel's "Jackie" was this dark, original composition (no doubt influenced by the Camus novel of the same name). With it's Ladybird's type "la la la" backing vocals it would've been just another late 60's pop record but with it's almost way out  screeching guitars, doom ladden strings and Scott's trippy lyrics it's the closest he ever came to psychedelia.

https://youtu.be/NiloWOFuY08

2. "Montague Terrace (In Blue)" LP track "Scott" Phillips SBL 7816 1967
The strongest cut from Scott's untitled debut album (cheekily titled "Aloner" in the US!) is yet another of his archetype voyeuristic/people watching song-essay that sees him crooning in observation of his neighbors and their comings and goings while Wally Stott's beautiful orchestration wraps it up as the perfect melancholy parcel it is.

https://youtu.be/Fi7WRBz5Atw

3. "The Rope And the Colt" French single Phillips B 370.780 F 1969
By far one of the most unique Scott solo tracks was this tune composed for a spaghetti Western flick of the same name (released in English speaking countries as "Cemetery Without Crosses"). Scott croons (not unlike Jack Jones!) about all things cowboy and blazing guns and riding trails that end in death while backing vocalists reminiscent of The Jordanaires croon over some very tight musical orchestration. And there's a simple Spanish guitar solo to add to the Morricone feel of it all.

https://youtu.be/4BaxedJ2mRM

4. "The Amorous Humphrey Plugg" LP track "Scott 2" UK Phillips SBL 7840 1968
One of the most powerful solo Scott tracks for my money is this cut from his second album "Scott 2" (yes his first 4 solo long players were all numbered). Once again in his favorite musical mode of social observation Scott chronicles the day of the everyman dad as he daydreams his evenings away imagining that he is a dashing ladies man, a Walter Mitty Casanova as Reg Guest's brilliant musical backing creates a lush texture for it to lay on.

https://youtu.be/JFXuMljSY7g

5. "Mrs. Murphy" E.P. track "Solo Scott/Solo John" Phillips BE 12597 1966
Scott spent most of 1966 swatting away rumors, conjecture and suggestions that he should ditch Gary and John and go solo. The pages of British music weeklies in 1966 were full of them making one wonder did "NME", "Disc & Music Echo" and "Record Mirror" cause the Walker Brothers break up? The fuel was already there and this E.P. was the match that lit the Walker Brothers funeral pyre. Part of what I like to call Scott's "tenement trilogy" (along with The Walker's reading of "I Don't Want To Hear It Anymore" and Scott's later "Montague Terrace") , "Mrs, Murphy" is a brilliant study (again) on human relations and follows all the gossip of an apartment building as told via a conversation between Mrs. Murphy and Mr. Wilson ("I hear that the Johnsons had a baby Mrs Murphy is that true? Why yes, but it's rumored that the little tot's real daddy, lives in 22...") . Neatly tied up with beautiful orchestration again by arranger Reg Guest.

https://youtu.be/5PBdIhlpNXE

6."Thanks For Chicago Mr. James" LP track "'Til The Band Comes In" UK LP Phillips 6308 035 1970
For me "Til The Band Comes In" was always the weakest of Scott's early solo long players and his last album I paid any attention to (I always call it "Scott 5"). Track for track it seems to lack the requisite number of heavy hitters of his first 4 solo albums, at least in my estimation.  There are exceptions though, "Thanks For Chicago Mr James" is among them. Scott's vocals are great but it's Wally Stott's brilliant arrangements and the lovely chorus of backing vocals that give it a campy variety show feel that thanks to Walker's oblique delivery actually works.

https://youtu.be/_Bk1IN-h1C8

7."Orpheus" LP track The Walker Brothers "Images" Phillips BL 7770 1967
The template for Scott's solo career began with "Mrs. Murphy" (see above) and continued with this tune on what would be the final Walker Brother's album of the 60's, "Images". "Orpheus" would not have been at all out of place on any of Scott's first 3 solo albums with it's verdant orchestration and dark lyrics. "Orpheus" is without a doubt one of the bleakest things he ever wrote, and it's quite hard to effectively portray a narcissistic Lothario any better than this, from his own point of view nonetheless.

 https://youtu.be/5y6nZB_QNEs

8. "30th Century Man" LP track "Scott 3" Phillips SBL 7882 1969
Possibly the shortest track of Scott's 60's career and certainly it's his most musically sparse one (it's only musical accompaniment is an acoustic guitar and a wind up music box at the end) "30th Century Man" is an interesting jab at consumerism ("Play it cool and Saran Wrap all you can...") and no doubt futuristic with talk of being frozen ("I'll save my bread and take it with me.."). The lyrics make very little sense but that's what I like about it. It was fittingly chosen as the title for the highly recommended 2006 Scott documentary.

https://youtu.be/Z5aaJG1Nb-M

9. "On Your Own Again" LP track "Scott 4" Phillips SBL 7913 1969
Bordering on an almost Gordon Lightfoot feel, "On Your Own Again" is one of the finest tacks on "Scott 4" (which died a death upon release). It's magic lies in the simplicity that sees Scott singing through the first half backed only by an acoustic guitar before the shimmering string arrangements sweep in. Lyrically one is tempted to see some autobiographical slant to it all.

https://youtu.be/06LMuzmjTJ4

10. "The Old Man's Back Again (Dedicated The The Neo-Stalinist Regime)" single Japan Phillips SFL-1248 1970
Culled from his 1969 "Scott 4" album in Japan, where all things Scott AND Walker Brothers were hugely successful, Phillips saw fit to release this as a single track on the flip of it's LP companion "The Seventh Seal". On top of a funky, fluid beat Walker sings from varying perspectives of citizens in the Soviet Union: the woman who's husband was taken away (presumably by the secret police), people queuing in breadlines, and a young soldier standing guard in the rain while backing vocals that sound like a disembodied Soviet Men's Airborne Chorus dart in and out of the film soundtrack strings and Scott even scats towards the fade-out.

https://youtu.be/N-zgdGQB4S4

More U.K. Obscurities On U.S. Labels: Chris Farlowe On Immediate

CHRIS FARLOWE-Paint It Black/You're So Good For Me US Immediate ZS7 5002 1967

Poor Chris Farlowe, after scoring a UK #1 with "Out Of Time" some Brainiac at Immediate records assumed he'd score a hat trick again (and again, and again) so they had him record versions of more Stone's tracks for A-sides. British 45's of "Ride On Baby and "Yesterday's Papers" all sank, as did a reading of  "Paint It Black". The previously mentioned tracks did not receive a US release, but "Paint It Black" did.  In fact the British version came out in July 1968 while today's specimen was issued in the US of A a full 9 months EARLIER in November of 1967 (not to be outdone it was reissued again by Immediate in the US the following year in September with a different flip side, still to no chart avail)!!

Farlowe's reading of "Paint It Black" never did much for me. Art Greenslade's strings add an odd "Fiddler On The Roof" vibe to it and let's be honest folks you don't fuck with the classics, unless of course you're Otis Redding, which Chris Farlowe was not. Next....

What makes this 45 good is that the US release is backed by the Oldham/Bell/Skinner/Rose (the latter two were better known as Immediate label mates Twice As Much) composition "You're So Good For Me". The track was previously used as a Twice As Much UK B-side the previous year in November and Farlowe's UK B-side to his Small Faces cover "My Way Of Giving" issued in January 1967. It's got a wonderful soulful delivery (and I swear I hear P.P. Arnold among the female backing vocals) and it moves along nicely in no small part to Art Greenslade's orchestration . The production was by none other than Mick Jagger!

Both sides are available in a host of places because Castle Communications, who own the Immediate back catalog, will license it's tracks to everyone.....and also because other dodgy companies were slinging the stuff prior to Castle acquiring the rights.

Hear "Paint It Black":

https://youtu.be/-CIqx9wIQQU

Hear "You're So Good For Me":

https://youtu.be/Ve5gNM-96VA

More U.K. Obscurities On U.S. Labels: The Eyes Of Blue

EYES OF BLUE-Up And Down/Heart Trouble US Deram 45-85001 1966

Future Welsh prog rockers The Eyes Of Blue made their debut in the UK in November 1966 (DM 106). It's US issue came a month later. The band were a suited and booted, razor sharp mod/r&b/blue eyed soul sextet who cut just two 45's for Deram before morphing into a heavier act and switching to Mercury.

Sadly the A-side of their debut "Up And Down" is dreadful, it sounds NOTHING like anything else the band did. The vibes at first lead you to believe it might be an uptempo soul number (in fact there's a hint of "Ain't No Soul..." to it) but then the vocals come in and it sounds like a football terrace chant doing a Freddie and The Dreamers tune. Next!

Luckily there is absolute redemption on the B-side. Props to the band for obscurity on their choice of material. They could have went the usual route and just covered a Stax or Motown number but in true mod style they dug deeper and went with "Heart Trouble" originally cut by The Parliament's on the flip of "That Was My Girl" (Golden World GW-46). The Eyes of Blue managed a hat trick by getting it released the same month as the original (November 1966). I'm not sure how that happened so we are indeed open to any information. Regardless The Eyes Of Blue's version was issued in the UK as Deram DM 106 on November 11, 1966.   With all of that out of the way I am going to commit mod sacrilege here by proffering the theory that this version surpasses the original. It's stronger, the vocals are more gutsy, the musical backing is fuller, the production is better and it's slightly more uptempo. The E.O.B. version eschews the falsetto backing vocals and strings of Ivory Joe Hunter's production and goes for goes with backing vocals slightly at a lower octave (giving it a feel not unlike The Action) and going heavy on the bass/drums/percussion with some tasty organ bits.   Curiously the Eyes Of Blue version omits a verse ("I'm draggin' water all through the house, I called the plumber to see if he could fix the leak...etc"). "Heart Trouble" become somewhat popular on the Northern Soul scene but the band's crowning glory in that genre would come with their next and final Deram 45 in February 1967 "Supermarket Full Of Cans".

"Up And Down" thankfully has not been reissued but "Heart Trouble" has seen a placing on a variety of compilations, among them Decca/Deram's "Northern Soul Scene" CD and Psychic Circle's "Fairtyales Can Come True Vol 4: We All Love The Human Race".

Avoid  "Up And Down":

https://youtu.be/9xtt__-8FdY

Hear "Heart Trouble":

https://youtu.be/S0xCBlvBV14

10 Groovy Small Faces Covers

The Small Faces are one of my favorite bands of all time. Unknown to many there was a host of cover versions of their material through out the 1960's, in fact many of them came from Australia and even the United States. Here's ten of them for your enjoyment:

1. P.P. ARNOLD-"(If You Think You're) Groovy" UK Immediate IM 061 1968
"(If You Think You're) Groovy" is without a doubt the most famous SF's track that they never recorded on their own. Long rumored to lie awaiting a release in the vaults, a SF's recording of the track has yet to surface. No bother as the backing track is the band complete with Ronnie Lane's distinct Harmony bass lines, Ian McLagan's electric piano, Kenny Jone's signature drum rolls and Steve Marriott's soulful backing vocals. "Groovy" is a classic track thanks to the production (care of Messr's Marriott and Lane), the brass (trumpeter Eddie Thornton and a few other former band mates from Georgie Fame's Blue Flames) and of course P.P. Arnold's vocals wailing in the ultimate put down song.

https://youtu.be/vMuE5hAADRs

2. INKASE-"Have You Ever Seen Me" Australia Sweet Peach SP-017 1970
Covered by The Stillroven in Minnesota (August 102, 1968) and Apostolic Intervention in the UK (Immediate IM 043, 1967) this spirited  Antipodean version was unearthed for the excellent "Downunder Nuggets" compilation a few years back and dates from 1970 where it was issued as a B-side to a 45 by Inkase. The misheard lyrics are a gas ("I've seen the lace..." , "I take a flowers, I take 'em to the laundry") but the delivery is excellent and far more powerful than any other versions out there to my ears.

https://youtu.be/WkU016vbTSA

3. CHRIS FARLOWE-"My Way Of Giving" UK Immediate IM 041 1967
Chris Farlowe beat the SF's release of this track by a few months (it would later emerge as an LP track on their untitled Immediate long player). Like his hit on the label "Out Of Time" , it was produced by Mick Jagger and orchestrated by Art Greenslade. It's interesting but suffers, in my estimation, of having too much going on in it. In a BBC radio interview at the time of it's release Farlowe stated that the Faces played on it (P.P. Arnold is also discernible in the backing vocals)..

https://youtu.be/_s2F80Nl7zE 

4. THE LA DE DA's-"Hey Girl"  New Zealand Phillips PF-338090 1966
Found on the flip of a blistering cover of John Mayall's "On Top Of The World" this pretty pedestrian version by New Zealand's La De Da's offers nothing new or interesting bar the cheesy combo organ in the background that's more prevalent in the mix than any keyboards on the original.

https://youtu.be/-o9rFqJ8Uy4

Scan c/o 45cat.com

5. THE VALENTINES-"I Can't Dance With You" Australia Clarion MCK-1773 1967
Best known as Bon Scott of AC/DC fame's first group The Valentines cut a host of covers and their debut 45 paired this with a version of Arthur Alexander's "Every Day I Have To Cry". It's spunky and reminds me of a US garage band by eschewing any attempts at copying Marriott's soulful belting on the original while retaining the SF's go-go organ.

https://youtu.be/HoXcphD4vQ0

6. TYMEPIECE-"Become Like You" Australia 45 Festival FK-3369 1969
Sydney, Australia's curiously named/spelled Tymepice (featuring members of The Black Diamonds) get kudos for not only tackling an LP track (from the band's 2nd LP) but they rocked it out a bit by adding some "la la la's" and a bit more balls to the delivery. Sadly I couldn't find a link on YouTube to back up my description.

Scan c/o 45cat.com

7. THE CHRIS SHAKESPEARE GLOBE SHOW-"Tin Soldier" UK Page One POF 113 1968
On the flip of yet another dreadful cover of the Fab's "Ob-La-Di, Ob-La-Da" is this pumped up interesting reading of "Tin Soldier". The brass really reminds me of Amen Corner and it's worth checking out on that alone. Vocally it reminds a bit of Eric Burdon but it all works somehow. Curiously it was released in 8 countries!

https://youtu.be/iHbjCETFXd8

8. THE INCAS-"One Night Stand" UK Parlophone R 5551 1966
High marks for Britain's Inca's who not only chose an obscure track from the SF's untitled debut Decca LP but backed it up with a carbon copy of the Action's reading of "I'll Keep Holding On"! This interpretation of "One Night Stand" is nothing earth shattering but they get credit for their decent choice of SF's tracks to cover even if it differs very little from the original.

https://youtu.be/WxrxUXNVdfU

9. JOHNNY HALLYDAY-"Amen" LP track France "Riviere Ouvre Ton Lit" Phillips 844 971 BY 1969
Towards the end of 1968 the SF's with Peter Frampton in tow headed over to France to earn a few pounds backing Gallic icon Johnny Hallyday on an LP he was recording where they backed him on three Marriott/Lane compositions (the others being "News Report" and "What You Will", the latter of which later cropped up on the debut Humble Pie long player). The third track, "Amen" is an adaption of the '66 Decca outtake "That Man" that loses all the hazy psychedelia of the original and becomes a heavy rock dirge not unlike what Humble Pie would eventually veer towards, with French lyrics of course. It works, but just barely mainly because Hallyday is clearly out of his vocal range on this one.

https://youtu.be/r5hYWlDr21M

Scan c/o 45cat.com

10. THE CLEVEDONAIRES-"Up The Wooden Hills To Bedfordshire" New Zealand Impact IR-1036 1968
New Zealand's Clevedonaires backed a 45 of their version of Donovan's "Sunny Goodge Street" with this Ian McLagan penned track from the band's untitled 2nd LP. It doesn't stray far from the original version but the churchy organ and tight West Coast style harmonies make it one of my favorite SF's covers.

https://youtu.be/2XRAAoTWvE0