JIMMY JAMES & THE VAGABONDS-Come To Me Softy /Hi Diddly Dee Dum Dum (It's A Good Feelin') U.S. Atco 45-6551 1968 |
Music, fashion and beyond!
JIMMY JAMES & THE VAGABONDS-Come To Me Softy /Hi Diddly Dee Dum Dum (It's A Good Feelin') U.S. Atco 45-6551 1968 |
Ten 60's American covers of songs by The Who!
The Who didn't reach the American Top 10 until 1967 when " I Can See For Miles" traveled all the way to #8 ("Happy Jack" rose to #13 prior to this) . With that said they were foist on the American public with "I Can't Explain" on December 19, 1964, a whole month before it's U.K. release! Despite taking almost three years to reach the American mainstream (aided in no small part by their explosive performance at the Monterey Pop Festival in June 1967) the band always enjoyed a hardcore following in the U.S. in little pockets of dedicated underground fans in places like Minnesota, Michigan and Illinois (to name a few). This could not be exemplified any better than a cursory look at the vast number of band's (mostly on obscure independent labels) that covered tracks by The Who in the Sixties. Enjoy!
1. THE KORDS-"Boris The Spider" Laurie LR 34-3 1967
The Kords hailed from sunny Florida and chose to cover a John Entwistle Who composition (it even got a release in New Zealand!). This cover of the Ox's most famous 60's Who tune does not really differ much from the original and is pretty much a carbon copy but gets high marks for obscurity!
https://youtu.be/sMPDoTbxEHw?si=vfOuCg-cbD0kTnXP
2. RAIN-"Substitute" A.P.I. API-337 1967
This Los Angeles band cut this mondo obscuro cover of "Substitute" (a popular number among the forgotten U.S. bands like The Tower Of London, Malibalavi etc). Sticking to the original's arrangement they manage to inject an interesting mix of frat rock meets soulful overtones. Curiously they chose the modify the Who's censored version (which saw them replace "I look all white but my Dad was black" with "I try walking forward but my feet walk back" exclusively for it's American release) with their own lyrics: "I see right through your plastic mask, I'd like to leave but I can't turn back, my shiny shoes they are made out of sack..".
https://youtu.be/4i64AwRML3o?si=fuQGoxi5iVvKlR4T
3. BLUE-"Sad 'Bout Us" Iris IR-1036 1968
It doesn't get any more obscure than this boys and girls! Hailing from Salt Lake City, Blue add a jangly folk rock delivery to this cover of "A Quick One's" strongest track. The harmonies are halfway decent even if they are a bit raw in places.
https://youtu.be/q4ZMDQ8x_zY?si=pfXUUH5VX7y96Gtj
4. THE ROVIN' KIND-"My Generation" Dunwich 45-146 1967
There are at least half a dozen covers of this track by American 60's bands (The Count Five, The Bards, The Human Beinz, The First National Band, The Iron Gate etc) so picking one was tough. This one has always been my favorite of them all. The vocals are pure snotty American 60's garage teen and the pace is quickened considerably from the original and even, if I'm not committing sacrilege here, far more ballsy than the original at times!
https://youtu.be/fVZlVL-GT-4?si=OpA0JnyVu3NhP4Yu
5. THE SAINTS-"Out In The Street" Summit 402 1967
The Saints hailed from Illinois, a state that the Who enjoyed a very strong base in the 60's (along with Michigan). The tempo is increased considerably from the original and it has a frat rock meets blue eyed soul feel turning it into a "call and response" number. It's incredibly primitive in it's production/recording but completely original in it's interpretation.
https://youtu.be/zpqiD3sphBM?si=qakXgi--XRHl-WAA
7. THE SPONTANEOUS GENERATION-"Pictures Of Lily" Fevre 8680 1968
These fellas hailed from Atlanta, Georgia and did what's basically a note for note cover of the original BUT they saturated it in really strong, well structured double tracked harmony vocals which actually better The Who in my book!
https://youtu.be/LtwsxXBUuOE?si=hkYl06WjkDyidn_n
8. OSCAR AND THE MAJESTICS-"I Can't Explain" U.S.A USA 851 1966
Hailing from Gary, Indiana, Oscar and The Majestics cut this fuzz lacerated cover of The Who's debut single with prerequisite frat rock backing vocals and plenty of tambourine with some really cool guitar flourishes and some nifty, searing guitar solos!
https://youtu.be/ugvQC4z5PWo?si=te8xz27VdOcgECl5
9. THE LITTER-"Legal Matter" Scotty 803G-6710 1967
Tucked away on the flip of the legendary Twin Citie's combo's "Action Woman" was their interpretation of this Pete Townshend anti-marriage ditty from the first Who LP. It's punked up with searing fuzz guitar and a doubled pace that carries it along nicely and is probably my favorite of all of today's selections.
https://youtu.be/jzkhgwUTgEQ?si=07uyIsqkKPGGRc4w
10. THE GREEK FOUNTAINS-"I'm A Boy" Pacemaker PM-250 1966
Alright boys and girls, this band hailed from Baton Rouge, Louisiana and their cover of "I'm A Boy" is interesting because the delivery though close to the template of the original is almost...goofy? The vocal delivery is almost tongue and cheek but the playing is solid (especially the drummer)!
1. "Let The Music Make Your Happy" LP track U.K. "Transition" Direction S8-63231 1968
Zoot's debut "solo" album was issued on Direction in 1968 and it utilized four tracks previously recorded for an album as his brief psychedelic venture, Dantalian's Chariot (see # 5 below) but rejected by Direction. The rest of the album followed his previous genre of mod r&B/soul/jazz, much to the approval of Direction. It kicks off with this track penned by Zoot and his guitarist Andy Somers (later Summers of The Police). It's a cheery brass filled soulful number that defies description outside of what I call "cheerful good time music"!
https://youtu.be/RwrYZ1BUgfI?si=wzCQbBMqYFwiiq0x
2. "Something Is Worrying Me" U.K. 45 Columbia DB 7697 1966
I'm probably committing blasphemy in putting this to print but I think Zoot's interpretation of of this Otis Redding number (his third single with Columbia) knocks the stuff out of the original. It perfectly epitomizes the British r&b "Hammond n horns" moniker with a wailing brass section and truly groovy funky Hammond organ trills throughout. He may not have had the voice of Georgie Fame or the organ skills of Brian Auger but what a sound!
https://youtu.be/kUdRfbPYGvk?si=ZqI7JxRL9NPkRHPQ
3. "Good" U.K. 45 Columbia DB 7518 1965
I'll admit I had to do some research to find out who cut the original of this Bob Crewe composition (it was Dee Dee Sharp and her version was credited to Crewe/Linzer/Randall) that was Zoot's second single and his debut on Columbia (see #10 for his debut 45). It's slightly poppy but it's beautiful hand clap backed groove with prerequisite Hammond n' horns actually makes it work.
https://youtu.be/891vHgyb6O4?si=SJh42hC2LBepDGyd
4. "Let's Run For Cover" U.K. 45 Columbia DB 7876 1966
Zoot was a very big interpreter of the material of British songwriters Tony Colton and Ray Smith and this track was his first of several of their tracks he released. "Let's Run For Cover", his fourth single for Columbia, is a subdued but powerful little ditty that's catchy yet incredibly soulful and sticks in my brain frequently in the most pleasant of ear worms. The flip "Self Discipline" was also a Colton/Smith number as was it's follow up (see #9).
https://youtu.be/otb10AZnzII?si=IqDwKL7BxRu7UR0e
5. "Madman Running Through The Field" U.K. 45 Columbia DB 8620 1967
We covered Zoot's temporary foray into British psychedelic way back when here, so we'll cut to the chase and talk about the song. Kicking the mod-jazz/r&b out the window on it's head, "Madman Running Through The Fields" (penned by Money and Somers, who not to let a good bit go unused, later recycled the wonky chord in it for The Police's "Walking On The Moon") is a freaky little number with backwards cymbals, ethereal flutes, discordant guitar chords and eerie organ and a trippy vocal refrain that no doubt inspired The Dukes Of Stratosphear.
https://youtu.be/QY-LXqkKyhk?si=xhyIOeS4xU6G2WSM
6. "The Mound Moves" U.K. 45 Columbia DB 8090 1966
Tucked away on the flip of somewhat tepid Colton/Smith number "The Star Of The Show" (Zoot's sixth and next to last Columbia 45) is this monster instrumental penned by Money and Somers that sounds like the Small Faces jamming with Georgie Fame's horn section. The guitar is blisteringly reminiscent of The Bluesbreakers "solo" 45 "Curly" meet's Steve Marriott's fret work on any SF's Decca instrumental jams and Zoot's Hammond never sounded so churchy OR so good. Powerful stuff! Play it again....
https://youtu.be/w10yhuYwYg4?si=tJrwNDz8yVls-Lsl
7. "I Really Learnt How To Cry" U.K. 45 Columbia DB 8171 1967
Tucked away on the flip of Zoot's final Columbia single, the Colton/Smith composition "Nick Knack" (about a wayward party animal, something Zoot was reputed to be in the 60's!) was this absolutely mind blowing little Money/Somers original. Sparsely backed by acoustic guitar, somber/subdued horns and organ it's both laid back (dig the classical guitar piece and mellow jazzy horns on the middle) AND trippy (perhaps anticipating #5 with it's pseudo psychedelic "sky-ing" phasing on the vocals).
https://youtu.be/kJDPJbbJi0I?si=bf3JzWi6gUo5h6rg
8. "Coffee Song" LP track U.K. "Transition" Direction S8-63231 1968
Zoot cut this Colton/Smith number (also cut but unissued by Cream at the same time as well as former London r&b stalwarts The Shevelles) that was intended for the cancelled Dantalian's Chariot album but re-used for his LP "Transition". It's a somber little ballad of sorts about a couple who meet in a cafe at a rail station and the aging note left at the table by one half to request another meeting.
https://youtu.be/FtMCK7v_lRo?si=xyH4ZrcjNDU4SoIr
9. "Big Time Operator" U.K. 45 Columbia DB 7975 1966
Zoot Money's only U.K. hit was this July 1966 45 (his fifth for Columbia and again from the pen of Colton/Smith) which reached #25 in the British charts. It's ballsy, brassy and perfectly musically AND lyrically suited as Zoot's vehicle. For more on this track we chatted about it way back when over here.
https://youtu.be/SxgVlcKgkCU?si=tDaxRC-9H0hpuoI9
10. "Zoot's Suite" U.K. 45 Decca F 11954 1965
Zoot's debut single was a sole 45 released on Decca label in August of 1964 with a cover of The Daylighter's "Uncle Willie" with this tasty original instrumental on the flip side. "Zoot's Suite" is a perfect slice of of greasy/jazzy "Flamingo jazz mod r&b" with his Hammond organ trading licks with his slick horn section. The sax solo is completely suave yet funky.
https://youtu.be/8agTtXEewzA?si=Yov7_UUPpOHT6FQ-
In 1998 Decca issued a 25 track CD called "The Psych Scene", one of several "Scene" compilations issued of tracks culled from the Decca/Deram archives. Unfortunately any further official volumes were not forthcoming so I decided to create an imaginary track listing of another volume utilizing tunes from the Deram and Decca labels.
1. VIRGIN SLEEP-"Love" Deram DM 147 1967
2. THE END-"Loving Sacred Loving" Decca F 22750 1968
3. TINTERN ABBEY-"Beeside" Deram DM 164 1967
4. CHRISTOPHER COLT-"Virgin Sunrise" Decca F 12727 1968
5. THE PYRAMID-"Summer Evening" Deram DM 111 1967
6. MARC BOLAN-"The Wizard" Decca F 12288 1965
7. BARRY MASON-"Over The Hills And Far Away" Deram DM 104 1966
8. THE SYN-"Flowerman" Deram DM 145 1967
9. ALEX HARVEY-"Horizons" Decca F 12640 1967
10. THE WORLD OF OZ-"Peter's Birthday (Black & White Rainbows)" Deram DM 187 1968
11. BILL FAY-"Screams In The Ears" Deram DM 143 1967
12. THE NASHVILLE TEENS-"Last Minute" Decca F 12657 1967
13. THE TRUTH-"Walk Away Rene" Decca F 12582 1967
14. THE MOODY BLUES-"Leave This Man Alone" Decca F 12670 1967
15. DENNY LAINE-"Catherine's Wheel" Deram DM 171 1968
16. AL STEWART-"The Elf" Decca F 12467 1966
17. TURQUOISE-"53 Summer Street" Decca F 12756 1968
18. THE ATTACK-"Neville Thumbcatch" Decca F 12725 1968
19. RUSSELL MORRIS-"The Real Thing" Decca F 22964 1969
20. PETER COOK & DUDLEY MOORE-"The L.S. Bumble Bee" Decca F 12551 1967
21. THE HUMAN INSTINCT-"Death Of The Seaside" Deram DM 167 1967
22. PAUL & BARRY RYAN-"Keep It Out Of Sight" Decca F 12567 1967
23. PINKERTON'S COLOURS-"Magic Rocking Horse" Decca F 12493 1966
24. TINKERBELL'S FAIRY DUST-"Twenty Ten" Decca F 12778 1968
25. FRIENDS-"Mythological Sunday" Deram DM 198 1968
Artwork care of Charlie Starkey.
THE MERSEYBEATS-Don't Let It Happen To Us/It Would Take A Long Time U.S. Fontana F-1513 1965 |
THE LOOT-Don't Turn Around/You Are My Sunshine Girl U.K. CBS 3231 1968 |
German picture sleeve |
I'm breaking my Summer sabbatical to pay tribute to the Godfather of British blues, the great, now late, John Mayall. I can think of no better way to pay tribute to him than to select a few of my favorites by John in no particular order.
1. "Blues City Shakedown" U.K. Decca F.12120 1965
Released on the flip of John's second single "Crocodile Walk", "Blues City Shakedown" is a catchy little instrumental propelled along by Mayall's masterful harp blowing on top of his ivory tinkling with Roger Dean on guitar, John McVie on bass and Hughie Flint on drums. I'm not normally a fan of harmonica instrumentals but this one has such a catchy and melodic groove it's hard to say "no" to!
https://youtu.be/qviqDapTKc0?si=KuP002hf5c12yT4p
2. "On Top Of The World" compilation LP track recorded 1966 "An Anthology Of British Blues" U.S. LP Immediate Z 12 52 006 1968
This left over Immediate track was recorded during the same August 1965 session that yielded "I'm Your Witch Doctor" (see below) and did not see the light of day until 1968's "Blues Anytime" Immediate records sampler (issued as "An Anthology Of British Blues" in the North America). There's a charming shuffle to it with a mild boogie woogie feel on the piano that brings to mind Manfred Mann's jazz tinged r&b and Mayall's vocals are laid back and carefree and the closest he ever came to recording a "pop" song. Out of nowhere Clapton let's rip with an over the top, eerie guitar solo that returns during the fade out.
https://youtu.be/IAZIvIfOPv8?si=CZTdvDxeTOHVP1Qd
3. "I'm Your Witch Doctor" U.S. Immediate ZS7-502 1968
This one off recording for Andrew Loog Oldham's Immediate imprint was first issued in Britain as Immediate IM 012 in October 1965. It was reissued in the U.K. again by Immediate in June of 1967 (as IM 051) and first issued in the States in 1968. In the Summer of 1965 Mayall's contract with Decca was about to expire and in August he and The Bluesbreakers went into the studio with Jimmy Page in the production chair to record some tracks for a possible single on Immediate records. "I'm Your Witch Doctor" is historic in that it marks's the debut of Eric Clapton following his departure from The Yardbirds and is also Mayall's first recording with his brand new Hammond M-100 organ (famously emblazoned with "JOHN MAYALL" in large lettering stenciled on the front). Without a doubt it's Mayall's most up beat and powerful single with an almost jazzy swing to it accented by his sinister organ and blistering guitar bursts from "God". Also along for the ride are John McVie on bass and Hughie Flint on drums.
https://youtu.be/lseUZfS514Y?si=W2xe6P9NJW02YjiV
4. "All Of Your Love" LP track "Blues Breakers With Eric Clapton" U.S. LP London PS 492 1966
From the legendary "Blues Breakers With Eric Clapton" album (aka"Beano") "All Of Your Love" opens the LP with Clapton's incredible sonic assault on the ears complemented by Mayall's funky new Hammond organ on top of John McVie (bass) and Hughie Flint's (drums) solid backbeat while Mayall croons his heart out. Later recycled by The Bluesbreakers in the Peter Green era on their "solo" 45 rpm outing without Mayall, "Curly".
https://youtu.be/rUUEtCBhn_Q?si=lXM9RZV98p0UP0C2
5. "Suspicions" U.K. Decca F 12684 1967
Mayall's seventh single for Decca was the unveiling of an all new (all star) Bluesbreakers featuring a young Mick Taylor (formerly of the Gods) on lead guitar, future Free member Andy Fraser on bass, Dick Heckstall-Smith (recently demobbed from the Graham Bond Organization) on sax, future Wynder. K. Frog member Chris Mercer on sax and recently departed Artwoods drummer Keith Hartley . Heavy on the horns it marks a departure from what you would expect from The Bluesbreakers but Taylor's electrifying guitar licks remind the listener just what made his backing band so legendary. Mayall belts his heart out soulfully in an ode to his woman who is stepping out.
https://youtu.be/neUNdz25gSs?si=MIoBtICdm03eji0V
6. "Jenny" U.S. London 45-LOS-20037 1968
One of my favorite Mayall tunes is this unusual single from '68, unusual because it features no one but Mayall but there are some bluesy guitar licks that were played by Peter Green but there is no bass or drums, just bare bones , haunting vocals with an odd echo and guitar. Savaged by the press at the time of it's release it's unique and is a predecessor of Mayall's later drummer-less recordings.
https://youtu.be/xcjNxrnxw1E?si=IIRf463V-jwd3qCU
7. "Ridin' On The L. And N." E.P. track "John Mayall's Bluesbreakers With Paul Butterfield" U.K. Decca DFE-R 8673 1967
From the E.P. that featured four tracks cut in November 1966 with visiting American blue eyed blues dude Paul Butterfield, this number is a brilliant effort by the two of the most famous white bluesmen from both sides of the Atlantic! Sung by Mayall with Butterfield blowing some harp that sounds like it's been dredged from some lonesome train yard it is easily the strongest track from the E.P. Despite what has been written no members of the Butterfield Blues Band played on the E.P.'s sessions.
https://youtu.be/EWrL_N5QW1A?si=FjlPGA_9jbC2SPFv
8. "Sitting In The Rain" U.K. Decca F.12545 1967
Mayall's fifth Decca single is this simple, musically sparse (see "Jenny" above) number that evokes the rural blues feel of someone sitting on a porch with the simple hands slapping thighs as percussion and some very simple guitar licks while Mayall croons on top of it all. Despite it's lacking bass or drums it works, but the public, like most if not all of Mayall's 7" releases, couldn't be bothered.
https://youtu.be/X8IOeuGnrjc?si=kQyer1FmtcwznoiH
9. "Key To Love" U.S. London 45-LON 20016 1966
From the above mentioned ""Blues Breakers With Eric Clapton" album "Key To Love" is a driving stormer of a track with blistering guitar by Eric Clapton and the powerful horn section of Alan Skidmore (tenor saxophone) and Dennis Healey (trumpet). It's uptempo delivery really packs a punch and it was issued in the U.S. (and the U.K.) as the b-side to the album's reading of Mose Allison's Brit r&b standard "Parchman Farm".
https://youtu.be/gDkPEDTcVMg?si=Z07hU28gRE4wPySW
10. "Crawling Up A Hill" U.K. Decca F.11900 1964
This is where it all started for me. In 1989 I came across this track on the incredible Kent compilation LP "Rhythm N' Blue Eyed Soul". Mayall's debut single was this catchy original that perfect encapsulated the mid 60's British mod/jazz term "Flamingo jazz" (named for the venue that was home to the likes of Mayall, Georgie Fame. Chris Farlowe, Zoot Money etc). It's got some incredible harp wailing, laid back Mose Allson style lead vocals, combo organ and an amazing guitar solo by Bernie Watson (who left the band soon after it's May 1964 release).
https://youtu.be/cc_mr7FnnBs?si=YL3UuXb3GGva9AGN
The author is EXTREMELY indebted to the incredible book "Strange Brew: Eric Clapton & The British Blues Boom 1965-1970" by Christopher Hjort which was invaluable in providing information on many of these recordings.
Yours truly with John Mayall, Phoenixville, PA 2014 |