More U.K. Obscurities: The Spectrum

THE SPECTRUM-Portobello Road/Comes The Dawn U.S. RCA-Victor 47-9382 1967

The U.K. 60's quintet The Spectrum issued four singles in the U.S. Today's subject was their second, being released in November 1967 (it was issued in the U.K. in August '67 as RCA Victor 1619).

"Portobello Road" is a favorite London landmark in 60's songs, both Cat Stevens AND Billy Nichols had unrelated songs about it. The Spectrumn's ode, like the two previous mentioned tracks pay lyrical homage to the host of articles available for sale from the past and (especially) present. The harmonies remind me of The Tremeloes or the Marmalade and there's a really atmospheric organ that's "groovy" and the mandatory tinkling ivories and tuba to give it that "67 London" kitsch/regal feel. 

The B-side, "Comes the Dawn" is fairly tepid. It's not awful but it's a fairly mundane track that slightly brings to mind Rupert's People's "Reflections Of Charles Brown" but with harmony vocals. 

Both sides are available on the collection "All The Colours of the Spectrum: Complete recordings 1964-1970" as well as through streaming. 

Hear "Portobello Road":

https://youtu.be/KcofrWLdeHA?si=xygp9q1sy9ooL8aJ

Here "Comes the Dawn":

https://youtu.be/1br2RajkpR8?si=24jtFfxqqF56xiFw

More U.K. Obscurities On U.S. Labels On U.S. Labels:The Debut of Genesis

 

GENESIS-The Silent Sun/That's Me U.S. Parrot 45-PAR-3018 1968

The debut single by Genesis was strangely released here in the United States almost to the date of it's British release (both in February 1968).  It made little fanfare for the band on either side of the Atlantic and was their first and last American single until a whole four years later! Curiously their 1968 debut long player, "From Genesis To Revelation",  was not released in the U.S. by Parrot until 1974!!

"The Silent Sun" to me (and most of the band's material from 1968 for that matter) always sounded like a melding of Deram era Moody Blues dashed with "Oddysey And Oracle" era Zombies. It's choral vocal perfection and subtle orchestral backing gives the number an incredibly full sound that sounds both regal and baroque at the same time and easily stands alongside a host of Deram/Decca '68 psych pop like Toby Twirl, Turquoise or The World Of Oz .

The flip, "That's Me" (or as this singles credits it: "That's Me"!) follows a similar Moodies/Zombies trajectory though it's a bit more rocking with occasional bursts of guitar leads and a rapid fire vocal delivery. Regardless the formula works.

Both tracks have subsequently been included on various deluxe editions of their previously mentioned debut LP ("The Silent Sun" was actually included on the original release of the album, but not the flip) and are available in a host of forms and is on most streaming services as well. 

Hear "The Silent Sun":

https://youtu.be/hTfHGGKFBHU?si=GoEMAjlKjX5aaqrz

Here "That's Me!":

https://youtu.be/Dpt7OvciEbs?si=xgyqjlPCiQvz5os3

10 Cool U.K. 60's Songs That You Possibly Haven't Heard Part Seven

1. THE PROFILE-"Haven't They Got Better Things To Do" U.K. Mercury MF 875 1965

"Haven't They Got Better Things To Do" joins the slim discography of British mid 60's protest songs (a good cousin to George Bean's "Why Must They Criticize"). It could easily be mistaken for a mid 60's U.S. single with it's mid tempo and social commentary lyrics (with the interesting chorus "This new generation is goin' to hell", which couldn't have helped airplay) but the vocal style and combo organ are distinctly British, regardless it's a good one.

https://youtu.be/ajf0o0-QMzw?si=D2Z686n9N2CXwqdo

2. THE ROTHCHILDS-"I Let Her Go" U.K. Decca F 12488 1966 

This release is by a band I have never heard of who cut two singles for Decca. The harmonies and lead vocals are absolutely incredible and the regal orchestral backing (care of Arthur "Out Of Time" Greenslade) and the production by Tony Clarke (of Moody Blues Mk. II production fame) make this an absolutely incredible slice of proto-pop/psych!

https://youtu.be/vJ-c8Dk5P_g?si=H1gbhkv2fNG03KGM

3. PAUL STEWART-"Queen Boadicea" U.K. Phillips  BF 1513 1966

This number is incredibly Dylan-esque: the lyrics, the music and the vocal delivery. I love the somber and sparse musical backing:  a lush organ, jangly guitar, bass and drums. Then the organ switches to a different mode that sounds almost like strings while the vocalist sings of a doomed socialite (hmmmmm that sounds familiar).

https://youtu.be/fEaDO4SJkJg?si=kWLL93n4EDteGahF

4. CHRIS CURTIS-"Aggravation" U.K. Pye 7N.17132 1966 

This was the one and only solo 45 by ex-Searchers drummer/songwriter and taste maker Chris Curtis. It's a cover of a Joe South composition and I really enjoy it. It's a rather swinging number in sort of a Tom Jone's "discotheque" way with it's horns, female backing vocals and driving beat and is carried quite well by Curtis' strong voice with a virtual who's who of backing session musicians (Jimmy Page, The Breakaways etc).

https://youtu.be/-HqMFhdK2Ao?si=BYmCAKGbEDZLhHLe

 

5. MIKE PROCTOR-"Mr. Commuter" U.K. Columbia DB 8254 1967

While Ray Davies sang sympathetically about the everyman this number is a damning , nasally vocal led condemnation of the nameless souls who take the train five days a week 9 to 5. The musical backing contains this fuzz guitar lick that sounds like Les Yper Sound's "Psyche Rock" instrumental (but preceded it by release by a few months). Regardless of the lyrics it's an incredible slice of pop psych with the usual kitchen sink thrown in (sounds effects, fat brassy sounds, strings etc) and a musical backing a that sounds straight off of a library music comp. 

https://youtu.be/pKcP-0jKdLs?si=r1Mm8mPf5_dVXbgG

6. FOUR LEAVED CLOVER(S)-"Alright Girl" U.K. Oak RGJ-207 1966

File under: "records that should have got a wider release", this incredible slice of mid 60's mod/Freakbeat is brilliant. It's brash four chords Kinks style riff and high "ooo oooo ooo" backing vocals are absolutely spine tingling! Released in an incredibly small quantity on the tiny Oak label this record is among the most rare releases of the genre this record deserved a wider release.

https://youtu.be/D9hIEiGRDEo?si=EDOo2j-2Glep1TNR

7. THE UGLYS-"A Quiet Explosion" U.K. Pye 7N.17027 1966

The Uglys go down in history as being the launching pad for one Steve Gibbons. "A Quiet Explosion" could be considered a social commentary of sorts lyrically, but all that's swept aside by the absolutely insane, hypnotic carnival organ on speed trills being played beneath some amazing drumming and manic bass lines while the lead singer sings of "cold little wars" and "other lands where starvation is rife". 

https://youtu.be/3MGgw2o1wzU?si=W4ZOxgFKn9U0gLB5

8. NATIONAL PINION POLE-"Make Your Mark Little Man" U.K. Planet PLF 111 1966

I absolutely love this Ray Davies-esque bit of social commentary that's biting, delivered with venom and a musical backing that absolutely reeks of Kinks style delivery (bouncy, acoustic guitar strumming, bursting guitar riffs and a sing-a-long chorus etc). "Politicians dressed in Sunday best to impress the plebs in rags, they kiss the ladies babies and they hand out lots of fags. They drive around in smart cars to take to blokes on bikes, they promise gullible workers much more money and less strikes...".

https://youtu.be/bgL_7XXX7fA?si=5o60WseAvCDy9aCY

9. THE DAKOTAS-"Seven Pounds Of Potatoes" U.K. Page One POF 018 1967

Guitarist Mick Green and company cut this one off for Larry Page's Page One outlet in '67 penned by Green and bassist Robin MacDonald a month before backing Billy J. on their final outing with him. "Seven Pounds Of Potatoes" is a bluesy no nonsense number with an almost disinterested lead vocal and some incredibly catchy/gritty guitar pyrotechnics from Mick Green. Things got heavier the following year when they switched to Phillips for "The Spider And The Fly". 

https://youtu.be/TNgXgPZaSFA?si=dcVDqbyrEoDVDXcr

10. HAT & TIE-"Finding It Rough" U.K. President PT 122 1967

Future Nirvana member Patrick Campbell Lyons was part of a short lived duo with Chris Thomas who cut two singles for the President label, this was the flip to the second and final one. Driven by an incredibly hypnotic sonic fuzz guitar assault that's half raga and half Celtic jig music it's an incredible little piece of uptempo Freakbeat meets pop psych brilliance. Phil and Don (Everly) dug it so much they covered it on their 1967 LP "The Everly Brothers Sing" . 

https://youtu.be/vN4GnsIGqT0?si=_Xc-l4oJu9t1pFG9

More U.K. Obscurities On U.S. Labels On U.S. Labels: The Rob Storme Group

 

THE ROB STORME GROUP-But Cry/Here Today U.S. Aurora 162 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" in the U.K. (Columbia DB7993 August 1966).  Previous singles were either solo billing or with backing by The Whispers). This was his second U.S. single which came out in September of '66 and also apparently his last (anywhere). 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). See this previous entry for a story on 60's British Beach Boys covers. 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). It's incredibly infectious. 

"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

More U.K. Obscurities On U.S. Labels On U.S. Labels: The Truth "Sueno"

 

(THE) TRUTH-Sueno/Old Ma Brown U.S. London 45-LON-1017 1968

U.K. 60's duo The Truth (Frank Aiello and Steve Jameson) had just three of their eight British singles released in America. Today's subject was the final single on both sides of the Atlantic. "Sueno" was my first introduction to these chaps when I first heard it on a "Rubble" compilation where one of the compilers referred to them as "not the dodgy 80's mod combo". I will admit that I barely paid them or the track any attention and it honestly wasn't until I found this single in my local record shop that I paid it any mind (having long ago been converted to the band via their incredible previous singles (which we have discussed here, here AND here). 

"Sueno" (Spanish for "dream") is of course a cover of a track originally done by The Rascals as the flip of their smash "Groovin". Starting off with some very funky 70's sounding keyboards this cover is fairly decent. Aiello and Jameson were incredibly matched vocally and they carry the tune with ease adding a certain soulfulness to it not found in the original. The musical backing is fairly sparse: with hand claps, acoustic guitar, bass, drums and ivory tinkling. There's occasional bouts of weirdness (which I love) especially at the end where this over the top Mick Ronson 1970 style guitar solo arrives out of nowhere to accompany the Nicky Hopkins style piano trills to play the number out.

The flip, "Old Ma Brown" is an acoustic country music styled ditty complete with some very American Nashville session guitar style licks that accompany each verse, the number surprisingly works for me because of the vocal strength of these two cats!

Both sides are available on the Truth CD collection/compilation "Who's Wrong: Mod Bedlam 1965-1969" and for the moment are available on streaming as well. 

Hear "Sueno":

https://youtu.be/rOduKkv4bp0?si=uac9aUJNTH7g2Yzf

Hear "Old Ma Brown":

https://youtu.be/zwNGlx87uoQ?si=Xvtkksw89qcG4A9p

More U.K. Obscurities On U.S. Labels: Episode Six-"Morning Dew"

 

EPISODE SIX-Morning Dew U.S. Compass CO-7007 1967

The Episode Six had a confusing U.S. singles release career. They had just four U.S. releases on four different labels. Today's specimen was their second U.S. single, albeit a single sided promo release (we discussed their first American single here).

The Episode Six are of course best for the fact that their lead singer Ian Gillian and bassist Roger Glover later moved on to Deep Purple. Their second American 45 was a cover of Tim Rose's "Morning Dew" (though it was originally written by Canadian folk singer Bonnie Dobson, hence the shared writing credits on this single). The number was also being done by The Move in their live set's and on the BBC at the time, but they never recorded it for a record release. The Episode Six were a well honed harmony vocal band with all members being powerful enough to front the group. On this track drummer Mick Underwood takes the lead on this with keyboard player Shelia Carter and Ian Gillian (audible on the chorus) each getting their own "solo" vocal parts. The musical backing is tight as expected.

There's an incredible clip of the band performing "Morning Dew" live on the fantastic German TV show "Beat Beat Beat" (now part of the "Beat Club" archives) here with Ian wearing part of an Arab headdress (no doubt acquired during a residency in Beirut in 1966) . AND a cool interview about "flower power" from the same show with the band here. 

"Morning Dew" is available on a host of Episode Six collections and on all streaming services.

Hear "Morning Dew":

https://youtu.be/mD4TA1hfpok?si=2mkchvJYKj7Qqx_C

10 Cool Pink Pye 60's British Singles

 

1. DAVID BOWIE AND THE LOWER THIRD-"Can't Help Thinking About Me" Pye 7N.17020 1966

This January 1966 single was the first to reflect the former David Jone's new moniker. It starts out with some cool acoustic guitar and one of Bowie's best vocal performances where he croons confidently. It's probably also the only pop song to utilize the phrase "recreation ground". Lyrically it's also one of his finest, perfectly encapsulating teenage anxiety:  "remember when we used to go to church on Sundays, I lay awake at night terrified of school on Mondays...". Powerful stuff with the Lower Third (Denis "Tea Cup" Talyor-lead guitar, Graham Rivens-bass and Phil Lancaster-drums) giving it some solid backing. Sadly, tired of being ripped off by management by the time it came out The Lower Third were no more and Bowie promoted it on "Ready Steady Go" with his brand new backing group, The Buzz. 

https://youtu.be/m9upuHPKKJI?si=3Nr0-mQPFHj-KArO

2. THE BOYS-"It Ain't Fair" Pye 7N.15726 1964
Before they became mod heroes The Action this quintet cut this solitary single as the Boys. Produced by singer Kenny Lynch (see also #7 below) and penned by lead singer Reggie King, one of the most soulful voices the United Kingdom, "It Ain't Fair" bridges the tail end of the band's beat group phase and the blossoming into full on blue eye soul connoisseurs. Check out Reg's rapid fire vocal delivery on the bridge and the band's soulful backing vocals, two trademarks that would be key selling points in their incarnation as The Action. 

  https://youtu.be/GL_S917tQEA?si=Pb7IINAWUTcUgYZ3

3. CHRIS CURTIS-"Aggravation" Pye 7N.17132 1966

Ex-Searcher's drummer and musical tastemaker Chris Curtis made his sole solo single shortly after leaving the band in June of '66. Chris was long known for his ability to choose a hit for his former band and had over the previous year got onto the other side of the glass in the  recording studio and began producing records. On "Aggravation" Curtis had the assistance of Jimmy Page, John Paul Jones and no doubt female vocal group The Breakaways.  It's a rather swinging number in sort of a Tom Jone's "discotheque" way with it's horns, female backing vocals and driving beat and is carried quite well by Curtis' strong voice.  It blew me away the first time I heard it on a PRT records 10" E.P. called "It Happened Then" in the mid 80's. Sadly it was his last release as a performer. 

https://youtu.be/68UmUzk11EA?si=H-pxT8Xj-By2O3jK

4. WEST COAST CONSORTIUM-"Some Other Sunday" Pye 7N.17352 1967

Before releasing the cringe worthy "All The Love In The World" as the shortened Consortium the band launched their debut as the West Coast Consortium with this intricate harmony pop number drenched in Mellotron/chimes/xylophone etc and incredible layers of airy vocals. "Some Other Sunday" carries on the British vocal tradition of the likes of the Ivy League but with updated musical trappings. 

https://youtu.be/1dHPoc2qTT0?si=XZR3VTdgBPUzjhpK

5. ROY BUDD-"Birth Of Budd" Pye 7N.15807 1965

Best known for being the man behind the "Get Carter" soundtrack Roy's debut came in March 1965 with a jazzy little instrumental piece written by Budd and famous U.K. jazz bandleader Harry South titled "The Birth Of Budd".  Lead by Budd's boozy bar room piano it builds adding guitar, subtle organ, horns and is jazzy yet has a distinct poppy swing to it that reminds me of The Zombies "Conversation Off Floral Street" from many years later.  There's a nifty little bluesy guitar towards the end as it all slowly fades away that makes it easily mistaken as a mid 60's U.K. r&b 45.

https://youtu.be/LIYw1zdpxZk?si=K48we0zlygeENovI

6. PADDY, KLAUS & GIBSON-"Rejected" Pye 7N.17060 1966

Before Cream, there was the power trio that was Paddy (Chambers), Klaus (Voorman) and Gibson (Kemp).  Paddy was an old Merseybeat hand from a variety of Liverpool group's (Faron's Flamingo's and later The Escorts) as was Gibson (Rory Storm and The Hurricanes, King Size Taylor and The Dominos) while Klaus of course was a Hamburg lad brought into rock n' roll thanks to the Liverpool boys. "Rejected" (not to be confused with the amazing single by The Fenmen of the same name) is a catchy, rhythmic little number with some laid back Georgie Fame-ish style vocals, stride piano, a jazzy beat and is imminently danceable.  The lyrics are pretty amusing, concerning a guy who takes two jobs to please a materialistic woman who leaves him for another man because he's never home. Sadly it was their last single with Klaus heading to a lucrative career with Manfred Mann and Paddy stepping into The Escorts to replace Terry Sylvester. 

https://youtu.be/e9_5dKWbQyE?si=z3vJAm_G7YrDMtAY

7. THE GAME-"Gotta Keep On Moving Baby" Pye 7N.15889 1965

This was the debut single by the Game, a legendary teenage mod quintet produced by Kenny Lynch shortly before his involvement with another young mod band called the Small Faces. "I Gotta Keep On Moving Baby" is more snotty nosed r&b and "hard" beat than the "freakbeat" stuff these teens would be more famed for.  To my ears it's akin to early Wimple Winch or maybe The Primitives with it's Bo Diddley-esque beat/percussion.  It's best bit is the gritty guitar solo worthy of any 1965 Pretty things record with it's bluesy tone and maracas shaking in the background.

https://youtu.be/rt7q_ikRGA4?si=7agEhNPpG-l_nJUm

8. THE TRUTH-"Baby You've Got It" Pye 7N.17095 1966

 

Mod duo The Truth (Frank Aiello and Steve Jameson) released this mod killer as the flip of their fourth single (a reading of Ray Davie's "I Go To Sleep").  "Baby You've Got It" (not to be confused by the Maurice & The Radiants/Action number of the same name) is by far one of the band's strongest numbers.  From its repetitive gritty main riff and total mod/discotheque '66 feel of danceability it doesn't let up and the raw vocals by the lads are quite soulful.

https://youtu.be/Qk1SQqQ_9gQ?si=xVRlXFWlBi_WERoT

9. TAMMY ST. JOHN-"Dark Shadows And Empty Hallways" Pye 7N.15948 1965

F*ck this is the stuff!  Powerful.  Hands down the best "loss of love" tune EVER written. Tammy St. John's got pipes!  And the arrangement (by Johnny Harris) and lyrics will make the hairs on your neck stand on end, especially when it all slows down Spectoresque style with just bass drums and piano and she croons "and if you see my baby just tell him there ain't no rainbows for me, and if you talk to my baby just tell him I'm as blue as can I be. How can I make tomorrow when I can't bear to live through today....".  Woah, and dig this, she was only 14 when she cut this monster! 

https://youtu.be/7nCMfoefQBY?si=7K21Dnz6hF31JlV2

10. THE MONTANAS-"That's When Happiness Began" Pye 7N.17183 1966

The Montanas took this Addrisi Brothers (of "Cherish" fame) tune originally cut in the U.S. of A by the Grains Of Sand and kick the guts out of it doubling the pace, adding thumping drums and an absolutely over the top layer of fuzz (check out the wiggy guitar) with zooming bass runs. This was their second of a long slew of singles for the Pye label (from a total of nine). 

https://youtu.be/Bj62QCFAfJk?si=zfozXRX-tjMmOLMG