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

 I'm reaching back out to a series I haven't done in awhile to profile ten obscure British 60's tunes in no particular order or genre.....

1. THE LUUVERS-"The House On The Hill" U.K. Parlophone R 5459 1966

Lulu's backing band cut this rare as hell one off single in 1966. Interestingly it was penned by Manfred Mann's Mike Hugg and Manfred Mann but never recorded by the Manfred's. With subtle fuzz and an almost downtrodden feel from the vocal department it's an interesting mix with an infectious chorus and gritty musical backing that begs a legitimate re-release somewhere!

https://youtu.be/uAQMMjV-_C4?si=Hydw9KHyI9dopgam

2. GEORGE BEAN-"The Candy Shop Is Closed" U.K. CBS 2801 1966

This one has what sounds to me like a delightful mix of The Monkees (the melodic guitar licks scream first album Monkees) and Deram era Bowie all wrapped up perfectly. George Bean, a one time Andrew Loog Oldham protege cut this upbeat, jangly pop number as his first single for CBS after a string of Jagger mincing (and later folky) sides for Decca. 

https://youtu.be/QyOOTdKR3pc?si=Tqf4pHaJj-ofVCHk

3. THE CHEROKEES-"Everybody's Needs" U.K. Columbia DB 7822 1966

On the flip of yet another mundane cover of "Land Of 1,000 Dances" comes this mod/Freakbeat basher. It's a total moody/moddy little piece with soulful vocals and a somber monotonous riff till the drummer and guitar player start going all Who on the track with some positively cool power pop breaks and everybody starts doing this half assed call and response thing (it worked for The Animals so maybe Mickie nudged them into it here), which is so lifeless it's actually cool, like they don't give a f*ck or something!?!

https://youtu.be/S4PEcBaqHLc?si=HKBJtFdp9DINbLHm

4. THE LANCASTRIANS-"I Can't Stand The Pain" U.K. Pye 7N 15927 1965

The Lancastrians cut six singles for Pye in '64-'66(all under the aegis of producer Shel Talmy), this was the flip of their fourth, "A Lonely Man". It's a mid tempo beat ballad of sorts with a really cool quirky/gritty guitar lick and this trademark backing harmony vocals sound that the band were known for that really makes it work. The band cut Ray Davies "The World Keeps Going Round" next before committing career suicide and with an ill advised cover of  "The Ballad Of The Green Berets". 

https://youtu.be/tDV2fSBWfhM?si=TKvB_CuThwWQ2pWL

5. THE ZEPHYRS-"Wonder What I'm Gonna Do" U.K. Columbia DB 7410 1964

The Zephyrs cut six singles, one for Decca and five for Columbia, all of the latter were produced by Shel Talmy including this, their third single. Punctuated by some cool high backing vocals and an incessant chorus ("bye bye baby bye bye baby") with a standard r&b lick as the base, "Wonder What I'm Gonna Do" is catchy mid 60's British beat perfection at it's best!

https://youtu.be/UGGnSbU90ls?si=5RKARmnoKwXhzF6J

6. THE CHEVLONS-"Too Long Alone" U.K. Pye 7N 17145 1966

I recently stumbled on this groovy little number on a sunshine pop comp on Spotify and immediately tracked down a copy.  I know absolutely nothing about these guys. "Too Long Gone" is a wonderful slice of mid tempo mid 60's British beat balladry with harmonies that recall Marmalade's first single and early Tremeloes records sans Brian the Butcher and a descending bassline that reminds me of "Sunny Afternoon".

https://youtu.be/kK-r_v46Ywg?si=S2kMXKw_yQ6uNvvo

7. NIRVANA-"Oh What A Performance" U.K. Island WIP6057 1969

Don't let the 1969 release date fool you, this was the band's last 45 for Island and in my estimation it is the most rocking thing they ever did. Don't get me wrong, I absolutely love all their previous singles, but this one is a departure from their usual pop psych orchestrated whimsy and is a nice change with rollicking piano, a nice sing along feel and and an excellent groove.

https://youtu.be/4M0y6w2RL8I?si=6dky4Y81qmSuL3j4

8. THE STOCKINGTOPS-"I Don't Ever Wanna Be Kicked By You" U.K. CBS 3407 1968

The Stockingtops were a pseudonym for the U.K. female duo Sue and Sunny and cut this Kenny Lynch penned number in 1968 which Kenny produced as well. It was orchestrated by John Paul Jones who was still doing A&R work as his day job shortly before heading off to mega stardom with Led Zeppelin . His work on this resembles what Wayne Bickerton and Tony Waddington were doing over at Deram at the time with The Flirtations: heavy brass, swirling strings and soulful female vocals on top of a throbbing, dance floor rattling bass line! 

https://youtu.be/Eypb_SdwUdk?si=6M0htxvAXuGhgBKl

9. THE SOFT MACHINE-"Love Makes Sweet Music" U.K. Polydor 56151 1967

Of all the Sixties U.K. singles deserving a decent/legit reissue is this debut single by The Soft Machine produced by ex-Animal and Jimi Hendrix manager Chas Chandler. The track was only re-released once on a 1975 Polydor LP comp "Rare Tracks" (along with it's flip, the Kim Fowley produced "Feelin', Reelin', Squealin" AND both sides of Jack Bruce's equally rare debut Polydor single). "Love Makes Sweet Music", much like early Pink Floyd sides bore little resemblance to the band's impromptu/chaotic live set. It's a hard charging bass, guitar, drums combo organ led pop number with an infectious chorus and some cool improv scat vocal trills with lead vocals by drummer Robert Wyatt and was penned by bassist Kevin Ayers. "Alright now..."

 https://youtu.be/aCoF5K_l94Y?si=G0vh0veVOzX3Uy6p

10. THE TIMES-"(She Can't Replace) The Love We Knew" U.K. Columbia DB 7904 1966

The Times (not to be confused with our Edward Ball led heroes from the 80's) cut just two singles for Columbia. Both are worth seeking out. "But She Can't Replace The Love We Knew" was their last and forges the perfect bridge where beat music met and melded with Freakbeat. The freaky wash affect on the guitars, the frantic pace and slick harmonies (not to mention that buzzing guitar solo) are the epitome of 1966 British Freakbeat.

https://youtu.be/Q4L6EY1zRxg?si=BvY2TH4zKeisormM

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