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.
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.
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:
|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. Unfortunately I cannot locate a video of the track on YouTube.
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!
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".
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".