The Smoke-My Friend Jack

 

THE SMOKE-My Friend Jack/We Can Take It U.K. Columbia DB 8115 1966

"My Friend Jack" by The Smoke is a legendary debut single by the unsung English 60's quartet The Smoke, previously known as The Shots. The track immediately skirted controversy upon it's release in February 1967 due to the line "my friend Jack eats sugar lumps, sugar man hasn't got a care" (interestingly the band had an alternate even more controversial line originally recorded "my friend Jack eats sugar lumps, oh what beautiful things he sees"). The track was issued in no less than seven countries (from as far off as India to even Canada) . Sadly it only reached #45 in Britain but went to #2 in Germany where the band were far more successful (like the Creation). And much like The Creation their sole LP of the 60's was released in Germany ("It's Smoke Time" Metronome MLP 15 279 1967).

Delivered among a shimmering vibrato of tremolo laced guitar, I can't think of a more powerful debut single! The track plods along with a nifty little chord progression later embellished by a catchy but subtle guitar lick and nonsensical lyrics. The sheer power and volume of the guitar parts set it lengths beyond anything else in the British scene in '66 (besides, maybe, The Creation). 

The flip, "We Can Take It" pales in comparison to the A-side in terms of power but still chugs along nicely thanks to their rocking yet simple guitar, bass and drums line up. The guitar chords are still powerful and the band thankfully did not make the mistake of re-using the guitar effect's from "My Friend Jack" on the flip. 

German 45 picture sleeve Metronome B 1662 1967

Both sides have been released on a multitude of Smoke compilations that are far too numerous to mention!

Hear the single version of "My Friend Jack":

https://youtu.be/spa4Vf7Bb44?si=6qHxFPcnjYYvETjF

Hear the alternate version of "My Friend Jack":

https://youtu.be/QNisqOcABso?si=lRYlTVih7shdbOgz

Here "We Can Take It":

https://youtu.be/7mf6RckH5Kg?si=TwEpK4QomNO4uoqc

Classic 60's Albums: The Graham BOND Organisation "There's A BOND Between Us"

THE GRAHAM BOND ORGAINZATION-"There's A Bond Between Us" U.K. LP Columbia 33SX 1750 June 30, 1965

The year of 1965 was a busy one for Dick Heckstall-Smith (sax), Jack Bruce (bass, vocals, harmonica), Graham Bond (organ, Mellotron, sax, vocals) and Ginger Baker (drums) known collectively as The Graham Bond Organisation. They released singles and not one but TWO albums on Columbia in the U.K. I have chosen to profile their second long player, "There's A Bond Between Us". My copy is actually a 1969 reissue....it was produced by Robert Stigwood.

SIDE ONE

1. "Who's Afraid Of Virginia Woolf?" (Kirkpatrick, Knox)

2. "Hear Me Calling Your Name" (Bruce)

3.  "The Night Time Is The Right Time" (Herman)

4. "Walkin' In The Park" (Bond)

5. "Last Night" (The Markeys)

6. "Baby Can It Be True?" (Bond)

Kicking off with a bombastic take on Jimmy Smith's "Who's Afraid Of Virginia Woolf?" the album leaves the starting gate at 101 mph, though of course it's not as "full" sounding as the original owing to the limits of a quartet, but the G.B.O. make it their own thanks in no small part to Heckstall-Smith and Bond's wailing saxes providing running interference with Bond's Hammond organ (Graham Bond incidentally was the first British r&b performer to use a Hammond onstage and on recordings). Jack Bruce's original (his first composition to gain a release) "Hear Me Calling Your Name" is a catchy little number lead by his somber vocals dueling with a running sax melody. The number also sees the debut of Bond's use of the Mellotron (he would later give a demonstration of it to host Cathy McGowan on a long lost episode of "Ready! Steady! Go!" on June 23, 1965 when promoting their "Lease On Love" single which prominently featured the instrument). The band's take on "The Night Time Is the Right Time" is fairly pedestrian stuff. Musically it reminds me of the "S.N.L." house band playing right before a commercial (especially Heckstall-Smith's skronky sax solo) and it's only saved by Bruce's spirited backing vocals. Next up is the Bond original "Walkin' In The Park" (later re-recorded and released as a single in 1970). It's fairly mundane but has an interesting Hammond/Mellotron mix and as always Bond proves that he is THE master of the Hammond organ. Next up is a cover of The Mar-Key's "Last Night". Though it pales in comparison to Georgie Fame's far superior recording on his "Sweet Things" LP, it's uptempo and is still a rollicking Hammond n' horns tour de force, sweetened by the interesting use of the Mellotron in tandem with the Hammond. Side One closes with another Bond original, "Baby Can It Be True?". Once again it's the Mellotron to the fore, making the intro sound like something off the Stone's "Satanic Majesties" album. The number is a mellow affair akin to Georgie Fame's take on King Pleasure's "Moody's Mood For Love" (especially in the mellow sax that gently blows after certain lines), it's somber mood is slightly out of place on the LP but it works, especially when the churchy Hammond comes in slowly. 

SIDE TWO

1. "What'd I Say" (Charles)

2. "Dick's Instrumental" (Heckstall-Smith)

3. "Don't Let Go" (Stone)

4. "Keep A'Drivin" (Willis)

5. "Have You Ever Loved A Woman?" (Bond)

6. "Camels And Elephants" (Baker)

Side two kicks off with Ray Charles' "What'd I Say", not the best cover of it by far, but it's fairly competent with Bond ad libbing "See the girl with the topless dress on, she stays cool all night long..". Next up is "Dick's Instrumental", showcasing the wailing saxophone ability of Dick Heckstall-Smith with some groovy Organ/Mellotron interplay while Dick musically lives out his fantasy of blowing with the greats at Bird Land or The Village Vanguard. "Don't Let Go", originally cut by Roy Hamilton is slowed down and given a greasy, leering treatment with Bond growling the lyrics over the top of some cool Hammond with blasts of sleazy sax. An interpretation of Chuck Willis' "Keep A-Driving" is next. The usual Hammond/horns formula works it's magic though one can't help think that like "What'd I Say" it's merely groove filler. Freddie King's "Have You Ever Loved A Woman" is given songwriting credits as being composed by Graham Bond, regardless it's not a patch on the original and pales in comparison to the subsequent John Mayall and The Bluesbreakers version. The album closes with Ginger Baker's exotic "Camels And Elephants" . It's a far out instrumental that encompasses a Eastern melody interwoven with absolutely amazing kit bashing with Bond's sinister Hammond weaving in and out while Heckstall-Smith blows some positively amazing licks. Album closers don't come as string as this. 

The album has been reissued on CD as well as all of it being included on the absolutely essential and comprehensive 4 CD set The Graham Bond Organization "Wade In The Water-Classics, Origins & Oddities"  (also available to listen to on streaming services). 

The Best Of Sue Records (U.K.) Part Three

1. DONNIE ELBERT-"A Little Piece Of Leather" WI 377 1965
Falsetto Donnie Elbert launched his first of two Sue releases with this cut which was originally issued in the States a few months earlier (Gateway 45-757, the same label as his Sue label mate Harold Betters). "A Little Piece Of Leather" was one of Sue's most in demand releases thanks to it's massive popularity on modernist dance floors both then AND now.

https://youtu.be/xRJvsft9ofc?si=TWi7dk_BFM5RoP3N

2. BOBBY BLAND-"That Did It" WI 4044 1968

Blues master Bobby Bland had a long run of U.K. releases on the Vocallion label before Sue issued his one and only single for the label rather late in their career (Sue ceased functioning less than two months after this was issued). Released almost a year after it's American debut (Duke 421) it's brassy delivery is classic Bobby at his best. 

https://youtu.be/pEsreefx75k?si=OkttmTGVFcSA2ZAn

3. BOB & EARL-"Harlem Shuffle" WI 374 1965

Bob & Earl released three singles on Sue in England and their 1963 smash "Harlem Shuffle (issued in the States back in October 1963 as Marc 104) was the first of them and without a doubt was their biggest selling U.K. single (a fact backed up by the 1969 Island reissue as WIP 6053 and again in 1971 on Jay Boy as BOY 25).

https://www.youtube.com/watch?v=6bZyk5mixXk

4. INEZ FOXX-"Ask Me" WI 314 1964

Inez Foxx (along with her brother Charlie) was one of the label's most prolific artists with six singles issued during 1963-1964 (four credited to Inez and two as a duo). "Ask Me" was their third, launched in May 1964 (previously issued in the States as Symbol 926 in December 1963). Curiously "Ask Me" was issued by U.K. Sue with "Hi Diddle Diddle (a previous U.S. A side) as the flip. 

https://www.youtube.com/watch?v=iRDzZyDx9xs

5. PHIL UPCHURCH COMBO-"You Can't Sit Down Pt.s 1 & 2" WI 4005 1966

Jazz guitarist/bassist Phil Upchurch had previously made his U.K. debut with this two part double sider instrumental back in July of '61 (as HMV POP 899) shortly after it's American release on Boyd. Like many of the label's sides it was a mod dance floor smash.

https://www.youtube.com/watch?v=WdXISHqSV5w

6. THE WALLACE BROTHERS-"Precious Words" WI 334 1964

The Wallace Brothers were a gospel/r&b combo who made their U.K. debut with this release in October, their first of three singles for the label. Originally it was released back in the States on Sims 174 in April, it was covered by Joe Cocker on the flip of his debut of the Fab Four's "I'll Cry Instead" (Decca F 11974). My copy has had everything on the label obliterated!!

https://www.youtube.com/watch?v=Z-BcB58qNY0

7. JOHN ROBERTS-"Sockin' 1, 2, 3 ,4" WI 4042 1967

One of Sue's later releases from their final singles run, the "4000 series", was this uptempo/funky number issued the previous year in America (on Duke 425). Sue's later releases varied from "contemporary" soul (like this particular record) to much older/earlier blues/R&b sides. 

https://youtu.be/WZPcspM84uQ?si=JFuG-AF4kvmU6tCP

8. LARRY WILLIAMS-"Strange" WI 371 1965

I first heard this track via a Small Faces slightly legit LP of a live gig from '66 in France and I immediately sourced it to Larry Williams. The lyrics are almost psychedelic in their nonsensical content ( "Whistler's Mama in her rockin' chair doin' the jerk and all the Beatles in the barber shop cuttin' off all their hair..") but the music is pure soul. Originally issued in the States on the small Los Angeles label L&W as L&W 69. This was Larry's first of two singles for the label. 

https://youtu.be/y3athyH8YiU?si=4oDFSggcngyIZnF5

9. JAMES BROWN AND THE FAMOUS FLAMES-"Night Train" WI 360 1964

James Brown's one and only Sue U.K. was the release of the mod favorite "Night Train" (originally as King 45-6514 in 1962). It was originally released in the U.K. in 1962 on Parlophone (R 4922) and was covered by Georgie Fame and The Blue Flames on the debut live album, 1964's "Rhythm And Blues At The Flamingo (Columbia 33SX 1599). 

https://youtu.be/WylT0tVa2bg?si=L67dqRuWNp-EhFYk

10. ELMORE JAMES-"It Hurts Me Too" Sue WI-383 1965

Bluesman Elmore James had several releases on Sue: four singles, which this was the second and an LP ("The Best Of Elmore James ILP-918 in 1965), quite ironic considering Elmore passed away in 1963, but such was his cachet among British blues connoisseurs that all of his Sue releases we wildly successful . Originally it was released in the States back in 1957 (as Chief 7004).

https://youtu.be/fzr1Rfn-P4Y?si=-zOdKf8wynlWm2d0

For the previously published posts on Part One go here, and Part Two go here. 

More U.K. Obscurities On U.S. Labels: Episode Six

 

EPISODE SIX-Here There And Everywhere/Mighty Morris Ten U.S. Warner Brothers 5851 1966

U.K.60's pop/harmony sextet Episode Six American debut was this September 1966 release (back in England it was their third single, being issued a month prior as Pye 7N 17147) of a Fab Four track from the newly released "Revolver" long player. Episode Six are of course well known due to the fact that their lead singer Ian Gillian and bassist Roger Glover later moved on to Deep Purple. 

I'm fairly bored with covers of "Here There And Everywhere" (I think my favorite is by The Fourmost). 

This one isn't half bad though, the vocals are tight (harmony vocals were the bands specialty) and the musical  backing is interesting because it's initially very basic (guitar, bass, Farfisa and drums) and eventually some very cool baroque woodwinds come in making it sound a bit unique.

The flip, "Might Morris Ten" (penned by bassist Roger Glover)  is a hysterical tongue firmly in cheek surf/dragster song:

"C'mon everybody grab your automobile we're goin' down to the Harrow Road, I got a little old Morris and it's doin' fine although it's ninety six years old..". 

The musical track (including plenty of Californian sounding "Ooo wahhh ooo" backing vocals) is a catchy American surf music sound perfectly executed and the lyrics are brilliant.

A 1939 Morris 10

 

Both sides are available on a host of Episode Six collections.

Hear "Here There And Everywhere":

https://youtu.be/J2Fu6Iw8Rn0?si=DLxI1XASgLuHkF_J

Hear "Mighty Morris Ten":

https://youtu.be/uooCmsxK30Y?si=FDuS2HzbkwEZxIbJ

Obscure 60's North American Rock & Roll Sides

1. TOMORROW'S KEEPSAKE-"Elevator Operator" Canada RCA Victor Canada 57-3442 1967

This mega rare Canadian release of a track from Gene Clark's  debut solo LP "With The Gosdin Brothers" strips down the original and reinvents it as a garage punk amphetamine with swirling Farfisa organ and the speed of delivery almost doubled from the original and a quirky pronunciation of the title. Interestingly it's noted on the label that it was recorded in the United States. 

https://youtu.be/3D4zC-MqMh0

2. BRIAN INGLAND-"The World Of Gorillas And Monkeys" US Mala M12,023 1968

This strangely titled number no doubt has the "Planet Of The Apes" film in mind (right down to the weird trumpet call when the Apes hunt the humans in the first movie) and the call and response "all human beings will be flunky's in the world of gorillas and monkeys". It has a weird tempo that shifts from a pulsating soulful go-go groove to something mellow like a 1967 Four Seasons recording. Mindblowing stuff. 

https://youtu.be/AjMPpj5M7GI

3. NOEL ODOM AND THE GROUP-"I Can't See Nobody" US Uptown 763 1969

1969 is a bit late to jump on the Bee Gee's bandwagon that was quite popular in '67-'68 but this number works. The lead vocalist is incredibly soulful, in fact I think he sings even better than Robin Gibb on the original. Throw in some swirling organ/harpsichord that gives it a Spooky Tooth feel and you have yourself a fairly interesting version!

https://youtu.be/jcXOGYESdnA

4. THE TAPESTRY-"(One Afternoon On) Carnaby Street" U.S. Compass CO-7006 1967

With a title like this I had to check this one out. It's actually a fairly interesting, though somewhat pedestrian baroque pop ditty not dissimilar to '67 Peter & Gordon (complete with a little regal trumpet bit giving it this "Penny Lane" meets The New Vaudeville Band). The vocals and production owe a great deal to The Association. Curiously enough it even got a U.K. release!

https://youtu.be/S2PbFZB_Xgo

5. THE ELECTRIC ELVES-"Hey Look Me Over" U.S. MGM K13839 1967

Best known for the musical launch pad for one Ronnie James Dio, The Electric Elves sole single is a beautiful example of how The Who impacted middle America in the 60's. Bearing a slight resemblance  to "Substitute" , "Hey Look Me Over" is a 100 mph power pop basher with amazing hooks and of course there's a mandatory split second rave up and plenty of "ba ba ba bop's". 

https://youtu.be/7hJPxIc5ZSI

6. THE DANTES-"Under My Thumb" U.S. Cameo C-431 1966

Here's a hot on the heels of the original cover of the Stones tune, it's beauty lies ion it's sparse/bare bones simplicity. The guitar tone sounds like a bargain basement Gabor Szabo. I don't know why but the lazy almost mundane feel to this appeals to me. 

https://youtu.be/H3Nb7Jylk6Y

7. RAGA AND THE TALAS-"My Group And Me" World Pacific 1966

This Jackie DeShannon penned number (she produced it as well and her involvement came from the fact that her brother, Randy Myers, fronted the group) is not what you would expect from a band with "Raga" in their moniker It's a jangly mid tempo tune with a driving bass line and some really moody/cool harmonies.

https://youtu.be/kMvSS9YrLmE

8. JOE FRANK & THE KNIGHTS-Can't Find A Way" U.S. ABC Paramount 45-10782 1966

Opening with some power pop/Who-like power chords this number turns into a snotty garage punk number with prerequisite combo organ and call and response backing vocals. Joe Frank would later find fame with Hamilton, Joe Frank and Reynolds. 

https://youtu.be/oVXrPan0tuo

9. THE GREEN BEANS-"Don't Give Me No Friction" U.S. Mercury 72504 1965

This number first came to my attention back in the 80's via a cover by Aussie 60's garage punks The Missing Links, though not as snotty or powerful as their cover it's equally amazing. The vocals are laid back and poppy but the musical delivery is tough with some fuzzed out guitars throughout and great harmonies. 

https://youtu.be/dD2UuxXksoQ

10. THE RAVIN' Blue-"Love" U.S. Monument 45-968 1966

This full on British pop art inspired raver owes an incredible amount of influence to The Who in both it's frantic delivery, backing vocals and distinct floor tom whacking. The vocalist stutters like Roger Daltrey in "My Generation" and the whole delivery is incredibly inspired by it but not in the least bit derivative or plagiarizing. I love the pulsating shouts of "Love!" throughout the number! Strangely it was released in several countries on the Continent as well (but not England!). 

https://youtu.be/r160wBXO-Z0

The Searchers Leave Pye

 

THE SEARCHERS-Umbrella Man/Over The Weekend U.K. Liberty LBF 15159 1968

After a four year stint with Pye records in England that netted fifteen singles (nine of which were in the Top 20) , nine E.P.'s and five LP's the band were unceremoniously dropped. They were duly picked up by Liberty and exactly one year after their last U.K. single ("Secondhand Dealer" Pye 7N 17424, November 1967) they returned with "Umbrella Man".

"Umbrella Man" was penned by their new producer Kenny Young (who would produce AND compose their two U.K. Liberty singles as the Searchers as well as one made under the moniker of "Pasha", which as legend has it was the name of Kenny's dog). It's an interesting track driven by incessant hand claps, sweeping strings, gentle guitar strumming and the band's archetype harmonies. For me it's the perfect sunshine pop and the unexpected horns after the first chorus remind me of the Mirror's pop sike ditty "The Gingerbread Man". 

The flip side is an original penned by bassist Frank Allen titled "Over The Weekend" is a fairly innocuous little number that reminds me of Simon & Garfunkel (especially the "la la la's") with some very Hollie's influenced guitar flourishes (think "Tell Me To My Face"). It's nothing amazing but not unlistenable either.

"Umbrella Man" was issued in Germany (warranting what stands as possible the last Searchers TV appearance of the 60's in existence) France and Portugal as well. There are claims that it was issued in the US on World Pacific but despite the fake posted on Discogs no one has ever actually seen a copy!

"Umbrella Man" has sadly not officially surfaced anywhere compilation wise outside of two bootleg various artists CD's "Waiting For A Break In The Clouds" and Psychic Circle's "Fairytales Can Come True Volume 1". "Over The Weekend" remains unreissued. 

Watch The Searchers mime "Umbrella Man" on German TV's "Beat Club":

 

 Hear "Over The Weekend":

https://youtu.be/-_Urdq6IN3c?si=S1whZB1u4Ou3s-3f

The Beatstaklers Debut: "Ev'rybody's Talking 'Bout My Baby"

THE BEATSTALKERS-Ev'rybody's Talking 'Bout My Baby/Mr. Disappointed U.K. Decca F 12259 1965

Glasgow's Beatstalkers burst onto the scene in November 1965 with their debut "Evr'rybody's Talking 'Bout My Baby", their first of three singles for Decca.

Driven by some fuzz guitar and a combo organ intro it musically reminds me of a more ballsy Brian Poole and The Tremeloes. It's slightly soulful with it's "call and response" vocals and is a thoroughly rocking affair with the driving beat, incessant fuzz guitar/organ lick and punctuated shouts of "Hey! Hey! Hey!". 

The flip side, "Mr. Disappointed" is disappointing. The vocalist sings almost beyond his range and the number itself is a complete throwaway despite a really nifty combo organ solo.

Both sides are available on the HIGHLY recommended CD/LP compilation curated by Lenny Helsing (of Green Telescope/Thanes fame and the final word on all bands Scottish and 60's) "The Beatstalkers-Scotland's No.1 Beat Group" which contains all three of their Decca singles and their subsequent four singles for CBS (including no less than three David Bowie compositions). 

Hear "Evr'rybody's Talking 'Bout My Baby":

https://youtu.be/ZEpiHypY_5s?si=WUU70G1-GjR2JJFT

Hear "Mr. Disappointed":

https://youtu.be/QyCY9DePy48?si=PVASTo3Tfkm3x0YX

More U.K. Obscurities On U.S. Labels: Jimmy James and the Vagabonds

  

JIMMY JAMES & THE VAGABONDS-Come To Me Softy /Hi Diddly Dee Dum Dum (It's A Good Feelin') U.S. Atco 45-6551 1968

Swinging London club legends Jimmy James and The Vagabonds were huge on the live circuit but failed to make many inroads chart wise, so it comes as some surprise that Atco issued two singles and two LP's here (and HBR issued their debut American single). Interestingly this release had it's sides reversed from the British issue (Pye 7N 35320) which was curiously issued a whole two years prior!

"Come To Me Softly" is a Jimmy James composition is a heavily orchestrated soul ballad that borders on easy listening with it's Chopin-like ivory tinkling and shimmering strings. It's not unlistenable but not something I want to play again and again. 

My preference is "Hi Diddly Dee Dum Dum (It's A Good Good Feelin')", originally cut by The Dells in 1963.  Like the A-side it's lushly orchestrated but Jimmy's voice (bearing more than a hint of inspiration from Otis Redding's ) and the band's playing and backing vocals make it possibly the most powerful thing they ever cut in my estimation. The stellar production was handled by Anthony King with "supervision" by Jimmy and the Who's former mod Svengali Peter Meaden (who was managing the band at this point). He also wrote the liner notes for their 1967 Atco album "The New Religion". Sadly it would be Jimmy's final U.S. 45 with the Vagabonds!

Both sides were collected on the comprehensive CD collection "Sock It To 'Em J.J.: The Soul Years". 

Hear "Come Softly To Me":

https://youtu.be/lsoZaSQqrxk?si=xXwqsizs1g006uZa

Hear "Hi Diddly Dee Dum Dum (It's A Good Good Feelin')":

https://youtu.be/Rt1IZ2ya7h0?si=OwEF_VJDrcjvOrMz

America Loves The Who! 10 American 60's Who Covers

 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

6. SONS OF CREATION-"Run Run Run" Four Sons 4S16803 1968

I can't tell you much about these guys who I believe are from Alabama. Their crack at one of the most powerful tracks on "Happy Jack" (the U.S. issue title of the Who's "A Quick One" LP) is probably the only American cover version of it. They apply the usual American 60's fuzz guitar/snotty vocals and Farfisa organ combination to it which tones down the edge of the original but still works, though just barely.

https://youtu.be/TF3o0jfF3Co?si=5dgWxfeqWl17s0U9

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)!

https://youtu.be/E3JDzKmWbUw?si=tQsUO_X0sk9k3DdX

Zoot Money R.I.P.

We're a little late here in paying tribute to George Bruno Money (better known as Zoot Money) who passed away on September 8th. Over the decade and a half that we've been posting here we have paid tribute to his 60's career quite frequently, especially in the 7" form. Along with the likes of the also recently late John Mayall, Geoprgie Fame, Chris Farlowe and Graham Bond etc (to name a few) Zoot was the epitome of British 60's mod r&b scene, or as it's often known as "the Flamingo jazz scene", in honor of the London night spot owned by his manager Rik Gunnell which was the stomping ground for all of these acts and many others. Zoot was a legend not just onstage but offstage as well, immortalized in Brian Auger's "George Bruno Money" (from his 1968 album "Definitely What!") and name checked in Georgie Fame's "Keep Your Big Mouth Shut" (from his 1967 LP "Two Sides Of Fame"). I've compiled ten of my favorite tracks by him in no particular order as my personal tribute to him.

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-