More U.K. Obscurities On U.S. Labels: Freedom

 

THE FREEDOM-Where Will You Be Tonight/Trying To Get A Glimpse Of You U.S. Mercury 72804 1968

U.K. act (The) Freedom was founded by two former Procol Harum members Ray Royer (guitar) and Bobby Harrison (drums) who departed the band in 1968. Freedom went through numerous line up changes so it's fairly difficult to pinpoint exactly who played on this release, which was their debut. It was issued in the U.K. in June 1968 as Mercury MF 1033, curiously it was issued here a whole month earlier! "Where Will You Be Tonight" was first introduced to me via a delightful bootleg psych/Freakbeat CD-R "Jagged Time Lapse Volume One" in the early 2000's.

"Where Will You Be Tonight" is a delightful little number driven by some boozy barroom piano and eventually is accompanied by some subtle Mellotron and blistering guitar licks and laid back vocals.

The melody is incredibly regal and aided by the sweeping Mellotron hiding behind the scenes reminding me a lot of the late Denny Laine period Moody Blues. 

"Trying To Get A Glimpse Of You" reminds me a bit of The End with it's melodic Mellotron (it's especially reminiscent of their "Cardboard Watch") and it's uptempo guitar licks remind me a lot of The Fleur De Ly's. 

Both sides are available on streaming and "Trying to Get A Glimpse Of You" appeared on the excellent Grapefruit CD box set "Looking At Pictures In The Sky: The British Psychedelic Sounds Of 1968".

Hear "Where Will You Be Tonight":

https://youtu.be/rSgD_Slt2CA?si=j0mYaWhida6DhJbJ

Hear "Trying To Get A Glimpse of You":

https://youtu.be/y7J8Nwh2BsU?si=I4IuudfEaQ5G_w2q

Classic Deram 45's: The Syn "Flowerman"

THE SYN-Flowerman/14 Hour Technicolour Dream U.K. Deram DM 145 1967

The Syn, like their label mates Virgin Sleep, are one of those bands who cut two amazing singles on Deram and left nothing else....they're frequently name checked because future Yes man Chris Squire was their bass player.

The Syn were Marquee Club regulars, check out a Marquee gig flyer for '66 and '67 and see how they're playing almost weekly (the logged in an epic 36 appearances at the club between August of '66 and November of '67!).  They were signed to Deram records and debuted in June of 1967 with "Created By Clive" (Deram DM 130), a number the band despised and were forced by their management to record (which was foolishly issued by Decca by The Attack at the same time!). Their line up was: Steve Nardelli (vocals), Peter Banks (guitar), Andrew Jackman (keyboards), Chris Squire (bass) and Gunnar Jokull (drums). 

"Flowerman" their second (and final single) was issued in September 1967 and penned by band member Steve Nardelli. It starts off with a melody borrowed from the British children's program "Bill And Ben The Flowerpot Men". It's a cheery pop with harpsichord, subtle brass and the band's lush harmonies, no doubt influenced by their heroes and fellow Marquee Club stalwarts, The Action. The lyrics are cheeky "flowers are like people they get temperamental all of them from the daisy to the rose, and flowers are a thing of beauty they need care from somebody like me, someone who knows...". The trumpets add a regal feel to it and sit perfectly with the earlier mentioned harmonies. The number stemmed from an aborted project the band were doing "rock opera" called "Flowerman". 

The Syn at The Marquee Club, pictures by Jacki Downey c/o the Progarchy Website

 

The flip side, "14 Hour Technicolor Dream" was written to commemorate the great British underground happening of the same name that was held on April 29, 1967 at the Alexandra Palace where The Syn played along the likes of Tomorrow, The Move, The Pretty Things, The Pink Floyd, John's Children etc. 

Once again the band's high Action-esque backing vocals are the centerpiece of the track with the number relying more on the band's guitar, bass and drums formula instead of added orchestration. There's some great Keith Moon inspired drum rolls mid way through the song and blistering guitar throughout. They also name check scenester Susie Cream ("and Susie Cream Cheese is gonna be there...) towards the fade out that exhorts you to "Do what you want to". This would be the last record by the group with Banks and Squire leaving to form the short lived Maybel Greer's Toyshop which eventually mutated into Yes. 

Both sides of the single are available on a host of Syn compilations/collections, most notably Cherry Red's excellent "Flowerman: Rare Blooms From The Syn 1965-1969" and are both available on streaming as well.

 Hear "Flowerman": 

 https://youtu.be/aYXVjLcPfo4?si=kC1fc4Z_NVolGYz3

Hear "14 Hour Technicolor Dream":

https://youtu.be/CB3Y00JivPQ?si=6o08YhiG0FFtVmWW

The Who's Debut Album That Wasn't

Photo by David Wedgbury

In June 1965 the British monthly music publication "Beat Instrumental" saw writer John Emery review an acetate recording played to him by producer Shel Talmy of what was hoped would be tracks from the band's forthcoming debut LP. The tracks were produced by Shel Talmy and were:

1. "I'm A Man"

2. "Heatwave"

3. "I Don't Mind"

4. "Lubie"

5. "You're Going To Know Me (Out In The Street)"

6. "Please, Please, Please"

7. "Leaving Here"

8. "Motorin'"

9. "Shout And Shimmy"

After a particularly unpleasant review (see a small selection below) it was decided by the band's managers Kit Lambert and Chris Stamp that the album would be scraped and The Who would go back to the drawing board removing five of the tracks from what would become their debut album "My Generation", released by Brunswick (LAT 8616) in the U.K. on December 3, 1965 and relying more on group originals penned by in house budding songwriter Pete Townshend instead of soul/r&b covers.  

"Shel played me an acetate of the nine tracks but before I even heard them, one thing hit me slap in the face just looking at the titles-the lack of originality in choice of material. Of the nine songs eight were revived American items, originally recorded by James Brown, Martha and The Vandellas and Bo Diddley. True they are given the distinctive Who treatment but that might not be enough if they want to make a big impression with the album"-John Emery.

"I'm A Man" (originally by Bo Diddley) had been in the band's set dating back to their Detours days while Martha and the Vandellas "Heatwave" was another stage favorite and would eventually be re-recorded and utilized on the band's second long player "A Quick One" (Reaction 593 002 December 5, 1966). It was later captured by French TV in a special that filmed them performing live at the Marquee Club. James Brown's "I Don't Mind" and "Please Please Please" both survived the scathing review and were included on the band's substantially revamped debut LP "My Generation" (Brunswick LAT 8616 December 3, 1965). "Lubie", though credited to Pete Townshend , is a re-write of Paul Revere and the Raiders 1964 single "Louie Go Home". It would remain unreleased until unearthed for 1985's Who compilation "Who's Missing". "You're Gonna Know Me (Out In The Street"), the only original on the acetate survived the purge and joined the James Brown covers on "My Generation". Eddie Holland's "Leaving Here" had been recorded by the band multiple times, once as the High Numbers and twice with Shel Talmy. Here's where it gets tricky because it's not certain which of the two Talmy versions were utilized on the acetate but it was not officially released until "Who's Missing". Martha and the Vandellas "Motoring" was also shelved, not seeing the light of day until the 1987 Who compilation "Two's Missing". Jame's Brown's "Shout And Shimmy", also a live favorite eventually graced the B-side of their third single, October 1965's smash "My Generation". 

The finished product December 3, 1965

More U.K. Obscurities On U.S. Labels: The Fairytale

 

FAIRYTALE-Lovely People (Like You And Me)/Guess I Was Dreaming U.S. London 45-LON-20032 1967

Warrington, U.K. 60's psych pop quartet The Fairytale had just two singles released in Britain: "Guess I Was Dreaming" b/w "Run And Hide" (Decca F12644 August 1967) and "Lovely People" b/w "Listen To Mary Cry" (Decca F 12665 September 1967). Curiously London records in the U.S. decided to marry "Lovely People (Like You And Me)" (as it was titled in America) with "Guess I Was Dreaming" on the B-side.  They also decided to drop "The" from the band's name and simply call them "Fairytale". This interesting single was launched in November 1967 where it remained in the obscurity from whence it came and as a result is fairly rare.

My introduction to The Fairytale came in the Summer of 1986 when I purchased the absolutely earth shattering See For Miles comp LP of Decca/Deram pop psych 45's "The British Psychedelic Trip 1966-1969" where they were on the front sleeve in all their psychedelic finery (see photo below) with the phased psych pop tune "Run And Hide". 

"Lovely People (Like You And Me)" is an almost fey period piece with lyrics espousing the virtues of the beautiful people (or in this case "the lovely people"). There's a cynical tone to all of it's flower power waif message though: "People hanging around you like mist on a morning lake, focus your eyes upon them don't let them slip away. The world is out to make you one of it's living dead so lift your head up slowly and reach out for the morning sun". "Lovely People" was produced by Vic Smith, who would rechristen himself Vic Coppersmith-Heaven and go on to produce the Jam. 

"Guess I Was Dreaming" has long been my favorite of the band's tracks. It's almost sinister starting out with a faint drum/bass that grows in descending volume before being met with a phlanged piano. The lyrics are full of darkness and paranoia: "All week, no sleep waiting for the man to come....Here he comes walking through my mind, in so many colors making me blind, a one eyed midget by his side...". All delivered with an almost martial/military march beat behind the phlanged piano notes. The number was later covered by The Kingsmen (of "Louie Louie" fame) on their May 1968 single on the flip of their version of Skip Bifferty's "On Love".  You can read all about that here. 

Both tracks are available on a host of CD /LP compilations. "Lovely People" is on Rubble Volume Six "The Clouds Have Groovy Faces" and "Guess I Was Dreaming" was on the Deram/Decca comp "The Psychedelic Scene". Both songs are available on streaming as well. 

Here "Lovely People":

https://youtu.be/BmGS_k-yDdc?si=zVwmd0zjqTDe1n7w

Hear "Guess I Was Dreaming":

https://youtu.be/TkiH0EcIQ4g?si=YrRFStVO6_wlyu1B

More U.K. Obscurities On U.S. Labels: The Locomotive

 

We discussed Locomotives's previous 45 ska/rocksteady flavored "Rudi's In Love" in an earlier entry. Today's topic was their third U.K. 45 (January 1969 Parlophone R 5758) but only their second U.S. 45 with Bell records electing not to issue their debut U.K. 45, a coupling of "Broken Heart" b/w a cover of Dandy Livingstone's ska/rocksteady classic "Rudy-A Message To You" (Direction 58-3114 December 1967). "Mr. Armageddan" was issued on these shores in April 1969 with little or no fanfare where it promptly sank without a trace. 

 By the time of this single the ska/rocksteady sounds gave way to a heavier proto-prog sound with some interesting results. The interestingly spelled "Mr. Armageddan" was written by band leader Norman Haines and was the cornerstone of their sole LP "We Are Everything You See". It's an organ driven over the top number starting off with some shimmering strings before degenerating into a phased organ orgy of sound with some near maniacal wailing from Haines (he was also the band's keyboardist) behind a steady melodic bass line. The number changes tempo multiple times bringing an interesting cacophony of horns playing a bombastic melody amid descending lines and layers of thundering drums and some very Caravan meets Deep Purple style organ.

"There's Got To Be A Way" is less freaky, driven by a less chaotic melodic horn section with some soulful, more restrained lead vocals. The horn work shows the band's soul/jazz experience and ads to the versatility in my book. It's at odds with the A-side but maybe that's a good thing? 

 Both sides are available on the deluxe CD reissue of their 1970 LP "We Are Everything You See" (including a Mono mix of the A-side).

Hear "Mr. Armageddan":

https://youtu.be/3Jv0wP6by20?si=d7KipZ-_acjADOnw

Hear "There's Got To Be A Way":

https://youtu.be/OzWqZRwiBjY?si=eb25Trzt2BDF1vQM

More U.K. Obscurities: THE GIBSONS "City Life"

 

THE GIBSONS-City Life/Night And Day Canada Epic C5-110 1967

U.K. quartet The Gibsons "City Life" was first introduced to me back in the mid 90's on the bootleg "Psychedelia" series on Tiny Alice Records ("Psychedelia Volume One: Oil Emulsion Slide" to be exact). It was first issued on the U.K. in August 1967 as Major Minor MM 524. I recently discovered that it received a Canadian release (but not a United States one). The Canadian pressing was issued in 1967, but the exact date/month is unknown.

"City Life" is actually the B-side but since it's far superior I'm going to mention it first. It's a cheery little pop ditty with loads of "la la la's" and West Coast harmonies that's interwoven with city sound affects (honking car horns, explosions, ringing church bells etc) and lyrics about London (presumably) and lines that borrow a bit from the nursery rhyme "Pussy Cat Pussy Cat". The musical backing is solid, and it's the vocals that carry the number.

The REAL stinker is the A-side, it's a mundane reading of Cole Porter's "Night And Day". It starts with this funky groove with organ and gritty guitar that's pretty catchy but then these sub par Ivy League vocals come in and the whole thing goes saccharine sunshine yawn pop in seconds. Pity.

Both tracks were collected on a CD of all their material shared with the harmony Pop group The Cymbaline called "60's UK Harmony Pop Battle Royale". "City Life" is also available via streaming. 

Hear "City Life":

https://youtu.be/HQNvk2rHM6Q?si=a837KkwShXTSnoNF

Hear "Night And Day":

https://youtu.be/bPpRFQ9LKaQ?si=yHMGmGVVnchr0jG_

More U.K. Obscurities On U.S. Labels: Billie Davis

BILLIE DAVIS-I Want You To Be My Baby/Suffer U.S. London 45-20041 1968

 

My first introduction to Billie Davis came via this track on my very first Kent records soul compilation album "Rhythm And Blue Eyed Soul" back in 1989.

Penned by the mighty Jon Hendricks " I Want You To Be My Baby" was produced by former Ready! Steady! Go! host Michael Aldred and arranged by Mike Vickers. "I Want You To Be My Baby" was first released in 1953 by Louis Jordan and His Tympany Five! In April 1967 it was issued by Ellie Greenwich in an almost rudimentary and raw form which was no doubt the inspiration for this version which was first issued in the U.K. as Decca F 12823 in August of 1968. Our specimen here was released a month later. It was a minor hit in the U.K. reaching #33 but sadly would be her last chart recording. 

"I Want You To Be My Baby" is a 100 mph high octane track built on the incredibly slick orchestration and production and carried the shoulders of both the backing vocalists delivering the responses to Billie's calls and Billie's almost husky delivery. 

Looking moody and moddy on the German picture sleeve. 

The flip side "Suffer" starts out with some cool soulful brass and despite it's almost Northern soul feel it's a dreadful tune which ruins any dance floor opportunities by having constant tempo shifts. Next!!

Both tracks are available on the 2005 comprehensive CD collection "Tell Him (The Decca Years)" and on streaming services. 

Watch "I Want You To Be My Baby" on German TV's Beat Club:

 

Hear "Suffer":

https://youtu.be/Vf5sRKi6fJ4?si=JULet0LM1XpotFF-

"The Association On Crystal Meth": The Cape Kennedy Construction Company

 

THE CAPE KENNEDY CONSTRUCTION COMPANY-The First Step On The Moon/Armageddon U.K. President PT 2645 1969

One of my favorite British 60's psychedelic 45's is today's subject, July 1969's (released a few weeks after the first steps were taken on the moon) one off release by the curiously named Cape Kennedy Construction Company on the groovy President records label. A YouTube user once commented on this record that it sounded like "....the Association on crystal meth" and Nigel Lees in "Record Collector" unfairly dismissed it in his "A To Z Of British Psychedelia" series (I forget his exact words but they were not kind). I think it's equally amazing on both sides, though both are vastly different and definitely have different lead vocalists. 

"The First Step On The Moon" starts out with some very churchly organ joined by some VERY Joe Meek/Tornados meets Barry Grey ("Thunderbirds/U.F.O. etc) influenced "spacey" combo organ, vibes and restrained fuzz guitar that works perfectly! The vocals remind me of a Carter/Lewis project (it's reputed that John Carter is the lead singer according to some liner notes) leading me to suspect that it was a studio only concoction. The vocals and their accompanying harmonies are positively amazing and have an ethereal charm about them when splashed up against the restrained Meek inspired musical backing.  

The flip side, "Armageddon" was first introduced to me back in the mid 90's on the bootleg "Psychedelia" series on Tiny Alice Records ("Psychedelia Volume One: Oil Emulsion Slide" to be exact). It starts with some very forlorn organ (reminiscent of Felius Andromeda's "Meditation") and a distorted and completely disembodied voice quoting scripture ("as he gathered to a place called Armageddon and the seventh angel of the Lord poured out his bowl upon the earth and the voice from heaven from the throne said it is done") that is suddenly punctuated by a sonic boom of a jet (presumably delivering "the bomb"). Both the organ and voice have always remind me of the mutant doomsday cult in "Beneath The Planet Of The Apes". The vocals are fey and plaintive sounding as the vocalist sings a protest type song about the futility of peace ("they blow us up, they put us down, they've made it up, they've made it rough") that is occasionally punctuated by bursts of a rocking section and the ominous sonic boom with the spooky organ continuing throughout on a loop with the track ending with the bleak sounds of the wind and a off kilter church bell after the organ increases in volume.

Both sides have cropped up in several places but the best place to get them both is on the President records LP/CD compilation "Sometimes I Wonder: The Psychedelic Pop Sound Of President" which is also available on streaming. 

Hear "The First Step On The Moon":

https://youtu.be/HOo1SDxKiQo?si=dcO5C4S7GnZvRNSz

Hear "Armageddon":

https://youtu.be/xyridEejOss?si=Fh2-ZdPPg2NeTxJQ

Great U.K. 60's MOD 45's: The Lloyd Alexander Real Estate- "Gonna Live Again"

 

THE LLOYD ALEXANDER REAL ESTATE-Gonna Live Again/Watcha' Gonna Do (When Your Baby Leaves You) U.K. President PT 157 1967 

Hackney, East London's very own Lloyd Alexander Real Estate made just this one single, but what a glorious single it is! Long forgotten and buried until both sides of this killer 1967 President records single was unearthed on a CD comp in 2011 (see below) it's probably one of the most powerful slices of British 60's r&b.

The A-side, "Gonna Live Again" is a MONSTER track. It kicks off with some very ska-like skat/percussion vocalizing not unlike "Gun Of Navarone" or a '67 Prince Buster 45 and proceeds into this funky "I'll Be Doggone" style riff backed by some strong horns via their twin sax players and churchy Hammond organ and very slick but poppy sounding backing vocals. It's completely catchy and bears REPEATED listening. 

The B-side is a reading of Chuck Jackson's "Wat'cha Gonna Do (When Your Baby Leaves You)". It's not anything earth shaking to these ears in light of the absolutely earth shaking A-side but the powerful Hammond n' horns backing is powerful and completely solid and quite enjoyable nonetheless!!

After the band split in 1969 three of the members went on to form the group Audience, who are best known for providing a few tracks on the soundtrack of the famous "Bronco Bullfrog" film. 

Both tracks are available on RPM's three CD compilation "Looking Back: 80 Mod, Freakbeat And Swinging London Nuggets". 

Hear "Gonna Live Again":

https://youtu.be/_-_WHXlv4qE?si=PeR1kc6Ck34FWFs8

Hear "What You Gonna Do":

https://youtu.be/uO8WFf7bv1M?si=yczSY_-yhHilkdQm 

Songs That "Rubble" Taught Us: Finders Keepers "On The Beach"

 

FINDERS KEEPERS-On The Beach/Friday Kind Of Monday US Fontana F-1609 1968

Finders Keeper's "On The Beach" came into my orbit (and probably everyone else's) on the famous 1984 Bam Caruso LP compilation "The 49 Minute Technicolor Dream" (Rubble Four). Finders Keepers were a U.K. harmony pop quintet from Wolverhampton who released three singles in their home country, one on CBS and two on Fontana (this was their first on the label and their only U.S. release, issued as TF 892  in December 1967 in the U.K. and in March of 1968 in the U.S.).

I have pictured the B-side "On The Beach" because even though it's the B-side it's the track I prefer. 

The A-side "Friday Kind Of Monday" was penned by Jeff Barry and Ellie Greenwich and was first covered/released by an obscure American act called The Meantime in September 1967, who were rumored to be a studio only concoction with Ellie Greenwich on vocals . Finder's Keeper's version is quite similar in arrangement and just a tad more sped up. It's not unlistenable per se but it's a fairly pedestrian slice of U.K. mid 60's harmony psych pop.

"On The Beach" is the stronger of the two with it's intricate layers of harmony vocals intermingled with

harpsichord and sweeping strings (and the obligatory regal trumpet tooting). To these ears it's an amazing slice of British orchestrated sike pop.

 

Band members Glen Hughes went on to find fame in Deep Purple and Mel Galley in fellow head bangers Whitesnake. They both crossed paths in Trapeze in 1969 with members of The Montanas. 

As mentioned above "On The Beach" appeared on Rubble Volume Four and "Friday Kind Of Monday" appeared on Volume 14 of the "Piccadilly Sunshine" series. 

Hear "Friday Kind Of Monday":

https://youtu.be/ZNSBiA1sU9c?si=m8BMhLwJJQJOPQWd

Hear "On The Beach":

https://youtu.be/ZNSBiA1sU9c?si=m8BMhLwJJQJOPQWd

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

1. INEZ FOXX-"Mockingbird" WI-301 1963

Brother and sister duo Charlie and Inez Foxx had a prolific career with the U.K. Sue label releasing one LP and six singles 1963-1964. "Mockingbird" (originally issued in June of 1963 on Symbol in the U.S.) was their debut on the label released in December 1963 and was hugely successful sales wise.

https://youtu.be/g47_NI1CWNQ?si=Ak_QjYBtISoMK8kr

2. LITTLE JOE COOK-"Stormy Monday Blues" WI 385 1965

"Stormy Monday Blues" was of a not so hush hush release by Chris Farlowe and The Thunderbirds (who were technically still signed to Columbia but en route to a new chapter with Andrew Loog Oldham's Immediate label) under the pseudonym of "Little Joe Cook". To my ears it's one of the best things he ever did, aided in no small part by Alvin Lee's nimble fret work. The number is edited with the track continuing on Side B. 

https://youtu.be/f_fjjaRWFn8?si=5tF7ZesP-jmqPAjv

3. BOB & EARL-"Baby I'm Satisfied" WI-393 1965

Soul duo Bob & Earl cut three singles and one LP for the label. "Baby I'm Satisfied" (originally released in the States on Chene in July 1964 with "The Sissy" as the A-side and "Baby..." on the flip) was their  second 45 for Sue, far inferior in my opinion to "The Sissy" which was also recorded by The Action (but unreleased until the 80's). 

https://youtu.be/XlouR0g8Flo?si=aKm-tAqO_X4GQLV9

4. BETTY EVERETT-"I've Got My Claim On You" WI-352 1965

Betty Everett released a slew of 45's in the U.K. on Stateside and Fontana before this one off Sue release issued in January 1965. Like many U.K. Sue releases it was not a new release having been originally launched way back in 1962 in America on the One-derful label. 

https://youtu.be/YXYW2Ea3dyM?si=Bt0O8oKsZSTFiUEL

5. HANK JACOBS-"So Far Away" WI-313 1964

Mod jazz keyboard hero Hank Jacobs was one of the handful of U.K. Sue artists who's single was actually released in the United States on Sue as well (October 1963). This highly in demand killer double sided instrumental (paired with "Monkey Hips and Rice") was launched in Britain in April 1964. 

https://youtu.be/6UX3NhaTwV8?si=Sk8Vl3YVQSJlKQH7

6. ELMORE JAMES-"I Need You" WI-4007 1966

The late blues legend Elmore James had an extremely prolific career (albeit posthumously) with the U.K. Sue label seeing their release of two LP's, four singles and appearances on multiple Sue compilation albums. Sue WI-4007 was his last release for the label on April Fool's Day 1966 and was previously issued as a single in the U.S. on Sphere in October 1965 as a flip to "Shake Your Moneymaker". 

https://youtu.be/0R1Re167hQw?si=Oqt2xSJoDYeHx1ij

7. THE OLYMPICS-"The Bounce" WI-348 1964

The Olympics released just one single on the label after a string of U.K. releases on HMV and Vogue. "The Bounce" was originally released in the United States on the flip of "Fireworks" in November 1962 on the Tri-Disc label, and saw a December 1964 release in Britain where it became the A-side. 

https://youtu.be/mQVX1QF6tKk?si=kT3Ka4VJICKL-D7m

8. BUSTER BROWN-"Fannie Mae" WI-368 1965

Blues man Buster Brown had just one release on Sue in the U.K. with the April 1965 release of his original 1959 debut single (in America on Fire), including it's original U.S. flip side "Lost In A Dream".  It was his third of just four singles released in the U.K.

https://youtu.be/ZmxCQU1rHUY?si=C3mCqcHlNew1D9rp

9. THE SHADES OF BLUE-"Oh! How Happy" WI-4022 1966

American blue eyed soul folks The Shades Of Blue saw their sole British release here on Sue who unleashed their American #12 smash to Britain in September 1966. The number was written by Edwin Starr and originally released in March of '66 on the Impact label in the US of A. 

https://youtu.be/WGN8OSLrakI?si=A-VE_nZbEpuqxSwF

10. WILLIE MABON-"Got To Have Some" WI-320 1964

Veteran blues belter and Anorak Thing personal fave Willie Mabon saw three singles released on Sue in the U.K. This was his debut release for the imprint and was unleashed on Britain in October 1965 (it was originally issued in the States on Formal in September 1962). 

https://youtu.be/rh9eiW6yzSw?si=4oYHMmqldxg17LUZ

More U.K. Obscurities On U.S. Labels: The State Of Mickey & Tommy

 

THE STATE OF MICKY AND TOMMY-Frisco Bay/Nobody Knows Where You've Been U.S. Mercury 72758 1967

U.K. pop psych duo Micky (Mick Jones, he of Foreigner fame) and Tommy (Brown) cut two singles that were released in the U.S. Today's subject was the second. We covered their first back in 2018 here.  They wrote all of their own material and in addition to the two American releases issued a single in Canada, three in Britain (one as "The J & B") and two EP's as well as two 45's (one of which was a hideously rare French only release as Nimrod).

Group original "Frisco Bay" is a pretty light weight number when stacked against all of the other releases. Musically it reminds me of a throwaway track by another U.K. pop psych duo, Twice As Much. The strings have a "Love Is Blue" vibe and though it's well produced and orchestrated it's pretty unremarkable, especially lyrically:

"Frisco Bay, sail away, leave your flowers lying on the shore, where you're going you can find some more...".

The gold however is on the flip, "Nobody Knows Where You've Been", an all out raga tour de force that is greatly indebted to the Fab's "Within Without You" with it's tabla tapping, eerie strings and this incredibly freaky phasing section that comes in mid way that's absolutely mind-blowing. It comes in again at the end as the vocals fade away in a psychedelic wash! Both sides were arranged and conducted by Jim Sullivan of "Sitar Beat" fame and produced by Lou Reizner, the man who signed David Bowie to Mercury records two years later thus bringing the world "Space Oddity".

Norwegian picture sleeve c/o 45cat.com

 

"Nobody Knows Where You've Been" was on Bam Caruso's ""5,000 Seconds Over Toyland (Rubble Volume 15)" comp along with their  previous single "With Love From One To Five" and on the compilation "Curiosity Shop Volume Six" and it is also available on streaming on Spotify. "Frisco Bay" has yet to see a reissue anywhere.

Hear "Frisco Bay":

https://youtu.be/k1INfpUKO4k?si=8gk8CWg1tL7ZlBPK

Hear "Nobody Knows Where You've Been":

https://youtu.be/gMrRezmGEMI?si=AKrI0DfK15yT-GFe

More U.K. Obscurities On U.S. Labels: Roy Budd "Carter"

 

ROY BUDD-Carter/Plaything U.S. DJM 70,022 1971

One of my all time favorite film's is Michael Caine's 1971 British gangster noire tour de force "Get Carter". What makes it such an amazing film is the incredible soundtrack put together by the late Roy Budd, a British jazz pianist who reportedly made the soundtrack for a mere £450 !My discovery of the film and it's phenomenal soundtrack came in the mid 90's when I was being consumed by all things easy/kitsch/bachelor pad/soundtrack music from the 60's and 70's.

"Carter" the opening theme for the film is one of the most incredible title tracks ever. Starting with a monotonous stand up bass line and tabla mixed with train sound affects the main melody then comes in on a harpsichord and is eventually joined by some very Ray Manzarek style electric piano. The whole feel and mood is absolutely hypnotic. There is a video of Budd dubbing sounds onto the film that you can view here. 

Roy Budd c/o From The Vaults

"Plaything" on Side B was utilized as incidental music in the film. It's far more up tempo than the A-side, led by a harpsichord interspersed with organ and electric piano, bass, drums and jazzy guitar. More of an incidental piece, it's still interesting. 

Both sides are available on the many reissues of the soundtrack as well as this interesting 45 box set that compiled four songs from the soundtrack. Both tracks are also available through streaming. AND for those who have never seen the film, have a peek at the trailer:

 

Hear "Carter":

https://youtu.be/YO0dHPhDuLs?si=lsXV_3T8BuFmTFHu

Hear "Plaything":

https://youtu.be/LqTB36ySMk8?si=hSiObspE3vRfdQNs

Mod Is Dead: Psychedelia Is King Part Two-The Who "I Can See For Miles"

 

THE WHO-I Can See For Miles/Someone's Coming U.K. Track 604011 1967

When Pete Townshend was staggering around a Pink Floyd gig at the U.F.O. club London in the middle of a bad L.S.D. trip in 1967 he bumped into loyal Who fan and Goldhawk club mod Ace Face "Irish Jack" Lyons who could hardly believe his eyes. His hero was wearing an Afghan coat and beads and tripping his balls off. Pete was equally astonished that Jack was still in his mod gear and declined Lyon's invite for a pint at the pub across the street instead stating that he was going to go check out the macrobiotic food stall, that his girlfriend, Karen Astley (daughter of "The Saint" theme composer Edwin Astley) was working in her risque paper dress sans undergarments. Karen  Astley was heavily involved with the U.F.O. club and appeared on one of their flyers (see below). 

Pete and Karen Astley, pre-psychedelia (note bottle of Teacher's whiskey)

Roger Daltrey has stated "The Who didn't do peace and love" and though this is essentially true Pete's acid experiences had a major impact on their third single of 1967, "I Can See For Miles". It was unleashed on the British public on October 13, 1967 , strangely it was issued in America on September 18th (where the band promoted it the previous evening on "The Smothers Brothers Show").  Much to Pete Townshend's chagrin (he considered it one of his greatest accomplishments and still does) it stalled at #10 in Britain but went on to become their highest American chart placing single to date reaching #9. The American release featured "Mary Anne With The Shaky Hand" as it's B-side, whereas the British release featured John Entwistle's "Someone's Coming". The lyrics to "I Can See For Miles", partially inspired by Pete's insecurities that Karen was cheating on him while he was on the road (one has the feeling that he was not remotely chaste at this time) were also inspired by his L.S.D. use (something he would end after a bad experience on Owsley's STP while on the flight home to England following the Monterey Pop Festival in June). During one particular trip at a Pink Floyd gig (quite possibly the same one he encountered Irish Jack at) Pete became convinced that Roger Waters was seducing Karen from the stage and was terrified that Waters was "swallowing him" and according to Pink Floyd producer and U.F.O. Club organizer Joe Boyd, Pete spent most of the gig crouched in front of the stage telling all and sundry how terrified he was. 

"I Can See For Miles" put the Who firmly back in their game of powerful singles in the tradition of "My Generation" or "Anyway Anyhow Anywhere" after light weight releases like "Substitute", "Happy Jack" and their ill advised Rolling Stone's cover "The Last Time". Beginning with a resonating power chord and Moon's surprisingly tight drumming (in fact Moon's drumming throughout the entire track is incredibly intricate and disciplined!) "I Can See For Miles" is an iconic track with layer upon layer of buzzing /stinging guitars and a chorus of harmony vocals that perfectly mesh with the thundering crescendo.  This is The Who at their best after spending forever on the road in the United States and recording on the hoof as they criss crossed the country in a Greyhound bus (the backing track was recorded in London and the vocals and overdubs were cut at Talent Masters in NYC and the soon to be finished product was mixed at Gold Star in Los Angeles). 

The flip side, Entwistle's "Someone's Coming" is a polar opposite the A-side. Backed by Entwistle's intricate horns layered in overdubs it's not an unlikable track but truly a throwaway B-side and nothing in the league of previous stellar Entwistle flip sides like "In The City" or "Doctor Doctor". 

We briefly dipped into the waters of the death of mod and the birth of psychedelia way back when in a previous post. 

Hear  "I Can See For Miles"

Hear "Someone's Coming" 

The Empire State Soul Club: Anorak Thing's DJ Set Lists 8/9/25 NYC

Listed below are my two sets, all 45's are US pressings unless noted. The Empire State Soul Club is held the second Saturday of every month at Otto's Shrunken Head, 538  East 14th Street, NYC, NY 10009 from 9 PM-2 AM. No cover, 21+ only. 

SET ONE

Spooner’s Crowd-Two In The Morning (Cadet)

The Isley Brothers-Who’s That Lady (1964) (United Artists)

Lala Wilson Band-Flea Pot (Aura)

The Soul Runners-Charley (MoSoul)

Ike and Tina Turner-Tell Her I'm Not Home (Loma)

Terry and Jerry-Mama Julie (UK R&B)

Georgia Lynn-Sugar Shack Queen (Belgium London)

Dee Clark-That’s My Girl (Constellation)

Jackie Shane-In My Tenement (Sue)

Big Daddy Simpson-Give Me Back My Ring (M-Pac!)

Garnet Mimms and the Enchanters-Tell Me Baby (United Artists)

Gene Chandler-(Gonna Be) Good Times (Constellation)

SET TWO

The Precisions-(If This Is Love) I'd Rather Be Lonely (Drew)

Johnny Wyatt-This Thing Called Love (UK Pyramid)

Donnie Elbert-This Old Heart Of Mine (backing track instrumental) (UK Acid Jazz)

Bob Brady and the Con Chords-Everybody’s Goin’ To The Love-In (Chariot)

The Peels-Time Marches On (Germany Karate)

Mauricio Smith and The Instant Latin Swingers-Tell Him About Johnny (RCA Victor)

Lydia Marcelle-Everybody Dance (Atco)

Blenders-Tale Of Sadness (DJO)

Billy Prince-Somebody Help Me (Verve)

The Mohawks-Baby Hold On Part II (Cotillion)

Wynder K. Frog-I’m A Man (UK Island)

The Heavyweights-Shambala (UK Spark)

Georgie Fame-Last Night (US 45 edit) (Imperial)

Your Boss DJ's from Saturday night 8/9/25 l to r:
Yours truly, Jennie Wasserman, ESSC Queen and founding 
member Connie "The Empress" and Scott Belsky. 
Pic courtesy of Luis Zuluaga

The Empire State Soul Club: Anorak Thing DJ's 8/9/25 NYC

 

Join me on Saturday August 9th, 2025 at 9 P.M. at Otto's Shrunken Head, 538 East 14th Street, NYC, NY as I spin soul/r&b till 2 A.M. with Jennie Wasserman, Scott Belsky and Connie T Empress. No cover, 21+ only.

More U.K. Obscurities On U.S. Labels: The Uglys

 

THE UGLYS-Make Up My Mind/Ugly Blues U.S. ABC-Paramount 45-10707 1965

Birmingham, U.K.'s Ugly's are best known as the launch pad for Steve Gibbons. They released five singles in Britain from 1964 to 1967. This was their debut single both here and in the U.K. (where it was issued as Pye 7N 15858 in May 1965) and released here in August.

"Make Up My Mind" is a somber affair penned by the band. It's a forlorn beat ballad that doubles as a social commentary with jangly guitars and lyrics about the horrific events that drift into self absorption ("I read in the papers a policeman shot down two Negroes in cold blood in some racial town and I'm having a new car but I don't know what kind.."). Incredibly dark stuff for 1965! Curiously the record charted in Australia where it made #14! No such luck for either the U.S. or U.K. release though...

 The flipside, "Ugly Blues" is a faux country track also written by them band delivered in a fake Southern (U.S.) accent that would not have been out of place on a Down liners Sect LP from the short lived country music flirtation!

In 2004 Castle issued a comprehensive collection of all of their material called "The Quiet Explosion: The Complete Uglys" which contained both of these tracks. They are also both available on streaming as well. 

Hear "Make Up My Mind":

https://youtu.be/f96bP1NIYPM?si=M54ED-_WLlxe_Tu5

Hear "Ugly Blues":

https://youtu.be/VDg4cvwKANU?si=mWEaEcyIG8kvwf5K