Mod Anthems Part One: The London Boys

DAVID BOWIE-The London Boys U.K. Deram DM 107 1966

Mod anthems...what IS a mod anthem? Is it the lyrics? The feeling? The music? When I was 13 or 14 my "personal mod anthems" changed from week to week and was often a combination of all of those and more. One week it'd be "Time For Action" or "Glory Boys" by Secret Affair , "Millions Like Us" by The Purple Hearts etc etc et al and who could forget the eternally pigeon holed "My Generation"!?!?

In the fall of 1983 I stumbled upon "The London Boys" on a London Records cassette comp called "Starting Point" during my quest to hear/own the rest of Bowie's non-LP Deram cuts. I had found my anthem driving late one night in a Triumph sports car through the fall swept rural roads of Bumf*ck, NJ feeling quite sorry for myself and it was a somber, sober bare bones mod torch song that leap from my shitty car stereo speakers and begged me to take notice. It was at that moment I realized that it was THE mod anthem. It was, and still is.. and much more. Bowie, despite his Anthony Newley pretensions was never a full on crooner. "The London Boys" was and is, an exception to that rule. From it's somber, glum beginning warble to the lifting full throttle cabaret ending (which David Robert Jones delivers like the Frank Sinatra of modernism) the number is a masterpiece. Restrained by a simple bass/organ backing with strains of brass (muted trumpet and tuba woodwinds) the song builds as the pitch of Bowie's plight reaches it's full descent. Lyrically poignant and proud despite the "against all odds" scenario of hopelessness, and failure faced by the song's young protagonist, "The London Boys" ages well (it was cheekily covered with some style and jazz/ska panache by The Times in 1985 on creepy  Mark Johnson's short lived mod Unicorn label). Unlike "My Generation" or any jaded/dated Secret Affair record this is the stuff of dreams, broken ones albeit, but dreams nonetheless. All of this while Bowie was still just 19 years of age. In a way it's a great social observation on one hand as Bowie was firmly tapped into the London scene (and was at the time gigging heavily at the Marquee Club with his backing band The Buzz at the time) but in a way was also as an outsider because despite a great deal of front he didn't actually live in London and when he was not couch surfing he was safely ensconced back home at 4 Plaistow Grove, Bromley at his parents home.

Originally it was demoed with Bowie's third band, The Lower Third at Pye records Marble Arch studios in the fall of '65. It was immediately rejected for release by Pye due to it's language about overt drug use(sadly this version is seemingly lost forever as unlike many other 60's Bowie tracks no version has surfaced among bootleggers or Bowie fans alike). The second version (which was used on the eventual single) was recorded in a demo session at R.G. Jones studios on October 18, 1966 as part of a series of demos in the hopes of ensnaring a record contract (Bowie had since been dropped by Pye after three brilliant but commercially unsuccessful singles), though one would expect that the horns (tuba and trumpet) and woodwinds were later dubbed in Decca/Deram's studio as the label was loathe to allow the use of outside studios to record obscure acts. The demos had their desired effect and David Bowie was awarded a contract with Decca's new Deram off shoot. "The London Boys" would surface as the B- side to his debut Deram 45 'Rubber Band" on December 2, 1966.

"Well, it tells the story of life as some teenagers saw it - but we didn't think the lyrics were quite up many people's street. I do it on stage though, and we're probably keeping it for an EP or maybe an LP. Hope, hope! It's called "Now You've Met The London Boys", and mentions pills, and generally belittles the London night life scene."
-David Bowie in "Melody Maker" in Feb. 1966

Hear "The London Boys" :

https://youtu.be/scFpxKdm2w4

EPILOUGE 2025:

In 2000 David Bowie began tinkering with "a 60's album", an entire LP devoted to re-recordings of tracks of his from the Sixties. Ultimately titled "Toy" the project was given a thumbs down by EMI/Virgin despite Bowie completing a dozen tracks which according to Tony Visconti caused Bowie to ultimately decide to leave the label. The project was posthumously released in 2021 and among it's tracks was a version of "The London Boys". Bowie had reintroduced the song into his live set in 2000 to wide acclaim and the then current arrangement was not terribly far from the original 1966 recording albeit some vocal phrasing differences (clearly David Bowie was not going to attempt to hit the notes he did as a 19 year old). Subsequently in 2022 there were multiple releases of an E.P., "You've Got It Made With All The Toys"  with selections from "Toy" including an absolutely breathtaking live version of "The London Boys" recorded at the Roseland Ballroom in NYC on June 19, 2000 complete with strings and clarinets, hear it here. I'm not usually a fan of re-recordings nor do I think much of "Toy" but I AM very impressed with this reworking. Hear it for yourself and decide.

*****This piece was originally published on Uppers.org on October 22, 2007****

More U.K. Obscurities On U.S. Labels: The Virgin Sleep

 

THE VIRGIN SLEEP-Love/Haliford House US Deram 45-DEM-7514 1967

I've long been enamored by freaky British 60's records cut by straight looking mod guys in immaculate back combed or center parted hair, Hush Puppies, patterned trousers and plaid or op art shirts (Herbal Mixture, The Score, The Flies, to name but a few). Enter The Virgin Sleep (Tony Rees, Rick Quilty, Alan Barnes and Keith Purnell) from Richmond, Surrey. One look at their photo of them below would lead you to believe they were just another Small Faces/Action aping "mod" band. One listen and you know right away that this is NOT a "mod" band.  Their debut single was released in the UK as Deram DM 146 in September 1967 and was simultaneously issued here in the States. 

 The A-side, "Love" loosely follows a chord progression and tempo not too dissimilar to The Trogg's hit "Love Is All Around". Strangely it's Deram release date was 9/1/67, a month and a day prior to The Trogg's number! It is doubtful that they influenced each other, but still a strange coincidence to note. It's backed by a string section that reeks of The Trogg's hit but also echoes The Left Banke and some of the more orchestral moments of David Bowie's debut LP (also on Deram), while the backing vocals have an eerie Buddhist chant meets Franciscan monk quality to them, with some sitar thrown in there for either good measure (or trendiness?). The whole mix is absolutely hypnotic and I find it to be among the greatest of British 60's psychedelic singles issued and it jumped straight out at me when I first heard it in 1985 on See For Miles marvelous LP compilation "The British Psychedelic Trip 1966-1969". 

The B-side, "Haliford House", is more somber and definitely not a very joyous tune. It's about a mental institution where children's toys are manufactured. It's vocals are monotone, as if the lead singer is heavily sedated and other than a brief, blistering freakbeat guitar riff here and there it's pretty low key and uneventful. The Virgin Sleep cut one more single ("Secret"/"Comes a Time" UK Deram DM 173, January 1968) but this was not released in the United States. We will be discussing this in a future post!

"Love" has popped up on both the "The Great British Psychedelic Trip Vol. One " CD compilation and Mojo magazine's box set " Acid Drops, Spacedust & Flying Saucers: Psychedelic Confectionery from the UK Underground, 1965-1969", while "Haliford House" has appeared in bootleg form only on one of the "Hen's Teeth" CD compilations and the  "Justafixtion" 3 CD box set. 

Hear "Love":

https://youtu.be/a3hf2CR9HDc?si=6w8DfpPWeXPUXOWv

Hear "Haliford House":

https://youtu.be/AqI--gr5OdY?si=a1OT7Wr0_iAiYcfe

More U.K. Obscurities On U.S. Labels: The End " I Can't Get Any Joy"

 

THE END-I Can't Get Any Joy/Hey Little Girl U.S. Phillips 40323 1965

The End were one of the first band's Bill Wyman took under his wing in the 60's when he decided to branch into production as part of his fledgling Freeway Music enterprise (which also later included Moon's Train, John  Lee's Groundhogs, Hamilton and The Movement etc) . Wyman met the band when they were opening for the Stones backing Andrew Loog Oldham's flavor of the week Charles Dickens.

Their debut release, "I Can't Any Joy" was issued in the U.K. as Phillips BF 1444 in October 1965 with Wyman at the controls (and as I have written previously here I have always wondered what The Stones would have sounded like with Bill in the producer's chair). It was simultaneously released in the U.S. It was penned by band members David Brown (bass) and Colin Giffin (Lead guitar/vocals). 

"I Can't Get Any Joy" is not, in my estimation the strongest track by The End, but over the years I have grown to like it. The subtle sax by member John Horton brings it along and helps it from becoming just another nondescript mid 60's beat number. 

Unfortunately for me the flip "Hey Little Girl" is utterly forgettable. It's not something I would revisit any time soon. 

The single failed to cause any impact in the U.K. and the band eventually relocated to Spain where they cut and released five incredible singles. They would not release any other records in the United States until three years later when their incredible second British single, "Shades Of Orange" was released here. 

Both sides are available on a host of End compilations, most recently the double album "From Beginning To End" that nicely scoops up ALL of the recorded efforts (including their Spanish only 45's). Both tracks are also available on streaming platforms. 

Hear "I Can't Get Any Joy":

https://youtu.be/tud3c3osXNg?si=g_2i9T-vVxd2PEtx

Hear "Hey Little Girl":

https://youtu.be/L1IhQutC2-8?si=oCJSDi8dbhAievN8

RICK BUCKLER R.I.P.

Word filtered through Instagram yesterday like wild fire reporting the passing of Rick Buckler, drummer of my favorite band of my youth, The Jam.

Rick was actually the guy I thought looked the coolest when I first discovered The Jam. Those Roger McGuinn glasses and high hairline always looked cool to me ("Hair by Schumi" on the back of the "All Around The World" 45 sleeve). I remember looking in awe at their records and bringing a magazine with a picture of the Jam to my hair stylist, Bob Willis who immediately took the piss out of me. "See that c*cksuckers hairline? He's gonna be bald in a few years, you need to find something else". I disregarded his advice and he cut my bangs like Rick's but with my lower hairline I looked like a Wellend. So I turned my attention to emulating Paul Weller's hair instead (but not before going around like that for what seemed like an eternity). 

Rick was the only member of the Jam I ever met. When my friend Rudie and I were caught by The Jam's gargantuan security man Joe (I think that was him name?) creeping into the backstage area at the Trenton War Memorial Jam gig (May 19, 1982) he shuffled us along until John Weller politely shoved us out a side door (after courtesy asking if we had tickets with a promise that he'd "send the boys round for an autograph"). After standing outside for what seemed like ages were noticed this short fellow in what my memory says was a Devo t-shirt approaching the door (my memory has been wrong frequently in details like that). As he got closer we realized it was Rick Buckler heading to the door we were blocking. Mouths agape and speechless we just stood there. Sensing our situation Rick grinned and awkwardly nodded and said "Alright then? Got tickets for the show? (something John Weller said as well, I wondered what would have happened had we said "No"?). We nodded yes and moved out of his way, speechless. I think I was also speechless because I couldn't believe that at 15 years of age I was taller than Rick Buckler!!

I followed Rick's post Jam career with Time U.K. with genuine interest and unlike Bruce's solo records or most of the Style Council releases I still genuinely like some of their stuff, "Remember Days" in particular. No mean feat when lots of my "likes" from "then" did not age gracefully.

Rick always struck me as a gentleman and anyone I knew who met him came back with wonderful stories about him. And in this spirit I shall leave you with this rather jovial interview with him from a few years back.....

Rest in peace. Rick Buckler 1955-2025

More U.K. Obscurities On U.S. Labels: The Pretty Things "Come See Me"

 

THE PRETTY THINGS-Come See Me/Judgement Day U.S. Fontana F-1550 1966

The Pretty Things were a band who I really didn't know a thing about, their name was everywhere and I had seen a photo of them in a "Life" magazine book at school on Great Britain and a friend had put "Can't Stand The Pain" on a cassette mix for me but I never investigated further. Curiously I bought "The Electric Banana" LP in 1986 but that was it. Then in early 1987 my then girlfriend made me a mix tape of their songs, mostly culled from the Bam Caruso Pretty Things compilation album "Closed Restaurant Blues" that encompassed their '65-'67 sounds on Fontana records (picking up where the earlier Edsel records compilation LP "Let Me Hear the Choir Sing" had left off). At the time I was knee deep in my obsession with a U.K. mod band called Makin' Time and was playing the grooves off their posthumous second album "No Lumps, Fat Or Gristle Guaranteed". The moment I put on that Pretty Things tape that kicked off with "Come See Me" Makin' Time were all but forgotten.....

"Come See Me" is a song that is frequently guilty of confusing people about it's origin. It was written by the American soul singer J.J. Jackson in conjunction with Pierre Tubbs and Sidney Barnes. Frequently it's claimed that J.J. Jackson recorded it first, this is in part true. Jackson cut a demo version backed by The Jeeps (which was included on the Strike records CD compilation "The Best of Strike Records") BUT the first actual release was by the Pretty Things who launched their version in the U.K. on April 1966 as Fontana TF 688. Jackson liked what he heard and then decided to record and release his own version which saw the light of day in April on 1967 on the Strike label in England as JH 329. It would not be released in the United States until the following year in March as Loma 296 (curiously Johnny Maestro  released a version with The Crests in America on Parkway P-999 in August of 1966!). 

As in the case with many American 60's releases of British material, this one got altered. Presumably Fontana U.S.A got spooked by the British b-side "L.S.D." and decided to substitute it with "Judgement Day", a track culled from the U.S. issue of the band's untitled debut long player. 

For the uninitiated "Come See Me" is a two minute and forty five second monster. From John Stax's murky bass line intro Nicky Hopkin's subtle ivory tinkling it's an absolute tour de force accented by Dick Taylor's disjointed fuzz licks on the chorus! ("Ugly Things" honcho and Pretty Things fan/expert supreme Mike Stax told me that John Stax remembers guitarist Dick Taylor playing bass on the track, Dick modestly remains unsure). 

Though "Judgement Day" is certainly no "L.S.D." it's not easily forgotten either because it's suitably ballsy enough to compliment the searing A-side, fair cop!

Both sides are available on a variety of Pretty Things compilations, the most recent being the 2017 "Greatest Hits" collection put together by Mike Stax, which is also available on streaming. 

Hear "Come See Me":

https://youtu.be/Ty1iKoVdcCI?si=D3bXfsDTk8l1Rcj-

Hear "Judgement Day":

https://youtu.be/utzYb5ZizVI?si=7Dx2Pmw3Pb10EA0R

Classic 60's Albums: Simon & Garfunkel "Sounds Of Silence"

SIMON & GARFUNKEL-"Sounds Of Silence" U.S. Columbia LP CL 2469 (mono) LP CL 9269 (stereo) January 17, 1966

SIDE ONE:

1. "The Sounds of Silence" (P. Simon)

2. "Leaves That Are Green" (P. Simon)

3. "Blessed" (P. Simon)

4. "Kathy's Song" (P. Simon)

5. "Somewhere They Can't Find Me" (P. Simon)

6. "Angie" (B. Jansch)

So here's how this goes...two New Yorker's, (Paul) Simon and (Art) Garfunkel cut a few folk LP's and eventually get pissed off at each other and go their separate ways.  One (Paul) runs off to England for a month or so and immersers himself in the British folk scene and comes back (with a nice British accent). AND because there's this thing happening called "folk rock" in his absence, the canny folks at CBS records have slapped the same sounds you heard on Mr. Zimmerman's brilliant "Like A Rolling Stone" onto some of their previously issued Simon & Garfunkel tracks like "The Sound Of Silence" (re titled "The Sounds Of Silence") the kids are buying it faster than ice cream. Folk rock is a hit and by September of '65 it's burning up the pop chart where it will eventually reach #1! And where there's a hit, there needs to be an LP....

Enter our LP in question which was released on January 17, 1966. And for all of my jaded observations on the commercialism and cynicism about the the heartless, clueless and shameless U.S. record industry I love this album.  Was it a big attempt to cash in on "folk rock"?  Of course it was.  But once in awhile the suits get it right and come up with something that sounds great and this was one of those times.  And being a 60's Anglophile it's been a base for a mother load of covers by British artists, in most cases hot on the heels of it's release (more on that further down)!

The LP kicks off with the somber "The Sounds Of Silence".  I can remember tramping around a snowy sidewalk in the West Village (that's NYC) at about 2 or 3 in the morning in the late 80's with this playing in my head .  It was one of those perfect moments for a perfect song. There were no iPhones or Androids or earbuds, iPods or even CD Walkmans in existence then so I had to play it in my head.  Like a great deal of the tracks on this platter this is one of what I call "the table for one" soundtrack numbers that seem to reflect isolationism, disenchantment and unintentional solitude (see "I Am A Rock" below). Next up we have "Leaves That Are Green", a harpsichord laced happy go lucky shuffle that's full of optimism.  "Blessed" is another one that evokes all of that black/bleak negativity. All the name checking NYC places reminds me of the gritty Big Apple you saw in "Midnight Cowboy" film that was still fairly visible when I was in my youth pounding the pavement's of NYC at ungodly hours and in (now gentrified) ungodly neighborhoods back in the mid/late 80's. "Blessed" best line for me is:

"I've got nowhere to go, I've walked around Soho for the last night or so..."

Of all the album's tracks this rates as one of my faves because it also evokes a nihilism fueled cynicism in it's lyrics that 58 years later still have an acidic bite to it:

"my words trickle down from a wound I have no intention to heal.......I have tended my own garden much too long"

"Kathy's Song' bounces back to the evergreen, sunny acoustic folkie thing singing about England and some gal over there, clashing with the gritty B-movie sound of... "Somewhere They Can't Find Me". This is one of my other choice favorites from this elpee.  It's lyrical imagery is that of a part time crook on the run leading a double life is so perfect it could have been a movie. It is interwoven with some groovy Fender Rhodes noodling and subtle trumpet care of Hugh Maskella (or so I've heard) and brilliant words from Rhymin' Simon before he became the musical vampire of the Third World in later years:

"oh baby you don't know what I've done.  I've committed a crime I've broken the law.  But when you were here sleeping and just dreaming of me I held up and robbed a liquor store..."

It's intro is a melody nicked from a track called "Anji" written by our eternal hero Davy Graham, whom Simon was presumably turned onto during his brief U.K. sojourn.  Originally copies of the LP incorrectly credit Bert Jansch with writing the track.   Which leads us to..... a note for note cover version of Graham's acoustic instrumental "Anji, which though lacking the nimble fingers of the original still comes off pretty well and gets an A+ for probably being the first Americans to cover the master.  There are more bits of "plagiarism/inspiration". 

Side Two:

1. "Richard Cory" (P. Simon)

2. "A Most Peculiar Man" (P. Simon)

3 "April Come She Will"(P. Simon)

4. "We've Got A Groovy Thing Goin'" (P. Simon)

5. "I Am A Rock" (P. Simon)

The next side's opener "Richard Cory", is lifted from a poem by American poet Edwin Arlington Robinson in title and story line, though Simon adds some gritty industrial realism with his lyrics while a groovy little three chord "Memphis" style lick shuffles in the backdrop amongst the "Highway 61 Revisited" style organ/guitar/bass/drums. Our song's protagonist is a wealthy industrialist/philanthropist (who in a touch of 1966, has orgies on his yacht) but whose money can't buy him happiness so he goes home and puts one in his brain. All of this is seen through the eyes of a prole eking out a meager existence in one of his factories.  The suicide topic continues with a social observation on "A Most Peculiar Man" (pre-dating Ray Davies similar topic "Did You See His Name"), about a loner who ends it all as seen through the eyes of of his fellow apartment dwellers (one can easily imagine a 1960's NYC apartment building with gossip on the stoop on through an open first floor window onto the pavement below).  There's some brilliant stuff going on in this one, especially the discordant acoustic guitar slashes when the actual suicide is touched upon in the song and faint keyboards that sound like chimes. "April Come She Will" is another one of those upbeat acoustic numbers that seems to kill the bleak/cynical groove (much like "Leaves That Are Green"). Next up...the groovy "We've Got A Groovy Thing Goin'", which takes Nat Adderley's "Work Song" (made popular with rock n' roll crowd via fellow Columbia artist and Uber cool jazz hipster Oscar Brown Jr. who added lyrics to the Adderley instrumental) and rearranges a few notes and adds new lyrics BUT still it's a "groovy little" number!! The heavy drum hitting intro is HEAVY care of session man Hal Blaine and there's jazzy horn bits thrown in as well.   "I Am A Rock" closes the album.  It's perhaps the greatest misanthrope anthem of all time.  Again the groovy "Highway 61 Revisited" arrangement brings it all back home, again (dig Larry Knetchel's organ trills) and once again, one can't help but conjure up seedy images of the old Big Apple before Disney/Giuliani wiped away the filth and of an individual who doesn't want to move beyond the four walls that safely surround him from the cold light of day and the garbage both human and manufactured:

"I have my books and my poetry to protect me.  I am shielded in my armor. Hiding in my room, safe within my room, I touch no one and no one touches me"

Wow, solid stuff. A misogynistic/misanthropic mantra for the ages indeed!

Of course our pals across the pond wasted precious little time getting in on the "Sounds Of Silence" bandwagon. In the U.K. The Hollie's cut "I Am A Rock" on their January '66 LP "Would You Believe" (Parlophone PMC 7008), Justin & Karlsson cut a decent version of "Somewhere They Can't Find Me" in February '66 (Piccadilly 7N 35295), Adam, Mike & Tim served up " A Most Peculiar Man" in April '66 (Columbia DB 7902), Them released their final single with Van Morrison, a rocking version of "Richard Cory" in May '66 (Decca F 12403) and The Kytes released "Blessed" in June of '66 (Pye 7N 17136). And someone named Ruth Veldon cut "A Most Peculiar Man", resplendent in a baroque backing care of the great Ivor Raymonde. Of course none of these made any chart impact whatsoever as the originals were riding high in Britannia. While over in Sweden Ola & The Jangler's cut a half decent version of "We've Got A Groovy Thing Goin'" in their mother country as the flip side to "Poetry In Motion" (Gazell C-186) in '66.

For more Paul Simon adoration check out this post on 10 Simon & Garfunkel cover.

The 60's Are OVER, Roll On The U.K. 70's.....

Today's post explores U.K. early 70's releases by band's from the 60's OR sound like they're from the 60's!

1. THE PEDDLERS-"Tell The World We're Not In" U.K. Phillips 600 034 1970

U.K. jazz/r&b trio The Peddlers curiously were on Phillips from '64-'67 and then moved to CBS and then arrived back on Phillips in 1970 with this track that was the theme tune for the creepy post Swinging London celluloid "Goodbye Gemini", driven by some extremely funky organ work it's an incredible little tune that swings! There's an interesting U.K. TV clip of them performing it on a program with lead singer Roy Phillips literally looking like a Eugene Levy character on "SCTV"!

https://youtu.be/OyzZV-vpGGI?si=MIyMpL0F1x22jhBt

2. MICHAEL BLOUNT-"Acorn Street" U.K. CBS S 5248 1970

I can tell you nothing about Michael Blount or this tune. I discovered it during the COVID lock-down/quarantine on Spotify and immediately sought out the 45. It starts out as a mellow acoustic guitar singer/songwriter thing akin to Duncan Browne before the strings come whooshing in (check out the part where he sings "I'm just a lazy so and so") giving it a complete '67-'68 psyche pop feel that totally betrays it's 1970 release. Curiously it lasts barely a minute and a half!

https://youtu.be/yh3kEhlfMzE?si=0HboEC2kds8rxi-w

3. JIGSAW-"No Questions Asked" Germany Metronome M 25.408 1972

Jigsaw may be familiar to some of you for their massive international 1975 hit "Sky High", but the band date all the way back to 1968 when they began with a slew of highly collectible psych-pop singles for MGM, Music Factory AND Phillips. Fast forward to 1972 and they cut this infectious, catchy little ditty for the flip of the tedious Bach update of "Jesu Joy Of Man's Desiring". "No Questions Asked" is a beautiful little pop exercise that could easily be from 1967 or 1968 with it's catchy/blistering fuzz guitar, organ and incredible pop hooks.

https://youtu.be/ifgn83iJ11I?si=CS1AGx9Y2D_lnRjt

4. PHILAMORE LINCOLN-"You're The One" U.S. Epic 5-10594 1970

The full story on Philamore Lincoln's "Zelig-like" musical existence can be found here, so we are going to avoid his colorful back story. Philamore's voice was interesting because he was capable of fey/waif like vocals on some stuff (like "Running By The River" b/w "Rainy Day" his 1968 single) and deeper more baritone stuff like this U.S. only single issued from his stellar 1970 long player "The North Wind Blew South", which curiously was only originally issued in the U.S. and Canada. AND there's a tasty guitar solo on it by Jimmy Page which spices the dreamy arrangement sweetened by sorrowful strings and congas.

https://youtu.be/2r86ZruuWWs?si=ZRpQct0FrO_eFDib

5. BLONDE ON BLONDE-"Castles In The Sky" Spain Ember 45.39-A 1970

South Wales Blonde On Blonde are best remembered as proto prog rockers but their debut single "Castles On The Sky" was issued in no less than eight different countries! It's one of THE trippiest songs ever with it's ethereal backing vocals, restrained fuzz guitar meshing perfectly with some Mellotron (that brings to mind Brian Jone's masterful use of the medium on "We Love You") that weave in and out of each other. This was first brought to my attention by the post Bam Caruso imprint Strange Things Are Happening on their 1990 CD "Circus Days Volume 1&2". It was promptly road tested by yours truly on a trip where it perfectly gelled among British 60's psychedelic tracks. 

https://youtu.be/AK6sV4jo3nQ?si=Mh2_jvPmQkJ8Qas9

6. ANDREW BOWN-"Tarot" U.K. Parlophone R 5856 1970

Former Herd keyboardist (and future Status Quo stalwart) Andrew Bown bounced back shortly after the band's dissolution with this incredible single which was used as the theme song to a British children's TV program "Ace Of Wands" (about a stage magician who possesses supernatural powers which enable him to fight evil). Wrapped in Mellotron and some funky acoustic guitar "Tarot" is the coolest TV theme ever with Bown's unique vocals on top. Interestingly it was reissued last year by a small U.S. boutique label Think Like A Key Records. 

https://youtu.be/ebQEzIRlRIU?si=FoLLjbyLBI3rW3bl

7. DON FARDON-"Belfast Boy" U.S. Decca 32696 1970

From the pen of my personal heroes Tony Colton and Ray Smith (with help from Johnny Harris) comes this ode to the late legendary Man U footballer Georgie Best by former Sorrows lead singer Don Fardon. Originally conceived for a BBC television documentary "The World Of Georgie Best", "Belfast Boy" bounces along with some incredibly cheesy synth and it's main strength is Fardon's strong lead vocals and the catchy lyrics. 

https://youtu.be/gle-xiGGxZA?si=HqlJv7afO5zyFbSu

8. DAVID BOWIE-"Memory Of A Free Festival Parts One And Two"  U.S. Mercury 73075 1970

"Memory Of A Free Festival" was David Bowie's second attempt to reignite the flame that burned with "Space Oddity". Sadly it failed. Written to commemorate a happening he helped create for his local Beckenham Arts Lab in August 1969 (an affair that was sadly clouded by the passing of his father), "Memory of a Free Festival" might have all the peace and love trappings in the lyrics but it's the freaky mix of Moog (played by Ralph Mace) and Bowie on a cheap chain store chord organ pushes it into an incredible sinister feel. This is especially felt on Side Two where it turns into a mantra "The sun machine is coming down and we're gonna have a party" sounds ominously like the death rattle of a doomsday cult (aided by some blistering guitar by Mick Ronson prefacing his work on "The Man Who Sold the world" album and the Moog veering close to E.L.P's "Lucky Man" a year later). 

Part One:

https://youtu.be/vFbW48ro19w?si=KiuHbTGjKlDwU0Nu

Part Two:

https://youtu.be/Ye8kSJ8gxgI?si=x6Faz042KkxOAFA0

9. THE TROGGS-"The Raver" U.S.Page One 21,035 1970

By 1970 The Troggs had been on life support in the hit department for several years now and unleashed a string of raw tracks to ring in the 70's, which though lacking the desired commercial success were incredibly unique. Starting with "Come Now", a lascivious b-side they immediately followed it up with this hypnotic and lewd number led by a jaw harp, and some guitars (the bass doesn't come in until the last half a minute of the tune!) in which Reg Presley repeatedly leers "a boys not a boy and a mans not a man till he's been with a girl like my Joanne". 

https://youtu.be/wQAbT_D-aq4?si=_46lpngLF5hGGUro

10. OCTOPUS-"Girlfriend" Portugal Penny Farthing N-61-1 1970

Octopus are responsible for the incredibly collectible rare 1971 pseudo prog meets flower pop LP "Restless Night" . "Girlfriend" was the flip of "Laugh At The Poor Man", their debut single released in the U.K. in late 1969 but issued in no less than four other countries in 1970 (where our Portuguese copy dates from"). "Girlfriend" is a perfect sunshine pop harmony track with some great power pop hooks that comes across like Gilbert O'Sullivan being backed by Badfinger! Members Nigel Griggs and Malcolm Green later cropped up in Split Enz!

https://youtu.be/Js8PekM3Tgo?si=2dj_7Oqn5gEuaQ-k

More U.K. Obscurities On U.S. Labels: Chris Farlow(e) And The Thunderbirds U.S. Debut

 

CHRIS FARLOW(E) AND THE THUNDERBIRDS-Just A Dream/
What You Gonna Do U.S. General American 718 1965

The American debut release by Chris Farlowe (labelled "Farlow" here as were all of his U.K. Columbia 45 releases) of his fourth U.K. release which was issued in June of 1964, today's subject was issued in the U.S. in January of 1965. Curiously the U.K. the A-sides were reversed!

"Just A Dream" was originally cut by U.S. teen idol Jimmy Clanton back in 1958. It's not the strongest song in Farlowe's recorded repertoire and the less said about it is probably the better. The production is slick, the delivery is good, but ballads/crooning isn't Farlowe's strong suit. 

"What You Gonna Do", a Chris Farlowe original (credited to his real name, John Deighton) is a moody/moody little piece of blues with a slow burning, moody little pace accented by an incredible bluesy solo by Thunderbirds guitarist Albert Lee. It's probably one of my favorites along with his classic "Buzz With The Fuzz". 

Both sides were issued on the 2001 CD collection "Dig The Buzz" and the comprehensive Repertoire three CD set "Stormy Monday & The Eagles Fly On Friday" compilation (the latter of which is available on streaming). 

Hear "Just A Dream":

https://youtu.be/YbfB3gHJCi4?si=ZxMPDJSfhMb1x7B6

Hear "What You Gonna Do":

https://youtu.be/NfRSwONrL94?si=s9MzAnzMWtNwzOqD

More U.K. Obscurities On U.S. Labels: The Soul Agents

 

THE SOUL AGENTS-I Just Want To Make Love To You/Mean Woman Blues U.S. Interphon IN-77022 1964

British r&b band "The Soul Agents cut just three singles in Britain on the Pye label, only one of which, their debut, was released here.

Their cover of Muddy Waters " I Just Want To Make Love To You" was launched in the U.K. as Pye 7N 15660 in June of 1964 and was released here the following month (The Rolling Stone's version appeared on their debut U.K. album in April). Their interpretation is almost poppy and not the gritty r&b that you would expect musically, reminding me a bit of The Sorrows who melded beat with r&b. 

The flip side, "Mean Woman Blues" was originally cut by Elvis Presley and Roy Orbison. The Soul Agents add a Bo Diddley beat to it (much like The Stones did with Buddy Holly's "Not Fade Away") and transform it into a hip shaking R&b raver. It works but only just because like the A-side, what strikes me most is the incredible thin production which makes both sides sound weak and lacking power!

"I Just Want To Make Love To You" appeared eons ago on Sequel's "The R'N'B Era Volume 2:Preaching the Blues" and "Mean Woman Blues" was comped on Castle Music's "Doin' The Mod 3;Maximum R&B". Neither side is available on streaming as of yet. 

Hear "I Just Want to Make Love To You":

https://youtu.be/hEzbhQ7JUdI?si=zi92DF8ezKFViZM6

Hear "Mean Woman Blues":

https://youtu.be/vfPeA6dEXHU?si=HQTGjIf4yoNp1RXs

Classic 60's Albums: Small Faces "Small Faces" 1967 Immediate Records

SMALL FACES-"Small Faces" U.K.LP Immediate IMLP008  June 24, 1967

Upon leaving Decca records and the management clutches of the nefarious Don Arden and signing on with Andrew Loog Oldham and his Immediate records the Small Faces spent the winter/spring of 1967 popping into London's Olympic studios to record what would become their second long player (with Glyn Johns engineering and Steve Marriott and Ronnie Lane producing). This was miraculously accomplished sandwiched in between TV appearances, photo shoots, radio sessions, concerts AND numerous jaunts across the channel to do TV and gigs in Germany, Norway, Sweden, the Netherlands etc. It is surprising that given that punishing schedule that the band were able to manage to record anything in between! Interestingly most, if not all of the tracks recorded were never aired live by the band.

"We went into the studio and cut these songs and then forgot about them, we didn't play this stuff live. It was all about the singles. Paul Weller told me his favorite Small Faces song was "Get Yourself Together' and I had to go look it up because I had absolutely no memory of it!"-Ian McLagan in conversation with the author 2011

The band's second album was released in June of 1967 and like their Decca debut the previous year it was untitled. Decca immediately rush released a compilation of previously released tracks and some unreleased numbers called "From The The Beginning" utilizing an outtake from the photo session for the first LP as a cover shot in an unscrupulous move to convince the public that it was a new Small Faces album. Immediate retorted with press and a radio advert stating "There is only one Small Faces album and it's on Immediate" (the commercial was also issued as a mega rare 7" promo 45). The Immediate album outsold the Decca compilation and reached number 12 in the U.K. LP charts, no mean feat considering that it contained no singles and there was no live promotion on radio or in concert of the music contained!

"Small Faces" differed vastly from it's predecessor released just over a year prior for several reasons. For starters bassist/vocalist Ronnie Lane was the lead vocalist on four of the albums twelve tracks and Ian McLagan's organ/keyboards were more audible in the mix (something seriously lacking on the Decca long player), he also sang on one track. The album also featured horns on several tracks care of member's of Georgie Fame's former backing band The Blue Flames (including trumpet player Eddie "Tan Tan" Thornton and percussionist Nii Moi "Speedy" Acquaye, all recently laid off at the end of 1966 from his employ). Interestingly the feedback laced electric guitar work from the first album has vanished here in favor of mostly acoustic guitar on nearly all of the tracks! The album also featured a great deal of instruments beyond their previous guitar, bass, Hammond organ and drums formula with the previously mentioned horns joining flute, Mellotron, harpsichord, congas, tabla etc. A lot had also happened with the band since the debut of their first album chemically as well. The band were already well versed in amphetamines and hash/weed but had since experienced L.S.D. which had a major impact on their song writing while the band were all living together in London's Pimlico neighborhood at 22 Westmoreland Terrace (minus Kenney who eschewed the madness and lived back in Stepney with his parents). This was reflected not only in the lyrics and introspective lyrical themes but some of the production techniques as well. 

Like the songwriting partnerships of Jagger/Richards or Lennon/McCartney , the Marriott/Lane one was not always necessarily a collaborative effort with the author of each song usually taking lead vocals on their own composition. The pair also produced the album and did a remarkable job considering they had only been recording with the band for under two years and were now producing their own records which was no mean feat!

SIDE ONE:

1. "(Tell Me) Have You Ever Seen Me" (Marriott, Lane)

2. "Something I Want To Tell You" (Marriott, Lane)

3. "Feeling Lonely" (Marriott, Lane)

4. "Happy Boys Happy" (Marriott, Lane)

5. "Things Are Going To Get Better" (Marriott, Lane)

6. "My Way Of Giving" (Marriott, Lane)

7. "Green Circles" (Marriott, Lane, O' Sullivan)

Side One kicks off with "(Tell Me) Have You Ever Seen Me", a number that the band had previously begun work on when they were with Don Arden and Decca records (footage of them recording the song in it's infancy during the Arden/Decca era was captured by TV cameras as part of a profile on pop managers and has unfortunately vanished from YouTube). The Decca version was issued on the "From The Beginning" album but it's this version that is far superior thanks to the wonderful swirling mix of McLagan's organ meshing with a Mellotron that sends the number absolutely soaring. Lyrically it's trippy and betrays the band's hallucinogenic adventures with Marriott singing :"I see the flowers, breaking through the concrete, listen everybody I can hear them breathing". Ronnie's "Something I Want to Tell You" is carried by McLagan's wailing Hammond adding a soulful feel to Lane's anguished and introspective vocals. "Feeling Lonely" is an equally somber track like it's predecessor backed by some regal harpsichord and a barely audible Mellotron with Marriott soulfully handling lead vocals. "Happy Boys Happy", an instrumental (the album's only one), gives Mac a chance to flex his Hammond/piano skills with Kenney bashing seven bells out of his Premier kit coming across like groovy incidental TV program music before a commercial! "Things Are Going To Get Better" is another Marriott mid tempo screamer with another groovy Hammond/harpsichord mix and acoustic guitar and distinctive Ronnie Lane backing vocals. "My Way Of Giving" had previously been released by Chris Farlowe, their Immediate records label mate as his fifth single for the imprint in January as Immediate IM 041. The Faces version differs considerably thanks to Kenney's thundering drum signatures, again with Ronnie's distinctive backing vocals present. 

Side  One closes with "Green Circles" another Ronnie Lane sung somber number (which gave co-writing credits to Marriott's mate Mick O' Sullivan) and was allegedly inspired by a dream O'Sullivan had. It's probably the most psychedelic track on the album with some really interesting phlanging going on in the number and a wonderful mix of tack piano/harpsichord with the hypnotic title being sung like a mantra throughout the number. The band curiously "performed" it (mimed) it on German TV's "Beat Club" when they were plugging "Itchycoo Park", with some rather laughable visual effects (laughable because the show was filmed in black and white).

"Mick O' Sullivan? Songwriting credits? Give me a fucking break, he was some hanger on-mate of Steve's who dossed at our flat in Pimlico and never did anything but eat our food and smoke our dope"-Ian McLagan in conversation with the author 2011

SIDE TWO:

1. "Become Like You" (Marriott, Lane)

2. "Get Yourself Together" (Marriott, Lane)

3. "All Of Our Yesterdays" (Marriott, Lane)

4. "Talk To You" (Marriott, Lane)

5. "Show Me The Way" (Marriott, Lane)

6. "Up The Wooden Hills To Bedfordshire" (McLagan)

7. "Eddie's Dreaming" (Marriott, Lane, McLagan)

The acoustic Steve Marriott sung "Become Like You" kicks off the second side and is another lyrically inwards looking L.S.D. inspired number, benefiting from the Mellotron and Lane's distinct backing vocals (and Marriott's spoken "ello they're playing it again" towards the fade out). The Marriott sung "Get Yourself Together" is next. It's one of the band's most famous (and popular) numbers due in no small part thanks to The Jam who began covering it live and included it on a posthumous bonus live E.P. included with their "Snap!" compilation album in 1982 (Ian McLagan frequently played it live in his last few years where it was the only Small Faces tune he regularly revisited). Ronnie's throbbing bass, Marriott's acoustic guitar and soulful vocals, Mac's piano/Hammond and Kenney's crashing drums make it the album's strongest track. The band incidentally made a promo film (view here) for it where Steve was filmed bopping down Westmoreland Terrace while the other three dressed as London's finest jump him and give him a Marx brother's style thrashing (no doubt inspired by a real life incident in which Marriott and then girlfriend and Mick Jagger's ex, Chrissie Shrimpton were taken in for questioning and both of their flats searched for drugs in February by the Metropolitan Police, curiously nothing was found!). "All Of Our Yesterdays", another Ronnie Lane vehicle, veers into East end knees up territory (a direction that would continue in the band) while Mac plays some amazing tea time orchestra keyboards punctuated by raucous shouts from the band and incredibly smooth horns from thew Blue Flames chaps giving it a wonderful Vaudeville feel. Marriott's soulfully crooned "Talk To You" had aired only a few weeks prior to the album's release as the B-side to their debut Immediate single "Here Come the Nice". It's actually one of the handful of numbers on the album with prominently audible electric guitar and is a classic Faces track encompassing all of their musical strengths! Mac's distinctive piano trill/ lick is infectious! "Show Me the way" is another somber/self introspective Ronnie Lane number characterized by plaintive lead vocals, murky bass and an Elizabethan sounding harpsichord giving it an air of sophistication! Ian McLagan's "Up The Wooden Hills To Befordshire" marks his lead vocal AND song writing debut with the band. Utilizing a phrase Ronnie Lane's Dad used at bedtime as it's title Mac has stated that the song was actually about a hashish induced stupor. It's one of the album's strongest tracks with Mac proving himself both a competent singer and composer. The saturation of mod go-go '66 organ mixed with the driving acoustic guitar, thundering drums and pounding piano make a glorious mix. If you listen carefully at the fade out you can hear Mac scream. 

"Up The Wooden Hills sounds like it's about sleep but it's about hash. We used to smoke so much we'd fall asleep mid conversation and there would be holes burned in all of our clothes from it"-Ian McLagan in conversation with the author 2011

"Eddie's Dreaming", the album's closing track is the stuff of legend. It features the trumpet talent's of Eddie "Tan Tan" Thornton and Harry Beckett. Thornton in addition to playing on it is the subject of the song and his legendary stoned state forms the basis of the lyrics (and is complimented by his fellow stoner and band mate Speedy Acquaye on congas/bongos). The jazzy flute (care of Lyn Dobson who had previously briefly played with Manfred Mann and later with Georgie Fame) and the driving piano in addition to the horns and percussion gives the track a distinctly laid back "chilling in the Islands" feel as Ronnie sings lazily away. After the number ends you can hear some inaudible studio conversation/giggling between Thornton and the band. Eddie's dreaming indeed.

"Eddie was ALWAYS off his nut because everyone knew Georgie Fame and his guys had THE best Jamaican ganja, so we wrote a song about him and got him and Speedy along to play on it which I suppose was the ultimate irony!"-Ian McLagan in conversation with the author 2011

The band would release their second Immediate album, "Ogden's Nut Gone Flake" on May 31st the following year......

More U.K. Obscurities On U.S. Labels: Robb & Dean Douglas

 

ROBB AND DEAN DOUGLAS-I Can Make It With You/'Phone Me U.S. Deram 45-DEM-7511 1967

U.K. duo Robb and Dean Douglas cut just two singles for the Deram label back home in England, however only their debut, today's item in question, was released in the U.S. Originally issued in Britain as Deram DM 132 in June 1967 it was released here in August. Unfortunately I can't tell you much about them outside of their real names being Ray French and Joe Fagin.

"I Can Make It With You" bears some resemblance to "Angel Of The Morning", as of course both were penned by Chip Taylor. Originally cut by Jackie DeShannon the previous year it leans heavily on the blue eyed soul meets M.O.R. side but despite the cheezy Righteous Brothers feel I'm blown away by the production and arrangement, which in grand Deram production tradition is nothing short of amazing with vibes, horns, angelic female backing vocals, churchy organ etc.

The flip side, "Phone Me" is far superior in my book. It's an uptempo go-go groover with piercing female backing vocals (sounding very much like The Breakaways), discotheque '66 organ and tandem lead vocals. The organ solo is over the top and from what I gather it's been a mod weekender favorite as a result!

"Phone Me" appeared on a 2008 ACME 45 box set "Circular Grooves" and both tracks are available through streaming on Spotify.

Hear "I Can Make It With You":

https://www.youtube.com/watch?v=M9_cwUel7Wo

Hear "Phone Me":

https://www.youtube.com/watch?v=VQSjQlyl500