Ten Groovy Sides From Peter & Gordon

The U.K. duo of Peter and Gordon (Peter Asher, brother of Macca's then girlfriend Jane, and Gordon Waller ) achieved minor success in the U.S. scoring eight Top 40 hits here out of their 18 U.S. single releases between April 1964 and June 1969 (including a #1 with the Lennon/McCartney penned "A World Without Love"). Though never as cool as Chad & Jeremy (Peter & Gordon didn't have any long players to equal C&D's "Of Cabbages And Kings" or "Ark" in my estimation) they managed quite a few hidden gems. I have chosen ten of them for your perusal. All releases are American unless noted. All scans c/o 45cat.com.

1. "Morning's Calling" B side Capitol 5740 1966

No doubt featuring the guitar stylings of Jimmy Page (check out those funky licks!) this mid tempo stormer graced the flip side of "Lady Godiva" (a #6 U.S. hit). It's rugged and bleak (lyrically and musically) and seems to be either about suicide or fleeing. Interestingly it came from the pen of Messrs Asher and Waller!

2. "The Jokers" A side Capitol 5919 1967

"The Jokers" was the title track  from a1967 Oliver Reed/Michael Crawford film and was penned by Mike Leander (who arranged and conducted it) and Charles Mills. It's a cheeky upbeat number that starts with a very odd mix of Mellotron/tabla/harmonica giving it a cheezy but kitschy "Swinging London" feel to it. 

3. "The Town I Live In" B side Capitol 5740 1966

This Geoff Stevens social observation piece first came to my attention via the storming version by Jackie Lee (the Irish female vocalist NOT the soul singer). Peter and Gordon's version preceded hers by a few months and though inferior to my ears it still merits listening. Delivered with an almost monotone feel that rises in key as the number progresses, it's a beautiful track with it's almost mariachi style horns and bitter lyrics eschewing life in a small town accented by a cool interlude with a churchy organ (arrangement courtesy of  Geoff Love). It was featured as the rare B-side to "Lady Godiva" before being withdrawn and replaced with "Morning's Calling". 

4. "London At Night" LP track "In London For Tea" Capitol T 2747 1967

This Cat Steven's penned upbeat number would not seem at all out of place on a Herman's Hermits album from '66-'67 with it's bouncy/happy feeling complete with full on strings, harpsichord, martial march drums, bongos etc while the lyrics espouse the joys of London and it's landmarks. 

5. "The Exodus Song" LP track "Lady Godiva" Capitol T 2664 1967

This piece of propaganda written by Pat Boone and Ernest Gold for the film "Exodus" is lyrically repulsive ("this land is mine God gave this land to me...") but the duo's execution of it is nothing short of breathtaking both vocally AND musically (the latter featuring lush strings/woodwinds and brass). Their harmonies are spine tingling!

6. "Stranger With A Black Dove" U.K. LP track "Peter & Gordon" Columbia SX 6045 1966

This duo original features some positively strange lyrics (the title alone is peculiar!) that are no doubt Dylanesque but their harmonies and the incredible melody (backed by some incredible brass/strings that unfortunately is not credited on the LP!) are absolutely sublime and along with #1 above is one of my favorite P&G numbers. 

7. "When The Black Of Your Eyes Turns To Grey" U.K. B-side Columbia DB DB 7729 1965

Tucked away on the flip of the absolutely dreadful "Baby I'm Yours" is this P&G original that's twinged with an almost country feel with some spacey guitar notes that would do '67 Syd Barrett proud. It more than certainly owes it's inspiration to "I Don't Want To Spoil The Party" but oh that positively freaky guitar solo!

8. "Wrong From The Start" U.K. LP track "Peter & Gordon" Columbia SX 6045 1966

This Asher/Waller original sounds like it would fit in nicely on a '66 Hollies album with it's tight harmonies and punchy delivery (with some funky go-go combo organ and Jimmy Page's distinct guitar licks. 

9. "I Feel Like Going Out" U.K. A-side Columbia DB 8398 1968

This trippy 1968 45 was penned by Peter Asher who not only produced it but assisted Mike Vickers in the arrangement. It starts out with some backwards bits and horns and a funky bass line that sound like they've been lifted from a Cliff Bennett and The Rebel Rousers record. The harmonies are tight and despite them not seeming the least bit comfortable with psychedelic trappings the number works. 

10. "Someone Ain't Right" U.K. LP track "Hurtin N' Lovin" Columbia 33SX 1761 1965

I first heard this track on a YouTube video someone made of a 10" acetate that Paul McCartney had pressed up for Xmas to give to a few friends (call it the original mix tape!). Backed by some bluesy harp blowing, twangy guitar (no doubt J.P.P.) and the duo's stellar harmonies it's a killer. 

More U.K. Obscurities On U.S. Labels: Tommy Quickly

 

TOMMY QUICKLY-The Wild Side Of Life/Forget The Other Guy U.S. Liberty 55753 1964

Liverpool's Tommy Quickly (and his uncredited backing band The Remo Four) were one of the more obscure band's that were swept in when the big men in London cast their nets on the "Mersey Sound" or "Merseybeat". Quickly managed quite a prolific career on vinyl in the U.K. with four singles on Piccadilly and two on Pye from July 1963 to December 1964 (even the Beatles didn't release as many singles during that period!). Tommy was originally born as Thomas Quigley. His career was overseen by Brian Epstein who rechristened him as Tommy Quickly in the Larry Parnes style of renaming your charges.  Having Epstein as a manager gave him access to an unreleased Beatles composition as his debut in July 1963 ("The Tip Of My Tongue", Piccadilly 7N 35137) which unfortunately failed to chart. 

Today's release was his last of two American singles. In the U.K. it was his fifth (and first on the Pye label) where it was launched as Pye 7N 15708 on October 2, 1964. It was issued here the following month. In England it gave him his only hit (#33). The Remo Four are uncredited on the label here despite backing him and being credited on the British release. 

"The Wild Side Of Life" dates back to an old US country music performer named Hank Thompson in 1952 and was revived by Ray Price in 1962, which is probably where Quickly heard it.  It's an interesting choice of a song to cover but it works surprisingly well as a beat ballad and The Remo Four provide a solid, edgy backing as the number is delivered in an uptempo style. The record did nothing here in the States despite Quickly plugging the number on the "Shindig!" TV show here where he performed it live. 

The flip side, "Forget The Other Guy" is a mundane beat ballad that's really nothing special. Next.... 

Both tracks were collected on a now out of print CD collection of all his work as well as other beat artists from '64-'65 that The Remo Four backed. 

Hear "The Wild Side Of Life":

https://youtu.be/JOy9QeEJdWg?si=WkISfg435JdFulCf

Hear "Forget The Other Guy":

https://youtu.be/TxkuuBLYBtc?si=y20dhnk_X8-RuRcs

Mod Anthems Part Five: The Pretty Things "Midnight To Six Man"

 

THE PRETTY THINGS-Midnight To Six Man/Can't Stand The Pain U.S. Fontana F-1540 1966

My introduction to The Pretty Things came via a cassette mix with "Can't Stand The Pain" in about 1985 or so but it wasn't until the following year that my then girlfriend made name a cassette of tracks by them from the recently released Bam Caruso records Pretty Things compilation LP "Closed Restaurant", which became my gateway to the band and also the prefect document to my favorite period of their material.

Towards the end of 1965 The Pretties started to come into their own and started to shed the Chuck Berry/Bo Diddley covers and start recording even more of their own material (as evidenced by their second album "Get The Picture" ). I jokingly refer to it as their "mod years" because of the harder edge some of their material took on. I don't think that is better exemplified by today's topic.

"Midnight To Six Man" was launched in the U.K. in December 1965 as Fontana TF 647, it was not issued in America until February of the following year. Both releases featured the moody "Can't Stand The Pain" as the flip. 

"Midnight To Six Man" is an epic mod anthem. Yeah yeah yeah I know, everyone slings that "m" word around a lot. But you know me, I don't. But hear me out. Actually listen to the song first...

https://youtu.be/OPbMcUsiwjM?si=26CB9pMiculkeg0F

"I never see the people I know in the bright light of day....I sleep through the day, I wake around 4.., till tonight comes around, see you downtown, take in some sounds, maybe we'll score..."

If those lyrics aren't tailor made for mods (or any nocturnal subculture for that matter) then I need to give up blogging. This one was a personal message to me at 20 when I first heard it. I was living those lyrics every Friday night after work getting dressed to the nines and heading into the city and out all night with my mod as hell girlfriend getting worse for wear and soaking up sounds until the wee hours with our crowd, getting home and going to bed with the sun coming up, sleeping all day and then getting up and doing it all again on Saturday night! The other "mod" aspect of the song for me is the powerful guitar, especially the rhythm that rings out right after the first time we hear the chorus and Dick Taylor's distinctive repeating guitar lick. The number is fattened up by some piano by Nicky Hopkins that brings to mind his similar ivory tinkling on The Who's "My Generation" LP and Goldie and The Gingerbread's keyboardist Margo Corccito adds some subtle organ to the whole shebang! Ugly Things Mike Stax confirms that it's "new boy" Skip Allan (who recently replaced the errant Viv Prince) on drums and NOT Bobby Graham as is often supposed. 

The flip, "Can't Stand The Pain", is a moody piece and as mentioned earlier was the first track I ever heard by the band. There's a desolate feeling of despair to it, maybe it's the muted guitar strings or the bluesy vibrato lick that sounds like the lonely whistle of a distant train. To me it's the eventual next day comedown from the amphetamine bravado that's the A-side

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 "Can't Stand The Pain":

https://youtu.be/IR5eJDkhDVk?si=Xm2s65fwEsvN8-6i

"Midnight To Six Man" live on 1966's "A Whole Scene Going":

https://youtu.be/qjpKXs_8fV0?si=vmOkh0Mv6dPgwk_n

For previous Mod Anthems check out David Bowie's "The London Boys", The Who's "My Generation" 

and Chris Farlowe and The Thunderbirds "Buzz With The Fuzz". 

More U.K. Obscurities On U.S. Labels: Wayne Fontana Solo

WAYNE FONTANA-24 Sycamore/From a Boy To A Man U.S. MGM K13762 1967

Mancunian singer Wayne Fontana cut a total of eleven solo singles for Fontana in the U.K. after splitting with his backing group The Mindbenders in late 1965. Just four of these found their way onto American releases. Today's specimen was issued in the U.K. as Fontana TF 827 in April 1967. It was issued here in July and would be his final American solo release of the Fontana records years.

"24 Sycamore" came from the pen of Les Reed and Barry Mason. At a first listen it's completely tepid, like something Paul & Barry Ryan would have tucked on a B-side, despite the incredible Walker Brothers style orchestral  backing (care of Les Reed). Fontana's voice is actually pretty incredible on it and works well with the arrangement and grows on me with repeated plays, with Walker Brothers comparisons being very hard to avoid (in a positive way). 

Sheet music c/o 45cat.com

The flip side, "From A Boy To A Man", is a Wayne Fontana original (credited to his real name Glyn Ellis)and it is a complete miss. Despite the over the top orchestration by Art Gleenslade the number is completely uninspiring. 

Wayne Fontana solo compilations are few and far between. The only one is BGO's 2004 deluxe two CD edition of his 1966 solo album "Wayne One" which collects all of his Fontana singles (A's and B's) including both sides of this record. Unfortunately none of these are available through streaming services. 

Hear "24 Sycamore":

https://youtu.be/m0N4tzd--a8?si=vONycycz3EvDFjpW

Hear "From A Boy To A Man":

https://youtu.be/BfZw2PFnRHA?si=TYmEQkddx1ECKmiD

10 Cool Immediate Records Singles

1.  THE McCOYS-"Hang On Sloopy" U.K. Immediate IM 001 1965

Andrew Loog Oldham and Tony Calder's first release on their Immediate label was garnering the rights to launch the McCoys American July 1965 smash "Hang On Sloopy" in Britain which reached #5 in the British charts. The label would issue a further six singles, an LP and two 7" e.p.s by the band, but none matched this releases commercial success.

https://youtu.be/x8TBs-UZhEI?si=dbeJM5E6EKOZtZ-1

2. SMALL FACES-"Mad John" U.S. Immediate ZS7 5012 1968

Curiously only issued as a single in the U.S., Canada and Australia, this track taken from the Faces third long player "Ogden's Nut Gone Flake" and was a curious choice as a single as it tells the tale of a harmless old hermit shunned by society. It's interesting mix of lightweight folky acoustic guitars and phlanged piano. Come to think of it there's no drums on it! It's slightly longer than the LP version with an extended fade out and an extra verse of Marriott's Celtic "aye diddley aye dye" ad libs.

https://youtu.be/rthR-1Vy1Hs?si=N0Fdt7CrleHMy1ym

3. TWICE AS MUCH-"You're So Good For Me" U.K. Immediate IM 039 1966

The duo of David Skinner and Andrew Rose are frequently cited as "Immediate's in house writers" but they were equally prolific as recording artists in their own right. This was their third and next to last single for the label that has an incredible "Pet Sounds" feel to it (in no small part thanks to Art Gleenslade's lush orchestration) making it my favorite release by them. Despite Oldham's belief in them (four singles and two LP's were issued by the label) their career was not a commercial success. 

https://youtu.be/tpwG7uoy6kw?si=O-kGZNOn_rEmFyZf

4. P.P. ARNOLD-"(If You Think You're) Groovy" U.K.Immediate IM 061 1968

Ex-Ike and Tina Turner's Ikette Patricia "P.P" Arnold was brought to Immediate's attention by Mick Jagger and cut six singles and two LP's for the label in two short years. This was her fourth single for the label tailor written and produced for her by Small Face's Steve Marriott and Ronnie Lane with them and their band mates providing the musical backing. She powerfully handles this tale of contempt and getting over someone, made equally brilliant by the four guys backing her. 

https://youtu.be/asYqqW67-zc?si=kWUTfUGrdaRam_o8

5. THE HILL-"Sylvie" U.S. Immediate ZS7-5016 1969

This U.S. only 45 was by Chris Farlowe's former backing group, The Thunderbirds and is an absolutely gob smackingly good slice of pop sike perfection with sweeping harmonies, harpsichord, orchestration and is pure pop perfection not too dissimilar to label mate Duncan Browne (see below).

https://youtu.be/aMHnoriHUVI?si=R2d06Y0QDjWn7fOC

6. DUNCAN BROWNE-"On The Bombsite" U.K. Immediate IM 070 1968

One of my favorite singles on the label was by the late Duncan Browne who cut just this single and the equally stunning LP "Give Me Take You". "On The Bombsite" is a perfectly honed piece of mellow baroque/choral pop with absolutely fascinating lyrics linking childhood simplicity and fantasy with the responsibilities of growing up.

https://youtu.be/pivzEg9tkRs?si=BHtniPirR8qk4aJA

7. HUMBLE PIE-"Wrist Job" U.K. Immediate IM 082 1969

Immediate launched Steve Marriott's new band Humble Pie with their smash hit "Natural Born Bugie" (#4 in the U.K. charts) in August of 1969. Tucked away on the flip is the positively mournful "Wrist Job" which in reality was an old Small Faces backing track "The Pig Trotters" full of Ian McLagan's swirling/heavy churchy Hammond and P.P. Arnold's backing vocals. I daresay it's the best thing the Pie ever did, even if it wasn't them....

https://youtu.be/hbYaYIukLp8?si=A-PT1oiFS-WuWfiJ

8. CHRIS FARLOWE AND THE THUNDERBIRDS-"Paper Man Fly In The Sky" U.K. Immediate IM 066 1968

Curiously this is the only instance where Chris Farlowe's backing band, The Thunderbirds, was credited on an Immediate release. It was on the B-side of his tenth single with the label, "The Last Goodbye". "Paperman..." reminds me a bit of his fellow r&b scene raver Zoot Money on his last Columbia 45 "I Really Learned How To Cry" in that it's still vocally soulful but the musical backing is sparse with just bass, drums, acoustic guitar and organ. Totally sublime. Production care of Manfred Mann's Mike D'Abo. 

https://youtu.be/DSSUiykxKoY?si=3doHfiXq2ymWCQpF

9. THE MOCKINGBIRDS-"You Stole My Love" U.K. Immediate IM 015 1965

This single by Graham Gouldman's beat group The Mockingbirds was their sole Immediate release after a two single stint with Columbia (and then moving onto Decca for two more!). Produced by ex-Yardbird Paul Samwell Smith and Yardbirds manager Giorgio Gomelsky it reminds me a lot of Scotland's Poets with it's airy vocals and downtrodden feel, and check out Julie Driscoll on backing vocals adding an extra ethereal feel to the proceedings!

https://youtu.be/CZgG2_cBfNM?si=LiMO_i9pYFqBc2bs

10. TONY RIVERS AND THE CASTAWAYS-:Girl Don't Tell Me" U.K. Immediate IM 027 1966

Tony Rivers and The Castaways were one of Britain's biggest purveyors of the "West Coast Sound", perfectly exemplified by covering not one but two Beach Boys tracks for this release ("Salt Lake City" was on the flip and the session also yielded a version of "The Girl From New York City") on their sole Immediate offering. The band wrap it in twice as many harmonies than the original adding an almost choral meets surf music effect and at the end the band begins to sing The Four Season's "Walk Like A Man" as it fades out!

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

More U.K. Obscurities On U.S. Labels: The Groundhogs 45 RPM Debut

 

THE GROUNDHOGS-Shake It/Rock Me U.S. Interphon IN-7715 1965

Legendary British blues rock heroes The Groundhogs 45 rpm debut was incredibly only released in the United States in January 1965 on the tiny Interphon label (home of other obscure Brit releases like The Soul Agents, The Hi Fi's and The Honeycombs). After backing multiple American blues artists touring Britain legend has it that John Lee Hooker put in a word for them enabling this single to be released in the United States but strangely not the U.K.! 

The A-side "Shake It" is a band original. I first heard it back in the 80's on one of Greg Shaw's "English Freak beat" compilation albums in the late 80's. For the uninitiated it's a 101 mph British r&b stormer. Wailing harmonica, driving piano and a frenetic beat drives this ditty and it's pure amphetamine driven British 60's r&b at it's finest!

The flip, "Rock Me", the Muddy Waters number is your bog standard blues number with some barroom ivory tinkling and a nice bluesy guitar solo dueling with some mean harp blowing that rescue it from it's mundane feel. 

As mentioned above the A-side is available on Volume One of the "English Freakbeat" series and both sides are on an unauthorized (read "bootleg") compilation "Please Leave My Mind" that collects early Groundhogs/Herbal Mixture tracks. 

Hear "Shake It":

https://youtu.be/Ly8qTLjRmCE?si=Rjr_-l2WKQgYiSAB

Hear "Rock Me":

https://youtu.be/U9PPHZTXL3w?si=YQLnsJthWQVoUDVD

Classic Deram 45's: The Virgin Sleep "Secret"

 

THE VIRGIN SLEEP-Secret/Comes A Time U.K. Deram DM 173 1968

We profiled The Virgin Sleep's debut "Love" in one of our earliest posts, which you can view here. The band's follow up was issued five months later with a different producer. Both sides were penned by lead singer Tony Rees. 

"Secret" benefits from the powerful arranging that was Keith Mansfield who's deft hand applied it's Midas touch with an incredible orchestral backing that meshes perfectly with flutes chiming in tandem with the airy high backing vocals. All of this fits nicely on top of the band's powerful playing. Lyrically it's the perfect exercise in the so called "Toy Town Psych" genre as the singer sings about a secret that's only being told to various animals: "the blackbirds talking in the trees tells the seagull who flies to sea, sparrow hawk knows but then he sees everything, spiders spinning his web of silk watching the ducks down by the mill, he'll keep the secret until he's ready....", all delivered in a very interesting and rapid fire pentameter.

There is a repeated chorus of "I know cos I was there, having my tea with a teddy bear", the melody during this part curiously sounds like Aretha Franklin's 1974 hit "Until You Come Back To Me (That's What I'm Gonna Do)". 

German Picture Sleeve c/o 45cat.com

The flip, "Comes A Time" is absolutely boring. Despite the subtle woodwinds/strings that give it a Left Banke feel it positively pales in comparison to the powerful A-side! Unfortunately this would be the band's final release. Pity. 

"Secret" is available on a multitude of compilations, namely Decca/Deram's excellent "The Psychedelic Scene" , Rubble's "Volume 12: Staircase To Nowhere" and "The British Psychedelic Trip Volume Three". 

It is also available through streaming. The flip side has not been reissued, perhaps thankfully....

Hear "Secret":

https://youtu.be/c7AGxBiuj04?si=Bb-94wPfpqSyLeB8

Hear "Comes A Time":

https://youtu.be/R49B-p8TSVY?si=8g1rfTARD_rbjbLO

Classic 60's Albums: The Pretty Things-"Get The Picture"

 

 

THE PRETTY THINGS-"Get The Picture" U.K. LP Fontana TL.5280 1965

The Pretty Things launched their second U.K. LP "Get The Picture" in December 1965. By then the band were firmly settling in to recording more of their own material instead of churning out beloved U.S. blues/r&b covers. The band were also in a state of flux in regards to their troublesome drummer Viv Prince, who by its release date, was summarily ejected. The sessions saw him play on some tracks, with the rest of the drumming on the album done by session man extraordinaire Bobby Graham and Fairies drummer Twink (who would later become a full time member in 1967). The band's sound was also in a state of metamorphosis with them moving slightly out of the raw British r&b harp wailin'/maracas shakin' sound and including more jangly, melodic numbers whilst also absorbing a lot of the harder edged "mod" sound (fuzz, feedback, Nicky Hopkin's ivory tinkling etc).

SIDE ONE

1. "You Don't Believe Me" (Page, Graham, May, Merrell)

2. "Buzz The Jerk" (May, Taylor)

3. "Get The Picture" (May, Taylor)

4. "Can't Stand The Pain" (May, Taylor, Graham)

5. "Rainin' In My Heart" (West, Moore)

6. "We'll Play House" (Aldo, Gandy, May, Taylor)

Side One opens with the jangly neo folk rock of "You Don't Believe Me", co-authored with Jimmy Page it sees the band doing something they'd never really done before: a beat ballad! Which works! Band original (all but one track one Side One are band originals) "Buzz The Jerk" is next with it's intro borrowed from Alvin Cash and The Crawler's "Twine Time" with Dick Taylor's blistering fuzz licks laying perfectly with John Stax murky bass line, easily the most "danceable" thing the band after crafted! "Get The Picture" also benefits from Dick's fuzz guitar riffs on top of a mid tempo track and perfectly illustrates the new direction the Pretties were headed in. "Can't Stand The Pain" (also utilized as the flip of their current single "Midnight To Six Man") is magical. Delivered in hushed tones with bluesy licks and a desolate feel it's accented with faint piano tinkling and a discordant vibrato. Slim Harpo's "Rainin' In My Heart" is next, slowing things down a bit and harking back to their blues interpreter phase that they were just shifting away from. "We'll Play House" with it's feedback intro and constant cow bell is an interesting mix of styles but all too often sounds like filler to me despite the cool mod power chords.

SIDE TWO

1. "You'll Never Do It Baby" (B. Smith, T. Fox)

2. "I Had A Dream" 

3. "I Want Your Love" (J. Dee, J. Tarr)

4. "London Town" (Taylor)

5. "Cry To Me" (Russell)

6. "Gonna Find A Substitute" 

Side Two kicks off with a track penned by fellow r&b devotees The Cops N' Robbers, adds a dash of the bluesy Pretties that's part Chuck Berry and part Prettie's '66, especially with the soulful pauses. "I Had A Dream" is uncredited on the original album and is a bluesy barroom ballad with call and response backing vocals beneath smoky guitar licks and ivory tinkling that call to mind Them. "I Want You Love" plumbs the call and response backing vocals again with some nifty chord changes and stops and occasional bursts of uptempo raving with blistering licks. British folk standard "London Town" (originally penned by Mick Taylor, NOT the Stones guy) fords into uncharted territory for the band with it's acoustic guitar, bongos and echo drenched blues licks, easily my favorite interpretation of this number!! Betty Harris' blues belter "Cry To Me" (previously covered by The Stones on their "Out Of Our Heads" album) is next, though I prefer the Stones reading, this isn't without charm thanks to the backing vocals and the moody backing. "Gonna Find A Substitute" closes the album, though uncredited it's actually an Ike Turner composition culled from Ike & Tina's rare as hell (U.K.) Sue E.P. "The Soul Of..". The Pretties make it their own with trademark gusto: thundering bass and blistering bluesy guitar before the number gradually fades out like they'd had enough!

Dutch pressing Fontana 858 039 FPY 1967

From The Brothers Gibb Part Two

1. DAVE BERRY-"Forever" U.K. Decca F 12651 1967

Dave Berry's career was much like that of Georgie Fame's (see below) in that by the mid 60's he was moving into M.O.R. territory and giving up raving beat/r&b tunes. This track attempts to grab some contemporary street cred with it's phased vocals and oscillating horns (arranged care of the great Keith Mansfield) it's of interest for historical note only as it's easy to hear why the Bee Gees never bothered with it. Next!

https://youtu.be/ll5RMQGvK20?si=-sSIQLHr_jTomosM

2. THE CYRKLE-"Turn Of The Century" U.S. Columbia 4-44366 1967

Short lived American two hit wonders The Cyrkle cut this cover from the Gibb's debut U.S. LP hot on the heel's of it's release as their sixth single. It's not bad but suffers from being pretty much a note for note carbon copy of the original, however well executed it may be in vocals, musical backing and production it's rather pointless. 

https://youtu.be/PfOr0oDXUq8?si=A1cA8wodZwrEKfNX

3. GEORGIE FAME-"Words" U.K. United Screen Arts U.S.A. 2 1967

This mega rare 45 was from a version that Fame recorded for the 1967 film "The Mini Affair" (also released as "The Mini Mob") that he also apparently starred in! Coming from his post r&b career with CBS records when he was being pushed into a more M.O.R. area it actually works thanks to his vocal skills. Sadly I can't find it on YouTube!

4. ADAM FAITH-"Cowman Milk Your Cow" U.K Parlophone R5635 1967

This ladies and gents is the stuff of legends! Allegedly backed by The Roulettes AND Peter Green on guitar (according to the liner notes of an EMI Adam Faith collection), Adam Faith joined the ranks of Gibb brothers interpreters with this track that the Bee Gees never recorded themselves (and mores the pity because it's incredible). The Bee Gees are vocally present on the track but what's never been clarified is whether Faith and Co. were recording over a Bee Gee's demo (a common practice, see Aussie artist and Gibb brother's interpreter extraordinaire Ronnie Burns) or if they were at the session singing backing vocals.  Reardless it's an incredible cool and even dark psych pop number!

https://youtu.be/VCUGCCarzi0?si=XM3U6goAHOrqtexZ

5. PAUL JONES-"And The Sun Will Shine" U.K. Columbia DB 8379 1968

Ex-Manfred's lead singer Paul Jones cut his version of of a track from The Bee Gee's "Horizontal" LP as his sixth single (backed by the INCREDIBLE "The Dog Presides") . Heavily orchestrated (care of Paul's ex bandmate Mike Vickers) and produced by Peter Asher of Peter & Gordon, Jone's impassioned delivery is incredible and mixed with the stellar musical backing it takes this mundane track and makes it shine !

https://youtu.be/lk_ejMYsEaU?si=WXUlT3LK1HWLoVkP

6. O'HARA'S PLAYBOYS-"Spicks And Specks" U.K. Fontana TF 793 1967 

Curious U.K. mod/soul combo O'Hara's Playboys took the Gibb's first U.K. hit and ran with it as their second single. It doesn't differ much from the original but works because of their heavy duty horn section and cheezy combo organ (that adds a cool metronome feel to it).

https://youtu.be/3vdwkrY_H70?si=_vCzJFigDM2EPAWj

7. GERRY MARSDEN-"Gilbert Green" U.K. CBS 2946 1967

"Gilbert Green" would not sound at all out of place on The Bee Gee's LP "The Bee Gees 1st" nestled in between the likes of "Craise Finton Kirk Royal Academy Of Arts" or "Cucumber Castle". It suits Marsden's voice but in retrospect to his previous recordings one can't help but get the feeling that he sounds, well, uncomfortable? Regardless it's lavishly orchestrated and musically reminds me of one of the many unsung pop-psych acts on Decca or Deram in '67-68 (I can easily imagine it being a Toby Twirl or The World Of Oz song), which I guess is what makes it enjoyable for me.

https://youtu.be/F_KJOMktwik?si=uE827NqzBBI4sk7M

8. MIKE FURBER-"Secondhand People" Australia E.P. Kommotion KX-11, 253 1967

Tragically doomed British born Downunder teen idol Mike Furber cut this Gibb brothers track (along with their "Where Are You") for his third Australian E.P as well as both tracks gracing a single on Kommotion (KK-1602). It's an excellent mid tempo social commentary that's delivered with some excellent harmonies (I swear I hear Barry Gibb's voice during the chorus) that works REALLY well.

https://youtu.be/2Aix5AOA6j8?si=Gu-suWfoINOIh80z

9. ASTRUD GILBERTO-"Holiday" U.S. Verve VK-10651 1970

The Bee Gees of course, like The Beatles were embraced by the mainstream recording industry once they found fame which explains where this interesting version came from! Delivered in a very up tempo manner (with prerequisite Latin trappings) it's actually quite interesting with some trippy vocal interludes interspersed with jazzy breaks!

https://youtu.be/G4VLLEEYs1s?si=5ktCIs9Xcwtrvg02

10. BONNIE ST. CLAIRE-"Marley Purt Drive" Netherlands Phillips 336 102 JF 1969

Dutch siren Bonnie St. Claire cut this "Odessa" album track as a B-side and applied the heavily Band  slant of the original to it (at times you almost expect her to break into the chorus of "The Weight" at any moment) as well as some very countrified pedal steel and sweeping strings. Quite interesting!

https://youtu.be/F7QV5uSUi2k?si=kapur4MhCuFJozUR

All scans courtesy of 45cat.com

For Part One of this series go here. 

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

TWIGGY-When I Think Of You/Over And Over U.S. Capitol 5903 1967

 In the 60's being a celebrity pretty much guaranteed you a recording contract (see Capitol label mate "Ted Cassidy") so it should be no surprise that Swingin' London icon and model Lesley Lawson aka Twiggy released a record. Actually she released several, but this was her U.S. recording debut and curiously it preceded the U.K. release (Ember S244) by seven months!

Surprisingly Twiggy's voice is not at all bad! "When I Think Of You" is a full on party, with brass, female Breakaways style backing vocals and a blistering guitar underneath it all as Twiggy croons confidently . It was produced by Tommy Scott who co-wrote it with Peter Law.

The flip, "Over And Over" is a mediocre tune drenched in double tracked echo that makes her sound like she's singing in the bottom of a well with this annoying cheezy piano tinkling (no doubt care of Phil Coulter who co-wrote the track with Tommy Scott). Next!

"When I Think Of You" has appeared on a variety of compilations, most recently Grapefruit's various artists comp "You Can Walk Across It On The Grass (The Boutique Sounds Of Swinging London)" which is also available on streaming. 

Hear "When I Think Of You":

https://www.youtube.com/watch?v=WBQZe0jcdCU

Hear "Over And Over":

https://www.youtube.com/watch?v=1F7BWg0ohYw

The Searchers-"Someday We're Gonna Love Again"

THE SEARCHERS-Someday We're Gonna Love Again/No-One Else Could Love Me U.S. Kapp 609 1964

Liverpool's Searchers hold the distinction of being the second most successful Liverpool 60's band in the United States in both chart and sales wise, with seven Top Forty hits all in the relatively brief window of just a year (1964-1965). 

"Someday We're Gonna Love Again" was their ninth U.S. single released in July of 1964 where it reached #34. It was simultaneously issued in England as Pye 15670. It was previously recorded by Barbara Lewis. Back in my younger years I bought an amazing Searchers 10" EP on PRT and this was one of my favorite tracks on it. The single would also be their last with bassist Tony Jackson, who left after being ousted following a ham fisted power struggle that saw him threaten to "out" drummer Chris Curtis in an attempt to gain leverage in leading the band (a position that was for all intents and purpose, held by Mike Pinder). 

For the uninitiated "Someday We're Gonna Love Again" is the epitome of "The Searcher's sound": jangly/chiming guitars, double tracked harmony vocals and a chirpy, uptempo feel to it all. It's catchy, and the infectious "do dit doo do doo do dit" chorus sticks pleasantly in one's brain. 

The flip side, "No One Else Could Love Me", was penned by drummer Chris Curtis . Sadly it's fairly unimpressive, and though it showcases the band's incredible harmonies the song itself is a fairly pedestrian beat ballad. 

Both sides are available on a host of Searchers collections that thanks to the likes of Castle Communications are NEVER out of print. Both sides are also available on streaming. 

Hear "Someday We're Gonna Love Again":

https://youtu.be/gUehZ7elW-U?si=ZtmCF1x9B7peLkuK

Hear "No One Else Could Love Me":

https://youtu.be/Jxy3NmE6Itc?si=pbZqaRJObDpBVwhK

My Top 10 Joe Meek Productions

1. PAUL AND RITCHIE AND THE CRYING SHAMES-"Come On Back" Decca F12483 1966

This was the final of three singles by this Liverpool band (all produced by Meek).  It was also among his last productions before his death in February 1967 and is easily his most "psychedelic".  It's haunting combo organ and distorted bass with swatches of slashing guitar with heavy vibrato bleeding through is hands down the most trippy thing Joe Meek ever did while the song itself has elements of U.S. 60's "garage" to it.  Meek's productions all but ignored psychedelia and he tended to utilize the same tricks he'd been using since the early 60's on all of his records right up until the end but this one seems a bit more "contemporary" than the rest, whether that was intentional or not remains to be seen. 

https://youtu.be/u_TFp5bHVBQ?si=eHbQx3v-xHftDhux

2. THE BUZZ-"You're Holding Me Down" Columbia DB 7887 1966

Not to be confused with David Bowie's backing band from the same time (something bootleggers and errant journalists frequently resorted to confusing) these guys were actually Scottish.  The first time I heard this track was in the late 80's on a bootleg LP comp called "Searching in The Wilderness", shortly after it appeared in far better quality AND in it's correct length on Bam Caruso's "Freakbeat Fantoms" LP (the version used on "Searching..." was the American single mix which is shorter).  The whole track is a cacophony of fuzz guitar (that is total freakbeat) and the depraved sounding vocals with typical Meek compression on the whole thing just jacks up the freaky aspect!  It all resembles a paranoid speed freak meltdown ala John's Children's "Smashed Blocked" or the Small Face's "E Too D", something Meek was all too well aware of.

https://youtu.be/-OSc_dIHCjE?si=xkhwdOlrES7n2VMV

3. HEINZ-"I Get Up In The Morning" Decca EP DFE 8545 1963

Taken from his untitled first E.P. this rockin' little number is my favorite track by the blonde bomber. The funky little guitar licks come care of a young Ritchie Blackmore (acknowledged by Heinz not once but twice in the track before a solo..."Take it Ritchie") and though I'd swear the female backing vocals are Glenda Collins the E.P. sleeve states they are by The Fletchers (who were also known as The Cameos). It's easily his strongest release in my estimation and has a relatively clean (ie "not weird") production!

https://youtu.be/46jWNYTXIKw?si=3ALXL464k2BdCZ0l

4. THE RIOT SQUAD-"I Take It That We're Through" Pye 7N.17092 1966

This was the band's second of four singles recorded at 304 Holloway Road (their fourth and final single was Meek's last release causing a friend to quip "it was so late it practically had Meek's brains on the master tape reel") and it's my favorite.  It combines some wild sonic reduction on a fuzzed out guitar lick while the compression on the saxophone bends the sound so it resembles some sort of Middle Eastern reed instrument while the band's high pitched backing vocals are given the Meek touch. But that fuzz bass intro.....wow, just wow, it's a total window rattler. 

https://youtu.be/B2yLu-K4UJo?si=90E9UQnOipIhoImi

5. THE HONEYCOMBS-"That Lovin' Feeling" Pye 7N.17173 1966

The Honeycombs final single marked the end of a career with Meek that yielded ten singles, an EP and two LP's under his tutelage in just two brief years. My old pal Keith Patterson once aptly described it as "The Honeycombs outdoing The Episode Six" which is a true assertion as the numbers harmony male/female vocal style is akin to to that of The Episode Six's records for the same label at this time.  Starting out with a part raga/ part Flamenco guitar lick it has a slight Middle Eastern feel and is carried by Honey Lantree's backing vocals (that sound like the mike was down the hall from her!) and the compressed combo organ and a typical echo drenched guitar solo add to the amazing blend. 

https://youtu.be/15jU_UOQ95Q?si=cGsXEH3zo3HJPXyR

6. THE TORNADOS-"Too Much In Love To Hear" Columbia DB 7856 1966

By the time the band switched to Columbia from Decca they were the Tornados in name only , with another Meek band The Saxons, assuming the role of the "new" Tornados. "Too Much In Love To Hear" was penned by it's members Pete Holder and Robb Huxley (credited here as "Gale", a misspelling of his "other" last name Gayle) . It's a rarity among Tornados 45's as it's a vocal number.  Led by some tack piano with the typical Meek production flourishes it's a moody piece , sort of a beat ballad with a nice jazzy/Shadows style guitar solo and a welcome pleasure to hear vocals on a Tornados record!! Interestingly Huxley later moved to Israel where he joined The Churchills who cut a trippy (and far improved in my book) version of the track which was comped on one of the "Strange Things Are Happening" CD comps.  For a more detailed history of the "New Tornados" check out Robb Huxley's extensive and highly informative web page here. The band would cut just one more 45 with Joe Meek, but that, as they say, is another story for another time. You can read that story here.

https://youtu.be/y8_yrX0CNhs?si=bSM8Gyt11UfoPixE

7. GLENDA COLLINS-"Something I've Got To Tell You" Pye 7N.17044 1966

Joe Meek had very few female vocalists on his roster but none was better or as well known as the dynamic Glenda Collins. The track, the ultimate musical confession of infidelity, was written by Ken Howard and Alan Blaikley (frequently misidentified as "Howard Blaikley" like this label) and had previously been recorded by The Honeycombs on their second LP "All Systems Go" where it showcased for the first time, drummer Honey Lantree on lead vocals (it also cropped up on Dave Dee, Dozy, Beaky, Mick and Tich's debut LP).  I think Glenda's February 1966 version is the definitive one in my book thanks to the top shelf presentation.  Meek took no chances and secured the services of arranger Ivor Raymonde to wrap it up in strings and massive orchestration, but in the end sadly it was not a hit despite the stellar arrangement and Collin's powerful vocals .

https://youtu.be/YMMlQ3TroCc?si=ePW6wSaDDyCBm7Wc

8. JASON EDDY & THE CENTERMEN-"Singin' The Blues" Parlophone R 5473 1966

My introduction to the weirdness of Joe Meek came in 1982 with the inclusion of this cut on Greg Shaw's legendary LP compilation "Pebbles Volume Six: The Roots Of Mod". Jason Eddy (real name Albie Wycherley and previously "Jason Eddie") was the brother of Ronald, better known as Billy Fury. Jason's O.T.T. cover of the Marty Robbin's hit "Singin' The Blues" pulls out all the stops with everything sped up (is that a horn or a guitar sped up on tape?), blistering guitar (sounding very similar to some of Richie Blackmore's other guitar work for Meek) and the vocals that sound like they're trying not to get swept away by the manic pace of this song. 

https://youtu.be/EthJ1EuUd6o?si=PGSBx2UO2QjbmP2h

9. BOBBY CRISTO AND THE REBELS-"I've Got You Out Of My Mind" Decca F 11913 1964

This is probably one of my favorite of Meek's "beat"group releases. It's a nondescript number with almost flat vocals but there's something catchy about from it's stereotypical Meek beat and slashing/tinny sounding guitars and a certain charm to it all. It was their sole release and it was unearthed in 1983 for See For Miles excellent compilation LP "Sixties Lost And Found Volume 3". 

https://youtu.be/scu9ew-E7ow?si=0nN48cGzCuZUsifB

10. DAVID JOHN & THE MOOD-"Bring It To Jerome" Parlophone R 5255 1965

These unsung heroes of Brit r&b cut three singles in their short career. Their last two were on Parlophone and were produced by Meek. This reading of Bo Diddley's "Bring It To Jerome" was the first of those two. Seeped in gritty r&b harp blowing it's a swampy/gritty little mess with typical Meek drums (or lack thereof?)/percussion and raw vocals. Thankfully it was one of two tracks by the band included in Greg Shaw's epic "Pebbles Vol 6: The Roots Of Mod" LP (which also included the Jason Eddie track above). 

https://youtu.be/U2uaLDE1MpM?si=LwUl8x5bPuN2I2mt

All label scans are courtesy of 45cat.com and all singles are U.K. releases.