"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- "I'm 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

More U.K. Obscurities On U.S. Labels: The Toggery Five

 

THE TOGGERY FIVE-I'm Gonna Jump/Bye Bye Bird U.S. Tower 119 1965

Manchester's Toggery Five (who took their name from a famous clothing store called The Toggery) cut but just two singles in the U.K. This was their first, issued in Britain as Parlophone R 5175 in September 1964. It was released here in the States much later in March of 1965 where it would be their only single issued in these parts. 

"I'm Gonna Jump" is a slow belter of a ballad. It's bleak and dark and musically sounds like an impassioned side that Them would have cut. Musically it could be beat ballad but the lyrics about the song's protagonist offing himself after spotting his girl with another guy are far too sinister for a beat group, allegedly this led to a B.B.C. ban of the record! Lead vocalist Paul Young pours his heart out on it.

The flip is a cover of Sonny Boy Williamson's "Bye Bye Bird". Interestingly enough The Toggery Five were the first band in Britain to record it (The Moody Blues version would not air until their debut LP "The Magnificent Moodies" in July 1965). The Toggery Five's version isn't half but it's uninteresting because it's merely a note for note cover of the original. No matter how well executed it is it's not remotely exciting to my ears.

Their U.K. follow up, penned  by Andrew Loog Oldham and Keith Richard, "I'd Much Rather Be With The Boys" was issued in February 1965 and is also worth checking out, as is it's flip side "It's So Easy" (which was my introduction to the band).  Apparently the band cut a version of "I'm Alive" , but were beaten to the punch by The Hollie's version which was released before theirs, but I find the story to be somewhat dubious as they were both on the same record label. Lead singer Paul Young (NOT the Q-Tips guy) later fronted Sad Cafe and later Mike and The Mechanics before passing away in 2000.

"Bye Bye Bird" was issued in 2022 on the 6 CD compilation "Wyld Beests And Weirdos" (which is available on streaming) as well as on EMI's 1998 CD "Rhythmn And Blues (With A Little Soul)  At Abbey Road 1963-1967". 

Hear "I'm Gonna Jump":

https://youtu.be/bI8WZ7mCwO4?si=Ikrc9-hXVWTXGnyy

Hear "Bye Bye Bird":

https://youtu.be/3YuWhVy2sK0?si=bOQxMNiqjqS-NXar

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