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