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

 

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

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

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

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

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

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

Here "Lovely People":

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

Hear "Guess I Was Dreaming":

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

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

 

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

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

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

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

Hear "Mr. Armageddan":

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

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

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

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

 

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

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

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

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

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

Hear "City Life":

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

Hear "Night And Day":

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

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

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

 

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

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

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

Looking moody and moddy on the German picture sleeve. 

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

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

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

 

Hear "Suffer":

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