THE MERSEYBEATS-I Love You, Yes I Do/See Me Back U.S. Fontana F-1532 1965
Today's selection was the fifth and final U.S. Merseybeats 45 (issued in November 1965). It was a mish mash of a U.K. A-side (September 1965) and a U.K. B-side (October 1964).
"I Love You, Yes I Do" (originally cut by Tab Hunter in 1958), stands as quite possibly my LEAST favorite Merseybeats track. The band cut their share of ballads, many of which I like. This one I do not. I believe the lead vocals were courtesy of the recently returned Billy Kinsley, who bumped his replacement, former Big 3 singer/bassist Johnny "Gus" Gustafson, out of the line up. It was also their first release produced by the band's new manager and producer Kit Lambert, who happens to be one half of The Who's management team at the time.
"See Me Back" would have been a far better A-side. Penned by vocalist Tony Crane and Johnny Gustafson it's a tough mid tempo beat ballad that's thoroughly rocking. It's sung by Crane and Gustafson, who in my opinion were a perfect (and best) Merseybeats vocal combination.
Both tracks are available on the thoroughly comprehensive 2021 Grapefruit two CD collection "I Stand Accused" which collected everything the band and it's members recorded in the 60's.
The Prisoners are without a doubt my favorite 80's bands, and one of my favorite bands in general! I was hipped to them back in 1984 by a British pen pal named Debbie Jones who was absolutely besotted with the lead singer Graham Day. I promptly went out and found this American only compilation LP called "Revenge Of The Prisoners" (as did my friend and at the time co-fanzine editor Rudie) that was an interesting mix of Big Beat era material from their second LP "Thewisemiserdemelza" , various 7" tracks and even an unreleased track ("Love Changes") and an alternate version of "Coming Home". After that nothing could stop us as we consumed all things Prisoners. Rudie somehow wound up corresponding with Jamie (James) Taylor through our mate Chris Flip, who's British Mom was best friends with Jamie's Mom. Jamie kindly mailed Rudie two copies of their excellent new LP "The Last Foufathers" (one of which he shared with me) and two copies of the Dentists "Some People Are On The Pitch.." LP and a few Dentists badges (I stupidly sold the LP and used the $ to buy a Skinhead reggae 45, but still have the badge)! Chris and his Mom were in the process of setting up a U.S. Prisoners fan club but unfortunately the band broke up a few months later (I later managed to purchase their stock of Prisoners t-shirts and badges which In started out selling but I think In eventually just gave them all away to friends). Rudie sadly left this mortal coil by his own hand in August of '86 shortly after we both purchased their final LP "In From The Cold" so I was left alone to spread the gospel of these four guys. If you knew me in the 80's chances are you were the recipient of a Prisoners mix tape!! Fast forward to 1988 and Tim Warren brought the Mighty Caesars over to NYC for a gig which allowed me to meet Graham Day who kindly consented to a mail in interview (which I have reproduced here) and the whole thing came full circle when I got my ass over to England to witness two of their three reunion gigs at Herne Bay a few months back (here) which BLEW MY MIND. With all that said and done I decided that in my grand tradition of doing "Top 10's" here it was time I chose ten by the Prisoners. It wasn't an easy task. I could have easily just chosen ten songs from "The Last Fourfathers", but I tried not to deliberately pick anything from a certain era . But enough babble...here tis:
1. "Reaching My Head" from Various Artists 7" "Trash On The Tube" E.P. Big Beat U.K. SW 98 1984
This track featured on the British TV show "The Tube" (hosted by Jools Holland) where the band were seen miming it in "Star Trek" shirts (you can view the episode here). It's brilliance lies in the well oiled rhythm section of Allan Crockford's thunderous bass and Johnny Symons drumming while guitarist/vocalist Graham Day strums a tough but hypnotic lick and sings of "icy warm lakes in my head" and "a slimy cold rock in my mind". It's underpinned by Jamie Taylor's combo organ (a Jennings transistor organ, similar to a Vox combo organ, thanks Allan!) which is influenced by the groove of Deep Purple's interpretation of "Hush" (a technique that would serve the band well and be the leading inspiration behind 90's acts like The Charlatans and The Inspiral Carpets). Check out this incredibly tight live version from 1984 here.
2. "There's A Time" France single Sky Dog SKI 6103 1983
Back in 1984 when I first discovered The Prisoners, record stores in the New Jersey and New York were a wash with copies of this 45 thanks to the excellent distribution of Midnight Records (run by a French gent named J.D. Martignon)!! When I met him in '88 Graham Day said the band hadn't even received copies of it and later described the label in liner notes to "Rare And Unissued" as "being run by some dodgy Frenchman". "There's A Time" is, in my estimation, one of the band's most frantic tracks, kicking off with Jamie's combo organ, it's propelled by Graham's gravelly vocals and an absolutely over the top guitar solo that reminds more of a raunchier Dave Davie's solo on '64-'65 Kinks single! It's probably one of the most melodic tracks by them as well (dig the melody on the chorus and the absolute rave up when the guitar solo starts to wind down).
3. "Thinking Of You (Broken Pieces)" LP track "The Last Fourfathers" U.K. Own Up OWN UP-3 1985
Easily my favorite Prisoners track of all time on my favorite Prisoners album, "Thinking Of You..." with it's positively down trodden lyrics is literally a throat punch every time:
"Remember the nightmares took us over, we'll walk barefoot on dreams no more, and strangled by waking hands of insight our world in love has gone to war"
There's a dirge like quality to Jamie's organ trills (played on his recently acquired Hammond M 100 organ) and the "ba ba ba..." chorus is completely catchy! I was nearly moved to tears when the entire audience sang along when they performed it at Herne Bay a few months back (which they dedicated to yours truly) which you can watch here.
"Well we had it all but we lost it baby and there's nothing gonna take it's place, we're building our love on the broken Pieces of a heart that only sees your face..."
4. "Melanie" from the U.K. E.P. "Electric Fit" Big Beat SW 98 1984
One of the band's most popular numbers, "Melanie" is The Prisoners at their most garage band with it's catchy chord progression and groovy organ trills. The production by Milkshake Russell Wilkins (also responsible for twiddling the knobs on their "Last Fourfathers") is fantastic and Graham unleashes another edgy Dave Davies '65 guitar solo. Check out the band playing it live on European TV in '85 with Jamie on his new Hammond and Johnny beating seven bells out of his kit here. Back in the 80's when I was on my fervent religious quest to bring The Prisoners to the masses this was an obligatory addition to any Prisoners mix tape I did.
5. "Nobody Wants Your Love" LP track "The Last Fourfathers" U.K. Own Up OWN UP-3 1985
The lead off track of the band's third (and my favorite) LP "The Last Fourfathers" , "Nobody Wants Your Love" was penned by Graham Day and Milkshake Billy Childish. Starting off with someone retching the number has an incredible groove with Graham's chunky Hendrix meets the Troggs licks perfectly meshing with Jamie's soulful organ trills on his newly acquired Hammond M-100. The lyrics, like most on the LP are cynical and a total put down about an unfaithful partner. The number features a moody clarinet solo by Graham (he's pictured holding one on Thee Mighty Caesars debut 1985 LP "Beware The Ides of March") which adds to the odd feel to it.
6. "Better In Black" LP track "A Taste Of Pink" U.K. Own Up Own Up -2 1982
It's hard to believe that the same year The Jam released their final LP this quartet from Medway were in the studio recording and releasing (self financed no less!) their debut LP! It equally boggles my mind that Jamie Taylor was using a Casio set to "organ" and run through a large amp on this LP because the keys sound so powerful! Lyrically it picks up the theme of the Pretties "Midnight To Six Man" singing about the joys of nocturnal living backed by rapid fire guitar chord and a catchy chorus ("dead and lonely, dark and peaceful I hope you're having fun like we do...") all served up with an amphetamine 101 mph drive.
This tune is one of the band's darker numbers from an LP that is full of some pretty dark tunes. Despite being about suicide ("tonight it would be easy to throw my life away, tonight tomorrow's an ugly game I play..tonight when people are dead they cannot cry") it's absolutely beautiful. Graham's voice and Jamie's Chopin-esque piano playing are highlighted by some regal trumpet that strangely works well with Graham's slashing guitar and mournful lyrics ("I've heard about true everlasting love and I know when it's cold outside you need somewhere to hide...").
8. "Mourn My Heath" LP track U.K. "In From The Cold" Countdown DOWN 2 1986
Some might say this is the album that broke up The Prisoners. In a case very similar to The Pretty Things "Emotions" LP, the band were not happy with the finished product, especially the horns that were added after (I have always wanted to hear a remix of the LP as the band wanted it). In an even stranger twist the band refused to promote the LP (and in an even more stranger twist they performed it live for the very first time with a horn section this past February!). At the time of it's release I honestly don't recall being too put off by the horns (I found an old fanzine review I did and I seemed to expect it with their being signed to Countdown) and over the years I think I have let the band's feelings influence me on the matter resulting in my paying less attention it it!! All that out of the way there are some VERY good tracks on it. "Mourn My Health" is a frightening ode to alcoholism, the band were legendary in their day for alcohol consumption (Graham Day especially). Graham was 22 at the time!! Delivered with sparse musical accompaniment , "Mourn My Health" is backed by bass, drums and a swampy Hammond organ as Graham croons woefully (and quite soulfully I might add): "as I stumble to the darkened pub I know I'm alone, I know I'm alone, with my last round, with my last pound they'll neglect me...so I'm all alone yes I'm all alone, they've left me here to mourn my health", and the strangely, there's a violin solo which REALLY works with the track.
9. "A Dream Is Gone" LP track "Thewisermiserdemelza" U.K. LP Big Beat WIK 19 1983
"Thewisermisterdemelza" album is often dismissed by the band who considered the production by the late Phil Chevron as "slick" and "overproduced" but I still love it. The album in general has a sinister feel to it, both musically and lyrically and this number has both. It's like they ate a lot of acid and binge watched a bunch of 70's Satanic exploitation and early 70's Hammer films and then started writing. Starting with some positively ominous descending organ scales (with incredible oscillation on them) and Graham's absolutely sinister yet soulful vocals he sings "See a red sky, see your broken heart weeping cross the land..." (and much later "See a green rock, see your mildew mild, man it's hard to be sane...") before the tempo picks for the bridge with Graham's vocals changing from a plaintive forlorn tone to a venomous yet soulful Steve Marriott style snarl and these indifferent "la la la la" s .
10. "Something Better" LP track "Morning Star" U.K. LP Own Up Own Up U-6 2024
I don't, as a rule like band reunions, and I seriously dislike reunion albums, and this one was no exception at first. It took hearing this track performed live at the Herne Bay reunion gigs a few months back for me to really grow to enjoy this track (and other bits of the LP). It has everything you need from an incredible Prisoners tune: Graham's incredible vocals (unlike lots of other artists from the 80's Graham has always sung the tracks within his range as he grew older) and his punchy guitar licks, Jamie's/Jame's swirling organ, and of course the engine that is rhythm section of Alan and Johnny bringing it all up. There's an almost Inspiral Carpets/Charlatans feel to it which shows the band coming full circle, musically.
CHRIS FARLOWE-Paint It Black/What Have I Been Doing U.S. Immediate ZS7 5002 1968
Poor Chris Farlowe, he hit the #1 spot in England in June 1966 with a cover of the Stone's "Out Of Time" (after previously having a halfway decent go at their "Think" on U.K. Immediate IM 023 in January 1966). Some genius at Immediate records decided that they'd try again with other Stones numbers and he released covers of "Ride On Baby" (UK Immediate IM 038 in October '66), "Yesterday's Papers" (U.K. Immediate IM 049 May 1967) and "Paint It Black" (U.K. Immediate IM 071 July 1968). But sadly he never had another hit and all of them were flops (he also cut "I'm Free" on his debut U.K. Immediate LP "The Art Of Chris Farlowe" IMLP 006 1966).
His American Immediate output was quite slim actually, just three singles and an LP (in the U.K. with Immediate he managed 3 LP's, 2 E.P's and a staggering 13 singles). "Out Of Time" was actually issued here on MGM (K 13567 August 1966 ) alongside a single by his Immediate label mates Twice As Much (who actually had two U.S. Immediate singles on MGM). Curiously "Paint It Black" was his first U.S. release on Immediate (ZS 7 5002) in November 1967 with Twice As Much's "You're So Good To Me" on the flip. After a failure with a stab at "Handbags And Gladrags" here on Immediate (ZS7 5005 in February 1968) they released today's release, which would be his last here on Immediate.
Farlowe's reading of "Paint It Black" never did much for me. Art Greenslade's strings add an odd "Fiddler On The Roof" vibe to it that's just too schmaltzy for these ears and let's be honest folks you don't fuck with the classics, unless of course you're Otis Redding, which Chris Farlowe was not. His vocals, like quite a few of his Immediate releases are out of his range causing some cringe worthy portions. Next....
The flip side, "What Have I Been Doing" was originally issued in England as the flip to his incredible raga meets soul reading of "Moanin" (Immediate IM 056 June 1967)."What Have I Been Doing" is a fairly mundane ballad with some nifty little sitars and acoustic guitar in the back ground that make it interesting and brings Donovan's "Ferris Wheel" to mind or something off the first Humble Pie album. I will have to say it's grown on me quite recently!
Both sides are available on Farlowe's CD set "Out Of Time:The Immediate Anthology" and on streaming.
GATES OF EDEN-Mini Skirts/Girls, Girls, Girls U.S. Jubilee 45-5562 1967
British 60's quintet the Gates Of Eden cut just three singles in their home country from 1966-1967, strangely this was their only U.S. release and neither tracks on this release were ever issued in the U.K!
Australia issued both sides and France and Germany released "Mini Skirts" with different flip sides.
"Mini Skirts" is an infectious little number with a whistling intro (that continues throughout the number) and fuzz guitar, call and response falsetto backing vocals and liberal use of lots of "la la la's" along with some Nicky Hopkins style piano tinkling. The lyrics are predictably about the then fashion craze of short skirts. To my ears it's easily their most powerful track and it boggles my mind that it wasn't issued in Britain!
The flip side, "Girls Girls Girls" is equally catchy, with some VERY Beach Boys style multi layered harmony backing vocals and a decent musical backing.
Both sides are available on streaming via a Gates of Eden collection that compiles all of their 60's material titled "Too Much On My Mind: The Pye Singles As & Bs".
A New Generation-Smokey Blue's Away/She's A Soldier Boy
U.S. Imperial 66317 1968
U.K.quartet The New Generation (re-titled "A New Generation" here and on some European releases) had three singles back home for the tiny Spark label. Today's specimen was their third in Britain (Spark SRL 1007 May 1968) and their only American release, which was launched to no avail in August 1968. Imperial released a handful of odd U.K. releases during this period (The Bonzo Dog Band, Spice, The Eggy etc) which always made me curious about their motivation.
My introduction to them came back in the early 90's when my pal and musical guru Ron Rimsite put their track "Sadie And Her Magic Mr. Galahad" on a cassette mix tape. A year or so later their "She's A Soldier Boy" popped up on a Rubble collection CD that I bought and so began my interest in the band.
"Smokey Blue's Away" I will admit is probably not one of my favorites by them. It's absolutely dead boring orchestrated MOR pop. Next...
"She's A Soldier Boy" has a grammatically confusing title (and the lyrics are pretty vague too!). Regardless it's a mellow track with a minimal musical backing with just bass,guitar, drums and organ. It has some cool harmonies, a catchy melody and this interesting part where a sped up flanged piano precedes the chorus. I like it because the melody is pretty catchy and sticks in my brain frequently.
"Smokey Blue's Away" is on the Spark records compilation "Hello Everyone: Popsike Sparks From Denmark Street 1968-1970" on Grapefruit and available through streaming as well. "She's A Soldier Boy" is on a streaming compilation "Spark Singles Vol.2" as well as the Rubble LP "A Trip In A Painted World" (Rubble 17) and the earlier mentioned Rubble CD comp.
TONY JACKSON AND THE VIBRATIONS-Stage Door/That's What I Want U.S. Red Bird RB-10-038 1965
We profiled Liverpudlian singer/bassist (and ex-Searchers member) Tony Jackson's first (and previous) American 45 in an earlier post here.
"Stage Door" was Tony's fourth and final U.K. single for the Pye label (7N 15876 July 1965) before moving to CBS for four more singles. It was his second and final American single, launched in September 1965.
"Stage Door" (to my surprise) was a Goffin/King composition (check out Carole's demo) and rates heavy with me in the "beat/ballad" genre. It was also released in July 1965 on Reprise in the U.S and U.K. by a guy named Peter James (and produced by none other than Andrew Loog Oldham). But forget about that, the Tony Jackson one is leagues above.....I think what grabs me is the arrangement and production, not to mention Tony's delivery. The lyrics are incredible "Your dreams of fame have all come true and now I'm just a no one next to you" and the SEARING "to your your friend's I'm your chauffeur to the world I'm just a loafer living off a star..". The subtle backing of bass, drums and keyboards (piano and organ) add a rather simplistic feel that leaves it uncluttered.
The flip side, "That's What I Want" was penned by the Brit songwriting duo of John Carter and Ken Lewis. The number had previously been released by The Limeys, The Liverpool Five and The Marauders but this version to my ears is THE definitive version. Again it's a beat ballad delivered mid tempo, very moody, very subtle and wonderfully executed. It's easily one of Tony's best releases.
Both sides have been collected in a number of places: two different Tony Jackson retrospective CD's "Just Like Me" (Bam Caruso) and "Watch Your Step" (Castle) as well as appearing on a few different Searchers compilations and both tracks are available via streaming.
ELMER GANTRY'S VELVET OPERA-Flames/What's The Point Of Leaving U.S. Epic 5-10419 1968
U.K. psychedelic rock band Elmer Gentry's Velvet Opera released six singles and an album in the U.K. with just two singles (the first of which seems more than likely not to actually exist). Today's subject was their second issued here in November of 1968 containing two tracks from their untitled album (released here as Epic BN-26415). It differs from it's British release (Direction 58-3083) as the U.K. single features "Salisbury Plain" as the B-side.
"Flames" is an interesting track that's actually quite frantic and not as remotely trippy as one would expect. It reminds me a lot of the Open Mind but faster with it's throbbing bass and slashing guitars. There's an obligatory blistering but brief guitar solo that breaks things up a bit. The production always struck me as sounding like something from the 70's, especially the vocals.
On the flip "What's The Point Of Leaving" sounds like a completely different band sounding like early Badfinger meets late era Idle Race, with some subtle Mellotron. Its not unlistenable but there's nothing compelling me to play to it again either.
As mentioned earlier both tracks are available on their untitled album which has been reissued in several formats (and was even released here in America as mentioned above) and is available on streaming via Spotify.
JON-Is It Love/So Much For Mary U.S.Epic 5-10242 1967
U.K. psych act Jon (actually a quartet not a solo artist) cut just two singles, "So Much For Mary" b/w "Polly Sunday (Parlophone R 5604 June 1967) and "Is It Love" b/w "Sing Out" (Parlophone R 8249 August 1967). In typical U.S. release fashion of British 60's singles Epic records placed "Is It Love" with "So Much For Mary" on the flip as their sole American release which it the streets in October 1967.
"Is It Love" was first introduced to me via a delightful bootleg psych/Freakbeat CD-R "Jagged Time Lapse Volume One" in the early 2000's before gaining a proper release on the excellent CD "Insane Times: 25 British Psychedelic Artyfacts From The EMI Vaults" . It's a fairly mellow song highlighted by some high pitched backing vocals, xylophone and tack piano that gives it that "Fairy tale psych" element. The high backing vocals mesh with some slick guitar licks and the whole thing has a laid back (ie "stoned") vibe to it all. The lead singer really reminds me of someone from the 70's, only I can't decide if he's more like Gerry Rafferty or Al Stewart.
The flip side "So Much For Mary" (penned by Chris Andrews) sounds like a completely different band. It's uptempo and contains this driving beat with hand claps, Penny whistle and a poppy/happy go lucky feel not unlike The Tremeloes at their sappiest. And the melody at times sounds not dissimilar to "Hang On Sloopy".
As mentioned above "Is It Love" is available on the CD "Insane Times..." and streaming as well. "So Much For Mary" does not appear to have been released anywhere else. The band later morphed into Still Life who made one incredible orchestrated psych pop double sided for Columbia in 1968 "What Did We Miss"/"My Kingdom Cannot Lose" (an incredible two slider that must be heard!).
WAYNE GIBSON-Under My Thumb/Under My Thumb U.S. Pye PYE 71006 1974
British singer Wayne Gibson issued a host of singles in the U.K. in the 60's: two on Decca, two on Pye and four on Columbia to nary a trace of chart action. Fast forward to 1974 and his 1966 cover of The Rolling Stone's "Under My Thumb" (originally on Columbia DB 7911) was gaining so much traction on the Northern Soul scene that it was reissued on Pye's Disco Demand label (DDS 2001) in October 1974 and charged up the charts to a respectable #17!! Like another Pye Disco Demand Northern soul "hit" release from the 70's ( The Javells featuring Nosmo King) it was issued in the U.S. as well as a double sided promo only.
Gibson's cover of the Rolling Stone's misogynistic "Aftermath" track is a tad more upbeat than the original thanks to the main riff being played by a keyboard that's almost hypnotic. Meshed with some chopping guitar and hand claps it's extremely catchy which no doubt added to it's dance floor popularity on the Northern Soul scene (of interesting note is Gibson's ad libbing line "ain't that peculator baby" in place of Jagger's original ad lib "ain't it the truth now baby").
Curiously the track has not been comped anywhere recently nor is it available on streaming! There's a clip available of him performing it with some incredibly awkward dance moves on the British kid's TV program "Crackerjack" available to view here obviously from it's 70's relaunching.
TONY JACKSON with THE VIBRATIONS-You Beat Me To The Punch/This Little Girl Of Mine U.S. Kapp K-639 1965
Ex-Searchers bassist/vocalist Tony Jackson had just two of his eight British singles released here. Today's item in question was the first American release of his. It was his second British single originally released as Pye 7N 15745 in December 1964 and was issued here the following month.
"You Beat Me To The Punch" was originally cut by Mary Wells in 1962 on Motown. Curiously Tony's previous and debut British single "Bye Bye Baby" (U.K. Pye 7N 15685) was also a Mary Well tune (her debut single in fact)! Tony's version curiously sounds like what you would expect a Searchers cover of it to sound like with it's distinctly "Needles and Pins" style 12 string (acoustic) guitar intro and the decidedly Merseybeat style call and response harmonies. That said it's a pretty amazing reading of the track and it was unfortunate that the number did not gain any traction on either side of the Atlantic! (There is footage of them miming it on "Ready! Steady! Go!" viewable here).
The flip side is a reading of a Ray Charles composition called "This Little Girl Of Mine" and is a mixed bag for me. Musically it starts out really rockin' and raw but the production is absolutely dreadful, and the vocals are extremely bland and antiseptic. They're so high in the mix that they actually overpower the incredible gritty guitar work and combo organ (the song's strongest points in my estimation).
Both sides have been collected in a number of places: two different Tony Jackson retrospective CD's "Just Like Me" (Bam Caruso) and "Watch Your Step" (Castle) as well as appearing on a few different Searchers compilations and both tracks are available via streaming.
PLASTIC PENNY-Your Way To Tell Me Go/Baby You're Not To Blame U.S. Page One 21.005 1968
U.K. quartet Plastic Penny were one of Larry Page's new discoveries and promptly launched on his fledgling label Page One in December 1967 with their sappy ballad "Everything I Am" (which reached a respectable #6 in the U.K.!). Today's item in question was their third British single issued in July of 1968 (Page One POF 079) and was issued here simultaneously (their previous U.S. 45 RPM release was "Everything I Am" issued in January).
I have wanted this 45 ever since Mile Stax popped both sides on a cassette mix for me back in the mid 90's and finally tracked down a copy. Both sides are absolutely HEAVY and remind me musically of late era Small Faces.
"You Way To Tell Me Go" sounds ahead of its time because the lead vocals bring to mind an early 70's glam/pop record (I think a lot of that comes from the lead vocalists high key and phrasing as well). Backed by some chunky Hammond, murky bass and completely ballsy guitar it's absolutely powerful stuff!
Plastic Penny and friend
"Baby You're Not To Blame" is equally powerful, starting out with a throbby bass and a fierce guitar/piano attack that REALLY reminds me of the late era "heavy" Small Faces (ie "Wham Bam Thank You Mam"). I daresay I almost prefer it to the B-side but I am divided on the issue....
Both sides are available on the comprehensive Plastic Penny compilation "Everything I Am (The Complete Plastic Penny)" put out by Grapefruit and on streaming platforms.
THE LANCASTRIANS-The World Keeps Going Round/Not The Same Anymore U.S. Jerden 798 1966
British beat combo The Lancastrians cut nine singles in the U.K. for Pye in '64-'66. Only two were issued here in the States. Today's subject was their last of the two launched here in April 1966 (it was originally released in the U.K. as Pye 7N 17043 in January 1966).
"The World Keeps Going Round" was of course penned by Ray Davies and previously released by the Kinks as an album track on their third British long player "The Kink Kontroversy" in November 1965 (it was also on their U.S. issue of the same LP released here in March 1966). That said The Lancastrian's single had a snowball's chance in hell of becoming a hit and sank quite quickly here.
"The World Keeps Going Round" was the beginning of a series of lyrically bleak and dark introspective lyrics penned by Davies (example : "You worry 'bout yourself, what's the use of worrying now you're almost grown, you worry 'bout your own, what's the use in worrying cos you'll die all alone"), a trend that would disturbingly continue into 1966 as his mental state became more fragile. The Lancastrians version is fairly close to the original in tempo and delivery, although their's is stronger vocally with double tracked harmony lead vocals and a funky little guitar solo that may or may not be Jimmy Page and his fuzz box (entirely possible as the record was produced by Shel Talmy and Page was his preferred hired gun on session work).
The flip, "It's Not The Same Anymore" is a somber ballad, pretty mundane stuff compared to their other rocking sides and is easily forgotten up against the majority of their catalog.
Both sides are available on a streaming compilation "The Pye Anthology".
NIRVANA-All Of Us(The Touchables Theme)/Trapeze U.S. Bell B-739 1968
With the passing of founding member Patrick Campbell-Lyons I thought it would be fitting to post a Nirvana single. The British 60's pop psych act Nirvana had a very slim American discography with just three singles and two incredibly rare albums issued here in 1968. Today's subject was their third and final U.S. release. Curiously it's October 1968 release preceded it's British issue (as Island WIP-6045) by one month!
"All Of Us" is the theme tune to an incredibly boring and mundane film called "The Touchables" about four dolly birds who kidnap a male pop star/idol and hold him captive in their super futuristic space pod home. Despite how dross the film is the theme tune is incredible (the soundtrack LP is an odd affair as well). Leading in with some very churchy organ and baroque cello (and eventually harpsichord) it's an amazing slice of orchestrated pop psych. The airy backing vocals add to the atmospheric feel with incredible strings by Syd Dale and produced by Chris Blackwell and Jimmy Miller.
The flip side "Trapeze" sounds like an almost entirely different band. There's a light touch of a string quartet and though it's not at all unlistenable it doesn't stand up well next to the stellar A-side.
Both sides are available on streaming and the highly recommended Nirvana compilation "Rainbow Chaser: The 60's recordings (Island Years)".
IAN & THE ZODIACS-No Money, No Honey/Where Were You U.S. Phillips 40369 1966
Liverpool bred and German based beat quartet Ian and The Zodiacs released 4 singles (we profiled two earlier ones here and here).
Today's subject was their final single American single. It was issued in the U.K. as Fontana TF 708 in May 1966 and the previous month both here and in Germany (as Star Club 148 548 STF).
"No Money No Honey" is without a doubt one of the band's strongest releases. Built around tandem fuzz and 12 string guitars playing a hypnotic riff it's incredibly punchy and raw. Curiously it was co-authored and produced by Klaus Doldinger (misspelled as "Claus" here).
The flip side, "Where Were You" sounds almost like a completely different band. It's a mellow/moody almost baroque pop number with flute and harpsichords. The melody reminds me a bit of "The Crying Game" (a track the band recorded earlier, which we will profile at a later date!).
Both sides were collected on the Repertoire CD compilation "Wade in The Water: The Best Of..." and sadly neither are available through streaming as of yet.
BILL FAY-Some Good Advice/Screams In The Ear U.S. Deram 45-DEM-85017 1967
The year was 1996 and I had just purchased an interesting various artists British 60's psych CD called "Psychedalia-Rare Blooms From The English Summer Of Love" (it included some seeds in the jewel case spine and a sticker stating "Grow Your Own! Free Seeds!"). Contrary to the title there were quite a few post 1967 tunes among the tracks and among them were both sides of this 1968 Deram 45 by a guy called Bill Fay. Had I not been more "with it" I would have already known of him as the A-side, "Some Good Advice" was already on the incredible 1987 Deram records compilation LP "Deram Dayze", but somehow I snoozed on that. A few months later I came upon a copy of the 45 for sale at the old Raritan Center record fair for chump change.
"Some Good Advice" is a somber number ushered in with some piano in a minor key with some gentle/subtle Mellotron accompaniment playing behind the ivory tinkling and then this controlled eerie bit of distorted guitar. The lyrics are mournful and almost childlike in their retrospective slant. The whole thing is so simple because it has, really, only three verses but it's got so much going on musically that it's much more interesting bringing to mind Al Stewart's early work in '67-'68.
The flip side "Screams In The Ears" is more upbeat with a jazzy swing to it while Fay sings in a rather Dylanesque manner with equally Dylanesque lyrics ("well they told me the budgerigar committed suicide, but it was you, I saw you put that gin in it's water I was standing by your side"). It seems to be an observation about a party and instead of Mellotron this time around the piano (which plays some very rollicking trills) is tastefully chased along by some faint Hammond organ with a deadpan chorus "will you stop asking me who I am. Go and find someone else to tell your jokes to. What a great party this is". Apparently Bill was backed on this record by The Fingers.
Sadly the record did not pip the charts making it quite obscure. Bill went on to be signed to Deram's offshoot Nova and under their banner released an untitled debut LP in 1970 and another LP "Time Of the Last Persecution" on the same label the following year, both have cult followings and have been reissued on CD. Both sides of this single were included. as mentioned on the "Psychedalia" CD and also recently cropped up as bonus tracks on the CD reissue of his untitled debut LP. Sadly neither have appeared on streaming. Sadly Bill passed away in February of last year after enjoying a healthy resurgence in the late 90's with the extremely successful reissue of his first two LP's.
I have been a Prisoners fan ever since I bought their U.S. only LP comp "Revenge Of The Prisoners" (a bastardization of their second long player "Thewisermiserdemelza" with substitute tracks from their "Electric Fit" E.P. and other Big Beat era releases to fill it out) at the urging of my cool U.K. mod girl pen pal Debbie Jones back in late 1984. Fast forward to September of 2026 when word went out that the band would stage a three night reunion takeover of King's Hall in the sleepy Kent seaside town of Herne Bay to perform tracks from three of their albums: their second album "Thewisermiserdemelza" the first night, their third (and my favorite) "The Last Fourfather's" on the second and their fourth (that ultimately contributed to the malaise that killed them in 1986) "In From The Cold" on the third and final night. Well despite not setting foot in Britain since 1984 the writing was on the wall. I was heading back to jolly old England to see my favorite 80's band reunite.
Now I had never seen the band perform. The closest I ever came was seeing Graham Day bash the shit out of a kit with The Mighty Caesars back in NYC in November 1988 for Time Warren's "Bad Musick Festival" (read a cool interview with Tim where he discusses the event on my pal Jeff's blog "Shake Some Action" here). I ambushed a hapless Graham and pestered him about the Prisoners before the show. He was surly, moody, aloof and in retrospect asking him about The Prisoners two years after their painful demise was probably akin to asking a grieving divorcee about the happiest times of their marriage two years after the separation papers ink dried, BUT to his credit he not only gave me his address so I could mail him interview questions (which I have republished here) he actually took the time to answer AND mail them back to me AND when their set was over returned to hang with my friends and I and share whiskey with us while the rest of the venue (who had no idea who he was) mobbed Billy Childish! I'm going to be frank. Prior to the release of their latest LP "Morning Star" (2024), "In From The Cold" was my least favorite album by the band. And it did strike me as odd that they were playing it because they spent the past three decades disowning it and insisting that it was never meant to have horns (ala The Pretty Thing's and "Emotions"), so that was a no brainier. I'd head to England and catch the first two nights, easy peasy.
NIGHT ONE 2/27:
The train down to Herne Bay from London was interesting, I passed all the towns and places I had heard mentioned in various Medway books and songs and spied them from my train window: Rochester, Strood, Chatam etc. I even spied the Nag's Head pub from the window, a place Billy Chidish used to sign off at (under his pen name of William Loveday) on the back of Hangman album's thirty years ago! I was staying at a hotel in Herne Bay that was literally overrun with older balding men in black coats, black jeans and the occasional black fisherman's cap and checking in was amusing as I met people from all over (Germany, The Netherlands, etc so far I was "furthest traveled"). I managed to secure a cab into town (the venue was probably a mile away) by a small miracle because the town's Uber and cab system would soon by overwhelmed by this influx of gig tourists taxing the modest local taxi scene. I met my other two American friends (Amy from Seattle and the legendary Johnny Bluesman from New York respectively) at a lovely pub called The Ship and then off to the gig we trod! I was immediately struck by the observation that seaside towns in the U.K. don't believe in lighting things up in the night like they do here in the States, the venue area was pitch black denying me the opportunity to see what it looked like irl!
Lord Rochester
First on were Lord Rochester, a trio composed of Medway legend Russ Wilkins, Saskia Holling on bass and Embrook Lois on the skins. They performed a spirited but brief set built on a wonderful mix of a Bo Diddley beat and frantic '64 Kinks meets Sutch's Savages. Unfortunately I was not really familiar with much by them so I can't really tell you what they played, but it was over before I knew it!
The Len Price 3
Next up were The Len Price 3, who unlike Lord Rochester, I DID know a lot of songs by. I have been a fan of these guys for the past 20+ years and I have missed seeing them play on the East Coast more times than I care to admit. Their set was a whirlwind and I honestly can't recall everything they played, but I definitely recall "My Grandad Jim", "Swing Like A Monkey", and a few tunes I recognized off their latest LP "Misty Medway Magick", regardless of what they played it was VERY good, I can't wait to see them in a room with 40 other people next week in Hightstown, New Jersey at their sold out gig a local record shyster's record store....
The Prisoners
Then it was time for the headliners....tonight's selection was tracks from "Thewisermiserdemelza", the brain clouds but I distinctly remember "Love Me Lies", a poignant reading of "Tonight" (with James on a grand piano, see below!), "Melanie", "Far Away", "A Dream Is Gone", "I'm Coming Home" etc! All delivered incredibly sharp, not bad for an album that the band probably hasn't played since it came out in 1983!! The band pitched in four or five tunes from their newest LP ("Morning Star", 2024) as well as tracks from their brand new (and only available via pre-order with delivery in person at these gigs) double single "For Your Ears Only". I will admit, tactfully that none of these really moved me (I kept thinking of Homer Simpson bellowing "Play the old crap!"), but to each his and her own. I did decide that I LOVED "Something Better" while they were playing it, so there's hope for me yet!
NIGHT TWO 2/28:
Lord Rochester kicked things off again and I remember them doing the Sex Pistols interpretation of "Whatcha Gonna Do About It", only this time it was The Masonics who were in the second spot tonight. I didn't know much about them but they were so damn loud I fled to the lobby to chat with some friends because I was overwhelmed by their volume. Sorry boys. And then the moment I had been waiting for!
"The Last Fourfathers" is without a doubt my favorite Prisoners album, and quite possibly my favorite 80's album as well, in fact knowing that the band were going to be playing it was literally the draw that led me to decide to skip over the pond and to make this happen. The band played the entire LP (not in any particular running order) along with four or five "newer" songs (see above). "The Last Fourfather's" is a bleak album lyrically. Lots of the songs are about broken hearts, broken romance, self pity, self destruction etc and the band did them all: "The Drowning", "Who's Sorry Now", "I Drink The Ocean", "I Am The Fisherman", "Whenever I'm Gone", "Take You For A Ride", "Thinking Of You (Broken Pieces)" etc. The album came across and still does, like Pink Floyd '67 meets Joe Meek, thanks to the brilliant production by Russ Wilkins and has a gritty lo-fi feel to it that gets back to a raw sound (though I enjoy it I always felt that "Thewisermiserdemelza" had a very "polished" feel to it). Once again the band did not disappoint as they played all of these tracks above as well as the album's incredible instrumentals "Night Of The Nazgul" and "Explosion On Uranus" (which segued into "Reaching My Head" and Deep Purple's "Hush"). I can't be sure if they performed the other instrumental "Mrs. Fothergill", but the highlight for me was them not only saving my album favorite "Thinking Of You (Broken Pieces)" for their last encore bit also dedicating it to yours truly (see video below) which had me ABSOLUTELY a gobsmacked and beaming for the rest of the night!! The band also threw in the incredible "Till The Morning Light" from their debut LP "A Taste Of Pink" and closed with, I believe, a cover of Deep Purple's "Hush" (as they did the previous evening), ALL to a thunderous applause from a packed to the gills venue (I'm told Saturday night's performance sold out).
As mentioned above I opted not to attend the third night so I cannot report on that but as I walked out into the dark (why do they not believe in lighting up the sea front in British coastal towns!?), damp night of Herne Bay I knew I had witnessed something spectacular! Well done fellas!!
Johnny Bluesman repping the Empire State and yours truly, the Garden State Boy, Herne Bay 2/28/06
THE DAKOTAS-The Cruel Surf/The Millionaire U.S. Liberty F 55618 1963
Liverpudlian Billy J. Kramer's Mancunian backing band The Dakotas were afforded the opportunity to shine in the own right in the spirit of Cliff Richard and The Shadows and like The Shadows plied their wares without their respectively separately billed vocalist as (initially) an instrumental combo. Their U.K. debut "The Cruel Sea" was launched in July 1963 as Parlophone R 5044 and issued here in September and re titled "The Cruel Surf" in an effort to convince buyers that they were a surf instrumental band. The ploy did not work and sadly there would not be another Dakotas 45 without Billy J. issued in the States. Both sides were penned by the group's guitarist Mike Maxfield and produced by George Martin.
"The Cruel Surf" is an uptempo instrumental. It reminds me of "Guitar Boogie Shuffle" meets a Ventures LP track. It's catchy yet intricate enough in it's playing to not verge mundane, something that sadly a lot of 60's instrumental quartets sadly fall in to, in my view anyway.
