From The Brothers Gibb Part Two

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

All scans courtesy of 45cat.com

For Part One of this series go here. 

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

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

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

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

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

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

Hear "When I Think Of You":

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

Hear "Over And Over":

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

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

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

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

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

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

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

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

Hear "Someday We're Gonna Love Again":

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

Hear "No One Else Could Love Me":

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

My Top 10 Joe Meek Productions

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

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

https://youtu.be/DE63II3Nef0?si=0qtUGltabRJpVz4k

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

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

https://youtu.be/TmneIzd4hjs?si=jHJF1S0914bVOmIk

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

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

https://youtu.be/46jWNYTXIKw?si=iM7jh16AeSteXEVN

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

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

https://youtu.be/1eOq-ODej_w?si=TAunZFS4lRMxReI4

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

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

https://youtu.be/15jU_UOQ95Q?si=-fW5i2PBvWH4SaSO

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

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

https://youtu.be/y8_yrX0CNhs?si=FyqcTWUxSL24TpMy

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

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

https://youtu.be/DeUu4lLitpY?si=KdCKqyIIbU2ig5Ac

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

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

https://youtu.be/Uoc0odAY3x4?si=4uUov8xUmvh0tKnE

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

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

https://youtu.be/scu9ew-E7ow?si=YobRAJlqEbl0wGO1

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

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

https://youtu.be/-x-OAgXCrIs?si=acb3_hZRkKjgLpMH

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

More U.K. Obscurities On U.S. Labels: Episode Six

 

EPISODE SIX-Lucky Sunday/Mr. Universe U.S. Chapter One 45-2902 1968

Six piece British harmony pop group the Episode six released ten singles during their career from 1965-1968. Four of them were issued here in the United States including this one which was originally issued in the U.K. on Chapter One (CH-103) in October 1968 and was released here the following month where it would be their final American release (the band would cut one more single back home before falling apart when lead singer Ian Gillian and bassist Roger Glover defected to replace Rod Evans and Nicky Simper in Deep Purple).

"Lucky Sunday" is a perfect little slice of orchestrated sunshine pop (with orchestration care of the legendary Les Reed) that's vocal perfection thanks to the band's razor sharp choral ability that's always made them sound like Britain's answer to Spanky and Our Gang (to my ears anyway). The music almost takes a back seat to the choral pop perfection of the number though the strings and regal horns certainly work well enough together!

Five of the Episode Six

The B-side, "Mr. Universe" has often been described as sounding like the Moody Blues. I really don't get that from it at all, it's a cheeky little pop number with phlanged bits (ala "Pictures Of Matchstick Men") and this underlying blistering guitar.

Both sides are available on a host of Episode Six compilations and are both available on streaming. 

Hear "Lucky Sunday":

https://youtu.be/ybAs98LGe2U?si=EtIFdiZqqIJ3nztw

Hear "Mr. Universe":

https://youtu.be/X4HACW3Nig0?si=dx7xtmmXpmTnNBZ5

Classic 60's Albums: Manfred Mann "The Five Faces Of Manfred Mann"

MANFRED MANN-"The Five Faces Of Manfred Mann" U.K. LP His Master's Voice CLP 1731 1964

Manfred Mann hold a unique place in British 60's r&b annals in that they embraced a multitude of influences and covered an equally large pool of genres: blues, jazz, soul, r&b, gospel etc. All of this is no better exemplified than by their debut British long player profiled here today. What makes it all even more unique is that for a debut album there are six band originals comprising just under half the album, no mean feat for a debut album considering that Stone's featured only three on theirs. Led by South African ex-pat Manfred Mann on keyboards the band benefited from having an incredible front man in the shape of Paul Jones who not only had a strong voice but was an incredible harp blower as well. Along for the ride were multi instrumentalist Mike Hugg on guitar (flute and sax as well), bassist Tom McGuinness and Mike Hugg on drums/vibes. "The Five Faces Of Manfred Mann" was launched in Britain on September 11, 1964. 

SIDE ONE

1. "Smokestack Lightning" (Burnett)

2. "Don't Ask Me What I Say" (Jones)

3. "Sack O' Woe" (Adderley)

4. "What You Gonna Do?" (Jones, Manfred)

5. "Hoochie Coochie" (Dixon)

6. "I'm Your Kingpin" (Mann, Jones)

7. "Down The Road Apiece" (Raye)

Side One roars off with a fairly competent reading of Howlin' Wolf's "Smokestack Lightning" (curiously included on the Yardbird's debut LP as well), aided in no small part by Paul Jone's incredible harp blowing ability. The band original "Don't Ask Me What I Say" is next. It's one of my favorite tunes by them utilizing a "Can I Get A Witness" style melody delivered fast and edgy and complimented by a jazzy little sax solo by band guitarist/multi instrumentalist Mike Vickers. Cannonball Adderley's "Sack O' Woe" again offers the band a chance to flex their jazz chops offering an interesting merging of sax, harmonica and vibes (the latter care of Mike Hugg), all delivered at a frenetic pace. "What You Gonna Do" is another strong band original, a perfect moody/moddy little piece of business with incessant harmonica/organ interplay and previously was issued as the flip to their hit rendition of "Do Wah Diddy Diddy" a few months prior. Willie Dixon's (via Muddy Waters) "Hoochie Coochie" is next up, it's a fairly mundane treatment, not the strongest track on the album mind you, but not the weakest either. "I'm Your Kingpin" is another band original that is so full of soul that you would be forgiven for expecting it to be a blues cover. Driven by a forceful piano/harmonica combination it chugs along nicely and is accented by not only some jazzy vibes but by a groovy little sax solo as well (it was previously issued as the flip side to "Hubble Bubble Toil And Trouble"). Side One is closed with "Down The Road A Piece", no doubt the band were influenced by Chuck Berry's reading of this track from the Forties, but they make it their own with a sax/harmonica dual lick and some bluesy piano hammering.

SIDE TWO

1. "I've Got My Mojo Working" (Morganfield)

2. "It's Gonna Work Out Fine" (Seneca, Lee)

3. "Mr. Anello" (Hugg, Jones, Mann, McGuinness, Vickers)

4. "Untie Me" (South)

5. "Bring It To Jerome" (Green)

6. "Without You" (Jones)

7. "You've Got To Take It" (Jones)

Side Two kicks off with "I've Got My Mojo Working", in my opinion it's the weakest point of the album, the band's playing is of course excellent but it's just mundane to my ears. Ike and Tina's "It's Gonna Work Out Fine" is next and fortunately it's a palette cleanser after the previous track in no small part due to Paul Jone's vocals and Manfred's subtle electric piano. The band original, "Mr Anello" is next, it's an instrumental and no doubt it's title refers to one half of the famous London footwear manufacturers Anello and Davide. It's driven by some jazzy guitar that weaves in and out and a barrel house piano that would do Jerry Lee proud and there's some harp wailing in between. "Untie Me" is a cover of the obscure 1963 r&b ballad by the Tams, it's a halfway decent reading and provides an interesting mix with all of the more blues or jazz based tracks it's surrounded by. Bo Diddley's "Bring It To Jerome" is next, I like it it's but not nearly as powerful as David John and The Mood's gritty Joe Meek produced version from the following year. The band original "Without You" is next and in my estimation it's one of the album's strongest tracks. The beat is down and dirty and bluesy and it's fattened up by an incredible flute and vibes solo joining the prerequisite harp wailing and Paul Jone's baritone growling (it was issued in January as the B-side of "5-4-3-2-1!"). "You've Got To Take It" closes the album and it is another band original. It's not the strongest track but gets kudos because the band could have easily followed the norm and padded the album out with another Chuck Berry or Howlin' Wolf cover!

Mod Anthems Part One: The London Boys

DAVID BOWIE-The London Boys U.K. Deram DM 107 1966

Mod anthems...what IS a mod anthem? Is it the lyrics? The feeling? The music? When I was 13 or 14 my "personal mod anthems" changed from week to week and was often a combination of all of those and more. One week it'd be "Time For Action" or "Glory Boys" by Secret Affair , "Millions Like Us" by The Purple Hearts etc etc et al and who could forget the eternally pigeon holed "My Generation"!?!?

In the fall of 1983 I stumbled upon "The London Boys" on a London Records cassette comp called "Starting Point" during my quest to hear/own the rest of Bowie's non-LP Deram cuts. I had found my anthem driving late one night in a Triumph sports car through the fall swept rural roads of Bumf*ck, NJ feeling quite sorry for myself and it was a somber, sober bare bones mod torch song that leap from my shitty car stereo speakers and begged me to take notice. It was at that moment I realized that it was THE mod anthem. It was, and still is.. and much more. Bowie, despite his Anthony Newley pretensions was never a full on crooner. "The London Boys" was and is, an exception to that rule. From it's somber, glum beginning warble to the lifting full throttle cabaret ending (which David Robert Jones delivers like the Frank Sinatra of modernism) the number is a masterpiece. Restrained by a simple bass/organ backing with strains of brass (muted trumpet and tuba woodwinds) the song builds as the pitch of Bowie's plight reaches it's full descent. Lyrically poignant and proud despite the "against all odds" scenario of hopelessness, and failure faced by the song's young protagonist, "The London Boys" ages well (it was cheekily covered with some style and jazz/ska panache by The Times in 1985 on creepy  Mark Johnson's short lived mod Unicorn label). Unlike "My Generation" or any jaded/dated Secret Affair record this is the stuff of dreams, broken ones albeit, but dreams nonetheless. All of this while Bowie was still just 19 years of age. In a way it's a great social observation on one hand as Bowie was firmly tapped into the London scene (and was at the time gigging heavily at the Marquee Club with his backing band The Buzz at the time) but in a way was also as an outsider because despite a great deal of front he didn't actually live in London and when he was not couch surfing he was safely ensconced back home at 4 Plaistow Grove, Bromley at his parents home.

Originally it was demoed with Bowie's third band, The Lower Third at Pye records Marble Arch studios in the fall of '65. It was immediately rejected for release by Pye due to it's language about overt drug use(sadly this version is seemingly lost forever as unlike many other 60's Bowie tracks no version has surfaced among bootleggers or Bowie fans alike). The second version (which was used on the eventual single) was recorded in a demo session at R.G. Jones studios on October 18, 1966 as part of a series of demos in the hopes of ensnaring a record contract (Bowie had since been dropped by Pye after three brilliant but commercially unsuccessful singles). The trumpet was cut at this session and presumably the woodwinds were later dubbed in Decca/Deram's studio as the label was loathe to allow the use of outside studios to record obscure acts. The demos had their desired effect and David Bowie was awarded a contract with Decca's new Deram off shoot. "The London Boys" would surface as the B- side to his debut Deram 45 'Rubber Band" on December 2, 1966.

"Well, it tells the story of life as some teenagers saw it - but we didn't think the lyrics were quite up many people's street. I do it on stage though, and we're probably keeping it for an EP or maybe an LP. Hope, hope! It's called "Now You've Met The London Boys", and mentions pills, and generally belittles the London night life scene."
-David Bowie in "Melody Maker" in Feb. 1966

Hear "The London Boys" :

https://youtu.be/scFpxKdm2w4

EPILOUGE 2025:

In 2000 David Bowie began tinkering with "a 60's album", an entire LP devoted to re-recordings of tracks of his from the Sixties. Ultimately titled "Toy" the project was given a thumbs down by EMI/Virgin despite Bowie completing a dozen tracks which according to Tony Visconti caused Bowie to ultimately decide to leave the label. The project was posthumously released in 2021 and among it's tracks was a version of "The London Boys". Bowie had reintroduced the song into his live set in 2000 to wide acclaim and the then current arrangement was not terribly far from the original 1966 recording albeit some vocal phrasing differences (clearly David Bowie was not going to attempt to hit the notes he did as a 19 year old). Subsequently in 2022 there were multiple releases of an E.P., "You've Got It Made With All The Toys"  with selections from "Toy" including an absolutely breathtaking live version of "The London Boys" recorded at the Roseland Ballroom in NYC on June 19, 2000 complete with strings and clarinets, hear it here. I'm not usually a fan of re-recordings nor do I think much of "Toy" but I AM very impressed with this reworking. Hear it for yourself and decide.

*****This piece was originally published on Uppers.org on October 22, 2007****