More U.K. Obscurities On U.S. Labels: Sounds Incorporated

 

SOUNDS, INCORPORATED-In The Hall Of The Mountain King/Time For You US Liberty 55789 1965

U.K. instrumental band Sounds Incorporated are relatively obscure to  Americans, most will know them for their brass work on The Beatle's "Good Morning,Good Morning" on the "Sgt. Pepper.." LP or perhaps from the fact that they opened for The Beatles at Shea Stadium in August of '65. 

 Those trivia bits aside, Sounds Incorporated (or Sounds Inc. as they were sometimes known) were a six piece British instrumental combo who had been recording records since 1961. They were also known for being musos in that they backed several visiting American performers (their debut British single was actually backing Gene Vincent) and were frequently called upon to back British musicians as well. They were also recognized for having an extremely tight horn section and featured the drumming talents of future in demand session man Tony Newman. 

Today's subject was their third American single (and their eighth in Britain excluding the earlier mentioned Gene Vincent 45, issued there as Columbia DB 7545 in April 1965). It was simultaneously released on both sides of the Atlantic. It was issued with "Time For You" as the A-side but I have chosen to "flip" it here because I prefer the B-side, "In The Hall Of The Mountain King". 

"In The Hall Of The Mountain King" of course dates from the 1800's when it was written by Edvard Grieg for the play "Peer Gynt". Sounds Incorporated use their full horn sound of tenor/baritone sax to an amazing effect weaving an insane path through the twists and turns and increasing speed of the number as it progresses to an almost break neck speed. 

"Time For You" is a slow instrumental number that could have been another mundane Shadows tune if it wasn't for the waltzy sax solo and the almost trippy jangling 12 string guitar licks that resemble The Byrds (guitarist John St. John played a one of a kind Gretsch "George Harrison model" 12 string gifted to him by the man himself).  Add that 12 string action meshing it with some mildly disguised flute and you have a pretty trippy sound for 1965! Interestingly it reminds me at time's of The Graham Bond Organization when the saxes come in, totally mesmerizing stuff!

John St. John's "George Harrison" model
Gretsch 12 string guitar.

Hear "Hall Of the Mountain King":

https://youtu.be/6XK_ZtqJP1E

Hear "Time For You":

https://youtu.be/I_1kFRuqM2E

More U.K. Obscurities On U.S. Labels: Sounds Incorporated

SOUNDS INC.-I Am Comin' Thru/On The Brink US Liberty 55844 1965

Multi-instrumentalist's Sounds Incorporated were a 6 piece British combo who had been around since the early 60's. There first singles were on the Decca label (where they cut a one 45 with the legendary Joe Meek) before moving to Columbia.  Best known to American's as the band behind the brass on The Fab Four's "Good Morning Good Morning", they also opened for the Beatles in a 1965 US tour with an entire set filmed during their opening slot at the legendary Shea Stadium gig in August. In an effort to capitalize on their fame from that tour Liberty records issued the band's latest 45 in both the UK and the US at the same time in October 1965. Issued in the UK as Columbia DB 7737 it remains one of their most sought after 45's.

"I Am Comin' Thru" was previously written and issued by Billy Preston on his legendary 1964 album "The Most Exciting Organ Ever".  I'm rarely one to claim covers are better than the originals but in this instance I am firm in my conviction that the Sounds Inc version easily trumps the Billy Preston version.  It's faster, ballsier and heavier thanks to the bands powerful horn section. Where the original is a soulful slow burner this version is a 100 mph organ/horns party tune, full on.

The B-side, "On The Brink", was the debut 45 by Mike Vickers after leaving Manfred Mann and had already been issued by him in the UK in August (on the same label as Sounds Inc nonetheless!). Though lacking the kitschy/frenetic feel of the original this version is still amazing thanks to the bands strong sax playing, hard hitting drumming (care of future session man extraordinaire Tony Newman) and solid instrumental precision.

"I Am Comin' Thru" has been compiled on an untitled See For Miles collection  but "On The Brink" has yet to grace any collections, unfortunately.

Hear "I Am Comin' Thru":

https://youtu.be/vLp4vPIQZhQ

Hear "On The Brink":

https://youtu.be/Os9mKBoNxtk

Great Obscure U.K. 60's R&B Sides: Sounds Incorporated

SOUNDS INCORPORATED-The Spartans/Detroit UK Columbia DB 7239 1965

Sounds Incorporated are highly underrated in my book. They have a host of mundane instrumentals, sure, but they are also responsible for a host of groovy tracks, which believe it or not, are not as easy to lay one's hands on as one might expect. One of Britain's most interesting instrumental combos, this six piece always rode the edge of "cool" vs "MOR".  They could come off like Light Programme BBC musicians and then cook up a gritty, soulful killer in the blink of an eye. To me they were like the bastard love child of The John Barry Seven meets The Mar-Keys. Best known for backing a host of British vocalists (especially at NME poll winners concerts) they were competent artists on their own (as a foot note their horn section appeared on The Beatles "Good Morning, Good Morning"). They were: John St. John (guitar), Alan "Boots" Holmes (saxophone/flute), Barrie Cameron (organ/saxophone), Wes Hunter (bass) and Terry Fogg (drums). Fogg was later replaced by the famous session extraordinaire drummer Tony Newman.

Among my favorites is today's subject, their sixth UK 45 and they very first on EMI's Columbia imprint. Their previous seven inches were on Decca, Parlophone and Capitol (Their last Decca release "Keep Moving" was produced by Joe Meek). Our subject was released the very same month that saw the infamous mods and rockers seaside battles (April 1964). "The Spartans" is a rousing instrumental led by some ethereal flute before blending with the band's ultra tight horn section. It was written by pianist Russ Conway under a pseudonym and provided the band with their highest U.K. chart placing (#30).

The flip, "Detroit", is a band original. It's a gritty duel between flute, organ, horns and twangy guitar and equally as strong as the top side and certainly more dance floor friendly as a nice melding of a Booker T & The M.G.'s style original some kitschy mid 60's Euro film incidental party music.

Both tracks are still available on an untitled See For Miles CD compilation collecting select 60's sides by them.

Hear "The Spartans":

https://youtu.be/JLax16JqQlE

Hear "Detroit":

https://youtu.be/L1glDb6mOfA