More U.K. Obscurities On U.S. Labels: The Ivy League "My World Fell Down"

THE IVY LEAGUE-My World Fell Down/When You're Young US Cameo 449 1966

My introduction to Britain's squeaky clean harmony trio The Ivy League came not via one of their many UK hits but from this semi obscure 45 that they cut in 1966 which was included on Bam Caruso's Rubble series on 1988's "Volume 7: Pictures In The Sky". It would be their last US release, issued in December 1966 (the UK version on Piccadilly 7N 35348 was previously issued in October). "My World Fell Down" was also covered by the US group Sagittarius and released as a single in the US in May 1967 (Columbia 4-44163) and the UK in August 1967 (CBS 2867) featured on the famous 1972 US 60's garage compilation "Nuggets".

"My World Fell Down" is easily the best cut The Ivy League ever came up with.  Written by John Carter with fellow tune smith Geoff Stephens it's aided in no small part due to the somber strings care of producer Terry Kennedy.  The orchestration and the band's brilliant harmonies weaving in and out of the sawing strings are nothing short of brilliant! It has a certain bleakness to it only matched by, say, The Move with "Blackberry Way".

The flip side, "When You're Young" is dreadful because of the children's backing vocals (the British release credits read  "accomp. by The Children's Choir Dr. Barnardo's Barkingside" (Dr. Barnardo's is a charity organization in Britain charged with the aid and care of orphans and foster children. David Bowie's father, Haywood Jones was a PR man for Dr. Barnardo's interestingly). They're like fingernails on a chalk board and not at all groovy like the kids of Keith West's "Excerpts From A Teenage Opera".

As mentioned frequently in our other Ivy League posts both sides are available on a variety of Ivy League compilation CD's. As their material is owned by Castle Communications they've been licensed to death.

Hear "My World Fell Down":

https://youtu.be/Z2xbqExuB1o

Hear "When You're Young":

https://youtu.be/eBat4_NjNyw

More U.K. Obscurities On U.S. Labels: Spooky Tooth's Debut

SPOOKY TOOTH-Sunshine Help Me/Weird US Mala 587 1967

In 1967, UK psychedelic band Art (formerly mod/r&b connoisseurs The V.I.P's ) were going nowhere.  Their debut 45 a cover of the Buffalo Springfield's "For What It's Worth" sank without a trace as did their Guy Steven's produced LP "Supernatural Fairy Tales" (both were released on Island records). Island's boss Chris Blackwell met a New Jersey born keyboardist named Gary Wright (later to find fame in the US in 1975 with the hit "Dreamweaver") who was in London and hooked him up with Art.  The result was a name change and Spooky Tooth was born.

Their debut 45, the Gary Wright penned "Sunshine Help Me" was produced by Jimmy Miller and released in the UK on Island ( WI-6022) in December 1967 and simultaneously launched in the USA on the Bell records subsidiary Mala (curiously the band's debut US LP would be on Bell).

"Sunshine Help Me" is driven by some great harmonies, tabla and organ/ harpsichord and Mike Harrison and Gary Wright's vocals (though Wright's screeching can be a bit much, somehow sounding suspiciously like Mick Jagger's histrionics on "Sympathy For The Devil" though predating it obviously).  I always dug Harrison's strong voice on the V.I.P's and Art stuff so it's definitely an asset.  There's an almost chunky, Hendrix style groove to the guitars and something about it also reminds me of late era Small Faces Immediate era stuff.

The B-side "Weird" was previously cut by Art as "I Think I'm Going Weird" on their LP. Re-recorded by Spooky Tooth its slowed down a bit and the organ is heavier in the mix and Gary Wright's vocals have a Steve Windwood-like quality to them, but I have always preferred Mike Harrison's soulful vocals so the Art version wins out for me.

Both cuts are available on a Spooky Tooth CD collection "Lost In My Dream:An Anthology 1968-1974". Mike Harrison sadly passed away on March 25th.

Hear "Sunshine Help Me":

https://youtu.be/SLTGYfmqQeI

Hear "Weird":

https://youtu.be/razqLdc0y28

David Bowie Is

In 2013 when "Mojo" magazine announced a David Bowie exhibition at the V&A in London I was peeved as usual that Britons always get to see cool things we Americans don't. Ten cities later the exhibit is at it's final destination in Brooklyn, New York at the Brooklyn Museum as "David Bowie Is" which runs until July 15th of this year. The exhibit became sort of a traveling memorial with Bowie's untimely passing and will probably be the last time anyone gets to see so many of his things up close.

Unlike the Rolling Stone's "Exhibitionism"  I avoided reading articles on "David Bowie Is" and since cameras were not permitted I didn't have to worry about too many friends posting pics on social media.  I wanted to be completely unaware of what the exhibit had to offer even though I had a few ideas before I made my trip to Brooklyn (which literally felt like driving to Minnesota) .

Photo courtesy of http://59productions.co.uk/

The exhibit starts with a small bedroom with a bed flanked by blow up photos of David in his first band The Konrads and The King Bees and adorned with his original plastic Grafton saxophone (as seen in shots of his first band the Konrads and later resurrected for the back cover shots of "Pin Ups") and his Ziggy era Harptone 12 string (not, sadly the Framus 12 string that features in pics from '65-'66).  Admittedly there is not a lot of my beloved 60's period on display (even the vinyl from the 60's on display are repressings or in the case of one of the Pye singles, a mock up!). There's loads of photos, sheet music for Davie Jones & The King Bees "Liza Jane" and the holy grail of the exhibit for me, the charts for "The London Boys" that Bowie and bassist Dek Fearnley wrote out for session musicians to play in the 1966 session for probably one of my favorite Bowie tracks (complete with corrections by the classically trained session men!). Quite literally almost every article of clothing you've seen Bowie perform in or photographed in from the Ziggy era to his final tour are on display. From the Ziggy kimono to the insane corrugated metal dress he wore on "Saturday Night Live" (complete with the appearance on a TV screen below the item, my first time watching it in over 40 years since S.N.L. vigorously removes content posted to YouTube), to his tuxedo and hat from the 1975 Grammy awards to his white shirt and black vest and trousers from "The Thin White Duke" period to the Freddie Burretti designed suit from Mick Rock's "Life On Mars"promo film (it's actually light blue not green as the video leads you to believe!) to Natasha Korniloff's Pierrot clown suit from the "Ashes To Ashes" video, David Bowie apparently not only never threw anything out but took meticulous care of everything. It's quite astonishing when considering his life of rock n' roll excess through a sizable chunk of the 1970's that he managed to hang onto nearly everything!

But beyond the clothing there are loads of other interesting and unusual items. There's a small alcove where the walls are lined with 7 inch picture sleeves of every UK David Bowie 45, there's a whole wall dedicated to Bowie's 2nd LP "David Bowie" (issued in the US as "Man Of Words Man Of Music") complete with sketches and the final painting by George Underwood that adorned the back cover and a print of a geometric design painting by artist Victor Vasarely which had David's head superimposed on as the front cover.  There's a host of other odd Bowie ephemera such as the keys to his Berlin flat, his map of the Berlin subway system, the test pressing his manager Ken Pitt gave him of the first Velvet Underground album in 1966 , his coke spoon (yes I'm not kidding), loads of sketches, diary entries and even a telegram from label mate Elvis Presley wishing him luck on his 1976 US tour. There is an array of videos playing throughout and the headset provided is activated when you pass certain parts of the exhibit.

At an astonishingly affordable price of $20 its certainly worth seeing. Geographical considerations made it impossible for me to get there on a weekday so my Saturday afternoon visit was mobbed to the point that I'm considering going back on a weekday so that I can take in everything I missed! Tickets are still available  through the link above.

All the old dudes carry the news...

More U.K. Obscurities On U.S. Labels: Pre-Wimple Winch Just Four Men

JUST FOUR MEN-There's Not One Thing US Tower 163 1965

Capitol records Tower subsidiary had a brief brain storm in 1965 where they backed 45's by Freddie & The Dreamers with tracks by other British artists. The first was April 1965's "You Were Made For Me" (Tower 127) which was backed by The Beat Merchant's "So Fine". Today's specimen was released in October 1965 with Freddie & Co's "Send A Letter To Me" backed by a cut from a Liverpool combo called Just Four Men (confusingly they were previously known as "The Four Just Men" and had a Tower 45 all to their own, "That's My Baby/Things Will Never Be The Same", Tower 118 January 1965).  "There's Not One Thing" was previously an A-side in the UK in February as Parlophone R 5241 where it was backed by "Don't Come Any Closer".  Freakbeat scholars will tell you that by 1966 the group morphed into the legendary Wimple Winch.

"There's Not One Thing" is a moody beat ballad. It's tempo and key bring to mind the Zombies at their most forlorn (think "Leave Me Be" or "I Must Move") and it's precision double tracked vocals and jazzy guitar licks make it a beat group classic. It was included in the now out of print Wimple Winch CD anthology "The Wimple Winch Story 1963-1968".  The Freddie and the Dreamers A-side "Send A Letter to Me" is crap.  It starts out with a nifty Seekers style guitar lick but its a god awful song that needs to be in a landfill somewhere....

Hear "And There's Not One Thing":

https://youtu.be/EXXc99vYpRg

Great Obscure U.K. 60's Sides: The Big Three

THE BIG THREE-By The Way/Cavern Stomp UK Decca F 11689 1963

Liverpool had one of the largest beat group scenes in Britain and nearly all of them made at least one record in the wake of Beatlemania which saw A&R men swoop up there with contracts in hand.  Still smarting from rejecting The Beatles Decca records surprisingly signed few Merseybeat acts to their roster, among them were The Mojos, The Pete Best Four, The Dennisons and a band some of have called "The first power trio": The Big Three. Headed by the enigmatic vocalist/drummer John Hutchinson (aka "Johnny Hutch" to all on Merseyside) they featured Brian Griffiths (vocals/guitar) and future Merseybeat/Roxy Music vocalist/bassist John Gustafson (aka "Johnny Gus"). There were multiple line-ups but it's this configuration that many, myself included, consider the "classic" Big Three line up. Like many 60's Scouse beat acts the band were initially handled by Brian Epstein, who secured them a recording contract. The band released their first 45 on Decca in March '63 with a version of the "Louie Louie" of Liverpool, Richie Barrett's "Some Other Guy" (Decca F 11614) which reached #37 on the UK charts.

For a follow up release the band had a Mitch Murray track "By The Way" foist on them (beat scholars will recall The Beatles being also saddled with a dreadful Murray composition called "How Do You Do It", which they rejected and became a hit for the more compliant fellow Liverpudlians Gerry and the Pacemakers). The band were not at all happy with the release. Interestingly after this release in June 1963 the band parted ways with Epstein. Legends abound about their unruly behavior leading to Epstein terminating their contract  though another version was, understandably, that Epstein clearly had too much on his plate handling the Beatles, Gerry & The Pacemakers, Cilla Black, Billy J. Kramer and the Dakotas and others!

"By The Way" , like "How Do You Do It" is a sappy, uninteresting, pop ditty. The band do their best but it's not a terribly interesting composition. It's not dreadful, but it's not not something you want to play repeatedly. The number is redeemable only by Griffith's nifty guitar playing and Gustafson's backing vocals (an asset he would take with him to The Merseybeats) . The real gold is the flip side, "Cavern Stomp", a group original (which somehow the producer Noel Walker wound up sharing credits on). It's a rollicking, catchy beat group number that jives with amphetamine energy . Built around an infectious riff and lyrics that are possibly the only track of the Merseybeat era to name check the "movements" home base venue it's incredibly brief (1:41) but incredible. "Keep your jive and your rock n roll, do the Cavern stomp..."

In 1982 Edsel records would compile the band's slim discography as an LP "Cavern Stomp", which contains both tracks. A CD release in 2009 was put out by RPM titled "Cavern Stomp: The Complete Recordings" collecting all of their tracks and the Edsel LP was semi-legitimately issued on CD in 2004 by Deram in Germany as part of their "Liverpool Connection" series.

Here's an excellent feature on the band from someone who witnessed them back in the day:

http://andrewdarlington.blogspot.com/2013/04/vintage-album-big-three-cavern-stomp.html

Hear "By The Way":

https://youtu.be/Czj3T-icqaQ

Hear "Cavern Stomp":

https://youtu.be/_0KMccipAII

More U.K. Obscurities On U.S. Labels: The Ivy League Part Two

THE IVY LEAGUE-Tossing & Turning/Graduation Day US Cameo 377 1965

British harmony trio The Ivy League's second US 7" release was their 4th British single "Tossing & Turning" (UK Piccadilly 7N 35251 June 1965). It was issued here in the States in September of '65 and was the only Ivy League US 45 released with a picture sleeve!

Starting off with some organ and very jangly guitars giving it a distinct "folk rock" feel "Tossing & Turning" again benefits from their stellar, crisp harmonies these guys were known for. The musical backing is quite solid too (the drums in particular, probably Clem Cattini) and no doubt makes the track.

And then there's the flip side.....Despite starting out with some tough musical backing "Graduation Day" is a god awful song. Total pop drivel, like something written on the spot to hurriedly complete the session. More's the pity because the musical backing is great and the guitar solo is totally raunchy and over the top.

Both sides are available on a variety of Ivy League compilation CD's. As their material is owned by Castle Communications they've been licensed to death.

Hear "Tossing & Turning":

https://youtu.be/8hsiCH7CLjI

Hear "Graduation Day":

https://youtu.be/73QZ95VTUus

10 British 60's R&B/SKA 45's

We have frequently touched upon various individual ska 45's recorded in Britain by English r&b bands but I decided it was time to compile a list of ten recommendations for your listening pleasure....all tracks are UK singles unless otherwise noted.

1. THE BLUE FLAMES-"J.A. Blues" R&B JB 114 1963
The Blue Flames (led by former Larry Parnes discovery Georgie Fame) cut two instrumental 45's for the predominately ska label R&B (named for the labels owners Rita and Benny). Sandwiched in between releases by Don Drummond and The Charmers was this 1963 instrumental, the band's first of two 45's here. It's a mild horns/organ instrumental with a ska beat that's nondescript and mildly banal, but worth a listen. Fame's manager Rik Gunnell forbid him from making an "vocal" records at this time whilst shopping for a major label deal, hence both R&B 45's are instrumentals. 

2. MAYNELL WILSON & THE WES MINSTER FIVE-"Baby" Carnival CV 7014 1964
A few years before her in demand Ember 45 "Motown Feeling" black vocalist Maynell Wilson cut her teeth on this 45 on the predominantly ska label Carnival, which like fellow UK imprints R&B and Blue Beat was not averse to the odd British r&b release. She's backed her by a UK r&b band The Wes Minster Five who cut 3 distinctly jazzy r&b 45's for the label. "Baby", the flip of "Hey Hey Johnny" steals the tune and melody from Millie Small's smash "My Boy Lollipop" lock stock and barrel but Maynell's voice is a zillion times better than Millie's dreadful screechy voice and there's a great sax solo that would not at all be out of place on a Georgie Fame and The Blue Flames tracks.

https://youtu.be/H_wKSKtjMVQ

3. MICKEY FINN & THE BLUE MEN-"Tom Hark" Blue Beat BB 203 1964
Profiled in one of our earliest posts here, as mentioned prior this 45 was NOT the work of UK r&b/freakbeat legends Mickey Finn & The Blue Men but sessions musicians including Mohawks/KPM organist supremo Alan Hawkshaw. Regardless of who played on it this ska reading of a one off 1958 hit by South African's Elias And His Zig-Zag Jive Flutes is infectious and brilliant.  It's a perfect marriage of organ/sax Brit r&b mixed with a traditional ska rhythm.

https://youtu.be/B6StKM4TpoU

Scan c/o 45cat.com

4. THE WILD ONES-"Purple Pill Eater" Fontana TF 468 1964
Tucked away on the flip of the r&b rave up "Bowie Man" comes this cod-ska social commentary on the purple heart amphetamine crisis. It's delivered in a semi offensive West Indian accent while the band churn out a semi competent ska beat while the lyrics warn "don't eat the purple pills my boy, the purple pills just make you ill".

https://youtu.be/M3BkAyJOIeI

5. SYKO & THE CARIBS-"Jenny" Blue Beat BB 213 1964
Tucked on the flip of a rollicking boogie woogie reading of "Do The Dog", "Jenny" follows that early Blue Beat blue print of the slow r&b shuffle with a ska back beat.  It works because it's uncomplicated and fits perfectly along with similar Jamaican releases on the label at the time by Owen Gray and Prince Buster.

 https://youtu.be/FjHrqwdf5w0

Scan c/o 45cat.com

6. GEORGIE FAME & THE BLUE FLAMES-"Madness" E.P. cut "Rhythm & Blue-Beat" EP Columbia SEG 8334 1964
Clive Powell's ska pedigree is first and foremost among white British r&b artists. He released two 45's on the UK ska label R&B (see above), played organ on Prince Buster's "Wash Wash", covered Eric "Monty" Morris ska hit "Humpty Dumpty" on his debut LP "R&B At The Flamingo" and his debut UK EP "Rhythm And Blue-Beat" was filled with four ska tracks, including this ace interpretation of Prince Buster's smash among them making him the first white artist to cover Prince Buster!

https://youtu.be/asDKkMHUjZg

7. THE EXOTICS-"Cross My Heart" Decca F 11850 1964
The jury is out on who The Exotics were but its a pretty safe bet the guess they were Brit based West Indians. "Cross My Heart" would not be at all out of place on the Blue Beat label with it's innocuous ska/ blues shuffle driven by a harmonica, though it's production is a bit too slick for anything they ever put out.

https://youtu.be/-klpo7ol-zk

8. THE BEAZERS (CHRIS FARLOWE)-"Blue Beat" Decca F 11827 1964
Brit 60's r&b legend Chris Farlowe was signed to EMI's Columbia output so this 45 was cut surreptitiously on the sly and credited to the fictitious "Beazers". The brainchild of arranger/producer Cyril Stapleton (who interestingly became head of A&R at Pye the year after this 45!), "Blue Beat" is yet another melding of ska rhythm's with a staid but solid British musical backing (including ex-Blue Flame Tex Makins on bass, future Blue Flame and Ringo stand in Jimmy Nicol on drums and the man behind the famous lick on "Shakin' All Over", Joe Moretti on guitar). Regardless of it's genuine "ska credibility" it's a decent track and extremely in demand.

https://youtu.be/xHQEQZr_E9o

9. THE LLOYD ALEXANDER REAL ESTATE-"I'm Gonna Live Again" President PT 157 1967
Starting off with some brilliant "chicka-chick" vocal toasting straight of of "Guns Of Navarone" and a funky riff that's sounds a bit like "I'll Be Doggone", "I'm Gonna Live Again" remained under the mod/soul/ska scenes radar for ages until both sides of this 45 were unearthed by RPM in 2011 for their various artists three CD set "Looking Back".  This UK 7 piece band issued this monster melding of ska with soulful r&b on the flip side of their sole 45, a cover of "Whatcha Gonna Do".

https://youtu.be/_-_WHXlv4qE

10. MICKEY FINN & THE BLUE MEN-"Pills" Oriole CB 1927 1964
Unlike the Blue Beat 45 above this 45 featured the actual Mickey Finn & The Blue Men members playing on the record. Taking the Bo Diddley classic and putting a ska beat to it is sort of ingenious idea because it actually works! the flip was a similar ska treatment of Jimmy Reed's "Hush Your Mouth".

https://youtu.be/BBhuZqT4Xvc

AND.......
The Yardbirds broke into the ska version of the nursery rhyme "Humpty Dumpty" in the middle of their version of "Respectable" on their debut LP "Five Live Yardbirds", The Beatles used a ska rhythm in the middle eight of "I Call Your Name", fellow Liverpudlian's Tommy Quickly and the Remo Four did a live version of the ska treatment of "Humpty Dumpty" as their last UK 45 and The Hollies did the same in their first recording of "A Taste Of Honey"......