More U.K. Tracks On U.S. Labels: The Fourmost Do Lennon/McCartney

THE FOURMOST-Here, There And Everywhere/You've Changed US Capitol 5738 1966 

The most covered track from The Fab's "Revolver" album without a doubt was "Here There And Everywhere" which saw half a dozen versions released, many within days of the appearance of "Revolver". Among them were versions by U.K. acts The Mustang, Episode Six, Petula Clark and a host of others but Liverpool's  Fourmost pulled the hat trick of releasing a cover of it five days before The Beatle's version was released! A US pressing was simultaneously issued on the same date.

The Fourmost version bears little difference from the original save the fact that their harmonies are actually stronger and more plentiful than the Beatles. Ex-Manfred Mann genius Mike Vickers provided the orchestration which gives the track a fuller sound than the original, but I'll be honest there's nothing about it that makes me want to play it repeatedly. It featured guitarist Brian O'Hara on lead vocals as the band's previous lead singer Mike Millward died of leukemia in March (O'Hara tragically would take his own life in 1999).

The flip, "You've Changed" is the stronger tune for my money. It's incredibly Beatle-esque from it's Chet Atkin's via George Harrison country guitar licks and an intro that sounds incredibly like the Fab's version of Buck Owen's "Act Naturally" it moves along nicely as a decent slice of country influenced beat music. It was written by the band's vocalist/guitarist Brian O'Hara.

Both sides appeared on EMI CD collection "The Best Of The Fourmost".

Hear "Here There And Everywhere":

https://youtu.be/CFZyJDZEwec

Hear "You've Changed":

https://youtu.be/7g7fF3LBj2o

Euro 60's Obscurities On U.S. Labels: Ola & The Janglers

OLA & THE JANGLERS-I Can Wait/Eeny Meeny Miney Moe US London 45-LON-20034 1967

Sweden's Ola & The Janglers had a staggering 14 singles released in their home country before someone in the United States decided to finally put one of their records out here.  London records issued "I Can Wait" b/w" Eeny Meeny Miney Moe" in November 1967, just two months after it was issued in Sweden by Gazell (C-204).

"I Can Wait" follows the slicker (ie "over produced") sound that the band were heading into in 1967, leaving behind the more quirky, off the wall sounds they had exhibited on their classic 1966 singles like "Alex Is The Man" or "Birds Eye View Of You". It was produced by Ivor Raymonde which leads me to believe it was recorded in the UK, possibly with session musicians. It has a full sound with brass, vibes and orchestration on top of their Beach Boys harmonies, fuzz guitar and thundering drums, it's a decent slick pop tune not unlike Los Bravos UK recordings at the same time.

"Eeny Meeny Miney Moe" is a dreadful disposable pop song that sounds like a throwaway Bickerton/Waddington pop psych B-side, it's also a sample of the direction the band would soon by sliding towards in the following months, but that's a story for another post.

Both tracks were collected on a Swedish two CD reissue of an 80's Ola & The Janglers LP collection titled "1964-1971!".

Hear "I Can Wait":

https://youtu.be/HrfUegCozs8

Hear "Eeny Meeny Miney Moe":

https://youtu.be/HBZ7XpdnZT4

More U.K. Obscurities On U.S. Labels: Duffy Power

DUFFY POWER-Hellhound/Hummingbird US Epic 5-1650 1970

Veteran British blues/r&b singer Duffy Power's last US single was 1966's "There's No Living Without Your Loving" issued as "Jamie Power" in 1966. It would be a full four years until his name resurfaced on an American record. Curiously today's subject beat the British release by a full month coming out in August 1970 (the UK pressing released in September was CBS 5176 and titled "Hell Hound" and was curiously reissued again in the UK as Epic 7139 in 1971 with the sides reversed).

Arranged and produced by former Zombies Chris White and Rod Argent "Hellhound" is sadly miles away from any of Duffy's brilliant blues/r&b sides as it reeks of watered down commercialized blues. Even his vocals are unrecognizable from previous efforts.  The musical backing featured Rod Argent on piano, ex-Roulette Bob Henrit on drums, Rod Argent's cousin and ex-Mike Cotton Sound member Jim Rodford on bass and former Timebox member Ollie Halsall on guitar.

"Hellhound" bears little resemblance to anything Power ever cut before. In fact his voice is barely recognizable and the whole number collapses under the weight of it's own heavy mediocrity. Even the all star stellar musical backing can't save this ponderous exercise in pointless blues rock!

Leon Russell's "Hummingbird" on the flip is the real gem here. It starts out a bit heavy by settles into a nice groove with Argent's bluesy piano and  the lead vocals finally sound like Power and though there's some cheezy soprano saxophone on it but the soulful female backing vocals and Hammond make it sound like Hardin & York. Sadly I can't find it on YouTube.

Neither side have been comped or reissued anywhere to my knowledge.

Hear "Hellhound":

https://youtu.be/qCckgs8eJ9E

More U.K. Tracks On U.S. Labels: The Applejacks Do Lennon/McCartney

THE APPLEJACKS-Like Dreamers Do/Everybody Fall Down US London 45-LON-9681 1964

The Applejacks epitomized the double edged sword that went along with covering a Lennon/McCartney track, they also fell victim to chauvinistic accusations of gimmicky for having a female bassist and it is sadly these two minor footnotes that they are known for. Their debut 45 in February 1964 ,"Tell Me When" (penned by Les Reed and Geoff Stephens) shot to number #7 in the UK charts (UK issue Decca F 11833, US issue London 45-9658). Their next 45 was June 1964's "Like Dreamers Do", written by Lennon and McCartney (but never officially released by The Beatles). Normally in 1964 releasing a Lennon/McCartney composition as an A-side in the UK pretty much guaranteed a trip to the hit parade so things looked promising in June of 1964 when Decca issued it as F 11916, it was simultaneously issued in the US by London . Sadly for The Applejacks the track stalled at #20 (despite an appearance of the band miming to it in the film "Go Go Big Beat") and spelled the end of their hit making days.

"Like Dreamers Do" is a fairly mediocre tune and it's not surprising that the Beatles passed on recording it themselves. It's not awful but it's certainly not one of their stellar compositions either, at best it's a passable, chirpy little beat number. The Applejacks would have one more crack at a Lennon/Macca composition later recording a version of "Baby's In Black" that cropped up on a Decca various artists charity compilation "14" (curiously re titled "England's Biggest Hit Makers" by London in the US, also the title of The Rolling Stones debut LP on the same label!). The real gem is the B-side "Everybody Fall Down" (Curiously titled "(Boom Boom Boom) Everybody Fall Down" in the UK) and penned by future Honeybus members Pete Dello and Ray Cane (who were the author's of "Baby Jane", the flip of the band's debut 45) it's one of the Applejacks best tracks. It's a 100 mph beat rave-up with a fast pace accented by it's infectious chorus of "And it's boom boom boom boom...", there's also a nifty little blistering guitar solo.

The band would go on to cut 4 more singles for Decca (only one of which, the next one "I'm Gonna Send My Love (Three Little Words)" would see a US release) before switching labels (and lead singers) for one final single on CBS in 1967.

Both tracks have been issued on a variety of Applejacks collections issued by Decca, the most recent being the CD compilation "Tell Me When, Like Dreamers Do And 24 More Fab Tracks!" which covers everything released by them on Decca.

Hear "Like Dreamers Do":

https://youtu.be/W8JBNIb1zqM

Hear "Everbody Fall Down":

https://youtu.be/Hxkf4lOuh7k

Only In America U.K. Obscurities On U.S. Labels: The Hill

THE HILL-Sylvie/The Fourth Annual Convention Of The Battery Hen Farmers Association (Part II) US Immediate ZS7-5016 1969

One could easily fill a book of the host of US only 45 pressings by British bands, and among them would be this 1969 Immediate records single by The Hill. Composed of four former members of Chris Farlowe's backing band The Thunderbirds they were: Steve Hammond (guitar), Bruce Waddell (bass), Pete Robinson (keyboards) and Colin Davey (drums). Though not credited on the label, production was handled former Tintern Abbey member Stuart Mackay.

The results are stunning. "Sylvie" is a perfect late 60's pop psych 45 with it's brilliant harmonies, phlanged piano and orchestration (care of Paul Buckmaster, uncredited) that falls somewhere between The Left Banke and Immediate label mate Duncan Browne. Why it was never released in the UK is downright criminal as it's an incredible track!

The flip side, the curiously titled "The Fourth Annual Convention Of The Battery Hen Farmer's Association (Part II)" is an instrumental powered by some blistering bluesy guitar and Hammond organ.  It's a tad self indulgent unfortunately, like some nondescript background music from a late 60's film.

The Hill went on to make an LP with Chris Farlowe as "Chris Farlowe and The Hill" for Polydor in 1970 titled "From Here To Mama Rosa" (which was released in over half a dozen counties) and two UK singles in the same year also for Polydor ("Put Out The Light"/"Questions" and "Black Sheep Of The Family"/"Fifty Years") in the same year as the album.

"Sylvie" was unearthed for the incredible 2007 4 CD box set "Real Life Permanent Dreams: A Cornucopia of British Psychedelia 1965-1970" (albeit an alternate mix) while the flip has yet to surface anywhere, YouTube included!

Hear "Sylvie":

https://youtu.be/aMHnoriHUVI

Shadows And Reflections with Tandyn Almer and Larry Marks

Tandyn Almer

Tandyn Almer and Larry Mark's composition "Shadows And Reflections" is best known to most of our reader's for The Action's version which was released as their final single in June of 1967. What some people don't realize is that the track was cut by a small host of other acts with interesting differences.

It all begins with Twin Cities born wunderkid Tandyn Almer who at the age of 23 became instantly successful and wealthy when his tribute to cannabis indica "Along Comes Mary" by The Association shot to #7 in the US singles charts. Almer also co-wrote "The Message Of Our Love" with the band's producer Curt Boettcher on their debut LP "And Then...Along Comes The Association".  You would have expected him to become a frequent visitor to the hit parade after such a smash but alas he was never, unfortunately, to revisit the Top 40 again. Though denied further commercial success tracks by him appeared continuously on both sides of the Atlantic throughout 1966-1967. His next double entendre, "Alice Designs" (LSD get it?), came out in first in October '66 across the pond by a British act called The Sugarbeats on Polydor 56120 (it was later covered in the States the following year by Mr Lucky And The Gamblers as Panorama 52). At nearly the same time a US group called The Purple Gang (not to be confused with the UK act of "Granny Takes A Trip" fame) released a composition of his called "Bring Your On Self Down" (MGM K 13607) and a track of his called "Poor Old Organ Grinder" was issued by Billy Elder (Patheway 101) in '67. Californian ensemble The Garden Club which featured Mike Brewer and Tom Shipley (later to find fame as Brewer & Shipley) and the composer of The Association's blockbuster "Windy", Ruthann Friedman issued a composition Almer co-wrote with  John Walsh called "Little Girl Lost And Found" as A&M 848 in April 1967 (a British version was cut by Peter And The Wolves on MGM 1352 around the same time). Larry Marks was less prolific during this period with no tracks written by him being released until 1968!

In June 1967 two different versions of a track written by Almer and Marks called "Shadows And Reflections" appeared on both sides of the Atlantic by two different acts. The US release was by The Lownly Crowde on MGM, the UK version by The Action on Parlophone. There would be further versions of the track as well.......

THE LOWNLY CROWDE-"Shadows And Reflections" US MGM K 13740 1967
Though there is some debate on whether The Action heard this version before recording their interpretation. The timing is tight as both recordings were issued in June of 1967 (The Action's reading being issued on the 23rd, The Lownly Crowde version's released date is unknown). Regardless The Lownly Crowde reading is extremely similar in tempo and arrangement to The Action's.  What makes it very different is there are strings  and horns throughout the track and the vocals are shared by a chorus of male and female voices adding more of an M.O.R.  feel to it.  There's also a groovy flute that pops in at one point and a cello solo.  The flip side was an instrumental version of the track minus the vocals with horns pushed up further in the mix.

Vocal version:

https://youtu.be/b90LQlJyvXY

Instrumental version:

https://youtu.be/84f2-S4ow4M

THE ACTION-"Shadows And Reflections" UK Parlophone R 5610 1967
British mod/soul interpreters The Action were well into their path away from soul/r&b and veering towards American West Coast sounds when they issued this, which would sadly be their very last official release. Leading off with George Martin's baroque harpsichord this version is, in my estimation, the definitive one.  Lead singer Reg King's vocals carry the water on this one as do the band's backing vocalists and though the musical backing is rather sparse when compared with The Lownly Crowde (just guitar bass, drums and harpsichord here) it works in no small part due to their delivery. There's a horn solo where the backing vocals are showcased before drummer Roger Powell thunders in to announce the return of the lead vocals.

https://youtu.be/tZcnItgSrLw

EDDIE HODGES-"Shadows And Reflexions" US Sunburst 773 1967
The third version of "Shadows..." was cut by former child actor turned musician Eddie Hodges. Curiously this arrangement seems to contain elements of both The Lownly Crowde AND Action readings.  Propelled by piano, soaring Beach Boys style backing vocals, and subtle brass and vibes it has a perfect California '67 sunshine pop feel to it. The solo is a mild keyboard with a spooky chorale intertwined. Hodges would later co author two tracks in 1968 with Tandyn Almer  for a single by The Paper Fortress "Butterfly High"/"Sleepy Hollow People" (VMC V719 March 1968).

Ignore the Byzantine Empire photo in the video, this is the Eddie Hodges version:

https://youtu.be/j18ecWxzOVQ

Scan courtesy of https://ironleg.wordpress.com

THE BYZANTINE EMPIRE-"Shadows And Reflections" US Amy A-11,046 1968
University of Michigan act The Byzantine Empire cut three 45's for the Amy label, their final "You" issued as "Byzantine Empire" saw "Shadows.." released on the B-side. It's arrangement is far different than any of the previous versions. It starts with some woodwinds and is far harder hitting than any of the others having a pace that calls to mind The Kink's "Dead End Street".  The harmony vocals clearly are indebted to the vocal style of The Association (whom one could easily envision doing the track) and there's a groovy Farfisa playing the main riff throughout the track while the solo is handled by a flute.

  https://youtu.be/QUIFRJ2gMow

THE JACKPOTS-"Shadows And reflections" Sweden LP track "Jack In The Box" Sonet SLP-68 1968
The Jackpots could best be described as Sweden's cross between The Four Seasons and The Association. Their version of "Shadows..." is probably the most heavily produced version of all of today's selections. The band utilize their excellent harmonies to great effect and the vocals going through a Leslie speaker on the chorus is a very cool touch!

https://youtu.be/5iyMXuiG7OE

MARC ALMOND-"Shadows And Reflections" UK LP track "Shadows And Reflections" BMG 538310851 2017
Former Soft Cell front man Marc Almond not only chose to cover our track but also made it the title of his 2017 LP/CD (where it nestles amog covers of tracks by Julie Driscoll, The Herd, Dusty Springfield etc). I stumbled upon it on Spotify recently and was pleasantly blown away! Musically it reminds me of something off of one of Andy Lewis' Acid Jazz albums and rather than try to recapture Reg King's soul Marc sings it in his own way and it really works because his delivery is slow, precise and very "English".

https://youtu.be/q4k-bV0Ktys

Sadly Almer's battles with ADHD and bipolar disorder kept him from writing a lot of the time and though he continued to do so on occasion, his spark never burned as bright as it did in '66-'67 when so many pop records bore the songwriting credit of "T. Almer".

10 More Groovy (Or Not So Groovy) Small Faces Covers

Scan c/o 45cat.com

1. THE BIRDS (Australia)-"Rene" Australia 45 Clarion MCK-3474 1970
Two former member's of a late era line up of Ron Wood's band The Birds (and were also allegedly members of The Clockwork Oranges) relocated to Australia where through guile or outright chicanery they started a band there called The Birds who cut three singles for the Clarion label (all of which were covers). Their second 45 was a limp version of Marmalade's "I See The Rain" backed with this reading of "Rene" from "Ogden's Nut Gone Flake". It's not very interesting because it sounds like a drunken sing-along, in every sense of the word complete with someone playing spoons, kazoo (or is it a comb and paper), jars and vocals that sounds like one of those records a footie team made in the 60's. Sadly there's no version of YouTube so you'll have to take my word for it (I heard it on a CD EP of the bands three Clarion singles).

2. TONY JACKSON GROUP-"Understanding" Portugal E.P. Estudio EEP 50 013 1967
Ex-Searcher Tony Jackson cut this raw version of "Understanding" for a rare as hell 1967 Portuguese E.P. on the primarily fado label Estudio. I daresay there hasn't been such an amazing Small Faces cover out there as this one! Interestingly the band's Dennis Thompson had played with Steve Marriott in his first band The Frantics.

https://youtu.be/krX7wwerdxE

Scan c/o 45cat.com

3. RONNIE BIRD-"Hey Girl" French E.P. track Phillips 437.239 BE 1966
Gallic singer Ronnie Bird's weak French language version of the band's fourth single is fairly uninspired save the musical backing which at one point kicks into a Who inspired barrage of slashing guitar, thrashing drums and some Nicky Hopkin's style piano. Not the best but worth a listen.

https://youtu.be/1sUEQoN18aU

4. TEDDY ROBIN & THE PLAYBOYS-"All Or Nothing" LP track Hong Kong "Not All Lies" Diamond SLP-1030 1967
Hong Kong's Teddy Robin & The Playboys included this competent note for note cover of the band's first #1 as a track on their debut LP. It's not at all un-listenable and reminds me of a lo-fi American garage pop reading.

https://youtu.be/7wEaEWR8oWg

5. TWICE AS MUCH-"Green Circles" UK LP track "That's All" Immediate IMCP 013 1968
Immediate record duo and in house songwriters David Skinner and Andrew Rose tackled the trippy 2nd LP Faces tune on their 2nd and final appropriately titled LP "That's All". Wrapped in beautiful orchestration it distances itself from the psychedelic whimsy of the original and transforms itself into a pop-psych masterpiece.

https://youtu.be/PVmA9b4HmE4

Scan c/o 45cat.com

6. PUSSYCAT-"Ce N'est Pas Une Vie (Sha La La La Lee)" French E.P track  RCA Victor 86.161 1966
Gallic ye-ye groover Pussy Cat cut this French language version of the band's third single on her first E.P. in 1966 alongside covers of tunes by The Moody Blues and The Swinging Blue Jeans. Not too shabby and certainly above Ronnie Bird's piece of merde cover of "Hey Girl".

https://youtu.be/64NOqGQODC4

7. THE BARRON KNIGHTS-"An Olympic Record (Track 1)" UK 45 Columbia DB 8485 1968
The U.K.'s comedy beat group The Barron Knight's took their usual knack for re-writing tracks for laughs by changing the lyrics to "Lazy Sunday" to a tune about the Olympics. It's only about a quarter of the song itself as their numbers are usually just medley's of a variety of pop standards of the day given new words, and this ones no different.

https://youtu.be/9cV29VjtVTQ

8. THE LITTER-"Whatcha Gonna Do About It" US LP track "Distortions" Warick 671 1967
Also cut by Florida's The Evil the same year (on Living Legend 108 and a few months later as Capitol 2038) Twin Cities, Minnesota garage legends The Litter included this raw reading of the SF's debut 45 on their album "Distortions".

https://youtu.be/UV70UbSCRAg

Scan c/o 45cat.com

9. THE STILLROVEN-"Have You Ever Seen Me" US 45 August 102 1968
Minnesota's Stillroven were some of the United States most devoted Anglophiles and followed their 7 inch of a mondo obscure Simon Dupree and The Big Sound cover "Little Picture Playhouse" (August 101 in November 1967) with this track found on the SF's debut US LP "There Are But Four Small Faces". Vocally it's a bit weak as it's out of the lead singer's key but the backing is tight and the enthusiasm is 110%.

https://youtu.be/N4ehduxMgY4

10. GEORGE MARTIN-"Itchycoo Park" UK LP track "British Maid" United Artists SULP 1196 1968
Alongside covers of tunes by The Beatles, Traffic and Procol Harum Sir George and his "orchestra" cut a cover of the Small Faces hit for his UK LP "British Maid" (titled "London By George" in the US). It's slightly muzaky but the surprising organ and regal woodwinds among the strings and horns add a "Swinging London" feel to the groovy kitsch going's on here. Unfortunately there's no video on YouTube.