Great Obscure U.K. 60's R&B Sides:Long John's Blues, with soul....

LONG JOHN BALDRY-Cuckoo/Bring My Baby Back To Me U.K. United Artists UP 1158 1966

Long John Baldry's last 45 for United Artists (his 7th with them if you include his "Long John's Blues" E.P.) before jumping ship to Pye and becoming a full on crooner is today's subject.

"Cuckoo" is possibly the most soulful thing he's even done thanks to some powerful horns that bring to mind Cliff Bennett & The Rebel Rousers and it has a funky little groove to it.   I was halfway expecting it to be a soul cover I was astonished to find it was a Mike D'Abo composition upon closer inspection of the label!

The A-side is a solid killer bit the money for me is on the flip side "Bring My Baby Back To Me" , a Baldry original that starts out as an acoustic folk blues type thing (with some great Davy Graham style picking) but builds to jazzy swing when the sax starts honking ever so faintly and out of nowhere comes the sweetest Miles Davis style trumpet that has an almost trippy feel to it. Wow. Magic. Or Magik!

"Cuckoo"/"Bring My Baby Back To Me"  became Long John's U.S. 45 debut (Ascot  2229 in early 1967). Both sides were compiled on a highly recommended double CD "Looking At Long John Baldry: The U.A. Years 1964-1966".

Hear "Bring My Baby Back To Me":

https://youtu.be/sFdDFSbZDm0?si=Nt6A2CBdsmWdby-X

Hear "Cuckoo":

https://youtu.be/alRPpHylz0k

The Action: Kick Out The Soul And Look Westward

THE ACTION-Never Ever/Twentyfourth Hour U.K. Parlophone R5572 1967

The Action's first single as a four piece following the ejection of lead guitarist Pete Watson in December 1966 was February 1967's "Never Ever" b/w "Twentyfourth Hour". The single was unleashed while the band were taking a three month gig hiatus to work up a new set that swept clear most of their soul numbers and inserted Byrds covers ("I See You, "Eight Miles High"), Association covers ("Along Comes Mary", "Pandora's Golden Heebie Geebies") and band originals (presumably, both sides of this 45) among hepped up "psychedelicized" existing soul covers (check out the version of "Going To A Go-Go"  from a March '67 BBC session on their "Uptight And Outasight" CD/LP).

At the Speakeasy, Spring 1967

"Never Ever" marks the first time a band original (penned by all four members) graced vinyl after three previous 45's that all featured cover versions (Chris Kenner b/w Martha & The Vandellas, The Marvelettes b/w Mickey Lee Lane and Maurice & The Radiants b/w The Temptations). It's also the first Action record to feature instrumentation outside their usual guitar, bass and drums format featuring horns (excluding of course the occasional piano c/o George Martin).  "Never Ever" shows a very distinct influence of The Association from it's opening choral sunshine pop harmonies to the driving "ba bap ba" chorus reminiscent in delivery to "You May Think" from the "Renaissance" LP. There is still a soulful feel to it in Reg King's vocals while the horns are not remotely soul influenced but remind me more of something from a mid 60's pop record scored by Les Reed like Paul & Barry Ryan or The Truth.

"Twentyfourth Hour" again melds The Association meets soul formula from the top side. It is also a group composition as well. The call and response vocals are pure soul but the "ba ba bop" backing chorus again points West (Coast) as do the soaring harmonies when Reg croons " time after time, you will be mine". There's a distinct Rickenbacker lick throughout the number beneath steady acoustic guitar strumming which cements this to previous Action recordings (though at this time Alan "Bam" King was mostly using a Gibson SG live and eventually a Fender Telecaster after the SG was snapped in two by a tumbling Marshall stack).

Sadly despite a stellar performance and again the brilliant production of George Martin the public wasn't ready to give the Action a hit, even if they were writing their own material. Macca's review in the "Blind Date" weekly column in "Melody Maker" didn't help either:

"Dave Dee? Snotty, Mick and Griff. Who is it?  Ah, The Action, yes. They're a good group and I'm not biased just because George Martin produces them, because they're a good group. George Martin records them you know. No, I'm not biased. They happen to be a good group and George Martin just happens to record them, and could be a hit. I'm not biased though.  Hi Judy!"
-Paul McCartney "Blind Date column" Melody Maker, February 25, 1967

U.S. Promo Copy

The record was also issued in the States on Capitol (their only U.S. release) in promo copy form. I've yet to come across a stock copy or hear of anyone who has, though there is a scan of one in "In The Lap Of The Mods" book. It was also released in the Netherlands (where it came in a picture sleeve and recently fetched a cool $1,000 on E-bay recently). "Never Ever" became the first Action original composition to be covered when The Quests from Singapore cut a version of it on their 1967 Columbia (Singapore) album "The 33rd Revolution" (alongside covers of tunes by The Hollies and Tomorrow!)

The rare Dutch P.S.

Both sides are of course on whatever guise the Action Parlophone recordings are being issued as these days be it "The Ultimate Action" or "Action Packed" while a BBC version of "Never ever" from March 1967 is on the highly recommended CD of BBC sessions "Uptight And Outasight".

Hear "Never Ever":

https://youtu.be/gkqhhSonelU

Hear "Twentyfourth Hour":

https://youtu.be/BMoHJP3HBgs

The Searchers: 10 Top Tunes That You Should Know

1. "Western Union" U.K. Pye 7N.17308 1967
Launched the exact same day in Britain as The Five Americans original (April 21st 1967) The Searchers clearly weren't exactly going with anything novel for this release.  Regardless the band do a competent version which I actually enjoy more than the original.  Rather than perform a note for note version of the band strip it down and make it their own with a pseudo raga guitar solo by John McNally with the band's prerequisite harmonies to the fore.

https://youtu.be/pW1EzVssVrg

2. "Crazy Dreams" U.K. Pye 7N.17424 1967
The Searchers pretty much eschewed psychedelia but there are notable exceptions.  The closest they came was this November '67 flip of "Second Hand Dealer" characterized by some silly lyrics that speak of little green men and laughing clouds behind a tough musical backing propelled by a  fluid bass and solid drums groove with some gnarly guitar and an almost Dylanesque sneer from lead singer Mike Pender. "Sitting up here in the sky. I don't care cos I'm high".

https://youtu.be/dbXfWsEQWTs

3. "Each Time" LP cut U.K. "Take Me For What I'm Worth" Pye NLP 18120 1966
The band are well known for being Britain's foremost interpreters of Jackie DeShannon's material. This jangly echo drenched DeShannon cut appeared on their 4th U.K. LP and would've made a decent single, but Pye thought otherwise and this Youngbloods/Byrdsy masterpiece languished as a track on an LP.

https://youtu.be/vv2uU7VbI_A

4. "Popcorn Double Feature" U.K. Pye 7N.17225 / U.S. Kapp K811 1967
This January 1967 cover of Tim Wilde's brilliant track (later released in the US as Tower 353 in July 1967) rates as one of the band's most sought after 7 inchers and rightfully so. Behind lush strings and Tony Hatch's brilliant arrangement it announced what was hoped to be a new era of progressive direction for the band. Sadly it flopped but still rates in my opinion as one of their best tracks.

https://youtu.be/4bGfPdXoUzw

5. "The System" U.K. Pye NEP 24201 1964
"The System" was the band's title track from the Oliver Reed flick of the same name (re-titled "The Girl Getters" in the U.S.).  It's probably also the first and last time Ollie's mug appeared on a pop record sleeve! Lead off by Chris Curtis and Mike Pender's tandem harmonies beneath a catchy beat group groove it's upbeat and frantic in all the right ways.

https://youtu.be/LnK9xuq4tZU

6. "Take Me For What I'm Worth" U.K. Pye 7N.15992 / U.S. Kapp K729 1966
This November '65 take on P.F. Sloan's greatest composition further cements their "English kings of folk rock" crown and is also one of the toughest Searchers sides recorded.  It starts all sweetness and light before it starts to rock and Mike Pender's vocals grow from soft to snarling beneath the usual precise Searchers musical arrangement.

https://youtu.be/HyEJM5ZYB5Q

7. "Take It Or Leave It" U.K. Pye 7N.17094 1966
The Searchers last venture into the British charts was this Rolling Stones number (it unfortunately stalled at #31) which surprisingly unlike many other contemporary Jagger/Richards compositions was not savaged in print by it's authors. Released after the two bands toured Australia together and exactly one day before The Stone's version hit the streets (as a track on the U.K. issue of the "Aftermath" LP) it actually works.

https://youtu.be/J2wNpCSW8yY

8. "I'll Be Doggone" LP cut U.K. "Take Me For What I'm Worth" Pye NLP 18120 1966
The idea of the Searchers doing Motown is actually a pretty hard idea to get ones head around.  Enter this version.  It starts out in typical note for note cover version fashion with a bass/piano intro and then the melody rings out on the guitars ala "Needles And Pins" and the Motor City/folk rock mash up works PERFECTLY! The bands excellent vocal ability saves the day and Chris Curtis amazing drum fills are the proverbial cherry on top.

https://youtu.be/yE0GxhUjVrE

9. "Have You Ever Loved Somebody" U.K. Pye 7N.17170 / U.S. Kapp K783 1966
Though not a patch on The Hollies original (which surfaced a year later on their "Evolution" album) it's still a rocking affair thanks to some subtle fuzz guitar and the 100 mph pace lead by new Keith Moon influenced drummer John Blunt who had recently replaced Chris Curtis. Compare with versions by Paul & Barry Ryan AND The Everly Brothers.

https://youtu.be/fKAtb8wTIOA

10. "Umbrella Man" U.K. Liberty LBF 15159 1968 / U.S. World Pacific 77908 1968
The next to last 60's Searchers (as "The Searchers", there was one more in '69 cut under the incongruous pseudonym of "Pasha" in '69 on this label) 45 saw them dubiously sacked from their longstanding contract with Pye and cutting the first of three 45's on Liberty in the U.K. "Umbrella Man" is an upbeat poppy slice of toy town psych with some great bits (steady hand claps through out, sublime strings, a snatch of saxophone) that epitomizes "groovy". Penned by Kenny Young who produced this as well and who who authored one of the worst 45's ever ("Somebody Shot The Lollypop Man") which was Pasha's A-side. Dig the clip below of the band on German TV's "Beat Club" with guitarist John McNally's Roger McGuinn stache.

https://youtu.be/TfGRt-qOHJg?si=KBWFzcvChuHA7mAS

Cool Foreign Pictures Sleeves Part 52: The Who

THE WHO-Happy Jack/I've Been Away/I'm A Boy/In The City  Israel  Polydor EP-IP 1006 1967

Here's a cool one, an Israeli E.P. bearing a photo of the band from 1964 when they were The High Numbers!

The Moody Blues Mark One: In America Part Five

THE MOODY BLUES-Ev'ry Day/You Don't U.S. London 45 LON 9799 1965

"Ev'ry Day " ("Everyday" in the U.K. as Decca F12266) was the second U.S. Moodies 45 to feature original band compositions on both sides (the previous was written about here). It was their fourth U.S. release.

"Ev'ry Day" is a brilliant little pop tune from the pen of Denny Laine and Mike Pinder. It starts out with a great acoustic classical guitar bit that continues throughout the song and features the band's usual amazing harmonies (especially in the call and response chorus parts). There's so much going on in it and just as you get into it bang at 1:48 it's over!

U.K. issue

"You Don't" on side B ( titled "You Don't (All The Time)" in the U.K.) is another Laine/Pinder tour de force accented by some flute by Ray Thomas, the bands trademark vocal abilities and some atmospheric phlange on the piano. Both sides benefit from the masterful production of Denny Cordell who makes the most of the bands stellar vocal abilities and muso musicianship. Sadly the number only reached #44 in the U.K. (their last chart placing in Britain before their revamped '67 line up) and an even more dismal #98 in the States. Their next U.S. single (which was not issued in the U.K.) can be found by going here.

Both sides can be found on the London/Deram deluxe edition CD of their debut LP "The Magnificent Moodies" as well as the more recent and highly recommended deluxe two CD edition (which contains a live BBC version of  both tracks as well).

Hear "Ev'ry Day":

https://youtu.be/jVv_7-LGZSw

Hear "You Don't":

https://youtu.be/riTrQdtTSOc

The Jam Live on "Fridays" aka 35 Years Ago My Mind Was Blown

On Friday July 11, 1980 I switched on ABC-TV's "Fridays" at 11:30 P.M. to watch The Jam.  I had previously only seen cool photos of them.  I was not prepared for what I saw and heard.  The Jam were on their A-game, tight as hell like a well oiled machine fed on aggression, nervous energy and relative commercial obscurity as they ploughed through "Start" and "Private Hell" (ending with an amazing thrash up of feedback that concludes perfectly with Weller sitting down bored on the drum riser) . I went out and bought "Setting Sons" immediately the next day at the local mall with literally every cent I had. And so it began....

Luckily you can still see what I saw thanks to YouTube:

Great Obscure U.K. 60's R&B Sides: Felder's Orioles

FELDERS ORIOLES-Sweet Tasting Wine/Turn On Your Lovelight Pye 7N 35269 1965

This was the second of four single's from a U.K. r&b quintet known as Felder's Orioles that was released in October 1965 (their previous/debut single "Down Home Girl" b/w "Misty" was released in October of that year as Pye 7N 35247). I will have to admit that I was rarely impressed with much of the Felder's Orioles stuff that I had heard.  That was until I came across the magical jazzy/r&b swing of "Sweet Tasting Wine".  It's got it all, groovy combo organ, solid brass that swings, soulful lead vocals and precise backing vocals. It's a phenomenal cross between "Them Again" era Them meets Georgie Fame & The Blues Flames and The Animals.  Brilliant. AND to top it off it came from the pen of our fave tunesmiths Tony Colton and Ray Smith!!

The flip "Turn On Your Lovelight" is somewhat pedestrian.  Sure the band can wail and they're tight but the vocals sound a bit strained and let's face it no one's really going to do anything monumental with this number.

Criminally "Sweet Tasting Wine" never made it onto any of Sequel/Castle records "Doin' The Mod" CD compilations which is a damn shame since "Turn On Your Lovelight" was on their first volume "The Go Go Train"!!

Hear "Sweet Tasting Wine":

https://youtu.be/iUu7XTIjJWc

Hear "Turn On Your Lovelight":

https://youtu.be/uU-hqfJg6MU