Offered With Very Little Comment #2 - Amboy Dukes, IPOH, Fumble

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Hello, my little post-Christmas tinkers. You may remember that back in October, I uploaded a brace of leftover singles in one entry which I could find very little to talk about. They'd been ripped to mp3 and their labels had been taunting me from my "action pile" for months (if not longer in one case).

This, then, is three more singles I've been meaning to upload for awhile, but really don't have much to say about. If there are any interesting facts about them you want to share, please do so in the comments section - but so far as I can tell and hear, there's nowt unusual or notable about these.

Band: Amboy Dukes

Title: He Came To See Me Yesterday/ Easy Going Me

Label: Polydor

Year of Release: 1968

We talked about the British Amboy Dukes back in May 2015, introducing two of their singles. Therefore, my brevity this time is due to the fact that we already have this lot covered, not that they aren't interesting in and of themselves (they are - "High Life In Whitley Wood" is a single that's very high on my 'wants' list, and I occasionally spin "The Marquis" at Northern Soul nights).

"He Came To See Me Yesterday' is more of the same, really, though takes things at a steadier, gentler pace. Not one of their more 'in demand' sounds. 

Band: I.P.O.H

Title: Caveman Billy/ Doggy

Label: Pye

Year of Release: 1973

IPOH stands for "In Pursuit of Happiness", and the group were led by Island of St Kitts ex-pat Hamilton King, and featured cult blues performer King Rollo in their ranks. This was their sole Pye release, and rather oddly is a cover of a Hot Chocolate B-side. 

The flip, "Doggy" is a bit more interesting.

Artist: Fumble

Title: Mama, Don't You Hit That Boy/ Tonight

Label: DJM

Year of Release: 1979

Fumble were a rather popular rock n roll revival act in the 70s and 80s who, despite their keen live following, never quite managed to climb as high up the charts as Shakin Stevens, Darts, Showaddaywaddy or even Matchbox. Staggeringly, they even supported David Bowie on his "Ziggy Stardust" tour. Quoth the starman: "I adore them. They're very unpretentious about revamping that whole era".

So here they are, then, for your pleasure. There's also a website here.

Hello, my little post-Christmas tinkers. You may remember that back in October, I uploaded a brace of leftover singles in one entry which I could find very little to talk about. They'd been ripped to mp3 and their labels had been taunting me from my "action pile" for months (if not longer in one case).

This, then, is three more singles I've been meaning to upload for awhile, but really don't have much to say about. If there are any interesting facts about them you want to share, please do so in the comments section - but so far as I can tell and hear, there's nowt unusual or notable about these.

Band: Amboy Dukes

Title: He Came To See Me Yesterday/ Easy Going Me

Label: Polydor

Year of Release: 1968

We talked about the British Amboy Dukes back in May 2015, introducing two of their singles. Therefore, my brevity this time is due to the fact that we already have this lot covered, not that they aren't interesting in and of themselves (they are - "High Life In Whitley Wood" is a single that's very high on my 'wants' list, and I occasionally spin "The Marquis" at Northern Soul nights).

"He Came To See Me Yesterday' is more of the same, really, though takes things at a steadier, gentler pace. Not one of their more 'in demand' sounds. 

Band: I.P.O.H

Title: Caveman Billy/ Doggy

Label: Pye

Year of Release: 1973

IPOH stands for "In Pursuit of Happiness", and the group were led by Island of St Kitts ex-pat Hamilton King, and featured cult blues performer King Rollo in their ranks. This was their sole Pye release, and rather oddly is a cover of a Hot Chocolate B-side. 

The flip, "Doggy" is a bit more interesting.

Artist: Fumble

Title: Mama, Don't You Hit That Boy/ Tonight

Label: DJM

Year of Release: 1979

Fumble were a rather popular rock n roll revival act in the 70s and 80s who, despite their keen live following, never quite managed to climb as high up the charts as Shakin Stevens, Darts, Showaddaywaddy or even Matchbox. Staggeringly, they even supported David Bowie on his "Ziggy Stardust" tour. Quoth the starman: "I adore them. They're very unpretentious about revamping that whole era".

So here they are, then, for your pleasure. There's also a website here.

Kris Ife - Give and Take/ Sands Of Time

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Music Factory

Year of Release: 1968

Pop music history is littered with people who were relatively successful for about six months before losing relevance. Often their career's decline from mid-table chart finishers to niche fanbase performers is gentle - they might suffer the ignominy of the occasional "What Exactly Is Kate Nash Doing These Days?" styled article, but they're still able to maintain a gentle media presence.

Others just disappear from the gaze of the mainstream press without explanation. Kris Ife was one example - as a member of The Quiet Five in the mid-sixties, he managed a couple of well-received singles which just about charted, "When The Morning Sun Dries The Dew" and "Homeward Bound". When he jumped off that particular ship to forge a solo career, it would seem that record companies invested a great deal of faith in him building on those foundations - MGM financed three singles in total (including this one on their short-lived Music Factory subsidiary) and Parlophone two. United Artists gave him a third crack of the whip in the late seventies.

Despite the promise, as a solo performer he never really seemed to shift units, and by the mid-seventies his recorded output dried up. That's not to say that he didn't leave a very firm mark on music history in the process, mind - his version of "Hush" was popular in clubs and was the one that members of Deep Purple heard in a Manchester nightclub before deciding to record it themselves. Without him, maybe Kula Shaker would have been denied an extra top five hit... and far beyond "Hush", his Mark Wirtz produced single "Imagination" is one of the more unreasonably ignored bits of lost British psychedelia.

His version of Jimmy Cliff's "Give and Take" is also firm, driving and an arguable case for the "Borderline Northern Soul" files. It adds urgency to the track and a particularly forceful brass section, and the only thing stopping it from being a great record (as opposed to a good one) is the slightly over-considered production. To have been a proper barnstormer, I sense this one needs a bit more roughness - as it stands, it has a slight cabaret edge it could do with losing.

Kris carried on recording until his untimely death in November 2013, his last release being a CD of skiffle songs with The Beaver Street Hat Band.

Label: Music Factory

Year of Release: 1968

Pop music history is littered with people who were relatively successful for about six months before losing relevance. Often their career's decline from mid-table chart finishers to niche fanbase performers is gentle - they might suffer the ignominy of the occasional "What Exactly Is Kate Nash Doing These Days?" styled article, but they're still able to maintain a gentle media presence.

Others just disappear from the gaze of the mainstream press without explanation. Kris Ife was one example - as a member of The Quiet Five in the mid-sixties, he managed a couple of well-received singles which just about charted, "When The Morning Sun Dries The Dew" and "Homeward Bound". When he jumped off that particular ship to forge a solo career, it would seem that record companies invested a great deal of faith in him building on those foundations - MGM financed three singles in total (including this one on their short-lived Music Factory subsidiary) and Parlophone two. United Artists gave him a third crack of the whip in the late seventies.

Despite the promise, as a solo performer he never really seemed to shift units, and by the mid-seventies his recorded output dried up. That's not to say that he didn't leave a very firm mark on music history in the process, mind - his version of "Hush" was popular in clubs and was the one that members of Deep Purple heard in a Manchester nightclub before deciding to record it themselves. Without him, maybe Kula Shaker would have been denied an extra top five hit... and far beyond "Hush", his Mark Wirtz produced single "Imagination" is one of the more unreasonably ignored bits of lost British psychedelia.

His version of Jimmy Cliff's "Give and Take" is also firm, driving and an arguable case for the "Borderline Northern Soul" files. It adds urgency to the track and a particularly forceful brass section, and the only thing stopping it from being a great record (as opposed to a good one) is the slightly over-considered production. To have been a proper barnstormer, I sense this one needs a bit more roughness - as it stands, it has a slight cabaret edge it could do with losing.

Kris carried on recording until his untimely death in November 2013, his last release being a CD of skiffle songs with The Beaver Street Hat Band.

The Changin' Times - Pied Piper/ Thank You Babe

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Philips

Year of Release (in the US): 1965

Now here's an odd find - a South African pressing of a low charting American garage single. The Changin' Times "Pied Piper" managed to climb into the lower reaches of the Billboard Top 100 on its release in 1965, but response to the record in the UK was downright indifferent on its issue here, and it took our native arrogant young gunslinger Crispian St. Peters to turn it into a monster top ten hit with a smoother, bouncier, and actually inferior version.

Maybe the original was just a bit too rough around the edges for British tastes at that time, but I think it's a thing of total wonder. From the incessant flute riff through to the raw and craggy Dylan-esque vocals, it's one of the finer pieces of pop to burst out of the naive nooks and crannies of American garage rock. Lyrically it's possible to view the disc as either being an approving nod to beatnik culture and the bourgeoning hippy movement, or an utter piss-take - my wife is utterly convinced that it's actually a fairly snarky piece of satire (the use of the phrase "so fall in line" perhaps being a criticism of the hero-worship the likes of Dylan received rather than being approving). Whatever your end conclusion, musically it's simple, sharp and delightful, and probably not seeking out underground credibility with its endless hooks.

The flip is even more raw than the A-side, throwing a rasping harmonica and spirited vocals against a thrown together minute-and-a-half ditty. It consists of the victory of youthful enthusiasm over ability and budget that so many garage records have in spades.

Despite initial appearances, though, The Changin' Times were actually songwriting duo Steve Duboff and Artie Kornfeld having a crack at fame in their own right. Besides penning "Pied Piper" they also created the original version of the "Nuggets 2" compiled garage classic "How Is The Air Up There?" Not for no reason does "Pied Piper" also have more than an inkling of pop songwriting suss about it - Kornfeld also penned the Jan and Dean classic "Dead Man's Curve", so had more than a slight notion about what he was doing.

Still, Kornfeld proved his hippy credentials by going on to become one of the main organisers of the Woodstock festival and also became a music industry "Mover n Shaker". Duboff, rather oddly, later became a video games designer though continued to write and produce music until he passed away in 2004.

"Pied Piper" was one of a brace of single The Changin' Times issued until 1968, when they finally called it a day. 

Label: Philips

Year of Release (in the US): 1965

Now here's an odd find - a South African pressing of a low charting American garage single. The Changin' Times "Pied Piper" managed to climb into the lower reaches of the Billboard Top 100 on its release in 1965, but response to the record in the UK was downright indifferent on its issue here, and it took our native arrogant young gunslinger Crispian St. Peters to turn it into a monster top ten hit with a smoother, bouncier, and actually inferior version.

Maybe the original was just a bit too rough around the edges for British tastes at that time, but I think it's a thing of total wonder. From the incessant flute riff through to the raw and craggy Dylan-esque vocals, it's one of the finer pieces of pop to burst out of the naive nooks and crannies of American garage rock. Lyrically it's possible to view the disc as either being an approving nod to beatnik culture and the bourgeoning hippy movement, or an utter piss-take - my wife is utterly convinced that it's actually a fairly snarky piece of satire (the use of the phrase "so fall in line" perhaps being a criticism of the hero-worship the likes of Dylan received rather than being approving). Whatever your end conclusion, musically it's simple, sharp and delightful, and probably not seeking out underground credibility with its endless hooks.

The flip is even more raw than the A-side, throwing a rasping harmonica and spirited vocals against a thrown together minute-and-a-half ditty. It consists of the victory of youthful enthusiasm over ability and budget that so many garage records have in spades.

Despite initial appearances, though, The Changin' Times were actually songwriting duo Steve Duboff and Artie Kornfeld having a crack at fame in their own right. Besides penning "Pied Piper" they also created the original version of the "Nuggets 2" compiled garage classic "How Is The Air Up There?" Not for no reason does "Pied Piper" also have more than an inkling of pop songwriting suss about it - Kornfeld also penned the Jan and Dean classic "Dead Man's Curve", so had more than a slight notion about what he was doing.

Still, Kornfeld proved his hippy credentials by going on to become one of the main organisers of the Woodstock festival and also became a music industry "Mover n Shaker". Duboff, rather oddly, later became a video games designer though continued to write and produce music until he passed away in 2004.

"Pied Piper" was one of a brace of single The Changin' Times issued until 1968, when they finally called it a day. 

The Cymbaline - Peanuts and Chewy Macs/ Found My Girl

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Mercury

Year of Release: 1967

It's a rare pleasure for me to introduce a band from my own home turf on "Left and to the Back". Ilford, by now a piece of East London Victorian suburbia spilling over into Essex, isn't a place where a great many pop stars have come from, unless we count Louise Wener, Jet Black, The Dooleys, Kathy Kirby, and er, Sean Maguire. Probably the place's greatest claim to rock fame is the fact that "Itchycoo Park" was written about a park in the area (and no Small Faces member can agree on which one, though Steve Marriott claimed it was Valentines Park, just round the corner from my abode, and the lyrics themselves point to this as being the most likely candidate).

The Cymbaline, consisting of Stuart Claver on vocals, John Hollis on guitar and vocals, Gerald Morris on bass, Anthony Mortlock on lead guitar and vocals and Philip Chesteron on drums, were apparently all Ilford boys and were an ever-present sight on the release schedules throughout the mid to late sixties. Kicking their careers off on Pye with "Please Little Girl" in 1965, they jumped to Mercury for their next release in the same year, then finally settled on Philips in 1967 until their demise in 1969. Seven singles were released throughout the whole period, and the group were clearly deemed bankable by a number of people at the time - but it all came to nought.

It's somewhat surprising under the circumstances. The lads were clearly able musicians, and vocally their record performances are actually of an extremely high quality. What stands out overwhelmingly across many of their 45s are the tight, precise and pretty vocal harmonies Mortlock, Hollis and Claver were capable of delivering, and Claver's lead vocals in particular strike out from your stereo convincingly. 

"Matrimonial Fears" is widely regarded to be their finest single, and found its way on to volume 4 of the Rubbles rarities series. However, the rest of their catalogue is by no means a total waste of time. "Peanuts and Chewy Macs", for example, is a sunshine-drenched piece of harmony pop which focuses on the activities of a slightly illicit market stall owner flogging tasty snacks to the public. It's as good as most of the harmony psych flops that came from the West Coast of the USA, and must have felt like a cheering listen leaking out of transistor radios in April 1967. Carefully arranged and with intricate arrangements, it's no lazy piece of work.

Perhaps unsurprisingly, after The Cymbaline dissolved Stuart Calver went on to do session vocal work for Roger Daltrey, Cockney Rebel and Linda Lewis. Chesterton later drummed for Marc Ellington, and the whereabouts of the others are unclear. 

Label: Mercury

Year of Release: 1967

It's a rare pleasure for me to introduce a band from my own home turf on "Left and to the Back". Ilford, by now a piece of East London Victorian suburbia spilling over into Essex, isn't a place where a great many pop stars have come from, unless we count Louise Wener, Jet Black, The Dooleys, Kathy Kirby, and er, Sean Maguire. Probably the place's greatest claim to rock fame is the fact that "Itchycoo Park" was written about a park in the area (and no Small Faces member can agree on which one, though Steve Marriott claimed it was Valentines Park, just round the corner from my abode, and the lyrics themselves point to this as being the most likely candidate).

The Cymbaline, consisting of Stuart Claver on vocals, John Hollis on guitar and vocals, Gerald Morris on bass, Anthony Mortlock on lead guitar and vocals and Philip Chesteron on drums, were apparently all Ilford boys and were an ever-present sight on the release schedules throughout the mid to late sixties. Kicking their careers off on Pye with "Please Little Girl" in 1965, they jumped to Mercury for their next release in the same year, then finally settled on Philips in 1967 until their demise in 1969. Seven singles were released throughout the whole period, and the group were clearly deemed bankable by a number of people at the time - but it all came to nought.

It's somewhat surprising under the circumstances. The lads were clearly able musicians, and vocally their record performances are actually of an extremely high quality. What stands out overwhelmingly across many of their 45s are the tight, precise and pretty vocal harmonies Mortlock, Hollis and Claver were capable of delivering, and Claver's lead vocals in particular strike out from your stereo convincingly. 

"Matrimonial Fears" is widely regarded to be their finest single, and found its way on to volume 4 of the Rubbles rarities series. However, the rest of their catalogue is by no means a total waste of time. "Peanuts and Chewy Macs", for example, is a sunshine-drenched piece of harmony pop which focuses on the activities of a slightly illicit market stall owner flogging tasty snacks to the public. It's as good as most of the harmony psych flops that came from the West Coast of the USA, and must have felt like a cheering listen leaking out of transistor radios in April 1967. Carefully arranged and with intricate arrangements, it's no lazy piece of work.

Perhaps unsurprisingly, after The Cymbaline dissolved Stuart Calver went on to do session vocal work for Roger Daltrey, Cockney Rebel and Linda Lewis. Chesterton later drummed for Marc Ellington, and the whereabouts of the others are unclear. 

The Creation - Creation/ Shock Horror

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Creation

Year of Release: 1994

The Creation are usually one of the first groups on the lips of any connoisseur of sixties music if they're asked the question: "Which truly great British sixties bands fell by the wayside at the time?" 

In truth, they weren't total obscurities. They managed one very minor hit with "Painter Man", and another very near-hit with the big and beastly "Making Time". The former, somewhat absurdly, was later covered by Boney M, while the latter has become ubiquitous even in indie club land in the last twenty years - I was at an indie night in Ottawa ten years ago and heard the DJ play it to a huge dance floor response, and then again at a wedding elsewhere. It may have failed to crack the Top 40 in the UK, but it's since become regarded as a monstrous piece of mod pop as worthy of attention as anything The Who also produced at the time. The Germans were more accommodating in the sixties and found them a home in their charts - the British, for whatever reason, failed to see sense. 

The Creation's stock began to rise during the first wave of the sixties revival in the eighties, and only continued to gain momentum as the nineties set in. If evidence of this is needed, the fantastically chaotic and psychedelic "How Does It Feel To Feel" was covered by Ride and issued as an A side by them. 1994 obviously seemed like the perfect date for the original line-up to get back together and produce new material, and Alan McGee's Creation Records - themselves named after the band - seemed like the obvious home. They were placed in the studio with the label's legendary producer Joe Foster to produce a single also entitled "Creation", presumably with the idea that this three-way match between label, band and song title would be an interesting press story in itself.

What's astonishing about this record is that, unlike many comeback attempts by sixties groups, it sounds totally and utterly rooted in the decade it actually emerged in. The bleeding, compressed, treble-heavy production, attitude and energy sounds like 1994 Britpop as opposed to sixties mod rock. True, this isn't a tremendously large genre leap, but nonetheless the transition sounded surprising at the time and remains startling on relistening today. The A-side "Creation" in particular is a blistering piece of work, taking a simple riff and pushing it into the red. The track is seldom heard now, and probably doesn't stand up with the group's finest, but it's nonetheless worth your time. So many comebacks are riddled with embarrassment and misunderstanding present pop and rock trends - indeed, The Creation also had a crack in the eighties which is best ignored - but "Creation" and "Shock Horror" still don't sound especially distant. 

The Creation continue to tour and play today, but since the death of lead singer Kenny Pickett in 1997 they have been led by guitarist Eddie Phillips, who at present is the only remaining original member.

Label: Creation

Year of Release: 1994

The Creation are usually one of the first groups on the lips of any connoisseur of sixties music if they're asked the question: "Which truly great British sixties bands fell by the wayside at the time?" 

In truth, they weren't total obscurities. They managed one very minor hit with "Painter Man", and another very near-hit with the big and beastly "Making Time". The former, somewhat absurdly, was later covered by Boney M, while the latter has become ubiquitous even in indie club land in the last twenty years - I was at an indie night in Ottawa ten years ago and heard the DJ play it to a huge dance floor response, and then again at a wedding elsewhere. It may have failed to crack the Top 40 in the UK, but it's since become regarded as a monstrous piece of mod pop as worthy of attention as anything The Who also produced at the time. The Germans were more accommodating in the sixties and found them a home in their charts - the British, for whatever reason, failed to see sense. 

The Creation's stock began to rise during the first wave of the sixties revival in the eighties, and only continued to gain momentum as the nineties set in. If evidence of this is needed, the fantastically chaotic and psychedelic "How Does It Feel To Feel" was covered by Ride and issued as an A side by them. 1994 obviously seemed like the perfect date for the original line-up to get back together and produce new material, and Alan McGee's Creation Records - themselves named after the band - seemed like the obvious home. They were placed in the studio with the label's legendary producer Joe Foster to produce a single also entitled "Creation", presumably with the idea that this three-way match between label, band and song title would be an interesting press story in itself.

What's astonishing about this record is that, unlike many comeback attempts by sixties groups, it sounds totally and utterly rooted in the decade it actually emerged in. The bleeding, compressed, treble-heavy production, attitude and energy sounds like 1994 Britpop as opposed to sixties mod rock. True, this isn't a tremendously large genre leap, but nonetheless the transition sounded surprising at the time and remains startling on relistening today. The A-side "Creation" in particular is a blistering piece of work, taking a simple riff and pushing it into the red. The track is seldom heard now, and probably doesn't stand up with the group's finest, but it's nonetheless worth your time. So many comebacks are riddled with embarrassment and misunderstanding present pop and rock trends - indeed, The Creation also had a crack in the eighties which is best ignored - but "Creation" and "Shock Horror" still don't sound especially distant. 

The Creation continue to tour and play today, but since the death of lead singer Kenny Pickett in 1997 they have been led by guitarist Eddie Phillips, who at present is the only remaining original member.

Sweet Chariot - Wish I Were A Child/ Heavenly Road

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: MCA

Year of Release: 1969

Another John Carter penned song on the blog so soon after the last? Well, why not. Both singles are very obscure efforts and both act as a testament to the fact that you can trace his talent not just in his hit productions, but in a lot of tracks which also fell by the wayside.

"Wish I Were A Child" has a much more serious, almost country rock flavour to it than most of his output, and is possibly indicative of Carter's desire to produce work which was slightly different to his poppier singles (though only he would be able to confirm this). It has a yearning, adult flavour to it that party crackers like "A Little Bit Of Soul" don't have. Perhaps that's why it failed to crack the charts, and remains almost completely unheard - there wasn't much of an outlet for songs like this one in the UK at the time.

The B-side "Heavenly Road" goes down the old gospel road and is even more unexpected. 

Sweet Chariot seem to be another studio-based outlet created for the realisation of one of John Carter's songs, rather than a 'proper' touring group. It's not unlikely that Carter contributed to the performance on the record in some way himself. 

Apologies for the slightly scuffed nature of both sides of this record.

Label: MCA

Year of Release: 1969

Another John Carter penned song on the blog so soon after the last? Well, why not. Both singles are very obscure efforts and both act as a testament to the fact that you can trace his talent not just in his hit productions, but in a lot of tracks which also fell by the wayside.

"Wish I Were A Child" has a much more serious, almost country rock flavour to it than most of his output, and is possibly indicative of Carter's desire to produce work which was slightly different to his poppier singles (though only he would be able to confirm this). It has a yearning, adult flavour to it that party crackers like "A Little Bit Of Soul" don't have. Perhaps that's why it failed to crack the charts, and remains almost completely unheard - there wasn't much of an outlet for songs like this one in the UK at the time.

The B-side "Heavenly Road" goes down the old gospel road and is even more unexpected. 

Sweet Chariot seem to be another studio-based outlet created for the realisation of one of John Carter's songs, rather than a 'proper' touring group. It's not unlikely that Carter contributed to the performance on the record in some way himself. 

Apologies for the slightly scuffed nature of both sides of this record.

Richard - A Little Bit/ Take Me

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Parlophone

Year of Release: 1969

We've already covered the production and songwriting work of Mark Wirtz elsewhere on this blog, which leaves me with very little to add. Besides Wirtz's ambitious Teenage Opera work, he was also constantly on the look-out for conventional pop hits. 

"A Little Bit", penned by his protege Miki Anthony - also covered elsewhere on this blog, though I admittedly had trouble identifying him at the time - is as straight-ahead at it gets, sounding like a strange, late sixties approximation of a beat boom number. The lyrics are about persuading a likely lady to move closer to her suitor, and again, it conveys this message with an early sixties innocence rather than shooting the whole track through with suggestiveness (though as with many tracks of this ilk, somehow that makes it feel slightly more manipulative and creepy). Perhaps that's the reason it failed to break through into the charts. It's not that such records didn't make it at all in 1969, but they usually had richer, more complicated arrangements than the raw bounce of this one - it's ironic that Wirtz, a man renowned for pushing the envelope, fell behind the curve here. Still, it's a perfectly good single with some neat electric organ noises, and might have fared better if it had been issued a few years earlier.

As for Richard, I have not a clue who he might have been. There was an artist in the Quebec region of Canada operating under the same name at the same time, but that need not mean anything. Whatever the facts, "A Little Bit" was, so far as I can tell, the only single credited simply to Richard in the UK, unless we count another issue on RAK in 1975 - and once again, I doubt that's the same person, but probably another performer who decided to dispense with his surname.

All answers on a postcard, please. Or a comment in the comment box will do.

Label: Parlophone

Year of Release: 1969

We've already covered the production and songwriting work of Mark Wirtz elsewhere on this blog, which leaves me with very little to add. Besides Wirtz's ambitious Teenage Opera work, he was also constantly on the look-out for conventional pop hits. 

"A Little Bit", penned by his protege Miki Anthony - also covered elsewhere on this blog, though I admittedly had trouble identifying him at the time - is as straight-ahead at it gets, sounding like a strange, late sixties approximation of a beat boom number. The lyrics are about persuading a likely lady to move closer to her suitor, and again, it conveys this message with an early sixties innocence rather than shooting the whole track through with suggestiveness (though as with many tracks of this ilk, somehow that makes it feel slightly more manipulative and creepy). Perhaps that's the reason it failed to break through into the charts. It's not that such records didn't make it at all in 1969, but they usually had richer, more complicated arrangements than the raw bounce of this one - it's ironic that Wirtz, a man renowned for pushing the envelope, fell behind the curve here. Still, it's a perfectly good single with some neat electric organ noises, and might have fared better if it had been issued a few years earlier.

As for Richard, I have not a clue who he might have been. There was an artist in the Quebec region of Canada operating under the same name at the same time, but that need not mean anything. Whatever the facts, "A Little Bit" was, so far as I can tell, the only single credited simply to Richard in the UK, unless we count another issue on RAK in 1975 - and once again, I doubt that's the same person, but probably another performer who decided to dispense with his surname.

All answers on a postcard, please. Or a comment in the comment box will do.

The Hinge - The Village Postman/ You'd Better Go Home

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: RCA

Year of Release: 1968

One more from the bottomless pit of popsike records about ordinary people in small towns or villages toiling away doing their day jobs. Grocer Jack in "Teenage Opera" might have started the ball rolling, but there are tons of others too - The Decision introduced us to "Constable Jones", Cyan to the sweetshop owner Toby, Bulldog Breed to the street corner newspaper salesman, Dr Marigold's Prescription to the nightwatchman... on and on the list goes.

"The Village Postman", far from being a tribute to The Singing Postman aka Allan Smethurst, is a jolly ditty about the trials, tribulations and light-hearted moments of being a hard-working postie close to retirement. "He has to work in all the weathers", the band inform us, in case we'd overlooked that aspect of the role. It bounces and chimes along nicely, the simplicity of the arrangement suiting the lyrical theme well.

The Hinge were a duo consisting of Gerry Levene and Chris Sedgewick. Levene was for some considerable time a legend on the Birmingham gig circuit, being frontman of hard-gigging beat group Gerry Levene and The Avengers who took their act all around the UK, including Liverpool's Cavern Club in the early sixties. Perhaps more significantly, that band had Roy Wood in its ranks at one point, before Wood departed to more fully realise his own ambitions. The Hinge came long after Levene's period with The Avengers drew to a close, and involved a significantly different sound for him, but sadly not one which paid greater commercial dividends.

Following the failure of "The Village Postman", Levene continued his music career, being involved in the band Crossbones who released "Shakin' All Over" on the Penny Farthing label in 1972, and also forming his own publishing and record company Sovereign which remained active until very recently, issuing solo work of his own as well as others. He has also specialised in music management (taking on the accounts of Danny King and Cozy Powell) and dog breeding. Sedgewick's movements are less clear, although it would seem that he continued songwriting for awhile afterwards.

Sadly, Levene passed away on 20th December 2011.

Label: RCA

Year of Release: 1968

One more from the bottomless pit of popsike records about ordinary people in small towns or villages toiling away doing their day jobs. Grocer Jack in "Teenage Opera" might have started the ball rolling, but there are tons of others too - The Decision introduced us to "Constable Jones", Cyan to the sweetshop owner Toby, Bulldog Breed to the street corner newspaper salesman, Dr Marigold's Prescription to the nightwatchman... on and on the list goes.

"The Village Postman", far from being a tribute to The Singing Postman aka Allan Smethurst, is a jolly ditty about the trials, tribulations and light-hearted moments of being a hard-working postie close to retirement. "He has to work in all the weathers", the band inform us, in case we'd overlooked that aspect of the role. It bounces and chimes along nicely, the simplicity of the arrangement suiting the lyrical theme well.

The Hinge were a duo consisting of Gerry Levene and Chris Sedgewick. Levene was for some considerable time a legend on the Birmingham gig circuit, being frontman of hard-gigging beat group Gerry Levene and The Avengers who took their act all around the UK, including Liverpool's Cavern Club in the early sixties. Perhaps more significantly, that band had Roy Wood in its ranks at one point, before Wood departed to more fully realise his own ambitions. The Hinge came long after Levene's period with The Avengers drew to a close, and involved a significantly different sound for him, but sadly not one which paid greater commercial dividends.

Following the failure of "The Village Postman", Levene continued his music career, being involved in the band Crossbones who released "Shakin' All Over" on the Penny Farthing label in 1972, and also forming his own publishing and record company Sovereign which remained active until very recently, issuing solo work of his own as well as others. He has also specialised in music management (taking on the accounts of Danny King and Cozy Powell) and dog breeding. Sedgewick's movements are less clear, although it would seem that he continued songwriting for awhile afterwards.

Sadly, Levene passed away on 20th December 2011.

What Four - Stop In The Name Of Love/ Asparagus

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Tower

Year of Release: 1968

Once every so often I stumble upon a sixties garage punk single that really causes me to pull "WTF?" faces. This shouldn't happen often, of course... I've been around the block enough times to realise that a lot of garage singles are highly bizarre artefacts, so I'm already prepared. But still, when I purchased this one, I felt sure that what I'd be getting was an uptempo, abrasive take on the Supremes classic. And what I got instead was...

Well, it's hard to describe this version of "Stop In The Name Of Love". The first listen to it is highly perplexing, as the band choose to make all the most quirky sounds at the places you'd least expect them. The "Think it over" segment of the original tune, for example, is the calm after the huge warning sign of the chorus. What Four instead place a clanking, pounding riff behind it that makes it sound like an extension of the chorus's hysteria, the next level up. This is not a pop song anymore, it's the noise of five railway barriers sounding off simultaneously through valve amplifiers.

I had hoped that this might be a good single to DJ with, but I suspect it might actually clear dance floors. It's not a bad record by any means, and I actually enjoy its peculiar elements hugely, it's just too irregular for most dancers to be able to make a connection with. I suspect the point of inspiration may have been Vanilla Fudge's version of "You Keep Me Hanging On", but "Stop" here is much more abrasive and stripped back.

The B-side "Asparagus" is possibly a bit more promising in the dance-floor department, being a proper uptempo garage pounder with layers of lyrical absurdity about accepting the universal goodness of American asparagus over the top. I suspect its a metaphor for the kind of meaningless middle-of-the-road demands made by "squares", readers. But the track has a loose, rhythmically simple enthusiastic drive behind it, akin to the kind of garage rock you might suspect Jack White would most enjoy.

There were two What Fours around in America in the 60s, the girl group and some garage punkers from Queens, New York. This is almost certainly the work of the latter rather than the former. Previously known as Sunrisers, they changed their name to What Four for the release of the single "Tossin Ship" on the tiny Rollem label, before finishing their careers with this cover on Tower. I have no other information on them besides that - if you know more, please do pass the details on.

Label: Tower

Year of Release: 1968

Once every so often I stumble upon a sixties garage punk single that really causes me to pull "WTF?" faces. This shouldn't happen often, of course... I've been around the block enough times to realise that a lot of garage singles are highly bizarre artefacts, so I'm already prepared. But still, when I purchased this one, I felt sure that what I'd be getting was an uptempo, abrasive take on the Supremes classic. And what I got instead was...

Well, it's hard to describe this version of "Stop In The Name Of Love". The first listen to it is highly perplexing, as the band choose to make all the most quirky sounds at the places you'd least expect them. The "Think it over" segment of the original tune, for example, is the calm after the huge warning sign of the chorus. What Four instead place a clanking, pounding riff behind it that makes it sound like an extension of the chorus's hysteria, the next level up. This is not a pop song anymore, it's the noise of five railway barriers sounding off simultaneously through valve amplifiers.

I had hoped that this might be a good single to DJ with, but I suspect it might actually clear dance floors. It's not a bad record by any means, and I actually enjoy its peculiar elements hugely, it's just too irregular for most dancers to be able to make a connection with. I suspect the point of inspiration may have been Vanilla Fudge's version of "You Keep Me Hanging On", but "Stop" here is much more abrasive and stripped back.

The B-side "Asparagus" is possibly a bit more promising in the dance-floor department, being a proper uptempo garage pounder with layers of lyrical absurdity about accepting the universal goodness of American asparagus over the top. I suspect its a metaphor for the kind of meaningless middle-of-the-road demands made by "squares", readers. But the track has a loose, rhythmically simple enthusiastic drive behind it, akin to the kind of garage rock you might suspect Jack White would most enjoy.

There were two What Fours around in America in the 60s, the girl group and some garage punkers from Queens, New York. This is almost certainly the work of the latter rather than the former. Previously known as Sunrisers, they changed their name to What Four for the release of the single "Tossin Ship" on the tiny Rollem label, before finishing their careers with this cover on Tower. I have no other information on them besides that - if you know more, please do pass the details on.

The Academy featuring Polly Perkins - Munching The Candy/ Rachel's Dream

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Morgan Blue Town

Year of Release: 1969

Life wasn't easy for independent labels in the sixties, and Morgan was no exception. Constantly dealing with shambolic distribution networks, very few of them scored hits. President Records broke the mould in the later part of the decade, but Joe Meek's struggles with Triumph and the financial struggles experienced by Strike Records spoke volumes about the hurdles many truly independent businesses had to deal with.

Far from being just an independent label, though, Morgan was also a large and well-respected recording studio in North London, with an in-house session team of musicians and songwriters who regularly bypassed the Morgan label and licensed their product to majors (The Smoke's "My Friend Jack" probably being the most famous example). The best Morgan recordings, such as those by The Smoke, Bobak Jons Malone and Fortes Mentum, were compiled on a superb Sanctuary Records release called "House of Many Windows" some years ago. This is now out-of-print, but copies are well worth tracking down - the team had developed a distinctive and actually incredibly agreeable sound by the late sixties, filled with tricksy and classical inspired arrangements, a low-end bass fuzz, and peculiar woozy but nonetheless poppy psychedelia. Whereas a lot of other psychedelic pop of the period sounded like the melodic equivalent of cheap Christmas cracker toys, Morgan took their mission seriously - in anyone else's hands, a track like Fortes Mentum's "Saga of a Wrinkled Man" would have possibly sounded cheap and nasty. Not for no reason did one prominent Morgan man Will Malone go on to become the arranger for The Verve in the nineties (and it is just about possible to hear the similarities if you really try).

Morgan Blue Town was an incredibly short-lived offshoot of the main label which attempted to reposition their product in a more progressive vain, appealing to the hippy and student markets. Any recordings on the label tend to be hopelessly scarce now, including this single by actress, Ready Steady Go compere and singer Polly Perkins.

This is actually a somewhat threadbare inclusion to their usually heavily produced catalogue. Polly Perkins had failed to score any hit singles in her music career, but was nonetheless a "known name" at this point who had already put out some commercial sounding grooves - so her sudden shift to progressive sounding music must have seemed bizarre at the time, a bit like Twinkle suddenly going a bit way-out and boarding the weed bus to rural Cambridgeshire. Nonetheless, "Munching The Candy" is a very folky, campfire effort which nods and winks in the direction of naughty drug-taking behaviour. "Rachel's Dream", on the other hand, is a rather more epic B-side which considers the plight of the Jewish people. No, really.

Like everything else on the label, it failed miserably. Polly only issued one other single in its wake, 1973's "Coochi Coo" on Chapter 21 Records, and seemed to focus more on her acting career afterwards. Perhaps that was the right decision. Between 2011-12 she scored a job on "Eastenders" as Dot Cotton's estranged sister Rose, and had numerous other jobs on the go in the run-up to that moment. While there's nothing wrong with her musical output, it certainly seems as if her strengths lay in theatre and screen work. For the rest of us, however, this single will always feel slightly like Dot Cotton's sister singing about a "hole in my head" where "the light's shining in" while a flute puffs in the background. And that's something that stays with you. Honestly, you'd have thought Dot had enough to deal with having Nick in the family.

The Academy and Polly Perkins also put out an album entitled "Pop-Lore According To The Academy" in 1969 which failed to do much business but was recently reissued to some fanfare.

Label: Morgan Blue Town

Year of Release: 1969

Life wasn't easy for independent labels in the sixties, and Morgan was no exception. Constantly dealing with shambolic distribution networks, very few of them scored hits. President Records broke the mould in the later part of the decade, but Joe Meek's struggles with Triumph and the financial struggles experienced by Strike Records spoke volumes about the hurdles many truly independent businesses had to deal with.

Far from being just an independent label, though, Morgan was also a large and well-respected recording studio in North London, with an in-house session team of musicians and songwriters who regularly bypassed the Morgan label and licensed their product to majors (The Smoke's "My Friend Jack" probably being the most famous example). The best Morgan recordings, such as those by The Smoke, Bobak Jons Malone and Fortes Mentum, were compiled on a superb Sanctuary Records release called "House of Many Windows" some years ago. This is now out-of-print, but copies are well worth tracking down - the team had developed a distinctive and actually incredibly agreeable sound by the late sixties, filled with tricksy and classical inspired arrangements, a low-end bass fuzz, and peculiar woozy but nonetheless poppy psychedelia. Whereas a lot of other psychedelic pop of the period sounded like the melodic equivalent of cheap Christmas cracker toys, Morgan took their mission seriously - in anyone else's hands, a track like Fortes Mentum's "Saga of a Wrinkled Man" would have possibly sounded cheap and nasty. Not for no reason did one prominent Morgan man Will Malone go on to become the arranger for The Verve in the nineties (and it is just about possible to hear the similarities if you really try).

Morgan Blue Town was an incredibly short-lived offshoot of the main label which attempted to reposition their product in a more progressive vain, appealing to the hippy and student markets. Any recordings on the label tend to be hopelessly scarce now, including this single by actress, Ready Steady Go compere and singer Polly Perkins.

This is actually a somewhat threadbare inclusion to their usually heavily produced catalogue. Polly Perkins had failed to score any hit singles in her music career, but was nonetheless a "known name" at this point who had already put out some commercial sounding grooves - so her sudden shift to progressive sounding music must have seemed bizarre at the time, a bit like Twinkle suddenly going a bit way-out and boarding the weed bus to rural Cambridgeshire. Nonetheless, "Munching The Candy" is a very folky, campfire effort which nods and winks in the direction of naughty drug-taking behaviour. "Rachel's Dream", on the other hand, is a rather more epic B-side which considers the plight of the Jewish people. No, really.

Like everything else on the label, it failed miserably. Polly only issued one other single in its wake, 1973's "Coochi Coo" on Chapter 21 Records, and seemed to focus more on her acting career afterwards. Perhaps that was the right decision. Between 2011-12 she scored a job on "Eastenders" as Dot Cotton's estranged sister Rose, and had numerous other jobs on the go in the run-up to that moment. While there's nothing wrong with her musical output, it certainly seems as if her strengths lay in theatre and screen work. For the rest of us, however, this single will always feel slightly like Dot Cotton's sister singing about a "hole in my head" where "the light's shining in" while a flute puffs in the background. And that's something that stays with you. Honestly, you'd have thought Dot had enough to deal with having Nick in the family.

The Academy and Polly Perkins also put out an album entitled "Pop-Lore According To The Academy" in 1969 which failed to do much business but was recently reissued to some fanfare.

Reupload - Peanut - I Didn't Love Him Anyway/ Come Tomorrow

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Columbia

Year of Release: 1967

The German born Mark Wirtz is best known in the UK for writing and producing the number two hit single "Excerpt From 'A Teenage Opera'" (aka "Grocer Jack") for Tomorrow frontman Keith West.  Supposedly forming part of a stage musical which in actual fact hadn't been written yet, the project stalled when the follow-up excerpts "Sam" and "He's Our Dear Old Weatherman" (the latter performed by Wirtz himself) fared less well.  Each single was an densely orchestrated pean to eccentric or otherwise unloved elderly gentlemen within a small community, and was - with the exception of "Weatherman" which I own a copy of and find hugely irritating - actually rather wonderful.

We're in danger of being sidetracked here, however, because there was so much more to Wirtz than this one famous project.  Amongst other things, he was also the producer for Katie Kissoon, aka Peanut, a singer from Trinidad who had previously had two flop singles on Pye before being brought under his wing to record a cover of "I'm Waiting for the Day" for Columbia.  That particular track is a fairly faithful reading of the "Pet Sounds" classic which probably should have been a hit single, but when it failed, the pair turned their attention to the Wirtz penned "I Never Loved Him Anyway".

This single is a sweet, mournful and terribly under-exposed part of Wirtz's catalogue, being filled with the same delicate toytown arrangements as the "Teenage Opera" tracks.  Gone, however, are the references to aged eccentrics and in their place is an understated ballad with some beautifully delivered vocals from Kissoon.  It contains all the sense of loss and finality which peppered the Opera project, but feels rather more personal, especially during the gentlest, quietest parts of this record where Peanut simply harmonises to an understated backing.  It lacks any kind of killer chorus, and it's perhaps for that reason that it failed, but it does prove that the use of toytown arrangements could be utilised beyond sixties psychedelic fantasia - ballads like this made fine use of the technique to recreate an atmosphere of child-like yearning.

Kissoon later went on to rather more success duetting with her brother Mac Kissoon on hits such as "Chirpy Chirpy Cheep Cheep" (how many versions of this were there?!) and "Sugar Candy Kisses".  Once the hits dried up for them, she then put her fantastic vocals to use on sessions for (among others) Elton John, Roger Waters, Van Morrison, George Harrison, The Pet Shop Boys, Robbie Williams, and countless others.  Whether you think you've heard her before or not, you almost certainly have.

[This blog entry was originally uploaded in May 2012. I've nothing to add, except to mention that I actually sold my copy of "Dear Old Weatherman" a year or so ago alongside other rarities to finance a  much-needed holiday]. 

Label: Columbia

Year of Release: 1967

The German born Mark Wirtz is best known in the UK for writing and producing the number two hit single "Excerpt From 'A Teenage Opera'" (aka "Grocer Jack") for Tomorrow frontman Keith West.  Supposedly forming part of a stage musical which in actual fact hadn't been written yet, the project stalled when the follow-up excerpts "Sam" and "He's Our Dear Old Weatherman" (the latter performed by Wirtz himself) fared less well.  Each single was an densely orchestrated pean to eccentric or otherwise unloved elderly gentlemen within a small community, and was - with the exception of "Weatherman" which I own a copy of and find hugely irritating - actually rather wonderful.

We're in danger of being sidetracked here, however, because there was so much more to Wirtz than this one famous project.  Amongst other things, he was also the producer for Katie Kissoon, aka Peanut, a singer from Trinidad who had previously had two flop singles on Pye before being brought under his wing to record a cover of "I'm Waiting for the Day" for Columbia.  That particular track is a fairly faithful reading of the "Pet Sounds" classic which probably should have been a hit single, but when it failed, the pair turned their attention to the Wirtz penned "I Never Loved Him Anyway".

This single is a sweet, mournful and terribly under-exposed part of Wirtz's catalogue, being filled with the same delicate toytown arrangements as the "Teenage Opera" tracks.  Gone, however, are the references to aged eccentrics and in their place is an understated ballad with some beautifully delivered vocals from Kissoon.  It contains all the sense of loss and finality which peppered the Opera project, but feels rather more personal, especially during the gentlest, quietest parts of this record where Peanut simply harmonises to an understated backing.  It lacks any kind of killer chorus, and it's perhaps for that reason that it failed, but it does prove that the use of toytown arrangements could be utilised beyond sixties psychedelic fantasia - ballads like this made fine use of the technique to recreate an atmosphere of child-like yearning.

Kissoon later went on to rather more success duetting with her brother Mac Kissoon on hits such as "Chirpy Chirpy Cheep Cheep" (how many versions of this were there?!) and "Sugar Candy Kisses".  Once the hits dried up for them, she then put her fantastic vocals to use on sessions for (among others) Elton John, Roger Waters, Van Morrison, George Harrison, The Pet Shop Boys, Robbie Williams, and countless others.  Whether you think you've heard her before or not, you almost certainly have.

[This blog entry was originally uploaded in May 2012. I've nothing to add, except to mention that I actually sold my copy of "Dear Old Weatherman" a year or so ago alongside other rarities to finance a  much-needed holiday]. 

Robbi Curtice - The Soul Of A Man/ When Diana Paints The Picture

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Sidewalk

Year of Release: 1968

Now here is an absolute stormer, and one I'd been trying to find at a reasonable price for years on end. As occasionally happens, I took a punt on a very battered looking copy at a highly reduced price, and contrary to my expectations, it plays perfectly OK.

"The Soul of a Man" begins with a thudding, thundering bass line, Mod inspired crashing drums, then finally Robbi's victorious roar of "Right in the palm of your hand is the soul of a man". James Bond inspired brass patterns join the foray, and the track bashes and crashes around, ricocheting off the walls. One of those rare examples of a great record that seems to be all chorus and virtually no verses at all, it does a lot with very little, a veritable firework display of a two minute single.

The flip can't be ignored either. "When Diana Paints The Picture" is gentle, considered popsike with another high quality and effective arrangement. That both sides were coated with such fairy dust shouldn't be too surprising when you considered Vic Smith's close involvement. Vic later went on to become produce Vic Coppersmith-Heaven, producer of choice for The Jam and, perhaps less famously, Peter Wyngarde on his "When Sex Leers Its Inquisitive Head" album.

Robbi Curtice was Wiltshire based songwriter Rob Ashmore in real life, who had recently scored a Denmark Street publishing deal with Mills Music. "When Diana Paints The Picture" was co-written with Curtice's regular working partner Tom Payne and was being held in reserve by the company for Cilla Black for a possible future single, which obviously never emerged (and with all due respect to the deceased superstar, it's hard to imagine her version topping this one anyway). "The Soul Of A Man", on the other hand, was entirely a Ralph Murphy and Vic Smith composition, and recorded pronto after Curtice "learned the song in minutes after learning it on the back of an Embassy cigarette packet". Allegedly all concerned were disappointed with the final production of the track, and it only saw the light of day in the USA where it was almost entirely ignored, bar rumoured consumer interest in Sacramento.

Curtice's songwriting career continues, and in 2007 he saw a song of his ("Gospel Lane") emerge on the soundtrack for the Serge Bozon film "La France".

Label: Sidewalk

Year of Release: 1968

Now here is an absolute stormer, and one I'd been trying to find at a reasonable price for years on end. As occasionally happens, I took a punt on a very battered looking copy at a highly reduced price, and contrary to my expectations, it plays perfectly OK.

"The Soul of a Man" begins with a thudding, thundering bass line, Mod inspired crashing drums, then finally Robbi's victorious roar of "Right in the palm of your hand is the soul of a man". James Bond inspired brass patterns join the foray, and the track bashes and crashes around, ricocheting off the walls. One of those rare examples of a great record that seems to be all chorus and virtually no verses at all, it does a lot with very little, a veritable firework display of a two minute single.

The flip can't be ignored either. "When Diana Paints The Picture" is gentle, considered popsike with another high quality and effective arrangement. That both sides were coated with such fairy dust shouldn't be too surprising when you considered Vic Smith's close involvement. Vic later went on to become produce Vic Coppersmith-Heaven, producer of choice for The Jam and, perhaps less famously, Peter Wyngarde on his "When Sex Leers Its Inquisitive Head" album.

Robbi Curtice was Wiltshire based songwriter Rob Ashmore in real life, who had recently scored a Denmark Street publishing deal with Mills Music. "When Diana Paints The Picture" was co-written with Curtice's regular working partner Tom Payne and was being held in reserve by the company for Cilla Black for a possible future single, which obviously never emerged (and with all due respect to the deceased superstar, it's hard to imagine her version topping this one anyway). "The Soul Of A Man", on the other hand, was entirely a Ralph Murphy and Vic Smith composition, and recorded pronto after Curtice "learned the song in minutes after learning it on the back of an Embassy cigarette packet". Allegedly all concerned were disappointed with the final production of the track, and it only saw the light of day in the USA where it was almost entirely ignored, bar rumoured consumer interest in Sacramento.

Curtice's songwriting career continues, and in 2007 he saw a song of his ("Gospel Lane") emerge on the soundtrack for the Serge Bozon film "La France".

The Decision - In The Shade Of Your Love/ Constable Jones

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: MCA

Year of Release: 1968

Very much a record of two halves, this one. The A-side, "In The Shade Of Your Love", is a carefully produced piece of summery psychedelic pop with puffing trumpetry, humming organs and a hazy atmosphere. In terms of British (as opposed to Californian) psychedelia it's one of the few singles to successfully soundtrack the scorching city humidity of an Albion summer, and deserves a lot more appreciation than it's received.

Unfortunately for us, the damn thing is commercially available on all the usual online outlets, so you'll have to make do with this YouTube clip to sample its delights.

The flip "Constable Jones", on the other hand, is unavailable and is so popsike it hurts. By the late sixties many songwriters found themselves very much inspired by Beatles and Kinks tracks penned about specific everyday individuals leading faintly desperate and rather ordinary lives. This lead to a slurry of similar flop tunes from the lesser-heard psychedelic pop acts of the day, from The Epics Arnold Layne-inspired "Henry Long" and Pandamonium's faded club star in "Chocolate Buster Dan" through to The Cuppa T's oft referenced (by Tim Worthington at least) "Miss Pinkerton". Many of these tracks lacked the subtlety and sensitivity of the tunes they were trying to ape and instead upped the cheesy quirk factor to ten. And these kinds of recordings, my friends, are also probably the epitome of the sub-genre of popsike - childlike, bouncy, chirpy ditties about small-town life which could easily have been rehoused in an early 1970s children's TV show without many people noticing or complaining.

"Constable Jones", it's safe to say, is an amusing sketch of a beleaguered policeman on the beat rather than a fully fleshed out portrait or even caricature. The details of the poor PC's under appreciated efforts are charmingly recalled, though, and the off-the-cuff additions about his eating habits ("It's your favourite - chips and kip-pers!") are unnecessary but if you're not smiling by that point, you genuinely have no heart.

The Decision only seemed to put out this one single before disappearing. "In The Shade Of Your Love" was unlucky not to have been a hit, so it's regrettable they weren't given further opportunities.

Label: MCA

Year of Release: 1968

Very much a record of two halves, this one. The A-side, "In The Shade Of Your Love", is a carefully produced piece of summery psychedelic pop with puffing trumpetry, humming organs and a hazy atmosphere. In terms of British (as opposed to Californian) psychedelia it's one of the few singles to successfully soundtrack the scorching city humidity of an Albion summer, and deserves a lot more appreciation than it's received.

Unfortunately for us, the damn thing is commercially available on all the usual online outlets, so you'll have to make do with this YouTube clip to sample its delights.

The flip "Constable Jones", on the other hand, is unavailable and is so popsike it hurts. By the late sixties many songwriters found themselves very much inspired by Beatles and Kinks tracks penned about specific everyday individuals leading faintly desperate and rather ordinary lives. This lead to a slurry of similar flop tunes from the lesser-heard psychedelic pop acts of the day, from The Epics Arnold Layne-inspired "Henry Long" and Pandamonium's faded club star in "Chocolate Buster Dan" through to The Cuppa T's oft referenced (by Tim Worthington at least) "Miss Pinkerton". Many of these tracks lacked the subtlety and sensitivity of the tunes they were trying to ape and instead upped the cheesy quirk factor to ten. And these kinds of recordings, my friends, are also probably the epitome of the sub-genre of popsike - childlike, bouncy, chirpy ditties about small-town life which could easily have been rehoused in an early 1970s children's TV show without many people noticing or complaining.

"Constable Jones", it's safe to say, is an amusing sketch of a beleaguered policeman on the beat rather than a fully fleshed out portrait or even caricature. The details of the poor PC's under appreciated efforts are charmingly recalled, though, and the off-the-cuff additions about his eating habits ("It's your favourite - chips and kip-pers!") are unnecessary but if you're not smiling by that point, you genuinely have no heart.

The Decision only seemed to put out this one single before disappearing. "In The Shade Of Your Love" was unlucky not to have been a hit, so it's regrettable they weren't given further opportunities.

Two Irish Showbands - The Playmates and Gregory & The Cadets

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Another couple of Irish Showband 45s have emerged in charity shops near me, and it would be rude of me not to include them here...

Artist: The Playmates
Title: Jodi b/w Don't Fight It
Label: Emerald
Year of Release: 1970

One of the perplexing things about the Irish Showband scene is that while it produced a plethora of acts who were fleetingly very successful in their home country, finding recordings, biographies, photos or factual information about many of these people is far harder work than it should be. And so it goes with The Playmates - "Jodi" was apparently a sizeable hit in Ireland, but information is otherwise pretty scarce.

Still, I have to be honest and say that it's not really the A-side I'm interested in here, which is a springy and catchy pop track but nothing otherworldly. Rather, I'm much more curious to hear a showband take on Wilson Pickett's "Don't Fight It", which sits on the flip. Did the story for "The Commitments" start here, folks? Well, no. "Don't Fight It" is a faithful cover, but regrettably it lacks any grit or oomph, sounding more like an uptempo good-time sound. It's indisputably a product both of its time and of its circuit, but it's interesting to hear something so unexpected.

Artist: Gregory and The Cadets

Title: Girl of Independent Means/ Young and Beautiful

Label: Pye

Year of Release: 1967

And here's another act on the circuit, Gregory and The Cadets, who managed a string of convincing hits in Ireland (One, "More Than Yesterday", even reached the top spot) but haven't left a strong mark on the Internet.

They appear to have been closely linked to an old friend of the blog, Peter Lee Stirling, who often produced or wrote a number of their singles. "Girl of Independent Means" is one of his efforts, and rather than being a piece of folky observational sixties pop, is actually a well-sung ballad in awe of one woman's wealth. The B-side "Young and Beautiful" is a belting piece of balladry which is unfortunately rather needle-damaged by the previous owner, who clearly preferred it to the A-side to such an extent that he or she hammered it to death.

Another couple of Irish Showband 45s have emerged in charity shops near me, and it would be rude of me not to include them here...

Artist: The Playmates
Title: Jodi b/w Don't Fight It
Label: Emerald
Year of Release: 1970

One of the perplexing things about the Irish Showband scene is that while it produced a plethora of acts who were fleetingly very successful in their home country, finding recordings, biographies, photos or factual information about many of these people is far harder work than it should be. And so it goes with The Playmates - "Jodi" was apparently a sizeable hit in Ireland, but information is otherwise pretty scarce.

Still, I have to be honest and say that it's not really the A-side I'm interested in here, which is a springy and catchy pop track but nothing otherworldly. Rather, I'm much more curious to hear a showband take on Wilson Pickett's "Don't Fight It", which sits on the flip. Did the story for "The Commitments" start here, folks? Well, no. "Don't Fight It" is a faithful cover, but regrettably it lacks any grit or oomph, sounding more like an uptempo good-time sound. It's indisputably a product both of its time and of its circuit, but it's interesting to hear something so unexpected.

Artist: Gregory and The Cadets

Title: Girl of Independent Means/ Young and Beautiful

Label: Pye

Year of Release: 1967

And here's another act on the circuit, Gregory and The Cadets, who managed a string of convincing hits in Ireland (One, "More Than Yesterday", even reached the top spot) but haven't left a strong mark on the Internet.

They appear to have been closely linked to an old friend of the blog, Peter Lee Stirling, who often produced or wrote a number of their singles. "Girl of Independent Means" is one of his efforts, and rather than being a piece of folky observational sixties pop, is actually a well-sung ballad in awe of one woman's wealth. The B-side "Young and Beautiful" is a belting piece of balladry which is unfortunately rather needle-damaged by the previous owner, who clearly preferred it to the A-side to such an extent that he or she hammered it to death.

Neil Spence - Yes Virginia, There Is A Santa Claus/ Little Boy Lost

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Go

Year of Release: 1966

What kind of a human being would I be if I let Christmas slide past without a festive related upload? I know you all want it, and my conscience couldn't let me leave this little ditty to one side.

Neil Spence was, at this point in his career, a popular Radio London DJ working the lunchtime slot under the name Dave Dennis. "Dennis" was effectively a persona, a fast-talking banter merchant whose rapid-fire approach caused him to have the highest rated show - an unusual situation for any station, who would normally expect their stars to be found on the breakfast show. When you consider that Dennis was up against Kenny Everett and Dave Cash in that slot, this makes his achievements even more impressive.

In reality, though, Neil Spence was far from being a transatlantic styled flashman and was, in fact, a graduate of the Central School of Speech and Drama and a man with a past in repertory theatre. The character Dave Dennis was honed from listening to endless recordings of American jocks on the Dallas station KLIF, and his own natural style was rather more precise and formal. Kenny Everett got him to drop by on his show to read out the lyrics to the popular hits of the day in his repertory style, and it's possibly (though note, not definitely) that which may have been the background inspiration for this rather odd little single.

"Yes Virginia, There Is A Santa Claus" consists of Spence reading a poem inspired by the 1897 New York Sun editorial confirming the existence of Father Christmas, and places a sweet and mushy orchestral arrangement beneath it. If this was meant to be a joke, the meaning has been lost to the mists of time, so I suspect it's probably just something the staff at the tiny independent Go Records felt might be a hit. It wasn't, though it did climb to number 19 on Radio London's own chart (a fairly meaningless list which was compiled by the station's staff according to guesswork, favours and payola). While the approach may seem peculiar, it's worth noting that "The Sunscreen Song" in 1999 was simply a Chicago Tribune column set to music, so perhaps Spence was just ahead of his time.

I'm afraid to say that in my personal opinion, while this record is rare - and on an extremely collectible label - it's completely inessential. If I was being kind I would describe it as a "somewhat charming period piece", but it pipes up and fades out without really leaving much of an impression. It's a bizarre blip in the career of a man who was, it's safe to say, successful in broadcasting and the media otherwise.

After Radio London closed down in 1967, Spence worked for the BBC creating jingles, and continued his friendship with Kenny Everett who was also on Radio One at that time. From 1970 onwards he focussed more on his own business concerns, founding the major workplace radio station for United Biscuits and also worked as a broadcasting trainer, teaching numerous music radio DJs to successful careers, including Dale Winton, Jeremy Vine, James Whale and Adrian Love.

He passed away in 2007.

Label: Go

Year of Release: 1966

What kind of a human being would I be if I let Christmas slide past without a festive related upload? I know you all want it, and my conscience couldn't let me leave this little ditty to one side.

Neil Spence was, at this point in his career, a popular Radio London DJ working the lunchtime slot under the name Dave Dennis. "Dennis" was effectively a persona, a fast-talking banter merchant whose rapid-fire approach caused him to have the highest rated show - an unusual situation for any station, who would normally expect their stars to be found on the breakfast show. When you consider that Dennis was up against Kenny Everett and Dave Cash in that slot, this makes his achievements even more impressive.

In reality, though, Neil Spence was far from being a transatlantic styled flashman and was, in fact, a graduate of the Central School of Speech and Drama and a man with a past in repertory theatre. The character Dave Dennis was honed from listening to endless recordings of American jocks on the Dallas station KLIF, and his own natural style was rather more precise and formal. Kenny Everett got him to drop by on his show to read out the lyrics to the popular hits of the day in his repertory style, and it's possibly (though note, not definitely) that which may have been the background inspiration for this rather odd little single.

"Yes Virginia, There Is A Santa Claus" consists of Spence reading a poem inspired by the 1897 New York Sun editorial confirming the existence of Father Christmas, and places a sweet and mushy orchestral arrangement beneath it. If this was meant to be a joke, the meaning has been lost to the mists of time, so I suspect it's probably just something the staff at the tiny independent Go Records felt might be a hit. It wasn't, though it did climb to number 19 on Radio London's own chart (a fairly meaningless list which was compiled by the station's staff according to guesswork, favours and payola). While the approach may seem peculiar, it's worth noting that "The Sunscreen Song" in 1999 was simply a Chicago Tribune column set to music, so perhaps Spence was just ahead of his time.

I'm afraid to say that in my personal opinion, while this record is rare - and on an extremely collectible label - it's completely inessential. If I was being kind I would describe it as a "somewhat charming period piece", but it pipes up and fades out without really leaving much of an impression. It's a bizarre blip in the career of a man who was, it's safe to say, successful in broadcasting and the media otherwise.

After Radio London closed down in 1967, Spence worked for the BBC creating jingles, and continued his friendship with Kenny Everett who was also on Radio One at that time. From 1970 onwards he focussed more on his own business concerns, founding the major workplace radio station for United Biscuits and also worked as a broadcasting trainer, teaching numerous music radio DJs to successful careers, including Dale Winton, Jeremy Vine, James Whale and Adrian Love.

He passed away in 2007.

Lois Lane - Punky's Dilemma/ Lazy Summer Day

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Mercury

Year of Release: 1968

Lumme. At the moment, my TV is blaring out all kinds of quirky, merry, rinky-dink tunes for festive season adverts - usually cute cover versions of hits, sometimes accompanied with images of pretty young ladies wandering through busy streets with a smile on their lips and their eyes raised skywards. "Look at these quirky damsels!" the telly seems to be telling me. "If you bought a mobile phone package with us, you too could be walking through the city with ukulele music playing in your head on a constant loop". I'm probably not their target audience, in all honesty.

Anyway, while all this cutesy naffness abounds, it's worth realising that once upon a time, you could produce that kind of capital q Quirk music without falling back on a dull template. Lois Lane was originally one half of the Sleaford singing duo The Caravelles, who scored a huge hit in the UK and the USA with "You Don't Have To Be A Baby To Cry". They split in 1968 and went their separate ways, and this cover of Paul Simon's rather unusual "Punky's Dilemma" was one of the early fruits of that solo venture.

It throws everything at the wall - a dreamy "South California" melodic line, absurd studio interjections from slamming doors and apologetic individuals, and an adventurous Johnny Arthey arrangement. Lois's vocals are just on the right side of irritating, not overdoing the kookiness and staying on the right side of carefree and considered. It's a tough track to pull off. The references to jam preferences (she likes loganberry jam best, she tells the listeners) and English Muffins in toasters could very easily annoy the piss out of some human beings were they placed in the wrong hands, but she's able to underline the eccentricity of the track without making herself sound like an attention seeking hipster (possibly because, at the time of its release there was no such thing, at least not as we now understand the phrase).

Lois continued recording for some time after this single, issuing further efforts right up until 1977, including a lot of session work for Disney and budget sound-a-like covers records. Sadly, the success she saw with The Caravelles could not be repeated, and the releases eventually dried up. She was, however, apparently still producing vocal work for adverts until relatively more recently.

Both "Punky's Dilemma" and "Lazy Summer Day" are available over on iTunes, or otherwise you can hear both tunes from the YouTube videos below.

Label: Mercury

Year of Release: 1968

Lumme. At the moment, my TV is blaring out all kinds of quirky, merry, rinky-dink tunes for festive season adverts - usually cute cover versions of hits, sometimes accompanied with images of pretty young ladies wandering through busy streets with a smile on their lips and their eyes raised skywards. "Look at these quirky damsels!" the telly seems to be telling me. "If you bought a mobile phone package with us, you too could be walking through the city with ukulele music playing in your head on a constant loop". I'm probably not their target audience, in all honesty.

Anyway, while all this cutesy naffness abounds, it's worth realising that once upon a time, you could produce that kind of capital q Quirk music without falling back on a dull template. Lois Lane was originally one half of the Sleaford singing duo The Caravelles, who scored a huge hit in the UK and the USA with "You Don't Have To Be A Baby To Cry". They split in 1968 and went their separate ways, and this cover of Paul Simon's rather unusual "Punky's Dilemma" was one of the early fruits of that solo venture.

It throws everything at the wall - a dreamy "South California" melodic line, absurd studio interjections from slamming doors and apologetic individuals, and an adventurous Johnny Arthey arrangement. Lois's vocals are just on the right side of irritating, not overdoing the kookiness and staying on the right side of carefree and considered. It's a tough track to pull off. The references to jam preferences (she likes loganberry jam best, she tells the listeners) and English Muffins in toasters could very easily annoy the piss out of some human beings were they placed in the wrong hands, but she's able to underline the eccentricity of the track without making herself sound like an attention seeking hipster (possibly because, at the time of its release there was no such thing, at least not as we now understand the phrase).

Lois continued recording for some time after this single, issuing further efforts right up until 1977, including a lot of session work for Disney and budget sound-a-like covers records. Sadly, the success she saw with The Caravelles could not be repeated, and the releases eventually dried up. She was, however, apparently still producing vocal work for adverts until relatively more recently.

Both "Punky's Dilemma" and "Lazy Summer Day" are available over on iTunes, or otherwise you can hear both tunes from the YouTube videos below.

Gary Street and the Fairways - Flipiddy Flop/ Hold Me Close

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Domain

Year of Release: 1968

The Irish Showband circuit produced numerous incredibly popular dance bands from the fifties through to the late seventies, groups who were stars in their home country but meant very little indeed, if anything, across the Irish Sea.

Gary Street and the Fairways formed off the back of the Agents Showband, adding Gary Street to their line-up as a vocalist following a long live stint in Germany. Returning back home to Ireland they immediately impressed with their new disciplined set and impressive new singer, and were quickly signed to King Records there. "Flipiddy Flop" was the first single, a band composition, and reached number ten in the Irish charts.

The tiny Domain label seem to have picked up the rights to the record in the UK, and it - er - flipiddy flopped into the British shops to a lot of general disinterest. Of more interest to me is The Equals cover on the flip, "Hold Me Closer", which has a bit more beef and swing to it. "Flipiddy Flop" is a wee bit too bubblegummy even for my sweet tooth.

The original line-up of The Fairways carried on for a couple of years after this, but no record they issued was ever as successful as this one, and they gave up before the 70s got properly underway. The name continued to be used by various other members until as late as 1983, however.

Possibly of greater interest than this record to "Left and to the Back" readers is the truly bizarre ska record they issued in 1969 entitled "Yoko Ono", which can be heard over on YouTube.  The band busy themselves by singing about trying to get to a plantation on which the famous artist and Beatle-wife appears to be waiting for them. I'll give it this much - it's better than "Ob La Di, Ob La Da".

Label: Domain

Year of Release: 1968

The Irish Showband circuit produced numerous incredibly popular dance bands from the fifties through to the late seventies, groups who were stars in their home country but meant very little indeed, if anything, across the Irish Sea.

Gary Street and the Fairways formed off the back of the Agents Showband, adding Gary Street to their line-up as a vocalist following a long live stint in Germany. Returning back home to Ireland they immediately impressed with their new disciplined set and impressive new singer, and were quickly signed to King Records there. "Flipiddy Flop" was the first single, a band composition, and reached number ten in the Irish charts.

The tiny Domain label seem to have picked up the rights to the record in the UK, and it - er - flipiddy flopped into the British shops to a lot of general disinterest. Of more interest to me is The Equals cover on the flip, "Hold Me Closer", which has a bit more beef and swing to it. "Flipiddy Flop" is a wee bit too bubblegummy even for my sweet tooth.

The original line-up of The Fairways carried on for a couple of years after this, but no record they issued was ever as successful as this one, and they gave up before the 70s got properly underway. The name continued to be used by various other members until as late as 1983, however.

Possibly of greater interest than this record to "Left and to the Back" readers is the truly bizarre ska record they issued in 1969 entitled "Yoko Ono", which can be heard over on YouTube.  The band busy themselves by singing about trying to get to a plantation on which the famous artist and Beatle-wife appears to be waiting for them. I'll give it this much - it's better than "Ob La Di, Ob La Da".

Jimmy Gordon - Test Pattern/ 1980

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Challenge

Year of Release: 1967

Jimmy Gordon's 1963 surf instrumental "Buzzzzzz" is one of the more sought-after records of its genre, having an absolute overload of fuzz guitar and riff-ridden drama. Much bootlegged and compiled and blogged since, not much more needs to be added about its existence.

The 1967 follow-up single "Test Pattern/ 1980", on the other hand, has been given rather more short shrift. As a sucker for all things remotely whiffing of television testcards, the track's title sucked me in. Rather than featuring a sinister screeching noise throughout its duration, or any reference to nervous girls with chalky fingers playing noughts and crosses with evil clowns, it's yet another instrumental with a twangy, fuzzy edge to it. By 1967 this surely felt slightly like old hat and its failure to hit the charts won't have been a surprise, though it has worked its way on to a compilation for psychedelic instrumentals since. So perhaps not...

The flip "1980" has more of a mellow, jazzy vibe to it, but pretty much stays true to the formula. Both sides are worth your time, with neither one really having the edge over the other in terms of quality.

There's some confusion about the identity of Jimmy Gordon. Some have argued that he's Jim Gordon, a session drummer who later worked with Eric Clapton in Derek and the Dominoes and went to jail for murdering his own mother in 1983 during a schizophrenic episode. It seems much more likely, however, that this single is actually the work of a session bassist with the same name who periodically worked with Dave Burgess of The Champs (and "Tequila" fame) who is also credited here. Certainly, while "Test Pattern" does feature drums prominently in places, there's nothing going on that showcases them in particular. I'm sure someone will be able to put me right on this if my assumptions are incorrect, however.

Label: Challenge

Year of Release: 1967

Jimmy Gordon's 1963 surf instrumental "Buzzzzzz" is one of the more sought-after records of its genre, having an absolute overload of fuzz guitar and riff-ridden drama. Much bootlegged and compiled and blogged since, not much more needs to be added about its existence.

The 1967 follow-up single "Test Pattern/ 1980", on the other hand, has been given rather more short shrift. As a sucker for all things remotely whiffing of television testcards, the track's title sucked me in. Rather than featuring a sinister screeching noise throughout its duration, or any reference to nervous girls with chalky fingers playing noughts and crosses with evil clowns, it's yet another instrumental with a twangy, fuzzy edge to it. By 1967 this surely felt slightly like old hat and its failure to hit the charts won't have been a surprise, though it has worked its way on to a compilation for psychedelic instrumentals since. So perhaps not...

The flip "1980" has more of a mellow, jazzy vibe to it, but pretty much stays true to the formula. Both sides are worth your time, with neither one really having the edge over the other in terms of quality.

There's some confusion about the identity of Jimmy Gordon. Some have argued that he's Jim Gordon, a session drummer who later worked with Eric Clapton in Derek and the Dominoes and went to jail for murdering his own mother in 1983 during a schizophrenic episode. It seems much more likely, however, that this single is actually the work of a session bassist with the same name who periodically worked with Dave Burgess of The Champs (and "Tequila" fame) who is also credited here. Certainly, while "Test Pattern" does feature drums prominently in places, there's nothing going on that showcases them in particular. I'm sure someone will be able to put me right on this if my assumptions are incorrect, however.

Reupload - The Motions - Take The Fast Train/ Hamburg City

sixties - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About sixties, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Decca
Year of Release: 1968

The mod movement is regarded by most listeners and pop pickers as being an inherently British phenomenon, and whilst overseas mod acts most certainly did exist, it's curious to see how they presented themselves. The Motions, for example, posed beneath Big Ben for the sleeve of one of their earlier singles "Everything (That's Mine)", complementing the clanging Who-ness of the disc with distinctly familiar Anglo orientated imagery. That they hailed from The Hague in The Netherlands and were at that point produced by Americans Scott Walker and John Walker apparently presented no issues to them.

Despite (or perhaps because of) their rather un-Dutch image, The Motions were a force to be reckoned with in their native land, issuing dozens of singles and containing plenty of national musical legends in their line-up. Singer Rudy Bennett had a successful solo career after The Motions called it a day in 1971, drummer Sieb Warner became sticksman for Golden Earring, and perhaps most notably Robbie Van Leeuwen became one of the founding members of the ridiculously under-rated (in Britain, at least) Shocking Blue.

"Take The Fast Train" perhaps isn't their best single, but its raw, bluesy riff cuts through the sweet vocal harmonies in such a contradictory fashion that it's a compelling listen. The influence on Shocking Blue in particular can clearly be heard here - this is basically late sixties hard rock with a slightly sugary edge. Flip side "Hamburg City" is a lot less jagged (and therefore less interesting) being an almost Manfred Mann styled tribute to the German city.

The Motions are pretty much the Godfathers of the Nederbeat movement, and can even be found on the "Nuggets II" box set issued by Rhino. That they didn't do much business outside of their home country is unfortunate, but in the case of Britain they barely tried (notching up only a few gigs to their name there, despite Scott Walker's encouragement). Some members would, however, get their shot at international fame in other bands, and the Motions must therefore be considered one of the better schools of Rock in Holland, as well as releasing some furiously good singles.

(This blog entry was originally uploaded in November 2011)

Label: Decca
Year of Release: 1968

The mod movement is regarded by most listeners and pop pickers as being an inherently British phenomenon, and whilst overseas mod acts most certainly did exist, it's curious to see how they presented themselves. The Motions, for example, posed beneath Big Ben for the sleeve of one of their earlier singles "Everything (That's Mine)", complementing the clanging Who-ness of the disc with distinctly familiar Anglo orientated imagery. That they hailed from The Hague in The Netherlands and were at that point produced by Americans Scott Walker and John Walker apparently presented no issues to them.

Despite (or perhaps because of) their rather un-Dutch image, The Motions were a force to be reckoned with in their native land, issuing dozens of singles and containing plenty of national musical legends in their line-up. Singer Rudy Bennett had a successful solo career after The Motions called it a day in 1971, drummer Sieb Warner became sticksman for Golden Earring, and perhaps most notably Robbie Van Leeuwen became one of the founding members of the ridiculously under-rated (in Britain, at least) Shocking Blue.

"Take The Fast Train" perhaps isn't their best single, but its raw, bluesy riff cuts through the sweet vocal harmonies in such a contradictory fashion that it's a compelling listen. The influence on Shocking Blue in particular can clearly be heard here - this is basically late sixties hard rock with a slightly sugary edge. Flip side "Hamburg City" is a lot less jagged (and therefore less interesting) being an almost Manfred Mann styled tribute to the German city.

The Motions are pretty much the Godfathers of the Nederbeat movement, and can even be found on the "Nuggets II" box set issued by Rhino. That they didn't do much business outside of their home country is unfortunate, but in the case of Britain they barely tried (notching up only a few gigs to their name there, despite Scott Walker's encouragement). Some members would, however, get their shot at international fame in other bands, and the Motions must therefore be considered one of the better schools of Rock in Holland, as well as releasing some furiously good singles.

(This blog entry was originally uploaded in November 2011)