More U.K. Obscurities On U.S. Labels: The Poets

THE POETS-Now We're Thru/There Are Some U.S. DynoVox 201 1964

The Poets hailed from Glasgow, Scotland and were the first Scottish "beat" group to make the U.K. Top 40 with this single (Decca F 11995 October 1964). This was their debut single and sadly their only trip into the charts (the single reached #22). This enabled them to appear on all of the major British pop TV shows to plug their hit and even got them filmed for the cutting edge U.S. TV show "Shindig", who routinely filmed British bands in London for use on their show. This U.S. release (their sole American single) was launched in November. The group went through numerous line up changes throughout their brief six single history (1964-1967) . The personnel for this 45 were: George Gallacher (vocals), Hume Patton (lead guitar), Tony Miles (rhythm guitar), John Dawson (bass guitar) and Alan Weir (drums).

The Poets on "Shindig!"

Most 60's beat groups have pretty uninspiring tales of their claims to fame but nobody's can beat that of The Poets. In September 1964 Stones manager Andrew Loog Oldham flew up to Glasgow (how classy of him not to do it by bus, train or Comer van) to marry his 16 year old girlfriend Sheila Klein (16 was not the age of consent in England I'm guessing). Whilst in the Glasgow airport he spotted a photo of them decked out in the frilly shirts and dark suits with an article in a local paper on The Poets, whom he duly investigated. Loogy signed them up ASAP after auditioning them and brought them down to London to record this smashing debut which he is credited with producing. "Now We're Thru" first came to my attention in late 1984 or early 1985 when I scored a copy of the amazing Decca double LP comp "Hard Up Heroes" at Bleeker Bob's where it was nestled amongst my other first introductions to the likes of The Birds and Zoot Money. It struck me immediately with it's monster echo and hypnotic over-amplified acoustic 12 string (courtesy of lead guitarist Hume Patton) and deliberately drawn out pauses on certain words. Lyrically it's an interesting number, like many 60's beat records it's a "boy loses girl" scenario only this time around the boy is actually acquiescing to losing "her" to another and suggesting she move on! It's also one of the few 60's records that I think benefited from Oldham's studio ineptitude because it's possible that his desire to be Phil Spector and the resulting over use of echo gave this record it's charm. And it's even a group original written by Gallacher, Patton and Myles, not many 60's beat groups got that option for their debut! 

The flip side, "There Are Some" isn't very interesting. It's a slow piece with some piano, not much there really. The only high point of the record are some interesting drum rolls which were actually the work of a session musician!

Both sides were also included on the dodgy "In Your Tower" CD comp of their material and the hard to get but much better Poets CD comp "Scotland's No. 1 Group".  Strangely neither track surfaced on any of the Decca/Deram "Scene.." CD compilations. In 2011 both sides were compiled for CD on The Poet's "Wooden Spoon:The Singles 1964-1967" which is, just that (no bonus cuts unlike "Scotland's #1 Beat Group").

*****Special thanks to Lenny Helsing (Scotland's foremost 60's music expert) for his invaluable information that made this piece possible*****

Hear "Now We're Thru":

https://youtu.be/C2PBoUBXY4w?si=vAmCrkdudxF-kSz8

Hear "There Are Some":

https://youtu.be/KPMuwniboYc?si=CZ2zra5U8rg5KK0_

More U.K. Obscurities On U.S. Labels: The Merseys

 

THE MERSEYS-Sorrow/Some Other Day U.S. Mercury 72582 1966

The Merseys were a duo comprised of two ex-Merseybeats members Billy Kinsley and Tony Crane and were managed by the Merseybeat's managers (and The Who's) Kit Lambert and Chris Stamp. They made their debut in April 1966 when they took a cover of a B-side by The McCoys "Sorrow" to #4 in the U.K. charts (as Fontana FT 694).  It was issued in the U.S. the following month where it became their only release, sadly it failed to replicate it's British chart success. They went on to release 5 more U.K. singles on Fontana before calling it quits in 1968. Unfortunately they were a one hit wonder. 

"Sorrow", is an orchestral pop opus with jangling guitars beneath brass, subtle strings and ivory tinkling. It's infectious and catchy and considering the muck Kit Lambert made out of The Merseybeat's final single "I Stand Accused" it's surprisingly well produced! There's an alternate version available (see below) that's stripped of the strings and has a more jangly/folk rock feel that to my ears is far superior to the original (especially the blistering guitar solo reputed to be Joey Molland). 

TRIVIA NOTE: On The Beatle's "It's All Too Much" George Harrison sings a line from "Sorrow" towards the end of the track. 

The flip side "Some Other Day" is an absolutely disposable Crane/Kinsley original light weight pop track with muted brass/woodwinds/strings. Next....

Both sides were collected on a complete Merseybeats/Merseys and related band's anthology 2021 Grapefruit release "I Stand Accused: The Complete Merseybeats And Merseys 60's Recordings", unfortunately none of their material is available via Streaming. 

Hear "Sorrow":

https://youtu.be/sDKHTsOwkxU?si=F2Sy9g3fYjkFnXv-

Hear "Some Other Day":

https://youtu.be/hY2OBE5nshQ?si=mhmWei7Re46L6XkR

Hear and alternate version of "Sorrow":

https://youtu.be/xgIEedCRVlM?si=xbicRP773WE5JNSm

More U.K. Obscurities On U.S. Labels: Freedom

 

THE FREEDOM-Where Will You Be Tonight/Trying To Get A Glimpse Of You U.S. Mercury 72804 1968

U.K. act (The) Freedom was founded by two former Procol Harum members Ray Royer (guitar) and Bobby Harrison (drums) who departed the band in 1968. Freedom went through numerous line up changes so it's fairly difficult to pinpoint exactly who played on this release, which was their debut. It was issued in the U.K. in June 1968 as Mercury MF 1033, curiously it was issued here a whole month earlier! "Where Will You Be Tonight" was first introduced to me via a delightful bootleg psych/Freakbeat CD-R "Jagged Time Lapse Volume One" in the early 2000's.

"Where Will You Be Tonight" is a delightful little number driven by some boozy barroom piano and eventually is accompanied by some subtle Mellotron and blistering guitar licks and laid back vocals.

The melody is incredibly regal and aided by the sweeping Mellotron hiding behind the scenes reminding me a lot of the late Denny Laine period Moody Blues. 

"Trying To Get A Glimpse Of You" reminds me a bit of The End with it's melodic Mellotron (it's especially reminiscent of their "Cardboard Watch") and it's uptempo guitar licks remind me a lot of The Fleur De Ly's. 

Both sides are available on streaming and "Trying to Get A Glimpse Of You" appeared on the excellent Grapefruit CD box set "Looking At Pictures In The Sky: The British Psychedelic Sounds Of 1968".

Hear "Where Will You Be Tonight":

https://youtu.be/rSgD_Slt2CA?si=j0mYaWhida6DhJbJ

Hear "Trying To Get A Glimpse of You":

https://youtu.be/y7J8Nwh2BsU?si=I4IuudfEaQ5G_w2q

Classic Deram 45's: The Syn "Flowerman"

THE SYN-Flowerman/14 Hour Technicolour Dream U.K. Deram DM 145 1967

The Syn, like their label mates Virgin Sleep, are one of those bands who cut two amazing singles on Deram and left nothing else....they're frequently name checked because future Yes man Chris Squire was their bass player.

The Syn were Marquee Club regulars, check out a Marquee gig flyer for '66 and '67 and see how they're playing almost weekly (the logged in an epic 36 appearances at the club between August of '66 and November of '67!).  They were signed to Deram records and debuted in June of 1967 with "Created By Clive" (Deram DM 130), a number the band despised and were forced by their management to record (which was foolishly issued by Decca by The Attack at the same time!). Their line up was: Steve Nardelli (vocals), Peter Banks (guitar), Andrew Jackman (keyboards), Chris Squire (bass) and Gunnar Jokull (drums). 

"Flowerman" their second (and final single) was issued in September 1967 and penned by band member Steve Nardelli. It starts off with a melody borrowed from the British children's program "Bill And Ben The Flowerpot Men". It's a cheery pop with harpsichord, subtle brass and the band's lush harmonies, no doubt influenced by their heroes and fellow Marquee Club stalwarts, The Action. The lyrics are cheeky "flowers are like people they get temperamental all of them from the daisy to the rose, and flowers are a thing of beauty they need care from somebody like me, someone who knows...". The trumpets add a regal feel to it and sit perfectly with the earlier mentioned harmonies. The number stemmed from an aborted project the band were doing "rock opera" called "Flowerman". 

The Syn at The Marquee Club, pictures by Jacki Downey c/o the Progarchy Website

 

The flip side, "14 Hour Technicolor Dream" was written to commemorate the great British underground happening of the same name that was held on April 29, 1967 at the Alexandra Palace where The Syn played along the likes of Tomorrow, The Move, The Pretty Things, The Pink Floyd, John's Children etc. 

Once again the band's high Action-esque backing vocals are the centerpiece of the track with the number relying more on the band's guitar, bass and drums formula instead of added orchestration. There's some great Keith Moon inspired drum rolls mid way through the song and blistering guitar throughout. They also name check scenester Susie Cream ("and Susie Cream Cheese is gonna be there...) towards the fade out that exhorts you to "Do what you want to". This would be the last record by the group with Banks and Squire leaving to form the short lived Maybel Greer's Toyshop which eventually mutated into Yes. 

Both sides of the single are available on a host of Syn compilations/collections, most notably Cherry Red's excellent "Flowerman: Rare Blooms From The Syn 1965-1969" and are both available on streaming as well.

 Hear "Flowerman": 

 https://youtu.be/aYXVjLcPfo4?si=kC1fc4Z_NVolGYz3

Hear "14 Hour Technicolor Dream":

https://youtu.be/CB3Y00JivPQ?si=6o08YhiG0FFtVmWW

The Who's Debut Album That Wasn't

Photo by David Wedgbury

In June 1965 the British monthly music publication "Beat Instrumental" saw writer John Emery review an acetate recording played to him by producer Shel Talmy of what was hoped would be tracks from the band's forthcoming debut LP. The tracks were produced by Shel Talmy and were:

1. "I'm A Man"

2. "Heatwave"

3. "I Don't Mind"

4. "Lubie"

5. "You're Going To Know Me (Out In The Street)"

6. "Please, Please, Please"

7. "Leaving Here"

8. "Motorin'"

9. "Shout And Shimmy"

After a particularly unpleasant review (see a small selection below) it was decided by the band's managers Kit Lambert and Chris Stamp that the album would be scraped and The Who would go back to the drawing board removing five of the tracks from what would become their debut album "My Generation", released by Brunswick (LAT 8616) in the U.K. on December 3, 1965 and relying more on group originals penned by in house budding songwriter Pete Townshend instead of soul/r&b covers.  

"Shel played me an acetate of the nine tracks but before I even heard them, one thing hit me slap in the face just looking at the titles-the lack of originality in choice of material. Of the nine songs eight were revived American items, originally recorded by James Brown, Martha and The Vandellas and Bo Diddley. True they are given the distinctive Who treatment but that might not be enough if they want to make a big impression with the album"-John Emery.

"I'm A Man" (originally by Bo Diddley) had been in the band's set dating back to their Detours days while Martha and the Vandellas "Heatwave" was another stage favorite and would eventually be re-recorded and utilized on the band's second long player "A Quick One" (Reaction 593 002 December 5, 1966). It was later captured by French TV in a special that filmed them performing live at the Marquee Club. James Brown's "I Don't Mind" and "Please Please Please" both survived the scathing review and were included on the band's substantially revamped debut LP "My Generation" (Brunswick LAT 8616 December 3, 1965). "Lubie", though credited to Pete Townshend , is a re-write of Paul Revere and the Raiders 1964 single "Louie Go Home". It would remain unreleased until unearthed for 1985's Who compilation "Who's Missing". "You're Gonna Know Me (Out In The Street"), the only original on the acetate survived the purge and joined the James Brown covers on "My Generation". Eddie Holland's "Leaving Here" had been recorded by the band multiple times, once as the High Numbers and twice with Shel Talmy. Here's where it gets tricky because it's not certain which of the two Talmy versions were utilized on the acetate but it was not officially released until "Who's Missing". Martha and the Vandellas "Motoring" was also shelved, not seeing the light of day until the 1987 Who compilation "Two's Missing". Jame's Brown's "Shout And Shimmy", also a live favorite eventually graced the B-side of their third single, October 1965's smash "My Generation". 

The finished product December 3, 1965

More U.K. Obscurities On U.S. Labels: The Fairytale

 

FAIRYTALE-Lovely People (Like You And Me)/Guess I Was Dreaming U.S. London 45-LON-20032 1967

Warrington, U.K. 60's psych pop quartet The Fairytale had just two singles released in Britain: "Guess I Was Dreaming" b/w "Run And Hide" (Decca F12644 August 1967) and "Lovely People" b/w "Listen To Mary Cry" (Decca F 12665 September 1967). Curiously London records in the U.S. decided to marry "Lovely People (Like You And Me)" (as it was titled in America) with "Guess I Was Dreaming" on the B-side.  They also decided to drop "The" from the band's name and simply call them "Fairytale". This interesting single was launched in November 1967 where it remained in the obscurity from whence it came and as a result is fairly rare.

My introduction to The Fairytale came in the Summer of 1986 when I purchased the absolutely earth shattering See For Miles comp LP of Decca/Deram pop psych 45's "The British Psychedelic Trip 1966-1969" where they were on the front sleeve in all their psychedelic finery (see photo below) with the phased psych pop tune "Run And Hide". 

"Lovely People (Like You And Me)" is an almost fey period piece with lyrics espousing the virtues of the beautiful people (or in this case "the lovely people"). There's a cynical tone to all of it's flower power waif message though: "People hanging around you like mist on a morning lake, focus your eyes upon them don't let them slip away. The world is out to make you one of it's living dead so lift your head up slowly and reach out for the morning sun". "Lovely People" was produced by Vic Smith, who would rechristen himself Vic Coppersmith-Heaven and go on to produce the Jam. 

"Guess I Was Dreaming" has long been my favorite of the band's tracks. It's almost sinister starting out with a faint drum/bass that grows in descending volume before being met with a phlanged piano. The lyrics are full of darkness and paranoia: "All week, no sleep waiting for the man to come....Here he comes walking through my mind, in so many colors making me blind, a one eyed midget by his side...". All delivered with an almost martial/military march beat behind the phlanged piano notes. The number was later covered by The Kingsmen (of "Louie Louie" fame) on their May 1968 single on the flip of their version of Skip Bifferty's "On Love".  You can read all about that here. 

Both tracks are available on a host of CD /LP compilations. "Lovely People" is on Rubble Volume Six "The Clouds Have Groovy Faces" and "Guess I Was Dreaming" was on the Deram/Decca comp "The Psychedelic Scene". Both songs are available on streaming as well. 

Here "Lovely People":

https://youtu.be/BmGS_k-yDdc?si=zVwmd0zjqTDe1n7w

Hear "Guess I Was Dreaming":

https://youtu.be/TkiH0EcIQ4g?si=YrRFStVO6_wlyu1B

More U.K. Obscurities On U.S. Labels: The Locomotive

 

We discussed Locomotives's previous 45 ska/rocksteady flavored "Rudi's In Love" in an earlier entry. Today's topic was their third U.K. 45 (January 1969 Parlophone R 5758) but only their second U.S. 45 with Bell records electing not to issue their debut U.K. 45, a coupling of "Broken Heart" b/w a cover of Dandy Livingstone's ska/rocksteady classic "Rudy-A Message To You" (Direction 58-3114 December 1967). "Mr. Armageddan" was issued on these shores in April 1969 with little or no fanfare where it promptly sank without a trace. 

 By the time of this single the ska/rocksteady sounds gave way to a heavier proto-prog sound with some interesting results. The interestingly spelled "Mr. Armageddan" was written by band leader Norman Haines and was the cornerstone of their sole LP "We Are Everything You See". It's an organ driven over the top number starting off with some shimmering strings before degenerating into a phased organ orgy of sound with some near maniacal wailing from Haines (he was also the band's keyboardist) behind a steady melodic bass line. The number changes tempo multiple times bringing an interesting cacophony of horns playing a bombastic melody amid descending lines and layers of thundering drums and some very Caravan meets Deep Purple style organ.

"There's Got To Be A Way" is less freaky, driven by a less chaotic melodic horn section with some soulful, more restrained lead vocals. The horn work shows the band's soul/jazz experience and ads to the versatility in my book. It's at odds with the A-side but maybe that's a good thing? 

 Both sides are available on the deluxe CD reissue of their 1970 LP "We Are Everything You See" (including a Mono mix of the A-side).

Hear "Mr. Armageddan":

https://youtu.be/3Jv0wP6by20?si=d7KipZ-_acjADOnw

Hear "There's Got To Be A Way":

https://youtu.be/OzWqZRwiBjY?si=eb25Trzt2BDF1vQM