The Merseys - Some Other Day (1968)

Guitarist and singer Tony Crane was fifteen years old and bassist and singer Billy Kinsley was just fourteen when they were introduced by a mutual friend and discovered they could do Everly Brothers-style harmonies with ease. The two formed a band in 1961, initially called the Mavericks and briefly known as the Pacifics, before the booker at Liverpool's Cavern Club gave them the name the Merseybeats. They were soon gigging regularly in Liverpool and the surrounding area alongside fellow Merseyside acts like the Fourmost, the Swinging Blue Jeans, and Gerry & the Pacemakers, and they often shared bills with the Beatles. In 1963, they signed with Fontana Records, and their debut single, 'It's Love That Really Counts' was a success, peaking at Number 24 on the British Pop chart, while their second disc, 'I Think Of You', was plugged by their pals The Beatles on the pop music show Juke Box Jury, and their endorsement helped it make the Top Five in February 1964. While the band was selling records and playing good-paying engagements, little of the money was making its way to the musicians, which Kinsley believed was due to their manager shortchanging them, so he responded by leaving The Merseybeats, and Johnny Gustafson, a veteran of the band the Big Three, took over on bass and vocals. By the end of 1965 Gustafson had been fired by the group's management, supposedly for asking too many questions about their finances, and so Crane responded by breaking up The Merseybeats. 

In the immediate wake of the breakup, Crane reunited with Kinsley and launched a vocal duo they called the Merseys, and with Fontana opting to maintain their relationship with Crane and Kinsley, their first single as the Merseys, 'Sorrow', was a major hit, topping out at Number 4 on the U.K. singles charts. The duo headed out on tour with a band called the Fruit Eating Bears serving as their backing band, including guitarist, Joey Molland, would go on to become an international star with Badfinger. By this time, Kit Lambert, who was managing the Who, also took on the Merseys as clients, and he spirited away Pete Townshend's 'So Sad About Us' for the group to record as their second single, after which The Merseys toured as the Who's opening act, and in early 1967 they were added to the bill of a package tour headlined by American soul stars the Four Tops. Increasingly disappointed with Lambert, who they felt was spending too much time on the Who while The Merseys' records were failing to chart, Crane and Kinsley fired him and finally signed on as part of Brian Epstein's stable of talent. Less than a month later, Epstein died, which did little to help the group's prospects or morale. After a pair of 1968 singles came and went with little notice, Crane and Kinsley brought out one final single, with 'Honey Do' appearing under the group name Crackers, before retiring the banner the Merseys. Kinsley would later formed the band Liverpool Express, who had some success in the 70's, and in 1973 they were suddenyl all over the music press when David Bowie recorded a cover of 'Sorrow' for his 'Pin Ups' album, and the song became a hit for the second time. The Merseys were more than a one-hit wonder, though, as most of their other songs were fine examples of mid-60's pop, and it's a shame that they never got around to recording an album, and it could have sounded something like this. 

Track listing

01 Rhythm Of Love
02 Change Of Heart
03 I Hope You're Happy
04 Nothing Can Change This Love
05 Sorrow
06 Some Other Day
07 Is It Love
08 Honey Do
09 Penny In My Pocket
10 Lovely Loretta
11 The Cat
12 So Sad About Us
13 It Happens All The Time
14 Dreaming
15 Love Will Continue

Morning Reign - Just A Friend (1970)

In 1966 Ric Seaberg was attending an orientation event at Salem's Willamette University, where he met Gene Heliker, a fellow freshman who had a guitar. Seaberg and Heliker were soon bonding over music, and they made plans to form a band with Seaberg on lead vocals and guitar, and Heliker on lead guitar. They recruited two fellow students, rhythm guitarist Craig Chastain and bassist Doug Heatherington, and later added Bob Baker on keyboards and Bill Thomas on drums, and Morning Reign made their public debut playing a dance at the Willamette University gymnasium. A few months later, they were playing regularly in and around Salem, branching out throughout the Pacific Northwest. Drummer Thomas left the band, and a second drummer, Tom Hallman, worked with them for a while before Howard Holland took his place behind the drum kit. As this line-up established itself as one of the most popular rock bands in the Northwest, they released their first single , with the Heliker/Seaberg original 'Please Stop' appearing on the 3S Record label in 1968. Later that year the band appeared on the TV series Happening '68, in a battle of the bands segment, and although they didn't win, it did put them in touch with music industry figures who saw promise in the group. In the meantime, they struck a deal with Garland Records, an Oregon-based label who in 1969 issued two singles, with the band tackling covers, 'Everybody' b/w 'But It's Alright' and 'Any Way You Want Me' b/w 'Reach Out I'll Be There'. 

As their popularity rose, the group shared stages with some of the best known acts of the day, including the Doors, Three Dog Night, Vanilla Fudge, and The Guess Who. In 1970 they had a brush with the major labels with T-A Records, distributed by Bell Records, who issued their single 'Can I Believe In You', but by this time Baker and Holland had dropped out of the act, and two members of another Salem band, Tyme, stepped in to replace them, with Larry Sieber taking over the keyboards and Jay Steven Tate the drums. They continued to play regularly and wrote and recorded many demo tapes of original material, but the cost of putting out an album on their own was too expensive, and they couldn't find a label interested in producing an LP of their music. In time, the band had run their course, and they split up in 1972. Two archival releases have appeared since the split, with 'Can't Get Enough Of It' being a collection of seventeen previously unreleased performances from the group's archives, while 'Taking Cover' was drawn from recordings they made during their association with Garland Records. Neither of these records purports to be the album that they wanted to release in 1969, and as the Garland disc can't include the 3S and T-A singles then it's up to me to piece together an album from the available material that they'd recorded by 1970, which includes the best of their single sides, some of their demos, and a recording of the 10-minute tour-de-force 'I Love', that they often used to close their shows.   

Track listing

01 I Can Believe In You
02 Belinda
03 Everybody
04 Just A Friend
05 Tambourine Lady
06 Tomorrow Morning's Love
07 Please Stop
08 Any Way That You Want Me
09 But It's Alright
10 Say It Once Again
11 Even Is It Me
12 I Love

The Orange Bicycle - Lavender Girl (1969)

The Orange Bicycle evolved from the beat group, Robb Storme & the Whispers, also known as the Robb Storme Group, who had recorded a handful of harmony pop singles for Pye, Piccadilly, Decca, and Columbia Records during the early '60s, but with little success. In 1966, the Robb Storme Group covered the Beach Boys' 'Here Today', which was arranged by the band's own multi-talented keyboardist/producer Wilson Malone and produced by Morgan Music's co-owner Monty Babson at Morgan Studios in the Willesdon area of London. With psychedelic music at its zenith, the group decided to change its name, and in 1967 they re-emerged as The Orange Bicycle. After signing a deal with Columbia Records, their fist single was 'Hyacinth Threads' in August 1967, which remains their best-known recording. 'Laura's Garden' followed in November 1967, and they continued to release singles sporadically over the next three years, including a cover of The Beatles' 'Carry That Weight' in 1969. In late August/early September 1968 they performed at the Isle of Wight music festival wearing matching black and orange suits, reportedly covering songs by Love and the Rolling Stones. In 1970, already somewhat past their prime, they recorded their only album, 'The Orange Bicycle', but it was made up largely of covers, including Elton John's 'Take Me To The Pilot', Bob Dylan's 'Tonight I'll Be Staying Here With You', and Denny Laine's 'Say You Don't Mind', which was a wasted opportunity considering they had the writing talent of Wil Malone on board. By 1970 psychedelic pop music was on the wane, or transmogrifying into heavier prog or hard rock, so the group decided to call it a day, breaking up in 1971. As a sidenote, Malone went on to form the heavy psych-prog trio Bobak Jons Malone with celebrated engineer/producer Andy Jons and guitarist producer Mike Bobak, and their sole album 'Motherlight' is a classic which needs to be heard. During their career the band released many fine recordings as singles, and they also laid down some great unheard demos, and instead of waiting until 1970 to release a disappointing album they should have issued this one in 1969, which is a much better representation of their sound.

 

Track listing

01 Hyacinth Threads
02 Nicely
03 Lavender Girl
04 Competition
05 Laura's Garden
06 Go With Goldie
07 Trip On A Orange Bicycle
08 Jenskadajka
09 Soft Winds
10 Amy Peate
11 Carpet Man
12 Message For Mary
13 Early Pearly Morning
14 Dropping Out

The Fourmost - Just In Case (1964)

Guitarist/vocalist Brian O'Hara and best friend guitarist/vocalist Joey Bower formed The Two Jays in 1957, changing its name to The Four Jays in September 1959 when bass guitarist/singer Billy Hatton and drummer Brian Redman joined the group. The Four Jays played around Liverpool in 1961, including the Cavern Club in March, and in November rhythm guitarist/singer Mike Millward joined the Four Jays in November 1961, followed by drummer/singer Dave Lovelady in September 1962. The band changed its name to The Fourmost in October, and the following year they signed a management contract with Brian Epstein, which led them to an audition by George Martin, who signed them to EMI's Parlophone record label. With Epstein as their manager, The Fourmost had access to early Lennon–McCartney compositions before they were recorded by The Beatles, and their first two singles were written by John Lennon. 'Hello Little Girl' was released on 30 August 1963 and reached No. 9 in the UK Singles Chart, and the follow-up single, Lennon/McCartney's 'I'm in Love', was released on 15 November 1963 and reached No. 17 in the UK. It was also notable as one of the earliest Beatles-penned songs to be released in the United States but, as with The Fourmost's other singles, it failed to chart there. Their biggest hit was their next single, with Russ Alquist's 'A Little Loving' reaching No. 6 in the UK Singles Chart in mid-1964. From then on, none of the group's singles cracked the Top 20 in the UK, and they tried covers of other's hits, such as the Four Tops' 'Baby I Need Your Loving' and Elvis Presley's 'Girls Girls Girls', even though they had a talented songwriter in the group, with O'Hara penning most of their songs, many of which were used as b-sides, including 'Waitin' For You', 'That's Only What They Say', and 'You Got That Way'. 

In 1965 they released their only 1960's album, with 'First And Fourmost' appearing in September 1965, and it included Jackie DeShannon's, 'Till You Say You'll Be Mine', alongside Jimmy Radcliffe's 'My Block', and their take on 'The In Crowd', which featured the brass section from Sounds Incorporated. In early 1966, the band was rocked by the sudden death of rhythm guitarist/vocalist Millward from leukaemia, and so they recruited George Peckham as replacement, and in August 1966 they re-visited the Beatles' songbook, covering 'Here, There And Everywhere. followed by a cover of George Formby's 'Auntie Maggie's Remedy' in November 1966, which highlighted the comedic element to some of the group's recordings. By 1968 they had moved to CBS Records, where they recorded 'Apples, Peaches And Pumpkin Pie', an R&B hit by Jay & the Techniques, followed by 'Rosetta' (suggested by Paul McCartney, who played piano on it), and 'Easy Squeezy'. Around 1969 the group stopped recording, and became popular on the cabaret circuit, but they will mostly be remembered for their early run of hits singles. It's surprising that after three Top 20 hits in the UK that Parlophone didn't offer them an album before their 1965 debut, as they could easily have scraped together enough material for a 1964 release, which could have sounded something like this. It's a fairly typical record of the period, containing fourteen tracks, and yet only running to just over half an hour. 

Track listing

01 Just In Case
02 I Love You Too
03 Waitin' For You
04 Hello Little Girl
05 Baby I Need Your Loving
06 Why Do Fools Fall In Love
07 A Little Loving
08 You Got That Way
09 That's Only What They Say
10 I'm In Love
11 Respectable
12 How Can I Tell Her
13 My How The Time Goes By
14 If You Cry

The Bystanders - This World Is My World (1968)

The Bystanders formed in 1962, when two local Merthyr Tydfil groups, The Rebels and The Crescendos, merged together, with a line-up of Mickey Jones on guitar, Ray Williams on bass, Lynn Mittell on vocals, Clive John on organ, and Jeff Jones on drums, and while they looked for a name they called themselves The Mystery Men. The group became successful locally and did gigs with Unit Four Plus Two, Sounds Incorporated and Bert Weedon, but balancing  work and gigs became too strenuous and the group decided to go professional, giving up their day-jobs. Now called The Bystanders, they fashioned themselves musically along the lines of US harmony pop groups such as The Beach Boys, The Four Seasons and The Tokens, and when the group played in Swansea, local hairdresser Wynn David, who had a successful business there, became their financial backer due to his love of music. In 1965, with David's financing, the band travelled to ITC Studios in London to record a debut single, and 'That's The End' b/w 'This Time' was released on the Pylot label, which was created by David. The disc only sold in local shops, and without major distribution it received no airplay and consequently did not sell well. After Mittell left the group, Vic Oakley became the new vocalist, and their manager George Cooper took them to Pye Records, who signed them to their subsidiary Piccadilly label. The group moved to London and played gigs in the area to re-establish themselves, and their first Piccadilly release was a cover of '(You're Gonna) Hurt Yourself', which featured on Frankie Valli's first solo album. 

Their next release was 1966's 'My Love - Come Home', but this too failed to gather significant sales, which could have been because these two singles were quite middle of the road fare, due the fact Cooper was booking the group into cabaret clubs, and he felt these tracks would appeal to this audience. Their fourth single was a cover of Keith's '98.6', which was released in 1967, and although it was an improvement musically, it still failed to chart, and so they filled their time by recording demos at R.G.Jones Studios for songwriters signed to the George Cooper Organisation. Ronnie Scott wrote the group's next release 'Royal Blue Summer Sunshine Day', and this was followed by a cover of Jimmy Webb's 'Pattern People', and so their song choices did seem to taking a paisley pop turn . The Piccadilly imprint folded after the release of this single and the band moved to the parent Pye label, which released 1968's 'When Jezamine Goes', which was written by Marty Wilde and Ronnie Scott under the pseudonym of Maston and Gellar, but it was a dismal failure, even though The Casuals version soared to number two on the UK charts just three months later. Hidden on the flip side of 'When Jezamine Goes' was the brilliant 'Cave Of Clear Light', which is now considered a psych classic, but even that was not enough to make it a hit, and so they had one last stab at success with the recording of Albert Hammond's 'This World Is My World'. When this went the same way as the others, the band continued to gig on the cabaret circuit as The Bystanders, but eight months after the release of their last single, 'Sudden Life' was issued on Pye under the new group name of Man, following the recruitment of Deke Leonard on guitar and vocals. Martin Ace then came in to replace bassist Ray Williams and Terry Williams took over the drums following the departure of Jeff Jones, and this completed the transformation of The Bystanders to the newly-formed progressive rock artists Man. Even though some of The Bystander's singles were a bit pop-orientated, they did also produce some great psyche and rock tracks, and so as the band never managed to record an album in their lifetime, this is what one released around 1968 could have sounded like.  

Track listing

01 Make Up Your Mind
02 My Love - Come Home
03 98.6
04 Royal Blue Summer Sunshine Day
05 Cave Of Clear Light
06 Stay A Little While
07 (You're Gonna) Hurt Yourself       
08 Pattern People
09 My Way Of Thinking
10 This World Is My World
11 Have I Offended The Girl
12 Green Grass
13 When Jessamine Goes
14 Painting The Time

Plato And The Philosophers - Thirteen O'Clock Flight To Psychedelphia (1967)

In 1962, 14-year old multi-instrumentalist Ken Tebow took up the bass guitar and formed a group called The Checkmates. He was joined by the similarly aged guitarist Mike Imbler, and the pair played mainly in Church basements and Jr. High School Proms until around 1965. The Checkmate's manager suggested a name change in 1965 as there was another popular group with the same name, and he suggested coming up with a name that sounded like Paul Revere and The Raiders or Sam The Sham and The Pharaohs, so the band became Plato and The Philosophers. By this time the line-up had expanded to include Barry Orscheln on keyboards and Mark Valentine on drums. Initially Tebow suggested they go on stage dressed in togas and sandals, and they did this twice, but just before they were to perform a third time in the outfits, he went out to the parking lot and saw a fire, where the other members were burning the outfits! The band's first single was 'C.M. I Love You', released in 1966 on the It Records label, and Tebow was intent on getting the band signed to a major label, so many of the 500 copies were mailed to other record labels, and eventually a company in Chicago called GAR Records got in touch , and was interested in issuing the record on their label. The band received statements from the label which stated that it had sold 10,000 copies, but no-one knows for sure how many it shifted. 

After the success of their first single, Tebow got in touch with a well respected studio in Columbia, Missouri called Fairyland Studios, and worked out a deal with the studio to issue a record on the Fairyland Records label by paying for all the studio and record pressing costs. About four hundred copies were pressed of their second single 'Wishes', but sales were not good enough for a re-pressing, although this was the first outing for the brilliantly-titled psyche effort 'Thirteen O'Clock Flight To Psychedelphia', which appeared on the b-side of the single. The band went back into Fairyland Studios in September 1967 to record two more sides for a single, but the 'Doomsday Nowhere City'/'I Knew' record never appeared, as once the recording time was paid for they couldn't afford to press up the discs. In 1968 Plato and The Philosophers began to change to a heavier sound, influenced in part by their admiration for Iron Butterfly, and their keyboard player studied that band's 'In A Gadda Da Vidda' intently, and persuaded the other members to play the full eighteen minute version at every gig. The next recording sessions were done in 1968 in Pekin, where they recorded 'Ima Jean Money' and 'Take It Easy', before moving to Buffalo and taping another clutch of songs. These demos got the band a tentative agreement with Cedarwood Music for an album and single release, but despite recording some more tracks in Nashville, neither the single not the album materialised, and by the end of 1970 Plato and The Philosophers was no more. If they had released an album in 1969 then it would have sounded very different to those early singles, and as they are the sides that I prefer then I would have liked to hear a long-player some time in 1967, and so that's what this record is. 

Track listing

01 Today I Died
02 In Good Time
03 Doomsday Nowhere City
04 Ima Jean Money
05 Take It Easy
06 Back Room Bar
07 C.M. I Love You
08 Wishes
09 I Knew
10 Through Your Heart
11 I Don't Mind
12 How I Won The War
13 Thirteen O'Clock Flight To Psychedelphia

The Rockin' Berries - Across The Street (1968)

The Rockin' Berries were formed in the early '60s when guitarist Brian "Chuck" Botfield was performing with the Bobcats, a Birmingham band, at the Star Club in Hamburg. Several Bobcats broke off to form their own band, and Botfield brought in some Birmingham friends to regroup as the Rockin' Berries, with bassist Roy Austin, drummer Terry Bond, guitarist Geoff Turton, and singer Clive Lea. Vocal arrangements were the Berries' forte, with Lea taking the harder-rocking stuff and falsetto-voiced Turton pacing their most famous, Four Seasons-influenced material. After a couple of flop singles for Decca in 1963, the Rockin' Berries signed with the Pye subsidiary Piccadilly, and after a mild hit with a cover of the Shirelles' 'I Didn't Mean To Hurt You' in 9164, their cover of the Tokens' 'He's In Town', penned by star song-writing team Gerry Goffin and Carole King, took them to number three in the British charts in late 1964. 'He's In Town' was a gentle harmony number, like a less shrill Four Seasons, and the group turned to another cover of an American record, the Reflections' 'Poor Man's Son', for their follow-up. More sombre than 'He's In Town', this made number five in the U.K., while around the same time the band released a cash-in album, 'In Town', with a manic variety of material encompassing operatic ballads, R&B, harmony pop/rock, comedy, and the German 'Ich Liebe Dich', which was a fair success in Britain, making number 15. 

The Rockin' Berries' versatility, though a boon to their live work in enabling them to play more mainstream theatres and cabarets than some British Invasion acts, worked against them on record. They would frequently insert comic routines into their live shows, and their second album, 'Life Is Just A Bowl Of Berries', was half-occupied by terrible novelty/comedy numbers. They continued to record pop/rock by professional tunesmiths on their singles, including Goffin-King's 'You're My Girl', and material by British hitmakers John Carter, Ken Lewis, and Perry Ford, as well as a little-known tune co-written by a pre-Blues Project Al Kooper, 'The Water Is Over My Head'. Both 'You're My Girl' and 'The Water Is Over My Head' were minor British hits in 1965, but they couldn't seem to match the success of 'He's In Town', and so they continued to work on the cabaret circuit and record singles for Piccadilly and Pye through to 1968, when Turton left for a solo career, getting a Top 30 hit in the U.S. in early 1970 under the name of Jefferson with 'Baby Take Me in Your Arms'. Some of their singles should have been more successful, and they always took them more seriously than their live shows, so they could have collected the best of them together in 1968, added in a few out-takes from the vaults, and produced an album that would have surprised most people with its professionalism. However, by that time they'd pretty much given up with studio work, and so it wasn't to be....but if it had then it could have sounded very much like this.  

Track listing

01 The Water Is Over My Head
02 If You Find Somebody To Love
03 Sometimes
04 When I Reach The Top
05 Across The Street
06 Barterers And Their Wives
07 Money Grows On Trees
08 From One Who Knows
09 Mr. Blue
10 Land Of Love
11 Needs To Be
12 What Can I Do?
13 She's Not Like Any Girl
14 Pain
15 Yellow Rainbow
16 Goodnight

John's Children - Strange Affair (1967)

Drummer Chris Townson and singer Andy Ellison formed The Clockwork Onions in the town of Great Bookham in 1965, which later became the Few, and then the Silence. The Silence consisted of Townson and Ellison, plus Geoff McClelland on guitar and John Hewlett on bass guitar, and while performing in France in mid-1966, Townson met the Yardbirds's manager Simon Napier-Bell and invited him to come and see the Silence. Napier-Bell described them as "positively the worst group I'd ever seen", but still agreed to manage them, changing their name to John's Children, dressing them up in white stage outfits and encouraging them to be outrageous to attract the attention of the press. Their outrageous stage shows included on-stage fights, fake blood and feathers, and trashing their instruments, as the band whipped their audience into a frenzy. Napier-Bell signed them to the Yardbirds's record label, Columbia Records, and they released their first single in late 1966, being the Napier-Bell co-write 'Smashed Blocked'/'Strange Affair' (with the A-side released as 'The Love I Thought I'd Found' in the UK), but because of his lack of confidence in the band's musical abilities, Napier-Bell used session musicians on the recording. To everyone's surprise 'Smashed Blocked' broke into the bottom of the US Billboard Hot 100 and reached local top ten charts in Florida and California. In early 1967 they released their second single, 'Just What You Want – Just What You'll Get'/'But You're Mine', which also featured session musicians, plus a guitar solo from Jeff Beck on the b-side, and this one made it to the British Top 40. 

The band's third single, 'Not the Sort Of Girl (You'd Like To Take To Bed)', was rejected outright by their UK label, which prompted the band to switch to Track Records, publishers of artists like the Jimi Hendrix Experience and the Who. In the meantime, their US label, White Whale Records, asked for an album, and Napier-Bell and the group obliged, producing 'Orgasm'. This was a fake live album they recorded in the studio, with overdubbed screams taken from the Beatles' 'A Hard Day's Night', and it was Napier-Bell's idea to give the album a "live" feel to make it seem like the band was very popular in England. However, White Whale rejected 'Orgasm' because of its title, and pressure from Daughters of the American Revolution, and it was four years before it eventually appeared in 1971. In March 1967 Napier-Bell replaced guitarist McClelland with Marc Bolan, another of his clients, who took over as lead guitarist, and also took on the role of the band's singer/songwriter. Bolan composed and sang on the band's next single, 'Desdemona', which was banned by the BBC because of the controversial lyric, "Lift up your skirt and fly". In April 1967 Napier-Bell arranged for John's Children to tour Germany as support act to The Who.  

The Who were notorious for their own wild stage performances, which included smashing their instruments, and so John's Children pulled out all the stops and upstaged the Who with performances that included Bolan whipping his guitar with a chain, Townson attacking his drums, Ellison and Hewlett pretending to fight each other, and Ellison ripping open pillows and diving into the audience. In Düsseldorf they caused a riot at the venue, and The Who were not happy at being upstaged and so sent the band home mid-tour. Notwithstanding John's Children's antics in Germany, Townson was later asked to replace Keith Moon on drums near the end of the Who's UK tour in June that year after Moon had injured himself demolishing his drum kit on stage. With no time for rehearsal, Townson performed with the Who for five days, and did it so well that most of the audience didn't realise it wasn't Moon. John's Children played at The 14 Hour Technicolor Dream concert at the Alexandra Palace in London on 29 April 1967, and Bolan left two months later following disagreements with the way Napier-Bell was producing the band's next single, 'A Midsummer Night's Scene'. 

The single was never released, but in its place the b-side of 'Desdemona', 'Remember Thomas à Becket', was re-recorded with new lyrics and released as 'Come And Play With Me In The Garden'. After Bolan left, Townson switched to guitar and former roadie Chris Colville took over on drums, and the band recorded another single, 'Go Go Girl', which was a Bolan composition that he later recorded with Tyrannosaurus Rex as 'Mustang Ford'. They recorded one more single, 'It's Been A Long Time', which was issued as an Andy Ellison solo single, and then embarked on a 'disastrous' tour of Germany, after which they split up in 1968. Ellison went on to make several solo singles before resurfacing in Jet in 1974, along with drummer Chris Townson, who then metamorphosed into Radio Stars in the mid-Seventies. John's Children were active for less than two years and were not very successful commercially, having released only six singles and one (in my opinion) extremely disappointing album, but they are seen by some as the precursors of glam rock, and as their reputation has grown over the years their singles have become amongst the most sought-after British 1960's rock collectables. As the 'Orgasm' album is almost unlistenable because of the fake screams all over it, we need a collection of the band's music that actually represents what they were doing in the studio, and there was more than enough music recorded by 1967 to release an album, which would have included a few single tracks, some alternate takes, and some of their demos, and had they decided to do that then this is what it could have sounded like.  

Track listing

01 The Love I Thought I'd Found
02 But She's Mine
03 Midsummer Night's Scene
04 Hippy Gumbo
05 Strange Affair
06 Go-Go Girl
07 Remember Thomas À Becket
08 Desdemona
09 The Perfumed Garden Of Gulliver Smith
10 Casbah Candy
11 Sara, Crazy Child
12 Just What You Want - Just What You'll Get
13 Not The Sort Of Girl You Take To Bed
14 Sally Was An Angel
15 Jagged Time Lapse

The Pretty Things - Emotions (1967)

The Pretty Things grew out of Little Boy Blue and the Blue Boys, which consisted of Dick Taylor, fellow Sidcup Art College student Keith Richards, and Mick Jagger, among others. When Brian Jones was recruiting for his own band, all three joined Brian and Ian Stewart and were dubbed Rollin' Stones by Jones in June 1962, but because there were too many guitar players in the band, Taylor switched to bass. He quit the Stones five months later, when he was accepted at the Central School of Art and Design in London, but Phil May, another Sidcup student, convinced him to form a new band, and so Taylor was once again playing guitar, with May singing and playing harmonica. They recruited John Stax on bass and harmonica, Brian Pendleton on rhythm guitar, and Pete Kitley on drums, who was soon replaced by Viv Andrews, and then in turn by Viv Prince. After signing a deal with Fontana Records, their first three singles appeared in the UK Singles Chart in 1964 and 1965, with 'Don't Bring Me Down' breaking the Top Ten. They never had a hit in the United States, but had considerable success in their native UK, and in Australia, New Zealand, Germany and the Netherlands. The first of what would be many personnel changes over the years also began, with Prince, whose wild antics had become too much for the other members to endure, being the first to go in November 1965, being replaced by Skip Alan. 

They released two albums in 1965, with the self-titled debut appearing in March, and 'Get The Picture' following in December. 1966 saw the R&B scene fall into decline and the Pretty Things began moving away, flirting with soul music, and in December 1966 came the single 'Progress', where the band were joined by a brass section. Sessions for their next album 'Emotions' were spread across a few months during which there were major changes in the band's line up. Their record company Fontana had not been happy with how their three 1966 singles 'Midnight To Six Man', 'Come See Me' and the Kinks cover 'A House In The Country' had sold, and so assigned them producer Steve Rowland, who was producing hits for Dave Dee, Dozy, Beaky, Mick & Tich. The band were not pleased by this intervention and were keen to leave Fontana, so they simply went along with Fontana's demands to fulfil the contract which included a third album. The first result of the sessions was the 'Progress' single, and though it was a fairly commercial record, it failed to sell. Pendleton was unhappy with the direction the band was heading in, and, with money being rather short, he quit the band that Christmas. A month later, bassist John Stax, similarly unhappy, also quit, so May called childhood friend Wally Waller to help record the rest of the album. In the event, Waller took over the bass duties, and brought in his ex-bandmate from Bern Elliott And The Fenmen, Jon Povey, as the drummer and keyboardist.

Waller and Povey were huge Beach Boys fans and between them had developed their own distinctive harmonies, which when paired with May's vocals gave the Pretty Things a new dimension. The style of 'Emotions' showed a fusion of hard blues and psychedelia, but Rowland decided the new songs sounded rather empty, so he enlisted arranger Reg Tilsley to write and conduct orchestral arrangements for most of the tracks. Again, the band were not pleased by this but to appease Fontana and be able to break free, they went along with the idea. Tilsley was given tapes of demos and work in progress of the songs, and wrote the arrangements, some of which were fairly simple, requiring a brass section, whilst others were more elaborate, bringing in strings. Whilst some of these arrangements were overdubbed on what had already been recorded, Taylor has recalled there were a couple of sessions where the band and Tilsley's ensemble were together in the studio. Because the songs had mostly already been written, new members Waller and Povey weren't able to contribute much to the writing, nor add their harmonies to most of the album, although they did appear on 'Out In The Night', 'Bright Lights Of The City', 'My Time', and 'Children', which was also issued as a single.

Outside the studio, the band's live sound had changed drastically as they became involved in the burgeoning psychedelic scene, and by the time 'Emotions' was released, the contrast between the band on record and on stage was enormous, and so they did nothing to promote it, and as soon as they could they left Fontana to seek out a new record contract. None of the songs from 'Emotions' were ever played live, and they simply carried on as if it didn't exist. The only exception was the single 'Children', which they did play live onstage in Paris, and which was broadcast live on French TV.

Paul over at albumsthatshouldexist had a pretty good go at fixing this album a few years ago, when a re-issue of the album included undubbed versions of a few of the songs, which could then just be replaced in the running order, but the only problem was that they were in mono, as opposed to the stereo versions on the original record. Also, a few tracks were not presented in this form, and so he found a version of the record with extreme stereo separation, and as the strings and horns were mostly in one channel then he could isolate and remove them. Since then, programmes to edit music have come on in leaps and bounds, and so I am now able to take the original stereo tracks and remove the strings and horns, and not only that, but by isolating the guitar and vocals and then putting the whole thing back together with some panning, I was even able to make a rudimentary stereo version of the stand-alone single 'House In The Country' to tag onto the end of the rather short album. To distinguish the cover from the original I've simply reversed the colours of the text.  

Track listing

01 Death Of A Socialite
02 Children
03 The Sun
04 There Will Never Be Another Day
05 House Of Ten
06 Out In The Night
07 One Long Glance
08 Growing In My Mind
09 Photographer
10 Bright Lights Of The City
11 Tripping
12 My Time
13 A House In The Country

The Love Affair - Satisfaction Guaranteed (1969)

The Love Affair originally formed in 1966, and this London-based quintet comprised Steve Ellis on vocals, Morgan Fisher on keyboards, Rex Brayley on guitar, Mick Jackson on bass, and Maurice Bacon on drums. Although Ellis was barely 16 years old, the band performed frequently in clubs on a semi-professional basis, and in 1967 they signed to Decca Records, but although their first single, 'She Smiled Sweetly', was written by Mick Jagger and Keith Richards, it flopped. After Fisher was briefly replaced by Lynton Guest so that he could complete his schooling, Ellis recorded a sparkling cover version of Robert Knight's 'Everlasting Love' for CBS Records using session musicians, and in January 1968 the single unexpectedly hit number 1 in the UK. Love Affair became instant pop stars, with Ellis' cherubic looks gracing teen magazines throughout the nation. An album was rushed out, with 'The Everlasting Love Affair' being recorded in one day in November 1968 and released in December, but controversy erupted when the group admitted they had not played on their recordings, but that all the work was done by session musicians, although such a practice had long since been common. Their first recording of 'Everlasting Love', produced by Muff Winwood, had featured them playing all the instruments, but the record label rejected this version in favour of one produced by Mike Smith, recorded using a recording studio rhythm section, strings, brass, flutes and backing vocalists, arranged by Keith Mansfield, and with Ellis as the only member of the group to be heard. The backing vocals were provided by four female singers who would later become well known in their own right: Kiki Dee, Madeline Bell, Lesley Duncan and Kay Garner, as one of The Ladybirds. 

Although four more Top 20 hits followed, in 1969 Ellis felt that the group had run its course, after their Christmas single, 'Baby I Know', failed completely, and so he left the group to start a solo career, with the remaining members recruiting a new vocalist in Gus Eadon. This new line-up began to move in a more progressive direction, and the second Love Affair album, 'New Day', was released in 1970 under the name of LA, in an attempt to attract a more mature audience. The record was a commercial failure and six months later the band was dropped by CBS. They signed to Parlophone Records as Love Affair but were unable to revive their fortunes, and so Bacon and Fisher left to form Morgan, recording 1973's 'Nova Solis' for RCA Records, and Fisher later reappeared in Mott The Hoople and The Third Ear Band. Although the band's reputation will forever be tainted with the controversy over their first single, they did produce some fine music, and they could easily have released a second album in 1969, which might have proved their musical abilities, and so as they didn't do it themselves, then here it what it could have sounded like.   

Track listing

01 Gone Are The Songs Of Yesterday 
02 I'm Happy
03 She Smiled Sweetly
04 Let Me Know
05 Sweetness And Tenderness
06 Another Day
07 Bringing Back The Good Times
08 Baby I Know
09 Do You Dream
10 Accept Me For What I Am
11 Someone Like Me
12 Satisfaction Guaranteed
13 One Road

Honeybus - Delighted To See You (1969)

Pete Dello and Ray Cane had been working together in various London groups since the early 60's, with Dello being lead guitarist with Red Tallis & The Tallismen and Cane handling bass duties with The Outlaws. They joined up in Grant Tracy & The Sunsets and the pair wrote a number of the band's single sides for Ember and Decca, but they were not successful and so they took a break from gigging to concentrate on writing, producing and arranging. During this period they wrote a clutch of single sides for The Applejacks (including the beat classic 'Baby Jane') as well as arranging material for Lionel Bart and playing on sessions for The Roulettes and Unit 4+2 among others, but in 1965 they found themselves back on stage, backing soul singer Steve Darbishire as The Yum Yum band. The line-up was completed by drummer Terry Noon, who had spent time with Them, and after signing a deal with Decca Records, Darbishire cut five singles for them between 1965 and 1967, mostly written by Dello and Cane. In 1966 Dello succumbed to a collapsed lung on the eve of a major tour, and after several months' recuperation, decided to quit the band to put together a new project to showcase his and Cane's new material. Christened Honeybus by Cane, the pair installed Terry Noon as their manager and entered Regent Sound studio to cut their debut single in spring 1967. The recording was made using Russ Ballard and Bob Henrit of The Roulettes, and two Dello-penned tracks were laid down, with 'Delighted To See You' b/w 'The Breaking Up Scene' appearing on the label's Deram subsidiary in June. 

Despite it's commercial potential, the single flopped, and after finalising their line-up with the addition of Colin Hare on guitar and Pete Kircher on drums, they cut two more singles, one of which has become something of a standard since its release. Dello's '(Do I Figure) In Your Life' was released in October 1967, with Cane's 'Throw My Love Away' on the flip, and they followed this in March 1968 with another classic 60's recording, 'I Can't Let Maggie Go', ensuring their place in the history books for recording this classic piece of 60's pop. The single hit number 8 in the UK and became a huge hit in dozens of territories, but the resulting merry-go-round of gigs, press and TV conflicted with Dello's vision, as he saw Honeybus as essentially a studio project, and had had enough of life on the road during the early 60's. With a record in the top ten, the record company screaming for a follow-up and an album, and widespread adulation, Dello quit his own group. Such a blow would have signalled the end for most bands, but the remaining members of Honeybus were more resourceful than that, and so first they recruited Jim Kelly on vocals and guitar, then set about recording a follow-up single, although it would be six months before Cane's 'Girl Of Independent Means' appeared in September 1968. It was a great upbeat single featuring brass and an insistent hook, but it nevertheless failed to sustain the group's success. 

Cane followed it with 'She Sold Blackpool Rock' in May 1969, with Colin Hare's first recorded composition 'Would You Believe' on the flip, but once again the single flopped in the UK, although it sold well in Europe, prompting the recording of an Italian language version. The band had virtually called it a day by summer 1969, but at Terry Noon's insistence sessions for a proposed album continued, and soon they'd completed enough new material. Kircher had left the group during the sessions to join Englebert Humperdinck's touring band, and was replaced by Lloyd Courteney and old friend Bob Henrit, and the album was eventually released without promotion in February 1970, by which time Honeybus was no more. 'Story' is a fine album, and is now rightly regarded as a classic of the era, but it was too little too late, and Honeybus were consigned to the vaults alongside other one-hit wonders of the 60's. The 'Story' album didn't include any material recorded before 1970, and so the band never released the cash-in album that the record company so desperately wanted after the success of 'I Can't Let Maggie Go'. If they had succumbed to the pressure and put something together then it might have sounded something like this.    

Track listing

01 (Do I Figure) In Your Life
02 Tender Are The Ashes
03 The Right To Choose
04 Maxine's Parlour
05 Arise Sir Henry
06 I Can't Let Maggie Go
07 She Sold Blackpool Rock
08 She Comes To Me
09 The Breaking Up Scene
10 Would You Believe
11 Delighted To See You
12 Girl Of Independent Means
13 Francoise
14 Throw My Love Away

The Poets - In Your Tower (1968)

The Poets formed in Glasgow in the early 60's, and comprised George Gallacher on vocals, Hume Paton on lead & 12-string guitar, Tony Myles on rhythm guitar, John Dawson on bass  and Alan Weir on drums. They were discovered by Andrew Loog Oldham on a trip to Scotland in 1964, after which he quickly signed them up and arranged a recording deal with Decca, and in October 1964 they who issued the band's first single, a characteristically moody original called 'Now We're Thru'. It made number 30 in the UK charts, but that was to be their only taste of commercial success, despite a flurry of fine singles over the next couple of years. The two-bass throb of the hard-rocking 'That's The Way It's Got To Be' appeared in February 1965, backed with the exquisite acoustic ballad 'I'll Cry With The Moon', but it failed to trouble the charts, and even a fiery cover of Marvin Gaye's 'Baby Don't You Do It' in January 1966, by which time they'd moved to the Immediate label, couldn't break their duck. This last record was something of a departure for them, as unlike most other Scottish combos of the time they concentrated almost exclusively on original material, which alternated between mournful, almost fey ballads and storming mod rockers. 

Critics have compared the melodic, minor feel of much of their work to the Zombies, a comparison that holds water to a certain point, although the Poets were far more guitar-based. While some may find their slow numbers a bit on the maudlin side, the group had a knack for fine melodies, harmonies, and dense guitar arrangements that lifted these above the ordinary. The move to Immediate may have been a mixed blessing, as although they might have had more money behind them, Oldham was always going to focus his energies on The Rolling Stones, and so The Poets got lost in the shuffle and began to feel discouraged, with members starting to come and go, so that by 1967 not one original member remained from the line-up that had first recorded. They did marshal the energy for a superb 1967 single, the blue-eyed soul/psychedelic 'Wooden Spoon', which indicated that the band was still progressing and maturing, but their heart didn't seem to be in it, and they struggled on until 1971, barely recording again. It was a sad end to what seemed like such a promising outfit at the start of their career, and you can hear that fresh energy on an album that Immediate could have put out in 1968 if Oldham could just have been bothered to release it.  

Track listing

01 Some Things I Can't Forget
02 I Love Her Still
03 In Your Tower
04 I Am So Blue
05 Call Again
06 Wooden Spoon
07 I'll Cry With The Moon
08 Baby Don't Do It
09 It's So Different Now
10 Fun Buggy
11 I'll Keep My Pride
12 Never Thought She Would
13 Dawn
14 Someone
15 That's The Way It's Got To Be
16 I'll Come Home

The Sorrows - Pink, Purple, Yellow & Red (1968)

The Sorrows first came together in 1963 in Coventry, England, and was formed by lead guitarist and singer Philip "Pip" Whitcher, rhythm guitarist and singer Terry Jukes, and bassist Philip Packham, all of whom were veterans of the Coventry music scene. Looking for a lead vocalist, they recruited Don Fardon, who has been frontman with a combo called Rocking Lord Docker & the Millionaires, and with the addition of Bruce Finlay on drums, the first edition of the Sorrows was complete. The band spent weeks trying to come up with a suitable stage name for Fardon; he was briefly billed as Will Pity and Don Maughn before he decided to use his real moniker, and after making a name on the local club circuit, the band honed their skills playing a month-long engagement in Germany, where the punishing schedule of playing as long as ten hours a night made them an estimable live act. Eager to make a record, the group recorded some sessions with legendarily idiosyncratic producer Joe Meek, but the material was shelved, and they had better luck when John Schroeder, an A&R Man with Pye Records, saw them in concert and quickly signed them to a deal with Pye's subsidiary Piccadilly Records. Their debut single, 'I Don't Wanna Be Free', was issued in January 1965, and led to several television appearances and more live work, though sales were slim. Recently married rhythm guitarist Terry Jukes left the band looking for a more dependable career, and he was replaced by Wesley "Wez" Price, formerly of the Autocrats, but this didn't change their fortunes, and a second single, 'Baby', was another disappointment. 

The third single, however, was the success that they'd been after, and August 1965's 'Take A Heart' became a chart hit, in large part thanks to extensive pirate radio airplay, and it reached Number 21 on the U.K. singles charts. In October the band followed up their hit with 'You've Got What I Want', which was a strong release, but which still failed to live up to the success of its predecessor, peaking at a disappointing chart placing of Number 47. However, the success of 'Take A Heart' led to Piccadilly releasing an album of the same name, appearing in stores in time for Christmas 1965. Disappointingly, the album bombed on the charts, and after another two singles came and went without notice, bassist Packham resigned, and vocalist Fardon soon followed. The rest of the group soldiered on, with Whitcher taking over lead vocal duties as well as being the guitarist, and Price moved over to bass, while Finlay continued as drummer. As the Sorrows plotted their next move, good fortune came their way, as the group had recorded phonetically translated foreign versions of 'Take A Heart', and the Italian version belatedly became a hit in Italy in June 1966, bolstered by a much-talked-about appearance at the Cantagiro Song Festival. 

The group was offered an extensive Italian tour, and they hit the road as a quartet, with the addition of second guitarist Roger Lomas, who was known in Coventry for his work with the R&B outfit The Clouds. RCA, who handled the Sorrows' recordings in Italy, was enthusiastic about them, and soon brought them into the studio to cut a pair of tunes for a movie starring Anita Ekberg, 'Come Imparai Ad Amare Le Donne' (aka 'How I Learned To Love Women') in 1967. They would also appear onscreen in a youth-oriented feature, 'I Ragazzi Di Bandiera Gialla' (aka 'The Lads Of The Yellow Flag'), and while in Italy the band continued to cut material for Italian and British release, but Whitcher missed British life and opted to go home. Lomas then announced that he was heading back for a short visit, but later sent his band-mates a letter saying he wasn't coming back to Italy and asking them to sell his gear and send him the money. As the Sorrows had paying gigs booked in Europe, Price and Finlay needed to round up replacement players quickly, and through a friend they found a pair of British musicians staying in Italy, guitarist Chuck Fryers and bassist Geoff Prior, who had been working with a group called the Warren J. Five. 

With Price moving back to rhythm guitar and taking on lead vocal duties, the band did live work and cut a single issued only in Italy, 'Zabadak', but they were reduced to a trio again when Prior moved on, and in early 1968 they returned to England, where they located a new fourth member, keyboardist Chris Smith. They demoed a handful of new songs written by Fryers for Pye, but the label wasn't impressed with the tracks, and the Sorrows were cut loose from their contract. Now that they were free agents, Whitcher returned to the line-up and drummer Mick Bradley replaced Finlay, and they headed to Milan and signed with an Italian label, Miura. The group cut a pair of singles for the label, one of which, 'Per Una Donna … No!', would fare well on the Italian charts, and the label asked them for an album. 1969's 'Old Songs New Songs' lived up to its title as a mix of new material, covers, and new versions of tunes from their back catalogue, but by the end of 1969, constant personnel changes and diminished interest in the group was taking its toll, and after honouring some European nightclub engagements, the band finally called it a day in January 1970. Although the band's second album didn't come out until 1969, they'd easily amassed enough material to release one by 1968, by just using the best single tracks, b-sides and those Pye demos, and if the label had been interested enough to back it, then this is what it could have sounded like. 

Track listing

01 Pink, Purple, Yellow And Red
02 Gonna Find A Cave
03 I Take What I Want
04 Ypotron
05 Which Way
06 Don't Start Me Talkin'
07 Zabadak
08 Baby All The Time
09 My Gal
10 Hoochie Coochie Man
11 You Got What I Want
12 My Way Of Thinking
13 Let The Live Live

The Smoke - Jack's Back (1972)

The Smoke were formed in York, where bassist Zeke Lund and lead guitarist Mal Luker began

 playing together in a band called Tony Adams & the Viceroys, whose line-up eventually came to include drummer Geoff Gill. Though the band was successful locally, enjoying a decent fan base with a solid, basic rock & roll sound, they could hear the changes going on around them in music, with the rise of Merseybeat and the blues, R&B, and soul-based music coming out of London. They eventually decided to strike out on their own, playing a more ambitious repertory, and so linked up late in 1964 with singer Mick Rowley and rhythm guitarist Phil Peacock, refugees from a band called the Moonshots. The resulting band, the Shots, played a hard brand of R&B, similar to contemporaries The Small Faces, and they were taken on by London agents Jack Segal and Alan Brush, who fronted them money for rehearsals and equipment. They signed with independent producer and music publisher Monty Babson, who cut four sides with the group, two of which were issued as a single under license to EMI-Columbia in 1965, with 'Keep A Hold Of What You've Got' being backed with 'She's A Liar'. Around this time Peacock left the band, as he wasn't comfortable with the more complex sounds the rest of the group were interested in generating, and so the rest of the band decided to carry on as a quartet, with an edgier single-guitar configuration. 

After losing their financing, they were offered a rescue by a pair of twin London-based entrepreneurs, Ron and Reg Kray, renowned today the world over as notorious gangsters, but at the time they were also trying to engender a facade of respectability, and as they already had an interest in a few clubs, they thought that a more direct participation in the entertainment business might prove lucrative. They therefore signed the group and became The Shots' managers, but as they were never able to do anything with them in terms of bookings, the band decided to abandon the contract, and when they were served with an injunction, they were left unable to perform. As luck would have it, however, they still had a publishing and recording contract with Babson, and access to his studio, and so they took advantage of their ban on performing by writing and making records, and it was at this time that decided to change their name, dropping The Shots in favour of The Smoke. One of the songs they came up with was 'My Friend Jack', a mod-flavoured psychedelic number written by Rowley and Gill, although its drug references were so potent that the song had to be rewritten before EMI would touch it. EMI/Columbia did release it in February 1967, but almost immediately it was banned by the BBC due to its drug references, although this didn't stop it from becoming a massive hit in Europe, particularly in Germany, where the group performed on the German television show Beat Club, alongside Jimi Hendrix and The Who. 

The single charted high in Switzerland, France, and Austria as well, and suddenly there was demand for a Smoke LP in Germany, so they delivered this in the form of 'It's Smoke Time', comprised of the best of the year-old tracks recorded for Babson during 1966. The band actually relocated to Germany, while continuing to release records in England, and they cut some fine psychedelia, crossing paths with the members of Traffic in the studio during this period. After five years of work they were summoned back to the UK by their new manager Chris Blackwell, but they ignored his request, and so that was effectively the end of the band. Mick Rowley remained in Germany, where, as the voice and frontman for the band, he had a natural following, while Luker, Gill, and Lund did finally return home and went to work for Babson's Morgan Studios, working in various bands within Babson's orbit, including Blue Mink, Orange Bicycle, and Fickle Pickle. A latter-day version of The Smoke surfaced in a distinctly mid-70s mode, but made no great impression on anyone, although the reputation of 'My Friend Jack' continued to grow, being featured on any half-decent compilation of 60's psychedelia. Not everything that the band recorded in 1966 found its way onto 'It's Smoke Time', and so there is enough leftover material from then, plus a few tracks from their early 70's incarnation, to produce a passable follow-up to their 1967 debut.  

Track listing

01 Playing With Magic
02 That's What I Want

03 It Could Be Wonderful
04 Ring Me
05 Jack Is Back
06 Victor Henry's Cool Book

07 Have Some More Tea
08 Sweet Wilfred

09 Utterly Simple
10 Blown Away
11 Sydney Gill
12 My Lullaby
13 The Girl In The Park
14 Ride Ride Ride (Dick Turpin)

The Overlanders - Sing A Song Of Sadness (1966)

The Overlanders were formed in 1963 by Paul Arnold on piano and guitar, Lori Mason on piano and harmonica, and Peter Bartholomew on guitar, with all three singing in a vocal trio style. They focussed on the American folk/country style of music, and they were influenced by the likes of The Kingston Trio, The Brothers Four and The Four Freshmen. The group were signed to the Harold Hammond agency, who also handled The Settlers, and for a while The Crazy World of Arthur Brown, and they were picked up by Pye Records in the Spring of 1963, who assigned recording manager Tony Hatch to the group. Their first release was 'Summer Skies And Golden Sands'/'Call Of The Wild', with both sides self-composed by the three members, and it could have been a hit single with a bit more luck. With the success of Lennon and McCartney as songwriters, group members were encouraged to write their own material, and so The Overlanders composed many of their own songs. The follow-up 'Movin'' also failed to chart, but their third release, a cover of Chad And Jeremy's 'Yesterday's Gone', managed to attain a high of No. 75 in July 1964 on the US Billboard chart. Their next single release was 'Don't It Make You Feel Good', which was written by Hank Marvin and Bruce Welch and had originally appeared on the album 'Dance With The Shadows', but it followed the same fate as their first two, as did the next five single releases. 

Their producer Tony Hatch obviously believed the group had hit potential, and gave them chance after chance, but after nine releases, with none of them charting in the UK, The Overlanders decided to bring in a rhythm section, and added Terry Widlake on bass and David Walsh on drums, which allowed the group to expand from a folk based trio to a more pop sounding quintet. In 1965 Hatch announced that he had procured The Beatles' 'Michelle' for recording, and immediately booked a session at Pye Studios for the band to record it. The single was rush-released on 31 December 1965, ahead of any potential competing versions, and the gamble paid off with the record peaking at No. 1 in the UK, remaining at that spot for three weeks. Pye capitalised on the hit single by releasing an EP and an album of the same name, but none of the material was new as it consisted of songs from their previously failed singles. It was hard finding a successful follow-up single, and both Hatch's 'My Life' and a cover of The Mamas and The Papas 'Go Where You Wanna Go' failed to chart, and so Arnold left to take his chances on a solo career, being replaced by vocalist/guitarist Ian Griffiths. The revised group carried on for a further twelve months, with the only release being 'Go! With The Overlanders And The Settlers', an album issued by Pye in a vain attempt to revitalize the careers of two of its floundering acts. 

The Overlanders finally parted ways in October 1967, with Widlake and occasional member Vic Lythgoe turning up in The Cuppa T for two singles on Deram. Paul Arnold reformed the band in April 1968 as The New Overlanders for two singles on RCA, but their time had passed, and nothing more was heard from them after they failed to chart. The band had continued to record following 'Michelle' becoming a hit, and if Pye hadn't wasted some of these recordings by pairing them with songs from The Settlers for the 'Go!...' album then they could have released a record of new material in 1966, which just might have shown the public that they weren't just a one-hit wonder. However, that didn't happen, and so we can only speculate on what such an album could have sounded like, and it could have been something like this, which adds a couple of their singles which didn't make the 'Michelle' album to tracks from the 'Go!...' album, plus some other unreleased recordings.  

Track listing

01 If I Gave You
02 My Life 
03 Anna Marie
04 Sing A Song Of Sadness 
05 Don't Let It Happen Again
06 Go Where You Wanna Go 
07 Rainbow
08 Girl From Indiana
09 Circle Line Blues
10 Movin'  
11 This Land
12 Cradle Of Love 
13 Delia's Gone
14 I Wonder Why
15 Shanghai Rooster

The Remains - All Good Things (1966)

The Remains formed in 1964 at Boston University, where all four members were first-year students living in the same dorm in Kenmore Square. Comprising singer/guitarist Barry Tashian, keyboardist Bill Briggs, drummer Chip Damiani and bassist Vern Miller, they began playing r&b and rock'n'roll covers, as well as some Tashian originals, at a tavern across the square from their dorm, and soon fans were lining up from Kenmore Square to Fenway Park to see them. The band became a popular live act throughout New England, and after signing with Epic Records they enjoyed local hits with a catchy Tashian original, 'Why Do I Cry', and their hard-driving version of the Bo Diddley/Willie Dixon classic 'Diddy Wah Diddy'. In 1965 they relocated to New York City, and then after about a year they moved on to California, where they recorded a self-titled album, and released the soulful, hard-rocking single 'Don't Look Back. In 1966 came the opportunity which might have broken the band nationally, but proved instead to be their last hurrah, when they were offered a three-week stint as an opening act for the Beatles, on what would turn out to be the Fab Four's final tour. Immediately before the tour, Damiani quit the band, to be replaced by future Mountain drummer N.D. Smart, which meant that the band had to play a major tour with a new drummer who didn't have the same feel that they were used to, and so when the tour was over the band broke up in late 1966, and Epic finally released their debut album to little fanfare. Years later, however, it is now recognised as a classic of its genre, packed with great songs from Tashian, and boasting exciting, fiery performances. Luckily they recorded enough material during the album's sessions to release some non-album singles during 1965 and 1966, and if we take those songs and add in some of those other session recordings there are actually enough tracks available to make up a creditable second album, which could have been released as a posthumous tribute to them, after they'd broken up in 1966.    

Track listing

01 Me Right Now
02 I Can't Get Away From You
03 Ain't That Her
04 Like A Rolling Stone
05 When I Want To Know
06 But I Ain't Got You
07 Mercy, Mercy
08 Baby I Believe In You
09 I'm A Man
10 My Babe
11 I'm Talking About You
12 Gonna Move
13 All Good Things

The Misunderstood - End Of Time (1966)

The Misunderstood were formed in Riverside, California, and had their roots in the Blue Notes, an instrumental combo featuring George Phelps and Greg Treadway on guitars and Rick Moe on drums. Despite living in a landlocked town, Phelps and his friends developed a passion for surfing, frequently road-tripping to Encinitas to ride the waves, and a shared love of the beach brought Phelps together with Rick Brown, whose family had recently moved to Riverside. After the demise of the Blue Notes, Phelps, Treadway, and Moe decided to form a new band, and brought Brown on board as their lead singer. Billing themselves as Treadway & Company, they invited Steve Whiting to play bass, and began putting together a repertoire steeped in blues and covers of the tougher British Invasion groups, in particular the Rolling Stones, the Kinks, Them, and the Yardbirds. They also began writing songs of their own, and by mid-1965 they had enough material to cut a demo at a local recording studio, by which time they had dropped the name Treadway & Company and branded themselves The Misunderstoods, a reference to the Animals' hit 'Don't Let Me Be Misunderstood'. After a few months of rehearsing, playing teen clubs, and appearing at school dances, another recording session took place in December 1965, this time under the revised name of The Misunderstood. 

After recording some more material in January 1966, Phelps dropped out of the band, preferring to get a day job, and after seeing Glenn Ross Campbell playing steel guitar with his group the Answers, the members of the Misunderstood were certain his unique style was the right fit for them. Campbell had been playing in country and rock bands for years, and his use of a fuzzbox to add a beefier tone to his refashioned blues licks gave the Misunderstood a sound unlike any other group at that time. Not long after Campbell joined the act, they played a show at a shopping center in Riverside, and they were spotted by John Ravenscroft, a British disc jockey who had recently landed a job at a local FM radio station. Ravenscroft was blown away by what he heard, and he took the group under his wing, offering them advice and filling their ears with different musical influences. It would not be the last time the DJ helped a band get a break, as years later he would adopt the name John Peel, and became one of the most influential radio personalities in the U.K. In March 1966, Peel arranged for the band to record a session at Hollywood's Gold Star Studio, famed as Phil Spector's favourite recording facility, and the tapes showed a band who were moving beyond blues-rock into a more expressive and experimental sound that would anticipate psychedelic rock. 

Peel and the musicians became increasingly convinced that if they wanted to find the right audience for their work, they would be better off in England than California, and after pressing a single of two of the Gold Star tracks as a calling card, 'You Don't Have to Go' b/w 'Who's Been Talking', they began blocking out plans to relocate to the U.K., with Peel's brother acting as their representative in England. They staged a final show in Riverside, and left for the U.K. in June 1966, but to their dismay they discovered that Peel hadn't contacted his mother, who was supposed to let the band stay at her home when they arrived in London, and his brother had done little to lay groundwork for their mission to conquer Great Britain. They also lacked work permits, but they were still able to land gigs and began finding an audience for their bold sound, especially after they acquired a manager, Nigel Thomas. However, in August 1966, homesick Treadway quit the group and returned to California, and the band replaced him with new guitarist Tony Hill, who proved to be an excellent foil for Campbell's steel work, and who also wrote new material in tandem with Brown. A new demo was cut at London's I.B.C. studios, which Thomas took to Fontana Records, and they signed the band and issued the single 'I Can Take You To The Sun' b/w 'Who Do You Love' in December 1966. 

The group bowled over the press in a media event staged by Fontana and they were being talked up by the British music weeklies, but a dark cloud appeared on the horizon, as Brown had been called up for the military draft, and after ignoring numerous letters from America's Selective Service System, he was informed he would be officially indicted on charges on draft evasion if he didn't return home to meet the draft board, so he flew back to California. Brown hoped that his commitments to Fontana in England, as well as a letter from his doctor saying he was unfit for service, would permit him to return to London relatively soon. However, his pleas were rejected, and he was given the option of serving two years in the Army or five years in prison. Brown chose the Army, and though The Misunderstood found a new singer, Steve Colyer, their management had lost confidence in the band after Brown left. They were booked to play shows in France in early 1967, only to discover that Campbell's, Moe's, and Whiting's visas would not permit them to return to the U.K, and so they had no choice but to go back to California, which spelled the end of the group. 

After returning to America, Campbell was befriended by blues artist Rod Piazza, and he joined Piazza's group the Dirty Blues Band, appearing on their self-titled debut album, issued in 1967 by Bluesway Records. Meanwhile, Peel continued to champion the Misunderstood even after their breakup, and at his urging, Fontana released another single from their recordings of the band, 'Children Of The Sun' b/w 'I Unseen'. The single generated enough attention that Campbell returned to England and assembled a new edition of The Misunderstood, but rather than trade on his old band's reputation they named themselves Juicy Lucy, and signed with Vertigo Records, who put out their first album in 1969. In spite of their relatively small output, they were considered to be influential pioneers of the acid style of rock music, and many of these tracks sound like they could have been recorded about two years later, showing how far ahead of their time they were. There have been a number of compilation albums issued over the years, but none have tried to show what an actual 1966 album by the group could have sounded like, and I hope that this post fills that gap. 

Track listing

01 Children Of The Sun
02 I'm Not Talking
03 I Unseen
04 End Of Time
05 I Can Take You To The Sun 
06 Why
07 My Mind
08 Find The Hidden Door
09 Who Do You Love
10 Bury My Body
11 Who's Been Talking
12 Got Love If You Want It
13 Don't Break Me Down
14 She Got Me

The Mojo Men - Times Like These (1966)

As mentioned in the previous post from the Mojo Men, Dennis DeCarr left the group in 1966 and was replaced by drummer/vocalist Jan Errico, formerly of the Vejtables. This signalled a change in direction for the group, and they ditched their previous British Invasion-influenced garage rock for more of a pop/folk sound. They also left Autumn Records and signed with Reprise Records, where their first single for the label was a Baroque cover version of Buffalo Springfield's 'Sit Down, I Think I Love You', which became the band's first and only top 40 single. Despite releasing half a dozen more singles between 1966 and 1968, they could never regain the popularity of that first record, and so in 1968 Metchick left the band, and the remaining trio shortened their name to The Mojo, and then just Mojo, before they released their lone studio album, 'Mojo Magic', on GRT Records in 1969. Later that year the group disbanded, but after 'Sit Down, I Think I Love You' was included on the seminal 1972 'Nuggets: Original Artyfacts From The First Psychedelic Era' compilation album, the band's earlier output was re-examined and found to contain a number of fine recordings. There have been three Mojo Men compilation albums released between 1995 and 2003, but the most interesting of them was a collection of recordings made after Errico joined in 1966, but which were never released. There is a lot of duplication on it, with the inclusion of alternate takes and demos, but by stripping all of those out we are left with an excellent collection of music which shows the transition of the group's sound into the pop/folk for which they are most known, and which could have been released as an actual album in 1966.

Track listing

01 Is Our Love Gone
02 What Kind Of Man
03 Another World
04 Sure Of Your Love
05 Look Into My Eyes
06 Times Like These
07 You Didn't Even Say Goodbye
08 Happiness Is You
09 Not Too Old To Start Cryin'
10 'Til I Find You
11 What's The Answer
12 They May Be Right
13 Remember Me
14 Don't Leave Me Crying Like Before

The Creation - Ostrich Man (1968) **UPDATED**

While posting my reconstructions of albums by 60's band that never appeared at the time, I've revisited some of my earlier posts which were not part of this series, and with this one in particular I found that I was just as guilty as the compliers that I've criticised, throwing in every single track that I could find from the band. That included duplicate takes and early live recordings just to make up the time, and yet I didn't need to as it ended up as a 45-minute album, which was more than long enough. I've therefore revisited this post and updated it, which includes removing one of the duplicate tracks - I've chosen to keep the raw version of 'Life Is Just Beginning' as no other tracks are orchestrated and so it fits better with the rest of the album - and re-jigging the track listing, as I now think that starting with an instrumental was an odd choice. I've also looked at the live tracks and done a bit of editing to 'I'm A Man', but I felt that 'That's How Strong My Love is' was too much of a soul song to fit with the psychedelia of the rest of the tracks so that's now gone. Finally I've updated the cover, as I never really liked the old one. If you already have this then it's up to you if you grab this update, as you already have all the music, but I just feel that with this running order it now sounds better as an actual album. One last thing that I've done is to tag all of these albums as '60's psyche' so that you can see them all together and check if you've missed any earlier ones.

Track listing

01 Life Is Just Beginning

02 Ostrich Man

03 I'm A Man

04 Instrumental #1

05 For All That I Am

06 I Am The Walker

07 Mercy, Mercy, Mercy
08 The Girls Are Naked

09 Uncle Bert

10 Sylvette

11 Bonney Moroney

12 Midway Down

13 Sweet Helen