It’s 1969 OK (Brit Psych January)

One of my favourite places to hang out on the Interwebs is the Marmalade Skies website, “the home of British Psychedelia”. Their “Remember the Times” section is a month-by-month diary kept from January 1966, when David Jones changed his name to Bowie for the Lower Third’s “Can’t Help Thinking About Me”, to November 1975 & the release of “Golden Years”, the lead single from his “Station to Station” album. It’s by no means a definitive guide more a labour of love to collate information & clippings from the music press of the time. The great & the good are included alongside the not so much & every page reminds you of those you still love & those you have forgotten. Here’s three from January 1969, 50 years ago!

 

 

Dave Davies…that’s the legendary…was, in 2003, placed 91st in Rolling Stones’ 100 Greatest Guitarists of All Time. You are having a laugh! On all those great Kinks records, whether it’s the power chords of “You Really Got Me” & “Till the End of the Day”, the raga drone on “See My Friends” or the indelible introductions to “Waterloo Sunset” (“the most beautiful song in the English language” & I’m not arguing) & “Lola”, Dave found the perfect guitar sound to complement & enhance brother Ray’s lyrical social realism & satire. In the mid-60’s artists were judged by the success of the latest single release, a couple of missteps & they could be history. Ray wrote & sang the words but Dave, just 17 when the group had their first #1, made a significant contribution to the distinctive, commercial, hit-making sound of the Kinks.

 

In 1967 Dave, still only 20, wrote 3 songs for “Something Else”, the group’s 5th LP. “Death of a Clown”, a co-write with Ray, was released as a single with his name on the label & became a Europe-wide hit. The possibility of a parallel solo career was considered. His Kinks commitments, they were busy recording the first of their concept albums “The Village Green Preservation Society”, obstructed any lengthy promotional activity & the following releases,, all quality work, were less successful. When “Hold My Hand”, the fourth single, bombed Dave left the solo stuff alone, tracks for a never finished record turning up as b-sides (the splendid  “Mindless Child of Motherhood”) or bonus tracks on re-issued LPs. I’m sure that he was happy being the other Davies in the Kinks but it’s a pity that there was not more of his own songs about because he was a very talented young man. Jah bless the Kinks & Dave Davies.

 

 

The Locomotive, from Birmingham, were a strange one. Many Brum Beat faces had passed through a changing line up before keyboard player Norman Haines took the reins & the band were studio ready. Norman, like many young white boys in the Second City, took a liking to Ska & the group’s first single, a Soul ballad, had a rather clumsy version of Dandy Livingstone’s “A Message to You Rudy” on the flip side. The self-penned “Rudy’s In Love” was a much more capable attempt at Jamaican music. It received wide airplay & reached the lower reaches of the UK Top 40. The group were sent to Abbey Road studios to record an LP with young producer Gus Dudgeon but by the time they arrived in that London they were a very different proposition.

 

“Mr Armageddan” (spelling?) is a portentous slice of Hammond organ heavy proto-Prog. My 16 year old self was impressed by the record’s ambition, the music scene was changing & we thought that the simple 3 minute Pop song had had its day, it hadn’t thank goodness. Nowadays I don’t buy those “physician to the wind” lyrics but “Mr Armageddan” sits well on any compilation of early British Psych nuggets. The audience & the record label were a little confused by the drastic change of direction & the LP “We Are Everything You See” was delayed for a year. By 1970 other groups were doing this sort of thing with more subtlety or, unfortunately, in some cases even less. Locomotive broke up & anyway my ears were turned towards the new music coming from the USA. Prog Rock – “mention “The Lord of the Rings” one more time I’ll more than likely kill you” !

 

 

I bought my copy of Eric Burdon & the Animals’ “Ring of Fire” in 1973 from the Monastariki flea market in Athens back when that Greek Diagon Alley sold more fleas than cheap Hellenic souvenir gewgaws. In a musty basement I found a pile of old 45 records & a mountain of vintage glossy cinema lobby cards. I told my companion that this must be the place, I would play nice & that she could collect me back here in an hour or two, maybe three. Man, I was as happy as a clam at high water & I didn’t even get to that dark corner over there where they sold the Gremlins.

 

Eric had been around & making an impression since the British Beat Boom began. For the Animals, a Geordie R&B combo, signing a record contract & moving from Newcastle to London must have seemed a big deal. When your second single becomes the hit of 1964 & you’re met at New York’s JFK airport by a motorcade of convertibles with a model in each of them then things had definitely gotten crazy. In the following 2 years the Animals responded with a string of very good Soul-Blues Pop records. A couple of the original members had fallen by the wayside & when the others asked where all the money had gone the short, strange trip was over. Eric, quite rightly rated as a charismatic vocalist, put his name in front of a bunch of New Animals, moved to California, wore some flowers in his hair & created a brand of muscular Psychedelia that many people, including myself, found very appealing.

 

“Ring of Fire”, yes the Johnny Cash one, was taken from the double album “Love Is”, Eric’s 5th release in the 2 years since the demise of the original Animals. Not surprisingly there were no new songs left so cover versions it is then including one by new members Zoot Money & Andy Summers off of the Police. Perhaps this dramatic charge at a Country classic lacks subtlety but there are some good songs on the record particularly Traffic’s “Coloured Rain” & a splendid River Deep Mountain High”, extended into a tribute to Tina, featuring sterling work on the electric piano by Zoot. At the end of 1969 the band got out of Japan sharpish after death threats from the Yakuza & that was it for Eric Burdon & the Animals. I was a fan of the first Animals, who wasn’t? I enjoyed the zeal of the newly converted to Psychedelia second incarnation. In January 1969 my best friend & I didn’t have big record collections & “Love Is” was on heavy rotation round at our houses.

 

 

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Soul UK (Geno Washington & The Ram Jam Band)

I never saw Geno Washington & the Ram Jam Band play live but I know some (older) people who did. How do you know someone saw Geno? Don’t worry they will tell you. In the mid-1960’s as the Beat Boom gave way to Modernism the local semi-professional bands replaced the R&B standards they had copied from the Stones first LP with the Soul hits of the day. If “Knock On Wood” & “Hold On, I’m Coming” were not in your set then you didn’t get the gig. In clubs across the country knowledgeable crowds came together at the weekend to dance to the American music they loved. The records were great but  when Geno Washington & the Ram Jam Band came to your town it was the nearest to the charge, the bolt, the buzz of an American Soul revue that many people were likely to get.

Geno had come to Britain to fight the Cold War in the early 1960’s. His singing ability was noticed & the Ram Jam Band went to lengths to keep him in Britain, even considering buying him out of the USAF. Managed by the Gunnell brothers, owners of the Flamingo Club, the group had a ready made London residency to establish their reputation. They had a recording contract with Piccadilly, a subsidiary of Pye Records, who in 1966 released a single by John Lennon’s father, a couple of minor hits by singer David Garrick & a lot of easy listening.  The 4 singles released by Geno that year all hovered in or around the Top 40 at a time when only the Top 20 was a thing.

Capturing the effervescence of the live experience was always going to prove difficult. In a year when “Reach Out, I’ll Be There”, “Try A Little Tenderness”, “When A Man Loves A Woman” & “It’s A Man’s Man’s World” arrived in the shops then you had to make a pretty good record to separate a Soul fan from their money & the Ram Jam’s records didn’t really stand out. Of course the answer was to record the group live so an audience was invited to Pye’s Marble Arch studio & “Hand Clappin’ Foot Stompin’ Funky-Butt…Live!” was the outcome.

In 1966 “H.C.F.S. F-B…Live!” rose to #5 in the UK LP charts. A record of a great night out was what fans wanted & in the following year “Hipster, Flipsters, Finger-Poppin’ Daddies” followed it into the Top 10. Geno may not have been the greatest singer but he was a passionate communicator. If the man with the microphone was telling you to get down & get with it while the band played & danced up a storm then it would be rude not to reciprocate & a great time was had by all.

The band were kept busy playing to packed crowds all over the country. In the Autumn of 1966 they closed the first half of a package tour which featured the Butterfield Blues Band, Chris Farlowe, Eric Burden & the New Animals & headliner Georgie Fame. Now that’s one for when I finally get this time machine working. The tour was co-promoted by the pirate Radio London & in the Summer of 67 they gave great support to a single which, I thought, would be the breakthrough for Geno Washington. “She Shot A Hole In My Soul” was a minor US R&B hit for Clifford Curry which did not get a UK release at the time. Geno & the Ram Jam Band’s full-bodied Pop-Soul failed to break the charts. The gig diary was always full but the hit single continued to elude them.

In 1968 the Ram Jam Band went to see the Gunnell Brothers about getting paid & found themselves out of a job. Geno’s new group had longer hair, ditched the Mod clobber & the choreography. The musical landscape was shifting, a set full of Soul covers was no longer on the cutting edge. My friend Pete saw Geno at Brixton’s famous Ram Jam club supported by the upcoming Jimi Hendrix Experience. It’s a good story that I’ve heard many times but there is a lot more Jimi than Geno in it.

By the Autumn of 1969 the band had broken up. Geno didn’t hang around long before returning to the US. I have always thought that with a better choice of material & more sympathetic production Geno could have had that first hit record & made the break from the club scene to the mainstream. Even without that hit there surely should have been a place for him on the new scene. Even the most stoned of hippies couldn’t fail to be roused by an all-action set of Soul standards. More pertinently a whole lot of people had not given up on this music. In the early 1970’s, through the Northern clubs who had kept the faith, there was a Soul revival which Geno would have been a part of. Instead we are left with folk who are stood on the landing wondering why they had even come upstairs but can remember every moment of the time they saw Geno Washington & the Ram Jam Band. Legend.

Bacharach & David & Dionne Warwick

Young Dionne Warwick from New Jersey had a pretty good year in 1963. In January her first solo single for Scepter Records,  “Don’t Make Me Over” hit the US Top 20. Songwriting duo Burt Bacharach & Hal David had hired Dionne to provide vocals on the demos of their songs. They had previous success separately & together but still needed to hawk their wares around New York. Ms Warwick did such a great job for the team that she was signed for their production company & they committed to recording the new songs with her. In December 1963 her new single “Anyone Who Had A Heart” was on the charts with a bullet, heading towards the Top 10. The same morning session had also produced “Walk On By” & well, we all know how that goes.

 

 

This wonderful 30 minute clip captures a performance by the new 23 year old hit maker. After her first success Dionne had left her studies at Hartt College of Music in Connecticut to travel to France. The Bacharach connection found Marlene Dietrich (Burt had been her arranger/accompanist) introducing her at the Olympia, Paris & she was a sensation. On Dionne’s return to Europe in 1964 she was filmed at the small 27 Club in Knokke, a Belgian seaside resort. Simply shot & choreographed the director accentuates the talent & she delivers. This is no supper club schmaltz (though I’m not a big fan of “People who need people”) it’s just the demure Dionne, her songs, her voice & that’s enough. It’s a surprise when she loosens up for Ray Charles’ “What’d I Say” & I love it.

 

1964 was a peak of the UK music package tour. The Beatles & Mary Wells, the Stones with Inez & Charlie Foxx, Billy J Kramer headlining with the Ronettes & the Yardbirds in support. Dionne shared her October/November bill with the Searchers, the Zombies & the Isley Brothers. Now that sounds like a value-for- money night out. (The “comedy comperes” Syd & Eddie later became fixtures in our tellies as Little & Large. For any international readers, don’t bother, really.) It was during this tour that she joined her producers at Pye Recording Studios to make “The Sensitive Sound of…” album. One of the singles selected from the record is “You Can Have Him” , a stunning remodel of a 1961 Roy Hamilton hit. It has always surprised me that the most R&B of Dionne’s Sixties output, driven by staccato drums & impassioned backing vocals, was recorded with London sessioneers & not the usual New York crew.

 

 

Sometime near the end of the 20th century I was working in Putney, South London & across the road was a second hand record shop. It was the perfect place for a music freak like me to spend a lunch hour buying too many albums. There was a chance that the copies of “Dionne Warwick’s Golden Hits Part 1 & 2”, released in 1967 & 69 respectively, could be a little scratchy but they were US copies, on the Scepter label, & were a complete collection of those great singles. I was on a “easy listening” tip at the time, inspired by an old beaten-up Bacharach album I had found on the local market. These records, which turned out to be unplayed, turned our house into warmer but cooler home.

 

“You’ll Never Get To Heaven (If You Break My Heart)” was the 1964 follow up to “Walk On By”. That year Dionne was Cashbox’s Best Selling Female Artist & this song was a bigger hit in the UK than in the US. The clip is taken from 1966, part of her 5 week engagement back at the Olympia as a guest on the Sacha Distel Show. Two years on & she is an international star, a confident, sophisticated talent recognised as the premier interpreter of Bacharach & David’s songs. She’s assured enough to add her own flourishes to this song, one of my favourites, & her perfectly pitched performance can still give me goosebumps.

 

 

Burt Bacharach’s compositions employed unusual time changes to surround & support Hal David’s mature lyrics. As an arranger, he sat pianist Paul Griffin next to drummer Gary Chester in the studio & together they found the fluid, graceful interior logic of the music. This was not the usual “moon in June” Brill Building teen-pop knock off. This was a refined, urbane progression for the popular song & in Dionne Warwick the pair found the perfect foil. Dionne emotional Gospel roots were smoothed by an almost Jazz, almost cabaret feel. She became a modern Pop star making a new, a little more experienced, Pop music.

 

There’s not room here for all of the classic records that kept Ms Warwick on the charts through the decade & became the foundation of such an enduring & successful career. “Walk On By”, “I Say A Little Prayer” & “I’ll Never Fall In Love Again” all deserve attention. I shock myself that I have the front to leave out the perfect “Do You Know The Way To San Jose?”. It’s another personal favourite that makes the cut, another clip recorded in France where they really got her. Dionne delivers the charming “Are You There (With Another Girl)” (1965) casual in sweater & slacks, the epitome of chic which is, I believe, a French word. “Je ne sais quoi”, that’s more French but I think we knew exactly what Dionne Warwick had.

One Great Song Three Great Records (Dedicated To The One I Love)

The first time I heard “Dedicated to the One I Love” was in February 1967 when the Mamas & the Papas released the song as a single. The year since the arrival of their debut LP “If You Can Believe Your Eyes & Ears” had been golden for the four part harmony group. Apparently John and Mitchy were getting kind of itchy just to leave the folk music behind. With Denny Doherty & Cass Elliott the Phillips’s sang like a band of angels. “California Dreaming” & “Monday Monday”, instant classics, blended  West Coast sunshine with grown up songs. The four voices were such a natural fit they could have recorded excerpts from the phone book & it would have sounded fine.

“Dedicated to the One I Love” was the group’s fifth Top 10 hit in 2 years. The Mamas & the Papas epitomised Los Angeles bohemian chic & the musicians of Laurel Canyon were displacing the movie stars of Hollywood as the city’s cool set. I’m not going to be able to leave this without declaring that in 1967 Michelle Phillips, “Dedicated…” being her finest recording, was quite possibly the most beautiful woman in the world. You don’t believe me ? Then watch this…

“Dedicated to the One I Love” & the Mamas & the Papas were such a perfect fit I assumed that John Phillips had written this one too. This was not the case, the song had been a hit for the Shirelles in 1961.  “Will You Love Me Tomorrow”, the first big one of many for the songwriting team Goffin & King was one of theirs. “Soldier Boy” that was another one. The 4 Jersey Girls pioneered the girl-group sound, a big part of 60s American Pop. In 1966 I loved the Crystals, Ronettes, Shangri-Las & the graduates of the Motown charm school. The Shirelles seemed a little over by then, I had never heard their version of “Dedicated…”. What did I know ? Back then I had never even heard of the 5 Royales.

Now that’s how it originally went. In the days before Rock & Roll the 5 Royales were a pretty big deal. The group, from Winston-Salem, North Carolina, took up permanent residence in the R&B Top 10 between 1952-54. At Apollo Records in New York they were skilled at taking Gospel groups & steering them towards Doo-Wop. The Selah Jubilee Singers became the Larks & the Royal Sons Quintet, the 5 Royales. These early hits featured the strong lead vocal of Johnny Tanner & a tenor sax break. Band member Lowman Pauling had a facility for writing fine songs & he was soon to prove that he had another 6 strings to his bow.

The group’s sound was updated when the saxophone was joined by Lowman’s guitar. His stinging, economical, innovative style marked the 5 Royales out from the crowd. Young guitarists like Steve Cropper, later to be such a presence at Stax, & John Fogarty, off of Credence Clearwater Revival, certainly listened & imitated. Lowman continued to provide great material. In 1957 there was another burst of success with songs that were not only popular but influential. “Think” was recorded by James Brown, “Tell the Truth” by Ray Charles. For “Dedicated to the One I Love”, co-written by Pauling & producer Ralph Bass, Johnny Tanner’s younger brother Eugene stepped up to add the sweetness that the song needed & made it such a popular, enduring classic. The swagger from Lowman Pauling’s guitar is what makes it outstanding. The Rock & Roll Hall of Fame is not a concept that much concerns me but when the 5 Royales were ushered through the door in 2015 I was happy to see them recognised.

In 1968 Stax Records of Memphis found themselves at the wrong end of a deal with Atlantic. In September 1969, to counter the loss of a stellar back catalogue, the label released 27 new LPs. One of them, “Hot Buttered Soul” by Isaac Hayes sold 3 million copies, inspired a whole lot of Orchestral Soul & kept Stax in the record-making game. Producer Jo Bridges set up the subsidiary We Produce label & brought along the Temprees, a trio who had been friends from high school in Memphis.

There are 3 Temprees albums, all large helpings of sweet, symphonic Soul. In 1972 it was the vocal groups up in Philadelphia, the Gamble & Huff stable, O’Jays, Bluenotes, the Stylistics who were getting the hits. Then there was the Chi-Lites & always the Temptations. The lead falsetto vocals of Jabbo Phillips stand comparison with Russell Thompkins of the Stylistics but the Temprees never achieved similar success. Their unhurried take on “Dedicated…” is a delight, a great vocal supported by Stax’ house orchestra, Isaac Hayes’ back-up, the Movement. Never fails to hit the spot this one…”Ooh Baby !”.

So here’s 3 versions of a great love song from 3 different decades each one a fine example of a style current at the time. Then there’s the Shirelles US Top 10 record, Bitty McLean’s reggaefied UK hit, the title track of a Linda Ronstadt LP, a live tribute by Laura Nyro, a champion of New York R&B.  Lowman Pauling died in 1973, he’s buried in Winston-Salem next to his brother Clarence Paul, mentor of Stevie Wonder, co-writer of “Fingertips”, “Until You Come Back to Me”, “Hitch Hike” & many others. Man, that’s a talented family. The man whose name is on these & many other versions saw very little money from his composition. At the time of his death he was working as a night watchman at a New York church. Lowman now has a reputation as a star guitarist (try “The Slummer the Slum”, an early use of feedback) but something is not right there.

That Would Be Ecstasy You And Me Endlessly (The Young Rascals)

Back in the mid-1980s my friend Mitchell’s new job came with a van which he got to keep when he wasn’t punching the clock. As a non-driver I really didn’t mind public transport (OK, the cold, wasted hours at bus stops could be irksome) but looking at the world’s greatest city through a windshield, cruising with your best buddy & the correct sounds playing made life a little better. Our music of choice was a cassette of the soundtrack of “The Big Chill” (1983) Lawrence Kasdan’s poignant Baby Boomer ensemble drama. Not all of the classic tracks from the 1960s used in the movie made it on to the album, it was mostly Motown & Atlantic Soul. One track, probably the one we knew the least, caught the moment, raised our energy, went straight to rewind & repeat.

“Good Lovin'”, a 2 minutes 28 seconds rush was the 2nd single to be released by Atlantic’s blue-eyed Soul boys the Young Rascals. Originally recorded by Lemme B Snell, the Rascals had probably come across the version by the Olympics. Their first eponymous LP, a recreation of their exciting live shows at the Barge, Long Island, which first attracted the label, was packed with cover versions, just one of their own compositions. Under the tutelage of future label Veep Arif Mardin & expert engineer Tom Dowd the group produced themselves. The songs written by organist Felix Cavaliere & singer Eddie Brigati  didn’t match the #1 success of “Good Lovin'” but were good, getting better & kept them in the frame as one of the most popular groups around.

The Rascals became “Young” to avoid legal dealings with an established variety act. Onstage their knickerbockers & Peter Pan collars gave them an overgrown schoolboy look. They were good-looking men & over here we saw them as US teen idols who, like Paul Revere & the Raiders, relied a little too much on a visual gimmick. In the mid-Sixties the UK’s Pop Art was our biggest export. We were busy in Carnaby St, had our own take on R&B, our own new young sensations coming up. The Young Rascals were closer to the dynamic Mitch Ryder & the Detroit Wheels. We pretty much ignored that great group too.

It was “Groovin'” (1967), you know it, carefree, the feelgood hit of the Summer of Love, a better anthem  than Scott McKenzie’s “San Francisco, which finally registered in the UK. They came over to tour with Traffic & Vanilla Fudge (who, I think, blew the tour out after just one date) & that sounds like a good night. The “Groovin'” LP was packed with hit singles. “A Girl Like You” was a Rascals’ rhythm rocker, “How Can I Be Sure”, with Eddie on lead vocal, was a baroque waltzing delight. It sure sounded like a hit to me (it was in the US) & I bought the 45, on the red Atlantic label, but not many other Brits did. It sounded like a hit again when Dusty Springfield released a version that missed out. In 1972 David Cassidy did take the song to the #1 spot but I wasn’t really listening.

The group had ditched the school uniforms & the cover of the “Once Upon A Dream” LP (1968) confirmed that the Rascals were no longer “Young”. “Sergeant Pepper’s…” had set a new standard for Pop music & classically trained Felix Cavaliere was up for the challenge. With its sound effects, spoken word,. whistles, bells & sitars, the LP certainly embraced the new spirit of inventiveness & imagination. The one hit 45 “It’s Wonderful” is just that. At times the simple, soulful melodicism of the group loses out to orchestration & arrangement but “Once Upon  Dream” is a very interesting record which doesn’t get the love or attention it deserves when American music of the time is remembered. Whether the world & their audience were ready for the Psychedelic Rascals was another matter. Later in the year “Time Peace”, a greatest hits collection, reached #1 in the album charts. Perhaps people, preferring those optimistic, energetic, well-made tunes, still regarded the Rascals as a great singles band. They could still do them.

In the late 1960s music was changing & so was America. The Rascals, New Jersey boys raised on R&B, affected by the assassinations of Bobby Kennedy & Martin Luther King, insisted on playing on integrated bills before non-segregated audiences. The group spent a little more time on their next LP. Previously they had pretty much recorded & released everything they had written. “People Got To Be Free”, a taster for “Freedom Suite”, was another irresistible anthem which gave the Rascals their third #1 US hit. “Freedom Suite”, like many double albums, would have made a great single LP. It’s been remiss of me not check for Dino Danelli. The space offered by playing in a 3-piece band showed Dino to be a great Rock drummer but a 13 minute drum solo, acceptable from Ginger Baker of Atlantic’s new Rock act Cream, was a little indulgent. The 15 minute long track taking up the whole of Side 4 was a bit much too.

By 1970 Atlantic had signed Led Zeppelin & Crosby, Stills & Nash. The Rascals were no longer their headline, hit-making act. There were 2 more LPs on Atlantic, more songs solely written by Cavaliere, less promotion reflected by less success. There’s fine music across both records but Eddie Brigati left during the recording of “Search & Nearness” (1971) then guitarist Gene Cornish followed soon after. The Rascals who released “Peaceful World”, their first LP for Columbia, just 2 months later were Felix, Dino & two new members. Again, despite the quality of the music, Jazz Improvisation Rascals failed to find a sizeable audience.

The Rascals were inducted into the Rock & Roll Hall of Fame by Steve Van Zandt off of the E Street Band & the Sopranos. His endorsement & affection for fellow Jersey Boys inspired a concert/theatrical combo, the first full reunion for 40 years, which was warmly received. The Rascals’ love of Rhythm & Blues got them started  &  the energy & enthusiasm they injected into their version of it was unmatched (see above). They changed with the times & made LPs that will reward investigation if you’re not already on them. Back when we were young & they were “Young” their hopeful, optimistic even innocent music caught the moment as well as just about anyone around.

Only In It For The Mony Mony ? (Tommy James and the Shondells)

Over here in the UK Tommy James & the Shondells were one-hit wonders & what a hit it was. In August 1968 the urgent, immediately catchy “Mony Mony” was toppermost of the poppermost for 3 weeks but little else by the group caught the attention of record buyers. Across the Atlantic Tommy & the boys were a much bigger deal, enjoying 9 Top 20 hits between 1966-69. They were prominent in interesting times & Tommy chronicled his own experiences in his autobiography ” Me, the Mob & the Music” (2010). It was a story he had wanted to tell for a long time but didn’t feel comfortable going into print until after the death of Vincent “the Chin” Gigante, head of the Genovese family. Fuggetaboutit  !

 

 

Tommy James first recorded “Hanky Panky” with his Niles, Michigan high school band. In 1965 renewed interest in Pittsburgh, where bootleg copies sold out, brought the record to national attention. By July 1966 19 year old Tommy, with a new gang of Shondells, had the #1 record in the US. The song was written in 1963 as a throwaway b-side for the Raindrops by New York young guns Ellie Greenwich & Jeff Barry. The boys took  a basic R&B tune into the Garage & made it even more primitive. They were surely too young & dumb to know they were making a million selling record & that’s the beauty of it.

 

The group were signed to Roulette records run by Morris Levy, a New York scenester since the 1940’s. Morris knew guys with imaginative nicknames & equally colourful criminal records. He was also an expert on the connection between controlling the publishing rights of his roster & his bank account. He kept his new hit act busy, 3 LPs & a “Best of…” compilation were released in 1967. Levy was not really a record man, he left the group & their producers to themselves in the studio. It happened that Tommy James & the Shondells had the happy knack of making songs that grabbed your ear when they were played on the radio & made a lot of people want to hand over their hard-earned in exchange for a 7″ vinyl disc.

 

 

There was a stutter after the first hit, the copycat “Say I Am (What I Am)” stalled outside the Top 20 & “It’s Only Love”, a piece of fluff covered in the UK by Tony Blackburn, our lamest DJ, bombed. “I Think We’re Alone Now”, you know it, an instant Powerpop classic, put them back on track. Working with writer/producer Ritchie Cordell the 5 singles released in each of 1967 & 68 varied in quality but all had their appeal. “Mony Mony”, painstakingly assembled in the studio, is supercharged Garage Rock, everything kept simple & done very well. I was 15, dancing to this at the weekend youth club, my record collection small enough to investigate the b-side & learning that “1-2-3 & I Fell” sounded like a hit to me.

 

 

 

 

Times were changing. You can see it in the clip the band made for “Mony Mony”. Everyone has more hair. Is that a Nehru jacket Tommy is wearing ? The love beads have been shared around. Tommy spent time helping the campaign of Democratic presidential candidate Hubert Humphrey. On his return to New York he knew that the emphasis was now on the album rather than the 3 minute single. The group were established enough to produce themselves, prolific enough to release 3 LPs in the next 18 months. First up was “Crimson & Clover”, sleeve notes written by the losing candidate, which included 2 massive hits, the title track (#1) & “Crystal Blue Persuasion (#2). “Crimson & Clover” is a perfect Psychedelic Pop single, better than the Lemon Pipers, better than the Electric Prunes. Innovative effects extract maximum value from a monumental guitar riff & Tommy’s vocals. The LP veers across a range of styles & helped by the hits made the Top 10. Tommy James & the Shondells seemed to have cracked the album market.

 

The title track of “Cellophane Symphony” went the full lysergic. Tommy had got hold of a Moog synthesizer & he was going to use it. This time there’s an ambition that is probably not matched by the material. “Sweet Cherry Wine” is an obvious smash & I really like “Makin’ Good Time”, an old style Tommy James rocker which was only a b-side. The 3 comedy tracks are too many, maybe 3 too many & the LP failed to make an impression.

 

 

“Travellin'” (1970) got back to where they once belonged, a Blues-Rock simplicity that the band had always done very well. This clip is promoting the single “Gotta Get Back To You” & it’s not just the haircut that makes Tommy look rough. To keep up with the hectic touring & recording schedule Tommy’s drug of choice was amphetamines. After a gig in March he collapsed & was actually pronounced dead. Thankfully he survived & after recuperation the Shondells were no longer attached, Tommy James was a solo act. Those solo LPs are for another time. The memorable “Draggin’ the Line” put him back in the Top 10, there was another hit in 1979.  Tommy James was a 23 gold singles, 9 gold or platinum albums wonder &, he reckoned, around $30 million short of what Morris Levy owed him. In 1987,as an example of the sturdy, enduring nature of his songs, teen idol Tiffany took “I Think We’re Alone Now” (not as good as the Rubinoos) to #1 then was replaced by Billy Idol’s version of “Mony Mony” (not as good as the original).

 

Tommy is still around & Morris Levy isn’t. A 3 year long FBI investigation into the alleged infiltration of organised crime in the record business put his name in the frame for charges of extortion which got him a 10 year stretch. His health was failing & he died in 1990 before he could report to prison. There has been talk that Tommy’s book could be made into a movie. It’s quite a tale.

 

The group are unfairly labelled as a “Bubblegum”. “Hanky Panky” gave them an audience which they wanted to maintain. Tommy showed talent, inventiveness & above all adaptability to accommodate the rapid shifts in the music of the time & make commercially successful records. It’s not just the hits, the LPs contain plenty of interesting music too. Tommy James & the Shondells were never going to change the world, they didn’t want to but they deserve greater consideration in any review of 1960s American Pop music. I’ll finish with Prince, a man who always had an ear for a great song, & his grandstanding version of “Crimson & Clover”. Brilliant.

 

 

 

 

 

What If Something’s On TV And Never Shown Again ? (The Village Square)

“The Village Square” was a US TV show which originally aired out of Charleston, South Carolina & was syndicated across the country between 1965-68. A local band was renamed the Villagers & they covered the Top 40 hits of the day. Suited & booted for the middle of the road, Mod casual, with go-go dancers, for the British Invasion then kaftanned-up for the Summer of Love, everything they did had, at least, energy. It is the surviving clips of the guest artists, a chance to see quality, colour clips of acts that didn’t usually get star treatment, which are of most interest.

 

 

The Tams formed in Atlanta, Georgia in 1960 & 2 years later an R&B hit “Untie Me” scored them a deal with ABC-Paramount. That first hit was written by fellow Atlantan Joe South. He & another local songwriter, Ray Whitley, provided the material to keep their name in the frame through the rest of the decade. Here from 1966, in living colour they perform “What Kind of Fool (Do You Think I Am)”, a Top 10 record in 1964. The label had used FAME Studios in Muscle Shoals, Alabama for a Tommy Roe hit & brought the Tams around to get this new sound. It’s great to see such a good quality clip of the guys, fronted by gravel-voiced Joseph Pope, doing their thing. It’s even greater, for me anyway, to see the second song. “Shelter”, their current 45 at the time, a dynamic Soul Stomper, written by Joe South & my favourite track by a group who made many fine records.

 

Over in the UK the Tams were Northern Soul darlings, a scene which kept its favourites close, long after their expected shelf life. In 1970 a two year old 45 “Be Young, Be Foolish, Be Happy” got a wider hearing. It’s a surprise that it only made #32 on the chart because everyone knows that one. The following year “Hey Girl Don’t Bother Me”, recorded in 1964 & still a floor-filler, went to #1. The Tams crossed the Atlantic, were on “Top of the Pops” & were a big deal. The group continued to perform & in 1987 had a UK hit with “There Ain’t Nothing Like Shaggin'” which is apparently a dance. It means something else in British so was banned by  the BBC !

 

 

The US R&B charts of the early 1960 were a rich seam of material for the British Beat Boomers. I guess cultural appropriation was not yet a thing so the 3 Motown tracks on “With the Beatles” were a gateway to the delights coming out of Detroit. Same with Manfred Mann’s “Do Wah Diddy Diddy” & the Exciters. There are many examples, it’s a list. The third single by Manchester’s Hollies, their first Top 10 hit, was a rush of harmonious Mersey Sound which pointed me towards the original recording from way, way back in the olden days, 1960.

 

“Stay” by Maurice Williams & the Zodiacs is such a  sure fire smash. It’s the sound of Doo-Wop moving into Soul. In 1960 the Drifters were hitting big adapting the Brazilian baion rhythm to R&B & “Stay” has a laid-back Caribbean feel. South Carolina beach music…it’s a thing. In 1958 he group, as the Gladiolas had recorded Maurice’s “Little Darlin'”, another individual vocal group song which was a bigger hit for the Diamonds. I had that record in a pile of 78 rpm discs (ask your grandma) that came my way & loved it when I was a kid.

 

The group are known as one-hit wonders but the second song here eventually earned them a gold record. There were, justifiably, high hopes for “May I”, written by Maurice, produced by the great Allen Toussaint & his partner Marshall Sehorn. Unfortunately Vee Jay went bankrupt just before the record’s release & it didn’t receive the promotion it deserved. “May I” is another good one, making use of the four voices & featuring the trademark Zodiacs’ falsetto. Once again, praise Jah for the Y-tube.

 

 

Here, in one clip, we have the duality of the Lemon Pipers, a band formed at college in Oxford Ohio. They signed with Buddah, a new label run by 24 year old Neil Bogart who had Captain Beefheart & Melanie on the roster but whose big idea was to grab hit Bubblegum Pop singles with the likes of 1910 Fruitgum Co & Ohio Express. Bubblegum for all its attractions (& there are many) relied upon an assembly line of writers & producers making ready-rolled records for faceless, or cartoon, groups. The Lemon Pipers were for real, they wrote their own songs. Trouble was that their debut single failed to sell & Buddah made them toe the company line.

 

So here they are promoting their second single “Green Tambourine” provided by staff writers Paul Leka & Shelley Pinz. This Pop-Psychedelia, more Pop than Psych despite the sitar, was catching on after Strawberry Alarm Clock’s “Incense & Peppermints” & “…Tambourine” succeeded John Fred’s “Judy In Disguise” at the top of the charts. They also perform the B-side “No Help From Me”, written by keyboard player Bill Nave, a bluesy Psych-Rocker in the style of the Blues Magoos or Jefferson Airplane. The success of the single meant that the Pipers were knackered though weren’t they?

 

The debut LP was a real mix, 5 Leka/Pinz songs, the others, including the 9-minute “Through With You”, was from the band. The follow up single was “Rice Is Nice” & it was no “Yummy, Yummy,Yummy”, it really did suck the big one. There was another LP, another 50/50 deal & the Pipers played on bills with the Heavy bands of the day. Unfortunately cod-psych lyrics like “To the yellow ball of butter where the clouds are as fluffy as a parachute sail” (“Jelly Jungle of Orange Marmalade-lade-lade-lade-lade”) did tend to get held against the band with the one big Pop hit & perhaps deservedly so.

 

 

Up Down All Around Like A See Saw (Don Covay)

Well 3 clips may be the magic number & you are all busy people but Don Covay was responsible for a whole lot of great Soul music. There’s no way in Hull that I can do the right thing by him as an artist by only featuring his own recordings because he was an equally talented songwriter. Whatever the changing styles & tastes in 1960’s African-American music when other singers came around calling then Don Covay usually had a song that was just the thing for them. Here’s one he kept for himself.

 

 

“Mercy Mercy” was a Top 40 US hit for Don & the Goodtimers in 1964. It’s a Gospel-inflected Soul gem, simple with a raw edge to the vocal underpinned by a variation on the sort of guitar work Curtis Mayfield brought to the Impressions. If, as it seems, Jimi Hendrix played on this, he performed the song on early Experience gigs, then he did a fine job. At the time  Rolling Stones were the world’s foremost R&B covers band. With Jagger doing his best Covay impression, they recorded a fine version for their third LP “Out of Our Heads” (1965). This wasn’t his only song to be picked up by the British Beat Boomers. “Long Tall Shorty”, Tommy Tucker’s follow up to his big hit “Hi-Heel Sneakers” was covered by both the Kinks & the Graham Bond Organisation.

 

Covay progressed from his family gospel group to the more secular Rainbows before touring with Little Richard as his chauffeur & as “Pretty Boy” his opening act. In 1960 “Pony Time”, a song he recorded with the Goodtimers was picked up by Chubby Checker, riding high on the Twist craze, & became a #1 record. Such a big hit brings people calling. As he said later “copyrights last longer than record labels”. For a while Don provided songs about new, real or imaginary, dances. One he kept for himself, “The Popeye Waddle” unfortunately didn’t catch on because I think I would be a natural. There was though a whole lot more to Don Covay than dance instructions.

 

 

Oh yeah, the lovely Gladys & her equally lovely Pips hit big with “Every Beat of my Heart” in 1961 when Ms Knight was just 17. Don Covay provided this follow-up, another US Top 20 hit. A direct, impassioned ballad, covered in the UK by Billy Fury, the best of our early rockers, showed another side to his talents. Solomon Burke, Atlantic’s biggest star, took “I’m Hanging Up My Heart For You” & in 1965 his old boss Little Richard came to New York for “I Don’t Know What You Got But It’s Got Me”, a slow-burning two part overlooked Deep Soul classic. (There’s no room here for these songs but they are in your Youtube & you should find them. Do you like good music ? Then you will love the Little Richard track). Atlantic signed Don as a performer at a time when they were striking a partnership with a new Hit Factory at Stax studios in Memphis.

 

 

“See Saw” is co-written with Steve Cropper, guitarist with Booker T & the M.G.s. This group & the Memphis Horns were bringing a raw power to Soul. Don only recorded 4 tracks at Stax, this R&B hit, 2 co-writes with Cropper & “Iron Out the Rough Spots”, a Jones/Cropper/Porter joint. They can be found on the 1966 LP “See Saw”, his most consistent collection to date. In the UK “See Saw” found an audience in the Mod clubs & its place in the repertoire of Soul covers bands. In 1968 Aretha Franklin took “See Saw” into the US Top 10. She already knew that she could get a hit record on a Don Covay song.

 

 

In 1967 Atlantic took their new signing Aretha Franklin to Muscle Shoals Alabama where FAME studios were making hits. The turbulence of that first visit is well documented but the label knew they were on to a good thing & by the end of the year there were 5 Top 10 singles & the new star was the Queen of Soul. Don Covay’s “Chain of Fools” was the 5th of those records, the opening track of her almost perfect LP “Lady Soul”.  Aretha’s vocals, FAME house band the Swampers (Joe South on guitar) & back-up Sweet Inspirations combined to produce a perfect song & a Grammy for Ms Franklin. This is where Soul was at 50 years ago.

 

Don had been around the block & Peter Wolf off of J Geils Band relates a story from that time. On the promise to Jerry Wexler (Atlantic’s head honcho) of a better song than “Chain…” the label delivered an array of top of the range musical equipment which Don then sold on. There are 854 recordings around where Covay is credited as songwriter. He knew that his royalty cheques didn’t always match what he thought he was due.

 

 

Don was an ebullient, energetic character, his confidence surely reinforced by his success. His recorded rarely but in 1968 he instigated the Soul Clan, an ambitious amalgamation of 5 Soul Stars, himself,  Solomon Burke, Joe Tex, Arthur Conley & Ben E King. Things did not run smoothly, Otis Redding died, Wilson Pickett pulled out, Burke’s plan to set up extensive black-owned businesses needed a million dollars from Atlantic that the label was unlikely to hand over. An LP, “Soul Meeting” (1968), was produced by Covay who provided a majority of the material. “That’s How It Feels”, the outstanding ensemble track of the album is co-written with Bobby Womack who was then having more success as a writer than with his own records & who often expressed his admiration for his collaborator.

 

Times were changing, Soul was getting Funky, with no label support & egos to juggle the Clan fizzled out. Don looked back & recorded with the Jefferson Lemon Blues Band, a pretty good LP with a touch of Taj Mahal about it. In 1972 he left Atlantic, his last 45 a cover of “Everything I Do Goin’ Be Funky”. The new head of A&R at Mercury was ready for the new thing.

 

 

“Super Dude” (1973) is such a good record. Don’s emotional story-songs are still straight to the heart but, now in his mid-thirties, things are getting a little more complicated.”I Was Checking Out, She Was Checking In”,his biggest Pop hit, is not the only fine “love gone wrong” ballad on the LP. Recorded in Alabama with Womack & the Muscle Shoals band, as good as it got back then, it really is a top class mature example of Southern Soul. Mick Jagger was still listening to Don Covay, you’ve heard “Fool To Cry” haven’t you ? A track from the sessions, the funktastic “It’s Better To Have (& Don’t Need)” made it on to UK radio & gave him a UK hit.

 

Don spent the Disco years at Philadelphia International, another right place at the right time. There was little more new music & in 1992 he suffered a stroke. Jagger & Richard are said to have helped with the rehabilitation expenses, friends & admirers recorded a tribute LP in 1993. There’s so much good music made by Don Covay. I must, at least, mention the songs he wrote with Wilson Pickett & the Reggae versions of his tunes. If you know his music then you know how big his contribution to Soul music was. If you don’t then he really is worthy of your attention.

 

 

 

 

Bonana-Fanna-Fo-Fer-ley (Shirley Ellis)

Hey ! Over here ! Do you want to hear a song called “Ever See a Diver Kiss His Wife While the Bubbles Bounce About Above the Water?” ? Well of course you do, you’re not nuts ! Just one click & it will happen. Shirley Ellis was a Jill-of-all-trades, equally comfortable with Jazz, standards or R&B & eccentric, energetic versions of nursery rhymes/skipping songs. It was the latter of these which gave her 3 US Top 10 hits in 18 months so those are the songs she is remembered for. I’m not about to make a case for Shirley being one of the greats. The hits were simple & were often novelties but they were fresh, smart & bold, she made an impression & I like them.

 

 

 

It’s January 1964, in just 2 weeks the Beatles are coming to rid the US Top 10 of Singing Nuns & Italian-American teen idols called Bobby or Fabien. The only keepers are the great garage anthems “Louie Louie” & “Surfing Bird” along with Shirley Ellis & her first hit “The Nitty Gritty”. I have checked for the etymology of this rhyming phrase. Some of it was rude, or racist or downright wrong. Whatever, Lincoln Chase’s song is often credited with taking it back & putting it out there. Lincoln Chase had written hit records in the 1950s & he became Shirley’s manager, producer & co-writer. He shortened her surname from Elliston & tailored the songs not only to suit her talent but make them stand out on the radio. There were follow ups to “Nitty Gritty” that failed but a year later she returned to a US Top 10 which had gotten better & included the Righteous Brothers, Joe Tex, Sam Cooke, the Kinks & the Temptations (Oh my !).

 

 

 

 

“The Name Game” is probably the best remembered of Shirley’s hits. It’s another witty ditty with a great percussive, insistent danceable arrangement. It’s fun, Tom Hanks plays it (“The Money Pit”), so does Jessica Lange (in “American Horror Story” & we still play it. “There isn’t any name that you can’t rhyme”. That’s true, just leave Chuck out of this !

 

The successor to “Name Game” gave Shirley an international hit. In the Summer of 1965 music was a big thing in the UK & I can remember kids in the street singing the rhythmic chant of “The Clapping Song (Clap Pat Clap Slap) ” which spent 6 weeks in our Top 10. The lyrics were borrowed from a 1930s song, you know it, everybody knows it…” Three-six-nine, the goose drank wine, the monkey chewed tobacco on the streetcar line”. Lovely.

 

 

 

By 1966 the time was right for a brand new beat. The emergence of Motown in Detroit & Stax in Memphis meant that it was getting mighty crowded in the R&B market & it took more than a cute novelty lyric to get a hit. Shirley failed to match the success of “The Clapping Song” with more simple rhymes & an ill-judged Xmas single. She signed to Columbia & the second single for her new label was the wonderful “Soul Time”. Lincoln Chase was less evident by now & the self-penned “Soul Time” will have you on the dance floor before the vocal comes in then keep you there through the 2-4-6-8-10 refrain. In the Casinos & Twisted Wheels of the north of England they kept the faith with Shirley but her time in the charts had passed & “Soul Time” failed to register as did the almost as groovy “Sugar, Let’s Shing-A-Ling”. The one LP released by Columbia is hardly “Lady Soul” but Shirley’s confident vocals matched to upbeat arrangements make for an interesting listen.

 

Then that was it for Shirley Ellis, she retired from the music business. She’s now 76 & there are no clips of her getting right down on any of the golden oldie shows. As I said at the top of the page she is not mentioned alongside the outstanding female voices of the 1960s but she made a lot of memorable music, all of it enjoyable & all of it fun. I ain’t ever had too much Fun !

Mannish Boy (Steve Winwood/Spencer Davis Group)

Chris Blackwell founded Island Records in Jamaica in 1958 with a start-up stash provided by his wealthy family. He made records for the local scene, mostly singles, some of them hits. Blackwell was a bit of a toff, educated at Harrow, connected, with a shrewd eye for spotting talent. On returning to England in 1962 he was selling his records, licensed from Jamaica for UK release, from the back of his car to specialist shops serving the immigrant community. This niche market was his own, he expanded with other subsidiaries. Jump Up for Trinidad’s calypso, Sue cherry-picked American R&B, Black Swan, another reggae label. In 1964 he produced “My Boy Lollipop” by Millie, the most infectiously catchy song ever recorded & the first Bluebeat (the then current term for Jamaican music) international hit. Island’s finances couldn’t cover the ante for pressing half a million records, the record was released through a more established label. “…Lollipop” was Blackwell’s entry into the British music mainstream. In later years his label would be associated with some of the world’s biggest acts. Back in the Beat Boom he needed to find the right group because groups were where it was at in 1964.

 

 

Up in Birmingham, at a jazz club in Great Barr, small audiences were being knocked out of their duffle coats by a piano-playing schoolboy prodigy. Stevie Winwood went along with his older brother Muff. At 14 he was already playing in the pick-up backing bands for US Blues artists. He & Muff hooked up with Spencer Davis in the Rhythm & Blues Quartette. Spencer was a face on the Brummie Blues scene as an artist, as someone who had things organised. For audiences & for Blackwell, on a visit to a local club, it was the precocious singer-organist  with a passion & range beyond his years who caught the eye & the ear. The Spencer Davis Group signed with Blackwell & he got them a record deal. There were 4 singles, covers of US R&B songs, three of them stalled just outside of the Top 40. “Their First LP” included more cover versions, good enough but in 1965 you needed a little more. Blackwell found the solution with another of his Jamaican roster. Jackie Edwards had travelled to England with the boss &, with a little imagination, one of his fine pop-soul songs did the trick. “Keep On Running” was released at the end of the year, nudged “Day Tripper/We Can Work It Out” from the #1 spot & ensured that 1966 would be a crazy year for 17 year old Steve Winwood & his older bandmates.

 

 

“Keep On Running” is a great shot of blue-eyed soul. Propelled & underpinned by Pete York’s drums & Muff’s terrific bass line, Steve is no longer imitating his African-American influences but sounding fresh, urgent & youthful. It appealed then & it still does now.There was another LP at the beginning of 1966, a little more Rhythm, a little less Blues, The group followed “Keep on…” with “Somebody Help Me”, another Jackie Edwards composition which enjoyed 2 weeks at the #1 spot. That first wave of R&B inspired bands were getting too cool for the teen scene. While they were off invading the New World there was room for new pop idols &, with 2 super smash hits, the Spencer Davis Group were kept busy by the star maker machinery.

 

They gigged all over Britain & Europe (2 different places now apparently). There were the cool ones, 9 appearances at the Marquee Club in London, a Spring package tour with the Who & Jimmy Cliff sounds a good night out. 5 weekend shows at the North Pier Blackpool, y’know, for the kids, were the gravy you got for having hit records (on the 11th of September the other new sensations, Small Faces, were also on the South Pier). That month they starred in the film “The Ghost Goes Gear”, a forgettable piece of Beatsploitation, The year ended with a 2 week tour of Germany supporting Dave Dee, Dozy, Beaky, Mick & Tich who were not as good as Tarantino thinks they were. With TV & radio commitments, interviewers asking him if he was Spencer Davis & what was his favourite colour, I’m sure that Steve found that being a pop star required more than just being a very talented musician.

 

While the band were filming the crappy movie there was yet another LP to be recorded. “Autumn 66” was their 3rd in a year & the pickings from their early repertoire were getting slim. The next 45 was another Jackie Edwards song. “When I Come Home” was co-written by Steve & it failed to reach the Top 10. In 1966 a Pop group was only as good as their last single , formulas quickly wore thin & there were new imaginative, inventive shiny things to attract attention. The Spencer Davis Group needed a boost, a new angle & Blackwell encouraged Steve to come up with his own material. The subsequent release went like this….

 

 

With one giant leap “Gimme Some Lovin'” moved Steve Winwood from Pop to Rock. He had a little help from a young American producer. Jimmy Miller came to Blackwell’s attention when he licensed a wailing New York soul belter, “Incense” by the Anglos. With Muff’s insistent driving bass, a riff borrowed from Homer Banks’ “Ain’t That a Lot of Love”, & Steve’s bluesy Hammond organ  Miller brought the same depth & urgency to “Gimme…”. It’s an instant classic, built to last even before the Blues Brothers brought it back to our attention in 1980. The Spencer Davis Group ended 1966 hotter than ever before, in the UK Top 10 & with the record about to break out in the US.

 

“I’m A Man, the following 45, another that everyone knows, had similar deserved success on both sides of the Atlantic.In 1967, for mostly better but sometimes worse, music got more serious & the audience went along with it. Steve, still only 18, wanted a taste of something new & felt that it wasn’t going to happen in the Spencer Davis Group. In April, after a UK tour with the Hollies, he & his brother left the band. Muff got a desk in Island’s office with Blackwell, Steve went off with friends from the Birmingham music scene to get it together in a cottage in Berkshire while a re-jigged S.D.G. played a week at the Fiesta nightclub in Stockton-on-Tees. The new band, Traffic, were studio-ready in weeks & before the year was out enjoyed 3 UK Top 10 hits all produced by Jimmy Miller & released on the Island label.

 

 

 

While Traffic were, at first, looking for hit singles they were open to experiment & rapidly progressing. “Smiling Phases” was the B-side of the psych-novelty “Hole in My Shoe” & didn’t make it on to “Mr Fantasy” the debut LP. Steve Winwood, still a teenager, now had the artistic freedom to merge his Blues, Jazz & Folk influences with new sounds. He recorded with Jimi Hendrix, shared a stage with Eric Clapton & made his contribution to British Rock. I should get on to Traffic next because they were pretty good too.