Obscure 1960s Garage Beat

Here are some of my random thoughts and words about obscure and in-demand 1960s garage and psychedelic singles over the years. 

The Easybeats – ”She’s So Fine” / ”The Old Oak Tree” (Parlophone A-8157) May 1965

Obscure 1960s Garage Beat gems: Fifty years ago, this dynamic single by The Easybeats was released and it’s surely one of their best rockers. ”She’s So Fine”, written by the Vanda – Young partnership and recorded at Armstrong Studios in Melbourne was a big hit in Australia reaching #03 propelling this fabulous beat combo to national acclaim, particularly amongst their fans.

The hit has been deemed more or less the start of Easybeats fan hysteria, similar to ”Beatlemania” and was dubbed by the Australian press as ”Easyfever.”

Reader comment:
She’s So Fine was written by Wright and Young. The lead singer, known as Little Stevie, wrote with George Young and together they came with all of the A-sides and almost all the songs during the Easyfever period including three albums and an exclusive EP.

Lead guitarist Harry Vanda starting writing exclusively with George after the band arrived in England in 1966.

The Naturals – ”Blue Roses” / ”Shame On You” (Parlophone R 5267) March 1965

The Naturals hailed from Harlow, Essex and released four singles on Parlophone before being dropped by the label. This was their fourth and final single with ”Blue Roses” deemed as the side with the hit potential. It’s a beat ballad with harmonies done in The Searchers style but it failed to generate much interest.

Far superior, in my opinion, is ”Shame On You” on the B-Side. This is a fast paced beat number with harmonica and organ. Probably could have been even better with one of those Jimmy Page type lead guitar solo’s that he seemed to place on beat and R&B tunes when he was a hired hand in the studio.

Guitarist Curt Cresswell and drummer Roy Hoather would team up again a year or so later in The Living Daylights who released a version of ”Let’s Live For Today” on Philips.

line-up:
Curt Cresswell (guitar)
Roy Hoather (drums)
Doug Ellis (guitar)
Rikki Potter (vocals)
Bob O’Neal (vocals)
Mike Wakelin (guitar)

The Thyrds – ”Hide ’N’ Seek” / ”No Time Like The Present” (Decca F.12010) October 1964

So many beat and R&B singles were released during October 1964 in Britain and here’s another one to add to the list. The boys from The Thyrds were all still attending Emanuel School, Battersea Rise in London when they formed the band and entered a ”Ready Steady Go” Beat Group competition.

They didn’t win the Beat Group contest, the victors were The Bo Street Runners. This disappointment didn’t stop them from recording a couple of songs for Oak Records who released a Thyrds single ”Hide & Seek” b/w ”I’ve Got My Mojo Working” sometime in 1964.

The single was then picked up for release by Decca Records who changed the B-Side to another group original ”No Time Like The Present.” Sadly, like so many singles released back then it failed to gain much notice and remains quite an elusive 45 to find.

”Hide ’N’ Seek” is a Bo Diddley inspired R&B mover with a fast tempo. It’s appeared on several compilations over the years. I’m pleased to own an original copy. 

line-up:
Paul Ellis (vocals / lead guitar)
John Malcolb (bass)
Mick Teasdale (drums)
Michael Hughes (rhythm guitar)

I don’t think any of the members went onto other combos when The Thyrds called it quits. Probably when they left school!

Obscure 1960s Garage Beat gems:

Goldie & the Gingerbreads – ”That’s Why I Love You” / ”The Skip” (Decca F.12126) April 1965

This all girl group were American but lived, worked, recorded and released several records in Britain during 1964 – 1967 so were very much part of the UK music scene.

They appeared in all of the British music papers and magazines and toured Britain extensively with The Rolling Stones, The Hollies, The Animals, The Yardbirds and The Kinks etc etc – in other words, the English rock royalty.

One of their tunes that most definitely fits in here is the killer mod instrumental ”The Skip” which was hidden away on the flip side of ”That’s Why I Love You” – a group original too, no faceless studio hacks here piecing together a B-Side for an obscure girl group. Produced by Shel Talmy.

The Mockingbirds – ’You Stole My Love’ / ’Skit Skat’ (Immediate IM 015) October 1965

The Graham Gouldman penned ”You Stole My Love” is a fabulous record but like so many classy 45s released in Britain back in the mid 60s it failed to sell and flopped, which seriously beggars believe.

The song has a haunting quality with mod style backing vocals. The production is by Paul Samwell-Smith which gives it a Yardbirds edge, the guitar hook is wondrous and the melody is happenin’, totally stunning in every way.

The nucleus of The Mockinbirds formed 10cc. but ”You Stole My Love” is where it’s really at!

The Plebs – ”Babe I’m Gonna Leave You” / ”Bad Blood” (MGM K13320) October 1964

The Plebs were briefly discussed the other day in another thread and I got curious to find out more about them especially since I’ve had their single on MGM for several years. MGM was their USA label and it got a release February 1965.

The single came out in Britain during October 1964 on Decca records. Probably easier to find the MGM release! By the way, producer Mark Wildey who produced The Plebs also worked with The Attack and The Fairytale.
 
As far as I know the Plebs were:

Derek Sirmon (drums)
Terry Crowe (vocals) *
Mick Dunford (guitar) * (went onto Renaissance)
Danny McCulloch (bass) * (went onto Eric Burdon & the Animals)
Chris Dennis (keyboards)

* now deceased

The Association recorded ”Babe I’m Gonna Leave You” for their debut single – more of a moody folk-rock take and nothing like their usual vocal harmony pop tunes, and of course Led Zeppelin in 1969 – on their first album.

Quicksilver Messenger Service also recorded a version for the Revolution soundtrack.

Bass guitarist for The Plebs was Danny McCulloch who was previously a member of Screaming Lord Sutch & The Savages. Afterwards he teamed up with Eric Burdon and became his bassist in the new Animals. Sadly, Danny died a few months ago (January 29th 2015). 

The Naturals – ”I Should Have Known Better” / ”Didn’ I?” (Parlophone R 5165) July 1964

This beat combo were short-lived but managed to release a handful of singles on Parlophone. Their version of The Beatles ”I Should Have Known Better” has a commercial beat sound and was a Chart hit, reaching #24.

”There were a few chords that I didn’t know were on it” – George Harrison on jukebox jury.

The Niteshades – ”Be My Guest” / ”I Must Reveal” (CBS 201763) May 1965

Here’s an obscure single by an equally obscure combo from Stevenage in Hertfordshire. As far as I can ascertain this was their first single of two they released on CBS.

”Be My Guest” has an up-tempo surf-beat sound with harmonies and a short but flashy guitar break and was produced by the legendary Shel Talmy. It’s never been compiled which is unbelievable considering the many thousands of comps in circulation.

Both the song and The Niteshades featured in the teen movie ”Be My Guest” which also had parts for a young, pre Small Faces Steve Marriott and David Hemmings.

Reader comment:
I used to work with Howard ‘Ginger’ Roberts who was the Niteshades organist at the time they were filming Be my guest. The band were very popular in the sixties and performed regularly at The Cali, Dunstable.

Obscure 1960s Garage Beat gems:

Pinkerton’s Assort’ Colours –”Don’t Stop Loving Me Baby” / ”Will Ya?” (Decca F.12377) April 1966

This early 1966 is a hard driving beat number that was curiously overlooked when Sequel released a 2CD collection called ”Flight Recorder” in the late 90s.

”Will Ya?” is my fave Pinkerton’s side and should have been the A-Side that’s for sure. It would have been great to follow their hit ”Mirror Mirror” with this swinger.

”Will Ya?” was written by their manager Reg Calvert who was shot and killed a couple of months after this single was released. He was also the owner of an offshore pirate radio station called ”Radio City.” Pinkerton’s drummer Dave Holland left the band in 1968 and formed Trapeze then became the drummer for Judas Priest!

The Shame – ”Too Old To Go ’Way Little Girl” / ”Dreams Don’t Bother Me” (Poppy POP 501) November 1967

The Shame hailed from Bournemouth on the South Coast of England and released this one and only single. It was released in Britain on MGM during September 1967 then in USA on Poppy Records a few months later.

”Too Old To Go ’Way Little Girl” is a song written and recorded by a teenage girl called Janis Ian and was a track on her debut album from February 1967. This album got it’s first European reissue on CD from the mono masters on Now Sounds back in 2009.

The Shame’s take of ”Too Old To Go ’Way Little Girl” adds snaking psychedelic guitar leads, sitar,  mod-like drum action with turned-on vocals by Greg Lake. The other side ”Dreams Don’t Bother Me” was written by keyboardist John Dickenson and is pleasing psych pop with a lush organ sound throughout.

After this disc flopped Greg Lake and John Dickenson formed The Shy Limbs with Andrew McCulloch on drums. They then released the classic psychedelic 45 ”Reputation” / ”Love” on CBS. Guitarist Greg Lake would later form progressive  rock band Emerson, Lake & Palmer after a stint with King Crimson.

The Truth – ”I Go To Sleep” (BBC Transcription Service) May 1966

Here’s the BBC Transcription Service recording of ”I Go To Sleep” by The Truth. The song was written by Ray Davies and exists as his demo but was never recorded by The Kinks.

”I Go To Sleep” was released by The Truth as an A-Side during April 1966 but this live version from 23rd May 1966 is perhaps even better – I don’t have the recent Truth retrospective CD, ”Mod Bedlam” – but I’ve just checked the track-list and this BBC recording is not present, although the studio single is.

miscellaneous information: other versions of ”I Go To Sleep”

Peggy Lee (Capitol) August 1965
The Applejacks (Decca) August 1965
Cher (Liberty LP) October 1965
The Truth (Pye) April 1966
The Fingers (Polydor) June 1966

Screaming Lord Sutch & the Savages – ”The Cheat” (BBC Transcription Service) May 1966

I’ve acquired some ”Top Of The Pops” BBC Transcription Service CD-Rs of the Brian Matthew’s radio show. They are mostly full broadcasts in excellent sound quality. I’ll pick out my faves over time, upload them to YouTube and post them here.

First one is ”The Cheat” by legendary English rock ’n’ roll group Screaming Lord Sutch & The Savages. The song was released on CBS during May ’66 as the B-Side to ”Black and Hairy”

The released studio version is excellent but in my opinion in trails behind the looser ’live’ BBC take. The drumming moves are classy, Lord Sutch sounds his sinister best and the fluid droney raga guitar leads hint at psychedelia.

”The Cheat” was written by Lee Hazelwood and was originally recorded by rockabilly singer Sandford Clark in 1958 on Dot Records titled ”A Cheat”.

Simply wonderful.

from an eBay seller:
”The Cheat”, Sutch’s stab at psychedelia, was a Lee Hazelwood song, on which he was backed by session musicians including The Des Champ’s Quartet playing violin and flute, Nicky Hopkins on piano, Ian Buisel on rhythm guitar, Paul Francis on drums (both from The Tony Jackson Group), Jim Lawless on Percussion, and two future Led Zeppelin members, John Paul Jones on bass and Jimmy Page on lead guitar.    

The musical arranger on this release, sax player Des Champ is better heard on The B-side ”All Black And Hairy” which was written by Dave Sutch and remained a hilarious staple of his live act for many years.

Obscure 1960s Garage Beat gems:

The Zombies -”Whenever You’re Ready” / ”I Love You” (Decca F.12225) September 1965

It’s about time The Zombies had another hit, and ”Whenever You’re Ready” could give them a touch. Piano and cymbals support the soloist at the outset then it breaks into a unison-vocal mid shaker.

What I like about these boys is their inherent R&B feel plus the leaders honest approach, without resorting to nasal drawls or the unnecessary shouting. Another pleasing feature of the disc is the exciting thumping piano break.

The flipside is a mid-shaker tempo for the un-originally titled ”I Love You”.

More forthright approach here with organ and harmony support. A most competent B-Side.
(NME review, September 1965)

The Zombies – ”She’s Coming Home” / ”I Must Move” (Decca F.12125) April 1965

A powerful medium beat number from The Zombies, with a build and build approach. A strident sound but not as potent as their last. (Record Mirror review, April 1965)

The Zombies follow up to ”Tell Her No” was ”She’s Coming Home” which was issued in April 1965. This one was quite an eye-opener as Rod Argent wrote it with his days as a choirboy in mind. ”When I sang the ’Nunc Dimittis” in church”, he said, ”it used to bowl me over because I thought it sounded like a blues!”

Accordingly, the song was written with a very churchy feel to it, while White’s flipside ”I Must Move” had a vocal that sounded in places like the chant of an oriental Buddhist monk! Although the single failed in Britain, it did make #58 in America. (Record Collector magazine)

Phil & the Frantics ’borrowed’ the tune, applied a faster tempo, wrote different words and slightly renamed the song to ”I Must Run” Their version is majestic moody beat too.

The Zombies – ”Begin Here” (Decca) April 1965

Whether you have picked up this LP at random while half-consciously glancing through hundreds, or whether you are reading the sleeve after purchasing the record, the chances are that you are expecting about 700 words or sugared praise telling you how brilliant both the group and the record are.

Since all of us are convinced that the main part of any LP consists of the music reproduced inside the sleeve, we concluded that the public are more interested to read about it than have to wade through a mass of boring and superficial praise. And that, folks, is how I came to writing these notes!

Of the seven tracks not written by Chris or myself, all but two are ’soul’ numbers, and consist of some of our favourite material. The other two, ”Road Runner” and ”I Got My Mojo Working” are tried and tested blues constructions.

The only instrumental on the album ”Work ’N’ Play” was written by our recording manager, Ken, who took over the piano stool while I played harmonica in unison with Paul’s 12 string guitar. The fact that it is essentially an instrumental work song didn’t prevent him from beaming happily as he always does when we ’let him join in’! Rod Argent (edited sleeve notes)

The Zombies – ’Tell Her No’ / ’What More Can I Do’ (Decca F.12072) January 1965

A good one here from a group doing so well in the States now. This one starts gently enough then builds into a succession of dramatic-sold ”no’s”. Nicely balanced backing aids the commercial appeal.

Lead voice bends tunefully and soulfully around the mid-way mark. Yes, it should click in the ”50”

Organ booms into the flipper, an up-tempo item with a fair bluesy content. Not quite as strong as ”Tell Her No” on sales appeal.

Record Mirror review, January 1965. 
Chart Position: #42

The Zombies – ’Leave Me Be’ / ’Woman’ (Decca F.12004) October 1964

A beaty ballad with a gently rocking rhythm, ”Leave Me Be” features a huskily whispered harmonic duet, backed by a delicate guitar figure. The Zombies are much more subdued than on ”She’s Not There” but I like it just as much. The tune is both ear catching and absorbing, and it suddenly explodes in the middle eight, with the organ adding substance.

A welcome combination of pleasant melody and beat, which should appeal to both armchair listeners and dancers.

A heavier and more strident beat, and a more forceful vocal approach for ”Woman” a mid-tempo shaker in the R&B idiom with screams and shouts.

(NME review, October 1964)

The Zombies – ’She’s Not There’ / ’You Make Me Feel Good’ (Decca F.11940) July 1964

Pounding medium pacer ”She’s Not There” introduces new Decca group The Zombies. The boys have a distinctive sound, with intriguing phrases by the lead singer, and attractive vocal blends in the unison passages. The drummer and bassist are pretty solid, too.

I’d have tipped it for a hit if the material was stronger – even so, it must still stand a chance.

More in the familiar Mersey-inspired mould is ”You Make Me Feel Good.” No change in the tempo, but this one is largely unison vocal.

(NME review, July 1964)
Chart Position: #12   

Obscure 1960s Garage Beat gems:

Bert Jansch – ”It Don’t Bother Me” (Transatlantic Records 132) December 1965

”Tinker’s Blues” – Tinker is a pussy cat, who strides through our flat and amuses himself by being rescued by firemen from the topmost chimney of the house.

Recorded at Pye Studios, London (April 1965)

Return Of The Amphetamine Generation – Various (Dig The Fuzz DIG 032LP) 1998

I’ve spent the last couple of days spinning this vinyl compilation album from the late 90s on Dig The Fuzz.

”Return Of The Amphetamine Generation” is a mid 1960s collection of the odd obscure B-Side but mostly previously unreleased recordings from one of a kind acetates and private pressings – including unknown groups called The Uprooted, Themselves, James King & the Farinas, The Falcons, The Nomads, Those Fadin’ Colours, The In-Sect (plus more)

Well worth getting a hold of. Quality release with plenty of informative notes and a few group pix.

The group I’ll focus on from this disc are The Falcons. Sadly little is known about the group behind the unreleased ”Phone Me.” The Ilford Sound label, based in Essex was in operation between 1964 – 1965 and recorded acetates by several other beat groups including Dave Anthony & the Classics and The Integrals.  

The Kingpins – ’For Sale’ (Tenth Planet TP016)

Tenth Planet seemed to come up with the undiscovered goods on a regular basis during the 90s and it was one of those labels that gained respect from vinyl collectors with their handsome releases in gatefold sleeves with choice unseen photos and rare music (mostly from acetates) in sparkling sound quality.

The Kingpins ”For Sale” was one of their earliest releases from 1995 and was limited to 600 copies. They’re long gone now but the collection may show up on eBay now and again, but with a premium price of course.

I want to concentrate on The Kingpins 1965 recordings. There were two. The ravin’ ”Diamond Girl” and a potent version of ”For Your Love.” But the album also covers their unreleased songs from 1966 through to 1969 when they experienced line-up changes and group names to Those Fadin’ Colours and The Orange Seaweed.

The Kingpins formed in 1964 in the small town of Adlington, part of the borough of Croydon. The ages of the members ranged from 14 to 17 years old. In other words they were a schoolboy combo.

The line-up consisted of:
Ray Neale (rhythm guitar / vocals)
Keith Neale (bass)
Tony Martin (lead vocals)
Glyn Stephens (lead guitar)
Jimmy Barnard (drums)

R. G. Jones Recording Studio

By mid 1965, The Kingpins had progressed enough to enter a local beat group competition. One of the contest’s adjudicators was Ronald Jones, owner of R.G. Jones recording studio and Oak custom label in Morden. He agreed free recording time for the top three acts. The Kingpins finished third.

The entered R.G. Studio on 31/05/65 to cut ”Diamond Girl” and ”For Your Love” which were pressed up as an acetate. ”Diamond Girl” was written by Tony Martin and is a hard driving beat number turning positively freak. In my opinion an absolute classic beat punk raver ’65 style.

”You’re My Girl” is one of the great lost tracks of the 60s. Only ever released on an acetate, it features the vocals of a 17 year old Ray Neale. It’s quite amazing, and when you think he’s playing lead guitar and wrote it as well, it kinda blows you away.

The flip side features Tony Martin on vocals and is also a great bit of song crafting. Ray’s brother Keith was also in the band and played bass.

I knew Ray as a friend since 1977 when I happened upon his band ’Ramrod’ one Sunday dinner time in a Croydon pub. A great guy who I spent many happy hours drinking and smoking to an almost Olympic standard.

Alas the fags got him in the end, and he died in 2012. They say you’re never dead as long as someone alive remembers you. I’m not being sentimental, but the stuff the Kingpins recorded on Oak will still be talked about when we’re all dust. They’re magnificent. (rollinrecords-shop)

Obscure 1960s Garage Beat gems:

Reader comments:
Hi, thank you, this was lovely to read.

I am Ray Neale’s daughter Mel and I miss him every day but like you say, his music will live on!

At the moment I’m trying to find as many stories/any information/photographs from the good old days.

It was a good time for him back then and loved him telling me his random and funny stories.

My mum (Janet Neale) and I would like to piece together some kind of, well I’m not entirely sure yet….let’s say some kind of something for him. I know he was always told he should write a book but he never got around to it.

I am putting a Facebook page together to begin with and I shall see where it goes from there. My email address is melanieneale82@gmail.com

Hi Melanie, my name is Laura I am Tony Martins daughter. He was so upset to only find out recently about your dad. Would love to see any pictures or video footage from their early days. Thanks Laura

Jet Harris – ’My Lady’ / ’You Don’t Live Twice’ (Fontana 267 735 TF) July 1967

This is a purchase from earlier this month, a rare and hard to find 45 by Jet Harris. This is the Dutch release in pic sleeve. I like how the art department have used a vintage record review as their design for the cover.

’My Lady’ was written by Reg Presley of The Troggs and it’s 100% based on their killer sound. Jet Harris was the original bass player in The Shadows but formed a duo with fellow ex Shadows drummer Tony Meehan in the early 60s.

The flip ’You Don’t Live Twice’ is decent pop music and uncompiled as far as I know.

Jet Harris & Tony Meehan had a few hits in Britain during the beat era but disbanded when their popularity waned. This record was Jet’s solo comeback single but it went to ’nowheresville’.

Should have been monstrous but it’s still virtually unknown.

The Roulettes – ’Bad Time’ / ’Can You Go’ (Parlophone R 5110) March 1964

Second time out for The Roulettes on my site. I wrote about ’Junk’ a few years ago, check the archives. So now it’s time to continue with ”Bad Time” from March ’64. Yeah it’s a 50 year old beat record – cool.

It’s been covered a few times. I heard the song first on an ”Ugly Things” comp by The D-Coys.

The Roulettes are better known as being Adam Faith’s backing band but recorded and released records in their own right during the mid 60s. Despite having a great beat sound with ringing guitars and pounding drums. Sadly NO hits followed so they’ve been lost in obscurity.

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