“He’s Got No Love” / “So Far Away” (Pye 7N. 15878) July 1965
The Searchers | He’s Got No Love | (Pye) 1965 | Most ear-catching aspect of the Searchers’ “He’s Got No Love” is the startling guitar sound – almost like a steel guitar on echo. But how it’s achieved is the boys’ secret.
Chris Curtis and Mike Pender wrote it, and they duet with their familiar harmonies, while the rhythm bounds along at a steady mid-shake pace. The groups’ greatest asset is that you can’t mistake them – and while this isn’t one of their greatest, it’s still distinctive.
The same composers wrote the fractionally slower “So Far Away.” A good coupling. (NME 02/07/65)
This one was written by Chris and Mike Searchers, who both sing. A very fine beat, following a slightly complex opening, with lots of guitar filling in the sounds behind. They’ve done something startingly different with that guitar sound . . . though it’s difficult to pin-point exactly what it is.
A very strong melody and, of course, very professional. Chris and Mike also wrote the B-side which is effective, rather romantic. And again that odd guitar sound. A hit. (Record Mirror, 03/07/65)
Searchers play on a moving stage
“FANTASTIC!” said Searchers’ leader, Chris Curtis, from Chicago, on the transatlantic phone. “We opened the other night, in a huge auditorium here with a crowd of over 5,000. They had hundreds of stewards and police everywhere, but they had no need to worry about fans getting on the stage, because the whole stage lifted up and down. As soon as there looked like being trouble, up we would go in the air!
But the Searchers’ drummer was quick to assure me that the trip was far from uneventful. “No sooner had we arrived at the airport than things started to happen. There were quite a few fans there, but not as many as the airport people expected, probably because of the death of the vice-president.
“On the way from the airport, they had to stop our car because the runway crossed the road. A plane was taking off, and at one point, it started to tilt over, and almost crashed.
“Then, that evening, we were invited by the promoters of our show to see Johnny Mathis, Woody Allen and the Young World Singers.”
Also on the bill with the Searchers are the Zombies, the Kingsmen and Chad Stuart, who is appearing as a solo artist, with a backing group.
BIG AMBITION
John McNally, Frank Allen and the Zombies went backstage to meet Johnny Mathis. This was fulfilling a life-long ambition for John, who is a great Mathis fan. Next day, Chris and Mike Pender went out on a shopping spree.
“Mike wanted to buy a Colt pistol. He’s been trying to get one in England for ages, but couldn’t. He eventually found one, but the man wouldn’t let him buy it because the gun actually worked!
THREATENED
But this was the last time it was safe for any of the boys to go out. Fans soon found where the group was staying, and blocked all entrances.
“The management got pretty annoyed,” said Chris, “and at one point they threatened to throw us out. I hate to think where we could have gone!
“I want to meet the Byrds who are based there. And I also hope to meet Sonny and Cher — they’re getting to be the biggest rave over here. Not that we can complain — they say our record is breaking out all over the country.” (Disc Weekly, 24/07/65)
SEARCHERS STUDIO CHAOS!
Richard Green talks to the Searchers in the studio as they finish recording their next album . . .
BIG BEN struck midnight and a couple of miles away, in a slightly different key, the Searchers boomed out the final track of their next LP. Working that late is all very well, but not if, like the Searchers, you are due to fly to America in twelve hours’ time.
John was leaning on a piano talking to Mike and he looked inquiringly in my direction as I arrived at the recording studios. Chris came rushing along the corridor wearing an open-necked shirt and an overcoat. “It’s gonna be difficult,” he worried. “No time to talk. You can sit in there if you like.”
From the control booth, I could see Tony Hatch discussing points with the Searchers, waving a finger to emphasize a point. No sound filtered through and it was like trying to hear fish talk inside an aquarium.
Mike pointed at me and waved, then Frank walked in and with a distinct tone of sarcasm greeted: “It’s the famous Richard Green. What are you up to now?”
The sound of a recorded piano suddenly filled the air and Frank explained it was part of their version of Marvin Gaye’s “I’ll Be Doggone,” The joanna is played by a young man called simply Malcolm.
SATURATED
“We’re saturated with LP’s” Frank observed. We’re gonna finish this one off tonight and then go to America for five or six weeks in the morning. It takes us so long to do tracks. We bring a pile of records along and learn them here.”
Most of the American visit will be spent touring. There’s a one week stopover in Los Angeles when “Shindig” will be host to the Searchers and the Beach Boys.
“I’m taking pictures of everyone on the tour and on ‘Shindig’ in colour. I hope they come out. Sometimes they turn out okay, but sometimes all the light gets in,” explained the frustrated David Bailey of the beat group.
Frank re-joined the others and the sound of guitars being tuned filtered through. A hasty conversation took place between the technicians when it was discovered that one mike wasn’t picking up.
Someone put Rufus Thomas’ “Jump Back” on the record player and Mike began playing the theme. The Thomas disc was followed by a group sound.
Ten minutes later, the Searchers had their first bash at playing the song. The title sounded like “When He Comes Along“. It was fast with a heavy beat and slightly sad tones.
Mike walked across the studio yawning, picking up a chair and took it back to his place. Chris covered one of his drums with a bit of yellow material. Frank put his feet up on a chair and twiddled with some knobs. John played a few notes.
A quick run – through of the number for the benefit of the technicians prompted one man to tell Chris: “Sounds great except the bass.”
“I’ve got some surprises for you,” replied Frank.
“What? Got Tony Jackson to play it?” cracked the technician.
Chris’ reply was inaudible but obviously very caustic. A bit more playing, then Chris shouted: “This should get us the OBE!”
And if that should happen, just try and imagine the out-cry from squaredom. (Record Mirror, 24/07/65)
WINTER HAVEN, Florida, Tuesday. What a place! I’ve never seen one more fittingly named. It really is a Haven, winter or summer. It’s one of the most fascinating towns we’ve yet played on this five weeks tour with The Zombies.
Still, I must take a little time off from sight-seeing to answer a cable that’s just arrived at the hotel from “London, England” as the desk clerk explained. It’s long enough to gladden the heart of Postmaster General Wedgwood-Benn and get the Post Office out of the red. It’s from the Record Mirror, no less, asking about my recent excursion into record production. So here goes with the story:
First off, I must make it clear that my venture into this new field for me does not mean any diversion from my prime concern, the continuing success of the Searchers.
Record production is for me a sort of exercise to be done in addition to my Searching. My most recent effort was done just before we flew here to U.S.A.. I wrote the A side of Alma Cogan‘s new disc—and produced it for Columbia. It came about because I have a very high regard for Alma as an artiste.
I knew she was looking for new material for a disc for Britain. So I figured I’d help her searching if I could. I rang her at four o’clock and said I had an idea for a song. She invited me over to play it for her.
CUSTOM
Mind you, I didn’t get any four o’clock tea and toast at the Cogan household. You see, this was in the wee small hours of the morning and Alma explained that this Kensington custom is reserved for four p.m. But she is perhaps the one person in the world I know that I can phone at four in the morning —and get a welcome!!
I’d worked on the song from midnight. By the time I’d put in eight hours on it, Alma and I had worked out a routine for the record, renamed it ‘Snakes And Snails And Puppydogs Tails” and put it down on tape (for I just happened to have my Jumbo guitar with me).
I think you’ll find the song different. Hope so, anyway. It’s an attempt to get away from the usual format of Alma’s recordings. Certainly it was a great experience working with her and the group. The best description of her wit, which she uses to good, tension-relaxing advantage in the studio, is shaft-like. I suppose this is one of the many reasons why I have a very special spot for Alma. And she’s an absolute professional—which comes across on this disc. She sings with Madelaine Bell and Doris Troy and the welding of these three fine voices made it a real pleasure to produce the disc.
Why have I gone into production? Basically, because it’s a creative challenge. An enthralling, interesting assignment. You feel a great sense of accomplishment when the completed disc is played back and you hear that your pre-session dreamy visions of what you want have been transformed into the real thing.
Another advantage I’ve discovered: production gives the musician a deeper understanding of the problems and the techniques to be used to overcome these. I now know a good bit more about what the man in the box, behind the glass panel, has to do. I hope my personal involvement will be reflected in future discs by The Searchers. No doubt about it: I understand the point of view of our a & r man, Tony Hatch, a lot better now that I’ve worked the other side of the glass myself!
Just because I’ve formed a production company (in partnership with our agent Tito Burns) doesn’t mean we’re planning a conveyor belt of discs. Don’t have the time off from The Searchers, for one thing. I simply want to record the right material (not necessarily my own songs, of course) which suits the right artistes. And by right I mean that which has sufficient quality and commercial appeal.
Already, here in America, I’ve been listening to new material, trying to find new writers, buying discs. If something turns up, then—when we get back to London—I’ll record it. So long as we can find the right artiste or group.
As for the future: in September I will be introducing a new boy I found in Liverpool. As for who he is, what kind of song he will record, and on which label — well, that’s another story and it’ll have to wait till I get back. ‘Bye. (Disc Weekly, 31/07/65)
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