Here’s something I’ve been thinking about for some time . . . . “Imaginary Singles” – there must be hundreds of times when a record label released the WRONG songs for a 45rpm from an LP. Actual singles that BOMBED because they released the wrong material . . . . . all personal choice of course, so don’t hit me with your rhythm stick . . .

As an example: The Byrds “The World Turns All Around Her” / “Wait And See” would have been a spectacular folk-rock release in 1966. Or: The 13th Floor Elevators “Don’t Fall Down” / “Monkey Island” It’s just something I’m thinking about doing on ‘Transistor Pop’, to keep it fresh and interesting. My scene will always be 45rpm MONO singles though. But I’m neglecting my vinyl albums and this would give me an excuse to play them at least once every decade . . . . .

My Imaginary record label (TRANSISTOR CREATIONS) | My second Imaginary 45rpm on Transistor Creations (TC002)

“Air” / “I Was Cool” (Direction 8-63300) July 1968

On CBS, but their Direction label, is ELMER GANTRY’S VELVET OPERA‘s first album, entirely homegrown and very impressive indeed, with amazingly varied, exciting material. Most of it was written by the group, with the noble exception of Oscar Brown’s “I Was Cool,” and includes the group’s two medium-successful and good singles, “Flames,” and the hip, relaxed “Mary Jane.”

Production is faultless, recording quality excellent — who says American studios are always the best? You could blow 35/-on much less rewarding things than this album. Nice to see the Americans getting some competition. (Disc, 13/07/68)

Vintage press reviews

ELMER GANTRY’S VELVET OPERA Elmer Gantry, Velvet Opera (Direction 8-63300) 6/68

Competent four-piece UK group displaying occasional sparks of originality, but not enough to stand out from similar combos. Worth demonstrating their version of Oscar Brown’s ‘I Was Cool’ to interested customers’ —(Record Retailer, 19/06/68)

‘Entirely home-grown and very impressive indeed, with amazingly varied, exciting material . . . Production is faultless, recording quality excellent — you could blow 35/- on much less rewarding things than this’ — (Disc & Music Echo, 13/07/68)

‘One of the most entertaining sets offered by any group, British or American, this month. There’s an abundance of original compositions by vocalist Elmer and bassist John Ford. Elmer has a powerful voice which he uses to good effect, Colin Forster contributes useful lead guitar and Hud, the drummer, who apparently dispenses with his surname, batters a booting rhythm. A singularly enjoyable programme by a team with great potential’ — (Melody Maker, 27/07/68)

‘A British group that starts at a terrific rate with ‘Mother Writes’, slow down to sing about ‘Mary Jane’ and do a ghostly ‘Walter Sly Meets Bill Bailey’. Drummer Hud Hudson plays sitar on ‘Air’, and Elmer Gantry takes the vocals well on ‘Flames’, ‘Now She’s Gone’ and ‘Long Nights Of Summer’. Versatile playing and composing by the group’ — (NME, 27/07/68)

This shows a more significant soul influence than most popsike records of the era. It also has, in many cases, the feel of a mod band who heard Revolver and decided to experiment a bit, and the combination of styles is exciting. It rocks with more confidence than a lot of albums in the genre, and the arrangements throughout highlight the band’s rock and pop strengths.

Nonetheless, not all the experimentation works. The weird bluesy soul of ‘I Was Cool’ doesn’t have the lasting appeal of say, the wonderfully punchy bass playing on ‘Mother Writes’, the sitar pop of ‘Air’ or the strong, Mellotron-enhanced pop of ‘Long Nights Of Summer’.

Some instrumentals and a goofy album intro add to the fun. It doesn’t make for the world’s most coherent album and isn’t one of the best in the genre, but it’s enjoyable and has its share of hot moments. Richard Hudson and John Ford would join Strawbs and then record as a duo in the 70s. (AM – 2020)