If you've listened to my Bite It Deep Mix Vol.13 you will have heard a great, melodic soft pop tune by the Newmens called "What Ya Doin' Down There?". I found this single on Leicester Market a couple of months ago, amongst some less interesting seven inch singles. I liked this single so much that I stuck it on my pile of records that I was considering featuring on this blog. A quick search on 45cat showed me that the Newmens had another single release, also from 1972 prior to the previously mentioned one. I tracked a demo copy down (stock copies are most probably much scarcer), again on eBay for the book price of £5, which after hearing it I reckon is a total steal.
A lot of these early seventies singles I feel are neglected/passed on mainly because of the date they were released by the sixties purists but the sound on a lot of these records could easily pass off as the late sixties. The Newmens on both of their singles are a few years behind the times and sound like the Byrds before they went country. Some great vocal harmonies and interesting sound effects adding colour to the ultra melodic vibes. I'm always on the lookout for nuggets like these!
Anyone got a photo of The Newmens?
One thing I know is that the internet doesn't know everything, and although there is no mention anywhere of an album by the Newmens, I'm keeping my fingers crossed that something exists somewhere, maybe more songs, maybe some demos, who knows. The facts that I've got are that this band left behind two brilliant singles that deserve your attention.
Here is the only bit of decent info I can find on the Newmens, taken from the liner notes of the Fairy Tales Can Come True vol.3 compilation...
The Newmen (why Parlophone added an ‘s’ I’m not sure) were a popular showband from Antrim in Northern Ireland. Our track was written by Barry Woods, a former member of the Belfast band Clubsound, who were previously named The Monarchs. Back then they included a pre-ThemVan Morrison on sax. Anyway, Woods joined the Newmen in the early seventies, and then moved on to a prog/pop band called Chips. However, recently he was back playing with Clubsound, who, as of 2005, had a weekly residency at a hotel in Ballymena!
I've been after this record for quite some time now, since hearing it on Paul Martin's Pop Cycles Volume 6 compilation. A DJ friend of mine almost bagged me a copy a few months back but I just missed out and since then I've been on a bit of a mission to get one. Thanks to trusty old Ebay, I am now a proud owner of "Organ Grinder's Monkey" by Frosty.
Information on this band is quite hard to get although a comment left on YouTube mentions that Frosty is Frosty Green, the keyboard player in the sunshine pop band, the Yellow Balloon. The single was produced by the legend that is Michael Lloyd, whose name should be familiar to readers of this blog. Made vice-president of MGM records at the age of 20, Lloyd handled production duties on loads of killer records including October Country and the Smoke (US) as well as being a founder member of bizarre psychedelicists, the West Coast Pop Art Experimental Band.
"Organ Grinder's Monkey" ticks all the boxes for me. Bubblegum, psych, rock and pop are all represented within it's two minutes and twenty five seconds. Sounding like the Beatles at their most guitar heavy, circa 1968. A dancefloor filler with a percussion break to boot. The b-side "I Want To Know" ain't bad either, reminds me a bit of the Raspberries and will most probably make an appearance on a future volume of my Bite It Deep mixes.
Sing along if you like...
"Organ Grinder's Monkey" by Frosty (Philips) I know something you don't know, organ grinder's monkey Toss a penny in his cup and he'll tip his hat Organ grinder plays his song, monkey climbs your building Pat his head and leave a snuff and he'll bite your hand And he won't mind if you're unkind Yes, he won't mind at all Monkey doesn't say or do exactly what you want him to Well if you want a treat it will cost you more than a candy stick I bet you Yeah, Yeah, Yeah He won't mind if you're unkind Yes, he won't mind at all Organ grinder's monkey Yeah. Yeah, Yeah
Zoot - Monty and Me The Twilights - Time & Motion Study Man The Buckinghams - Just Because I've Fallen Down Athanor - I Don't Mind The Aerovons - Bessy Goodheart Common Cold - Come Down Steepy Rojo - Take Me High Kytes - End Of The Day Summer Wine - Take A Load Off Your Feet Snow - Caterpillar Scrugg - Patriotic Shine - Candy Girl Pretty Things - The Letter Manfred Mann - Sometimes Les Emmerson - Cry Your Eyes Out Fresh Air - Here Comes Summer
In February 2003, David Wells wrote an article about the Aerovons for Record Collector magazine. At that point in time only a handful of collectors had heard of them and the story seemed quite far fetched, leaving many of us to think that it might be another RC hoax. Not long after, RPM released "Ressurection" on CD and for the first time, the Aerovons album was officially released and we were all knocked back by this Beatlesque nuggett. Here is the original magazine article for your delight and delectation...
It's widely acknowledge by genre buffs that EMI's abbey Road recording studios were one of the key constituents in the shaping of the British psychedelic pop sound, hosting classic productions from the Beatles, the Pink Floyd, Donovan, the Hollies, the Pretty Things and a swathe of equally essential peers.
But despite its clout within the industry, Abbey Road was also responsible for an unfeasibly large number of top-drawer psych-era projects that inexplicably failed to see the light of day. The second Simon Dupree & the Big Sound album, Mark Wirtz's semi-legendary Teenage Opera, a host of material from Tim Rice/ Andre Lloyd Webber popsike proteges Tales Of Justine, even a fabulous late-period baroque psych album from post Mandrake Paddle Steamer band the Corn & Seed Merchants -- all these and more were left to gather dust in EMI's bounteous archives.
The Aerovons
Arguably, however, these lost-in-action marvels are all eclipsed by a more recent discovery. An obscure US Beatles obsessed teenage outfit called the Aerovons released a couple of neglected Parlophone singles in 1969 before returning to their St. Louis, Missouri base with tles of their adventures in the bowels of Abbey Road. They left behind an aborted album, of which just a handful of test pressings have survived. This suggests that, remarkably, they may have been the band the Beatles were looking for when they chanced instead upon Badfinger. Following a limited edition vinyl reissue of the album in 2001, this is the Aerovons story, and if it sounds too good to be true --well, that's just the way it is. Assembled by guitarist and singer Tom Hartman in 1966, the Aerovons quickly became a leading local band in their area. Like fellow Anglophiles the Choir and the Nazz, the group were influenced by the Beatles, but also by the Who, the Bee Gees, the Kinks and, in Hartman.s own words, "others who were masters of the hook-laden single".
Having conquered St. Louis, the Aerovons booked a local studio to record a couple of original tunes, including the Beatles soundalike, "World Of You". Within a matter of days, the studio notified them that a representative of Capitol Records (which had a distribution office in the town) had stopped by, and heard the group's demo tape. Would they be interested in going to Los Angeles to audition for Capitol? With the arrogance of youth, Tom Hartman airily replied that he would prefer to go to London and record at the same studio as the Beatles.
Tom Hartman having an illicit strum
on a Fab Ricky!
Astonishingly enough, Capitol agreed to put the Aerovons in touch with EMI's UK chief, Roy Featherstone. In the autumn of 1968, the group and their manager (actually Tom's mother) duly arrived in England for appointments with not only Featherstone , but with Dick Rowe at Decca -- the man who had famously turned down the Beatles back in 1962.
After receiving a firm offer from Featherstone, the group then called at Rowe's office, where they played their demo of "World Of You". He took the bait, declaring "I'm not going to make the same mistake twice -- I'd be interested in doing this song". However, the Aerovons merely used Rowe's interest as leverage, telling Featherstone that Decca had offered them an advance of several thousand dollars (they hadn't). Not only did EMI agree to match the offer, but they set the group up with passes for the Speakeasy Club (where they secured Paul McCartney's autograph) and threw in a tour of Abbey Road, where the group received some friendly advice from George Harrison and watched the Beatles record "Yer Blues" and "Sexy Sadie". Roy Featherstone then sent them back to St. Louis for the winter to write some new material.
The Abbey Road store room where
the Aerovons encountered a hoard
of Beatles gear.
Returning to London in March 1969 with rough demos of about 20 new songs, the Aerovons were initially assigned to Beatles/Pink Floyd soundman Norman Smith, but the group were unhappy with his early input. Tom Hartman took over as producer, ably supported by tape operator Alan Parsons (who also played recorder on the album's epic closing track, "The Children"), with Jeff Jarrett and the vastly experienced Geoff Emerick sharing the role of chief engineer.
With Featherstone's approval, the Aerovons enthusiastically embarked on recording their debut album. "The songs varied from acoustic ballads to full orchestral productions," remembers Hartman. "It was all very Beatles-inspired of course, but we were also inspired by everyone from the Lettermen ("Words From A Song") to Dinah Washington ("Quotes And Photos"). We also did 50s-based things like "Say Georgia", which unfortunately lifted a bit too much from" Oh! Darling", which our engineer had played us one night after the Beatles had left. The similarity was unintentional, but that's what happens when you're avid Beatles fans and writers. Ask Oasis!"
The moment when the Aerovons met
George Harrison.
Unsurprisingly, the Aerovons' album album was drenched in a typically florid late-60s Abbey Road production: "I had a flair for the dramatic," admits Tom. "After discovering EMI's sound effects library, I loaded the LP down with waves, seagulls and everything else from bagpipes to playground noises. Perhaps, in retrospect, it was a bit overdone! We also sequenced the tracks very close together, so that one song would burst right into the next."
Not everything in the garden was rosy, however. The two single releases ("The Train"/"Song For Jane", released on Parlophone in July 1969, and "World Of You"/"Say Georgia" which appeared two months later) were well received by radio DJs, but failed to find favour with the general public. Both are valued at £30 each, although we've heard of the latter reaching triple figures. Rhythm guitarist Phil Edholm, who had only recently joined the group, was sent home after a personality clash, while the remaining three members were unable to get a work permit to perform in the country. Nevertheless, they did play one gig at Hatchetts, the London nightclub/disco, where they were given a standing ovation.
Why, it's one of the Beatles' Les Pauls:
would you have resisted the urge?
Working in Studio 2, the group were surrounded by examples of the Beatles' omnipresence . "I played the 'We Can Work It Out' pattern on the harmonium that was in the corner, and it sounded just like the record," recalls an awed Hartman. "I'm not kidding -- your hands would actually tremble. The Steinway was also there, and playing 'Lady Madonna' on it was equally disconcerting."
There was even more tangible evidence that, in Hartman's words, "this was truly the room it all came from", as he now reminisces. "We kept our equipment in the same room as the Beatles. It was apparently a storage room, and since their stuff was there, EMI said 'Go ahead and keep it there, just don't bother their stuff'. So, naturally, late at night, we did. We took a load of pictures with us holding their guitars, and me holding the famous 'The Beatles' drumhead. I've got that picture framed!"
The great and the good, side by side
in drum-head form
Having finished the album, the Aerovons returned to St. Louis to await a release date. It was at this point, how-ever, that the group started to unravel. Drummer Mike Lombardo was rocked by family problems that appeared to send him into a rapid decline: already one member down from Edholm's dismissal, the Aerovons were now a duo -- Hartman and Lombardo's brother Billy on bass.
When EMI discovered that the group would be unable to promote the record, they reacted swiftly: to Hartman's horror and lasting despair, the release was cancelled. Nevertheless, they offered him an extension of his contract if he agreed to relocate to London. Still only 17 years old and and already homesick, he made the fateful decision to decline the company's invitation. "Looking back, it might have been the biggest mistake of my life," Tom now admits. "But I like to think not."
Hartman briefly moved out to LA, where he recorded a single for Bell under the aegis of staff producer Mike Post before dicing to go back to his studies. After graduating from the university of Miami, he returned to the music industry, recording commercials and documentaries. He now operates a home studio, recording local bands as well as his own music. But, as the song goes, the teenage dream is hard to beat, and the adventures of the Aerovons at Abbey Road loom large in his personal history. As he now reflects, "it was the thrill of a lifetime."
So, continuing on with the Bob Segarini story, after the Family Tree's 1968's popsike classic "Miss Butters" (reviewed here) came the less inspired and not so good Roxy LP in 1969. Thankfully the Roxy period was a short one and Segarini and bandmate/multi instrumentalist Randy Bishop joined forces with Michael Stull (Lead Guitar, Piano, Vocals), William "Kootch" Trochim (Bass, Slide Guitar, Vocals) and Spencer T. Earnshaw (Drums, Percussion) and moved on to another project originally called Ernie & The Incredible Chickens, quickly renamed The Wackers. The plan this time was to go against the grain of the current trend of pretentious rock that was popular at the time and take music back to it's more innocent times of three minute songs with three harmonies and choruses you could sing along to. The Raspberries, Big Star and The Flamin' Groovies were also thinking along the same lines around this time and were essentially laying down the foundations of what would come to be known as Powerpop.
The first Wackers album "Wackering Heights" was released on Elektra Records in 1971 and was produced by Gary Usher (Byrds/Beach Boys). There are some great tracks on this record including a rousing version of Elvis Presley's "Don't Be Cruel" which was most likely the inspiration behind Cheap Trick's version of the song. Some of the slower tunes have got a strong Crosby, Stills and Nash vibe, thanks to the vocal harmonies. Everything on here though is ultra melodic with plenty of Beatlesque touches in the song writing especially Segarini's Sun King inspired "Body Go Round".
The Wackers L-R (Stull, Bishop, Segarini, Trochim, Earnshaw)
"Wackering Heights" didn't sell too well but Elektra had enough confidence in the band to let them record a follow up, once again with Gary Usher producing. 1972's "Hot Wacks" album saw the band move away from the acoustic dominated sound of the first album to a more powerful sound, more electric guitars and heavier compressed drums but still pure pop at the same time. The recording lasted just six days at Le Studio in Montreal, Quebec in Canada, a favourite spot for the Wackers and a place where Segarini would most of the decade recording.
"Hot Wacks" opens with my favourite Wackers song "I Hardly Know Her Name" which is a one minute and fifty second pop gem which revisits the early Beatles sound. Next up is "We Can Be", the longest track on the album at four and a half minutes but grooves hypnotically away with some booming McCartney style bass lines and "She's So Heavy" guitar. The Beatles influences are all over this record and the bands intentions for their version of John Lennon's "Oh My Love" was for it to sound as though it was done by the Beatles themselves rather than Lennon solo and with it's Jeff Lynne trademark crunching snare drum it reminds me a lot of "Free As A Bird" (which, I suppose is another Lennon song so no big surprise there!). So convincing was their attempt at "Oh My Love" that it turned up many times over the years on Beatles bootleg albums. "Wait And See" pre-dates that Big Star, Radio City sound, in particular "Mod Lang" which sounds quite similar.
If you hadn't picked up on the Abbey Road vibe on the album this far then you certainly will when you flip it over to side two which is a medley of six short songs, which blend perfectly into one another thanks to some smart editing by Usher. The late Beatles sound is present throughout including some spine tingling Leslie speaker effect guitar. "Find Your Own Way" bears some lovely Lennonesque lysergic laced lyrics "sometimes it feels that the world isn't real and I'm floating in gelatin skies" which you can hear for yourself on my Bite It Deep Mix Vol.02here. Richie Unterberger's liner notes for the CD reissue of the albums mentions that the band ended up being kicked off a post Jim MorrisonDoors tour for being happy and having too much fun!
The band were not happy with Usher's mix of "Hot Wacks" and was not asked to produce the follow up, 1973's "Shredder". This is my least favourite of the three Wackers albums but it does have some quality moments. "Eventually, Even You Even Me" has a T-Rex "Slider" feel to it and apparently the band's stage outfits had been getting quite glam, Randy Bishop looks very lady like on the inner gatefold sleeve much to Elektra's disliking. The best track on the album is the Raspberries-alike "It's My Life" which saves the album. "Shredder" is worth a listen and as long as you don't spend too much on a copy or get your hopes up too high you'll be happy. Nice sleeve too! The album, like the previous two did not chart but would provide the band with their only US hit single. "Day and Night" which made it to number 65 in the Billboard chart.
Another Wackers album, "Wack and Roll" was partly recorded but winded up being rejected by Elektra which ultimately led to the band's demise. Segarini's next beand would be The Dudes, whose one and only album "We're No Angels" on Columbia Records in 1975, I haven't heard so I'll have to save that story for another time.
For now though, here's The Wackers doing what they did best...
"I Get So Excited" has been recorded by many artists including Geno Washington, Don Fardon, The Grass Roots, Brownsville Station and even Captain Sensible. My favourite interpretations of the song are the original version by the Equals and the one by The Real McCoy, which incidentally was the first recorded cover, came out in released two months after the original.
The Equals
The Equals version is pure Hard Pop. Less soulful and more beaty than those recordings made by other artists in the following years, their version, like most of the bands recorded output is bursting with a driving energy. Equally(!) good is the flip side "The Skies Above", check it out here. This single was the Equal's fifth and like the four before it, flopped like a fish. Their defining single "Baby Come Back" was released just two months later. There's loads of hidden gems among the Equals back catalogue that will interest readers of this blog and I'd recommend you dig a little deeper into the works of Eddy Grant and Co.
The Real McCoy
The Real McCoy's version brings out the Bubblegum-ness from the track and is more melodic thanks to the vocal harmonies throughout. Rhythmic acoustic guitar and hand claps pad out the song and some over the top phasing which is used almost all of the way through, giving it a psychedelic tint. The B-side. "Somebody's Taken Maria Away", is a Chris Andrews penned tune which sounds rather like The Hollies circa 1965. This was the bands first of seven singles on the rarely seen Target record label and made it to number 68 in their native Irish Chart. The single also got a UK release on PYE but it failed to chart. There is an LP on the Marble Arch record label that was released in 1970 that brings together both sides of their first five singles. I've never seen a copy but would be interested if anyone out there has one to sell.
...So if I had to choose my favourite out of the two I'd most likely go with the Real McCoy version, mainly for its killer phasing!
The Lovin' Spoonful - Only Pretty, What A Pity The Newmens - What Ya Doin' Down There Giles, Giles & Fripp - She Is Loaded The Tremeloes - Willow Tree Claggers - Umber Rag Paradise Hammer – You Got Me In Cerro Verde - I Lost A Game Kevin Vicalvi - Another Day, Another Time Cross Country - Just A Thought Rick Price - I Can Get Found Clifford T. Ward - Jig-Saw Girl Ian Matthews - Franklin Avenue Flying Machine - The Devil Has Posession Of Your Mind Five Steps Beyond - Not So Young Today Billy Nicholls - Umbrella SongThe Goodies - Cricklewood
