Philip Goodhand-Tait - Love Has Got Hold Of Me

Philip Goodhand-Tait - Love Has Got Hold Of Me (Philip Goodhand-Tait) Decca F12868 A - 1968

Tras el single de Circus, que tuvimos la semana pasada, Philip Goodhand-Tait debutó por fin en solitario con esta canción de brillante estribillo y elegante subidón, "Love Has Got Hold Of Me", muy en la línea de las que en la misma época escribia para The Love Affair, y también con el mismo productor, el ínclito Keith Mansfield.

Con un ojo puesto en la canción de autor y el otro en las listas de éxitos, ¿qué más se puede pedir para un caluroso domingo de verano?


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After the Circus single we had last week, Philip Goodhand-Tait at last started his solo career with this song with brilliant chorus and elegant uplift, "Love Has Got Hold Of Me", quite in the style of those he was writing around the same time for The Love Affair, and also with the same producer, the distinguished Keith Mansfield.

With an eye in the songwriters songs and the other one in the hit parade, what more could you ask for on a hot summer sunday?



http://rapidshare.com/files/270593341/Philip_Goodhand-Tait_-_Love_Has_Got_Hold_On_Me.mp3

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Circus - Gone Are The Songs Of Yesterday

Circus - Gone Are The Songs Of Yesterday (Philip Goodhand-Tait) Parlophone R5633 - 1967

Escuché esta canción por primera vez, hace varias vidas, en la cara B de un single de The Love Affair. Ya entonces me gustaba mucho y el cantante Steve Ellis hacía un buen trabajo, arropado por los impecables arreglos del gran Keith Mansfield. Pero me quedé impresionado cuando, un tiempo después, dí con la versión original cantada por su autor, Philip Goodhand-Tait, bajo el nombre de Circus.

Una sentida canción que habla un poco del tema que aquí nos ocupa, las canciones de ayer que se han ido, y que podría ser un imposible cruce entre "baroque pop" y soul, con clavicordio, discreto viento y una desgarrada voz, más que convincente a sus 22 años.

Philip había comenzado ya a hacer ruido a principios de los 60 con su grupo The Stormville Shakers, que incluso llegaron a acompañar al mítico Larry Williams en un montón de bolos y en el LP "The Larry Williams Show" (1965). Después de tres singles el grupo, que por entoces practicaba una especie de "soul-beat" con aromas mod, cayó como casi todo el mundo bajo el manto psicodélico y cambiaron su nombre a Circus, editando este único single en Septiembre de 1967, que fué producido por el entonces cantante de Manfred Mann y también prolífico autor, Mike D'Abo.

Philip Goodhand-Tait escribió en esa época grandes canciones para The Love Affair, como "A Day Without Love", una de mis favoritas eternas, o la imponente "Bringing On Back The Good Times". También escribió para otros artistas como Roger Daltrey o Gene Pitney. En 1968 inició su carrera en solitario, que llega hasta la actualidad.


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I first heard this song, a few lives ago, on the B side of a Love Affair single. I already quite liked it then, and the singer Steve Ellis was doing a good job backed by the tasty arrangements of the great Keith Mansfield. But I was impressed when, some time later, I got the original version sung by its writer, Philip Goodhand-Tait, under the name of Circus.

A heartfelt song which is talking about the topic we're just dealing here with, those gone songs of yesterday, and which could be an impossible crossover between "baroque pop" and soul, with spinet, discreet wind and a broken voice, more than convincing at 22.

Philip had started making some noise in the early 60s with his band The Stormville Shakers, who even managed to back the mythical Larry Williams on a lot of gigs and also on the LP "The Larry Williams Show" (1965). After three singles the band, who by then was doing some kind of "soul-beat" with a mod flavour, fell like almost everybody else under the psychedelic spell and changed their name to Circus, releasing this lone single in September 1967, which was produced by then Manfred Mann's singer and also prolific writer, Mike DAbo.

Philip Goodhand-Tait wrote around that time some great songs for The Love Affair, like "A Day Without Love", one of my favourite ever, or the impressing "Bringing On Back The Good Times". He also wrote for other artists like Roger Daltrey or Gene Pitney. In 1968 he started a solo career which is going on nowadays.

http://rapidshare.com/files/267232927/Circus_-_Gone_Are_The_Songs_Of_Yesterday.mp3

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Mike Hugg's Freeway - Wichita

Mike Hugg's Freeway - Wichita (Mike Hugg / Ian La Frenais) Polydor 2058 805 A - 1976

Uno de los principales motores de Mafred Mann en sus distintas etapas, Mike Hugg inició su carrera en solitario en 1972 con el álbum "Somewhere". Tras un segundo disco, "Stress & Strain", reapareció en 1975 con un nuevo grupo llamado simplemente Hug, que duraría poco tiempo y dejaría un único LP, "Neon Dream". Su nueva aventura, Mike Hugg's Freeway, también sería breve y con ese nombre se publicaron tan sólo dos singles. "Wichita" es el segundo y último de ellos. Por cierto, producido por Vic Smith que, tan sólo unos meses más tarde, estaría en un mundo diferente produciendo a The Jam.

En esa época, Mike escribió parte de la música para una película llamada "The Likely Lads", un remake de una popular serie de TV en el Reino Unido. Uno de los guionistas del film era un tal Ian La Frenais, con quien Mr. Hugg colaboró en esta conmovedora canción que siempre consigue tocarme esa más o menos oculta fibra sensible que casi todos tenemos.

En la línea de algunas grandes baladas de los 70 y con un estribillo redondo, "Wichita" es una canción tierna, elegante y discretamente dramática, escrita por un maestro del agridulce. Mike Hugg. Puedes encontrar más información y más música suya en mi otro blog "Ventana Circular". Sólo pincha en el enlace de ahi al lado, arriba a la derecha.


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One of the main forces behind Manfred Mann in their several stages, Mike Hugg started his solo career in 1972 with the album "Somewhere". After a second album, "Stress & Strain", he reappeared in 1975 with a new band called simply Hug, which wouldn't last too long and would leave a lone LP, "Neon Dream". His new adventure, Mike Hugg's Freeway, would also be a short one and only a couple of singles were released under that name. "Wichita" is the second one. By the way, it was produced by Vic Smith who, only a few months later, would be in a different world producing The Jam.

Around that time, Mike wrote part of the music for a movie called "The Likely Lads", a remake of a popular U.K. TV series. One of the script writers in the film was a certain Ian La Frenais, with whom Mr. Hugg wrote this moving song that always succeeds in disturbing in me that more or less hidden sensitive side which almost everybody is supposed to have.

On the line of some great 70s ballads and with a definitive chorus, "Wichita" is a tender, elegant and discreetly dramatic song written by a master of the sweetandsour. Mike Hugg. You may find more of his music and information in my other blog "Ventana Circular". Just click on the link here to the upper right side.



http://rapidshare.com/files/263400981/Mike_Hugg_s_Freeway_-_Wichita.mp3



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Salt Water Taffy - Summertime Girl

Salt Water Taffy - Summertime Girl (Pete Anders/Vinnie Poncia) Metromedia MM220 - 1970

Me gusta el contraste entre el riff instrumental de guitarras fuzz y wah wah con el colorido y la dulzura de la melodía cantada, cercana al sunshine pop. Una bonita y original canción de pop urbano escrita por Pete Anders y Vinnie Poncia, legendarios autores y productores (The Ronettes, The Crystals, Bobby Bloom, The Tradewinds, The Innocence...).

Salt Water Taffy, además de ser un dulce típico del area de New Jersey, era un grupo neoyorkino liderado por Rod McBrien y Johnny Giametta. Rod ya tenía experiencia anterior como músico con The Tornadoes, The Valrays, The Casualeers o The Eastern Scene, y también como técnico de sonido en diferentes estudios (Roulette, Allegro, o Ultra Sonic, donde con Shadow Morton grabó el mítico "Leader Of The Pack" de The Shangri-Las). También, Rod y Johnny habían escrito algunas canciones para otros artistas.

Salt Water Taffy editaron un total de cinco singles y un muy agradable LP entre 1968 y 1970, todos ellos para el legendario sello Buddah, excepto este último que aquí presentamos que fué publicado con diferentes caras B por dos marcas diferentes: United Artists y Metromedia.


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I like the contrast between the wah wah and fuzz guitar instrumental riff, and the sweet and colourful sung melody, quite close to sunshine pop. A nice and original urban pop song written by Pete Anders and Vinnie Poncia, legendary songwriters and producers (The Ronettes, The Crystals, Bobby Bloom, The Tradewinds, The Innocence...).

Salt Water Taffy, besides being a New Jersey area tipical sweet, was a newyorker group led by Rod McBrien y Johnny Giametta. Rod was already an experienced musician with The Tornadoes, The Valrays, The Casualeers or The Eastern Scene, and also a sound engineer in several studios (Roulette, Allegro, or Ultra Sonic where, with Shadow Morton, he engineered the mythical "Leader Of The Pack" by The Shangri-Las). Also, Rod and Johnny had written some tunes for other artists.

Sal Water Taffy released a total of five singles and a quite pleasant LP between 1968 and 1970, all of them for the legendary Buddah label, excep this last one we're presenting here which was released with different B sides for two different labels: United Artists y Metromedia.


http://rapidshare.com/files/261716265/Salt_Water_Taffy_-_Summertime_Girl.mp3

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Gullivers People - Somehow, Somewhere

Gullivers People - Somehow, Somewhere (A.Keen/J.Wilkins) Columbia DB 8588 A - 1969

Esta canción me pilló desprevenido. La pinché un par de veces y me enganchó. Refrescante y en colores a cuadros, transmite una jovialidad que casi da vergüenza. El órgano que responde a cada estrofa fué el elemento definitivo. Además, a pesar de no ser nada complicado, no puedo imaginar a nadie actualmente haciendo una canción con este rítmo precísamente. Esclavitudes de las épocas. Adjudicada.

"Somehow, Somewhere" fué el cuarto y último single de Gullivers People, un sexteto de Londres que apenas actuó nunca fuera de la ciudad, pero que fueron el grupo residente del legendario Tiffany's durante un buen número de años. Con un sonido muy cercano al llamado "sunshine pop", publicaron tan sólo cuatro singles entre 1966 y 1969. A single por año. Con el inefable Norman Smith en los controles, casi parece verano.


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This song caught me unprepared. I played it a couple of times and got hooked. Refreshing and in squared colours, it transmits an almost shameful cheerfulness. The organ answering each verse was the definitive element. Also, in spite of not being complicated at all, I just cannot imagine anyone nowadays making a song with exactly this rhythm. Slaveries of the times. Awarded.

"Somehow, Somewhere" was the fourth and last single by Gullivers People, a London sextet that hardly ever played outside town, but who was the resident band in the legendary Tiffany's during a few years. With a sound quite close to the so called "sunshine pop", they released only four singles between 1966 and 1969. A single per year. With the unutterable Norman Smith at the controls, it almost seems it's summer.



http://rapidshare.com/files/256996305/Gullivers_People_-_Somehow__Somewhere.mp3

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Leapy Lee - If I Ever Get To Saginaw Again

Leapy Lee - If I Ever Get To Saginaw Again (Bob Russell / Jack Keller) LP "Little Arrows" Decca DL 75076 - 1968

Una gran canción sale, prácticamente, de cualquier sitio. A veces, de lugares más que insospechados. Graham Pulleyblank (Eastbourne, Reino Unido, 1939) cambió su nombre a Lee Graham y cuando se lió a grabar discos en 1965 elegió Leapy Lee como nombre de guerra. En 1968 tuvo un éxito mundial con una insidiosa cancioncilla llamada "Little Arrows", que aqui en España grabó Karina con igual éxito.

Para aprovechar el momento se publicó un primer LP, "Little Arrows", en el que, entre discretas originales y versiones varias, se puede encontrar esta mayúscula canción, que no me ha dejado en los últimos días. "If I Ever Get To Saginaw Again" fué escrita por Bob Russell y Jack Keller, ambos reconocidos profesionales en el pop americano de los 60. Ya querrían muchos escribir canciones como esta a los 54 años, como Bob. La canción había sido grabada también por The Monkees, pero no fué editada en su dia hasta que apareció en el disco "Missing Links Vol. 2" muchos años después. Hay que decir que la versión de Leapy Lee es abiertamente superior. Tal vez ayuden a ello la naturalidad de Leapy y la impecable producción y arreglo del ex-Manfred Mann, Mike Vickers.

Leapy Lee nunca consiguió repetir el éxito de "Little Arrows" y tras unos cuantos discos más, una estancia en la cárcel y una emigración a Arabia Saudí, se instaló en Mallorca y abrió un bar en Santa Ponsa. Todavía sigue allí, cantando a veces por los garitos de la zona y haciendo alguna columna para algún periódico local en inglés.

Aqui está la letra de la canción, que trata un tema totalmente inusual para una supuestamente inofensiva canción pop, y que la hace incluso mejor todavía:



"If I ever get to Saginaw again,
A locale that's somewhat off the beaten track.

Get to see the girl I never saw again,
Who must know why I have never ventured back.

Oh, we were young,
And so alive

And now I wonder if she'd cling to me,
Be my very own as she did then,
If I ever get to Saginaw again.


If I ever get to Saginaw again,
It won't be in spring with meadows turning green.

It won't be to tangle with the law again.
It won't be with someone only seventeen,

Who gave her love,
And made me hers.

And when you find the one you're dreaming of
Who strucks to ask, how old is love?, not when
You may never get to Saginaw again.


If I ever get to Saginaw again
I will get to see the son who bears my name.

And perhaps I'll quietly withdraw again
When I see the little man that he became.

But now I yearn
To watch him grow.

A father's love is maybe all it takes
To try to beat the great mistakes of men
If I ever get to Saginaw again"


(Bob Russell / Jack Keller)


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A great song appears, in fact, anywhere. Sometimes, in more than unsuspected places. Graham Pulleyblank (Eastbourne, UK, 1939) changed his name to Lee Graham and, when he got involved in making records in 1965, he chose Leapy Lee as his new nick name. In 1968 he had a world hit with an insidious little song called "Little Arrows".

To cope with the moment a first LP, "Little Arrows", was released. On it, among discreet originals a various covers, you may find this tremendous song, which has not left me in the last few days. "If I Ever Get To Saginaw Again" was written by Bob Russell and Jack Keller, both of them respected songwriters in the american 60s pop. Many musicians would give an arm and a leg to be able to write such a song at 54, like Bob. This tune had also been recorded by The Monkees, but it wasn't released at the time until it finally appeared many years later in "Missing Links Vol. 2". We should note that Leapy Lee's version is far better. It may help Leapy's natural way of singing it and also the faultless production and arrangement of ex-Manfred Mann, Mike Vickers.

Leapy Lee could never repeat the great success of "Little Arrows" and after a few more records, a season in prison and a migration to Saudi Arabia, he settled in Majorca in Spain, and he opened a bar in Santa Ponsa. He's still there, sometimes singing around the local pubs and writing some column for some local british newspaper.

You can find above the lyrics to the song, which is dealing with an absolutely unusual topic for a supposedly harmless pop song. Which makes it even better.




http://rapidshare.com/files/252963173/Leapy_Lee_-_If_I_Ever_Get_To_Saginaw_Again.mp3



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Don Grady - The Children Of St. Monica (Don Grady) Canterbury C 501 - 1967

De San Diego, California, Don Agrati era ya un precoz artista cuando, ya de niño, andaba bailando y actuando en series de televisión y en películas para la pantalla grande, sobre todo westerns.

Ya a los 19 años y con el nombre de Don Grady, publicaba para el sello Checker su primer single en 1963. Durante los siguientes cuatro años, editaría hasta un total de siete de ellos para Orange Empire (1), Capitol (2), Challenge (1) y Canterbury (2). Tuvo tiempo además para participar en el primer single de The Palace Guard, junto a Emitt Rhodes, y para fundar el inolvidable grupo The Yellow Balloon junto a Gary Zekley, editando con ellos un LP y tres singles. Todo ello, sin olvidarse de su papel de actor, principalmente en una famosa serie de televisión llamada "My Three Sons".

Tras publicar un LP para Elektra en 1973, ya con su nombre real, Don Agrati ha permanecido conectado desde entonces a diversas actividades relacionadas con la música y todavía sigue tocando en directo y grabando.

"The Children Of St. Monica" tiene una encantadora melodía en las estrofas y un estribillo un tanto psico-hebrío que le da una dimensión especial. Na, na, na, na, na...


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From san Diego, California, Don Agrati already was a precocious artist when, still a child, was dancing and performing as an actor for some TV series and big screen movies, specially westerns.

At 19 and with his name changed to Don Grady, he released his first single for the Checker label in 1963. During the following four years, he would release up to seven of them for Orange Empire (1), Capitol (2), Challenge (1) and Canterbury (2). He also found the time to sing on the first single by The Palace Guard, with Emitt Rhodes, and to start the unforgettable band The Yellow Balloon, together with Gary Zekley, and releasing with them three more singles and one LP. All of it, without forgetting his acting role, specially in a famous TV series called "My Three Sons".

After releasing an LP for Elektra in 1973, under his real name, Don Agrati has kept a connection to several musical activities ever since, and is still playing live and recording.

"The Children Of St. Monica" has a charming melody on the verses and a psyco-drunken chorus which gives a special dimension. Na, na, na, na, na...



http://rapidshare.com/files/246805870/Don_Grady_-_The_Children_Of_St._Monica.mp3



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