"Spooky/Mamas And Papas-Soul Train/Traces/Song" by CLASSICS IV – March 1968 US Debut Album, December 1968 US Second Album, April 1969 US Third Album and August 1970 US Fourth Album – All On Imperial Records And In Stereo – Featuring Dennis Yost, James R. Cobb, Buddy Buie, Emory Gordy, Lari Goss, Don Tweedy and more (November 2018 UK Beat Goes On (BGO) Compilation – 4LPs onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/Spooky-Mamas-Papas-Train-Traces/dp/B07HGR7GY5?crid=AZF44948KDFA&dib=eyJ2IjoiMSJ9.WK-YPyrTjFi7mu9i6h5Y5Q.gEZ1sUyq4ez-YO__jflzs4CZWdG_WoXutIXiQ34PdX8&dib_tag=se&keywords=5017261213679&nsdOptOutParam=true&qid=1729521397&sprefix=5017261213679%2Caps%2C87&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=f7fe014bd8a684b4abaa991446a8ff45&language=en_GB&ref_=as_li_ss_tl

RATINGS:

Material ***

Presentation and Audio **** to *****

"…Love Is Kinda Crazy…"

Formed as far back as 1965 and hailing out of Jacksonville, Florida – the all-American Pop & Beat Band CLASSICS IV hit career pay-dirt with their re-arrangement of a 1966 song called "Spooky" and its release on 45 in late September 1967. Imperial 66259 caught the sensual cool of the Summer of Love perfectly and would soon race up to No.3 on the US Billboard charts in early 1968. It even made inroads in good old Blighty who liked it - but were less excited – so "Spooky" made a reasonable but slightly underwhelming No.46 there when released February 1968 on Liberty Records LBF 15051 (none of their four LP platters got an album release in the UK).

The US Imperial Records album of the same name inevitably followed in March 1968 - as did a slew of hipster cover versions stretching forward at least two years – not least of all by our own chanteuse of the airwaves Dusty Springfield. Her September 1970 45-Single on Philips 6006 045 (although relegated to a B-side of "How Can I Be Sure") almost matched the shimmering silk vibe of the original. A double-whammy combo of sides if there was one. 

And that is where our intrepid but spooked reissue heroes over at Beat Goes On Records in Ing-ger-land come a shimmying in. Here are the kinda crazy details…

UK released Friday, 9 November 2018 (December 2018 in the USA) - "Spooky/Mamas And Papas-Soul Train/Traces/Song" by CLASSICS IV on Beat Goes On BGOCD1367 (Barcode 5017261213679) is a Compilation that offers Four Albums Remastered onto 2CDs and plays out as follows:

CD1 (52:49 minutes):
1. Daydream Believer [Side 1]
2. You Are My Sunshine
3. The Letter
4. By The Time I Get To Phoenix
5. Goin' Out Of My Mind
6. Mary, Mary Row Your Boat [side 2]
7. Bus Stop
8. Just Between You And Me
9. Poor People
10. Book A Trip 
11. Spooky
Tracks 1 to 11 are their debut album "Spooky" – released March 1968 in the USA on Imperial LP-12371 (Stereo) – no UK release

12. Soul Train [Side 1]
13. Bed Of Roses
14. Strange Changes
15. Ladies Man
16. Waves
17. Stormy [Side 2]
18. Mama's And Papa's
19. Pity The Fool
20. It Ain't Necessarily So
21. 24 Hours Of Loneliness
22. The Girl From Ipanema (Garota De Ipanema)
Tracks 12 to 22 are their second studio album "Mamas And Papas/Soul Train" – released December 1968 in the USA on Imperial LP-12407 (Stereo) – no UK release

CD2 (61:36 minutes):
1. Everyday With You Girl [Side 1]
2. Mr. Blue
3. Sunny
4. Free
5. Traces
6. Something I'll Remember
7. Our Day Will Come [Side 2]
8. Rainy Day
9. Traffic Jam
10. Sentimental Lady
11. Nobody Loves You But Me
Tracks 1 to 11 are their third studio album "Song" – released April 1969 in the USA on Imperial LP-12429 (Stereo) – no UK release

12. Where Did All The Good Times Go [Side 1]
13. The Comic
14. Cherryhill Park
15. Pick Up The Pieces
16. We Miss You
17. God Knows I Loved Her
18. Midnight [Side 2]
19. Most Of All
20. Ain't It The Truth
21. The Funniest Thing
22. Nobody Loves You But Me
Tracks 12 to 22 are their fourth studio album "Song" (credited to Dennis Yost & The Classics IV) – released August 1970 in the USA on Imperial LST-11033 (Stereo) – no UK release

The 22-page booklet within the outer card slipcase offers all front and rear artwork repro'd across the first eleven pages – that memory-fest followed by in-depth CHARLES WARING liner notes (contributor for Mojo) where he valiantly tries to get us to believe that their music was good – most if it was not. But it also involves interviews – internet references – and great ANDREW THOMPSON Remasters that really make these well-produced albums shine. To the tunes…

Their "Spooky" debut album opens on a weedy moment - a cover of the popular Monkees hit "Daydream Believer" but is soon redeemed by a Funky Groove meets Garage Swagger & Lip remodel of an old 1930s standard "You Are My Sunshine" - Dennis Yost channelling his inner James Brown in stage-exiting pain (yow!). Next up is another well produced cover - "The Letter" by The Box Tops. And for sure by now, you have noticed that there are too many covers and therein lies the danger. This is compounded by an awful deep-voiced stab at the Jimmy Webb classic made famous by Glen Campbell "By The Time I Get To Phoenix" - but they slightly redeem themselves with a Frankie Valli type vocal on the Little Anthony & The Imperials soft-Soul gem "Goin' Out Of My Head". At last we get an original song - "Mary, Mary Row Your Boat" closing out Side 1. Written by J.R. Cobb it sounds similar to the "Spooky" groove but with a more upbeat feel. 

Side 2 opens with a stab at The Hollies' 1966 pop hit "Bus Stop" - Classics IV going all Jam 'Start' with their jerky-rhythm interpretation. More originals with "Just Between You And me" and "Poor People" but they are both average - the first plodding - the second la-la-la dippy silly. Love with a pill is their destination in "Book A Trip" - a good tune - and of course the album finishes with the spectacular "Spooky" - here in glorious Stereo and shimmering in all the right kinda-groovy places (let's go to a movie with a spooky little girl like you). 

The second album from 1968 goes a little more Rhythm 'n' Blues - the boys trying to ride that Train to Groovesville. Both "Bed Of Roses" and the opener "Soul Train" try hard to make their brass and strings-charts mark but the Dwayne Eddy guitar twang of "Strange Changes" is better. "Ladies Man" goes on about cheaters and again the Buie/Cobb written "Waves" sounds too much like poor-man's 5th Dimension. The ever-so-slightly-soundalike "Stormy" to "Spooky" was a successful 'you are the sunshine baby' 45. Imperial 63328 paired it with "24 Hours Of Loneliness"  from Side 2 of the album. But the rest of the LP - beautifully produced or no - feels like Lounge Music - and not in a good way. 

Come 1969 and album number three "Traces" the love-you-more-and-more-and-more saccharine is poured on with regrettable tunes like "Everyday With You Girl" and "Mr. Blue" and an elevator-ready "Our Day Will Come". They go back to that-winning 'Spooky' feel by going at "Sunny" - that saxophone solo giving it some serious muscle. Two of the third's albums better tracks follow - the out-of-jail "Free" (chains and sorrow, a thing of the past) and the acoustic-driven title track "Traces" - a soft-soap faded-photographs ballad - the sort of ribbons-from-her-hair gloop that might have ended the credits of a movie that's trying to hard to be sincere. And on it goes - a weedy and avoidable LP. 

By the time we get to album number four - they are now credited as Dennis Yost & The Classic IV and the Production values are full-on professional. Guitarist James R. Cobb and Producer/Arranger Buddy Buie penned most of the "Song" LP - but again it's too many overcooked Donny Osmond 'Puppy Love' type tunes with syrupy lyrics and walls of violins. By the time you get to "God Knows I Loved Her" - you've had enough of the second-rate Frankie Valli soundalikes. 

They of the one-word hit-song wonders ("Spooky", "Stormy" and "Traces") were an American chart phenomenon and yet these albums are available for under a pound on well-known auction sites. Unfortunately when you have to wade through them - you can so understand why. Dennis Host would go on to form and nail more Radio-Friendly success with Atlanta Rhythm Section (no less than seven BGO releases of their catalogue are featured on the rear inlay advert insert - see photos). 

"Spooky/Mamas And Papas-Soul Train/Traces/Song" by CLASSICS IV isn't genius for damn sure - and for my palette - too much of this admittedly beautifully recorded stuff is ordinary and dismissible (very three-star stuff). But fans will need to own it and you must give the nod to BGO who have once again fed our Transatlantic fixation with another quality presentation. Just go easy on that 'they'll all be like the cool and sassy Spooky' thought process...

"Leaving It All Behind/Move Along/Alotta' Mileage Plus Bonus Tracks" by THE GRASS ROOTS – Featuring Their Fifth, Sixth and Seventh US LPs from 1969 (1970 UK), 1972 and 1973 on ABC Dunhill Records in the USA and Stateside and Probe Records in the UK - Plus Bonus Tracks – Fifteen Non-LP 45-Single Sides from 1966 to 1973 (November 2023 UK Beat Goes on (BGO) Compilation – 3LPs Plus Fourteen 45-Single-Sides onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/Leaving-Behind-Along-Alotta-Mileage/dp/B0CHPQP724?crid=1SAXOA9Z1L925&dib=eyJ2IjoiMSJ9.uI245PCKZt1ibNdQaKZ2gw.VjMMtkBeTD0r3Zu1ZpdedzTpb9ptKt9cA9UoWR3HBAw&dib_tag=se&keywords=5017261215109&nsdOptOutParam=true&qid=1729363091&sprefix=5017261215109%2Caps%2C81&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=0088a60a3941e2554326d9342ba3409a&language=en_GB&ref_=as_li_ss_tl

RATINGS:

Material *** to ****

Audio **** to *****

Presentation: *****

"…Leaving It All Behind…"

Back in April 2022, reissue specialists Beat Goes On Records (BGO) of the UK put out the first four American albums by popular Billboard chart-act The Grass Roots. The 1966 debut was "Where Were You When I Needed You" followed by "Let's Live For Today" in 1967 - "Feelings" came in 1968 and "Lovin' Things" in early 1969. With 4 whole LPs Remastered onto 2CDs – BGOCD1478 (Barcode 5017261214782) representing serious value for money (and still does – see separate review).

Well, here in November 2023, BGO continues that exploration with another foursome compilation onto two discs – their fifth, sixth and seventh studio platters plus a whopping Fourteen 45-single sides (Non-LP A & B-sides) as Bonuses - all but making up a fourth album. Leaving it all behind indeed.

As with so much of their material, there are reasons why their vinyl does not go for money some 50-plus-years after the events. It is not all genus for damn sure, not by a long shot to my ears, but genre fans will love it and period curious hunters of Pop, Garage and Rock nuggets have much to rediscover. And those rare single-sides are a brilliant move by BGO. Lot to get through, so onwards to the moving along…

UK released 3 November 2023 - "Leaving It All Behind/Move Along/Alotta' Mileage Plus Bonus Tracks" by THE GRASS ROOTS on Beat Goes on BGOCD1510 (Barcode 5017261215109) is a Compilation of 3LPs Remastered onto 2CDs Plus 15 Bonus 45-Single A&B Sides (on CD2) that plays out as follows: 

CD1 (68:12 minutes):
1. I'm Livin' For You Girl [Side 1]
2. Back To Dreamin' Again
3. Out Of This World
4. Melinda Love
5. Don’t Remind Me
6. Take Him While You Can
7. Heaven Knows [Side 2]
8. Walking Through The Country
9. Something's Comin' Over Me
10. Truck Drivin' Man
11. Wait A Million Years
Tracks 1 to 11 are their fifth album "Leaving It All Behind" – released December 1969 in the USA on ABC/Dunhill DS 50067 and March 1970 in the UK on Stateside SSL 5012 in Stereo. Produced by STEVE BARRI (Engineered by Roger Nichols, Strings by Jimmie Haskell) – the band featured Warren Entner on Vocals and Guitar, Rob Grill on Bass and Vocals with Guitarist Terry Furlong, Keyboardist Dennis Provisor and Drummer Rick Coonce.

12. The Runway [Side 1]
13. Monday Love
14. Anyway The Wind Blows
15. Runnin' Just To Get Her Home Again
16. Two Divided By Love
17. Someone To Love
18. Face The Music [Side 2]
19. Move Along
20. One Word 
21. Only One
22. Glory Bound
Tracks 12 to 22 are their sixth album "Move Along" – released June 1972 in the USA on Dunhill/ABC Records DSX-50112 – ABC SW-94786 and August 1972 in the UK on Probe SPB 1058. Produced by STEVE BARRI (Engineers Roger Nichols and Phil Kaye, String Arrangements Jimmie Haskell) - the band featured Warren Entner on Vocals and Guitar, "Uncle" Virgil Webber on Keyboards, Reed Kailing on Guitar, Rob Grill on Bass and Vocals with Joel Larson on Drums. 

CD2 (75:59 minutes):
1. Where There's Smoke There's Fire [Side 1]
2. Pick Up Your Feet
3. You've Got To Bend With The Breeze
4. Just A Little Tear
5. Ain't No Way To Go Home
6. Claudia
7. Love Is What You Make It [Side 2]
8. Look But Don't Touch
9. Ballad Of Billy Joe
10. We Almost Made It Together
11. Little Bit Of Love
Tracks 1 to 11 are their seventh album "Alotta' Mileage" – released May 1973 in the USA on Dunhill DSX-50137 (no UK issue). Produced by STEVE BARRI - the band featured Warren Entner on Vocals and Guitar, "Uncle" Virgil Webber on Keyboards, Reed Kailing on Guitar, Rob Grill on Bass and Vocals with Joel Larson on Drums. 

BONUS TRACKS (Exclusive 45-Single Sides): 
12. You're A Lonely Girl – September 1965 US 45-single on Dunhill D-4013, Non-LP B-side to "Mr. Jones (Ballad Of A Thin Man)"

13. (These Are) Bad Times – April 1966 US 45-single on Dunhill D-4029, Non-LP B-side to "Where Were You When I Needed You"

14. Depressed Feeling – April 1967 US 45-single on Dunhill D-4048, Non-LP B-side of "Let's Live For Today"

15. Midnight Confessions – June 1968 US 45-single on Dunhill D-4144, A-side

16. Bella Linda – November 1968 US 45-single on Dunhill D-4162, A-side

17. I'd Wait A Million Years – June 1969 US 45-single on Dunhill D-4198, A

18. Baby Hold On
19. Get It Together – Tracks 18 and 19 are the A&B-sides of an April 1970 US 45-single on Dunhill D-4237

20. Come On And Say It – September 1970 US 45-single on Dunhill D-4249, A-side ("Something's Comin' Over Me" from the "Leaving It All Behind" album is the B-side)

21. Temptation Eyes
22. Keepin' Me Down – Tracks 21 and 22 are the A&B-sides of a December 1970 US 45-single on Dunhill D-4263

23. Sooner Or Later
24. I Can Turn Off The Rain – Tracks 23 and 24 are the A&B-sides of a May 1971 US 45-single on Dunhill D-4279

25. We Can't Dance To Your Music – September 1973 US 45-single on Dunhill D-4371, A-side ("Look But Don't Touch" from the "Alotta' Mileage" album is the B-side)

As with all these Beat Goes On 2CD compilations – the outer card slipcase looks classy while the 20-page booklet is a properly chunky affair – repro artwork at the start – all those rare US and Euro picture sleeves forming a montage on the back page – and all of it centred by liner notes from Mojo contributor CHARLES WARING that goes deep into the history. UK fans will probably look at these album covers and squint because The Grass Roots were never anything in Blighty – but they charted in the USA. Waring documents 45-by-45, chart positions, the albums, the band personnel that stuck together album-after-album.

Our compilation opens with their second album in a busy 1969 - "Leaving It All Behind". Many months prior, Dunhill took a shorter cut of the LP track "Wait A Million Years" (called "I'd Wait A Million Years" on the initial 45) and coupled it with a song that finished Side 2 of the previous album "Lovin' Things" (March 1969) called "Fly Me To Havana". It did well, rising to No.15 on the Billboard charts. A couple of months before the album hit the shops in December – Dunhill tested the US market again but this time with two from the new LP - "Heaven Knows" b/w "Don't Remind Me". It made No.24. 

You could call these Rob Grill-voiced stabs at Motownesque dancefloor sensibility almost White Boys Soul. To that end, Dunhill staff-writer Kenny Nolan (soon to have a career of his own) composed "Back To Dreamin' Again" for The Grass Roots – but his real ear for Soulfulness would show as co-author of two mid-Seventies classics - "Lady Marmalade" by Labelle and "My Eyes Adored You" for Frankie Valli. Another tasty period morsel on the "Leaving It All Behind" album is the Beatle-ish harmonies of "Melinda Love" – a co-write between singer Entner and Producer Barri. Overall - I would call "Leaving..." a 3-star album (Steely Dan nerds might want to note the Roger Nichols credit as Engineer - whilst Arrangement hounds will immediately know the name Jimmie Haskell).

Album number six "Move Along" from June 1972 (number two in the collection) saw the line-up drop Guitarist Terry Furlong, Keyboardist Dennis Provisor and Drummer Rick Coonce - replaced with Reed Kailing (Guitars), 'Uncle' Virgil Webber (Keyboards) with new Drummer Joel Larson (an early member of the band back in 1965-1966). "Move Along" opens with the big and brassy Soul-Rock stomp that is "The Runway" - an airport runway being the only way to get back to his baby. Both Entner and Grill sharing lead vocals. The well-produced Soulified-feel continues with the I'm-in-love "Monday Love" - the whole thing sounding like an updated Sixties vibe with the other foot in the early 70ts. As far back as October 1971, Dunhill paired the Motownesque "Two Divided By Love" with "Let It Go" on Dunhill D-4289 and that managed a respectable No. 15 on the Billboard Pop charts. 

Before the "Move Along" LP appeared in shops in June 1972, two from it were paired - the piano-pounding dancer "Glory Bound" b/w the syrupy ballad "Only One" in January 1972 - but that 45 didn't do as well as its predecessor as it stalled at No.34. As if to hammer home the album as an event - Dunhill took stab number three linking the catchy opener "The Runway" with the LP's title track "Move Along" in June 1972 (Dunhill D-4316) but despite 'Runway' having excellent grooves and radio-friendly vibes - it too failed to meet expectations by falling at No.39. Tracks like "One Word" too are very obvious hit-searchers - the whole shebang ending on the upbeat five-o'clock in the morning but its a sunny day bop of "Glory Bound".

"Alotta' Mileage" used the same line-up as "Move Along" but replaced Veteran Arranger Jimmie Haskell with wunder-kid Michael Omartian - a name many liner-note hounds will know turned up on serious albums in the mid-to-late Seventies - stuff like Billy Joel's "Piano Man", Christopher Cross's debut "Christopher Cross" and mighty-of-mighties - Steely Dan's "Pretzel Logic and "Aja". In fact his class act chops have amassed a staggering 2000-plus credits to date. But as a band that previously shifted product, their number seemed up. "Alotta' Mileage" was just another album in 1973 and didn't break Billboard's top 200. Which is a shame - you can immediately hear the Production and Arrangement values have increased - the jaunty "Where's There's Smoke There's Fire" being a perfectly danceable 45 for '73.

But the supposed vocal sincerity and positivity-lyrics in "Pick Up Your Feet" feel forced and reaching despite the riffing and laidback harmonies. Before the album hit the shops, Dunhill paired "Love Is What You Make It" with "Someone To Love" from the previous LP "Move Along" but again the single failed to break. The album is also notable for some clever cover version choices - the Mann/Weil penned "Just A Little Tear" turned into Pop and Charlie Rich's "Ballad Of Billy Joe" given a very Eagles strummed Acoustic Guitars take. But best of all is the only moment The Grass Roots seem to rock out - their cover of Free's "Little Bit of Love" ending a patch album on a very definite high point. It isn't Free for damn sure (no band gets close to them really) - but it's a great stab at a great song that maintains the riffage and upbeat vibe in Paul Rodgers' lyrics (I do believe Rodger). Crank its fantastic production values and enthusiastic axe chiming and you might just be there (surely a contender for a movie insertion any day now). 

The fourteen single-sides are a ragbag good-and-bad bunch ranging (release date wise) from 1966 to 1973 - a huge number on Non-LP sides. Garage fans will love the fuzzed up broken-heart frenzy of "You're A Lonely Girl" - clear and punching guitar. Cool and Bluesy 60ts comes chopping in with the fab quarrel song "(These Are) Bad Times" - again another film inclusion beckons methinks. The Grass Roots sound starts to emerge with "Depressed Feelings" - another state-of-confusion Garage bopper that hurries along at a frantic pace will distorted guitars express the angst (at ease boys). Production values leap upwards with "Midnight Confessions" - an excellent Pop tune that could easily have been an A. Of the remainder I like the Guitar chugging Funk and Punk of "Get It Together" - everybody in the land reaching out to their fellow man - happy and alive - oh yeah baby. And on it goes...

Grass Roots albums are not what you would call collectable – often available for a pound or less on auction sites – if you can sell them at all. As I recall when I worked at Reckless in Islington and Soho – they were a no-no in terms of sales. 

And yet, there was reasons why they consistently charted in their native America. And a huge slab of them are on offer here. 

"Leaving It All Behind/Move Along/Alotta' Mileage Plus Bonus Tracks" by The Grass Roots is another stellar compilation in all areas from Beat Goes On…

"Yeh Yeh/Get Away/Hall Of Fame Plus Bonus Tracks" by GEORGIE FAME – Two US Albums from December 1964 and March 1966 on Imperial Records in Stereo and Mono, One British Compilation Album in Mono-only from March 1967 on EMI Records Plus Nine Bonus Single Sides (November 2022 UK Beat Goes On (BGO) Compilation – 3LPs Plus Nine Bonuses Remastered onto 2CDs) - A Review by Mark Barry...

 

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"...Preach And Teach... "

 

Back in October 2015 most Georgie Fame fans here in the UK were licking their lips in glee at the new and gorgeous Universal/Polydor 5CD Box Set "The Whole World's Shaking: Complete Recordings 1963-1966".

 

That peach contained his second British album "Fame At Last" from October 1964 and third "Sweet Things" from March 1966 and so much more. However, those titles were track-list rejiggered (omissions and additions), artwork changed and issued as "Yeh Yeh" and "Get Away" in America in December 1964 and March 1966. And once Fame had left EMI for a new contract with Columbia/CBS Records – EMI UK issued a new March 1967 UK-only Mono-only compilation called "Hall Of Fame" – a title not covered by the 5CD Box Set.

 

And that is where this very cool Beat Goes On twofer CD compilation comes a yeah-yeah bopping in. It gathers together all three of those albums in the one place for the first time and throws in Nine Bonus Tracks – British LP tracks and seven-inch single sides from the period. This release also sees BGO of the UK reach the milestone of catalogue number 1,500 - so there are extra notes from Andy Gray of the reissue label on that too. A lot to talk of, so to the details...

 

UK released 17 November 2022 - "Yeh Yeh/Get Away/Hall Of Fame Plus Bonus Tracks" by GEORGIE FAME on Beat Goes On BGOCD1500 (Barcode 5017261215000) is a Compilation that Remasters 3LPs Plus Nine Bonus Tracks onto 2CDs and plays out as follows:

 

CD1 (73:09 minutes):

1. Let The Sunshine In [Side]

2. Yeh Yeh

3. Get On The Right Track, Baby

4. The Monkey Time

5. Preach And Teach

6. Gimme That Wine

7. I'm In The Mood For Love [Side 2]

8. Pride And Joy

9. I Love The Life I Live

10. Point Of No Return

11. Monkeying Around

12. Pink Champagne

Tracks 1 to 12 are his American Debut LP "Yeh Yeh" – released December 1964 in the USA on Imperial LP 12282 in Stereo (charted 5 January 1965 and rose to No. 137 after 3 weeks).

 

13. Get Away [Side 1]

14. Sweet Thing

15. Ride Your Pony

16. Funny How Time Slips Away

17. Sitting In The Park

18. See Saw

19. Music Talk [Side 2]

20. Last Night

21. It's Got The Whole World Shakin'

22. El Bandido

23. The World Is Round

24. The "In" Crowd

Tracks 13 to 24 are his second American album "Get Away" – released March 1966 in the USA on Imperial LP 9331 in Mono only (didn’t chart).

 

CD2 (47:03 minutes):

1. Sunny [Side 1]

2. Like We Used To Be

3. Outrage

4. In The Meantime

5. Something [Side 2]

6. Do Re Mi

7. Lil' Darlin'

Tracks 1 to 7 are part of the UK-only album "Hall Of Fame" – released March 1967 in the UK on Columbia SX 6120 in Mono only.

NOTE: In order to not duplicate titles on this 2CD compilation, seven tracks of its original 14 are not on CD2. If you want to sequence the original "Hall Of Fame" LP as was - use the following:

 

"Hall Of Fame" LP, March 1967, Columbia SX 6120 in Mono-only

Side 1:

1. Yeh Yeh (CD1, Track 2)

2. Sunny (CD2, Track 1)

3. Point if No Return (CD1, Track 10)

4. Like We Used To Be (CD2, Track 2)

5. Get On The Right Track, Baby (CD1, Track 3)

6. Outrage (CD2, Track 3)

7. Let The Sunshine In (CD1, Track 1)

Side 2:

1. Getaway (CD1, Track 13)

2. Sitting In The Park (CD1, Track 17)

3. In The Meantime (CD2, Track 4)

4. Something (CD2, Track 5)

5. Do Re Mi (CD2, Track 6)

6. Sweet Thing (CD1, Track 14)

7. Lil' Darlin' (CD2, Track 7)

 

BONUS TRACKS

8. Do The Dog (Live)

9. Shop Around (Live)

Tracks 8 and 9 are from the January 1964 UK debut album "Rhythm And Blues At The Flamingo", also January 1964 UK 45-single on Columbia DB 7193 A & B-sides. The album was recorded 'live' in September 1963 and Produced by Ian Samwell with Glyn Johns as the Engineer (Mono).

 

10. Green Onions

Track 10 is a non-album Mono B-side to "Do Re MI" – a UK 7" single released April 1964 on Columbia DB 7255

 

11. I'm In Love With You

12. Bend A Little

Tracks 11 and 12 are the Mono A and B-sides to a July 1964 Promo-Only UK 7" single on Columbia DB 7328

 

13. Telegram

Track 13 is the non-album Mono B-side of "In The Meantime", a February 1965 UK 7" single on Columbia DB 7494 – peaked at 22. "In The Meantime" the A-side is on the "Hall Of Fame" LP

 

14. It Ain’t Right

Track 14 is the non-album B-side of "Like We Used To Be", a July 1965 UK 7" single on Columbia DB 7633 (the A is Mono, the B is Stereo) – peaked at No. 33 on the charts. The A-side "Like We Used To Be" is on the "Hall Of Fame" LP

 

15. Don't Make Promises

Track 15 is the non-album Mono B-side of "Sunny", a September 1966 UK 7" single on Columbia DB 8015 (peaked at No. 13 on the charts). The A-side "Sunny" is also on the "Hall Of Fame" LP

 

16. Many Happy Returns

Track 16 is the Non-LP B-side of "Sitting In The Park", a December 1966 UK 7" single on Columbia DB 8096. The A-side is on the "Get Away" LP

 

The outer card slipcase looks and is classy, the 24-page book repros all the original artwork front and rear, pictures some foreign seven-inch sleeves to frame the Bonus Tracks and adds in new liner notes by noted writer and fan CHARLES WARING. Waring goes into depth giving a deep-dive print on those manic Modernism years between 1964 and 1966 particularly. Georgie Fame broke down doors for Mods and their adoration of all things American R & B and Soul – and so many of the covers here reflected Clive Powell’s obsession with the same. In fact, it seems off that given the British Invasion the "Get Away" album did not dent the top 200 of the American charts. It says Digitally Remastered from Original Tapes but not when or by whom, so we can presume that having licensed the material from Universal who handled the 2015 Box (it made a point of having found the best audio sources) – then these are the same. They certainly sound like it – clean – muscular and very punchy (mostly Mono).

 

Having said all of that, the first thing you could argue is that if you already own the October 2015 5CD Box Set "The Whole World's Shaking: Complete Recordings 1963-1966" – why would you buy this if 85% of it is already Remastered to perfection on that set (Tristam Powell – his son – and Andrew Walter did those RMs at Abbey Road)? The answer is the stragglers on the "Hall Of Fame" album. To the music...

 

It's easy to hear why the Flamingo-live "Do The Dog" and "Shopping Around" failed as a debut 45-single – it's joyful stuff for sure, but it’s just 'too' rough and cluttered. No such sweat with the brill R&B blasting out of your speakers with stuff like "Let The Sunshine In" and Motown's "The Monkey Time" – the girly vocals and brass jabs – all sparkling. The rhythm-section shuffle in "Pink Champagne" is fabulous – Fame's vocals fresh too. It's hard to do an instrumental diamond like "Green Onions" any kind of justice because its owned by Booker T & The M.G.'s – but Fame gives it a barnstorming arrangement that allows both the organ and Saxophone room to shine.

 

The original UK album closed on the Jazzy smooch of "I'm In The Mood For Love". Cool-city is the only way to describe the mod dancer B-side "Do-Re-Mi" (I can see why its so sought after by mod collectors) – unfortunately it's equally easy to hear why the sappy "I'm In Love With You" went only to demo-level only (the flip "Bend A Little" is far better). I'll admit that It's been decades since I last heard the Ska and Blue Beat EP – but what a blast the foursome are – and in great Audio too. But best of all for me is the monster "Yeh, Yeh" (his first No. 1) with its superb "Preach And Teach" flip (surely a shoe in for one the great double-siders).

 

The funky-as-a-gnat's-knackers "See Saw" packs huge punch while "Sitting In The Park" is as echo-lovely as the Billy Stewart 1965 Chess original. The drums on the 'so' 60ts "Music Talk" is a mod's wet dream as is his organ-drenched instrumental cover of the Ramsey Lewis nugget "The "In" Crowd". Both "The World Is Round" and the box set's namesake "The Whole World's Shaking" are fabulous Sixties R&B Jivers (I can just see the girls on the dancefloor blowing the sharp-dressed boys minds with their shimmy-shimmy-shake moves). The "Hall Of Fame" set gave a first-time-on-LP place to the rare B-side "In The Meantime" while another best Audio B-side goes to "It Ain't Right" – his own composition – worth the entry price alone.

 

OK – you could argue that there is a lot of duplication for fans on here – but even they will want the stragglers – and for newcomers - stonkingly great Audio for Georgie Boy Fame is his Mod-glorious prime (I say yeah yeah)...

"Where Were You When I Needed You/Let's Live For Today/Feelings/Lovin' Things" by THE GRASS ROOTS – Four US Studio Albums from 1966 (Debut), 1967, 1968 and 1969 all on Dunhill Records featuring Producer and Songwriters Lou Adler, P.F. Sloan and Steve Barri with Band Members Creed Bratton, Rock Coonce, Rob Grill and Warren Entner (April 2022 UK Beat Goes On (BGO) Compilations – 4LPs onto 2CDs with Andrew Thompson Remasters)- A Review by Mark Barry...

 

 

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"…Melody For You…"

 

Musically somewhere between The Association, The Monkees, The Fabs and even the more melodic moments of Moby Grape (with the long-shadow of The Byrds lingering in the background) – THE GRASS ROOTS charted big – but not that you would know in 2022 or 2023. This most American of Jangle Rock bands seem all but forgotten now let alone respected like some of the hallowed names just mentioned. Yet between 1967 and 1972, TGR charted seven albums on Billboard's Rock LP charts and an impressive fourteen 45-singles starting in 1966 (also ending in 1972). 

 

Brainchild of Producer and Arranger LOU ADLER and featuring extensive songwriting contributions from two 60ts icons - P.F. SLOAN and STEVE BARRI – the last decent CD compilation for The Grass Roots covered their singles. Check out my review for the March 2014 CD "The Complete Original Dunhill/ABC Hit Singles" on Real Gone Music RGM-0227 (B0020162-02) - Barcode 848064002277. A superb sounding compilation with Aaron Kannowski remasters - all 24 of its tracks are USA seven-inch single MONO Mixes (66:27 minutes) and it's a cracker.

 

And that's where this timely 2CD compilation from England's Beat Goes On (BGO) comes a Byrds-jangling in - offering us their first four Studio Albums by THE GRASS ROOTS expertly remastered in Stereo onto 2CDs for maximum value. Time to get rooted (oh dear)...

 

UK released 8 April 2022 - "Where Were You When I Needed You/Let's Live For Today/Feelings/Lovin' Things" by THE GRASS ROOTS on Beat Goes On BGOCD1478 (Barcode 5017261214782) offers Four Stereo Studio Albums originally on Dunhill Records (USA) remastered onto 2CDs and it plays out as follows:

 

CD1 (66:43 minutes):

1. Only When You're Lonely [Side 1]

2. Look Out Girl 

3. Ain't That Lovin' You Baby

4. I've Got No More To Say 

5. I Am A Rock 

6. Lollipop Train (You've Never Had It So Good)

7. Where Were You When I Needed You [Side 2]

8. You Don't Have To Be So Nice

9. Tell Me 

10. You Baby

11. That Is What I Was Made For 

12. Mrs. Jones (Ballad Of A Thin Man)

Tracks 1 to 12 are their debut album "Where Were You When I Needed You" - released August 1966 in the USA on Dunhill Records D-50011 (Mono) and Dunhill DS-50011 (Stereo) - no UK issue. The STEREO Mix is used for this CD.

 

13. Things I Should Have Said [Side 1] 

14. Wake Up, Wake Up 

15. Tip Of My Tongue

16. Is It Any Wonder

17. Let's Live For Today

18. Beatin' Round The Bush

19. Out Of Touch [Side 2]

20. Won't You See Me

21. Where Were You When I Needed You 

22. No Exit

23. The Precious Time

24. House Of Stone

Tracks 13 to 24 are their second studio album "Let's Live For Today" - released July 1967 in the USA on Dunhill Records D 50022 (Mono) and Dunhill DS 50022 (Stereo) - no UK issue. The STEREO Mix is used for this CD.

 

CD2 (65:23 minutes): 

1. Feelings [Side 1]

2. Here's Where You Belong 

3. The Sins Of The Family Fall On The Daughter 

4. Melody For You 

5. Who Will You Be Tomorrow

6. You Might As Well Go My Way 

7. All Good Things Come To An End [Side 2]

8. Hot Bright Lights 

9. Hey Friend 

10. You And Love Are The Same

11. Dinner For Eight

12. Feelings (Reprise)

Tracks 1 to 12 are their third studio album "Feelings" - released February 1968 in the USA on Dunhill Records D 50027 (Mono) and Dunhill DS 50027 (Stereo) - no UK issues. The STEREO Mix is used for this CD.  

 

13. Lovin' Things [Side 1]

14. The River Is Wide

15. (You Gotta) Live For Love

16. City Women

17. What Love Is Made For

18. Pain

19. I Get So Excited [Side 2]

20. The Days Of Pearly Spencer

21. Baby, You Do It So Well

22. I Can't Help But Wonder, Elizabeth

23. Fly Me To Havana

Tracks 13 to 23 are their fourth studio album "Lovin' Things" - released March 1969 in the USA on ABC/Dunhill Records DS 50052 (Stereo only) and March 1969 in the UK on EMI/Stateside SJSL 5064 (Stereo only). 

 

THE GRASS ROOTS were:

CREED BRATTON - Lead Vocals and Lead Guitar

WARREN ENTNER - Lead Vocals and Rhythm Guitar

ROB GRILL - Lead Vocals and Bass

RICK COONCE - Drums and Percussion

Other Musicians included:

P.F. Sloan (Guitars and Bass), Larry Knechtel and Jimmie Haskell (Keyboards), Joe Osborn and Bobby Ray (Guitars), Hal Blaine (Drums), 'Bones' Howe (Percussion), 

 

The outer card slipcase and 24-page booklet lends this twofer CD set a feel of class. And once again BGO's long-time liner notes associate CHARLES WARING pours on the factoids and generally favourable opinions. Along with all the artwork (front and rear) filling out the first cluster of pages - Waring references sources that include P.F. Sloane's autobiography - it's a typically informative and affectionate read for a band that deserves the spotlight. The AUDIO is very clean even if the deliberate channel separation (the way it was recorded) begins to sound jarring. The imaging is great and when these so-60ts recordings kick in, the pack an ANDREW THOMPSON remastered wallop. Another point noting is that the "Golden Grass" greatest hits set issued in September 1968 contained two new tunes that were both issued as successful 45s in the USA - "Midnight Confessions" and "Bella Linda" and despite room on either CD – they are both AWOL. To the chunes we do have...

 

The debut album is a typical catchall mishmash of contemporary cover versions alongside Sloan and Barri originals. TGR tackled the gentle harmonies of Simon & Garfunkel's "I Am A Rock" (rather well too), The Turtles on "You Baby" and Barry McGuire's "Lollipop Train (You Never Had It So Good)" - while The Stones' "Tell Me", The Lovin' Spoonful's "You Didn't Have To Be So Nice" and Jimmy Reed's R&B classic "Ain't That Lovin' You Baby" provided the semi-boppers.

 

Opening the band's vinyl account in America - Dunhill Records not surprisingly picked the man of the 1965 moment as their 45-single debut. The Grass Roots' lovely version of Bob Dylan's "Mr. Jones (Ballad Of A Thin Man)" had Dunhill D-4013 put "You're A lonely Girl" on the flipside - a Non-LP track that's outside the purview of this compilation unfortunately. Fans would have to wait until April 1966 for the next platter - a pairing on Dunhill D-4029 of the Sloan/Barri classic "Where Were You When I Needed You" with another Non-LP B-side "(These Are) Bad Times". It did the trick - the A-side punching into Billboard's US singles charts in mid July 1966 and rising to a healthy No. 28 position. Their debut album would proffer one more single in August 1966 (just as the album was released) - the Sloan/Barri two-song combo of "Only When You're Lonely" with "That's What I Was Made Of" on the flipside of Dunhill D-4043 - but chart success would elude them until the release of their much loved second LP - "Let's Live For Today".

 

A cover of an Italian ditty called 'Piangi Con Me' which translates into 'Cry With Me' - The Grass Roots started their chart success proper with their version of that song re-titled "Let's Live For Today". Released April 1967, when that piano, bass and strummed acoustic guitar hits your speakers - you can so hear why its Monkees-meets-The Beatles girly-angst hit the charts with a wallop. Cleverly constructed as the vocals pan across your speakers - hippy-hippy shake moments swoop and swirl and this winner made it up No. 8 on the US singles chart (Dunhill D-4084). The "I'm glad we're different…" and "don't worry about tomorrow…" lyrics of "Let's Live For Today" meant something to Vietnam grunts too.

 

Their signature sound of Clavinet and layered vocals fills every bit of the so-60ts "Beatin' Round The Bush" (it even has a half decent guitar solo). But my fave is the whack and 'down your street' pleader "Out Of Touch" - a Sloan and Barri stab at The Kinks that succeeds. Other acoustic goodies include the layered harmonies of "No Exit" (the walls closing in) and the 'keeping me down' Beach Boys sweetness in "This Precious Time". The album ends in the sound to come - the slightly bad-boy Psych-influenced guitar trash of "House Of Stone" - a fantastic shin-kicker penned by Lead Guitarist Creed Bratton. 

 

Despite the commercial feel to its two opening clavinet and strings cuts, the "Feelings" album (their third) saw changes – a pronounced move away from the Pop of Sloan and Barri to sexier genres and the whole band playing on the album. S & B had only two songs on the album – "Here's Where You Belong" and "Melody For You". After the overtly saccharine nature of the openers, suddenly there is a Kinks hard-hitting guitar edge to "The Sins Of A Family Fall On The Daughter" – a socially smart Ben Sidan song about a girl of 30 who has been around a little too much for her own good. They really come into their own with the brilliant "Who Will You Be Tomorrow" – a Grill and Entner composition that has a slinky vibe with fabulous fuzzed-up guitar. The very pretty "Melody For You" came resplendent with lyrics like "...if I were a poet…my words would be revealing…" This period sweetheart of a tune was issued as a 45-single on Dunhill D-4122 in February 1968 (the Rob Grill and Warren Entner composition "Hey Friend" was its B-side) - but failed to get traction. There is a Dylan meets Buddy Holly jangle to "You Might As Well Go My Way" - while the band channels their inner Neil Diamond Tin Pan Alley cool with the super piano-catchy "All Good Things Come To An End" (great audio on this). The Grass Roots become almost funky THEM with the excellent flick-and-chug of "Hot Bright Lights" – a tune that actually uses the word groovy.

 

Unfortunately the band may have progressed song-wise, but the "Feelings" album di not do much business and there is a marked back-to-what-worked feel to their fourth platter. Title track "Lovin' Things" had been a UK hit for Marmalade (featuring Junior Campbell) in 1968 – the Grass Roots taking its infectious beat to the charts in March 1969. "The River Is Wide" was originally recorded by The Forum on Mira Records 232 in 1967 - here TGR begin their take with cracks of thunders but then do melodrama via Phil Spector and it is admittedly very dated. Harmonica on "(You Gotta) Live For Love" and the death-of-me "City Women" help both tunes, but the strings make it feel like they are trying to hard to please. Back to clavinet can’t-go-on whinging with "What Love Is Made Of" – an awful cloying ballad best forgotten. They even have a go at David McWilliams 'watching me too' tale in "The Days Of Pearly Spencer" though the separation of channels is harsher than it should be. Not as good an album as its undiscovered predecessor.

 

For sure, by the time you get to album number four, you can already hear the winning formula that served them on albums one and two and that taste of genuine progress on their adventurous third – already worn out. But there is much to enjoy on here and warm to see their legacy get such tasty presentation from BGO (yet another quality compilation from them).

 

A uniquely American phenomenon – The Grass Roots deserve this very cool Beat Goes On 4LPs-onto-2CDs offering. Why I can almost forgive those beads and that hairy chest man...