Year of Release: 1967
First, a disclaimer - sometimes I feel obliged to upload things not because I necessarily feel that they're great, odd, groundbreaking, interestingly awful or even historically relevant, but because I know there are several people online who have spent years wondering what they sound like. I know that feeling only too well. You browse through a label's sixties back catalogue, spy the name of an artist who is utterly unfamiliar to you, and you want to hear it. It doesn't matter that you've been told it's not worth worrying about, you have to sample it for yourself. And it would be so, so rude to deny you good people the chance to scratch that particular itch in this instance.
Records on the "Go" label, or its sister operation "Strike", are quite highly sought after by gap-plugging sixties collectors, mostly because it's an early example of a British cottage indie label. This curiosity has never been sated by the fact that almost all of the label's output is actually middling fare, consisting primarily of tracks which were never hits because they never had any particular right to be. Had they been operational in any other decade, it's fairly unlikely we'd even be discussing them right now, and they'd probably be consigned to the same 50p curio-bin that releases on D'Art (a seventies indie label), Plastic Speech (eighties) or Rotator Records (nineties) are now. The sixties, however, are deemed much too important for anything scarce to be entirely ignored - thus this entry has been born.
I can't dig up any meaningful information about Phil Brady & The Ranch Set anywhere, beyond the fact that they were a UK-based Country Rock outfit. "Please Come Back" is a trotting, twanging little thang with rich-as-Bisto vocals which is - and I'm conscious of the fact that when I'm slightly indifferent I use this word far too much - pleasant. The chorus is riddled with some interesting Joe Meek-esque echoes, which is curious when you consider the parallels between the go-it-alone operations of Go/ Strike and his own production work, but most of the rest isn't startling to the ears, sounding like a standard live band run-through of a toe-tapping ditty.
Lovers of authentic Country music frequently dis British country records for striving to sound like the real thing, but making fundamental errors in their arrangements which give away their country of birth far too easily. I'm absolutely no expert on the genre, but that definitely sounds like the case here - Phil Brady and His Ranch Set (what ranch had they worked on, I wonder?) so badly want to sound American that this borders on pastiche. I have to admit that this is one of the track's strengths for me - I do find the winks and nods to the range life quite charming, especially as they were probably from Wembley or somewhere. Still though, this is hardly worth bidding a ton of money on e-bay for, and I'd strongly advise you good people not to do so.