15 August 2018

Reupload - Brotherly Lovers - If You Need A Love Song/ Our Favorite Hill



Rough and ready garage ballad from New York

Label: eskee
Year of Release: 1966

Brotherly Lovers are responsible for a garage track called "Was A Lie" which has been talked about enthusiastically online for awhile now. Rough and imperfect, it sounds as if was recorded for a few cents, and even they were probably fed into the electricity meter just to keep the session going.  Like so much of its ilk, though, it possesses a charm that some contemporary hits of the time lacked.

Far less has been written about its follow-up "If You Need A Love Song", despite - or perhaps because of - the fact that this seems to be the release where Brotherly Lovers had smoothed off some of the rough edges. Sounding less buzzsaw and agitated in approach and more akin to an aspiring folk-rock group, it showcases gentle vocal harmonies and a slightly melancholy but jingle-jangle melody. Still, though, there's a brittleness and punkish naiveté to the delivery which clearly indicates that this is still a low-budget affair, like a DIY eighties indie take on The Byrds as opposed to the polished Columbia Records deal.

12 August 2018

Tony Washington - Crying Man/ Please Mr. DJ



Island ska songwriter with a neat piece of mid-tempo soul

Label: React
Year of Release: 1965

The name Tony Washington may not seem immediately familiar, but he is believed to have played piano on the historic, ground-breaking recording of "My Boy Lollipop" by Millie, and also wrote the single's B-side "Something's Gotta Be Done".  Arriving from Jamaica in the early sixties, he found an early champion in Chris Blackwell who, besides the Millie gig, cut some of his own singles on Island and also the label's Black Swan and Sue subsidiaries. 

Unfortunately, unlike Millie his solo ska material never really came close to breaking into the mainstream, and most of his singles are incredibly scarce these days. He attempted some non-ska releases too, such as the track "Sunday" in 1963 which was aimed more at the pop market, but even these went nowhere.

Given the fact that "Crying Man" found its home on the tiny independent label React, it's arguably one of his more obscure and poor-selling efforts. Like "Sunday", though, it falls back on a conventional structure, this time a jogging soul sound. You could almost describe it as a Northern Soul sound, but it arguably lacks the tempo or the emotional delivery; Washington's vocals in places sound oddly cheery given the rather glum break-up the lyrics portray. Nonetheless, it's a solid performance and a highly likeable record. 

8 August 2018

52nd Precinct - Time Is Tight/ Feel It



Vast, ever-evolving library track featuring fuzz guitars and flutes. Nice!

Label: Dart
Year of Release: 1973

Now here's a treat. This appears to be a different treatment of Simon Park's track "Precinct" (issued under the name Simon Haseley) on the DeWolfe LP "Hogan, The Hawk and Dirty John Crown". 

Clocking in at four-and-a-half minutes long, a fuzz guitar introduces the proceedings before the track slowly unveils puffing flutes, groovy beats, and foreboding brass lines. Slinky, sleek and atmospheric, it's a complex and genuinely lovely bit of work which is clearly inspired partly by Isaac Hayes' soundtrack to "Shaft".

If it sounds halfway familiar, that's because elements of it have been used in soundtracks - even recently, "Bargain Hunt" has apparently utilised its charms during an episode (Yes, I know).

5 August 2018

The Almond Lettuce - Tree Dog Song/ To Henry With Hope



Bouncy but marginally deranged popsike from this mystery band

Label: Columbia
Year of Release: 1968

Arguing about what constitutes a "psychedelic" record has been an intense political debate for collectors for decades now. People the length and breadth of the country have screamed and shouted at each other in pubs demanding to know what exactly is so "way out" about the contents of some of the "Rubble" series. Why, I even have a scar on my forehead from the time someone angrily threw a copy of Barnaby Rudge's "Joe Organ & Co" at me, yelling the words "You couldn't listen to that while taking a trip, you moron, it sounds like a third-rate sixties Bowie out-take" (Some of the above may be lies).

I'm using the word "psychedelic" to describe this record advisedly, then. It's hardly "See Emily Play", but then again... both sides are infused with a pie-eyed, child-like worldview, and arrangements which are prone to sharp diversions. "Tree Dog Song" on the A-side has one of the worst and most irritatingly child-like intros in the world, but gradually settles down into sounding like The Kinks at their most skewiff and countrified singing about God knows what. 

The B-side is the real winner for me here, though, delivering absurd lyrics about domestic failures and marital break-up over a melancholy organ sound and insistent, minimal, chiming guitar line. "Oh Henry... I know that the rhubarb pie was under-done/ and your cricket pads were stained with eggy juice" the singer explains, and it's hard not to empathise. Henry sounds like a monster. The song also has a McCartney-esque bounce to it which is compelling. 

1 August 2018

Reupload - Chris Sievey - Camouflage



The person beneath Frank Sidebottom's head with a genuinely cracking single

Label: EMI
Year of Release: 1983

I suspect that there will be non-British readers of this blog for whom the name Chris Sievey rings very few bells, the significance of it being utterly lost. But then again, maybe not - maybe times are changing. Since the release of the film "Frank", which was partly based on Sievey's Frank Sidebottom persona, more people around the world are beginning to question who he was and what drove him on through numerous years of near-breakthrough success and utter failure.

Sievey's bullheadedness and resilience became apparent very early on. In 1971, at the age of sixteen, he and his brother hitch-hiked from their home city of Manchester to the Apple headquarters in London  and refused to leave their offices, demanding to meet one of the Beatles so they could play them their music. Staff were unable to help, but the Head of A&;R Tony King allowed them some time in Apple's studio to record a demo, though he clearly wasn't interested in making a signing upon hearing the results. For the next few years the rest of the music industry remained similarly oblivious to Sievey's charms, and he self-released numerous cassettes and slabs of solo vinyl to the public's general indifference.

His solo efforts gradually morphed into the band project The Freshies in 1974 (who, according to Sievey, a very young Johnny Marr tried to join) who slowly began to attract attention, hitting their peak after being signed by MCA in 1981 and almost having a hit with "I'm In Love With The Girl On The Manchester Virgin Megastore Check-Out Desk". Follow-up efforts such as "I Can't Get Bouncing Babies By The Teardrop Explodes", however, were greeted less keenly, and MCA lost interest, as eventually did the rest of the band, leaving Sievey to release solo material again.

While even his greatest fan would probably have to admit that Sievey was sometimes much too keen on gimmickry and whimsy to connect strongly with the general public, "Camouflage" is one of those eighties hits that should have been but never was. Bulging with hooks, anthemic riffs, a Springsteen-esque chorus and a keyboard line peculiarly reminiscent of Carly Simon's "Coming Around Again", its a lean and marvellous pop record which should have been on the radio dozens of times a day. In the event, "Camouflage" got a slot on Channel 4's "The Tube", some minimal radio exposure, and little in the way of sales. If he seemed to give up on a straight pop career after this, I for one can't blame him - "Camouflage" is the sound of someone throwing every last great idea they have at the wall and smoothing everything over to commercial neatness and perfection.

29 July 2018

Mixed Bag - Potiphar/ Million Dollar Bash



A 60s Tim Rice produced Dylan cover? Oh yes indeed.

Label: Decca
Year of Release: 1969

Most listeners tend to associate either Tim Rice or Andrew Lloyd-Webber with their material from West End musicals rather than sixties beat or popsike - and that really is fair enough. Only the most determined and knowledgable of "Pointless" contestants would choose to name "Monday Morning" by Tales of Justine as an example of Lloyd-Webber's recorded work (albeit on production duties) ahead of "Don't Cry For Me Argentina". 

Nonetheless, both men did have have careers before their West End pomp, and were pulled towards all kinds of interesting challenges in the sixties. In this case, what you will find on the A-side is the track "Potiphar" from Joseph and The Amazing Technicolour Dreamcoat - not included here for blindingly obvious reasons (It's also not at all good, in my humble opinion).

On the flip, however, is something very unexpected indeed, namely a cover of Bob Dylan's "Million Dollar Bash". The group take on the track keenly, giving it a folk-rock swing that works well. Throw it unlabelled and uncredited on to a playlist of Dylan covers, and absolutely nobody would be any the wiser about the group's origins or their production team. There's also a surprising amount of vim and spittle in the band's delivery, meaning they nail Bobby's satirical intentions well.

25 July 2018

Wilma - Lavender Blue/ Questions



Deftly arranged sixties pop from Dutch child star

Label: Major Minor
Year of Release: 1970

British sixties pop really wasn't awash with child stars. By the time we got deep into the seventies and cute kids with innocent voices became talent show gold, all that changed - prior to that, most of the kiddypop singles we saw seemed to come from the continent.

Wilma was a hit in her native Netherlands, and issued numerous singles over there such as "Tulpen Aus Amsterdam" and "Voor Een Pop Ben Ik Te Groot". "Lavender Blue" seems to have been an attempt to crack the English language market which failed, though the number of copies there are for sale on the market would suggest it didn't sell terribly in the UK, just not enough to crack the Top 40.

22 July 2018

Robb Storme Group - Here Today/ But Cry



Fantastic West Coast styled pop on both sides here, from future Orange Bicycle members

Label: Columbia
Year of Release: 1966

I've bypassed this particular single in the racks on a number of occasions in the past, suspecting it to be little more than an unimaginative, carbon copy of a track off "Pet Sounds". Cover versions - who really needs them, eh?

This is further evidence, if you really needed it, that when it comes to record buying I can be something of a prat. The version of "Here Today" on the A-side is respectful and arguably unadventurous, but propels and kicks the track along determinedly, upping the tempo slightly to suit the English climate it now finds itself in. The chorus in particular clatters along urgently. It's a win-win situation - Beach Boys fans won't feel alienated by it, but listeners after something slightly new will find enough to enjoy. 

It's the flip that's the biggest surprise, though. "But Cry" is a melting pot of styles, from the West Coast jingle-jangle of its guitar melodies and vocal arrangements to the propulsive, driving mod beats. If it's summer and your woman or man has let you down, and you're wearing paisley and beads and just want to sulk in a city park, this shall be your soundtrack. 

18 July 2018

Reupload - Marianne and Mike - As He Once Was Mine/ Go On



Sprightly and actually very obscure 60s girl pop from future Wynder K Frog member

Label: Vocalion
Year of Release: 1964

Regular readers will know all about the struggles I have attempting to find material for this blog which is largely unheard.  Back when I began writing here in 2008, finding singles and tracks which were unavailable on iTunes, YouTube, Spotify and elsewhere was like wandering through a large apple orchard the first day after a hurricane.  The feast we all had, eh readers (are any readers from that period actually left?) These days record companies have digitally re-released a lot of the content from the darker corners of their catalogue, the YouTube uploaders have completed their herculean tasks to digitise their entire singles collections, and we are where we are - up shit creek, really, but at least I still have an intact and rather firm wooden paddle.

Except… once in a while a surprise pops up. I had never heard or seen a copy of this single before it fell into my hands. The seller promised some enjoyable "sixties girl pop", and I raced home to put it on my turntable enthusiastically. More astoundingly still, it's actually pretty good and possibly doesn't deserve to be as obscure as it is. The A-side, featuring the mysterious Marianne in duet with a chap called Mike, zings along with Joe Meek styled compression and echo, all flighty and pretty. The flip is a solo affair and much more beat-orientated, and equally good.

On learning of my purchase, fellow DJ, friend and sixties female solo artist fanatic Sean Bright began frantically digging around the internet attempting to locate facts about Marianne, thereby partly saving me a job. Marianne was born in Manchester in 1947 as Marian Stockley, and began performing music while she was a fifteen year old student at Bolton art college. Initially joining the Mike Taylor Combo, her and Mike were coaxed away from the group by Vocalion to produce a couple of singles as a duo, this debut effort and the follow-up "You're The Only One".  Both tracks were penned by Marianne's boyfriend Wilf Lewis, but neither sold in convincing quantities.

15 July 2018

Rudy Grant - Space Oddity/ Every Step I Made



Reggae cover of David Bowie's classic. It works slightly better than you'd suppose.

Label: Ensign
Year of Release: 1981

It never ceases to amaze me how many unexpected and ambitious reggae cover versions there are out there. Some work, whereas others set their sights high and miss by miles.

In 1981, Eddy Grant's brother Rudy, not content with stopping at one or two singles, decided to recording an album of covers which contained some unusual but generally workable choices, such as John Lennon's "Woman", Simon and Garfunkel's "Sound of Silence", and Stevie Wonder's "Lately". All of these attempts hang together well, and in the case of the Simon and Garfunkel classic, amazingly so.

This, however, is on dangerous territory. While the original version of "Space Oddity" may have a catchy melody at its centre, it's filled with odd fits and starts and instrumental diversions - which is what elevated the song above the mere 'novelty' tag some felt keen to give it during its initial chart run. It's an enormously sprawling, filmic sounding track with each flourish adding drama to the lyrical storyline. As such, it's a very tricky song to tack a steady reggae beat on to, and the way Rudy sidesteps this is quite interesting.

11 July 2018

Tom Watt - Subterranean Homesick Blues/ Guess I Had Too Much To Drink Last Night




Lofty out of Eastenders covers Bob Dylan. No, really. 

Label: Watt The Duck
Year of Release: 1986

It sometimes felt as if the Beeb had something written into everyone's "Eastenders" contracts suggesting that if asked, they were legally bound to release a single. Michelle Gayle, Nick Berry, Martine McCutcheon and Anita Dobson were the biggest chart-botherers of the cast, but in addition to those, Sid Owen (aka "Ricky"),  Sean Maguire, Letita Dean, Paul Medford and Sophie Lawrence all had cracks at the Top 40 to varying degrees of success. 

Besides the obvious examples above, there are a few peculiar outliers. Peter Dean's "Can't Get A Ticket (For The World Cup)" single is a howler I'm sure the actor is glad has been largely forgotten, and Tommy Eytle - who played Gramps - put out a Christmas reggae tune called "A Christmas Tree From Norway" which seemed to escape everyone's attention even at the time.

This, though, takes the last custard cream from Dot's biscuit barrel. Tom Watt, who played the put-upon character Lofty, was never actually asked to release a single by a proper record label. Instead, he allowed some musician friends of his to talk him into paying for a recording session and releasing a record himself on his own label. Presumably they anticipated a minor hit and a pleasant amount of royalties trickling their way. 

8 July 2018

The Impossibles - The Drum/ Our Love Is God





Fantastic baggy(ish) cover of the 1974 Slapp Happy tune (clumsy typo on the label though, Fontana).

Label: Fontana 
Year of Release: 1991

There were numerous cultural parallels between the late sixties and the 1989-91 period, which barely need emphasising - the "Second Summer Of Love" tag felt slightly like a lazy media invention to enable Mums and Dads to get a better grip on what was going on (and Danny Wilson to release snarky records on the topic) but nonetheless was more accurate than usual. Besides that, plenty of acts during the period were not ashamed to cover some of the hairier moments of rock's past. 

It didn't always pay off, though, as evidenced here. This cover of Slapp Happy's "The Drum" fell into complete obscurity at the time. I used to see copies of it in the reduced box at my local record store, and was intrigued by the fact that the long-haired woman pictured on the sleeve looked uncannily like someone who used to attend my local indie nightclub week in, week out. Was it her band?

Apparently not. It transpired that The Impossibles were actually from Edinburgh, and revolved around the nucleus of the duo Lucy Dallas and Mags Grundy. In one of their very few press interviews, they self-deprecatingly suggested that the only reason they managed to get signed to Fontana was because they were fanzine editors who had built up an enormous array of music industry contacts as a result. It seems as though they were being needlessly modest - their debut single was a likeable piece of jangly indie-pop produced by Kevin Shields, but the second release "Delphis" went one better, being a scintillating piece of ambient yet funky electro-psychdelia which glided gracefully through the clouds of the cold, dark winter of 1991, noticed only by the most eagle-eyed of spotters. 

4 July 2018

Reupload - Hard Horse - Let It Ride/ Hang Old Freddy



Hard-hitting slice of seventies pop/rock, not far off Calum Bryce's "Lovemaker" in feel

Label: D'Art
Year of Release: 1971

Back in the eighties and nineties psych/ mod record collectors and DJs were horribly picky about seventies singles, leaving many perfectly good bits of beaty or freaky goodness rotting in the remainder bins.  "If it wasn't issued between 1962 - 1969," seemed to be the thinking, "then it probably isn't worth anyone's while".

Most of us have wised up since, realising that while very few examples of pure psych or mod records were issued after the sixties, discs did slide out which kept some of the influences bubbling underneath.  Take this single, for example - beneath the hollered, gravelly, country rock vocals lies an insistent and nagging beat and riff which is stylistically not far off a recognised classic like Calum Bryce's "Lovemaker" and maybe closer still to some of Tom Jones's more dance floor friendly outings.

1 July 2018

Arthur's Mother - On The Dole/ Butterfly



Joyous folk-rock A-side backed by slightly psychedelic flip

Label: Polydor
Year of Release: 1971

John Bryant has featured on this blog a number of times, and perhaps unsurprisingly so. Despite his rather hitless career from the mid-sixties onwards, he nonetheless released a constant stream of singles throughout that decade and the seventies. None of these records really improved his fortunes any, and his resilience is certainly something to be admired.

This track was given not one but two releases by Polydor, this being the first outing under the group name of Arthur's Mother. While it seems doubtful that this was much of a proper, touring band, the line-up apparently consisted of Bryant on vocals and guitar with Arthur Kitchener on keyboards, Graham Deakin on drums, and Mike Wedgewood on brace. On its second issue, the group name was dropped and the single was credited to Bryant alone.

28 June 2018

Magic Bus - Cream and Bananas/ She Do Love Me



Strange, squeaky bubblegum pop with faint glam leanings

Label: CBS
Year of Release: 1973

I've mentioned before that Cook and Greenaway were a songwriting force to be reckoned with in the sixties and seventies, writing a steady stream of hits for the likes of Cilla Black, The Hollies, Engelbert Humperdinck, Marmalade, and Cliff Richard. Much later on, Roger Greenaway would find fortune writing for commercial clients, penning jingles for British Gas and Allied Carpets.

Every successful songwriting career is littered with flops along the way, though, and "Cream and Bananas" here is one of the more bizarre leavings the pair dropped on the way to the bank. Squeaky lead vocals namedrop happening of-the-moment acts such as Sly and The Family Stone, and are backed with a jolly, trotting rhythm. It's the sound of a crew of children's puppets doing an impersonation of The Beach Boys while messed up on Hooch, suffering from a combination of drunkenness and a sugar high. Sales were, shall we say, disappointing, with the public clearly being unmoved by the noise. 

24 June 2018

The Martian Schoolgirls - Life In The 1980s/ Lonely Nights





Snappy dystopian punk-pop chugger from ex-101er Dan Kelleher

Label: Red Planet
Year of Release: 1979

If you were an avid John Peel listener in the eighties, chances are you'll have heard him begin his first show of 1980 with this self-released dose of DIY punk. "Life In The 1980s" forecast a bleak, bored, dystopian near-future, with lots of lyrical references to "depression zones" and starvation. 

While there's little doubt that the group were being slightly tongue-in-cheek, it was nonetheless not much of a New Year tonic - the late seventies had been a chaotic period for many in the UK, and there were those who thought worse was to come (and, depending on where they lived, they might not have been far wrong). "Life In The 1980s" was snappy and scrappy enough to punch the very worst possible scenarios across in its retro-futuristic lyrical style - you can almost imagine the ghost of Joe Meek giving an enthusiastic gold star to the group's sci-fi poetry.

The Martian Schoolgirls were a short-lived band formed by Dan Kelleher, who was originally bassist and backing vocalist alongside Joe Strummer in The 101'ers. When Joe sniffed a swift change in the zeitgeist and left to form The Clash, the band disintegrated and Kelleher initially moved on to The Derelicts, then finally this lot. While they were given some care and attention by Peel, and eventually picked up by Albion Records for one single in 1981 ("Motion") the group never quite rose above a fringe cult status. 

21 June 2018

Reupload - H.T. - You And Me/ Love Can Wait




Minimal but strident and hard-hitting beat pop from Gibraltar of all places. 

Label: Polydor
Year of Release: 1966

It's fair to say that bands from the British Overseas Territory of Gibraltar have not been widely chronicled in the great encyclopaedia of pop.  The island has in the past hosted major rock festivals and concerts, but its homegrown talent hasn't really made any significant impact globally.  

H.T. were a group otherwise occasionally known as The Valverde Brothers (or is it the other way around?) who had a crack at pop success with this single.  The minimal nature of it is immediately striking without being particularly hard-hitting.  The verses consist of a simple pounding rhythm, the repetition of one finger-picked chord and something close to political protest singing.  "We're gonna plant an acorn, yeah… when it grows in eighty years, remind them of you and me!" they holler, then eventually the chorus gains a tiny bit of traction only for the song to quickly slide straight back into minimalism again, the verses acting as peculiar strips of emptiness between the main action.  It's structurally bizarre, but not threatening or snotty enough to be classified as garage or mod, far too meaty and beaty to be psychedelic, and despite its best intentions the jolliness of the vocals makes it seem like some peculiar hybrid of "I'd Like To Teach The World To Sing" and The Eyes.  I like it for being so strange within the confines of quite a bubblegum performance, but I suspect it might be an acquired taste.

17 June 2018

Sparrow - Don't Ask Me/ Hiawatha



Elaine Page and various stagey chums in hairy, hippyish supergroup

Label: Spark
Year of Release: 1972

When people think of Elaine Page, it's likely to be her successful showtunes and theatrical appearances that spring to mind, not her appearances on popsike obscurity compilations. Nonetheless, her work as a pivotal member of Sparrow in the seventies did find its way on to Volume Six of "Circus Days", and their LP "Hatching Out" has found itself becoming a moderately sought-after item (zero points for the title or the sleeve though, Spark).

Sparrow consisted of a wide array of performers and musicians besides Page, and their LP is an odd pot pourri of rock, folk, faintly retro pop and MOR harmony pop. As such, "Don't Ask Me" is about as representative a release from it as any. Beginning with a "Be My Baby" inspired beat and continuing with an unashamedly Spector-ish production, it feels as if it could have been released in the previous decade, in common with a lot of Sparrow's work. Despite that, it never truly soars (and no, that wasn't my attempt at any kind of bird-related pun).

13 June 2018

Edward - Yr Arwerthwr (EP)





Welsh folk with a glint in its eye

Label: Sain
Year of Release: 1970

Well, here's a thing. Sain is a rather collectible and sought-after indie label, and has found its tracks compiled by many keen students of vinyl esoterica. Edward, though - or Edward M Jones to give him his full title - has always been strangely absent from modern Welsh language tracklistings everywhere.

That's perhaps understandable in one sense, as the music he created was frequently jaunty rather than deep and maudlin, and had a spring in its step without being particularly psychedelic or hippified. You could call his work a bit "square", even. Yet at the time, Edward was actually quite a significant figure in Welsh music, actually releasing a joint EP with the sixties Welsh superstar Mary Hopkin, with the pair even holding hands on the sleeve. Perhaps even more importantly than that, depending on your point of view, he also recorded children's Welsh language albums with Dafydd Iwan, then the president of Plaid Cymru.

So far as I can discern from the sleeve here,  he was - and presumably still is - also a Welsh nationalist and keen promoter of the Welsh language, which was also a large part of his dayjob with his young pupils as a teacher at Yshgol Cymraeg Bryntaf school in Cardiff.

10 June 2018

Chaser - Red Rum/ Country Boy



A glam rock song about a lovely horse. And it's rather good.

Label: Polydor
Year of Release: 1975

Red Rum was everyone's favourite horse in the seventies. The three-times Grand National winner was given endless excitable press, and ended up with his bemused horsey face on cash-in T-shirts, mugs, posters and probably belt buckles for all I know.

While faintly glam rock tinged songs about racehorses might therefore seem strange from the perspective of the average person living in 2018, in Red Rum's case, it's understandable. You could argue that anyone trying to produce a stomping glam number about him was actually living up to the standards and expectations of their time - a squeaking analogue synth, a glitter beat and a tune about an equine champion was, really, none-more-mid-seventies.

The studio group Chaser also do a solid job of bigging up the champion horse, with buzzing, squeaking guitars, galloping rhythms, and a soaring chorus. Lyrically too, they appear to both celebrate and feel some sympathy for Red Rum, asking "Is that a tear in your eye?" and speculating that he might want to feel "free" - which is both an odd and interesting question for a single of this nature to ask. "There's a bottle of wine at the end of the line" they try to reassure him, which is even more peculiar for reasons I don't need to underline.

6 June 2018

Reupload - Eastside Kids - Subway Train/ Sunday Stranger



Two brilliant sixties garage instrumentals by unknown persons

Label: Philips
Year of Release: 1965

It's always faintly frustrating when I locate a single I really like, but the artist(s) behind it seem so elusive that I'm unable to offer you good people any kind of background whatsoever. In this case, this bunch of Eastside [one word] Kids seem to have no relation to the other Los Angeles based East Side [two words] Kids who arrived later in the sixties and issued several singles, although there seems to be some dispute online about that fact.

Billy Carl co-authored the A-side "Subway Train" and there's evidence to suggest that this is Billy Carlucci who eventually served in the 1910 Fruitgum Company. It seems probable that he was a member of this very short-lived outfit too. The author W.E. Strange may also be the guitarist Billy Strange the session musician. As for the rest? No idea. No data. If you know, please pass your knowledge on.