Archive for the ‘The Hollies’ Category

Gary Walker & The Rain

Sunday, May 16th, 2010

GaryWalkerSpooky, Gary Walker & The Rain, Polydor, United Artisits, Scott Walker, Allan Clarke, Philips, Charlie Crane, The Cryin' Shames

Listen: Spooky / Gary Walker & The Rain

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Is it possible to record a bad version of ‘Spooky’ – especially when Scott Walker is producing, or even just in the studio sharing oxygen with you? Before The Walker Brothers crumbled at the seams and eventually broke up, drummer Gary Walker was making solo singles – the first two, ‘You Don’t Love Me’ and ‘Twinkie Lee’, both becoming UK hits and as importantly, both produced by Scott Walker.

Shortly after that official breakup, Gary Walker & The Rain began what was to be a very desirable and highly collectable band. Members included Joey Molland, who prior was a member of Immediate Records recording artists The Masterminds, and after the breakup of The Rain, Badfinger.

I saw Badfinger in those days, they supported The Moody Blues. Despite their Beatles connection and Beatles sounding singles, I went along anyways – after all, it was two UK bands in my dull hometown of Syracuse. I recall speaking to the band after their set, for some reason they were all wandering around the audience looking depressed. Maybe it was bad acid.

Had no idea then he’d been a member of both The Masterminds and Gary Walker’s band. Lucky for him or the poor guy would’ve ended up running for cover.

GaryWalkerPneumonia, Gary Walker & The Rain, Philips, Charlie Crane, The Cryin' Shames

Listen: Come In, You’ll Get Pneumonia / Gary Walker & The Rain

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An even more interesting member of the lineup was Charlie Crane – a very unsung musical hero of mine. Lead singer with The Cryin’ Shames (UK not US band), it is indeed his voice on their Joe Meek produced anthem ‘Please Stay’, posted elsewhere on this blog. Search it out just to see how incredible this guy’s voice was and additionally, what a terrific compliment it made to that particular tune.

Most likely by accident, seems every single Gary Walker & The Rain released had a connection to another worthy band or artist. In this case, they were neck in neck with The Easybeats’ version of the song, released a bit earlier on United Artists and selling a few more copies, but just a few. Great song, deserved better result regardless of the version.

GaryWalkerFrancis, Gary Walker & The Rain, Philips, Charlie Crane, The Cryin' Shames

Listen: Francis / Gary Walker & The Rain

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This B side to ‘Come In, You’ll Get Pneumonia’ was always a favorite and of great interest amongst collectors. Seems the garage fuzz fanatics find it a must. I don’t see the musical connection but do love the track.

GaryWalkerHello, Gary Walker & The Rain, Polydor, United Artisits, Scott Walker, Allan Clarke, Philips, Charlie Crane, The Cryin' Shames

Listen: Hello, How Are You / Gary Walker

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From ‘69 to ‘75 we jump with Gary (who in the intern was a motorbike messenger delivery fellow – so the unofficial story goes). Having left his Japan-only success, The Rain, behind him now for six years, out of nowhere pops, oddly enough, another Easybeats cover, ‘Hello, How Are You’. Nice idea – I wonder in hope, can we expect ‘Friday On My Mind’ any day? Why not and what a treat that’d be.

In keeping with the aforementioned famous friends attachment, this version was produced by Allan Clarke from The Hollies. Not sure who’s playing on it. Any ideas are welcome.

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Posted in Allan Clarke, Badfinger, Charlie Crane, Gary Walker & The Rain, Immediate, Joey Molland, Philips, Polydor, Scott Walker, The Beatles, The Cryin' Shames, The Easybeats, The Hollies, The Masterminds, United Artists | No Comments »

The Hollies

Sunday, February 7th, 2010

HolliesLetGoUSA, The Hollies, Imperial, Parlophone

Listen: I Can’t Let Go / The Hollies

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Discount Records, in the mid 60’s through to the early 70’s, was what you’d call a full catalog store. Owned by CBS, the classical and non-classical titles ran very deep. It wasn’t just the bins that’d be full, so too were the ‘understock’ shelves below. These were arranged by label, then numerical within each. Almost daily, stock would need checking, business was so brisk. Not only did you have to count quantities of big sellers, but also determine missing titles by number, checking them against the respective label’s current catalog, all the while entering the quantities onto inventory sheets. The designated store buyer would eventually decide how many of each to order.

Everyone hated taking inventory, but not me. I couldn’t wait to get started on my first day in mid ‘74. Within a week or so, I was on fire. I didn’t even need the catalogs. I’d been studying labels for years at that point. Basically when it came to records, I could remember every detail, still can. Bob at the second location in Syracuse was the same. To us, the catalog numbers were fun. They basically made up our entire conversations. When it came to doing anything else – I was useless. If I had to hang a picture, I’d bend the nail. But this stuff was easy.

Like anywhere, there were store regulars, all with their specific and peculiar tastes. One guy would visit almost daily, trolling the $1.99 bins for country titles. His name was Dave Disinger. We had these large, fluorescent red markdown stickers, and once something sat long enough, you’d eventually price it cheap to make it move. Plus, overstock from other locations would be shipped in for just these bins. Occasionally, some location in Michigan or somewhere would close, and we’d get boxes of their stuff – always really good finds in those. I vividly remember getting several copies of THEM AGAIN this way. It was like Christmas morning when those boxes would arrive.

Well Dave was addicted to country markdowns. I made amusement for myself by intentionally pulling full price, more obscure titles and throwing on the sticker, then wait and watch. Sure enough, he’d be joyous at these finds. One day we get to talking – I was sorting a bunch of newly arrived 45’s at the front counter. He mentions he used to be a singles guy, rock and soul, but moved on to country LP’s. He didn’t even play his singles anymore. Clearly, I was his direct opposite. Somehow or another, he mentions as a kid, he worked at WNDR, the tighter Top 40 in the market but very popular in the 60’s.

So wait Dave, do you have a lot of old stuff? Now I’m getting interested – and pretty quickly I’m offering a lot of on the spot country markdowns in exchange for some of those radio station copies from the day. He heads home then and there, returning with a box, probably 200-ish.

Fantastic! Fuck me – this was a goldmine. He brought them till his supply was dry. Only drawback was he’s written his name on every last one. Still, the stuff was crazy. That first box included The Riot Squad ‘How Is It Down’ and The Kinks ‘Waterloo Sunset’, plus, as you can see, ‘I Can’t Let Go’. It was the very copy that WNDR never did play.

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Posted in Dave Disinger, Discount Records, Imperial, Parlophone, The Hollies, The Kinks, The Riot Squad, Them | 1 Comment »

Piccadilly Palace

Sunday, July 26th, 2009

While I’m on the subject of TV shows – there was a great summer replacement in ‘67 for HOLLYWOOD PALACE, the weekly Saturday night variety program hosted by Dean Martin on ABC-TV. You know the one The Rolling Stones made their US network debut on, whereby Dean poked fun their way during his into and outro to the performance.

Well, in summer ‘67 it was replaced with PICCADILLY PALACE. The sight to the series lists air dates and guests for each episode. I generally lived each week for the moment. Well that’s not entirely true, a lot happened that summer. Still, some of the guests: The Small, Faces, The Hollies, Manfred Mann, Dave Dee Dozy Beaky Mick & Tich, The Kinks and The New Vaudeville Band. If anyone has footage, please let me know.

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Posted in ABC-TV, Dave Dee Dozy Beaky Mick & Tich, Dean Martin, Hollywood Palace, Manfred Mann, Piccadilly Palace, The Hollies, The Kinks, The New Vaudeville Band, The Rolling Stones, The Small Faces | No Comments »