Listen: When The Sun Comes Shining Thru’ / Long John Baldry
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Long John Baldry, as with Georgie Fame and Alan Price, was another guy from the early 60′s London blues and soul club circuit. Then known as Long John Baldry & The Hoochie Coochie Men, he and his band can be found on numerous schedules from The Flamingo and The Marquee clubs, double billing with several similar up and coming American RnB music enthusiasts, all hell bent on reinterpreting their worshiped heroes.

Like with yesterday’s post, he too took a more commercial route as the 70′s approached, successfully achieving mainstream pop hits in England. A switch of labels in both the UK and US, as well a change in musical style and the recruitment of Tony Macaulay as producer resulted in ‘Let The Heartaches Begin’, which went to #1 in Britain during November of ’67. A year later, ‘When The Sun Comes Shining Thru”, written by Manfred Mann’s lead vocalist Mike D’Abo, went Top 30, although neither caught much traction in America.

Around ’68, Tony Macaulay began cornering many of my favorite records, either as writer, producer and in some cases, both. Current day British pop had become his forte with Scott Walker, Pickettywitch, The Marmalade and The Foundations amongst his successes. I guess he had a sound, and quite frankly, in my world, these two were a perfect pair.

Come ’71 though, Long John Baldry had reverted back to his original boogie woogie style, as he called it. Teaming up with Elton John and Rod Stewart as producers, both struggling newcomers in the early 60′s but by then successful superstars, afforded their old friend some decent US traction. Good for John Baldry of course, but for me, the music wasn’t as much fun nor more memorable than that period anchored by Tony Macaulay and ‘When The Sun Comes Shining Thru”.

Listen: Night Comes Down / The Mickey Finn MickeyFinnNight.mp3

Often confused with the bongo player from T. Rex, this is actually a band, not that person. The Mickey Finn’s career highpoint, according to most, was a two single association with producer Shel Talmy. And if you want to have your heart freeze for kicks, check out his discography.

Out of that came ‘Night Comes Down’ / ‘This Sporting Life’, their only US release via World Artists. Seems Shel Talmy had some juice there, having produced a few big hits for Chad & Jeremy. Although not listed on the above discography, I do believe he also produced The Moments version of Ray Davies’ ‘You Really Got Me’ for the label. The Moments were Steve Marriott’s first band, predating The Small Faces. That single, as with The Mickey Finn release, are stupid rare, making them very fun items to have and hold.

I got an unsolicited call from Shel Talmy many years back, I think when I was either at Elektra or Island. He had moved to LA, and was looking for work, still in that has-been stretch, not yet having graduated to legend status. I foolishly didn’t follow up, not necessarily with getting him some work, but neither forging a friendship, something I do regret.

Listen: I Do Love You / The Mickey Finn MickeyFinnIDoLove.mp3

Of lesser notoriaty is the band’s ’66 single “I Do Love You’. And I’m not sure why. Even amongst those who live for all things underrated, this is very underrated. It starts out noticeably similar to ‘Heart Trouble’ by The Eyes Of Blue, and then proceeds to a perfect groove a la The Foundations. I’d give anything to know how many copies would have been pressed of a single like this.

Listen: Listen: Viva Bobby Joe / The Equals 01 Viva Bobby Joe.mp3

Ok, so a good friend of mine, who follows this blog, has on several occasions suggested I post an Equals single. And every time I agree I should. So I guess I take requests.

Like The Foundations, they were marketed as a multi-racial rock band. Back then, it was an anomaly, maybe novelty and possibly a little dangerous. I’m sure those late night motorway stops had their fair share of comments. This was England 1968 remember. Vicki Wickham has told me a few jaw droppers about the experiences she had when bringing over the Motown acts, and James Brown, for her READY STEADY GO!!! program in that era. Check out photos and footage of them, they looked fantastic in flowered shirts and Carnaby Street trousers. It’s hard to find an Equals track that doesn’t sound big and booming. Eddy Grant’s voice certainly didn’t hurt. I saw him live a few times, years later, when ‘Electric Avenue’ was a hit – and he had lung power. Seems like he didn’t even need to get near the mike.

I’m not going to say ‘Baby Come Back’ isn’t the greatest, but ‘Viva Bobby Joe’ is an absolute runner up and a hard one to hear very often.