Listen: I Don’t Believe It / The Cryin’ Shames
I

Never knew until recently that The Cryin’ Shames released anything other than their three Joe Meek produced UK Decca / US London singles during ’66 and ’67. “I Don’t Believe It’, from ’73, was a few generations later not only back then but even by today’s standards. My guess is the band’s singer, Charlie Crane, who produced this and is clearly the recording’s lead voice, used his group’s original name to attract even the slightest factor of recognition toward their comeback.

‘I Don’t Believe It’ is actually the record’s flip, and basically somewhat better than it’s topside. The mix could have taken this quite close to Northern Soul territory, but was just too off the mark for that possibility. It kind of approaches sonic disaster if truth be told. No one could miss the cheesy ‘Shaft’ wah-wah’s piercing out too loudly at :58. Simultaneously though, the messy mess has become a main attraction for me. I do love these early 70′s UK assembly line shlock 7′s, the kind issued regularly by British Decca especially. If someone had told me Junior Campbell produced this one in a blindfold test, I wouldn’t have blinked.

But out of jail free cards get issued when Charlie Crane’s involved, whose incredible vocal take immortalized his band’s ’66 version of The Drifters’ RnB hit, ‘Please Stay’ from ’61. Admittedly not achieving anywhere near the shimmer that Joe Meek got in his Holloway Road studio for both The Cryin’ Shames and Charlie Crane, it’s still impossible not to appreciate this guy’s voice.

Listen: Please Stay / The Cryin’ Shames
Please Stay / The Cryin' Shames

The Cryin’ Shames ‘Please Stay’ was also from the haul that brought the Marsha Gee record into my collection. Unlike hers, this song I knew about and had a UK copy of. But finding a US pressing was quite an event.

The Drifters had a hit with ‘Please Stay’ in ’61, and their version of this Burt Bacharach classic is indeed great. This one however, has the added ambience of Joe Meek’s production.

Much has been deservedly written about Joe Meek, one of England’s first independent producers. In those days, late 50′s / early 60′s, all the producers were on the label staff. They did their job, and got their pay check. But it all began to change around ’63 and Joe Meek was a catalyst. This of course meant that, because he had built his own studio, he would not only produce the records but own the masters too. The labels didn’t like not owning their catalog, as Joe Meek and the other independent producers would license titles to the majors for a certain time period only. So he was always given terrible treatment.

Get one of the books about him. He was fascinating. And he had a real thing about other worlds. His huge international hit, ‘Telstar’ by The Tornadoes had his signature, haunting extra-terrestrial, almost frightening sound to it. Pretty much all his other recordings did too. You can certainly hear it on ‘Please Stay’, his last ever UK chart entry. Lead vocalist, Charlie Crane, had an amazing voice. One quite perfect for his Meeksville sound as well as this track.

For some time the Dick Clark footage had been embeddable via youtube. Now disabled, but still there. Go direct.

Listen: Nobody Waved Goodbye / The Cryin’ Shames
Nobody Waved Goodbye / The Cryin' Shames

Joe Meek claimed to be possessed by the ghost of Buddy Holly, and on the anniversary of his death, February 3, 1967, he took his own life, along with his landlady’s. Horribly demonized by a lawsuit that left him penniless, his Tornadoes royalties tied up in litigation, one of the last records he made was by this same band: The Cryin’ Shames, titled ‘Nobody Waved Goodbye’. Yikes.

Listen: Spooky / Gary Walker & The Rain GaryWalkerSpooky.mp3

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.

Listen: Come In, You’ll Get Pneumonia / Gary Walker & The Rain GaryWalkerPneumonia.mp3

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.

Listen: Francis / Gary Walker & The Rain GaryWalkerFrancis.mp3

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.

Listen: Hello, How Are You / Gary Walker GaryWalkerHello.mp3

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.