I was looking on Popsike.com and found a copy of Honeybus' unreleased 1973 album Recital that sold a couple of years ago for 466 GBP. I knew this album existed as promo copies but I assumed it was some blank sleeve and white label test pressing kind of thing... Wow.
Unfortunately, there isn't a track list on the auction. The Honeybus website has a tracklist:
1. For You 2. Be Thou By My Side 3. Julie In My Heart 4. Big Ship 5. Cross Channel Ferry 6. The Lady's Not For Burning 7. She's A Lady 8. Little Lovely One 9. Lute Girl 10. Writing's On The Wall 11. Baroque 'n' Roll Star 12. Lovely Vanessa 13. I Can't Say It, But I Can Sing It
Aside from tracks 7 & 10, you can pretty much piece it together from tracks on the CDs She Flies Like A Bird - The Anthology and Old Masters, Hidden Treasures.
WHEN MY BABY'S BESIDE ME (Bell-Chilton) Big Star Produced by Big Star Ardent 2902 Time: 3: 20 Flip - In The Street
by Martin Robert Cerf, Phonograph Record Magazine, Feb. 1973
Create-tivity. Inspiration. Sure do mean a hell of a lot fellas. Like I know this cat what's spent over a year completing an album that's supposed to stand for the answer to whatever question you might hope to put up. Sure, from December, 1971 up ta now. So, he just completed the mastering, spent months doin' that, blew all conceivable budgets in the first four months, and he held this really informal audition for some close friends. One of his buddies brought along a lady. The record started. She was asleep within twelve minutes flat.
Still another genius in Baton Rouge spent two years working on his first LP, one of them solo efforts where the guy plays, writes, produces, and amazingly engineers the whole shebang. Well, two years on, in mid-1971, the record was done. Just in time for the first Paul McCartney & Emmit Rhodes one-man-band LPs, and also, somethin' else he couldn't predict happened... two years passed, so when he finished the LP, the entire listening audience had caught up and passed where the guy's musical concepts were...The record never came out.
Then, about three months ago we were introduced to Big Star. Their first LP titled, presumptiously, NO.1 RECORD received just gobs of trade ads. Full color. And about six weeks of those advance "teaser" ads...you know the kind I'm talkin' about, the ones that progress in copy and art every week so that after six consecutive ads, if you save all your back issues of Billboard, you know what they're tryin' ta tell ya 'bout...That's called merchandizen'. So, the advance grease was in the skillet and ready for the test. Well, those that got the record must have been redlined-out, 'cause word has it within four days of receipt, DJ copies the nation over were showin' up in bargain bins everywhere...sealed. In fact, only one really bothered to listen, Jon Tiven, and he quacked in Fusion that, "Big Star are the greatest thing since The Count Five, The Yardbirds..." and so on...In short, the majority got a soft-on for Big Star's NO.1 RECORD.
And if matters weren't bad enuf, their record company which is owned and operated by the clever folk at Stax Records (The Dramatics, Carla Thomas) decided to finally hook up with a major record label, Columbia. And it was the age old situation which goes on every day in this hot biz where a group was caught up in the center of a problem beyond their control.
Oh, I forgot the important thing, the group's record is excellent. Not phenomenal, but certainly excellent. I'm speaking of the single of course, can't vouch for the LP though. Well, like in the first two stories I rambled off, there's a dramatic irony to the Big Star situation. So the record company is sold, group isn't workin', and it appears all is lost. Then this Fusion review comes out, and word of Columbia re-releasing the LP and applying a whole new effort there upon comes down. Terrific, a second chance for an act that well deserves a break. But hold on, now they wanna split up...that's not exactly true, only one member of the band is leavin', that's Chris Bell. But he's an essential part. 'Cause along with Alex Chilton he sang lead vocal and back up harmony, played lead guitar and at least co-produced and arranged all of the group's first LP...so tough shit huh. Nope. There's still this here single. And the AM market doesn't care if the band are androids or computers, long as it's in the plastic. Let me assure you people, this is one of those singles...
Like the first ten seconds explode with -this lead that sounds like The Guess Who at their best with some Alice Cooper thrown in for good measure. Then it forms this riff what coul embarrass Albert Hammond and the Troggs. And lyric content...you lookin' for any teenage these days, we always are, And Chris didn't forget it either..."Don't need to talk to my doctor, don't my shrink, don't need to hide behind no locked door, I don't need to think, 'cause when my baby's beside me I don't worry, when my baby's beside me all I know, when my baby's beside me I don't worry, when my baby's beside me I don't worry"* ...And it gets bitchier and bitchier. Then there's Jody Stephens who's working out on snare 'n cymbal better than the cats on Treat Her Right and Shakin' All Over, his stuff is real elementary, no Elvin Jones here, but it doesn't matter, it's great (like the stuff on early Sonny & Cher singles (i.e., Little Man). And the part about droppin' out of school makes it complete.
Now at first glance this might appear like any number of other fine pop singles available, don't be fooled, this is another Bus Stop, Don't Bring Me Down or Have I The Right. Christ, Alex was with the Box Tops and you know how important all those AGP records from the mid-sixties were, now don't you?
Now there's still 3/4ths of Big Star together. They still have this new LP out there. And there's still this single. Oh, it's got a fine B side too, which could be an A side...In the Street is like The Doobies' Listen To The Music; sounds great on a car speaker or burned out Silvertone. And dumb lyrics...you get a whole shit-load here. Big Star sound like the Byrds too. A lot, really. No, this is a group you don't wanna pass up, believe me. And, you may never hear of them again, God forbid, so let's do what we can to make sure they're around for some time...We suggest you write off the the benevolence at Ardent Records for a free copy of this single, they must have hoards of R/A's by now and they promised to cooperate too! Write to Ardent Records, 2000 Madison Avenue, Memphis, Tennessee. (Big Star are as hot as our good buddies - the Raspberries, don't dare miss 'em)...
Peter Noone released a handful of good singles on RAK in the early 70's. After RAK, he made only one single on Phillips before moving on to Casablanca records:
Here's what Alan Betrock had to say about this single:
Peter Noone - "(I Think I'm Over) Getting Over You" (Phillips) By Alan Betrock, Phonograph Record Magazine, January 1974
How could Peter Noone make a comeback if he's never really been away? After Herman's Hermits disappeared from the American charts, they continued to have mild success in their homeland, and Peter, on his own, recorded some wonderful solo singles. One, David Bowie's "Oh You Pretty Things" even dented the British Top 30. Having been a pop star at the tender age of 15, Peter is one up on the Gerry Marsdens, Freddie Garrity's and Billy J. Kramers of the world, who are all at least a third of a century on in years.
Noone's freshness, vitality and appeal stems from this youthfulness. This is his trademark, and his unrestrained versatility makes him a prime choice for guest spots on British variety shows. He can be seen every week on the "telly" - a well rounded vaudevillian much like Davy Jones - who can appeal to the tots, the teens, and the 'mums and dads'.
On this side of the Atlantic, Peter is still quite an unknown entity. His commercial resurgence began with the British Invasion Package Tour which showcased Noone's professionally entertaining and endearing stage act. He took the critics and audiences by storm, gathering raves from most corners. His television appearance on Mike Douglas, Merv Griffin, and Midnight Special have not been so stellar as the nature of the medium tends to cram Peter's one-hour performance into six minutes. But at least these shows help to get Peter's name known again, and his recent Sonny & Cher gig gave him more valuable exposure.
All of this is nice, but Peter will never really be back until he can rid himself of "Mrs. Brown," "A Kind Of Hush" and all the others. If he is pigeon holed as a mere revival act, the novelty will quickly wear off, then it's back yo the pubs again. So Peter has taken a major step in attempting to establish himself as a current performer. He has shelved his old label, hired a new producer, and released a new single.
The result is available on Peter's debut Phillips release. Writer Tony Hazzard (remember "Ha Ha Said The Clown", "Fox On The Run", and "Goodnight Sweet Josephine"?) penned this ditty, and Tony Atkins produced it. It's a good combination of styles, and melodic too, with Peter's double-tracked voice soaring throughout. A steady piano rhythm carries the song which is accented by a nice use of strings. This use of strings is most thankfully tasteful, avoiding the usual pitfall of overdramatic and unneccessary arrangements. "Getting Over You" combines Noone's Bowie phase with middle Bee Gees, and adds a great high falsetto of his own. This is a good start and if Peter keeps putting out strong records, and getting airplay, he just might be back - this time to stay.
STAY AS SWEET AS YOU ARE... says Valerie Mabbs after meeting Ricky Wilde
THE SUN is shining down and the tiny village of Tewin in Hertfordshire has an air of complete relaxation around it. The skylark winging over the modern building of the Tewin Cowper school is keeping up a constant stream of musical singing, but it's another kind of singing that is currently keeping interest high among the inhabitants on ground level.
Marty Wilde, one of the big British names on the Fifties scene, moved to the area just three years ago, with his then eight-year -old son, Ricky, and nine-year-old daughter, Kim.
Currently it's Ricky who's attracting attention in the area, since signing up with Jonathan King's U. K. Records emporium. You remember Jonathan King, the guy who had a hit with Everyone's Gone To The Moon, and was the forerunner to Muhammed Ali for sheer speech power.
This time around it's not his own praises that Jonathan's bellowing but young Ricky Wilde, who he claims will be as big, no, bigger -than the American invaders like Cassidy and the Osmonds.
I'm An Astronaut was Ricky's first venture on record, and it has now been followed up by a recording of April Love one time monster hit for Pat Boone.
The fan mail is already pouring in to UK's London offices, and Ricky has appeared in such influential Stateside teenage mags as Tiger Beat, who frequently boast coverage on Donny, David and the Jackson Five. The glossy ten by eight photos are already circulating, depicting Ricky as a definitely desirable property.
It's rather good on meeting him to discover that he's in the school playground beating the life out of a football with his best mate, Nigel. Ricky's anorak is hanging off his shoulders as he comes over to say hello, and he's protesting wildly at being told to change out of his well worn and patched jeans into something more suitable for a photograph.
Grilled
So this 11 -year -old really is just that. A typical boy who's enjoying the attention he's getting -no doubt -but actually meeting the Press without having yet been rigidly grilled in the art of response to interview questions.
"I like being scruffy," grins Ricky. He really does look like a perfect contender for the Artful Dodger role in Oliver. "I like those jeans I had on. But, no, I don't mind wearing smart clothes sometimes if I have to." But the kind of antics Ricky gets up to usually demand that he wears very casual clothes.
"We muck about tripping people up and slapping them round the face," says Nigel, who actually is a very quiet lad. "I remember when a girl came running up to Ricky and we tripped her up and she went flying straight on from this slope! "
Ricky and Nigel demonstrate their face slapping routine, which makes me wince, but leaves them rolling about laughing. "We play football all the time," says Rick, and Nigel adds: "He's the best footballer in the school. "
"Oh," laughs Rick, "we haven't got a proper school team, but I like to play in goal mostly, though they never let me because I'm too brilliant on the pitch!"
In the village of Tewin, school is almost a home from home. The entire roll-call of Tewin Cowper School is only 150, which means headmaster Bill Furlong still takes some of the lessons. But that is not where his involvement stops.
"I'm very fond of Marty," he told me, leaving his school to watch Ricky being photographed. "I suppose because he is of an age when he could be my son. In fact I have a son who is slightly younger. I've known Ricky since the family came here, and I'll be very sad to lose him when he moves on to another school this year. It's possible he'll go on to the boys' grammar school, but we're trying to decide whether it's good for him to go to a state run school if he's going to continue with a career in music.
"Ricky's a very artistic boy, and he's quite good at English. I enjoyed his I'm An Astronaut record, but I think April Love could be a mistake, because it is suited more to an older person's voice -but then that's just my opinion. "
An opinion given with deep consideration. Mr. Furlong is a headmaster very open in his attitude to his pupils.
"One morning in assembly Mr. Furlong was playing a record and then suddenly he stopped it and we heard I'm An Astronaut coming out…Ricky went all red, he blushed," recalls Nigel. "Then Mr. Furlong said that the four people who were good and the most helpful would get Ricky's record. I didn't get a copy, but then Mr. Fulmer came up and said I could have a record, 'not for being good, but for being helpful'! "
Ricky himself takes the same light-hearted boyish attitude to life that Nigel also does. They're happy fighting around on the lawn of the Wilde's prettily thatched home, or cycling through the country lanes. Ricky has gained his cycling proficiency badge, and plans to take the test again this year with his new Chopper bike.
"But don't look at that badge," he grins cheekily. Then pointing to a picture of himself, cut out and made into a badge, he adds: "This is the best one. "
The living room of the Wilde's home reflects the musical influence that has been introduced into Kim and Ricky. Marty's silver disc for Teenager In Love hangs on a wall, and a microphone stands close to an expensive stereo system. Ricky's mother, Joyce, was also a singer with the Vernons Girls.
"I don't know, though," says Ricky. "If it's important to me to be a singer…I don't know at my age if it's going to be a proper job because my voice might go. I like being a singer, but dad doesn't think it's the best job I could have. He says if I want to do it, great, but I mustn't show off, and I must realize there are phoneys around. "
Ricky is also aware of the strains that being a singer can bring. His parents are currently touring Australia, and Ricky and Kim are being looked after by family friends.
"It's disappointing when dad goes away for six weeks, but they have to go, and you have to take that kind of thing. I've got quite used to it. I got my best teddy bear back yesterday from when I left it in Durban, South Africa. "
Experiment
Ricky's first record, I'm An Astronaut, was written by Marty Wilde, and given to Ricky to record almost an experiment. Then April Love followed -"I like that best," says Ricky. Though neither have hit the charts, yet, Ricky has already found himsely in the middle of frantic girl fans.
"It's quite exciting for me," says Ricky. "I was making an appearance at Harlequin record shop in Oxford Street. I only expected a hundred girls to turn up, but there were about 400. What 600?" says Rick as his publicity man puts him straight. "Wow! I didn't know that. I had two bodyguards to help me, ano both the buckles on my white jacket were ripped off! "
When Ricky was visiting Amsterdam to broadcast on radio, he found himself on the same plane as Donny Osmond. "He asked me for my autograph for his sister Marie," he says. And did you get Donny's autograph, I wonder. "Well no," grins Rick. "That put me one up didn't it! But I like Donny's singing and I think he's ever so nice. "
Don't mistake Ricky Wilde's bravado for arrogance. In fact during our conversation I discovered that Nigel hadn't heard his friend's latest record -which indicates that Ricky doesn't yet have a great preoccupation with his own importance.
An album is currently being planned for Ricky and there is the possibility that he will be appearing on Top Of The Pops soon and may start working on some live dates. He is still continuing with his piano lessons, and guitar practice -with help from dad -but his main consideration at the moment is his two girl friends, Alison and Emma…and, top of all things, football and fun and games with Nigel.
Face pulling is going on as Nigel leaves with us in the car; and then Ricky's running like mad to beat us as we pull away up the lane, past the grazing cows.
Here's hoping Ricky manages to stay just as natural as the Tewin countryside, as the showbiz machine grinds on.
Ricky Wilde is a favorite here at pop45. He is the son of pre-Beatles British rocker Marty Wilde and the younger brother of Kim Wilde. He made records on Jonathan King's UK label before he was even a teenager.
I Am An Astronaut/Hertfordshire Rock UK Records #18 - 1973 Ricky was only 11 when this record was released. The A-side is a really catchy novelty song with lots of bizarre sound effects and an inventive arrangement. The tune reminds me of "Neanderthal Man" by Hotlegs with the sounds from "Space Oddity". Dr. Demento has played this one on his novelty radio show.
Hearing the B-side, "Heretfordshire Rock" for the first time is an intense experience. The arrangement is really vicious, with feedback, crunching guitars and drums and loud handclaps. Ricky sounds like a teenie Suzi Quatro on this one. the lyric "Heretfordshire Rock" sounds more like "I'll Treat You Rough".
Mrs. Malinski/Cassette Blues UK Records #59 We have never heard this single. Somebody please send us a copy!
Teen Wave/Round & Round UK Records #63 "Teen Wave" is a (pre)teenage rock n' roll anthem in the vein of Eddie Cochran's "Summertime Blues" or the Jook's "Crazy Kids". The arrangement sounds like a Giorgio Moroder/Chicory Tip song because of the early use of synthesizers. It really has a great Glitter chorus with the backup singers yelling "NO!"
"Round and Round", the B-side, is a cool little song with acoustic guitar, tom tom drumming and bells.
I Wanna Go To A Disco/Bad Boy UK Records #70 "I Wanna Go to A Disco" sound even more like Chicory Tip than "Teen Wave' does. The synth upfront and like the Chicory Tip song "Good Grief Christina", it sound like an updated Beach Boys surf song. The "Oo Ba Ba" backup vocals emphasize this. I can really relate to "Don't cut my hair..." part.
I have the DJ promo, so it doesn't include "Bad Boy", which is a cover of Marty Wilde's biggest Fifties hit.
April Love/Round And Round UK Records 45-49013 "April Love" is a cover of Pat Boone's hit song. They probably thought that Donny Osmond's revival of "Puppy Love" made this a good idea. It wasn't.
Marcus Hook Roll Band - NATURAL MAN (Vanda-Young) Produced by Wally Allan Regal Zonophone RZ 3061 Time (very long) Flip -Boogalooing Is For Wooing
By Martin Cerf - Phonograph Record Magazine - Jan. 1973 - 45 revolutions Per Minute Column
I'm not really concerned that this record hasn't been released in the United States any more. Well, mebbe juz a little. You see, I'm in an interesting position. A lucky one for which I'm grateful. If I come across a great single, or group, I get to call it to the attention of this here record company called United Artists who presumably will check it out. There's a couple others around who hold a similar relationship. Like Ralph Gleason at Fantasy, Don Heckman at RCA, Ed Ward (with all good companies) and others. And why not use our good sense? Rockridics like Ed Ward know what they're talking about...He's documented the subject matter for so long, obviously he's able to analyze the demographics of a specific recording and judge its worth against the competition.
(Ward's tastes have brought Asleep At The Wheel, Mott The Hoople and Commander Cody to the surface. And John Mendelsohn was tellin' us consistently about the Kinks, David Bowie, the Move and Christopher Milk so long ago I almost forget I'm teenage.) Which brings me to the matter at hand, the Marcus Hook Roll Band. Where did I first hear Natural Man? Over the phone, from this guy, Ron Eyre, who works out of UA in New York City. He wanted to know what I thought...He's always playin' stuff on the phone and sending tapes and what not...But most of the material he sends is second rate (which is only natural as quality, innovative stuff numbers few)...Ron said "Ya know who these cats are don't cha? It's Vanda and Young, and they made a lot of money for United Artists back in 1968." Sure, Vanda and Young, they were to the Easybeats what Wood and Lynne are to the Move. And in some ways they're a better combination (since they have been able to stick together for so long).
Eyre said Capitol Records had turned down the master, wasn't interested in another foreign act... You see Capitol has first option on all EMI material in the States. Then it comes to VA. Well, I asked Ron to send out the single to Bill Roberts (my partner) or myself and we would listen close up.
It was about fourteen days later when one of the faces from the VA A&R Dept. plodded into my office with the single and expounded lazily, "Ah, say, here's that Marcus record from England you wanted to listen to..." Our A&R wizz-kid wasn't keen on this record, "Take a listen to it and see if it's any good." To say he wasn't motivated is to say little.
So, I call trusty ol' Greg Shaw, anglophile expert that he is, into my domain. With the A&R hopeful still present, I inform Greg who we were. gonna listen to then Dropped the cartridge. Hearing that repetitive fender staccato chording intro, Greg and I were, fifteen seconds in, jumpin' up and down to the music of the Easybeats reincarnated. All the promise Vander and Young implied with Gonna Have A Good Time Tonight in 1969 they live up to here. If you can imagine what the Easybeats would have sounded like four years on should they have stayed together, then you know what Natural Man is all about.
Wazit sound like? It's got a snare that tears speakers. It's got protest lyrics. It demands you dance. It's got Beatle harmonies. It's got a riff the best this side of the Hollies' Long Cool Woman and Heaven Knows by the Grass Roots, and a hook, well, now I know the reason for the group's name…Towards the end of the record the riff slows; then stops, then builds through the use of: (1) a nasal lyric, (2) Cow Bell, (3) Sizzlin' guitar progression and, and, and... Then it leads into the most inherent repetitive verse: "In-it to the rhythm, in it to the top, everybody 's talkin' to ya never gonna stop, well don't cha worry bout me, I'm a Natural Man... in it to the rhythm; in it to the top... " etc.
As is obvious, Greg and I beseeched the A&R people to jump on the side immediately, pick it up for our heroes, United Artists... Well, I'm not about to categorically list all the events that followed, all that matter~ is UA don't have it. And those folks who originally turned the side down, Capitol, they have decided to exercise their option after all...
But something real curious happened the other day though. Capitol's greatest asset, Ken Sasano, told me they reversed their decision once more and they didn't want the record after all. So I put in a call to the head of International A&R at the Tower and lightly queried him as to the company's position on the recording..."Where the hell did you hear we weren't releasing the record. I heard Natural Man in July while in England and decided then to release it on Capitol. So whoever said we weren't puttin' it out, is crazy"...My, my so defensive...The cat seemed really pissed there Was any question at all...Why he was so adamant that I absolutely freaked when .I found out the record still isn't released and it's now three months since they picked up the master. Rumor has it the record is comin' out sometime in January. Such priority.
So, in the meantime, you can only get Natural Man as an import on the EMI sub label Regal Zonophone. And it's worth the 2 bucks you'll have to lay down for it...The B side, Boogalooing Is For Wooing is a whole other subject...It's so great, I might just save it for the next column. (89 points, both sides.)
The Jook "Alright With Me/Do What You Can" RCA 2279 (UK) The Jook "Shame/City & Suburban Blues" RCA 2344 (UK) The John's Children saga never dies!!! Here we find The Jook, a new London quintet, being managed and produced by John Hewlett---late of John's Children---. And who is the drummer in this very same Jook? None other than Chris Townsend, the notorious skin-beater for John's Children!!!!!! While John's Children went thru various phases of image-making: the mod look; the short-hair look; the nude look; etc., The Jook seem to be experiencing the same kind of molding. They started out as a "long-hair" band, but now have embraced the short-hair look. Coupled with that is the return to 1967 Mod clothes, combined with the futuristic garb sported by David Bowie. Picture if you will a combination of the mod and rocker aesthetic and enter The Jook. Their first record, "Alright With Me" is a commercial sing-along rocker with some early Slade production bits thrown in---the highlight, tho, is the killer 1967 psychedelic guitar solo ala Pete Townshend!! It probably goes over quite well in concert….
The second Jook release "Shame" doesn't live up to the promise indicated by their premier effort. An updating of the Willie Dixon song doesn't really get anywhere, and lacks power & punch---however, there is another "My Generation" guitar break which almost make the whole thing worth having… By Alan Betrock The Rock Marketplace no.2 July 1973
The Jook "Oo Oo Rudi/The Jook's On You" RCA 2368 (UK) Undeterred by their lack of record-selling success The Jook return with "Oo Oo Rudi" which is clearly their most commercial release to date. An anthem-like guitar riff weaves its way throughout, conjuring up visions of the Jook marching thru the streets followed by their legions of space-mod fans. The melody line is too simplistic and a bit overbearing, but the lyrics continue in the 1967 Mod-rebellion style: "All we hear and all we see/And everything we learn from/Is planned by the older Generation"….."If they knew/If only they knew/What we're all about/Maybe then they'd understand that their way won't last…." And yes, they do treat us to some more killer guitar breaks. By Alan Betrock The Rock Marketplace no.3 October 1973
Also coming next issue: …our friends the Jook keep on coming with two newies! Speaking of the Jook, they've just been signed to backup the British Sweet tour, so perhaps they will finally burst onto the charts. Their next single is rumored to be a 1974 mod classic---the working title of which is: "Bish, Bash, Bosh". Not exactly as original as Creation's "Biff, Bang, Pow", but a great move nonetheless… By Alan Betrock The Rock Marketplace no.5 April 1974
The Jook "King Capp/Rumble" RCA 2431 (UK) The Jook "Bish Bash Bosh/Crazy Kids" RCA 5024 (UK) The Jook have issued two new singles since we last checked in with them. The first "King Capp" was a rather plain rocker which saw little action. Perhaps that's why they switched producers to John Burgess for "Bish Bash Bosh". This is one of the groups most commercial singles to date, a driving rocker with an upfront vocal and backing vocal chorus. The drums are especially well recorded, and if it wasn't so repetitive, it might have been a big hit. The flip is one "B" side that the group took seriously, and I really like it more than the "A" side. It shows that the group finally are developing a sound of their own, as well as a confidence and lack of imitative pretense which marred much of their earlier work. The lyrics are fine, the beat is strong, and the hook chorus is their most commercial and memorable one to date. It's too bad that the group broke up after this single was released because they showed signs of finally breaking thru. But there are rumors that they may reform with some new members. Let's just hope they pick up from where they left off. By Alan Betrock The Rock Marketplace no.6 July 1974
Then came The Jook, whose story has been recounted in these pages over the last few issues. Basically Chris Townsen formed the group, and John Hewlett managed and produced them. Whether consciously or not, the group image-wise and music-wise was a 1970's version of John's Children---short hair; matching mod clothes; driving guitar-drums music; and teenage rebellion lyrics. But the Jook, like John's Children, never caught on in a big way (although they did release 5 singles within a year, just like John's Children) and in May of this year, after recording their acclaimed new single "Bish Bash Bosh", the Jook split up. Two Jook-ers joined Sparks, but now after a few weeks in limbo, the Jook have reformed anew and the personnel seems to have been finalized. It is: Chris Townsen (ex-John's Children-drums); Martin Gordon (ex-Sparks-bass); David O'List (ex-Nice-guitar); and yes, folks, Andy Ellison (ex-John's Children) on lead vocals!!! If this band can stay together and get some money behind them, the musical results are endlessly fascinating. With a slew of new bands, (Cockney Rebel, Sparks, Arrows, etc) making serious and important inroads in the British music scene, the new Jook stands and excellent chance of making it. The talent, creativity, and experience are all there, that's for sure…
By Alan Betrock from John's Children Article in The Rock Marketplace no.6 July 1974