and why people are so quick to say that "music was better before", because absolute garbage like these records are of course long forgotten, just like the garbage of today will be soon forgotten as well and only the good stuff living on, perpetuating the "music was so much better before" myth
Poor Jimmy Nicol! 3:16 I have always been moved by his story. He had his quarter of an hour of fame with The Beatles, and then he was lost in nothingness. I wish him the best, wherever he is. Thank you very much, Yesterday's Papers. 😀😀😀
Yes Athol seemed to be the leader to me but they will always be Judith and that amazing voice, Seen In Green their 1967 album is gorgeous sunshine pop.
@@PeterPan-nh7yx I’ve read that he peaked in the mid-1940’s and was off the charts for a while. This was WC’s (unfortunate initials) comeback album taking advantage of the British Invasion so a top ten was pretty good for an oldies act.
@@deirdre108 "mid-1940’s?" Slightly before my time. I remember, my dad told me, we tried to invade Britain those days, thanks to Winston & the RAF we failed. But never mention the war!
I really like the song Get Yourself Home by The Fairies. It sounds like The Pretty Things. John "Twink" Alder was in both groups. Raw rhythm and blues. It sounds much more like a passion project than an income generator. Everything Andrew Oldham hated about this record is exactly why I like it.
Oldham would hate a band like Pretty Things to follow the Stones so no wonder he smashed the record. It's a freakbeat classic today so Oldham can piss off.
It actually *was* full of good music, you can't expect all the dross that record companies threw to a wall would stick. How can an era be "completely full of great music" anyway ?.......that's an impossibility . No one ever claimed that .
@@PAULLONDEN Maybe 5-10% was great, 5-10% good. The rest-not so much. Count them in any top 40 you like and those percentages would be correct. In Australia I was lucky enough to listen to a great D.J. named Stan Rofe, who did have great taste.
LOL Quote me who said the 60s was "completely" anything? You have ONE WEEK of goofy UK here and you think you made a point?? LOL OTOH, the 60s was full of the BEST music in the 20th century and so far into the 21st century. You can hide behind your "completely" cop-out but you got nothing better. How do you want your shut-up juice, by songs from the 60s or by bands? And then tell me which decade was "completely" even close to the 60s. 🎬
It's almost a shame that Oldham didn't get anything particularly good to review that week, as I'd like to have heard his reviews of more popular songs to judge his foreseeable expert knowledge on.
Oldham had his own label, Immediate, which specialized in putting out lame Motown style soul records. So, don't expect Loog to have good taste in that genre of music.
The Voice of Winston Churchill No.8 in the album charts. March '65 really was a slow month! lol Oldham didn't drop on a good month for a blind date with that selection.
Andrew lucked out with these. Decca refused to sign The Beatles yet has “The Voice of Winston Churchill” in the music charts, the mind boggles! Thanks YP. Your outro is typically excellent.
@@lindadote I record all the outros myself but most are adaptations or covers of songs from the 60s. In this case, it was a cover of "You Better Move On".
You gotta love the honesty of these classic rock musicians and managers. Nowadays a musician would say something like "That''s good" to hide their disappointment for the song, but back then in the '60s, they just straight up said "This sucks" lol.
Geez, "Nowhere To Run" was the only good song of the bunch - in fact I like it more than "Dancing In The Street". That last song sure was a cheeky pull on Melody Maker's part.
The Applejacks were given "Bye Bye Girl" after they refused to record "Chim Chim Chiree". The B-side "It's not a Game Anymore" is a much better song and was written by Pete Dello of Honeybus fame. He wrote several of their hits. The Applejacks actually made several good records, but stuck to the Beat phase when music evolved and got more experimental.
The Applejacks did make some good records. They were the first to release a version of a Ray Davies composition I Go To Sleep, although I cannot remember who had a hit with it in the Eighties. The Kinks already recorded a demo of it, not released at the time, but is now on a CD release of one of their early albums among the bonus tracks. The Applejacks also released a single version of Lennon/McCartney composition Like Dreamers Do, which The Beatles recorded among their January 1962 Decca label demos, after which Decca turned them down, but signed The Applejacks a few years later.
@@ExplodingPsyche That was it, The Pretenders. But my knowledge on later years is weak here and there. I have now remembered they covered a track from The Kinks' first album, Stop Your Sobbing.
@@andrewkatsinis4225 But it got knocked off the U.S. number one by Freddie And The Dreamers' belated U.S. hit You Were Made For Me, a UK hit nearly two years earlier. But as the British Invasion took a while to explode in the States, a lot of UK hits of this genre were then back-released for the U.S. market. But why as long as this, when the softer sounding Liverpool bands of which Freddie & Co adopted the sound of, had already been out-fashioned in the UK by these harder edged sounding British Invasion bands from other parts of the UK. But that was this ever changing world of the sixties when musical trends were shifting fast and furious. But for once, the Americans were behind the British.
I love your videos, Y.P. Always a nice little slice of musical history, and as Ray Davis once insisted, the music was the best part of those times.Well really, the Gerry and the Pacemakers single was very professional, and even though there were a couple quality artists amongst this load of rubbish, the records themselves were exactly as he described them. I sometimes think the staff at that magazine would sometimes say, "Let's give (Fill in the blank) a load of bollocks to review so we can get a good piss-take out of them for entertainment purposes! I mean, really?
I think that you're correct. It's all showbiz: create controversy and outrage - and attract eyeballs. Andrew was a master of it, so I'm sure that he understood the drill in doing this Melody Maker gig. That aside, his criticism was on target. He was smart, and he was good at what he did.
"Good cover of You'd better move on, I'd say. Who's that? The Yesterday's Paper' Symphony Orchestra ? Yes, I've heard about them before. Not sure if it's gonna make a hit but it's a good record. I like it" 😉
The “leader of the laundromat” was actually song by none other than Ron Dante who five years later had a number one hit around the world as the Archies and “sugar sugar.”
Quite right. Sugar Sugar was played constantly on the radio at the time, I loathed the song! However, it’s interesting to note that the musicians who contributed to “The Archies” (and that song) included some of the finest American session-musicians available, including guitarist Hugh McCracken and bassist Chuck Rainey!
@@davidpanzer1166 ……oh, that’s cool! So, you’d have been with WP until not long before he died? I always liked Wilson but confess I haven’t heard him in years. Well, I gave the song a listen……I honestly didn’t think I could move past the corny lyrics but Wilson’s version is stunning! I’m not sure I could ever *like* the song but I’m genuinely amazed at the difference his soulful voice makes. WP hasn’t changed a thing yet somehow, it’s an entirely different song, if that makes any sense? Thanks for the heads up, I’m always interested in learning anything musically-related.
Im so glad he liked Gerry and the Pacemakers. They've always been one of my favorite bands. I'm really getting the impression from so many of these English reviewers of the unpopularity, in England, of anything Motown. Oh, my gosh, that made me laugh, his comment on Clementine how they were all sitting around, after recording it, congratulating themselves that they had made a jazz record. 😅
To please Andrew the song needed to be recorded precise and clearly and it had to have a strong emotional message that hit the heart. That's why he loved Gerry & Pacemakers song "Ill be there" Some of the Stones hits were in that vibe too. That is always a key to a great hit , it has to have a strong emotional message that hits the heart. Great video , keep up the good work
wow, i guess he wasn't to thrilled with the selections, many of these were new to me because i don't think they made it to the states. i did like many of them though and wouldn't mind adding them to my collection. a lot of these were pleasant enough to my ears, to each his own, thanks again for sharing, always fun and interesting!
Ah, Loog. "Loog" helped make The Stones, who were a full-fledged sextet with a superb stage act putting out their version of blues and R & B at the Crawdaddy in RIchmond, Surrey, when ALO caught their act in residency in spring 1963. Brian Jones, with occasional help from fledgling gallerist Giorgio Gomelsky, was de facto agent/manager (and paid himself £5/week more than the others got for this reason) until ALO, an exact contemporary of Jagger and Richards (all born in 1943) came along. Given their talent and ambition, there is a good chance The Stones might have made it without Loog, but he certainly facilitated the process in the early going. First, he humored Brian while gently sidelining him as he helped Jagger and Richards ease into the leadership of the band- a good thing, on the whole, given that Brian, while enormously talented and creative, was also enormously emotionally unstable and behaviorally unpredictable (a fact that became all too sadly evident as the '60s wore on, and Brian succumbed increasingly to his alcohol, drug, and behavioral excesses). Second, Loog, acting on the premise that five was the absolute maximum for a viable rock/pop group (The Beatles, in whose organization Loog had briefly worked under Brian Epstein, were after all four, down from five in their Stu Sutcliffe days), demoted the talented pianist Ian "Stu" Stewart to session work and occasional live accompaniment and made him road manager (a job at which Stewart excelled, and a position he held until his untimely heart attack death at 47 in 1985). Third, with 6'2" 14-plus stone Ian Stewart now in a subsidiary position, Loog played up the lean-mean ominousness of the remaining five, the snarly, rebellious counterpart to the ostensible relative wholesomeness of the Fabs ("Would you late your daughter date a Rolling Stone?" Somewhat ironic, given that Mick, Keith, Brian, and to a certain extent Charlie were all relatively well-educated and well-read, and only Bill and Charlie came from true London working class backgrounds, whereas The Beatles all came from near-poverty and, in John and Paul's case, the death and/or absence of one or both birth parents when they were quite young). Fourth, ALO teamed up with the older and business-experienced Eric Easton to get things on a sound financial footing (ALO would later stiff-arm EE out of the business). So things went for a little less than four years. Then The Stones experienced the drug busts and complex legal problems of 1967, The Stones' near-annus horribilis, as they were targeted by corrupt right-wing elements of the British establishment, including thoroughly corrupt cops and their favorite Sunday rag, the reprehensible News of the World (later owned by Rupert Murdoch; no improvement; the paper later ceased publication, 2011 (a run of 168 years), after a scandal in which they hacked the phone of a murdered 13-year-old girl). And what was Loog's response? He fled, literally, to the States, paranoid about his own potential vulnerability to being busted, as Jagger and Richards and later Jones scrambled for viable legal representation and dealt with multiple court appearances and threats of lengthy prison sentences that, given the fast-moving, now-it's-in-now-it's-yesterday's-news trends of 1967 in pop and rock music, would have almost certainly sounded the death knell for the band. That was the last straw as far as The Stones were concerned. That, plus his utter lack of enthusiasm for their psychedelic projects from spring 1967 until the end of the year, when they released "Their Satanic Majesties' Request," a flawed album but much better than its subsequent reputation, spelled the end of The Stones' relationship with Loog. They fell into the web of Allen Klein, the scheming New York lawyer who enmeshed himself in the legal and financial affairs not only of The Stones but of The Beatles as well, essentially ripping off both bands for millions of dollars and/or pounds. They later extricated themselves, after much difficulty, in the 1970s, with the help of Prince Rupert Loewenstein. It's all the long ago past now, and Jagger, Richards, and Loog will all turn eighty this year. After all this time, have they let bygones be bygones (leaving aside the legal kerfuffles around The Verve's "Bitter Sweet Symphony," and ALO's involvement in it, in the late 1990s)? I have no idea. Do you?
Interesting to hear the perspective of a record producer and manager. Oldham almost makes Simon Cowell sound like your favorite uncle. It dawned on me that Andrew would be a good judge on Britain's Got Talent except he is not well known by the 18-34-year-old key demographic. That's how we measure here in the States. I think the Bachelors were pretty lame. I laughed when I saw and heard them.
4:07 "I hate the record on principal, and the public should do the same." Then he almost trashes his own record at 5:28. Never a dull moment with Oldham. And I love the instrumental version of "You'd Better Move On" at the end. Great post.
Disappointing that Oldham didn’t like The Fairies track. I liked their drummer John ‘Twink’ Alder who went on to the band The In-Crowd/ Tomorrow with guitarist Steve Howe. Twink contributed much to the UK psychedelic music scene.
@@YesterdaysPapers Didn’t Twink replace The Little Things drummer (name I forgot) on their album S.F. Sorrow? I recall that the making of S.F. Sorrow was highlighted on this channel.
Well, Martha was not a lousy production..most of these were bad..but the fairies get yourself home is dynamite. I think Andrew was snorting some arrogance powder even if he had a point 🤣
Ah Andrew. What a guy. Mr Negative ( even if he was right on most tracks) I think he lives to take the piss out of others. Interesting guy but yammers about himself a tad much I think he wanted to be an actual Stone more then anything (that or Phil Spector)
Just listened again to Nowhere To Run. Maybe I missed something. No, that is one boss beat and the group is in the groove. I love all their famous records. One LP on the UK charts very much surprised me. At #8 The Voice of Winston Churchhill. Was there a beat group backing his words? (Just kidding) Can't imagine something like The Voice of Dwight D. Eisenhower LP ever making the top 10 charts here in USA but it certainly says something adult and intriguing about the British public.
Churchill had just died .. so they brought out some albums in the UK of his speeches ... Sold extremely well to the second world war generation ... You see them very frequently in charity shops nowadays...
Golden and the Gingerbreads! The first all female band signed to a major label, with future rocker Genya Ravan, and Isis another all girl band formed in the early 70's. They were American.
Why was this one-off Jimmy Page single She Satisfies not included here, as that was from this month, although it was heavily rumoured to be by The Kinks as not only did Jimmy Page sound like Ray Davies, but the riff was heavily borrowed from The Kinks' semi-instrumental, Revenge. They even looked alike.
Hahaha! Tell us how you really feel! Oh my god, I never wanted this to end; what a one-man bitchfest! I wish these had gone on into the 80's, so they could have thrown a stack of Thompson Twins/Soft Cell/Spandau Ballet records in front of Boy George! Thank you so much for these incredible videos!
@@gemspa73 it’s so weird how she keeps saying that stuff. Just don’t get it. There were so many classics that she DID play on, so why make all these false claims?
Although the Shapiro track was rubbish . Oldham being a producer himself should know that Norrie Paramor deserves respect for his great "widescreen" Cliff and Shadows productions.
I think he was criticizing the backing track more than the song. It's not unfair to point out that the backing on many Motown singles had little variations. The Supremes songs are practically identical!
There were some good songs on the charts that week (Donovan, Yardbirds, Kinks, Hollies, Seekers, Animals, etc.), but the songs they gave him to review really weren't that good.
How on earth can Andrew hate Nowhere to Run? Incredible. And the Fairies? Crazy. Maybe they were too Stones sounding. I don't know. Certainly sounded dead ringers for the Pretty Things.
Good to hear Saturday Club mentioned again as it hadn't crossed my mind for decades - probably for the reason Andrew alluded to - namely 85% of the programme was rubbish!
The Fairies in 1965 were just a couple of years ahead of their time or maybe decades. That bombastic guitar jamming could easily fit in with the upcoming Acid Rock of 67, the Heavy Metal soon to follow or with that look and sound could fit in with any CBGB Punk band. Yet Andrew was right, while they were ahead of their time, they would be awful in any era.
I like that single but they sounded like they were copying The Pretty Things. Ironically enough, their drummer Twink joined the Pretty Things later in 1967.
One of the biggest differences between British and American bands of that era is the role managers played. US groups pretty much managed themselves; they created their own look and sound. Managers mainly handled finances and bookings. The Beatles, Rolling Stones , The Who etc.might never have achieved their level of success without Epstein , Oldham and Lambert. Outside of Elvis , I can't think of a major US manager ( I exclude the teen idols, on both continents, who were mainly creations by promoters). AO was still a teenager when he took over The Stones!
Too bad Andrew and Ray Davies couldn't have done one of these together. Do you suppose that Jimmy Duncan, the producer of "Get Yourself Home", is the same guy who was an owner of Fontana Records and the writer*/producer of The Pretty Things "Rosalyn"? Could The Fairies actually be The Pretty Things? Sure sounds like Phil May - from what little I heard of it. *Bill Farley was a co-writer of "Rosalyn". That "Melody Maker Pop 50" is a gobsmacker. Everybody who was anybody in pop music is on that chart - even Elvis doing The Clam. Here's the link: ruclips.net/video/dyx5JCK83H8/видео.html It's one of those "it's so bad, it's good" records - plus Ann Margaret. The opening lyric reminds me of Wang Chung's "Dance Hall Days". "Hey everybody gather round Listen to that bongo sound Grab the first one in your reach Now we're going to shake the beach" Songwriters: Benjamin Weisman / Dolores Fuller / Sid Wayne
"Get Yourself Home" was interestingly recorded by the Pretty Things themselves, in a version far superior to the Fairies. ruclips.net/video/dgfHcC0iEA4/видео.html
Видеоклипы
You listen to some of these songs and understand straight away why the Beatles were so huge.
and why people are so quick to say that "music was better before", because absolute garbage like these records are of course long forgotten, just like the garbage of today will be soon forgotten as well and only the good stuff living on, perpetuating the "music was so much better before" myth
George Martin called the pre India albums rubbish
Andrew Oldham doesn't disappoint. I went in in guessing he'd hate pretty much everything, and there we go!
To be fair most of those records did suck. I’m glad he gave Gerry and the Pacemakers a thumbs up.
In his defense, He got handed a bad stack of singles.
@@daddyagogo Absolute truth, but his reputation for savagery was certainly on view!
Yeah, it was like they were pranking him
@@daddyagogo I disagree. I like the Fairies and Jimmy Nicol records.
The Rolling Stones, The Beatles and The Kinks all flying high in the LP chart. Magic times. Loving your outro music, YP 😊💖
Glad you liked it, Sophie. Good stuff in the LP chart, no doubt. Two Kinks albums there, cool!
@@YesterdaysPapers 🎸😘❤
Yes I Will by The Hollies was covered by The Monkees as I'll Be True To You a few months later in a vastly superior version
Don' t forget Wnston Churchill, The real king of pop and rock...🤣🤣
Poor Jimmy Nicol! 3:16
I have always been moved by his story.
He had his quarter of an hour of fame with The Beatles, and then he was lost in nothingness.
I wish him the best, wherever he is.
Thank you very much, Yesterday's Papers. 😀😀😀
Great to see The Seekers near the top of the charts, they were one of the best vocal groups of the 60s
I always liked their music.
I was a huge fan of The Seekers. I still mourn the sad loss of Judith.
@@paulgoldstein2569 …..The Seekers were very popular when I was young. They were all talented musicians and Judith Durham had a glorious voice.
Yes Athol seemed to be the leader to me but they will always be Judith and that amazing voice, Seen In Green their 1967 album is gorgeous sunshine pop.
Happy to see that Winston Churchill finally got into the British Top Ten. He was so underrated earlier.
@michael macbean
But sadly he never topped the charts.
@@PeterPan-nh7yx I’ve read that he peaked in the mid-1940’s and was off the charts for a while. This was WC’s (unfortunate initials) comeback album taking advantage of the British Invasion so a top ten was pretty good for an oldies act.
@@deirdre108
"mid-1940’s?" Slightly before my time. I remember, my dad told me, we tried to invade Britain those days, thanks to Winston & the RAF we failed. But never mention the war!
@@PeterPan-nh7yx But the Germans (Hamburg?) got to hear the Beatles live way before the Americans did! Komm, gib mir deine Hand/Sie liebt dich!
He was big in Europe though
So many hot takes! You can really that Oldham was a producer based on his critiques.
Love the You Better Move On outro. Met Andrew with my bassist brother by proxy. Interesting guy.
Excellent comments. Thanks for posting them. Good time for you
That 'The Voice of Winston Churchill' album was probably big at the discos..lol
"Dancing to Winston Churchill" would be a great song title!
Great instrumental take on Arthur Alexander's 'You better move on' at the end.
Andrews comments were perfect for the selection of 'music' he was presented with.
Get Yourself Home by the Fairies is an amazing record and Loog is strictly a square for not getting that.
Yeah, that's a great track. He probably said he didn't like it because he saw it as competition.
Loog fact - he’s 2 days younger than Nick Mason of Pink Floyd who he went to the same school with
Gerry and the pacemakers masterclass
I really like the song Get Yourself Home by The Fairies. It sounds like The Pretty Things. John "Twink" Alder was in both groups. Raw rhythm and blues. It sounds much more like a passion project than an income generator. Everything Andrew Oldham hated about this record is exactly why I like it.
I love that song.
The Pretty things originally recorded it, but it remained unreleased. It is now among the bonus tracks on the CD reissue of their first album.
Oldham would hate a band like Pretty Things to follow the Stones so no wonder he smashed the record. It's a freakbeat classic today so Oldham can piss off.
Blimey this guy makes Morrissey seem cheerful and agreeable lol.
Love your videos Yesterdays Papers.😀
Shows that the 60's wasn't completely full of great music, no matter how much we like to think so.
It actually *was* full of good music, you can't expect all the dross that record companies threw to a wall would stick.
How can an era be "completely full of great music" anyway ?.......that's an impossibility . No one ever claimed that .
@@PAULLONDEN Maybe 5-10% was great, 5-10% good. The rest-not so much. Count them in any top 40 you like and those percentages would be correct. In Australia I was lucky enough to listen to a great D.J. named Stan Rofe, who did have great taste.
LOL Quote me who said the 60s was "completely" anything? You have ONE WEEK of goofy UK here and you think you made a point?? LOL OTOH, the 60s was full of the BEST music in the 20th century and so far into the 21st century. You can hide behind your "completely" cop-out but you got nothing better. How do you want your shut-up juice, by songs from the 60s or by bands? And then tell me which decade was "completely" even close to the 60s. 🎬
Opinions are like arse-holes - everybody's got one.@@cuda426hemi
Two months later The Byrds Mr Tambourine Man, which still sounds fresh today
As featured in The Warriors ... Nowhere To Run 🏃♂️ 🏃♀️ !! 🗽
your outro song renditions are always amazing, this one even more
What a hopeless lot of awfulness he had to wade through. My sympathies.
It's almost a shame that Oldham didn't get anything particularly good to review that week, as I'd like to have heard his reviews of more popular songs to judge his foreseeable expert knowledge on.
He got “Nowhere to Run”. Who cares it shares a baseline with “Dancing in the Street”? It’s a great record.
@@cruzcflores it’s also the song Keith stole to create Satisfaction.
Oldham had his own label, Immediate, which specialized in putting out lame Motown style soul records.
So, don't expect Loog to have good taste in that genre of music.
The Voice of Winston Churchill No.8 in the album charts.
March '65 really was a slow month! lol
Oldham didn't drop on a good month for a blind date with that selection.
This was one of the best so far, top work again, thank you so much.
Andrew lucked out with these. Decca refused to sign The Beatles yet has “The Voice of Winston Churchill” in the music charts, the mind boggles! Thanks YP. Your outro is typically excellent.
Bear in mind, that Winston Churchill died in January of 1965.
@@heli-crewhgs5285 …..true. I just thought it was an odd inclusion in a music chart.
Thanks, Linda!
@@YesterdaysPapers ……if you get time to reply, I wondered if you composed the versions for all the outros in these videos yourself?
@@lindadote I record all the outros myself but most are adaptations or covers of songs from the 60s. In this case, it was a cover of "You Better Move On".
You gotta love the honesty of these classic rock musicians and managers. Nowadays a musician would say something like "That''s good" to hide their disappointment for the song, but back then in the '60s, they just straight up said "This sucks" lol.
Geez, "Nowhere To Run" was the only good song of the bunch - in fact I like it more than "Dancing In The Street".
That last song sure was a cheeky pull on Melody Maker's part.
He was 21 at the time... 21! Man, he knew a lot.
As old as me and already managing the Rolling Stones... that sure makes me want to end myself...
Brits didn't go to university like Yanks did.
Or, if they did attend like Jagger, they dropped out early.
The Applejacks were given "Bye Bye Girl" after they refused to record "Chim Chim Chiree". The B-side "It's not a Game Anymore" is a much better song and was written by Pete Dello of Honeybus fame. He wrote several of their hits. The Applejacks actually made several good records, but stuck to the Beat phase when music evolved and got more experimental.
Time for a Honeybus video on this channel!
The Applejacks did make some good records. They were the first to release a version of a Ray Davies composition I Go To Sleep, although I cannot remember who had a hit with it in the Eighties. The Kinks already recorded a demo of it, not released at the time, but is now on a CD release of one of their early albums among the bonus tracks.
The Applejacks also released a single version of Lennon/McCartney composition Like Dreamers Do, which The Beatles recorded among their January 1962 Decca label demos, after which Decca turned them down, but signed The Applejacks a few years later.
@@paulgoldstein2569 The Pretenders did a great version of it. I didn't even realize it was a Kinks song.
@@ExplodingPsyche That was it, The Pretenders. But my knowledge on later years is weak here and there. I have now remembered they covered a track from The Kinks' first album, Stop Your Sobbing.
@@paulgoldstein2569 Yeah, I probably knew at the time it was a Ray Davies song but forgot it over the years!
1965 was a great year for music! ♥️🎸
True, but obviously March was an off month.
@@wolfetom10 Not in the States where ✋ "Stop In The Name of Love" ❤️ was number one on the Billboard charts. ✋ Think it over.......😉
@@andrewkatsinis4225 But it got knocked off the U.S. number one by Freddie And The Dreamers' belated U.S. hit You Were Made For Me, a UK hit nearly two years earlier. But as the British Invasion took a while to explode in the States, a lot of UK hits of this genre were then back-released for the U.S. market. But why as long as this, when the softer sounding Liverpool bands of which Freddie & Co adopted the sound of, had already been out-fashioned in the UK by these harder edged sounding British Invasion bands from other parts of the UK. But that was this ever changing world of the sixties when musical trends were shifting fast and furious. But for once, the Americans were behind the British.
Haha that was lucky, 30 seconds! Can’t wait to watch
I love your videos, Y.P. Always a nice little slice of musical history, and as Ray Davis once insisted, the music was the best part of those times.Well really, the Gerry and the Pacemakers single was very professional, and even though there were a couple quality artists amongst this load of rubbish, the records themselves were exactly as he described them. I sometimes think the staff at that magazine would sometimes say, "Let's give (Fill in the blank) a load of bollocks to review so we can get a good piss-take out of them for entertainment purposes! I mean, really?
I think that you're correct. It's all showbiz: create controversy and outrage - and attract eyeballs. Andrew was a master of it, so I'm sure that he understood the drill in doing this Melody Maker gig. That aside, his criticism was on target. He was smart, and he was good at what he did.
"Good cover of You'd better move on, I'd say. Who's that? The Yesterday's Paper' Symphony Orchestra ? Yes, I've heard about them before. Not sure if it's gonna make a hit but it's a good record. I like it" 😉
Hahaha!
The “leader of the laundromat” was actually song by none other than Ron Dante who five years later had a number one hit around the world as the Archies and “sugar sugar.”
Quite right. Sugar Sugar was played constantly on the radio at the time, I loathed the song! However, it’s interesting to note that the musicians who contributed to “The Archies” (and that song) included some of the finest American session-musicians available, including guitarist Hugh McCracken and bassist Chuck Rainey!
Wilson Pickett did a great version of it!
@@davidpanzer1166 …..I loved Wilson but don’t know if even he could change my mind about that song.
@@lindadote Give it a shot and let me know what you think! BTW, I played guitar for him from 1995 to 2000.
@@davidpanzer1166 ……oh, that’s cool! So, you’d have been with WP until not long before he died? I always liked Wilson but confess I haven’t heard him in years. Well, I gave the song a listen……I honestly didn’t think I could move past the corny lyrics but Wilson’s version is stunning! I’m not sure I could ever *like* the song but I’m genuinely amazed at the difference his soulful voice makes. WP hasn’t changed a thing yet somehow, it’s an entirely different song, if that makes any sense? Thanks for the heads up, I’m always interested in learning anything musically-related.
Great Video! Just a heads up in the description of the video it says 1967 instead of 1965! Big fan of the channel!!
Thanks for the heads up, I just corrected it. Cheers!
He was right about everything except for the Vandellas. What a terrible week. Poor guy.
Had a resurgence, being played in The Warriors. I always like Nowhere to Run better. Bowie & Jagger probably ruined Dancing
Nowhere To Run is a great tune.. classic Motown! FFS, who cares if they allegedly have "the same bass line" (they don't). 🤷🏻♂️
Im so glad he liked Gerry and the Pacemakers. They've always been one of my favorite bands. I'm really getting the impression from so many of these English reviewers of the unpopularity, in England, of anything Motown. Oh, my gosh, that made me laugh, his comment on Clementine how they were all sitting around, after recording it, congratulating themselves that they had made a jazz record. 😅
To please Andrew the song needed to be recorded precise and clearly and it had to have a strong emotional message that hit the heart. That's why he loved Gerry & Pacemakers song "Ill be there" Some of the Stones hits were in that vibe too. That is always a key to a great hit , it has to have a strong emotional message that hits the heart. Great video , keep up the good work
I saw Golden Lights in the charts and thought that Morrissey had invented a Time Machine. 😂
Yep, Morrisey covered that song. He was (I guess he still is) a big fan of Twinkle.
#8 in the LP chart just shows you that the charts were very varied
Good point. A lot of times Billboard wouldn't use *any* even numbers. Every LP in the chart had an odd number, and as a result, no variety at all.
What Oldham did with Billy Nichols was amazing !
wow, i guess he wasn't to thrilled with the selections, many of these were new to me because i don't think they made it to the states. i did like many of them though and wouldn't mind adding them to my collection. a lot of these were pleasant enough to my ears, to each his own, thanks again for sharing, always fun and interesting!
Ah, Loog. "Loog" helped make The Stones, who were a full-fledged sextet with a superb stage act putting out their version of blues and R & B at the Crawdaddy in RIchmond, Surrey, when ALO caught their act in residency in spring 1963. Brian Jones, with occasional help from fledgling gallerist Giorgio Gomelsky, was de facto agent/manager (and paid himself £5/week more than the others got for this reason) until ALO, an exact contemporary of Jagger and Richards (all born in 1943) came along. Given their talent and ambition, there is a good chance The Stones might have made it without Loog, but he certainly facilitated the process in the early going. First, he humored Brian while gently sidelining him as he helped Jagger and Richards ease into the leadership of the band- a good thing, on the whole, given that Brian, while enormously talented and creative, was also enormously emotionally unstable and behaviorally unpredictable (a fact that became all too sadly evident as the '60s wore on, and Brian succumbed increasingly to his alcohol, drug, and behavioral excesses). Second, Loog, acting on the premise that five was the absolute maximum for a viable rock/pop group (The Beatles, in whose organization Loog had briefly worked under Brian Epstein, were after all four, down from five in their Stu Sutcliffe days), demoted the talented pianist Ian "Stu" Stewart to session work and occasional live accompaniment and made him road manager (a job at which Stewart excelled, and a position he held until his untimely heart attack death at 47 in 1985). Third, with 6'2" 14-plus stone Ian Stewart now in a subsidiary position, Loog played up the lean-mean ominousness of the remaining five, the snarly, rebellious counterpart to the ostensible relative wholesomeness of the Fabs ("Would you late your daughter date a Rolling Stone?" Somewhat ironic, given that Mick, Keith, Brian, and to a certain extent Charlie were all relatively well-educated and well-read, and only Bill and Charlie came from true London working class backgrounds, whereas The Beatles all came from near-poverty and, in John and Paul's case, the death and/or absence of one or both birth parents when they were quite young). Fourth, ALO teamed up with the older and business-experienced Eric Easton to get things on a sound financial footing (ALO would later stiff-arm EE out of the business).
So things went for a little less than four years. Then The Stones experienced the drug busts and complex legal problems of 1967, The Stones' near-annus horribilis, as they were targeted by corrupt right-wing elements of the British establishment, including thoroughly corrupt cops and their favorite Sunday rag, the reprehensible News of the World (later owned by Rupert Murdoch; no improvement; the paper later ceased publication, 2011 (a run of 168 years), after a scandal in which they hacked the phone of a murdered 13-year-old girl). And what was Loog's response? He fled, literally, to the States, paranoid about his own potential vulnerability to being busted, as Jagger and Richards and later Jones scrambled for viable legal representation and dealt with multiple court appearances and threats of lengthy prison sentences that, given the fast-moving, now-it's-in-now-it's-yesterday's-news trends of 1967 in pop and rock music, would have almost certainly sounded the death knell for the band.
That was the last straw as far as The Stones were concerned. That, plus his utter lack of enthusiasm for their psychedelic projects from spring 1967 until the end of the year, when they released "Their Satanic Majesties' Request," a flawed album but much better than its subsequent reputation, spelled the end of The Stones' relationship with Loog. They fell into the web of Allen Klein, the scheming New York lawyer who enmeshed himself in the legal and financial affairs not only of The Stones but of The Beatles as well, essentially ripping off both bands for millions of dollars and/or pounds. They later extricated themselves, after much difficulty, in the 1970s, with the help of Prince Rupert Loewenstein.
It's all the long ago past now, and Jagger, Richards, and Loog will all turn eighty this year. After all this time, have they let bygones be bygones (leaving aside the legal kerfuffles around The Verve's "Bitter Sweet Symphony," and ALO's involvement in it, in the late 1990s)? I have no idea. Do you?
Interesting to hear the perspective of a record producer and manager. Oldham almost makes Simon Cowell sound like your favorite uncle. It dawned on me that Andrew would be a good judge on Britain's Got Talent except he is not well known by the 18-34-year-old key demographic. That's how we measure here in the States. I think the Bachelors were pretty lame. I laughed when I saw and heard them.
March of ‘65. The month and year of my birthday. ‘Eight Days a Week’ was number one, then.🎉
4:07 "I hate the record on principal, and the public should do the same." Then he almost trashes his own record at 5:28. Never a dull moment with Oldham. And I love the instrumental version of "You'd Better Move On" at the end. Great post.
Glad you liked it, thanks!
Lol. He hates everything. Probably the harshest so far. I actually liked a lot of it.
Wonder if, with the benefit of hindsight, he stands by his dismissal of Nowhere To Run now?
Andrew says he has a small record collection. It would be doubly interesting to look at it.
Disappointing that Oldham didn’t like The Fairies track. I liked their drummer John ‘Twink’ Alder who went on to the band The In-Crowd/ Tomorrow with guitarist Steve Howe. Twink contributed much to the UK psychedelic music scene.
Yep, I like that single as well. Good stuff, very remniscent of The Pretty Things.
@@YesterdaysPapers Didn’t Twink replace The Little Things drummer (name I forgot) on their album S.F. Sorrow? I recall that the making of S.F. Sorrow was highlighted on this channel.
@@boomtownrat5106 Yes, Twink replaced their drummer in late 67 and played on S.F. Sorrow.
He played in Syd Barrett's ill-fated "Stars" and later with the proto-punk Pink Fairies as well.
Amongst his “accolades” was being referred to as Twank by his former band mates.
Well, Martha was not a lousy production..most of these were bad..but the fairies get yourself home is dynamite. I think Andrew was snorting some arrogance powder even if he had a point 🤣
That was a rough group of singles!
Ah Andrew. What a guy. Mr Negative ( even if he was right on most tracks) I think he lives to take the piss out of others. Interesting guy but yammers about himself a tad much I think he wanted to be an actual Stone more then anything (that or Phil Spector)
I think what went unsaid here is there's only one artist that Andrew likes. Fucking Andrew.
Oh gosh that was funny!
Poor Andrew really did get a Sack Of Woe.
He's right on all of them. Leader of the Laundromat with motorcycle revving?
Andrew did "Get Yourself Home" dirty, oof. It's one of the highlights of the UK Nuggets!
That's a Kinky top ten
That was a mostly pitiful collection he had to review, except that "Nowhere to Run" was a great banger imo.
lol no Beatles singles in the chart 50 wtf were they having a week off
At least Gerry got on there, one of his last he did
They were filming the movie Help at this time. Ticket to Ride would come out on April 9, topping both the UK and US singles charts.
Oldham opinions come with a lot of stroke. When he speaks, people listen. He earned it.
“Jimmy Nichol and The Footnotes”
Leader of the Laundromat reminds me of Albert Kings Laundromat Blues.
And who the heck is this Voice of Winston Churchill record?
It sounds like early 1965 was not a good time for music releases huh, Help! was still a couple months away
Ha, Mr. Sunshine that Oldham is. Look at the Kinks having two of the top ten albums!
Another wonderful look back at the 60s. Who/what is the soundtrack you play when showing the charts ? This one being You'd Better Move On ??
All the instrumentals at the end of these videos are recorded by me.
@@YesterdaysPapers
@@YesterdaysPapers Brilliant, they sound like the " Wrecking Crew " during the Brian Wilson/Phil Spector era
@@philanthropist1241 Thanks!
Yes I Will by The Hollies was covered by The Monkees as I'll Be True To You in a vastly superior version several months later
Andrew hocks so many 'Loogies' lol
Who plays the instrumental You Better Move On at the end?
Just listened again to Nowhere To Run. Maybe I missed something. No, that is one boss beat and the group is in the groove. I love all their famous records. One LP on the UK charts very much surprised me. At #8 The Voice of Winston Churchhill. Was there a beat group backing his words? (Just kidding) Can't imagine something like The Voice of Dwight D. Eisenhower LP ever making the top 10 charts here in USA but it certainly says something adult and intriguing about the British public.
Nowhere To Run is a _GREAT_ tune! ..Idk what he was smoking on that one. Sheesh! 😬
Otherwise, his critiques were fairly on, I suppose. 🤷🏻♂️
Hahaha! Winston Churchill backed by The Tornados and produced by Joe Meek. That would have ruled!
@@R3TR0R4V3 agree.
@@YesterdaysPapers LOL.....yes that would be totally dope!
Churchill had just died .. so they brought out some albums in the UK of his speeches ... Sold extremely well to the second world war generation ... You see them very frequently in charity shops nowadays...
Golden and the Gingerbreads! The first all female band signed to a major label, with future rocker Genya Ravan, and Isis another all girl band formed in the early 70's. They were American.
they clearly gave him the worst tracks of the week to review because they knew it would be hilarious
Andrew is right! Congratulations should have been given to the Everly Bros. I'll Be There was recorded by Elvis at the Memphis sessions in '69.
Latter, written and originally recorded by Bobby Darin.
Wonder what his review of Bittersweet Symphony by the Verve. Oh yeah that’s right
Andrew: "Oh, I produced that!".
@@YesterdaysPapers the sad thing is nobody would’ve ever known “the Royal Orchestral” version of “The Last Time” without that song
He was brutal.
While the new releases were bad, the charts that week had GREAT music.
They tended to be released in January (It’s Not Unusual comes to mind, and yes, I’m a sucker for it).
Hey Andrew - don't sugar coat your thoughts, let us really know what's on your mind!
Why was this one-off Jimmy Page single She Satisfies not included here, as that was from this month, although it was heavily rumoured to be by The Kinks as not only did Jimmy Page sound like Ray Davies, but the riff was heavily borrowed from The Kinks' semi-instrumental, Revenge. They even looked alike.
It was released that month but not the same week. Blind Dates were mostly about the week's new singles.
@@YesterdaysPapers According to 45cat, Disc magazine gave a release date of 5 February 1965.
What an earful poor Andrew got. Is it good or bad that he had nowhere to run?
Ha ha Oldham sure wasn't pulling any punches 65 he was in his prime thanks YP cheers !
He sems like a nice chap.
Hahaha! Tell us how you really feel! Oh my god, I never wanted this to end; what a one-man bitchfest! I wish these had gone on into the 80's, so they could have thrown a stack of Thompson Twins/Soft Cell/Spandau Ballet records in front of Boy George! Thank you so much for these incredible videos!
Mostly agree with Andrew except his dismissal of Nowhere to Run. But yeah, the bass is great (Jamerson?) on it.
Carol Kaye probably says it's her.
@@gemspa73 it’s so weird how she keeps saying that stuff. Just don’t get it. There were so many classics that she DID play on, so why make all these false claims?
Andrew Oldham > Andrew Newham 💯
You Better Move On instrumental on the outro...but not sure if it's The Andrew Oldham Orchestra.
I recorded the outro myself. Yes, the sound is inspired by the Andrew Oldham Orchestra. I love that kind of sound.
@@YesterdaysPapers So you MAKE music as well?
Although the Shapiro track was rubbish . Oldham being a producer himself should know that Norrie Paramor deserves respect for his great "widescreen" Cliff and Shadows productions.
3:35 looks like Paul McCartney on the left.
@@sg-yq8pm Couple of weeks actually. Ringo was sick and Epstein didn't want to cancel any bookings.
Nice version of 'You better move on' !
Thanks!
Yo guys, just a question, who was the better Stones producer, Andrew or Jimmy?
Jimmy Miller, no doubt. But I like Oldham's productions as well.
Oldham was a chancer when it came to production. Jimmy Miller was the real deal.
@@YesterdaysPapers Oldham's productions we really the production of studio engineers who were working with Stones. Like Dave Hassinger.
@@zvezdahouseofrock1784 Yep, and Glyn Johns.
Oh wow, 58 years ago. But how isn't there a Beatles single in the Top 50?
Martha's 'Nowhere To Run' is better than anything he ever produced!
True, he never quite got a genuine sound elsewhere.
I think he was criticizing the backing track more than the song.
It's not unfair to point out that the backing on many Motown singles had little variations. The Supremes songs are practically identical!
Nowhere to Run? Andrew?
There were some good songs on the charts that week (Donovan, Yardbirds, Kinks, Hollies, Seekers, Animals, etc.), but the songs they gave him to review really weren't that good.
How on earth can Andrew hate Nowhere to Run? Incredible. And the Fairies? Crazy. Maybe they were too Stones sounding. I don't know. Certainly sounded dead ringers for the Pretty Things.
Yeah, that song sounds a lot like what the Pretty Things were doing at the time.
And it was the basis for Satisfaction. Almost direct copy except for the fuzz tone
Good to hear Saturday Club mentioned again as it hadn't crossed my mind for decades - probably for the reason Andrew alluded to - namely 85% of the programme was rubbish!
The Fairies in 1965 were just a couple of years ahead of their time or maybe decades. That bombastic guitar jamming could easily fit in with the upcoming Acid Rock of 67, the Heavy Metal soon to follow or with that look and sound could fit in with any CBGB Punk band. Yet Andrew was right, while they were ahead of their time, they would be awful in any era.
I like that single but they sounded like they were copying The Pretty Things. Ironically enough, their drummer Twink joined the Pretty Things later in 1967.
One of the biggest differences between British and American bands of that era is the role managers played.
US groups pretty much managed themselves; they created their own look and sound. Managers mainly handled finances and bookings.
The Beatles, Rolling Stones , The Who etc.might never have achieved their level of success without Epstein , Oldham and Lambert.
Outside of Elvis , I can't think of a major US manager ( I exclude the teen idols, on both continents, who were mainly creations by promoters).
AO was still a teenager when he took over The Stones!
Don’t beat about the bush, Andrew, tell us what you really think.
Is Andrew still living in the jungles of South America? Just curious.
I think he was living in Colombia. Not sure if he's still living there.
Too bad Andrew and Ray Davies couldn't have done one of these together.
Do you suppose that Jimmy Duncan, the producer of "Get Yourself Home", is the same guy who was an owner of Fontana Records and the writer*/producer of The Pretty Things "Rosalyn"? Could The Fairies actually be The Pretty Things? Sure sounds like Phil May - from what little I heard of it.
*Bill Farley was a co-writer of "Rosalyn".
That "Melody Maker Pop 50" is a gobsmacker. Everybody who was anybody in pop music is on that chart - even Elvis doing The Clam. Here's the link:
ruclips.net/video/dyx5JCK83H8/видео.html
It's one of those "it's so bad, it's good" records - plus Ann Margaret. The opening lyric reminds me of Wang Chung's "Dance Hall Days".
"Hey everybody gather round
Listen to that bongo sound
Grab the first one in your reach
Now we're going to shake the beach"
Songwriters: Benjamin Weisman / Dolores Fuller / Sid Wayne
The Fairies were not the Pretty Things but the Fairies' drummer Twink actually joined the Pretty Things in late 1967.
"Get Yourself Home" was interestingly recorded by the Pretty Things themselves, in a version far superior to the Fairies.
ruclips.net/video/dgfHcC0iEA4/видео.html