Everyone knows the big hit performed by Peter Sarstedt (who died earlier this week) Where Do You Go To (My Lovely). Many people think he was a one-hit wonder – even his Wikipedia entry says that about him despite mentioning he had two other hits (though I must confess I don’t remember Take Off Your Clothes – probably because it was a B-side) but the follow-up single Frozen Orange Juice did get to no. 10 in the UK.
His previous single to the big one wasn’t a hit though arguably it deserved to be.
Peter Sarstedt: I Am a Cathedral
Peter Eardley Sarstedt; 10/12/1941 – 8/1/ 2017. So it goes.
Though it seems I didn’t, I thought I had mentioned in Friday on my Mind 29 that I actually bought Status Quo’s first hit Pictures of Matchstick Men, though they were The Status Quo then.
This follow-up – remarkably similar to that first hit and which appeared on the ludicrously titled first LP, Picturesque Matchstickable messages from the Status Quo – has a title that is all too appropriate, but has a bass line reminiscent of Hendrix.
The Status Quo: Black Veils of Melancholy
Richard John (Rick) Parfitt: 12/10/1948 – 24/12/2016. So it goes.
Les Fleur de Lys1 were the band called upon to record my favourite 60s song, Reflections of Charles Brown, and its B-side, Hold On under the name Rupert’s People.
I naturally assumed this song is a reference/tribute to the Edward Lear poem The Dong With A Luminous Nose. I was therefore amused when on Sounds of the Sixties 26/11/16 it was introduced and listed as “Going with the Luminous Nose.”
It sounds like psychedelia to me.
Les Fleur De Lys: Gong With The Luminous Nose.
1To be correct French shouldn’t that be Les Fleurs de Lys?
He didn’t have a hit in his own right in the UK but was the composer of several for others.
Tobacco Road was covered by the Nashville Teens,
The Nashville Teens: Tobacco Road
This Little Bird by Marianne Faithfull,
Marianne Faithfull: This Little Bird
and Lament of the Cherokee Reservation Indian – which I remember as titled (The Lament of the Cherokee) Indian Reservation; a change which makes the lament a more general rather than individual one – by Don Fardon.
Don Fardon: Indian Reservation
John D. Loudermilk: 31/3/1934 – September 21/9/2016. So it goes.
This breezy single from 1966 became a minor hit. I have a soft spot for it mainly because of the large number of rhymes it employs for operator – only the first of which, paper, doesn’t really work.
A newsboy on a paper, I worked an elevator, I knew that later, a higher rater, big time operator.
I drove an excavator, wine and (brandy?) waiter, decorator, estimator, big time operator.
As an air-line navigator, crime investigator, commentator, illustrator, big time operator.
I suppose they had rhyming dictionaries back then but it’s still quite a feat to work all of these into the song’s rhythm.
In the early 1960s it seemed that all you needed to be a successful North American male singer was to be called Bobby. Bobby Darin, Bobby Vee, Bobby Rydell all had hits then. The middle one of those, Bobby Vee, died this week.
Singer of the outrageously catchy Rubber Ball, and teen ballads like More Than I Can Say and Run to Him, the admonitory The Night has a Thousand Eyes and the yearning Take Good Care of My Baby, Vee’s star fell along with that style of recording once the Beatles came along.
Take Good Care of my Baby was a typically breezy sounding song written by Gerry Goffin and Carole King with an attendant less than breezy lyric. Note those plucked strings fixing its vintage.
Bobby Vee: Take Good Care of My Baby
Robert Thomas Velline (Bobby Vee): 30/4/1943–24/10/2016. So it goes.
The Lovin’ Spoonful’s Summer in the City was the second song I featured in my Friday on my Mind spot. This song could hardly be more different, wistful rather than joyful, restrained as opposed to exuberant.
Whether the story is apocryphal or not I recall reading that guitarist Zal Yanovsky didn’t like the direction the group was taking hence his hamming up on TV appearances such as this one.