This is another record on which Hal Blaine (see last week’s post) played drums, the song one of the fruits of Sinatra’s working relationship with Lee Hazlewood.

This video is something else. OK, I get the fact that the performers’ boots were being emphasised, but the skirts didn’t need to be so short for that did they?

The list of hits on which Hal Blaine played drums is enormous. His obituary in the Guardian mentions only a few. A fuller (though possibly partial) list is here. Looking at that it could almost be said that he was the sound of the sixties.

He was certainly a major component of the “wall of sound” on those Phil Spector productions he played on. No more so than on Be My Baby.

Harold Simon Belsky (Hal Blaine): 5/2/1929 – 11/3/2019. So it goes.

A piece of typical mid-60s pop. Never a hit (though apparently it still sold 10,000 copies in the UK) but one that nevertheless stuck in the memory.

The version below I’d never heard until I researched this post. It was a hit for Lynne Randell in Australia. I think I prefer its faster pace.

I had planned at some time to post The Honeycombs’ biggest hit Have I the Right? but since the passing of their drummer Honey Lantree* recently, this one, on which she sings as well as drums, seemed more appropriate.

The fact that she was the group’s drummer – and she could actually drum, and did not need, like many sixties acts, to rely on session musicians – was a selling point, a factor in the group’s success, and a focus of some bemusement among the unenlightened of the time.

Ann Margot (Honey) Lantree; 28/8/1943 – 23/12/2018

I was sad to hear the news of the death of Dean Ford, lead singer of (The) Marmalade (once known as Dean Ford and the Gaylords,) the first Scottish group to have a no 1 in the UK. To make it, of course, they had to leave Scotland and move to London where their initial efforts under their original name didn’t meet with much joy. Calling themselves The Marmalade also didn’t bring instant success. It was only when they adopted a more pop profile – and with songs written by others – that they achieved a measure of success, peaking with that no. 1, a cover of The Beatles’ Ob-La-Di, Ob-La-Da.

Ford was no mean song writer though. Along with fellow band member Junior Campbell he wrote Reflections of My Life, Rainbow, and My Little One, hits between 1969 and 1971.

Plus this pre-success psychedelia-tinged song, said to be Jimi Hendrix’s favourite of 1967.

Thomas McAleese (Dean Ford): 5/9/1946 – 31/12/2018. So it goes.

Steppenwolf’s other well known track. Never a hit in the UK. Then again, Born To Be Wild only reached no 30.

This seems to be a live performance of the album version with additional film inserts. There’s a touch more psychedelia than I’d remembered.

Previously all my Moody Blues posts have been of Justin Hayward songs. Neither he nor the writer of this, John Lodge, were original members of the band when it had its number one hit Go Now but replaced Denny Laine and Clint Warwick after a subsequent lack of chart success led to that pair leaving the band.

It was the arrival of Lodge and Hayward though which coincided with a change of direction – to which they made a significant contribution.

This video is a clip from the BBC2 late night programme Colour Me Pop partly introduced to showcase the then new colour TV broadcasts. Note the psychedelic effects. The Moody Blues’ appearance on the show was on 14^th September 1968. I either watched it at the time of its first broadcast or on a reasonably quick repeat. Despite doing nothing but singing (or miming) on the clip Ray Thomas still manages to give an extravagant performance.

Though this track was written by Lodge it is Hayward’s guitar solo and the group’s signature vocal sound which stand out. The song quickly became a staple of the group’s live shows, more or less the band’s signature tune.

One of those sixties songs that speak of their time, mainly due to the fact it was used in the film Easy Rider, from which the video here is an extract.

After From Russia with Love we were treated to the big bashing of both Shirley Bassey and Tom Jones in Goldfinger and Thunderball respectively in subsequent Bond theme songs. By the time of You Only Live Twice things had been dialled down a bit. I must say I like the guitar counterpoint under the verses (mirroring the strings in the intro but extending the melody by a few notes.) Robbie Williams, of course, paid homage to this theme in his hit Millennium.

By the way. Is it heretical to be of the opinion that Nancy Sinatra was a better singer than her dad?

Reading the book (see my review, four or five posts ago) reminded me of this Bond theme song from the time when Bond theme songs weren’t a thing. It does, though, give me an opportunity once more to feature the vocal talents of Matt Monro.

The song itself is a perfect example of the songwriter’s craft. The slight change in the melody from line one to line two, the way the first verse’s lyrics circle back to the first phrase, the sequential rhyming of places and faces, then tongue-tied and young pride and the rise to the final note.