The best of the 60s

[SK3Blue]

Cass died the day after I was born, I was brought up on the TM&TPs, Hollies, Kinks, Beatles. Love this track. Michelle was a stunner!

 

 

[davieG]

The Condriacs  ·

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In 1969, an innocent song took over the radio. Sweet, light, impossible to forget.

“Sugar, Sugar” stuck like chewing gum, and that’s exactly what she was born to be.

But behind the sticky melody, there was no real band. There was no group touring the country, no interviews, no shows. The phenomenon that dominated the charts in the United States and the United Kingdom was fictitious. Literally drawn. The name? #TheArchies. Yes, like the comics.

The band was made up of Archie comics characters: Archie, Betty, Veronica, Reggie and Jughead — and was born from a bold idea of producer Don Kirshner.

Kirshner, after dealing with the turbulent backstage of The Monkees (another band with television origin), wanted something simpler: a band that would never argue with him. And how about a band that didn’t even exist?

He called the legendary Jeff Barry, composer of hits like “Be My Baby” and “Then He Kissed Me”, and the singer Ron Dante, who already had a long career as a studio vocalist. With Toni Wine on the backing vocals, they recorded “Sugar, Sugar” as if it were an episode of the comics - but the sound was real. And irresistible.

The success was meteoric.

The song reached the top of the Billboard Hot 100 and stayed there for four weeks. In England, he dominated by eight. It sold millions of copies, was distributed inside cereal boxes and became the best-selling single of 1969 in the US.

All this... for a band that only existed on paper.

The criticism turned up his nose. It was “bubblegum pop” - a genre made to sound disposable, sugary, REAL juvenile. But the audience didn’t want to know. In the middle of the Beatles, Hendrix and Woodstock era, an animated song about sugar conquered the world. Perhaps because, between wars, cultural transformations and generational conflicts, the world needed something light.

And that’s what “Sugar, Sugar” delivered.

Lightness. Fantasy. A delicious lie - with the taste of truth.

[Foxdiamond]

On 19/06/2025 at 03:03, davieG said:

The Condriacs  ·

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In 1969, an innocent song took over the radio. Sweet, light, impossible to forget.

“Sugar, Sugar” stuck like chewing gum, and that’s exactly what she was born to be.

But behind the sticky melody, there was no real band. There was no group touring the country, no interviews, no shows. The phenomenon that dominated the charts in the United States and the United Kingdom was fictitious. Literally drawn. The name? #TheArchies. Yes, like the comics.

The band was made up of Archie comics characters: Archie, Betty, Veronica, Reggie and Jughead — and was born from a bold idea of producer Don Kirshner.

Kirshner, after dealing with the turbulent backstage of The Monkees (another band with television origin), wanted something simpler: a band that would never argue with him. And how about a band that didn’t even exist?

He called the legendary Jeff Barry, composer of hits like “Be My Baby” and “Then He Kissed Me”, and the singer Ron Dante, who already had a long career as a studio vocalist. With Toni Wine on the backing vocals, they recorded “Sugar, Sugar” as if it were an episode of the comics - but the sound was real. And irresistible.

The success was meteoric.

The song reached the top of the Billboard Hot 100 and stayed there for four weeks. In England, he dominated by eight. It sold millions of copies, was distributed inside cereal boxes and became the best-selling single of 1969 in the US.

All this... for a band that only existed on paper.

The criticism turned up his nose. It was “bubblegum pop” - a genre made to sound disposable, sugary, REAL juvenile. But the audience didn’t want to know. In the middle of the Beatles, Hendrix and Woodstock era, an animated song about sugar conquered the world. Perhaps because, between wars, cultural transformations and generational conflicts, the world needed something light.

And that’s what “Sugar, Sugar” delivered.

Lightness. Fantasy. A delicious lie - with the taste of truth.

Don loved Cherry Cherry by Neil Diamond which was produced by Jeff Barry. Jeff's then wife and also a songwriting genius Ellie Greenwich had discovered Neil Diamond at a recording session in New York. Don asked Jeff if Neil had anything he could use for his new band The Monkees. Of course this led to Diamond's I'm a Believer becoming a smash. Another Diamond song A Little Bit Me A Little Bit You also did well.

[davieG]

Cavern Club Liverpool is at Glastonbury Festival.  · 

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One Last Time – The Searchers at Glastonbury 2025

A monumental moment is on the horizon. This weekend, one of Liverpool’s finest—The Searchers—will take to the stage at Glastonbury 2025 for their final-ever performance.

From their early days electrifying crowds right here at The Cavern, to decades of touring the world, The Searchers helped shape the sound of the Merseybeat movement—and inspired generations to follow.

 

 

[Paninistickers]

 this gorgeous video showed up on my feed yesterday. Three things struck me

 

Paul McCartney wrote it. Never heard of it prior 

How tight a band were Slade live, right?

Noddy Holder, what a good looking lad he was with a skinhead 

 

 

 

[davieG]

[Dr Marco]

some proper classics here!

[davieG]

David Brewster ·

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Chris Farlowe & The Thunderbirds

were a dynamic British rhythm and blues band active primarily in the 1960s, fronted by the powerful voice of Chris Farlowe.

Born John Henry Deighton in 1940, he adopted the stage name Chris Farlowe, inspired by jazz guitarist Tal Farlow.

He gained fame with the hit "Out of Time" (written by Mick Jagger and Keith Richards), which topped the UK charts in 1966.

Farlowe was known for his soulful voice and later associations with Colosseum and Atomic Rooster.

Farlowe joined The Thunderbirds in 1959, and the band was soon renamed Chris Farlowe & The Thunderbirds.

The group was a staple of the British R&B scene, performing energetic live shows and recording several singles through the early to mid-1960s.

Notable members included Albert Lee, Carl Palmer, and Dave Greenslade, who later became prominent in other bands.

 

 

 

This was always being played in the Kenco Café Bar on Granby St, I 'm sure it was the sole coffee shop in the city then. Not sure why it closed it was always packed after the pubs shut.

[davieG]

Mike's Musical Memories ·

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A very happy birthday to the nicest guy I worked with in the music business.

I took him to do a personal appearance at a nightclub in Basingstoke once. Afterwards he bought me a drink and then asked me to put him on a late train back to Cardiff as he wanted to get home to his family.

1948 - Andy Fairweather-Low

Andy Fairweather-Low, Welsh singer and songwriter from Amen Corner who had the 1969 UK No.1 single 'If Paradise Is Half As Nice'. As a solo artist, he scored the 1975 UK No.6 single 'Wide Eyed And Legless'. As a session guitarist has worked with Bob Dylan, Roger Waters, Eric Clapton George Harrison, Elton John, Jackson Browne, Bill Wyman, Sheryl Crow and Ringo Starr.

[Dr Marco]

 

[davieG]

Rock And Roll ·

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Steve Winwood, born May 12, 1948, in Birmingham, England, has been a prodigy, frontman, and genre pioneer. Starting young with the Spencer Davis Group, he belted out “Gimme Some Lovin’” at age 17. He co-founded Traffic, exploring psychedelic and progressive rock, then joined supergroup Blind Faith with Eric Clapton. Winwood’s solo career blossomed in the 1980s with hits like “Higher Love” and “Valerie.” Known for his soulful voice and multi-instrumental talent, he seamlessly blended rock, jazz, blues, and R&B. His mastery of the Hammond organ became a signature sound. Winwood never courted fame—he pursued musical authenticity. Whether jamming with legends or crafting intimate songs, he brought a quiet brilliance to everything he touched. His work resonates with timeless warmth, a mix of complexity and groove. Despite his low profile, his legacy looms large. Steve Winwood didn’t need flash—he let the music speak in its own rich dialect.

[davieG]

 

Willem II

 

𝗦𝘁𝗶𝗹𝗹 𝗥𝗲𝗺𝗲𝗺𝗯𝗲𝗿 𝗧𝗵𝗲𝗺? –

Formed in Belfast in 1964, Them was the raw and electric Northern Irish rock band that launched the legendary Van Morrison. Their garage rock anthem “Gloria” became a timeless classic, covered by countless artists and inducted into the Grammy Hall of Fame. Known for their gritty energy and blues-soaked sound, the band also hit the charts with songs like “Baby, Please Don’t Go,” “Mystic Eyes,” and “Here Comes the Night.”

Though their run was short-lived, the influence of Them was anything but. With Morrison’s unmistakable vocals at the helm, the band helped shape the future of rock and inspired generations of garage and punk musicians. If you’ve ever shouted “G-L-O-R-I-A!” at full volume, you already know their legacy.

#Them #VanMorrison #Gloria #60sRock #StillRememberThem

[davieG]

Emily ·

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Steve Marriott (1947–1991)

What gave Steve Marriott the reputation of being one of the most explosive voices in British rock? As the lead singer of both Small Faces and Humble Pie, Marriott possessed a ferocious vocal style that blended soul, blues, and rock with unrelenting energy. His voice was a powerhouse—gritty yet melodic, passionate yet controlled—capable of roaring through heavy rock riffs and delivering tender ballads with equal intensity. From “Tin Soldier” to “30 Days in the Hole,” Marriott's performances were pure fire, filled with urgency and attitude. On stage, he was magnetic, with a mischievous swagger and boundless vitality that made every show unforgettable.

How did his musical evolution reflect the changing tides of the 1960s and ’70s? Beginning with the mod-influenced sound of Small Faces, Marriott helped define the British rock landscape of the mid-’60s. The band’s hits like “All or Nothing” and “Itchycoo Park” combined psychedelic experimentation with working-class grit. When he co-founded Humble Pie in the late ’60s, his music took on a heavier, more American-influenced blues-rock tone. Albums like Rock On and Performance: Rockin’ the Fillmore showcased his shift toward hard rock, with an emphasis on raw power and improvisation. Through each phase, Marriott maintained an unwavering commitment to authenticity and soul.

What challenges did Marriott face in his later years, and how did they impact his legacy? Despite his early success, Marriott's later life was marked by financial instability, addiction, and missed opportunities. He turned down chances to join supergroups and reunions, often choosing the path of least compromise, even if it meant obscurity. Though he continued to perform in smaller venues, he never regained the commercial stature of his earlier years. Tragically, Marriott died in a house fire in 1991, a quiet end for a man whose voice had once shaken arenas. Yet even in his struggles, he remained dedicated to his craft, never losing his love for music.

Why is Steve Marriott still regarded as a singer’s singer and a guitarist’s guitarist? Because his talent was raw, visceral, and unpretentious. He embodied the spirit of rock and soul with unmatched intensity, refusing to play the fame game or dilute his art. Musicians from Robert Plant to Paul Weller cite him as a major influence, and his recordings continue to captivate listeners who discover the depth and grit of his voice. Marriott may never have reached the commercial peaks of some of his peers, but in terms of sheer talent and passion, few could match him. His legend endures because it was built not on spectacle, but on soul.

[davieG]

[davieG]

Not sure if Billboard USA

 

 

[Dr Marco]

 

[Dr Marco]

First day of Autumn....

 

 

[davieG]

History of Leicestershire in Images

Mervin Wallace

OCTOBER 2nd THE GEORGE HINCKLEY

Small Faces were an English rock band from East London. The group was founded in 1965 by Steve Marriott, who died in 1991, Ronnie Lane, who died in 1997, Kenney Jones, and Jimmy Winston, although by 1966 Winston was replaced by Ian McLagan as the band's keyboardist, who died in 2014.

They played at the George for the first time on the 2nd October 1965 and again on 5th February 1966 and again on 10th September 1966.

 

 

 

 

[Dr Marco]

 

 

[Crinklyfox]

Gone and largely forgotten, Eden Kane had five top ten hits, including one No. 1, between 1961 and 1964.  This is the last of them.

 

 

[davieG]

10 minutes ago, Crinklyfox said:

Gone and largely forgotten, Eden Kane had five top ten hits, including one No. 1, between 1961 and 1964.  This is the last of them.

 

 

Brother of Peter Sarstedt

 

 

[Dr Marco]

 

[Free Falling Foxes]

Freeview CH75, show film of 60s (and 70s) groups giving live performances back in the day.

I've seen some great ones on there recently. 

 

 

 

[davieG]

Ellie Wilson ·

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*How did The Hollies emerge as one of the brightest voices of the British Invasion?*

How did two childhood friends from Manchester create one of the most enduring pop-rock bands of the 1960s? **The Hollies** formed in **1962**, founded by **Allan Clarke** and **Graham Nash**, who shared a love of close vocal harmonies inspired by The Everly Brothers. They were soon joined by **Tony Hicks**, **Eric Haydock**, and **Bobby Elliott**, completing the lineup that would bring them international fame. The Hollies’ blend of **tight harmonies, catchy melodies, and upbeat energy** made them instant favorites in the British music scene. Their name, reportedly chosen as a tribute to **Buddy Holly**, reflected their roots in early rock and roll. With hits like **“Just One Look”**, **“Here I Go Again”**, and **“I’m Alive”**, The Hollies quickly became one of the most successful bands of the British Invasion, standing proudly alongside The Beatles and The Rolling Stones.

*What made The Hollies’ sound so distinctive among 1960s pop bands?*

Why did their music always seem to sparkle with optimism and clarity? The Hollies’ signature sound came from their **crystal-clear three-part harmonies** and **polished pop craftsmanship**. While other British bands leaned toward blues or psychedelia, The Hollies stayed faithful to bright, melodic pop that celebrated love, hope, and joy. Their songs, like **“Bus Stop”** (written by Graham Gouldman) and **“Carrie Anne,”** showcased their ability to combine storytelling with irresistible rhythm and charm. The jangling guitars, smooth vocals, and clean production gave them a timeless sound that appealed to audiences across generations. The Hollies mastered the balance between emotional sincerity and commercial appeal, making them one of the most consistent hitmakers of their era.

*How did The Hollies adapt to the changing tides of the late 1960s?*

Could they evolve while keeping their signature harmony-rich sound? As the 1960s progressed, rock music was becoming more experimental, and The Hollies faced pressure to grow beyond pure pop. They responded with albums like *Evolution* (1967) and *Butterfly* (1967), which embraced **psychedelic influences** while retaining their melodic sensibilities. However, creative differences began to surface, particularly between Graham Nash and the rest of the band. Nash, increasingly drawn to political and introspective songwriting, left the group in **1968** to form **Crosby, Stills & Nash**, marking the end of an era. Despite this loss, The Hollies pressed on, proving their resilience and ability to reinvent themselves.

*How did The Hollies maintain success into the 1970s and beyond?*

Could a band known for 1960s pop harmonies thrive in a new decade? Surprisingly, The Hollies not only survived but thrived. With **Terry Sylvester** replacing Nash, they scored major hits in the 1970s such as **“He Ain’t Heavy, He’s My Brother”** (featuring Elton John on piano) and **“The Air That I Breathe.”** These songs revealed a deeper, more emotional side of the band — mature, soulful, and beautifully arranged. The Hollies showed they could adapt to adult contemporary trends while preserving their signature vocal brilliance. Their ability to balance timeless harmony with evolving styles made them one of the few British Invasion bands to sustain chart success across multiple decades.

*Why are The Hollies remembered as one of pop’s most consistent and beloved groups?*

What lasting mark did they leave on popular music? The Hollies’ enduring appeal lies in their **purity of sound and emotional honesty**. They were never the loudest or the most rebellious, but their music spoke directly to the heart with sincerity and joy. Their influence can be heard in bands like **Electric Light Orchestra**, **Crowded House**, and **The Bangles**, all of whom drew from their harmony-driven pop style. Inducted into the **Rock and Roll Hall of Fame in 2010**, The Hollies remain a symbol of the golden age of pop — a band that combined technical brilliance with genuine warmth. With songs that continue to inspire smiles and nostalgia, The Hollies proved that good melodies and true harmony never go out of style.

[davieG]

Anomalous club ·

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He wrote the hits that made everyone else famous—then sang his own heartbreak so beautifully the world finally listened.

The Invisible Hitmaker

In the early 1960s, Gene Pitney was the invisible architect of American pop music.

While others stood under the spotlights, Gene stayed in the shadows, writing anthems that made other people stars:

"He's a Rebel" for The Crystals—a defining girl-group classic.

"Hello Mary Lou" for Ricky Nelson—a rockabilly standard that's still played today.

"Rubber Ball" for Bobby Vee—a bouncing, irresistible earworm.

He was the secret architect of other people's glory.

Then one night, sitting alone at his piano, Gene realized something: he was writing the same story over and over.

Loneliness disguised as pop music.

And he was tired of giving his heartbreak away to other voices.

So he stepped up to the microphone himself.

A Voice That Made the Air Ache

That trembling, soaring, emotional tenor made the air itself ache.

"Town Without Pity" (1961)—his voice climbing to operatic heights, singing about moral judgment and small-town cruelty.

"Twenty-Four Hours from Tulsa" (1963)—a heartbreaking story of infidelity and regret, delivered with such raw emotion you could feel the narrator's shame.

"The Man Who Shot Liberty Valance" (1962)—a cinematic western ballad that sounded like a movie playing in your chest.

Gene Pitney didn't just sing heartbreak.

He inhabited it.

Critics called him "too dramatic." Too theatrical. Too emotional for rock and roll.

He called it honesty.

"If you can't feel a song," he said, "you have no right to sing it."

And Gene Pitney felt every word he sang.

The Irony of Fame

But fame came with its own cruel irony.

Gene wrote about longing while living it.

He avoided Hollywood parties. He shunned scandal and celebrity culture. He toured relentlessly—a solitary figure who never quite fit the era he helped define.

While rock 'n' roll grew louder, rawer, and more rebellious in the mid-1960s, Gene Pitney stayed elegant, theatrical, unbending.

The British Invasion swept America. Psychedelic rock exploded. Folk-rock took over. And Gene's style of dramatic, emotional balladry fell out of fashion.

American radio stopped playing him. The hits dried up.

But Gene kept singing.

He said his songs were "a place for people who still believe in feeling something."

Rediscovered

The world—or at least part of it—rediscovered him decades later.

While America moved on, Britain and Europe never forgot.

His concerts in the UK sold out year after year. Fans who'd grown up with his voice came to hear it again—older now, but just as powerful, just as emotionally raw.

They cried to the same songs that had outlived every trend.

Gene Pitney proved that heartbreak never goes out of style.

April 5, 2006. Cardiff, Wales.

Gene Pitney, now 65, took the stage one final time.

The crowd was thunderous. They sang along to every word. They gave him the kind of reception reserved for legends—because that's what he was, even if America had forgotten.

He performed with the same intensity he'd always had. That voice—weathered now, but still soaring, still trembling with emotion—filled the venue.

When the final song ended, the crowd rose as one. A standing ovation.

Gene smiled, thanked them, and walked offstage.

Hours later, he was found in his hotel room.

Gone quietly, like a man stepping out between verses.

Heart failure. Natural causes. He'd simply performed his last show, returned to his room, and slipped away.

There's something almost poetic about it—dying the night after a standing ovation, after giving everything he had to an audience that still loved him, still felt what he felt.

The Legacy

Gene Pitney spent his life writing for other voices.

But his own was the one that never faded.

Long after the trends changed, long after rock and roll became something louder and harsher, Gene's voice remained—a reminder that emotion is timeless.

That vulnerability isn't weakness.

That heartbreak, loneliness, and longing are the most universal human experiences, and singing about them with complete honesty is the bravest thing an artist can do.

He proved that you don't need to be the loudest or the coolest or the most fashionable.

You just need to feel it.

And if you feel it deeply enough, if you sing it honestly enough, people will remember.

They'll come back decades later. They'll cry to your songs. They'll give you standing ovations in cities an ocean away from where you started.

Gene Pitney wrote anthems for other people's heartbreak.

Then he sang his own—and it echoed forever.

"If you can't feel a song, you have no right to sing it."

Gene Pitney felt every single one.

And because he did, we still feel them too.

#TimelessMusic #HeartfeltLegacy

~Anomalous club