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March 1965 (side B)
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Petula Clark knows a place (which might include a cellarful of noise), while the Yardbirds ask for your Love (although Eric doesn't want it, so runs away, the Ian Campbell folk group ask us if the times are actually changing, while we meet a new singer in a cloth cap that plays acoustic guitar and harmonica (and nom he's not Bob Dylan). Support this podcast at the $6/month level on patreon to get extra content! Create your podcast today! #madeonzencastr . If you are looking for Beatles summer fun, join our friends at the Magical Mystery Camp!
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Transcript
Introduction and The Beatles' Rallying Chant
00:00:00
Speaker
The Beatles had this charm, John, Paul and George, and probably then Stuart and Pete, had this charm, when things weren't going well, which in their world wasn't very often, because mostly it was an upward trajectory, but nonetheless, sometimes, know, they would have a bad night, or the gig didn't work properly, or the amps broke, or whatever.
00:00:20
Speaker
i say, where are we going, fellas? And they'd go, to the top, Johnny. And I'd say, where's that, fellas? And they'd say, to the toppermost, to the poppermost. I'd say, right. And we'd all sort cheer up.
00:00:31
Speaker
Where we going fellas? To the top! What top? To the top! They had this chant and John would say, where are we going fellas? And the others in an American accent.
00:00:44
Speaker
And the others would say, to the top Johnny! Get the exact wording right. um Where's that fellas? To the topper most of the popper most Johnny! And that was their rallying call in When Times Were Bad to kind of, yes you know, we're still here, we're still together.
00:01:00
Speaker
A lot of irony in it as well. It was kind of done in a heavy American accent as a send-up.
Meet the Hosts
00:01:12
Speaker
Welcome to Side B, toppermost of the popermost March of 1965, the final three weeks of the UK charts. I'm Ed Chan. I'm Kero Chul.
00:01:23
Speaker
And I'm Martin Corbell. Before we get started, we've got a couple of housekeeping bits we want to bring in. First off, we received a very nice email from Mr. Mark Bramer of Pickerington, Ohio, who has been listening to the show.
00:01:38
Speaker
He very much liked our feature with John Stone. Super John. So what he says is i experienced everything discussed on your show and fondly and obsessively long for that pure magic. Again, keep the show going. And thank you for all the memories.
00:01:58
Speaker
Thank you very much for listening, Mark. Thank you, Mark. That's very kind of you to say. Thank you, Mark. Second. Well, we have to do our Patreon ad. hu So let's just take a moment here to tell you about our Patreon page.
00:02:15
Speaker
For just $6 a month, you can get even more topper most of the popper most. I don't even know what could be higher than the topper most. Well, if you join our Patreon for just $6 a month, then you'll find out.
Patreon Page Discussion
00:02:30
Speaker
Cool. So if you want to hear our complete conversations with guests such as Shell Telmy, Jim Birkenstadt, and others, then just subscribe to our Patreon now at patreon.com forward slash top most of the pop of most.
00:02:46
Speaker
And as a reminder, we still have been bad about it, but we are very soon going to get around to posting extended versions of many of our episodes with additional content.
00:02:58
Speaker
Yep, coming soon.
Music Reviews: Petula Clark and Elvis Presley
00:03:00
Speaker
Enjoy. So let's jump right in the third week of March, the week of March the 10th to March the 16th. Happy couple years before my birthday. at number one, it's not a unicorn, man.
00:03:15
Speaker
ah It's not unusual by Tom Jones. At number 30, the next one by Petula Clark. I know a place which would move from number 30 to number 21 to number 17.
00:03:28
Speaker
It's a good vocal, a good tune. Although overall, it's just a bit more of a beat than anything really too exciting. Still, it's ultimately little more than a second rate downtown, which isn't a terrible thing.
00:03:43
Speaker
It's a Tony Hatch production.
00:03:52
Speaker
That is indeed a Brian Epstein reference. Cashbox gave us a review of this song. A rhythmic, dramatic, full, orc-backed, infectious, teen-angled ditty all about a real popular club where the in-crowd heads when work is done. Nanu nanu.
00:04:12
Speaker
Yeah. Yeah.
00:04:40
Speaker
Yes, it sounds a lot like downtown, particularly in the piano chords. And certainly thematically, it's about escapism. But even though it's a bit of a retread, I love Petula's voice on this. She had such a clear, buoyant, flawless kind of voice. And it's just, you know, it's so infectious and and you can't help but smile when you hear it.
00:05:01
Speaker
I like the bombastic drums and horns. the flashy drum fills and all. It really works in this case. And, you know, this is another one. Shout out to the late, great Dick Biondi. I used to hear this song all the time and the old East Station here in Chicago. And so, yeah, I have a little affection for this song, even though, as I said, yes, it is ah bit of a retread of downtown, but it's a good one. Perfect.
00:05:26
Speaker
Yeah, lively performance, great vocal by Arpette, as a lot of people used to call it Yeah, it's very like downtown, but it is an interesting question.
00:05:37
Speaker
If downtown didn't exist, would your opinions be different? Yeah, that's a good point. Probably I would rate this higher if I hadn't heard downtown, yeah.
00:05:48
Speaker
Agreed, although this is still nowhere near in downtown's league. Downtown is an A+, plus this is probably a B, maybe a B-, minus but I'll be generous, it's a B. Oh, I'd give it a B+. plus Yeah, Tony Atter's no more writing this and producing this. I can't find who the musicians are on this recording.
Cliff Richard and Ian Campbell Folk Group Critiques
00:06:12
Speaker
Yeah, I can't either, and kudos to them, because I really love the arrangement, the drumming on this. It's all great.
00:06:23
Speaker
At the door, there's a man who will greet you. Then you go downstairs to some tables and chairs. Soon, I'm sure you'll be tapping your feet because the beat is the greatest there.
00:06:39
Speaker
To me, that sounds like it's either Clem or Bobby. Clem Coutinho or Bobby Graham on drums. right. I'm not going to read this, so Kit, you get to read number 32. Okay. The number 32 is Do the Clam by Elvis Presley, which we, course, covered on the U.S. charts. And we talked a lot about this before, and it's not good, Elvis.
00:07:04
Speaker
Not good at all. 32 to 19 to 20. So it reached number 19. Wow. It churned that high. Yes. We always talk about the UK having better taste. Not in this case.
00:07:19
Speaker
Sorry, Elvis fans, but no. but At number 38, The Minute You're Gone by Cliff Richard, which would move from 38 to 26 to 10. Cliff Richard stealing the Jim Reeves routine.
00:07:33
Speaker
Country bass croon, mediocre backing vocals. The slide guitar is just all kinds of wrong. It might have worked if the tune were better, but as it is, it's really only meh.
00:07:45
Speaker
The Minute You're Gone
00:08:13
Speaker
His vocals are pretty good. ah I'm suddenly getting deja vu that maybe I've said something like this before, that Cliff might have had a second career in country.
00:08:25
Speaker
His vocal is nice on this, but the song itself is not great. I'm not a fan of the backing singers. Ooh, wah, wah, ooh, and it's really overdone.
00:08:37
Speaker
And of course, this is ah cover. It was originally written by Jimmy Gately for Sonny James 1963. And it's also been covered by el Martino, Farron Young, and Loretta Wynn. number of people have recorded this.
00:08:52
Speaker
o But yeah, like his voice, but the song, okay. Yeah. Surprisingly, one of 12 songs that Cliff actually recorded over three sessions at a studio in Nashville with, you know, the usual Nashville Sessions musicians Probably some of the same players which would show up on Nashville Skyline and then on Bukou Blues.
00:09:15
Speaker
Absolutely. But other than that, it's almost like a karaoke club singer singing to a very quickly put together backing track. Yeah, and I'm glad you brought up Recording in Nashville. This was an attempt by Epic Records' because career going in America, and so they thought, oh, if he sang more American songs, that might help.
00:09:36
Speaker
And so the executive A&R producer from Epic met with Cliff Richards' A&R producer, Nori Paramore. ah We know him and Cliff Richard to map out ah plans to break him in America. And 50 songs of U.S. origin were brought for them to consider.
00:09:56
Speaker
And 15 of them were chosen. And plans were made to record in New York, Nashville, and Chicago, according to the styles of the songs that were chosen.
00:10:08
Speaker
And obviously this one was one of the ones recorded in Nashville. Okay. And I don't think it worked. At number 41, Hawaii Tattoo by the Waikikis, which we covered on the U.S. side, would be on the charts for one more week from 41 to 44 to out.
00:10:25
Speaker
At number 42, another song which doesn't work. The Times They Are a Changin' by the Ian Campbell Folk Group, which would move from 42 to 47 to out.
00:10:36
Speaker
All I have to say is, is there any point to a heavily accented Irish cover of a Dylan classic? No. Miss. The line it is drawn, the curse it is passed.
00:10:50
Speaker
The slow one now will later be passed, and the present now will later be passed. The order is rapidly fading, and the first one now will later be last, for the time's
00:11:22
Speaker
They were one of the most well-respected folk groups of the British folk revival of the 1960s. They were big. They made appearances on radio, TV, and national and international venues. and They were pretty big in their time, and they would play a mixture of British traditional folk music and new material. But yes, this did not work. It was interesting to hear on the word rapidly, the rolling of the arts.
00:11:50
Speaker
The order is rapidly fading. A little interesting there. Their enunciation, I think, is distracting, and part of it's the exit. and i'm I'm Irish, I can say it. This arrangement sounds like quaint early folk. That is not the right...
00:12:07
Speaker
arrangement for this song. It's an angry song. Exactly. not an angry version. No. I mean, this is a call to arms, you know, and needs to be sung with passion. And this is just kind of quaint.
00:12:20
Speaker
And that is not what you want to do with the Times They Are in Asian. Take a classic laid-back message song and give it the wrong arrangement and production to cover the meaning of an incredible song.
00:12:36
Speaker
There you go. At number 44, Reelin' and Rockin' by the Dave Clark 5, which would move from 44 to 30 to 28.
Covers Reviewed: Dave Clark Five and Keely Smith
00:12:45
Speaker
It's the DC-5 covering a classic Chuck Berry tune, a bit more of their classic DC-5 sound.
00:12:52
Speaker
Interesting use of the drumsticks, but I don't really like this very much either. Where are the slamming drums? Where are those Dave Clark Five drums? And I understand they can't drum in the exact same way on every song, but I just thought here, I mean, you only hear the full-on drums sparingly.
00:13:09
Speaker
I would have liked to have heard them a lot more. And we roll. We're feeling rockin'. We're feeling rockin'. Rollin' to the breakin' down.
00:13:25
Speaker
While I look to my watch and if it's not that it's truth, there's nothing I'd rather do than dance with you on the road.
00:13:36
Speaker
The lead vocal is good. but I like that. You know, he really throws himself into it. The piano, Jerry Lee Lewis, kind of level worthy. But I would have liked to have heard them put more of their own stamp on this. The Dave Clark Five had such a unique sound, and I would have loved for them to have done that.
00:13:54
Speaker
They could rock hard, particularly with those drums, and so I would have liked to have heard more of them instead of trying to do an exact copy of Chuck Berry. I can't believe that I'm going to say this about the Dave Clark Five. Uh-oh.
00:14:09
Speaker
A tame, pretty standard cover version of a song that's been done many times by other artists better. Yep. But we do have what has now taken over as possibly my favorite Cashbox review yet.
00:14:25
Speaker
Somebody bought the writers at Cashbox The Thesaurus.
00:14:34
Speaker
What it says. the Dave Clark fire's unbroken string of hits. They're currently coming off, coming home. Should be further enhanced with this power-packed, epic, new-y tabbed, I'm thinking. So the sides are flipped in the U.S.
00:14:50
Speaker
The tune is a rhythmic, hard-driving, romantic ode about a lad whose gal lied to him just a bit too much. That's fine. That's pretty standard stuff. Yep. The flip, Rielin' and Rockin' is a rollicking, Terpsichorian-themed, contagious rocker.
00:15:07
Speaker
Now, to save you having to go to your dictionary, Terpsichorian of or having to do with dancing. Okay, so in everyday English, it is a rollicking, dance-themed, contagious rocker.
00:15:23
Speaker
Yep. Wow. Terpsichlorian. Oh, man, I've got to remember that for the next time I get to play Scrabble. Too many letters for Scrabble, though, isn't it? Well, if you've got the word chore already on the board, and then you get the terpsy and the an, you know, yeah, yeah, yeah, yeah.
00:15:43
Speaker
At number 46, another song I don't like. Gee, we didn't have many good songs this week, did we? Someone Must Have Hurt You A Lot by Frankie Vaughn. Only one week. This week, it would be out of the charts the next week.
00:15:56
Speaker
Frankie Vaughn doing a very poor, sober Dean Martin impression. Awful backing. Big miss. Yep, I agree. It was almost also a ripoff of Tony Bennett's I Want to Be Around.
00:16:09
Speaker
And Frankie even tries to sing it a bit, not only like Dean Martin, but a bit like Tony in parts, particularly when he gets that growl in his voice. He's trying to get dramatic.
00:16:21
Speaker
You'll be sorry, you, you'll let me.
00:16:31
Speaker
There'll come a time when you'll regret and I, won't be around Yes, someone must have hurt you a lot to make you wanna hurt me, help now He's trying to sound that same way that Tony did and I want to be around and fails miserably um both counts.
00:16:59
Speaker
Pass. Take it off. Yes, take it off. Indeed. ah dear me what can you say really he's trying to give it a good voice i just can't think of anything decent to say to it really low-end croon that's just not worth spending too much time you know going on i mean he's done much better songs and those better songs are ah looking at him right now you know like green door etc and they're looking at him and they're going hey frankie do you remember me
00:17:37
Speaker
All right, so we will just skip ahead to the fourth week, the 17th to the 23rd of March. At number one is The Last Time by the Stones, our supercut from last month.
00:17:48
Speaker
o At number 31, You're Breaking My Heart by Keeley Smith, which would move from number 31 to number 23.
00:17:56
Speaker
This is on reprise Frank Sinatra's label. It sounds like it. Good drums, mediocre backing vocals. It's pretty well recorded, but it's awfully over arranged.
00:18:07
Speaker
The strings and horns don't really work that well. Keeley has a good jazzy voice, but I don't love the tune. It's kind of a Sinatra reject. Hi, meh. The dreams we depended upon
00:18:29
Speaker
I'll miss you, my love.
00:18:51
Speaker
Keely Smith deserved better than this. She's a great singer. I'm a big fan of hers. Her work with Louis Prima, also her ex-husband, she was such a foil to him. And I love her voice besides that.
00:19:04
Speaker
So this does not really do her any favors. I mean, the arrangement, as you mentioned, is just too much. i mean, the strings and the background singers. And this was actually a popular song. I mean, it dates back to 1948.
00:19:20
Speaker
And I get it. This was a known song, but I just think she deserved better than this. This is kind of bland, as you said, Sinatra, wannabe pop. She does her best with the material, but the strings, the drums, the backing singers, too much.
00:19:36
Speaker
Yep. I agree completely. I'm not going to add any more to that. All I'm going to say is they should have flipped the record over because the B-side is a relatively decent cover version of Crazy, the Patsy Cline song.
00:19:52
Speaker
Hmm. Yeah, but it's still comes nowhere near the original. No, the B-side is better than this. It's better than the A-side, I will agree with you. yeah And we do have some Beatles connections. It turns out that John was actually kind of a fan of Keely Smith.
00:20:07
Speaker
Mm-hmm. Mm-hmm. we have an interview with John is where he's talking about the music of Lennon and McCartney, which we will actually probably cover in a feature later this year.
00:20:19
Speaker
So the interviewer is saying that Paul had not seen me for some months. So he singled me out at the reception and courteously invited me back to a private luncheon with himself, Henry Mancini, John, and producer Johnny Hamp.
00:20:34
Speaker
During the meal, John expressed some disappointment that certain artists were not able to appear on the show. Can't expect people to come over at a moment's notice, but I would have liked big names like Ella. Of course, Ella did indeed appear.
00:20:46
Speaker
Peggy Lee and Keely Smith to have appeared on the show, said John. I'm not knocked out with the way Keely Smith did our numbers on her LP. She was one of the first artists to do a serious cover of Beatle tunes, Lennon McCartney tunes.
00:21:02
Speaker
Very cool. But she would have been a great name for the show. John continues on this theme later. In the privacy of their dressing room, with only road manager Malcolm Evans, John Paul, and myself present, there were some vigorous views revealed about just who can sing and play Beatle music and do it justice.
00:21:22
Speaker
Oh boy. There are only about 100 people in the world who really understand our music. George, Ringo, and a few friends around the world. Some of the artists who recorded our numbers have no idea how to interpret them.
00:21:36
Speaker
Keely Smith added nothing to our compositions but a couple of trumpets. Ooh, scathing. So he goes on to comment that he loathed Matt Monroe's version of yesterday and like Marian Faithful's.
00:21:49
Speaker
We dig Esther Phillips and I Love Him and Henry Mancini's orchestration on If I Fell. What he says is, when Paul and I write a song, we try and take hold of something we believe in, ah truth.
00:22:01
Speaker
We can never communicate 100% of what we feel, but if we can convey just a fraction, then we have achieved something. We try to give people a feeling. They don't have to understand the music, they can just feel the emotion.
00:22:14
Speaker
This is half the reason the fans don't understand, but they experience what we are trying to tell them. Hmm. And I agree with John. I like the Keighley Smith album, Lennon McCartney tunes. I listened to the whole thing a little bit better than John did, but yes, she's just adding horns.
00:22:30
Speaker
o
The Yardbirds and Bo Diddley Reviews
00:22:31
Speaker
right At number 32, a song we've talked about bunch on this show already, and we're going to talk more about now, and we're going to have a supercut since we're to it, For Your Love by The Yardbirds, which would move from number 32 to number 13.
00:22:47
Speaker
a Graham Goldman tune. It's a great pop tune, but I can really see why he clapped and disliked it. It's really more 10cc than anything else. The live versions by the Yardbirds are a bit bluesier.
00:22:59
Speaker
Good drums, interesting percussion, strong backing vocals. It's not a tremendous mix. It's fairly flat, but it's good enough. I might have gone a bit differently in the break, but this version still works.
00:23:47
Speaker
I like this song a lot. I mean, I understand it's too poppy for Eric Clapton's taste, but I think it's an important song. It just has such a different sound to it, particularly in 1965. Love the percussion and harpsichord.
00:24:01
Speaker
How many pop songs had harpsichord in it? And I love how it's almost two songs in one. The first part has almost that Latin feel to it. And then the chorus was sort of standard rock.
00:24:13
Speaker
Now, well, not standard, not putting it down. Great harmonies. Love the harmonies on this. Beatles influenced for sure, but not a copy. I mean, you can hear why Graham Goldman thought that this might be something that he could get the Beatles to do.
00:24:28
Speaker
yeah Exactly. I could totally see it. Definitely those harmonies are really made for the Beatles. But again, you know, they're not totally copying them. I think it also kind of foreshadows the psychedelic rock era, that kind of ah sound, particularly the Latin-ish part in the beginning. And then those harmonies. I mean, there's just something kind of...
00:24:52
Speaker
spacey about it. It just sounds different than other songs of this period. So Eric Clapton may not have liked it, but I've always liked this song and it just really stands out. And, and, oh, and one more thing, Keith, where else lead vocal, I mean, it isn't showy. It's a decent lead vocal. It does what it needs to do.
00:25:11
Speaker
Yeah, great song. What can you say about what is seen as a classic song? I love the musical changes in it. What you were saying about the spacey side, I mean, you could almost see this as a forebear to what you would get with space rock, in a sense, with artists like Hawkwind in the late 60s and the early 70s.
00:25:29
Speaker
Interesting. I hadn't thought it that way, but yeah. And what Ed says, I can see that as well, like the multiple sections and styles. I can see very much the 10cc thing in this.
00:25:40
Speaker
Yeah, particularly when the hand claps come in. Yes. And the vocals as well. And so we have chosen this for our super cut for this episode. It's interesting you mentioned Spacey because one of the ones we have in here is by an artist named Wendy Wu. It's a synth pop version of For Your Love.
00:25:59
Speaker
Ah, well, that makes sense. nice Some of the other artists, Herman's Hermits, who rejected the song, but did it after it was a hit. Gary Lewis and the Playboys.
00:26:09
Speaker
The Liverbirds, since we're going to mention our other all-female band. Yes. Fleetwood Mac. Hmm. Oh, is that Peter Green's Fleetwood Mac? ah you No, Marv.
00:26:21
Speaker
Fleetwood Mac did it in 1973, so Peter Green had already left. Yeah, so that would be Bob Welch. Okay, that era. Other versions. Nils Lofgren did this song.
00:26:33
Speaker
The Four Tops did a cover. Oh, that's interesting. The Greg Kin Band did a version of it. Oh, wow. Humble Pie did a version of it.
00:26:44
Speaker
Apollonia did a version of it. ah ah Wow. yeah Is that one of Prince's? Yes, a Prince protege. Right. One of Prince's protege. Yeah, cool.
00:26:55
Speaker
Graham Goldman did it himself. And Led Zeppelin did a cover of it. Wow. Do you remember the Yardbirds?
00:27:08
Speaker
Eric Clapton, Jimmy Page, and Jeff Beck were all in that band. They all quit that band. Whatever happened to those guys? For Your Love, that was their first big hit.
00:27:21
Speaker
Actually, it was the song, For Your Love, that caused Ever Clapton to quit the Yarnbergs. Like I said, whatever happened to that guy? i don't know. Alright, For Your Love.
00:27:33
Speaker
They definitely have a special surprise. together
00:28:25
Speaker
bring you down in rings and things right to your door. For you're the one who's free you in delight.
00:28:36
Speaker
I'll bring you down in bright. There'll be days that will excite. Make you dream of me at night.
00:29:19
Speaker
I would give the stars bird for your love, for your love. I would give you what I do. Woo-hoo!
00:32:19
Speaker
Finira.
00:32:27
Speaker
at number 35 king of the road by roger miller which would stay at number 35 for one more week we cover this on the u.s side at number 39 hey good looking by bo didley which would move from 39 to 45 this is a song by chuck berry chuck berry music inc it is not hey good looking by hank williams no he's no no this is Bo Diddley doing the Bo Diddley thing.
00:32:53
Speaker
Fine and fun to listen to, but it's absolutely just a trifle. Jerome Green is playing the Maracas. Lafayette leak is playing on piano and we'll have a Jerome Green connection to the Beatles, which we'll bring up at the end here.
00:33:06
Speaker
Okay. Yeah, I mean, this has the standard Bo Diddley beat, although, of course, he invented it. And this was recorded at Terramar Recording Studio in Chicago, ding, ding, ding, issued by Checker Records.
00:33:21
Speaker
I like Bo Diddley's guitar toward the end, that fuzz box kind of effect on it, way ahead of its time. A little, like, grunge or something. So it's just amazing. He was doing this this early.
00:33:32
Speaker
When you're here to beat lovely drum,
00:33:36
Speaker
You better be working out when he comes.
00:34:08
Speaker
I wish there'd been more of that in the track, in fact. Otherwise, i don't think it's one of my favorite Chuck Berry songs to begin with. And it's just kind of repetitive for me. But it's Bo Diddley. It's an okay cover. I like the guitar the best.
00:34:23
Speaker
Yeah, that fuzz sound kind of reminds me of Paul on Cut Me Some Slack when he's playing a Bo Diddley cigar box guitar. Yes. yeah Good point. Cool. Why was this on the smaller Checker Records label?
00:34:36
Speaker
Not on the main chess records. That I don't know. Yeah, that's a good question. For those not in the know, Checker is one of the smaller labels, a bit like, you know, Parlophone with EMI.
00:34:48
Speaker
yeah It's still part of Chess Records, but it's just not the same prestige as the big Chess Records label, which doesn't make any sense for Bo Diddley. Now, I don't know.
00:35:00
Speaker
It's all right, but basically it's just the same as Mr. Diddley does all the time. It's just another Bo Diddley. Yeah, I mean, you you basically agree with me. Kit likes it at least a little bit more.
00:35:10
Speaker
Yeah. Just that guitar part. Yeah. So the Jerome Green connection, one of the times Paul has played something he doesn't usually play in Soundcheck. In 2002, he played Bring It to Jerome. Yeah.
00:35:24
Speaker
for several shows on that tour. Bring it to Jerome is by Jerome Green. Cool. At number 40, Stranger in Town by Del Shannon, which we covered on the US side, 40 to 46, out of the charts.
00:35:39
Speaker
One which shocks me a little bit. At number 43, My Girl by The Temptations, which we covered on the US side. It would only be in the British charts for one week. It would be out of the charts the next week.
00:35:52
Speaker
Get out of here. Really? Wow. What is wrong with you, England? Yeah. What? At number 48, She's Lost You by The Zephyrs, which would also be out of the charts the next week, produced by Shel Talmy.
00:36:08
Speaker
ah Unfortunately, it's not a great song. The riff refuses to stop in a bad way. The middle eight sounds like someone's tapping out some Morse code.
00:36:18
Speaker
Yeah. But it's still kind of a listenable record. The playing lead and backing are simple. The whole record is really just nothing to write home about, but at least it manages a little bit of a spark.
00:36:31
Speaker
Meh, but well, if they went through another revision or six, it might have been good. But the song is too weak to be much more than that. I'm going to have disagree with you a bit on this.
00:36:42
Speaker
I liked it a little better. Yeah, I liked the organ on it. I think here in the the solo, it had a nice bluesy element to it. She's got a luxury place.
00:36:55
Speaker
She's got a diamond ring. She's got everything. So why, why does that...
00:37:10
Speaker
I'll tell you the reason she's blue Is she lost you
00:37:16
Speaker
It had kind of a garage rock feel, which I appreciated. Agreed. The harmonies are more than a bit influenced by the Beatles, particularly on the chorus, but that's okay. You know, it's not a total ripoff.
00:37:27
Speaker
I kind of like this. I don't know what it was about it. if It just, as I said, that raw, unpolished sound. And then when I saw that Chiltelme produced it, I thought, oh, okay, interesting.
00:37:39
Speaker
And I'm not sure if Jimmy Page played on this. Because he was playing and on so many other tracks. It's possible. i don't know. That is Jimmy Page. That is Jimmy Page. Okay. It is.
00:37:50
Speaker
Yeah.
00:37:59
Speaker
yeah I enjoyed it to a degree. um Sort of middling song to me, higher middling to me personally. a Good organ. I liked the drums. Bass was nice on it. And yeah, it's almost got a garage slash grungy sort of sound to the production.
00:38:15
Speaker
Yep, exactly. I did say it has a bit of a spark. I just put it at may, you put it as a low hit is what it sounds like to me. Yeah. Yeah. At number 49, our friend, the baked beans man is back with digging my potatoes, Heinz and the wild boys. He's got a new backing group now.
00:38:35
Speaker
Hey, Oh boy. Which would be out the next week. Yeah. This one is a bit more country, and while he's still nowhere near a virtuoso, Hines manages to actually sing decently well in this song.
00:38:51
Speaker
The backing is very skiffled until it breaks out with that guitar solo, which is energetic but not that well played, which is really surprising considering who is playing that guitar solo.
00:39:03
Speaker
The man behind it is one Richie Blackmore, later of Deep Purple. Wow. Cool. Blackmore would back many of Joe Meek's artists, including Hines and Screaming Lord Such, and we'll have a Beatles connection once you guys have given your opinions. Yep. I've got that worried feeling Can't get you from my mind
00:39:55
Speaker
Glad you said that about the guitar solo, because I thought, does this sound kind of sloppy? Not in a great way. Yeah, it's not that great a cover. I mean, Heinz sounds a little better than he has on some others, because, you know, he's got a pretty limited vocal range, and Joe Meek produced this.
00:40:12
Speaker
I think he tried to arrange it and trying to hide the deficiencies there. it works a little better here than some of the other songs we've heard by Heinz, but other than that, not that memorable, for sure.
00:40:25
Speaker
Yeah, the most I could say about this is for a Heinz song, it's not all bad. We'll leave it there. Yeah, that guitar, it comes in at a strange point. It's like it comes in before it's ready.
00:40:38
Speaker
Yeah. It's a nasty, dirty edit where that guitar comes in. Which is also kind of strange for a Joe Meek production. I mean, not that he was a virtuoso producer, but he knew how to produce records.
00:40:52
Speaker
Absolutely. Yeah, that is kind of shocking for him. Yep. So, Richie Blackmore, as mentioned, he would later be in Deep Purple. He got to know George Harrison because George Harrison was friends with John Lord and Ian Pace. He lived just down the road in Henley, I think it was.
00:41:11
Speaker
And he was over in Australia when we were there. as Deep Purple. And he said to me very politely, can I get up on stage with you and use your guitar? And I said, course.
00:41:23
Speaker
I was flattered. Sure enough, we all got up on stage and we did the old rock and roll number. um
00:41:36
Speaker
It was Lucille by a Little Richard. not played as badly as that. um
00:41:59
Speaker
are
00:42:15
Speaker
And we had a good time. was very nice man, very serious, and very complimentary. It was very overwhelming to play with Beatle.
00:42:26
Speaker
I mean, there'll never be another band like the Beatles. The Beatles early stuff I absolutely loved. I want to hold your hand from me to you, that stuff.
00:42:37
Speaker
These simple melodies were fantastic. George was very modest, very very quiet man. I noticed when we were on stage he had big feet because he was tapping out the rhythm.
00:42:52
Speaker
And I did look down at one point and I thought, God, he has big feet. George was great.
00:43:02
Speaker
And you can find the video of George playing Lucille with Deep Purple. Wow. Cool. George with Deep Purple. That's cool. Yeah. And then as far as this song, it is an old skiffle favorite.
00:43:16
Speaker
And the Beatles do a version of Digging My Potatoes during the Get Back sessions. Wow. January 24th, 1969, they did a medley with Digging My Potatoes, Hey Liley, Hey Liley Low, and Rock Island Line.
00:43:59
Speaker
Thought I had to moan! Honey, say I know you're sucking my sweet bone
00:44:30
Speaker
Once again, for the third year a row, we are being sponsored by the Magical Mystery Camp.
Magical Mystery Camp Promotion
00:44:38
Speaker
Cool. So, love the Beatles?
00:44:41
Speaker
Ready to kick off your summer right? Music Masters Collective, Fab Faux and RPM Music School are delighted to bring you Magical Mystery Camp.
00:44:53
Speaker
Woo! yeah Coming to take you away. Yes. Yes. They're coming to take you away. ah Join us this June the 24th to 27th, 2025 at the breathtaking full moon resort in big Indian, New York for magical mystery camp, a one of a kind music vacation, exploring the music of the Beatles.
00:45:22
Speaker
Hosted by the Fab Foe with special guests Peter Asher, Joan Osborne, Steve Forber and more, this all-inclusive event offers nightly performances, interactive workshops, jam sessions and plenty of opportunities for relaxation.
00:45:43
Speaker
That is quite a lineup. Whether you're a musician or simply a fan, join a vibrant community to celebrate the magic of the Beatles music. Dive into workshops, write songs, stargaze, swim, or take in the breathtaking beauty of the Catskills landscape.
00:46:00
Speaker
This unforgettable experience is crafted to refresh your spirit and ignite your creativity. Need a little help from your friends? Ringo has said that he needs a lot of help from his friends.
00:46:12
Speaker
The Music Masters Collective also offers a scholarship program to make this experience accessible to more music lovers. Bring your instrument or just your good spirits and prepare for an unforgettable journey.
00:46:26
Speaker
Magical Mystery Camp, where music, fun, and inspiration collide, Register today at www.magicalmysterycamp.com slash toppermost.
00:46:37
Speaker
Now we move on to the final week in March, the week of the 24th of March to the 30th of March. Still at number one is the last time by the stones. yep At number 22, Catch the Wind by Donovan.
Debate on Donovan's 'Catch the Wind'
00:46:53
Speaker
This is Donovan shamelessly imitating Dylan. I will say he has a better, if somewhat less intense, voice than Bob. It's a good enough copy. Acoustic guitar, harmonica, not much more than that, though.
00:47:05
Speaker
Oh, boy. Yeah, I'm going have to fight you on this one. Okay.
00:47:10
Speaker
Ding, ding. Second time. Here we go. I love this song. I think it's gorgeous. You don't think it's just a shameless Dylan copy? Yes, his vocal is a bit like Dylan.
00:47:21
Speaker
Far standing in your heart Is where I want to be And long to be I bet I may as well Try and catch the wind
00:47:56
Speaker
The picking and the harmonica too. That doesn't make it bad, but it does make it a Dylan copy. Yeah, except he learned that claw hammer picking style from somebody who had studied with Mabel Carter. Now Donovan's version is not the traditional claw hammer picking style. It's kind of his own version, but I love it. I love the lyrics.
00:48:19
Speaker
It's so touching. I love the line, when sundown pales the sky, I want to hide a while behind your smile. and everywhere I'd look your eyes, I'd find. I love I Want to Hide a While Behind Your Smile.
00:48:31
Speaker
That's just one of many lines that I love. It's just poetry. That's Donovan, you know, it's a truly touching love song. It's kind of, you know, chasing unattainable love.
00:48:43
Speaker
And yes, he imitates Dylan a bit in his vocal style, but it's not enough to kill this for me. I love it. It's a beautiful song. and Does it sound like Bob Dylan? Yes, but that doesn't stop it from being a great song.
00:48:56
Speaker
Thank you, Marv. It is good. Yes, I will agree. But I will not go all the way to great. I'm sorry. Okay. I think it's a lovely song and arrangement. I love that line that you called out there. It is really lovely. and The production does push the Dylan similarity to the extreme, and it to some people's opinions in some way, maybe.
00:49:15
Speaker
But yes, I've always loved this song from when I first heard it. Me too. I can't find out who all the musicians are on it, though. No. No. Now, Donovan has more Beatles connections than we can count. we'll We'll give some of them, but we will just say that one of our other Beatles podcast compatriots have turned it into a meme on their show.
00:49:35
Speaker
Oh, really? Whenever there's anything, they'll just go, oh, Donovan did that first. That's great. Donovan actually started out as a rocker, yeah influenced by the same Elvis and Buddy Holly as everybody else.
00:49:50
Speaker
His performing career actually began as the between sets artists for an R&B group called Cops and Robbers. Huh. He so impressed the group's managers that they expressed interest in signing him up as a performer.
00:50:05
Speaker
So they signed him up. He taped some publishers demos for other songwriters. And then he was soon demoing his own material that would then get him on ready, steady, go. Wow.
00:50:16
Speaker
where once again he was doing the early Dylan thing with with a cloth cap and the harmonica around his neck. But okay, so his appearances on Ready, Steady, Go led to a residency on the show, which then led to his recording contract with England's Pi Records.
00:50:34
Speaker
Now we are going to see much more of Donovan in the coming years. One of the big songs that he is remembered for is Jennifer Juniper, inspired by Jenny Boyd, the sister of Patty Boyd.
00:50:50
Speaker
So that would bring Donovan into the Beatles inner circle. Now, here's where Donovan starts taking things a little bit far. I became George's mentor for songwriting.
00:51:02
Speaker
He was in the shadow of John and Paul for so many years, and I said, look, I'll show you a few tricks, how to encourage the songs. There's a way to encourage the song to come. Sorry, Donovan.
00:51:14
Speaker
No. And then, of course, you know it it continues from there, and we know about John and Paul and their relationship with Donovan, and we know about the whole India thing, and we'll get there as the years pass on this show. indeed.
00:51:31
Speaker
Did you know that Donovan doesn't actually have the rights to this recording of the song? He wanted to include it, obviously, on his Greatest Hits album that came out in 1968. But by that point, he'd gone over to Epic Records and Pi would not let him have this or the follow-up, the Fantastic Colours.
00:51:52
Speaker
Pi would not let him use either of those. So he had to re-record those two songs to have them on the Greatest Hits collection. Oh, that's terrible. We've seen that in other places as well, haven't we? Oh, we sure have. James Taylor and Mary Hopkin, anybody?
00:52:08
Speaker
Yes. And just to get this guy's name out again, both of those re-recordings, the re-recording of this in 1968 and the re-recording of Colors in 1968, featured Donovan playing guitar alongside another guitarist who we've heard of a lot, Big Jim Sullivan.
00:52:30
Speaker
Oh. Ding, ding, ding. Yes. At number 31, I'll Be There by Jerry and the Pacemakers, which we covered on the US side. At number 32, the next one by Them, Here Comes the Night.
00:52:42
Speaker
Good Van Morrison lead vocal. Great guitar and drums. The verses are a little bit sing-song, but that actually works. It does make for an odd combination against what are very bluesy choruses.
00:52:55
Speaker
Good solo, good lyrics, another song which fades out too quickly. Yeah, agree.
00:53:02
Speaker
Yeah.
00:53:34
Speaker
This isn't my favorite of the them songs. I like the chorus a lot. As you said, great Van Morrison vocal there.
00:54:02
Speaker
also like the guitar yeah on this, that reverb that they get on there. But the rest of it, particularly the verses, when it goes into that different tempo, I always kind of wish this had stuck more to the blues aspect of the song.
00:54:18
Speaker
I think it works better there. But other than that, it's a small quibble. Yep. This is another case of Jimmy Page being on guitar. Yeah.
00:54:34
Speaker
That guitar part is Jimmy Page. I love the chorus on this song, but it's... I don't mind the lyrics to the verse, but if I'm being completely honest, I prefer the chorus.
00:54:46
Speaker
I'm not sure I like staccato Van Morrison vocal. Yep, I agree. i think that bothers me too whenever I've heard that. da da that da that Whereas if they'd have kept it at the half-time, it would have allowed it to breathe more. but do but ah do do do do do Almost, even though that sounds a bit sing-songy as well, but it would have allowed his voice to breathe and given the lyrics a bit more of a push in there rather than to be in it. Let's quickly get through these vocals because the important bit is the chorus.
00:55:19
Speaker
Exactly. do do but Right, we're at the chorus. That's the bit that's important, but it could have pushed the lyrics more, got them over a bit better. Yep, i agree.
00:55:29
Speaker
At number 36, The Times, they are a changing by Bob Dylan, which we covered on the US side. Classic. Nothing else to say about that. At number 37... Little Things by Dave Barry, a cover of the Bobby Goldsboro tune from late 1964, which we had on the U.S. side.
00:55:47
Speaker
Dave Barry's vocal is not as strong. The backing is almost an exact clone of the U.S. version, but with less interesting backing singers. Little Things that you do now
00:56:06
Speaker
Make me glad I'm in love with little things that you say. Make me glad that I feel this way when we walk.
00:56:18
Speaker
You like to hold my hand. It's good enough, but the original is so much better as to render this one redundant. I agree. I mean, this was just almost a carbon copy of the original.
00:56:32
Speaker
Don't just do exact copies. Make it your own. And this is another perfect example of that. I didn't mind it, but you know those moments where Dave has got that female vocalist harmonizing with him?
00:56:46
Speaker
They're the best bits vocally. Although I will say i I do like the guitar that's a basic clone of the other version.
00:57:00
Speaker
Why on earth didn't they rearrange this as a duet? That might have worked, yes. Yes. Well, we're not the only ones who were confused by this disc.
00:57:11
Speaker
We have two separate reviews from the British press. Record Mirror described Barry's version as an extremely commercial disc and better than Goldsboro's. I disagree with that, yeah.
00:57:24
Speaker
Pop Weekly, Peter Aldersley described Little Things as an average disc disc. with an ordinary beater, little new to offer. We agree with that more, but it got a little bit of that cash box language in there. An ordinary beater.
00:57:40
Speaker
Yeah. So Pop Weekly is the British equivalent to cash box then? Apparently so, yes. At number 39, The Birds and the Bees by Jewel Aiken, which we covered on the US side. I'm the only one who likes it.
00:57:54
Speaker
Yep, let's move on. Yep. At number 40, Without You by Matt Monroe. Croony, not a George Martin production, and you can tell.
00:58:04
Speaker
You can tell. Decent Matt Monroe vocal, but it's pretty standard backing. Miss. Yeah. When I first heard it, I'm like, please don't tell me that George Martin worked on this, but it because it's really not a good good arrangement, good production, and no, he didn't.
00:58:23
Speaker
This I beg of you And I'll cry no more No, not like before For I've tasted tears without you Come back, my love I know I was wrong And now I pray that I can be strong He had a nice voice, and I think I mentioned in a previous episode that Frank Sinatra was actually a big fan of Matt Monroe. But I just feel like very overdramatic beginning with the swelling strings and the orchestration.
00:59:21
Speaker
And that lyric that just kept going. it Fill my empty arms. Come as close as you can.
00:59:33
Speaker
Although I'm a man, I'm just a child without you.
00:59:44
Speaker
yeah I'm Just a Child Without You. That lyric between cringy and a little creepy. Great singer, but mediocre song. Far too much syrup, and yes, I could tell straight away that this was not a George Martin arrangement or production. It's no from Russia with love.
01:00:05
Speaker
It sure isn't. at number 41, All Over the World by Francois Hardy. We've had more Francois Hardy than I remembered. i guess her chart run just kind of hasn't survived to the present day.
01:00:18
Speaker
No. Now, as to this song, there's more than a touch of Unchained Melody about this song. And before you say anything, the original Unchained Melody was from 1955, and the Righteous Brothers version is just around the corner.
01:01:06
Speaker
As far as the tune, she sings it in that same breathy girl singer vocal style, a very pronounced French accent, despite the fact that she's singing in English.
01:01:18
Speaker
yeah Nice piano, but nothing which elevates this record above a low hit. Yeah, a bit more traditional pop than we've heard from her previously, where she played, and i'm I'm sure I'm masquerading this pronunciation, that was yay-yay, music, French, rock.
01:01:32
Speaker
A lovely voice, although, as you said, very breathy. But I just found the song very repetitive with that one arpeggio. that ran throughout the track that just got very annoying to me.
01:01:44
Speaker
Just no hook and just kind of boring. The song just didn't go anywhere. I just found it very dull. Meh, as you would say, Ed. Yeah. Interesting to hear us singing in English, although the French version is better.
01:01:57
Speaker
A voice is decent if you're after a voice that's breathy, but very quiet and trying to get over that sensuality, i suppose. Diana Ross gone wrong.
01:02:10
Speaker
Yeah. Yes. If I wasn't awake enough to listen to this, I probably would have fallen asleep after about the first 10, 15 seconds because it was bordering on ASMR. ASMR or Autonomous Sensory Meridian Response is a unique condition that has emerged online in the last few years, characterized by this awesome tingling sensation along the scalp, neck and shoulders when triggered by certain sounds. The singing board is on ASMR.
01:02:38
Speaker
At number 43, Hawaiian Wedding Song by Julie Rogers. Well, i had a hit with the wedding song, so I'm going to do the Hawaiian Wedding Song. I'm waiting for the ball mix for some.
01:02:53
Speaker
Julie Rogers returning to the well. It's not terribly Hawaiian and it doesn't really become a wedding song until the last 30 seconds or so. Too big, too wrong.
01:03:04
Speaker
Miss. I do. I do. Love you. Love you. With all love.
01:03:27
Speaker
She did not sing the original. This song, even the roots of it, date back to 1926. And it was originally titled Ke Kalina'i'o.
01:03:37
Speaker
Trying to remember how to pronounce Polynesian. Ke Kalina'i'o.
01:03:53
Speaker
Waiting There for Thee is the rough translation. But it was then rewritten as the Hawaiian Wedding Song by ah Al Hoffman and Dick Manning.
01:04:05
Speaker
And it's been recorded by Bing Crosby, Andy Williams, and Elvis for Blue Hawaii. He included in there. She's one of many who have done this.
01:04:16
Speaker
She's got a nice, powerful voice for the easy listening genre. But yeah, what is Hawaiian about this? I think I've heard other versions of this where they tried to incorporate more of a Hawaiian sound, even if it was a bit stereotypical. Yeah, I've heard them do it and incorporate the original lyrics as well. so Yes, exactly.
01:04:38
Speaker
The strings are really overdone, particularly at the beginning. So yeah, not a hit for me. She's got a good voice on a song that is a miss.
01:04:49
Speaker
Yes. At number 44, Stop in the Name of Love by the Supremes, which we covered on the US side. At number 49, Boy, the Baron Knights are Back with Pop Go the Workers. Oh, it's that schtick again. It's exactly the same record as the other one they did.
01:05:12
Speaker
Al They Age. It's a series of parody vignettes, shall we say. And they would change them when they performed live on stage.
01:05:22
Speaker
The one that's on the record here include The Stones, The Supremes, Baby Love becomes Washing Up. Yeah, love that. Washing up, washing up, do-do-do-do. Oh, yeah, hilarious.
01:05:37
Speaker
Sandy Shaw, good old Val Dunican and Walk Tall get a nod here. Yeah. Go on then, ed What does that become?
01:05:48
Speaker
Walk Tall. Walk Tall. Walk walk straight down, look the boss right in the eye.
01:05:59
Speaker
That's what the foreman told me when I went for a rise. He said, now put your foot down and say just what you like. And if the boss don't give you one, we'll all come out on strike.
01:06:12
Speaker
That's it. One, two, three, five.
01:06:22
Speaker
Dewey Cox is still mad he didn't get those extra royalties from this song.
01:06:38
Speaker
dewey cox is still mad he didn't get those extra royalties from this song um man And then, of course, it ends with Love Me Do.
01:06:48
Speaker
Love Me Do, it's a two-year-old song. You can't come up with a parody of I Feel Fine. Yeah, right. yeah I'll question the musicality, shall I, with with doing a parody of I Feel Fine.
01:06:59
Speaker
Yeah, that's true. it might have been too difficult. Yeah. Miss, take it off, throw it in the garbage. There you go. Yep. To say not funny is putting it mildly. It's not clever.
01:07:12
Speaker
The Supreme's like, oh, let's imagine them as they're doing as housewives, washing up, washing up, ha ha ha. You know, I did chuckle a bit when they went into Walk Tall, but only because of our history with it. And then when they got to the Beatles, just such witty, witty lyrics saying, Ringo's on the dole, he's got no dough.
01:07:33
Speaker
ah
01:07:41
Speaker
on the dole. Whoa, he's got no dough.
01:07:48
Speaker
When people say we're finished, we'll turn around and say to them, we've got ourselves a season at the London Palladium, playing to the crowds outside.
01:08:22
Speaker
Corny, stereotypical, bad vaudeville. Goes on way too long. Take it off, as you said. If you want better jokes, people, just go and listen to the Daily Dad Jokes podcast.
01:08:35
Speaker
That's much better. And that's my opinion of the song already. There you go.
01:08:43
Speaker
As mentioned, when the Baron Knights did this version live, they would include other artists that they parodied, one of which was Freddy and the Dreamers in Do the Freddy.
01:08:55
Speaker
I mean, you really need to parody that all that much? Unfortunately, I've caught the performance of the Baron Knights doing exactly the one that you're talking about, Ed, and it's dreadful because he does do the Freddy with the dancing and the jumping and the leaping and everything.
01:09:12
Speaker
Oh, I'm shocked. We close out the month with Everybody's Gonna Be Happy by the Kinks, a Ray Davies song. It's fun and pleasant, but it's really odd for a Kinks song.
01:09:24
Speaker
It's an overly happy pop rocker with a good enough, but again, somewhat atypical arrangement. The hand claps don't really work. This is a song that they probably should have given away to somebody else.
01:09:35
Speaker
Yeah, I was very surprised listening to this because admittedly, I'm not a kinks expert at all. So I had never heard this before. Everybody's gonna be happy.
01:09:49
Speaker
Wish me to be my love. Everybody's gonna be happy.
01:10:16
Speaker
I felt like this was sort of their attempt at Beatles-esque pop, and they didn't need to do this. I love their own sound. They were one of those groups that really did have a unique sound, you little grungy. ah The lyrics were, as we've talked about,
01:10:32
Speaker
Kind of humorous, kind of dark. Not always, I know, but they just had a different tone. I do like Mick Avery's drums on this. You know, he really pounds and does some nice fills.
01:10:44
Speaker
But other than that, I just thought, eh, this is not up to the usual kinks standard. And as you said, maybe if this had been given to somebody else, a poppier group.
01:10:55
Speaker
Maybe it would have worked. but How did Shel Talmy let those hand claps go through? Because they just sound so dissonant. Yeah, it's very strange. And what's interesting is Shel Talmy did not want this released as a single.
01:11:09
Speaker
He did not think that this was going to be a hit at all. He said he was skeptical of the single's releases. He did not like the sound. In contrast to Ray Davies, who thought this was going to be a hit.
01:11:19
Speaker
It's really strange, actually, you know, that a kink song at this time has actually got Mick Avery on drums and not Bobby on drums. Because up until now, Shell was using... Bobby Graham to do the drums and eventually Clem Coutinho would do drums for them.
01:11:36
Speaker
Yeah, it's another change for them. This is me looking at positives. It's Ray experimenting with his songwriting and trying to mix it up. um Yeah, the staggered rhythm is is interesting on the guitar.
01:11:49
Speaker
It would have been good maybe for somebody else. Although saying that, you know, working on more popping material like this would lead to something like Come Dancing in the eighty s Right.
01:12:00
Speaker
But that kind of worked. I mean, yeah, that was poppier, but it had those kind of lyrics of theirs. It was poppy, but it still had that kinks kind of, you know, a little sarcastic tone to it This just didn't have that to and it at all.
01:12:16
Speaker
So my positive slant is it's Ray experimenting and trying to mix up his songwriting. who middle tier lower middle tier kinks alright so that closes out March 1965 on the British side we will be back with the billboard charts real soon now see you then care
01:12:53
Speaker
There was a piece in the NME, a news piece that said the top rank records. Remember when top rank had a record label? and They introduced an LP series next week that will be called Toppermost.
01:13:04
Speaker
And it's coinciding with their current advertising slogan, Toppermost of the Poppermost. I thought they got it from somewhere. They saw that. They must have seen that in either the NME or Record Mirror or Disc Network.
01:13:19
Speaker
Record and Show Mirror as it was then. And they've taken it from there. They've obviously thought how stupid that is. How stupid is is one of those phrases that someone, an older person who doesn't understand teenagers comes up with a slogan that they think is going to be the hip slogan of the month.
01:13:36
Speaker
Toppermost of the poppermost.