Cliff Richard - Rare EP Tracks (1961-1991) & Rare B-Sides (1963-1989) 2008

             

Repost

The Sprague Brothers - Best Of The Sprague Brothers

Five Man Electrical Band - Absolutely Right :The Best of Five Man Electrical Band - (1970-1973)

 

Billy Strange - Billy Strange plays The Hits (1965)

The Spotnicks - Vocal Tracks

The Stillroven - Too Many Spaces (1968)

The Swingin Medallions - Double Shot (Of My Baby's Love) Anthology

Spencer Davis Group - Taking Out Time (1967 - 1969)

The Searchers - The Searchers File (Pye File Series)

Cliff Richard and The Shadows – Do you Want To Dance With Cliff

The Symbols - Best Part Of

 

 Formed in the early 1960s prior to the Beat Boom explosion, The Symbols honed their craft in the back waters of East London earning a reputation as one of the region's best live draws. With near-constant gigging and a knack for incorporating the catchiest of US hits within their set, the boys - John Milton (vocals), Mick Clarke (bass guitar), Shaun Corrigan (lead guitar) and Clive Graham (drums - later Chas Wade) - caught the attention of the newly-formed President label, which swiftly led to their covering The Happenings' US smash See You In September in August 1966.

Their 4th single introduced them to the UK charts, a version of the Four Seasons' earlier US hit, Bye Bye Baby and in so doing inadvertently laid down the blueprint for what would become the Bay City Rollers' No.1 some 8 years later. (The Best Part Of) Breaking Up heralded their only LP release and after releasing just one more single in 1968, the band's brief tenure with President was over.

This CD includes all of their President cuts plus previously unissued bonus tracks including the recently-discovered Four Seasons Medley plus the band's original demo of Silence Is Golden, later a chart-topper for The Tremeloes. This long-awaited reissue is required listening for all devotees of Harmony Pop.

 THE PRESIDENT RECORDINGS 1966-68 plus bonus tracks

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The Secrets - CBS Anthology (1962-1968)

 

Taken from  http://musicmp3spb.org/

http://www.mick-armitage.staff.shef.ac.uk/cliffordt/clivectw.html

 http://en.wikipedia.org/wiki/Clifford_T._Ward

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The Soul Survivors - When The Whistle Blows Anything Goes With The Soul Survivors (1967)

 

 The Soul Survivors' only giant hit, "Expressway to Your Heart," was one of the first notable productions by Philadelphia wizards Kenny Gamble and Leon Huff in 1967. Although they were white, The Soul Survivors adopted a convincing R&B sound for their early singles on Crimson. Gamble and Huff loaded "Expressway to Your Heart" with honking horns and other automotive sound effects, but the record's principal strength lay in its soulful vocals and pounding beat. After a less successful follow-up, "Explosion in Your Soul," the band faded but returned for one more hit in 1974.

The Soul Survivors - When The Whistle Blows Anything Goes With The Soul Survivors

 The first band to help establish the Gamble-Huff combine. A great white soul ensemble.

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Butch Engle & The Styx - No Matter What You Say (1964-67)

Butch Engle & the Styx were a very minor mid-'60s San Francisco Bay Area band that issued just three singles (the first, in 1964, under the name the Showmen). They played moody garage-folk-rock with a similarity to the Beau Brummels that was not coincidence: all of their material, except for the Showmen single, was written or co-written by Ron Elliott of the Beau Brummels. the Beau Brummels were a fine group, and Elliott was an excellent songwriter. But the compositions Butch Engle & the Styx were granted access to were weak by Elliott's own high standards and in fact were basically leftovers that were not deemed strong enough for the Beau Brummels to record. As Engle himself recalled in the liner notes to The Best of Butch Engle & the Styx: No Matter What You Say, "Ron, Sly Stewart, [and Autumn record executives] Tom Donahue and Bobby Mitchell would choose which songs would go on [a Beau Brummels] album, and then we could take what we wanted from whatever was left."

Butch Engle & the Styx released just two singles under that name and broke up in 1968. Both sides of those two singles, along with both sides of the Showmen single and almost a dozen previously unissued cuts, were issued by Sundazed on The Best of Butch Engle & the Styx: No Matter What You Say in 2000.

 

 

This has a pretty funny title, considering that the group only put out three singles (one of them under a different name) and never had anything close to a hit. A better title might have been "The Entirety of Butch Engle & the Styx," since it's difficult to imagine that any more material could have been retrieved than appears on this CD. In addition to both sides of the three singles (the first done in 1964 when they were still called the Showmen), this also includes 11 previously unreleased tracks, including some alternatives and multiples. The unwary might initially dismiss this as a subpar, more garagey Beau Brummels, a comparison that becomes even more valid upon the discovery that Beau Brummels songwriter Ron Elliott wrote or co-wrote everything except the Showmen single. To be brutal, Elliott was wise to cast off most of these instead of recording them with the Beau Brummels. The songs just aren't nearly on the level of his usually excellent efforts for his own band, although they have some similar trademarks (particularly the minor-based melodies and moodiness). Butch Engle & the Styx were lesser musicians and singers than the Beau Brummels, too, although they were OK, adding some cheesy garage organ that you'd never find on Beau Brummels sessions. "Hey, I'm Lost," which was one of the singles (and appears along with two alternate versions of the same tune), was just about their best moment: a charging, slightly ominous and doubtful number with good vocal harmonies. This is certainly worth getting for major fans of the Beau Brummels, as none of these songs were actually recorded by that group. As a '60s garage record, though, No Matter What You Say is average, even unremarkable.

 

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Swinging London - Saga Records&Boulevard Records

 

Swinging London - Saga Records

01 - Swinging London (The First Impression)

02 - Jack Sly (The Good Earth)

03 - Split Down the Middle (The First Impression)

04 - Help Yourself (The Good Earth)

05 - Big Time News (The First Impression)

06 - Young Man Seeks Interesting Job (The First Impression)

07 - Down Home Train (The Good Earth)

08 - Captain Green (The First Impression)

09 - All Lead Back To You (The First Impression)

10 - Clap Hands, Big Deal (The First Impression)

11 - Piccadilly Sunshine (The First Impression)

12 - Unwashed, Unwanted (The Good Earth)

Swinging London - Boulevard Records 

13 - I Feel Fine (Russ Sainty)

14 - Help (Russ Sainty)

15 - Can't Buy Me Love (Russ Sainty)

The Good Earth aka Mungo Jerry 

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Strawberry Alarm Clock - Incense and Peppermints (1967)

 

 This is the debut long-player from the southern California-based Strawberry Alarm Clock -- the title track of this album topped national singles charts in December of 1967. As the cover art might suggest, their image practically defined both the musical as well as peripheral aspects of the pseudo-psychedelic counterculture. However, below that mostly visual veneer, Strawberry Alarm Clock actually have more in common with other "Summer of Love" bands such as Love and Kak than the bubblegum acts they have long been associated with. Prior to Strawberry Alarm Clock, the band was initially named Thee Sixpence and issued a 45 -- "In the Building" b/w "Hey Joe" -- in the spring of 1966. As legend has it, none of the actual bandmembers sang lead on the hit single; the singer was in fact a vocalist named Greg Munford, who was attending the session as a visitor. The track was originally issued by Thee Sixpence on the regional All-American label. By the second pressing, however, the band's name had changed to Strawberry Alarm Clock. Sensing the possibility of a national hit, they were scooped up by the MCA Records subsidiary Uni and given the go-ahead to commence recording this, their debut LP. Much of the band's sound is due at least in part to the writing styles of George Bunnell (bass/vocals) and the uncredited Steve Bartok (flute/vocals). The edgy fuzz-toned guitar sound of "Birds in My Tree" and the Los Angeles freeway-inspired "Paxton's Back Street Carnival" exude a garage rock flavor similar in style to that of Spirit's self-titled debut long-player. Another distinguishing factor is Strawberry Alarm Clock's multi-layered vocals. "Hummin' Happy" and "Rainy Day Mushroom Pillow" are precursors to the sophisticated harmonies that would also inform "Tomorrow" and "Pretty Song From Psych-Out," from their follow-up long-player, Wake Up...It's Tomorrow.

 

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Strawberry Alarm Clock - Wake Up... It's Tomorrow (1968)

 

 Strawberry Alarm Clock occupies a peculiar niche in the history of '60s rock. Their name is as well known to anyone who lived through the late-'60s psychedelic era as that of almost any group one would care to mention, mostly out of its sheer, silly trippiness as a name and their one major hit, "Incense and Peppermints," which today is virtually the tonal equivalent of a Summer of Love flashback. But there was a real group there, with members who had played for a long time on the Southern California band scene, who were proficient on their instruments and who sang well and generated four whole LPs of which at least three were worth hearing more than once.

The band's origins go back to Glendale, CA, in the mid-'60s, and a group then known as the Sixpence. It was 1965 and all things British were still a selling point, so the name made as much sense as anything else. Their lineup was formed from the members of various other bands coming together, and included Lee Freeman on vocals, guitar, and harmonica, Ed King on guitar, Gary Lovetro on bass, Gene Gunnels on drums, Mike Luciano on tambourine, and Steve Rabe on lead guitar. They mostly did covers of then-popular hits and developed a considerable following in Glendale and also in Santa Barbara, playing there so often that a lot of histories have them coming out of Santa Barbara. They were like a lot of hot local bands, good enough to pull people to their shows and always seemingly poised to make the jump to the next level. They did record, starting with an early single, "You're the One," on the Impact label and a trio of 45s that included "Hay Joe" [sic] and covers of the Who song "I Can't Explain" and the rock & roll standard "Fortune Teller" in 1966, for the tiny All-American label; with "Fortune Teller" flipped to the A-side, their third All-American single was picked up by Dot Records for national distribution. Their membership changed late that year as well, with Rabe departing and Mark Weitz joining on keyboards and vocals, sharing the lead singing chores with Freeman. They continued issuing singles on All-American into 1967, changing their name along the way to Thee Sixpence at one point.

In the spring of 1967, there was a flurry of activity going on surrounding the band. They were working out a new single, the A-side of which was to be a sneering punkish piece called "The Birdman of Alkatrash," written by Weitz. They needed a B-side, and an instrumental titled "Incense and Peppermints" -- also put together by Weitz with help from guitarist Ed King -- was duly recorded, and producer Frank Slay (who also owned a publishing company) ended up sending a tape of the track to a friend, songwriter John Carter, who had scored a modest but important hit with a song called "That Acapulco Gold," for a group called the Rainy Daze, earlier that year. He delivered the words to "Incense and Peppermints," which ended up -- under a contract he had with Slay -- credited to him and his songwriting partner, Tim Gilbert.

By this time, the band had developed enough self-confidence that they felt offended by Slay's maneuver, and neither Weitz nor Freeman was willing to throw themselves into the lyric the way they should have, especially as Carter came down to the session to oversee the recording of his lyrics. It was his choice, backed by Slay, of Greg Munford, a 16-year-old friend of the group who happened to be hanging out at the session. Such was the level of confusion that although Slay promised to put Weitz and King on the song as composers, when the producer/publisher filed the copyright registration, Carter and Gilbert were the only composers listed, although Weitz and King are credited as arrangers -- and nobody seemed overly concerned by the fact that Munford wasn't actually in the band. This was "just" a B-side, after all, that would be forgotten as soon as "The Birdman of Alkatrash" started to get airplay, if it ever did.

The single was issued on All-American, with "Incense and Peppermints" as the B-side, and a few copies seem to have gotten out credited to the Sixpence. But the group and their management became concerned over the fact that there were other, similarly named (if differently spelled) bands out there, and began thinking that a new name was called for. So the story goes, the group members were sitting around Weitz's house, trying to come up with a name, and had settled on "Strawberry," appropriated from a recent hit Beatles song. They were trying to figure out what went with "strawberry" and someone noticed a piece of household equipment that was making some noise as they sat there. "Strawberry Alarm Clock" scanned well and sounded playful enough in the tenor of the times, and the new name was in place by the middle of the summer. And at that point, with the new name affixed to the All-American 45, the single started to take on a life of its own -- literally. The All-American single actually began getting airplay, but it was the B-side, "Incense and Peppermints," that DJs were choosing and airing.

Enter Uni Records, a newly established imprint of American Decca and its parent company, MCA, who picked it up for national distribution. For a record now credited to Strawberry Alarm Clock, Uni Records was a perfect conduit, with its brightly colored label design, not that this was real factor in what people heard -- it just completed the picture.

The song swept across the airwaves gradually, fueling a sales wave that built into a number one chart placement over the next three months, in November of 1967. By that time, the group had been prevailed upon to record an album around the single, even though Munford, who'd sung on the hit, wasn't in the group. The album involved a few changes in the lineup, partly growing out of the fact that the existing membership didn't have enough songs to fill an LP. They brought in 18-year-old George Bunnell, a Massachussets-born musician and songwriter who'd previously played in the Something Else and as a member of Chapter Four and the Waterfyrd Traene, and his collaborator, Ohio-born Steve Bartek, who was still in high school at the time. They brought with them a brace of songs, and Bunnell -- who also played bass -- was having trouble getting the group's bassist, Gary Lovetro, to handle the bass parts correctly, and King finally suggested that Bunnell play bass on those songs, while Bartek ended up playing flute on the album. Bunnell was so effective that all agreed that he should become a member, and he agreed after initial hesitation over abandoning his current group. Even Bartek, who was only 16, was offered a chance to join, in recognition of his contribution to the album, but because of his age he needed his parents' permission, which wasn't forthcoming.

Thus, Strawberry Alarm Clock became extremely unusual (if not unique) as a band with two bass players. Additionally, drummer Gene Gunnels, who'd been with the Sixpence since 1965, then left and then returned, and who had played on "Incense and Peppermints," was gone by the time the group got around to doing the album. In his place was Randy Seol, who'd been in the band since 1966 and sang as well as played drums. And just to make the membership situation more complicated, Seol sang on "Incense and Peppermints," and Gunnels would be back to replace him on drums a couple of years later.

The Incense and Peppermints LP ended up coming out astonishingly strong, especially considering the haste with which the album was recorded, and the evolving membership during the recording process. Its number 11 chart placement (the only time one of their LPs actually charted) only affirmed the seemingly charmed nature of the group's work during the last eight months of 1967. This was partly a result of the way that the album was approached -- it was done in a hurry, on the fly, but with a rather bold creative impulse at work within that framework. In addition to the flute provided by Bartek (who also evidently played a few other instruments on the sessions), Wietz, Bunnell, King, and Seol all had credits on the album for "special effects," referring to unusual instruments (or unusual sounds from their usual instruments) that they played. In an interview with Gary James, Bunnell recalled employing several different basses as well as an array of exotic instruments in the studio, including the Vox Mando guitar, which resembled a cut-down 12-string (the instrument was immortalized by Brian Jones in a photo but was seldom actually heard on record). In all, the album proved to be one of the more delightful artifacts of the psychedelic era, a strangely compelling mix of psychedelia, sunshine pop, garage rock, and California harmony.

Wake Up...It's Tomorrow If the group wasn't in the front rank of rock acts, they'd certainly earned the entrée to run with them. Strawberry Alarm Clock toured nationally for the second half of 1967 and much of 1968 off the success of "Incense and Peppermints," sharing billing at various times with the likes of Country Joe & the Fish, Jimi Hendrix, and the Who; while Bunnell found the latter to be a highlight, for King it was touring with the Beach Boys and Buffalo Springfield that became the high point of his career. They also underwent some more changes. Gary Lovetro, the band's original bassist, a founding member of the group, took the money and ran -- for a 25,000 dollar buyout, he relinquished his position to Bunnell and left the music business. The five-man version of the band cut a follow-up single, "Tomorrow," a collaboration between Weitz and King that reached number 23 nationally in early 1968. The song had lots of great hooks, vocal and instrumental, with a killer feedback-soaked guitar break by King and lyrics that belonged to Weitz this time; along with the rest of the album, it also benefited from the presence of vocal coach Howard Davis, who was brought in to help the members push the harmony singing displayed on Incense and Peppermints to new levels of sophistication. On the single they sounded a bit like the Association crossed with the Who or the Creation (except that, unlike the Association, the Alarm Clock played on their own records). Despite the success of "Tomorrow," the album Wake Up...It's Tomorrow never sold as well as it should have, mostly because Uni Records was late in getting it out, a month after "Tomorrow" had started its run up the charts. The public's attention span was very limited, and 30 days was an eternity in a marketplace crowded with lots of new (and some good) music; it's the difference between individual record stores ordering one or two copies of an LP, versus five or six, and displaying them prominently or at length, versus putting them in the browsers for people to find, and listeners still having the song in mind when they find the album. It ended up selling nowhere near the quarter-of-a-million copies of the first LP, and in many ways marked the sudden downward turn in the band's fortunes.

The whole image of the group as it's been passed down might have been different if Wake Up...It's Tomorrow had sold better. "Incense and Peppermints," for all of its success, was a piece of product produced by many hands, as was the album that followed, while Wake Up...It's Tomorrow was the creation of a cohesive working band, and sounded it, even with the presence of Howard Davis working to make their singing more sophisticated. There were some exotic instruments, to be sure, and some uncredited contributions by the members -- in an interview with Gary James, King said that he played a lot of the bass parts on that record -- but it was much more an expression of the five members, complicated by the sometimes very direct (and sometimes interfering) influence of the record label, which was always looking for the most accessible, commercial sound, and also by some disagreements. Weitz revealed in an interview with Richie Unterberger that he and several of the others had strong reservations about Seol's and Bunnell's compositions, most especially "Nightmare of Percussion" and "Curse of the Witches." Still, the album did fit together in its odd way, and was more of a musicians' record than a producer's record -- and had more people heard it, they might've been remembered in subsequent years as a band and not just as an AM radio phenomenon with a funny name.

It was while working on the album that the group also got pegged for screen immortality, when they were invited to appear in and perform a song in Richard Rush's 1968 drama Psych-Out, set in San Francisco's Haight-Ashbury hippie mecca and starring Susan Strasberg, Jack Nicholson, Dean Stockwell, and Bruce Dern. Produced by Dick Clark, even that opportunity was an outgrowth of the success of "Incense and Peppermints" -- after appearing on Clark's program to mime to their hit, the group got the offer of the movie, which gave King and Freeman a fresh songwriting opportunity, in the form of "Pretty Song from Psych-Out." According to Weitz in an interview with Unterberger, King also served as a technical consultant on the movie when it came to showing Nicholson enough about how to hold and finger a guitar so that he looked as though he were really playing. The song made for one of the better moments on an otherwise already very strong album, and the movie helped shore up the group's seriousness (and their legacy) as an actual band, putting them alongside the Seeds and Boenzee Cryque.

The World in a Sea Shell Their record sales never rebounded, however, even with whatever help Psych-Out gave. By late 1968, they were still getting bookings based on "Incense and Peppermints" and "Tomorrow," but not what they had been. The record label, which had allowed the members some autonomy on the prior two albums with regard to songwriting and the overall approach to recording, decided to exercise a lot more control for the third album, The World in a Sea Shell. With softer harmony singing and orchestral accompaniments -- including brass flourishes -- and four songs from outside writers, this was where the Alarm Clock seemed to "sell out" as far as its fans were concerned. Making matters worse was the fact that two of the four outside songs were written by John Carter and Tim Gilbert, the two composers whose names had somehow ended up on "Incense and Peppermints" despite their not having written a note of music (and Gilbert not having written a comma); and this was becoming a sore point as the members, catching their breath after a year's furious activity, realized what two of them had lost -- suddenly, but understandably, the group became more than a little distrustful of the management and the producer who'd signed away at least 50,000 dollars in royalties for two of its members.

The album was even more irksome in its final form, the first side dominated by the outside songs, two of which were written by Carole King and Toni Stern and perfectly fine as songs -- but not really what the group was about; the whole first side sounded like the work of some pop outfit trying to sound psychedelic, and what there was of the Alarm Clock's real sound didn't get heard until the second side. By the time the smoke cleared, Randy Seol and George Bunnell -- who weren't represented on the album at all as songwriters -- had opted out, and the Alarm Clock's position with its fans was even more precarious, especially amid the maneuvering that followed. The group dismissed their longtime manager, Bill Holmes, and in retaliation Holmes organized a "new" Strawberry Alarm Clock around Seol and Bunnell, booking a tour for them and even initially ignoring a restraining order obtained by Weitz, King, and company. By the time the situation was sorted out legally, promoters were afraid to book anyone claiming to be Strawberry Alarm Clock.

Good Morning Starshine The new lineup for the real band included ex-Nightcrawlers guitarist/singer Jimmy Pitman, with King shifting over on an even more permanent basis to playing bass, and, returning to his former spot, drummer Gene Gunnels, replacing interim drummer Marty Katin. The new lineup was almost a new group, in the sense that Pitman's vocals and guitar -- which was heavily blues-inflected, and just plain heavy -- completely altered their sound, and his songs were harder, louder blues-rock numbers than anything the group had ever before attempted to record or perform. This lineup went into the studio one last time on Uni's dime, the label hoping to salvage something from the chaos surrounding the band, and this time were allowed to produce themselves, with Weitz and King stepping up to that chore. And the results weren't bad -- Good Morning Starshine, as it was titled, might not have sounded too much like the Alarm Clock of "Incense and Peppermints" or even "Tomorrow," except on a couple of cuts such as "Small Package" and "Dear Joy," but it was an honest statement of who they were, and even on somewhat disjointed pieces like "Off Ramp Road Tramp," they generated a powerful sound; more to the point, if they weren't exactly making sounds that would endure for the ages, they sounded engaged and involved, which was more than one could say about most of the previous LP. The only exception was the title track, a pop standard from the musical Hair that got to number 87 before it was eclipsed by Oliver's more accessible pop-focused version.

It all proved an exercise in futility as the single failed and the group was now more hamstrung than ever, thanks to their ex-manager's chicanery. With record sales going through the floor and bookings difficult to get, there was no reason for the members to stay together, especially amid the continuing disputes and lawsuits over money. Pitman had gone by the end of 1969, to be replaced by vocalist Paul Marshall while King switched back to lead guitar, and Weitz left soon after, disillusioned with the band and the music business. A quartet version of the band carried on, picking up what bookings could be generated by the name until 1971, led by King. In a classic example of one door closing and another opening in life, it was a little later that he was invited to join Lynyrd Skynyrd, an up-and-coming Southern rock band that had opened for the Alarm Clock in its final phase, and whose lead singer, Ronnie Van Zant, he'd become friendly with. It was with Skynyrd on their classic first three LPs and the tours around them that he would finally get the reward to which his success entitled him.

 

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Steve & Stevie - Steve & Stevie (1968)

 

 http://en.wikipedia.org/wiki/Steve_Kipner

 

Track 10 missed

http://www45.zippyshare.com/v/23782171/file.html

Peter Jay &The Jaywalkers - Jaywalkin'Singles 1962-1965

Originally based in East Anglia, England, the Jaywalkers, comprising Peter Miller (lead guitar), Tony Webster (rhythm guitar), Mac McIntyre (tenor saxophone/flute), Lloyd Baker (piano/baritone saxophone), Geoff Moss (acoustic bass), Johnny Larke (electric bass), and Peter Jay (drums), pre-dated the British beat boom. They scored a minor hit in 1962 with ‘Can Can 62’, but despite an unquestioned competence, their rather stilted act became increasingly anachronistic. The group attempted a more contemporary image with several R&B-based releases, and in 1966 a restructured line-up emerged under the name Peter Jay And The New Jaywalkers. Now reduced to a quintet, the unit featured vocalist Terry Reid, but despite an impressive appearance on the Rolling Stones’ UK tour, they disbanded by the end of that year.

Spiral Starecase - More Today Than Yesterday

 

 The Spiral Starecase may be a one-hit wonder group, but if you're only going to be allotted one, then their "More Today Than Yesterday" is the type of solitary charter you want as your lasting legacy. A bouncy shuffle that has become a heavy rotation staple of oldies radio, the tune sports a simple but well-crafted lyric and a melody that sticks to the brain and refuses to leave. A further look into the group's scant discography reveals that musically, the group was capable of even more hits, had not poor management and sheer bad luck cut their career short.

The group formed in Sacramento, CA as the Fydallions, counting up in their ranks saxman Dick Lopes and bass player Bobby Raymond, Harvey Kaye on organ, Vinnie Parello on drums, and lead vocalist and guitarist Pat Upton, who hailed from Alabama. They auditioned for Columbia Records, who loved the group but hated their name. Lopes cribbed a title from a movie, and with a slight spelling change, the group's name and contract was secured. Assigned to producer Gary Usher, their first two singles were released to regional successes in markets like Phoenix. At this time, Sonny Knight (himself a one-hit wonder with "Confidential" on Dot) was brought in as producer. Upton, encouraged by Usher to write original material for the group, had brought in "More Today Than Yesterday," which became the next single and their breakthrough hit. Considering the long-lasting impact of the song on oldies radio, it seems inconceivable that the tune charted no higher than number 12 nationally. The Starecase released one album and a couple more singles before poor management and squabbles over finances caused the group to splinter by 1969. Harvey Kaye led an ersatz version of the group for a brief period, while Upton fled to session work, eventually joining up with Rick Nelson as a backup vocalist. In the mid-'80s, after Nelson's death, Upton became a staple on the oldies circuit, sounding as wonderful as ever.

01. More Today Than Yesterday   
02. Broken-Hearted Man   
03. For Once In My Life
04. This Guy's In Love With You
05. Sweet Little Thing   
06. Proud Mary       
07. The Thought Of Loving You
08. Our Day Will Come
09. No One For Me To Turn To   
10. Since I Don't Have You
11. Judas To The Love We Knew
12. Baby What I Mean (Mono Single Version)
13. Makin' My Mind Up (Mono Single Version)   
14. I'll Run (Stereo Single Version)
15. Inside, Outside, Upside Down (Stereo Single Version)
16. She's Ready (Stereo Single Version)