Manfred Mann’s road manager Billy held forth with lurid tales of the Carrousel Club in Copenhagen, where personal manager, Bernard Lee, they had just played, and Cliff’s listened tolerantly by his side. Sullivan, James (14 June 2013). "15 Songs You Didn't Know Were About Drugs". Rolling Stone . Retrieved 29 July 2019.

In 1988, English guitarist Mark Lundquist [4] reformed the Rebel Rousers. He functioned as both band leader and manager until 1996. More recently, Lundquist has toured alongside Mike d'Abo, Chris Farlowe, Zoot Money, Maggie Bell, Screaming Lord Sutch, the Manfreds, Steve Ellis and New Amen Corner. Another from the second LP. Probably not technically as good as the original but it works so well in the context of the album. November 1966: "Never Knew Lovin' Could Be So Doggone Good" / "Don't Help Me Out", Parlophone R 5534But Cliff Bennett and the Rebel Rousers bequeathed to the world a simply glorious body of music. That is all that matters. Just listen and put any prejudices along the lines of “can blue men sing the whites” to one side. Coplan, Chris (20 September 2009). "Album Review: The Beatles – Revolver [Remastered]". Consequence of Sound . Retrieved 12 December 2018. They’d been gigging since 1958 and recording since ’61. The saxes didn’t appear immediately but were in place by ’63. Early influences included Sun artists Jerry Lee Lewis and Charlie Rich – Lonely Weekends would appear as a Bennett flip in ’68 and they covered Jerry on their second single in ’61.

Unfortunately, Paul had to leave the studio before Cliff put the vocal on and next morning there was a phone call from “McBeatle,” who had just heard the finished product.In 1964, they were signed up by Brian Epstein and this signalled an improvement in their fortunes in terms of records. One Way Love, a Drifters song which had done zilch in terms of sales in the UK, was given a punchy new arrangement with horns riffing strongly and the public seemed to like it, resulting in the record reaching No.9 in the UK chart. Follow-ups maintained the quality but found only limited reward. Top Singles – Volume 26, No. 14 & 15, January 08 1977". RPM. Library and Archives Canada. Archived from the original on 19 March 2016 . Retrieved 15 December 2016.

This was one of their last live performances as the band had decided to stop touring and to turn their attention to recording in the studio, a decision which was to lead to the release of Sergeant Pepper the following year. Unfortunately, a competing version on Decca truer to the demo was issued by Garry Mills, a more connected and well-known name (e. g. he was Nat Gonella’s nephew and had scored hits for Rank) and the sales were split in mid-1961, with Mills taking chart “honors” at #39. Philips’ “advertising”, or paucity thereof, did their artists no favors. Cherokees review in Disc, p.10: Mills review in Disc, p.11: Decca ad in Disc, p.10. That said I did enjoy listening (to varying degrees) to all the records you mentioned, only one of which I’d heard before. Top of the list just has to be the Lee Diamond I’ll Step Down which gets very high marks for unusual – swinging is a word that I might use – rhythm plus unique chord structure. It’s only the trademark Holly hiccup late on in the verse which brings that comparison to mind. Indeed I’m inclined to the view that it should have been omitted and the record left to sink or swim without. With plugging this would have been a hit. We're Gonna Make It – "My Sweet Woman"/"Whole Lotta Woman"/"We're Gonna Make It"/"Waiting at the Station", Parlophone GEP 8955A cover version by Earth, Wind & Fire was issued as a single in July 1978 by Columbia Records. [40] Their rendition reached No. 1 on the Billboard Hot Soul Singles chart and No. 9 on the Billboard Hot 100. [41] [42] The song also rose to No. 33 on the UK Singles chart. [43] "Got to Get You into My Life" has also been certified Gold in the US by the RIAA.