Rebel Rousers

Product Information

From Cliff Bennett Branches Out. And, no, it’s not as good as the Sam & Dave classic ballad but no one could have matched that. Brave try though and well worth a listen.

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, 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.

Playlists

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.

Also from the first LP and a typical example of the Bennett/RR approach as applied to a song from Curtis Mayfield, one of the more idiosyncratic song writers. 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. Sheffield, Rob (5 August 2016). "Celebrating 'Revolver': Beatles' First On-Purpose Masterpiece". Rolling Stone . Retrieved 24 June 2017. It must not go unsaid that The Searchers took “Needles And Pins” from Cliff’s repertoire, hearing it performed live in Hamburg. In the ensuing interval before the Searchers’ definitive version Pye labelmate Petula Clark also issued an evocative French language take “La Nuit N’en Finit Plus” with a choral denouement which to me emulated frustrated felines in heat (in a good way). It would be interesting to know how these versions came about and who influenced who to tape it. Connie Evingson covered the song on her album Let it Be Jazz: Connie Evingson Sings the Beatles [60]a b c Colin Larkin, ed. (1992). The Guinness Encyclopedia of Popular Music (Firsted.). Guinness Publishing. p.219. ISBN 0-85112-939-0. 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. Riley, Tim (2002) [1988]. Tell Me Why – The Beatles: Album by Album, Song by Song, the Sixties and After. Cambridge, Massachusetts: Da Capo Press. ISBN 978-0-306-81120-3. From the first EP. There were three EPs released and none of the songs on them appeared on any single or LP from Cliff and the boys. And, yes, this was the great Larry Williams number and Cliff’s version was recorded before the take from the Stones (on Out Of Our Heads). I love both the original and the Stones more metallic effort but Cliff took the song closer to up tempo soul which is where I felt the original was intended to be targeted. Williams, of course, did move into the soul arena both with, and without, Johnny “Guitar” Watson.

Cliff Bennett & The Rebel Rousers also supported The Beatles on their 1966 German tour and were resident band at The Star Club Hamburg. Those with memories long enough will recall that Cliff Bennett and the Rebel Rousers had a couple of Top Ten hits in the mid sixties. Anyone else probably won’t know anything about him at all. For the much larger second group and maybe even a few from the first, let me get a few things straight: 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.Blood, Sweat, and Tears released the song on their 1975 album New City, with the single reaching no. 62 in the US. [58] Ref. the Viscounts I’ll Never Get Over You, I did mention it in my Kidd Topper but without any accompanying adjectives. Perhaps I should have listened harder. We're Gonna Make It – "My Sweet Woman"/"Whole Lotta Woman"/"We're Gonna Make It"/"Waiting at the Station", Parlophone GEP 8955 Coplan, Chris (20 September 2009). "Album Review: The Beatles – Revolver [Remastered]". Consequence of Sound . Retrieved 12 December 2018.

Yazdani, Tarssa; Goede, Don (2006). Hi, how are You?: The Life, Art & Music of Daniel Johnston. Last Gasp. p.37. ISBN 978-0-86719-667-2. Earth, Wind & Fire: The Best of Earth, Wind & Fire Vol. 1". newspapers.com. New York Daily News. 10 December 1978. p.355. Find sources: "Cliff Bennett and the Rebel Rousers"– news · newspapers · books · scholar · JSTOR ( May 2012) ( Learn how and when to remove this template message) The innovative soul musicians, who are known for hits such as ‘Got To Get You Into My Life’ and ‘One Way Love’, were the first London band to be signed by Beatles manager Brian Epstein and first British band to be signed to the Motown label. Note: On bootleg recordings of the Beatles performing at the Star Club in Hamburg, Germany, a performance of " Hully Gully" (recorded the same night as a Beatles set) is often mistakenly included as a Beatles performance.

Albums, EPs & singles by Cliff Bennett And The Rebel Rousers

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. Pearson, Paul (25 July 2018). "The Top 100 Cover Songs: 34. Earth Wind & Fire, 'Got to Get You Into My Life' (1978)". Treble . Retrieved 30 August 2019. I like most of Adam Faith’s output, despite the overt BH affectation but I would not place most of his repertoire in the upper tier of Buddy imitations, of which so many originated in the land who celebrated and appreciated him most, Great Britain. Bennett formed the band in 1957. They recorded several singles with record producer Joe Meek that were released by Parlophone. [2] Bennett continued recording for Parlophone, issuing cover versions of " You've Really Got a Hold on Me" and " Got My Mojo Working".