Various Artist - The Story of The Beat Club (01) (1967-68)

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Music of the United Kingdom developed in the 1960s into one of the leading forms of popular music in the modern world. By the early 1960s the British had developed a viable national music industry and began to produce adapted forms of American music in Beat music and British blues which would be re-exported to America by bands such as The Beatles and Rolling Stones. This helped to make the dominant forms of popular music something of a shared Anglo-American creation, and led to the growing distinction between pop and rock music, which began to develop into diverse and creative sub-genres that would characterise the form throughout the rest of the twentieth century.

Arthur Brown

In the late 1950s, a flourishing culture of groups began to emerge, often out of the declining skiffle scene, in major urban centres in the UK like Liverpool, Manchester, Birmingham and London. This was particularly true in Liverpool, where it has been estimated that there were around 350 different bands active, often playing ballrooms, concert halls and clubs. Beat bands were heavily influenced by American bands of the era, such as Buddy Holly and the Crickets (from which group The Beatles derived their name), as well as earlier British groups such as The Shadows. 

After the national success of the Beatles in Britain from 1962, a number of Liverpool performers were able to follow them into the charts, including Gerry & The Pacemakers, The Searchers, and Cilla Black. Among the most successful beat acts from Birmingham were The Spencer Davis Group and The Moody Blues. From London, the term Tottenham Sound was largely based around The Dave Clark Five, but other London bands that benefited from the beat boom of this era included the Rolling Stones and The Yardbirds. The first non-Liverpool, non-Brian Epstein-managed band to break through in the UK were Freddie and the Dreamers, who were based in Manchester, as were Herman's Hermits and The Hollies. The beat movement provided most of the bands responsible for the British invasion of the American pop charts in the period after 1964, and furnished the model for many important developments in pop and rock music.

Blue Cheer

The British Invasion is a term used mainly in the United States to describe the large number of rock and roll, beat and pop performers from the United Kingdom who became popular in the U.S.A. from 1964 to 1966. On 7 February 1964, CBS Evening News with Walter Cronkite ran a story about The Beatles' United States arrival in which the correspondent said "The British Invasion this time goes by the code name Beatlemania" A few days later they appeared on The Ed Sullivan Show. Seventy five percent of Americans watching television that night viewed their appearance thus "launching" the invasion with a massive wave of chart success that would continue until they broke up in 1970. On 4 April 1964, the Beatles held the top five positions on the Billboard Hot 100 singles chart, the only time to date that any act has accomplished this feat. 

Vanilla Fudge

During the next two years, Peter and Gordon, The Animals, Manfred Mann, Petula Clark, Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman's Hermits, The Rolling Stones, The Troggs, and Donovan would have one or more number one singles. Other acts that were part of the invasion included The Who, The Kinks, and The Dave Clark Five. 

British Invasion acts influenced fashion, haircuts and manners of the 1960s of what was to be known as The Counterculture. In particular the Beatles movie A Hard Day's Night and fashions from Carnaby Street led American media to proclaim England as the centre of the music and fashion world. The success of British acts of the time caused American garage rock bands subsequently to change their sound and style. The influence continued on subsequent groups such as Big Star, Sparks and Todd Rundgren amongst others. The emergence of relatively homogeneous worldwide rock music styles about 1967 marked the end of the "invasion".

Manfred Mann

In parallel with Beat music, in the late 1950s and early 1960s a British blues scene was developing recreating the sounds of American R&B and later particularly the sounds of bluesmen Robert Johnson, Howling Wolf and Muddy Waters. It reached its height of mainstream popularity in the 1960s, when it developed a distinctive and influential style dominated by electric guitar and made international stars of several proponents of the genre including The Rolling Stones, Eric Clapton, The Yardbirds, Fleetwood Mac and Led Zeppelin. A number of these moved through blues-rock to different forms of rock music and as a result British blues helped to form many of the sub-genres of rock, including psychedelic rock and heavy metal music. Since then direct interest in the blues in Britain has declined, but many of the key performers have returned to it in recent years, new acts have emerged and there have been a renewed interest in the genre.

British folk musicians of the early 60s were heavily influenced by American revival artists like Woody Guthrie, Pete Seeger and later Bob Dylan and Joan Baez. This led indirectly to the sub-genre of British progressive folk music, pioneered by performers like the Scottish Incredible String Band from 1967 and the distinctive folk baroque guitar style of players like Davy Graham, Martin Carthy, John Renbourn and Bert Jansch. 

Procol Harum

Many progressive folk performers continued to retain a traditional element in their music, including Jansch and Renbourne, who with Jacqui McShee, Danny Thompson, and Terry Cox, formed Pentangle in 1967. Others totally abandoned the traditional element and in this area particularly important were the Scottish artists Donovan (who was most influenced by emerging progressive folk musicians in America like Bob Dylan) and the Incredible String Band, who from 1967 incorporated a range of influences including medieval and eastern music into their compositions. Some of this, particularly the Incredible String Band, has been seen as developing into the further sub-genre of psych or psychedelic folk and had a considerable impact on progressive and psychedelic rock. 

There was a brief flouring of British progressive folk in the late 1960s and early 1970s, with groups like the Third Ear Band and Quintessence following the eastern Indian musical and more abstract work by group such as Comus, Dando Shaft, Trees, Spirogyra, Forest, and Jan Dukes De Grey, but commercial success was elusive for these bands and most had broken off, or moved in very different directions, by about 1973. From about 1967 there were also a number British bands, like Fairport Convention, who were directly influenced by American acts like the Byrds to play folk music on electric instruments.

The Status Quo

Psychedelic music is inspired or influenced by psychedelic culture and attempts to replicate and enhance the mind-altering experiences of hallucinogenic drugs. It particularly grew out of blues-rock and progressive folk music and drew on non-Western sources such as Indian music's ragas and sitars as well as studio effects and long instrumental passages and surreal lyrics. It emerged during the mid 1960s among progressive folk bands in Britain and the United States and rapidly moved into rock and pop music being taken up by acts including the Beatles, The Yardbirds, Cream and Pink Floyd. Psychedelic rock bridged the transition from early blues-rock to progressive rock, art rock, experimental rock, hard rock and eventually heavy metal that would become major genres in the 1970s.

Around 1967, in the aftermath of the British Invasion, as blues-rock, emerging folk rock and some beat bands, including the Beatles, veered towards a more serious forms of music, with an emphasis on meaning, virtuosity and orientated towards the albums market, the term pop music began to be applied to rock and roll based music with more commercial aims, often with inconsequential lyrics, particularly simple love songs, and orientated towards the singles chart, continuing the tradition of traditional pop.[16] Although some bands occupied territory that crossed the emerging rock/pop divide and were able to produce successes in both camps, including the Beatles and Rolling Stones, the British pop genre in the late 1960s would be dominated by individual singers like Sandie Shaw.

The Bee Gees

Blue-eyed soul (also known as white soul) is rhythm and blues and soul music performed by white artists. The term was first used in the mid-1960s to describe white artists who performed soul and R&B that was similar to the music of the Motown and Stax record labels. The somewhat controversial term was coined during racial segregation in 1960s America at the time of the music genre's emergence in popular music culture.

The term continued to be used in the 1970s and 1980s, particularly by the British music press, to describe a new generation of white singers who adopted elements of classic soul music. To a lesser extent, the term has been applied to singers in other music genres that are influenced by soul music, such as urban music and hip-hop soul.

The Nice

Blue-eyed soul began when white musicians remade African-American music for white audiences. Often there was a perception that the music was diluted for its new audience, a move that angered some African Americans as cultural appropriation, but pleased others who felt the growth of their music genre was positive.

The regional beach music and Carolina shag trends that originated in the areas around North and South Carolina in the late 1950s were, at least partly, a manifestation of blue-eyed soul. Local white bands backed nationally popular black R&B artists during their tours, and performed on their own at fraternity parties and other college social events. According to beach band historian Greg Haynes, artists such as Bonnie Bramlett and The Allman Brothers (originally known as The Allman Joys) began their careers on this circuit. Bill Deal and the Rhondels and The Swinging Medallions are beach bands which have charted nationally.

The Herd

Georgie Woods, a Philadelphia radio DJ, came up with the term blue-eyed soul in the 1960s to describe white artists who received airplay on rhythm and blues radio stations.[citation needed] In the early 1960s, one of the rare female blue-eyed soul singers was Timi Yuro, whose vocal delivery and repertoire were influenced by African American singers such as Dinah Washington. Perhaps one of the most famous duos to be associated with the term were The Righteous Brothers, due to their emotive vocal style; their 1964 LP Some Blue-Eyed Soul was named after the term. Groups such as The Rascals (originally The Young Rascals) had soul-tinged songs, but it was the soulful vocals of Felix Cavaliere that gave them the blue-eyed soul sound. By the mid-1960s, British singers Dusty Springfield, Eric Burdon and Tom Jones had become leading vocal stars of the emerging style. 

Other notable UK exponents of blue-eyed soul included The Spencer Davis Group (featuring singer-organist-guitarist Steve Winwood) and archetypal mod band The Small Faces, whose sound was heavily influenced by the Stax label's house band Booker T & the MGs. Blue-eyed soul singer, Chris Clark became the first white singer to have an R&B hit with Motown Records in 1966. Most of the leading UK pop groups of the period – including The Beatles, The Rolling Stones, The Kinks and The Who – regularly covered Stax and Motown tracks on record or in concert, and all of them have acknowledged the influence of Motown and Stax artists on their music. In 1967, Jerry Lee Lewis, whose latter days at Sun Records (1961–1963) had been characterized by R&B covers, recorded an album for Smash entitled Soul My Way. Delaney and Bonnie (Bramlett) produced the blue-eyed soul album Home on Stax in 1969.

The Moody Blues

Michael Sembello, who left home at 17 to tour with Stevie Wonder, wrote and performed on numerous blue-eyed soul hits for Wonder, Brian McKnight, David Sanborn, Bill Champlin and Bobby Caldwell. Todd Rundgren began his career in Woody's Truck Stop, a group based on the model of the Paul Butterfield Blues Band. He left the band to form the garage rock band Nazz in 1967.

In parallel with Beat music, in the late 1950s and early 1960s a British blues scene was developing recreating the sounds of American R&B and later particularly the sounds of bluesmen Robert Johnson, Howling Wolf and Muddy Waters. It reached its height of mainstream popularity in the 1960s, when it developed a distinctive and influential style dominated by electric guitar and made international stars of several proponents of the genre including The Rolling Stones, Eric Clapton, The Yardbirds, Fleetwood Mac and Led Zeppelin.

A number of these moved through blues-rock to different forms of rock music and as a result British blues helped to form many of the sub-genres of rock, including psychedelic rock and heavy metal music. Since then direct interest in the blues in Britain has declined, but many of the key performers have returned to it in recent years, new acts have emerged and there have been a renewed interest in the genre.

(132 Tracks!!)

Beat-Club 25 - 14.10.1967
01 The Equals - Police On My Back
02 Family Dogg - Pattern People
03 The Alan Price Set - Simon Smith And His Amazing Dancing Bear
04 David Garrick - Don't Go Out Into The Rain (You're Gonna Melt, Sugar)
05 The Herd - From The Underworld
06 Bella And Me - Whatever Happened To The 7-Day Week
07 The Fortunes - The Idol
08 Vanilla Fudge - You Keep Me Hangin' On
09 The Alan Price Set - The House That Hack Built

Beat-Club 26 - 25.11.1967
10 Barry Mason - Rowbottom Square
11 The Flower Pot Men - Let's Go To San Francisco
12 Sharon Tandy - Hold On
13 Johnnie Young - Craise Finton Kirk
14 Family Dogg - The Storm
15 Scott McKenzie - San Francisco 
16 Scott McKenzie - Like An Old Time Movie
17 Felice Taylor - I Feel Love Coming On
18 The Bee Gees - Massachusetts

Beat-Club 27 - 30.12.1967
19 The Flower Pot Men - A Walk In The Sky
20 Billy Nicholls - Would You Believe
21 Bonzo Dog Doo Dah Band - The Equestrain Statue
22 Bonzo Dog Doo Dah Band - Little Sir Echo
23 The Bee Gees - World
24 P.P. Arnold - Groovy
25 Dave Dee, Dozy, Beaky, Mick & Tich - Zabadak
26 Marion - I Go To Sleep
27 The Small Faces - Tin Soldier

Beat-Club 28 - 13.01.1968
28 Carla Thomas - B-a-b-y
29 Dave Justin - Everybody's Gone Home
30 Neil Christian - Let Me Hear You Laugh
31 Billie Davis - Angel Of The Morning
32 Long John Baldry - Let The Heartaches Begin
33 The Herd - Paradise Lost
34 Dave Davies - Susannah's Still Alive
35 Procol Harum - Homburg

Beat-Club 29 - 09.03.1968
01 Paul & Barry Ryan - Pictures Of Today
02 The Moody Bues - Nights In White Satin
03 B.B. King - Heartbreaker
04 Nirvana - Pentecost Hotel
05 Sharon Tandy - Fool On The Hill
06 Dave Dee, Dozy, Beaky, Mick & Tich - The Legend Of Xanadu
07 Amen Corner - Bend Me, Shape Me
08 Traffic - Here We Go Round The Mulberry Bush
09 Georgie Fame - The Ballad Of Bonnie And Clyde 
10 Manfred Mann - Mighty Quinn

Beat-Club 30 - 06.04.1968
11 The Equals - I Get So Exited
12 Procol Harum - Quite Rightly So
13 The Bee Gees - Harry Braff
14 David McWilliams - The Days Of Pearly Spencer
15 Arthur Conley - Funky Street
16 Gene Pitney - Something's Gotten Hold Of My Heart
17 The Move - Fire Brigade
18 Manfred Mann - Mighty Quinn (REMOVED)
19 Julie Driscoll, Brian Auger & The Trinity - Save Me
20 The Hollies - Jennifer Eccles

Beat-Club 31 - 27.04.1968
21 Big Boy Pete - Cold Turkey
22 The Exception - Rub It Down
23 Family Dogg - I'll Wear A Silly Grin
24 Arthur Conley - Shake Rattle And Roll
25 Reparata & The Delrons - Captain Of Your Ship
26 Gene Pitney - Somewhere In The Country (REMOVED)
27 The Bee Gees - Harry Braff
28 John Walker - I'll Be Your Baby Tonight
29 The Small Faces - Lazy Sunday

Beat-Club 32 - 22.06.1968
30 The Herd - I Don't Want Our Loving To Die
31 Madeline Bell - Picture Me Gone
32 Manfred Mann - My Name Is Jack
33 Tommy James & The Shondells - Mony, Mony
34 Julie Driscoll, Brian Auger & The Trinity - This Wheel's On Fire
35 The Small Faces - Lazy Sunday (REMOVED)
36 The Association - Time For Livin'
37 P.J. Proby - Ling Ting Tong

Beat-Club 33 - 13.07.1968
01 Raymond Froggatt - Callow-la-vita
02 P.P. Arnold - Angel Of The Morning
03 At Last The 1958 Rock And Roll Show - I Can't Drive
04 P.J. Proby - What's Wrong With My World
05 The World Of Oz - The Muffin Man
06 Unit 4 Plus 2 - You Ain't Goin' With My World
07 Dave Justin - You Outside
08 Gene Pitney - She's A Heartbreaker 
09 At Last The 1958 Rock And Roll Show - Great Balls Of Fire

Beat-Club 34 - 31.08.1968
10 The Equals - Baby Come Back
11 Tim Rose - Long Haired Boy
12 Cupid's Inspiration - Yesterday Has Gone
13 The Mirror - Gingerbread Man
14 Ranee & Raj - Feel Like A Clown
15 Arthur Brown - Fire
16 Bruce Channell - Keep On
17 Dave Dee, Dozy, Beaky, Mick & Tich - Last Night In Soho

Beat-Club 35 - 14.09.1968
18 Amen Corner - High In The Sky
19 John Walker - Kentucky Woman
20 The Equals - Laurel & Hardy
21 Ben E. King - It's Amazing
22 The Nice - America
23 Madelaine Bell - I'm Gonna Make You Love Me
24 Status Quo - Ice In The Sun
25 Dave Dee, Dozy, Beaky, Mick & Tich - Last night In Soho
26 Canned Heat - On The Road Again
27 Arthur Conley - Sweet Soul Music
28 Leapy Lee - Little Arrows
29 The Hollies - Do The Best You Can
30 The Move - Wild Tiger Woman
31 Ben E. King - What Is Soul

Beat-Club 36 - 12.10.1968
01. Vanity Fare - I Live For The Sun
02. Casuals - Jesamine
03. The Merseys - Lovely Loretta
04. The Love Affair - A Day Without Love
05. The Grapefruit - C'mon Marianne
06. Harry Nilsson - Everybody's Talking
07. Dave Dee, Dozy, Beaky, Mick & Tich - Last Night In Soho
08. The Who - Magic Bus
09. Sandie Shaw - Those Were The Days
10. The Easybeats - Hello, How Are You
11. The Troggs - Hip Hip Hooray

Beat-Club 37 - 16.11.1968
12. The Easybeats - Goot Times
13. Spooky Tooth - The Weight
14. Blue Cheer - Summertime Blues
15. Family Dogg - Brown-Eyed Girl
16. The Who - Magic Bus
17. Dave Dee, Dozy, Beaky, Mick & Tich - The Wreck Of The Antoinette
18. The Bee Gees - I've Gotta Get A Message To You
19. The hollies - Listen To Me
20. Barry Ryan - Eloise

Beat-Club 38 - 31.12.1968
21. The Foundations - Built Me Up Buttercup
22. Simon Dupree & The Big Sound - Thinking About My Life
23. The Equals - Softly Softly
24. Tiny Tim - Tip-Toe Thru' The Tulips
25. Bonzo Dog Doo Dah Band - I'm The Urban Spaceman
26. Gene Pitney - Billy You're My Friend
27. Manfred Mann - Fox On The Run
28. The Bee Gees - I've Gotta Get A Message To You
29. Geno Washington & The Ram Jam Band - Bring It To Me Baby
30. Billie Davis - I Want You To Be My Baby
31. Joe Cocker - With A Little Help From My Friends
32. The Marmalade - Ob-la-di, Ob-la-da
33. The Beach Boys - Bluebirds Over The Mountain
34. The Flirtations - Nothing But A Heartache

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The Move