My first big discovery since beginning this blog! A byway of rock history that was heretofore unknown to me. I've always been a huge, huge fan of the American Girl Group phenomenon of the 1960s and know most of the hits of the Ronettes, The Shirells, and Jackie DeShannon by heart. I had no real knowledge of the music going on on the other side of the pond, however, other than that of the Beetles. So here it is:
My introduction--today's discovery--is Petula Clarke, a name I'd heard before but, until today, never spun on my turntable. Clark's huge hit, "Downtown," is the final and title track on this album, a very exciting find. Though in some ways, this tune sounds very American (I'd always assumed that it was about NYC), it was actually recorded in England under the influence of Clark's idol, Edith Piaf. (While I'm not sure I hear a lot of Piaf on this track, I can hear her influence on others earlier in the album.)
(If, after listening to this, you haven't fallen in love with her voice, I can't help you.)
Just like the best of 60s American pop, Clark's British versions dig into the essential themes of teenage romance: "True Love Never Runs Smooth," "Baby It's Me," Now That You're Gone," "Tell Me That It's Love," and "Crying Through a Sleepless Night." And this is just side 1!
Clark's ditties follow pop formulas: simple, upbeat guitar licks; light, syncopated drumming; short hooks; and songs that clock in at about 2:30 on average. Her use of light orchestration (a la Piaf?) replaces the heavy, sultry sounds that typically back the American versions of this music. Clark's US counterparts had the advantage of Motown, Memphis, Nashville, and Phil Spector's experiments with the Wall of Sound, all of which add a bit more depth than Clark's backing players can muster. Which is not to say that, in places, their playing isn't catchy (on "Tell Me," for example, where the guitar and the Hammond organ jam together nicely). On much of the album, she deploys a dampening echo sound, and the limiting compressions of mono recordings don't help much either.
However, on a track such as "In Love," she does try out a blues-ier sound--not a total success--making me wonder what she would have been able to do with the Styx studio band. Without them, this version nearly wanders into the realm of Country music--an unfortunate slip for her. While she tries to do sultry (and the outfit she's wearing in this video certainly contributes), she just can't quite pull it off.
Perhaps the catchiest song on this album is "Be Good To Me," a perfect vehicle for Clark's light, fun, smart voice and song-writing sense. Now THIS could be an American tune! Perhaps this is an indication of the world-wide-ization of teen culture at this point in history (though Clark did spend a considerable amount of time in America, too). Whatever the explanation, this song alone makes the album worthwhile.
Thanks to the wonders of Last.FM, Clark has lead me to discover the wonders of several other early 1960s British gals with wonderful pop songs to share: Cilla Black; Billie Davis; Sandie Shaw; Helen Shapiro; and (yes) Lulu. Hours of more, delightful listening!
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