“[At what Frank intended to be his final recording sessions with Don Costa in October, 1970] There were two duets with Nancy Sinatra, ‘Feeling Kinda Sunday’ and ‘Life’s a Trippy Thing’, written by Nino Tempo and Howard Greenfield [with (a) Annette Tucker & Kathy Wakefield and (b) Linda Laurie, respectively]. Austin Powers would have loved them. ‘I mean what I sing, Life is such a trippy thing.’ Really? Frank ended the second song with the words, ‘That’s silly.'”
“Life’s a Trippy Thing” – recorded in October, 1970 with Don Costa in the producer’s chair – did not chart when originally released in April, 1971. 45Cat and Discogs both peg “Life’s a Trippy Thing” as the A track (see note on this DJ promo) paired with “I’m Not Afraid.” Both songs would be released for a French 45, whereas “Life’s a Trippy Thing” would find itself paired with 1967’s “Somethin’ Stupid” for the German market.
French 45 [note charming typo*] German 45
“Life’s a Trippy Thing” would also find release in Italy on a 1972 long-playing collection called The Voice, Vol. 3.
Those hoping to acquire “Life’s a Trippy Thing” today can pursue the original 45s on the resale market, or obtain the track via these other more contemporary ‘music products’ worldwide:
(4) one of two ‘B-side’ tracks included on the 2001 European CD single release of “Something Stupid.”
(5) one track (among many) on the Frank Sinatra Complete Reprise Studio Recordings20-CD box set.
Howard Greenfield, co-writer of “Life’s a Trippy Thing,” is one of the great Brill Building songwriters, whose four co-written #1 hits include “Love Will Keep Us Together.” Greenfield was inducted into the Songwriters Hall of Fame in 1991. Linda Laurie, Greenfield’s songwriting partner for “Life’s a Trippy Thing,” is probably best known for penning the 1959 novelty hit “Ambrose (Part 5)” while a senior at Brooklyn’s Abraham Lincoln High School, according to Billboard.
This past April, Billboard would note that, with 1967’s ‘Somethin’ Stupid,‘ Frank and Nancy Sinatra became the only father-daughter duo to top the Hot 100 — Nancy would tell NPR’s Fresh Air in 1996 that “DJs dubbed it ‘the incest song…’ It gave them something fun to kid about.”
The ringing, echo-drenched electric 12-string guitars on the debut single by Scottish rockers, The Poets, are such a striking sound for 1964 and yet a strangely familiar one: might it be possible that the band later reincarnated as Brian Jonestown Massacre?
“Now We’re Thru'” The Poets 1964
[play at strong volume]
What a revelation when one finds out – thanks to Richie Unterberger’s interview with lead singer and songwriter, George Gallacher – “apparently, there were no 12-string guitars, but what there was, was the two guitars having the 1st and 2nd strings tuned the same, thereby creating a semi-12 string effect.” That very same year interestingly enough, Lou Reed would take this concept to the ultimate extreme when he tuned all six strings to the same note (D) for his satiric dance (non)-hit “The Ostrich.”
With great feeling and commitment from every band member, “Now We’re Thru’” is a classic A-side from top to bottom, with the chiming guitars – and especially the lonely vocal at song’s end – ratcheting up the romance and mystery. The song would find release in Japan (manufactured by the “other” King Records), as well as the US,Australia, and the UK, where the song charted at #31, doing particularly well in Scotland, confirms Unterberger in his (revised) history of ‘overlooked innovators and eccentric visionaries’ — Urban Spacemen and Wayfaring Strangers.
“Bob Crewe, independent record producer, has formed his own label, Dynovox, which will be distributed by Amy-Mala Records.
The label’s first release is ‘Now We’re Thru” by the Poets. Crewe is currently producing sides for the 4 Seasons, and current releases ‘Watch Out Sally‘ by Diane Renay on MGM; ‘Dusty‘ by the Rag Dolls on Amy-Mala; newcomer Michael Allen on MGM Records with ‘She,’ and the forthcoming Travey Dey release on Amy-Mala.
The New Crewe label will not confine its efforts to pop releases. The New York Youth Symphony and show and movie scores are being recorded for future releases.”
Unterberger attributes much of the “brilliance” of The Poets’ singles to their manager/producer, Andrew Loog Oldham, and proclaims the band to be “certainly the most talented act in Oldham’s production/management stable other than the Stones.” According to a November, 1964 edition of New Music Express, the band’s name is “presumably derived from the fact that they wear their hair Burns-style and have ruffled lace-fronted shirts.”
After recording two singles for Oldham’s Immediate label, The Poets would carry on for one more single after Gallacher’s departure – 1967’s “Wooden Spoon” – before disbanding. Wait a minute, 1967 is the birth year for Anton Newcombe: coincidence or musical reincarnation?
The Poets would reunite in 2011 for a live performance at Glasgow’s Eyes Wide Open club. Tip of the hat (yet again) to Tom Avazian for hipping me to this track via UK anthology album from 1983: 20 One-Hit Wonders, Volume 2.
In fact, [George] Harrison’s Rickenbacker wasn’t the first electric 12-string on a British recording session. That honour belongs to a Burns guitar played by Hank Marvin of The Shadows. Marvin, a Fender Stratocaster player, had teamed up with British guitar-maker, Jim Burns, to design a new solid-body six-string electric. Burns also came up with an electric 12-string, and around October, 1963, Marvin received an early sample of the Burns Double Six. He took it along to various sessions at EMI’s Abbey Road studios in London where he was recording with Cliff Richard & The Shadows.
Marvin intended to record “Don’t Talk to Him” using the Burns 12, but problems arose, so instead he doubled a six-string line to achieve the prominent hookline. A few weeks later, however, he recorded another Cliff session and played the prototype Burns 12-string for “On The Beach.” Unusually, the 12 was strung like a six-string bass plus octave strings, clearly heard on the song’s low-down double string runs. Later in November, Marvin used the Burns 12 with regular stringing for “I’m the Lonely One.” These Cliff Richard songs weren’t released until 1964 — in the UK singles chart, “I’m the Lonely One” went to Number 8 in February and “On the Beach” to 7 in July — but they are important as early British recordings of the electric 12-string sound.
The book goes on to say:
The very first release of a British record with electric 12-string — just ahead of The Beatles and well ahead of Cliff & The Shads — was the result of another Abbey Road session. Paul McCartney gave one of his songs to Peter & Gordon, a new duo signed to EMI. They recorded their single “A World Without Love” at Abbey Road in January 1964, with sessionman Vic Flick [of James Bond theme fame] on guitar.
No doubt about it: Jimmy Page, given his role as composer, arranger, and producer, dominates this B-side by a group you’ve never heard of (i.e., recording career = exactly one 45). This song, I am now discovering, is virtually unknown to American fans of Page’s work, as it has mainly enjoyed release in the UK and Europe — first as a B-side, and later on compilation albums that showcase the daring and original music produced by UK’s renegade indie label, Immediate. Even now, when you search YouTube, the song barely registers: just one lonely audio clip, with a mere 1,707 listens to date.
Will you please tell us the song title already?! “Just Like Anyone Would Do” — the B-side to “Bells of Rhymney” on the one and only single ever released by Fifth Avenue:
Fifth Avenue “Just Like Anyone Would Do” 1965
From the flamenco-style guitar riff that propels the song, to the instrumental bridge with the majestic piano chording, to the ghostly backing vocals that linger after the rest of the mix has faded, there’s something fairly compelling about this song (ditto for another great Jimmy Page production from that same year that unfairly sank without a trace — Nico’s “I’m Not Sayin’“).
I first encountered this haunting track on a double-album anthology of Immediate singles (with album sides devoted to “The Most Obvious”; “The Rarest of the Rare”; “Happy to Be a Part of the Industry of British Blues”; and “Jimmy Page Productions/Sessions”) that was released, oddly enough, by Nashville-based Compleat Records in 1985.