In the wake of completing the second instalment of the “Variations” series on Canadian Beatles 45 RPM singles variations, I realized two things. First, unlike the albums, not all Beatles singles were reissued by Capitol through the years. It makes plenty of sense too because singles were mostly designed to promote new tracks and boost sales of the albums, so from this point of view, one could wonder why even re-release singles of older albums?…
In reality, some titles were surprisingly pressed only once, but others were sporadically reissued on the many different Capitol labels through the years; more or less following the evolution of the LP labels, on target label pressed by either Compo or RCA, the orange and purple labels pressed by Capitol’s own pressing plant in Mississauga, or the retro rainbow label pressed by Columbia in the 80s.
Only in 1976 when they opened their own new Mississauga pressing plant did Capitol make an effort to re-market the (almost) entire Beatles Catalogue with their “Beatles Forever” series of 45s, featuring a peculiar picture sleeve of the four guys’ heads mounted on a union jack T-shirt… Beatles records on the orange labels unevenly started featuring stereo mixes, many of them being “new” odd rechannelled stereo mixes of original mono tracks. Capitol finally decided to re-handle the Canadian Beatles catalogue in the mid 1980s by providing a “definitive” series of LPs and 45s on the retro rainbow label, which featured completely new masters made from original stereo tapes (and not fabricated rechannelled stereo like the few previous generations of pressings).
The other interesting fact that I came to realize while exploring the various reissues of Canadian Beatles singles is that only one title in the entire Beatles catalogue was reissued regularly until the late 1980s. Indeed, Twist and Shout was a huge hit, so it is no surprise to see it has been repressed year after year on all Capitol label designs, from the early 60s swirls, to the late 1986 retro purple label (the only Beatles single known to have been issued on this label).
The coupling of Twist and Shout and There’s A Place was not a UK head office creation, but like Tollie did in the USA, Paul White took the initiative to couple these songs, motivated by feedback from Capitol sales’ representative (source: Piers Hemmingsen). This gave the record its special “CC” matrix numbers (for “Capitol Canada”) instead of the usual “7XCE” UK master reference. To me, this unique Canadian 72000 series record is one of the most interesting items featured in the 45s variations series.
Here below is the detailed evolution of this magnificent record.
The original first pressing of Twist and Shout was released on March 16, 1964 on the iconic Capitol orange and yellow swirl label (with no brackets around the word “Canada”. This record was pressed by RCA in Smiths Falls and was issued in a traditional black Capitol company sleeve (non-glossy).
In 1965, Capitol USA issued six Beatles singles on the green swirl Starline label. On October 18, Capitol Canada issued four of these Starline singles, and one of them was Twist and Shout / There’s A Place. Being a USA initiative made from US pressing plates, this variation of the single does not bear the uniquely Canadian 72000 series catalogue number, but features the US Starline Canadian number 45-6061 instead. So although the mixes are technically the same, this single is made from a master that is different from the one used in Canada for the regular stock copies. This record was sold in the Canadian Starline sleeve.
The second 72000 series variation of Twist and Shout (72146) was released around mid-1967, still on the iconic swirl label, but this time featured brackets around the word “Canada”. These pressings were made in much smaller quantities and are harder to find. This being said, amongst the brackets swirl reissue series, Twist and Shout is probably the easiest one to find. This reissue features the same mix and master as the original release, but was made from later pressing plates with a circled “No 2” and “No 3” at the end of the usual matrix numbers etched in the dead wax. This record was also pressed by RCA. This record was sold in a white Capitol company sleeve with the word “Capitol” printed sideways all over the sleeve.
The third variation of Twist and Shout was released somewhere around June 1969 or early 1970. This variation was featured on the flat textured target label (with the Capitol target logo) and was also pressed by RCA. Target 45s are quite scarce because not all titles were pressed on that label, and those that did were made in very small quantities. This reissue features the same mix and master as the previous release. It is doubtful that more than one batch was made on this label. This record was sold in a blue and yellow target Capitol company sleeve.
The fourth variation of Twist and Shout was released around 1972 and was featured on the first generation of orange labels with the golden perimeter print. These reissues were pressed by Compo, which makes this particular variation quite interesting since it is one of the rare examples where an RCA pressed record was later re-pressed by Compo. Because it was pressed by a different plant, the record bears a different matrix numbers than its previous releases, although it features the same mix issued from the same master tracks. These first generation pressings are not so easy to find because very few Beatles 45s were pressed on this label generation, and those that did were made in extremely small quantities. This record was sold in a brown and orange target Capitol company sleeve.
The fifth variation is also a bit peculiar because it was released by yet another pressing plant; this time Columbia. It was released sometime between 1974 and 1975. This variation was featured on the orange label, but unlike other 2nd generation orange label 45s, the font used by Columbia is quite different, and resembles the font used by the same company later in 1986 (see last entry below). This variation features yet another different matrix number, for the fact that it was made band mastered by Columbia, but also because it was featured for the first time in Stereo. Note, the label erroneously states it was released in 1972, when in fact it was released a little later around 1974). This record was sold in a brown and orange target Capitol company sleeve.
The sixth variation was pressed in 1976 at Capitol of Canada’s own brand-new pressing plant located in Mississauga, Ontario. For the occasion, the company repressed all Beatles 45s as a special series meant to promote the band’s back catalogue. A unique (and odd) picture sleeve was prepared where one could see the four Beatles heads from the Let It Be album cover pasted on a single Union Jack T-shirt. This variation was pressed with a 3rd generation orange label, and features a bumpy ridge all along the outer edge of the label. The matrix numbers found on these pressings are similar to the original number sequences found on early pressings, but from here on, it features stereo mixes of the songs. This record is quite common and was sold in its unique Beatles Forever picture sleeve.
The seventh variation was pressed around 1978 at Capitol of Canada’s Mississauga pressing plant. This variation features the first generation purple 45 labels (equivalent to the 2nd generation purple LP labels) with the perimeter print stating “Capitol Records-EMI of Canada” and the bumpy ridge on the edge of the label. Not many copies were pressed on this label variation. The matrix numbers found on these pressings are also similar to the original number sequences found on early pressings (but with suffixes as high as -4 or -5), featuring once again, the stereo mixes of the songs. This record was sold in a purple paper Capitol company sleeve.
The eighth variation is much more common and was pressed between 1980 and 1983 at Capitol of Canada’s Mississauga pressing plant. This variation features the second generation purple 45 labels (equivalent to the 3rd generation purple LP labels) with the perimeter print stating “Manufactured in Canada Under Licence by Capitol Records-EMI of Canada” and the bumpy ridge on the edge of the label. The matrix numbers found on these pressings are also similar to the original number sequences found on early pressings (but with suffixes as high as -4 or -5), featuring, again, the stereo mixes of the songs. This record was sold in a silver paper Capitol company sleeve.
The ninth variation of Twist and Shout was a short run and mostly, it was the last pressing of this title made at Capitol of Canada’s Mississauga pressing plant in 1983. This variation features the retro rainbow label, with a round font in all CAPS letters, and the classic Capitol pressing plant bumpy ridge. The matrix numbers found on these pressings are different, indicating they were made from a different master. This one features the stereo mixes of the songs. This record was sold in a grey Polyethylene Capitol company sleeve.
The tenth variation of Twist and Shout was pressed by Columbia, who pressed Beatles records in Canada for the remainder of Capitol’s vinyl release activities. This variation also features the retro rainbow label with the round font in all CAPS letters, but it does not bear the bumpy ridge anymore. From this point on, catalogue numbers were changed by adding a “B” before the number, now making this title the number B-72146. This variation was pressed around 1983 before Columbia released a more standardized series of Beatles records in the mid 1980s. The matrix numbers found on these pressings are different, indicating they were made yet again from a different master. This one features stereo mixes of the songs. This record was sold in a grey Polyethylene Capitol company sleeve.
The eleventh variation of Twist and Shout was pressed between 1983 and 1986, and featured the standardized retro rainbow labels with thinner silver fonts. The matrix numbers found on these pressings are similar to the previous variation and also feature the stereo mixes of the songs. This record was sold in a grey Polyethylene Capitol company sleeve.
Finally, the twelfth and final variation of Twist and Shout was issued on the retro-purple label in 1986. This is an interesting release because it is the last Beatles 45 to be pressed in Canada, it is the only Beatles 45 to have been pressed on this label variation, which makes it quite scarce and hard to find today. Although this has not been verified, the release of this record coincides with the release of the hit movie Ferris Bueler's Day Off, which features the song Twist and Shout in an iconic scene of the movie. Although the release might not have been prepared specifically for this, people might have regained interest in the song and asked for more copies of the single. The matrix numbers found on these pressings are similar to the previous variation and also feature the stereo mixes of the songs. This record was sold in a light grey “Checkered” paper Capitol company sleeve.
So this covers all the known variations of this unique Canadian Beatles single. If you are aware of any other unlisted variation, please contact us and I will be happy to update our archive and add your name to the variations book’s thank you list! If you liked exploring this archive of the many variations of a record, stay tuned for the upcoming Variations 2 book due later this year. Meanwhile, you can take a look at Variations 1, which catalogues all variations of all Canadian Beatles LPs from 1963 up until their late 1980s reissues.
This has been another busy month getting out to look at records and tapes. This month we will take a look at some more "oddball" releases from the Great White North. March 2016 marked the fiftieth anniversary of the very first Canadian release by an oddball band from the US west coast. Nothing can be more "oddball" than Captain Beefheart And His Magic Band. Today we attempt to cover the early Canadian releases by this much misunderstood band.
My initial exposure to the Captain was via the Frank Zappa album called Hot Rats which a friend of mine had purchased upon its release late 1969. On that LP, Captain Beefheart sings on the track Willie The Pimp.
Like The Pink Floyd's Syd Barrett, Beefheart always had a cult following and he rarely toured in Canada. He played two evening shows (7 pm and 10 pm) at the Convocation Hall at the University of Toronto on Sunday April 7, 1974. The first disc release in Canada in 1966 was a single that mixed a heavy blues sound with the harmonica of the early British R&B bands like The Pretty Things.
March 1966 - A&M 794X - Captain Beefheart And His Magic Band - Diddy Wah Diddy / Who Do You Think You're Fooling - white label demo copies
There is no evidence that his second A&M 45 was pressed in Canada (Moonchild / Frying Pan A&M 818) but any further info would be welcomed.
The first album in the USA was issued on the Buddah label but I can find no record of a Canadian pressing from that year. Buddah did not issue albums in Canada for some reason.
September 1967 - Captain Beefheart And His Magic Band - Safe As Milk (no Canadian release ?)
While I can find no Canadian pressing of this album, some budget label copies of the album were imported from the UK. These are all MONO copies with nice laminated covers (Pye / Marble Arch MAL 1117). The album pursues the blues in the Delta vein and it features a very young Ry Cooder. John Lennon must have enjoyed the bluesy album as a sticker from the album adorned his cabinet in the fall of 1967.
October 1968 - Polydor / Blue Thumb BTS-1 (stereo) - Captain Beefheart And His Magic Band
This was I think the very first proper Canadian Captain Beefheart album. The album was issued in a cool gatefold sleeve with a very unusual B&W photo of the band across the inside. The music on the disc was still highly blues oriented but the vocals are deliberately obscure. This music takes a while before it can possibly become an acquired taste. It screams "underground" and that surely was the market for it.
June 1969 - Compo / Straight STS-1053 ( 2 disc set) - Trout Mask Replica - while both discs were pressed the Compo plant in Cornwall, Ontario with the colourful custom Straight labels, the jacket, inner sleeves and booklet were all imported from the USA. Regarded by many as his finest work, it is an unusual set to say the least and can be filed under "experimental / avant garde music". First pressings are pressed on abnormally heavy gauge vinyl. This is the kind of record that should be studied at the university level. It is just so different from what most people would have wanted to listen to at the time. I didn't like it at first (I thought it was rubbish compared to the King Crimson) LP of that year), but now I like it a lot. Perhaps the album was just way ahead of its time .. released just a couple of months before Woodstock.
December 1970 - Reprise / Straight RS-6420 - Lick My Decals Off Baby - by the end of 1970, Reprise was no longer using the tri-colour steamboat label in Canada and had migrated to an orange/tan label. While the album moves another step forward, the label and packaging returned to the more corporate record company look in the wake of its wonderful predecessor from the previous year. I guess Straight Records had such a cool label so I wondered why they just used a Reprise label for such a thoroughly enjoyable album.
Mirror Man - Buddah / Quality BDS 5077 (die cut gatefold with mirror graphic showing through the front cover) - the record was pressed by Quality Records and imported gatefold jackets were shipped with a large Quality Records sticker. This record contained material recorded in 1967 when the band was working out the Strictly Personal album. The material was not recorded in 1965 as stated on the jacket.
Enough is enough as they say so we will end our Captain Beefheart Canadian discography right here as it really is the right point to do so. My advice is to give these records a spin and rediscover The Captain for yourself... from 1966 to 1971, the musical experimentation and growth from start to finish was HUGE.
Pye (Phonodisc) Y8P-18359 - The Kinks - Lola Versus Powerman And The Moneygoround - Part 1
This 8 track appeared in late November 1970 and is interesting because the PYE logo is "hand drawn" which perhaps indicates that Phonodisc in Canada was just starting out with 8 track tapes. For example, I have not yet see a Canadian 8 track tape release for Arthur or its predecessor The Village Green Preservation Society (the first two Kinks albums issued in Canada by Phonodisc). The white shells were marked by the manufacturer, Stereodyne / Dynapak. The vinyl LP equivalent was issued in Canada as NSPL-18359 (stereo). Thanks to Frank Manley for providing the images.
Marble Arch (Phonodisc) Y8MA 1369 - Stack - Rock N' Roll Revival
Just a few months later, in 1971, Phonodisc had switched from using white shells to using the same un-marked black plastic shells used by Capitol for The Beatles Canadian 8 track tape releases. The vinyl LP equivalent was issued in Canada as MALS-1369 (stereo). These are covers of late 50s hits by Chuck Berry, Elvis, Jerry Lee Lewis, etc.
These tapes were played in cars too. Please check in again next month for another article.
The world lost one of the giants of 20th. Century Rock and Pop music early this year. My own first memory of David Bowie was during the summer of 1972 when the brand new Ziggy Stardust album landed on a turntable during the zenith of a basement "rec room" party in Aylmer Quebec. Of course it was being played at maximum volume. "Glam rock" was upon us yes ... but Bowie had already seen several of his earlier efforts receive a waxing in Canada.
This brief post pays tribute to those early and quirky Canadian Bowie releases. Sorry but I am skipping the early RCA releases because they were pretty much the same as those issued in the USA. These early releases to me are far more interesting and are often overlooked. Let's try and correct that!
Dig Anything You Say / Can't Help Thinking About Me (1966, Allied, cancelled ?)
To date I cannot confirm the Canadian Pye release above but the US release on Warner Brothers (WB 5815, May 1966) suggest that it was also considered for issue in Canada by Pye (Allied). The Kinks' Klassik Dead End Street / Big Black Smoke was issued as Pye 813. And if anyone has a copy of Pye 812, please step forward!
Rubber Band / There Is A Happy Land (June 1967)
Love You Till Tuesday / Did You Ever Have A Dream (September 1967)
(over the years I have been able to find copies of such obscure releases as both 45s by Eyes of Blue - DM.85001 and DM.85003 - so it is possible that the two Bowie Deram 45s were given a release in Canada but I have never seen either one)
David Bowie - Space Oddity / Wild Eyed Boy From Freecloud (July 1969)
Just as man was landing on the moon, David Bowie was "out" in record shops in Canada with this release.
Pye 7N 8002 *
David Bowie And The Lower Third - Can't Help Thinking About Me / David Bowie - Dig Anything You Say (1971, Phonodisc, blue label)
(*note the previous release on Pye was Pye 7N 8001 - The Kinks - Gods Children / The Way Love Used To Be)
London L 20079
David Bowie - The Laughing Gnome / Gospel According To Tony Day (November 1973)
(this reissue from 1973 consisted of two tracks from the Images Lp that was issued by London Records of Canada).
David Bowie (May 1967)
I have an original Compo-pressed 1967 stereo copy (punch hole) but I have never seen a mono copy although it is possible one was issued. His very first album of all. an original Canadian copy is very rare in any condition. Most copies were deleted quickly.
This album has all warm sound and nice arrangements of the two great contemporary Cat Stevens albums on Deram. In my opinion, Bowie was interesting after his Deram days but these tracks are his very best in my opinion ... but a lot of Bowie fans would disagree with me ! If you like The Kinks in their poorest selling days - think Dead End Street, Big Black Smoke, Wonderboy and Pretty Polly - then you will love this Bowie album. If not, then you won't!
David Bowie - Man Of Words Man Of Music (January 1970).
Well, although the album was pressed in Canada by London Record of Canada in early 1970, the disc was sold in an imported US gatefold jacket.
The Canadian Compo pressings of the disc feature a black label with silver print and are next to impossible to track down. The label does not list the actual title of the album - weird. Good luck finding a copy!
David Bowie - The Man Who Sold The World (November 1970)
I have yet to see an original Canadian release of this album. All of the copies that I have seen in Canada were imports from the USA and have a punch hole. If anyone has seen a Canadian Mercury pressing of this album, please get in touch!
London BP-628, BP-629
Images 1966-1967 (1973).
This double album set is the one to get, as it contains all of his Deram material... the 1967 album plus lots of obscure A and B sides. Early discs are Compo pressings.
London Promo 6
London Records Presents (1973)
This promotional LP includes the track "There Is A Happy Land" from the double London LP Images.
Deram DPA 3009, DPA 3010
Hard Up Heroes (1974)
One of the best compilation albums of all time, compiled by Roy Carr and Charles Shaar Murray of the NME. Disc 2 contains one track by Bowie, "The London Boys" but inclusion of the Bowie track in the lineup was essential for perfect context. By the time this album was issued in Canada, the vinyl shortage was upon us and Compo had moved their pressing plant. These London pressings were physically lighter and slightly less warm sounding. A good point to end our Bowie tribute.
Next month (April 2016) we will try and catch up on the backlog of interesting discographical updates!
The Creation were arguably one of the most impressive of the new British Power Pop groups to arrive in 1966. As they rightly claimed, "our music is red with purple flashes". They, perhaps like The Velvet Underground, created the genre of Art Rock. They painted canvasses on stage to accompany their hit Painter Man. They incorporated all of the rock guitar elements of The Who, the edgy satire of The Kinks, and the Mod sensibilities of The Small Faces. The group shared a producer with The Kinks and The Who, that being Shel Talmy, the expatriate American who produced some amazing discs after he arrived in the UK. Some examples included You Really Got Me by The Kinks and My Generation by The Who.
No album was ever issued in Canada by The Creation which is a pity, but four very terrific and rare singles were pressed in Canada. And they were always really a singles band anyway. My first "heavy" experience with the group was in the mid-1970s when Brian Hogg covered The Creation and their discography in his excellent magazine "Bam Balam No.4" and that issue is essential reading for anyone remotely interested in 1960s Art Rock. He noted that the mixes of some of the North American singles were different to the mixes issued in the UK and Europe.
The classic lineup for The Creation in 1966 and 1967 featured Eddie Phillips (guitar, sometime with bow), Bob Garner (bass), Kenny Pickett (vocals), Jack Jones (drums). Kim Gardner joined in 1967. Ronnie Wood joined in 1968.
The group was hugely popular in Germany but they disbanded in June 1968.
(July 1966) Barry B-3434X - The Creation - Making Time / Try And Stop Me (issued in the USA as Planet 45-116)
(November 1966) Barry B-3453X - The Creation - Painter Man / Biff Bang Pow (issued in the USA as Planet 45-119)
(July 1967) Decca 32155 - The Creation - If I Stay Too Long / Nightmares (issued in the USA as Decca 32155)
The fourth Creation 45 was not issued until September 1967. Some years ago I purchased a box of old 1960s record dealer catalogues from the Pembroke Record Centre (Pembroke, Ontario). The Decca catalogue for 1968 listed both Decca Creation 45s as being issued here in Canada. Here is a segment of page 254:
Recently, regular contributor Frank Manley alarted us to the Canadian Decca copy of Nightmares. Although I have the two Barry singles, I had not seen a Canadian pressing of this disc before.
During August 1967, just a few weeks before Decca issued The Who's great disc "I Can See For Miles", Compo finally adopted the newer Decca colour-band label format for its 45 releases. So by the time Compo issued their second Creation 45, the colour bands labels were being used.
(November 1967) Decca 32227 - How Does It Feel To Feel / Life Is Just Beginning (issued in the USA as Decca
I don't think I have ever seen any original Canadian radio station chart entries for The Creation 45s issued in Canada in 1966 and 1967. And I never heard them played on radio during that time. Not getting radio airplay in Canada usually meant that the discs were not going to get a chart place of any kind.
In the early 1970s, I recall seeing a a few copies of a British import album on the Charisma label (Creation 66-67) that pulled together many of their singles and their B sides. Well worth picking up that LP as well. The imported album was sold only at the specialist import shops.
To date we have obtained original label images for the first 3 of the 4 Creation discs issued in Canada. If there is anyone out there who has a Canadian pressing of the second Decca 45, please get in touch. Many thanks again to Brian Hogg, Frank Manley and to our friends at the global 45s web site www.45cat.com.
Stay in touch (through the coldest season of the year) and see you next month!
The CBC TV show Take Thirty travelled to London in the late summer of 1966 and one of the great interviews they did from London was with Paul Jones who had left the “serious” pop group Manfred Mann in July 1966 to embark on a solo career. Paul was interviewed by the CBC in the courtyard of an English pub and has clearly already had “one or two". Standing with a pint mug of beer, he talked about leaving a successful Pop group to go solo. His solo career that would ultimately include music, film, and stage works. He had already recorded “away from Manfred Mann” with The Powerhouse in the spring of 1966. By autumn 1966, he was busy working on the Peter Watkins’ film Privilege which was released in late February 1967 to critical acclaim.
In June 1967, Paul Jones and Jean Shrimpton appeared on the front cover of the British magazine “Film And Filming” in a photo from a scene from the film “Privilege”. Paul Jones later starred in an independent B&W British film from 1968 titled “The Committee” that featured soundtrack music by The Pink Floyd and Arthur Brown. Jones also appeared in the London West End presentation of “Conduct Unbecoming” in July 1969. With so many competing “Thespian” interests after 1966, it can be easily concluded that making hit records was no longer his number one priority. But oddly, his records were always good after 1967.
Fortunately, I interviewed Paul Jones at the El Mocambo on September 17th, 1981. He was in Toronto to play concerts with The Blues Band. Along with PauI, I also interviewed ex-Bluesbreaker drummer Hughie Flint. Both were great fun to meet with. When I asked Paul about his great Manfred Mann B-sides he was puzzled. When I mentioned that the B-side of Pretty Flamingo, You’re Standing By, was one of my favourite Manfred Mann tracks he just laughed and rolled his eyes because he didn’t think I was serious. But he did tell me that he very much liked that period of his musical career.
But lets go back to the fall of 1966. Capitol of Canada knew something was up with Paul Jones and Manfred Mann as they pushed out a Greatest Hits album … featuring Paul Jones. But Capitol knew a good vocalist when they heard one and signed Jones up for his solo releases.
45 Capitol 5745
Baby Tomorrow / I Can’t Hold On Much Longer
45 Capitol 5800
High Time / It Is Coming Closer
45 Capitol 5857
I’ve Been A Bad, Bad Boy / Sonny Boy Williamson
45 Capitol 5970
Privilege / Free Me
Two more songs from the film Privilege issued in the wake of The Beatles opus Sergeant Pepper’s Lonely Hearts Club Band.
Oddly none of these four great solo Capitol of Canada 45s generated much chart action in Canada. They were consigned to the bargain bins. The easiest of these singles to find now is Bad, Bad Boy. My personal favourite is High Time which should have been a hit in Canada. At this same time, Manfred Mann (with Mike D’Abo on vocals) issued more great discs in Canada with the terrific soundtrack LP Up The Junction, the single Mighty Quinn, the single My Name is Jack, and finally the single Fox On The Run. Perhaps few cared that Paul Jones had left Manfred Mann.. or even knew that he had been replaced. As they say, the hits just kept on coming!
Elektra EKL-4002 (mono) EKS-74002 (stereo) – “What’s Shakin’” – includes 3 tracks by Eric Clapton & The Powerhouse (released June 1966)
Paul Jones (vocal, harmonica)
Steve Winwood (vocal, guitar, keyboards)
Pete York (drums)
Eric Clapton (vocal, guitar)
Ben Palmer (piano)
Jack Bruce (bass)
I Want To Know (written by Sheila MacLeod, wife of Paul Jones)
Steppin’ Out (Memphis Slim)
Crossroads (Robert Johnson)
Certainly, these are among the very best tracks on the album and this is an essential blues and pop compilation album from the 1960s. Crossroads would become a staple for The Cream.
Capitol (S)T-2795 – “Paul Jones Sings Songs From The Film Privilege And Others” (mono and stereo) (both are pressed by Compo, released August 1967)
Privilege I’ve Been A Bad, Bad Boy I Can’t Hold On Much Longer Baby Tomorrow My Way Lady Godiva
Free Me (My Poor Heart Is Surely) Breaking Very Very Funny When My Little Girl Is Smiling I Can’t Break The News To Myself
UNI 3005 (mono) and 73006 (stereo) – “Original Soundtrack Album, Privilege” (mono and stereo, March 1967)
Privilege Stephen Vanessa Free Me It’s (Over) Otherness Time Free Me (Reprise)
I’ve Been A Bad, Bad Boy Onward Christian Soldiers I’m Alright Jackboot Alvin Jerusalem Birmingham, Oh Birmingham
Nothing was issued in Canada album–wise after the Privilege LPs in Canada until the early 1970s. Jones issued two albums in England in the 1966-1967 period. These were My Way (HMV, 1966) and Privilege (EMI, 1967). In 1968 and 1969, Paul Jones issued two more great solo albums in England; Love Me Love My Friends on HMV, and Come Into My Music Box on Columbia. Both of these albums were adventurous pop and are well worth seeking out. During the 1968 and 1969 period, Jones was popular in places like Sweden where his solo 45s were popular… and numerous (with really nice picture sleeves).
One 45 was issued in the USA in 1969 on the Bell label, but no Canadian 45 release has been verified yet.
Bell B-805 Paul Jones It’s Getting Better / Not Before Time (June 1969)
(The A side features the same song as the Mama Cass hit … but better ! The B side is a “beyond excellent” harmonica blues riff instrumental.)
London records released discs that Jones had issued in the UK on the progressive label Vertigo, a label now famous for its spiraling label design that makes you dizzy when you watch it spinning on your turntable.
45 London L.168 Paul Jones The Mighty Ship / Who Are The Masters (December 1971)
45 London L.178 Paul Jones The Pod That Came Back / Construction Worker’s Song (April 1972)
LP London XPS 605 Crucifix In a Horseshoe (April 1972, non gatefold)
A starring role in Evita, then a return to the Blues!
Following this progressive departure, Paul Jones made a stage name for himself in Evita and continued to release good singles in the UK on the Philips, RCA and Private Stock labels.
By the late 1970s, Jones returned to his blues roots by forming The Blues Band and that is where we leave our story for now.