94
Baker Street
The
Pop-Psych Sounds of the Apple Era
1967-1969
by
Various Artists including The Iveys
compiled by Tom
Brennan
last update: October 20, 2008
94 Baker Street
recorded 1967-1968
at 7 Park Avenue, London
produced by The Iveys
A new 18-track CD from the vaults of Apple
Publishing
featuring 5 previously unreleased rare recordings by The Iveys was
released on October
6, 2003 on the RPM
(Cherry Red) label (RPM270) and
on November 4, 2003 in the U.S.A.
Complete track listing:
FOCAL POINT:
01. Love You Forever [A-side]
02. Sycamore Sid [B-side]
03. Never Never [previously unreleased]
04. Girl On The Corner [previously unreleased]
05. 'Cept Me [demo]
GRAPEFRUIT:
06. Dear Delilah [A-side]
07. Ain't It Good [B-side of C'mon Marianne]
08. Lullaby [original version, previously unreleased]
09. Another Game [original version, previously unreleased]
WAYS AND MEANS:
10. Breaking Up A Dream
IVEYS:
11. I'm Too Shy [demo]
12. Maybe Tomorrow [demo version]
13. Tube Train [demo]
14. She Came Out Of The Cold [demo, long version]
15. I've Been There Once Before [demo]
PAINTBOX:
16. Getting Ready For Love
JOHN FITCH & ASSOCIATES:
17. Romantic Attitude
18. Stoned Out Of It
Review by Tom Brennan:
Focal Point sound like a very talented
pop group
and it's a shame that Apple dropped them and focused their attentions on
Grapefruit.
Their lead vocalist had a very pleasant voice. I tend to agree with
Stefan's accessment
of their unreleased tracks being better than their released tracks. Out
of this group
of 5 songs, "Never Never" is by far the best track, especially with its
"Strawberry Fields Forever" sounding mellotron. "Girl On The Corner"
is another great track. Definitely classic psychedelic pop here. Even
their bare
bones guitar demo of "'Cept Me" is excellent. It shows off the great
sense
of melody in Focal Point's songwriting. According to Granados, this demo
really got
the attention of John Lennon. Unfortunately, after releasing one single
on Deram,
Focal Point faded into obscurity in the wake of all the new artists
being signed
to the young Apple Records label.
Grapefruit had a similar sound to Focal Point, but was slightly
more successful.
They had an excellent songwriter, George Alexander, writing all their
material. Their
sound was a little more progressive sounding than Focal Point's, which
may be why
Apple switched their attention to Grapefruit. This is just a guess on my
part, but
Focal Point's sound may have been considered too dated for the time,
especially in
the late 60s when music trends were changing quickly. All the Grapefruit
songs in
this collection are excellent, but the most interesting track here is
the McCartney-produced
version of "Lullaby". In hindsight, it appears that a poor business
decision
was made by issuing an inferior recording (the one with string overdubs)
as a single
instead of the one included on this CD.
Ways And Means were not involved with Apple, but they released a
George Alexander
(Grapefruit) composition, "Breaking Up A Dream", which Grapefruit only
recorded on a BBC session. This is good power pop.
The Iveys were actually signed to Apple Records BEFORE they were
signed to
Apple Publishing. "I'm Too Shy" is the smash hit that should have
been. Unfortunately, most of The Iveys' career was full of "could ofs"
and "should ofs" because of a lot of bad decision making. With its
soaring
harmonies, distorted guitar, and incredible drum fills, it's amazing
that "I'm
Too Shy" was never considered for a single release. This song is just so
damn
catchy and never gets boring to listen to. This would have been more
successful than
"Maybe Tomorrow" as a debut single release, or at least a stronger
follow-up.
Let's just be grateful that it has finally seen the light of day and can
hopefully
start to change many people's opinions of the quality of The Iveys'
abilities. 1968
seems to be the most prolific period for Tom Evans as a songwriter. He
composed most
of the major Iveys releases on Apple Records and "I'm Too Shy" is just
further proof of his abilities. The demo recording of the first Iveys
single, "Maybe
Tomorrow" pretty much follows the same arrangement as the single,
except
for the bridge section, which originally contained a piano solo. While
recording
the single, the climactic vocal section to the bridge was created to
replace the
piano solo. This turned out to contain the best line of the song in my
opinion, "Let
the light of your love shine through the window of my heart". It's
always great
to hear a new Ron Griffiths composition, and "Tube Train" is no
exception. This is one incredible demo recording with its sound effects
of voices,
trains whizzing by, and guitar parts & drumming that sound like a
train going
down a track. Even John Lennon himself couldn't believe this was only a
demo recording!
The only bad thing here is that it's difficult to understand a lot of
the lyrics
because of the way the demo was mixed & recorded. "She Came Out
Of The
Cold" has been heard before by Badfinger fans who purchased the
2nd edition
of the book "Without You, The Tragic Story of Badfinger". That book
included
a bonus CD which included an alternate version of this demo that had one
less verse
than the version included on "94 Baker Street". The song is fairly
sophisticated
in its lyric writing with Tom & Pete writing a story of a guy who
falls in love
with the ghost of a girl who appears on the one-year anniversary of her
death in
the cold. The effective use of pixiephone on this demo gives it that
"cold"
feeling. If that song isn't scary enough for you, the final Iveys demo,
"I've
Been There Once Before" will scare you. Written by Pete Ham about
an actual
dream he had about an air show accident, the events in the dream
allegedly really
happened not too long after Ham's dream. With Ham's spooky vocal and
Jimi Hendrix-like
guitar playing to simulate an airplane diving, The Iveys come up with
another amazing
demo recording. This song reminds me a lot of The Who's song, "Glow
Girl",
which was also about a plane crash.
Paintbox was a group that included songwriter George Alexander
from Grapefruit.
Their track, "Getting Ready For Love" sounds like typical 70s soul
music.
John Fitch And Associates had a one single deal with Apple
Publishing that
also included Milton Music which was associated with Beacon Records.
These songs
are the least interesting in the collection, but are still worthwhile.
This group
also sounds like 70s soul music.
This CD compilation is a must-have for any fan of sixties pop music or
any fan of
Badfinger. It also includes an excellent essay by "Those Were The Days"
author Stefan Granados, as well as rare photos and memorabilia from the
days of Apple
Publishing in 1967-1968.
Tom Brennan, December 5, 2003, revised January 19, 2004 (research
information
thanks to Stefan Granados and Dan Matovina
preliminary cover art...
Focal Point update from Paul Tennant:
"I was the founder member of Focal Point and
lead
vocalist. I have been actively involved in the business ever since 1974
when Focal
Point split for the last time. After the Apple days, we went back to
Liverpool and
played all over the north of England and then signed a deal with State
Music, however
again no big hits.
I then went and played all over the world with various people, did a bit
with duos,
trios, bands, etc etc. I have recently returned from the USA where I was
in a great
band playing all Virginia, West Virginia, Maryland, called "Something
Else",
mainly country as most of the members were from Memphis. Also cruised on
the QE2
working with Roger Dean, who was lead guitarist with John Mayall prior
to Clapton
joining.
At the moment, I am working back in the UK gigging home counties, and
London. So,
you see, out of sight, but definitely not out of mind.
Oh, by the way, we do have a full album of Focal Point material
planned for the
Fall of 2004, containing a lot of Apple demos, and State Music tracks.
Take Care,
Paul
posted December 24, 2003
Update: January 4, 2004:
Due to contractual reasons, the Misunderstood
tracks had
to be removed from the CD. A few copies of the new CD appear to have
gone out with
the original liners, which have since been corrected. Also, the order of
the first
2 tracks has been corrected. Please pass on our sincere apologies for
the creation
of a rather confusing situation. We will check the supply of spare
corrected inlays
so people who want to can substitute one for the other.
RPM Records