CULT ARTISTS: CULT MUSIC

We have a number of true cult artists on our label doing rare recordings. Cult artistEleanor Rigby's can be found elsewhere. But this page features 3 of the biggest cult atists that we feature. They have all been hit acts. All have gone on to become collectable. There are other reasons to why all are cult acts. So read on. Even cult specialist may learn something new.

THE HONEYCOMBS

Getting a number one in 1964 was probably one of the hardest years to get a number one in if you consider the dominance of The Beatles and The Stones at the time not to mention hundreds of other classics that came out that year 'House of the rising sun' (Animals ) ,You really got me (the Kinks)Do wah diiddy (Manfred Mann), Baby Love (the Supremes) Needles and Pins (The Searches) to name but a few but the Honeycombs managed it for two weeks in late August with Have I the right (for some reason this record is also known as 'Come right back').
Although this was thier biggest they did in fact have mores hits but these are rarely remmembered. Songs like 'Is it because' (equally as good as 'H.I.T.R'), plus 'Thats the way' and 'Something better beggining' (this song was also covered by Eleanor Rigby live). In fact this song was a cover of a Kinks album track. Ray Davies of the Kinks liked the Honeycombs so much he even wrote a song specially for them that the kinks never recorded 'Emptyness'.
Two other reasons that made the Honeycombs such a cult act was the fact that they were unique because they were the first group to have a girl drummer and the fact that they were produced by The Legendary Joe Meek. The most innovative record producer of all time and all his releases are ultra collectable. (he even has his own section in record shops). Have I the Right had one of Joe's innovative ideas on it. He recorded people stopping on the staircase of his flat to use as a bass drum. (This was later copied sucesssfully by the Dave Clark 5).
The Honeycombs were in fact more more sucessful abroad than in the Uk and had numerous nurmber ones on Scandanavia, The rest of the Europe and 6 number ones in Japan.
Their last number one was in fact in Japan in the mid 60's with an instrumental version of Goldfinger a cover of the Bond theme. So it is ironic that some 30 years later they were tempted out of retirement by us at Future Legend Records to record the Bond theme Live and let die for Cult themes from the 70's Vol.2 which can be found elsewhere on this site.
As far as the line up goes, far from it being just the bass players from the original line up like so many sixties bands Russell Writer who produces all the cult themes insisted that the original line up reform to do the track. So complete with female drummer 'Honey Langtree' and her brother John on bass original vocalist 'Dennis D'ell' and Peter Pye this formed the the reformed Honeycombs for this one off project.
According to the band themselves it was the best recording of their careers (And that's saying something when you consider what they have previously done). They said although Russell reminded them of Joe a bit because of some of the weird things he asked them to do like Bass overdubs etc it was one of their most enjoyable recording sessions. They also enjoyed playing a one off gig for the launch of 'Cult Themes from the 70's Vol.2' at Madame Jo Jo's in London where they played to the youngest audience they had played to since their heyday.
Although another record company was interested in possibly putting out a new album, this deal fell thrrough so this recording will probably be their last legacy and become as collectable as some of their other stuff. Lead singer Dennis still sings in pubs and clubs in a blues outfit but the other members returned to their normal lives.

GLENDA COLLINS

Glenda Collins was perhaps one of the unluckiest singers in the 60's only scrapping into the lower regions of the top 40 with 'I last my heart at the fairground'. So it's mainly only Joe Meek fans who remmember her. In the early 60's she was signed to Decca records and a handful of bog standard ballads were released making no impact on the charts. Although Joe Meek was notourious for concentrating on male acts because of his sexual persuation he took Glenda under his wing after her decca contract expired. She had a very destinctive sounding voice and was as good as most singers of the period and quite a few redcording were done with Joe. She did the usual package tours and some top T.V shows and things looked promising but back in those days payolla was king and thats what decided alot of the airplay on Pirate radio which ruled the airways at that time. After Joe Meeks biggest sucesses like Telstar, Johnny Remmeber me and Have I the right and a problem with a court case Joe's funds for payola were thin on the ground and since he was madly in love with Heinz at the time he spent what promotional budget he had on him which resulted in the hit 'Just Like Eddie'. But flops followed this and funds to promote other artists like Glenda were not forthcoming. However Glenda started recording some excellent tracks produced by Joe in 1966 most notebly 'Something I got to tell you baby' and 'Its hard to believe' (anyone hearing these tracks today can't understand why they were not number one). The reason they didn't get a chance was because when they were due to be released in early 1967 Joe comitted suiside and his affaris were left in a mess (It took nearly 20 years to sort them out). Glenda's father tried to get a new deal with two new recordings produced by him but with the psychadelic period rolling in he stood no chance,. Glenda then called it a day and retired.
That was until Russell Writer was deciding who he wanted to record on Cult themes from the 70's Vol.2. Being a Joe Meek fan he came upon the idea of tempting some of his former artist out of retirement. He chose the already mentioned 'Honeycombs' plus Glenda who many Joe Meek fans considered Joe's best artist. Although their would be no chance of a hit single this would at least give her one last bit of exposure and recognition. Apparently a few people had tried to tempt Glenda out or retirement and failed. Russell suceeded where others failed because Glenda had heard one of his other cult themes album and had been impressed and also felt Russell had the same artistic vibe as Joe when they met. She recorded the Theme for the Protectors (Avenues and Alleys). After this she got ill and has become a bit of a recluse so this is likely to be her last legacy to the world of pop music.

THE LAMBRETTAS

In the Uk in 1979/80 there was a big mod revial both in fashion and in music and one of the main players at the time were 'The Lambrettas'. they had the added attraction of being based in Brighton (Long associated with mod history) Although 'The Jam' would become massive with their brand of Mod music their was a handful of others who scored some big hits most notebly Secret Affair and The Lambrettas. their debut hit was a cover version of an old hit Poison Ivy' which reached number 7 in the charts. Two more hits followed Da-a-ance and Another Day another Girl not long after that many of these mod hitsters split up and diappeared.
A second wave of Mod acts like Eleanor Rigby and Makin time made a dent post Jam but it wasn't until Britpop arrived in the mid 90's that mod music became flavour of the month again with acts like Blur and Menswear.
To coincide with this new revival the classic mod film Quadrophenia was due to be re-release and famous boot company Dr.Martens were thinking of launching a record label and wanted to kick it off with a mod related compilation. Impressed by Future Legend Records idea to do cover versions to help break new acts and because of F.L.R mod Connections they enlisted the services of F.L.R's producer Russell Writer to put together an album release. The album was titled Generation to Generation
. Lack of time due to a cockup at Dr.Martens meant in the end the album became a hybrid affair. With new acts doing covers of tracks featued in the film 'Quadrophenia'. plus previous hits or classic tracks from well known mod acts. The lambrettas were approached for this album and did a re recording of their hit 'Da-a-ance'.
Whilst producing this with The Lambrettas Russell persuaded the band to do another recording Starsky and Hutch for Cult themes from the 70's vol.1. they duly agreed and this was the bands last ever recording before they called it a day again.
However they went out in style because a club in London sprang up called Startsky & Hutch' and they used to play this in preference to the original version. Huggy Bear (Anonio Fargas) came to the club one night and heard it and said Thats the best version I ever heard of that theme. So if you want to get this great version of Starsky and Hutch visit out cult themes page. Also if you want to get hold of Generation to Generation' We have managed to acquire ten copies only of this highly collectable mod album and it's on our distributed page.

For futher info email us at info@futurelegendrecords.comk

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