THE HONEYCOMBS
Some 30 years after having done a Goldfinger Bond theme cover with which they had a hit in Japan, '60s hit band The Honeycombs were tempted out of retirement by Future Legend Records to record another Bond theme: Live and Let Die for the Cult Themes From The 70's Vol. 2 album.
According to the band themselves it was the best recording of their careers (we think that's saying something when you consider what they've previously done!). They said although producer Russell reminded them of Joe Meek a little because of some of the weird things he asked them to do musically, it was one of their most enjoyable recording sessions ever. They also very much enjoyed doing 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 ever since their heyday.
According to the band themselves it was the best recording of their careers (we think that's saying something when you consider what they've previously done!). They said although producer Russell reminded them of Joe Meek a little because of some of the weird things he asked them to do musically, it was one of their most enjoyable recording sessions ever. They also very much enjoyed doing 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 ever since their heyday.
madame jo jo's, soho, london uk
With many 60s band only having one original member Russell insisted he would only produce the band if it contained the original line up and after hearing his production they duly obliged and the line up of famous girl drummer Honey Lantree, her brother John on bass, original vocalist Denis D'Ell and lead guitarist Peter Pye all came together after a 30 year hiatus. Denis D'Ell and Honey Lantree have since passed away, so this recording of Live And Let Die may well be The Honeycombs' last legacy to the worldwide music scene. Russell hit it off especially well with Denis and Honey and and he wrote a special poem for Honey just after she passed away. It is exclusively featured at the foot of this page.
The Cult Themes from the 70s Vol 2 album with The Honeycombs tracks on can be purchased directly from us from £4.99 inclusive of P&P.
The Cult Themes from the 70s Vol 2 album with The Honeycombs tracks on can be purchased directly from us from £4.99 inclusive of P&P.
Cult Themes from the 70s Vol 2
Track Listing
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To purchase, please select Cult Themes from the 70's Vol 2 from the dropdown list below
(choose UK or Outside UK for the right price) then click Add to Cart
(choose UK or Outside UK for the right price) then click Add to Cart
Some history about The Honeycombs...
This British pop ensemble was founded in London, 1963, by Denis "D'Ell" Dalziel (vocals, harmonica), Martin Murray (guitar), Alan Ward (guitar), and siblings John (bass) and Anne Margot 'Honey' Lantree (drums, vocals). One night in '63 the group, known then as The Sheratons, was playing in a London pub. In the audience were Ken Howard and Alan Blaikley, a very prolific British songwriting team, who later wrote hits for such artists as Lulu, Elvis Presley, Dave Dee, Dozy, Beaky, Mick and Tich and Petula Clark. Howard and Blaikley liked what they saw and suggested the band might like to hear some of their material.
The band had an upcoming audition with eccentric and brilliant indie producer/writer Joe Meek, who most notably had produced The Tornados and composed their number one hit "Telstar" in 1962. At the audition in Meek's studio in Holloway Road, the band played Howard and Blaikley's Have I the Right? which Meek recorded. They changed their name to The Honeycombs, this being a combination of Honey's nickname and Murray's profession as a hairdresser. Shortly afterwards they debuted to international acclaim.
The band had an upcoming audition with eccentric and brilliant indie producer/writer Joe Meek, who most notably had produced The Tornados and composed their number one hit "Telstar" in 1962. At the audition in Meek's studio in Holloway Road, the band played Howard and Blaikley's Have I the Right? which Meek recorded. They changed their name to The Honeycombs, this being a combination of Honey's nickname and Murray's profession as a hairdresser. Shortly afterwards they debuted to international acclaim.
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joe meek in his studio
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single: have i the right?
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Getting a number one in 1964 was probably one of the hardest years if you consider the dominance of The Beatles and The Stones, not to mention hundreds of other classics that came out that year, for example House of the Rising Sun (The Animals), You Really Got Me (The Kinks), Do Wah Diddy (Manfred Mann), Baby Love (The Supremes), Needles and Pins (The Searchers) to name but a few. The Honeycombs managed it for two weeks in late August with Have I The Right? (also known as Come Right Back due to the catchy lyrical hook in the chorus). Several more singles and three albums followed.
single: something better beginning
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single: our day will come
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album: the honeycombs
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album: all systems go!
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The Honeycombs were unique because they were the first group to have a girl drummer. Also they were produced by Meek and all Joe Meek productions are ultra collectable - he even has his own section in record stores. Have I the Right? had one of Joe's innovative ideas on it - he recorded the group stomping on the staircase of his flat and used this to enhance the bass drum sound. (This trick was later used very successfully by Dave Clark Five who stomped on the stage during performances of their hit Glad All Over).
Soon after their first record had become a hit, The Honeycombs went on tour to the Far East and Australia, and they were not able to promote their new records at home. The Honeycombs were in fact much more successful abroad than in the UK and had number ones in Sweden, Australia and Canada, the rest of Europe and as many as six number ones in Japan including the album Love In Tokyo. Their last number one was in Japan in the mid 60's with an instrumental version of Bond theme Goldfinger.
single: this year next year
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single: that's the way
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album: love in tokyo feat. Goldfinger
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RIP to Honey Langtree and Denis D'Ell. We hope they are still making music on the other side!
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A Taste Of Honey (Combs)
Time for Honey to keep the beat on heaven street to re-unite with Denis who was never a menace They had the right to be in the top flight hit after hit, hitting height after height That's the way the colour slides is it because talent never hides These two may have passed away but their music we shall always play Russell C. Brennan |
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