Everything’s gonna be alright
When Ike and Tina Turner toured Britain as support act for the Rolling Stones in 1966, Ikette Pat Arnold became friendly with Mick Jagger and confided in him that she planned to quit the group. He arranged a meeting for her with his manager, Andrew Loog Oldham, who had recently set up his own record label. Pat – or PP, as she was renamed – was promptly signed up and this track became her debut solo 45. Surprisingly, it failed to chart, but has since become a dance floor favourite. For more information and great sound clips, check back next month when we’ll be publishing a full page on the singer.
Spanish songstress Licia was born Alicia Molla and raised in Zaragoza, Aragon. After moving to Barcelona in 1964, she landed a contract with the Vergara record label, where she cut three EPs and six singles between 1965 and 1968. Our choice is the excellent Cantemos, taken from her second EP. Sadly, things went downhill rather quickly from there. Displaying a questionable choice of material to cover, she went on to issue versions of hits such as Sheila’s La famille, Annarita Spinaci’s Quando dico che ti amo and Esther and Abi Ofraim’s Cinderella Rockefella.
Dunkelblaue Augen hatte er
Ingela Brander was born on 1 March 1943 in Borås, Sweden. After making a name for herself as an actress in her homeland, she decided – like so many of the Scandinavian girls – to have a bash at a career in Germany. In 1963, the blonde appeared on German cinema screens alongside the likes of Rex Gildo in the film Zwei blaue Vergissmeinnicht and cut her first German disc, Ich spiel so gerne Saxophon, for the Decca label. Our pick is the B-side of Küssen kann man lernen, issued in 1964, and is her version of the Raindrops’ The kind of boy you can’t forget. The Raindrops were fronted by singer-songwriter Ellie Greenwich, who died in August.
La permission de minuit
Christine Lebail was something of a teenager by profession. Many of her releases captured a kind of middle class teenage angst – holiday romances, classroom crushes, that kind of thing. Jean-Jacques Debout penned the fabulous La permission de minuit for the French singer’s sole release of 1965, Ils font pleurer les filles. Debout was the man behind some of Sylvie Vartan and Chantal Goya’s best material. Here we find Christine arranging a secret meeting with her boyfriend after being punished by her parents for staying out late.
The happy faces
Intros don’t come much better than this. The song is the A-side of Lorraine Silver’s second and final 45 and was issued in 1966. Lorraine was clearly a ballsy kind of girl. A year earlier, at the age of just 13, she recorded a version of Brian Hyland’s Sealed with a kiss in a booth in a branch of Woolworth’s on Oxford Street, central London. She then took the disc to Pye Records and asked that label bosses give it a listen. They did and she was promptly offered an audition with the label. After being given a contract, a speeded-up version of Shelley Fabares’ Lost summer love became her first release, and remains the song she’s best known for.
Confidenza per confidenza
This track is the A-side of what appears to be young Susy Turck’s only single. It was issued in 1965 but failed to set the Italian charts alight. Perhaps that explains the absence of a follow up. It may be that it fell between two stools – it is neither a huge ballad which many of the Italian girls excelled at, nor does it capture the beat sound of the period. That this proved the end of her career is a shame because she delivers the song with charm. __