Ending Next Week

What the hell were Decca thinking putting this British Garage monster on a flipside?

Very rare 1967 British cocktail of Hammond driven R&B/Garage beater from Manchester, hidden away on the flipside of a rather ordinary 60's attempt at a chart hit. That missed it's target by quite some distance, whilst the b-side gives up a hard edged MOD mover.

The truly dreadful a-side ensured instant obscurity for this solitary release for the five man gathering from Salford, Apparently the group hated every note of Dick James's banal composition produced by an equally uninspired Ivor Raymonde, the 45 deservedly sunk without trace, maybe embarrassed, the group soon changed their name to "Sunshine" and moved on. But not before they recorded a thumping testament to their true ability.

"And you Let Her Pass By" was New York conceived composition by Charlie Weiss & Stephen Schlaks, with Ivor Raymonde right on point to craft another standout recording. Imposing whirling keyboard and guitar fusion is the ideal backdrop to weave in a snarling young vocal, taking great delight in reminding his friend is a fool for letting the girl slip through his fingers. A typically huge Ivor Raymonde arrangement, featuring a swirling wall, build from a hanging choir and Hammond support. The high point being the brutal guitar laden instrumental bridge in the middle.

This is British 60's garage at its very best. A monumental production obscured by a cynical attempt at a pop hit.. what a waste. "And you Let Her Pass By" echoes everything good about British garage.

A vital piece in the MOD jigsaw of overlooked 60's masterpieces.

Very rare Vince Rago attempt to latch onto the early 60's girl-group phenomenon sweepin' all the way down the East Coast of the USA since The Chantels etc. hit so strong in the late 50's.

Vince Rago's idea was to match up "The Continettes" with his successful male group Teddy and the Contenentals who had already had a nationwide hit with "Everybody Pony" two years earlier.

Prompted by the burgeoning Motown sound of the Marvelettes, "Billy The Kidder" was composed by Rago himself, so nearly capturing the very essence of the Motown sound. "Billy the Kidder" benefiting from Teddy Linton's arrangement reminiscent of "Playboy" "Beechwood 4-5789" "Daddy Knows Best" but failed to capture the locxal imagination never quite hitting, even though it was enhanced by the strong Motownesque saxophone break. A fabulous Wilmington, Delaware girl group hipshaker, that's is still surprisingly off the radar for European girl-group enthusiasts.

For vocal-group collectors it is the fabulous young-girl vocal group harmony ballad that carries the value. Written by group leader Valerie Robinson, it is a very impressive group ballad. That impressed Rago himself, changing the lead side from "Billy The Kidder" to " Boys Who Don't Understand " accompanied with the ultra rare primitive promo flyer of the five girls.

Before today is the complete package the 45 and the flyer with some light red X's of Vince Rago change of mind what to lead with.

This fabulous example of 1963 Delaware girl-group doo-wop was to be the one ad only this talent would release, with their driving force "Valerie Robinson," moving to Chicago to become a successful surgeon, the other young hopefuls Ventie Jean Williams, Shirley Lewis Larke, Debbi Badson, Jackie Hazzard going their own way.

In 2018 Vince Rago received long overdue recognition of his work when both Teddy and the Continentals & The Continettes were both inducted into the Delaware Rock & Roll Hall Of Fame.