|
Post by jarvitronics on Jul 22, 2008 15:55:49 GMT -5
Junior Campbell looks nothing like Paul. "Faul" looks a lot like Paul, maybe because he is Paul. -j that is a reasonable conslusion! Either that or Darrin Stephens was part of a plot to condition us to accept the doppleganger(s). Heck the show was called "Bewitched." ;D -j
|
|
|
Post by LOVELYRITA on Jul 22, 2008 16:23:19 GMT -5
Is this thread showing the possibility of the role Jr. Campbell had in Bill's life prior to becoming Paul?
Or how much Bill looks like Paul Mc Cartney?
If it's how much Bill looks like Paul, well, yeah, that's how he's been accepted as Paul Mc Cartney. A well established fact that nobody can argue.
But the possibility of who may have been one of the "doubles" used in the history of the Beatles. I'm not talking about full fledged replacements, but someone who resembled Paul Mc Cartney that may have been a doubled used as a decoy. And that doesn't have to necessarily someone who is a "dead ringer" feature by feature, but someone who has a similar body type, coloring and mannerisms and resembles the person they are serving as a decoy for. In that case, this man has the coloring and physical resemblances that can pass for the real thing in a public appearance.
There have been several men brought to mind that resembles Paul that may have been used as a quick substitute or as a decoy to detract people from the real celebrity. That doesn't mean they sing like Paul, or talks like Paul, but enough to distract people. Like having this decoy leave the hotel in the front entrance, whilst the real celebrity leaves out some unlikely place to find a celebrity, like the service entrance.
|
|
|
Post by eyesbleed on Jul 22, 2008 18:43:52 GMT -5
Please forgive me if this has come up before. I fact, I can't believe that this HASN'T come up before, so I'm prepared to be told that I'm an idiot. Anyway, Tafultong's blog mentioned a chap in the band Marmalade, and the possibility that JPM may have switched places with this guy after the Beatles' final tour. No more details were provided, but a bit of digging turned up a bunch of interesting stuff. The name of the guy in question is Junior Campbell (born WILLIAM in 1947). Here's what wikipedia has to say: en.wikipedia.org/wiki/Junior_Campbell"Junior Campbell (born William Campbell, May 31, 1947, Glasgow, Scotland), Founder member, lead guitarist, piano player, and singer with the Scottish band, The Marmalade. (They were formally known as Dean Ford and The Gaylords from 1961 to 1966). Campbell is also known for co-composing the music and lyrics for the children's TV series, Thomas the Tank Engine and Friends and TUGS.He grew up in Springboig, in the East End of the city, and was educated at Thorntree Primary and Eastbank Academy. [edit] Biography As a youngster in Glasgow, Campbell had a distinct unique style of guitar playing, whereby he played left handed, with the strings upside down, right hand strung - tuned to "open E".[citation needed] He joined Pat Fairley to form Dean Ford and The Gaylords, later to become The Marmalade, on his fourteenth birthday in May 1961. With The Marmalade, he co wrote and produced the multi million selling "Reflections of My Life", "Rainbow" and "I See the Rain" amongst others, in a line of hits from 1967 to 1971. Campbell's reverse tape guitar solo on "Reflections of My Life" and "I See the Rain" are particularly outstanding - the latter being Jimi Hendrix's favourite cut of 1967.[citation needed] Tired of touring, Campbell left Marmalade in March 1971.[citation needed] During the 1970s he had two solo records released, both of which, "Hallelujah Freedom" (#9) (1972), (with Doris Troy on backing vocals), and "Sweet Illusion" (#15) (1973) made Top 20 chart appearances in the UK Singles Chart. NOTE: Doris Troy also sang on Dark Side of the Moon. He then studied orchestration and composition with Eric Guilder and Max Saunders at the Royal College of Music and became an arranger/record producer for many artists including Barbara Dickson, arranging and producing her first hit single "Answer Me". He also arranged and conducted Dickson's performances in her first season run on the BBC One's The Two Ronnies in 1977. He has composed music for television drama and film, including the 1994 BAFTA winner Taking Over the Asylum, which starred Ken Stott, David Tennant and Elizabeth Spriggs. In addition Campbell has also composed the music for the 1998 adaptation of the Minette Walters murder mystery, The Scolds Bridle, starring Miranda Richardson, Bob Peck, Sian Phillips, Douglas Hodge, Trudie Styler, and Beth Winslet Campbell lives in Sussex with his wife Susie, and has three children and three grandchildren." Now, obviously, there's an AWFUL LOT here that fits. Born William Campbell, but goes by Junior ( Junior's Farm). From Scotland. A left handed guitarist, piano player, singer, hit songwriter, hit arranger/producer, who goes on to study orchestration and composition. The band change their name in 1966, indicating that perhaps a change took place. His first single after leaving Marmalade is called "Hallelujah Freedom", and features Doris Troy, who also sang for Pink Floyd and Roger Waters. His second single is called " Sweet Illusion". Enough said about that one... He goes on to write music for the Ringo vehicle, Thomas the Tank Engine and Friends. Now, having said all of that, a problem arises when one considers that his appearance and voice don't really match. He has similar, down-slanted eyes, and a suitably raspy voice, but the tone doesn't match JPM, and not much else physically matches either. Here's a page with several more photos and info: www.mccartneyt.freeserve.co.uk/marms.htmhere's a video of "Sweet Illusion": www.yamelo.com/videoclip/c1_16081_junior_campbell_sweet_illusion.htmlAnd again, I'm certain that I'm not reinventing the wheel here. This HAS to have come up before, but I can't find anything putting these two people together. Whether these are just a big stack of coincidences, or you're actually on to something, this is a very interesting thread. Way to go P(D)enny. The most curious parts of this to me are... (1) the fact that the Junior Cambell character was apparently replaced.... why? It's easy to understand why a dead/crazy/ill Macca would need to be replaced in late 66 when The Beatles pretty much ruled the world. After all, the show must go on...'specially when that much money is involved. But why would Marmalade have a personnel change & not acknowledge it? (2)And why are there obviously 2 different singers for Ob-La-Di & not acknowledge that? And why the hell are they doing Ob-La-Di in the first place?? Along with everything else you've pointed out, this is all rather curious.... even if it is a BIG pile of coincidences. Good job.
|
|
|
Post by mommybird on Jul 22, 2008 20:44:39 GMT -5
Nobody has addressed WHY that first website that I found has a McCartney url on it. I say that Bill/Faul is involved with Marmalade in one way or another. Could Bill Campbell be related to him in some way ? I would say that is a very distinct possibility. That would explain them doing a cover of Obladi Oblada. Bill/Faul has had his finger in many "Flaming" Pies over the years. I still think that Bill Campbell resembles early Bill/Faul. Remember this capture from The Cream of the Beatles: Paul Junior
|
|
|
Post by P(D)enny La(i)ne on Jul 22, 2008 21:55:03 GMT -5
Now, obviously, there's an AWFUL LOT here that fits. Born William Campbell, but goes by Junior ( Junior's Farm). From Scotland. A left handed guitarist, piano player, singer, hit songwriter, hit arranger/producer, who goes on to study orchestration and composition. The band change their name in 1966, indicating that perhaps a change took place. His first single after leaving Marmalade is called "Hallelujah Freedom", and features Doris Troy, who also sang for Pink Floyd and Roger Waters. His second single is called " Sweet Illusion". Enough said about that one... He goes on to write music for the Ringo vehicle, Thomas the Tank Engine and Friends. Now, having said all of that, a problem arises when one considers that his appearance and voice don't really match. He has similar, down-slanted eyes, and a suitably raspy voice, but the tone doesn't match JPM, and not much else physically matches either. Here's a page with several more photos and info: www.mccartneyt.freeserve.co.uk/marms.htmhere's a video of "Sweet Illusion": www.yamelo.com/videoclip/c1_16081_junior_campbell_sweet_illusion.htmlAnd again, I'm certain that I'm not reinventing the wheel here. This HAS to have come up before, but I can't find anything putting these two people together. Whether these are just a big stack of coincidences, or you're actually on to something, this is a very interesting thread. Way to go P(D)enny. The most curious parts of this to me are... (1) the fact that the Junior Cambell character was apparently replaced.... why? It's easy to understand why a dead/crazy/ill Macca would need to be replaced in late 66 when The Beatles pretty much ruled the world. After all, the show must go on...'specially when that much money is involved. But why would Marmalade have a personnel change & not acknowledge it? (2)And why are there obviously 2 different singers for Ob-La-Di & not acknowledge that? And why the hell are they doing Ob-La-Di in the first place?? Along with everything else you've pointed out, this is all rather curious.... even if it is a BIG pile of coincidences. Good job. Thanks, EB. Your summary of my summary just convinced me (again) that there's absolutely something fishy going on with Junior Campbell. And Lovely Rita did a great job of connecting it to Badfinger, which makes the whole thing that much creepier. LR wrote: ******** The thing that struck me on this was "Baby make it soon" being part of the lyrics for BADFINGER'S Day After Day This was something we discussed a LONG time ago under Joey Mulland as being a Paul look a like the lyrics for Day after Day I remember finding out about you every day my mind is all around you Looking out from my lonely room Day after day Bring it home BABY MAKE IT SOON I give my love to you ******** Now, this can be seen as yet another coincidence, OR a sly nudge by a person who's pulling the wool over people's eyes. I think it's the latter. Badfinger + McCartney's songwriting/production involvement + "Day After Day" using a Marmalade song title as a lyric + EB's summary of my summary of my original post = NOT A COINCIDENCE. We are on to something here. It may not lead us to the identity of a permanent replacement for JPM, but at the very least, I'd say that we've got a solid foundation for a case that JPM, and/or Faul, and/or the Beatles were involved with the Marmalade, and quite possibly vice versa.
|
|
|
Post by P(D)enny La(i)ne on Jul 22, 2008 21:58:39 GMT -5
Remember this capture from The Cream of the Beatles: Oh.....I remember it, alright. I gives me the heebie freaking jeebies!
|
|
|
Post by mommybird on Jul 22, 2008 22:24:33 GMT -5
You're right. The Marmalade connection reminds me ALOT of Badfinger's &/or Klaatu's !
|
|
|
Post by thefly on Jul 22, 2008 22:33:42 GMT -5
This is what THE... Billy Campbell / Sheppard / Shepherd looked like before surgery... watch McCartney's "This One" video, and towards the end, he has eyes that look exactly like this!
|
|
|
Post by P(D)enny La(i)ne on Jul 23, 2008 7:34:37 GMT -5
This is what THE... Billy Campbell / Sheppard / Shepherd looked like before surgery... watch McCartney's "This One" video, and towards the end, he has eyes that look exactly like this! The eyes DO look similar in the This One video. Nice catch! www.youtube.com/watch?v=6ma4jlE_VbI
|
|
|
Post by iameye on Jul 23, 2008 8:25:34 GMT -5
oh where oh where is that comparison photo?
|
|
|
Post by mommybird on Jul 23, 2008 12:11:06 GMT -5
That video is very strange, alright. Iameye, you want a comparison to that album cover ? I have to see if I can find a larger version of it first. ;D
|
|
|
Post by paulumbo on Jul 23, 2008 14:00:34 GMT -5
I looked at the Badfinger post photos and it looks to me like Joey Molland is Junior Campbell.
|
|
|
Post by mommybird on Jul 23, 2008 15:38:19 GMT -5
Joey M. Junior C. Joey M. is 1st on the left Junior C. is 3rd from the left ( in the middle ) Joey M. is on the bottom Junior C. is on the top right Joey M. is next to the guy with the cigarette Junior is second from the right The weird thing is, they do resemble each other. Check this out: Joey M. ( 2nd from the left ), next to Denny Laine ( black eyeglasses ). Now THEY look alike !
|
|
|
Post by iameye on Jul 23, 2008 23:02:45 GMT -5
That video is very strange, alright. Iameye, you want a comparison to that album cover ? I have to see if I can find a larger version of it first. ;D no I want to see John"s funeral, er, birthday cart for Julian procession.
|
|
|
Post by thisone on Jul 24, 2008 10:45:23 GMT -5
That video is very strange, alright. Iameye, you want a comparison to that album cover ? I have to see if I can find a larger version of it first. ;D no I want to see John"s funeral, er, birthday cart for Julian procession.
|
|
|
Post by mommybird on Jul 24, 2008 11:41:20 GMT -5
Thisone, Thanks ! That album cover is WEIRD ! He's a spirit, back from the dead. That is a very strange theme to use. Researching Junior Campbell, I came across this: missingepisodes.proboards20.com/index.cgi?action=display&board=totp&thread=3021&page=1#26557It seems that "The Second Time Around " is a two disc set. Can it be a greatest hits ? I've highlighted songs that seem to be Beatle related: Disc 1 Goodbye Baby JaneIf I Call Your Name ( the Beatles did, "I Call Your Name" ! )Hallelujah Freedom Alright With Me Sweet Illusion Ode To Karen (Reach Out And) Help Your Fellow Man Pretty Belinda Drive My CarCarolina Days Wandering Man Somethin' Deep In My Soul Alone In My Room All Gonna Have A Good Time Positively 4th Street Sweet Lady Love If I Could Believe You Darlin' Ol' Virginia Wullie Sings The Blues Disc 2 Highland Girl Climb On Board America Radio Man Too Late Now No ReplyRumours Susie Dark - Susie Blue Lady JaneSlow DownHeart Ellie Don't Go How Do You Feel When You Wake Up Don't Want Much - Just Want More Heart To Heart Conversation Do You Have To Fall In Love If it wasn't for that fact that Junior is built differently than JPM was, I would seriously entertain the possibility that a switch had taken place. However, I do think that there must be some connection between him & Faul. Why else would a webpage about him be using a McCartney url
|
|
|
Post by paulumbo on Jul 24, 2008 14:41:01 GMT -5
Several speculations about the SECOND TIME AROUND album cover. . . Could the wagon pictured be the horse-drawn, wooden Sgt. Pepper wagon that John Lennon bought and had shipped to his island? I was reading "The Story" thread and this looks like that wagon. The Junior Campbell illustration has his holding up his index finger. In the 1970's that was that believers of Jesus used to show they were believers. Also, another little note: the album's label is Deram which was a sub-label of Decca. They produced records from the late 1960's to the early 1980's and according to DISCOG.COM, the only rock group they produced were the Moody Blues (of which Denny Laine was a member.)
|
|
|
Post by paulumbo on Jul 24, 2008 14:45:27 GMT -5
Small addition. I read what iameye posted and didn't realize he was talking about the same wagon. Also, there's a typo: "In the 1970's that was WHAT believers of Jesus..."
|
|
|
Post by P(D)enny La(i)ne on Jul 24, 2008 14:57:56 GMT -5
|
|
|
Post by thisone on Jul 24, 2008 15:56:28 GMT -5
Those wouldn't be lilys adorning the coffin, would they? Who or what is the gargoyle thang on the hearse? Any significance? Marmalade is one of those groups that just seems to endure. They are best remembered today for one record, their cover of the Beatles' "Ob-La-Di, Ob-La-Da," although they charted number one records and even Top Ten American singles into the 1970s. The group, especially as constituted up through the early '70s, had many sides, including white soul, harmony dominated pop/rock, and progressive pop, all very much like the Beatles in their middle years. However, it was their cover of a Beatles song, oddly enough, that weighed down their reputation.
In point of fact, they did somewhat resemble the Beatles musically, having started out as a band of teenagers eager to play hard rock & roll; like the Beatles, they developed a great degree of sophistication in their singing and playing, but they never had the freedom to experiment with the different sides of their music. Ironically, in their prime, their career arc most resembled that of the Tremeloes, who made incredibly well-crafted pop/rock but were never taken seriously.
The quintet's history began in 1961 when teenagers William "Junior" Campbell and Patrick Fairley met on Campbell's 14th birthday and discovered that they both enjoyed playing rock & roll. Their early inspirations were the Everly Brothers and Cliff Richard & the Shadows. Soon they were playing together, Campbell on guitar (and, increasingly in later years, keyboards) and Fairley on guitar, and then they added bassist Billy Johnson and drummer Tommy Frew. They took the name the Gaylords and played local clubs for little or no money, and Johnson and Frew were later succeeded by Bill Irving and Raymond Duffy, respectively. The group began getting decidedly better gigs when singer Thomas McAleese -- who took the stage name Dean Ford -- joined. For a time, they were known officially as Dean Ford & the Gaylords, in keeping with the notion that many successful acts (Cliff Richard & the Shadows, et al) had one member as their focus.
This was still the early '60s, when Liverpool bands had scarcely made an impression and Scotland's rock & rollers faced an even more daunting task just getting record company executives to hear them. For Dean Ford & the Gaylords, a recording contract didn't become a reality until almost a year after the Liverpool sound started to explode across the English charts and in early 1964, Dean Ford & the Gaylords were signed to EMI-Columbia. Their debut record, "Twenty Miles," sold well in Scotland, but never charted in England. Their success remained confined to their native Scotland, the group regularly supported visiting English acts like the Hollies, and they were regulars on BBC Radio Scotland. By the end of the year, with their hard yet melodic attack on their instruments and good close-harmony singing, Dean Ford & the Gaylords had made themselves the top band in Scotland, borne out in music poll results. As they were already commanding the best support spots and the highest fees promoters were willing to pay any homegrown act, there was just no place left to go in their own country and no easy way to get heard in England.
The group finally took up residence in Wimbledon, just outside of London, but at first this had little affect. Irving left the band and was replaced by Graham Knight on bass and harmony vocals; a fourth single as Dean Ford & the Gaylords was recorded, but it failed to chart and marked the end of their EMI contract. The Gaylords were now living far from home in a place where they were largely unknown and they were at something of a loss as to how to continue.
It was the Tremeloes, a band from London who'd had a pair of hit singles (including a chart-topper with "Do You Love Me") who came to their rescue. The two groups had played together and the Tremeloes admired the Gaylords' sound so they suggested the band sign with their manager Peter Walsh. He was impressed with their sound and their level of musical and performance expertise; all of those hard-rocking gigs to demanding audiences in Scotland had the same effect on the Gaylords that playing the Star Club in Hamburg had on the Beatles.
Walsh's first order of business after signing the group was a change of name, from the Gaylords to Marmalade. The name supposedly came to him over a breakfast that, reportedly, indeed did include the sugary flavored snack. Whatever its inspiration, however, it worked. Walsh got them work and bookings, most notably at London's Marquee Club, billed third behind a then-new outfit called Pink Floyd and a soul-oriented band called the Action. The management, impressed with Marmalade's performance, eventually gave them a two-night a week spot.
Their representation by Walsh also got the band another crack at that most coveted of opportunities in music: a recording contract. In 1965, Columbia Records, the American label that had previously licensed its music for British release to English companies like EMI, purchased the British Oriole Records label and used it as the foundation for its own British label, CBS Records (the "Columbia" name being unavailable in England, as it was already trademarked and used in England by a division of EMI). Walsh got Marmalade signed to CBS Records, which was hungry for homegrown talent to augment their American release schedule (the company would later sign the Tremeloes as well). They also shared the same producer, Mike Smith, who later ran the Tremeloes' recording sessions.
Marmalade's first CBS single, "It's All Leading up to Saturday Night," showed just how far they'd come. The radiant harmonies and the powerful attack, boosted by the group's reliance on twin six- and four-string basses made it irresistible listening. Their second CBS single, "Can't Stop Now" (on which Alan Whitehead joined the lineup on drums, replacing Duffy), never charted in England, but managed the unusual feat of becoming a regional hit in the United States, getting to number one on some charts in Ohio. They were getting a lot of exposure as well, including an appearance in the movie (Subterfuge) and television work on (The Fantasist).
The group seemed poised for greatness. "I See the Rain," an original by Campbell and Ford (using his legal name, McAleese), become their third CBS single, described by Jimi Hendrix as the best British single of 1967. Somehow it never charted in England but did well in Holland, which resulted in a tour of the Netherlands and Germany. Their fourth CBS single, "Man in a Shop," didn't make the charts in England either.
The group was at a complete loss as to what to do or where to go from there. They'd given it their best shot and all they had to show for it was a demand for their music on the continent, but not at home. Finally, in early 1968, Marmalade decided to go for the most commercial sound they could live with and cut a pop/rock number called "Lovin' Things." This broke them through into the U.K. Top Ten, peaking at number six and selling 300,000 copies. The chart action was a welcome event and took some personal pressure off the band.
Unfortunately, they'd also opened an artistic Pandora's Box. Having gone the commercial route, they now found the record company insisting that they stick with it. Songs that they didn't care for were foisted on them for follow-up singles, and they got too little time to record their debut LP, entitled There's a Lot of It About.
Disaster struck (though no one thought it disaster at the time) with their late 1968 single version of "Ob-La-Di, Ob-La-Da." It was publisher Dick James who offered them the Beatles song ahead of the issue of The Beatles (aka The White Album). Marmalade cut the song not even knowing that it was a Lennon-McCartney composition.
It become a number one hit in England and sold millions of copies around the world, generating a massive amount of radio exposure. The problem was that it wasn't really what the group was about. Marmalade was much more influenced by American soul, folk-rock, and progressive rock, but they had become locked into an image as a soft, bubblegum-type pop/rock band.
And then, with a number one record behind them, they left the label. Their contract was up and CBS was eager to keep them, but their manager recognized that with that hit to their credit, they might never be in a better position to demand favorable terms. English Decca, the label that had the Moody Blues, had (and lost) the Small Faces, and was in the process of losing the Rolling Stones, outbid CBS both in monetary terms and an offer of artistic freedom.
The group re-emerged in the winter of 1969 after nearly a year of inactivity with "Reflections of My Life," a daring original by Campbell and Ford incorporating pop/rock and harder progressive elements, including some superb guitar work. It topped the English charts six weeks after its release, in the final week of January 1970, and became a Top Ten American single as well. They followed this up with the equally appealing (though less successful) "Rainbow," which charted in both England and America.
These twin hits were followed by the LP Reflections of the Marmalade, which proved to be something less than a success, owing to the sheer diversity of sounds on it that ranged from soulful rockers and harmony dominated progressive-sounding material to their covers of singer/songwriter-type repertory. The LP never found an audience in England, but did in America, where it was retitled Reflections of My Life and reached number 71. The group had an opportunity to open for Three Dog Night on a tour of America, who were then rapidly ascending to their peak of fame; their manager turned it down, thus costing the group a chance to expose the full range of their music to millions of listeners who only really knew the one major hit.
By 1970, the band was beginning to show the first real signs of serious internal stress since their founding. The hefty advance they'd received from the label had been welcomed and their three initial singles (but especially "Reflections of My Life") had justified it. Now, however, they were being pressured to repeat that success, just when they were least able to pull together effectively. The bandmembers, pleased with the adulation they'd received, were eager to experiment in different directions, which created strains within the lineup.
Junior Campbell, who'd arranged the Reflections of the Marmalade album and written the string parts for one of the follow-up singles, quit the band and enrolled in the Royal College of Music. The group was inactive for months after Campbell's departure until they recruited Hugh Nicholson, an ex-member of their one-time rivals from Scotland, the Poets. Nicholson's arrival heralded a new era for the band as he brought with him original songs as well as a heavier approach to music. Curiously, Campbell continued to write arrangements for the band, even after his sudden departure. Ford was pushed to the sidelines as Nicholson insisted on singing lead on certain songs himself, and then drummer Whitehead, who'd been with the group for five years, was dropped and replaced by one of Nicholson's ex-bandmates, Dougie Henderson.
The switch in drummers accentuated the change in Marmalade's sound, from a progressive pop/rock outfit to a much harder, more straight-ahead rock & roll band. The group's next album, Songs, represented both the new and the old groups' sounds. By the spring of 1972, the band was down to a quartet as co-founder Pat Fairley decided to give up performing, taking over as their publicist and coordinating their publishing activities.
An article in the lurid U.K. tabloid News of the World (which had revelled in the sex-and-drugs exploits of the Rolling Stones in the late '60s) dealing with Whitehead's more debauched activities as a member of Marmalade, had the surprising result of commercially helping the group. They got a number six British single out of "Radancer in the spring of 1972.
Just when it seemed as though they'd not only dodged a bullet, but turned its trajectory to their advantage, Nicholson quit Marmalade. The surviving trio -- Ford, Graham Knight, and Dougie Henderson -- left Decca and signed with EMI, taking on Mike Japp to fill Nicholson's spot.
When the smoke cleared, Marmalade reinvented themselves once again as a hard rock boogie band in the manner of Status Quo. The lineup changes had taken their toll, however, and even if they'd been able to establish credibility in this new form, the door now seemed open for more exits. Knight was the first out, and with his exit, there wasn't much left of Marmalade beyond Ford.
Their history then took an utterly bizarre turn, one that anticipated the lawsuits over the use of classic group names that would become common in the 1990s -- and even anticipate the development of acts like Creedence Clearwater Revival. Ford had dropped the band's classic hits from their set, choosing to perform only their recent, heavier material in hopes of reinventing Marmalade. Audiences, however, were having none of it. They came to the shows expecting to hear at least some of the old hits, and got none.
Meanwhile, the group's ex-manager, Peter Walsh, knowing a good thing when he saw it, got Whitehead and Knight together with two more players, Sandy Newman (vocals, guitar, keyboards) and Charlie Smith (guitar), and put them on the road as Vintage Marmalade, doing nothing but their old songs. Eventually, Ford and Marmalade gave up trying to reinvent themselves and Knight and the other group took over the original name. Ford went off to a solo career while the "new" (actually old) Marmalade got a recording contract in the mid-'70s and returned to the English Top Ten in 1977 with "Falling Apart at the Seams."
This unit kept recording for the rest of the 1970s and since then, Knight and Newman have kept Marmalade going as an oldies act, playing at cabarets and clubs and touring Holland and Germany. Like the latter-day Tremeloes, Marmalade, in whatever lineup they're sporting, can always find an audience, even a quarter century or more after their last chart entry. ~ Bruce Eder, All Music Guide www.ticketmaster.ca/artist/746483/?search_redirect=Marmalade&tm_link=tm_header_searchPS Just in case we have any lurkers, please wish AlanWhitehead, Marmalades drummer, a happy birthday from all of us ;-)
|
|
|
Post by JoJo on Jul 24, 2008 16:36:19 GMT -5
|
|
|
Post by LOVELYRITA on Jul 24, 2008 21:46:38 GMT -5
I noticed that the driver on the Jr. Campbell wagon looks like a deranged John Lennon with his glasses on, but down lower on his nose, dressed in clothing of the 19th century. It looks like a caricature. Is Lennon driving Jr. somewhere?
It's interesting how Bill's has a hand in many of these late 60's groups that had a Beatle-ish sound and Paul look a likes, even if they weren't dead ringers.
Where have you been Billy boy?
|
|
|
Post by iameye on Jul 24, 2008 21:56:43 GMT -5
thanks jojo, that's the exact foto I wuz looking for.... hey now is that just a huge "101" on the back of the wagon? or a bracket? strange they would augment the original pepper concept to alter the design concept.... en.wikipedia.org/wiki/101_(number) for stuff here's a good one ;D Room 101 is a place introduced in the novel Nineteen Eighty-Four by George Orwell. It is a torture chamber in the Ministry of Love in which the Party attempts to subject a prisoner to his or her own worst nightmare, fear or phobia. “ You asked me once, what was in Room 101. I told you that you knew the answer already. Everyone knows it. The thing that is in Room 101 is the worst thing in the world.
lol
|
|
|
Post by mommybird on Jul 25, 2008 7:14:02 GMT -5
1984 was published in 1949, so it's a good bet that John read it. That could very well be a101 as well as being the bracket surrounding a Sgt. Pepper drum. John was known for his double entendres.
|
|
|
Post by mommybird on Jul 25, 2008 8:14:15 GMT -5
Faul, 1973 Junior Faul Junior C. is 3rd from the left
|
|