THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,655) The Allusions — “Mr. Love“
Here is a fantastic Australian pop rock number with such a captivating melody by a band that once rivaled the Easybeats in popularity (at least in Sydney!).
Paul Culnane traces the history of the Allusions at the definitive Milesago: Australasian Music & Popular Culture 1964-1975:
The Allusions was a Sydney-based quintet that burst out of nowhere in 1966, scoring a couple of major hits in Sydney. Although they disappeared into obscurity after their short career ended, this is a band that deserves much more recognition. The Allusions formed in late 1965, its members drawn from several other accomplished Sydney groups, and boasting four singers. Their leader, singer-guitarist-composer Mike Morris, had previously played with Dennis & The Dellawares . . . . Within a short time of forming, The Allusions were signed to Robert Iredale’s Leopold Productions, one of Australia’s first independent record production companies . . . . The Allusions shot to prominence in early 1966 with their captivatingly melodic version of the old Rick Nelson hit “Gypsy Woman” . . . peaking at #12. . . . [The band] was given the opportunity to record two original songs (both penned by Morris) for their mesmerising follow-up. “The Dancer”/”Roller Coaster Man” . . . . The A-side . . . ma[de] the Sydney Top Ten (#9) . . . . [B]ecause of the parochial nature of radio and the pop scene at the time, The Allusions’ chart success was limited entirely to Sydney . . . . Morris’ impressive songwriting ability and the success of the two singles persuaded Iredale to finance the recording of a full album — a comparatively rare occurrence at that time for a new and relatively unproven group. . . . The LP contains a variety of material, mixing originals by Morris with covers . . . . Gary Aurisch, who wrote the only book about the band . . . describe[d] the album thus: “It remains a versatile work crammed with intelligently crafted pop songs, most of which are adorned with nifty little guitar solos and carefully thought-out, unobtrusive harmony”. . . . Their third single “Looks Like Trouble” (Oct. 1966) didn’t chart, although the follow-up “Roundabout” (another Morris original, released in March 1967) managed to scrape into the bottom of the Top 40. . . . The Allusions released two more Singles, “Seven Days Of Rain” (July 1967) and “Mr Love” (February 1968), but neither was successful. Between these two releases, Mike Morris left the band in late 1967, and he was replaced by John Spence. The Allusions continued as a four-piece until October 1968, when Terry Hearne quit to join Digger Revell’s backing band. Mike Morris then rejoined, to raise money for an overseas trip, but by this time the momentum of their early success had dissipated, and in the face of changing trends they split for good in early 1969. . . . The Allusions left behind a fine batch of records . . . .
Bruce Eder adds:
The Allusions . . . left behind some great Merseybeat-style records. . . . The new group’s influences and models came from the Beatles but also the early Zombies and the Fortunes, Gerry & the Pacemakers, and other lighter, pop-oriented rock & roll outfits being heard at the time in England. When they made their debut at the end of 1965, they were a pure cover band . . . . [but] moved into creating original material when they realized that it was the only way that they would ever get to record. Morris became their in-house mainstay in that regard . . . . They developed a modified Merseybeat sound, almost reminiscent of Gerry & the Pacemakers but with the harmonic subtleties of the Beatles and the Searchers . . . . From the beginning, they sounded more Merseybeat than the actual surviving Merseybeat bands of 1966 did, in some ways paralleling the early Australian work of the Easybeats — both had what was, essentially, a delightful throwback sound to the slightly more innocent years of 1964-1965. Their debut release of “Gypsy Woman” was a nationally charting Australian single that reached the island nation’s Top Ten in a nine-week chart run. They sounded so English that it was a surprise when they discovered that the Allusions were from Australia. . . . Their second single, “The Dancer,” did even better than its predecessor, peaking at number eight on the charts. The sky seemed the limit at that point — with the exception of the Easybeats, no Australian band was doing anything like the Allusions’ business . . . . their initial success fizzled out along with their third single, “Looks Like Trouble.” . . . The single’s failure, coupled with behind-the-scenes political maneuvers that kept them out of the best venues in Sydney, also cost them some momentum. Their fourth single, “Roundabout,” made the Top 30 in early 1967, rescuing the group from immediate decline . . . . Morris’ songwriting output was never fully adequate to keep them competitive in the singles marketplace, and their inability to break through to the best clubs in Sydney, or to get the best bookings elsewhere in Australia, coupled with the bare trickle of money that they ever saw from their records . . . all wore on the members. Attempts to crack Melbourne and Brisbane never paid off, and then the sales of their records fell off and the group gave up along with the record label. By the end of 1968, the Allusions were history . . . .
https://www.allmusic.com/artist/allusions-mn0000035433#biography
Let me quote an anonymous post that says it all:
I remember the great Saturday nights at the Hurstville Rivoli. We danced our legs off to the Allusions, especially Belinda, who I’m sure she was the idea for “The Dancer”. They were the best and we loved them all. John’s lovely deep voice and all their harmonies. Good lookers, great talent and treated us crazy girls respectfully. Wonderful memories, good times. I’m now 71, but still remember them and their songs like it was yesterday. I guess that’s the magic of music.
https://historyofaussiemusic.blogspot.com/2013/09/the-allusions.html
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