THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,913) The Action — “I’ll Keep on Holding On”
Here is the incomparable and iconic Action (see #393, 429, 966, 1,773) — inexplicably missing in action in the UK charts — with a mod classic, “a very rare example of the UK cover being better than the US original.” (On the Flip-Side, https://www.45cat.com/record/r5410) The Action’s version of the Marvelettes’ #24 (#11 R&B) hit managed to reach #42 on the Melody Maker charts” (My Friend Jack, https://www.45cat.com/record/r5410) — sadly, its best performing A-side.
But what an A-side. Mike Stax writes:
Along with the Small Faces [see #969, 1,024], the Action were the ultimate mod band. They had the look, the moves, and, above all, the sound. Their interpretations of Tamla-Motown material had a flair and conviction that were unmatched on the British scene, and it won them a fanatical club-circuit following. Their collective strengths are demonstrated to maximum effect on their version of the Marvelettes’ “I’ll Keep Holding On,” released as their second single, in February 1966. Reg King’s superb lead vocal and the group’s exuberant harmonies capture all of the joyful energy of the original, while the ringing Rickenbackers and . . . kinetic drumming infuse the track with an extra dynamism that is transcendent.
liner notes to the CD comp Nuggets II (Original Artyfacts From The British Empire And Beyond 1964-1969)
Andrew Darlington adds:
[T]he single was critically well-received and became the closest they ever got to a chart hit. It’s fair to say most radio listeners were unfamiliar with the Marvelettes American hit, and the Action have a Power-Pop drive that shifts it into alternate gears anyway, the lyric urging the purposeful pursuit of the elusive object of his desire – “waiting, watching, waiting, watching, looking for a chance”. The record was well-familiar and highly-rated around the clubs. It came tantalisingly close. Their window of opportunity was definitely ajar, yet it failed to actually chart. Perhaps it was the high-point, the main chance, the moment at which – if they were going to break through big, this was their time.
https://andrewdarlington.blogspot.com/2011/06/action-everybody-wants-piece-of-action.html
As to the Action, Bruce Eder tells us:
In the mid-’60s, the Action had a strong grassroots following among British mods. But despite the support of George Martin, they never managed anything close to a hit record. The Action were the most soul-oriented of the mod groups, favoring guitar-oriented covers of Motown tunes and R&B dance numbers of the day . . . . Martin’s production put the emphasis on Reg King’s impressive vocals and the group’s high vocal harmonies, in the process getting a unique sound. . . . The Action changed members and their sound as the decade progressed, and were reborn as Mighty Baby [see #1,646]. The band started out in North London during 1963 as quartet called the Boys . . . . [who] went out of existence in 1964, but didn’t split up, instead reconfiguring themselves as a five-piece. . . . the Action. [T]hey developed a tougher, harder sound that quickly made them favorites among mod audiences. The Action had a sound similar to the Small Faces . . . . They were discovered by George Martin, who signed them to his newly founded AIR Productions in 1965 and got them a recording deal at Parlophone Records . . . . The Action debuted with an excellent single of “Land of a 1000 Dances” b/w “In My Lonely Room,” which failed to make the charts despite being an irresistible dance number and lovely ballad respectively, performed with genuine flair and inspiration, not to mention an authentic white soul sound from Reg King that was as credible as anything emanating from England at the time. The Action’s second single, “I’ll Keep on Holding On” . . . released in early 1966, was just as good . . . as their first, but saw no greater chart success. The Action maintained a serious following among the mods . . . but they couldn’t get a break with their records and were unable to get the exposure that would have bumped them to the next level. . . . [B]y late 1966 and early 1967, they were doing smooth soul-styled material . . . . [and] by mid-1967 the[y] had evolved . . . into a progressive folk-rock-based sound . . . . Though Martin still supported the music the Action were making, their lack of success meant that AIR could no longer keep them on the label and they were let go in 1967. They . . . soon were back in the studio cutting a new batch of songs that were all composed by the band and featured a heavier, more psychedelic sound. They sent the tape around to various labels, but were unable to drum up enough interest to sign a deal. . . . Reg King subsequently left the band to pursue a solo career, and . . . the outfit that remained, rechristened Azoth. . . . They eventually transformed themselves into a pure psychedelic outfit, Mighty Baby . . . .
https://www.allmusic.com/artist/the-action-mn0000029067/biography
Where the Action Is:
Ready Steady Go:
Here are the Marvelettes:
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