THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,928) The Montanas — “That’s When Happiness Began”
The Montanas (see #1,245, 1,724), Wolverhampton’s harmony pop heroes, give us a “fuzz-laden . . . frantic, emphatic piece of harmony-based freakbeat/garage rock” (Bruce Eder, https://www.allmusic.com/album/youve-got-to-be-loved-mw0000229331) for their second A-side, “their best 45, hard fuzz ‘freakbeat’ riffs here, cool freakout, a yell near the psych out end too, way cool” (Mome Wrath, https://www.45cat.com/record/7n17183), “simply one of the most infectious pop ravers I have ever heard”, with a “[f]antastic riff, great vocal harmonies, wild fuzz guitar break; it just doesn’t get any better than this”. (tymeshifter, https://rateyourmusic.com/music-review/tymeshifter/the-montanas/thats-when-happiness-began-goodbye-little-girl-2/20012019)
Tymeshifter asserts “How in the world this single didn’t become a smash hit is beyond me.” (same link) It’s beyond me too. But, “after a slow start, [it did] beg[i]n to pick up pirate Radio Caroline airplay and so became a steady seller in the Autumn of 1966.” (Brian Nicholls, http://www.brumbeat.net/montanas.htm) Then tymeshifter steps in it: “I feel it ranks right up there with anything The Beatles were doing at the time.” (same link) OK, tymeshifter, take a cold shower.
“Happiness” was written by the Love Brothers, or rather, the Addrissi (“Never My Love”) Brothers [see #1,693]. It was originally released by the L.A. garage rockers Grains Of Sand. Iron Leg ponders:
How the song got to the Grains of Sand and the Montanas is a mystery, as is which of those bands recorded it first. My suspicion is . . . that the song was making the rounds as a publisher’s demo, and both the Grains of Sand and the Montanas got a hold of it separately. . . . Either way, both versions are rife with kick-ass-ery, with the Montanas winning out by a nose, if by nose you mean a wild fuzz guitar solo. While the Grains of Sand is a powerful slice of West Coast garage pop, the Montanas kick up the energy level significantly, dragging the song into Freakbeat territory. . . . [T]he high energy, ever so slightly psyched-out vibe of the Montanas recording is a pretty fine example [of freakbeat].
Tymeshifter adds:
Both versions are just as good as the other’s, though with a slightly different sound. The Grains’ version is slightly more psychedelic, with a distinct punk vibe. The Montanas knew a great track when they heard one, and redid it as a wild freak-beat raver.
As to the Birmingham’s Montanas, Brian Nicholls writes that:
Their unique blend of R&B, pop, and classic covers together with their close harmony versions of Beach Boys see #667, 1,825] and Four Seasons [see #1,454] hits ensured sell-out crowds, particularly in the Midlands area where fans would literally queue before the venue opened to ensure a seat. . . . The Monts were also constantly in demand for live radio broadcasts on Radio One Club . . . . On 16 July, 1967 they appeared on ‘Easybeat’ performing “River Deep Mountain High”, “Morning Dew” and “Take My Hand” [see #1,693] and were told it was one of the finest live performances in the history of the show.
Vernon Joynson adds that they were “essentially a mainstream harmony-pop band” who “issued a series of beautifully crafted mid-sixties singles that marked the development of beat into summer pop with even a hint of psychedelia, without getting the success they deserved.” (The Tapestry of Delights Revisited) And Bruce Eder says that their “Pye Records recordings . . . [constitute] one of the more self-consciously beautiful bodies of music that one is likely to cross paths with from mid-’60s England.” (Bruce Eder, https://www.allmusic.com/album/youve-got-to-be-loved-mw0000229331)
Bruce Eder gives us some history:
[T]heir sound was a kind of high-energy pop/rock, with chiming guitars and seriously elegant and robust harmonies, somewhere midway between, say, the Hollies [see #461] and the Ivy League. . . . generally run[ning] toward fairly punchy beats, chiming rhythm guitars, and high harmonies. . . . By 1967, they’d evolved a bright sunshine pop sound that, had they been based in America on a reasonably strong label, might’ve had them breathing down the necks of the Association [see #1,264]. . . .
The group originated in Birmingham in 1964 . . . . The[y] had a very theatrical presentation, which included bits of comedy between the songs. The Montanas were managed by Roger Allen, who was able to get them a contract with Pye Records, which brought them under the wing of songwriters Tony Hatch and Jackie Trent. . . . [who] also wrote hits for Petula Clark . . . . They had three songs, “Ciao Baby,” “You’ve Got to Be Loved,” and “Let’s Get a Little Sentimental,” that were favorites among reviewers, and got very heavy radio play, all without scoring any major chart action in England. Somehow, however, “You’ve Got to Be Loved” managed to make the American Top 50 — but they lacked the resources to come to the United States to promote the record, and watched as it rose and fell from the sales listings, all under its own power. . . . Everyone who ever saw the Montanas perform live respected and admired them as one of the top bands in Birmingham; they were first-rate musicians and had a powerful sound playing live, and were deserving of a break and a hit. . . . Their reliance on outside songwriters, which had been a mere detail . . . in 1965, had become a liability by 1967, and their records, for all of their excellence, didn’t reflect the group’s actual sound, which was a lot less pop-oriented than their singles would have led one to believe.
https://www.allmusic.com/album/youve-got-to-be-loved-mw0000229331, https://www.allmusic.com/artist/the-montanas-mn0000891434#biography
Singer Johnny Jones ponders:
Tony Hatch was convinced he was going to get us away eventually . . . he spent an enormous amount of time and trouble with us. He produced all our releases . . . and he wrote some really strong songs for us. But in hindsight, we really should have gone over to The States once we found out “You’ve Got to Be Loved” was moving . . . that would probably have made all the difference . . .
liner notes to You’ve Got to Be Loved (Singles A’s & B’s): The Montanas
Here are the Grains of Sand:
Here is Mike Furber (see #596, 1,658):
Here is Gwynn Owen (see #1,761):
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