Jet Harris And Tony Meehan, "Diamonds" c/w "Footstomp," London 45-9589 (rel. 2/1963)

 

In 1962, Cliff Richard and The Shadows were one of the most popular groups in Europe. Their appeal didn’t work in America. They were popular in Canada, but across the border their recordings failed over and over. The Shadows’ lead guitarist Hank Marvin proved influential to American musicians, but the group’s fine records were perhaps too European-sounding for Yankee tastes.

The group’s UK chart-topper “Apache” became a hit via a poor cover-version by guitarist Jorgen Ingmann; some of the group’s repertoire got US covers. But the records themselves—which several labels tried to break here—didn’t sell and are unknown to most Americans.

In early 1963, the group was at a crossroads. The infusion of rock ‘n’ roll via The Beatles and every band that followed made the tidier approach of Richard and The Shadows seem tame. Richard followed the general Elvis mode—he let himself become an all ‘round entertainer rather than a rock ‘n’ roller. The Shadows explored a variety of melodic veins but could deliver hard-edged material when they wanted. The hyper “FBI,” a 1961 European hit, shows they could get wild. They appealed to a mass mainstream taste; The Beatles soon would achieve the same position without taming themselves.

By that time, The Shadows had lost two of its founding members. Bassist Jet Harris left the group in late 1962. His excessive drinking and attitude got on the nerves of rhythm guitarist Bruce Welch, and the egotistical Harris couldn’t take the criticism.

Drummer Tony Meehan left the group earlier in ’62 to pursue a studio-based career as an arranger, producer and drummer-for-hire. He worked with eccentric producer Joe Meek and ran the tapes of The Beatles’ New Year’s Day 1962 audition for Decca Records. He found the group amateurish and unfocused, and spoke his mind to their manager, Brian Epstein, who declined further engagement with Decca.

Harris and Meehan teamed for a series of mostly-instrumental singles. They had a few European charters, including today’s single. Again, their records didn’t draw flies in America. The A-side of our record got a cover version by The Ventures; it’s a highlight of their 1963 Surfing album. That year, they released a single that featured a Shadows cover called “The Savage,” which wasn’t a hit but is further proof that these Northwestern rockers knew the UK band’s work.

“Diamonds” is one of many compositions by Jerry Lordan, an easy-going pop vocalist who penned several of The Shadows’ classics—“Apache,” “Atlantis” and “Wonderful Land,” among others. Its brooding minor-key theme made a fine vehicle for the ex-Shadows. Harris played a six-string bass, which gives the record a Duane Eddy flavor without becoming a soundalike.

A major-key second theme brings in bass, regular guitars and a vocal chorus; this leads to a drum solo by Meehan. Even though he didn’t like The Beatles, he could pound those skins with precision and style.

Because “Telstar” by Joe Meek-produced group The Tornados topped US charts, anything in that ballpark was fair game, and “Diamonds” had the potential to be a pop hit. Jazz guitarist Barney Kessel did a cover version that also flopped and now commands triple figures for top copies. This recording, issued on London Records, repository for UK Decca material (with no connection to the US Decca label) since the dawn of the 45-rpm era, got some airplay but didn’t break out. Thus, the US edition is rarer than the UK, which sold millions of copies and is a common sight in British charity shops.

A young Jimmy Page is heard on rhythm guitar; Harris was so taken with the musician that he joined the touring band.

Cash Box had high hopes for today's single. It didn't happen here.

Harris was well-known for his occasional screams on Shadows records. His laconic, limited vocal range made him more popular as an instrumentalist. His raspy, half-spoken vocal leads “Footstomp,” an absurd account of a jaded pop star who’s driven mad by a record he hears everywhere. Its opening line is a gem of deadpan: “Went to the corner/to buy myself a limousine.”

Penned by Tony Meehan, “Footstomp” has its charms, and offers a lot: twangy guitar, a vocal chorus and a full-throated sax solo. Harris’ forlorn voice, swathed in reverb, may or may not appeal to you, but I like its homely vibe. It’s one quirky record, and I’m glad it exists. 

Jet Harris had two solo hits and three with Tony Meehan; his last single, “Big Bad Bass,” stiffed in early 1964 and Harris withdrew from music for a spell. His collaboration with Meehan fell apart due to Jet’s alcohol abuse and reckless behavior. He had several charges filed against him, and was in a bad motor accident than injured him ans his girlfriend, pop singer Billie Davis.

Harris’ comeback in 1966 failed, and he left the music world and began a long spiral to the bottom. He took construction and street-vendor jobs while he continued his battle with alcoholism. Three decades of this passed and he at last acknowledged his problem and sought help for it.

After Harris got his act together, he returned to music; he and Tony Meehan were guests at a 1989 concert tour that marked the 40^th anniversary of Cliff Richard and The Shadows’ success.

Meehan continued as an in-demand producer, arranger and session drummer. He, too, made an occasional return to his first group when their second drummer, Brian Bennett, took ill. He left music in the 1990s to pursue a second career as a psychologist. He did well in this field until his death in 2005.

A lifelong smoker, Jet Harris died from throat cancer in 2011. His was a rock ‘n’ roll life and he left behind some solid recordings, a lot of personal chaos and is fondly remembered by his aging fanbase.

Tomorrow: a lesser-known single by Chicago proto-soul group The Sheppards, rescued from a brutalized 1960 Apex Records released. It cleaned up real good-like!