Welcome back to part two.
Here we go again with another selection of six acts that you absolutely, positively have never heard of before*
* but might have.
Max Bygraves
The Singles:
Top 40 = 16
Top 10 = 7
Albums:
Top 40 = 10
Top 5 = 5
Max was an old school entertainer. Comedian, singer, actor, writer and game show host – that’s how I first knew him as presenter of Family Fortunes (ok so we stole your Family Feud but gave it a positive spin, rather than suggesting a public airing of grievances and brawling) in the early 80s.
He had two distinct phases to his chart career. The singles phase from 1952 to 1961 which focused on comedy songs and, unusually for the times, even material he wrote himself amongst covers of songs already tried and tested in the US.
He kept making records. But it took until 1972 for the album phase of his chart career to kick off, as he found a winning formula with Sing Along With Max.
Covers of old standards, music hall numbers, anything that would appeal to a more mature audience who weren’t catered to by this new fangled pop and rock. A constant stream of albums, all variations on the same theme followed; Singalongapartysong, Singalongaxmas, Lingalongamax, etc, etc.
His last hurrah was as late as 1989 as two volumes of Singalongawaryears charted, the first making #5. These were full of songs popular during the World Wars. He tapped into a demographic that weren’t record buyers, as evidenced by my Grandma, who probably hadn’t bought a record in at least 30 years, but loved anything that brought back memories of defeating the Nazis.
The most bizarre item in Max’s discography is something that didn’t chart. In 1979 he released Discolongamax. This wasn’t a complete departure from the formula. The songs were still the same timeless classics, but with a disco beat.
I listened to Get Me to the Church On Time in researching this article.
And it is a thing of wonder – hideous but hilarious.
Listening to an entire album’s worth of that may induce dark thoughts. But I applaud the barefaced cheek, eccentricity, and deranged notion of a 57 year old with a Cockney accent having the audacity to do it.
Essential Track:
The word essential is taking a bit of a battering here but his disco version of Get Me To The Church On Time has to be heard to be believed. So here it is. I challenge anyone to keep a straight face when the vocal comes in.
Showaddywaddy
The Singles:
Top 40 = 23
Top 10 = 10
#1 = 1
Albums:
Top 40 = 9
Top 10 = 5
#1 = 1
While glam rock was taking off in the early 70s and the likes of Roxy Music were looking to the future, there were others looking back. 1972 saw the London Rock and Roll Show at Wembley Stadium, featuring the likes of Chuck Berry, Little Richard, Bo Diddley, Bill Haley – and for some reason, the MC5.
Who to no great surprise, other than perhaps to the booking agent, didn’t go down so well.
Showaddywaddy were rock n’ roll and doo wop revivalists who are unlikely to be remembered in any critical appreciation of the history of music. But they did carve out a successful niche for themselves. Their Debut #2 hit Hey Rock and Roll set out their stall: an original composition that aped the early rock and roll sound, updated with a glam rock stomp.
After that, any originality was set aside. Their biggest hits were covers of the likes of Under the Moon of Love (their only chart topper), Three Steps to Heaven and Heartbeat.
Its not surprising they didn’t cross over to the US. But they did the job at home with a long string of hits from ’74 to ’82: selling nostalgia and escapism to the mainstream for whom the nihilism of punk was a dreadful and unintelligible noise.
As with so many from the era, they never stopped, just downsized. They had a revolving door policy on membership and are still at it now. According to their website they’ve played 2,830 gigs since 1973, and that’s with a big gap from 2000 to 2014 which is ‘awaiting updates’.
Rock and roll will never die it seems – though it might need an administrative pause.
Essential Track: Hey Rock and Roll
Blue
The Singles:
Top 40 = 13
Top 10 = 11
#1 = 3
Albums:
Top 40 = 6
Top 10 = 4
#1 = 3
Blue began as a boyband mixing pop and R&B. An initial incarnation was put together by Simon Cowell but didn’t take off. They split and reformed with a new line up without the evil pop overlord at the helm.
The usual boyband mix of original songs and covers, their first #1 was a version of Too Close by Next and their third was a collaboration with Elton John on his Sorry Seems To Be the Hardest Word. He wasn’t the only high profile collaborator they pulled in: Stevie Wonder and Annie Stone joined their take on Signed, Sealed, Delivered, I’m Yours and even more unlikely, Kool & the Gang and Li’l Kim on Get Down On It. On one hand, it sure looks like they were trying to get noticed in the US.
But there’s a good reason why it never happened.
Controversy magnet Lee Ryan made sure of that. He’s got quite the rap sheet; drink driving, speeding, twitter wars with a drag queen… Just the other month he was arrested for disruptive behaviour on a plane
Early in their chart ascendancy and a month after 9/11 he used an interview to complain that the attacks had been blown out of proportion, culminating in asking; ‘Who gives a f— about New York when elephants are being killed?’ He later apologised saying he wasn’t very good with words. Damage done though: their US representation swiftly dropped them.
Despite his ongoing attempts at career sabotage they’ve kept him onboard. They split up in 2004. But after the familiar tale of solo careers offering diminishing returns, they reformed in 2011 to take part in Eurovision. (Finishing eleventh – which at the time was pretty credible for the UK. They are still plugging away with a new album due in October.
Essential Track: All Rise
Bucks Fizz
The Singles:
Top 40 = 13
Top 10 = 7
#1 = 3
Albums:
Top 40 = 5
Top 10 = 1
From Eurovision resurrecting a career, to: making a career. Bucks Fizz were Bobby, Cheryl, Mike and Jay; a two girl / two boy line up in the Abba mould, if you ignore that they didn’t play instruments or write their own material. The song Making Your Mind Up was already written, ready to be put forward as the UK entry for Eurovision 1981. It just needed an act to sing it.
The four were duly assembled and went onto win. A large part of its success has been credited to the live performance where on singing the line ‘if you want to see some more’ the boys whipped off the girls long skirts to reveal…..shorter skirts. Europe had never seen anything like it.
It sold four million copies charting all over the world…
Except in the US.
Whether it was that the miniskirt routine was too daring or not daring enough, only you guys can tell me.
Despite having been put together for a one off event, the momentum was too good not to follow up on. They spent much of the early 80s in the charts across Europe.
All that ended in December ’84 when their tour bus crashed, leaving band and crew members severely injured. The worst being Mike who spent three days in a coma on life support before pulling through. Just as they started back on the promotional trail in 1985, Jay left. And while they scored one more top 10 hit the following year, that was their last top 40 entry. Their recording career was over before the end of 80s. Eventually only Bobby remained, continuing as a live act with a revolving cast of members.
The story doesn’t end there though, as the other three original members got back together. Calling themselves The Fizz, they’ve had had two more top 30 albums since 2017, with another due imminently. Still no Billboard entry though. Maybe next time.
Essential Track: Making Your Mind Up
Mud
The Singles:
Top 40 = 15
Top 10 = 11
#1 = 3
Albums:
Top 40 = 4
Top 10 = 2
I guess the name didn’t help for a start. What could be more fitting for a glam rock band than Mud? They released their first single, Flower Power in 1967 – again, nothing says peace and love like Mud. It took until 1973 to get their break as writer/producer team Nicky Chinn and Mike Chapman took control. After years of struggle it all came together with a run of success from 1973 to ’76.
At their best, songs like Tiger Feet and Dyna-Mite were an intense burst of catchy bubblegum rock and pop. Singer Les Gray could do a passable Elvis impression which was put to use on singles, including their Christmas #1; Lonely This Christmas.
While differing variations of Mud carried on far from the charts, lead guitarist Rob Davis had a seemingly implausible re-emergence in the 90s as a songwriter on club and dance tracks and was co-writer of Kylie’s Can’t Get You Out Of My Head and Spiller & Sophie Ellis Bextor’s Groovejet.
Essential track: Tiger Feet
The Shadows
The Singles:
Top 40 = 28
Top 10 = 16
#1 = 5
Albums:
Top 40 = 29
Top 10 = 12
#1 = 4
Saving the biggest for last.
I’ve slightly cheated.
The Shadows did actually make it onto the Billboard charts four times… but all as Cliff Richard’s backing band. On their own they’re conspicuous by their absence.
Originally calling themselves The Drifters, they changed their name to The Shadows for obvious reasons, and struck out on their own while still joining up with Cliff every now and then. Even without their work with Cliff, the home chart stats I’ve quoted are immense.
It shouldn’t really have worked. They survived the early 60s beat boom that did it for many of the contemporaries. Their output was purely instrumentals, led by the twanging guitar of bespectacled Hank Marvin.
Sidenote: like Ruby Murray: they have gifted another piece of well known rhyming slang to the idiom. If one is Hank Marvin, this can definitely be alleviated by going for a Ruby Murray
They gave their singles names that gave them a sheen of adventure and the glamour of America, unlike the staid matching suits they sported. There was FBI, Kontiki, Geronimo and Apache. They might not have hit the US charts but Apache had an afterlife of its own as a staple sample in hip hop.
Their top 40 singles lifespan went from 1960 to 1980 and albums wise all the way up to 2020. Changes in fashion and popular taste didn’t affect them. They just kept going regardless. And people kept lapping it up.
Their album discography is littered with Greatest Hits collections. I’ve no idea who buys them, but they keep releasing them. And they keep charting: three of them being #1s and numerous others in the top 10. So many that it feels like every home should have one. My parents certainly did.
Essential Track: Apache – wait for just before two minutes in for the perfectly synchronised ‘dance’ steps, heady stuff.
Hope you enjoyed the selections.
Let the author know that you liked their post with a “heart” upvote!
Views: 120
You’re right! I’ve NEVER heard of these bands!! Great write up!
Thanks thegue! I don’t imagine any of them will become your new favourite band but nice to broaden your horizons. I thought that even if people don’t know The Shadows they’ll have heard Apache sampled whether through The Incredible Bongo Band, Sugarhill Gang or the many others on the link mt added.
There’s also this one:
https://www.youtube.com/watch?v=cjoMuRbJjS4
Eagerly waving his hands in the air, DF shouts “I know the Shadows, I know the Shadows.”
Growing up in the ’60’s, I loved me some instrumentals and I had a stash of them on 45’s (alas, all gone).
“Pipeline” by the Chantays was my favorite but “Apache” was a close second.
Move ahead several years to college and the school, I attended was too small to have a marching band or a drill team, but the cheerleaders picked up the slack and would perform at halftimes of both the football and basketball games. Their song of choice, “Apache”. They had a whole routine worked to the song and it was very popular.
Fast, fast forward some thirty years and somehow the football players at our high school had discovered the Sugarhill Gang’s cover version with the words “Jump on it, jump on it” intermixed with the instrumental version.
They adapted this version as the go to song after a victory on Friday nights
(We went to the semi-finals at state that year, so the coaching staff got very familiar with it).
Every now and then I’ll hear snippets of the song in the hallways and locker rooms but it’s no longer the fad but in looking at discography for the song, it’s been covered by a tremendous number of hip hop artists through the years.
Trivia time. In 2005, Q magazine rated “Apache” at 96 on their Top 100 Greatest Guitar Tracks in history.
I do like the Incredible Bongo Band and Sugarhill Gang versions of Apache. I can’t hear it without thinking of Carlton in Fresh Prince of Bel Air. As evidenced by that its a great track to get the party going so I can see why the football team used it.
I can see why it made it into that top 100 – my favourite guitar based instrumentals of the 50/60s would be Link Wray’s Rumble and Fleetwood Mac’s Albatross but Apache is quite iconic.
Is there a UK, hip-kid, fish-out-of-water sitcom analog to The Fresh Prince of Bel Air ?
Good question and it feels like there should be something along those lines but I can’t think of anything that would match that description. Maybe it was too iconic and we got it here too (6pm Monday evenings on BBC2) so no one thought a British version necessary.
I know The Shadows and, as DanceFever says, they’re super cool.
I also remember hearing the name Bucks Fizz a lot. Then I heard one of their songs and wasn’t really impressed so I never sought them out.
And I kinda sorta remember seeing Showaddywaddy somewhere, and thanks for bringing Mud to my attention. I’ll have to dig into them.
Nice job, JJ!
Bucks Fizz are a bit lightweight for me. I don’t think there’s anything you’d be missing out on there.
I have a thing for early to mid 70s Nicky Chinn / Mike Chapman productions. Tiger Feet and Dyna-Mite by Mud are particular favourites but they also wrote and produced some great stuff for Suzi Quatro and The Sweet. The Sweet hated the stuff they put together for them as they wanted to be heavier and not be seen as a throwaway pop band. Blockbuster is catchy and kitschy as hell but Hellraiser, Ballroom Blitz, Teenage Rampage and The Six Teens are all awesome.
One thing that struck me about the Mud and Showaddywaddy videos is how much fun it all looks. I’m not sure that happens so much now. My tastes from being a teenager was for indie guitar bands most of whom definitely wanted to be seen as serious artists rather than fun.
“Hey, Rock and Roll” is amazing. Those early Bryan Ferry all covers albums make sense now. Ferry was ripping off Showaddywaddy.
I’m fairly sure this is the first time in history this observation has been made. I’m sure Bryan would appreciate it.
That Bucks Fizz promotional photo is as 80’s and as denim as theoretically possible.
The Mud promotional photo would like a word.
People say double denim is a fashion faux pas. Well how about triple denim?!
I have a decent handle on all the obscure post-punk UK acts, but these mainstream artists are an honest-to-God revelation. Very, very informative. Thank you.
My guess, by the way, was Gary Numan.
But the “Big in Birmingham” headline made me think of Sparks. “Wonder Girl”, the lead single off their debut album, topped the charts in Birmingham… Alabama. I remember the liner notes from a Sparks compilation album; my introduction to the wonderful and weird world of genre-hopping. Sparks had zero top forty hits in the US. Even Jane Wiedlin couldn’t help the Mael Brothers.
My introduction to Sparks was “A Woofer in Tweeter’s Clothing” which I first listened to in the attic bedroom of a friend of mine whose two main passions were off-beat music and sniffing glue. I thought (and still think) that it was one of the coolest album titles ever.
I connected immediately with “Wonder Girl” and especially, “Girl from Germany”. The compilation album was called Profile: The Ultimate Sparks Collection. My lifeline doesn’t encompass The Velvet Underground. To my ears, those two songs sound more like precursors to indie rock than Lou Reed’s band. To me, Sparks was an indie band whose genre wasn’t invented yet, so they latched onto glam, and made it weird. Siouxsie and the Banshees did such a great job covering “This Town Ain’t Big Enough For The Both Of Us”. Gwen Stefani valiantly tried to cover an equally difficult song, “Stand and Deliver”. Siouxsie Sioux would know what to do.
I do love The Velvet Underground, but they were much more of an influence on punk (as in, they practically gave birth to it) than on indie rock.
I can’t picture Sonic Youth without the Velvets, or the shoegazers. And their third album has kind of an indie vibe, at times calling to mind Blonde Redhead, Feelies, and Spacemen 3.
Not to mention their influence on goth rock. Siouxsie Sioux definitely knew what to do with the Velvets.
Neal Sugarman is the most interesting man in music.
Yeah, in this case its strictly mainstream. Then again, describing Max Bygraves as mainstream doesn’t do justice to his back catalogue. He was ploughing his own furrow, sometimes it worked (war nostalgia), sometimes it didn’t (disco lunacy).
I love Sparks, can definitely see why they had more success here than in the US. They fitted in quite well here in the 70s by not fitting in.
I will never pass up an opportunity to share this glorious version of “Apache”:
https://youtu.be/f6tnj7IEI0E
That is quite something. Definitely enhanced by the video. I’m assuming Tommy is the keyboard wizard; happy as a pig in shit is the phrase that comes to mind seeing his grin.
I’ve now googled him and apparently the b-side to this is called Bubble Sex. I’m intrigued but at the same time not sure i want to go any further. As has been pointed out before; the 70s were weird.
Damn, I didn’t get a perfect Yankee Score, since I know The Shadows. Still, only the one!
Man, that Max Bygraves song is just deliciously, resplendently repellant. I can’t wait to annoy my friends with it!
Showaddywaddy should have chosen a simpler band name: The Power Pop Rangers. Actually, I don’t hate them. They’re like The Damned’s dorky older brothers.
Bucks Fizz: Dear God. All I can think of is serial killers when they’re playing. I made my mind up: I’m never playing that again!
Mud: My Name is Bolan.
1 out of 12 isn’t bad!
As deliciously repellent as Max’s effort is I don’t think I could cope with the full album – too much of a good thing….
Its the way that the generic disco intro does nothing to prepare you for the tone deaf bellow of the first line followed by the over enthusiastic shout of ‘Ding dong!!’ Cracks me up everytime.
On the face of it Showaddywaddy is a terrible name, it is to type, but didn’t seem to do them any harm and I guess they were never gonna be mistaken for anyone else with it.
Max and Blue are new to me.
“Under The Moon Of Love” was the song I most associated with Showaddywaddy.
I play Mud’s “Lonely This Christmas” every year and my mom always comments about the Elvis sound-alike vocals. They are about as glam as glam can get.
The Bucks Fizz miniskirt routine was a yaaaawner.
I only knew of “Apache” because an Apache indian was our High School mascot and folks thought it was cool there was a song with the same name, with a western sound. It got played waaaay too much.
It shows how far we’ve come, that Bucks Fizz routine was considered a real jawdropper moment at the time.
Under the Moon of Love was Showaddywaddy’s biggest hit and might be more representative of what they did but I prefer Hey Rock n’ Roll.
Love this! I’ve heard of Max Bygraves mentioned in some books about UK performers influenced by certain comedians (don’t ask me which), and I’ve read a few imports that mention Showaddywaddy, Bucks Fizz, Mud and the Shadows. But none of those write-ups gave such great insights and fun recollections as what JJ Live at Leeds provided here. It’s fascinating stuff.
One question: Did any of these artists appear on the same bill with American acts? And if so, did they get top billing over any of them?
Thanks Ozmoe! I’ve had a quick look but can’t find that level of detail. I would imagine that The Shadows will have appeared on the same bill as US artists as package tours were a big thing in the early 60s. They’re also the only ones that I can see even touring the US. I did think The Shadows would have had at least a couple of minor US hits but it wasn’t to be.
@JJ Live At Leeds , thank you for your examination of a (from the US perspective) alternate universe of pop music. There is an endearing quirkiness to acts that make it in the Old World – somehow all the ones that make it big over here feel like they have a corporate stamp of approval. Even the UK acts that do conquer the world feel like they started as a lark. Somehow I imagine that the acts that are only big in England still live enjoyable lives. And now, presenting…
Revenge of ArchieLeech’s Spoilers, Episode I: The One JJ Got –
…there’s a guy who was a huge phenom in the UK who eventually had hits in the U.S., but his legendary backing band had numerous instrumental hits in the UK, including several number 1s, with nary a spot on the U.S. charts. Come to think of it, they ALSO had a Beatles connection.
This act is, of course, the Shadows. I want to emphasize that ALL the guitar gods that came out of England idolized Hank Marvin – he did for guitar in the UK what the Beatles did in the US. Speaking of which, what is the Beatles connection I refer to? Well, all you trivia and/or Beatles freaks know that the very first original song the Beatles recorded was the instrumental “Cry For a Shadow.” George Harrison and John Lennon shared a writing credit only once, and Pete Best only appeared on two recordings released under the “Beatles” moniker.
Here’s a very charming performance of Mark Knopfler’s closing theme to the movie Local Hero, called “Going Home.” Who’s this dorky guy with the glasses and the red Strat? He’s the one Pete Townshend, Jeff Beck, Richard Thompson, you name it, looked up to:
Going Home
P.S. – When you responded that you “couldn’t confirm and rumours,” I thought you were referring to another great backing band which recorded without its front man, Graham Parker’s The Rumour. They did not, however, even make it big in Birmingham.
Episode II: The One JJ Totally Missed
There’s a certain group that got a shout-out during the Beatles’ Let It Be sessions that put out some enjoyable stuff, but I can’t for the life of me get their name right.
I’ve got to look it up again, and I just did 5 minutes ago: Dave Dee, Dozy, Beaky, Mick & Tich had a stream of Top 40 UK hits in the mid- to late-60s, including seven Top Ten and one Number One. They hit during the Beatles’s Rubber Soul era and just stuck with that mop-top look throughout their chart run – in fact, you could say that their music followed that album’s Merseybeat-Plus-Light-Exotica model. I’ll let you look up their Flamenco-tinged Number One “The Legend of Xanadu” (foreshadowing…) and the clip from Death Proof where Jungle Julia repeatedly but understandably mangles their name. Here they are lip-syncing their swell Number Three hit, “Zabadak!”:
Zabadak!
The shout-out from the Beatles came in the form of comment made by George Harrison as they were recording “I Me Mine.” John Lennon was not around that day for one reason or another (I guess he had left the group at day, though he’d return), so George said, for the benefit of the cameras, “You all will have read that Dave Dee is no longer with us. But Micky and Tich and I would like to carry on the good work that’s always gone down in number two.”
Episode III: JJ Fakes Archie Out, so Arch Closes the Loop on the Articles’s Titles
There’s another band with a Beatles connection which became a worldwide sensation but, in its original incarnation, was the concurrent final lineup for another band that was popular in the UK but not here. The earlier version of the UK band shared studio time with a third (second?) band and ended up stealing their leader, who ended up masterminding the later band’s mega-success. The mastermind’s earliest band didn’t even get hits in the UK, but their stuff was quite imaginative and charming.
Who’s the biggest band out of Birmingham? The Moody Blues? No, the other one. Black Sabbath? No, the other other one. The Electric Light Orchestra – they even included “Birmingham Blues” on their smash album Out of the Blue.
Before they were mammoth world-conquerors, the Electric Light Orchestra was a quirky pseudonym for the provocative art-rock band The Move. Led by the eccentric multi-instrumentalist Roy Wood, they were notorious for promoting their often hard-rocking songs with TV-smashing and hand-delivering smutty cartoons of parliamentarians to the House of Lords. Their early hits were like mid-period Beatles with the bass turned up to 11, and they drifted more and more into album-oriented hard-rock with a faintly classical or medieval twist, anticipating Led Zeppelin’s third and fourth albums.
After a few years of chart success, including the fine UK Number One “Blackberry Way,” Wood brought in another eccentric multi-instrumentalist friend of his. Jeff Lynne’s band, the Idle Race, was recording during during the nighttime when The Move wasn’t using the studio. They finished The Move’s third album and decided to explore the possibility of using strings the way the Beatles did with “I Am the Walrus.” They gave the side-project a name which was a pun of the BBC’s Light Orchestra programs (similar to the Boston Pops). The first ELO album resulted in a Top 10 single in UK, but The Move wasn’t done, recording the album Message from the Country in the medieval-heavy mode, plus a few more singles, including “California Man,” later covered by Cheap Trick, and “Do Ya,” which Jeff Lynne would successfully remake with ELO. Wood abandoned the ELO side-project during the making of that band’s second album.
Sidebar: The Birmingham music scene of this era is fascinating. By all accounts a grimy industrial city, its music combined the hard drive of R&B with a knowledge of the finer things, using the more sophisticated musical motifs for a wide range of effects from parody to pomposity, sentimentality to supernatural. It is not a coincidence that Sharon Osbourne designed the album cover to ELO’s Eldorado – her father was the band’s manager for a time, and she dated Lynne (there is a rumor that she is the infamous “Evil Woman” of which Lynne sings).
My favorite track of The Move’s is “Blackberry Way,” but “Night of Fear” is more typical of their hit singles. It reached Number Two and features a riff based on The 1812 Overture.
Night of Fear
Bonus track: Here’s a track from Jeff Lynne’s Idle Race. That band’s output is lighter than ELO early albums’, and is closer in sound to what would make the band a radio staple. I can’t be the only person who thinks Brian May of Queen his guitar sound from here:
I Like My Toys
P.S. – The Move and The Idle Race both recorded Roy Wood’s song “Here We Go ‘Round the Lemon Tree” – that was my cryptic retort to JJ’s comment. But then I thought the Birmingham and “All Over the World” comments referred to ELO – but maybe not! I’m as confused as @mt58 bringing up Jack Lemon.
Again, its so obvious now! I had in mind Led Zeppelin. I was thinking that The Yardbirds once had Eric Clapton as a member and he was great friends with George and appeared on While My Guitar Gently Weeps. The Yardbirds became The New Yardbirds who were essentially Led Zeppelin. Looking back at the clues LZ obviously don’t fit. I must do better, The Move had some great songs, always loved Blackberry Way which is notable for being the first song ever played on Radio 1 when it was incorporated in 1967.
Hah! I see how you could get stuck on Led Zeppelin. I forgot about that “Blackberry Way” trivia.
Of course; DD,D,B,M&T!
That name is a mouthful and it used to confuse me as to what order they came. I couldn’t tell you which one is which other than Dave Dee is the frontman. I’ve heard that quote from George so many times, was wracking my brain but couldn’t think of it last week.
Legend of Xanadu is a great song. I did think they were contenders for the article but research told me that although they didn’t follow the success of many other British bands of the time they did have three minor Billboard entries.
You done good, JJ. Real good.
Double-checking now – two of their songs got to the 120’s on chart, and “Zabadak!” got to 53. I read that they got some play in the Buffalo area, thanks to Toronto listenership, which would explain why “Bend It” sounded a little familiar to me.