6
What’d I Say
THE BIG THREE
DECCA (1963)
The Big Three had a well-earned reputation as a
powerful live act in Liverpool, whether playing
their own shows or backing Cilla Black and Beryl
Marsden, but when they signed with Brian
Epstein he had them record Richie Barrett’s Some
Other Guy as a single. The lightweight recording
didn’t do them justice, squeaking into the Top 40.
Far better is the live EP At The Cavern, which sees
them charging headlong through the likes of Ray
Charles’ What’d I Say and Chuck Berry’s Reelin’
And Rockin’. The only thing more frenzied than
their blasting R&B is the shrieking audience.3
Walking The Dog
THE DENNISONS
DECCA (1964)
A group whose talent far exceeded their national
profile, The Dennisons were blessed with one of
the best singers on the scene in gravel-voiced
Ray Scragg, although he shared vocal duties with
Eddie Parry, who had a much cleaner, classic
Merseybeat delivery. They regularly shared the
bill with The Beatles at The Cavern, but their
original Be My Girl stalled at No.46 and their
version of Rufus Thomas’s Walking The Dog,
belted out by Scragg, only just broke the Top 40.
The single’s B-side, You Don’t Know What Love Is,
was written for the group by Ben E. King.5
Do You Love Me
FARON’S FLAMINGOS
ORIOLE (1963)
Live favourites on the Merseybeat scene, Faron’s
Flamingos managed to skirt around success with
unfortunate dexterity. They recorded two singles
for Oriole but their best cut, a punchy rip through
The Contours’ Do You Love Me, was unwisely
relegated to the B-side of See If She Cares. Let’s
Stomp was released on a double A-side with Rory
Storm And The Hurricanes – drummer Trevor
Morais was in both groups – but it failed to chart
and the band split. Faron and guitarist Paddy
Chambers joined The Big Three, while Morais
found a new home with The Peddlers.2
Stupidity
KINGSIZE TAYLOR AND THE DOMINOES
DECCA (1964)
Kingsize Taylor And The Dominoes had talent
aplenty, but they didn’t write their own songs
and never indulged in the twee teenage romance
of their chart-friendly contemporaries. Instead,
they played vigorous R&B powered by Taylor’s
gutsy blues shouter style. A residency at The Star
Club landed them a deal with Decca in Germany,
for whom they cut a version of Solomon Burke’s
Stupidity, featuring Howie Casey on sax, and a
fiery take on Ted Taylor’s Somebody’s Always
Trying. Alas, not even tours backing Chuck Berry
and Carl Perkins brought them fame.4
Just A Little Bit
THE UNDERTAKERS
PYE RECORDS (1964)
With a repertoire spanning soul, R&B and
rock’n’roll, The Undertakers raised the bar for
other beat bands. They were rightly proud of
their Gibson guitars and bass, and the fact they
owned the first 100-watt PA in the city, but what
really fattened out their sound was the tenor sax
work of Brian Jones (not the Rolling Stone). His
presence meant they could harness the full
flavour and power of tunes like Rosco Gordon’s
Just A Little Bit. The Undertakers unsuccessfully
tried to crack America in 1965, and their
US-recorded album wasn’t released until 1996.1
From Me To You
THE BEATLES
PARLOPHONE (1963)
The Beatles are inextricable from the fabric of
Merseybeat. On 9 February 1961, the band gave
their first performance at The Cavern with a
line-up including Stuart Sutcliffe and Pete Best,
while Ringo’s debut with the group at the club
came on 19 August 1962. The following year, the
band reached No.2 with Please Please Me, before
they scored their first UK No.1 with From Me To
You. The track features Lennon on harmonica,
lending the tune a touch of blues, but the vocal
harmonies and Starr’s groove – hiccupping drum
fills and all – are pure Merseybeat.Merseybeat Top 20