"Till The Following Night" (1961)A-side of Screamin’ Lord Sutch’s debut single, coupled with “Good Golly Miss Molly”, released on HMV POP 953, in November 1961.
Originally penned under the title of "My Big Black Coffin" this song was later renamed "Till The Following Night" to protect the innocent and ensure radio play, both to no avail.
Produced by Joe Meek, it sounds considerably more malevolent and mean spirited than "Monster Mash," the novelty record by Bobby "Boris" Pickett in late 1962.
Instead of the 8 seconds of haunted house sounds that ushers in "Mash" Sutch and Meek plastered their opus with 40 seconds of unbridled wind and bubbling noises, lonesome tack piano, rattling chains, coffin lids squeaks and the most blood curdling screams and orgiastic moans.
Joe Meek borrowed the atmospheric Sound effects – howling wind and coffin - like creaking – from “Night Of The Vampire” by the Moontrekkers (earlier that month, Meek had produced their single, boasting that it was unsuitable for people with nervous dispositions).
Meek surrounded SLS with intensely detailed audio montage of creaking coffins and doors, with howls and screams echoing into infinity
It’s unclear to know the personnel who has recorded on it: Probably the second line up of The Savages supplemented by saxophonist Pete Newman. Although the recording session may have been in November 1961, so the Original Savages who returned in September of that year may have played on.
Lyrics of "Till The Following Night" (Screamin’ Lord Sutch?)When the shades of night are fallin'
And the moon is shining bright
In the center of a graveyard, in the middle of the night
I get outta my big-a long black coffin till the followin'
night...
While the bat's are a -flyin'
And the cat's are a-sighing
And the zombies are a-dancin'
And the skeleton's prancin
I get back into my big black coffin' till the following night...
I got two horns on my head and a twinkle in my eye
I got two feet of hair and it makes the chicks all sigh
When I hit them with my great club, start to holler an' cry.
"Jack the Ripper" (1963)Screamin’ Lord Sutch’s second single, coupled with “Don't You Just Know It”, released on Decca F11598, in March 1963.
“Jack The Ripper” was Written by americans Charles G. Stacey, Walter Haggins & Joe Simmons
It’s a Song about the 1888 cobblestone stalking murderer. “Mary” in the chorus refers to one of his real victims: Mary Kelly, a prostitute who worked in the streets of London, near White Chapel.
It’s a three-chord song, in the key of B-flat major, and 4/4 time (2min48 s. long)
Also produced by Joe Meek, it begins with the sound of footsteps and a woman screaming, followed by a rendition of the "Danger Ahead" motif by the guitar and drums, accompanied by a ghoulish moan from Screaming Lord Sutch. We can recognize the introduction of Ray Anthony’s “Dragnet” at the beginning and at the end of the Sutch’s version.
Vamp played by guitar and bass, with accompaniment by piano and drum kit, which is repeated throughout.
When Sutch used to play it on stage in the 60's, the keyboard player would dress up as one of the prostitutes, and Such would chase him around the stage brandishing a long knife. The unlucky musician would often end up falling off the stage… then in hospital… That’s what it’d happened to Freddy Fingers Lee and Paul Nicholas!
It’s also unclear to know the personnel who has recorded on it: probably the Original Savages, back in 1962, or a later line up featuring Freddy Fingers Lee on piano.
A first recording session of Single Jack The Ripper / Don't You Just Know It, produced by Joe Meek, took place in November 1962 with a line up featuring Carlo Little. The final one may have featured another line up with drummer Derek “Deggsy” Sirmon.
Joe Meek asked Pete Semmens, the Sax player of a R’n’B band called the Sack'o'Woes, to play a long continuous note on his clarinet. Meek recorded it and did his usual FX on the sound that became the high pitch shrill that was used on SLS recording of Jack The Ripper. It comes in at the end of the line. "It's the Ripper...SHRILL.....Jack The Ripper"
Lyrics of "Jack the Ripper" (Haggins)Ah-ha-ha, aaah!
The Ripper, Jack The Ripper
The Ripper, Jack The Ripper
There's a man who walks the streets of London late at night
The Ripper, Jack The Ripper
With a little black bag that's oh-so tight
The Ripper, Jack The Ripper
He's got a big black cloak hangin' down his back
The Ripper, Jack The Ripper
That's one big cat I just hate to fight
The Ripper, Jack The Ripper
When he walks down the streets
Every girl he meets he says; is you name Mary Kelly?
The Ripper, Jack The Ripper
The Ripper, Jack The Ripper
When she walks down the streets, he's never far behind
The Ripper, Jack The Ripper
With his little black bag and his one track mind
The Ripper, Jack The Ripper
Well, he really catches up when the lights go down
The Ripper, Jack The Ripper
'Cause that's the time he starts his dirty chop-around
The Ripper, Jack The Ripper
When he walks down the streets
Every girl he meets he says; is you name Mary Kelly?
The Ripper, Jack The Ripper
The Ripper, Jack The Ripper
Scotland Yard will never catch him, he's too clever
He's much too clever
But if they do, man they'll catch: The Ripper!
The Ripper, Jack The Ripper
The Ripper, Jack The Ripper
Well, the streets of London kinda never safe
The Ripper, Jack The Ripper
Whenever Jack The Ripper shows his face
The Ripper, Jack The Ripper
So, you pretty little girlies, take a-my advice
The Ripper, Jack The Ripper
And don't walk the streets of London late at night
The Ripper, Jack The Ripper
When he walks down the streets
Every girl he meets he says; is you name Mary Kelly?
The Ripper, Jack The Ripper
The Ripper, Jack The Ripper
Oh yes, Mary! Where are you Mary?
I'm after you Mary, ha-ha-ha
With my knife Mary!
Ah-ah, sure, ah-ha-ha-ha-ha
Where are you?
Ha-ha-ha
Aaaah!
Monster in Black Tights (1963)B-side of Screamin’ Lord Sutch’s third single, coupling the rendition of the Coasters “I'm A Hog For You” and released on Decca F11747 September 1963.
Monster in Black Tights is a sproof on the currently topical Jimmy Clanton’s “Venus In Blue Jeans”, popularized in Britain by Mark Wynter in late 1962. Penned by both Joe Meek & Geoff Goddard, the same staff responsible for the success of “Telstar” by the Tornados. They composed another number inspired by the same song for these latters: “Globbetrotter”.
Lyrics of Monster in Black Tights (Joe Meek, Geoff Goddard)My Monster in Black Tights
You’ve Got the Kind Of Blood that I Like
I Remember the day
You dragged Me Away
And Left Me On A Barbed-Wire Fence…
Black And Hairy (1966)Last night I was diggin´in the cemetery,
up jumped a man all black and hairy…
This song was released as B-side of “The Cheat” (CBS 202080) in May 1966 and was not produced by Joe Meek. It was published by Pall Mall Music. At around £35 for a mint copy, The Cheat/Black & Hairy is highly collectable. Black & Hairy is the only one number from this single that can be found in Screamin’ Lord Sutch’s compilations and CD releases.
Baby Come Back (1970)Let Me Tell You ‘bout My Girlfriend – She’s A Doll
She’s so Good-looking that there’s nothing wrong.
She can be ankward, as ankward as can be
She can be Mean, just Mean as can be.
I’m afraid I still love her with my heart and my soul
I love her so much
Why do you keep doing this to me?
Why do you keep torturing me?
Why don’t you, girl, tell the truth?
Don’t keep lying to me
Baby Come Back, Baby Come Back, Baby Come Back To Me
This is the closing track of the album "Lord Sutch & His Heavy Friends", Screamin' Lord Sutch’s debut album released in 1970.
"Baby Come Back" was a transposed remake of Roy Head's "Treat Her Right" but was credited only to Jimmy Page and Dave Sutch. It was one of the six songs on which guitarist Jimmy Page and drummer John Bonham, both from Led Zeppelin, played on during a jam session in May 1969.
Jimmy Page: “ I did a little bit of wah-wah on one track ['Baby Come Back'], but I didn't do the solo in
the middle, which isn't a wah-wah thing; somebody else put that on.”
Beside some originals, Screaming Lord Sutch covered american standards during his stage show and that featured on his records.
Good Golly Miss Molly Screaming Lord Sutch covered this Little Richard’s number on his debut single, released in late 1961.
B-side of "Till The Following Night", it arrived before the rendition by the liverpuldian Swinging Blue Jeans who released it in 1964. it featured saxplayer Pete Newman from the second lineup of the Savages.
Good Golly Miss Molly (Marascalco/Blackwell)Good Golly Miss Molly, sure like to ball.
Good golly, Miss Molly, sure like to ball.
When you're rockin' and a rollin' can't hear your momma call.
From the early early mornin' till the early early night
You can see Miss Molly rockin' at the house of blue lights.
Good golly, Miss Molly, sure like to ball.
When you're rockin' and a rollin' can't hear your momma call.
Well, now momma, poppa told me: "Son, you better watch your step."
If I knew my momma, poppa, have to watch my dad myself.
Good golly, Miss Molly, sure like to ball.
When you're rockin' and a rollin' can't hear your momma call.
I am going to the corner, gonna buy a diamond ring.
Would you pardon me if it's a nineteen carat golden thing.
Good golly, Miss Molly, sure like to ball.
When you're rockin' and a rollin' can't hear your momma call.
Good golly, Miss Molly, sure like to ball.
Good golly, Miss Molly, sure like to ball.
When you're rockin' and a rollin' can't hear your momma call.
The Train Kept A Rollin'Screaming Lord Sutch and his savages recorded his rendition of “The Train Kept A Rollin'” in 1965 that featured Ritchie Blackmore’s guitar solo using fuzz effects beside sax solo by the 4 Saxes.
“The Train Kept A Rollin'” was originally recorded by Tiny Bradshaw (1905-1958) on 25 july 1951 with saxplayer Red Prysock.
It was later popularized by the Johnny Burnette Trio in 1956 then the Yardbirds in 1965, who used it in Antonioni’s movie “Blow up” the following year with both Jeff Beck and Jimmy Page. The song got new lyrics and title (Stroll On).
While he performed this song, Screaming Lord Sutch wore a Top Hat.
Screaming Lord Sutch had first visited the United States in July 1965 to promote “The Train Kept A-Rollin’”
When Motorhead covered live in 1980, Lemmy had no more idea what the words were than Lord Sutch did.
The Train Kept A Rollin' (Tiny Bradshaw/Mann/Kay)I said, train kept a-rollin' all night long
Train kept a-rollin' all night long
Train kept a-rollin' all night long
Train kept a-rollin' all night long
With a "heave!", and a "ho!"
But I just couldn't tell her so, no, no, no
Well, get along, sweet little woman get along
On your way, get along, sweet little woman get along
On your way,
I'm in heat, I'm in love,
But I just couldn't tell her so, no, no, no
Well, on a train, I met a dame,
She rather handsome, i kinda looked the samethe same
She was pretty, from New York City
I'm walkin' down that old fair lane,
I'm in heat, I'm in love,
But I just couldn't tell her so
I said, train kept a-rollin' all night long
Train kept a-rollin' all night long
Train kept a-rollin' all night long
Train kept a-rollin' all night long
With a "heave!", and a "ho!"
But I just couldn't tell her so, no, no, no
Well, get along, sweet little woman get along
On your way, get along, sweet little woman get along
On your way,
I'm in heat, I'm in love,
But I just couldn't tell her
Well, we made a stop in Albequerque
She must'a thought I was a real cool jerk
Got off the train, and put her hands up
Lookin' so good I couldn't let her go
But I just couldn't tell her so
I said, train kept a-rollin' all night long
Train kept a-rollin' all night long
Train kept a-rollin' all night long
Train kept a-rollin' all night long
I'm in heat, I'm in love,
pt a-rollin' all night long
Train kepta rolling But I just couldn't tell her
Honey Hush (Turner)Come in this house stop all that yakity yak
Come in this house, woman, stop all that yakity yak
Stop your yappin' woman you're nothing but an alley cat
You come on in here, talkin' bout this and that
You come on in here woman talkin' bout this and that
Don't you make me nervous I'm holding a baseball bat
Honey hush, you're talkin' too much
Honey hush, oh, you're talkin' too much
I'm a gonna love you honey
I'm takin' no more this stuff
Well it's
Hi-ho, hi-yo silver
Hi-ho, hi-yo silver
Hi-ho, hi-yo silver
Hi-ho, hi-yo silver
Hi-yo silver
Hi-yo silver away
break:
You come on in here, talkin' bout this and that
You come on in here woman talkin' bout this and that
Don't you ever make me nervous
'Cause I'm holding a baseball bat
Honey hush, you're talkin' too much
Honey hush, oh, you're talkin' too much
Well, I'm a gonna love you honey
I ain't takin' no more a this stuff
Well it's
Hi-ho, hi-yo silver
Hi-ho, hi-yo silver
Hi-ho, hi-yo silver
Hi-ho, hi-yo silver
Hi-ho silver
Hi-ho silver away
The Train Kept A-Rollin'
(Bradshaw/Mann/Kay)
Well, on a train, I met a dame,
She rather handsome, i kinda looked the same
She was pretty, from New York City
I'm walkin' down that old fair lane,
I'm in heat, I'm in love,
But I just couldn't tell her so
"One Eyed Flying Purple People Eater" (Sheb Wooley)"Purple People Eater" was first released by Sheb Wooley in 1959. A best seller in America. Screaming Lord Sutch recorded it with the members of Liverpool band Derry Wilkie & The Others, who became the new Savages in 1965.
On this recording, Nicky Hopkins was back on piano.
It was released only in Germany, coupled with "You Don't Care", on Hep House (Hep House HS04), in late 1966.
In early 1967, Lord Caesar Sutch & the Roman Empire toured Germany promoting “Purple People Eater” that had gone in the local charts.
"One Eyed Flying Purple People Eater"Derry Wilkie: Hey man, Where's Carnaby Street?...
Well I saw the thing comin' out of the sky
It had the one long horn, one big eye
I commenced to shakin' and I said "ooh-eee"
It looks like a purple people eater to me
It was a one-eyed, one-horned, flyin' purple people eater
(One-eyed, one-horned, flyin' purple people eater)
A one-eyed, one-horned, flyin' purple people eater
Sure looks strange to me (One eye?)
Well he came down to earth and he lit in a tree
I said Mr. Purple People Eater, don't eat me
I heard him say in a voice so gruff
I wouldn't eat you cuz you're so tough
It was a one-eyed, one-horned, flyin' purple people eater
One-eyed, one-horned flyin' purple people eater
One-eyed, one-horned, flyin' purple people eater
Sure looks strange to me (One horn?)
I said Mr. Purple People Eater, what's your line
He said it's eatin' purple people and it sure is fine
But that's not the reason that I came to land
I wanna get a job in a rock and roll band
Well bless my soul, rock and roll, flyin' purple people eater
Pigeon-toed, undergrowed, flyin' purple people eater
(We wear short shorts!)
Friendly little people eater
What a sight to see
And then he swung from the tree and he lit on the ground
He started to rock, really rockin' around
It was a crazy ditty with a swingin' tune
Sing a boop boop aboopa lopa lum bam boom
Well bless my soul, rock and roll, flyin' purple people eater
Pigeon-toed, undergrowed, flyin' purple people eater
(I like short shorts!)
Flyin' little people eater
Sure looks strange to me (Purple People?)
And then he went on his way, and then what do ya know
I saw him last night on a TV show
He was blowing it out, a'really knockin' em dead
Playin' rock and roll music through the horn in his head.
CreditsScreaming Lord Sutch (Vocalist)
Derry Wilkie (Backing Vocals)
Ernie Hayes (Guitar)
Derek Bond (Bass)
Nicky Hopkins (Keyboards)
Phil Kenzie (Tenor Sax)
Noel McManus (Tenor Sax)
Ashton Tootell (Baritone Sax)
Billy Adamson (Drums)
'Loonabilly Rock 'n' Roll' (The Anthem)
Screaming Lord Sutch formed the Official Monster Raving Loony Party with Alan Hope (who was performing as "Kerry Rapid" in the early 60s) and drummer Wild Bob Burgos in 1981.
Its policy: having fun out of life.
Wild Bob Burgos wrote the official Party anthem: a song entitled 'Loonabilly Rock 'n' Roll', which featured on a limited edition 4-track single, first recorded in London, and released in October 1981 to launch the new Screaming Lord Sutch's party.
EP 'Loonabilly Rock 'n' Roll' was re-released in Britain in 1989 on RIDGEMOUNT label (RMR-45-010) with bonus track "Loon Party".
''LOONABILLY ROCK 'N' ROLL''LOONABILLY ROCK, LOONABILLY ROLL
LOONABILLY STOMP CAUSE IT'S LOONY ROCK 'N' ROLL
( CHORUS)
LOONABILLY, LOONABILLY OH, OH, OH
LOONABILLY, LOONABILLY OH, OH, OH
LOONABILLY ROCK, LOONABILLY ROLL
LOONABILLY, LOONABILLY ROCK 'N' ROLL.
YOU CLAP YOUR HANDS IN THE AIR
SEND THE RHYTHM TO YOUR FEET
AND DO THE BOOGIE WOOGIE
TO THE LOONABILLY BEAT
( CHORUS)
WELL A JUMP OFF THE GROUND
SPIN AND TURN AROUND
YOU DO THE BOOGIE WOOGIE
FOR THE SECOND TIME AROUND
( CHORUS)
GONNA WIGGLE TO THE LEFT
SHAKE 'N' WIGGLE TO THE RIGHT
IT'S A MONSTER RAVING LOONY PARTY
EVERY NIGHT
( CHORUS)
( '' LOONABILLY ROCK 'N' ROLL '' WRITTEN BY BOB BURGOS )
Photo courtesy Ronnie Harwood & Barry Marcheant
