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All Music Guide -
As a songwriter, performer, and producer, John Carter's resume is so extensive that it's difficult to summarize in anything less than a box set. This 55-song, two-CD compilation, however, is the best stab yet at packaging his most notable work, though a true appreciation of Carter's accomplishments would also have to take in more hit covers of songs he wrote or co-wrote, such as the Music Explosion's "A Little Bit O'Soul," and Herman's Hermits' "Can't You Hear My Heartbeat." Whether for licensing reasons or because this anthology seems conceived to spotlight records he was directly involved with as performer and/or producer, those songs and others of that ilk aren't here. Still, the scope of this package is pretty damned impressive, starting with his pre-British Invasion early-'60s popock group Carter Lewis and the Southerners, taking in his stints with the Ivy League and the Flower Pot Men who landed big-'60s British hits with "Tossing and Turning" and "Let's Go to San Francisco" respectively, both included here, and going all the way up to the First Class' mid-'70s pseudo-Beach Boys smash "Beach Baby" and even a little beyond. Plenty more is thrown in as well: 1966-1969 demos that are about as fully produced as proper records; late-'60s projects credited to Friends, Haystack, and Dawn Chorus; 1970s sides by Scarecrow, Stamford Bridge, Stormy Petrel, Kincade, and Starbreaker; and even four of his advertising jingles. There's even the rare and not particularly good 1966 instrumental single by ex-Pretty Things drummer Viv Prince, "Light of the Charge Brigade." The name of the artist usually a front for studio projects might have changed, but actually the sound is fairly consistent pop
ock that most often is a British equivalent of American '60s sunshine pop, with a heavy Beach Boys influence though often tempered by a strong British pop sensibility as well. And like American sunshine pop, there are good and not-so-good things about Carter's approach. His craft as both songwriter and producer is impeccable, the Beach Boys-soaked harmonies polished, and the melodies upbeat and pleasant. But the sunniness of the mood can get so unrelenting that it falls into a rut, and the tunes are not on par with, for example, Brian Wilson, to use an unavoidable comparison. There are, however, some quite good cuts here, like the pseudo-Merseybeat of Carter Lewis and the Southerners' 1963-1964 singles; the wistful Four Seasons-like upper-register harmonies of the Ivy League's Top Ten British hit "Funny How Love Can Be"; the original version of "My World Fell Down," covered and done better, actually for a Pet Sounds-like mini-masterpiece in the U.S. by Sagittarius; the pained fragility of Carter's 1967 demo "Am I Losing You" again clearly inspired by Pet Sounds, particularly "Caroline No"; and Friends' "Mythological Sunday," a pretty impressive piece of Mellotron-dipped pop psychedelia that is rather like the Easybeats' most ambitious late-'60s productions. For those who care, there are also Carter demos of "Winchester Cathedral," the New Vaudeville Band's chart-topper; "Sunshine Girl," a British Top Ten hit for Herman's Hermits; and "Knock Knock Who's There," a Number Two British hit for Mary Hopkin, although these aren't among the best songs on this release. The extensive liner notes are not just entertaining, but extremely helpful in clarifying Carter's path through records billed to ever-changing monikers in the period this compilation covers.
Editorial Reviews
All Music Guide - Richie Unterberger
As a songwriter, performer, and producer, John Carter's resume is so extensive that it's difficult to summarize in anything less than a box set. This 55-song, two-CD compilation, however, is the best stab yet at packaging his most notable work, though a true appreciation of Carter's accomplishments would also have to take in more hit covers of songs he wrote or co-wrote, such as the Music Explosion's "A Little Bit O'Soul," and Herman's Hermits' "Can't You Hear My Heartbeat." Whether for licensing reasons or because this anthology seems conceived to spotlight records he was directly involved with as performer and/or producer, those songs and others of that ilk aren't ...