- Shopping Bag ( 0 items )
Other sellers (CD)
-
All (1) from $10.00
-
New (1) from $10.00
Ships from: Indian Trail, NC
Usually ships in 1-2 business days
| The Newbeats | Primary Artist |
| Larry Henley | Falsetto, Group Member |
| Marcus Mathis | Vocal Harmony, Group Member |
| Mathis Brothers | Vocals |
| Doug Kershaw | Composer |
| Carole King | Composer |
| Gerry Goffin | Composer |
| Larry Henley | Composer |
| Don Gant | Composer, Producer |
| John D. Loudermilk | Composer |
| Wesley Rose | Producer |
| D. Bergen White | Arranger |
| Norris Wilson | Composer |
| Harry Young | Liner Notes |
| Keith Colley | Composer |
| Bill Pitzonka | Art Direction |
| Bobby Montgomery | Composer |
| Steve Massie | Mastering |
| Robert Guidry | Composer |
| Joe Melson | Composer |
| Nancie Mantz | Composer |
| Marcus Mathis | Composer |
| Jay Turnbow | Composer |
| Paul Howard | Composer |
| Larry Parks | Composer |
| Dan Folger | Composer |
Anonymous
Posted October 1, 2010
If one were to be pedantic, you’d have to admit that the Newbeats actually had a handful of charting singles, rather than just one; but only an ardent pop fan could name any of their hits after “Bread and Butter.” Larry Henley’s distinctive falsetto was set apart from the likes of The Beach Boys, Four Seasons or Lou Christie by the slight twang of the group’s Nashville origins, and as artists signed to Wesley Rose’s Hickory label, the Newbeats had access to some of Nashville’s best songwriters. They cracked the top-40 with songs from John D. Loudermilk (“Everything’s Alright”) and Joe Melson & Don Gant (“Run, Baby Run (Back into My Arms),” and scraped the lower rungs with songs that included Doug Kershaw’s Searchers-styled “Shake Hands (And Come Out Crying),” and a stellar pre-Dick & Deedee take of Loudermilk’s “Thou Shalt Not Steal.” ¶ Varese’s eighteen track collection is the sort of treasure trove that pop fans dream of, essaying a seeming one-hit wonder that actually has a catalog of non-hit and album tracks backing up the radio glory. Many of the band’s productions predict the sunshine pop that would become popular in the UK in the late’60s and early-70s, drawing on sounds from The Everly Brothers, The Tokens, and Gary Lewis & The Playboys, and inspiring acts like The Tremeloes. ¶ Though Henley’s falsetto is the band’s most distinctive element, the balance between pop and soul is what really sustains the their catalog. The blue-eyed soul of “Pink Dally Rue” and the Bo Diddley inspired “Hey-O Daddy-O” fit perfectly with the Motown-styled “Run, Baby Run (Back Into My Arms),” the Goffin & King hand-clapper “I Can’t Hear You No More,” and the discotheque twist “Little Child.” The collection’s last two tracks pull together the Mathis Brothers’ Everlyesque pre-Newbeats single “With Tears in My Eyes,” and Larry Henley’s solo “His Girl.” ¶ What’s particularly gratifying about these selections is that almost all of them were written expressly for the band, and surprisingly few have been covered (or at least covered in well-known fashion), creating new ground for pop fans. The only nit-pick with this collection is the absence of a few tracks mentioned in the liners, including the original A-side of “Bread and Butter,” the Corvair-themed “Tough Little Buggy,” and the group’s last single for Hickory, “Love Gets Sweeter.” Completists will also have to look elsewhere for the group’s two post-Hickory singles on Buddah and Playboy. ¶ Tech note: All tracks true stereo except for 13-16 and 18, which are mono. ¶ 4-1/2 stars, if allowed fractional ratings.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Editorial Reviews
All Music Guide - Richie Unterberger
The Newbeats were eventually remembered almost solely for their 1964 number two hit, "Bread and Butter," and it comes as a bit of a shock that they had quite a few other chart singles, though only two of those the Top 20 entries "Everything's Alright" and "Run, Baby Run Back into My Arms" were that popular. Nine chart singles are on this 18-track compilation, in fact, one of them from as late as late 1969. Commercial success aside, it's not much of a joyride, as Larry Henley's ear-scraping falsetto -- such a novelty when first heard on "Bread and Butter" -- grates when heard in such a concentrated dose. Too, none of the other tracks had as naggingly memorable hook ...