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The Bystanders - Pattern People_The Pye Anthology
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Bystanders - Pattern People_The Pye Anthology
1 That's The End 2 This Time 3 (You're Gonna) Hurt Yourself 4 Have I Offended The Girl 5 My Love...Come Home 6 If You Walk Away 7 98.6 8 Stubborn Kind Of Fellow 9 Royal Blue Summer Sunshine Day 10 Make Up Your Mind 11 Pattern People 12 Green Grass 13 When Jesamaine Goes 14 Cave Of Clear Light 15 This World Is My World 16 Painting Time 17 Stay A Little While 18 You're Ready Now 19 Cheryls Going Home 20 Little Girl I Onve Knew, The 21 Dang Me 22 My Way Of Thinking 23 Grapevine
Review This
23-song compilation shows a group who had the pop sensibilities and
range of the Tremeloes, and who could do credible soul covers and more
than decent psychedelia, but somehow never developed a distinctive
sound of their own. The result is an almost dizzying array of styles,
represented by eight singles that were perfectly good records but which
seldom sounded like each other. The Bystanders' early sides, from 1965,
were heavily Beatles-influenced, their debut recalling the Liverpool
quartet's early-1963 recordings, but also displaying smooth pop hooks
reminiscent of Herman's Hermits on their better singles. By the time of
"Have I Offended the Girl" in 1966, they start to sound more like the
early Who vocally, but the other side of the same single is the
dramatic pop ballad "My Love -- Come Home," and their next single, "If
You Walk Away," is somewhere midway between Unit 4+2 and Tom Jones,
while their cover of "98.6" is cheerfully upbeat in a way that recalls
Herman's Hermits at their most embarrassingly upbeat. And then they
come up with a decent cover of "Stubborn Kind of Fellow" in 1967.
Beyond that point, the group turned toward a gentle brand of
psychedelic pop, represented by "Royal Blue Summer Sunshine Day,"
"Pattern People" (where they sound a bit like the Association), and the
poppish, upbeat "Green Grass," moving into ethereal psychedelia on the
sitar-laden "Cave of Clear Light." And then, just as their history as
the Bystanders was coming to an end, they plunge into the Bee
Gees-inspired sides "This World Is My World" and "Painting the Time"
(think the trio's late-psychedelic era). This CD is filled with moments
like that, little pop/rock jewels that are widely scattered and don't
exactly spell out a full story of anybody, but are pretty satisfying on
their own terms. The disc also includes a brace of unreleased tracks,
among them a rocking cover of "Cheryl's Going Home" and interesting
renditions of "The Little Girl I Once Knew" (where the harmonies
intermingle well with the lean instrumental sound) and "Dang Me," plus
the two prizes of the 23 songs here, "My Way of Thinking," a
hard-rocking piece of U.K.-style garage rock, and "Grapevine," a
blue-eyed soul classic that shows what this group was truly capable of
in the way of original songs, when they aimed that high. ~Bruce Eder,
All Music Guide
Biography One
of the few Welsh bands to release records on a fairly regular basis in
the mid to late '60s, the Bystanders are chiefly notable not for their
own derivative music, but because they evolved into the Welsh
progressive rock group Man. As the Bystanders, they managed to release
eight singles in the U.K. between 1965 and 1968, competently plugging
into Merseybeat, blue-eyed soul, and harmony pop trends without
developing any clear vision of their own or landing any superb
material. Slight psychedelic hues colored some of their final tracks,
which pointed the way into more original and progressive directions
that the group would embrace when it mutated into Man.
The
Bystanders formed long before the dawn of Man in the South Wales town
of Merthyr Tydfil in 1962. They made one Merseybeat-Four Seasons hybrid
single for the independent Pylot label (in fact, it was the only record
the company ever released) in 1965 before picking up a new manager,
George Cooper, who had handled major British pre-Beatles rock singers
Joe Brown and Marty Wilde. In 1966 they got a contract with Pye, who
put out seven singles by the group over the next couple of years
without breaking them as a significant seller.
Perhaps,
surprisingly given their later excursions in Man, the Bystanders were
very much a pop group, giving the impression of sailing whichever way
the wind was blowing, and writing little of their own material. Their
early singles showed the pronounced influence of American harmony
groups with high vocal lines, such as the Four Seasons, Beach Boys, and
lesser known pop acts like the Happenings. In 1967 and 1968 they moved
into somewhat more sophisticated, but still poppy, material that
recalled the fluff of late '60s California sunshine pop. The group,
which had not recorded any of their own compositions prior to 1968
(except on their debut single), finally did write their two final
B-sides, which staked out a psychedelic pop direction. With the
departure of singer Vic Oakley and the addition of guitarists Deke
Leonard and Martin Ace (both from the Dream) in the late '60s, the
Bystanders changed their name to Man and embarked on a different
course. ~Richie Unterberger, All Music Guide