Them — Them Again 1966 (UK, Garage Rock-Rhythm & Blues)

Them — Them Again 1966 (UK, Garage Rock-Rhythm & Blues)

January 1966 saw the eighth line-up of British based Irish r'n'b act Them. It would rival the "Rock N' Roll Family Tree" book to try to chart who was in the band at this point so we'll suffice to say for those who've been in solitary confinement since 1964 that the band were led by one Van Morrison. The first month of 1966 also saw the release of the band's second LP, which would also be their last as they disintegrated after a U.S. tour that summer.

"Them Again" is an interesting album as it was recorded with various personnel changes (and a number of sessions musicians including, it's alleged, Jimmy Page) and produced by U.K. artist/producer Tommy Scott . It's schizophrenic at best as it follows a variety of genres. Out of it's sixteen tracks only four are Van Morrison originals. The LP opens with Van's impressive tremolo guitar laced "Could You, Would You" and features probably his best vocal work ever, easily my favorite Them song. The guitar sounds ever so similar to "Here Comes The Night" (also see/hear the LP's "It Won't Hurt Half As Much"). Chris Kenner's "Something You Got" is next, fueled by some very tasty sax. Tommy Scott's "Call My Name" is next. The number is classic Them with mid tempo moodiness. It was later covered in August with good effect by the band's former Belfast comrades, The Wheels, who were also U.K. based by this point as the flip to their final 45, a cover of Paul Revere and The Raiders "Kicks" (Columbia DB 7918). A semi-spirited version of "Turn On Your Lovelight" is next. Listening to it you can easily imagine how this became an extended gig closer in the band's live set, but in the studio it is a tad restrained. Screamin' Jay Hawkin's "I Put A Spell On You" is next. Van and Co. turn it into a moody jazz piece with some scat vocals dueling with some mellow sax. Tommy Scott's fuzz guitar/Farfisa organ driven proto-garage anthem "I Can Only Give You Everything" is next. Killer stuff, the number began as a Beatstalker's instrumental "Bass Line" (Decca F 12460) written by Scott and lyrics were later added by one Bill Martin to become the number we're all familiar with today. Listen for the bass player plonking in the wrong key at around 2:02 into the number! Van's poignant "My Lonely Sad Eyes" follows with the LP's trademark vibrato/tremolo (albeit muted) guitar and some nifty acoustic guitar. Ray Charle's "I Got A Woman" is pointlessly boring. Merely filler.

Side Two opens with an equally useless soul cover, this one being James Brown's "Out Of Sight", next. Them's version of Bob Dylan's "It's All Over Now Baby Blue" turned a generation of American garage bands onto Dylan (San Jose's Chocolate Watchband took note and recorded a carbon copy version) and one listen to the atmospheric quality of it shows how Van and the boys made it their own. Van's original "Bad Or Good' is a rollicking mid tempo call and response track that recalls The Impressions at their most