Melodic, catchy pop songs are the forte of this British group formed in 1967. Grapefruit originally comprised three former members of Tony Rivers & The Castaways, John Perry (guitar, vocals), Pete Sweetenham (guitar, vocals) and Geoff Sweetenham (drums), who tea-med up with songwriter George Alexander (bass, vocals). The group was given its name by John Lennon and they were the first act signed to Apple publishing. Their debut single ‘Dear Delilah’ was a UK Top 30 hit and ‘Around Grapefruit’ was first released in 1968. The 12 tracks on the album are mostly George Alexander’s songs, such as ‘Another Game’ and ‘Yesterday’s Sunshine’. We have added a dozen more bonus items - including the single ver-sions of ‘Dear Delilah’, ‘Elevator’, ‘C’Mon Marianne’, ‘Theme For Twiggy’, and two rare Italian language tracks, ‘Dolce Delilah’ and ‘Mai Nessuno’.
The Beatles loved Grapefruit so much that they signed them to their Apple Music Publishing Company. John Lennon even suggested the band’s name. George Alexander (the brother of George Young of The Easybeats) was the leader, joined by John Perry and brothers Pete and Geoff Swettenham, formerly of Tony Rivers & The Castaways. The fruity ones enjoyed a hit single with ‘Dear Delilah’ in 1968 and released debut album ‘Around Grapefruit’, acclaimed for its orchestral arrangements and vocal harmonies. ‘Deep Water’, Grapefruit’s second album, was released in 1969 and marked a seismic switch towards soul, rock and country influences. We have added six bonus tracks to the original album, including four single versions plus two other recordings.
Having documented the British psychedelic scene with anthologies devoted to the years 1967, 1968 and 1969, Grapefruit's ongoing series fearlessly confronts the dawn of the Seventies with a slight rebrand. New Moon's In The Sky: The British Progressive Pop Sounds Of 1970 features (appropriately enough) seventy tracks from the first year of the new decade as the British pop scene adjusted to life without The Beatles. The 3-CD set concentrates on the more song-based recordings to emanate from British studios during 1970, whether from a pure-pop-for-then-people perspective or the more concise, melodic end of the burgeoning progressive rock spectrum.
Grapefruit Moon: The Songs of Tom Waits is Southside's tribute to one of his favorite songwriters, but also a pet sound: big band music. The idea to marry the brassy, ballsy sound of a big band to Tom Waits' cinematic, character-driven songs has been sitting in the back of Southside's mind for sometime.
With 63 tracks and a total running time of just under four hours, Dust On The Nettles examines the metamorphosis that British folk underwent during the late 1960s, when the influence of psychedelia and the counterculture saw the idiom being twisted into all kinds of new and exotic shapes, as the finger-in-the-ear folk clubs of yore were inexorably drawn into a brave new world of Arts Labs, free festivals and the nascent college/university circuit.
Another lovingly curated rock & roll gem from Cherry Red's archival Grapefruit Records imprint, A Slight Disturbance in My Mind is an expansive three-disc set entirely devoted to the opening phases of Britain's budding psychedelic movement. By late 1965, the American underground, particularly San Francisco's LSD-inspired drug culture, had begun to infiltrate popular music. The Byrds and other West Coast groups began to adopt a more experimental attitude while in the U.K. bands like the Yardbirds and, more prominently, the Beatles forged their own new directions away from rock's more easily digestible conventions.
Southside Johnny Lyon has been fronting one of America's most consistently hard-rocking R&B show bands, Southside Johnny & the Asbury Jukes, for well over 30 years, so this album should come as something of a surprise to longtime fans - here Southside sings a dozen tunes from the songbook of Tom Waits alongside a jazzy, full-bodied big band led by Richie "LaBamba" Rosenberg, a longtime fixture in the Asbury Jukes horn section (and a member of Max Weinberg's band on Late Night with Conan O'Brien). While this is very much a change of pace, it's one that both Lyon and Rosenberg handle with confidence and aplomb; Lyon's voice shows a touch more grain than it did in his salad days with the Jukes, but his sense of phrasing and showman's touch is superb, and he brings swagger, heart, and sincerity to every performance here, and when Waits shows up for a duet on "Walk Away," the two trade lines as if they've been singing together for years…