Grapefruit
Band members Related acts
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line up 1 (1967-69) - George Alexander (aka Alexander Young) (RIP 1997) --
rhythm guitar line up 1 (1969) - George Alexander (aka ALexander Young) (RIP 1997) -- vocals, bass, sax (replaced Pete Swettenham)
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- Fynn McCool (Mick Fowler and Geoff Swettenham) - Lee (Mick Fowler) - The Marcus Hook Band (Alexander Young) - Moondance (Alexander Young) - The Nightimers (John Perry) - The Only Ones (John Perry) - Paintbox (Alexander Young) - John Perry (solo efforts) - Tony Rivers & the Castaways (John Perry and Geoff Swettenham) - The Sleepy (Mick Fowler) - The Sugarbeats (John Perry and Geoff Swettenham) - Summer Wine (John Perry) - Tramp (Alexander
Young)
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Genre: rock Rating: *** (3 stars) Title: Around Grapefruit Company: Dunhill Catalog: DS 50050 Year: 1968 Country/State: UK Grade (cover/record): VG/ VG+ Comments: slight ring wear; bullet hole Available: SOLD Catalog ID: SOLD Price: SOLD $50.00
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Having previously recorded with the little heard
Tony Rivers and the Castaways (see separate entry), in 1967 guitarist John
Perry and siblings Geoff (drums) and Pete (rhythm guitar) Swettenham decided
to strike out on their own. Within a couple of months the trio had added
bassist George Alexander to the lineup (Alexander was Easybeats founder
George Young's older brother). The group quickly began to generate a local
buzz, including the attention of John Lennon (who reportedly came up with
the "Grapefruit" nameplate). The first group signed to Apple's
publishing company (curious they weren't signed to a recording contract),
the quartet subsequently attracted the attention of the RCA Victor).
In the States the small ABC-affiliated Equinox label released a [air of singles off of the album:
- 1968's 'Dear Delilah' b/w 'Dead Boot' (Equinox catalog number E-70000) - 1968's 'Yes' b/w
'Elevator' (Equinox catalog number E-70006)
1.) Another Game (George Alexander) - 2:51 (side 2) 1.) Round Going Round
(George Alexander) - 3:00
THE GRAPEFRUIT (7inchrecords.com) Grapefruit were a London-based British band of the late 1960s, brought together by Terry Doran of Apple Publishing, a music publishing company started and owned by the Beatles. Their brand of music was a typical late 1960s blend of rock, which they often fused with psychedelic effects such as phasers and vocoders, or classical arrangements.[1] Biography In summer 1967, Doran, a longtime friend of Brian Epstein's and the new managing director of Apple Publishing, signed Scottish-born singer and bass guitarist George Alexander, born Alexander Young, the older brother of the Easybeats' guitarist/songwriter George Young (and also of Malcolm and Angus Young, both founding members of the Australian hard rock band AC/DC), to a publishing contract. Alexander Young had chosen to remain in Britain when the rest of the Youngs emigrated to Australia,[1] and had previously played with The Bobby Patrick Six, with whom he toured Germany in the mid-1960s. In November 1967, John Perry, a former member of Tony Rivers and the Castaways, pitched some of his songs to Doran at Apple Publishing. Doran rejected the songs but proposed combining Perry and his bandmates Geoff Swettenham and Pete Swettenham with Alexander to form a new group. The band was named Grapefruit by John Lennon after a book written by his future wife Yoko Ono that was also entitled Grapefruit.[2] Doran became their manager, seeing some commercial potential in them. Apple promptly licensed Grapefruit's music publishing rights for the U.S. to a new publishing and recording label being formed by Terry Melcher entitled Equinox. However, since Apple did not have its own record label at the time, Doran arranged for the band's records to be licensed to RCA Records in the UK and to Equinox in the U.S. They were the second band signed to Apple Publishing, following the Liverpool group Focal Point, who were signed by Doran in September 1967. In addition, the Beatles continued to take an interest in Grapefruit, with John Lennon introducing the band to the media in January 1968 and inviting John Perry to join in on the recording of the hit single "Hey Jude".[3] In addition to Lennon, Paul McCartney and Ringo Starr of the Beatles, Brian Jones of the Rolling Stones, Donovan, and Cilla Black attended the press launch and were photographed with the band. Jimi Hendrix and Sajid Khan were reportedly also in attendance. When Melcher came to the UK to sign the publishing deal with Apple, he was persuaded to produce Grapefruit's inaugural single "Dear Delilah", which peaked at number 21 in the UK Singles Chart in the spring of 1968.[1] As a follow-up single, Lennon and McCartney took the band into the studio in January 1968 to record the song "Lullaby" (also known as "Lullaby for a Lazy Day" and originally called "Circus Sgt. Pepper").[4] However, when RCA asked for the follow-up single, the recording (which had been made at Advision Sound Studios in London) was not turned over, as Lennon and McCartney were in India, and Grapefruit instead submitted the songs "Elevator" and "Yes", which became a two-A-sided single but failed to chart.[4] For a third single, Grapefruit submitted several other new songs, and a cover of The Four Seasons' "C'mon Marianne" was remixed (at RCA's request) by Derek Lawrence and reached number 35.[4] Before the next single could be released, RCA dropped the band in the UK, and the new head of Apple Publishing, Mike O'Connor, released the group from its Apple contracts, (except for the original publishing contract with George Alexander), and Terry Doran (still managing Grapefruit) signed the band directly to Equinox.[4] Terry Melcher then resumed producing Grapefruit, including re-mixing or re-recording earlier songs (for which Apple was willing to supply the tapes), but the Lennon-McCartney version of "Lullaby" was still not released.[4] In December 1968, the group went through a small line-up change. John Perry moved to bass, while George Alexander switched to guitar. They also added Mick Fowler on keyboards and released a fourth single, "Someday Soon", which also failed to chart. Grapefruit then released two albums (Around Grapefruit (1968) and Deep Water (1969)) with limited success,[5] while their single "Deep Water" did crack the German Top 20, peaking at No. 19. Grapefruit broke up in late 1969, although Pete Swettenham had left the group earlier in the year and been replaced by Bob Wale on the second album. Toward the end of their career, following the new material being written by Alexander (with some inclusions by Wale), Grapefruit shifted from melodic pop to more of a rock-based sound, referred to as soft rock in a full-page Billboard advertisement for their second album, Deep Water. After the break-up, Alexander remained the most visible. Alexander joined forces with his brother George Young and his songwriting partner Harry Vanda from the Easybeats and, in 1970, they recorded for the Young Blood label as Paintbox and Tramp. Alexander also participated in sessions for Vanda and Young's Marcus Hook Roll Band. In 1971, they revived the Grapefruit name, issuing, "Universal Party" / "Sha Sha", but the single was a one-off release with no follow-up.[1] In 2016, a 20-song compilation of all of Grapefruit's recordings for Apple prior to November 1968, entitled Yesterday's Sunshine, was released by RPM Records. This compilation (with 18 songs written by Alexander, 1 by Perry, plus the cover "C'Mon Marianne") was the first to include the original version of "Lullaby" that was produced by Lennon and McCartney, as the version released on Around Grapefruit was a later, group-produced version that had been remixed by Melcher, who also added an orchestral arrangement. Members George Alexander (born Alexander Young, 28 December 1938, Cranhill, East End, Glasgow – 4 August 1997) – bass guitar, vocals, guitar, saxophone John Perry (born Charles John Perry, 16 July 1949, Dagenham, London) – vocals, lead guitar, bass guitar Pete Swettenham (born Peter Francis Swettenham, 24 April 1949, Streatham, London) – rhythm guitar, vocals Geoff Swettenham (born 8 March 1948, Streatham, London – 28 September 2020, Lambeth, London) – drums Mick Fowler (born Michael Eric Fowler, 25 July 1948, Birmingham – 30 January 2022, California, U.S.)[6] – piano, organ and guitar Bob Wale (born 2 October 1948, Birmingham) – vocals, lead guitar and harmonica[7] Discography Albums Around Grapefruit (1968)[8] Deep Water (1969)[9] Yesterday's Sunshine (2016) Singles "Dear Delilah" / "Dead Boot" (1968) (#18 Canada, April 6, 1968[10]) "Elevator" / "Yes" (1968) "C'mon Marianne" / "Ain't It Good" (1968) "Someday Soon" / "Theme for Twiggy" (1968) "Round Going Round" / "This Little Man" (1969) "Deep Water" / "Come Down to the Station" (1969) "Thunder & Lightning" / "Blues in Your Head" (1969) "Lady Godiva (Come Home)" / "Can't Find Me" (1970) "Universal Party" / "Sha Sha" (1971)[1] Grapefruit were one of the better Beatlesque late-'60s British pop-rock bands. In 1968 they seemed on the way to stardom, with a couple of small hit British singles and, more importantly, some help from the Beatles themselves. Led by George Alexander, brother of the Easybeats' George Young, the group were at the outset cheerful harmony pop/rockers with similarities to the Easybeats, Bee Gees, and some Paul McCartney-penned tunes from the Beatles' own psych-pop era. Not quite as incessantly chipper as the Easybeats, not as melodramatic as the Bee Gees, and certainly not as inventive as the Beatles, they were nonetheless similarly skilled at blending melodic pop with sophisticated arrangements that employed baroque/psychedelic touches of strings, orchestration, and several varieties of keyboards. A disappointing second album, however, helped sink them out of sight, and the Beatles couldn't be of help as they were preoccupied with their own imminent dissolution. George Alexander (born Alexander Young), who wrote most of the songs for Grapefruit, was the older brother of George Young and had stayed behind in the U.K. when the rest of his family emigrated to Australia. He was signed to Apple Music Publishing in 1967 by Terry Doran, who had been affiliated with Brian Epstein and the Beatles' organization for some time. Doran also managed the band, which was completed by several members of the light harmony pop-rock group Tony Rivers and the Castaways (who were managed by Brian Epstein's NEMS Enterprises). Guitarist and lead singer John Perry has remembered that the idea behind Grapefruit would be to play music in the mold of the Beatles' earlier pop image, filling a gap left empty by the Beatles' growth into psychedelia and more sophisticated territory. The Beatles also got behind the group to some extent, as John Lennon named the band (after Yoko Ono's book with the same title) and went to press receptions introducing the band to the media. Members of the Beatles pitched in ideas for Grapefruit arrangements and recording sessions, and Paul McCartney even directed a promotional video for their single, "Elevator." Grapefruit, despite all the Beatles associations, were not on Apple Records, which might have seemed their logical home. There was a pragmatic reason for this: Although Grapefruit began releasing discs in early 1968, Apple Records was not officially launched until quite a few months later. Around Grapefruit Grapefruit just missed the Top 20 with their first single, "Dear Delilah," with its lilting melody, uplifting harmonies, and creative use of orchestration and electronic phasing. A cover of the Four Seasons' "C'mon Marianne" just missed the Top Thirty, and although there were several other singles in 1968 and early 1969, nothing else made the charts. Their first LP, Around Grapefruit, was largely comprised of songs from their first five singles. Deep Water In contrast to Around Grapefruit, their second album, 1969's Deep Water, was an utterly undistinguished effort that could have been by an entirely different band, as its routine late '60s rock was quite unlike the band's debut. Grapefruit went into a much heavier sound, with deeper traces of blues and occasionally country, and virtually abandoned the harmonies, pop melodicism, and creative multi-textured arrangements that were the strongest points in their favor. For good measure, their association with Apple Publishing ended in November 1968, although John Lennon did suggest in early 1969 that the band should record the then-unreleased Lennon-McCartney song "Two of Us" (which they didn't). Following some personnel changes, the group broke up around the end of the 1960s, although Alexander did revive Grapefruit for a 1971 single, "Universal Party"/"Sha Sha," which also featured ex-Easybeats George Young and Harry Vanda. Subsequently Alexander worked with Vanda and Young on other production and songwriting projects, while John Perry made an unlikely return to the public eye as a member of the new wave band the Only Ones in the late '70s. Grapefruit's two albums have been reissued on CD by Repertoire with some non-LP tracks. There are also three songs from a BBC session, including two they never released on record -- "Breakin' Up a Dream" and "Trying to Make It to Monday" -- on Hard Up Heroes II, a various-artists bootleg compilation of unreleased late '60s BBC recordings. Like the fruit after it was named, Grapefruit's debut album was at times too sweet, but was on the whole a promising and worthy effort. Devoted almost wholly to songs written by leader George Alexander, the record featured tuneful, upbeat mid-tempo late-'60s British rock with good harmonies, creative ornate arrangements, and a very slight and very sunny psychedelic tinge. Certainly similarities to the Paul McCartney-penned tracks from the Beatles' own psych-pop era are evident, and if George Alexander's songs weren't in nearly the same league as McCartney's, well, no one working the style was in McCartney's league. Grapefruit was at their best on the occasional songs in which they reached into slightly darker and more melancholy territory, particularly when they made creative use of strings, organ, baroque keyboards, and Mellotron, as on "This Little Man" and "Dear Delilah" and the instrumental "Theme for Twiggy." The latter tune sounds like something that could have been killer had words been devised; as it is, it seems like something that wasn't quite seen through to completion. There's also the Four Seasons cover "C'mon Marianne," which, although it wasn't one of their better tracks, was (along with "Dear Delilah") one of their two small U.K. hits. The CD reissue on Repertoire adds "Dead Boot," the non-LP B-side of "Dear Delilah."
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Genre: rock Rating: *** (3 stars) Title: Deep Water Company: RCA Victor Catalog: LSP-4215 Year: 1969 Country/State: UK Grade (cover/record): VG+/VG+ Comments: gatefold sleeve Available: 1 Catalog ID: 6057 Price: $50.00
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I've always been puzzled by bands that seemingly change their musical identities and direction for no apparent reason. Grapefruit's a perfect example of such an outfit.
Prior to the release of their second album the band underwent a couple of personnel changes including the departure of rhythm guitarist Pete Swettenham (replaced by Bobby Ware who also handled most of the lead vocals) and the addition of keyboardist Mick Fowler. Produced by Terry Melcher who had made a name for himself producing The Byrds and an impressive array of sunshine pop acts, 1969's "Deep Water" sounded absolutely nothing like their cheery, pop-psych tinged debut. Bassist George Alexander was again responsible for the bulk of the ten songs with newcomer Ware contributed three selections. All three of his contributions happened to be among the LP's standout performances. For whatever reason, this time out the band seemed determined to showcase their skills as a serious and 'happening' band. The result was a scattershot stab at a wide array of popular genres including blue eyed soul ('Deep Water'), boogie-rock 'Thunder & Lightening', country ('The Right Direction'), and hard rock ('Lady Godiva'). While these guys were certainly talented, they simply shed any semblance of a band identity which was a major disservice. Needless to say, critics dumped all over this one. Shame since the album's actually quite good. True, it isn't pop-psych, but had this been their debut release I suspect it would have gotten much more favorable reviews.
Since you can still buy this one on the cheap, I'd suggest ignoring most of the reviews and taking a chance on it; especially if you've never heard their debut collection.
Again, it's nothing like the debut, but if you recalibrate your expectations it wasn't a half bad sophomore effort.
"Deep
Water" track listing:
1.) Deep Water (George Alexander) - 2:14 rating: **** stars Kicked along by a simply Alexander bass line (I think I could play this one), 'Deep Water' opened the album with a likeable slice of blue-eyed soul. Very commercial, it was released throughout the world as a single, though by 1969 it may have already been a little behind the times. YouTube has a black and white clip of the band playing at an unnamed club. The performance seems to track to this song, though there are no horns so he assumption is they were lip synching, or the track was edited from a different song. Still you can see what these guys looked liked: at: grapefruit deep water - YouTube
- 1969's 'Deep Water' b/w 'Come Down to the Station' (RCA catalog number 1855) 2.) Can't Find Me (George Alexander) - 2:07 rating; ** stars 'Can't Find Me' found the band taking a stab at country-rock. I'm guessing The Allman Brothers, or The Band may have been an influence on this one. Complete with mandatory pedal steel guitar the song was certainly decent enough, but Ware's voice sounded strained and barely in tune. One track that would have been a lot better with a more polished performance. 3.) Thunder & Lightening (George Alexander) - 3:04 rating; *** stars 'Thunder & Lightening' was an okay stab at boogie rock - anyone into early Foghat would find this one attractive. That said, the song wasn't particularly original or memorable, making you wonder why it was tapped as a single in the States. Ware's funky lead guitar riff provided the song highlights. The track was also released as a single in Germany and the UK:
- 1971's 'Thunder and Lightning' b/w 'Blues in Your Head' (RCA Victor catalog number 74-0241)
4.) Lady Godiva (George Alexander) - 3:18 rating: **** stars In terms of style and sound, 'Lady Godiva' sounded like it might have been a carry over from Grapefruit Mark 1. The Cro-Magnon fuzz guitar propelled rocker 'Lady Godiva' has always reminded me of a Spinal Tap song ('Big Bottoms' comes to mind). (Yeah, I know this album predates Spinal Tap by a couple of decades.) With a mind numbing Alexander bass line and some tasty horns (I'm usually not big on horns), this was one of the album's highlights. Easy to see why it was tapped as a single.
- 1971's 'Lady Godiva' b/w 'Can't Find Me' (RCA catalog number 1907) 5.)
The Right Direction (George Alexander) - 2:54
rating; * star
(side 2) 1.) L.A. & Back Again (Bobby Ware) - 2:14 rating: **** stars The jaunty 'L.A. & Back Again' was probably the song that came the closest to capturing the debut's charm. Nice melody with Alexander's pounding bass way up in the mix. Once again, the only minor drawback came in the form of Ware's strained vocals and the fact the song faded out too soon. 2.) Come Down to the Station (Bobby Ware) - 3:03 rating: **** stars 'Come Down to the Station' found the band returning to Spinal Tap-styled hard rock. Since I love Spinal Tap I have to admit a fondness for this rocker; particularly Ware's sustained lead guitar notes, the cluttered refrain - I would have hated to have to sing it live, and then there's the issue of Ware's hysterical attempt at scatting. 3.) A Dizzy Day (George Alexander) - 2:49 rating; *** stars. Complete with horn arrangement, 'A Dizzy Day' sounded a bit like early David Clayton Thomas and Blood, Sweat and Tears. I can just see folks running for the doors ... Nah, this one was actually another enjoyable blue-eyed soul performance. 4.) Blues In Your Head (Bobby Ware) - 4:47 rating: **** stars In spite of the title, 'Blues In Your Head' was actually one of the album's most psychedelic tracks. A mid-tempo, looping rocker, the song showcased some nice Mick Fowler swirling organ fills and Ware's fuzz guitar. This one was also probably Ware's best vocal performance. 5.) Time To Leave (George Alexander) - 3:14 rating; *** stars. Normally sensitive singer/songwriter numbers don't do much for me (I've been told I have the sensitivity of a brick), but 'Time To Leave' was an exception. The album's starkest performance, simply Ware accompanied by acoustic guitar, pedal steel and minimal percussion, I've seen one review that compared this one to a Badfinger song and that's an apt comparison (check out the harmonies). Very pretty song, though the pedal steel is irritating ...
I've never seen a copy, or heard it, but here was also a one-shot 1971 European single with Alexander being supported by former Easybeats members Harry Vanda and brother George Young:
- 1971's Sha-Sha' b/w 'Universal Party' (Deram catalog number DM 343)
And that was it for Grapefruit.
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