line up 1 (1968)

- Mike Grabham -- lead guitar

- Brian Keith -- vocals

- Tony Murray -- bass

- Nigel Olsson -- vocals, drums, percussion

- Paul Raymond -- vocals, keyboards
 

- Chicken Shack (Paul Raymond)

- Cochise (MIck Grahham)

- Mick Grabham (solo effort)

- Nigel Olsson (solo efforts)

- Procol Harum (Mick Grabham)

- Savoy Brown (Paul Raymond)

- Spencer Davis Group (Nigel Olsson)

- The Troggs (Tony Murray)

- The Universals (Mick Grahham and Nigel Olsson

Genre: progressive

Rating: *** (3 stars)

Title:  Two Sides of a Penny

Company: Page One

Catalog: POLS 005

Year: 1968

Country/State: UK

Grade (cover/record): VG/VG+

Comments: UK pressing

Available: 1

Catalog ID: 4204

Price: $175.00

Cost: $86.70

Probably one of the best finds in my record collecting days, I stumbled across this LP at a yard sale and bought it based on a combination of  the unique cover and the fact I recognized most of the band line up (guitarist Mike Graham, singer  Brian Keith, bassist Tony Murray, drummer Nigel Olsson and keyboard player Paul Raymond).  So what do these guys sound like?  

Want a two word review?  Procol Harum ...  Seriously, the first time I played 1968's "Two Sides of a Penny" it repeatedly reminded me of Procol. To my simplistic ears the comparison was spawned by Raymond's organ (which recalled Gary Brooker), Graham's thick distorted guitar which recalled Robin Trower and Keith's vocals which occasionally bore a resemblance to Gary Brooker (check out 'It's a Good Thing').  Produced by Larry Page (by coincidence the band happened to be signed to Page's Page One label), the album's actually surprisingly impressive.  Making it clear the Procol Harum comparison isn't meant as a criticism, Keith and Raymond both had likeable voices that were well suited to the band's mix of pop (Take Me Back), lite-psych (the bizarre 'Mrs. Grundy') and rock moves ('I Want You'). Full of nice melodies, interesting instrumentation (Graham's guitar was a standout) and great harmonies, the only real artistic missteps were needless and largely rote covers of The Association's 'Never My Love' and The Beatles 'Strawberry Fields Forever'.  Sure, they did a nice job on the covers, but what was the point? 

"Two Sides of a Penny" track listing:

(side 1)
1.) Everything I Am (Dann Penn - Spooner Oldham) - 

2.) Wake Me Up (Brian Keith - Paul Raymond) - 

3.) Never My Love (Dick Addrisi - Don Addrisi) - 

4.) Geneviene (Paul Raymond - Tony Murray) - 

5.) No Pleasure Without Pain My Love (Brian Keith - Paul Raymond) - 

6.) So Much Older Now (Paul Raymond - Tony Murray) - 

(side 2)
1.) Mrs. Grundy (Brian Keith - Paul Raymond) - 

2.) Take Me Back (Brian Keith - Paul Raymond) - 

3.) I Want You (John Group) - 

4.) It's a Good Thing (Brian Keith - Paul Raymond) - 

5.) Strawberry Fields Forever (John Lennon - Paul McCartney) - 

In spite of the fact the sweet ballad 'Everything I Am' b/w 'No Pleasure without Pain My Love' (Page One catalog number POF 051), provided the band with a top-10 UK hit, the parent LP proved stillborn and is now fairly rare.  I've only seen two copies in 25 years. Maybe not the most original item in our catalog, but a worthy addition to anyone collecting UK psych/60s rock ...

Plastic Penny were a British 1960s pop band, formed in November 1967 before splitting up in August 1969. The group had one hit single early in 1968: "Everything I Am". Most of the members went on to greater fame with other bands or in session work.

Career Most of the band's material was psychedelic pop, with leanings towards a prog rock sound.[1] The majority of the material was written by Brian Keith, Paul Raymond, and Tony Murray. Keith left the band, and Raymond took over lead vocals. Plastic Penny's output was released on the Page One Records; the band appeared at the first Isle of Wight Festival, on 31 August 1968.[2]

"Everything I Am" reached number six in the UK Singles Chart and number 30 in Canada.[3][4] The song, enhanced with a string arrangement, was a slow ballad version[1] of a song originally recorded by the Box Tops.[5] It was written by Spooner Oldham and Dan Penn.[5] Plastic Penny's follow-up singles, such as the Bill Martin/Phil Coulter song "Nobody Knows It", were flops.[6]

Mick Grabham (then billed as Mick Graham) moved on to play with Cochise and then Procol Harum. Keith became the lead vocalist with The Congregation. Raymond replaced Christine Perfect (Christine McVie) in Chicken Shack, then joined Savoy Brown and later played with UFO. Nigel Olsson became the drummer for Elton John and an in-demand session musician. Tony Murray played on Elton John’s Empty Sky with Olsson, and then joined The Troggs.[6]

The group's third and final album Heads I Win, Tails You Lose was a compilation of the band's more obscure recordings, issued in 1970 after the group had disbanded.

Band members Brian Keith, (born Brian O'Shea, 22 September 1942, Port Glasgow, West Renfrewshire, Scotland) - Vocalist[7] Paul Raymond, (born Paul Martin Raymond, 16 November 1945, St Albans, Hertfordshire – 13 April 2019) - Keyboardist/guitarist Mick Graham, (born Michael Grabham, 22 January 1948, Sunderland, County Durham) - Guitarist Nigel Olsson, (born Peter Nigel Olsson, 10 February 1949, Wallasey, Cheshire) - Drummer Tony Murray, (born Anthony Murray, 26 April 1943, Dublin, County Dublin, Ireland) - Bassist Discography Singles 1967 - "Everything I Am" / "No Pleasure Without Pain My Love" (Page One POF 051, UK, 1 December 1967) 1968 - "Nobody Knows It" / "Happy Just to Be with You" (Page One POF 062, UK, 29 March 1968) 1968 - "Your Way to Tell Me Go" / "Baby You're Not to Blame" (Page One POF 079, UK, 26 July 1968) 1968 - "Hound Dog" / "Currency" (Page One POF 107, UK, 22 November 1968) 1969 - "She Does" / "Genevieve" (Page One POF 146, UK, 11 July 1969) 1975 - "Everything I Am" / "No Pleasure Without Pain" (DJM DJS 353, UK, 21 February 1975) Albums 1968 - Two Sides of a Penny (Page One POL 005 (mono)/POLS 005 (stereo), UK, April 1968)[8] Side One (Heads): "Everything I Am", "Wake Me Up", "Never My Love", "Genevieve", "No Pleasure Without Pain My Love", "So Much Older Now" Side Two (Tails): "Mrs. Grundy", "Take Me Back", "I Want You", "It's a Good Thing", "Strawberry Fields Forever"

1969 - Currency (Page One POLS 014 (stereo), UK, February 1969)[9] Side One: "Your Way to Tell Me Go", "Hound Dog", "Currency", "Caledonian Mission", "MacArthur Park" Side Two: "Turn to Me", "Baby You're Not to Blame", "Give Me Money", "Sour Suite"

1970 - Heads I Win, Tails You Lose (Compilation, Page One POS 611 (stereo), UK, April 1970) Side One: "Hound Dog", "She Does", "Turn to Me", "Caledonian Mission", "Currency", "Your Way to Tell Me Go" Side Two: "Celebrity Ball", "Baby You're Not to Blame", "I Want You", "Take Me Back", "Genevieve", "Give Me Money" [1]

Plastic Penny were an unremarkable late-'60s British group who made the U.K. Top Ten in early 1968 with "Everything I Am," a labored ballad augmented by strings, that wasn't even one of their best songs. Much of their material was psychedelic pop with hints of encroaching prog-rock, sometimes recalling the Who a bit, elsewhere going into more fey story-songs. Their guitarist, Mick Grabham, would play with Procol Harum for a few years in the 1970s.

Plastic Penny originally came together in the summer of 1967 when ex Universals members vocalist Brian Keith, organist Paul Raymond and bassist Tony Murray decided to form a new band with guitarist Mick Grabham and drummer Nigel Olsson. The Universals had released two singles on producer Larry Page's Page One Records ("I Can't Find You" and "Green Veined Orchard") before disbanding and so it was to Mr. Page that the newly named Plastic Penny turned to form a contract.

The band's debut single was "Everything I Am No Pleasure Without Pain" (POP 051). Released in December 1967 the A side was a cover of a song originally released by The Box Tops and Plastic Penny took it straight into the UK top ten, reaching Mo. 6 and spending ten weeks in the charts. However, the follow up single "Nobody Knows" (written by Bill Martin and Phil Coulter)/"Just Happy To Be With You" (POP 052) failed to chart and the various members began to indulge in other activities.

Vocalist Brian Keith already had a lot of session experience and he left in mid 1968, later turning up in Congregation, Big Balls and The Great White Idiot and Screaming Lord Sutch amongst others. The remaining members soldiered on, with Raymond taking on vocal duties. In mid 1968 they released the album "Two Sides Of A Penny" (POL 005) and followed it with the single "Your Way To Tell Me To Go/Baby You're Not To Blame" (POP 079). November 1968 saw a cover of Leiber/Stoller's "Hound Dog/Currency" (POP 107) followed by "She Does/Genevieve" (POP 146) in mid 1969 by which time the group existed only in name as the various members decided to go their separate ways.

Tony Murray joined The Troggs and also contributed bass to Elton John's "Empty Sky" album. Paul Raymond joined Chicken Shack for two years and then played with Savoy Brown between 1971-76. Heavy Metal band U.F.O. was his next step between 1977-79 and he was also a member of the Michael Schenker group. Mick Grabham formed Cochise with Rick Willis, released a solo LP "Mick The Ladd" in 1972, and was a member of Procol Harum between 1973-77. Since then he's been an in demand session guitarist working with the likes of Bandit, The Dukes, Yvonne Elliman, Dave Greenslade and Micky Jupp amongst others. Nigel Olsson's post Plastic Penny career reads like an A-Z of Rock!

He provided the drums for Uriah Heep's debut LP "Very 'Eavy Very 'Umble" and then worked with Elton John on a permanent basis between 1969-74. He also released five solo albums ("Drum Orchestra", "Nigel Olsson", "Drummers Can Sing Too", "Changing Tides" and "Nigel") and has worked with the likes of Eric Carmen, Spencer Davis, Kiki Dee, Randy Edelman, Linda Ronstadt, and the Who to name but a few. History may remember Plastic Penny as 'one hit wonders' but there's no doubting the excellent musicians training ground it provided! by Mark Brennan

Tracks 1. Everything I Am (D. Penn, S. Oldham) - 2:26 2. Wake Me Up (B. Keith, P. Raymond) - 3:09 3. Never My Love (D. Addrisi, D. Addrisi) - 2:23 4. Genevieve (P. Raymond, T. Murray) - 2:08 5. No Pleasure Without Pain My Love (B. Keith, P. Raymond) - 2:42 6. So Much Older Now (P. Raymond, T. Murray) - 2:36 7. Mrs. Grundy (B. Keith, P. Raymond) - 5:16 8. Take Me Back (B. Keith, P. Raymond) - 2:20 9. I Want You (John Group) - 3:25 10. It's A Good Thing (B. Keith, P. Raymond) - 2:47 11. Strawberry Fields Forever (J. Lennon, P. McCartney) - 4:27 12. Nobody Knows It (B. Martin, P. Coulter) - 2:31 13. Happy Just To Be With You (B. Keith, P. Raymond) - 2:57

Plastic Penny *Michael Graham - Guitar *Brian Keith - Vocals *Tony Murray - Bass *Nigel Olsson - Drums *Paul Raymond - Organ, Piano

Free Text Text Host Posted by Marios at 11:15 AM Email This BlogThis! Share to X Share to Facebook Share to Pinterest 8 comments:

adamus67August 26, 2012 at 9:36 PM "Two Sides of a Penny" it repeatedly reminded me of Procol. To my simplistic ears the comparison was spawned by Raymond's organ (which recalled Gary Brooker), Graham's thick distorted guitar which recalled Robin Trower and Keith's vocals which occasionally bore a resemblance to Gary Brooker (check out 'It's a Good Thing'). Produced by Larry Page (by coincidence the band happened to be signed to Page's Page One label), the album's actually surprisingly impressive. Making it clear the Procol Harum comparison isn't meant as a criticism, Keith and Raymond both had likeable voices that were well suited to the band's mix of pop (Take Me Back), lite-psych (the bizarre 'Mrs. Grundy') and rock moves ('I Want You'). Full of nice melodies, interesting instrumentation (Graham's guitar was a standout) and great harmonies, the only real artistic missteps were needless and largely rote covers of The Association's 'Never My Love' and The Beatles 'Strawberry Fields Forever'. Sure, they did a nice job on the covers, but what was the point? is now fairly rare a worthy addition to anyone collecting UK psych/60s rock ...

Thanks again Marios for the sharing.

Reply

DanPAugust 27, 2012 at 1:59 AM Adam says, reminds of Procol, must listen1!!! :D :D :D

Reply

kobilicaAugust 27, 2012 at 5:16 PM I don't know why I never take the time and take agood listen to this band.This album is amazing and thanks"MARIOS" for it...

Reply

RemyAugust 27, 2012 at 6:40 PM Thanks very much, Marios!

Reply

lmelisSeptember 5, 2012 at 5:21 PM Thanks for the upgrade Marios.

Reply

chicoJanuary 4, 2015 at 1:56 AM Thanks for re-up.Nice one too.

Reply

MariosJanuary 4, 2015 at 7:44 AM .....More....Sides of Penny.....

Reply

UnknownJanuary 16, 2015 at 10:48 PM Thank you for sharing another great release from the incredibly inventive decade of the 1960s.

The songs on Two Sides Of A Penny are very soothing on the ear.

Michael

Friday 16th January 2015 8.48pm GMT

Reply

Their debut is solid, though not up to it's follow-up, to my ears. This is fairly typical Brit. vocal pop. The song writing found on side 1 is comparatively boring, though side 2 picks things up a bit with some good psych influenced mat'l. Grades - 4 B's, 2 C+'s, 3 C's, and a C-. Unpublished by mod [Rating39482501] geldofpunk Apr 15 20233.00 stars These guys had a surprise UK top 10 hit with "Everything I Am" and it sounds to me like the rest of this album was built around it. I'm not a big fan of Bryan Keith as a vocalist but the rest of the music is decent baroque psych pop even with him singing it (he kinda reminds me of David Clayton Thomas *shudder*). Lots of average stuff here though, it feels like a cash in to support the big hit. The songs sung by Paul Raymond are highlights for me, especially "Mrs. Grundy". Keith would leave after this and the band would make one final album before calling it quits and would forever become known as a one hit wonder. Published [Rating195297320] kagu Apr 15 20224.00 stars Kinda underrated. If you're expecting hard psych here, this isn't that, but this has some wonderful bittersweet psych pop tracks on it. I got the single of "Everything I Am" in a box of records from my grandparents a month ago and the chorus has been playing on and off in my head this whole time. Great tune. Honestly kinda like the A side of this album better. Published [Rating170268097] CooperBolan Apr 21 20162.50 stars This short-lived UK band recorded just two studio albums in their active period in the late 1960's. When it comes to the sound of their two records this first one is clearly more pop oriented and commercial. The best song of the album is probably "Mrs. Grundy" but it's nothing that special either. Most of these songs are pretty mediocre.

I think 2,5 stars is exactly what Two Sides of a Penny Deserves. It's clearly weaker than their second LP Currency. Not recommended.

A band who had a huge hit before they even existed, Plastic Penny released two albums and a handful of singles in their brief lifespan. Cherry Red Records, UK, has compiled the band’s complete output, presenting their 1968 debut album, ‘Two Sides Of A Penny’ in both its mono and stereo versions and their stereo only 1969 swang song LP ‘Currency’ along with all the group’s single sides from 1967-1969, supplemented by BBC sessions from 1968 and 1969 in one comprehensive collection, the three disc box set ‘Everything I Am: The Complete Plastic Penny’ taking its name from the band’s huge #6 UK hit single, released in 1967 with vocalist Brian Keith and session musicians on the Page One label, which necessitated the formation of a band to tour and promote the single’s success, resulting in a solid body of work celebrated in the collection reviewed here.

Page One Records head Larry Page was impressed with the UK b-side of Alex Chilton and The Box Tops’ second single ‘Neon Rainbow’ so much so, that he arranged for vocalist Brian Keith to record the Dan Penn/Spooner Oldham penned ‘Everything I Am’ with studio players, complete with a striking string arrangement by Page One music director Colin Fletcher. The track, paired with ‘No Pleasure Without Pain My Love’ written by Keith and keyboardist/vocalist Paul Raymond, both members of Chris Lamb and the Universals, was released by Page One in the name of Plastic Penny on December 1, 1967, and quickly climbed the charts, topping out at #6, spending ten weeks in the listings. With a hit on his hands Page needed a band to tour and promote the release. The label head recruited two members of the Universals, Raymond and bassist Tony Murray, but decided the group’s drummer did not look the part and that a guitar player was required as well, despite the fact that there was no guitar on ‘Everything I Am.’ Keith picked up a guitarist named Nick Grabham (then billed as Mike Graham), from Newcastle, and asked him if he knew any good drummers. The guitarist recommended a local boy named Nigel Olsson. Keith told Grabham and Olsson that the group had a TV appearance booked, so he told the pair to come to London pronto, having never heard Olsson play. The band immediately embarked on a relentless schedule and made their television debut on Jonathan King’s Good Evening show on December 30, 1967, just four days after the band’s first gig, followed by a session for Radio One’s Top Gear that was recorded on January 10, 1968, their set including the hit single as well as two band originals, the Raymond/Murray penned ‘Turning Night Time Into Day’ which was never released on vinyl, and the Keith/Raymond number ‘Take Me Back.’ which would appear on the band’s debut LP ‘Two Sides Of A Penny’. All three of the tunes were ballads with strings in the same vein as the hit single. Another BBC session, this one for David Symonds was recorded on January 22nd, and included another take on the hit single, a run through the single’s b-side which featured gentle guitar work by Grabham, and another song that would be included on the debut album, the Keith/Raymond composition ‘It’s A Good Thing’ which features the band in full rock mode with Grabham’s lead guitar and fiery solo to the fore.

The success of ‘Everything I Am’ called for a follow up. Somehow Plastic Penny was able to record a stand alone second single and their debut album, despite their incredibly busy touring schedule. The band’s next single, released in March, 1968, paired the a-side ‘Nobody Knows It’ written by Bill Martin and Phil Coulter who had supplied Sandy Shaw with her hit ‘Puppet On A String’ with the Keith/Raymond original ‘Happy Just To Be With You.’ The top side was an organ driven mid-tempo rocker with balladish vocals but no strings, while the flip side was a gentle number featuring Raymond’s Procol Harum influenced organ and Grabham’s guitar. The single failed to make an impression on the charts but did garner airplay and the a-side was featured on a March 19, 1968 BBC performance which also included two tunes included on the band’s April, 1968 LP ‘Two Sides Of A Penny’ a reprise of the Kelly/Raymond ‘It’s A Good Thing’ spotlighting Mick Grabham’s lead guitar and solo, and the Raymond/Murray ballad ‘So Much Older Now’ much more reminiscent of the band’s early singles.

Plastic Penny’s April, 1968 debut album ‘Two Sides Of A Penny’ was a mix of their early ballads and the heavier, more psychedelic sound the band evolved into. Disc one of the set opens with the eleven tracks making up the LP’s mono release, beginning with the album version of the group’s hit single. ‘Wake Me Up’ a Keith/Raymond composition is an organ driven pop psych number with gorgeous gentle vocals. The group’s cover of The Association hit ‘Never My Love’ again is organ driven with beautiful vocals. Raymond and Murray’s ‘Genevieve’ likewise features Raymond’s organ and a lovely melody. The song would be revisited on the band’s second album in a much longer, heavier take. ‘No Pleasure Without Pain My Love’ the b-side of the band’s hit single is a ballad featuring Keith’s vocals and strings. ‘So Much Older Now’ is pop psych, with an organ intro and delicate lead and vocal harmonies. ‘Mrs. Grundy’ another Keith/Raymond song is a snappy, uptempo track that opens gently with mellow piano and organ dominating, but midway through Grabham’s guitar enters and takes control as things get heavy, highlighted by Grabham’s smoking solo. ‘Take Me Back’ is another vocally dominated track written by Keith and Raymond. Grabham’s wah wah guitar dominates ‘I Want You’ a cover of Danish rockers The Lions’ 1966 Rolling Stones inspired rocker, not as s often claimed a reworking of the song by the same title made popular by The Troggs. Nigel Olsson’s mid-tune drum solo pushes the tempo before Grabham’s wah wah returns and drives the song home. ‘It’s A Good Thing’ is a rocker straight on from Grabham’s intro. His guitar remains to the fore with his tasty lead line joined by Raymond’s organ. Grabham adds an extended solo hinting at things to come in Plastic Penny’s future recordings. ‘Two Sides Of A Penny’ closes with a most interesting cover of The Beatles’ ‘Strawberry Fields Forever’ an excellent choice with a fine organ intro by Raymond, Murray’s bass booming and Olsson’s drums ringing. Grabham’s guitar is nicely restrained, even his impressive solo. The group quotes another Beatles tune ‘Hello Goodbye’ before fading and bringing the album to an end. Disc one adds both sides of the band’s two 1968 singles, as well as the Spanish versions of the two a-sides as bonus tracks, making a total of seventeen tracks and a total run time of forty-nine minutes.

Disc two of ‘Everything I Am: The Complete Plastic Penny’ presents the debut LP’s in their stereo mixes, adding a total of fourteen BBC recordings as bonus tracks. Included are the three tracks from the January 10, 1968 BBC Top Gear show, followed by the three from the previously mentioned January 22 and March 19 David Symonds’ show.Next up are the three tracks recorded for the July 22, 1968 David Symonds show. First up, is the Raymond/Murray ‘Your Way To Tell Me To Go’ a heavy rocker with Grabham’s guitar and Murray’s bass leading the way. Grabham especially shines contributing two incendiary solos to the tune which would become the opening track to the band’s second album ‘Currency.’ Keith and Raymond’s ‘The Shelter Of Your Arms’ is a gorgeous ballad dominated by organ and vocals that was never dedicated to vinyl by Plastic Penny, despite its beautiful melody. The band’s performance closed with Raymond and Murray’s ‘Give Me Money’ a snappy pop rocker that was included on ‘Currency.’ Disc two closes with two songs from a February 17, 1969 BBC session, the band then a quartet with vocalist Keith exiting in May, 1968 for a solo career and Raymond assuming lead vocal duties, for the Dave Cash Show. The band is at its heaviest, rocking best, delivering a Cream influenced four minute take on Howlin’ Wolf’s classic ‘Killing Floor’ which features Grabham’s blazing guitar supplemented by Raymond’s organ. Grabham’s solo is especially impressive and shows what Plastic Penny was capable of when they decided to turn the heat up. The band’s other performance was a return to their take on ‘Strawberry Fields Forever’ with Grabham’s guitar, Murray’s bass and Raymond’s organ all shining, while Olsson keeps perfect time on drums and Raymond’s vocals fitting perfectly. The band’s heavy groove leads up to Grabham’s scorching solo and Raymond’s swirling organ playing the song out. This performance is an outstanding documentation of Plastic Penny’s ability to rock with the best and is a perfect reflection of the band’s second and final LP ‘Currency’ which also saw release in February, 1969.

Disc three begins with the nine tracks contained on ‘Currency.’ the band’s swan song album recorded by Raymond, Grabham, Murray and Olsson, Brian Keith having gone solo in May, 1968, and Raymond, as previously mentioned, taking over lead vocal duties. The LP opener is Paul Raymond and Tony Murray’s ‘Your Way To Tell Me To Go’ is a rocker with Murray and Olsson driving the beat, Mick Grabham contributing not one, but two incredible solos and Raymond delivering luscious vocals. The song also became the album’s first single. Leiber and Stoller’s ‘Hound Dog’ is given a Vanilla Fudge treatment, slowed down and rocked up with Grabham’s guitar again front and center The second single taken from the album, ‘Hound Dog’ sadly fared no better than its predecessor. The album’s title track, credited to all four members, is a monster instrumental. The tune has a prog rock feel, coming off like the best that bands like ELP and Yes would have to offer, with a mid-song tempo change giving way to a massive solo by Grabham as the track races to the finish. The tune was released as the b-side of ‘Hound Dog.’ A real change of pace, the band’s cover of The Band’s ‘Caledonian Mission’ is much lighter, its acoustic guitar, piano and organ woven with vocal harmonies in a most pleasant manner. An interesting seven and a half minute cover of Jimmy Webb’s ‘Macarthur Park’ opens with a relaxed feel, thanks in large part to Raymond’s gentle vocals. The pace quickens with a mid-song organ interlude, giving way to Grabham’s guitar, which remains restrained, and along with Raymond’s organ takes the song to its close. An interesting cover of Elton John’s ‘Turn To Me’ is a rocker with a Beatlesque vibe mixed with Procol Harum influenced keyboards and vocals. Raymond and Murray’s ‘Baby You’re Not To Blame’ has a funky bass intro before settling into a pleasant groove thanks largely to Raymond’s keys. Grabham’s subtle lead line gives way to a soaring solo outro. The track appeared as the b-side of ‘Your Way To Tell Me To Go.’ Raymond and Murray’s ‘Give Me Money’ shows the influence of Roy Wood and The Move with its ‘I Can Hear The Grass Grow’ feel. Gorgeous vocal harmonies are present throughout, with Grabham’s mod influenced solo driving the song to its close. The band’s magnum opus and album closer is the eight minute plus instrumental ‘Sour Suite.’ The song opens with Raymond’s keyboards which are joined by Grabham’s driving lead guitar line giving the tune its Robin Trower era Procol Harum sound. Another wonderful instrumental, the track features Murray and Olsson holding the bottom end locked in tightly while Raymond and Grabham offer up jaw dropping solos. The tune is going full tilt when Olsson serves up a drum solo five minutes in. At the seven minute mark Raymond and Grabham return to play the song and album out with a fury. Without question, Plastic Penny proved with ‘Currency’ that they were a very confident, competent rock outfit, serving up prog style rock just as the genre was coming into vogue. Disc three is rounded out by both sides of the two singles plucked from ‘Currency’ as well as a demo of the Gary Bonner penned Three Dog Night hit ‘Celebrate’ recorded under the title ‘Celebrity Ball’ and containing some very tasty guitar by Grabham. The final two tracks are the two sides of Plastic Penny’s final, July, 1969 single, recorded after ‘Currency.’ ‘She Does’ is a Raymond/Murray heavy rocker which once again puts Grabham in the spotlight as his guitar roars throughout. The single’s b-side is a re-recorded version of Raymond/Murray’s ‘Genevieve’ stretched out to nearly double the run time of the version found on ‘Two Sides Of A Penny’ its rolling piano and /acoustic guitar backing Raymond’s gorgeous vocals with Grabham’s electric guitar overdubbed. The tune features a delicate piano interlude by Raymond and has a great hook. It would’ve been a great choice as an a-side, but the sad reality was that ‘She Does’ failed to click and Plastic Penny had reached the end of the road.

With the promise shown by ‘Currency’ one can only wonder where the band would have gone from there Sadly, that was not to be the case as nothing after their debut single sold in any numbers and the band was left without a recording contract, Olsson and Murray joining Elton John’s band, the drummer remaining a member for many years while the bassist would last only one album. Grabham would go on to the country rock outfit Cochise, with pedal steel player BJ. Cole, before joining Procol Harum, while Paul Raymond left for a somewhat successful solo career.

‘Everything I Am: The Complete Plastic Penny’ comes in a clamshell box with each of its three discs housed in mini-LP sleeves. The set is accompanied by a full color 28 page booklet, illustrated throughout by photos of the band, LP and 45 artwork and other band memorabilia as well as an informative essay by David Wells. With a total of fifty eight tracks and a run time of nearly three hours, this box set is unquestionably the final word on Plastic Penny and will be of interest to fans of 1960’s prog and psych rock in particular, and fans of the music of the period overall and comes most highly recommended.

– Kevin Rathert

Plastic Penny originally came together in the summer of 1967 when ex-Universals members vocalist Brian Keith, organist Paul Raymond and bassist Tony Murray decided to form a new band with guitarist Mick Grabham and drummer Nigel Olsson. The Universals had released two singles on producer Larry Page's Page One Records ("I Can't Find You" and "Green Veined Orchard") before disbanding and so it was to Mr. Page that the newly named Plastic Penny turned to form a contract. The band's debut single was "Everything I Am"/"No Pleasure Without Pain" (POF 051). Released in December 1967, the A-side was a cover of a song originally released by The Box Tops and Plastic Penny took it straight into the UK top ten, reaching No.6 and spending ten weeks in the charts. However, the follow-up single "Nobody Knows" (written by Bill Martin and Phil Coulter)/"Just Happy To Be With You" (POF 052) failed to chart and the various members began to indulge in other activities. Vocalist Brian Keith already had a lot of session experience and he left in mid-1968, later turning up in Congregation, Big Balls and The Great White Idiot and Screaming Lord Sutch amongst others.

The remaining members soldiered on, with Raymond taking on vocal duties. In mid-1968, they released the album "Two Sides Of A Penny" (POL 005) and followed it with the single "Your Way To Tell Me To Go"/"Baby You're Not To Blame" (POF 079). November 1968 saw a cover of Leiber/Stoller's "Hound Dog"/"Currency" (POF 107) followed by "She Does"/"Genevieve" (POF 146) in mid-1969 by which time the group existed only in name as the various members decided to go their separate ways.

Tony Murray joined The Troggs and also contributed bass to Elton John's "Empty Sky" album. Paul Raymond joined Chicken Shack for two years and then played with Savoy Brown between 1971-76; heavy metal band UFO was his next step between 1977-79, and he was also a member of the Michael Schenker Group. Mick Grabham formed Cochise with Rick Willis, released a solo LP "Mick The Ladd" in 1972, and was a member of Procol Harum between 1973-77. Since then he's been an in-demand session guitarist working with the likes of Bandit, The Dukes, Yvonne Elliman, Dave Greenslade and Micky Jupp amongst others. Nigel Olsson’s post Plastic Penny career reads like an A-Z of Rock! He provided the drums for Uriah Heep's debut LP "Very 'Eavy Very, 'Umble" and then worked with Elton John on a permanent basis between 1969-74. He also released five solo albums ("Drum Orchestra", "Nigel Olsson", "Drummers Can Sing Too", "Changing Tides" and "Nigel") and has worked with the likes of Eric Carmen, Spencer Davis, Kiki Dee, Randy Edelman, Linda Ronstadt, and the Who to name but a few. History may remember Plastic Penny as 'one hit wonders' but there's no doubting the excellent musicians training ground it provided!