Clive Sarstedt


Band members                             Related acts

- Clive Sarstedt (aka Clive Sands, Wes Sands, Robin Sarstedt)  -- 

  vocals, guitar

 

 

 

- The Deejays

- EK & The Downbeats

- Lombard Bank

- Clive Sands (solo efforts)

- Clive Sarstedt's Workshop

- Sundowners

- Peter Sarstedt (brother)

- Richard Sarstedt / Eden Kane (brother)

- Robin Sarstedt (solo efforts)

- The Sarstedt Brothers

 

 

 


 

Genre: pop

Rating: 3 stars ***

Title:  Clive Sarstedt

Company: RCA Victor

Catalog: LSP 4375
Year:
 19

Country/State: Ajmer, India

Grade (cover/record): VG+/VG+

Comments: --

Available: 1

Catalog ID: 350

Price: $25.00

 

Clive Sarstedt's a total unknown in the US (and not exactly a household name in the UK).  

 

Born and raise in India, Sarstedt's family moved to the UK in 1953.  He quickly fell in love with rock and roll and by the time he was 16, was a member of the band Lombard Bank accompanying them when they headed to Hamburg to work as a club house band.  That was followed by brief stint in The Sundowners.  In 1963 he caught the eye of songwriter/producer Joe Meek who signed the 19 year Sarstedt to a recording contract resulting in the release of his debut single under the name Wes Sands:

 

- 1963's 'There's Lots More Where That Came From' b/w 'Three Cups' ()

 

With the bouncy pop-meets doo-wop single vanishing into oblivion Sarstedt return to his status as a hired gun, playing with the band EK & The Downbeats, followed by a stint with the Swedish band The Deejays.  In 1968 he resumed a solo career, this time signed by CBS under the name Clive Sands.  The CBS deal saw the release of a single::

 

- 1969's 'A Very Lonely Man' b/w 'You Made Me What I Am' (CBS catalog number 4672)

 

Dropped by CBS he was picked up by the small SnB label with released a series of singles:

 

- 1969's 'Mucho Que Te Quiro (The More I Love You)' b/w 'Picture On The Wall' (SnB catalog number 55-3965)

- 1969's 'Hooked On a Feeling' b/w 'Marie' (SnB catalog number 55-4058)

- 1969's 'Witchi Tai To' b/w 'In A Dream' (SnB catalog number 55-4431)

 

His corporate wanderings continued in 1970 when Sarstedt was picked up by RCA.  The deal saw the release of another single; this time under the name Clive Sarstedt:

 

  

 

- 1970's 'God Save the Queen' b/w 'Anything You Want Me To Be (Chantes donnes moi tes voeux)' (RCA catalog number 1979)

 

The single proved an unexpected seller and following standard marketing protocol, RCA rushed Sarstedt in the studio to record a supporting album.  Co-produced by Ray Singer and Simon Napier-Bell, 1970''s cleverly titled "Clive Sarstedt" featured an all original collection heavy on ballads and pop numbers.  While there wasn't anything particularly original in these grooves, Sarstedt had a nice and quite versatile voice which served to benefit even the most pedestrian ballads.   The album also served to exhibit Sarstedt's willingness to dabble in eccentric touches -  acid-tinged orchestration on 'It'll Always Be Winter'; 'Flamenco guitars on 'Looking for Jesus', and French lyrics on 'Anything You Want Me To Be (Chantes Donnes Moi Tes Voeux)'.  This'll sound weird, but the album quite commercial, but not in an typical American fashion, rather the set had a distinctive European pop sound - lots of great melodies, but songs like 'Mississippi Girl' and 'Indian Boy' were far more gimmicky than you'd hear on most American albums.   Given how European this album sounded, I've always been amazed that RCA thought they'd be able to sell it in the States (naturally the album disappeared in a heartbeat).

 

"Clive Sarstedt" track listing:
(side 1)

1.) In a Dream (intro)   (Clive Sarstedt) - 0:31

'In a Dream' opened the album with a brief acoustic ballad.  Too short to make much of an impact.  rating: ** stars

2.) God Save the Queen   (Clive Sarstedt) - 3:42

Elvis meets rockabilly ?  T-Rex goes top-40 ?   How to even begin describing this tune?   Simply too gimmicky for US audience (RCA tapped the album for a different US single), I can see why it was a hit in Europe.    Regardless, there was no denying the song's weird commercial appeal.  Geez, I even liked the horn arrangement.    rating: **** stars

3.) It'll Always Be Winter   (Clive Sarstedt) - 3:33

Starting out as a pretty acoustic ballad, 'It'll Always Be Winter' put Sarstedt under the same musical umbrella as Cat Stevens, or perhaps a slightly more commercial Al Stewart.  Interestingly, about half way through the song shifted gears into a heavily orchestrated, slightly acid-tinged instrumental section and then returned to the base acoustic melody.   Actually kind of a cool sing.   rating: **** stars

4.) Looking for Jesus   (Clive Sarstedt) - 3:07

I didn't have high hopes for a song entitled 'Looking for Jesus', but the track was actually kind of interesting sounding a bit like a cross between The Edwin Hawkins Singers (American gospel) and The Les Humphries Singers (German pop).  I've always loved the unexpected Flamenco guitars and the way the words sinner man sounded like cinnamon.   In spite of the title (pop radio and religion didn't mix well in the early-'70s), RCA tapped 'Looking for Jesus' as the US single.    rating: **** star

5.) Take Me Back   (Clive Sarstedt) - 2:15

A catchy, upbeat, and slightly goofy pop number, 'Take Me Back' was another track that had European hit stamped all over it.    rating: *** stars

6.) Anything You Want Me To Be (Chantes donnes moi tes voeux)   (Clive Sarstedt) - 2:44

'Anything You Want Me To Be (Chantes Donnes Moi Tes Voeux);' found him shifting back into sensitive singer/songwriter complete with slightly awkward French lyrics (I'm guessing the chirpy female backing singer was added to make sure the French was actually intelligible).  

 

(side 2)
1.) In a Dream (Part 2)   (Clive Sarstedt) - 1:56

Hum, opening a song with a tuba solo ...   interesting approach.  Well, the Beatles-styled harmony vocals were certainly impressive.  rating: *** stars

2.) Mississippi Girl   (Clive Sarstedt) - 3:45

Imagine a '70 British pop band like Christie (of 'Yellow River' fame) trying out some Elvis Presley styled rockabilly and you'd get a feel for what 'Mississippi Girl' sounded like.   Great guitars and the State and city names checklist was a hoot  ...  I'm a sucker for this kind of stuff.   rating: **** stars

3.) Indian Boy    (Clive Sarstedt)- 2:45

The album's strangest song ...  if you thought it was going to be autobiographical, it wasn't - the subject matter were American Indians; in this case a Harry Chapin-styled story-teller plotline about two young American Indian kids from different tribes ....   ah the pain of love between different tribes.   Yeah, the plotline was almost painful, but the song was just so bizarre you couldn't pull yourself away from it ...  and what was with the mid-song jazz break ?   rating: **** stars

4.) Good To Me    (Clive Sarstedt)- 3:01

Clive steps out with a piano-based rocker (brown bread and yellow mustard keeps you satisfied) and even though it sounded like it was recorded in a shower stall, the result was another radio-ready track.  This is probably the song that should have been floated as the single.  rating: **** stars

5.) In a Death    (Clive Sarstedt)- 1:28

No idea why it was entitled 'In a Death' since the song was actually a brief reprise of 'In a Dream' with a snippet of a totally different blue-eyed soul rocker and a brief piano-based ballad.   Clive's voice didn't sound anything like Freddie Mercury, but the song's abrupt shifts in tempo and melody recalled something Queen might have cut.   rating: *** stars 

6.) Finale   (Clive Sarstedt) - 1:50

In spite of the title, 'Finale' was actually a brief reprise of 'God Say the Queen'.  rating: *** stars

 

As mentioned above, apparently under the impression 'God Save the Queen' wasn't going to appeal to American audiences, RCA tapped the album for a different US single:

 

 

- 1970's 'Looking For Jesus' b/w 'Anything You Want Me To Be (Chantes Donnes Moi Tes Voeux)" RCA catalog number 74-0378)

 

Another album that won't exactly change your outlook on life, but I have to admit that I smile every time I listen to it.

 

 


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