This chapter will focus on the more successful recordings of The Searchers during the early "Sweet Nothings" until "When You Walk In The Room." The group recorded many other songs, some of which will be examined in future chapters. The purpose of this chapter is to provided an interpretation of the Seachers' style and to document information with respect to "behind the scenes" events. During the early 1960s, The Searchers would eventually take up residence, at the Iron Door Club at 13 Temple Street in Liverpool. For general information about the club the interested reader is referred to a history of the Club at http://www.liverpool.rickresource.com. At was at the Iron Door that a tape of a number of the Searchers' songs was made that would lead to a recording contract with Pye Records. Tony Hatch would produce the group for Pye and in addition to becoming their producer also played piano on several of their recordings and wrong their second number one record "Sugar and Spice" under the name of Fred Nightingale. He did not let The Searchers in on this little secret until sometime later on and Chris Curtis, for one, did not like the song and figures that he was tricked by Hatch.

The Searchers' recording will be added to this chapter in no particular order, but will eventually be organized according to the date of the chart release. The chapter begins now with "Saints and Searchers" which was the B-Side to the hit, "Sugar and Spice."

Unearthing The Roots of "Saints And Searchers"

"Saints and Searchers" was the B-Side to the Searchers' popular hit single "Sugar and Spice" and released in the UK on October 16, 1963. Avids riding the wave of this popular Liverpool group during the 1960s, would never be swept away by this flip-side. Nonetheless, the song has a fascinating historical roots that originated in America. The unique arrangement, under the guidance of PYE's Tony Hatch, in concert with the skillful musicianship of band-members provided a song with a musical depth and texture that arguably surpassed a number of their more successful releases.

By way of introduction, "Saints and Searhcers" is a cover of the well-known American spiritual, "When The Saints Go Marching In." The melody was composed by James Milton Black and the lyrics written by Katherine E. Purvis. The song appears to have been written in the 1880s when Black was employed as a music director at Pine Street Methodist Episcopal Church in Williamsport, Pennsylvania. It clearly has its roots in the days of slavery and was made popular by Dixieland bands in the southern United States in the early 1900s. That it has been an American classic, gains support from the list of famous American artists who have performed this song. These have included such greats as Louie Armstrong, Big Bill Broonzy, Harry Belafonte, Fats Domino, James Brown, Johnny Cash, Jerry Lee Lewis, Lightnin' Hopkins, Lionel Hampton, Little Richard, Louis Prima, Mahalia Jackson, Trini Lopez, Elvis Presley and the Kingston Trio. The Searchers then, were in very good company with their version of "Saints."

Chris Curtis, the Searchers' drummer, was heavily influenced by American music and Fats Domino was a favourite. It is likely that the band got the idea of using "saints" from the Fats Domino arrangement, which he had released in the US on March 2, 1959. The Searchers also played the well known Domino song "Let The Four Winds Blow" in their stage act. "When The Saints Come Marching In" was also part of The Beatles repertoire at one time, and as such the song was certainly doing the rounds in Liverpool at the local clubs. The Beatles' version appeared on the Polydor album along with Tony Sheridan which was released in 1961.

The Searchers "Saints and Searchers" was a bit of a play on words as most of the fans saw the group as being quite tame and benign compared to the likes of the Beatles and the Rolling Stones for example. Nonetheless, it was also a propo in some respects as Tony Jackson, the lead vocalist of the group during the early days, was a bit of a rebel himself and was rather well-known for his excessive drinking. In support of this observation, his nickname was Black Jake.

Black Jake was the lead vocalist on "Saints and Searchers" which was a departure from most of the groups' music that consisted of the harmonic blend of several voices. The song was released as a single in the UK in October 1963 on the Pye label and in US in 1964 in the US under the Liberty label. The song was also released on the album "Sugar and Spice" in October 1963 in the UK. The tracks on that album were as follows: Sugar And Spice / Don't You Know / Some Other Guy / One of These Days / Listen to Me / Unhappy Girls / Ain't That Just Like Me / Oh My Lover / Saints & Searchers / Cherry Stones / All My Sorrows / Hungry For Love. "Sugar and Spice" reached number 2 in the UK, but only barely made the top 50 in the US, reaching #44. For this reason, in spite of its American roots, "Saints and Searchers" would have a minimum of exposure in the US relative to the UK.

Tony Jackson had the perfect bluesy voice for "Saints and Searchers" which was performed by the Searchers in the key of E. A simple three chord blues number, the song begins with John McNally intoducing a most interesting rhythm pattern. The thin treble tonality, a salient feature of his Hofner Club 60 model, is ideal for this performance and is the prefect background for Jackson's vocal rendition. For a detailed review of this Hofner electric guitar the reader is referred to the article "Liverpool's Fastest Guitar." McNally's masterful but understated rhythm keeps the song going and becomes the foundation for the tasteful instrumentation of the track. Jackson's Hofner violin-bass can be heard on this track but is most subdued in comparison to his usual booming style allowing his voice to take center stage. This is, in part, due to the fact that he was playing while he sang and, in the days of four track technology, there appears to have been little option for adding an additional bass line later.

McNally is playing E7 on the fifth fret, using the first fret conventional fingering of the C7 chord. This is a favourite position for playing an E7 chord and has an unmistakeable sound which allows for its identification. This chord configuration has been used by many artists, John Lennon. being a noteable example. Jackson's distinctive voice softly begins the first verse pushed on by the steady beat of Chris Curtis on drums -

"Well when the saints, go marchin' Yeah when the saints, go marchin'in I tell you something gonna be, hey I'm gonna be in that number Yeah, when the saints go marchin' in"

In the background, Mike Pender is playing soft blues riffs on his Gibson ES345. This added texture is subtle but fits in very nicely with the instrumentation of Jackson and McNally. Jackson begins to emphasize his vocal lines ever so slightly in the second verse. Chris Curtis, makes changes to the percussion and changes the sound by making effective use of his tom tom. The reference to "bands go swinging in" is most appropriate here even though it referred to marching bands originally. Jackson continues to swing, however, reminding the listener where he stands on the subject -

"And when those bands go swinging in Yeah when the band goes swinging in I tell you something gonna be, hey I'm gonna be in that number Yeah, when the band goes swingin' in"

John McNally begins to add some timely rapid rhythm strumming which he learned from McGee, a pub performer in Liverpool. This technique is most effective and adds extra texture to the performance at this point. Curtis becomes more forceful on the traps and Jackson begins to turn up the heat adding vocal edge in the third verse, which is a repeat of the first verse -

"Well when the saints, go marchin' in Yeah when the saints, go marchin' in I tell you something gonna be, hey I'm gonna be in that number Yeah, when the saints go marchin' in, Aaall Right!"

Jackson uses his range at the end of the verse and in his most distinctive style offers an "All Right" which beckons Mike Pender to join in on the march with his first lead break. This is were the Gibson ES345 "begins to shine" and the added reverb allows a very nice break to cut through the mix adding an essential blues tone. Jackson pickups up the bass and Curtis accentuates the beat. As sure is the sun shines through adversity Jackson reminds us that he is going to be in that number.

"Well, when the sun begins to shine Hey when the sun, begins to shine I tell you something gonna be, hey I'm gonna be in that number Aaah when the sun begins to shine Aaaah yeah!"

At the end the verse shouts an "Aaaah heah!" once again signalling Pender to take the floor and pull out all the stops for another lead break. This break pushes his amplifier offering just a tad of tube distortion sending the break further than the previous one. In live performances this is a show stopper selection and is a real attention grabber. It is reminiscent of the blues riffs of the days so commonly heard in association with songs by Chuck Berry. George Harrison of The Beatles played in a similar style.

In a technique borrowed from gospel performances, Jackson lowers his voice at the beginning of the fifth verse offering a more reflective tone. As sure as the sun is going to shine, he is "gonna be in that number." Through the lowering of his voice, the gentle but persistent cadence of McNally's rhythm guitar becomes more apparent. As Jackson begins to sing verse 5, simply a repeat of verse four, McNally performs more rhythm magic with a accented strums. but still restrained so that the lead vocal isin the forefront. In his softer tone now Jackson begins makes an impression with gentle "Ooos" and "Aaahs" -

"Ooo, when the sun, Aaah gonna shine Hey when the sun, Aaah gonna shine I tell you something gonna be, hey I'm gonna be in that number Hey when the sun begins to shine"

Jackson's voice builds again for the finale and McNally, Curtis and Pender add to this effect.

"Aaah when the saints go marchin' in Yeah when the saints go marchin in I tell you something gonna be, hey I'm gonna be in that number Aaah when the saints go marchin' in"

The song ends cold after the last "saint's go marchin' in."

"Saints and Searchers" is the Searchers at their best in the early days without all the bells and whistles of the recording studio. It certainly demonstrates why they were popular from the beginning and why for certain songs, Black Jake had no equal. The collective talents of the artists provide a song that is a tad thin by modern day producton standards, however, it has a fresh live feel to it. Without question the whole is gresater than the sum of the parts here. This is a song with great texture and several parts that balance one another. Pender plays lead guitar in a way that shows off his talents and pushes this song to the zenith. There are very few recordings in his career as a Searcher that allow for lead guitar as heard here. This is The Searchers in the rough and on that should not be savoured and not skipped by as it does not have the fullness or trademark harmonies were are used to. So give "Saints and Searchers" and Black Jake another listen. You'll be glad you did.