As promised in my review of the “Jingle jangle Morning” 3 x CD set to be released by Cherry Red in March, this is an extract from the Beau Brummels section of my unpublished book about U.S. history and society, focusing in my case on groups that might not be that familiar to you.
The Beau Brummels was formed in 1964 in San Francisco, California and their music can be classified as Beat/ Pop/ Psychedelic, diverging into Country Rock. Sylvester Stewart (Sly Stone) produced some early recordings by the group. One urban myth is that they chose the name so their records would appear close to The Beatles on record shop shelves but they were actually named after “The Beau Brummel Barber Shop in North Beach, rather than from early 19th century British gentleman George Bryan ‘Beau’ Brummel known for his dapper style of dress.” The musicians were Ron Elliott (guitar, backing vocals), Sal Valentino (lead vocals, percussion), Dec Mulligan (rhythm guitar with harmonica and some bass) then Don Irving (rhythm guitar); Ron Meager (bass, backing vocals), and John Peterson (drums), One of Sal Valentino’s claims to fame was recommending Rickie Lee Jones to the group’s Warner brothers label.
The Beau Brummels released a lot of singles and some picture sleeve E.P.s like Here We Go Again (with three originals and a Dylan cover – see below) and Beau Brummels ‘66 (covers of Sonny Bono’s ‘Bang Bang’ and John Phillips’ of The Mamas and Papas ‘Monday, Monday’). Their first 45 was Laugh, Laugh (on their first label, Autumn, 1964 and written by Ron Elliott). One of their best-known numbers was Don’t Talk to Strangers, which was a top 20 hit in the U.S. in 1965. A faithful rendition of Bob Dylan’s One Too Many Mornings (on a single, not E.P.) scraped into the Billboard 100. Their 1967 45s were Long Walking Down to Misery, 2 Days ‘til Tomorrow and the best of the bunch Magic Hollow, all on Warner Brothers.
The group’s first LP was Introducing The Beau Brummels which has been reissued on L.P. as part of U.K. Record Store Day. I also remember having a copy of another 1965 L.P. Volume 2: You Tell Me Why/ Don’t Talk To Strangers (Autumn, 1965). Beau Brummels ‘66 (also the name of an L.P!) is not particularly recommended as it is a collection of covers, not great for a group trying to establish an original identity to remove the ‘wannabe Beatles’ tag. 1967’s Triangle is a different story. (see Part Two) Another fine album in country rock style, Bradley’s Barn, was recorded in Nashville and released in 1968 and would be the last album the group would produce in the 1960s although they did return with an eponymous L.P. in 1975. There are various LP compilations like Autumn in San Francisco (Edsel, 1985) and Best of The Beau Brummels (Rhino, 1986). Various CDs can be found on Discogs: The Very Best of The Beau Brummels: The Complete Singles (Varèse Sarabande) (2017); Triangle/ Bradley’s Barn (Real Gone Music) (2016); Magic Hollow (4 x CD) (Rhino/ WB) (2005). Don’t Talk To Strangers and Two Days ‘Til Tomorrow appear on the deluxe book/ CD set Love is the Song We Sing: San Francisco Nuggets 1965- 1970 (Rhino, 2007)
Rolling Stone magazine said, “The Beau Brummels succeeded uncannily at putting an American spin on Merseybeat.” This was certainly evident in their early output with an excerpt on the ‘Shindig’ show on American TV revealing Sal Valentino standing long and poker straight, trusty tambourine at side, a mop topped drummer swaying back and forth just like Ringo, two guitars sharing a mike with one breaking from his guitar duties to deliver a harmonica solo and bass in behind, all ‘booted and suited’. The group’s cartoon appearance on The Flintstones as The Beau Brummelstones’ (playing Laugh, Laugh at the Shinrock A-Go-Go in season 6) is also an essential view.
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