The hour is made up of song-poems, bad cover versions,
Beatle novelties and some of the most dire tribute discs you have heard in your
life, but today I bring you a sneak peek, with one of the most controversial,
and confusing Beatle-related discs of all time, The Fut and Have You Heard
the Word.
Issued by Beacon records here in the UK in 1970, this disc has confounded Beatles fans for decades. So much so that it turned up time and
time again on Beatles bootlegs and as late as 1985 Yoko Ono attempted to
register copyright in the song, convinced after years of seeing her late
husband’s name attached to it that he must be involved.
He wasn’t.
The Fut were, in fact, Steve Kipner and Steve Groves of the
Kinetics, a group originally formed in Australia in 1966. The duo noted the success
enjoyed by the Bee Gees after their relocation to London and, in 1969, followed
them across the ocean. Forming a new band, Tin Tin, the pair went in search of
their old friend Maurice Gibb, who soon persuaded his manager, Robert Stigwood,
to sign the new act. Maurice also offered up his services as producer for the
band’s debut album, playing bass on several tracks.
Sessions for the album took place over a seven-month period between
May and November 1969, taking far longer than anticipated because, in August, Gibb
fell down a flight of stairs and broke his arm.
And that’s where things get interesting. That evening, Maurice
turned up at IBC studios wearing a cast on his arm, high as a kite on painkillers,
accompanied by his wife, Lulu (who he had married in February), and her brother,
Billy Lawrie (often miscredited as Laurie). Stories differ as to whether he
also came armed with a full bottle of whiskey or simply took advantage of the
open bar in the studio. When it came time to work on a new, and unfinished song
Kipner and Groves had brought with them the session deteriorated, and after tempers
flared they left.
Maurice, off his face and having far too much fun, decided
to finish off the song, thinking it would be a scream to put on tape his imitation
of John Lennon. No one seems to recall who attempted the impersonation of Yoko
One heard at the start of the song, but I somehow doubt it was his Scottish
songstress wife.
Dismissed as a potential track for the as-yet-incomplete Tin
Tin album, somehow - and Gibb would later admit that he had no idea how it
happened – the song was issued on the tiny Beacon label, credited to The Fut. The
flip side, Futting, with authorship credited to The Tuf, has absolutely
nothing to do with any of those involved with the A-side: it’s a pleasant, if
unremarkable, ska instrumental. One can only assume that someone at IBC heard
the tape and thought that they could make a quick buck, although I very much doubt
that they saw much in the way of financial reward. Issued at around the same
time that the Beatles officially called it a day, it did not take long for it
to start appearing on Beatles bootlegs, usually listed as an unissued outtake, although
occasionally credited to John and Yoko.
Tin Tin would score a Top 20 U.S. hit with Toast and Marmalade for Tea in 1971. The group disbanded in 1973, although Kipner continued working as a songwriter, producing hits for various acts including Chicago, George Benson and Olivia Newton-John. Gibb and Billy Lawrie would continue to work together: Gibb produced Lawrie’s 1971 cover of the Chuck Berry standard Roll Over Beethoven and, in 1972 the pair wrote and played the theme tune to the film Bloomfield, which was issued as a 45, credited to the Bloom-Fields, that same year. In a far less tenuous Beatle connection Rock and Roller, a track on Lawrie’s sole solo album, Ship Imagination, was co-written by one Richard Starkey... a well-known drummer who was not involved in any way with the Fut single. Honestly.
Here are both sides of the 45. Don’t forget to tune in to
the show on Wednesday, when you can hear a further 55 minutes or so of similar
Beatle-related nonsense!
Enjoy!
Download Word HERE
Download Futting HERE
Hey, hey, Darryl, always great to see this record written about and shared, but distressed all the same to see it shared on a site with a title such as yours. That's because I think this is a truly great record - an indelible melody and some wonderfully Beatle-esque turns by the band. It runs through my head all the time. Literally (and entirely non-ironically) one of my favorite records ever made.
ReplyDeleteHi Bob. I get what you mean, and I often have internal arguments with myself about the discs I post here, as I genuinely love many of them, but the choice is to keep going here or start a second music blog... and you know how demanding they can be!
DeleteHa, I too consider this a "real" song and have dearly loved it for years (and thanks for featuring it)! I wonder how Tin Tin intended for it to turn out, originally?
ReplyDeleteIn fact, Maurice's Lennon impression was so legendary, there is a great story, which I will probably now butcher: Once, when Lennon was away, Maurice left Yoko a phone message as a joke (impersonating Lennon with something about infidelity I believe), and when Lennon returned home, he was surprised to find that Yoko had destroyed some of his property in anger!