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on 6 June 2017
I came across this album whilst trawling for Joe Meek stuff on Amazon, and couldn't believe that I had missed it previously. It is just brilliant. If you want an album which illustrates the sheer genius of Joe Meek then this is it. Everything (probably including Joe's kitchen sink) is here. And wow, what an amazing singer Glenda Collins is; yet another example of an incredibly talented person seemingly being in the wrong place at the wrong time as regards getting their music played and, just as crucially, distributed. If you are a JM fan and haven't got this album then do not hesitate to buy it.
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on 8 September 2009
It may be slightly sad to say it for the artist in question but it is always great to discover someone from the 60s that never really made it & who you've never heard on the radio but which today sounds fresh,raw & brilliant taking you back to that wonderful period of the 60s. Such is the case with this release & Glenda Collins who must have been really disillusioned back at the time by her fate in the charts. Glenda has a strong slightly deep voice and this (her voice) emerges as the strongest point of this CD, which covers the 7 years from 1960 to 1966. During this period she released a grand total of 11 singles, all contained within, but because none were ever hits then no LP was ever forthcoming. These original singles now cost a fortune mainly because of the Joe Meek connections & because they were such poor sellers. Rather than go through every track will mention my 3 favourites. Opening track (her debut 1960 single A side) 'Take A Chance' is both a pretty & a strong ballad. 10th single Howard Blaikley's 'Something I Gotta Tell You' is a strong up-tempo ballad & surely deserved to be a hit - a highlight. Follow up 11th A side 'It's Hard To Believe It' was a very creative disc wrapped in sound effects and with a strong message (written by Meek) and deserved a better fate - impressive. The people at RGM have to be congratulated on this really great compilation plus liner notes. Beautiful solid female 60s pop.

[Footnote 12Oct2013: Just wanted to say a little something more about this delightful album. It still brings me down as to how beautiful it is and 'Don't Let It Rain On Sunday', Self Portrait', 'C'est La Vie' are others that we can add to the list of brilliance. The opening volley of those 6 pre-Joe Meek songs are also all wonderous. They each take different situations of love & Glenda beautifully sings them all. It is like she's come from another planet in her buffoon hair style to deliver these majestic songs. 'Crazy Guy' is brilliant as also is 'The Age For Love', plus as stated the already mentioned 'Take A Chance'. How this lady had no hits with any of these is beyond disbelief. Even as enjoy the current crop of female fronted acts like Daughter, Jezabels, Anna Calvi, Blonde Redhead, Ms Mr etc, with Glenda's great songwriters & her voice, this music sounds ageless & apt still today.]
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on 12 April 2008
Until the CD Age no one had any idea who Glenda Collins was but people know who Joe Meek was.So that's why this CD exists.
There was no album or vinyl comp and the singles came and went.
So did those of Lyn Cornell who was another fine singer-though her turn would come in 1964 when she was one of the Carefrees and again in the 70s when she was half of the Pearls.
If Glenda Collins had recorded a Beatles cover that could have made all the difference.After all you go for the most obvious.
Pop music is littered with failures by girl singers and its the luck of the draw.Thus Susan Singer never troubled a chart even though she was Helen Shapiro's cousin
Its nothing to do with Merseybeat taking over-even Joe Meek was part of the British Invasion.All these theories simply don't hold water
The sleeve on this CD is bloody awful.Why didn't they use that photo of her on the Future Legend site which shows her in a full skirt and petticoats in a pose reminiscent of Susan Maughan? This photo is on the Home Page of my Yahho Groups HIGH SCHOOL POP
I never bought this CD as I don't like the sleeve though Glenda Collins is on various Meek compilations as well as American collections of Pixie Girls I have.No they don't know who she was either
But true she deserved a better fate than becoming a No Hit Wonder only heard on Saturday Club.Unlike Sandie Shaw she could sing in tune
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The history of pop music is filled with singers who might have become big stars but didn't. Usually, these singers had one or two hit records, however minor, but Glenda Collins somehow failed to register a hit of any size. A closer look at her story shows that she was desperately unlucky. After several years trying, she quit the business but later realized that she may have quit too soon. Nevertheless, this collection contains both sides of every single that Glenda recorded and which can be found - it is possible that other recordings were made but this is unclear.
Glenda was just sixteen when she began her recording career in 1960 for Decca. Her first two singles sold poorly and nothing more appeared until 1962 when a third single fared much better but still didn't chart so Decca dropped her. Meanwhile, Glenda had kept busy with radio and cabaret work.
At this point, Glenda's father managed to get her a recording deal with Joe Meek, a maverick independent producer who was very successful with many different singers and groups but is perhaps best remembered for his production of Telstar, a British and American number one hit for the Tornados. In fact, the Tornados also acted as backing musicians for some of Joe Meek's other artists and they fulfilled this duty on Glenda's first single for her new label, the brilliant I lost my heart in the fairground, featuring fairground sounds and plenty of Joe Meek touches in the production. It should have been a huge hit but wasn't because its release to the public was delayed. When it finally appeared, the Beatles and other Mersey groups had taken over the charts and Glenda's record didn't sell.
Glenda's next single, If you've got to pick a baby, showed that she and Joe Meek had adapted their sound (The Outlaws replaced the Tornados as backing musicians) and she performed the song on important TV pop shows to support its release. With rave reviews, this also might have been a big hit in the run-up to Christmas. The record was so popular that initial pressings sold quickly but the record company didn't press any more. They were too busy with the Beatles and the Dave Clark Five. By the time it was possible to press more copies, the momentum had been lost.
With two obvious opportunities for major hits lost, Glenda (through no fault of her own) found the going tough after that. Her next few singles didn't get the publicity accorded to her two missed chances although they are excellent records in their own way. Joe Meek committed suicide on the eighth anniversary of Buddy Holly's death (a date that may have been deliberately chosen by Joe).
Following Joe's death, Glenda's father managed to get hold of a couple of songs that eventually became top ten hits for others. Nobody can even know what would have happened if Glenda had recorded them first. With more opportunities for female singers in the late sixties, Glenda might finally have had that big hit. However, Glenda had lost heart and quit.
So we are left with a legacy of what might have been. If those two big misses had both been big hits, who knows how many of the later misses would also have been big hits? We will never know, but this compilation shows that Glenda Collins was every bit as good as many of her compatriots who had plenty of hits.
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on 5 June 2015
A greatly under-rated singer, but swamped by the legion of other "Brit Girls" around in the Sixties. Possibly ignored due to her association with Joe Meek but don't let that put you off. There are many excellent tracks on this album, including six from her early years at Decca when she was a teenager. The Joe Meek-produced numbers are from her years at HMV Pop and Pye. Also included are several songs never released - possibly not finished? "Self Portrait" I thought particularly good though it has a weak finish (all 2 seconds of it!) - something that could have easily been rectified.
If Sixties Brit Girls are your 'thing' I thoroughly recommend this album. The enclosed booklet has extensive notes and photos and is a definite plus. Buy it!
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on 10 December 2014
How in the hell did she not become famous? That's all I have say.
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on 27 April 2016
Excellent condition excellent condition of a singer sadly underrated and great Joe Meek production behind her. Whatever his Demons Meeks class and innovation can't be disputed well ahead of his time.
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on 25 November 2007
Glenda Collins. You could probably ask a thousand people if they'd ever heard of her, and be guaranteed they'd all have no idea. Even those around in the 60s, when Glenda was recording, would be hard pressed to place her.

Glenda never made it big - in fact, she barely made any impression at all. There's one reason why this CD is available, and one reason only: Joe Meek. Yes, Britain's answer to Phil Spector, renowned for hits like Telstar and Have I the Right, produced most of Glenda's work. Meek was not known for harnessing female talent, mainly due to his sexual persuasions: if he liked the look of a boy, whether he could sing or not held no bearing. But with the ladies, talent was all Joe looked for. This aspect of Joe's career is explored more fully on the collection 'Joe Meek's Girls'.

But back to Glenda. A young girl with a fine voice, she auditioned for and was quickly signed to Decca Records in 1960, where she recorded three singles. This was Britain before the Beatles and the beat boom that followed them. Lightweight rock 'n' roll love songs aimed at teenagers were the order of the day. Mainly covers of American songs, and churned out by the studios like a production line. If you enjoy that era of British pop music, then you'll like these songs. I personally enjoy all of them - great innocent pop music.

Since Decca didn't bring Glenda any success, she went looking elsewhere, and wound up at 304 Holloway Road, home of Joe Meek and his ramshackle recording studio. Joe had just enjoyed immense success thanks to Telstar, and was ready for more. Glenda filled a gap on Joe's roster for a female singer, and having been impressed with her voice, he signed her up. From here on, the sound of Glenda's records changed markedly.

Joe employed ever production method he could - quite literally, everything but the kitchen sink. These productions are very 60s, and have a great rock feel. At times the style verges on heavy metal, or even punk rock. This heavy rock feel is perhaps influenced by guitarist Ritchie Blackmore, who went on to join both Deep Purple and Rainbow. Glenda had a fantastic voice for power pop, which is displayed effectively. How she never had a hit with any of these tracks will remain a mystery forever. Most likely, it was due to poor distribution and bad luck.

All these singles are works of genius in their own way. Her debut single, 'I Lost My Heart at the Fairground' is acknowledged by Meek fans as a classic. Frankly, it should have been huge. It's hard to single out tracks here, because I honestly do love them all. 'If You Gotta Pick a Baby' is great girl-pop, and the other side of that record, 'In the First Place', is just a great pop record.

There's a great version of 'Lollipop' which will make you forget the Chordettes ever recorded it. A very different arrangement here. 'Paradise For Two' sounds like Joe trying to be Phil Spector - the Ronnettes or any of their ilk could have made this a classic.

Glenda's penultimate single was the one that REALLY should have been a huge smash hit. 'Something I've Gotta Tell You' is a great pop record with a soaring emotional vocal from Glenda.

This collection ends with a series of unissued demos recorded by Glenda. They are only rough, so not quite up to the standard of the other tracks. 'Sing C'est La Vie' is dull enough the first time without the second longer version also included. However, the title track, 'This Little Girl's Gone Rockin'' is supreme, and there's a rather soulful track called 'You're Gonna Get Your Way'.

Sadly, Joe Meek shot himself and his landlady in 1967 and Glenda's career was effectively killed with them.

The booklet included lives up to RPM's usual magnificent standard, featuring rare photos and memorabilia. The sleevenotes are very informative, too.

Sound is excellent, aside from the demos, which as mentioned are a bit rougher. Overall, an excellent package.

For me, Glenda is an unsung heroine of 60s pop. She should have been as big as Cilla, Sandie or Petula. Seek out this CD, however, and you'll realise what the British public missed out on. If you like 60s pop, or girl singers, you'll dig this.
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on 1 June 2015
brings back memories.
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