above and right: from NME |
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Things were going down a bit for the Searchers. So it was time for a strong new song. Chris Curtis came up with an American record, title: Goodbye, My Lover, Goodbye. (See his remarks about the song and the recording). Retitled Goodbye My Love and coupled with one of the most beautiful ballads ever - Till I Met You - written by John McNally for his wife Mary. The record came out February 1965. It got much attention in the music press, the song was considered their best since Needles & Pins. Both songs were sung by Mike & Chris, harmony vocal by Frank. |
above: UK promo, below: three different pressings of the single |
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above: Australia |
below: Canada |
above left: from Record Collector, above right: from Record Mirror below: Denmark, two different coloured covers and two ifferent pressings |
below: French single, no
picture cover |
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Below: German single: different pressings: the common Vogue label and the very rare red Pye label. |
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above: Irish release, left: Italy below: from NME & RM |
above and left: Japanese record | |
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above: two different covers and labels from the Netherlands, below Norway and Sweden, using the Norwegian pressing but have different covers |
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above: New Zealand, below: Philippines, three different pressings |
below: South Africa |
above: US promo |
below: regular release |
Finally read what Frank Allen rites about recording Goodbye My Love in his book Me and The Searches: “Goodbye My Love was a haunting tune that had been recorded by an American called Jimmy Hughes although his preferred title had been Goodbye My Lover, Goodbye for the us market, the same title that had been used in a previous recording by one of the song,s trio of composers Robert Mosley. It had first been played to the band by Big Dee Irwin while in tour in 1964 but we didn't have the Hughes disc and we didn't know who the publisher was. But luck was with us. Gene Pitney just happened to be in town and, hearing that we were at Pye, dropped in to say hello. We were talking about the Hughes record which it turned out Gene knew very well indeed.' We had booked the Great Cumberland Place set-up for two days and the next day Pitney had obtained a demo and had it sent round to us. We got on with it straight away. It was an exciting session. We had to make an impact with this one so we went for a big sound and for the first time double-tracked the drums, something that might have been second nature to Phil Spector but which was seldom tried by producers in Britain. (…) John McNally devised a captivating 'swishing' sound on his rhythm guitar which gave an intriguing focal point to the track. We took our time to obtain as near a perfect result as we could and it was night time before we got round to overdubbing the vocals. As was the norm we double-tracked the voices to get a bigger and more impressive sound, which would be souped up even more in the final mix by an ethereal echo, and in the pursuit of a faultless result it was necessary to stop and 'drop in' from time to time. It was now gone midnight and a passage immediately preceding the middle eight - or the bridge - had to be done again. Mike and Chris sang the harmonies and stopped, happy that they had been in time and in tune. (…) On the flip side was a song that has proved to be our most enduring and loved composition - Till I Met You. I have seen it credited to Curtis and Pender and I have also seen it marked down as a combined effort from the entire group. In fact this beautiful song with its simple and moving words was written byJohn McNally alone for his wife Mary.” Frank Allen: The Searchers And Me Castle-upon-Alun 20099, page 1178 - 180 |