I’m Back and I’m Proud

Gene Vincent

Dandelion LP 63754
Released January 1970
Recorded 21 August 1969
to 2 September 1969
Produced by Kim Fowley

side oneside two
1 Rockin’ Robin
(j. Thomas)
1 Sexy Ways
(Henry Ballard)
2 In The Pines
(Traditional)
2 Ruby Baby
(J. Leiber / M. Stoller)
3 Be Bop-A-Lula ’69
(Gene Vincent / Sheriff ‘Tex’ Davies)
3 Lotta Lovin’
(Alva Hemming)
4 Rainbow at Midnight
(Lost John Millar)
4 Circle Never Broken
(Traditional)
5 Black Letter
(Traditional)
5 I Heard That Lonesome Whistle
(Hank Williams / J. Davis)
6 White Lightning
(George Jones / Jape Richardson)
6 Scarlet Ribbons (For Her Hair)
(E. Danzig / J. Seigal)

Musicians

Produced by Kim Fowley

Gene Vincent – vocal
Skip Battin – Musical director, bass guitar
Red Rhodes- dobro, pedal steel
Jim Gordon – drums
Mars Bonfire- guitar
John Meeks- guitar
Grant Johnson – piano

Backing vocals by Linda Ronstadt and Jackie Frisco (uncredited). There is only added vocal on Scarlet Ribbons. The sleeve notes say it’s Jackie Frisco. Other reports say it’s Linda Ronstadt.

The idea was that Red Rhodes would play on the country songs, and Johnny Meeks on the rock songs.
Adrian Owlett’s sleeve notes refer to the pianist as Jim Grant, the credits as Grant Johnson. I can’t find references to him. Adrian Owlett later said he had some difficulty getting the names of the musicians involved for the notes.

Sleeve

The LP sleeve was designed by Dave Clague, of the Bonzo Dog Doo Dah Band, also a Dandelion recording artist.

Have a look above. Four photos with a sax player, and two add clarinet. There is neither saxophone nor clarinet anywhere on the album. These are live photos with zero connection to the record.

General

I’d written at length on the album on the Dandelion page, and decided to expand to a Reviled! review.

Dandelion was a UK label which ran from 1969 to 1972, and was a joint effort between DJ John Peel, and his manager (and Elektra UK label chief), Clive Selwood. This is the rare (only?) Dandelion album which was recorded by seasoned professional musicians in a top studio AND in the USA.

The album takes its title as a reference to James Brown’s Say It Loud – I’m Black and I’m Proud, which was written by James Brown and Pee Wee Ellis, and released in August 1968. It’s Vincent’s penultimate album, and considered by many fans to be his worst.

Vincent was a hero to British rockers … see Ian Dury’s Sweet Gene Vincent. Like Eddie Cochran he was revered in Britain and in France far more than he was in the USA. Be Bop A Lula in 1956 is a seminal rock classic , with The Blue Caps, one of the tightest bands we’d heard. It’s #103 on Rolling Stones 500 Greatest Rock Songs of All Time.

Gene limped onto British TV shows clad in black leather. The image was created by TV producer Jack Good:

Jack Good When Gene Vincent came down the steps of the plane, he had a leg iron on, so he hobbled a bit. I was a Shakespeare fan, so hobbling to me meant Richard III. I thought of giving him a hunchback, and I’m glad I didn’t. Then I thought, ‘He can be moody like Hamlet so we’ll dress him from head to toe in black and put a medallion round his neck. I once played a murderer, Ligtbourne, with gloves on, so I added that … I arranged some steps so he could hobble nicely on TV, but he negotiated them very well and hardly looked as if he was hobbling at all. I had to yell out, ‘Limp, you bugger. Limp!’ He didn’t mind. He limped … I never talked to him about Shakespeare. I just said, ‘This is what you’re wearing.’
Interviewed by Spencer Leigh in ‘Baby That Is Rock ‘n’ Roll’ , Finbarr 2001

He had played alongside The Beatles in Hamburg in 1962. He had moved to the UK under the guidance of Don Arden in 1963 and toured with Sounds Incorporated, then with The Outlaws … a Joe Meek produced band. The alcohol and prescription medication issues were right at the fore.

He survived the 1960 car crash in which Eddie Cochran died, accentuating his pre-existing physical problems (he shattered his leg in a motorbike accident in 1955 while in the US Navy). In Cochran’s fatal cash Vincent broke his ribs and collarbone and further damaged his bad leg. He was on tour, managed by Larry Parnes.

Don Arden When Dr Bobby (Arden’s private Harley Street doctor) looked at Gene’s leg he was aghast. In effect he said the US Navy doctors had put the broken leg back together the wrong way round – which is why it never healed properly. They had also put a chain inside his leg to hold it together and now it had began slowly eating away at the inside of the leg. It was a horrible thing to see.If Dr Bobby hadn’t taken him straight into hospital and operated on him, Gene would have lost the leg, then possibly his life as the poison started to spread. We patched him up and put him back on the road, which is the only place he felt really comfortable anyway; but it was all downhill from there. Not because of the leg, but because Gene was an alcoholic, pure and simple.
Don Arden with Mick Wall Mr Big 2004

You’ve no doubt seen the Joe Meek biopic Telstar. Anything to do with Gene Vincent and touring or recording was a disaster waiting to happen. Selwood already knew Gene Vincent, and he was also one of Peel’s heroes.

John Peel I only met Gene Vincent once, although he did make a rather disappointing album for a company with which I was associated. He asked me, I remember, if I knew where there was a phone he could use. I did and was able to tell the lithe rocker so. He smiled and thanked me.’
Radio Times, quoted in John Collis Gene Vincent & Eddie Cochran: Rock ‘n’ Roll Revolutionaries 2004

Selwood and Peel had heard Vincent was out of contract, and Selwood was in Los Angeles on Elektra business and arranged to meet him. Gene Vincent turned up with producer Kim Fowley who first boasted to Selwood that he’d been a millionaire at age eighteen.

Clive Selwood It was a most bizarre evening. Gene introduced Kim…Kim advanced across the room and said ‘Hey, grease me some of that teenage dogshit!’ which still ranks high on my list of innovative greetings, though I’ve never quite found an opportunity to use it myself … all our discussions (with Gene) were continually interrupted by completely incomprehensible interjections from Mr Fowley.
Clive Selwood All The Moves (And None of The Licks) 2003

Vincent asked for a $50 advance to free himself from eviction from the garage where he was living. Selwood set up the recording sessions at Elektra’s new state-of-the-art LA studio, Elektra Sound Studios on North La Cienega Boulevard, Los Angeles. Fowley was not happy:

Kim Fowley I wanted to record in the South at Malaco studios. I felt it would be the ideal environment for Gene Vincent
Steven Mandich Sweet Gene Vincent: The Bitter End 2002

Skip Battin of The Byrds was musical director. The basic backing group had Jim Gordon on drums, Red Rhodes on dobro and pedal steel guitar, and Skip Battin on bass guitar. Johnny Meeks from Vincent’s Blue Caps was on lead guitar. Mars Bonfire of Steppenwolf was on guitar too.

The session: L to R: (unknown), Gene Vincent, Kim Fowley, Rodney Bingenheimer, Skip Battin

The Doors, John Sebastian, Linda Ronstadt are thanked in the liner notes. Others add that The Everly Brothers turned up at the sessions. A Michael Jackson is thanked but ‘that one’ would have been eleven, apparently though it was indeed him. The LP is dedicated to John Peel and Clive Selwood, and the sleeve notes are done by the Gene Vincent UK fan club, whose address is prominent.

Given the thanks to The Doors, it should be noted :

Gene was getting ready to do ‘Sexy Ways’, and said on the microphone so that everybody could hear, ‘Who are our uninvited guests here?’” When told they were The Doors’ drummer John Densmore and producer Paul Rothchild, Gene said “’I have a gun in my boot, I will pull the gun out of my boot and shoot at them through the window unless they leave.’ They got out of there quick.
Steven Mandich Sweet Gene Vincent: The Bitter End 2002

Skip Battin Gene Vincent was a difficult artist in some ways. He was a bit of a perfectionist and Kim (Fowley) likes to move quickly. Gene tried very hard, but he was pretty sick at the time. His leg was bothering him and he was in constant pain.
Quoted in John Collis Gene Vincent & Eddie Cochran: Rock ‘n’ Roll Revolutionaries 2004

The initial guitarist choice was Jim Fonseca, but the first session from 21 August was scrapped:

 Gene was very unhappy with Fonseca’s work on lead guitar and he was removed. After some discussion, Red Rhodes, the pedal steel guitarist who had played on sessions by The Ventures, The Byrds and ex-Monkee Michael Nesmith, and was due to play on some country style songs on the sessions, revealed that he performed locally with legendary ex-Blue Cap lead guitarist Johnny Meeks. Johnny was duly contacted and came on board.
Liner notes for the RPM reissue, 2011

Selwood devotes a whole chapter to the ensuing debacle. Vincent would call continually in the early hours complaining about Kim Fowley

Clive Selwood Then began a series of frustrating and lengthy late-night phone calls. Usually they came in about 3 a.m. and often lasted an hour or more. They would begin, ‘Mizz Selwood, ma’am, Ah hate to trouble you, but ah jist cain’t work with Kim Fowley …’
Shirley would express regret, pointing out that it had been Gene himself who had presented Kim as a fait accompli but nevertheless offering to dispense with him as producer.
‘Ah wish you wouldn’t do that, ma’am,’ would be the reply.

Clive Selwood All The Moves (And None of The Licks) 2003

Then came a 3 page cablegram from hospital where Gene claimed he only had hours to live. They phoned his home and found him well, but with no recollection of the cable.

At last they finished. John Lennon offered to draw the cover, but withdrew the offer after he’d heard the album, I’m Back and I’m Proud. As Gene Vincent appeared on the Live Peace From Toronto shows in September 1969, but was omitted from the albums and film after a tearful dire performance, that may be why.

While tracks like Ruby Baby, Sexy Ways and Rockin’ Robin were in line with expectations, no one expected a duet with his wife on Scarlet Ribbons (For Her Hair).

Selwood then got a call from Gene’s terrifying early 60s manager, Don Arden, pointing out that Vincent was still under contract to him and indeed owed him an album.Selwood turned up at Arden’s office, literally fearing for his life.

Clive Selwood The most popular tale is of (Don Arden) dangling a very famous person (It was Robert Stigwood) from a fourth floor window by his ankles. I always believed the story to be apocryphal until I talked to the man who was holding the other leg.
Clive Selwood All The Moves (And None of The Licks) 2003

It was going badly until Selwood mentioned Shurl, his wife, who had toured with Don Arden in Arden’s touring days as a singer and impersonator. Result?

Clive Selwood Don placed an arm around my flinching shoulder, walked me to the door, ‘Give your wife my regards, and if the album sells well, you owe me a drink.’ And that was that.
Clive Selwood All The Moves (And None of The Licks) 2003

He never had to buy the drink:

Clive Selwood The album damn near broke us, it never covered its costs.
Steven Mandich Sweet Gene Vincent: The Bitter End 2002

An issue is that like Jerry Lee Lewis, Gee Vincent was torn between staying with rock ‘n’ roll, or going overtly country.

Opinions

Surprisingly perhaps, Vincent was not drinking at all during the weeklong sessions. Perhaps he should have been because the results are disappointing.
John Collis Gene Vincent & Eddie Cochran: Rock ‘n’ Roll Revolutionaries 2004

Skip Battin I was familiar with his Capitol Records with the Blue Caps, and I preferred them.’
Quoted in John Collis Gene Vincent & Eddie Cochran: Rock ‘n’ Roll Revolutionaries 2004

Mostly apart from the odd ‘his worst album’, criticism is by omission. Record Collector did two feature articles on Gene Vincent, one in March 2000, another at Christmas 2021, and neither even mention the album or tracks from it, except in the list of values at the end. The subsequent Kama Sutra album just before his death on 12th October 1971 are mentioned.

A positive:
The hidden surprise treasure of this box may be the utterly forgotten country-rock sides Vincent cut with Kim Fowley at Dandelion Records in 1969 — the same moment when Rick Nelson and the Everlys were making impressive country-rock comebacks. Vincent apparently didn’t much care for the colorful biker hippie Frank Zappa, but Fowley had a bead on his abilities years before anyone had noted them. Supported by the likes of Byrd Skip Battin, “Born To Be Wild” writer Mars Bonfire, and a returning Johnny Meeks on guitars, Vincent’s magic is shockingly back on numbers such as “In The Pines”, “White Lghtnin’”, “Lonesome Whistle” and “Will The Circle Be Unbroken”. He even nails a duet on “Scarlet Ribbons” with a then-uncredited Linda Ronstadt.
No Depression, 1 July 2005

The album track by track

Side one

Rockin’ Robin
(J. Thomas)

A 1958 hit for Bobby Day, with novelty elements of Tweet Tweet Twidlee-Dee from backing vocalists. Earl Palmer played drums, Barney Kessel played guitar and it had a piccolo solo in the middle. It was a US #2 hit, and a US R&B #1 hit. Michael Jackson was to cover it in 1972 on Got To Be There and the single equalled Bobby Day in getting to US #2. It does bring up the question of the “special thanks” to guests on the Vincent album, which include ‘Michael Jackson.’ Is that where Jackson heard it?

The album opens with a high-pitched little rap by Vincent boasting that he is indeed ‘back and proud’ then launches into Rockin’ Robin. Tasty guitar, fluid bass, solid drums, but the vocal lacks energy, dying away at times. Not a memorable version.

In The Pines
(Traditional)
Recorded 28 August 1969

aka Where did you sleep last night? Black Girl or My Girl. Leadbelly had the best-known early version so is often cited as the composer. He wasn’t, it was archived by Cecil Sharp as far back as 1917. There are hundreds of versions from Lonnie Donegan to Pete Seeger to Odetta to Joan Baez to Jackson C. Frank to Dolly Parton to The Grateful Dead to Leon Russell. A majority would be regarded as folk or blues rather than country

The British version by The Four Pennies in 1965 was labelled Black Girl (UK #20 in late 1964). I always thought Kurt Cobain’s hugely acclaimed retitling as My Girl on Nirvana Unplugged was a mealy-mouthed cop-out.

On Vincent’s version the piano is dominant throughout. It’s weird, Vincent taking the verse as semi-spoken voice and just singing properly on the repeated chorus (In the pins, in the pines, where the sun never shines …) He sounds uncommitted compared to the exuberant enthusiasm of the pianist giving it his all, and the loud electric guitar. It’s a sloppy version collapsing into a muttered cold wind bows followed by a messy ‘which one of us is going to play last’ instrumental ending.

Be-Bop-A-Lula ’69
(Gene Vincent Sheriff ‘Tex’ Davis)

A reprise of his greatest hit. It was the first single from the album.

Be-Bop-A-Lula ’69: Gene Vincent, Dandelion 45 (distributed by CBS)

The credit is shared with Bill ‘Sheriff Tex’ Davis, a local Virginia DJ who managed Gene Vincent. early on. It was common practice for the time for managers to insist on a cut, but there is a further question.

Be-Bop-A-Lula: Gene Vincent & His Blue Caps, Capitol 45 UK 1956

Bill Davis had heard Gene singing a song called Be-Bop-A-Lula which he claimed he had written – reputedly, he’d actually bought it from someone else for a few dollars.
Bob Solly, Record Collector #247, March 2000

It’s claimed that the song was inspired by a cartoon strip, Little Lulu in the Saturday Evening Post. The strip dates back to 1944.

Sheet music 1956

The hardest songs to write are the ones that sound simple. Be-Bop-A-Lula has the basic three note structure of Three Blind Mice. There is nothing much simpler than that. A ‘bue note’ (flattened 7th) is introduced and voila! – it’s rockabilly …… His reedy nasal singing, vocal cords straining for the utmost emotion, transforms an essentially band lyric into an icon of musical expressionism. Without his rock ‘n’ roll attitude and his intuitive band, it would have been a very different experience. It’s significant that a song as famous as Be-Bop-A-Lula has only rarely been covered by other artists over the years. After all, who could hope to improve on Vincent’s original?
Bob Solly, Record Collector #247, March 2000

Indeed. Who could improve on that 1956 performance? Well, not Gene in 1969. Nor in 1962. Yes, he’d tried. Be-Bop-A-Lula ’62 was cut at Abbey Road, London in July 1962 with the Charles Blackwell Orchestra. The guitarist is really good and uncredited and not, I’m certain, the normal Charles Blackwell Orchestra player. A completely different sound to the Cliff Gallup solo on the original, but also creditable. The re-cut was designed to cash in on the Twist boom, with the lyric Be-Bop-A-Lula she’s a little twister added and taken faster. Comparing, you really miss the Jack Neal thudding acoustic double bass on the original.

So to ’69. What do you do with a song you’ve played every time you’ve stepped on a stage for thirteen years? It’s louder, rockier, with piano and guitar fighting to dominate, Skip Battin prominent on bass guitar. Nothing is gained.

He did it better in ’62. He did it best in ’56.

Rainbow At Midnight
(Lost John Miller)

Ernest Tubb had a country hit with this in 1946 (US C&W #1) as did The Carlisle Brothers. (who recorded it just a few weeks before Ernie Tubbs bigger hit). It even had an answer disc, Answer to Rainbow At Midnight. It was covered extensively by a country hall of fame … Texas ‘Jim’ Robertson, Jimmie Rodgers, Webb Pierce, George Hamilton IV.

After this war was over
I was coming home to you …

Anyone with any sense in 1969 would have taken the opportunity to “Vietnam” it a tad. Maybe choosing this lachrymose song was reference enough. Vincent is straing to get to the notes though.

The immediate lift as the song starts is the presence of Red Rhodes playing.

Black Letter
(Traditional)

It’s a version of Ernest Tubbs’ The Soldiers Last Letter, a country hit in 1944, and was recorded on the last session, 2nd September.

It starts with acoustic guitar (though not for long) and Vincent is adhering to this semi-spoken style. Mom receives the letter:

She didn’t know till she read the inside
That it was the last from her darling boy

Forget the lovely playing from Red Rhodes, this is the sort of sentimental gloop that gives country a bad name. It makes Old Shep sound subtle. Also, apart from Red Rhodes, the bass, piano and drums are too raucous for the songs in this style.

White Lightning
George Jones / Jape Richardson)

It was the second single from the album. It’s also collectible.

White Lightning: Gene Vincent, UK promo copy May 1970

It is a rocker impregnated with a strong country feel. The mid-tempo beat is compelling and the novelty lyric praising bootleg liquor is amusing.
Nw Musical Express, 9 May 1970

White Lightning: Eddie Cochran & Gene Vincent: Boy Meets Girls

Gene Vincent and Eddie Cochran had sung this song together on the Jack Good UK TV show Boy Meets Girls in February 1960, just two months prior to the road accident. It’s on YouTube.

The band take it loud and urgent, clearly not Gene’s mood on the day because he sounds overwhelmed.

Side two

Sexy Ways
(Henry Ballard)

A 1953 recording by Hank Ballard & The Midnighters, reinforcing Ballard’s vital role in early rock ‘n’ roll.

On side two of I’m Back and I’m Proud, there are three songs that Ronnie Hawkins and The Hawks had covered and recorded, and they’re three of the first four tracks on side two. This may be significant … Sexy Ways (1961), Ruby Baby (1960) and Will The Circle Be Unbroken (1967). Ronnie Hawkins did the August 1969 interview with Rolling Stone with the tales out of school about The Band’s early days, which infuriated his ex-employees at the time. Every one was reading it. I was working on a summer variety show, and the article was going round the musician’s dressing room to raucous laughter. Even the star of the show, Ken Dodd, looked at my copy and asked me to go and buy him one … it was that funny. I’m sure it would have been read avidly by everyone involved in the session, so Ronnie Hawkins was on their minds when they started recording on 21 August 1969. Hawkins was managed for a while by Norm Riley, who also managed Gene Vincent and Eddie Cochran. Ronnie Hawkins had followed Gene onto Boy Meets Girl on British TV. They knew each other.

Ronnie Hawkins I didn’t know nothin’. But if I had to do it all over again, I’d still be in England. I saw Gene Vincent making all this money.
Quoted inIan Wallis The Hawk, 1996

Not only that but the LP Arkansas Rock Pile, credited to ‘Ronnie Hawkins Featuring The Band’ even though the original Band members were only on one side, came out in the same month, January 1970. Ronnie Hawkins version of Sexy Ways had not been issued but the personnel on the 1961 session were Robbie Robertson, Levon Helm, Rick Danko plus Jerry Penfound on saxophone, and the backing singers were Dionne Warwick, Dee Dee Warwick and Cissy Houston.

Gene Vincent? This is one of the best tracks. It rocks hard with outstanding guitar from Johnny Meeks, and Gene is using a degree of light and shade in the vocal. The stops and starts are well executed and showcase the voice.

No, it’s not as good as The Hawks in 1961, but then not much is.

Ruby Baby
(Leiber-Stoller)
Recorded 28 August 1969
B-side of the single Be Bop-A-Lula ’69.

Ruby Baby: Gene Vincent. Dandelion 45 (distributed by CBS)

The Drifters had the first hit with Ruby Baby back in 1956 (R&B #10). Ronnie Hawkins recorded it in 1959, and issued it as a single on Roulette in 1960. The best known version though is by Dion in 1962, which was an international hit (US #2, US R&B #5). It was Dion’s first Columbia single, and he claims in his autobiography that it was Columbia / CBS’s first genuine rock hit. Dion is also the best version.

On this album it plays straight on from Sexy Ways with barely a gap. The pianist is still taking no prisoners, but not for the first time, Gene’s vocal is pedestrian and laboured. It makes me rush to hear Dion attacking the lyric with the gusto it needs. Poor.

Lotta Lovin’
(Alva Hemmings)

Lotta Lovin’: Gene Vincent & His Blue Caps, Capitol shellac 78, UK 1957

This was another re-take on an earlier Gene Vincent song. According to the original 78 prm record it was written by Bernice Bedwell, and was the song Vincent performed on his first American Bandstand TV appearance. Johnny Meeks played guitar on the original, his first Blue Caps recording after replacing Cliff Gallup. Buck Owens was on rhythm guitar on the original.

The 1957 recording was originally intended as the B-side of the Elvis-imitation Wear My Ring, written by Bobby Darin & Don Kirschner, but for Gene Vincent fans, Lotta Lovin’ was the attraction and is listed as the UK A-side. It was US #13 / US R&B #7 in 1957. The original has a springy bounce and doo-wop backing vocals.

Loud churning bass guitar here with tinkling piano. It roars through. The sound is straight 1969 UK club circuit / college circuit rock, not rockabilly in any way. It’s far heavier than the original. Interesting drums (cow bells?) at the end.

Circle Never Broken
(Traditional)

It is Will The Circle Be Unbroken.

The strangest number on the set is the Spiritual, Circle Never Broken. I say ‘strangest’ not in any derogatory way but simply to the best of my knowledge, Gene has never recorded a spiritual song, although in one memorable evening spent with Gene, he took an acoustic guitar and sang from his heart songs which he grew up with and loved, including some blues based gospel / spiritual standards.
Adrian Owlett, sleeve notes to the LP, October 1969

It’s odd to hear the electric bass and drums so prominent. Red Rhodes’ solo plays the melody beautifully. Otherwise, well, I commend The Nitty Gritty Dirt Band version to you. If they had backing vocalists around, they should have used them. They didn’t.

I Heard That Lonesome Whistle
(Hank Williams / J. Davis)

Hank Williams wrote it with Jimmie Davis in 1951, and it was a US #8 hit. It’s a much-covered song … Johnny Cash, Del Shannon, Bob Dylan, Frank Ifield, Little Feat, Beck and Billy Bragg are just a few who covered it.

Gene goes for a short narrative intro. He still likes to talk rather than sing in the middle. It just doesn’t sound country, so jars in some way,

Scarlet Ribbons (For Her Hair)
(E. Danzig / J. Segal)

Scarlet Ribbons: Gene Vincent, UK promo copy, B-side, May 1970

The most famous version for UK listeners was by Harry Belafonte from Belafonte, a US #1 album in 1956, though he’d first recorded it in 1952. The single was a UK #18 at Christmas 1957. I would have guessed it had been a vastly bigger hit in Britain (my guess was #1 before I checked), but then it got major airplay every Christmas throughout my youth, and my mum adored it. In the USA, Jo Stafford had the original hit (US #14, 1950) and The Browns version was #13 in 1959.

The last track recorded. According to the sleeve notes it’s a “duet “with his wife Jackie Frisco, but the RPM 2011 reissue has meticulous notes and credits Linda Ronstadt. It’s not a “duet” at all, it’s backing vocal added to the chorus. I think there’s only one female voice and it is extremely good, which makes me veer to Linda Ronstadt.

On this track, Red Rhodes and Johnny Meeks are playing together. Gene is in the whispering narrative mode again. All in all, it’s a dreadful version of the song in spite of the backing vocal sections.

Reissues

The album was reissued in the UK and Europe by Magnum Force in 1981 as The Bop They Couldn’t Stop.

It has been released on CD at least twice and the RPM CD is currently available, remastered by Bear Family studios.

Collectability

I’m pessimistic on the collectability of classic rock and roll artists. First, a lot is now coming onto a market that had virtually dried up as owners ‘downsize’ or die. Secondly, younger collectors don’t seem enthusiastic. Eddie Cochran and Chuck Berry have definitely dropped in price. I’d expect Gene Vincent to be the same. I’m Back and I’m Proud was rated at £25 in the 2010 edition of Rare Record Guide (published 2008) which means allowing for inflation and general upsurge in collecting, it’s dropped. There are copies advertised in the £70 and £80s, but optimistic adverts are not hard sales. The one that’s worth the money, more than the LP and way more than Rare Record Guide’s estimate, is White Lightning on 45.

TitleRare Record
Guide 2022
Discogs
median
Discogs
highest
I’m Back and I’m Proud Dandelion UK LP 1970£30 mint£12.99£29.99
Be-Bop-A-Lula / Ruby Baby ’69 single 1969£10 mint£3.99£8.99
White Lightning / Scarlet Ribbons single 1970£10 mint£28.99£49.99
The Bop They Couldn’tStop 1981 LPnot listed
(under £12)
£5.00£17.00

THE REVILED ALBUMS ARE (so far) …

Wednesday Morning 3 a.m. – Simon & Garfunkel
Beatles For Sale – The Beatles
Their Satanic Majesties Request … The Rolling Stones
Speedway (and Elvis film music) – Elvis Presley
Electric Mud– Muddy Waters
3614 Jackson Highway – Cher (plus the bonus tracks)
Let It Be – The Beatles
Self Portrait – Bob Dylan
Byrdmaniax – The Byrds
Cahoots – The Band
Carl and The Passions- So Tough! – The Beach Boys
The London Chuck Berry Sessions – Chuck Berry
Wild Life – Wings
Sometime in New York City – John and Yoko / Elephant’s Memory
Recall The Beginning: A Journey From Eden … The Steve Miller Band
Hard Nose The Highway … Van Morrison
Chicago III … Chicago
One Man Dog – James Taylor
Berlin– Lou Reed
Pinups – David Bowie
There’s One In Every Crowd – Eric Clapton
I Want You – Marvin Gaye
Love At The Greek – Neil Diamond
Death of A Ladies’ Man – Leonard Cohen
Shakedown Street – The Grateful Dead
Born Again – Randy Newman
Mingus – Joni Mitchell
One Trick Pony – Paul Simon
Everybody’s Rockin’ – Neil Young
American Dream – Crosby, Stills, Nash & Young
Jefferson Airplane – Jefferson Airplane (1989)
Human Touch – Bruce Springsteen
Latest Record Project Volume1… Van Morrison