The Merseybeats were a Liverpool band formed in the late 1950s by today’s interviewee Tony Crane plus Billy Kinsley, David Elias and Frank Sloane.
The quartet’s sound was significantly influenced by the American duo The Everly Brothers and, as they became teenage residents of the legendary Cavern Club in Liverpool in 1962, they suddenly found themselves playing almost all days and nights of the week alongside The Beatles who had been doing their gigs at The Cavern since 1961.
The Merseybeats were managed by The Fab Four’s boss Brian Epstein for around six months, and then they dumped him because he purchased nice suits for The Beatles but not for them – just to regret it to this very day.
And then they reached for the stars with the hit single It’s Love That Really Counts in 1963 and they shot for the moon in 1964 with the smashing success of their million-selling single I Think Of You which scored them their first gold disc.
After disbanding, going separate ways, changing bands, relaunching as a duo and renaming themselves and then changing again, Billy Kinsley and Tony Crane eventually reunited in 1993 and, with the addition of Bob Packham and Lou Rosenthal, they call themselves The Merseybeats again.
In this interview, Tony Crane reflects on the 1960s, The Beatles, David Bowie covering his song Sorrow in 1973 and all the achievements of a lifetime in music, including being awarded an MBE by Queen Elizabeth II in 2017.
Tony, what achievements are you most proud of?
In my career, my personal one, obviously, with The Merseybeats we have had lots of success in different places all over the world and everything, but the accumulation of everything came to me when I was awarded an MBE in 2017. And the icing on the cake was when I got to Buckingham Palace and I didn’t know who was gonna present me with the award, and it was actually Her Majesty The Queen. So I was like “Oh, I like my career!” I was absolutely delighted meeting the Queen and talking to her, and she did say that she remembered The Merseybeats… we don’t know whether she did or not, but she was a lovely, lovely lady.
She probably did. They all said she had a memory like an elephant.
Well, that’s true, yeah, she said that she and her sister would go and find some groups in Liverpool, in the early 1960s. That was nice. That was fabulous. I was delighted.
How do you feel when you hear one of your songs playing on the radio?
Oh yeah, it’s great, it’s fabulous, especially here where I am now in Wirral which is part of the Merseyside, anyway, so the local radio stations like Radio Merseyside often play our hits and talk about things and give advice to people and everything, which is really good. And when we do I Think Of You on stage, we dedicate it to the crowd, to the audience, and thank them for coming along, and we dedicate the song to them. I always say to people to keep supporting oldie shows, and so The Merseybeats come along, we dedicate I Think Of You to them.
Which one of your songs are you most attached to?
Well, I suppose it’s I Think Of You. It came out in 1964, became a hit and turned out to be our biggest-selling single, so I’m attached to that.
What do you think of the current state of music?
Well, I suppose it’s the same all the time. I don’t say to people “This it’s not as good as the 1960s, this is not as good as the 1970s”, but there’s always good music coming out. And there’s always bad music coming out, too. So you just have to see what you like yourself, what you like to listen to, and it could really be anything because I like all types of music. My biggest regret is that Freddie Mercury died – it was such a loss because Queen is still my favourite group, they were absolutely wonderful. But there’s always good music coming out, you just have to pick and choose what you’re willing to listen to. It could be anything, it could be rap, it could be country music – I became a big fan of country music, I’ve been to Nashville a few times and it was really good.
Is there any difference in music between today and yesterday?
I suppose it’s the different tunes; in the 1960s, the tunes were more simple and very memorable. And that’s the difference between the 60s and today because if you sing a hit from the 1960s, everyone sings along with you as they’ll know the words. Now, you might sing a song that came out two years ago, and people have forgotten the words already. Well, you may remember the tune, but some of those songs from the 1960s especially, from some different songwriters, are fabulous songs. They are memorable, and I see that every time we sing our songs on stage, the crowd just sings along, which is different to today’s music, I suppose. I don’t think that people will be singing today’s music like in 50 or 60 years’ time, but the songs from the 1960s seem to carry on. Also, the difference is that, as a band, we have always treated the fans as our friends. For instance, at the end of the show, we always go out and meet all the fans and spend about an hour talking to people, and we thank them for coming along. Well, not many people do that now. You pay for things like the meet and greets and fan mail, and they are charging for that. I think that they should just go out and say hello to everyone and thank them for coming along. I think that’s what has changed now. They charge a lot of money for these meet and greets.
Why did you change the band name in the early days of the group?
Well, the biggest thing for us was that when we started off, we were playing around Liverpool and we became residents of The Cavern Club. At the time, we were quite successful, we were the only band that was resident of The Cavern at the time with The Beatles. But we were called The Mavericks. So they said: “You’ll play alongside them five times a week”, and The Beatles were alternating with us, but we were told, “We don’t like your name, it sounds like country ‘n’ western”. So when they advertised us on The Cavern, I thought they’d got the wrong band because it read “The Merseybeats, a big, big new discovery”. And when I asked about it they told me it was the name of a newspaper called Mersey Beat, so it could have been the Daily Post or the Daily Express, or anything else.
How did the creator of the Mersey Beat newspaper Bill Harry react when he found out you named the band after his publication?
Bob Wooler was the DJ at The Cavern Club and also the booking agent for us, and when they asked us to become a resident of The Cavern he said that he was going to think of a name for us to move on from The Mavericks, and he asked Bill Harry if we got permission to use this name. And he said yes – he said yes you can use the name, only because he thought we were a really good group. And so we got permission. And so we went there on the first night that we were playing at The Cavern alongside The Beatles and we were all in the same dressing room getting ready to go, and John Lennon said to me “Oh, I like your new name, it’s absolutely fabulous”. And I thought, “Well I liked it too, then!” I wasn’t sure at first but when John Lennon said he thought the name was great, then I would go on with that! And then The Beatles took us under their wing because we were so young, quite a few years younger than them. And they liked our stage act. We would do similar songs that they would do, they liked the way we sang early Elvis Presley‘s songs with guitar playing and everything, so it was a good starting chapter for us. We also had an unwritten sort of rule: if The Beatles got a song before us, we’d say we can’t do that now because of The Beatles. After we did a lunchtime session with them, we would run around the corner to Brian Epstein’s NEMS [North End Music Stores] and we’d listen to all the new releases from America’s small labels, and if we liked one of them then we would buy the record and rehearse into it that night at The Cavern…. before The Beatles did it! We just enjoyed doing it. And imagine growing up as a teenager, being a resident of The Cavern Club alongside The Beatles! I didn’t think about it at the time and I was just doing it because I loved it, but when you look back you think, well, what a way to go through your teenage years! When we had our first record I was only 17. So, you know, everything happened so quickly.
Did you ever write songs with The Beatles?
Not with them, no, but quite often we would play a song to them, or I’d recommend seeing what they thought of it. And they played songs for us. I remember Please, Please Me – when John played it to me it was like a ballad.
Have you got a favourite Beatles memory you would like to share?
A little funny story was when The Beatles came back after they’d left, they came back to play one more final show at The Cavern. And they wanted us to be on the bill with them, and so we did that, it was August 3rd 1963. The story was that two of my sisters were coming along to see the show, obviously, they wanted to see The Beatles, but they always wanted to see us anyway. Normally at The Cavern, when you bought a ticket to go in, as you came to the door it would be ripped in half and they gave you half of it back. But one of my sisters tricked this as she was coming in she fell, so she ended up with the actual ticket unmarked, which eventually went to a Beatles auction; there were multiple offers, and that particular ticket ended up selling for, I think £7,500! That was only a small ticket, but it’s just that most of the tickets were all ripped off! So that was a nice little story. She said it had just been in a drawer, in the house, since the 1960s!
How about your favourite Cavern Club memory?
One from The Cavern Club is that we hadn’t played there for a number of years, and when we had our new manager who also managed The Who, he came up with an idea, like let’s go back to The Cavern and get some publicity and try to play non-stop for 12 hours to break the world record and be in all the newspapers! So we went back, but little did he tell us that he had already booked us in Burlington on the East Coast, that night! So it must have been about nearly four o’clock in the morning when we finally got to The Cavern. And so we played and we played and we played and we played – nonstop. We did eight hours, and we only stopped then because the drummer sort of fell off the drums. He couldn’t carry on, he couldn’t carry on any more and we tried to carry on without him. But I think that was just that we were just drinking soft drinks, and I think our drummer at the time was adamant about going into Coke. So, that was a good experience to be back there, it was on all the papers and in the national papers, but in a lot of the papers all they put in was a photograph of our drummer sitting in the back of our limousine against a window! Hardly anyone showed photographs of us on stage, but we got a lot of publicity from it, so the manager got the job done. And we saw a lot of affection, and now we still do our annual show there, we go back once a year to The Cavern and do an anniversary show. We did one for the first time when it was 50 years since we started playing at The Cavern; we booked The Cavern and we did that. We now do a once-a-year event on the 19th of September, and people travel from great distances because they’d never seen The Merseybeats play at The Cavern, and it’s something they always wanted to do. And so people come from all over Europe and from Canada, and from Japan and South Africa, regularly. These have been fans of us for years but they’ve never seen us playing at The Cavern and so they make a special trip to see us playing.
Do you also have a favourite memory from your time with Brian Epstein?
I don’t know if you know this story, it was a bit stupid thing of us. We kept saying to Brian Epstein: “You keep buying suits for The Beatles”.
Yes, I heard the suits story.
Well, it’s a true story. Brian Epstein kept saying “Wait another six months”, but because The Beatles had already said that we’d got some great songs, in the end, we just said no, we’re just going to try and make it on our own, and we left Brian Epstein after only about six months. And we regret it to this day, because a couple of years after that when Billy [Kinsley] and I became the duo called The Merseys, Brian Epstein, came up to us and said “I’m going to talk with The Four Tops to put you in their tour as you’ve got to be back in the charts, I want to look after you and we’ll have a new record out and I’ll put you back in charts and everything else”. And then of course we did The Four Tops tour which was fabulous, and wonderful, and shortly after that, by the time The Beatles went to India, Brian Epstein died. So that never came to fruition. That was sad.
I just don’t believe everything I read these days – but even then, I would believe rarely. I mean, The Beatles were still close friends of ours and they were such nice people. It’s like when people used to say to me that John Lennon was a terrible person. He was the nicest person I’d ever met in my life. And it was just so strange that people are now beating around the bush. Some people are supposed to be very nice but they have two faces, and John Lennon just said it as it was, and he was such a big fan of us and he loved what we did so much that he asked if he could produce our next record, and we went down to the studio and we really wrote the songs, and he was ready to do it, to write the songs and produce them with us, but when we went back and told our new manager, he said “No, you can’t do that, I’m your record producer”, and I found out later that he only said that because he was publishings The Who’s Pete Townshend’s songs, so he wanted us to do a Pete Townshend song so he could make the money out of the publishing. So yeah, it’s a shame, because once we made a rehearsal with John, sitting around the table and going through all the different songs, George Harrison said “You’re gonna need a guitarist on this track, can I play the guitar on it?” And then Ringo said “You’re going to need a drummer, aren’t you? What about me?” So, if it was recorded, that song would have been produced by John Lennon with George Harrison on the guitar and Ringo Starr on the drums and so on. But Paul was too busy in the studio, mixing his tracks. So that was something that didn’t come to fruition, so sadly that didn’t happen. We ended up recording a song that wasn’t a hit at all, although, in the later years, it has steadily sold. It’s called So Sad About Us.
The term Merseybeat later became a general definition for the 1960s beat music: as you were the first to use the name to record music, what do you think of it?
First of all, when The Beatles made it and when a couple of other bands made it, it was originally started to be called “the Mersey sound”. The Merseybeat came later on, and a lot of people asked us over the years if we had tried to cash in on the name by calling ourselves The Merseybeats, and I said no, we were called it well before the music was called Merseybeat. With the beat music, the funny thing was that we were known then for being like a ballad-type band. And yet, the measured beat was beat music, so it was a bit confusing to people for a while, but then again, because when we did our live shows, we only did two or three ballads, the highlights of our shows were always when we did a slow ballad usually by The Shirelles or The Everly Brothers. The guys disliked slow ballads, but the girls seemed to like that.
Your music was greatly inspired by The Everly Brothers; were they aware of you?
We never met them. We almost had the chance to as we were supposed to do a tour of Australia with them quite a few years ago but it didn’t come about to something, and I think they’d broken up again as they were broken up over and over the years. And we really wanted to plan coming outside their dressing room door and singing one of their songs, like Maybe Tomorrow, in our voices, but that never happened. It’s so sad, and there was a thing about Facebook and social media when Don died [Isaac Donald Everly died in 2021 and his brother Philip Everly died in 2014], there was a reference to The Merseybeats from their people making comments on socials – there were also other names, but the majority of the people said The Merseybeats, which was nice.
Had The Merseybeats been lucky or unlucky?
I think everybody was lucky at the beginning because when you first start, to have a hit record or a recording contract was like something you thought would never happen, and when we finally got our recording contract it was by accident anyway, that’s when you say about being lucky! We were playing a lunchtime session at The Cavern, and an A&R man from London who was auditioning for different bands, possibly signing them to Philips Records, said: “I want to offer you a recording contract, and we have an audition for you, because you’re the best band of all here”, and all the other ones were not offered a contract. So we got that by accident. And they were starting a new label, and we were going to be the first band signed to this new label called Photon Records, all under the banner of Philip Records but it was the new label, and a week later, the A&R man did the same thing in Manchester, and he ended up signing Wayne Fontana and The Mindbenders. So we were the first two bands on that label, and we became friends with Fontana who sadly passed away about a year ago. But we remained friends all the way through, and The Mindbenders became 10cc so they had more success on their own.
Is there any 1960s band you feel was underrated?
There are quite a few because some of the bands in the 1960s had lots of hit records and carried on touring and everything else, but they didn’t sort of have any of the success from the 1960s, and I could never see why. I don’t know whether it was bad management, because they were still making good records. I think what was wrong was the radio stations – the main radio stations wouldn’t play them. They were abandoned when they had a new single out or a new album, they couldn’t get placed in the major radio stations, if you get them on the local radio stations but they couldn’t get played on BBC Radio One, BBC Radio Two and things like that, then they would all say that they were not in style any more so they wouldn’t play their records. Without the plays, no one would buy them because they didn’t know about them.
Did you like David Bowie’s cover of Sorrow?
It was okay, I don’t think it is as good as our version but I was very flattered that he did it because he started out being a fan of ours quite a bit when he was just David Jones and even in the early days he used to say “I’m going to try and make it on my own”, and I thought he meant as a focusing because he sat in the dressing room on the acoustic guitar just singing the songs that he’d written. And then we didn’t see him for a couple of years, and then all of a sudden this guy would make it and be suddenly on television, and we would be like “Oh, that’s David Jones?!” So, David Bowie, he, of course, got the Bowie from the Battle of the Alamo’ Jim Bowie, and we all know about the Bowie knife.
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