The Searchers
Originally founded as a skiffle group in Liverpool in 1959 by John McNally and Mike Pender (Mike Prendergast), the band took their name from the classic 1956 John Wayne western The Searchers. Prendergast claims that the name was his idea, but McNally ascribes it to 'Big Ron' Woodbridge, their first lead singer. The issue remains unresolved.
The band grew out of an earlier skiffle group formed by McNally, with his friends Brian Dolan (guitar) and Tony West (bass). Read Full BioOriginally founded as a skiffle group in Liverpool in 1959 by John McNally and Mike Pender (Mike Prendergast), the band took their name from the classic 1956 John Wayne western The Searchers. Prendergast claims that the name was his idea, but McNally ascribes it to 'Big Ron' Woodbridge, their first lead singer. The issue remains unresolved.
The band grew out of an earlier skiffle group formed by McNally, with his friends Brian Dolan (guitar) and Tony West (bass). When the other two members lost interst McNally was joined by his guitarist neighbour Mike Prendergast. They soon recruited Tony Jackson with his home-made bass guitar and amplifier and styled themselves Tony and the Searchers with Joe Kelly on drums. Kelly soon left to be replaced by Norman McGarry and it is this line-up—McNally, Pender (as he soon became known), Jackson and McGarry—that is usually cited as the original foursome.
McGarry did not stay long, however, and in 1960 his place was taken by Chris Crummey (who later changed his name to Curtis). Later that year Big Ron had a successful audition with Mecca and became a ballroom singer. He was replaced by Billy Beck, who changed his name to Johnny Sandon. The band had regular bookings at Liverpool's Iron Door Club as Johnny Sandon and the Searchers.
Sandon left the band in late 1961 to join The Remo Four in February 1962. The group settled into a quartet sharing the vocal lead and billed simply as The Searchers. They continued to play at the Iron Door, The Cavern, and other Liverpool clubs. Like many similar acts they would do as many as three shows at different venues in one night. They negotiated a contract with the Star-Club in the St. Pauli district Hamburg for 128 days, with three one-hour performances a night, starting in July 1962.
The band returned to a residence, at the Iron Door Club and it was there that they tape recorded the sessions that led to a recording contract with Pye Records with Tony Hatch as producer.
Hatch played piano on some recordings and wrote "Sugar and Spice"—the band’s second number one record—under the pseudonym Fred Nightingale; a secret he kept from the band at the time.
After scoring their monumental hit "Needles and Pins", bassist Tony Jackson went solo and was replaced by Hamburg pal Frank Allen of Cliff Bennett and the Rebel Rousers.
Chris Curtis left the band in 1966 and was replaced by the Needles and Pins-influenced John Blunt, who in turn was replaced by Billy Adamson in 1970.
As musical styles evolved, the Searchers could not keep up and as a result, the hits ran out and while they continued to record for Liberty Records and RCA Records, ended up on the British "Chicken in a Basket" circuit although they did score a minor US hit in 1971 with "Desdemona".
The group continued to tour through the 1970s and were rewarded in 1979 when Sire Records signed the band to a multi-record deal. Two albums were released by them, The Searchers and Play for Today (retitled Love's Melodies outside the UK). Both records garnered great critical acclaim but did not break into the charts. They did however revitalize the group's career. According to John McNally, the band were ready to head into the studio to record a third album for Sire when they were informed that due to label reorganization, their contract had been dropped.
In 1981, the band signed to PRT Records (formerly Pye, their original label) and began recording an album but only one single, "I Don't Want To Be The One" backed with "Hollywood", saw the light of day at that time. The rest of the tracks would be released as part of 2004's 40th Anniversary collection.
Soon after the PRT release, Mike Pender left the group amidst great acrimony and now tours as Hollywood. McNally and Allan recruited former First Class vocalist Spencer James to fill Pender's shoes.
In 1988, Coconut Records signed The Searchers and the album Hungry Hearts was the result. A very contemporary sounding release, it featured modern sounding remakes of "Needles and Pins" and "Sweets For My Sweets". While the album was not a major hit, it did keep the group in the public eye.
The band continues to tour with Eddie Rothe replacing Adamson on drums and is considered to be one of the most popular 1960s bands on the UK concert circuit.
for more info see
http://en.wikipedia.org/wiki/The_Searchers_%28band%29
The band grew out of an earlier skiffle group formed by McNally, with his friends Brian Dolan (guitar) and Tony West (bass). Read Full BioOriginally founded as a skiffle group in Liverpool in 1959 by John McNally and Mike Pender (Mike Prendergast), the band took their name from the classic 1956 John Wayne western The Searchers. Prendergast claims that the name was his idea, but McNally ascribes it to 'Big Ron' Woodbridge, their first lead singer. The issue remains unresolved.
The band grew out of an earlier skiffle group formed by McNally, with his friends Brian Dolan (guitar) and Tony West (bass). When the other two members lost interst McNally was joined by his guitarist neighbour Mike Prendergast. They soon recruited Tony Jackson with his home-made bass guitar and amplifier and styled themselves Tony and the Searchers with Joe Kelly on drums. Kelly soon left to be replaced by Norman McGarry and it is this line-up—McNally, Pender (as he soon became known), Jackson and McGarry—that is usually cited as the original foursome.
McGarry did not stay long, however, and in 1960 his place was taken by Chris Crummey (who later changed his name to Curtis). Later that year Big Ron had a successful audition with Mecca and became a ballroom singer. He was replaced by Billy Beck, who changed his name to Johnny Sandon. The band had regular bookings at Liverpool's Iron Door Club as Johnny Sandon and the Searchers.
Sandon left the band in late 1961 to join The Remo Four in February 1962. The group settled into a quartet sharing the vocal lead and billed simply as The Searchers. They continued to play at the Iron Door, The Cavern, and other Liverpool clubs. Like many similar acts they would do as many as three shows at different venues in one night. They negotiated a contract with the Star-Club in the St. Pauli district Hamburg for 128 days, with three one-hour performances a night, starting in July 1962.
The band returned to a residence, at the Iron Door Club and it was there that they tape recorded the sessions that led to a recording contract with Pye Records with Tony Hatch as producer.
Hatch played piano on some recordings and wrote "Sugar and Spice"—the band’s second number one record—under the pseudonym Fred Nightingale; a secret he kept from the band at the time.
After scoring their monumental hit "Needles and Pins", bassist Tony Jackson went solo and was replaced by Hamburg pal Frank Allen of Cliff Bennett and the Rebel Rousers.
Chris Curtis left the band in 1966 and was replaced by the Needles and Pins-influenced John Blunt, who in turn was replaced by Billy Adamson in 1970.
As musical styles evolved, the Searchers could not keep up and as a result, the hits ran out and while they continued to record for Liberty Records and RCA Records, ended up on the British "Chicken in a Basket" circuit although they did score a minor US hit in 1971 with "Desdemona".
The group continued to tour through the 1970s and were rewarded in 1979 when Sire Records signed the band to a multi-record deal. Two albums were released by them, The Searchers and Play for Today (retitled Love's Melodies outside the UK). Both records garnered great critical acclaim but did not break into the charts. They did however revitalize the group's career. According to John McNally, the band were ready to head into the studio to record a third album for Sire when they were informed that due to label reorganization, their contract had been dropped.
In 1981, the band signed to PRT Records (formerly Pye, their original label) and began recording an album but only one single, "I Don't Want To Be The One" backed with "Hollywood", saw the light of day at that time. The rest of the tracks would be released as part of 2004's 40th Anniversary collection.
Soon after the PRT release, Mike Pender left the group amidst great acrimony and now tours as Hollywood. McNally and Allan recruited former First Class vocalist Spencer James to fill Pender's shoes.
In 1988, Coconut Records signed The Searchers and the album Hungry Hearts was the result. A very contemporary sounding release, it featured modern sounding remakes of "Needles and Pins" and "Sweets For My Sweets". While the album was not a major hit, it did keep the group in the public eye.
The band continues to tour with Eddie Rothe replacing Adamson on drums and is considered to be one of the most popular 1960s bands on the UK concert circuit.
for more info see
http://en.wikipedia.org/wiki/The_Searchers_%28band%29
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Needles and Pins
The Searchers Lyrics
I saw her today, I saw her face, it was a face I loved, and I knew
I had to run away, and get down on my knees and pray that they'd go away
But still they'd begin, needles and pins
Because of all my pride, the tears I gotta hide
Hey I thought I was smart, I'd won her heart
Didn't think I'd do, but now I see
She's worse to him than me, let her go ahead
Take his love instead, and one day she will see
Just how to say please, and get down on her knees
Hey that's how it begins, she'll feel those needles and pins
A-hurtin' her, a-hurtin' her
Why can't I stop and tell myself I'm wrong, I'm wrong, so wrong
Why can't I stand up and tell myself I'm strong
Because I saw her today, I saw her face, it was a face I loved, and I knew
I had to run away, and get down on my knees and pray that they'd go away
But still they'd begin needles and pins
Because of all my pride, the tears I gotta hide
Oh needles and pins, needles and pins, needles and pins
Lyrics © Sony/ATV Music Publishing LLC
Written by: Jack Nitzsche, Sonny Bono
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
nurit diker
I saw her today
I saw her face
It was a face I loved, and I knew
I had to run away
And get down on my knees and pray
That they'd go away
And still they begin
Needles and pins
Because of all my pride
The tears I gotta hide
Oh, thought I was smart
I'd won a heart
Didn't think I do
But now you see
She's worse to him and me
Let her go ahead
And take this love instead
And one day she will see
Just how to say "please"
Get down on her knees
That's how they begin
You'll feel those needles and pins
Hurtin' her, hurtin' her
What can't I stop and tell myself I'm wrong, I'm wrong, so wrong
What can't I stand up, and tell myself I'm strong
Because I saw her today...
I saw her face
It was a face I loved, and I knew
I had to run away
And get down on my knees and pray
That they'd go away
And still they begin
Needles and pins
Because of all my pride
The tears I gotta hide...
Needles and pins
Needles and pins
Needles and pins
Needles and pins
Needles and pins
Needles and pins
Needles and pins
Needles and pins
Margret Vomstern
I saw her today, I saw her face, it was a face I loved, and I knew
I had to run away, and get down on my knees and pray that they'd go away
But still they'd begin (uh), needles and pins (uh)
Because of all my pride, the tears I gotta hide
Hey I thought I was smart, I'd won her heart
Didn't think I'd do, but now I see
She's worse to him than me, let her go ahead
Take his love instead, and one day she will see
Just how to say please, and get down on her knees
Hey that's how it begins (uh), she'll feel those needles and pins
A-hurtin' her, a-hurtin' her
Why can't I stop and tell myself I'm wrong, I'm wrong, so wrong
Why can't I stand up and tell myself I'm strong
Because I saw her today, I saw her face, it was a face I loved, and I knew
I had to run away, and get down on my knees and pray that they'd go away
But still they'd begin (uh), needles and pins (uh)
Because of all my pride, the tears I gotta hide
Miu 22
I saw her today, I saw her face
It was the face I loved, and I knew
I had to run away
And get down on my knees and pray, that they go away
Still it begins
Needles and pins
Because of all my pride
The tears I gotta hide
Oh, I thought I was smart, I stole her heart
Didn't think I'd do, but now I see
She's worth to him than me, let her go ahead
Take his love instead, and one day she will see
Just how to say please
And get down on her knees
Oh that's how it begins, she'll feel those needle and pins
Hurtin' her, hurtin' her
Why can't stop, and tell myself I'm wrong, I'm wrong, so wrong?
Why can't I stand up, and tell myself I'm strong?
Because, saw her today, I saw her face
It was the face of love, and I knew
I had to run away, yeah
And get down on my knees and pray, that they go away
Still it begins
Needles and pins
Because of all my pride
The tears I gotta hide
Hey, needles and pins
Needles and pins
Needles and pins
Enrique Aldanondo
La vi hoy ... vi su cara
Era la cara que amaba ... y conocía
¡Tuve que huir ... y arrodillarme
Y rezar! para que se marchara.
Pero aun así comienzan ...
Agujas y alfileres .....
¡Por todo mi orgullo! .....
¡Las lágrimas que tengo que ocultar!.
Oye, pensé que era inteligente ... la quería
No pensé que lo haría, pero ahora lo veo
Ella es peor para él que yo ...
¡Déjala que vaya por delante!
toma su amor en su lugar
Y un día ella lo verá ...
¿Cómo decir por favor?
Y ponerme de rodillas ... !!
Sí, así es como comienza ...
Ella sentirá esas agujas y alfileres
¡¡ Lastimán-dola, Lastimán-dola !!.
¿Por qué no puedo parar y decirme a mí mismo
Que estoy equivocado ... estoy equivocado,
Tan, tan equivocado?
¿Por qué no me pongo de pie
Y me digo que soy fuerte.
Debido a que la vi hoy ... vi su caro
Era el rostro que amaba y sabía que ...
Tuve que escapar y ponerme de rodillas
Y rezar para que se marchara.
Porque la vi hoy ... vi su cara
Era la cara que amaba, y sabía que ...
Tenia que escapar y ponerme de rodillas
Y rezar! para que se marchara.
Pero aun así comienzan Ah ....
Agujas y alfileres ...
¡Por todo mi orgullo!
¡Las lágrimas las tengo que ocultar!.
Ah ... agujas y alfileres
Agujas y alfileres
Agujas y alfileres.
Peter Black
One of the greatest Pop songs of all time. Catchy, simple and danceable .
Willie BOWEN
@Leigh Wakeham awesome.
Willie BOWEN
My favorite song from the Searchers.
Cameron Duff
I chanced apon a song with a similar twangy guitar...The Fringe "Executive Dream ".
lawrence smith
Check out Ramones cover
BrianRocks
That influenced the structure of many rock songs
amylondongirl
I'm a child of the 80s, this song totally rocks. What a classic.
Cameron Duff
Just stumbled upon a nice song with similar Twang, "Executive Dream "by the Fringe. (Canadian band that was on the LET'S GO show with the Geuss Who.
Leigh Wakeham
@A Mcmenemy I like both of them and are both on my liked songs list.
A Mcmenemy
Try "When You Walk In The Room" by them. It's even better.