The Foundations signed to Pye, at the time one of only four big UK record companies (the others being EMI, which included the HMV, Columbia and Parlophone labels, Decca, and Philips, which also owned Fontana).
The West Indian horn section consisted of Jamaican-born Mike Elliott and Pat Burke, both saxophonists and Dominican-born Eric Allandale on trombone.
[31] Curtis had come to the group by way of his guitar-playing uncle, who was impressed by his nephew's voice and told him that there was a band called the Ramongs looking for singers.
In his absence, a friend of the band called Joan who ran a record store, suggested future psychedelic shock rocker Arthur Brown as a replacement.
[47] Following the band being forced out of their club by a protection racket gang who tied up Clem Curtis and held a knife to his throat,[31] they moved next door to the new premises, a run-down place that was once a mini-cab office.
1 Hits by Jon Kutner and Spencer Leigh, that he woke up that morning with a stinking headache, and when he got to the studio and heard the Foundations, he thought they were terrible.
[68][69] This period was the ideal time for the group because of the soul boom that was happening in the UK since 1965 and, with American R&B stars visiting the country, interest and intrigue in the Foundations was generated.
[citation needed] With the Foundations in the top spot with "Baby, Now That I've Found You", Ron Fairway commented to Melody Maker that most managements would have pulled them out of the "bargain priced dates" that had been booked for some time.
Rock historian Roger Dopson describes what followed as a "behind the scenes struggle",[3] where Fairway was "pushed out" and his partner, Barry Class, remained as sole manager of the group.
[1] In an interview, the band's organ player, Tony Gomez, told the New Musical Express (NME) that he, Peter MacBeth, and Eric Allandale had some ideas that they wanted to put together.
The case was heard by Judge Stamp who said in reference to "Baby, Now That I've Found You", "I cannot understand how it can be suggested that a song which came into existence after Mr. Morrison had severed his connection with the group can he one in which he can have any share or interest".
[104] It was also suggested that Curtis left in 1968, because he felt that a couple of the band's members were taking it a bit too easy, thinking that because they had now had a hit, they did not have to put in as much effort as they had previously.
Class Management on behalf of the Foundations were inviting enquiries from soul, r&b and progressive singers who considered themselves suitable to join the above-named group.
[109] Curtis would move to the United States for a solo career on the club circuit, encouraged by the likes of Wilson Pickett and Sam & Dave, playing Las Vegas with the Righteous Brothers.
At the time the group was halfway through their tour, and the lineup was Peter Macbeth, Eric Allandale, Tony Gomez, Tim Harris, Alan Warner, Pat Burke and Colin Young.
[141] It was reported in the 26 April issue of New Musical Express that the group had earlier considered calling off their United States tour due to a union ban preventing them from being televised there.
[143] According to Cash Box in the May 3, 1969, issue, things had seemingly gone well for the group with their playing the Copa club and the magazine wrote that Kip Cohen the Filmore manager had given them a release to do the show there.
[182][183] The songs "Any Old Time (Your'e Lonely And Sad)", "Back on My Feet Again", "Harlem Shuffle", "Tomorrow" and "We Are Happy People" appeared on the Rocking the Foundations album released the previous year.
[191][192] Over time, other members included Geoff Nicholson and Brian Appleyard from East of Eden, Simon Lee from Alexis Korner, and soul sax player Mike Freeman.
The group cut short their Dutch tour so they could go back to London to record that song plus the Bill Martin and Phil Coulter composition "Take a Girl Like You" on October 8.
[195] According to the Seventies Sevens website, the November 5, 1969 issue of Record Retailer reported that David Myers and John Worsley who were songwriters with Southern Music left to Join Barry Class' Trend label that year.
At the time of the article, the line-up was given as Eric Allandale, Steve Bingham, Pat Burke, Tony Gomez, Tim Harris, Alan Warner and Colin Young.
[207] According to Disc and Music Echo in the magazine's September 5 issue, The Foundations were appearing with Miki Antony on Ed Stewart's Stewpot show on Saturday at 5:15 pm.
[208] It was reported by New Musical Express in the week ending 10 October 1970 issue that lead singer Colin Young had left the group to pursue a solo career.
[222][223][224] As reported in the 4 March 1972 issue of Disc and Music Echo, Development, Colin Young's group was alternating between that name and The Foundations when gigging around the UK.
[227][228] When Curtis returned to the UK, he formed a new version of the group with little success in spite of releasing several singles, but later had a lucrative spell on the 1960s nostalgia circuit.
It featured Clem Curtis on lead vocals, Alan Warner on guitar, Vince Cross on keyboards and Andy Bennett on drums.
[253] Following the touring with the Foundations and the fatigue that went with it, Alan Warner was happy to settle down and spend time with his wife and daughter and had moved into their home in Edgeware, NW London.
"[266][267] In September 2023, music label London Calling released the Live on Air CD which brought together the tracks the band recorded for the Top of the Pops radio show.
It was a live LP called Rocking the Foundations, and also featured Curtis on lead vocals, plus two instrumentals – "The Look of Love" and "Coming Home Baby".