The Searchers ‎– Meet The Searchers (1963)

A1 	Needles & Pins 	
A2 	Sweets For My Sweet 	
A3 	Saints And Searchers 	
A4 	Tricky Dicky 	
A5 	Where Have All The Flowers Gone 	
A6 	Twist And Shout 	
B1 	Love Potion Number Nine 	
B2 	Farmer John 	
B3 	Saturday Night Out 	
B4 	Stand By Me 	
B5 	Money 	
B6 	Since You Broke My Heart

Drums, Vocals – Chris Curtis
Lead Guitar, Vocals – Michael Pender
Lead Vocals, Bass Guitar – Tony Jackson
Rhythm Guitar, Vocals – John McNally

The Searchers' debut LP doesn't sound quite like any other album they ever issued. All of their Pye Records albums were rushed, but not like this -- faced with an extraordinarily popular hit right out of the box in the guise of "Sweets for My Sweet" (which rose to Number One on the U.K. charts), the group cut 11 more finished tracks in one day, drawn from the best part of their stage act. The music was as raw and basic a Liverpool sound as anything heard this side of the Beatles' debut album, Please Please Me (also recorded in one day), which this record paralleled, not only in sound but one key song selection, closing with "Twist and Shout" (albeit not in as striking fashion as John Lennon's raw performance). The attributes that the Searchers would build on, spirited playing, good harmony singing behind smooth lead vocals, and crisply defined lead and rhythm guitars, are all present in as stripped-down a form as they would ever be heard. The range of material reflects the personal tastes of the members, mostly early Motown ("Money (That's What I Want)" and other American R&B ("Farmer John," "Stand By Me"), and even one recent American folk hit, "Where Have All the Flowers Gone," which may well have marked the first time a band with electric guitars, bass, and drums had applied those instruments to a folk song, thus anticipating folk-rock by some two years. The tendency is to dismiss this record as an early effort by a group that quickly went on to do much more interesting work; in point of fact, along with the Beatles' debut album, Meet the Searchers is just about the best single document that one can find of what rock & roll in Liverpool was about, and it's played with so much spirit that one suspects it might've done well as a reissue during the late-'70s "power pop" boom. ---Bruce Eder, AllMusic Review

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