Glenda Collins was perhaps one of the unluckiest singers in In the early 60's she was signed to Decca records and although a talented singer with a distinctive voice Decca released a 3 resonable singles Take a Chance, Oh How I Miss You Tonight, Head Over Heels In Love and Find Another Fool but these made little impact on the charts. We have aquired them and put them on one EP (see bottom page)
Apparently a few people had tried to tempt Glenda out of retirement before and failed. Russell succeeded because Glenda had heard one of his previous cult themes albums and had been impressed. She also felt that Russell had the same artistic vibe as Joe when they met up. She recorded the theme tune for The Protectors (Avenues and Alleyways) for Cult Themes From The 70's Vol. 2 . After this she became ill and has since become a bit of a recluse, so we thought the track would be her last legacy to the world of pop, but we were wrong.
In 2019 Glenda agreed to record a track for Cult Themes Forever, an album produced by Russell containing a collection of cult themes spanning the '60s-'90s eras. She covered the Ray Davies Theme from Budgie (Nobody's Fool) and was in fine form. It wil be much in demand.
The Cult Themes Forever album limited edition release came out in late November 2019. Only 500 CD copies. Paypal button lower down page has option to get it
Please go to the Cult Themes Forever release page for the track listing and details of how to pre-order.
Inspired by her new recording she teamed up with Russell again to do an extra special release 'The Long Drop' . The backing track was produced by her original record producer the legenray Joe Meek back in the sixties but a vocal was never done on it because of Joe comitting suicide.The songwriter Tony Kaye had sat on thiis rare Joe Meek artefact for decades. But along with a new lyrics by Russell this rare backing track was sung onto by Glenda and produced by Russell. So he to is happy as Joe was his number one influence as a record producer and to co produce with Joe from beyond the grave is something a bit special.
The track is released as a single on Itunes and all good download sites.with Glenda single one of her favourite songs of Russell's as the B-side.
For Meek fans & FLR fans a Limited edition CD-EP featuring different incarnations mixes and versions of the track + a new song Numbers is released. It a lockdown special but will be deleted end of summer. Paypal button Below.
When Russell was choosing artists to perform on his next compilation album Cult Themes From The 70's Vol. 2 he had the idea of tempting some of Joe Meek's former artists out of retirement. He chose The Honeycombs and Glenda, whom many fans considered was Joe's best artist. Although it was unlikely there would be a hit single from this it would at least give her one last bit of exposure and recognition.
Glenda recorded some excellent tracks in 1966 at Joe's recording studio in London's Holloway Road. For Glenda’s first release on the new label, Meek re-recorded the highly commercial Something I’ve Got To Tell You, which had been a track on the The Honeycombs’s album. This should have seen the singer score a huge hit as it was definately chart material.
Next up was the single It's Hard To Believe It which was one of the earliest anti-bomb protest songs and was written by Meek. Complete with appropriate sound effects of bombs and rockets the single was issued in the summer of 1966.
Meek also teamed her with Mod favourites the Riot Squad, recording vocals on the songs You’re Gonna Get Your Way and Yeah, Yeah, Yeah.
Anyone hearing any of these tracks today wouldn't understand why they didn't get to number one on pure merit.
But back in those days payola (pay per play) decided a lot of the airplay on radio. Joe Meek had had his biggest successes with Telstar, Johnny Remember Me and Have I The Right, which took up a lot of his funds on payola. It was claimed that he was madly in love with Heinz and spent what promotional budget he had on him to get a hit with Just Like Eddie.
Meek had spiralling debts, lawsuits and personal issues over his homosexuality (which was still illegal in Britain at the time). Eventually Meek was so out of favour with radio stations that they weren’t interested in his records, no matter how good.
When he shot himself – and his landlady – in February 1967, Glenda’s career effectively died too. Meek's financial and personal affairs were left in a mess (in fact it took nearly 20 years to sort them out).
Glenda's father tried to get a new deal with two new recordings produced by him but with the psychedelic period rolling in he stood very little chance. Glenda eventually called it a day and retired from the pop business, getting a job in an office.
However it's mainly Joe Meek fans who remember her. Although the gay Joe Meek was notorious for concentrating on male acts he recognised her talent and took Glenda under his wing after her Decca contract expired. Quite a few recordings were made with Joe producing. She toured and was presented on top TV shows of the time and things looked promising. She scraped into the lower regions of the top 40 with I Lost My Heart at the Fairground which was backed by the Tornadoes.
Meek teamed Glenda with the Outlaws for the beatier If You Gotta Pick a Baby, released in November 1963. She was all set to storm up the charts following an appearance on Ready Steady Go and having been voted a hit on Juke Box Jury, when a lack of available copies – thanks to the Christmas shutdown – put paid to her hopes.
She issued Baby It Hurts and Lollipop in 1964 and in 1965 Johnny Loves Me. When her subsequent release, Thou shalt not steal, also failed to chart and she was dropped by HMV Pop. But she stuck with Meek and he secured her a contract with Pye in early 1966.
To buy Cult Themes Forever or Cult Themes from the 70's Vol 2 album, please select your choice from drop down menu below.