Though he’s virtually unknown in america, Chris Andrews had a good amount of success in the U.K. in the mid-’60s as both a performer and a songwriter for additional acts. He could become best-known as the writer of three English Top Ten strikes for Sandie Shaw in 1965, “Young lady Don’t Arrive,” “Long Live Like,” and “Message Understood”; he had written a substantial amount of Shaw’s additional middle-’60s recordings aswell. He also had written Adam Faith’s 1963 TOP strike “THE VERY FIRST TIME,” and penned some very good Merseybeat-ish singles for Faith’s back-up group, the Roulettes, in 1963 and 1964. Though he’d primarily arrive to prominence on the market like a songwriter, Andrews became popular vocalist under his personal name in past due 1965 with “Last night Guy,” which produced number 3 in Britain. That was adopted by the end from the same yr with the very best 20 solitary “To Whom It Worries,” and 1966 noticed him rating three additional, smaller sized Best 50 entries with “Something on My Brain,” “What’cha Gonna Perform Right now,” and “Prevent That Young lady.” As may be the case with several additional British middle-’60s pop works that got significant overseas achievement without producing a dent in the us — like Chris Farlowe, Very long John Baldry, Marmalade, and Dave Dee, Dozy, Beaky, Mick and Tich — American English Invasion fans wanting to hear strike material that by no means got publicity in the U.S. may be disappointed from the music. His big strikes, and a number of of his non-hit songs, had been relentlessly happy-go-lucky, light-weight pop music with suggestions of spirit and bubblegum, aswell as plans that dropped, as ludicrous as it can appear, between ska and oom-pah marching music. Like Sandie Shaw, he used Ken Woodman as musical arranger, however a lot of his singles had been similar-sounding to the idea of monotony, a lot more so compared to the tunes he published for others. His high tone of voice was enjoyable and shaded having a little bit of blue-eyed spirit, yet had small possibility to explore very much expressive range provided the limited range of his materials. Which material couldn’t end up being blamed on another person, since it was compiled by Andrews himself. Although Andrews didn’t possess a British strike after 1966, he was popular in Continental European countries in the ’60s, especially in Germany, and documented often in international languages. The very best representation of his ’60s English-language recordings can be on Repertoire’s 20 Biggest Hits CD.