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The Foundations were a surprisingly obscure late-'60s outfit, considering that they managed to reach the tops of the both the British and American charts more than once in the space of a year and had a solid three years of recordings. At the time of their debut in mid-1967, they were hailed as being among the most authentic makers of soul music ever to emerge from England -- the best practitioners of the Motown sound to be found on the far side of the Atlantic -- and were also accepted in jazz circles as well. 'Baby Now That I've Found You,' 'Build Me Up Buttercup,' and 'In the Bad, Bad Old Days' were the biggest hits for this multi-racial octet, made up of Londoners and West Indians. The Foundations were formed in January 1967 in the basement of a local coffee bar in Bayswater, gathered together through advertisements in Melody Maker.
Good Vibrations. The Beach Boys. The Supremes. Build Me Up Buttercup. The Foundations. This Old Heart Of Mine (Is Weak For You).
Lead singer Clem Curtis was a former boxer from Trinidad, while lead guitarist Alan Warner had been making his living in the printing trade in London while waiting for music to pay off. Flautist/saxman Pat Burke hailed from Jamaica, tenor saxman Mike Elliott had played with Colin Hicks (brother of Tommy Steele) in his band the Cabin Boys, as well as in several jazz bands, and trombonist Eric Allan Dale was another jazz veteran.
Tony Gomez (keyboards), Peter Macbeth (bass), and Tim Harris (drums) rounded out the lineup. They selected the name Foundations based on their surroundings, a rehearsal space in the basement of a building. The group made very little headway during their first few months together, although they did manage to get an audition at the Marquee Club. It was at their regular spot at a much smaller club called the Butterfly -- where they played one legendary gig on the last night of the Stax/Volt European tour -- that led to their breakthrough. They were spotted by record dealer Barry Class, who was impressed enough with what he heard to become their manager. He arranged a meeting with Pye Records producer/songwriter Tony Macaulay, who was working with Long John Baldry with some success, but also was desperately looking for a new act to break for the label.
He'd written a song with his partner John Macleod called 'Baby Now That I've Found You,' which seemed to suit the Foundations. The resulting single, issued in the summer of 1967, got no reaction from the public or on the airwaves until it got picked up by the BBC's newly founded Radio 1, by a stroke of pure luck. The station wanted to avoid any records being played by the pirate radio broadcasters, and looked back at recent releases that the pirates had missed. 'Baby Now That I've Found You' was the immediate beneficiary, along with the group -- by November, the single held the number one spot on the British charts. The group's timing was as perfect as the song -- there had been a soul boom in England since late 1965, and the subsequent Motown and Stax/Volt tours by American R&B stars only heightened the public's interest. The Foundations were hailed for being the first British band to come up with an authentic soul sound, and the fact that they were first multiracial band to top the British charts only made their success that much more impressive (at a time when England was beginning to come to grips with its own racial attitudes).
What's more, the group had the goods to back up the press' accolades. Their performances revealed a seasoned, well-rehearsed, exciting stage presence and a bold, hard soul sound that most British bands managed to imitate only in the palest manner, if at all. Unfortunately, a follow-up single, 'Back on My Feet Again,' didn't crack the British Top Ten, despite very heavy airplay and promotion, and barely made the U.S. In retrospect, it may have been too similar to 'Baby Now That I've Found You,' which had sold in enormous numbers. Its relative failure led to the beginnings of a split between the group and Macaulay, as both songwriter and producer, exacerbated by the latter's decision -- as their producer -- not to permit the group to record any of their own songs, even as B-sides. Additionally, they felt that Macaulay reined in their 'real' sound, making them seem more pop-oriented than they were. Curtis was persuaded to pursue a solo career, ironically right after he'd recorded perhaps the best track he ever cut with the group, a killer rendition of 'It's All Right,' a number they'd been knocking crowds dead with on stage all along.
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