The Foundations
| Company type | Band |
|---|---|
| Industry | Music |
| Founded | 1967 in Bayswater, London, England |
| Headquarters | London , England |
Area served | United Kingdom, United States, Canada, France |
| Products | Soul music recordings and performances |
The Foundations were a British soul ensemble predominantly active between 1967 and 1970, distinguished by their ethnically mixed composition including West Indian, White British, and Sri Lankan musicians. Their debut single in 1967, "Baby Now That I've Found You", achieved number one positions in both the UK and Canada, while reaching number eleven on the US charts. The following year, their track "Build Me Up Buttercup" climbed to number two in the UK and secured the third spot on the US Billboard Hot 100. Notably, they were the first multi-ethnic group to attain a UK number one hit during the 1960s.
Embracing the style of the Motown Sound, The Foundations signed with Pye Records, which was among Britain's four leading record labels at that time, alongside EMI, Decca, and Philips.
Background
The band was remarkable for its blend of cultural backgrounds, ages, and musical influences. Saxophonist Mike Elliott, the eldest member at 38 years old, contrasted with drummer Tim Harris, who was only 18. The horn section consisted of West Indian musicians: Jamaican-born saxophonists Mike Elliott and Pat Burke, as well as trombonist Eric Allandale from Dominica. Each brought extensive experience in jazz and rock genres.
- Eric Allandale had previously led the New Orleans Knights during the early 1960s, recorded singles such as "Enjoy Yourself (It's Later than You Think)", and performed with notable bands including those of Edmundo Ros, Terry Lightfoot, and Alex Welsh. Additionally, he contributed to Romeo Z’s sessions for the 1966 film Kaleidoscope as well as a 1967 CBS single produced by Irving Martin.
- Pat Burke emigrated to the UK at age 15, studied at the London Music Conservatorium, and transitioned from jazz into his role with The Foundations.
- Lead vocalist Clem Curtis, originally from Trinidad, had diverse prior occupations encompassing interior decorating, professional boxing, wrestling, and weightlifting.
- Mike Elliott joined after responding to an advertisement seeking a tenor saxophonist; his background included collaborations with jazz icons like Tubby Hayes and Ronnie Scott, performances with Colin Hicks & The Cabin Boys, recordings on Sonny Roberts' Planetone label specializing in early ska and reggae styles, and membership in Rico's Combo.
- Keyboard player Tony Gomez formerly worked as a clerk within County Hall’s architectural department.
- Drummer Tim Harris brought experience from his time in the merchant navy traveling internationally before entering the music scene.
- Bassist Peter Macbeth had a previous career teaching English and draughtsmanship in Singapore before moving into publishing.
- Guitarist Alan Warner had played with Dublin groups such as the Skeletones and the Line-up; he declined an invitation to join the Black Eagles alongside Phil Lynott and Brian Downey.
Origin
The Foundations evolved from an R&B and ska outfit named the Ramong Sound (Ramongs), which featured lead vocalists Raymond Morrison (Ramong Morrison) and Clem Curtis. Curtis joined following an audition process and advanced from backing singer to co-lead vocalist.
During Morrison’s six-month incarceration, the band briefly considered Arthur Brown as a substitute. Brown—who later gained fame for psychedelic rock—auditioned and performed both solo numbers and duets with Curtis while experimenting with more avant-garde styles during his brief tenure. The group also approached Rod Stewart for membership; however, he declined due to differing musical directions. Guitarist Alan Warner later remarked that Stewart’s then-partner became secretary for the band’s management.
The official formation of The Foundations took place in January 1967 in Bayswater, London. They rehearsed and performed nightly at their self-managed venue, the Butterfly Club—a basement coffee bar. Operating under severe financial limitations, they frequently struggled to meet rent obligations and basic living costs. Members lived modestly; for example, saxophonist Mike Elliott rented a dilapidated flat lacking a roof, underscoring their early economic challenges.
1967
The 4 February 1967 edition of Melody Maker mentions the Ramong Sound (incorrectly listed as Ramog Sound) performing at the All-Star Club on 5 February.
After being expelled from their original venue due to threats from a protection racket targeting Clem Curtis, the band relocated to an adjacent former mini-cab office, where they were subsequently discovered. Accounts differ on who found them: Alan Warner attributes it to this location, AllMusic credits Barry Class, while others point to Ron Fairway, manager of the Ways and Means. Fairway operated Ron Fairway Enterprises in London and had previously achieved success with the Ways and Means, whose track "Sea of Faces" gained traction on pirate radio in early 1967. The Ways and Means later collaborated with Barry Class’s Trend Records.
In August 2023, Alan Warner confirmed that Raymond Morrison was still part of the group when Ron Fairway approached them. Although Fairway promised a performance opportunity at Herne Bay, it never came to fruition; instead, the band arranged their own gigs at Caribbean clubs along Edgware Road and other locations.
On 14 May 1967, the Foundations earned £10 supporting acts at Eel Pie Island. Arthur Brown departed during early 1967; he reportedly declined long-term involvement despite chances to perform songs such as "Baby, Now That I've Found You."
Tony Macaulay first encountered the Foundations while enduring a severe hangover but decided to give them an opportunity. Initial progress was slow; saxophonist Pat Burke briefly left for other employment before rejoining later that year.
Brian Epstein added the Foundations to his NEMS Agency roster; however, this association ended following his death in August 1967.
- "Baby, Now that I've Found You"
Roy Delo of the Ways and Means claimed they were offered "Baby, Now That I've Found You" but turned it down; the Foundations recorded the song featuring Clem Curtis on lead vocals. Released on 25 August 1967, early reviews suggested it lacked energy and it remained off the charts for ten weeks. Unlike the Ways and Means’ single, it did not receive pirate radio airplay initially. However, BBC Radio 1 later included it as part of an effort to avoid playing pirate station hits, which led to a swift rise in chart position.
By 7 October 1967, the single debuted at number 25 on the New Musical Express charts and climbed to number one in November, overtaking The Bee Gees' "Massachusetts." This achievement coincided with a surge in UK soul music popularity driven by visits from American R&B artists.
Ron Fairway acknowledged that despite growing fame, the band honored all previously arranged low-paying bookings.
"Baby, Now That I've Found You" also marked the beginning of songwriter Tony Macaulay’s successful career.
- Further activities
By late October 1967, with their single holding at number 11, the Foundations secured bookings for prestigious events including a royal-attended concert and a banquet for civic officials.
Following their hit success, internal disputes over management emerged. Rock historian Roger Dopson describes a "behind-the-scenes conflict" where Fairway was removed as co-manager, leaving Barry Class as sole manager. Fairway pursued legal action for wrongful dismissal and circulated breakup rumors that kept media attention on the band. Barry Class attributed these difficulties to personality conflicts lasting several months. By mid-November 1967, Fairway was no longer involved; Class assumed full agency representation.
New Musical Express announced their next single "Back on My Feet Again," accompanied by planned radio and television promotion as well as US marketing efforts after its release on Uni Records.
Post-success discussions included adding a dedicated trumpet player to enrich their sound; members Allandale and Burke could play trumpet but desired an additional specialist.
- Debut album
The Foundations’ first album From the Foundations was issued by Pye Records (NPL 18206) in November 1967. New Musical Express featured it alongside releases by Jimi Hendrix. Reviewer Nick Logan praised tracks such as "The Writings on the Wall," noting its Four Tops influence, and "Mr. Personality Man," though he was less enthusiastic about "Call Me." The album also contained covers including Joe Tex's "Show Me" and "Jerking the Dog" by Mighty Hannibal (often mistakenly attributed to Rufus Thomas).
1968
After scoring their first hit, The Foundations embarked on a tour across the United States, performing in 32 states alongside notable acts such as Big Brother and the Holding Company, Maxine Brown, Tim Buckley, Solomon Burke, the Byrds, the Crazy World of Arthur Brown, and the Fifth Dimension.
In January 1968, Barry Class established Trend Records and brought on Eric Allandale to produce for the label. That same month, the band appeared on the French TV program Bouton Rouge on January 30.
- "Back on My Feet Again"
The Foundations released "Back on My Feet Again" as their follow-up single in January 1968. The track garnered favorable reviews from New Musical Express, which highlighted its vocal performance, organ, brass section, and rhythm, although it was considered less immediately memorable than its B-side. In February, the single entered both the Melody Maker Pop 30 and Disc and Music Echo Top 30 charts at number 24. It remained on the UK charts for ten weeks, reaching a peak position of No. 18, and also climbed to No. 29 in Canada.
- Additional endeavors
During January 1968, The Foundations recorded several songs for John Peel’s radio show including "A Whole New Thing," "Back on My Feet Again," "Help Me," and a rendition of "96 Tears," which was later featured on the EP Baby, Now That I've Found You.
By February, Louis Benjamin of Pye Records presented The Foundations with a gold record commemorating over one million sales of their debut single. Bassist Peter MacBeth mentioned upcoming U.S. tours and discussed plans to add a trumpet player to the lineup.
Creative tensions surfaced between the band and songwriter/producer Tony Macaulay, who limited their ability to record original compositions. Organist Tony Gomez acknowledged internal dissatisfaction regarding artistic control. Macaulay later admitted mutual animosity but recognized the quality of their collaborative output.
In March 1968, Macaulay intended to supervise recording sessions in Detroit aimed at producing an album and a new single.
Their third single, "Any Old Time (You're Lonely and Sad)," released in April with Eric Allandale’s "We Are Happy People" as its B-side, entered the UK charts at No. 48 for two consecutive weeks. Meanwhile, work continued on their forthcoming album with plans for an expedited U.S. release.
In April 1968, lead vocalist Clem Curtis was involved in an incident in Ireland where he was stabbed but successfully deescalated the situation.
July saw Raymond Morrison unsuccessfully attempt legal action against the band concerning royalties from "Baby, Now That I've Found You."
By August, preparations were underway for a live album titled Rocking the Foundations, recorded both in the UK and U.S., with a planned release set for mid-September.
- Curtis and Elliott depart
In August, reports emerged that Clem Curtis planned to launch a solo career with backing from Tony Macaulay; Paul McCartney also reportedly offered songwriting support. Conflicting narratives suggest Curtis left due to disagreements over musical direction or band identity.
An advertisement placed in September sought new vocalists specializing in soul, R&B, and progressive styles. Saxophonist Mike Elliott exited without replacement. Curtis assisted in auditioning over 200 candidates to find his successor and stayed with the group until a new lead singer was secured.
Curtis moved onto performing in U.S. nightclubs encouraged by artists such as Wilson Pickett and Sam & Dave.
- Introduction of new frontman
Colin Young from Barbados joined as lead vocalist toward late September or early October after a week of rehearsals. His first live performance was at Aberdeen University on October 4.
Legal complications delayed releasing Young’s debut single "Build Me Up Buttercup," but by October The Foundations expressed confidence about progressing their sound after Curtis’s departure.
On November 30, 1968, with Young as frontman, The Foundations played two shows in one evening at Old Hill Plaza and Handsworth Plaza.
Initially somewhat sidelined within the group dynamic, Young adapted quickly and earned acceptance among band members.
With Young leading vocals, The Foundations scored major hits including "Build Me Up Buttercup" (January 1969), which reached No. 2 in the UK and No. 3 on the US Billboard Hot 100 after entering UK charts at No. 25 in November 1968; followed by "In the Bad Bad Old Days (Before You Loved Me)" (April 1969).
In March 1969, Tom Jones presented gold discs to McBeth and Gomez at Elstree Studios during their appearance on his television show.
1969
- "In the Bad Bad Old Days"
Issued on 28 February, the track garnered favorable feedback from Chris Welch. It entered the Billboard Hot 100 at position 77 for the week ending 5 April 1969, eventually climbing to number 8 in the UK, number 51 in the US, and number 23 in Canada by May.
- Additional endeavors in 1969
In March, The Foundations made an appearance on the Tom Jones Show and had plans for two album releases during the year, interspersed with a tour across the United States. They ventured into more experimental sounds and received invitations to exclusive gatherings, such as a celebration hosted by a Texas oil tycoon’s son.
Touring alongside Stevie Wonder inspired consideration of releasing a ballad by Macaulay and Macleod, provisionally titled "No Place on Earth Could Find Him." At the height of their fame, management negotiated a UK television series featuring band members but declined film opportunities due to inadequate scripts.
By April, their third album was completed, and preparations were underway for a second major US tour coupled with recording sessions planned in Detroit. Publicist Rod Harrod highlighted their strong reception in America, including performances at prestigious venues like the Fillmore and Copa nightclub—where they became the first self-contained rock band to perform. They commanded substantial fees, such as $14,000 for a single night at the Cheetah club.
Although union restrictions prevented televised appearances in the US, touring continued despite some booking difficulties linked to their multi-ethnic lineup. Plans to record at Motown studios were abandoned due to permit complications but replaced by cabaret engagements in Detroit and Toronto. Management noted confusion in Canada caused by another group operating under the same name.
Following their return from America, The Foundations participated in the Bratislava Song Festival. In June, disputes with Pye Records arose over leaked tracks from their forthcoming album From the Foundations, resulting in a delayed release until September. The band obtained an injunction against Clem Curtis's rival ensemble using a similar name.
They intended to produce a live gospel album inspired by the Edwin Hawkins Singers’ success, enabled by greater artistic freedom granted through a revamped Pye contract negotiated by Louis Benjamin.
By July, Class International oversaw multiple facets of The Foundations’ career: Barry Class handled management; Jim Dawson managed agency affairs; Sleeping Bunny took care of publishing; Sylvia Class produced promotional films; and Rod Harrod managed press relations. Under this new agreement, the band assumed responsibility for producing their own recordings.
Tony Gomez confirmed a change in musical direction and parted ways creatively with Tony Macaulay due to stagnation.
- Digging the Foundations
Released later that year, Digging the Foundations comprised twelve tracks—half penned by band members—with cover art portraying them dressed in prison uniforms holding shovels. Five compositions were credited to Tony Macaulay and John Macleod; additional contributions came from Robert Saker/Jack Winsley and Eric Allandale.
Songs such as "I Can Feel It" achieved international covers and success, particularly in Germany and on albums by artists like Mac Kissoon. Due to apartheid-era restrictions, South African editions featured plain covers to circumvent issues related to the group’s mixed-race membership.
- Additional developments in 1969
The group was invited to record music for films Take a Girl Like You and The Games. A theft of Alan Warner’s guitar delayed recording of the B-side "Born to Live, Born to Die," postponing its release until 8 August.
Plans for a rock-musical pantomime based on Snow White were announced but ultimately abandoned. The band aimed to contribute music for Take a Girl Like You starting in October.
A UK tour scheduled with Chuck Berry was canceled after promoters withdrew Berry; Creedence Clearwater Revival’s unavailability led to cancellation of the entire tour. The Foundations planned a UK tour for early 1970 and had tentative bookings for an Australian tour during Christmas.
By August, The Foundations topped Record World's Top Male Vocal Group category, with "Build Me Up Buttercup" ranking tenth among Top Records.
- "Born to Live, Born to Die"
Issued in September, "Born to Live, Born to Die" received mixed critiques but was recognized as a strong single with potential for significant sales if supported by FM radio. It entered the UK National Top 50 at number 46 and was heavily promoted in Canada ahead of a university tour commencing mid-October.
Internationally, it reached number four on Malaysia’s charts and showed promising sales momentum in Canada. By July 1970 it ranked among Pye Records’ best-selling singles.
- Later activities in 1969
Lower-priced reissues included the self-titled Foundations album on Marble Arch Records featuring stereo re-recordings of earlier tracks with Colin Young replacing Clem Curtis on vocals for some songs.
Bassist Peter Macbeth departed in 1969 to join Bubastis alongside Bernie Living. Subsequent members included Geoff Nicholson, Brian Appleyard, Simon Lee, and Mike Freeman.
Donovan composed "Love Song" specifically for The Foundations; sessions also included Bill Martin and Phil Coulter’s "Take a Girl Like You." Their planned rock opera was shelved.
Concerns arose regarding their safety during severe storms in Sweden; management initiated investigations into their wellbeing.
David Myers and John Worsley signed with Barry Class’ Trend label as songwriters; The Foundations recorded "Baby, I Couldn't See," co-produced by Eric Allandale and Worsley. Released on Pye in 1969, it achieved modest success in Holland.
Steve Bingham took over bass responsibilities later that year.
1970
- Separation from management and legal disputes
At the beginning of December 1969, the band ended their association with manager Barry Class. Management responsibilities were assumed by former agent Jim Dawson alongside Mike Dolan. Following this change, Barry Class initiated legal proceedings, obtaining temporary court orders to prevent Dawson from disposing of the band's paperwork. Contracts inked before 28 November 1969 stipulated that a portion of earnings be paid to Class, resulting in the freezing of the group's royalty payments. Dawson was subsequently mandated to return all documents belonging to Class.
- Ongoing projects
In February 1970, the single "Take a Girl Like You" was released. By March, the band voiced dissatisfaction with their repetitive live set and the predominance of a teenage audience, expressing a desire to evolve towards a more progressive musical direction. The lineup at this time consisted of Eric Allandale, Steve Bingham, Pat Burke, Tony Gomez, Tim Harris, Alan Warner, and Colin Young.
Early in 1970, The Foundations recorded sessions at Pye Studios. Their final charting single was "My Little Chickadee," despite other releases such as "Take a Girl Like You," linked to the film starring Oliver Reed and Hayley Mills, and the blues rock number "I'm Gonna Be a Rich Man," which featured Steve Bingham on bass.
On 6 August, they performed "I'm Gonna Be a Rich Man" on Top of the Pops. By September, they appeared on Ed Stewart's Stewpot program alongside Miki Antony.
- Colin Young's exit and band's dissolution
In October 1970, lead vocalist Colin Young departed to pursue solo endeavors under Barry Class's management and formed a new group named Development. Young later criticized the band for its lack of discipline and professionalism during their tours in the United States.
The Foundations ultimately disbanded within that year.
During this timeframe, bassists Tony Collinge (possibly joining after Class's departure) and Paul Lockey (formerly associated with Robert Plant in Band of Joy) also contributed to the group.
Late 1970s through decade's end
- Colin Young's Development project
From late 1970 onward, Barry Class attempted to revive The Foundations brand with a new lineup featuring musical director Graham Preskett (electric violin, guitar), Jean Roussel (keyboards), Roger Cawkwell (saxophone, flute), and Colin Young (vocals). This ensemble performed under both The Foundations and Development names while touring Latin America and appearing at the Expo-Show in Buenos Aires until early 1971. Development found considerable success across Latin American markets.
In 1971, Colin Young released the single "Any Time at All" backed with "You're No Good" on Trend Records. Produced by Tony Rockliff and Barry Class, it was credited as Colin Young introducing Development and achieved placement within Billboard's Top 60 Pop Spotlight.
The final early-1970s single attributed to The Foundations was "Stoney Ground" backed with "I'll Give You Love," issued by MCA in 1971. Written by Conan Byrne and Warren Davis from the Warren Davis Monday Band, it briefly appeared on Billboard's Bubbling Under Hot 100 chart at position no. 113.
Development planned an album release in early 1972; Colin Young's album In the Beginning, credited to Colin Young's Development, featured contributions from Preskett, Bingham, Cawkwell, Roussel, and Eddie "Tan Tan" Thornton among others.
- Other iterations
Two additional singles credited to The Foundations emerged during the late 1970s. After returning to Britain, Clem Curtis formed a new lineup that produced several singles with limited commercial impact but later benefited from the resurgence of 1960s nostalgia tours. This lineup included John Springate, Derek Watson, Paul Wilmot (all formerly of Elegy), and Roy Carter (who later joined Heatwave).
A reported 1973 lineup consisted of Clem Curtis (vocals), Eric Allandale (trombone), Brian Johnston (keyboards), and Jim Payne (drums).
During the mid-1970s, rival Foundations groups led by Clem Curtis and Colin Young toured concurrently. Legal rulings permitted Curtis to use either "The Foundations" or "Clem Curtis & the Foundations," while Young performed under names such as "The New Foundations" or "Colin Young & the New Foundations." The New Foundations name had previously been utilized in Australia for the release of "Build Me Up Buttercup" in 1969.
In 1975, Young's New Foundations issued a single titled "Something for My Baby" / "I Need Your Love" on Pye Records. Separately in the United States, a different group named New Foundations released "Darling (You're All I Need)," produced by George Kerr.
Clem Curtis fronted The Foundations during the UK's Eurovision Song Contest selection in 1977 with the track "Where Were You When I Needed Your Love?" Although chosen as winners, their performance was not broadcast due to an industrial strike. The single was released on Summit SU 100 and received radio airplay.
In 1978, The Foundations released "Closer to Loving You" backed with "Change My Life" on Psycho P2603. The B-side gained traction among Northern soul enthusiasts and appeared on compilations such as Fab-U-Lus Northern Soul.
1980s to 1990s
In 1984, Clem Curtis & The Foundations released a rendition of "On Broadway" under the IDM label, which gained traction on UK airplay charts.
During the early 1990s, a new album was produced by Keith Bateman featuring re-recordings with Clem Curtis (vocals), Alan Warner (guitar), Vince Cross (keyboards), and Andy Bennett (drums). This release on Double Play GRF176 blended well-known hits alongside fresh material.
By 1999, the group consisted of Colin Young (vocals), Alan Warner (guitar), Steve Bingham (bass), Gary Moberly (keyboards), Tony Laidlaw (saxophone), and Sam Kelly or Steve Dixon (drums). This lineup resurgence was partly inspired by the renewed popularity following the movie There's Something About Mary. Subsequently, Hue Montgomery took over lead vocals from Young.
2000s
As of April 2024, The Foundations' members include Hubert Montgomery as lead vocalist, Alan Warner handling guitar and vocals, John Dee on bass, Dave Lennox playing keyboards, Pete Stroud on drums, and Nick Payn on saxophone.
- It is important to note that some references incorrectly mention an early 1970s English lineup unrelated to the original band; however, Clem Curtis consistently fronted a reformed version of The Foundations following his return to the UK in the early 1970s.
Outside the Foundations
After experiencing exhaustion from extensive touring with The Foundations, Alan Warner joined the rock ensemble Pluto alongside Paul Gardner, Derek Jarvis, and Michael Worth. Pluto produced an album released through Dawn Records (a subsidiary of Pye) and issued singles such as "Rag a Bone Joe" / "Stealing My Thunder" in 1971 and "I Really Want It" / "Something That You Loved" in 1972.
In the 1970s, former members Eric Allandale and Tim Harris briefly collaborated.
Clem Curtis recorded a disco-style version of "Unchained Melody" in 1975 that achieved moderate success on the UK Disco Chart. In 2005, he appeared on Lord Large's track "Stuck in a Wind Up," which reached number 54 on the iTunes charts in April 2022.
Later years
By April 1979, Flashback Records had reissued a double A-side single featuring "Baby Now That I've Found You" alongside "Build Me Up Buttercup."
Raymond Morrison achieved recognition as part of the duo Ram & Tam prior to his passing in February 2013.
Clem Curtis succumbed to lung cancer on 27 March 2017 at age 76.
In a 2022 interview with Strange Brew, guitarist Alan Warner reflected on the band's history and its members.
In September 2023, London Calling released Live on Air, a collection of The Foundations' performances recorded for the Top of the Pops radio program.
The Foundations
- Clem Curtis: lead vocals – born Trinidad, West Indies, 28 November 1940 – died 27 March 2017 – active (1966–1968)
- Colin Young: lead vocals – born Barbados, West Indies, 12 September 1944 – succeeded Curtis in 1968 – active (1968–1970)
- Arthur Brown: vocals – born Whitby, Yorkshire – brief involvement in 1967
- Alan Warner: lead guitar – born Paddington, west London, 21 April 1947 – active (1966–1970)
- Peter Macbeth: bass guitar – born Marylebone, North London, 2 February 1941 – active (1966–1969)
- Steve Bingham: bass guitar – born Solihull, Warwickshire, 4 April 1949 – active (1969–1970)
- Tim Harris: drums – born St John's Wood, North London,14 January 1948 – active (1966–1970)
- Tony Gomez: keyboards – born Colombo, Ceylon (now Sri Lanka),13 December 1948 – died19 December2015 – active (1966–1970)
- Pat Burke: tenor saxophone/flute – born Kingston,Jamaica – active (1966–1970)
- Mike Elliott: tenor saxophone – born Jamaica – active (1966–1968)
- Eric Allandale: trombone – born Dominica, West Indies,4 March1936–died23 August2001–active (1966–1970)
- Tony Collinge: bass guitar – born Selly Park,Birmingham–active (1969–1970)
- Paul Lockey: bass guitar – joined in1970 for nine months
Guests
- Mike D'Abo: piano; co-composed and performed piano on "Build Me Up Buttercup"
- John Mcleod: piano
Discography
- Overview of single releases
Between their formation and disbandment around late 1970, The Foundations issued ten singles in the UK, mainly penned by Tony Macaulay and John Macleod. Their catalog includes four significant chart-toppers such as “Baby Now That I've Found You” and “Build Me Up Buttercup,” alongside modest US hits like “My Little Chickadee.” Some planned tracks were never recorded or released. Releases attributed to The Foundations after 1971 probably involved Colin Young’s Development group or later lineups featuring Clem Curtis.
- Overview of album releases
In the late 1960s UK market, The Foundations launched four albums: their debut From the Foundations (initially titled Sound Basis), the live recording Rocking the Foundations, a self-titled collection featuring Colin Young’s vocals including “Build Me Up Buttercup,” and Digging The Foundations, which contained hits such as “In the Bad Bad Old Days.” US editions carried alternate titles like Baby Now That I've Found You and Build Me Up Buttercup. Since then, numerous compilations have been released by Golden Hour and PRT labels.
UK original albums
- From the Foundations (Pye NSPL18206, 1967)
- Rocking the Foundations (Pye NSPL18227, 1968) – live album
- Digging the Foundations (Pye NSPL18290, 1969)
UK compilation albums
- The Foundations (Marble Arch MALS1157, 1968)
- Golden Hour of the Foundations (GH574, 1973)
- Back to the Beat (PRT DOW7, 1983)
- Best Of (PRT PYL4003, 1987)
UK EPs
- "It's All Right" (Pye NEP24297, 1968)
- "Mini Monster" (Pye PMM103)
UK CDs
- Various compilations including Golden Hour of the Foundations, Strong Foundations, Build Me Up Buttercup, Baby Now That I've Found You, and more recently, Live on Air.
US albums
- Baby Now That I've Found You (Uni3016/73016 Mono/Stereo), 1967
- Build Me Up Buttercup (Uni73043), 1968 US No.92
- Digging the Foundations (Uni73058), 1969
- The Very Best Of (Varèse Sarabande74648), 2017
Singles
| Year | Title | UK | AUS | CAN | IRE | NLD | NZ | US Hot100 | US R&B | Certifications |
|---|---|---|---|---|---|---|---|---|---|---|
| 1967 | "Baby Now That I've Found You" | 1 | 21 | 1 | 3 | 13 | 16 | 11 | 33 | |
| 1968 | "Back on My Feet Again" | 18 | — | 29 | 18 | 32 | — | 59 | — | |
| "Any Old Time (You're Lonely and Sad)" | 48 | — | — | — | — | 20 | — | — | ||
| "Build Me Up Buttercup" | 2 | 1 | 1 | 3 | 12 | 4 | 3 | — | BPI:2× Platinum | |
| 1969 | "In the Bad Bad Old Days" | 8 | — | 23 | 7 | — | 20 | 51 | — | |
| "Born to Live, Born to Die" | 46 | |||||||||
| "My Little Chickadee" | 68 | 99 | — | |||||||
| "Baby,I Couldn't See" | ||||||||||
| 1970 | "Take a Girl Like You" | |||||||||
| "I'm Gonna Be a Rich Man" | ||||||||||
| 1971 | "Stoney Ground" | |||||||||
| 1977 | "Where Were You When I Needed Your Love?" | |||||||||
| 1978 | "Closer to Loving You" | |||||||||
| 1998 | "Build Me Up Buttercup"(UK re-release) | 71 |
The Foundations
- 1966–1968
- Eric Allandale
- Arthur Brown
- Pat Burke
- Clem Curtis
- Mike Elliott
- Tony Gomez
- Tim Harris
- Peter MacBeth
- Alan Warner
- 1968–1970
- Eric Allandale
- Steve Bingham
- Pat Burke
- Tony Collinge
- Tony Gomez
- Tim Harris
- Peter MacBeth
- Alan Warner
- Colin Young
- 1970–1970
- Eric Allandale
- Steve Bingham
- Pat Burke
- Tony Gomez
- Tim Harris
- Paul Lockey
- Alan Warner
- Colin Young
- 1993
- Clem Curtis
- Alan Warner
- Vince Cross
- Andy Bennett
External links
- Official website of Clem Curtis & The Foundations
- Clem Curtis interview
- Vinyl Vibes interviews featuring Alan Warner [1] and Steve Bingham [2]