The Numbers-Mad Day Out

When my friend first pulled Anthology '64-'67 out some 25 years ago from his record shelves, I thought it was a Swedish ‘60s band like the Tages. The trio actually conspired with Greg Shaw to throw many for a similar loop with their playful ploy. Co-conspirator Terry Tutor certainly did the leg work for Anthology '64-'67 and made sure influential college radio stations like Loyola Marymount’s KXLU had the 1983 release by patiently braving the 405 and taking it directly to the station himself. As Terry wisely stated, “You do the things you have to do, in order to do the things you want to do.” The record ended up spreading all over the world-mostly by word of mouth. The Numbers can now be added to acts like the Things and the Point who were on the periphery of the L.A.'s Paisley Underground scene, but are finally receiving belated reconsideration and recognition in the 21st century. In fact, Anthology '64-'67 is slated to be reissued by Bachelor Records in 2026. Their surging sound is actually a great encapsulation of stripped-down breakaway power-pop with striking melodies and wrap-around choruses that match up to the Nerves and the Beat along with their undeniable mid-'60s influences. 

Anthology '64-'67
L to R: Terry Tutor, Larry Dill, Larry Tutor

Their new recording, Mad Day Out, is immediately appealing from the first play and their years of playing combined with life experiences lends a blanketing sagelike quality. Their current sound can best be described as upbeat sparkling ‘60s influenced guitar-driven pop with bittersweet inflections. As might be expected, they are totally conversant with the masters: the Beatles, Beach Boys and the Byrds. In addition, they have retained their Texas twang and those Everly-esque brotherly harmonies. It’s competently played pop with absolutely no pretensions, which is as refreshing as it is reassuring. The uncluttered and dynamic production, masterfully mixed by Gregory Krueger at Krueger Sound in Sunland, CA, captures and layers their glorious guitar tones. Larry and Terry’s heartland roots pop songwriting, frequently upending clichés, is evocative of Jules Shear-namely "If We Never Meet Again" that was recorded by Tommy Conwell and the Young Rumblers and Roger McGuinn. The proficiency of the musicianship leans towards pure pop acts like Bill Lloyd, Walter Clevenger & the Dairy Kings and the Spongetones. It’s a sound you don’t hear too much these days, but it certainly has its place in both the congested and contested power-pop scene and the nebulous realms of pop-rock.  

Their racing tempos have been obviously tempered by time and circumstances, but their opener “If I Didn’t Have You” is an early indicator that they have retained their rich melodies and harmonies. Be sure to catch those Del Shannon inflections on “At The Speed of Darkness.” It’s hard to name other active bands influenced by Del these days besides the Smithereens and that was actually some 40 years ago. “Autumn” features one of their most indelible melodies and ranks with the best of Roger McGuinn’s solo phase spanning from Back from Rio to Sweet Memories. “Winter's First Green Is Gold” somehow evokes fellow Texans the Sprague Brothers as well as the Beau Brummels and the Cyrkle. The standout backing harmonies on “Until Now,” veers them in the direction of ‘70s bands with streaks of AM radio catchiness in their sound like Orleans with “Still the One" or even Starry Eyed & Laughing. “A Little Time” reflects the big bang of the Beatles and Beach Boys and a little Bach.

On Side B, the album quickly goes from rousing Barry McGuire-ism (“Mad Day Out”) to the fragility of the Left Banke with a lovely guitar solo (“She Is Everything”) before returning to that to that crisp and ringing Roger McGuinn folk ‘n’ roll sound on the outstanding “Postcard.” The album then reaches the beach and moves towards the golden light. “The Coast Is Clear” is a fitting song for the year that Brian Wilson has left us and its gentle sunlit sounds are not too far removed from those of kindred soul Jeffrey Foskett. The last wave is caught with “Billy,” a rousing surf instrumental written for his son (who is the cover star of Mad Day Out). In other good news, they are in the process of recording new material and setting up some live dates to bring their formidable talents back to the stage. Who could have predicted this fortuitous turn of events-whatever year it is!

Top Left-Terry Tutor, Top Right-Voyce McGinley
Bottom Left-Greg Krueger, Bottom Right-Larry Tutor