On the 'tube

The Tremeloes “Silence Is Golden”


Excellent song plus Gretsch in action


Nice of the cameraman to do closeups on the guitars.


I think the Tremeloes were the first official endorser of Marshall amps, 1963.


I liked "Here Comes My Baby" better. Happy sounding song about an unhappy subject. Great vocals, very tight band. One of the first bands I saw that sounded better live than on record.

Saw them on their first US tour. They had a Bird combo organ that I've never been able to find anything out n the interwebs. Used the first 4X12 amps I'd ever seen, but Fender Showman amps for PA---early '60s. Gear back then was "interesting".


Bet you have some great playlists, Polecat!


Being a vocal harmony style band I liked them the first time I heard them. Their music still works today IMO.


Off topic .. I know .. but the Mavericks did a good cover of Here Comes My Baby.


Bet you have some great playlists, Polecat!

– eCastro

Thanks pal. I do.


Always great to see anything from those days that's not lip-synched.


I believe (?) this was a video from 1967, 'prior' to them going the "Marshall" route? The brand name on the Cab's is not Marshall, no matter how ya "slice" it!! I'm still tryin' to find out what they were. This is a clearer Video than the "Here Comes My Baby", but still not clear enough to make out the Brand Name. Hate it when this happens, LOL!


Nice of the cameraman to do closeups on the guitars.

– JW

For the F U LL S I Z E D Video: (315) The Tremeloes - Silence is Golden - YouTube just sayin'


Looking at the Speaker center cones, these cabs probably had 2 x 15" ?


Deliberate break on that Bigsby arm?


Great bit of film; I missed it when originally posted. I liked the song when new, still do. Even when it was new and I didn’t have the experience to recognize it or the terms to express it, I noticed that the production was incredible - full, clear, and lush. It’s great to hear them pull it off with such fidelity and style live.

I guess the same could be said of other mid-60s harmony bands: records from The Association, The Vogues, FV & the 4 Seasons, and The Hollies always sounded great, with arrangements and production to match.

It’s interesting to learn the Trems were so into gear - the matching amps, the upscale guitars, the interest in Marshall. I guess the fact that all four harmonized like choirboys shouldn’t suggest they didn’t like to be loud: it really was rock under that gloss. And the drummer is laying down a pretty muscular and interesting groove here, with the integral syncopated tom rolls. Wish they’d been louder.

SEEing them do the song, it’s interesting that most (all?) the “single voice” lines appear actually to be unison - and incredibly tight unison. Then when they go to parts in subsequent lines, it’s more like that single voice blooming into an impossible spread than like other voices just “coming in”. Andrews Sistery, I guess. They blend superbly.

It’s also hard not to love the band name, and to expect great things. I think this was their biggest hit in the US, and as far as they rose. Maybe they didn’t adapt well through the musical revolutions of the late 60s. Their garb here gives away the period - almost HAS to be ‘67 or ‘68, by which time the pop rock sensibility this song comes out of was under attack on all sides from psychedelia to country/rootsy rock to heavier rock.


Written by Bob Gaudio/Bob Crewe. Who knew.


Written by Bob Gaudio/Bob Crewe. Who knew.

Well, I once knew. But I'd forgotten. It should have stuck - it certainly sounds like their work. Remembering it does help explain the weirdness of a song that sounds like 1963 becoming a huge hit in 1967 - in a decade where a year or two made light years of difference in the prevailing sound of the radio.

The Trems didn't really rearrange the vocals and the guitar much. Punched up the drums and lost the shuffling feel.

But man. There's something fundamentally profound and unaccountably emotionally moving about the cadence and motion of the melody, especially with the spreading of the harmony around it. Gaudio and Valli specialized in that property, but it's really rich here.

And how do they suggest such emotionally profound (sorry to reuse the words, they fit) situational stories in so few words? They did it in "Rag Doll" and "Dawn" as well. All covering classic "teenage" relationship territory in the form of pyschodrama that would seem overblown in other hands - but somehow capturing something deeper and more lasting.

If there's anything I'm mad at the British Invasion for, it's choking off all the good stuff of the early 60s: rock instrumentals (led by Duane and the surfers), the classic girl groups (and the Supremes don't count), Phil Spector's bombastic spectaculars, doo-wop, and the blossoming of homegrown American rock's evolution with classy, expansive acts like Roy Orbison, Johnny Rivers, Dion, the Raiders, maybe even Gene Pitney. And yeah, some of those - like the Seasons - soldiered on alongside the invaders for a few years, but the magical ambience of that music from, say, 1958 - 1964 eventually dissipated.

Maybe it was the "loss of innocence" so often attributed to the Kennedy assassination and its aftermath - like that's really when the 60s began - but the music of the immediate pre-Beatle era haunts me like a reverie, in hues of rose and gold. Lucas nailed the whole vibe in American Graffiti.

Love that stuff.


Great voices, lush harmonies, and a very tasteful use of the tremolo. There wasn't much to dislike about this one when it came out.

Although the film is black and white, I wonder just what shade that Gretsch guitar is. It appears to have been a Tennessean, but it doesn't look in black and white how I would expect a burgundy guitar to appear. I also thought that there was more evident grain in a Tennessean than in this one.


The production qualities of that Tremoloes video reminds me a bit of this video from the Easybeats. I wonder if, by chance, they were from the same television show.


Man, I'd forgotten all about those tracks. They bring back memories. It's a shame I didn't appreciate the guitar playing of "Friday On My Mind" in those days. Really very tasty playing.


Man, those harmonies are tight.

Seeing some of the great live performance film and video from that era is partly the result of the Brits releasing tons of Pathe' footage from their archives. Much of it has found its way onto YouTube, and I couldn't be more pleased.

I've even had fun bingeing on old episodes of Top Of The Pops found online. Some of those go back 50+ years, real time-capsules.
RE the lip-syncing; I always prefer watching live performance captured on video, but it can be truly entertaining to watch some artists mocking and having fun with TOTP's enduring policy of requiring them to lip-sync their hits on camera.

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