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The Equals
The Equals
The Equals
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The Equals are an English rock band. They are best remembered for their million-selling chart-topper "Baby, Come Back", though they had several other chart hits in the UK and Europe. Drummer John Hall founded the group with Eddy Grant, Pat Lloyd and brothers Derv and Lincoln Gordon, and they were noted as being "the first major interracial rock group in the UK"[4] and "one of the few racially mixed bands of the era".[3]

Key Information

History

[edit]

Early career

[edit]
The Equals performing on the Dutch TV programme Fenklup on 27 May 1967

The group's members met on a Hornsey Rise council estate,[5] where Grant, Lloyd and Hall were school friends at Acland Burghley. In late 1964, Hall suggested that they form a band. John Hall (drums), Eddy Grant (lead guitar), Pat Lloyd (rhythm guitar), Derv Gordon (vocals) and Lincoln Gordon (rhythm guitar) became the Equals. The three-guitar lineup continued until 1969, when Lincoln Gordon switched from rhythm guitar to bass.

At first the Equals performed in London, and gained a following "with their apparently limitless energy and a distinct style fusing pop, blues, and R&B plus elements of ska and bluebeat."[3] They often opened the bill at shows by visiting American R&B and soul artists such as Bo Diddley, Solomon Burke and Wilson Pickett.[6][7] A neighbour of Grant's, singer Gene Latter,[7] put them in touch with President Records, whose boss Edward Kassner heard them and agreed to sign them.[6]

Commercial success, 1966–70

[edit]

The Equals released their first single "I Won’t Be There" in 1966,[8] followed by "Hold Me Closer", with "Baby, Come Back" as the B-side.[3] It did not do well in the United Kingdom, but after DJs in Europe began playing "Baby, Come Back", it went to the number one position in Germany and the Netherlands.[3]

1968 saw the release of "I Get So Excited", which reached the Top 50 of the UK Singles Chart. The subsequent re-issue of "Baby, Come Back" in early 1968 reached the top position in the UK, giving President Records its only number one hit.[9] The song reached one million sales in June 1969, and was certified gold.[5] Several of their later singles charted in the UK, including two further top 10 hits, "Viva Bobby Joe" (1969) and "Black Skin Blue Eyed Boys" (1970).[3]

Their main songwriter was Eddy Grant, with contributions from the Gordon brothers, Pat Lloyd and John Hall. Though the majority were on traditional teenage pop themes, some, such as "Stand Up and Be Counted", "Police on My Back", and the funky "Black Skin Blue Eyed Boys", touched on social and political issues.[6]

The band also released several studio albums on President in quick succession, six in four years,[6] including Unequalled Equals (1967) and Explosion (1968), both of which reached the UK Albums Chart.[10] Several of their albums were repackaged by RCA, President's distributors, for the American market. According to the band, Kassner did not allow the band to tour the U.S. because of problems that might have arisen because of their multiracial line-up, though the band did tour other parts of the world, including Africa.[6][7]

They made regular TV appearances on programmes including Top of the Pops in Britain and Beat-Club in Germany.[4] The band also gained attention for their colourful clothes, presaging the glam rock style, and for Grant's occasional dyeing of his hair blonde, and wearing a woman's blonde wig. Writer Jason Heller commented: “The Equals were effectively code-switching between two audiences—immigrant rude boys and white pop fans—in the same song, if not the same line."[4]

Break-up

[edit]

In September 1969, all five group members were injured in a motorway car accident in Germany.[11] Grant was the most severely injured and as a result left the touring version of the Equals while initially continuing to write songs for them. In January 1971, Grant suffered a collapsed lung and heart infection, following which he returned to Guyana.[12] He soon started to pursue a solo career. John Hall left the band in 1974. The Equals disbanded in 1979.[13]

Reformation and subsequent activities

[edit]

In 1982 Pat Lloyd reformed The Equals with a modified lineup: Derv Gordon (vocals), Rob Hendry (lead guitar), Ronnie Telemacque (drums), Lincoln Gordon (rhythm guitar) and Pat Lloyd (bass) swapping instruments from the original lineup. In 1984 Lincoln Gordon left the band, and was replaced by David "Dzal" Martin, another guitarist who had filled in between 1973 and 1975 during Grant's absence.[14]

In 2017, Derv Gordon left the Equals. Decosta Boyce, formerly of Heatwave, joined the group on lead vocals, and Mark Haley, previously with the Kinks, was added on keyboards. In March 2019, Keeling Lee, previously with Groove Armada,[15] replaced Martin.

The Equals produced a new album in May 2022, and re-released the single "Nobody's Got Time", originally written by Eddy Grant. "Nobody's Got Time" reached No.15 in the Heritage Charts.[16]

Original line-up

[edit]
  • Eddy Grant (born 5 March 1948, Plaisance, Guyana) – lead guitar
  • John Hall (born 25 October 1946, Islington, London)[5] – drums
  • Dervan "Derv" Gordon (born 29 January 1946, Jamaica) – vocals
  • Patrick "Pat" Lloyd (born 17 March 1949, Holloway, London) – rhythm guitar
  • Lincoln Gordon (born 29 June 1948, Jamaica) – bass, guitar

Discography

[edit]

Albums

[edit]
Year Album UK
[10]
1967 Unequalled Equals 10
1968 Explosion 32
Sensational Equals —
Equals Supreme —
1969 Equals Strike Again —
1970 Equals at the Top —
1973 Rock Around the Clock Vol. 1 —
1976 Born Ya! —
1977 Mystic Syster —
1996 Roots —
"—" denotes releases that did not chart.

Compilation albums

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  • Baby, Come Back (US compilation, 1968)
  • Doin' the 45's (1975)
  • First Among Equals – The Greatest Hits (1996)[17]
  • Black Skin Blue Eyed Boys – The Anthology (1999)[18]

Singles

[edit]
Year Titles (A-side, B-side) Peak chart positions UK Album US Album
UK
[19][20] 		US
[21] 		AUS NOR IRL SA
[22]
1966 "I Won't Be There"
b/w "Fire" 		— — — — — — Unequalled Unequalled
1967 "Give Love a Try"
b/w "Another Sad and Lonely Night" 		52[A] — — — — — Explosion Non-album tracks
"My Life Ain't Easy"
b/w "You Got Too Many Boyfriends" 		— — — — — — A: Unequalled
B: Explosion 		A: Unequalled
B: Non-album track
1968 "I Get So Excited"
UK B: "The Skies Above"
US B: "Giddy Up a Ding Dong" 		44 — — — — — A & UK B: Sensational
US B: Explosion 		A & US B: Unequalled
UK B: Baby, Come Back
1968 "Baby, Come Back"
b/w "Hold Me Closer" 		1 32 10 4 2 — Unequalled Baby, Come Back
1968 "Laurel and Hardy"
b/w "The Guy Who Made Her a Star" 		35 — — — — — Sensational
1968 "Softly Softly"
b/w "Lonely Rita" 		48 — — — — 8 Supreme Supreme
1969 "Michael and the Slipper Tree"
b/w "Honey Gum" 		24 — 68 — — — Equals Strike Again Non-album tracks
1969 "Viva Bobby Joe"
b/w "I Can't Let You Go" 		6 — 79 — 3 9 A: Equals Strike Again
B: Non-album track
1969 "Rub a Dub Dub"
b/w "After the Lights Go Down Low" 		34 — — — — — A: Equals at the Top
B: Equals Strike Again
1970 "Soul Brother Clifford"
b/w "Happy Birthday Girl" 		— — — — — — Equals at the Top
"I Can See But You Don't Know"
b/w "Gigolo Sam" 		— — — — — — A: Doin' the 45's
B: Equals at the Top
"Black Skin Blue Eyed Boys"
b/w "Ain't Got Nothing to Give You" 		9 — — — — — A: Doin' the 45's
B: Equals Strike Again
1971 "Help Me Simone"
b/w "Love Potion" 		— — — — — — A: Equals at the Top
B: Supreme 		A: Non-album track
B: Supreme
1972 "Stand Up and Be Counted"
b/w "What Would You Do to Survive" 		— — — — — — Non-album tracks Non-album tracks
"Have I the Right"
b/w "Lover Let Me Go" 		— — — — — — A: The Equals Greatest Hits
B: Non-album track
1973 "Honey Bee"
b/w "Put Some Rock and Roll in Your Soul" 		— — — — — — Rock Around the Clock Volume 1
"Diversion"
b/w "Here Today, Gone Tomorrow" 		— — — — — — A: Rock Around the Clock Volume 1
B: Non-album track
1975 "Georgetown Girl"
b/w "We've Got It All Worked Out" 		— — — — — — Non-album tracks
1976 "Kaywana Sunshine Girl"
b/w "Soul Mother" 		— — — — — — Born Ya!
"Funky Like a Train"
b/w "If You Didn't Miss Me" 		— — — — — —
1977 "Irma La Douce"
b/w "Ire Harry" 		— — — — — —
"Beautiful Clown"
b/w "Daily Love" 		— — — — — — Non-album tracks
1978 "Red Dog"
b/w "Something Beautiful" 		— — — — — — Mystic Syster
1983 "No Place to Go"
b/w "Back Streets" 		— — — — — — All the Hits Plus More
1987 "Funky Like a Train"
b/w "Born Ya!" 		82 — — — — — Born Ya!
2022 "Nobody's Got Time" — — — — — — –
"—" denotes releases that did not chart or were not released in that territory.

See also

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Notes

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Equals

View on Grokipedia
from Grokipedia
The Equals were a British pop-rock band formed in 1965 in , recognized as the 's first major interracial rock group, with members including Guyanese immigrants and musicians. Best known for their self-penned international hit "Baby Come Back", which topped the UK Singles Chart in 1968 and reached number one in several European countries, the band achieved nine UK hit singles and two charting albums between 1967 and 1970. Founded by guitarist and drummer John Hall, the original lineup consisted of lead vocalist Derv Gordon, his twin brother Lincoln Gordon on guitar, bassist Pat Lloyd, and Grant on guitar and occasional vocals. The group signed with President Records in 1966 and gained early support slots for American acts like , blending , pop, and emerging influences in their sound. Their breakthrough came with "Baby Come Back", initially a B-side that surged to prominence after success in the and , marking a rare case of a UK band's single charting higher abroad before domestically. Despite lineup changes and setbacks including a severe car accident in and Grant's heart attack in 1971, which prompted his departure for a successful solo career, The Equals disbanded in 1979 before reforming in 1982 without Grant and continuing sporadic performances. Other notable tracks like "Hold Me Closer", "Viva Bobby Joe", and "Black Skin Blue Eyed Boys" highlighted their versatility, though internal tensions and health issues limited long-term cohesion.

History

Formation in North London (1965)

The Equals originated in in 1965, when guitarist , who had immigrated from to the in 1960 at age 12, joined forces with local friends to form a band blending pop, , ska, and bluebeat influences. The group emerged from informal jam sessions held at the home of drummer John Hall, where Grant proposed structuring their collaborations into a formal ensemble, marking the band's inception amid London's vibrant mid-1960s music scene. The original lineup featured on lead guitar, Pat Lloyd on guitar, John Hall on drums, Derv Gordon on lead vocals, and Lincoln Gordon—Derv's twin brother, who had emigrated from —on guitar, with the Gordons providing additional vocals. Hall suggested the name "The Equals," reflecting themes of unity that resonated with the band's diverse composition, which included members of Guyanese, Jamaican, and descent, positioning them as one of the United Kingdom's earliest major interracial rock groups during a period of racial tensions. Initial performances centered on school dances and local venues around , building grassroots momentum through high-energy sets that fused British mod aesthetics with Caribbean rhythms. By late 1965, the band secured a with President Records, established by Edward Kassner, enabling their transition from amateur gatherings to professional output with the release of early singles in development. This formation underscored their pioneering role in challenging racial barriers within the rock landscape, predating similar multiracial acts and fostering a sound rooted in cross-cultural collaboration.

Breakthrough Hits and Peak Success (1966–1970)

The Equals' breakthrough came with the 1968 re-release of "Baby Come Back," written by Eddy Grant, which ascended to number one on the UK Singles Chart for three weeks beginning July 19, 1968. Originally issued as the B-side to "Hold Me Closer" in 1966, the track initially failed to chart significantly in the UK but achieved number-one status in Germany and the Netherlands following its continental European single release in early 1968. This success marked President Records' sole UK chart-topper and propelled the band to international recognition, with the song eventually selling over a million copies. Building on this momentum, the group delivered additional charting singles, including "Softly Softly" which peaked at number 8 in May 1969, and "Viva Bobby Joe" reaching number 6 in October 1969 and spending 14 weeks on the chart. These hits underscored their prolific output of self-penned material, with a total of nine singles entering the charts by 1970, though "Baby Come Back" remained their only number one. The band's racially integrated lineup, featuring Guyanese-born Grant alongside white and black members, contributed to their distinctive appeal in the pop and rock scenes, though commercial performance drove their peak visibility. Complementing their singles success, The Equals released several studio albums between 1967 and 1970, totaling seven in that span, including Unequalled Equals in December 1967—which entered the Top Ten amid promotion by as a "party album"—and in 1968. Both albums charted in the , reflecting the band's rapid productivity and fusion of rock, , and pop elements that resonated during the era's diverse musical landscape. This period represented their commercial zenith, with consistent European touring and recordings solidifying their status before internal shifts later tempered their trajectory.

Internal Changes and Decline (1971–1979)

In late 1969, The Equals were involved in a severe road accident when their equipment van collided with a lorry, resulting in serious injuries to multiple members, with lead guitarist and primary songwriter Eddy Grant sustaining the most critical damage, including spinal issues that later contributed to ongoing health complications. On January 1, 1971, Grant experienced a heart attack and collapsed lung, prompting his permanent departure from the band's touring activities to prioritize recovery and shift focus to songwriting and production work. Although Grant initially provided some new material for the group post-departure, his absence marked a pivotal internal shift, as he had been the core creative force behind their earlier hits. The remaining original members—vocalist Derv Gordon, rhythm guitarist Lincoln Gordon, bassist Pat Lloyd, and drummer John Hall—continued performing and recording without recruiting a permanent lead replacement immediately, relying on session musicians or adaptations during live shows. Between 1973 and 1975, bassist David "Dzal" Martin occasionally filled in on guitar duties amid transitional periods, reflecting efforts to stabilize the lineup amid reduced momentum. This era saw internal adaptations to maintain operations, but the band's cohesion suffered from of Grant's songwriting prowess and stage presence, leading to a reliance on covers and reinterpreted older material for live sets. Commercially, The Equals experienced a sharp decline after , failing to achieve any further chart entries in the UK or internationally, a direct consequence of Grant's exit and the evolving music landscape favoring and heavier genres over their R&B-pop fusion. They persisted with releases influenced by emerging and styles, such as tracks on compilations and lesser-known singles, but these garnered minimal airplay or sales. Despite the downturn, the group sustained popularity as a live act, touring clubs and theaters across into the late , where their energetic performances and interracial appeal retained a dedicated fanbase. By 1979, mounting challenges including stagnant creativity, financial strains from inconsistent bookings, and member fatigue led to the band's disbandment, effectively ending their initial run until a partial reformation in the without Grant. This period underscored the causal link between key personnel loss and trajectory downturn, as empirical chart data and release outputs post-1971 evidenced a marked drop in visibility and output quality compared to their 1966–1970 peak.

Reformation and Ongoing Activity (1980s–Present)

Following the band's disbandment in 1979, Pat Lloyd reformed The Equals in 1982 with a lineup consisting of himself on bass, Derv Gordon on vocals, Lincoln Gordon on guitar, Ronnie Telemacque on drums, and Rob Hendry on guitar. Lincoln Gordon departed shortly thereafter, prompting David "Dzal" Martin to rejoin as lead guitarist; Martin had previously been a member from 1973 to 1975. This iteration focused on live performances, capitalizing on enduring demand for their hits in , particularly , where promoter Rainer Haas had advocated for the reunion. Without , who had pursued a successful solo career, the group emphasized covers of their 1960s catalog alongside new material influenced by and . In 1995, the band released the album , primarily composed by Lloyd and Martin, marking a return to studio recording after an extended period of touring. Subsequent years saw sustained activity through international tours, with performances in and occasional ventures elsewhere, though commercial success remained tied to nostalgia rather than new chart entries. Lineup stability persisted until 2017, when Derv Gordon exited, leading to the additions of Decosta Boyce on vocals and Mark Haley on keyboards to maintain the group's vocal-driven sound. Further adjustments occurred in March 2019, when Keeling replaced Martin as lead guitarist following a tour in . The band continued releasing music sporadically, including the single "Nobody's Got Time" in May 2022, which topped the Legacy Chart for three weeks and reached the top 20 on the Heritage Chart. As of 2025, The Equals remain active with Lloyd and Telemacque as longstanding members, conducting global tours—including dates in and Mediterranean cruises—and planning anniversary events for their 60th year, encompassing additional recordings, interviews, and projects. Their ongoing efforts prioritize live renditions of classics like "Baby Come Back," sustaining a dedicated fanbase amid a legacy-oriented career trajectory.

Band Members

Original Lineup and Roles

The Equals' original lineup formed in North London in 1965 and included Eddy Grant on lead guitar and vocals, Derv Gordon on lead vocals, Lincoln Gordon (Derv's twin brother) on bass guitar, Pat Lloyd on rhythm guitar, and John Hall on drums. This configuration featured shared vocal duties between Grant and Gordon, with Grant also emerging as the primary songwriter. The members, drawn from diverse ethnic backgrounds including Guyanese, Jamaican, and white British heritage, marked the band as one of the first major interracial rock groups in the UK.

Lineup Changes and Current Members

The Equals experienced several lineup shifts following their initial success. In 1970, lead guitarist and co-founder sustained injuries in a car accident, ceasing live performances while continuing to contribute to songwriting and recording; the band employed temporary guitarists including Jimmy Heynes and Rob Hendry before David "Dzal" Martin joined permanently from 1973 to 1975. The group disbanded in 1979 amid declining commercial fortunes. Pat Lloyd reformed the band in 1982, shifting to bass guitar himself, with Derv Gordon on vocals, Lincoln Gordon on guitar, , and Rob Hendry on guitar; Lincoln Gordon soon departed, prompting Dzal Martin's return as lead guitarist, a role he held for 39 years until 2019. Original drummer John Hall did not participate in the reformation, having left earlier in the 1970s. Further adjustments occurred in the : Derv Gordon exited in 2017, replaced by Decosta Boyce as , with Mark Haley added on keyboards. In 2019, Keeling Lee succeeded Dzal Martin on following a European tour. The current performing lineup, as of 2025, centers on Pat Lloyd as the longest-serving member and bassist, alongside Decosta Boyce (), Mark Haley (keyboards), and Keeling Lee (); drumming and additional rhythm support are handled by session or longstanding associates like Ronnie Telemacque where specified in live contexts, though core billing emphasizes the quartet. retains ownership of the band's trademark and copyrights but does not perform. Note that former vocalist Derv Gordon has continued solo tours invoking Equals material, backed by external groups, but is not part of the official reformation entity led by Lloyd.

Musical Style and Innovations

Core Influences and Genre Fusion

The Equals' musical style was rooted in the rhythm and blues (R&B) and soul traditions of the mid-1960s, drawing from American artists such as , whose emotive vocal delivery and horn-infused arrangements informed the band's energetic performances. This foundation was evident in their guitar-driven tracks, which emphasized propulsive rhythms and raw emotional expression, hallmarks of the "maximum R&B" movement in Britain at the time. Simultaneously, the group incorporated British pop and rock elements, including catchy melodies and structured songwriting suited for commercial radio play, reflecting the era's influences from acts like and . The multiracial composition of the band—featuring Guyanese-born guitarist and Jamaican-origin brothers Derv and Lincoln Gordon—introduced Caribbean flavors, particularly and bluebeat rhythms, which added syncopated off-beats and upbeat tempos to their sound. This fusion created a distinctive hybrid, blending soulful introspection with proto-punk aggression and bubblegum accessibility, as heard in tracks like "Baby Come Back" (), where pop hooks overlay R&B grooves and subtle ska-inflected percussion. Over time, their experimentation extended to garage rock's raw edge, psychedelia's experimental flourishes, and funk's bass-heavy grooves, particularly in later singles, allowing the Equals to bridge mainstream pop appeal with underground rhythmic innovations. This genre-blending approach, uncommon for British bands in 1965–1970, positioned them as precursors to the two-tone revival of the late 1970s, though their core output prioritized accessible, high-energy fusion over purist genre boundaries.

Lyrical Themes and Songwriting Approach

The Equals' songwriting was predominantly handled by , who composed the majority of their original material, often drawing from pop structures infused with rhythmic elements from his Guyanese heritage and the band's influences. This approach emphasized self-contained production within the group, with Grant serving as songwriter, lead , and de facto , enabling tight integration of and arrangements tailored for commercial appeal. Contributions from vocalists Derv Gordon and Lincoln Gordon, as well as bassist Pat Lloyd, occasionally supplemented Grant's work, but his vision dominated the catalog, prioritizing accessible melodies over experimental complexity. Lyrical themes centered on romantic relationships, heartbreak, and pleas for reconciliation, as evident in their breakthrough single "Baby Come Back" (released October 1967), which depicts a man's desperate bid to reclaim a departed lover amid themes of and longing. Songs like "" (1968) similarly explored emotional dependency and intimacy, reflecting the era's teenage pop sensibilities with straightforward, relatable narratives designed for broad radio play. However, Grant incorporated in select tracks, addressing racial prejudice and unity in "Black Skinned Blue Eyed Boys" (1969), a of colorism and identity struggles within multiracial contexts, aligning with the band's pioneering interracial lineup. Further examples of thematic depth include "Police on My Back" (1967), which conveys and evasion from authority, later interpreted as a against and systemic overreach, underscoring Grant's willingness to embed subtle political undertones amid pop frameworks. This duality—balancing escapist love anthems with reflections on equality and defiance—mirrored the band's optimistic response to British societal tensions, though romantic motifs comprised the bulk of their output to sustain chart success. Grant's lyrics avoided overt didacticism, favoring evocative imagery and hooks that invited personal interpretation, a pragmatic choice for a multiracial ensemble navigating mainstream acceptance.

Discography

Studio Albums

The Equals released seven studio albums between 1967 and 1970 on President Records, reflecting their active songwriting and recording during the band's commercial peak. These albums captured the group's energetic fusion of rock, , and influences, often featuring self-penned tracks led by 's compositions. The debut album, Unequalled Equals, appeared in August 1967 and included the single "Baby Come Back," which later achieved greater success upon re-release. It reached number 10 on the , marking an early commercial milestone for . Subsequent releases followed rapidly, with issued in late 1967 or early 1968, emphasizing high-energy pop tracks like "I Get So Excited." Further albums in this period included Equals Strike Again in 1969, which incorporated and elements alongside pop structures. Equals At The Top, released in 1970, represented the culmination of their initial prolific output before internal changes affected momentum. Post-1970, the band issued fewer studio recordings amid lineup shifts and declining chart presence. Equals Rock Around The Clock emerged in 1973 on Bell Records, shifting toward covers with original material. A self-titled or numbered appeared in 1987 during a phase without Grant, though it garnered limited attention.
Album TitleRelease YearLabel
Unequalled Equals1967President Records
1968President Records
Equals Strike Again1969President Records
Equals At The Top1970President Records
Equals 1973Bell Records

Key Singles and Chart Performance

The Equals achieved their greatest commercial success with the single "Baby Come Back", released in 1967 and reaching number 1 on the UK Singles Chart in July 1968, where it spent three weeks at the top. The track also peaked at number 32 on the US Billboard Hot 100 in 1968, marking their only significant entry on American charts. Written by , the song's upbeat soul-rock fusion and themes of romantic reconciliation contributed to its enduring appeal, selling over a million copies worldwide. Subsequent singles built on this momentum in the UK but saw . "Viva Bobby Joe", released in 1969, climbed to number 6, reflecting a shift toward more rhythmic, narrative-driven pop. "Black Skin Blue Eyed Boys" followed in 1970, peaking at number 9 and addressing racial identity with satirical edge, though it failed to chart in the US. Earlier releases like "Michael and the Slipper Tree" (1969, number 24) and "Laurel and Hardy" (1968, number 35) entered the UK Top 40 but lacked the breakout impact of their flagship hit. Later efforts, such as "Rub a Dub Dub" (1969, number 34) and "I Get So Excited" (1968, number 44), hovered in the lower reaches of the UK charts, signaling a plateau in mainstream popularity by the early 1970s. The band's chart presence waned post-1970, with sporadic releases like "Funky Like a Train" (1976, number 82) underscoring their transition to niche audiences.
Single TitleUK Peak Position (Year)US Billboard Hot 100 Peak (Year)
Baby Come Back1 (1968)32 (1968)
Viva Bobby Joe6 (1969)-
Black Skin Blue Eyed Boys9 (1970)-
Michael and the Slipper Tree24 (1969)-
Laurel and Hardy35 (1968)-

Compilation and Live Releases

The Equals have issued various compilation albums that collect their singles, B-sides, and select album tracks, often reissued by labels like President Records. An early example is the 1968 U.S. compilation Baby, Come Back, which highlighted hit singles such as the title track to capitalize on emerging American interest. In 1975, Doin' the 45's gathered their 7-inch singles from the late , emphasizing their chart successes like "Softly Softly" and "I Won't Be There." Subsequent releases include First Among Equals – The Greatest Hits in 1996, featuring remastered tracks from their peak era, and Black Skin Blue Eyed Boys – The Best of the Equals around 2001, which incorporated rarities alongside staples. Digital-era compilations, such as All the Hits (2020), have appeared on streaming platforms, drawing from original masters. Live releases remain scarce, reflecting the band's primary focus on studio output during their active periods. Equals Party, a 1976 promotional LP on Phonogram, includes live versions of tracks like "Funky Like A Train" and "Black Skinned Blue Eyed Boys," capturing post-reformation performances with a funk-infused energy. More recently, Live '68 - '70 (2022) compiles archival sessions and live recordings from 1968 to 1970, featuring energetic renditions of hits such as "Baby Come Back" and "I Get So Excited" from venues like in . These releases preserve the band's raw stage presence, though no full-length live albums from major tours have been documented.

Reception and Critical Assessment

Contemporary Reviews and Commercial Metrics

The Equals' breakthrough single "Baby Come Back", released in December 1967 and reissued in the UK in June 1968 following European airplay, topped the UK Singles Chart for three weeks beginning July 3, 1968. The song sold over one million copies, marking the band's sole UK number-one hit and their only significant chart entry, peaking at number 32 on the Hot 100. It also reached number one in countries including , the Netherlands, and , underscoring the track's international appeal driven by its reggae-inflected pop structure and Eddy Grant's lead vocals. The band accumulated eight UK Top 75 singles between 1967 and 1970, with three Top 10 entries contributing to 69 total weeks on the chart. Notable follow-ups included "I Get So Excited" (number 28, 1968) and "Viva Bobby Joe" (number 6, 1969), reflecting sustained but diminishing commercial momentum after their flagship hit. Album performance was more modest; their debut Unequalled Equals (1967) debuted at number 10 on the LP Chart and rose to number 8 the next week, buoyed by pre-hit singles like "Hold Me Closer". Contemporary music press coverage emphasized the band's chart breakthroughs over analytical depth, with describing Unequalled Equals as "bounding into" the LP Chart amid a competitive 1967 field dominated by established acts. Reviews often highlighted their energetic live sound and multiracial lineup as novel for British pop, though specific critiques of "Baby Come Back" focused on its immediate catchiness rather than innovation, aligning with the era's preference for accessible hits amid psychedelic trends. The track's rapid ascent implied broad radio and audience endorsement, with limited documented dissent in UK publications like or Record Mirror, where success metrics overshadowed stylistic dissections.

Criticisms of Musical Output and Career Management

The departure of principal songwriter and guitarist Eddy Grant in January 1971, prompted by a collapsed lung and heart infection sustained amid intense touring, marked a turning point where the band's musical output faced scrutiny for diminished innovation and appeal. Subsequent releases, including the 1976 album Born Ya, were described as deficient in the "signature hooks and fire" that characterized earlier hits like "Baby Come Back," contributing to a perception of creative stagnation. Career management decisions drew criticism for failing to expand beyond European and select international markets, particularly the , where apprehensions about the band's interracial lineup—fearing it would provoke backlash—precluded promotional efforts or tours despite potential demand for their socially charged material. This caution, voiced retrospectively by Grant, limited global commercial longevity and reinforced their status as a regional act that faded into obscurity post-1970s. Even during peak success, isolated flops such as the 1968 single "I Won't Be There"—which garnered play but failed to chart—highlighted vulnerabilities in their pop-R&B formula, reliant on riff-driven compositions that occasionally lacked broader resonance amid shifting tastes toward harder rock and . Observers have attributed the band's abrupt decline to inadequate adaptation strategies, including overdependence on a single creative force without robust , as evidenced by the group's gradual dissolution by the late 1970s.

Legacy and Cultural Impact

Influence on Subsequent Genres and Artists

The Equals' fusion of rock, R&B, and Caribbean rhythms such as ska and bluebeat in the mid-1960s anticipated the interracial genre blends that characterized the British two-tone ska movement of the late 1970s. As one of the UK's earliest multiracial bands, featuring Guyanese guitarist Eddy Grant alongside Jamaican brothers Derv and Lincoln Gordon and British members Pat Lloyd and John Hall, they demonstrated the commercial potential of diverse lineups, paving the way for acts like The Specials, The Selecter, and The English Beat, which explicitly promoted racial harmony through music amid rising tensions in Britain. Their songwriting, particularly Eddy Grant's compositions addressing racial injustice and police harassment, influenced punk's adoption of elements. The Clash's cover of "Police on My Back"—originally released by The Equals as a single in 1967 and included on their 1968 album —appeared on in December 1979, reinterpreting the track's tense narrative of evasion to fit punk's raw energy and social critique, thus bridging 1960s mod influences with late-1970s punk- hybrids. The band's emphasis on energetic, rhythm-driven pop with West Indian flavors also echoed in later ska revival and reggae-rock scenes, where their hits like "Baby Come Back" (UK No. 1 in 1968) were revived; Jamaican-British artist re-recorded it in 1994, reaching No. 1 on the UK Singles Chart and introducing their sound to a new generation through dancehall-reggae fusion. This revival underscored The Equals' role in sustaining influences within mainstream British pop, though their direct citations by artists remain more implicit than overt, often overshadowed by Grant's subsequent solo career in soca and .

Pioneering Role in British Music Diversity

Formed in North London in 1965, The Equals represented a breakthrough in British popular music by assembling one of the United Kingdom's first major interracial rock bands, comprising white British members John Hall on drums and Pat Lloyd on rhythm guitar alongside Guyanese-born lead guitarist and songwriter Eddy Grant, and Jamaican-heritage brothers Derv Gordon on lead vocals and Lincoln Gordon on bass. This lineup defied the predominantly white composition of contemporary British beat and pop groups during the mid-1960s, when Caribbean immigration was reshaping urban demographics but rarely reflected in mainstream music ensembles. The band's integration extended to their sound, blending R&B, rock, and influences such as in vocals and rhythmic elements drawn from Grant's and the Gordons' backgrounds, which introduced multicultural flavors to the British Invasion-era scene. Their 1967 single "Baby Come Back," co-written by Grant and reaching number four on the UK Singles Chart in 1968, marked an early commercial validation of a multiracial group's viability in the , predating broader acceptance of diverse lineups in subsequent decades. This success, alongside tracks like "Hold Me Closer" and "I Get So Excited," helped normalize interracial collaboration in British pop, challenging racial homogeneity in an industry still grappling with post-colonial demographics. By achieving international hits—such as "Baby Come Back" topping charts in and the —The Equals paved the way for later multiracial acts, influencing the 2 Tone movement of the late , which explicitly drew on and traditions amid racial tensions. Their pioneering status is underscored by contemporaries' recognition of them as the UK's inaugural multiracial soul and pop outfit, fostering greater inclusivity in band formations and repertoires during a period of limited representation for non-white artists in mainstream venues and labels.

References

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  53. https://www.ongoinghistoryofprotestsongs.com/2018/02/04/daily-dose-of-protest-police-on-my-back-the-equals/
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