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  <Summary>
  <RecordType label="RecordType" urlencoded="People" urlpathencoded="People">People</RecordType>
  <Status label="Status" urlencoded="Open" urlpathencoded="Open">Open</Status>
  <AUTHORITYCONTROL label="AUTHORITYCONTROL" urlencoded="" urlpathencoded=""></AUTHORITYCONTROL>
  <Code label="Code" urlencoded="DS%2fUK%2f11819" urlpathencoded="DS/UK/11819">DS/UK/11819</Code>
  <PersonName label="Name" urlencoded="Neville+Taylor+and+The+Cutters+(fl+1950s-1960s)" urlpathencoded="Neville%20Taylor%20and%20The%20Cutters%20(fl%201950s-1960s)">Neville Taylor and The Cutters (fl 1950s-1960s)</PersonName>
  <Name label="Name" urlencoded="Neville+Taylor+and+The+Cutters" urlpathencoded="Neville%20Taylor%20and%20The%20Cutters">Neville Taylor and The Cutters</Name>
  <Dates label="Dates" urlencoded="fl+1950s-1960s" urlpathencoded="fl%201950s-1960s">fl 1950s-1960s</Dates>
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  <NonPreferredTerm label="Alias" urlencoded="" urlpathencoded=""></NonPreferredTerm>
  <INFORMATIONAREA label="INFORMATIONAREA" urlencoded="" urlpathencoded=""></INFORMATIONAREA>
  <DatesAndPlaces label="Place of Birth/Origin" urlencoded="" urlpathencoded=""></DatesAndPlaces>
  <Nationality label="Nationality" urlencoded="" urlpathencoded=""></Nationality>
  <Activity label="Activity" urlencoded="British+rock+and+roll+band" urlpathencoded="British%20rock%20and%20roll%20band">British rock and roll band</Activity>
  <Relationships label="Relationships" urlencoded="" urlpathencoded=""></Relationships>
  <OtherInfo label="Biography" urlencoded="Neville+Taylor+and+his+band%2c+the+Cutters%2c+were+among+the+handful+of+black+rock+and++roll+acts+working+in+England+during+the+late+%2750s.+The+West+Indian-born+Taylor+had+an+excellent+ballad+style%2c+but+on+the+hard-rocking+numbers+he+was+heavily+influenced+by+Little+Richard%27s+vocal+style.+The+group+was+signed+to+EMI%27s+Parlophone+label%2c+where+their+first+release+included+the+excellent+%22Mercy%2c+Mercy%2c+Mercy%22+as+a+B-side+--+as+an+A-side+it+could+have+charted%2c+but+it+was+too+rich+for+Parlophone%27s+blood+in+1958%2c+and+%22House+of+Bamboo%22+ended+up+as+the+play+side.+Their+three+follow-up+singles+were+%22I+Don%27t+Want+to+Set+the+World+On+Fire%22+b%2fw+%22Tears+on+My+Pillow%2c%22+%22The+Miracle+of+Christmas%22+b%2fw+%22A+Baby+Lay+Sleeping%2c%22+and+%22Crazy+Little+Daisy%22+b%2fw+%22The+First+Words+of+Love%2c%22+the+latter+released+in+1959.%0a%0aThe+group%2c+which+was+heavy+with+horns+and+saxes+as+well+as+guitar%2c+typical+of+British+bands+of+this+period%2c+got+regular+exposure+on+the+British+television+series+Oh+Boy!.+Despite+this+edge+and+their+appearance+on+the+accompanying+EMI+tie-in+LP+(Oh+Boy!%2c+Parlophone+PMC+1072)%2c+they+never+charted+a+single%2c+but+were+influential+as+a+television+phenomenon.+Their+sound+was+already+considered+out+of+date+by+the+turn+of+the+1950s+into+the+1960s." urlpathencoded="Neville%20Taylor%20and%20his%20band,%20the%20Cutters,%20were%20among%20the%20handful%20of%20black%20rock%20and%20%20roll%20acts%20working%20in%20England%20during%20the%20late%20'50s.%20The%20West%20Indian-born%20Taylor%20had%20an%20excellent%20ballad%20style,%20but%20on%20the%20hard-rocking%20numbers%20he%20was%20heavily%20influenced%20by%20Little%20Richard's%20vocal%20style.%20The%20group%20was%20signed%20to%20EMI's%20Parlophone%20label,%20where%20their%20first%20release%20included%20the%20excellent%20&quot;Mercy,%20Mercy,%20Mercy&quot;%20as%20a%20B-side%20--%20as%20an%20A-side%20it%20could%20have%20charted,%20but%20it%20was%20too%20rich%20for%20Parlophone's%20blood%20in%201958,%20and%20&quot;House%20of%20Bamboo&quot;%20ended%20up%20as%20the%20play%20side.%20Their%20three%20follow-up%20singles%20were%20&quot;I%20Don't%20Want%20to%20Set%20the%20World%20On%20Fire&quot;%20b/w%20&quot;Tears%20on%20My%20Pillow,&quot;%20&quot;The%20Miracle%20of%20Christmas&quot;%20b/w%20&quot;A%20Baby%20Lay%20Sleeping,&quot;%20and%20&quot;Crazy%20Little%20Daisy&quot;%20b/w%20&quot;The%20First%20Words%20of%20Love,&quot;%20the%20latter%20released%20in%201959.%0a%0aThe%20group,%20which%20was%20heavy%20with%20horns%20and%20saxes%20as%20well%20as%20guitar,%20typical%20of%20British%20bands%20of%20this%20period,%20got%20regular%20exposure%20on%20the%20British%20television%20series%20Oh%20Boy!.%20Despite%20this%20edge%20and%20their%20appearance%20on%20the%20accompanying%20EMI%20tie-in%20LP%20(Oh%20Boy!,%20Parlophone%20PMC%201072),%20they%20never%20charted%20a%20single,%20but%20were%20influential%20as%20a%20television%20phenomenon.%20Their%20sound%20was%20already%20considered%20out%20of%20date%20by%20the%20turn%20of%20the%201950s%20into%20the%201960s.">Neville Taylor and his band, the Cutters, were among the handful of black rock and  roll acts working in England during the late '50s. The West Indian-born Taylor had an excellent ballad style, but on the hard-rocking numbers he was heavily influenced by Little Richard's vocal style. The group was signed to EMI's Parlophone label, where their first release included the excellent "Mercy, Mercy, Mercy" as a B-side -- as an A-side it could have charted, but it was too rich for Parlophone's blood in 1958, and "House of Bamboo" ended up as the play side. Their three follow-up singles were "I Don't Want to Set the World On Fire" b/w "Tears on My Pillow," "The Miracle of Christmas" b/w "A Baby Lay Sleeping," and "Crazy Little Daisy" b/w "The First Words of Love," the latter released in 1959.

The group, which was heavy with horns and saxes as well as guitar, typical of British bands of this period, got regular exposure on the British television series Oh Boy!. Despite this edge and their appearance on the accompanying EMI tie-in LP (Oh Boy!, Parlophone PMC 1072), they never charted a single, but were influential as a television phenomenon. Their sound was already considered out of date by the turn of the 1950s into the 1960s.</OtherInfo>
  <Source label="Source" urlencoded="www.allmusic.com" urlpathencoded="www.allmusic.com">www.allmusic.com</Source>
  <Conventions label="Conventions" urlencoded="International+Standard+Archival+Authority+Record+for+Corporate+Bodies%2c+Persons+and+Families+-+ISAAR(CPF)+2nd+edition+-+ICA+2004+ISBN+2-9521932-2-3%0a%0aNational+Council+on+Archives%2c+Rules+for+the+Construction+of+Personal%2c+Place+and+Corporate+Names%2c+1997" urlpathencoded="International%20Standard%20Archival%20Authority%20Record%20for%20Corporate%20Bodies,%20Persons%20and%20Families%20-%20ISAAR(CPF)%202nd%20edition%20-%20ICA%202004%20ISBN%202-9521932-2-3%0a%0aNational%20Council%20on%20Archives,%20Rules%20for%20the%20Construction%20of%20Personal,%20Place%20and%20Corporate%20Names,%201997">International Standard Archival Authority Record for Corporate Bodies, Persons and Families - ISAAR(CPF) 2nd edition - ICA 2004 ISBN 2-9521932-2-3

National Council on Archives, Rules for the Construction of Personal, Place and Corporate Names, 1997</Conventions>
  <Set label="Set" urlencoded="" urlpathencoded=""></Set>
  <ADMIN_DETAILS label="ADMIN_DETAILS" urlencoded="" urlpathencoded=""></ADMIN_DETAILS>
  <Creator label="Creator" urlencoded="RAHdroberts" urlpathencoded="RAHdroberts">RAHdroberts</Creator>
  <Created label="Created" urlencoded="1%2f29%2f2014" urlpathencoded="1/29/2014">1/29/2014</Created>
  <Modifier label="Modifier" urlencoded="Rachael.Fragola" urlpathencoded="Rachael.Fragola">Rachael.Fragola</Modifier>
  <Modified label="Modified" urlencoded="3%2f1%2f2022" urlpathencoded="3/1/2022">3/1/2022</Modified>
  <RecordID label="RecordID" urlencoded="03746930-5261-4504-a5b1-54bb5bd395f9" urlpathencoded="03746930-5261-4504-a5b1-54bb5bd395f9">03746930-5261-4504-a5b1-54bb5bd395f9</RecordID>
</Summary>
</SummaryList>