Echoes of the Youth Club: The Mod Beat Before the Glamour
To truly understand an artist like David Essex, one must travel far back past the shimmering, theatrical lights of Stardust and the sophisticated echo of “Rock On.” We must rewind to the mid-1960s, a time when he was still David Albert Cook, a young man finding his footing amidst the dizzying, vibrant pulse of the British R&B and Mod scene. “Baby Don’t Mind” is a treasure unearthed from those formative years, a record that smells of cheap hairspray, fast scooters, and smoky youth club floors. It is a vital historical marker, showcasing the raw energy and earnest ambition of a singer who was still years away from becoming the undisputed teen idol of the 1970s.
Crucially, this track is not a 70s hit; it’s a pure 60s artifact. “Baby Don’t Mind” was released on the Fontana label in 1965 as the B-side to Essex’s debut single, “Can’t Nobody Love You.” For many of us who remember those times, the B-sides often held the true gold, and this one certainly did. As a debut release, it predates Essex’s chart career entirely, meaning it did not secure a position on the UK Official Singles Chart at the time of its release. This fact only adds to its mystique; it’s a record appreciated by those in the know, a secret handshake among fans who understand that the story starts much earlier than Godspell or his first million seller. It was produced by Jack Baverstock and is a gritty, beat-driven cover of a tune originally recorded by the American group, The Charmaines, although Essex’s version fully embraces the distinctly British Mod sensibility of the era.
The song’s meaning and spirit are simple, direct, and completely infectious. It’s a classic, straightforward declaration of devotion, set against a backdrop of driving rhythm and blues. The lyrics are stripped-down: a young man is declaring that he doesn’t care what anyone else says or thinks—be it his mother, his friends, or the whole town—as long as the girl he loves is by his side. It is the ultimate teenage emotional manifesto, a commitment to mutual defiance against the world’s judgment. This unvarnished sentiment, ‘we against the world,’ is a powerful chord that resonates through the decades, recalling the exhilarating, all-consuming intensity of first love.
Listening to “Baby Don’t Mind” now is like catching a fleeting glimpse of the future superstar before the machinery of fame polished his image. The vocal performance here is less the smooth, theatrical baritone of his later ballads and more a raw, slightly strained, but utterly compelling shout, perfectly suited to the R&B shuffle of the backing track. The arrangement is tight and immediate, featuring sharp electric guitar chords and a relentless rhythm section that practically demands you clear a space for dancing. It speaks volumes about the musical grounding of David Essex, showing his roots were firmly planted in the same soil that nourished The Who and The Small Faces, proving he was a serious musician long before the fame, the films, and the two UK Number One singles. It’s a nostalgic nod to an era when pop music was played on instruments, when every local band dreamt of capturing the energy of America’s soul records, and when the simplest song about love could feel like the most important proclamation ever made. This little B-side, with its un-charting status, remains a brilliant, vibrant piece of the David Essex mosaic, a true vintage snapshot for those of us who have followed his charmed life from the very start.