Ray Columbus And The Invaders - C’mon And Swim (1965)

Leroy Jones - C’mon And Swim (1964)

(Thomas Coman - Sly Stewart)
 USA

Single on Hit, the Nashville budget soundalike label. (If you couldn't afford The Beatles' Please Please Me you could have the Hit version by The Boll Weevils for 49 cents.)

The name Leroy Jones was frequently seen on Hit singles, for example on their covers of When A Man Loves A Woman and It's A Man's, Man's, Man's World.

Some of the Leroy Jones records were recorded by Herbert Hunter. Soulful Kinda Music has a Herbert Hunter discography that includes C'mon And Swim, but points out that it is unclear which Leroy Jones records were by Hunter.

Reference: Hit label discography [archived page] from The Hit Records Project.

Further reading: My blog posts on budget soundalike labels which include links to further information.

The Lifeguards - C’mon And Swim (1964)

(Thomas Coman - Sly Stewart)
 USA

Track 1 on C’mon And Swim on Wyncote, a budget arm of Philadelphia label Cameo-Parkway. Wyncote often strayed into the budget soundalike territory of Hit (see above), for example with the The Liverpools subbing for The Beatles.

References: 1. Wyncote label history, commentary and discography at BSN.

Ray Anthony - C’mon And Swim (1964)

(Thomas Coman - Sly Stewart)
 USA

Track on Capitol album entitled Swim, Swim, C’Mon Let’s Swim (on the front sleeve) or Swim, Swim, C’Mon And Swim (on the back sleeve and label). Bandleader and trumpeter Ray Anthony (b.1922, Raymond Antonini) was in the Glenn Miller Orchestra 1940-1941, its longest surviving member. YouTube

Los Rebeldes Del Rock - Jerk (C’Mon And Swim) (1965)

(Thomas Coman - Sly Stewart - Los Rebeldes Del Rock)
 Mexico

Single on Orfeon YouTube by Mexican band specialising in Spanish versions of songs originally in English.

Lloyd Thaxton, With Orchestra Directed By Billy Strange - C’mon And Swim (1964)

(Thomas Coman - Sly Stewart)
 USA

Instrumental version on album Lloyd Thaxton Presents.

Radio and TV announcer Lloyd Thaxton (1927-2008), host of his own mid-60s TV pop show YouTube, sings on two tracks.

Billy Strange arranged the songs, wrote six of them, and conducted his own orchestra, with vocal backing by The Flowers on some tracks. In the liner  notes, which cite the sound of the 40s as a benchmark, Billy Strange writes I am trying to present the top tunes with a swinging sound and a beat. YouTube

Three titles, including C’mon And Swim, appeared on a Billy Strange album with a similar concept, The James Bond Theme, also in 1964. It’s a different recording of C’mon And Swim with a similar arrangement YouTube.

Martha Reeves & The Vandellas - C’mon And Swim

(Thomas Coman - Sly Stewart)
 USA

Recorded 1960s(?) released 2013

Previously unreleased track YouTube by Detroit vocal group, known as Martha & The Vandellas until 1967. They had twelve Billboard Top 40 singles, including Top 10 hits Heat Wave (1963, #4 USA), Quicksand (1963, #8), Dancing In The Street (1964, #2), Nowhere To Run (1965, #8), I’m Ready For Love (1966, #9), and Jimmy Mack (1967, #10), all on Motown’s Gordy label.

C’mon And Swim was released on on Disc 3 (Sweeter Than Ever: Motown Lost And Found) of a multiple-CD package 50th Anniversary – The Singles Collection 1962-1972 (2013).

Enoch Light And His Orchestra - C’mon And Swim (1964)

(Thomas Coman - Sly Stewart)
 USA

Track on album Discotheque: Dance Dance Dance YouTube by classically trained violinist-conductor Enoch Light (1905-1978). Light created best-selling orchestral LPs, released on his own Command label, that were arranged and engineered to exploit the latest hi-fi stereo systems.

Further reading: Enoch Light at Spage Age Pop.

The Teemates - C’mon And Swim (1964)

(Thomas Coman - Sly Stewart)
 USA

On Audio Fidelity album Jet Set Dance Discothèque Vol.4 YouTube.

This album and Enoch Light’s could be aimed at a similar audience, perhaps a bit older and more affluent than the kids who put Bobby Freeman’s 45 onto the charts. Both feature current music recycled for the audiophile listener, although the Teemates track has vocals. Note also both albums’ use of the word discothèque some years before it was shortened for the 70s disco era.

THIS IS A DISCOTHÈQUE RECORD DESIGNED ESPECIALLY FOR YOUR DANCE DISCOTHÈQUE PARTY – Liner notes.