"If I had a million pounds, I'd buy you the moon,
We could bounce it on the ground outside,
It would miss the animals as it went by,
No squashed frogs..."

The Journal of British Psychedelia

Issue No.: 13 * Date: Xmas 2002 * Price: 5 gold rings

E-mail: sweetfloralalbion@hotmail.com
Online at: Marmalade Skies "The home of British Psychedelia" :

Hi y'all~
Yo Ho Ho! and all that...Uncle Dave is away in Lapland with his elves, arranging the Xmas Eve prezzie run, so I'm standing in.
We at SFA would like to wish all our readers, contributors and their kith and kin, and fans and critics alike, a very, very Merry Christmas and a Happy New Year! And for 2003 to be a year of peace and joy.
Well, we can hope I s'pose... ~ Jason Scott (Guest Ed.)


O- LIVRE ICY-DELIQUE (Brrrrrrr! Il fait froid!)
O- OUT IN THE COLD - The Sorrows
O- {Quotes/Lyrics, & c., & c.}


'Lonely Hearts Club Christmas Party' by THE LOVE MACHINE

Harry meet Fred and Fred meet Mary
She's a meatpacker in the local dairy
Mary meet Ron and Ron meet Ivan
Surely you know Ivan is in advertisin'

And they all get together once a year
Oh, their desperate hours are forgotten here
At the Lonely Hearts Club Christmas Party
Lonely Hearts Club Christmas Party
Lonely Hearts Club Christmas Party Ball

Polly meet Bert and Bert meet Freda
Just call on Freda if you ever need her
Freda meet Clive and Clive meet Claira
She lives all alone with her sister Sarah

And they all get together once a year
Oh, their lonely hours are forgotten here
At the Lonely Hearts Club Christmas Party
Lonely Hearts Club Christmas Party
Lonely Hearts Club Christmas Party Ball

[Al voce femina:-]
"Walking outside in the dark and I'm trying to find you
Dancing with heaven knows who and I'm trying to find you
Love on my mind
Who's that behind me, creeping
Walking outside in the dark and I suddenly see you
Could this be love? Oh yes, could it be love?
Oh, I need you, holding my hand
Makes me feel grand
What's that you say?
Oh....you're one of the band !"

Abbie meet Carl and Carl meet Paula
She's still a good dancer even though she's taller
Paul meet John and John meet Davey
He's on leave from the Merchant Navy

And they all get together once a year
All their daily trials are forgotten here
At the Lonely Hearts Club Christmas Party
Lonely Hearts Club Christmas Party
Lonely Hearts Club Christmas Party
[ad lib to fade]

Irresistible Aussie psych/pop gem, with some of the  most audaciously bad rhyming couplets ever set to a fab libretto. Satirical, and undeniably camp, yet with a certain degree of pathos, in particular the waltzy middle section, where a tipsy short-sighted spinster, desperate for love, ends up getting off with a frog instead of her longed for prince; plus the deft addition of a homoerotic reference! Ooooh hello sailor! Merry Xmas everybody!


Sing Hallelujah!!! At l-o-n-g last one of our favourite albums ever, The Fox - 'For Fox Sake', is being given the respectful reissue it most assuredly deserves.
RPM (that fine outfit who are an example to the industry, pay attention to detail, present their products beautifully and don't charge the earth!) are handling this repress, which will include 2 demo bonus tracks and detailed info from guitarist Steve Brayne - who was recently interviewed by those lovely lads at Marmalade Skies.
In fact, it is due entirely to Marmalade Skies' interest that Steve Brayne decided to reissue this fine album.
Catalogue number: RPMBC 254. Due for release end Jan/early Feb 2003.


Check out Luis Suarez's http://groups.yahoo.com/group/pop45group if you dig Bubblegum, Psych, Glitter, Powerpop, Pop-psych, Harmony Pop, etc.


From Mark Frumento - "I thought you'd all like to know that RPM has decided to officially reissue Philwit & Pegasus. I got a phone call from Mark Stratford (of RPM) who said that the "unofficial" version prompted him to go ahead with some old plans he had been making for putting the album out.
Mark S. likes the presentation of the "bootleg" but it's likely that there will be some modifications to the track list... if that's any comfort to anyone who's already purchased the CD. What's cool is that we should hear a fully remastered version of the LP and the Elephant Song single. I'm going to put the "unofficial" version out of print but if anyone out there would like to own it on the chance that it will be a mega value collectors item in the future (tee hee!) please go ahead and order a copy. I am personally excited about this since it is an LP I believe deserves wider attention (though it does elicit mixed reviews).
One last thing: I am going ahead with plans to put out Pop Works 2.
I will post [on 'Cherry Smash'] a proposed track list soon. The main focus of the CD will be The Matchmakers and related projects (i.e. The Guards, Miki etc). Half the CD will be material from Anthology and the rest will be uncomped singles and LP tracks. I'm thinking that it will be available by mid-January. Same price possibly slightly lower!!!"


The latest issue (# 02.25 ) of the highly recommended 'Ultra', which is rather beautifully subtitled "the Sweetflorally Fading Takagi Tahiti Aoki Cassini Sender issue", is now available.
ultra@yucom.be or patrick.vandenberghe@coo.vlaanderen.be for details / subscription.


Two lovely new comps - one of psych & one of freakbeat - due for release on 13th December - 'We Can Fly', Volume 3, and 'That Driving Beat', Volume 3. Perfect stocking fillers methinks!


The second volume of poptastic obscurities is on the way! Thus far the comp is still in its early stages, but will definitely contain 'Uncle Joe, The Ice Cream Man' by the Mindbenders, and 'Gingerbread Man' by the Mirror. It is  also expected that Happy Magazine will make an appearance. Due early in 2003!


Not stratospherically-high prices this time, but "genre descriptions". A lot of dealers are pretty good on describing condition of vinyl, etc. After all, the RC Guide has become a kind of Imperial Measure. Where they consistently fall down is on the decscription/labelling of musical content.
There are always gonna be borderline cases which will arouse debate. But in general, terminologies such as psych/psych-pop/popsike et al are too easily bandied about, causing confusion and disappointment. In recent weeks the following have been given inappropriate psych-related epithets, by either witless tone deaf sellers, or those unscrupulous dealers over-eager to exploit the naive psych-hungry punter who is happy to buy blind:-
SIMON - 'Dream Seller', which is weak MOR pop of a very soppy and whimsical persuasion.
DON SPENCER - 'Uproar In The House', a dreadful monstrosity, unlistenable and totally unhip, from an OZ kids' TV star. Listed as "UK rare unlisted pop/psych 45"!!! "More pop than psych and certainly not country" said the dealer rather equivocally, and added the ridiculous suggestion that Steve Marriot was somehow involved!!!  Well, it ain't psych, but it's total rubbish and that's for sure.
SPOOKY TOOTH - 'Witness' LP, described as "classic UK psychedelic progressive". Nope!
CRISPIAN ST.PETERS- 'Pied Piper' LP,  schmaltzy drivel listed as "rare psych LP"!  Oh dear oh dear oh dear...
If you like decent music, you'd be best advised to avoid these (and many, many others similarly mis-described) like the proverbial plague. Buyer beware indeed! Where are those Trading Standards wallahs when you need them? (Probably looking into those cruddy 'Psychedelic (sic!) Salvage Company' boots!    (JS)
SELOFANE - 'Girl Called Fantasy', orchestrated mainstream harmony pop listed as "Beat Pop Psyche 1967". Well, it's certainly pop and most definitely released in '67, but that's all that's true.


Brian Carroll legendary engineer/producer from the even more legendary I.B.C studios has informed us of a unique double-sided IBC (red label) acetate, recorded in 1968. On side one there is 'How To Stop Smoking' a lengthy (10 mins 8 secs) slice of psychedelic musique concrét, which utilises various Beatles samples and effects to create a work which in its own way is as competent as any similar experiment it is a natural bridge between the avant garde works of Luigi Nono and Mr. & Mrs. Lennon's 'Revolution 9'. The second side contains the original sound effects created for Factory's 'Path Through The Forest' but not wedded to the 45, because as Brian himself says "there were a lot of suits running the business then and it went over their heads".
As is known, the intended 45 has been re-created by welding the sound effects to the issued 45 on 'The Complete [sic] Recordings' (Heads Together HT 0), it is hoped that the acetate will be issued in a facsimile edition, two fascinating slices of high class studio creativity. There is also the strong possibility of a new Factory compilation, which might even feature previously unheard tracks, hopefully even the long lost acetate of 'So You Wanna Be A Rock'n'Roll Star'! Watch this space! (DT)


We are told that due to the unacceptablility of some archive tapes and time required for mastering replacement media, the Skip Bifferty compilation will not appear until February 2003.


As a result of the great interest shown in the limited edition of The AeroVons test pressing album, EMI are - after a delay of only 33 years -finally to release this rarity. Hoorah!

STATION TOP TEN-  'Chocolate Soup FM'

Very pleased with how it is going. I had someone in Denver listen for over six hours continuously - then again maybe they just left their PC on. I've now had well over 3000 listeners since September. Here's this month's Chocolate Soup top ten, a very autumnal mellow list isn't it? I think I need to beef up CS's freakbeat ratio!!!
1  Robbie Curtice - When Diana paints a picture (Fading Yellow 3)
2  Hermans Hermits - Rattler (There's a kind of hush)
3  Normie Rowe - Sunshine Secret (Sweet Floral Albion)
4  6AX - Penelope Breedlove (Syde Trips 7)
5  Four Kinsmen - It looks like a daybreak
6  Aerovons - She's not dead (Aerovons)
7  Tin Tin - Toast and Marmalade (Tin Tin)
8  Wayne Fontana - Words of Bartholomew
9  Cilla Black - Abyssinian Secret
10 Peter Sarstedt - Once upon an everyday (Peter Sarstedt)
Playlist specials include -  a Top 20 tracks from the Syde Trips comps; Graham Gouldman spectacular with hits and obscurities from Herman's Hermits, Mindbenders etc plus tracks from his 1968 solo album; and goodies from Sweet Floral Albion, Fading Yellow, Peculiar Hole In The sky and Jagged Time Lapse.

***IL LIBRO PSICEDELICO: Book Review, by Paul Cross***

Steve Ingless. The Day Before Yesterday - Rock, Rhythm and Jazz in the Bishop's Stortford area from 1957 to 1969. Scila Publications: Bishop's Stortford, Herts. 1999 ISBN 0 9535355 0 9
This tome is an absolute treasure in the fields of local history and musical history. Writers of fiction are always advised to write about what & where they know best, to reach close at hand for inspiration. A maxim which  non-fiction writers should also adopt. Steve Ingless has focused on a small field and in the process produced a minor classic. If every county, every town had such a determined researcher we would finally have a full history of the period, not just of the successful and the renowned; but of the never-to-be-famous, which contained all the minutiae of unknown local bands; and through which we could fully gauge the true impact of psychedelia on the music scene.
Whilst pretty anti-psych in tone, Ingless has adopted an inclusive, non-discriminatory attitude to data and so he has amassed a veritable treasure trove of details, for example a fab description of Cream onstage (p.167) and the most expressive photo of Steve Marriott in action on 4th February 1967; and a truly wonderful photo of The Band of Joy.
Here, extracted from this book, is a list of bands who performed in Bishop's Stortford and the surrounding area during the years 1966 to 1969. A list which how just how vibrant was the scene, even in the sticks. Some of these names are instantly recognisable (these have been included for the sake of completeness and also to show just what great quality bands were on offer); others, often more evocatively named, are lost in a seemingly impenetrable obscurity. However, if you or anyone you know have any info about any of the unknown bands in the following list, please do contact us. Cheers! Now, feast your eyes on this lot and dream...

The Poor Souls, The Cortinas, The Yardbirds, The Truth, The In-crowd,  The Mode, The Mooche, The Carnaby, Intrigue, The Switch, The Small Faces, The Teapots, The Flies,  Wages of Sin, The Exceptions, The Style, The Move, Tracy's Circles, The Action, Pink Floyd, The (sic) New Generation, Cream, The Void, Pussyfoot, The Quadrant, The Eyes of Blonde, The Creation, Moss' Mixture, The Switch, The Step, Marmalade, The Klick, Dum Dum, The Bees, The Versions, The Unsolved, The Screen, The Jigsaw, The Lyres, Freak Down Lucifer, Geranium Pond, Dr. Marigold's Prescription, The Spectrum, Formula 4, Tuesday's Children, The Lloyd, Episode Six, The Cymbaline, Exploding Orange, Human Instinct, Warren Davis Monday Band, The Plastic Dreamcoat, The Apricot, The Intransitives, The King George Co., Honeybus, The Special Offer, Fish-Hook, The Herd, The Precious Few, The Motion Picture, Omaha, The Mood, Time Box, Dock, Dynaflow, The Village Green Mixed Show, The Mixed Creed, The Fox, The Mushrooms, Peeps, The Raid, The Gothics, The Reaction, The Spectrum, Breakthru, Peach Umbrella, The Trident, Dream Police, The Exploding Magic Rainbow, Trouble In Mind, The Throat, Almond Marzipan, The Glass Menagerie, Jack Straw's Castle, Traction, Zebedee's All Spring Band, The Rubber Band, Green Ginger, Taste, Midnight Plus, The Crazy World of Arthur Brown, Delivery, The Formula, The Benefaction, The Chasers, Geth Semane, Barrie's Magazine, Serendipity, The Track, Passion Forest, The Nice, Pure Medicine, Brickdust, The Giant Corporation, The Iveys, The Toast, The Committee, Hopscotch, Shades of Pale, Tintern Abbey, Pussy, Octopus, The Haze, The House of Lords, The Haze, Wellington Ketch, Tuesday's Outcome, The Klan, Film Fun, The Sensations, Blue Ulysses, The Alphabet, Emily Cue, Ace Kefford And The Stand, Bramble's Army, The Kiss, Junior's Eyes, Eire Apparent, The Eden Tree, Madrigal, East Of Eden, High Tide, Jesse Harper, Mighty Baby.
And last, but certainly far from least -Duke West's Circus Of Fleas, Flicks and Primitive Influences, Yuk!

***"CHAPTER FOUR were really JAY AND THE AMERICANS "....Er, NOT QUITE!!! by Jason Scott***

"I wanna spend all my money with the richest man,
I wanna know how it feels to be poor, pickin' at a garbage can"

Much speculation over the years, plus too little in-depth research, has lead to a rumour concerning the identity of the band behind the Chapter Four moniker, being regarded as fact. With no proof whatsoever and only the very slightest circumstantial evidence a veritable theoretical house of cards has been erected. This rumour, which originated a decade ago in a thankfully long-dead fanzine, has been quoted verbatim in the insert to the Chocolate
Soup CD (Reverberation V ). It reads:

"we can reveal the men behind this great track: they also recorded for UA, and were none other than (gasp) Jay And The Americans! Okay so it's hard to believe, but check out the composer credits and take a listen to the B-side, 'In Each Other's Arms', a bit of close harmony pop - that'll settle it!"

That'll settle nothing!!! This half-worked bilge out supposition has more recently been unquestioningly accepted as fact in 'The Tapestry Of Delights' entry for Chapter Four, and again on the sleeve of Rubble 20 (Past & Present PAPRLP 020).
For those of you (the vast majority, I guess?) who don't have access to the original 45, here's the label info -

United Artists UP1143
Release date [from demo copy]: 15.7.66
A side: 'In My Life' credited to Sanders-Vance-Kane, and published by United Music Ltd.
B side: 'In Each Others Arms' credited to Vance-Sanders-Nathanson, and published by Redblood Music Ltd.
Both sides arranged and produced by Gerry Granahan, 'a USA Recording'.

Kenny Vance and Marty Sanders were certainly members of Jay And The Americans, but apart from that there is no evidence whatsoever on the labels of their band's involvement.
Wishing to get to the bottom of this matter, the ever vigilant SFA contacted Dave 'Jay' Black, the leader of Jay And The Americans.
We can herewith confirm that, apart from the songwriters, the rest of the band had no connection with the Chapter Four tracks. Jay Black told us "I have no recollection of the recordings", and went on to say that "No, it is not possible that it was Jay And The Americans".
Jason Stone, the Americans current business manager, also confirmed that, whilst Kenny Vance was involved with the recordings, "he did not, however, have Jay Black involved with the recording at any time". And he went on to state that the co-writers / fellow Americans group members Marty Sanders and Kenny Vance were both part of the Chapter Four outfit, which was further enhanced by session musicians.
So, although Chapter Four featured two band members, it's simply not strictly true to say that Jay And The Americans recorded these songs. In fact, strictly speaking it is incorrect.
Unbelievably, it seems that this classic 45 was only issued to fulfill a publishing obligation, with negligible promotion and hence non-existent sales.

***OUT IN THE COLD by Jason Scott***

THE SORROWS - 'Old Songs, New Songs'
Our usual assortment of clichéd "Adjectival Psych Superlatives" (or "A.P.S." - usually fitted as standard in all SFA reviews!) almost fail us here, simply cos this album is so fabulously amazingly brilliantly wonderful! An essential item for all fans of UK psychedelia.
An Italian-language version of 'Take A Heart', opens the L.P., which despite the different tongue is a better version, looser, subtler more "late-60s" than "beat era". 'Same Old Road' is psych with garage-style Farfisa organ and great break. 'Rolling-Over' - the Small Faces' track nicely re-vamped, with soulful vocals retained and more Farfisa. Another cover next - Traffic's 'Heaven Is In Your Mind', pretty true to the original arrangement, but I prefer it to the original because it's also sufficiently different (some manic guitar work). After all, Stevie Windwood's voice is wonderful but 35 years of exposure can dull one's appreciation of even the finest work. 'Hey Hey' is great (this is a different version to the 45), self-penned, punchy, with some blinding guitar, a tad Skip Biff-ish, which can't be bad, can it? A freaky version of Family's 'Old Songs, New Songs', does more than justice to the original. Two Italian language songs are up next - 'Io Amo Te Per Lei' is psych-going-prog, that has real power and is frankly rather delicious; its followed by 'Vivi (Baby)' a slab of old-style ('65-'66) sorrows freakbeat. 'Hey Mr. Policemen' is as good as their previously mentioned Family cover, it doesn't diverge too sharply from the original, and has more of that stunning guitar. 'Shark Fishing Blues' is da blooooze, and unsurprisingly a bit of an old bore.  'Mr. Fantasy' - another Traffic cover, another winner, for the same reasons as above. For real "Hippie music" - flute, harmony vocals, acoustic guitar and the obligatory drug reference - try 'Mary J.', you'll not go far wrong.
The highlight of this L.P. and also not to over-hype it, one of the highlights of late 60s British music, is 'The Maker', a mini-symphony (six and a half minutes long) from the point where psych went prog. The first part is fine-quality progressive pop which is punctuated by the most brilliant Hendrix - inspired guitar breaks; fluid heavy psych with powerful drumming and twin guitars, which dissolves into the sound of sunshine, Spanish guitar AND sitar, some kind of proto-world music collision. Pure genius.
The close,  'Per Una Donna...No', is simply a quite nice Italian pop song, but frankly a bit of a let down after 'The Maker', as almost ANY SONG would be, few songs or bands could top that! But custom dictated that each side of the album must begin and end with musica lingua Italiana so...
'Old Songs, New Songs' is a blinding album, a real pleasure to experience; and soon to be (properly) reissued for the first time (forget those embarrassing jobs done by Psycho and Hyacinth records) by those good people at Rockinbeat!


Our man (PC) Paul Cross, asks the questions, Angel Pavement's bassist Graham Harris provides the answers.

PC - Where were you guys from ?
GH - York...the likes of the Smoke/Shots and Cliff Wade were around at the same time. Cliff was lead singer and shining light of an outfit called the 'Roll Movement' who had a distinctive sound and style I really admired.
Angel Pavement eventually poached their drummer and later their guitarist / trumpeter.
PC - When did Angel Pavement get together ?
GH - Early 1968. Local bands were like girlfriends in the 60's...you used to hop from one to the other 'til eventually something clicked ! I was in a 'Modish' band called the Machine, which included a couple of brothers whose parents seemed to be grooming them for stardom...they obviously lacked any noticeable talent and when we split in late '67 the drummer (Mike Candler) joined Roll Movement. They split a few months later and, as fate decrees, a group called Shotgun Package lost a drummer and bass...hello Angel Pavement.
We clicked pretty early and were all impressed by the American 'West Coast' sound at the time. Our vocal harmonies were strongly influenced by groups like the Byrds, Buffalo Springfield and Moby Grape. This suited me down to the ground as vocal harmony has always intrigued me. The Hollies were my earliest heros.
PC - What was the full band line-up ?
GH - Paul Smith (lead singer) / Clive (Alfie) Shepherd (lead guitar) / Graham Harris (bass) / Dave Smith (rythm guitar)...later replaced by John Cartwright on guitar and trumpet/ Mike (Candy) Candler (drums).
PC - Did the name of the band come from Elton John's '68 demo "The Girl On Angel Pavement"?
GH - Afraid not. We took it from a 1930's book of the same name by J.B.Priestly. It seemed pretty cool (the name, not the book!) at the time and it's been suggested lately that the name is a strong reflection of the 'psychedelic' era that spawned us.
PC - Could you unravel the ties with other projects such as Pussy, Tin Biscuit, Fortes Mentum. Was Danny Beckermann the only link between these outfits.
GH - Yes, Danny was the only link. He seemed to have a 'stable' of bands that already had or potentially could, promote his in house style.
PC - What was it like at Morgan studios?
GH - Walking into the owner, Monty Babson's office for the first time was a bit of a shock....his pride and joy was a collection of dildos and sex toys which he kept in a glass fronted display case behind his desk. Quiet a shock for a load of naive northern lads, even in the swinging sixties! We were always given the Midnight recording slot at Morgan which was fine but often caused quiet a few problems. We usually had to pick our way through previous musicians equipment, and I can remember lead guitarist Alfie Shepherd trying out Donovan's amp. with a wild riff, and blowing it up! ( a bit late, but sorry Donovan ) The other problem was tring to stay sober by Midnight....come on, it's not that easy to do. There was a particular solo bass riff (I think it was on the track 'Socialising') I was particularly proud of, but you don't have to listen too carefully to realise it is not maybe as crisp as it could be ( a few pints of flat southern beer could have been at fault) Funnily enough perhaps, I cannot recall drugs ever forming a part ( or any) of our musical career. The studio always smelt of hash but that was down to the technicians, and although a couple of the band had a go, we always seemed to find a few beers the more attractive option. Not being London Lads we always needed somewhere to crash out when we were down to record, and the usual spot for out of town groups was the Madison in Paddington.....what a dump, but a cheap dump. The best thing was coming down to breakfast ( served all day by the way) as you never knew who you would meet as even some better known bands used it. We often had breakfast with the Grease Band (I think old man Cocker stayed at the Ritz).
PC - Tell us about any magic moments ?
GH - The whole Mexican experience was unusual. We had a weekend gig at Sybilla's in Regent Street in late '68 and the Managing Director of a Mexican hotel chain was on holiday in the UK with his wife and liked us. He offered a contract for his new club in Mexico City and we flew over via New York in early '69. You have to remember Mexico was just getting on the map. We were there between the '68 Olympics and the '70 World Cup (the one where Gordon Banks made his famous save against Pele & Brazil.) We were actually big news out there which was fantastic and exciting after trolling around the usual UK venues without making headway. The most unusual gig was on a dam in Guanaguato in Northern Mexico, facing a lake full of thousands of locals around the edge and in rowing boats !! We were out there for 5 months and started some serious recording when we got back. We would often turn up at a gig in the UK and not know who we were playing with. Usually the size of the place was a hint. We often played with great bands like Status Quo, the Move, Marmalade (liked their harmonies) Georgie Fame, Alan Price... and a lot of Soul bands like Geno Washington. We got some good ideas from other bands. I was always impressed by the sound the Move bassist got out of his 'Impact' amp and speakers, and eventually managed to get a set myself, but never seemed to produce the same sound...

(See "Previews" below, for details of the forthcoming Angel Pavement compilation)

***'PENELOPE BREEDLOVE' - Further Info., by Paul Hodges***

Syde Tryps Seven (Tenth Planet TP052) included a track, supposedly acetate-only, entitled 'Penelope Breedlove' and attributed to an outfit with the unlikely name of "6AX". On first hearing this pop gem it was obvious that I'd heard this one before - but not on an acetate. A quick shoofty along the dusty shelves of the SFA Archive revealed that a version of this track had been issued on 45. At the time I didn't play the track to do a direct comparison; but just recently I gave it a spin and it can now be revealed that - barring the ever-so-slightly compression and degraded sound-quality - it is exactly the same. Same mix. Same take. Same everything. So 'Penelope Breedlove' is not "previously unreleased" as stated, but an actual release, albeit extremely obscure and pretty damn rare.
But one mystery remains - why the different credits? Perhaps Dave Christie was just his professional name?
'Penelope Breedlove'
A. Syde Tryps Seven : Acetate b/w: 'Love, You Don't Know What It Means'
Artist: 6AX
Writers Credits: Cliff Hall/Rick Stevens

B. Mercury MF 1028. Released 05/68; b/w: 'Love And The Brass Band'.
Writers Credits: D[ave] Christie/C[liff] Hall

***WHAT THE PAPERS SAID, selections by Jim Mac***

Letters from the NME, week ending July 1st, 1967:

What is Gary Leeds doing apart from growing a beard and becoming a Christmas parcel? We all know that John Walker made his debut at the Paris Olympia and Scott is busy recording, but still no news of Gary. I think he has the hardest of the three, being so much in the background before and he should be seriously considering his solo debut before the fickle public forget him altogether.
~Lyn Perkins (Droitwich, Worcs)

How much longer must I read that Bob Dylan is finished? he is still a big name on the pop scene and is currently working on something new.
Everybody said that the Beatles were fading. Then came along "Sgt. Pepper" and an almost unprecedented show of appreciation from all. Dylan is going to surprise everyone very shortly and prove that he still the sound of the sixties.
~Stephen Miller (Bath)

Everytime a new group appears one member seems to be pushed or brought forward at the expense of the others.
It started when Jeff Beck of the Yardbirds when it was stated that his guitar playing sold the records. It happened with Spencer Davis. The group's records supposedly made the charts on the strength of Stevie Winwood's voice.  Now that Procol Harum are pushing Gary Brooker to the fore. When will people realise that a group is a group and not one individual.
~Andrew Egleton (West Harrow, Middx.)


The MotivesFinally, we can reveal the truth about the band behind the magnificent, not to say amazingly rare, psych E.P. - 'The World Is A Trapezium' (Telstar EP 1021 EP) 1967, 4 tracks: 'God Save Our Gracious Cream', 'I Can Hear Colours', 'Ice Woman', 'Baby Of The May' - about which we raved so passionately in SFA 5 (Feb-March 2002).
The Motives were not, as had previously been suspected, Opus under another name, but a band of British servicemen!
With the generous assistance of Barry Beaumont-Jones (The Motives bass player), together with additional information from Tom Winter (the band's songwriter and lead guitarist), the true story can now at last be told...

Barry Beaumont-Jones (BBJ) - It was with great amusement that I read your article on the Motives. As a co-founding member of the band, I can assure you that your facts were not accurate...
Dave Thubron (DT) - Was the band actually based in the Netherlands?
BBJ - No, at Wildenrath in Germany, near the Dutch border. Formed at RAF Wildenrath in Germany late 1965. Initially a five piece outfit, the drummer leaving early 1966 to be replaced by John Redpath, the band played many gigs around the military bases and some in Holland. The band was similar in style to an Irish showband and initially played only covers, until in 1967 the lead guitarist was replaced with Tom Winter, who not only was a fine guitar player but had the ability to write good material. The band went from strength to strength, until we decided to record the above mentioned EP. We paid privately to the Dutch studio and commissioned about a hundred copies which we could either sell or give to friends. I sincerely doubt if there are even now 10 copies in existence.
DT - The EP was recorded and issued in '67?
BBJ - Yes.
DT - Tom, what guitars did you play?
Tom Winter (TW) - Whilst with the Motives, a hand-defaced Hofner 60's model 4560 (with vibrato). Strange, but I have no idea what happened to this guitar; with Mr.Fantasy (Budike) an Epiphone Sheraton Model E-212T serial number 70827. Traded this for the Les Paul. Current market value is at least £5000! With Opus (Maastricht) a Gibson Les Paul Custom (1970 reissue) black with gold Humbuckers and Grovers. Lost this to the management (along with everything I owned) when I left Opus.
DT - Was Budike a town where Mr. Fantasy was based?
BBJ - No. The Budike was a student club in Moenchengladbach. It was a great place to play in because the atmosphere was just amazing, a cellar with beer barrels for tables and candles instead of lamps and a real knowledgeable audience.
DT - Barry, what bass did you play?
BBJ - I played a Dynacord Semi-acoustic.
DT - What were your most memorable gigs?
BBJ - My most memorable gig was getting arrested for plugging into a street lamp!
DT - Tell us about that!
BBJ - The incident with the street lamp was with Mr. Fantasy. What basically happened was that there was this pub/club in Heerlen in Holland where The Motives had done a series of successful gigs, and We had recently formed Mr. Fantasy which was a more Kickass outfit, and we decided to go there and ask for an audition, but the management on that day were really nasty and wouldn't give us the time of day.Outside the club was this quadrangle courtyard with only two entrance/exits, it was the only way to approach the club. Anyway we were rather cheesed off with his attitude, so we decided to let him hear what he was missing. I backed our van against the street lamp, and John our drummer climbed on the roof of the van with our extension cable, took the plate off the streetlamp, and plugged us in. Meanwhile the rest of us had unloaded all the gear off the van and set it all up. We opened our audition and got about half the way through the first song when the Police cars came through the two entrances. We were told we were being arrested for stealing electricity, and we loaded all our gear back into the van and were then taken to the local Police station, where we were made to  sweat for about half an hour. The upshot was that the Police chief got us an audition at the biggest club in town, then let us go with a ticking off. It was a very memorable event.
TW - Most memorable gig with the Motives? Don't remember many, so I must've been there, I guess. Gig I remember with great pleasure was opening for Chris Barber at the beginning of his "new career" as Jazz AND BLUES band, featuring John Slaughter on guitar. That was a nice gig and, with Mr. Barber's permission, I placed my TK24 at the front of the stage and recorded their set. Still have the 1/4tk somewhere...it's probably disintegrated by now.
Tom Winter
DT - What or whom was Uncle Mac management (as credited on the sleeve of the EP)?
BBJ - Graham McMurdo our manager, now living in Scotland.
DT - Who drew the cartoon cover for the EP?
BBJ - Tommy Winter.
DT - How long did the band last?
BBJ - The band broke up in June 1968, and three of us joined up with another guitar player, Barrie Newby, and formed Mr. Fantasy. Unfortunately no recordings were made which was a pity as it was a better outfit than the Motives, but that's life. Mr. Fantasy lasted a year, and Tom winter then joined Opus 23, and wrote songs for them.
DT - Did The Motives ever record as Opus?
BBJ - Definitely NOT. They were 2 separate bands, although we knew each other.
DT - So, did you guys record 'Master Of My Fate' / 'Cucumber Sandwiches'; 'Baby, Come On' / 'Angela Grey'?
BBJ - NO, they weren't recorded by the Motives, but by Opus.
DT - ...these songs were written by Tom?
BBJ - Yes, Tom had by then left Mr. Fantasy (a group we formed after the Motives) and joined Opus.
DT - Were you aware that the release of 'God Save Our Gracious Cream' / 'I Can Hear Colours' (Killroy KR 1551) June 1970, has, on the recent 'Waterpipes And Dykes' comp, has been suggested that it was the work of Opus?
BBJ - No, I didn't know anything about that.
DT - Interestingly, the Killroy label was owned by Johnny Hoes, also owner of the Dutch Telstar, based in Weert.
TW - The 'God Save...' 45 wasn't actually attributed to Opus - at least not by Killroy. Killroy's angle was that the intro to 'God Save...' had "foreseen" the intro to the recently released 'I'm a man' by Chicago.
Codswallop, of course, as anyone who ever heard 'Purple Haze' would recognise right away.
DT - It is this attribution, together with Tom's writer's credits which lead to the belief that other/all Opus releases were the work of The Motives.
BBJ - The only link between The Motives and Opus is that Tommy [Winter] played in both Bands (not at the same time) and we were bumping into each other playing the same venues.
DT - Did Tom live in Maastricht?
BBJ - Not while he was with the Motives, but later while with Opus.

Opus 23

DT - Opus 23 and Opus were the same band? But recordings credited to Opus...
BBJ - Yes, early name was Opus 23, they dropped the 23 later.
DT - The known Opus line up was Tom Winter (vocs, lead guitar), Chrit Mandigers (keyboards), Robby Schaad (bass), and Jo Robeers (drums).
Interestingly, according to your photo of Opus 23, the original drummer was Frans "somebody". What was his surname?
TW - Opus 23 Line up was: Franz Theunisz- drums/voc (now superstar of Maastricht-dialect "Karnevaal" music; Rob Schaad- bass/voc; Chrit Mandigers-Hammond & Rhodes/voc; Paul Rosier- gtr/voc; Tom Winter- gtr/voc.
Opus 23 was soon signed by EMI Holland, Paul left the group, the name was changed and Opus recorded 'Master Of My Fate' / 'Cucumber Sandwiches'. Then Franz left the group and joined "The Sharons"; the Sharons' drummer Jo Robeers joined Opus and they recorded 'Baby, Come On'/'Angela Grey'. The third Opus single was 'Gotta Get High' / 'À Bas L' État' (English lyrics).
DT - What happened to the other guys in The Motives?
BBJ - John Redpath and Barrie Newby joined Emergency, John replacing their drummer (Udo Lindenburg). Life is funny eh, he [Lindenberg] goes on to become a German superstar....
DT - Who's who in The Motives band photo?
BBJ - Back row left: John Redpath (drums), right: Tom Winter (guitar); middle row left: Dave Field (Hammond organ), right: Barry B-Jones (bass); front: Clint Talbot (vocals).
DT - Barry and Tom - many thanks once again.

(Also, look out for a letter from Tom Winter in next month's SFA.)



Welcome to the small corner of Sweet Floral Albion that is forever European.
Here we shall attempt to grapple with the slippery beast that is the Euro psychedelic octopus. And we don't take kindly to Euro-skeptics 'round these parts, so if you're gonna snigger behind your hands at the 'funny' accents or poke fun at bouffant-haired German bands dressed in flowery blouses you can go and dip your eye in a different stream. Here we admire the imaginative use of English and gaze in wonder at the charity shop psychedelic chic without a trace of irony. Hopefully the best of what will be dissected here will appear at some future date courtesy of Dig The Fuzz, who after a brief sabbatical conducting research into the soul of psychedelic sound, are back from the land of Nod and out in the sunshine, preparing to blow minds with some new Incredible Sound Shows. The Euro Bureau is for the people and by the people, so if you have any revelations of your own just send 'em in. Anyway, we've got a lot to get through, so stop slouching and pay attention at the back, you're here to learn not enjoy yourselves!

JEFFERSON LEE-'Bubblegum music'/ 'Pancake trees'(US: Original Sound,'67)
Immediately breaking the self-imposed rules of the Euro Bureau with an anarchistic cackle, we present a little something from the old colonies. In fact, names don't come much more U.S. of A. than Jefferson Lee, but when he's from the John Wonderling school of Anglophile psych pop, he must surely find a home somewhere in SFA. Woozy fairground organ, disorientating tune, Lucy in the sky lyrics and vocals that occasionally echo off into the ozone, make 'Pancake Trees' an enchanting ride, not dissimilar to Wonderling's original version of 'Midway Down'. Lee made one further 45 'Sorcerella' / 'Book Of Love' that while great, is much more American-sounding and should therefore find a home elsewhere.

LUCAS-'Antisocial Season' / 'Hymn To The Sun' (Sweden: Polar, '67)
Sweden produced some pretty nifty music back in the sixties, much of which still resides in the "to be discovered" file. This band had at least seven 45s released back then, though this is the only one I've heard.
Unfortunately the A side, whose title promises a snarling acid punk blast of alienated teen angst, turns out to be a lame attempt at bouncy commercial pop. 'Hymn To The Sun' though, is a real thing of beauty. Beginning with a (mercifully very brief) deeply pretentious spoken word intro, the song takes off on an hypnotic ride anticipating Saucerful-era Floyd. The lyric is one word; "sun" sang in elongated harmonies that are half way between Yardbirds'-style Gregorian chant and multi-layered '67 Syd. These flow on a sea of beautiful crystalline piano grooves, some distant mournful brass and a well-timed floaty flute/ recorder injection. The whole thing is anchored to a 'Set The Controls...' bass / drum groove that's very er... groovy. The boys look the biz on the sleeve too, sitting all sullen and long-haired in suitable threads on some windswept rocky outcrop like the turned-on outlaws they probably weren't.

RO-D-YS-'Earnest Vocation' (Holland: Philips LP, '68)
Ro-d-ys ( pronounced "roadies" ) have had very little of their craft available since it first appeared more than thirty years ago. A patchy CD "Best of" geared to the Dutch nostalgia market is available and that's about it. Why? It could be the name which doesn't mean a lot, sounds a bit crap and has (presumably) unnecessary hyphens. It could be the music, which never really ventured either into the fuzz-ravaged cave of Pretties' punk or the interstellar cosmic eye of their more celebrated contemporaries. It seems more probable though that their best music simply remains largely unheard.
They were pretty big in Holland for a brief period, had a few early hits and their first LP 'Just Fancy' from '67 sold OK. It was a decent enough Kinks / Beatles-influenced pop effort with occasional heavier sounds and the odd production flourish, but was overall a bit derivative. As the music became more adventurous sales plummeted and by the time of their second and final LP 'Earnest Vocation' from '68, not even their mums were interested. Along with 'C.Q.' and 'Beat Behind The Dykes' it's one of the rarest major label Dutch LPs of the sixties though unlike those two, remains relatively unknown outside Holland. It's also about as close as the Dutch came on LP to the classic studio-crafted '67 UK pop psych sound. They had developed a pretty distinctive noise of their own by this point however, still influenced by flowery sounds coming from over the North Sea, but with plenty of homegrown lowland charm in the mix. One thing that may deter the lily-livered from loving the Ro-d-ys sound unconditionally is the unpredictability of their melodies, which had a tendency to leap about, stop and start and generally behave in a wayward fashion. This can sound great when they pull it off, but can also be quite jarring and awkward on the untrained ear. The title track is a prime example of this, sounding like a zillion different orchestrated pop psych tunes all welded together by a deaf fisherman, and it's great! It was also issued with admirable optimism as a 45 'A' side, with predictable sales. Any DJ who flipped it over hoping for a more airwave-friendly pop effort was confronted by 'Isn't It A Good Time', a disjointed trip through a scary turn of the century fairground freak show, like a B-movie horror version of "Being for the benefit of Mr. Kite". It also appears as track 2 on the LP after the breezy but eminently forgettable opener, 'Unforgettable Girl', probably the weakest cut on the LP. 'Easy Come, Easy Go' was possibly the high point, fizzing like a chemical reaction between Tomorrow and The Who, riding on a roller coaster of jet engine phasing. 'Love Is Almost Everywhere' and 'Look For Windchild' by contrast are stately orchestrated pop psych delicacies in an early Blossom Toes / Bee Gees vein. Other highlights are the sprightly guitar-driven Move-like power pop of 'Robinetta' and 'Dr. Sipher', and one listen to 'No Place Like Home' should make it obvious where Focus got the idea for the operatics on "Hocus pocus".
There's also an irresistibly cheerful ditty about bicycles; an allegorical tale about war called 'Peace Ants'; and plenty of "draaiorgel". This large highly ornate street organ that provides the Saturday soundtrack in every town in Holland, helps explain the unique and distinctly Dutch feel permeating the LP. After one more 45, the wistful and rather beautiful 'Winter Woman' the boys called it quits, returning to their day jobs on the farms of the northern province of Groningen.

ILLES - 'Illesek Es Pofonok' (Hungary: Qualiton LP, '69)
Hey come back here! So it's from Hungary and sung in Hungarian? Give it a chance! This is the Hungarian Sgt. Pepper. Really! Put through a indigenous folk pop mincer of course, but certainly with enough skewed psychedelic surprises to satisfy the psyche. There are some songs that sound like bouncy ska/ pop adaptations of hoary old Hungarian folk tunes that I have to say, go way over my head. Mostly though, the cultural collision is at least interesting and sometimes pretty mind boggling. Two tracks in particular go for a trance like mystical far eastern vibe that sounds great, and not quite like anything else I've heard, shot through with a vaguely sitar-like instrument of presumably Hungarian origin. There's a fair bit of studio trickery, especially between the tracks and some spoken snippets that could be highly subversive acid humour digs at their communist oppressors. At least that's what I like to think, though of course because I don't understand a word, the lyrics are a blank canvas on which any meaning can be gleefully imposed. My favorite songs here are those that combine equal measures of "Hungarian-ness" with Beatlesque pop to produce music that is both interesting and pretty damn catchy. When you find yourself singing Hungarian in the shower you know something's got under your skin. The sleeve must have caused the Art Dept. at Qualiton to mutter and grumble under their breath about decadent capitalistic excesses, being a multi-coloured pop-art gatefold pop-up job. There was even an insert featuring a 'Yellow Submarine'-style rendering of the band in the same garish colours as the sleeve. As far as I can work out this should be cut out, folded origami style, made into a tube and then placed upright on the label of the record as it spins on the turntable thereby creating a low budget psychedelic movie show to accompany the music.

The Outsiders - 'C.Q.' (Holland: Polydor LP, '68  / Holland: Pseudonym LP/CD, 2002)
I wasn't originally going to include this, because, well, you all already know and love this and play it every morning with your cornflakes before you trek off in the drizzle to your under-paid, under-appreciated job that music like this makes bearable. Right? It then occurred to me that maybe, just maybe, someone reading this will not have heard it. If that's you, turn off your computer, slip out of your paisley pyjamas and hot foot it down to your local sound emporium now. Don't worry, we'll wait 'til you get back. Sorted?
Now listen to it, scoop your scrambled brains back into your skull, write a review and send it for inclusion in the next Euro Bureau which will consist entirely of first impressions of 'C.Q.' (possibly).



Here's the second part of the classic Charles Shaar Murray piece (continued from last month):
From the NME April 26th 1975.

Nice Stuff 2NICE STUFF- VOLUME 2 (Dealer WOT 0002)
It's dream-time in Compilationsville once again, amigos. This week Charles Shaar Murray does his worst to induce EMI into issuing Volume Two in is discocartography of The Golden Age Of British Psychedelia - an auspicious era during which this country's youth eagerly did its brains in on everything from S.T.P. to macrobiotic food, all of us caught crabs, and rock-wise there were...
Volume Two of "Nice Stuff" is really wish fulfilment on an extremely grandiose scale, as Roy Carr and I discovered when we dreamed up the idea of "Hard Up Heroes" eighteen months or so ago. We took our little project to E.M.I., dazzled with the extraordinary material that lurked in their capacious vaults, and friends, they turned us down flat. (They also turned us down flat when we offered to compile the ultimate Yardbirds anthology, on the grounds that their extraordinarily slapdash and inadequate "Remember The Yardbirds" set on Starline was still selling, which it was - in the absence of something better) Even the consistently high import sales of a series of compilations put together by E.M.I. Germany haven't convinced them that there is much that can be done in terms of creative recycling of the wealth of legendary stuff still at their disposal, and it doesn't look as if "Nice Stuff Vol. II" will ever see the light of what passes for day on the shelves of record shops. Time's a-wastin' though, so awaaaaaaaaaaaaaay we go...
THE SMOKE: "My Friend Jack"
Who The Smoke were I never knew nor cared. For all I know they're all butchers or bus-conductors now, though there's always the possibility that one of them joined a group like Supertramp and is currently a teenage idol.
"My Friend Jack" emerged in the misty dawn of 1967 and was built around the central thesis that "my friend Jack eats sugar lumps", which was a cutesy nudge-nudge-wink-wink reference to the fact that users of lysergic acid diawhateritwas (hereafter referred to simply as "acid") used to consume the foul stuff pouring it onto sugar cubes and crunching same, and then going out and seeing God. Naturally, all the degenerates who indulged in this habit were delighted to hear this public reference to their vice, and enough of them stopped listening to the heartbeat of the cosmos long enough to buy this record. Without a shadow of a doubt, it was dreadful in the extreme, but it is included herein as an instant cultural reference point. Besides, records as bad as "My Friend Jack" cannot be allowed to vanish into oblivion. Proudly it stands, therefore, as simultaneously a monument to the excesses of a by-gone-era, and An Awful Warning to us all.
TOMORROW: "My White Bicycle"
Once upon a time, a radical group known as the Provos (short for "Provotariat") flourished in Amsterdam. One of their many admirable stunts was to get hold of a bunch of bicycles, paint them all white, and place them at the disposal of the public - ie anybody who needed to get somewhere in a hurry could just grab the nearest white bicycle and use it to take him to wherever he needed to go. With impeccable logic, the Dutch police confiscated the lot because (a) they weren't registered in anybody's name and (b) they were left around unlocked. Tomorrow were Keith West (vocals, poses and Teenage Opera), Steve Howe (guitars and subsequent superstardom), Junior (bass and mystique) and Twink (drums, lunacy and notoriety as per Mr. Farren's Fairies piece). During 1967 and early 1968, they were rated by many as being in the same league as the pre-hit Pink Floyd, Arthur Brown and Driscoll-Auger, but despite West's solo success with the abominable "Excerpt From A Teenage Opera", they never achieved what we rock writers are fond of describing as "that elusive hit single". "My White Bicycle" features loony guitar from Howe, all the production gimmicks popular at the time and a very English vocal, Living History, as is...
THE YARDBIRDS: "Happenings Ten Years Time Ago"
This little ditty is a curiosity on many levels. It was Jeff Beck's last recording as a Bird, one of the only two tracks which feature both Beck and Jimmy Page (the other being its B-side "Psycho Daisies", the only Yardbirds single apart from "Good Morning Little School Girl" to be an unqualified flop, plus it conformed to the demands of the then-imminent Psychedelic Era more than anything else the group ever did. It has lyrics of the utmost cosmicity ("It is real or only in my dreams/I gotta know what it all means"), a relentlessly crazy guitar-solo-and-monologue from Beck, and a fabulous impersonation of a police siren by Page. Every home should have one.
PINK FLOYD: "Apples And Oranges"
And the flops just keep on comin'! "Apples And Oranges" was the Floyd's last single to involve miracle ingredient "Syd", and it was quite unutterably manic with a vocal line that gradually spiralled ever upwards and then toppled gracefully over the edge. It followed "Arnold Layne" and "See Emily Play", but for some odd reason did absolutely nothing. Maybe Barrett's lack of communication with the outside world had something to do with it - just maybe. Shortly after its release, he swan-dived into the infinite to be replaced by Dandruff King David Gilmour, who gets his moment of glory over on Side Two.
DANTALIAN'S CHARIOT: "Madman Running Through The Fields"
And God (or someone like him) created George Bruno, and George Bruno created Zoot Money, and Zoot Money created the Big Roll Band, and Sandoz and Owsley created most wondrously fine acid. The result of all these geneses was Dantalian's Chariot. Challengers Of The Unknown and Hallucinogenic Warriors Extraordinarie, "Madman Running Through The Fields" was an invigorating riot of backward tapes and other then fashionable devices, and it sold not a whit. D. Chariot specialised in all-which costumes and instruments, had what was for a while regarded as the best lightshow in town, and lost a small fortune. Such is life, and in the Great Psychedelic Era, it kept getting sucher and sucher.

TOMORROW: "Revolution"
It was like this, see, Tomorrow were doing this gig at UFO, see, and word of the Jagger-Richard bust came through, see, and everybody got mucho indignant, see, and so Twink grabbed a handmike and wandered out into the audience yelling "Revolution now! Revolution now!", right? And later it became a song, man, and it didn't sell. Tomorrow were actually a fine band.
I have faint, dim memories of seeing them on this all-night lunatics' convention entitled "Christmas On Earth Continued", and during the set Steve Howe played beautifully, Junior dropped his bass, and Keith West demonstrated a variety of on-stage poses that anticipated many of the excesses of the Sublime Seventies. In addition to "Bicycle" and "Revolution", they performed a hideous creation entitled "Three Funny Little Dwarves", and "Strawberry Fields Forever", Twice.
THE PINK FLOYD: "Point Me At The Sky"
And enter David Gilmour, "Point Me At The Sky" ran into problems right at the start because it mentioned the Evening Standard, and so things had to grind to a halt while the offending phrase was redubbed as "the Daily Standard". I'm sorry to have to tell you that it wasn't a hit (is this becoming monotonous?), since it was well over five minutes long and not particularly catchy. It operated in sections, something that the Great British Public wasn't quite ready for, and it wasn't particularly orientated towards the taste of Radio 1 producers, which may have contributed to its downfall. The pirate radio stations, y'see, had been packed up a couple of months before, which had an immediate conservatising effect on public taste.
After the "Sky" debacle, the Floyd stopped making singles.
At last, friends, a bona fide HIT! One of the legacies of the Psychedelic Age was a frenzied outburst of guitar-heroing, based on either Strange Electronic Devices and/or recitals of The Complete Works of Albert King Performed Consecutively In No Less Than Eighteen Seconds. Dave Edmunds came from a peculiarly demented Welsh branch of the latter school and, as part of Love Sculpture, got signed to Parlophone because the label at that time was without a blues band. (it was also 1968, when record companies had to have blues bands or else be Last Year's Label.) L.Sculpture dutifully made an album entitled "Blues Helping", containing numbers like "The Stumble", "Wang Dang Doodle", "Three O'Clock Blues" and so forth, and then somehow persuaded their record company to go for an absolutely murderous hell-for-leather version of Khatchaturian's "Sabre Dance", which was first premiered when the group guested on John Peel's "Top Gear".  Their performance so unnerved Peel that he insisted on playing it again later on in the show. It boosted Love Sculpture into a fair-to-medium-sized attraction on the college circuit, and enabled them to only play blues when the actually felt like it. Eventually they split up and Dave Edmunds, apart from a temporary resurfacing with "I Hear You Knockin'", turned to studio whizz kiddery and bailing out "Stardust".
JEFF BECK GROUP: "Rock My Plimsoul" (single version)
While the vast majority were farting around with studio gimmicks and hippie mysticism, a few resolute souls continued to play blues and rock out.  Among the latter division were the Jeff Beck Group, who at that time included Rod Stewart (microphone), Micky Waller (drums) and Ron Wood (bass), with the occasional assistance of Nicky Hopkins (piano). They in fact recorded two versions of "Rock My Plimsoul" (a bastardised version of B.B. King's "Rock Me Baby"), one of which appeared on the B-side of their "Tallyman" single in 1967 and the other on the "Truth" album in 1968, though they were probably cut at the same session. In the liner notes to "Trust", Beck claimed that the album version was far superior to the single version, and it is probably due to this that the album version was included on last year's Rak maxi-single of Jeff Beck Group triumphs.  Personally, I always felt the single cut to be more compact, more inventive and to have a far higher energy level, and without wishing to re-open any old wounds, a cursory listen to "Plimsoul" and, to a certain extent, to "Blues De Luxe" on "Trust", should demonstrate fairly definitely that Beck and Stewart were developing at lest two years before Jimmy Page and Robert Plant teamed up many of the stylistic devices that were to characterise Led Zeppelin's blues work.
Once upon a time, before the formation of Purple Records, and even before EMI formally acknowledged the fact that D. Purple were a "progressive group" by switching them to Harvest, they recorded a couple of albums for Parlophone, the first of which was charmingly entitled "Shades Of Deep Purple". They don't dream up titles like that any more. Simultaneously, they were signed to Bill Cosby's Tetragrammaton Records in the States, and achieved a couple of massive hits with Vanilla Fudge-style reworks of songs like "Hush" and "Kentucky Woman". "Hush" was actually an object lesson in how to heavy up a pop song, complete with a neat little organ riff and rather overstated vocals from one Rod Evans, the D.Purple's singer. He waslater to reappear in a singularly nasty group called Captain Beyond.
THE EDGAR BROUGHTON BAND: "Out Demons Out" God, how I used to hate this song when the Broughtons' performed it - as they inevitably did - at large open air gatherings such as Hyde Park freebies and the Bath Blues Festival of 1969! As the First Psychedelic Age began to fade from the nervous system and everybody calm down, it seemed that its legacy was hordes of shirtless kinds in headbands banging Coke tins together and howling "Out demons out!" right along with the Broughtons. Little did they know, all those years ago, that what they were actually doing was pioneering exorcism-rock.
Addendum: Something that I only noticed when I was halfway through compiling this second volume of "Nice Stuff" is that both anthologies consist principally, if not entirely, of material originally issued on singles. At a time when only soul and idiot pop actually think in terms of singles as singles, it could be worth noting that the anthologists of the late '70s and early '80s are going to be in one hell of lot of trouble.


ANGEL PAVEMENT - Maybe Tomorrow (Tenth Planet TP055) Vinyl LP comp 1000 copies only.
(Due January 2003)
Side One:
The Man In The Shop On The Corner
Maybe Tomorrow
The Time Is Upon Us
Green Mello Hill
Little Old Man
When Will I See June Again
Side Two:
Water Woman
I'm A Dreamer
Baby You've Gotta Stay
I'm Moving On
(See also our interview with Graham Harris, above)


HERE LIES EBENEEZER GOODE (1970-1974)- BRITISH PSYCHEDELIA: THE SOUNDS THAT TIME FORGOT 9Queen Victoria records 2004LP) Vinyl LP compilation. 400 copies only.
As some blinkered sixties-fixated souls continue to scrape through the bottom of the sixties' barrel in the desperate hunt for elusive head-sounds, others of a more open technicolored mindset are defying received convention and have begun to explore the terra incognita; so, at long last and for the first time EVER, we are regaled with a Psych compilation which has as its focus obscure recordings solely from the 1970s. This, in the undeniably conservative world of compilations & collectors,is no less than a revolutionary concept! Tradition has it that "60s" and "Psych" are irresistibly and irrefutably locked together- the smelly old 70s is for swelly old Prog, et al. Well, Fiddlesticks and Flapdoodle! as Professor Yaffle would exclaim. Queen Vic Records - part of the mighty and currently resurgent Dig The Fuzz corporation - have challenged The Man's overly strict and delineatory Historicist model and won a resounding victory for common sense. Here they offer 14 dishes from the 70's smorgasbord, some items of which will doubtless be debated ad heaving nauseum by the "is-it-really-psych" brigade...
These dishes range from a spicy and piccant Glam-Psych stomper ('The Wizzard') through a sweet "spontaneous Apple creation" - as Arthur Brown would say (Chris Hodge), to a minty and long-lasting dessert (Humbug - also see 'Discography' this month, for another of their beauties). Mention must also be made of the track by Chameleon, which features a fine production by one of our fave CBS staffers, viz. Mike Fitzhenry; and 'Ebeneezer' by the afore-mentioned Humbug, which was co-written by East Of Eden drummer, Dave Dufort (not DuFont as it says in 'The Tapestry Of Delights').
This is a compn of some significance in our wee world, not only for the music profiled, but for the setting a ground-breaking precedent, which it is fervently hoped will be emulated; for as the sleevenotes to this collection clearly state -"This LP represents the 'tip of the iceberg' & should introduce an era to our ears that we may have igored". Ignored, yes, but not any longer. (PC)

(DIG The Fuzz DIG 045) Vinyl LP compilation. 400 copies only.
This DTF comp, the first from them for quite a while and one of the most visually delightful they've yet produced, continues where I.S.S.S. vol. 9 began, dealing with foreign releases by UK artistes mostly from the freakbeat end of the 60s music spectrum, but contains sufficient material to interest SFA- type ear holes. Goodies include a track apiece from the under-appreciated but very wonderful mega rare Kraut-only LP by The Hi-Fis, and one from The Snappers' Swiss-released album (this track was also issued, together with the only other decent cut from the LP - 'Smiley's Tram', on 'Syde Tryps 7').
And just check out the guitar on Tony Ritchie's 'Comin' On Strong' -
Blimey!!! Don Fardon's 'Sunshine Woman' has long been recognised as a winner - buttoned-down and phased too boot! Also great is the maniacal 'Can't You See' by the equally maniacal Arthur Brown, from the soundtrack of 'La Curee'.
Welcome back Dig The Fuzz!

THE ELECTRIC LEMONADE ACID TEST VOLUME THREE: an anthology of the Spark label 1967-70 (Tenth Planet TP055) LP Comp. Ltd. edn. 1000 copies.
JUST WILLIAM - Cherrywood Green
THE NEW GENERATION - Sadie & Her Magic Mr. Galahad
TIMOTHY BLUE - She Won't See The Light
ICARUS - The Devil Rides Out
FRUIT MACHINE - I'm Alone Today
THE BABY - Heartbreaker
SIMON DE LACEY - Baby Come Back To Me
JOHN CARTER & RUSS ALQUIST - Midsummer Dreaming
THE EGGY - Hookey
EARTHA KITT - Hurdy Gurdy Man
Wowzer! Chock full of groovy grooves! We'll be brief. the track list which pretty much speaks for itself, includes previously un-comped gems from Just William, Timothy Blue, Simon De Lacey and big SFA-fave The Baby; together with the unmissable John Carter and chums' demos of the Threshold Of Pleasure classic (note: the original shorter title!) and a fantastic early '68 recording: 'In The Sky', which is Premier League psych pop!!! This is yet another must-have comp from Tenth Planet.

***CILLA GOES PSYCH ! by Johnny Hortus***
The following  wondrous gem from the Orient (that's East Africa, not Leyton), which is lyrically perplexing; and features, against an orchestral backdrop, some atmospheric Eastern-styled keyboard fills, can be found on Cilla's 'Time For Cilla' EP (Parlophone GEP8967)1967. Whilst it is far removed from her usual showbiz/schmaltz/MOR balladeering, it does nevertheless features her unrecognisable trademark- the Grimsby fog horn vocal style, which so moved Burt Bacharach.... to tears of frustration!
Let's not also forget that she also got her tonsils round Skip Bifferty's 'Follow The Path To The Stars', but you really didn't want to know that now, did you? It remains highly doubtful whether "Our Cilla" (Registered Trade Mark) understood many of the words in 'Abyssinian Secret', and in particular the drug / smuggling / paranoia ambiguities. Although, who can tell for sure? After all, she was "a close friend of The Beatles" , just in case you weren't aware of this er..."fact".

'Abyssinian Secret' by CILLA BLACK*
Come inside my little castle
Let me show you something that is quite unique
On a trip to Abyssinia bought it from a peddler
Who had such a sheekh

Smuggle it away, don't give me away
I must keep it out of the light
Keep it in the back of my little shack
Now I never dare to fall asleep at night

Come inside and we'll enjoy it
Lock the door so no-one else can see inside

Smuggle it away, don't give me away
I must keep it out of the light
Keep it in the back of my little shack
Now I never dare to fall asleep at night

Come inside my little castle
Let me show you something that you won't forget
You won't forget

* First recorded by Merion/Marion (Page One POF 042) 1967.



The Secrets
Cliff Ward, who sadly died a year ago on 18th December, is widely known for his heartfelt sentimentalism and implicit melodic sensibility, as evinced in such singer-songwriter classics as 'Gaye' and 'Home Thoughts From Abroad'.
But in the mid 60s he was the leader of a forgotten beat band whose recordings have long appealed to fans of the more esoteric British releases.
Cliff Ward and The Cruisers were a typical product of the Midlands beat scene, based in Stourport-on-Severn, they first recorded four acetate-only tracks in August 1964 at Hollick & Taylor, a small recording studio in Handsworth, Birmingham. Of the four recorded songs, only one is of sufficient interest to us here- 'Rachel' is a fine piece of light pop that was written by Cliff, it firmly laid the foundations for where Ward's music would develop in the early 70s. A dozen copies of the acetates were cut for the Cruisers' manager, Nigel Rees. EMI showed some interest in them, and commencing on  1st February 1965 they recorded some demos at Abbey Road and at EMI studios in Manchester Square. On 26th March at the latter they recorded 'Candy To Me' (the Eddie Holland Motown rarity) which was to be their first A side. To avoid confusion with Dave Berry and The Cruisers, they changed their name to the more contemporary sounding Martin Raynor and The Secrets. Cliff adopted the stage name Martin Raynor,  probably inspired by one of his sons, named Martin. (Note- 'The Tapestry of Delights' states incorrectly that Martin Raynor was a separate member of the band) They cut a version of 'Imagination' by The Quotations which remains in the EMI vaults.
In Summer 1966, Jimmy Page showed interest in the band and attempted to sign Ward to his Freeway Music production co. (housed under the Immediate Records umbrella) and Ward and band journeyed to I.B.C. where they recorded a demo of 'The Gloria Bosom Show' (see below), which was covered in identikit fashion in 1968 by The Sundowners. The Martin Raynor pseudonym was soon dropped and the band-name truncated to The Secrets. Soon after, they met Cornishman Eddie Trevett. Trevett, or Tre-Vett as he liked to be known, a cult name among UK psych collectors (his name is found on the labels of 45s by Peter & The Wolves, Norman Conquest, The Factory, etc) was one of the first free-lance producers (although his office was in the same building as I.B.C., above the studios); he is credited as producer of The Secrets' first single- 'I Suppose' / 'Such A Pity', although the actual studio knob twiddling was most probably handled by I.B.C. staffers such as Brian Carroll (see elsewhere this issue). The B-side of the debut was also published by Trevett's publishing company, T.V. Music. It soon became obvious to Trevett that Cliff was developing a natural talent for lyrics and he and John Pantry became Trevett's principal in-house songwriters.
On 13 January '67 The Secrets recorded 'Infatuation' and 'She's Dangerous', which featured a Move-style siren. Again, production duties were credited to Tre-Vett and the B side was published by TV music. Next month they recorded 'I Intend to Please' and the witty  'I think I Need the Cash', this time both songs were assigned to T.V Music. The 45 was issued on 23 June.
On 22 March '67 Cliff Ward recorded his freakiest journey into the mind's eye, 'Path Through The Forest' (see "Lyrics" last month), on 1/4" tape at Leon Tipler's bedroom studio in Kidderminster. Leon Tipler had been part of Ward's circle since early '63 when the whizz kid began recording the Cruisers' demos and gigs. Tipler, a typical and genuine British eccentric also had Cliff Ward and assorted friends perform his self-penned slapstick comedy shows (it was this which was the inspiration for 'The Gloria Bosom Show') for his fictitious commercial station, "Radio G-LTK". The psych emphasis of 'Path' was grist to Tipler's mill, as he was a dedicated aural experimenter - playing with cut-ups, overdubs, collages... editing and re-editing tracks into nonsense. This explains why the songwriter demo, instead of being, as is typical of virtually all such recordings, a skeletal rendition captured on tape or vinyl to be fleshed out at a later date, is in fact a fully-realised mellange of layer upon layer of over-dubbed effects and sonic weirdness, albeit in a perhaps rather inexpertly rendered fashion.
As such, it is an extremely rare and precious example of "DIY psych".
Perhaps only The Rats' 'Bernie Gripplestone' ever came this close to creating so much aural pleasure from so little and in such inauspicious surroundings.
On 7 August 1967, after passing the obligatory and notoriously strict BBC audition, The Secrets recorded for the 'Monday, Monday' radio programme, ragged run-throughs of 'I Intend to Please' and John Pantry's 'Two People'.
In Autumn '67 Cliff cut 'Coathanger' (to which Cliff would return later in his career); and 'Naughty Boy', which was issued on 45 b/w 'Sympathy', attributed this time to Simon's Secrets (Simon being the name of another of Cliff's sons). Interestingly the writer credit for 'Sympathy' was given by Ward to "Rollins"[sic] - i.e. his wife Pat, (Rollings [sic] being her maiden name) -  the same "Rollings" to whom 'Path Through The Forest' was credited on the Factory single. 'Sympathy' was another song that was later re-worked by Cliff. 'Naughty Boy' is the jewel in the crown. An irresistible melody and repetitive refrain, it could have so easily, with the right degree of exposure, been a massive hit. It has a timeless quality and if heard today on the radio wouldn't at all sound out of place.
Their last 45 was issued in December, the punchy Mod-flavoured 'I Know What Her Name Is', complete with understated stabs of fuzz guitar, b/w the melancholic 'Keeping My Head Above Water'.
With further lack of success, not to mention  a complementary thorough lack of fiscal reward, staring them in the face, the band sensibly jacked it in, and Cliff went off to teacher training college.
Cliff Ward's mid-sixties recordings still sound vital and possess an inordinate degree of originality, not perhaps so much musically - they are very representative of their times with a strong Tamla feel, some occasional sound effects and fuzz - but lyrically. The words are more adventurous, witty and less formulaic than most beat group chart fodder. At their best, The Secrets in their various manifestations produced some finely crafted and effortlessly catchy pop songs.
Unfortunately, multi-millionaire Eddie Trevett, who owns all the original masters is apparently not interested in allowing these fine  tracks to be reissued.


'Rachel' (composed by Cliff Ward)
'You're A Wonderful One' (Cover of Marvin Gaye)
'Oo wee Baby' (composed by Cliff Ward and Cruisers guitarist, Graham Drew, )
'No Money Down' (Cover of Chuck Berry)
[All acetate-only, recorded August '64]
'Imagination', plus other unknown demos, recorded 1/2/65.

'Candy To Me'/'You're A Wonderful One' (Columbia DB 7563) 1965  ['Candy' recorded 26/3/65]

'Path Through The Forest' Songwriter demo. [Recorded on reel to reel tape, 22/3/67]

'Such A Pity'/'I Suppose' (CBS 202466) .../12/66
'Infatuation/She's Dangerous' (CBS 202585) 23/6/67 [Recorded 13/1/67]
'I Intend To Please'/'I Think I Need The Cash' (CBS 2818) 1967
'I Intend To Please' together with  'Two People'( a version of the [John Pantry] Norman Conquest track) recorded by BBC at Paris Studios, London on 7/8/67. Transmitted  on the 'Monday, Monday' programme, hosted by Dave Cash, 1:00 PM on 28/8/67.
'Coathanger' (demo) recorded Autumn '67.

'Naughty Boy'/'Sympathy' (CBS 3406) 4/68 ['Naughty Boy' recorded Autumn '67]
'I Know What Her Name Is'/'Keeping My Head Above Water' (CBS 3856) 12/68


RAY CARLSON -'It's Getting Me Down Girl' (MGM)
THE FACTORY - 'Path Through A Forest' (MGM MGM 1444) ..../10/68
SUNDOWNERS - 'The Gloria  Bosom Show' (Spark SRL 1016) 1968
BRONCO - 'Misfit on Your Stair'( Cliff sings on this track), 'A Matter of Perspective',  'Some Uncertainty', 'Discernible', 'Southbound State Express',  'Attraction' - issued on their first LP: 'Country Home' (Island ILPS 9124) 1970.


THE SENATORS (A high school band. Formed c. 1962. First (and only) gig July 1963)
Cliff Ward - vocs.
Bob Newton - gtr.
Bob Spencer - gtr.

Cliff Ward - vocs.
Graham Drew (ex Strangers) - lead gtr.
Rodney Simmonds - rhythm gtr.
Trevor Jones - bass
Roger "Butch" Bower (ex Zodiacs (NOT the same band), Rebel Rousers [NOT the Cliff Bennett outfit]) - drms.

( Line ups from c. July 1963 to Aug 1965. Note: name changed May 1965, with release of 'Candy To Me' )
Cliff Ward - vocs.
Graham Drew - lead gtr.
Terry Clarke - hythm gtr.
Trevor Jones - bass
Roger "Butch" Bower - drms.
2 x Female backing singers added Spring 1965, temporarily- identities unknown.

THE SECRETS #1 - 1a (Aug 1965-c. Sept 1966:)
Cliff Ward - vocs.
Terry Clarke - lead gtr.
Kevin Gammond - rhythm gtr.
Dave Floyd - organ (temp)
Trevor Jones: replaced Summer 1966 by Paul Turner (temp)- bass (line-up #1a)
Roger "Butch" Bower - drms.

THE SECRETS #2 - 2a (Sept 1966- c. early 1967)
Cliff Ward - vocs.
Fred Nash - lead gtr.
Kevin Gammond - rhythm gtr.
Dave Floyd - organ (temp)
Paul Turner - replaced by: Malcolm Russell - bass (line-up #2a)
Ken Wright - drms.

THE SECRETS #3 (c. early 1967 - c. end 1967)
Cliff Ward - vocs.
Fred Nash - lead gtr.
Malcolm Russell - bass
Ken Wright - drms.
Tony Scriven - Organ (temp., for BBC session/rehearsals Aug '67)

Note: name changed from "The Secrets" to "Simon's Secrets" for 45 released April 1968. This is a post-45 line-up, essentially a transitional outfit from group to Cliff Ward solo. All (barring Cliff) were formerly The Bridge St. Jump Band)
Cliff Ward - vocs.
Ian Simmonds - [?]
Davie Conway - rhythm gtr.
Dave Holder - bass
Rob Elcock - drms.

1 'Rachel'
2 'No Money Down'
3 'Oo-Wee Baby'
4 'Candy To Me'
5 'You're a Wonderful One'
6 'I Suppose'
7 'Such a Pity'
8 'Infatuation'
9 'She's Dangerous'
10 'I Intend to Please'
11 'I Think I Need the Cash'
12 'Naughty Boy'
13 'Sympathy'
14 'I Know What Her Name Is'
15 'Keeping My Head Above Water'
16 'Misfit on Your Stair'  (ft. vocal performance by Cliff)
17 'A Matter of Perspective'
18 'Some Uncertainty'
19 'Discernible'
20 'Southbound State Express'
21 'Attraction'
22 'Wherewithal' ('One More Chance' version)
23 'Lost Again' (K-Tel version)
24 'Contrary' (Alternate take)
25 'When The World Was Round' (Alternate take)
Tracks 1-3: Cruisers.
4-15: Secrets.
16-21: Bronco (Songs written by Cliff).
22-25: Clifford T. Ward solo.
This compilation - all profits of which go Cliff Ward's widow, Pat -  comes HIGHLY RECOMMENDED by SFA. It contains not only three of the four Cruisers demos, but most notably, all Cliff's 45s from 1965-68, plus other rarities, it is available for £6 (inc. p&p UK - overseas prices on request) (tape versions are also available), from Liz Williams,  
ctwmusic@tesco.net  Tel: (01900) 67971 or send cheque, made payable to 'Mrs. E. Williams' (not 'Liz Williams'!!), to:
14 Ellerbeck Close
CA14  4HY

Also, don't forget to check out the Clifford T. Ward website at :

Acknowledgments:- Liz Williams, David Wells, Dave Cartwright.


***From "The Bumper Book Of Psych Quotations", by Roger St. John***

ENTRY No. 53b ROGER HUTCHINSON (Underground journalist, editor, etc):
"In 1969 the British underground press was approaching, as a confederacy, its corporate apex of magazine sales and advertising revenue. It was also running out of ideas. Its original constituency, the Mod generation which had, along with Bob Dylan and the Beatles and even, the Beats, discovered LSD-25 and electric rock and had briefly considered that they might somehow fashion a new society from the two, was growing old and starting to squabble. New and fiercer drugs were entering the magic circus ring- drugs which the underground press stoutly resisted, drugs which the underground press stoutly resisted, drugs which, they warned their readers, could be as lethal as tobacco or alcohol, but drugs which would be tested and taken by the empirical generation which the underground press had served and encouraged. The citizens of flower power, insofar as they ever existed, had vanishes from the streets as sharply as had the missionaries of Mod."

***DISCOGRAPHY OF PSYCH, etc.- Pt. 747***

MARQUIS OF KENSINGTON  - 'Flash' (Germany: CBS 3123) 1968.
Euro-only follow-up to 'Changing of The Guards'. Great cheesy psych keyboard-lead instrumental. Also released, but  credited to "Duke of Burlington", in the Netherlands: (Pink Elephant PE 22.235-P), with a different B side- 'Criss Cross', which is similar and almost as good.  All Mike Leander productions, of course.
ONYX - 'Time Off' (CBS 4635) 1969.
Nice spiky progressive pop charmer. From a band who in our eyes could do no wrong.
SCOTT HARRIS - 'Barry Johnson's Sad-Eyes Inn' (Morgan MR 7S) 12/68.
Actually the work of  Dutch singer/songwriter John Vos. It's a great chunk of melodic Anglophile psych pop, heavily phased and with lashings of Sergeant Pepper-style Indian strings. Dutch issue: (Delta DS 1272)
WAYNE FONTANA  - 'The Words Of Bartholomew' (Fontana TF 933) 1968.
Same song as The Rokes. Out of the ordinary (in a particularly '68-kinda way) pop. Here b/w 'Mind Excursion' which sounds the complete and absolute dogs, and is completely and absolutely not.
CHOC - 'I Want You To Be My Girl' (Decca 23106) 1970.
"I want you to be my girl - girl - girl!"  Absolutely brilliant Anglo-French hard beat/mod pop rip off of 'Paperback Writer', with  psychy hints and echoey vocals. Interestingly, the pic sleeve of the French issue (Decca 79.570), released October 1970, has an attribution of "Choc ft. Richard Jennings".  Fast becoming a big collectable and already a major floorpacker.
Co-written by Keith Fawcett. The B side - 'Way Of Life' (co-written by Francis Lockwood)- is sadly a too-serious-by-half prog yawner.
PURPLE HEART ' Audrey' (Decca) 1970.
Gentle MOR pop, but with the lightest dab of quirky period popsyke charm, b/w a version of  the tiresome "classic" '(They Long To Be) Close To You'.
TONY HAZZARD -' The Sound Of The Candyman's Trumpet' / 'Everything's Gone Wrong' (CBS 3452) 1968.
Demo copies of this weigh about the same as a large bag of spuds, mine also smells rather peculiar (Jason???). A lot have slight water damage. Nice effervescent pop/syke (also covered by Cliff Richard, as some of you may remember!). The non-LP B side is also very nice. Talented chap, brill LPs (look out for an appreciation in a future SFA)
ALAN TRAJAN - 'Speak To Me, Clarissa' (MCA MK 5002) 3/10/69.
Funky, kick-butt cruncy dancer that's an amalgam of funky-soul, psych and progressive pop, with its moronic piano riff, tremulous cymbals and stops-n-starts, it has just what it takes to be a future club monster.
Interestingly, the backing is similar to 'Flash' by the Marquis Of Kensington (see above). The B side: 'This Might Be My Last Number', is also quite er...nice (if that's the right adjective for a song about impending death). From a man slightly better known as Alan Trojan (sic), who cut some earnest albrit quite odd singer songwriter/folk stuff (these two sides were reworked on his rare 1971 LP).
ALAN RANDALL - 'The Meditating Hindoo Man' (Electratone S.1002) 1968.
On teeny weeny Birmingham indie label, Electratone, best known for a release by Giorgio & Marco's Men (S.1001). This is a re-vamped version (which includes a gentle side-swipe at The Beatles) of a George Formby song (complete with Lancashire accented vocals), topped & tailed with some wonderful Green Scarab-style electric sitar Eastern psych moves. Additional lyrics by Alan Randall. This used to be fellow Lancastrian Barry Phillips' last record of the night when he DJed at the 'Velvet Onion'. Mental.


'The Meditating Hindoo Man' by ALAN RANDALL

Over there in India, a Hindoo resides
Smoking his hookah all day
Opium and bits of rope and fag ends besides
A wise man from the east, Whitechapel way
Now he's got a lovely palace on the beach
He's a Hindoo, how do, who do, you do man
He's got twelve chalets with a guest in each
He's a Hindoo, how do, who do, you do man

A princess gave him jewels and said
For all your love I yearn
But jewels could not compare with what
He went and gave her in return!
He's ninety-nine, but she does all she can
For a Hindoo, how do, who do, you do man
His Indian dress is made of silk and lace
He's a Hindoo, how do, who do, you do man

Four lads from Liverpool call him His Grace
Cos' he's a Hindoo, how do, who do, you do man
They live on bread and water just when they meditate
It's only for a few days, then everything turns out great
They all eat chicken curry from a can
With the Hindoo, how do, who do, you do man
The Hindoo, how do, who do, you do man .


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*** 'TIL WE MEET AGAIN...***

Afore ye go - Next issue we'll try to include some of the things wot we've promised before but have thus far escaped, plus...and I kid you not - BILLY FURY, BOLAN, and BOWIE and that's just the Bs (OK, strictly speaking that's 2 Bs and an F!). Hope Santa delivers all that you've asked for. We wish you a Psychy Christmas and a Hashy New Year! See y'all in 2003! Love from all at SFA. XXXX


SWEET FA - the world's only periodical devoted to UK PSYCHEDELIA - is published monthly.
EDITOR - Dave Thubron (GUEST EDITOR - Jason Scott)
DEPUTY EDITOR - The Rt. Hon. Paul St. James Cross
CONTRIBUTORS - Lewis Anderson, Paul Cross, Paul Hodges, Johnny Hortus, Jim McAlwane, Jason Scott.

All contents copyright (c).
Extracts from Roger St. John, 'The Bumper Book of Psych Quotations' by kind permission of Tangerine Books, London. Copyright (c.) 2000.
Charles Shaar Murray's text from the NME, Copyright (c.) 1975.
All other contents Copyright (c.) SFA, November 2002.
SFA is a non-profit making & non-capital generating publication. No part of the contents may be reproduced for gain. It's for "educational purposes" only.
Mess with us and we'll come round in the middle of the night and stuff a bat right up yer nightdress.


The Carnabytian Army marches on...