"Real life's peculiar, way things are happening
Mountains like embers, glowing and smoldering
Following, wallowing, deep in the void
Slowly but surely you start coming close to

no.: 14 * date: January 2003 * price: 50 dinar
Online at: Marmalade Skies "The home of British Psychedelia" :

O- EDITORIAL: Killing the music with..."love?"
O- "TWICE AS nice but not MUCH psych!"


***CDRs MP3s & File Shares ~ Killing the music with..."love?" by Jim Mac and Dave Thubron***
A love of music can me a mighty powerful thing. It can turn into a collecting obsession, grow from a hobby which occupies a small part of your life, until it becomes your whole life (yes, a lot of us have been there!).
Whilst the compulsive hunt for new head-sounds is understandable, and the "any format as long as I can hear it" approach is both cool and logical (especially for those of us who don't have the requisite bread/time/patience to restrict ourselves solely to original pressings), things nowadays are well 'n' truly getting out of hand. Back in the day it was "home taping is killing music". Now, it's "new technology is murdering the reissues scene".
Whilst no-one ought to be disapproving on moral grounds, or otherwise, of digital repros of long-out-of-print or never-reissued tracks, after all, the artist should be happy people still care; the CDR/minidisc/tape
manufacturers count their dough; and Joe & Joan Public get to dig something they'd otherwise maybe never hear....
BUT in recent months, this obsessive "do it on the cheap" & "I want it all" demand of some folks is becoming a bit of a pain. Here's one truly scandalous example: someone has actually loaded the recent entire Mark Wirtz
'Pop Works' set (put out with so much LOVE by Mark Frumento) on their server for downloading by any greedy old so and so. It was most likely done with unselfish motives.
And now the Jagged Time Lapse series have began to circulate in counterfeit form. Now, it was cool when this stuff was restricted to friends, but when the door was opened to admit the hungry, the world washed in...and then out,
with as much freebies as they could carry!
Choicest tracks from brand new comps  appear in "Files" sections on Yahoo groups pages...
The whole thing stinks. Especially when somebody out there has taken a lot of time, love and dedication getting something released. Some small companies now have to think long and hard and often don't even bother to reissue material at all. We deal with record companies all the time, and from some of the smaller ones the words "What's the point in issuing this?" are becoming to sound like an all too familiar mantra these days.
Only this week, we had an e-mail from a bloke wanting to know if we'd be up for a trade. Yeah maybe. But all the releases he mentioned were in the shops as we speak! We were polite and sent him away, but I know what I wanted to tell him. You can understand it if the release is unavailable, or say some rare BBC stuff, but when it's still available...jeez.
The most recent case of this is in relation to The Fox. No sooner had we (and others) announced plans for a  reissue of the classic LP, than the emails begging for CDR copies began to come in! What an absolute joke! Wait another month and you'll be able to buy it for around ten quid. Or is £10 too much, when you can get it for the price of a CDR blank?
Sorry if this upsets people, but it needs saying. I'm sure the big mutha labels are OK, but some of the smaller guys are starting to feel the pinch.
If you want to see as many quality reissues and comps (underground and overground)in 2003 as you did this year- and it was a truly great year- please think about what you download.
Every action has a reaction. You dig?



Release date for the RPM CD issue of The Fox's classic album has been confimed as 20th January 2003.


Make sure you check out this fine Limited-availability compilation of left-field pop treasures.
Available exclusively from
(See Review below)

Ashley Norris writes -
"I have stuck a second station up on 'Live 365' called 'Spinning Wheel':
Think of it as 'Strange Things' to Choc Soup FM's 'Rubble' and you'll get the picture.
It is essentially all the unreissued, rare and generally fun stuff from the darkest recesses of my my hard drive
Guaranteed fuzz-guitar free, it features loads of jolly toytown sing-alongs from the likes of AeroVons, Tin Tin, Piccadily Line, The Cuppa T, Forever Amber, Peter Sarstedt, Cymbaline, Herman's Hermits, Mindbenders, Graham Gouldman and the Bee Gees.
Some of it is great - some of it not".

Sir Maxwell Plumb OBE NSU NIB, renowned musicologist and devotee of strange sins and even stranger sounds, has published his review of the psych releases of 2002. Second only in readership popularity to The Times "Top 100
Richest" list, it is the benchmark by which the music industry now sets its
standard. Check it out at-

Ashley Norris (yes, him again!)writes:
You never quite got over 'Fading Yellow' did you? Its soft summery psych sounds dominate the first "SFA/Choc Soup FM festive fifty" providing eight of its tracks and of course the winner from The Aerovons.
From the moment the poll opened the American teenagers were always going to scoop top spot. Around half of the voters listed the song.
Appropriately, the 'Sweet Floral Albion' house CD performed well with 'Amelia Jane' a clear second place. There were also plenty of votes for tracks from the Aussie psych comp 'Peculiar Hole in the Sky', and, while we're talking non-Brits, a good showing for the recently issued Moon album on Rev-Ola and Aussies Normie Rowe and Steve and Stevie (will someone please reissue this album!).
A big thank you to all who voted.
You can hear the Festive Fifty in full each day from Christmas Eve to January 2nd at 7pm (UK time) and again at 7pm (PST) on Chocolate Soup FM -

1 The AeroVons - World Of You  (Fading Yellow 1)
2 Made in sheffield - Amelia Jane (Sweet Floral Albion)
3 Honeybus - Francoise  (Flies like a Bird)
4 Phil Cordell - Red Lady (Fading Yellow 1)
5 Normie Rowe - Sunshine Secret(Sweet Floral Albion)
6 Robbie Curtice - When Diana Paints a Picture (Fading Yellow 3)
7 Chad and Jeremy - Rest In Peace (Of cabbages and Kings)
8 Dave Miller Set - Mr. Guy Fawkes (Peculiar hole in the sky)
9 Paul & Barry Ryan - Madrigal (Fading Yellow 1)
10 Chris Hodge - We're on our way (Ebenezer Goode)
11 Mike Batt - Fading Yellow (Fading Yellow 1)
12 Zion de Gallier - Geraldine (Mark Wirtz Pop Works)
13 Ronnie Bird - Sad Soul (Fading Yellow 1)
14 Consortium - Colour Sgt. Lillywhite (Haunted)
15 The Rokes - When the wind arises (Sweet Floral Albion)
16 Brendan Philips - Something's Happening Outside (Oddities 2)
17 The Action - Climbing up the wall (Rolled Gold)
18 Peter Sarstedt - Frozen Orange Juice (Peter Sarstedt)
19 Easybeats - Peculiar Hole In The Sky (Sweet Floral Albion)
20 Ruperts People - A Prologue to a Magic World (Magic World)
21 Executives - Moving in a circle (Peculiar hole in the sky)
22 Mark Wirtz - Sandy (Mark Wirtz Pop Works)
23 Eyes of Blue- Never Care (Sweet Floral Albion)
24 Blue Aces - That's Allright (We're not what we appear to be)
25 The Smoke - Sydney Gill (alt. ver.)(High In A Room: The Anthology)
26 The Bliss - Lifetime (Fading Yellow 1)
27 Mindbenders - Yellow Brick Road (Jagged Time Lapse 4)
28 The Action - In my dream (Rolled gold)
29 Lloyd's World - Brass Bird (Peculiar hole in the sky)
30 Orange Bicycle - Last cloud home (Jagged Time Lapse 2)
31 The Moon - Brother Louis Love Colony (The Moon)
32 The Iguana - Imagine This  (Peculiar Hole In The Sky)
33 Steve and Stevie - Shine (Various bootlegs)
34 Eddie Hodge - Shadows And Reflections  (Fading Yellow 3)
35 Argosy - Mr Boyd (Rubble 20)
36 Juan & Junior - Andurina (Fading Yellow 1)
37 Peter Sarstedt - Blagged! (Peter Sarstedt)
38 Smoke - Girl in the park (High in a room)
39 Grapefruit - Yes (Colour me pop)
40 AeroVons - Resurrection (AeroVons)
41 The Onyx - It's All Put On (Ripples 8)
42 Nirvana - Oh! What a Performance (Sweet Floral Albion)
43 Justin and Karlsson - Somewhere they can't find me (Ready Steady Stop)
44 The Jackpots - King Of The World (Fading Yellow 1)
45 Gary Aston  - His Lordship (Ripples 8)
46 Paradise Hammer - She is Love (Papermen in the sky)
47 Barry Booth - Mole (Diversions)
48 Nick Garrie - Nightmare of JB Stanislas (Nightmare of JB Stanislas)
49 Countdown - Alexandrina The Great (Jagged Time Lapse 4)
50 Anan - Madena (Haunted)

Congratulations to Jim Mac. After only 3 years, the number of hits on the Marmalade Skies site has just topped 100,000! A great achievement for the best UK Psych site on the net!

***LE LIVRE PSYCHEDELIQUE - Book Review by Jon Kerr***

Colin Thompson: Falling Angels. A Red Fox Book: London 2001 ISBN:009 943 2986
I thought a children's book would make a pleasant change from the rock/fashion titles we usually profile in SFA.
This book has all  that we love about UK psych - whimsy, poignancy, surreality, breathtaking beauty and an indefinably triptafabulous atmosphere.
'Falling Angels' is a short illustrated story about Sally a little girl who can fly, and her relationship with her dying grandmother. A simple tale delivered in a matter of tone which reinforces the wide-eyed magical aura:
"The first time Sally flew was before she could even crawl"  The illustrations form a veritable feast for the eyes. Seemingly ordinary things like a row of houses, an eiderdown, wallpaper on an elderly woman's bedroom, a sailing ship... are transmuted in the white heat furnace of love and imagination into pure fairytale gold -
Bosch and Escher meet in a Dalinian world where Syd Barrett's mum is Queen.
Ultimately this story reminds us all that ironically the only way "out" is "in", inwards into the Kingdom of Heaven, by indicating to us the Garden of Eden from which we are all ultimately banished. This book can be read as a companion to 'Rosie Can't Fly' by Sleepy (CBS 3838, released 11/68) a song about a little girl who could fly but loses the talent as she slowly grows and drowns in the mundanities of the real (material) world and its anti-nature "hamster on a wheel" life ethic. I am sure that Colin Thompson had not such psychedelic intention when he created this wonderful book (although how can you be sure when another of his books ('Sid The Mosquito')reads - "Ethel the Chicken is busy trying to persuade the world she is not an orange" (know just how she feels!), but nevertheless we ought still to be glad that he had such a vision. Pretend you're buying it for your kids (or grandchildren) then instead indulge yourself.

There's more where this came from. Check out
The author seems like a really nice guy and he's written/illustrated plenty of other really groovy books.


'Rosie Can't Fly' - SLEEPY

Rosie was in the backgarden playing quietly and imagining
What it would be like to have wings and fly around
Thinking how stupid it is to walk around
When you can fly like this and travel to anywhere you please
A million miles is nothing when you can fly like the wind in the trees
Rosie can't fly
Sometimes she sits on the garden wall holding her teddy bear's hand
Dreaming she can watch petals as they grow
Wishing she could find out just where they go
When the winter comes and everybody's cold there's snow on the ground
Think how fresh and clean it would be with Rosie flying around
Rosie can't fly
Now Rosie hasn't got time to dream

Just to buy new clothes and keep them clean
Where is our Rosie that flew all 'round the moon
Sometimes she thinks that she has grown up too soon
And now she's looking after Rosies of her own
And wondering whether dreams will pass them by
She's in a social prison now and wishing she could get away and hide
Rosie can't fly
Rosie has forgotten how to fly...
Rosie has forgotten how to fly...
Rosie has forgotten how to fly...
Rosie has forgotten how to fly...
Rosie has forgotten how to fly...


***OUT IN THE COLD*** by Paul Cross

NICK GARRIE - 'The Nightmare Of J.B. Stanislas'

This is one of the rarest records of the period and has barring one track ('Wheel Of Fortune'), remained unheard outside a lucky few collectors and fans who jealously guard the precious artefact against illegal reproductions. The album is comprised of twelve tracks, the vast majority of which should appeal to lovers of lite popsyke and symphonic pop. Its closest musical relatives are most probably Twice As Much, Piccadilly Line or Duncan Browne's immediate recordings, so it ought to appeal especially to those of a Fading Yellow persuasion. Here's a quick run thru' the tracks. It opens with the title track, an unusual and top-notch orchestrated pop affair that is decorated with some mesmerising psychy touches where the song threatens to dissolve into the haze. 'Can I Stay With You' is vaguely Sarstedtian, genuinely warm, with flute, cellos and snare drums weaving together - "Cigarettes, magazines/Perforated Chinese dreams...", whilst 'Bungles' Tours' is an overtly commercial piece, with popsyke overtones and the tiniest hint of the Idle Race on a bad day. 'David's Prayers' is simple, a folkish acoustic guitar-lead ballad with sweeping orchestral overdubs.
'Inkpot Eyes' is bleak and depressing, Leonard Cohen in a pop framework.
'The Wanderer (NOT the Dion classic!) has a melodic similarity to The Chi-Lites' 'Too Good To Be Forgotten', with perhaps hints of Glen Campbell or Nilsson. Fans of Peter Sarstedts' fashionable left-field gems may appreciate 'Stephanie City', a francophile cut which tells of a prostitute and her loves (ooh er!) and could quite easily have stood an outside chance of becoming a  hit. 'Little Bird' is pretty and 'Deeper Tones Of Blue' is now't special. 'Queen Of Dreams' (NOT the Straubs track!!) is frankly too awful to be allowed to exist (think Shakin' Stevens in a profoundly down home mood and you're still not close to how bad this is!). 'Wheel Of Fortune' one of the albums stand out tracks (it wouldn't have been comped otherwise, would it now?). The album closes as the day itself does, with 'Evening'. This is a nice pop piece, with some wobbliness, most especially towards the end of the song. It is quite unnerving and personally, I like it a lot.

Although 'The Nightmare Of J.B. Stanislas' is far from a masterpiece, it possesses enough charm and style (and great rarity!) to justify its inclusion amongst the Premier League of mega collectibles. Don't expect phasing or fuzz or backwards sitars. What you get are delicate, seductive pop vignettes akin to Peter Daltrey's softer moments; melancholic, singer-songwriter wistfulness with lashings of strings. A quiet, understated and under-heard treasure trove.

It must be stated here - once and hopefully for all - that the info (re. Garrie's "real name" and "career") in 'The Tapestry Of Delights' is embarrassingly off the mark, well, total tripe to be precise, naively cribbed from a rather silly "joke" in 117.
'Tapestry' is rather dismissive of the album, as they often are of material of which they have no knowledge. It remains only to ask - Nick Garrie, where are you now?
No sooner are we readied for press, than the following happens...
Korean label Acid Ray has just reissued the above album on CD, the cat no is
5506. So now finally, you can all get to dig it.

MAJORITY ONE - 'Majority One'
Majority One were the latter Europe-based manifestation of Hull-based five-piece The Majority, who had recorded a mixed bag of singles for Decca, and a wonderful continental-only piece of Beatles-esque perfection entitled 'Charlotte Rose'; and then under their newly truncated name, 'Get Back Home' a classic fuzz bustin' freakbeat-psych hybrid. This LP, one of the finest by a UK group of the period, is very much a product of the '66-'68 pop-psych era despite its late recording/release date. 'Feedback' is a fine bubble fuzzer and a great way to start the album, it's followed by 'Rainbow Rocking Chair' majestic and sublime Beatles-style psych ballad, and yet another song which utilises the flight motif as a metaphor for the LSD experience. "Up there in the sky, the lands above the clouds are far below.../When my plane is upside down, it looks like as if I'm in a rainbow rocking chair".
Wobbly vocals sandwich a singalonga-pop affair that is 'A Cigarette A Cup Of Tea' - inane and yet quite wonderful. 'I Nearly Died' is very much Bee Gees in derivation, a ballad with gorgeous backing. From the same sessions as
'Charlotte Rose' comes 'Looks Like Rain', a light as air shard of wistfulness all spangled with harmonies. 'Glass Image' is the happy progeny of a marriage of fuzz, strings and double-tracked vocals. 'Because I Love You' (the B side of 'Get Back Home') is a ballad with phased vocals.
Pleasant and although not as good as it could have been it ain't as bad as some think either. Popsyke that's sort of Quo-ish and Bee Gee-ish is delivered in 'Love Came Today' one of the best tracks o the album. 'Depths
Of My Mind' is great pop, embellished with some tasty guitar.
Pop with harpsichord? Got any? And some phasing?
Got any Moody Blues ethereal 'armonies?
Yes, Guv! 'I Don't Mind The Rain' and 'I See Her Everywhere' is another baroque-popper, this time with cellos an' all. 'Roger La Frite' (who was he?) is heavy prog pop with a great freaked-out section which merges with 'Revelation', which short and trippy, is the perfect end to an almost perfect album.


Let me introduce you to the gang
Johnny plays the sitar, he's an existentialist
Once he had a name, now he plays our game
You won't feel so good now that you've joined the gang

Molly is the model in the ads
Crazy clothes and acid full of soul and crazy hip
Someone switched her on, then her beam went wrong
Cause she can't switch off now that she's joined the gang

Arthur is a singer with a band
Arthur drinks two bottles just before he goes on stage
Look at Arthur rave, all the kids are paid
They want to see the croaking man who joined the gang

You won't be alone, we've all got beery grins
It's a big illusion but at least you're in
At least you're in

This club's called The Web, it's this month's pick
Next month we shall find a place where prices aren't so stiff
15 bob a coke, 'fraid that's past a joke
This is how to spend now that you've joined the gang

This is what to do now that you're here
Sit round doing nothing all together very fast
Psychedelic stars, throwing down cigars
They're picking up the joints now that they've joined the gang

...........High camp and rather silly? Yes, but also an essential 1967 contemporary document. A satirical snapshot of some of "swingeing" London's most obvious excesses and deficiencies.

'Silver Treetop School For Boys'
Here's the town in which I live, Petunia Green
Here's the shop and here's the man who sold me laces for my shoes
There is Mr.Marcus Bowles they say he's mad
'Here's the battle that I won' at
Silver Treetop School For Boys

Pearly days were good as gold
An apple here an apple there
And everywhere a 'Yes sir', 'No sir'
They made me roll the cricket pitch once a day
I've never been so happy than at
Silver Treetop School For Boys

The mowing machine was leaving small piles of grass
The wind  had blown some blades into the pipe of Mr.Marcus Bowles
This manic teacher fell upon the cricket field
Smiling, laughing, rolling about at Silver Treetop School For Boys.

"Hey there" they call in the staff room
They call in the canteen "Hey come and look at what I found"
A thousand boys and Masters sitting
On the cricket ground at
Silver Treetop School For Boys"

The English master thought he was a purple mouse
And the Head, who's usually sad, was swinging from a tree
Mr.Brown the Physics man is off his head
And everyone just loves the grass at
Silver Treetop School For Boys

Lalalalalalala lalala lalalalalalalalala lalalalalalalalala

..........A truly wonderful piece, inspired by a drugs scandal at a top school (which as it is the alter mater of one of our contributors we shall refrain from naming & shaming!). Bowie's original demo has never surfaced, but two versions, both brilliant in their different ways are well known. The version by The Beatstalkers was ridiculously excluded from the RC Psych Trip, together with its great popsyke B Side- incorrectly listed in 'The Tapestry of "Delights"(sic)' as "Sugar Coated Man"!!! Whatever did the writer have on his mind??? Ooh la!

'Silver Treetop School For Boys' - Discography:

DAVID BOWIE/RIOT SQUAD - 'Silver Tree Top School For Boys'.
Demo, recorded May 1967. Remains unreleased to this day.

SLENDER PLENTY - 'Silver Tree Top School For Boys'/'I've Lost A Friend And
Found A Lover' (Polydor BM 56189) Released September 1967.

THE BEATSTALKERS - 'Silver Treetop School For Boys'/'Sugar Chocolate
Machine' (CBS 3105) Released December 1967.

***'HOT, COLD & CUSTARD', by Scott Charbonneau***

PETER & GORDON - 'Hot, Cold & Custard' (Capitol ST 2882, USA Only)

By the time this album was released in late 1968 Peter & Gordon were not much more than a rapidly receding memory in the minds of a fickle and rapidly expanding listening public; victims, as they were, of changing tastes and times. It had been a good 18 months since their last significant US hits, where they were always more popular, and those gifts from John and Paul were now 4 years old which was more like a lifetime when considering all the changes that had taken place in pop music since 1964. Peter and Gordon themselves had not been immune to those changes; nestled amidst the latest hit single and middle of the road standards that would constitute a typical album of theirs one would find songs from some of the hipper contemporary writers such as Phil Ochs or Cat Stevens and there would usually be at least one self penned track. Inevitably such moments would provide the albums' high points which made it all the more frustrating, because you were left with the sense that Asher and Waller were hipper than 'Lady Godiva' and 'Knight In Rusty Armour' may have suggested. With the duo's recent lack of success then, Capitol just quietly snuck 'Hot Cold & Custard' onto the market. Sales must have been poor; after all this was when Cream, Hendrix, the Doors and the Airplane were all at their peak. As the LP was never, to the best of my knowledge, released outside of the US, it is still largely unknown, with few people being aware of its' existence. More's the pity, as 'Hot Cold & Custard' is easily the best LP Peter & Gordon ever made, the only album you can listen to all the way through without embarrassment and the only LP to be of interest to SFA readers. Nine of the eleven songs come from the pens of our dynamic duo and they also had a hand in the production and arrangement processes. On past albums, Peter & Gordon originals would be jointly credited; here they write individually. Peter Asher's five contributions are more adventurous musically and lyrically, displaying some nodding familiarity with some of the accoutrements of the psychedelic culture; no surprise there as he was a part owner of the Indica bookshop. With its backward drum loop and strange, farting horn arrangement 'I Feel Like Going Out' serves notice that this will not be your typical Peter & Gordon LP. Some beautiful harmonies in the dreramlike middle section enhance the song, making it one of the best things they ever recorded.
Setting music to an e. e. cummings poem, 'Freedom Is A Breakfast Food' would seem to be a treatise on the random order of things; in other words things are what they are so don't waste too much time thinking about them. 'The Magic Story Of The Park Keeper And His Fairy Godmother' tells the tale of a quiet, unassuming lad who becomes transformed and now "waters the flowers by day/but wears them out at night." 'The Quest For The Holy Grail' sums up the spirit of 1967 when earnest young heads the world over were engaged in a search for a  certain something, often indefinable, or unattainable, that they felt would bring them enlightenment or peace of mind. 'Uncle Hartington' could best be described as a particularly vile relation of the Mindbenders' 'Uncle Joe The Ice Cream Man'. Gordon Waller's four contributions to the LP are more straightforward and accessible and, not surprisingly, adhere more closely to what one could regard as the Peter and Gordon sound. Indeed, Capitol released several of his tracks in a vain attempt to restore the duo to US chart prominence. Pride of place goes to 'You've Had Better Times' which possesses a strong R & B feel that almost approaches a rave up at times. Some surprisingly forthright lyrics as Gordon chastises a woman who must always be "one jump ahead/of people who get on your bed." Still, he is not without conflict as he laments "that isn't how I want to  see you/I really want to say I need you." 'Never Ever' runs a close second with its' baroque feel and nice use of dynamics; clearly this is the track that had the greatest hit potential. 'Sipping My Wine' is a pleasant
cod country ballad and 'Cos You're A Star', with its' cautionary tale of a man who has spent himself broke in order to keep his girl in the lifestyle to which she's become accustomed, ends the album on a fun, up-tempo note.
The two non-original tracks illustrate the difference between the old and new Peter and Gordon. Originally recorded by The Gants, who came close to a hit with it the previous year, 'Greener Days' is a terrific song that fits seamlessly with the original material.P & G's arrangement remains faithful to the original and they deliver a terrific performance vocally. 'She Needs Love', originally recorded by Wayne Fontana and the Mindbenders in 1965, sticks out like a sore thumb as it sounds like something they were forced to record, and none too enthusiastically at that. Sadly, at the time of release 'Hot Cold & Custard' was a case of too little, too late for Peter and Gordon as their lightweight image was too much to overcome. Consequently, this is an album that a lot of people have yet to hear, an oversight that will hopefully be rectified soon.

***PROTO-GLAM: A MINI FOLLOW UP, by Johnny Hortus***

Here is another example of the sub-genre about which I wrote in last month's SFA.
THE MATCHMAKERS - 'Two Timing Man'.
This is a prime example of Mark Wirtz's genius for musical synthesis & fusion, and ergo the perfect bridge between Mr. & Mrs. Lennon's 'Instant Karma' with its echoed, heavy rhythn track; bubblegum catchiness; and late-era psych pop influences, all built on a foundation of vintage rock'n'roll to form the prototypical stomping glam sound. Marvelous stuff and "quite unique", as Cilla would say.

PS ~ by Dave Thubron:

Note: I think these "proto-glam" and the new genre as a whole are well worth investigation. For a start, it's been hitherto ignored by fans/historians/musicologists et al; and from our perspective it shows the direction one branch of music took at the close of the psych era. As many former psych musicians went on to play in glam bands as went on to prog, although to be imprecise, the poppier bands went glam and the rockier ones went prog - although of course this is not always true, witness Simon Dupree's unlikely volte face from raver's fave pin up to leader of prog bores Gentle Giant.
The debatable contention which states that progressive rock was the exclusive, natural and ultimate destination for psychedelic music, could just as easily be applied to glam. After all, T. Rex, Sweet and Mud who had one and all, to differing degrees, flirted with Flower Power, went on to become teenybopper darlings.
Tangerine Peel are another case where an earlier psych-pop sound was traded in for proto-glam riffs, but then they were an advance party for the Mike Chapman's assault on the charts.
Consider the hand claps in The Loot's 'She's A Winner'. Could glam have sounded in the way it did without such material?


From Record Mirror (June 29th, 1968):

The Bee Gees record "Jumbo" has failed to make the top 20, and with the steady decline of all their records - each one not even reaching the former discs positions in the charts - I believe that the Bee Gees are on the
downward path. Originally, most of their success can be attributed to the fact that people felt sorry for them over the deportation question. Think of their meteoric rise to fame, all the publicity, the big tours with an
orchestra; doesn't it all remind you of the career of the Walker Brothers?
Their popularity and chart placings suddenly took on a downward trend; and they couldn't even get their records into the top 20 in the end. I'm afraid that the fate of "Jumbo" is significant fact - and I make this prediction : Bee Gees and fans, the End is Near!
Brain Woods, Dovercourt, Essex.

The Idle Race say they will give 50 per cent of their royalties of their new record to the Conservative party, "In the name of the young people of this country" I will not soil this page by entering into the political issues
involved, but this, in my view, is the final degradation of the pop scene.
Of course there have been groups deriding politicians - that's free speech.
But to sell records on the basis of political sympathies brings the pop business down to gutter level. And as for "the young people of this country", most of whom don't have the vote anyway, I'm sure they'd rather have the money go to Oxfam, or somewhere where it would do some good!
Politics is for politicians - it must be kept out of pop.
Stephen Robinson, Worcester Park, Surrey.

From 'Record Mirror', August 3rd, 1968:

I am sure I speak for a great many when I say I shall miss The Seekers. Not only were they a wonderful musical group, but both their appearance and manners were a great example to the youth of today. Perhaps I am a "square", but you can keep your hippies and such like. To me the Seekers were always among the real "beautiful people".
Victor C. Timmons, London, SW1


Here, two contemporary press reports recount very different but closely-related moments in the career of The Move. As T.S.Eliot wrote in 'East Coker', and with which Ace Kefford would doubtless concur: "In my beginning is my end"

From the 'NME', February 11, 1967:

JEREMY PASCALL goes to a recording session with THE MOVE
Outside the thick, soundproof doors a red light glows behind the word "RECORDING", punched out of a metal plate.
I push the heavy door to and walk into the tiny control room. Inside it is very hot, the floor is littered with torn-up pieces of tape, old newspapers, empty coke bottles and members of the Move listening to play-backs of a
recently-cut track.
The control room is a mass of complex equipment. Along one wall is a massive mixing machine with about four hundred switches, knobs, controls and dozens of snakey leads. In the middle are exposed tape spools that give the machine the appearance of a computer.
In front of the main control panel, looking like a Mexican bandit from "The Magnificent Seven," in faded jeans, black boots, maroon silk shirt, fur jerkin and with the ensemble completed by a villainous drooping 'tash,' sits independent producer Denny Cordell.
Denny devotes all his concentration to the play-back, occasionally muttering comments to sound engineer Gerald Chevin on his left.
Before Denny and Gerald is a console with dials, sliding "faders," counters and sixty switches set into it. Move manager Tony Secunda and lead singer Carl Wayne explain the functions of this bewildering machine to me.
The studio is split into three parts. First the control room and then, behind thick walls, the actual studio area itself. This is a large impersonal room which looks like an empty school hall.
Strewn around are chairs, music stands, amps, screens, mikes, a couple of pianos and an organ. Right in the centre, sitting on a high stool, with headphones clamped to his ears through which he can hear the original track,
is bass-man Chris "Ace" Kefford.
Chris is dubbing or superimposing a "slide fuzz bass riff" - which means that he strikes a chord and runs his fingers all the way down the finger-board of his guitar.
Chris does it once, does it twice and yet a third time. He has to concentrate hard to get it just right. He takes a short break and rubs his eyes - he's been recording several hours already.
He tries it again, Denny Cordell stops him to tell Chris what he really wants. "Yeah fine. But bring it right down - gaaawoonggg. Just slide, no hang-over"
I can't understand the jargon but it seems to register with Chris because the next take satisfies even Denny the perfectionist.
Carl Wayne explains that on each tape there are four tracks. "On the first track we record rhythm with rhythm guitar, bass and drums. That's the kind of basis from which we work, that lays it down. On another track we record the lead guitar and on the third we put the vocal. This leaves us one track to fit extras.
"If we want to put more tracks on after that we reduce those four tracks to one and then use the remaining three. Simple. Get it?"
I nodded dumbly, more from being polite than from accuracy!
Now it's Carl's turn to do some work. He steps into a glass-side booth that partitions off a corner of the studio. Inside he, too, clips a pair of phones on to his head and stands in front of a huge mike. We in the control room can't hear a thing and as a result Carl looks like a hairy goldfish mouthing silently on the other side of the glass.
Carl makes the take first time and all the boys assemble to hear the play-back. Everybody chips in comments and suggestions.
"Don't you think we could play that one twice to the bar?"
"I like that take."
"Yeah, I think it's quite good."
"I still think it could be more original." This last from Tony Secunda, ever-striving for the unorthodox.
"Not bad, fellers, but let's try it just one more time. And let's have some quiet, huh? Some cats are trying to work." Denny's word is final.
All this hard work is too much for me. The heat is stifling, and the ciggie smoke so dense I can hardly see across the room. As Carl and I leave to get a drink Denny is saying:
"Take two. Ready Chris? Right, we're running you now."
Carl breathes a sigh of relief to be in the air again and comments with typical Birmingham understatement "When you've been in there for ten hours or more things can become a trifle strained!"
From the 'NME', April 27, 1968:

WHEN A MOVE MOVES OUT Five people are left with a challenge

The bubble of musical and personal frustration that was the five-piece Move has burst. The clashof personalities, the animosities and squabbles have come out into the open - leaving Chris "Ace" Kefford as The Move out in the cold while Carl, Roy, Trev and Bev go their way as one. For all five of them now the future bristles with opportunities countered by the dread of failure...possibilities that the fans will reject the new look Move...possibilities that they will choose to forget the Move who went solo.
And of all of them it is Ace who must view the future with the most suspicion; with whom fear of failure will be most acute.
Since he first left the group (then only temporarily) some three weeks ago due to illness, Ace has been recuperating at his newly-acquired country cottage ten miles from Birmingham. But he hasn't been idle.
Last week he told me he had written eight numbers and hoped to go into a studio shortly in the hope that one of them would provide his first solo single.
I tackled him on the reasons for the split. "It has been going on basically for about two years now. I am a moody person and highly strung and I had this nervous breakdown" said Ace. "There was always a great deal of animosity amongst us.
"Towards the end when I was out of the group for a while I sensed that they wanted me out as well.
"The whole atmosphere had gone back to what it was at the beginning with the other four as mates and me not getting along with them. As soon as I felt this atmosphere coming back I thought it best not to return."
While the Move was playing as four and Ace was recovering from his illness he went to watch them on a date in Birmingham.
"We were chatting and drinking and getting on well and I thought that they played just as well that night as when I was in the group. It sounded pretty good to me and I told them so."
I asked Ace if he felt any musical frustration while in the group.
"Everybody in the Move was in the same position," he replied. "I was writing songs and we weren't doing any of them. Perhaps they didn't think they were good enough.
"But I still thought I wanted to try them and that did bring me down a bit."
But he emphasised that it was the clash of personalities that was the main reason for the break.
And what of the future? "At one time I didn't want to stay in the business
but thought what else could I do if I did quit.
"I thought I might as well go on my own and record my own numbers because at least I will be doing what I enjoy doing.
"No I'm not too worried about the future or fans' reactions because the fan mail I got in the Move was always to me individually. It is hard to say about the future because you can never predict whether a thing will be a
hit. I will just try and do my best. If it flops it won't mean the end.
"But I am happy because it is like getting out of a job that doesn't give you the opportunities for what you think you can do. I didn't really enjoy the job I was doing"
Ace was emphatic that he wouldn't be joining any other group. "I just couldn't. If I had an offer from a top group to play as bass guitarist or sing I would turn it down.
"I want to do something entirely on my own. It is up to me now and me alone." And with only him to take the blame for failure or the credit for success is how Ace prefers it. Meanwhile the remaining Moves are excited and
optimistic about what the future holds for them.
High among their plans is the promotion of two young Birmingham songwriters, Dave Morgan and Richard Tandy, who have been signed to a new company the group has formed to handle writers.
"There is such a lack of good song writing talents around and people are always asking us for material so we thought we'd look around for good writers," said Carl Wayne.
"We cut four numbers last night. One was a sort of Procol thing and the other would have been great for Paul Jones.
"When we have about twenty on tape we will start offering them round. This boy Dave Morgan is fantastic. He has a sort of Dylan influence to him."
Dave is with another Birmingham group the Uglies who, Carl says, have a singer like a "static Mick Jagger."
"Dave's output is tremendous," offered a sleepy Trevor. "He turned up with about thirty songs in a folder and the following session he turned up with thirty more. He's written about 250 songs so far and he's only a young bloke, same as us."
Carl quickly pointed out though that Roy and only Roy would continue to write "A" sides for the Move and while on the subject I asked what progress was being made to come up with a follow up to "Fire Brigade."
"We're doing some recording tonight though what we will be doing we don't yet know," said Carl. "We asked Roy to write something but we don't know if he's got anything yet. He gets lazy at times and we have to tell him to get
on with it."
I asked the much maligned Roy if he had come up with anything. He nodded and said he had penned a new number the previous night. That accounted for his sleepy disposition.
We were joined by the group's manager Tony Secunda and the talk turned to
the LP, at No 15 in the NME Albums Chart. "We recorded one track with a full
orchestra and just threw it away because we felt it wasn't right," said
Carl added: "You see we worked on it over a period of eighteen months and the stuff we had done at the beginning kept getting out of date." Said Trevor; "We threw away enough stuff for a second album."
All agreed however that they were pleased with the finished product, although because the group's change in directions they felt that the next album would be completely different.
And we leave it at that - with Carl, Trev, Roy and Bev headed for new horizons. Good luck to them - and to Ace too!

*** "TWICE AS nice but not MUCH psych!", by Amanda Cohen***

Over the past couple of decades the once solid and inflexible definition of "psychedelic" music has been tossed on an ocean of innumerable amateur revisionists, struck the rocks, rolled over, finally broke apart and sank beneath the icy waters of uncertainly.  Instead of a new definition arising from the wreckage, the absence of clear critical consensus has engendered only blurred boundaries and a notable lack of clarity. Somewhere along the line, music that was once essential to the scene (particularly when I were a lass in the late 60s) - ISB, Tyrannosaurus Rex, Fairport, even Donovan...has been junked by the know-alls and heretical mods who try to run the scene like it's their own private ego-empire; and elsewhere attempts have been made by some parties to sneak (especially those well-disposed towards orchestrated pop), Twice As Much into the psych canon via the backdoor. It seems that nowadays almost anything recorded between 1966 and 1970 may be brought under the psychedelic umbrella, including such formerly beyond the pale acts such as Vanity Fair, The Tremeloes, The Searchers and The Casuals.
  Certainly not in my personal canon of acid soundtracks. I know from bitter experience that listening to these sounds whilst tripping would cause me to have a real bummer! The epicentre has most assuredly moved away from rock/folk to pop. A situation which at least allows us to examine the impact that psychedelic motifs had on the world of mainstream pop.
Twice As Much were in many respects the most fully-realised and closet adherent to the Oldham/Immediate "pocket symphonies for the kids" blueprint: a blend of The Beach Boys and pre psych-era folk pop duos together with an
admixture of MOR, Broadway and Phil Spector; and although somewhat hampered by some god-awful material, which sometimes leaves them sounding inane and very dated, they still managed to deliver impressive pop, if at times too swiftly slipping into slickness (try saying that without your dentures in!), and although they never wigged-out or even broke into a sweat their music displays elements that are associated with certain strains of popsyke - not least of which is the overall prissiness, a disdainful, self-consciously cultured middle class school boy's version of pop, all embroidered and effeminate (relatively speaking if contrasted with the snarling, rutting rituals of R&B) - which should appeal to fans of the genre. My personal choice of their most interesting moments are as follows:

'Night Time Girl' - Lush westcoast style, high camp with some flourishes of atonal electric guitar. As used in Peter Whitehead's 'Tonite Let's Make Love In London'.

'Why Can't They All Go And Leave Me Alone?' - The angst ridden cry of the martyred grammar school boy. All was not always idyllic in the summer of '67. Twice As Much's most competent 45 side. Prettified by hippie finger cymbals and cello, its slow pace adds to the overwhelming sense of claustrophobia and anxiety.

'Step Out Of Line' - Another of Immediate's excursions into Shangri-Las/"Wall of Sound" territory.

'Play With Fire' - A masterpiece. Lyrical brilliance from the Stones (under the pseudonyms which sound suspiciously like two forms of modi sexualis prohibited in some US states, viz. Nanker & Phelge). Gorgeous Floyd/Japanese styled organ, wood blocks, drum rolls, xylophone, a thermo-nuclear explosion, staccato rhythm ... all build an edifice around the  gleeful malevolence and undisguised spitefulness: "Your old man took the diamond and tiaras by the score/Now she gets her kicks in Stepney, not in Knightsbridge anymore..."

'Green Circles' - Their most overtly "psychedelic" recording, and another masterpiece. It's akin to some of the tracks on Billy Nicholls' 'Would You Believe' marred only by a fluffed vocal harmony two lines into the first verse.  It invites comparison with the four versions by The Small Faces that are in the public domain * , in particular, the the "slow version", with which it has the greatest aural similarity. This in many ways is a finer, certainly subtler and more softly lysergic creation than the Small Faces' two extant versions, decorated with harpsichord, strings, over echoed drums which accelerate towards the brass-tinged finalé.

* These different versions/mixes - Mono, Stereo, "Slow version" and "U.S.A mix" - are all available on Castle's magnificent twofer 35th Anniversaty repackage of The Small Faces- 'Small Faces' 1967 Immediate LP (CMDDD 553).

By way of an aside...
By thinking in a truly broad church way, in a more genuinely "sixties" mind-set, we should readmit ISB, Tyrannosaurus Rex, Fairport & Donovan to their rightful place, so that we can get a truer picture of UK psychedelia, and also begin to discover a continuation of the genre outside its usual reserve of 60s pop, at least until the advent of Punk, and then on thru the 1981 revival, and beyond...
The main problem, I guess, is the terminology. Three terms are commonly used (but are they universally understood???)-
"Psychedelic", "Underground", "Hippie". All three share as many overlaps as exclusions. For example, whilst Syd's Floyd were Psychedelic, Underground and Hippie, the Beatles of 1967 were Psychedelic and Hippie, but far too high-profile to be Underground. Edgar Broughton was both quasi-Hippie and Underground but was he particularly Psychedelic? The Quo were Psychedelic but never Hippie or Underground....

***IN ARCADIA, by Stuart Robertson***

ARCADIUM - 'Breathe Awhile' (Middle Earth MDL 302) 1969.
Also reissued on CD (Repertoire Records).
This stoned, freaked-out album will have some psych enthusiasts spitting the words "This is Prog!" Well if you do, you would be half-right (or half-wrong) for this has got one foot in the up-and-coming land of prog, whilst the other is firmly planted in the land of psych(albeit more of a downer vibe); and as this will appeal to the long-haired freak in many of
us, it may not appeal to the enthusiasts of the soft and light side of psych!( believe you me!)
MIGUEL SERGIDES- vocals & guitar (actually wrote all the material on this, God knows were HIS head was at!). Arcadium were signed to the small underground label Middle earth. As for the name ARCADIUM it ain't got nothing to do with places with fruit machines( groan,get him off) but is derived from the ancient Greek paradise- Arcadia, but this is not a history lesson so let's shifty onto the sounds. This album starts with the best song, and  even though it lasts for 11 minutes, surprisingly it works real well as this is 11 minutes of stoned heaven(or in this albums case hell).
What's the title of this monster?(patience dear boy)well it's  'I'm On My Way', which tells you everything you need to know about this song. It starts with some finger picking guitar, this gives a floating effect which is soon joined by some to-the-fore stoned, dreamy organ; but you're put into a false state of mind as it soon becomes more menacing with a spookily muted chiming bell and strange effects from the guitar. This song is intelligently put together and it builds its way up to a crescendo of guitar, drums and organ giving the feeling of just about getting to where you wanna go (remember the title of the song) then the crescendo stops, and we're back into the finger
picking guitar but this time accompanied by creepy vocals and BANG!! we're introduced to a scorching sooped up guitar solo and again the floating organ. The song builds itself up to a climax (ooh matron) once more, and
brings itself down again with the haunting refrains of "I'm on my way!"(I thought they got there already!), which is unexpectedly followed by 2 minutes of solo groovy, jazzed-up organ solo which dies down as the trip has reached its peak... This was one rollercoaster of a number. How do you carry on like this? Well, with a number called 'Poor Lady', which is quite an upbeat number (for this album anyway!) and firmly belongs in the psych/prog crossover territory. It consists of some well -utilised, haunting backing vocals which go great with some at times anguished, heart-felt vocals which rise throughout this album; but it keeps that stoned vibe going with bursts of rocking acidic guitar accompanied by booming bass. After listening to those first 2 tracks you know you ain't going on some fluffy trip skipping through daisies. Which brings us on nicely (or in this case nastily) to track 3 - 'Walk On The Bad Side'. What can you say aboutthis? Well, I can tell you this is one heavy acid rocker dominated throughout by organ and screeching guitar. It's on songs like this that you can hear prog taking over, but it works well in this context as it isn'tsome show off with his
head up his own arse. This one has got a bad and menacing vibe, what with lyrics like "I can give you life" (which permeate throughout the album), which turns into a 2 minute guitar and organ freak out! Someone give me a
seat,please! As we continue this hazardous journey into 'Woman Of A Thousand Years', which is a delight that's comprised of flanged vocals accompanied by swirling organ and crazed acid guitar licks with echoed refrains  of "woman of a thousand years" from the backing vocalists, disturbing indeed but I'm afraid we must carry on to the next song. 'Change Me' has a more progressive feel due to the vocals which can sometimes grate as they have that melodramatic operatic feel which became so prominent in progdom. This is mercifully saved by some magical organ playing.
Then we're back to that woman again with 'It Takes A Woman', which starts with some acoustic guitar, and same again you think yeah this is mellow then.... WALLOP! it turns into a heavy psych rocker which points the way forward to the rock guitar sound of the 70s (unfortunately), with the organist playing the same key over and over again and the guitarist obviously having a free rein. Surprisingly this ends quietly with organ and soft acoustic guitar.
Well, how do you end an album that's been as much of a rollercoaster of emotions as this? With a song titled 'Birth, Life And Death' of course! This is another long number. It starts with an air raid siren, followed by more
mad axe playing throughout the number - which again can be a bit overbearing as we go into Led Zep territory - this is a freak out of a number, but perhaps spoilt slightly by the guitar which gives it that 70s feel; but I could imagine this being played at Middle Earth, with swirling-strobing-piercing-the-brain lights and the long haired freaks
grooving on down in their own acid-inspired world (Hey wake up Stuart,you've gotta finish this article! ~ Dave.]... anyway 5 minutes into the song we're met with some singing (I don't know what he's on about though, do you?), and
he's struggling to be heard over the dominant organ and strong drumming which ends with the eerie refrain of "Goodbye my world..." ringing in your ears. And here we are at the end, feeling kinda tired and drained; for to be
honest this album is quite a hard listen in some parts, but this adds to the whole atmosphere of what this is about. If any album can make you feel like that then it's a success.
This is an album showing the downside of the vibe that was permeating in the drug culture at the end of the sixties. Not everything was rosey in the garden of their mind!

As I said at the beginning this WILL NOT be everyone's cup of tea, the prog elements in this may put off a few folk, but it represents the opposite extreme of psych music than that which at the moment is the prevailing style - the poppier and whimsical end of things. And this album certainly ain't that!!!
As a side note, the CD reissue contains the single from '69: 'Sing My Song'/'Riding Alone' (Middle Earth MDS102) which basically follows in the same vein as the album, although a tad softer!

*** 'THIS IS TO CERTIFY THAT...' by Jamie Driscoll***

Confusion justifiably surrounds the correct attribution of this LP. This is due to the fact that the front of the sleeve of the LP (Gemini GME 1002, 1970) states the artists to be - SHERIDAN/PRICE, the spine - SHERIDAN/RICK PRICE whilst the labels read RICK PRICE AND SHERIDAN! So, take your pick!!!!
What's in no doubt is that Rick Price (in 1970, lately of The Move, soon to be in Mongrel, Wizzard, etc) and Mike Sheridan (formerly of The Nightriders, and Mike Sheridan's Lot)created a beautiful album (despite what our arch nemesis 'The Tapestry of Delights' would have you believe!), housed in a slightly peculiar, understated (read "cheap"!) sleeve (supposedly designed by Rick Price too), a gatefold job, the front of which is buff coloured like a civil service envelope, on which within an ornamental border the title is engraved in Gothic script. The rear of the sleeve is taken up by a portrait photo of the guys, their belligerent, short tempered expressions belying the material housed within.
None of these tracks break through the 3 minute barrier. All is concise, thoughtful and resolutely crafted post-psych pop. There's also something of a theme running through a great deal of the tracks-childhood sadness, loss, emptiness, nostalgia.
'Davey Has No Dad' is a classic piece, very much a product of the "Honeybus School of British Melancholia", a poignant tale of an illegitimate little boy (similar in tone to 'Tracey Smith'). 'Lightning Never Strikes' is a song written by Mike Sheridan (although due to a galling clerical error mistakenly credited to Roy Wood!) which was of course recorded in identikit fashion by The Move. 'Bitter Sweet' is high qualify chamber pop, as is the well-known 'Tracey Smith' which follows.
'Sometimes I Wonder' is frankly magnificent - driving and forceful but never ham fisted, it gets to the crux on a wave of brass. 'Tomorrow's Child' closes side one. It is yet another melodic beauty. Pantryesque with pretty flute touches, some dreamy acoustic guitar and an aura redolent of early 70s hairspray TV commercials. 'Face In My Window' is a lovely 24 ct. pop gem - the feel and lyrics are like 'Tracey Smith' continued with fab brooding strings; this is followed by the ballad 'Will You Leave Me Behind', which has some sublet pop/waltz touches. 'Beautiful Sally' must have been the inspiration for Randy Vanwarmer's 'Just When I Needed You Most' - although it's far, far, far better than this comparison suggests, and would not have been out of place on The Iveys' 'Maybe Tomorrow' album, where it could have quite happily sat alongside that other Sally. Straight pop stylistically of a 1968 vintage, nice falsetto harmonies and flute ending is on offer with 'On The Moon'. 'Picture Box' is another lovely ballad. "Open your eyes to the beautiful scenes / A garden of sunshine, a garden of dreams..." lyrically reminiscent of some of the more introspective, self-deprecatory and nostalgic moments on, another intricate 1970 pop treasure - Fairfield Parlour's 'From Home To Home'; and 'Lamp Lighter Man', comped on Circus Days..., closes the album in fine fashion on a barrage of superb distorted guitar.
If you love late 60's pop (and I guess you must if you read SFA!), I can recommend this LP unreservedly, you'll love it dearly.
If however, you already love this album, then congratulations! your life must truly be a rich and enjoyable one!

Compilation appearances of above LP tracks:
'Tracey Smith'- 'Circus Days', vol. 6 (CD).
'Lamp Lighter Man'- 'Rubble', Vol. 8: "All The Colours Of Darkness" (LP), and 'Rubble', vol. 4 (CD).
'Sometimes I Wonder'- 'Jagged Time Lapse' vol. 4 (CD).
'Lightning Never Strikes Twice'- 'The Electric Lemonade Acid Test' vol. 1 (LP).

It may also be worth mentioning the following related (non-LP) tracks:

SHERIDAN - 'Follow Me Follow'/'When Love Breaks Your Heart' (Gemini GMS 001) 1970
The A-side is a low-key version of The Idle Race track, and the B-side is a very short ballad.

RICK PRICE - 'Top Ten Record' (Gemini GMS 017) 1970 [Note: mistakenly listed as "1971" in Tapestry]
Quite a bizarre track, irresistibly catchy, and yet rather tacky and irritating. Intended as a joke/novelty disc, its inherent grooviness can't fail but shine through... The B-side is 'Beautiful Sally'.
It's also curious that 'Davey Has No Dad'/'Bitter Sweet' (Gemini GMS 012) 1970 was issued as a RICK PRICE solo, even though both tracks are from the jointly-credited LP.
Note also that a CD comp from a few years back, which included the 'This Is To Certify That...' LP,  totally screwed-up the LP's running order, and then to make matters worse still, listed the tracks with titles mixed up! What a bleeding mess.
It is also curious that the vocal register on a number of the Rick Price songs on the above LP, is higher than on the 45s and 'Talking To The Flowers' LP, as a result I guess, of accelerating the vocal track to raise pitch.



1958 -
Michael Tyler joins BILLY KING AND THE NIGHTRIDERS, after first changing his own name to Mike Sheridan.

By 1963 -
Mike Sheridan (MS) has become front man. Band now known as MIKE SHERIDAN AND THE NIGHTRIDERS -
MS (lead vocs.)
Alan Johnson (lead gtr.)
Dave Prichard (gtr./vocs.) (from THE PLANETS)
Brian Cope (bs.)
Roger Spencer (drms.) (from THE HOUND DOGS)

Late-1963 -
Brian Cope leaves, replaced by -
Greg Masters (bs.) (from THE DOMINATORS, and THE G MEN)

1964 -
Alan Johnson leaves, replaced by -
Roy Wood (from GERRY LEVENE AND THE AVENGERS, a band which also included Graeme Edge, future Moody Blues drummer.)

c. January 1966 -
Roy Wood leaves, joins THE MOVE, replaced by -

c. Mid '66 -
MS leaves, forms MIKE SHERIDAN'S NEW LOT -
MS (lead vocs.)
Pepe Oliver (gtr.)
Terry Wallace (gtr.) (from CARL WAYNE AND THE VIKINGS)
Colin Timmins (bs.)
Roger Spencer (drms.) soon replaced by -
Joe Dignam (drms.)

Band continues until end of 1966, sans MS, as THE NIGHTRIDERS -
Johnny L. Mann leaves, replaced by -Jeff Lynne (from THE ANDICAPS/ANDY CAPS, and THE CHADS - formerly THE SUNDOWNERS)

[c. 1968] -
MS associated with SIGHT AND SOUND -
Geoff Turton (gtr./vocs.)
RP (gtr.)
Dave Pritchard
Joe Valentine (drms.)
Other members at one time or another included: Grant Kearney, Peter Smith, Ken Underwood, Bob Doyle, Geoff Turton, and Tony Collinge.

1969 -
MS goes solo.

1969-1970 -
MS works with Rick Price, whilst still solo (and Rick is still a member of THE MOVE).

1970s -
MS reforms THE NIGHTRIDERS as a live act.


Late 1962 -
Rick Price (b. 1944) joins THE CIMARRONS -
Band members include -
lan Hicks, Maurice Preece, Peter Withers, "Thatch", Dave Spilsbury, Malcolm Turner, John Shepherd, Cal Denning (John Fletcher), and Lee Zenith (Ray Hyde).

c. mid 1966 -
Rick Price(RP) joins SIGHT AND SOUND (originally called THE SOMBREROS. Name changed soon after RP joined)
Geoff Turton (gtr./vocs.)
RP (gtr.)
Dave Pritchard
Joe Valentine (drms.)
Other members at one time or another included: Grant Kearney, Peter Smith, Ken Underwood, Bob Doyle, Geoff Turton, and Tony Collinge.

January 1969 -
RP joins THE MOVE (some sources say March 1969, but RP says January)

1969-1970 -
RP records with Mike Sheridan, whilst still a member of THE MOVE (and MS is still solo).

February 1971 -
RP leaves THE MOVE, briefly goes solo.

August 1971 -
RP joins MONGREL, which evolves into WIZZARD

Early 1975 -

Late 1977 -
RP joins THE WIZZO BAND, newly formed by Roy Wood

1980s -
RP continues recording, with Dianne Lee, Jim Davidson, etc.

For further reading, vide  the profile in SFA 10 of RICK PRICE's 1971 solo LP: 'Talking To The Flowers', another psych fave (dismissed by Rick Price as "complete crap"! Musicians eh? What do they know!).
And do check out the following link for a thoroughly enjoyable autobiographical text by Rick Price-

(Look out for a future SFA article "The Beeb's Psych Treasures".)

***BILLY FURY GOES PSYCH by Johnny Hortus***

Bet you never thought you'd find ol' Billy bub in Sweet FA, eh?
Billy was from an earlier period than that which produced the freshly permed and Dayglo-clad psychsters of 1967. Ever since those Beatle fellers had come along and spoilt everything, Billy's glory days as Larry Parnes' golden boy were numbered.  Instead of running with the cutting wave of musical fashion as he had in '61, he was by '67 lagging miles behind, and his tenure on chart success was well 'n' truly over... and out. He was fast becoming an anachronism. But 'Suzanne In The Mirror' (Parlophone R 5634 released 09/67), like its closest living relative 'Cowman, Milk Your Cow' (by Adam Faith, like Billy another refugee from the Brylcreem era) was an attempt to come to terms with the advent of psychedelia and is as much a treasure and benchmark (although ostensibly a beat ballad) of that fabled year and of Abbey Road, as many of the high-profile "classics".
Issued to complete indifference barring the odd review; a nice example of which is herewith reproduced in full for your delectation:

At one time Billy Fury was always singing about girls, but this is his first with her name in the song title for a long time.
But I really can't see the change helping him to a chart comeback, even though he has modernised by adding a touch of psychedelia. As usual his thousands of fans will snap it up.

His song deserves a wider audience.


Suzanne In The Mirror, by BILLY FURY
Mesmerised by your pair of eyes
I started walking in the sky
Looking through a velvet screen
I focused on times gone by
Once before, I drifted home
It seems such a long time ago
Oh, but age has whitened memories
Like the winter scene, I know

You make me want a lot of things,
Like Suzanne in the mirror
But will you break the glass of desire
Like Suzanne in the mirror

Resurrected in willow time
My thoughts weep on my chest
Swimming through remorse and pride
The tides seem to come out best
So the invitation of your eyes
Fades in the mist and the gloom
And I want to cry out for their help
But they fade back in the room

You make me want a lot of things,
Like Suzanne in the mirror
But will you break the glass of desire
Like Suzanne in the mirror

You make me want a lot of things,
Like Suzanne in the mirror
But will you break the glass of desire
Like Suzanne in the mirror


We start the new year in fine fashion, with two newies from Sweden's finest purveyor of quality sounds. Both volumes are HIGHLY RECOMMENDED by SFA, jam-packed as they with Fading Yellow's sweet dose of "popsike and other delights"! Both due for release at the end of January 2003:

FADING YELLOW vol 4 "LIGHT, SMACK, DAB" -UK 60´s Pop-sike and other delights... (Flower Machine Records) CD Comp.
1.THOUGHTS AND WORDS - Morning sky
2.THE PICCADILLY LINE - At the third stroke
3.THE MAJORITY - Charlotte Rose
4.THE J. & B. - There she goes
5.THE PLAYGROUND - The girl behind the smile
7.PIPES OF PAN - Monday morning rain
8.THE TOYSHOP - Send my love to Lucy
9.THE CANDLELIGHT - That´s what i want
10.THE EPICS - Henry Long
12.MARTIN MARTIN - Imagine
13.THE YOUNG BROTHERS - Mirror, Mirror
14.ROBBIE CURTICE - The Soul of man
15.THE ALAN BOWN - All i can
16.JASON PAUL - Shine a little light into my room
17.THE CALIFORNIANS - Can´t get you out of my mind
18.WAYNE FONTANA - The Impossible years
19.WAYNE FONTANA - In my world
20.JOHN BROMLEY - If you are there with me
21.THE GIBSONS - You know i need your loving
22.DAVE BERRY - And I have learned to dream
23.THE MAJORITY - Wait by the fire
24.DAVID McNEIL - Linda
25.ROBBIE CURTICE with TOM PAYNE - Gospel Lane

FADING YELLOW vol 5 - GONE ARE THE DAYS - UK 70-73 Pop-sike and other delights... (Flower Machine Records) CD Comp.
1. HIGH SOCIETY - Tell me now
3. ANGEL PAVEMENT - When will i see June again
4. MIKE BATT - Wendy
5. TUESDAY - Sewing machine
6. TOAST - Summer of Miranda
7. SUNCHARIOT - You´re lovely
8. VIGRASS & OSBORNE-Forever autumn
9. ROCK CANDY - Magic horse
10.GRACIOUS - Once on a windy day
11.DESIGN-The Minstrel´s theme
12,MAJORITY ONE-I see her everywhere
13.ALMOND MARZIPAN - Summer Love
14.BILLY NICHOLLS - This song is green
15.ABEL FLETCHER-You won´t se me go
16.CATS EYES - Come away Melinda
17.MARVIN, WELSH & FARRAR - Tiny Robin
18.PLAYGROUND-The Rain, the Wind and other things
19.MAXWELL & NICHOLSON  - Trees and Things
21.RICHARD BARNES - High flyin´ electric bird
22.ABEL FLETCHER-Esmeralda

MARMALADE - 'Kaleidoscope' (Castle) CD.
(Due for release March 2003)
1. I see the rain (single version)
2. Kaleidoscope
3. Mess around
4. Man in a shop
5. Butterfly
6. Laughing man
7. It's all leading up to Saturday night
8. Otherwise it's been a perfect day
9. Station on Third Avenue
10. Hey Joe
11. Mr. Lion
12. There ain't no use in hanging on
13. Chains
14. Fight say the mighty
15. Mr. Tambourine Man
16. Time is on my side
17. Dear John
18. And yours is a piece of mine
19. Can you help me
20. I see the rain (album version)


POP-IN VOLUME ONE: Choice Cuts From The Other Side of Mainstream UK pop
1966-70 (Elevator Music Co. ELCD001)CD Comp.
PLASTIC PENNY - Your Way To Tell Me To Go
THE MINDBENDERS - Uncle Joe The Ice Cream Man
LOVE AFFAIR - Lincoln County
THE CASUALS - Caroline
THE BEE GEES - Sir Geoffrey Saved The World
PAUL & BARRY RYAN - Keep It Out Of Sight
THE MIRAGE - Mystery Lady
THE MERSEYS - So Sad About Us
THE PICADILLY LINE - At The Third stroke
WARM SOUNDS - Birds And Bees
THE BLUE JEANS - Hey Mrs. Housewife
GERRY MARSDEN - Gilbert Green
THE HERD - Miss Jones
WAYNE FONTANA - The Words Of Bartholomew
THE NERVE - Satisfying Kind
THE IVEYS - And Her Daddy's a Millionaire
LOCOMOTIVE - Roll Over Mary
THE ALAN BOWN! - Technicoloured Dream
TONY HAZZARD - Fade Away Maureen
From the striking cover work in, this is a real beauty.  Very much in the same ball park as 'Color Me Pop' comes this 25 track set of sub-psych/left-field material. It attests to the brilliance of the material produced in that multicoloured overlap which Amanda Cohen describes elsewhere in this very issue as the point where psychedelic motifs added splashes of colour to and influenced mainstream pop "......."
There's plenty of bendiness here, but no fully wigged-out freakiness. So what? We get plenty of Brit Pop of the finest calibre, mostly frothy, full-filled and unabashedly exuberant, but never inane ephemeral or crass.
In dull old 2002, these songs really are sounds from another era. An era in which were produced 45s which lacked pretension (at least by later standards), but possessed an absolute genius for stylish pop.
This assortment of hand-picked treats (which includes plenty of BIG names) captures the sheer enjoyment that only late-60s UK pop can engender, by offering up 25 of its finest moments, which include  'Caroline' by The Casuals, a dead ringer for the Move (it was written/produced by Roy Wood, which explains it), The Merseys symphonic version of The Who's 'So Sad About Us', Cat Stevens' heavily-phased Mike Hurst produced 'A Bad Night'. The highly recommended 'Keep It Out Of Sight', one of the Ryan brothers' most neglected recordings. A real Cecil B. De Mille opus albeit camp/kitsch right down to the soles of its Cuban-heeled boots! 'Still Life' - man, those guitar licks!!! And many other jewels.
Listening to this on a miserable drizzly grey freezing cold Saturday morning, I'm sure the sky turned blue and the sun came out...  (PC)
Available exclusively from

FLY ME TO THE EARTH (Complied By Tony The Tyger). (USA) CDR Comp.
The Petards-Tartarex
Shades of Morley Brown-Pretty Blue Bird
Tangerine Peel-Trapped
Serpentine-Round and Round
The Tower-In my life
Santa Maria-Donne-Moi Ton Coeur et ta fleur
Haydon Wood-The House beside the mine
Gloria-So Good to dance
Marty Wilde-Shelley
Boudewijn De Groot-Picknick
Zen-I'm Tired again
The Daisy Clan-Glory Be
5 Gentlemen-Mets du sucre dans ton café
Boots-No part of it
The Tower-Captain Decker
The Tower-Steps into Space
Wellington Arrangement-Love
Morgen-She's the nite time
The Names & Faces-The Killer
The Tony Hendrik- Honey Sunny Baby
The Act of Creation-Yesterday Noontime
The News-The Boy who only smiles
Noel Odom & the Group-I can't see nobody
Gloria-Tides of Life
The Wallace Collection-Fly me to the earth
An intelligent and charming international selection, pretty much in the same vein as volume One of 'Collecting Peppermint Clouds'. 25 tracks, of mostly bright & breezy material, include 4 gems from SFA-hero Boudewijn De Groot (both solo and as part of The Tower); a gem (the title track of this comp) by Bruxelles virtuosos, The Wallace Collection; classics from The Petards and Morgen; one of the Netherlands' greatest ever recordings - 'The Killer' (and we ain't jokin'!); and UK gems from Haydon wood, Tangerine Peel, Marty Wilde and Shades Of Morley Brown.
Very nice indeed!      (PC)
Available exclusively from

KIMLA TAZ - 'Kimla Taz'(Japan: Birdman BMRD-21002) CD.
1. Tomorrow (1968)
2. See You In The Morning My Friend (1968)
3. Stop Messin' Around (1976)
4. I Need You (1976)
5. Crossroads (1976)
6. Gloria (1976)
Kimla Taz have long been spoken of in hallowed tones. They're the stuff of psych legend as well as being an important finishing school for Welsh rockers. Sadly the aural truth is rather less stellar than the legend promised, but the scarcity of surviving material is hardly a surprise. With its groovy front cover photo of the late 60s line-up, this CD is being aimed squarely at the psych/underground fan hungry for mega obscurities - that's you & me pal. Unfortunately, that hunger won't be satisfied by this CD set.
Only 2 tracks here are of any interest from an SFA perspective - the first
two. Both are pretty ragged and typify hundreds of similarly acetate-only late 60s recordings. The other tracks are pretty awful and best avoided.
Whether you decide to fork out around £13, essentially for 2 trax and a nice bit of packaging, is for you to decide. But as genuinely obscure slices of long lost UK psych go, they are both highly recommended.
Just a shame my belly is still rumbling. (PH)


As part of our 'Fave Things' series, Andrew "Fingers" Fish presents his choices. All of which are by the same band - Leicester's finest sons, Family!


(Left to Right) : Charles Whitney, Roger Chapman, Harry Overnall, Jim King
(Seated) Ric Green

I love my family, and I love Family 9the band). What can I say? For me, they were the best British band around the years '67-'71, recording some of the most adventurous and brilliant 45s and LPs this country has ever made. Live they were electrifying, truly - a much overused word - AWESOME.

Summa cum laude:

'Face In The Cloud'
Family's trippiest cut. This goes very nice with Afghani hash! From the 'Family Entertainment' LP.

'The Weaver's Answer'
A fantastic song. My favourite is the version found only on the 'Strange Band' EP (Reprise RS 27009) 1970, and never reissued contrary to what it says in 'The Tapestry of Delights' book.
My favourites change all the time, but these are my current choices. I've included some overlooked tracks and different versions.

'Me My Friend'
Words fail me. It's so amazing...

Magna cum laude:

'See Through Windows'
The BBC version, transmitted on Brian Matthew's show 07/09/68 is totally amazing!!! In fact all their BBC session trax and 1967 demos are fabulous, and deserve a high-quality reissue!

'Summer '67'
Beautiful. Off the 'Family Entertainment' LP.

"What do I see on my journey of truth..." I dunno mate, but what you'll hear is Mellotron, bendy sax, fiddle, phasing, effects, an awe inspiring Chapman vocal performance and some cosmic lyricising...

Cum laude:

'Var. On A Theme Of Me My Friend'
As good as whole LPs by some other bands, but at less than half a minute long, it's easily dismissed as "arseimg around with a sitar"! Surely not! In a similar vein I could easily have chosen the longer (38 secs!) and equally fab, 'Var. On A Theme Of The Breeze'.

'The Chase'
The opener to 'Music In A Doll's House'. A solid gold treasure. This is NOTHING like popsyke!

'Observations From A Hill'
The version from the 'Old Songs, New Songs' LP. A remix, with a lead vocal by Roger Chapman, replacing that of Ric Grech on the earlier version.

From a psych perspective Family should be ranked amongdt the very greatest exponents of the genre, if only for the following-
They were the most competent early users of the Mellotron (check out the Mike Batt-arranged 'Mellowing Grey' if you don't believe me!).
Some of the finest phasing cut to vinyl.
A most alluring synthesis of East & West. 'The Breeze' is fine example of this - finger cymbals, Eastern scales & drone all weave together, overlaid with a plucked string replicating the tune of Big Ben's chimes...'3 x Time' - Any track which goes thru so many changes and includes a cello played to sound like a kazoo(!), hypnotic drones and a blkast of the national anthem cannot be ignored!

Whilst on the subject of Family, mention must be made of the following website -


A very fine site, which includes contemporary reviews, press releases, photos, lyrics, discography, band history...It's the perfect blueprint for what such a site should be. HIGHLY RECOMMENDED!



'The Story Of David'/'Sandy's On The Phone Again' (Deram DM 158) 1967.
'Julie Don't Love Me Anymore'/'One Time Lovers' (Deram DM 184) 1968.
'Never An Easy Thing'/'Hilda The Builder' (Deram DM 214) 1968.

A sadly overlooked band, especially in the UK. In Eire they're better known of course. We love the first 3 singles, which bear little resemblance to the loose, Tull-ish blues rock of the 'honest Injun' LP (Deram SML 1060) 1970!
'David' is pretty close to Procol territory; 'Never An Easy Thing' is typical 1968 pop (think Love Affair, Marmalade A-sides); whilst Hilda', a peculiar girl who must have caused her parents no end of worry, is a popsyke
groover with phased percussion.
Obviously not everyone agrees with us (most especially not bleedin 'Tapestry'!), as this inadvertently hilarious lunatic rant, sent to the Irish equivalent of the Radio Times proves-

from the 'RTE Guide', Aug 23, 1968:
20 Minutes With...
I have never written to a newspaper before, and didn't think that anything would ever move me to write. I regret that it should be annoyance and not satisfaction that motivates me. Last week's television programme, 'Twenty Minutes With Granny's Intentions,' was disgraceful. It should never have been transmitted on a national network.
I am as partial as the next (I am only 20) to pop music, but I would emphasise the word 'music,' which is I presumewhat Granny's Intentions thought they were making in this programme. It is not always a valid
complaint that the words of a pop song make [such] little sense they are sometimes unnecessary. But one is entitled atleast to hear them, and furthermore, one is entitled to hear the music.
In last week's programme I could hear neither words or music. The songs took second place to the gyrations of the lead singer in the intrusive, eccentric lighting of the set. Mind you, I am prepared to believe that the lighting man (or the director) realised that Granny's Intentions were so bad they couldn't carry on the programme without gimmicks. What a pity. And I couldn't even enjoy Jon Ledingham's singing, so awful was the taste left by
the Intentions. Give us less of this

Note: Jon Ledingham did a guest turn on the show. He also recorded under the name of Jonathan Kelly, and was (unsurprisingly) the central figure in Jon, the Peter Eden-produced psych-pop outfit.

As an aside, and on the same theme of the Irish reaction to rock...

From Northern Ireland- 'TV POST' Aug 14, 1968:

Regarding the article, "On the Town" in TV Post of July 31 by Robert W. Hume, about showbands performing at "all out" volume levels:-
These would-be vocalists-cum-instrumentalists are so lacking in talent that to cover up their inadequacies in this field they have to play at diabolical ear-splitting levels.
I once heard a group (much against my better judgement) in Co. Monaghan, playing through their sound reproducer at an "all out" volume when suddenly the sound reproducer broke down and it was then and only then one could hear their pathetic bleatings.
As a visual comparison, it reminded me of a small piece of fried fish smothered in a large lump of flour batter and served up to look big.
In conclusion, even the least technically minded person realises that to play at these high sound levels renders both music and lyrics unintelligible.
W.H. Donaldson, Portadown.

TOPO D. BIL - 'Jam' (Charisma CB 116) 12/69.
As mentioned in Rob Chapman's seminal Mojo "Codsike" article (which we rate as one of the best ever pieces of writing on UK Psych). This track, issued on the back of 'Witchi Tai Po' in an attractive period sleeve, was a collaboration between Chris Squire (Syn,Yes), Keith Moon, Tony Kaye, and Legs Larry Smith & Roger Ruskin Spear of the Bonzos. It is as some of these names suggest, rather mental. A piano-lead nursery chant and a manic psych-out. Described elsewhere as "A psychedelic classic, with paisley patterned tongue firmly in cheek". A comment with which we fully concur.

THE SUNDOWNERS - 'Blue-Green Eyes' (US: Decca 732497)1968.
Ok, this is the American band and not the Brits of the same name. Even so, it's a deadringer for the UK psych pop sound. And we are proud to include the guys as honorary Brits. It's in glorious stereo, irresistibly catchy, punchy and PHASED TO THE MAX! Fab stuff! Also on their 'Captain Nemo' Lp (IS: Decca DL 75036).
BIG thanks to Mark J in the ole US of A for turning us on to this!

THE RONNIE JAMES REINCARNATION - 'Is This The Only Life You Ever Had?' (US:
Decca 32469)1969.
In the same vein. Here's another Yankee Doodle Dandy who cut such a convincing UK-styled psych treasure that he has actually been reported elsewhere to be a bona fide Englishman.
Great pseudo-philosophical hippie claptrap lyrics set over another track that's awash with phasing phasing phasing!

JOYCE'S ANGELS - 'Flowers For MY Friends'/'Rodney Reginald Smithfield Harvey Jones' (Major Minor MM 526) 1967.
'Rodney Reginald Smithfield Harvey Jones' is phased popsyke of the very, very highest order (see the lyrics transcribed below)! A Kinks-style character song extremely similar to 'Colour Sergeant Lillywhite' written / produced by Jack Scott. Even in the Gay/camp annals of swinging London psych, this "sticks out" (oooh pardon me!) for its sheer exuberent poofishness. Bloody brilliant stuff! Think: Murray Melvin's camp cameo in 'Smashing Time'!
The A-side ('Flowers For My Friends') is great stuff too - the sweet floral essence of 1967!!!
Look out for Rodney (and his chums!) in a forthcoming comp!

GILBERT - 'Mr. Moody's Garden (Major Minor MM 613)1968.
Here's another from Major Minor. Gilbert O'Sullivan (for yes, it is he- Gasp!) turned out this wondrous slice of popsyke whimsy, whilst still an unknown. It was reissued under his full name on Columbia (DB 8967) in 1971, on the back of his first chart successes. By that date is was well out of fashion and sank like a stone.
File somewhere between Barry Booth and er....???


'Rodney Reginald Smithfield Harvey Jones' - Joyce's Angels

Here he comes again, that funny little man
Frowning, always looking as important as he can
Oh, it's Rodney Reginald Smithfield Harvey Jones
Without him what could we do? God only knows!
He goes mincing by, swinging his umbrella
Eyes towards the sky, looks like Cinderella
But it's Rodney Reginald Smithfield Harvey Jones
Without him what could we do? God only knows!

Who would push those pens all day
Rub the writing off the wall?
Who would have his whole life full
By red tape in Westminster Hall?
And then in the evening when his day is done
Sinks into obscurity 'cause he's just a lonely man

Poor old Rodney Reginald Smithfield Harvey Jones
Without him what could we do? God only knows!
Oh it's Rodney Reginald Smithfield Harvey Jones
Without him what could we do? God only knows!

Who would push those pens all day
Rub the writing off the wall?
Who would have his whole life full
By red tape in Westminster Hall?
And then in the evening when his day is done
Sinks into obscurity 'cause he's just a lonely man

Poor old Rodney  Reginald Smithfield Harvey Jones
Without him what could we do? God only knows!
Rodney Reginald Smithfield Harvey Jones
Rodney Reginald Smithfield Harvey Jones
Rodney Reginald Smithfield Harvey Jones


Hallo there, Dave
Tom Winter here, ex-Motives, ex-Opus ex-a bunch of other groups and ex-hausted from rummaging around in cardboard boxes full of old photos and pieces of paper since the day he sent your Motives article to BJ, who's had him scanning things ever since.
Well, after discovering your delightful e-zine (in the shape of that number 5) I found to, my "wow, man" - type surprise,
the lyrics of "No presents for me" featured in number 12.
I can't say they started reels of Panavision memory rolling (that probably proves I was there) but they did bring to mind a brief "involvement" with Pandamonium.
It must have been one of those intense chance meetings which used to occur (and I'd like to believe still do) in the Gioconda on Denmark St where, it seemed, for every tea served another group was formed......like the one I recruited the afternoon of the 14-Hour TD (having heard that a fully equipped stage would be available there) and christened "The Imbecile Illusion of Happiness":
Paul Korda on vocals, the drummer and bass-player from the Attack, two chicks blowing bubbles and Richie Blackmore, who declines (can't blame him) to remember the episode.
The Gio' was a marvellous place.
But I hear the muffled voice of Kenneth Williams from one of "the cardboard boxes of my mind" (what a splendid album title) wheezing "Thirty-five years! Thir-irty-fi-ve years!" reminding me that I am, actually, allergic to nostalgia.
So, where was I ... Pandamonium, yes, seeing the lyrics reminded me that I had known one of the lads briefly
(I can't remember his name) and that he (or was it his Dad... who managed the group...?) had asked me
to draw something for the release of their brand-new single "No presents for me". I don't remember whether it was meant for an ad or a flyer (what did we call what are now called flyers?) or whether it was ever used at all.
Never mind, here it is for your amusement, along with the visiting card I was given, which still bore the group's original name "The Pandas"......and, while we're in that particular cardboard box, another drawing I did (at whose behest I know no more) for the first Marquee gig of the C-JAM Blues.
Thanks, doc. It was good to get that out me attic.
Have fun and ... Power to the SFA!

Hi Guys!
Many thanks for the super review in SFA13; if you need any other information on the book, or indeed anything that you think I can help you with, please don't hesitate to contact me either by reply to this e-mail, or the address on the back of the book!
By the way, I self-published TDBY because I couldn't get a publisher; so I researched, typeset, designed and paid for 1,000 copies to be printed as well, so it's great that fellow fans such as yourselves appreciate the book!
Thanks again,
Steve Ingless

Hi there Dave,
Re. your highly enjoyable run-through in SFA 11 of Rick Price's superb 'Talking To The Flowers' LP:
I though you might be interested to learn that the likely inspiration behind the decision to cover Jimmie "Honeycomb" Rodgers 'It's Over' was not the original, but a cover version by Terry Lindsay (a Detroit-based female vocalist who also recorded as Theresa Lindsay). A highly emotion-charged mid-tempo US soul track, that was licensed for UK release to President Records (issued on 45 b/w 'One Day Up Next Day Down', PT 232)1969. This was also included on the sampler LP 'Keep The Faith' Volume One (where her surname is mis-spelt as "Lindsey"), issued on Joy Records (Joys 223)in 1970.
(As an aside, Joy was the same label which put out The Sundae Times oddball
'Us Coloured Kids' LP.)
President, Joy and Gemini (the latter issued the Rick Price album) were all owned by impresario Ed Kassner (he also owned Jay Boy. All labels were run by Kassner, together with his son David). So it's quite probable that given these coincidences, the choice of track was actually made by the guv'nor, rather than the artiste. Such as we are all only too aware, are the ways of the music bizz.
Best wishes to you,
Joel Morgenstern.


SWEET FA - the world's only periodical devoted to UK PSYCHEDELIA - is published monthly.
EDITOR - Dave Thubron
DEPUTY EDITOR - The Rt. Hon. Paul St. James Cross
CONTRIBUTORS TO THIS ISSUE- Scott Charbonneau, Amanda Cohen, Paul Cross, Jamie Driscoll, Paul Hodges, Johnny Hortus, Jim McAlwane, Stuart Robertson.

Please note:-
As some very minor confusion has (allegedly) arisen around the matter of authorship I wish to hereby state most categorically and unequivocably that SFA has no connection whatsoever with any other fanzines, be they living or deceased.
And most especially not with any zine that used a number for a name.
C'mon I ask you, does anyone believe such a connection is very likely???
~ Dave Thubron.

All contents copyright (c).
Extracts from the NME, copyright (c.) NME, 1967.
All other contents, copyright (c.) SFA, December 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.


Printed for the Shareholders, Staff & Passengers of the M. & L. Rail Traction Co. Ltd.

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