Turn on, tune in, drop
dead.
S*F*A* SWEET FLORAL ALBION
~THE JOURNAL OF UK PSYCHEDELIA~
No.: 11 ~~ Date: Oct 2002 ~~ Price: Half a sixpence
E-mail: sweetfloralalbion@hotmail.com
Online at: www.marmalade-skies.co.uk
Hello Trippers,
October. Summer has died and the evenings are drawing in. Time
then, to chuck another box of 'Psychedelic Salvage Company' discs
on the fire, add a big drop of "Auntie Mabel's Magic Mind
Medicine" to your Rum & Black, and read the latest issue
of SFA...
This month we're very proud to include unique recollections by
Paul Brett (of Tintern Abbey), Mark Wirtz (of The Matchmakers),
and a superb trawl thru Sir Elton John's sike-era recordings.
We most sincerely hope that you enjoy this and every issue!
Relax relax relax - Dave (et les bas peuple). XXX
CONTENTS-
O-NEWS
O-OUT IN THE COLD- Rick Price and Wolfe.
O-PAUL BRETT INTERVIEWED
O-MARK WIRTZ on THE MATCHMAKERS
O-PREVIEWS/REVIEWS
O-WHAT THE PAPERS SAID
O-REG DWIGHT TAKES A TRIP
O-NEO-PSYCH NOTABLE
O-MISTY ROMANCE
O-OZ/KIWI PSYCH
O-LETTERS
O-LYRICS/QUOTES...
***NEWS***
BEATLES:
'CARNIVAL OF LIGHT'-
The Beatles' (or more specifically McCartney's) freakiest moment-
the soundtrack to the 'Million Volt Rave' at the Roundhouse is
finally to be made available. As those of us who are privileged
to have heard it can attest, it is an absolute psychedelic
classic- a UK studio-crafted psych tricksbag creation wedded to a
Zappa-esque slapstick freeform freakout! And quite unlike
anything else in The Fab's ouevre.
'Carnival Of Light' is to be used in the soundtrack to a
docu-film of Linda McCartney's 60s photography.
It is rumoured (but "officially" unconfirmed at
present) and of course hoped, that the soundtrack will be given a
CD release.
'TALKING
ABOUT THE GOOD TIMES', VOL. 2'-
The second volume of this excellent CD series is due in the next
month, or so. Rarities and acetates in abundance! Whoopee!
PURPLE
GANG NEWSGROUP-
Received from Chris "Joe" Beard:
"HI there, This is Joe ,deranged leader of THE PURPLE
GANG.Just to let you know that some Floyd /Barrett fans have set
us a web newsgroup up if you want to get involved at all,.Got any
anecdotes ,ideas, funnies, jokes,..anything really.Hoping to get
various members of the band past and present to join in..or any
other Purple Gang associates...there have been many over the
years. The new site is www.PurpleGang@yahoonewsgroups.com
Don`t forget to visit our main site now and again and see if it`s
updated (more memoires , info just gone on )..........see you
..tangled up in Purple."
'ODDITIES',
VOL. 2-
Due any day now. This LP continues in the same fab beat-psych
vein as the first volume. Whoopee! (See "Preview"
below, for full track-list)
'LOVELY
SUMMER DAYS' CD-
The CD version of this legendary MGM comp should be rearing its
bejewelled head sometime this month, or next.
STATION
TOP TEN-
'Chocolate Soup FM' http://www.live365.com/stations/295662
1 The Easybeats - Peculiar Hole In The Sky (Sweet Floral Albion)
2 Tuesday's Children - Summer Leaves Me With A Sigh (We Are Not
What We Appear To Be)
3 Peter Sarstedt - MANY Coloured Semi-Precious Plastic Easter Egg
4 Argosy - My Boyd (Rubble Vol 20)
5 Anan - Standing Still (Ripples Vol 8)
6 Forever Amber - Dreamer Flies Back (Love Cycle)
7 Los Pernikes - Cercla Des Estrellas
8 Graham Gouldman - Chestnut (Graham Gouldman Thing)
9 The Blue Aces - That's All Right (We Are Not What We Appear To
Be)
10 Claudine Longet - Wanderlove
Plus loads of tracks from 'Rubble 20', 'Ripples 8', 'We Are Not
What We Appear To Be', 'Sweet Floral Albion', 'Oddities', 'Doin'
the Mod 4' and 'Colour me pop'.
Coming soon - the best moments of 'Syde Trips', The Easybeats
finest psych tracks and Mark Wirtz obscurities.
***LYRICS***
'Life Is A
Dream' by NOEL HARRISON
Mister, I don't know your name
But I'll try just the same
Have you seen my mind?
I have not been around
I tried to leave town
But I got left behind
To find my way
I was a lost and hungry man
Someone had opened the door
Trusting myself I was lead inside
Never get back anymore
Seems like the way I feel about myself
Is shifting like ice on a stream
Nothing means much to me
Life is a dream.
Mister, can you spare me the time
Got so much on my mind
That I want you to hear
All the lights have been out so long
That the darkness seems to be pulling and keeping me here
Which way is heaven? I think I know
What colour's the soul of a man
Why must the lives of a million men
End with the touch of a hand
Nothing has ever been what it seems
Stay hung up on yesterday
Life is a dream
Life is a dream
The dead-pan, evidently tone deaf Noel Harrison, son of Rex,
managed amongst some truly awful songs, to turn out this fab,
somnabulistic, Acid-inspired, eastern-styled nugget. Featuring
piano, sitar and tabla, folk-flavoured in a very Dave Mason sort
of way, it manages to be simultaneously tentatively philosophical
(lyrically) and blissed-out (musically). It can be found on the B
side of 'Suzanne' (the Leonard Cohen song), issued world-wide on
Sinatra's Reprise label (UK issue: Reprise RS 20615, ..../68), as
an intended follow-up to Noel's classic take on Michel Legrand's
swirly 'Windmills Of Your Mind'- as featured in the 'Thomas Crown
Affair' movie.
There's a magical US TV-clip of him performing 'Life Is A Dream'
and then demonstrating the sitar, as we waxes very cosmic...Not
to be missed! [I think u-Spaces have reissued it on one of their
comps?- DT] Also recommended (for other reasons), is Noel's
orchestrated, and inadvertently hillarious, version of 'A Whiter
Shade Of Pale'.
***OUT IN THE COLD ***
RICK PRICE- 'TALKING TO THE FLOWERS' by Scott Charbonneau
Being in a band with Roy
Wood and Jeff Lynne must have been frustrating for Rick Price,
knowing that his songs would never find their way onto a Move LP.
What cannot be denied is that, ultimately, his time in that band
was well spent. He may not have been blessed with Roy's uncanny
commercial instincts, or Jeff's facility for pastiche but
'Talking To The Flowers' (Gemini GME 1017) 1971, reveals Rick to
be very much his own man creatively, offering a gentle, sweetly
melancholic introspection that was already an anachronism when
this album was issued.
Sadly, as an artist, Rick Price was done a disservice by the
packaging and sequencing of this LP; the first thing you notice
is the cover, a sickly green and white floral motif that
resembles more a particularly hideous wallpaper pattern. About as
much thought was put into its sequencing; Side 1 pitting Rick
Price: Purveyor of Pop Psych Whimsy against Side 2's casting of
Rick Price: Interpretive Singer. Consequently, Talking To The
Flowers does not hang together as a unified whole, the way an
album should; rather it plays more like two mini albums by
different artists.
That said, Side 1 is as damn near perfect a specimen of "out
of time" pop psych that I have heard; this album may have
been issued in 1971 but Rick himself was still stuck somewhere in
1968! The material here is of a uniformly high standard; kicking
off with 'Butterfly', a sprightly piano-dominated number and the
most obviously Move-like track on the album.
Great lyrics too, describing a woman who, like the title, is
graceful, delicate and tantalisingly out of reach. 'April Is
Here' follows and may very well be my personal favorite; Rick's
yearning vocal floats over a Hammond organ that manages to be
both funky and subtle. 'Misty Morning' shows the same fine eye
for detail that marked the Kinks circa Village Green, cataloguing
the mundane details of a day in the life. 'Daisy Farm Park' and
the title track both espouse escape whether it be from the hustle
and hassle of the overcrowded big city, or the frustration and
pain that comes from everyday living. Closing out the side, 'Who
Am I' features the most beautiful, sensitive arrangement on the
album; the questioning lyrics given added poignancy and depth via
some subtle wah-wah, soft acoustic strumming and gently flowing
organ.
Side 2 loses momentum as the material does not measure up to the
overall excellence of the first side, and the arrangements are
considerably less inspired, ranging from overblown to hilariously
inappropriate; only the opening and closing tracks emerge
relatively unscathed. Jimmie "Honeycomb" Rodgers' 'It's
Over' benefits from an understated reading that puts across the
lyric's sadness effectively; strings add just enough without
degenerating into syrup. Tim Hardin's oft-covered 'Reason To
Believe' is the most blatant misfire here; the heartbroken, and
heartbreaking, sentiments are set against a bizarrely jaunty
backdrop that leaves the listener scratching his head. 'The
Singer Sang His Songs' succumbs to overblown schmaltz early on,
offering proof, if any were needed, that covering Neil Diamond
songs is generally not a good idea. 'Love Her' is a brave choice
but, considering that Scott Walker owns this song, any competing
version can't help but pale in comparison. 'Please, No More Sad
Songs' adds nothing to the Idle Race original but, if viewed more
charitably as a tribute to a former band mate and fellow
songwriter, is acceptable enough. 'And Now', the closing track
and only original on this side, is a close cousin to 'It's Over',
lyrically speaking; for once someone had the good sense to push
the orchestra in the back of the mix. Despite my general lack of
enthusiasm for this side, I will say in its defense that it is
not unlistenable, just unnecessary, especially when set against
the top side.
It is too bad that, rather than mark the beginning of a promising
solo career, this album put paid to it instead; Rick Price was
talented enough as a singer and a writer, to continue making
interesting records equal to what Wizzard and ELO were doing not
long after.
SHEEP
IN "WOLFE'S" CLOTHING by Jon Kerr
In 1972 Rare Earth, a Motown subsidiary label, known mainly for
the band of the same name issued (in Canada and the US only) the
sole Peter & The Wolves album, albeit that by this date they
had chosen the more contemporary sounding name of Wolfe. 'Wolfe'
should be of interest to all those interested by the work of John
Pantry & his chums. Whilst not an excellent album it does on
the whole contain some very pleasant, breezy commerical pop at
which Mr Pantry could excell; even if it lacks direction and
shows a band desperately grasping for a style of their own. In
common with the majority of US albums it has 12 tracks, most of
which are of above average quality (especially for 1972!)
Recorded at IBC studios, London, the LP opens with the classic
'Ballard Of The Unloved', here given a very Pantry-esque
treatment, with vocal and piano to the fore, augmented by some
great backing and some touches of wobbliness (were these
intentional, or did the engineer lean on the tape deck by
accident?) 'Bite It Deep' is the most overtly Peter & The
Wolves sounding. A great clappalongasingalonga piece of pop, with
a strong Beatles vibe, not least in so far as the song is about
temptation, symbolised by Adam & Eve's apple (Apple-
geddit?), an early manifestation of Reverend Pantry's burgeoning
religious convictions(?) Lesley Duncan's 'Love Song' is given the
vocal/piano treatment- a great song and a great performance, but
as with Pantry's take on 'Something In the Way She Moves' (also
covered well) they are essentially of little interest from an SFA
perspective. Sadly c(o)unt(ry) rock rears its ugly noggin in the
form of 'Dead From The Head Down'. 'Mama Lion' (a Mark Wirtz
song) and 'Time Is Money' - both quite vile. 'Funny Funny' is
bubblegum pop with a hint of Picketty Witch (written,
unsurprisingly by Chinn & Chapman) but there's a nice version
of 'Dancing In The Moonlight' replete with some fuzz guitar.
'Tale Of Two Cities' (penned by John Pantry, but sung by Robin
Slater) is a goodie, with nice vocal support and rhythmic organ
motifs. Which leaves two more classic Pantry styles vocal/piano
lead ballards, both uncannily McCartneyesque in derivation - 'Us'
(which is quite lovely and well written to) and the final track
'Song With No name' a mention should also be made of the 45
verison of 'Bite It Deep' on which Pantry doesnt sing lead this
time (Robin Slater again?) but its still a gorgeous slab of
infectious pop.
***From 'The Bumper Book Of Psych Quotations', by Roger St. John***
Entry no. 53a- ROGER
HUTCHINSON(Underground editor & journalist- Oz, It...):
"Yet the image which has come to characterise the era, if
not the entire decade, is the image of flower-power, the
iconography of the Summer of Love.
Young men with large and vivid flowers in hair which had only
just started to grow, wearing embroidered Edwardian jackets and
ruffled shirts, flared trousers and sandals or bare feet; young
women in kaftans or granny blouses or naked from the waist
upwards, swaying in some festival field, their bodies painted by
an art school drop-out with a day-glo pen. Such people, the
picture books tell, spent the best part of ten years dressed in
this manner and behaving in this way. But nobody's Summer of Love
lasted for a summer in Great Britain, and few people's lasted a
halcyon day. The image is in fact a collage, a fantasy congealed
from many single sunburnt afternoons.
There never was a Haight Ashbury under these grey skies (in
California, indeed, there was only such a mythic place for less
than a year). There were Saturday afternoons on Primrose Hill and
down upon the King's Road; there was the Rolling Stones
performing live in Hyde Park, Jagger in a dress, releasing
butterflies and reciting Shelley in that exaggerated south London
accent; there were hippy weddings in the balmy afternoon, with
the photographers from the tabloid press jostling for shots of
bra-less brides; there were even cowbells worn by the inspired
few (with the clappers removed)... but that was just about the
size of it.
That, and the product which it released: the clothes and music
stores, and the peculiar phenomenon of an entirely amateur
publishing network which appeared from nowhere to sell, within a
couple of years, up to 150,000 copies per issue of its combined
magazines, which employed as many as 200 people from Devon to the
North of England, and which died as quickly as it had been born
within eight short years, sinking suddenly from sight as the last
fond fading memory of the Summer of Love vanished into the denser
atmosphere of the 1970s."
***PAUL BRETT INTERVIEWED***
As a tie-in with the
release of the long-lost second TINTERN ABBEY 45, we hereby
present a rare interview with Paul Brett, in which he discusses
Tintern Abbey for the first time!!!
Our man, Paul Cross (PC), asks the questions, whilst Paul Brett
(PB) provides the answers.
Basically, as we're a UK psych fanzine, we've concentrated on
Paul's career during the mid-60s to early-70s....
PC- How was the acetate of the
proposed second Tintern Abbey single rediscovered?
PB- The
acetate was found recently when I was going through some of my
late father's things. He must have kept everything I did over the
years. In fact, I remember him paying personally for this
session.
PC-
Can you give us any details about the recordings?
PB- The
tracks are 'Do what you must' and 'How do I feel today'. The
former was band-written, whilst 'How do I feel today' was written
by Dave McTavish [who wrote both sides of the Deram 45], and was
supposed to be the follow-up to the first single, but got shelved
as the deal with Deram ended. This item has been in my dad's file
since 1968 when it was recorded at Tony Pike's Studios in Putney,
London. I have only played it twice since finding it. Once to
check it out and once to copy it to file.
PC-
Why did Dan Smith leave the band, any ideas?
PB- I never
met Dan. I think there was a falling out with the other guys, but
it was never discussed. We also added an organist later although
we never recorded with him. His name was Terry Goldberg, he used
to be with the Mark Leeman Five, who were a great 60's group.
Unfortunately, Mark died in a car crash [in June 1965] and the
band split. Terry wasn't in Tintern Abbey for long, he was used
to a "pro" situation and couldn't handle the Samuel's
set up i.e. playing in the house!
PC-
It seems that Dan left Tintern Abbey in January '68, and you
replaced him then. Is this date correct?
PB- I'm
unsure as to when Dan actually left, or of the specific date when
I actually joined the band.
PC-
Any idea exactly when the acetate was cut? Presumably it must
have been recorded between January (when Dan left) and March 1968? Because on
March 9th, 1968 'Record Mirror' announced the forthcoming single
as due for release on April 19th, 1968.
PB- Not sure, as there's no date on it. The acetate was supposed
to decide the A side and then we would go in and produce a master
of the song. The band preferred 'Do What You Must' as the A side,
as 'How Do I Feel Today' was a bit repetitious. None of these
songs was ever recorded as a master session for release as the
whole deal fell apart.
PC-
Record Collector said--" 'How Do I Feel Today' didn't reach
the pressing stage, and no tapes or acetates have yet to surface-
indeed, there's no indication that the track was ever
recorded."-- What do you make of that?
PB- To be fair to RC, I only recently found this acatate in my
Dad's things and even I forgot I had it. So yes, it does exist.
They are correct in that it didn't reach the pressing stage , it
didn't even reach the mastering stage, but it does exist in
Acetate form and only one copy, which I have.
PC-
The legendary Nigel Samuels was the band's manager. What was he
like to deal with?
PB- Yes,
Nigel Samuels was the manager of Tintern Abbey. He owned the now
legendary underground mag IT. He had inherited his father's
publishing business and wanted to expand into the music scene.
Hence IT. It was a strange arrangement. He let us live rent-free
in a mews house at the back of Sloane Square and we used to
rehearse there. He used to come round at 3 in the morning and
just get us to play for him and his mates. It was all a bit
weird. It was like we were his own personal ' band in a box' that
he could turn on at any time he felt like. He paid everyone a
small weekly retainer, which was generous of him , but we all
needed to play to the outside world and after much discussion, we
signed agency with Spencer Davis.
PC-
Did Tintern Abbey pack it in in 1968, or did they survive until
the start of 1969?
PB- I left
after about a year. Can't remember exactly when they folded.
PC-
What else do you remember about those days?
PB-I remember
Stu McKay being heavily into 'The Prisoner' (TV Series) as he
used to go round wearing the striped jacket etc.! Dave McTavish
had a pet buzzard that got rather large and flew out through the
large picture window in the house one day, looking for freedom I
guess. There were quite a few 'Sloanie' type ladies that used to
hang around the house, not my type I'm afraid, but McTavish used
to go for them.
PC-
Who was the roadie?
PB- His name
was Eddie Slemmonds, a mate of mine from Fulham.
PC-
What is your opinion regarding a copy of the Tintern Abbey Deram
45 being sold recently for a four-figure sum?
PB- As usual
with collectable material, it depends on how bad the guy wants
it. I collect early Stella Guitars and have paid good money for
ones that fit my collection. Leadbelly and Blind Willie McTell
played them, so they can't be bad ! Obviously the guy who paid
$2350 for the Deram single, really wanted it ! I thought the
single was changing hands for around £200 or so. It must be the
power of e-bay!
PC-
'The Magic Shoemaker' LP, on which you played is pretty
collectible too...
PB- I had The
Strawbs up here for the 'Pwllheli Festival' this year, which I
run, and we talked about the Fire LP, 'The Magic Shoemaker'. Dave
Lambert, Dave Cousins, me, Bob Voice and Dick Duffall (the later
two were with me in Paul Brett Sage) and we couldn't believe the
collectability demand on this one either.
PC-
There was also talk in the music papers in '68 of a Tintern Abbey
LP, due for release in August '68. Were any tracks recorded? Do
you remember any track titles?
PB- No LP was ever recorded. We did write a lot of songs with a
view to recording an album, but only these two on the acetate
were recorded.
PC-
Please tell us the correct chronology regarding the bands you
were in in the 60s.
PB- First
band was SW4, then Neil Christian and the Crusanders, then Arthur
Brown Union (pre-Crazy World), then Dave Terry Band (pre-Elmer
Gantry), then Tintern Abbey, then Elmer gantry' Velvet Opera,
then Velvet Opera, then Soulmates, then I was with Johnny Joyce
(from Velvet Opera) as an acoustic duo, then Cyril Stapleton
Orchestra (with Dave Palmer of Jethro Tull and Bob Voice of Fire
and Paul Brett Sage). Could even be I've left a few bands out!
PC-
Yes! You were also in The Overlanders [c. Autumn '66].
PB- Yes,
Could be you're right on this. Done so much I can't remember all
the bands and dates!
PC-
And you were also in the the Warren Davis Monday Band, I believe,
in 1967?
PB- Yes I
was. I've forgotton about the Warren Davis Band...
PC- Do you
have any info about your time with Elmer Gantry's Velvet Opera?
PB- Yes. I
joined Elmer (when Colin Forster left), after Fire. The line-up
was Dave Terry (vocals), John Ford (bass), Richard Hudson
(drums), me (guitar). And I played on the 'Volcano' and 'Mary
Jane' singles and one LP- 'Ride A Hustler's Dream' on CBS, and
did extensive tours with the band. The agent at the time was
Terry King and he booked us a lot of shows. Disagreements erupted
within the band, which lead to a split from Elmer. We
invited 12-string Bluesman Johnny Joyce to join the band, and
recorded the Velvet Opera 'Ride A Hustler's Dream' LP. This was
recorded, as was the Elmer Gantry's Velvet Opera stuff, at
Southern Music's studios in Denmark St. It was an 8-track set-up
and was a real struggle to get real quality and instrument
separation, but we did our best. We did lots of Radio One
sessions and quite a few gigs, the most memorable being with The
Who at The Lyceum...
PC-
Wow! What was that like?
PB-The Who
were great! I think they played a lot of stuff from 'Tommy'. We
supported them. Can't remember the date, must have been around
1970. We were managed by Terry Slater who looked after Amen
Corner and he got us the show.
It was a packed house and we were well received, with an encore,
etc. We had 'Anna Dance Square'/'Statesboro' Blues' out as a
single at the time from the 'Ride A Hustler's Dream' LP. I'd
played the Ealing Club years before with a band whose name
escapes me and we came across The Who regularly down there, when
they were still called The High Numbers.
PC-
How did the Velvet Opera split?
PB- John Ford
and Richard Hudson were getting more into writing their own songs
and they also wanted to perform them. Johnny and I were more into
acoustic music and inevitably, we went our own ways quite
amicably. Southern would have made another LP with us but we felt
we needed to follow our hearts! I spoke to Hud last year about
the possibility of collaborating on a new Velvet Opera LP as the
band's reputation has survived and even grown over the years,
probably because we have all done our own things. This is very
much a possibility and I will pursue this with Hud and John. I
did a CD last year with John Joyce 'Acoustic Power' that was
really well received by the media. It could also be that there is
another Fire LP in the future and certainly their will be more
Paul Brett CDs and there are collectors issues on CD of the
previous material and some unreleased Paul Brett & Sage stuff
via my site www.fret-dancer.com Also on this site is an on-line
Vintage Acoustic Museum that features very rare Stellas, Regals
and Weymanns. These are the guitars the early Blues Legends
played. I am currently compiling a book on my guitar collection
and it will contain over 60 guitars and will be released with a
CD sampler of their sounds. Many now lost to the modern ear and
guitar maker. Many hew guitars look like over-priced bits of
furniture and sound like strings plucked over a cats arse !
Arthur Brown Union (Left to Right) Paul Brett
(guitar); Jim Toomey (Drums); Roy Stacey (Bass); Art
Regis (Organ) Derek Griffiths (Tenor Sax); Tony Crane (Alto Sax) and Arthur Brown (vocals - seated) Early picture was taken in Homestead Rd, Fulham outside Paul's family house (around 65/66). |
PC- Are
there any other 60's demos in existence?
PB- My Dad
paid for a lot of demo sessions of bands I was with, including
SW4 with Ralph Denyr singing. And I also have an acetate of an
early line up featuring half the original Arthur Brown Union
(minus Arthur) and Elmer Gantry's Velvet Opera. It has Elmer
(Dave Terry) on vocals, me on guitar, Art Regis and Tony Crane
(organ and sax) Jim Toomey (drums). I played with both Arthur and
Elmer. I haven't looked through all my dad's boxes yet, he may
have kept some early Arthur Brown sessions at Tony Pike's. All
this acetate stuff was recorded at Pike's
PC-
You played on a lot of records back then?
PB- Hundreds
of them! Did the first Roy Harper LP on Strike Records when I was
with Neil Christian and the Crusaders, took over from Jimmy Page;
Al Stewart's sessions, 'Zero She Flies', 'Electric Los Angeles
Sunset', etc; 'Devil's Grip'/'Give Him A Flower' by Arthur Brown,
Ronnie Wood played bass on this one; Fire 'The Magic Shoemaker'
LP; Tintern Abbey stuff; John Joyce LP; all the Paul Brett Sage
and Paul Brett LPs to date; 'Dragonfly' by The Strawbs; Michel
Polnareff LP's , and thousands of sessions, right through the mid
to late 60s as I was one of the top session guitarists and played
on lots of peoples' records, mainly daytime sessions and worked
gigs in the evenings...
TINTERN
ABBEY-Personnel:-
LINE-UP #1(1967 - 01/68):-
David McTavish (Vocals)
Dan Smith (Lead guitar)
Stuart MacKay (Bass)
John Dalton (Drums)
LINE-UP #2 [01/68 - ?/68]:-
David McTavish (Vocals)
Paul Brett (Lead guitar)
Stuart MacKay (Bass)
John Dalton (Drums)
LINE-UP #3 [?/68 - ?/68]:-
David McTavish (Vocals)
Paul Brett (Lead guitar)
Terry Goldberg (Keyboards)
Stuart MacKay (Bass)
John Dalton (Drums)
LINE-UP #4[?/68 - late/end 68](same as second line-up):-
David McTavish (Vocals)
Paul Brett (Lead guitar)
Stuart MacKay (Bass)
John Dalton (Drums)
NOTE:- It is well worth stating that most of the details
contained within this interview are markedly absent from any
former accounts, most glaringly from the supposedly encyclopaedic
'Tapestry Of Delights'. SFA gladly welcomes this opportunity to
straighten the record, and would also like to thank Paul Brett
for his unique recollections, his help, and all his
encouragement. Thanks-
Dave Thubron.
***LYRICS***
'Vacuum
Cleaner' by TINTERN ABBEY.
"Everybody's
got new clothes, makes me feel kind of old
But in my heart I really know, new clothes don't buy my soul
Fix me up with your sweet dose, now I'm feelin' like a ghost
Break it up break it up, let's have it now girl
Don't you know I need it all the time
Fix me up with your sweet dose, now I'm feelin' like a ghost
Whoah whoah whoah whoah all the time
Now my head is really spinning, maybe now I'll show some willin'
To help you with the house work, if you want to
Break it up break it up, let's have it now girl
Don't you know I need it all the time
Fix me up with your sweet dose, now I'm feelin' like a ghost,
Whoah whoah whoah whoah all the time
All the time, all the time
Everybody's got new clothes, makes me feel kind of old
But in my heart I really know, new clothes don't buy my soul
Fix me up with your sweet dose, now I'm feelin' like a ghost
Break it up break it up, let's have it now girl
Don't you know I need it all the time
Fix me up with your sweet dose, now I'm feelin' like a ghost
Whoah whoah whoah whoah all the time
All the time, all the time
***TINTERN ABBEY'S 'BEESIDE' by Simon Reynolds***
A minor classic of British
Psychedelia, Tintern Abbey's 'Beeside', also makes the
indolence/innocence connection. Here, it's a creature of the
field, a busy bee, who's misguided, and a human who hips him to
the true meaning of flower power: "people pick them, you
lick them, just for love".
Singer David MacTavish contemplates the bee's toil and tells him
to mellow out. Like Wordsworth, whose poem gives the band their
name, Tintern Abbey believe that indolence feminises men,
promoting receptivity and "wise passiveness". The state
of grace comes when man is de-activated and drowsy, succumbs to
what Wordsworth calls "that serene and blessed mood" in
which "we are laid asleep / In body, and become a living
soul". Tintern Abbey's music recreates Romanticism's primal
scene, the bower of bliss- groves and glades "where the male
is captured, seduced and infantilised", according to Camille
Paglia, stranded in "a limbo of lush pleasures but
stultifying passivity". 'Beeside' is all synaesthesia,
clouds of phased cymbal scintillating like pollen caught in
midsummer sunshine. Into this idyll materialises "a virgin
of humble origin", a mystic girl-sprite whose caresses are
sacraments of love that magically return to the singer his own
virginity.
Quoted from 'Back To Eden: Innocence, Indolence and Pastoralism
in Psychedelic Music, 1966-1996', in 'Psychedelia Britannica',
edited by Antonio Melechi.
***LYRICS***
One of the top five
greatest ever UK psych 45s- alongside Tintern Abbey, One In A
Million... It is interesting to note the differences between the
two extant versions. One an early draft, the other a completed
and published work.
Plese note: Queries, together with the variant lyrics eradicated
from the 'Syde Tryps Seven' (demo) version, are listed below as
footnotes.
'Path
Through The Forest' by THE FACTORY.
I know a path
through the forest
Where you can slowly wake up
Or you can take your time
And[1]let the seasons catch up
Slip off your shoes
And feel the earth
Your ears will start to ring
And life will sing
You just gotta spring on the
Path through the forest
Where colours can blind you
And never confined[?] you
It can drive you insane[2]
You've got to slow down now
Or you'll[3] grow cold
Bless the flowers and see[4]
The hours that Spring blows on[5]
Shadows confuse you
And silence is loud
You're reaching for the light
You're losing sight
And day becomes night
[6]I know a path through the forest
Where you can slowly wake up
Or you can take your time
And[1]let the seasons catch up
Slip off your shoes
And feel the earth
Your ears will start to ring
And life will sing
You just gotta spring on the
Path through the forest
Where colours can blind you
And never confined[?] you
It can drive you insane[2]
Footnotes:
[1]Deleted:
[?]May read 'Can find'[?]
[2]Deleted line: 'This sensual gain'
[3]'You'll' reads- 'you will'
[4]This line reads- 'And rest the flooding sleepy hours'
[5]This line reads- 'And wait for Spring to awoke' [?]
[6]Substitute repetition of verse #1 for-
'Come with the patterns
That dance at your face
And you will hear the breathing all around you
Leaving the space
You'll think you hear music
A beautiful song
There's no melody sweeter than
What the poet belongs[?]'
***From 'The Bumper Book Of Psych Quotations', by Roger St. John***
Entry no. 121 CHRIS
ROWLEY(Studio Assistant to Yoko Ono, succinctly evokes W11 in
'66-'67):
"Notting Hill was really a litle paradisical [with] this
atmosphere of trees, golden haze, an aura of decadence and
mellowed out young people".
***MARK WIRTZ on THE MATCHMAKERS***
Because Mark has rarely spoken
about The Matchmakers, very little is known about how the band
came into being. Now, more than 30 years later, the story behind
this mysterious band, this veritable fountain of bubblegum rock,
can finally be told!
What follows is an excerpt from the liner notes of the soon to be
released 4 CD Anthology - 'Garage Sale at Rainbows End'. To read
this is to understand what it is like to talk to Mark. To enhance
the "virtual" experience read it fast, with a part
German, part British and part American accent. To preserve the
frantic nature of Mark's story telling I've saved the notes for
the end.
-Mark Frumento.
Now... The True and Never Before Told Story of THE MATCHMAKERS It
was at the time of working on the Judd LP (1), when my doctor
father called me from Cologne to tell me that one of his
patients, German veteran music publisher and ace
"Schlager" writer Rudi Lindt, had been begging him for
my address so that he could get in touch with me, and would I
please concede to get him off my dad's back. Within hours of my
agreement, Rudi called me and, sounding happier than hell,
conveying enough energy to light up a city, informed me in slick
salesman "closing" fashion, without even an appellation
or introduction, "I vant you to rite me two bubble gum
songs. I already got ze titles, 'Baby make Me Happy' and 'Thank
You Baby For coming' - Zey're a hit!! Ve'll go fifty-fifty. Zen I
vant you to demo ze songs in London, I'll pay for ze session -
but make it cheap, cos vatever you got left over you can put in
your pocket."
Times were hard. Struggling financially and needing the money, I
agreed.
Sharing the vocal chores with Chas Mills, Miki Anthony and Kris
Ife, I recorded both demos virtually live with the
"Judd" band in one session. Rudi was so jubilant about
the results that he wasted no time to go for a 'reload.'
"Wooly Wooly Wat'sgong!!!" was his megaphoned blare
that tore me out of the deepest sleep in the middle of the night.
"Huh?" I yawned, "who the hell is this?"
"Roooooooodeeee!" was his cheerful reply. I wanted to
slap the bastard. "Woolly Woolly Watsgong!!! " he
repeated, his voice doing a loop-de-loop. "It's a vonderful
title, don't you sink?! A hit! Ja, ja! I can hear it on ze radio!
rite it!!". "Rudi, how can you hear it, it hasn't even
been written yet, let alone recorded" I slurred, still in a
stupor.
Didn't even faze the little title king. "Oh, Maaaark, don't
vorry about details," he said with paternal air. "Just
rite and demo ze ficker!!" Again, I rallied the band and,
again, Rudi was in heaven about the outcome. "By ze way, you
know vat?" he casually informed me, "I played 'Baby
Make me Happy' to Vogue Records here and zey want to rush release
it as a single!
Funtustic, ja? I already got ze name for ze band - The
Matchmakers.
Funtustic name, ja?" Anticipating the reasons for my
resistance, he hammered on, "Don't vorry. Ve'll go
fifty-fifty and nobody vill know ze real names of ze musicians,
or zat you had anything to do viz it. It'll be a secret (2).
All I need is a band picture for ze cover. So set up a foto
session." Before I even had a chance to protest, the line
went dead. Less than three weeks later, the single came out,
later followed by - unbeknownst to us - more singles and an album
of all the demos we had cut, initially in Germany and Holland,
and later... God knows where else, and under what monikers (3).
Frankly, once recorded, neither I
nor the band really cared, just happy that they had made us all a
bit of money for having had so much fun. Be that as it may, at
the time, Rooooodeeee's middle of night telephone invasions
became a regular routine, he always breathlessly throwing me
another title with the command to get the song and demo ready
"at vonce!," always ending with, "of course, ve go
fifty-fifty, as alvays. I've already registered ze song and
signed ze contracts for it. Ve're gonna make a million!".
"Fifty-fifty of what, Rudi?" I eventually rebutted,
exasperated, "I've never seen a contract YET!"
"Ha, ha, ha, my dear Maaaark," Rudi would mock me.
"Don't vorry about ze munnee, I'll keep it safe." No
kidding! Rudi kept the money "safe" all right. Not FOR
me, but FROM me. In a nuclear strike-proof safe, no doubt, where
only he could get to it. But it didn't matter. None of us ever
expected to see another pfennig beyond what we had split up
between us out of the original session budget leftovers anyway.
It was obvious to us that master slicker Rudi had elevated common
thievery to not just a sport, an art even, but to veritable
gallantry. And that was OK by us. The fact that somebody had
actually paid us for having this much fun made it all worth
while. Besides, no matter how much Rudi pissed you off, it was
simply impossible not to like him - to even downright admire him
for his ever charming, ever bubbly, ever boundlessly passionate
audacity. Today, Rudi is no longer with us. Yet, even now,
whenever I hear any of the "Roooodeeee" tracks, I
always picture the jolly Krautling's frantically animated ghost
hovering above the band like an extra member, cheering in nigh
falsetto, his eyes ablaze in wonder like a child beholding a
Christmas tree, "Ja, ja, ja!!
Ist ja funtustic! A vonderful, vonderful hit!!!! -Mark Wirtz,
Savannah, GA, August 2002.
(1) The Judd LP was released on Penny Farthing in 1969. Judd was
really Kris Ife. The LP was produced by Mark and contained six
original Wirtz/Ife compositions.
(2) The real names of the primary musicians, Mark Wirtz (guitar,
piano, vocals), Tat Meager (drums), Roger McKew (guitar) and
Roger Favell (bass) were BOLDLY revealed in the LP liner notes
(3) Other band names known to have been used are The Guards and
Father's Brown. The latter had one single released in the UK on
Decca ("Maybe Baby" written by Wirtz/Ife). The
Matchmakers LP (with a different track listing) and at least one
single were released in the UK on Chapter One. Matchmakers tracks
appear on Mark Wirtz Pop Works and The Anthology To find out more
about Mark Wirtz Pop Works and The Anthology go to
"NEWS" at www.markwirtz.com or write to Mark Frumento at mafru2@comcast.net
Thanks to David Wells for additional information on the UK
releases.
**PREVIEWS***
SKIP
BIFFERTY- Skip Bifferty. Castle Music 2-CD comp.
Due end
October/early November. This is the most current track-list.
NOTE:- Details to be confirmed.
DISC 1 - "THE ALBUM":
1. Money Man
2. Jeremy Carabine
3. When She Comes To Stay
4. Guru
5. Come Around
6. Time Track
7. Gas Board Under Dog
8. Inside The Secret
9. Orange Lace
10.Planting Bad Seeds
11.Yours For At Least 24
12.Follow The Path Of The Stars
13.Prince Of Germany The First
14.Clearway 51
BONUS SINGLES:
15.Man In Black
16.On Love
17.Cover Girl
18.Happy Land
19.Reason To Live
20.Comes The Dawn (previously unissued)
21.Portobello Road (previously unissued)
22.Round And Round (previously unissued officially)
23.Schizoid Revolution (previously unissued, Alan Hull & Skip
Bifferty)
24.This We Shall Explore (previously unissued, Alan Hull &
Skip Bifferty)
DISC 2 - "BBC SESSIONS":
1. The Hobbit
2. Man In Black
3. Once
4. Aged Aged Man
5. Higher Than The Clouds
6. The Lion & The Unicorn
7. Disappointing Day
8. Money Man
9. I Don't Understand It
10.Don't Let Me Be Misunderstood
11.In The Morning
12.Follow The Path Of The Stars
13.When She Comes To Stay
HEAVY JELLY SINGLE:
14.I Keep Singing The Same Old Song (45 vsn)
15.Blue
GRIFFIN:
16.I Am The Noise In Your Head
17.Don't You Know
18.What A Day It's Been (BBC Session)
19.Shine (BBC Session)
...............
ODDITIES VOL. 2 LP Comp + one-sided bonus 45.
Due for release
mid-October:
1. Chris Andrews- HOLD ON
2. O'haras Playboys- BLUE DOG
3. Eddie Cave & the Fyx- IT'S ALMOST GOOD
4. Peenuts- TROUBLE )
5. New Formula- BURNING IN THE BACKGROUND OF MY MIND
6. The Epics - HENRY LONG
7. Justin and Karlson- SOMEWHERE THEY CAN'T FIND ME
8. Rob & Dean Douglas- PHONE ME
9. Heinz- MOVIN IN
10.Rifkin- CONTINENTAL HESITATION
11.Group Therapy- REMEMBER WHAT YOU SAID
12.The Glorious Revolution- DON'T LET ME BE MISUNDERSTOOD
13.Brendan Phillips- SOMETHING'S HAPPENING OUTSIDE
14.Andy Ellison- ARTHUR BROWN
15.The Candydates- DON'T LET ME DOWN
Bonus: 1 sided 45: The Rolling Stones- WE WERE FALLING IN LOVE .
(1964 studio acetate)
***REVIEWS***
BUTTERFLY:
RIPPLES VOLUME 8
(Castle CMRCD 554) CD Comp.
Previewed in SFA 9, where we printed the track list.
A 30 track mix of blue eyed soul-pop, Beach Boys-sounalikes,
summery 'Fading Yellow'-ish folky pop, and even some tacky Brady
Bunch catchiness.
There are some snappy dancers with blue-eyed leanings, such as
The New Faces- 'Walk Tall Like A Man' (which was actually spun at
Wigan Casino in the late-70s), The Rainbow People- 'The Walk Will
Do You Good' (their psychy name cannot disguise their
soul/cabaret aspirations, and their magnificent 'Living In A
Dreamworld' was a massive Wigan floorshaker in 1978), Val
McKenna- 'Don't Hesitate'( Val, too, had Northern Soul attention,
most notably for her ersatz 'Love Feeling'), James Galt- 'With My
Baby'; and John Summers, with the gloriously effervescent 'Don't
Fool Yourself'[Question:
Why has Sanctuary never revived the Pye Disco Demand series?-
DT]. Even The Bloomfields' track has some Delfonics-style
vocalisings!!!
Youngblood- 'Masquerade' (B-side to their version of the
oft-covered 'Just How Loud'), and Gary Aston- 'His Lordship', are
outstanding examples of Pye pop. And 'Dee Dee Do Your Dance' by
Pussyfoot has some rather splendid guitar parts. Folk-pop is
represented by Linsey Moore et al, whilst Floribunda Rose, The
Blinkers, Episode Six, The Tremeloes, Anan, John Christian Dee
and Pinkerton's Colours all veer tantalisingly close to sike pop
territory.
Informative liner notes too. A recommended comp. (PH)
WE'RE NOT
WHAT WE APPEAR TO BE
(Wolfrilla 1011) Vinyl LP Comp. Limited edition 400 copies.
The Bunch - We are not what we appear to be
Ian and the Zodiacs - Wade in the water
Pinkerton's Assorted Colours - Will Ya?
The Mersey's - The Cat
The Mindbenders - My new day and age
Tuesday's Children - Summer leaves me with a sigh
Force Five - Don't know which way to turn
Winston's Fumbs - Real crazy Apartment
The Blue Aces - That's All Right
Paul and Barry Ryan - Gotta Go Out to work
Mike Raynor and The Condors - Turn your head
The Montanas - Anyone there?
Wishful Thinking - I want you girl
The Mindbenders - Far across Town
They couldn't have chosen a more apt title. For, whilst
WNWWATB bills itself as rare and obscure Brit freakbeat,
the fourteen tracks compiled here run the whole gamut of mid-60s
musical malarkey from mod-pop through to psych. First the bad
news- the best tracks have appeared elsehwere.
Winston's Fumbs weirdly freaky 'Real Crazy Apartment' has been
comped several times before, and The Blue Aces incendary blast of
freakbeat (topped off with a very odd brass solo) 'That's All
right' debuted a few years back on 'Digging for Gold.' Still if
you've never heard them, they are worth the price of the ticket
alone. Also familiar to SFA die-hards are The Mindbenders 'My New
Day and Age' and The Bunch, whose track the comp is named after,
which is far more moddy and a lot less toytown than their later
single. Of the previously unheard stuff the stand out is
Tuesday's Children's awesome 'Summer Leaves Me With A Sigh.'
(Great title). How collectors have passed this grungey slab of
folk-rock by beats me. The very much in vogue Paul and Barry Ryan
donate 'Gotta go Out To Work', which although not in the
'Madrigal' league, is a pleasant enough slice of beaty pop. Other
highlights include Mike Raynor And The Condor's 'Turn Your Head'
which sounds not unlike mid-period Poets and Ian And The Zodiacs'
very odd take on 'Wade In The water.' It's all housed in a fairly
funky sleeve and comes with a couple of sides of informative
sleeve notes. So, a pretty decent comp all together. Only shame
is the sound quality is a little ropey and the quality of the
vinyl is pants. (Ashley Norris)
***WHAT THE PAPERS SAID, selections by Jim Mac***
From 'Top Pops', No. 48,
Nov. 23-29, 1968:-
I feel very sympathetic about Coventry group The Peppermint
Circus. The group are so determined to achieve success that
they've been saving virtually all their earnings for the past six
months to enable them to have enough to promote themselves.
However, lead singer Paul Thomas was placed in a dilemma. He
didn't have enough money to take his fiancée Sue Fleming out as
often as he would have liked. Sue didn't like it, so she gave him
an ultimatum : "Give up the group or me."
The couple have come up to a compromise. They won't see each
other for six months. During that time Paul hopes the group will
find success- if they don't, he'll leave.
Here are three from the Record Mirror December 2nd, 1967 :
Maybe "Flower-power" as a commercial craze is fading
and it's symbols are disappearing, but there are still large
numbers of genuine advocates who without the need for flowers and
bells etc. still maintain the original message of
"flower-power" which is the promotion of love and peace
throughout the world. Although they are hindered by unpleasant
things that have been brought to light along the way, like
drug-taking, they still practice their beliefs during their
everyday lives. It is a pity that the people to whom the message
of love and peace would benefit most; for instance Heads of state
etc, are too involved in their race for power to listen and
realise the truth. Everyone knows that "flower-power"
alone cannot correct the world's faults. This will take a long,
long, time. But surely no one can dispute the fact that
"flower-power" brought realization to many, including
you and me; and that's a good start.
Linda Rookes, Southsea, Hants.
Congrats to the Hollies for turning out so many but yet excellent
records.
Everybody seems to not understand their new style, but I do! Who
wants to be the band left behind? Of course the Hollies want to
put more work into their songs; in that way they get better. That
is the reason for their continuous chart successes. Stand up
anyone who does not like the kind of music they are playing and I
shall change their moods. My weapon? The L.P.
"Butterfly".
The Hollies were voted fourth in the best British group section
of the RM pop poll. Let's see if "Butterfly" can do the
same, chart-wise. I'm sure that it will. As you probably
understand, I am the greatest Hollies fan in the world. I have
120 different songs by the group on record, and I am sure that
nobody else can equal this. If so, stand up and speak!
Knut Skyberg, Norway.
Interestingly enough, Knut Skyberg is a huge Kaleidoscope fan and
is a member of the Kaleidoscope Yahoo group!
Now that the flower people are entering a period of nomadic
uncertainty and the brutalisation of pop-beat has been expanded
to it's full extent, please give more scope to the untouchables
of today's scene : Dylan, Simon & Garfunkel, Baez, Paxton
etc.
Rockin' John Waterfield, Boston, Lincs.
***REG DWIGHT TAKES A TRIP by Paul Cross***
Elton John is probably the
last artiste one would associate with psychedelic pop, or with
anything remotely of interest to explorers of British pop's
floral-lined late-60s biways, er sorry... byways. But as I shall
reveal below there was a notable and most exquisite
candy-coloured coating to some of his and Bernie Taupin's more
obscure creations. This revelation really shouldn't come as too
much of a shock; after all, in an era when even Matt Munro and
James Last went day-glo, it would be more surprising that a young
middle-class London musician wouldn't have at least dipped his
toe in psychedelic pop's alluring, pellucid waters.
(Potted) Early History:
Reggie Dwight's first amateur band The Corvettes were formed by
him (piano/vocs) and Stuart Brown (gtr/vocs), together with Geoff
Dyson (bs), whilst still at school in Pinner. Dyson soon left to
join Decca, and later Immediate, hopefuls The Mockingbirds. Reg
and Stu formed Bluesology, later most notable for backing Long
John Baldry. Reg kept up his day job at Mills
Music publishers in Denmark St, London's Tin Pan Alley. One side
of the debut Bluesology 45- 'Come Back Baby'- is composed and
sung by Reg. When Long John Baldry takes over, Reg is somewhat
pushed to the back, causing him immense frustration. LJB also
admits to taking umbrage at chubby Reg and his hideous orange Vox
Continental organ!!!
On June 17th, 1967 an ad in the NME, placed by Liberty Records
(UK), which reads "LIBERTY WANTS TALENT.
ARTISTES/COMPOSERS/SINGERS/MUSICIANS TO FORM NEW GROUP" is
answered by Reg, and unbeknown to him, also by Bernie Taupin, a
young would-be poet/songwriter (seemingly obsessed, as so many
millions were by English pastoralism and whimsy, and in
particular by 'Winnie-the-Pooh', 'Wind In The Willows' and
Tolkien)living in rural seclusion in Lincolnshire. They are
introduced, and very soon start writing together. After an entree
to Dick James Music, Reg (and chums) surreptitiously utilise down
time at DJM studios, first floor, 71-75 New Oxford Street to cut
demos.
The studio's "official" productions are published as
'This Music'("This" being an intentional anagram of
"shit" and "hits"!), and released via Philips
Records.
On 17th November, 1967 following the guvnor's discovery of the
"unofficial" use of the studio, but singular business
opportunity presented by such obvious talent, Reg and Bernie sign
to DJM.
In December Reg quits Bluesology and renames himself 'Elton
John', after Bluesology's sax player ELTON Dean, and front man
Long JOHN Baldry. His debut single is issued in March '68, it is
a typical Elton John ballad 'I've Been Loving You', and thus
beings his ascent to international mega stardom...
SOME
"SFA-STYLE" ELTON JOHN DEMOS:-
Whilst it
must be obvious that love songs/ballads predominate among Elton's
demos, as they do throughout his career. The following songs have
been chosen because these are of exceptional interest, for they
show an artist reflecting the technicolored tymes in which he
lived and worked...
'A
Dandelion Dies In The Wind'. (Sept '67) "Very 1967", with a
wobbly psych ending.
'And
The Clock Goes Round'.
(April '68)
'Annabella'. Groovy pop.
'Get
Out Of This Town'.
(?/69) Groovin' instrumental, basically a rip off of Dobie Gray's
'In Crowd', but funked up a tad, and with a progressive-pop hint.
'Hour
Glass'.
(Autumn'69) Penned by Tony Collacott-Jack Mowbay-Bren Leboeuf.
Nice pop, with psychy hints.
'I
Can't Go On Living Without You'. Wonderful pop, entered as a 'Song For
Europe', and made the final six. Should have been huge hit. Love
the tacky
"Yariba yariba!!!" Mexicanisms!
'Lady
Samantha'.
(Oct '68) There's an earlier take which is both tougher and
better than the released 45/LP version.
'Mr.
Lightning Strikerman'.
(?/67)
'Regimental
Sgt. Zippo'.
(May '68).TOTALLY AMAZING PSYCH POP MONSTER!!! Backward tapes,
weird meandering flute sound, into a catchy pop number, great
stinging guitar from Caleb, and a psyched-out ending. FAB FAB
FAB!!!
'Sad
Eyed Queen Of The Laughing Lake'.
'Sails'. (1st Feb '69) As with 'Lady
Samantha' (above), there's a better, earlier take than that which
was issued on the 'Empty Sky' LP.
'Scarecrow'.(?/67)The first song co-written by
John & Taupin. Blimey, What a great track!!! (By the way,
it's not the Floyd song). Just dig these lyrics- "Like moths
around a light bulb / Your brain is still bleeding / From visions
and pictures of nature's young raincoat / If only my eyes were
not pinned to your table / My arms would be grasping the lilies
of summer."(!!!)
'71-75
New Oxford Street'.
(?/69) A very groovy instrumental. (Incidentally, Immediate
Records were next door, at 63-69 New Oxford Street)
'Sitting
Doing Nothing'.(?/68?)Great
"lazy"-themed pop (same subject as covered by Mirage,
Beatles, 23rd Turnoff...)
'Taking
The Sun From My Eyes'.
Catchy pop treat. With a bit more oomph! in the backing, or
perhaps covered by someone like Paula Parfitt, this could easily
have caused some dervish-like spinning on the sprung wooden floor
of the Wigan Casino.
'Tartan
Coloured Lady'.
(Feb '68) Fab, harpsichord pop.
'Thank
You For All Your Loving'. Good pop, with a funky/prog-pop feel.
'The
Angel Tree'
(Jan '68) Wonderful quintessential popsike.
'The
Girl on Angel Pavement'. (Sept '68). Infectious pop, also notable
for inspiring the name of- wait for it, wait for it... the outfit
"Angel Pavement"(of Morgan Studios)!
'The
Witch's House'.
Dig the lines- "I go to the Witch's House / I go there
whenever I can / Me and molly Dickinson in my delivery van".
'Turn
To Me'. An
early version, includes phased drums(!), and some great keyboard
work, sadly missing from Plastic Penny's version.
'Velvet
Fountain'.
(Summer '67) Fabulous hippie-pop, with superb psych lyrics.
'When
I Was Tealby Abbey'.
(April '68) Brilliant! Chirpy, Bee Gees-style pop, with flute and
phasing! Has the most obscure title- Bernie, just what does it
all mean???
'Where It's
At'. (Oct
'67) Heavily Bee Gees-inspired, a "swinging London"
piss take. Nice lyric mention of a "Portobello yellow pill
box hat"!!! Great stuff.
'Year
Of The Teddy Bear'
(?/67)
'You'll
Be Sorry To See Me Go'.
This has more than a "hint" of The Beatles about it.
SOME
CURIOUS & NOTABLE CONNECTIONS & RELEASES, etc:
ARGOSY- These
pop psych one-offs (alledgedly Elton's sessioneers), lead by
vocalist Roger Hodgson, were also signed to DJM. Whilst trying to
break Elton in the States in 1970, Lennie Hodges, DJM's US head,
found that Russ Regan (head of Uni Records, the label responsible
for DJM's American distribution), was far more interested in
promoting Argosy than Elton John!!! Oh, what might have
been....[Question: Where are those half-dozen 1969/70 Argosy
demos? -Dave]. Within a few months Roger had of course
metamorphosed into the leader of Supertramp.
AYSHEA- The Kids-TV babe, did a cover
version of 'Taking The Sun From My Eyes' Issued as a B side, Feb
'69.
BREAD
& BEER BAND-
Elton (piano), Caleb (guitar), Roger Pope (drums), Bernie Calvert
(bass). 45: (Decca F 12891), Feb '69. A side the 'Dick
Barton Theme (The Devil's Gallop)'; B side, 'Breakdown Blues' is
a brill instrumental, quite neglected, featuring Caleb's very
tasty atonal guitar. There's also recorded a (fairly boring)
unreleased test-pressing LP.
GUY
DARRELL- Best
known for his cover version of 'I've Been Hurt' (Ray
Whitley/Tams' song), a big Northern Soul revival in the mid-70s,
and for his raunchy version of 'Evil Woman'(See review above). He
also cut Elton's
'Skyline Pigeon', issued August '68.
THE
DUKE'S NOBLEMEN-
Featured Elton John & Caleb Quaye, recorded 'Thank You For
Your Loving'.
FAIRFIELD PARLOUR- Formerly psych heroes Kaleidoscope. Elton is
featured tinkling the ivories and adding a touch of backing vocal
on 'Just Another Day', issued as a 45 in July '70.
JIGSAW - A long running group, most
notable from a SFA perspective for two psych treasures-
'Tumblin'', 'Seven Fishes', and one modpop gem- 'One Way Street'.
Cut a version of 'Say Hello To Mrs. Jones'. Issued as a 45, Jan
'71. Elton's version was first demo'd in '69.
BRIAN
KEITH-
Ex-Plastic Penny front man and fellow Dick James employee, cut
Elton's 'When The First Tear Shows', issued Nov '68.
MR.
BLOE- Both
sides of the highly recommended 45 (issued Jan '71)'Get Out (Of
This Town)'/'71-75 New Oxford Street' feature Elton on keyboards.
Written solely by Elton.
MY
DEAR WATSON-
Scottish, Easybeats-related band. Elton played on both sides of
their third single- 'Have You Seen Your Saviour'/'White Line
Road', released on DJM (July '70).
NICK
DRAKE- In
July 1970 Elton demo'd four of Drake's songs (from the 'Five
Leaves Left' LP, released Sept '69)- 'Day Is Done', 'Saturday
Sun', 'Time Has Told Me' and 'Way To Blue'.
ORANGE
BICYCLE-
Harmony popsikers. Cut Elton's 'Take Me To The Pilot'. Issued as
a 45, Jan '70 (Elton's version appeared on his s/t LP, April
'70). Orange Bicycle also recorded Elton's 'Country Comfort',
which apppears on their self-titled Parlophone LP of 1970,
there's a later version by Rod Stewart (on his 'Gasoline Alley'
LP, July '70). Elton's version appeared on his 'Tumbleweed
Connection' LP, Oct '70.
OUTER
LIMITS- The
rump of this excellent outfit, sans Jeff Christie, cut 'Dark Side
Of The Moon' (issued as 45, May '71), which Elton had demo'd
mid-1970. Song was written by Findon-Shelley-Hammond-Hazlewood.
PLASTIC
PENNY- Cut
Elton's 'Turn To Me', issued on the 'Currency' LP (Feb '69).
HAYDEN
WOOD-
Recorded '60 Years On' (issued on 45 Feb '70). Elton's own
version released on s/t LP (April '70).
SPOOKY
TOOTH- Cut
'Son Of Your Father' (issued as a 45, Sept '69).
"WOOLWORTHS
SPECIALS"-
As is now well-known Elton (supplemented his income through
session work, including the Avenue label's series of soundalike
cheapo comps. Interesting covers include 'Snake In The Grass'
(Dave Dee,etc), recorded June '69; 'saved By The Bell (The Bee
Gees) Aug '69; 'Don't Forget To Remember' (The Bee Gees), Oct
'69; 'Come And Get It' (Badfinger), Feb '70;'Early In The Morning
(Vanity Fare), Aug '69; 'Si Tu Dois Partir (Fairport Convention),
Aug '69; 'All Right Now (Free), June '70; 'Lola' (Kinks), Aug
'70. Some of these can be found on the 'Reg Dwight's Piano Goes
Pop' Compilation, on RPM.
LINE-UP: (who recorded DJM demos)- Elton
John (piano/vocs), Caleb Quaye (guitar/engineer), Tony Murray-
later of the Troggs (bass),David Hinds (drums).
Hookfoot line-up (support act for Elton on early tour, etc) -
Caleb Quaye (guitar/vocs), Dee Murray- ex-Mirage (bass), Nigel
Olsson- ex-Plastic Penny (Drums).
Their roadie was Bob Stacey- ex-Spencer Davis Group.
Acknowledgments- Dave Bodoh (Check out his great website www.eltonography.com), Philip Norman, Yellow Dog
Records, Lucinda Gailbraith, Susan Constable, and of course Sir
Elton John.
***LYRICS***
'Regimental
Sergeant Zippo' by ELTON JOHN
There's a
picture in the nursery of a well known soldier man
And he wants to be like father when he grows up, if he can
His eyes survey the floorboards with his soldiers around him
But fear not for the future, you will climb the highest mountain
So Regimental Sergeant Zippo
Stand up to attention will you
Hear the bugle sounding in the morning call up rising
So your cowboy castle is standing
You're the one who is commanding
Watch them march along the landing down the stairs
Just a small boy in a small boy's world
And small boys do strange things
He likes to see the matchsticks fly
And hear the cannons ring
For his eiderdown, his battlefield
And in his dreams his fights are real
Until the field is won, aim, fire the guns
Music - Elton John
Lyrics - Bernie Taupin
(c) 1968 Dick James Music Ltd.
***CATALOGI PSYCHEDELICUM PHONOGRAPHICORUM- Capitulum MCMLXVII***
PETER
SARSTEDT:
Yes, him. The 'one hit wonder' (well two hits actually, but we're
not counting), of the clever-clever but incredibly drippy
pseudo-Frog classic, 'Where Do You Go To My Lovely'- fame and
hence dismissed without any thought by muso prog snobs. Shame,
cos this feller cut some real beauties. And he had a voice which
ordinarily, when he wasn't r-r-r-rolling his r's in an affected
Aznavour-esque boulevardier vibrato, was pitched rather
deliciously somewhere between Sacha Caro and Peter Daltrey. Here
we offer a handful (and a bit for the weekend) of Peter's most
SFA-friendly tunes.
'This
Is Sayonara'
Beautiful pop
with that breathless vocal which so typifies UK pop psych.
> Underscored by some sweeping but not overbearing orchestral
backing.
'Blagged!'
Fab piece of
pseudo-romance swathed in psych-pop finery. Issued as a B side
(08/68). Wonderful keyboard intro, echoes and phased drums, Sgt.
Pepper-style strings, the ending is especially wonderful - Pure
psychedelia: off-kilter and heavily flanged!
'Mary
Jane'
B side of a
(Jan '68) withdrawn 45. Not surprising, as this little ditty
contains a very knowing lyric - "Well, it's a real good time
that you get from Mary Jane / It's the kind of thrill that you
find is hard to explain / She'll make a man of you for sure /
She'll touch a spot that's never been touched before / Then
you'll want some more"
Wrapped in a weird jazz feel with distortion effects and some
rather camp Legend Of Xanadu'/'The Wreck Of The Antoinette'-style
embellishments.
'Many
Coloured Semi Precious Plastic Easter Egg'
Groovy pop
with fab (and frankly rather silly!) tongue-twisting Dylan-esque
word salad lyrics [a bit like that sentence!-Dave]. Very
infectious and quite bonkers! Nice use of weird sound effects,
double tracked vocal, and flourishes of Hammond. Quite superb.
And recently spun on the redoubtable 'Chocolate Soup FM'. (See
above for a atation Top Ten)
'No
More Lollipops'
Toytown
popsike par excellence! With an ending which follows the
blueprint of many of UK pop's more ersatz interpretations of acid
dementia - it gets faster and faster and faster and faster and.
'As
Though It Were A Movie'
Wonderful
sweeping orchestral pop, bookended by instrumental breaks which
feature mellotron, effects, phasing, bendy guitar, electric
sitar...A production tour-de-force! The song would sit at ease on
the 'White Faced Lady' album (Peter Daltrey again).
'National
Anthem And Doors Close At 10:45pm'
Great stuff!
'God Save The Queen' on backward tapes with varispeed. An
irreverent and anarchic slice of studio psychedelia, which, in an
alternative reality, should have flowed from the pens of those
Soft Machine chappies...
***NEO-PSYCH NOTABLE***
Hi, I'd like to nominate
Kissing The Pink's 'Sugarland' as a fine example of neo-psych.
It's loaded down with ethnic wailing, phasing,reverb, trippy
lyrics, even a snatch of sampled Hendrix woven into the bridge,
all assembled into a catchy slice of summery pop.
Kim Howard.
***MISTY ROMANCE***
This was a John's
Children-related band which featured one 14-year old Andy Ward.
Misty Romance was Ward's first serious band, formed in Epsom
during 1967. Line-up #1 was Chris Dorset:???????, Gerry Barnes (a
plumber from Woking, who had apparently been in the early
incarnation of The[Song]Peddlars): bass, Andy Ward: drums and
Geoff McClelland (ex-John's Children): guitar. Andy Ward says
that Misty Romance "was a hopeless band, basically a soul
band with touches of Hendrix, Cream and Julie Driscoll".
Andy also remembers that they had two bass drums, one lettered
'Misty', the other 'Romance', in an Aubrey Beardsley style. Misty
Romance line-up#2 was Chris, Andy, geoff and Wendy Hoyle, which
became line-up#3 when Doug Ferguson arrived with his pink Fender
Jazz bass to replace Gerry. Doug Ferguson joined on bass and thus
was the future Camel rhythm section formed.
They gigged mainly in Portsmouth and Southampton.
A few months after Misty Romance had split, in 1968, Ferguson
moved to Guildford and met Andrew Latimer. Together with Graham
Butcher they were in the throes of forming a band. Andy was
auditioned- playing 'Crossroads', 'Spoonfull', and 'Killing
Floor', and was of course asked to join, replacing Parker. They
became The Brew, a typical late-sixties power trio, and started
gigging around Portsmouth, building up a strong local following,
doing blues covers and a few blues-oriented originals penned by
Latimer. The Brew backed Philip Goodhand-Tait on his 'Rehearsal'
LP (1971), before adding the late Peter Bardens (formerly of
Village), and becoming Camel.
Andy Ward is now in modern psych heroes the Bevis Frond.
Check out www.musart.co.uk/org/ward/a4k/htm
***From 'The Bumper Book Of Psych Quotations', by Roger St. John***
Entry no.
170 PETE TOWNSHEND(Chief
guitar torturer for a well-known beat combo. From 'International
Times', no.8, 13-26/02/67):
"Well presented destruction is what I call a joy to watch.
Just like well presented pornography or obscenity. Although
destruction is not as strong as obscenity it's not so vulgar but
it's rare, you don't see destruction so often, not malicious
desruction just for the sake of it, and so when you do you
normally stop and watch. I'm afraid of calling anything I do an
art form...I go on and smash a £200 guitar and they go home and
say 'Yes, they were quite good tonight'! When I first did it
people used to come up to me and say, 'You bastard! I've been
saving all my life for a guitar a tenth of that price, and there
you are, smashing it up on stage. Give me the bits! and I have to
say, "Calm down, it's all in the cause"... All I know,
is that there's this beautiful land ahead where all the problems
are answered..."
***OZ/KIWI PSYCH***
"PECULIAR HOLE IN THE SKY"- THE EASYBEATS AND PSYCHEDELIA By Andy Morten
When The Easybeats landed
in England in late summer 1966 they were riding high on the
success of their breakthrough international hit 'Friday On My
Mind'. Liberated from the grip of "Easyfever" that
besieged their every move in Australia and mixing with London's
rock and pop cognoscenti, they immediately began making music
that wilfully mangled not only their own formula but also the
very nature of the three-minute pop song.
Chief composers Harry Vanda and George Young had already shown
they weren't afraid to throw off-kilter chord progressions,
atonal melodies and pile driving power chords into the stew. 1966
produced a string of righteous Easybeats classics including 'I'll
Make You Happy', 'Sorry' and most of the Volume Three album. A
year earlier, the band's early run of domestic smash hits was
interrupted by the curious 'Sad And Lonely And Blue', which fuses
a jarring twelve-string drone not unlike The Kinks' 'See My
Friend' to a pleasant Merseybeat-style ditty.
For the remainder of 1966 and most of 1967, The Easybeats
experienced a creative leap on a par with The Beatles, Stones,
Kinks or Who. George Young in particular came into his own as a
songwriter of incredible diversity and originality, equally adept
at blue-eyed soul stompers, piano-led torch ballads, swirling
effects-laden psychedelia and perfect glistening pop. The band
spent what appears in retrospect to be every waking moment holed
up in Central Sound in Denmark Street bringing his and Vanda's
creations to life.
Sadly, much of this music wouldn't see the light of day until
many years after the band's split. The mind-bogglingly careless
and inconsistent way in which the band's records were selected
for release in different territories resulted in the same tracks
appearing on both singles and albums (occasionally more than
once!) while dozens of often superior cuts were left to gather
dust in the vaults. Fortunately, due to the diligence of
archivists like Glenn A Baker, the dawn of CD and the continued
adoration of fans, many of these recordings have finally
surfaced.
The following list was originally simply my favourite Easybeats
tunes from the London 1967-68 sessions. There were about thirty.
So, after much trimming, I hereby present my personal pick of The
Easybeats' ten essential acid-pop moments.
'Heaven
And Hell'-
The
"controversial" spring 1967 single ("discovering
someone else in your bed") that marked a lyrical shift
towards more cerebral themes, set to a thrilling power-pop
backing which rivals The Who and Small Faces at their early
acid-era best. Possibly the definitive Easybeats single.
Available on: Aussie Beat That Shook The World: The Anthology
(Repertoire CD) and most 'best of' compilations.
'Mr
Riley Of Higginbottom & Clive'-
Cut for the
abandoned second UK album in 1967, this tale of a lecherous
company cleaner ("working with Miss Bream in the first aid
room") is straight out of that particularly English school
of work-a-day oddballs that also gave birth to Arnold Layne,
Neville Thumbcatch and Grocer Jack.
Available on: The Shame Just Drained (Repertoire CD)
'Amanda
Storey'-
Another
refugee from the scrapped album and another sorry slice of life
in which a family try to trace their daughter, separated at
birth, through a newspaper article ("were you born in
Coventry in 1942?"). The weeping strings, booming drums and
falsetto vocals beautifully compliment the haunting Bach-inspired
melody. Could almost be the Stones in another life.
Available on: The Shame Just Drained (Repertoire CD)
'H
P Man'-
Cut from the
same cloth as 'Mr Riley', this 1967 demo belatedly appeared as an
Australian b-side two years later. This time, however, tongues
are lodged firmly in cheeks as the cockney protagonist declares
"me, got a house, got a car, got a wife, got two lovely
kids, all freckles and fun" while the band lay down a
rock-solid freakbeat backing.
Available on: Friends (Repertoire CD)
'The
Music Goes Round My Head'-
The band's
late 1967 single release was plainly intended as atonement for
the ambiguities of 'Heaven And Hell', but the jaunty
radio-friendly tune, subsequently re-cut at a more languid pace
at the behest of the BBC, masks an inward-looking lyric which
reeks of LSD enlightenment ("All my life I've laboured
tryin' to find who my creator was and now at last the pieces fall
in place"). A manic harpsichord solo and 'Penny Lane'-style
French horn add a touch of fairy dust.
Both versions available on: Vigil (Repertoire CD)
'Come
In, You'll Get Pneumonia'-
The Easys'
first venture into full-blown psychedelia appeared on the b-side
of 'The MusiC...'. Although lyrically rather pedestrian, the
musical performances are almost eerie. Opening with a triumphant
fanfare, it immediately slips into a slow-burning stew of phased
vocals and Hammond organ stabs before building up through a
series of increasingly frenzied choruses. The song was recorded
twice, once in New York and again in a far superior version in
London.
Both versions available on: Vigil (Repertoire CD)
'Watch
Me Burn'-
Another demo
whose exact vintage is sketchy, though it probably dates from
early 1968 as it contains elements of the ska sound which was
influencing the band's work at that time. A curious piece,
musically ahead of it's time (again) and lyrically darker than
their other contemporary recordings.
Recorded as part of an intended suite with the infinitely more
commercial 'I'm On Fire'.
Available on: The Shame Just Drained (Repertoire CD)
'Peculiar
Hole In The Sky'-
Possibly
their best-known psych-era cut due to it's inclusion on Raven's
much-loved 'Downunder Dreamtime' collection in the 80's (as well
as the impending SFA compilation), this track appears to have
been recorded in early 1968 though it's hard to say for what
purpose. It's too well developed to have been intended as a demo
yet it would have sounded passé if included on the Vigil album
of that year. It eventually turned up as a posthumous single in
late 1969. Regardless, it's a strident, confident performance of
one of their best compositions of the era, iced with a crystal
clear production, a hefty dollop of studio trickery and a
boisterous string arrangement.
Available on: Aussie Beat That Shook The World: The Anthology and
Friends (both Repertoire CD)
'Land
Of Make Believe'-
Released as a
single in summer 1968, this effectively marked the end of the
band's pop phase. But what a sign-off! An almost perfect
compression of their effortlessly commercial song writing nous,
impassioned vocals, twin guitar volleys and watertight
arrangements. An abridged version without strings appeared in
some territories.
Complete version available on: Aussie Beat That Shook The World:
The Anthology and Vigil (both Repertoire CD)
'We
All Live Happily Together'-
The b-side of
'...Make Believe' surely qualifies as the most adventurous and
bizarre thing The Easys ever committed to tape. A four minute
collage containing a cockney knees-up, a tape loop of glasses
being smashed, hysterical group laughter, otherworldly chanting,
a solitary compressed piano note and the title of the song being
read out in four languages. Some pressings omit the wartime sound
recordings playing over the fade out. Like you'd notice.
Available on: Vigil (Repertoire CD)
......................................................................
OZ
PHASING TO THE MAX-
LLOYD'S
WORLD- 'Brass Bird' (Aus: Festival FK 2433) 1968.
Superb
mod-psych, very much like the Small Faces or Rupert's People.
Interestingly, this band came to the UK, around the same time as
the Bee Gees, with whom they were friends. Whilst the Bee Gees
were signed by Robert Stigwood, these guys were rejected after
their audition for Stigwood and returned home to Oz, taking with
them an altered version of the Bee Gees' proposed new name
'Rupert's World'!
CAM-PACT-
'Drawing Room' (Aus: Festival FK 2364) 1968.
Who-like
guitar, drums and harmonies + the strings from 'Big Country' +
blue-eyed soul vocal inflections = Psych pop perfection, Which is
then bludgeoned shapeless by a mighty wave of flangeing. LOVE
IT!!!
.............................................
THE
GREATEST NEW ZEALAND RECORD...EVER!-
TOM
THUMB-'Ludgate Hill' EP (NZ: HMV GESM 6141) 1970.
Wowzer!
Obviously New Zealand's response to Australian Russell Morris'
(successful?) attempt to make the finest 7-inch ever! A
four-parter ('Prelude', 'Destruction', 'Dawning', 'Tomorrow'), a
piano phrase "adapted" from 'Air On A G-String', a
quotation from 'The Grand Old Duke Of York' nursery rhyme,
pealing church bells, psych effects, heavy guitar,
mellotron...all coalesce around the theme of the great fire of
London, plague and nuclear holocaust. Thematically akin to Team
Dokus' 'Fifty Million Megaton Sunset', 'Ludgate Hill' is at once
both more profound and more trivial. For it is the trivial which
heightens the poignancy, by retaining a more human scale.
Although this ambitious work must rank as one of the pinnacles of
musical achievement of the era, it is mercifully marked by a
total absence of prog histrionics.
Interestingly, the subject matter- a wilful and gleeful
invocation of a calamatious, purgative era which will usher in
the beatific, hippie "neue ordnung"- is further proof
of the strong millenarian thread running through the music and
philosophy of the era. A thread most infamously evident in the
homicidal activities of Charles Manson et famille; as well as
musically in 'World War Three' (Dantalian's Chariot), 'Comet'
(Pussy), and even the "Teenage Wasteland" section from
'Tommy' (The Who).
Also, the 'Ludgate Hill' EP came in a great art sleeve,
illustrated with a suitably dispiriting, sepulchral scene.
.......................................................................
***LYRICS***
From an EMIdisc acetate.
We herewith print the lyrics of this short 'n' creepy, Syd-like
song, in the (vain?) hope that we can discover anything about
this long lost band, who sound a bit like The Meek.
'Hellebore
Grange' by JACKSON'S KIPPER.
Let's take a
trip down to Hellebore Grange
We can visit Mr. Narcissus, he is quite strange
You'll find him staring at himself all day
He's got nothin' to say
chorus-
Take a wrong turn we'll lose ourselves in the wood
Take another turn and we'll be lost for good
Down at Hellebore Grange
We could talk to the flowers all day
Once you're there you'll never go away
Mrs. Spider she's gonna make you snug
Snug as a bug in a rug
[Chorus]
Let's take a trip down to Hellebore Grange
We'll visit Mr. Narcissus, he is quite strange
You'll find him staring at himself all day
He's got nothing to say
[Chorus] to fade.
***LETTERS***
Subject: Wimple Winch/Dee
Christopholus - 'Vault '69' CD
From: Olaf Øwre
Hi,
Thanks for putting the facts right regarding the Dee
Christopholus solo tracks included on the Wimple Winch Story CD
released by Bam Caruso Records (KIRI 107 CD) back in 1992. Last
year I bought the 'Waterloo Road' CD available at Keith Hopwood's
Pluto Music website, and I thoroughly enjoyed listening to all
those old demos.
Since then Keith Hopwood has dug even deeper in the Pluto vaults
and there's now a new CD titled 'Vault '69' available from Pluto.
Again Dee Christopholus is involved on some of the tracks as
writer and lead singer, and 'Vault '69' is highly recommended.
Some of the songs are superb- notably 'Sleepy Head', 'Same Old
Line' and 'Sultan's Daughter', the latter with Stan Dulson, also
known as Stan "Red" Hoffman of The Measles back in the
60's. Great stuff for serious psych/freakbeat collectors
everywhere!
Best wishes,
Olaf Owre.
Subject: Current Faves, A Late Entry
From: Andy Morten.
Dave
Hi, hope you enjoyed your holidays. I certainly did. I missed
this whole SFA readers' charts thing as I've been in Spain with
the band (and a couple of other guys, see www.honeybus.net). Anyway, just in case I'm not
totally too late, here's mine (off the top of me head):
1. Russell Morris - The Real Thing Parts 1 & 2 / Part Three
Into Paper Walls (all joined together on the PC to create 13
minutes of heaven)
2. The Twilights - The Way They Play
3. The Smoke - Sydney Gill (alternate version)
4. The Bee Gees - Mrs Gillespie's Refrigerator (1st version)
5. The Beatmen - Now The Sun Has Gone (from '65!)
Muchos besos,
Andy.
Subject: RE: Sweet Floral Albion- Current Faves
From: Joe McFarland
Hello SFA,
This has to be the millionth note on this, but I feel obliged to
respond to Rob Prince (see SFA 9.5- 'Current Faves'), via you
guys, just to let him know that the version of "Shy
Boy" on the Mark Wirtz CD is Kippington Lodge.
Maybe he has a tape of it or something, and I'm sure others of
our obsessive ilk have been apprising him of the difference, but
I need to do my part just because everyone needs to know about
Nick Lowe's early psychedelic effort.
Undoubtedly one of your sharp-eyed editors noted this as well,
but we need an informed psychedelic public. Just the same, I
wouldn't quite call the Tomorrow version "crap", just a
little more sparse. I do think that "Mr. Rainbow" by
Rob Flynn (Wirtz) is better than the similar
"Hallucinations" however, so...to each his own ,
etc. etc.
Yours in perpetuity,
Joe.
SWEET
FLORAL ALBION-
the world's only periodical devoted to British Psychedelia- is
published monthly.
All contents: Copyright (c) Sweet FA, Sept 2002.
Editor- Dave Thubron.
Deputy Editor- the Rt. Hon. Paul Cross.
Writers- Scott Charbonneau, Jon Kerr, Mark Frumento, Jim
McAlwane, Andy Morten, Ashley Norris, J.B. Phillips, Paul Hodges,
John-Paul Hortus, Nick Philips.
'The Bumper Book Of Psych Quotations', by Roger St. John, quoted
with the kind permission of the publisher- Tangerine Books,
London. Copyright (c) 2001.
........................................................................Designed
& Published, Zapped & Ejaculated by two legendary Editors
and Poets at a secret location in the Lower East Side, New York
City, U.S.A. Printed by Feck Yow Press for the World Grobble Gope
Fellowship.