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Sunday, October 26, 2014

Love, Poetry and Revolution: A JourneyThrough the British Psychedelic AndUnderground Scenes

Various Artists "Love, Poetry And Revolution" (Cherry Red Records, 2014)

    With the emergence of CD box sets, two specialities seem to be rising to the toplike natural selection. Perhaps one’s a direct result of the other, who knows, but wenow have the best label compilations (Island, Vertigo, Harvest, Dandelion, Dawn etc.)along with current labels compiling genre anthologies. Just released by Grapefruit

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Records, under the Cherry Red umbrella, is Love, Poetry and Revolution, a triple‐CDclambox dedicated to British psychedelia from 1966 to 1972. And it’s a rare beasttoo.

      As with all bestiaries, classification isn’t usually high on the list until zoologyestablishes where to fit what’s found. After all, who could imagine that a zebra istechnically a camel or that a koala isn’t a bear? Popular music is no different at atime when histories are being compiled and co‐ordinated thanks to hindsight andrecords from archaeological digs. Psych is usually defined as free‐use of effects likefuzz, wah‐wah, reverb, phasing and other tape tricks, with occasional use of exoticinstruments. A fuzz tone pedal was first used in 1965 apparently—I’m no historian—butkindred effects appeared over a decade before with the amplifier as a source, such ason Ike Turner’s Rocket 88 and Chuck Berry’s Mabellene; my particular fave is the oneman band Joe Hill Louis’s Boogie In The Park, an astonishing rocker from 1950 leavingBill Haley without a paddle.

    Psych was first coined in late 1965 with the 13th Floor Elevators of Texas, but as itgained ground split into two variants: popsike and underground (Edgar BroughtonBand, Amon Düül, Pink Fairies, Quintessence, Stray etc.). The second form had noclaims on the charts—so they said—and ‘to sell out’ was unforgivable treason,signalling different markets at one fell swoop. Fans were staunchly possessive of theirown preference. This box set makes no distinction between the two strands, thoughsurely “underground” doesn’t apply to bands who simply, and sadly in many casesbased on what’s here, were unable to get into the charts. This, of course, may be hair‐splitting. Psych is also supposed to reflect the experience of psychedelic drugs, butthere’s little that is “crazed” in the results here. Definitions blur, and sub‐divide, withfreakbeat, mod‐psych, and prog—or is the latter only when extended beyond threeminutes? Today there’s also the derivative popsicle. As the booklet shows, a typicalweek at the Marquee could see Elmer Gantry (a noticeable absence here), Jason Crest(who are), Blodwyn Pig, Van Der Graaf Generator, Sonny Terry & Brownie McGhee,another week with Traffic, The Nice, Ten Years After, The Open Mind, and LondonYouth Jazz Orchestra. Heady days indeed! At first glance there seems no rhyme orreason to this issue. No anniversary, noticeable shift or itch to reappraise what’s beenforgotten, nought—except darn fine taste with some amazing archive discoveriesincluding bands unable to issue any recordings. 

      Perhaps the revival of the genre heralds it? Neo‐psych is enjoying a high profilesince the 90’s (Elf Power; Kula Shaker) to today’s overdrive with Tame Impala, Goat,Fuzz, Toy, Hidden Masters, Wooden Shjips, the staggering Nebula, even the NorthMississippi Allstars who boogie‐fuzz the  blues like there’s no tomorrow in the wake oftheir mentor R.L. Burnside. Grapefruit’s David Wells traces Britain’s ancestry withsome tasty comestibles on this “trail of breadcrumbs” as his only map.

      Technicolor suddenly exploded on monochrome mid‐60s Britain when not onlysociety but musical expression felt a need to spread its wings in the wake of revivalsof blues and folk music. Clubs and universities opened their doors before festivalsclimbed on the bandwagon, pop covers morphed into experimentation, rock, andfusion with jazz and other styles from as far away as India and Japan. The only orderof the day was choice, for musicians and audiences alike. At a time when therebellious decided not to stand for the national anthem in the cinema, and you couldsmoke there or on the plane because they had more sophisticated air‐conditioning thatsucked instead of blowed poisonous chemicals, the new style spread even into fashionand musty BBC who could no longer miss what was in front of their eyes. A revolutionof arriving without travelling, as Harrison put it.    

The 48‐page, second printed zinefrom the well‐known, leading on‐linepsych website “It's Psychedelic Baby!”Contains features on artists such asMichael Yonkers, Dave Bixby, DanaWestover, Linda Perhacs, The TreePeople, Gary Higgins and others, thisissue focuses on the US psychedelicfolk movement of the late '60s andearly '70s. There also are 10‐pages ofreviews.

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    This is a compilation of trip‐seeking pioneers, and their tales are as interesting aswhat they produced. There are household names (now) along with names not familiarin their own households. The first CD appropriately kicks off with Deep Feeling, aMidlands band that spawned such classics as Traffic, Spooky Tooth, Family andBlossom Toes. Their Pretty Colours featured on Luther Grosvenor’s anthologyFloodgates a few years ago, and some of their unrealised ideas were revived in earlyTraffic in 1967. Sunbeam Records have issued all their known recordings based on thelater DJM LP of 1971. The fascinating www.brumbeat.net (which has some of thefunniest memories of small bands anywhere on the net) highlights the importanthistory of a band that first started as The Hellions. When Eric Burdon was played theacetate of Pretty Colours he described it as psychedelic, thus spreading the word ofthis new style in the Black Country.      Legendary acts feature as often as those only vaguely known in legend. TheCalifornian five‐piece The Misunderstood, brought to Blighty by the raving (aboutthem) John Peel, still only recorded a handful of songs in ’66 of which this trackhighlights effective use of different‐tempo hand‐clapping. An early 45 on a fledglingUnited Artists and chugging ’68 LP track by the influential Spencer Davis Group arekeyboard driven, as is The Crazy World of Arthur Brown’s Devil’s Grip, their debutsingle, and flunked follow‐up to Fire in late ’68 (Nightmare). Tread Softly For TheSleepers by the Hi‐Fis is in the same vein, issued by the German Star Club no less whenspending most of their short life on the Swiss‐German border. The Mirage, an earlybacking band for Elton John but had several singles in their own right, adaptedkeyboard interest by employing the variant harmonium for a lovely Wedding ofRamona Blair (presumably no relation) and more standard fare on the unreleasedEbeneezer Beaver which, alas, fades out just as a superb guitar solo appears. Greatwah‐wah guitar livens up the Respect’s unreleased studio take from the summer of’69. 

    The last of the four acts featured twice are The Deviants, an untypical ballad fromtheir debut platter and the Stable‐issued track that backed Mick Farren’s A‐side Let’sLoot The Supermarket, proto‐punk with a vocal style recalling Can’s Monster Movie.Other legends include Alan Bown, a pre‐Bolan B‐side of John’s Children, andSerendipity, a sextet with links to Blodwyn Pig and pre‐Deep Purple Mandrake Root,on a hypnotic fuzz guitar and keyboard romp. The In Crowd—lined up to feature in notone but two films, then elbowed out of both—soon became the better‐knownTomorrow, after changing style to go with the flow of The Who, Yardbirds, and Hollieson three Parlophone singles. By then the future Yesman Steve Howe and Twink (PrettyThings, Deviants, Pink Fairies, a true undergrounder) were in the band often featuredon Peel’s Perfumed Garden. Tomorrow was the first‐ever act on his Radio One show in’67, their My White Bicycle being a later hit for Nazareth. Different styles are clearwith The Drag Set, who rehearsed with Hendrix and fated to record with Joe Meek justa few days before his suicide; their early Santana‐like guitar contrasts with the pre‐CSNY of Felius Andromeda’s beautiful melody. Drag Set became the legendary Open

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Mind, whose classic stomper Magic Potion is also featured.

    Mike Stuart’s Span leads with fuzz bass, but due to Decca’s odd apathy the Brightongroup became better known as Leviathan, whose heavy origins are shown here. Surelythe laurel for the unluckiest act never to achieve a contract in spite of frequent gig‐page appearances goes to the Welshmen of Jade Hexagram. The storming CrushedPurple is resurrected from their Marquee tapes in 1968. One In A Million’s demo ManIn Yellow features a teenage Jimmy McCulloch before Thunderclap Newman / StoneThe Crows / Wings and an overdose at a younger age than Hendrix. This was recordedthe same year as their 45, a style befitting their support of The Who’s first Scottishtour (McCulloch later recorded with them). Clifford T. Ward’s career is spotlightedwith Simon’s Secrets’ Naughty Boy (CBS 1968), one of numerous non‐charting singlesin a career hampered by camera‐and‐tour‐shyness then finally blighted by multiplesclerosis, when he literally crawled to his studio to record his final album.

    Another rare gem is Neon Pearl, featuring Peter Dunton of later T2 fame, a seminalband on the touring scene. Unusually this is an acoustic track—the only one on the firstCD—without drums, T2 being one of the few with a drummer‐vocalist‐principlesongwriter. His melancholy, hypnotic vocal clearly hadn’t changed by the time heincarnated into the rocking It’ll All Work Out In Boomland (Decca) three years later,though with The Flies he approaches T2 without the searing guitar crescendos. Theweirdest name prize has to go to Crocheted Doughnut Ring, whose Polydor release TwoLittle Ladies (Azalea and Rhododendron) is as musically innovative as the name is silly,almost a psych anthem in itself. They even flogged the absurd theme on Simon Dee’sTV show, to what purpose remains lost in the mists of time—or just in the mist. It camewith the territory, as with the early demo by Blossom Toes hoping not to be late fortea, a hardy perennial period theme, Sand’s Mrs Gillespie’s Refrigerator penned bythe Bee Gees, or The Shame’s homely advice to a little girl proffered by Greg Lake.After all, it was the era of basin hair‐dos, collarless suits and Carnaby ties. 

    Equally rare is Tintern Abbey’s Busy Bee demo for what later became Beeside c/wVacuum Cleaner (Deram 1967), their only release and deemed by many the archetypepsych single. In spite of financing by a millionaire associated with the InternationalTimes underground paper, Tintern performed no UK gigs. The demo was recorded atR.G. Jones in Morden, Surrey, a hundred yards from my school and next to a 17thcentury churchyard and, more usefully, an ancient inn. The first demos by theYardbirds, Stones and Stray were recorded there, as well as Quo and even Sonny BoyWilliamson before the studio was demolished by the council for a hideous college.Jones relocated to Wimbledon, finally shutting shop a decade ago when one of thecountry’s oldest and most prestigious studios. After its debut was voted MelodyMaker’s folk album of the year, the in‐house Oak Records issued The Bo Street Runners(Mick Fleetwood, Mike Patto, Tim Hinkley), and The Gremlins (featuring the laterFleur de Lys’ vocalist). The Story of Oak Records, An Anthology of R.G. Jones(Morden) Recordings featured The Mike Stuart Span and Nico/Cale‐like Velvet Frogs.

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      The second CD continues the chronological, eye‐opening trail through personnelhistories as they incarnate on different demos and singles. A classic example is theaforementioned Pete Dunton, reappearing in The Flies when he penned both sides oftheir ’68 RCA single. The East Londoners blagged important support gigs, includingHendrix at the Roundhouse, and some see the seeds of garage‐punk in their 65‐68 workhighlighted on a CD release in 2002. Dunton then went on to Please for a fistful ofdemos—Strange Ways here is a melodic treat—before jumping ship for the better‐known The Gun with the Gurvitz brothers, the remainder forming Bulldog Breed andalso Infinity for a still‐born concept album about space, matter (Arthur C. Clarke)and…curry (East End). Their Venetian Glass, written by keyboarder John Da Costa (hisautobiography is at the Psychspaniolos blog), featured in their constant gigging whenwith the NEMS agency. Sun Dragon’s contribution from their one LP Green Tambourine(MGM 1968) featured Blackmore, Lord and Paice of Deep Purple, while Shy Limbs’CBS single Love, in the vein of Manfred Mann and Procol Harum, sees Greg Lake onbass/vocals (as also with The Shame). Soon after he joined King Crimson whose RobertFripp, also from Bournemouth, adds guitar here.

    At first glance West Coast Consortium seem Californian in looks and la‐la’s but werea North London male quintet specialising in harmony pop. After Pye changed theirname from Xit and told them to “cut out the hippy tosh”, they had a no.22 UK hit inearly ’69 but the chosen track is from unused home recordings six months earlier.Consortium soldiered on until 1975 trying to get an LP out, so it’s ironical that threeCDs have been devoted to them since (on Angel Air, Castle, Wooden Hill). Kent’s JasonCrest (1967‐69) suffered the same fate from Philips, even though one single —amongfive in 18 months—was translated into a French chart‐topper while doing BBC showsand touring Germany. Their unreleased Teagarden Lane, swirl‐phased with confidentvocal harmonies like Barclay James Harvest, is one of less than 20 songs highly‐ratedby psych collectors. The frustration might be seen when one of them joined heavymerchants Orang‐Utan.

    Named after a 1940s novel and film set in 17th century England, Forever Amber’sThe Love Cycle seems loosely based on that romance, certainly for the brashlysentimental track here. Appearing in January 1969 in only 99 copies to avoid VAT, thesubsequent fame is almost staggering. Mojo, The Times, and The Guardian have alllisted it as one of the great albums of the period, if one can get past the moronicallyworld‐ignoring “to hear before you die” buzz expression. It’s pretty nifty for a 16‐track slice of vinyl costing £200 after 19 hours of studio work in Cambridge, when onlythe final track clambers to anywhere near four minutes. A more subterranean famemarks Second Hand’s A Fairy Tale and here is a demo of the title track. Their follow‐up LP Death May Be Your Santa Claus, organ‐based (sometimes exclusively) with LolCoxhill guesting for the odd jazz flourish, was a film soundtrack based on a youngblack militant’s nihilism. Both housed in weird covers, they were akin to ArthurBrown’s Galactic Zoo Dossier of the same year and Beefheart; heavy psychedelic could

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have been coined just for them. Nurse With Wound cite Second Hand as aninspiration. 

      Mushroom Records formed especially to release a thousand copies of it in 1971,gaining further kudos when bringing out the classic Magic Carpet too from their officesopposite the Roundhouse in Chalk Farm (Alisha Sufit still performs interesting worktoday with her own label, Magic Carpet Records). Simon Finn’s Pass The Distance wastheir second release, but withdrawn due to a dispute over the artwork. His Laughing’Til Tomorrow shows how regrettable that was; he later emigrated to Canada andturned his back on the industry. Talking of labels, a few choices appeared on theeclectic Beacon Records (1968‐72), most renowned for the first albums of UFO whenmore spacey psych. The Fut’s 7” Have You Heard The Word (1970) appears onnumerous Beatles bootlegs after Yoko Ono tried to copyright it as Lennon’s in 1985. Infact it was the result of a drunken Australian session with one of the Bee Gees, leakedto Beacon without their knowledge. Taiconderoga’s Whichi Tai To (Beacon, 1969) seemearly precursors of dyslexia—their name misspells a US town (or a Witkacy novelcharacter) and their song title (Maori?) couldn’t have helped. In true Beacon mode, itwas a one‐off by Train, a hard‐gigging five‐piece at the heavier end of latepsych/early prog. Their drummer went on to Gentle Giant while the 18 year‐oldguitarist changed his name, and age, when forming The Damned at the dawn of punk.

    The Cortinas—their only 7” here was after Mick Taylor left—soon opted for the lessracy name Octopus for a classic one‐off LP on Penny Farthing. The original wasmessed up by the label so the CD reissue on Rev‐Ola is the first‐ever as the bandintended with 10 bonus tracks. Not to be confused with a mid‐70s German prog bandof the same name—several names have since been nicked especially by Americangroups—they had a wide repertoire live, covering Neil Young, Cat Stevens, Yes, andBeatles! This is their Badfinger style. Complex, “Fylde’s leading group”, were one ofthe first to issue 99‐copy private pressings so the rare demo Images Blue is welcome.Their songwriter Steve Coe later penned Monsoon’s hit Ever So Lonely. 

    Among the obscure on the second CD are those with longer‐lasting influence, such asThe Liverpool Scene, a loosely‐defined ensemble that adapted musical forms for apoetry theatre mixing wry social satire with anarchic politics. They centred roundAdrian Henri, whose old school tie network included many useful friends in the media,Andy Roberts (unduly neglected yet worked with The Beatles without credit) and MikeHart whose two great albums on Dandelion hark back to The Liverpool Scene. Lessknown than The Scaffold, they believed the effect of a poem is more important thanthe poem itself which works as an agent to convey the poet’s message (the Frenchpoet Rimbaud did the same, as did the Surrealists of course). John Cooper Clarke andAttila The Stockbroker were in the same vein, while the devastatingly humorous sidereappeared on Hart’s solo LPs to good effect. (The box set has a hidden extra track—I’m guessing its Mike Hart’s family!) We’ll All Be Spacemen Before We Die, completewith NASA intro, is a rare cull from a ’69 TV series broadcast only in the north‐west ofEngland. Spacey, heavy Gong mixed with Tractor no less.

    Also from Dandelion is Principal Edward’s Magic Theatre with one of the red label’sfirst singles, the violin‐led Lament For The Earth. The commune group from theUniversity of Exeter were also multi‐media like the Liverpudlians but with less humourand, it’s said, more arrogance. Their second LP was produced by Floyd’s Nick Mason,a fan at the time. This reviewer considers them rather more typical of thecounterculture than The Liverpool Scene, but the beauty of this fine collection is itsallowance for different viewpoints. The closer by Kevin Coyne, Evil Island Home, is amesmeric take on modern life as powerful today as when recorded for his first soloalbum at the end of Dandelion’s days. Completing the label connection is Beau (i.e.Trevor Midgley) with the title‐track from his second LP, Creation, which featured thelegendary Tractor duo adding pumped‐up fuzz, a fusion style he still sporadicallyreprises today. From his (and Dandelion’s) debut single in the summer of ’69, 1917Revolution where the guitar echoes the cavalry, to his current work on Cherry Red andFruits de Mer, this master of the 12‐string is enjoying (like Fry) a belated but well‐deserved renaissance seen with Fables and Façades. His always‐interesting materialreflects life in the Britain of its day along with historical subjects unearthed from the

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past for a thought‐provoking journey.               Hardin‐York, organist‐singer and drummer respectively of the Spencer Davis Group,pursued a career as a duo often seen on ’70s tours and in clubs like the Marquee. Theirfirst single on Bell, Tomorrow Today, exemplifies what should have achieved widernotice. Mike Read’s fledgling period as a song‐writer is given an airing with anunreleased demo, before his days as a TV presenter and DJ. Ex‐Amber and The Lost,his track features Atomic Rooster’s later drummer and Virgin Sleep’s acid guitarist fora surprising What The Dickens. Also better known for extra‐curricular activities wereFat Mattress, formed by Hendrix’s bassist Noel Redding to showcase his own work. The7” flute‐swirling B‐side is a good example of their creativity, as is a still‐viewableGerman TV performance, with their shared lead vocals that had a very distinctive,original tone at the time.

    The chronological approach shines a strong searchlight on the musical development.The second half, spanning the last two CDs, includes longer tracks with more acousticmaterial from duos like Hardin‐York and Paper Bubble’s rare Deram LP. FromShrewsbury, Brian Crane and Terry Brake had a close link with The Strawbs when theywere still The Strawberry Hill Boys in Twickers. Cousins and Hooper producedBubble’s only album and toured together, so fans of early Strawbs may well enjoy thisdiscovery along with the guitar‐and‐sitar of The Fox’s Butterfly. Solo artists continuewith Phil Cordell where big label faith later delivered a UK #5 (as Springwater) andGerman #1.

      Contrasts permeate this cross‐section anthology, starkly shown by two nameswithout marketing guile who were both art students. The hippy troubadour BillNelson’s Northern Dream was pressed in a mere 300 copies by his local record store inYorkshire while his counterpart Mark Fry was recording in Italy for RCA. Nelson’s solodebut displays early his guitar skill, before he formed Be‐Bop Deluxe. Today the localboy made good holds an annual Nelsonica event in the same town as that record shop.Mark Fry’s Dreaming With Alice, with its linking theme between songs, initially wentunnoticed but has become a psych‐folk classic of dreamy atmosphere and nostalgialaced with subtle sitar. Fans of this should check out Peter Howell & John Ferdinando’sJabberwocky, where spoken voice and tape‐looping perfectly complement LewisCarroll’s surrealistic verse.

      The last CD gives space to longer compositions, as the psych singles began tooverlap with more experimental prog. Czar, the former Tuesday’s Childrendisappointed with lack of interest in their pop singles, debuted under their newmoniker at the Marquee in January 1970 a month before recording Ritual Fire Dance.The four‐piece toured with The Moody Blues, Floyd, Hendrix and early King Crimson,who all left their traces for a lone album on Fontana with one of the most reproducedsleeves of the era. It was recorded late night after gigs which may account for its

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Posted by Klemen Breznikar at Sunday, October 26, 2014

Labels: Brian R. Banks, Love, Poetry And Revolution, Reviews

darker atmosphere. Due to copyright reasons, this demo—based on a piece in aSpanish ballet—had to be left off the LP. Space rock fans certainly have in theirarchives Hawkwind Zoo’s seven‐minute demo Hurry On Sundown, but it’s an inspiredinclusion here because Dave Brock still retained his busking heritage on their debutwhen they dropped the Zoo appendage and cheekily spelled their name in marijuanaleaves. An edited version was their first single and featured in a debut Top Gear inAugust 1970. Kula Shaker (Hari Om Sundown) and The Petals later did versions of theunderground anthem.

    Highlights of course depend on your bag. History, nostalgia, style, music genealogyor just the music itself: something for everyone as the saying goes. It’s a BritishNuggets trip without sitar swirlers, a cultural tapestry too though the threads are stillpulling today. The booklet is a well‐researched 36‐page compendium full ofatmospheric iconography—even the CDs can be easily removed from the packaging!No track times, but four hours of rare material, some restored to full‐length frommaster‐tapes for the first time along with period‐pieces like an Alice Through TheLooking Glass concept and a local TV soundtrack, region‐only issues, and intriguinghidden track. The release is dedicated to Mick Farren, a true counterculture icon whostuck by his guns for half a century. The music like the message continues the sameway.

Review made by Brian R. Banks/2014© Copyright http://psychedelicbaby.blogspot.com/2014

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