Looking back to the British Psychedelic era 1966 – 1969

Welcome to the all new Sunfower fanzine

covering the sounds and feel of the late British Psychedelic scene. We aim to entertain you with articles on bands you may of forgotten and for us not to forget the bands that maybe only released one single and were gone. We aim to honour those sorts of bands from obscure gems to classic acts of that magic era, The Sixties.

I have been really infuenced by the history and music from that time and even wrote songs and got a band together because of it. The years may roll by but I am stuck in that magical age. I wanted to do this fanzine because I love the bands and the rare singles you hear from the underground of the sixties that reel you in, in a hypnotic kind of way. Please leave me feedback and then I may want to do more. But until then, Be Groovy ! - Lewie Docksey (Split Sofa)

A DAY IN THE LIFE – The Beatle's Magical song In DepthMany people know that the last song on Sqt Pepper was written separately with John being inspired by a death of a close friend Tara Browne the young guinness heir who was tragically killed in his Lotus Élan on 18 December 1966. Lennon's stated that the two verses were adaptedfrom a story in the 17 January 1967 edition of the daily Mail.

Lennon said “it wasn't Tara blowing his mind out it was in my mind when I was writing that verse”. It is well known in Beatleland that after the Beatles last Performance John jumped straight into a flm roll in “How I Won The War” released on 18 October 1967 having flmed hispart in Sept 1966.

Paul's also said the line “I'd Love To Turn You On' was a reference to Timothy Leary's 'Turn On, Tune In, Drop out' While the middle part of the song is now Paul's who had been working on a piano piece independently. With Strawberry Fields and Penny Lane in the air and a talk ofyounger days Paul remembers climbing the stairs of the Double Decker bus on his way to school having a cigarette and foating away in a dream.

Back to John for the fnal verse and a piece that was inspired by Far & Near news brief, in the same 17 January edition of the Daily Mail that inspired the frst two verses under the headline 'The Holes In Our Roads'. John however had trouble with one word that connected how many holes to, it was a long time friend Terry Doran, managing director of Apple who suggested that they would 'Fill' the Albert Hall.

The Beatles started work on the song on January 19 1967, The two sections of the song are separated by a 24-bar bridge. The gaps were counted out by Beatle roadie Mal Evans with echo being added as he counted through the song. George Martin added a loose score for the section.

Paul conducted the 40 piece Orchestra and the whole event was flmed (See Time Capsule) the orchestra part was recorded 4 times and edited into the fnal piece of work. A day in the life remains a classic piece of art and work by a band who changed everything.

'FEELIN' ALRIGHT'Traffc

Stevie Winwood was frontman with The Spencer Davis Group at the age of 15. He played Keyboards and sang and also played guitar. The band released four top ten singles and three topten albums in the UK as two top ten singles inthe United States.

In April 1967 Steve with Drummer/Vocalist Jim Capaldi, Chris Woods a woodwind player andGuitarist Dave Mason Jammed together at Elbow Rooma club in Aston Birmingham and decided to FormTraffc. To give full attention to the new band they upsticks and decided that they would immerse themselvesinto the band and rented a cottage in the rural village ofAston Tirrold, Berkshire to work on new music and analbum,Out of the magic came some excellent song and soon theband were signed to Chis Blackwell's Island Records.The frst rellese was a song called Paper Sun whichscored a UK hit in mid-1967 and was soon followed up by their even bigger hit written by Dave Mason called Hole in My Shoe and became one of their best known tracks. Another single was written for the flm Here We Go Round The Mulberry Bush.

Their debut album Mr Fantasy was produced by Jimmy Miller and when released was a hit more so in the UK. In 1968 the band released their second album Traffc which included Dave Mason's original version of Feelin Alright, which was later recorded by Joe Cocker and Three Dog Night.But their was unrest in the camp. When Mr Fantasy was frst released Mason quit the band but returned a few weeks later to contribute to the second album but his time was numbered in the band. Winwood,Wood,and Capaldi wanted to take Traffc in a more Folk/Blues style but Mason wanted a more Psychedelic pop style.

The band toured The US as a trio in late 1968 and worked on their next album release which was called Last Exit. One side of the album was a live recording of their shows.But again Winwood was getting restless feet and dissolved the band in early 1969, he later said "Because of the way I ended the Spencer Davis Group, I saw no reason why I shouldn't leaveTraffc and move on. It seemed to me a normal thing todo.”

Winwood went on to form Blind Faith, with Eric Claptonand Ginger Baker, they recorded one album and touredthe US but they disbanded after a year and Winwoodstarted to work on a solo album John Barleycorn mustdie. Winwood bought in Wood and Capaldi to add theirparts to the album but it turned out to be other Traffcalbum and their most successful album yet.

Traffc went on to expand its lineup late in 1970, adding Winwood's former Blind Faith bandmate Ric grech on bass. The group further expanded in 1971 with drummer Jim Gordon of Derek and the Dominos and Ghanaian percussionist Rebop Kwaku Baah The Live album Welcome to the Canteen wasreleased in September and marked the band's break with United Artists Records.Dave Mason returned for a short spell but left again. Traffc released The Low Spark Of High Heeled Boys in 1971 It was a top ten hit in the US and did nothing in the UK. The album sold half a million copies.

But again band personnel changes were on the cards and Grech and Gordon Left the band In December 1971 and a month later the band was put on hold as the health of Winwood got worse as he battled peritonitis. Jim Capaldi used the time off to record a solo album Oh How We Danced which in the end helped him to start a long and successful solo career. Capaldi used drummer Roger Hawkins and Bass player David Hood and bought them on board to replace Grech and Gordon for the new line up as Traffc.

The new line – up of (Winwood, Capaldi, Wood, Kwaku Baah, Hawkins, Hood) toured America in early 1972 to promote the LP, and their concert at the Santa Monica Civic Auditorium on 21 February was recorded in multitrack audio and captured on colour videotape with multiple cameras. The 64-minute performance is thought to be the only extended live footage of the group. It was evidently not broadcast on television at the time, but was later released on home video and DVD.

Traffc's sixth album was met with a cold reception but the sales were good. Shoot Out At The Fantasy Factory was released in 1973 and a followed by a major world tour from which a double album was releasedOn The Road, it reached number 40 in the UK album charts. After the world tour,Hawkins, Hood, and Kwaku Baah left the band and soon Chris Wood's increasing problems with drug use and depression.Bass Player Rosko Gee replaced David Hood and Jim Capaldi went back on the drums. Another year another album. When The Eagle Flies was released in 1974 and was another success across the globe and the band set out on a tour for the last time in the US, poor sales of tickets

hindered the tour and the band began to be emotionally exhausting for the band. With everyone fring on different things the band started to crack. It all came to a head in Chicago which turned out to be the last gig the band did as Winwood stormed off stage mid show. He left for home the next day without saying a word to anyone and left the band waiting for him at the following gig. When he didn't show he band decided to end the band.

All the still living members of Traffc's most recent lineup reunited in 1994 for a one-off tour, after a fan left a voice mail message at Bob Weir's (of the Grateful Dead) hotel in Chicago during the 1992 "Scaring the Children" tour, and suggested it would be cool if Traffc toured with the (then Grateful) Dead. Traffc opened for The Grateful Dead during their summer tour. T

he fute/sax role on the tour was played by Randall Bramblett, who had worked extensively with Steve Winwood. Mike McEvoy joined the line up playing keyboards, guitar and viola, and Walfredo Reyes Jr played drums and percussion. Winwood and Capaldi recorded and released a new Traffc album, Far From Home, with no involvement from the other four members. It broke the top 40 in both the UK and USA. The Last Great traffc Jam, a double live album and DVD released in 2005, documents the band's 1994 reunion tour.

Traffc were inducted into The Rock N Roll hall of fame in March of 2004, Winwood, Capaldi, Mason and standing in for her brother Stephanie Wood (Wood had passed away in 1983). The band performed

Feelin Alright for the grand fnale and was joined by Dave Mason,Keith Richards, Tom petty and the Temptations.Any more plans for the band were fnally ended when Jim Capaldi passed away at the age of 60 in January 2005 and it bought the end of the partnership and traffc to an end.

Procol Harum – A Salty Dog Agruably Procol Harum’s fnest hour, A Salty Dog (A&M, 1969) was the last album with keyboard/organ player Matthew Fisher. Fisher’s keyboards dominate typical Procol Harum numbers like “Pilgrim’s Progress,” “All This and More,” and the excellent progressive rocker “Wreck of the Hesperus.” These songs (all very good) are what you’d expect to fnd on a late

60’s Procol Harum record, a slow paced, keyboard driven sound. It’s the remaining tracks that push the group’s resources to the limit, seeing them branch out into new musical territory that is often exciting and original.

The album opened with the title track, “A Salty Dog.” One of Procol Harum’s most ambitious statements, this composition features beautiful string arrangements and Gary Brooker’s tremendous vocals (he never sounded better). Also of note are B.J. Wilson’s powerhouse drum work and the brilliant lyrics of Keith Reid, which accurately describe the paranoia ocean explorers encounter at sea. Forthese reasons, the music and lyricism work well together, creating a peculiar sense of impending doom or fear of the

unknown. “A Salty Dog” is still regarded as one of the fnest pieces of early progressive rock, and with good reason, it’s a superb song that conjures up eerie feelings – a must own. Other standouts are the dreamy folk of “Too Much Between Us,” intelligent roots rock in “The Hand of Human Kindness” and the pre World War II style blues of “Juicy John Pink.” The latter sounds lo-f and may be the rawest, most basic track Procol Harum has ever cut; it really is an authentic blues piece too, highlighted by Trower’s fantastic guitar leads and Brooker’s boozy late nite vocals. “Boredom,” another unique number, is a pretty accoustic campfre jam with distinct Caribbean rhythms. This is an LP full of variety and style.

Hard rock enthusiasts may want to pick this up for the great, sludgey rocker titled “The Devil Came From Kansas.” This one has pounding drums and pile driving guitar riffs, probably their heaviest song – essential music for the classic rock fan. In fact, all throughout the album Robin Trower’s guitar work is a joy, reaching highs with his own epic composition “Crucifxion Lane” and the cool, stuttering fuzztones heard on aforementioned “The Hand of Human Kindness.” The band tries all kinds of different experiments out on A Salty Dog, so in a sense it may soundoverwhelming at frst. Patience and mutiple listens pay off and reveal A Salty Dog to be one of the best classic rock albums of 1969.

Originals are easy to fnd in good shape (vinyl). There have been several good cd reissues by Salvo (2009) and Westside as well. These reissues feature excellent bonus material and copious liner notes. By the way, A Salty Dog is slang for an experienced sailor or a libidinous man. It’s also the name of an acoholic beverage which is made with vodka or gin and grapefruit juice.

Time Capsule Looking at musical events in the UK in February & March of 1967

The big news story at the start of the year was two ofthe Monkees fying into London on Feb 6. MichaelNesmith & Micky Dolenz.London is a buzz with Monkeemania and the Micky& Michael appear on numerous news clips.Feb 7 Micky meets Paul McCartney at his St john'swood home and they both pose for the press. By Feb10 both Micky and Michael attend a recording sessionat Abbey Road studio where The Beatles are puttingthe fnishing touches to the song A Day in The Life.The band are overdubbing the orchestral parts of thesong,Both Micky and Nesmith can be seen in the flmthat was released much later.

Not Such a good time for The Stones though, Feb 12 saw police swoop on Keith Richards Home called Redlands.Although no arrests are made at the time, Richards, Jagger & Robert Fraser are charged with possession of drugs.Feb 24 The bee Gees sign recording contract with Robert Stigwood, Ginger Baker from Supergroup cream always called him Stigboot.

Mar 27 John Lennon and Paul McCartney are given the Ivor Novello award for a song Michelle taken from their album Rubber Soul released in 1965,The song was the most performed song in the UK in 1966

March 30 – The cover for Sqt Pepper is taken at chelsea Manor Studios in London.

Jimi Hendrix kicks out on tour on March 31, with The Walker Brothers, Cat Stevens and Engelbert Humperdinc. Jimi sets fre to his guitar for the frst and his taken to hospital suffering burns to his hands.

The UK number One Single !!The Monkees – I'm a Believer (Number one for 4 weeks)

The UK number One Album !!The Monkees – The Monkees (Number one for 7 weeks)

I'm A Believer Facts

The Monkees sang on this, but did not play any instruments. The producers used session musicians because they were not convinced The Monkees could play like a real band. This became a huge point of contention, as the group fought to play their own songs.

This was The Monkees second single, after "Last Train To Clarksville." It was released during the frst season of their TV show.

Neil Diamond wrote this song. He had his frst big hit earlier in 1966 with “Cherry Cherry" which got the attention of Don Kirshner, who was looking for material for The Monkees. Kirshner was sold on "I'm A Believer," and as part of the deal, allowed Diamond to record the song as well. Diamond's version was released on his 1967 album Just For You. The Monkees version benefted from exposure on their televisionseries

Tintern AbbeyBy the late sixties a bloom of bands appeared to ride the wave of British Psychedelia and one of those bands were Tintern Abbey formed in London in late 1966.

The band was formed by DanSmith & David MacTavish atthe Overseas Club In EarlsCourt. Smith bought in JohnDalton into the band andMactavish brought in StuartMckay after a chance meetingat the dole offce.

The band released only one45rpm single on Deram Records,"Beeside"/"Vacuum Cleaner"(Deram 164), in December 1967.It was produced by Jonathan Webber but when the single failed to sell Dan Smith quit the band in January 1968 and was replaced by Paul Brett.

The band were frst managed by Nigel Samuels who was owner of the legendary underground mag IT. He signed the band and put them up in a mews house at the back of Sloane Square rent free.Tintern set about using the house to rehearse and write material and were paid a small weekly retainer but the band felt as if they were on tap to the whims of Samuels who would turn up at any time of the dayor night with friends and demand the band play.

Eventually they signed with Spencer Davis and a follow on single was lined up called 'How Do I Feel Today' in March of 1968 Record Mirror announced the forth coming single as due for release on April 19th 1968. But it never appeared and it seems the songs was not at the mastering stage.

Brett Says “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.”

He adds “I only recently found this acetate 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.”

At the time in the music press there was always talk of a lost Tintern Abbey album but Paul States that “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.”

So there we are, Paul Finally ends the rumours of the lost not written album, Tintern Abbey in their short live span like so many bands of the late sixties, came and went but at least we can always put on Beeside if we are feeling a tab sentimental.

It's a bit shocking that as of early 2010 I am writing the frst review of this single, since it is perhaps the quintessential British psych coupling. Beeside is a bit mysterious with lyrics about virgins of

noble breeds and fnding euphoria in a dewey feld and is rather neglected, as far as A-sides go.

The B-side is the real monster here. Compared to the majority of British psych, it's a bit straightforward, verse-chorus-verse structure, lots of echoey guitar with a fanTAStic backwards solo.The hyperactive bass and constant cymbal crashes combine to create a wonderfully dreamy, swirlingeffect that just sweeps you up. MagicHands

Dantalian's Chariot - Chariot's Rising (1967)

Among the more obscure British psych acts of the late 60's, this outfit is responsible for one of the best singles of the genre. Their 1967 release of "Madman Running Through the Fields" has been comp-ed on

numerous collections of Britpsych, and is included here, along with a host of previously unreleased mat'l as well. Most of this doesn't approach the dizzying heights of their trademark single, but are still quite good, and well worth investigation. The back cover features their entire story in detail. Grades - 2 A's, 3 B's, 2 B-'s, 1 C+, and 2 C's. Limited numbered press of 1000 copies.

Cream - Fresh Cream (1966)

When you set out to be "the best", as Cream did, you'd better be sure you deliver. And, after a very odd start with their first single "Wrapping Paper" - that left those who hadn't seen them live wondering what all the fuss was about - deliver they did with an album that remains one of the most inventive and powerful debutsof all time. Stillexciting forty years on

(and helped by the inclusion of "I Feel Free" which inexplicablywas only released as a single in the UK despite being recorded inthe same sessions) its combination of driving blues and EricClapton's incredible "barrier bending" guitar playing - evidencedto perfection in their stunning interpretation of Skip James' "I'mSo Glad" - took the British R&B scene by storm and set aprecedent that raised expectations of what was to come beyond allreasonable levels.There was indeed more to come, but whilemuch of "Disraeli Gears" and parts of "Wheels of Fire" were asgood, if not better, "Fresh Cream" is infused with the sheerenthusiasm of a group getting it right for the first time. And, likeall similarly brilliant debut albums, that's what shines through andmakes it timeless.

Velvet FoggVelvet Fogg (1969)Appearing in 1968, and disappearing just as quickly, Velvet Fogg's only LP is a truly great, lost classic of British psychedelic music. At it's best it features some imaginative guitar andorgan workouts combined with quirky and unusual lyrics and the band'scovers of 'New York Mining Disaster' and 'Come Away Melinda' add aneerie tone missing from the originals. Fogg's own originals include thechildlike 'Wizard of Gobsolod', the haunting and somewhat dislocated 'LadyCaroline' and the jazzy workout of 'Owed to the Dip' but the tone of thealbum is set by the powerfully doom-laden opener, 'Yellow Cave Woman'.It's a great record and it's rounded off with the inclusion of the band's onlysingle, a 68-style, special effect laden version of 'Telstar' - the sleeve notes,by John Peel, are a remarkable 1968 artefact in their own right.

Etched In StoneClassic songsS e e E m ily P la y – P in k Flo y d

• Written by Syd Barrett who claimed "Emily" was a girl he saw when he woke up one night after sleeping in the woods after a gig. It is unclear if she was a real person or a drug-induced hallucination.

• This was Pink Floyd's second single. Their frst was "Arnold Layne."• The original title was "Games For May." They performed it live a few times before

changing it.• The slide guitar work on the song was done by Barrett using a plastic ruler• EMI archive. Engineer Jeff Jarrett recalls that "See Emily Play" was recorded in a

much longer form which was then edited down• for the single release. It was recorded at Sound Techniques studios on 21 May 1967.[

See Emily Play (Barrett) 2:54

Emily tries but misunderstands, ah oohShe often inclined to borrow somebody's dreams till tomorrow

There is no other dayLet's try it another way

You'll lose your mind and playFree games for may

See Emily playSoon after dark Emily cries, ah ooh

Gazing through trees in sorrow hardly a sound till tomorrowThere is no other day

Let's try it another wayYou'll lose your mind and play

Free games for maySee Emily play

Put on a gown that touches the ground, ah oohFloat on a river forever and ever, Emily

There is no other dayLet's try it another way

You'll lose your mind and playFree games for may

See Emily play