Caravan's third album

CARAVAN - In the Land of Grey and Pink, 1971 (prog rock, Canterbury, UK) (Deram SDL-R 1)

One side composed of four songs and the second side consisting of one track containing eight different sections but conceived as an entity. To describe the music would take up far more space than is available here but those of you who have heard Caravan live and on their previous records, will know the quality to expect although you may not have heard all the numbers before. Those of you who haven't heard the group before are in for a very enjoyable initiation.







Personnel :

Richard Sinclair - bass guitar, acoustic guitar, vocals
David Sinclair - organ, piano, mellotron, harmony vocals
Pye Hastings - electric guitars, acoustic guitar, vocals
Jimmy Hastings - flute, tenor sax, piccolo
Richard Coughlan - drums, percussion
David Grinsted - cannon, bell and wind

Tracklisting :

A1 Golf Girl 5:01
A2 Winter Wine 7:36
A3 Love to Love You (And Tonight Pigs Will Fly) 3:04
A4 In the Land of Grey and Pink 5:00

B Nine Feet Underground 22:44
a. Nigel Blows a Tune
b. Love's a Friend
c. Make It 76
d. Dance of the Seven Paper Hankies
e. Hold Grandad by the Nose
f. Honest I Did !
g. Disassociation
h. 100% Proof

- Their Story -

The years 1966 and '67 were very active and creative on the Canterbury semi-pro group scene. Several of the groups and musicians who started their musical careers in those years are now nationally known. It was at the end of this period that Caravan was formed by Pye, Richard, David and Richard, all of whom had played together previously in various bands but primarily in the Wilde Flowers. They started their professional careers in the glamorous world of show business with a six month sojourn in a house at Whitstable, close to their home town of Canterbury ; six months which they spent writing, rehearsing and trying to find out where their next meal was going to come from. In june of '68 they had to leave their Whitstable home and they spent the summer living in tents at Graveney and rehearsing in the church hall. By this time they had come to the attention of a record company executive and in october '68 they made their first album for MGM Verve. When the weather became too cold for them to continue their spartan way of life at Graveney, they moved up to London, staying with friends, but after only six weeks they decided to return to the more relaxed and healthier atmosphere of Canterbury, where they still live.

Their record company had introduced them to a leading London management company at the beginning of 1969 and this led to their getting regular work at last. Thanks to their year of virtually nothing but practice, they were one of the most musically proficient and original bands in the country, playing their own distinctive form of British rock ; a rarity in those days in the land of a thousand blues bands. After 10 months of gigging up and down the country building up a reputation they signed a new recording contract with Decca (after parting from MGM Verve when that company curtailed its operation in the U.K.) and their second album, released in September 1970, was enthusiastically received by all, both here and abroad, and was in the charts for 6 weeks. At last, they were getting the acclaim that they deserved so well and worked so hard for.

MAJORITY ONE - s/t, 1971 (ENGLAND, Kingston upon Hull, psych pop) (Pink Elephant PE 888 010)

Originally known as The Mustangs they went in 1965 to London and changed their name to The Majority. They released eight singles from 1965 to 1968 and also backing Barry Ryan on his international chartbuster "Eloise". They toured France in early 1969 and as the trip turned out to be very successful they finally moved over there and never played in England again. They got a contract deal with Pink Elephant and changed their name to Majority One. They did two 45's for their new label and especially their first single "Because I Love You" became a hit. This song was also included on their only album that was finally released in 1971 . There are a few throwaway cuts on it like the totally schmaltzy "I Nearly Died" or the nasty "Glass Image" but most of the material is pretty good late sixties Pop and Psychedelic with a strong Bee Gee's influence sometimes. The re-issue on Synton (Synton OL 5682 / 2005 ) gives no further information but is an exact repro with one bonus cut. There's also an eighteen track compilation from RPM-Records called "Rainbow Rockin' Chair".

Personnel :
Robert Long
Peter Mizen
Ian Sutherland
Barry Wigley
Walter Andrews

Tracklisting :
1. Feedback 3:28
2. Rainbow Rockin' Chair 2:25
3. A Cigarette, A Cup of Tea 2:50
4. I Nearly Died 3:34
5. Looks Like Rain 2:51
6. Glass Image 2:45
7. Because I Love 2:11
8. Love Came Today 2:41
9. Depths of my Mind 2:17
10. I Don't Mind the Rain 3:32
11. I See Her Everywhere
12. Roger La Frite 5:46
13. Revelation 0:40
14. Get Back Home 2:45 (bonus track)

LINK  (no pass)

NEW YARDBIRDS - London Blues, 2005 (live performances, 1968) (Led Zeppelin)(ENGLAND, hard rock blues)

While founding members Relf and McCarty wanted nothing more to do with the Yardbirds name, Jimmy Page felt otherwise. With a touring commitment slated for the fall in Scandinavia, the lead guitarist saw the break-up as an opportunity to put a new lineup together, a heavier band that would feature Page as producer and Grant as manager. Procol Harum's B.J. Wilson, Paul Francis, and noted session man Clem Cattini, who'd guested on more than a few Yardbirds tracks under Most's supervision, were considered for the vacant drummer's throne. Young vocalist and composer Terry Reid was asked to replace Relf, but he turned down the offer because of a new recording contract with Most. He did, however, enthusiastically recommend to Page and Grant a then-unknown singer from the Midlands by the name of Robert Plant.Plant, in turn, recommended his childhood friend John Bonham on drums.Dreja bowed out to pursue a career as a rock photographer; enter bassist/keyboardist/arranger John Paul Jones, who, like Cattini, had worked with Page on countless sessions, including several with the Yardbirds. Rehearsals began in August; in early September, Page's revised Yardbirds hit the road. Fans at the Scandinavian shows were confused by new members, expecting to see Relf up front, but the band quickly found themselves clicking. After this brief tour, Page and his new bandmates returned to England to produce, in a very short time, a landmark debut album. Interestingly, what was to become Led Zeppelin was still being billed as "Yard Birds" or "The Yardbirds Featuring Jimmy Page" as late as October 1968 ; indeed, some early studio tapes from the Led Zeppelin album sessions were originally marked as being performed by "The Yardbirds." One song from the album, "Communication Breakdown", was a re-tooled version of a Yardbirds song, "Nervous Breakdown". However, a very different band was soon working under a very different identity — a change reportedly hastened, in part, by a cease-and-desist order from Dreja, who claimed that he still maintained legal rights to the "Yardbirds" name. The moniker 'Led Zeppelin' was an old inside joke among Page and his closest musical friends, several of whom would later take credit for the idea. Coined as early as 1966 , "Lead Zeppelin" was The Who's Keith Moon's tongue-in-cheek description of the prospective "supergroup" that would have comprised himself, John Entwistle, Steve Marriott, Beck and Page, because he felt they would go over "like a lead balloon." Once the idea was revived, the band elected to change the spelling of "lead" so that the name wouldn't be mispronounced, effectively closing the books on the Yardbirds for the rest of the century.

Line-up

Robert Plant - vocals, tambourin
Jimmy Page - guitar
John Bonham - drums
John-Paul Jones - bass


Tracklisting

1. I Can’t Quit You
2. I Gotta Move
3. Communication Breakdown
4. I Can’t Quit You
5. Killing Floor
6. Fought My Way Out Of The Darkness – Hush Little Baby
7. She Wants You – London Blues
8. Dazed And Confused
9. White Summer / Black Mountain Side

Tracks 1-2 : Tivoli Gardens, Stockholm, September 20, 1968
Tracks 3-9 : The Marquee, London, October 16, 1968

ORANGE BICYCLE - Let's Take a Trip on an Orange Bicycle, 1988 (compilation 1967-1968)(ENGLAND, London, psych)(Morgan Blue Town MBT 5003)

This rather lightweight vocal harmony outfit, evolved out of Robb Storme and The Whispers. They started playing quasi-psychedelic pop music in 1967 . They had a No 1 in France with their debut single Hyacinth Threads although their future singles including a cover of The Rolling Stones' Sing This All Together did not happen at home. Their album was produced by John Peel and was largely comprised of cover versions of Elton John/Bernie Taupin material such as Take Me To The Pilot, which was also released as a single. It also included Dylan's Tonight I'll Be Staying Here With You and Denny Laine's Say You Don't Mind. A revitalised Morgan Bluetown label produced an album, Let's Take A Trip On... (Morgan Blue Town MBT 50003) in 1988. Containing 16 tracks in all, it includes all the Columbia 'A' and 'B' sides (except the third), but none of the later Parlophone ones. Sadly there are no sleevenotes at all to suggest where the other tracks originate from. Wilson Malone recorded a self-titled solo album as Wil Malone in 1970 for Fontana and was also in Motherlight.

Line-up

John Bachini - bass

Bernie Lee - guitar

Wilson Malone - keyboards, vocals

RJ Scales - vocals


Tracklisting

1.1 Hyacinth Threads 2:55
1.2 Dropping Out 2:45
1.3 Renaissance Fair 3:02
1.4 Sing this song all Together 2:40
1.5 Amy Peate 2:07
1.6 So long Marrianne 4:11
1.7 Jenskadajka 3:32
1.8 Soft Winds 2:50

2.1 Laura's Garden 3:16
2.2 Trip on an Orange Bicycle 3:32
2.3 Competition 2:40
2.4 L.A. 3:09
2.5 Nicely 2:59
2.6 Sister Sharon 2:23
2.7 Box 49 2:16
2.8 Lavender Girl 2:20

PARAMOUNTS (The) - Whiter Shades of R&B, 1983(compilation 1963-1965)(Edsel ED 112)

The Paramounts were formed back in 1959 whilst Brooker, Copping and Trower were still at secondary school in Southend. With the addition of Brownlee and Scott they developed a good local reputation as a covers band gigging in local youth clubs. Eventually Scott dropped out and Brooker took over the vocal duties. When they left school in 1962 they became semi-professional, acquired a manager Peter Martin and began to specialise in black American R&B covers of songs by artists like James Brown and Ray Charles. They also gained a residency at the Shades club in Southend. At the start of 1963 Brownlee was replaced by Wilson and later that year Copping left to go to Leicester University with Diz Derrick joining in his place. They were signed by Parlophone the same year and one of their demos, a cover of The Coasters' Poison Ivy was put out as a 45. It had a lot of commercial appeal and sold pretty well. They were further boosted when The Rolling Stones, who'd they'd worked with on the 'Thank Your Lucky Stars' pop show, described The Paramounts as "the best R&B group in England". Although their follow-up 45, a revival of Thurston Harris' Little Bitty Pretty One, was plugged quite hard it failed to sell, as did their subsequent releases. In 1964 they were featured on a Duffy Power flip side, Tired, Broke and Busted. By late 1965 they were clearly in decline (reduced to backing Sandie Shaw and Chris Andrews on European tours) and they split in September 1966 . Trower and Wilson remained on the R&B circuit whilst Brooker concentrated on songwriting, linking up with lyricist Keith Reid. By Spring 1967 they'd written quite a few songs and needed a band to play them. After advertising in 'Melody Maker' Procol Harum was formed. Over the subsequent years all the old Paramounts (apart from Diz Derrick who left the music business) were recruited to its ranks. Robin Trower later embarked on a solo career. The Edsel compilation (Edsel ED 112 / 1983 ) includes all the band's recordings plus four previously unissued cuts including a very lively cover of The Sorrows' You've Got What I Want and a barnstorming rendition of Charlie Mingus's black liberation anthem Freedom. (taken from "Tapestry Of Delights") My personal faves are their previously unreleased killer version of "Turn On Your Lovelight" and their cool cover of "A Certain Girl". R&B/Beat enthusiasts will love that platter, Procol Harum fans should give them a listen for historical reasons.

Line-up

Gary Brooker (keyboards, vocals)
Robin Trower (guitar)
Chris Copping (bass, 1959-62)
Bob Scott (vocals, 1959-61)
Mick Brownlee (drums, 1959-62)
Graham "Diz" Derrick (bass, 1962-66)
B.J. Wilson (drums, 1962-66)


Tracklisting

1. Poison Ivy

2. I Feel Good All Over

3. Little Bitty Pretty One

4. A Certain Girl

5. I'm The One Who Loves You

6. It Won't Be Long - Bad Blood

7. Do I

8. Blues Ribbons

9. Cuttin' In

10. You Never Had It So Good

11. Don't Ya Like My Love

12. Draw Me Closer

13. Turn On Your Lovelight

14. You've Got What I Want

15. Freedom

PLEASE - Seeing Stars, 1969 (ENGLAND/GERMANY, psych prog)(Acme Records ADLP 1028)

Please were formed by Peter Dunton and Bernie Jinks in late 1967. They had just returned to Britain from Germany where they had played with Neon Pearl, which also included their third member Jurgen Ermisch. The fourth original member Adrian Gurvitz later co-founded Gun. Unfortunately this line-up left no vinyl legacy or unreleased recordings that have been located behind it. They disbanded in May 1968 when Peter Dunton joined The Flies for whom he wrote both sides of their Magic Train 45. When The Flies split up at the end of 1968 , Dunton reformed the band (line-up 'B'). Rob Hunt had also been in The Flies. They recorded all the cuts compiled on this album. Please split again in April 1969 when Peter Dunton joined Gun. The remaining members recruited a new drummer and renamed themselves Bulldog Breed. They later cut the "Made In England" album. In the Autumn of 1969 , Peter Dunton quit Gun to reform Please with Bernie Jinks and Nick Spenser (ex-Neon Pearl). This incarnation was relatively short-lived as they had difficulty recruiting a suitable keyboard player. In early 1970 Dunton, Jinks and a later Bulldog Breed member Keith Cross joined forces to form T2, who were responsible for the excellent "It'll All Work Out In Boomland" album. One of T2's tracks, "No More White Horses" also crops up in a radically different form on Please's 1968/69 retrospective. The keyboards are a bit too much in front at times on this album full of dreamy psychedelic music where "Before" is the track that catches the ear. This is their second release of unreleased material on Acme (Acme Deluxe ADLP 1028 / 2000 ).

Line-up

Peter Dunton - keyboards, vocals, drums

Bernie Jinks - bass, backing vocals

Nick Spenser - drums


Tracklisting

A1 Seeing Stars 3:10
A2 Words to Say 3:15
A3 Before 3:14
A4 Time Goes By 4:24
A5 The Road 5:20

B1 Rise & Shine 3:45
B2 Still Dreaming 3:20
B3 Secrets 3:07
B4 Who you Know 3:28
B5 But 2:50
B6 Steal your Dreams 2:56

RAINBOW FFOLLY - Sallies Fforth, 1968 (ENGLAND, High Wycombe, Buckinghamshire, popsike)(Parlophone PMC 7050 / PCS 7050)

The world of '60s psychedelia is filled with rediscoveries that might better have been left buried in the mists of time, except as artifacts - it's possible to have shelves filled with the work of no-talent bands and of acts that weren't even psychedelic (what one wag at Bleecker Bob's in New York refers to as "lounge acts that dressed real cool"). Rainbow Ffolly wasn't one of those - indeed, they're one of the bands and one of the records that is worth finding as a CD reissue (their original LP could run several hundred), and that goes double for anyone with a taste for British psychedelia. Jonathan Dunsterville and his brother Richard Dunsterville of Farnham Common were inclined toward music and performing at an early age, and during the early '60s, formed a band called the Force Four, specializing in Everly Brothers-style harmony material. Jon was at college when he met Stewart Osborn, a drummer, who in turn knew a bassist named Roger Newell. Out of this a new group, the Rainbow Ffolly, was formed; they had a light, fun touch, very much in the spirit of early 1967 ; a close, cohesive sound in which all four members sang, with Jon Dunsterville serving as songwriter. By early 1967, they acquired a manager, John Sparrowhawk, and decided to try for a recording contract. They booked time at the Jackson Recording Studio, owned by Malcolm and John Jackson, the sons of disc jockey Jack Jackson, and put a demo tape together. Their first five songs were so accomplished that they were persuaded by the Jackson brothers to come up with seven more songs, all ostensibly for a full-length demo reel. The group didn't think as much of the seven additional numbers, but assembled a dozen tracks they were comfortable with as a sample of their basic sound. The Jackson brothers then took the tape to EMI, which was sufficiently impressed to ask for the rights to the tape exactly as delivered. Most fledgeling acts would've been complimented, even thrilled at the idea that EMI's Parlophone Records was interested in the first piece of full-length recorded music they'd ever put on tape, but the Rainbow Folly were aghast. They'd hardly intended the music on that tape as a finished work, just a dozen songs that showed directions they might go in if given a chance, not a place where they'd settle with their music. The group cringed at the notion of some of the material that they'd come up with in the lighter moments of writing songs, a few based on the singalong numbers and children's songs, and some of the only partly thought-out arrangements. They might've stopped it, but given that most bands in England were scrambling around for the chance to record a single for anyone, and here was the biggest recording organization in England asking to release the Rainbow Ffolly's demo, they went along. The Jackson brothers had gotten the group to put them in an order that made it sound coherent, with an introductory section that eerily matched (or perhaps anticipated) the Beatles' Magical Mystery Tour. The record compared favorably not only with the Beatles' work, but also with the Pretty Things' S.F. Sorrow album. With its melodic yet spare instrumentation and harmony vocals, the Rainbow Ffolly's album sounded like S.F. Sorrow, the way that record might have if the Pretty Things had roots closer to the Beatles than the Rolling Stones. Jon Dunsterville and his wife Jane came up with the most ornate cover art (and some of the cleverest of the decade) that they could in keeping with the "rainbow" in the band's name, and Sallies Fforth (as it was christened) was released. It turned out not only not to be bad, but pretty good, although the group wished, long after its release, that they'd been allowed to go back in and complete some tracks. The guitar parts were what bothered them the most, on tracks like "Come On Go," where they never did the overdubs that they'd intended. The group played concerts in support of the record and even did a tour of Germany, making their first overseas appearance at the Star Club in Hamburg in a month-long engagement. The Rainbow Ffolly also performed at the Playboy Club in London, which was then a new recreational institution and always attracted a lot of attention. The group took chances, and some of them paid off, at least musically. They were able to bridge the gap between the lighter weight but elegant harmony groups, such as the Bystanders and the Montanas, and what have since come to be called the freakbeat bands (the Troggs, etc.), with their more heavyweight sounds. In a sense, they were like the Beatles in that respect, although based on Sallies Fforth, they didn't have as easy a time generating the heavier instrumental sound needed to compete with the hard rocking psychedelic outfits of the era. The album became a Record of the Week on the BBC's Saturday Club, and it looked like Sallies Fforth might see some serious sales action. This never came to pass, however, and the group found those high visibility gigs generated press, but not enough sales to make the album a success or chart their singles. In an ideal world, there might've been a second album, one that the group would have finished the way it wanted, but for the fact that they weren't earning enough money from live performances to survive on. The quartet had all decided to get regular jobs and give up on music by 1968.

Line-up

Johnathon Dunsterville - vocals, guitar
Richard K. Dunsterville - vocals, guitar
Roger Newell - bass
Stewart Osborn - drums


Tracklisting

A1 She's Alright 3:42
A2 I'm So Happy 2:33
A3 Montgolfier 2:37
A4 Drive My Car 2:14
A5 Goodbye 3:54
A6 Hey You 2:05
A7 Sun Sing 3:57

B1 Sun and Sand 4:02
B2 Labour Exchange 1:55
B3 They'm 1:55
B4 No 2:58
B5 Sighing Game 3:06
B6 Game on Go 2:57

SYN - Original Syn, 2005 (compilation 1967-1969)(England, Wembley, prog rock)(Acme ADLP 1042)

The Syn set out as a mid-sixties pop group, but soon became wrapped in the trappings of flower-power, recording two excellent singles for Deram. Their roots lie in a Wembley band called The Selfs. Their debut 45 Created By Clive was also recorded by The Attack. Both versions are well worth a spin, but the flip Grounded, was a powerful slice of psychedelic R&B. Their follow-up, 14-Hour Technicolour Dream was written to commemorate the multi-media event held at Alexander Palace on April 29-30 , 1967 . Again, both sides are worth a listen. When the group split Peter Banks and Chris Squire became members of Mabel Greer's Toyshop and, of course, they were later both in Yes. They also both recorded solo albums. (taken from "Tapestry Of Delights") Original Syn (Acme ADLP 1042) was a limited edition pressing of 500 . I would imagine that most of you know their famous two Deram singles. So what about the unreleased material? "The Last Performance Of The Royal Regimental Very Victorious And Valiant Band" and "Mr. White's White Flying Machine" were two '69 recordings the band did with two guest vocalists after lead singer Steve Nardelli's departure. The first is a nice orchestrated psych-pop period piece sung by a certain Denny Ward but only Andrew Jackman's plays on the track, the latter is a strange jazzy big-band tune with the mysterious Ayshea on lead vocals. The b-side starts with a demo version of "Flowerman" that wasn't far from the official release. The three demo recordings by The Selfs, the first band of bass player Chris Squire and keyboardist Andrew Jackman, suffers from tough sound but with the exception of a weak version of "I Can't Explain" the other two tracks are pretty jaunty mod songs. "Gangster Opera" was taken from a rehearsal tape and was recorded by the same lineup that played on the singles. Apart from the lo-fi production it's a wild and raunchy Freakbeat number. The remaining two tracks are demos from 1968 with only Steve Nardelli on vocals accompanied by guitar and piano.


Line-up

Chris Squire (bass, vocals, 1965-68, 2005-09)
Chris Slater (vocals, 1965)
Steve Nardelli (vocals)
Martyn Adelman (drums, 1965-2004)
John Wheatley (guitar, 1965)
John Painter (guitar, 1965-67)
Andrew Pryce Jackman (keyboards, 1965-68)
Peter Banks (guitar, vocals, 1967-2004)
Gunnar Jökull (drums, 1967-68)
Gerard Johnson (keyboards, 2004-09)
Steve Gee (bass, 2004)
Paul Stacey (guitar, 2005-09)
Jeremy Stacey (drums, 2005-09)
Francis Dunnery (vocals, guitar, 2009-present)
Tom Brislin (keyboards, 2009-present)

Tracklist


- Grounded

- 14 Hour Technicolour Dream

- Created by Clive

- Flowerman

- The Last Performance of The Royal Regimental Very Victorious and Valiant Band

- Mr. White's White Flying Machine

- Flowerman (demo)

- Merry-Go-Round (by The Selfs)

- I Can't Explain (by The Selfs)

- Love You (by The Selfs)

- Gangster Opera

- Sunset Boulevard Lament

- Cadillac Dreams

MAGIC MIXTURE - This is The Magic Mixture, 1968 (England, London, heavy psych)(Saga FID 2125)

1968 psych classic which has been much sought after as a fine exponent of the UK's swinging London psych scene. Released on the same label as Guy and David's "Five Day Week Straw People". Like that album this is typical melodic late '60s psych with hammond, screaming wah-wah guitar breaks and Cream-like vocals.

UK heavy-psych classic, originally released on the budget Saga label. The modest cover art and relative band anonymity betray an accomplished collection of twelve original tracks, with solo guitar blasts and zonked harmonies a plenty, anchored by some thunderous Hammond. A blanket of warm, hazy production makes this every bit the equal of labelmates The Five Day Week Straw People, and both nestle comfortably next to the filler-free full-lengths of 'underground' icons Second Hand, Open Mind, The Art, etc."

Originally released on Saga, this superb piece of psychedelic freakbeat should be in every record collection sharing section with UK psych gods like July, Skip Bifferty, Forever Amber, Five Day Week Straw People, The Open Mind and the likes. Even though according to the The Tapestry Of Delights book, the Saga LP's are supposed to have been recorded at a school premises rather than in a proper studio, this album has become a classic of the genre on its own, containing some killer psychedelic sounds delivered mainly by the guitar of leader Jim Thomas and his bandmate Stan Curtis' organ riffs. The line-up was completed with Jack Collins on drums and Melvyn Hacker on bass guitar. The songs are all original Magic Mixture compositions, and they are all excellent samples of what was going on in the UK when the genres who had been en vogue during the '60s (modern jazz, folk, R&B, pop...) were all put into the same cauldron in the search of a special mixture, eventually obtaining some great pop tunes played with a freakbeat edge and some early psychedelic sounds -- all pretty simple and without many gimmicks or studio trickery -- but amazingly lovely and very cool. It is one of the most sought-after Saga releases and one that commands high sums when it shows up on eBay.

Line-up

Jim Thomas - vocals, guitar
Stan Curtis - organ
Melvyn Hacker - bass
Jack Collins [aka Jack McCulloch] - drums


Tracklisting

1. (I'm so) sad 4:15
2. Urge to leave 2:32
3. You 2:58
4. Slowly the day 3:55
5. New Man 3:00
6. Living on a hill 2:57
7. It's allright by me 3:01
8. When I was young 2:55
9. Hey little girl 2:24
10. Tomorrow's sun 3:20
11. Motor bike song 2:33
12. Moon beams 4:02