Various "The British Psychedelic Trip Vol. 2 1966-1969" 1986 (comp)****

I had, until recently, ignored Netflix series The Crown. The news is always full of gossip regarding the British royal family, but I avoid reading about it. Now that queen Elizabeth is gone though, the series has a different character for me: a biographical drama about a dead historical personality is something I might be interested in. So we were watching it with my girlfriend the other night, when I came across a name I wasn't expecting to see: I knew of Chinese-Trinidadian actress/dancer Jacqui Chan as a guest vocalist on 60's hit single "Kites" by Simon Dupree & The Big Sound. Then she appeared as a character in The Crown; in what is the most explicit scene in the series so far, she is portrayed having sex with photographer Antony Armstrong-Jones, love interest and future husband to princess Margaret. So that prompted me to get the CD out and give it a spin, thinking I'd present it for my blog. Then I realized I had already presented it here. Undaunted, I remembered it also featured on an excellent vinyl compilation of mine. So here it is: as promised, I present you British Psychedelic Trip vol. 2.

Looking at the track-listing now, it seems to contain more mainstream artists than other psychedelic compilations which focus on the rare and unknown. But then, you have to make allowances for the time this was released: in 1986, many of the original albums here remained out of print; it's only thanks to the dominance of CD's as a medium during the 90's and 00's that almost all things 60's have become available again. Tomorrow open the LP with "My White Bicycle", one of the greatest psychedelic singles, ever. Like Barrett-era Pink Floyd, they combined catchy melodies with psychedelic effects (sitar, phased/double-tracked guitars etc) and whimsical lyrics. Apparently The Beatles were present at the recording and nicked a few ideas for their Sgt. Peppers LP. Conversely, Tomorrow cover here The Beatles' "Strawberry Fields Forever" - nice, but unnecessary. Tomorrow didn't get too far, but guitarist Steve Howe found fame in the 70's with prog superstars Yes.

   

Likewise, Idle Race guitarist Jeff Lynne would find fame later as leader of ELO. Singer Roy Wood would also have a successful career, both solo and member of The Move. They are represented here with the whimsical (that word again, but it can't be avoided when one's dealing with British pop circa '67) music hall-style "Skeleton And The Roundabout" and more typically psychedelic "Worn Red Carpet". Love Sculpture's "In The Land Of The Few" is another excellent composition. Closer to pop and psychedelia than their customary blues, with a brilliant guitar solo by Dave Edmunds, they are followed by the aforementioned "Kites", a gorgeous psychedelic ballad by Simon Dupree And The Big Sound, soon to morph into prog stars Gentle Giant. Actress Jacqui Chan adds some sensual Chinese spoken vocal. Locomotive's "Mr Armageddan" is a heavier piece with wah wah guitar and organ, while the vocals and sax give it a soul tone. "You've Got A Habit Of Leaving" was recorded in 1965, and is consequently more garage/R&B than psychedelic. Produced by Who producer Shel Talmy, and obviously influenced by them, the single wasn't a success, prompting singer Davy Jones to change style, as well as his stage name - to David Bowie. Tomorrow's Keith West sings on "Excerpt From A Teenage Opera" based on an idea by producer Mark Wirtz. It's a heavily orchestrated piece featuring a children's choir. Despite its success, the record company didn't approve the recording of a whole "Teenage Opera" album, and the idea was abandoned. Kinks-y follow-up single "On A Saturday" did not chart at all, and West fell into obscurity. Kippington Lodge, featuring later pub rock stars Nick Lowe and Brinsley Schwarz, offer two light and pleasant singles "Rumours" and "Lady On A Bicycle".

 

Lemon Tree's "It's So Nice To Come Home" is another heavily orchestrated pop single, followed by the refreshingly heavy "Real Love Guaranteed". Keyboardist Ken Hensley and drummer Lee Kerslake would later find fame with Uriah Heep, bassist John Glascock with Jethro Tull. Their cover of The Beatles' "Hey Bulldog" closes this compilation. The Moles are apparently Simon Dupree And The Big Sound in disguise. "We Are The Moles (Part 1)" is a much more experimental piece, yet very listenable. Chanted vocals, haunted organ, distorted guitar make for a great single that wouldn't sound out of place in a new wave 80's album. July is now considered a psychedelic classic, but back when this comp was released it was completely forgotten. "Friendly Man" and "I See" are British 60's psychedelia in its best: with trippy effects, sitar, and fuzz guitar, they combine melody and psychedelic weirdness in the manner of early Pink Floyd. Which brings us to the last group here. Formerly R&B tough guys The Pretty Things unexpectedly turned psychedelic in 1968, producing arguably the first concept album/rock opera S.F. Sorrow. From that rock cornerstone we get "S.F. Sorrow Is Born" and "She Says Good Morning". Those who want more details on any of the recordings/groups here only have to read the liner notes on the back cover. It has slightly fewer words than War And Peace, but that's all the info you'll need. Provided you can decipher those tiny letters; I can't now, and could hardly do so when I bought it 3 decades ago. As a whole, and despite the absence of obvious scene leaders like The Beatles and Pink Floyd, this compilation makes for one of the best single LP showcases of British psychedelic pop I've ever heard. Containing both classic and rare tracks, and offering a chance to hear the early works of future favorites, it's most highly recommended. For those who prefer CD's there's an expanded CD edition called The Great British Psychedelic Trip, Vol. 3.

 

 ***** for My White Bicycle (Tomorrow), Kites (Simon Dupree And The Big Sound), Real Love Guaranteed (The Gods), We Are The Moles Part 1 (The Moles), S.F. Sorrow Is Born (The Pretty Things)

**** for Skeleton And The Roundabout (Idle Race), In The Land Of The Few (Love Sculpture), Mr Armageddan (Locomotive), You've Got A Habit Of Leaving (Davy Jones And The Lower Third), Friendly Man (July), I See (July), Worn Red Carpet (Idle Race), She Says Good Morning(The Pretty Things), Hey Bulldog (The Gods)

*** for Excerpt From "A Teenage Opera" (Keith West), Rumours (Kippington Lodge), It's So Nice To Come Home (The Lemon Tree), Lady On A Bicycle (Kippington Lodge), On A Saturday (Keith West), 

Strawberry Fields Forever (Tomorrow)

Fallen Angels "Fallen Angels" 1978(orig) 1995(reissue)***

So let me jump the gun and say right away that this band deserved better than the complete anonymity surrounding it. One of many (mostly unknown) bands to sport the name Fallen Angels, it was founded by guitarist Mickey Finn after he left Steve Marriot's All Stars - not Marriot's former band Humble Pie as stated on the cover, who the hell writes this stuff? Further confusion ensues because other ignoramus (e.g Allmusic.com) mix guitarist Mickey Finn with the same-named drummer, wrongly crediting the former T-Rex member with playing on the All Stars' "Marriott". So Mickey Waller (AKA Finn) is erroneously credited with being in Humble Pie, while deprived of credit for the album he really did play in. His legacy isn't well served, to say the least. To make matters worse, when the Fallen Angels' sole LP did get a limited (originally only in Holland) release it was as Phil May (big letters) and The Fallen Angels (smaller ones), presumeably because singer May's name was slightly familiar, him being an ex-Pretty Thing and all. This CD reissue is actually the only version of this album presented as a collaborative effort instead of a -more or less solo- Phil May record. Of course many members came and went, while Finn himself isn't present on "Shine On Baby" and "California". In total, 11 musicians can be heard in these recordings while a lot more passed from the band without recording anything. The music isn't anything revolutionary, just typical 70's classic rock. But neither is it in any way inferior to contemporary albums by famous groups of the era. The band seem to have American FM radio in mind, adopting a commercial rock sound a la Eagles, at least for the first couple of songs "Fallen Angels" and "California". "13 1/2 Floor Suicide" is closer to "Finn's former band" Humble Pie with its hard rock riff and bluesy piano. "Shine On Baby" has a very funky -almost disco- beat and vocal, jazzy sax and rocking guitar. "Dance Again" is a nice ballad, while "My Good Friend" (another ballad) and rocker "Cold Wind" are saturated with violin. I love them both as I'm a sucker for rock songs with violin - for example Pavlov's Dog, Dylan's Desire LP, and Edgar Broughton's "Evening over Rooftops". "I Keep On" has an almost Aerosmith feel, while "Dogs Of War" and "Girl Like You" remind me of Mott The Hoople's laddish glam rock. This CD reissue appends 3 previously unreleased tracks recorded -without Phil May- in 1978: "When The Russians Came Back" is an interesting guitar instrumental, "Chance" an indifferent rocker and "Lazy Days" an equally blunt laid-back instumental. All in all a good album, but I can't help but feel it doesn't belong on CD. Had I discovered it by chance at a vinyl sale, it would have immediately fallen into my "Buried Treasure" category, now it's just an agreeable classic rock CD in a collection full of those.

**** for Fallen Angels, California, 13 1/2 Floor Suicide, Cold Wind

*** for Dance Again, Shine On Baby, My Good Friend, I Keep On, Dogs Of War, Girl Like You,When The Russians Came Back 

** for Chance, Lazy Days

Various Artists "Psychedelia at Abbey Road: 1965-1969" 1998(comp)****

According to the album liner notes "the sound and atmosphere (of psychedelia) is something peculiarly English, with light, whimsical melodies, child-like or surreal images, and production techniques bubbling with innovation". As a definition this leaves a lot be desired (let's start with the fact that psychedelic rock was mainly an American phenomenon), but as a description of the music in this CD, it's spot-on. The compilation wisely gathers both famous and unknown psychedelic gems recorded at London's Abbey Road studios between 1965 and 1969. The most famous bands that would fit the description (The Beatles and Pink Floyd) are absent, though we do get a solo recording by Syd Barrett (the fragile ballad "Golden Hair") and a proto-prog cover of The Fab Four's "Hey Bulldog" by The Gods (featuring future members of Uriah Heep). Among the best known tracks here are Donovan's folk/sunshine pop masterpieces "Sunshine Superman" and "Sunny South Kensington" (and they say that England is a rainy place!). The Hollies are the second big name here, and from them we get the psych-pop single "King Midas in Reverse" with bright harmonies and Sgt.Pepper-like instrumentation, as well the lesser known sitar ballad "The Maker". Tomorrow were a more convincingly psychedelic band of the time."My White Bicycle" a song similar to early Floyd singles in its mix of pop melody and weird psychedelic effects, as well as a previously unreleased cover of The Byrds' "Why" featuring a great solo by future Yes guitarist Steve Howe. Post break-up, Tomorrow's rhythm section Twink and Junior released single "10,000 Words On A Cardboard Box". It was suitably psychedelic, if somewhat overproduced by Mark Wirtz who also appears here leading his own band on "Weatherman". "10,000 Years Behind My Mind" by the Focus Three has a soul lead vocal and a chorus straight from the musical "Hair" - speaking of musicals, Andrew Lloyd Webber produced 1967 single "Monday Morning" by the Tales Of Justine, a nice piece of acid-folk. Generally the compilation focuses on the lighter/orchestral side of psychedelia which I'd find less interesting if it wasn't for small details like the fast harpsichord solo on The Fingers' "Circus with a Female Clown". Even bona-fide rock bands like The Pretty Things are represented by their poppier songs of the era. "Mr. Armegeddon" (Locomotive) and "Strange Walking Man" (Mandrake Paddlesteamer) are the most interesting (and most experimental) of the rarities, while The N'Betweens' previously unreleased "Delighted to See You" is notable mainly because the band would go on to become 70's hitmakers Slade. Simon Dupree & the Big Sound's "Kites" is the height of orchestral psychedelia, featuring mellotron and romantic vocals as well as spoken word interlude by actress Jacqui Chan in Chinese. The Big Sound's Shulman brothers would go on to form prog band Gentle Giant, though not before releasing a single (included here) mixing psychedelic guitars and effects with folk shanties under the moniker of The Moles. At 22 tracks and 77 minutes, this CD offers a good mix of British pop psychedelic sounds, including classics and rarities. I realise now that many of the tracks also feature on an LP I have called "The British Psychedelic Trip vol.2". Probably a more interesting proposition for those who love psychedelia. I hope I'll get around to present that one, too, in time...

***** for Sunshine Superman (Donovan), My White Bicycle (Tomorrow), King Midas in Reverse (The Hollies), Kites (Simon Dupree & the Big Sound), Hey Bulldog (The Gods)

**** for Sunny South Kensington (Donovan), Circus with a Female Clown (Fingers), Why (Tomorrow), Maker (The Hollies), Walking Through My Dreams (The Pretty Things), 10,000 Words in a Cardboard Box (Aquarian Age), We Are the Moles Pt. 1 (The Moles), Mr. Armegeddon (Locomotive), Strange Walking Man  (Mandrake Paddlesteamer), Golden Hair (Syd Barrett)

*** for Delighted to See You (N'Between), 10,000 Years Behind My Mind (Focus 3), Monday Morning (Tales of Justine), Talkin' About the Good Times (The Pretty Things) , Carpet Man (The Nocturnes), Barricades (The Koobas)

** for [He's Our Dear Old] Weatherman (Mark Wirtz)

David Bowie "Pin Ups" 1973***

This is one of those albums I've bought twice. There's no other way to get his version of Jacques Brel's "Port Of Amsterdam" (at the time a B-side to the "Sorrow" single) - one of my favourite songs from the great Belgian troubadour. I love Bowie's sparse, acoustic delivery and the way he brings the lyrics to life - the English translation of the song is poetic and wonderfully decadent. It wasn't part of the original LP, but included as a bonus track in the 1990 Rykodisc reissue and cruelly pulled out for later editions. That whole remastering program from 1990 saw Bowie's albums augmented with rare bonus tracks, and most of them were real gems which remain unavailable since. I own most of the Rykodisc reissues either on LP or CD, which means I own a big chunk of Bowie's catalogue twice. "Pin Ups" is considered at best a curiosity in Bowie's catalogue - at worst, a useless distraction. For a singer-songwriter in the midst of a phenomenal creative streak, it doesn't make much sense to release an album of covers from mid-60's British R&B groups. Of course one can argue that, next to his other innovations, Bowie also discovered the tribute album. In his own words, he wanted to present some of his favourite songs that he thought were unfairly neglected by American audiences at their time. It was a weird exercise in nostalgia, as these songs were only 6 or 7 years old - not yet golden oldies by any standards. When they originally surfaced, Bowie was an aspiring R&B/pop singer working under the name Davy Jones. By 1973 he was probably rock's greatest star, certainly one of the most interesting artists around, and the leader of the glam rock movement. Recorded immediately after "Ziggy Stardust" and "Aladdin Sane", he's backed here also by the Spiders of Mars, the sole change being Aynsley Dunbar on drums. Which guarantees that, while rarely surpassing the originals, these versions don't lack punch. Actually, if a weak spot even exists, it'd be Bowie himself, whose voice is a bit too mannered for some of the rougher songs. Mick Ronson being the guitar god he is, covers from Pretty Things ("Rosalyn", "Don't Bring Me Down"), Yardbirds ("I Wish You Would", "Shapes of Things") and Who ("I Can't Explain","Anyway, Anyhow, Anywhere") rock hard and are pretty exciting. They're mostly played in a straight, garage-y, manner. "Shapes of Things"is quite different from the original, with a more theatrical vocal delivery. prominent saxophone and keyboard. Ronson's guitar performance, at least, rivals Jeff Beck's original. "I Can't Explain" is also noticeably different, as it's played at a slower tempo. The change doesn't work in the song's favour. The Kinks' "Where Have All The Good Times Gone" is at least as enjoyable as the original while The Easybeats' "Friday On My Mind" misses something in the vocal department. Notice that the Easybeats were the only non-British band covered here: They're Australian, although none of its members were born there: They came from England, The Netherlands and Scotland (George Young, older brother of AC/DC's Angus and Malcolm). So I guess you can say the were at least part British, after all. Now, audiences in 1973 were very much familiar with Pink Floyd, but I doubt many of them had ever heard "See Emily Play", a Syd Barrett-penned single from 1967. Bowie's version utilises saxophone, wild piano and harpsichord, psychedelic guitars and classical strings - inventive and true to Barrett's spirit, if not to the song's original structure. Van Morrison's "Here Comes the Night" gives Bowie a chance to try his hand at soul while the Mojo's "Everything's Alright" is an upbeat soul/rock number a la Mitch Ryder. Finally, the album's lead single was paradoxically the slowest song, the Merseys' "Sorrow". On the other hand, it is the one most resembling 70's Bowie and such an obscurity that people would probably take it for an original composition. This reissue offers yet another rarity, a previously unreleased cover of "Growin' Up" by a then still unknown American artist called Bruce Springsteen. Say what you will about Bowie, there's no denying he's always had an eye for talent! Ultimately, "Pin Ups" is a pleasant album that finds itself in the awkward position of following up a string of masterpieces. It may nevertheless have been exactly what Bowie needed to shake himself free from the image of Ziggy Stardust and influence of glam rock and embark on the next stage of his career. 

**** for Rosalyn, I Wish You Would, Sorrow, Don't Bring Me Down, Port of Amsterdam

*** for Here Comes the Night, See Emily Play, Everything's Alright, Shapes of Things, Anyway Anyhow Anywhere, Where Have All the Good Times Gone, Growin' Up

** for I Can't Explain, Friday on My Mind

The Pretty Things 'n' Mates "Rockin' the Garage" 1992 ****

The Pretty Things or...The Band That Greatness Eluded. In 1962, guitarist Dick Taylor and bandmates Mick Jagger and Keith Richards joined Brian Jones and Ian Stewart in a band they named after Muddy Waters' song Rolling Stone. Taylor was moved from guitar to bass, as there were too many guitarists. Not satisfied with that arrangement, he set off to create his own group, which he also named after a Chess R&B hit (Bo Diddley's "Pretty Thing") with the goal of becoming London's premiere R&B/R&R band...only to be beaten at this game by his former bandmates. As early as 1966, the Pretty Things recorded a song called "L.S.D." and set off to head England's psychedelic revolution, but were immediately superseded by an upstart band calling themselves Pink Floyd. Then, in 1968 they released the first rock opera/concept album which followed the life of its protagonist S.F. Sorrow, beginning with his birth ("S.F.Sorrow is Born"). But did they get the recognition? No, because in 1969 The Who published their own (erroneously but widely considered as the first) rock opera "Tommy", which followed the life of its protagonist Tommy Walker, beginning from his birth ("Overture/It's A Boy"). Despite the support from Led Zeppelin who signed them on their Swan Song record label, things went downhill after that and I lost track of them sometime in the early 70s. Then I found this cd in the used bin of a Rotterdam record store. Normally I wouldn't have bothered with a late Pretty Things recording (recorded in 1992 but released much later). Nevertheless the title hooked me (I confess I'm a huge garage rock fan) and they do cover all my favourite garage nuggets. Now, garage cover albums are a dime a dozen, but these are no second generation garage rockers -these are the guys who, along with other British Invasion groups, influenced the first generation. Next to Phil May & Dick Taylor of the 'Things, you have members of roots rockers The Inmates and Matthew Fischer of Procol Harum fame plus, for the bonus track, members of the Downliners Sect and The Yardbirds. Is it worth it, you ask? Damn well, it is! Unlike the Stones, these guys still ROCK! They do a ripping version of their own "Midnight To 6 Man" and really rock it out on versions of Sonics, Seeds and Standells oldies. I wonder if they ever considered antagonizing their old rivals by doing a Stones song. Anyway, it's just an album of covers, so it won't change your world, but crank it up and you'll soon be having a party in your living room!

Tracklisting: He's Waitin' (The Sonics)****, Strychnine (The Sonics)****, Pushing Too Hard (The Seeds)***, Kicks (Paul Revere & The Raiders)***, Candy (The Strangeloves)**, Louie Louie (The Kingsmen)**, 96 Tears (? And The Mysterians)***, Let's Talk About Girls (Chocolate Watch Band)**, Sometimes Good Guys Don't Wear White (The Standells)****, I'm A Man (Bo Diddley, bonus track)***, Red River Rock (Johnny & The Hurricanes)***, Midnight To 6 Man (The Pretty Things)****

P.S. They were supposed to visit my town Delft last year as part of a 50 Year Anniversary Tour (yes, the band were actually 51 years old - the old geezers are actually hiding their age). I was looking forward to it, but unfortunately their Dutch tour apparently fell out...