The Zombies – Telescope (Unreleased 1970 Album.. Not the Usual R.I.P Album)

We’ve put together an album that could have been the Zombies follow up to Odessey & Oracle. There is a lost album which does the rounds, usually goes by the title “R.I.P”. This is different, we’ve used different tracks & mixed the album to work better as a piece. It works pretty well & better than R.I.P in our opinion.

 

The Beatles Sgt Pepper Sessions in Pictures. Check our Pinterest Board

I like everything about sgt pepper era Beatles. Apart from the music, it’s the way they changed. The shorter hair, the sergeant major style clipped moustaches, their outfits & even just the way they looked..they all looked slimmer & wiser somehow. In 1966 The Beatles were donning their out grown mop tops & smart suits. They were cleanly shaven but looking jaded & they left the world with a cliff hanger Tomorrow Never Knows. This track was the highly experimental, possibly eternally timeless final track on their 1966 album Revolver. The Beatles then went eerily quiet for 6 months, unusually so for them, sparking rumours of a break up & prompting sections of the media to report that the band had lost their creative edge & it was all coming to a spluttering, disappointing end.  You can imagine how eager the band must have been, sitting in Abbey Road’s studio 2, anxious to reveal their next single to prove everybody wrong. Then they jump out of their supposed slumber with a big “SSSURPRISE!” and they release the most advanced pop record in history, Strawberry Fields Forever, re-emerging from the shadows, looking like a gay section from the American civil war.

I love to imagine what I would’ve been feeling had I been alive at the time, impatiently waiting to hear what my favourite band were going to do next & then being slapped around the face with Strawberry Fields, a knockout blow! For anyone who wasn’t around at the time of it’s release it’s easy to just accept that song as just, a great song. But I’m guessing in 1967 it was like hearing. ..well basically like hearing nothing you’d ever heard before, or even thought possible of hearing in the future. A huge step forward, a progression, fast forwarding everybody else in popular culture towards new horizons & opportunities. And this was just the first taster of what the band had been up to all those months. The album, Sgt Peppers Lonely Hearts Club Band was coming next & this was to contain more of the same. Big, new sounds, new song structures & concepts. It’s just a really interesting, intriguing period in The Beatles history, which was the turning point to a completely new approach for the band & every other band around at that time.

We’ve been collecting images of the Pepper sessions for a while & have cross referenced what we found with the “Complete Recording Sessions” book & the “Recording The Beatles” book for dates. We checked on what days they wore what clothes so we know what session they were currently involved in on each picture we found. Check out the collection so far on our Pinterest board.

Our Sgt Pepper Sessions Pinterest Board HERE..

An Ode To Oracle – 60’s Artists that Sound Inspired by The Zombies Odessey & Oracle

1. End of the Day – Kytes
2. Dougal – Bulldog Breed
3. Today is the Day – Ola & the Janglers
4. Somewhere Up High – The Guess Who
5. Lake Hope – Chrysalis
6. Friendly With You – Del Shannon
7. Days Are Only Here & Gone – Gandalf
8. Twenty Ten – Tinkerbell’s Fairydust
9. Eileen’s Haberdashery Store – Bulldog Breed
10. Wendy – Malcolm Holland
11. Lonely Am I – Stained Glass
12. We’re Not Those People Anymore – Rifkin
13. Wintry Morning – Maury Muehleisen
14. Not So Young Today – Five Steps Beyond
15. Pat’s Song – The Peppermint Trolly Company
16. I Don’t Need Love – The Tidal Waves
17. Hear My Lamentation – The Tages
18. Shelly Tell Me Why – River Deep

The Zombies have a lot to answer for. When you read almost any interview with US bands of the 60’s, The Zombies (along with The Beatles & The Stones) are invariably mentioned as a key influence on their sound. They were a huge part of The British invasion, & bands like The Left Banke, or The Turtles may have never existed in the form that they do were it not for The Zombies. Listen to any US Garage compilation & you’ll no doubt hear more than one track that bears a resemblance to “She’s Not There”. And this isn’t just limited to US or UK bands, you could do the same with any European garage compilation too. Swedish bands in particular seem to favour The Zombies minor chord, polite, English baroque style. Jorgen Johansson, the Swede behind the Fading Yellow compilations, kind of opened up a new genre for many 60’s pop fans to delve into; minor chord baroque pop. It kind of has a mood of it’s own, & the term “Fading Yellow” is now frequently used to describe the sound of records on music blogs, or to catch the eye of record collectors on ebay. Would the Fading Yellow series have existed without The Zombies? Not sure. With Rod Argent mimicking the classic baroque style of playing on his Hohner Pianet, did The Zombies help to re-popularise the clavichord & harpsichord too? Suddenly an instrument not utilised in popular music since the late medieval period was appearing on pop records by the coolest bands in the 60’s, used alongside the latest electric musical instruments.

Anyway, Odessey & Oracle is obviously one of the finest albums ever made. Not exactly psychedelic but welcomed into the genre because of it’s mood, inventiveness, lyrical content & its use of echo & mellotron throughout. We really wanted to find the essence of that album in other artists music so we put a compilation together of what we could find. It’s been hard to find anything close to being as good as any of the tracks on Odessey, but this compilation should be an interesting listen for fans. We would have loved to have unearthed more tracks with a mellotron, but searching for tracks sounding specific to Odessey & Oracle was challenge enough, without finding ones that also contained a mellotron. Maybe we’ll find some for a future volume. Again, as always, we’ve done our best to steer away from anything too obvious, & maybe some songs you’ll listen & think “nothing like the Zombies” yet listen again & you might go “ah yeah”.

 

Listen to “An Ode to Oracle” on Mixcloud

 

Behind the Tymes – Vol 1 – A Fuzzdandy Mix of UK Soft Psych, Post Psych & Popsike from 1969 to 1976


 

About 10 years ago we made a series of themed mixes for blogs & forums. We called those compilations “Behind the Tymes”. It was a mix of psychedelic tunes that sounded slightly behind the times between 1969 to mid 70’s. Basically artists making psychedelic music in the post-psych period which, ideally would not have been compiled anywhere else previously  (a couple have since appeared on compilations.)
We were initially inspired to make these compilations after hearing Jörgen Johansson’s Fading Yellow Volume 5, a flawless compilation of 1970’s soft psychedelic album tracks. So if you love that volume you should understand & hopefully dig Behind The Tymes. We started with UK only artists on volume 1 & eventually made a US based mix with volume 2 & then a worldwide mix with volume 3. We really dug deep to find the tunes but think it was worth the hours spent when we listened back.


A few years later we started a: “Behind The Tymes” twitter page but we now post everything on our: Fuzzdandy Music Account..


Unfortunately a few of the tunes we originally mined are not currently available on Apple Music or Spotify, but we have re-compiled volume 1 with a few extras to make up for whatever is missing from apple music or Spotify’s current library. We will add those missing tracks at a later date.. if they ever appear on either of those hosts.


TRACK LISTING & ALBUM INFO:

1)  Galliard – Open up your Mind (from new dawn 1970)
2)  Strawbs – Where is this Dream of My Youth (from s/t 1969)
3)  Cochise – lost hearts (from swallow tails 1971)
4)  Quicksand – empty street empty heart (Home is where I belong 1973)
5)  Stackridge – Percy the penguin (from S/T 1970)
6)  Lindisfarne – Lady Eleanor (from nicely out of tune 1970)
7)  Gringo – Emma & Harry (from S/T 1971)
8)  Byzantium – I am a stranger to my life (from S/T 1972)
9)  Pacific drift – grain of sand (from feelin free 1970)
10) Dave cousins – two weeks last summer (from two weeks last summer 1972)
11) Jackson Heights – bebop (from ragamuffins fool 1972)
12) Ironbridge – getting older (from S/T 1973)
13) Clifford T Ward – jigsaw girl (from escalator 1975)
14) The Pretty Things – Peter (from freeway madness 1973)
15) Richmond – Clifftop (from frightened 1973)
16) Alan Hull – Picture a Little Girl (from squire 1975)
17) Camel – spirit of the water (From Moonmadness 1976)
18) Mother nature – where did she go? (From orange days and purple nights 1971 single)
19) Marvin, Welch & Farrar- (From S/T 1971)
20) Trader Horne – here comes the rain (from here comes the rain 1970 single)
21) Music motor (Swinging blue jeans) – where am I going (from happy 1970 single)

Music From Big Pink Wannabes – A Fuzzdandy Mix of 70’s Artists that Sound Like The Band


If you like The Band but you’ve listened to the albums, you dig them but wish they’d made another album, maybe around 1970 time, then this Compilation should appease you. We’ve been searching, listening & compiling this mix for about 3 years, it will probably be an ongoing playlist which we add to as we find more, but this makes a terrific Band-esque album as it is. We actually found lots more tracks which were not available on Apple Music so we couldn’t add those, but luckily the majority were available.
Uncut made a similar compilation available in 2005 as a free CD, but that was made up mostly of modern artists & no real rarities. We wanted the mix to sound authentic, so we’ve made sure all of the tracks were recorded in 1969 – early 70’s. Some artists clearly want to be The Band, but a few I’m sure actually inspired The Band’s sound.

Track Listing & Album Info:

  1. Street people – Bobby Charles (from s/t 1972)
  2. Hoona spoona – Hungry Chuck (from s/t 1972)
  3. Roll em down – Morning (from s/t 1970)
  4. Lay me back – Alvin Lee & Mylon Lefevre (from on the road to freedom 1973)
  5. Yazoo City Jail – Roger Tillison (from Roger Tillison’s Album 1970)
  6. Trouble – Little Feat (from sailin’ shoes 1972)
  7. The slow one – Brinsley Schwarz (from despite it all 1970)
  8. Humming bird – Leon Russell (from s/t 1970)
  9. I won’t go through that again – Goose creek symphony (from welcome to goose creek 1970)
  10. Good morning Mr. Railroad man – Ry Cooder (from boomer’s story 1972)
  11. Motorcycle man – John Simon (from John Simon’s album 1971)
  12. Malt & barley blues – McGuinness flint (from happy birthday Ruthy baby 1971)
  13. In no resistance – Frankie Miller (from once in a blue moon 1972)
  14. Wallflower – Doug Sahm (from Doug Sahm & his band 1973)
  15. Raid on bush creek in 39 – Goos Creek Symphony (from est 1970 1970)
  16. Fool for a cigarette – Ry Cooder (from paradise & lunch 1970)
  17. Tannenbaum – John Simon (from John Simon’s album 1971)


Apple Music Playlist:
Music From Big Pink Wannabes. (A Collection of Tracks by Artists that Sound Like The Band.)

Spotify:
Music From Big Pink Wannabes. (A Collection of Tracks by Artists that Sound Like The Band.)

www.fuzzdandy.com

 

Manfred Mann – “Cubist Town” 1968 Lost Pop Psych Album

A post we did for our mate Pete at the “Bite it Deep” blog a few years back. Now revised & remixed 2018:

June 1966 & Manfred Mann drummer, Mike Hugg turns up for work at I.B.S studios during sessions for the bands next long player, “As Is“. This forthcoming release, like their previous albums before it, was destined to be another collection of singles, b-sides & fillers. It would also include songs provided for them from outside sources, a reoccurring approach to recording & an approach that Mike Hugg was outgrowing creatively.
Fast becoming the bands chief songwriter, Hugg was feeling inspired & was in no mood to record just another LP.
Under his arm at this session was the latest Beach Boys record Pet Sounds. A record like no other, a conceptual piece of musical art. To Mike Hugg this record was something else & the kind of record that he intended to channel now with Manfred Mann.
The band bought into his vision, but being so deep into sessions for “As Is” they collectively had to concede that at this time they had probably missed the boat.
The band wrapped up recording “As is” around August 1966 & left with a plan. They would all go away, absorb Pet Sounds & write their very best songs for the next Mann album.
At a band meeting in October that same year, each member excitedly sat round & showcased their new songs for potential submission. Lead vocalist Mike D’Abo came back with “No better, No Worse”, while Hugg, feeling particularly creative, penned the bulk of the stronger compositions. Among them, “Harry the One Man Band”,”It’s So Easy Falling” & “Too Many People”. Lead guitarist Tom McGuinness returned with the psychedelic oddity “There is a Man”, & “Cubist Town”. Hugg felt that Mcguinness’ Cubist Town evoked the mood of the project so well, he suggested it as the title track to the new album & that they should all work now with that title in mind.
The band were by now eager to start laying down tracks & the sessions began early 67 at I.B.S studios. During its early stages, the demos for Cubist Town were arranged in track order & recorded with the eventual idea to include some gapless, song to song merges. Much like The Beatles would do on their soon to be released masterpiece, Sgt Peppers Lonely Hearts Club Band. Manfred Mann himself had been lucky enough to hear an unmastered acetate of Pepper prior to its release & took the influence that had had on him to the Cubist sessions.
The album was shaping up nicely & was not too far from completion, when the bands manager, Gerry Bron received a call from budding film director Peter Collinson. Collinson wanted to meet the band to discuss the possibility of writing material for the soundtrack to a new film he was directing entitled “Up the Junction“. Mann & Mike Hugg met with the director, & although tempted, & flattered by the proposition, they just couldn’t tear themselves away from their latest project. Gerry Bron, with his managerial hat on, saw that they were missing out on the opportunity to make some good money, not to mention prime exposure in the build up to releasing the masterpiece that the band had kept promising him. Bron succeeded in talking them round & convinced 2 members of the band, Hugg & Mann, to take up the offer. New songs were needed, which on the whole, would just need to be instrumental songs & incidental background music. But Bron also managed to convince the band to submit some of the new songs intended for Cubist Town, arguing that doing so would promote the new album & work as a good taster of what was to come.
So reluctantly “Sing Songs of Love”, “Just for Me” & “Floating in a Dream” (soon to be renamed “Up the Junction”) were all put forward for Collinson’s film soundtrack.

Mike Hugg during the 1967 sessions

With time begrudgingly being spent on writing & recording material for the film, momentum was being lost on the album the band were so desperate to make.
Mike Hugg then heard that The Zombies were working on their new album Odessey & Oracle. From what he could make out, it was sounding very much like they too had been heavily inspired by Pet Sounds, & were attempting to make their very own masterpiece.
Dejected by this, but further inspired & determined to complete the album, it was down to him to lift the spirits of his band mates, & revive the creative energy which had been flowing from them so freely before the sessions were interrupted with their other commitments.
Like so many great, lost albums, Cubist Town just wasn’t to be. With pressure from their label & manager to release something new, the final results were never going to be as intended. The band eventually ended up releasing the LP entitled “Mighty Garvey”. This release included some of the new songs planned for Cubist, but also, again, included the usual novelty songs & fillers in “Big Betty”, “Ha! Ha! Said the Clown”, (a cut written by Tony Hazzard & released as a single the previous year) and D’Abo’s “Happy Families”.
So “Cubist Town” was never released and instead the band were left with a back catalogue of semi-strong, patchy long players.
Now though, the original “Cubist Town” has been realised & put together with the early mixes, in it’s  intended order. Although the finished album is no Pet Sounds, (what is?) it’s influence is certainly palpable throughout, Cubist Town is, or should have been one of the classic British pop psych albums of the 60’s. Complete with all the required elements. Psychedelic effects, such as backward tapes, tape echo, otherworldly lyrics, harpsichords etc and it’s all drenched in mkII mellotron.
You can now hear what the band wanted you to hear in 1968.
Another story of a lost album that ‘would’ fascinate me, if only it were true! A bit of a sad hobby of mine. Making albums that ‘could’ have been. Photoshop-ing new cover art for me iTunes & coming up with a short make believe back story, just to make the lads laugh. When I told Pete at Bite it Deep blog that I’d made Manfred Mann’s very own, lost Oddesey & Oracle, he asked if I’d include the album & a back story for his blog. When selecting the tracks I tried to steer away from the obvious favourites & main singles because it wouldn’t be as interesting to make or listen to. That’s a separate job for a “Best Of”. This makes a great little album though, & even if you know some tracks well, do listen through as the album contains my mixes unique to Cubist Town.

You never know, the story may not be too far from what actually happened. Either way, it’s nice to imagine it did while listening to “Cubist Town”

by Fuzzdandy

  1. No Better No Worse
  2. It’s So easy Falling
  3. Cubist Town
  4. Harry the One Man Band
  5. Up the Junction
  6. Everyday Another Hair Turns Grey
  7. Funniest Gig
  8. Budgie
  9. Rainbow Eyes
  10. Too Many People
  11. There is a Man
  12. Just For Me

Game of Thrones Producers Unsure about the Future of the TV Series

Over at EW.com, executive producers D.B. Weiss and David Benioff gave a post-finale interview, offering up some of their concerns about moving forward with the series while author George R. R. Martin is still working on finishing the final two books, as well as their plans for adapting the very tricky, audience-unfriendly fourth and fifth books.
As far as Season 4 of the HBO series is concerned, fans need not worry. It will cover the rest of the third book, A Storm of Swords, and it’s all been mostly mapped out. For A Feast For Crows and A Dance with Dragons however… things will get complicated; what with the two books containing overlapping timelines, and Crows specifically missing several key, fan-favorite characters. Add to that a long list of new characters and it could make for a mess. “The series has already reached a point where there are so many characters, particularly in Season 3 we’re introducing so many new ones, we run the risk of bursting at the seams as we try to cram every single subplot and all the various characters and it becomes impossible on a budgetary level and it becomes impossible on an episode-basis to jump around every few minutes to 30 different characters and locations,” Benioff told EW, regarding the possibility of cutting future storylines. “We don’t want to do that, and recognize that as a real risk and we will take steps not to fall into that trap.” Weiss then added: “Time for negative population growth.”
The other issue here is Martin’s books. If a new one isn’t done in the next, say, three years the show will have run out of material to adapt. And while it’s probably a good bet that Martin will get the next novel, Winds of Winter, out by then, he still has the final book to work on afterward. As a failsafe, Martin did tell Weiss and Benioff his overall plan for the story, but has also expressed that he’d be displeased if the show went on ahead of the books. “I don’t think I’d be happy with that,” Martin told EW. But for Weiss and Benioff, there are other things to consider.
“We can’t wait too long because of the kids,” Benioff said. “Issac’s [Hempsted Wright] voice is changing. Everyone is getting bigger. We have this wonderful cast, but we don’t have an infinite amount of time … We don’t want to become a show that outstays its welcome and tries to turn each book into three seasons. Part of what we love about these books and the show is this sense of momentum and building toward something. If we tried to turn this into a 10-season show we’d strangle the golden goose.”
“How do?”
Add to this the problems of future salary negotiations for the cast, whose initial contracts would have been completed, and even some cast members possibly wanting to move on to other projects potentially causing the recasting of pivotal characters, and you can see why Wiess and Benioff don’t want to have the show go on for too long – and possibly can’t afford to wait for Martin to finish his story in book form. Martin, citing the Spartacus prequel series Gods of the Arena, thinks that HBO can stall with prequel seasons of Game of Thrones or an adaptation of his Hedge Knight books, which take place in Westeros.
Even HBO programming president Michael Lombardo finally understands why GoT fans had concerns years back. ““I finally understand fans’ fear — which I didn’t a couple years ago: What if the storytelling catches up to the books?” he said. “Let’s all hope and pray that’s not going to be a problem”
So, as you can see, within a year or two, there’s going to be a little bit of push and pull between the producers and Martin; with the producers wanting to keep the show, and the actors, on an affordable and set schedule and Martin thinking the series, and his other Westerosian content, can sprawl out for years and years. “We still have our fingers crossed that George will get there,” Weiss told EW. “That’s what’s best for us, it’s what’s best for the fans. We’ll cross that bridge when we get there.”

And then there’s Martin, who still only predicting that the story will be over and done with by the seventh book. Mean, he could write an eighth. “I have a story to tell; the number of books is almost irrelevant,” he explained to EW. “I’ll do that in as many books as required. I’m still projecting it as seven.”
matt fowler

Electric Eden – Unearthing Britains Visionary Music (Rob Young) – Our Review

Just finished reading the Kindle edition of this captivating book by Rob Young.
Electric Eden tells the historical story of British Folk music, a mystical, magical journey through time introducing us to, apart from the music, some fascinating, eccentrically colourful characters, some deep thinking, troubled souls & primitive ideas & Religion. Taking us along a dirt track out of the City & into the wild, painting a sepia tinted picture in your mind of the British countryside & all that evokes it.
It tells the story from the beginning, a similar tale to the beginnings of the US folk music scene. It took a handful of dedicated, obsessive personalities to unearth the songs of the people, the country folk & the working classes. These people scoured the length & breadth of the country, out to the sticks, collecting songs, poems & folklore tales from the few people that had them handed down to them.
The story then shifts from these dusty narratives to explain how these original unaccompanied songs then became the folk music we know so well from the early 1960s. Music by artists such as Davy Graham, Bert Jansch, The Watersons.
We are then turned onto how the genre developed through that decade & beyond, to incorporate psychedelia, the Occult & the fuse of other musical genres, such as Jazz & US country music & how this in turn inspired the mainstream to contrive some of the classics of our time. Sgt pepper, Piper at the Gates of Dawn et al.

The book gives us in depth write ups of recommended albums, a track by track guide by picking out the instruments used, the conflicts between band members, and the significant lyrics & what they could have meant to it’s authors. All presented in a very welcome, finicky fashion.

Author Rob Young. has written for Uncut & The Wire

It tells of the inspiration behind a lot of these albums & of the places where the songs were conceived & recorded. Throwing you right into the Studios & country retreats alongside the artists, or in the case of 1970s band Heron (shown on the cover above) out in the fields & plonked on a log by their makeshift open-air recording studio.
The book is a hefty companion & a recommended read, even for those who don’t particularly like some of the artists or albums featured within. The stories are all educational & interesting none the less. Not too sure why the book swings dramatically towards the end to include in depth chapters on Kate Bush, Talk Talk, David Sylvian. You can’t help but feel that the author was looking for an excuse to force in a few personal favourite bands of his generation. Despite having little to do with Folk music as we know it & wandering off & away from the general feel of the book, these pages still make for interesting reading.
If you can’t afford a Holiday this year, then just stay home & read this. You’ll be transported away from work & the stresses of everyday life & into the carefree countryside as often as you like. And all for the price of a book.
Review by fuZZdandy

Available from Amazon