The inaugural release from Strawberry Records, ‘Halcyon Days’ aims high in terms of 60s entertainment. Bringing together a great selection of mod, soul and freakbeat sides, it presents famous names alongside forgotten heroes; places cult floor fillers, deep cuts and a few genuine rarities among fantastic (and sometimes very interesting) covers of well known tunes. Across nearly 90 tracks, it sets itself up as a varied and comprehensive listen. It’s very much the kind of set tailor made for those who’ve worn out the more bog-standard mod comps and are looking for a world beyond The Action, The Creation and those much-loved Spencer Davis Group hits.
Long before joining Roy Wood and Bev Bevan in The Move, a young hopeful named Jeff Lynne became a member of a Midlands beat group named The Nightriders. Soon after Lynne’s arrival, The Nightriders mutated into The Idle Race, a move reflecting a gradual shift from 60s beat group sounds to the burgeoning psychedelic scene. Despite releasing two albums and a handful of singles, The Idle Race failed to make much of a commercial impact in the 60s, but due to Jeff’s later megastar status as the leader of Electric Light Orchestra and part time Wilbury, their work has built a cult following.
1966 was very much a turning point for pop music. Many acts that were considered beat groups had started to branch out and to think beyond live performance. With orchestral tracks like ‘Eleanor Rigby’ and ‘For No One’ Paul McCartney pushed forth the idea of baroque pop. John Lennon, meanwhile, was experimenting with tape loops and early forms of electronica. His ‘Tomorrow Never Knows’, closing The Beatles’ 1966 masterpiece ‘Revolver’, is often considered to be at least partially responsible for the birth of true psychedelia. While it’s obvious Lennon’s sound collage took a massive leap towards the mind expanding sounds of ’67, many other bands were sowing the seeds for change a little earlier. As early as 1965, The Kinks pushed boundaries with their single ‘See My Friends’ – a mix of jangling sixties pop and raga music – while even the Dave Clarke Five had occasionally sounded a bit…out there for the era with an increased use of reverb. While the roots of psychedelia could be argued over almost indefinitely, The Yardbirds’ ‘Shapes of Things’ – a fuzzy mish-mash of beat-pop and soft druggy haze – pre-dates the release of ‘Revolver’ by several months and is very much in the mould that would come to be known as freakbeat. An important branch of the psychedelia family tree, freakbeat took the bones of the sixties sound, loaded it with fuzz and wasn’t shy in exploiting the left/right split for stereo head trips. In 1966, this was very much at the forefront of emerging alternative sounds.