The box sets released by Grapefruit Records covering the second half of the 60s managed to bring together a lot of interesting material under the loose umbrella of psychedelia. The four box sets – featuring music from 1966-69 respectively – also took in bits of pop, freakbeat and folk, but with so many phased guitars, recurring themes of teatime and other whimsy dictated by a general soft drugs haze, they often felt like coherent packages. Once the yearly exploriations move the into the 70s, there isn’t quite such a focus; with the first wave of psychedelia in its death throes, as well the rise of hard rock and singer-songwriters, the early 70s paint from much broader musical palate.
A stylistic indecision hasn’t stopped Grapefruit from digging deep and turning up loads of interesting things to fill ‘Peephole In My Brain: The British Progressive Pop sounds of 1971’, of course, and its three discs are brimming with obscurities, flop singles, half remembered gems and deep album cuts. With the vaults of Harvest, Vertigo, Ember and various other labels truly raided, it’s a set that’s quite quirky in its own way – and a reminder that there was far more going on at the time than the Black Sabbath, Deep Purple, Yes and Tull-loving rock historians would have you believe.
From an historical perspective, Judie Tzuke’s ‘Road Noise: The Official Bootleg’ is an interesting proposition. At the time of its original release in 1982, the double live album format had been dominated by rock bands – it was rare that a contemporary pop artist or singer songwriter would bother with such a release. Also, its extended format had almost become yesterdays news. In a musical landscape populated by synth pop bands and the birth of the New Romantics, the 7” single had once again become king, much as it had been in the early to mid sixties. The decision for Tzuke to release a double platter of live material in the Autumn of ’82 certainly went against the grain.
On the surface, it would seem that the British blues boom has been well served by compilation discs over the years. On closer inspection, that hasn’t really been the case at all: the best anthologies tend to be label specific (Blue Horizon’s ‘The Blue Horizon Story’, Decca’s ‘The Blues Scene’ and Immediate’s ‘Blues Anytime’ series, later repackaged as an excellent four CD set by Charly Records). The bulk of the rest seem too concerned with repackaging bits of ‘Blues Anytime’ with cheap, inferior packaging. There hasn’t ever really been a decent compilation covering a lot of ground from different labels, or one unafraid to dig a little deeper beyond the usual suspects.
The sounds of psychedelia’s peak from 1967 and going into 1968 have been well documented. Whether delving into the classics of the era or digging for obscurities, there are a wealth of great tunes to be found within an eighteen month period. By 1969, the musical tide was very much turning; British whimsy and three minute pop gems about myriad cups of tea and talking gnomes had largely been pushed aside for harder rock sounds. Various bands clung on for dear life, of course, and even well into 1969 there were bands across Britain knocking out various 7” pieces of plastic for the psychedelic cause. In another volume of musical history, Grapefruit Records have dug deep to bring three discs of interesting cuts from the year. The results are quite often less gaudily coloured, but you’ll still find a few bands sticking to familiar formulae. While at least half of the material gathered here is more of the well-honed pop/rock variety than flat out psych, the journey is one that’s still more than worth taking. Covering over seventy tracks in all, such a box set could seem daunting, but the curators have included at least ten familiar names, which actually adds to the commercial appeal without detracting from the potential obscurities and rarities.
Few musicians hope they will be in the spotlight for fifty years and even fewer expect to spend that long with the same band. For guitarist Rick Parfitt, of course, this was pretty much the case. The young Richard Parfitt joined the fledgling Status Quo (previously called The Spectres) in 1967. His friendship with Francis Rossi now more than cemented, they both became committed to the band, which from 1967 scored hits across the bulk of the next five decades.