Ever since the CD boom of the 90s, the market has been flooded with easily affordable and easily accessible rock compilations. These sets, often adorned by artwork showing a guitar or having a car and open road theme have typically been aimed at the undemanding listener – the kind of person wishing to revisit the classic rock singles of their radio filled youth; the kind of person who’d happily listen to Thin Lizzy’s greatest hits in their car forever. You’d think the market would eventually run out of these people as their target market, and yet year after year, cheap comps featuring Thin Lizzy’s ‘Boys Are Back In Town’, Rainbow’s ‘Since You Been Gone’ and Free’s ‘All Right Now’ seem to fill supermarket shelves continually.
Ever since the CD boom in the 90s, the market hasn’t been short of rock compilations. There have been literally thousands of collections of 70s rock classics flooding the market, often very similar in nature. You’d think they’d only be a finite amount of people willing to put their hands in their pockets for discs containing Rainbow’s ‘Since You’ve Been Gone’, UFO’s ‘Doctor Doctor’ and Hawkwind’s ‘Silver Machine’, but still they come…and in huge numbers.
The Beatles can arguably claim to being the most covered band in the history of recorded music. Pretty much everything they released between 1962-1970 has been covered at some time, and by bands and artists from right across the musical spectrum. Dig deep enough into the internet, you’ll even find other people reinterpreting ‘Revolution 9’, surely the most marginal of Beatles recordings. Even while the band was still active – long before being considered of any real historical importance – their work was being reinterpreted by high profile artists in a disparate range of styles. Most notably, The Beach Boys, Jimi Hendrix, Booker T. & The MG’s, Otis Redding and Elvis Presley put their own stamp on various Fab Four classics, but for every hit interpretation, several dozen others could be found languishing on cult albums and under-bought singles.
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.
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.