Between 2016-2018, Grapefruit Records released three excellent box sets exploring the nooks and crannies of the British psychedelia movement. The three anthologies featured in excess of over two hundred tracks and even included items which even the more devoted psych obsessive hadn’t heard before. Having almost exhausted that particular avenue, the same label’s ‘Come Join My Orchestra: The British Baroque Pop Sound 1967-73′ from November 2018 provides an interesting side-step. In the wake of numbers like The Beatles’ ‘Eleanor Rigby’ and ‘For No One’ and the Stones’ ‘Lady Jane’, baroque pop became in vogue and all manner of artists – obscure or otherwise – turned to applying strings and flutes a-plenty. Not quite straight pop, but never as ostentatious as prog rock would make the orchestra, the seven year stretch bridging the two decades turned up all kinds of treats. While often favouring the singer songwriter over the pop bands, ‘Come Join My Orchestra’ is a great celebration of these sometimes forgotten musical experiments – and with seventy eight tracks ranging from the cult classic to genuinely obscure, there’s a lot here to take in.
It has been well documented that second albums can be tricky to complete. For some artists, it’s a case of finding material with a rapidly advancing deadline and a record label breathing down their necks; for others, it’s more a case of real life getting in the way of art. For London-based singer-songwriter Mick Terry, the latter definitely applies. Following the release of his debut ‘The Grown Ups’ in 2009, he began making early plans for a follow up. A tentative completion date was scheduled for Easter 2012, but with a producer several thousand miles away and various other things proving a distraction, that time came and went.
By the end of 2012, a couple of songs had appeared online, but as far as a full release of any kind was concerned, there seemed to be nothing doing. Terry continued to talk about a second album, but still the years ticked by. Grey hairs were cultivated, songs were written; album names changed…Then, eventually, in the summer of 2018 – approximately eight years after a follow up to ‘The Grown Ups’ was first tentatively mentioned – the recording was finally complete and almost ready to fill the world’s collective lugholes.
Recently, Essex based pop sensations The 1957 Tail-Fin Fiasco unveiled a new video for ’59 Grams’ as a precursor to their next album release.
They’ve now also made the audio track available as a free download.
Since releasing their free download album ‘Not For Everyone’ back in January 2017, The 1957 Tail-Fin Fiasco have been suspiciously quiet.
Over the past year, they’ve been working on new material and a new album is now expected before the end of 2018.
At the beginning of 2008, singer-songwriter Chris Stills released his debut album ‘100 Year Thing’. A semi-acoustic collection of songs it not only drew influence from his father Stephen – most notably in the vocal tones of the title track – but also seemed to be inspired by then more contemporary sounds, with some songs carrying traces of influence from Days of The New and Alice In Chains’ acoustic material. A follow up didn’t appear until 2005, by which time, his material had seemingly absorbed bits and pieces from Jeff Buckley’s small legacy as well as further showcasing his own talents.