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.
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.