The Drag Set – “Day And Night” (1967)

 

Band : The Drag Set ( formed in 1963 by four musicians from Putney, South West London. Initially named The Apaches formed by Tim du Feu, Mike Brancaccio and Philip Fox and their friend Ray Nye. Nye left in 1965 and another friend, Terry Schindler, joined instead. The band became The Drag Set)

Country Of Origin : U.K.

Track : “Day And Night” (7-inch Single), written by Schindler, Brancaccio

7-inch Single :  A’ Side Single “Day And Night” (B’ Side “Get Out Of My Way”)

Label : Go Records (AJ 11405)

Date/Year Of Release : May 1967

Category/Music Genres : Garage Rock,  U.K. 1960s (A’ Side Singles)

The Drag Set – “Day And Night”

Video on YouTube

The Drag Set – “Get Out Of My Way” 

Video on YouTube

“Day And Night” b/w “Get Out Of My Way” 7-inch Single (Go Records AJ 11405), May 1967

Single Photo (A’ Side)

THE DRAG SET SINGLE

Single Photo (B’ Side)

No photo description available.

The Drag Set 

Open Mind (a.k.a The Drag Set)

Image may contain: 2 people

Tim Dufeu Marquee Club, London

Image may contain: 1 person, playing a musical instrument and guitar

Tim Dufeu, Philips Studios

Image may contain: 1 person, sitting and guitar

Line-up

Mike Bran, a.k.a. Mike Brancaccio – lead guitar, vocals, piano (born 17 April 1946, Rome, Italy)

Timothy du Feu – bass guitar(born 31 May 1944, Malvern, Worcestershire, England)

Philip Fox – drums (born 26 August 1946, Westminster, South West London)

Terry Martin, a.k.a. Terry Schindler – guitar, vocals (born 26 August 1945, Holborn, West Central London)

Credits 

Lionel Segal – Producer

Information about the band

The band was formed in 1963 by four musicians from Putney, South West London. Initially named The Apaches formed by Tim du Feu, Mike Brancaccio and Philip Fox and their friend Ray Nye. Nye left in 1965 and another friend, Terry Schindler, joined instead. The band became The Drag Set, who released a little-known single in February 1967, “Day and Night” / “Get Out of My Way”. Shortly thereafter, they changed their name to The Open Mind and in July 1969 released a self-titled LP which has since become a highly sought-after collectible. The band, however, is best known for its druggy August 1969 single, “Magic Potion”, which did not appear on the album.

The Open Mind disbanded in 1973; its members wanted to move into jazz-influenced music, but The Open Mind was too well known as a psychedelic band. The band members (minus Phil Fox) went on to form Armada, which lasted about three years but did not release any recorded material.

Despite their paucity of recorded material, The Open Mind have proven to be influential in the psychedelic rock genre, their single “Magic Potion” having been covered by bands such as The Seers, Sun Dial and The Damned (source : “Discogs”).

External Links 

Interview with Timothy Dufeu on It’s A Psychedelic Baby Magazine

The Drag Set (later known as Open Mind) on Time Machine Music

The Drag Set – “Day And Night” Audio File on Spotify

 

7-inch Singles/E.P.s Acid, Garage, Psychedelic Rock U.K. 1960s The Open Mind – “Magic Potion”

The Open Mind – “Magic Potion” Track’s Video on “YouTube”

Category/Music Genres :

7-inch Singles/E.P.s Acid/Garage/Psychedelic Rock U.K. 1960s

Band :

The Open Mind (London, Greater London, U.K.)

British rock band from London, late 1960s, originally called The Apaches, later renamed to The Drag Set before the were called The Open Mind.
Mike Brancaccio (guitar, vocals) Timothy du Feu (bass) Phil Fox (drums) Terry Schindler aka Terry Martin (guitar, vocals)

The Open Mind Band’s photo 

Open Mind_band

Related Artists :

Armada

Also known as :

The Apaches, The Drag Set

Track :

“Magic Potion” (written by  Mike “Bran” Brancaccio), (A’ Side single) released on Philips Records (BF 1805) in 1969

Open Mind_label

The track is also included on the reissue edition of the album “Open Mind” (originally released on Philips Records SBL 7893, in 1969), released on Antar Records (ANTAR 2), released in 1986

The Open Mind _ “The Open Mind” Original edition on Philips Records (sbl 7893), album’s cover photo (front)

The Open Mind _ “The Open Mind” Reissue edition on Antar Records,  album’s cover photo (front)

THE OPEN MIND 1 (2)

The Open Mind _ “The Open Mind” Full Album Audio Playlist on “Spotify”

B’ Side single “Cast A Spell”

The Open Mind – “Cast A Spell” (B’ Side Single) Track’s Video on YouTube

Line-up :

Mike Brancaccio – Guitar, Vocals
Timothy De Feu – Bass
Phil Fox – Drums
Terry Martin – Guitar, Vocals
Jon Anderson briefly sang in the band but left before the recordings to form Yes.

Lyrics :

Take a drink from my magic potion
Do you wanna really feel fine?
What’s if?
And you will see things you never saw before
How do you feel?
I feel fine
How do you feel?
I feel fine
Gone by my soul, I feel fine
Hold on my son, there’s a different world
Appearing in front of my eye
If you don’t wanna try this potion
Leave it all for me
How do you feel?
I feel fine
How do you feel?
I feel fine
Gone by my soul, I feel fine
Take a drink from my magic potion
Tell me, do you still feel fine?
What’s if?
And you will see things you never saw before
How do you feel?
I feel fine
How do you feel?
Oh, I feel fine
Gone by my soul, I feel fine
Songwriters: Michael Brancaccio
Information related to the track :
“Pop Matters”
“Magic Potion” is psychedelia purged of all whimsy and wonder and utopian overtones; instead is a feeling of churning menace — underscored by apocalyptic hoof-beat drumming, quasi-raga licks, and droning open-string riffs played through thick distortion and a truly toxic wah-wah — that makes it hard to believe when singer Terry Martin bellows, “Upon my soul, I feel fine”. You get a sense of the incipient danger in “seeing things you never saw before”: you get the feeling these would not be cellophane flowers and marmalade skies, but something chthonic and unspeakable. On the whole, the song is unbelievably heavy without being ponderous, and seems like a prescient blueprint for late 1990s stoner rock.
Information related to the band :
“Wikiwand”

The Open Mind was an English psychedelic rock band formed in London, and active in the 1960s and 1970s.

Overview

The band was formed in 1963 by four musicians from Putney, South West London. Initially named The Apaches formed by Tim du Feu, Mike Brancaccio and Philip Fox and their friend Ray Nye. Nye left in 1965 and another friend, Terry Schindler, joined instead. The band became The Drag Set, who released a little-known single in February 1967, “Day and Night” / “Get Out of My Way”. Shortly thereafter, they changed their name to The Open Mind and in July 1969 released a self-titled LP which has since become a highly sought-after collectible. The band, however, is best known for its druggy August 1969 single, “Magic Potion”, which did not appear on the album.

The Open Mind disbanded in 1973; its members wanted to move into jazz-influenced music, but The Open Mind was too well known as a psychedelic band. The band members (minus Phil Fox) went on to form Armada, which lasted about three years but did not release any recorded material.

Despite their paucity of recorded material, The Open Mind have proven to be influential in the psychedelic rock genre, their single “Magic Potion” having been covered by bands such as The Seers, Sun Dial and The Damned.

Band members

  • Mike Bran, a.k.a. Mike Brancaccio – lead guitar, vocals, piano (born 17 April 1946, Rome, Italy)
  • Timothy du Feu – bass guitar (born 31 May 1944, Malvern, Worcestershire, England)
  • Philip Fox – drums (born 26 August 1946, Westminster, South West London)
  • Ray Nye – guitar, vocals
  • Terry Martin, a.k.a. Terry Schindler – guitar, vocals (born 26 August 1945, Holborn, West Central London)

Discography

Singles

  • “Horses and Chariots” b/w “Before My Time” (Philips BF 1790) May, 1969
  • “Magic Potion” b/w “Cast a Spell” (Philips BF 1805) August, 1969
The Drag Set
  • “Day and Night” b/w “Get Out of My Way” 7″ single (Go AJ 11405) May, 1967

Album

  • The Open Mind LP (Philips 7893) (July 1969)

The Open Mind was reissued on CD on the Acme Records and Second Battle labels. The two non-LP songs from the single are included as bonus tracks.

“Rockasteria”
he band was formed in the mid 1960s by four musicians from Putney, South London.Initially named The Drag Set, they released a little-known single in February 1967, “Day and Night”/”Get Out of My Way”. Shortly thereafter, they changed their name to The Open Mind and in July 1969 released a self-titled LP which has since become a highly sought-after collectible.
The Open Mind produced one of the finest UK psychedelic albums, which is excellent throughout and hardly contains a bad track. The music is characterised by some particularly strong psychedelic guitar work and good vocals. It’s impossible really to pull-out particular tracks as highlights – they’re almost all equally good.
Fortunately this album was re-released and this has made this classic piece of 60’s Freakbeat much more accessible to collectors of 60’s psychedelia. The reissue includes their second rare 45 release, which unlike the first wasn’t taken from the album and is superb. A blistering 45 with tasty psychedelic fuzz guitar work. The band, however, is best known for its druggy August 1969 single, “Magic Potion”, which did not appear on the album.
“Cosmic Mind At Play”

This outfit from Putney in South London had previously been known as The Drag Set, rubbing shoulders with The Soft Machine and a newly-arrived-in-the-UK Jimi Hendrix, and coming to the attention of producer Joe Meek and recording a couple of songs with him just days before he took his own life. They released a fine mod/freakbeat single on the CBS subsidiary Go in March 1967, ‘Day and Night / Get Out Of My Way’.

Changing name to The Open Mind at the end of 1967, the group played hip London venues such as The Electric Garden, UFO and Happening 44, and gained a residency at The Marquee where they were sometimes fronted by future Yes man Jon Anderson, who at the time went by the name Hans Christian.

Boxing impresario Benny Huntsman landed the band a deal with Philips on the condition that his son Roger became their manager (though in effect it was Benny who ran the show), and their excellent self-titled album on that label was recorded in 1968, though not released until July 1969. It included both sides of their debut single ‘Horses and Chariots / Before My Time’ from May of that year, as well as a revamped version of the a-side of The Drag Set 45 with the new title ‘Girl I’m So Alone’. The group appeared in Philip’s New Faces of 1969 promotional film alongside the likes of The Barrier, Ambrose Slade and Procession, miming ‘Horses and Chariots’.

The Open Mind’s second single, released in August 1969, consisted of two new tracks and is perhaps the pinnacle of their recorded output. The a-side ‘Magic Potion’ is a sublime example of heavy psychedelia with its fuzzy rhythm guitar, snaking lead guitar lines, and druggy lyrics. The arrival of the wah-wah in the break is perfectly judged, and there is some truly thunderous drumming throughout, especially in the outro.

Flip side ‘Cast a Spell’ is a little less high voltage but retains the fuzzy guitars and perhaps is even more catchy with its “It’s all in the mind” refrain. This is a fearsome double sider. A jewel in the crown of Brit-psych you might say!

When Benny Huntsman died of a heart attack the band ended up being financed by the Richardson family, part of London’s criminal underworld. Promoters were loathe to book them when they learned of this and with gigs petering out and psychedelia on the wane The Open Mind broke up.

Reissues: Both sides of the 45 are on the essential Rubble Volume 1 (what an eye opener that was for me into the delightful world of British psychedelia and freakbeat), and also on the vinyl British Psychedelic Trip Volume 3 (part of another great compilation series, though with a fair amount of overlap with the Rubbles).

Photos related to the album/track :

The Open Mind – “Magic Potion” Single photo (A’ Side)

THE OPEN MIND MAGIC POTION 1 (2)

Photos related to the band :

Tim Dufeu

The Drag Set

Related image

Image result for open mind band

Links related to the album/track :

The Open Mind – “Magic Potion”Track’s Video on “YouTube”

The Open Mind – “The Open Mind” Full Album Audio Playlist on “Spotify”

The Open Mind – “The Open Mind” Full Album Download Link on “Rockasteria” Blog

The Open Mind – “The Open Mind” Full Album Download Link on “Back In Purple” Blog

The Open Mind – “The Open Mind” Full Album Download Link on “Willie Said” blog

The Open Mind – “The Open Mind” Full Album Download Link on Rock Archeologia” blog

The Open Mind – “The Open Mind” Full Album’s Review on “Pop Matters”

The Open Mind – “Magic Potion” Information related to the track on “Magic Potion Net”

The Open Mind – “Magic Potion” on “45cat”

Links related to the band :

The Open Mind Band’s Page on “Discogs”

The Open Mind Band’s Page on “Rate Your Music”

The Open Mind Interview with Timothy Dufeu n “It’s A Psychedelic Baby Magazine”

The Open Mind Band’s Page on “Spotify”

The Open Mind Band’s Page on “Apple Music”

The Open Mind Band’s Page on “Time Machine Music” Website

The Open Mind Information related to the band on “Eric Brightwell” Blog

7-inch Singles/E.P.s Freakbeat/Garage/Psychedelic Rock/Rhythm And Blues U.K. 1960s The Pretty Things – Don’t Bring Me Down”

7-inch Singles/E.P.s Freakbeat/Garage/Psychedelic Rock/Rhythm And Blues U.K. 1960s

The Pretty Things (London, U.K.)

“Don’t Bring Me Down” (written by Johnnie Dee) A’ Side single released on Fontana Records (TF 503) in October 1964

Line-up :

Phil May – vocals, harmonica

Dick Taylor – lead guitar

Brian Pendleton – guitar

John Stax – bass guitar

Viv Prince – drums

Lyrics :

I’m on my own, nowhere to roam
I tell you baby, don’t want no home
I wander round, feet off the ground
I even go from town to town
I said I think this rock is grand
Say I’ll be your man
Don’t bring me down, don’t bring me down
I met this chick, the other day
And then to me, she said she’ll stay
I get this pad, just like a cave
And then we’ll have, our living made
And then I’ll lead her on the ground
My head is spinning round
Don’t bring me down, don’t bring me down
I, I, I, I, I need a lover ’cause someone new
And then to her I will be true
I’ll buy her furs and pretty things
I’ll even buy a wedding ring
But until then I’ll? settle down?
Say I’ll be your man
Don’t bring me down, don’t bring me down
Until then I’ll? settle down?
Say I’ll be your man
Don’t bring me down, don’t bring me down
Don’t bring me down

Don’t Bring Me Down” is a song written by Johnny Dee (road manager for British band The Fairies) and first performed by the rock band The Pretty Things in 1964. It was a number 10 hit on the UK Singles Chart for them, and reached number 34 in Canada. The song was featured on the American version of their debut album, The Pretty Things.

The Pretty Things are an English rock band, formed in 1963 in London. They took their name from Willie Dixon’s 1955 song “Pretty Thing”. A pure rhythm and blues band in their early years, with several singles charting in the United Kingdom, they later embraced other genres such as psychedelic rock in the late 1960s (with 1968 S.F. Sorrow being one of the first rock operas), hard rock in the early 1970s and new wave in the early 1980s. Despite this, they never managed to recapture the same level of commercial success of their very first releases.

Everybody’s got to have an idol, an ideal that one strives to reach and, if possible, surpass. For the Pretty Things, such an ideal were the Rolling Stones. This was really a predictable thing, though: the band was founded around 1964 by Dick Taylor, former bass player for the Stones before they actually had a recording contract. Dick quit the band because of financial troubles and personal ambitions (not content with his minor role since Brian Jones shoved him in the background), and became one of the founding fathers for the Pretty Things – but the band still kept a tight connection with the Stones. Initially, their image was supposed to be modelled after the Stones, only even more hardcore: they were even wilder, had even longer hair, and were banned from even more TV shows than the Stones ever have. At least, that’s how the legend goes. Too bad that the actual music played by the Pretties was nowhere near as enduring as the Stones’ stuff: the band was nowhere near as professional or talented, and their lead singer, Phil May, had, to put it mildly, a pretty limited vocal potential. Thus, the Pretties’ early albums are rife with filler, even if the aggressive rock’n’roll energy contained in their best stuff easily compensates for the weaker numbers.

This all began to change around the Summer of Love epoch: unlike gazillions of their even less talented and/or ambitiousd colleagues, the Pretties had time and will to jump on the accelerating rock music wagon (together with the Stones!) and drifted away into artsier, more sophisticated territory. Unfortunately, the band never really made the big time; despite a few moderate hits, their image had already been soldered as that of second-rate Stones imitators, and this, taken together with poor management and inner lineup problems, never did much to improve the band’s financial situation. And yet, it’s the late Sixties that count for the Pretties – not every band can successfully transform itself from a basic R’n’B outfit into a full-blown psychedelic machine, but that’s exactly what happened. The 1967 record, Emotions, is a minor (and thoroughly underrated) Brit-pop/psycho gem, but, of course, it’s the 1968 tour de force, S. F. Sorrow, that the Pretties are going to be remembered for, if they are going to be remembered at all: the first rock opera (or ‘rock narrative’, whatever), a cohesive and complex album with a level of twistedness and sophistication no other former R’n’B band, not even the Stones, would ever achieve. If anything, S. F. Sorrow just goes to show that the band had serious potential in them, and were actually able to realize that potential instead of always drag in the shadow of their superior pals.Too bad neither Emotions nor S. F. Sorrow hit the big time; after their failure, the disillusioned Dick Taylor quit the band, and although it dragged on for half a decade more, fuelled mostly by the energy of Phil May, and released three more LPs at least one of which (Parachute) is said to be very good, by the mid-70s it was obvious that there was simply nowhere else to go. The Pretties therefore disbanded into nothing, and despite several attempts at reunions and even some new studio output and live performances in the Nineties, they’re still a pretty dark spot in popular culture.I’m not an avid fan, of course, but one thing is obvious – the Pretty Things are more than just a potential bait for collectors of Sixties’ antiques (and while we’re at it, it is every Sixties’ antiques collector’s duty to procure the band’s catalog in its entirety, now!). They didn’t have that much talent in them, nor did they possess a particular thoughtful inspired talented creative guy; most of the band’s best compositions are group efforts. Yet they seem to have possessed a certain ‘group mentality’ that was enough for their records, at least, the 1967-68 ones, not to sound like weak pathetic clones, but instead provoke a strong and deep emotional reaction. They were trend-followers, but they didn’t follow these trends in half-measures: there’s enough soul and feeling in their music to make it likeable. They never deserve anything more than a weak two on the band rating scale, that’s for sure, but neither should they just be allowed to sink in the general mire of talentless mid-Sixties rip-offs because, frankly speaking, they were better than most. Don’t believe me? Buy S. F. Sorrow today and spin it three times in a row to see what I mean. Then slowly and gradually work your way forwards and backwards, never letting your expectations run before the actual music – and hoopla, you just might have something there…LineupPhil May – vocals, harmonica; Brian Pendleton – guitar; John Stax – bass; Dick Taylor – guitar; Viv Prince – drums. Prince dropped out, late 1965, replaced by Skip Allan. Pendleton and Stax quit, 1967, replaced by Twink (drums), Wally Allen (bass), and John Povey (percussion). Dick Taylor quit, 1968; on later Pretties lineups see different sources, or maybe I’ll get around to it when I get around to actually hearing later albums.

The Pretty Things were the also-rans of the British Invasion, a band that never got its due. Despite this lack of recognition, they were never quite ignored, cultivating a passionate cult that stuck with them through the decades — a cult that was drawn to either their vicious early records, where they sometimes seemed like a meaner version of the Rolling Stones, or to their 1968 psychedelic masterwork S.F. Sorrow. Some of their fans advocate for the entirety of their catalog, noting how the group adeptly shifted with the times. Despite these shifts in style, they rarely racked up hits on either side of the Atlantic. In the United States, they didn’t chart until 1975, a full decade after they released their rough-and-tumble debut. Back then, the Pretty Things seemed like rivals to the Rolling Stones and that was no great leap: guitarist Dick Taylor played bass in the first incarnation of the Stones, not long before he teamed up with Phil May to form the Pretty Things in 1963. Taking their name from a Bo Diddley song, the Pretty Things were intentionally ugly: their sound was brutish, their hair longer than any of their contemporaries, their look unkempt. This nastiness was evident on their first pair of singles, “Rosalyn” and “Don’t Bring Me Down,” two 45s that charted in 1964, their success helping to get their eponymous debut into the U.K. Top Ten a year later, but that turned out to be the extent of their commercial success. The Pretty Things may not have shown up on the charts but their cult proved to be influential: it’s been said Pete Townshend was influenced by S.F. Sorrow to write Tommy for the Who and David Bowie covered both “Rosalyn” and “Don’t Bring Me Down” for his 1973 album Pin Ups. Critics liked them too but that acclimation didn’t sell records. Nevertheless, the Pretty Things were survivors, soldiering on through the ’70s, turning into a harder, heavier outfit that was rewarded with marginal U.S. success — 1974’s Silk Torpedo and 1976’s Savage Eye made the lower reaches of Billboard — cutting a credible new wave album at the dawn of the ’80s. The Pretty Things would split not long afterward but their cult remained so strong that they became a semi-active concern at the beginning of the new millennium, as they would occasional reunite for tours and recordings.

Such perseverance would’ve seemed unlikely back in 1963 when Dick Taylor and Phil May first formed the band. Taylor had been playing with Mick Jagger in a London outfit called Little Boy Blue & the Blue Boys since he was a schoolboy and he later met Keith Richards at Sidcup Art School. In 1962, Taylor, Jagger, and Richards all started playing, once again calling themselves Little Boy Blue & the Blue Boys, with Brian Jones and Ian Stewart aboard, and this group turned into the Rolling Stones, but Taylortired of bass and left to concentrate on art. Soon, he was convinced by fellow Sidcup Art School student Phil May to form the Pretty Things. The duo brought in bassist John Stax, guitarist Brian Pendleton, and drummer Pete Kitley; the latter would soon be replaced by Viv Prince. Bryan Morrison, who also was attending art school with Taylor and May, managed the band and helped get it signed to Fontana.

“Rosalyn,” the group’s first single, peaked at 41 in 1964 but “Don’t Bring Me Down” went to ten and “Honey I Need” topped out at 13 in 1965. These three singles helped the group’s self-titled debut reach number six on the U.K. album charts, but with success came some turbulence. Drummer Prince left toward the end of 1965 and was succeeded by Skip Alan, while the group’s 1966 album Get the Picture? showed the rough, ragged rock & roll group adopting a slight pop art stance.

More lineup changes soon followed — Pendleton and Stax left by early 1967, with John Povey and Wally Waller taking their place — and Fontana pushed the group in a softer, string-laden direction for that year’s Emotions. This wasn’t a hit and the Pretty Thingssoon lost drummer Alan and decamped for EMI’s Columbia, where they recorded what is roundly regarded as their masterpiece, S.F. Sorrow. Appearing at the end of 1968, S.F. Sorrow is by many measures the first rock opera, earning a big cult but not selling much.

Dick Taylor left in the wake of S.F. Sorrow — guitarist Victor Unitt, previously of the Edgar Broughton Band, took his place — and Alan returned to the band. This new lineup first stretched its legs supporting French playboy Philippe DeBarge as he dipped his toes into rock & roll — these recordings were long shelved; they appeared in 2010 — and this wasn’t the only way the Pretty Things made money; they moonlighted anonymously for the music library company DeWolfe, recording film music that wound up reissued under the name Electric Banana. Despite all this activity, the next big release from the Pretty Things was Parachute in 1970, which received acclaim but no sales.

The lack of success led to a temporary disbandment, but they regrouped for a new contract with Warner that was inaugurated with Freeway Madness in 1972. Next, they teamed up with manager Peter Grant — the giant behind Led Zeppelin — and were signed to Swan Song, which released Silk Torpedo in 1974 and Savage Eye in 1976. These harder, heavier records were a bigger success in America than any previous Pretty Things LP, but it wasn’t enough to keep the group together: they split up in 1976.
Freeway Madness The lack of success led to a temporary disbandment, but they regrouped for a new contract with Warner that was inaugurated with Freeway Madness in 1972. Next, they teamed up with manager Peter Grant — the giant behind Led Zeppelin — and were signed to Swan Song, which released Silk Torpedo in 1974 and Savage Eye in 1976. These harder, heavier records were a bigger success in America than any previous Pretty Things LP, but it wasn’t enough to keep the group together: they split up in 1976.
Cross Talk A full-fledged reunion teaming Phil May and Dick Taylor came in 1980 when the group recorded Cross Talk, an admirable attempt to ride the new wave that did not sell. They split again, but May and Taylor started to perform regularly under a variety of different monikers, including teaming with Yardbirds drummer Jim McCarty in the ’90s. As the new millennium approached, they embarked on special projects such as a revival of S.F. Sorrow, and then they recorded a brand-new full-length album called Rage…Before Beauty in 1999. Reissues and biographies followed in the 2000s as did one more album, 2007’s Balboa Island, and the band also toured regularly.

They decided to celebrate their 50th anniversary in style, touring Europe and the U.K. in 2013 and releasing the career-encompassing box Bouquets from a Cloudy Sky in 2015. The box set found the Pretty Things looking back during a potentially dark time, as Phil May suffered a serious health scare in 2014 when he was diagnosed with chronic obstructive pulmonary disease, which impacts the lungs and makes it very difficult to breathe. But after giving up smoking and adopting a healthier lifestyle, May was well enough to begin work on a new Pretty Things album with Taylor, guitarist Frank Holland, bassist George Woosey, and drummer Jack Greenwood, and late 2015 saw the bloodied but unbowed Pretties not only winning enthusiastic reviews for The Sweet Pretty Things (Are in Bed Now, of Course…), but touring Europe and the U.K. in support.

American garage band H.M. Subjects released a cover of “Don’t Bring Me Down” as a single in 1965.

David Bowie covered the song on his 1973 album Pin Ups.

The Pretty Things – “Don’t Bring Me Down” Single photo (A’ Side)

THE PRETTY THINGS DONT BRING ME DOWN 2 (2)

 

The Pretty Things – “Don’t Bring Me Down” Video file link on YouTube

The Pretty Things Band’s Page on Discogs

The Pretty Things Band’s Page on Rate Your Music

The Pretty Things Band’s Page on Spotify

The Pretty Things Band’s Page on Google Music Store

The Pretty Things Band’s Page on Apple Music

The Pretty Things Band’s Page on Facebook

The Pretty Things Band’s Homepage

The Pretty Things Band’s Page/Full Albums Download Links on Rockasteria Blog

The Pretty Things Band’s Page/Full Albums Download Links on Muro Do Classic Rock Blog

Pretty Things Band’s Page/Full Album Download Links on 60-70 Blog

 

7-inch Singles/E.P.s Freakbeat/Garage/Mod/Psychedelic Rock U.K. 1960s The Fairytale – “Guess I Was Dreaming”

7-inch Singles/E.P.s Garage/Psychedelic Rock U.K. 1960s 

The Fairytale (Warrington, Lancashire, U.K.) Freakbeat/Garage/Mod/Psychedelic Rock band

“Guess I Was Dreaming” (written by John Weston, Malcolm Rabbitt) A Side single ( B Side “Run And Hide”) released on Decca Records (F 12644) in 1967

Line-up :
John Weston (guitar)
Malcolm Rabbitt (organ)
Chaddy Penketh [Chiddy Penketh] (bass)
Billy Fogg (drums)
John Ryan (1967)

The founder members were: John Weston, Malcolm Rabbitt, Chiddy Penketh, Billy Fogg and John Ryan. John Ryan left the group in March 1967.
Malcolm Rabbitt and John Weston wrote all the band’s songs – a mixture of Rock, Soul and Blues.
The band split in January 1968.

Hailing from the north of England (Warrington, near Manchester), the Fairytale released this record and only one other. However, this side is one of those cuts where the stars line up for absolute magic.

Allegedly, Don Arden (UK music bigwig who managed the early career of the Small Faces and others), asked the group if they had any songs with psychedelic imagery, and this song (allegedly about a bad acid trip) was what they presented. Arden may have practiced questionable business tactics, but the man certainly knew a great song and with his help this was the debut release from the group. The Fairytale continued to tour relentlessly throughout the year and also released one more single, but the group was finished by 1968.

“Guess I Was Dreaming” is one of those tracks from the early psychedelic days that distills the strong r&b influence into music that was somehow able to be wispy, propelling, danceable and mind blowing all at the same time; and with few exceptions, it all happened within 1966-1967.

The Warrington-based psychedelic band The Fairytale managed two singles for Decca in 1967 before evaporating, this debut and the less remarkable “Lovely People”.  The A-side here “Guess I Was Dreaming” is a gentle, slightly fey track with a foreboding piano riff and throbbing bassline occasionally popping its head up into the mix to add some extra beef to the recording.  It’s ever so slightly West Coast in its sound – which as one compilation-compiling wag has already pointed out, is quite a feat for a band from Warrington – and is an interesting piece of work.
The B-side “Run and Hide”, on the other hand, is straight sixties pop, so lovably cliched it could almost be out of some “Austin Powers” styled parody.  A screechy organ riff, foot stomping beat and incessantly catchy chorus make it almost bubblegum, quite honestly, but that’s not necessarily a terrible thing.  They sound like they’re having a whale of a time, and that’s what counts.
The band’s line-up was John Weston on guitar, Mally Rabbit on organ, Billy Fagg on drums and Chaddy Penketh on bass guitar.  With names like that, one wonders if any pseudonyms were being used, or if it’s perfectly possible for several people with such insane birthnames to join the same band at the same time.  What a strange old era it was.
American group The Kingsmen also recorded a version of “Guess I Was Dreaming”.
The Fairytale – “Guess I Was Dreaming” Single photo (A’ Side)

FAIRYTALE GUESS I WAS DREAMING 1

The Fairytale – “Guess I Was Dreaming” Single photo (A’ Side)

FAIRYTALE GUESS I WAS DREAMING 3 (2)

 

The Fairytale – “Guess I Was Dreaming” Video file link on YouTube

The Fairytale Band’s Page on Spotify

The Fairytale Band’s Page on Discogs

The Fairytale Band’s Page on Rate Your Music

The Fairytale Band’s Page on 45 cat

The Fairytale Band’s Page on Bandcamp

The Fairytale – “Guess I Was Dreaming” Video file link on Vimeo

Garage/Psychedelic Rock U.K. 1960s Personal Playlist on Spotify

 

7/12-inch Singles/E.P.s Garage/Psychedelic Rock U.K. 1960s The Attack – “Colour Of My Mind”

7/12-inch Singles/E.P.s Garage/Psychedelic Rock U.K. 1960s

The Attack (London, U.K.) 

“Colour Of My Mind” (written by Shirman) B’ Side single released on Decca Records (F 12631) on 23rd June 1967

Line-up/Credits :

Richard Shirman: Vocals

George Watt: Organ

Chris Allen: Drums

Geoff Richardson: Guitar

Kenny Harold: Bass Guitar

The Attack were a freakbeat/psychedelic rock band formed in 1966 around singer Richard Shirman (born 26 April 1949, London Died 26 July 2017). The first line-up featured drummer Alan Whitehead from Marmalade,  guitarist David O’List (later of The Nice) and John Du Cann (later of Andromeda and Atomic Rooster). Their first single “Try It” had also been recorded by The Standells and Ohio Express. They also released a version of “Hi Ho Silver Lining”, a few days earlier than Jeff Beck. Richard Shirman was invited to be singer with Andromeda but he declined. In 1979 Shirman reunited The Attack. Two years later he founded another band Hershey and the 12 Bars who released an album in 2000: Greatest Hits Volume II (A New Day Records, AND CD43).

You can say that the Attack were in fact, at least a couple different groups for the fact that vocalist Richard Sherman had to regroup Attack from almost scratch 3 times.
The Attack’s beginnings lie in a group called The Soul System. With members coming and going, once a stabilized 5 piece arouse, the band came attention to Don Arden, a top agent who signed them, found their first single (Try It, a Standells tune), and changed their name to Attack. Issued in January 1967, the single didn’t do much on the charts.
However with it’s heavy garage sound, it is considered a minor Freakbeat classic. The flip side We Don’t Know is a rather strange jazz/soul and freakbeat hybrid with some silly lyrics. This same lineup stayed for the recording of their next single Hi-Ho Silver Lining before disbanding due to the lack of success with both 45’s. Hi-Ho Silver Lining was met with fierce competition as Jeff Beck, who presumably heard The Attack’s version and rushed out his own version as his first single after only a few days of The Attack’s single.
The result was Jeff Beck getting the hit with Hi-Ho. The B side to Hi-Ho was an awesome piece of freakbeat, Any More Than I Do. This number, apart from being featured in recent compilations of the years, was used by John Peel for a radio jingle for the pirate Radio London. The guitarist responsible for the powerful riffing on Any More Than I Do, David O’List left to join the Nice in breaking new ground for a while, whilst drummer Alan Whitehead went back to the Marmalade and the others faded into obscurity.
Richard Sherman, now the only one left, regrouped The Attack with Scottish organist George Watt, drummer Chris Allen, guitarist Geoff Richardson and bassist Kenny Harold. Their follow up to Hi-Ho was another kinda cheeky and very English affair, Created By Clive. In a very ironic coincidence, two versions of Created By Clive were released the same day, by The Attack and The Syn!
The result was neither got any attention that the song was meant for which was probably better off as the liner notes of their posthumous compilation Magic In The Air notes “Clive, a fashion designer who specialized in dressing debs in see-through mini-dresses, would have probably sued anyway”.
The new guitarist Geoff Richardson penned their B side, the slow tamped raga Colour Of My Mind. With the single just barely in the shops, a new guitarist John DuCann was added and the drummer and keyboard player were replaced too. With this lineup, The Attack went about playing all the venues available, Middle Earth, Tiles, the Speakeasy etc.
However personnel changes shifted once more in the summer of 1967, and Geoff Richardson and Kenny Harold left being replaced by Jim Avery. The recorded the two sides of their next single, Magic In The Air/Lady Orange Peel but the A side was rejected by Decca for being too heavy and the band were sent in to record the harmless Neville Thumbcatch.
Two more tracks were recorded in October 1967, covers of Morning Dew and Loving You Is Sweeter Than Ever, but the single that was eventually released in January 1968 was Neville Thumbcatch backed with Lady Orange Peel.
Thumbcatch was very similar to Cream’s Pressed Rat And Warthog with it’s narrative verses and trumpet melodies. With this single, the group disbanded again. DuCann and Sherman kept Attack alive, recruiting bassist Roger Deane and drummer Keith Hodge and continued on as a four piece.
This last lineup recorded tracks for a future album and single, all left in the can. Before their split in mid 1968, the group recorded many songs, including Winding Up Clocks, Feel Like Flying, Strange House, Just Waiting, Freedom For You, etc. Unfortunately, not all of these tracks survived when the Magic In The Air album was being compiled.
But featuring all their singles (with one exception, Created By Clive) and a handful of unreleased tracks from their 1968 album sessions, the compilation gives a better look at who The Attack were really about.
Tracks like Magic In The Air, Strange House, Freedom For You & Colour Of My Mind justify their high place in British freakbeat/psych history. Perhaps with a more stable lineup, the band would have reached farther than they did.

The Attack – “Colour Of My Mind” Single cover photo (front)

the attack colour of my mind single 2

The Attack – “Colour Of My Mind” Single photo (B’ Side)(

the attack colour of my mind single 1

The Attack – “Colour Of My Mind” Video file link on YouTube

The Attack Band’s Page on Spotify

The Attack Band’s Page/Download links on Rockasteria Blog

The Attack Band’s Page on Discogs

The Attack An Interview with Richard Shirman on Ugly Things

The Atttack Band’s Page on Tripod