tag:blogger.com,1999:blog-46842882987816910422024-03-14T18:05:00.542+00:00A Dandy In Aspic"Did you ever dream about a place you never really recall being to before? A place that maybe only exists in your imagination? Some place far away, half remembered when you wake up. When you were there, though, you knew the language. You knew your way around. That was the sixties....
No. It wasn't that either. It was just '66 and early '67. That's all there was....."Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.comBlogger94125tag:blogger.com,1999:blog-4684288298781691042.post-39898952379128682782013-09-15T01:51:00.000+01:002016-03-26T15:00:12.849+00:00From Here To Uncertainty<div class="separator" style="clear: both; text-align: center;">
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Geranium Pond, 1968</div>
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This is going to be my last post for a while. During next few months, I will be far too busy to regularly update this blog. I can't really tell how long this hiatus is going to be, but hopefully I will be back before the end of this year.<br />
Before I go, I want to share some great 1960's British Psych tunes I have been enjoying lately..<br />
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<b>Elmer Gantry's Velvet Opera - 'Dream Starts' - 1968 </b><br />
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Standout track from Elmer Gantry's Velvet Opera's sole album released in 1968. Nice melody, and those distorted vocals sound really good..<br />
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Elmer Gantry's Velvet Opera, 1968</div>
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<b> Hat And Tie - 'Finding It Rough' - 1967</b></div>
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Hat and Tie were a duo consisting of Christopher Thomas and Patrick Campbell-Lyons (also a one-time member of July and Nirvana). 'Finding It Rough' was their second single, released in April 1967. Despite being incredibly catchy,this sitar-led piece of psych-pop did not chart, and Hat And Tie disbanded soon after.</div>
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<b>Geranium Pond - 'Dogs In Baskets' - 1968 </b></div>
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I've heard this song at the Mousetrap last week, and I have been listening to it on repeat since. There is precious little information about Geranium Pond. According to British Music Archive, this group originated from London, and 'Dogs In Baskets' was their only release. There is also some evidence, that the Geranium Pond shared the bill with the likes of The Nice and The Move.<br />
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'Dogs In Baskets' is a mellotron and harpsichord-led ,whimsical lullaby in a style of Syd Barrett. Listen to it <a href="http://youtu.be/wkVaDx1tOvg" target="_blank">here</a>. <br />
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<b>Tintern Abbey - Vaccum Cleaner - 1967</b><br />
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Unquestionable cult classic, 'Vaccum Cleaner' was a B-side to Tintern Abbey's single 'Beeside' from 1967. This highly collectible seven inch will today set you back nearly a grand. The lyrics of 'Vaccum Cleaner' were pretty risque at the time...<br />
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<i>Break it up, break it up, let's have it now girl</i></div>
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<i>Don't you know I need it all the time</i></div>
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<i>Fix me up with your sweet dose, now I'm feeling like a ghost</i></div>
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<i>Whoah whoah whoah whoah all the time</i></div>
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<i>Now my head is really spinnin</i></div>
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<i>maybe now I'll show some willin</i></div>
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<i>To help you with house work, if you want to...</i></div>
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Yep, no prize for guessing what this song is about... Surprisingly, there is no mention of this song ever being banned by the BBC. But then again, it was only a B-side.</div>
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Now I finally have an excuse to post this great photo of Tintern Abbey. Psychedelic/Peacock style at its finest. I absolutely love that jacket on the left.</div>
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<b>The Quik - 'I Can't Sleep' - 1967 </b></div>
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Not much is known about The Quik. They released three singles on Deram in 1967. <a href="http://youtu.be/W4q2k0sg5LA" target="_blank">'I Can't Sleep</a>' was the final one - It is a fantastic piece of dark, Hammond-led psychedelia..</div>
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<b>The Fox - 'Hey! Mr. Carpenter' - 1968</b></div>
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The Fox, 1968</div>
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Another cult classic. Great dance number, and obligatory play at any decent Psych night (I always get the those Hey's wrong when I try to sing along to it)</div>
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The Fox were a short-lived band from Brighton. They released an album <i>For Fox Sake</i> (see what they did there?) on Fontana in 1968, which disappeared without a trace, and the band split up soon after. 'Hey! Mr. Carpenter' has been popping up on various psych compilations (including Bam Caruso's <i>Rubble</i>) since 1980's, and since then it's been universally acclaimed by Psych fans as one of the British Psychedelia's finest moments. </div>
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<b>The Kinks - Big Black Smoke - 1966</b></div>
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I'll end with this lesser known track by The Kinks from their 1966 album <i>Face To Face</i>. It is a grim, cautionary tale about a young girl from provincial town and her misadventures in London. Healthy dose of reality after all this psychedelic stuff..</div>
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The Kinks, 1966</div>
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<b>So, That's about it for now. See you again in about 2 or 3 months!!!</b></div>
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BIBLIOGRAPHY</div>
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Terry Rawlings, <i>Then, Now an Rare: British Beat 1960-1969</i>, Omnibus Press, 2002</div>
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<a href="http://www.marmalade-skies.co.uk/" target="_blank">Marmalade Skies</a></div>
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Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com8tag:blogger.com,1999:blog-4684288298781691042.post-58168033551407477612013-09-03T20:54:00.002+01:002013-09-04T02:01:35.764+01:00Brighton Mod Weekender 2013<br />
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New Untouchables Brighton Mod Weekender is traditionally a high point of my summer. Especially since Brighton's own (once great) Mod/Psych scene went from being rubbish to being virtually non-existent in the last 2-3 years. This will be my last ever summer in Brighton, therefore I was determined to enjoy NUTs weekender even more than usual.<br />
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As regular readers of this blog probably know, it is not the 'Mod' part that I love the most about those weekenders. Having literally no interest in scooters, I usually skip daytime events at the seafront. In the evenings, not being a fan of soul music, I hardly ever pop in to the main room at Komedia, which is usually full of ageing blokes with Paul Weller haircuts. No, to me, the back room at the Studio Bar at Komedia is where the action is - a place where on Saturday and Sunday you can hear some of the best 60's Freakbeat, Garage and Psychedelia.<br />
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I always talk about NUTs events with a mixture of love and hate. I love dancing to my favourite obscure Psych tracks in clubs. Moustrap (Fuzz For Freaks) in London - bi-monthly clubnight organised by NUTs is the best 60's psych night in the country and I discovered some of my favourite tracks there. But, every now and then, I find some things about NUTs slightly annoying, like for example, unnecessarily strict djing rules - original 60's 7-inches only and no re-issues/compilations allowed. Ok, I understand why they wouldn't want dj's to use LP's - there is a discernible difference in sound (although I wouldn't say it sounds <i>worse</i>, but maybe it's just me). But why no re-issues? Does it really take away so much authenticity? DJ's are also afraid of playing <i>too obvious</i> or<i> too popular</i> tracks. They don't seem to understand that<i> expensive</i> and<i> rare</i> does not equal<i> the best</i>. Or even <i>good</i> for that matter. Also, having seen some of the dj's multiple times before, I can say that the sets of some of them have become a little too predictable - every time I see them they play the same records. Of course, if you only buy 7-inches priced £500+, how many new records per year are you gonna get? Not too many probably.... But then again maybe I am not the best person to talk about these things. You see, I belong to a very rare breed - passionate 60's music fan NOT interested in vinyl. I don't mind it, but I never saw it as a superior format. If dj's at The Mousetrap were playing the same tracks they always play, but from their Ipod's instead of vinyl, I'd still come. I love the tune, not the format (I'll probably get banned for saying this, though).<br />
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Anyway, on Brighton weekenders, Sundays are traditionally the best for psychedelia. This year, I would say it was Saturday. Sunday turned out to be a bit of an anticlimax. Still, I had a great time that weekend, and I certainly encourage anybody who's into Psych/Garage and, most of all, Soul to come and check out Brighton Mod Weekender in 2014.<br />
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I stopped taking photos on my nights out long time ago, so here, I am using some from <a href="http://newuntouchables.ning.com/" target="_blank">New Untouchables website</a>. The photos were all taken by Carlo Sesto.<br />
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That's me on the right..<br />
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I'll end with some photos of my now ex-girlfriend in her amazing original Biba dress..<br />
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Also, I heard this great tune for the first time at this year's weekender - 'Kicks And Chicks' by The Zipps - I've been listening to it on repeat ever since..</div>
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<br />Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com7tag:blogger.com,1999:blog-4684288298781691042.post-4503815711856406662013-08-20T01:28:00.000+01:002016-03-19T00:01:35.276+00:00The Herd - 1960's Peacock Style Icons<br />
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Today, The Herd are mostly known as 'Peter Frampton's first band', which is a shame, because they certainly deserve to be remembered for more than that. Not only they were one of the best British Pop-Psych acts of 1967-1968, but they also were one of the best dressed bands of that time. Psychedelic/Peacock style was not an easy look to pull off and there was a thin line between 'flamboyant cool' and plain ridiculous (If you ever saw photos of The Move <i>circa</i> 1967, you know what I mean). The Herd, however always looked immaculate - especially keyboard player Andy Bown, who wore Regency jackets and had a great Mod haircut. <br />
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The Herd in 1968. From left: Andrew Steele, Andy Bown, Gary Taylor and Peter Frampton<br />
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The Herd in 1967. I love Andy Bown's red, double-breasted Regency jacket and Peter Frampton's blue velvet top/silver belt buckle combo..<br />
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The Herd, early 1968. Again, great Regency jackets worn by Peter Frampton (bottom left) and Andy Bown (bottom right).<br />
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The Herd formed in 1965 from the ashes of two Kent groups The Preachers and Moon's Train. Fifteen year-old Peter Frampton (who incidentally, was a former schoolfriend of David Bowie) was already making a name for himself as one of the most talented young guitarists in London area. The Herd were taken under the wing of Rolling Stone Bill Wyman, who once used to be in the same band as The Herd's drummer Tony Chapman. Wyman recommended The Herd to Parlophone. They recorded Jagger/Richards composition 'So Much In Love' and covered 'He Was Really Sayin' Something' by The Velvelettes. Both singles flopped and The Herd were dropped by Parlophone and deserted by their manager Billy Gaff. Soon after Tony Chapman and singer Terry Clark also quit. That could have been the end of The Herd, but the band was taken over by managers Alan Howard and Ken Blaikley who saw potential in Peter Frampton. They promoted him to a lead vocalist and they moved bass player Andy Bown to organ, with Gary Taylor taking over responsibilities of a bassist. That line-up was completed by new drummer Andrew Steele. The Herd signed to Fontana, and in 1967 released their first single for a new label. titled 'I Can Fly'. It is a great piece of psychedelic pop, but for some bizarre reason, it barely mustered the charts in Britain (it was a big hit in Germany, though).<br />
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The Herd performing 'I Can Fly' on TV show The Beat Club</div>
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Peter Frampton </div>
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Andy Bown (that jacket again!)</div>
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During recording The Beat Club performance</div>
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NME ad for 'I Can Fly', 1967</div>
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After 'I Can Fly' flopped, Howard and Blaikley encouraged The Herd to play more ambitious material. Their next single, 'From The Underworld' was a psychedelic adaptation of Jacques Offenbach's operetta <i>Orpheus In The Underworld</i>.</div>
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The Herd performing 'From The Underworld' on The Beat Club, 1967</div>
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'From The Underworld' was hit, reaching number six in November 1967. Their next single,'Paradise Lost' - an adaptation of John Milton's most famous poem - was also a hit in January 1968.</div>
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The Herd performing 'Paradise Lost' on The Beat Club, 1968</div>
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Andrew Steele</div>
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Cover of the single 'From The Underworld' 1967</div>
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The Herd performing live, 1967<br />
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Height of psychedelic cool - Peter Frampton and Gary Taylor, early 1968. </div>
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The success of 'From The Underworld' and 'Paradise Lost' elevated The Herd to stardom. They toured with The Kinks and The Who and were photographed for hip magazines such as Rave.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZis4QXqV6zHFqIJopNV4S79f9lAn-KjmopSAJKlc7_9NZsDNM6LO8An2fjfq3QhP0Yr2CS-wy2mDzr8nx4Ht3P_adEO37mOUV0eVffxDYNyfjmAcKgkgnrxeXJ7V_VYVGXRFzpcpzzWI/s1600/herd28.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZis4QXqV6zHFqIJopNV4S79f9lAn-KjmopSAJKlc7_9NZsDNM6LO8An2fjfq3QhP0Yr2CS-wy2mDzr8nx4Ht3P_adEO37mOUV0eVffxDYNyfjmAcKgkgnrxeXJ7V_VYVGXRFzpcpzzWI/s320/herd28.jpg" width="320" /></a></div>
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Ad for October/November 1967 package tour of The Who, Traffic, The Herd, Marmalade and The Tremeloes.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDeJfGbGvwCU4B1AapgWlMfW7v-rf75sqb9UsUcMjA0acfWKABZtkddGgeT6k8T6crums6cPxblCclJ5r-5YjLBgeOcDWkzAnBsan5elv79pdwjYPiZPyzKGkTJO-I_7Z1_-kqjkEjGQk/s1600/herd31.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDeJfGbGvwCU4B1AapgWlMfW7v-rf75sqb9UsUcMjA0acfWKABZtkddGgeT6k8T6crums6cPxblCclJ5r-5YjLBgeOcDWkzAnBsan5elv79pdwjYPiZPyzKGkTJO-I_7Z1_-kqjkEjGQk/s320/herd31.jpg" width="320" /></a></div>
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Another package tour in April 1968, this time with The Kinks and Gary Walker.</div>
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Article about The Herd in <i>Melody Maker</i>, early 1968 (click to enlarge)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTVSQ5APdt1fnpXmX1pnuA8sfXK7e_4d-Dqjtege1fose4JuUqXGjnPrDsuq8BSkQ9MkVA0AMpgoby7PBgw_ozJUJn76o2YvzBuj5KxcXZgmk8rBABv2CLxbLlVjPHjUGTYUTZ8-PRLRo/s1600/herd1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTVSQ5APdt1fnpXmX1pnuA8sfXK7e_4d-Dqjtege1fose4JuUqXGjnPrDsuq8BSkQ9MkVA0AMpgoby7PBgw_ozJUJn76o2YvzBuj5KxcXZgmk8rBABv2CLxbLlVjPHjUGTYUTZ8-PRLRo/s320/herd1.jpg" width="320" /></a></div>
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I love this photo from late 1967..</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-UAZZxlEsv6PFJqgmCkofV-z3b36Mv0dHw8ITMaqKoOCSaDCRNoJ0lH7PT-I4An5ykVWuIV6eK6XvAFfyqfXB72vs9RFL2SuGWGWl7xobhXPn2WoMOOxqpjh7fdpgbgYq_aX56use_ak/s1600/herd3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-UAZZxlEsv6PFJqgmCkofV-z3b36Mv0dHw8ITMaqKoOCSaDCRNoJ0lH7PT-I4An5ykVWuIV6eK6XvAFfyqfXB72vs9RFL2SuGWGWl7xobhXPn2WoMOOxqpjh7fdpgbgYq_aX56use_ak/s320/herd3.jpg" width="320" /></a></div>
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The Herd sporting the newest Carnaby Street fashions. I like Andrew Steele's fur coat. Not sure about that red PVC jacket, though. </div>
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I love Andy Bown's stripy blazer/black ribbon combo. Meanwhile, Andrew Steele is sticking with PVC..</div>
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Peter Frampton's good looks did not go unnoticed - <i>Rave</i> magazine declared him 'The Face Of 1968' giving him first taste of life as a teen idol.</div>
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Peter Frampton on the cover of <i>Rave</i>, January 1968.</div>
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In April 1968, The Herd released straightforward pop single 'I Don't Want Our Lovin' To Die' which turned out to be their most successful recording, reaching number 5 in charts.</div>
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Press ad for 'I Don't Want Our Lovin' To Die', April 1968.<br />
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Howard and Blaikley were forcing The Herd to record melodic pop songs, which did not sit well with Frampton and Bown, who wanted to move more into heavier sounds. Nevertheless, Frampton and Bown wrote few psych/pop songs together, including a single 'Sunshine Cottage'.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3LyT3elFo68_TKPqvWLh2EyH1mFpQVSEUXtM9GtuEMkbhfmgrKzGHVf98B6gAsuayzZhRJ7yFgFi6EZuuUXpBPR3h_K9pb8WL02byMIf7WcBAEl8WQ7rP0ddutJI0IIj187SnTIYhqh8/s1600/herd11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3LyT3elFo68_TKPqvWLh2EyH1mFpQVSEUXtM9GtuEMkbhfmgrKzGHVf98B6gAsuayzZhRJ7yFgFi6EZuuUXpBPR3h_K9pb8WL02byMIf7WcBAEl8WQ7rP0ddutJI0IIj187SnTIYhqh8/s320/herd11.jpg" width="320" /></a></div>
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The Herd, 1968</div>
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1968. More great Carnaby clobber..<br />
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The Herd in <i>Teenbeat</i> magazine, 1968 </div>
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Strangely enough, Frampton and Bown ended up giving away one of their best compositions - 'I Lied To Auntie May' - which was recorded by their mates, London group called The Neat Change. They were quite an interesting band - arguably first ever Skinhead band, The Neat Change performed soul material in Soho's Mod clubs. Apparently their sound was not dissimilar to <a href="http://dandyinaspic.blogspot.co.uk/2011/11/action-in-lap-of-mods.html" target="_blank">The Action</a> (with whom they often shared the bill at The Marquee). I say 'apparently' because no recording of The Neat Change from that era exist.</div>
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The Neat Change as Skinheads, <i>circa</i> 1968<br />
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In 1968, following the advice of their management, The Neat Change ditched Skinhead look, Soul sound and 'went psychedelic'. They recorded Frampton and Bown's 'I Lied To Auntie May' - a brilliant piece of melodic pop-psych.<br />
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The Neat Change few months later...</div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/h0g3GBhtQjw?feature=player_embedded' frameborder='0'></iframe></div>
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It's a great song, and I am not sure whether The Herd ever recorded it themselves. The Neat Change did a great job, but it turned out to be their only ever single as they split up soon after (find out more about that interesting band <a href="http://www.stewarthomesociety.org/interviews/edwards.htm" target="_blank">here</a>) </div>
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After 'Sunshine Cottage' flopped, Peter Frampton grew more and more disillusioned with The Herd. He hated his new heartthrob image and wanted to be appreciated as a guitarist. In the late 1968, he briefly considered accepting an invitation to join Small Faces on guitar. Although that did not happen, Frampton and Small Faces lead singer Steve Marriott formed a friendship which soon prompted them to quit their respective bands and start heavy blues-rock outfit Humble Pie in 1969. </div>
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The Herd, late 1968<br />
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The Herd briefly tried to continue without Frampton, with Bown on vocals. They recorded single 'The Game' in 1969. It was not a successful record (artistically or commercially), and the band split up soon after.</div>
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Frampton was still on a sleeve photo of 'The Game' even though he was no longer in the band.</div>
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We all know what happened to Frampton - few successful albums with Humble Pie, initially semi-successful solo career and finally, superstardom in America after <i>Frampton Comes Alive</i> unexpectedly sold fifteen million copies in 1976.</div>
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Frampton on the cover of the <i>Rolling Stone</i>, 1976</div>
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Frampton's former bandmate Andy Bown also tried solo career. In 1970, he released a Pop-Psych single 'Tarot' (as Andrew Bown). Although interesting, it was not successful - not until few years later at least, when it was used as a theme for TV series <i>Ace Of Wands</i>. Andy Bown ended up joining Status Quo in 1976 with whom he still plays today...<br />
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Andy Bown's 'Tarot'</div>
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I'll end with few more pictures of The Herd<br />
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1968 (just ignore that PVC)<br />
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1968 <br />
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BIBLIOGRAPHY</div>
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Terry Rawlings, <i>Then, Now and Rare: British Beat 1960-1969</i>. </div>
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<i>Images: <a href="http://tarkus-magicmac.blogspot.co.uk/" target="_blank">Magic Mac</a> , <a href="http://www.marmalade-skies.co.uk/" target="_blank">Marmalade Skies</a></i></div>
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Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com7tag:blogger.com,1999:blog-4684288298781691042.post-76787395698683697122013-08-13T13:20:00.002+01:002013-08-16T17:52:04.727+01:00Bad Vibrations - 10 Great Dark Songs From The 1960's<div class="separator" style="clear: both; text-align: center;">
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As Eddie Cochrane used to sing, <i>There ain't no cure for the summertime blues</i>....I must admit, I'm generally not too keen on summer. I'm terrible at dealing with heat, and I hate when weather forces me to wear just a t-shirt. Unlike the last two or three years, this year, we exceptionally do have an actual summer in Britain, with sun and heat and all, and frankly, I've had enough. On a more personal note, bad things in my life always seem to happen in summer, which would probably explain my dislike of it. This summer is no exception. So far, it has been rather dreadful, to put it mildly...<br />
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That it not to say it was completely rubbish. One of the high points was on Friday, when I sneaked in without a ticket to Patti Smith gig. She played a low-fi gig in a church in Brighton literally five minutes away from where I live. Tickets (£30 a pop) sold out really quickly, but thanks to kindness of friends, some masterful deception, and knowing the weak points of the venue, I have found myself inside shortly before Patti Smith went onstage. Any guilt I might have had about robbing Patti of £30 evaporated when she read an excerpt from her book <i>Just Kids (</i>an account of her life as a poverty - stricken bohemian in late 60's/early 70's New York), in which she talked about Robert Mapplethorne stealing that William Blake print (I'll spare you the details, read the book if you're interested). After that, I couldn't help but think that me sneaking into that gig was something that Patti - or her younger self, at least - would have approved of. Or so I like to tell myself. Funnily enough, she did a cover of Eddie Cochrane's <i>Summertime Blues</i>...<br />
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Anecdotes about my mischief aside, let me get to the point. Since usual summer playlists consist of 'feelgood' songs, I feel like doing something exactly opposite. Here I compiled a list of my my favourite dark songs from the 1960's. First, a couple of rules - what do I consider to be a 'dark' song? Well, it either has to have minor chord changes, or lyrics that talk about dark side of human nature or world in general. Something that makes you feel a bit uneasy. The songs I picked are 'dark' but not necessarily <i>depressing</i>. You can even dance to most of them. Overall, I would say that anger and confusion - rather that sadness - are prevailing emotions in the songs. The list is based purely on my personal taste, I don't claim the songs to be 'the best' - just the ones I like the most. Also, I tried to avoid 'too obvious' choices, like The Doors or Velvet Underground - in this blog I like to champion the obscure and the overlooked, not the overexposed (unless it's Syd Barrett or Brian Jones, that is). Unusually for me, most of the bands I included are American, rather than British. It's strange, I never intended this blog to be <i>exclusively</i> about Britain in the 1960's, it's just that British Psychedelia and Swinging London era are a part of the 1960's I am most passionate about. But hopefully, brief departure from those themes will provide a much-needed breath of fresh air to this blog. <br />
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So, for those of you who like me, can't quite get into summer spirit, I present a look at the 1960's from a darker perspective... <br />
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<b>10. 'SEARCHING ' - THE OMENS (1966)</b><br />
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I don't know much about The Omens - they were one of countless bands that were being formed in the mid-1960's across America by kids, inspired by Beatles or Stones. I am not sure whether they ever released any other single that 'Searching ' or whether they ever played outside their hometown - wherever it was. Although there's nothing original about the lyrics to 'Searching ' the same cannot be said about that great apocalyptic riff and psychedelic solos on guitar and organ. For 60's Garage aficionados, this is an undisputed classic and instant dancefloor filler at every Psych/Beat/Garage clubnight today..<br />
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<b>9. 'MY BROTHER, THE MAN' - WE THE PEOPLE (1967) </b><br />
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Some of the best music recorded in 1960's never found its way to charts. Take We The People - brilliant band from Orlando led by certain Wayne Proctor. They released quite a few great singles between 1966 and 1969. Their song 'In The Past' should have been a huge hit. Same with 'You Burn Me Up And Down' , 'Mirror Of Your Mind' (which charted locally, apparently) and indeed 'My Brother, The Man' - which was a track from We The People's sole album <i>Too Much Noise</i> (1968). Just like in 'Searching' by The Omens, the power of the song is in this rather sinister riff. Commercial success might have eluded We The People, but with time they acquired a status of a cool, obscure band it is fashionable to list as an influence. Especially since London Psych/Mod/Goth heroes The Horrors paid tribute to We The People by stealing the riff from 'My Brother, The Man' for their own song 'Count In Fives' in 2007.<br />
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<b>8. 'WHEN THE SHIP COMES IN' - BOB DYLAN (1964)</b><br />
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Hmm...Did I say 'no obvious choices'? Well, I lied..... But let's face it, when it comes to painting a bleak picture of reality, who can surpass protest-era Dylan? 'When The Ship Comes In' is a track from 1964 album The Times They Are-A-Changing. Reportedly, it was written one night after Dylan, while touring America with Joan Baez, was refused a hotel room due to his 'scruffy appearance'. A receptionist wouldn't give him a room unless Baez vouched for his 'good character'. Most of us mere mortals would probably demand to see manager and give him hard time, but Dylan sat in the lobby, and he quickly composed this little masterpiece about social injustice and the new order violently replacing the old one. Simple and pretty short (for Dylan's standards) song, but it contains more rage and anger than all the Clash, Sex Pistols and Dead Kennedys records put together. The new world anticipated by Dylan, failed to materialise. Perhaps that's what prompted him to abandon protest songs in favour of more introspective material in the mid-1960's. But that failure only makes this song still relevant today. <br />
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It won't let me insert a video, listen to it <a href="http://www.youtube.com/watch?v=n1u61ef8cEs" target="_blank">here</a>.<br />
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<b>7. 'STORMY' - THE JESTERS OF NEWPORT</b><b> (1966)</b><br />
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Another obscure corker from American Mid-West. It starts off with a motif from 'In The Hall Of The Mountain King' by Edvard Grieg played on farfisa organ and then it descends into messy garage-rock madness. With the wild, howling vocals and distorted guitar, this song makes The Stones sound like Rosemary Clooney. I'm not sure whether The Jesters Of Newport ever recorded anything else, but they certainly deserve to be remembered for this brilliant song, which can be heard on <i>Back From The Grave Vol. 5</i> compilation. <br />
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Click <a href="http://www.youtube.com/watch?v=GzVvN6IoMb8" target="_blank">here</a> to listen<br />
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<b>6. 'A POX ON YOU' - SILVER APPLES (1968)</b> <br />
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Electro pioneers Silver Apples were one of those bands who were so far ahead of their time, that nobody really 'got them' at the time of their existence. This New York duo consisting of synth player Simeon Oliver Coxe and drummer Danny Taylor released two albums between 1968 and 1969. Their eponymous first LP can only be described as a musical equivalent of insanity. You'll hear sounds you didn't even know were possible to make - well, certainly not in 1968, at least. ' A Pox On You' might not be their best song (to me it's 'You're Not Fooling Me'), but it's definitely the most sinister-sounding one. Silver Apples were thoroughly misunderstood and forgotten for many years, while the credit for many things they did first, went instead to much less impressive band from mid-1970's - Suicide. Luckily, in the last few years, Silver Apples were rediscovered and quickly achieved cult status in certain circles. Today, every Shoreditch hipster owns a vinyl reissue of their first album, and claims to have been into them before you were.<br />
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<b>5. '1906' - THE WEST COAST POP ART EXPERIMENTAL BAND (1967)</b><br />
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The West Coast Pop Art Experimental Band were a bizarre creation. The band consisted of Bob Markley - failed crooner and TV presenter in his mid thirties, and teenage brothers Shaun and Danny Harris. The band was put together and masterminded by legendary LA producer Kim Fowley in order to cash up on flower-power phenomenon. TWCPAEB released four albums between 1966 and 1970. Their brand of sitar-led psychedelic rock was nice, but rather unremarkable. Not 'Pop Art' at all and certainly not 'Experimental'. The West Coast Hippie Bandwagon Chasers - that would be much more suitable name for this band. Nevertheless, they had their three minutes of genius with '1906' - B-side of their 1967 single 'Shifting Sands'. The song sounds nothing like the rest of their material - it's fast, it has great riff and melody. I don't know whether the title of the song is supposed to be a reference to 1906 earthquake in San Francisco which destroyed 80% of the city - lyrics (which are spoken, and in the background) seem to be more about bad drug experience. Whatever it's about, it's one of the greatest dark songs of 1960's. Today it can be heard as a bonus track on the reissue of TWCPAEB's third album <i>A Child's Guide To Good And Evil</i> (1968), the cover of which you can see at the top of this post.<br />
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<b>4. 'WHEN THE WIND ARISES' - THE ROKES (1968)</b><br />
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The Rokes were a band from London active mostly in Italy, where they had a hit with an Italian-language version of 'When You Walk In The Room'. Although they released a few singles in UK, none of them ever charted. 'When The Wind Arises' is a B-side of their final UK single 'The Works Of Bartholomew'. It is a very powerful and theatrical piece of psychedelic rock - a kind of song you'd want to hear while walking at the edge of the cliff during stormy night (my favourite pastime). I first heard it on <a href="http://dandyinaspic.blogspot.co.uk/2012/12/do-you-take-acid-with-your-tea.html" target="_blank">Real Life Permanent Dream box set</a>, and it's been one of my favourite songs ever since.<br />
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<b>3. 'SKITZO BLUES' - SILK (1969)</b><br />
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A great piece of heavy, farfisa-led psych from America. Silk were a band from Cleveland signed to ABC. They released their sole LP <i>Smooth As Raw Silk</i> in 1969. 'Skitzo Blues' is a track from that album, and it can also be heard on Bevis Frond -curated psych compilation <i>The Room Of Loud Sound</i>.<br />
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Click <a href="http://www.youtube.com/watch?v=Z3o04U7PWzk" target="_blank">here</a> to listen to Skitzo Blues.<br />
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<b>2. 'ALL ENDS UP' - TRACTOR (1969)</b><br />
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Prog Rock......the overblown, self-indulgent excesses of ELP, Yes or Genesis in the mid-1970's had made prog terminally uncool. People almost forget that during its early years - between 1967 and 1971, prog was one of the most exciting genres. Back then, prog was less about long solos and showing-off and more about taking music into the exciting unknown directions. The living proof of that is this great track by Tractor - British band from Rochdale, Lancashire. The long, electronic intro builds up until you're hit with this amazing riff which takes you on a 7 minute dark odyssey. I first heard 'All Ends Up' at the Mousetrap about a year ago, and I must say it sounds even more impressive in the club with a proper soundsystem. I'd listen to this song on the loop for the next few weeks. Even now, I am still not bored with it. Great track from a band which should have been much bigger.<br />
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<b>1. 'STRANGE HOUSE' - THE ATTACK (1967)</b><br />
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Now, I don't think I would be able to pick 'my favourite song ever', but I could certainly narrow the choices down to five, and this song would definitely be one of my top five. To me, it's one of the most perfect songs ever - it has everything: powerful, sinister riff, distorted vocals, great lyrics and overall weird and wonderful atmosphere. This song captures bad drug experience so well, that after hearing it, you will never have to even do drugs to know what it's like..<br />
As for The Attack, they were a Mod band from London which was caught in the rapidly changing trends. They started off playing soul music - their single 'Anymore Than I Do' is a Mod classic - before moving on psychedelia in the late 1966. Despite having few good singles such as 'Too Old' , commercial success never came and The Attack disbanded in early 1968. Their guitarist Davey O'List went on to join The Nice, and remaining members formed heavy psych band Andromeda. 'Strange House' remains their finest hour and a cult classic - especially since London Psych/Mod/Goth heroes The Horrors paid tribute to The Attack by stealing the title and naming their debut album <i>Strange House</i> in 2007.<br />
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<b>Conclusion</b>: Punk...Goth...Electro...all these genres already existed in 1960's, before the terms were coined.<br />
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So, that's it. Hope you enjoyed this little list. I welcome any additions - Can you think of any other great dark songs from 1960's? Other than Doors or Velvet Underground?<br />
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<i>Small correction: All Ends Up by Tractor is actually from 1972, not 1969 as I initially thought. But frankly I just can't be arsed to change it. It's still a great song which you need to hear.</i>Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com5tag:blogger.com,1999:blog-4684288298781691042.post-13762423900449222852013-07-25T17:46:00.000+01:002013-07-31T14:29:31.584+01:00Rowan Bulmer - Swinging London's Forgotten Photographer<br />
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From Biba's advertising campaign, London, Kensington, 1966</div>
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Recently, I've been flicking through London fashion/culture magazine <i>Jocks & Nerds</i>, where I found the article about 1960's London photographer Rowan Bulmer. Unlike his contemporaries David Bailey, Terence Donovan, Brian Duffy, Robert Whittaker and many others, Rowan Bulmer and his work remain almost completely unknown today - which is unusual, considering Bulmer's high profile in the 1960's. He was friends with The Rolling Stones (reportedly, he introduced Mick Jagger to Chrissie Shrimpton), he photographed and hung out with Jimi Hendrix, Eric Clapton, Jeff Beck, Rod Stewart, he was an official photographer for Mod meccas - TV programme <i>Ready Steady Go!</i> and Marquee club. He did first ever Biba advertising campaign and countless fashion photoshoots. Normally, a photographer of such calibre would today have his work published in a Taschen coffee table book, exhibited in museums, and the prints would sell a £100+ per pop. But not Rowan Bulmer. There are various reasons for that. As Chris May wrote in <i>Jocks & Nerds</i>: <i>Driven by passion rather than careerism, Bulmer never bothered to archive his work</i>. What's more, The Marquee club, which stored a large chunk of Bulmer's negatives, had unfortunately lost them when it moved out of Wardour Street in 1988.</div>
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Rowan Bulmer dancing the Twist, Eel Pie Island, 1962</div>
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In 2011, Bulmer's daughter Tahita (who is a lead singer in indie band New Young Pony Club) has found a large box of old prints that her father left in UK after moving to South of France year earlier. Box contained unseen photos of Stones, Hendrix , The Who and other legendary musicians as well as fashion photos and various snapshots of Swinging London scene. According to Chris May, Bulmer <i>seemed surprised that anyone would be interested in his story</i> (or his photos). </div>
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And what a fascinating story it is (<i>A classic case of right place, right time</i> - Chris May). Bulmer was born in 1943 and grew up in Chiswick. At 16, he enrolled at Chelsea College of Art. Like many of his art school pals, Bulmer was a jazz and Rn'B enthusiast and quickly became a regular on Soho's beatnik/coffee bar scene. One of his favourite hang-out at that time was Duke Of York pub in York Alley, Soho. He remembers: <i>The Duke Of York is probably where it all started. It was very important. Rod Stewart, Long John Baldry, they they all hung out there. everyone was drinking and smoking dope non-stop. Everyone was scoring and there was Benzidrine and heroin. I never got into drugs myself. I saw it wreck too many people and made a decision early on</i>. Around 1962, Bulmer started hanging out in the Ealing Club, Richmond's Station Hotel, Crawdaddy Club and Eel Pie Island - a places now considered a cradle of British Rn'B scene. He witnessed early gigs of The Pretty Things, The Downliners Sect, The Artwoods, Cyril Davies All Stars, Alexis Korner's Blues Incorporated, Jimmy Powell and The Five Dimensions (featuring Rod Stewart), The Tridents (Jeff Beck's first band). He witnessed Eric Clapton, Peter Green and Mick Fleetwood learning their trade before they hit superstardom. <i>I first went to Eel Pie Island when I was 15</i> - he remembers. <i>I became a pot boy, collecting empty glasses from the tables. It was a traditional jazz club and then they brought in Rn'B on Wednesday nights. I loved it all</i>. </div>
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Keth Moon photographed by Rowan Bulmer</div>
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Around that time, Bulmer became a photographer. <i>All these musicians I knew started to need photographs, and I thought, 'I can do that'. And because they were my friends, I took a lot of shots just for myself</i>. Among his numerous musician friends were The Rolling Stones whom he met through Giorgio Gomelsky - owner of Crawdaddy Club and Stones' early manager, when he was shooting promotional film about The Stones in 1963. <i>They were filming at station Hotel</i> - Bulmer remembers - <i>I was well known as a dancer and they were waiting for me to arrive before they started filming. The Stones were playing 'Pretty Thing' and the girl I was dancing with happened to be Brian Jones' girlfriend Linda Lawrence. She later married Donovan, hence the song 'Linda'. Anyway, I went to a work-in-progress screening at the Intrepid Fox pub on Wardour Street and afterwards I was chatting to Giorgio and he realised that I knew everyone. He was worried that he would get troublemakers at the Crawdaddy and he asked if I would work with him and keep an eye out for these characters. So I stopped going to Eel Pie so often and I was with Giorgio. This was when I got to know the Stones well</i>.</div>
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Mick Jagger photographed by Rowan Bulmer in 1967</div>
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Bulmer was very close to Brian Jones - at one point they even considered moving in together. Bulmer says: <i>We went flat hunting together a lot. We looked at lots of places, but somehow it didn't happen. Some people didn't like Brian, but I did. He was generous and he was really passionate about the blues</i>. Evidently, Bulmer was less impressed by Andrew Loog Oldham - a young manager, who snatched The Stones from Giorgio Gomelsky. <i>He was alright. A bit arrogant. I didn't really know him before he took over the Stones. There were a lot of people trying to get the Stones at that time. I was surprised when he got them</i>.</div>
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By 1964, Rowan Bulmer was approached by the producers of new TV programme called <i>Ready Steady Go!</i>. He became an official photographer for this soon-to-be-cult Mod show. His other role in <i>RSG!</i> was finding new hot bands for the show - perfect for somebody with his connections and position on the scene.</div>
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Roll of film Bulmer shot at <i>RSG!</i> around 1965 - if you clack on it you can see Cathy McGowan and some soul band - anybody knows who they are?</div>
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Around that time Bulmer also became an official photographer at the Marquee Club, where he shot pretty much anybody who was anybody in the 1960's London. Unfortunately, his decision of storing his negatives at the club proved disastrous.<br />
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Ronnie Wood, Chris Barber and Jeff Beck at the Marquee, 1967</div>
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Bulmer also took a lot of photos at <a href="http://dandyinaspic.blogspot.co.uk/2013/06/this-way-to-speakeasy.html" target="_blank">The Speakeasy Club</a>.</div>
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Jimi Hendrix Experience at The Speakeasy, 1967</div>
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Drag artist at The Speakeasy, 1967</div>
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Eric Clapton onstage with Cream, National Jazz and Blues Festival, Windsor, 1966</div>
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Mods, National Jazz and Blues Festival, Windsor, 1966</div>
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Geno Washington, 1965</div>
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From 1964 onwards, Bulmer also worked as a fashion photographer.</div>
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Fashion shots featuring model Wendy Richards, circa 1965</div>
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When Barbara Hulanicki opened Biba, she hired Rowan Bulmer to do the advertising campaign.</div>
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Photoshoot for Biba, Kensington Church Street, 1966</div>
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Fashion shoot at Yellow Submarine club, London, 1966. I don't know who the designer was but the clothes look amazing. I wish we could see a better quality version.. </div>
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Same goes for this menswear ad from around 1966</div>
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London Mod/Psych band The Syn (their line-up included Chris Squire - future member of Yes) modelling newest Carnaby Clobber outside Marquee Club, 1967<br />
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Immaculately-looking Rod Stewart with female friends, 1967 ( I wonder where this photo was taken. I can see some David Bailey prints in the background...)<br />
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Rowan Bulmer continued working as a photographer in London in the 1970's. In 1980's, he moved to Ilkley,Yorkshire. He created large-scale sculptures on the Yorshire Moors. Around that time he also had his own art exhibition at the Institute of Contemporary Art in London. In 1984, Bulmer, passionate anti- Thacherite, joined a picket lines during miners' strike (<i>I've always been on the Left</i> - he says. <i>My parents were Tory councillors; it's a reaction to that</i>).</div>
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In the 1990's Bulmer returned to London. He opened his own studio on King's Road in Chelsea, where he worked until his retirement in 2010. Today, he lives in Dordogne in southwest France.</div>
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I don't know how much is left from his 1960's work, but I sure hope to see more. Rowan Bulmer doesn't seem interested in 'cashing-up', but the reasons for restoring and publishing the remains of his 1960's work do not have to be financial. Contrary to what he might think, there is a lot of interest in this, now legendary, era.<br />
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<i>All the photos and quotations come from Chris May's article in Jocks & Nerds magazine, Volume 1 Issue 7, p 48-57.</i></div>
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Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com9tag:blogger.com,1999:blog-4684288298781691042.post-86517636636824865402013-07-16T20:52:00.001+01:002016-03-18T23:56:59.743+00:00Dandies in Kaftans<br />
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Carnaby Street, 1967</div>
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When it comes to male fashion, kaftans will always be associated with that brief period between late 1966 and early 1968. For those several months kaftans were all the rage - an obligatory component of psychedelic dandy/peacock/hippie look. </div>
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The term 'kaftan' is not really correct. Kaftan is a garment of Persian origin - a type of overdress usually reaching the ankles, with long sleeves. 'Kaftans' worn by fashionable men in late 1960's were in reality Nehru Jackets. It is a garment of Indian origin, named after Pandit Jewarharlal Nehru - a Prime Minister of India between 1947 and 1964. He often wore front-buttoned, knee-length jackets with mandarin collar known as <i>ackhan</i> or <i>sherwani</i>.</div>
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<a href="http://upload.wikimedia.org/wikipedia/commons/5/56/NehruY.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://upload.wikimedia.org/wikipedia/commons/5/56/NehruY.gif" /></a></div>
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Pandit Jewarharlal Nehru</div>
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In the late 1940's, the garment based on <i>ackhan</i> was created in India, and it was known as <i>Band Gale Ka </i>coat ('Closed Neck' coat). It was considerably shorter that <i>ackhan</i>, usually only reaching hips rather than knees. In fact, apart from the mandarin collar, the garment closely resembled normal suit jacket. <i>Band Gale Ka</i> coat were popular in India as a top half of the suit for formal occasions. In early 1960's, it was popularised in western Europe in America, where it was known as 'Nehru jacket' (Even though Pandit Jewrharlal Nehru never actually wore it himself!). One of earliest examples of Nehru jacket in Western popular culture was the outfit of Dr. No - the villain from 1962 James Bond movie.</div>
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By the mid-1960's, the Nehru jacket became a part of late Mod/early Hippie Carnaby Street look. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFFkrOB8GT9w4JHjBgaLtoaemsgx5JXC-h6Uz_MdMSwFzMIhvnf86JCE44xn6Xo4Bxg57HUr1EHOu9Id5h1o97KH1oNfuSZdHicHBqRw5Endipna7hJSiDwJS2lMYxJvWq45QTr0B3izk/s1600/kaftan7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFFkrOB8GT9w4JHjBgaLtoaemsgx5JXC-h6Uz_MdMSwFzMIhvnf86JCE44xn6Xo4Bxg57HUr1EHOu9Id5h1o97KH1oNfuSZdHicHBqRw5Endipna7hJSiDwJS2lMYxJvWq45QTr0B3izk/s320/kaftan7.jpg" width="320" /></a></div>
The Who's Roger Daltrey (second left) wearing a nehru jacket appropriated for late-period Mod style, 1966</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4QnficMdBnqk47QdrUhrCAAGP65uRWMtZFF8_z3BzQE_rLDqgBoZdkLyuDNig9u12YXfoX_6sw5TnS-GXiZbExhosJnsgfUl2hgilNi3ZKD2hkmzm_BolrC5Hd7wVYV2WGIZ7y8r_HhQ/s1600/kaftan8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4QnficMdBnqk47QdrUhrCAAGP65uRWMtZFF8_z3BzQE_rLDqgBoZdkLyuDNig9u12YXfoX_6sw5TnS-GXiZbExhosJnsgfUl2hgilNi3ZKD2hkmzm_BolrC5Hd7wVYV2WGIZ7y8r_HhQ/s320/kaftan8.jpg" width="320" /></a></div>
From 1967 Carnaby Street Modern Man catalogue - note the incorrect use of the term 'Kaftan'.<br />
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These clothes were a little bit of hybrid - they were too short to be proper Kaftans, and often too long to be proper Nehru jackets. Nevertheless, both terms were often used (just like Peacock style was often referred to as 'Regency', even though it hardly ever resembled actual Regency-era styles - but that's a subject for a different post). These Nehru Jackets/Kaftans ere often designed with a generous use of Paisley, Liberty prints, various kinds of embroidery or 'Eastern' patterns (Indian, Chinese, Persian, there were even elements of Russian and Central European peasant dress) - a true mish-mash of styles and influences.</div>
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Here are my favourite examples:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeVTfUhZkOKQETjW9sjw6yEqFkCyhc5ICDr1L2jSr72Ii_whxYHrVCSG9tZ-kQ5RThs47VfeoRv9zWiVLm7bRt5j0T-A0pMx_sYgyz3MZhkB4NQ8Hpn0klfMF8EKYoKvPE_tto7hLGanE/s1600/magical.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeVTfUhZkOKQETjW9sjw6yEqFkCyhc5ICDr1L2jSr72Ii_whxYHrVCSG9tZ-kQ5RThs47VfeoRv9zWiVLm7bRt5j0T-A0pMx_sYgyz3MZhkB4NQ8Hpn0klfMF8EKYoKvPE_tto7hLGanE/s320/magical.jpg" width="314" /></a></div>
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Probably most famous one - The Beatles in Kaftans/Nehru Jackets designed by <a href="http://dandyinaspic.blogspot.co.uk/2012/11/the-fool-beatles-and-story-of-apple.html" target="_blank">The Fool</a> for Magical Mystery Tour.</div>
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Paul McCartney in 1967<br />
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Paul outside his St. John's Wood home, 1967<br />
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John Lennon, 1967 <br />
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George Harrison, 1967<br />
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Hippies at the Woburn Abbey festival in England, 1967<br />
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John's Children modelling 'kaftans' designed by <a href="http://dandyinaspic.blogspot.co.uk/2011/08/john-stephen-forgotten-fashion.html" target="_blank">John Stephen</a>, 1967</div>
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The Flowerpot Men, 1967<br />
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British psych band The Flies, 1967<br />
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British psych band The Onyx, 1967 <br />
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<i>Rave</i> magazine's resident model Johnny Rave, 1967 <br />
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Kaftan which Peter Daltrey wore on the cover photo of Kaleidoscope's first album, <i>Tangerine Dream</i>, 1967<br />
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Davy Jones wearing the same kaftan.., 1967<br />
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Jimi Hendrix also had one...1967</div>
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Strawberry Alarm Clock, 1967</div>
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Davy Jones and Mickey Dolenz of The Monkees, 1967</div>
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Legendary DJ John Peel, 1967</div>
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The Hollies, 1967</div>
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English hippies, 1968<br />
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Jean Shrimpton and Paul Jones on the set of <a href="http://dandyinaspic.blogspot.co.uk/2013/01/10-worst-films-of-1960s.html" target="_blank"><i>Privilege</i></a>, 1967</div>
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Justin Hayward from The Moody Blues and Ian Gillian from Episode Six
(who of course would soon move on to bigger things as a frontman of Deep
Purple) modelling Carnaby Street 'kaftans' designed by John Stephen, 1967</div>
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Eric Burdon sporting 'kaftan' and Afghan coat - ultimate hippie combo - on the day of his wedding, 1968.<br />
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Dantalian's Chariot, 1968 <br />
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British psych band The Mode outside Walthamstow Town Hall, 1968<br />
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Spanish psych band Los Kifers, 1968 <br />
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Italian band I Nomadi, 1967<br />
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Italian psych band Le Orme, 1967<br />
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French pop star Johnny Hallyday, 1967<br />
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Keith Relf of The Yardbirds, 1967<br />
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Jimmy Page, 1967<br />
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Cliff Wade and The Roll Movement, 1968<br />
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Actor David Hemmings with his wife Gayle Hunnicut, 1969</div>
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Ringo with Eva Aulin, 1968<br />
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Mick Jagger, 1967</div>
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Psychedelic kaftans/Nehru jackets went out of mainstream fashion around 1968. Very strongly associated with late 1960's, they are popular among revivalists. Clothing labels strongly influenced by 1960's fashions such as <a href="http://www.artgalleryclothing.co.uk/" target="_blank">Art Gallery</a> or <a href="http://www.prettygreen.com/" target="_blank">Pretty Green</a>, make kaftans and Nehru jackets today. </div>
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Yours truly..</div>
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BIBLIOGRAPHY AND IMAGES<br />
<i>The 60's</i> by Bill Harry<br />
<i>Hippie</i> by Barry Miles <br />
Wikipedia<br />
<a href="http://anorakthing.blogspot.co.uk/" target="_blank">Anorak Thing</a> ,<a href="http://smashingbird.blogspot.co.uk/" target="_blank"> Smashingbird</a>, <a href="http://modrules.tumblr.com/" target="_blank">Away From The Numbers</a>, <a href="http://nutgone.tumblr.com/" target="_blank">Afterglow</a><br />
<a href="http://jenny-boyd.tumblr.com/" target="_blank">Sea Of Joy (I Don't Like Mods)</a><br />
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Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com4tag:blogger.com,1999:blog-4684288298781691042.post-7468682466238258292013-06-16T20:28:00.001+01:002013-06-16T23:30:15.009+01:00This Way To The Speakeasy<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi40MMuVSQCocGOuKRDwxpu-eCk9NHfCzlLt07nliX49-LNE6RTvy2nAv2uFSaeM_vEqo3pFwyc-wOlGdGi6c4Gc1FuxkBl32vLFd8qWm4fUE_x9Iz8WPmbXfiXuaGX21faI7pdhuniLeQ/s1600/IMG_0003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi40MMuVSQCocGOuKRDwxpu-eCk9NHfCzlLt07nliX49-LNE6RTvy2nAv2uFSaeM_vEqo3pFwyc-wOlGdGi6c4Gc1FuxkBl32vLFd8qWm4fUE_x9Iz8WPmbXfiXuaGX21faI7pdhuniLeQ/s320/IMG_0003.jpg" width="200" /></a></div>
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Co-managers of Speakeasy Roy Flynn and Mike Carey with female friends, 1967</div>
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Recently, I found this NME article from May 1967 about Swinging London club Speakeasy. It was a regular hangout for the musicians of the era. The club, located at 48 Margaret Street, opened in the late 1966, and soon became what Tony Bacon describes in his book<i> London Live</i> as <i>Handy new watering hole, a prime early hours jamming post, and altogether useful hanging-out kind of place</i> (p 101). The decor of the club was inspired by prohibition-era American speakeasies - it even had a fake 'front' - an undertaker's parlour. Another prominent feature of the venue was a portrait of Al Capone painted by Barry Fantoni.</div>
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NME article by Norrie Drummond (click to enlarge)</div>
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Managers Roy Flynn said in the NME interview:<i>We want The Speakeasy to be a club which people really like to go to rather than the one which people go to, because it's the done thing</i>. Soon, however Speakeasy would become absolutely out of bounds for ordinary people. As Tony Bacon writes: <i>It became legendary as the club to which entrance was easy only for those with at least one hit record that week. 'Hard to get into? No , nearly impossible if you're not a member' wrote Penny Valentine in Disc, "and even harder because it's so full. Therefore try to latch on to a happy-hippie scene goer who belongs"</i> (p 103). </div>
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Apart from being a rock stars' hangout, The Speakeasy was also, an uber-exclusive gig venue. In the article, The Soft Machine are described as 'resident group' and are pictured jamming with Jimi Hendrix. <i>A stream of good bands performed at the Speak</i> - wrote Tony Bacon - <i>Hendrix's Experience was among the first in January 1967. Marianne Faithfull said that when she went there to see the great guitarist with Mick Jagger, Mr. Jimi tried to seduce her, whispering: 'What are you doing with this jerk, anyway?'. Cream appeared in August, just before jetting off for their first US tour with compere Frank Zappa introducing them as 'dandy little combo'</i> (...) </div>
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Interior of the Speakeasy</div>
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<i>The Speakeasy was also the key place to go if you fancied a jam.'There was a lot of blowing at the Speak', Charlie Whitney of Family agrees.'People like Ritchie Blackmore would just get up. Hendrix was always blowing there. Couldn't get him off! He didn't care what he played, either: guitar, bass, anything he'd be there. And with anybody. It was definitely the after-hours musician's place. Chris Welch from Melody Maker had another theory for the Speakeasy's popularity.'(It was) because of the tireless patience of the head waiter and the staff, who didn't seem to mind too much when Mr. Moon appeared naked letting off fire extinguishers, or Ginger Baker hurled the odd dinner at some rival who displeased him'. For some, however, it was all a bit too much. Soft Machine's Robert Wyatt, for example:'Rock groups meeting in expensive clubs that are difficult to get into? What's all that crap?</i> (p 104).</div>
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Hendrix and entourage at the Speakeasy, 1967</div>
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Speakeasy aside, on the same page of NME as the Speakeasy article, there are two ads - one for cool clothing outlet Harry Fenton, and one for Lambretta.</div>
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Although it's hard to find any information about Harry Fenton, the ad is certainly impressive - it pictures a hip young man in double-breasted jacket - a dedicated follower of fashion, whom you'd expect to see on the streets of London in 1967.<br />
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The Lambretta ad looks, by comparison, pretty dated. Yes, the font at the top hints at 'flower-power', but the drawing of a mod and his female companions belongs more to 1965 rather than 1967 (apparently, in 1967 scooter sales in Britain had fallen dramatically, forcing Vespa and Lambretta to do aggressive ad campaigns. Vespa even tried to launch a trend for 'flower-power scooters' with psychedelic patters. Luckily, it didn't catch on).<br />
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<i>Sources: NME magazine, issue from (week ending) 20 May, 1967</i><br />
<i>Tony Bacon, London Live, Balafon Books, London, 1999</i>Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com5tag:blogger.com,1999:blog-4684288298781691042.post-725826978616682902013-06-09T15:11:00.001+01:002016-04-16T14:10:02.878+01:00Small Faces - 1960's Peacock Style Icons<div class="separator" style="clear: both; text-align: center;">
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Small Faces photographed by Gered Mankowitz in 1968</div>
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For some reason, I've never devoted much space to Small Faces in here, so it's about time I did a little post about them. Not only they were one of the best British bands of the 1960's, but they were also one of the best <i>dressed</i> bands of that era. Although undoubtedly the mod icons - Steve Marriott deserves a nickname 'Modfather' much more than Paul Weller - they remained a great-looking band even after Mod style went out of fashion. It is rumoured that during their existence, the band would spend roughly about £12.000 on clothes each year. Although this figure simply <i>must be</i> an exaggeration - £12.000 in the mid-Sixties was an equivalent of around £270.000 today - Small Faces certainly were very frequent visitors to Carnaby Street and King's Road. Here, I've put up some of my favourite photos of Small Faces as well as some original ads and articles from 1966 - 1968 period, when Marriott and co. abandoned Mod fashions and 'went psychedelic'. </div>
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Steve Marriott and Ronnie Lane shopping in Carnaby Street during last days of Mod in 1966</div>
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Covers of <i>Rave</i> magazine from 1966-1967 featuring Steve Marriott, Ronnie Lane and female friends</div>
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Kenney Jones <i>circa</i> 1966</div>
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Ronnie Lane in 1966. I love that double-breasted jacket he's wearing..</div>
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Shot from <i>FAB 208</i> magazine, April 1967</div>
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Small Faces poster in <i>Record Mirror</i>, 1967</div>
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Small Faces in <i>Jackie</i>, 1967</div>
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TV performance, 1967</div>
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1967</div>
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Small Faces in <i>Top Pops</i>, 1967. I love Ian McLagan's shirt.</div>
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Press ad for Small Faces' first album</div>
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<i>NME</i> article about Small faces shared house in Pimlico, 1966</div>
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Small Faces performing 'Tin Soldier' on German TV show The Beat Club in 1967. I love Steve Marriott's frilly shirt..</div>
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Small Faces in their psychedelic gear, 1967</div>
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Marriott and Lane onstage, 1967</div>
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<i>Happiness is a Small Face</i> - article on Small Faces in <i>Mirabelle</i>, 1967</div>
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<i>Pop Romance</i> - Article in <i>Rave</i> magazine about Steve Marriott's short-lived affair with Chrissie Shrimpton - younger and prettier sister of Jean (and Mick Jagger's ex), 1967.</div>
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Steve Marriott and Chrissie Shrimpton, 1967<br />
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During a photoshoot for a cover of <i>There Are But Four Small Faces</i>, 1967 <br />
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Press ad for <i>There Are But Four Small Faces</i>, 1967<br />
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Ronnie Lane, 1967<br />
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Steve Marriott, 1967<br />
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Ian McLagan marries <i>Ready Steady Go</i> dancer Sandy Sargent, 1968 <br />
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Small Faces on the cover of <i>NME</i> during the release of the single 'Lazy Sunday', April 1968<br />
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Steve Marriott's Diary.....<br />
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Small Faces photographed by Gered Mankowitz, 1968<br />
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I'll end with my favourite Small Faces song - 'Understanding'. It's an ultimate 'feelgood' song. There's so much power in Steve Marriott's vocals...why was this song only a B-Side to 'All Or Nothing', I will never understand..<br />
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<i>Source of the photos</i>: Paolo Hewitt, <i>Small Faces - The Young Mods' Forgotten Story</i>,London, Acid Jazz, 1995<br />
<i>Uncut</i> Magazine, <i>Mojo</i> Magazine </div>
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Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com6tag:blogger.com,1999:blog-4684288298781691042.post-26342009088156953982013-06-07T13:50:00.001+01:002013-06-07T13:50:01.768+01:00A Dandy On Tumblr<div class="separator" style="clear: both; text-align: center;">
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Since everybody else seems to be doing it, I started <a href="http://adandyinaspic.tumblr.com/" target="_blank">tumblr page</a>. Basically, It's just like this blog, but without a text. At least for now. I've spent a lot of time this week putting up all the best images from here on tumblr and adding some which aren't here, but definitely should be...<br />
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Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com0tag:blogger.com,1999:blog-4684288298781691042.post-47025945332430555292013-06-01T16:54:00.001+01:002013-06-04T12:19:44.086+01:00"Groupie" By Jenny Fabian<br />
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I finally got round to reading <i>Groupie</i> by Jenny Fabian and Johnny Byrne. This book, first published in 1969 quickly achieved cult status for more than one reason. Not only it was the first detailed insight into the groupie phenomenon and the world of sex, drugs and Rock n' Roll, but it was also the first time the quintessential sixties slang was used in English literature. As Jonathon Green wrote in the preface to the 1997 edition: <i>"Groupie" gets 22 citations in the Oxford English Dictionary from "downer" to "trippy" and "spliff" to "uptight", a mini-lexicon of Sixties-speak </i>(p. iv). <br />
The book itself is a fictionalised account of London's sixties underground music scene by real-life groupie Jenny Fabian. I say 'fictionalised', but there's very little actual fiction in the novel - the names of bands, members, places,etc. are probably the only departure from reality. And everybody knew who the musicians in the novel were, anyway...Here's a list of the names in the book and their real life equivalents...<br />
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Satin Odyssey = <b>Pink Floyd</b> (Ben = <b>Syd Barrett</b>)<br />
Big Sound Bank = <b>Zoot Money's Big Roll Band</b><br />
The Transfer Project = <b>Dantalian's Chariot</b> (Davey = <b>Andy Summers</b>)<br />
The Savage = <b>Eric Burdon & The Animals</b><br />
The Dream Battery = <b>The Soft Machine</b><br />
Jubal Early Blowback = <b>Aynsley Dunbar's Retaliation</b><br />
Relation = <b>Family</b> (Joe = <b>Ric Grech, </b>Grant<b> = </b>Family's manager Tony Gourvish)<br />
The Elevation = <b>The Nice</b> (Andy = David O'List)<br />
The Shadow Cabinet = <b>The Spooky Tooth</b><br />
The New York Sound And Touch = <b>The Fugs</b><br />
The Jacklin H. Event =<b> The Jimi Hendrix Experience</b> (Sam =<b> Mitch Mitchell</b>)<br />
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Unlike Pamela Des Barres's <i>I'm With The Band</i>, which was written from a perspective of a few decades, <i>Groupie</i> was written and published within few months in 1969. It can be seen as an advantage - all the events were still fresh in author's memory. But it can also be a disadvantage. The book is almost like a diary - there is not much of a story developing here, and the plot does not progress towards any sort of conclusion. It is strictly an account of what Katie (Jenny Fabian, obviously) does, without much of an introduction or ending. The book does not end - it cuts off, more like. Still, it provides a great insight into psychedelic underground of Swinging London. Most of the events in the book take place in 1968. It starts off with a graphic description of Katie's one night-stand with Ben of Satin Odyssey - Syd Barrett, literally days before his departure from Pink Floyd, who was already in a very bad mental state. Throughout the book, Katie has many one night-stands with various musicians, but she also has three 'regular' boyfriends - first it's Davey (Andy Summers), and then, when she moves in with Relation (Family) she has a love triangle with Joe (Ric Gretch) and Grant (family's manager Tony Gourvish). Some of the musicians are portrayed by Fabian in a quite a positive light, others less so. She was clearly infatuated with Andy Summers (Davey in the novel) - and she describes their affair as happy and harmonious.<br />
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Andy Summers <i>circa</i> 1968</div>
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1968 was a busy year for Andy Summers. He played guitar for Zoot Money's Big Roll Band and their psychedelic side project, Dantalian's Chariot, with whom he scored a small underground hit, 'Madman Running Through The Fields'. </div>
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Dantalian's Chariot, 1968</div>
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Around the summer 1968, Andy Summers joined The Soft Machine as a touring guitarist, and went with them to America, which put an end to his relationship with Jenny Fabian (although he was writing her passionate love letters). After the tour ended, he stayed in America,where he briefly joined late incarnation of The Animals. He reappears at the end of the book - him (Davey) and Jenny (Katie) decide to stay friends and he contemplates quitting music and going to acting school (which didn't happen - he stuck to music, eventually achieving stardom in the late 1970's as the guitarist of The Police).</div>
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After Davey's departure to America, Katie starts a relationship with Joe from Relation (Family's Ric Gretch). Now, if there's a villain in the book, it's Joe. Fabian portrays him as misogynistic, manipulative and generally rather nasty (and at the same time weak-willed and rather insecure).</div>
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Jenny Fabian (left) and Ric Gretch (centre), circa 1968</div>
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She dumps him for Relation's manager, Grant - probably the most complex of all the characters. Very masculine, dominating and also quite misogynistic, yet at the same time with a surprising soft side. Him and Katie have a pretty complicated relationship (which doesn't stop Katie from her pastime as a groupie).</div>
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Although she gets mistreated by a lot of men, surprisingly, you never hear Katie moaning about how rubbish men are - in fact, she enjoys mind games, which clearly shows in her relationship with Grant. Still, a lot of things written in the book indicated that sexual liberation and free love did not work as well as young people wished.</div>
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Katie is also quick to mention that she is not <i>just a groupie</i> - throughout all the time she works - first as a journalist, and then as booking agent/door girl for the hip club The Other Kingdom - Middle Earth, in real life.</div>
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Logo and poster for a gig at Middle Earth, 1968<br />
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Middle Earth was a club in Covent Garden, famous for the psychedelic light projections. Anybody who was anybody played/was seen there between 1967 and 1968. In Groupie, Jenny Fabian provided some interesting insight into how the club operated. </div>
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In 1968, Middle Earth moved from Covent Garden to a bigger venue - Roundhouse in Camden. There, it hosted even more high profile gigs - here's a poster for Doors/Jefferson Airplane concert, which Jenny Fabian mentions in the book - exceptionally using real band names.</div>
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Poster by Alan Aldridge for Led Zeppelin's gig at Middle Earth</div>
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Poster by <a href="http://dandyinaspic.blogspot.co.uk/2013/04/michael-english-and-psychedelic-art-of.html" target="_blank">Michael English</a> for an event at Middle Earth, 1968</div>
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Jenny Fabian was also involved in organising the ill-fated International Pop Festival in Rome, about which she talks extensively in <i>Groupie</i>.</div>
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Poster for International Pop Festival in Rome by Michael English, 1968.</div>
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Jenny Fabian in 1968 </div>
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All in all, <i>Groupie</i> makes an enjoyable reading, especially to those who are into 1960's. It gives a fascinating insight into the scene, the music and the language of 1960's Swinging London. What struck me most about it was how clear the divisions between 'us' and 'them' were. You could tell (as Katie in the book often does) almost instantly by somebody's clothes, language which category a newly met person was falling into. It was a kind of generational unity which does not seem to exist today. What a shame...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJwtEiGVpvYNyBNCxvppPKWP3t0zRo1FBYASOHNXkhrOc_8pR0v_eUCkfhKgAtawivgVeAPhhXHQVF5afjzbsCEqW-NMsZbNXnFwpZ70yfC3e2RovRopXZM2QkyAc5AV0fjSJBPN_zyXs/s1600/groupie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJwtEiGVpvYNyBNCxvppPKWP3t0zRo1FBYASOHNXkhrOc_8pR0v_eUCkfhKgAtawivgVeAPhhXHQVF5afjzbsCEqW-NMsZbNXnFwpZ70yfC3e2RovRopXZM2QkyAc5AV0fjSJBPN_zyXs/s320/groupie.jpg" width="198" /></a></div>
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Dutch edition of <i>Groupie</i>, that's what I call a cool cover..</div>
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<i>Source of the images: London Live by Tony Bacon, <a href="http://londongrip.co.uk/2009/10/leaving-no-turn-unstoned/" target="_blank">London Grip</a>,tumblr, <a href="http://www.users.globalnet.co.uk/~edw/groupie/groupie.htm" target="_blank">The Groupie website</a>, <a href="http://tarkus-magicmac.blogspot.co.uk/" target="_blank">Magic Mac </a></i><a href="http://tarkus-magicmac.blogspot.co.uk/" target="_blank"> </a></div>
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Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com13tag:blogger.com,1999:blog-4684288298781691042.post-33842141857618881742013-05-28T23:36:00.002+01:002013-05-28T23:36:34.875+01:00Men In Vogue<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1qos-PnHhgIQEFugdTRpq8hyphenhyphenyDco9X0jK8wkL_J-ZnK5hddePOO397h2Vwve4udJAsrehs7nziVSxvUlXJgCXkyUT8DBa1tqDlXlEmGeaYwLrOgtCOLcFmTtsGkkkTxZi4WVI5fnShc4/s1600/menvogue1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1qos-PnHhgIQEFugdTRpq8hyphenhyphenyDco9X0jK8wkL_J-ZnK5hddePOO397h2Vwve4udJAsrehs7nziVSxvUlXJgCXkyUT8DBa1tqDlXlEmGeaYwLrOgtCOLcFmTtsGkkkTxZi4WVI5fnShc4/s320/menvogue1.jpg" width="231" /></a></div>
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Cover of Men In Vogue, Autumn/Winter 1969 Issue </div>
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Three issues of Men In Vogue are currently for sale on ebay. This short-lived edition of British Vogue is something of a holy grail for collectors of 1960's fashion magazines. Copies are rare as hen's teeth, and hardly ever pop up even in the auction houses, let alone ebay. The only copies in existence that I knew of, were in the archives of V&A. Until now, the only glimpse I had into that magazine was when my dissertation tutor at University showed me some of the photocopies he took at V&A. I remember it was a pretty exciting stuff - some great examples of 1960's Peacock style, with regular features on such designers as Michael Rainey, Rupert Lycett-Green or Mr. Fish, and great photoshoots by David Bailey, Michael Cooper, Patrick Lichfield and many others....</div>
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Luckily, the ebay seller took photos of few pages of the magazines, which I put up here.</div>
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Men In Vogue was a quarterly magazine published in London between 1965 and 1970. The fashion editor of the magazine was <a href="http://dandyinaspic.blogspot.co.uk/2011/11/christopher-gibbs-icon-of-1960s-peacock.html" target="_blank">Christopher Gibbs</a> - Swinging London scenester, style arbiter and notorious dandy. The existence of the magazine coincided with the Peacock revolution in male fashion in 1960's, and the style was championed by Men In Vogue.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8HcF7HGfG11VB60f4iU5IEhAmGfTCW4iilgs3QLeWLq7VAbqZbDQwhVtTCQBZxp9DC4UmWzBmwhxoKPsVcOM2MiQEBIeXyQJmLTufKOO-m9Ra3jP3Ty4zUpDfowhCzISfdY1tg5Y4cU/s1600/menvogue3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8HcF7HGfG11VB60f4iU5IEhAmGfTCW4iilgs3QLeWLq7VAbqZbDQwhVtTCQBZxp9DC4UmWzBmwhxoKPsVcOM2MiQEBIeXyQJmLTufKOO-m9Ra3jP3Ty4zUpDfowhCzISfdY1tg5Y4cU/s320/menvogue3.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu3W0hXLNdl9zGPfWWXNAIHlE7zAoevkaYpEX-iTOoQLSBv6LtbVCaKevSoT4EDCdXMjAgggzet3F7rprQ8IHeqdt_-Gn3aVgVpO9B4ii-01IMtsWrklZX7qd40B2fl2hsIqfwZswvTUY/s1600/menvogue4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu3W0hXLNdl9zGPfWWXNAIHlE7zAoevkaYpEX-iTOoQLSBv6LtbVCaKevSoT4EDCdXMjAgggzet3F7rprQ8IHeqdt_-Gn3aVgVpO9B4ii-01IMtsWrklZX7qd40B2fl2hsIqfwZswvTUY/s320/menvogue4.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCo02w-ViGQ5Vh2jJTLg-YJGGMJB6Y2mZrW14PErnEQuEB6SR5SyHewTqJyVSGaU0xwzw5qjgIUeQdRi4avZuRgXsvjey6RtZWBlUtqj_s6n5RI9ucYh1KA3UQNGB0EaVS6SJa33WS3MY/s1600/menvogue8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCo02w-ViGQ5Vh2jJTLg-YJGGMJB6Y2mZrW14PErnEQuEB6SR5SyHewTqJyVSGaU0xwzw5qjgIUeQdRi4avZuRgXsvjey6RtZWBlUtqj_s6n5RI9ucYh1KA3UQNGB0EaVS6SJa33WS3MY/s320/menvogue8.jpg" width="320" /></a></div>
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Autumn/Winter 1969 issue. Those amazing coats are from Austin Reed</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWT_M5hxmS24T1GjN3iZK1BBA80F65TydtX5bUbZccFvNdgfBrvQLV6VN-7HNTw4WkXqn39o72NPok6w5Q4vpGAbut_X1-E-mtpaH9tz8BDcLVCGnt-MAo9y0NugRbzssrC13xJRI9niM/s1600/menin+vogue+1966.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWT_M5hxmS24T1GjN3iZK1BBA80F65TydtX5bUbZccFvNdgfBrvQLV6VN-7HNTw4WkXqn39o72NPok6w5Q4vpGAbut_X1-E-mtpaH9tz8BDcLVCGnt-MAo9y0NugRbzssrC13xJRI9niM/s320/menin+vogue+1966.jpg" width="320" /></a></div>
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Cover of Autumn/Winter1966 issue</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjnDgYVVncR3aKQyrF6FvKcXF6Eiss9upwMqhQV3gzT4sZCaS51EVZGVijlWYvbqnfGt3Ao7DuMUO8TAa_qlKxq6u_w4iedCnmewGEJeZ-w4p1xHMLeBxOiaMomlp5EWqU_xozomaxllU/s1600/menin+vogue1966.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjnDgYVVncR3aKQyrF6FvKcXF6Eiss9upwMqhQV3gzT4sZCaS51EVZGVijlWYvbqnfGt3Ao7DuMUO8TAa_qlKxq6u_w4iedCnmewGEJeZ-w4p1xHMLeBxOiaMomlp5EWqU_xozomaxllU/s320/menin+vogue1966.jpg" width="320" /></a></div>
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Autumn/Winter 1966 issue, which included famous Brian Jones/Anita Pallenberg/Tara Browne photoshoot by Michael Cooper</div>
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The magazines are priced between £120 - £200 (way beyond my budget, unfortunately). All three copies together will set you back nearly half a grand. Something for a 1960's fashion enthusiast with a lot of cash to spare - perhaps some fashion blogger, who could scan and share them properly?</div>
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<br />Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com4tag:blogger.com,1999:blog-4684288298781691042.post-43734619854023265892013-05-25T16:07:00.002+01:002013-06-23T18:28:48.018+01:00More Swinging London Boutiques<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSuiF74gR1sdn_CPJT9v4_QFho-OeN2ssBVUtEAokpKgfeX_5aNCez4wAFmzHXw9rYIJc66UZsyFkwH0_-ebHG7lk6J92N3euxkUpnhquXfKm9CGV5qG-yYHtMan-9WaLKvyB5WOseIkM/s1600/tojumplikealice.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSuiF74gR1sdn_CPJT9v4_QFho-OeN2ssBVUtEAokpKgfeX_5aNCez4wAFmzHXw9rYIJc66UZsyFkwH0_-ebHG7lk6J92N3euxkUpnhquXfKm9CGV5qG-yYHtMan-9WaLKvyB5WOseIkM/s320/tojumplikealice.jpg" width="239" /></a></div>
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To Jump Like Alice boutique, 1967</div>
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Here's some more photos of cool 60's London boutiques..</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPys124kANFRdIFYn6VOnTCQObAoskbBDmvOHJ6OUo_8gANmLNwuiOzxWNRlTXfSI8dQ7V832mHA17Exrk8RQHxFdh7IPiZvsmNushvgMLf0uJTBbNJg0PcsyY4YNdWrYQYchx-uF-Sgc/s1600/justlooking1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPys124kANFRdIFYn6VOnTCQObAoskbBDmvOHJ6OUo_8gANmLNwuiOzxWNRlTXfSI8dQ7V832mHA17Exrk8RQHxFdh7IPiZvsmNushvgMLf0uJTBbNJg0PcsyY4YNdWrYQYchx-uF-Sgc/s320/justlooking1.jpg" width="229" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYbZVBCejuI3nE-HTWy3T6YTci_LarUM8ujBUqZ0amPPuV75LGziA7AaYU3mEZHEBbVpdW8DpY7PT6dW9tbRfaTvrNRrP-7KtccmHuqhOSsLNArJTQ9_NHj0OrhQO6qJnZ5nB16RoZ8BM/s1600/justlooking2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYbZVBCejuI3nE-HTWy3T6YTci_LarUM8ujBUqZ0amPPuV75LGziA7AaYU3mEZHEBbVpdW8DpY7PT6dW9tbRfaTvrNRrP-7KtccmHuqhOSsLNArJTQ9_NHj0OrhQO6qJnZ5nB16RoZ8BM/s320/justlooking2.jpg" width="320" /></a></div>
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Exterior and interior of King's Road boutique Just Looking, 1967</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicwEuV2De-TAco7ZaiZusKhZ2uUGy4ZTFXbUXaiACV1mZ7MULDJg1l9Hmr1v77h-ibeMZroPK0Tzg86w6OnKdVz5hF9lvYHjn3ToS0HRh8YDlN9SEEyTgrhqc_ljkcXKy0_tKRmdyndVk/s1600/wayin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicwEuV2De-TAco7ZaiZusKhZ2uUGy4ZTFXbUXaiACV1mZ7MULDJg1l9Hmr1v77h-ibeMZroPK0Tzg86w6OnKdVz5hF9lvYHjn3ToS0HRh8YDlN9SEEyTgrhqc_ljkcXKy0_tKRmdyndVk/s320/wayin.jpg" width="320" /></a></div>
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Interior of Way In boutique (part of Harrods)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYRqPi5dKbuGTeLse9HDFWfY_Whrc_2iDEFUQDw3DhYuSq4F5NPDfkxGgDpeRSv_k30FScSm8T5Y3S_Lj36RPR7OkTC7TwrJDRvExpe3U2TlmoPgqdWEgET95b3huI4Jqx0SdPQR2reoc/s1600/takesix.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYRqPi5dKbuGTeLse9HDFWfY_Whrc_2iDEFUQDw3DhYuSq4F5NPDfkxGgDpeRSv_k30FScSm8T5Y3S_Lj36RPR7OkTC7TwrJDRvExpe3U2TlmoPgqdWEgET95b3huI4Jqx0SdPQR2reoc/s320/takesix.jpg" width="251" /></a></div>
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Inside the Carnaby Street boutique Take Six, 1966<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlQL-9SqET2VuJUcmyuv-pXGOCpxwTZshhyFqQ-e2wlxIwXrEvH32AhL9V0_RMppu9NvKiE5CVpQeP1KtSQBNyFIOXfIjLtqbGzI0fGIc2YVZqi_7idFhKftAwWkVoEl_yQnmuQAzDXY8/s1600/alice.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlQL-9SqET2VuJUcmyuv-pXGOCpxwTZshhyFqQ-e2wlxIwXrEvH32AhL9V0_RMppu9NvKiE5CVpQeP1KtSQBNyFIOXfIjLtqbGzI0fGIc2YVZqi_7idFhKftAwWkVoEl_yQnmuQAzDXY8/s320/alice.jpg" width="217" /></a></div>
To Jump Like Alice, 1967 </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBkb2TLqQnK5-HR1tEPCcuczXsr4NRctMzb3gF8KJ8J5G_-ICdUSQ8eISzrC-LuVRg8tCoY25iDKpNFcyUsBSLlRNEHGz8-xW6luGV58BMw2hyFCYiyM91c5fmRH9ua1qsTC3bT-8N-zI/s1600/lindaandcarol.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBkb2TLqQnK5-HR1tEPCcuczXsr4NRctMzb3gF8KJ8J5G_-ICdUSQ8eISzrC-LuVRg8tCoY25iDKpNFcyUsBSLlRNEHGz8-xW6luGV58BMw2hyFCYiyM91c5fmRH9ua1qsTC3bT-8N-zI/s320/lindaandcarol.jpg" width="320" /></a></div>
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Very rough-looking owners of Battersea boutique Linda And Carol, 1966</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNVvELdii0DSwC7Yag1M8vAaEszdsSKcWmBEyrVfRjSeUSYNwD4D_nXrILMw1__R2Bxq6mO4uzjajcvBtedqIRoBmgeWv9hMk-gKVd5IYwuxmE0PPUEfkib-tudmSyp8lKG6t78COyhMA/s1600/theshop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNVvELdii0DSwC7Yag1M8vAaEszdsSKcWmBEyrVfRjSeUSYNwD4D_nXrILMw1__R2Bxq6mO4uzjajcvBtedqIRoBmgeWv9hMk-gKVd5IYwuxmE0PPUEfkib-tudmSyp8lKG6t78COyhMA/s320/theshop.jpg" width="320" /></a></div>
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Chelsea boutique The Shop, 47 Radnor Walk, 1967</div>
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According to <i>Gear Guide 1967</i>: <i>The Shop has been there for two and a half years. All the clothes are designed by Maurice Jeffrey and are made on the premises. Trouser suits (all fully lined), including skirts, range from six pounds ten shillings up to ten guineas. Floral coats, of varying lenghts, cost about seven guineas. Light fabric dresses cost as little as two pounds ten shillings up to three pounds ten shillings</i>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPfm5GsWJIXyIMajPXQyq-z5JYqekMHZ8hVPvRAWueMl8JIRK-uhzW2lDdMl-Ml2PLX0IBQa9qo-97kEtYjAvbh36th3OOwB8vtOM6gO-Dm4BP8SvGpt5sTv2iS4Bil_r1bCXihyJQjg0/s1600/shop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPfm5GsWJIXyIMajPXQyq-z5JYqekMHZ8hVPvRAWueMl8JIRK-uhzW2lDdMl-Ml2PLX0IBQa9qo-97kEtYjAvbh36th3OOwB8vtOM6gO-Dm4BP8SvGpt5sTv2iS4Bil_r1bCXihyJQjg0/s320/shop.jpg" width="320" /></a></div>
Pop-Art mini outside The Shop, 1967 </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisFhtJ8vrotkAMPGnQal71qlUyMROEXPRcjxdzl6rPLvABAB8qY6Yms-uiBzj0sUZvrVQ8jiwWIlQ5Dx4wRcJDlzRixhSJwaGzTQ4fBLJvFy7YS1Rb_Q6O1OKg8ofjO3K8GPLt4U-bIf0/s1600/carnaby.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisFhtJ8vrotkAMPGnQal71qlUyMROEXPRcjxdzl6rPLvABAB8qY6Yms-uiBzj0sUZvrVQ8jiwWIlQ5Dx4wRcJDlzRixhSJwaGzTQ4fBLJvFy7YS1Rb_Q6O1OKg8ofjO3K8GPLt4U-bIf0/s320/carnaby.jpg" width="254" /></a></div>
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Carnaby Street, circa 1969</div>
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<i>Source of the images</i>: <i>The Sixties</i> by Lesley Jackson, <i>The 60's</i> by Bill Harry, <i>Gear Guide 1967</i> (reprinted in 2013). </div>
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<br />Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com4tag:blogger.com,1999:blog-4684288298781691042.post-69769997183544394032013-05-24T12:41:00.000+01:002013-08-13T17:11:28.866+01:00Guess I Was Dreaming...<div class="separator" style="clear: both; text-align: center;">
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The laptop/scanner situation is finally sorted (for now, at least) so I can resume blogging. Here's some photos of my girlfriend, myself and random stuff from her flat. Also, I've enclosed some songs I've been listening to all the time in the past few weeks...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIyEXS9slB-K8ZcGxAxn9OaRPAu58l2Ue0Z3QePcRlJF9S7PN1lZ5qL3p-m2rDGNdrxTYwPAwlkEZhLUxxApsV9ovjwztvAkwtZtXL_rNkRkuiMDRiidCsPxi0gKA4nWRq5nKVlVXXtKY/s1600/2013-05-20+13.00.14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIyEXS9slB-K8ZcGxAxn9OaRPAu58l2Ue0Z3QePcRlJF9S7PN1lZ5qL3p-m2rDGNdrxTYwPAwlkEZhLUxxApsV9ovjwztvAkwtZtXL_rNkRkuiMDRiidCsPxi0gKA4nWRq5nKVlVXXtKY/s320/2013-05-20+13.00.14.jpg" width="240" /></a></div>
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My girlfriend in her original 1970's Biba top...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-4S889xugyzPzrUkfwL-_Gzotv3LBh1zU8Vdab1GD8LE_pNOvQytGigd__Mdp8BgC5u16ngMqBqNtknb45S59TVfoAzeOV9tHIikq5KzOks-AQavhKxYle7hM_19laCETrO1aQSHI9nM/s1600/flat2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-4S889xugyzPzrUkfwL-_Gzotv3LBh1zU8Vdab1GD8LE_pNOvQytGigd__Mdp8BgC5u16ngMqBqNtknb45S59TVfoAzeOV9tHIikq5KzOks-AQavhKxYle7hM_19laCETrO1aQSHI9nM/s320/flat2.JPG" width="320" /></a></div>
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some of her other Biba stuff...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbluJJM-EMuBUHrvNHbrRXnWiib0cCVEZoukwCYUK1KFjUbr4JcB4te4Q-vqThb45Af1IFIqHnKXTbNFX9hn72cythTFB0ddFjQl8t-gK1F9M_l6c2XpLYP90MzPgpYPPRSGVdGly2LF8/s1600/931388_10200472917517763_1857758746_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbluJJM-EMuBUHrvNHbrRXnWiib0cCVEZoukwCYUK1KFjUbr4JcB4te4Q-vqThb45Af1IFIqHnKXTbNFX9hn72cythTFB0ddFjQl8t-gK1F9M_l6c2XpLYP90MzPgpYPPRSGVdGly2LF8/s320/931388_10200472917517763_1857758746_n.jpg" width="320" /></a></div>
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Me in my favourite kaftan..</div>
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"The Wedding Of Ramona Blair" by The Mirage - great piece of British Pop-Psych from 1967. This song sounds like a lost recording of <i></i><i>Sgt. Pepper</i> - era Beatles...</div>
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"Guess I Was Dreaming" by The Fairytale - another British Popsike song from 1967. I've only first heard it last week at the Cave Club in London, and I thought it was the best song ever...When listened to it again, sober, I was less impressed. But I still think it's worth a listen..</div>
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My girlfriend in her vintage 60's dress (no label on it, unfortunately..) I love the Regency-style cuffs...</div>
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Brighton Seafront..</div>
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"In The Deep End" by The Artwoods. Mod/Psych from 1967</div>
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Clara Bow - inspired outfit.. </div>
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And I'll end with this great psychedelic freakout from Eyes Of Blue - "Prodigal Son" from (of course) 1967... </div>
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<br />Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com5tag:blogger.com,1999:blog-4684288298781691042.post-68292332398069735842013-05-18T15:04:00.000+01:002013-05-18T15:04:32.678+01:00"Disgrace" by Barbara Hulanicki - A 'Swinging London' Novel<br />
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Before I start discussing the book, I just want to say that in the past few weeks, I have been forced to take a temporary hiatus from blogging. Unfortunately, my laptop broke down, and my girlfriend's laptop which I am using at the moment, is incompatible with my obsolete scanner. So, until I've sorted it out, the posts will be less frequent, although I'll try to post as often as I can...<br />
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Anyway...<br />
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We all know Barbara Hulanicki as a founder of Biba and one of the most influential fashion designers of late 1960's/ early 1970's. Those more interested in her story know that from late 1970's onwards, she also had a very succesul career as an interior/product designer in Miami (very well summarised in the recent book <i>Seamless From Biba</i>). But how many people know that on top of all that she also wrote a novel? And I don't mean her autobiography <i>From A To Biba</i>, but the actual novel? It was titled <i>Disgrace</i> and it was published in 1990. There is very little information about it online, and since I've read it recently, I thought I could do a little post about it...<br />
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I would lie if I said I had particularly high expectations. Fashion designer turned author? That awful 1980's - style cover design did not help my initial impression, either. But when I started reading the book, I was pleasantly surprised. While certainly not a great piece of literature, <i>Disgrace</i> has a well-constructed and engaging storyline. What's more, it provides an interesting insight into the period which Barbara Hulanicki must know so well - the 1960's Swinging London. <br />
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<i>Disgrace</i> is a story of two young women - sisters Milla and Georgia Frayne, and their aunt Eva Lubinski. Milla and Georgia were raised by Eva after their mother - and Eva'a sister - died in a car accident along with her husband. Rich, aristocratic and very grand Eva brings up Milla and Georgia in a mansion in Knightsbridge. All three ladies are the last surviving members of once-great Polish aristocratic family, The Lubinskis. Although girls' father was a middle class English doctor, Eva wants to make true aristocratic ladies out of Milla and Georgia - a future wife material for a prince or a viscount. But then, well...The Sixties happen.<br />
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Out of two sisters, Milla is the rebellious one. She hates her aunt and everything she stands for. She doesn't care much for her obedient little sister Georgia, either. Desperate to make her own way in the world, Milla runs away from home when she's sixteen. Georgia, on the other hand only lives to please her aunt. She gets sent by Eva to Le Circle - a finishing school for young ladies from high society. The main purpose of Le Circle is to provide a young girl with an opportunity to meet a suitable, aristocratic husband. Georgia enters the world of debutante balls, and quickly becomes a 'toast of town' in the microcosm of Chelsea aristocracy. She gets infatuated with a young baronet - Sir Cosmo Manting. Aunt Eva is delighted. In her world, somebody like Sir Cosmo is a great husband material for Georgia. But it's 1965, and reality is much different. Penniless aristocrat Cosmo fancies himself a little bit of a bohemian. He hangs around in beatnik coffee bars, he does a lot of drugs, and he has shady dealings with East End gangsters. At one point he takes Georgia to a sleazy Soho nightclub (which he co-runs), where she is drugged and nearly raped by Cosmo's business associates. She gets discovered following morning by the police - naked and unconscious in a Soho back alley. She ends up on the front pages of a gutter press. Aunt Eva is devastated. She would expect this sort of thing of Milla, but not Georgia. Eva sends Georgia to South of France until things cool off. But it turns out to be a very bad move. Within days of arriving, Georgia meets shady French film director, who <i>used to hang out with Roger Vadim before he got famous</i>. He promises to turn Georgia into a film star - the next Brigitte Bardot. Soon Georgia finds herself at the centre of another scandal...<br />
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At the same time, Milla, completely estranged from her family, works in a dead-end job in a big department store. Her posh accent sets her apart from her co-workers, and she has few friends. When she reads about her sister in tabloids, she has a feeling that life is passing her by. And yet, Milla is determined to succeed - she has a great idea for her own business , and she comes up with an elaborate scheme, involving seduction and blackmail, to make her dream come true.<br />
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Finally there is Aunt Eva. In the series of flashbacks to 1930's Poland, we find out about her life and what made her a person she is. She was an illegitimate child of Count Lubinski. As such she was not allowed to bear Lubinski name , and although she was brought up in the Lubinski's mansion, most of the family was not aware that she was Count's daughter. Eva spent her early years forced to live a humiliating life of a personal servant to her own half sister, Aleksandra. She wasn't bitter, though. She adored her family, and thanks to this attitude, gradually she gained her father's respect. And then the scandal happened. Her half brother, not realising that they were, in fact, related, fell in love with her. Although the scandal brings her closer to her father - she is finally allowed to take Lubinski name - she cannot stay in the mansion , and the Count sends her to Paris, where he owns a townhouse. In Paris, Eva is introduced to Paris high society and does what any young girl from her background would do - she tries to find a suitable husband. After a few unsuccessful 'matches' she meets a an older (and very rich) American banker, whom she promptly marries. When the Second World War breaks, her husband takes her from occupied Paris to a safety in Switzerland. In the last months of the War, Eva's husband dies of cancer, and leaves Eva his entire fortune. After the War, Eva discovers that her entire family was killed during the war - with an exception of Aleksandra, whom Eva finds in a refugee camp in Austria. Aleksandra's wartime experiences (she was involved in the insurrection in Warsaw) leave her in a very bad physical and mental condition. She has spent some time as a street beggar eating out of the dustbins. After Eva and Aleksandra's reunion, their pre-war roles are reversed - this time Eva is the rich sister in control. Eva feels a tremendous responsibility on herself - she wants to save what's left of the Lubinski family. She hires a young English doctor to care for Aleksandra. Soon Dr. Frayne and his patient fall in love....And, as we find out, Eva also has a dark secret of her own. In the early days of her marriage, something happens to Eva that would change her life forever...<br />
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In <i>Disgrace</i> there is an interesting juxtaposition of two worlds -a hedonistic, swinging 60's world in which Milla and Georgia live, and older world of grand aristocracy in which Eva had lived - a past which she refuses to let go. She is blind to the changes happening in the world and it affects her judgement and her relationship with Milla and Georgia. Strangely enough, the book seems to be much more nostalgic after Eva's times, rather than the 1960's. But there are few interesting observations about the 1960's as well.<br />
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There is one bit which readers of this blog should find interesting. When Georgia comes back from France, she gets back in touch with Cosmo, who by now runs a hip boutique just off King's Road called The Teapot - which judging from description was blatantly based on <a href="http://dandyinaspic.blogspot.co.uk/2011/07/hung-on-you.html" target="_blank">Hung On You</a> or <a href="http://dandyinaspic.blogspot.co.uk/2011/07/granny-takes-trip.html" target="_blank">Granny Takes A Trip</a>: <i>She had never seen a shop like it. It was in a side street, not far from Sloane Square, and she would have missed it completely if she had been driving past. As it was , she thought she must have come to the wrong place. There was no name on the front, just a big painting of a pink teapot covering the entire window so you couldn't see what there was inside. Cosmo must have seen her dithering on the pavement, because he came rushing out and gave her a big hug and a very mushy mushy kiss on the mouth. He was a surprise, as well. He was wearing an old-fashioned army jacket, scarlet, with a high collar and brass buttons down the front. His hair was long and shaggy and he had the beginning of a little goatee beard. He bowed deeply and ushered her inside. 'Welcome to the Teapot' he said</i> (...) <i>It was even stranger inside. The whole place was full of dark drapes printed with exotic designs, with matching pillows all over the floor and a platform at the one end where Cosmo went t sit, crossed legged like buddha.</i> (...) <i>There was a smell of joss sticks hanging over everything and a smell of something else that she thought must be pot, judging from the name of the shop </i>(...) <i>Georgia couldn't see many very many clothes hanging up in the shop. There were two long dresses in plain ecru cotton with high lace necks and pearl buttons down the front, and a black silk jacket, with heavy gold epaulettes and gold piping, was draped over a dressmaker's dummy in the centre of the room. She asked Cosmo where the rest of the stock was and he said they didn't do stock, just made things to order for very special people. The jacket was for Wilfred, of Wilfred and The Wonderboys, who were on at the Palladium the next week. He was going to wear it for the show. He was coming to collect it in a minute, and another one like it, only in red. He looked at her, waiting for her to be impressed, and she said, 'Oh, wow.' A lot seemed to have happened while she was away</i> (p 236 - 237). <br />
Cosmo may or may have not been based on Michael Rainey - the aristocratic owner of Hung On You, who , just like Cosmo in the novel, sold his shop and went to live in a hippie commune...<br />
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In the book, Milla opens her own King's Road boutique as well. Impressed by her success, Cosmo talks to Georgia about Milla: <i>Don't you believe it, she's a sharp one, your sister. There is a big change happening here (...) Fashion and shopkeeping is a whole new game and everybody is trying to cash in on it, opening boutiques all over the place but charging the same sort of prices they've been doing for years. Milla was different. She bought designs from people (...) and made them up cheaply so all the little dollies could afford them, and when the designers didn't like their stuff being sold so cheaply, she told them to fuck off and started to do it herself (...) I sometimes wish I'd had the same ideas</i> (p 244). <br />
Doesn't that sound like what Barbara Hulanicki herself did in Biba?<br />
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I don't doubt that a lot of motives in <i>Disgrace</i> were semi-autobiographical. Barbara Hulanicki herself was a daughter of upper-class Polish diplomat, and the character of Eva Lubinski, might have been based on somebody she knew, perhaps even somebody from her own family.<br />
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All in all, Disgrace makes an enjoyable reading, especially if you're into the 60's Swinging London. Hip aristos in kaftans, King's Road boutiques, Coffee bars, Soho nightclubs, deb balls, East End gangsters, hippie communes, French film directors, stories involving sex, drugs, blackmail, incest, love - it's all there.<br />
The book would make a basis for a really cool and stylish TV series. I've always thought that Britain should have it's own equivalent of Mad Men... <br />
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<br />Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com2tag:blogger.com,1999:blog-4684288298781691042.post-35266811744879303602013-05-02T00:02:00.001+01:002016-03-18T19:10:14.823+00:00Deep Purple wearing clothes by Mr. Fish, 1968<br />
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Before Deep Purple established themselves as a hard rock band in early 1970's , they started off as one of the most promising psychedelic/progressive acts in Britain. Their 1968-1969 line-up with Nick Simper on bass and Rod Evans on vocals recorded two great heavy psych albums inspired by what bands like Vanilla Fudge or Iron Butterfly were doing around the same time. When they scored their first American number one hit with 'Hush', they invested in some new clobber at <a href="http://dandyinaspic.blogspot.com/2011/07/mr-fish.html" target="_blank">Mr. Fish</a>'s boutique.As Jon Lord (far right in the photo above) remembers: <i>That leather coat cost more than I'd earned in my entire life. It was all bought one mad afternoon at Mr. Fish. Working-class lads being dressed by a top designer, we weren't going to say no. We wanted to be a progressive band but we didn't know how. I remember thinking it was the most wonderful time, with total freedom</i> (<i>Uncu</i>t, Issue 163,December 2010, p 16).<br />
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Here's some more photos of psych-era Deep Purple from 1968-1969..<br />
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From left: Rod Evans, Jon Lord, Ritchie Blackmore, Nick Simper, Ian Paice. (1968)</div>
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Rod Evans and Jon Lord wearing what looks like the same kaftan, 1968</div>
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Deep Purple, with Ritchie's and Jon's girlfriends, Dorchester Hotel, London, 1968<br />
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1968</div>
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Deep Purple Mk I doing a psych/prog version of Beatles' 'Help!' in 1968. I love that coat Ritchie Blackmore is wearing...</div>
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<br />Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com4tag:blogger.com,1999:blog-4684288298781691042.post-60673264374739304382013-04-28T14:06:00.000+01:002013-04-28T14:09:00.791+01:00Valentine Magazine 1970 - 1971 #2<br />
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Here's some more articles, fashion features, ads and great psychedelic comics from Valentine Magazine.<br />
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I love that shirt! (1970)</div>
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Front and back covers of issue from January 1970.</div>
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Teenage suedehead talking about his love life..(click to enlarge)</div>
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<i>He was the dishiest bloke around.</i>... </div>
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From the fashion section</div>
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Article in which girls talk about their jobs. The girl in the photo apparently worked in Blaises nightclub, which was a regular hangout of Brian Jones, Ossie Clark and many other Swinging London celebs. Shame that in the article she doesn't say anything even remotely interesting. </div>
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<i>How to beat the big freeze?</i>....By putting on mini skirt and going without a coat, f course (January 1970)</div>
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Back cover of May 1970 issue</div>
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Maxi dress and feathercut..</div>
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<i>Scanned from Valentine Magazine, Issues from (week ending) January 10th 1970, April 18 1970 , April 25 1970, May 16th 1970, March 13th 1971. </i></div>
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Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com2tag:blogger.com,1999:blog-4684288298781691042.post-39255396102079867122013-04-25T21:46:00.000+01:002013-04-25T22:17:21.537+01:00Permissive (1970)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM0b_JXyKANI9Ye8Is29g3U4Qv4qB8veFpB14q81U6HjGAq-4tIwf9UO_7d8GZ7aqeG7owNd6uL_pI2oD-zsz97dTI-UnJMXPKSfQ27xDsCYdediIChJ4r1nt05-Vj6PGiUMx9AiVSPA66/s1600/permissive7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM0b_JXyKANI9Ye8Is29g3U4Qv4qB8veFpB14q81U6HjGAq-4tIwf9UO_7d8GZ7aqeG7owNd6uL_pI2oD-zsz97dTI-UnJMXPKSfQ27xDsCYdediIChJ4r1nt05-Vj6PGiUMx9AiVSPA66/s1600/permissive7.jpg" /></a></div>
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The film <i>Permissive</i>, directed by Lindsay Shonteff and released in 1970, was another British movie penetrating the promiscuous Rock scene of late 1960's and early 1970's. Just like <a href="http://dandyinaspic.blogspot.co.uk/2012/11/groupie-girl-1970-original-almost-famous.html" target="_blank"><i>Groupie Girl</i></a> (also made in 1970), <i>Permissive</i>, focuses on the groupie phenomenon. The film tells the story of Suzy (Maggie Stride) - a shy and slightly naive teenage girl who comes to London to stay with her old friend Fiona (Gay Singleton). Fiona is an experienced groupie, who hangs out with prog band Forever More (who were a real-live band signed to RCA). She introduces Suzy into a world of scuzzy toilet venues, musicians on the rise, dodgy roadies, grubby hotel rooms and of course, sex and drugs..<br />
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But soon, the student beats the master. Initially shy Suzy quickly finds her way in this new, promiscuous world, which inevitably lead to a conflict with Fiona, since they both fighting for attention of Forever More's lead singer Lee (unbelievably hairy Allan Gorrie).<br />
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There are interesting similarities between <i>Permissive</i> and <i>Groupie Girl</i>. Both films were made with an intention to cash-up on notoriety of groupies and rock musicians. Both sought to explore - not necessarily <i>exploit</i> - counterculture. Both were made by directors known for making sexploitation flicks, which resulted in <i>Permissive</i> and <i>Groupie Girl</i> being unfairly branded as such. Although sex exploitation is depicted in both films, it is not a main focus point of either. It would be wrong to put them in the same category as, for example, <i>Confessions Of Pop Performer</i> (1974). Neither <i>Groupie Girl</i> nor <i>Permissive</i> try to glamorise the scene or a lifestyle.But although the films were aimed at the older audience, they don't overly try to moralise or condemn the choices of protagonists (something American films of the era often did). <i>Permissive</i> and <i>Groupie Girl</i> are characterised by their brutal realism which brings to mind kitchen-sink dramas of early 1960's (such comparison is furthered by unmistakably British sets - gray skies, rain etc. and the depiction of grubby, un-swinging London in <i>Permissive</i>).<br />
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But there are substantial differences between two films as well. Unlike<i> Groupie Girl, Permissive</i> almost aspires to be an arthouse film which is particularly visible in the way film was shot. There is a generous use of flash-cuts, clearly inspired by <i>Easy Rider</i> (1969). Just like in <i>Easy Rider</i>, where you can see a flash-cut premonition of Peter Fonda's and Dennis Hopper's death during a scene at the brothel, in <i>Permissive</i>, the viewer is teased with the flash-cuts of future (and past) scenes all throughout the film, but without major disruptions in film chronology.<br />
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But the biggest difference between the two films is whom the films vilify. In <i>Groupie Gir</i>l,, it was the musicians.In Permissive, it's the groupies.As film critic IQ Hunter writes in his essay about <i>Permissive, "If not exactly feminist, the film echoes feminist disillusionment with the counterculture's ideology of free love. As in "Groupie Girl", the men are arrogantly misogynistic and possessive and women are tolerated insofar as they are useful for sex or chores. (...) Suzy succeeds as as a groupie because she understands the band's misogyny(...) and learns to beat the men at their own game of strategic promiscuity (...) What is missing of course is any sense of female solidarity, and it is Fiona who pays the price for Suzy's own icily methodical exploitation of men's fecklessness and lust. </i><br />
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The original score in permissive is really good - a mixture of heavy psych and prog. Acts that contributed songs to Permissive (apart from Forever More) include prog rockers Comus and Titus Groan.<br />
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And, of course there are some great 1960's and early 1970's fashions, both male and female. That alone is a reason enough to watch <i>Permissive</i>... <br />
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<i>Permissive</i> was recently released on DVD by BFI Flipside. One of the bonus features on the disc is an hour- long comedy from 1971 titled <i>Bread</i>. This film, dug out from a deep obscurity by BFI, was directed by Stanley Long and written by Suzanne Mercer (who, incidentally, were both involved in <i>Groupie Girl</i> - Suzanne Mercer wrote a script based on her own experiences as a groupie). The film follows the misadventures of a group of hippies, who decide to organise a rock festival on the grounds belonging to rich businessman. It is a pretty funny comedy of errors and while watching it, I couldn't help wondering whether it inspired short-lived (but much - underrated) 90's sitcom set in 60's titled <i>Hippies</i>, which starred young Simon Pegg... <br />
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Stills from <i>Bread</i> (1971)</div>
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I recommend both, <i>Permissive</i> and <i>Bread</i> to anybody who is interested in music and fashion of late 1960's/early 1970's counterculture. </div>
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<i>Source of the quotation: Essay "Permissive" by IQ Hunter in a booklet - part a BFI Flipside DVD release of "Permissive".</i></div>
Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com0tag:blogger.com,1999:blog-4684288298781691042.post-2202815880982274042013-04-18T21:17:00.000+01:002013-04-18T21:17:20.282+01:00Thane Russal And Chrissie Shrimpton, 1966<br />
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Chrissie Shrimpton and Thane Russal photographed in 1966 by Richard Avedon.</div>
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Thane Russal, whose real name was Doug Gibbons, was an Australian singer lived and recorded in Britain in the mid-1960's.His most memorable song is the dynamic version of Otis Redding's 'Security' recorded in 1966. In my modest opinion, Thane Russal's version is FAR superior to the original, which sounds pretty generic by comparison (Sorry, Otis Redding's fans..). The brass section from Otis's version is here replaced by melodic guitar riff, and instead of Otis's soulful vocals, we get angry, Mick Jagger-esque snarl of Thane Russal. Indeed, this version could almost pass for a lost Stones song...</div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Vd-pDTSW8lQ?feature=player_embedded' frameborder='0'></iframe></div>
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'Security' was a minor hit in Britain in 1966. John Peel was a fan of the single and played it often on his radio show <i>Perfumed Garden</i>. Thane Russal And Three, as his backing band was called, toured with P.J. Proby, The Searchers, and fellow Mod bands - The Who, The Sorrows and <a href="http://dandyinaspic.blogspot.co.uk/2011/11/action-in-lap-of-mods.html" target="_blank">The Action</a>. They also supported Pink Floyd in Italy. Today, 'Security' is a cult classic for Mod/Psych fans. </div>
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Intersting piece of trivia - 'Security' was produced by certain Paul Raven - real name Paul Gadd - who would later achieve fame (and infamy) as Gary Glitter.</div>
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Here are some photos of Thane Russal and Three from 1965-1966..</div>
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The Three: (from left) Mick Brill, Martin Fisher, Allan Collins and Pete Huish (that's four, surely). Evidently the boys were customers of <a href="http://dandyinaspic.blogspot.co.uk/2011/09/i-was-lord-kitcheners-valet.html" target="_blank">I Was Lord Kitchener's Valet </a>boutique.</div>
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Martin Fisher</div>
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Martin Fisher</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0zYdpct1uYC-IW5_xdj-1hi0ycrjlspGLZjRATiOW6v7m9S9Wpsyky9kyQSCFl6DwrN5Cri-Y_bnG0brdb-92d1X9cctetfWOfMGIoMM1F8wF9Awtpg8cLVNh522-CHmc5KQMi5WoI3YL/s1600/thane8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0zYdpct1uYC-IW5_xdj-1hi0ycrjlspGLZjRATiOW6v7m9S9Wpsyky9kyQSCFl6DwrN5Cri-Y_bnG0brdb-92d1X9cctetfWOfMGIoMM1F8wF9Awtpg8cLVNh522-CHmc5KQMi5WoI3YL/s320/thane8.jpg" width="234" /></a></div>
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Mick Brill and Martin Fisher</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU7o11iwGU1W_QcHxafLXVo8A3bccM3fj850RL9RO9GvHCYsasJ8V3LSRRAaSINO4YCASwLe1Fcxiz5p_AQznMMVyViBzHoWCz0GqjT7G5J_NQldMZ0c0b1BxYpRlW8JptCCvuKoHiNdLr/s1600/thane5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU7o11iwGU1W_QcHxafLXVo8A3bccM3fj850RL9RO9GvHCYsasJ8V3LSRRAaSINO4YCASwLe1Fcxiz5p_AQznMMVyViBzHoWCz0GqjT7G5J_NQldMZ0c0b1BxYpRlW8JptCCvuKoHiNdLr/s320/thane5.jpg" width="193" /></a></div>
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And the man himself - Doug Gibbons A.K.A. Thane Russal</div>
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<i>Source of the photos - Italian page <a href="http://www.beatsessanta.it/" target="_blank">Beatssesanta</a></i>.</div>
Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com3tag:blogger.com,1999:blog-4684288298781691042.post-77771282843014018212013-04-17T02:17:00.001+01:002013-04-17T02:22:27.483+01:00Ilustrations In Valentine Magazine, 1971<br />
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Recently, I got a few issues of <i>Valentine</i> - a magazine for teenagers from late 1960's/early 1970's. Like every teen magazine, <i>Valentine</i> was full of silly love stories, features on fashion and articles about teen idols. But the distinctive feature of <i>Valentine</i> were their 'comic serials'. Normally I am not a fan of comics, but these have a great, psychedelic vibe to them and pretty well recreate fashions of the era. They were created by illustrators Tony Baldwin, Valerie Witton and Chris White. Here I want to show some of the best bits. </div>
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The girl in the comic above slightly resembles Anna Karina..</div>
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'Obligatory' acne lotion ad</div>
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'Obligatory' horoscope..</div>
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'Obligatory' fashion feature on midi skirt (It's 1971, after all..)</div>
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More fashion...</div>
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Kipper tie..</div>
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Bell sleeves..</div>
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Back cover of January 1971 issue</div>
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<i>(Scanned from Valentine magazine, issues 23 Jan 1971 and 27 Feb 1971)</i>Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com4tag:blogger.com,1999:blog-4684288298781691042.post-15324310776370767992013-04-15T22:12:00.000+01:002013-04-15T22:12:27.732+01:001967 And All That...<br />
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The BBC documentary about British Summer Of Love emerged recently on YouTube. I vaguely recall seeing it on television when it was originally broadcasted in 2007. This hour-long program is devoted to music, fashion and youth culture in late 1960's Britain. Among talking heads there are Bill Wyman, Donovan, Tony Blackburn, Mary Quant, Barbara Hulanicki, Nigel Weymouth and many more.<br />
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Most of the important events that took place in London in 1967 are discussed here (although not in much depth) - there are bits on UFO scene and the birth of counter culture, Redlands bust and following trial of Jagger and Richards, <i>Sgt Pepper</i>, Chelsea boutiques, the rise and fall of pirate radio stations (and the birth of Radio 1) and many more.<br />
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Admittedly, the program is packed with various cliches, and it seems to completely ignore the fact that most of the 'phenomena' discussed in it were already going on long before the year 1967 - like Mary Quant's miniskirt or Vidal Sassoon's Five Point Cut. Still, there are enough colourful and lively clips here to keep you entertained for an hour, and the interviewees, if they are not particularly informative, at least try to be funny (apart from Donovan, who neither informative, nor funny). For those who do not know much about 1960's Swinging London, it is a good introduction to the subject.<br />
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Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com1tag:blogger.com,1999:blog-4684288298781691042.post-78553216510103364652013-04-11T20:46:00.001+01:002013-07-31T00:49:18.167+01:00Sharon Tandy<br />
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One of my favorite songs at the moment is 'Hold On' by Mod/Psych singer Sharon Tandy. I recently discovered this video of her performing it on German TV show The Beat Club in 1968. It is worth watching not only because it is a great song, but also because of how great she looks in this footage.</div>
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Sharon Tandy recorded 'Hold On' with Fleur De Lys as her backing band. They provide psychedelic vibe to this soul song.<br />
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The single 'Hold On' (with 'Stay With Me' as a B-side) released in 1968 was a minor hit in Britain. But Sharon Tandy's career, despite her great voice and great look, never quite took off. After few flop singles, she returned to her native South Africa in the early 1970's.<br />
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'Hold On', which regularly pops up on various compilations, provided her with a cult-ish status among Mods and 60's Psych fans. Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com1tag:blogger.com,1999:blog-4684288298781691042.post-24867432070988372602013-04-09T20:35:00.002+01:002013-07-16T15:52:41.247+01:00Michael English And Psychedelic Art Of Hapshash And The Coloured Coat<br />
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The Soft Machine poster, 1967</div>
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Some time ago I bought this book (from 1979) about the art of Michael English, titled <i>3D Eye</i>. It is the collection of posters, prints and paintings of Michael English from the period 1966-1979. Large part of the book is devoted to the years 1966-1968, when English was a part of a design collective Hapshash and the Coloured Coat, which specialised in making psychedelic posters for London's counter-cultural underground.</div>
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Michael English was born in Bicester, Oxfordshire in 1940. After quitting his first job at the BBC animation studios (reason: boredom), he enrolled at the Ealing College of Art. After completing his course in 1962, he went on to work in an advertising agency. Then, in 1965, he met Tom Salter, owner of Gear boutique. English started designing various items for Gear: screen-printed carrier bags with slogans like 'Sex' or 'Kiss Me', sunglasses covered with Union Jacks (possibly the first appropriation of it as a Pop Art aesthetic) and T-shirts with a slogan 'Jesus Saves' printed in 3-D. His work got him a lot of attention, especially from various figures from bourgeoing psychedelic underground scene, like John 'Hoppy' Hopkins, who would soon comission English to design the poster for 'Love Fesival'.</div>
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Around that time, Michael English painted facades for 'hip' new boutiques - <a href="http://dandyinaspic.blogspot.co.uk/2011/07/granny-takes-trip.html" target="_blank">Granny Takes A Trip</a> (below, left) and first <a href="http://dandyinaspic.blogspot.co.uk/2011/07/hung-on-you.html" target="_blank">Hung On You</a> on Cale Street.</div>
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One of the owners of Granny's - Nigel Waymouth (also a graphic designer) became good friends with English, and soon the two started design group Hapshash and the Coloured Coat, who would go on to design some of the most memorable posters of British psychedelic movement.</div>
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This is how English remembers his time as he member of Hapshash: <i>Before the posters I was involved in my own kind of Pop Art. Done on my own, the first two paintings were mainly a development of that, but 'Love Festival' was greatly influenced by the work of two artists: Man Ray's painting of lips in the sky - I forget the title - and the lips of women in the work of American Pop artist Tom Wesselman (...).At the same time I was fascinated by the sinuous yet romantic shapes found in Mucha's posters and the work of Beardsley and Rackham. Meeting Nigel brought this to life; I responded to his romanticism. All the Underground posters are packed with secret signs, prehistoric forms and flying saucers.We believed and adopted anything that contradicted the rational world: our science was rooted in alchemy and black magic. Sexuality too was a strong force and there is a lot of happening in the posters. Dragons and pubic hair!</i> (Michael English, <i>3D Eye</i>, Paper Tiger, Limpsfield, 1979 , p 12). </div>
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Poster for 'My White Bicycle' - single by Tomorrow, 1967</div>
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Poster for The Jimi Hendrix Experience gig at Fllmore Auditorum, 1967 </div>
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Love Me - poster by Hapshash and Coloured Coat, 1967</div>
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Crazy World Of Arthur Brown, The Soft Machine and Liverpool Love Festival at UFO, 1967</div>
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Pink Floyd at UFO, 1967</div>
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Julie Felix in Royal Albert Hall, 1967</div>
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Poster for Crazy World Of Arthur Brown gig, 1967</div>
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Save Earth Now - poster by Hapshash and The Coloured Coat, 1967</div>
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Poster advertising 'I Can See For Miles' by The Who</div>
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Michael English: <i>Nigel Waymouth worked with me on each poster. Nigel would do a bit and i would add to his work and he to mine until the poster was complete. The posters were silk-screened. the artwork for each colour was transferred to its own individual screen and the elements of the image were married together in the actual process of printing. We developed our own technique of putting two or three colours onto the screen, merging them together as the squeegee was pulled across. that was our most successful innovation. We used metallic and fluorescent inks - day glo!</i> (English, p 12).</div>
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Poster for Incredible String Band tour, 1967</div>
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Poster for 5th Dimension club in Leicester, 1967</div>
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Poster for Middle Earth club in Covent Garden, 1967</div>
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Poster for International Pop Fesival in Rome, 1968<br />
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Artwork for <i>Albion</i> magazine, 1968 </div>
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Poster for Granny Takes A Trip boutique, 1967</div>
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<i>Welcome Cosmic Visions</i>, poster by Hapshash and the Coloured Coat from 1968</div>
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Posters designed by English and Weymouth for OZ magazine, 1968</div>
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Michael English: <i>After Hapshash and the Coloured Coat produced a record (featuring The Heavy Metal Kids) on not a black but a red semi-transparent disc, Nigel remained infatuated with music at the expense of graphics, and the Hapshash partnership died</i> (English, p 12).</div>
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<i>Hapshash and The Coloured Coat featuring The Human Lost and The Heavy Metal Kids</i>. Album cover, 1968</div>
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Michael English photographed by David Bailey in 1978.</div>
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<i>All the images and quotations taken from "3D Eye" by Michael English (1979) </i></div>
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<i>(I love finding people's names in second hand books. There's something thrilling in the fact that somebody was flicking through the same pages years before I was even born...)</i></div>
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Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com3tag:blogger.com,1999:blog-4684288298781691042.post-12036896459741408762013-04-04T21:47:00.003+01:002013-04-16T18:21:19.119+01:00The Sixties In Poland - Part Two<br />
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After examining Polish 60's Beat/Garage/Psyche scene in my last post, now I would like to focus on depictions of 1960's youth in Polish cinema of the time. Using stills from various films, I want to show some surprisingly cool looks and talk about a few fashion/screen icons of that time.<br />
If you're a 1960's cinema aficionado, you may know that just like Britain had its 'Kitchen Sink' movement and France had Nouvelle Vague, Poland had so-called Polish Film School movement - named after Film Academy in Lodz, the alumni of which included Roman Polanski, Andrzej Wajda, Jerzy Skolimowski or Jerzy Kawalerowicz. Some of them left Poland for political reasons - like Roman Polanski who left in 1962 after his debut full-length feature, <i>Knife In The Water</i>, was criticised heavily by Polish authorities (despite being a first Polish film nominated for Academy Award). Jerzy Skolimowski left in 1967, after his film <i>Rece Do Gory!</i> (<i>Hands Up!</i>) - a surrealistic attack on political ruling class - was banned and shelved. Poland's loss became America's gain - certainly as far as Roman Polanski is concerned. By the late 1960's , he became one of the Hollywood's brightest stars, and despite the series of tragedies and scandals he continues to be a successful filmmaker to this day. Skolimowski, after an unsuccessful attempt at career in Hollywood, settled in Britain where he made some great films like <i>Deep End</i> (1970) or <i>Shout!</i>(1978). But most of Polish Film School directors decided to stay in the country, and fight for their right to be Polish artists in Poland - like Andrzej Wajda - four time Oscar nominee - who was arguably the greatest Polish director of all time.<br />
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However, I don't really want to talk about cinema as such. Here, I am merely using it to depict popular styles, fashions, etc. Most of the films I am using here are quite obscure even in Poland,and certainly not all of them are particularly important as cinematic pieces of art. Some of them are really good, some are dead-on average. To my knowledge, none of them was ever distributed in English-speaking countries, or perhaps even anywhere outside Poland. In any case, they do contain little scenes in which you can some great 1960's styles.<br />
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Still from a comedy titled <i>Malzenstwo Z Rozsadku</i> (<i>Sensible Marriage</i>) from 1966. Polish Mod girl who wouldn't look out of place on Carnaby Street. Not sure about the guy, though. He looks quite out of place even on the streets of Warsaw.</div>
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Few stills from a film <i>Beata</i> (It's a name, Polish for Betty) from 1964</div>
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The film is a story of Beata - rebellious teenage girl who tries to fight the hypocrisy of her parents and teachers. When her best friend becomes pregnant after one-night stand, and subsequently expelled from school, Beata runs away from home, partly as a form of protest, partly intending to find a guy who got her friend in trouble,and partly to annoy her own bickering parents and conservative teachers.</div>
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It was probably one of the first Polish films to deal with a subject of ten pregnancy or teenage rebellion.</div>
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The role of Beata is played by Pola Raksa, who was one of the most popular Polish actresses of 1960's. She is also generally thought to be the most beautiful Polish actress of all-time. Despite having very successful career in the 1960's, she decided to quit acting as the decade came to an end, to focus on a new career as a fashion designer.<br />
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Few stills from the film <i>Rozwodow Nie Bedzie</i> ( <i>There Isn't Gonna Be A Divorce</i>) from 1963.<br />
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It's a story of three young couples and their lives shortly before, and right after their weddings.</div>
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That slightly androgynous-looking brunette above is a model-turned-actress named Teresa Tuszynska. She came to considerable fame after starring in cult Polish Film School movie <i>Do Widzenia, Do Jutra</i> (<i>Goodbye, See You Tomorrow</i>) in 1960.<br />
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Few stills from great Gothic thriller <i>Gdzie Jest Trzeci Krol?</i> (<i>Where Is The Third King?</i>) from 1963.<br />
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It is a great story of the mysterious deaths and robberies in a secluded countryside museum.</div>
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Few scenes from 1965 film <i>Sam Posrod Miasta</i> (<i>Alone In The City</i>) </div>
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This often overlooked Polish Film School movie was clearly inspired by French New Wave - It resembles early 1960's films of Jean-Luc Godard, although it's way more coherent.<br />
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It's story of an engineer, who is about to go for a two-year work placement abroad. He misses his plane and has to wait 24 hours for next one. He already gave up his flat, so for a day and night he wanders around streets of Warsaw, reminiscing about his life there, bumping into mates, drinking and smoking in jazz clubs and having random conversations with strangers.<br />
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In one scene, the young girl which main character is trying to pull, takes him to a Mod/Beat club full of sharp-suited boys and girls in minis with bobs. </div>
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In 1965, the influence of Mod subculture on fashion was so enormous, it made its way behind iron curtain.<br />
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Stills from the film <i>Lekarstwo Na Milosc</i> (<i>The Cure For Love</i>) from 1965<br />
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It's a comedy about a robbery gone wrong, with a romantic subplot. The actress with impressive hairdo was a famous sex symbol and fashion icon in Poland in 1960's. Her name was Kalina Jedrusik. She was known for her voluptuous shapes and her flair for femme fatale - type roles.<br />
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The guy in the photo below was probably the most famous Polish actor, not only of the 1960's, but possibly of all time. His name was Zbigniew Cybulski. Known as 'Polish James Dean' he was a male symbol of cool. His role in most famous Polish Film School movie - Andrzej Wajda's <i>Ashes and Diamonds</i> (1958), elevated him to the status of a star.In that film his character - Warsaw Uprising veteran - wore sunglasses to protect his eyes from the sunlight after months spent fighting in underground sewers. But the sunglasses became such a trademark of Cybulski, that he subsequently wore them for the rest of his career (occasionally exchanging them for normal glasses, like he did in <i>Alone In The City</i>).Cybulski died in a freak accident while trying jumping on the riding train in 1967. His death assured his cult status in Poland furthering the parallels with James Dean. Unlike Dean, Cybulski was a very prolific actor, starring in over 40 movies in just several years.<br />
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This still of him with his trademark quiff + sunglasses + cigarette look comes from short art house production titled <i>Iluzja</i> (<i>Illusion</i>) from 1966. It is a study of behaviour of various young people in smoky jazz club.<br />
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I'll end with a rare Polish attempt at science fiction genre.It is a 1968 film directed by great Andrzej Wajda titled <i>Przekladaniec</i>. I'm not sure whether this word has English equivalent. In Wajda's English Wikipedia entry this film is listed as <i>Roly-Poly</i>, which doesn't seem accurate.. In any case, This 35-minute curio is a story of a racing driver who, after a series of accidents undergoes so many transplants, that he starts losing a sense of his own identity. Not really science fiction as such, more like futuristic nightmare. The film was based on a short story written by famous Polish philosopher/sci-fi writer Stanislaw Lem, who was known for such nightmarish and dystopian visions of the future. The film was shot in New York, but with Polish cast.<br />
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The costumes were clearly inspired by Space-Age designs of Pierre Cardin and Andre Courreges. They were made by state-funded Polish couture house called Hoff.<br />
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One of the scenes features a bunch of dodgy hippies trying to flog their own organs outside transplant clinic.<br />
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This guy with two pairs of painted-on eyes looks pretty creepy. I must try it one day just to see the look on people's faces...<br />
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Legwatch....<br />
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Famous Polish ballet dancer Gerard Wilk in cameo role of a sinister insurance agent.<br />
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I am gonna finish my two-post 'Polish Special' here.... The sixties in Poland were not a particularly happy period, which may account for the fact that apparently 'Retro' as a phenomenon never really caught on there among young people. Which is a shame because that era - as grim as it was - produced some great music, films, and culture in general which does not deserve to be forgotten.</div>
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Poster for Andrej Wajda's film <i>Polowanie Na Muchy</i> (<i>Hunting Flies</i>) from 1969. <br />
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<br />Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com4tag:blogger.com,1999:blog-4684288298781691042.post-66706544970594822982013-04-02T19:54:00.003+01:002013-09-19T10:14:52.945+01:00The Sixties In Poland - Part One<br />
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Perhaps it's because of Easter - a family holiday - but I feel it
may be the right time to do a post devoted to a country in which I was born - Poland.
Or maybe I'm getting temporarily bored with the stuff I usually write about.
Either way, I think a little change may be refreshing.</div>
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Music, fashion and
culture of Swinging Sixties Britain has been my biggest passion since my
mid-teens.But I often wondered what did that decade look like in Poland.
My parents couldn't be of much help there - in 1970 they were both still in
their early teens, too young to remember anything significant (and by that I
mean what they were wearing or what music were they into). What they do
remember, is that the reality generally was rather dull and gray.<br />
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Anyway, in the last year or so, thanks to the miracle of
Internet, I have discovered - much to my surprise - that Poland
actually had a pretty vibrant Rock n' roll/Beat/Garage/Psych scene, especially
from 1965 onwards (not that I've ever heard of any of those bands when I actually lived in Poland). In the recent issue of <a href="http://www.shindig-magazine.com/" target="_blank">Shindig!</a> magazine, there was a great article on the subject, although I did not entirely agree with the choice of bands covered. So here I gonna do it my own way. Of course, I have advantage in the fact that I can actuallyl understand Polish language (I am not so confident about speaking, though. I haven't had conversation in Polish for several years) which allows me the full appreciation of this stuff. But, to those who are regular readers of this blog, I can guarantee that once you get past unpronounceable band names and strangely sounding lyrics, there is a great music there to be enjoyed. So let me take a break from my usual ramblings about Swinging Sixties London, to see what the sixties were like on the wrong side of the iron curtain.</div>
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For the young music fans in 1960's Poland, the biggest problem was a limited availability of Western records. Although The Beatles, Stones, etc. were as popular in Poland as anywhere else in Europe, their records were not being sold in record shops. The singles were largely available on so-called 'music-postards' (a sort of floppy rectangular picture disc), but it took a lot of effort to find albums. Usually black market was your best bet. It also helped if you, or somebody you knew had family or friends abroad.</div>
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Live performances of Western artists were also limited. I am not sure whether it was a case of needing a permission from authorities, or a case of bands not being that bothered about playing Poland, or a little bit of both. The fact is, some of the big English bands of the 1960's did make it to Poland - In 1965 and 1966 The Hollies, The Animals and even London Mod/Psych heroes The Artwoods all successfully toured there.</div>
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Article (<i>NME</i>? <i>Melody Maker</i>?) about The Artwoods' communication problems in Poland, 1966 (via <a href="http://www.punksinparkas.com/clobber/clob000.htm" target="_blank">Punks In Parkas</a>)</div>
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Then, in 1967, a miracle happened. On 13th of April The Rolling Stones came to play one-off gig in Warsaw. It was their only ever gig behind iron curtain (although they did returned to Poland twice after the curtain fell down). In Poland, this gig has a legend of its own. Anybody who lived in Warsaw at the time and was age between 12 - 30, claims to have been at that gig. Unfortunately, the capacity of the venue was only about 3000, so a lot of people did not manage to get a ticket. They showed up on the night anyway, just to be in the proximity of their idols, and caused a riot outside Warsaw's Kongresowa Hall.</div>
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<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/qesnBkpUkjg?feature=player_embedded' frameborder='0'></iframe></div>
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A brief footage of that gig from Polish news report. The newsreader says something like: <i>Thousands of fans gathered outside Kongresowa Hall to see band The Rolling Stones. There wasn't enough tickets for everybody. Those lucky enough to get a ticket couldn't hear anything anyway. But it doesn't matter, because this a kind of gig you experience, rather than listen to</i>. </div>
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To a Polish audience The Stones - at the time in the middle of their psychedelic phase - seemed exotic, to say the least. The Stones themselves also experienced a little bit of cultural shock. This is how Bill Wyman remembers that gig: <i>Warsaw was depressingly gray and dismal. On our drive to the best hotel in town, we noticed that the streets seemed strangely quiet with very little traffic and pedestrians.After checking in, I found my room to be triangular with a huge circular concrete pillar in the centre of the room.</i>(...) <i>Everybody was in and out of each other's rooms to see who had the best one - none of them were very good</i>.(...) <i>There were large crowds of kids in front of our hotel as we left, held back by the police. They were chanting: Long Live The Stones!</i> (...) <i>Once inside</i> (the concert venue), <i>we found that the tickets for our show had not been put on sale. They were given to loyal party members. This meant all the real fans were outside, unable to get tickets, but the audience seemed to get into it as we went along. Towards the end of our set they began chanting 'Icantgetno, Icantgetno'. It took a while for us to realise that they wanted 'Satisfaction'</i>. (Bill Wyman, <i>Rolling With The Stones,</i> Dorling Kindersley, 2002, p 270).</div>
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Bill Wyman was wrong, though. Although some tickets were indeed given to party members, they were definitely put on general sale as well. They were expensive and got snapped up quickly, but quite a few 'true fans' did get to see The Stones (and the footage above seems to confirm it). </div>
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Interesting thing about that gig was that during the soundcheck, it turned out that Stones' instruments couldn't be connected to Polish electricity (something to do with a different voltage, apparently) So during the concert The Rolling Stones were using guitars and amps which belonged to a support act - a Polish beat group called Niebiesko-Czarni.</div>
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<a href="http://24.media.tumblr.com/2bd7d0affe40ca55fd51d9470a85474d/tumblr_mtcc3uCPPV1qig35xo1_500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="294" src="http://24.media.tumblr.com/2bd7d0affe40ca55fd51d9470a85474d/tumblr_mtcc3uCPPV1qig35xo1_500.jpg" width="320" /></a></div>
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Brian Jones and members of Niebiesko-Czarni, 13.04.1967 </div>
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<b>Niebiesko-Czarni</b> (The Black n' Blue's) were one of the first and most important Polish groups of the 1960's. They formed in 1962 around guitarist/lead singer Wojtek Korda and initially they played various forms of Twist and Rock n' Roll. In the mid-1960's they were joined by a femle lead singer Ada Rusowicz, and their career really took off.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir_A37kaFmFZb79OMKWDThykbsPrUgS99m3076awezt3bJzNPQVwcIIk1JZBHhS4tJExteKpaOx7lNIskIfUClaziPfJ_Ou-s5JBP8l0_gyZ4FQCmS-6mkEM6UliFkr1y-wZfKk9g246DJ/s1600/niebieskoczarni6.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir_A37kaFmFZb79OMKWDThykbsPrUgS99m3076awezt3bJzNPQVwcIIk1JZBHhS4tJExteKpaOx7lNIskIfUClaziPfJ_Ou-s5JBP8l0_gyZ4FQCmS-6mkEM6UliFkr1y-wZfKk9g246DJ/s320/niebieskoczarni6.bmp" width="320" /></a></div>
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Niebiesko-Czarni performing on Polish TV in 1966 </div>
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Onstage, Niebiesko-Czarni wore blue turtlenecks and black trousers - hence their name. They had a string of successful singles, and they recorded two albums between 1965 and 1967. Then, just like the groups in Western Europe, Niebiesko-Czarni 'went psychedelic'. Blue turtlenecks were replaced by beads and kaftans.</div>
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Niebiesko-Czarni, 1968</div>
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Ada Rusowicz</div>
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Cover of the album <i>Twarze</i> ('The Faces') by Niebiesko-Czarni, 1968.</div>
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Their sound, as well as their look became more interesting. They recorded two psychedelic-tinged albums - <i>Twarze</i> in 1968 and <i>Mamy Dla Was Kwiaty</i> ('We've Got Flowers For You' - with a great cover which you can see at the top of the post) in 1969.I haven't heard any of the those albums in their entirety, but if the title track of the second one is anything to go by, it must be pretty good. Very influenced by what was going on in England at the time, especially <i>S.F. Sorrow</i> by The Pretty Things.</div>
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The revolving-door line-up changes of Niebiesko-Czarni made them almost 'a school for future pop stars'. Quite a few ex-members of this band became went on to bigger things. One of them was guitarist/lead singer Krzysztof Klenczon who quit in 1965 and took over vocals in a band called <b>Czerwone Gitary</b> ('The Red Guitars' - and no, it was not a reference to a political situation of Poland). If there is any band that deserves a title of 'Polish Beatles', it's Czerwone Gitary. And it's not just a scale of their popularity. Musically they were very, very heavily influenced by the Fab Four. But even if they were copyists, they were <i>good</i> copyists.Some Poles like to claim that if The Red Guitars lived in England and sang the same songs in English, they would have been as big as The Beatles. That's a bit of a stretch - they weren't <i>that</i> good - but they certainly would have given The Hollies or The Zombies a run for their money. </div>
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Here's Czerwone Gitary doing one of their biggest hits - 'Nie Zadzieraj Nosa' (a Polish idiom meaning as much as 'don't be so stuck-up') - a song from 1968 with a very triumphant chorus in the style of 'She Loves You' or 'Twist and Shout'. They were clearly very uncomfortable having to mime to their song on the TV , which shows through their exaggerated dance movements...</div>
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Here's another one - a nice ballad titled 'Historia Jednej Znajomosci' ('A Story of a Brief Aquintanship'). There is something about that song that really catches both, teenage blues and gray Polish reality.</div>
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That's just two of their many successful singles. In the 1960's every country tried to produce 'their own Beatles'. Czerwone Gitary were one of the few European bands that for a brief period almost managed to match the efforts of the Fab Four. They remained popular throughout the 1970's although their leader Krzysztof Klenczon left in 1972. He moved to USA, where sadly, he died in a car accident in early 1980's. </div>
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Now, on to my favorite part - Freakbeat and Garage. I'll start with a band called <b>Chocholy</b> ('The Hollows') doing an aggressive Rhythm n' Blues number titled 'Amor A Kysz' (Stay Away, Cupid!) which wouldn't sound out of place in London's Marquee club. (song from 1965)</div>
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Chocholy were a popular R n'B group. When their lead singer Wojciech Gassowski quit in 1967, they changed name to Akwarele ('The Watercolours') and became a backing band for a popular Prog-rocker Czeslaw Niemen (a former member of Niebiesko-Czarni).</div>
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Here's another great track - <a href="http://youtu.be/pWOOfDXETf4" target="_blank">Stale To Samo ('Always The Same')</a> by appropriately named <b>Dzikusy</b> (The Wild-Ones). Their Farfisa-led Freakbeat wasn't million miles away from what teenagers across America were doing around the same time (1966).I couldn't paste it in here, so just click on the link.</div>
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Another great Polish band from that time that crossed into Freakbeat territory were <b>Polanie</b> ('The Polans' - named after medieval tribe - the fore-fathers of Poles). They were heavily inspired by aggresive, organ-led R n' B of The Animals. One of their best tracks was 'Nie Zawroce' (I Won't Turn Back') which combined R n'B with heavy soul.</div>
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Polanie covered a lot of British Mod/Psych songs like 'Cool Jerk' by The Creation or 'Can You Hear Me?' by The Artwoods. Here's their absolutely insane version of Animals' 'I'm Crying'.</div>
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When The Animals toured Poland in 1966, Polanie were a support act. Reportedly, Eric Burdon was very impressed with the energy of their live performances, and he invited Polanie To Britain to tour with The Animals. These plans came to nothing when Polanie couldn't get UK visas. Still, they were one of the few Polish bands which toured Western Europe - France and West Germany (where they supported The Animals again).</div>
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In the last few years some few compilations of Polish Beat/Garage/Psyche were released in Britain - two volumes of <i>Wrenchin' The Wires</i> and <i>Working Class Devils</i> (rubbish title, if you ask me..). They contain some great gems from the Polish 60's beat scene.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGkIL5Z9MzLb8Atov_R2hxiSR5JRnPRjzyk8_nrWz-Js_ceihgY6uVlTuKrmLob7zUJE85R1xW4iIqwboY5MLhmXktroaGzhuda_D8zP-LcNz2dn6A-hpQDJ9nOZN-2xN30xShjqlk23jv/s1600/WRENCHIN__THE_WIRES1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGkIL5Z9MzLb8Atov_R2hxiSR5JRnPRjzyk8_nrWz-Js_ceihgY6uVlTuKrmLob7zUJE85R1xW4iIqwboY5MLhmXktroaGzhuda_D8zP-LcNz2dn6A-hpQDJ9nOZN-2xN30xShjqlk23jv/s1600/WRENCHIN__THE_WIRES1.JPG" /></a></div>
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More details at <a href="http://paradiseofgaragecomps.blogspot.co.uk/" target="_blank">Paradise Of Garage Comps</a></div>
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Now I am gonna move into late-60's Hippie territory. In Poland, the undisputed leaders in that field was a band called <b>Breakout</b>.The band was led by Tadeusz Nalepa, who was thought to be the greatest blues/rock guitarist in Poland. They started in a mid-1960's as a beat combo called Blackout, changing their name to Breakout after they were joined by a female lead singer Mira Kubasinska. Their music was a mix of heavy blues and psyche with progressive undertones and pop sensibility. Think Hendrix jamming with Jefferson Airplane or a much heavier version of Shocking Blue..</div>
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Here's Breakout doing their 1969 hit 'Poszlabym Za Toba' (I Would Follow You) </div>
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Another good song by Breakout was called 'Gdybys Kochal, Hej!' ('If You Only Loved Me, Hey!'). I don't know whether Tadeusz Nalepa and Mira Kubasinska were a couple, but in <a href="http://youtu.be/L4PKSsXFynY" target="_blank">this video</a> they they seem like they have a Sonny Bono/Cher thing going on. Bassist clearly has a lot of fun hiding behind the tree. The main riff clearly owes a lot to Hendrix's version of 'Hey Joe'.</div>
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Breakout continued to record great music after the departure of Mira Kubasinska in 1971. That year, they released an album, unimaginatively titled <i>Blues</i>. It is a great heavy blues-rock album full of fiery guitar solos complemented by Hammond organ and soulful vocals of Tadeusz Nalepa. One of the best songs on the album was called 'Pomaluj Moje Sny' ('Paint My Dreams').</div>
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Since I crossed into early 1970's, I want to mention two other important Polish bands from that period. First one is a progressive rock band called <b>Klan</b>. Their 1971 album 'Mrowisko' ('The Hive') is a mix of psychedelic heavy rock and jazz. It resembles early stuff of The Soft Machine or Colosseum, but it's much less self-indulgent. I'm not sure wheter the band got much recognition for it, as they seem to be pretty obscure even in Poland, which is a shame, because 'Mrowisko' is one of the best Polish records of the time.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8diY5kU9NqmLjJhdkgSKrAXo5tiwSYvUatcacSQ-oJnr0SKBuRuHzktiuyf8dFkNyyGhpdBONsPFLaOWn_fTztdlWm2GHt3uaCgYz6vNP0WwR9vL0SwXg0vl6J-Fi0kFM7cn6lu_XKzuK/s1600/klan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8diY5kU9NqmLjJhdkgSKrAXo5tiwSYvUatcacSQ-oJnr0SKBuRuHzktiuyf8dFkNyyGhpdBONsPFLaOWn_fTztdlWm2GHt3uaCgYz6vNP0WwR9vL0SwXg0vl6J-Fi0kFM7cn6lu_XKzuK/s320/klan.jpg" width="320" /></a></div>
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Cover of 'Mrowisko' by Klan, 1971 (listen to the album <a href="http://youtu.be/OHaVksfzKXU" target="_blank">here</a>)</div>
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Another Polish band from that time worth mentioning was <b>Nurt</b> ('The Stream'). Their only album, released in 1972, was also a mix of Heavy Psyche, Prog and Jazz, but with a lot of emphasis on 'Heavy'. I was pretty blown away by virtuoso musicianship of Nurt (especially their guitarist). Unlike a lot of Prog albums from early 1970's, this one avoids a trap of being overly self-indulgent or boring.</div>
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This is a song called 'Pisze Kreda Po Asfalcie' ('I Write On Asphalth With a Chalk') from Nurt's self-titled 1972 album..</div>
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I'll end with something from the mid-Sixties..</div>
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This charming lady is a pop singer Helena Majdaniec. She was sort of a Polish Cilla Black or Sandie Shaw. After having a string of incredibly twee pop hits in Poland, she emigrated to France, where she continued her musical career, apparently achieving considerable popularity in continental Europe. Here's a footage of her performing a song in English on German TV in 1966. The audio is pretty bad and the song is not particularly good, but she and her French backing band, as well as he audience look absolutely amazing..</div>
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Make no mistake, the life in Socialist Poland in the 1960's was far from perfect. But that didn't stop the youth of that country from producing their own interesting music or, as I intend to show in part two of my 'Polish Special' , films and fashion icons.<br />
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<![endif]-->Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com5tag:blogger.com,1999:blog-4684288298781691042.post-31087905308995641262013-03-27T03:27:00.001+00:002013-05-01T00:44:09.937+01:00Outfit Post / Temples Gig Review / Playlist<br />
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I do not often do any of these types of posts, but since opportunity presented itself, I thought, why not? My girlfriend and I took some photos before (and during) Temples gig in Brighton last night.She just got this great Liberty print coat from the late 1960's (We're not sure whether actual coat is from the 60's - there is no label on it - but fabric definitely is).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0mi9Zq6S00tuv7u0TmenVDlR7bdcMQqaxvG3KWAg4ksyP6lGUdqU3TYuqUcAW3sJFpdtpHdcYALq-sLMgBtqrpMyrrNlnYEvVV_QKSD4bwkf0BhF05ba8-enaNhRPAbhn19HXJ0Mc-PQr/s1600/temples6.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0mi9Zq6S00tuv7u0TmenVDlR7bdcMQqaxvG3KWAg4ksyP6lGUdqU3TYuqUcAW3sJFpdtpHdcYALq-sLMgBtqrpMyrrNlnYEvVV_QKSD4bwkf0BhF05ba8-enaNhRPAbhn19HXJ0Mc-PQr/s320/temples6.JPG" width="240" /></a></div>
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I recently got this great Beatle - style jacket with nehru collar..<br />
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I wish I could say it's an original 60's garment, but actually it was made by an Italian high street label called Ciro Citterio which traded in Britain in early 2000's before going bust in 2005. Anyway, it goes great with my Mod/Psych look...<br />
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As for Temples, well, what can I say? It was a great gig. I don't usually talk about new bands here - I leave that to music bloggers - but Temples' modern take on 60's Psychedelia is something that readers of this blog should find interesting. As for a band which only debuted last summer and has one single out, Temples received a lot of attention so far, but , if last night's gig is anything to go by, the hype is much deserved. Their Shelter Song sounds just as good live as it does on the record. However, the song which really caught my attention was 'Keep Her In The Dark' (or 'Keeper In The Dark' - I am not quite certain here) - a stompy psych number in the style of John's Children- era Marc Bolan (and a slight reminiscent of 'Inkpot' by Shocking Blue). I certainly can't wait for their debut album, which is supposed to come out sometime this year.<br />
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Temples, Brighton, 26.03.2013</div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/vs4i41cOv0s?feature=player_embedded' frameborder='0'></iframe></div>
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I would like to share some other songs I am currently into...<br />
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A great Psych song from 1967 - Let's Live For Today by Geordie band The Living Daylights - a much better, more aggressive version (although much less popular) than one by The Grass Roots. A lost anthem of Summer of Love...<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/XWdJsfXzTtE?feature=player_embedded' frameborder='0'></iframe></div>
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I've heard this song at the last Mousetrap few weeks ago, and I still can't get that riff out of my head...'Time To Say Goodnight' by The Martells from 1967.<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/GOngYKLRMzU?feature=player_embedded' frameborder='0'></iframe></div>
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Along with Temples, Dutch singer Jacco Gardner is on the forefront of
the current psychedelic revival. His album <i>Cabinet of Curiosities</i> was
released earlier this year to a critical acclaim, and he is doing an
extensive tour in Britain this Spring. Although I like his
mellotron/harpsichord-laden psychedelic ballads, I prefer his earlier
project - The Skywalkers. Their song <a href="http://youtu.be/07z3qJprR7M" target="_blank">Creature Of The Night</a> is one of my current favorites.<br />
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This cover of Los Chijuas song - 'Changing The Colours Of Life' - also sounds great...<br />
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Anyway, I'll end with a nice photo of my girlfriend in her 70's vintage outfit inspired by <a href="http://dandyinaspic.blogspot.co.uk/2013/03/kleptomania-mr-freedom-and-story-of.html" target="_blank">Mr. Freedom</a></div>
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<i>Edited to note: That Temples song is actually called 'Keep In The Dark'. <a href="http://www.youtube.com/watch?v=qTuA24j9RxE" target="_blank">Here's a video</a> from that very gig...</i></div>
Peterhttp://www.blogger.com/profile/02320954966497935514noreply@blogger.com3