K A L E I D O S C O P E U. K.
How old were you
when the Kaleidoscope formed? I was eighteen and working at ABC Television in London`s Hanover
Square where I met Ed. We got along really well, finding that we
both enjoyed the same sense of humour. We were both fans of Alfred E.Newman
of Mad magazine. It was sometime after we met that Ed asked if I`d like to join
his band. I didn`t know he had a band! He, Dan and Steve
had been playing together for about a year; had chucked out one singer
-and were looking for a replacement. In spite of nerves I agreed to go
along to the school hall in Acton in West London where they rehearsed.
I hid behind the music stand and warbled away to a few R&B classics.
I was in! The Fontana label seemed to really be impressed with
the band. Although they seemed anxious to chart your careers... They actually thought we were the next Beatles!! They put a lot
of money behind us to start with on the strength of `Flight from Ashiya`
which they thought was a Number One. Unfortunately their distribution network
was dreadful and their promotion was lazy and the single failed to get
major airplay or sales. After that the emphasis was on producing a commercial
hit so they could recoup their money. Dezzo Hoffman photo
sessions - Beatles photographer - what was this like? I recall very little about the sessions, other than that we all felt
a bit stupid having to strike poses that went out ten years earlier. I
think you can see that in the resulting pictures. We do look rather silly.
The most memorable session was the one for the famous cover of `Tangerine
Dream.` All that Bacofoil. That heat! Falling out into Kensington
after the session, gulping in great lungfuls of fresh air. The August 7- September 8 1967 "Tangerine Dream"
sessions - Maybe you could go into a bit more detail on how it felt to
be recording your first album at the height of the summer of love! The summer of `67 was special. It felt different -- it was different.
It sounds like a cliche: but there was something in the air. Of course,
it was all Beatles-led. Everything they did was important to young
people. We copied their hair, their clothes, their lifestyle, their music.
They were the four young kings of the world, nothing less. At the time
our music was soaking up these influences -- you couldn`t stop it even
if you`d wanted to. As soon as Fontana heard our new songs after
agreeing to release `Holiday Maker` as the A-side (changed to `Ashiya`
as soon as they heard that) they contracted us for an album. A bold move
back then for a company with a new band. So we entered the studio feeling rather pleased with ourselves, but
nervous of everything that lay ahead of us: could we live up to their expectations.
Fortunately we had Dick Leahy to guiide us. He was sympathetic to
our youth, but could see that we were very keen. These were truly magical
days -- or nights. We would go for lunch and then dive into the vast Number
One studio at Philips in Marble Arch. We would record for hours
and hours. We had all the songs rehearsed in advance, but they grew into
something special in the studio. The world was our lobster! We could do anything! The big-wigs in suits
would slip into the control room and check up on progress and how their
money was being spent -- then slip away without a word to report back to
the unseen Gods at the top. We were twenty-one, recording our first album
in a major studio, outside the Beatles ruled the world, Kings
Road was like Wonderland, music of every colour was coming at you out
of the sky and the trees, the sun was shining on everyone: the days of
magic..... By the way, I think
I had my tonsils removed in '67. Yea -- great experience! Nice feeling when you wake up after the op!
Great timing, just as you start work on your first album! BBC sessions - any
wacky stories about the Beeb dates? No wacky stories -- only memories of steam-driven equipment and engineers
in white coats telling you to turn it down. It was pathetic. We did scores
of BBC sessions. Eventually we -- and the record company got wise
-- and took along backing tracks. We then sang over these and buggered
off home. What was the
score of the croquet match between you and Keith Moon/members of the Bonzo
Dog Band? Who won? Any exciting play by play
commentary? It was in Dave Symonds` local. A lovely sunny day, tea and buns
on the lawn, the Bonzos trying to be hilarious, pretty girls in
summer frocks floating around -- and some local lout smashing into me,
knocking me flying and then whispering a choice comment in my young ear.
Sorry, that`s all I can remember, apart from the homegrown refreshments
later. The Faintly
Blowing period. Changes in your music. As with most bands, the first album is made up of songs you`ve had knocking
around for awhile. Whe you`re ready for your second album the songs are
more recent and reflect the musical changes around you. Also we were growing
up, maturing fast. We had more of a say in the studio -- although we were
mostly in control on `T.Dream` the second album saw us standing
our ground on behalf of our material. I like `F.Blowing` -- it is
a varied and interesting batch of songs. The title track should have been
released as a single, but they told us it was too long. I think an edited
version would have been successful. The orchestral tracks stand out from
the rest, sounding as if they come from an established band who have been
recording for years. Then you have the very subtle and mysterious, `Poem`
and the humorous `Tom Bitz.` A good album in my biased opinion. Was it the
lacklustre performance of the singles that caused you to kind of pack it
up and change the name of the band?? Fontana was trying very hard to turn us into Dave Dee
Dozy Beeky Mick and Tich. In some desperation we were going along
with this, turning out crap like, `Balloon.` It was David Symonds
who was a big fan who said, "Stop! What are you doing??"
He convinced us that with him as our manager (after he quit as a Radio
One DJ) and with a name change to shed the old skin, we could re-emerge
as a `new` band. Anything was better than the commercial sausage mincer
we were in. Tell us about
the "Great Vinyl shortage" Don`t know anything about that. Philips distribution was totally
useless. We were always getting mail from fans all around the UK asking
why our records weren`t in their local shops. It wasn`t a vinyl shortage
as far as I know. It was a lousy record company. Your toured
with
Jeff Lynn and Idle Race. Any recollections? We got along really well with those guys. But memories....? Look, if
I hadn`t kept detailed scrapbooks of those years most of this would have
disappeared with my decreasing brain cells. I have a terrible memory! Thank
Buddha I kept all my scrapbooks. Yes -- Jeff was there and we
had some laughs whenever we bumped into them. But the rest has evaporated.... You wrote
and performed a song especially for the Isle Of Wight Festival in 1970.This
must have been the "English Woodstock". How well do you think
it went over? See above. All I remember is the view from the stage: the endless blue
sky, the endless audience, the thousands camped for free on the rolling
hills to the right, the heat, the clouds of red dust, Joan Baez
wandering by looking stunning, the movie camera thrust in my face as I
was told our set was to be cut in half, the terror, the sublime lift after
the first wave of applause, the evenings in the Red Indian camp
with the fires burning, the thump of distant music, crouching below the
stage waiting for the nod so Ed and I could leap up and be allowed
to play an acoustic `Let the world wash in` to half a million hippies,
the leaden realisation that we`d been conned and ripped off and stuffed
and abused by the brothers Farr, the sleepless nights of total physical
and mental exhaustion, breakfast at Herbie Snowball`s hotel in Shanklin
-- and returning there thirty years later on a family holiday and standing
across the road and looking up at the window where three decades earlier
a young man once stared at the orange moon... No, don`t recall much. Did you make an
effort
to sound "folk-psychedelic" ? How WOULD you describe you
music? I wouldn`t say `effort` is the right word in any sense. We wrote songs,
we recorded them as best we could with the range of instruments we could
play. Some songs demanded a band arrangement with drums and guitars and
organ -- others needed only a voice, a guitar and a couple of bongos and
a flute. Horses for courses -- you pays your money -- it takes all sorts
-- the grass is always greener -- it never rains but it pours -- how the
other half live -- is the glass half full or half empty -- half a
loaf is better than none -- a bird in the hand.... Describe it? No way. Kaleidoscope performed at the Montreaux TV Festival with
artists such as the Who.
Any memories
you'd like to share ? A luxury hotel beside the lake, white-capped mountains beyond a high
blue pool on the veranda, various ballrooms with stages and different bands
playing, films showing, beautiful girls everywhere, a guy walks slap-bang
into a plate glass door and smashes his face and staggers off in search
of bloody help, us on stage playing the best in ages, giving it the English
wellie and quoting poetry and eating broken apples and roaring through
a perfect set and coming off and one of the little Blossom Toes tripping
me up on the steps on purpose and Julie Driscoll like an angel miming
to `This wheel`s on fire` with Brian beside the pool and
the flight home over those sharp mountains of icy Switzerland. You met with
the Moody Blues or representatives twice. Was this a possible label move
(to Threshold??) Did you feel the meetings influenced your musical choices? The Moodies` second career (after the high fast success of the
dirge, `Go now`) was helped on its way by Symonds championing
them on his radio show. They became mates, Dave was our manager,
we all became mates and had nights down the pub, nice chatty evenings at
Dave`s place near Hampton Court and met up to discuss our
career. Justin was producing a guy called Timon. He supported
us on a couple of gigs. We became mates. Mike Pinder had just moved
into a huge house and was building a studio. He suggested we record `From
home to home` there. We cut a couple of tracks but they were not quite
right so the plan was abandoned. The Moodies tried to get us on
to Decca and then on to Threshold. Eventually we went back
to Philips (!) to the new progressive label, Vertigo. The
Moodies music never influenced my musical choices as it did not
(and does not) appeal to me. But Dave was trying hard to push us aboard
the Moodies rowing boat. Luckily we held back, preferring to make
our own way down de big river of life... The "White
Faced Lady" release - This is a compilation I think plus unreleased
material recorded in the late 60's/early 70's?? A concept album about Marilyn
Monroe?? Fill me in! The album `WFL` was written in the late Sixties and early
Seventies. Ed and I were always writing and had accumulated a handful
of songs. A new album was proposed. We began writing some new songs. I
noticed a tenuous link between the lyrics of some of the songs, concocted
a story that might join the songs with more emphasis. But we had a lot
of songs. A double album!!? Our manager encouraged us to proceed
and the eighteen songs were written. I also wrote a novel to be published
at the same time as the release. Olaf Wyper at Vertigo liked
the idea and gave us the green light. Everything we recorded at that time
was on a tape-lease deal which meant us recording the album and then presenting
the label with the finished article and the bill. But when we`d finished
the album Olaf had left to join RCA. At first he said he
would take it at the new label, but eventually had to say no as RCA
didn`t want any of his old Vertigo projects. And Vertigo
didn`t want any of Olaf`s old projects! Finding ourselves without
a contract and no work we folded. Twenty years later, after we had been
rediscovered by new generations the album was finally released on our own
label through a company called PWC. (Fortunately the dreadful novel
had been dumped years before and the CD booklet featured a condensed version
of the story.) About a month after release PWC went bust and UFO
took it on. The story is not about Marilyn Monroe, but her
ghost is in there someplace. As a swan song it is quite a piece of work.
I`m proud of it as it represents very well the maturing of the band`s music
from rather twee juvenile psychedelia, through bucolic folk rock, to something
very much our own. What are your current
projects? Are there any current bands you listen to? The Lavender
Brigade perhaps?? What an odd question, young man. Me thinks ye know too much for your
own good! I`m currently recording an album with Damien Youth. He
sent me a tape of his songs. I fell in love with everything that he does
and suggested we write together. It worked and the album, `Nevergreen`
is the result. Now we need a deal.... I`m also waiting for the green light
from Evangel in Japan to release my fifth solo album, `Tambourine
Days.` Your website has
quite a bit of info on your groups. Do you plan to add MP3's or other features
? I think there are a couple of MP3s and a couple of RealAudio files for
download at [ Sound
Files
] If I get really frustrated at having to deal with record companies in
the future I just might decide to give it all away in MP3 files. I don`t
do this for the money. I do it because one grey day so long ago a friend
asked me to join his band and I said yes and had the time of my life with
him and two other good guys and we made music as if our lives depended
on it and because we couldn`t do anything else and because it`s that old
corny standby that is true true true: it`s in my blood..... Damien Youth describes
the album he is working on with Peter Daltrey: The album seems to be turning into a concept album, It all started with
me sending a song to Peter about Peter titled "The
Boy In The Butterfly Shirt". Peter shocked me by writing
me back and asking if he could do his own version of the song! I told him
that would be great! I then added, I wish we lived closer and we could
do a whole album! to which he replied "Let's do it!" Since
then we have been exchanging tapes through the mail and constructing a
wonderful album! The music is acoustic based, very pagan folk sounding
and the lyrics have taken off in the direction of a loose concept, meaning
that there are reoccurring themes through out. Other than the Butterfly
Shirt song the lyrics are all Daltrey! I think the "Fairfield
Parlour" album is Peter's best work.