Biff! Bang! Pow!, Vols.1-3

From Beat To Paisley Pop

Friday, March 02, 2012

A consolidation of three posts from 2007/2008

Biff! Bang! Pow! was an on-going series of mixes I assembled several years ago in an attempt to loosely trace the musical progression of English 'Beat' through 'Rave-up,' 'Freakbeat' and 'Paisley-Pop' and onward towards 'Psychedelic.' I was in the early stages of my exploration of England's hit-makers when Vol.1 was compiled, therefore it may not contain the earthshaking revelations that a serious music enthusiast might expect to find. In fact, the mix didn't even contain U.K. artists exclusively. A few of America's answers to the 'British Invasion' are also included, but it still made for a fun primer and a pure pop listening experience.

Part One

After picking up a copy of 'Bam-Caruso's 'Waxworks, Vol.1, No.1,' I began to get drawn into the 'Freakbeat' sound, exploring and uncovering some of the participants of that difficult to pinpoint gray area of musical transition. Of course at the time of it's genesis, their was officially no such name for this musical sub-genre. The term 'Freakbeat' was coined by Bam-Caruso's founder decades later to distinguish that brief, elusive window in U.K. pop when 'beat' music was morphing into 'paisley-pop' and 'psychedelic.' To quote the liner notes of 'Waxworks,' Freakbeat is a name describing "music that was removed from the Summer of Love, was removed from Beat, and did not contain the R&B hallmarks of wailing harmonica and Bo Diddley shuffle. It was pop music, but not as we knew it. It was out of control. The fact that it was originally issued at all by major record labels and expected to be played on daytime radio was outrageous!"

Now music labels can be annoying, I know. But in describing the volatile English pop music scene between 1964 and 1966, they are extremely useful. Only a few months time could make a significant difference in the image and sound of a pop group. Things changed very rapidly. One only need look as far as the amazing transformation of The Beatles in order to see the escalated evolution. In an extremely fertile span of just 2 years, the band amazingly went from the playful innocence of 'A Hard Day's Night,' to the exuberant command of 'Help!,' then continued upward into the dusky romanticism of 'Rubber Soul,' finally set down with the stark and experimental 'Revolver.' It was a remarkable transformation and period of growth, incubated over the course of a mere 24 months. But it's also an excellent example. In the extreme, one might have seen their favorite lovable, mop-topped 'beat group' decked-out in tailored suits and Cuban-heels one week, only to be garbed as paisley princes with Nehru jackets and ruffled shirts a mere 18 weeks later, singing of rainbows, kaleidoscopes and mystical forests.

Since this music was uniquely British, a considerable amount of Freakbeat never washed ashore here in the States. Of course the major players were known, but the less successful 'one-hit wonders' failed to make the Trans-Atlantic jump to American airwaves, some with good reason, others sadly as our loss. It's important to understand however that no one actually set out to produce a Freakbeat sound. The elements that comprise it where merely an organic part of the rapidly changing English youth culture, where the 'latest' could be sorely outdated by week's end! The music therefore reflected this with quantum leaps in sophistication, àla The Beatles. Top echelon music makers were easily able to keep ahead of the pack, while their lesser counterparts strove at the very best to simply stay abreast.

Part Two

'Biff! Bang! Pow!, Vol.1' focused primarily on Beat recordings with contributions from The Knickerbockers, Searchers, Hollies, Easybeats, Sorrows and others of the ilk. It concluded with a group and song that marked a major turning point not only in British pop, but for rock music as a whole --- The Who's, 'My Generation.' In just under 3:30, Beat music said hello to the new kid on the block, Freakbeat. Never before had the frustration and angst of misunderstood youth been expressed or captured so succinctly in song. The rage that exploded from within the grooves of that record forever changed the musical landscape. More than just a sound, it was a milestone --- an attitude and spirit unlike anything felt in pop music prior. 'My Generation' was pure, absolute kinetic energy --- lyrics so bitter, the singer helplessly stammers in his attempt to convey his anger, spitting and stuttering against the squeal of flailing guitar, the rumble of pounding drums and tumult of treble infused bass lines cutting through the din. When the songs volatility is no longer able to contain itself, it violently detonates into a frantic rave up of feedback and squall that does everything short of nailing the listener directly to the wall. I will never forget the first time 'My Generation' roared unsuspectingly from my radio speaker. I was completely unhinged, transfixed and dumbfounded not only by the sonic assault, but also the accuracy of how it's disenfranchisement echoed my that of my own. Years later, after I had long worn out the mono 45 r.p.m. single that I'd purchased, I nailed it to the wall as a reminder of the power and significance of that moment in my life.

The 2nd chapter of 'Biff! Bang! Pow! picks up where Vol.1 left off with the highly aggressive sounds of Creation, The Attack, Yardbirds, The Move, and of course The Who once again.* As the scene and it's music evolved, the comparatively benign 'beat' sounds swiftly gave way to the bolder, more forceful Freakbeat which is represented here. No longer did the innocence of danceable pop resonate with the fast changing values of youth. The generation was collectively primed to take control of their destiny and the new music reflected it. Later as recreational drug use became an integral part of the culture, the music would then begin to take it's first steps into psychedelia with Paisley Pop which will eventually be explored in Vol.3.

*The Kinks are conspicuous in their absence but will be represented later.

Part Three

In the first two volumes of this series, I showcased the transition in mid-60's popular British music from the innocuous Beat to the more aggressive rave-ups of Freakbeat, which in turn led to the shimmering Paisley Pop of 1966-67.

Over a relatively brief swath of time, the face of English pop music had changed faster than a chorus girl in a Vegas floor show. Seemingly overnight, lovable mop tops in ankle boots with Cuban heels became psychedelicized hipsters draped in ruffled shirts and Afghans. Youth culture was entering it's apex and the atmosphere was filled with excitement, experimentation, and cultural transformation. Of course, this was all reflected most evidently through fashion and music. The overwhelming international success of The Beatles had opened the gates for aspiring musicians, producers, and entrepreneurs throughout the U.K. to try their own hand at the game of creating the next big thing. But unlike their American counterparts, English managers and promoters were always searching for a unique hook to make their discovery stand out from the others --- gurus like Brian Epstein, Shel Talmy, Chas Chandler, and the team of Kit Lambert and Chris Stamp.

"Alright then lads, we're going put you boys into crushed velvet fox hunting garb, surrounded by leggy birds dancing in patent leather go-go boots. As for you, Ian, we've just got to do something about that hair of yours!" And if that didn't go over with the kids, the following week it was, "Right then, this time we utilize a medieval theme! Nigel and Duffy, you boys do a few more 'sha-la-la's,' and Graham, from now on you'll be known as 'Gnarley.' At the end of the performance, you'll drop all of your gear straight into a boiling cauldron, set center stage. We'll call you 'Witch's Coven' and it'll be a smash! Alright boys, no time to waste! Hop to it."

It didn't always make for the best music, but it was always at the very least entertaining.

With the advent of Paisley Pop however (which was an organic evolution by the way), the musicians began to gain control of their images and their sound to commence producing music that reflected their own values and interests. Studio techniques were additionally becoming more advanced, lending added polish and sonic trickery to the recorded proceedings. It was at this juncture that the doors were flung wide open for all sorts of experimentation on both a personal, and professional level. The results were fabulous! However, they were merely the tip of the iceberg for the creation of interesting sounds, only to be eclipsed by the full-blown psychedelia that would soon follow. But what an fascinating time it was! Stereo panning, backwards tape loops, and previously unheard textures began cropping up in the singles that found their way to the radio airwaves. Nearly everyone began indulging in sonic wizardry, ultimately producing some of the most unorthodox, yet oddly accessible pop music. Now the airwaves and the dance halls carried all the schools of contemporary hit making from Northern Soul to Beat and Freakbeat. But it was the rapidly unifying Paisley Pop that quickly put everyone moving in the same direction, with many demonstrating mere cleverness with their creations. In the end however, it was again The Beatles who truly led the way, first with the sonic sophistication of 'Tomorrow Never Knows,' and months later with the historic release of 'Sgt. Pepper.' Those events became the clarion call for ushering out the old and fully embracing the new. That new sound would be Psychedelic and from that point forward, everyone would carry a gleam in their eye, a stash in their pocket, and a flower in their hair. Or at least for a brief moment in time.

A Few Words About The Sets

I've tried to assemble a reasonable time line in this series, but I'm only one person. Without the benefit of a staff of researchers, there's only so much that I can do with regard to accuracy in my placement of songs and artists. For instance, The Rolling Stones, 'Child Of The Moon' in Vol.3 actually came just after this period, as did 'Deserted Cities Of The Heart' by Cream, I believe. Additionally you'll find that some bands are represented multiple times. Given a budget, I could have included examples from others practitioners in any of the given sub-genres, but instead I chose to demonstrate how a few of the better bands actually managed to successfully traverse all of the stylistic trends that are represented. Vol.3 in particular was a difficult for me, as 1966 and early 1967 were extremely fertile years in British pop. There was so much produced in a variety of styles, and I wanted to attempt to represent it all, but I don't think that I effectively accomplished my goal. In hindsight, there are flaws throughout. I didn't have the budget to include more material, and I was in the infancy of my blogging when these were compiled so I didn't know much about proper labeling, zipping, and such. Regardless, it's all meant for enjoyment and despite the inaccuracies, it's still a great listen!

In conclusion, I had one day hoped to attempt demonstrating the transition from Paisley Pop to pure Psychedelic music with an additional volume, but then I'd have to rename everything to something like 'Biff! Bang! Pow! Far Fucking Out!: From Beat To Psychedelic.' Anyway, after four and a half years, I've yet to get around to it. Maybe some day.

Biff! Bang! Pow!, Vol.1

1. Lies/The Knickerbockers
2. He's Got No Love/The Searchers
3. I Feel Fine/The Beatles
4. Here I Go Again/The Hollies
5. I Can't Explain/The Who
6. 19th Nervous Breakdown/The Rolling Stones
7. Come On Now/The Kinks
8. It's Alright With Me/The Zombies
9. Trampoline/The Spencer Davis Group
10. How Can It Be/The Birds
11. Never Ever/The Action
12. Goodbye, My Love/The Searchers
13. Take It Home/The Utopia Band*
14. I'll Make You Happy/The Easybeats
15. Cara-Lin/The Sorrows
16. I Wanna Make It With You/The Smoke
17. Interlude
18. Pictures Of Lily/The Who
19. Go Now/The Moody Blues
20. She's A Woman/The Beatles
21. Try It/The Attack
22. Happy Boys Happy/The Small Faces
23. Woman/The Zombies
24. Run, Run, Run/The Birds
25. Laugh, Laugh/The Beau Brummels*
26. Interlude
27. I Take What I Want/The Sorrows
28. Wake Up, Cherylina/The Smoke
29. I Can't Let Go/The Hollies
30. Friday On My Mind/The Easybeats
31. You Really Got Me/The Kinks
32. My Generation/The Who


Biff! Bang! Pow!, Vol.2

1. Making Time/Creation
2. Mud In Your Eye/Les Fleur De Lys
3. Interlude
4. Under The Ice/The Nazz*
5. Say Those Magic Words/The Birds
6. Shapes Of Things/The Yardbirds
7. Paperback Writer/The Beatles
8. Out In The Street/The Who
9. Tin Soldier/Small Faces
10. Interlude
11. Stroll On/The Yardbirds
12. Try And Stop Me/Creation
13. Wave Your Flag And Stop The Train/The Move
14. Little Games/The Yardbirds
15. Interlude
16. Have Some More Tea/The Smoke
17.Gonna Have A Good Time (Good Times)/The Easybeats
18. Open My Eyes/The Nazz*
19. The Immediate Pleasure/The Eyes
20. I Can See For Miles/The Who
21. The Colour Of My Mind/The Attack
22. Interlude
23. Biff Bang Pow/Creation
24. Why/Tomorrow
25. I Want To Tell You/The Beatles
26. Circles/Les Fleur De Lys
27. Happenings Ten Times Years Ago/The Yardbirds
28. Interludes
29. Sorry/The Easybeats
30. When The Night Falls/The Eyes

Biff! Bang! Pow!, Vol.3

1) David Watts/The Kinks

2) Dreams Secondhand/The Blinkers
3) Child Of The Moon (rmk) The Rolling Stones
4) Sanitation/Amen Corner
5) Nite Is A Comin'/Smeta Murgaty/The Warm Sounds
6) Telegram Tuesday/Blossom Toes
7) Bert's Apple Crumble/The Quik
8) How Am I To Know?/Ars Nova*
9) Flower King Of Flies/The Nice
10) Gone Is The Sad Man/Timebox
11) For Speedy Freaks/Blossom Toes
12) Pictures Of Matchstick Men/Status Quo
13) Azrial/The Nice
14) My White Bicycle/Tomorrow
15) Walking Through My Dreams/Pretty Things
16) Deserted Cities Of The Heart/Cream
17) Dear Eloise/The Hollies
18) Fortune Teller/The Tony Jackson Group
19) Wicked Annabella/The Kinks
20) Here Come The Nice/The Small Faces
21) Daddy, Where Did I Come From?/The Nice
22) Flowers In The Rain/The Move
23) Tomorrow Never Knows/The Beatles

*These are American bands. What can I say?