Biff! Bang! Pow! (From Beat To Paisley Pop), Pt.3

In the last two parts of this series, I've been showcasing 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 Beatles' overwhelming success internationally 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 then." It didn't always make for the best music, but it was at the very least, it was constantly 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 Beat, to Northern Soul, 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 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 on, everyone would carry a gleam in their eye, a stash in their pocket, and a flower in their hair. At least for a moment.

A Word About The Music

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, I can only do so much with the accuracy in my placement of songs and artists. Part Three was a bit more 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 believe I failed on this one. In fact, I know I failed. For one thing, I got hung up on The Nice whom I hadn't listened to in decades, and I was reminded of just how much I liked their very early recordings. 'Child Of The Moon' actually came just after this period, as did 'Deserted Cities Of The Heart,' I believe. Therefore, it's obviously not a truly definitive collection of this period. Regardless, it's all meant for enjoyment and despite the inaccuracies, it's still a great listen! With Part Four, I'll continue highlight much more paisley pop, and then slowly move into psychedelic music. I hope you'll enjoy this, and come back around for another chapter.

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

*This is an American band. What can I say? I told you it wasn't entirely accurate.

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For Biff! Bang! Pow!, Pt.1, click here. For Pt.2, click here.