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Shindig 30

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Shindig! No.30
Published 22 November 2012

Beset by drug busts, relationship breakdowns, interpersonal rivalry and a fast-receding focus, THE ROLLING STONES were rarely out of the headlines in 1967, sadly not always for their music.
But through all the scandal and sensationalism, the Stones continued to hone their songwriting and experiment freely in the recording studio, resulting in some of the most
enduring and overlooked entries in their canon.
In the first of our two-part chronicle of “the psychedelic Stones”, KRIS NEEDS plots the events leading up to that heady year
“The music is kind of freer...”

FAMILY are one of Britain’s most original, enduring and popular rock bands. In a career stretching from 1967 to ’73, the Leicester outfit’s innovative music grew from its blues, soul and R&B origins to full-blown psychedelic rock in a matter of months, taking in folk, rock, jazz, country and Americana along the way.
They cut seven charting albums, enjoyed four hit singles, appeared twice at each of the Hyde Park and Isle Of Wight festivals and toured the USA three times, becoming the first British act to sign to an American label (Reprise) on both sides of the Atlantic.
The band was also an integral part of the emerging underground scene and their music mirrored the changing times. Their rapid ascent from R&B circuit mainstays The Farinas to underground darlings, Family was cemented by their first two albums, Music In A Doll’s House and Family Entertainment.
As the late Penny Valentine memorably noted in Disc & Music Echo at the time, “To call Family unusual is about as adequate as calling the Atlantic Ocean wet – but they are and it is.”
In this specially-abridged extract from the forthcoming box set Once Upon A Time, PETE FEENSTRA takes us right back to their roots

GARY FARR seemed to possess all the ingredients that should have made him a star, but a brother (Rikki, “festival Svengali”), bad timing and musical restlessness proved stumbling blocks for a man who “oozed the charisma of a true Viking”.
MIKE SHANNON follows the young Farr from the end of his blueswailing mod days in London to his early death in Topanga Canyon

Born of Seattle’s thriving early ’60s folk scene, THE DAILY FLASH soon outstripped their roots to become pioneering electric folk-rock renegades.
They were present during the first flushes of psychedelia in San Francisco and Los Angeles, becoming regulars on the California ballroom circuit. They organised their own live shows when there was no scene to accommodate them, appeared at The Vancouver Trips Festival and boast a family tree that takes in Moby Grape, Buffalo Springfield, The Kingsmen and The Doors.
So why doesn’t this mercurial act enjoy the accolades routinely bestowed on lesser contemporaries?
GRAY NEWELL needs to know

In the closing part of KRIS NEEDS’ 20 Questions, we join IAN HUNTER after having passed the Mott The Hoople audition, learn of his inner Jerry Lee Lewis being brought out by madcap producer Guy Stevens, follow the band as they become the wildest rock proposition of the early ’70s and bring things bang up to date with Ian’s much-praised new album

Kevin Coyne’s first music venture was a British blues band – or was it?
As SIREN’s albums receive the deluxe reissue treatment, MAURICE BING goes in search of the truth

Beyond the ’60s and ’70s lurks a vast array of stunning psychedelic and progressive music. Many such albums are only now starting to be picked up by collectors who are at last overcoming their sniffiness to releases outside of the supposed classic era. The Roy Weard & Last Post album Fallout from 1981 is one such incredible artefact. Finally rescued from obscurity, AUSTIN MATTHEWS talks to Roy Weard about his diverse career