The Rubble Collection 1-4 (60's Mod-Beat, Psych Singles)

The Pretty Things - Germany Single 1968

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Artwork Included

Originally appearing on LP from the Bam Caruso label in the 1980s, and then on CD on the Past & Present imprint in 2003, these first ten volumes (boxed) in the Rubble Collection were conceived and collected by Phil Smee. For fans of the Nuggets series, both the two American volumes and the British Nuggets, you won't find a lot of overlap. The Nuggets comps were and are for people who want what was at least the stuff of legend, if not readily available. The collection here digs deep and are, for the most part, flawless in what they present. This set, and its companion volumes 11-20 (a separate box), are very different creatures. For starters, they dig a lot deeper into the hopelessly obscure 45s and tapes of Brit psychedelia, freakbeat, Mod, and pop.

Keith West - Italy Single 1968

For every cut by Sharon Tandy & les Fleur de Lys, the Glass Menagerie, Pretty Things, and Flying Machine and the Clique, there is at least one to match from acts like Peter & the Blizzards, Skip Bifferty, Life 'N' Soul, and Factotums. You're getting the idea. This is for the listener who wants to dig down and get virtually everything. There are some things missing here (the second box picked up a lot of that slack), and like other series' that go down into the underbelly of the '60s, some of what's here is drek. But there are real gems, too -- ,check out the Sharon Tandy cuts like "Hold On," on disc nine, or the Velvett Fogg's "Lady Caroline," on disc ten, or Fairytale's "Lovely People" that kicks off volume six. Then there's the completely cracked and whacked, such as Dragonfly's "Celestial Empire," Orange Seaweed's "Pictures in the Sky," and Focus Three's "10,000 Years Behind My Mind." In addition to these ten handsome volumes in a single fold-in case, there is a 93-page booklet completely annotating tracks and offering discographies for artists who actually had them. In 2007, Fallout in the U.K. reissued this box again, in a limited numbered (on the bottom) limited license, limited edition of 1000 copies at a more reasonable price than the previous version.

Kaleidoscope (UK) - France Single 1967

The name "Rubble" is influenced by the title of the seminal Nuggets double LP, and resembles the titles of several similar compilation series, such as the Pebbles series, Boulders series and Rough Diamonds series. Most of the bands on these albums were not commercially successful, such as the Glass Menagerie, The Onyx, Wonderland and Wild Silk. However, the albums also include a few better-known bands, such as Tomorrow, The Poets, The Pretty Things, The Spencer Davis Group and The Crazy World of Arthur Brown. [AMG]

FREAKBEAT ROCK:
Freakbeat is a name sometimes used generally to denote rare, collectable, and obscure British pop and rock records of the British Invasion. Elements of the freakbeat sound include strong direct drum beats, loud and frenzied guitar riffs, and extreme effects such as fuzztone, flanging, distortion and compression or phasing on the vocal or drum tracks.

Though often used to describe the European counterpart to the psychedelic garage rock of American groups like The Seeds, The Thirteenth Floor Elevators, and The Standells, and although many artists on the European continent also contributed, freakbeat is most often applied to music originating in the UK. The term was invented in the 1980s by the music journalist Phil Smee to retroactively describe a music style that has been described as a missing link between the early-to-mid-1960s mod R&B scene and the psychedelic rock and progressive rock genres that emerged in the late 1960s with bands such as Pink Floyd. 

Tomorrow (Keith West) - Netherlands Single 1967

Freakbeat music was typically created by four-piece bands experimenting with studio production techniques. Some of the best-known examples include "Take a Heart" by The Sorrows, "Making Time" by The Creation, "Atmospheres" by Wimple Winch and "I Can Hear the Grass Grow" by The Move. Much of the material collected on Rhino Records's 2001 box-set compilation Nuggets II: Original Artyfacts from the British Empire and Beyond, 1964-1969 can be classified as freakbeat. The only Freakbeat record to chart was Anyway, Anyhow, Anywhere by The Who.

A lot of people don't know the term freakbeat, and it's certainly unusual. It's one used by record collectors, especially in the US, to describe the brief period of more experimental pop that led into psychedelia - a sort of garage rock era. It was often primitive (indeed, one of the bands was called the Primitives), with a foundation in blues and R&B, but it was a vital cog in moving music forward.

Freakbeat was essentially the bridge between the beat groups and psychedelia. It was an adventure, albeit a brief one. Its influence, certainly among musicians, was widespread, although it's only in retrospect that it's been seen as any kind of movement.

The Mirror - Germany Single 1968

PSYCHEDELIC ROCK:
In the UK before 1967 media outlets for psychedelic culture were limited to stations like Radio Luxembourg and pirate radio like Radio London, particularly the programmes hosted by DJ John Peel. The growth of underground culture was facilitated by the emergence of alternative weekly publications like IT (International Times) and OZ magazine which featured psychedelic and progressive music together with the counter culture lifestyle, which involved long hair, and the wearing of wild shirts from shops like Mr Fish, Granny Takes a Trip and old military uniforms from Carnaby Street (Soho) and Kings Road (Chelsea) boutiques. Soon psychedelic rock clubs like the UFO Club in Tottenham Court Road, Middle Earth Club in Covent Garden, The Roundhouse in Chalk Farm, the Country Club (Swiss Cottage) and the Art Lab (also in Covent Garden) were drawing capacity audiences with psychedelic rock and ground-breaking liquid light shows. A major figure in the development of British psychedelia was the American promoter and record producer Joe Boyd, who moved to London in 1966. He co-founded venues including the UFO Club, produced Pink Floyd's first single, "Arnold Layne", and went on to manage folk and folk rock acts including Nick Drake, the Incredible String Band and Fairport Convention.

Craig - UK Single 1966

British psychedelic rock, like its American counterpart, had roots in the folk scene. Blues, drugs, jazz and eastern influences had featured since 1964 in the work of Davy Graham and Bert Jansch. However, the largest strand was a series of bands that emerged from 1966 from the British blues scene, but influenced by folk, jazz and psychedelia, including Pink Floyd, Traffic, Soft Machine, Cream, and The Jimi Hendrix Experience (led by an American, but initially produced and managed in Britain by Chas Chandler of The Animals). The Crazy World of Arthur Brown added surreal theatrical touches to its dark psychedelic sounds, such as the singer's flaming headdress. Existing "British Invasion" acts now joined the psychedelic revolution, including Eric Burdon (previously of The Animals), and The Small Faces and The Who whose The Who Sell Out (1967) included psychedelic influenced tracks "I Can See for Miles" and "Armenia City in the Sky". The Rolling Stones had drug references and psychedelic hints in their 1966 singles "19th Nervous Breakdown" and "Paint It, Black", the latter featuring drones and sitar.

By the end of the 1960s, psychedelic rock was in retreat. LSD had been made illegal in the US and UK in 1966. In 1969, the murders of Sharon Tate and Leno and Rosemary LaBianca by Charles Manson and his "family" of followers, claiming to have been inspired by Beatles' songs such as "Helter Skelter", has been seen as contributing to an anti-hippie backlash. At the end of the same year, the Altamont Free Concert in California, headlined by The Rolling Stones, became notorious for the fatal stabbing of black teenager Meredith Hunter by Hells Angel security guards. 

Finders Keepers - UK Single 1967

Brian Wilson of the Beach Boys (whose much anticipated Smile project would not emerge until 2004), Brian Jones of the Rolling Stones, Peter Green of Fleetwood Mac and Syd Barrett of Pink Floyd were early "acid casualties", helping to shift the focus of the respective bands of which they had been leading figures. Some groups, such as the Jimi Hendrix Experience and Cream, broke up. Jimi Hendrix died in London in September 1970, shortly after recording Band of Gypsies (1970), Janis Joplin died of a heroin overdose in October 1970 and they were closely followed by Jim Morrison of the Doors, who died in Paris in July 1971. Many surviving acts moved away from psychedelia into either more back-to-basics "roots rock", traditional-based, pastoral or whimsical folk, the wider experimentation of progressive rock, or riff-based heavy rock.

Although they shared some similar aesthetics and production techniques, British Psychedelia was quite different than its American counterpart. In general, British psychedelia was either more whimsical or artily experimental than its American counterpart, plus it tended to work within the pop song structure. This is not a hard-and-fast rule, however. No matter how many concise, pop singles they released, Pink Floyd still stretched out dramatically on stage, taking songs into uncharted territory with each performance. However, these general rules do more or less apply, particularly to the studio recordings of British psychedelic acts. 

Jason Crest - UK Single 1969

BEAT MUSIC:
In late 1950s Britain a flourishing culture of groups began to emerge, often out of the declining skiffle scene, in major urban centres in the UK like Liverpool, Manchester, Birmingham and London. This was particularly true in Liverpool, where it has been estimated that there were around 350 different bands active, often playing ballrooms, concert halls and clubs. These beat bands were heavily influenced by American groups of the era, such as Buddy Holly and the Crickets (from which group The Beatles derived their name), as well as earlier British groups such as The Shadows. After the national success of the Beatles in Britain from 1962, a number of Liverpool performers were able to follow them into the charts, including Gerry & The Pacemakers, The Searchers, and Cilla Black. Among the most successful beat acts from Birmingham were The Spencer Davis Group and The Moody Blues; The Animals came from Newcastle, and Them, featuring Van Morrison, from Belfast. From London, the term Tottenham Sound was largely based around The Dave Clark Five, but other London bands that benefited from the beat boom of this era included the Rolling Stones, The Kinks and The Yardbirds. The first non-Liverpool, non-Brian Epstein-managed band to break through in the UK were Freddie and the Dreamers, who were based in Manchester, as were Herman's Hermits and The Hollies. 

Mark Wirtz - UK Promo Single 1968

The beat movement provided most of the bands responsible for the British invasion of the American pop charts in the period after 1964, and furnished the model for many important developments in pop and rock music, particularly through their small group format - typically lead guitar, rhythm guitar, bass guitar, drums, and often keyboards, either with a lead singer or with one of the other musicians taking lead vocals and the others providing vocal harmonies.

DERAM RECORDS:
Deram Records ("D-ram") was a subsidiary record label established in 1966 by Decca Records in the United Kingdom. At this time U.K. Decca was a completely different company from the Decca label in the United States, which was then owned by MCA Inc. Deram recordings were also distributed in the U.S. through UK Decca's American branch, called London Records. Deram was active until 1979, then continued as a reissue label.

Decca initially conceived Deram Records initially as an outlet for stereo 'Deramic Sound' recordings of contemporary pop and rock music, though not all of the early recordings on Deram used this technique. The new recording concept allowed for more space between instruments, rendering these sounds softer to the ear. Early stereo recordings of popular music usually were mixed with sounds to the hard left, center, or hard right only. This was because of the technical limitations of the professional 4-track reel-to-reel recorders which were state of the art until about 1967. 

Open Mind - UK Promo Single 1969

'Deramic Sound' was intended to create recordings that had a more natural stereo spread. The basic difference was that, instead of overdubbing and mixing 4 individual (mono) tracks from a 4-track recorder, the Decca recording engineers used a pair of 4-track machines to layer multiple 2-channel (stereo) recordings. This new concept with additional tracks permitted instruments to be heard more easily from any position within the stereo field.

To launch the 'Deramic Sound' concept Deram issued a series of six Easy listening orchestral pop albums in October 1967. The albums all included the word Night in the title, i.e. Strings in the Night, Brass in the Night, etc. The label was soon moulded into a home for 'alternative' or 'progressive' artists. Among the first recordings in this series was the November 1967 album release Days of Future Passed by The Moody Blues.

Professional quality 8-track recorders began to appear in many British studios starting with Advision Studios and Trident Studios in 1968. These 8-track machines were far more flexible than the dual 4-track recorder setup. Since Decca engineers no longer had more tracks than other major studios the 'Deramic Sound' concept quickly became outdated and was dropped.

Tempus Fugit - UK Promo Single 1969

The roster later included British jazz and folk as well. Some of the more progressive jazz musicians of the late 1960s were released under the Deram imprint including Mike Gibbs, John Surman and Mike Westbrook. Deram albums bore a DML prefix for mono and an SML prefix for stereo releases. As with other UK Decca subsidiary labels, Deram's U.S. counterpart was distributed under the London Records arm. Decca positioned it against Island Records, Harvest Records (launched by EMI) and Vertigo Records (launched by Philips Records), but it failed to compete long-term. An 'extra' progressive series with SDL prefixes did not improve the situation.

From the start, Decca placed pop records alongside progressive artists on Deram. Cat Stevens found early success there before moving to Island Records; and David Bowie's first album appeared on the label. Three of Deram's earliest hits, Procol Harum's "A Whiter Shade of Pale" and The Move's "Night of Fear" and "I Can Hear the Grass Grow", were not by artists actually signed to Deram; they were part of a deal with Straight Ahead Productions, who moved their acts to EMI and had them released on the reintroduced Regal Zonophone imprint.

In 1969, Decca launched a true progressive label called Nova, which lasted less than a year. This caused further confusion as simultaneous releases on "Deram Nova" and "Decca Nova" appeared.

(((Click on pictures for bigger size)))

Deram Records singles discography: http://en.wikipedia.org/wiki/Deram_Records_singles_discography

Vol. 01
01. Wimple Winch / Atmospheres - 04:21
02. The Mirror / Faster Than Light - 02:08
03. Caleb / Woman Of Distinction - 02:33
04. Martin Cure And The Peeps / It's All Over Now - 02:39
05. The Living Daylights / Always With Him - 02:39
06. The Misunderstood / Never Had A Girl Like You Before - 03:04
07. The Open Mind / Cast A Spell - 02:10
08. The Dakotas / The Spider And The Fly - 03:11
09. Wimple Winch / Rumble On Mersey Square South - 04:27
10. The Open Mind / Magic Potion - 03:31
11. The Living Daylights / Let's Live For Today - 02:49
12. The Craig / I Must Be Mad - 02:44
13. Unit 4 + 2 / I Will - 02:38
14. The Hush / Grey - 02:28
15. Wimple Winch / Save My Soul - 03:02
16. The Mindbenders / The Morning After - 02:08

Vol. 02
01. The Mode / Eastern Music - 02:21
02. Wimple Winch / Marmalade Hair - 02:54
03. The Parking Lot / World Spinning Sadly - 02:58
04. The Pretty Things / Defecting Grey - 04:21
05. Keith West / Kid Was A Killer - 02:26
06. Shotgun Express / Indian Thing - 02:57
07. The Executive / Tracy Took A Trip - 02:46
08. Wimple Winch / Lollipop Minds - 03:06
09. The Talismen / You Break My Heart - 02:04
10. The Pretty Things / Walking Through My Dreams - 03:30
11. Bo Street Runners / Love - 02:54
12. Sons Of Fred / Sweet Love - 2:51
13. Wimple Winch / Bluebell Wood - 03:27
14. Idle Race / Knocking Nails Into My House - 02:21
15. Spencer Davis Group / After Tea - 03:13
16. Gordon Waller / Rosecrans Boulevard - 02:44

Vol. 03
01. The Brain / Nightmares In Red - 02:17
02. Focus Three / 10,000 Years Behind My Mind - 02:14
03. The Pretty Things / Talkin' About The Good Times - 03:37
04. Bamboo Shoot / The Fox Has Gone To Ground - 02:49
05. Wild Silk / Visions In A Plaster Sky - 02:25
06. Mark Wirtz / (He's Our Dear Old) Weatherman - 03:54
07. The Lemon Tree / William Chalker's Time Machine - 02:31
08. The Koobas / Barricades - 04:59
09. Aquarian Age / 10,000 Words In A Cardboard Box - 03:41
10. The Pretty Things / Mr. Evasion - 03:20
11. The Executive / Gardena Dreamer - 03:07
12. The Chances Are / Fragile Child - 02:25
13. Ipsissimus / Hold On - 03:31
14. Edwick Rumbold / Shades Of Grey - 02:31
15. The Penny Peeps / Model Village - 02:49
16. Tomorrow / Revolution - 03:43

Vol. 04
01. Jason Crest / Black Mass - 04:50
02. The Mirage / The Wedding Of Ramona Blair - 02:17
03. Caleb / Baby Your Phrasing Is Bad - 03:18
04. Kaleidoscope / Flight From Ashiya - 02:41
05. The Cymbaline / Matrimonial Fears - 03:46
06. Finders Keepers / On The Beach - 02:49
07. The Californians / The Cooks Of Cake And Kindness - 02:41
08. Rings And Things / Strange Things Are Happening - 02:32
09. The Fox / Butterfly - 03:29
10. Unit 4 + 2 / 3.30 A.M. - 03:09
11. Kaleidoscope / A Dream For Julie - 02:48
12. Tempus Fugit / Come Alive - 02:43
13. The Misunderstood / Golden Glass - 07:43
14. The Magic Mixture / Moonbeams - 03:58

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The Wimple Winch - UK Single 1966