Track Guide By Tim Joseph
Tracks Reviewed by David Browne
NOBODY LOVES ME LIKE YOU DO
from their first demo session, on 26th May 1964 (see CD1 track
1). Again, Harvey and Sheila are on vocals. Glover is on bass
but Gillan was still busy with The Javelins. Of the other tracks
from this session, "My Babe" can be found on Sequel's "The Roots
Of Deep Purple" (NEX CD 156).
good sound quality. Basic musically, but attractive in the same
vain as their first B-side 'That's All I Want', a track which
I've always enjoyed. Another track from Roger's first ever recording
LET THE FOUR WINDS BLOW
From the same
1964 session as "Got My Mojo Working" on CD1, Sheila takes lead.
early sixties r'n'b, with a hint of Beatles in the performance.
HAVE YOU EVER BEEN THERE
One of the
earliest-known Roger Glover compositions, this home demo / practice
session was taped in early 1966 with Ian Gillan on vocals (he's
on the rest of the tracks on CD 2). An earlier demo sung by Roger
himself can be found on the Purple Records CD "Pre Purple People"
Gillan sounds a little tentative, but the group's backing harmonies
are (as ever) very strong, giving the track an energetic Beach
Boys Party feel.
A Roger Glover
composition, we think this is a pre June 1967 practice session,
prior to the band recording it for the b-side of their single
single version is a hesitant performance with Roger on lead vocals.
This scores extra points for its live atmosphere; you can easily
imagine the group stood in a circle running through the song.
spent hours in his home "studio" preparing the vocal parts for
"Lucky Sunday", the band's eighth single. This rehearsal shows
them practicing the track in August 1968.
never warmed to the single, so this version never stood much chance.
The song is a bit wet and poppy, about a bored kid ogling a girl
in church. The version on this cd is pleasingly raw instrumentally,
but Ian's vocal sounds a bit too weak for my liking. Purple Records'
aim was to illustrate him trying to get the feel of a new song,
a charming enough concept, but the reality is the first duffer
on the entire collection.
GENTLEMEN OF THE PARK
The band still
argue about who did or did not take part in this session done
just before March 1969 for the "Les Bicyclettes De Belsize" soundtrack.
However, it seems that they were only used in a vocal capacity.
track was the major absence from Sequel's 1991 "Complete
Episode Six" release, so I'm pleased that it has made it
onto this collection. The sound quality is excellent as expected,
and it's an attractive piece of music. The song appears in the
film as assorted snappers busily photograph a fashion model in
Belsize Park. Pure sixties kitsch.
YOU LOOK TONIGHT
A demo done in 1965 (see "Mohair Sam" on CD1), this features a
lovely vocal from Ian accompanied by the whole band. Episode Six
re-recorded this Jerome Kern standard in 1967 for another possible
single, but it remained unreleased until the Sequel CD in 1991.
attractive vocal harmony ballad, very similar to the version on
the Sequel cd. There's some hiss and click left from the acetate,
but, swings and roundabouts, we also get to enjoy the clarity
and richness of the singing.
A SWINGING THING
A faithful cover of one of The Shirelles better-known tracks.
This demo was for another possible single in 1965 which fell by
the wayside, despite a fine performance from Sheila and the boys.
enough, but very restrained compared to the powerful music often
recorded for the BBC, on which the band would frequently really
cut loose and hit the heights.
Demo'd as a possible b-side for the above track, "Steal Your Heart
Away" is best known here as The Moody Blues' debut single, although
that band gave the song a minor-key arrangement compared to the
basic blues version here.
sound quality remains high for this uptempo blues from 1965. It's
an enjoyable, and catchy track with Harvey Shield and Sheila
Carter on vocals. (The sleeve notes say that Ian Gillan sings
lead, but Harvey has told us otherwise!)
CARTER & EPISODE SIX
This is a faithful version (well, without the brass!) of Dionne
Warwick's minor hit. Recorded for the BBC, April 8. 1968.
big drop in sound quality for a tuneless and grating BBC
session track, recorded on the same day as Deep Purple's first
I WILL WARM
YOUR HEART 'stage one'
While Sheila was preparing to record her solo single, she had
one of her early pre-orchestral demos cut to acetate, which we
feel is better than the single itself. This dates from early November
complete contrast, an absolutely beautiful, stripped back performance.
Crystal clear sound quality, and what a lovely voice.
Originally the b-side of Sheila's 1966 solo single, this was taped
live for the BBC on June 1.1968.
always found the b-side version a tuneless racket (my internal
soul music receptor obviously doesn't work very well!) and this
take, even with the edge of being performed live, sounds little
better to me. Pass.
Recorded for the BBC in either December 1968 or January 1969,
along with "Temptation" on CD1. "Stay With Me Baby" was another
of Sheila's showcase tracks, Ian Gillan handled keyboard duties
while Sheila was thus occupied.
seems to have had a go at this one, most recently David Coverdale
on Restless Heart. The song itself is ok, and doesn't make much
LIVE IN EUROPE:
I HEAR TRUMPETS BLOW
These two versions of the band's fifth and second singles were
taped for a German TV appearance in September 1967.
particular TV show has become infamous for their barely under
control audio recordings. Episode Six got off lightly, and their
two songs sound sharp and fun.
MONSTER IN PARADISE *
Another group original, performed live for the BBC Radio One Club
on March 3. 1969. A solo version by Ian appeared as part of his
Cher Kazoo project.
great tune, with great lyrics, sung as a quirky duet between Ian
and Roger. At this point I'd like to say that I'm stunned by the
sheer volume of national radio work carried out by Episode Six.
It seems that anyone listening to BBC Radio One at any time of
day in 1968/69 would have been regularly exposed to Episode Six
in all of their various guises. The fact that the likes of 'Monster
In Paradise' could be performed live to a huge daytime audience,
only to sink into instant obscurity is plain bizarre. Surely fame
was only an album away.
I AM A CLOUD*
This is the powerful live performance they did when called up
to deputise for an errant Pink Floyd on the BBC Radio One Club
in April 1969. Another original which clearly shows the heavy
direction the band were moving in at this late stage in their
career. A different version on the track appears on the "Pre Purple
tuneless, especially on the guitar front, but with a pleasing
heaviness towards the end (when the music becomes more cohesive)
seemingly inspired by Led Zeppelin's first album. It sounds as
if the soundman was caught completely on the hop by the song's
sudden punk aggression!
ON AIR: THE ULTIMATE COVERS BAND
LIGHT MY FIRE*
A unique interpretation of The Doors' classic which was often
extended into a mini-theatrical piece during regular live shows.
Here, for the BBC Radio 1 Club, Dec 31.1968, they keep it short.
cover which veers closer to pop rather than rock despite Mick
Underwood's powerful drumming and Sheila's Pink Floyd organ solo.
The band really manage to give the song a strong British feel.
Recorded for the BBC Radio One Club on June 1st 1968, this was
a good stab at another Love number.
vocals are muffled, but the guitar and bass pick away clearly
throughout. Tremendous music, makes me want to go out and buy
Another virtuoso performance of a Doors track, done for the BBC
Radio 1 Club on April 3. 1969. The vocalist here appears to be
guitarist Tony Lander.
by the sharp guitar work and by Sheila's shadowing keyboards.
The vocals fit the track nicely, Lander could do a fair Jim Morrison
SAY YOU DON'T MIND
Sheila takes lead on this version of Denny Laine's first single
on leaving The Moody Blues. Taken from a BBC session, Jan 30.1968.
shows her incredible versatility once again, hitting the notes
in this unusual track with wonderful ease.
ISLAND IN THE SUN
A cover of a Harry Belafonte number, Ian's masterly and tender
vocal ensures that this version stands on its own merits. Taken
from a BBC session, Jan 30.1968.
HERE THERE AND EVERYWHERE
Another song for the BBC on April 8. 1968 was this two-year-old
single a-side. One of Paul McCartney's best ballads, and Ian does
it justice here.
a pretty version, but I much prefer the single. Here Ian stays
too far in the background, possibly because of an unsympathetic
RIVER DEEP, MOUNTAIN HIGH
Another BBC session, from August 13th 1968. Coincidentally, Deep
Purple were also recording this for their second studio album
around the same time.
from a Deep Purple fan's point of view we don't get to hear Ian
tackling the vocals. Instead it's Sheila, though as usual she
does an exemplary job. For me, the end result is stronger than
mk1's performance of the track.
Another number from a BBC appearance on 22nd August 1968, giving
Roger lead vocal, although the whole band contribute. While it
is easy to see why this went down well live, it translates less
well without the visuals.
suppose it illustrates another aspect of Episode Six in concert,
though I think I'll skip past it in future. It's a joke western
song (full of whoops and yee-harrs), with a music hall Rule Britannia
thrown in. Maybe it provided the inspiration to chuck a few bars
of Land Of Hope & Glory into Under The Gun in 1984, but I
A live session from January 1969. This Larry Williams hit
(covered by The Beatles on their "Long Tall Sally" EP), thunders
along not unlike the rockšn roll encores Deep Purple would be
doing a few months down the line, and makes a fitting conclusion
to the disc.
than the boring Beatles version, but still a bit too good mannered
to get the blood pumping.
* Some tracks have previously been released on the Episode
Six 'Radio One Club' cd in 1997. They have been remastered for
inclusion on 'Cornflakes & Crazyfoam'.
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