CD2 is divided into various sub categories, and is something of a bonus disc if you consider CD1 as the main feature. The sound quality varies from pristine studio to lo-fi radio recordings. The music is often a test of the variety of pop and rock which the listener can cope with., but I found it a rewarding listen with plenty to investiigate and enjoy again and again.

My personal stats for both discs are that I'm happy with at least 45 of the 51 tracks, which is some average for any cd in my collection! The best dozen or so would simply have made a classic album.

DISC TWO :

Track By Track Guide By Tim Joseph
Tracks Reviewed by David Browne

DEMOS & REHEARSALS

NOBODY LOVES ME LIKE YOU DO
Another track 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).

Very 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 session.

LET THE FOUR WINDS BLOW
From the same 1964 session as "Got My Mojo Working" on CD1, Sheila takes lead.

Pure 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" (PUR 325).

Ian 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.

SUNSHINE GIRL
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 "Morning Dew".

The 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.

LUCKY SUNDAY
Tony Lander 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.

I've 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.

This 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.

UNISSUED SINGLES:

THE WAY 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.

An 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.

LOVE IS 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.

Attractive 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.

STEAL YOUR HEART AWAY
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.

The 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!)

SHEILA CARTER & EPISODE SIX

YOU CAN HAVE HIM
This is a faithful version (well, without the brass!) of Dionne Warwick's minor hit. Recorded for the BBC, April 8. 1968.

A big drop in sound quality for a tuneless and grating BBC session track, recorded on the same day as Deep Purple's first ever show.

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 1966.

In complete contrast, an absolutely beautiful, stripped back performance. Crystal clear sound quality, and what a lovely voice.

INCENSE
Originally the b-side of Sheila's 1966 solo single, this was taped live for the BBC on June 1.1968.

I've 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.

STAY WITH ME BABY
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.

Everyone 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 impact.

LIVE IN EUROPE:


I HEAR TRUMPETS BLOW
MORNING DEW
These two versions of the band's fifth and second singles were taped for a German TV appearance in September 1967.

This 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.

EARLY SONGWRITING:

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.

A 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 Purple" CD.

Pretty 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.

Neat 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. A grower.

THE CASTLE
Recorded for the BBC Radio One Club on June 1st 1968, this was a good stab at another Love number.

The vocals are muffled, but the guitar and bass pick away clearly throughout. Tremendous music, makes me want to go out and buy Love albums!

SPANISH CARAVAN*
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.

Carried by the sharp guitar work and by Sheila's shadowing keyboards. The vocals fit the track nicely, Lander could do a fair Jim Morrison impression!

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.

Sheila 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.

Errr....no thanks.

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.

Quite a pretty version, but I much prefer the single. Here Ian stays too far in the background, possibly because of an unsympathetic mix.

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.

Disappointingly 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.

JESSE JAMES
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.

I 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 hope not.

SLOW DOWN

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.

Faster 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'.

For more details visit www.purplerecords.net

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