January 2000 Back Issue
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January 2000 - Issue 4

TRIVIA WINNERS!

Editor's Note

Ever Heard Of . . .
Obscure Band Feature:
The Mirage

Golden Nugget
How Much is it Worth?
Collectors feature:
The Doors & Elton John

The Gathering of The
Tribes and Human Be-In Festival and Celebration 
San Francisco - Golden Gate Park

Bob Dylan's First Public Performance Since Motorcycle Accident
New York City - Carnegie Hall

Picture This . . .
Small Faces and The Who Thrown Off A Plane in Australia!

Lyrics, Quirks &
Questions
Test your Rock & Roll
knowledge and WIN!
Print Giveaway: Bob Dylan

Our Resident Hippy Remembers . . .
Real life stories from
the 60s and 70s.
Part 2 of the Doors show

Coming Events

T

Their first record contract came courtesy of CBS in early 1965; it would be their first of three record companies the band would become contracted to over the span of four years. Two singles were recorded and released in 1965 and are of little interest to psychedelic record collectors as both releases are indeed very much pop/bubble-gum-type records. However, it is interesting to note that their second single for CBS, titled "Go Away", was written and produced by three members of The Hollies, namely Graham Nash, Alan Clarke, and Tony Hicks. After their two-single obligation to CBS was fulfilled, the Philips label signed The Mirage in 1966. It was their two-year tenure while contracted to the adventurous label that their best psychedelic work was created.

The Mirage released their first Philips single in 1966, choosing to cover "Tomorrow Never Knows" from The Beatles' "Revolver" album. The group proceeded to emulate The Beatles not so much in sound, but by using the studio as an extended instrument, employing the latest studio advancements to create some interesting sounds and effects, including a rare-for-the-times phase like effect used in conjunction with the piano for an unusual, yet ideal sound. The band's more commercial approach to the song resulted in a more mainstream work than the Beatles original and received some significant local radio airplay.

The Mirage spent the remainder of '66 touring the UK club circuit, returning to the studio in early 1967. With studio time a precious commodity in those days, four singles were recorded in one session in early February. "Hold On" b/w "Can You Hear Me" was a grand departure from what they had put together for their first Philips single. Very conventional in sound and composition, it lacked the psychedelic feel they had captured so well first time around. Their third release in April '67 was a return to basics, once again using studio wizardry to give the record a serious psychedelic texture. "The Wedding of Ramona Blair" (b/w "Lazy Man") is a fun blend of psych/pop weaved together in a story-song format.

Early 1968 saw the band switch labels yet again, this time to Page One Records. The Mirage released two further singles that met with limited success and airplay. "Mystery Lady" b/w "Chicago Cottage" was released in July '68 and "Carolyn" b/w "World Goes On Around You" was their final release in 1969.

Although the original members had managed to tough it out and remain intact for the better part of 4 years, three record companies and countless live gigs, it was one personnel change in October '68 that caused the band to fold. Lead singer/guitarist Dee Murray and drummer David Hynes both left to join The Spencer Davis Group. Hynes played drums for Spencer Davis until late '69 before moving on to play bass for Elton John's backing group. Other incarnations of The Mirage with different personnel and names appeared in 1970 as Portobello Explosion, which then evolved into Jawbone in 1971.

Much of The Mirage's recorded works have made their way onto compilation albums featuring the era. "Wedding..." was used as part of a UK psychedelic compilation album titled "The 49 Minute Technicolor Dream". A previously unreleased track, "I See The Rain", made its way onto another compilation called "Psychedelia Volume 4". Their cover of "Tomorrow Never Knows" can be found on "Circus Days Volume 3", yet another UK psych compilation.

The Mirage . . . Ever heard of 'em?

Estimated value: £175, $250 US

Estimated value: £30, $45 US

SAN FRANCISCO, GOLDEN GATE PARK
As the dawn of a new day approached, the sun's warm rays illuminated San Francisco Bay. The start of this day would be for many a confirmation of being, and of belonging to, a community and lifestyle that is determined to make a difference.

For weeks now, colorful posters have adorned the various craft and head shops throughout the Bay area, especially in the Haight Ashbury district, announcing the "Gathering of The Tribes and The Human Be-In" festival and celebration. And, come one come all they did, official estimates pegged the crowd at 20 to 40,000 while organizers estimated it was closer to 50 to 80,000. Either way it was an impressive show of solidarity. They came from all over California, some traveled as far as New York; all beautifully adorned in flowing silk scarves that swirled softly in the warm, sweet smelling breeze coming off the Bay. Others wore ornate bead necklaces while others, in true hippy fashion, wore flowers in their hair. Geographically though, it made no difference where they came from, as all had arrived anxious to celebrate their oneness.

Although the event was not scheduled to begin until 1pm, eager celebrants began arriving at Golden Gate Park as early as 5am. What began at dawn as a mere trickle of festival goers weaving their way through the park's lovely natural splendor, had by 11am transformed itself into a steady stream of youths happily making their way to the Polo Field located in the middle of Golden Gate Park. By noon the field, which had only been speckled with pockets of early arriving youngsters two hours prior, had now metamorphosed itself into a human tapestry that carpeted the full length and width of the field.

Allen Ginsberg and San Francisco poet Gary Snyder were seen performing Hindu/Buddhist mantras in an effort to cleanse the grounds before the bulk of revelers arrived. A stage situated in the corner of the field would be the focal point of the proceedings.

At precisely 1pm, Snyder worked his way through the friendly crowd and made his way onto the platform, blowing into a conch shell to signal the start of the event. Local poet Lenore Kandel read beautifully in an angelic air from her infamous "Love Book", which was recently seized by police at the San Francisco "Psychedelic Shop" during an obscenity raid. Fifteen minute poetry readings were interspersed between music sets by local bands The Grateful Dead and Quicksilver Messenger Service.

San Francisco acid-rockers Quicksilver kicked off the music portion of the celebrations, providing a lively musical injection to the festivities. Still in search of a record contract and very much a devoted bunch of musicians, they jammed throughout their set including the standout track "The Fool" which turned into a 12-minute marathon.

Timothy Leary then provided an inspirational quarter hour of promoting the psychedelic community and its inevitable spread, the crowd punctuating Leary's oration with rousing cheers. The audience was definitely together throughout the day with touching and spontaneous displays of unity evidenced when, in a single voice, they sang along with Snyder as he chanted the mantra of Maitreya (the coming of the god of love). An hour later, when Ginsberg delivered the Shiva mantra (the hashish smoking god of yoga), the crowd once again burst into accompanying song.

Local favorites The Grateful Dead closed the musical segment of the event and treated the crowd to some originally penned tunes, including "The Golden Road To Unlimited Devotion", vocalist Jerry Garcia introducing the song as "the reason we're all here". The band had the crowd dancing and tripping to their unique, extended jams that were comprised of a musical cocktail that brilliantly blended hints of Indian raga and folk, country/bluegrass and plain old rock and roll. The new tunes are reportedly being written for their upcoming debut album rumored to be for music industry giants Warner Brothers. The Dead climaxed their set with a raucous marathon of a medley that stretched well over twenty-five minutes and left the crowd physically spent, but overflowing both emotionally and spiritually. A fan who danced nonstop throughout the entire Grateful Dead set remarked, "This is what it's all about. We're surrounded by mother earth's beauty, spiritually enlightening musical sounds, lovely brothers and sisters and at the same time expanding the horizons of our minds." That in itself sums it up nicely, a good time was had by all.

Following The Dead 's blazing finale, the crowd slowly and reluctantly began to make their various ways home, when Ginsberg made his way to the onstage microphone and announced simply, "Let's have some kitchen yoga" a call to all in attendance to clean up the park as they left. Remarkably, everyone pitched in, leaving Golden Gate Park and the Polo Field cleaner than when the throngs of celebrants had arrived. All seemed to have experienced an almost religious moment of clarity, spirituality and community. With a crowd of over 50,000, they proved that they indeed are not alone.

NEW YORK CITY, Carnegie Hall - Eighteen months since his near fatal motorcycle accident Bob Dylan performed in public for the first time last night as part of a tribute to the late Woody Guthrie. Dylan apparently suggested yesterday's event as a means to raise awareness and funds for the fight against Huntington's chorea and for the establishment of a Guthrie library. Guthrie, one of Dylan's biggest influences, succumbed to the debilitating disease this past October. Dylan's performance was part of two consecutive shows that featured other artists including Pete Seeger, Richie Havens, Tom Paxton and Judy Collins.

Dylan hooked up with long time backing musicians now collectively known as The Band. Featuring Robbie Robertson, Rick Danko, Levon Helm, Garth Hudson and Richard Manuel, the group first made Dylan's acquaintance in the Greenwich coffeehouses in 1965. Impressed by the quintets musical prowess and diversity, Dylan used them as back up for his 1965-66 world tour, and were part of his infamous electrified show at Forest Hills in August of '65, when the folk crowd took exception and booed in response to Dylan's new direction. The Band has just wrapped up work on their own debut album, tentatively titled " Music From Big Pink" and is scheduled to be released in August of this year.

Wearing a dark gray suit and a scraggy beard and moustache, Dylan appeared somewhat frail and tired as he and The Band worked their way through three of Guthrie's best works, "I A'int Got No Home", "Dear Mrs.Roosevelt" and "The Grand Coulee Dam". Dylan and The Band then joined an all star ensemble of musicians for a stirring double finale on "This Train Is Bound For Glory" and "This Land Is Your Land".

On July 29th of last year, Dylan was riding his Triumph motorcycle to a nearby repair shop when he lost control and crashed, suffering serious injuries including a concussion, massive bruising, lacerations of the face and scalp and several broken neck vertebrae. His recovery cum retirement led to persistent and often times ludicrous rumors that he was recovering from a drug overdose, was grossly disfigured, crippled, and even that he was dead. In a recent interview he addressed for the first time his accident and his brush with death. "The back wheel locked, I think. I lost control, swerving from left to right. Next thing I know I was someplace in Middletown, I think-with my face cut up so bad I got some scars and my neck busted up pretty good. I saw my whole life pass in front of me…the fact that I made it through what I did is pretty miraculous."

The accident came on the heels of his remarkable double album "Blonde On Blonde", which earned him his third straight gold album. Dylan's recently released album of new material, "John Wesley Harding", is a return to basics for Dylan, who some say wanted a return to his more straightforward beginnings. It too is doing well and is on it's way up the charts and perhaps may be his fifth consecutive gold album, his fourth gold achieved shortly after the release of his greatest hits package in March of last year.

Although frail at yesterday's performance, his voice cracking and somewhat weak in spots, Dylan is certainly alive and well. Judging from his latest work, Bob Dylan still has a lot to say.

Picture this... As 1968 dawned, The Small Faces were just six months from the release of their chart-topping and innovative classic "Ogden's Nut Gone Flake" when they decided to team up with their friends and fellow modsters The Who for a quick nine day tour of Australia and New Zealand. For their part, The Who had just completed promotional tours of the U.K. and the U.S. in support of their just released third album, "The Who Sell Out". This album would yield the band their first U.S. top ten single with "I Can See For Miles", and Pete Townshend would have his first rock opera flirtations with the six minute "Rael". It would be the Small Faces last proper tour ever, and for The Who, it would be their first, and last, visits to both countries. While both bands enjoyed considerable popularity in Australia, this mini tour would leave lingering negative memories with each of the band members.

The seeds that were responsible for the initial clash Down Under were sown in London in late 1967 when Small Faces keyboardist Ian McLagan was arrested and charged with possession of marijuana. After enduring a 10,000 mile, sixteen hour flight, both bands, jet lagged and fatigued, had to endure the local press immediately after arriving at Sydney International Airport. A throng of reporters had gathered for what was, during the sixties, an obligatory meet and greet by the local press immediately upon arrival in a new country for the first time.

The haggard bunch of musicians took their places behind a long table, the centerpiece of which was a collection of microphones that belonged to the leading news outlets of the country. Because of McLagan's recent drug charge, he was singled out as the target for the first question to be levied at the tired bunch, who were in no mood for the press conference to begin with. It would turn out to be a one-question press conference.

"Mr. McLagan" shouted an eager reporter from the rear of the room, intent on getting the first question in, "is it true that you're a drug addict?"

Without hesitation, McLagan fired back in an ascerbic tone, "Oh, fuck off!"

Mclagan said in a UK interview later that year, "that was it, they started packing their equipment up. And they hounded us after that. Everywhere we went, there'd be these arsehles. It was hell."

Although the two bands played twice nightly throughout the nine day jaunt to appreciative capacity crowds, the only press they received was negative and often times scathing, all stemming from that ill fated first meeting at Sydney International Airport. Australian tabloid "The Showman" described the two bands as "scruffy, guitar twanging urchins" while urging the country's youth to boycott upcoming shows. To further complicate matters, their show in Sydney had half the audience staring at the bands' collective behinds as the revolving stage didn't quite revolve. As the tour progressed, things didn't get any better. In Melbourne, Steve Marriott, shrimp sized vocalist extraordinaire of The Small Faces, was antagonized by an audience member to the point that he stopped playing mid-song and volunteered to march down into the throngs below to sort the "mouthy bastard" out.

The press continued to pursue and harass the bands relentlessly, looking for and exaggerating the most trivial incidents. They duly reported the Marriott outburst the following day and were obviously successful in tainting the public perception of the bands, as they became the subjects of taunts and insults whenever they appeared in public. Upon leaving their hotel for a gig one evening, six teens awaited for the groups to emerge from the hotel lobby. After hurling slurs and abuse at the musicians, Keith Moon could take no more. In true "Moon The Loon" fashion, he became cross-eyed with rage, broke loose from his compatriots and took off like an enraged bull at full speed chasing the offending youths down a nearby alleyway. Yelling his own vulgar retorts at the top of his lungs and offering to take them all on, he sent the six scurrying off wildly, managing just barely to stay ahead of the crazed Moon. Once again, this too was documented and reported in full detail in Australia's major newspapers.

Needless to say, the last show in Adelaide on January 28^th was a welcome relief for all concerned. Upon completion of the gig, their hearts still racing and sweat still pouring from the rigors of the evening's performance, they immediately boarded a plane to take them from Adelaide to Sydney and then on to New Zealand. Undoubtedly feeling a mixture of frustration, relief and fatigue with the whirlwind tour and its tribulations, the boys decided to celebrate what had become an eagerly and long awaited conclusion of this bumpy visit Down Under. No sooner had the plane attained cruising altitude than the week's tensions were exorcised via alcohol as the lads lay siege to the mile-high bar. One can imagine that it wasn't long before the short flight degenerated into a circus of buffoonery.

Totally unprompted and for no other reason than "I felt like it", Steve Marriott hurls a full drink at the boys in The Who, the contents of which manage to successfully dampen the laps of each member. In response to the first strike, the four from Shepherd's Bush fire off a barrage of full and half full drinks in succession at their pals across the aisle, an alcoholic shower raining down on each of The Small Faces. Fellow passengers aboard this lunatic flight had, up until this point, smartly avoided making any contact with the band members and their crews but after getting caught in the liquid crossfire had more than had enough. Complaints to the stewardess were followed by a stern warning that it was a federal offence in Australia to cause any disturbance aboard a plane flight. The pilot was also promptly informed of the on board ruckus as well. Needless to say, the warnings went unheeded and the boys, although out of liquid ammunition, continued to fling abuse and dry Cockney humor and insults at each other and any passengers who dared shoot any disapproving scowls at the out of control rockers.

Pete Townshend then proceeds to summon the stewardess for another rounds of drinks. The young lady, who had by this time surrendered any and all attempts at being courteous towards the lot, informed the rowdy bunch that no further alcohol would be served to them. Imagine the shock and incensed response! The gull! The flight attendant was then soundly and thoroughly bombarded with verbal weaponry she had probably never heard before or since. The insults escalated to the point where someone called her a four-letter word. And NOT the one that starts with "f" either. This, it seems did it. Tears began to flow. The boys had done it and they all quite sheepishly returned to their seats, putting on their best school boy faces. Both bands and their accompanying entourages would not make it to Sydney on this flight. The still sobbing stewardess hi-tails herself out of hostile enemy territory and makes her way to the cockpit to inform the captain of the wild clownery that's still going on at the rear of the plane. The captain promptly radios the nearest airport requesting permission for an immediate landing.

Upon touching down, The Small Faces, The Who and ten others including Paul Jones (former lead singer with Manfred Mann) were escorted off the plane by local police. Three hours were then spent explaining the situation and waiting for the next flight out to Sydney. Although no charges were laid, it was decided by authorities that airline security send three guards along to accompany the bunch aboard the next flight to ensure no repeats of the spectacle that evolved into a flying liquid-food fight.  The Who vowed never to return and true to their word, they never did. As for The Small Faces, Steve Marriott's departure the following year would signal it's dissolvement and reemergence as The Faces with one Rod Stewart.

Just another day at the office!

Hendrix Ushers in 1970, continued
It seemed last night that most were there to see the Hendrix of old and to hear him perform the material that has made him a world famous rock icon in a mere three years. The overwhelming roar espoused by the crowd when Hendrix fired off the opening riffs to "Foxy Lady" and "Purple Haze" evidenced this. Many would be disappointed however, as most of the material performed by the trio yesterday was new, Hendrix himself admitting to the audience at one point, "a lot of these a'int finished yet, but we're gonna have some fun working them out here".

Although the new material is without doubt at odds with what one has come to expect from Hendrix, it made for some very memorable moments. The centerpiece of the new material, and indeed the evening, was the haunting, "Machine Gun". Jimi, once again alluding to the street-turmoil taking place in many of America's major cities and to the militant black movement, introduced the song as follows, "this song is dedicated to all the soldiers in Detroit, New York, Chicago and, oh yes, Vietnam". "Machine Gun" captures vividly the mood of, and the split within, America surrounding our involvement in Vietnam. With a punctuating snare drum eerily imitating machine gun fire and Hendrix displaying his virtuoso (a la Star Spangled Banner at Woodstock) by coaxing plaintiff cries, wails and moans from his guitar, the song was simply mesmerizing. Other honorable mentions for the new material included "Trying To Be" and "Earth Blues Today", Hendrix introducing the latter tune with further hints at the ongoing black rights movement by saying, "this song's about a whole lot of people trying to get their thing together and a whole lot of people fucking them up".

A further highlight of the evening occurred when Miles joined Hendrix for a vocal duet and a "plea for unity 'cause we all got to live together", a song that originally came about as a result of a jam at the Newport '69 festival in L.A.

All in all it was a show to see. With The Band Of Gypsys still relatively fresh, more time together will sharpen their sound and chemistry, and one can see interesting musical endeavors emanating from this trio in the future. All in attendance yesterday witnessed an immensely talented musician in the midst of change and expanding his musical skyline while growing as a musician and performer (dare we say maturing?), the whole time hoping we'll join him in his musical adventure.

If we can all get over the fact that Jimi Hendrix is first and foremost an artist and not a circus performer, and the fact that Hendrix's Experience days are over (maybe for good), perhaps we can all enjoy his new musical direction. Let's forget the theatrics and realize that Hendrix's guitar playing remains second to none and, quite frankly superb. The Hendrix of the seventies will remain an exciting musical entity, albeit a mellower version of his searing beginnings.

An interesting aside to these shows was the revelation that the hastily arranged concerts were the result of an outstanding and very old contract that Hendrix had casually signed with New York producer Ed Chaplin many years ago. In order to avoid a lengthy and expensive legal battle, Hendrix put together The Band Of Gypsys and cut a live album as payoff.

. . . see ya next month!

Exciting additions and news about what's happening at
classirockpage.com and with the Psychedelic News

1. CR NET RADIO has arrived! You'll get the best Psychedelic and Classic Rock. The tunes you have selected will begin playing on April 2000! Which song should we play first? That's a tough one, we know, read on to find out how you can have your input...Check out your incredible playlist so far!!

2. The programming of your radio station continues. Take part and have your say in the programming of CR Net Radio via our Best of Poll -  For January and February we will be looking for your top 3 albums and your top 3 songs - a set of three songs that you feel would best kick off your radio station!

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4. Interactive interviews (you get to ask questions!) will take place in the forum too! Currently arranging interviews with D. Gallagher (Rory's brother and manager), Greg Ridley (bassist for Humble Pie and Spooky Tooth), and John Paul Jones.

5. Tentatively scheduled for early Y2K--MP3s! - submit your original MP3 music compositions to be featured on CR Net Radio!

6. "Moondog the Hippy Remembers" . . . Next month... our first subscriber contributed story! If you'd like to contribute your own story to be featured in this section, email us at general@classicrockpage.com Contributions that are used in the Psychedelic News will receive a classicrockpage.com t-shirt!

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