Its astoundingly shit translation program. I was looking up stuff on the glorious (and seemingly forgotten) album Supernatural Fairy Tales by Art (who later became Spooky Tooth and went downhill real fucking fast) when I came across a review on Rocktimes.de in German. Now I could have sat there and slowly translated the bugger myself, but being a lazy sod sometimes, I thought I'd let Google do the werk for me. This is what happened...
Kind/superatueral Fairy of valley*
In the summer 1963 Jimmy Henshaw (guitar, key boards) created, walter John clay/tone (drums), franc Kenyan (guitar) and the former office worker Mike Harrison (vocals) in Carlisle (northwest England) a Beat/R&B Combo with that little modest name The V.I.P. 's.A little later still Greg Ridley (bass) pushed in addition which had already made music with the Ramrods as well as Mike Harrison. The latter still provided beside the Vocals for the bluesigen sounds on the harmonica. The volume brought 1964 out on “RCA” its debut single “Don't Keep Shouting RK Me/She's NO Good” and let afterwards still three Singles with “CBS” (under the misleading volume designation The VIPPS) and/or the Chris Blackwell label “Iceland record”, produced from the house producer Guy of Stevens, follow.The Joe Tex number “I Wanna developed Free” to a local mini hit and conquered in France Chartposition 3! This had the consequence that the V.I.P. 's in France with the “Fontana” - label altogether 4 EP's brought out. Otherwise they were promoted between 1965 and 1966 to a Londoner club attraction and gave regular Gigs in the Hamburg one “star club”.
End of 1966 finally pushed Luther Grosvenor (guitar, vocals), Mike Kellie (drums) and a certain Keith Emerson at the keys to volume and replaced Henshaw, John clay/tone and Kenyan. They are on the later photographs of the V.I.P's like “Stagger Lee” to hear “Rosemarie” or “Late Night Blues (incoming goods incoming goods Hours)” outstanding interpreted (Blues/R&B/Soul) Songs, as also for example the Howling wolf classical author “Smokestack Lightning” taken up somewhat in former times, which lets quite listen attentively.The voice of Mike Harrison comes here at the best one more rüber, has somewhat completely special and was thus quasi sign this unfortunately much too little considered Combo. But the musical development did not stand still. Those in the long run somewhat simply knitted Beatmusik and the R&B/Soul interpretations and/or Adaptionen moved so slow into the background, instead harder, psychedelische sounds were ever more announced. So also with the V.I.P. 's.Harrison wanted heavier tones, Keith Emerson had other conceptions and disappeared from direction The Nice. The Quartet remaining now called itself short hand in kind over and got immediately the opportunity to be able to bring in for “Iceland record” a complete album and this chance could young certainly not be escaped.
Apparent chemistry between the four was correct, because fast were written, finished twelve titles, all of the complete volume for the photograph session. As (“Iceland record” house) a producer again Guy of Stevens, a Könner of its subject cared for and equipped with some experience, the photographs. The psychedelische Cover was provided by Hapshash and the Coloured Coat. One left oneself for the album in this “buzzer OF Love 1967” thus to nothing the coincidence, particularly also “Iceland” - Boss Chris Blackwell personally around the volume cared.
The musical change desired was radically converted. The Beat rhythms disappeared completely from the scene and by raue, hard guitar sounds were replaced. Also the Harmonika remained outside forwards, because the Bluesstandards belonged to the past. Instead there were tones on the ears, which partly sounded like Vanilla Fudge (one heard only times in “I Think I'm Going Weired” purely), on the other hand in addition, represented somewhat completely own.
Completely amazingly was also the versatility of the individual pieces. Apart from the heavy, sluggish titles, for those Luther Grosvenor's Klampfe the clay/tone indicated (“Room With A View”) got one nearly tender acoustic Songs as for instance “Flying Anchor” and “Love Is material” on the shell. Under the appropriate title “African Thing” was allowed to live it up and show the rhythm department with an expanded Percussionteil correctly, in them was which qualities. Naturally speed was gebolzt also times correctly. Best example of it is “Come on UP”. In addition there was a Song, whose Refrain had nearly an ear worm character with “What That sound”.
Altogether it becomes completely clear on this album that here four musicians had been, full ideas put and these also perfectly to convert understood. Naturally yet everything had not fully developed, which one can recognize among other things on the shortness of the individual titles. There was still enough area for longer improvisations. But also that was soon repaired, because immediately after this production the American Keyboarder and Shouter Gary WRIGHT that followed volume. With it at the organ and Mike Harrison at the Piano became the sound still more versatile, particularly since the two became detached also with the Leadgesang.
Thus next renaming was forthcoming, which provided now for the final break-through in the Rockbusiness: Spooky Tooth, so the new name that volume, took up altogether seven Studioalben, with which they wrote music history. But that is again completely different history.
*How the fuck it came up with that as a translation of the title I cannot fathom. Glad it did though.
