Sallies Fforth

Rainbow Ffolly consisted of Jonathan Dunsterville on guitar and vocals, his brother Richard on lead vocals and guitar, Roger Newell on bass and vocals, and Stewart Osborn on drums and vocals. The group were from High Wycombe University, and their art-school influence is very apparent in this 1968 L.P. titled Sallies Fforth. The Psychedelic cover was designed by Jonathan, who was also credited with writing all of the songs. With 15 tracks clocking in at 43 minutes, this highly collectible, enigmatic L.P. emerges with all of it's influences clearly worn at the top of it's sleeve. Copies of the original L.P. fetch up to $2,000. each, if one can find them. Is the L.P. worth it? That is entirely a matter of one's opinion, as well as one's taste. The lush, inventive arrangements, flowing melodies, and strong vocal harmonies display a wide range of styles, all very British, with tongue firmly planted high up in cheek. As pointed out in the sparse but spot-on sleeve notes by Brian Hogg, even their name with the double 'f' was intended as a tribute to Wally Ffolks, creator of The Daily Mail's Flook cartoon strip. As for the individual tunes themselves, they display a wide range of styles. "She's Alright" opens the album with strong musicianship, which is achieved throughout the L.P. "I'm So Happy" is inspired by the 1920's British Music Hall tunes which The Kinks embraced during their late 60's and early 70's period. "Montgolflier" embraces some excellent Beach Boys type harmonies. "Drive My Car" was the single chosen by the Parlophone label to unleash on an unsuspecting public. The single did not chart even though it is very good. FYI, it is NOT the Beatles tune. Moving onward, the tunes get stronger with some very good Psych guitar complementing the harmonies. "Goodbye" sounds like early period solo Paul McCartney, while both "Sun Sing", as well as "Sun And Sand" recall Donovan in his Psychedelic period. Quite Rightly So! "Labour Exchange" recall The Small Faces, while "No" sounds totally original but yet familiar. "Sighing Game" and "Come On Go" close the album with 2 of the strongest tracks, displaying very good songwriting by Dunsterville. The release is completed with the inclusion of the mono single version of "Go Girl" and "Drive My Car" which sounds fuller and provides more punch than the L.P. version. Overall, with its' witty take on Psychedelia, extraordinary triteness, mock-Beatles, 1920's nostalgia, sound effects drifting in and out between each track, one could easily mistake the entire L.P. as one entire inside joke. The Ffolly wrapped their experimental ideas which were purposely designed to reflect their enigmatic stage act, and embellished them with various forms of studio trickery. Originally designed as a "demo tape", EMI decided to release it as the finished product. The Ffolly were certainly both delighted, as well as bemused by this. To add further to the mystery, the record sleeve had the very fashionable pop art drawings, but absolutely no information about the group, itself, or the songs on the record, themselves. One's take on the entire group, as well as the L.P., itself, is entirely dependent one the mood of the listener, themselves. Fans of The Small Faces, Creation, early Pink Floyd, and more specifically, Syd-Floyd, and Kaleidoscope(UK), should enjoy this enigmatic but musically strong L.P. HIGHLY RECOMMENDED! SMRZ!

This band was another one of those underground UK 60's psych pop bands that had a lot of talent, but never really "made it". Like The Creation, Turquoise, The Action, Orange Bicycle,(and many others), these guys were in that Kinks/Beatles/Move UK invasion style. They do it very well, and even show off some primitive Beach Boys style harmonies. It is kind of a shame that they were never given the opportunity to record a proper album, because I think that it could have been a real masterpiece. Instead this album sounds exactly like what it is, a collection of demos put together by the record label at the time because they didn't want to invest the money in recording sessions for the band. Even so, the songs are really strong, and this stands up really well alongside other UK underground releases of the time.

Great cd

Excellent Music. Fast delivery!

Barely remember hearing about this obscure psych band, this being their sole album - originally released in 1967. Not a bad find - as I noticed their sound is very Beatles-influenced. With tracks like "I'm So Happy", "Drive My Car", the awesome "Goodbye", the somewhat stunning "Sun Sing" and "Labour Exchange" - you'll hear what I mean. Personnel: John Dunsterville and Richard Dunsterville - guitar & vocals, Roger Newell - bass and Stewart Osborn - drums & vocals. Should definitely pull in fans of the Zombies, Association, Small Faces and Sagittarius.

Rainbow Ffolly'sEdison Lighthouse had charted heavily with Barry Mason's "Love Grows" first offered to the Rainbow Ffolly's. Beatles' harmony rival was the Rainbow Ffolly's, far more idyllic than Tony & the Castaways as they sauntered through the Mersey acoustic "Goodbye" or scat Monkees influenced "Come On Go". The Ffolly's sprouted two singles the Beachboys influenced "Go Girl" and Beatle vibing "Drive My Car". Although these paisley cats were a bit Bonzo Dog their King Singers style could waver and sweep lethargically as in the air harmonized "Montgolfier".Rainbow Ffolly's evolved from a group called Force Four comprising of guitarists Jonathan and Richard Dunsterville later fusing with bassist Alan Thomas, Stewart Osborn drums. The groups cross harmonized Sallies Fforth zapped `Record Of The Week' on `Saturday Club', but "Sun Sing" and "Hey You" allowed them to sink as one of the last beat groups to play to a discarded Starclub in Hamburg over and above ex Bostons Dave Dee who would pen the fuzz "Hold Tight", "Touch Me Touch You" (jam with Hendrix) plus further creations like "Hideaway", #5 debut "No Time" under the rattle- trap name of Dave Dee, Dozy, Beaky, Mick & Tich. Howard & Blaikley gave them the Western "Legend Of Xanadu" which received John Cage styled percussion from Mick WIlson. Of particular note `Dave Dee' Harman started out in 1958 with the Boppers that boasted one of the first stand -up electric basses, played by Roy Jarvis.

Have never heard of this group until I read an article on one of the Offshore Radio websites. Listening to it took me straight back to the time of psychodelic music and I wonder why it ever stopped. Just a pity that it was not longer. Well worth having.

Great "homemade" British psych

Insieme a " we're only in it for the money " di Frank Zappa & the mothers è il miglior album di rock psichedelico della storia, a mio modesto parere.

A very fine CD, a real blast from the past.

Vinyle mal gravé. Produit renvoyé pour échange mais le deuxième toujours défectueux.