Episode Six - 2005 - Love, Hate, Revenge

Episode Six

2005

Love, Hate, Revenge

The Singles, As & Bs
101. Episode Six Put Yourself In My Place 2:28
102. Episode Six That's All I Want 2:30
103. Episode Six I Hear Trumpets Blow 2:27
104. Episode Six True Love Is Funny That Way 2:28
105. Episode Six Here There And Everywhere 2:09
106. Episode Six Mighty Morris Ten 2:20
107. Episode Six Love, Hate, Revenge 2:51
108. Episode Six Baby Baby Baby 2:51
109. Episode Six Morning Dew 2:53
110. Episode Six Sunshine Girl 2:50
111. Episode Six I Can See Through You 3:23
112. Episode Six When I Fall In Love 1:54
113. The Episode Little One 2:41
114. The Episode Wide Smiles 1:47
115. Episode Six Lucky Sunday 3:41
116. Episode Six Mr. Universe 4:15
117. Episode Six Mozart Versus The Rest 2:58
118. Episode Six Jak D'Or 3:14
119. Sheila Carter & Episode Six I Will Warm Your Heart 2:51
120. Sheila Carter & Episode Six Incense 2:40
121. Neo Maya I Won't Hurt You 2:28
122. Neo Maya U.F.O. 2:46

Rarities, Demos And Live Recordings
201. Episode Six Love, Hate, Revenge (US Version) 2:30
202. Episode Six The Way You Look Tonight (Outtake) 2:17
203. Episode Six My Little Red Book (Outtake) 2:28
204. Episode Six Plastic Love (Outtake) 2:28
205. Episode Six Time And Motion Man (Outtake) 2:33
206. Episode Six Only Lonely People (Outtake) 3:14
207. Episode Six Zip-A-Dee-Doo-Dah (Demo) 2:47
208. Episode Six Cottonfields (Demo) 1:55
209. Episode Six My Babe (Demo) 2:49
210. Episode Six Love Is A Swinging Thing (Demo) 2:41
211. Episode Six Steal Your Heart Away (Demo) 3:12
212. Episode Six Walking To New Orleans (Demo) 2:59
213. Episode Six Let The Four Winds Blow (Demo) 1:42
214. Episode Six Mozart Versus The Rest (Live) 2:47
215. Episode Six Him Or Me (Live) 3:00
216. Episode Six Hazy Shade Of Winter (Live) 2:58
217. Episode Six Monster In Paradise (Live) 2:25
218. Episode Six Orange Air (Live) 2:45
219 Episode Six The Castle (Live) 3:15
220. Episode Six Slow Down (Live) 2:28
221. Episode Six I Am The Boss (Live) 2:43
222. Episode Six Morning Dew (Live) 3:19

1-1: Gralto Music Ltd. A-side, Pye 7N 17018, January 1966.
1-2: Welbeck Music Ltd. B-side of Pye 7N 17018.
1-3: Bright Tunes Music Corp. A-side, Pye 7N 17110, April 1966.
1-4: Dick James Music Ltd. B-side of Pye 7N 17110.
1-5: Sony/ATV Music Publishing (UK) Ltd. A-side, Pye 7N 17147, August 1966.
1-6: Donna Music Ltd. B-side of Pye 7N 17147.
1-7: BMG Music Publishing Ltd. A-side, Pye 7N 17244, January 1967.
1-8: Try Me Music Inc. B-side of Pye 7N 17244.
1-9: Warner Chappell Music Ltd. A-side, Pye 7N 17330, June 1967.
1-10: Donna Music Ltd. B-side of Pye 7N 17330.
1-11: Donna Music Ltd. A-side, Pye 7N 17376, October 1967.
1-12: Chappell Music Ltd. B-side of Pye 7N 17376.
1-13: Object Music Ltd. A-side, MGM 1409, February 1968.
1-14: Forecast Music Ltd. B-side of MGM 1409.
1-15: A.Schroeder/Slate Music Ltd. A-side, Chapter One CH 103, October 1968.
1-16: Rebecca Music Ltd. B-side of Chapter One CH 103.
1-17: Donna Music Ltd. A-side, Chapter One CH 104, February 1969.
1-18: Donna Music Ltd. B-side of Chapter One CH 104.
1-19: Essex Music Ltd. A-side, Pye 7N 17194, October 1966.
1-20: Brit Music Ltd. B-side of Pye 7N 17194.
1-21: A.Schroeder. A-side, Pye 7N 17371, September 1967.
1-22: Toby Music. B-side of Pye 7N 17371.

2-1: BMG Music Publishing Ltd. US A-side, Elektra 45617, February 1967.
2-2: Chappell Music Ltd/Polygram Music Publishing Ltd. Studio outtake (rec'd 1967), not originally released.
2-3: EMI United Partnership Ltd. Studio outtake (rec'd 1966), not originally released.
2-4, 2-6: Copyright control. Studio outtake (rec'd 1967), not originally released.
2-5: Carter-Lewis Music/peermusic (UK) Ltd. Studio outtake (rec'd 1967), not originally released.
2-7: Walt Disney Music. Demo (rec'd 1964), previously unreleased.
2-8: Kensington Music Ltd. Demo (rec'd 1964), previously unreleased.
2-9: Jewel Music Publishing Co Ltd. Demo (rec'd 1964), not originally released.
2-10: Windswept Pacific Music Ltd. Demo (rec'd 1965), not originally released.
2-11: Sparta Music Ltd. Demo (rec'd 1965), not originally released.
2-12: EMI United Partnership Ltd/copyright control. Demo (rec'd 1964), previously unreleased.
2-13: EMI United Partnership Ltd. Demo (rec'd 1964), previously unreleased.
2-14: Donna Music Ltd. Live recording, 1969, previously unreleased.
2-15: Careers BMG Music Publishing/Daywin Music. Live recording, circa 1968, previously unreleased.
2-16: Pattern Music Ltd. Live recording, circa 1968, previously unreleased.
2-17: Copyright control. Live recording, 1968, previously unreleased.
2-18: Music Maximus International. Live recording, circa 1968, previously unreleased.
2-19: Carlin Music Corp. Live recording, circa 1968, previously unreleased.
2-20: Tro-Essex Music. Live recording, circa 1968, previously unreleased.
2-21: Copyright control. Live recording, circa 1968, previously unreleased.
2-22: Warner Chappell Music Ltd. Live recording, circa 1967, previously unreleased.

Episode Six is an unfortunate victim of it's member's eventual stardom, and a beneficiary at the same time. Most people will investigate Episode Six because it was a springboard for future Deep Purple members Ian Gillan and Roger Glover. This doesn't mean that those people will appreciate the contents of this CD, which is decidedly Pop and rarely rocks. With the exceptions of "Mr. Universe" and "Mozart Vs. The Rest", most of this collection presents a diverse array of Pop confections, and not the pioneering Hard Rock/Progressive sound that Deep Purple is known for. That having been said, this collection compiles some great obscure sides from the Psychedelic Era, including the highly innovative singles "Love Hate Revenge" and their masterpiece "I Can See Through You". The original compositions display what an important contributor Roger Glover could be to any band in which he was a member. Clearly, the highlights are his original compositions (see "Only Lonely People"), Ian Gillan's versatile, powerful vocals and Tony Lander's impressive guitar skills. Episode Six also included keyboardist/vocalist Shirley Carter, who added another dimension to their sound. Like NRBQ, Episode Six suffered commercially due to a wildly eclectic range of styles that, while making them an extremely popular live act, hindered their label's ability to market them. Nevertheless, this collection will appeal to fans of late-60's Pop and Psychedelia as well as offer insight into the talents of Ian Gillan and, especially, Roger Glover.

DISC ONE :

Sanctuary's new Episode Six double CD 'Love, Hate, Revenge' is an upgraded and expanded reissue of Sequel's excellent 1991 'The Complete Episode Six' collection. Disc one comprises the band's singles, while disc two bulks up the original bonus tracks from six to twenty-two.

For those unfamiliar with Episode Six, they were Ian Gillan and Roger Glover's pre-Deep Purple band, with whom they released nine singles between 1966 and 1969, all of which somehow fell short of chart success. It all ended when Ritchie Blackmore, Ian Paice and Jon Lord caught one of their London shows at the behest of drummer Mick Underwood, and poached both men for Deep Purple. Episode Six attempted to continue, but after Mick Underwood split away with new members John Gustafson and Pete Robinson to form Quatermass, the band sank into obscurity until their increasingly rare catalogue began to be snapped up by curious Deep Purple fans and collectors of Sixties pop music. What they found often hinted at Messrs Gillan & Glover's future successes, and baffled that the band had never broken into the big time.

• However, it is easy to see why Episode Six's first single "Put Yourself In My Place" (from January 1966) failed to set the charts alight. It's a rather average Hollies song, played in lacklustre fashion by session musicians, with Episode Six only allowed to contribute the vocals. The B-side "That's All I Want" is much better, rattling along very nicely, and as a bit of history it's also Roger Glover's first recorded composition.

• "I Hear Trumpets Blow" followed in April 1966, and is a piece of pure adulterated pop. GIllan's lead vocal is nice, but the whole thing is a bit too jaunty for it's own good. The B-side "True Love Is Funny That Way", written by the group's drummer Harvey Shield, is superior.

• 'Here There & Everywhere" from August 1966 is a beautiful reproduction of the Paul McCartney classic, with Ian Gillan putting in a wonderful performance. Glover's B-side "Mighty Morris Ten" is a lighthearted send-up of The Beach Boys 'Shut Down' style car songs. Fun, but definitely a B-side.

• 'Love, Hate, Revenge' was released in January 1967. One year on from their first single Episode Six proved their versatility with this classy piece of psychedelic pop. The UK version had a chanted middle section, bizarrely replaced in the USA by an electronic drone. The US version is included on disc 2. Another string to Episode Six's bow was an ability to perform strong r&b, shown here by the enjoyable B-side 'Baby, Baby, Baby'.

• 'Morning Dew' (June 1967) is a great version of the Tim Rose classic, with Gillan belting in superbly on the chorus. B-side 'Sunshine Girl', written and sung by Roger Glover, is frankly a bit crap but still fun!

• 'I Can See Through You' (October 1967) is one of Episode Six's finest moments, and one of the best songs of the sixties. Roger Glover's first A-side, it's a progressive mini-masterpiece exploding with ideas, including elements of Sgt.Pepper and The Who's 'I Can See For Miles' . Many other bands would have folded under the disappointment of it failing to become a hit, but Episode Six continued.

The band's management always seemed to prioritise their jack-of-all-trades cover band reputation to keep their busy gigging and BBC radio schedule ticking along. Any hope of a real push in any one direction rested on a single taking off in the charts. Their singles output emphasize the point. For me, it says it all that the B-side 'I Can See Through You' was a schmaltzy cover of Nat King Cole's 'When I Fall In Love'.

• 'Little One' (February 1968) involved a halfhearted attempt at gaining the band some 'cool', with their name changed to the more underground sounding 'The Episode'. However the A-side is a straight pop cover, aimed at no market in particular and consequently falling between a number of stools. B-side 'Wide Smiles' is Gillan and Glover's first joint composition to be recorded. It's jaunty 'doo-be-boop-de' style complete with flutes belies GIllan's attack on people in the music industry. His disillusionment is understandable, but the band still had two more shots left at the charts.

• Gillan & Glover's 'Mr.Universe' (October 1968) was the belated follow-up to 'I Can See Through You', with great vocals (including Gillan's first recorded scream), and marvelous lyrics, guitar, arrangement, everything... However, it was only a B-side for the big production pop treacle of 'Lucky Sunday'.

• And so to the last Episode Six single. Reacting to feedback from a BBC radio performance of guitarist Tony Leander's tremendous 'Mozart Vs The Rest' instrumental, the track was rushed out as a single in February 1969; though not fast enough. Despite steady sales the charts remained unmolested. A shame, as it's a great little single, complete with the ultra-tight instrumental 'Jak D'Or' on the flip-side.

And that was that; a few months later, Gillan and Glover accepted an offer to join Deep Purple.

• One of the halfhearted tactics tried towards the beginning of Episode Six's recording career was to launch singles as solo efforts. Only two were completed. Sheila Carter's 'I Will Warm Your Heart' is a beautifully sung slowie, although ironically it sounds a bit hurried, while the B-side 'Incense' is a ghastly sub-gospel item with Ian GIllan on organ. Graham Carter's 'I Won't Hurt You', issued as Neo Maya, is a lost classic, weird but compulsive. Its B-side 'UFO' is just a list of UFO sightings read out over a drum pattern!

DISC TWO :

Disc two is given over to 'rarities, demos and live recordings'. The sound quality is variable, the nine live tracks (grouped together at the end of the CD) could be a bit lo-fi for some ears. Of the 22, six studio demos were originally on the 1991 Sequel collection, 3 others are repeated from Purple Records' 'Cornflakes & Crazyfoam' double CD (1965 demos of 'Love Is A Swinging Thing' , 'Steal Your Heart Away', and the US version of 'Love, Hate, Revenge'), and the rest are previously unreleased.

• There are five demo tracks from Episode Six's first studio session in 1964, all of which show the band already a highly professional and practiced sounding outfit. 'My Babe' (first released on the Sequel CD) is interesting in that it features Andy Ross, Ian Gillan's predecessor in the group, busy doing an Elvis voice for all he's worth. However he's plainly not the lead singer, but just part of the ensemble. The other '64 demos are previously unreleased, including a harmony version of 'Cottonfields' which precedes the Beach Boys version by four years, and a rocky take of 'Zip-a-Dee-Doo-Dah' which really works (no, honestly!).

• The five out-takes from 1966-67 originally appeared on the Sequel CD, but deserve a mention for being every bit as good as the band's singles from the time. 'The Way You Look Tonight' is a strong harmony-based rendition similar in style to 'When I Fall In Love', 'Time And Motion Man' from 1967 is a strange listen, all off-centre harmonies and melody, the sort of thing that you'd either love or be irritated by. It's intrinsically not catchy, but Episode Six manage to make it just that. Of Roger Glover's two compositions 'Plastic Love' is disappointing plastic psychedelia, while 'Only Lonely People' is a very powerful, instant classic. Period. It simply has to be heard.

• The live tracks, mostly from 1968, are all previously unreleased, and include the Gillan/Glover compositions 'I Am The Boss' and 'Monster In Paradise', and strong covers of 'Slow Down', 'Morning Dew', 'Orange Air', 'Hazy Shade Of Winter' (sounding like a proto 'Into the Fire' on this occasion), 'Him Or Me' and 'The Castle'.

The only real absentee is the film soundtrack song 'Gentleman Of The Park', which is on 'Cornflakes & Crazyfoam'. So, for anyone wanting the essential Episode Six in one purchase, 'Love, Hate, Revenge' is the one to go for. If you wish to explore further out-takes and live tracks by the band, I'd recommend 'Cornflakes & Crazyfoam'. Between them they are the last word on a great band.

review: Mark Ainsworth

Episode Six - 2002 - Cornflakes And Crazyfoam

Episode Six

2002

Cornflakes And Crazyfoam

The Story So Far...
101. Episode Six Fortune Teller 2:36
102. Episode Six Got My Mojo Working 2:39
103. Episode Six Mohair Sam 2:27
104. Episode Six Love, Hate, Revenge 2:33
105. Episode Six I Can See Through You 3:24
106. Episode Six Stagger Lee 2:17
107. Episode Six My Little Red Book 2:23
108. Episode Six Que Sera 2:56
109. The Episode Little One 2:57
110. Episode Six Always Something There To Remind Me 2:56
111. The Episode Sunshine Superman 3:53
112. Episode Six Orange Air 2:42
113. The Episode Can't Be So Bad 3:26
114. Episode Six Mr. Universe 3:15
115. Episode Six I Had A Talk With My Man 2:52
116. Episode Six Temptation 2:54
117. Episode Six Alone Again Or 2:54
118. Episode Six A Hazy Shade Of Winter 2:48
119. Episode Six Mozart Vs The Rest 2:47
120. Episode Six Stones Medley Satisfaction / Paint It Black 2:10
121. Episode Six The Morning 3:20
122. Episode Six I Am The Boss 2:40
123. Episode Six I'll Be Your Baby Tonight 2:41
124. Episode Six Something's Gotten Hold Of My Heart 4:23
125. Episode Six Been Such A Long Way Home 3:23

• Demos And Rehearsals
201. Episode Six Nobody Loves Me Like You Do 2:21
202. Episode Six Let The Four Winds Blow 1:44
203. Episode Six Have You Ever Been There 3:09
204. Episode Six Sunshine Girl 2:52
205. Episode Six Lucky Sunday 3:34
206. Episode Six Gentlemen Of The Park 3:10
• Unissued Singles
207. Episode Six The Way You Look Tonight 2:26
208. Episode Six Love Is A Swinging Thing 2:43
209. Episode Six Steal Your Heart Away 3:15
• Sheila Carter And Episode Six
210. Sheila Carter And Episode Six You Can Have Him 3:21
211. Sheila Carter And Episode Six I Will Warm Your Heart2:22
212. Sheila Carter And Episode Six Incense 2:39
213. Sheila Carter And Episode Six Stay With Me Baby 4:06
• Live In Europe
214. Episode Six I Hear Trumpets Blow 2:47
215. Episode Six Morning Dew 3:23
• Early Songwriting
216. Episode Six Monster In Paradise 2:26
217. Episode Six I Am A Cloud 2:13
• The Ultimative Covers Band
218. Episode Six Light My Fire 2:49
219. Episode Six The Castle 3:14
220. Episode Six Spanish Caravan 3:13
221. Episode Six Say You Don't Mind 2:49
222. Episode Six Island In The Sun 3:05
223. Episode Six Here There And Everywhere 2:21
224. The Episode River Deep, Mountain High 3:24
225. Episode Six Jesse James 3:27
226. Episode Six Slow Down 2:16

Drums – Harvey Shield (tracks: 1.01 to 1.04, 2.01 to 2.04, 2.07 to 2.09, 2.11, 2.12), John Kerrison (tracks: 1.05 to 1.10, 2.10, 2.14, 2.15, 2.19, 2.21 to 2.23), Mick Underwood (tracks: 1.11 to 1.25, 2.05, 2.06, 2.13, 2.16 to 2.18, 2.20, 2.24 to 2.26)
Lead Guitar – Tony Lander

Track By Track Guide By Tim Joseph (abridged from cd sleeve notes)

Tracks Reviewed by David Browne

FORTUNE TELLER

• Taken from the band's first demos, recorded on May 24th 1964 a year before Gillan joined. Glover is on bass.

My first impression was shock at the excellent sound quality; sharp and clear. It's not representative of the whole collection, but it's some start! This must be Roger's earliest released recording. The song is polite when compared to The Who's version on 'Live At Leeds', but very attractive nonetheless. Sheila Carter comes across as a real star even at this early stage, great singing and tasteful keyboard work.

GOT MY MOJO WORKING take two

• Between July 64 and March 65 the band did a number of rehearsals and demos. Here Harvey Shield - leads an uptempo version of this blues classic.

Again, sharp sound quality, and a tight performance from the band. We've had confirmation from Harvey Shield that it was he, and not Andy Ross on lead vocals!

MOHAIR SAM

• After Ian Gillan joined (he's on all the remaining tracks on CD 1), Episode Six were offered a deal with Pye. This demo was done in late 1965 for a possible single. It shows a very professional sounding band indeed. Another track from the session appears on CD2.

Tremendous performance. The harmonies and backing are very much in the mold of early Mamas & Papas. This really should have been their first single instead of the weedy Hollies composition. Ian Gillan's earliest released recording, and an excellent track.

LOVE, HATE, REVENGE

• Although "Love Hate Revenge" was the band's fourth British single, the version is an acetate of the American version cut in Jan 1967. With a totally different guitar part, it makes an interesting comparison. Perhaps with a bit more of this psychedelic treatment a producer could have really taken the band forward.

The recording is very bassy, but is an enjoyable listen, and a great track. The British single version is better, for some reason the vocal chants in the mid section were replaced by an electronic drone for the US release.

I CAN SEE THROUGH YOU

• This version of the band's sixth single was recorded for the BBC on Oct 30. 1967 and featured John Kerrison on drums, who had just joined the band. Glover's mini masterpiece again shows what the band could achieve given sympathetic engineers.

A big dip in recording quality, I'm assuming this was included because a/ the song is an absolute gem, and b/ this is a superb 'live' sounding performance, brilliantly sung and a with psychedelic organ sound straight from Pink Floyd's 'Piper At The Gates Of Dawn'!

STAGGER LEE

• The first of three tracks recorded for the BBC on Jan 30.1968 (the others are on CD2). These are the first band versions ever released. "Stagger Lee" has Ian finally showing the direction he would later move in.

Scary stuff! A gentle opening gives way to a throat shredding scream from Ian, and a very powerful vocal. The actual song is reminiscent of 'Running Bear', which Ian often threw into Black Night during Deep Purple's 1987 tour. The sound quality is up on the previous track (and stays up for the rest of CD1), but is still an off-air recording.

MY LITTLE RED BOOK

• The first of three songs taped for the BBC on April 8. 1968 (the others are on CD2). Episode Six also did a studio version at Pye which remained unissued until the Sequel CD in 1991.

Not my favourite song ever tackled by Episode Six, but this punchy version is way better than that on the Sequel CD. (Chronologically the music is already overlapping with Deep Purple's earliest days.)

QUE SERA

• The old Doris Day standard - not that there's much resemblance - recorded for the BBC on Jan 30. 1968. What Ian thought about recording material like this is unknown, although he does sound to be enjoying himself.

Ian Gillan sings Doris Day in his Elvis voice? Do me a favour.. That said, it's very energetic, and as usual with Episode Six it's imaginative, with a Spanish feel not a million miles from what Deep Purple introduced to Hey Joe.

LITTLE ONE

• The band's seventh single, recorded for the BBC, July 1.1968 to promote the release.

The song has never been one of my Episode Six favourites, the single being softened up too much with poppy brass. This is different! Just the band bashing it out, clean and tight with superb heavy guitar in place of the trumpets. Yes!!

ALWAYS SOMETHING THERE TO REMIND ME

• Was this a phase Ian was going through - first Doris Day and now Sandie Shaw? Recorded for the BBC on Jan 30. 1968.

All 'what the f..??' prejudices aside, this is great stuff. A superbly emotive vocal, lifted even further by Sheila's incredible backing harmonies. Add about a hundred-weight of heaviness and you'd end up with an early approximation of 'Perfect Strangers'.

SUNSHINE SUPERMAN (+ Hard Days Night)

• The first of two tracks recorded live for Pop North on Aug 22.1968. And what a performance! The band tear into this Donovan number as though their lives depended on it. Great vocals from Ian, with the rest of the band managing to fit "A Hard Day¹s Night" into the proceedings. Superb!

Energetic, and brimming with vocal and instrumental ideas, but to my ears a bit of a mess. I prefer to hear songs performed one at a time, and even then not these two!

ORANGE AIR

• Although a version of this track (written for The Fifth Dimension) appeared on RPM's deleted Radio 1 club CD, this is the definitive version and one of their finest moments. Recorded for the BBC, Oct 28. 1968, this is sheer perfection.

A grower. For anyone receptive to sophisticated sixties pop music there's an abundance to enjoy.

CAN'T BE SO BAD

• Another BBC track as The Episode from August 22.1968. As with

"Orange Air", although a version appeared on the RPM Radio 1 Club CD, this performance cuts it to bits. Yet again, had this Moby Grape cover been a single, it might have given the band the hit they so richly deserved.

Episode Six as Fleetwood Mac, with a great vocal performance from Sheila, and ace beefy guitar work. The chorus then arrives and it's pure west coast pop, all bah-bah-bah vocal harmonies... Weird, but great.

MR. UNIVERSE

• The first of two recordings done for the BBC in November 1968. Written by Ian and Roger, Gillan fans will recognise some of the lyrics which he re-recorded in 1979 for the title track of an album by his own band. One of the band's heaviest numbers.

Mr.Universe (a single b-side) is my favourite Episode Six recording, and contains one of Ian Gillan's most explosive vocal performances. This session version comes close (some feat!), but I'll stick with the original.

I HAD A TALK WITH MY MAN

• The second track done for the BBC in November 1968 allowed Sheila a vocal showcase. Very few singers would be brave enough to try this live on radio these days.

Attractive blues track spiced up with a touch of jazz, I much prefer it to the material on Sheila's solo single.

TEMPTATION

• For me the band's finest cover of all. Recorded for the BBC on 7th January 1969, this old standard is turned by the band into something else again. Great harmonies, great rhythm, great EVERYTHING. Turn it up and play it ten times in a row. If only they'd done a studio version. A lost Number One, for sure.

Fantastic. Very sophisticated pop/rock. Listening to this it's easy to see why Ian Gillan was so enamoured of Deep Purple mk1's cover versions..

ALONE AGAIN OR

• Recorded for the BBC on 27th January 1969. The first of two (three if you count "My Little Red Book") songs by Love. It seems strange that Episode Six could get covers of this band onto daytime radio when the originals were ignored.

Again fantastic in its own right, and with more shades of mk1 Deep Purple.

A HAZY SHADE OF WINTER

• Recorded for the BBC on 27th January 1969 featured a song which had proved a surprising flop for Simon & Garfunkel. Ian seems more familiar here with the lyrics than he did on the Radio 1 Club performance where he invented a part about the sky falling down! This version is slightly less frantic than there, presumably because this is a studio take rather than a live one.

Great riff, and perhaps the rockiest track on CD1. The lo-fi sound quality doesn't help, but it's still an enjoyable listen.

MOZART VS THE REST

• This sequence, from the band's live appearence on the Radio 1 Club in Cardiff on March 24. 1969 captures the essence of the programme. Mozart provoked a huge response when they first performed it on the show and it was soon out as a single and became a firm live favourite, performed no less than nine times on various shows, but this remains the best of the lot.

Very similar to the single version, but even more frantic. Great background yells and hollers from Gillan and a fabulous performance from guitarst Tony Lander.

STONES MEDLEY SATISFACTION / PAINT IT BLACK

• Like Sunshine Superman, The Stones medley again shows the remarkable ability of the band vocalists to cope with a complex arrangement - you try singing 'Satisfaction' while someone stood next to you belts out 'Paint It Black'! Recorded live on 24th March 1969 for the Radio 1 Club.

Oh God, they're at it again.. another 'two-fer'. This is better than the Donovan / Beatles effort, recorded live with everyone firing on all cylinders. This track shows what a terrific live band Episode Six would have been to witness.

MORNING

• Sadly the tape boxes don't tell us the origin of the next five tracks.

Sheila Carter feels they may be home demos done in early 1969 when they were planning their album, although there is a chance they were recorded for a radio session April 22. 1969.

"Morning", first heard on Dusty Springfield's 1968 album 'Definitely Dusty', is especially strong, handled with conviction by Sheila. Note Mick Underwood¹s great drum pattern.

Another great performance from Sheila, almost turning it into Steeleye Span-style folk rock. She deserved fame after Episode Six every bit as much as Gillan and Glover.

I AM THE BOSS

• A Gillan original, one showing the lyrical sense of humour he would use to great effect in Deep Purple on tracks like "Anyone's Daughter".

The lyrical style later emerged again in the Cher Kazoo project. Too daft for my tastes. Mind you, it took me years to get used to 'Anyone's Daughter'...

I¹LL BE YOUR BABY TONIGHT

 If you (like me) hold to the theory that Dylan's songs almost always sound better covered by someone else then here's further proof. The original was on Dylan's album 'John Wesley Harding'.

NIce, but not essential, a fairly straight reproduction of the original.

SOMETHING'S GOTTEN HOLD OF MY HEART

• Sheila shows her true capabilities. Also note Ian's "Child In Time"-like screams! The track had been a hit for Gene Pitney in 1967.

Absolutely fantastic. An emotional tour de force, with the band giving the backing track the full Vanilla Fudge steamroller treatment, even threatening to become Led Zeppelin at one point. If Lord, Paice and Blackmore witnessed Episode Six performing material in this fashion, it's no surprise that the singer and bass player were snapped up pronto.

BEEN SUCH A LONG WAY HOME

• This stunning version of 'Been Such A Long Way' is a real treat, Gillan gives it everything.

And so we reach track no.25, with virtually every flavour of pop and rock music having been touched upon, and always with conviction. For me, the star of this final track is Roger Glover, riffing energetically with the lead guitar in the mid-section. Gillan almost steals the show with a screaming prototype for the Made In Japan ending of 'Strange Kind Of Woman'.

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 he "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 BCC, 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 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.

HERRE 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 rock¹n 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 remasCornflakes & Crazyfoam: 1964-1968 Review by Richie Unterberger [-]

This double CD is a testament to the outer limits of 1960s rock archivism, presenting 51 songs -- unreleased during the 1960s themselves -- by a band who never had a hit record and never became especially popular even on an underground or cult level. Of course, they did have a couple of future members of Deep Purple in the band, which guarantees some sort of specialist audience. It's a pretty amazing package insofar as the sheer bulk of obscurities it unearths, spanning 1964-1969. There are home and studio demos, alternate versions, a couple 1967 German TV cuts, and mucho British radio broadcasts, those U.K. radio sessions providing the bulk of the source material. Sharp-eyed aficionados might protest at this point that there's already been an entire CD of Episode Six BBC performances (RPM's The Radio One Club Sessions Live 1968/69), but unbelievably, this package repeats just six tracks from that compilation; none of the other cuts have appeared anywhere. True, some of the songs from British radio are duplicated between the CDs in different versions that are, in fact, similar enough that very few listeners are going to do A-B comparisons. So, all hail the compilers, who toss in a superbly detailed 24-page booklet to boot. But what of the music? Well, the liner notes hit the nail on the head, correctly pointing out that the band's biggest problem was that they were "too good with any style to actually work out what their own was." There were probably few groups in Britain with as eclectic and, usually, tasteful cover repertoire as Episode Six: Here you can hear them cover well-known and not-so-well-known songs by the Doors, Love, the 5th Dimension, Moby Grape, cult soul singers, Denny Laine, Harry Belafonte, the Beatles, the Tokens, Bob Dylan, Fats Domino, Doris Day, Muddy Waters, Donovan, Sandie Shaw, and others. Also sprinkled in are a few of their originals, some of them good, but in the main derivative of specific '60s rock trends. The fidelity is extremely variable, from dodgy lo-fi to studio quality. It's all rather interesting if you like the band, who are best represented on the compilation of their studio recordings The Roots of Deep Purple: The Complete Episode Six. And occasionally there's a cut that's good on its own terms, like the U.S. single version of the ominous "Love, Hate, Revenge" or the Sheila Carter-sung cover of Gene Pitney's "Something's Gotten Hold of My Heart." Yet, really this can only be recommended to extreme British Invasion and/or Deep Purple completists, with the Deep Purple crowd getting possible kicks out of hearing Ian Gillan sing unlikely pop material like "Que Sera" and Sandie Shaw's "(There's) Always Something There to Remind Me."tered for inclusion on 'Cornflakes & Crazyfoam'.

Episode Six is an example of a band that gained more appreciation years removed from the breakup than from their initial run. With future Deep Purple members Ian Gillan (vocals) and Roger Glover (bass) as well as Sheila Carter's more than competent voice the fact the band never achieved more then a cult following is not a reflection on the material they selected for representation.

\Episode Six had such diverse musical roots from British Invasion to folk, from psychedelic to the vocal sounds of the 1960's there diversification perplexed record companies. The suits didn't know how they could best be promoted and thus their output would be vinyl singles and never an album of material until Ian and Roger had reached the top of the mountain.

The superlative music included here is taken from 1964-68 demos, radio appearances, and alternates. If you can't trade the lack of sound quality on certain songs for a trip to the musical vaults be forewarned. Many of the radio tracks were actually recorded off a tape machine. If you are a Deep Purple collector of assorted band members previous works and or a fan of superlative cover tunes this is will get a lot of playing time in the home and car.

Episode Six did write their own material but their cover versions of a myriad of legendary songs are a tribute to Ian Gillian's and Sheila Carter's vocal expertise. It is one thing to take on the Doors masterpiece. There you go a brief sample of the fifty-one tracks. Be careful as the vault is closing behind you. Need not worry it will reopen once you purchase the CD.

Episode Six - 1997 - The Radio One Club Sessions Live 1968/69

Episode Six

1997

The Radio One Club Sessions Live 1968/69

01. Intro: Radio One Club 0:33
02. Sheila & Ian Interview 1:05
03. A Hazy Shade Of Winte 2:59
04. Sheila Picks The Numbers 1 0:23
05. Morning Dew 3:28
06. That's The Way Life Goes 3:05
07. Light My Fire 3:01
08. Sheila Picks The Numbers 2 0:16
09. Jesse James 3:52
10. Sheila Picks The Numbers 3 0:18
11. Monster In Paradise 2:25
12. Slow Down 2:22
13. Tony & Sheila Interview 1:25
14. Ian Gillan Interview 0:28
15. Mozart Vs. The Rest 3:00
16. Sheila Picks The Numbers 4 0:46
17. Rolling Stones Medley 2:37
18. Stay With Me Baby 4:47
19. The Castle 3:55
20. Spanish Caravan 3:41
21. I Am A Cloud (Take 2) 1:56
22. I Am The Boss 3:20
23. Orange Air 2:52
24. River Deep Mountain High 3:31
25. I Am A Cloud (Take 3) 2:56
26. Can't Be So Bad 2:52
27. I'll Be Your Baby Tonight 2:49
28. Something's Gotten Hold Of My Heart 4:26
29. Morning 3:20
30. Been Such A Long Way Home 3:21
31. Coda 0:19

Bass, Vocals – Roger Glover
Drums – Mick Underwood
Lead Guitar – Tony Lander
Organ, Vocals – Sheila Carter
Rhythm Guitar, Vocals – Graham Dimmock
Vocals – Ian Gillan

from the liner notes:
"Between October 1968 and June 1969, Episode Six appeared on Radio 1 Club no less than EIGHT (ten if you include two interview-only slots), setting a club record. The band played 47 tracks, comprising 21 different songs - "Mozart", for example, was performed an incredible seven times (twice in one particular show) and still failed to make the UK singles charts! We have managed to include versions of all the songs they did. ..."

Tracks 1, 2, 4, 8, 10, 13, 14, 16 & 31 are no songs but spoken words only.

Deleted 22 track collection from 1997 containing live broadcasts made for the BBC Radio 1 Club in 1968-69. Includes many tracks not recorded by the band in the studio. A handful were re-released on Love Hate Revenge in 2005.

Episode Six were an English rock band out of Harrow, London. The band never had commercial success in the U.K., releasing nine singles that all failed to chart. Members Ian Gillan and Roger Glover left in 1969 to join Deep Purple, while Mick Underwood founded Quartermass and later collaborated with Gillan.

The original line-up consisted of Glover (bass), Andy Ross (vocals), siblings Sheila Carter-Dimmock (keyboards, vocals) and Graham Carter-Dimmock (guitar, vocals), Tony Lander (guitar), and Harvey Shield (drums). The band initially rehearsed at the Carter-Dimmock’s family home, and were influenced by bands like the Beach Boys, the Lovin’ Spoonful, and the Beatles.

The band signed a management deal with Gloria Bristow in 1965. In April of that year, Episode Six were offered a short residency in the Arcadia Club in Frankfurt, Germany, playing from 7pm to 3am every night for a month, with only 15 minutes’ break every hour. As soon as they returned, Ross decided to get married and left the band. Consequently, Bristow recommended Gillan as a replacement. Shortly after, they signed a deal with the Dick Katz/Harold Davidson Ltd agency. The band had difficulties finding regular work, however, feeling the agency was far more focused on other bands. By the end of 1965, Episode Six managed to land a deal with Pye Records. They were averaging twenty shows a month from July ’65 onwards and cut their first single, a cover of the Hollies’ “Put Yourself In My Place,” which was released in early 1966.

Radio London booked the band to appear at one of their big open-air summer shows alongside David Bowie. Episode Six issued another three singles that year, all of which failed to chart. In September 1966 the group played on the Dusty Springfield package tour and did a weekly residency at the Marquee Club during October. Due to financial difficulties and a lack of chart success, the band were forced to do a long Christmas season in Beirut through December and January.

At this point, Episode Six had built up an impressive repertoire of covers and originals and would vary their setlist according the the audiences. They had also begun to do sessions for the BBC. They did a mini tour of London parks in mid-June 1967, performing two 45-minute sets, and played four weeks in Germany. Due to health issues, Shield left the band upon returning to London, and John Kerrison, was brought in as a replacement.

In mid 1968 the band signed a new deal with MGM Records and shortened their name to The Episode. They only ever released one single under this moniker (“Little One” – May 1968). They appeared on three UK TV shows to promote their name change, and recorded dozens of tracks for radio sessions over the course of the year, including the new Radio 1 Club. However, the band was not getting along with their new drummer, and he was eventually fired and replaced by ex Outlaws drummer Mick Underwood.

After leaving MGM Episode Six signed with Chapter One records, and released “Lucky Sunday” in September 1968, which became their eighth single to fail to chart in the UK. “Mozart Vs The Rest” followed in February 1969. This also failed to chart.

At this time, the band decided they needed to update their musical style from pop-rock to a heavier sound. They began work on a debut album, but the project was never finished. In June 1969 Ritchie Blackmore and Jon Lord came to see Episode Six play live in London, and then offered Gillan a job in Deep Purple. Glover helped Deep Purple on a session and was also asked to join the band. Gillan and Glover helped Episode Six fulfill existing bookings in the short term, and then quit following their first gig with Deep Purple at the Speakeasy on July 10.

John Gustafson (bass, vocals) joined Episode Six who carried on for a brief time. Sheila rehearsed with Pete Robinson, John Gustafson and Mick Underwood as a quartet, before they formed the trio Quartermass. Episode Six continued on and off until 1974. On December 6, 2015, the band reunited for their 50th anniversary, performing in front of an audience of family and friends in London.