Thursday, July 30, 2015

Episode Six - 2005 - Love, Hate, Revenge

Episode Six 
Love, Hate, Revenge

The Singles, A's & B's
101. Put Yourself in My Place
102. That's All I Want
103. I Hear Trumpets Blow
104. True Love Is Funny That Way
105. Here There and Everywhere
106. Mighty Morris Ten
107. Love, Hate, Revenge
108. Baby Baby Baby
109. Morning Dew
110. Sunshine Girl
111. I Can See Through You
112. When I Fall in Love
113. Little One (As The Episode)
114. Wide Smiles (As The Episode)
115. Lucky Sunday
116. Mr Universe
117. Mozart Versus the Rest
118. Jak d'Or
119. I Will Warm Your Heart (As Sheila Carter & Episode Six)
120. Incense (As Sheila Carter & Episode Six)
121. I Won't Hurt You (As Neo Maya)
122. U.F.O. (As Neo Maya)

Rarites, Demos and Live Recordings
201. Love, Hate, Revenge (US Version)
202. The Way You Look Tonight (Outtake)
203. My Little Red Book (Outtake)
204. Plastic Love (Outtake)
205. Time and Motion Man (Outtake)
206. Only Lonely People (Outtake)
207. Zip-A-Dee-Doo-Daa (Demo)
208. Cottonfields (Demo)
209. My Babe (Demo)
210. Love Is a Swinging Thing (Demo)
211. Steal Your Heart Away (Demo)
212. Walking to New Orleans (Demo)
213. Let the Four Winds Blow (Demo)
214. Mozart Versus the Rest (Live)
215. Him Or Me (Live)
216. Hazy Shade of Winter (Live)
217. Monster in Paradise (Live)
218. Orange Air (Live)
219. The Castle (Live)
220. Slow Down (Live)
221. I Am the Boss (Live)
222. Morning Dew (Live)

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 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 & Crazyfoam

Episode Six 
Cornflakes & Crazyfoam (1964-1968)

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

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

Track By Track Guide By Tim Joseph (abridged from cd sleeve notes)
Tracks Reviewed by David Browne

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.

• 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.

• 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!

• 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.

• 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.

• 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'!

• 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.

• 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.)

• 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.

• 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!!

• 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'.

• 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!

• 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.

• 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.

• 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.

• 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.

• 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..

• 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.

• 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.

• 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.

• 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.

• 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.

• 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'...

• 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.

• 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.

• 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'.


• 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.

• 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.

• 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.

• 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.

• 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.

• 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.


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.

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.

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!)


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.

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.

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.


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.


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.

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!


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.

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!

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!

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.

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. thanks.

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.

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.

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.

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 remastered for inclusion on 'Cornflakes & Crazyfoam'.

Episode Six - 1997 - The Radio 1 Club Sessions

Episode Six
The Radio 1 Club Sessions Live 1968-69

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

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

"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.

Episode Six grew out of two school bands, centred around Harrow County Grammar School.
First to tread the boards were The Lightnings (aka Pete Jason, Shandy & The Lightnings), formed in 1960.
Sheila and Graham Carter-Dimmock (brother and sister) would sometimes sing and play together, and were asked to join The Lightnings when they were formed. They played school dances, youth clubs, and similar gigs. During this period Sheila Carter used the stage name 'Shandy', while vocalist Pete Reglar was known as 'Pete Jason'. Pete left in January 1963 and was replaced by Andy Tait, also known as 'Andy Ross'. A couple of months later they got a new bassist too.

Roger Glover's family moved to run a pub in Pinner around 1960 and he became a pupil at Harrow County. He bought a cheap Spanish guitar to learn, then took up the bass because it seemed an easier instrument to play. The Madisons became good enough to occasionally play London venues like the Last Chance Club on Oxford Street.

The two bands all knew one another. Sheila helped out The Madisons on vocals occasionally and both groups performed at an end of term school concert. In July 1963, when members of both bands finished their exams and left school some of the musicians packed it in. Sheila and Graham wanted to continue in a band, so asked Roger and Harvey to join The Lightnings. As they'd been going the longer of the two groups, and were better known, the pair agreed. Around this point Harvey began to use the name 'Harvey Shield'.

They played their first gig with the new line up at a Dance at Harrow County School with a set-list of an incredible 56 numbers, Sheila and Andy doing over half the lead vocals between them.

In early 1964 they got an agency and more work came in, though they could only play shows on Friday, Saturday and Sunday as Harvey was still at school (Lawry Geller would sometimes stand in for him), and the others had college and work. Prompted by their agency, they decided to choose a new name and rechristened themselves Episode Six, inspired by a novel called Danish Episode (though they sometimes used both names where people knew the old one).

They rehearsed at the Carter family home twice a week - without amplifiers - and Sheila's father drove them to gigs. The band all (except Sheila) wore smart white shirts and Beatles-style leather waistcoats, and via their booking agents there was soon plenty of work further afield. They could have done more, but because Harvey wanted to finish at school they held off. Nevertheless, they soon started doing demos for a record deal, and then did a season in Germany in early 1965, after which Andy Ross left.

The band had already checked out Ian Gillan in a group called Wainwright's Gentlemen and now asked him to join. Prior to this he'd been with The Javelins, a popular local group, from 1961. Ian's arrival coincided with the band getting a record deal with Pye and in July they turned professional, giving up college and jobs. They were doing an average of twenty shows a month from July '65 onwards and cut their first single "Put Yourself In My Place" before the end of the year. It was released in early 1966.

The band were booked by Radio London to appear at one of their big open-air summer shows in May 1966 alongside David Bowie and issued more singles during the 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. There was also the first solo single from Sheila; "I Will Warm Your Heart" in November 1966. The year climaxed with a long Christmas season in Beirut (where they topped the local chart) through December and January.

The group had by now built up an impressive repertoire of covers and originals and would vary their sets according to the audiences. They were also beginning to do sessions for the BBC. They did a mini tour of London parks (organised by the GLC) in mid-June 1967, performing two 45 minute sets, and played for four weeks in Germany. On their return Harvey left the group as the touring was telling on his health.

New drummer John Kerrison had previously been in The Pirates (with Nick Simper).With him onboard Episode Six were soon back in Germany doing clubs, and returned there early in the new year.

The group got a new record deal with MGM and shortened their name to The Episode, releasing "Little One" in May 1968 (their only single under the new name). They did three UK TV shows to promote this and recorded dozens of tracks for radio sessions over the year, including the new Radio 1 Club. However they were not getting along with their new drummer, who was eventually fired. A replacement had already been chosen: ex-Outlaws drummer Mick Underwood.

Mick had been in The Herd and played alongside Ritchie Blackmore in The Outlaws. The music got noticeably heavier and they moved to Chapter One Records, reverting back to being Episode Six.

Their September 1968 single 'Lucky Sunday' became their eighth chart miss, depsite some good reviews. "Mozart Vs The Rest" followed in February 1969. This was issued in response to hundreds of calls to Radio 1 after the band performed it on air. Sadly this happened too late for it to chart .

The band made a start on a debut album but it was never finished. In June 1969 Ritchie Blackmore and Jon Lord came to see Episode Six play live in London, and then offered Ian Gillan a job in Deep Purple. Glover helped them out on a studio session and was also asked to join. The pair helped Episode Six fulfill existing bookings while rehearsing with Deep Purple.

Episode Six carried on for a time with John Gustafson on bass and vocals. Sheila rehearsed with Pete Robinson, John Gustafson and Mick Underwood as a quartet, before they formed the trio Quatermass. Episode Six then played for a while with Sheila, Tony Lander, Dave Lawson (later of Greenslade) and Tony Dangerfield on bass. By the end of the year they were billed as Episode Six with Sheila Carter and then The Sheila Carter Band, and this continued off and on (mostly with gigs abroad) until 1974 with Sheila as the constant, before she went into session work.