KALEIDOSCOPE – “Tangerine Dream”
This is it! Kaleidoscope have presented us with a masterpiece for the first LP. Their fantastic single “Flight From Ashiya” didn’t make it, but ‘Tangerine Dream’ will set that to rights – quality like this just can’t go unnoticed.

Every track would make a better single than ninety per cent of the present top thirty. The words that come to mind are all played out – words like creative, fabulous (in the true sense), dream-weaving, moving poetry.

The group have made their own completely original scene, with the name Kaleidoscope providing the key to it all. The sounds on this record are shifting colours settling for a moment into a beautiful stained-glass pattern, then shifting again into a fresh and still more beautiful pattern.

All wondrous stuff – and certainly not too far out for mere mortals. It is important music – as singer Peter Daltrey says on the lovely sleeve notes, the collective subject of their songs is simple – the life and people. What, more could anybody want?

FRANÇOISE HARDY – “On Se Quitte Toujours”
This is typical Françoise – pure voice, romantic backing, nothing overdone and altogether very pleasant. There’s nobody quite like her on the English scene – but though this is a most enjoyable, easy-on-the-ear record so beloved of the late-night DJ’s, it probably won’t do very well.

For a start, it’s in French, and what’s the last record sung in French that you can remember getting into the charts? It’s a shame – but the only way that records like this will get anywhere over here is to have records set for O Level French!

A good album but a bit of a let-down after the two singles – it’s too much the same all the way through – slow and mysterious. That doesn’t mean it doesn’t get off the ground, though.

Two tracks are terrific – “Cerdes (outside the gates of)” and “Repent Walpurgis”. These are the long ones that close each side. “Cerdes” being an atmospheric semi-blues sound picture, and “Walpurgis” a beautiful organ-based tune which meanders and swells into a crescendo that gets you right in the stomach.

Robin Trower’s guitar is superb all down the line – but I’m beginning to get my doubts about Gary Brooker’s voice. He hasn’t sounded the same since “A Whiter Shade”; also Keith Reid’s words aren’t so good when you sit down and listen.

They sound nice – but do they mean anything? The trouble with the Harum seems to be that they hit on one very individual style which gave them a massive hit, but haven’t bothered to develop it.

They aren’t pulling out all the creative stops – and the end product doesn’t justify the air of pretentiousness they put out. But it’s not a bad LP really – just that they could have done much more with it.

Dud and Pete get their satirical paws on psychedelphia. It had to happen one day! This song – if song is the right word – was written by Mr Cook and Mr Moore for the film of the same name, and it’s got all the super trendy sounds.

Great organic beat – really – and they make a big thing of the “Itchycoo Park”-style fading, like you used to get listening to Luxembourg on the short wave.

Above a girl chorus, all of whom are dying with passion for him, Pete recites some lovely lines telling them to leave him alone: lines like:

“I’m self-contained” and “you fill me with inertia”.

What a larf – and it’s actually a very fine sound. Top twenty, I should think.

MAMAS And PAPAS – “Glad To Be Unhappy”
This just isn’t on the same plane as “Creeque Alley” and “Monday Monday”, the reason being the song itself.

It’s non-descript and isn’t their scene – maybe for one track of an album. O.K., but certainly not a single. Especially when it only lasts one minute forty seconds.

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