Cosmic Scousers

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COSMIC SCOUSERS

Why is Liverpool’s Psychedelia scene so important?

A History of Liverpool’s Psychedelia connection through sound and design.

Ilid Llwyd Williams INDEX

INTRO

SIDE 1 The Moody Psychos: Neo-Psychedelia emergence in Liverpool 1970s Echo and the Bunnymen Teardrop Explodes The Icicle Works The Lotus Eaters The Wild Swans Modern Eon Krautrock Orchestral Manoeuvres in the Dark

SIDE 2 Ecstacy and Agony: Unemployment & escapism through drugs and music Acid House Scalydelica The Boo Radleys The Lightning Seeds Dr. Phibes and The House of Wax Equations Shack The Living Brain Rain

SIDE 3 New century, new sound? Cosmic Scousers of the 21st Century Tramp Attack The Stands The Zutons The Coral Clinic Mugstar Venue influence

SIDE 4 The Future Sounds of Liverpool: Psychedelia blown wide open Forest Swords Stealing Sheep Sankova Liverpool International Festival of Psychedelia

OUTRO

References

Image reference

Bibliography In the 1950s, Rock and Roll was exciting teenagers across INTRO the pond before arriving in England, taking the form of Skif- fle music on British shores in its early stages, and Mersey- Liverpool is declared the world capital of Pop music – more side embraced the electric guitar as a symbol of youth and number 1’s come from the city per head than anywhere else creativity. in the world, and yet for all its hits and hooks it has a strong affinity with the weird, expressive, more culturally challeng- “We hadn’t realised it, but there were millions of groups ing musicians. For the music fans and musically educated in Liverpool. (…) There were the Skiffle groups, the Roy Liverpool is far more than a city of Cilla Blacks and The Orbison sort of groups, The Shadows groups. (…) [and] Beatles, it’s an undervalued part of British music history - a it gradually developed into the Liverpool scene and city with a natural sound of melody drenched by the influence became a very rich thing.” – Sir Paul McCartney (Du of psychobilin drugs euphoria of the early 1960s and the Noyer, 2007) exotic sounds that arrive at its docks, thus bringing the city the first to get its hands on the latest musical phenomena’s Liverpool’s dominance of the charts from a genre rooted from across the water. Since its early incarnations during the in a single county in England is now a fascinating fact 1960s, psychedelia has evolved into a multi-genre influence overlooked by later achievements from The Beatles’ suc- that ranges from lyrical content, music, instrumentation, vocal cess worldwide and the 1967 national LSD peak and the 1 2 & instrumentation effects, and time signatures. It has spawned Summer of Love. As Michael Murphy and Deryn Rees-ones unlikely genres (psychedelic Hip-Hop, Trip-Hop, Shoegaze) explain in Writing Liverpool: Essays and Analysis (2007) the and influenced early incarnations of Electronic music world- Aside from Sgt Pepper and The Beatles, a few noteworthy bands and Figure 2 is an album by Cilla Black, one of Liverpool’s most famous Pop psychedelic sound found almost no resonance in the city, yet wide (Krautrock, Techno, New Wave). Psychedelia has had musicians were taking the Psychedelia scene seriously - whether it was exports. Here she poses with a typical 1960s fashion like any other 60s The Beatles were seen as the figureheads of counter-culture intentionally or for marketing purposes. The Amazing Adventures of The Pop album, yet even the marketing team behind Cilla can’t resist the lure a profound influence on the progression of Liverpool’s music in Britain along with The Rolling Stones and The Kinks, Liverpool Scene (fig 1) were one of the city’s popular acts during the of the Psychedelia phenomena with the very out of place typography use scene - from the dark and bleak sound of Post-Punk in the spearheading Rock’s bright new direction in psychedelic Psychedelia boom of the late 1960s. Here we have one of their album and colourful dress fashion. Album Cover Photograph by Francis Loney late 1970s to the Acid House 1980s and the 1960s revival covers that’s very reminiscent of The Door’s album Strange Days in terms (Cilla Black, 2013) music. However Liverpool’s affinity for psychedelia music sound of the new century and beyond; there is a continu- of colour tint and the use of the general public. The typography used dur- wasn’t all about The Beatles; in the same year that Sgt Pep- ing love affair with psychedelia culture in Liverpool; through ing the era is now considered iconic with the Hippy movement. per’s Lonely Hearts Club Band came out, The 23rd Turnoff music, festival, art, or as a way of life. Psychedelia is in the released their overshadowed record Michael Angelo, Liver- DNA of the city. pool Scene and the band Focal Point were also involved in Whether it is through Rock or Electronic means, great psyche- the psychedelic sound of the city. However it was the Beatles delia as described by DeRogatis (2008 p.13) “transports who broke ground in sleeve design throughout the industry. the listener someplace that exists only in the space between For every bubbly typeface, bright colours and vibrant sleeve the headphones.” Echo and The Bunnymen’s Will Sergeant design, nothing compared to Sgt Pepper’s scope as a piece agrees (Liverpool Echo, 2012): of design – it transformed the vinyl into more than just an album, it was an object that was meant to be cherished and “It’s anything that will take your mind somewhere else. If enjoyed. you can sit there and just put on the music and drift off, and it spins your mind backwards. That’s psych.” In my dissertation I intend to explore how Liverpool has maintained its psychedelic attachment in various sub-forms, Liverpool imagines and portrays itself as a creative city; sounds, and how it has evolved through design, music and awarded the prestigious European Capital of Culture in 2008 culture. Liverpool has a strong psychedelic influence on may have come as a surprise to some given its troubled past its musicians; whilst many up and coming musicians have decades of financial hardships and imagery of violent riots, either embraced or rejected the city’s most famous exports but those who live and breathe the city know its true potential as a benchmark of quality, there’s no doubting Liverpool’s and creative depth. Liverpool had tried and failed to reflect underlying and lasting psyche influence, always maintain- a static Beatles-related market (Brocken, 2010) but being far ing a steady stream of fantastic musicians, past, present and from a city of one-hit musical exports, its Liverpool’s musical future. Here I will look at how the music reflected onto the 3 4 identity which gives optimism to music fans. Simply put, diver- sleeve design and venue posters - showing how psychede- sity is the key - the Liverpool docks invited the world onto its lia and design has evolved throughout the decades, how shores, bringing in centuries of diverse and exciting sounds Focal Point’s compilation album sleeve design on the other hand, First venues have influenced the evolution of psychedelic sub- The 23rd Turnoff’s compilation album The Dream of Michelangelo from around the globe, mostly from the United States. sleeve design (fig 3) is more extravagant sleeve design compared to the Bite of the Apple, is designed in Psychedelic typography of the time, culture within the city, and how psychedelia could be further previous two. This is more reminiscent of Jimi Hendrix or Cream’s sleeve while the colour and majority of typefaces included on the sleeve typifies represented and emphasised in the city in the future. design - much more colourful, with the use of very extravagant typogra- a darker sound to its Pop-sound compatriot. These examples show that phy and illustration. It’s designed to draw the record buyer into listening even at its peak Psychedelia was interpreted or manipulated in many to their album, but at a time when sleeves like these are commonplace, ways in design and culture, creating new sub-cultures. it was a colourful music industry. The album was design by Phill Smee, whose other works include Love’s psychedelic self-titled masterpiece album and Something Else By The Kinks. SIDE 1 THE MOODY PSYCHOS NEO-PSYCHEDELIA EMERGENCE IN LIVERPOOL 1970s

ECHO AND THE BUNNYMEN

Martyn Atkins was responsible for the original design After the Beatles broke up in 1970, Liverpool struggled with concept on all three of the selected albums covers I’ve a follow-up group that could replicate the quality of music chosen. The use of photography by Griffin would go on to that came out of the city. Yet a club named Eric’s and a new define the band’s covers until the 1990 album Reverbation, generation of musicians were waiting in the wings for a yet the use of isolation was never far away in their image. darker, Neo-Psychedelic sound to emerge. Ocean Rain, their most famous album and promoted as “The Greatest Album Ever”, continues this tradition of a dream-like Echo and the Bunnymen are one of the finest bands to alien world landscape that would capture the visual repre- emerge from Liverpool and were a part of the Neo-Psychede- sentation of the Bunnymen’s finest album, as Chris Adams lia wave that came out of the city in the late 1970s. Inspired describes (2002 p.143). The bleak sound of the Post-Punk by the emerging Post-Punk scene that was developing in Eng- era is evidently shining through, yet there is surrealism to the 1. Crocodiles (1980) the band’s first full-length album starts the surrealism 2. Porcupine (1983) photographed in Iceland, it is the Bunnymen’s most land after the Punk rush; the band’s sound was enhanced by sleeve design that enhances the perception of the music - that trend of their album cover design, with each album having an epic-centre personal and harsh album lyrically - reflected by the wilderness of Ice- the influence of the darker Psychedelic sounds of the 1960s. image as the main draw for the album and its sound. land, but also keeps in tone with the surreal imagery used by applying detail is perhaps the band’s tribute to the darker Psychedelia an irregular camera angle. sound of the 1960s such as The Doors and Velvet Under- “It wasn’t Gerry and the Pacemakers we were listening ground; a far-cry from the hippy imagery that dominated the to. We had the Velvet Underground and The Doors, that mid-1960s. Typography reverted back into serif simplicity, sort of thing. That led us to the Pebbles (60s rarities com- and the band is the centre of attention, yet there is an air pilation) album, and then Eric’s.(…) Psychedelia’s gone surrounding them of isolation, perhaps symbolising their own on. It’s never really gone away. It’s an ongoing thing. isolation from the popular music movements of the era. It Liverpool has always had an affinity with that stuff.” was this same dream-like imagery that captured the Neo- (Liverpool Echo, 2012) Psychedelia wave of Liverpool at the time, rather than the obvious cartoon-like typography and imagery of the 1960s; The subtle psychedelic influence is indicated on their album the bands wanted their music to be the main focus of atten- sleeves. Upon experiencing their music and looking at their tion, whilst the cover design would merely be a taster into album covers; the early albums, including debut album their mysterious world. Crocodiles (fig. 1) have an otherworldly perception when first experienced. The photographs were taken by Brian Grif- fin (Crocodiles (CD Booklet 1980)) and included themes of confusion, haze and loneliness. This perfectly complimented the music as Creem magazine suggested:

“The cover art suggests four boys dazed and confused in a drugged dream, a surreal where-are-we landscape.” (Adams, 2002 p.41)

3. Ocean Rain (1984) the band’s most famous and critically acclaimed album. The band continues the elemental theme (Adams, p. 143). An iconic album sleeve that’s become the flagship of Liverpool’s post-Bea- tles’ Psychedelia renaissance. TEARDROP EXPLODES

Brian Griffin and Martyn Atkins would also go on to provide sleeve design for the Bunnymen’s main rivals at the time - the Teardrop Explodes. Another band who shared a similar design aesthetic and a love for Psychedelia – despite the bands lacking any affection for one another - were the Teardrop Explodes, led by the extraordinary Julian Cope. Perhaps considered a far more eccentric group than Echo and The Bunnymen, together they both brought Psychedelia elements back into the British mainstream, favouring a light Psychedelic beat, or “Bubblegum Trance” as it was sometimes known within the city (Cope, 1993) Inspired by Syd Barret-era Pink Floyd’s Psychedelia sound, along with modern New Wave, Cope’s ideal sound was the bittersweet aura of classic Psychedelia, where the idyllic vibe is haunted by hints of madness and the uncanny (Reynolds, 2005 p. 445)

The Teardrop Explodes chose a deliberately trippy-Technicol- our, ‘far-fucking out’ name primarily as a backlash against post-punk’s cold, dispassionate imagery (Reynolds, 2005 4. Kilimanjaro (1980, alternative cover) together with 5th image and sin- 5. When I Dream (1980) single cover. Typography in the band’s back p. 446) Bringing back colour to a bleak musical landscape, gle When I Dream, both use the strong psychedelic colours of purple and catalogue was very consistent, favouring an easy to read, sans serif type- Teardrop Explodes only lasted a few years yet they were one red, combining it with the dark sleeve design of Post-Punk. In contrast to face with a slight widening effect, before switching to a more traditional- of Neo-Psychedelia’s biggest champions - along with Cope’s Echo and The Bunnymen - the band were the central piece of the music. looking serif font as the sleeve imagery became more unpredictable and Photography by Brian Griffin. based on abstract and colourful imagery (see fig. 6) Syd Barret-like expressionism, the band would provide an escapism through their music. (Britton, 2011)

The Psychedelic styling of the band were well documented. It was perhaps Alan Gill who influenced their Psychedelic sound of the future; formally a member of fellow Liverpool band’s Dalek I Love You (another Psychedelic influenced band) he introduced the formally drug-free Cope to cannabis and LSD, pushing the band’s previous interest in Psychedelic styling into a lifestyle (Cope, 1993)

Despite the band lasting only from 1978–1982, it had a big impact on Liverpool’s musical history, launching the careers of the members in different musical-styles, including Julian Cope’s successful Psychedelic tinged solo career. They differed greatly in imagery when compared to The Bunny- men’s landscape heavy designs; such diversity showed how widespread the psychedelia influence had come to affect the city’s musicians in various ways. As this was a period of renaissance in the city’s music scene thanks to the influence of Eric’s, other bands had also developed their own approach to the neo-psych revival. 6. Count To Ten and Run For Cover (1990) single cover. A more expressive design was used in comparison to previous album and single designs (as seen in figures 4 and 5) and experimentation was encouraged. Other bands that were a part of Liverpool’s Neo-Psychedelia Few long enduring bands emerged from this period, with surge also developed a similar design aesthetic to Echo and many bands playing one-off gigs, releasing little materials The Bunnymen and The Teardrop Explodes during the period; and breaking up suddenly - a good example are The Wild The Icicle Works’ music was ethereal and used dreamy guitar Swans, Care, and The Lotus Eaters. The Wilds Swans began effects similarly to Echo and The Bunnymen, which was life as a band that focused on the strength of their sounds reflected in their abstract artwork. Similarly to the Bunnymen’s - melodic with the signature “jangling” guitar sound that landscape sleeve designs, The Icicle Works’ sleeve designs came out of the city at the time. Their cult hit The Revolution- were primarily of abstract natural imagery that had been ary Spirit wasn’t enough to stop the band splitting after two manipulated and distorted to match their musical output. years: the members later formed The Lotus Eaters and Care. Birds Fly (Whisper to a Scream) single cover (fig.7), The Icicle The Lotus Eaters continued Neo-Psychedelia sound and de- Works self-titled album cover (fig.8) and Love is a Wonderful sign (fig. 10) while Care favoured the emerging New Wave Colour single cover (fig.9) all use natural elements and/or scene that graced the city in the mid-1980s. The Wild Swans patterns in a variety of bright colours, reflecting the band’s later reformed in the late 1980s, in time for the next wave love of reverb and echo in their music, almost merging into of psychedelia in Liverpool; the album (fig.11) was released the genre of Dream Pop. The band’s logo is consistent; typog- during the emerging Acid House/Scallydelic era in Liverpool raphy is quirky, and reflects the appearance of icicles. in 1987 along with Modern Eon, another dark-psychedelic band formed at the time (fig.12). Design-wise, the variety was healthy and explored psychedelia’s darker and more eclectic. 8 11

7 9 10 12 Julian Cope’s fascination with underground and experimental music is well documented – in 1995 he released the book Krautrocksampler (fig 14), highlighting the post-war Rock era in Germany from 1968 onwards. Krautrock, a Psychedelic sub-genre, was a German movement that went on to influence future genres such as synth music and experimental Rock. Similar to the late 70s/early 80s Neo-Psychedelia wave of Liverpool, Krautrock featured obscure designs, emphasising surrealism and ambient music sensibility with electric instrumentation.

Such was the attraction of Germany’s musical export that Richard Branson’s second Virgin store was opened in Liver- pool in the early 1970s, which would introduce the city to its 13 eclectic array of national and international Psychedelic acts. Bands include Can, Faust, Neu!, and the legendary Kraft- werk influenced the city’s youth culture of the exotic sounds coming out from Germany. Such diversity also influenced the approach of record design – while long rock improvisations from Tangerine Dream (fig 15) and Can (fig 13) came with very raw yet iconic artwork, more Electronic based acts such as Kraftwerk would use more distinct and bold artwork. An- other Liverpudlian band would be influenced by a Krautrock band themselves:

“One of the most important things for OMD starting out was our discovery of German electro. We heard Kraft- werk’s Autobahn on the radio and thought, God, this is the future! Andy and I were in a school rock band at the time. We decided that rock was the past, so we bought all the German imports that we could find and analysed 14 them; Kraftwerk, Neu!, LA Dusseldorf, Can. They were hugely important, they were the reasons that we started.” 16. Architecture & Morality. A more sparse design than the self-titled of- 17. Self-titled album, Orchestral Manoeuvres in the Dark. Featured here is fering, reflecting the cold compositions one of many different designs for the self-titled album. (Creative Times, 2010)

From both a design and musical perspective, Orchestral Manoeuvres in the Dark could easily be seen as the British Kraftwerk. At a time when Neo-Psychedelia and Post-Punk were emerging to create a new moody form of sub-Psyche- delia, Krautrock was influencing an Electronic sub-culture of Psychedelia - synthesisers and mellotrons were common. Design became sparse, clean and beautiful with emphasis on pattern, repetition and structure in a more digital psych form. (see fig 16, 17)

15 SIDE 2 ECSTACY AND AGONY: UNEMPLOYMENT & ESCAPISM THROUGH DRUGS AND MUSIC

ACID HOUSE

As the Neo-Psychedelia wave began to dissolve and lose mo- A dance record by Mind, Body & Soul (Liverpudlians them- mentum, New Wave had taken the mainstream by storm and selves) is essentially a celebration of previous Psychedelic Liverpool was right at the heart of it. Psychedelia’s presence cultures, strongly tied to the city as Stuart Metcalfe explains: was at a low, yet the next wave of the genre were to affect the way youth culture and music connected, and brought a “Whilst the band’s name referred to a brand of LSD breath of fresh air into Psychedelia sub-culture as a whole. particularly popular in Liverpool in the late-1980s, the In the 1980s Liverpool was a symbol for urban decline – song, a version of Jefferson Airplane’s Psychedelic unemployment was amongst the highest in the UK, and an anthem ‘White Rabbit’, sampled the Acid guru’s Timothy average of 12,000 people were leaving the city annually for Leary’s “Tune On, Tune In, Drop Out”, prefacing it with a greater opportunities elsewhere (Belchem, 2006) This portion sampled voice simply saying ‘Ecstasy’” (Partridge 2005) of my dissertation explores both sides of the effect that Acid House music - a sub-genre of House music and a Psychedelia 1. Calm Sounds (1990) by The KLF. Seemingly a normal looking 2. Space by Jimmy Cauty (under the alias ‘Space’ - 1990). His debut solo album has an extreme surreal imagery done with collaging different hybrid - had on the present and future musicians of Liverpool. A leading musician in the British psychedelia sub-culture was landscape with sheep, such strange album sleeve selection was similarly been done by Pink Floyd’s Atom Heart Mother. imagery together into an unfamiliar landscape. Artwork by Jimmy Cauty, Its influence on the local music scene was substantial; it Liverpool’s Jimmy Cauty. One half of pioneering acts The KLF as a 17-year-old artist, Cauty painted the cover for the concept album helped pushed the boundaries and challenge the perception and The Orb, he is credited for innovating a new sub-culture The King of Elfland’s Daughter. (Wikipedia 2013) of the Psychedelia sound and subculture, both in electronic of Ambient House music, evolving the Psychedelia sub-branch music and in the aspiring bands that wanted to make guitar- and introducing a new genre into the Psychedelic dance based music. music culture for the E generation (Shapiro, P 1999). Cauty’s House music is a genre that originated from the underground studio, a host for illegal raves was dubbed “Trancentral” - music scene in Chicago. In the late 1980s the sound began The name “Trancentral” lived on throughout the mid to late to creep into British consciousness - especially Manchester 90s, through a series of psychedelic trance and acid techno and Liverpool. It was thriving under a third wave of Psychede- nights at the Tyssen Street studios in Hackney. lia, ‘Raves’ & dance culture had embedded into British youth culture from the mid-1980s, all coming from the United States While Acid House was mainly about the singles and not and two key cities; Detroit Techno and Chicago House. After the albums, it had an impact on the emerging retro-futuristic LSD’s temporary resurgence in the early 80s, ecstasy became sounds of the Scallydelics in Liverpool - the boundaries the drug of choice (Smith, 1997). Bearing a similar ethos between Dance and Rock had been breached, and Liverpool to the Hippie movement of the late 60s, the emergence of a was experiencing another wave of scene bands. vibrant club culture within the city has played an important part in the city’s cultural life, contemporary image, and night time economy and revival over the last two decades (Leonard & Stratchan, 2010).

3. Compilation album Eternity Prokect One (1989) that featured one of the Orb’s early tracks (one of Cauty’s early involvements). This compilation showed how early acid house/ambient music began to mutate itself from psychedelia - distorted imagery, bright colours and a central hypnotising pattern. SCALLYDELICA

As Raves continued to sweep the nation, a more prominent The Stairs are one of Liverpool’s most psychedelic bands in and local music scene was emerging from the after burns of the last 20 years, and that psych influence has a profound Psychedelic dance music. Drugs such as LSD and cannabis influence on their typography choices on album and single were widely used in the city during the era due to unemploy- sleeves. Figure 7 is the teardrop typography for the Mary ment in the area. Drugs were a way out for many young Joanna single, while figure 8 shows the typography choice people and from boredom and unemployment came a new on the album Right In The Back of Your Mind, and figure 9 breed of musicians that were influenced by psychedelia- shows a simple bold typeface on the single Woman Gone tinged melodies from the Acid House scene and the past and Say Goodbye. The band is clearly influenced by the great bands such as Echo and The Bunnymen. The scene was 1960s psychedelia design aesthetic, with each typeface mostly prominent in the North West of England. Manchester’s synonymous with the hippie era. scene was dubbed ‘Madchester’, yet Liverpool’s scene was just as prominent, if not more so. The music was bastardised as “Scallydelica” - a phrase which combines ‘Scallies’ (a derogative term used for youth sub-culture of hooliganism and working class youths in the UK) along with Psychedelia (sometimes it was also called ‘Merseydelica’ & ‘Retro-Scally”) 7 We began to see the foundation of this scene in the mid- 4. The La’s self-titled debut album (1990). Simple yet visually striking. 5. The Stairs’ Mary Joanna (1992), a subtle ode to marijuana’s influ- 1980s Cohen (2007: p45) points to a notable taste for The La’s were one of the leading acts in Liverpool’s scally waves, mainly ence on the 1980s music and youth scene in Liverpool. It wouldn’t look Psychedelia and a prevalence of bands producing a lush, influenced by the melody rock groups of the 1960s. out of place next to a psychedelic record from 1967 thanks to its purple guitar based and Pop influenced type of Rock characterised and pink colour scheme and ‘teardrop’ typography. by a strong emphasis on melody. Records such as The Stair’s pecan to marijuana Weedbus (and Mary Joanna, as seen in fig 5’s1960s Psychedelia-influenced album design), and The La’s debut album’s nod to coded heroin use in their best- known track There She Goes, with unemployment also represented with the song Doledrums, sought to plot the lifestyle of 8 young men in the city. (Leonard & Stratchan, 2010 p.58) The desperation felt within the city was communicated through the use of music and drugs, with many young adults and teenagers turning to the medium of creativity to escape poverty that had enslaved the city.

The Psychedelia influence on sleeve design varied; some 9 favoured the 1960s Acid Rock vibe. The Stairs (fig 5) mainly featured band photos with the use of purple and pink tinges in their design, along with the use of 1960s bubblegum and loopy typography. The La’s favoured a more abstract approach to design, much like the Neo-Psychedelia wave before, while The Farm favoured a colourful and simple - almost cartoonesque approach to their sleeve designs (fig 6)

6. The Farm’s Love See No Colour (1992). The bright flowers arranged in a pattern have a psychedelia vibe, almost representing the colourful lightshows of the time - colour and The Farm went hand in hand. THE BOO RADLEYS

“For 64 minutes they were the greatest band on the Having a designer based so close with the band and the planet.” - Brett Spaceman on Giant Steps ([sic]magazine, city provided a fascinating insight into the music scene in 2011) Liverpool. Wood also explains how drugs played a part in the band’s sound and design output: Away from the emerging Britpop scene was a short-lived, but highly influential psychedelia sub-branch genre “LSD, that was quite available then too! Which brings ‘Shoegaze’, which derived from Dream Pop and experimen- us back to psychedelia (psych is always there, either tation with guitar effects and sonic sounds. The scene itself in the background or foreground!) The patterns in the wasn’t limited geographically, yet one of Liverpool’s own sky on the front of Giant Steps, and also on other Boo’s bands, The Boo Radleys, were influenced by its sound along sleeves too, were patterns from the hallway wall paper with their personal experiences whilst growing up in Mer- at 58 Huskisson Street, that looked particularly good or seyside. Figure 10-12 are three examples of sleeve artwork rather, significant to us, when we were tripping, and so ranging from single to compilation (fig 11 Lazarus single, fig lots of details and elements in my work was me trying 12 Find The Way Out compilation album), while Giant Steps to recreate small parts of what I saw the first couple of (fig 10) is considered to be their magnum opus, as well as times I took acid... Out of all my LP sleeves, and most presently regarded as an under-rated gem of the 1990s. The of all, ever, out of all my record sleeves for The Boo Boo Radley’s sleeve designer Stephen Wood explains how he Radleys, and in fact any sleeve I’ve ever done for any got involved within the Liverpool’s psychedelic music scene band my favourite has to be ‘Giant Steps’, because it 10 11 and designing for the band: says all I wanted to say in a record sleeve - the ultimate expression of my imagined version of ‘Serene Velocity’, “I knew the band’s music really well, having lived and a strange window into a world that I’d want to walk in the same house on Huskisson Street as them when around in and explore!” (Wood, S. 2013) they were starting to release records, and I even played in the band as an extra guitarist for much of 1992 so I knew that sonically a lot of their songs would have giant explosions in certain parts, quiet passages at other times - soaring sounds, then meditative comedown moments of introspection.Then, as I was working on the sleeve, I was getting sent tapes of the rough mixes, so I would get to hear the album as a work in progress - and lyrically I was particularly drawn to the song ‘Butterfly McQueen’, with its lyrics “bird must fly away” and “I feel you rising” and so I started working around that theme of escaping, of rising above, using images I’d taken around Liverpool, and in the Huskisson Street house...” (Wood, S. 2013)

Much like their music, the design of the record sleeves is extremely central, almost like each record draws the viewer into the artwork. Continuing the late 1970s use of serif typefaces, the record design is a lot more expressive and illustrative as well. Behind every great record is a great record sleeve, iconic and unique. With Giant Steps it feels like the band 12 had perfected the formula. One of the leading acts to have come out of the period were Dr. Phibes and The House of Wax Equations were one of the The Lightning Seeds, originally a project led by ex-Care most original Psychedelia bands that emerged from Liverpool and Echo and The Bunnymen/Icicle Works producer Ian post-Acid House, with their sound rooted in psychedelic rock Broudie. Having had a hit single with the Psychedelic Pure that gained cult popularity within the underground scene in on the album Cloudcuckooland, Broudie was essentially a Liverpool. The band experienced moderate early 90s suc- one-man band during his first three albums. What strikes me cess: releasing a couple of albums, a handful of EPs, playing most is the progression of professionalism found in the album at Glastonbury in 1992 and recording a John Peel Session. cover designs - the colourful, bizarreness of the designs are Being an underground band meant that the design aspect consistent, yet in-keeping with the music - Psychedelia Pop, of their music was often crude, yet their sleeve designs were reflected in the surrealism of the designs. Much like The Farm, striking across all mediums of music formats. The single Hazy the sleeves were highly colourful, showing a rather child-like Lazy Hologram (fig 15) released in 1991 displays a strong sense of fun with the surrealism that psychedelia brings. serif typeface, with a pattern that’s striking and hypnotising, Jollification (fig 13), the band’s most well-known album was much like Psychedelia’s long history of repeated patterns and designed by Mark Farrow, the award-winning graphic de- effects. signer renowned for his work with the Pet Shop Boys. Pete Ashworth did the photography for the album Sense (fig The EP Misdiagnosedive (fig 16) shows the design turning 14), and even though these two albums are only a couple into a more surreal affair, keeping the monochrome design of years apart, the design style of both albums are different, but with a looping-scrawl typography that’s almost incom- yet still capture the same surrealism and colour created by prehensible to read. This was an indication of the change 16 the band. It was this colourful design aesthetic that came to in style the band were experiencing, before Hypnotwister reflect the post-acid house era; the use of colour and vivid (fig 17), where colour returns, the surrealism is back and in design becomes apparent and defines the Liverpool sound a rather cartoon-like manner (albeit in a rather crude, early and design for the era. 1990s poorly designed computer graphics way) and embracing the 1960s acid-rock typography that was widespread in the era. These three sleeves show just how erratic the band was in terms of both music and design, but also within the Psychedelia sub-culture.

13 14

15 17 Even the bands who weren’t into the Psychedelia scene as much as the dominant 1990s bands in the city, it was still a long-term influence. For example, Shack recently released greatest hits album was decorated in psychedelic textures and imagery (fig 18), while another cult psychedelic band The Living Brain were more illustrative and basic in their design approach (fig 19). Another short-lived band from the 1988–1992 were Rain, with their Taste of Rain drawing comparisons with 1960s psychedelic bands Cream and The Byrds. Again it shows how psychedelia’s influence design- wise was different again, using photography and surrealism (fig 20)

These bands were very much in touch with the local fan base and could relate to the working class youths, but the escapism through design and brilliant imagery showed their creativity and underlying psychedelia influence. Entering the new millennium, nostalgia for the past psychedelic waves became the new scene and sound of Liverpool.

18 20 SIDE 3

NEW CENTURY, NEW SOUND? COSMIC SCOUSERS OF THE 21ST CENTURY

As the new century dawned, Liverpool’s music scene was still Nostalgia in terms of design was also a very strong influence feeling the fading influence the retro-scallies had on the new on the new wave of Liverpool’s acts during the 00s. While generation of musicians. As a new Liverpool emerged from The Zutons are best remembered for having hit Pop singles in re-energising music venues and a new generation of aspir- their career, their roots are firmly in Liverpool’s scouse shanty ing musicians to go hand-in-hand with these venues, a new sound. Scott Jones of Juno design (and who had a part in The breed of musicians were also looking to the past as a means Coral’s self-titled album design as seen in fig 5) was involved of influence on their sound The Swinging 1960s Psychedelic- in the design of the first two of The Zutons’ albums (fig 3 and tinged guitar Pop was back in popularity in the city, focusing 4). Both designs show a colourful and fun representation of more on melody and sonic textures. Yet aside from the core the band’s sound, developing a retro look that reflects their group of selected bands and groups, a more diverse culture 1960s nostalgia psychedelic pop. was also developing - more experimental, eclectic and argu- ably “modern” acts were catching attention. Juno Design Liverpool also developed the iconic Whatever People Say I Am, That’s What I’m Not album design by Arctic Yet nostalgia was a strong part of the musical resurgence Monkeys, as well as Liverpool’s Ska band The Dead 60’s debut album, and Hot Melt’s debut album. Juno Design was 1. Tramp Attack’s Attack! Attack!! Attack!!! (2004) a nod to past influences 2. All Years Living by The Stands (2004). A highly decorative sleeve design of Liverpool. One of the most prominent bands of the new through their use of typography - a very retro style. in comparison to Tramp Attack’s, it highlighted the city’s renewed obsession very influential in designing sleeves for the city’s acts and century were The Coral; they were marketed as spearhead- with the 60s psychedelic pop scene. ing a resurgence in the city’s musical culture (Leonard & those from neighbouring cities. It was this close collective Stratchan p.58). Central to this scene was a club night called design unit that helped defined the Liverpool scene of the Bandwagon, which regularly hosted gigs for the likes of like- new millennium. minded local bands such as The Zutons, Tramp Attack, The The combination of Psychedelia, drugs, youth culture and Hokum Clones and The Stands - all influenced and having classic, simple rock origins led to this influential movement their musical direction from West Coast Rock, Psychedelia, that lasted two decades and defined the ‘cosmic scouse’ and Skiffle. This style has since evolved to include Liverpool’s sound. However, the overall psychedelia sound from the city historical seaport which brought new music to the masses began to develop into more interesting, experimental direc- in the previous century - The Zuton’s Railroad, The Coral’s tions. Spanish Main, The Bandit’s Once Upon a Time as fantasy Folk and the sounds of Liverpool from the early 00s was dubbed ‘Nashville of the North’ (McManus 1994; Cohen 2007; Brocken 2010). The Zanzibar club, which hosted the Bandwagon nights during the early 00s, is a small pub-like venue in the lesser-mainstream music district, often busy, cramped, but incredibly colourful. It very much reflects the old styled clubs where bands start out before making a real name themselves. Through design, the bands in question reflect the nostalgic look often reflecting past influential albums or designs.

3 4 THE CORAL

The Coral based their designs on the 1960s Hippie movement and Acid Rock styling. Even though the band’s identity through type has changed over the years (adopting the 1960s look (fig 5) before changing into a more irregular modern design as seen in fig 6 and 7) their main focus and design is rooted in an almost amateur-like psychedelia fashion, a trend that has continued the retro-scally designs of the previous Liverpool musical wave. They fully embraced the original Psychedelia wave of the 1960s in terms of visual and musical influence. Tagged as the successors to The La’s, their debut self-titled is destined to be a 00s classic. This album (fig 5) is designed by a collaboration of the band’s musicians Ian and James Skelly and graphic designer Scott Jones. Together they have created a design that’s very reminiscent of the 1960s Psychedelic boom, with the design very similar to Cream’s Disraeli Gears. The logo itself was designed by Steve Fellows, which was kept until the album The Butterfly House (fig 7) Steve Fellows is a part-time musician 5 6 himself having been credited on fellow Liverpudlian band Gomez’s album Bring it On. Ian Skelly is responsible for all the band’s album sleeve designs; having a musician design their own sleeves has gained popularity over the decades, and the personal touch the musician brings to the design process is invaluable - here we see what the music means to Skelly on a design level, and we can see the consistency of the design throughout each album, which signifies how Skelly himself sees the music that the band are outputting.

Such was the scene in Liverpool at the time, the music press heralded the sound as a variety of ‘Cosmic Scouse’ (Melody 2003, p.51) isolating themselves from the rest of the British music scene when ‘Indie Rock’ was becoming a mainstream phenomenon. The use of marijuana, LSD (or ‘scouse smarties’ (Ahmed 2002; Beaumont 2003, 2004)) and has had a ma- jor influence on Liverpool’s musical output since the 1980s.

7 CLINIC

Fig 8 is Internal Wrangler by Clinic, an experimental, neo- psychedelic band from Liverpool. The design was influenced by Ornette Coleman’s 1961 album Ornette!, an innovating album in the Free-Jazz movement of the early 1960s (fig 9). Free Reign II (fig 10) for example might be a more traditional pattern based on hypnotic design, Visitations (fig 11) is a more chaotic affair, using abstract imagery and collage to create a randomly generated design that signifies the organ- ised chaos of their music.

Clinic have since become one of Liverpool’s finest Psyche- delic exports, headlining the second Liverpool International Psychedelia Festival in 2013 amongst worldwide leading Psychedelia acts. Their musical style has been reflected in their album designs and bizarre live stage costumes. Summed up perfectly by Peter Buckley:

“When you enter the musical world of Clinic and they 8 9 offer you a chair, the chances are that your seat will be pulled out from under you and replaced by either a luxu- riant beanbag or a cactus!” (Buckley, 2003 p.205)

The shift in musical styles became more apparent when new venues started to appear throughout the city that emphasised particular styles of music - Chibuku and Masque continued the Cream tradition of electronic dance music but with a more unique style of music, away from the mainstream. For the bands and musicians, Psychedelia was never too far away: Kazimier, Korova, Zanzibar, Camp and Furnace...just a few venues that embraced the weird and wonderful.

10 11 MUGSTAR The explosion of new venues around the city brought a much Such response from current musicians is extremely positive, needed revamp for the music scene in the city. Suddenly and yet when we look at these venues and the design pro- Another experimental-heavy band, Mugstar formed in 2003 Liverpool wasn’t categorised as having a single music scene moting events, experimental and often-psych looking design and have become one of Liverpool’s most championed - the sounds started to broaden and create a new generation seems to be a mainstay - from the bubblegum colouring and Psychedelia acts, taking influence from Krautrock, 1970s of musicians intended on making their own stamp on the city. typography choice to the more abstract pattern design and Prog and instrumental Post-Rock. Being an instrumental band Psychedelia never truly went away, if anything, venues such bright vivid colours. As a fan of Kazimier venue myself, hav- they rely heavily on the experimental and visual degree of as Kazimier and Korova championed the weird and wonder- ing spent many wonderful hours sampling the music and the their live shows, as well as the music. Experience is key, ful, while Mello Mello Café was an alternative venue full of venue, it seems like an important institution to the alternative, explains the drummer Jason: influence on Folk and experimental music. experimental and psyche scene that revolves around the city.

“Psychedelia in 2013 means a whole array of ideas. But “There is so much going on, especially around the Mello for me it’s more of a personal thing. Someone once said Mello café and the Kazimer [club]. There have been to me that Mugstar’s music made him feel like he was on so many productions I have involved myself in that you drugs. Now that’s psychedelic to him. For me it’s about become a sponge and absorb everything.” Lucy Mercer the emotion and the feeling it gives you.“ (M-Magazine, of Stealing Sheep (The Quietus, 2012) 2013) “Nights like Engine and Evol opened my mind. I am so Sam Weihl is a graphic design graduate of LJMU and part- grateful. It’s snowballed from there and it’s really healthy time musician. He designed Mugstar’s ‘...Sun, Broken...’ (fig now, people pushing forward. Having all these new 13) album and was the lead designer of the Liverpool Interna- spaces available really helps”. Matthew Barnes (Seven- tional Psychedelia Festival. As well as creating light shows for 13 Strings 2013) the festival, Weihl also creates live AV set for Forest Swords.

The passion for Psychedelia is still extremely strong in the city. The design aesthetic of the band is quite simple, yet there’s a powerful radiance to the artwork that suggests the music within the sleeves are anything but simple. Again the design doesn’t reflect an obvious Psychedelia influence, but it resonates with the iconic Krautrock iconic designs - Neu!, Faust, and Kluster for example - for having simple but powerful designs.

15 16 17

12 14 SIDE 4 THE FUTURE SOUNDS OF LIVERPOOL: PSYCHEDELIA BLOWN WIDE OPEN

“When I was growing up and started going to gigs, A band that channels the original psychedelia wave of the the early 2000s I guess, it seemed to consist entirely of 1960s are Sankofa. Their EP was designed by graphic de- blokes, wearing big coats, playing guitars. Liverpool signer John Van Hamersveld (fig 4), who previously designed seemed to take longer to get over that whole jangly Exile on Main Street for The Rolling Stones, and famously the scouse, Britpop, Oasis-y thing than every other city; Magical Mystery Tour EP for The Beatles. For the EP’s launch we really dragged it out. It said nothing to me. Then a gig poster was also designed by Hamersveld, compliment- Ladytron came along, Mugstar, Korova, Chibuku, all ing the original psych imagery perfectly (fig 5). Between changed the entire landscape here. It snowballed from these three bands it shows how diverse the culture of psych in there “ Matthew Barnes (SevenStreets, 2013) imagery and sound has become in modern day Liverpool.

The arrival of new venues, musicians trying something different from the Scouse blueprint of melodic guitars and drug taking, led to a new direction in Liverpool’s music scene. The Psychedelic influence hasn’t gone away however, and now 1. Dagger Paths EP (2010) by Forest Swords. Highly rated across music 2. Engravings LP (2013) by Forest Swords, his first LP. finds itself involved in new directions within the music scene. publications, it won FACT’s record of the year 2010. Forest Swords is just one of the musicians based in Mersey- side that’s gone on to create mesmerising instrumental music influenced by a variety of influences, including Psychedelia and the Wirral landscape. Figure 1 is Dagger Paths EP and figure 2 is Engravings LP, both of which were designed by Matthew Barnes himself; a graphic designer who studied at LJMU.

Influenced by his surroundings, the designs have a very earthly and decorative feel; perfect to reflect the hypnotic music within.

“I tried to approach the record almost like folk music — songs that resonated with this area. I wanted it to sound kind of earthy; ancient.” (SevenStreets, 2013)

Matt Barnes designed his own artwork to complement the album’s chilling ambience. The LP was released with a limited-edition 20-page booklet printed on a risograph. His landscape sleeve designs are a throwback to Echo and The Bunnymen’s ethereal offerings; it’s a theme that has been a consistent influence on sleeve design on Liverpool’s acts.

The folk influence has also attracted Stealing Sheep. Their album design on Into the Diamond Sun is a kaleidoscope 5 effect that reflects the haziness of their surreal Pop approach, 3. Stealing Sheep’s debut LP Into The Diamond Haze. 4. Sankofa’s debut self-titled EP. using an extremely sweet-looking typeface for their name creates a feeling of fun and mystery - a very inviting band to listen to due to their strange and distorted album packaging as a whole. “We were asked about the ‘psychedelic renaissance’ happening at the moment and I’m not so sure how valid that claim is. Many of the bands have been around for a while. But there are a lot of positives to come from it though; such as some good psych festivals popping up.” (M-Magazine, 2013)

Jason’s response explains a steady stream of Psych bands coming out of Liverpool without a ‘surge’ of a short-lived scene or movement that’s occurred, but the establishment of the International Festival of Psychedelia in Liverpool is only going to further strengthen the Psychedelia scene here in Liverpool.

Bernie Connor, a musical legend here in Liverpool with his unrivalled enthusiasm and love for music and all things Psychedelia, explains why Liverpool’s International Psychede- lia Festival is perfect for the city: 6 “Psychedelia is part of Liverpool’s heritage, part of its DNA. It’s one of Liverpool’s gifts to the world. They even Launched in 2012, Liverpool International Festival of Psyche- put an exhibition of psychedelia on here at Tate Liverpool delia is a two-day celebration of psychedelic sub-culture from in 2005. The Liverpool International Festival of Psyche- around the world, playing host to 2,000 people each day, delia is a revelation; it’s the sort of thing you have in with the event taking place in a connected industrial furnace, London or San Francisco. It was heaving last year and us deep within the city’s Baltic triangle. Influenced by Austin’s older types were saying how it had the air of a very old original Psych Festival in Texas, Liverpool hopes to replicate happening from many years ago, like this generation’s the same atmosphere and start a tradition in the UK: version of the 14-Hour Technicolor Dream. Now even people on the other side of the world can see Liverpool “Austin Psych Fest has shown how a well-thought-out bill for what it is: the great psychedelic capital of Europe.” of purely ‘psych’ bands can work on a massive scale, (The Guardian, 2013) and that has been a big reference point for us. Psyche- 7 8 9 delic music is a massive genre. So much stuff comes Sam Weihl is the graphic designer behind the promotional underneath that banner, and a lot of people aren’t aware posters for both the Liverpool International Festival of Psyche- of the breadth of it.” (Chris Torpey, JMU Journalism delia and the ‘Psych night’ hosted by the same organisers 2012) on individual dates (fig 9) From the evolution of the standard Psychedelia design aesthetic from the 1960s with the bub- Holding the title of International Festival of Psyche isn’t an blegum typography and the bright colours, it’s interesting to easy honour to achieve, yet Liverpool is rightly considered to see Liverpool’s own vision of where Psych is now, or how it be one of the hot spots of Psychedelic music and sub-culture has evolved into more than one-dimensional stereotype usu- throughout the world. The city has never been short of Psy- ally portrayed. chedelic influence, with a so-called renaissance happening in the rest of the Psych scene internationally. Jason from Mugstar explains: OUTRO Eric’s scene in the city combined with Probe Record’s extensive music collection was a basis in evolving the city’s stagnating music scene away from the post-Beatles saturation, “[On The Coral’s debut album] It wasn’t that they were bringing an exciting new flux of musicians into the spotlight, the most extraordinary band Liverpool has produced for embracing a new, progressive psychedelic sound unique years, it was that they were every band Liverpool had to Britain’s music scene at the time when Punk took off. It’s produced. The eponymous album was like a Liverpudlian perhaps here lies the fundamental element of why Liverpool greatest hits wherein you got bits of The Beatles, the has always had a love for everything psych - in a time where Teardrops, Echo and the Bunnymen, the Stairs, Dr Phibes, Liverpool’s music scene was non-existent in the early-1970s, Shack, The Living Brain...even Mr Ray’s Wig World. They iconic bands such as Echo and The Bunnymen, The Teardrop also have a healthy dose of bands much loved by Scous- Explodes, and the ‘Punkadelic’ Eric’s scene bands created ers, such as Pink Floyd and Captain Beefheart. Most of new, exciting and beautifully orchestrated music; a true all they were riding the current love of ‘shanty music’ in ethereal experience - influenced by the past Acid Rock style Liverpool” (Inform, 2003) but merging it with the cold, driven sound of post-punk. The sleeve designs echoed this new sound, from the iconic Ocean Whereas the Liverpudlian sound has been firmly local and Rain sleeve to the obscure DIY-look of Modern Eon’s sleeve. grounded culturally, from historical sounds that have emerged Liverpool has a very strong community because it’s always from the city to influential landmarks and cultural aspects, its had a very different cultural identity compared to its neigh- continuing association with Psychedelia is something that has bouring cities. It’s this closeness that has helped maintain the been grounded in the city’s DNA and cultural signature. In my psychedelia influence. Sleeve design within the Psych scene dissertation I have provided detailed research into the pro- has also evolved; from the colourful Scallydelics design to gression of Liverpool’s Psychedelia sound and influence, and the modern psych scene, which includes a hugely diverse set how this has evolved throughout the decades into its current of psych-designs, researching the progression of Liverpool’s incarnation; the Liverpool International Festival of Psychedelia inner psych scene and its effect on how it’s depicted through will undoubtedly evolve and influence future acts within the design has been a joyful and colourful history of Liverpool’s local scene even further, but it is also key to recognise Liver- music scene. pool’s continuing love affair with the sound.

“Psychedelia has always been a massive influence, I’ve The local scene continues to remain strong thanks to the close loved it all my life, even before I knew it ever had a relationship between Liverpool’s musicians: name... and then hearing “Strawberry Fields” on a tinny transistor in a field when I was 14 was what got me “I think Liverpool has kept a lot of its musical innocence… into The Beatles, and they, and The Bunnymen/Teardrop the sound that often comes out is what has sort of been Explodes scene, were one of the reasons I chose to study passed on or influenced by another Liverpool band.” in LIverpool, and Liverpool was a massive influence on Ian Skelly, The Coral’s drummer & main sleeve designer me as well, with its combination of incredible light, junk (Leftlion, 2007) shops and book shops, and brilliant people and music.” (Wood, S. 2013) It’s Liverpool’s feeling of isolation from the rest of England that keeps the feeling of loyalty and closeness to its roots that helps Liverpool’s love of all things psychedelia is very clear, and evolve the city’s psych scene throughout the decades. continues to influence the city and its culture through music They’ve built a unique legacy of bands and musicians that and design. With the establishment of the Liverpool Inter- have come from the area with distinguishable elements in their national Festival of Psychedelia, the psychedelia influence music. looks set to continue for the long term. With the diversity that psych currently offers its musicians and designers, Liverpool’s While San Francisco and London’s scenes faded away, Liver- psychedelia story looks set to continue and prosper. pool’s has remained consistent. Craig Pennington, co-founder of the Liverpool Psychedelia International Festival explains the roots of the psych association:

“If you look at the past, as well as the 1960s, but also the whole roots of that post-punk culture with bands like Echo and the Bunnymen and The Teardrop Explodes, the city has always really embraced psych.” (The Big Issue In The North, 2012) References. Leftlion (2007) Image references. fig. 14: Krautrock Sampler (1995) Julian Cope [online image] The Coral Interview Available at: http://1.bp.blogspot.com/_c9YUOg3ry0g/TVN2b2HQXFI/ Adams, Chris. (2002) Turquoise Days: The Weird World of Echo & the Bunny- Available at: http://www.leftlion.co.uk/articles.cfm/title/the-coral-interview/ Introduction. AAAAAAAAA10/ulO1jJpBnGM/s1600/cope.jpg men. id/1923 [accessed at: 14th November 2013] [accessed 9th December 2013] Inform (2003) ‘The Coral’ December 3 p.8 fig.1: The Amazing Adventures of The Liverpool Scene (1969)The Amazing Ahmed, I. (2002) The Zutons: Merseyside Keeps ‘em Coming Adventures of The Liverpool Scene [online image] Available at: fig. 15: Stratosfear (1976) Tangerine Dream [online image] Liverpool Echo (2012) [accessed at: 10th November 2013] Available at: http://s.pixogs.com/image/R-2791407-1301197106.jpeg Beaumont, M. (2003) ‘Wagons Roll Up’. NME, 5 July p.21. Will Sergeant and The Liverpool International Festival Of Psychedelia - a begin- [accessed at: 15th November 2013] ner’s guide to psychedelia fig.2: Surround Yourself With Cilla (1969) Cilla Black. [online image] Available Beaumont, M. (2004) Review of the Zutons’ ‘Confusion’. NME, 11 December. Available at: http://www.peterguy.merseyblogs.co.uk/2012/09/will-sergeant. at: fig. 16: Architecture & Morality (1981) Orchasteral Manouvers in the Dark P.61 html [accessed at: 10th November 2013] [online image] [accessed at 15th October 2013] Available at: http://s.pixogs.com/image/R-150403-1245012047.jpeg The Big Issue In The North (2012) fig.3: The Dream Of Michaelangelo (2004) 23rd Turnoff [online image] [accessed at: 14th November 2013] Hazy Days M-Magazine (2013) Available at: Available at: http://www.bigissueinthenorth.com/2012/09/hazy-days/6418 Interview: Mugstar [online] [accessed at: 10th November 2013] fig. 17: Orchasteral Manouvers in the Dark (1980) [online image] [accessed 8th December 2013] Available at: http://www.m-magazine.co.uk/interviews/interview-mugstar/ Available at: http://s.pixogs.com/image/R-97891-1213875590.jpeg [accessed 9th December 2013] fig.4: First Bite of the Apple (2005) Focal Point [online image] [accessed at: 14th November 2013] Britton, A. (2011) Revolution Rock: The Albums Which Defined Two Ages Available at: http://www.discogs.com/viewimages?release=2219952 McManus, K (1994) Nashville of the North: Country Music In Liverpool [accessed at: 10th November 2013] Side 2 Brocken, M. (2010) Other Voices: Hidden Histories of Liverpool’s Popular Music Murphy, M. and Rees-ones, D. (2007) Scenes Writing Liverpool: Essays and Analysis Side 1 fig. 1: Chill Out (1990) The KLF [online image] Available at: http://www.gregwilson.co.uk/wp-content/uploads/2012/08/ Buckley. P, (2003) The Rough Guide to Rock Ocean Rain (1984) CD Booklet fig. 1: Crocodiles (1980) Echo and the Bunnymen [online image] The-KLF-Chill-Out.jpg Available at: http://s.pixogs.com/image/R-385448-1133476947.jpeg [accessed at: 20th November 2013] Cilla Black (2013) Partridge, C. (2005) The Re-enchantment of West Vol. 2 [accessed at: 10th November 2013] Surround Yourself With Cilla fig. 2: Space (1990) Jimmy Cauty (Space) [online image] Available at: http://www.cillablack.com/discography/surround-yourself-with- The Quietus (2012) fig. 2: Porcupine (1983) Echo and the Bunnymen [online image] Available at: http://upload.wikimedia.org/wikipedia/en/1/11/ cilla-1969-album/ The Unlikely Triplets: Stealing Sheep Interviewed Available at: http://s.pixogs.com/image/R-374614-1374958228-4135.jpeg Space_%28album_front%29.gif [accessed at 13th December 2013) Available at: http://thequietus.com/articles/09976-stealing-sheep-interview [accessed at: 10th November 2013] [accessed at: 20th November 2013] [accessed at 8th December 2013) Cohen, S. (2007) Decline, Renewal and the City in Popular Music Culture: fig. 3: Ocean Rain (1984) Echo and the Bunnymen [online image] fig. 3: Eternity Project One (1989) Various Artists [online image] Beyond the Beatles Reynolds, S. (2005) Rip it Up and Start Again Available at: http://s.pixogs.com/image/R-384265-1370114465-7643.jpeg Available at: http://upload.wikimedia.org/wikipedia/en/9/9f/Eternityprojec- [accessed at: 10th November 2013] tone.jpg Cope, J. (1994) Head-On: Memories of the Liverpool Punk Scene and the Story SevenStreets (2013) [accessed at: 21st November 2013] of The Teardrop Explodes 1976-82 Forest Swords: “I Nearly Gave Up Making Music”. fig. 4: Kilamanjaro (1980) Teardrop Explodes [online image] Available at: http://www.sevenstreets.com/forest-swords-dyymond-of-durham- Available at: http://s.pixogs.com/image/R-359872-1377288627-3950.jpeg fig. 4: The La’s (1990) The La’s [online image] Creative Times (2010) liverpool-interview/ [accessed at: 10th November 2013] Available at: http://s.pixogs.com/image/R-730840-1360503909-6489.jpeg OMD’s Paul Humphreys on Kraftwerk [accessed 22nd November 2013) [accessed on: 23rd November 2013] Available at: http://www.creativetimes.co.uk/articles/omd%E2%80%99s-paul- fig. 5: When I Dream (1980) Teardrop Explodes [online image] humphreys-on-kraftwerk Shindig! (2013) Available at: http://s.pixogs.com/image/R-393464-1107443688.gif fig. 5 and 7: Mary Joanna (1992) The Stairs [online image] Available at: [accessed at 29th October 2013) Shindig! at The Liverpool International Festival Of Psychedelia [accessed at: 10th November 2013] http://www.discogs.com/viewimages?release=1535697 [accessed at: 23rd Available at: http://shindig-magazine.com/blog/index.php/shindig-at-the- November 2013] DeRogatis, J. (2008) Turn on Your Mind: Four Decades of Great Psychedelic liverpool-international-festival-of-psychedelia/ fig. 6: Count To Ten And Run For Cover (1990) Teardrop Explodes [online Rock [accessed at: 8th December 2013] image] fig. 6: Love See No Colour (1992) The Farm [online image] Available at: Available at: http://s.pixogs.com/image/R-839677-1164125869.jpeg http://s.pixogs.com/image/R-1145046-1217621957.jpeg thedoublenegative (2011) Artist of the Month: Sam Wiehl [online] 18th Decem- The Skinny (2013) [accessed at: 10th November 2013] [accessed at: 23rd November 2013] ber 2013 Dan Croll: Going Somewhere Available at: http://www.thedoublenegative.co.uk/2011/12/artist-of-the- Available at: http://www.theskinny.co.uk/music/new_blood/304521-dan_ fig. 7: Birds Fly (Whisper to a Scream) (1983) The Icicle Works [online image] fig. 8: Right In The Back Of Your Mind (2006) The Stairs [online image] Avail- month-sam-wiehl/ croll_going_somewhere Available at: http://s.pixogs.com/image/R-1521786-1225814024.jpeg able at: http://s.pixogs.com/image/R-1475738-1222507419.jpeg [accessed 11th December 2013] [accessed at: 7th December 2013] [accessed at: 13th November 2013] fig 9: Women Gone and Say Goodbye (1992( The Stairs [online image] Avail- Du Noyer, P. (2007) Liverpool - Wondrous Place from the Cavern to the Capital Smith, P. (1997) Millennial Dreams: Contemporary Culture and Capital in the fig. 8: The Icicle Works (1984) The Icicle Works [online image] able at: http://s.pixogs.com/image/R-1584483-1230233413.jpeg of Culture North Available at: http://s.pixogs.com/image/R-1055589-1188575497.jpeg [accessed at: 13th November 2013] fig. 10: Giant Steps (1993) The Boo Radleys [online image] Available at: The Guardian (2013) Sam Weihl (2013) http://s.pixogs.com/image/R-380817-1105921160.jpg [accessed at: 25th Liverpool, the great psychedelia capital of Europe Available at: http://samwiehl.co.uk/ fig. 9: Love is a Beautiful Colour (1983) The Icicle Works [online image] November 2013] Available at: http://www.theguardian.com/music/2013/sep/20/liverpool-ps [accessed 11th December 2013] Available at: http://www.discogs.com/viewimages?release=230799 [accessed at 10th November 2013) [accessed at: 13th November 2013] fig. 11: Lazarus (Remixes) (1994) The Boo Radleys [online image] Available at: Wikipedia (2013) http://s.pixogs.com/image/R-1016151-1184405808.jpeg [accessed at: 25th The Guardian (2013) The King of Elfland’s Daughter (album) fig. 10: You Don’t Need Someone New (1983) The Lotus Eaters [online image] November 2013] Temples, Hookworms and the new generation of psychedelic adventurers Available at: http://en.wikipedia.org/wiki/The_King_of_Elfland%27s_Daugh- Available at: http://www.recordsale.de/cdpix/t/the_lotus_eaters-you_dont_ Available at: http://www.theguardian.com/music/2013/sep/26/temples- ter_(album) need_someone_new(1).jpg fig. 12: Find The Way Out (2005) The Boo Radleys [online image] Available at: hookworms-new-generation-psychedelia [accessed at 13th December 2013] [accessed at: 14th November 2013] http://s.pixogs.com/image/R-742208-1154122857.jpeg [accessed at: 12th [accessed 11th December 2013] December] [sic]magazine (2011) fig. 11: Space Flower (1990) The Wild Swans [online image] JMU Journalism (2012) The Boo Radleys - Giant Steps, Deluxe Edition (Review) Available at: http:// Available at: http://www.discogs.com/viewimages?release=1115034 fig. 13: Sense (1992) Lightning Seeds [online image] Available at: http:// City’s psychedelic sub-culture reborn www.sicmagazine.net/articles/625/the-boo-radleys-giant-steps-deluxe-edition [accessed at: 14th November 2013] www.discogs.com/viewimages?release=259153 [accessed at: 25th November Available at: http://jmu-journalism.org.uk/citys-psychedelic-sub-culture-reborn/ [accessed at: 14th December 2013) 2013] [accessed at 10th December 2013] fig. 12: Fiction Tales (1981) Modern Eon [online image] Electronic mail (e-mail) Available at: http://s.pixogs.com/image/R-80509-1382612883-3799.jpeg fig. 14: Jollification (1994) Lightning Seeds [online image] Available at: Leonard, L. & Strachan, R (2010) The Beat Goes on: Liverpool, Popular Music [accessed at: 14th November 2013] http://s.pixogs.com/image/R-1096162-1245272123.jpeg [accessed at: 25th and the Changing City Wood, S. (2013) Formtoemail comments, Email to Stephen Wood interviewing November 2013] him about his experience in designing for The Boo Radleys and the Liverpool fig. 13: Tago Mago (1971) Can [online image] psychedelia experience. (http://www.stephenawood.com/pages/contact.html) Available at: http://s.pixogs.com/image/R-226132-1157799005.jpeg fig. 15: Haze EP (1991) Dr Phibes And The House Of Wax Equations [online [18th December 2013] [accessed at: 14th November 2013] image] Available at: http://991.com/gallery_180x180/Dr-Phibes--The-House- Of-Hazy-EP--Bonus-7-453314-991.jpg [accessed at: 27th November 2013] fig. 16: Misdiagnosedive (1992) Dr Phibes And The House Of Wax Equa- fig. 14: Sonic Attack (2008) Mudhoney/Mugstar [online image] Available at: Bibliography Websites tions [online image] Available at: http://www.kompaktkiste.de/cd/_abc/_d/ http://www.discogs.com/viewimages?release=1543126 drpt1lp1.jpg [accessed at: accessed at: 27th November 2013] [accessed at: 9th December 2013] Books The Big Issue In The North (2012) Hazy Days fig. 17: Hypnotwister (1993) Dr Phibes And The House Of Wax Equations [on- fig. 15: Factory Floor poster (2013) Kazimier [online image] Available at: Adams, Chris. (2002) Turquoise Days: The Weird World of Echo & the Bunny- Available at: http://www.bigissueinthenorth.com/2012/09/hazy-days/6418 line image] Available at: http://s.pixogs.com/image/R-751321-1155096776. http://www.bidolito.co.uk/sites/default/files/imagecache/product_full/fac- men. [accessed 8th December 2013] jpeg [accessed at: accessed at: 27th November 2013 ] tory_floor.jpg [accessed at: 12th December 2013] Ahmed, I. (2002) The Zutons: Merseyside Keeps ‘em Coming Cilla Black (2013) fig. 18: Time Machine (Best of Shack) (2007) Shack [online image] Available fig. 16: Sound City Liverpool poster (2012) Kazimier [online image] Available Surround Yourself With Cilla at: http://www.discogs.com/viewimages?release=1430913 [accessed at: at: http://www.thekazimier.co.uk/archive/17/ Beaumont, M. (2003) ‘Wagons Roll Up’. NME, 5 July p.21. 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(2011) Revolution Rock: The Albums Which Defined Two Ages humphreys-on-kraftwerk com/image/R-2000856-1294832158.jpeg [accessed at: 28th November [accessed at 29th October 2013) 2013] fig. 1: Dagger Paths (2010) Forest Swords [online image] Available at: Brocken, M. (2010) Other Voices: Hidden Histories of Liverpool’s Popular Music http://s.pixogs.com/image/R-2568210-1290875006.jpeg Scenes thedoublenegative (2011) Artist of the Month: Sam Wiehl [online] 18th Decem- Side 3 [accessed at: 11th December 2013] ber 2013 Buckley. P, (2003) The Rough Guide to Rock Available at: http://www.thedoublenegative.co.uk/2011/12/artist-of-the- fig. 1: Attack! Attack!! Attack!!! (2004) Tramp Attack [online image] Available fig. 2: Engravings (2013) Forest Swords [online image] Available at: http://s. month-sam-wiehl/ at: http://www.discogs.com/viewimages?release=619265 [accessed at: 1st pixogs.com/image/R-4870443-1378036027-6199.jpeg Cohen, S. (2007) Decline, Renewal and the City in Popular Music Culture: [accessed 11th December 2013] December 2013] [accessed at: 11th December 2013] Beyond the Beatles The Guardian (2013) fig. 2: All Years Living (2004) The Stairs [online image] Available at: http:// fig. 3: Into The Diamond Sun (2012) Stealing Sheep [online image] Available Collin, M. (1997) Altered State: The Story of Ecstasy Culture and Acid House Temples, Hookworms and the new generation of psychedelic adventurers www.discogs.com/viewimages?release=509839 [accessed at: 1st December at: http://www.serendeepity.net/stealing-sheep-into-the-diamond-sun/[accessed Available at: http://www.theguardian.com/music/2013/sep/26/temples- 2013] at: 14th December 2013) Cope, J. (1994) Head-On: Memories of the Liverpool Punk Scene and the Story hookworms-new-generation-psychedelia of The Teardrop Explodes 1976-82 [accessed 11th December 2013] fig. 3: Who Killed The Zutons (2004) The Zutons [online image] Available at: fig. 4: Sankofa EP (2013) Sankofa [online image] Available at: http:// http://s.pixogs.com/image/R-682838-1175109675.jpeg [accessed at: 4th a1.mzstatic.com/us/r30/Music4/v4/78/bf/12/78bf1273-6776-194d-dbb9- DeCurtis, A. (1992) Present Tense: Rock & Roll and Culture The Guardian (2013) December 2013] 8dd0e5cbdda7/5055834190217.170x170-75.jpg Liverpool, the great psychedelia capital of Europe [accessed at: 14th December 2013] DeRogatis, J. (2008) Turn on Your Mind: Four Decades of Great Psychedelic Available at: http://www.theguardian.com/music/2013/sep/20/liverpool-ps fig. 4: Tired of Hanging Around (2006) The Zutons [online image] Available at: Rock [accessed at 10th November 2013) http://www.discogs.com/viewimages?release=682847 fig. 5: Sankofa gig poster (2013) [online image] Available at: http://www. [accessed at: 4th December 2013] bidolito.co.uk/sites/default/files/imagecache/full/sankofa_live_3.jpg [ac- De Ville, N. (2003) Album: Style and Image in Sleeve Design Leftlion (2007) cessed at: 14th December 2013] The Coral Interview fig. 5: The Coral (2002) The Coral [online image] Available at: http://www. Du Noyer, P. (2007) Liverpool - Wondrous Place from the Cavern to the Capital Available at: http://www.leftlion.co.uk/articles.cfm/title/the-coral-interview/ discogs.com/viewimages?release=802201 [accessed at: 1st December 2013] fig. 6: Liverpool International Festival of Psychedelia (2013) Available at: of Culture id/1923 http://www.soniccathedral.co.uk/site/wp-content/images/2013/03/Lpool- [accessed 9th December 2013] fig. 6: Nightfreak and the Son of Becker (2003) The Coral [online image[ Avail- Psych-Fest-2013-logo.jpg Grunenberg, C. and Harris, J. (2005) Summer of Love: Psychedelic Art, Social able at: http://www.discogs.com/viewimages?release=892185 [accessed on: [accessed at: 11th December 2013] Crisis and Counterculture in the 1960s Liverpool Echo (2012) 4th December 2013] Will Sergeant and The Liverpool International Festival Of Psychedelia - a begin- fig. 7: Liverpool International Festival of Psychedelia (2013) [online image] Inform (2003) ‘The Coral’ December 3 p.8 ner’s guide to psychedelia fig. 7: Butterfly House (2010) The Coral [online image] Available at: http://s. Available at: http://samwiehl.co.uk/ Available at: http://www.peterguy.merseyblogs.co.uk/2012/09/will-sergeant. pixogs.com/image/R-2351131-1278863377.jpeg [accessed at: 4th Decem- [accessed at 12th December 2013] Lane, T. (1997) Liverpool: City of the Sea html ber 2013] [accessed at 15th October 2013] fig. 8: Liverpool International Festival of Psychedelia (2013) [online image] Leonard, L. & Strachan, R (2010) The Beat Goes on: Liverpool, Popular Music fig. 8: Internal Wrangler (2000) Clinic [online image] Available at: http:// Available at: http://www.artrocker.tv/images/uploads/psych-600.jpg [ac- and the Changing City JMU Journalism (2012) www.discogs.com/viewimages?release=426084 [accessed at: 4th December cessed at: 12th December 2013] City’s psychedelic sub-culture reborn 2013] McIntyre-Brown, A. (2001) Liverpool: The First 1,000 years Available at: http://jmu-journalism.org.uk/citys-psychedelic-sub-culture-reborn/ fig. 9: Pzyk night with Dead Skeletons & Follakzoid (2013) [online image] [accessed at 10th December 2013] fig. 9: Ornette! (1961) The Ornette Coleman Quartet [online image] Available Available at: https://fbcdn-photos-e-a.akamaihd.net/hphotos-ak-ash3/580834_ McManus, K (1994) Nashville of the North: Country Music In Liverpool at: http://s.pixogs.com/image/R-4260759-1360014266-6078.jpeg [ac- 580010338718891_895545640_a.jpg [accessed at: 12th December 2013] M-Magazine (2013) cessed at: 4th December 2013] Murphy, M. and Rees-ones, D. (2007) Interview: Mugstar [online] Writing Liverpool: Essays and Analysis Available at: http://www.m-magazine.co.uk/interviews/interview-mugstar/ fig. 10: Free Reign II (2013) Clinic [online image] Available at: http://s.pixogs. [accessed 9th December 2013] com/image/R-4350671-1362514738-7422.jpeg [accessed at: 4th December Ocean Rain (1984) CD Booklet 2013] The Quietus (2012) Partridge, C. (2005) The Re-enchantment of West Vol. 2 The Unlikely Triplets: Stealing Sheep Interviewed fig. 11: Visitations (2006) Clinic [online image] Available at: http://cdn.albu- Available at: http://thequietus.com/articles/09976-stealing-sheep-interview moftheyear.org/album/visitations.jpg [accessed at: 4th January 2014) Reynolds, S. (2005) Rip it Up and Start Again [accessed at 8th December 2013) fig. 12: Centralia (2012) Mugstar [online image] Available at: http://s.pixogs. Smith, P. (1997) Millennial Dreams: Contemporary Culture and Capital in the Sam Weihl (2013) com/image/R-3973579-1374041460-8068.jpeg North Available at: http://samwiehl.co.uk/ [accessed at: 9th December 2013] [accessed 11th December 2013] Shapiro, P. (1999) The Rough Guide to Drum ‘n’ Bass fig. 13. ...Sun, Broken... (2010) Mugstar [online image] Available at: http://s. Scott Jones CV pixogs.com/image/R-2119350-1273327128.png Toynbee, J and Dueck, B. (2011) Migrating Music Available at: http://www.scottjonesstudio.com/SCOTTJONESCV.pdf [accessed at: 9th December 2013] [accessed 12th December 2013] SevenStreets (2013) Forest Swords: “I Nearly Gave Up Making Music”. Available at: http://www.sevenstreets.com/forest-swords-dyymond-of-durham- liverpool-interview/ [accessed 22nd November 2013)

Shindig! (2013) Shindig! at The Liverpool International Festival Of Psychedelia Available at: http://shindig-magazine.com/blog/index.php/shindig-at-the- liverpool-international-festival-of-psychedelia/ [accessed at: 8th December 2013]

The Skinny (2013) Dan Croll: Going Somewhere Available at: http://www.theskinny.co.uk/music/new_blood/304521-dan_ croll_going_somewhere [accessed at: 7th December 2013]

Wikipedia (2013) The King of Elfland’s Daughter (album) Available at: http://en.wikipedia.org/wiki/The_King_of_Elfland%27s_Daugh- ter_(album) [accessed at 13th December 2013]

[sic]magazine (2011) The Boo Radleys - Giant Steps, Deluxe Edition (Review) Available at: http:// www.sicmagazine.net/articles/625/the-boo-radleys-giant-steps-deluxe-edition [accessed at: 14th December 2013)

Electronic mail (e-mail)

Wood, S. (2013) Formtoemail comments, Email to Stephen Wood interviewing him about his experience in designing for The Boo Radleys and the Liverpool psychedelia experience. (http://www.stephenawood.com/pages/contact.html) [18th December 2013]