Pussy - Pussy Play Plus Plus

Pussy (also called The Pussy Group) is a studio project put together by two ex-members of the London band Fortes Mentum - keyboardist Danny Beckerman and guitarist Barry Clark.

While still a member of Fortes Mentum, Beckerman and Clark began working on new psychedelic material, which did not really fit into the baroque-rock sound of the group. In October 1968, Danny and Barry recorded two demos with Fortes Mentum, “Come Back June” and “We Built The Sun”, and gave them to the band's producer, Monty Babson, to listen to. Monty, together with Barry Morgan, the owner of Morgan Studios (where Fortes Mentum was written), just recently established a new label, Morgan Blue Town Records. By that time, Morgan already had his own label, Morgan Records (which published all kinds of mainstream music), and this was supposed to become his progressive branch. Those were psychedelic times, and Morgan himself had long shown an interest in “non-format music”! Therefore, Babson and Morgan give the green light to the undertakings of Beckerman and Clark, immediately concluding a contract with them to release the record. This was to be one of the first releases on Morgan Blue Town. Moreover, Fortes Mentum themselves at that moment were on the verge of collapse (I have a separate article about the history of this band) and were bound by a contract with another label - Parlophone Records.

Barry Clark involves his school friend (with an interesting surname - practically a “white man”), Peter Whiteman, in the project, who was offered the role of keyboard player in the future group. The remaining participants were found through an advertisement in the Melody Maker newspaper. They were former members of the Hartford band We Shake Milk, and now unemployed musicians: vocalist Dek Boyce, bassist Jez Turner and drummer Steve Townsend.

Danny Beckerman served as producer, arranger and composer. Barry Clark performed all the guitar parts and also contributed to the treasure by writing several songs for the album.

All the compositions had already been composed by Beckerman and Clark in advance (except for “The Open Ground,” the lyrics of which were written by the drummer, and “G.E.A.B.”, which is, in fact, the band’s instrumental jam), so the musicians only had to record the finished material in Morgan Studios.

So it was recorded at the end of '68, and in March 1969 it was released on the Morgan Blue Town label (B.T. 5002), under the name "Pussy Plays".

  “Pussy Games” - at first you might think that this is some kind of ephemeralism of a sexual nature, but it seems that it is not - the cover actually depicts a very menacing-looking cat, with tousled fiery red fur and hefty bloody claws. This impressive picture was drawn by Brian Nicholls, probably inspired by the works of English artist Louis Wain.

he album begins with a piercing cat meow and the cool “Come Back June” (the only thing where Beckerman took part as a musician, playing the keyboard part), followed by the no less rhythmic “All Of My Life”. Following this is the meditative “We Built The Sun” (my favorite track on the album), followed by the instrumental “Comets” - the most avant-garde moment on the album, involuntarily evoking associations (though mainly due to the title) with the band’s “Interstellar Overdrive” Pink Floyd. It opens with the “mooing of space cows” (or simply cows), and continues with a furious guitar line and theremin howls, imitating the sound of comets rushing past.

The instrumental line continues in “Tragedy In F Minor”, clearly inspired by Spanish motifs. “The Open Ground,” where the vocalist alternates between singing and simply reading the lyrics, is an unexpected attempt to touch on the topic of environmental protection. However, in the disturbing “Everybody’s Song”, the band returns to psychedelic-abstract lyrics, and it all ends with another instrumental “G.E.A.B.” (whose strange name comes, apparently, from the chords played there). And finally – of course, the cat’s meow! Pussy has played enough.

It must be said that the album was released in a small edition, so its sales were not great (and could not have been otherwise). The team is completely new and unknown to anyone! So they didn't have fans who could buy up their records. But the album is an excellent example of psychedelia (and even a little space rock), albeit not quite timely, but recognized by connoisseurs of the genre.

Pussy's concert activities began only some time after the release of the record. It was complicated, however, by the fact that live, the musicians could not reproduce many purely studio sound effects (like the electronic oscillators used by Beckerman on the recording). And Bekkerman himself quickly lost interest in the project. He was too busy with studio and writing activities (Danny would write a number of songs for Barnaby Rudge, Angel Pavement, The Nicols and the French singer Katie, which would be released as singles) to continue working with Pussy (and the main author of the group's music, as you remember, he was). However, the remaining members decide to try to perform a program consisting of several songs from “Pussy Plays” and covers of all the old rhythm and blues and rock classics.

The musicians gave a couple of concerts in the summer of 1969. This is followed by a short break (caused by the departure of the guitarist), and another concert in February of the same year, together with other psychedelists - Tintern Abbey. By that time, Barry Clark had left and was replaced by another guitarist, Gary Peters. But even the infusion of “fresh blood” did not help the team, which was now deprived of hopes for the appearance of at least some new material. So, it is not surprising that they soon decide to “close up shop” and do something else.

Pussy - Pussy Play (1969)

Pussy:

*Barry Clark (Guitars)

*Dek Boyce (Vocals)

*Steve Townsend (Drums, narratives),

*Jez Turner (Bass)

*Peter Whiteman (Miscellaneous Keyboards)

-------------------

 01. Pussy - Come Back June 

 02. Pussy - All Of My Life 

 03. Pussy - We Built The Sun 

 04. Pussy - Comets 

 05. Pussy - Tragedy In F Minor 

 06. Pussy - The Open Ground 

 07. Pussy - Everybody's Song 

 08. Pussy - G.E.A.B. 

Plus:

 9. Fortes Mentum - Saga Of A Wrinkled Man 

 10. Fortes Mentum - Mr. Partridge Passed Away Today 

 11. Fortes Mentum - I Can't Go On Loving You 

 12. Fortes Mentum - Humdiggle We Love You 

 13. Fortes Mentum - Gotta Go 

 14. Fortes Mentum - Marrakesh 

Fortes Mentum 

Danny Beckerman was a staff writer at Morgan Music in 1966 and wanted to get a band together to record his own material.

He decided on talented London musicians Frank Bennett (3) on vocals, Ron Regan (2) on bass, Keith Giles (2) (ex Him & The Others) on drums, Alan Ward (4) on organ and Barry Clark on lead guitar.

Originally Danny didn't want to be part of the band but as they all got on well together the other guys persuaded him to join them

They released three singles as Fortes Mentum.

Despite a good following, the band never made any money although they performed all over London and the UK.

In March 1969 they were offered a unique opportunity to work in Germany. Unfortunately Alan and Barry had very good 'day jobs' and they didn't want to give them up.

They were replaced by Rod Creasy on keyboards and Paul Coles on lead guitar.

This line up worked the famous Top 10 Club in Hamburg and the K52 Club in Frankfurt. It was at the Starlight Ballroom later on that Frank and Danny had a falling out. Danny decided to pursue his career in songwriting and so left the band. Bob Flag (ex-Riot Squad) joined on saxophone and flute.

After further lineup changes, Fortes Mentum disbanded around a year later due to lack of gigs.

Fortes Mentum Mark l Musicians

Ron Regan (2) - Bass Player

Frank Bennett (3) - Vocals

Barry Clark - Lead Guitar

Alan Ward (4) - Organist

Keith Giles (2) - Drums /Vocals

Danny Beckerman (Deceased 2006) - Piano/Song Writer

Fortes Mentum Mark ll Musicians

Ron Regan (2) - Bass Player

Frank Bennett (3) - Vocals

Keith Giles (2) - Drums /Vocals

Rod Creasy (Deceased 2005) - Organ

Bob Flag - (ex Riot Squad) - Sax/Flute/Song Writer

Stuart Wicks - Organ

Tony McGill - Lead Guitar

Paul Coles - Lead Guitar (Germany only)

***

Plus:

Songs of Danny Beckerman

His name appears associated to several psyco-pop bands in the late 60s and early 70s.  Writing many interesting songs, producing, arranging... but it has never been clear who Danny Beckerman really was, and nobody has ever cared to trace his work.  In spite of leaving a surpising trail of dramatic songs, usually of a classical inspiration, occasionally dressed with some psychedelic touches, and with some choruses which were pointing to hit parades that always remained too distant.

He first appeared as part of the musicians staff at Morgan Sound studios in Willesden, north west London, with Geoff Gill from The Smoke, and Wilson Malone from The Orange Bicycle, among others.  These studios were part of an organization set by Monty Babson, a producer and singer, and by Barry Morgan, a professional drummer (later in Blue Mink).  The company owned said recording studios, a publishing and production department called Morgan Music, and a couple of record labels: Morgan for average and more conventional music, and Morgan Blue Town for more creative material.  The Stones, Led Zeppelin, Paul McCartney, Pink Floyd, David Bowie, Free,  Jethro Tull, Fairport Convention, The Four Seasons and many others recorded at Morgan Sound studios, which were quite trendy at the time.

On that environment, a good deal of musical projects of assorted colours and intentions was cooked by the Morgan Sound team, studio inventions most of them.  From psychedelic experiments to purelly comnmercial material, including anonimous instrumentals for film filling or library music.

Danny Beckerman was a man who seemed to achieve a strange and affectionate mixture of pop sensibility and a bittersweet classical inspiration in most of his work.  Probably a bit like Michael Brown, from The Left Banke, but quite more european and decadent, in the good sense of the word.  It seems he had some Mozart and Beethoven busts upon his piano at Morgan studios.   It isn't sure whether he belonged in fact to any band, in spite of him writing all of the songs by Fortes Mentum, a real gigging group.  Neither he was part of the mythical band Pussy, in spite of writing most of the songs on their only and legendary LP.  

There's a bit of everything on the small collection of songs we've gathered here:  Classical-psych pop of a high size like "Saga Of A Wrinkled Man" or "Mr. Partridge Passed Away Today", exotical eastern touches in "Marrakesh", the awesome "Joe, Organ & Co" from Barnaby Rudge (a studio only project of Danny Beckerman and Wilson Malone, with the intense voice of Malone), the wide mind excursions of Pussy, or the open attempts at a hit with songs stuffed with captivating choruses like both by Angel Pavement, a band from York.  We also have "Jack Is Back", the great parody at The Smoke almost success "My Friend Jack", or "Bonjour Monsieur", a sample of sensitive and anonimous library music in the Colour Me Instrumental LP.  Apparently quite different material, but with an undeniable sense of melody and with songs as tall as a tree. A big one, that is.

Danny Beckerman later worked with such different people as Rick Wakeman, Adam & The Ants o Alex Harvey.  He insisted with projects like The Intergalactic Touring Band (again with Wilson Malone) in 1977.  And it seems that, after many years chasing a success which didn't have his name, our man migrated to Australia, placing the occasional song or production and arrangement here and there, and working on the handy job of writing music for films and TV series (Terminator 3, Pirate Islands, Wicked Science...)   Viva Danny.

(Sebastian Paredes / Ventana Circular - http://lluevencolores.blogspot.com/)

Saga of a wrinkled man (Songs of Danny Beckerman)

 1. Fortes Mentum - Saga Of A Wrinkled Man 

 2. Fortes Mentum - Mr. Partridge Passed Away Today 

 3. Fortes Mentum - I Can't Go On Loving You 

 4. Fortes Mentum - Humdiggle We Love You 

 5. Barnaby Rudge - Joe Organ & Co. 

 6. Barnaby Rudge - Railway Jim 

 7. Barnaby Rudge - In The Sunset 

 8. Fortes Mentum - Gotta Go 

 9. Fortes Mentum - Marrakesh 

 10. Magic Worms - Green Mello Hill 

 11. Colour Me Instrumental - Bonjour Monsieur 

 12. Pussy - Come Back June 

 13. Pussy - All Of My Life 

 14. Angel Pavement - Baby You've Gotta Stay 

 15. Angel Pavement - Tell Me What I've Got To Do 

 16. Fickle Pickle - Sam And Sadie 

 17. Tin Biscuit - The Last Time You Go 

 18. House - The Man Who Understands 

 19. Fickle Pickle - California Calling 

 20. Smoke - Jack Is Back 

***

PS/

"One of the most valuable vinyl artefacts of the UK’s psychedelic era. the Pussy album "Pussy Rays" nevertheless has remained something of a mystery even amongst hardcore collectors: despite counterfeit releases on both CD and vinyl formats over the last decade or so, the group's origins and personnel have continued to elude the best sleuthing efforts of fans and researchers alike.

So let's hear it for Edsel, who have undertaken the first-ever official reissue of the album, and the band's drummer Steve Townsend. who has kindly provided the full, previously unknown story behind the album's obscure genesis. The story of "Pussy Plays" really begins in the mid-1960s in Hertfordshire, where Townsend, singer Dek Boyce and bassist Jez Turner were all involved in the local music scene. "We played together in local bands who were well quite well known in the area", recalls Steve. "Initially we were called the Creepers, but when the psychedelic era came along, we used to come up with some silly names - for a while we were known as We Shake Milk I after the old milk posters! We cut a few demos, but nothing serious really, and certainly nothing that was commercially available".

During the middle of the decade, the Creepers had played the Hertfordshire beat/R&B circuit, supporting the likes of the Graham Bond Organisation as well as the Who just before the release of "My Generation". But while the beat boom had thrown up all kinds of regional strongholds, the arrival of the psychedelic era coincided with the country's capital city firmly re-establishing itself as the epicentre of the British music industry. Like most provincial acts of the era, Townsend and his colleagues slowly tired of being big fish in a small, increasingly stagnant pool.

The drummer duly placed an advertisement in the musicians' bible, Melody Maker, which was answered by a couple of London musicians guitarist Barry Clark and keyboardist Peter Whiteman. Clark turned out to be that most intriguing of animals: a fellow musician with contacts. He was particularly friendly with Danny Beckerman, an in-house writer/producer/ arranger/ musician at the Morgan Sound Recording Studios in Willesden. London.

The proverbial studio whizzkid, Beckerman had already released material under such names as Fortes Mentum and Barnaby Rudge. "Morgan already had their own label, and were in the process of setting up a progressive offshoot called Morgan Blue Town", explains Townsend. "Barry Clark and Danny Beckerman had agreed a deal to cut an album for Morgan Blue Town, but they were looking for a band to record it". With Clark, Whiteman and Townsend all on board, the I If drummer recruited two of his old colleagues in We Shake Milk, and the new band duty expanded to a five-piece with the addition of Dek Boyce and Jez Turner.

With additional vocals and I instrumentation supplied by - producer Beckerman, recording began for the album that was to become Pussy Plays. Eight songs were recorded, with Ihe Clark/Townsend composition  "The Open Ground" being the only non-Beckerman selection. Though one or two were purely instrumental workouts, there were no throwaways: tracks like Tragedy In F Minor" (inspired by the recently-issued Electric Prunes album Mass In F Minor, perhaps?) were assured I ill examples of the distinctive, quasi-classical piano approach that shaped so much of Beckerman's work, while "Comets" was a deliciously squally theremin and moog duel, presumably intended as some kind of Joe Meek style space adventure updated for the psychedelic era.

Other songs, however, seemed to suggest that the band were pulling in a slightly different direction, and "We Built The Sun" and "The Open Ground" in particular hinted at the otherworldly lysergic wispiness of early Pink Floyd, with the faux naif, wide-eyed vocals uncannily pitched somewhere between Syd Barrett and Dave Gilmour. So was the album an accurate representation of the band's musical style, or purely a studio project on which they were no more than hired hands? "Half and half, really", muses Steve Townsend. "Even though we more or less came together in order to make the album, we still had considerable input. For example, I wrote and recited the lyrics to The Open Ground", which was a real product of the era I wanted it to have that Tolkienesque, Lord of the Rings-type feel. But Danny Beckerman was really an old-fashioned pop songwriter, so we attempted to give his material a slightly tougher, more contemporary approach."

"We were also responsible for the album's overall concept – the band name, the album title, even the original artwork. Dek Boyce's brother-in-law was Gordon Beningfield, one of the country's leading wildlife artists - he was also commissioned to design a series of stamps for the Royal Mail. We asked him to help us out, and he came up with a cartoon cat design, which we sent to Morgan's publicity department as the proposed front cover. But for some reason they decided to go with their own version, which woo absolutely nothing like his original design!

The irony is that, if they'd used the original design, it would have become collectable amongst Beningfield's followers purely as an example of his work." By the summer of 1969 sessions were complete. Released as the second Morgan Blue Town album (the first had been by the Academy, a pop/folk outfit led by future soap actress Polly Perkins), the appearance of Pussy Plays was marked by a press launch at the Two Decks Club in Rupert Street, Soho. Sadfy this failed to have any noticeable effect on sales - like most of the smaller labels of the time.

Morgan found that issuing quality product counted for nothing without the sales support and distribution network that was necessary to break the album. The UK issue duly sank without trace as did an Italian release on the even more obscure Saint Martin label. The same Italian label also released a single from the album that coupled two of the strongest tracks. "All Of My Life" and "Come Back June", and boasted a picture sleeve (sadly this was merely the same design as the album's front cover).

It would appear that this coupling was only issued in Italy: no other Pussy singles are known to have been pressed in any other territory (and in case you were wondering, a 1972 Pussy 45 on the Deram label is the work of another band). Undeterred, Pussy kept going for a while, recording a handful of further tracks ("roughly half-a-dozen", reckons Steve Townsend) at Morgan Studios that sadly failed lit to gain a release. The group also played in and around the London/Home Counties area, as Townsend relates. "We got the live band together at the same time as the album, and we were doing gigs like the Scotch of St James (on 8 Jury 1969, trivia buffs) and one or two colleges as we were recording.

We didn't play all the numbers from the album, just the more straight-ahead ones. We were all pretty much into that sort of early Pink Floyd type sound, but we were probably rockier when we played live. We also played some old standards – Cannonball Adderley, Mose Allison, some of the blues stuff that was going round as well, and based the act around that." In addition to the Scotch of St James date, psych buffs may be interested to team of a gig at the Rhodes Centre in Bishop's Stortford on 3 February 1969, when Pussy shared the bill with another cult UK psych outfit, Tintern Abbey.

Now if only we had a video of that one... Barry Clark left and was briefly replaced by Gary Peters, before the band slowly disintegrated. "I can't remember exactly why the band drifted apart", admits Townsend, "but it basically split into two halves again – the original Hertfordshire trio and the two Londoners". While Danny Beckerman continued to mastermind a series of pseudonymous releases from the Morgan console room, Steve Townsend, Dek Boyce and Jez Turner returned to the relative tranquillity of Hertfordshire as the heart of a band called Twilly, leaving copies of Pussy Plays to fester in the bargain bins for the next decade or so until the album's eventual rediscovery during the Great Prog/Psych Stampede of the mid-1980s.

So it goes. Still, as you can now hear for yourselves, for once this is an album whose musical strengths come close to justifying the £300-odd price tag currently demanded for original copies."

By David Wells, with thanks to Steve Townsend.