Among the many bands to have albums released by EMI in 1968 none may have had a stranger back story than Rainbow Ffolly, whose “Sallie Fforth” hit record shops the first week of May. EMI, home to The Beatles, among others, was one of the most respected labels of the day, with “The Beatles” better known as the “White Album” being perhaps the best known LP issued on the label that year. January, 2019, more than fifty years after its original release sees “Sallies Fforth” reissued on Cherry Red’s Grapefruit Records imprint as part of its three disc box set “Spectromorphic Iridescence” containing the complete works of Rainbow Fflolly.

Farnham Common-small village west of London by about 25 miles.

Ukulele when I was 9. By 10 on a small stage playing ‘Never Felt More Like Singing The Blues.’ I loved early Rock n Roll but my parents loved classical.

1963 with Stewart Osborn, Brother Richard and Alan Thomas-later replaced with Richard Newell on bass.

Local village halls playing Eddie Cochran and Gene Vincent stuff until we discovered we could sing harmony. Then Byrds and Beach Boys.

We demoed in Stewart’s mum’s house on his Ferrograph Tape with early songs to test the gear out. When we got a manager, we recorded ‘Sun Sing’ at Jackson Studios. They were more pleased than we were, but we were so green.

All originals the bulk of which were written in a couple of weeks-at the studio’s suggestion to find out what styles we could write in.

The Jackson’s came up with that one, but we were not so keen on the American jingles, preferring our own. Not really our bag.

Sure, we came up with the Upside, The Smaller Neater Smarter Sweeter Sugar Coated Spoon, The Muffin Affair-all of which I have the artworks on the logos designed by my wife Jane. I wanted Rainbow (everything was Rainbow related then) and Ffolly referring to the whimsical side of our group. Double FF is fortissimo and also sounded quirky and looked interesting from a graphic point of view.

We were surprised when the Jacksons did a deal with EMI as it was really a demo of disparate songs. EMI did not help with further overdubs-it was out before we realized what we were doing.

Jacksons selected the order-but though we were drawn into the fun we were not happy with the result-too bitty and not really reflecting the more gritty aspects of our stage performances.

Jane and I designed the cover with the deliberate codes to make it more interesting to look at while listening, i.e. Richard 31 March,-Black Hair, Brown Eyes, Guitar. Conventional credits were a bit dull and obvious. We already had reporters asking us what Biscuits we like-well I ask you?

Roger and Richard were the drivers. The ambulance was lined so it did not get too cold in the winter. I wanted the band to be a bit of a wind-up hence the key on top which Roger and his dad made.

Jane designed our wardrobe. Colour coded and stagey, we had capes and ponchos which surprisingly are comfortable to play in. Richard in yellow with bedroom slippers, Roger in fiery red stripes, Stewart in green and me in silver with feather boas and painted shoes. We decorated the stage with fluorescent stars and backdrops to give the impression of a magic garden. Guitars were painted as well like my Fender Strat from 1961-I still have it of course.

We did get some airplay but there was not a lot of single material and EMI did not give us much guidance or support.

Generally not too bad reviews but just look at the competition we had from both sides of the Atlantic! We were perhaps not surprisingly a bit misunderstood.

‘I’m Drivin’ My Car’ was the original title but somehow it was changed, though not by me. No one could compete with The Beatles brilliant track of that name. The single didn’t get much airplay.

The only bands who did covers of other works (unless really Special) were on cheap budget labels like Embassy, Woolworth and Pickwick. Why copy?

We did dance halls all over the country and night clubs in London. We played our odd versions of Cream, Hendrix and The Who and some of our own tunes that transferred to stage. We used liquid wheels and flashing strobes and fluorescent lighting. We had Energy in bucket-loads and had a colourful act.

We recorded for Saturday Club on BBC Radio 1…

We had more and we thought better songs ready to go but by then our finances forced us to call it a day.

Richard went off to the states with Terry, his American wife (he became a gold miner in Arizona and she became a Mermaid and Taught Piglets to Swim!-(it’s true) and Roger formed a band BAD WAX with Stewart, Roger Bates and Ashley Holt, singer with Rick Wakeman.

Most annoying to see our former album changing hands for over 1,000 pounds sterling which made us feel like some ancient curio in an old antique shop. To use a good Anglo-Saxon expletive, “I thought Bollocks to this! We are still alive and can still sing, write, play, create, entertain, screw and poo!” So we reformed to utilize our own digital recording studio, which is NOT the sole domain of the young. Some songs were from the ‘Sallies Forth’ time plus some from a couple of years ago.

We are realists and knew that to print 20,000 albums was way out of our reach and we thought the individually numbered 500 was reasonably sellable. Now I hear that the album is already changing hands for more than the sale price! No our other commitments preclude us from playing live shows now but we can if it can be made worthwhile!

We really are close-same humour and same critical attitude, we are like brothers. The joy of being able to record reasonably well has made us more creative than eve. We already have enough for a third album, and I am writing ‘Hums of Dunsterville’ a more acoustic and personal album of tracks.

The endless fun of life on the road in our wonderful Island and the sound of cheers and applause is good for the ego! Kids finding our feet, but when we got playing live-that’s magic and that is what really should drive the music industry!

We are pretty pleased with the box set-but it really is warts and all. From the shabby to small flashes of brilliance with a good song. We all agree with the sentiment of ‘Tour de Fforce’ from ‘Ffollow Up!’

I am writing music from Guitar Classical to out and out Pop, I am also President of our local Rotary Club so we help youngsters gain a foothold on this planet. I do a lot of artwork and cartoons (Jane and I did the new Cover too). My nickname is Dusty-I run Dusty’s Blues Club and have for 20 years. Check out www.dustys.biz and click the video page and see DTTW (Down To The Wire)-a collection of brilliant session musos front by me-again warts and all! I put on bands and musicians from all over the world. Kilborn Alley Blues Band, Creedence Clear Water’s wonderful Bob Malone Band. Acts from Australia, France, Holland etc. as well as blues men from our neck of the woods.

Yes the floor is mine but I sometimes feel that someone has knicked the walls and roof! Seriously though-I would like to add that though there is so much and varied avenues of communication why is the industry so stifled? It seems that anybody can sit in a bedroom and bleat on about their feelings-don’t get me wrong-it’s a start, but unless musicians really reach out then the danger of becoming a band of bed-wetters is a likely outcome. Jane’s (my wife’s) mum was a concert pianist and had played The Royal Albert Hall etc. and she very quickly spotted the talent I had but the major flaws as well. Her advice-listen to every style of music worldwide-find out what gets others’ pulse racing-dive in-and swim out the rest of your life-you’ll be so glad you did.