RUSH UK Beat Mod PSYCH Decca DEMO Tinkerbells Fairydust

	£		21
	$		28

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Description

ARTIST

THE RUSH

TRACK LISTING -  1/A

MAKE MINE MUSIC

TRACK LISTING -  2/B    

ENJOY IT

FORMAT

7" SINGLE

RECORD LABEL

DECCA

LABEL VARIANT -  1/A

ROYAL BLUE AND WITH SILVER LETTERING

LABEL VARIANT -  2/B

ROYAL BLUE AND WITH SILVER LETTERING

CATALOGUE NUMBER

F 12635

MONO/STEREO

MONO

COUNTRY

UNITED KINGDOM

YEAR

1967

MATRIX NO. -  1/A

MATRIX NO. -  2/B

DR-40715-T1-1C

ADDITIONAL INFO.

 Another rare offering from Collectable Vinyl Records ~ Highly collectable records from the highly trusted Barraclough Brothers 

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√ STUNNING CONDITION : NEAR MINT ALL ROUND

HOLY GRAIL 
DJ COPY !
It would be easy for the superlative "Holy Grail" to be misconstrued as hype, so please let us explain why we believe it to be justified :

* In the past, whenever we have sent out the database of the collection to our regular collectors, this Demo has always been among those which we received substantial offers for (so we held out for [unfortunately] the only place you can really reach market value for sought after record :eBay). 

* This single was among the two Decca releases that failed to chart due to poor sales, so even the stock copies are difficult to find. (just check Record Collector article below on 3rd page, where it there are current "stock copy" prices for The Rush + Tinkerbells Fairytale singles: Make Mine Music is now valued at £20, when only in the Record Collector 2010 it was valued at £5, more striking evidence of the expediential rise in demand for this record )

* No The Rush Demos (who became arguably the most collectable Psych band of the 60s, Tinkerbell's Fairydust) are not present in any resource sites, such as “Popsike”, which suggests that this is one of the 1st opportunities in many years to acquire this Monster rare DJ Copy. 
* This track embodies the sound of 1967. A delicious mix of cross over Pop Psych & West Coast harmonies.
We think that this really is a special record, we hope you agree. Good luck, cheers, Sam & Joe (Collectable Vinyl Records)

More PSYCH / FREAKBEAT / MOD / SKA / POP CLASSICS /

NORTHERN SOUL & MOTOWN MONSTERS

to come over the next few months, so be sure to :

---------- Check out our other items ---------

R.R.C GRADINGS

SLEEVE

This extremely rare demonstration single comes with brand new cardboard inner sleeve.

LABEL(s)

A Side

NEAR MINT

B Side

NEAR MINT

As you can see by the photos both sides of this rare Decca records label are still in brilliant condition.

VINYL APPEARANCE

A Side

NEAR MINT

B Side

NEAR MINT

There is very little evidence to suggest this single has been played at all.   Both the vinyl quality and appearance are in absolutely first class condition.   There are no surface marks, scratches or abrasions of any kind.  Check out the photos to see its impressive "unplayed condition" - there is a close up of a thread, which remains from the manufacture process, which is typical of a truly untouched record!

AUDIO QUALITY

Listen to the faultless quality of MAKE MINE MUSIC

in full below:

A Side

NEAR MINT
 
B Side

NEAR MINT

This single has been played on very few occasions.    The audio reflects the first class vinyl quality and appearance.    The Rush sound absolutely superb throughout this extremely rare demonstration sample. 

PLEASE SEE PHOTOS AT THE BOTTOM OF THE LISTING

The info below is from the October 2009 Record Collector.  Have a read of the fascinating history of "The Rush" / (Tinkerbells Fairydust)

More Tinkerbell’s Fairydust

There is no doubt about how the internet it can bring people today and in this case the link was ELOSecretMessages, RadioELO and The ELONetwork. 
Jim Hoban in a remarkable gesture sent for Steve Maher this note about Tinkerbell’s Fairydust appeared in a recent edition of the music magazine Record Collector. Of course Steve is very grateful.
.
.

Away with The Fairies:
The record collecting world is a funny thing. It acts like a counter-weight to the received wisdom of pop history. For vinyl junkies, chart toppers are irrelevant, Classic songs are boring. Famous artists may - or may not - command respect, based more on the value of a Portuguese EP than their standing in rock's firmament.
So this is a netherworld in which a hugely successful act like, say, The Tremeloes, are dismissed out-of-hand, and an unknown entity like Tinkerbell's Fairydust (who, simply put, were The Tremeloes without the hits) become the stuff of myth and mythologising. That this is purely because the release of their sole, self-titled album was cancelled after manufacture, crystallises the topsy turvy psychology of vinyl fetishists: a battered copy of Tinkerbell's Fairydust sold earlier this year on eBay for not much short of £1,000.
Because the Tinkerbell's Fairydust album never even reached the shops, it's understandable that the finished item would be somewhat elusive. After all, the only individuals with access to copies at the time would have been staff at the pressing plant or at Decca (since no reviews were ever sighted in the musicpress, it's likely that the project never got as far as a media mail-out to journalists). Not even the band were aware of it! But the estimated value of £2,000 for a Mint copy of the LP is down to the fact that it's so strongly associated with that most lauded genre of music, late-60s psychedelia.
Unfortunately, Tinkerbell's Fairydust were rooted in harmony pop, a ubiquitous style within the world of mid-60s beat (many more UK acts were inspired by The Four Seasons than, say, the Grateful Dead or Jefferson Airplane). So the most valuable vinyl LP ever made in Britain is not an undiscovered slab of dementia which would make The Pretty Things' S.F. Sorrow sound tame by comparison. But it does capture perfectly the mood of late-60s psychedelia-tinged pop. And now, for the first time, their tale can be told, to coincide with the eventual release on CD of the Tinkerbell's Fairydust album four decades later.
Our story starts with two brothers from Barking, Essex, at the dawn of the 60s. Ged (or Gerald, rouse his full name) and younger brother Chaz (Charlie) Wade formed their own band after mastering the rudiments of bass and drums, respectively. "We started off as The Moonrakers, a skiffle group," remembers Ged, "me on guitar, Chaz on 'tea chest' bass and Bob Holding on vocals".
The Moonrakers grew into The Ramrods, a Shadows/Ventures-styled outfit with Chris Howlett and Pete Hole on guitars and Fred Gammage on bass. Around 1963, they changed their name to The Ricochets and hooked up first with singer Dave Hunter and then Tommy Bishop.
Ged: "We stole Tommy from a band called The Nomads with the offer of stardom! Tom had been with Jimmy Powell & The Dimensions as a second singer when Rod Stewart was playing harmonica with them. We called ourselves 'professional' and would hang around in coffee bars in Denmark Street, in London."
The group rapidly built up a local following but then fate delivered a cruel blow. "I was attacked and beaten up by three guys when driving home from a gig," says Ged Wade. "I had stopped to get a carton of milk from a vending machine and these guys tumbled me into the van and made me drive. They eventually took over, as they thought 1 was trying to alert passers by, and tied me up in the back.”
"After taking my wallet, they dumped me in a street round the back of Soho and drove off with the van and gear. We lost a '62 Fender Strat (worth today over £5K!), a '59 Gibson Les Paul (probably £8-1OK in today's money), a Gretsch drum kit, Vox AC 30 amps and a Gibson amp. Nothing was insured and it was a few months before we could get new equipment. My father owned a music shop and helped us get back on the road."
They secured a deal with Decca, leading to a one ­off single, I Should Have Known/On The Other Hand, issued that September after a summer of dates in Germany. But after a year of gruelling gigs both in the UK and abroad, the work dried up for The Ricochets. Ged: "We came back from Germany in 1966. Then I was approached to fill in with a band from Upminster, Easy Come Easy Go (previously known as Dave & The Strollers), who'd lost their bass player. Stuart Attride and Barry Creasey were in that band and John Perry, who went on to be in Grapefruit and sing backing with Cliff Richard. My brother then joined as a second singer.”
"In early '67, we evolved into The Rush, which we got from a slogan 'Please Avoid The Rush Hour'. So we said, 'Don't Avoid The Rush'!". This new band consisted of Stuart Attride (guitar, keyboards, vocals; his stage name was Stuart Jefferson), Pete Hole (keyboards, guitar), alongside Ged Wade (bass guitar, vocals) and Chaz Wade (drums, vocals). With Stuart and Chaz as their principal driving forces, The Rush developed their own mix of four ­part harmony/West Coast material, ranging from US Surf to Four Seasons, bubblegum and R&B, delivered with an infectious brand of humour and stage lunacy.
The Rush attracted the attention of manager/ entrepreneur Don Arden, who was keen to find a band to replace The Small Faces (with whom he'd recently parted company). They returned to Decca for two excellent 45s: The first, Happy/Once Again (issued in May 1967) gained airplay on Radio Caroline and Radio London. Shortly afterwards, Pete Hole emigrated to Australia, so The Rush recruited a new guitarist, Steve Maher, from Witham near Chelmsford, who'd previously played with The Doughnuts, Shades Of Blue and The Circle.
Steve Maher: "They needed a lead guitarist who could sing. For me, this was the most exciting thing ever. The next week, we recorded Enjoy It, my first professional recording. We were on national TV performing our new song and I married my girlfriend. I was high on adrenalin for a week! The vocal harmonies on all our songs were arranged by Stuart, who had experience teaching a choir and was heavily influenced by The Four Seasons and The Beach Boys." The Rush's second single, Make Mine Music/Enjoy It, was issued in July '67, which led to an appearance on Granada's TV series The Firstimers.
"Make Mine Music was originally intended to have a pseudo-classical choir/harmony vocal/a capella middle section but this made the song overrun the 'three minute' limit so it ended up on the cutting room floor."
The band's familial connections paid dividends, as Maher explains: "The Wade brothers' father owned a music shop called The Gearbox, and a really cool clothing shop called the Gearbox Group­tique in Ripple Road, Barking. It used to be a cool place to hang out for many famous bands at the time - The Tremeloes, The Small Faces, Tony Rivers & The Castaways. We would rehearse at the shop when it was closed. Then we would borrow all the best instruments and amps we wanted for the gigs and for recordings, too. We also used to get amazing Carnaby Street fashions from the clothing shop."
In late 1967, after the two singles had failed to chart, a disillusioned Chaz Wade left the band to join The Symbols (fresh from their success with The Best Part Of Breaking Up) for a tour of the USA with Vanilla Fudge and acts like The McCoys and The Platters; he was replaced by ex-Strollers drummer Barry Creasey (or Barry Niall, as he was sometimes known).
By now, the band were working closely with in-­house producer Vic Smith (later to enjoy success as engineer with Black Sabbath and producer of several Jam albums as Vic Coppersmith-Heaven) and they'd find themselves up at Decca's studios most weekends. This studio-based set up was given the name Tinkerbell's Fairydust (after the character/substance in Peter Pan, of course). "Vic came up with the name," Steve adds. "He said 'Rush' just sounded wrong. We soon developed plans to expand into more orchestrated works."
Tinkerbell's Fairydust were christened with a promising cover version of Lazy Day borrowed from American sunshine pop outfit Spanky & Our Gang, backed by a Vic Smith original, In My Magic Garden. Issued on 1st December 1967, it succinctly captured the psychedelic pop mood of the times. Steve Maher: "The Moody Blues' John Lodge and Justin Hayward were good friends of ours. They were often recording at the big eight-track Deram studio at the same time as we were using the little four-track studio."
It was another six months before the arrival of Tinkerbell's second single, Twenty Ten, which was a Bach-inspired piece of harmony-laden psychedelia in a minor key, awash with Vox Continental organ (fed through a wah wah pedal), Mellotron flutes and bassoons, flamenco guitar and choral, multi-tracked vocals. The lyrics alluded to the year 2010, which then seemed like some futuristic land: "Twenty Ten is three and 40 years away, will we still be walking together, will we still have something to say ... "
Backed with Walking My Baby (the B-side written by Honeybus' Colin Hare), Twenty Ten was issued on 17th May 1968. Despite the song being plugged by Kenny Everett and favoured by John Peel on his show The Perfumed Garden, and a press scam wherein fictional manager Henry Henroy appealed via the music press for his "missing band" to phone home, sales continued to elude them in the UK. However, Twenty Ten was a huge hit in Japan, peaking at No.2 in their International Charts (apparently held off only by The Beatles' Hey Jude).
The band continued working on fresh material with the addition of new frontman Dave Church (another ex-Strollers member) on lead vocals.
"There were lots of lead singers in the band, not just one," explains Ged. "We all used to sing at various times." But despite Tinkerbell's spectacular success abroad (albeit unknown to the band at the time), Decca hesitated, and nothing more was heard from Tinkerbell’s until the release of their third and final single, Sheila's Back In Town, in January 1969. Once again, they scored a Top 10 hit in Japan.
Steve recalls the session: "We liked Sheila as we could tell it would be a fun, Beach Boys-type song. The day we started recording was Halloween and by the time we had finished recording the backing tracks, it was already about 8pm.”
"By this time, the control room had filled up with about 30 people from other sessions at Decca. Everybody was drinking wine. So they set up microphones and we passed around tambourines, shakers and hand drums. They were all asked to clap, sing along with the chorus and make like a big party, clinking bottles and glasses to get an effect while we sang the vocals in the main studio. It was risky because most of them were drunk! But it worked well."
More impressive or more ambitious, certainly was the B-side, a Jeff Lynne song entitled Follow Me Follow, which had only just appeared on his band The Idle Race's debut album The Birthday Party (issued October 1968). Jeff didn't actually play on the record but hung out with the band for a few weeks.
For reasons which are still unclear, Decca then prepared an album's worth of music under the Tinkerbell's Fairydust banner. While Vic was still working at Decca, his role as producer had now fallen to one of Don Arden's associates, Patrick Meehan Junior (who is now chairman of Handmade Films). Perhaps it was Meehan who assembled the album as an export item for the Japanese market?
Tinkerbell's Fairydust included four of the previous six 7" tracks plus Happy, by The Rush, and eight other recordings, mostly cover versions of popular songs like Never My Love (The Association), You Keep Me Hanging On (using the Vanilla Fudge rendition as the template), Joe Cocker's Marjorine, Jimmy Webb's The Worst That Could Happen (popularised by Brooklyn Bridge), They Didn't Believe Me (an old standard that the Wade's mother used to sing to them) and a romp through The Yardbirds' instrumental, Jeff's Boogie, which had only been performed as a studio warm-up. Every Minute Every Day was the only Tinkerbell’s original written by Chaz Wade.
Decca got as far as manufacturing stereo copies with finished labels and sleeves, although it's firmly believed that the stereo mixes were of the electronically re-processed variety (as a result, the original mono mix appears here, which only got as far as test pressings). While the exact projected release date is unknown, the fact that the labels state 1969 and the sleeve 1970 suggests that it was scheduled to reach the shops in January '70. (The LP's catalogue number, SKL 5028, was very close to that of the Rolling Stones' Let It Bleed, SKL 5025, issued in December 1969). Overall, its mix of poppy psychedelia and harmony-based beat is reminiscent of acts like The Montanas or The Bystanders, a style that was, in fairness, out-of-date by 1970, at least from the perspective of the serious-minded album buyer, seemingly targeted by the LP's psychedelic artwork.
The Rush continued for another four years playing in London clubs. Maher: "By this time, we were getting away from the cute harmony band thing; our live act was Vanilla Fudge, Led Zeppelin, Atomic Rooster and Family, with copious amounts of volume and feedback."
Maher left the band around 1975 to follow a career in art. Meanwhile, Rush were encouraged to change their moniker because of the rising fortunes of the identically-named Canadian band. Ged picks up the story: "One guitarist we recruited was Johnny Johnson and the other was Dave Foote (as well as ex-Symbols singer John Milton). So we became J. J. Foote, like J.J. Cale! We styled ourselves on American West Coast material - Steely Dan, The Eagles.”
"We played for about a year with that line-up and landed a good residency at an East End boozer called The Three Rabbits: Wednesdays through to Sundays. We did that for four years from 1 January 1977 through to 1981. Which meant we could also have day jobs. We had two good songwriters (both from the band Sparrow) and recorded some rewarding stuff that never got released. The journalist Colin Larkin gave us a good write-up in Dark Star magazine, with an interview on the radio too."
More recently, the various members of Tinkerbell’s Fairydust have reunited, as Maher explains: "I've always kept in touch with everyone, and even after I moved to Australia, I kept in touch via e-mail. A few years ago when my daughter got married, I sent out an invitation to all the guys in die band to come over from England and play at the wedding party. It was really only meant as a joke but they actually agreed! They flew out here and stayed for three weeks. It was a fantastic event!".

Where are they now?
Today, Ged Wade plays in a Moody Blues tribute band, Blue Onyx (www.blueonyx.co.uk). Chaz Wade started his own driving school; he still plays drums with Ged from time to time. Stuart Attride is still singing harmony in two choral groups (a wide range of styles from sacred classical to pop) and is choirmaster of a local church choir. He hopes soon to start a barbershop quartet. Steve Maher moved to Australia where he runs a multi-media business and is currently working on an indie album by his band Sandbox1 (www.sandbox1.com). Barry Creasey owns a hotel and lives in Thaxted. Eileen Woodman became a school teacher but is retired and lives near Blackpool. Dave Church went into electronics but is now retired. Peter Hole moved to Queensland, Australia, where he is a car salesman.
[Info & Material: Jim Hoban]

Thanks to Record Collector for thier extensive information

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* MORE INCREDIBLY RARE RECORDS currently @

HOLY GRAIL 
DJ COPY !
It would be easy for the superlative "Holy Grail" to be misconstrued as hype, so please let us explain why we believe it to be justified :

* In the past, whenever we have sent out our database of records to our regular collectors, this Demo has always been among those which we received substantial offers for (so we held out for [unfortunately] the only place you can really reach market value for sought after record :eBay). 

* This single was among the two Decca releases that failed to chart (see Record Collector article below)

* No The Rush Demos (who went onto become the infamously collectable Tinkerbell's Fairydust) are present in any resource sites such as “Popsike”, which suggests that this is one of the 1st opportunities in many years to acquire this particular DJ Copy. 
* This track embodies the sound of 1967. A delicious mix of cross over Pop Psych & West Coast harmonies.
We think that this really is a special record, we hope you agree. Good luck, cheers, Sam & Joe (Collectable Vinyl Records)