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Editorial Reviews. About the Author. Victor Alicea III, is as best to describe, an unknown artist.
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Monday, 30 May No Comment. Peter, thank you very much for your time and effort. I would like to talk about the beginning of your music carrier. As far as I know you started a band called The Sidekicks around Eventually you become The Key in November When Fontana Records signed with you, you changed your name to Kaleidoscope. Can you tell me about your beginnings as The Sidekicks and then transforming into Kaleidoscope?


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But we soon realised that writing our own songs would be a logical next step. The Beatles lead the way. Up to that point very few bands wrote their own songs. We realised that we could wallow forever in the shallows playing old blues songs. To achieve any sort of success we would have to produce some original material. Eventually we were writing reasonable songs and a name change was in order to reflect our move away from the youth club circuit and our blues-fixated past.

As The Key we played many of our own songs in a set. We were creative on stage. We used to have a girl in a mini skirt sitting on stage with us.

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She sat there reading a book of poetry throughout our set. Ed and I would eat an apple during one number. Probably meant to be very symbolic and mysterious but just made it difficult to sing with a mouthful of apple mush. It caused a right old riot and we were chased out of the building by the gig organisers who had called an ambulance, completely fooled by my Oscar-wiining on-stage death and they felt pretty silly having to explain their donkey-brained mistake We were pushing at invisible boundaries. The name itself was a kind of buzz word at the time, representing as it does a vision of myriad changing colourful images.

We all felt it would be a good name to reflect the nature of our developing music with its many different styles. We used tiny cheap studios that produced a rather average result. But, of course, at the time we were very proud of these first recordings, unable to recognise just how amateurish they were. We sent tapes to various record companies thinking we could get a recording contract that way. Boy, were we naive! But having said that, they do give the listener a good indication of how we sounded on stage during the early Sixties.

I personally find it quite amusing that these rusty little recordings are now out there on CD. If only those four young kids could have known that all their efforts would be rewarded one day Do you remember your first recording sessions? Although nervous, entering this mysterious, subterranean dimly-lit cavern, we knew that we could not allow anything to go wrong. In fact we were stunned by the clarity of the results, fascinated by the recording process and pleased to find that the engineers were friendly and co-operative. The actual recording process was taken out of our hands and was something of a mystery: we did what we were told in terms of levels and retakes.

The arrangements were down to us, although Dick did have some input via carefully phrased suggestions. We were always willing to listen and incorporate inventive ideas. But all the songs went into the studio fully-formed. We never wrote in the studio like some bands. Our songs were very carefully written, rewritten, arranged and polished long before recording sessions.

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Dick produced, obviously aware of the beating of our novice hearts, allowing us time to settle down, to accustom ourselves to the cathedral studio. In fact, the studio was so enormous that when we set up our equipment we only occupied a small area, but this was how we preferred it -- reminiscent, perhaps, of our nights rehearsing at the school hall in Acton not so long before. A memorable day indeed. We experienced for the very first time that dream-like state as we stepped from the cocoon-twilight of the studio into the outside world -- like travellers returning from a voyage of discovery.

You blink and find yourself back in the real world where life goes on.

Tattooed Memoirs from Inside a Broken Kaleidoscope Called Life (Paperback)

Difficult to explain; you should have been there. But the day itself was kinda special. He was very excited about the song and this enthusiasm drove the session. A bit later you released your first LP called Tangerine Dream. Catchy melodies, imaginative lyrics, trippy sounds and arrangements and really good production. What can you tell me about recording and producing this LP? Our quality-control regarding song choices I always felt was quite good -- although it did desert us occasionally, particularly later As a band we never wrote in the studio.

Everything was finalised and well rehearsed before we went into the sessions. Song structure might change slightly, but the basic material was there from the start. It was the embellishments that made them psychedelic, the weird guitar effects, vocal manipulations etc. Who did the cover artwork and if you perhaps know how many pressings were made? Sorry -- I have no idea who came up with the cover concept or who was the photographer. I do remember the session at a small studio in Kensington. Of course, with the studio lighting we were soon cooking -- almost literally!

The resulting photographs were startlingly good. Apart from the one used on the cover there is another good one used on the first single advert. When we became Fairfield Parlour we were more in charge of album designs -- and today I am obsessive about the details of my own album artwork. But as Kaleidoscope we were lead by the noses by more experienced record company people. Although in our early twenties we were still very green behind the ears when it came to dealing with a multi-national record company I have no idea how many were pressed.

What I do know is that Fontana were the worst company on the planet for distribution. It was this that hampered our efforts for chart success throughout our time with them. Faintly Blowing was your next album. Again I have to say, that production is absolutely amazing. Peter, tell me what are your strongest memories from the recording sessions and the production of the LP?

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How many copies were made? The album is a reflection of our growth as songwriters. Writing of any kind develops and matures with time. Being able to write is a precious gift: but you use it or lose it. Gertrude Stein wrote about the sometimes mysterious contact between the eyes and the object seen.

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Together with the likes of Joyce, Woolf, and Proust, Gertrude Stein was among the experimental modernists who drew attention to the object sphere around them. Umbrellas, seltzer bottles, eye glasses, bird feathers, cows, and grass Sensitive to our experience of time, they made their characters speak in new ways, through memory, interior monologue, and stream of consciousness, as they experienced a world where objects no longer served merely as background props as they were in the nineteenth-century realist novel.

Marcel Proust for one, expressed how the sensation of looking at bushes of hawthorn could transform them into an immaterial thing and in In Search for Lost Time, he repeatedly asked himself, why the relationship between the mind and exterior objects forms such an ongoing mystery. In my own story, the object, formerly known as a jacket, had reached a mythological dimension in its reference to the sailing trips Herbert used to take my dad on, when he was growing up. On finding the jacket, somehow my dad looked different to me.


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    4. I could see him standing under the white sails together with Herbert and the sea moving beside him. It played a part in my life as the only surviving trace my dad had left me that could explain their close ties. As an object misplaced in time, the jacket was elevated to new meaning, outside of reality. It had become an anachronism, speaking that silent language of memories that my dad was the only one to understand. For my dad, the jacket was the last piece of a puzzle long gone. For him it must have been magic.

    One Proustian way to live in a kaleidoscopic labyrinth is therefore to focus on your inner life and pay little attention to outward social changes. However, when looking at different combinations, the devil is in the details.

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    Had Herbert been alive today, what would he have worn? As a year-old he would perhaps have walked around wearing clothes that were seventy years out of style. Or maybe not. Paradoxically, clothes have an ability to come across as either trivial parts of mass consumption, or as objects of ambiguous meaning invested with value.