BRIEF HISTORY

The Purple Gang were originally a songwriting jug band absorbed into the Flower Power,
psychedelic, London Underground scene circa 1967. Signed to Transatlantic Records and
managed/produced by (the now legendary) Joe Boyd, Purple Gang became known for their seismic
stomper and now mini classic 'Granny Takes a Trip'. This became an underground favourite but
banned by the BBC.

Scheduled TV appearances, radio plays and USA recording deals were all cancelled as the
establishment took their revenge on the upstart 'underground' Purple Gang. The music featured
piano, mandolin guitar, washboard and Kazoos - yet the 'Gang' appeared alsongside the greats of
the period, at the best of venues.

The Gang argued and split up in frustration at the lack of progress and support caused by the lethal
ban. Today this would not happen. In 1968 the record company contract forced the Purple Gang
to produce their one and only long player called The Purple Gang Strikes. This is now available
on CD at Castle Music as a stock item and features 'Granny Takes a Trip' and a great new song
'Madam Judge' (a tongue in cheek reply to the BBC etc. thirty years on).
Is out worldwide to great reviews.

The band re-appeared in 1969 as a full electric band and quickly re-established itself as a
college/university hall favourite - playing alongside the big names of the period. Strangely, no
record company seemed interested in signing the Gang even though the band had ex Radio 1 DJ
David Symonds to replace Joe Boyd as manager.

The Purple Gang faded into obscurity for the next 25 years but in 1998 founder Joe Beard decided
that Purple Gang should live on and wrote a whole new set of songs, reforming the band with
three new members to record CD 'Night of the Uncool' and playing live gigs again.

PURPLE GANG HISTORY/INTRODUCTION The Forgotten Flower Power Band From
The London Underground.

The First Psychedelic Jugband?
"1967 was a remarkable year, for many reasons. Records that would now probably
achieve only cult status, were Top of the Pops. There was a feeling that audiences
were open to anything. A record that achieved true "cult" status that year was a
surprising mix of Cheshire jugband and London hippy sub-culture-"GRANNY
TAKES A TRIP" by THE PURPLE GANG. I produced it the same week as PINK
FLOYD`s "ARNOLD LAYNE"-one night later. The two seemed part of the same
world then, despite the vastly different careers that subsequently opened up for
the two groups. At UFO, the crowd would cheer whenever it came on and start dancing madly to
psychedelic lights. THE PURPLE GANG were an eccentric collection of talents,
who have gone on to a variety of interesting careers. The London scene was
greatly enriched that summer of `67 by their contribution." JOE BOYD..UFO club/
Producer/Manager/London Underground Movement****FEB. 1998
"They can have No.2 and we'll have No.1"..Syd Barratt to Joe Boyd on hearing
"Granny" in Sound Techniques, Old Church St. Chelsea.

My name is Chris/Joe Beard and I am the founder/spokesperson/leader/custodian- of-
archive/guitarist/co-songwriter/lyricist and torchbearer for the above-named band.
Here is the main background to our story, which, if I have my way, is not over by any
means yet though the main emphasis in this version, is towards THE PSYCHEDELIC
YEARS `66 `67 `68.

Set The Controls For The Heart Of The Fun.
The Purple Gang were allegedly from California, Chicago, London, Birmingham and Liverpool
and also Manchester. None of this was true, just speculation because of our rare sightings
and sudden dissapearance neither of which the band had much control over. We were
actually formed by myself in Stockport Art College, Cheshire, England in the winter of 1965/66.

I had been to St. Ives in Cornwall that summer and hung out with some musos(i.e. the late Duster Bennet)
from the London area**** I wanted to be in a band for years having met Ringo Starr years before in
The Rock & Calypso Ballroom at Butlins, Pwthelli, N. Wales****(I wore my "Lucky Ringo Socks" at
"Granny Takes A Trip" recording, at the 14 Hr. Technicolour Dream ..and when I got married!! I also had
my first ad hoc guitar lesson from John Mayall in 1963 before a local gig of his, in our shared village
in N.E. Cheshire. His house was also on my butchery-boy delivery round.-.on which I began the
famous lyric to "Granny".

People in bands first are fans! I was always hanging around bands, but I guess most budding
musos are like this anyway" money for nothin` an` yer chicks for free". I met Gene Vincent once..
and Joe Brown .and I booked Cyril Davies All Stars/ featuring Long John Baldry and The
Velvettes for my school dance one night after following John Mayall into Manchester to see
Alexis Koerner Band..(.Gene Vincent`s daughter Sherry lives nearby and has promised to sing
"Be Bop A Lula" with Purple Gang ..anytime soon.) But as the British R&B boom cooled down
a touch, I discovered JUGBAND MUSIC and being a poor art student, I thought here was my
chance to get out there and PLAY.

I formed a band by asking Peter Walker, who I had re-met down in St. Ives when he was
temporarily working as a gravedigger (a suitable blues-singer apprenticeship?).as I was told he
liked singing blues at college. He brought in his mate Gerry Robinson on harmonica and I then
asked the comical extrovert Geoff Bowyer to add washboard/piano and then Ank Langley on jug .
I bought a guitar (with my college fees) and we practised after college in whatever room we could
find empty. The jug was made for us and fired in the Pottery Dept.

We started out in the folk/blues scene and did some weird gigs****and then an eccentric friend of
ours called Gordon Aldred (half-mast elephant-cord. trousers, smock, bowler-hat, posh oxford accent
and Frankenstein impersonations) suggested we did a demo-tape and he would hawk it round Tin
Pan Alley. He would come back cursing "the damn Philistines" after being rejected as not commercial
enough etc. One night during rehearsal he came in whittering-on about something and nothing for ages
..and turned on heel to walk out saying "Well I`m off to a séance now" and left the room. We all looked
at one another vacantly then he popped his head around the door saying quite blandly "Oh..by the way
..we've got a recording contract.!!"

The uproar was deafening, with screaming and shouting/drumming fists on desks and general mayhem
bringing the old caretaker "Bees Knees" running down the corridor. He found himself in an impromptu
knees-up with "THE YOUNG CONTEMPORARIES JUGBAND" as we called ourselves then.

So off to London town we went ,on the bus, with our "gear," to an appointment with destiny and Nat
Joseph of pioneering folk/blues label TRANSATLANTIC. BUT first we made our debut London
performance in St. James` Park nearby Buck. Palace when we drew a bigger crowd than The
Coldstream Guards not far away in the Bandstand (lyric for Auntie Monica comes from this) Sat in a
deck chair semi-circle with Pete blowing his "Hornazoo" the tourists quickly became a crowd until we
were arrested by the "Fuzz" and ejected to boos from the crowd plenty of photos taken.

My only ID was my "Screaming" Lord Sutch fan-club members card (I was No.9 member). We were
cautioned and names taken.("William Broonzy /John Estes" etc.) At Transatlantic.. Sheila (Elton John's
producer, Gus Dudgeon's wife) Gudgeon made us a welcome drink and I sarcastically commented about
the wino outside, who we had seen sliding down the wall and pissing his pants " Who's that you've signed
up now?" This was met with stony silence, but I could see the band were suppressing laughter, whilst
praying I had not blown it for us.

Nat took to us and praised my lyrics but said we should do more of our own stuff and my guitar playing must
improve..touchee.The next day he brought in a young American called JOE BOYD to meet us who he
thought may be a possible Producer for us ., as JOE was connected to USA jugband people, "Lovin`
Spoonful" "Jim Kweskin" and worked with Elektra Records and was a general music man about town.
BUT he was involved with the new "Happening" scene and was also commisioned to produce a debut
single for a band down from Cambridge now calling themselves THE PINK FLOYD.

It was instantly agreed by all that our daft name had to go and what's more it should be colourful and relating
to the Roarin`20`s NO CONTEST. It had to be "THE PURPLE GANG"(Detroit murder squad and ELVIS
would always sing the name forever in "Jailhouse Rock" as Joe quickly pointed out) BUT horror- of- horrors.
The long hair would have to be cut, to go with a "gangster" image.(our first big managerial mistake). Gerry,
Pete and Ank had longer hair than the "STONES" so were mortified. But Joe pointed out that if we wanted
to stand out in the London hip scene it might not be such a terrible thing. We all reluctantly agreed. Gerry lost
all his strength.!

We performed for Nat and Joe an acoustic set in the back room and Nat and Joe went off to discuss matters,
leaving us to polish off Nat's whisky (gangster act of petty larceny). We could see Joe liked us by the big
boyish grin on his face during our songs. But we were pleased to hear that he also was to be our MANAGER
(as well as PRODUCER) when they returned (hoping for a slug of single malt).

Gordon was to be tour/road manager and we would have to get a van (Nat Joseph never offered to buy it noted).
There was no mention of where we would all stay/sleep…a minor detail when you are young/immortal and about
to become stars. A van would become our home on wheels later****(thanks Transatlantic !)

That week Joe took us off to meet THE FLOYD down at the " Marquee" in Soho And it was all polite intros,
"good luck" and "where you from?" sort of thing. Syd liked jugband stuff and I could see he was interested in
"Lucifer" as we called Pete. The dressing room was getting crowded, so we gave our goodbyes and went out
to stand near the bar on the right. I was pleased this was going to be an "arty" band, when I saw the light-show
/oil- wheel set-up, as we had wondered about how to incorporate paintings or art into our shows..but we had
gone down a light-hearted/tongue-in-cheek goodtime route-as jugbands tend to.

The lights went down and I walked to the front of the stage grinning at Syd, but he'd got into "mode" and was
concentrating. The place wasn't packed as this was all new-ish stuff and they launched into Astronimy Dominae
(I think). Before they started though, I remember the red amp pilot-lights (or LEDS now) twinkling like stars and
then the first oil-wheel coloured blobs dancing into action over the guys and Nicky's drums.We were all thrilled
with it and thought "YEAH, THIS IS GOOD BRAVE STUFF" good on' yer guys. But oh we were jealous of that
EQUIPMENT.

Later on we returned to play the "Marquee" ourselves and I met up with Long John Baldry once more in the
dressing room, who told me John (Mayall) was getting really famous now. I thought wow I hope I can make it as
well (two from the same little Village at the cutting edge of it all). I met a young dark-haired guy in there in the
dressing room called Steve Adams and he let me have a go on his beautiful "Black Box"GIBSON..he let me
tune-it in for him as his hands were shaking (after all he was going on solo as compere). He did OK and was
signed up after that gig. His song "I LOVE MY DOG" was haunting that night and we all congratulated the
young "CAT STEVENS" to be.

Another night at the Marquee I was really upset because I'd broke a string /we were off-form/didn't go down
as good as usual (we were never billed on the posters as we were being groomed by Transatlantic so we played
for no money. Thanks Transatlantic) and I was a bit inhibited by Al Stewart's flash guitar work..in the extreme. Also
the famous London street- singer Meg Aikman arrived brought in by Alexis Koerner.she was amazing. I was sat
in the dressing room despondant - and tearful .She gave me a big bearhug / encouraging praise and general
keep- your- chin-up pep-talk. At the end she whispered to me "and don't you never let on that I told you I was from
Cheshire too not London. it's all a game sweetheart ..we're all in a game keep playing it." she winked (.thanks Meg
wherever you're singing now.maybe for St. Peter?)

Granny Takes A Trip
The arrogance of the small town jugband from Cheshire, to appear in the heart of the inner sanctum of the trippy
Underground..with short hair, in gangster suits, SMILING on stage with next to no equipment, was breathtaking
in the extreme. But as Joe Boyd puts it "audiences were open to anything then" People were beginning to like
us/talk ****about us. (the manager of the MOVE sent a letter of complaint saying we were plagiarising their new
gangster image..and was considering suing…..we replied "Go ahead" and heard no more.

I had previously seen an old lady back home getting into an old Rolls, with her chauffeur loading her cases and I
hoped to get something like this into a song. Maybe to do with Silent Movies or something. I had scribbled some
rubbish down on meat wrapping paper on my delivery round (on which was the Mayall's)" no more sad songs for me.
when I get me across the sea gonna dance with Rudi Vallee" sort of garbage so when Joe took us down to the
World's End in Chelsea to meet Nigel Waymouth and Michael English in their new boutique "Granny Takes A Trip"
We went back there to do our publicity shoot for the record company and PAUL McCARTNEY turned up to buy a
dress for Jane Asher and stayed around to watch.- much hero worship from Purple Gang. Also Patti Boyd was
waiting outside..

The song title was all there waiting - fate if you like. The shop front fitted our image and it just had to be written.
It was one of those fateful coincidences in retrospect. After more appearences/adventures****we got back home
to our base, which was by now an ancient tiny pub in Macclesfield, where our friends/followers used to hang out
playing guitars and all that 60's stuff. Geoff and I were songwriters by now and on the way home from the pub he
got this really fast tune going in his head. He got on the piano and gave it a few goes (we couldn't write notation)
until Fred, his Dad kicked him off to bed.

Next day I was round to help with the rest of it (Intro/Middle etc.) and of course I suggested "Granny Takes A Trip".
It was written straight away then..no problem about THAT old lady going to Hollywood. We rang Joe and he
checked with Nigel about us doing it. no problem at all, in fact they were delighted. We knew what a "trip" could
be, but we never thought it would be offensive or outrageous (and when your lead singer is a witch.****.not much
else seems outrageous!).

Nat Joseph sent Joe up in his old Humber "Snipe"- which he abandoned in S. Cheshire when it blew up- and he
arrived by train to hear "Granny". He thought it was great BUT the band wanted "Bootleg Whiskey" as the single.
Joe pointed out that the hippies were going to become influential to popular taste and we all really belonged to
what would be termed "The Underground"..even as a jugband ("the two seemed part of the same world back then
.."..Joe Boyd 1998) And besides Transatlantic were going to launch their new "pop" label BIG T with us and this
"Granny" song. So it was agreed Joe Boyd would launch his new discoveries THE PURPLE GANG with "GRANNY
TAKES A TRIP". It went in the music papers and all the Underground had another release to look forward to along
with PINK FLOYD's.

We went into UFO, this club Joe was running on Tottenham Court Rd. and met THE FLOYD again. This time they
were in their own environment and we all enjoyed the night. They said they were in the studios the day after us but
hadn't got the right record deal and had got backing to do their own thing.the record deal would come later.

My heart sank when I realised we had signed up to a label first without any advance to us or much muscle but .as a
jugband we had already come thus far .so what the hell. But their way was the best way in the long run. When I
heard that the title was ARNOLD LAYNE.I fell about laughing as I was at school with a kid called ARNOLD BLAYNE
.. Syd said "Man you`re kidding?"..but it's true..he's still alive But does NOT RAID LADIES WASHING LINES OK.???
(More UFO later)

We went into SOUND TECHNIQUES Old Church St. Chelsea early in `67, which was a converted slaughter-house.
The control booth was high up some stairs and we trooped up to meet John Wood and assistant Jerry. (Woody was
very interested in what Walker got up to at his coven..but didn't get any info.).thankfully. We were a tight band,
confident and well played-in. Piano/guitar/mandolin/jug went down in 5 takes. Next..harmonica and washboard and
it was adjournment-time to the pub opposite for lunch. I got into conversation and a round with Rodney Bewes (one
of the"Likely Lads".big TV stars then. He was up for putting kazoo down on Granny but some mates took him off
somewhere .A pity.that would have been good .Walker finished his vocals and Kazoo and it was all done in 5 hours.
It went like a blur so fast .but so does the track.

I believe the same night FLOYD heard it in there and Syd reckoned "Granny" would be kept off the No.1 spot by.
"Arnold Layne" (from JOE BOYD/quote). The next day we were in there mixing when Joe/John played us ARNOLD
through the big speakers. We were speechless at the work not only the FLOYD had done but also BOYD/WOOD...the
intro and the organ blew me away. Surely our effort was paltry alongside this wall of beautiful noise? But Joe said we
had both captured something unique in those few hours...vastly differing sounds but both unique. And filled with an
ambience of something coming along - that was later to be recognised as the springtime of "the summer of love"
BOON TUNE .

At this point in time, Syd Barrett and Joe thought of a follow-up to "GRANNY"-a Syd song called "BOON TUNE" and
the GANG were going to learn it off a tape that Syd sent via Joe. In one of those haphazard ways it incredibly got
overlooked and Joe mislaid the tape..so it never happened. And also Nat Joseph discouraged us from getting involved
with other songs/publishing ---With hindsight it should have been done - BUT 34 YEARS ON I decide we shall do it
on next CD as I have found the song on an old tape. It is now available on "MADCAP LAUGHS" as "HERE I GO".

UFO CLUB
UFO was Joe and his friend John Hopkins`("Hoppy") new venture on Tottenham Court Rd..moving on from some
other place I think might have been the "Arts Lab". Or something similar, where FLOYD had begun to properly evolve.
It quickly was becoming the epicentre of the new MOVEMENT and we returned with Joe un-billed again so he could
show off his new protogees. I think we appeared 3 times at UFO but I am unclear as to whether or not we were billed
on the posters..it was all a bit ad hoc and haphazard.

We were in the legendary Jane Easton Agency by now and I don't think Joe wanted to spoil our chances by double-
booking etc. When I say that in this agency were THE ROLLING STONES..JIMI HENDRIX EXPERIENCE..THE
YARDBIRDS....and us..you'll see what I mean. We had met Mick, Keith and also the quietly spoken Jimi at the
offices briefly..even discussing the (Vietnam) war. We were known around town now and we were in there with it
all.. Jugband or not "it all seemed the same back then". So down to UFO we returned.

Last time the FLOYD were there, this time it was TOMORROW. We went on in the middle and I remember leaning on
an old battered grand piano to stop me falling down. Joe had simply held a mike and introduced us whilst pulling the
curtain back. The silence was terrifying as the UFO crowd weighed - up this short-haired jugband outfit. After they
heard our sound and saw Geoff's antics behind on washboard, all seemed to go ok, until Lucifer and Ank drew out
two starting pistols and fired over their heads .There were screams as some people hit the floor but then everyone
realised this was UFO..and well ..just DIG it.

We went in to the Wizard and the light show helped the creepy atmosphere..there was even a revolving mirror ball..
Ank kicked at me a few times to get me out of my "trance" and motioned towards the side curtain during our next
number (an old jugband blues). Jimi was there playing TOMORROW's (Juniors's) bass leaning against the wall, sort
of helping out the struggling- to- be- heard jug. It wouldn't be plugged in I suppose, but it was a nice memory. He
played with Tomorrow later while we went off to another gig.

UFO used to be an Irish club, called "The Blarney", but it was now painted up all freaky and psychedelic. I remember
the stairs down into the club were all garish day-glo colours. The pong of incense and hash used to waft up the
stairs -plus body heat-onto the street-where hippies were always milling around-doing hippy things. I remember
there were usually "Mods" lurking around but "Hoppy" let them in eventually and things were ok/cool ..peace
man. There were "Idiot"dancers usually stripped to the waist, body-painted with long flailing hair and waving arms.
Even PURPLE GANG had those. One guy I called "The Sheep"(because he was so hairy, blonde and predictable
- always danced to us. I even noticed him at ALLY PALLY down in the crowd.

Then there was Suzy "Creamcheese" who danced erotically stageside. Hoppy (who played piano on our track
"BOOTLEG WHISKEY") married her to get her in as a British Citizen. There were cartoons/art films/silent movies
/stoned/tripping/famous/sloanish/infamous/not famous/revolutionary/people down there and that is before the
rock musicians arrived to swell the numbers.

"RAINY DAY WOMEN Nos.12 &13" was a fave track on the desk amongst others including our "Granny". THEY
could dance to it ok. Down there in the UFO was not like other venues, it had a "presence"..the hippies were
stylish, not scruffy grubby dossers as the media sometimes portray. One night you had "SOFT MACHINE", but
another you would be seeing "BONZO DOG DOO DAH BAND"! I saw the lunatic "BONZOS there and witnessed
SAM SPOON`S infamous solo on electric trouser press---now that WAS a freak-out.

"14 HOUR.TECHNICOLOUR DREAM. SAT.APRIL 29 1967 ALEXANDRA PALACE…..INTERNATIONAL
TIMES BENEFIT The View From The (organ-end) Stage Through the smokey spotlights, strobes and beyond the
heads/ sea of faces- I could make out, to my left-a helter-skelter which we went on later. I got a nice smile off Julie
Felix, who was stood with David Frost to the right. The noise around the cavernous place was at first intimidating,
but then uplifting at the same time. This was from having two stages at either end of the venue going hell-for-leather
to accommodate all the bands/happenings due to partake in The Underground's coming-out party (to help the
harassed IT editor (and UFO co-organiser)"Hoppy").

We eased into our new psychedelic dirge "Sing Me The Word Called Love". This time we had a drummer, who was
with us to help out on a couple of tracks. over at SOUND Techniques. Unfortunately he was also out of his tree
and instead of using beaters on the tom-toms- as rehearsed- he sort of went "Uuurrgh-aahg yeeee" and stared at
me in a demented manner. Before I collapsed with laughter we were saved by "Lucifer"(our vocalist) creeping
forward from rear-stage, adorned in scarlet and black satanic robes, shades, sandals(!), with his jaw violently
rocking from side to side, in a drug -induced spasm. People thought he was chanting some obscure ancient oath
(See MILES` book) but it was his pills. I was definitely relieved that he was not wearing the black hood (as
threatened to Joe Boyd) but amused by the sandals and shades.

I spotted "Sheep" and some UFO faces/afros and began to enjoy it. The Wizard went well in it's usual goth. way
and Geoff got on piano for our good-time numbers like Auntie Monica. He had been on washboard- complete with
it's cymbal, cow-bell and block---he was in a dinner-jacket, beret and T shirt. I was absurdly dressed in bottle-green
crushed velvet flares, silver shirt, purple suede boots and a double-breasted gangster jacket. What a mess we must
have looked...but it all didn't seem to bother anyone. "GRANNY TAKES A TRIP" was called for by the UFO
section and we duly delivered----I was pleased to see more people surging towards our stage. Then I think we
came back to do it again but it was all over in no time-and the next band awaiting behind.
I got into the dressing room and there was John Mayall (plus lots of even more famous people). I reminded him of
home and the old days and had a chat about my band/plans.etc. Denny Laine came and sat with me and was
playing some new song he was writing and the rest was a blur of well-known faces Joe and Hoppy were well
pleased with us and there was talk of Hoppy going on the organ with it's mighty pipes/later.

ANK our jug player arrived with the two hippie chicks from the stage side, who had been throwing things at us
and larking around with us during our set. We then heard John Lennon was around outside but couldn't get in
without being mobbed. When he didn't show, we all went to go on the helter-skelter. On there I got a great view
of the whole scene and it was bloody fantastic -then I got pushed and slid down. Half-way down I spotted Lennon
and entourage in Yoko Ono's area (she had a model called Valerie, sat on a stool (naked) wearing cellophane.
You were given scissors to cut off cellophane and expose the exposed Valerie..a feminist statement/happening).
I walked towards my hero, but so did everyone else, so off he went (he" split the joint" man) out to de-camp in the
park in the trees, for a smoke.

There was an igloo filled with bananas, Arthur Brown hung from a small crane made a fiery entrance and I saw
loads of bands /happenings and public love-making for real. We also went outside for a smoke and sat a
respectful distance away from John and then I went to check our van window. We had been stopped on
Oxford street that afternoon in our Purple Gang van, by loads of hippies ,who were hanging onto the. sides
and all over us .."Granny "band was getting famous (Jane Easton agency PR machine was at work). I had
damaged the window trying to wind it up while someone was hanging on to it.

I stuck around to the end to wait for the PINK FLOYD who were late coming over from Holland I think, or
Rotterdam. It was getting towards the end of the night (but not the gig) and I wanted to get my spot- so I sat
down with a few others in a meditation group. I can, 34 years on, still smell the dusty floorboards/the hash/
incense/body odour and hear that big-hall reverby, crowd-din and swirling band noise/drum crashes.

The Floyd roadies began to get the gear organised and the light show people took over. The dawn was at
the gates and everyone was getting a bit tired now and shouting for the band to get their asses on stage. On
they eventually trooped looking unhappy I thought -a bit of tenseness there (I was glad we'd gone on earlier
so we could enjoy the gig). The shafts of dawn light were now beaming through the high windows and were
caught and reflected back off Syd's mirror/effect guitar. But something was not right and Syd was not up to it
..just sort of standing there out of his tree I suspected. (We had been warned off acid by one of our friends
who we had visited in a mental hospital. He was found naked in a lift with a sword later. He made us promise
not to take the stuff when we hit London...and beside ..we were weird enough).

It seemed apparent that the FLOYD were allowing for this as ROGER seemed to take over. I admired him for
this and was not happy that Syd had now drifted off. Can`t remember what they played but it would be the set
of the time.

There was a guy eventually who had climbed up the great organ-pipes and then up to the ledge-HIGH UP
where the walls met the roof. "Hoppy" who had just played the organ (Bach) got a mike and talked the silly
bugger down eventually. "It would be really..like not cool man if you were to stop the gig by killing yourself"..
to great applause.

Eventually after another hour of finding everyone, we drove off back to JOE`S and crashed down after
(as usual) tip- toeing around the debris of exotic and fragile instruments left on the floor by the INCREDIBLE
STRING BAND who were touring. (we always had to avoid these instruments-a bloody nuisance!!)
"GRANNY TAKES A TRIP" was coming out and we were going to be famous..BUT..OH NO..

JUGBAND BLUES
We were booked for "Juke Box Jury"/"Top Of The Pops"/SIRE records were going to put out our LP in the
USA/BARCLAY records covered "Granny" in France and the pirate dj`s backed us especially JOHN PEEL...
"PURPLE HAZE" came out the same week and we thought we were on our way. I learned later that Pete
Jenner had bought in/hyped "ARNOLD LAYNE " sales to ensure it's charting position and subsequent TOTP
appearance. Brian Epstein had even had to resort to these shady tactics years before for "Love Me Do. Such
was the two-faced state-run so called "popular charts".

ARNOLD LAYNE escaped the censor's net, so did PURPLE HAZE but not GRANNY TAKES A TRIP. A BBC
letter arrived at Transatlantic records castigating the record/group and company for "attempting to corrupt the
nation's youth. The PURPLE GANG having a self-confessed witch as a singer will not be tolerated by any
decent society either".

We were to be the scapegoats and the song was about acid .We were banned and all Big things planned were
dropped overnight. USA got cold feet and at the 11th.hour topped all promotion. The pirates were all closed
down and the dj's re-hired for the state-run crappy RADIO 1....welcome Tony Blackburn and co.

THE PURPLE GANG STORY DOES NOT END HERE . THERE IS AN ALBUM TO DO, A PURPLE GANG2
WILL ARRIVE AND GIG WITH BOWIE/LOVE/BEEFHEART/BOLAN/MOVE/KINKS and a host of others.
A connection with Liverpool and lots of adventures to follow. There will be a gap of 34 years THEN IT ALL
WILL BEGIN AGAIN BUT THERE WILL NEVER BE ANYTHING QUITE LIKE SUMMER 1967 AGAIN
----DOWN IN THE UNDERGROUND OF PSYCHEDELIC LONDON.

“WALKING WITH GIANTS (–IN CRUSHED VELVET FLARES! )” 1969- -72
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BAND REFORMS 1969
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RECKLESS STRIPPER EMBARRASSES PURPLE GANG DRUMMER
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LEGENDS ,RE-ISSUES AND FULL CIRCLES
Over the years it seems that we were not forgotten after all.And it turns out
that our album did creep out in the USA.The UK album and USA ones are
much sought after as well as the original orange labelled single.There were
radio plays nationally every now and again and various “allies” could be relied
on to give us a play ,such as ANNIE NIGHTINGALE, JOHN PEEL and BOB
HARRIS.Our old vynil LP was re-issued on Razor Records (no
publicity…….why bother ?) .The people we walked with ,talked with are now GIANTS, a lot are
dead and some damaged.Others are rich beyond my dreams and own their
own studios in their mansions.I went off to art college and studied with MICK
HUCKNELL ,who I saw start a band up as I had done 14 years before.One
lunchtime I advised him not to go into the business too seriously……..luckily
for him he ignored my advice.BUT I`m jealous of no-one except the people
who have LOADS of studio time to experiment and create, a luxury that we
never could have.Today when asked by small time people / promoters what
type of music we play, I am obviously at a loss as I cannot say “PURPLE
GANG music”In 1997 we went on at the CAVERN once more and also
outside in MATHEW STREET area at THE MATHEW STREET FREE
FESTIVAL, LIVERPOOL (as I have an oil painting of the Beatles hung in The
Cavern) and we were on with some old Liverpool bands.They liked us
and we did an encore……..we all enjoyed the re-union, but it seems they
(Pete. Geoff, Alex, Gerry )didn`t intend reforming.

So in 1998 I reformed the band with new people and Chris Millward.
The others being (namecheck time boys !) PEV PEVITT (R.I.P), ANDY STARK, JOHN CURTIS
and GABOR BARTOS.
We were slowly being healed and saved by of all things, the INTERNET, and new fans are still
coming in droves. Syd Barret fans care for us in particular and I give loads of interviews.
We had a number one hit single on Budapest Radio in 2004 and I did an interview on BBC
national radio. We went in all the national newspapers. We continued as a 4 piece, until tragically,
Pev Pevitt our singer died from cancer a couple of years ago. His cousin-in-law the legendary
Paul Jones (Manfred Mann) attended the funeral (and praised our music), then showcased us on
his BBC Radio2 Blues Show.
The history of this band cannot be re-written … we were there. , we were original……we walked
with giants…PURPLE GANG 1 AND 2, 3 and 4. I now work solo. Thanks for your time….hope
it wasn`t too boring…..and “hello “to any old GIANTS who walked with us and are looking in
through the keyhole.

COPYRIGHT Reg .2002 Chris Joe Beard ………no repro`s without permission
J.BEARD 2002 –04-05
These memoires belong to Joe Beard of The Purple Gang and may not be reproduced without permission .

These recollections remain copyright of Chris/Joe Beard www.thepurplegang.co.uk
C.J.BEARD, Ex Purple Gang - April 2010 c.j.beard@btconnect.com

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