Dave Dee, Dozy, Beaky, Mick & Tich - If Music Be The Food Of Love 1966

Dave Dee, Dozy, Beaky, Mick & Tich followed up their self-titled debut LP with the tongue-in-cheek If Music Be the Food of Love...Then Prepare for Indigestion (1968). The quintet of Dave "Dee" Harman (guitar/vocals), Trevor "Dozy" Davies (bass), John "Beaky" Diamond (rhythm guitar), Michael "Mick" Wilson (drums), and Ian "Tich" Amey (lead guitar) return with another batch of strong Brit-pop compositions, including a pair of their most prolific sides, "Bend It" and "Hideaway." While all but unknown stateside, the combo became hugely popular throughout Europe -- which may well account for the distinctly conspicuous Mediterranean flavor on the former. Their left-of-center sense of humor surfaces on the Noel Coward-esque potty platter "Loos of England." Matching their obvious wit was an equally sharp musicality, effortlessly transcending concurrent pop music styles. Their range at once incorporated the full-throttled backbeat of "Bang" and the decidedly hip "Hideaway" and "Hands Off!" "Shame" is an edgier tune, with a mod progressive slant that would not be out of place from the likes of the Yardbirds. This is contrasted by the emotive "All I Want" or the cover of Robert "Bumps" Blackwell's "Hair on My Chinny-Chin-Chin," which is perhaps best known via the Sam the Sham & the Pharaohs version. While the prospect might sound odd, it seems no more out of place than the Who's reading of "Heat Wave," for instance. Interested parties should note that the 2003 reissue of If Music Be the Food of Love... contains 14 supplementary mono and stereo bonus track mixes, including "Touch Me, Touch Me," "Zabadak," the proto-punk "He's a Raver," and others. AMG.

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Dave Dee, Dozy, Beaky, Mick & Tich - If Music Be The Food Of Love 1966

Dave Dee, Dozy, Beaky, Mick & Tich followed up their self-titled debut LP with the tongue-in-cheek If Music Be the Food of Love...Then Prepare for Indigestion (1968). The quintet of Dave "Dee" Harman (guitar/vocals), Trevor "Dozy" Davies (bass), John "Beaky" Diamond (rhythm guitar), Michael "Mick" Wilson (drums), and Ian "Tich" Amey (lead guitar) return with another batch of strong Brit-pop compositions, including a pair of their most prolific sides, "Bend It" and "Hideaway." While all but unknown stateside, the combo became hugely popular throughout Europe -- which may well account for the distinctly conspicuous Mediterranean flavor on the former. Their left-of-center sense of humor surfaces on the Noel Coward-esque potty platter "Loos of England." Matching their obvious wit was an equally sharp musicality, effortlessly transcending concurrent pop music styles. Their range at once incorporated the full-throttled backbeat of "Bang" and the decidedly hip "Hideaway" and "Hands Off!" "Shame" is an edgier tune, with a mod progressive slant that would not be out of place from the likes of the Yardbirds. This is contrasted by the emotive "All I Want" or the cover of Robert "Bumps" Blackwell's "Hair on My Chinny-Chin-Chin," which is perhaps best known via the Sam the Sham & the Pharaohs version. While the prospect might sound odd, it seems no more out of place than the Who's reading of "Heat Wave," for instance. Interested parties should note that the 2003 reissue of If Music Be the Food of Love... contains 14 supplementary mono and stereo bonus track mixes, including "Touch Me, Touch Me," "Zabadak," the proto-punk "He's a Raver," and others. AMG.

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Dave Dee, Dozy, Beaky, Mick & Tich - If Music Be the Food of Love... Then Prepare for Indigestion 1966

Dave Dee, Dozy, Beaky, Mick & Tich followed up their self-titled debut LP with the tongue-in-cheek If Music Be the Food of Love...Then Prepare for Indigestion (1968). The quintet of Dave "Dee" Harman (guitar/vocals), Trevor "Dozy" Davies (bass), John "Beaky" Diamond (rhythm guitar), Michael "Mick" Wilson (drums), and Ian "Tich" Amey (lead guitar) return with another batch of strong Brit-pop compositions, including a pair of their most prolific sides, "Bend It" and "Hideaway." While all but unknown stateside, the combo became hugely popular throughout Europe -- which may well account for the distinctly conspicuous Mediterranean flavor on the former. Their left-of-center sense of humor surfaces on the Noel Coward-esque potty platter "Loos of England." Matching their obvious wit was an equally sharp musicality, effortlessly transcending concurrent pop music styles. Their range at once incorporated the full-throttled backbeat of "Bang" and the decidedly hip "Hideaway" and "Hands Off!" "Shame" is an edgier tune, with a mod progressive slant that would not be out of place from the likes of the Yardbirds. This is contrasted by the emotive "All I Want" or the cover of Robert "Bumps" Blackwell's "Hair on My Chinny-Chin-Chin," which is perhaps best known via the Sam the Sham & the Pharaohs version. While the prospect might sound odd, it seems no more out of place than the Who's reading of "Heat Wave," for instance. Interested parties should note that the 2003 reissue of If Music Be the Food of Love... contains 14 supplementary mono and stereo bonus track mixes, including "Touch Me, Touch Me," "Zabadak," the proto-punk "He's a Raver," and others. AMG

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Dave Dee, Dozy, Beaky, Mick & Tich - Together 1969

The least impressive of the ubiquitous quintet's original albums, Together was largely marred by the same problems that afflicted Dave Dee, Dozy, Beaky, Mich & Tich's most recent singles -- the awareness that they'd taken their original flamboyance as far as it could go, and uncertainty as to how to proceed. Certainly "Snake in the Grass" was little more than a throwaway when compared to the band's past glories, while the ambitions that would ultimately sunder the group were also beginning to bubble through. Dave Dee himself produced six of the songs on the album, and his inexperience shows in the lifelessness that afflicts such lightweight efforts as "First Time Loving," "Mountains of the Moon," and a trio of double-entendre-ridden numbers ("Below the Belt," "Love Is a Drum," and "P Teaser") that are little more than execrable exercises in smutty juvenilia. It's not all bad, of course. "Margareta Lidman," an ode to one of Beaky's ex-girlfriends, has a proto-prog drive all its own, together with a truly ear-opening Dozy solo, while "Don Juan" was an ultra-atmospheric romp through the backstreets and alleyways of Pamplona. Unfortunately, those same two songs were coupled on the band's latest single -- so, once you'd picked up that, what did you need the album for? AMG.

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