Some copies contain a printed inner sleeve with credits and a short bio. Track numbering taken from the cover. Tracks A1 and A2 are combined to one track on the label, though still with separate credits and running time.
A product of Zax-Altfeld & Assoc., Inc. (on jacket, rear) A product of Zax-Altfeld & Associates (on labels)
Barcode and Other Identifiers
Matrix / Runout (Label Side A): US 1046
Matrix / Runout (Label Side B): US 1047
Matrix / Runout (Side A runout, etched [MR circled, stamped]): US 1046-T6 MR △11660
Matrix / Runout (Side B runout, etched [MR circled, stamped]): US 1047 T6 MR △11660-X
My U.S. pressing of this does not seem to correspond to any of the choices. Artist's name and production credit are in smaller typeset on the label, but only centered above the spindle hole on Side 1. Side 2 has the artist name above spindle hole and to the right and production credit centered and to the left of the hole. Matrix/Runout on Side 1 is US 1046 T/3 and on Side 2 is US 1047 T2.
Fever Tree, who actually hailed from Houston, Texas, played host to one of the seminal find your way to San Francisco west coast songs of the psychedelic 60’s with their single “San Francisco Girls (Return of the Native) rolling right up there with a number of similar outings regarding the Bay Area, including the haunting “San Franciscan Nights” by The Animals, Scott McKenzie’s “San Francisco (Be Sure to Wear Some Flowers in Your Hair), The Mama’s & Papa’s “California Dreamin’” along with several others that celebrated the Summer of Love, where with the influx of teenagers from across America taking to the hippie trail, contributed to the demise of the cultural sea-change that hung in the air as a dream even before it was over.
Aside from the single, the self titled album was rather neglected by music fans, a dripping dose of excess, highly derivative, laced with a series of eerie ballads infused with psychedelia, baroque pop and folk rock that also incorporated musical imagery from a distant classical past. Most odd was their almost unrecognizable version of “Ninety-Nine And A Half,” along with a three minute and twenty-seven second montage of The Beatles’ “Day Tripper / We Can Work It Out.” To say that the album is filled with pretense would be an understatement, where even after three months of studio time Fever Tree were unable to polish the edges or devoid themselves of senseless meanderings, worthless effects, and tripped out foreshadowings of harder edged metal that was on the rise by the turn of the decade.
Despite the album sounding for all the world as if each song was penned or brought to light by a different member of the band, there are those who will attempt to tell you that Fever Tree was one of the great lost bands of the era, when in fact that’s just not true, they had a hit and that’s all. If you manage to make it through this album consider yourself lucky. Refusing to back down, I will suggest that Fever Tree was indeed a reflection of the times from which it was spawned, with that perhaps being the band’s only saving grace, where had these musicians been able to move more along the lines of Vanilla Fudge, they might just have had greater success, though it would seem that Fever Tree were more intent on being of the moment rather than in the moment, too complicit in trying to re-create all that was happening around them, with others accomplishing and embracing these aspects more fully, leaving Fever Tree in the dust with less than a handful of songs that held together … nonetheless securing themselves a place in psychedelic musical history.
So, with arms flung wide and dazed eyes looking toward the stars in remembrance, I can honestly say that the song “San Francisco Girls” still stands as a beacon, harking back lysergic dreams I’d nearly forgotten.
*** The Fun Facts: A fever tree, or more aptly its bark, was imported to Europe under the name of Jesuits Powder believed to either cause or to cure a fever. Its medical uses faded until 1820 when the British Army mixed the ground bark with sugar, water and quinine to ward of malaria, thus creating the first Indian Tonic Water.
As to the opening song "Imitation Situation (Toccata & Fugue): Toccata is a musical composition for a keyboard instrument designed to exhibit the performer's touch and technique. As to Fugue, there are two meanings there: The first relates to music, a contrapuntal composition in which a short melody or phrase (the subject) is introduced by one part and successively taken up by others and developed by interweaving the parts. The second and more aptly the case here, refers to Psychiatry and a state or period of loss of awareness of one's identity, often coupled with flight from one's usual environment, associated with certain forms of hysteria and epilepsy ... though during the dazed years of the 60's, that would have transpired though the use of experimental drugs.
The third track “San Francisco Girls (Return of the Native)” makes reference to The “Return of the Native,” Thomas Hardy's sixth published novel. It first appeared in the magazine Belgravia, a publication known for its sensationalism, and was presented in twelve monthly installments from January to December 1878. Because of the novel's controversial themes, Hardy had some difficulty finding a publisher; reviews, however, though somewhat mixed, were generally positive. In the twentieth century, The Return of the Native became one of Hardy's most popular and highly regarded novels.
My copy of this record has a white sticker with red lettering that says: "PROMOTIONAL COPY NOT FOR SALE" on it. It is also missing the original inner sleeve. Wondering if this is rare or if anyone else has this.