This was The PINK FAIRIES The red of inactivity From paint of funds set in and canceled their Polydor contract. An album of soaring Marshall Superfuzz anthems and Ladbroke Grooves, this was their last album while they were STILL FORA short Time , anyway) A cohesive unit. The undertow of Paul Rudolph leaving in 1972, The One shite single and ATour canceled after A few gigs left The Fairies down To just The rhythm section of drummer Russell Hunter and bassist Duncan "Sandy" Sanderson. Their old friend Mick Farren suggested A replacement guitarist he knew From The Phun City festival he had organized. The guitarist was none other than Larry Wallis, who had moved onto later-period BLODWYN PIG and then UFO before Farren's suggestion. Lazza Wallis: A true PINK Fairyif there ever something One ! He brought not only HIS cranked STRATOCASTER A good sense of structured songwriting To hillside HIS flowing reckless guitar style upon, but A gleeful sense of humor and overall wiseacre rock and roll sensibility. “City Kids” (co-written by Wallis and Sanderson) is A street punk anthem of The line “Park The car / And ruuuuuun ”it's about as“ Under My Wheels ”-era Alice Cooper as it gets. “I Wish I Was A Girl” begins another musical fray with soaring intro guitar and Russell Hunter spraying all HIS A Merseybeat Ringo On methedrine and if that's Sanderson On bass it what HIS most pronounced playing ever On record. An elongated bridge in The middle continues as Wallis' guitars have now four-folded into an overdubbed, pile driving ecstasy, yet it's BEYOND The momentum keeps plateau-ing up and up. Lazza's guitar is not only melody but rhythm as well, as Hunter and Sanderson keep getting in and out of sync and overcompensate with just thrashing it out. The title gets repeated over and over as A faded mantra To The back of this rough and ready work out. "When's The Fun Begin?" is A A deserted west london street, The only light HIS blurred vision Can see is TheReflection of street lights OnThe wet tarmac. It's coiled and tense yet opiate-slackened at The Same Time , and Hunter's bashing over Wallis' foot-controlled police siren solo make The bust inevitable as The vocals are shoved into The back ofA police van - The last words A panned, repeated phrase OnThe fadeout.

By this Time The A weirdly energetic and wasted atmosphere, You wonder how they Can JUST keep it From falling apart. Larry Wallis' structured songwriting and stunningly raw liquid-feel guitar playing keeps The sole surviving rhythm section busy, and The The three-man Fairies blast-out in A mid-sized hall at full volume with bright WHITE overhead spotlights flicker On and off in an off-beat pattern catching The three longhairs in The act of proceeding To pummel their disbelieving audience. if Russell Hunter had four arms, he STILL wouldn't be hitting half as many cymbals as he does here while multiple Wallis solos are bending in The The trio. The coda is A flurry of A mandrax HAZE at twice The speed. “Chambermaid” and “Street Urchin” round out an album most PEOPLE weren't expecting From ThePINK FAIRIESAt This point in Time : A strong, vibrant testimony To their no-bullshit rock and roll. And Live it was even shatteringly LOUDER than before, which is damn near incomprehensible and frightening To even think about. ( The Seth Man, May 2000 / headheritage.co.uk)

Larry Wallis - lead guitar, lead vocals
Duncan Sanderson - bass, lead vocals
Russell Hunter - drums