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The Mirage

The Mirage were able to release seven singles on three labels in the U.K. between 1965 and 1968 without obtaining anything resembling popular or perhaps a solid cult popularity. This is ascribed to two main elements: the lack of significant primary musical vision, as well as the absence of actually strong primary materials, although they do write a lot of their very own music. Their upbeat, harmony-laden strategy was quite United kingdom and owed significant obligations towards the 1966-period Beatles as well as the Hollies, aswell as lighter types towards the Who. One of the most British facet of their sound was their propensity for music using a storytelling, observational point of view. The most well-known of the was their 1967 one, “THE MARRIAGE of Ramona Blair,” in regards to a bride-to-be whose groom does not show up on the ceremony, which includes appeared on many compilations of United kingdom psychedelia obscurities. The Mirage agreed upon to Dick Adam Publishing and offered as the home band for this organization; in addition they supported Elton John at his first single shows. The group split in Oct 1968 when lead guitarist Dee Murray and drummer David Hynes briefly became a member of the Spencer Davis Group. Murray became bassist in Elton John’s music group, while Hynes still left the Spencer Davis Group in springtime 1969 (probably with Murray — it isn’t apparent from existing records) and re-teamed using the various other members from the Mirage to create the Portobello Explosion, who do a 1969 solitary for Carnaby; that music group then became Jawbone, who also documented for Carnaby. A lot of the materials using their singles, and a couple of unreleased acetates, demos, and BBC broadcasts, could be heard over the Compact disc You CAN NOT BE Serious.

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