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That was how they ended up in a bizarre management situation, when they were offered a seeming rescue by a pair of twin London-based entrepreneurs, Ron and Reg Kray. Renowned today the world over as notorious gangsters, the Kray brothers have been immortalized in books, including Profession of Violence and Reg's own autobiography Born Fighter, and one feature film (The Krays), and were even memorably satirized in one Monty Python sketch ("The Piranha Brothers"). They were among the top crime kingpins in London at the time, and among their other enterprises, they had an interest in a few clubs, and thought at one point that a more direct participation in the entertainment business might prove lucrative. (And yes, it sounds funny to read it, or even to write it, but that is exactly how Morris Levy, an American gangster and club owner, came to go into the record and publishing business in New York, and ended up founding Roulette Records). Thus, they signed the group and became the Shots' managers, but were never able to do anything with them in terms of bookings -- strong-arming clubs for "protection" money was more their specialty than lining up engagements. The band decided to abandon the contract, and when they were served with an injunction, they were left unable to perform.
As luck would have it, however, they still had a publishing and recording contract with Babson and access to his studio, and so they took advantage of their ban on performing by writing and making records. Indeed, thanks to the fact that they were barred from performing as a band, the Shots probably had more free time to write and record than any working group in England (even the Beatles were touring in those days, though not for much longer). It was during this period that they also decided to change their name, dropping the Shots -- no one remembered the Moonshots by this time, anyway -- in favor of the Smoke. One of the songs they came up with was "My Friend Jack," a mod-flavored psychedelic number authored by Rowley and Gill. With its march beat and mix of shimmering and crunchy reverb-laden guitar, it was a catchy, striking, aggressively trippy work -- in America, it would've been called psychedelic punk -- that now seems like the most delightfully subversive piece of freakbeat, somewhere midway between the Who's power-chord-drenched teen anthems and the trippy cheerfulness of, say, "Dr. Robert" by the Beatles. Its drug references were so potent that the song had to be rewritten before EMI would touch it; released in February of 1967 -- a period in which "Penny Lane" and "Strawberry Fields Forever" were as challenging or ambitious as the label wanted to be -- the single only made it to number 45 before being banned by the BBC, limiting it to three weeks on the U.K. charts. In Europe, however, the record soared; the group were also fortunate enough to appear on an installment of the German television show Beat Club, alongside Jimi Hendrix, the Who, and Cliff Bennett & the Rebel Rousers. "My Friend Jack" ended up riding the German pop charts to the top, and earned the Smoke a place on a tour with the Small Faces and the Beach Boys.
They were now stars, although not in the place they'd expected to be. The single charted high in Switzerland, France, and Austria as well, and suddenly there was demand for a Smoke LP in Germany. They delivered this in the form of It's Smoke Time, comprised of the best of the year-old tracks recorded for Babson in the spring, summer, and fall of 1966. The band actually relocated to Germany, while continuing to release records in England -- their recording contract was sold to Chris Blackwell in late 1967, and he soon took over their management as well; they were free of their obligations to the Krays by then (who had, in any case, been distracted by a gang war and a prosecution). They cut some fine psychedelia and crossed paths with the members of Traffic in the studio during this period. The end came out of a degree of weariness, after five years of work and perhaps the sincere belief that they'd already enjoyed most of the fruits of their brief pop stardom -- they declined to obey a Blackwell summons to return to England for a recording session, and that marked the effective end of their history, at least as a classic British beat/freakbeat outfit. Mick Rowley remained in Germany, where, as the voice and frontman for the band, he had a natural following. Luker, Gill, and Lund did finally return home and went to work for Babson's Morgan Studios, working in various bands within Babson's orbit, including Blue Mink, Orange Bicycle, and Fickle Pickle. A latter-day version of the Smoke -- principally organized around Zeke Lund -- surfaced in a distinctly '70s mode early in the ensuing decade but made no great impression on anyone. Meanwhile, "My Friend Jack" lingered in the memory of music mavens for its cheerful brand of psychedelic punk, and even It's Smoke Time -- an incredible obscurity outside of Germany -- enjoyed a reputation as one of the most cheerful records ever made. By the mid-'90s there were reissues of the single and the LP on CD, and in 2002 a comprehensive double CD of the complete work of the '60s and '70s versions of the band was available. ~ Richie Unterberger & Bruce Eder, Rovi