The Pathfinders were re-christened White Trash, then just Trash. This line up issued, on Apple Records, a storming, hard-rockin’ soulful version of Carole King’s ‘Road To Nowhere’ as their debut, coupled with the wonderfully imaginative ‘Illusions’ (APPLE6). Here the group, mid-song, veer off for an excellent psychedelic-style sabbatical, before diving back headlong into the song’s last quarter.
The single was reported to have sold around 50, 000 copies, but despite healthy sales, something was amiss as no chart placing was forthcoming. It did, however, break into the top twenty in Holland, and the group appeared on the Dutch Top Of The Pops equivalent ‘Doobi-Doo’.
While there the group also played gigs at the esteemed Fantasio and Paradiso venues, and visited John and Yoko at the Amsterdam Hilton. “We needed our fare home and EMI weren’t gonna pay it”, remembers Fraser Watson. “So we went up to see if John and Yoko could help, we brought them a couple of wee presents. John telephoned Apple in London and within a couple of days or something like that cash was wired to us so we could get back to London”.
Trash released another single, getting in there quick with a recording of the yet-to-be-issued ‘Golden Slumbers/Carry That Weight’ suite from The Beatles’ ‘Abbey Road’ LP. McCartney wasn’t keen on them doing it, but Starr and Lennon gave it the go ahead. The progressive scene a lot of the groups were embracing at the time can be heard to great effect on the single’s instrumental-heavy flipside ‘Trashcan’ (APPLE17).
In one form or another, and still gigging profusely, mainly throughout the Scottish hinterlands, where their name and onstage repertoire were still a huge draw, The Poets soldiered on, the line-up now featuring various members from The Marmalade, Hughie Nicholson and Dougie Henderson among them. At the end of the decade, or as the new one dawned, The Poets recorded a promotional only single for the Scottish-based soft drinks company Barr’s. Issued on their Strike imprint (different from the label responsible for Our Plastic Dream, early Roy Harper, etc.) the hugely enjoyable ‘Heyla Hola’ / ‘Fun Buggy’ was a commercial flop, despite a television ad campaign that featured the group in the studio, and tearing about the beach in a dune-buggy style vehicle, accompanied by some ‘dollybirds’. The funky-styled flipside, sporting a chunky riff, sinewy wah-wah guitar and some thoroughly cool drum break-beats has, for the last decade or more, now been celebrated for precisely these qualities mentioned above, and has, thus, been a favourite of discerning club DJs looking for that extra-funky thrill to lay on their dancefloor-hungry groovers.