"This is another one that really stuck out when I got into psychedelic music. It’s got all the elements. It’s got the distorted, orchestral thing, you’ve got flangers, tape phase and various other production techniques. Again, the vocal is just slightly twee and whimsical, but the rhythm section is like hip-hop. It’s got all of these weird elements, even though, being the late ‘60s, it was way before all of that. There’s stuff in the ‘50s that has phasing and flanging unintentionally, with tape speeds and certainly when they started multi-tracking there was definitely some cases of accidental phasing. But there’s a lot of talk about ‘Rainbow Chaser’ being one of the first examples of a phaser being intentionally used throughout a song. I don’t think there’s a definitive answer to that though. As much as I like this song, I didn’t delve too far down the rabbit hole with Nirvana. It’s very hard with stuff that’s on compilations, because you will go down avenues, but you can’t go down all of them, especially if you’ve got a boxset like the Rubble one, where you’ve got something like six CDs with twenty-odd tracks. I don’t have enough time in the day to do it, and some of it you just can’t get hold of. There probably are pressings of that single with a B-side, or maybe they didn’t do an album that was released. Because, believe it or not, not everything is on Spotify or Apple Music!"

"For me, this is the best guitar fuzz sound on record; it’s absolutely brilliant. I’ve been trying to get that sound and I’ve never got close, I’ve no idea what it is, apparently The Music Machine made their own pedals. They’re well-known to people who are into garage, psych-y stuff and I discovered them via Nuggets or Rubble compilation, or something like that. It’s strange, I love that song - I’m not hugely keen on the vocal but it doesn’t really matter to me on this song, it suits its purpose. It’s like the opposite of The Zombies’ Colin Blunstone’s voice. It’s not sweet and melodic, it’s gritty and punky and not my usual sort of thing but it screams attitude to me. It’s the sleaziest thing I’ve ever heard and it’s very, very inspiring for production. It’s the whole groove of it, the whole thing, but it all comes back to that guitar fuzz sound. With bands like The Beatles there’s so many books that go into the recording techniques, but not so with The Music Machine. Personally, I’ve learnt that the problem with fuzz tones is that, for example, people say you can get the fuzz sound from The Rolling Stones’ ‘Satisfaction’ by buying a Maestro Fuzz-Tone pedal, but I’ve seen countless demo’s of them and it sounds nothing like it, because it all depends on all the elements, like whether the guitar went straight into the board or if it was played through a broken speaker, or any number of things. There’s no way of knowing for sure. Maybe it’s because it was the ‘60s. Things weren’t documented but I still do it now, I get a sound and I won’t make notes on it because it’s like, “Why would I sit there and make notes on exactly what I did?”, so it becomes kind of lost and when people ask, “How did you get that sound?”, I don’t remember. Maybe it’s something that’s meant to happen - almost like you’re not meant to know, for ‘Trouble’ maybe it was the sound of the leather gloves they wore. The Music Machine had a very strange look, I think the singer wore a single leather glove and the rest of them wore roll necks and medallions."