Friday, November 21, 2014

Mr. Flood's Party - 1969 - Mr. Flood's Party

Mr. Flood's Party
Mr. Flood's Party

01. Northern Travel
02. Déjà Vu
03. Advice
04. The Prince Of Darkness
05. Simon J. Stone
06. Stanley's Tea
07. The Liquid Invasion
08. Garden Of The Queen
09. The Mind Circus
10. Alice Was A Dream (Bonus track)

As one of the last truly great psychedelic albums of the 1960s, the eponymous debut (and only) LP by Mr. Flood's Party remains an exquisite listening experience more than 40 years after its was unleashed upon a generally unresponsive record-buying public. Although its intermingling of various musical styles in an experimental fashion was no longer a novelty by this point in the decade, it achieves a grandeur that few other contemporary releases achieve due largely to the group's considerable vocal and instrumental talents. There were still a lot of great mind-expanding records coming out in 1969 even if psychedelia was approaching the end of its commercial rope, and Mr. Flood's Party definitely qualifies as one of them.

An aura of obscurity continues to surround the group due to a scarcity of information about them, a somewhat surprising situation considering that they were signed to major-label Atlantic subsidiary Cotillion and apparently hailed from Long Island in New York. The personnel consisted of Tom Castagnaro, Michael Corbett, Jay Hirsch, Rick Mirage, Marcel Thompsen, and Freddy Toscano, although I cannot locate much in the way of details about what instruments they played. A Myspace page (remember those?) respectively identifies Catagnaro and the Dutch-born Thompsen as a drummer and guitarist and describes some of the other members (the "two 'Principal's'" [sic]) as college professors! Corbett and Hirsch (the rocking academicians?) probably handled a significant amount of the vocals since they would later record an album with guitarist Hugh McCracken on which their singing has been favorably compared with Crosby, Stills, Nash, & Young. According to one source, Toscano subsequently functioned as a singer, guitarist, and keyboardist in the little-known mid-1970s band Frogs, and it is quite possible that he served in the same capacity with Mr. Flood's Party. While these two aforementioned offshoots have their musical virtues, neither of them bear much of a resemblance to the band that recorded the subject of this review.

A late 60's psych band naming itself after a poem by Edwin Arlington Robinson? They would either become the darling of college campuses or an obscurity on the illfolks blog.
This curio is a strange but pleasing mix of CS&N type harmony (most notable on the song "Deja Vu," which is not to be confused with the CSN&Y tune) and most any overwrought psych band of the era. Add a dash of Zappa; the band wasn't averse to drifting off into tongue-in-cheek chant ("Tangerine...tangerine...kiss my tangerine...") or mocking the "Evil Prince of Darkness" with saucy lyrics and a dash of doo-wop.
The best song is the shortest, probably the only one that might've had a shot at being a single. Not a hit single, but a single. It's "Simon J. Stone," which is the only song on the album that references Tilbury Town, where Edwin Arlington Robinson's characters lived in their anguish, chagrins and occasional glory. "Simon J. Stone, you're a good man, what is there left for a good man?" Or an obscure 60's psych band that put an old man on the cover of their album years before "Aqualung."

So what does Mr. Flood's Party sound like? As with quite a few albums recorded circa 1966-1969, it is a very eclectic affair and displays a great number of influences including guitar-intensive West Coast psych, orchestrated baroque rock, and harmony-vocal-heavy British Invasion groups to name but a few. The record boasts impressive production standards as well as effects supplied by what sounds like a Moog or Mellotron synthesizer and a Leslie amplifier, while the songs range from delightfully weird hard rock tunes to exquisitely crafted exercises in mind expansion. Even though some critics claim that an overabundance of musical variety prevented Mr. Flood's Party from establishing a concrete musical identity as a band, I beg to differ and believe that their lone effort should be recognized as a challenging and multilayered work that will reward the listener with repeated spins on his or her turntable. Not that I necessarily advocate such things, but indulging in some mind-altering drugs will probably make this record even easier to appreciate. A discernible feeling of sadness pervades much of the album, which should not come as a surprise since the group's name is derived from "Mr. Flood's Party," a piece by the notedly gloomy American poet Edwin Arlington Robinson. (I assume the cover artwork depicts the drunken old sod Mr. Flood himself.) That's not to suggest that Mr. Flood's Party the LP should be considered a tearjerker, although it's certainly an introspective listening experience since the songs explore much of the same thematic territory as Robinson's works. Some of the tracks have an engaging schizophrenic quality to them, in particular "Northern Travel" (an LSD metaphor?) and "Deja Vu," which sound as if they were constructed from several different songs and glued together with psychedelic paste. Wailing lead guitar, soaring strings, and heavenly vocals grace "Advice," while "Prince of Darkness" finds the band sounding somewhat like an East Coast equivalent to the West Coast Pop Art Experimental Band to my ears. The delicate but not overly-precious "Simon J. Stone" features more gorgeous harmony singing in addition to lyrics that could pass for one of Robinson's own poems. The Moog showcase "Stanley's Tea" finds Mr. Flood's Party at their most Anglophonic, while "The Liquid Invasion," with its searing lead guitar work, is just as psychedelic as its title implies. The dreamy "Garden of the Queen" returns the band to British-inspired material and intentionally or not comes off as something resembling psych folk. "Mind Circus," the complex closing track, can best be described as a musical interpretation of someone's descent into madness, concluding with a haunting fadeout that will stay with you for days.

Mountain Bus - 1971 - Sundance

Mountain Bus

01. Sing ANew Song
02. Rosalie
03. I Don't Worry About Tomorrow
04. Sundance
05. I Know You rider
06. Apache Canyon
07. Hexahedron

*Bill Kees - Electric, Acoustic 12 String, Bottleneck Guitars
*Ed Mooney - Electric, Acoustic Guitars
*Tom Jurkens - Vocals
*Steve Krater - Drums, Percussion
*Lee Sims - Drums, Percussion
*Craig Takehara - Bass, Banjo

The Grateful Dead sounding band that was sued by Windfall Music and Columbia Records for using the name "Mountain", although they actually had been together for 4 years before Mountain was officially formed!! Their classic "Sundance" LP from 1971 plus unreleased live and studio material off the Master Tapes from this Chicago band- A total of 13 songs and 70 minutes of music.

Reissue of the rare and great 1971 album by this Chicago band. Psychedelic country tinged rock, that has drawn comparisons with Grateful Dead, possibly for their own blissed out version of "I Know You Rider". Long jamming tracks with great spacey mid sections and liquid, twin lead guitar work...

Mountain Bus had its humble beginnings way back in 1962, when Ed Mooney. Tom Jurkens, and Stave Krator were students at Loyola University on the North side of Chicago. Mooney had a band called Moons and the Stars from 1962- 1964. Jurkens was in another group called Jurk & The Bushman in 1965 when, upon their dissolution that same year. Mooney and Jurkens formed a rock and blues band called Rhythms Children, enlisting the services of Steve Titra». Joe Wilderson, and Steve Krater to round out the group.

The band disserved m 1967 when Wilderson opted to leave for Canada to avoid the increasingly unpopular Vietnam War draft. The Chicago scene, like many other musically progressive areas of the country during this time, draw upon the increasingly popular and talented base of musicians coming out of the communal scene. Bill Kees. formerly of the bands ‘Fantasy' and "Hearts of Soul' fomed the band along with Mooney. Jurkens, and Krater and at this time, took the name "Mountain Bus", a tact and data point largely and conveniently ignored in the tad of 1971 (BE PATIENT, YOU LL GET TO THE GOOD PART IN A FEW MINUTES)

This incarnation of the band lasted until April of 1970, when Krater left for a two week honeymoon While he was gone. Lee Sims filled in for him; upon Kraters' return, their decision was made to go with both drummers. Both free and very low paying jobs haunted Mountain Bus for years; they had played to almost empty houses in and around Roger's Park and the Loyola campus since 1967 but as 1971 approached, they began to branch out around Chicago and played quite a few gigs at Alice's Revisited at Lincoln and Wrightwood. Their favorite place to practice for many years was a dungeon at 187 Wacker Drive. After a while, though, they couldn't stand the filth and rats anymore.

They had, managed to the secure the back room of a little king restaurant which greatly improved the aesthetics But Mountain Bus never made any great money during those days; the band members supported themselves with full-lime jobs just to constantly fund the band's activities, equipment, and, later on, legal costs. Some of the members worked at local record stores, one of which. Round Records, was owned by David Solomon. The store eventually ended up becoming the bands Headquarters and Solomon assumed the role as manager/bookings agent One of Solomon's colleagues, Al Krocky. also owned a record store.

At this time, record companies wers driving up prices to maximize their profits Al, however, saw an opportunity to start a record label which would sponsor local bands and put out records at much lower prices than the major labels were cranking them out at. in part caused by the mark-ups created by the record passing through three or four hands before getting to the general public Their plan was quite simple: Sell directly to the stores from the record label for the wholesale price of about $1.50 and retail the album for $2.98. instead of the standard $5.96.

The store would make just as much margin as before, but the records would be more affordable to the people. So Krockey, another record store owner named Steve Nakon. and Dave Lissner decided to form Good Records, a division of the "parent company" People's Art Corporation. In the Spring of 1971. Good Records struck up a deal with Streetervite Recording Studios for 60 hours of recording and mixing time for $3.500. After going through seven 16 track 2” reels of tape at $75.00Vreei. coupled with additional hours over the initial 60, the total biff came to about $4,500 Throw in a few more bucks for the album covers and design, and the project was finished.

The LPs were pressed at an RCA plant, while the tapes (both cassette and 8 track) were manufactured by Ampex Good Records had been busy establishing accounts in over twenty stales, banking on then philosophy that 1) because they were small, they could release only about four records a month, with each and every release really amounting to a major one and 2) Good Records was offering its musicians a larger slice of the revenue pie. at 25 per LP sold, versus the industry 'standard" of .22. The release of the LP started out slowly and then caught the attention of a lot of music critics both in Chicago and a few nationally. But then, suddenly, on 2 November, 1971, a temporary restraining order was served on Good Records.

People's Art Productions, and the band members themselves to keep them from using the name "Mountain" as part of an ugly, aggressive and methodical effort by Windfall Music In New York, which legally represented the band know as “Mountain" (Leslie West, Felix Papalardi. Corky Lang, Steve Knight) ' who had gained National attention since their appearance at the 1969 Woodstock Music Festival. The lawsuit demanded that all record sales, promotions, air play, etc be halted, in that it was infringing on the established trademarks of Mountain, confusing and deceiving the general public, and diverting sales of Mountain's LPs , thereby causing "Irreparable toss" of their revenue stream.

But the real crux of this lawsuit was not that Mountain Bus had caused confusion with the Mountain name nor diverted one cent of Mountain's $1.5 million in revenues earned between July 1969 through October 1971; it was the plain and simple matter that the major record labels at this time (Columbia owned Mountain) were not going to allow nor put up with upstart companies like Good Records or any others that offered good quality music at an affordable AND lower price than the majors. The facts were simple 1) Mountain Bus had been together for over 4 years, two years longer than Mountain using their name 2) Mountain Bus was a local band, very few people outside the Chicago area had even heard ot them before the release of the LP and 3)Mountain Bus had never reaped any significant profits over these years- the band were paid very small wages and many of their performances were for benefits and other non-profit organizations.

Even more laughable was the 'Exhibit 3' used by Windfall to claim Mountain Bus had taken away business Mountain could have benefited from- A advertisement for Mountain Bus playing a Halloween benefit dance for the Parents School!! But this was serious business and a ton of money was thrown at this by Windfall.- they knew Good Records and the band couldn't sustain a long, drawn out legal battle Good Records had no reserve money with which to fight the lawsuit, and they went bankrupt. In its brief existence. Good Records had sold less than 3,5OO Mountain Bus albums m contrast to Mountain's 1.3 million. A record company founded with the express purpose of providing people with good quality music at reasonable prices was run nut of business And a great band broke up as a result of these bullying actions It was a loss for the public and a big gain for the record companies.

The negotiated settlement called for dropping of an charges in return for the band ceasing to use the name "Mountain" In any of their performances alter a grace period of June 1972. In addition, they had to commit not to encourage, participate in, nor condone any publicity, demonstrations, or other adverse activities regarding Windfall Music or Mountain (there had been quite alot of threats and negative publicity at Mountain concerts and in many of the local and National papers (Rolling Stone for one). In addition, the disclaimer which also appears on this Compact Disc was required wording on the LP and tape releases of Sundance In the end the real losers were the people which Good Records had intended to reach.

One wonders how many other great bands and music would have come out of this venture should Windfall Music have left well enough alone" Leslie West and Felix Papalardi insisted they knew nothing of the lawsuit when confronted with it by reporters and were purportedly upset about it, this of course then begs the question as to to why, if they m fact were so sympathetic to the plight of Good Records and Mountain Bus did they not themselves legally pursue Windfall over the bad press they personalty received over it?? The band known as "Mountain" officially broke up less than one year later. Leslie West is still active in the music business today; Felix Papalardi was shot and killed by his wife in 1984.

All members of the band Mountain Bus assisted In the preparation of this Compact Disc but many thanks go to Bill Keel and Ed Mooney and Craig Takehara for taking the time out and providing Gear Fab with photos, clippings, biographies, and. most importantly, the Master Tapes of these sessions. And special thanks to Good Records and their founding members who had a good idea back then and inspired many of today's small and independent labels to persevere and get the music out to the people!!" And another special note: There is amongst the music world another version of 'Sundance" on CD which has its origins in the country of France. No members of Mountain Bus nor People's Art Corporation participated in that project, nor ware they paid any fees, licenses, or royalties, as required by international Law.

This is the official and only authorized legal release for Mountain Bus!!!' Last Note: The live material contained herein was recorded at various live gigs throughout the Chicago area; the band at times were hoarse, tired, stoned, drunk, and in general, in a state of euphoria so common to these times. So please, understand that it captured the essence of the moment.
from CD Liner-notes

Montreal - 1970 - A Summer's Night

A Summer's Night

01. What About the Wind?
02. A Summer’s Night
03. Circles and Lines
04. Sometimes in Stillness
05. Third Floor Walkup
06. Every Passing Moment
07. Summertime
08. Round and Round
09. Infinity

Produced by Richie Havens (who also contributes sitar), this lost classic was recorded in New York in 1970. Featuring Canadian musicians Fran Losier, Gilles Losier and Jean Cousineau, as well as leading jazz flautist Jeremy Steig, psych-folk legend Buzz Linhart and the Carolyn Hester Coalition’s Skeeter Camera, it’s a mesmerising collection of jazzy folk-psych. Packed with glorious vocal harmonies and unforgettable melodies (culminating in the spellbinding acid folk masterpiece ‘Infinity’), it makes its long-overdue CD debut here.

Fran Losier – vocals
Jean Cousineau – guitar
Gilles Losier – piano / bass


Richie Havens – sitar / koto
Jeremy Steig – flute
Buzz Linhart – vibes
Skeeter Camera – percussion

Produced by Richie Havens and Mark Roth
Arranged by Montreal
Recording and remix engineers – Al Manger and Bernie Fox
Director of engineering – Val Valentin
Original cover design and photos – Mark Roth
Art direction – Sid Maurer

“Indicative of the fine working ability of Canada’s enthusiastic musicians is MONTREAL – the makers of the music you are about to hear.

Canadian musicians and performers have always been true to the gaiety of a Canadian summer and have the ability to use the long winter as a working tool. In our efforts to know a new kind of music and determine its influence upon the times and ourselves, we have yet to spend time really listening. This is listening music. Since man first began making sounds, there has been music to move the feet and music to move the mind. The music produced by these fine artists of today merge free-feeling music with words of importance. Although the nature of our situation will allow us to dance, these are still words to be heard.

Jean Cousineau’s guitar will never cease to intrigue your imagination. Gilles Losier’s piano and bass act as an organic rubber band, while his knowledge of sound will create other instruments from the one he is playing. Fran’s voice will bring the sun in the mornings and set it many an evening in your home or pad or camp-out. Montreal is a place for all ages, and so is MONTREAL’s music. A necessary experience” – Richie Havens

Monte Dunn & Karen Cruz - 1969 - Monte Dunn & Karen Cruz

Monte Dunn & Karen Cruz
Monte Dunn & Karen Cruz

01. Never In My Life
02. Order To Things
03. You Don't Smile Much
04. Loving You
05. Self Satisfaction
06. Outside Looking In
07. Lullabye
08. So Much Lovin’
09. Tip Of My Mind
10. Yellow Cab

As one of the leading US session guitarists of the 1960s, Monte Dunn will need no introduction to fans of Tim Hardin, Fred Neil, Richie Havens and many others. In partnership with his wife, New Orleans native Karen Cruz, he also released this glorious collection of mellow folk-rock in 1969, with contributions from a galaxy of fellow session stars including Bruce Langhorne (guitar), Paul Griffin (keyboards), Eric Weissberg (banjo) and Hal Blaine (drums). It makes its CD debut here, complete with its original press release, and is an essential purchase for all fans of 1960s folk-rock.

“Excellent folk-rock / country-rock, with good vocal harmonies and musical accompaniment. It has a nice, laid-back, late 60s vibe and some well written love, nature, and anti-war songs” – playitagainmax

“Some cuts have an understated pop / folk-rock touch, with an appealing sense of longing, somewhat haunting melodies, and harmonic blends… The highlight is ‘Tip of My Mind’, on which the harmonies really attain a rich, melancholy pungency” –

Malachi - 1966 - Holy Music. Brand

Holy Music. Brand

Evening Vibrations – Wednesday, August 17th 1966

01. Wednesday – Second
02. Wednesday – Sixth
03. Wednesday – Fourth
04. Wednesday – Fifth
05. Wednesday – Eighth

- John Morgan Newbern / Guitars
- Red Krayo / Jew harp

Recorded at Columbus Recording Studio, San Francisco

“He listens quietly to himself and then plays what he can of what he hears” – Allen Ginsburg

Recorded in San Francisco in August 1966, this collection of lengthy, acid-tinged folk instrumentals is one of the earliest psychedelic albums ever recorded, and makes its CD debut here. As the original sleevenotes state: “Malachi’s music transcends the traditions of East and West, and represents the new synthesis which is still being worked out in aesthetics, philosophy and religion by those participating in the psychedelic revolution.”

The mysterious Malachi was in fact John Morgan Newbern, a pioneer of so-called ‘new age’ music. Born to parents of Swiss and French ancestry in Baltimore, Maryland on November 28th 1944, he was expected to pursue a military career. However, a 1955 visit to Mexico (and especially Kukulkan’s Pyramid in Chichen Itza, Yucatan) radically altered his life’s path, despite parental disapproval. Determined to search for meaning in his life, Newbern embraced his generation’s burgeoning interest in Eastern spirituality. and recorded this album on Wednesday, August 17th 1966 (with help from future Red Krayola member Steve Cunningham on Jew’s harp), making it one of the very earliest psychedelically-themed albums ever taped. Verve had predictable difficulty categorising it, as it combined elements from several ancient world musical styles, but it sold respectably. Newbern played many gigs as Malachi in the late 1960s, especially for the legendary promote Chet Helms in and around San Francisco. The label, however, did not invite him to record a second album, leaving Holy Music his sole contemporary release. A practising Tibetan Buddhist, Newbern continues to make music to this day, both improvised and rehearsed, as well as writing on meditation and related subjects and building guitars.

“Malachi’s music transcends the traditions of East and West and represents the new synthesis which is still being worked out in aesthetics, philosophy and religion by those participating in the psychedelic revolution. Influences, to be sure, are there – thus music of India and of the American Indian – but most of all it is the music of the human spirit, of a universal nature evoking meditative explorations through all our senses. It is psychedelic music in the most honest sense, as is a Ute sun dance, a raga or Gaelic keening. Within ourselves, below the musical innovations of the last thousand years of European history, we hear a different drummer – and Malachi enables us to touch again that deeper self. He is not imitating, nor only combining different cultural patterns, but is discovering, as are many of this newly-awakened generation, those feelings, visions and sounds which have lain dormant under the conditioned ‘reality’ of Western civilisation. To listen to Malachi is to feel one’s oneness with Man.” – Michael Harner, Visiting Associate Professor of Anthropology, Columbia University, NYC

“Malachi approaches music in spirit of consciousness – meditation: altar, flowers, herbs, incense, silence, communion with selves, hush and darkness and improvisation. He listens quietly to himself and then plays what he can of what he hears. I guess he’s a white Indian, a new archetype among American new Persons. Poe would have enjoyed his presence.” – Allan Ginsberg

The theory, knowledge concerning musical instruments, and the performance method will have to be learnt as a methodology for the player and the musician to express the culture and the music character.
Especially, the element that Europe and America had absorbed in the flow that absorbed classic music that stuck to the culture and regionalities such as Africa and India and the element might have had the part where the execution had been remarkably shown as music indeed rapidly.

These flows that had derived in the latter half of the especially 60's might also have included the flow to which the width of directionality was expanded by the part of the fashion and the expression with musical instruments depending on the musician. However, the difficult part might be likely to stand out when an avant-garde part, thought, and the philosophy are taken and it projects to the work. The forward, thought, and the philosophy might be remarkably projected to the work and the sense, knowledge, and the flexibility very sharpened be necessary for the expressed part.

Malachi that migrated to San Francisco at the time of the 1960's establishes the name as a guitar player. John Morgan Newbern that used the name of "Malachi" as an alias devoted oneself researching the classics music that existed in music that belonged to the culture of the Orient and India. It is thought that the flow formed an original music character with the research of the religion and the philosophy of various places without staying in music.

It is a possibility for playing the guitar though it is a guitar player. Or, it is partial in which it expresses it for the possibilities of musical instruments that oneself uses. Construction of sound in which impression that exists in place transcended because music character that flows to this album exceeds frame of music is given. It might be all poured into "Holy Music" that Malachi created.

The sounds of various musical instruments appear in this session besides the guitar. The constructed Music character will not end only by the part of a simple experiment and the forward in the album. The culture, the philosophy, and thought are exactly reflected by creating this music. And, complete space might exist. It is likely to exist exactly as nonfiction and a document.

The point that should make a special mention is existence of Steve Cunningham in this album as the appointment of the participating musician. "The Red Crayola" has been formed as a band including Steve Cunninghum in Texas at the same time when this album was announced. Details of this exchange are not certain. However, the element of psychedelic and avant-garde's flow might have the connection very much as an important factor at this time. This album might be able to be caught as shape to have promoted the flow further.

Steve Cunningham uses Jaw 's Harp in this album. And, the usage of the guitar that Malachi plays demonstrates the independent thought and the method without reserve. It is on Wednesday, August 17, 1966 that this session was done. It is shown to have been done on Wednesday in the title of the tune. The tune along the theme of this album might be extracted and be collected from among the session that seemed to have been done about ten times or more as a guess it. The form of one music that exceeds all frames is exactly expressed by this album. It is holy music that they did.

"Wednesday-Second" is a part of the construction of a quiet sound that appears intermittently. Flow of heavy atmosphere that is invited to sound of Jaw 's Harp and appears. Melody of guitar that gives impression of uneasiness. Flow that part and metallic sound of Jaw 's Harp are constructed. As for the construction of the sound that develops one after another, thought might be indeed reflected. The melody of the guitar that makes the melody of fine quality flows gently in the space.

"Wednesday-Sixth" will have the start that draws the flow of "Second". The sound of the guitar that gives a solemn impression is opened and flows in the space. Jaw 's Harp twines well for the flow. The flow constructing it while following a classic melody of India might have the original world. The processing of a heavy sound and the space intermittently made exceeds the frame of the session. It will be able to be said that holy music to exclude the sound of the extra and to create by a minimum method is one realizing.

The part of the sound and the decoration that emphasizes the high pitched sound part appears strongly in "Wednesday-Fourth". Sound of Jaw 's Harp that reacts to repeated single sound. It is likely to be able to listen to the flow that changes shape according to various sounds to the construction of the sound consistently. However, one space made by repeating dismantlement and restructuring makes it absorb all concepts and project. This tune is complete the processing of the space.

"Wednesday-Fifth" starts by an expression of feelings melody in close relation to the sound that Jaw 's Harp repeats. The flow expressed at following a classic sound of Indian music and a constant speed gives the gaga impression. It is likely to consist as projection of an impression that feelings are expressed with musical instruments and complete thought.

As for "Wednesday-Eighth", the religion, the philosophy, and the thought that Malachi completely learnt are reflected. The song in close relation to an enchantment melody with the guitar might be one realizing. Construction of sound in which it works with angle besides technical respect. Or, the sound in which the world where all genres were transcended as a theme of this album is constructed has the overwhelming might.

It will not be an exaggeration in exactly simple music alone to say the session done as a part where it doesn't stay. It might be a work that exists in the place where the frame that had to be called music as an expression of one in which all thought is reflected was exceeded.

Lynn Blessing - 1969 - Sunset Painter

Lynn Blessing
Sunset Painter

01. Cosmic Cowboy
02. Sunset Painter
03. Mother Nature’s Son
04. Anacalypsis
05. From Deep Within For Lynn
06. An Awakening
07. Country Pie
08. Pinball Wizard
09. Emerald River
10. Child Of The Universe
11. “Monk 136”
12. Where There Is Grass

Lynn Blessing – vibes, harmonica. Born Cicero, Indiana, 12/4/38. Started playing drums at age 10, vibes at age 17, played with Freddie Hubbard in high school, 1954-57. Worked with Jay Crawford, Joe Loco, Fred Katz, Paul Horn, Martin Denny, Tony Bennett, the Advancement and the Cosmic Brotherhood.

“Lynn Blessing is a seeker, a man in search of himself and deeper values in life. This search for unity in a field of infinite variety is beautifully apparent in this, his first album as leader. Here Lynn combines jazz, country and folk music in a way all his own. Lynn’s background encompasses these diverse elements, and the result is a swinging, joyous and original style. So, as Lynn says at the beginning of this album: “Just sit back, relax, and take off your shoes…” – Paul Horn

Wolfgang Melz – electric bass
John Beck – guitar
Robert Hirth – guitar
Sneaky Pete Kleinow – steel guitar
Mel Telford – drums

Produced by Paul Horn
Engineered by Rafaelo Valentin
Front cover design by Stan Zagorsky
Front cover photos by Brian D. Hennessey
Back cover design & photos by Jan Steward

“The search for unity in a field of infinite variety is beautifully apparent in this album... the result is swinging, joyous and original” – Paul Horn, original sleevenotes

Shortly before he appeared on the landmark Advancement LP in 1969, vibraphone virtuoso Lynn Blessing released this, his only solo album. A superb fusion of jazz and laid-back psychedelia, it features musicians such as Sneaky Pete Kleinow (Flying Burrito Brothers, John Lennon, Frank Zappa) and Wolfgang Melz (the Association, Gabor Szabo), and was produced by legendary jazz flautist Paul Horn (Miles Davis, Donovan). Including a handful of mellow originals alongside unorthodox covers of songs by the Beatles, the Byrds, the Who, Bob Dylan and Judee Sill, it’s a laid-back delight from start to finish. As Blessing says at the outset: “Sit back, relax, and take off your shoes…”

Linda Perhacs - 1970 - Parallelograms

Linda Perhacs

01. Chimacum Rain
02. Paper Mountain Man
03. Dolphin
04. Call Of The River
05. Sandy Toes
06. Parallelograms
07. Hey, Who Really Cares?
08. Moons and Cattails
09. Morning Colors
10. Porcelain Baked-Over Cast-Iron Wedding
11. Delicious

Bonus tracks
12. If You Were My Man [demo]
13. If You Were My Man [alternate take]
14. Hey, Who Really Cares? [with intro]
15. Chimacum Rain [demo]
16. Spoken Intro to Leonard Rosenman
17. Chimacum Rain [demo]
18. I’d Rather Love Someone I Can’t Have (Than Have Someone I Can’t Love)
19. BBC interview

‘The unquestioned queen of the hill of female psychedelic albums… a pure and honest listening experience, a masterpiece’ – The Acid Archives

‘An album whose depth and beauty is, nearly four decades on, still utterly staggering’ – Mojo

Combining fragile and beautifully melodic acid folk with perfectly-rendered electronic effects, this remarkable album consists of what its creator describes as ‘visual music’. First released in 1970, it has gone on to become one of the most legendary and well-loved recordings of its time. It’s presented here with the full collaboration of its enigmatic creator, and features her own detailed liner notes, as well as rare illustrations and eight bonus tracks (including one previously-unheard out-take), making it the most definitive edition of this timeless classic ever released.

MacKenzie Theory - 1974 - Bon Voyage

MacKenzie Theory
Bon Voyage

01. Clouds (15:43)
02. The A Thing (5:24)
03. The C Thing (8:03)
04. Supreme Love (7:36)

Rob MacKenzie / guitars
Cleis Pearce / electric viola
Paul Wheeler / bass
Greg Sheehan / drums
Peter Jones / piano

MacKenzie Theory - 1973 - Out Of The Blue

MacKenzie Theory
Out Of The Blue

01. Extra Terrestrial Boogie
02. O
03. Opening Number
04. New Song
05. Out Of The Blue
06. World's The Way

- Rob MacKenzie / guitars
- Cleis Pearce / electric viola
- Mike Leadabrand / bass
- Andy Majewski / drums

Born in the Melbourne music scene of early 1970's Australia, MACKENZIE THEORY played a brand of instrumental jazz-rock not unlike that of MAHAVISHNU ORCHESTRA tempered by ITS A BEAUTIFUL DAY. The MACKENZIE THEORY sound was centred on the inventive and fiery guitar playing of Rob MacKenzie teamed with the electric viola of the classically-trained Cleis Pearce.

As well as MacKenzie and Pearce, the the initial MACKENZIE THEORY line-up was rounded out with the recruitment of bassist Mike Leadabrand and drummer Andy Majewski. The band took the name MACKENZIE THEORY as recognition of its alignment to Rob MacKenzie's theories on music and his philosophies on the link between the music and life. In September of 1973 there were changes to the MACKENZIE THEORY line-up when Mike Leadabrand and Andy Majewski left the band and were replaced by Paul 'Sheepdog' Wheeler and Greg Sheehan, respectively. At the same time Peter Jones came into MACKENZIE THEORY on electric piano, adding a new dimension to their sound.

After burning brightly for a short period, things were all over for MACKENZIE THEORY by the middle of 1974 after Rob MacKenzie was awarded a study grant from the Australian Council for the Arts, and he and Pearce decided to head to the UK Kingdom to pursue study options. While in the UK and later in the USA, Rob MacKenzie had the opportunity to work the likes of Peter Gabriel, Pete Townshend, members of Brand X and Mike Bloomfield.

Rob MacKenzie was last known to be residing in the USA and playing lead guitar for rock 'n' roll revivalists SHA NA NA. Cleis Pearce continues to play music in Australia as well as having achieved success in the visual arts arena.

The first recorded work of MACKENZIE THEORY appeared on the 1973 Sunbury Music Festival triple live album "The Great Australian Rock Festival Sunbury 1973". After failed attempts to create a studio album, the highly acclaimed MACKENZIE THEORY debut set "Out Of The Blue" was recorded live-in-the-studio before a small audience and released by Mushroom Records in July 1973. In 1974 a farewell concert for MACKENZIE THEORY was recorded at Dallas Brooks Hall in Melbourne, which was later released by Mushroom Records as the second MACKENZIE THEORY album "Bon Voyage". MACKENZIE THEORY also featured as an artist in the 1974 Sunbury Music Festival recording "Highlights of Sunbury '74, Part 2", plus the band has appeared from time to time on compilation releases. One notable compilation featuring MACKENZIE THEORY is the Australian progressive rock compilation "Golden Miles: Australian Progressive Rock 1969-74", released in 1994 by Raven Records.

MACKENZIE THEORY is an interesting band with a raw-edged sound for those who enjoy jazz-rock and the interplay between guitar and violin or, as is the case with MACKENZIE THEORY, the electric viola. Recommended.

Gift - 1974 - Blue Apple

Blue Apple

01. Blue Apple
02. Rock Scene
03. Don’t Waste Your Time
04. Psalm
05. Everything’s Alright
06. Got To Find A Way
07. Reflections – Part 1
08. Reflections – Part 2
09. Left The Past Behind

- Uwe Patzke / bass, vocals
- Rainer Baur / guitar
- Hermann Lange / drums, percussion
- Dieter Frei / organ, piano, moog, mellotron, vocals

Helmut Treichel left in 1973 and was replaced with Dieter Atterer.

Blue Apple, Gift’s second and last album, reaches further than their fuzzy, trippy debut, attempting more progressive flourishes with the addition of keyboards. Frei’s mellotron is apparent from the off, with a ‘Tron flute melody running through the title track, and strings on the other credited tracks.

The music is typical mid-70s mix of lighter and heavier rock, with a noticeable blues base and rampaging organs and guitars are all over. The high speed Purple/Heep-ish “Everything’s Alright” is even complete with Speed King-style classical organ intro.

Gift - 1972 - Gift


01. Drugs
02. You’ll Never Be Accepted
03. Groupie
04. Time Machine
05. Game Of Skill
06. Don’t Hurry
07. Your Life
08. Bad Vibrations

- Uwe Patzke / bass, vocals
- Rainer Baur / guitar
- Helmut Treichel / vocals
- Hermann Lange / drums, percussion

Originating in Augsberg circa 1969 as a school band named Phallus Dei, after ill-fated attempts to get a record contract they changed their name to Gift and adopted a straighter hard-rock style.

Their selftitled debut album is comprised eight songs with no flutes, no woodwinds and no keyboards, just plain hard guitar riffs, to be compared to Hairy Chapter. Thick, acidic guitars, hard charging riffs. “Game Of Skill”, “Drugs” and especially “Bad Vibrations” all feature great, aggressive feels and sounds.