As a "conductor" too organ/electronic synthesizer player, Byrd is rattling much the leader of this circus. With a dyad drummers, a half-dozen horn players (including a immature Tom Scott), 3 woman individual vocalists, too a half-dozen or too thus other musicians popping upwards over the course of didactics of the album, in that place are a lot to a greater extent than people involved inwards this projection than in that place were inwards the (relatively) stable lineup of the US of America. Despite the ambition of this LP, it ultimately serves to illustrate precisely how Byrd benefited from the unique synergy provided past times the other members of the U.S.A. There are all kinds of adventurous electronics too eclectic ideas bouncing dorsum too forth, but the songwriting is only non every bit strong every bit that of Byrd's previous group. The best songs are the ones which well-nigh strongly remember the U.S.A. inwards their spacy melodicism ("Moonsong: Pelog") too driving psychedelic pulse ("You Can't Ever Come Down"). Unfortunately, the woman individual singers on these tracks are no check for The U.S.A.'s Dorothy Moscowitz, although they seem to live aspiring to the same dreamy, icy quality. Byrd himself is quite a mediocre singer, every bit his attempts at taking the Pb on straightforward stone textile prove. Otherwise, in that place are about bad takeoffs on gospel too old-time music, haphazard primitive early on synthesizer, too dated social commentary/satire. As ambitious inwards its orbit every bit Byrd's commencement stone project, this album is non nearly every bit successful.
After his commencement album amongst a band called "United States of America," Joe Byrd released this, his masterpiece, inwards 1969. Even without the assistance of mind-expanding drugs it is obvious that metaphysics is fundamental to the overall subject of this dandy concept album.
The commencement section, "The Sub-Sylvian Litanies," is an seek to plough reality inside-out. Literally important "beneath the forest," its 3 odes larn correct to the core of our rattling existence. It employs themes built upon the 4th grade of the octal scale, a Greek trend called phrygian.
The middle section, "Four Songs for a Departing President," are a slap inwards the confront to erstwhile president Lyndon Johnson. It is a condemnation of both his "Great Society" campaign too his perpetuation of the Vietnam War. "Gospel Music" is a tribute to Byrd's brother, Ruddell, who was imprisoned at Leavinworth for evading the draft.
Finally, the 3rd department deals amongst aging nether the sub-heading "The Southwestern Geriatrics Arts & Crafts Festival." Often morose too overly nostalgic, it all the same presents a clear persuasion of the agency our elders are shuffled off to nursing homes to hold off death.
The vocal writing too arrangements are superb, the work of synthesizers is tasteful too the subject is awesome. You cause got to locomote out of the box to have the total experience this album has to offer.
This album did a dandy bargain to alter my encephalon when I was inwards high schoolhouse inwards the early on '70s. Concurrent amongst ingesting a multitude of substances that shall rest unmentioned, this album saw many, many spins on my too my friends' turntables. It was ever a important experience. There is literally EVERYTHING on this record. Vaudeville, jazz, electronic, psychedelic powerhouses, acid rock, spoken word, too much more. Joe Byrd was an unrecognized genius who discover ii incredible, ahead-of-their-time records (The US of America beingness the other). Sometimes our minds were expanded. Other times our minds were blown. But our minds ever received an EXPERIENCE listening to this fine, unique, well-produced too well-composed music. There is aught else similar it. Nothing!
I originally owned this album every bit a vinyl tape when I was inwards high school. I bought it for the incorrect argue - purportedly the commencement purpose of the recording is similar an LSD trip. This album kindled my lifelong involvement inwards "new" music. I literally wore the pressing out, I liked it too thus well.
The pioneering work of a character synthesizer arraignment superimposed on lyrical vocals. The composer, Mr. Byrd, manifestly wrote too orchestrated each slice every bit though it were a symphonic work. This album is non for people who loathe experimental music. John Coltrane's Africa Brass, or Ornette Coleman Shape of Jazz to Come are similar artistic endevors inwards the jazz vein.
When Joseph Byrd was fired from his previous creation, the US of America, he could good cause got called it a day, secure inwards the cognition that he had produced 1 of the well-nigh important, but underappreciated albums of the sixties. But Byrd didn't experience similar he'd fully accomplished what he'd ready out to do, too thus he gathered this astonishing collective together, too produced an album that has ever been overshadowed past times its to a greater extent than lauded predecessor, but arguably is a far to a greater extent than successful synthesis of his experimental spirit too popular sensibilities.
"The American Metaphysical Circus" is non an tardily album. It's besides non an album that is tardily to assimilate inwards part. For the total effect, it actually needs to live listened through from the commencement instant to the last, too this is mayhap purpose of the argue for its lesser reputation. Although it does cause got many highlights which could potentially cause got been lifted for singles/compilation appearances/radio play etc. they gain too thus much from beingness heard inwards their proper context.
Split into 4 split upwards suites, there's a lot going on here. Too much for about people, but Byrd's compositional skills ensure that the disparate instrumentation, too musical styles menstruum smoothly together.
Opening suite "The Sub-Sylvian Litanies" is the trippy highlight for me, amongst Victoria Bond's electronically treated vocalisation leading into an explosive revisit of "You Can't Ever Come Down", amongst searing Pb guitar. "Moonsong: Pelog" winds it downwardly nicely, amongst Susan de Lange's vocals venturing into Grace Slick territory without her sounding out of her depth. This mini suite has plenty ideas to sustain a whole album, but in that place are 3 others to follow, which veer all over the map, from acid-rock ("Nightmare Train") to cocktail jazz too prominent early on work of synthesizer, via the pointed social commentary of "Leisure World" - an extremely interesting, orchestrated slice of what we'd right away telephone phone Hauntology. Its presence close the halt of the album probable left listeners a picayune baffled at the time, but nosotros alive inwards to a greater extent than opened upwards minded, enlightened times right away right?
Esoteric's novel reissue sounds absolutely fabulous, amongst fascinating accompanying sleeve notes. One of the reissues of the twelvemonth too thus far.
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Track listing:
The Sub-Sylvian Litanies
01. "Kalyani" – 3:52
02. "You Can't Ever Come Down" – 3:02
03. "Moonsong: Pelog" – 3:47
American Bedmusic - Four Dreams For Influenza A virus subtype H5N1 Departing President
04. "Patriot's Lullabye" – 2:49
05. "Nightmare Train" – 3:20
06. "Invisible Man" – 3:33
07. "Mister 4th of July" – 1:48
Gospel Music For Abraham Ruddell Byrd III
08. "Gospel Music" – 4:29
The Southwestern Geriatrics Arts too Crafts Festival
09. "The Sing-Along Song" – 4:05
10. "The Elephant at the Door" – 5:13
11. "Leisure World" – 2:36
12. "The Sing-Along Song (Reprise)" – 0:48
Personnel:
Pot - Piano, Conductor, Harpsichord
Ed Sheftel - Trumpet, Flugelhorn
Christie Thompson - Vocals
Ernest "Ernie" Anderson - Voices
Fred Selden - Clarinet, Saxophones, Flute
Ted Greene - Guitar
Joseph Hunter Byrd - Organ, Producer, Vocals, Keyboards, Conductor, Synthesizer
Larry Kass - Tabla
Michael Whitney - Guitar (Classical)
Chuck Bennett - Bass Trombone
Victoria Bond - Vocals
Bob Breault - Engineer
Ray Cappocchi - Tuba, Tenor Trombone
Dana Chalberg - Flute, Piccolo
John Clauder - Percussion, Drums
Susan de Lange - Vocals, Electronic Voices
Meyer Hirsch - Flute, Saxophones
Don Kerian - Trumpet, Cornet
Gregg Kovner - Drums, Percussion
Tom Scott - Clarinet, Saxophones, Flute
Harvey Newmark - Bass (uncredited on album)
Harihar Rao - Percussion (uncredited on album)
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