As a "conductor" as well as organ/electronic synthesizer player, Byrd is really much the leader of this circus. With a yoke drummers, a half-dozen horn players (including a immature Tom Scott), 3 woman someone vocalists, as well as a half-dozen or as well as thence other musicians popping upwards over the course of pedagogy of the album, at that topographic point are a lot to a greater extent than people involved inwards this projection than at that topographic point were inwards the (relatively) stable lineup of the United States of America of America of America. Despite the ambition of this LP, it ultimately serves to illustrate exactly how Byrd benefited from the unique synergy provided yesteryear the other members of the U.S.A. There are all kinds of adventurous electronics as well as eclectic ideas bouncing dorsum as well as forth, but the songwriting is exactly non every bit rigid every bit that of Byrd's previous group. The best songs are the ones which almost strongly think the U.S.A. inwards their spacy melodicism ("Moonsong: Pelog") as well as driving psychedelic pulse ("You Can't Ever Come Down"). Unfortunately, the woman someone singers on these tracks are no gibe for The U.S.A.'s Dorothy Moscowitz, although they seem to endure 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 cloth prove. Otherwise, at that topographic point are around bad takeoffs on gospel as well as old-time music, haphazard primitive early on synthesizer, as well as dated social commentary/satire. As ambitious inwards its orbit every bit Byrd's kickoff stone project, this album is non nearly every bit successful.
After his kickoff 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 cardinal to the overall subject of this bully concept album.
The kickoff section, "The Sub-Sylvian Litanies," is an endeavor to plow reality inside-out. Literally pregnant "beneath the forest," its 3 odes instruct correct to the core of our really existence. It employs themes built upon the quaternary grade of the octal scale, a Greek fashion called phrygian.
The middle section, "Four Songs for a Departing President," are a slap inwards the seem upwards to quondam president Lyndon Johnson. It is a condemnation of both his "Great Society" crusade as well as 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 tertiary department deals amongst aging nether the sub-heading "The Southwestern Geriatrics Arts & Crafts Festival." Often morose as well as overly nostalgic, it all the same presents a clear persuasion of the means our elders are shuffled off to nursing homes to hold back death.
The vocal writing as well as arrangements are superb, the utilisation of synthesizers is tasteful as well as the subject is awesome. You stimulate got to move out of the box to have the total sense this album has to offer.
This album did a bully 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 as well as 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, as well as much more. Joe Byrd was an unrecognized genius who release ii incredible, ahead-of-their-time records (The United States of America of America 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 as well as well-composed music. There is goose egg 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 kickoff 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 as well as thence well.
The pioneering utilisation of a lineament synthesizer arraignment superimposed on lyrical vocals. The composer, Mr. Byrd, manifestly wrote as well as orchestrated each slice every bit though it were a symphonic work. This album is non for people who abhor experimental music. John Coltrane's Africa Brass, or Ornette Coleman Shape of Jazz to Come are similar artistic endevors inwards the jazz vein.
Track listing:
The Sub-Sylvian Litanies
"Kalyani" – 3:52
"You Can't Ever Come Down" – 3:02
"Moonsong: Pelog" – 3:47
American Bedmusic - Four Dreams For H5N1 Departing President
"Patriot's Lullabye" – 2:49
"Nightmare Train" – 3:20
"Invisible Man" – 3:33
"Mister 4th of July" – 1:48
Gospel Music For Abraham Ruddell Byrd III
"Gospel Music" – 4:29
The Southwestern Geriatrics Arts as well as Crafts Festival
"The Sing-Along Song" – 4:05
"The Elephant at the Door" – 5:13
"Leisure World" – 2:36
"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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