Something atypical, what we're reviving today. A group of students whose final project in high school was to record an album. And they pulled it off more than adequately. Wisconsin, 1974. Final presentation of their homework and the release of 500 copies, I imagine sponsored by the university. These copies were distributed among classmates and friends. Today, it's a collector's grail within the underworld of psych rock obscurities (with prog moves). So, when listening to it, you have to keep in mind that they were as much a "group" as the duration of the school year. Thomas S. Henry, Bob Maloney, Doug Lemirande, Henry Erkelenz, and Laura Sekeefer. I don't know what instrument each one played. But what a class the kids had. I imagine they got an A."You Can't Come In" (5'40) captured a clean group sound, with a rhythm section that launches a very fine lead guitar. In quasi-jazzy-Hendrixian developments. Frank Marino sometimes takes on that role! Imagine the charming rural magnetism of Highway or White Summer. The dazzling jam continues, now with added wah wah, in "African Boogie" (4'29). A bit of funk as seasoning and a rhythm as attention-grabbing as the exquisite lead guitar. In "Golden Valley" (3'53) the introductory bass rhythm resembles "Don't Be Cruel," but the psychedelic change is imminent and fortunate. It's the first with a boy-girl voice and stylistic similarities to Sapphire Thinkers or Jefferson Airplane. Agility and instrumental fluidity with micro-nods to Hendrix. Back to the drawing board (I imagine... I have the CD, which is already quite a lot!), and "Blue Bird" (4'04) displays their characteristic style of melodic elegance. Because it turns out they have it. They really seem like a cohesive band formed a few years ago. Here we can talk about de facto progressive rock, with very good changes and subtle textures. "Eyes of the Raven" (4'30) has a remarkable male lead vocal; they don't sound amateurish at all. With dreamy jazz arpeggios in a spectacularly crafted psych context. Think Jerry Garcia and you won't be far behind. Another acidic composition with a fertile imagination. The Hendrix feel returns without taking it to the limit, in "Arabian Style" (5'50). West Coast finesse of sybaritic taste and John Cipollina-esque arabesques, in a lysergic instrumental convention. An anonymous marvel in short, one of those that were forgotten by the wayside of history. In fact, it's a miracle we can even talk about something that started as a short-lived school project. It survived on its own.... J.J. IGLESIAS
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