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Pat Kilroy - Light Of Day (1966)

I kolejny "nieznany" - Pat Kilroy... Bardzo interesująca płyta. Niby to folk, ale zahaczający o wiele muzycznych regionów - psychedelia, eksperyment, blues, raga. O samym muzyku nic nie potrafię powiedzieć. Polecam !!!


Despite receiving little to no notice upon its late-1966 release, Light of Day stands as an eclectic breakthrough (and only) solo effort from Pat Kilroy (heard here on vocals as well as guitar, Jew's harp, percussion, and electric bass) -- who was likewise a member of the Bay Area duo New Age alongside Susan Graubard. Kilroy's highly stylized blend of acoustic folk and blues is fused with a distinctly Eastern-flavored sensibility to create an appealing aura quite unlike most other mid-'60s fare. Kudos should likewise be given to the foresight of the powers that be at the seminal imprint Elektra Records. Under the direction of the label's founder, Jac Holzman, they became renowned for giving unique and deserving talents -- such as those found here -- an outlet. Joining Kilroy are a few well-known names, primarily Graubard (flute/glockenspiel), Stefan Grossman (guitar), and Eric Kaz (mouth harp). Bob Amacker (percussion) is prominently featured on the tabla. Although in short order this popular and distinct-sounding hand drum would find its way into more mainstream pop music, its use here is one of the first incorporations of the instrument from traditional Indian music into Western culture. It is immediately evident on Light of Day's mellow and blithe opening melody, "The Magic Carpet." Lacking the opulent tonality of Tim Buckley, the funky "Roberta's Blues" bears a similar one-man-band austerity.

Holding together Kilroy's wails and screams are the unusual support of the artist's own undulating bassline, Kaz on harmonica, and some well-placed and wholly unobtrusive congas, courtesy of Jim Welch. Far more introspective and intimate is the gorgeous "Cancereal" -- based on the fact that Kilroy, Graubard, and Amacker's birth dates all fell under Cancer's astrological sign. Rather than traditional lyrics, Kilroy's presumably improvised wordless vocalizations interject rhythms and harmonies over the sparse yet effective backdrop. Several songs have discernible roots in other familiar melodies. For instance, "A Day at the Beach" seems to be built off the familiar chord progressions of Allen Toussaint's Crescent City soul classic "Fortune Teller." That said, Kilroy's emphatic slide guitar and rousing vocals turn it into a completely different direction. Notably, the Toussaint composition has no overt relationship with the Kilroy selection of the same name. Stefan Grossman's influence is clear and strong on the excellent "Mississippi Blues," whose structure mirrors the W.C. Handy classic "St. Louis Blues." The stars also align on the stunning title track and other original works such as "Vibrations" and "Star Dance," truly allowing Kilroy and company to reveal their considerable musicality as a unit. ~ Lindsay Planer (Record Collector)

This is called "The First Psych Album" According to Pat Kilroy's liner notes he was influenced by writers like Herman Hesse, Aldous Huxley, and George Gurdjieff, making it literally interesting to this book. All compositions were by Pat Kilroy and the album was produced by Peter K. Siegel and supervised by Jac Holzman. Several of the musicians came from New York City so perhaps Pat Kilroy did too. Best known amongst the supporting cast is Stefan Grossman (earlier in Even Dozen Jug Band) and Eric Kaz (Bear, Blues Magoos and Happy & Artie Traum).

The album contains a mix of folk, strumming blues and some Eastern moves with lots of tabla. Kilroy had a very improvised, unusual vocal style that pre-dated Tim Buckley's similarly avant garde approach by two years. The final track, Star Dance, would have been at home on an Incredible String Band album. The best tracks are probably the dreamy/trippy folk songs, but the album is a highly original work and adventurous listeners will appreciate much of its content.

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4 komentarze:

Ankh pisze...


Anonimowy pisze...

gdyby płyta była nagra w choć trochę lepszej jakości naprawdę rzucała by na kolana :)

Conradino Beb pisze...

Przy okazji "skarbow" lat '60 to akurat bardzo powszechne odczucie. Wiele fantastycznych plyt jest chujowo nagranych i jeszcze gorzej zmiksowanych (jesli wgryzamy sie np. w 60's garage, to zupelnie nie powinno dziwic). Przypuszczam, ze wielu plytom przydalby sie remastering, ktory skompresowalby mocniej brzmienia gitar i basu, ale z drugiej strony tak wtedy nagrywano i jest to obraz tamtych czasow...

Anonimowy pisze...

cytat: ale z drugiej strony tak wtedy nagrywano i jest to obraz tamtych czasow...
No właśnie. Więc stwierdzenie że jest Chu..wa jest mocno subiektywne. Ja np. uwielbiam stare brzmienie bo było więcej wszystkich pasm, a w środkowym największe smaczki. A teraz dowalone basy i soprany, kompresja, do szisiejszej muzyki to pasuje ale nie znoszę unowocześnianych remiksów starych płyt. Duch tej muzyki wtedy znika. A że oprócz perełek nagrano duzo słabych jakościowo płyt to normalka. Dzisiaj też tak jest. Mniej to widać bo wszystko bardziej podobne do siebie niestety.

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