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"...Amused
The Magic Throng..."
You have to love
John Peel. Named after a batty relative of the percussionist Lyn Edwards (Lyn
is pictured furthest to the right on the back cover of the
"Soundtrack" LP) - Principle Edwards Magic Theatre were the first act
signed in early 1969 to the witty DJ's new record label - Dandelion Records.
And you have to wonder was Peely (and all 14 of the ensemble for that matter)
on mushrooms not necessarily destined for tins of Heinz Soup. Re-listening to
this music in April 2017 and it's bleeding obvious that this group stood no
chance of chart success. Or maybe that was the point…
Part theatre,
part Prog, part Folk Rock – PEMT incorporated all that was counter-culture in
those halcyon years - hippy-lore, eastern mysticism, tie-dye shirts and dollops
of ancient literature. Their sound was a hybrid of The Incredible String Band
and Curved Air – a sort of Prog variant of Folk-Rock with a woman out front
singing ponderous lyrics about rhododendrons in your midst while rainbow
bridges lead to giants and interlunar caves (don't you just hate that).
Musically it's like Traffic, The Amazing Blondel and Quintessence engaged in a
summer solstice threesome at the foot of Stonehenge and nine months later (on a
full moon of course) – a lovechild is brought forth that none of them know what
to do with (yikes).
For sure PEMT
will not be for everyone (critics of the time called them naïve at best and
pretentious at worst) - but those who do love their mishmash sound married to
theatrical visuals will have to get their grubby mitts on this wicked new
release from those champions of all things eclectic and awkward - Cherry Red
Records. They've done this most British of bands a proper solid and of course
for Pink Floyd fans - there's the tie-in of Nick Mason on album No. 2. Here are
the enigmatic insomniac machines (and that's just Side 1 of the first album)...
UK released
Friday, 14 April 2017 (21 April 2017 in the USA) - "The Works 1969-1971:
Albums, Demos, BBC Sessions and Live Recordings" by PRINCIPAL EDWARDS
MAGIC THEATRE on Cherry Red Records CDTRED 704 (Barcode 5013929170438) is a
Remastered 3CD set housed in a card slipcase (three card sleeves and a booklet)
that plays out as follows:
Disc 1 -
"Soundtrack" - 53:32 minutes:
1. Enigmatic
Insomniac Machine [Side 1]
2. Sacrifice
3. The Death Of
Don Quixote
4. Third Sonnet
To Sundry Notes Of Music [Side 2]
5. To A Broken
Guitar
6. Pinky: A
Mystery Cycle
Tracks 1 to 6 are
their debut album "Soundtrack" - released August 1969 in the UK on
Dandelion Records S 63752 and Elektra Records D9-103 in the USA. The US album
featured a 'face' as its artwork - that shot is used as Page 1 of the booklet.
BONUS TRACKS:
7. Ballad (Of The
Big Girl Now And The Mere Boy)
8. Lament For The
Earth
Tracks 7 and 8
are both non-album tracks - their debut UK 7" single on Dandelion Records
4406 released July 1969
Disc 2 -
"The Asmoto Running Band" - 40:24 minutes:
Side Three/The
Asmoto Side
1. McAlpine's
Dream [Side 1]
2. McAlpine
Versus The Asmoto
3. The Asmoto
Running Band (Hou'Amih)
4. Asmoto
Celebration
5. Further Asmoto
Celebration (After The Ball)
Side Four/The
Gambini Side
6. Total Glycerol
Esther [Side 2]
7. Freef ('R) All
8. Autumn Lady
Dancing Song
9. The Kettering
Song
10. Weirdsong Of
Breaking Through At Last
Tracks 1 to 10
are their 2nd studio album "The Asmoto Running Band" - released
January 1971 in the UK on Dandelion Records DAN 8002 (no USA issue). The album
was produced by NICK MASON of PINK FLOYD.
Disc 3 -
"Hidden Treasure: Sessions, Live and Demos" - 74:06 minutes:
1. The Ballad (Of
The Big Girl Now And The Mere Boy) - Top Gear, 1969
2. Third Sonnet
To Sundry Notes Of Music - Top Gear, 1969
3. Pinky: A
Mystery Cycle - Top Gear, 1969
Tracks 1 to 3
recorded 24 February 1969 at the BBC for the John Peel 'Top Gear' Show -
broadcast 3 March 1969. Taken from an off-air recording made by Eddy Duffy
4. King Of The -
Top Gear, 1970
5. The Fortieth
Day Of Winter - Top Gear, 1970
Tracks 4 and 5
recorded at the BBC 13 January 1970 for John Peel's 'Top Gear' Show - broadcast
17 Jan 1970 - taken from Original Master Tapes
6. Vollabast
7. Two Women
8. Weasel (In The
Wardrobe)
9. Scarlett
HalfMan
10. The Egg And
The Antrobus
Tracks 6 to 10
recorded live at Hampstead Theatre in the UK, September 1971 - tapes
transferred and mixed by Richard Jones
11. Rainy Day
Anne
12. Dear John
& Mary (A State Of Affairs)
13. Ministry Of
Madness
Tracks 11 to 13
are demos recorded at Morgan Studios in London, October 1971 - supervised by
Nick Mason of Pink Floyd.
Tracks 4 to 13
are all PREVIOUSLY UNRELEASED
PRINCIPAL EDWARDS
MAGIC THEATRE was:
VIVIENNE
McAULIFFE and MARTIN STELLMAN – Lead Vocals and Recorders
ROOT CARTWRIGHT –
Guitars, Recorders and Bass Guitar
BELINDA 'BINDY'
BOURQUIN – Violin, Recorder, Piano and Organ
JEREMY ENSOR –
Bass
DAVID JONES –
Percussion (and Lyrics)
LYN EDWARDS -
Percussion
ROGER SWALLOW –
Drums on "The Asmoto Running Band" only
Associated:
Dan Leatherbarrow
- Lyrics (Tracks 3 and 5 on Disc 2)
Monica Nettles –
Dancer and Speaking Voice
John McMahon Hill
– Dancer
Eva Darlow –
Dancer
Gillian Hadlev –
Choreography and Writer
Leslie Adley –
Lights
Harry Housman –
Stage, Road Manager and Designer
Christopher
Runciman – Lights
Chrissie Morris –
Lightshows and Effects
Terry Budd – Drums
on Track 7, Disc 3
Beth Wood –
Vocals and Recorder on Track 6, Disc 3 – Violin on Track 9
Joe Read – Bass
Guitar and Recorder on Track 7, Disc 3
You get three
single card sleeves slotted inside a card slipcase with a 20-page booklet sat
alongside them. The first two card sleeves show the front and rear artwork for
"Soundtrack" from 1969 and their second studio platter from early
1971 - "The Asmoto Running Band" – both on Dandelion Records. Fans
will know they were originally gatefold sleeves on vinyl and carried lyric
inserts so Cherry Red have reproduced the lyrics and the booklet's first page
carries the different 'face' artwork of the USA issue for
"Soundtrack" on Elektra Records – nice touches and attention to
detail. The third CD uses a period black and white photo of their stage show as
its artwork – while MIKE BARNES provides the in-depth liner notes that include
interviews with keeper of the flame – Root Cartwright. And all three CDs are
picture discs. It's all very tastefully done.
The audio is down
to ALAN WILSON – and it's very pretty indeed. While some passages feature
whig-out guitars – a lot of it is Trippy Acoustic veering into Folk-Rock so
benefits from a good transfer and that's what you get. Some of the tracks on
Disc 3 are ropey for sure but are here for obvious reasons - rarity value
(previously unreleased). Let's get to the music...
Their debut album
"Soundtrack" had only six tracks - three to either side - each half
of the record dominated by one long track. "Enigmatic Insomniac Machine"
starts proceedings with a flute, acoustic guitars and light marching percussion
- like Tyrannosaurus Rex about to take a tab of acid and want to rock. You
immediately notice Vivienne McAuliffe's voice that is akin to Bridget St. John
(another Dandelion folky worth checking out – see separate review) or Sonja
Christina of Curved Air. She starts rattling off lyrics about a mascara man who
doesn't understand that she can't sleep for worry about the world. Things turn
decidedly Heavy Prog Rock with the guitar riffage opening of
"Sacrifice" - but it soon settles down into a more Folk-Rock amble
with the droning voice of the band's other singer - Martin Stellman - soon
joined by McAuliffe. Unfortunately its obvious why Vivienne is given the bulk
of the singing chores - Stellman's voice is the kind of deadpan hippy drone
that might induce a stoning from a less than sympathetic audience. The song is
good though and has interesting stoner parts towards the end. The staggeringly
wordy "The Death Of Don Quixote" is a near fourteen-minute Folk-Rock
tour de force - violin, voice, acoustic guitar and words - pages of them. You
could leave – paint the front room – and when you return – Vivienne will still
be singing about a pleased witch in a mill in a tone that you suspect says she
approves (Peel even gets a line himself).
Shakespeare
provides the lyrics for "Third Sonnet To Sundry Notes Of Music” where its
duet vocals and generally hippy nature is saving by a wicked rocking guitar
break half way through the monk-like chants and ye olde wordage. "To A
Broken Guitar" is a short acoustic ode from Cartwright and Leatherbarrow
to their instrument of choice. The guitar work in the 10-minute "Pinky: A
Mystery Cycle" is superb and will raise a chill amongst collectors – but
it's partially negated by a spoken ending from Vivienne that unintentionally
verges on the laugh-out-loud. The two non-album single sides are very hippy
Folk of the period (pretty and ponderous) and collectors will appreciate their
presence here. To sum up - the debut LP is a typically eclectic start – part
loveable, part cack.
The second album
"The Asmoto Running Band" brought on board two heavyweights in
different departments – Hipgnosis did the cover art while Nick Mason of Pink
Floyd fame did the Production. The Drummer Roger Swallow - who did stints with
Harsh Reality, Matthews Southern Comfort and would later be with The Albion
Country Band – also joined the ranks for album number two - even bringing the
excellent "Freef ('R) All" track with him as collateral. The moment
you play "McAlpine’s Dream" you hear the upgraded sound – Vivienne
and Martin voices clear while the recorders get all fairy-lore on our ears. The
largely instrumental "McAlpine Versus The Asmoto" shows amazing maturity
in their compositions and playing – part Captain Beefheart, part Flock – all
crooked pianos and violins one moment – then beauty the next (and the Audio is
fantastic too). Other Prog-leaning winners include "Asmoto
Celebration" and the undeniably pretty "The Kettering Man" which
is heading towards Mellow Candle in its complex beauty. The second album is an
unsung hero in their catalogue and its cool to hear it sound so good here.
The three Top
Gear tracks from 1969 are acoustic and live - the audio good rather than being
great - a few clicks and pops here and there. "Ballad..." is
introduced as the new single and they sound like Sandy Denny doing a Demo. The
Shakespeare poem 'Third Sonnet' is given an acoustic going over too with both
vocalists. Far better sonically is "King Of The" and "The
Fortieth Day Of Winter" from 1970 - taken from real tapes - Martin
Stellman (unfortunately) taking lead vocals on both where PEMT sound like a
lighter version of "This Was" Jethro Tull. "Vollabast"
turns out to be six minutes of Funky keyboards against a very Prog backdrop.
But the big prize here is the 13-minute "Weasel (In The Wardrobe)" -
Duncan Browne sounding Spanish acoustic guitar carrying Vivienne McAuliffe and
more pages of words. Best amongst the demos is "Rainy Day Anne" which
shows a more Steeleye Span direction.
Principal Edwards
Magic Theatre will not be for everyone by any stretch of the imagination and
some of those early hippy incantations might bring some rockers out in a rash
that not even real ale will cure. But amidst all of that loopy ensemble Folk
Rock and somewhere in those Prog theatrical flourishes lies beauty and daring.
And reissue hero Cherry Red is to be praised for putting all that Kettering
quackery back out there and in such style too...
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