Cyndee Lee Rule: Buy
Mooch
The Pagan Year - CD
Eight tracks of the pagan year: Oak king in the ascendant
Imbolc: a minimal composition for sequencers and synths, featuring Jez Creek on
Prophet 5 and Nord Modular G2 synths.
Vernal equinox: a hypnotic bass pattern and rippling cymbals and drums underpin
this track, on which Chris Gill and Linda Harlow sing a chant.
Beltane: written by Steve and Bridget Wishart, this track goes through a number
of moods; the upbeat and forward-looking opening and conclusion, plus Bridget's
poem.
Summer Solstice: a single riff powers this piece, opening on bouzoukis beside
some late evening campfire, before drums, synth and guitars make their
appearance; the track ends at full power.
Holly king in the ascendant
Lughnasadh: Alex Pym's guitar solos send this heat-crazed track on its way;
powerful drums and booming bass underpin the piece.
Autumnal equinox: sunshine, storms, rain and moon; this progressive track speeds
through several high-intensity moods, before concluding with a song looking both
forwards and back.
Samhain: the neo-pagan new year; this melancholy, stately piece is sung by Chris
and Linda, with Cyndee Lee Rule's classical-sounding violin providing an
alternative sound in the middle section.
Yule: delicate sequences and synths, tremolo Rhodes, icy sounds and wintry
effects bring the pagan year to a close.
The oak king "rules" from midwinter to midsummer, ie when the length of the day
is increasing; the holly king "rules" during the waning half of the year.
Imbolc: a minimal composition for sequencers and synths, featuring Jez Creek on
Prophet 5 and Nord Modular G2 synths.
Vernal equinox: a hypnotic bass pattern and rippling cymbals and drums underpin
this track, on which Chris Gill and Linda Harlow sing a chant.
Beltane: written by Steve and Bridget Wishart, this track goes through a number
of moods; the upbeat and forward-looking opening and conclusion, plus Bridget's
poem.
Summer Solstice: a single riff powers this piece, opening on bouzoukis beside
some late evening campfire, before drums, synth and guitars make their
appearance; the track ends at full power.
Holly king in the ascendant
Lughnasadh: Alex Pym's guitar solos send this heat-crazed track on its way;
powerful drums and booming bass underpin the piece.
Autumnal equinox: sunshine, storms, rain and moon; this progressive track speeds
through several high-intensity moods, before concluding with a song looking both
forwards and back.
Samhain: the neo-pagan new year; this melancholy, stately piece is sung by Chris
and Linda, with Cyndee Lee Rule's classical-sounding violin providing an
alternative sound in the middle section.
Yule: delicate sequences and synths, tremolo Rhodes, icy sounds and wintry
effects bring the pagan year to a close.
The oak king "rules" from midwinter to midsummer, ie when the length of the day
is increasing; the holly king "rules" during the waning half of the year.
1968a - CD
Following on from “1966” and “1968 ½”, the latest album in the set has a slightly
harder edge than the previous discs although there are similarities, with opening
track “Limothy’s Tears” the natural bridge between the albums, seemingly
advocating the use of hallucinogenics, or at least the freedom to choose.
Next up “Stars at Night” has a similarly stoned feel, a relaxed groove created
by swirling guitar and washes of keyboards, whilst “Grandmas’ Zoo” is a fantastic
slice of psych-pop whimsy that twinkles with fairydust and features some excellent
playing from everyone involved, a future classic. After the anti-war stance of
“Where my Rifle Begins”, things take a heavier turn with the organ led instrumental
“Freeze Freak”, a groovy tune that bounces out of the speakers and frugs around
the living room, the magnificent violin of Cyndi Lee Rule adding a great ambience
to the final section.
Continuing to re-create the period with style, the keyboard sound on “If” are almost
perfect, whilst the philosophical lyrics only add to the illusion. Using the “Death of
Hippie” event as its inspiration, “The Resurrection of the Hippie” is a plea for a
return to those carefree days, a romantic notion for sure, but definitely preferable
to the chav dominated, reality TV led, commercial greed that so dominates society
today. I’m on your side Steve. This nostalgic feeling is expanded on even further
on the gentle “Getting Back To ‘68”, another mellow plea for better days.
Moving into a more prog led sound, the keyboard riff on “Peat Rock” is completely
blown away by the heavy rocking guitar playing of Pete Wyer, whose contribution
to the song is some spectacular fret abuse that’s needs to be heard at high
volume, the rest of the music smothered in a wall of guitar noise, until some organ
cascades announce the end of the tune. Continuing the wistful theme, “Listen” is
a hymn to nature, a suggestion to hark back to the cycle of the seasons, to attune
once again to natures voice, return to a simpler way of life, the drifting keyboards
adding power to the prayer.
Ending with a call to revolution (personal and political) “Stand” contains a wonderful
arrangement that brings out the vibrancy of the instruments, finishing the disc on
a positive note, the chorus sticking in your brain as you head out into the world.
Simon Lewis
harder edge than the previous discs although there are similarities, with opening
track “Limothy’s Tears” the natural bridge between the albums, seemingly
advocating the use of hallucinogenics, or at least the freedom to choose.
Next up “Stars at Night” has a similarly stoned feel, a relaxed groove created
by swirling guitar and washes of keyboards, whilst “Grandmas’ Zoo” is a fantastic
slice of psych-pop whimsy that twinkles with fairydust and features some excellent
playing from everyone involved, a future classic. After the anti-war stance of
“Where my Rifle Begins”, things take a heavier turn with the organ led instrumental
“Freeze Freak”, a groovy tune that bounces out of the speakers and frugs around
the living room, the magnificent violin of Cyndi Lee Rule adding a great ambience
to the final section.
Continuing to re-create the period with style, the keyboard sound on “If” are almost
perfect, whilst the philosophical lyrics only add to the illusion. Using the “Death of
Hippie” event as its inspiration, “The Resurrection of the Hippie” is a plea for a
return to those carefree days, a romantic notion for sure, but definitely preferable
to the chav dominated, reality TV led, commercial greed that so dominates society
today. I’m on your side Steve. This nostalgic feeling is expanded on even further
on the gentle “Getting Back To ‘68”, another mellow plea for better days.
Moving into a more prog led sound, the keyboard riff on “Peat Rock” is completely
blown away by the heavy rocking guitar playing of Pete Wyer, whose contribution
to the song is some spectacular fret abuse that’s needs to be heard at high
volume, the rest of the music smothered in a wall of guitar noise, until some organ
cascades announce the end of the tune. Continuing the wistful theme, “Listen” is
a hymn to nature, a suggestion to hark back to the cycle of the seasons, to attune
once again to natures voice, return to a simpler way of life, the drifting keyboards
adding power to the prayer.
Ending with a call to revolution (personal and political) “Stand” contains a wonderful
arrangement that brings out the vibrancy of the instruments, finishing the disc on
a positive note, the chorus sticking in your brain as you head out into the world.
Simon Lewis
1967 1/2 by Mooch
"1967 1/2" by Mooch:
Now, in CD and DVD format, come twelve pieces of music from this
sensational year.
On 1967½, Dr Silbury works with many of the '07 musicians, including
Star Lighter (Chris Gill)
who sings all the songs, Dr Panacea and Aunty Clockwise (Don Falcone
and Karen Anderson)
injecting the necessary San Fancisco input, and Sorcerous Sadie
(Cyndee Lee Rule) on the
violin. Also playing is the notorious Johnny Creedence (Pete Wyer)
making a welcome return
to the band of Mooch.
Now, in CD and DVD format, come twelve pieces of music from this
sensational year.
On 1967½, Dr Silbury works with many of the '07 musicians, including
Star Lighter (Chris Gill)
who sings all the songs, Dr Panacea and Aunty Clockwise (Don Falcone
and Karen Anderson)
injecting the necessary San Fancisco input, and Sorcerous Sadie
(Cyndee Lee Rule) on the
violin. Also playing is the notorious Johnny Creedence (Pete Wyer)
making a welcome return
to the band of Mooch.
Dr. Silbury's Liquid Brainstem Band by Mooch
In 2007 Dr Silbury invented the quantum jukebox, a device that allowed him to locate, listen
to and even work with alternate versions of his own band. The quantum jukebox was sensitive
to "alternate worlds" - worlds made famous by the quantum theory of Bohr, Heisenberg, Pauli,
Feynman and many other great physicists. By a process of quantum collapsing, the jukebox
allowed Dr Silbury to contact many interesting alternatives of his band. Some of these versions
were similar to the band he knew, but others were from far-out alternate worlds. It is likely that
further information will be gleaned about the good doctor and his extraordinary jukebox.
Eventually, it is hoped, the music of these many variants of his band will come to light,
perhaps on some kind of crazy double CD ....
to and even work with alternate versions of his own band. The quantum jukebox was sensitive
to "alternate worlds" - worlds made famous by the quantum theory of Bohr, Heisenberg, Pauli,
Feynman and many other great physicists. By a process of quantum collapsing, the jukebox
allowed Dr Silbury to contact many interesting alternatives of his band. Some of these versions
were similar to the band he knew, but others were from far-out alternate worlds. It is likely that
further information will be gleaned about the good doctor and his extraordinary jukebox.
Eventually, it is hoped, the music of these many variants of his band will come to light,
perhaps on some kind of crazy double CD ....