DENNIS YOST AND THE CLASSICS IV "DENNIS YOST AND THE CLASSICS IV"

Artist: Dennis Yost and the Classics IV
Album: Dennis Yost and the Classics IV
Company: MGM South
Catalog: MSH 902
Released: 1973
Genre: pop
Grade: *** 3 stars
Condition: VG+ cover / VG+ LP
Comments: minor ring wear
Quantity available: 1
Price: $10,00

 

After five years and four album for Imperial, Dennis Yost and the Classic IV's partnership with the label came to an end in 1972.  Signed by MGM's newly established MGM South affiliate, in spite of the nameplate, "Dennis Yost and the Classics IV” was a Dennis Yost solo set.  Recorded in Atlanta's Studio One, with backing from former Classics IV members J.R. Cobb and Dean Daughtry and the rest of The Atlanta Rhythm Section,  the album found Yost pursuing an adult contemporary pop format.  While that may not have sounded particularly promising, the results were far more impressive than his previous couple of releases.  Interestingly, part of the credit may have been a result of the fact ARS's trademarked sound clearly came through on several of the songs, including a pair written by ARS members - the moody 'All In Your Mind' and the pretty closing title track ballad.  Those also happened to be the two standout songs.  Heavy on ballads and mid- tempo numbers, taken individually most of these songs weren't half bad.  Unfortunately when strung together they kind of blurred into one another.  Also interesting was the fact Yost's voice seemed to have undergone a major change over the previous year.  While still pleasant, his performances were much deeper and rougher than on earlier records.  Personally I liked his darker, rougher sound.  Pleasant and professional, but ultimately nothing special, though it made you wonder what would have happened had Yost continued working with ARS ...

 

"Dennis Yost and the Classics IV" track listing:

(side 1)

1.) Make Me Believe    (Buddy Buie - Ronnie Hammond - Robert Nix) - 2:29

To be honest, there were simply too many ballads on this album, but 'Make Me Believe' was one of the better ones.  Always liked the cheesy '70s synthesizer solo.   The track was released as the album's third single:

-1973's  'Make Me Believe' b/w 'Save the Sunlight' (MGM South catalog number S-7016)

2.) Save the Sunlight   (Buddy Buie - J.R. Cobb - Lee) - 2:50

With a breezy, slightly bossa nova-tinged melody, 'Save the Sunlight' was a decent slice of adult contemporary pop.  Perfect tune to listen to while you were sitting on the deck watching the summer sun set.   rating: **** stars

3.) Sweet Surrender   (David Gates) - 2:42

Yost and company did little to tamper with David Gates' original melody or the song structure.  Since most folks are intimately family with the  Bread original, you were left wondering why they bother with this version.   rating: ** stars

4.) All In Your Mind    (Buddy Buie - Robert Nix) - 3:02

With backing from The Atlanta Rhythm Section, 'All In Your Mind' was the album's highlight and the tune that came the closest to capturing that special Classics IV magic.  Sporting a dark, slightly ominous vibe, the tune gave Yost an opportunity to cut lose and show he hadn't lost any of this vocal abilities.  Come to think about it, the song wouldn't have sounded bad on an ARS album.      rating:**** stars

5.) Rosanna   (Buddy Buie - J.R. Cobb) - 2:30

Pretty acoustic ballad ...   'Rosanna' was clearly written with an ear to top-40, but ultimately it was just kind of ...  well, bland came to mind.  Released as a single it managed to hit the Billboard top-100 singles charts, providing the "band" with their final chart entry:

 

- 1973's 'Rosanna' b/w 'One Man Show' (MGM South catalog number S 7012) # 95 pop charts  rating: ** stars

(side 2)
1.) Help Me Help Myself    (Robert Nix - Paul Goddard - Dean Daughrty) - 2:20

Another ARS contribution, 'Help Me Help Myself' underscored the band's ability to craft material that was adult contemporary oriented, but at the same time, managed to avoid the genre's most cloying tendencies.  It was another track where Yost demonstrated he could wail.   rating: *** stars

2.) The Days of Our Lives   (Buddy Buie - J.R. Cobb - Barry Bailey - Robert Nix) - 3:00

From the opening chords, the dark 'The Days of Our Lives' sounded like an ARS tune.  Stylistically this mid-tempo rocker was a perfect setting for Yost.  Shame it wasn't a direction he pursued.  Would have been far better than the faceless pop he churned out later in his career.  rating: **** stars

3.) It Never Rains In Southern California   (Albert Hammond - Lee Hazlewood) - 3:40

I never liked the Albert Hammond original and for a long time  this cover didn't do much for me. That said, I have to admit that over time this one's grown on me.  I've tried to figure out what makes this version better and I've reached the conclusion it was Yost's vocals.  Musically this version wasn't much different than the original, but unlike Hammond's almost pleading delivery, Yost seems matter of fact in his position.   rating: *** stars

4.) One Man Show   (Sam Traina) - 3:20

Country-tinged ballad that was saved by one of J.R. Cobb's most melodic solos.   rating: ** stars

5.) What Am I Crying For?   (Buddy Buie - J.R. Cobb) - 3:00

Pretty, late-inning ballad with that unique Classics IV sound (check out the harmony vocals), and featuring  J.R. Cobb on acoustic guitar.  The tune was released as the album's leadoff single:
 

 

- 1972's 'What Am I Crying For?' b/w 'All In Your Mind' (MGM South catalog number S 7002)   rating: **** stars

One last non-LP single for MGM South 'My First Day without Her' b/w 'Lovin' Each Other' (MGM catalog number K-14785) and the group called it quits.  

Following the band's official breakup Yost embarked on a disappointing solo career. Unfortunately, under questionable circumstances The Classics IV trademark  was sold by the group's manager to a New York- based group who turned the imprint into a doowop format.  Yost was not allowed to use The Classics IV name, or even mention the name, making it difficult to get work.  By the time Yost recovered rights to the name his health had begun to deteriorate and the nameplate had lost much of its commercial value

 

Unfortunately, in July 2006 Yost fell in his Cincinnati, Ohio home, suffering a severe head injury that left him unable to perform and in need of extensive rehabilitation.  He never recovered from those injuries and died in December 2008.  He was only 65 years old.

For anyone interested, there's a nice Yost/Classics IV website at: www.theclassicsiv.com

 

 

 

"

PORTSMOUTH SINFONIA "20 CLASSIC ROCK CLASSICS"

Artist: Portsmouth Sinfonia
Album: 20 Classic Rock Classics
Company: Philips
Catalog: 9109 231
Released: 1979
Genre: classical
Grade: **** 4 stars
Condition: VG+ cover / VG+ LP
Comments: UK pressing
Quantity available: 1
Price: $120,00

For some reason the third Portsmouth Sinfonia release remains unknown to most folks (not that the first two releases were international hits).  You don't even find this one listed on most popular on-line discographies and good luck finding an online review - I've only seen one and it was in Japanese.  Shame since the album is just as entertaining and eccentric as their two prior classically-oriented releases.  

 

Released after a five year recording hiatus, the Martin Lewis produced  "20 Classic Rock Classics" (the title always gives me a Spinal Tap flashback) didn't stray far from the original concept ...  Apparently inspired by the London Symphony Orchestra's success riding rock classics like "Classic Rock" and "Classic Rock II" on the sales charts, the group reunited for a one-shot September 1979 concert at London's Rainbow club.  My initial fear was that the players were going to be more familiar with these popular numbers (as opposed to their earlier classical material), and it might have an impact on their patented sound.  While virtually all twenty performances were 'good' enough for you to recognize the original melodies, to the group's credit their musical skills remained limited.  Yes, some songs came off more successful than others (I'm using that term broadly), but luckily none of these were going to make you forget the originals.  Among the highlights (again I'm using th term broadly), were their stab at 'Pinball Wizard', the vocal arrangement on 'Leader of the Pack'  and the sheer courage to take on The Beatles' 'A Day In the Life'.

 

"20 Classic Rock Classics" track listing:

(side 1)

   
1.) Pinball Wizard   (Pete Townshend) -     
 I'm not sure I believe it, but Pete Townshend supposedly told the group that after The Who original, their cover was his favorite version of the song.  Could well be since they attacked the song with more enthusiasm than skill.  Once you got past the guitar introduction and the tubas and horns kicked in the melody became semi-recognizable.  Now seeing The Portsmouth Sinfonia tackle this one would have made for a truly memorable Super Bowl halftime performance.   rating: **** stars
2.) Apache   (Jerry Lordan)
The squeaking clarinets and squawking strings provided 'Apache' with an interesting edge.  At least the drum beat was consistent.   YouTube has a clip of the group playing the tune on German television:   They actually didn't sound all that bad, which might have been a problem given their reputations.  I qyite liked the female harp holders.    https://www.youtube.com/watch?v=SlREz5LfzP8    rating: *** stars   
3.) Leader of the Pack   (George Morton - Jeff Barry - Ellie Greenwich) -
With their cover of  'Leader of the Pack' the group introduced their first vocal performance.  With the vocals credited to The Sinfonettes, the end results were suitably ragged with the anonymous singers adding an interesting wrinkle to the song with their clipped English delivery.  Hopefully the singers kept their day jobs.   Interestingly, the vocals served to distract your attention from the instrumentation.   rating: *** stars
4.) A Whiter Shade of Pale   (Keith Reid - Gary Brooker) - 
One of my favorite performances, you could envision the group giving their all on this cover of Procol Harum's 'A Whiter Shade of Pale'.  About half of the orchestra actually came within earshot of the tune,  Pity the horn players on this one ...   Would have been fun to feature Gary Brooker handling the lead vocals.    rating: **** stars
5.) You Really Got Me   (Ray Davies) - 
When I was in college the school pep band use to play The Kinks' 'You Really Got Me'.  It actually sounded quite a bit like this version.   For better or worse this was one of their more accomplished covers.    rating: ** stars
6.) Uptown Top Ranking   (Errol Thompson - Joe Gibbs - Donna Reid - Althea Forrest) - 
It's doubtful many Americans have heard Althea and Donna's ' Uptown Top Ranking'.  In contrast the reggae tune was a big hit in the UK.  Maybe due in part to the fact the song structure wasn't too complicated, they did a nice job on it.  Actually quite listenable.  Not that anyone bought a Portsmouth Sinfonia album for that reason.   rating: ** stars
7.) Glad All Over   (Dave Clark - Mike Smith) - 
I never liked The Dave Clark Five's 'Glad All Over' so this version didn't do anything for me.  Completely forgettable.   rating: ** stars
8.) Heartbreak Hotel    (Mac Buren Axton -Tommy Durden - Elvis Presley)
There are simply so many covers of 'Heartbreak Hotel' that there's no way this one could make any difference.  It doesn't.   rating: ** stars
9.) Telstar   (Joe Meek) - 
I've always been a bug Joe Meek fan, but have to admit that the cheesy sound effects, mass clarinets, and group humming pushed this version of 'Telstar' to a new level of enjoyment.   rating: ** stars  
10.) Bridge Over Trouble Water   (Paul Simon) 
 I have to admit being dumbfounded the first time I heard their version of 'Bridge Over Troubled Waters'.  The anonymous keyboard player actually managed to play the opening section close to perfect.  Luckily a drunken gaggle of clarinets kicked in and things went downhill rapidly.  This was another one where the tune was surprisingly recognizable which may, or may not be a good thing (always loved the tubas and the unexpected cymbal crashes).   rating: **** stars

(side 2)

1.) Nut Rocker   (Kim Fowley) - 

Hats off to anyone doing a Kim Fowley cover.  Showcasing some jittery horns and cellos (shades of ELO), their version of 'Nut Rocker' was about as good as anyone else's.   rating: *** stars  

2.) Don't Cry for Me Argentina   (Andrew Lloyd Weber - Tim Rice) - 

Technically I'm not sure anyone would categorize this as a rock classical,  but the group's cover of ' Don't Cry for Me Argentina' started out on a surprisingly sensitive note.  Mind you, it took a minute or so for the song to uncover its  recognizable melody before briefly vanishing into a weird oboe solo.   rating: *** stars   

3.) (We're Gonna) Rock Around the Clock   (Max C. Freedman - Jimmy De Knight)

Shame their Dramamine-soaked version of '(We're Gonna) Rock Around the Clock' was so short.  The band literally sounded like they were zonked out on some time of sleeping pill for this one ...  one of the funniest performances on the album.   rating: *** stars  

4.) You Should Be Dancing   (Barry Gibb - Maurice Gibb - Robin Gibb) - 

The first time I played the album I did so without looking at the liner notes.  I basically wanted to see if I could recognize the songs.  This was one that puzzled me for a moment.  Luckily the horns marshaled their collective energy in time to hit the chorus.  Love the way they handled the little flourishes.   rating: **** stars  

5.) It's Only Make Believe   (Conway Twitty - Jack Nance) - 

Their cover of Conway Twitty's ' It's Only Make Believe' actually sounded like something you might hear in a grocery store as background music.  Okay, I guess the fractured humming might be a little odd.   rating: *** stars  

6.) Nights In White Stain   (Justin Haywood) - 

Ah, The Moodies 'Nights In White Satin' ... This was the tune that threw me for a loop when I first listened to the album.  I simply couldn't recognize the song until they hit the refrain and even then I wasn't entirely sure.   rating: *** stars  

7.) My Boy Lollipop   (Johnny Roberts - R. Spencer)

Personally I wouldn't consider 'My Boy Lollipop' to be a rock classic which might explain why I didn't think much of this one.   rating: ** stars  

8.) God Only knows   (Brian Wilson - Tony Asher) - 

I guess it was a reflection of how great the original song was, but Brian Wilson's 'God Only Knows' actually survived the Portsmouth attack with most of its dignity intact.  The strings deserved considerable credit for trying so hard on this one.   rating: **** stars  

9.) (I Can't Get No) Satisfaction   (Mick Jagger - Keith Richards) - 

Technically their cover of The Stones '(I Can't Get No) Satisfaction' wasn't an instrumental since the Sinfonettes screeched the title chorus a couple of times throughout the song.  To be honest, the strings actually did a pretty good job on the song, but the standout performance came from the percussion section.  Whoever was handling the tambourine deserved special credit for having absolutely no sense of rhythm.  Very nice.  Jagger and Richards would have been proud.   rating: *** stars

10.) A Day In the Life   (John Lennon - Paul McCartney) - 

I'll admit I wasn't sure what to expect when they took on an elaborate composition like 'A Day In the Life'.  The first segment wasn't half bad, leading up to the famous string crescendo.  That left the horns and vocals under considerable pressure with respect to the mid-section.  They pulled it off.  Even better was the famous closing, extended piano chord.   They nailed it.   rating: **** stars  

 

Given my affection for their first two albums, I've always had mixed emotions with respect to this one.  Still, worth checking out ...   

 

For hardcore fans, the German release featured different artwork Philips catalog number 6308 315

 

ALLEN TOUSSAINT "SOUTHERN NIGHTS"

Artist: Allen Toussaint
Album: Southern Nights
Label: Reprise
Catalog: MS-2186
Released: 1976
Genre: soul
Grade: **** 4stars
Condition: VG+ cover / VG+ LP
Comments: --
Quantity available: SOLD
Price: SOLD ($40.00)



Crap, what was I thinking ?   Over the last ten years I've sold at least a dozen copies of this album and though I always intended to give it a spin, I never got around to doing so.   No idea why it didn't happen.  I've always liked Allen Toussaint and have a bunch of his albums in my collection.   Maybe it had something to do with Glenn Campbell's hit cover of the title track ?  Indifference ?  Laziness ?  Whatever the reason, having finally listened to the album, al I can say I was stupid, stupid, stupid ...

 

While Toussaint had been recording since mid-'50s, 1975's "Southern Nights" was only his fourth studio album.  Co-produced by Toussaint and Marshall Sehorn, and his sophomore release for Reprise Records, the collection was apparently intended as an autobiographical concept piece, perhaps focusing on Toussaint's life in New Orleans. The "concept" comment comes from the fact the title track melody popped up repeatedly throughout the collection.   I'll readily admit much of the plotline was lost on me, but that doesn't detract anything from this album's charm.  I've always loved Toussaint's honey-smooth voice and surrounded by a totally unique mix of psych, funk, soul, and Creole touches, he's never sounded better.  having a top notch collection of backing musicians, including The Meters didn't hurt - bassist George Porter Jr was superb throughout. Other than the fact the album was too short (clocking in at about 35 minutes), my only problem with the collection was trying to decide which facet of Toussaint's talents I liked the most.   If pushed to make a choice, I guess I'd go for his class soul moves - tunes like 'Back In Baby's Arms', 'What Do You Want the Girl to Do ', and 'When the Party's Over'.   But then the funk moves were equally good ('Worldwide').  Darn, so were the more experimental efforts ...  At least in my book, this is one seriously rare album.  Literally a collection where there isn't a single song that I dislike.  Sure, there are a couple I don't like as much as the others, but there wasn't a tune that I would skip over.   

And finally a quick word on the title track - In my earlier comments I meant no disrespect to the Glen Campbell cover.   Campbell and his producer turned in a killer cover, made even more impressive by the fact they were able to recognize the song's potential in Toussaint's strange, lysergic-tinged nightmare arrangement.

"Southern Nights" track listing:
(side 1)

1.) Last Train   (Allen Toussaint) - 3:01
'Last Train' opened the album with a tune that should have been released as a single.  Kicked along by some amazing horns and one of the best bass lines I've ever heard (courtesy of George Porter Jr.), the tune had universal appeal with a fantastic blend of rock, soul, and funk influences and a refrain that was simply a classic - "You got me huffing and puffing and chugging like a choo choo train..."   I'm smiling as I type this.   rating: ***** stars
2.) Worldwide   (Allen Toussaint) - 2:42
Funk-meets Creole with dazzling results !!!   Wonder platform for Toussaint's mesmerizing voice.  I dare anyone to try to sit still through this one.   It's become a staple for sampling (OutKast grabbed if for 'We Luv Deez Hoez' and  KRS ONEborrowed it for 'Take These Rappers Out').      rating: **** stars
3.) Back In Baby's Arms   (Allen Toussaint) - 4:49
Propelled by another sterling Porter bass line 'Back In Baby's Arms' had a classic soul melody and feel, sounded way more 1965 than 1975.  By the way, that was meant as a major compliment.  Another magnificent Toussaint vocal with a great set of power-of-love lyrics.  Kudos to background singers Joan Harmon, Deborah Paul, and Sharon Neborn.    rating: **** stars
4.) Country John   (Allen Toussaint) - 4:45
On the surface this sounded a bit like one of those "story" soul tunes Clarence Carter rode to stardom.  The difference was Carter and his contemporaries never came up with a refrain as funky, or cool as this one.   While I love the song, it isn't the tune I would have tapped as a single

- 1975's 'Country John' b/w When the Party's Over' (Reprise catalog number RPS-1334)   rating: *** stars

5.) Basic Lady   (Allen Toussaint) - 2:58
Unexpectedly sandwiched by opening and closing snippets of the 'Southern Nights' melody, 'Basic Lady' was the album's most straightforward and commercial soul offerings.   Nice double tracked Toussaint vocal with a killer sax solo.   rating: **** stars

(side 2)
1.) Southern Nights   (Allen Toussaint) - 3:36

As mentioned above, for better or worse, most folks know the title track from Glen Campbell's hit cover.   If you grew up with the hit version, then Toussaint's swampy, ghostly original was likely to come as a major surprise.  The underlying keyboard-propelled melody was familiar, but with Toussaint's vocals bathed in all sorts of strange effects (it sounded like it was channeled through a Leslie speaker), it took a moment to get your barings.   Once you got acclimated to this version, it was great.  YouTube has a wonderful version of Toussaint playing the song solo.  His opening comments are worth the price of admission, and yes he gets the same edgy sound without any effects:  
https://www.youtube.com/watch?v=oGAFOz5GA8I   The song was simply too strange for American radio, but it was released as a single in the UK:

- 1975's 'Southern Night' b/w 'Out of the City (Into the country Life)' (Reprise catalog number K14385)
2.) You Will Not Lose   (Allen Toussaint) - 3:42
The album's sleeper tune, 'You Will Not Lose' had a strange counterpart structure and a melody that fell somewhere between swamper and German oom-pa-pa band.   Yeah, I can't even begin to describe it adequately, but it's great.   For what it's worth, Glen Campbell recorded a upbeat and poppier version of the tune for his 1990 album "Walkin' in the Sun".  Toussaint's original was tapped as a promo single, but seemingly never released in stock format:

- 1975's 'You Will Not Lose' b/w ' Basic Lady' (Reprise catalog number PRO-599):

3.) What Do You Want the Girl to Do   (Allen Toussaint) - 3:40
Sweet ballad with a stunning vocal and an almost criminally addictive hook.  It's one of his best known tunes with covers from a slew of artists including Lowell George (the best cover), Bonnie Raitt (with a slight change to the title 'What Do You Want the Boy to Do?'), and Boz Scaggs (the hit version).  YouTube has a nice clip of Toussaint performing the song at Seattle NPR radio station KPLU:  https://www.youtube.com/watch?v=liVv4PMPx2o    rating: **** stars
4.) When the Party's Over   (Allen Toussaint) - 2:38
Back to the old school sound that Toussaint manages to effortlessly churn out ...  Swaying beat, breezy vocal, great horns ...   near soul perfection.   rating: **** stars
5.) Cruel Way To Go Down   (Allen Toussaint) - 3:52
Nice bluesy ballad which showcased Toussaint's keyboard talents.   rating: *** stars

 

FRANCISCO "COMSIC BEAM EXPERIENCE"

Artist: Francisco
Album: Cosmic Beam Experience
Label: Cosmic Beam Records
Catalog: CBE-01
Released: 1976
Genre: progressive
Grade: *** 3 stars
Condition: VG+ cover / VG+ LP
Comments: --
Quantity available: 1
Price: $100.00


I'll readily admit this was another album I picked up for the interesting sci-fi cover and the fact it looked like a pretty bizarre outing (hippy guru singing/preaching to his congregation of zonked out apostles - Father Yod and Bobby Brown both readily came to mind).  

 

Another true one-man job, 1976's "Cosmic Beam Experience" is the work of L.A. musician Francisco Lupica.  Lupica wrote all of the material, arranged, produced, handled the vocals and played most of the instruments including an electrified I-beam (don't even ask) and other items that he apparently built himself.  Without knowing a great deal about his background, like Bobby Brown, Lupica seems to have performed at a lot of free events throughout Southern California (echoes of Bobby Brown).  (I also found out that he's credited with creating some of the sound effects for 1979's "Stark Trek: The Motion Picture").  Anyhow, based on the title and cover art (courtesy of Stephen Moffitt who also co-produced and engineered some of the material), I was expecting to hear a collection of instantly forgettable new age dribble.  Well, I was only partially correct.  The album starts out with a killer piece of pop - with it's catchy chorus and uplifting lyrics 'Heal Yourself' would have made a dandy top-40 single.  The flip side opener 'Love Sweet Love' is almost as good.  Spread across two extended sections (at least part of it recorded in L.A.'s St. Paul's cathedral), the title track is much more in keeping with my original expectations.  Musically the mix of sound effects (waves, rain, thunder), electronics, acoustic sounds and choral segments is mildly entertaining.  Imagine a mix between 1990s industrial noise and a band of stoned hippies deciding to take a tape recorder along as they enjoy a day at the beach and you'll get a feel for how weird it is.  I'll at least admit that I like it more than say Atlantis Philharmonic.  By the same token you're not going to get up an dance your ass off to any of this.

 

Judging by an online interview conducted with Lupica (see below), no more than 1,00 copies were pressed; most of them apparently sold at his concerts.  I have no idea if it's a legitimate release, but the Radioactive label reissued the album in CD format (Radioactive catalog RR 112CD).  The album also attracted some attention when composer Hans Zimmer sampled some of it for his work on the soundtrack to Terrence Mallick's film "The Thin Red Line".  The film wasn't very good which probably explains why the soundtrack generated attention ... 

"Cosmic Beam Experience" track listing:
(side 1)

1.) Heal Yourself   (Francisco) - 4:56

2.) Cosmic Beam Experience (Part One) (instrumental)  (Francisco) - 11:22

 

(side 2)
1.) Love Sweet Love  (Francisco) - 4:24

2.) Cosmic Beam Experience (Part Two)  (Francisco) - 10:27

3.) Hey Mister Sun  (Francisco) - 1:47

 

Here are a couple of other Francisco tidbits.  

 

The first is a description of his I-bar contraption:  "Inside the tent was a guy playing a very long metal beam, like a steel I-bar, with a few piano type strings stretched from end to end. He had it hooked up with an electronic pickup, so it could be amplified and use echoplex effects. In one hand he held a thick metal cylinder, like a giant version of the one steel guitar players use. With the other hand he plucked, stroked, bowed and hammered on the strings while moving the bar. The harmonics and textural magic from this instrument, which literally moved through your body, was so incredible people would stay for hours..........John Beal"

 

I also found a brief and uncredited interview with the artist on the web.  I'll leave it out here until I get threatened with legal action.

 

"Francisco Lupica has given many years performing in California and around the nation developing his unique musical expression, which he calls the Cosmic Beam Experience. A versatile performer, he plays acoustic guitar, electric space guitar, drums, chimes, zither and an array of four steel channel beams, as well as unusual vocal effects. All this, combined with a specially designed sound system to produce a very full range of frequencies from very high, full mid and super low vibrations, creates an extraordinary sound experience.

While sitting with him in his beachside cottage, filled with the sounds of the ocean and the sweet scent of incense, I gaze upon this good gentle man and sense the significance of his future. I am aware that his music has provided many with nourishment and inspiring moments.  Much effort and growth have gotten his music to this point and I have asked him to share some of his feelings and motivations. Here is some of our conversation:

Paul: How do you relate to life? What is important to you?

Francisco: Feeling really nice inside, simple and free, clean. I love relating to the ocean and the sun. The energy of the sun sometimes makes me want to cry out and have everyone just wake up and recognize the joy of being alive, and being able to experience whatever your experience is. What’s my feeling about life? I’m learning more and more not to take it for granted.

Paul: What is it you are trying to express through your music?

Francisco: It is an extension of me. It is my apparatus to express myself. I am trying to share my innermost feeling of how I see and experience life.

Paul: Through your music you express feelings of health and vitality. Your concerts are more than just you on a stage and people sitting in an audience. It’s a complete environment that you endeavor to create. What is the basis of this environment?

Francisco: Well, I am working to provide a pure sound experience in harmony with enlightening visuals, laser images, video images, and film images, so that the audience can grasp or comprehend that there is more to life that what they perceive. It’s kind of like pushing a button to stimulate parts of the body that are numb.

Paul: So you believe that the sound you generate actually stimulate?

Francisco: Yes. Stimulate and enliven. One of the first comments people make is "Aha! I feel so high and I didn’t even get stoned." That’s real pleasing feedback for me because it shows me that the lifestyle that I have chosen to live or has chosen me, however you want to relate to that, is coming through the music. I surrender myself to the sun and I comprehend its infinite energy, then when I play I feel the sun shine and I share it with my music.

Paul: How did you get started?

Francisco: I was inspired about fifteen years ago buy a drummer named Sandy Nelson who did drum songs. I started with the attitude of doing drum solo music, but with lyrics and melodiousness. Through time I worked with many other musicians and bands - Travel Agency, Taj Mahal, Lee Michaels - before I came to LA looking for a record deal. That’s when I met Richard Bock, a producer of World Pacific Records, who brought Ravi Shankar to America. He introduced me to Ashish Kahn and to Indian music. He asked me and Ashish to join forces and that’s how the group Shanti was realized. So, I went okay and put my soloist trip away and started playing in Shanti which produced an album and was very close to being successful. When Shanti broke up I left the Bay area, which was where Shanti was based and came to Santa Barbara. Santa Barbara seemed to be the place I always went to for refuge and to get my head clear. After about three months of Shanti being over with and me wondering what to do next, and with an incredible amount of information within me, musically  because of Shanti, I had a vision and that’s how the Cosmic Beam Experience began. It just came to me in my meditations. I began building this experience about five years ago, and I have been true to that vision to the point where it is now. I did my first soloist concert on New Year’s Eve night, 1972 going into 73. It was sold out, my knees were shaking, my throat was dry as a desert, and I did it, and I have been doing it ever since.

Paul: So, do you just let the music flow through you or do you have some way of determining the sounds you generate?

Francisco: I have certain sign posts that I have set up, but no limits, no fences, just certain sign posts and if I happen to be near that sign post I go to it, if I’m not feeling in tune. I guess I am a radio on one degree, you could say, I just tune in to whatever frequency or station. All music is already available on any level. As I see it, we’re just vibrations, human bodies, trees, rocks, just all vibrations. And as humans we are fortunate to have the ability to become a radio or a receiver. My body, which is the house I live in, my temple, the cleaner it is the more far out it is, for me, this doesn’t mean anybody else, but for me. The more neat I feel internally and externally the higher the music. I feel much close to the music. The music is already here. I didn’t conjure it up or sit down for years to learn it. There is now a label to the next stage of life which is called New Age. What I think New Age music is, is people tuning into themselves and them music. The music from intunement is more nourishing and inspiring.

Paul: There are those that feel that new music forms and media techniques, New image capabilities, actually have an evolutionary role. Do you agree with this?

Francisco: Yes. The potential is phenomenal. The technology that is available today could change the whole planet but somehow, I guess, not enough people want it yet. There are handfuls of people like me and groups like Positive Media who want to provide experiences in the hopes of reawakening everyone, enlivening them through the senses which is OK because we are in the body and the masses of people are sensory oriented so that’s why media is unfolding more and more. We are a bunch of sensory freaks here on the planet earth. People like to be taken on trips. I guess the disappointment is that so many of the trips aren’t for an awake and sensitized being. They’re limited and without substance.

Paul: What is the substance of your songs which I find very enlivening and uplifting?

Francisco: I’m finding myself trying to present simplicity again in the hopes that the message that does come through will be heard. The songs come from my relationship with myself in life. The songs are also for me to learn. I mean some of the songs I sing, if I was living that way, I would be Joe Holy, so they’re also my therapy. They’re like reminders. Sometimes I have a hard time singing some of the songs I write because they’re saying something really neat about life and I’m not quite living that way yet, although I had the vision at the time it came through me. The songs are to remind me to get my act together and become more centered. I sing them publicly because we are all connected on one level or another and sometimes by someone speaking out we realize, "Wow, she or he’s going through that too. So I guess it’s OK. I’m not alone"

Paul: Some of the songs are called "Heal Yourself," "Sit Back and Relax," "Cosmic Feeling." They are simple direct songs we can relate to.

Francisco: Yes "Sit Back and Relax," for example I want to create a sound expression for that feeling. The image I had in my head was of somebody who worked all day long, stuck doing a job that’s not really what they want to do. One of their only outlets is listening to music. After a long day of work they come home and if they happen to have a cassette of the Cosmic Beam Experience they can play that song and if you surrender to it, it does just that. You will get a relaxed experience.

Paul: Talking about your tapes and records, you succeeded in achieving something a lot of artists strive for, that’s independently producing your own album. How did that come about?

Francisco: Well, the people materialized the album. What I mean is, during four years of performing as a soloist, people would talk to me after concerts and give me validation or whatever and within a couple of sentences they would say, "Have you got a record out yet?" and I would say, "Soon." I said soon for years. Finally I was able to comprehend it fully in my mind and feel, yeah, it’s time and actually do it. I sought out people to invest in me in sort of a friendship-business relationship. Because of all the years working with other musicians, recording on albums and just learning the ropes of the industry through my eyes, I was able to produce my own album and all of the right people were there. Steven Moffit who does the Beach Boys was the engineer and I did some of the recording at St. Paul’s Cathedral where my next concerts are.

Paul: You also have distributed your records yourself.

Francisco: Yes, thousands of people have my tapes or records from direct sales at my concerts and mail orders. I would like to see Cosmic Beam records at all stores. It can be done. I like just the idea of visualizing an artist, she or he having an independent record company. For me, it just all came together as the songs came together.

Paul: How do you feel about playing in St. Paul’s Cathedral?

Francisco: It’s beautiful. I love to play with the sound within the Cathedral. It allows all the instruments that I play to have a more expansive sound, the harmonics that are developed inside the Cathedral are just beautiful. It’s just the sort of perfect place, perfect environment for the Cosmic Beam Experience. It’s one of my fantasies to play cathedrals all around the world. All those sort of epic environments that were built for people to go to for unique events. I feel honored to be able to play in St. Paul’s Cathedral. I really do. There’s something that seems to happen to me just sitting in that environment playing. It’s like a feeling of renaissance. It’s just a big beautiful open space and people can bring a pillow and a blanket and just lie down and share this experience with me.

Paul: As you and other artists who share a healthy, humanistic perspective, are able to reach larger audiences, what effect do you think this will have on our culture?

Francisco: I feel there will be a chain reaction and it will inspire more fulfilling relationships and neater environments to live in.

Paul: Who are you?

Francisco: Me. I’m just me, and if I want to step out of me I can create multidimensional experiences, whatever me wants to be. I can be Francisco or me is capable of channeling real neat energy by the Cosmic Beam Experience, but if we take all that away, I’m just me.

Paul: You’re working as an artist to express yourself, in that effort, are you also working with a sense of purpose in relationship to other people in the world?

Francisco: I sense a oneness with everyone. Sometimes I do feel isolated. I notice that the more I get involved in the here and now, a goal in mind seems to disappear. Goal is future talk which doesn’t exist now. Everyone is always trying to help the masses which is neat, but society is really made up of individuals. My concern isn’t a relationship with humankind but a relationship with myself. The fruit of it is that I can be more in harmony with others because I’m expressing myself. I do see people hurting themselves, being asleep. They’re not very happy. And yet inside I know that’s another part of me, a reflection of me. We’re all interconnected. I do feel humankind. We’re so many different facets. I used to try to promote healing and TM which I like, but there are many diverse ways of doing things. And I don’t promote it verbally, I just sort of sneak it in with my music. Just like the sun, it rises, just appears gradually and then goes down. Some people notice it happening and some don’t. Eventually everyone says, "Hey. What’s going on here? I feel different. I feel more alive." Even the numbest people. I guess wanting so much to scream out "Wake up, come on brother, come on sister, wake up." These incredible ideas of sound and visual art materialize. I want to provide encouragement for people. Hopefully they’ll come out of the Cosmic Beam Experience feeling a little more alive, feeling in tune with themselves and more aware of their potential. Yes, I have a sensitivity for humankind, more than I even know about."