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Mort Garson

Progressive Electronic

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Mort Garson The Wozard of Iz: An Electronic Odyssey album cover
4.05 | 15 ratings | 2 reviews | 33% 5 stars

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Studio Album, released in 1968

Songs / Tracks Listing

1. Prologue - 3:05
2. Leave the Driving to Us - 2:50
3. Upset Strip - 2:25
4. Never Follow the Yellow Green Road - 2:40
5. Thing a Ling (Scared Crow) - 2:21
6. In-Man - 1:28
7. Man With the Word (Lyin' Coward) - 2:00
8. They're Off to Find the Wozard - 1:40
9. Blue Poppy - 6:27
10. I've Been Over the Rainbow - 2:10
11. Big Sur - 3:20
12. Killing of the Witch - 3:35
13. Finale - 1:04

Line-up / Musicians

- Mort Garson / Moog Modular synthesizer

- Suzy Jane Hokum* / Dorothy
- Barney Phillips / Scared Crow, Lyin' Coward
- Jay Jason / In-Man
- Julie Haas / Baddy Witch
- Jadine Vaughan / Goodie Witch -
- Jaques Wilson / narrator

* the rumour that Suzy Jane Hokum is an alias for Nancy Sinatra was never confirmed

Releases information

LP A&M SP 4156 (USA, 1968)

Thanks to clarke2001 for the addition
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Buy MORT GARSON The Wozard of Iz: An Electronic Odyssey Music

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MORT GARSON The Wozard of Iz: An Electronic Odyssey ratings distribution

(15 ratings)
Essential: a masterpiece of progressive rock music(33%)
Excellent addition to any prog rock music collection(47%)
Good, but non-essential (20%)
Collectors/fans only (0%)
Poor. Only for completionists (0%)

MORT GARSON The Wozard of Iz: An Electronic Odyssey reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by clarke2001
SPECIAL COLLABORATOR Honorary Collaborator
4 stars ''Kansas City (...) a place where people throw rocks at dreams, and the dreams shouldn't be stoned... only the dreamer.''

The most spaced-out hippie stuff you can encounter. In many ways, this record is astonishing.

Down to the bone, it's some sort of a radio-drama (spoken words) with layers of synth-generated sound effects and melodies, with a few musical numbers. But it would be injustice to dismiss it easily, since it's groundbreaking in many ways.

First of all, the story itself is a skewed version of ''The Wizard Of Oz'', overloaded with hippie angst, political recourse, drug allegories and humour. Several people participated in the roles, the narrator being Jacques Wilson, the author of the whole concept (Garson did the music, but not the actual plot).

Musically, there's a plethora of noodlings, bleeps and burps to back up the narration. All sounds are exclusively produced with a synthesizer, if there are any traces of other instruments, I was not able to trace them.

Perhaps the most intriguing part of the record (apart from being ahead its time) is its musicality. Those sound effects are not thrown in randomly as unsubstantial piles of various tones and noises. Yes, there are moments that can be compared to academic avant-garde musicians of the century - such is Stockhausen - but I'm wondering from which of those old maestri Garson picked influence, if at all. This is rooted in rock and marked with a lysergic mark all over the place. There are melodies - moreover - some incredible hooks, and a couple of tunes in a strict sense. There are bits that remind me of THE RESIDENTS and their works few years later; there's 'Never Follow The Yellow Green Road', which fuses funky electronic bass hook with a choir of female vocals in 60's soul style -- transfer this one into the early 2000's and you got an instant four-to-the-floor electronic dance hit!!! There are also beautiful (if a bit underdeveloped) 'I've Been Over the Rainbow' and 'Big Sur'; lovely songs with synth arpeggio emulating bassoons and electric organ and female vocal that came straight from the mellowest, dreamiest depths of West Coast, dream pop and psychedelia!!

I must point out Garson's skill great skill in producing the sound out of the synth: those big old bulky Moog Modular systems were beautiful and versatile machines, but unstable: it was a hell to keep them in tune. Garson is brilliantly avoiding such problems applying all sorts of bendings and resonances, glissandi, running sequences with smooth pitch shifts, and clever application of noise bursts (hiss) on sequencer to produce rhythmical patterns. Such an approach won't became old-fashioned until the dawn of useful drum-machines in late 70's/early 80's. He's also avoiding the monophonic properties of his machines by stacking oscillators on various frequencies, producing a one-key chord (a thing often used by Emerson, Wakeman and others), but he is never overdoing it. As for the more MUSICAL moments of the's bordering on unbelievable.

This record struck me deeply - remember it was done in 1968 - the electronic pioneers in Europe won't reach a degree of coherency for a couple of years more. Now I'm deeply interested to further check pioneers of electronic music from the New World - the place where the very concept of the synthesizer (as we know it today) was born.

Well-deserved four stars. Highly recommended. Far out, man.

Latest members reviews

4 stars Looks like Mort Garson was really on a roll at the end of the '60s. You got The Wozard of Iz, then Electronic Hair Pieces, and apparently the exact same time, the 12-LP series Signs of the Zodiac (each LP on a different sign, sold separately). The Wozard of Iz is very much a product of the late '6 ... (read more)

Report this review (#1187707) | Posted by Progfan97402 | Saturday, June 7, 2014 | Review Permanlink

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