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MORT GARSON

Progressive Electronic • Canada


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Mort Garson biography
Born in New Brunswick Mort Garson was a classical trained musician and electronic researcher. During his career he was mainly known for his original sci-fi space agey soundscapes. He started his career back in the 60's and was among the first to experiment the Big Moog synthesiser. In 1967 he recorded his first album "The Zodiak: Cosmic sounds". It features sonic analog based compositions. Released during the late 60's "Electronic air pieces" contains supernatural electronic moods, pulsating hypnotic effects and moving synthesised textures. Mort Garson's musical universe is closed to Cecil Leuter, Jean Jacques Perrey kitchy moog pop soundscapes but within more mystical-cerebral-adventurous proportions. Published in 1971, "Black Mass" is without any doubts his most progressive album: lysergic electronic modulations meet dark epic timbres. Among the most notorious canadian space electronic artists with David Pritchard and Philip Werren.

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Mother Earth's (Splatter Vinyl/Limited)Mother Earth's (Splatter Vinyl/Limited)
FIFTH DIMENSION 2015
$64.90
Mother Earth'sMother Earth's
GRETH 2017
$15.69
Electronic Hair PiecesElectronic Hair Pieces
FIF D 2016
$10.54
Wozard of IzWozard of Iz
El Records 2008
$199.98
$56.77 (used)
Electric Hair PiecesElectric Hair Pieces
FIFTH DIMENSION 2015
$18.23
$16.92 (used)
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MORT GARSON discography


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MORT GARSON top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.05 | 18 ratings
The Wozard of Iz: An Electronic Odyssey
1968
4.40 | 5 ratings
Signs of the Zodiac: Aries
1969
4.40 | 5 ratings
Signs of the Zodiac: Leo
1969
3.47 | 6 ratings
Signs of the Zodiac: Cancer
1969
3.40 | 6 ratings
Signs of the Zodiac: Virgo
1969
3.48 | 14 ratings
Electronic Hair Pieces
1969
4.75 | 4 ratings
Signs of the Zodiac: Sagittarius
1969
4.75 | 4 ratings
Signs of the Zodiac: Libra
1969
4.67 | 3 ratings
Signs of the Zodiac: Capricorn
1969
4.67 | 3 ratings
Signs of the Zodiac: Taurus
1969
4.67 | 3 ratings
Signs of the Zodiac: Gemini
1969
4.75 | 4 ratings
Signs of the Zodiac: Scorpio
1969
4.67 | 3 ratings
Signs of the Zodiac: Aquarius
1969
4.67 | 3 ratings
Sings of the Zodiac: Pisces
1969
4.15 | 4 ratings
Didn't You Hear?
1970
3.31 | 4 ratings
Music For Sensuous Lovers by Z (as Z)
1971
3.71 | 16 ratings
Black Mass [as Lucifer]
1971
4.06 | 9 ratings
The Unexplained: Electronic Musical Impressions of the Occult by Ataraxia (As Ataraxia)
1975
3.71 | 13 ratings
Mother Earth's Plantasia
1976

MORT GARSON Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

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MORT GARSON Reviews


Showing last 10 reviews only
 Mother Earth's Plantasia by GARSON, MORT album cover Studio Album, 1976
3.71 | 13 ratings

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Mother Earth's Plantasia
Mort Garson Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars Now here's a bizarre little artifact of recorded music that seems to have an equally weird reputation that matches it's unorthodox content. MORT GARSON was one of the unsung heroes of early electronic music. After graduating from the Juilliard School of music in the 60s, he quickly discovered the Moog synthesizer and after years of crafting pop hits for the likes of Doris Day and Mel Tormé amongst others, he found his own niche similar to Walter Carlos in the world of electronic music and in his case the newly perfected Moog synthesizer of the era. While spending the 60s crafting hippie inspired electronic albums that covered every sign of the zodiac as well as cover tunes from the musical "Hair," GARSON also was responsible for countless commercial jingles as well as the soundtrack for the 1969 Apollo Moon Landing.

The 70s found his Moog synthesizer career branching out into completely different directions with 1971 finding his Lucifer alter ego cranking out the creepy "Black Mass," however one of his strangest and most unique creations has to be the 1976 album MOTHER'S EARTH PLANTASIA album which was designed to be played for plants! Yes, this album all about plants was created specifically to help plants grow and become more harmonious with their environment. The album was allegedly sold at mattress stores as well as being distributed as a freebie with the purchase of plant food, however i'm not convinced that these claims are accurate and it would hardly be a viable method for exclusive distribution, however a gimmick that sounds utterly brilliant if it was so the case.

Unlike albums like "Black Mass" that were designed to be creepy and utterly psychedelic, MOTHER EARTH'S PLANTASIA exudes a pacifying warmth that displays GARSON once again as a one-man Moog orchestra with ten tracks that celebrate the magnanimous nature of the plant kingdom. With such titles as "Symphony For A Spider Plant," "Ode To An African Violet" and "Music To Soothe The Savage Snake Plant," one simply becomes mesmerized by the subtle quirky synthesizer sounds that slink and slide into light hearted compositions that turned out to be quite influential for video game soundtrack music. "Concerto For A Philodendron" was a major blueprint for "Zelda's Lullaby" whereas the tones and timbres that coalesce into bloops and bleeps were fertile pickings for the 8-bit Nintendo video games that emerged the following decade. I can't place it but "You Don't Have To Walk A Begonia" has a distinct bass line that permeates the early soundtrack world of video games.

MOTHER EARTH'S PLANTASIA is another short album which clocks in at under 30 minutes, a formula that GARSON seemed to be most comfortable with. The tracks are short and straight to the point and as expected with such subject matter exude a rather childish innocence that offered the perfect template for secondary attention span music such as video game soundtracks. Anyone familiar with GARSON's style will find that MOTHER EARTH'S PLANTASIA very much continues the interesting layering of synthesized sounds that conspire to create vivacious counterpoints, electro-beats and various timbres however this album is all about gentleness and flows along in a nonchalant pastoral manner that fits in with the idea of nurturing fragile beings into complete happiness. Dated yes, but a pleasant sort of album that could only exist in a particular era.

While GARSON started out sounding much like what bands like Tangerine Dream and Goblin would eventually become famous for, he never stood still for too long and with MOTHER EARTH'S PLANTASIA he created a little slice of musical reality that had never been attempted before. As far as i'm aware no one had constructed music for and about plants with the idea of playing the music to them so that they could find perfect plant happiness! How's that for true hippie idealism! While not as far out as some of his strangest albums in terms of musical freakery, this one is probably one of the most unique of his entire career and despite never really taking off in its own right didn't go unnoticed as Stevie Wonder followed up his magnum opus "Songs In The Key Of Life" with a suspiciously similar concept album called "Stevie Wonder's Journey Through The Secret Life Of Plants" which too was a progressive electronic new age journey a mere three years after the release of GARSON's tribute to plants.

 Black Mass [as Lucifer] by GARSON, MORT album cover Studio Album, 1971
3.71 | 16 ratings

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Black Mass [as Lucifer]
Mort Garson Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars MORT GARSON has to have had one of the most bizarre careers of any artist in recorded music. Having been a staple of the music industry in the 60s, Garson co-wrote hits for Brenda Lee, Cliff Richard and worked with Doris Day and Mel Torm'. In the 60s he launched a whole new career as one of the first arrangers and composers to work with the then totally new Moog synthesizer and he immediately pumped out a huge collection of exotica including a complete 12 part record series to cover ever sign of the zodiac. Some of these albums have still never seen a re-issue and command a hefty price for those who are extreme collectors. The year 1969 was a particular busy one where he not only produced all the zodiac albums but a kitschy Moog album called 'Electronic Hair Pieces' which covered songs from the musical 'Hair.' He also did jingles for commercials and even got his music in the background for the moon landing.

After the ventures into all the hippie influenced Moog albums, in 1971 Garson took on new persona under the moniker LUCIFER and released this sole relic titled BLACK MASS, however with the BLACK MASS appearing directly over the LUCIFER it was hardly apparent at the time which was the title and which was the artist. Out of print for over four decades, the album has at long last seen a proper remastering and CD appearance in the year of 2018 on the Rubellan Remasters label. The album was supposedly designed to simulate the spookiness of the occult in a completely Moog electronic setting however in reality what resulted was more a creepy space pop that surely must've been a major influence for the Italian band Goblin who would take a similar approach and perfect it for their lengthy career as horror soundtrack artists.

BLACK MASS is certainly a product of its time and for some probably hasn't exactly held up well over the time that has passed. Despite a rather Black Sabbath visual appeal, this album is more an exploratory adventure into defining the limitations of the Moog synthesizer regardless of where the music went. While the title connotes a rather sinister 'Rosemary's Baby' or even an 'Exorcist' sort of psychological horror, the truth is that the music is less Satanic and more psychedelic. This is a soundscape of twinkling keyboard stabs, omniscient atmospheric backdrops, keyboards that evoke vocal timbres and a series of pulsating percussive drives that also emanate from the inner world of the Moog just as much as the creepy synthesized tones.

The creepy introductory 'Solomon's Ring' oscillates into existence and quickly becomes a bizarre series of Moog dominated counterpoints with strange melodies swirling about and dynamic percussive beats simulating tribal beats. The album in many ways points to the direction that bands like Tangerine Dream would also follow. The tracks vary substantially with with 'The Ride Of Aida (Voodoo)' taking on a more exotic air that reminds more Yma Sumac than Satan. Tracks like 'Incubus' are the more sinister of the lot with slinking Moog riffs pulsating up and down exotic scales and dark contemplative journeys into the unknown as Moog riffs have conversations with one another.

The macabre title track probably comes closest to emulating the dark arts of any track with its synthetic bells and creepy chirping that coalesces into a demented church organ sound that picks up steam and becomes a jittery piece that juggles percussive beats and swanky synthesized sounds. 'The Evil Eye' sounds more like something off the 'Twilight Zone' with its almost theremin qualities but it also has the closest sounds to an electric guitar as popcorn percussion gurgles about. 'Exorcism' doesn't even remotely evoke a demonic cleansing but rather sounds like a whale song joining into an altered theme of the 60s 'Batman' series. The remaining tracks tread similar ground which showcase the extreme diversity of the Moog but not necessarily evoking the meaning of their respective titles.

If you're looking for Satan, look elsewhere. Obviously a cleverly crafted marketing gimmick to attract those who were hungry for anything occult. If you're looking for stellar period piece of Moog synthesizer music, then you've come to the right place here. Yes, this is woefully dated but in a good way really. Much as Walter (Wendy) Carlos found a unique niche with the 'Switched On Bach' series, so too did Garson find a nice little comfort zone in the world of period electronica. While there is no mistaking as to when this album was released, it is a charming example of Moog synthesizer playing in all its myriad forms. Yes, it's kitschy, it's campy and it certainly doesn't even remotely come off as spooky by today's standards but the playing is really interesting as Garson was a master of layering melodies and beats upon each other in almost a primeval DJ mindset. This album doesn't even hit the 30 minute mark so it's a fairly quick listen and it's one that i find to evoke the true nature of psychedelia in electronic form. For me, this is excellent.

 Mother Earth's Plantasia by GARSON, MORT album cover Studio Album, 1976
3.71 | 13 ratings

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Mother Earth's Plantasia
Mort Garson Progressive Electronic

Review by Progfan97402
Prog Reviewer

3 stars Mort Garson does a 180 from the eerie Ataraxia, since this time he does a Plant Moog album, an album for plants, music that's supposed to be soothing for plants, so don't expect Ataraxia or Lucifer. In fact the music, for the most part borders on proto-New Age, and for my tastes, it's not always to my liking. The album does best when steering away from the early New Age template, to be honest it still sounds like Mort Garson we all know and love. Unlike his major label albums, Mother Earth's Plantasia was only available at furniture outlets (in Southern California, apparently) when you purchase a Simmons Mattress. I can't imagine too many Simmons buyers playing it, I'm sure many of them had fairly mainstream music tastes who likely had a few Linda Ronstadt, Carly Simon, Eagles and James Taylor records in their collection at the time, with electronic music a bit out of their league. Regardless, not my favorite from him, but still worth having if you enjoyed his other electronic stuff. This appears to be Mort Garson's last exploration into electronic music, by 1976 his style was becoming outdated (Jean Michel Jarre was just appearing with the release of Oxygene that December that changed the world of electronic music, one of more mainstream acceptance). I don't know if this album will calm plants, but I'm sure it may calm many listeners.
 Electronic Hair Pieces by GARSON, MORT album cover Studio Album, 1969
3.48 | 14 ratings

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Electronic Hair Pieces
Mort Garson Progressive Electronic

Review by Progfan97402
Prog Reviewer

2 stars This is probably my least favorite Mort Garson album. Given I was never a fan of the music to Hair, it's no surprise that even Moog renditions of said play doesn't appeal to me. It's pretty much straight forward. Actually not all of Hair bothers me, the ones that pop artists took on I do like (other than "Good Morning Starshine" that Oliver had a hit with and the Strawberry Alarm Clock recorded versions of). "Easy to be Hard" was covered by Three Dog Night, and isn't all that bad. Quincy Jones done a rather great jazz version of "Walking in Space", and I do like Mort's version of it. Then there's of course "Age of Aquarius", the Fifth Dimension did a famous hit version, and Mort's version is great. But the more cheesy stuff, like "Good Morning Starshine" I could do without. Personally I felt Mort Garson shines the best when doing original material, like the Signs of the Zodiac series or The Wozard of Iz. This was the first Mort Garson album I ever bought, a cheap copy found in Eugene, Oregon. Luckily I knew not to give up on him, once I started finding his other (original material) albums I simply loved it. To me, Electronic Hair Pieces sounds like one of those dime-a-dozen pop Moog albums doing Hair. Even though not a favorite, I still keep it, because the less cheesy stuff ain't too bad, but not the first I go to if I want to hear Mort Garson.
 Black Mass [as Lucifer] by GARSON, MORT album cover Studio Album, 1971
3.71 | 16 ratings

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Black Mass [as Lucifer]
Mort Garson Progressive Electronic

Review by Progfan97402
Prog Reviewer

4 stars It's unbelievable the amount of electronic albums Mort Garson had done since 1967 as of 1971 when Black Mass came out on the Uni label. He helped compose the Zodiac Cosmic Sounds album in 1967 for Elektra, did The Wozard of Iz, Electronic Hair Pieces (doing Moog renditions of music from Hair), the Signs of the Zodiac series, an obscure film soundtrack called Didn't You Hear, and a sex Moog album called Music for Sensuous Lovers. Those last two albums seem to be most obscure as Didn't You Hear was only available at Seattle movie theater lobbies when the film came out, and Music for Sensuous Lovers was obviously released privately (actually Sensuous Records, but I'm sure it was a private release) due to the content. For Black Mass, he records as Lucifer and creates an occult Moog album. After all, he did a sex Moog album, and a bunch of astrology Moog albums, a Broadway musical Moog, and a Moog album inspired by The Wizard of Oz updated to 1968 counterculture themes. Black Mass is full of creepy sounding synth and percussion sounds. Where The Signs of the Zodiac series tend to be pleasant, this stuff sounded pretty creepy. Much of it is on the experimental side, although classical style shows up on "Voices of the Dead (The Medium)". I also notice a part of one of the songs used on Signs of the Zodiac was used on the beginning of "Black Mass". I have often seen negative reviews of this album, but actually it's one of my favorites. For one thing, there's no narration or vocals, often I felt the narration and vocals on many of his other albums a bit hard to take seriously (especially the Signs of the Zodiac series), this one is all instrumental and so works in listener's benefit. If you do like this, don't forget to check out his The Unexplained (as Ataraxia) from 1975 on RCA (despite the four year gap, it's surprisingly similar). I love this kind of Moog music, sure beats a lot of those cheese renditions of pop and classical (for my tastes, some people like that cheesy stuff for kitsch value, for me most of that stuff doesn't hold up). Black Mass comes recommended by me.
 Didn't You Hear? by GARSON, MORT album cover Studio Album, 1970
4.15 | 4 ratings

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Didn't You Hear?
Mort Garson Progressive Electronic

Review by Progfan97402
Prog Reviewer

4 stars Soundtrack to a real obscure film that only aired in Seattle theaters, I know little of the film, but the soundtrack album, which you could only get in Seattle theaters at the time, meant this LP is a guaranteed rarity (I used to live in Seattle for a short time in the 1990s, don't recall seeing this one, but then again, back then I never heard of Mort Garson, so who knows). This, and Music For Sensuous Lovers, which came out the next year (1971) seems to be Mort Garson's most obscure electronic albums. Didn't You Hear? only features vocals on two cuts, the bookended title tracks, the rest are short instrumental pieces. There is no denying this is Mort Garson and his modular Moog, in fact musically, it sounds not too different from Signs of the Zodiac series from the previous year, but no narrations to get in the way. More great electronic music from the early days of electronic. I like how (Electronic Hair Pieces aside) that he avoided doing Moog renditions of other people's songs and doing original material, and this album proves that. It's too bad A&M did not release that, then it would have been widely available, instead of on Custom Fidelity in Seattle theater lobbies (although the label was based out of California, so I'm guess it wasn't released elsewhere as the film was never aired outside Seattle). If you can find a copy, this album is required in your collection if you enjoy Mort Garson's electronic music.
 Music For Sensuous Lovers by Z (as Z) by GARSON, MORT album cover Studio Album, 1971
3.31 | 4 ratings

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Music For Sensuous Lovers by Z (as Z)
Mort Garson Progressive Electronic

Review by Progfan97402
Prog Reviewer

3 stars Now this is an odd album if there was one, and perhaps not the best idea out there. Both him and Ruth White came up with Occult Moog albums, and he also came up with Astrological Moog albums (the Signs of the Zodiac series from 1969). But this is one idea that should have been left in the bedroom and that's Sex Moog, which is exactly what you get with Music For Sensuous Lovers. He tends to release albums under pseudonyms or make sure his name is nowhere to be found on the front cover (you have to look in the songwriting/composing/performing credits to find his name on many of these albums), and on this one he was recording as "Z". If you've enjoyed The Wozard of Iz, or the Signs of the Zodiac series, musically, this album isn't too terribly different. I personally love what he does musically here. It's what you hear in the background is best left in the bedroom. It's not the kind of album you want to be heard in mixed company, especially with more conservative minded guests. It's no surprise neither A&M nor Uni released this album, due to content. It was released on Sensuous Music, which, as far as I can tell, a private release. I imagine this was only available in adult book stores, but there's nothing to verify that, but I wouldn't doubt that if that was true. It's hard to find and never been reissued (in this case I can see why it was never reissued due to content). So maybe not the best idea, but if it was a straight musical album it would be great, as I love the music, and I recommend it for the musical part. Three stars, love the music, but the background sounds should have been left in the bedroom.
 Signs of the Zodiac: Virgo by GARSON, MORT album cover Studio Album, 1969
3.40 | 6 ratings

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Signs of the Zodiac: Virgo
Mort Garson Progressive Electronic

Review by Progfan97402
Prog Reviewer

3 stars Another of a 12 LP series Mort Garson recorded with the help of voice actors, this one focuses on Virgo, which happens to be my sign. As with all albums in this series, you get treated with nice electronic music played on a modular Moog from Mort Garson, and help from Nancy Priddy, John Erwin, and Michael Bell, voice actors of note. Nancy Priddy being the mother of Christina Applegate of Married... With Children (Priddy was also a folksinger, apparently), John Erwin was later the voice of Morris the Cat (and it's easy to tell on this 1969 recording) and even in the 1980s as the voice of He-Man on He-Man and the Masters of the Universe, and Micheal Bell, later a voice actor for computer games as well as various cartoons in the 1970s and 1980s.

"I Know You Virgo" has the narrators voicing their opinions on how a Virgo is like. "Virgo at Work" gives you advice when working, if you have "such and such" personality, don't hire a Virgo. "Where Was Your Moon?" tells you how a Virgo is like when born under a certain moon (that is, day and year). The LP even includes a moon chart, covering the years 1919 to 1960, which leaves me a bit high and dry, given I was born in September 6, 1972, luckily you have the Internet to see which moon you were born, and for me, I'm a Virgo born under the moon in Leo, so I have to listen when the narrator brings up the moon in Leo. "In Love, Virgo?" obviously gives you advice on love and romance and which signs you should better try if you broke up. "Those Who Know" are narrators giving quotes from famous people on the subject of astrology. This cut is included on all 12 LPs.

I don't know if you want all 12 of these LPs (you can't get them on CD, as they were never reissued), but if you're into astrology and Moog, these albums are worth trying.

 The Wozard of Iz: An Electronic Odyssey by GARSON, MORT album cover Studio Album, 1968
4.05 | 18 ratings

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The Wozard of Iz: An Electronic Odyssey
Mort Garson Progressive Electronic

Review by Progfan97402
Prog Reviewer

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 '60s and the hippie movement, done by an already middle-aged guy, Canadian expat (residing in the States) Mort Garson, a guy old enough to be the "establishment" that the hippies and counterculture wanted nothing to do with (the rather naive "don't trust anyone over 30", when a few of their icons were over 30, like Abbie Hoffman, and Timothy Leary was quite a bit older than Hoffman, old enough to be the father of the hippies - ironically I could see that "don't trust anyone over 30" crowd circa 1978 when they turned 30 and how they reacted! I could also go on that Spencer Dryden of Jefferson Airplane turned 30 in 1968, Grace Slick turned 30 the next year in 1969, Ray Manzarek of the Doors turned 30 in 1969, showing examples how some of their icons turned 30 before the '60s ended. And one last thing, Spirit drummer Ed Cassidy was almost as old as Timothy Leary!).

One thing that needed to get cleared. For years it's been rumored that Suzy Jane Hokum (who did some of the narration on this album) was Nancy Sinatra. No, she was a separate person. The reason for the confusion was Suzy Jane Hokum (actually Suzi Jane Hokom) too had recorded with Lee Hazelwood, she too did a version of "Summer Wine" with him, but it was the version with Nancy Sinatra that became the hit and people are more familiar with. Hokom was a staffer at LHI Production, an enterprise ran by Hazelwood.

The Wozard of Iz was very much a product of its time. The Moog was a brand new invention, so I'm certain Mort Garson was learning as he was going on programming and playing the synth, learning its quirks and limitations (polyphonic synths wouldn't be for another few years, so this required lots of overdubbing, as well as manipulation of the multiple oscillators that it featured). Here he takes the Wizard of Oz, gives it a totally psychedelic synth make over, and gives it a counterculture theme, which is hardly subtle, and the veiled references to real life places and people weren't really all that veiled, it was so obvious to anyone who knew about the 1960s. Canvas City was Kansas City (thought of as a generic Midwestern city), Lemon County was Orange County, California (a conservative bastion that the counterculture avoided, it's largely suburban), Robert Squelch (Robert Welch, the founder of the John Birch Society), the Upset Strip (the Sunset Strip, which was famous for a youth riot in 1966 that inspired Stephen Stills to write "For What It's Worth" for Buffalo Springfield), the only place not veiled was Big Sur. So you get Dorothy, and several characters that are conformist, unable to think for themselves, materialistic, and status quo-obsessed with The In-Man, the Lyin' Coward, and the Scared-Crow.

"Leave the Driving to Us" features probably the earliest use of sequencers that I know of (a sequencer was built into the modular Moog), it almost reminds me of a slowed-down version of Pink Floyd's "On the Run" (which too used a sequencer, but that sequencer was an EMS AKS, basically a Synthi A with a membrane sequencer keyboard). "Upset Strip" really features some nice melodies, Dorothy being warned to avoid the Upset Strip (because of riots, just like the real life Sunset Strip in 1966). "Never Follow the Yellow Green Road" might not be to everyone's liking. It has a very much Broadway musical feel to it, the big differences are being the Moog synthesizer is the only instrument used, and the lyrics having anti-establishment themes. They warn Dorothy not to follow this Yellow Green Road (as it's the middle of the road, representing conformity, and the narrator tells you Ferlenghetti books aren't read there, nor Warhol films played there, guaranteeing your mind won't be blown). "The Scared Crow" is a materialistic character obsessed with status, "The In-Man" is obsessed with charts and statics, while "The Lyin' Coward" is incapable of telling the truth (which was obviously a potshot at politicians). "They're Off the Find the Wozard" and the mellow "Big Sur" sounds like an electronic version of the Association (that vocal style that seems so common with L.A. bands of the time associated with "sunshine pop"). "I've Have Been Over the Rainbow" sounds amazingly like The United States of America (as in Joe Byrd and Dorothy Moskowitz), but using a Moog rather than some home made prototype electronic device. Even Suzy Jane Hokum sounds like Dorothy Moskowitz. This album really is all over the place, from highly experimental electronic sounds effects that sounds like something Nik Raicevic would do to electronic Broadway musical to Association-type sunshine pop with Moog instead of pop/rock instruments. Some of it's cheesy, some of it's great, but that's what you get when you listen to a Mort Garson Moog album. I love this album, but the Klaus Schulze, Jean Michel Jarre and Tangerine Dream crowd (or should I say, those preferring electronic music in that 1970s serious manner) might stay away, but those who want to hear an early Moog album that's not renditions of classical favorites (a la Switched-On Bach) or pop hits of the day would want this.

 The Unexplained: Electronic Musical Impressions of the Occult by Ataraxia (As Ataraxia) by GARSON, MORT album cover Studio Album, 1975
4.06 | 9 ratings

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The Unexplained: Electronic Musical Impressions of the Occult by Ataraxia (As Ataraxia)
Mort Garson Progressive Electronic

Review by Progfan97402
Prog Reviewer

4 stars To me I think Mort Garson is one of the great synthesizer pioneers, although a lot of it got bogged down by cheesy narration and dated subject matter such as The Zodiac - Cosmic Sounds, The Wozard of Iz and the Signs of the Zodiac series (which actually, I don't have a problem with, though many do), so you often had to tune out the narration to hear the brilliant music within. Luckily he did a few all instrumental Moog albums, like Lucifer - Black Mass and it's natural followup The Unexplained, which is the album I'm reviewing here. As usual, his name is not emphasized on his albums, you usually never see his name on the front cover, and this time it's no exception, he was going by Ataraxia for this particular project. Unsurprisingly this also sounds like that natural followup to Black Mass. To me, this is an even better album, although still trippy, he wasn't doing trippy sounds effects for sound effects sake and often took a bit more of a melodic approach, although it's not like he's heading in Jean Michel Jarre territory here. He only released one more Moog album, Plantasia in 1976, and I don't believe he recorded anything more like this. Certainly The Unexplained is a great album of electronic music, and even if you were put off by some of his other releases (for reasons explained near the beginning of this review), this still comes highly recommended!
Thanks to Philippe Blache for the artist addition. and to Captain Capricorn for the last updates

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