It is not hard to figure out why record labels wouldn't touch Big Lost Rainbow and why it stood no chance of gaining a widespread audience at the time of its 1973 release date. The album runs completely counter to the pompous hard rock that was plastered all over the airwaves at the time, and is far too subtle and mature for mass consumption. Although their initial gig was played before a crowd of 10,000, Big Lost Rainbow were not cut out for the arena.
Their music requires a much more intimate setting and response, and their sole album is a surprising musical delight constructed out of elements of folk, jazz, and classical music, all of which expose gorgeous, supple melodies, mostly composed by lead vocalist and guitarist Ridley Pearson. The album brings to mind the best aspects of soft, early-'70s folk-pop, but unlike much of that genre, there is a genuine sorrow (as opposed to anger) threaded throughout the music; a sorrow, perhaps, brought about by the changing times but not the least bit cynical. It is, instead, a sort of celebratory sentimentality.
The songs are all exceedingly strong. Big Lost Rainbow infuse the music with an uncanny emotional resonance whether they are expressing joyous or melancholy sentiments. The opening cut, "Sail" (written by Otis Read), is powered by harmonies nearly equal to those of Crosby, Stills & Nash, while "Oh! Idaho" is a lilting, upbeat tune that soars with scatty harmonies à la Seals & Crofts. Even the upbeat songs, though, are not exactly bouncy.
The album is entirely drum-less, so acoustic guitar, piano, bass, and cello are all up front with Pearson's vocals, which sound like a gentler, more somnolent Jonathan Edwards or James Taylor. When the mood is slowed down, the songs are incredibly touching. "Slow Rider" has a hint of the Bee Gees in their most heartbreakingly fragile and evocative melodic moments. And the gorgeous "Allegiance of Apathy," the one song included from the group's 1992 reunion, offers not only evidence that the members still have the magic but also a perfect, poignant closing for the album.
Overall there is a tender, communal hippie vibe to the album, very sunny and optimistic without descending into silliness and entirely avoiding jadedness. There is a sense of lost innocence and the process of growing wiser, as if the band is singing a lullaby to the wistfulness of youth. From beginning to end, Big Lost Rainbow is romantic and lovely.
by Stanton Swihart
1. Sail (Otis Read) - 3:09
2. I Go Alone - 4:20
3. Lady Love - 4:11
4. Brothers - 2:58
5. Ocean - 5:02
6. Idaho - 2:18
7. It's Over Now - 3:44
8. Morning Sunshine (Bradbury, Pearson) - 2:44
9. Lady Of Music (Pearson, Berenson) - 13:08
10.Always On The Eve - 4:24
11.Patricia Jane Moon - 3:51
12.Slow Rider - 3:31
Words and Music by Ridley Pearson except where indicated
Big Lost Rainbow
*Ridley Pearson - Guitar, Piano, Vocals, Saxophone
*Otis Read - Guitar, Piano, Vocals
*Robin Pfoutz - Cello
*Adam Berenson - Piano
*Tony Morse - Flute
*Jacques Bailhe - Bass, Vocals, Guitar
with
*Steve Patt - Pedal Steel Guitar
*Charlie Read - Backing Vocals
Free Text
One of those curious projects, "Big Lost Rainbow" has been widely hailed in collecting circles. Reportedly only 200-300 copies were originally pressed; rarity probably explaining much of the set's appeal.
ReplyDeleteRidley Pearson, Otis Head, Robin Pfoutz, Adam Berenson, Tony Morse and J.P. Bailhe first crossed paths in 1970 while attending the private Pomfret School in Pomfret, Connecticut. A common interest in music led to occasional jam sessions and some local club performances. 1971 found them recording a couple of demos, but unable to find corporate backing, by 1972 they'd split, the members going off to college. The breakup was brief; within a matter of months they'd collective curtailed their academic plans in favor of another go at music.
Relocating to Cape Cod, Massachusetts they began rehearsing, eventually deciding to cut some more demos. Recorded in August and September 1973 at studios in Timonium, Maryland and New Haven Connecticut, the set served to spotlight the talents of Rid Pearson. In addition to writing the majority of material (seven out of nine tracks), Pearson was credited with lead vocals and much of the instrumentation. Pearson was also gifted with a nice voice, well suited to acoustic folk-rock numbers such as "Lady Love", "Brothers", "Ocean" and "It's Over Now". As for the music, it's certainly mellow - imagine something along the lines of Brewer and Shipley (less the goofy humor and with the addition of lots of flute) and you'll get a feel for this stuff. Elsewhere, the jazzy "Morning Sunshine" is one of the few selections sporting an electric guitar. In terms of production, the set's surprisingly good - far better than what could be expected from a private press...on 6364 with no label so if you have one of the originals it is highly sought after by collectors and in good condition will fetch a few hundred bucks! A few years ago we were approached by the Florida-based independent label, Gear Fab Records about releasing a CD reissue, and there are two more recent bonus cuts on the new CD as a result. Then, an Italian independent label specializing in vinyl Akarma releases put it out as a reissue LP. It is definitely a glimpse back in time. There is a great psychedelic jam on ''Lady of Music''.
Thx Marios.