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Although the ESP label is most known for its far-out free jazz and wacky rock bands, it also made a few bids at recording folk-rock in the last half of the 1960s, albeit folk-rock of a somewhat off-kilter kind. In addition to Pearls Before Swine, there was Randy Burns and the even more obscure Bruce MacKay, who did an album for the company in 1967. The self-titled LP combined elements of Bob Dylan (in the free-associative rambling wordplay), Tim Buckley (in the reverbed guitar lines), Donovan, and the aforementioned Pearls Before Swine (who backed Mackay on the S/T album) without adding up to anything substantial. The long-winded songs tend to drift along interminably, without enough melodic interest and lyrical insight to spark, let alone maintain, interest. It branches out a bit beyond the usual folk-rock guitar/organ instrumentation with some flute, brass, and (on "The Song About the Railroad Shack") a dueting woman vocalist (his wife). The ESP ethic comes into play with ragged timekeeping and execution, implying that the songs were either somewhat improvised or not given much, if any, of a polish in the studio. ~ Richie Unterberger, All Music Guide
Although the ESP label is most known for its far-out free jazz and wacky rock bands, it also made a few bids at recording folk-rock in the last half of the 1960s, albeit folk-rock of a somewhat off-kilter kind. In addition to Pearls Before Swine, there was Randy Burns and the even more obscure Bruce MacKay, who did an album for the company in 1967. The self-titled LP combined elements of Bob Dylan (in the free-associative rambling wordplay), Tim Buckley (in the reverbed guitar lines), Donovan, and the aforementioned Pearls Before Swine (who backed Mackay on the S/T album) without adding up to anything substantial. The long-winded songs tend to drift along interminably, without enough melodic interest and lyrical insight to spark, let alone maintain, interest. It branches out a bit beyond the usual folk-rock guitar/organ instrumentation with some flute, brass, and (on "The Song About the Railroad Shack") a dueting woman vocalist (his wife). The ESP ethic comes into play with ragged timekeeping and execution, implying that the songs were either somewhat improvised or not given much, if any, of a polish in the studio. ~ Richie Unterberger, All Music Guide
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