PRINCIPAL EDWARDS MAGIC THEATRE Asmoto Running Band UK LP PINK FLOYD PSYCH PROG

$

69

SCARCE 1970 LONDON UNDERGROUND HIPPIE ARTIFACT
PRODUCED BY PINK FLOYD'S NICK MASON               
PRINCIPAL EDWARDS MAGIC THEATRE: The Asmoto Running Band

RARE ...Original 1970 BRITISH first pressing on John Peel's Dandelion records (DAN 8002) in gatefold sleeve. The sleeve is a bit wavey due to moisture (see last picture) and the record is near mint, it has just a small pressing stain inaudible on my hi-end audio equipment.
Produced by Pink Floyd's Nick Mason.

Principal Edwards Magic Theatre - The Asmoto Running Band 1971 (Full Album) - YouTube

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[isdntekvideo] "The Asmoto Running band" is the second and final album released in the band name. Pink Floyd's Nick Mason steps in as producer, Principal Edwards Magic Theatre having supported the Floyd on numerous occasions. It is even suggested in the sleeve notes for the See for Miles reissue (but not substantiated), that Mason was involved with lead singer Vivienne McAuliffe at the time. The legendary Alexis Korner also appears to be around, taking credit for the overall publisher of the music. His precise roll beyond that though (if any) is less clear.
Inevitably for a band whose line up reads more like a class register, there are a few line up changes here, but most of those involved on "Soundtrack", including thankfully the gifted lead vocalist Vivienne McAuliffe, are still at their desks. The tracks are generally a bit briefer and more focused this time, than on the "Soundtrack" debut, the superior production being immediately apparent. "McAlpine's dream", which opens the album, is a sort of blending of Pentangle, The Incredible String Band and Curved Air with a bit of Julians Treatment in the mix. As with the songs on the first album, the arrangement is complex and ambitious. From here, we merge straight into "McAlpine versus the Asmoto", the two tracks combined forming a 12+minute suite. The latter part is a pounding instrumental, at times sounding rather Genesis like, but featuring violin as the lead instrument. Guitar work is also more prevelant on this album.   The "Asmoto" theme runs through much of the album, although what that theme is actually about is not something we can shed any light on. It is likely that the accompanying live show brought the story to life, but even then this would probably have been in abstract format. The group would then implode soon after this album, although three members would go on for a couple years and a third album (on the Deram label) under the reduced Principal Edwards moniker. Only the superb Vivienne McAuliffe would pursue with a long studio session career. - Belinda Bourquin / voices, keyboards, piano, group member, vocals, violin, fiddle, recorders, strings
- Roots Cartwright / Spanish guitar, bass guitar, recorder, guitar, group member, electric guitar, acoustic guitar
- Jeremy Ensor / bass, bass guitar, group member
- David Jones / percussion
- Vivienne McAuliffe / voices, vocals, group member recorder
- Martin Stellman / auctioneer, vocals, group member
- Roger Swallow / bells, group member, tabla, finger cymbals, acoustic guitar, snare drums, xylophone, African drums, drums, talking drum, timpani, tambourine, hands, conga, wood block
- David A. Jones / gong, conga, hands, tambourine, bass drums, group member, conductor, finger cymbals, maracas, cymbals, African drums, bongos, wood block
- R.C. Pocock / bass drums - Lance Dunlop / light show
- Harry Houseman / light show

McAlpine's Dream (6:12)
McAlpine Versus the Asmoto (6:14)
The Asmoto Running Band (Hou'amih) (3:09)
Asmoto Celebration (1:51)
Further Asmoto Celebration (After the Ball) (1:17)
Total Glycerol Esther (2:43)
Freef ('R) All (5:06)
Autumn Lady Dancing Song (6:50)
The Kettering Song (3:56)
Weirdsong of Breaking Through at Last (3:02)

Dandelion Records was founded by John Peel through frustration. Several bands and artists he really enjoyed could not get recording contracts, and in the days before demo tapes it was unlikely many ever would. A non-profit venture Dandelion issued its first record in 1969 (Bridget St John’s Ask Me No Questions) and 25 albums were issued up to 1972 when it then folded – it was reputed Peel lost some interest after a couple of albums had fringe chart success. Several Dandelion titles have since become rare and highly collectable including this album, the second of two they made on this famous early ‘indie’ label. It was the eleventh album in the Dandelion catalogue, their debut was the third. This album has sides 3 and 4 printed on the labels, I guess its considered as part two of the pair but it makes no difference to the entertainment factor on this marvellous album. Principal Edwards Magic Theatre had 14 players including dancers, they were apparently astonishing live and this album captures their strange blend of psychedelic acid folk perfectly and is superbly produced by Pink Floyd’s Nick Mason, who from the beginning had a high interest in their music. Vocals are mainly female with Vivienne McAuliffe’s voice up there with the very best within this genre. This is regarded as the best of the three albums they made and all are hard to track down on vinyl. For fans of top quality female vocals in the progressive acid-folk genre on a scarce, collectable label, this album is unmissable.

Bio: Formed at Exeter University in the late sixties (their name was apparently inspired by the head of the university), Principal Edwards Magic Theatre were more a multi-media enterprise than a rock group, appearing with dancers and lightshows. John Peel signed them to his Dandelion label and helped produce their albums. They also appeared regularly on his 'Top Gear' show. One of the main assets was lead vocalist, Vivienne McAuliffe, whose crystal clear voice helped make them a little special. Their music was innovative and imaginative with a strong folk influence and an air of mysticism. This is typified by The Death Of Don Quixote and Third Sonnet to Sundry Notes of Music on their second album. However, arguably their best track was Pinky: A Mystery-Cycle. It's a melodramatic number with a thudding drumbeat, haunting lyrics and frequent changes of tempo. However a loosely-knit outfit at the best of times, the group went their separate ways after three singles and a further album. The last one Round One, was made for Deram in 1974.

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