...heavy duty mind-melt from twink,psychedelia holdin out for one last go round,backward guitars,sitars,chantin,channel shiftin FX(always a plus)'n generally great dollops o'drugnacious tomfoolery smeared liberally into th'very fabric...any cat even payin half attention gonna get a contact high from this biscuit o' delights,wigliftin'n wobbly is th'order o' th'day,like rollin around in a giant technicolour jelly,very existence slitherin in warm gloops o' trippy abandon...a near perfect assimilation o' two combos-TOMORROW&PINK FAIRIES,(th'studio fairies o' th'first LP) with paul rudolf noise explosion guitar slam,an amalgam o'th'67/70 trippy timeline,effortless good vibes permeate th'grooves givin off a life affirmin warm glow o' delicious haziness thats th'easiest to get loose'n lost in...

...bootleg with some o' lyns single joints'n a coupla long play trx,extremely cool'n plays well,th'funk is flowin in th'right direction...lyn jumps in her uptown funk-mobile,fueled with JB riffage'n takes it out for a spin exhaltin' th'populace to get on down'n get with it...handclappin,footstompin,finerpoppin uncut funk that just keeps on comin',layin down th'medicated groove for all cats to feel good...even though this is all about gettin on th'good foot th'lyrics speak th'truth,they speak o'inner city concerns'n th'universal vibe...mama feelgood lays it on th' line one mo'time...

...when honey ltd called it a day sometime in 69 a few months went by as they individually looked around th'hollywood scene to get th'vibes,to pick up on th'groove'n maybe grab a piece o' th'latest trend,th'laurel canyon laid back'n funky style which was grabbin imaginations'n mood o' th'times...again theres a nice amalgam o' vibes from carole-king-style-tapestry-mellow-R&B to gospel in a delaney&bonnie downhome-hollywood reefer haze...country-soul rockin lounge moves suits th'studio musos attitude to doin th'session,but if they'd had some younger cats layin down a groove this woulda been a stoned buzz(maybe th'LA GETAWAY cats,joel scott-hill/johnny babata/chris ethridge would be cool)...like with th'honey ltd wax theres more goin on here than just th'toons,theres a mixin o'generational styles,but they could not push it to th'younger set who were diggin joni/CSNY/ronstadt,plus others who're too lame to mention(remember)...th'cover with its handmade look was certainly in vogue with th'denim-funky-cheesecloth ideas but seems somehow already outta date,it looked like they were fakin it but in many ways they were a precursor to th'comin decade when th'record company squares discovered cocaine'n tried to peddle M.O.R as hip'n vital sounds,tho that aint no reflection on this wax...again on th'LHI imprint'n its fate was sealed from day one,it sank without a trace,not even to th'bargain bin,this wax just didn't like to travel past th'sunset strip...

...sunny murray,a mainstay in th'freejazz world,top player back in th'day'n still layin into th'traps,explodin th'heavens,firin into th'unknown with mind meltin hammers o' noise,re-imaginin th'eternal NOWness before its began...in th'mid 60s th'NYC avant garde jazzers were throwin out joints on impossibly small labels in even smaller amounts(ESP-Disk by comparison was a major league contender)to be checked'n treasured by cats on th'block'n in th'know,cats who know th'score,freein their mind from th'daily grind o' keepin one step ahead from goin under...this first effort from sunny was taped in NYC for th'jihad label who were based out in new jersey in th'late days o' 1965'n featured his colleage in chaos,albert ayler,trumpet maniac don cherry'n leroi jones reads a poem on th'last track...glidin',crashin,swoopin, in'n out o' th'cosmos,defyin th'standard normality's o'temporal rigidity,weavin th'untried patterns o' some lost-planet beatnik bop into shards o' white light bullets o' revolutionary beauty...givin new hope,a stronger fortitude is built on old ills,troubles that cannot be swept totally aside,th'new jazz was hated by th'critics(downbeat was extremely hostile to th'free jazz movement,paranoid o' its intent they just plain ran scared,took every opportunity to denigrate it)ignored by th'suburban jazzers fans,who got as far out as brubeck,'n as far as college dates went-nuthin happ'nin there...gettin paid in th'avant jazz world o' NYC was another major non event,clubs didn't like to hire these far out cats cos they wouldn't stick to four minute toons,wouldn't cooperate by doin 3-4 sets anight(a lotta clubs had drink minimums back in th'day where th'payin customer hadda order two/three drinks per set so therefore more sets/more drinks/more bread in th'owners pocket),they wanted to do just th'one set'n let it flow,maybe for as long as it takes,even longer,who knows th'eternal length o' intangibility...sunny worked as a bouncer at clubs to supplement th'meager bread he could scrape up jazzin th'skins,which tho it sapped his energy gave him th'impetus to 'kick out th'jams',to work it on out'n get in th'groove as this extremely heavy'n cool joint ably shows,its different every time its spun,it never wears out,its fresh'n funky,OUT THERE FOREVER'n a day...