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A very obscure band, from somewhere in the Maritimes, with an album that became more accessible in 1992 because of a counterfeit reissue.Their album is in general amateurish and suffers in the composition level from lack of inspiration. Their nadir is the awful Old Age with an inconsistent melody line and out of tune vocals in parts, but fortunately the rest of the tracks are not that bad. In fact there are some good enough compositions like the mid-tempo, organ-dominated Business, the slow and melodic The End and the more hypnotic Tomorrow Morning which is reminiscent of It's A Beautiful Day. The heavier tracks like Song For The Sea, Broke and The Politician are not so distinctive, but Long Day, which sounds similar to Bent Wind, and the psychedelic (with a garage/basement feel) Higher featuring lots of fuzz guitar leads, are satisfying.PROFESSOR FUDDLE'S FANTASTIC FAIRY TALE MACHINE (1974) - A short-lived seventies outfit from Toronto, Ontario. Paul Bradbury, who was also in Borealis, composed the entire music score and all the lyrics for this album, aside for segments of Witch's Chant, Philomel and The Sonnet Song, which were adapted from Shakespeare. The title cut is quite psychedelic with sound effects as is Indigo Evening. Dancing Master's Jig is precisely as the title suggests, but Counting Companion is a throwaway cut. A short but unusual album, with a total playing time of twenty four minutes!
Full title - Borealis & Professor Fuddle's Fantastic Fairy Tale Machine - 'Sons of The Sea' Two rare psych- prog vinyl on 1 CD ('72 & '73) High quality paper sleeve with booklet in PVC outbox, limited 1000 copies "Super rare Canadian 1972 psych album, which features excellent keyboard work and fuzz guitar. Also includes the full album of the post Borealis - Professor Fuddle's Fantastic Fairy Tale Machine formed by Borealis vocalist Paul Bradbury"
were a Canadian quartet (Paul Bradbury, Wayne Sturge, Mark Bradbury and David Hillier) who had the dubious honour of recording the first rock album in the Atlantic province of their home country. The year was 1972 and at that time the region was somewhat uninterested in anything other than the standard fair of country or folk music. Nevertheless, the group did score a hit of sorts, the single, and first cut on the album, In The End made it into the top ten in St Johns, Newfoundland for two months, possibly because, as the liner notes state "it was the least jarring to the region's many country fans". The song is fairly untypical of the rest of the ten-track album being a mid-tempo number with upfront vocals, gentle guitar and a wash of keyboards in the background. Rather lovely by all accounts.
Part 1: http://sharebee.com/5db2955a
Part 2: http://sharebee.com/22ca26e4
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