THE MANDRAKE MEMORIAL

Sounding as if they were coming out of the Baroque folk-rock scene, this Philadelphia-based band attempted to enter the psychedelic pop scene with this album and its interesting if under-developed and poorly produced ideas.

1. "Bird Journey" (2:40) using harpsichord and sitar with country rock instruments gives this song an odd psychedelic sound and feel--as if a band just threw in the kitchen sink and hoped it would work. The lyrics most definitely land it firmly in the realms of psychedelia. (8.875/10)

2. "Here I Am" (3:50) more harpsichord and rock instrumentation forming a pretty standard folk-rock like hippie pop song. The harpsichord gets a little more action on this one. (8.75/10)

3. "Rainy May" (3:45) a gentle, dreamy folk pop song with a nice vocal performance and lilting melodies. Perhaps not enough else going on to warrant top scores--even with the tempo shift in the third verse and chorus. Still, this is effective enough to worm its way into one's brain. (8.875/10) 4. "This Can't Be Real" (3:45) (unavailable for review)

5. "Dark Lady" (4:14) after a rather tinny harpsichord opening, the band checks in with full sitar work leading the way. The problem with the verses lies in the monotony of the two chord structure, while the choruses are a bit more interesting. The guitar solo in the instrumental interlude at the end of the third minute is interesting, and then again I hear an interesting female voice singing back-up harmonies. Why is she uncredited? (8.75/10)

6. "House Of Mirrors" (2:28) this one sounds a little too much like a very slight variation on the previous song. Is the band's creative stores drying up? The "heavy" fuzz guitar and droning Brit vocal (a bit like Paul Weller in The Jam) aren't quite enough to elevate this one much above the others. (8.875/10)

7. "To A Lonely" (3:50) (unavailable for review)

8. "Strange" (3:55) slow and plodding with piano, bass, cymbal-less toms, and sitar-sounding electric guitar (or electric sounding sitar) with poppy plaintive vocal over the top make for odd bedfellows. Trying to be a creepy Beatles song? At 2:20 the band bursts into life with some crashing drums and wailing electric guitar before reverting to quieter bass and electric piano with snare and drum kit--all the while the lead singer continues to try to sing in his soft, creep voice. Weird. (8.75/10)

9. "Next Number" (4:11) quirky synth/keyboard-and-bass rhythm track accompanied by what sound like a machine- driven plastic drum while harmony vocals try to carry the listener from behind or within the mix! More odd lead guitar work (on multiple tracks?) Just weird enough to be interesting. (8.75/10)

10. "Sunday Noon" (7:08) opens with an intriguingly mature sounding instrumental palette and chord progression. Harmonized lead vocals enter using the now-familiar gentle near-folk approach. Toms and Byrds-like picked electric 12-string take over to carry out a prolonged instrumental section over more electric piano chord play and grounding bass. The sound engineering and mix could be better but at least it is interesting. The fifth minute sees the synth- harpsichord return to the fore for a prolonged "Light My Fire"-like solo. The most interesting and best song on the album. (13.375/15)

Total Time 39:46

Overall this album shows a band starting out with an ambitious goal of creating interesting and unique psychedelic pop music. The band's next two albums will prove how willing they are to do the hard work to bring their music up to the "A level."

B/four stars; a very interesting collection of high-reaching songs from a still-developing band. Not a great album for sound engineering but interesting from a creative perspective.