MANNA/MIRAGE

The USA didn't pump out the legions of classic progressive rock acts even close to the same level as the nations all around Europe but there were a few exceptions of course. Frank Zappa along with the Mothers of Invention and Captain Beefheart hitting the scene before the prog scene fully hit and whose influences were stealthily intertwined with all the 70s greats, are timeless legends. As the prog scene hit however, the US was noticeably absent in its formidable output in the classic years. While a few bands like Kansas, Utopia and Zappa himself would reach worldwide recognition, most of the American prog bands were relegated to the obscurity bins only to be rediscovered decades later. Good examples are The Residents, Yezda Urfa, Mirthrandir and Happy The Man. Another band that emerged in during the heyday of 1973 was the Washington DC based THE MUFFINS who joined the ranks of other non- English bands such as Cos, Moving Gelatine Plates and Supersister in incorporating the Canterbury prog sound into their musical compositional style.

While many albums have been released by THE MUFFINS over the ensuing decades, only this debut MANNA / MIRAGE was released while they were an active band with the rest finding themselves released as archival artifacts. THE MUFFINS (despite the stupid band name) were one of the few resolute acts that bucked the trend of more accessible music and delved into the lengthy complexities of the most developed prog years. By adopting the compositional structures and timbres of Caravan, Soft Machine and Hatfield & The North's Canterbury sound and mixing it with avant-garde freeform jazz and progressive rock fusion with nods to the Rock In Opposition avant-prog style of Henry Cow, THE MUFFINS crafted out their own unique style of extended instrumental prog workouts that belies the time they existed. If only they had emerged and released their intricate composiitons a mere five years earlier, perhaps they would've been considered in the same league as the greats. But American prog had all but disappeared by the late 70s and THE MUFFINS would require decades to be rediscovered.

Also adopting the whimsical playful demeanor of their Canterbury idols, when the band were living in a farmhouse near Gaithersburg, Maryland, they gleefully adopted their missing band name after a friend brought over a tray of blueberry muffins. After announcing that "The muffins are here!" the band took that as an introduction and adopted the new name on the spot. The music is no less playful in full Canterbury form as it took the expected journey into highly complex musical nosedives but allowed sensible breaths of air through the humorous outbursts that would occur throughout the music. While the band was founded by only three members: Dave Newhouse (piano, organ, piccolo flute, alto & baritone saxophones, bass clarinet, whistle, percussion), Billy Swann (bass, piano, guitar, percussion) and guitarist Michael Zentner, it took a few years and a few lineup changes with Zentner ultimately quitting and the lineup adding Tom Scott (piccolo, E-flat, alto & C-flutes, soprano, alto & baritone saxophones, B-flat & alto clarinets, oboe, soprano recorder, percussion) and Paul Sears (drums, gong, xylophone, vibes, percussion, "pots & pans", pennywhistle). On top of that this debut album included five session musicians.

MANNA / MIRAGE contains only four songs. The first two "Monkey With The Golden Eyes" and "Hobart Got Burned" designed to be shorter and a musical invitation to the greater challenges that they build up to. The opener is a delicate mix of brass, flute and piano that slowly ratchets up the complexities that continue through. The majority of musical real estate is dedicated to the near sixteen minute "Amelia Earhart" and side-long (on original vinyl LP) "The Adventures Of Captain Boomerang that neared the 23 minute mark, both of which displayed a fully functioning prog band in full pomp and awe. The two tracks together go through a multitude of Zappa inspired motifs mixed with freeform jazz, Krautrock spaced out ambience and full Canterbury glory. The plethora of instrumental action on board is fueled by a fuzz guitar, jazzed out percussion section and brass bravado with elegant atmospheric appearances of electronica.

Although it would take decades for recognition, THE MUFFINS have become regarded as one of the USA's most accomplished progressive rock bands, far exceeding the popular musical ambitions of bands like Kansas and far beyond anything Zappa would crank out after his jazz-fusion glory days with The Mothers. More on par with the complexities of Happy The Man, this American band released their best album at the beginning but has left a smattering of archival albums over the years to experience. The band seems to have finally gained recognition in the 21st century by reforming and playing at various jazz and Rock In Opposition festivals throughout the years but finally called it quits once again in 2016. As far as Canterbury Scene albums from the 70s are concerned, MANNA / MIRAGE is one for the mandatory listening list. Although a bit more abstract than the greats like National Heath and others of the classic era, nevertheless displays one of the most accomplished examples of a non-English band mastering the intricacies of the style and one of the most brilliant examples of American prog period.