In 1972, while residing in Virginia Beach, Virginia USA I was in a band called "Polyphony". The word stuck with me after reading about the masters and how they used "many voiced textures" in movements designed to excite and capture the attention of their listeners. Of course, very few people actually knew what it meant, let alone how to pronounce it. Today, mainly from the advances in synth technology and MIDI, it is a somewhat common term. The band consisted of Craig Massey, Marty Ruddy, Chris Spong, Chatty Cooper, and myself, Glenn Howard. I remember waking up early in the morning and hearing something rolling down the hill of the front yard outside my window. As I rubbed the sleep from my eyes I caught a glimpse of the top cabinet of my Marshall Plexi rig breaking the speed limit on the way to the equipment truck under it's own power. At the last possible second I see one of the road crew stop it just before the missle would have scored a direct hit... When people ask me what I recall about the day we recorded the album "Without Introduction", that is always the first thing that comes to mind. Anyway, I have dedicated this page to give the authentic "Polyphony" a home. Since the unforseen resurgence of it's popularity on the net, I have listened to and read some very interesting things indeed. Here I will try to keep things simple and to the point. And maybe tell you what the actual track listings are as well as a few other minor details like oh, let's say the correct name of the songs. I was listening to a couple radio stations that had my song "Crimson Dagger" listed as "The 40 second thing in 39 seconds"... trust me, there is absolutely no similarity. I recorded "40 second thing" on the Mini Moog for Nick Colleran the engineer, to add another 1:07 in order to complete side one of the album. Here are the track listings in the correct order:
Side One:
Juggernaut 14:04
40 second thing in 39 seconds 1:07
Side Two:
Ariels Flight 15:15
(Gorgons Of The Glade)
(The Oneirocritic Man)
(Gift Of The Frog Prince)
Crimson Dagger 7:05
The Cover:
The master was sent to Betty Cherry in Nashville, Tennessee. She was working for the Shelby Singleton Corporation, more widely known as "Sun Records". Betty was working with the likes of Elvis Presley, Johnny Cash, Jerry Lee Lewis, Charlie Rich and others. After listening to the master, she used her meditation technique from which she had a vision of the painting that would soon follow. What appeared were the "four elements of the universe" subsiding toward an energy force which was "Polyphony". As you look at the painting you will see it shine at the tip of "water's" left index finger. The three other elements; "fire", "earth", and "air" are just below. You would have to see the painting to truly appreciate her beautiful work of art. It won several awards, as did the cover.
Reviews:
"Polyphony is another King Crimson-like band. Only 37 minutes of music ... but what kind of music! Long, dynamic tracks with great guitar and keyboard solos and very nice vocals. Highly recommended to all King Crimson fans ... and not only!"
caladan.art
"Try to imagine a band who, upon hearing Emerson, Lake & Palmer’s Tarkus for the first time, indulges on heavy amounts of mescaline and drops by the studio to have a blow. Okay, assume also that they are competent musicians (by no means virtuosi) and have carefully considered their music before recording those chops to magnetic oxide. Well, I suppose you have a vague idea of what this seminal act from America were all about. Many sordid tales of the band, none that shall be taken up now, have floated about over the many years since their jaw-dropping debut; though it is also safe to say that dumping an innovative product such as this on an unsuspecting audience, even back in 1972, would have baffled most listeners. Hence, this one release, then a disappearing act which has reckoned this gem to the obscurities hall of fame!
Their music, huh? Okay, they play an extremely up-tempo brand of quasi-pyschedelic rock which is dominated by heavy Hammond and an active core of drum play and congo bashing. Add to this an extremely surrealistic lyrical bent and off-centered vocals and you get a bigger picture. Well, is it progressive, you may be wondering? Extremely so! The Hammond is employed to the hilt - the liturgical chords, the wicked fanfares, and the multitudinous exhibitions of machismo evocative of a certain Jimmy Smith, Brian Auger or, of course, a Mr. Emerson.
A casual listen to, say, “Ariel’s Flight” cannot be ignored. It’s attack and strange use of dynamics are not to be dismissed but are not for the faint of heart or weak-kneed either. This music jams, and jams hard. Very hard! Same too with the frenetic and busy “Juggernaut”, and I could even swear I heard snippets of something familiar somewhere. Oh yes, it was the excitement - the feeling of being let loose to play around - which was so evident on Tarkus. I can divine no meaning from these lyrics, nor do I really give a damned to. They are fantastical, even impressionistic, and a vital part of what made this work so different. Hey, I think my imagery of them dropping acid might be valid, owing to the wanking off bit of “40 Second Thing In 39 Seconds”. That’s it ... it seems so much clearer now!!
Suffice it to say, this is not your typical progressive rock by any means. Yep, even for 1972. It is, ahem, a special document from a band who existed in a period of time where releases such as this were not uncommon. Well, perhaps I’m pushing it. This is truly unique. So, fellow traveler, if you have recently heard the early work of Keith Emerson, and even liked it, this one is bound to hit you on some level. Yes, really. My hope is that someone, anyone, will dig the vaults for the masters and give this the digital treatment!"
gsk41 Progressive Ears
"German reissue of 1971 album, totally influenced by early UK exponents of prog rock of the time..think King Crimson, Van Der Graaf Generator, The Nice/early ELP. Features some excellent guitar work, keyboards naturally and cool percussion along with surrealistic lyrics and off center vocals making it moderately jaw-dropping for fans of this sort of thing, like me. Here`s a review translated from German. "The musical Melange on "Without Introduction" reflects its time of origin in many facets. Fuzz and Slidegitarrensounds pair themselves with key board sounds A l Keith Emerson and seem in this combination growing out of the Progs from the Psychedelic era to document to want. The singing contributes in particular in the last TRACK a clear Sixties Touch.. In summary, I would say Summa that the music of "Polyphony" experienced strong suggestions by "The Nice" and the early ELP."BabyBlueEyes."
Bruce Brodeen, Not Lame Recordings
Well, that's all for now. I will return soon with more history and info. Until then fellow progsters...
Cheers,
Glenn Palmer Howard