Mother Mallard's Portable Masterpiece Co. 1973

$

24

Thank you for your consideration of my auction offering!!                             (Note: I am single owner of this LP)

Label/Catalog Number:         Earthquack Recordings    EQ 0001

Condition: 
     Media:   NM   High gloss. No groove wear. Labels in perfect shape. (see photos)     
     Sleeve:  VG+  There are no seam splits, stains. Upper and lower right corners have small bends and spline has
                     slight breakup.  (see photos)
     Matrix:   Side 1:     RL       SS      EQ-0001-A       Side 2:     RL      SS      EQ-0001 B-2     STERLING (stamped)

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Tracklist
A     Easter     19:30
               Composed By – David Borden
B1     Ceres Motion     14:42
               Composed By – Steve Drews
B2     Train      6:48
               Composed By – Steve Drews

Companies, etc.
    Phonographic Copyright (p) – Earthquack Recording Co.
    Copyright (c) – Earthquack Recording Co.
    Mastered At – Sterling Sound
Credits
    Design [Album] – Michael Boyd (8)
    Photography By [Backliner] – Jon Reis
    Photography By [Cover] – Natalie Borden
    Synthesizer – Linda Fisher, Steve Drews
    Synthesizer, Electric Piano, Producer – David Borden

Notes
Easter was recorded at the R.A. Moog Co. Electronic Studio in Trumansburg, N.Y. and at the Mother Mallard Studio in Ithaca, N.Y.
Ceres Motion was recorded at the Mother Mallard Studio in Ithaca, N.Y., and Train at the R.A. Moog Co. Masters remixed at the Sleepy Hollow Recording Studio, Ithaca, N.Y.

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Group Biograph
Mother Mallard's Portable Masterpiece Company, formed in 1969 by David Borden, was an early synthesizer ensemble, predating groups like Tonto's Expanding Head Band and Tangerine Dream.[citation needed] David Borden was in contact with Robert Moog and was one of the first musicians to use his Minimoog. After recruiting Steve Drews and Linda Fisher to operate additional synthesizers, the group began playing concerts of minimalist music by Terry Riley, Steve Reich, and Philip Glass. They began recording their first self-titled album in 1970, but it would not be released until 1973 by Earthquack Records. Their second album, Like a Duck to Water, was released in 1976. Borden and Mother Mallard continue performing Borden's recent and older music.

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Album Reviews
David Borden (born December 25, 1938 in Boston, Massachusetts) is an American composer of minimalist music. In 1969, with the support of Robert Moog, he founded the synthesizer ensemble, Mother Mallard's Portable Masterpiece Company in Ithaca New York. Mother Mallard performed pieces by Robert Ashley, John Cage, Terry Riley, Philip Glass, & Steve Reich. In addition to his work with electronics & the Mother Mallard ensemble, Borden has written music for various chamber and vocal ensembles. He is an accomplished jazz pianist, too.  David Borden was educated at the Eastman School of Music &Harvard University. At Harvard he studied with Leon Kirchner & Randall Thompson, & at Eastman with Bernard Rogers & Howard Hanson. He was a Fulbright student in Berlin Germany, where he studied at the Hochschule für Musik.  Borden's compositions are similar to the repetitive minimalist style of Philip Glass, Steve Reich, & Terry Riley. -Wikipedia
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When taking off, the wings of a mallard produce a characteristic faint whistling noise.  Ceres Motion is simply one of the greatest electronic tracks of all time.  It starts with a drone that is bright and airy. One immediately thinks of the early drones of the legends of electronic forming at this time, Klaus Schulze's Irrlicht and Tangerine Dream's Zeit, but this one is not buried in the abstractions of space and darkness - it instead floats in the air. Like a sunny day, dew still on the grass, the sun dispersing the sparse morning fog. Sparse notes begin to be layered on top of it, the creatures in the field that slowly come to life.  And as the song slowly rises, a great buildup comes from below, action from the horizon that approaches fast, stirs up the field, the ducks quack, dispersing. Unabashedly ecstatic, unrelenting, bringing to mind Terry Riley or perhaps even Wendy Carlos - but hardly imitative. A genuine development in that school of American minimalists in which it is rooted.  For you see, as bursting at the wire it may be, it feels more unified. It has all the intensity but is kept in check, kept repetitive instead of having that exhausting randomness or overbearing scope we see in A Rainbow in Curved Air, for example. All the while the repetitive synths rise to completely overtake the drones that began it, though those have never ceased. The curated pattern reminds me of NEU! - but the lack of percussion keeps it more at the fore of the brain than in the convulsions of the heart. Though looping, ever forward.
The rest of the album is great too, but nothing reaches the heights of the first track. Honestly, it is much better than I give it credit for, but I guess I've yet to move on from that first track. I play it often, in the morning - it fills me with a grand expectation like that I had on Saturday, as a child, ready for the morning cartoons.   -review by grizol Dec. 10 2017

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