"Transcendental female vocals, elaborate keyboard arrangements, and autoharp which is often treated with phasing, flanging and other effects. Fine originals. This album is kind of a shock on first listen, because at least to these jaded ears it's not often I discover something so original and bizarre."—Acid Archives
What do you do if you are a married psychedelic folk duo from the 1960’s who had been pals with Greenwich Village coffee house and club stalwarts like, say, Jimi Hendrix, had your one shot at major label glory (a MGM/Heritage label release under the band name Euphoria) ruined by the producer of those sessions, and then had your self-released album from the mid-1970’s (as Bermuda Triangle) bootlegged by the pernicious Radioactive/Fallout/Phoenix/Past & Present/Sunbeam reissue juggernaut? Well, if you’re Roger and Wendy, you dig through your tapes, and not only do you release the original Bermuda Triangle album, with six bonus tracks, but you also release a second, equally enchanting disc of alternate takes and other recordings dating from the same era! The psychedelic folk music of Roger and Wendy is astonishing, beautiful, and enchanting without sounding dated. Truly wonderful music with its own original sound, which to a great extent stems from Roger Penney's electric autoharp, the enchanting voice of Wendy Penney and the unique arrangements that combine the two. Listen, for example, to the unusual way in which the duo interpret a classic like ‘Nights In White Satin’ (on the original Bermuda Triangle album, first released in 1977). Everything that follows is as good, perhaps even better still. All in all, something of a stunner. A few months ago we had never heard of Bermuda Triangle, apart from the occasional entry in record collector’s lists. Now, we cherish these two albums from a band who seemed to be destined to be a footnote in the history of psychedelic folk, but have now been promoted to their proper status as a major chapter in that self-same history. There's often a celebratory feeling to the music, from rock tracks to more pastoral tracks like the album closer, ‘Wind,’ a song which has a trippy psychedelic atmosphere, thanks to ethereal folk vocals, moody electric piano, and bass. We can all be grateful that this music is available from the source, with abundant bonus material, as the resultant album is a joy; any acid folk / rural roots fans should grab it with both hands and rush to the nearest CD player. Weird and beautiful.
"(On) this gem, the sound is totally lost in time and transports you back to the carefree days of the early seventies and is extremely trippy. You have to check out the wah wah autoharp, the weird percussion and bass. A great listen. Almost predates the current folktronica scene. This wild album has to be heard and is quite superb from folk to reels to country all bathed in this misty autoharped glory." —Forced Exposure magazine
|A1||Nights In White Satin||3:05|
|A4||Lark In The Morning / Swallow Tail||1:24|