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LILY & MARIA - LILY & MARIA (DIGIPAK-EDITION) CD NEW! - Picture 1 of 2

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Lily & Maria by Lily & Maria (CD, 1968)

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New

Lily & Maria - Subway thoughts. Lily & Maria - Everybody knows. Lily & Maria - I was. Lily & Maria - There'll be no clowns tonight. Lily & Maria - Morning glory morning. Lily & Maria - Fourteen after one.

About this product

Product Identifiers

ProducerGarry Sherman

Record LabelSunbeam Records

UPC5051135101723

eBay Product ID (ePID)13050185585

Product Key Features

Release Year1968

FormatCD

GenreRock

StyleFolk Rock

ArtistLily & Maria

Release TitleLily & Maria

Additional Product Features

DistributionForced Exposure

Country/Region of ManufactureUSA

Number of Discs1

EngineerStanley Tonkel; Don Juluse; George Engler; Stu Krone; Arthur Kendy

ReviewsSpin (p.104) - 3.5 stars out of 5 -- "Garry Sherman's orchestrations lead to soft-loud dynamics that are as close to Nirvana as folk music gets..."

Additional informationPersonnel: Steve Kreider, Lou Hemser, Willard Snyker, Robert Lily, Maria, Charlie Brown (guitar); Hank Freeman (flute, clarinet); Bernie Berger (flute); Paul Griffin (piano, organ); Garry Sherman (organ, vibraphone); Gary Chester (drums). Unknown Contributor Role: Harold & The Gang. Lily & Maria's sole, mighty rare album is a strange oddity, all the more so for its appearance on a major label. As singers, Lily & Maria sound very much like the sort of high-voiced, virginal female vocalists common in the early-'60s folk revival, like the only somewhat less slightly obscure duo Kathy & Carol (who recorded traditional folk music for Elektra). But the material and production on Lily & Maria show a decidedly psychedelic, late-'60s influence, if only a mild acid folk one. It creates the impression of a couple of choirgirls singing tunes that are a cross between what you'd hear from a choir and a coffeehouse duo. The big difference is that the words are far more inscrutable and enigmatic than anything you'd hear either a choir or coffeehouse folkies singing. The dreamy, obscurely poetic lyrics are very much in the vibe of 1968 psychedelia, and the arrangements are usually eerily sparse to the point of underproduction, to the extent that it seems evident Columbia didn't set aside much of a budget for the sessions. Yet acoustic guitar is sometimes embellished by tasteful, low-key orchestration and electric instruments that add to the appealing, hushed, never-never-land ambience. While the feel is usually laid-back and pretty, there's an overlay of unsettling mystery (particularly when the gothic organ comes in), like stumbling across a couple of self-sufficient orphans in a haunted house. Too, it's not all quiet acid folk, getting into a strident, semi-psychedelic rocking mood on occasion, a more straightforward uplifting folk-rock one on "Aftermath" and a tinge of jazz torch singing on "Melt Me." If you're looking for a reference point, this might appeal to fans of the weird acid folk of rediscovered singer/songwriter Linda Perhacs, though Perhacs' sole album came out after Lily & Maria. Lily & Maria actually weren't as good as Perhacs, and the album's not great, but it's an interesting one. ~ Richie Unterberger