Winter Solstice Records
Bermuda Triangle : the missing tapes (US,1977)*°'
When the group contacted me I was glad to hear they had done more recordings than featured on the release of the first LP (released through radioactive records), and that they planned to do a reissue of them, (together with a remastered edition of the first album, with one additional bonus track). The “Missing tapes” are the live recordings. Since 1975 they were regularly seen at colleges across the US as well as at all the New York City clubs. The duo once previously was part of a shortlived quartet (1968-1969) called Euphorbia who did one album at the time (now reissued as well). Back then their group style was mostly acoustic sunshine pop. Then they performed simply as Roger & Wendy, with one folk album in 1972. Female drummer & fiddler Sam 'Sandra Scherer' joined the duo. In 1975 they had changed their name to Bermuda Triangle with a first album in 1977, and a second in 1984, and continued live performance until 1993. This “missing tapes” album spans Bermuda Triangle's whole career.
The original specific sound of the autoharp typical for Bermuda Triangle was a thoughtful decision, meant to make the instrument more useful for a rock purpose and performance. Roger Penny, with a degree in electronics, designed a kind of electric autoharp prototype with round and rectangular chord bar buttons, and with possibilities to add all different effects. This type of instrument now has been generally manufactured. Besides, he also developed an electromechanical harpsichord, a prototype sold to Baldwin Piano Co., which came to be known as the 'Baldwin Combo Harpsichord', an instrument used by groups like The Beatles (on "Because") and the Beach Boys amongst others. For this CD recording they used the electric autoharp, drums, keyboards, Hofner bass guitar and vocals.
Especially the first half of the compilation shows songs that are thoughtfully arranged, with interesting sounds. The performances are well enough recorded. The style is quite alternated, and ranges from a more folk-rock heaviness and fire in a convincing live performance, has some moments of arranged harmony vocals that, although in a more acidic folk-rock context this time, just now and then still vaguely recall the sunshine pop era, to more beautiful ballads, sung and performed with a melancholic sweetness. The second half of the recording sessions is different, and I assume are from a later date, with a different taste of the times, less romantic, original or ambitious. These tracks, even with use of the same instruments, are more directly performed on the spot, with more covers, adding also a slight blues and pop touch. The last track, “High Flying Bird” still concludes well as a convincing live performance.
