**2020 stock** This was the first spontaneous release that was made into a record, credited to Father Yod and The Spirit of '76. It came out in 1973, the year of Kohoutek, when the imminent arrival of the big comet spawned a new round of cosmic consciousness in the media and with people all over the planet. This was more than a comet, its radiance was enormous, it came from ancient times to be experienced again by the enlightened people of the day. The Source Family were alive with expectation about the return of this long-haired messenger, and Father devoted considerable time chanting and eventually changing in his identity to Yahowa while meditating on the comet. Events like these were to be cherished for bringing infusions of energy that could only be accessed via the rare occasions. Life had to be lived in order to grow -- and the two sides of Kohoutek are a special jam that passes through tranquility to exultation, a tapping of the passing flame in the skies and a greeting from Father to the messenger and bearer of such awesome gifts. Very pure. This is the first time the vinyl has been available again since the 1970s. Features all of the original artwork, including an insert about the comet, plus new inserts with reflections from Isis. These emanations from the original Source are pure, uncut spiritual visions from the mid-1970s, not to be missed

"The first album by the musicians affiliated with the quasi-cult leader known as Father Yod (later known as Yahowa) is, like several of their productions, somewhat of an amateur effort. Divided into two side-long tracks (simply titled "Side A" and "Side B") totaling 26 minutes together, these sound like extemporaneous sermons with improvised late-period psychedelic rock backing. On "Side A", searing distorted guitar, funk-rock piano and organ, female backing vocals, and odd dabs of miscellany set the instrumental mood against which Yod pontificates. The chief drawback, is not Yod's followers, but Yod himself. The lyrics are embarrassingly over-the-top cosmic hippie homilies. His vocals are tuneless, which doesn't stop him from trying to exploit several octaves' worth of range. The result is something like Tim Buckley at his most avant-garde vocally and musically -- the Buckley Starsailor and Lorca albums, in particular -- without the considerable talent Buckley and his accompanists brought to those challenging but rewarding endeavors. "Side B" is the more bearable and subdued of the two cuts, with low hum-sing vocals (another possible Buckley reference point) flitting near the border of inaudibility, ending with what sounds like a test of the Emergency Broadcast System. " AMG