Easter Island’s self-titled 1979 album remains one of the most revered hidden gems in American progressive rock, offering a complex and atmospheric sound that perfectly captures the essence of ’70s Midwest prog.

For the best way to categorize this record, look no further than Tom Hayes’ feature on Midwest Prog, where he nailed it: “Oh wow, this album needs a lot more love. Bump city. Easter Island is practically the definition of the USA Midwest list.” His words set the stage for a record that, when approached with the mindset of the era, offers a truly rewarding listening experience. Expect a whirlwind of time changes, counterpoint melodies, layered harmonies, and the signature blend of mellotron… Think of bands like Mirthrandir, Cathedral, or even Yezda Urfa.

The standout track is undoubtedly the 17-minute ‘Alchemist’s Suite,’ which showcases their ambition and leaves us wondering what could have followed had they stayed together longer. The track builds to an epic, almost cinematic climax in ‘Telesterion,’ where percussion, electronics, and spacey keys converge in an unforgettable finale.

The recent PQЯ Disques Plusqueréel reissue, limited to just 400 copies, is a beautiful reminder of the creative prog fermentation that existed in the Midwest during the ’70s. The vinyl release comes in two pressings—250 black and 150 splatter—each featuring the original album artwork. As a bonus, the reissue includes a CD with rare, unreleased live tracks and a 12-page booklet filled with previously unseen photographs and the band’s official biography, making it an essential addition for collectors.

Order your copy of the Easter Island on Black Vinyl or Splatter Vinyl via PQЯ Disques Plusqueréel.

“I attribute such songs to a combination of metaphysical studies”

Before Easter Island emerged, you were jamming with Elysian Field. Can you take us back to those raw early days? What was the local scene like, those gritty ’60s clubs, and the bands you rubbed elbows with?

Mark Miceli: Yes, the music scene in the late ’60s was so vibrant and exciting!! There were mostly “teen clubs,” as opposed to bars or clubs, due to age restrictions on establishments serving alcohol. The music that came from the British Invasion was so fresh, covering unheard territory, because exploration was at the heart of the ’60s cultural movement, and this permeated every city for both music and fashion. The local scene in Louisville was greatly enhanced, as a few of the bands were making singles via some recording studios with local labels, and AM radio stations made room for local releases, sharing the airwaves with national and international music. It was pretty much “anything goes,” although the music still needed to be under 3 minutes. However, longer cuts could be heard during “underground music” hours, very late at night. The underground music scene featured psychedelic styles, as drug experimentation was also somewhat new to mainstream culture. The first band I cut my musical teeth with was “The Mozambeats.” After playing rhythm guitar and singing, I was forced to play lead guitar when, just a day before we played a gig, the lead guitarist broke his arm. Baptism by fire!!! My next band, “The Keyes,” already had several regional 45s under their belt, and I was asked to join when the two founders of the band owned a music store where I purchased the first Marshall stack in Kentucky. That made me instantly valuable, as the most famous bands were using them, and The Keyes wanted to transition from a Beach Boys-style to a much heavier musical style. I also had grown long hair after I graduated from high school, so I instantly became “great” in their eyes. Haha!!! In fact, only a handful of us local guitarists had this “hipness,” so I enjoyed the privilege of recording sessions at the local studio, which used top-notch recording equipment for that time.

How did you manage to land a deal for releasing two singles with Elysian Fields? What’s the story behind those sessions? Where were they recorded, and what kind of vibe did you capture?

So, it was during one of these recording sessions with The Keyes, recording a new regional single, that the drummer/leader of Elysian Field, Marvin Maxwell, who was also the studio’s session drummer, was also on the session. The studio was called SAMBO, an acronym, later to be renamed Allen and Martin Studios, where many regional artists recorded, such as the legend Lonnie Mack. After the session, Marvin took me aside, remarked that I was “nasty,” and asked me to join his band, which already had a nationally released single on the Imperial Records label. They already had the recording contract, but the guitarist was in the process of moving to LA in hopes of advancing his career via his connection with Jimmy Webb’s father/manager. As I understand it, it was Johnny Rivers who really pushed Elysian Field’s sound to the label he was also on, although they used the name “Maxwell, Settle, and Bugbee.” The name was then changed to “Elysian Field.” So, the first national release was ‘Kind of Man,’ which, by the way, was soon after covered by Greg Allman, pre-Allman Bros. Great song!! Imperial loved Jimmy Settle’s voice, which fit their roster perfectly, featuring their hit group, The Classics IV. Not only was Jimmy’s vocal range similar to Dennis Yost’s, but Frank Bugbee, the extraordinary guitarist, was also very adept at arranging string and woodwind sections. Since the Louisville Orchestra was already prominent as a sought-after recording orchestra, Frank chose several players and made some great arrangements for the songs. This style was expected by Imperial, but ultimately didn’t match the burgeoning heavy, two-guitar hard rock style we found natural. So, while on record, Elysian Field was being groomed to become the Classics IV’s successors, live, our reputation was that of a loud, heavy, guitar-based sound, featuring original music that foreshadowed what would later become Southern rock. When it came time for a second release, Imperial would send us 3 songs, outtakes written by the Classics IV, and encourage us to add a fourth original so they could pick an A-side and a B-side for release nationally. The second release was “24 Hours of Loneliness,” previously featured on a Classics IV album. We did shows with national acts such as The New Colony Six, Quicksilver Messenger Service, and many others. As the band’s style was totally different from the label’s vision, we changed managers, did not re-sign with Imperial, and were courted by Capitol, Warner Bros., etc. However, frustration grew within the group due to not having a label right away. It was at that time, when the manager of another local group, “The Rugby’s,” who enjoyed a national hit, “You, I,” called me to put together a group comprised of 3 members of Elysian Field—Dennis Ledford, Jimmy Settle, and myself—with Glenn Howerton, the drummer of The Rugby’s. No commitment was necessary, other than doing various recording sessions at some prestigious studios in Memphis, namely Ardent and the original Sun Studio, where we recorded with Sam Phillips, an icon in the recording business. The demo sessions bore no immediate fruit, but word of the sessions spread in Louisville. So, upon our return, Elysian Field temporarily disbanded, and Dennis Ledford and I started an all-original band called “Jake,” working constantly in local bars as well as festivals, etc. This took place in 1971.

The transition from Elysian Field to Easter Island marked a real turning point. What sparked the birth of Easter Island, and what new musical frontiers were you eager to explore?

So, after Jake, being bored with a guitar-based sound, I became super attracted to what would later become Progressive, mainly due to the music I loved, such as The Beatles, Moody Blues, Procol Harum, King Crimson, Yes, ELP, etc. The “new” sounds of the Moog synthesizer, Mellotron, as well as elaborate, classically inspired compositions, pushed my own writing in that direction. I sought to find a keyboardist and soon met Ray Vogel, who conveniently lived only a couple of blocks from me. Ray was a classically trained pianist who also enjoyed this style, and we got along great, both musically and personally!! Ray purchased a Hammond C-3, later a Yamaha electric grand piano, and we both chipped in to buy a Mellotron. We began to develop a prog sound.

While we experimented with other players, that at one point involved two fantastic horn players (that sound was magic!!), at another point, a violinist/singer, we eventually settled on a vocalist who played a Minimoog (which Ray later purchased) and added drums and bass guitar. As we experimented with originals, adding and subtracting members along the way, I formed a separate live version, using the same name, Easter Island, but as a trio without drums to play smaller stages in local clubs where we could perform this music without being expected to play dance music. That trio—Rudy Helm on Mellotron, bass, guitar, and vocals; Bob Hart on bass, sax, flute, and vocals; and myself on guitar, vocals, and Celtic harp—was very popular, working every week doing covers.

All the while, the main group Easter Island finally took shape with Rick Bartlett (lead vocals), Park Crain (bass guitar, Taurus pedals), Mark Hendricks (drums), Ray Vogel, and myself, exploring original compositions. The name came into focus early on, as I pondered it while walking by the Ohio River during a full moon. I still remember the spectacle of that full moon, and at that moment, the name and direction became obvious to me. It was pure magic!! At the same moment, my desire to record music that would live on, even after I was long gone, was born. Quite a goal to have, for sure.

You must have been on a long, winding journey before laying down the tracks for your 1979 masterpiece. How many years were you honing your sound before that landmark record came together?

Experiencing a spiritual transformation that jump-started my vegetarian diet in 1972 caused a dramatic change in lifestyle. It was a palpable transformation. My writing changed dramatically as I employed themes that came from my deep interest in metaphysics, which began with the book The Cloud of Unknowing in 1973. Since I had already been doing astrological charts since the late ’60s, I then went through Rosicrucian studies and initiation, studied many Max Heindel books, and also became a huge fan of Alan Watts’ books. In 1975, I graduated from Silva Mind Control, and thus began a meditation practice that continues.

So, when these changes came into my life, they were reflected in the songs I wrote. I expressed a more grandiose vision and had begun seeking proper musicians to accommodate the music I was writing. Straight guitar-based rock no longer meant as much to me.

Your self-titled 1979 album has become a prog classic. Can you walk us through the creative process—what ignited tracks like ‘Genius of the Dance’ and ‘Face-to-Face’?

Again, I attribute such songs to a combination of metaphysical studies, but also my experimentation with psychedelics, as well as my own listening preferences, which included Alice Coltrane, Miles Davis, and every ECM record I could get my hands on. Equal amounts of Tangerine Dream, Isao Tomita, and Walter Carlos’ ‘Sonic Seasonings.’ This combination of lifestyle, as well as having access to great, patient musical partners who methodically worked with me on these compositions, allowed me to develop the music I had begun writing. The band practiced and developed these songs I brought, at least 4-6 days a week, nearly every week, for around two years. The recordings only came about as we pooled money together for the studio and laid down tracks that were so well rehearsed it never took much studio time at all. So, the entire first album is comprised of demos that were never intended to become an album, but rather to have them to present to a label for consideration later.

When writing ‘Genius of the Dance,’ I had an alternate set of lyrics for the last section of the song and decided to have Rick sing one set while I sang the other simultaneously, as an experiment (almost like a type of round), which culminated with both lyrics singing “soaring” in harmony. This then led to the last verse line, continuing the harmony, to the final phrase: “The search cannot escape, the spiral, but the ‘Genius of the Dance,’ shall endure.” This came together so very well, it really encouraged me to continue writing with clever arrangements that I had not explored before. I remember that Face to Face was my early venture into this new style, employing more of a rock-style guitar as I transitioned from my previous rock writing style into this exciting new lineup of instrumentation.

Then there’s the colossal ‘Alchemist’s Suite’—a 17-minute odyssey that includes the spellbinding ‘Telesterion.’ What does this suite mean to you, and how did you muster the ambition to craft such an expansive piece?

The ‘Alchemist’s Suite’ begins with ‘Prelude,’ which was a guitar piece designed to be a “round,” and with each round, the instrumentation was increased, playing the same two sections. ‘Life Celebration,’ which, before the album was ever considered, was a submission to a local radio station, WLRS, as they compiled “winning submissions” for their yearly albums, featuring local talent. It was one of those selected and received local airplay on that station.

At that point, I realized that such a submission should include each member writing a verse to make it more of a group effort officially, as writers. This gave the song a more mainstream approach, instead of my metaphysical leanings that were present in the other songs at that point—much more radio-friendly. The separate pieces were not yet conceived as a suite.

I had the unusual privilege of spending a New Year’s Eve celebration at a temple with a group of touring Sufi dancers, featuring repetitive rhythms they danced to, much like a mantra. When I came home later from that event, I played the unusual guitar voicing chord sequence I already had and decided to make a repetitive rhythm, inspired by the Sufis, and write a melody in the spirit of Ravel’s ‘Boléro,’ that would repeat and build, also using a shortened repetitive bass line derived from Coltrane’s ‘A Love Supreme.’ It was a mesmerizing buildup, and I named it ‘Telesterion,’ which, according to legend, was a great hall and sanctuary in Eleusis, one of the primary centers of the Eleusinian Mysteries, used for initiation into the mysteries. No one was allowed to reveal what the initiation was, as all the ceremony was shrouded in secrecy.

So, the song’s rhythm was on the floor tom, emulating native primitive drums, with my added Gato drum layer, and reverb was added prominently to provide the image of a march by the initiates into the Telesterion. To finish the suite, I wrote Resurrection, depicting the successful initiation, with an eye toward the resurrection of the mortal into immortality. Much of those lyrics came from my studies of Max Heindel as well as Rudolph Steiner, sort of a lyrical gumbo. Since I decided to group these songs together, I gave it the name ‘The Alchemist’s Suite.’

Was there a central concept driving the album’s creation, or did it evolve organically from your studio experiments?

Since it was a collection of songs recorded at different times as demos, it was decided to make it an album only after the group decided to disband, soon after we had a successful concert as support for the group UK on October 29, 1978. While it seemed illogical to break up, especially after that remarkable concert—garnering a standing ovation, as well as very good newspaper reviews—our drummer, Mark Hendricks, decided to go on the road with a metal band to make some money. Rather than change the chemistry, which I never feel really works, we disbanded and decided to release those demos as an album, to have a lasting memory of all of our hard work.

The concept became solidified when we put the songs in that order. It was as though it had been a concept from the beginning, although it was not a concept project initially. I realized that, subconsciously, it was indeed. Like putting together pieces of a puzzle, and because of the time constraints of vinyl, it revealed itself as a concept album.

As an aside, we were not the only ones to break up so soon after such a wonderful concert, as UK disbanded 10 days after that same concert, with Bruford and Holdsworth going back on their own. Strange!!

Could you share a few words about ‘Mother Sun’ from 1999? What’s the story behind that album?

In 1998, while jamming with my friend Richard Streander, we came up with an improv lick that we both explored and decided it was time to write a song based on it. The song became ‘Drawdown’ on the ‘Mother Sun’ release. So, we got together with Bob Chapman, an extraordinary drummer that I had played with exclusively since 1980, beginning with a follow-up reformed 3-piece Easter Island, featuring Park Crain on bass, Bob, and myself. We shared a gig at a local bar with Starcastle and did some recording in Nashville, but the band didn’t do much after that, and Bob and I went on to play covers together. So, I asked Bob to jam with Richard and me, and we decided to reform Easter Island. Over the course of the next year and a half, we wrote and recorded Mother Sun. This album was never promoted nationally, but we did some concerts, including one with Par Lindh and Alaska. I’m very happy with this album and consider it every bit as progressive as the first one. The album can be heard here. There are still physical CDs available for purchase, as well as digital streaming. The album focuses once again on metaphysical topics, as well as the destruction of our planet’s ecosystem, and delves into what is now known as AI, with several songs. In fact, two such AI-themed songs, ‘Show the Way’ and ‘Burning Bridges,’ were originally written and recorded in 1981, but we recorded them once again to modernize them. To me, this album stands tall even 26 years later.

Today, you’re celebrating a strictly limited reissue by PQЯ Disques Plusqueréel of your classic album—only 400 copies, complete with original artwork, rare live cuts, and a 12-page booklet. What inspired you to revisit this project in such a unique format, and how does it feel to see it celebrated this way?

Yes, thanks to George Rossolatos, owner of PQЯ-Disquesplusqueréel, who approached me with the idea of reissuing the original vinyl. As we continued our correspondence, I told George I had old recordings from our concert with UK on October 29, 1978, which piqued his interest. This recording was originally given to me by a friend who used a handheld mono cassette recorder during the concert. Over the years, as software improved, I was able to make it a decent-sounding stereo recording. After I mentioned it to George, and he listened to it, he wanted to include it, along with some live recordings of Easter Island performing the Mother Sun album live at Artswatch in Louisville, on 2-10-2003. He felt the UK concert recordings were “bootleg quality” and would be fine. So, we agreed to release the whole package, and I am very happy with the package George and his team put together!

Can you delve into the bonus material on the reissue? What rare live moments and behind-the-scenes treasures can fans look forward to?

Yes, there is a 12-page booklet, which includes very rare pictures of the original group, promo material from our concert with Gong, as well as a bio of the group. Also included is a CD of live performances that have not been previously released anywhere.

TRACKLIST:

Live 1978
1. Solar Sailor (6:53)
2. Genius of the Dance (4:41)
3. Face-to-Face (7:29)
4. The Alchemist’s Suite (19:11)
5. Summerland (6:08)

Live 1999
6. Mother Sun (5:15)
7. Now and Then/Waiting For The Moment (6:07)
8. Tilt (4:40)
9. Flop flip (4:56)

Studio
10. Wanderer’s lament (3:20)
11. Now and then (1:43)

Reflecting on your touring days, which gigs stand out as the most unforgettable in your memory?

The most outstanding memories include the Easter Island concert with UK, as well as the concert with Gong. I really enjoyed my lengthy conversations with John Wetton and Allan Holdsworth after the concert. They were both great guys, and I’m so sorry they are no longer with us. Both were kind gentlemen to me.

And what about the craziest, most outlandish performance you ever experienced…what happened on that night?

Well, the craziest by far was a two-show concert Elysian Field did with Quicksilver Messenger Service. The first show went off without a hitch, and we opened. As Quicksilver was performing their first show, I made my way to the restroom and ran into an old friend I hadn’t seen in years. Something was said that made us both laugh, and while my mouth was open, my friend popped something into my mouth very quickly. I asked her, “What was that?” She told me it was a microdot!!! I couldn’t believe she had done something like that to me, especially when I had another show to do. She apologized and said she didn’t know I had another show, but it was way too late. Fast forward to being on stage for the second show, and the drug was already taking effect. After only a few bars of our opening song, I broke a string. Since I had no extra strings (duh), I grabbed another guitar I had brought along but quickly realized that since I hadn’t used it for quite some time, the neck was bowed terribly and wouldn’t hold tune for chording. So, I could only play riffs during our set and just wanted to crawl off stage, but of course, the show must go on!! You can only imagine what I was experiencing, but I had to just get into it with confidence I no longer had. The details were hilarious, but at the end of our set, we got a standing ovation, all the while the guys in Quicksilver were side stage, on my side, and just laughing their asses off, as I think they figured out what I was going through. The weirdest part was that the second show was received by the audience even better than the first, complete with autographs, etc. Still, I hope I never go through anything like that again.

We’d love to hear about the gear that defined your sound. What were the key instruments and tech that powered your creative fire?

In Easter Island’s earliest days, my gear was as follows: 1965 Gibson 6/12 double neck, 1949 Gibson ES175, 1968 Gibson SG Standard, 1960s Framus Texan acoustic 12-string, 1971 Lyon-Healy Troubadour Harp, 1969 Marshall 100-watt Super Lead double stack, Sound City SMF 150-watt Tour Series with 4×12 Cabinet (Allan Holdsworth wanted me to sell him my cabinet), Univox EchoChamber EC-80A, CryBaby Wah pedal. I had so much equipment in the following years, including a 1979 Arp Avatar, Sequential Circuits Model 800 sequencer, Prophet 600, Roland D50, Korg Wavestation, Korg Karma, Korg M3R, Roland VG8, VG88, VG99, GR30, GR33, GP10, SY1000, Kemper Rack, Kemper Stage, Godin LGXT with Sustainiac, Breedlove 1998 C25 acoustic with RMC pickup, Godin Fretless Multiac Nylon, Godin ACS-SA classical, Moog EM-1 guitar. This is just a small list of my main equipment, as well as a ton of plug-ins with my Mac computers. Too much to list.

When did the chapter of the band come to a close, and what paths did the members take afterward?

Easter Island was going to be recording a third album, but just before sessions were to begin, Bob Chapman passed away from lung cancer, and that was devastating to me, as I consider the drummer—especially Bob—to be the most vital member of a band. Because of his death, I haven’t pursued another Easter Island recording, but never say never, I suppose. Ray Vogel died in Raleigh-Durham, N.C. on April 2, 2007; Mark Hendricks died in Louisville on June 15, 2004; Bob Chapman died in Louisville on September 12, 2020; Rick Bartlett owns his own dinner club in Louisville, where he plays piano, guitar, and sings each week; Park Crain lives in Louisville and plays with a band, but I’ve lost touch with the current details; Richard Streander lives in Louisville and performs as a solo artist at various venues.

Finally, what’s occupying your creative life these days?

Well, I am still actively recording and selling my music here, which directs you to my Bandcamp page where all my music is hosted. It includes six solo albums and currently 18 to 30-minute meditation pieces. From 1999 to 2020, I did a one-man band show weekly, first in Louisville, but then I began commuting to Chicago for the next 13 years. Unfortunately, COVID wiped out that long-standing gig.

Acting has also been an interest of mine over the years. I played a villainous character in a 1990 independent film entitled Good Cop, Bad Cop, had a stint in a local murder mystery traveling theater group around 1998, and most recently, a non-speaking part in the 2024 release Wildcat by director Ethan Hawke.

Currently, I’m working with an old friend on videos for my music and putting together an ambient music project with a great keyboardist friend, which, hopefully, will perform live shows.

Klemen Breznikar

Headline photo: Easter Island

Mark Miceli Website / Bandcamp

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