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EDGAR BREAU liner notes – Half Human, Half Live

In a cornfield, just outside of Mount Hope, Ontario, on a crisp November evening around eight PM I stumbled upon the ruins of the Saucer Mothership: a twisted, hulking mass of rusted out metal, covered in moss and lichen, half buried in a crater on the north east side of a farm property long abandoned and devoid of human habitation. A lone crow, black and ominous in the dying light hastily departed at the sound of my footsteps and I stood silently gazing at the wreckage. Strewn and scattered about every which way were pieces of my former life and I seemed to hear voices echoing from the remote past calling to me in wordless reproach. Hope was buried there, skinned alive by relentless fate. I left my youth behind in that field of cosmic fire, bore the wounds in my own flesh from the crash that had interrupted our lives and cast us on other paths down the corridors of hoary time.

I stepped gingerly around the broken wine bottles avoiding the shards of glass and rusty spikes of sinister steel. I sifted through old heaps of tattered fanzines: Terrapin, Trouser Press, The Pig Paper, Bomp, Black To Comm, Fusion, Crawdaddy, perused the Aquarian Journals of Wayne McGuire, reading again the columns that had so influenced me, providing a counterpoint to the prevailing attack on the classics of Western culture fashionable in some quarters. There was found a stirring defense of Shakespeare against the Maoists and other totalitarian reductionists and a passionate championing of Wolfram von Eschenbach's epic Parsifal, the supernatural detective stories of Charles Williams, John Fahey's groundbreaking guitar compositions, Funhouse by the Stooges, Coltrane, Sun Ra, the Velvet Underground, the American avatar Mel Lyman, Dorothy L. Sayers and the Inklings, Elvin Jones.... Later on in the eighties, I would discover the Last Essays of my mentor, the great French novelist, revolutionary/Royalist unaligned flamethrower George Bernanos, the Chestebelloc and Distrubutism, the films of Robert Bresson, Dostoevsky shining a piercing light into the "dark night of my soul" during my days of reclusivity.

As I continued to search, I came across an old Rolling Stone review of the third Velvets by Lester Bangs, "from Heroin to Jesus," my battered copy of Theresa of Lisieux's "Diary of a Soul", esoteric writings of Louis Claude de St. Martin and Arthur E. Waite, Andrew Lang's Violet book of fairy stories, David Lindsay's sci-fi cult classic, A Voyage to Arcturus, fading copies of the Silver Surfer and Dr. Strange, old movie posters "Angry Red Planet", broken 45's by the Ugly Ducklings, "Little Johnny Jewel" on Ork, a poster of Patti, a slim crucifix taken from the coffin of Ernie Hildreth, the wino/bum/hobo who had befriended me on Kenilworth Street and whose landlord and sidekick was the legendary Steel City boxing champion, Jackie Callura. Memories of David Byers rushing back from Buffalo in the summer of '72 with a copy of Can's Tago Mago and fainting a couple of minutes into it at the sheer wonder of it. I saw the ghostly images of former band mates doing the graveyard shuffle. The lonely cry of a train whistle, eerie and transcendent, pierced the curtain of night that surrounded me.

I strained my eyes and there, in a heap of rubble, was my battered old

portable schoolboy record player, perfect for the Eddie Cochran compilation I so treasured. He was "something' else" and so were the Kinks. I wore out my silver vinyl copy of Lightning' Hopkins King of the Delta Blues on that rough hewn contraption along with the Shangri-La’s, the Third Ear Band, the Seeds and countless others.

I had grown up aware of my vocation. Words and music would be my calling. I carried poetry with me when I hitchhiked out to Vancouver B.C. fresh out of high school in ‘71; furtively reading Kerouac in the back seat

of a car, or scribbling poems while my sidekick John chatted with the drivers. I recall us riding in a hearse at one point, on a winding dirt road, sharing whiskey with a couple of weather-beaten old prairie farmhands diggin' the vast panorama of wheaten fields that stretched forever onward. Later on I had my "Winnipeg experience" in the hippie park outside the parliament buildings all under the watchful eye of the famous Golden Boy atop the Manitoba legislative building. John met his Ojibway princess Ingrid there and I communed with the western beatnik hillbillies, wild-eyed prophets, and flower children clothed in technicolour coats.

Well, as I recall, after a crazy quilt work day of Coleridge visioning, I hitchhiked 350 miles back east in a kind of blessed stupor leaving behind the Jesus freaks, con men, drug dealers, crazed poets and Ukrainian earth mothers and most of all John himself, in a most untimely way considering that our epic journey was conceived by devil John in a Kesey and the Merry Pranksters frame of mind. Somehow or other we hooked up again for the trip back to the Steel City and I immediately set about forming the band which would come to be known as Simply Saucer. The images derived from my trip to the west coast had commingled with my east coast Acadian ancestry as seen through the prism of the "old steel town" and it's hard core working class authenticity, joining with the sounds living inside of me, giving the music an organic quasi authentic geo-Canuck spatial quality discernible to some who would confess it to me only years later.

Back in Mount Hope I unearthed the remains of my blonde '67 telecaster, which I had traded in for the black tele deluxe which got stolen by renegade members of an east end gang on the day of our gig at McMaster University in the Downstairs John pub in '75. Later on a couple of them paid me a little visit, tire irons stuffed down their jeans, intent on teaching me a lesson for my unfortunate decision to go to the cops over the theft.

I escaped unscathed, feigning mental illness (wasn't hard in those days) and turning them on to “The Black Angel's Death Song” for good measure... I guess my guardian angel was hovering over me, as she was when the twelve-inch machete was being pressed against my throat by equipment thieves threatening to kill me in '78 at the notorious "house"...and that wasn't the first time THAT had happened.

Anyhow, before you start thinking I'm about to write my memoirs, lemme get back to that scene of desolation and the odd looking canister I now found staring me in the face. It was about six inches in diameter and oh about thirty five and a quarter inches long by my practiced estimate (I trained as a cabinetmaker). There wasn't any apparent way to open it, sealed as it was on both ends. Engraved in black ink around the middle of it was an image of a robot monkey holding a scroll. I tucked it under my arm and as the darkness was now rolling across the field like a coal wind I decided to head for home and return at a more favorable time for exploration.

Well it took me just short of ten minutes workin' with a hacksaw to recover the contents of the canister and lo and behold the tattered score of the psyche symphony “Clearly Invisible” lay about in bits and pieces. My God what a thrill it was to discover the composition I had agonized over, and given stillbirth to so many years ago, hunched over my guitar on a rickety chair in that seedy dump I called home. It has been reconstituted, revisioned and rearranged for this recording by my capable and sympathetic musical friends in the studios of Catherine North.

Somehow Lady Fortune had been looking' "with scornin', pityin' eyes" (Yeats) at her weary poet son and after a lifetime or so of concealment decided to unfurl the banner once again of Hamilton's own Simply Saucer. Finding a crew capable of flying the disabled spacecraft would not be easy. The perennial core of the band consisting of bass player Kevin Christoff, with his patented punk/prog voicings influenced by the likes of Hugh Hopper and Jack Bruce, and myself on vocals and guitar was intact.

The new musicians would arrive surreptiously under mysterious circumstances and begin outfitting the ship for relaunch. These be, Joseph Csontos, there at the beginning of Hammer Punk Rock History, the wiry dude with attitude wearing the Charlie Parker t-shirt reeking of COOL, with a mind sharp like a razor, a human dynamo on the drum kit, long ago initiated into the Saucer brotherhood, ask him about it all. Then came Winterman, Daniel that is, slim and gothic on the atmospheric guitar, propelling the band with his sonic undulations on the Theremin, and sound paintings on his crayoned love guitar. He is a veteran of head phone over tone, Battleship Ethel, Make Joy Cry and Vampire Sex Chain. Steve Foster would arrive one day like a loaded gun, brimming with firepower, a veteran of the underground scene having lived the Hammer rock experience in his own flesh, an aficionado of garage, punk, roots rock; his guitar slashing like a propeller, powering the spaceship into supersonic heights. In many capacities, from soundman to tour manager, studio guru to onstage guitar gunslinger, he's worked with Canadian rock 'n' roll legends throughout his formative years, from Junkhouse to Teenage Head, Daniel Lanois, Blackie and the Rodeo Kings, the Thomas brothers Ian and Dave...countless others. Played with Stoked, Crawlin' Kingsnakes and now with the Saucer.

Anyhow we've recorded these songs at Catherine North Studios under the direction of the Foster brothers, Duke and Steve, along with Dan Achen. I'm rather grateful for this opportunity and say to our beloved fans, "Thank you for hanging in there. These songs are for you. Blessings one and all. SAUCER CONTRA MUNDEM."

Edgar Breau, November 2007

Recording Notes – Stephen Foster

The recording of Half Human Half Live really began the night drummer Joe Csontos called me and asked if Simply Saucer could rehearse at Napier Park Studio, my home studio in Dundas Ontario. Joe and I have been friends and band mates for many years. When they first started jamming again, I wasn’t involved I didn’t even hear the initial rehearsals with guitarist Steve ‘Sparky’ Sparks at my place, it seemed I was always working or something. After their first reunion show at the Corktown Tavern, the band decided to continue on, however Sparky would not. Enter Mike Daly on guitar, and enter me as an engineer.

I spoke with Joe about recording their upcoming official reunion show and, after a couple of discussions with Edgar and Kevin, Simply Saucer decided to go ahead with the idea. In December 2006 I recorded the band live at Casbah in Hamilton using Protools and my Laptop and was able to capture a solid 16 track recording of Simply Saucer live. (Chris Bell was the house engineer that night and did a great job mixing the live show and helping me split the signal from the house snake.) This spawned the idea of a new Saucer album based around the live recording and possibly some additional studio tracks. Enter my associates Duke Foster (my brother) and Dan Achen. We all work together out of Catherine North Recording in Hamilton.

I pitched the idea of doing the studio tracks at Catherine North to Edgar because it is an old church and it’s got a great live vibe to it. I really wanted to keep the live vibe dominant even on the studio tracks because I felt this was how Simply Saucer sounded best. Fortunately for me, Mike Daly found himself too busy to continue on with Saucer, so I offered to cover on guitar for two shows at Ciao Edie in Toronto, after which I officially joined the band.

Now that I was playing with the band, my role as a producer/ engineer changed drastically - I needed help. Playing with the band was great from a producer’s point of view; I could get a little more inside the music and have a hand in arranging and writing. Engineering wise, if it weren’t for the engineering talents of Duke (Derek) Foster, Dan Achen, Mary Smith, Derek Conant, Ryan Mcilwiane and Triston Miller this record would never have been made. Thanks to all! We rehearsed and recorded all of the studio tracks at Napier Park Studio. This is where playing with the band and producing had its advantages. We rehearsed, rearranged and recorded for three weeks before heading to Catherine North to record the tracks in earnest. After pouring over the live recording from the Casbah, the band decided that we should record a second live show in a more controlled environment. Fortunately, Catherine North Recording is in an old church and we also have a stage.

After a short tour of Central Ontario and Quebec we put together a solid set for the show and enlisted a live audience of about 60 people. As I was playing with the band that night, the engineering duties were handled by my brother Duke and Triston. Not only did we come away with a better live recording than the Casbah show, but all our friends and fans had a blast. We recorded the band directly to Protools using a split and used a small PA to reinforce the band in the room. Mics were placed throughout the room to capture some of the room vibe and audience.

As far as my approach to this album in the studio was concerned, most of the bed tracks were recorded live off the floor with some overdubs - mainly guitar, keys, and vocals. Duke made the majority of the choices as far as preamps and mic pairings were concerned (many of which were also used on the live recording) and was a huge help with a number of production ideas of his own. We used a variety of vintage pre amps (Neve, API, MCI, Tubetech) and mics (Neuman, AKG, Sony) and laid the tracks down on ProTools HD.

The most acoustic track on the album, “Dandelion Kingdom,” was recorded by Duke. He had us set up in the round in the centre of the church and using a minimum of mics Duke captured a beautiful live acoustic recording that made the most of the ambience of the church (and birds in the garden, Edgar had Duke record the birds before we could continue recording the track).

Producer/Engineer Dan Achen engineered for the recording of “Almost Ready Betty” and employed a few techniques of his own. My engineering moments were usually during pre-production and the overdubs and usually with a guitar hanging over my shoulder.

Stephen Foster, December 2007

SIMPLY SAUCER is Edgar Breau – lead vocals, Gibson Les Paul Standard w/50' neck and Laskin acoustic guitar Kevin Christoff – Fender Precision bass, stand-up bass, vocals Joesph Csontos – Premier drums Stephen Foster – 1972 Les Paul Signature, 1967 JTM Marshall "plexi" half stack, and a circa 1880 BS&L five string banjo Daniel Winterman – Fender Jazzmaster guitar; Moog Theremin; Roland and Ernie Ball effects; Moog and Korg analogue synthesizers; upright piano.

Recorded at Catherine North Studios, Hamilton, Ontario and Napier Park Studio Dundas, Ontario Produced By: Steve Foster Assistant Producer: Duke Foster Engineered By: Duke and Steve Foster, except "Almost Ready Betty," engineered by Dan Achen Assistants: Mary Smith, Ryan Mcilwaine , Triston Miller, Derek Conant Mixed by Duke Foster Mastered by: Joe Lambert at Trutone Mastering Labs, NYC

Cover artwork by J.D. King http://www.jdkingillustration.com Packaging design and layout by Daniel Winterman

Edgar Breau would like to thank my lady, Fran Dalziel, for help, encouragement and all the comforts of home, my numerous Breau kin, especially Ingrid, Heidi, Luke, Claire and Monica, my co-conspirator, Bruce Mowat, for his steadfast championing of the band, Sean Palmerston, Greg Bennett, Heather Morgan, Chris Stigliano, Imants Krumins, Rick Bissel, Gary Pig, Steve Park, Don Cramer, Ping, Rob Sikora, Sonic Unyon Records (Tim and Mark), Lou Molinaro, Ric Taylor, Bob Bryden, WFMU, Bob Mersereau, James Tennant, Mike Daley, Wayne Deadder, Duke Foster and finally Richard Citroen, who told me to take this thing on the road and run with it. Ernie Hildreth R.I.P.

KC would like to express his appreciation to the following people: Derek Christoff, my other half in Blind Owl. Steve Raine and George Petko of Back Pages, Dave Eckebrecht and Pete Day of Old Gnus and Rick Nesbitt of yesterday and today. Thanks out to Sparky, to Doug Murphy for pointing me in the right direction and to Don Cramer, my old RU partner, for being just that. That beat goes on man! J.O.L. MBE (ret'd); "J'ai Guru Deva". To all at Catherine North and at Sonic Unyon for making this recording happen. Thanks to Gary Pig and a very special thanks to Bruce Mowat for his belief in Simply Saucer and for his efforts in bringing this music out way back in the day. Without that effort arguably none of this would be happening. It would just be a fantasy pool; a barroom toast to glory days. Thanks Bruce. Finally to Cheryl for her ever present and never ending support for me thoughout this long strange trip. I couldn't and wouldn't do it without you. And of course he thanks his fellow travelers on the rebuilt Mothership. Over and out.

Joe Csontos would like to thank: Barbara Dow, my lovely wife and two amazing kids Christopher and Michael for the love, support and understanding. Kudos to B.F. Mowat, shout outs to pretty much all of the Hamilton music scene -past and present- both players and supporters. All the techies deserve dollops of praise for this record and all of our recent shows. A big thumping endorsement to Michael Stewart for his help and hardware. Plus Joe Csontos ONLY plays Premier Drums! And Sabian Cymbals

Steve Foster would like to thank Sarah and Ainsley, Roy, Carol and Duke Foster, Dan Achen, Dave Rave, The Crawlin' Kingsnakes, IATSE 129, Teenage Head, The Shakers, Florida Razors, Trouble Boys, Forgotten Rebels and anyone else who ever picked up an instrument in the city of Hamilton, Ontario.

Daniel Winterman greatly acknowledges the understanding, support and assistance of the following people: Joe and Bruce [for getting me in on this]; Edgar and Kevin [for keeping me on-board the Saucer]; everyone who helped out in the studio and at gigs, especially Steve, Duke, and Dan; Fordo [for sharing gear at the start of this adventure]; the Sonic Unyon team [for their continued interest in this project]; the fine people at the Duke [for being such fine people]; and naturally, my family, Bryna and Jonah [and Nova], and Mom & Dad. Shout-outs to Ronan and Marley.

All songs words and music by Edgar Breau except ‘Clearly Invisible’ words Edgar Breau music Breau, Christoff, Csontos, Foster, Winterman ‘Mole Machine’ music Breau, Christoff, Laplante, deMerchant

Please visit Simply Saucer online at the following locations http://www.myspace.com/officialsimplysaucer http://www.simplysaucer.com

  1. 1 EXIT PLEXIT 03:31
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  2. 2 TAKIN' YOU DOWN 03:31
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  7. 7 LOW PROFILE 04:41
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  8. 8 MOLE MACHINE 04:15
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  9. 9 I TAKE IT 04:03
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  10. 10 GET MY THRILLS 04:52
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  11. 11 I CAN CHANGE MY MIND 03:29
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  12. 12 ILLEGAL BODIES 07:01
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Patches of Blue

Edgar Breau

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Simply Saucer founder and songwriter, Edgar Breau's 3rd studio recording. Featuring members of the band as well as Bill Dillon (Joni Mitchell, Bob Dylan), Brian Griffith (Dan Lanois, Willie Nelson) and a wide assortment of instrumentation, with Breau on acoustic guitar. Here are some reviews: Jeff Liberty interview in Punkglobe http://www.punkglobe.com/edgarbreauinterview0212.php Graham Rocking review Hamilton Spec https://www.thespec.com/whatson-story/2138065-edgar-breau-finds-his-blue-period/ and from The Toronto Star's John Sakamoto: “Patches of Blue”

Edgar Breau is the frontman for legendary psych band Simply Saucer, a career summation that serves no purpose here other than one of contrast. Abandoning the electric (and electrifying) mayhem of his legacy, the solo Breau has created a sublimely atmospheric kind of melancholy that will be familiar to acolytes of everyone from Chet Baker to Robert Wyatt. Rendered elegantly in 3/4 time, it makes a couplet such as “And just like a summer sky/ I have my patches of blue” feel like it's swaying in the breeze. (From Patches of Blue)

  1. 1 Patches of Blue 04:39 Lyrics
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  2. 2 Open Road 04:18 Lyrics
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  3. 3 Pennsylvania 04:09 Lyrics
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  4. 4 Rainmakin' Man 04:10 Lyrics
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  5. 5 One Kind of Love 05:02 Lyrics
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  6. 6 Maria the Sea and the Sun 03:45 Lyrics
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  7. 7 Cry Bitter Rain 06:00 Lyrics
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  8. 8 Girl on a Carousel 03:20 Lyrics
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  9. 9 Dreams of Kerouac 04:19 Lyrics
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  10. 10 Simcoe County Country Girl 05:02 Lyrics
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  11. 11 She Love Me Like A Train 04:09 Lyrics
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  12. 12 Dandelion Kingdom 03:21 Lyrics
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Welcome to the official Simply Saucer website.

thenewperfectcollection Simply Saucer Cyborgs Revisited 





 I’m due to hear from frontman Edgar Breau next week, so you might think it unusual not to delay TNPCs inclusion of Simply Saucer’s Cyborgs Revisited until after we speak. The thing is, I’ve constructed my own myth around this album, I’ve rewritten rock history in my head, and I’m reluctant to let it go, for surely if rock’n’roll is about anything, it’s about gratuitous escapism – so I’m going to hang on to this movie script for a little while longer… 

“What a fantastic movie I’m in / what a fantastic scene I’m in…” 

[Scene: Backstage Velvet Underground performance, Max’s, August 22nd, 1970] 

Any similarity to characters real or fictional is…blah blah blah… 

DY: What’s the matter with you Lou – that was some hokey shit tonight? 

LR: Cuz the whole thing’s fucked you asshole. Your stupid Cyborg obsession – it’s getting us nowhere. What the fuck is a Cyborg anyhow? 

DY: Remember when you used to be rock’n’roll? Long time ago. You’re not even a footnote now. There’s stuff out there which is unbelievable Lou – wash out your ears, how can you not hear it? Look at the Ig guy – he’s insane. It’s just pure rock’n’roll…  

LR: Let him go and do his shit. Who’s gonna remember that? They called it right. Stooges!! Just a noise goin’ fucking nowhere Doug…Forty people out there tonight...Brigid snapping away –who’s gonna want tapes of us playing this shithole?… 

[SM (barely audible):hey…someone tell Jonathan to beat it…Jonathan get outta here man, go home…its late…] 

DY: Are you outta your mind? It’s not like we’re reaching out Lou – nobody came then, nobody’scomin’ now, nothin’s changed; let’s face it. But til now, at least we’ve been able to hold our heads up man. You know, I’m beginning to think Cale got it right. He got out cuz he knew this lame loser shit was on the way… 

LR: Hey, I got rid of that asshole… that’s precisely the kinda bullshit I might expect to hear from him!…I mean…avant garde, avant garde?! – thinks he’s John fucking Cage. One letter outta place in the name he thinks he’s a fucking genius. That one letter makes all the difference! He was never gonna be a star and neither are you Dougie boy. I’m a star, just like Andy says, and not for fifteen minutes either…just try to stop me honey. 

DY: I didn’t join the band to become a star Lou. You want your face on a magazine cover, that’s your business – I want more. I want people to talk about my music 50 years from now. 

LR: Your music!? What are you, some kinda comedian? What’ve you ever done? You’re just hanging on my coat-tails you asshole – just along for the ride! Playing supper clubs for twenty people ain’t gonna pay the bills. Well, what you gonna do after tomorrow, you’ll be on your own…cos it’s over…?  

DY: Asshole!  

LR: No, you’re the asshole… 

Of course, as we all know, Lou walked out the very next evening, before Yule dragged Velvets’ devotee Jonathan Richman with him and they, together with a noisy young Rimbaudesque poet called Richard Meyers, went on to blitzkrieg the vacuous coked up pomposity of early 70s rawk, with all its ludes and bad hair and mind numbingly bland guitar solos, via their paradigm-shifting interstellar punk rock… 

Or perhaps not… this is only a movie after all.  

…In actual fact, Yule made Squeeze the ‘fifth’ VU album, which nobody recognises as an authentic release – it wasn’t of course, as it featured none of the original members. By 1974 he had done nothing else but add guitar to Reed’s Sally Can’t Dance. He would resurface again with the feckless country rock of American Flyer just as punk was exploding. It turned out Doug Yule was never going to do anything authentically punk. But it was not outwith the realm of possibility that he could have been the prescient saviour of rock’n’roll. After all, he joined the Velvets right after White Light White Heat. The last ‘song’ they recorded before he walked in the door was ‘Sister Ray’. If that didn’t put him off, then it was still a hell of a long way to slide before he got to writing ‘Dopey Joe’… so my guess is he must have possessed a tiny kernel of the punk gene, but he buried it. Somewhere deep. Unless of course, he was, as Lou says, just along for the ride… 

So, instead it was left to some scraggy music & sci-fi obsessed teenagers from Ontario to pick up the mantle…their lives would be saved by rock’n’roll and they aimed to save it from annihilation along the way.  

“I like the way that you treat me like dirt…” 

Hamilton lies close to the Canadian/US border. The two US cities in closest proximity are Detroit and Cleveland – and if you’re looking for clues as to the origin of Simply Saucer’s sound, you need look no further. While the primary influence was undoubtedly The Velvets, Simply Saucer’s true kindred spirits were Iggy, MC5, Mirrors, Rocket From The Tombs and The Electric Eels, alongside a hearty dose of Krautrock and a psychedelic spattering of Syd’s Pink Floyd and Hawkwind. 

The band – Edgar Breau (guitar, vocals), Kevin Christoff (bass, vocals) John LaPlante – aka Ping Romany (electronics) and Neil De Merchant (drums) would hardly become household names; formed in 1973, they only ever released one single (in 1978) before quietly disbanding. It would take another ten years before an album collection finally emerged. Culled from only two sessions – one recorded in Bob and Daniel Lanois’ mother’s home in 1974, the other recorded live in Hamilton a year later – Cyborgs Revisited was the first full length document of their incredible music, and as such is one of the great lost albums of the 70s. 

A virulent distillation of acid-fried space rock, and brutal urban punk, it comes over as a deranged masterpiece. ‘Instant Pleasure’ possesses the shambolic jerk of the Neon Boys’ ‘Love Comes In Spurts’ although predates it. As Breau pleads “Let me sleep inside of your cage / I want to feel your sexual rage”, Christoff’s impossibly spasmodic bass convulses around Romany’s anarchic theremin noodlings. ‘Electro Rock’s garage riff could be something off MC5s High Time. Delivered in Breau’s slovenly sneer it is laid to waste by a collision of screeching guitar, pummelling bass and some bizarre electro-magnetic loops. ‘Nazi Apocalypse’ degenerates magnificently into a big Ron Asheton wah-wah scorched earth guitar storm and the instrumental ‘Mole Machine’ is like a psychic summons to outer space by a college of math rock guitar freaks beckoning with all their might (and incomprehensible formulae) the descent of the mothership…it succumbs gladly to their invocation. 

On ‘Bullet Proof Nothing’ Breau does indeed does sound like Yule having a crack at ‘Sweet Jane’ with The Modern Lovers providing the back up. (“Treat me like dirt, drive me insane / treat me like dirt now, tear out my brain… I’m just bullet proof nothing to you / Point blank target for your waves of abuse.”) Despite the nihilistic sentiment, it’s the most accessible thing on here, and would have fitted comfortably onto Loaded or even Transformer and even ennobled both of them. At any rate it truly is one of the great lost tracks of the 70s. 

But it is no exaggeration to say that the live tracks (which comprise Side Two of the album) – recorded on a roof on Jackson Square on June 28th 1975 are just staggering – a revelation. The live version of ‘Cyborgs Revisited’ is an astonishing sonic assault with more killer guitar riffs than James Williamson could accumulate on the entire Kill City LP. And that’s saying something. It briefly melts down into a blues jam and then knocks satellites out of the sky before the discordant thrash at the tail – a precursor to The Fall’s ‘Hip Priest’. Meanwhile, ‘Dance The Mutation’ is like a Jumpin’ Jack Flash Jagger cranking it out over an unstoppable tidal wave of nuclear moog radiation from Romany which evidently hungers to swallow up everything in its path. And as for ‘Illegal Bodies’ well, it captures on tape one of the most viscerally exhilarating guitar performances ever recorded. Think for one moment of ‘Run Run Run’ – it’s a smack song right? Well, ‘Illegal Bodies’ has that guitar, but Breau propels the song forward with such amphetamine fuelled momentum that, cut loose from its moorings, it spills its guts out all over the place…a sprawling mess of sheer punk adrenalin. 
Now imagine if Breau, Romany and co had been afforded proper exposure at the time. Surely rock history would have been rewritten and perhaps punk would never have happened at all. There would have been no need. Julian Cope wrote a genius review of it on his Head Heritage site around 15 years ago – it’s here (https://www.headheritage.co.uk/unsung/albumofthemonth/simply-saucer-cybords-revisited) and no-one has came close to it since, so there may be a chance you’ve tracked it down before now, but if it’s something you haven’t heard yet, then I envy you your first listen. This is the stuff you’ve been looking for. (JJ)

Sean Palmerston reviews Saucerland for Label Obscura 


Simply Saucer – Saucerland 2LP 

July 24, 2016 in reviews 

Album Title: SaucerlandArtist: Simply SaucerLabel: Logan HardwareRelease Date: May 2016Artist Website: www.simplysaucer.com BUY THE ALBUM 

Before I review this, I feel I should put a disclaimer on this article. As some may or may not know, I was the project co-ordinator for the 2003 reissue of Cyborgs Revisited that Sonic Unyon Records released. I have a long running professional relationship with members of the band. However, I paid my hard earned cash for this two-LP set and would recommend that you do the same too. 

Saucerland is made up of rarities and songs that have never been released on vinyl before. Some of these songs are previously released – both as bonus tracks on the Cyborgs Revisited expanded reissue CD and on a Black To Comm CD compilation – but none of them have ever been on black wax before. A number of the tracks here come from the band’s legendary copyright tape, a cassette they recorded in their practice space and then mailed themselves so that they’d have proof of copyright of the songs back in the mid-70s. 

The key track on Saucerland as far as I am concerned is the live take of “Clearly Invisible”. Recorded live at Carleton Place Arena in 1978, bassist Kevin Christoff says the song was the only song to get applause that evening: “one person actually applauded.” It is an absolutely mind-melting live version that really has to be heard to be believed. Another favourite on this double LP is “Brain Shock”, a song co-written by singer Edgar Breau and long-serving drummer Don Cramer. The song has a twisted edge to it that sounds to my ears like it could be a classic Roky Erickson song. However, these are just two of the great songs on this record. 

As a compilation, Saucerland works well. Galactic Zoo Dossier zine publisher Steve Krakow has done a good job with the tracklisting and it is very nice that the label let Christoff write a paragraph or so about each individual track. I also like the page of liner notes given by both Pig Records’ owner Gary Pig Gold (who released the original SS 7” way back in the seventies) and journalist Jesse Locke, who has just completed a book on the entire history of the Saucer that is intended for release soon. 

Rumour has it that later this year LA’s In The Red Records will be reissuing Cyborgs Revisited once again, something which should bring the legendary album to the ears of even more music listeners once again. This 2LP compilation is a great accompanying piece to the original album and it is well worth owning if you are even a little bit interested in this legendary, groundbreaking Hamilton, Ontario band. Search it out, you won’t be disappointed. 

(Logan Hardware) 

Post Death Soundtrack reveals “Beauty Eyes I Adore” (Dark Highway Mix) Single 
WILCO Schmilco - quite possibly the greatest album title of 2016 

By Sean Palmerston 

Sean Palmerston is a vinyl loving music nerd who also loves NHL hockey, Godzilla movies and hanging out with his kids. A former contributing writer to a number of publications, including Exclaim!, Metal Maniacs and VICE, Sean also runs the all metal webzine Hellbound.ca 


Post Death Soundtrack reveals “Beauty Eyes I Adore” (Dark Highway Mix) SingleJuly 25, 2016 
Simply Saucer – Saucerland 2LPJuly 24, 2016 
WILCO Schmilco – quite possibly the greatest album title of 2016July 20, 2016 






Burdocks 'Airplane Tracks'

Doom and Gloom from the Tomb Saucer News 

Simply Saucer - Saucerland 

Logan Hardware/Galactic Archives have dug into the archives and come up with a stellar double LP of previously unreleased Simply Saucer jams. What the heck is Simply Saucer? They were a 1970s proto-punk/psych teenaged band based in Hamilton, Ontario who were way too far ahead of their time to get the recognition they deserved at the time. But collectors caught up with them in the 1980s and the renewed interest resulted in Cyborgs Revisited, a killer collection that showed off the band’s deranged Velvets-meets-Hawkwind damage in all its glory.  

This new release offers more of the same, and it is totally righteous – I’ll leave it to Christopher at the venerable Black to Comm zine-blog to sum it up: “Said it before (and will say it again) but this is that Velvet Underground spawn filtered through other VU/Stooges ideals (Can/Faust/Suicide…) done up as only teenaged Ontarioites could muster!” 

There’s more Simply Saucer activity on the horizon for 2016: In The Red is reissuing Cyborgs Revisited on wax and Toronto journalist Jesse Locke is polishing off Heavy Metalloid: The Story of Simply Saucer, due to be published later this year. Check out an excerpt! The band still exists, too – and judging from this incredible recording of “Illegal Bodies” from 2015, they are still very much capable of kicking out the jams. What a fantastic movie I’m in!!!   

simply saucer13 notes May 10th, 2016 


Eternal Cavalier Press is proud to announce the release details of their 6th title, Heavy Metalloid Music: The Story of Simply Saucer.  


Eternal Cavalier Press is proud to announce the release details of their 6th title, Heavy Metalloid Music: The Story of Simply Saucer. 

Written by Toronto-based music journalist Jesse Locke (AUX, Weird Canada) Heavy Metalloid Music is the official biography of Hamilton’s legendary psych/proto-punk band Simply Saucer, who first launched into orbit in 1973. They were so far outside of the curve during their original ’70s lifespan that they wouldn’t be recognized until their recordings were finally released in 1989 as the posthumous collection, Cyborgs Revisited. An expanded 40th anniversary edition of Cyborgs Revisited will be soon be re-released on celebrated garage label In The Red. 

Heavy Metalloid Music will be available at select independent bookstores across Canada, online retailers as well as the Eternal Cavalier Press website in November 2016. An exclusive excerpt and interview with Jesse Locke is now available at Open Book. 

When punk hit Canada in the late 1970s Simply Saucer became quasi-rivals of Teenage Head (even stealing guitarist Steve “Sparky” Park) and existed on the fringes of the Toronto scene. Their live shows blew minds and their work ethic was unmatched, rehearsing nearly every night (including Christmas) in the basement of the infamous Saucer House. After a decade of obscurity, the band was finally swallowed up by a black hole of drugs, crime, supernatural rituals, and suicide. After 40 years, Simply Saucer have slowly found their way back to earth. 

Part oral history and part zine-style chronicle, Heavy Metalloid Music includes interviews with current and former members of Simply Saucer, plus their musical contemporaries, writers, fans, label heads, and others sucked into the Saucer’s tractor beam. Alongside a collection of rarely seen photos and other vintage materials, it also shares the story of Thee Gnostics, The Battleship, Ethel, and Zacht Automaat. These Hamilton psychedelic survivors have carried on the spirit of Simply Saucer, proving there has always been something in Steeltown causing expanding heads to create their own fantasies. 

Jesse Locke has become Simply Saucer’s official biographer and contributed the liner notes to Saucerland, a new collection of Simply Saucer archival recordings released on Logan Hardware/Galactic Zoo Archive. 

“The idea of a group of record collectors creating their own version of the Velvet Underground, Hawkwind, and Soft Machine in complete isolation and with limited means (in the early 1970s no less!) is completely awe-inspiring,” says Locke. “Of course their versions turned out way weirder than their heroes, with dystopian lyrical themes of cyborgs, Nazis, and comic book super-villains.” 

Simply Saucer’s sole studio recordings of this era took place in the basement bunker of brothers Bob and Daniel Lanois, who would famously go on to work with the likes of Brian Eno, U2, and other musical bigwigs. The sessions were a raw, off-the-floor shamble, with several songs captured in a single take. The lyrics, influenced by sci-fi, comic books, and first-hand experiences with crime-infested street life, were written in a Beat-style stream of consciousness. 

“After getting to know the band members throughout hours of interviews, I also discovered that they’re a lot like me and my friends,” says Locke. “Their story should be relatable to anyone in a hometown band that never made it big, but it’s also completely unique.” 

(Photo credit: Julia Dickens) 

Jesse Locke is the editor of music and culture website AUX. He is a founding contributor and former music editor of the award-winning online publication Weird Canada. He currently plays in Century Palm. Jesse has written about Simply Saucer for releases from the record labels In The Red, Logan Hardware/Galactic Zoo Archive, and Mammoth Cave Recording Co. This is his first book. 

Jesse Locke is available for interviews. Please contact Adam Kesek to arrange an interview. 


Thanks for stocking our record, Dusty Groove outta Chicago.Dig It! 

Simply Saucer 


LP (Item 795103) Logan Hardware/Galactic Archive, — Condition: New Copy 
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Noisy rock with a cosmic reach from Simply Saucer – a great Ontario band with roots in the mid 70s era in which the best underground rock often bridged late 60s and early 70s art rock to wilder sounds of the punk and post-punk eras to come – and they that and more! To call Saucerland a collection of rarities from that creatively fertile period in the band's history would be ...well, accurate, but even their most famous material isn't the easiest stuff to find! Truly great stuff, culled from band's archives, mostly from the mid-to-late 70s. Proto-punk with a love of Hawkwind – which pretty easy for us to love! Includes "Rock And Roll The Brain Cells", "I Take It", "Baby Nova", "Ring-A-Ling-Oh-My", "Nice Noise", "Clearly Invisible", "Brain Shock", "I Don't Care", "Takin You Down", "(More) Illegal Bodies", "Teemage Dream", "Bullet Proof Nothing", "Almost Ready Betty", "Limitless Love" and "The Story Of Simply Saucer".  © 1996-2016, Dusty Groove, Inc.

Cyborgs Revisited to be reissued! 

Simply Saucer's garage punk classic, Cyborgs Revisited, is set to be reissued as an expanded double vinyl LP on In the Red records.In the Red Records is an independent record label in Los Angeles, CA formed in 1991 by Larry Hardy. It is known for hosting garage punk related bands on its label.

Logan Hardware Records release new Simply Saucer double LP Saucerland 

Chicago record label, Logan Hardware Records have released a new collection of Simply Saucer archival recordings on a double LP called Sauceland.
With liner notes by the band's biographer Jesse Locke and invdividual song commentary by longtime bassist, Kevin Christoff this beautifully designed package (by Chicagoan artist, writer, musician Steve Krakow) features many previously unreleased vintage live tracks from the 1970's.
Patches of Blue: CD
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Patches of Blue: CD

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The 3rd solo recording from Simply Saucer songwriter, Edgar Breau on Flying INN Recordings. Featuring members of the band joined by Bill Dillon (Joni Mitchell, Bob Dylan) and Brian Griffith (Dan Lanois, Willie Nelson) along with a wide assortment of instrumentation with Breau on the acoustic guitar.

Simply Saucer T-Shirt

Simply Saucer T-Shirt


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Stunning Simply Saucer tshirt designed by Claudia Bell!

Simply Saucer T-Shirt

Simply Saucer T-Shirt


In cart Not available Out of stock

Stunning Simply Saucer tshirt designed by Claudia Bell!

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