aotw/3

AOTW 3 (What is Time Edition)

Mother Earth’s Plantasia

Hello there again. There has been quite a bit that has transpired that has precluded me from releasing AOTW3 on time it’s been dizzying, but to that degree, I apologize. Between starting classes again, personal issues, writer’s block and trying to make too much, as well as getting COVID again (let’s goooo), everything seemed to try and force me into surrender. However, I simply decided to stand on business and say NO. I got my ass in this chair and got words onto text and decided I would get one piece out. I have been working on longer pieces for other albums that will come out soon, but they have, much like After Fillmore County, spiraled well out of depth and need to be culled and reined in. I digress.

As you may have noticed, the AOTW homepage has been changed to AOTWhatever. While it is funny, it will note the fact that I realized doing this on a weekly basis is some insane work that I didn’t realize prior to the creation of this series. So as of right now, I will tentatively promise at least 3/4 pieces a month while striving for more than that. I will also supplant this by making a page somewhere within the site that will serve as a place for short-hand smaller reviews that I can do possibly more frequently than these AOTW pieces which are a lot more involved. Thanks for the patience with me, folks. Onto the show.

Today’s piece that I decided was doable in a one-day affair: Mort Garson’s Mother Earth’s Plantasia. One of the first ever records to be composed exclusively with a Moog synthesizer, Mother Earth’s Plantasia was the picture definition of an album that no one should have ever heard of, and yet, it persists. It persists and as well has become a cult classic for electronica enjoyers everywhere. The album itself was originally distributed as a gift for shoppers at the Mother Earth garden store in Los Angeles, as well as Sears in the local area in 1976. So for a while, not too many people had actually heard the record itself until it gained a more widespread appeal with the advent of the internet and its music subculture. The inspiration for the record is derived from Mort Garson’s wife and her love for plants. She loved to grow plants and he decided he would make music that plants could listen to. An interesting goal, but it was one he truly stood behind, as denoted by the quote on the cover:

Getting right into Plantasia, the titular track immediately hits the listener with the “boop and bip” video-game sounding Moog synth, as it cascades and welcomes you into the sound of Mother Earth’s Plantasia. Garson goes out of his way to immediately pull all the stops and show you just what he is capable of with his Moog and it shows in spades on this song. The theme of the song almost feels like the introduction to an adventure, signaling what’s to come.

Following that, we are presented with Symphony For A Spider Plant: a track that kind of gives me the vibe of a protagonist/hero trekking through a forest. Garson absolutely nails the space/unknown feeling like a master. Song would not feel out of place on a 16-bit title at all. The dragging Moog atop the angelic pad during the mid-section comes together for a really captivating piece. End kind of reminds me of a game of Galaga lol.

Leaving that feeling of Galaga, Baby’s Tears Blues comes next. A transition into blues is a funny twist, but it’s done exceptionally well. Mort tends to lean on the pad a lot but not in a bad way, as it adds depth to the production. Kind of gives a vibe of tiptoeing in a dark alley in a kitschy noir crime drama kind of way lol.

Switching gears, we are met with Ode to an African Violet. This piece feels to me sort of like the “the warrior’s gauntlet” kind of situation, like how rocky was training and getting ready for the final bout. The bassline kind of underscores this, as it almost has a voice of its own in a way, setting the tone and pace of the song. Maybe even sort of a jungle vibe? (Would be kind of wild considering the plant in question is an African violet lol)

Concerto for Philodendron & Pothos follows right on its heels, deviating a little from Ode. The title is rather apt, as it feels almost like a small symphony with the way that the synth shots cascade across the soundscape, as well as the Moog acting as almost a vocal replacement as it meanders through the listen. The combination of the pad, synth shots, and Moog come together for a really pleasant and ends honestly a little too soon for my liking.

Next, we are treated to Rhapsody in Green. I don’t know why, but I kind of saw this as a parody on Kind of Blue by Miles Davis (ADD brain), but it is a lot more downbeat and slower, while still incorporating the twinkling synth notes and Moog lead that has scored the album thus far. Gives a somewhat introspective tone to the track, which is a little bit of a departure from the mostly whimsical and adventurous preceding 5 tracks.

Mort decides immediately after that reflection to swerve right into left field with Swingin’ Spathyphyllums. In a complete tonal shift, Garson has turned the boat around and brought us right into a driving, swingin’ track that would honestly feel right at home on the OST of an OutRun title (See: OutRun 2006 Coast2Coast’s soundtrack). It’s snappy, it’s driving, and to put it bluntly: it’s fun. A refreshing 180 after the more deep and introspective sounding Rhapsody in Green.

And we have now reached the most whimsical song on the tracklist: You Don’t Have To Walk A Begonia. You may not have to walk a begonia, but man does the track basically just sound like the Moog and Pad are just kinda walking hand in hand down the song. Like, it is nearly at a prancing pace throughout the production, and its bouncing nature just make it more endearing and playful for the whole duration.

A Mellow Mood for Maidenhair follows that one. It almost feels like a prelude to a fight, or a standoff. I think that might be due to the twangy nature of the Moog in this track, giving almost a western feeling for a little but as it gives way to the more wobbly synth. Otherwise rather much of the norm with the record, not a whole lot I had to note about it other than it having the same quality we have come to expect thus far.

The concluding track, Music to Soothe the Savage Snake Plant, almost decides to go full “space odyssey” and bring out every tool in the Garson toolbox with the differing textures to his usage of the Moog. It is a very well orchestrated track, with Mort again flexing his supernatural skill with the Moog with the technique on display here. This track very much nicely ties up the album with the gentle arpeggiating synth and twinkling pad as it gently holds your hand as the song fades out.

Overall, Mort Garson created a record that, despite every factor that stood in its way and almost guided it to complete obscurity, was able to stand out and become the cult classic that it is known for today. I know it is most definitely something you have not heard before, but I can assure you it is something you won’t forget. 4/5.

I understand this piece might feel a little more half-baked and amateurish than the previous AOTW, but that’s because it is. This was nearly a front-to-back live reading of the album that I cranked out within an hour or so, because I felt like if I am to continue this project, I should at least be able to crank out three in a month, and this one was right on the wire. I promise that the next piece on one of the two albums I’m writing about should be much more flush with details. Hopefully you all think the same.

Thanks for your time.

-Diego

“Warm earth music for plants…and the people that love them.”