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on November 6, 2000
That this album was even finished was a miracle. Recorded while the band was undergoing one of their periodic personnal changes, MASS IN F MINOR captures a minor band at the last desperate moments of their 15 minutes of fame. In fact, two distinct bands played on this album. While guitarist Mark Tulin, vocalist James Lowe and drummer Quint performed on all cuts, it was the first three tracks, (Kyrie Eleison, Gloria, and Credo) that featured the Electric Prunes of "I Had Too Much To Dream (Last Night)" fame while the remaining 3 tracks (Sanctus, Benedictus, Agnus Dei) were mainly recorded by a Canadian band named The Collectors. The difference is obvious to anyone who listens. The former featured ear-splintering solos by guitarist Ken Williams on all three cuts and were generally some of the finest acid rock ever recorded. The latter was more keyboard based, utilizing electric piano and some primative synthesizer. Which is not to say it was wimpy by any means. One could say the Kyrie-Gloria-Credo triumverate represented the feedback-drenched style of psychedelia which was rapidly losing favor (which may explain why this album was not available in the US for almost 3 decades) while the Sanctus-Benedictus-Agnus triad represented the newer "progressive" arm of psychedelia (kinda like Yes and Moody Blues before they took themselves seriously). No serious study of 60's psychedelic music is complete without this album. Highly recommended
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on January 7, 2004
The Mass in F minor is the best Electric Prunes album. Although, the majority of listeners usually consider their other music to be better I find that the complete opposite. I do think there are many traks on the other pieces that are very good and I even own all of their other cd's, but I find that best listening comes from this piece. I don't the Mass to be cheesy per se and I dont think there is such a thing as "outdated" music. I listen to every music type, I'm a musician, and, depending on what I'm listening to, I can always connect in some way or another to a good piece of music made and performed by other gifted musicians. Pick it up if you haven't and enjoy their stuff or just the genre in general.
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on June 1, 2004
i bought this l.p. when it came out. i dug the prunes and i also liked a song on the radio, Gloria. on the back of this disc was the title "gloria" and off to the register i went with my $2.50. I was surprised and initially a little miffed that this "Gloria" was not like Van Morrison and Them but while listening i realized i had come across a masterpiece of psychedelia. some things loom so large in the universe that things have to move over to make room for them. this was one of those things. a guest list filled with all the current "alterna" rockers don't hold a candle to this. they lack the weight, the gravity, and the reality to create any thing like this. it doesn't get any more alternative. it's an original and noone else has attempted to pull it off like this and to my thinking, noone could. a frozen moment in time.
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on July 12, 2004
I bought this years ago and just recently bought the CD to replace worn out record. Who cares if it is not really the Electric Prunes, they wish they had done something this good.
As I have gotten older and more religious this album has become even more enjoyable. Greatest album ever, not likely. For those of us who remember the Gregorian chants of our youth and the changes of the 60's, this album has some meaning and, yes, even some spirituality.
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on January 17, 2005
According to several sources (including the band themselves, by way of interviews posted on a couple of Websites dedicated to them), David Axelrod--who composed "Mass in F Minor" as an experiment in transposing elements of the Catholic mass to psychedlic-era rock and pop; and, who was said to have had help enough (mostly from the band's producer, Dave Hassenger, and manager, Lenny Poncher) in jamming it down the band's throat--didn't entirely replace the original Electric Prunes for the album. The band's drummer and lead guitarist, Quint and Mark Tulin (responsible for the band's trademark feedback effects and co-writer of their original material, whenever they were allowed to record any), played on all six original tracks. Lead singer James Lowe did all the lead singing. The full original quintet played on the first three tracks, "Kyrie Eleison" (yes, the one Peter Fonda couldn't resist using for the soundtrack to "Easy Rider"), "Gloria," and "Credo" (originally, side one of the set); for the remaining selections, the three remaining Prunes were augmented by a Canadian group, the Collectors, later known somewhat better as Chilliwack; and, by guitar-friendly engineer Richie Podolor (perhaps remembered best for work with Steppenwolf) adding some guitar work.

Given their ambivalence about the project to begin with, the original Prunes acquit themselves well enough on those first three cuts, the best of which--"Gloria"--leaves the impression of a cleaned-up version of the original Big Brother and the Holding Company taking catechism classes on the sneak. Otherwise, Axelrod's attempt to yank the traditional music extants tied to Catholicism into a psychedelic brew seem awkward when thrust into very reluctant hand (well, the remaining hands), given the Prunes' apparent tiring of being guinea pigs for someone else's ideas and oversight.

(The Prunes actually gave a "Mass in F Minor" concert--the original band got hit with that assignment fresh off a tour and was allowed no time to rehearse properly, not a terribly bright idea considering the full band knew three of the numbers at best. The concert was an apparent disaster and the original Prunes began to dissipate, with Hassenger and Poncher apparently bringing in anyone they pleased to be the Prunes and milk the name--which still had some cred thanks to their original hit singles, "I Had Too Much To Dream" and "Get Me To The World On Time." By the time the Electric Prunes, what passed for them, actually did break up, none of the original members had been there for over a year or two.)

As a concept, "Mass in F Minor" wasn't a terrible idea; there was nothing exactly wrong with trying to adapt portions of the Catholic mass to the era's rock and pop styles (this would be done pretty liberally in the years to come), and in toto you could do worse than what the actual or alleged Electric Prunes were forced to do with "Mass in F Minor." (Come to think of it, British heavies Spooky Tooth, at around the same time or within a year, with "Ceremony"--in fairness, they signed on to be the backing group for its creator, electronics experimenter Pierre Henry; they didn't necessarily expect it to be issued as a Spooky Tooth album--actually did do worse. ) But "Mass in F Minor" (and its Electric Prunes-in-name-only followup, "Release of an Oath/The Kol Nidre"; Axelrod at least was willing to give Judaism an equal opportunity for limpen deconstruction) has the sad enough legacy--in terms of both its inconsistent music and the burden of its having been forced upon a band, or what was left of it, which did not love it--of being a major part of why it is that critics and fans since have insisted that few of the original psychedelic bands deserve better than the Electric Prunes do.
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on March 7, 2005
as a foremost authority on music particularly from the sixties, I rate this as one of the top 5 albums EVER recorded, though archaicly finished. I don't understand why Axelrod fired the Prunes, one of the single Premier bands during the absolute heighth of music. They don't even name or give credits on the issue I have. If I didn't have LOST DREAMS I would have no idea who played on this, and I'm still not sure. I imagine Ken Williams played guitar on the first three tracks. From the first time I heard this album I was totally blown away. The arrangements, drums, guitar, and other instrumentation are out of this world and set their own standard. I was shocked to see how low its ratings were. As a guitar player, these were some of the best and most difficult licks I ever learned. Salute to who ever was involved in bringing this conception together, disparate though it was. A mass in f minor concert would floor many people.
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on May 9, 2003
easily one of the finest albums ever made. insane, mystical and utterly sincere- that's the kicker! the soundtrack for a meeting with god (in a very strange state of mind). the guitar will tear you to shreds- spiritually. the purest of psychedelia. i can't stress this enough, this album is so good that it is physically painful. play it loud!
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on November 25, 2011
This Album To Me, Is Better Than Jesus Christ Superstar. IMHO It Is A Work Of Art Much as Was The Early Roman Catholic Church Music Was. And As a New Catholic I So Love This Album It Is Soo Pure And Clean. And Till I saw It On Amazon I Thought It Was Out Of Print Does Anyone Know If When This Record Came Out Did The Band Tour. ? I saw Them Tour The First Album and They Were Great. The Sound On This Record Is soo Full and Clean The Organ Sounds Like I am In Church It Has Been Quite a While That I Have Been So Moved By A Record. And I Have so Many Records That It Is On My Top Ten Of all Time,If You are A EP Fan And Are A Catholic And Love Rock. Buy This Its Worth The Money. Thank You Electric Prunes And Amazon
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on November 30, 2014
This is an interesting album, primarily because most of it is performed by The Collectors, who were a much better band than the Electric Prunes. I presume they were hired based on the their self-titled album ‘The Collectors’ which contains their 20-minute psychedelic opus, ‘What Love (Suite)’ Considered one of Canada’s best-ever bands, they were also known for being unceremoniously booted from a Doors tour since they kept blowing the headliners off the stage. When singer Howie Vickers quit, they became even better known as a more commercial (and less adventurous) rock outfit known as ‘Chilliwack’. If this sounds more like a Collectors review that’s because Mass in F Minor is basically a Collector’s album with some help from a couple of the guys in the Prunes. Weirdness like this happened quite often back in the 60s. I like the Prunes, but without The Collectors this album wouldn’t exist.
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on March 31, 2007
I remember this band way back from the "Eazy Rider" soundtrack. I always liked thier version of Kyrie Eleison. This is a true psychedelic album, with it's fuzz guitars and free style jams. I would describe this as one of those Love it or Hate it albums. I think it is pretty good in the sense that it is the only album of it's kind. If you are a serious music collector, that collects albums for their musical significance as much as the quality of the music, this is a great addition. If you are looking to add some psychedelic music to your collection, this is not the best place to start. This is not really a 'Religious' album in the true sense, and if thats what you are looking for, you won't like this very much. All in all I like this album, it has a sense of weirdness that I find interesting.
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