RARE PRIVATE RURAL PSYCH FOLK Hallam Street Band LP '71

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HALLAM STREET BAND: "HOME" (no label/ PRIVATE EDITION, ORIGINAL 1971-72, w/ lyric insert). MEGA RARE DREAMY XIAN PSYCH FOLK/ROCK (nice mellow electric guitar!), from Aspen, Colorado. Great comments on POPSIKE.COM and in KEN SCOTT'S ARCHIVIST!!! (Members connected to Mennonite Voluntary Service). "Looking fairly hippie-esque in their snowy Aspen, Colorado outdoor setting are the Mennonite male/female six-piece known as Hallam Street Band. They’re in top form when the electric guitar leads and organ bring a welcome underground vibe to their fine rural heartland folkrock-to-rock sound, especially on the standout track ‘Recovering The Dream (Children Of Menno)’..."- KEN SCOTT.

AN OBSCURE AND SUBTLE ACID FOLKROCK MINOR "CULT" MASTERPIECE.

Side 1: Spirit of the Lord Come Down / In the Morning / Home / Poster Love / From the Village / Recovering the Dream (Children of Menno) / Pentecost.

Side 2: Unity / New Day / Spirit of the Lord Come Down / As I Walk / Stand in the Light.

Cover: NM (IN SCHRINK)!!!,Vinyl: EX+ Near MINT!!!

Martin's "fooling around" with pop music began to be applied to songwriting in earnest when the famous Mennonite hymnologist and music professor Mary Oyer, at Goshen College, gave him a songwriting assignment. He wrote song lyrics, then wrote a melody and chorded at the piano to complete the song; Martin described this process for me: "finding a feel on the piano (it had that gospel 'thing') and then letting the words come out gradually." This song was later recorded by the Hallam Street Band as "Pentecost."
Later, Mary Oyer asked him to write a song for the Festival of the Holy Spirit. This Festival took place three times, in 1972-1974, at Goshen College, when things were "torn apart, fragmented in some way," in the church, as Martin remembered it. The charismatic movement and the concomitant use of popular music in churches inspired the Festival, in which the Mennonite church tried to accommodate some aspects of this worship so as to hold the church together; "the church was having to loosen up, [because] people were having experiences that didn't fit in the old way of doing things." Oyer asked Martin to write a song which addressed the theme of unity; Martin responded with the song "Unity." This song was among the most-used popular songs in Mennonite churches in the 1980s, and it continues to be frequently sung in many Mennonite churches today.
After college, Martin and several of his college friends decided they wanted to volunteer with Mennonite Voluntary Service (also known as MVS or VS), but not in the usual way of working with a social-services or non-profit group. They wanted to start a VS unit whose work was music. For one year in Aspen, Colorado, they organized a VS unit which was a band, called the Hallam Street Band. Other members included Jim Yoder and Randy Noe. During this year, Martin spent a good deal of time writing songs with and for the band. Martin worked hard to "unlearn" the classical vocal "stiffness" he'd acquired in college; he very wryly described for me intentional processes he used to lend some roughness to his voice, including such tried-and-true methods as smoking cigarettes, drinking whiskey, and more experimental methods such as eating a good deal of peanut butter right before a recording session. The band played locally and toured in Mennonite church coffee houses, larger Mennonite events such as the Mennonite youth convention, and also in some non-Mennonite venues such as a bar in Aspen.

While the band considered themselves to be part of the "radical Mennonite movement," affected by hippies and political radicalism, the main focus of the band was writing and singing songs that asked: "what does it mean to be a follower of Jesus?" In other words, this band could be situated well within the networks of the Mennonite church in the 1970s.

Martin then moved to Indiana and worked as a teacher there. Teaching was difficult for Martin: "It was hard for me to live without the creative outlet... being a schoolteacher was good, but it was so different, I didn't have a really good chance to write songs." At the end of this teaching year, he called his friends from the VS unit in Colorado, and they invited him to come back to Colorado and join their new band, Tanglefoot.

Martin described the difference between the Hallam Street Band and Tanglefoot not as a conscious move away from a singular focus on Christian reflection in songwriting, but rather a broadening, a move towards simply writing good songs about whatever they liked, enjoying life, and becoming a successful band. This "open[ed] up the ceiling," as Martin described it, for his work as a songwriter. Again, the band lived together in a band house in Aspen. "Everyone was a songwriter," recalls Martin, in this "hothouse" environment. Nearly everything that was written by a band member was eventually performed by the band. The band's main performance networks were popular-music venues, such as clubs and bars, rather than Mennonite venues. However, one of the most meaningful memories for Martin from this time is of a song which he co-wrote with Ellen Stapenhorst, called "One More Home," which required a cello part as accompaniment. In 1979, Tanglefoot played at Goshen College, and Martin and the band wrote out this cello part for Mary Oyer, rehearsed with Oyer and then performed together for the Goshen College community. Martin describes this as "a wonderful kind of homecoming for those of us that had gone there [to Goshen College]."

VERY OBSCURE CULT BAND!!! POKORA, WAKE UP...!