THE CEYLEIB PEOPLE: 'Tanyet' - 1968 Vocalion DEMO

	£		217
	$		287

TANYET
 by Lybuk Hyd
THE CEYLEIB PEOPLE
Lybuk Hyd (guitar, sitar) Michael Sean Deasy (vocal, drum) Joseph Osborn (bass)
Larry Knechtel (bass, keyboards) aided by
Jim Gordon (drum) Ben Benay (sitar) Mike Deasey (sitar, guitar, tamboura)
Mike Melvoin (keyboards) Jim Horn (woodwinds) Ry Cooder - spelt Cooter on the sleeve - (guitar).
Please also see album reviews below for more information about this recording.


Original stereo Factory/Demonstration sample (test pressing) of the 1968 Vocalion recording.


Label:         Vocalion
Cat. no.       SAV-L 8072
Matrix nos.   ZMGT-2145-1L
                  ZMGT-2146-1L
Format:        Stereo
Released:   1968


Aton l                                                                                               
LEYSHEM                                          
ZENDAN
CYYLADD BEYTA
BECAL
DDOM
TOADDA BB

Aton ll
DYL
RALIN
TYGSTL
PENDYL
JACAYL
MENYATT DYL COM

Recorded by VAULT Records, Los Angeles
Produced by Mike Deasy for Wednesday Child Productions
Recording engineer: Joe Osborn
Cover painting by Ida and Rick Griffin


Reviews:

Tanyet
the Ceyleib People Indo-Prog/Raga Rock

Review by ClemofNazareth
Special Collaborator Prog Folk Researcher

4 stars

This is an early and rather interesting project featuring a young Ry Cooder, Larry Knechtel, and Jim Gordon who would become Derek & the Dominos drummer, among others. Long-time Beach Boys collaborator Mike Deasy appears on sitar under the pseudonym Lybuk Hyd (as well as under his own name), and also Mike Melvoin who has appeared on album credits all over the place but covered his pension by arranging all those Partridge Family albums in the seventies.

This is supposed to be a raga album but really that only applies for the most part because of the sitars being played. The guitar tuning doesn’t sound like the modal or open tuning you’d expect in raga music, but rather is decidedly blues-based for the most part. The arrangements also have lots of western characteristics. This is to be expected because we’re talking about Ry Cooder here, but I thought this was worth pointing out.

There’s also a lot of contemporary psych influence in the arrangements, not surprising considering this was recorded in the latter sixties. The arrangements are disjointed at times, and the abruptness of some of the tempo and thematic shifts would catch most people who didn’t grow up on acid-laced music off- guard a little.

There’s almost no singing on the album which is okay with me because these are all consummate musicians in the throws of perfecting their various skills and the energy that went into these sessions is apparent even when listening to the tracks more than forty years later.

The album for the most part consists of four “ragas” that as near as I can tell are all nature (sun)-based in theme, each with multiple sub-sections that are either variations on a theme, derivatives, or simply musical equivalents of wandering off the path for a stretch. A serious musician will find plenty to analyze here, but for amateur fans like me this is simply a fun record to play once and a while for a somewhat dated breath of fresh air. Music like this isn’t made much these days.

Most people have heard the late sixties Indian-influenced records of the pop masters from the such the Beach Boys, Beatles, Manfred Mann and the like. If you want to hear how some of the more successful independent musicians incorporated those raga sounds into their own art, this is an excellent primer. Four stars for the originality, creativity and all-star cast.

peace



The Ceyleib People
From: Los Angeles, CA, USA    

This short-lived L.A. studio band was the brainchild of successful session musician/producer Mike Deasy (guitar, sitar) and prior Captain Beefheart And His Magic Band member Ry Cooder (slide guitar). They successfully blended Indian and Western instrumentation and music, creating a truly awesome late 60s psychedelic sound. Other members included Mike Deasy's 6-year old son Michael "Sean" Deasy (drum, vocals), Joe Osborne (bass, engineer), Larry Knechtel (bass, keyboards), Jim Gordon (drums), Ben Benay (sitar), Mike Melvion (keyboards) and Jim Horn (woodwinds). "Lybuk Hyd", who was also credited on the album, was actually an alias for Mike Deasy himself.

The ensemble released one LP ('Tanyet') in late 1967 and a supporting single ('Changes (Tygstl)' b/w 'Ceyladd Beyta') in early 1968. Prior to this project, Mike Deasy had already been a very successful session guitarist for the likes of the Beach Boys, Monkees and Association. He was also a member of the Wrecking Crew and had been the creative force behind both the Flower Pot and Friar Tuck & His Psychedelic Guitar.

After the ensemble broke up, Osborne became a member of the Dillards and then a session musician for Simon & Garfunkel; Knetchel became a member of Bread and a session musician for Dave Mason, Lee Michaels, Art Garfunkel and Neil Dimond among others; and Ry Cooder of course went on to become a very successful session musician and solo artist. Mike Deasy also continued his success as a session guitarist and ongoing member of the Wrecking Crew.


                                                        
Condition:
Vinyl:   *Excellent. Clear, bright vinyl, with excellent sound.
Sleeve: *Excellent. Clean half-laminated sleeve, no marks or writing.
             Lamination has lifted very slightly in a vertical line near left-hand edge (see photograph).
Labels: *Excellent. Blank sample labels with hand-written details.
*Please see description categories listed below.


Postage & packing costs:
UK                            Royal Mail 1st Class     Free
Europe                     Airmail                           £3.50
Rest of the World     Airmail                           £6.50

Postage: discounts are available on multiple purchases.
I always get proof of postage from the Post Office, but I cannot accept responsibility for lost or damaged goods
sent uninsured.  If you would prefer to pay for more valuable items to be insured, please let me know.

Packaging:
To lessen the possibility of any damage in transit, the disc will be supplied separately in the poly-bag from the sleeve and
be dispatched in a cruciform pack with 2 stiffeners.

Payment:
Cheque, postal order or Paypal for UK buyers. Paypal only for Overseas buyers please.

Returns:
I am sure you will be satisfied with your purchase, but should there be any issues with incorrect listing or quality,
please contact me via e-mail before leaving negative feedback. If you still feel the description to be misleading, I will be happy to organise a refund.


*The description for this item is based on the standards originated by Record Collector Magazine for the condition and quality of second-hand records
 offered for sale. The categories and their descriptions are listed below:

MINT:
The record itself is in brand new condition with no surface marks or deterioration in sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition.
Records advertised as Sealed or Unplayed should be Mint.

EXCELLENT:
The record shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and/or creasing.

VERY GOOD:
The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch.
Normal wear and tear on the cover or extra items, without any major defects, is acceptable.

GOOD:
The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches.
The cover and contents suffer from folding, scuffing of edges, spine splits, discoloration, etc.

FAIR:
The record is still just playable but has not been cared for properly and displays considerable surface noise; it may even jump.
The cover and contents will be torn, stained and/or defaced.

POOR:
The record will not play properly due to scratches, bad surface noise, etc. The cover and contents will be badly damaged or partly missing.

BAD:
The record is unplayable or might even be broken, and is only of use as a collection-filler.