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NEWS: Book Anthology Features Chapter on Lost Ahbez Music

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It’s been a little dry for news around here lately…

So I am happy to announce a new booktitled Bohemian Highways: Art & Culture Abide Then Divide Along the California Coast (Guardian Stewardship Editions)which features a 20-page chapter penned yours truly (Brian Chidester) on Eden Ahbez’s lost sheet music.

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The book will be available through online retailers in June. Last week, however, a few of the writers included in the collection spoke at the California Preservation Conference in San Diego, where pre-press copies were debuted.

As for my chapter…

What it entails is a complete look at all of the unrecorded lead-sheets that Ahbez copyrighted between 1946-68.

I was granted special permission by the Library of Congress in Washington D.C. to view the records and make notes on the physical lead-sheets themselves, which I have meticulously documented and interpreted in this chapter.

You know “Nature Boy” and the Eden’s Island album. Now hear the rest of Ahbez’s musical story.

A link to buy the book will be posted when it’s up.



UPDATE: Another Ahbez-Penned 45 Recently Discovered

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At this point, it is difficult to say when the well will run dry. Every month, it seems, I come across another Eden Ahbez record, lead-sheet, or reel-to-reel tape that nearly slipped through the cracks of time.

“Song of the Stranger,” by Kuldip Singh, is the latest though doubtful the last.

The newly-discovered Ahbez single.

The newly-discovered Ahbez single.

It was released as the A-side to a single on Valor Records that came out October 20, 1958.

Ahbez had co-written “Song of the Stranger” with a pair of songwritersPaul Byrne and William Allordand sent the lead-sheet in to the Library of Congress for a copyright sometime in 1958. (It was stamped on September 12th that year.)

The single itself features one Kuldip Singh as the lead artist/singer. Orchestration is “conducted by Jerry Wiggins.” That’s how it is written on the single itself.

There was, however, an ad in Billboard magazine at the time that labels the conductor as “Gerald Wiggins,” a name better known to jazz aficionados for his piano and organ work, both as a sideman (with Teddy Edwards, Louis Armstrong, Benny Carter) and as a solo artist.

A promotional ad from

A promotional ad from “Billboard” magazine for “Song of the Stranger,” dated October 20, 1958.

Gerald Wiggins’ Wiggin’ with the Wig (Dig Records), in fact, is one of the most-coveted beatnik exploitation albums of the period. He also backed two of Ahbez’s previous collaborators: Nat “King” Cole and Eartha Kitt.

I have not been able to find further copyrights for either Paul Byrne or William Allord (also spelled “Allard” on the sheet music). Their relationship to Ahbez and the music business in Hollywood remains a mystery at this point.

California jazzman, Gerald Wiggins.

California jazzman, Gerald Wiggins.

But the big question is: who was Kuldip Singh? And how did he come to sing Eden Ahbez’s tune in 1958?

From what I can gather, Kuldip Rae Singh launched his entertainment career in 1956 after appearing on Groucho Marx’s TV quiz show You Bet Your Life. And, while clearly outmaneuvered by Marx in the wit category, Singh shows promise for his looks, singing, and, well, audacity.

At one point, the young man tells the venerated Groucho of his escape from an arranged marriage in Kashmir and his affections for Indian, Spanish, and American women. The bashful contestant standing next to Singh (a young Cali girl) just blushes.

Groucho eventually sets Singh loose to croon a version of the Guys and Dolls number “A Woman in Love,” which makes his co-contestant blush even more.

“It turns out that Singh was a lousy quiz show contestant,” wrote Manan Desai in an article posted to the South Asian American Digital Archive. “But none of that seemed to matter, since he had seized the opportunity to make his singing debut for a national audience.”

Following the show, Singh was reportedly flooded by fan letters and offered multiple deals to appear again on television, in films, and to record with major labels such as RCA-Victor. A profile on Singh appeared in Life magazine, much as it had with Eden Ahbez a decade prior, following the ascent of “Nature Boy” on national radio.

Singh’s first singles on RCA were done under the musical direction of Henri Rene, who had previously arranged Ahbez’s “Hey Jacque” for Eartha Kitt in 1954, cementing further connection between the new teen idol and the seasoned nature boy.

Kuldip joins the

Kuldip joins the “Ray Anthony Show.”

By the end of 1956, however, Singh was in the news again.

Just weeks out from his Grouch Marx performance, Singh faced imminent deportation, as the INS had discovered his U.S. visa was as a student, not a performer. (He’d apparently dropped out of UCLA Medical School without reporting it.)

Singh quickly departed for Mexico, where he took up residence until he could work out a U.S. visitor’s visa, whereafter, he toured the crooner circuit, hitting nightclubs in San Bernardino, Las Vegas, and Miami.

Eventually, Singh joined a short-lived variety program, The Ray Anthony Show, which also had a touring show that featured, among other talents, Annita Ray. Both Annita Ray and Ray Anthony, in fact, recorded Eden Ahbez tunes in the 1950s too. (Ray recorded “Elvis Presley Blues” b/w “Frankie’s Song” in 1956 and Anthony recorded Ahbez’s “Palm Springs” in 1959.)

Kuldip Singh’s recording of “Song of the Stranger” came in the midst of all this. If it fell through the cracks, however, there may’ve been a logical reasoning.

For one, it is lyrically not one of Ahbez’s best tunes. Essentially, the Nature Boy that we encountered on the road in Ahbez’s classic tune of 1948 has been replaced here by a kind of Nature Man, who wanders around telling passers-by about his lost love. Gone are the “fools and kings” and the hopeful final stanza imploring love for one and all. In its place are a series of anti-teenage sentiments about separation and love’s cruel reality.

“Stranger”‘s message is made all the more incongruent by Gerald Wiggins’ boilerplate teenage production and Kuldip Singh’s earnest and dramatic vocals, done in the multi-octave style of hitmaker Jackie Wilson.

If this sounds like a recipe for a sleeper hit, or even a cult artifact of the era, it falls far short.

Kuldip’s earnestness on “Stranger” is over-the-top and very nearly unlistenable, whilst Wiggins’ employment of the marimba is too understated in the mix to really set the production apart from any other R&B ballad of its day. In the end, it’s not difficult to see why the record flopped. (I’ve yet to find another copy besides the promo one seen above.)

As for Singh, his American career stalled quickly too. By the early 1960s, the singer disappeared from the newspaper trail only to reappear in Spain, where he’d achieve better success.

Kuldip Singh: 1950s and 1960s versions.

Kuldip Singh: the 1950s and 1960s versions.

A series of 7” singles on the Hispavox label show Singh wearing a turban and recording under his first name only. He also replaces the crooner ballads with more textured work, including several singles that mix ’60s pop, bossa-nova, flamenco, and Indian influences.

What Singh may have most shared in common with Ahbez was an elusive background.

Early U.S. articles set his birthplace in Kashmir, which Singh himself often corroborated. Later interviews and articles, however, suggest he may have been born in Trinidad, or San Juan, Puerto Rico, or even Brooklyn, NY!!

A Singh recording of the James Bond Goldfinger theme, on a Spanish record label from the mid-’60s, came with a brief liner note that claimed, once more, his birthplace as Kashmir, Pakistan (India). For now, that is confirmation enough.

Whether or not Singh ever recorded again with Eden Ahbez, or if the two even met in person, remains unknown at this time too. Given Ahbez’s penchant for being present at sessions for his own compositions, I would bet he attended the recording date for “Stranger.” The two men also shared quite a few connections in the music business. Still, until there is hard evidence, we just don’t know.

Final note: Ahbez DID record another song about Singh’s homeland. Titled “India,” he recorded it under his own name in 1951. And, while “India” remains unreleased to this day, it may offer hope to those wishing the late nature boy had done something more Eastern and exotic in his collaboration with Singh.

“Song of the Stranger” lead-sheet.


NEWS: ‘Eden’s Island’ LP Reissued on Vinyl

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If you’ve bid recently at eBay on an original 1960 Del-Fi pressing of Eden’s Island, then you probably noticed its final price-tag hovering right around two-hundred bucks.

And if that’s too rich for your blood, then here’s some good news: Captain High Records just reissued it to 180 gram vinyl.

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One of the nice things about this pressing is that it is in the rarer stereo version, which pops up less on eBay and elsewhere, though I myself actually prefer the mono mix for sound, as the stereo is a bit wonky.

The Captain High LP also gives listeners a bonus track, “Surf Rider,” which was previously available only on the Eden’s Island CD reissue from the 1990s (and more recently, this).

Alas, Captain High isn’t the only company to reissue Eden’s Island in the past few years.

The Swiss label Moi J’Connais Records got in on the action in 2012, giving the album a totally different cover (see below). Why they changed the original, I can’t say. (It’s a bootleg, it seems.) But, with the Del-Fi version having sold less than 500 copies in 1960, and so few copies surviving today, these new reissues will hopefully keep Ahbez’s seminal solo album on the market for the foreseeable future.

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“Full Moon” Fever

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Following the recent use of Eden Ahbez’s “Full Moon” in the FX series Fargo, there has been a wave of interest in the song and the album it originally came from: Eden’s Island.

Of special interest for us here are the few new covers of “Full Moon” on YouTube.

The first I noticed was a straight poetry reading of the song, recited quietly and earnestly by a novelist named Jason Goldtrap. At times, he sounds a bit like poet Rod McKuen, whose soft, husky baritone had a soothing effect on spoken word albums from the 1960s and ’70s.

More recent is a version by an artist named Tommy Foley, who does a ukulele, guitar, and bass version (see below).

These instruments are shown being played on the right side of the video screen, whilst the left side shows Foley himself acting out the song’s lyrics, as filmed on the shores of Lake Michigan.

I suspect these are not the last covers. However, there was one earlier version.

The Wondermintssoundtrackers of the first Austin Powers movie and backing band for Brian Wilson since 1999did a version of “Full Moon” back in 1998, for a compilation album called Delphonic Sounds Today: Del-Fi Does Del-Fi. By far the most produced of the three cover versions, it begins with a chorus of the “Eden’s Island” title song, then goes into a rather quirky version of “Full Moon,” where the singer sounds slightly nerdy, almost as if he was attempting to lighten up on the heaviness of Ahbez’s original and have some fun with it.

I should also note that a few other covers from Eden’s Island have been recorded over the years. First was the title song, which fellow exotica pioneer Arthur Lyman recorded in 1963 for his Blowin’ in the Wind LP.

The second was done 41 years later when folk singer Victoria Williams recorded “Mongoose” for her Sings Some Old Folk Songs album of 2004. 013a


NEWS: Former Ahbez Dwelling Place in Venice Beach Recently Sold

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A cottage for sale…

http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-venice-craftsman-20141120-story.html

Actually, according to the Los Angeles Times, this small Venice compound sold in late 2014 for $2.56 million. The article also claims that Eden Ahbez once lived there.

Evidence for this claim is not forthcoming in the article and neither the current owners nor the author of the piece itself have replied to my inquiries.

Alas, according to fellow California Nature Boy Bob Wallacewhom I interviewed twice before he passed away in 2013the Nature Boy Trio used to played coffeehouses in Venice Beach during the 1950slikely the Venice West Cafe and the Gas House. (Ahbez later recorded a song titled “Tea House,” his ode to the Gas House and its owner, Eric Nord, of whom Ahbez commemorates in the song’s lyrics.)

Joe Romersa also told me that Ahbez asked him a number of times during the late ’80s/early ’90s if he could help the elderly nature boy find a place by the beach in Venice to live.

The house in question, however, remains a mystery. Anyone with further info, please contact me about it.

The backyard.

The backyard.


Happy Summer Solstice!

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Here’s hoping for a summer of love and thinking back on the original one in 1967…

Behold! A version of “Nature Boy” by Grace Slick, lead singer of that seminal San Francisco psychedelic act, Jefferson Airplane. This version is by her original band, Great Society.

Enjoy!


INTERVIEW: Re-Considering the Source (Gordon Kennedy Talks More About Eden Ahbez and the California Nature Boys)

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The last time I spoke to author Gordon Kennedy, his book Children of the Sun was out of print. To date, it remains the authoritative text on the California Nature Boys and the transference of alternative culture from Germany to the deserts and shores of California during the early 20th century.

Recently, Kennedy’s book was reissued. It is available here. I sat down with the author/researcher to continue what has so far been one of the most popular interviews at the Eden’s Island Blog.

Brian Chidester, 06/24/2015

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The Health Hut, an organic emporium owned by California Nature Boy Gypsys Boots, became the new hang out in L.A. in the late 1950s for alternative types. Eden Ahbez shows his appreciation here, playing for organic fruits in between royalty checks from ASCAP.

The Health Hut, an organic emporium owned by California Nature Boy Gypsy Boots, became the new hang out in L.A. in the late 1950s for alternative types. Eden Ahbez shows his appreciation here, playing for organic fruits in between royalty checks from ASCAP.

Brian Chidester: The last interview we did was in 2010. Update me on where your research has gone since that time, if you don’t mind?

Gordon Kennedy: Since 2010 I have been paying closer attention to many of the finer details of the discussions and conversations I had with the old folks I interviewed during the past 35 years, since nearly all of them are now deceased. I’m also hoping that their legacies and histories don’t become fictionalized and distorted by all of the new “authorities” out there in the social media.

BC: And by “old folks,” you mean the pre-hippies, like Eden Ahbez and Gypsy Boots, right? I know the internet can be frustrating for us researchers at times.

GK: Well, I’m looking much closer now at both European and American pre-history and realizing that indigenous people come in all colors, and most of us seem to have some biological requirement from our own heritage to connect with nature on a deeper spiritual level. But with the earth’s population going from 2 billion to 7 billion in just the past 55 years, it’s just not as easy as it used to be. It’s still easier to connect to nature than most of us think.

BC: In our last conversation we talked a lot about the conditions that would make a person drop out in the late 19th century, or first half of the 20th. Maybe this time we should talk about what life was actually like for the Nature Boys in Ahbez’s time.

GK: The desert canyons near Palm Springs were inhabited by the Cahuilla Indians for around 10,000 years and the caves in Tahquitz Canyon were still occupied by the indigenous people as late as 1880, which is remarkable.

BC: The late 19th century is when Europeans and Americans start inhabiting that region?

GK: Bill Pester arrived in 1906 in Palm Springs [ed. originally called Agua Caliente] when it was just a small village with a handful of settlers and Indians. There were horse and foot trails through all of these canyons and they all had ample flowing water coming off the snowy ridges of San Jacinto, over 10,000 feet above the desert.

BC: We should remind readers that William Pester was a German immigrant and one of the first documented pre-hippies to live in California. They were called naturmenschen in Germany.

GK: Right. Pester once wrote about how few flying insects there are on the desert side of this mountain and one could hardly find anything comparable in the coastal mountains of California or any tropical habitat overseas.

BC: Were there spiritual types that lived there prior to Pester?

GK: Chino Canyon… the Tram Canyon… was named after Pedro Chino, the last Cahuilla shaman who died in 1939. Indians from all over California came to his memorial and he was the last medicine man the tribe ever had, reputed to be quite old when he passed. In the wild grapevines to the south of the tram road lies the oasis that was formerly an Indian healing sanctuary in the mid-19th century and included some large cave where ceremonies were performed.

BC: Is it still there?

GK: The cave is now buried under either brush or rocks. Bill Pester lived in Chino Canyon during the summer months and he had a palm log cabin he erected near the natural hot pools there in the grapevines. The side canyon behind there has a few caves too and there’s a cave near Chino Creek which flows strong year-round. Pester’s time there was over 40 years before they built the Tram and the land there is checkerboarded either Agua Caliente Indian Reservation or private property. It’s a magnificent place and it takes about two hours to reach there walking from Palm Springs, but the old Indian trail is now unused because of the paved road.

William Pester and his cabin at Hermit's Bench, near Palm Canyon, c. 1925.

William Pester and his cabin at Hermit’s Bench, near Palm Canyon, c. 1918.

BC: This is all completely unknown to me… like a true lost history.

GK: In the 1970s this section of land was owned by Culver Nichols and I knew Culver and a few of his caretakers like Frank Mallat and Joshua Rainbow… but the Vines are now closed to the public.

BC: Is it true that Pester and/or the California Nature Boys lived for a while in nearby Palm Canyon?

GK: Well, first, Palm Canyon flows from Pinon Flat up near the Palms to Pines Highway, about fifteen miles down to the trading post on the Indian Reservation. It still has many beautiful pools, waterfalls, a few hot springs, and even some lovely water grottos with indoor waterfalls. Some of the largest stands of native Washingtonia palms in the world are found just above where Pester had a cabin. During drought years however Palm Canyon dries up in the summer and is not suitable for habitation for the hot portion of the year, which is why Pester spent his summers in Chino Canyon or elsewhere.

BC: Was Pester kind of lone wolf in the early years? Or when did others like him start showing up?

GK: During the period around 1918 Pester had a camp in Palm Canyon that included many bearded long-haired Nature Boys, some of whom were also German immigrants, and this upset the local authorities in Palm Springs, though the Indians never bothered him until later in the 1920s, when they were building the Trading Post.

BC: And I assume all of this was off-the-grid then, right? I mean, what were the conditions of these canyons like then?

GK: Well, Murray Canyon was another palm-lined stream with lovely pools and the famed Seven Sisters Waterfalls, which are like giant birdbaths in the middle of the desert. But of all the desert canyons, it was the first valley of Tahquitz that was most habitable and easiest to access from downtown Palm Springs, little more than a 40-minute walk. It’s also the most human-friendly one to live in, with eight caves named during the hippie period: Tree Cave, Rock of Ages, Eagles Nest, Grunge Cave, Slant Cave [ed. featured on Huell Howser], Sun Cave, Cliff Cave, and Recliner Cave. With beautiful weather, nice creeks with deep pools, giant boulders, indigenous lore, very few flying insects, and plenty of rock shelters, this was the best human feral habitat in the western USA. 

BC: What happened to Tahquitz after the Nature Boys departed?

GK: The first valley was pristine up until about 1967 or 1968. But after the Palm Springs Pop Festival, it became horribly trashed up and stayed that way until the Indians closed it then re-opened it to the public in 1998. The Riverside County Search and Rescue had names on their topo maps for all the hippie camps and they knew the residents by name. In the ’70s there was a foot path from Palm Springs to Idyllwild called “The Hippie Trail” by the Search and Rescue.

BC: What made it such an alluring place to begin with?

GK: You need very little in the way of clothes in Tahquitz and the urban foraging was fantastic. Carob, tangerines, dates, figs, grapefruit, prickly pear cactus… always easy to get in town. No place else in California could you find a set-up like that.

BC: Would you say the region was a hotbed for bohemians? Or were the Nature Boys a rarity?

GK: The Nature Boys were indeed a rarity, but the entire area, including Joshua Tree, has always attracted folks into unconventional thinking. The city of Palm Springs is far more expensive than many of the surrounding desert towns, but Palm Springs is also the only spot that has lots of water and caves that are perfectly suited for humans. Joshua Tree has very little flowing water, though it has always been home to artists and musicians who want affordable housing. 90% of the 38+ million people in California live within one hour of the ocean, so this is the “other” California where only 10% live.

BC: Have you actually been to the old spots where the Nature Boys might’ve hung out and slept outdoors at night?

GK: The actual spot where Pester’s cabin was located is called “Hermit’s Bench”; it’s on the USGS topo maps and is the confluence of Palm Canyon and west fork of Palm Canyon. If you follow the west fork upstream past Gooseberry Spring to the top of the ridge you will find the Pacific Crest Trail and Fobes Saddle. Drop down the other side and you are at the Fobes Ranch, former residence of Dr. Timothy Leary and the Brotherhood of Eternal Love, who lived there in 1968 and 1969. So Bill Pester’s palm log cabin was six miles from Timothy Leary’s tipi at Fobes ranch. There’s 50 years of history that linked the naturmenschen of Pester’s day to the Nature Boys of Ahbez’s time, to the hippies and the brotherhood.

BC: The numbers had boomed by then.

GK: And the brotherhood were responsible for attracting a lot of interest in that mountain. Many of the Los Angeles radio stations and underground newspapers were describing the desert canyons as some kind of a spiritual mecca when the Palm Springs Pop Festival was announced for Easter of 1969. It brought an estimated 25,000 people to the two shows and virtually shut the city down with the National Guard and police from three counties brought in to herd the hippies out of Tahquitz and downtown Palm Springs. That was the beginning of the hippie occupation.

BC: They kept coming, I guess.

GK: It was quite a remarkable time in the canyon. In January and February 1969 two storms had dropped over 80 inches of rain, one of the wettest years of the 20th century, so the pools and waterfalls were all at maximum flow. The canyon may have never looked so good even hundreds of years before.

BC: Who were some of the notables of that period? Were any Nature Boys still out there then?

GK: There was a poet named Ray Morningstar who lived under Rock of Ages in the early 1970s with just a few rugs and bedding. He was our grandfathers’ generation… a Nature Boy who was the unofficial greeter of the canyon. He preached the gospel of nature and was the last of the old Nature Boys to call Tahquitz his home.

BC: That’s the first I’ve heard him mentioned.

The last of the old Nature Boys that lived in Tahquitz Canyon, Ray Morningstar welcomed everyone to his cave in the early 1970s... during the peak of hippie occupation.

The last of the old Nature Boys that lived in Tahquitz Canyon, Ray Morningstar welcomed everyone to his cave in the early 1970s… during the peak of hippie occupation.

GK: There were also many videos and photos of Jim Morrison of the Doors hiking and swimming in Tahquitz Creek below the falls in 1969, and his history with the canyon may have reached back farther than that. One can’t help but wonder about the lyrics to the Doors song “Moonlight Drive/Horse Latitudes,” where he sings: “Children of the caves will let the secret fires glow.”

BC: You told me once that you moved there in the ’70s, right?

GK: I lived in Tahquitz as a teenager, from September 1975 until December ’76, and became very well aquainted with all of the canyons, caves, waterfalls, trails, and people connected with the place. I hauled hundreds of pounds of trash out of the canyon the day visitors had left, mostly glass and cans. My first farm, a feral farm, was at 4200 feet in a side canyon off the 4th valley of Tahquitz Creek, where I tapped a spring and grew watermelons, radish, tomatoes, carrots, and lots of other vegetables. None of the animals bothered anything and I slept in caves and prepared food in caves about 100 yards from my farm. Doug Batchelor was one of my neighbors and he lived down the creek in another cave. His mom Ruth dated Elvis and wrote a few songs for the king. A baby was born in a cave upstream from mine and there were young folks all over America doing radical things in nature during the ’70s. Hitchhiking was also easy and safe then.

BC: Turning back to research: there was a recent article by a harp historian named Gregg Miner that disputes whether Bill Pester ever knew Eden Ahbez or any of the Nature Boys. How do you respond to this?

GK: Well, Ahbez’s brother-in law Al Jacobson told me personally, and Al’s sister Pearl also said it in written articles, that Eden had walked across America several times. This story has been told by a few other people who knew Eden. But from the time Eden became more settled in California, in the early 1940s, his time was spent in Southern California and he never would have had the time to’ve walked across the country during this period of his life. So that means that the only time he would have done a cross-country walk was during the 1930s, and it’s unlikely that he would have stopped at the Arizona/California border and turned back to head east. He walked into California too, right through the Coachella Valley towards the Pacific Ocean, and who could say how many times he did this?

BC: That period is so tough to find evidence on.

GK: I interviewed Maya Sexauer in September of 1998 about her father Hermann, who operated Santa Barbara’s first Natural Foods Store, which began in 1934. Eden was one of their customers, as was Gypsy Boots, Paul Bragg, Gaylord Hauser. Hermann traded merchandise and books with John and Vera Richter, who owned the raw foods restaurants in Los Angeles [ed. called the Eutropheons]. Maya told me that a female friend of hers named Helen Wheeler had a $50 car her parents had given her and she gave Ahbez rides to the Krishnamurti talks in Ojai sometime between 1934 and 1938. So this places Eden in California earlier than 1940. Maya said both she and her father knew him and he was the poet who wrote “Nature Boy,” though this was before the song had been recorded by Nat [Cole].

BC: I have a hand-written note of Ahbez’s that has him in Iowa in 1938. But he may have already been “on-the-road,” as it were, by then. He was seen picking fruit in Miami in the 1930s too.

GK: More important than that is that Ahbez lived in Dr. Richter’s backyard in Silver Lake and there are even photos of him and Anna on page 135 of Life magazine, dated May 10, 1948, preparing a raw foods meal on Richter’s land.

BC: I had a hunch that was taken at the Richters’ place and not beneath the HOLLYWOOD sign.

GK: Yeah. Plus, the handful of natural food stores around in those days were important landmarks for the Nature Boys. Bill Pester was also well known by the Richters and had even written about Richter’s proposed raw food colony in Panama.

BC: I never knew that.

The famed poet and Doors singer Jim Morrison at Tahquitz Falls in 1969. Morrison spent years hitchhiking through the desert to visit places like Tahquitz and Joshua Tree, which helped inspire his poetry.

The famed poet and Doors singer Jim Morrison at Tahquitz Falls in 1969. Morrison spent years hitchhiking through the desert to visit places like Tahquitz and Joshua Tree, which helped inspire his poetry.

GK: Pester wasn’t just a Nature Boy, he was THEE Nature Boy. Postcards of him were all over the country and probably overseas too. Pester was one of the most photographed people in the desert and even had contact with actor Rudolph Valentino and novelist Zane Grey, and he made frequent trips to Palm Springs all through the 1930s to connect with friends and get food. How could Ahbez have lived with the Richters off and on for several years and not known about Pester? Pester was one of their customers and may have stayed there too.

BC: Was there a connection between John and Vera Richter and the desert regions?

GK: The raw restaurants operated by Richter began in 1917, around the same time news about the desert canyons and the natural life was being spread by Pester. So the Nature Boy trail to Tahquitz began at the Eutropheons’ front door. According to Eden’s manager Jack Patton, the Eutropheon was ‘the torch where they lit their lamp.’

BC: I’ve heard Pester called the first Nature Boy online. Not sure how valid the source is though.

GK: If the song “Nature Boy” is actually autobiographical, then when did Ahbez wander over land and sea? Maybe never. But plenty of other Nature Boys did travel over sea, namely Pester and Maximilian [Sikinger]. A few people told me that Paul Bragg considered himself a bit of an old Nature Boy, but they could never conceive of a connection between Eden Ahbez and Paul Bragg. Guess again, because they did know each other. [See photo below.]

BC: Did any of the Nature Boys talk about Pester when you interviewed them for Children of the Sun?

GK: Gypsy Boots told me that there were a lot of Nature Boy types by the 1930s because of the Great Depression… dozens of names lost to history. So the handful of them that were left by the 1990s were just the ones who survived or didn’t paddle back into conventionalism. Bob Wallace remembered Pester, but more just his reputation and not someone of close contact. Eden’s brother-in-law told me he had an entire attic full of Eden’s memorabilia and Jack Patton showed me in person an old business card with Eden’s name on it. He also had a large collection of artifacts about Eden from the 1940s, but all of it appears to have vanished. It wouldn’t matter if we located a photo of Eden with Pester anyway, because critics would still say it’s no proof that Pester had any connection to the song.

The appropriately-named Paul C. Bragg, with Eden Ahbez and Eden's manager Jack Patton, circa 1959.

The appropriately-named Paul C. Bragg, with Eden Ahbez and Eden’s manager Jack Patton, circa 1959.

BC: I know you knew Gypsy Boots, Bob Wallace, and Buddy Rose pretty well. Did they ever talk about how they met Ahbez?

GK: Boots told me he met Eden on Venice Beach, but in his book he said they met at the Eutropheon, and they both seemed to recognize one another immediately. He said Eden kissed him on the cheek. They also travelled and lived together for many years in the 1940s, and Boots being a native of San Francisco, knew a lot about foraging figs, olives, avocados, and wild greens. He had also worked on a lot of farms so he knew where to find the best food.

BC: What about Buddy?

GK: Buddy never mentioned where he met Eden, but just that he had a Christ-like aura. He said that the Nature Boys mostly came together in Los Angeles, then they travelled to the desert particularly in winter when it was cold.

BC: How did you meet Buddy?

GK: I knew him when he lived in Santa Cruz late in the ’90s and his apartment was only a few blocks from Ann Marie Maxwell’s pad. She had been Neal Cassidy’s beat girlfriend and told me a lot about the overlap between the Beat Generation period and the early hippies, particularly at Ken Kesey’s ranch in La Honda. She did not know Buddy, but she knew Boots and said he was frequently appearing all up and down the coast at events, concerts, and festivals, and was always accepted by everyone because he was so different than most men his age at that time.

BC: What was Buddy like when you knew him?

GK: Buddy was the most flexible, swift walking 95 year old I have ever met, racing around Santa Cruz like a wild animal. For years he did gardening in Palm Desert, then walked or hitchhiked back up Highway 74 to his residence. Farmers I knew would stop to give him a lift and he’d say ‘I’m going up to 3000 feet,’ and that’s where he would get out. If he didn’t catch a ride he walked the distance. He had a pet chicken that kept the rattlesnakes away and Eden visited sometimes. Buddy wanted me to take him back to the desert even in his mid-nineties.

With a Tahquitz light shining on his crown chakra, the teen-age Gordon Kennedy ditches the city with no regrets and makes himself a new home in the caves of Tahquitz Canyon for 15 months. Blame it on the Yardbirds! (Photo by Kirk H. Owens; October 1975)

With a Tahquitz light shining on his crown chakra, the teen-age Gordon Kennedy ditches the city with no regrets and makes himself a new home in the caves of Tahquitz Canyon for 15 months. Blame it on the Yardbirds! (Photo by Kirk H. Owens; October 1975)

BC: It’s interesting to hear about them staying in contact as old men, because it seems their camaraderie, at least from the lack of pictures of them hanging together after the 1940s, dissipates following Ahbez’s “Nature Boy” and into the 1950s.

GK: The ’50s were a time of prosperity in America and that meant materialism… a stark shift away from the rationing and deprivation of the war era ’40s. Also during the 1940s patriotism was running high in American culture, so as war resisters, the Nature Boys hung together for solidarity. This type of existence had less appeal by the ’50s. Eden had married Anna in ’48; Boots married Lois in ’53. Their responsibilities to their families were now a higher priority. Eden’s success didn’t help matters and he was not going to drag the whole group along with his family to the desert. Now he had his own jeep at last and he brought Anna and [his son] Zoma with him. Also John and Vera’s raw restaurant ended around 1948, so that left no familiar focal point to light their torch. But when Boots opened his Health Hut in 1958 there are photos of Ahbez and plenty of celebrities who came by to hang out, so this was the new meeting spot.

BC: I’ve spoken to a number of Ahbez’s later friends who said that he didn’t get along with Gypsy Boots after a while. A few people told me Ahbez thought Gypsy was a phoney.

GK: Gypsy was very active and exposed to the public all through the 1970s, ’80s, and ’90s, while Eden was barely visible and still depressed from losing Anna and Zoma, his only family. During lectures, Boots would frequently talk about his caveman days with Ahbez and the Nature Boys. But the point he always emphasized was that he was already living this existence long before he met Eden and probably before Eden was living that lifestyle. In the ’60s, Eden would often still appear at Boots’ birthday parties, but less so by the ’70s.

BC: Did Gypsy ever talk about a rift?

GK: Boots told me that the last time he saw Eden was at the Kingsley Garden, a raw foods restaurant on 3rd Street in Los Angeles, dining with his brother-in-law Al Jacobsen. This was about 1988 or so. He surprised them and they whined at each other like three angry brothers, then began chatting about old friends and business.

BC: So typical.

GK: After this Boots posed with Al several times for magazines around L.A. as two veterans of the health scene, and Boots told me Al once lived in a pitiful apartment back in the ’40s and he promised Boots that someday he was going to make a million dollars, and that is certainly what he did with his company Garden of Eatin, inspired by Eden Ahbez and as payback to Boots for getting all the girls. So, yes, enough ego battles and melodrama to inspire a movie, but these issues surfaced near the last decades of their lives and that was why it was Eden’s later friends who talked about it, because in the early days they bonded more. Both of them had also spent over three decades in or around Los Angeles by then, the ’80s, living with insane competition, traffic, air pollution, and that’s a long way from the caves of the San Jacinto Mountains.

After his wide exposure to 25 million households on the

After his wide exposure to 25 million households on the “Steve Allen Show,” Gypsy Boots enjoyed a massive surge in popularity. Here he is hanging out on Malibu Beach with some of his fans, circa 1962.

BC: The Nature Boys never got the recognition they deserved for being forefathers of a global movement, really.

GK: When I interviewed Ahbez’s manager Jack Patton in 1992, he was so far out of touch with Eden that he felt Eden might have even passed away, though he hadn’t.

BC: So was Gypsy a phoney?

GK: The only people who called him phoney were the ones who were jealous of his success. Someday the twenty-five old Steve Allen episodes with Boots as a guest will appear on video and then you will see why Boots received more fan mail than Elvis Presley on that show.

BC: He had a loveable personality for one so radical.

GK: In 1961 most of the audience had crew cuts and flat top haircuts and were dining on cheeseburgers, french fries, and soda pop. People had bomb shelters in their backyards and American cars averaged nine miles per gallon. Out of nowhere comes this wild man with an acme juicer under one arm, reciting poetry and carrying a large sack of coconuts, bananas, and oranges. Sometimes the audience was roaring so loud you could barely hear Steve talking. Boots’ hair was past his shoulders and he wore a beard, and this was three years before the Beatles or the 1960s, as we remember it. In the forward to Boots’ book, Steve Allen said ‘Run right down to Gypsy’s place, get a belt of raw carrot juice, and shake the hand of a man with the kind of pep and good cheer that most of us wish we had.’

BC: And yet he’s hardly known outside of Southern California, really.

GK: Once upon a time, up in Tahquitz Canyon, Boots was standing on a boulder, naked, drying off after a swim in the creek, when some socialite rode by on a horse. She complained to the officials in town and Boots was arrested the next time he went to Palm Springs. But mayor Frank Bogert quickly arranged to have him set free and, when Frank spoke, people listened. This Republican mayor had a soft spot for Nature Boys who sometimes performed music at the nicest resort hotels in the desert and he believed their connection to Palm Springs culture was important.

BC: Gypsy was also not so camera-shy, like Ahbez was. He made himself very available to the media.

GK: I saw some remarkable footage of Boots throwing the football behind his back about sixty yards, way back in the 1950s, with very long hair. He also practiced yoga with Lou Nova, the yogi-boxer who shook up Joe Louis a bit with his cosmic punch. On his 50th birthday Boots ran barefoot from the Palm Springs aerial tram station down to the Desert House of Health… in 118 degree temperatures for over ten miles. He was invited to the Monterey Pop Festival in June of 1967 by radio station KRLA and was warmly received by all of the attendees and managed to stay high without ingesting any of the Owsley Acid that was passed around by the handful. He was never into dope, alcohol, or stimulants. A lot of the heavies within the health-guru community in America—people like Paul Bragg, Adelle Davis, Bernard Jensen, Dr. H.E. Kirschner, Jack LaLanne—all had tremendous admiration and respect for Gypsy Boots. Though unschooled and unlettered, he always excelled at entertaining the audience with humor and displays of strength and fitness. Patricia Bragg called me when Boots died and chatted for about an hour, recalling his long career with all the other folks she knew.

BC: Why didn’t he become better known?

GK: After the ’60s ended, many disillusioned people began to shift to a more natural lifestyle, so they also paid more attention to the man who had been doing it for a half century before them. He was always very popular with young people and, with more focus, better management, and less ego, Boots would have become the biggest health guru in America. But it wasn’t meant to be.

BC: Did he contribute a lot to your research?

GK: I had the materials for Children of the Sun even in the 1980s, but I still lacked the historical details and important photos that Gypsy provided me with. It would have been impossible to write a book like that without his assistance and there would have been no point in publishing something without the content he provided me. So he was without exception the most important person from the old era to the flower power generation. He was the only health teacher I ever met who didn’t take himself so seriously that he couldn’t appreciate a great laugh from people, even if it was directed towards him. And he had a fabulous sense of humor. When I first showed him Children of the Sun he asked me why he wasn’t on the cover? He never read books, but he read the L.A. Times every day, just to see if he was mentioned anywhere.

Another sunny day in Ojai, with Gypsy Boots and Gordon Kennedy and the Bootsmobile. Boots holds up his favorite LP,

Another sunny day in Ojai, with Gypsy Boots and Gordon Kennedy and the Bootsmobile. Boots holds up his favorite LP, “Unpredictable,” by you know who! (Photo circa 2000)

BC: What’s the most indelible image of Boots, in your opinion? What best captures his essence?

GK: I think I’ll remember him best from Ravi Shankar’s masterful performance in the Monterey Pop Festival movie… Boots with his eyes closed and meditating. He saw all these cultural waves come and go, but he told me he wasn’t too impressed with the beats or hippies. Probably because he’d seen better things in his youth.

BC: What’s his legacy?

GK: On August 10, 2004, the Los Angeles Times published a Gypsy Boots obituary notice which covered nearly half of an entire page, including a photo of him swinging from a tree at Lake Arrowhead. If this is a final tribute to someone’s life worth then he beat out thousands of college professors, judges, clergymen, actors, and politicians who barely earned a few paragraphs for their life accomplishments. The day before he passed in 2004, a friend and I went to visit him in a facility in Camarillo and there was an endless procession of well-wishers and fans from his past coming and going all day. I was really honored to have known him, but even more honored to have been his friend.

BC: On the other hand, he seems to’ve taken credit, at least in some circles, for the inspiration behind “Nature Boy.” Do you think Gypsy believed that himself?

GK: I’ve actually wondered sometimes if Eden Ahbez was a “bootist.”

BC: Ha!

GK: While staying in the Grunge Cave in Tahquitz Canyon, back in the early 1940s, they frequently made music together and recited poetry. “Nature Boy” went through so many changes before it was recorded that they had sung at least a few versions of it up there and also at some fancy resorts in Palm Springs. Part of Boots possibly felt that he must have co-created the songs they sung up there in the caves.

BC: Do you think the song describes him?

GK: Boots was hardly shy or sad of eye, so he didn’t fit the profile of what the lyrics described. But he always wanted people to know that his own lifestyle in California was an organic Nature Boy existence before he ever met or knew Eden. It wouldn’t surprise me if Eden was even a little blown away by Boots’ native California confidence, probably thinking to himself when he first laid eyes on him, ‘We’re not in Kansas anymore.’

BC: Right. Nice.

GK: Nobody had ever patented the concept of a Nature Boy, so Boots laying claim to that title probably upset Eden, because Boots’ ego commanded a lot of media attention. He stepped into the hippie blueprint and that eclipsed Eden’s song and perhaps created the rift.

BC: You also knew Bob Wallace, another California Nature Boy that we mentioned before. What were his later years like?

GK: He lived up in 3 Rivers California in the Sierra Foothills and seemed to have a fairly large family network, unlike most of the other Nature Boys. Also, that’s a nice area to live in even today, so he must have had a pretty good life.

BC: He later went by the name Forrest Nannery, right?

GK: Yes. He always dressed in white and was hard to derail from his spiritual narrative when he appeared at Boots’ birthday parties every year in August. But when the BBC came knocking on my door about Eden Ahbez [ed. for a radio documentary in 2010], I linked them up with Bob and his comments were very clear and articulate. It’s fortunate we have that on tape and archived into some historical context.

BC: I agree. I spoke to Wallace a year before he died too. He said he and Ahbez made music together and played live in coffeehouses in Venice and Topanga Canyon in the 1950s.

GK: Yes.

Bob Wallace frequently appeared at Gypsy Boots' annual birthday celebrations in August and was delighted to find himself in demand again by the media, who had plenty of questions for the old Nature Boy. (L to R): Don Sunderland, Bob Wallace, Michael Parris, and Gordon Kennedy, c. 2001.

Bob Wallace frequently appeared at Gypsy Boots’ annual birthday celebrations in August and was delighted to find himself in demand again by the media, who had plenty of questions for the old Nature Boy. (L to R): Don Sunderland, Bob Wallace, Michael Parrish, and Gordon Kennedy, c. 2001.

BC: Gypsy also recorded an album in the mid-’60s, though it’s pretty campy. This is kind of a broad question, but I wonder if you have any opinion on why psychedelia took so long to coalesce between “Nature Boy” in 1948 and the hippie explosion of 1967-71 in California, London, and elsewhere? Were there just too few counter-culture figures in the 1950s to constitute a scene?

GK: You really have to look closely at what was happening within both mainstream and alternative cultures from 1948 to 1966. Television, for one, was becoming very commonplace, so nearly every household had one by the early ’50s. Rock ‘n’ roll exploded for about two and a half years, then died a temporary death near the end of the ’50s. McCarthyism and the communist scare covered the era from roughly 1950 till 1956, and a Republican administration under Eisenhower dominated most of the decade from 1953 until ’61. For the Sixties to’ve happened like it did, there had to have been a 1950s.

BC: And yet, psychedelia does seem to’ve been hovering in the air from Ahbez’s time and maybe even before.

GK: Aldous Huxley published The Doors of Perception in 1954, then Gordon Wasson’s article in Life magazine [05/13/57] about hunting mushrooms in Mexico hit the public. In 1959, Look magazine did a story on Cary Grant in Palm Springs where he described why he was taking acid with his therapist every weekend after hypnotism and yoga had failed. Then on January 24, 1961, John Newland, while hosting the popular television show, One Step Beyond, ingested psilocybin mushrooms on the air in front of 25 million viewers. So that’s part of what set the stage for the following years.

BC: So much of the ’50s set the stage and it’s a shame that it’s unrecognized for the radical era it often was too.

GK: Everyone who came of age in the ’60s had grown up during the ’50s watching science fiction movies of every category. Some cheesy, some brilliant, others frightening, but nearly all of them with musical soundtracks that evoked something eerie, weird, otherworldly, and abstract. That type of music along with the early surf stuff by the Ventures and Dick Dale formed part of the prototype for what later became known as psychedelic music.

BC: The youthquake, as it were, kind of began then.

GK: Young people came alive during the Kennedy administration, but when King John was shot dead, the Beatles filled the void just over two months later on the Ed Sullivan Show in February 1964. That summer, A Hard Days Night hit theaters and it wasn’t just the young girls that were screaming. Pretty soon every folkie traded in his acoustic guitar for an electric one and the surf bands started growing out their hair and acting and sounding more British.

BC: We’re kind of getting off-subject here, but who do you see as the first psychedelic band?

GK: Amongst the wave of English bands during the British invasion, the Yardbirds were the ones who mastered amplified blues, feedback, improvisation, and were the virtual DNA of psychedelia. When they played in L.A. in 1965 and ’66 at clubs like the Hullabaloo and the Avalon Pavilion, the audience of mostly male musicians were witness to performances that have never been forgotten, even half a century later. While your little sister might’ve been screaming for John, Paul, and George over at Dodger Stadium, the Yardbirds were obviously where the future of music was going. The next year when Jimi Hendrix hit the airwaves, hardcore Yardbirds fans thought he sounded like Motown meets the Yardbirds.

BC: Back to Ahbez and the Nature Boys…

GK: The Nature Boys in the ’40s and ’50s had a very ’60s psychedelic look to their appearance. People keep asking me if they were into jimson weed enemas, peyote tea, or some kind of alkaloids that helped them with their alienation from the Truman administration. The answer has always been no. I’ve never even heard them having caffeinated tea or a soda pop, let alone drugs.

BC: Why do you think this difference in diet and use of substance matters?

GK: Well, I had a friend named Bill Quinn, born in 1920, who dropped out of Harvard during WW2 to hitchhike around the country and avoid military service. He was the most educated man I have ever met and he was in thick with the beats in San Francisco, even mentioned in Allen Ginsberg’s famous poem Howl and later was the third party in the founding of Esalen Institute, after Michael Murphy and Dick Price. Anyway, Quinn had a very long and close personal friendship with Krishnamurti, the un-guru philosopher who spoke more like a psychologist than a missionary from India, and Bill edited many of the books the Krishnamurti Foundation published under the name William Quinn. When Krishnamurti was on his deathbed, in 1986, he called for Bill. They were that close. Bill was also personal friends with Aldous and Laura Huxley, and the Huxleys and Alan Watts were all very early fans of Krishnamurti.

BC: Did Quinn ever associate the Nature Boys with Huxley or Alan Watts?

GK: Bill and I had a mutual friend named Tynne K. Miettinen, who was a 90-year-old Nature Girl, originally from Finland, and one of John Richter’s pupils too. She was very much into natural living and raw foods. She once handed Bill some wild weeds for a snack, which startled him. I asked him if he had met many people like Tynne before in his travels or associations with the beats and folks at Esalen, and he said he’d never met anyone even remotely like her. So that’s how big the gap was between the beats and the Nature Boys and Girls.

BC: I’ve only ever seen Tynne mentioned once in all my research.

GK: Bill also recalled the day when Timothy Leary and Richard Alpert, aka Ram Dass, appeared at Esalen. Despite similar age and Catholic backgrounds in Massachusetts and ties with Harvard, Bill said he strongly despised Leary. After questioning him as to why, I learned it was actually because Leary’s mantra of ‘Turn on, tune in, drop out’ was really just a street version of what Krishnamurti had been encouraging since the 1920s. But, unlike Leary, he said the use of drugs by aspiring holy men in India was always a dead end and would likewise become the same fate with American youths.

BC: And you said earlier that Ahbez attended lectures by Krishnamurti.

GK: Krishnamurti had been picked to be the next messiah by Annie Besant and Charles Leadbeater, but he dissolved the Order of the Star in 1928 and lived a modest existence for the rest of his life by lecturing all over the world about the nature of mind, human relationships, and how humans are conditioned to behave. Leary and Alpert published a poetic adaptation of the Tibetan Book of the Dead in 1964, which many hippies considered the Bible of the era, and this manual was a model for unlearning and de-conditioning the mind for human liberation and ego death… a very ’60s pastime. It was dedicated to Aldous Huxley and Leary’s inner circle of intellectual drop-outs were all influenced by Krishnamurti’s teachings.

BC: It’s interesting how you are able to parse the later reduction from the earlier iterations.

GK: Yeah, well, Buddy Rose remembered Ojai where Krishnamurti lived and Eden went to the talks he gave. It wouldn’t surprise me if Krishnamurti’s annual talks were the third most frequented point of convergence for Nature Boys, after the Eutropheon and Tahquitz Canyon. Krishnamurti had given talks in Ojai since the 1920s.

BC: So, again, why 1967 and not 1947?

GK: Probably for the same reason that it all later died out by around 1973. When a threshold of people begin to raise consciousness together, then all consciousness is affected, and that ’60s moment could only maintain its peak for about 7 years, from 1965 to ’72. It wasn’t all about dope or music, but that definitely was the catalyst, and the prospect of free love was what made so many guys want to join the army of drop-outs. Very few girls would have been attracted to a guy with that hippie appearance in the late 1940s or ’50s, and by 1981, when Reagan took power in the White House, that same image was outdated and the butt of jokes. But in the late ’60s, every hippie chick wanted a guy who looked like Eden Ahbez. The girls were just not there in the ’40s or ’50s.

BC: Why are the Nature Boys still important?

GK: Because they redefined masculinity.

BC: What else?

GK: At a time when America had just dropped two atomic bombs on Japan and most of the nation was celebrating the end of America’s biggest war, a tribe of German and Jewish-American kids had united together and were diving into pools under giant waterfalls in the desert, climbing avocado trees, hitchhiking through the mountains and deserts without a gun or a sleeping bag, living in caves, composing music, practicing yoga, playing flutes and, unlike the beats or hippies, doing it without pot, tobacco, acid, qualudes, alcohol, television, methadrine, coffee, or money from mom and dad. In nature you have a harsh plant like poison oak and virtually right there within the same eco-system the antidote: mugwort. Same goes for the American Empire. It would take something as big and mighty as a culture like the USA to spawn a minor subculture like the Nature Boys. The young German immigrants who planted the seeds for much of this felt the same about the German empire of 1890s up through both world wars, when they left home to begin their new lives in America, spreading the gospel of nature.

BC: And yet most people today… people who espouse the lifestyle the Nature Boys did 75 years ago… still don’t know the roots of this subculture.

GK: In 2014, organic product sales totaled $39.1 billion, growing 11.3% in one year. So I guess Gypsy Boots and Adelle Davis were ahead of their time back in the 1950s for promoting organic foods. Hopefully in time the bookstores and universities will realize that it was really the Nature Boys more than the beats that set the stage for the environmental and youth movements in America during the 1960s, and also left a better example for kids to embrace for the future if they want to explore alternative lifestyles. In today’s world it’s still possible to re-connect with nature, so that’s the best positive step we can take to honor the legacy of the Nature Boys and mitigate the current wave of machismo, political corruption, superficiality, gangster music, guns, pollution, dope, and conspiracy theories. I’m getting ready to celebrate Gypsy Boots 100th birthday this August 19th, but for now I think I’ll take John Muir’s advice: “Keep close to Nature’s heart… and break clear away, once in a while, and climb a mountain or spend a week in the woods. Wash your spirit clean.”

BC: Always amazing, Gordon.

All photos and captions provided by Gordon Kennedy, copyright 2015.

Gordon Kennedy's seminal book,

Gordon Kennedy’s seminal book, “Children of the Sun,” recently reissued and available on Amazon.com.


NEWS: Bear Family Records Releases New LP of Rare Eden Ahbez Music

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Hey fans of Ahbez! It’s been a while since the last post. But worry not! Much has been happening in Eden Land! See here.

Per the above link, I’m happy to announce the eminent release of a new vinyl-only compilation of rare Eden Ahbez music.

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Bear Family Records, the reissue company extraodinaire out of Germany, has just announced a release date of May 18, 2016 for this compilation. Pre-orders are being taken now. Follow the link.

As to contents, the LP will feature seven unreleased Ahbez cuts, plus seven rare singles, or album tracks, giving fans an overview of his entire career from 1949-71. There are also new, unseen photos and full gatefold liner-notes written by me.

Hopefully this is the first of many Ahbez albums to come with Bear Family. God knows there’s plenty of unreleased music left. Of course that will all depend on sales and interest in the work. So spread the word!



The Making of “Wild Boy” (Video)

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It’s been a while since my last post; but fear not… work on all things Eden Ahbez continues apace!

Below is a new video interview with yours truly talking about the making of the new Bear Family Records compilation, Wild Boy: The Lost Songs of Eden Ahbez. Enjoy!


NEWS: Former R.E.M. Frontman Michael Stipe Comes Out of Hiding for a (Bearded) Rendition of “Nature Boy”

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As they say: ‘The hits keep on coming!’

Well, in this case, it’s the same Ahbez hit over and over again. But it’s always cool to see the latest musical legend try and tackle his great standard.

Here is Michael Stipe of R.E.M. doing it and looking more than a small bit like Ahbez while doing so!


Progressive Radio Network Does Ahbez/”Wild Boy” Special

NEWS: Extremely Rare 1982 Ahbez Flexi-Disc

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“Divine Melody” is a recording that Ahbez made in 1971 and had released on Elefunt Records (backed with the song “Richard Milhous”).

Then, in 1982, Elefunt re-released it as a flexi-disc. Dave De La Vega, the engineer of the record (and label owner of the indie Elefunt) recently came across a small stash of them and is making them available online for $24.95 postage paid. Here is the link.

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Back cover of “Divine Melody” flex-disc single.

Here is a brief description of the record as written by De La Vega himself:

“Elefunt Music has uncovered a small stash of original (1982) eden ahbez’s ‘Divine Melody’ SongCards. These are beautiful 8×8″ art cards with a 33rpm vinyl flexi-disc bound inside. You simply fold it open and play on turntable. eden ahbez, writer/composer of “Nature Boy,” performs as Ahbe Casabe. Ahbe sings and plays nazard, celeste, piano and a bamboo flute of his own making. He also sounds the gong. Along with Ahbe is John Greek on bass.”

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“Divine Melody” front cover.


INTERVIEW: Divine Melodies (David de la Vega Talks Hippie-Era Single Produced for Eden Ahbez)

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Last month I posted a quick blog announcing the rediscovery—by David de la Vega—of the flexi-disk of “Divine Melody,” an uber-rare single he produced with Eden Ahbez in 1982. The song, however, was recorded over a decade prior, as well as several other tunes written and performed by Ahbez (also produced by De la Vega).

I recently caught up with David for a chat about his friendship and working relationship with “Ahbe” (as calls him). As usual, my favorite part is when he goes anecdotal. Ahbez was nothing if not a character. I hope you enjoy reading it.

Brian Chidester, 01/24/2017

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The 1971 single of “Divine Melody,” written and performed by Eden Ahbez, produced by David de la Vega for Elefunt Records.

Brian Chidester: You recently found a small stash of Eden Ahbez’s “Divine Melody” single. What can you tell me about that?

David de la Vega: When I produced and pressed the original, in November 1971, it received a little local L.A. airplay, but was difficult as George Harrison’s “My Sweet Lord” had taken over the airways.

BC: So you think the one’s failure had something to do with the other’s success?

DDLV: Well, that was one factor. Mostly, we failed to get distribution. At that time major distribution was an absolute necessity.

BC: Did you try to distribute it yourself?

DDLV: No, the 45 single was not distributed. I shopped it around for a distribution contract, but all the majors wanted an entire album, not just a single. So “Divine Melody” fell off the scene.

BC: Did you and Eden ever talk about doing a full album?

DDLV: Not that I recall. I don’t think that, at the time, he had enough material for an album.

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The 1982 flexi-disk re-release of “Divine Melody.”

BC: But then “Divine Melody” was reissued again after 1971, right?

DDLV: In 1982, in San Francisco, I created the “Divine Melody” songcard, with a 33RPM flexi-disk on the inside. The odd product did not seem right for record stores, but did find shelf space in greeting card stores. They were only sold in San Francisco, as I did the distribution myself.

BC: Okay, so let’s back up a minute: how did you first meet Eden?

DDLV: After having built the studio [ed. Artists Recording Studio, est. 1966], I continued working there as an engineer. This was on Cherokee, just off Hollywood Blvd. One day Ahbe walked in the door and said he wanted to record. He paid for studio time for a while, then ran out of cash. Using my position at the studio we continued recording during off hours. This was when I let him stay with me at my home in Studio City.

BC: What do you remember about the B-side, which I believe is titled “Richard Milhous.” It’s on the 1971 version of “Divine Melody.”

DDLV: The lyrics were from Ahbe and directed at the president [ed. Richard Milhous Nixon]. Musically it wasn’t much, but was his attempt to create a “B” side. Most people found it hard to relate to, as it was a personal conversation between Ahbe and the president, and didn’t really involve the rest of us.

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The B-side of “Divine Melody,” 1971.

BC: There’s another name on the production credits of “Richard Milhous.” It’s listed as “Durkee, Greek, De La Vega, Abba.” I’m assuming Abba is Ahbez himself? Do you remember who Durkee is or was?

DDLV: The drummer. He only came into the studio a few times and I don’t recall his first name. I do seem to remember that he was a friend of John Greek, however.

BC: Could it have been Roy Durkee? He played the drums on a late ’60s psychedelic exploitation album with John Greek called The Happening. The group name was Fire & Ice, Ltd.

DDLV: I’m not 100% positive, but yes, it’s possible.

BC: What about that name: Elefunt Records?

DDLV: I reasoned that an elephant is a symbol of memory, and a record was a memory of a song, so “Elephant” would be a good name for a record company. I just changed the spelling to be different. I discussed it with Ahbe over the kitchen table and he liked the idea. At the time all we had was the billowy letters. The drawing/logo came later.

BC: Any specific memories of the session itself?

DDLV: On the record Ahbe plays a nazard. This was a stop [instrument choice] on a small electric piano we had in the studio; it was not a Moog, as reported in the Wikipedia article. Ahbe played all the instruments except the bass, which was played by John Greek [ed. of the fifties band the Wailers, who’d had a rock-instrumental hit with “Tall Cool One”]. The gong in the middle of the song was Ahbe’s and had been featured in the movie Cleopatra.

BC: Wait, you mean that exact gong?

DDLV: Oh yes, he was very proud of it.

BC: Wow! Crazy! Sorry, okay, continue with the “Divine Melody” session.

DDLV: In the record mastering process [ed. physical master for pressing], the gong vibration created a challenge for the mastering engineers. On a good turntable and audio system the gong is really powerful. Although the flexi-disk is thin, it is actually a very high quality vinyl recording, manufactured by Evatone, who are out of business now.

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The 1971 logo of Elefunt Records (left) and the one from 1979 (right).

BC: Any other cool memories of that time?

DDLV: During the time we recorded the song, Ahbe lived with us at my home in Studio City, CA. He set up his handmade drums in our living room and every morning we would wake up at dawn to Ahbe playing this multi-drum set and gong. As has been written, he did prefer to sleep in his van in the parking area, even though we had an extra bedroom.

BC: So this is still 1971 we’re talking about, correct?

DDLV: Yes. I didn’t move to the Bay Area until 1979.

BC: And was there anything else recorded between you two then?

DDLV: “The Clam Man” was recorded in 1972 [ed. this song was reissued on the compilation album Wild Boy: The Lost Songs of Eden Ahbez in 2016]. We might have played around with other songs, but I don’t think anything else was completed, and I can’t find anything in my tape collection.

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Early picture of David de la Vega: engineer/producer extraordinaire.

BC: You and I had talked about a year or so ago about Eden and Brian Wilson of the Beach Boys. What do you recall of that now?

DDLV: I really don’t remember it clearly, but most likely Ahbe introduced me to Brian, as Ahbe knew everybody in Hollywood. I was not close with Brian, but I was good friends with Jan Berry of Jan & Dean. I did meet a lot of people when I worked the Tannoy Speakers booth at the AES [Audio Engineering Society] conventions. Tannoy speakers were the gold standard for studios and mastering labs. Also my uncle was James B. Lansing [JBL] and my next-door neighbor was Gene Cerwinski [Cerwin-Vega Speakers], so I knew people at virtually every recording studio in the L.A. area.

BC: Any other memories of Eden, or things he might’ve told you?

DDLV: I remember Ahbe recalling the painful story of when his son Zoma asked if he could try a hamburger. Ahbe and his wife Anna had raised Zoma as a vegetarian, but Zoma really wanted to taste a burger. So Ahbe finally agreed to take him to a big restaurant in Hollywood. As was usually the case, as soon as they walked in the door, the whole place fell silent. Everybody knew who he was and was interested; but Ahbe kept his word and Zoma got his burger. He really liked it! Ahbe was crestfallen!

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David de la Vega today, banging out a rhythm.


NEWS: Eden Ahbez Documentary Film Offically Underway

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It gives me great pleasure to announce it first here that I am now working on a feature-length documentary about the life and music of Eden Ahbez.

The film is to be titled “As the Wind: The Enchanted Life of Eden Ahbez” and is currently in production. Here is the promo, or preview, of things to come:

 


UPDATE: Rare Ahbez 78/Single from 1951 Found

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At long last! A 78rpm single, written by Eden Ahbez, which has eluded me for more than twenty years, has finally materialized!!

It is titled “Gravy Train” b/w “Two Shades of Blue” and is by Nature Boy and His Orchestra, on Mercury Records. The single was announced in Billboard magazine on March 31, 1951 and was likely released just before or just after that announcement.

Nature Boy and His Orchestra cut a 78/single prior to “Gravy Train,” in 1950, titled “California” b/w “End of Desire.” That one is much more easily come by and features the guest vocalist Bobby Please, a rockabilly singer of several other cool fifties singles.

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An earlier Mercury Records single by Nature Boy and His Orchestra.

“Gravy Train” also boasts Bobby Please as lead vocalist, which he reprises for the B-side, “Two Shades of Blue.” Both sides are co-written by Eden Ahbez and Don Reed, the latter a name that pops up elsewhere in the Ahbez canon. From my research, in fact, I’ve found that the two men worked together on quite a few recordings.

The next one, after “Gravy Train”/”Two Shades of Blue,” is the 1954 Ahbez tune “Wine, Women, and Gold,” of which three different singles were released in 1954-55. The one that features Don Reed (on vocals) is by a group called “The Carsons,” of which Reed was one member. This is where things get confusing. (Or perhaps interesting, depending on your love of mystery.)

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Don Carson (aka Don Reed) sings on an Ahbez-penned single as a member of the Carsons.

Reed, who is listed on the “Wine, Women, and Gold” single as “Don Carson,” adopts the Carson surname for a later single: 1958’s “Yes Master!” b/w “Jungle Bungalow” (Bertram International Records). Both sides of the latter are written by Ahbez and performed by Don Carson and the Casuals.

The year prior—1957—Reed re-recorded “Two Shades of Blue,” which was originally the B-side of our aforementioned Mercury 78/single. The Mercury version is a kind of swing/jump-blues throwaway; the 1957 version on Encino Records, however, is more indicative of the nascent rock ‘n’ roll sound, replete with a steaming horn solo and tighter production.

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A pair of rare Ahbez-written singles, performed by Don Reed/Don Carson, a frequent collaborator in the 1950s.

The question naturally arises as to who this Don Reed/Don Carson character actually was? And how did he come to collaborate with Eden Ahbez?

The latter is the more difficult question, given that Ahbez is no longer alive to answer it, or tell us how they met. Neither is Reed/Carson, whom I’ve now surmised was actually named Peter Sterling Radcliffe (1930-2007), a Hollywood songwriter best known for Barry White’s 1974 hit single “The First, the Last, My Everything.” (More Radcliffe song credits can be found here.)

Radcliffe also released records under the names Sterling Reed and Don Sterling—the latter a re-release (in 1958) of the Encino version of “Two Shades.”

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P. Sterling Radcliffe (aka Don Carson, aka Don Reed, aka Sterling Reed, aka Don Sterling) shown far right on this sheet music booklet for the Ahbez tune “Wine, Women, and Gold.”

If that isn’t confusing enough, Ahbez and Reed/Carson/Radcliffe released another single together, in 1961, of Ahbez’s “Nature Boy,” backed by a new co-write, titled “The Lonely King of Rock ‘N Roll.” The single came out on two different labels: Gardena Records and A&R Records.

The version of “Nature Boy” features an unknown singer named “Lorelei” on the Gardena release and “The Voice of Love” on the A&R one. Both nom de plumes are a perfect fit, as she sounds like a mermaid singing from the deep depths of Neptune’s Kingdom.

In terms of “The Lonely King,” it is an ode to the King of Rock ‘n’ Roll, Elvis Presley, and was re-recorded by Radcliffe solo in 1977, following’s Presley’s early death. In the latter version Radcliffe has removed Ahbez from the co-writer credits altogether.

Lonely King 45s

In terms of “Gravy Train,” the newly-discovered single (and focus of this blog-post), it features the same snaky rhythm used by Ahbez in other such novelty tunes as “Mongoose” (on the Eden’s Island album) and “Wild Boy,” his rollicking single of 1959, performed by Mort Wise and his Wisemen.

Lyrically, “Gravy Train” uses the metaphor of hopping freight-trains as suggestive of a new beginning for one’s life. “All aboard for the gravy train, gravy train, gravy train/Where the truth will never find you/Gonna leave the past behind you.”

It’s a strangely autobiographical lyric, true to Ahbez himself, who left two pasts behind him by that time: that of his birth-name, George A. Aberle, and that of his adopted name, George McGrew. He not only took the moniker “eden ahbez” in the early 1940s, but also reinvented himself as a kind of postwar holy man in Hollywood. In that way, “Gravy Train” is something of a second anthem, post-“Nature Boy.”

And now we know it actually exists!

March 31, 1951

An announcement in “Billboard” magazine for the “Gravy Train”/”Two Shades of Blue” single, March 31, 1951.

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“Gravy Train” B-side.



NEWS: Behind the Scenes Video of Ahbez Documentary on YouTube and Vimeo

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Follow the progress of the Eden Ahbez documentary, As the Wind, with this behind the scenes series. Part one of three is linked here:

Vimeo link:


More Ahbez Influence in Contemporary Music

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It’s been a few years since I last wrote an update on the many influences of Eden Ahbez in contemporary pop culture and since that time a number of new projects and mentions of the composer have emerged.

The first of these is a full-blown ode by former Wall of Voodoo frontman Stan Ridgeway (as Hectate’s Angels), with vocals by Pietra Wextun, entitled “West of Eden: For Eden Ahbez” (see Bandcamp link here).

West of Eden

The refrain of the song is a paraphrase of Ahbez’s dictum from 1948, as repeated to “Life” magazine, wherein the composer tells an arresting officer: “I look crazy but I’m not; and the funny thing is that other people don’t look crazy but they are!” (He apparently let Ahbez off without charge.) The Ridgeway lyrics read: “He guided them high above the fray/The hopeless hearts, the suits of gray/Eden Ahbez he would say/I may look crazy but it’s they/Who are the crazy ones.”

Oddly enough, the “West of Eden” cover image features an illustration, not of Ahbez, but of William Pester, the German expat nature boy who preceded our composer in Palm Springs by several decades.

More recent is the newest album, titled “music for ethical aquariums,” by North Carolina artist Jordan Anderson Jefferson who declares on the cover that it was produced, written, performed, recorded, and mixed “on eden’s island.”

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Jefferson’s previous effort, 2015’s “The Only Way Out Is In,” was more of a seventies singer/songwriter pastiche, with lush melodies and sincere poetic lyrics, whereas “aquariums” is pure ambient music in the new age style, replete with water sounds, vibraphones and light flutes. It can be purchased and downloaded here.

Speaking of “Eden’s Island,” the Brooklyn artist known as Fascinator (née Johnny Mackay) recently released a new pop/avant-garde album titled “Water Sign”; and whilst nothing on there is a direct homage to Ahbez as far as I can tell, he did tell the Perth “Sunday Times” newspaper, in a recent interview, that his top desert island disc was/is “Eden’s Island.”

Fascinator

Johhny Mackay, aka Fascinator

The Danish singer/songwriter Agnes Obel also recently included the title song from “Eden’s Island” on her hand-selected album mix for the latest “Late Night Tales” installment.

Butted up against songs by Lee Hazlewood, Nina Simone, and the Roger Webb Sound, the “Eden’s Island” inclusion was viewed by one website as an oddity amongst oddities; so much so that the reviewer (a journalist by the name of Brody Kenny) found it “[not] formed enough to satisfy in a vacuum, but the story of eden ahbez, a hippie who wrote Nat King Cole a chart-topping hit in ‘Nature Boy,’ lends it [Obel’s compilation] further pathos,” meaning, I guess, that the song only works if you first know its context. [Eyes roll.]

Agnes

Lastly, a hand-carved sculpture, created by the Haas Brothers as a renaissance-style wooden door for December 2017’s Design Miami convention, was titled “Eden Ahbez Walrus,” which is more or less a relief depiction of the sea mammal surrounded by other fellow walruses who have either large female breasts or male genitalia.

An adjacent relief sculpture was titled “Octopus Bubble Buddies,” which Simon Haas declared a related work in tribute to the Beatles (specifically their songs “I Am the Walrus” and “Octopus’s Garden”). How Eden Ahbez fits into all of this is a mystery to me; but then we’re dealing with fine art here and a modicum of confusion is to be expected.

Eden Ahbez Walrus

Haas Brothers, “Eden Ahbez Walrus,” hand-carved and CNC-machined blackened walnut (with bronze hardware). Courtesy of R & Co. (NYC).

These are but the latest odes to the late composer though doubtless the last. Keep an eye out here for updates when they occur.

NEWS: Dharmaland Is Coming

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Los Angeles, CA—On July 9, 2019, recording sessions commenced on Dharmaland, the suite of songs composed by Eden Ahbez between 1961 and ’63, but never recorded or released during his lifetime. Swedish quintet Ixtahuele has now arranged and performed the lost project for the first time ever, and they were joined by a host of guests, including seven of Ahbez’s friends and former collaborators, as well as singer King Kukulele (and others). The composer’s own handmade drums and bamboo flutes also appear throughout the recordings.

Dharmaland was originally conceived as Ahbez’s follow-up to Eden’s Island (1960); yet because that album sold less than a hundred copies in its initial run, and because the composer’s wife contracted bone cancer in 1961, Dharmaland never got past the sheet music stage. That is how yours truly (Brian Chidester) found it in 2009 when I went through the Ahbez copyright files at the Library of Congress in Washington D.C. and discovered a large cache of interrelated songs and mini-suites.

From 2009-2017, I researched, demo’d, and contextualized these and other lead-sheets written by Ahbez, eventually settling on a dozen or so tracks from 1961-63 whose themes fit together lyrically and musically, and came up with the idea of the Dharmaland suite. I developed the concept with a number of contemporary artists throughout the years, yet it wasn’t until 2018, when I was contacted by Ixtahuele, that I found a group who could take the project to the next stage (i.e. into production).

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(Back row) (L to R): Anne Rainwater, Johan Hjalmarsson (of Ixtahuele), Joe Romersa, Wictor Lind (Ixta), Mattias Uneback (Ixta), Domenic Priore. (Front) (L to R): Henrik Magnusson (Ixta) and me (Brian Chidester). Big Tujunga Canyon.

With four acclaimed LPs to their name, Ixtahuele has forged a musical identity based in the style of Martin Denny, Eden Ahbez, and other 1950s tiki/exotica auteurs. They are, by almost any measurable standard, the top exotica group in the world today. I feel no hesitation in saying that.

As for the guest artists, we have present on the Dharmaland recordings: Anne Rainwater, a distant blood relative of Eden Ahbez and a classically-trained pianist; John Harris, the vocalist on Ahbez’s 1963 recordings of “Monterey” and “Overcomers of the World”; Dave De La Vega, the engineer/producer of Ahbez’s 1971 recordings “Divine Melody,” “Richard Milhous,” and “The Clam Man”; Emil Richards, the marimba player on 1960’s Eden’s Island and one of the most celebrated melodic percussionists in jazz and popular music history; Youngbear Roth, who was mentored by Ahbez in the 1970s and became a published poet and yoga therapist during the eighties; Mort Weiss, who as “Mort Wise & the Wisemen” recorded Ahbez’s “Wild Boy” in 1958; and Joe Romersa, Ahbez’s longest collaborator and the engineer who worked with the composer on his final project, titled The Scripture of the Golden Age.

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Mort Weiss (left) with Ixtahuele arranger Mattias Uneback in the studio recording “Dharmaland.”

Dharmaland, like Eden’s Island, is rooted in exotica, and is also a musically-cohesive work, with themes and melodies modulating and repeating throughout the suite. “It is to Eden Ahbez what Smile was to Brian Wilson,” says music historian Domenic Priore. Yet it is also a deeply spiritual and sincere work; one which builds on the complexity of melody and emotion in Ahbez’s work up to that point. Ixtahuele took these songs to another level with their technical proficiency and wonderfully creative arrangements. I think you’ll agree (when you finally get to hear it) that it is both classic Eden Ahbez and totally modern in feel.

Dharmaland is slated for release on vinyl, download, and streaming by Swedish label Subliminal Sounds in early 2020. A numbered special edition of the LP, with bonus tracks, will also be released as part of a crowdfunding campaign for my documentary As the Wind: The Enchanted Life of Eden Ahbez (co-directed with John Winer). Press is welcome to interview the participants. Inquiries should be directed to Stefan Kéry atstefan@subliminalsounds.se.

Dharmaland Is Coming

 

UPDATE: Ahbez Documentary Film

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It’s nearing the end!

I wanted to make a few clarifications, however, so as to avoid confusion.

Firstly, a lot of people have asked me in the last year or so, ‘Where can I view “As the Wind: The Enchanted Life of Eden Ahbez”?’ Or ‘Can we screen your film at our venue?’ At this point, the film is not complete, and the official release date remains TBD (to be determined).

The best way to stay abreast of progress is to subscribe to our website newsletter at: www.edenahbez.com. (Sign-up tab at the bottom of the landing page.)

We’re aware that data collection, and a general over-marketing of, well, everything, has become increasingly problematic in this day and age. Yet I can personally assure that your info will not be shared with any third parties and that the only emails you will receive from this subscription will be in reference to the documentary.

Secondly, as we enter the final stages of production, we the production team are focused on fundraising in several areas. These include: grant proposals; pitching commercial film studios; and crowdsourcing. We intend to animate several of Ahbez’s imaginary landscapes in the film and we also have additional shooting and research still to do. Therefore, in early 2020 we will launch a crowdsourcing campaign that offers fans and friends a chance to help out with the film and get some special/one-of-a-kind items, which will help us to bring our full vision to the big screen.

Lastly, we now have social media profiles on Facebook and Instagram, which can be followed here and here.

As always, a heartfelt thanks from myself (Brian Chidester) and the film’s co-director, John Winer. We appreciate all the great feedback so far. Keep it coming!

Ahbe AP 1958 (Small)

INTERVIEW: Love Is All They’re Living For (Bob Hare Talks the Nature Boy Trio and the Insomniac Cafe)

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Bob Hare (1931-2011) was the proprietor of the Insomniac Cafe, a fabled beatnik haunt in Hermosa Beach, CA, which ran from 1958-1965. Legends such as Lennie Bruce, Allen Ginsberg, Van Dyke Parks, and Linda Ronstadt all played there; the cover artist of the Beach Boys’ “Smile” album, Frank Holmes, poured the joe in the early sixties; and Eden Ahbez and his Nature Boy Trio may’ve developed what later became the “Eden’s Island” LP inside its four bohemian walls. Hare even claims he sold copies in the cafe’s bazaar of books, crafts, and art. Below is the interview I conducted with him in 2001 over the phone. It only took me 18 years to transcribe it! (Brian Chidester)

Brian Chidester: So the last time we spoke you were talking about the people who played at the Insomniac and you mentioned Eden Ahbez and Gypsy Boots. Would you tell me more about that?

Bob Hare: They used to play as the Nature Boy Group or the Nature Boy Trio. It was just Eden and Gypsy and one other guy. They were the real thing, you know, living outdoors and way ahead of their time.

BC: And when would you say they started playing at the Insomniac? Do you remember the exact year?

BH: From the beginning. 1959. They played for us all the time.

Insomniac Cafe

The Insomniac Cafe, Hermosa Beach, CA, exterior, c. 1960.

BC: So then what was an average show by the Nature Boy Trio like?

BH: Eden was the center. Big set of drums, gong, always a bamboo flute. Tied to his waist. He’d sit Indian position on the floor and play and read his poems.

BC: What did the other guys play?

BH: Gypsy Boots played, if I recall, the maracas or… and get the crowd into it… get things riled up.

BC: And this was around the time-frame he became a regular guest on the Steve Allen Show? Or maybe earlier?

BH: About then. He was very famous and all that. Eden was more famous. Everybody knew Eden from the song “Nature Boy.” It was spoken of by the young people, the beatniks, in hushed tones.

Eden Downbeat photo

BC: Do you remember how he’d get the drum set to the cafe? And the gong?

BH: No, I don’t. Maybe someone drove him? I know he always showed up if he said he would.

BC: And how would you describe Eden as a person?

BH: Gentle. Sweet. He always filled the room with love.

BC: So you may or may not know this, but Eden cut a solo album in 1960, on Del-Fi Records. It was called Eden’s Island. Did he ever mention that? Or play any of the songs from that LP?

BH: I’m sure he did. We sold copies at the bazaar.

BC: Oh really?

BH: Yeah. I’m not sure how many.

BC: There’s an ad from the L.A. Free Press for a fashion show at the Insomniac in 1965 and it features live music by Nature Boy. I’m assuming that was Eden as well.

BH: Yes. That was the last year of the Insomniac. I believe they were down to two then: just Eden and Gypsy. They played, and the girls showed off the latest fashions, which would have been closer to hippie by then.

BC: Any last memories of Eden you want to mention?

BH: Just that he was a gentle spirit and everyone at the Insomniac loved when he came around. I think he’d be happy that people still recognize him as a pioneer.

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