Did we mention it’s a wild psych rock gem?
By Uncle Blurt
Dear, revered BLURT-ers: as you know, we toss stuff out to you in a mixture of editorial verbiage, cut /n/ paste commentary, and outright press release hype, depending on the topic at hand. Sometimes we tell you which is which; sometimes we don’t, presuming you can figure it out on your own based on the position of italics and quote marks; and sometimes, we just feel honored to offer up the entire, unvarnished press release provided by the label, band, or public relations flack. If you are a music lover and collector, you don’t always need us as a filter – but if we can serve you as a conduit in the interest of sharing the wealth then our mission is secure.
So here we go. The artist is Stephen David Heitkotter, the album is Black Orckid, and it is to be released by the archivists at Now-Again Records, whose work thus far we have long admired and frequently expressed our admiration for in print. This one looks to be no exception….
Psychedelic rock record collectors have been repeating the name Heitkotter as if it were a mantra ever since the first copy of a hand-made demo LP turned up in a Los Angeles music publisher’s reject bin, with nothing more than that word scrawled across a plain white jacket.
The venerated record dealer Paul Major – he behind the “real people music” phenomena, and a wizard of deciphering lost and fuzzy sounds, capable of bringing them into a context that a lay-person might understand – lost a battle in his analysis of the LP in the early ’90s. His words still ring true today, as he calls Heitkotter a “banging garage downer LP from the twilight zone [with] wasted up-all-night vocal shrieks and mumblings… Totally fucked up sounding, drives me crazy within minutes.”
Now-Again Records embarked some years ago on what seemed like a fruitless crusade – to find out more about this Heitkotter, his music, his story. In the process, we’ve visited the house where this confounding album was recorded, found Heitkotter’s musicians, rescued the demo-recordings that paved the way for this album, uncovered unpublished photos and paintings by the man behind the album, and are now ready to present the definitive look into a musical vision equal parts dangerous and peaceful, nihilistic and optimistic. It’s safe to say the world has never heard something like Heitkotter – it is a unique piece of art unlike anything that came before or has come after it.
Stephen David Heitkotter was a Fresno, California kid who came of age in mid ’60s. He was the drummer for the Fresno garage wunderkinds the Road Runners, and even wrote a song for the band, ‘Pretty Me’, for one of their lauded 7-inch singles. Nobody really knows what happened after the band split up, victims – like many garage rock bands – of the Vietnam War draft.
Stephen never made it to Vietnam – some say his meeting with the draft board is when he first started showing signs of mental illness. He stayed in Fresno and became a bedraggled post hippie who left the Age of Aquarius defiantly proclaiming that he would become a singer, songwriter and visual artist: Black Orckid.
The bizarre LP known as Heitkotter – recorded in around 1971 and pressed in a run of less than twenty five copies – was culmination of his artistic career. Ross Dwelle, Stephen’s childhood friend and the drummer on the record, describes the bedroom sessions in a handsome Craftsman home in Old Fresno as this young trio “trying to play five songs written by a man losing his mind… probably stoned the whole time.”
Stephen’s schizophrenia worsened in the ’70s. Towards the end of the decade, his parents – loving yet exhausted – institutionalized Stephen, and he has been the State of California’s ward ever since. His older brother William – who licensed Heitkotter for release on Now-Again – still sees his Stephen once a month, but he never mentions Heitkotter or its legend to him – Stephen himself is incapable of fathoming it in context, and it might tear him away from the fragile rope that still moors him to this earthly reality.
Heitkotter, this time issued as Black Orckid, as we assume Stephen would have wanted it – is too complicated to be written off as a symptom of a greater ill, or lionized by a few (and dismissed by the majority) as “outsider” art. It’s a rare and vital look at 60s and 70s American rock through the sad story – and incredible music – of an untethered soul. And as we hope to show in enlightening more of Stephen’s backstory, it can also be considered sweet, kind and optimistic. The Heitkotter tale is cautionary, but Stephen’s music is as close to the sublime as American rock has ever ventured.