Now, the band was starting to gel. Andy, Paul and I all wrote songs. Paul and I generally wrote together, but sometimes one or the other of us would bring a completed song, then came the editing. The arrangements always happened collaboratively. When we first started writing, we made the decision to copyright everything as P & D Cavanaugh. The writing was so intertwined, even on those songs we wrote individually, that it made sense. Over time, we even tended to forget who originated it. But some stood out as either Paul’s or mine. “Visions of an Airplane” was definitely Paul’s. It was written over the course of many years. In 1974, he had read that a suite consisted of five distinct parts and quickly decided to take on the challenge. In 1975, he wrote the first part in Santa Cruz, California. The second part soon followed. In 1977, while back in Connecticut, we lay on our backs in the middle of a football field tripping during a meteor shower while Paul composed the third part on my nylon string guitar as bats came swooping down a little too close for comfort. The fourth and fifth parts were written in Oregon in the early 80s. Another song that Paul wrote was “Long, Long Night.” I so vividly remember that song. I had been on the other side of the country visiting family for a couple of weeks, needing a serious break from the fighting, considering whether or not I could keep living with such an angry man, and then coming home to that love song. Paul always knew how to mend our rifts.
All of the members of the current lineup of General Eclectic had experience with psychedelics, so we were all on the same wavelength musically and psychically. We even tripped together to solidify that connection. I loved playing music on psychedelics because it dissolved all of my inhibitions around music. I reached for new heights without the fear of falling. I rarely played the piano because it brought up too many frightening memories, but I played it when tripping because nothing could hurt me in that psychedelic haze. I knew that these drugs had saved my life. You’ll notice that I don’t write a lot about my early life, just little glimpses now and then. There are good reasons why I’m not yet ready to share those dark times. LSD, mushrooms, mescaline, peyote … all healed my wounds. I still had scars, but I didn’t notice them as much. And I was convinced that it could heal others, too. Paul was in the same boat. Although he still had big anger issues, he seemed to be more grounded after tripping. He was more connected with the outer world and less ruled by his inner world. We also admired the West Coast scene especially The Grateful Dead and Ken Kesey and the Acid Tests. Because of all of these factors, we decided to put on our own Acid Test.
The original idea was to do three of them because three was the magic number for us after finding a bamboo bong with a Chinese inscription about the power of the number three. We started organizing the first one with a musically diverse group of friends, and the idea took off. When trying to figure out how to best distribute the doses, it was decided that it shouldn’t be in actual Kool-Aid. That seemed too risky. That meant someone had to be in charge of it, and I was nominated. Everyone thought that I was probably the most responsible party. Ha! I have to laugh at that now. We made the flyer with hints about the event activities and mostly depended on word-of-mouth. Word went out that if we were booked as The Eclectic Koo-aid Band, it would be one of these unique events, and word got around fast!
That evening, I was handed a piece of foil with plenty of hits of blotter. Paul and I immediately took one each, and I folded the foil back up. The room was set up with a liquid light show. I had borrowed an overhead projector from the school, not telling them why I wanted it. We put two Pyrex pie plates on the surface with cooking oil and food coloring that swirled around and was projected on one wall. Our friends from the band Con Demek showed black and white porn films on another wall after being asked to stop showing them on the band while we were performing. The people downstairs in the “smoking section” were blowing smoke up through the holes in front of the stage, and the place was packed! Within the first couple of hours, the neatly folded tin foil was now a ball of foil in my hand with little bits of blotter sticking out. I found a friend who was not imbibing, handed it off to him babbling something, probably gibberish, and left him shaking his head.
We had many different musicians and bands including some impromptu jamming. There were partiers on all three floors of the building and even outside lining the sidewalk. It was an amazing event. So, we decided to do the second. This time I was smart enough to put someone else in charge of the psychedelics so that I was able to just concentrate on running the show. Mostly though, the show ran itself and I was able to enjoy the fruits of my labor. We were starting to plan the third and final test when the real owner of the Half Moon Café returned to Albany. There was a loose collective of young people running it up to then. Now things changed. When I went in for the first time to meet him, he started complaining about all of the crazy things that he’d heard went on there. “Did you know there was an actual Acid Test here,” he asked. To which I replied, “Wow! Crazy, man.” I always tried not to lie outright and didn’t then. He and I became friends, but I never did admit that we had been the ones responsible. And, although Paul and I tried to build up the energy and excitement for another one, we knew it couldn’t be there and never found another suitable and safe site.
We continued to play at The Half Moon and possible every local bar in town. People either loved us or hated us. There was a review in The Backroom Buzz about a show we did at QE2 that described the band as “a bunch of aging hippies with a lead singer who looked like a milking cow and sang like a cat in heat.” You can imagine what that did to my self-esteem. I was devastated. I didn’t want to go out of the house let alone go on a stage again. All of our friends were horrified and encouraging but it wasn’t until Paul came up with a new poster idea that I agreed to do another show in Albany.
We printed quotes from the article with an illustration of each taken from underground comics, The Fabulous Furry Freak Brothers, Mr. Natural and more. Then we added everything we could find that our fans and other press had said about us. Paul convinced me that we should use these terrible things the reviewer had said to our advantage. Our next show was standing room only, and I developed a thick skin. I didn’t care any more about getting publicity or reviews or any accolades. I was doing my music for myself, and if people liked it that was a bonus, but I no longer needed that reassurance. This was huge after being put down as not being good enough by my dad throughout my life. And it was a relief. Oddly, I sometimes feel thankful for that horrible review. It's reminded me that my music is ultimately for me. I'm happy when others enjoy it, but I do it for myself first.