Oho | Where Words Do Not Reach

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Avant Garde: Free Improvisation Rock: Avant-Prog Moods: Instrumental
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Where Words Do Not Reach

by Oho

Takes the listener to a time and place no longer present in the phenomenal world, although its spirit remains available to access through doorways such as this instrumental music provides.
Genre: Avant Garde: Free Improvisation
Release Date: 

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  Song Share Time Download
1. Board Organ
7:33 $0.99
2. Nocturnal Recurrence
3:12 $0.99
3. Albumblatt
3:18 $0.99
4. Hogshead (Slight Return)
0:32 $0.99
5. Motion of Motion
1:46 $0.99
6. Snow Lady / I Crawled (Edit)
3:22 $0.99
7. Aubrey Circle Dance
4:10 $0.99
8. I Could Not See Till I Opened My Eyes
5:12 $0.99
9. House Party
3:05 $0.99
10. Trick or Treat?
4:00 $0.99
11. She Could've Been Monroe
1:29 $0.99
12. Dog Lane
3:30 $0.99
13. Non-Sex Nonsense
2:39 $0.99
14. Nazi Dog Jam
16:45 $0.99
15. Scared Money (Don't Win)
2:55 $0.99
16. Peradam
2:35 $0.99
17. Arclight
3:52 $0.99
18. Slough of Despond
4:31 $0.99
19. Unique
4:58 $0.99
Downloads are available as MP3-320 files.


Album Notes
"Where Words Do Not Reach" presents the instrumental music composed and performed by the artistic Baltimore collective of artists and musicians known as OHO; covering the period 1974-2015.

OHO? Aha! That's a name that rings bells. Baltimore's answer to Pink Floyd, an American underground icon, a band that came out of nowhere playing music the chroniclers swore was years ahead of its time. OHO sneaks around the musical conventions that have mummified so many others, unleashing sliders where you'd expect curve balls, fast balls where you'd expect change-ups. Part of its their sense of humor, part of it their unerring humanity. A curious anomaly, the band was totally out of synch with current musical trends when they formed in late 73, a five-piece multi-instrumental, avant garde, acid-progressive band from Baltimore with a do-it-yourself lifestyle and album/label/outlook who were either seven years too late or seventeen years too early. They remain enigmatic, but certainly made some daring music in their time. Like the Residents, these guys seem to be an artistic collective of some sort having released albums, a single, various tapes and literature demonstrating their own demented aesthetic. OHO is one of those curious oddball bands who existed in the pre-dawn of the independent label revolution. Definitely, one of a kind and all in good fun...its got to be.

The story begins around 1970 at a Baltimore club called "Bluesette." Mark O'Connor, Joe O'Sullivan and Jay Graboski played there in a group known as Quinn, setting a pattern for the next quarter century and beyond. "Blues was the thing then," remembers Mark O'Connor," and the bands were doing Taj Mahal, I-IV-V chords all night and jamming. We were playing early Edgar Winter, originals and whatever we liked. So even in an alternative club we were outsiders, and we've been going against the grain ever since." In 1971 Mark, Jay, Jay's brother/drummer Jeff and Trent Zeigen formed Little Hans, a gothic-progressive quartet featuring two keyboardists, guitar and percussion. The band recorded an epic 42 minute rock fantasy based on the Peter Pan story and a trio of songs engineered by Richard Kunc, former Director of Engineering for Frank Zappa's Bizarre-Straight record label. Mark left after a year and a few months later Little Hans disbanded.

In 1973 O'Connor with friends Steve Heck and Joe O'Sullivan began a period of crazed experimentation that would lead to their most infamous incarnation. Retiring to O'Sullivan's basement, they delved into what O'Connor describes as "really chaotic stuff, just making noise, total nihilism. We had no intention of recording, it was just a release from boredom." Taking the three initials of their last names, they called themselves OHO.

Soon the guys were putting music to a stack of free-form poetry they had written, and as things became more seriously non-serious, Jay Graboski and fusion drummer Larry Bright were invited to join. OHO was the combination of several individuals intertwined before and since in various ways. This latest collaboration resulted in a debut album that people are still reacting to.

"Okinawa" is OHOs first album now available as a 4-10" vinyl set so strong it comes in a metal box. Recorded in January 1974, it is astonishingly full of weirdness that falls somewhere in Syd Barrett-era Floydland: some psychedelia, some art noise, some bizarre theatrics; but all-around inventive and well crafted. OHO combined the theater-rock-dialogue format of Genesis with the crazed-rock styles of "Wild Man" Fischer and Capt. Beefheart. Musically more progressive than psychedelic, an hour of "Okinawa" and you'll be carried away, via a weird pastiche of post-Zappa logic and Christopher Milk-like Anglo worship, to the tangerine jungle of marshmallow madness. Germany's Hanf magazine called it "Sgt. Pepper's for the advanced listener." The record was released in July, 1974 to less than enthusiastic response, offending the conservative Baltimore community with its rawness and disregard for convention. "Okinawa" was one of the first albums released independently by an American band in the '70s. The group went through a series of harrowing experiences with individuals who said they could sell the album and ended up giving most of them away, relegating the original edition of this great album to its current staple status on the collector circuit where it usually commands a substantial minimum bid.

In June, 1974 OHO disappeared into Sheffield studios to record the follow-up, "Vitamin OHO", a different teapot of mackerel. "Vitamin" is a colorful collision between Henry Cow and Henry VIII, adventurous, jazz-flecked, elemental, chamber music fusing psychedelic and progressive moves into one fascinating whole. More acceptably prog-complex than its forerunner, this disc still has enough screw-loose guitar, Canterbury-odd lyricism, and genial psychedelic whatsis to make a aurally arresting piece of a sonic puzzle that's slowly coming together. "Vitamin OHO", released in 1991 on Little Wing, has enough mellotron, synths and Frippian guitar work to satisfy the most discerning prog-rock fan and is reminiscent of the days when albums were visits to miniature cerebral universes.

These psychotic eruptions from the hinterlands of Towson either put Baltimore on the map or removed it entirely. In 1974, during the "Vitamin OHO" sessions, the group met with Paul Rieger who recorded OHO in various basements for a university radio program. In '75 Rieger introduced the band to producer Thomas Apple who had ironically made a small fortune by investing in the wrong company at the right time. Under the Apple auspices the band recorded the tracks that comprise the final installment of the OHO album trilogy, "Dream of the Ridiculous Band." Though these sessions '75-'76 were uncharacteristically distinguished by the band's often forced acquiescence to the taste and whim of an outside producer, O'Connor credits Apple with revitalizing the band financially, attracting prospective recording contracts with A&M and Capitol records respectively both of which OHO charmed their way out of. There were more live performances with the quintet playing city fairs, outdoor rock festivals, the occaisional college concert and anywhere anyone would allow them to perform. "OHO was incredibly interesting," recalls Paul Rieger, "just way ahead of their time. They played The Steel Workers' Hall and it was a disaster because no one knew what was going on...There'd be someone onstage dressed like a pig carrying an axe or even crucified. Later, they started getting more serious, working hard on the music and getting standing ovations which was unheard of. Back then very few local bands were using synthesizers and mellotrons." OHO's garage-progressive iconoclasm ran four years ahead of the new wave. They were called everything from proto-punk "space toads" to the strangest American band since The Residents.

"Vitamin OHO" and "Dream of the Ridiculous Band" reveal OHO as a highly competent progressive band with hints of Crimson, Genesis and Grobschnitt: a very un-American sound. Like contemporaries Happy The Man, they were inventive, with accents on complex structures, unusual time signatures, dynamics and the exceptional interplay among the two guitarists Joe O'Sullivan & J.P. Graboski, keyboard whiz Mark O'Connor, bassist Steven Heck ,aka Nuna, and drummer "Gentleman" Jeff Graboski (aka Spink). "Ecce OHO", a collection of heretofore unavailable alternates and out-takes, features this line up. These selections from '74-'75 incorporate 6 studio tracks, 3 live-in-concert tracks and one four track, Paul Rieger recording.

By early '77, entropy had OHO in tow. Wanting funds and enthusiastically bankrupt, the group was unable to sustain the previously successful fusion of five creative and volatile personalities. David Reeve replaced Jeff Graboski in providing the band with its beat (Jeff died in September, 1987). A fourth aborted album, "OHO House", was intended to move toward a more basic style of music with straightforward arrangements. A handful of songs (including "Trick Or Treat?" featured on this downloadable compilation) were begun before things fell apart, with "Nazi Hund" and cassette recordings of pre-practice jams being the most remarkable. Mark O'Connor muses, "We never had a lot of high artistic notions about the whole thing. When people didn't like the music it wasn't 'we are artists,' it was just 'piss off.' We only cared about having a good time." By then the good times had been had...for the time being.

Jay and Mark continued to play through the new wave in Dark Side, Trixy & The Testones and Food For Worms but each of these bands is subject enough for a story of its own. The 1984 version of OHO recorded "Rocktronics", a 7 song EP produced by Jack Heyrman and WIYY DJ Ty Ford for the former's Clean Cuts records. The line-up consisted of Mark O'Connor, Jay Graboski and David Reeve from the original band, with frontman Gyro and bassist Mike Kearney from the Balkan-Bop band, Food For Worms. Roctronics' OHO was a snappy electronic group which blended new wave sensibilities before a deftly textured musical backdrop. Discouraged with the direction in which the band was being taken, O'Connor resigned. Graboski and Reeve left with the name six months later. They retired to Hit & Run studio in Rockville, MD, where over the next four years they wrote and recorded their next LP. The OHO moniker became synonymous with the word persistence.

In 1990, the eponymously entitled "OHO", released on Sky Records based in Norcross, GA, Recorded at 'Hit and Run Studio',imaginatively explored the affect of post-acoustic guitars...warily, with acid-folk edginess and trademark lyrical unpredictability. Combining Grace Hearn's stellar, unwavering vocals, bassist/engineer Steve Carr's crystalline production, Jay Graboski's assiduous songwriting and David Reeve's muscular rhythms, "OHO" encompasses elements of rock and progressive pop within impressively intricate arrangements and was listed as an "editors' choice" for 1990 in CD Review (06/91 Vol. VII Number 10). Three selections feature Jay's employment of the unorthodox, new-standard, C Pentatonic guitar tuning (C-G-D-A-E-G, from the lowest to the highest string) introduced to him by Robert Fripp in November 1985 at Guitar Craft VII near Charles Town, WV. Graboski, who has been experimenting with this tuning in his playing and songwriting ever since, remembers Fripp as having "very little respect for" the old standard tuning, calling it "an arbitrary botch."

In 1991 OHO signed with Little Wing Of Refugees based in Kastl, Germany. The label was founded in 1988 as "an answer to all the counterfeit rubbish that overflows the market," to the purpose of giving a wider audience the chance to hear great records that might be unaffordable for most as originals and unheard up to now because of their rarity. Little Wing records and compact discs were produced very carefully. Cover art and graphics were conceived in an early seventies tradition and necessary efforts are taken to guarantee the highest fidelity while remaining true to the intended sound of the master source. The label dedicated itself to the release of important but lost music of the seventies. Through the relentless persistence of label rep Ann Neumayer and the generous enthusiasm of its label owners, Rene & Gerlinda Dzaack, Refugees revealed the scope of their vision for 70s OHO music by releasing "Vitamin OHO" in 1991 and reissuing "Okinawa" in 1995 (also on vinyl and for the first time along with the previously unreleased balance from the original 1974 session masters); and "ECCE OHO" on CD in 1998, several thousand copies of which were included as part of a collaborative band/magazine/label promotional campaign in issue #28, the Summer/Fall 1998 edition of the quarterly music journal, Progression magazine. "Dream Of The Ridiculous Band", still marinating in its own juices, awaits its initial release (until then, 5 selections from this unreleased album are available at CD Baby, contained in the "Recollections Redux" OHO compilation). From July 1995 through mid-1997, Mark O'Connor, Steven Heck, Joseph O'Sullivan, Jay Graboski and David Reeve reunited for occasional performances after an eighteen year pause for the worthy cause. The 2002 OHO Music (OM052) edition of "Recollections" was also included as a CD bonus in Progression magazine #41, in the Fall 2002 issue.

In March 2008 OHO released their retrospective 2 disc CD/DVD "Bricolage" (available at CD Baby), an ambitious housecleaning consisting largely of previously unreleased sonic and video material (culled from their 1983-2008 "Mach III" phase), dominated by stunning female vocalization with tough lyrical musings, abundant hook-laden melodies, and intriguing arrangements of their jubilant, jangly folk/prog/rock.

21st Century OHO continues to play locally off and on as a trio consisting of keyboardist/vocalist, Ray Jozwiak, drummer/percussionist/vocalist, David Reeve, and guitarist/vocalist, Jay Graboski. In 2009 the band began work recording their proposed 50+ minute suite of new material, "AHORA!" And as "imagination stretches to match the long reach of time," look for it sometime after 2016. More at www.OhoMusic.com.



to write a review

Wayne Gucker

'I've been absorbing the new CD like a sponge. The breadth and depth of the material across the decades is stunning. I'm particularly enamored of the 2000's material, just because I haven't heard a lot of the newer stuff. Gorgeous acoustic playing, lovely tones. Stellar.

Robert Fripp/Pete Thelen (Expose)

Re: track #17 ("Arclight")
This "Arclight" track is the coolest! -Pete Thelen (Expose on-line)
Re: "Arclight"--"A good piece of work."-Robert Fripp

Alex (brother os actress Bess) Armstrong

Very cool.
I really like the OHO cd. It reminds me of some old Frank Zappa and maybe some early prog-rock like YES. I like the fact that the music is diverse, randomly arranged, and inventive. Very cool.

Steve Prescott (Terrascope.co.uk)

Meanwhile, back with OHO, their "Where Words do not Reach - The Instrumentals" c.d. was composed/performed over a thirty-one year period from 1974 to 2015 and employs the services of a huge host of instrumentalists, two football teams worth in fact. In amongst the windchime-ists and those fine purveyors of the french horn and hammer dulcimer, familiar names like Jay Graboski, Mark O'Connor, Joseph O'Sullivan, Larry Bright (Oho's drummer), and Dark Siders David Reeve, Jeff Graboski and Pete Wulforst are found to be in attendance. Though I'd say for sure, that guitarist Joseph O'Connor really steals this particular show. And while he's more tastefully submerged within the workings of "Dog Lane", "House Party" and the jaunty, Hatfieldesque "Aubrey Circle Dance", he really makes his mark on a number of surprising departures from the Oho main drag. Check out the bee-yoo-tiful acoustic guitar showcases "Motion of Motion" and "Albumblatt" (both dating from 1976 and perfection for those Fahey and Bashophiles amongst us...) and the 16.45 mins of "Nazi Dog Jam"; a bluesy slab of heaviosity from the same year. Though it's surely a little too early timewise for that title to be a tip of the cap to Steven Leckie a.k.a. "Nazi Dog" of canuck punkers The Viletones...but then again...

Michael O'Beirne

"Very impressed!"
Listening to your
instrumental opus today on. Very impressed. This is
great! Nice variety. Recordings sound excellent on my super
Marshall headphones. Keep up the good work as you
continue to unearth these gems.

Tim Yungwirth (guitarist, Your Solar)

"This is AWESOME."
So I am thoroughly enjoying "Where Words Do Not Reach". Thank you. This is awesome.

Ty Ford (Audio & Visual)

"Woiw! WTMD is really stretching out."
I've had it in the car recently. I'll forget it's in the player and start the car and then think, "Wow WTMD is really stretching out!" Then after a tune or three I remember. Parts of it make me thing of movie sound tracks (in a good way). Parts of it makes me think of Frank Zappa. I also really like the classical guitar pieces.
Then there are some sort of nuevo pop pieces. And those tunes with the trumpet…who's playing those parts? That's very fun stuff! Thanks Again! Good to know you guys are still at it.

Kirk Gauthier

Oho with No Words Is Truly Something Special
What can be said about Oho that hasn't been said already? Born in the mid-'70s as Baltimore's response to Pink Floyd (arriving a little late for the British Invasion), they fused psychedelic rock with the free jazz of progressive rock to create a very unique musical style. I came across the band accidentally a few years ago when my local record store had free download cards for the albums "Up" and "Bricolage," which showed the band extending their talents into the area of new wave, but I found myself very intrigued with the band's music. Lyrically, they come from somewhere that's way out of left field, and I often find myself scratching my head over where their lyrics even come from; however, musically, this band has a LOT of talent.

The recordings range from the band's early material dating back to 1974 all the way through 2015 with several new songs recorded specifically for this release. Some of the songs sound as if they were recorded live, although that could be the result of recording in a less-than-stellar studio. After all, Oho was and has really always been an underground band, adhering very strongly to the DIY ethics of the '70s-era punkers. All-in-all, if you really enjoy instrumental albums and are interested in progressive rock, this is certainly an album you should add to your collection. While eccentric, Oho has released some rather excellent songs over their 40-plus year history, and many of them are collected here.


Peter Thelen (Expose)

"Completely original in every way."
Have to hand it to Baltimore’s Oho, they are definitely one of the most eccentric bands in the annals of prog rock – take any two of their albums and they don’t even sound like the same band. Perhaps that’s due to a very fast evolution during their first few releases, starting with a psychedelic sound (on Okinawa) then quickly moving into a more progressive phase (Vitamin Oho) then continuing to evolve when players changed, members came in from side projects, and releases became more infrequent (although the band has continued to record over the years, many tracks remain unreleased), but through it all their output has been consistently top notch. Here we have an archive of the band’s instrumental material, 19 pieces total, spanning the years 1974 through 2015, featuring four different incarnations of the band, and as one might guess there are many different (and often divergent) styles featured herein. “Board Organ” opens the proceedings, a crazed seven-and-a-half minute romp through psychedelic electric jazz territory with a strong hint of Burnt Weeny era Zappa. It, along with the other first six cuts track the early-era Oho, including some from the never-released 1976 album Dream of the Ridiculous Band like the brilliant guitar acoustic guitar solos “Albumblatt” and “Motion of Motion.” Tracks 7-13 comprise the instrumental tracks for the aborted 1977 Oho House album, just before the band split up temporarily; those seven cuts are really all over the map – jubilant and celebratory, it’s clear the band was trying a lot of new and different things at that point, yet still nailing it every time. Following that we go back to 1976 again with the near 17-minute live stretch-out “Nazi Dog Jam,” a sure sign of the band’s psychedelic roots. The last five cuts here represent the more recent Oho instrumentals, from 1987 to present. Of these two tracks stand out as arguably this disc’s finest moments: 1990’s “Peradam” and 2010’s “Arclight,” twenty years apart, but both essentially guitar based pieces in NST (new standard tuning), the former featuring hammer dulcimer, trumpet, and wordless female vocals, the latter with beautiful violin accompaniment. Two cuts from 2015 are featured – “Slough of Despond” is a brilliant merging of blues and jazz musings in a rock context, but completely original in every way. Where Words Do Not Reach clocks in at around 80 minutes; that’s a lot of music to absorb, but surely worth the effort.

Shindig #67

"A bracing compilation"
From Shindig #67:
"Finally, clap like seals for the marvellous, palindromic OHO, misleadingly short-handed as “Baltimore’s answer to Pink Floyd,” and still out there doing stuff despite having released their debut album in ’74 and remaining under the radar for longer than a drone sub piloted by the Illuminati. Where Words Do Not Reach (The Instrumentals) ★★★★, OHO MUSIC CD) is a bracing compilation of performances recorded by a shifting OHO line-up over the course of their four-decade career, all undertaken with unquenchable brio. The Floyd comparison may allude to their occasional interludes of committed atonality (‘Snow Lady/I Crawled’, the back half of the 16-minute ‘Nazi Dog Jam’), but they’re a filthier, jazzier, poppier and thriftier proposition – sometimes like MX-80 Sound being strafed by The B-52s (‘Board Organ’), sometimes like King Crimson manhandling Jellyfish (2010’s ‘Arclight’)."
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