1) From www.allmusic.com
(by Richie Unterberger)
British band Moonkyte issued one obscure folk-rock-psychedelic album in the early 1970s, Count Me Out
. It has a tangential similarity to the work of the Incredible String Band and like-minded acts in its bemused aura, odd and sometimes surreal lyrics, and hints of exoticism, prominently using harmonium as well as a bit of sitar. It's more rock-oriented, however, both in its vocal harmonies, and its usual reliance on fairly standard rock instrumentation. The tunes are lilting and folky, and the words certainly enigmatic even by some acid folk standards - not only are they often impressionistic and nonlinear by pop measures, but at times they're pretty goofy. Some quite pleasant, soothing background harmonies help normalize the proceedings a little, and aftershocks of the late-'60s psychedelic era are heard in the sitar on "Way Out Hermit." Much of it has the tinkerbell fairydust air heard in British Isles folk-rock from the Incredible String Band and Donovan on down, though "Lead This Sinner On" and "Happy Minstrel" have an earthier busking bluesy feel that exposes a more direct lineage to the angrier school of '60s folk.
2) From www.justaddnoise.com
Continuing in the far out psychedelic side of folk is Moonkyte. And in fact, it's more psych than it is folk. And considering this, their lone album was endorsed by (and had original liner notes written by) John Peel in 1971, who else do you really need to recommend it to you? Just consider this one included in the list of required listening for fans of late 60s early 70s acid-folk.
3) From www.indieworkshop.com (by Adam Richards)
This album, as a whole, is pretty damn good, although not extraordinary. Yet, it contains extraordinary moments. It's actually much better than many of the more recent rare-folk 'discoveries' that I have heard. It is, undoubtedly, tripped out. It was recorded and released in 1971 and even caught the attention of John Peel, who penned the original liner notes. Count Me Out
is no exercise in mediocrity. It is heavily steeped in the gloriously drugged psychedelic folk scene of the time, along with some mild doses of rock awareness. There are dreamy backing vocals, occasionally devilish beats and rollicking, almost swanky, electric bass lines throughout.
The album is, all in all, a strong effort, one much deserving of attention. Case in point: 'Girl Who Came Out of My Head', a song so good that I am amazed it has not popped up elsewhere (to my knowledge). This cut is the finest cohesion of what Moonkyte offers. All of the elements that are present over the course of the entire album are fully realized here. Between the swaying harmonium, rich, multi-tracked backing vocals and a striking, ethereal sounding female vocal making a brief appearance, we have a diamond here. Worth the price of admission alone. Luckily, you get more. The opening track, 'Search' gets the whole album off to a jumpstart. The harmonium and the backing vocals and the swinging bass line announce the tweaked-out trip you are in for. The album is, all in all, a strong effort, one much deserving of attention. The wider discovery and availability of this Moonkyte album stands as a prime example of what good may still exist hidden out there, and reason enough to cautiously continue down the road with further psych-folk re-issues.
4) From www.terrascope.org (by Tony Dale)
One of the most engaging and consistently surprising British acid-folk LPs. a deceptively spare, but in reality quite layered and intricate sonic landscape. Reference points in order of orbital distance would be Forest , COB and the Incredible String Band, though Moonkyte seems further from folk and deeper into damaged drug-experimentation than any of these contemporaries. The record finds its mojo in a big way with one of the great sitar headswirlers, 'Way Out Hermit'. Accompanied by droning bass and hissing cymbals, Dave Ambler's excellent sitar work builds a spidery moonlit staircase to the top of a mystical tor, while Dave Stanfield's zoned vocals weave skeins of mist around all. Unfolding like a lotus petal, it's acid folk at is most inwardly focused and levitational, immaculate in both conception and execution. All-in-all, a thoroughly marvellous slice of early 70s acid-folk strangeness.