Here’s a little collection of photos of a very young Parousia honing our chops in a surreal fiberglass lined basement. Classic.
We suspect this is the basement referred to by Joseph Michael Mahfoud in this Buffalo Rising article. Kind of cool to be mentioned in the same breath with Talas and Spyro-Gyra by such a talented guitarist and dedicated musician!
Gerry shares some memories of Neb and the very early days of the developing Parousia:
Neb was a great musician, a good friend of ours and an avid supporter of Parousia. He owned a double-neck Gibson guitar similar to the one Jimmy Page played. Neb would let Garth use it when we performed the Led Zeppelin song, “Stairway to Heaven” (full version with flute-o-phone) at McVans.
Like me, Neb lived in Riverside and in those days (as we often did), we were looking for yet another place to rehearse. The extreme loudness of our seven member rock band (plus entourage) forced us to migrate from space to space always relying on the kindness of friends and family to help find us a new “home” to practice and write our songs. Neb was nice enough to convince his parents to let us rehearse in his basement. It was tight quarters in that room as you can see and we were surrounded/heavily exposed to pink fiberglass. Neb built that room to be well soundproofed and back then no one knew about the full hazards associated with fiberglass. We certainly knew how itchy it made us feel.
Our time at Neb’s was short lived however; his parents couldn’t handle our band traipsing in and out of his basement at 4:00 in the morning after our late-night gigs at McVans and Brush Gardens, etc. Anyway, hats off to Neb for giving us the space to do our thing.
Neb and Parousia’s relationship actually began around 1976. Around that time we wrote a song with Neb called “Prisoners of Nature”. We recorded it in the basement of Mike Newell’s house (our bass player). It was a seven minute rock extravaganza with a “Pink Floyd meets the Doors” kind of quality to it. I say the Doors mainly because of the Vox Jaguar organ that Steve Soos used in the song. I also recall that we recorded every instrument using a generous amount of flange or phase shifting effects… very spacey and swirly… except the vocal track. The lyrics talk about how man is extorting nature for his own personal gain and destroying the beauty of the Earth… a very timely message for the mid-seventies I suppose.