Copyright ©2012 NPR. For personal, noncommercial use only. See Terms of Use. For other uses, prior permission required.

MELISSA BLOCK, HOST:

We're going to stay in Austin now for some music. More than a decade ago, a band called Cotton Mather recorded an album. It was never released on a major label and it's been out of print for most of the decade. The band has broken up, but the album got raves from some big names.

Noel Gallagher of the band Oasis declared it amazing. London's Guardian newspaper called it the best album The Beatles never recorded. The album is called "Kontiki" and now, thanks to some fans, it's being reissued and the band is reuniting for the South by Southwest music conference.

From Austin, here's David Brown of member station KUT.

DAVID BROWN, BYLINE: Cotton Mather front man Robert Harrison still writes and produces for himself and others out of his home in Austin. Sitting in his living room studio, he pulls out a box of tapes with labels like Jeff and Blaine, the names he used to keep track of literally hundreds of dubs. He pops one into an obsolete player and, suddenly, it's 1997 again.

(SOUNDBITE OF MUSIC)

BROWN: Where were you when you did that and what was going on?

ROBERT HARRISON: That was in a little house in Tarrytown in this tiny room, not a proper recording environment at all, but we put quilts up with clothespins so it was like a cave like you'd have, you know, when you were in junior high school, you know, some cool lamps and stuff like that. So we really felt like we were in this little netherworld and, as you can hear, we kind of were.

(SOUNDBITE OF SONG, "LILY DREAMS ON")

COTTON MATHER: (Singing) Lily, I hope you picture me in your dreams. Put down your King James Bible. You don't need no kings.

BROWN: Originally, Harrison had been working on several of "Kontiki's" songs at a studio in L.A. Then, he parted ways with his producer and decided to craft the album on his own.

HARRISON: My mother had recently passed away. My heart was feeling kind of blown open and music had taken on a different purpose for me. It was about, you know, healing. And I think, up until then, I had been trying to sort of please other people, write music that was very clever, that might have convinced people I could have gone to graduate school, had that been my ultimate design.

(SOUNDBITE OF SONG, "HOMEFRONT CAMEO")

COTTON MATHER: (Singing) Everything is better. The boss has made a cameo.

BROWN: When the finished product did come out, producer Biff Kennedy says that the reception was lukewarm, to put it politely.

BIFF KENNEDY: I don't think so, Biff. Call me again when you get real work. I think that was probably more of the overall reaction.

(SOUNDBITE OF MUSIC)

KENNEDY: There were clearly pockets around the country with, you know, some very progressive and aggressive programmers that did connect to the record immediately.

(SOUNDBITE OF SONG, "HOMEFRONT CAMEO")

COTTON MATHER: (Singing) Listen to him twist her faith. He's been out there all day sleeping on the laurels of a face from long ago.

BROWN: The folks at WDET in Detroit responded immediately. The people programming WFPK out in Louisville, same thing. We love this. This is exactly the kind of record we're looking for.

(SOUNDBITE OF SONG, "MY BEFORE AND AFTER")

COTTON MATHER: (Singing) She picked me out of the millions.

BROWN: If Americans didn't quite get it, it was a different story on the other side of the pond. Mojo magazine prepared a full spread and, suddenly, Cotton Mather was not only headed for Europe, by all appearances, headed for the big time, too.

Then, Harrison suffered another blow.

HARRISON: My father had passed away very unexpectedly just days before all that stuff happened and I'm hearing all these people say, you know, Oasis has said you're the bomb or whatever. I didn't even have any place to put that kind of information. I had just buried - you know, I just lost my hero, you know. And so I didn't feel very celebratory. I didn't feel very much like a rock star.

BROWN: When they got back to the States, Harrison says everything kind of stalled.

HARRISON: We really should have come out of there with another record deal. That, I think, kind of got botched. And so "The Big Picture," which was our next record, ended up getting delayed and that was our final record.

BROWN: Within a few years, Cotton Mather would be no more and "Kontiki" would be out of print, but many critics and musicians count "Kontiki" as a pioneer of the do-it-yourself ethos that has come to be an industry standard today, a powerful influence on musicians like Randy Reynolds, leader of the Austin band Leatherbag.

RANDY REYNOLDS: This is such a forward-thinking record in its style and its recording concepts and within its songwriting. I mean, no one - in the middle of the '90s, doing Beatles-esque things was not the coolest thing in the world to be doing.

BROWN: Well, some people thought it was cool.

BRITT DANIEL: I loved the record and I felt like I had something to shoot for. I had something that was being made in my hometown.

BROWN: At the time "Kontiki" came out, Britt Daniel was launching his band, Spoon. Today, he's among many fans who pooled their resources on Kickstarter for an official re-release. Daniel says he still listens to "Kontiki."

DANIEL: I wasn't really sure how they'd done it, but they had done it. They had made something that was real and moving and still sounded hot and out of control and wild.

HARRISON: I hear that and I find it very moving.

BROWN: Cotton Mather front man Robert Harrison doesn't dwell much on how long it's taken for "Kontiki" to achieve cult status.

HARRISON: We knew it was really special. There was something very magical going on. It's like the cosmos was giving us a big hug and saying, well done, boys.

BROWN: This week's Cotton Mather reunion at South by Southwest is supposed to be a one-time thing, but as Harrison discovered long ago, when it comes to all things "Kontiki," the future may have other plans.

For NPR News, I'm David Brown in Austin.

(SOUNDBITE OF MUSIC)

Copyright © 2012 NPR. All rights reserved. No quotes from the materials contained herein may be used in any media without attribution to NPR. This transcript is provided for personal, noncommercial use only, pursuant to our Terms of Use. Any other use requires NPR's prior permission. Visit our permissions page for further information.

NPR transcripts are created on a rush deadline by a contractor for NPR, and accuracy and availability may vary. This text may not be in its final form and may be updated or revised in the future. Please be aware that the authoritative record of NPR's programming is the audio.

Comments

 

Please keep your community civil. All comments must follow the NPR.org Community rules and Terms of Use. NPR reserves the right to use the comments we receive, in whole or in part, and to use the commenter's name and location, in any medium. See also the Terms of Use, Privacy Policy and Community FAQ.