Reprinted from the liner notes to the song-poem compilation album, The Beat Of The Traps (Carnage Press).

Wild music; crazy lyrics. Beautiful music; perfect lyrics. You get all this and more with these kinds of records. Strange sounding cheap early electronic keyboards like the Mellotron; out of control drum machines. Normal-sounding budget session musicians; drunk or something sounding session musicians. And singers who usually sound like they never saw the words to the song until the recording light was on. They probably recorded 50 of these “songs” in one day, sometimes using the same track more than once. It is this kind of set-up that can produce innocently beautiful works of art.

The ads in the back of magazines would say “Send us your poems or song lyrics and we’ll get them recorded. Big money could be yours!,” or some such come-on. What it turns out to be is that you pay them to put music to your words, then they send you a couple of copies of it on their label. And that’s all they do. There are many of these companies, but the king of them all would have to be the MSR label of Hollywood, California — now, sadly, defunct. Sometimes the song would be pressed on a 45, sometimes on an album collection, maybe with a picture of the house composer to help convince the customer that they’re legit.

One day in 1971 I was looking at some albums in a surplus hardware store that had bought out a radio station’s record library when I saw an album on MSR Records called Variety Songs For ‘69. It had a cheap stock cover with a big musical staff and song titles like “Richard Nixon,” “More On Ode To Billy Jo,” and “Beat Of The Traps,” and the back cover was blank. It looked like something I’d better get.