Roy Rutanen | Interview | “Lost Classic of Acid Folk”

Roy Rutanen’s self-titled album has remained a best-kept secret among psych and acid-folk collectors ever since its original release in 1971. PQR-Disques plusqueréel will offer an exciting reissue on vinyl, out October 30th, 2023.

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What could have been the solid foundation for a promising career in the music industry was abandoned due to the lack of label support, subsequently surviving as a one-off museum piece, accessible to a select few who can afford the price commanded for original copies. This is the time for Roy Rutanen’s music to shine through with his unique combination of moody acoustic bliss and acid-drenched solos, all of which are epitomized in the ‘Trip Song,’ the 10-minutes long magnum opus of the album. This long-awaited vinyl reissue is limited to 500 hand-numbered copies, 200 in gold and 300 in black 180gr. vinyl, fully remastered by Yuta Yamazaki (Marquee/Avalon), and includes an insert with Roy Rutanen’s official biography, as well as never seen before pictures and memorabilia.

“Living the life you want to live”

It’s really exciting to discuss your music making. Did you ever think we will talk about it so many years after the initial release?

Roy Rutanen: That never crossed my mind. Years ago someone uploaded the album and two singles on YouTube, compliments posted from time to time, and dumbfounded that original copies of it were, and are, in demand by collectors priced online at $610.00 and over 3,000 euros. An exciting, inspiring experience, I’ll never forget. A lasting tribute to what can be accomplished through the magic of camaraderie.

Let’s discuss your background. Where did you grow up and what can you tell us about your family and the early days?

I was born in Putnam, Connecticut and was raised in Southbridge, Massachusetts. We were a dysfunctional family (1 of 4 kids) with an alcoholic father, abusive, tumultuous, frightening, humiliating, embarrassing. I was a troubled kid in school. I grew up wild in the woods.

Did you have a certain place where you and your friends hang out and discuss music back in the early days?

Music was played and discussed in the homes of friends.

Did the local music scene influence you or inspire you to play music?

Folk music was popular then. Thanks to our mother the door was open to musicians, singers, folk, jazz, and rock and roll. I was influenced by Chet Atkins, The Ventures, The Beatles, Dave Brubeck, Ray Charles, The Temptations, The Shadows, Santo & Johnny, Classics IV, Mozart, Bob Dylan et cetera.

Were you in any bands back in the 60s? Are there any recordings left? Maybe even unreleased?

Yes, The Illusions. No recordings.

How did you first get interested in music? Was there a certain moment that made you want to become a musician?

My mother was truly an exceptional, talented, amazing pianist! She didn’t just push keys; she played with emotion, sensitivity, and soul. If I said the dream of fame and fortune, and meeting girls wasn’t part of it, I’d be lying. A friend and I learned to play guitar, got pretty good, and played here and there. The gratification of writing songs that attracted attention, and notoriety inspired confidence in my creativity was the spark that ignited my passion to be a musician. Regrettably, too immature and naïve to realize it was a double-edged sword and suffered the consequences of focusing solely on my passion for music, and not the business.

You were drafted to Vietnam. That must have had a big impact on you. Tell us what was it like for you?

It broke up a serious relationship, and our band. Without question, I was born without the disposition, ability, or conscience to kill, and not crazy about being killed, and signed up for three years not two so I could choose a position in the Army. I was stationed in Würzburg, Germany (F time in a group entertaining troops) when ordered to Vietnam. It was upsetting, aggravating, and disconcerting, but what really pissed me off was leaving a gorgeous, intelligent, funny, girlfriend, and enjoyable lifestyle behind. Somehow I knew I wasn’t going to die and didn’t.

Did you play a lot before going to the studio to record your album?

Days and days, hours and hours structuring and rehearsing for the album.

What are some clubs and artists you shared stages with?

Doug Ashdown, Bobby Gebert, and countless, long forgotten, musicians… PACT Theater, clubs, coffee houses, and TV shows, in and around Sydney.

How did you get signed to MCA Records and what were the circumstances surrounding the contract?

Soon after arriving in Sydney, I went to a studio, recorded several songs and was referred by the owner of the studio to Jack Argent at MCA. I continued to perform, write songs, and be interviewed by newspapers and magazines. All I can say is, one thing led to another, I signed a contract, got a band together, and recorded an album.

What’s the story behind your debut album? 

The album was recorded at United Sounds Studio, Sydney with producer Alan Freeman. As I recall, two or three sessions. Recording engineer was Spencer Lee.

Who else appeared on the record?

Graham Hilzinger – flute
Ken Kitching – steel guitar
John Hayles – classical guitar
Ray McKeown – drums
Mick Norris – bass
Ian Robins – electric guitar

Please share your recollections of the sessions. What were the influences and inspirations for the songs recorded?

Songs were recorded live. Limited re-takes. Human interaction, concerns, unrequited dreams, alternate perspectives is what inspired me the most.

Can you share your insights on the album’s tracks?

‘Plastic World’
A study of hypocrisy, insincerity.

‘Hitchin’’
Living the life you want to live, not a life you have to live.

‘The Trip Song’
A musical interpretation of tripping.

‘The Old Man’
Written on the kitchen table at home before leaving for Vietnam.

‘Anti-Stink Song’
Pointing out the need for hygiene.

‘The Country Song’
Longing to leave the chaos of the city or a peaceful place.

‘Sinful Man’
Don’t want to be one.

‘The Last Song’
Do more than survive, strive to make the world a better place before you die.

Who did the album cover artwork?

Willy Mobbs did the cover artwork.

How many copies did MCA Records release? What was the initial reaction? Did you get any airplay at all?

Around 400 or 500 – I think. I get none. ‘Your Day is Comin” got airplay, but nothing else.

What about gigs that followed the release of your album?

I did a few before leaving for the US.

What did the press say?

I got quite a bit of publicity but unaware if, or what was written. However, it’s been referred to as “acid, psychedelic folk” online.

What happened next? Were you involved with music later in the 70s and onwards?

Yes, very much so. But not mine. I went into broadcasting music on the radio.

As a songwriter, what makes a good song? How did you usually approach songwriting? Do you have a certain process or it depends on the situation?

Maybe I’m too old, biased, out of touch, or a cantankerous complainer, but in my honest opinion rap, hip-hop, mass produced, cookie cutter, formulated, repetitive, cacophony of today isn’t music, it’s offensive.

I spent eight hours or more, day after day practicing, experimenting with chord progressions, coming up with lyrics for songs in progress, and inspirations for new ones. I was influenced by human interaction, friends, environmental concerns, personal perspectives, love, living on Manly Beach, and working part-time in a leather shop.

What currently occupies your life?

Transitioning from writing news to fiction…
Living a simple, peaceful life…
Paying bills…
Spending time online…
Staying in touch with friends and family…
Caring for Abby, a rescue cat…

Klemen Breznikar

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