Lloyd Landesman is a multi-instrumentalist, producer, composer and engineer from NYC that started playing music very early on. At just the age of 19 he helped form a Ploydor Records legend and If anyone knows anything about Haystacks Balboa then your already quite familiar with their heavy riffs and the powerful keyboard melodies that Landesman threw down, but did you know everything before and after the record was released in 1970? Take a ride as Landesman takes us on a journey from his early upbringing in New York, the Baloba era and what he’s been currently working on in more recent years. Enjoy!

When and where were you born?

I was born in New York City, February 2, 1952

What was growing up like for you and when did you first begin playing music?

Things were fairly typical for a young working class kid. When I was 8, we moved to Forest Hills, N.Y. My neighborhood was rather anti-Semitic and I grew up with a lot of bullying and harassment. That part wasn’t a lot of fun, as it lasted nearly 8 more years. When I was 9, in fifth grade, I volunteered to play Tenor Saxophone in the school band. I quickly became the soloist and best player in the band.

Have you always played the keys, or was there interest in other instruments as well?

As I stated above, I played Saxophone. But there was always a piano in the house as both of my elder sisters played. Naturally, I’d sit down and figure out by ear current pop songs and did start studying piano at age 11. At age 6, I took one guitar lesson (inspired by Elvis), but didn’t really start to play guitar until my mid 40’s. I now have a small collection of guitars that I often compose music on.

L-R Donald Scalzo (Chris Donato), Paul Migden, LL, Stu Sobel circa: Spring of 1966.

What were some of your favorite past times as a kid?

Until age 12, the usual kid stuff. Sports, hanging with friends. After February 9, 1964, it was all music. The Beatles had arrived on Ed Sullivan. At 14, my career path was set.

Did you participate in any outfits prior to Haystacks Balboa?

There was a natural evolution of bands that I was in from the spring of ’66 till summer of ’69 when HB was officially formed. I was in a group called The Rat Pack and in the late fall of ’66, Mark Mayo, who recently moved to the area, joined as guitarist/vocalist. Obviously, this was a pivotal moment as the core of the band had come together.

L-R LL, Mark Mayo, Paul Migden circa: Fall of 1966.

What was the local scene like and what bands did you see around this time?

The local scene consisted of many like minded Beatles influenced kids forming bands. The future members of the Ramones, The Vagrants with Leslie West were among these. There had to be around thirty or forty bands, including mine. We’d play anywhere we could get a gig. School/Church/Synagogue dances, Bar Mitzvahs, etc. In the summer of ’67, the band had evolved (as my gear did, I had acquired a Farfisa Duo Compact organ inspired by Al Kooper/Blues Project) to playing clubs like the Cafe Wah, Cafe Bizarre, Cafe au Go Go. In January ’68, we opened for The Vagrants at Kutscher’s hotel in the Catskills. Big gig for a 15/16 year old!

Where would you go to see shows and were there any groups at the time that may have inspired you to pursue music yourself?

The Beatles at Shea August ’65, The Rolling Stones at Forest Hills July ’66, Murray the K’s Music in the 5th Dimension with Cream, The Who, Blues Project April ’67, and of course, The Fillmore East, Jimi Hendrix, Sly, The Who, Traffic, The Nice, and more.

When, where and how did you initially meet your bandmates Mark Babani, Mark Harrison Mayo, Mark Polott and Bruce Scott?

As I mentioned above, Mark Mayo and I joined together in an earlier “basement” band in 1966, so that relationship was established. I remember needing a drummer in the spring of 1968, and that’s where we hooked up with Mark Babani. For a brief time in spring of ’69, I was in a band called “Innovation Umbrella”. The bass player was Mark Polott. When that band dissolved shortly after, I brought Polott in with Mayo and Babani, and we had the core of the band. That was the summer of ’69. Bruce Scott I will discuss later.

That's a lot of Marks! What were your first impressions of the guys and what led to the decision to start a group? What commonalities and similar interests did you share with the others?

Indeed it is a lot of Mark’s! Again, two of them were classmates and bandmates for a while. Mark Polott seemed to know his “stuff” and was a big fan of Jeff Beck! We all loved music, and playing music. We each shared various artists we liked, but also individually like artists the others did not. But that made for interesting influences in the creation of our music. Some of those concepts were “edited” to fit the band’s sound. For instance, I was a big fan of British keyboard players, Keith Emerson, Jon Lord, Steve Winwood, Mathew Fisher, etc. The other guys were more into guitar driven bands and I was as well. Cream, Hendrix, Led Zep, and the aforementioned Jeff Beck. I remember Mark Mayo being a big fan of the Doors. Not me!!!!

The band started in '69, correct? Can you tell me about first forming the group and the beginnings of figuring things out? What was the band's writing process and approach to music like? How did you guys approach songwriting? What were those early rehearsals like and how did you guys land on the sound we now all know as Haystacks Balboa?

Again, three of us had been together on and off for three years. But this version of the band began July 1969. I believe initially, we started playing like most bands of the day, by jamming. Coming up with riffs and progressions, sequences of parts. The music was rock driven and was somewhat akin to the Allman Brothers but without the southern influence and coming more from a British one.

In other words, American music re-interpreted by white guys from England and then by us! The rehearsals were fun and exciting and we made a live two track instrumental basement tape. Our sound did evolve after this initial creative burst. I’ll get to that later! Another key moment was a year earlier when Mark Mayo and I stumbled across a Gibson SG Special in the window of a pawn shop in Jamaica, Queens. Asking price? $95.00!! Sold!

Promo shot of the band for Polydor Records (1).

As our gear progressed, our sound did as well. I was enjoying my Hammond C-3 and Leslie, although they hated having to carry that sucker around! In August, we were lucky enough to open for Paul Butterfield at the Pavilion in Queens as a quartet. Great gig!That September, our basement tape came across the desk of our future manager, Shelly Finkel. Shelly went on to become a successful concert promoter, (Watkins Glen and many more) and a world renowned manager of champion boxers, Evander Holyfield, Mike Tyson, Mark Breland, and many more. Shelly liked what he heard but we were still missing an important element. A lead singer! Along came a singer named Larry Cannon, and we shortly thereafter went into a small 4 track studio in the West Village called Charles Lane. There we recorded four or five tracks which became our demo.

The band was a minor local smash. Haystacks Balboa toured the country and had their 15 minutes of fame but still remained somewhat mysterious. In some circles the group was thought to be from Great Britain… via Queens, NY! This could have been due to its propensity for opening up for some of the top British acts of the day. — The band was a minor local smash. Haystacks Balboa toured the country and had their 15 minutes of fame but still remained somewhat mysterious. In some circles the group was thought to be from Great Britain… via Queens, NY! This could have been due to its propensity for opening up for some of the top British acts of the day.

Did a relative of Mayo's help write the lyrics on some of the tracks? I noticed that 'Spoiler' and 'Sticky Finger' were written by Deborah Mayo.

Deb is Mark’s sister. It was great to have her input. We weren’t the greatest lyricists!

Black Sabbath’s first American show. Haystacks Balboa opened the concert, but Sabbath’s amps wouldn’t work on US current so they couldn’t perform. They returned at a later date to fulfill their commitment. — Black Sabbath’s first American show. Haystacks Balboa opened the concert, but Sabbath’s amps wouldn’t work on US current so they couldn’t perform. They returned at a later date to fulfill their commitment.

That following year in 1970, the band released their first and only album on Polydor Records. How did all this come about?

My memory is a bit cloudy on specifics, and I wasn’t privy to the exact details of the deal, but I believe that the demo was sent to various record companies. We played a few local gigs around NYC, and did an audition for RCA records in their as yet unopened studios on 44th Street. I believe they passed, but producer Shadow Morton showed interest and we went out to Hempstead LI, and did demos with him at Ultra-Sonic Studio. Over the next few months a deal was struck with Polydor and recording began in early spring, 1970 at Soundview Studio in Kings Park NY. During the course of these few months, Larry Cannon left the band and Bruce Scott was enlisted to replace him as lead vocalist.

Promo shot of the band for Polydor Records (2).

What were those experiences of recording that record on a legendary label such as Polydor like and how long did those sessions take? Can you walk me through the process of each song that is featured on the LP? Who did the album cover? What were your experiences working with producer George "Shadow" Morton like?

Although I was thrilled to be signed to Polydor, I don’t remember it being that much of a big deal. The recording process took approximately six to eight weeks of weekend work, (when Shadow showed up, hence the name “Shadow”) And then perhaps another week or two for mixing and mastering, I don’t recall those specifics as I was not part of that process. As far as the recording process, The studio had a one inch eight track Scully tape machine and a Scully mixing console. I remember being a bit frustrated that we didn’t have access to a sixteen track machine but then again who was I to complain! I remember cutting basic tracks and doing overdubs, the studio had a Hammond organ, grand piano and a Baldwin electric harpsichord which I used on “Children of Heaven”.

Polydor Records advertisement ft. Haystacks Balboa circa: 1970.

The opening swells of “Silken Men” was achieved by recording cymbal swells at double speed and slowed down, guitar and keyboard solos were overdubbed, as were the lead and background vocals. Working with Shadow was a bit frustrating as we would make the long trip out to Long Island only to discover he wasn’t coming, but creatively he was great and fun to work with. I was thrilled to be there, imagine graduating high school the year before and next year you’re cutting an album on a major label with a famous record producer! Interesting story regarding the album cover art. We were at the photo shoot for the album and I discovered this painting at the photo studio that ended up being the album cover. The artists name is Jim Visconti.

Record World review circa: September 19, 1970.

After the record was finished did you guys make it on the road to tour and support the album? If so, what were those shows like and do any of them stand out in your mind?

The band was given a great opportunity to perform live. We worked with two excellent talent agencies, Premier and ATI. The first gig was opening for Ten years After at South Mountain Arena in New Jersey. Our first gig after the albums release was opening for Jethro Tull at NYC Central Park Shaefer Music Festival on August 3, 1970. In retrospect, we were not ready to make an appearance at a big gig like this in front of a hostile New York crowd! But with our perseverance, we made it through. Later on in my career, I ran into fellow musicians who thought we were great at the show, but again, we were so young!! After that show, we opened for Ten Years After and Cactus at the capitol Theater in Portchester NY. That was a great four shows in two nights. ATI then put us out opening for The Faces (Rod Stewart, Ron Wood) for about a dozen gigs around the east coast and the midwest.

Haystacks Balboa toured the country opening for acts as diverse as Ten Years After, Rod Stewart and Faces, Savoy Brown, Mungo Jerry, Elvin Bishop and Eric Burden and War. — Haystacks Balboa toured the country opening for acts as diverse as Ten Years After, Rod Stewart and Faces, Savoy Brown, Mungo Jerry, Elvin Bishop and Eric Burden and War.

The first gig opening for the Faces was at Goddard College in Vermont. It closed with an appearance by Peter Green onstage in a closing jam. They played together in Scranton-Wilkes Barre, Detroit, Staten Island, and Chicago. The last gig of the Faces tour was at the Hara Sports Arena in Dayton Ohio. The guys woke up after their show in Chicago to a steady snowfall and a long drive to Ohio. Little did they know that there was a timezone switch. The speedometer might have hit 100 as the realization of a very late arrival in Dayton was inevitable. This was the end of the tour and they couldn’t miss this date. The blizzard started to subside as they pulled into the huge parking lot outside the Arena. A side door was found and the band barged in. They were greeted by a room full of skaters circling an ice rink! Wrong building…A short run across the lot to the venue, in through the front doors, down the main aisle right up to the stage. Eric Burden was pacing backstage and he was pissed. After several weeks together, a gifted case of wine and some laughs, Rod had held the show until the boys from Queens could arrive. After, they found the car full of snow. The window had been left open… — The first gig opening for the Faces was at Goddard College in Vermont. It closed with an appearance by Peter Green onstage in a closing jam. They played together in Scranton-Wilkes Barre, Detroit, Staten Island, and Chicago. The last gig of the Faces tour was at the Hara Sports Arena in Dayton Ohio. The guys woke up after their show in Chicago to a steady snowfall and a long drive to Ohio. Little did they know that there was a timezone switch.
The speedometer might have hit 100 as the realization of a very late arrival in Dayton was inevitable. This was the end of the tour and they couldn’t miss this date. The blizzard started to subside as they pulled into the huge parking lot outside the Arena. A side door was found and the band barged in. They were greeted by a room full of skaters circling an ice rink! Wrong building…
A short run across the lot to the venue, in through the front doors, down the main aisle right up to the stage. Eric Burden was pacing backstage and he was pissed. After several weeks together, a gifted case of wine and some laughs, Rod had held the show until the boys from Queens could arrive. After, they found the car full of snow. The window had been left open…

It was wild to be hanging with half the Jeff Beck Group I had just seen at the Fillmore East the year before. The entire band (Faces) were great guys and we won them over by gifting them two cases of wine. Along the way, we opened for black Sabbath’s first ever US gig at Glassboro College in NJ. I saw Ozzy as a 22 year old! As it turns out, we left the gig before they went on, and apparently, their gear was not converted to the US voltage system and they proceeded to cause a blackout of the entire area around the school! How classic! We were also on the bill with Eric Burden and War in Dayton Ohio along with the Faces. Many of those shows and crowds from 2000 to 10,000 people in the audience. I would say those gigs were the highlight of my career, although there have been a couple of other experiences I’ve had personally that match that.

Soon the boys were recording their debut album, produced by the legendary Shadow Morton. Supposedly, the deal brought Shadow out of retirement so he could buy an Excalibur. They did see the car at a barbecue weeks later. Shelly brought the band to Premier Talent who booked the band a major show at the Schaeffer Festival in New York’s Central Park, opening for Jethro Tull. — Soon the boys were recording their debut album, produced by the legendary Shadow Morton. Supposedly, the deal brought Shadow out of retirement so he could buy an Excalibur. They did see the car at a barbecue weeks later. Shelly brought the band to Premier Talent who booked the band a major show at the Schaeffer Festival in New York’s Central Park, opening for Jethro Tull.

What happened to HB after 1970? What led to the unfortunate demise of the group? Did you guys plan to record any more music, or was it more of a one time thing?

We were dropped by Polydor in the winter of 1971. Quite a demoralizing and depressing moment for a nineteen year old who had no plan B for a career! We never looked at it like a one time thing. I continued with the band, writing and recording for another three years when I was asked to leave the group. Mayo and Pollot wanted to try a sound that didn’t include keyboards, and perhaps by then we had enough of each other. Both parties went on to make records independently of each other.

In 1970, the band was scheduled to be the opening act of the Powder Ridge Rock Festival in Connecticut. It was cancelled last minute by an injunction and might have been the next Woodstock.  Melanie’s “Candles in the Rain” was written about her solo performance there. She managed to sneak in with just her acoustic guitar, while the boys returned to the city and pigged out at an Eastside diner. This festival appearance could have made them “contenders.” — In 1970, the band was scheduled to be the opening act of the Powder Ridge Rock Festival in Connecticut. It was cancelled last minute by an injunction and might have been the next Woodstock. Melanie’s “Candles in the Rain” was written about her solo performance there. She managed to sneak in with just her acoustic guitar, while the boys returned to the city and pigged out at an Eastside diner. This festival appearance could have made them “contenders.”

What did you do after the band? I understand you've arranged, composed, produced and have since become a multi instrumentalist engineer. Can you tell me about that and what other projects you've participated in over the years? You're currently in a group called Meridian Voice, correct?

After leaving the band in early 1974, the “real” music business journey began. The reason I use the term “real”, is that the Haystacks Balboa chapter was almost fantasy like and deals like that, the timing of everything, rarely happen in reality. So I started a long hard knock journey of playing in top 40 bands, original “Bar’ bands, weddings and Bar Mitzvahs, and small time recording sessions. I didn’t realize it at the the time, but I was accruing knowledge and experiences that would help me in my future career. In 1977, I moved to Florida to join a band that made a record at Criteria Studios in N Miami. The only fruitful thing that came out of that was working in that studio while the Bee Gees were in another room making Saturday Night fever, CSN and Robin Trower in other studios making their records.

Criteria circa: 1977 playing Aretha’s piano.

We came back to New York broke and starting over. NOT FUN! But with my wife’s support we persevered and slowly got back on our feet. I spent all of 1981 working on a project with Rod Price, lead guitarist from Foghat that came very close to getting signed, but unfortunately, did not. I spent 1982 touring with Edgar Winter, and Fall/Winter/Spring ’83-’84 with Clarence Clemons and the Red Bank Rockers. In late 1984, I began a 35 year plus career in the advertising music business. For more specific credits on that, you can visit my website https://lloydlandesman.com/

And read my bio there. Meridian Voice, an instrumental fusion/prog band started in 2007 when I serendipitously connected with some great musicians on Craigslist. We went on to release an album in early 2011 titled “Atypical Symmetry”. The group went on hiatus in 2014 and last year I released a solo album “The Eleventh Hour” featuring some really great players (Simon Phillips, Marco Minnemann, Nick D’Virgilio, Randy McStine).

When you reflect back on your time with Haystacks Balboa, what moments, or memories are you most fond of?

Mostly the live performances and the famous talents I got to hang with, especially at such a young age. I felt like I was on top of the world and it was a once in a lifetime experience. In retrospect, it really set me up to have a lifelong career in music, which was my goal. For additional visuals, music and info go to https://haystacksbalboa.com/

Is there anything else you would like to further share with the readers?

I have had a very blessed, successful career in music. I am incredibly and eternally grateful for everything I have achieved. My advice to anyone out there pursuing a dream, don’t stop moving towards your goal. Do your research, study, practice, work hard and steady and you will reach the mountain top. Rock on!