Throughout the 1960s, Canadian composer Bruce Haack was as ubiquitous on children’s and variety shows as were exotic animals from the San Diego Zoo. But he wasn’t there to perform so much as demonstrate. In his formative compositions for theatre and ballet, he had experimented with tape loops and musique concrète techniques; by the early ’60s, he wasn’t just playing around with electronic sounds, but also making the very gizmos that generated them. By day, Haack would eke out a living as a composer for commercials and a series of instructive, interactive children’s records made with collaborator Esther Nelson. But by night, Haack was making music that was decidedly adults-only. Originally released in 1970, The Electric Lucifer was Haack’s first work pitched to a contemporary rock audience, released by Columbia Records in the dying days of a post-hippie moment when bizarro outsider-psych could still find a home on a major label. If it was not the first rock record to feature electronics, it was certainly among the first to give them a starring role—both musically and conceptually. A1. Electric To Me Turn A2. The Word A3. Cherubic Hymn A4. Program Me A5. War A6. National Anthem To The Moon A7. Chant Of The Unicorn B1. Incantation B2. Angel Child B3. Word Game B4. Song Of The Death Machine B5. Super Nova B6. Requiem