McLuhan’s “Anomaly” is a cult classic from the early 1970s Chicago Prog scene, long revered for its bold fusion of Progressive Rock, Jazz, and Avant-Garde experimentation. After decades of obscurity, “Anomaly” is finally seeing its first official CD release via Think Like A Key Music. We spoke with Neal Rosner, McLuhan’s bassist and co-founder, to explore the album’s creation, legacy, and the story behind this landmark reissue.
Neal, after more than five decades, how does it feel to witness “Anomaly” finally receiving its deserved recognition through this official CD release? What emotions does this moment evoke for you as both an artist and a witness to its remarkable journey?
The emotions are pure joy. Happiness at the recognition and validation of our efforts. We never expected this response.
McLuhan emerged from the vibrant Chicago music scene of the late 1960s. Could you paint a picture of that creative landscape for us? How did the city’s musical energy shape your artistic vision and influence the complex sonic architecture you would eventually construct?
The creative landscape is similar today. There were and still are many outlets for creative music in the Chicago area. There were many clubs on Lincoln Ave such as Wisefools Pub where we had a Monday night spot. Alice’s revisited on wrightwood in Chicago was another cool progressive spot. The Album first released in 1972 towards the end of the Hippy peace, love, drugs and experimental era.
“Anomaly” presents a remarkably sophisticated fusion of Progressive Rock, Jazz elements, and Cinematic Horror aesthetics. How did this distinctive musical language evolve? Was this synthesis a conscious artistic decision or an organic outgrowth of your collective creative instincts?
Paul Cohn( woodwinds) was my next door neighbor in Chicago. He along with Dave Wright (trumpet)were in a show band “ the Seven Seas” ..the band disbanded due to the usual ego problems. We were all students at University of Illinois in Chicago. Dave was the creative force. He wrote 3 of the 4 songs on the album. He was a disciple of Marshall McLuhan the Canadian philosopher.. “ the media is the message “ He had a vision of mixed media and original complex polyphonic polyrhythmic music. We were influenced by Frank Zappa, King Crimson.
The track “Spiders (In Neal’s Basement)” bears your name and suggests intimate creative spaces. Can you share the story behind this composition? How did your most Experimental pieces emerge from the interplay between personal experience and musical exploration?
Spiders in Neal’s Basement was written by the late Marvin Kraut our original keyboard player. The lyrics are typical anti war anti establishment sentiments , quite common during that time period. The music evolved somewhat spontaneously .. a mixture of rock, Latin, Dixieland , and Klezmer ( Yiddish clarinet) music. We practiced in my basement in Rogers Park , Chicago. There were always some spiders… hence the name.
Bruce Swedien, who would later engineer Michael Jackson’s “Thriller,” was your recording engineer. How did his technical expertise contribute to the album’s unique sonic character? What was the creative dynamic like working with someone of his caliber?
BRUCE SWEDIEN was the engineer. He was famous for working with Quincy Jones and was the engineer on Thriller. He was hired by Brunswick Records to record our album, on S Michigan ave in Chicago. He was a genius but very easy to work with. Never condescending.
The album was recorded in 1972 but remained largely unknown for decades. How did you and your bandmates navigate this period of artistic obscurity? When did you first realize that “Anomaly” was developing its own underground mythology?
McLuhan disbanded 1973. We were never financially successful and life interfered with our musical endeavors. Growing up , jobs, marriage , divorce, children etc. We noticed to our surprise,there were sites on You tube where the Album had become popular. So we reunited in 2018 with 4 of the six original members, relearned the album and started playing out again.
The title “Anomaly” seems prophetic given both the album’s unconventional musical approach and its unusual commercial trajectory. Was this prescient naming intentional, or did it reveal its deeper meaning over time?
Anomaly… because we were different, improbable and unexpected.
What were the creative dynamics within McLuhan during the composition process? How did your complex, multi-layered arrangements emerge from collaborative improvisation? Can you describe the musical conversations that shaped these intricate compositions?
The ideas for Three of the songs came from Dave Wright. There was however a lot of free flowing improvisation and exchange of ideas. Let’s try this , let’s try that. It was joyful and stimulating.
McLuhan disbanded shortly after the album’s release. What circumstances led to the dissolution of such a promising creative partnership? How did you maintain connections with your former bandmates through the intervening decades?
There were good times and false steps. We played with visuals, slides and films to enhance our music. Our manager booked us into a benefit for Lighthouse for the Blind needless to say our visuals were under appreciated.
In recent years, you’ve reformed McLuhan and returned to live performance. How did it feel to revisit these compositions after so much time? Has your understanding of the music evolved, and how has your approach to performance changed?
I tracked down members of the band in 2018 and decided to do it again. This was encouraged by the unexpected popularity of the album on line.
The CD edition includes a comprehensive 20-page booklet featuring rare photographs and detailed liner notes. What memories and emotions surface when you examine these archival materials? Are there particular moments or images that transport you back to that creative period?
We have recently re- released the album on vinyl and CD release July 25. We are pleased beyond belief with the response to our resurrection.
How do you perceive today’s Progressive Rock landscape compared to the Experimental freedom of your era? Do you hear contemporary artists who embody the same spirit of musical exploration that defined McLuhan’s approach?
I love the current Progressive Rock landscape. In my old age however I like almost all music with the exception of the generic autotune pop songs. I love some of the current jazz funk artists like Cory Wong, Dirty Loops
Beyond “Anomaly,” are there unreleased McLuhan recordings or compositions hidden in the archives? Could there be additional musical treasures waiting to be discovered by your devoted following?
There are no other hidden McLuhan works.
What has been the response from both longtime Progressive Rock enthusiasts and new listeners discovering “Anomaly” for the first time? Has the album’s reception surprised you in any way?
It felt wonderful and revitalizing to play again . Our understanding of the music has evolved over time and we are better musicians now than we were back then.
Looking toward the future, what can we expect from McLuhan? Are you channeling your creative energies into new compositions, or is this renaissance primarily focused on celebrating and preserving the legacy of “Anomaly”?
We are in production new album ( Neal Rosner, McLuhan 2025) I have written new songs , many with the same polyphonic, polyrhythmic complex structure as the original album One song will be released shortly as a single… King Bizzzarroo, an anti-trump song. A song for the resistance. I will keep y’all posted. Thanks Neal Rosner (McLuhan)
We thank Neal Rosner for sharing his insights on “Anomaly” — a unique and enduring piece of Progressive Rock history. This reissue not only celebrates a cult masterpiece but invites a new generation to discover the creative spirit that defined McLuhan’s visionary work.
Pre-Order via the label’s official webshop: https://www.thinklikeakey.com/format/1736592-anomaly