Flynt’s music is not easy to categorize, mainly because he purposely tries to blur and shatter the divisions betwixt "high" and "low" art forms, between country/rural blues and "hillbilly" (bluegrass, Appalachian mountain music) and minimalism and ecstatic free jazz. (John Coltrane’s 60s music made a big impression on HF.) On one of the two longer pieces here, "Acoustic Hillbilly Jive," Flynt sounds like a demented cross between free jazz violinist Leroy Jenkins and the jazz-inspired bluegrass and country fiddle Vassar Clements as he goes from a Terry Riley-styled mad "hoedown" into a bluegrass version of Albert Ayler’s euphoric, energized flights. In a naively beautiful fashion, "Blue Sky, Highway and Tyme" explores the secret affinity between country/Delta blues, minimalism and Indian/Pakistani raga forms - Flynt plays bottleneck guitar and moans/chants like Blind Willie Johnson.... if Blind Willie came from Nepal, that is.
Back Porch Hillbilly Blues Vol. 1 is a strange, truly out-there piece of history - it springs from a confluence of Bill Monroe and John Coltrane, of North Carolina barn-dances and NYC Fluxus/Exploding Plastic Inevitable happenings, of the wild mutant things collectively known as American Music.