Just three days ago, on December 21th, 2009, it's been the Winter Solstice, a moment devoted to ancient and contemporary Druids (see the wonderful photo taken at Stonehenge).
TEB (Sweeney, Minns, Coff and Smith) played for Druids two documented times - on April 1969 and on July 15th, 1970 (Solstice Ceremony), both at Glastonbury Tor (see a shot here below).
Unfourtunately, apart for just these fourth b/w photos survived, taken on April 1969, there're no other details about these unique events.
Glen Sweeney ("Melody Maker", June 1970) considered the Druids as "a bunch of old fine men", "the true guardians of the mystic traditions in this country".
He told: "... when we play with them at the Tor there was this old chap of about 90 steaming up the hill, looking like he was about to die".
Other interesting connections with Druids was the involvement ofDave Loxley - chief Druid of the Ancient Order of Druids - who designed "Alchemy" beautiful cover. A page written by him in 1988 is available on the Web at
Was the TEB music a unintentional, accidental soundtrack for the modern Sixties/Seventies Druids only? Which was the real cultural and emotional connections with them?
Glastonbury Tor as a hippy concert was a very strange location. Wikipedia states that "...another speculation is that the Tor was reshaped into a spiral maze for use in religious ritual, incorporating the myth that the Tor was the location of the underworld king's spiral castle". That's intriguing. What was TEB concert if not a "religious ritual"?
The fact is that Sweeney is been always ambiguous about that kind of experiences... Even in the quote I've posted here he's ironic about Druids, so it seems as he wanted dissimulate the things... It's not easy to be sure about a real, genuine adhesion to druidic rituals... we need to get much more proofs about it, maybe some memories from Loxley or other people involved in that period (Carolyn Looker, Coff, Ursula Smith...). I will try to talk with Carolyn or Ursula and understand better the things... Luca
Another field of correlations is that between TEB and records such as Bruce Palmer's Cycle is Complete (Oxo) and Grateful Dead's (AoxomoxoA) and their obsession on excatological meaning (Alpha Omega Apocalypse). Apart the evidently similar ritual nature of the music, I've found this decoding of Aoxomoxoa word in a site: "..."AO" is the classic abbreviation for "Alpha and Omega", or the beginning and the end. "X" may be interpreted as a number of things: a mathematical symbol meaning "Times" (which can also be expressed as "of"; the classic Christian cross; or merely a dividing symbol, meant to separated the "AO" from the "OM". "OM" is a little too big to take on here, but it is the sound which, in Hindu and Buddhism philosophy, contains all the other sounds of the world". I found interesting also that OXO is included in AoxomoxoA, as a nucleus. "The Calm Before The Storm" has something to do with Air and Water, in meteo sense but also metaphisical. As to Aoxom follows oxoA, then the cycle reborn/restart Aoxom, as the season annual druidic cycle of the 2nd TEB album. The substance may be more deep.
The Glastonbury Tor Labyrinth idea was first put foward by Geoffrey Ashe around 1979 - ten years after TEB played there! Although I've walked this 'Labyrinth' with several of the faithful, it now appears to be a figment of Ashe's fevered imagination. What Ashe took to be a Labyrinth are in fact the remnants of pre-historic cultivation terraces from the time when Glastonbury was an island - the Isle of Avalon, as some would have it. This also scuppers equally absurd 'New Age' notions of a Glastonbury Zodiac given that in ancient times all of the land would have been underwater! It does lend credence, however, to that other Glastonbury legend that Jesus visited there in his childhood with Joseph of Aramathea, who was a merchant sailor.
For anyone interested in the Pagan Revival and modern witchcraft in the UK I would heartily recommend reading Prof Ronald Huttons excellent book "The Triumph of the Moon". Hutton apart from being a respected historian has become something of hero to many (but not all) of modern Pagans. His approach is simple: there is no historical evidence that anything of the so called Old Religion has been handed down from antiquity, and that most is reinvention, but that need not devalue the beliefs and faith modern Pagans have, and that Wicca is the only religion the Isles of Albion have given the world, in this it is unique and honestly spiritual. The history of the rise of Wicca from late victorian times and ideas of those times is truly a most fascinating micro history in it's own right. Happily TEB played their part, and yet transcend any pigeon holing.
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Third Ear Band 1969: Paul Minns, Glen Sweeney and Richard Coff (photo: Ray Stevenson).
Luca Chino Ferrari (b. 1963) is an Italian music writer. Since 1985 he has written and translated books about folk and rock musicians as Third Ear Band, Robyn Hitchcock, Captain Beefheart, Tim Buckley, Nick Drake, Syd Barrett & the Pink Floyd for the main Italian publishers. He met Syd Barrett in 1986 and did contribute to the reunion of the Third Ear Band during the '80s. His latest book, published in 2020 for English ReR November Books, is a biography about the esoteric group Third Ear Band. He runs a personal Web site (in Italian/English) at https://chino6339.wixsite.com/gelatoaicorvi
TEB recording at Abbey Road Sudios in February 1971
Click on the picture to watch the video!
"Third Ear Band music is a reflection of the universe as magic play illusion simply because it could not possibly be anything else. Words cannot describe this ecstatic dance of sound, or explain the alchemical repetiton seeking and sometimes finding archetypal formes, elements and rhythms...".
(Glen Sweeney on "Alchemy", Harvest Records 1969)
Paul Buckmaster at Hyde Park (June 7th, 1969).
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"ALCHEMY"
"Alchemy" (Harvest 1969)
Third Ear Band live at Hyde Park (June 7th,1969)
Click on the picture to watch the video!
Read "Necromancers of the drifting West"!!!
A book on the Third Ear Band edited by Luca Ferrari (published by Stampa Alternativa, Rome 1997). WITH THE FIRST ORIGINAL VERSION OF "ABELARD & HELOISE" SOUNDTRACK!
Third Ear Band at the Roundhouse (London, May 30th 1969).
As alike or unlike as blades of grass or clouds...
"The music is the music of the Druids, released from the unconscious by the alchemical process, orgasmic in its otherness, religious in its oneness communicating beauty and magic via abstract sounds whilst playing without ego enables the musicians to reach a trance-like stage, a "high" in which the music produces itself. Each piece is as alike or unalike as blades of grass or clouds".
(From the 1969 Isle of Wight concert programme)
TEB - "THE LOST BROADCASTS" DVD (Gonzo Multimedia, UK 2011)
Richard Coff at Isle of Wight Festival, August 1969 (photo: Barry Plummer).
Pseudo-mystical...
“The trouble is that you can't be mystical without being called pseudo-mystical, and it's the fault of our previous education. I'm at Glastonbury most of the time, but we're all completely honest about it. We'll even use it honestly to make money, because the ancient Egyptians who were into it all said that you had to be rich because only then can you resist temptation”.
(Glen Sweeney to Richard Williams, “Melody Maker” June 1970)
"Macbeth" by Roman Polanski (Playboy Production, UK 1971)
“I've always felt that music should be pure. If you have lyrics, you are preaching in a way. Somehow words are a block to communication. It's almost impossible for me to explain exactly how I feel about this, that's why I'm a musician. The only way to really understand what I mean, is to firstly listen to a pop group and then listen to us, and then I hope you will know what we're trying to say."
(Glen Sweeney to Muz Murray, 1969)
A Third Ear Band tribute
Roberto Musci - "Mosaic. A tribute to Third Ear Band" (CD - Gonzo Multimedia HST411, 2016)
TEB 1971: Sweeney, Minns, Bridges and Buckmaster (photo: Blackhill Enterprises).
NOTES FROM OVERGROUND
“No announcements, numbers lasting 15 to 20 minutes, art form or con?
This might be valid criticism of (A) Thunderstorm (B) a cricket (C) Third Ear Band.
Their approach to music is different because there is no duality, no conflict between the natural element of chance and the human element of control, did the moon ask to be reflected in the water? If it wasn’t for the trees would the wind know when it was blowing? Paul Minns says there are some very beautiful forests in Hyde Park, trying to put titles to music is rather like trying to answer the question where does my hand when it becomes my fist”.
(From the Al Stewart-Third Ear Band 1970 tour programme)
TEB 1970: Sweeney, Minns, Coff & Smith (photo: Blackhill Enterprises).
"The Centipede was happy, quite, until a Toad in fun said: "Pray, which leg goes after which?". This worked his mind to such a pitch, he lay distracted in a ditch considering how to run". (Third Ear Band, 1970)
TEB at Isle of Wight Festival, August 1969 (photo: Barry Plummer).
"Music from Macbeth" (Harvest 1972)
Third Ear Band - "Experiences" (Harvest 1976)
WEIRD SCENES
“We'd rather people called us a pop group. We do ragas, that aren't really ragas at all, and unless we get a turned on promoter, we get into some weird scenes. At Norwich once, when the promoter saw the audience sitting down and closing their eyes to our music, he accused us of putting them to sleep! Complete paranoia. So I imagine we wouldn't do too well on the Pop Proms”.
(Glen Sweeney interviewed by Chris Welch - “Melody Maker” July 12th, 1969)
Third Ear Band - "Fleance" (Odeon 1972) Japan single edition
Third Ear Band - "Live Ghosts" (Materiali Sonori 1988)
VERY MUCH UNDERGROUND
“It's just a question of advertising. We've stayed very much Underground - no photos - and I think this was necessary so people wouldn't put us in a bag. We'd rather the just came up and heard us without ANY preconceived ideas. I suppose it is a bit shattering to see violins and cellos”.
(Glen Sweeney interviewed by Chris Welch - “Melody Maker” July 12th, 1969)
Third Ear Band at a Druids ceremony in Glastonbury Tor (April 15th, 1970).
OTHER TEB RELEASES/APPEARANCES
"Picnic. A breath of fresh air" (2LPs - Harvest SHSS 1/2, UK 1970) various Harvest artists anthology
"Harvest Heritage. 20 Great" (LP - Harvest , UK 1977) various Harvest artists anthology
"The Harvest Story Vol. 1" (LP - Harvest EG 260097 1, UK 1984) various Harvest artists anthology
"All frontiers" (CD - Materiali Sonori MASO CD 90026, ITA 1991) various artists live compilation
"Sonora 2/91" (CD - Materiali Sonori, ITA 1991) various Materiali Sonori artists compilation
"Radio Session" (CD - Voiceprint VPR017, UK 1994) live album
"Materiali Sonori" (CD - Olis OM 0021, ITA 1996) various Materiali Sonori artists compilation
"Live" (CD - Voiceprint VP157CD, UK 1996) live album
Third Ear Band - "New Forecasts from the Third Ear Almanac" (ADN Records 1989)
90% improvisation...
"I'd say ninety per cent of our music is improvisation. It's not really Indian music, although we use a drone instead of the usual bass line riffs. The music draws from everywhere.
"I think our appeal is that audiences can draw their own thing from us. We make no announcements and none of the numbers have titles. People in colleges we play come up after and say they can get fantastic images in their mind when they listen. We can offer a complete dream. The old Celtic bards used to have the same ability".
(Glen Sweeney interviewed by Chris Welch - “Melody Maker” July 12th, 1969)
“Third Ear Band’s new album “Magic Music” isabout music as pure vibrations, as such it can be linked with colour because colour is vibration. It can even be linked to the music ofthe spheres which states that the vibrations of the planets can be heard with the third ear (silence). The free ragas that we play are modal, each note can be heard as a sound-colour that produces its own mood.Our rhythms come from all overthe world, and we use these ideasand many others to try to make a new world music”.
(Glen Sweeney, notes on the “Magic Music” inner cover, 1990)
SOLOS DISCOGRAPHIES
- GLEN SWEENEY -
Various Artists - "The greetings compact vol. 2" (CD - Materiali Sonori, 1990)
Rolling Stones - "Sticky fingers" (LP/CD - Rolling Stones Records, 1971)
Carly Simon - "Hotcakes" (LP/CD - Elektra, 1974)
Elton John - "Single man" (LP/CD - Rocket, 1978)
- NEIL BLACK (selection) -
UB40 - "Present Arms" (LP/CD - DEP, 1981)
Joan Armatrading - ""Track Record" (LP/CD - A&M, 1983)
Third Ear Band 1969: Minns, Sweeney and Coff at the Kensal Green Cemetery of London (photo: Ray Stevenson).
Third Ear Band - "Brain Waves" (Materiali Sonori 1993)
Eight drunk rugby players
"We once had eight drunk rugby players yelling dirty songs at us. We played quieter and quieter. In the end they seemed ashamed and shut up. But I still don't think they dug the music!".
(Glen Sweeney interviewed by Chris Welch - “Melody Maker” July 12th, 1969)
Third Ear Band, Vinci 1989: Allen, Sweeney, Dobson and Carter (photo: Lucia Baldini).
QUOTATIONS, COVERS, REMIXES, MANIPULATIONS OF THIRD EAR BAND MUSIC
Stone Breath - "A silver thread weave the seasons" (2CDs - Hand/Eye, USA 2008). A 'cover' of "Fleance".
Marco Lucchi - "Baby a" (ITA 1982). A composition with a sampler of "Stone Circle".
Radio Noisz Ensemble - "Yniverze" (CD - Garden of Delights 1982/2009). A 'folky' quotation of "Water".
Fabio Zuffanti - "Third Ear Band demixed" (CD-r - Spirals Records, ITA 2000). The four elements electronically manipulated.
Algarnas Tradgard - "Delayed" (CD - Silence Records, UK 2001). A quotations of "Water" recorded in 1973-1974 (!).
Lady Husk & The Good Ship Neotropic - "A monstrous psychedelic bubble exploding in your mind" (file MP3 - The New Worck, NL 2007). A remake of "No title" (?!).
I Monster - "The Art of Chill vol. 6 - Mixed by I Monster" (2CDs Platipus, UK 2009). A remix of "Fleance".
Vibes and Stuff - guest mix Coby Sey (MP3 - UK, 2010). A remix of "Water".
AA.VV. - "The Fruits de Mer Annual for 2011" (2x7" - Fruits de Mer Records, UK 2011). A cover of "Fleance" by the HI-Fiction Science.
Glastonbury Tor as a hippy concert was a very strange location. Wikipedia states that "...another speculation is that the Tor was reshaped into a spiral maze for use in religious ritual, incorporating the myth that the Tor was the location of the underworld king's spiral castle". That's intriguing. What was TEB concert if not a "religious ritual"?
ReplyDeletevic
The fact is that Sweeney is been always ambiguous about that kind of experiences... Even in the quote I've posted here he's ironic about Druids, so it seems as he wanted dissimulate the things... It's not easy to be sure about a real, genuine adhesion to druidic rituals... we need to get much more proofs about it, maybe some memories from Loxley or other people involved in that period (Carolyn Looker, Coff, Ursula Smith...). I will try to talk with Carolyn or Ursula and understand better the things...
ReplyDeleteLuca
Another field of correlations is that between TEB and records such as Bruce Palmer's Cycle is Complete (Oxo) and Grateful Dead's (AoxomoxoA) and their obsession on excatological meaning (Alpha Omega Apocalypse). Apart the evidently similar ritual nature of the music, I've found this decoding of Aoxomoxoa word in a site: "..."AO" is the classic abbreviation for "Alpha and Omega", or the beginning and the end. "X" may be interpreted as a number of things: a mathematical symbol meaning "Times" (which can also be expressed as "of"; the classic Christian cross; or merely a dividing symbol, meant to separated the "AO" from the "OM". "OM" is a little too big to take on here, but it is the sound which, in Hindu and Buddhism philosophy, contains all the other sounds of the world". I found interesting also that OXO is included in AoxomoxoA, as a nucleus. "The Calm Before The Storm" has something to do with Air and Water, in meteo sense but also metaphisical. As to Aoxom follows oxoA, then the cycle reborn/restart Aoxom, as the season annual druidic cycle of the 2nd TEB album.
ReplyDeleteThe substance may be more deep.
vic
The Glastonbury Tor Labyrinth idea was first put foward by Geoffrey Ashe around 1979 - ten years after TEB played there! Although I've walked this 'Labyrinth' with several of the faithful, it now appears to be a figment of Ashe's fevered imagination. What Ashe took to be a Labyrinth are in fact the remnants of pre-historic cultivation terraces from the time when Glastonbury was an island - the Isle of Avalon, as some would have it. This also scuppers equally absurd 'New Age' notions of a Glastonbury Zodiac given that in ancient times all of the land would have been underwater! It does lend credence, however, to that other Glastonbury legend that Jesus visited there in his childhood with Joseph of Aramathea, who was a merchant sailor.
ReplyDeleteFor anyone interested in the Pagan Revival and modern witchcraft in the UK I would heartily recommend reading Prof Ronald Huttons excellent book "The Triumph of the Moon". Hutton apart from being a respected historian has become something of hero to many (but not all) of modern Pagans. His approach is simple: there is no historical evidence that anything of the so called Old Religion has been handed down from antiquity, and that most is reinvention, but that need not devalue the beliefs and faith modern Pagans have, and that Wicca is the only religion the Isles of Albion have given the world, in this it is unique and honestly spiritual. The history of the rise of Wicca from late victorian times and ideas of those times is truly a most fascinating micro history in it's own right. Happily TEB played their part, and yet transcend any pigeon holing.
ReplyDelete