August 03, 2020

Alessandro Monti (Unfolk)'s review on "The Dragon Wakes" CD.


Being attached to my last effort on the Third Ear Band, avantgarde musician Alessandro Monti reviews "The Dragon Wakes" CD. Note that he wrote for Ghettoraga Archive also another very interesting piece about the TEB's remastered CD "Elements 1970-1971" (read at https://ghettoraga.blogspot.com/2018/12/italian-musician-and-composer.html).

 

A midsummer's night dream: unearthing TEB.  

After years of work and disappointments from publishers and labels, Luca's dream became reality at last. Thanks to his never ending research Glen Sweeney's Book Of Alchemies and The Dragon Wakes fabled recordings have now secured their place in history thanks to ReR Megacorp. It would be almost impossible to review the book here: years and years of details about recordings, concerts and real life on the road were collected by Luca using the vast amount of material available on this website, from the beginning to the days when he actually managed the band in the late 80's and beyond; Chris Cutler's explanatory notes for the newcomers are an extra bonus: as he writes on the preface he was there during most of Third Ear Band's history, I think few musicians could add infos about that era with better knowledge and open mind (I found out in the book that his band Henry Cow even played on the same program with TEB in some occasions). 

The unreleased music on the attached compact disc is of great historical importance and succeeds in putting those musical pioneers in better focus, plus it finally completes the rare studio sessions collected on the "Elements 1970-1971" remaster of the second album (released by Esoteric), bringing that epic story full circle. Few pieces are missing from the puzzle now! I wondered to myself: how could I listen to the music to get an organic idea of Third Ear Band's method of work? The best solution seemed to compile a special folder including all the unreleased music recorded between 1970 and the late 1971 and listen to it non-stop in a sort of alchemical flux. Needless to say that the result was so instructive and rewarding that I suggest this full-immersion to everyone to fully appreciate the new electric direction taken by TEB during those months of continuous change. They were actually working on a radically different sound during the making of the fabled third album, a project then replaced by the ambitious soundtrack of Roman Polanski's Macbeth. All that music laid forgotten for years, but it's definitely among the most interesting documents of the progressive era. Here's a possible and fascinating sequence:

Mammatus (Electric Air)
Sulis Stirs
Druid One
Hexagonal Wheel
Tellus, the Earth
The Rising Seed
(All included on the CD attached and perhaps the most finished pieces.)

Very Fine...Far Away
The Dragon Wakes
Sunrise
Mistress To The Sun
Evening Awakening
In D
(The above tracks being part of the 2nd & 3rd CDs on the Esoteric remaster.) 

Raga No.1
(Surfaced on the incredible "Necromancers Of The Drifting West" compiled by Luca for Gonzo Multimedia, it dates from the same sessions as Mammatus & Druid One (February 1971): an adventurous piece of free form jazzrock performed by the quartet Sweeney, Minns, Buckmaster & Bridges, an electric jam without a violin.)

Hyde Park (audio)
(I added this nice song from the Lost Broadcasts DVD as a bonus to round the compilation: it dates from the earliest days of the new electric phase and it seems that they only performed it in concert, so it's the only version available.)


I already wrote my short impressions of the "Elements 1970-1971" set, so lets focus on the first 6 tracks this time, the newly discovered gems from Denim Bridges' archive: “The Dragon Wakes”. The nice yellow artwork with a modern red dragon has everything written on it: you can visually picture that transformation from acoustic to electric. TEB quickly developed their new sound approach merely in the space of weeks and the opening piece on the CD is their new version of “Air”, a track fom the last album. Glen plays trap drums instead of hand drums, giving the track a strong rhythm edge; the original piece on the second album had the peculiar sound of a rhythm loop, here the drum set is closer to Nick Mason's famous section in Pink Floyd's “A Saucerful Of Secrets”. The sound effects are the perfect link to the classic version. This and track n. 3, “Druid One” are mono recordings and they probably survived some loss in sound through the years; they use some familiar themes from the official recordings to great effect, while exploring electricity and pre-dating the other stereo pieces of a few months. Richard Coff seems to play on these, looking forward to a still uncertain direction. Track n. 2, “Sulis Stirs” is a welcome surprise: a rockin' TEB! Perhaps the only true rock piece ever played by the band is something of an oddity in their catalogue. Denim Bridges' distorted sound takes the music in some other dimension; towards the end of the piece I can hear a brass sound, a trumpet or a trombone? I may be wrong but this will probably be another mystery to solve. The next piece “Hexagonal Wheel”, is a beautiful variation on the new electric area with an interesting pop-rock feel by the whole band. Finally on “Tellus, The Earth”, the famous bass riff by Paul Buckmaster has its definitive version. The notes, a simpler sequence than the one used by Miles Davis on “Bitches Brew” (see the Paul Buckmaster interview in this website), are so perfectly chosen that could literally go on for hours. The track has Paul simultaneously playing his electric cello, while Denim Bridges' double tracked guitar is more convincing and focused here than on both live versions available (BBC in concert and Beat Club): they seemed rather in progress and unfinished in comparison. Paul Minns' jazzy oboe here reminds me of Karl Jenkins' use of that instruments in some alien context (Nucleus and Soft Machine) or the late great Lindsay Cooper (Henry Cow), even if TEB arrangement seems on a unique wavelength of controlled freedom. The last track on “The Dragon Wakes” CD has a beautiful and meditative intro, morphing itself into an exact anticipaton of the “Music From Macbeth” soundtrack. No VCS3 synth here but Glen Sweeney is back to familiar hand drums, supported by great harmonies on bass by Paul Buckmaster and dynamic violins: it seems to me that the style could be Simon House's.


We can only be grateful that, after almost 50 years this music is now available: it's a confirmation that so many hours of recording sessions were poorly documented on the original releases; we should say a huge thank you to the following people who made this edition possible:

Denim Bridges for keeping all recordings and cleaning up the sound in time for the digital age;
Chris Cutler for believing in the project with such enthusiasm and competence;
Luca Chino Ferrari (the éminence grise): the hidden man behind all this music, words and images. 


Footnote:
I wrote the above review without reading the actual credits on the cd; it seems that the violinist on the mono tracks (1&3) is Simon House, so perhaps I got it wrong! Nevermind... enjoy the music anyway!


Alessandro Monti :: Unfolk 

July 15, 2020

Soon a vinyl reissue of "Mcbeth" soundtrack...


As announced, Spanish label Munster Records is going to publish the old TEB catalogue on vinyl format licensed by Cherry Red Records.
First issue will be the vinyl reissue of "Macbeth" soundtrack, followed by the "Elements" album...
Info at:  http://munster-records.com/en/label/munster/product/macbeth


This is the press release  (with some historical bad errors included!): 

"As a luxurious aperitif for the future release of the “Elements” album (including its extra sauces), Munster Records bring us “Macbeth”, the staggering soundtrack by the English band Third Era Band for a Roman Polanski’s film, recorded and produced in 1971.

A magical invitation urging the listener to dive into unsuspected regions of boldness, unpredictability, and an intimate abstract-folkster-experimentalism. According to the founding member Glenn Sweeney, “the music was called alchemical because it was produced by repetition”. However, mind it, such repetition doesn’t follow the same musical structures of, let’s say, Terry Rilley, Steve Reich or Philip Glass due to its indefinite nature of internal-twisted and tormented passages of a peculiar poetic enchantment.

The band, formed in Canterbury, started in 1967 playing an oriental hypnotic-free-form-folk. Signed to the prosperous cult label Harvest, they debuted in 1969 with “Alchemy”, an instrumental jazzy-psych improvisational album. A fully formed masterpiece came in 1970 on the already aforementioned self-titled opus, also known as “Elements”. For “Macbeth”, their third one, just the main chief Glenn Sweeney (assorted percussion) and Richard Coff (viola and violin) remained from the original four-piece line-up. It was recorded when half of the quartet - Richard Coff (viola and violin) and Ursula Smith cello) – had already departed, and they were about to record a third album entitled “The Dragon Wakes”, which had promised to be an electric album with rock influences. Aside from a few sessions, this album was never completed.

The themes presented on the film were composed in an improvised manner while watching black and white excerpts of the oeuvre. The music, recorded in six weeks at George Martin’s Air Studios, in July 1971, has the same unconventional and quite unique dimension as the film itself. It is an auteur music for an auteur film. The music seems to fit perfectly the deliriously idiosyncratic free narrative of the story adapted by Polanski, even if it was used sparingly or remixed in a debatable form for a purist music fan.

Glenn Sweeney summarized his creation better than any critics attempted: “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 repetition seeking and sometimes finding archetypal forms, elements and rhythms...”

There is an arty-medieval atmosphere overall, and it’s folkishly ludic in tracks like ‘Overture’, ‘Iverness’, ‘Court Dance’ and ‘Fleance’, where the experimental interjections function as colorful devices. ‘Fleance’ – with the guest singer Keith Chegwin - is a scintillating highlight.

The poetic assaults of concrete music are present in themes like ‘The Beach’, ‘Ambush’, ‘Prophesies’, as if every drumming fractures, singing seagulls or sharp whistles where conducting us to waves of fear into the unknown. There are other lost beauties in its official 44 minutes like the minimal oboe melody of ‘Lady Macbeth’ floating as a centipede of dreams or the lyrical guitar chords of ‘The Banquet’ punctuating a climax of sheer mystery. And, by the way, that is the song played during a banquet at the castle when the band appears for a few precious seconds on the film.

Taking in consideration the uniqueness of the film, we have in here a sublime soundtrack for it. A music that makes us feel the unfathomable and the unpredictable, sometimes going softly as a solid mystery piece. Close your eyes and enjoy an adventure in this kaleidoscopical carpet of unexpected possibilities of the imagination."


 no©2020 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

June 02, 2020

TEB book publication: the very last update!


Dear TEB aficionados and lovers,
publisher Recommended Records told me the definitive date of publication of the book: 30 June 2020


Finally, just in these few hours, we have finished all the proof checks and the 268 pages/photos/CD attached are ready for print.
Here’s a link to ReR site for ordering the book:
http://www.rermegacorp.com/mm5/merchant.mvc?Session_ID=b7cbd4a823038dfb04f287056768e5c0&Screen=PROD&Category_Code=&Initial=&CatListingoffset=&Product_Code=TEB+BOOK&Store_Code=RM&Initial=&search=glenn+sweeney&searchoffset=&filter_cat=&PowerSearch_Begin_Only=3&sort=&range_low=&range_high= 


So I ask you to promote this little project born as a tribute to the band, an effort that consists of the main stuff collected by myself during the past twenty years:

- the full unrealised Glen Sweeney's body of poems (intended for a specific autobiographical book he projected);
- Glen's writings and manifestos about TEB music;
- the main (more interesting) interviews Sweeney did with the press;
- memories/interviews with many musicians and people involved in TEB story; 
- a full audio/videography;
- a day by day calendar of events related to the band;
- a CD with six unrealised tracks recorded by the band in 1970-1971 for the announced and never realised album The Dragon Wakes;
- a lot of photos of the band, gig posters and flyers  (with some never seen before).

Usually, I don't like the 'definitive' tag  to describe a book or an artistic work, and I hope that in the future other authors/editors can write different things about the TEB; but I'm very proud of this and I sincerely hope you can appreciate it.

Of course, the book is dedicated to the memory of all the TEB musicians and people related who passed away in the last years. A particular great thank to the kind persons who was involved with stuff and suggestions to this archive and the book (there's a list on the book): their strong interest and passion for the band was a decisive push for my decision to edit a new book.

no©2020 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

May 02, 2020

TEB book last publication date: 31 May 2020.


Dear TEB aficionados,
ReR book on the Thirds has a little delay due to the Coronavirus pandemic. The book is ready for printing with different graphics, different cover, different aim: actually, not only a tribute to Glen Sweeney, as planned at the beginning, but a huge collection of  documents about the band, its life and his music, to portrait an excursus from 1966 with unseen photos, writings, interviews, memories by the main characters involved.

As a publisher, Chris Cutler wonderfully states on the press release, "You can inhale a sense of the mechanics of hope, exploitation, psychology and history here - not because that’s what the book is about (it’s not; it’s a gathering of facts and memories) but because they animate the testimonies and career trajectories here laid bare. A snapshot of a critical moment; a leaf caught in the tide - and the mundane consequences."


Waiting for the book (please, for updates contact the publisher at http://www.rermegacorp.com/), I intend to post here some extra stuff not included in the book.
This first precious document is taken from "Blackhill Bullshit" magazine (issue 4) and it's a piece written by Sweeney on the music critics: a caustic, fierce reprimand of the approach to music by the magazines of that time...
So enjoy it!


no©2020 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

April 17, 2020

TEB's book 'out-takes' stuff here soon.


Peter Jenner and Andrew King in 1969 (ph. by Adrian Boot).

Lot of TEB 'out-takes' stuff will be published here, just after the publishing of my book by Recommended Records.
Unreleased and rare photos, posters, ads, a full issue of "Blackhill Bullshit", a rare Glen Sweeney's 1970 writings about music critics... will be published for the first time here.
So keep in touch... fighting the fucking virus!

no©2020 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

March 20, 2020

1969 poster on sale on eBay.


An old 1969 poster on sale on ebay at £ 149.99... The gig was played in Brighton at The Dome.
Here's the seller's description:


Britains five-piece acoustic supergroup described as "The Folk Beatles"
at the Brighton Dome May 26th 1969

presented by Blackhill Enterprises (Blackhill was a rock music management company founded as a partnership by the four original members of Pink Floyd and promoted the first free live concerts in England)

orig Gig Poster designed by Derek Thomas

15" X 19" in heavy Gloss Deep Purples, Pinks, Red & Green Graphics and Embossed Pentangle super sheen finish

finish still bright Good Colours pin holes & creases in all corners otherwise good cond

no©2020 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

March 09, 2020

Film maker Mike Figgis is making a film on the late Mel Davis.



Film maker and musician Mike Figgis is making a film on the late Mel Davis and his connection with the People Band...
A former member of the People Band (he played trumpet, flugelhorn and Spanish guitar), Mike Figgis has become an internationally known Hollywood film director, making films as "Stormy Monday", "Miss Julie" and "Cold Creek Manor", or documentary films as "The Battle of Hastings" and "Somebody Up There likes me".
He composes his own film soundtracks, involving lot of People Band musicians in them. 
He kindly sent me this photo of Mel portrayed in his last days. 



Pages on the great Mel Davis on this Archive:
https://ghettoraga.blogspot.com/2013/12/bad-news-for-christmas-mel-davis.html
https://ghettoraga.blogspot.com/2010/01/electric-raga-guitarist-interview-with.html
https://ghettoraga.blogspot.com/2019/02/steve-pank-about-alchemy-days.html
https://ghettoraga.blogspot.com/2010/01/electric-raga-guitarist-interview-with_09.html

no©2020 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

March 02, 2020

Spanish label Munster Records plans a TEB reissue...



Spanish Madrid-based label Munster Records (http://munster-records.com/) has planned a reissue of TEB's second album, licensed by Cherry Red Records, in a CD edition (same as 1970 four tracks vinyl edition) with sleeve notes by freelance journalist Fernando Naputano
Fernando is trying to get interviews with Blackhill's manager Andrew King  and Ursula Smith.


 no©2020 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

February 16, 2020

New TEB book publication date: March 21th, 2020!


At last the TEB book will be available on March 21th, 2020... such a perfect TEB day! 
120 pages for £15 with a 10% discount for advance orders at the ReR web site.
Read the press release here:


 no©2020 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

January 04, 2020

TEB book out soon...



Finally, the book on the TEB I edited three years ago will be printed by Recommended Records with a 6-track CD attached - ALL the tracks the band recorded at the end 1970-beginning 1971 for the never issued third album "The Dragon Wakes" (not included in Cherry Red's reissues).
Known as "the Balham sessions", these tracks were recorded by two different line-ups between Balham and E.M.I. studios; guitar player Denim Bridges took them jealously for years.
Thanks to Denim, we can listen now to these fabulous music played by Sweeney, Minns, Bridges, Buckmaster,  House and Coff!
The book collects Glen's poems, manifestos, writings, aphorisms, interviews; memories by Carolyn Looker, Minns, Buckmaster, Bridges, Jenner and many other persons involved; a full audio/videography; a chronology. Lot of rare, unseen picture of Sweeney and the band, posters and documents...


 no©2020 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

December 06, 2019

Found old poster with TEB gigs in 1973...


After the Blackhill split and the laid up project of a fourth studio album, TEB sailed on the open sea risking the shipwreck: few concerts, a strong change in the record market and the musical scene, left the musicians virtually with no prospects.
This poster found on Pinterest shows three rare gigs the band played in March 1973. Maybe the very last ones before their abandon...


no©2019 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

October 30, 2019

"Mistress to the Sun" lyrics!

Denim Bridges wrote "Mistress to the Sun" in the second half of 1970. The track was recorded in February 1971 intended as a single for the forthcoming TEB new album "The Dragon Wakes".
After many years of oblivion laying in the E.M.I. vaults the track is now available on the remastered and expanded CD edition of "Third Ear Band", published by Esoteric Records in 2018. A fabulous catchy art-song, so unusual in the TEB repertoire!

About his inner inspiration, Denny reveals  that the "track started life as a song about a sun worshiper (as in sun-bather at the beach... or poolside). If you think about those images and the lyrics I think you can see what I mean but I had to make it more mysterious because it was the Third Ear Band after all."



 Mistress to the Sun

A child of faith to be a shrine
To hold the warmth of the day
She gave her life to all above
To wait before the sun

And the colours that she carries are of organic seas
They're badges of the Mistress of the Sun
In the night they are a warning to the darkness and the rain
They're banners that she's faithful to the sun

So fast she flies on one command
The earth to be her bed
That sinks so deep to lose her mind
Which takes (her) so far through the sun
                                 
                                                 ©1971 Denim Bridges

no©2019 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

October 28, 2019

Peter Pavli interviewed on "It's Psychedelic Baby" magazine.


High Tide bass player PETER PAVLI had a very intriguing interview with Klemen Breznikar for "It's Psychedelic Baby" magazine. You can read the full interview  at https://www.psychedelicbabymag.com/2019/10/high-tide-interview.html

Peter Pavli at 20
As everyone knows, after a very fertile period with the High Tide (two great records in 1969 and 1970!), with violin player Simon House Pavli played for some months with the Third Ear Band, around the end 1971-beginning 1972 (he played on a documented BBC radio programme in January 1972).
On the interview, he quoted "our" band telling that after the High Tide split, "we all went back to London and went our separate ways. Later Simon joined the Third Ear Band, which I also joined. That lasted for about a year. It was a very vague, period for us all. I think that was the last serious band I was in."
  
High Tide
 no©2019 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

October 18, 2019

Good article on the Harvest years...


Clock Carousel's musician BEN FINLAY remembers one of the hipper record labels from the end of the 1960s at https://thelionandunicorn.wordpress.com/2019/03/07/shine-on-harvest-moon/
Here's the full text:


Shine on, Harvest moon

 

You always knew it was going to be something interesting when we were working with Harvest. Out of the mainstream, sometimes wacky, and you would be working until the early hours – not for the faint-hearted. 

Peter Mew, Abbey Road engineer


It’s faintly ridiculous, the sense of nostalgia that the sight of certain record labels can evoke in music fans of a certain age. After all, who bought an album for the label it was released on? However, a handful of those logos stood out, representing companies that have now garnered cult status and are considered to represent the importance of artistry over ribald commerciality. And in the front rank was Roger Dean’s ‘harvest moon over a valley’ design set on a light green background that signified a Harvest Records release.

As rock music became the dominant artform of the late 1960s, and the underground became a recognisable ‘scene’, major British record companies sat up and took notice. Whilst Island had been increasingly thriving in the UK since 1962 – founder Chris Blackwell signed underground groups such as Traffic, King Crimson and Fairport Convention – other longer-established labels were keen to get involved with the new wave of creativity. In 1969, Philips Records introduced its new Vertigo label – with its Op Art black-and-white spiral – specifically launched to specialise in the burgeoning progressive rock movement. And in the same year, EMI did the same, starting their underground subsidiary, Harvest.

This was the era of the record label as brand, and of course America led the way. By mid-1969, underground papers in Britain such as International Times were featuring half- and full-page advertisements from US companies, including Elektra and CBS, the latter notable for their timely adoption of the radical fervour of the era, assuring the prospective record buyer that ‘the revolutionaries are on CBS’.
 
The new British labels were less declamatory – Decca’s subsidiary Deram never resorted to invoking left-wing radicalism in their sales pitch – but they did reflect the plurality of music stemming from the counterculture. This was the dawning of ‘progressive’ rock (then more a statement of intent than the recognisable genre it became), and EMI’s Harvest label had Pink Floyd, the darlings of the UK underground and prog pioneers.

Harvest was set up by former Manchester University economics graduate Malcolm Jones, who joined EMI in 1967 as a trainee manager. Jones managed to persuade the powers-that-be to launch Harvest in June 1969, bringing together a number of dispirate acts that were signed to older, established labels. New recruits Barclay James Harvest (who apparently gave the new company its name) and Deep Purple were originally on the roster of Parlophone, and Pink Floyd were recording for Colombia. In the spirit of the times, Jones deviated from the more established companies’ A&R policy, employing Andrew King and Pete Jenner of Blackhill Enterprises, organisers of the huge free concerts seen in Hyde Park. King and Jenner were also the original managers of Pink Floyd, and came with the prerequisite underground cachet. Jenner certainly thought so himself, telling the NME in 1989 that ‘I thought I had golden ears, I thought everything I heard and quite liked would be a hit.’

There is no need to add anymore to the story of the Floyd, of course, except to say there was plenty of talent on Harvest that made for far more interesting listening than the studio LP of Ummagumma. We can also pass over the debut album by Deep Purple (The Book of Taliesyn), and disregard the label’s two future rock monoliths for the more interesting stuff.

And what an eclectic, interesting bunch of records was released in Harvest’s 1969–73 period. In the second half of 1969 alone, the label engaged with traditional English folk (Shirley and Dolly Collins’ Anthems in Eden), free form folk/jazz/classical esoterica (the Third Ear Band’s Alchemy), original and diverse singer-songwriters (Michael Chapman’s Rainmaker and Kevin Ayres’ Joy of a Toy), and Wasa-Wasa, the debut by psych-festival freak favourites the Edgar Broughton Band.

The creativity of the music was matched by the attention paid to the artwork. The renowned SHVL* series (the catalogue name and number seen on the vinyl’s distinctive label) produced glossy artwork from the likes of designers Hipgnosis in a gatefold sleeve – perfect for skinning-up whilst enjoying the sounds of Flat Baroque and Berserk (1970) by Roy Harper.
And it was 1970 when the label had its golden age. No less than twenty-six records were released that year, including the label’s double-set sampler, Picnic – A Breath of Fresh Air. EMI also ensured that the label was distinct from the mother-company, as future label head Mark Rye described in 2014: ‘The Harvest office was just this dark corner, as far away from everyone else as you could get. It had cushions on the floor rather than desks and chairs…’
1971 would see the last album by the Move (Message from the Country) before they mutated into the Electric Light Orchestra, their debut album released on the label towards the end of the year. Roy Wood went on to form Wizzard, who would have Harvest’s strongest single success with ‘I Wish it Could be Christmas Everyday’, reaching #4 in the UK singles chart in December 1973. Artistically, however, the label had peaked by this point. 

Whilst The Dark Side of the Moon enjoyed huge sales, many of Harvest’s original signings had moved to other labels, or fallen by the wayside as the underground ebbed away. Aside from the Floyd’s subsequent releases, the mid-1970s were an uncertain time for the label; when EMI signed the Sex Pistols in 1976, the band declined to be on Harvest, considering its artists to be ‘hippie shit’. The label would continue through into the 1980s, but by the middle of the decade Harvest lay dormant. It was revived in 2006 by EMI A&R man Nigel Reeve and has relocated to the US as part of Capitol.

That is of course, a long way from the label’s origins. The formation of Harvest reminds one of a brief time when the majors relinquished control to the hip, therefore creating a space for freedom and progression. Although it was bound to pass, the four-year period from 1969-1973 saw Harvest release music that was original and progressive in the best sense of the term. How often does one genuinely see that these days?

* SHVL stood for ‘Stereo Harvest Very Luxurious’.


             Notable Harvest Releases 1969–1973



1969
Shirley and Dolly Collins – Anthems in Eden
Michael Chapman – Rainmaker
Third Ear Band – Alchemy
Kevin Ayers – Joy of a Toy

1970
Syd Barrett – The Madcap Laughs
Roy Harper – Flat Baroque and Berserk
Shirley and Dolly Collins – Love, Death and the Lady
Edgar Broughton Band – Sing Brother Sing
Pete Brown & Piblokto! – Things May Come and Things May Go but the Art School Dance Goes on Forever
Barclay James Harvest – Barclay James Harvest
Shirley and Dolly Collins – Love, Death and the Lady
Third Ear Band – Third Ear Band
The Pretty Things – Parachute
Syd Barrett – Barrett
Various Artists – Picnic: A Breath of Fresh Air (sampler)
Michael Chapman – Fully Qualified Survivor

1971
The Move – Message From the Country
Pink Floyd – Meddle
Kevin Ayers – Whatevershebringswesing

1973
Roy Wood – Boulders
Pink Floyd – The Dark Side of the Moon
Electric Light Orchestra – ELO 2
Kevin Ayers – Bananamour
Roy Harper – Lifemask


no©2019 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

October 12, 2019

"Alchemy" 180 gram vinyl limited edition released!



As announced, "Alchemy" has been released on 27th September for Esoteric Records in a vinyl limited edition to 1000 copies (catalogue number: PECLECLP 2668). The album is an exact facsimile of the original 1969 Harvest LP release (yellow-green record labels included!). Also, it's in a gatefold sleeve and on 180-gram vinyl. 
Here's a sequence of photos taken from my personal copy: 



 

no©2019 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)