August 01, 2022

The Ferlaina Archive and unpublished photos of the Third Ear Band in Hyde Park 1969 free concert - part two.

Here is the second part of the extraordinary accidental discovery (read the first part here).


On 1st June I took the train and went to meet in Milan, Lambrate area. There, a stone's throw from the station, is the photographic archive where many treasures unknown to most are kept. So many photos that tell the story of 20th century Italian culture through the world of entertainment, especially live concerts and television appearances. Portraits of Italian cultural personalities such as Pasolini or Moravia, singers such as Modugno or Dalla, directors such as Fellini... mostly unpublished or rarely circulated shots (which may have appeared in a magazine or newspaper article).  

Giuseppe Ferlaina (June 1st, 2022).

Giuseppe Ferlaina himself turned out to be a character with an important story to tell, strong passions (Erik Satie), great ambitions (writing, between art and philosophy). Speaking of "Vexations", Satie's composition-paradox, he says, for example: "Even today Satie is an undefeated master, because he dilutes the music, at a certain point you don't hear it any more, entering the mechanism of compositional praxis... you don't hear it any more, he liquefies it, which with "4'33"" Cage evokes it, he only represents it. Satie doesn't make a representation... No one else succeeded in obviating the work like Satie... All the avant-garde, the happenings, Fluxus, where do they come from? They come from there, an absolute master!" 

Born in Naples in 1970, after graduating, he first moved to Milan in 1989, only to return almost immediately to Naples, working in a photography studio as a fashion assistant. In '94 he returned to Milan again and worked for a few agencies doing simple auditions, but was dissatisfied because he had an idea for more creative work and returned to Naples again, before finally moving to Milan in 1997. At that point, 'disappointed with the economic results achieved', he went to work as an agent for the prestigious Treccani publishing house; then as commercial director for Vallecchi. Marriage and the birth of two children forced him 'to put his head down' and accept a more coventional job as an employee in a cooperative. "In the meantime, I still continued to study, particularly philosophy of art... I had to, like it was medicine..."

Once this experience was over, he took up photography again and came up with the idea of the archive, opened around 2012. "I was already buying photographs, I was interested in the 1970s, in artistic research. Everything was born out of love for art, despite the fact that I had graduated without practically opening a book..."

(end of part two - to be continued)


Mick Jagger in Hyde Park, July 1969.

Jagger reading the poem for Brian Jones.

 no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first.

July 13, 2022

Can you believe that in a photo studio in Milan I found 26 unreleased photos of the Third Ear Band?


It was a classic stroke of luck, sort of like when an occasional customer at a junk store comes across a dusty Van Gogh, hidden in a corner of the store under cheap prints and a lamp from the 1960s.
A dear friend of mine, an excellent electric guitar/bass player, in a flea market buys a portfolio of four unpublished black-and-white photos of Led Zeppelin, taken at the ill-fated but legendary Vigorelli Velodrome gig (in Milan) in 1971: all happy and proud about this find, he tells me that it was a photographer from Milan, a certain Ferlaina, who sold them to him.
He also tells me that the photographer has a Web site at 

He days: "Drop by and you will see that he has interesting things."

I go in there and am immediately heartbroken when I realize that in his archive there are over 200 shots from the legendary concert that the Rolling Stones played in Hyde Park on July 1969. A concert that unfortunately, by the naïve logics of the time, was filmed extensively only to document the commemoration the Rolling did of their founder genius Brian Jones, but no footage was devoted to the other groups involved by Blackhill Enterprises - King Crimson, Alexis Korner & the Blues Incorporated and the Third Ear Band (read more HERE). 

It doesn't take me long to call the studio and talk to Mr Ferlaina who, very kindly, explains that yes, in addition to the Rolling Stones, "there seem to be pictures of other musicians." I jump in my chair and ask him to send me some examples: after a few minutes shots of Alexis Korner, Robert Fripp, and... Of Glen Sweeney playing on stage with Richard Coff! Then shots taken backstage where Glen is hugging Carolyn Looker and Paul  Minns is with first wife Mary Haynes and Tristan, their first son!
Even of Edgar Broughton that day in the audience with Lauren Loz, his wife...

(1- to be continued)

Edgar Broughton with his wife Laurie. 

 no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first.

June 28, 2022

A rare old interview with Lyn Dobson from "Melody Maker".

It has never been frequent to read interviews with Lyn Dobson in the past for a few reasons: first, for the fact that he has always been a session man and studio turner, having played with many bands, including Manfred Mann and the Soft Machine; also, in spite of his histrionic nature on stage, he has always preferred to respond to words with music. 

Devoted to John Coltrane's saxophone, passionate about the I King and meditation, a good draughtsman, involved in volunteer organizations (including as a bus driver for transporting the disabled), I knew him as a shy, thoughtful person, anything but egotistical - except when he took the stage, transforming himself into an outstanding performer!
In this fine interview with Richard Williams, published by "Melody Maker" on January 31, 1970, he shows all his intelligence and sensitivity as a young musician with a philosophical reflection on the power of music...

 no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first.

June 20, 2022

A 40 minutes unrealised recording from a 1970 TEB live gig in Germany found!

In the last few weeks, Michael Schutz of Mig Music wrote me for asking some help about how to contact original members of the TEB because he has found a 40' UNREALISED LIVE RECORDING from a 1970 gig. He wrote me this:

"Mig Music has been working with the German state TV station WDR since 2009 and WDR is the producer of the TV series " Rockpalast " which is recognised worldwide as a music/rock/TV format. 

WDR has always used its own sound engineers for the recordings of Rockpalast but also for other musically valuable festivals. One of these gentlemen was Joachim Manfred Kaiser, who two or three years ago told the current chief editor of the Rockpalast programme that he still had extensive security copies of recordings of the Rockpalast from 1975 onwards, the Berlin Jazztage since around 1968 and also of the Essen Pop and Blues Festival, and that he would like to hand them back to his former employer.

There were recordings of about 100 minutes from 1969 with the Keef Hartley Band and from 1970 with the Keef Hartley Big Band. The last living musician who founded the band together with Keef is Miller Anderson. We are friends. Miller got 12 minutes of the recordings and immediately agreed to release them. The quality of the recordings is incredibly good, considering that the tapes are 52 years old.

The tapes also include a performance by the Third Ear Band from the 1970 festival in the Grugahalle in Essen, which is just over 40 minutes long. We know from the Keef Hartley tapes how uniquely high and therefore good the quality of the recordings by the sound engineer Kaiser are. These are always radio recordings. Not like the Rockpalast for TV, he was the sound engineer for the music radio departments of the WDR.

Unfortunately, there is no further information about the recordings, such as which pieces are involved and which artists were on stage in Essen.

I would therefore ask you to inform us who we should contact from the band. With Glen Sweeney or with Dave Tomlin or maybe with Paul Minns? This has nothing to do with EMI and nothing to do with Cherry Red. Here only the musicians who were on stage have the right to say yes or no."

I explained him, as we know, that the band played at least four times in Germany with two different line-ups, one acoustic (for example, for the "Abelard & Heloise" TV soundtrack) and one electric (for the appearance on "Beat Club" TV programme).

So he assuered me he will send some excerpts just to detect the band  musicins and the titles of tracks... 

Could be this another buried treasure?

no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first.

May 15, 2022

Gary Lucas' piece on the TEB is out now!

The Wire magazine (issue 460 - June 2022) is out now with a piece by Gary Lucas on the TEB. As the publisher writes announcing the issue on the website: 

"Epiphanies: Gary Lucas is enchanted by Third Ear Band’s trancelike medievalis."

And in fact in this writing he remembers the impact the music had on him, and the meeting with Glen in his flat...

no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first

May 14, 2022

John Lydon on the TEB again...

Frankly, I never believed that Rotten had actually stated his appreciation for TEB and MacBeth music, particularly for the pop song "Fleance" (read HERE).
In a recent radio programme, however, (the YouTube video of which was pointed out to me by my friend (and musician) Alessandro Monti) John Lydon confirms this by stating that he loves the film's soundtrack - "I love the landscape they created...", "I really loved that band live, they played some very intersting things"
(but please overlook the fucking comparison with Enja's 'foggy' atmospheres!)...  

Below is the video with John endorsement at minute 29:30...

no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first

May 11, 2022

Glen smoking a pipe at the Hyde Park free concert in June 1969.

Here below you can see an old Sunday Mirror short article about the Hyde Park free concert on June 7th, 1969 (the so-called "Blind Faith Hyde Park free concert") with a picture portraying Glen Sweeney as he smokes a pipe...

 no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

May 02, 2022

The Wire magazine will publish a feature on the TEB by GARY LUCAS!

The upcoming issue of The Wire magazine will feature a piece on the Third Ear Band written by the great Gary Lucas!

Magazine editor Derek Walmsley contacted me to get some pointers on whether there are any photos with Paul Buckmaster to use.
no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

April 02, 2022

Karl Dallas and TEB's "organic sound"...

It was probably the well-known journalist Karl Dallas who first coined the expression "organic sound" in reference to TEB. This is the article published by "Melody Maker" on December 20th, 1969, just after the tour in Holland and Belgium of the band in the new line-up with Ursula Smith.

 no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

March 02, 2022

"The Crab & the Crescent Moon" original poster!

With Steve Pank, one of the eyewitnesses to TEB's early years in the role of tour manager, it was always that way. His memories come up a little at a time, over the years I've gotten used to it.

A week ago, totally unexpected, he wrote me an email with a magnificent poster of the band attached, one of the best ever made (Carolyn thinks so too), and told me the anecdote that follows:

"There is a story with this. The Third Ear Band was doing a gig on the evening when Apollo 11 landed on the moon.
I was staying in Richard flat, when we got back, we turned on the TV and watched live footage, of Neil Armstong walking on the moon. A short while later, later Glen said to me that he had had a dream the night before about the Crab and the Crescent Moon. 

I said, 'That would be a great title for a concert!' Dave Loxley agreed to do the poster, and this is the result."

Held on September 20, 1969 at Queen Elizabeth Hall (London), the evening was promoted by Blackhill Enterprises and also featured Bridget St John, Sam Hutt and DJ John Peel. 

About Sam Hutt, Steve writes that "he was a friend of Peter Jenner . He's a qualified doctor, who at time prescribed medical cannabis. Later he became a spoof country singer under the name of Hank Wankford."

International Time ad (April 1969)

 no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

February 23, 2022

Chris Welch reviewed "Alchemy" in July 1969.

The day CHRIS WELCH ("Melody Maker") reviewed "Alchemy" on the issue of July 26th, 1969, other records was the wonderful Fairport Convention's "Unhalfbricking" (Island Records), Tyrannosaurus Rex's "King of the Rumbling Spires" (Regal Zonophone) and Nick Drake's masterpiece "Five Leaves Left" (Island Records). 

With his usual ironic register, that Glen loved too much, Welch writes about the mystical power of TEB's music - "simply strip to the waist on one's Earls Court pad, daub on cocoa, drop "Alchemy" on the turntable, and bingo! - one is immediatly in touch with the Spirit beings."


no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

February 19, 2022

Paul Revere's lead vocals MARL LINDASY talks about "Mosaic".

Dear TEB aficionados, here below you can read an old "Blind Date" extract from Melody Maker published on June 21th, 1969. 

Provoked by listening some tracks blindly, Paul Revere & the Raiders' co-founder and lead vocals Mark Lindsay talks about TEB's "Mosaic", just recorded for "Alchemy".

 no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

February 11, 2022

Paul Buckmaster talks to Roy Hollingworth in 1970!

You thought Ghettoraga Archive had left the scene? Nothing could be further from the truth!
Here is an interesting interview of Charles with the great Paul Buckmaster, from an issue of Melody Maker dated December 26, 1970... with a rare photo of the four-piece line-up.
While I'm busy digging into the history of the Edgar Broughton Band for an upcoming book, finds related to the glorious Third Ear Band experience continue to emerge from the dusty archives of popular music history. 

Stay tuned to these pages - you're in for a treat!

no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

January 11, 2022

My copy of the original "14th Technicolor Dream" ticket.

This is my copy of the original "14th Technicolor Dream" ticket that Glen gave me in 1989, when I visit him at his flat in Sheperd's Bush (London). It's hanging on the wall of my  studio from that year. On the rear there's a dedication by Glen, a simple  "To my friend Luca."

Apart the preciousness of this rare object and the emotion for having received it from Glen, this event was one the most important in the English underground, the concert I wanted to attend.

no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

January 07, 2022

A Third Ear Band gig poster from the past...

While doing some research for a book dedicated to the Edgar Broughton Band, I came across this old poster of a Third Ear Band concert in Guildford on March 7, 1971. The event was titled "Contemporary Music in Guilford".

Just four days later, on March 11,  the band recorded some tracks for a new album. "Evening Awakening" emerged from the vaults in 2018 when Esoteric Recording published the 3CDs remastered and expanded edition of "Third Ear Band" (PECLE 32653). 


no©2022 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first).

September 30, 2021

"It's more about wishes, never about regrets". The second part interview with DON FALCONE.

This is the second of a two-parts interview with Don Falcone who involved Ursula Smith on Spirits Burning's record "Evolution Ritual". Here he talks about TEB's influences, music, the record market, COVID-19 lockdown, his gear, and future projects.
You can find the first part of the interview HERE
Don with a Spirits Burning album in January 2021

10. Do you think TEB music is still actual? Have they inspired your poetics in some ways?

"Third Ear Band fits in a category of music output that I describe as being timeless. Usually, I use that category to describe electric-based artists: Jimi Hendrix and Electric Ladyland, Can’s Landed in terms of its synth sounds, maybe something like Vangelis’ Blade Runner. While TEB used a VCS on occasion, they were essentially an acoustic-based band, and yes they were rich in a coat of folk, and medieval sounds. However, like those other artists and bands, they also sounded ahead of their time, putting out music that was very different than their contemporaries. And most importantly, the music has aged well. That’s what being timeless is to me.
Has this inspired my musical voices? Of course. That’s why I would mention them to invites during the early days of “Evolution Ritual.”

11. If it's so, have you taken something from their experiences? What?

"I would be remiss to not mention TEB and their improvisational approach to music. There is a continuous winding, uncharted path in many TEB songs, and that can be exciting for the musician, and for the listener. All the while, the entire band, seems like they are simultaneously heading in the same, and different direction. It’s quite exciting. It is this sense of acoustic arpeggios, movement, mystery, and otherworldliness that feeds into the possibility of a Spirits Burning album being an acoustic space rock album.

While "Evolution Ritual" took other turns, and Spirits Burning more often is not as complicated as some TEB songs, I’m always looking for the mystery in a song, and in its sounds. Plus, there is a hidden improv approach that has been there from the first album to the most current one. For example, when musicians like Daevid Allen or Nik Turner recorded at my home studio over the years, I would present the song, press record, and they would improv on the spot. It was rare that they would work out their musical performance ahead of time. In fact, one of the most interesting recordings was Daevid eyeing my music room bookcase, picking up my college thesis (a book of poems), and then randomly choosing lines to read and emote against the musical landscape. That sense of improv is even there when I do keyboard solos. Or, some of my piano-based ideas. For those ideas, I tend to not overthink things, and just dive in, to see where it leads me.
Going back to what I said before about TEB being timeless: We can say that TEB helps to remind me that the best music can simultaneously be of the past, present, and future."
12. How do you manage to integrate the working method used for "Ritual" and the traditional way of working in the studio with the band? The dimension of working remotely and the urgency of playing live? What is the relationship between the two dimensions? How do you feel about them?
"I treasure my time with live bands long ago, and all the practice time in practice spaces. Well, the spaces weren’t always great. But the people, and the ability to play off of one another was often special. It taught me a lot, and ingrained in me some important skills and concepts.

It prepared me mentally to try to apply the same energy and interaction to local or remote recording sessions in the here and now, and even to how I choose to play my own parts, or how I choose to mix. It’s always with the sense that we are in the same room, interacting, even if we are not. My hope is that many of the contributing musicians are doing the same thing on a certain level. If they ask for guidance, I try to keep that approach in mind as I provide what I would provide verbally if we were in the same room. At the end of the day, I want Spirits Burning to sound like a band, and not a solo album with guests; to sound like a band of equally contributing members.

I have to admit that I clearly miss playing with musicians in the same room. Especially a live drummer, as it can totally shape and reshape how you play a song, or even how you write a song. That said, I do not miss the actual rooms we used to rehearse in, or the cost of the room, or parking in sketchy parts of town, or lugging equipment around, or getting home late when you have to work the next day. Those factors cover some of the reasons why that part of my life closed long ago. Before the pandemic happened, I did have a few occasions to use the music room at Dolby to jam with a few co-workers, and it brought back some good memories. Especially when I played bass guitar, and visually and sonically played off of the drummer."
13. Usually, which instruments you play? Can you tell me which is your gear?
"I’m a keyboardist, who was originally a bass player.
My keyboard options include a mix of virtual instruments (plug-ins that you trigger via a MIDI controller) and physical keyboards. I use a Kurzweil K2000 as my controller, as it is a larger keyboard, and I like the feel of the keys.

I record and mix on a Pro Tools system, and use Avid and AIR plug-ins that run on that system. There is a great Hammond organ, acoustic and electric pianos, and a number of synths, including Virus Indigo. I also have the Structure sampler plug-in, which lets me trigger acoustic sounds, from orchestral to ethnic to pianos (like a Bösendorfer). I used Structure for some of the pitched and unpitched percussives that you hear on “Evolution Ritual.”
I probably have more physical keyboards than I need. I might not touch one for many months, and then make a decision that today I’m going to touch this one or that one. Each does have something unique about it. I have a Mellotron that a friend loaned to me. I have a pre-MIDI Roland Juno 60 that is great for spacey ambient patterns, swells, and pads. I have an old Sequential Circuits Six-Trak that always surprises me with new life, especially when mixed with modern verbs or delays. I have an M-Audio Venom and Waldorf Q, both underused. Writing songs and producing albums (and the day job) have eaten into my time for digging deeper into these keys. I did use the Venom as a controller for my 2017 live gigs… it was smaller and easier to take on a plane trip.
Although the airport security did open my keyboard case on the tarmac while I was seated on the plane, to make sure it wasn’t a weapon.
I have a Carvin 5-string bass that has a great sound. I average writing and recording a song a year with it. I like playing it through an Avid Eleven Rack with an MXR Phase 90 effect, or to create parts that sound more like a guitar. The one album that features me on bass for a whole album is by a band I was in called Fireclan.

I’m also fond of capturing found sounds for use in songs. For “Evolution Ritual,” these were unaffected, to stay true to the acoustic premise of the album. For example, there were DaVinci devices that I recorded at a museum in Albuquerque. In San Francisco’s Golden Gate Park, there was a giant box that had giant strings in it, like being inside of a piano, and I recorded plucks and strums within it. For other albums, I’m more likely to process or affect a found sound. For instance, on the Grindlestone “Tone” album there is sample from one of my MRIs that is heavily effected.

I guess I consider all the effects in Pro Tools to be instruments, as least from a production standpoint, or when doing something more experimental. Of those tools, I’m quite fond of the ReVibe reverbs and TL Space’s convolution reverbs, and I’ve been playing with distortion a lot lately. Plus, I have a wonderful Eventide Harmonizer rackmount that I typically use for vocals. However, with the instrumental “Evolution Ritual,” I didn’t use the Eventide at all, or any distortion. I only used the plug-in reverbs that sounded natural. It’s probably the one Spirits Burning album that had touches of natural reverb added during mastering."
14. In this controversial era of looking more to the past than to the future, with a discography clogging the sales channels with retrospective boxes and anthologies of past phenomena, how do you see the future of music?
"Challenged. And Interesting. I’m not convinced the retro clog is entirely new. I remember buying every Hawkwind best of album and live album in the 70s and onward. Even bootleg cassettes. I remember getting a great gift of a Jethro Tull box set in the 90s, and buying a Sandy Denny box set around the same time. I also remember how many of us bought CD versions of all the vinyl albums we owned. It was the music circle of life. And none of it prevented us from searching for new music.

15. You think it's a false issue...
"I’m also not convinced that the retro clog is the root cause of a problem. It’s more indicative of a deeper issue, at least for those who create new music. It points to a potential disinterest in new music, regardless of who it is by. When we were young, we had the initial sparks of hearing new music, and wanted to be at one with it. As the decades moved on, some of us continued that search and find of new sounds, and re-experienced getting excited. That’s not the case for everyone.
Some people did relatively hard stops in their listening habits, or continued listening but let the radio or later, streaming services and playlists dictate their music experience. I saw this with family and friends in the 80s, 90s and so on. It’s not a new phenomenon for some people to be disinterested in what is new, or what is essentially changing. Add to that new generations who for whatever reason are not looking in this direction for music, or have created an entirely different definition for new music, and you suddenly find a world where it is difficult — challenging — for musicians be remain part of the dialogue. Maybe it’s always been this way."
16. So is the challenge greater now? 
"Sure. It does seems like there is less time to listen to music, and more competition for hours that we used to devote to listening to music, and even the money that we used to save and spend on new music.
In that sense, those expensive boxed sets, or those possible last tours (some of which I’ve attended, like Black Sabbath and The Who) do not inherently serve new music. If I were to look for a silver lining, it would be that the past can continue to influence and teach the present. Plus, well, it is fun to see and hear your favorite band of old one last time.
I do think that the future of music will be fine. It’s the future of the musician that is more uncertain. Especially, if you are trying to make a larger mark."
17. Do you think there will still be room for research into open musical forms like yours?

"There is always room. What isn’t as assured is the size of the room, or the number of people in that room.
It’s also an interesting question, considering that Spirits Burning is built on the past (musicians and styles), with the hope of creating a new music for the musicians involved and the people who listen. To that effort, and given my personal tastes, it’s definitely good for me to understand that I’m not involved with music that is commercial in the pop sense, and that it can sometimes challenge the listener. Basically, each album has a risk factor.
That doesn’t change my belief that the best music is a celebration on some level. Or, that music is inherently about passion and joy; a joy that can be inviting, and contagious in a good way. There is the joy of the journey (creating the music), and the joy of the destination (sharing and listening to the music). Yes, I do believe that the world has room for the music I am part of. That’s a big reason why I continue the journey, and invite people to collaborate on that journey. That said, it’s definitely healthier for me to see the reward in each mark the music makes, as opposed to grading success on the level of fame.
Looking ahead… When I hear soundtracks from some of the newer episodic series and films, I find a certain, extra hope. I like the creativity in what I’m hearing. Sometimes, when my wife and I are listening to these sounds, we hear a bit of me and something close to what I’ve done in the past, and smile. Or, I hear something that feels like a good roadmap for something new that I should try next. There seems to be an openness with these soundtracks, one that is… inviting, and contagious in a good way. This might be another place for my music. We shall see..." 
Spirits Burning at Kozfest in 2017 (photo by Jack Gold Molina)
18. Apart working on this record, what have you done during the long pandemic lockdown? Did you played some gigs on the web?
"I’ve spent a lot of time promoting Spirits Burning. First, there was promotion for the previous Spirits Burning release, “The Hollow Lands,” which was released on Purple Pyramid Records in December of 2020. Then, Karen (my wife) and I released “Evolution Ritual” on our Noh Poetry Records label. Self-releasing it meant relearning how best to announce its release, upload it for sales and distribution, get it reviewed, register it as a real release, and set up interviews. We’ve also been rolling out photo collages of the crew for each song on Facebook and elsewhere.

Don singing on stage at Kozfest in 2017 (photo by Michal Skwarek)
On most days, I’m a technical writer for Dolby Laboratories. I write documentation about tools for Dolby Atmos content creators. I’m overdue to start some immersive songs using these tools.

Ongoing, on the music side… Most of the sessions and mixing for “Evolution Ritual” overlapped with two Spirits Burning & Michael Moorcock albums. There was the completion of “The Hollow Lands,” and the development of “The End Of All Songs,” which I hope to complete in mid-2022. Over the last year, most of the songs for “The End” were written and initial parts recorded, and then I began inviting musicians. Some of the returning crew include Al Bouchard and Donald Roeser from Blue
Öyster Cult, and Hoshiko from Tangerine Dream. In the queue, and with fingers crossed are some first-time Spirits Burning contributors: David Cousins of The Strawbs and Paul Rudolph of the Pink Fairies.

Most of the songs still need lyrics and vocals. Al (Bouchard) is transcribing Mike’s text to create lyrics and vocal lines like he did for the previous SB & MM albums, when he isn’t working on his own music projects. At some point during the pandemic, I was honored to play keys on a track for his next solo album — Imaginos II, Bombs Over Germany (Minus Zero and Counting). This one has an October, 2021 release date, and is now shipping".

I also just finished an uptempo Spirits Burning song for a future Flicknife Records compilation. The song is titled “Purse (You For A Day).” It’s a fun punky, new wave song that might surprise some people. I wrote it back in the 80s, and started to resurrect it a few years ago. Nik Turner plays sax on it, and my wife did the lead vocals. To compete the song, I set up a long-distance guitar session by Joe Diehl, who was one of the guitarists who played the song back in the day. He did multiple parts this time, and it’s actually quite intricate. I’m definitely excited about it."

Spirits Burning at Kozfest in 2017 (photo by Michal Skwarek)
19. I wish to close with a question straight to the heart: do you have any regrets when you look back on your now long career?

"It’s hard to have regrets when you’ve done more than you could have imagined when the journey started. When I was listening to music in the 70s, or when I first picked up a bass guitar, or when I joined my first band, there was no way I could have imagined that I would someday be collaborating with some of the musicians I was listening to.

I’m really proud of most of what I’ve been involved with over the years. Yes, there is a small handful of songs that I wish I would have mixed differently, or approached slightly differently. But those are few and far between. Recently, I was listening to songs on shuffle mode, and I was amazed at how well some Spirits Burning songs sounded next to songs by other established artists (like Godspeed You! Black Emperor, Hawkwind, and even Kate Bush). As I continued to listen, Spirits Burning, as well as my work with Michael Moorcock & The Deep Fix and the Daevid Allen Weird Quartet sounded so fresh. In fact, I had forgotten some of the wonderful things the line-ups for a given piece had done.

I can see where I might wish one band or another had survived longer. I was in an incredible ambient-ethno experimental band called Thessalonians. They kind of had more in common with TEB than any band I’ve ever been in, given that they were tabla-based rhythmically, as opposed to rock drums. The line-up for our “Soulcraft” album did one album and gig. I would have loved to have done more gigs and albums with that line-up.

Overall, though, it’s never about regrets. It’s more about wishes, and what you did, or decide to do with those wishes. That can mean keeping a wish in place, and being patient until the time is right. “Evolution Ritual” is a great example of this, as it took me a few years to get to my dream of doing an acoustic Spirits Burning album."
Don relaxing with a glass of wine in beginning 2021

official web site:
Spirits Burning video archive:
Wikipedia page: 

no©2021 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first).