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

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
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

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

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

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

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)

September 25, 2019


Accipe Ovum & igneo percute gladio [take the egg and strike it with a fiery sword

“Emblema VIII. Accipe ovum & igneo percute gladio. ‘Take the egg and strike it with a fiery sword.’ The egg is the Subject of the Art, which must be struck by the martial igneous agent wielding the ‘double-edged sword’ of the Secret Fire. Mars thus comes to the help of Vulcan, and from the ensuing darkness of Putrefaction (Nigredo) the hermetick chick will hatch. Raymund Lull, quoted here by Maier, stresses in several places that the fiery sword is a sharp lance, because Fire, like a lance, pierces bodies, rendering them porous and permeable, so that Water may penetrate them and turn their hardness into softness” (p98).


According to Luca Ferrari's excellent and detailed notes inside the booklet of the 50th Anniversary edition of "Alchemy", the iconic cover was taken from the book "Atalanta Fugiens" by Michael Maier (1568–1622), published by Johann Theodor de Bry in Oppenheim in 1617 (2nd edition 1618). 
It consists of 50 chapters with engravings by Matthias Merian, a great artist rarely quoted. Alongside illustrations, poems, and alchemical explanations, it included 50 pieces of music in the form of "fugues" scored for 3 voices. 

Being a fan of Early, Renaissance and Baroque music, I let my imagination fly: if Third Ear Band were around at the time, could their music be considered some kind of alternative "secret" sound to the more famous composers of the era? I suppose there's no answer to this question, but I think that it could definitely be interesting to hear what the original pieces from the book sounded like.
Among the countless transcriptions of the work you can listen to a nice vocal performance here below:

More performances here:

For voices and instruments here:

A different Czech ensemble recorded the fugues using for the cover the same engraving of the TEB:

...and even two modern transcriptions for piano and synthesizer here:

It is also worth noting that for many researchers and musicologists "Atalanta Fugiens" may be considered an early example of multimedia.

Alessandro Monti :: unfolk

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

September 21, 2019

New "Alchemy" 180 gram vinyl edition out on September 27th, 2019!

As announced, Esoteric Records will publish a new "Alchemy" 180 gram  limited remastered vinyl edition on September 27th, 2019. It will cost £ 17.99.

Here's the press release: 




Esoteric Recordings is proud to announce the release of a new 180 Gram limited edition gatefold Vinyl LP edition of the classic album “Alchemy” by THIRD EAR BAND.
One of the first releases on EMI’s progressive rock label, Harvest in July 1969, “Alchemy” was the debut album by THIRD EAR BAND. One of the earliest signings to Harvest, the band was formed in 1968 around a nucleus of GLEN SWEENEY (percussion), PAUL MINNS (Oboe), RICHARD COFF (Violin, Viola) and MEL DAVIS (cello). Third Ear Band were unique in their exploration of exotic baroque music fused with experimental rock. Signing to Blackhill Enterprises in 1969, the quartet opened for many of the legendary Hyde Park free concerts by Pink Floyd, The Rolling Stones and Blind Faith.
Recorded at Abbey Road studios in the early months of 1969, “Alchemy” is regarded as one of the most striking and original works of the era with its unique gothic improvisational music and this new Esoteric Recordings 180 gram vinyl edition is a faithful reproduction of the original 1969 gatefold LP release. It has been re-mastered from the original Harvest master tapes and has been cut at Abbey Road studios for this definitive edition vinyl reissue.

Pre-order at

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

September 15, 2019

A book on the Air Studios Montserrat announced...

                                          Air Studios Montserrat today...

Brian Sallerson is an American freelance journalist who's writing a story on the George Martin's Air Studios.

He e-mailed me: "I am a writer who is working on a book about the history of AIR Studios Montserrat. Denny Bridges was the operations manager for that studio when it opened in 1979. I am traveling to the UK in October and was trying to track him down to see if he might be open for an interview about his time at AIR Montserrat. I cannot find any contact info for Denny and your TEB site is the only place that has any recent correspondence with him. Is there any way that you could get a message to him for me? If you prefer, I could contact him directly if you provide an email address. Denny played a significant part of the launch of the studio so an interview with him would go a long way to help me get the full history of the studio. Any help you could give me would be greatly appreciated."

A synopsis of Brian's book project can be found at

                                                   The ruined pool today...

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

August 20, 2019

A review about "Alchemy" on "Let It Rock".

Web site "Let It Rock" reviewed "Alchemy" in July 2019 with interesting and acute words by Dmitry M. Epstein...

"Tribal brewing from British combo with alien tones were rooted in traditional tunes – refined and expanded for further focus.

They may have played in Hyde Park on the same bill as THE STONES and KING CRIMSON in 1969 and shared the stage with THE WHO at the Isle of White festival a little later, yet in terms of intensity THIRD EAR BAND seemed totally opposed to their more prominent and longer lasting contemporaries. While others rolled on, dwelling on a single note or two for a protracted period of time – where time could take on very irregular signatures – was typical for the English quartet whose relation to rock had always been tenuous. Nevertheless, in the climate of the day, the ensemble entered progressive stream and got ahead of the curve by confessing minimalism much earlier than many an avant-garde-minded artist, and their debut still affects the listener’s psyche fifty years on.

Although the foursome ascribed their efforts to a raga tradition, what they did had a lot in common with traditional Celtic drone, rather than with Indian lore, but the album’s opener “Mosaic” oozes exotica once plucked cello has met the bow and ushered pipes in, for the resulting mesmeric miasma to be spiced up by hand drums without leaving its chimes-laden chamber soundscape. Still, if pieces such as shamanic, yet static, “Druid One” (also present on this double-CD reissue in a lengthier, albeit less abstract, take from the band’s BBC session and in a fantastic rendition from the group’s next line-up) suggest claustrophobia, the multidimensional, momentum-gaining expanse of a 10-minute “Ghetto Raga” – which Glen Sweeney’s tabla and Paul Minns’ oboe and recorders drive towards delirium – is as exposed to elements as it gets for the players who participated in pagan rituals at Glastonbury Tor.

It’s whence that the strangely jubilant “Stone Circle” emerged to wrap heartbeat in the thick, but breathing, web of woodwind, while the strings-drenched “Egyptian Book Of The Dead” plunges into modal play, simultaneously plumbing low frequencies and scaling high notes to an increasingly horrific effect which is dispelled when the Eastern sonics of “Area Three” blow up and expire to leave cosmic conscience cleansed. Whereas the many incidental parallels in “Dragon Lines” render this piece cinematic, “Lark Rise” offers a simple folk motif and reveals the inspiration behind most of the album’s tunes, yet two takes on “Hyde Park Raga” – one laid down at Abbey Road, the other delivered for the Beeb – reflect the most perfect blend of so disparate, sources, and it’s a pity the track didn’t make the LP cut.

Neither did the three melodies the ensemble recorded early on, in 1968, even though the humbler-in-scope “Devil’s Weed” and “Cosmic Trip” feel as mind-boggling as the album’s material, but 1969’s “Unity” is given sparse grandeur of symphonic sort, with specters of Ravel and Ligeti lurking in penumbral agitation, and “The Sea” anticipates electronic escapades of the nearest future. For TEB the future would hold music to Roman Polanski’s “Macbeth” – their most memorable work – yet “Alchemy” remains as magical as it was supposed to be."

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

August 13, 2019

Steve Pank announces new Ursula Smith's live concert in London!

"Hi Luca.
It is great to see so much new material on the Ghettoraga website.
Ursie is playing another concert in Hampstead, and anyone who remembers the Third Ear Band and who likes classical music, would enjoy this concert, I have attached a flyer.
Good wishes,

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

July 28, 2019

A review on "Alchemy" on Facebook...

Esoteric according the G-man, on his Facebook page, reviewed here  "Alchemy"...

Sometimes, I wonder why I do this to myself.........after the “Elements” album being quite, shall we say, “challenging”, I was consumed with curiosity, bearing in mind I'd never heard any of their albums before now, to see what happened next........
… which the answer is........things got “less challenging”..... you can see this review is really gonna help, can't you.......
With a whole CD and a bit of previously unreleased tracks, let's start with the “Alchemy” album itself. The whole package is instrumental – get that out of the way first – and the main album is a whole lot more cohesive and structured than what came before, or it certainly sounds that way. For the first track, against a shuffling tabla rhythm, the violin, or viola, interweaves with the oboe and the effect is both mesmerising and hypnotic as the instruments kind of stride along with the textures counteracting and creating an almost melodic feel to the density. The 10+ minute “Ghetto Raga” that follows, is, however, the first time for this band, that my ears (lol) pricked up and something really grabbed me, coz this track is an absolute gem. Again, with tabla rhythms to the fore, the viola and oboe continue to weave, soar, drone, stride and fly over the ever gathering rhythmic clouds and something akin to Terry Riley meets Indian, unfolds in all its glory to remarkable degree and itr's this track that makes you think “thank the heavens I bought this album” as, despite what comes next, you somehow manage the resist the urge to loop this and make it last about 10 hours, never mind 10 minutes. There follows a couple of 3+ minute tracks that are more sedate, as the tabla rhythms calm, the strings plink and pluck and drone their way to infinity while the oboe continues to whirl and swirl, the whole thing achieving that Philip Glass/Terry Riley kind of cyclical nirvana, but injected with greater texture, less intensity and more melody.
“The 8+ minutes of “Egyptian Book Of The Dead” (kinda gives it away, really) starts more of a wail before the slow tabla beats begin, the dervish like dance of the oboe begins and it all gets rather rhythmic in a quite unexpected but delightful way, as the cello unfolds a mournful meandering underneath, and you can just picture the boat with the body on it, floating down the Nile, as the mood darkens, the strings shimmer eerily and the beats keep beating.
From there on in, things swing to and fro from slowly sailing to wickedly dervish swirling and most points in between, the whole album a huge step up from the first and, although I never thought I'd say this, something I'll be listening to again when the mood is right (you know, funerals, bad news, your girlfriend's dumped you – that sort of mood). As a bonus there are two 6 minute tracks froma 1969 “Top Gear”session which continue the mood of the album, only here in a “live” situation, the viola and cello sound incredibly Cale-esque (that's John, not JJ) while the oboe is just sensational sounding with the tablas as the heartbeat that keeps it all alive – superb stuff and a thoroughly excellent CD.
The extra bonus CD consists of all previously unreleased tracks from recordings made in 1968 (back to “challenging” although not quite as harsh) plus tracks recorded at Abbey Road studios in 1969 which are more varied yet consistent with the moods of the main album, but I won't go into detail as (a) you'll be bored, and (b) life's too short. Suffice to say, the main album is a stunner so give this a go and if you only ever own and love one Third Ear Band album, this is definitely going to be the one.

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

July 23, 2019

"The Magus" vinyl edition out now!

As announced, the vinyl 180-gr vinyl edition of "The Magus" (TB0006430), the so-called TEB's lost fourth album, is out now thanks to a London label Tiger Bay (

As you can see here, the album is a traditional cardboard coloured gatefold cover record with black vinyl. It has spare notes on the back and a sober label.
The quality of sound is good, better than the CD edition published in 2004 by Angel Air and for any record vinyl addicts, it's worth to have it.
About the music (composition, lyrics and playing), you know what I think about, but it's just a question of personal opinions and I know that many TEB fans are enthusiastic about this album...
So get it and enjoy, all in all, it's a brand new Third Ear Band record for your collection! 

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

July 16, 2019


"Alchemy" is being released on vinyl on 27th September for Esoteric Records in a limited edition to 1000 copies. The album is an exact facsimile of the original 1969 Harvest LP release. Also, this new edition is in a gatefold sleeve and on 180-gram vinyl.
It was cut at Abbey Road Studios.
no©2019 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

July 14, 2019

Italian band Marsala quotes the Third Ear Band...

Marsala is Andrea J. Marsala electro-acoustic solo project, his first album recorded with synth, keyboards, bass/drum machine, loop stations, samplers, harmonica, xaphoon and vocals.

"Psychedelia, industrial, ambient, folk, blues and noise music are
 the coordinates in which the voodoo scenario of Marsala's debut album moves: if you love Tangerine Dream, Third Ear Band, Goblin, Dead Can Dance and Foetus, you have found your own thing.
(from Wallace Records press release)

As always, listen to the album (HERE) and check the music... and if you like to share your opinions please write here!
no©2019 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

June 29, 2019

Celebrating the TEB 'curious story' on PROG magazine...

"It's the same the world over", as they said. English rock magazines are generally better than the Italians, but anyway we are very far from the famous legendary Oscar Wilde's statement about the critic being as an artist...
This long tribute to the TEB's saga under the title "Dragon Lines. The curious story of the Third Ear Band" written by Malcolm Dome for PROG magazine (#99, July 2019) is cheap of revelations and shows some little errors (the  worst  of all is stating Richard Coff is dead!), with well-known opinions by Blackhill's managers (the same old things about Glen being a trickster and a good PR man of the band...) and a arguable assertion by Denim Bridges on the mystic nature of TEB's identity.

Dome: "Celtic, raga, Chinese, Indian and Native American daubs abound throughout Alchemy. And there were rumours the band were actively involved in mysticism. But guitarist Denim 'Denny' Bridges, who joined in 1970, has his own views on this."

Bridges: "I believe Glen was very knowledgeable about the subject. But he was certainly also prepared to use it to get interest in the band. If he felt that using alchemy and magick imagery would get us attention, then he would exploit the side as much as possible".

As often happened on English magazines or books, also for Dome the TEB's Italian reunion is quite irrelevant, and THE MOTHER OF ALL QUESTIONS seems to be that there are still some mysteries around that have to be solved. "For instance, did Sweeney actually fight in World War II?"

So, apart from some well-known pictures, the very scarce informations about the recent three Cherry Red's reissues (!!!), no elements to the readers for understanding the great musical intuitions of the band, no references to the huge work made by this Archive in the last ten years... this is an important stuff because can let many young Prog fans to know the intriguing underground story of the Thirds.

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

June 19, 2019

"The Magus" new vinyl edition out soon!

Tiger Bay will release on June 21th, 2019 a brand new edition of TEB's  1972 album "The Magus" in a gatefold vinyl edition (as TB0006430) for € 27.00
This is the label press release:

"Recorded in 1972, but not released til' 30 years later, this magnificent 'missing album' by the free-thinking UK psych-prog band is now available on 180-GRAM VINYL, packaged in a gatefold sleeve. Sounding like an east-meets-west kind of affair, this spiritual work includes early electronic experiments and vocals."

Tiger Bay is "a label specialised in luxury and limited edition releases on vinyl. Focusing on progressive, experimental, psychedelic and jazz-rock, TIGER BAY’s releases include both out-of-print reissues and rare or unreleased material works by artists that contribute to expanding these genres through the years. TIGER BAY works closely with artists and labels to realise high-quality licensed vinyl, with re-mastered sound, and finely designed artworks."

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