The Anacondas Skiffle Group story: the Stone Age of Glen Sweeney and the Third Ear Band (part 1/3).

Historiographical Background

It is well known that Glen Sweeney's musical beginnings date back to the 1950s and were consummated in the area of Croydon, Surrey, where he was born in 1924.
The percussionist rarely went into the details of that season, preferring by far to gloss over the period when, in the early 1960s, he moved in search of his fortune to London, where he found work as a busker, dishwasher, and clerk in antique stores in Soho (in one of those stores he met, his colleague, Carolyn Looker, a lifelong companion). Turner in modern jazz groups first, free jazz later, without great fortunes, playing in "terrible places" (his words), "strange clubs that I'm sure were run by white slave traders. I used to play with a pianist and bass player. I always had a quartet that was "rehearsing" but they always collapsed before they actually got off the ground." (1)

As for his beginnings, almost nothing. A few vague words even to Carolyn or lifelong friend Steve Pank. I also attempted to elaborate on his early musical experiences with him, but he considered them irrelevant, of little interest. Only a hint of militancy in a Skiffle band, where he played washboard. Aptitude confirmed in interviews with the press, to which he would simply say, “like most people on the scene today, I started with Skiffle in a very suburban basis. I was washboard king of Croydon and that sort of area. But that died one weekend when there were about 5,000 skiffle groups and only eight gigs.” (2)

Or, in what is probably the longest and most in-depth interview, provoked by interviewer Nigel Cross:“(…) I as totally into the scene – jazz drums – when a couple of guys I knew did an interval at a club I was hanging out at and their washboard player cracked up under the strain. I immediately leapt in, sussing I simple it must be and became moderately famous overnight because it was only local talent; it wasn’t difficult to do. (...)”

 

The Anacondas: Glen Sweeney to the far left.

Cross: Tell me more about the Anacondas band?

Sweeney: “It came and went. One of the high spots was residency at the Driftbridge Hotel in Reigate, because it was local. We used to play there every Sunday and pull a decent crowd, because we were ethnic skiffle – we played the actual band’s numbers. This was were I met Ginger Baker – we were doing the interval when Ginger was playing with some trad band – Charlesworth – after we’d done out set, and Ginger came up to me and threatened to do me over for doing all his band’s numbers! After that I really got to know the guy and he was great! What happened with Skiffle was – one Saturday or Sunday it ended! I’ve no idea what happened – I think the scene got so full of Skiffle groups that it just killed itself.” (3) 

 

 

New materials surfaced!

When by now the history of the Anacondas seemed dead and buried, destined for absolute oblivion, in January 2023 thanks to the Facebook pages dedicated to the band by friend Mirco Delfino (https://www.facebook.com/third.ear.band/), Chris Shields, Sweeney's nephew, came forward and posted an old photo of the Anacondas, apparently colorized from the original black-and-white, and a business card of guitarist and leader John Hall on the back of which are listed (with writing that looks like Sweeney's) the names of the musicians: 

 

John Hall - guitar and vocals

Alan Carder - harmonica 

Norman Strong - guitar

Colin Burrons - banjo

Gordon (Glen) - washboard 

Roy Bance - tube bass 

 

Only clue, the nephew's comment: "Old picture of my uncle, on washboard, first band he had. They won the Tommy Steele skiffle group cup."

 

 

Notes: 

(1) "Me and my Music. Glen Sweeney: Third Ear Band", in
"Disc & Music Echo", 11 April 1970.

(2) As above.

(3) N. Cross, "The Return of the Acid Prankster. Glen Sweeney tells the Third Ear Story", in "Unhinged", Summer 1990. 

 

 (to be continued)

Read part two at: 

https://ghettoraga.blogspot.com/2023/10/the-anacondas-skiffle-group-story-some.html

 

no©2023 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first) 

The music according to Glen Sweeney in an old article from 1970.

 

Dear loyal listeners of the Third Ear Band, for however few of you are left, here is another archival tidbit from the distant past. 

 

From an April 11, 1970, issue of Disc & Music Echo, in a column devoted to musician's ideas of music, Glen Sweeney talks about his idea of music and reveals some unknown biographical anecdotes (e.g., I didn't know he had been a dishwasher for a living either).
It is interesting to note that a magazine as widespread as Disc could give the floor to an obscure protagonist of the underground of those days: in times of boorish homogenization such as the ones we are suffering, it would be as if today Mojo or Uncut gave space to  R. Stevie Moore or Eugene Chadbourne...

 

no©2023 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

The "underground" movement according "Disc & Music Echo" and John Peel in 1968.

On November 2nd, 1968 a five-pages article about the "underground music" edited by Hugh Nolan was published by "Disc & Music Echo" with a short profile of the Third Ear Band by legendary DJ John Peel. Title: "Underground  - not so much pop music more a way of life".

Peel writes: "Another I've not heard yet. I must rectify this as such authorities as Pete Drummond speak well of them."

A little-known fact is that Drummond was a great friend of Glen and Carolyn since the beginning, so much so that to this day he still uses to have a lunch or take a walk around London with Carolyn... 

 

 

 

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

"What's this ear?". A Glen Sweeney and Paul Minns short interview on an old issue of Disc & Music Echo.

I've just found in the Web an old copy of "Disc & Music Echo", the British magazine born in the Fifties.

In this issue (April 22, 1972) there's a short interview with Glen Sweeney and Paul Minns about the "Macbeth" recordings.

Nothing of particularly revelatory, but it's interesting for some little known details of that experience, most of all for the relation with filmmaker Roman Polanski.

Also, here there's the proof that Stanley Kubrick was interested into involving the band for the soundtrack of his masterpiece "Clockwork Orange", even if different than the usual Glen's memory. 

In fact, Glen told: "I heard that Stanley Kubrick was thinking of doing the science fiction  novel "Dune". It's a fantastic book, vaguely Eastern and right up our street. However, even if he does do it, we had a bit of a run-in with Stanley, so I don't know how we'd stand. He wanted us to do something  for "Clockwork Orange" for free. We said no chance, but it turned out all he wanted to use was our second album "Air". It was to be played through the scene  in which someone turns sadistic. It has been rumoured that several people have gone mad after hearing that album!"

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

Rare short statement by Paul Minns on British press.

As part of an investigation promoted by "Disc & Music Echo" on  January 10, 1970 titled "Is single snobbery stifling progress by the underground?", TEB founder oboist PAUL MINNS stated that "we're certainly interested in doing singles - we've nothing against them".

Apart this very unexpected statement, this piece is interesting because is a valid testimony of the ideas that was circulating between underground musicians about music business and record market. Pete Brown, Edgar Broughton, Roger Glover, David Gilmour had different opinions about it...

 

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