Why "Hyde Park" was never recorded in the studio?

TEB fan Detlef wrote about the interview with Denny Bridges: "Hi and thanks for the interesting interview! I always loved the track "Hyde Park" that the TEB performed for German Beat Club TV programme in 1970. It is listed as a Denim Bridges original and I always wondered why it was never recorded in the studio. Any info on that?"

I've asked Denny. Today he replies: "Internal band politics. Glen went cool on adding vocals to the repertoire. I believe Paul Minns went along with that opinion at the time. Glen told me at the time "If I wanted to play folk songs I should be in another band". Ironic that we should have to later provide "Fleance's Song" for Macbeth. I really suspect it was a reaction to the opinion of some of the band that we maybe should add a rock drummer. Glen's compromise was to try adding the congas. That didn't last long. Then Macbeth happened and... back to basics. I have been over that before."

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

Denny Bridges about the three unrealised "Macbeth" tracks.

News from our friend Denny Bridges, the guitar player of TEB on "Macbeth" and for "The Dragon Wakes" sessions, now coming back to live in Somerset, England.

Discussing again the idea to release the unrealised tracks recorded at Balham in February 1971, he writes to me about the three unrealised tracks the TEB recorded at the Trident Studios on December 5th, 1970, months before the beginning of the recordings at the Air Studios for the Polanski's soundtrack.

With his proverbial precision and clearness, he reveals:

Polanski shooting the movie

"The tracks "Court Dance", "Groom's Dance" and "Fleance" needed to be recorded in advance of the filming of Macbeth. The dances needed to be choreographed and taught to the actors. Also, the role of Fleance was decided, at least in part, by how well the boy sang the song. Well done young Keith Chegwin!

A departure from the way TEB functioned of course; the song I wrote and I presented the defined melody and chords to the band so that was all set in stone. Its not surprising that all and any takes of the song sound the same although probably, after some run-throughs, there was just the one take. As for the dances, in advance of the recording date, we improvised at the rehearsal studio in Balham until we came up with a framework that fitted the description of the dances. We then went into the studio and, as per usual, improvised the pieces afresh using the framework we had from the rehearsals until we got the best take. So that's what the Trident recordings probably are - us trying different approaches. All three pieces are used in the movie and on the album."

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

A Grapefruit 3CDs folk anthology with TEB's "Fleance".

On March 29th, 2019 a 3CDs anthology boxset of British folk will be published by Cherry Red records/Grapefruit. Titled "STRANGERS IN THE ROOM ~ A JOURNEY THROUGH THE BRITISH FOLK ROCK SCENE 1967-73", a pre-order is available at the label Website here.

Among great musicians and bands as Michael Chapman, Pentangle, Trees, Fairport Convention, Steeleye Span, Dando Shaft, C.O.B., Strawbs, Heron, Bridget St. John, on disc  2 also the Third Ear Band with "Fleance".

Here's the press release: "It's now half-a-century since British folk rock became A Thing, with the early practitioners breaking new ground and inspiring an entire scene that peaked in the late Sixties/early Seventies.

Earnest young post-Dylan singer/songwriters moved away from the intimacy of the folk clubs in favour of the nascent college/university circuit. Countercultural iconoclasts The Incredible String Band became a seismic influence on a whole raft of bands now categorised as acid-folk, Pentangle's use of acoustic instrumentation within a nominally rock framework attracted many emulators (though arguably no real equals), while Fairport Convention graduated from their initial American West Coast-indebted sound to explore their own country's musical heritage, thus establishing the concept of indigenous English folk rock (a baton that would be picked up by the likes of Ashley Hutchings' post-Fairport venture Steeleye Span and many others).

By the early Seventies, British folk rock had become an extremely marketable commodity. In addition to the aforementioned brand leaders transcending the determinedly parochial folk pages of the UK music weeklies to score Top Ten albums, a second raft of acts - including Alan Hull's Lindisfarne, The Strawbs, the post-Humblebums Gerry Rafferty, Ralph McTell and another Fairport refugee, Iain Matthews - registered huge hit singles.

Housed in a clamshell box featuring a lavish forty-page booklet, Strangers In The Room documents that hugely fertile period, when everything was grist to the mill in what quickly became a glorious stylistic melting pot. As with other Grapefruit genre anthologies, the set features many of the scene's prime movers while taking a broader look at the overall picture with the inclusion of several acts who ploughed a similar musical furrow without the same level of acclaim. These include Hertfordshire-based group Lifeblud, who supported many of the leading bands of the era and recorded no less than three albums of original material (none of which made it past acetate stage), and university student Jeremy Harmer, who cut a privately-pressed album that inspired his friend and second guitarist David Costa to put together Trees.
Ranging in scope from seminal UK folk rock texts and chart-topping singles to lo-fi demo recordings, and featuring a number of previously unreleased tracks from the disparate likes of Gerry Rafferty and cult favourites Fresh Maggots, Strangers In The Room pays thrilling testimony to the depth of talent that existed within the British and Irish folk rock scene during the period in question, and whose influence still reverberates some fifty years later."
 
no©2019 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)

---

A review about "Music from Macbeth" on "The Recoup" webzine.

Joseph Kyle reviews TEB's "Music from Macbeth" on "The Recoup" - "a reader-supported, advertising-free music and popular culture website" - at https://therecoup.com/2019/01/22/third-ear-band-music-from-macbeth-esoteric/

Joseph Kyle
January 22nd, 2019

"Film director Roman Polanski worked through the pain of the Manson Family murders in a most unique manner: making a film. Not just any film, though; he took on William Shakespeare’s Macbeth, one of the greatest tragedies of all time. Released in 1972, Macbeth is a naturally dark and disturbing production made all the more thought-provoking through subtle and not-so-subtle allusions to the murders. A dark production requires an equally dark score, and British progressive collective third ear band were selected to do the job. Esoteric’s recent reissue of the score indicates Polanski made the right choice.

Third Ear Band came to be in the late 1960s and made a name for themselves as a top notch live act known for blending classical and medieval instrumentation with modern rock sounds and improvisation. Prior to being recruited by Polanski, the troupe had seen some success for their score of the 1970 score of the film Abelard and Heloise, so the group was eager for more soundtrack work. Seeing the opportunity to experiment, they approached Polanski with a request: they wanted to record a live, improvised score as opposed to a preplanned composition. Such a move was bold for a big budget production, but one that the filmmakers accepted. Polanski, however, took an active role in this soundtrack, attending sessions and making sure the band had to visual stimulation needed.

Music From Macbeth is a dark, dreary, and disturbing album, one that perfectly fit the soundtrack. Consisting of sixteen pieces, the album ebbs and flows as one continuous whole, and with many of the pieces being less than two minutes long, it’s not an album to be taken piecemeal. At times the music is so dissonant and harsh—the mixture of medieval instruments and modern technology when together like oil and water—listening can be difficult. Music From Macbeth’s overture sets that standard from the get-go, but yet the cacophony can be oddly appealing, such as on “The Banquet” and “Court Dance.” Then there’s “Fleance,” which is sung by the actor Keith Chegwin, and is based on a poem by Chaucer. It’s a beautiful ballad, and though it breaks up the flow of the atmospherics, it feels oddly out of place; unsurprisingly, the band did not care for it, as it felt disjointed from the rest of the album.
Macbeth was a flop, but it remains a fascinating and difficult work of art. Its soundtrack is no different; it is a complex, dense work of dark and foreboding compositions that can try the patience of even the most steadfast listener. Still, approached as a wholeMusic From Macbeth is nothing less than an interesting and compelling musical artifact."

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

Maybe the most rare TEB's record?

Probably the most rare TEB's item is this only one single known, the Japan edition of "Fleance Macbeth" (Odeon EOR10140, 1972), from the "Macbeth" original soundtrack (on the B side "Overture"). No value estimated.

Here you can see the front cover and the inner sleeve with photos, notes and the original lyrics of "Fleance".

 

About other rarities for TEB's KolleKtors, just in these last few days you can get copies of the rare National Balkan Ensemble's record at around 40-60€ at Discogs Web site (https://www.discogs.com/it/sell/list?artist_id=4108478&ev=ab).

no©2016 Luca Ferrari (unless you intend to make a profit. In which case, ask first)

The same old useless sampler on the so-called "Progressive Rock"...

 

The Market tries desperately to sell his by now Jurassic punched disks. The last attempt to save itself from the forthcoming crash is this useless 5-CDs E.M.I. box sampler about the so-called "Progressive Rock" titled "Prog Rocks!" (very pristine title!).

Published on last March, we have 5 CDs with tracks taken from glorious 70's English labels as Harvest, Liberty, Charisma, Virgin and from InsideOut.

The little surprise is that on volume 1 there's also a track played by our Third Ear Band, the omnipresent "Fleance".

But is it so essential to have "five discs celebrating five legendary progressive rock labels" as the title states?

I've got my answer. What about yours?

no©2013 Luca Ferrari (unless you intend to make a profit. In which case, ask first) 

Third Ear Band on air in France at Robotouffe Radio...

TEB UBER ALLES!, dear maniacal alchemical fans!
TEB is alive and well and on last April 30th, 2013 French Web radio Robotouffe aired the infamous "Fleance".

You can listen to the show at http://www.mixcloud.com/robotouffe-radioshow/robotouffe-du-30042013/ with tracks, among the others, played by Chuck Berry, The Melvins, Black Flag... "Fleance" is at 14'03"...

no©2013 Luca Ferrari (unless you intend to make a profit. In which case, ask first) 

A short interview with Dave Harries, sound engineer of the "Macbeth"'s soundtrack.

Dave Harries was the sound engineer of TEB's "Macbeth" soundtrack recorded at George Martin's Air Studios (London) in the second half of 1971. Quite accidentally, surfin' on the waves of the Web I've been so lucky to meet him, he's been so kind to accept a short interview about his past... 
Here's this Special Thing.

                              Dave Harries on December 19, 2011 (photo by David McSherry)

Describing the Macbeth's soundtrack project to the press ("Sounds" magazine) in 1972 Glen Sweeney said: "We originally were going to use a small dubbing theatre at Air and we thought we would rehearse the film score, but on the first few clips - they only sent the movie on a clip at the time, you see - things went to well that we eventually sent the dubbing theatre up and plugged it into an eight-track and it became the original film soundtrack, part from overdubbing... (...) The way we did it mainly was by viewing the clip that they needed music for and them maybe somebody would have musical idea which we would try out, and if nobody had any ideas then we would hope for the best and try again. And it worked nearly one hundred per cent. I mean, the ideal way would have been to get someone to write the whole score and hire a bunch of studio musicians to play it". Is this description correct?

"Yes, they did view the clip and then compose the music on the spot to go with each scene. We did it one clip at a time so at times to me the music can seem a bit disjointed. Roman Polanski used to come in and review the work. We sent the music mixes to Shepperton Studios to lay them up with the film as we completed them. Often Shepperton would label them wrongly so we would sometimes show scenes with the wrong music as a result. Very confusing. Roman Polanski used to get annoyed about this! We worked in Studio 4 which was designed as a dubbing theatre with film projection facilities. This notably was one of the first movies to use Dolby on the soundtrack".

How did you meet the band? Did you know them before to start the recording sessions? 
"I first met the band because they started the project with our film recording engineer Jack Clegg but he didn't like working with multitrack recording so he asked me to take over the recording along with assistant Bill Barringer".

Can you tell us your career at that point?
"I started work at EMI Studios in 1964 as a technical engineer staying there for 6 years and working with all the famous bands of the era including The Beatles, Pink Floyd, The Hollies, Beach Boys and many more. I left in 1970 to join George Martin helping to set up the new Air Studios in Oxford Circus".

                                   One of the rare photo taken at the Macbeth recording sessions.

Which was your exact role in the recording process at Air Studios?
 "I was the recording engineer responsible for the sound and the organisation of the sessions. I recorded the band to multitrack locked to the picture and mixed the music down to two track magnetic. Also I mixed and edited the soundtrack album".

Do you remember which was the equipment you used for recording the music?
"I was speaking with Bill Barringer yesterday about the equipment. We think we used a Studer A80 8 track machine the a 50Hz pulse on track 8 to synchronise with the film.
We mixed down to stereo or maybe three track to an Albrecht film recorder. The projectors in that room were Phillips. Microphones mostly would have been Neumann U87 or U67, maybe an STC 4038 on drums.The whole track was Dolbied and we had regular visits from Elner Stetter of Dolby throughout the recordings".

What can you tell about the condition of the band in the studio (I mean if they were competent about playing and recording, if they used to get drugs, if they were serious worker...)? 

                                       The TEB appearing on the movie...

"The band worked very well in the studio and were very creative and constructive in forming the musical passages to accompany the film. Don't remember any drugs. At the time they weren't tolerated in the studios".

In a recent interview with myself, Paul Buckmaster stated: "Glen, Paul, Richard and Denny trusting me with my suggestions. For example, I actually wrote the dreary "Witches Song", which we played, and sang. The singing was done by the five of us; Roman wanted it to be "kind of disgusting"… We did a certain amount of overdubbing, to create a more dense texture in places, with me and Richard making clustery string harmonies… I think the End Titles is one of the better pieces in the score; Denny contributed a lot to that, and a great driving pulse from Glen! I believe Denny composed "Fleance's Song" with Paul… but we're all credited as co-writers, which was Glen's democratic, egalitarian virtue". Was the role of Buckmaster so decisive into the composing and recording process?
"Paul Buckmaster was an integral part of the band, particularly contributing to the more modern sounding pieces which were almost becoming classical musically".
 

What do you remember about the recording of the "Fleance's Song", probably the most known track of the soundtrack? I know that Glen and Paul hated it and it is confirmed by Denim Bridges that recently revealed me: "Glen and Paul hated that track because it didn't fit in with TEB concept. It was composed for the movie and it was composed by me alone. The words were provided to me so I, of course, just wrote the melody and chords. The turn around where I repeat the line as a sort of refrain was my trick that I often use(d) and using the minor chord was cool I think. The rest of the band improvised the arrangement in TEB style as best we could within the ridged structure. Anyway that song was the start of my demise with TEB as that's the way I wanted TEB to go".
"Fleance's Song was recorded by Jack Clegg and Bill in  Studio 2 at Oxford Circus. I mixed it with Bill in Studio 4 along with everything else. It was so good and very commercial that at the time we all agreed that it should be released by EMI as a single but the record company didn't agree".

Which was the real contribution in the studio work of George Martin?
"To my knowledge George didn't have anything to do with the recording of "Macbeth"".
 

Had you been involved with the film premiere in London? Do you recall something?
"Didn't get an invitation to the premiere".

Have you got any stuff, photos or something else about that experience that you wish to share with the Archive's readers?
"Unfortunately I don't have any pictures or anything. I will do some research however. I hope that the above is of help.
All the best, Dave Harries".

  

Dave Harries (on left), after receiving his Lifetime Contribution Award in 2009 from Sir George Martin and Ken Townsend (on right)

no©2013 Luca Ferrari (unless you intend to make a profit. In which case, ask first)

Denny Bridges updated.

Denny from his MySpace profile.

"Hello Luca, 
I still truly like the term 'fascinatingly old-fashioned' [note: I used this expression in one of my last e-mails to him to define his music...]. Next CD maybe. 

The days and then the years pass by so quickly. I have intended to do much and regretfully have achieved less than that intended. 

I look at the Archive from time to time. I saw (how would you describe what I saw?) references to "Fleance"'s Song. I' m not sure that these new folks have recorded a version but I wish I could hear it if they did. I did hear what the band from Bristol did some time ago. I tried to contact them through Reverbnation (I think) but no response. You may be interested to know that last night Paul Buckmaster and I spoke, by telephone, for 3 hours catching up on all things. Who knows what may develop. 

I am still working on locating enough material for a decent length CD. It must be somewhere. 

I regret that the 2011 Renaissance tour was limited to USA which seems to be what will happen this year. We can live in hope for Europe - one day. 

So, just to keep you a little informed but it is, regretfully, it is very little - for now. Finally, it's Denny not Danny (bottom if "Fleance" page). That is the scourge of my life. In America they always get it wrong. 

Denny Bridges".

Follow Denny Bridges at:

Thebevans.weebly.com 

Reverbnation.com/thebevans
MySpacemusic.com/bevansband 
MySpace.com/dxbden

no©2012 Luca Ferrari (unless you intend to make a profit. In which case, ask first)

Mmmm… Another band quoting “Fleance” as its influence…

This time is an English pop band called HYDE & BEAST (http://www.hydeandbeast.co.uk/) to quote TEB's "Fleance" as its influence, even if their first album (“Slow Down”, published in 2011) sounds as a plagiarized Beatles (1965-1969) artifact (read the witty review written by Josh Hall  at http://www.thelineofbestfit.com/2011/08/hyde-beast-slow-down/).

Anyway during an interview about the TEB's track the band says:

“It’s like a medieval Velvet Underground song!

I first came across this song on a psychedelic compilation album put together by Amorphous Androgynous and was instantly smitten! The open line “oh your two eyes will slay me suddenly” had me hooked. Anyone that has been besotted by someone before will know the power of this line. I must have listened to the song about 50 times on repeat when I first got it."

"Its very simple, only about 4 chords with an acoustic guitar, violin, hand drum and a meandering seemingly improvised flute line. It really, really reminds me of The Velvet Underground. It’s a drone, almost a dirge and I can totally imagine Moe Tucker singing it. 

Hyde & Beast by Ian West

The lyrics are actually taken from a Chaucer poem: “Merciless beauty” and “Oh your two eyes will slay me suddenly, I may the beauty of them not sustain, so pierceth it throughout my heart keen” – just amazing! One night after a few too many gins I attempted to write a song using medieval language. I failed. Perhaps if I had been drinking mead I may have had a greater success."

A couple of very strange facts about this song: it’s actually sung by a very young Keith Chegwin! WHAT? Yup, it’s true, this fact put me off the song for about a day but then I crumbled and started listening again. The song was written for the soundtrack for Roman Polanski’s film version of Macbeth and the character who plays Fleance in the film was a young Cheggers who also sang this song. 

Also strangely Johnny Rotten picked this song as a favourite of his when he appeared on a Capitol radio show in 1977.
Its a funny old world isn’t it?".
(the quotation is taken from “The line of best it” at http://www.thelineofbestfit.com/2011/08/reference-points-hyde-beast/) 

I think Denny Bridges will be proud of it!
no©2012 Luca Ferrari (unless you intend to make a profit. In which case, ask first)

"Fleance" and Chaucer's "Merciless Beauty".

The music of  "Fleance" - track included on "Music from Macbeth" - was composed by Denim Bridges during the sessions for the album.

Despite the fans' appreciation, as the same Bridges admitted on an e-mail sent to me on May 2011, "Glen and Paul hated that track because it didn't fit in with TEB concept". For myself, they was right...

Anyway the track, as we know, was sung by a very young Keith Chegwin with the lyrics based on a rondel poem written by the famous English poet Geoffrey Chaucer (1343-1400, a bio from Encyclopaedia Britannica at http://www.biography.com/people/geoffrey-chaucer-9245691?page=1) - titled "Merciless Beauty".

These are the track's lyrics:

"Oh your two eyes will slay me suddenly
I may the beauty of them not sustain
so pierced is throughout my heart keen
unless your words will heal me hastily
my heart's wound while that it is green
oh your two eyes will slay me suddenly
upon my troth I tell you faithfully
that you are of my Life and Death the Queen
and with my Death the Truth be seen
oh your two eyes will slay me suddenly
I may the beauty of them not sustain
so pierced is throughout my heart keen
so hath your beauty from my heart chased
Pity that it avails not to complain
for Pride doth hold your Mercy in its chain
guiltless my death hath ye purchased
I say you sooth there is no need to feign
so hath your beauty from my heart chased
alas that Nature hath in your embrace
beauty so great that no man may attain
to Mercy though he starve for pain". 

Of course, this version is just a modern English adaptation of the original Middle Age one, that was this (note that the section used by Bridges for the track, probably provided to him by filmaker Polanski, is highlighted in red):

MERCILES BEAUTE

1. CAPTIVITY

"Your eyen two wol slee me sodenly,

I may the beaute of hem not sustene,

So woundeth hit through-out my herte kene.

And but your word wol helen hastily

My hertes wounde, whyl that hit is grene,

Your eyen two wol slee me sodenly,

I may the beaute of hem not sustene.

Upon my trouthe I sey yow feithfully,

That ye ben of my lyf and deeth the quene;

For with my deeth the trouthe shal be sene.

Your eyen two wol slee me sodenly,

I may the beaute of hem not sustene,

So woundeth hit through-out my herte kene.

2. REJECTION

So hath your beaute fro your herte chaced

Pitee, that me ne availeth not to pleyne;

For Daunger halt your mercy in his cheyne.

Giltles my deeth thus han ye me purchaced;

I sey yow sooth, me nedeth not to feyne;

So hath your beaute fro your herte chaced

Pitee, that me ne availeth not to pleyne.

Allas! that nature hath in yow compassed

So greet beaute, that no man may atteyne

To mercy, though he sterve for the peyne.

So hath your beaute fro your herte chaced

Pitee, that me ne availeth not to pleyne;

For Daunger halt your mercy in his cheyne.

3. ESCAPE

Sin I fro Love escaped am so fat,

I never thenk to ben in his prison lene;

Sin I am free, I counte him not a bene.

He may answere, and seye this or that;

I do no fors, I speke right as I mene.

Sin I fro Love escaped am so fat,

I never thenk to ben in his prison lene.

Love hath my name y-strike out of his sclat,

And he is strike out of my bokes clene

For ever-mo; ther is non other mene.

Sin I fro Love escaped am so fat,

I never thenk to ben in his prison lene;

Sin I am free, I counte him not a bene".

There're no proofs that the band played the song at live concerts, but a radio broadcast is documented on March 21th, 1972 during the radio programme "Drummond" (titled "Fleance's Song"): the TEB line-up was probably the same of the album...

The band appearance on the Polanski's movie (photo c0urtesy of TEB Facebook fan page): (L-R) Minns, Coff, Sweeney, Buckmaster and Bridges.

Just two anedocts to end: "Fleance", the only track with lyrics in the TEB first phase, was one of the Sex Pistols' John Lydon favourite as declared during a 1977 interview with Tommy Vance (read at http://ghettoraga.blogspot.com/2010/03/johnny-rotten-selected-third-ear-bands.html). Just recently, reader Timothy Sommer has confirmed me by e-mail: "During the 1990s, I was friends with John Lydon... He made a point of buying me some TEB albums, and explaining to me that it was one of his favorite bands and a huge influence on him...". A quite incredible thing, you know, considering how much distant is the (great) Sex Pistols music from the TEB's one...

About Keith Chegwin (his personal Web site at http://www.keithchegwin.com/), at that time 14, I've discovered in the Net that he told about the "Macbeth" recording sessions during an interview:

How the hell as a 14-year old from Bootle do you end up in a Roman Polanski Shakespeare production?
"Well it was weird; I mean, to go back even further, as a rough synopsis, I used – when I was eight years of age – to be a great fan of Des O’Connor. And I used to emulate him by coming out from behind the sofa singing Des O’Connor songs".
And what was it like working with Polanski?
"Well, Roman Polanski, great film director, they’d say “He not turn up today”. That’s all we ever heard. I was booked to work on it for six weeks, and ended up working on it for six months!".
Just because he didn’t turn up?
"Just because he didn’t turn up. Or he’d turn up and go “I feel ill, I go home”".
Were you paid per day? 
"Yes, paid per day! The Evening Standard wrote an article, I’ll always remember, called The Gobstopper Millionaire, because of the money in those days…".
 

                             "Fleance" by the Third Ear Band (1972)

Apart "Fleance", a real hit song in TEB repertoire,  for myself the "Macbeth" soundtrack is a really treasure of sounds and moods, a spectacular pagan mass of blood, death and sublime...

no©2011 Luca Ferrari (unless you intend to make a profit. In which case, ask first)

Balham sessions'unrealised TEB tracks album postponed.

Asking by mail to Denim Bridges about some news on the projected new TEB album with the tracks from the Balham sessions (February 1971), this is his kind (& very interesting) answer:

"Hi Luca,
good to hear from you. I regret I have not been able to spend anytime on TEB. I have needed to concentrate on recording CDs for Fiona Frensche and promoting my album ("Go For Gold" by The Bevans) through iTunes, Amazon and Zunes:

http://itunes.apple.com/us/album/go-for-gold/id424375245
http://www.amazon.com/Go-For-Gold/dp/B004RA8LMI/
http://social.zune.net/album/The-Bevans/Go-For-Gold/ccefb906-0100-11db-89ca-0019b92a3933/details

You will hear better samples of the songs at

Reverbnation.com/thebevans

or
Myspacemusic.com/bevansband

The samples are shortened versions of the whole song not just the first 30 secs.

I am going to be touring as the sound engineer for Renaissance this summer. There is talk of a tour of Italy next year. I hope to get time to dedicate to TEB in the autumn/ fall. 

I saw about the cover of "Fleance"'s song. I'd like to hear it. Glen and Paul hated that track because it didn't fit in with TEB concept. It was composed for the movie and it was composed by me alone. The words were provided to me so I, of course, just wrote the melody and chords. The turn around where I repeat the line as a sort of refrain was my trick that I often use(d) and using the minor chord was cool I think. The rest of the band improvised the arrangement in TEB style as best we could within the ridged structure. Anyway that song was the start of my demise with TEB as that's the way I wanted TEB to go. Finally a spelling correction - it's "Groom's Dance" not "Groam's Dance". 

My memory is going. As I said I was the 'songwriter' in TEB and we have ascertained the "Mistress To The Sun" had been lost. I am also confused regarding "I The Key". For me to have played it on Peel's show I must have written it but I don't remember it. But, I didn't remember the song from Hamburg until you showed me the video. When I get to a computer instead of my iPhone I might be able to access some links.

Anyway, I'll keep you informed.

Regards,
Denny" 

 

no©2011 Luca Ferrari