"Not tied into a more coherent narrative history": a 2021 specious review about TEB book/CD by Richie Unterberger.

 

A December 2021 review by Richie Unterberger found by chance on the web at the page
http://www.richieunterberger.com/wordpress/2021/12/
offers me an opportunity to reflect on my idea of musical biography.

Unterberger writes: 

 

"Third Ear Band, The Dragon Wakes (ReR/NOVEMBeR Books). Subtitled “the legendary unreleased album” and lasting a little less than half an hour, this was issued only as a CD bound into the book Glen Sweeney’s Book of Alchemies: The Life and Times of the Third Ear Band, 1967-1973. The Third Ear Band had a sizable underground following in the UK during that time, though they weren’t exactly rock, and more like an instrumental trance music group blending elements of classical and world music, with some jazz-influenced improvisation. Their instrumentation was rather far afield from rock as well, with hand percussion, cello, violin, and oboe. Their recordings will never get more than a niche audience, involving as they do a lot of repetition than many will find wearying.

This disc’s subtitle is a little misleading: a third album titled The Dragon Wakes was announced in Melody Maker in August 1970, but the band did a number of unreleased recordings in late 1970 and early 1971 that might have been considered for such an LP, not just the six previously unissued ones that are on this CD. Other unreleased studio recordings from the era are on the three-CD expanded edition of their second album, 1970’s Third Ear Band, if you’re keeping track.

Small-print details aside, I find this more accessible than most of the Third Ear Band material I’ve heard. It’s still entirely instrumental and based around repetitive riffs likely meant to induce trance-like states, but the riffs are a bit catchier, though not as memorably digestible as those of actual early space rock outfits like Pink Floyd. The use of electric guitar on some tracks, though seen by some fans and critics as a dilution of their purer original sound, adds some welcome texture. For these reasons, overall it’s more likely to be appreciated by lovers of psychedelic/early progressive rock than much of their official output from the time.

The book it accompanies, however, isn’t so hot. It’s a kind of disjointed collection of interviews with and memories by band members and associates that doesn’t coalesce into a coherent history, or an especially interesting one if you’re not familiar with much of their background. A detailed timeline and discography at the end help put the pieces together, but it’s unfortunate the ingredients weren’t tied into a more standard, coherent narrative history."

 

The controversial elements of this review, which could be taken as paradigmatic of the subculture with which rock journalism has always operated, are more than one, which I summarize below:

1- from a strictly journalistic point of view, it is really amateurish to review a CD attached to a book without mentioning the author of the book, especially if, as Unterberger does, he is given detailed criticism. In Western countries it has to do with the classic rule of the five Ws (where/when/who/what/why). An article, whatever it may be, cannot be said to be correct if it is not based on all the five Ws. It also attends, as is evident, to the ethics of the journalist;

2- the reviewer disputes the subtitle of the CD, claiming it is misleading because it would not be the band's “legendary third record,” but as I explained in detail in the accompanying booklet, also based on the testimony of Danny Bridges who donated the original recordings to me, that is exactly what it is. Unterberger, who seems not to have read the booklet, speciously disputes the assertion, maliciously suggesting that the publisher wanted to play on a title to lure the reader. Not only that, by never citing me as the author/editor of the book and CD booklet delegitimizes my credibility as a researcher...;

3- as for the comment on the book, in the final paragraph of the review, apart from the omission of me as an author I find laughable and simplistic the criticism that the book is a disunited collection of interviews and materials. I can understand the frustration of not being faced with a classic biography, to which rock readers and journalism are accustomed, but for my part I believe more in the value of documentation than in the questionable, subjective opinions of an author. History is built first and foremost from sources, from documentary materials, and there is no such thing as a definitive biography, as authors and editors have always been going on about.

 

Do you want recent proof? 

 

When Patrick Humphries' biography of Nick Drake, launched precisely as the “definitive” one, was released by Bloomsbury in 1997, it was rightly thought to be so, so thorough and documented did it appear. A few years later (2014) an extraordinary volume entitled “Remembered for a While,” subtitled “The Authorized Companion To The Music Of Nick Drake,” was published by Little, Brown & Company. It had been edited directly by Drake's sister, Gabrielle, and collected documents, photographs, and letters from her brother's family archive.

This year, when it was legitimate to think that everything possible had been written about Drake, Richard Morton Jack published for John Murray Press his biography on him "The Life," however once again cast as "definitive."

 
What need was there, one might think?

This example among many demonstrates in my opinion one thing Unterberger has not yet realized: that there is an abysmal difference between documents and the interpretation of them. Which makes legitimate all biographies written and to be written about Drake (or the Third Ear Band...), based on in-depth study of existing sources.

My book on the Third Ear Band collects all the interviews published on this Archive (which Unterberger is careful not to cite...) over the years; programmatic manifestos; poems; Sweeney's writings; detailed discography; chronology... a jumble of objective and non-objective sources that can serve anyone to construct their own biography of the band.

This structure of the book, which I wanted and which the publisher has intelligently supported, is also a reaction to the deterrent logic of the author's authority dispensing his knowledge to the reader, offering arbitrary, subjective reconstructions, logical and temporal connections as if they were objective. Hence the desire, even at the cost of being pedantic, to report different recollections of the same historical event (e.g., that of the theft of the instruments).

This also has to do with the chronic passivity of the reader who expects a definitive biography that cannot exist, because every existence, no matter how thoroughly reconstructed, is fatally elusive, impregnable.

With all due respect to music journalists like Unterberger.

no©2024 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

Blackhill's manager Andrew King continues to sling mud on Glen...

As I wrote in the book recently published by Recommended Records, Glen was a really funny chap, sometimes a comedian, but he had a huge spirituality and a rare deepness for the typical worn rock standards. With a very ugly memory, pulled out of his usual hat of cheap falsehoods for the bad "Mojo" magazine, Blackhill's manager Andrew King says: "Glen always claimed that he was a junkie who cured himself of heroin taking lots of acid".

Apart the ethic question of talking about a dead person in such horrible way, this memory is totally false, there's nothing in Sweeney's personal story that can be related with heroin or other hard drugs. 

Glen always claimed... what?!

I was so pissed off and outraged that I sent to the magazine this short letter:

"Dear editorial staff, on page 102 of your latest issue (issue 331 of June 2021), in an article dedicated to Third Ear Band's "Macbeth", Ian Harrison manages to write more than three thousand lines without mentioning yours truly, curator of the CD booklets remastered by Cherry Red, author in 1996 and 2020 of the only two volumes dedicated to the band (the last one published by Recommended Records), curator since 2009 of Ghettoraga, the band's official online archive.

Add to this some questionable recollections of Andrew King, one of which was even insulting to Glen Sweeney, related to his alleged heroin addiction.
Is this your idea of journalism?"

Asking Glen's partner and my friend Carolyn Looker what she thinks about it, she writes me: 

"Ciao Luca. Brilliant letter to Mojo! I'm debating weather to write to them also. I was furious at first by Andrew Kings ridiculous words about Glen but actually its such a stupid and unbelievable thing to say that l'm sure no-one will take it seriously. Its such a pity that he gets interviewed for his memories as they are now ramblings of a senile old man. In interviews with other band members things have been said which were totally untrue also and made me very angry. I guess Glen did annoy a lot of people and also talk nonsense and put them on!!! He was a very strong personality and the guys were all happy to follow his ideas at the time.

Peace love and freedom...

Carolyn".

All in all, this is a typical cynic way to make music journalism for the most magazines, disinterested in providing objective information to their readers. It's better to gossip, to feed falsehoods and clichés, to exaggerate things as an adolescent would do in his bedroom in front of the poster of his favorite rock star. This is the rock imagery on which rock magazines speculate (and I've ever detested it!). 

As long as they have readers....

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

A new long good review from a web magazine.

 

Italian journalist Mario Calvitti writes a long good review on the TEB book on AllAboutJazz web site at 

https://www.allaboutjazz.com/glen-sweeneys-book-of-alchemies-the-life-and-times-of-the-third-ear-band-1969-1973

 

This is a quick translation from Italian:

"One of the historical groups of the London underground scene of the late '60s, the Third Ear Band founded by percussionist Glen Sweeney is experiencing a moment of renewed interest. First Esoteric Recordings has reissued the three albums released by the group between 1969 and 1973, in remastered and expanded editions with plenty of unpublished material of extreme interest; now ReR Megacorp (independent record label well known for its activities in the field of avant-garde and committed music) is printing (only in English) a book about the group edited by the Italian freelance journalist Luca Chino Ferrari, their biggest fan and official biographer, and already author of their return on the scene between 1988 and 1992.

The book is not a real history of the band, but rather a collection of various materials (mainly a series of interviews with Sweeney, the band members and other characters that orbited around them) collected by the author in years of research and already largely present on the site ghettoraga.blogspot.com created by him and soon became an obligatory reference point for anyone looking for news or information about the group. Through the testimonies of the protagonists of that historical period we can reconstruct not only the history of the band and its members in all its incarnations, but also the musical scene of the time that saw them among the protagonists, with all the contour of esotericism and mysticism due to the interest in Eastern philosophies, which for Sweeney was a way of life and not just a fashion of the time. Just the figure of the percussionist (died in 2005) emerges strongly from the pages of the book, as was also expected since the band was a direct emanation of him. In addition to interviews in which he tells the story of the group, the book contains sections devoted to his writings, poems and various quotations that reveal the complex personality.

The book is completed by a photographic section, a complete discography, and a chronology of all the main events related to the band's life. Moreover, to the volume is attached a CD with some unreleased tracks recorded for what should have been the third album of the group, never published, containing a little less than half an hour of music.

Perhaps the rich and abundant material could be organized differently to be more accessible to those who are less familiar with the group, but the book is definitely a must for anyone interested in a first-hand testimony by those who lived that unique and unrepeatable period, and to (re) discover one of the most original groups that emerged from that scene."

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

Another review about the TEB book.

A new (controversial) review of the book dedicated to Glen Sweeney and TEB has been published by the UK site/magazine Northern Sky edited by Allan Wilkinson. The reviewer seems to dislike the structure of the book, deliberately a "non-biography"...

Text of the review on the Web page:
https://northernskyreviews.com/2021/03/15/issue-1/

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

Italian composer and filmaker Francesco Paolo Paladino writes about the TEB book...

My friend Francesco sent me this little unexpected gift, a review of the TEB book. It's in Italian, but I know that the one interested can translate it in English and appreciate his pyrotechnic way to write.

 

ULTIMO TANGO ALCHEMICO

Luca Ferrari me l’aveva preannunciato: “Ho scritto a Chris Cutler per farti inviare una copia di BOOK OF ALCHEMIES e a giorni ti arriva”. Confesso che ero scettico, non certo per i suoi buoni intenti, fuori discussione, ma per la politica Recommended Records che, pur da elogiare senza se e senza ma per essere una delle poche etichette rimaste in trincea nonostante la desolante situazione attuale, non brilla certo per prodigalità.


“BOOK OF ALCHEMIES, the life and times of Third Ear Band, 1967-1973”, per chi non lo sapesse ancora, è un raffinato volume di 225 pagine (231 pagine per alcuni, qui c’è odore di cabala), edito dalla storica R&R il cui autore “potrebbe essere” Glen Sweeney, membro fondatore dei TEB,, ma che in modo quasi pirandelliano viene attribuito “anche” a Luca Chino Ferrari. Io so che il libro è di Luca e soltanto il suo squisito senso di generosità lo porta quasi a renderne fumosa la sua paternità. Per non farci mancare nulla il libro contiene anche un CD “THE DRAGON WAKES- The legendary unrealesed album” una chicca di cui ha scritto in modo più che eccellente Alessandro Monti su queste longitudini. Sorprendente che a scrivere dei TEB siano – per ora - soltanto musicisti e/o creativi e che i dichiarati critici non abbiano ancora assaggiato questo indispensabile manicaretto. Non vedo l’ora di leggere le parole di Gino Dal Soler su "Blow Up", uno dei pochi critici indispensabili alla nostra salute. Ma torniamo al volume, è scritto in inglese, niente traduzioni in italiano, il “range” (si dice così?) di pubblico che vuole interessare è internazionale ed è ben comprensibile. Oggigiorno i budget sono talmente risicati che è già un miracolo avere tra le mani un volume come questo! Per le traduzioni ognuno s’ingegnerà come potrà. Io che mastico poco la lingua inglese, speravo in una versione “kinder” da poter tradurre con Google trad, ma – come vi ho già accennato - per ora non è previsto. “E più non dimandare” direbbe il Sommo Poeta. Ma la soddisfazione di avere tra le mani nel 2020 un libro che, per 225/231 pagine, parli di T.E.B. è talmente un “godimento esperanto” che supera ogni possibile cimoseria. Per la verità io e Luca condividiamo da anni una insana passione per la THIRD EAR BAND; anzi questa nostra passione ci ha resi ancora più amici e ci ha indotto a collaborare in altri mille progetti.


Poi, qualche giorno prima di Ferragosto, in mezzo ai consueti scatoloni di Amazon, trovo un plico che contiene un libro. La modalità di apertura dei pacchi postali meriterebbe un articolo a sé; diciamo che per noi musicomani senza speranza assume una sacralità rituale. Ed è un rito plurisensoriale che include un primo movimento muscolare il più delle volte lieve (il ritiro del plico/pacco); l’apertura con lacerazione o con tentativo conservativo dell’orecchia adesiva con o senza oggetti opzionali (forbici, coltelli, plettri, monetine); rimozione di eventuale strisce di scotch o nastro adesivo; eliminazione di plastiche anti-urto e/o giornali ammassicciati per espletare tale importante funzione. Ma forse la fase clou dell’apertura del pacco/plico è il percepimento dell’odore dell’oggetto che viene sfilato fuori dal pacco, che non è più l’odore del vecchio vinile, ma una “essenza cocktail” di tipografia, plastica protettiva, odore di carta non sfogliata, sudore del corriere e –certe volte- della passione dell’autore.


Bene, visto che non so leggere la lingua inglese come vorrei, ho annusato più e più volte il libro di Luca e devo dire che l’essenza cocktail di cui vi ho parlato qualche riga fa, vede prevalere senza possibilità di smentite l’ingrediente della passione dell’autore. Una passione che, si badi bene, non è una smanceria da fan club, ma una virginale ed immensa estasi da stupore. Luca ha superato da tempo la gelosia del giocattolo personale; il suo lavoro è quello del minatore che sa di essere in una miniera, una miniera piena di gemme che però non sono lì in bella evidenza, non basta schiacciare un tasto per farle emergere, bisogna lavorarci duramente sopra, ecco cosa bisogna fare. Un lavoro minimale di contatti, di amicizie guadagnate nel tempo, un lavoro di rianimazione di spigoli musicali inadeguati, di insperati ritrovamenti impensati.


Ecco il libro che vi consiglio caldamente è un piccolo museo di tutti i reperti che Luca ha trovato in quelle dimenticate miniere che ha picconato da mattina a sera senza mai perdersi d’animo. Mi diceva Luca qualche tempo fa che scrivere un libro serio sui T.E.B. non è cosa facile perché i musicisti principali sono tutti deceduti e quello che riesce a ritrovare emerge da persone che erano vicine ai tre TEB principali. Ora se avete visto qualche serie televisiva gialla su Netflix, solitamente “le persone che erano vicino” allo scomparso la pensano in modo completamente diverso da quello, pur amandolo o stimandolo immensamente. Danno poco importanza a cose, frammenti, oggetti che l’ispettore di turno, quando ne prende possesso, ne comprende invece l’importanza fondamentale per la sua indagine. Ferrari ha fatto una lunga indagine, ha interrogato familiari e amici con quel senso di ottimismo che è assolutamente padano. Un lavoro maniacale, che lui stesso definisce “non finito” che è consistito nell’accedere a tasselli e indizi sui quali ha duramente lavorato. Il libro è bello di per sé ed è bello dentro, cosa volete di più? A tutti gli appassionati di “musica diversa” non potrà che eccitare; ai fans dei TEB regala nuove emozioni nella rilettura e risistemazione della cronologia dei concerti e della discografia e nell’emersione di foto di cui si era persa traccia. Questo libro, rispetto a “Third Ear Band Necromancers of the Drifting West”, che Luca aveva scritto nel marzo 1997 per Stampa Alternativa, ha una dimensione più “internazionale”, un respiro più compiuto e – soprattutto - la minestra non è riscaldata. Il nuovo libro di Ferrari testimonia e documenta tutta la ricerca che l’autore dal ‘97 in poi ha continuato e splendidamente realizzato. Luca è un amante dei T.E.B. sincero e appassionato. Per lui non è una fesseria ma una necessità continuare a dimostrare il suo amore per i TEB. Con BOOK OF ALCHEMIES, the life and times of Third Ear Band, 1967-1973 il suo atto d’amore diventa uno splendido scritto, un libro sublime. E noi non potevamo chiedere di meglio perché così le rifrazioni di quei raggi di passione ce li godiamo tutti.

17 agosto 2020
Francesco Paolo Paladino


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

The very first Web review about the book.

This is the very first Web review of the book by Arcana.fm, "set up to give you the chance to step into classical music with no fear or pressure – just the chance to enjoy and read about good music!", written by  Richard Whitehouse and put on line on August 8, 2020.

On paper – Glen Sweeney’s Book of Alchemies: The life and times of the Third Ear Band 1967-1973 by Luca Chino Ferrari 

Glen Sweeney’s Book of Alchemies: The life and times of the Third Ear Band 1967-1973
by Luca Chino Ferrari
ReR Megacorp/November Books [softback, 226pp plus CD, ISBN: 978-0-9560184-6-5, £18]

Reviewed by Richard Whitehouse

What’s the story?

Over two decades after his pioneering biography of Third Ear Band, Necromancers of the Drifting West (Sonic Book: 1997), Luca ‘Chino’ Ferrari has now published this larger and more inclusive survey of arguably the ultimate cult band to have emerged in the late 1960s.

What’s the book like? 

One thing it is not is an update of that earlier study. Instead, Ferrari has assembled a range of documents from a variety of sources centred on TEB’s guiding force: the often enigmatic and always recalcitrant Glen Sweeney. Only in those (brief) first and second sections does Ferrari posit his thinking as to why this outfit flourished, foundered yet refused to die across a period of almost 30 years. The third section showcases Sweeney’s poems and lyrics – ranging from the inspired to the not so inspired while suggesting that, with a degree of luck, the proto-new wave incarnation of the mid-1970s (aka Hydrogen Jukebox) just might have broken through.

The fourth section features Sweeney’s writings – engaging and frustrating in equal measure – but most valuable are the interviews in section five; above all, an expansive 1990 Q&A with Unhinged’s Nigel Cross as captures Sweeney in almost confessional mood. Quite a contrast with those gnomic ‘soundbites’ in the sixth section where he dons the guise of false Messiah. Much the longest section is the seventh, ‘memories and interviews’, carried out over almost a quarter-century and drawing in almost all TEB’s one-time members (except for the elusive violinist Richard Coff). They range from the humorous to the desultory, with several of those featured seemingly intent upon post-priori acts of self-justification, but not oboist Paul Minns – who, writing in December 1996 (months before his untimely death) places the triumphs and failings of TEB in the wider context of post-war Western culture with a precision and pathos that makes it required reading for anyone at all interested in this veritable fable of disillusion.

The eighth section comprises a chronological listing of audio and video releases – worthwhile especially as TEB releases from the late 1960s or early 1970s have been reissued on various occasions in numerous formats, whereas those from the 1980s onwards constitute a minefield of reissues and partial re-couplings which Sweeney must have relished. Hardly less welcome, section nine offers a day-by-day chronology of the band across 53 years and which is, almost inevitably, at its most thought-provoking when the band had all but ceased activity and those associated with it make a (not always fond) adieu – above all, Sweeney himself in 2005. Chris Cutler’s footnotes are a judicious enhancement from one ‘who was there’, while the selection of photos is decently reproduced with several stunning shots of drummer Sweeney in action.

Does it all work?

Yes, despite vagaries of presentation (Section IV is headed ‘VI’ on p28, and where exactly is the Epilogue?) or inconsistent layout. Whether or not the attached CD indeed constitutes The Dragon Wakes, the unreleased third album from 1971, its content is never less than absorbing.

Is it recommended?

Absolutely. Apart from its historical significance, Third Ear Band’s extensive recorded legacy is still of undeniable relevance, with this latest publication a valuable and necessary resource. Whether or not it proves to be the ‘last word’ on TEB rather depends on Luca Ferrari himself.

Orginal Web page at:  https://arcana.fm/2020/08/08/glen-sweeneys-book-of-alchemies/

 

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

TEB book publication: the very last update!

Dear TEB aficionados and lovers,

publisher Recommended Records told me the definitive date of publication of the book: 30 June 2020. 

Finally, just in these few hours, we have finished all the proof checks and the 268 pages/photos/CD attached are ready for print.

Here’s a link to ReR site for ordering the book:
http://www.rermegacorp.com/mm5/merchant.mvc?Session_ID=b7cbd4a823038dfb04f287056768e5c0&Screen=PROD&Category_Code=&Initial=&CatListingoffset=&Product_Code=TEB+BOOK&Store_Code=RM&Initial=&search=glenn+sweeney&searchoffset=&filter_cat=&PowerSearch_Begin_Only=3&sort=&range_low=&range_high= 

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

- the full unrealised Glen Sweeney's body of poems (intended for a specific autobiographical book he projected);

- Glen's writings and manifestos about TEB music;

- the main (more interesting) interviews Sweeney did with the press;

- memories/interviews with many musicians and people involved in TEB story; 

- a full audio/videography;

- a day by day calendar of events related to the band;

- a CD with six unrealised tracks recorded by the band in 1970-1971 for the announced and never realised album The Dragon Wakes;

- a lot of photos of the band, gig posters and flyers  (with some never seen before).

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

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

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

TEB book last publication date: 31 May 2020.

Dear TEB aficionados,

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

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

Waiting for the book (please, for updates contact the publisher at http://www.rermegacorp.com/), I intend to post here some extra stuff not included in the book.

This first precious document is taken from "Blackhill Bullshit" magazine (issue 4) and it's a piece written by Sweeney on the music critics: a caustic, fierce reprimand of the approach to music by the magazines of that time...

So enjoy it!

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

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

At last the TEB book will be available on March 21th, 2020... such a perfect TEB day! 

120 pages for £15 with a 10% discount for advance orders at the ReR web site.

Read the press release here:

http://www.rermegacorp.com/mm5/merchant.mvc?Screen=PROD&Product_Code=TEB+BOOK&Store_Code=RM 

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

TEB book out soon...

Finally, the book on the TEB I edited three years ago will be printed by Recommended Records with a 6-track CD attached - ALL the tracks the band recorded at the end 1970-beginning 1971 for the never issued third album "The Dragon Wakes" (not included in Cherry Red's reissues).

Known as "the Balham sessions", these tracks were recorded by two different line-ups between Balham and E.M.I. studios; guitar player Denim Bridges took them jealously for years.

Thanks to Denim, we can listen now to these fabulous music played by Sweeney, Minns, Bridges, Buckmaster,  House and Coff!
The book collects Glen's poems, manifestos, writings, aphorisms, interviews; memories by Carolyn Looker, Minns, Buckmaster, Bridges, Jenner and many other persons involved; a full audio/videography; a chronology. Lot of rare, unseen picture of Sweeney and the band, posters and documents...

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