Glen Sweeney and Richard Coff talk about TEB's music to "Beat Instrumental" in 1969.

Here's another little archive tidbit, this time a short article about the band in which Sweeney and Coff talk about the music. The monthly magazine 'Beat Instrumental' published it in September 1969, a few months after the release of 'Alchemy' and with the four-man line-up with Coff and Ursula Smith. Few words but interesting...

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

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)

Original contacts from the first 1969 TEB photo session taken by Ray Stevenson.

Here below you can watch the really precious original two contacts of the very first TEB photo session taken by Ray Stevenson at London Kensell Green cemetery presumably in the Spring 1969.

As documented elsewhere on this Archive (read here here and here) Glen Sweeney, Paul Minns and Richard Coff (with Carolyn Looker) was photographed at the cemetery for selecting some takes to put on "Alchemy" cover: only one photo was chosen later for the album and few other takes was published through the years on magazines, books and Internet...

no©2017 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)   

"Blackhill Bullshit", a very rare underground magazine by Blackhill Enterprises agency.

Blackhill Enterprises was the main agency of the Third Ear Band. Founded in October 1966 by Peter Jenner and Andrew King, taking the name from King's holiday cottage in Wales ("Blackhill Farmhouse"), it managed bands and musicians as Pink Floyd, Edgar Broughton Band, Roy Harper, Kevin Ayers & the Whole World, Al Stewart, Bridget St. Jones, Michael Chapman, Pete Brown... the cream of the English underground.

Andrew King and Peter Jenner with the staff at Blackhill headquarter
(photo ©Adrian Boot)

Blackhill made an agreement with E.M.I. and gave many artists (often produced by Jenner and King themselves)  to its subsidiary label Harvest Records managed by Malcolm Jones,  that published records from June 1969 to July 1985. Harvest catalogue is one of the most creative ever, a peculiar, unique mood for listeners to feel the end of '60's-beginning '70's.

Blackhill Enterprises staff with Glen Sweeney on the centre (beyond Andrew King) (photo ©Adrian Boot)

Judgements on Blackhill's experience are controversial: for Glen Sweeney and Paul Minns the agency was a mixture of improvisation and naivete; for Andrew King the Third Ear Band's approach to music biz was amateurish. "Blackhill was only interested in Art, TEB were only interested in Money (and sex and drugs)", stated a caustic King when I interviewed him. "EMI didn't know what they were interested in, but felt that should be money involved. There wasn't really anyone at EMI (except perhaps Malcolm Jones) capable of having a conversation with them. So Blackhill was always the go-between; and really Blackhill had no clear plans as to what we were trying to achieve.The TEB were so divorced from the normal sort of "act", that it was always difficult to see them as anything more than a sort of strange hobby; despite the fact that they sold a lot more records than more conventional bands (e.g. Kevin Ayers)."

Apart this, Blackhill was certainly an hotbed of creativity and inventiveness. They promoted the first free live concerts in England, made innovative graphics for posters, handbills, press releases, coining ironic promotional saying as the emblematic "No announcements, numbers lasting 15 to 20 minutes, art form or cons?" about the TEB's music (from the original tour programme with Al Stewart, January-February 1970).

One of the less known Blackhill's outputs, now very rare objects for collectors (one single issue was sold in 2013 for £40!), was the magazine "Blackhill Bullshit", a 16 colour pages plus cover published by Cornfield Music Limited and distributed free to concert promoters and agents in order to publicise agency's artists.

"After the first couple of issues (edited by Hugh Nolan), Adrian Boot took charge as editor, and designed the layout and artwork (the work of Robert Crumb, Kim Deitch, Simon Deitch, Wally Wood, Skip Williamson and Fred Pipes also appeared regularly).
The first two issues feature Mick Farren's pared-down autobiography, as well as Chris Welch on Ron Geesin, Pete Jenner's report from LA, features on the Battered Ornaments, Edgar Broughton, John Martyn and others, plus news of concerts, tours, and Implosion at the Roundhouse.
 

"Issue #4 announces Pink Floyd's July 1970 free concert in Hyde Park, and prints a full-page ad. for Phun City, with artwork by Ed Barker, and issue #5, amidst numerous, irreverent comments on the music scene, reports from various rock festivals, including Phun City ("One long boring rip off").

Issue #6 features a three-way interview with Edgar Broughton, Steve Broughton and Pete Jenner, and #7 solicits help for Bullshit's "massive legal costs… We're constantly being plagued with writs, constantly being sued for libel" (these included an obscenity case after apprentice vicars in Bristol were sent the magazine: IT #124 reported that "It is rumoured that the lovely Lyn of Blackhill didn't exercise her discretion quite enough when mailing out the mag, and the young vicars received a nasty cultural shock"). "

(from BEATbooks.com at  https://www.beatbooks.com/pages/books/35978/blackhill-bullshit-1-2-4-7-london-blackhill-enterprises-november-1969-march-1971/?soldItem=true)

Issue 4 (see above) shows Glen Sweeney on front cover and Paul Minns, Ursula Smith and Richard Coff on the back. 

Glen and Paul never talked to me about this magazine, so it's possible they didn't give too much importance to it (infact it seems there are no many references to the Third Ear Band on the issues).

Just eight issues was printed from November 1969 to March 1972, when Blackhill started to have some troubles to stay in the market.

"Blackhill Bullshit" #1 (November 1969)

no©2017 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)   

New sighting of Richard Coff alive and well in Florida (USA).

Richard Coff is alive and well in Davie, Florida, where he lives since the Eighties. As we know he founded and runs a school there for teaching the famous Suzuki method for violin.
There's a Web site of the school at http://www.suzukiacademy.org/ where you can find very interesting things about its activities, and a technical essay written by Coff himself in 1998 titled "Suzuki Violin vs Traditional Violin—A Suzuki Violin Teacher’s View" (http://www.suzukiacademy.org/suzuki-violin-vs-traditional-violin/).

It's a very stimulating point of view by 'our' violinist related to a long-standing debate between different schools of thought.

A recent photo of Coff playing a violin is available at the Suzuki Association Web site where there's a section (https://suzukiassociation.org/people/richard-coff/) dedicated to him with some informations about his career.

Through my friend Steve Pank I've tried to involve him into the writing of the book about Glen Sweeney and the Third Ear Band, but he isn't interested to it...

no©2017 Luca Chino Ferrari (unless you intend to make a profit. In which case, ask first)  

"Beat Instrumental" interview with Sweeney and Coff on September 1969!

Here's another rare and precious contribute to the knowledge of TEB's history due to Beatchapter of London (bless you Mr. Jon Limbert!). This time in his archive he has found for us an old "Beat Instrumental" piece published on September 1969 with an unusual interview with Glen Sweeney and Richard Coff.

Just after the important appearance at Rolling Stones' Hyde Park concert and at Isle of Wight Festival (with the legendary return of Bob Dylan) TEB talks about its music and the reactions of audience...

 

 Beatchapter - 49 Sebert Road, Forest Gate - London UK E70NJ
ph.: 020 85194590     e-mail: sales@beatchapter.com 

no©2014 Luca Ferrari (unless you intend to make a profit. In which case, ask first)  

"Alchemy", "the consummate essence of the 60s Zeitgeist". A short vision by Sean Breadin, a.k.a. Sedayne.

Folk shaman Sean Breadin, a.k.a. Sedayne, has  just sent me these few lines about "Alchemy", one of the our favourite albums ever...

"Hi Luca - Just wrote this on Sid Smith's call of for great 1969 albums on Facebook & got a few likes... Sometimes you get a clear vision of just what it is about the music you love that appeals to you so much, so here it is: 

Third Ear Band - Alchemy. 

Which somehow manages to catalyse an archetypal sound-magic by being utterly free of technological interference. It's one of those rare occasions when the mystical hype of the sleeve note (...a reflection of the universe as magic play illusion...dualities are discarded in favour of the Tao...each piece is as alike or unalike as trees, grass or crickets...) is matched / transcended utterly by the astonishing reality of the music, which lives and breathes in its timeless vinyl eternity. The elements are simple enough - Glen Sweeney pounding his shamanic bongo over which Paul Minns' oboe & Richard Coff's violin ascend as atonal modal larks along the ley lines that connect stone circles to the pyramids whilst Mel Davis' cello roots it all to the gnomic dark below. This LP is the consummate essence of the 60s Zeitgeist - a soundtrack to Michel's flying saucer vision of Ancient Albion that remains every bit as inspirational as "Bitches Brew". Witches Brew maybe?".

Any comments to this would be  greatly appreciated!

no©2014 Luca Ferrari (unless you intend to make a profit. In which case, ask first)  

Avantguarde French composer Bernard Parmegiani died on last November 21th.

Avantguarde French composer Bernard Parmegiani has died on last November 21th at 86. He played on June 24th, 1970 with the Third Ear Band at the "Sun Wheel Ceremony", a concert promoted at the prestigious Royal Festival Hall of London.

The I.T. ad

That evening the band played with Bernard Parmegiani two traks, "Fire" and the unpublished 34'56" "Freak Dance" (other title: "Pop Secret", from the Parmegiani official Web site). On "Melody Maker" (July 4th, 1970), Chris Charlesworth wrote about the event: "The hall was barely half full. Accompained at times by electronic machines making weird sounds Third Ear Band droned through two lenghty pieces which were well accepted by their fans. Their music has no title and is 90 per cent improvisation. It just starts and finishes when the band feel like it. There's a vague anonymity about their music. However violinist Richard Coff, who hate make announcements, did mention that one piece was called "Freak Dance". This contained some haunting oboe work from Paul Minns, and I rather enjoied it. Their second piece was more ambitious and, I thought, less enjoyable. At one stage I actually saw Richard tapping his foot!".

Quite different Carolyn Looker's memories of the event (April 2012): "Parmegiani concert was at Festival Hall. It didn't work too well in my opinion. TEB's music was organic, the French were music concrete, it didn't got".

You can listen some original Parmegiani's compositions (from 1965 and 1971) at http://www.ubu.com/sound/parmegiani.html or download his "De Natura Sonorum" (1984) at https://archive.org/details/agp140

 

His official Web site at http://www.parmegiani.fr/ and a very good tribute (with fabulous music excerpts!) at http://www.inagrm.com/sites/default/files/mini-sites/parmegiani/co/Bernard_Parmegiani.html
Lastly, a very good 2008 essay on Parmegiani's music by electronic sounds expert Simon Reynolds at http://reynoldsretro.blogspot.it/2008/08/bernard-parmegiani-loeuvre-musicale-en.html

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

"The first cellist to go electric"... An exclusive interview with Paul Buckmaster!

Thanks to Denim Bridges I've got a contact with musician/producer/arranger/sound engineer  

Paul Buckmaster 

in Los Angeles,  former cellist/bassist of the Third Ear Band in 1969-1972 phase.
A long career started in the early '60's and filled by  important collaborations (Miles Davis, David Bowie, Elton John, Rolling Stones, Leonard Cohen...) and many hits (i.e. a Grammy Award in 2002) that is well summed up in an excellent 2009 interview by Christian Dueblin published in this archive at http://ghettoraga.blogspot.it/2011/12/interview-with-paul-buckmaster-from-net.html with a selected discography.
Here I ask Paul to examine in depth his experience with the Third Ear Band, a dimension often strangely disregarded in his biography...

                                                     Paul in his L.A. studio on August 15th, 2011.

When did you meet Glen and join the Third Ear Band? 

"Early 1969, at a music club in the Paddington/Westbourne Grove area of London. As I recall, it was David Bowie who took me there. Had my cello with me, and asked if I could sit in with the trio (Glen, Paul Minns, and Richard Coff). So I jammed with them, and it was exciting; I was playing some kinds of funky bass riffs in the groove with Glen. Really exciting. At the end, I was invited to join, by Glen and Paul, with Richard enthusiastic".

Which was your first impression about the group?

"Loved them and their music – everything about it".

I mean did you know them? 

"Until that evening at the club, was only vaguely aware of them; saw the name on posters for UFO club, Tottenham Court Road, Thursday nights". 

 

May 1969: one of the first live apparence of Paul with the TEB at Camden Fringe Festival (photo: Robert Ellis)

What did you think about their music at that time (I refer to the first two records)? 

"Loved it!"

Do you remember where did you rehearsal with them?
"Rehearsed (infrequently) at Glen's (or was it Paul's) place in South London, Battersea area, I think".

Which was your contribution to their music? I mean, all the tracks was usually "composed by TEB", but I know that your specific contribution regarded the composition and the music orchestration... 

"There was no composition per se – i.e., nothing was written down, to my knowledge; I saw no scores, sketches or any kind of notations. It was all based around Glen's drum pulse/rhythms; Paul had certain motifs or themes, which were associated with certain titles – and codified as master recordings for the Harvest albums. Those titles would be played at concerts, but as far as I recall, we didn't have a set program. Mostly, it was Glen who started any particular piece, with me and Richard – or, later, Denny – joining in a little later, then Paul, who was the actual "lead" voice in the ensemble. Richard – and later Denny - were next accompaniment, with the cello – and later, bass guitar – holding the bottom end. I suppose we were all collectively "composing" with little being said beforehand – or after, for that matter! But even all that was not hard-set!".

Did you have contacts with the Blackhill management (Jenner and King): which is your opinion about it?

"As I recall, I had little or no opinion of them at the time: from what I could determine, they were professional and competent. I imagine that were Glen and Paul alive today, they would be able to far more precisely answer these questions. Have you contacted Richard and Denny? Certainly Richard would be able to answer better than me!".

I ask you that just because Glen and Paul told me it (and Richard didn't accept to have an interview for the archive...)... Can you confirm that EMI didn't understand the real meaning of TEB's music and didn't give to the band the right support?

"No: I cannot, but then, few people in A&R are really competent in this particular area, unless they're of the "old school" in which nearly all were competent in music; for example, the people at Columbia (CBS) records, New York - Dr George Butler – head of A&R for the whole jazz sector - comes to mind, or Jay Landers. Can't recall who was at EMI Harvest at the time, but the chances are that there were still a few people of the serious "old school" there".

Do you remember the concert at Hyde Park (have you seen the short video excerpt in the Net at http://www.youtube.com/watch?v=h1XrbbIV-g8)? 

"Yes". 

                                                TEB at Hyde Park on June 7th, 1969 with Paul at cello.

What about the reactions of audience there? And generally which was the reactions of people at your concerts? 

"I can't say what the reactions of the audience were, as I was – along with everybody else in the band up on the bandstand, playing our gig, and I could only see a small portion of them! However, from what I could sense, the audience was curious, wondering what the heck this music was we were playing. I suppose the audience were really there for the Stones, and "semi" couldn't care less for what we were doing. Of course they were enjoying a rare day of bright sunshine in a beautiful London park, and they were open to all kinds of different stuff; maybe some of them were even fans of the TEB!

 
I was told, later, that they (the Stones) had chosen us to open for them, because we were more likely to calm the crowd. You've got to remember that a large number of people were (stupidly) into drugs (mostly hashish and herb), me no less. So maybe that was a part of the audience … 40 percent or more? Who knows! 

 
All four of us had spliffed up – a large six-Rizla-skin combo of tobacco, sensimilla, Moroccan kif, and heavy opiated Afghani hashish, with a concomitant thin cardboard roach – and were smoking it prior to going on stage. So you can imagine just how ripped we must have been. The music – whatever there is that remains from the gig – does not display any bravura or professionalism. 

 
As for any other gigs, we were sometimes excellent – even transcendent to the Empyrean; that is what I and all the members lived for - and sometimes not quite so transcendent, and the Hyde Park gig was among those. The audience didn't notice anything, tho' - as far as I could tell". 

                                           Third Ear Band live at London Hyde Park (June 7th, 1969)

What do you remember about the period before "Macbeth", when the band tried to record a pop album at the London Balham Studios titled "The Dragon Wakes"? 

"Don't recall any sessions at Balham Studios or the title. This may have been one of the periods I was not a member; this was one of the reasons I quit; I was an on-again-off-again member, which, as I say, was not fair on them". 

I'm sure at that time you was in the band. You can listen here (https://rapidshare.com/#!download|452p1|407890537|_Raga_n.1_|8181|0|0) to an unrealised track taken from the Balham sessions in February 1971 titled "Raga n. 1" (Paul Minns discovered it on a reel in his attic). The line up included you and Bridges. There's a remote project of Bridges to realize a CD with that tracks, because he has all the original reels of it, but we're talking about it from 2010 and at the moment nothing happened... Anyway, can you comment it for us?
"Amazing! Sounds really good; and as you say, shows the potential of what kinds of directions the music might have taken ...
You know, I cannot recall the session, tho' I'm obviously playing on it, and cannot recall any "Balham Studios". Paul has clearly double-tracked - or even triple-tracked - himself, and altho' there's no violin, heard some brief phrases of a bowed instrument towards the end, which is probably me overdubbing some cello.
I miss the sound and texture of a violin, and have some critical thoughts about the bass guitar, which are in any event irrelevant, since nothing can be done about it. What's wrong with the bass? a) rhythmically too "on" the beat; the bassist (me!) should have being playing a regular, repeated, tho' slightly syncopated riff, perhaps never changing at all, and perhaps staying only on one note. b) The problem here is that he (the bassist) is playing too many tonal phrases, even in the major mode! And is a bit scattered in the ideas. I could say more, but don't want to spoil the listening of the fans!
Everybody else is playing great, altho' Denny has a slight tendency to rush … but I attribute that to us not playing together more frequently, and doing lots more gigs! Who knows where it would have gone, had the band stayed together and played at least four days a week … I'm sure somewhere really special and new, and strange and other-worldy – I mean in the science-fictional sense, not "supernatural" (whatever that means). The potential was vast".

Have you ever seen that 1970 German TV broadcast recently issued on DVD? Which is your opinion about it? Are you proud of that season of your career? Do you remember who and how TEB involved conga player Gaspar Lawal?

"Is that the one with Denny's vocal? I think it's fine! Don't recall how Gaspar joined us for those TV – and some other – dates: No doubt, Glen and Paul were the deciders, and I'm glad of it: I loved the sound of the congas in the band's context at the time, with Glen on traps, Denny on electric guitars, and me on electric bass and electric cello. By the way, the roadie who drove us everywhere - whose name I can't immediately recall - and did the stage set-ups, was an expert maker of stuff (any stuff!); he built a damped metal pick-up bridge with dense rubber feet, for my cello, which was amplified (a few years later – 1972 – I bought a wood Barcus-Berry bridge, which had buried inside it a transducer, which could be plugged in … also had a wah–wah pedal!). I am probably the first cellist to go electric! (But there was a cellist in Holland whom I heard, a year later – maybe 1970-'71, who sounded like Hendrix – brilliant and highly skilled. I think he may have overdosed on heroin – at least that's what I heard.)".

 

TEB (L-R: Buckmaster, Bridges, Lawall and Minns) on stage for the German TV broadcast.

How do you react to the common idea about Miles Davis' "Bitches Brew" inspired 1971-1972 TEB's music? 

"It's not accurate, except that – maybe – there's a bass riff for "Ecstasy in D" which recalls the bass riff under "Bitches Brew", but it's not anywhere as brilliant as the "Bitches Brew" riff, which is one of the many touches of genius in that incredible album of fierce beauty. What's amazingly excellent about that riff is the key-modulations it goes thru' over the two-measure duration: 2 beats of C major, two of B major, two of E major (but here you have an even greater touch of genius: the first 8th of the E major chord is in the first inversion – E over G# - classically written by Miles, with no doubling of the third - going to E major root position on the second 8th, as a syncopation), with the last two beats – anticipated in syncopation by an 8th – back to B major, with the last 8th being the perfect cadence (G-to-C) into the new two-measure cycle starting with C major!!!

Those of your readers who know a little proper classical harmony will know what I mean, but those who don't, can still enjoy the piece … Remember, as a student at Juilliard, and earlier, when he received private lessons, Miles had studied classical harmony and counterpoint".

A rare picture of the TEB in 1971.

What about the Macbeth period? Which was the mood in the band? What happenend in the George Martin's Air studios?
"I had a little more say in the direction the music took for the movie score; 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".

Infact in that period (January 16th, 1971) you sent a letter to Melody Maker explaining about the rules in the band (you wrote: "(...) If anybody thinks differently, thinks that the band "led" by one member (i.e. one person deciding the format, tempo, key or mode, changes etc. and imposing this on the others) then they have totally missed on the most important point, if not the most important point of the Third Ear Band. It's not I, it's we, and we're free".): why did you decide to write it?

"I don't even remember writing such a letter … wow!!! That is perfectly true".

About "Fleance"'s song, I know Glen and Paul didn't love it, Glen considered it "rubbish". This is confirmed by Bridges in a recent interview I had with him : which is your opinion about this track, not so hortodox in the TEB's repertoire?

Paul in studio (February 2012).

"You're right: it certainly is not. Not at all typical of what one would expect from the TEB! My opinion: Roman Polanski was satisfied, and that's all that really matters in the final analysis! From a musical perspective, it's kind of "OK", but not a work of genius, for sure".

Is there something you've taken from the experience you had with the TEB that you've used forward?

"All musical experience – I suppose, all mixed in!!! But I "used" nothing specific".

Thank you very much, Paul, for your very rare kindness!

"A pleasure, Luca! Cari saluti, Paul".

27-02-2012: Ocean Way Studios, Hollywood, Paul directing a session for Oriane Hazan.

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

An unexpected fantastic never seen TEB short video on YouTube!!!

An incredible fantastic short video of the TEB playing live at Hyde Park on June 7th, 1969 (at the so-called "Blind Faith concert") is available on YouTube thanks such "Classic Rock Video" (http://www.youtube.com/user/ClassicRockVideo: "Some choice clips from my collection. Most of which is shared here has been edited specifically for better YouTube enjoyment & not intended for archival viewing. Video has been made widescreen and wherever possible audio has been re-dubbed").

On stage Glen Sweeney (hand drums), Richard Coff (violin), Paul Minns (oboe) and Paul Buckmaster (cello) playing in front of a quite absorbed, relaxed and dancing (!) audience.

A unique, very rare document that at last can witness the great interplay of the TEB playing on live and their incomparable singularity!

Coff and Buckmaster

Glen Sweeney on hand drums

... the great interplay of the TEB playing on live and their incomparable singularity!...

Richard Coff on violin

The great Paul Minns

... a quite absorbed, relaxed and dancing (!) audience...

OTHER INTERESTING STUFFS ABOUT THE HYDE PARK CONCERT:
http://www.ukrockfestivals.com/hyde-park-6-7-69.html
http://ghettoraga.blogspot.com/2010/07/whos-that-man-on-left-side-of-backstage.html

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