An English book with pages about the Third Ear Band...

"Witches Hats & Painted Chariots. The Incredible String Band and the 5,000 Layers of Psychedelic Folk Music" is a A4 paperback book of 112 pages dedicated to the Williamson & Heron's wonderful band with a deep excursion in the British psychedelic folk scene.

Here's the description by Shindig!, the magazine that edited it: "Witches Hats & Painted Chariots covers a broad spectrum of British underground folk-rock from a lengthy selection of articles on acid-folk pioneers The Incredible String Band to the acts that followed in their footsteps.
Folk and psychedelia held hands around the maypole while drug-inspired lyricism collided with traditional music, pagan mythology and spiritualism to create a sound and lifestyle that still resonate today.
This delightfully-designed book overflows with sumptuous visuals and exclusive features – no one has presented the work and influence of the String Band with such vivid colour and insight".

About the book contents, the author writes "the Incredible String Band's whole story with album-by-album critiques, solo work, their legacy and influence on 21st century bands " as Comus, Mark Fry, Principal Edwards Magic Theatre, Spirogyra, Forest, Dr Strangely Strange, The Wicker Man, Medieval folk-rock of the ’70s, Third Ear Band and Circulus. 

Copies of the book (£ 7.00 from UK, £ 10.50 from Europe and £ 13.50 from the rest of World) can be obtained at:

The Reviews Editor
Shindig! Magazine
PO Box 4447
Frome
BA11 9AS
UK 

through the Web site (here) or Facebook (here).

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

TEB's stuff never published on this Archive found!

Waiting for the interview with first TEB cellist Brian Meredith (now disappeared...), I've found in my personal archive some stuff never published on Ghetto Raga.

So I've updated the two chronological files (here and there), expecially that about the last period the Band played in Italy with reviews, magazine articles and photos as this one here below.

  Carter, Smith, Sweeney, Dobson (and L. Ferrari) with TEB fans at Psycho Club (Genova).
no©2014 Luca Ferrari (unless you intend to make a profit. In which case, ask first)  

Other arguable quotation of music inspired by the Third Ear Band...

Just few days ago I've found another  arguable quotation of a recent track apparently inspired by the Third Ear Band: on an Italian Web magazine titled "Distorsioni", Ignazio Gulotta writes about a composition titled "Oh, I am stuck" performed by Norwegian band Susanna and Ensemble neoN (it's included on "The Forester", published in 2013) that "the sound of strings bring to the Third Ear Band"...

Listen this very interesting track  here and form an opinion about it.

Susanna & Ensemble neoN

Also in this occasion, my idea is that journalists/musicians/fans often use to quote the Third Ear Band as a reference or an inspiration for some artists' music  but... often there's no a trace of it.

Ignorance? Boasted credit? Naive ambition?

Difficult to say...

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

Another record inspired by the Third Ear Band...?

Third Ear Band is still a strong reference for many artists. In the last years we have seen as many bands use to refer to TEB's music, not always with right reasons to state it...

Anyway New Zealander Alastair Galbraith, with his 2013 album titled "Cry", somewhere seems to be very near to TEB's mood - that particular, unique climax that makes the music of Glen Sweeney & C. so charming.

Listen to the short instrumental "Wish", for example, and you'll find some of it...

Ian Fraser from The Terrascope (http://www.terrascope.co.uk/Reviews/Reviews_March_13.htm) writes about the record:

Gilbraith in 2011

"New Zealander Alastair Galbraith is a prolific multi-instrumentalist whose fourth album Cry, recorded between 1998 and 2000, receives a belated release (hence our interest) and which pitches him somewhere twixt Ivor Cutler, Rock Bottom-era Wyatt and a discordant Third Ear Band. The Cutler comparison is in no short measure due to the lavish and atmospheric application of harmonium which immediately strikes you from the opening bars of “Bellbird”. The thirteen mostly short tracks (some just seconds in length) all plink and fizz along in a nagging drone that evokes not so much kitchen sink as camp stove psychedelia of the most curious variety, with backwards tapes, scratching violin and all manner of found sounds neatly enough interspersed with Galbraith’s mostly spoken word vocal. The ingredients all come together beautifully on the criminally short “One Method” and another highlight, “Koterana”, which sounds like a nest full of wasps, gorged on seasonally mellow fruitfulness and having a rare old time knocking out drunken jigs and reels (or so you’d imagine). All oddly pleasing and pleasingly odd, and a welcome (re) release to be sure".

Issued on vinyl for the first time in a run of 500 LPs and available digitally, you can listen/download/buy the record at http://mie.limitedrun.com/products/511937-alastair-galbraith-cry-lp, then let me what do you think about it...

Other related links:

http://en.wikipedia.org/wiki/Alastair_Galbraith_%28musician%29 

http://alastairgalbraith.bandcamp.com/ 

http://www.discogs.com/artist/56202-Alastair-Galbraith

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

Found an unpublished sketch for a Third Ear Band poster made by Glen Sweeney in 1991.

I've found in my personal archive this sketch made by Glen Sweeney in 1991 for a planned poster of the Third Ear Band, year when he reformed the band with Barry Pilcher at saxophone with the idea to be more alchemical than ever.

Infact in a first time he called the band Alchemical Third Ear Band with the usual reference to his favourite Buddha icon.

The project failed (he called it Elektric Third Ear Band and recorded few tracks for a new record, then re-recorded with a different line-up and published in 1993 as "Brain Waves"...) and this poster, that he sent me at that time, sinked into oblivion.

Now it is emerged just for the curiosity of everyone still involved in the esoteric story of the Band...

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

Brand new 180 gram audiophile vinyl edition of "Alchemy" out now.

Just at the end of past December a new 500 copy limited edition of TEB's "Alchemy" (on 180 gram audiophile vinyl format) is available in the shops at 25-30 euros.

As you can see below, the main trait of it - published by Timeless Record (as TIME 732) - seems to be the laminated original cover here treated as a negative of a photograph.
As we know it was designed by David Loxley, taken from an old engrave published on "Atalanta Fugiens" by Michael Meier in 1617 (read here at http://ghettoraga.blogspot.it/2009/12/origins-and-meanings-of-alchemy-cover.html).

 

Timeless Records is a label specialized in reissues of old underground records: they have reissued artists as Pete Brown & Piblokto, Edgar Broughton Band, East of Eden, Bonzo Dog Band, Nucleus...
It's really wonderful that this record is still in catalogue after all these years and it does exist in so many different formats (original 1969 LP, remastered CDs, limited vinyl edition...)...

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

Bad news for Christmas: Mel Davis, original founder of the People Band, died last November...

Mel Davis, the original founder of the People Band, friend of Glen Sweeney, Clive Kingsley and Lyn Dobson, died at the beginning of last November. His old musicians and friends played a moving funeral lament on November 6th at Woodlands Crematorium in Scunthorpe documented on YouTube at the page http://www.youtube.com/watch?v=u8dgUAnyFRw&feature=youtu.be.

                                    The funeral lament for Mel Davis.

Excellent jazz & avantgarde pianist/multi-instrumentalist, Mel Davis played the cello in TEB's "Alchemy" (1969) being a real key figure in the British jazz, most of all for playing with The People Band.

The People Band in the Sixties

At the beginning of 2012 The People Band was reformed for some concerts. Reviewing a gig in London played in March of this year, Sammy Stein of "All About Jazz" wrote that "another wonderful moment was provided by Davis' piano solo, demonstrating why he is still one of the most respected players in the business".

And in an other occasion, analyzing The People Band's music: "Free jazz is what the People Band play and perhaps this is an odd term for music which is actually highly controlled by individual players and the right notes are played around a root chord – just not necessarily in the right order to form what we know as a ‘tune’. (...) Words used to describe The People Band’s playing include visceral, free wheeling, forceful and anarchic and all of these are true but what 

The People Band on stage in 2012.

makes a People Band performance special is that the musicians do not stick to the tune but rather, the music takes on a life of its own, invading the spirit and souls of performers and listeners alike. With the People Band, the audience are encouraged to take part should the muse take them. Instruments are swapped, players mingle with the crowd and the music takes the lead.

"With root chords to guide, the players come in or fall silent as the muse takes them. One moment blowing a complicated sax riff, the next tapping out a simple rhythm on a tambourine. Yet, all have an innate understanding of where the piece is going. Unfettered by convention of traditional rhythms, tempos or dynamics, the players are led by the spirit of jazz who joins them on stage, tempting, cajoling, pushing, getting them to overblow to get more notes, creating music of teeth crunching discords working alongside sublime and divine sweetness, yet all working together to explore every avenue of jazz – this is free form".

Music losts another great musician, a pure innovator, an experimental mind... a fundamental protagonist of the TEB's glorious story!

A Mel Davis Discography
Third Ear Band - "Alchemy" (LP/CD - Harvest 1969) Davis played the cello
The People Band - "The People Band" (LP/CD - Transatlantic, 1970)
Loverly - "Play World Wild Music" (CD - ITM REecords, 1988) Davis composed some tracks and played the piano
Various Artists - "Resonance Volume 8 Number 2 / Volume 9 Number 1: LMC…The First 25 Years" (CD - London Musicians' Collective 2000) compilation with a track played by Mummy
Various Artists  - "Not necesserily 'English Music'" (2CD - EMF, 2001) compilation with a track by The People Band
The People Band - "People Band 69/70" (CD - Emanen 2009) an anthology with unrealised tracks

Web sites

http://www.peopleband.co.uk/People_Band/Home.html

http://www.terryday.co.uk/
http://www.londonjazznews.com/2012/03/feature-people-band.html
http://www.charliehart.com/subpages/people.htm 

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

English musician Michael Tanner quotes TEB's "Stone Circle" as one of his inspirations...

From the blog called "Grounding Sounds" (http://wp.me/p3tXEW-O) we find out Dorset musician Michael Tanner quotes "Stone Circle" as one of his favourite tracks. 

Tanner is behind several projects including his solo work as Plinth and collaborations as part of The A.Lords, Thalassing, Cloisters, Taskerlands. He has records as himself too. His works have been released through several labels including Second Language, Time Released Sound, Rif Mountain and Deadslackstring. 
  

                        The cover of "The Cloisters", Turner's last album.

His sound sits somewhere between folk, modern classical and experimental ambient music. Lot of his albums are listenable at http://iamplinth.bandcamp.com

His last record, titled "The Cloisters", is a beautiful, organic, ambient music.

About "Stone Circle" he sustains: "No band sums up the Dark, Olde England quite like the Third Ear Band. The music occasionally induces the horrors but then veers back trance-like. This is the music Steve Reich would have made if he were a Pict".  

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

Finally also first TEB cellist BRIAN MEREDITH has emerged from the fogs of time!

A new Great Miracle of the Web for all the Third Ear Band's fans around the world: disclosing his obscure and quite legendary identity, just today Brian Meredith has posted this few words on that old file I wrote on August 2012 titled "Who knows Brian Meredith?" (http://ghettoraga.blogspot.it/2012/08/who-knows-brian-meredith.html ):

Brian Meredith and Glen Sweeney on stage for one of the first TEB show in 1967!

"Call off the hunt, Luca! I am Brian Meredith, one of the four founders of TEB, the cellist Clive Kingsley thought may have been named Graham. BTW, I tracked down and called Clive a few years ago after somebody drew my attention to his misrememberances. I stayed with the group for its first 16 months before moving to live overseas (first to Sydney, then to New York). These days, I'm a 69-year old living in Southern California, and have had my attention drawn to this "Who Is Brian Meredith?" topic by someone who saw me acknowledging the passing of 94-year old master cellist (and founding member of the original Chico Hamilton Quintet) Fred Katz. I'll be happy to continue this conversation, Luca, and to help clear away the fog I'm becoming aware has gathered around Third Ear Band's origins. But right now, I shall attempt to add a photo to this comment. I have today posted a pic online that shows Glen and myself on stage. Carolyn Looker may recall that, once she had designed, cut and sewn all our band uniforms, Glen picked one of our first 1967 club appearances to have a photographer take a whole bunch of pictures of us from various angles. This was one of those shots".

Brian Meredith today.

Another very interesting post by him is included on another file of this Archive after a Carolyn Looker interview at http://ghettoraga.blogspot.it/2012/04/at-last-proper-interview-with-carolyn.html

So we'll have a long interview with Brian soon to discover other obscure things from the Third Ear Band past!  

Keep in touch!

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

Rare Harvest anthology with TEB track available for free download.

"Picnic. A breath of fresh air", a double LP anthology published by Harvest Records in England on June 1970 to celebrate the first year of the label, is available for free downloading at http://musictrackz.com/22767-various-picnica-breath-of-fresh-air.html

The  anthology, among tracks by Pink Floyd, Deep Purple, Syd Barrett, Edgar Broughton Band, Roy Harper..., includes "Water" played by the Third Ear Band taken from the "Elements" album.

 

I'm particularly close to this record because when in 1976 I bought it  in a little record shop of the smalltown where I lived I could listen for the first time to the Third Ear Band. Just then I decided to find all the records the band had produced. So in some ways "Picnic" was the beginning of all: the     researches on the TEB, the first attempts to contact Glen to convince him to reform the band, the following management of the group for the Italian tours/records, finally this Archive with many unexpected contacts and discoveries...

In these last years the vinyl edition (Harvest SHSS 1/2), not too hard to find, is a collector's item valued around 15-20 euros.
In 2007 E.M.I. edited also a 3CDs with similar title ("A Breath of Fresh Air") but a different (enhanced) tracks selection: Third Ear Band is included here with two tunes - "Druid One" (from "Alchemy") and "Overture", from the 1972 "Macbeth" film soundtrack.

The inside LP cover

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

Ex-Judas Priest guitar hero K.K. Downing quotes the Third Ear Band celebrating his 62nd birthday!

Maybe it can look incredible, but ex-Judas Priest guitarist K.K. Downing quotes the TEB  while he's celebrating his 62nd birthday...
Read this, taken from the The House of Hair Web site (http://houseofhaironline.com/2013/11/metal-news-recap-week-of-november-3-2013/ ):

"Ex-Judas Priest guitar great K.K. Downing celebrated his 62nd birthday on October 27with this birthday message riminiscing about his younger days: 

“Well, it’s that time again! Another birthday comes around! All of you that were there with me in the late ‘60s/’70s and onwards will know what I mean. Isn’t it crazy that Mick Jagger is 70, for example? And Jimi Hendrix would also have been 70 this year. Anyway, not to be too down about it, because at least we were there to witness everything that is relevant to the music that we know and love today. I always say that I couldn’t have been born at a better time. I was just in my early teens when John Mayall, Cream and all of the early blues artists were just coming to fruition along with The Stones, Pretty Things, Troggs, and The Kinks, etc. This was all back in the day when music was everything to us, and it was all we had and we were more than happy with just that. Although I can remember having an insatiable appetite that always wanted feeding, so I had to go to concerts and festivals as much as I could. That’s because what I wanted was still scarce on radio and television. I seem to remember being 16 and there was only the late and great John Peel who played anything close to what we wanted to hear. Although John’s taste was often a little too diverse for me, including, for example, T. Rex, Captain Beefheart and the Third Ear Band, John was still the greatest pioneer and champion of our cause at the time.

John Peel & records

Am I jogging some memories here? Again starving for the real thing, I was lucky enough to see two shows on this Jimi Hendrix tour, Coventry 19th of November and Bristol 24th of November 1967. I can’t remember which tour it was but can remember being ecstatic when I myself with Priest played these venues later on, especially following in Jimi’s footsteps playing on stage right. Another great venue close to my heart: Newcastle City Hall — where Priest have played many times. I have only just found out that the tour went there. It is said and written that the great Lemmy [of Motorhead] himself was also working the tour as a roadie. I have hung out with Lemmy many times and never knew this; otherwise I would have wanted a gig by gig report off him. Anyway, my devoted friends, it is for sure that the Internet is our greatest friend and our worst enemy at the same time. But I am certainly grateful to the Internet today, in order to be able to bring this blog to you now. Please take care and please continue to feed the flames of metal.”

no©2013 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)   

An interview with Glen Sweeney on an old Italian book.

Italian musician and journalist Pierluigi Castellano dedicated to the Third Ear Band an interview in a book edited in 2004 by publisher DeriveApprodi (http://www.deriveapprodi.org/estesa.php?id=157) titled "Le sorgenti del suono. Trenta incontri con musicisti straordinari" ("The sources of sound. 30 meetings with extraordinary musicians" - pages 192, € 13.00). 

Among the others, original interviews (just in Italian) with 'monsters' as Terry Riley, John Cage, Philip Glass, Uri Cane, Alice Coltrane, Brian Eno... to investigate the origins of their sound.

As the author states in the preface, the aim of this book is "to detect the freedom of choice inside and against the limits imposed by present conditions. Suggesting an idea of musical expression deprived of gerarchies, with processes of contamination taken even from scientific disciplines, and restating the power of collision between subversive power of art and his reduction to the logic of a controlled communication".

About the Third Ear Band, in December 1989 Castellano asked few  questions to Glen Sweeney related to the origins of the group, the first two albums recorded ("Even today I like much to listen to them: in particular the second one that probably is the best album we have done..."), the experience with Polanski's Macbeth.
About this Sweeney reveals: "(...) Personally, I had the idea that a soundtrack were something of too artificial, not so ideal to make good music: so I replied we were just available to improvise on the pictures he'd given to us. (...) I think music we recorded was very very good, but it happened something of very funny: the copy on which we had worked was b&w and just the evening before  we realized Polanski's Macbeth was a wonderful full color movie... Obviously it was really pleasant, while the black and white ones was so glum...".

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

New contribution on the Web about the TEB's Macbeth soundtrack.

A new critical contribution about the Thirds and their wonderful gloomy soundtrack for the Polanski's "Macbeth" is available on the Web at "Dark Holler Arts" site - http://darkhollerarts.com/music/wyrd-sisters-third-ear-band-polanskis-macbeth/#comment-377

The interesting piece is titled "Wyrd sisters: Third Ear Band and Polanski's MacBeth".

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

New radio show with Third Ear Band Music at Stroud FM.

"Hello Luca, how are you?
Things are going well here, my progressive rock radio show is still going strong and I'm pleased to say that I have played a few Third Ear Band tracks and people have been enjoying them. My query isn't really a major one, but I thought I should still check.

I recorded my latest show yesterday and ended it with Mike Oldfield's "Lament for Atlantis" and thought that I could do a vague link between shows by starting the next one with the Third Ear Band's "Atlantis Rising". However I was concerned that I couldn't find the album I have 'Magic Music' listed on their discography (or rather, not the version that I have) and then saw your archive on unofficial albums, so I was wondering if it is okay to play the tune?

If not that's fine, I'll just play a track from one of the other albums I have. Either way I'll be opening my next show with the Third Ear Band!
All the best,

Ed Wilkins"

"No problems, Ed, you can use the track. If you let me know when the show will be aired I'll inform all the fans through the Archive.
All the best.
Luca" 

"Thanks Luca. I'm recording the show tomorrow and it will go out at 10pm on Monday (the 21st). It will also be on my Listen Again page for a while afterwards:

 http://podcasts.canstream.co.uk/stroud/index.php?cat=An%20Hour%20of%20Prog%20with%20Ed%20Wilkins
I think there are one or two shows already on there with the Third Ear Band played as well.
All the best
Ed"

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

Tracked down the shots of the "Atomic Sunrise" festival: what about that with the Third Ear Band playing?

The festival was shot by an unknown underground director and the (33 hours! of) footages was missed for around 20 years, until a guy called Adrian  Everett tracked down them and tried to edit. 

All the long story was reported by The Indipendent on January 25th, 2013 (http://www.independent.co.uk/arts-entertainment/music/features/atomic-sunrise-a-rare-glimpse-of-david-bowie-genesis-and-hawkwind-on-the-brink-of-stardom-8466113.html). 

Here's an excerpt of the article written by Tim Cumming:

"Atomic Sunrise: a rare glimpse of David Bowie, Genesis and Hawkwind on the brink of stardom
It’s the missing film that captures David Bowie’s transition from acoustic to electric star; the emergence of Genesis and Hawkwind; and the musical birth of the Seventies with the rise of glam, prog and heavy rock.
The Atomic Sunrise festival, held at the Roundhouse between 9 and 15 March 1970, was the direct consequence of the murderous events at Altamont the previous December. The Grateful Dead not only pulled out of that gig: they also withdrew from a scheduled appearance at the Roundhouse the following March, which left a week free to mount what was billed as “Seven Nights of Celebration” in a “Living Theatre Environment”.

Three bands were scheduled to play each night, many of them regulars at the Roundhouse’s Sunday Implosion gigs, with The Living Theatre – officially the oldest experimental company in the world – moving among the crowd like the counter- cultural equivalent of a flash mob, but with social/political consciousness-raising rather than marketing as the intent. They were the resident artistes at Atomic Sunrise, on a bill that included many names welded firmly to that time: Graham Bond (whose presence deterred the billed but absent Black Sabbath), Brian Auger, Third Ear Band, Fat Mattress, Gypsy. But none of these are what gives the film to be premiered at the Roundhouse on 11 March its cachet. That lies with the unique, thrilling footage of Bowie, Genesis, and Hawkwind at formative stages of their careers. There is nothing else like it on film. 

(...) The film’s director-producer, Adrian Everett, first heard of the footage in the late 1970s. Who actually placed the cameras in those communal, countercultural early days is not on record, but the stock was being held against a film-processing bill of several thousand pounds. Everett tracked it for years, until, in 1990, he was told it was to be destroyed unless the bill was paid. He put down the money hours before the film was to be trashed, and with the film and the rights secured, his next task was to see exactly what it contained. He spent the next three days watching 33 hours of rushes.

“It was adding the sound and seeing the film come to life that made me realise how important it is,” he remembers. “Until then I just thought it might be interesting, but now I knew it was amazing. That’s why I felt I had to get it out there.”
A deal with a record store owner provided a small budget to begin a first cut, and a chance encounter put him in touch with the original sound man at the gig, who helped him put music to the silent film footage.

“I developed a method of playing and replaying the footage – spotting the start of a song and then looking for clues such as an opening word of the lyric or an instrument.” He was working after-hours in a friend’s cutting room, but progress stalled when Everett’s backer pulled out during the early 1990s recession. Aside from a few assembled performances, the rushes remained just that, sequestered in boxes for the next 20 years, largely unedited and virtually unseen.
Efforts to secure a broadcast slot on the BBC or on Sky came to nothing, and in the meantime, the original participants were heading for that great gig in the sky. Mick Ronson was the first to go, in 1993. In 2010, when Everett heard of the passing of original Genesis drummer John Mayhew, he determined to get a cut of the film into circulation. “Not only so that people could see it at last,” he says, “but as a sort of tribute to those who had gone, some of them unrewarded and almost unknown.”
Taking time out from editing an hour-long first cut of a film that has travelled with him for more than 30 years, Everett admits that it’s “nerve-wracking wondering if people will be pleased with the result”.

“But I can only do the best I can with the resources I have,” he says. “The music and images are amazing, and my plan is to do a book and DVD of the final edit. There are so many strands to this story. It’s a great story to tell.”

‘Atomic Sunrise’ is screened at the Roundhouse, London NW1 (0844 482 8008; roundhouse.org.uk) 11 & 12 March".

If it's clear the projected film does not include footages with the Third Ear Band in, it seems quite possible the live set the band played it's included on the 33 hours shot.
It would be important having some infos by Mr Everett and for this we've sent an email at sunrisefest@yahoo.com... 

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